Blackmail [The Voice on the 'Phone]

When The Era, 13 February 1918, reviewed Clifford Rean’s T'he Voice On The ‘Phone' at the Elephant and Castle Theatre, it noted that the play was a rewritten version of Blackmail which was originally produced under that title on 7 September last [a Friday] at the Hippodrome, Huddersfield.

The North Star (Darlington), 17 September 1917, advertised at the Grand Theatre, Stockton, ‘Will H. Glaze’s Company in the Entirety New Play: “Blackmail”’.

Noted in The Stage, 27 September 1917. The cast included Harry Tresham as Sir Charles Inglemere, R. Smith as Julius Dawn, Renée Bevan as Gwendolen Dawn, Will Scotton as James Inglemere, R. Wilson as Silas Judd and Nita Langford as Lady Inglemere.

‘W. H. Glaze’s company are presenting “Blackmail” to good houses. The principal rôles are undertaken with efficiency by Harry Tresham, R. Smith, Will Scotton, Renée Bevan, R. Wilson, and Nita Langford’. The Stage, 4 October 1917.

‘“Blackmail” is the title the play which is being submitted at the Grand Theatre this week by Mr. Will H. Glaze’s Co. Brother and sister set out a heartless scheme of blackmail against Sir Chas. Inglemere, a Cabinet Minister, and in the weaving of the plot there is much that is pathetic. The schemers meet with their just deserts [sic]. The company is well-balanced in every respect, and amongst those worthy of mention are Mr. Harry Tresham, as Sir Chas. Inglemere, Mr. Will Scotton, as the son, Mr. Chas. Yorke, as secretary to Sir Charles, Mr. R. Wilson, as an American journalist of the hustling type, Miss Renee Bevan as Miss Gwendolen Dawn, and Miss Nita Langford as Lady Marion Inglemere’. Hartlepool Northern Daily Mail, 9 October 1917.

‘A welcome change from the ordinary domestic drama is seen this week at the Theatre Royal, South Shields, in a play entitled “Blackmail,” written by Mr Clifford Rean. The opening is in the library at the house of Sir Charles Inglemere, whose infant son is lying dangerously ill of scarlet fever at a farm in the neighbourhood. False news comes that he has died. In reality, it is the fanner’s son, a boy of the same age, who has succumbed. The distracted father, to hide the fatal truth from his wife, arranges with the farmer for a considerable sum that the living child shall be given out as the rich man’s son. This secret arrangement is overheard by Sir Charles’s secretary, Julius Dawn, who makes a villainous use of it in the way of blackmail. The boy comes to manhood, having been trained for the medical profession. A star music hall artiste, the young sister of Julius Dawn, comes on the scene and is let into the great secret of her swindling brother. She tries to entangle the young man into a marriage with her, but he treats her advances with scorn, which drives her into such a rage that when he announces his intention to marry Miss Hulton, the farmer’s daughter, she tells him that is impossible, as Miss Hulton is his own sister. This climax is followed by another, when the farmer and his wife each make a written confession that the boy was Sir Charles Inglemere’s own son after all. This clears the way for the wedding of James Inglemere and Miss Hulton, and the discomfiture of Julius Dawn and his scheming sister. The interest in the plot is kept up to the very last. The part of Sir Charles Inglemere is played with great effect by Mr Harry Tresham, and in the role of Julius Dawn Mr Charles Yorke gives a fine study of character. Nothing more lively and piquant could be imagined than the acting of Miss Renee Bevan as the music hall star, and there is some clever acting as the Yankee journalist by Mr H. Wilson [sic - R. Wilson]. A most charming impersonation of Lady Mary [sic] Inglemere is given by Miss Nita Langford’. Shields Daily News, 16 October 1917.

Will H. Glaze advertised in The Stage, 25 October 1917, for a theatre for Clifford Rean’s Blackmail for 29 October between Durham and Leeds.

‘A powerful domestic play, entitled “Blackmail,” is the attraction at the Theatre Royal this week. It is capably presented by Mr. Will H. Glaze’s Company, and Mr. Harry Tresham and Miss Nita Langford sustain the leading characters with much success’ (Leeds Mercury, 6 November 1917). ‘Will Glaze’s company are here [the Royal Leeds) in “Blackmail,” a drama which makes a ready appeal. Harry Tresham acts with fine discretion as Sir Charles Inglemere, whilst a manly account of the son is given by Will Scotton. Eva Alliston plays with fervour and charm as Dorothy, and a well-thought-out study of Lady Inglemere is given by Nita Langford’ (The Stage, 8 November 1917).

‘A strong attraction is provided at the Prince’s Theatre this week. The play, which is thoroughly up-to-date, is entitled “Blackmail,” and is presented by a capable company organised by Mr. Will H. Glaze. All the element’ of intrigue and scheming incidental to the life of a blackmailer are strikingly portrayed, and the story is fascinating from start to finish. There is the usual love tangles, but the story has been written in such a way as to bring it into line with modern idea. There is a deep human interest about the whole performance that is intensely absorbing. Mr. Harry Tresham, as the squire, who is the victim of the blackmailer, is particularly well adapted to the part, and brings to it an atmosphere which is distinctly good. Miss Nita Langford, as his wife, is equally successful. Mr. Chas. Yorke gives a very fine representation of the blackmailer, and other capable artistes are Mr. Chas. E. Johnson, Miss Renee Bevan, Mr. R. Wilson, and Miss Eva Alliston’. Bradford Weekly Telegraph, 16 November 1917.

The Daily Gazette for Middlesbrough, 20 November 1917, advertised at the Theatre Royal, Middlesbrough the ‘Special Engagement of Mr Will H Glaze’s Principal Co. In The Thrilling Drama, Blackmail’. Noted in The Stage, 22 November 1917: ‘Harry Tresham, Will Scotton, Charles Yorke, Eva Alliston, Nita Langford, and Renee Bevan are excellent in their respective rôles’.

‘At the Smethwick Theatre Royal [next week], “The Voice on the ‘Phone” is to be presented by Mr. Will H. Glaze’s company’. Birmingham Daily Gazette, 12 January 1918.

‘“The Voice on the ‘Phone,” which Mr. Will Glaze’s company is to present at the Aston Theatre Royal, is a stirring American melodrama of the Broadway type’ (Birmingham Daily Gazette, 19 January 1918). ‘Presented for the first time at Aston, “The Voice on the Phone” had a hearty reception from the two large audiences last night at the Theatre Royal. Mr. Will H. Glaze’s company is a good one. In the various incidents of the new drama Messrs. Victor Gardam and Geof. [sic] Chate perform excellently in the chief parts, being ably supported by Miss Eva Alliston and Miss Renee Bevan (The play is well staged, and altogether well produced’. Birmingham Mail, 22 January 1918). “The Voice on the ‘Phone,” the attraction at the Aston Theatre Royal this week, is a new play by Clifford Rean. In tabloid form it is crisp, with frequent exciting situations and comedy judiciously blended. Mr Will H. Glaze’s company were well received last night, the success of the performances being shared by each member of a strong cast’ (Evening Despatch, 22 January 1918).

‘After three pleasant weeks of pantomime at the Bordesley Palace there will be a return to melodrama on Monday. The play, “The Voice on the ‘Phone,” which comes via Mr. Will Glaze’s Company, is of the sentimental, sensational American type' (Evening Despatch, 26 January 1918). ‘“The Voice on the ‘Phone” received a good reception last night. Its plot is original, and the leading roles are filled by Messrs. Victor Gardam, Geof. [sic] Chate, and the Misses Renee Bevan and Eva Alliston’ (Birmingham Daily Gazette, 29 January 1918).

‘Will H. Glaze’s company occupy the boards here with “The Voice on the ‘Phone,” which has hitherto been staged as “Blackmail.” A good cast includes James Stillwell, Geoff. Chate, Alfred Stretton, Renee Bevan, Nita Langford, and Florence Lyndon. The twice nightly system continues successfully here’. The Stage, 7 February 1918.

The Era, 13 February 1918, reviewed The Voice On The ‘Phone, ‘Drama in Eight Scenes, by Clifford Rean, Produced at the Elephant and Castle Theatre, Monday, Feb. 11’. It noted that the play was originally produced on 7 September last at the Hippodrome, Huddersfield, under the title Blackmail. ‘The author has now rewritten the play, which contains many cleverly contrived situations, It is presented by Mr. Will H. Glaze’s company in praiseworthy style’. The cast was: Sir Charles Inglemere, James Stillwell; James Inglemere, Geoff Chate; Julius Dawn, Alfred Stretton; Farmer Hulton, Charles E. Johnson; Silas P. Judd, R. Wilson; James, George Gormley; Gwendolen Dawn, Renee Bevan; Lady Marion Inglemere, Nita Langford; Miss Hinton, Nellie Norman; Mrs Hulton, Marie D’Yonson; Dorothy, Florence Lyndon. The Era’s review continued: ‘The plot shows that Julius Dawn, confidential secretary to Sir Charles Inglemere, has forged his employer’s name to a cheque, to obtain the means of sending his young sister, who is in the early stages of consumption, to Switzerland, and he is expecting discovery and arrest at any moment. He overhears a plot between Sir Charles and Farmer Hulton to substitute the latter’s little son for Sir Charles’ heir, who is said to have died while out to nurse with a farmer’s wife, as they fear that the news of her child’s death would prove fatal to Lady Inglemere. When the news of Dawn’s forgery come s over the ‘phone, and Sir Charles taxes him with his crime, he insolently informs Sir Charles that he knows of the deception that is going to be practised, and compels him to withdraw his prosecution as the price of silence. Twenty years elapse, and Dawn’s sister has become a great revue actress, known as Gwen La Vie. Dawn compels Sir Charles to agree to a marriage between her and his supposed son, James. She is invited to the house, where she scandalises everyone by her outrageous conduct. After various exciting incidents James is proved to be Sir Charles and Lady Inglemere’s son, and Dawn and Gwen are arrested for the manslaughter of the farmer’s wife, whose written confession clears up the mystery' (The Era, 13 February 1918). The Stage, 14 February 1918, reviewed W. H. Glaze’s company in Clifford Rean’s ‘The Voice on the ‘Phone’, produced at the Elephant and Castle Theatre, London on Monday 11 February. It noted that the play was originally called ‘Blackmail’. The cast was as listed in The Era, 13 February 1918, except that The Stage omitted the character of James played by George Gormley. The Stage’s review continued by saying that ‘Blackmail’ was a better title, ‘for blackmailing is the main theme of an exciting play, overgrown with unnecessary complications, it seems, and the voice mentioned is heard only by the personage most nearly concerned in what would be termed the prologue, were not the piece being given at the Elephant in twice-nightly form. Owing to the ill health of his wife Lady Marion, due to the death of their first born, Sir Charles Inglemere, described as “leader of the Church Party in the House,” and afterwards a Cabinet Minister, had put their second son James out to nurse with the wife of a tenant, Farmer Hulton. Both Mrs. Hulton’s boy and James Inglemere are taken ill with scarlet fever, and a telephonic message, delivered on a private wire with which Sir Charles has had connected his house and the farm, informs him that his son has died. Fearful as to the effect which this news might have upon the life and the reason of his ailing wife, Sir Charles, who holds a mortgage on Mosberry Farm, forces, seemingly, the apparently over persuaded Hulton to agree to the substitution of the living Hulton boy for the dead James, the plot being overheard, from behind a screen, by Inglemere’s secretary Julius Dawn, who had just forged his employer’s signature on a cheque for £500 to enable his presumably consumptive sister Gwendolen to pass the winter in Switzerland. With the hold thus gained over Sir Charles, Dawn begins to blackmail the former, and we find that he has persistently carried on the process for twenty years, during which James has become a hardworking hospital doctor, nearing his M.D., and Gwendolen has blossomed into a popular revue artist, known as Gwen La Vie, and boomed into notoriety by her Press agent Silas Judd, a pushing American journalist. Dawn, not content with bleeding Sir Charles regularly, and forcing him to receive Gwendolen as a guest at his house, tries to bring about a match between this “vulgar creature” and the refined and thoughtful James, already in love with a girl named Dorothy. Enraged at the contemptuous rejection of the scheme, Gwen blurts out all she knows about James’s parentage, it appearing also that Dorothy was Hulton’s daughter, and, therefore, seemingly his sister. However, in the end, it turns out that the long-continued system of blackmailing had, unknown to Dawn, been based upon an artful scheme of the Hultons, who had falsely given it out that James Inglemere had died, whereas it had really been their child. Mrs. Hulton, spoilt by success or remorse, had become a confirmed drunkard, and had hidden under her hearth a confession with regard to the deception practised upon the Inglemeres, the farmer making a similar, unbelieved avowal, on his wife’s death, due to a fall caused by a scuffle with the Dawns, and the ex-secretary having forged another confession, as to James being Mrs. Hulton’s child, supposed to be in the hand of a woman whose writing he had probably never seen! He must have been a clever forger indeed. However, in spite of this inconsistency, and of Judd’s successful blackmailing of the easily squeezed Sir Charles for £10,000 for the real confession (whereas the Dawns had wanted £3,000 only for the false one), Mr. Rean’s drama is one calculated to become acceptable to popular audiences. It is being played effectively at the Elephant by one of the companies of Mr. W. H. Glaze' (The Stage, 14 February 1918).

The Stage, 21 February 1918, listed The Voice on the ‘Phone as On Tour from 18 February at the Royal, Woolwich.

Advertised in The People, 24 February 1918.

The Era, 6 March 1918, listed The Voice on the ‘Phone as On The Road from 4 March at the R., Colchester.

Advertised in the Consett Guardian, 8 March 1918, as a new play by Clifford Rean. The advertisement printed the full cast as listed in The Era, 13 February 1918, except that Lady Inglemere was to be played by Blanche [sic - apparently Beatrice] Fitzhugh (and Chate was spelled Chatt and Lyndon was spelled Lindon). Also: ‘The new play, by Clifford Rean, entitled “The Voice on the ‘Phone,” is a clever(?) piece of work; and it is most effectively interpreted by Mr Will H. Glaze’s dramatic company. The plot, which begins with the message over the wires, is so deftly interwoven that surprises succeed each other in startling revelations, and the spirit of romance, intrigue and adventure is thoroughly well sustained throughout. The impersonation of “Sir Charles Inglemere” by Mr James Stillwell is a most convincing achievement, while the Lady Marion” of Miss Blanche Fitzhugh is another artistic(?) success both being distinguished … the true aristocratic tone, alike in speech and bearing. They impart a superior(?) power to the play, which is only more intensely brought into relief by the contrast afforded in the necessarily varied … of “Miss Gwendolene” (Miss Renee Bevan) – a very emphatic study indeed of the ecstatic revue girl – the “Silas P Judd” of Mr. R. Wilson – whose American journalist is personified to the life – the scheming secretary “Julius Dawn” of Mr Alfred Stretton, whose part is exceedingly well played, and the drunken wife of the farmer which is a perfect study in alcoholism as presented by Miss Marie Deyonson. The son of the titled part who(?) is the original cause of all that follows in is the capable hands of Mr Geoffrey Chatt(?), and his sweetheart “Dorothy” is a charming pourtayal by Miss Florence Lindon, who is destined to make her mark in her profession as time goes on. Mr Charles E. Johnson deserves a word of praise for his sturdy realisation of “Farmer Hulton’s” character in both its artistic and dramatic requirements’ (Consett Guardian, 15 March 1918).

‘At the Theatre Royal a good reception was given to “The Voice on the ‘Phone, presented by Mr. Will Glaze’s company’. Sheffield Independent, 19 March 1918.

The Stage, 28 March 1918, listed The Voice on the ‘Phone as On Tour from 25 March at the R., Stockport.

‘Yesterday “The Voice on the ‘Phone” was produced three times [at the Opera House] - at a matinee and twice at night, and on each occasion the house was full. It is an interesting play. The story opens with the supposed death of James, the heir of Sir Chas. (Mr. Jas. Stillwell) and Lady Anglemere [sic] (Miss Beatrice Fitzhugh), at the farm of Sir Charles’ tenant, Mr. Hulton (Mr. Chas. E. Johnson). The infant was brought up with the child of the Hultons, and Sir Chas. having Hulton in his power, induces him, fearing it would kill his wife to be told of the decease, to say that it was his boy who had succumbed. And so the assumed farmer’s son was brought up by the baronet and his wife as theirs. Twenty years elapsed during which Sir Charles paid blackmail to his secretary, Julius Dawn (Mr. Alfred Stretton), who knew of the conspiracy. Jas. Inglemere (Mr. Geoff. Chate) falls in love with Hulton’s daughter Dorothy (Miss Florence Lyndon), not knowing, of course, of their supposed relationship. Dawn intends him to marry his sister, Miss Gwendolen Dawn (Miss Renee Bevan), an actress, and when he rejects her she tells him his father is not Sir Chas., but Hulton. Here Silas P. Judd (Mr. R. Wilson.), an American journalist, takes a hand in partnership with the Dawns. The three call on Mrs. Hulton (Miss Marie De Yonson), and in a fit of exasperation the actress throws the other woman down, and she is picked up dead. Eventually all comes right with the discovery by Judd of a written confession left by Mrs. Hulton that the dead child was her son and not the baronet’s. And so the way is paved for the marriage of Dorothy and Jas., and also for the punishment of the Dawns. Mr. Glaze’s company is extremely capable; the players were several times recalled, and at the close the audiences most cordially testified their appreciation of their all-round excellent acting’. Coventry Evening Telegraph, 2 April 1918.

‘Another visit is being paid to the Palace Theatre this week by a company of Mr. Will H. Glaze in Clifford Rean’s new play, “The Voice on the ‘Phone.” Rather should the piece be called “a comedy-drama,” as the comedy bits given to Sir Charles and Lady Marion Inglemere in their treatment of a music-hall artist form a very prominent and very laughable part of it. Needless to say the professional lady, who is of a very ordinary type, plays havoc with the nerves of the lady, who is of the “haut ton,” and the Baronet, whom she has in her power. The parts are capitally done by Mr. James Stilwell, Mr. Alfred Stretton, Miss Beatrice Fitzhugh, and Miss Rene [sic] Bevan’ (Newcastle Daily Chronicle, 16 April 1918). ‘Mr Clifford Rean, whose work is well known and much appreciated in Newcastle, has written nothing better than “The Voice of [sic] the ‘Phone,” which Mr W. H. Glaze’s company are playing at the Palace Theatre’ (Newcastle Journal, 16 April 1918).

‘Will H. Glaze’s company in “The Voice on the ‘Phone” are presented here. The drama tells how Sir Charles Inglemere, to protect his wife from a serious illness, exchanges his dead baby boy for the baby of a farmer named Hulton, who is brought up as Sir Charles’s son. James Willoughby as Sir Charles, Geoff. Chate as the son, and W. Launcasten as Julius Dawn, give clever performances. René Bevan as Gwendolen Dawn is most capable in her part. Beatrice Fitzhugh as Lady Marion Inglemere, and L. Addison as Dorothy, leave nothing to be desired’. The Stage, 9 May 1918.

Advertised in the Western Evening Herald, 6 May 1918, as an ‘absorbing and enthralling drama’. Also: ‘“The Voice on the ‘Phone” is being given here by the stock company, to appreciative houses’. The Stage, 9 May 1918.

The Stage, 9 and 16 May 1918, listed The Voice on the ‘Phone as On Tour from 13 May at Barnoldswick.

‘“The Voice on the ‘Phone” at the Grand Theatre is one of Clifford Rean’s excellent melodramatic plays, with a well-written story and plenty of effective contrasts in humour and pathos. Mr. Will H. Glaze’s company give an admirable representation’ (Nottingham Evening Post, 28 May 1918). Will Glaze’s company was at the Grand Theatre, Nottingham, the previous week performing, apparently for the first time, Arthur Jefferson’s Home from the Trenches (also known as Back to Wife and Home).

Advertised in the Halifax Evening Courier, Thursday 27 June 1918, at the Grand Theatre and Opera House for Friday night only; Home From The Trenches (by Arthur Jefferson, also known as Back to Wife and Home) was playing the rest of the week.

The Berwick Advertiser, Friday 31 October 1919, advertised at the Queen’s Theatre, Berwick, on Monday and Tuesday 'The Voice on the ‘Phone' by Clifford Rean, on Wednesday and Saturday 'A Betrayer of Women' by F. Carlton and on Thursday and Friday (by special request) 'Ghosts' by Hendrik Ibsen. The advertisement was for the following week: the edition of Friday 24 October 1919 advertised the John Ridding Grand Opera Company at the Queen’s Theatre for the week beginning 27 October.

The Stage, 12 August 1920, noted Will H. Glaze’s company at the Globe, Consett, presenting five plays: ‘Mary Latimer, Nun’, ‘Her Honour at Stake’, ‘John Raymond’s Daughter’, ‘A Betrayer of Women’, and ‘Blackmail’. The last may have been Clifford Rean’s play under its original title.