Samples
Examiner of Plays' Summary:
This is a revue, having for its motive of its fragmentary plot the effort of its blasé wealthy hero to find something, even in the way of work, to give an interest to his vapid night-club life. In this attempt he is aided by a burlesque Mephistophelean Devil, who subsequently haunts him for the gratification of his real or supposed wishes. In the course of the inconsequent action he is found occupying himself as a Curate, in trouble over confused arrangements at the Vicarage for christenings, as a loafer looking for a job at the seaside, ads a customer at a music-shop kept by the Devil in the guise of an American Ragtime impresario, as a guest introduced by Wendy and Peter Pan - who grows up and enlists - and as a patient in the waiting room of a professor of elocution who has been mistaken for a dentist. The fun may come out more humorously in action that n it does on paper, but is all inoffensive, though care must be taken as to the decency of the attire of the heroines (act I, p.40) as a 'very undressed girl of the flapper type' recommended for license, Ernest A. Bendall.
Researcher's Summary:
This revue was one of the first shows at which advantage was taken of the Lord Chamberlain’s decision to allow smoking in theatres. The Great War element is a scene which imagines a meeting between J. M. Barrie’s Peter Pan and Wendy in which Peter says that he is going to grow up so that he can enlist. The Weekly Dispatch (London), 5 December 1915, printed the dialogue between Wendy and Peter Pan in which Peter says: ‘I have not changed. But times have and I must grow – I want to be a man – with men – it is my Duty – and Wendy – there is indeed a great Adventure … Listen. Can’t you hear it? The tramp, tramp, tramp, the tramp of men, clerks, and chemists, nobles and navvies, porters and Peers, grocers and graduates, shop assistants and scientists - all, all men giving their all for King and country, for womankind and children. But, above all, their hearts, their brave hearts calling out, I am a man; let me be with the men.’ Peter exits, returns in khaki and says: ‘I say, our chaps are no end “matey,” and I’ve got to “Mukkin” with a “Hot Bunch,” and C.O.’s a “ Kitchman.” Doesn’t “bite us off a bit.” I hear we’ve got a push on. But p’raps it’s only trench talk … I must be off.’ Peter hears soldiers tramping past and singing: ‘Hear them? Isn’t it fine? And I am one of them … This is indeed a Great Adventure’. This scene was included in performances at the Playhouse, Vaudeville and Comedy theatres in London. The revue underwent many changes: a ‘second edition’ was launched in March 1916; the Sporting Times, 29 April 1916, and other newspapers reported that further new features would be introduced to keep the show fresh; and a revised version was licensed in December 1916 (see the separate entry in this database). When ‘Samples’ went on tour from September 1916 to January 1917 supported by separate variety acts the number of scenes was reduced from eleven originally (The Stage, 2 December 1915) to eight (Folkestone, Hythe, Sandgate & Cheriton Herald, 23 September 1916) and then to six (Belfast News-Letter, 23 January 1917). Newspaper accounts of the touring production give few details of the scenes and do not mention Peter Pan. The narrative comments below on the London theatre runs focus on references to the Peter Pan episode.
Licensed On: 23 Nov 1915
License Number: 3859
Genre(s):
Keyword(s):
British Library Reference: LCP1915/31
British Library Classmark: Add MS 66117 A
Performances
| Date | Theatre | Type | |
|---|---|---|---|
| 30 Nov 1915 | Playhouse, London | Unknown | Licensed Performance |
| 30 Nov 1915 | Playhouse, London | Professional |
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'Miss Blanche makes the biggest Peter Pan on record, and then appropriately puts on khaki and hazards a Great Adventure, to the Wendy of Miss Ida René, in the scene representing the Borderland between Fact and Fiction' (The Stage, 2 December 1915). 'It is a fitting way for Peter Pan to grow up. The whole feeling of Sir James Barrie’s wondrous work is kept in this little scene It rang true to me, for did not Peter come of an old fighting stock? Had he not fought pirates galore and revelled In it? And he was a British boy, too. That is the whole point of the change. A British boy, however little he liked the idea of “growing up,” had to do it to fight for his country, and all boys must have known how Peter felt about it. He had no sense of responsibility, just because he was designed for a dreary routine life at an office desk, but he had to put on khaki: that was different, very different, and we are all proud of him ... I think every child should see it when he or she has seen “Peter Pan.” It is a happy pendant.' (Weekly Dispatch (London), 5 December 1915). '[Marie Blanche's] Peter Pan turned soldier boy is a fine and inspiring episode' (The People, 5 December 1915). 'Miss Marie Blanche has a great deal to do, and she does it very well. Her acting is spirited, her singing tuneful, and she looks nice, especially as Peter Pan' (Reynold’s Newspaper, 5 December 1915). '.. Then follows a scene called “Border Land,” where our old friend Wendy presides in order to keep a strict dividing line between fact and fiction. Wendy has invited Peter Pan to tea, but when he comes he is found to have grown up and to be on the point of visiting a recruiting officer. Both Miss Blanche and Miss Ida Rene distinguish themselves in this scene, the former getting quite a stirring ring into her patriotic utterances as Peter' (Illustrated Sporting and Dramatic News, 18 December 1915). 'in another “Sample,” dedicated to Peter Pan (now “grown up” at last, and in khaki), [Mabel Russell] made a most sweet and unsophisticated Wendy; and generally it might be said without exaggeration she was the life and soul of every scene in which she appeared' (Westminster Gazette, 5 January 1916). 'One of the “Samples,” pictorially charming and illustrating a pretty idea, represents “Border Land” - the land betwixt fact and fiction - and brings in our old friends Wendy (Miss Ida Rene) and Peter Pan (Miss Marie Blanche). But Peter is grown up at last, and now, clad in khaki, is doing his bit for the country’ (Civil & Military Gazette (Lahore), 12 January 1916).
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| 24 Jan 1916 | Vaudeville Theatre, London | Professional |
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'Miss Billie Carleton is not quite wistful enough as Wendy ...' (The Era, 29 March 1916).
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| 18 Sep 1916 | Pleasure Gardens Theatre, Folkestone | Professional |
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Reviewed in the Folkestone Express, Sandgate, Shorncliffe & Hythe Advertiser, and in the Folkestone, Hythe, Sandgate & Cheriton Herald, both 23 September 1916.
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| 25 Sep 1916 | Hippodrome, Southend | Professional |
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Noted in The Era, 27 September 1916.
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| 2 Oct 1916 | Hippodrome, Margate | Professional |
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Noted in The Era, 4 October 1916.
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| 9 Oct 1916 | Hippodrome, Boscombe | Professional |
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Reviewed in the Bournemouth Graphic, 13 October 1916.
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| 24 Oct 1916 | Comedy Theatre, London | Professional |
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'Miss [Edith] Drayson, who plays Wendy in the “Border Land” scene, and the drum-girl in the “music factory,” is a big acquisition to the revue…’. Pall Mall Gazette, 30 October 1916.
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| 27 Nov 1916 | Hippodrome, Newcastle | Professional |
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Reviewed in the Newcastle Daily Chronicle and in the Newcastle Journal, both 28 November 1916.
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| 4 Dec 1916 | King's Theatre, Edinburgh | Professional |
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Noted in The Era, 6 December 1916, and The Stage, 7 December 1916.
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| 11 Dec 1916 | Hippodrome, Sheffield | Professional |
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Noted in The Era, 13 December 1916.
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| 18 Dec 1916 | New Middlesex Theatre, London | Professional |
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Noted in the Globe, 15 December 1916.
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| 25 Dec 1916 | Empire Theatre, Ardwick, Manchester | Professional |
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Advertised in the Manchester Evening News, 23 December 1916.
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| 1 Jan 1917 | Hippodrome, Leeds | Professional |
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Noted in The Era, 3 January 1917.
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| 8 Jan 1917 | Hippodrome, Liverpool | Professional |
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Reviewed in the Liverpool Echo, 9 January 1917.
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| 15 Jan 1917 | Theatre Royal, Dublin | Professional |
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The Stage, 18 January 1917, listed Samples as On Tour from 15 January at the Royal, Dublin.
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| 22 Jan 1917 | Royal Hippodrome, Belfast | Professional |
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Reviewed in the Belfast News-Letter and the Northern Whig, both 23 January 1917.
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