Bedford Music Hall, Camden, London

Performed by Arthur Bachner, Constance Bachner and Lionel Gadsden as Hans Muller. It has 'many telling lines and an exciting finish...Mr Lionel Gadsden is particularly good as Hans Muller, playing a trying part in a very finished manner. The sketch had a good reception' (Era, 28 October 1914)

Holloway Empire Succumbs to Pictures The Holloway Empire is the latest theatre to succumb to pictures. Mr. G. Carlton Wallace has disposed of his lease to the Holloway Empire Picture Company. Mr. Wallace informs us that he will in future be able to devote more time than in the past to his writings. The latest from his pen is The Mystery Gun a sketch which is being played this week at the Bedford. (The Stage - Thursday 28 January 1915)

Performed for the week by: George Hestor (actor), Dorothy Frostick (actress), Winnie Collins (actress), Charles Hammell (actor), Ethel Arden (actress), Jack Mann (actor), Hugh Webb (actor), Joan Hestor (actress), George Farnley (actor), Norman Carn (actor), Marie Ellis (actress), Billy Jeffries (actress), Nellie Hill (actress). Also Fred Karno (co-writer), George Hughes (co-writer), John Gerant (co-writer and Karno's manager). 'Fred Karno’s latest production, Nosey Knows, produced here on Monday, October 8, 1917, is full of boisterous merriment and general brightness. There is every indication the piece will rank among the best that Mr. Karno has given us. It is certainly not revue, as the term is generally accepted nowadays, and although there is but the suggestion of some kind of coherent story the whole is primarily a well-conceived mixture of broadly comic business and clever satire. Excellent though it is at present, one readily appreciates that Nosey Knows will develop into something even better. The principal object of the authors has been to make their audiences laugh, and they have been eminently successful ... Nosey Parker – which is by Fred Karno, George Hughes and John Gerant, and has been produced by Fred Karno – should be much in demand with present-day audiences as a commendable antidote for these depressing times' (Stage 11 October 1917).