Theatre Royal, Bristol

Staged by Miss Muriel Pratt’s company and advertised as written before the outbreak of war, yet curiously appropriate at the present time. Performed alongside “The End of the World” by Mr Lascelles Abercombie. “With the quality of that we are not concerned here. The play itself, though conventional in craftsmanship, plays better than it reads. In spite of rather too long speeches,” Western Daily Mail (27.10.1914) Mr Brember Wills acted the part of Philip. Miss Muriel Pratt as the daughter. Clive Carey recited the Armada’s defeat.

Western Daily Press, Tuesday 27 and Friday 30 October 1914 published advertisements for Miss Muriel Pratt’s season at the Theatre Royal, Bristol, showing the first production of John Masefield’s ‘Philip The King’ and Lascelles Abercrombie’s ‘The End of the World’. A different show was advertised for the following week. ‘There is an unusually interesting programme at the Theatre Royal this week, inasmuch as two new plays by distinguished poets are being performed. They are “Philip the King,” by Mr John Masefield, and “The End of the World,” by Mr Lascelles Abercrombie … [“The End of the World”] reads better than it plays. The odd types of villagers (who imagine a comet is going to destroy the world), though well-acted, are not so humorous as might have been expected. It is a pleasant, quietly amusing piece of work, but much of the poetry of it is out of place in the mouths of the characters who speak it. Mr Brember Wills, Mr Carey, Mr Marsh Dunn, and Mr Denton Thompson did all that could be done with the characters. Both plays were produced by Miss Muriel Pratt. There will be a matinée on Thursday’ (Western Daily Press, Tuesday 27 October 1914). ‘There is an unusually interesting programme at the Theatre Royal this week, inasmuch as two new plays by distinguished poets are being performed. They are “Philip the King,” by Mr John Masefield, and “The End of the World,” by Mr Lascelles Abercrombie … “The End of the World,” by Mr Lascelles Abercrombie is a study which is a mixture of psychology and humour. The two acts take place in a public-house in a rural neighbourhood. The village ale tipsters are led to believe that the end of the world is at hand, with the result that some queer specimens of mental attitude towards life are revealed. Warp, the mole catcher, saves the situation by revealing the fact that the supposed awful conflagration is merely a rick on fire. Mr. Brendon [sic - Brember] Wills impersonated Huff, a quite remarkable farmer, with his customary skill; as Vine, the publican, Mr. B. March Dunn gave another of his delightful Devonshire sketches; and Mr. J. Denton Thompson hit off the mole-catcher to the life. The remaining characters were also in able hands’ (Clifton Society, 29 October 1914).

The Stage, 14 and 21 October 1915, listed The Unmarried Mother as On Tour from 18 October at the Royal, Bristol.

The Western Daily Press, 2 May 1916, noted that Somewhere A Heart Is Breaking was being performed twice nightly at the Theatre Royal. ‘The play, “Somewhere A Heart Is Breaking,” is being presented here [at the Theatre Royal, Bristol] by Miss Winifred Maude. The company includes Winifred Maude, Winnie Crichton, Freda Beckett, S. Normanton, Will Manton, Hal Wellfox, Victor Du Cane, C. V. Charles, Theophilus Charlton, and Will White. The play is produced by Mr. Victor Cane' (The Era, 3 May 1916). The Era, 10 May 1916, and The Stage, 11 May 1916, seeking theatres for Somewhere A Heart Is Breaking, gave the contact address as the Theatre Royal, Bristol.

The Stage, 25 May 1916, noted that Somewhere A Heart Is Breaking was On Tour from 22 May at the Royal, Bristol. However, the Western Daily Press, 23 May 1916 published a review of another play being presented by Winifred Maude's company at the Theatre Royal, Love and The Woman, also by Ivan Patrick Gore.

‘A thoroughly up-to-date play, “The Slacker,” is the attraction this week at the Theatre Royal, where the two performances a night system continues to enjoy considerable popularity. It is described as a story of a modern Enoch Arden, and the authors, Miss Henrietta Schrier and Mr Percy Lodge, are to be congratulated on the construction of the play, while they have infused into it a pathos which is true to life. The serious side of the work is, of course, paramount, but the happy introduction of two breezy characters provides the necessary contrast with their amusing sallies at the expense of the slacker. There is a true ring of patriotism in the play, and when the slacker was told in pretty straight terms a few home truths, the audiences last night were very enthusiastic. There are several very effective situations in the play, and they are fully realised by the well-balanced company entrusted by Mr Fred. J. Little with the production. The difficult part of Phil Murket is well handled by Mr. E. Warden, while the Ned Marsden of Mr W. Dennis Leslie instantly wins the sympathies of the audience. Miss Margaret Frame and Miss Flo Bevan as Nell Marden and Eva Steele respectively, are responsible for true studies, and others who deserve special mention are Miss Pollie Denville as Mattie Steele, Miss Maud Elliott as Nora Steele, Mr Peter Johns as the Rev. Thomas Bond, Mr J. W. Wilkinson as David Steele, Mr Sydney T. Russell as Steve Ingersoll, and Mr Fenton Wingate as Dennis le Grande. “The Slacker” is well mounted, and should enjoy a very successful week at the “Old”‘ (Western Daily Press, 30 May 1916). ‘Fred. J. Little’s company are presenting The Slacker [at the Royal, Bristol], and the twice-nightly performances are attracting large attendances' (The Stage, 1 June 1916).

‘“The Unmarried Mother” is being performed this week – a return visit – by Mr Oswald Cray’s company. There was encouraging indication last night in the large audience and the enthusiasm with which the play was received that its repetition is welcomed by patrons of this theatre. The story is a touching one, full of striking incidents, and embracing ideas on a social problem. The khaki flavour is also a popular feature, and altogether the drama is so up to date in conception and sentiment that its popularity is assured. It is presented by a thoroughly capable company. A very clever performance is given by Miss Winnie Rousby as the youthful unmarried mother, and the merit of the impersonation is that it is tactfully dealt with ... The drama should draw good houses during the week’ (Bristol Times and Mirror, 12 September 1916). 'Last night “The Unmarried Mother” was chosen, it being considered that the enthusiastic reception met with when the piece was first played here would be again forthcoming. Once more the stirring episodes in which some well-drawn characters figure aroused enthusiasm ... It will be repeated nightly during the week, and is certain be patronised largely’ (Western Daily Press, 12 September 1916).

‘An exciting story of the spy peril, The Enemy in Our Midst, is the attraction at the Theatre Royal this week. It is from the pen of G. Carlton Wallace [who] has handled the theme in a popular way, presenting a rather obvious naturalised Englishman, who is seeking to probe into Government secrets in the possession of Henry Carstone, of the Transport Department'. Western Daily Press, 17 October 1916.

‘“The Wife With Two Husbands,” by C. Vernon Proctor, is the attraction at the Theatre Royal this week. From the pen of this author came “The Unmarried Mother,” which met with considerable success, and the skill with which that subject was handled is again evident in this work. Oswald Cray, who presents the drama, has collected a company of very capable artists, and the performance is carried through with a brightness which is most commendable. The story is one of those tragic occurrences which the war has produced, where the wife of a soldier who is reported killed, but is, in fact, a prisoner, re-marries, and her husband eventually returns to find his dream of happiness shattered ... in the end happiness is restored ... altogether the drama provides an interesting and enjoyable entertainment' (Western Daily Press, 14 November 1916). Noted in The Era, 15 November 1916.

The Stage, 16 and 23 November 1916, noted that The Mormon and The Maid was On Tour from 20 November at the Royal, Bristol, but did not mention Somewhere a Heart is Breaking. The Western Daily Press, 21 November 1916, published a review of The Mormon and The Maid which was being presented by Miss Winifred Maude’s company at the Theatre Royal that week – no mention of Somewhere a Heart is Breaking.

'The play tackles some of the greatest problems of the day and provides some very forceful arguments. Difficult topics are dealt with with extreme delicacy, and there is abundant food for thought which the vivid stage pictures will direct in the proper course.' ('Western Daily Press', 5 December 1916, p.3)

‘“Neither Wife nor Maid,” by Ada Grace Abbott, is being played the Repertory Company this week, and it was enthusiastically received at both houses last night. The story is cleverly unfolded, and the two atmospheres, Whitechapel and Park Lane, are ingeniously blended. Miss Doris Brookes has a good part as Meg, and Miss Chapman, the producer, stepping into a gap which arose almost at the last minute, plays the well-to-do woman with marked success. Another breach is filled by E Avinal, the manager of the theatre, whose wide experience stands him good stead for such an emergency. Miss Aline Newell, Mr John Stuart, and the leading comedian all have good parts, to which full justice is done, and Miss Ruby Ray makes a splendid child hero, Tommy’. Western Daily Press, 23 April 1918.

Performed as 'The Middy V.C. Comes Home' Played by the repertory company ('Western Daily Press', 21 May 1918, p. 2)

‘For next week “The Girl Who Changed Her Mind” is announced’ at the Theatre Royal, Bristol (Western Daily Press, 25 March 1919). Also: ‘The Royal Repertory company are playing “The Girl Who Changed Her Mind.” The principal parts are in the capable hands of Arthur C. Goff (Dennis Royston), Edith Pickard (Ruth Vallender), Digby Hayes (Sir William Vallender), Courtney Robinson (Capt. Frank Cave), Matt Wilkinson (Tony Blizzard), and Florrie Hall (Molly Mugglethorne)’ (The Stage, 3 April 1919).

‘The successful drama, “His Last Leave,” is here, with Arthur C. Goff as Richard Maxwell, Matt Wilkinson as Lance-Corpl. Tim Trimfoot, Courtney Robinson as Major the Hon. Robert Saltire, and Eileen Leoville as Rose Maxwell. The play is produced by Hamilton Baines’ (The Era, 7 May 1919). ‘“His Last Leave” is played here by the Repertory Company to good houses. Arthur C. Goff acquits himself ably as Richard Maxwell’ (The Stage, 8 May 1919).

Performed by the Theatre Royal Repertory Company with Arthur Goff, Digby Hayes, Courtney Robinson, Matt Wilkinson, Ernest Nixon, T Parker, Sophie Fane, Eileen Leoville, Nan Sheldon, and Florrie Hall.

‘The series of plays which have recently engaged the efforts of the repertory company at the Theatre Royal has been broken into this week by the introduction of a drama of particular interest. “The Man Who Made Good” was written during the war by C. Vernon Proctor, and is based on incidents that actually occurred ... It is a well-written play, well acted. Mr Arthur C. Goff in the leading rôle, plays convincingly throughout, and is supported thoroughly by the other members of the company. Messrs Stephen Stormont (General Sheldrake), George Steel (Vernon Sheldrake), Matt Wilkinson (in a popular character as a greengrocer), Ernest St. John (Bartlett), Miss Sophie Fane (the General’s wife), Miss Eileen Leoville (the hero’s sister), Miss Cynthia M Marshall (the false fiancée), Miss Florrie Hall [Ball?) (the governess). The play is being produced twice nightly under the direction of Mr Hamilton Baines, and last night the week’s performances led off with large and appreciative audiences’. Western Daily Press, 23 September 1919.

‘There is no doubt that the Theatre Royal Repertory Company are going to score a big success this week with C. Vernon Proctor’s drama “Back to Wife and Blighty.” As the title suggests it is a story of the great war, and khaki and his wife were in evidence at both performances last evening in mass formation. The author has written a good story round a popular theme, and its interpretation was in excellent hands. The soldier, reported dead, returns to find his wife re-married. This in brief is the plot. Why she marries again and the explanation of a bogus telegram reporting his death are the thread on which hangs the story The nucleus is here for the ground work of a drama which suits the popular fancy and an interesting story is the result' Western Daily Press, 28 October 1919). Listed in the Western Daily Press, 3 November 1919, as Back To Wife And Blighty.

‘This week the repertory company present “The Unmarried Mother.” The leading characters are ably interpreted by Madge Hope in the title- rôle, Stephen M. Nicholls and Rica Miller (Mr. and Mrs. Chalmers), and Digby Hayes (Gerald Blake)’. The Stage 24 June 1920.

Twice nightly. The story is a thoroughly interesting one, and the many strange situations which arise are happily solved in the end. There are schemes and counter-schemes skilfully blended, and the sad moments are happily relieved by humorous incidents. ('Western Daily Press', 31 May 1921, p. 9)

Performed this week.

Performed for the week with two performances Monday, at 6 and 8.40.

‘The Morton-Powell Repertory Players are now in their thirteenth week at the Theatre Royal [Bristol] and still going strong. For next week two star artistes are engaged to appear in leading parts - Mr Hamilton Langham (an idea hero) and Miss Sibyl Ward. In “The Black Sheep of the Family” both Mr Langham and Miss Ward will appear, supported by the other members of the Morton-Powell Repertory Players. The “Black Sheep” is really good entertainment, and has a strong comedy element’ (Western Daily Press, 28 September 1928). ‘The adventures of a peer’s heir form the plot of “The Black Sheep of the Family,” which is being presented this week at the Theatre Royal by the Morton Powell Repertory Company. The Hon. Ralph Sylvester, played by Hamilton Langham, gallantly takes the blame for his brother, Lionel’s, moral crime, and as he keeps a vow of silence he is cast out of his house. He goes to America and meets a girl whom he rescues from a gang of scoundrels. Later, in England., he again meets the girl, but is immediately accused of a murder committed by his brother. How the guilt is brought home to the murderer is revealed in a series of dramatic incidents - Eric Norman plays Lionel Sylvester with emotional intensity, acting cleverly in the last scene. Loyal Dare, the girl whom the “Black sheep" loved, was a part well taken by Miss Sybil Ward, and Miss Lena Brand was a tragic figure as Mary Leigh. Miss Marian Ryder endowed the rôle of Mammy Dinkie with plenty of humour, and Harry Harrop acted with her as Jobson, the loyal butler. James Hart doubled the parts of Lord Arlington [sic] and the Judge, and Robert Faulkner and George Dare played as American gangsters, the last-named also appearing as counsel for the defence in the trial scene. The selfish cruelty of Blanche Maitland was well conveyed over the footlights by Miss Dorothea Vivian. “The Black Sheep of the Family” is a thrilling drama and should be enjoyed by Theatre Royal patrons’ (Western Daily Press, 2 October 1928). ‘“The Black Sheep of the Family” provides acceptable dramatic fare here [the Royal, Bristol]. Eric Norman gives a clever study of Lionel Sylvester. Sybil Ward acts well as Loyal Dare. Lena Brand is excellent as Mary Leigh. Hamilton Langham ably sustains the rôle of the Hon. Ralph Sylvester. Comic relief by Marion Ryder and Harry Harrop is well received’ (The Stage, 4 October 1928).