Great War Theatre

Address: Birmingham, UK

Performances at this Theatre

DateScriptType
N/A The Battle Of The PumpUnknown
N/A Miss RobinsonUnknown
N/A Abraham LincolnUnknown
N/A X=0, A Night In The Trojan WarUnknown
N/A Paying the PriceUnknown
N/A King Lear's WifeUnknown
N/A The Cobbler's ShopUnknown
12 Sep 1914 The End of the WorldProfessional
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'a social comedy, which is only spoiled by a slightly excessive length' (Stage, 17 September 1914)
12 Sep 1914 The End of the WorldProfessional
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The Birmingham Mail, Saturday 12 September 1914, advertised at the Repertory Theatre that night The End of the World by Lascelles Abercrombie for ‘the first time on any stage’ and Samuel Foote’s comedy The Liar. The Birmingham Daily Gazette, Monday 14 September 1914 advertised the plays ‘for one week’ (hence the suggested closing date of Saturday the 19th). ‘There some real mind-stuff and soul-stuff in Mr. Lascelles Abercrombie’s new poetic drama, “The End of the World,” produced with acceptance for the first time at the Birmingham Repertory on Saturday by Mr. John Drinkwater, The play will be welcome to all who value the drama of poetry and character, distinct from the drama of well-contrived incident and mere traits of character. Mr. Abercrombie allows a mysterious stranger to send a little village community into a frantic panic about the end of world, and by this simple device - a by means improbable one - he makes a group of typical country folk reveal their fundamental selves in the stress of what they believe to be an elemental catastrophe. The masks are taken off. There is the strong evangelical farmer who curses his wife to perdition for running off with a labourer, and yet who wishes he had not starved himself of passion when he had had the chance. The labourer, with his soul in peril, discards the woman, and the theory that “love is all” by which he lured her away. She, in turn, scorns them both as the scales fall off, and dances away A whimpering publican finds his only consolation in the fact that he will be able to tell his dead dragon of a wife such a tale as will silence even her. Then there is a blacksmith, half philosopher, and a wainwright who cannot drink even free cider in such a cataclysm; he blends sudden fury and gentle fear. The touch of rational humour never lacking among the most superstitious is brought by a molecatcher, admirably played by Mr. Dodd, who tells them all that instead of a destroying star they have been watching the farmer’s rick on fire. The chief fault of the play is that these village folk do not merely slip into poetry, as most village folk do in the great tides of emotion, but talk the poetry of Mr. Lascelles Abercrombie; they are too self-consciously literary; not direct enough. Not so is the fresh spring of wit and fancy in Synge’s “Play Boy,” nor the rich Biblical idiom of Masefield’s “Nan.” But when the players have got a surer hold of the play the power and depth of it will grip even those to whom it is strange and remote; for “The End of the World” is not far from being a great play touched with genius’. Birmingham Daily Gazette, 14 September 1914. ‘Mr. Lascelles Abercrombie is to be complimented upon much really clever work in his new play, “The End of the World,” which had a most favourable reception at the Repertory Theatre on Saturday evening, and when some of the players get a little better grasp of their roles this poetic drama should have a successful run. A mysterious and gloomy stranger makes his appearance in a village inn, and predicts the near approach of the crack of doom. The village is thrown into a panic In the inn are the wiseacres of the village, and a good variety of characters in a farmer, a wainwright, a smith, a labourer, and a publican. In this dread hour we see the souls of these men bared. There is both humour and pathos. The chief regret of the publican seems to be that his wife is not alive to see the sight. The ending the play is humorous, a molecatcher bringing relief to these stricken and credulous people with the news that the mysterious light taken to be the all-destroying star is nothing more serious than a rick on fire. Mr. Felix Aylmer and Mr. Joseph Dodd deserve chief congratulation upon their acting’. Evening Despatch, 14 September 1914:
23 Dec 1914 CinderellaUnknown
15 Mar 1915 The Little ManProfessional
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'As the playlet was written in October 1913, any conscious war flavour is discounted', "Birmingham Daily Gazette", 16 March 1915.
15 Mar 1915 The Little ManUnknown
8 May 1915 The Devil among the SkinsUnknown
8 May 1915 The StormUnknown
8 May 1915 The Painter and The BabyUnknown
9 Oct 1915 Keepers of the GardenUnknown
30 Oct 1915 His Majesty's PleasureUnknown
20 Nov 1915 Over a Garden WallUnknown
4 Dec 1915 The FaithfulUnknown
18 Mar 1916 Her Proper PrideUnknown
18 Mar 1916 The ProposalUnknown
7 Oct 1916 The Sweeps of Ninety EightUnknown
7 Oct 1916 The God of QuietProfessional
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Performed alongside "The Sweeps of 98" by John Masefield and "The Inca of Perusalem" for the week by Joseph A. Dodd (actor), W. Brunton (actor), William J. Rea (actor), William Armstrong (actor), Felix Aylmer (actor), Frank Moore (actor), Frank Clewlow (actor), Noel Shammon (actor) Arthur J. Gaskin (sets and costume). "It is the most dramatic play Mr. Drinkwater has written, and shows development of the theatrical knowledge gained by the author while in charge of the Birmingham Repertory Theatre' (Pall Mall Gazette, 9 October 1916) "a moving and beautiful lyrical drama, a little difficult to follow at the first hearing" (Birmingham Daily Post, 9 October 1916)
21 Oct 1916 The Misfortune of Being CleverUnknown
26 Oct 1916 A Merry DeathProfessional
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Performers: Mr Drinkwater (Producer), Mr William Armstrong (Pierrot) Mr Felix Aylmar (actor), Mr Armstrong (actor), Miss Pinchard Other acts on bill: Tolstoy's "The First Distiller", Tchekoff's "The Proposal"
26 Oct 1916 First DistillerUnknown
27 Oct 1916 A Merry DeathProfessional
4 Nov 1916 The God of QuietProfessional
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Performed for the week alongside "The Sweeps of 98" by John Masefield and "The Inca of Perusalem" "Mr Drinkwater's play becomes at the last an exercise for fancy, instead of an invocation to imagination" (Birmingham Daily Post, 6 November 1916)
11 Nov 1916 The Farmer's WifeUnknown
26 Dec 1916 Puss in BootsUnknown
3 Mar 1917 The WoundedUnknown
10 Mar 1917 While Rome BurnsUnknown
14 Apr 1917 Everybody's HusbandUnknown
21 Sep 1918 The BearUnknown
21 Sep 1918 The Grand Cham's DiamondUnknown
21 Sep 1918 One Day MoreUnknown
2 Nov 1918 A Moment's GiddinessUnknown
23 Nov 1918 Deirdre of the SorrowsUnknown
2 Oct 1921 The FoundationsProfessional