Palladium, London

The Westminster Gazette. The Palladium Tuesday 18 August 1914 'Of course there are patriotic episodes on the Palladium bill this week. That should go without saying. 'Gentlemen, the King!' is a very dramatic little sketch, based on the desire of the old veteran who takes "French leave" from the workhouse to see the colours of his old regiment once more.'

At the Palladium, on Monday last, Mr. Gulliver presented a Variety Bill that even in these strenuous times should pack the building. That remarkable comedian, Mr. Charles Austin, appeared in his greatest comedy sketch, "Parker on the Panel," Mr. Arthur Collins's dramatic sketch, "The War Lord's Dream," remains in the bill for a further week. Mr.H.M.Vernon, in "The Case of Johny Walker," assisted by James Carew, H.V.Surrey, Gerald Valentine, and a full West End Company, was excellent. it is a remarkable sketch in which the methods of the police in new York are very severely criticised. The sketch deals with the attempts of an unscrupulous detective to send an innocent man to prison, and the "Detectograph" plays an important part in turning the tables on the detective. The Variety Bill also includes:- Billy Merson, Maidie Scott, Clarice Mayne & Tate, Liane d'Eve, Goodfellow and Gregson, Scotch Kelly, and Alice Hollander. (Gloucester Citizen - Wednesday 25 November 1914)

On Monday next, November 16, Mr. Charles Gulliver will revert to a full variety bill at the Palladium. One of the principal items will be a sketch entitled, "The War Lord's Dream," this is founded on an article that appeared a short time ago in a London newspaper. The part of the Emperor or War Lord, will be played by Mr. C.V. France, and that of King Death by Mr. C.M. Hallard. Special incidental music has been composed by Mr. J.M. Glover. (Sporting Times - Saturday 14 November 1914)

"The War Lord's Dream" dramatic sketch, founded on an article which appeared in "The Pall Mall Gazette," produced by Arthur Collins, with incidental music by J.M.Glover; Palladium, Nov.16. (The Era - Wednesday 23 December 1914)

"The War Lord's Dream" is anything but a cheery concoction, and at the same time it is hardly convincing. The scheme is mainly based on a monologue between the Kaiser and King Death, the never-to-be-deposed grisly monarch. It leads eventually to a situation a la Richard the Third in which the conscience stricken ,Monarch calls for "his Guards." Mr. Jimmy Glover is responsible for the incidental music. The Emperor and King Death are well played by Messrs. C.V.France and C.M.Ballard respectively. The programme includes a number of excellent turns, providing splendid entertainment. (The People - Sunday 29 November 1914)

Councillor Glover established a record on Monday last, when he had the honour of having two productions introduced in to the London public the same day. At 2.30 and 7.30 he conducted Mr. Arthur Collins sketch "The War Lord's Dream" at the Palladium, and then jumping into a cab, awaited the cries of "Jimmy Glover - Speech" which greeted the successful end of the new Hippodrome revue "Business as Usual," of which he arranged the music. The Press notices have hailed the revue as a great success, and in all the notices Mr. Glover comes in for more than the ordinary sharer of the praise. It is an enormous production costing 7,000 and employing 150 people on the stage. Councillor Glover spent the next morning with Mr. G.R. Sims over the next Drury Lane pantomime and went to Plymouth in the afternoon to settle his pantomime there returning to Bexhill on Monday for his Council duties. (Bexhill-on-Sea Observer - Saturday 21 November 1914)

6.30 and 9.0. Mon. Wed. and Sat. 2.30. 6.30 and 9.0. (Globe - Saturday 21 November 1914)

The German Emperor was the central character in a new sketch, entitled "The War Lord's Dream," presented at the London Palladium on Monday, and had a long way the worst of the argument with a ghostly King Death, who paid him a midnight visit in the Royal tent close by the firing line.. The Emperor's preliminary examination of the war map with his great Staff, induced the sleep whence came the dream, and, when the ghostly visitor had fairly aroused the anger of the Imperial sleeper with unpleasant references to Louvain and the good work done since then by Britain's contemptible little Army, he - to use an American expression- "put the lid on the stew" by bringing up an unseen military band to play the "Marseillaise". That and the ghastly grin on the green face of King Death finished William and the play. Whitby Gazette - Friday 20 November 1914)

That elegant and enthusiastic wielder of the baton at the Palladium, Mr. James Sale, made way for another Jimmy for an interval on Monday, the popular maestro from the Lane directing his own music for "The War Lord's Dream." The conductor's chair fairly groaned a protest when it first felt the presence of Mr. Glover who was immediately recognised by the audience and loudly acclaimed. "Jimmy" however, refrained from turning round and acknowledging the plaudits. Possibly he thought it prudent to sit tight and not risk acrobatics. (The Era - Wednesday 18 November 1914)

6.10 and 9; Mon, Wed, and Sat. (Daily Mirror - Tuesday 17 November 1914)

An impressive dramatic sketch entitled "The War Lord's Dream," was produced by Mr. Arthur Collins at the Palladium yesterday. The Emperor is seated in his tent after a council with his generals, when there enters, amidst thunder and lightning. King Death he greets the Emperor as the best friend he has ever had - a brother in very truth. He speaks of the young and strong whom the Emperor has sent to Death's kingdom years before their time; he speaks of murdered women and butchered children. And he disappears amidst more thunder and lightning with the promise to come again. The Emperor roars in rage at the thoughts of the home truths spoken to him. Music sounds - it is the patriotic music of the Allies, guns thunder. The tent bursts into flames, King Death appears again. He has come for his brother king. The grim little piece was excellently acted by Mr. C.V. France as the Emperor and Mr.C.M.Hallard as King Death; while it owed not a little of its strength to the incidental music composed by Mr. J.M. Glover. This one serious "turn" is relieved at the Palladium by numerous items that are truly joyous, among which must be mentioned Mr. Billy Merson, Miss Maidie Scott, Miss Clarice Mayne, and Carlton, all at the top of their form. (Sporting Life - Tuesday 17 November 1914)

6.30 and 9pm, Mon.Wed. and Sat. 2.30,4.30, and 7pm. Arthur Collins presents C.M.Hallard, and C.V. France in "The War Lord's Dream." (Globe - Monday 16 November 1914)

The proceeds of the Water Rats entertainment, to be held on Thursday Nov. 26 at the Palladium will be given to the Belgian Fund. A pantomime entitled "Dick Whittington His Cat," will be the special novelty sketch, "The War Lord's Dream," in which Mr.C.V. France and Mr. C.M. Hallard appear, is to be introduced. (Sporting Life - Friday 13 November 1914)

'one of the best-written and most capably-acted War sketches we have seen' (The Stage, 21 January 1915). Mary Mayfren (actor), F Tennant (actor), H A Lyons (actor), L Cancellor (actor), Jack Vyvyan (actor).

Performed on Monday 8 March.

Performed twice nightly as part of a variety act. Two interesting reviews comment on the performances here: ‘Recruiting ought to be helped considerably by the little sketch “The Man Who Wouldn’t,” by J. E. MacManus, which is being played with much power by Mr. Leo Stormont and his company at the Palladium this week. The dialogue revolves round a selfish solicitor, who thinks everybody should enlist but those who have something to lose. But, falling asleep by the fire, he dreams of the coming of the Huns, and of their terrible doings in his own house. Here the film comes in to assist. He is a different man on awaking, helps his prospective son-in-law to enlist - he had earlier put every obstacle in the way - and, despite his age, himself joins the Volunteer Reserve. The dramatic force of the transformation is very great. Marjory Blunt, the daughter, is particularly good. In this character Miss Tandy spoke her telling lines with strong effect’ (Westminster Gazette, Tuesday 8 June 1915). ‘The Palladium is well worth a visit this week … Leo Stormont and Company present “The Man Who Wouldn’t,” a good little thing in its way, showing a tyrannous and bullying lawyer who stood in the way of one of his staff enlisting, and who was told some capital Socialistic truths by a brick of a daughter, and who was ultimately brought to his senses by a very realistic dream (done on the biograph)’ (Daily Herald, Saturday 12 June 1915).

Performed for the week.

Others in the same bill were: Wilkie Bard, Maidie Scott, Jay Laurier, May Moore Duprez, Perceval Allen, Coram, Ella Retford, S.W. Wyndham, Omega Trio, Hamamura Family.

‘After a successful run in the provinces, Camille Clifford, supported by H. Tripp Edgar and Edgar Stevens, brings her sketch, “The Girl of the Future.” to the Argyle Street house. She is loudly applauded in it for her singing and bright acting, and introduces the Gibson Girl walk to considerable effect. Mr. Tripp Edgar, who is also Miss Clifford’s manager, appears with great success as the old beau, and understands well the “nice conduct of a clouded cane”; while Mr. Stevens, as the young lover, displays a pleasing voice and alert manner. The orchestra is conducted for this act by Mr. J. M. Capel, who has written a couple of vocal numbers for the piece’ (The Stage, 8 February 1917). ‘Miss Camille Clifford, owing to the success of the sketch, “The Girl of the Future,” remains another week [at the Palladium]’ (The Era, 14 February 1917).

The Era, 28 February 1917 carried an advertisement for a variety bill the Palladium, London in the week commencing 5 March, including ‘Capt. Bruce Bairnsfather presents “The Johnson ‘Ole”. Harry Thurston as Old Bill the Walrus. Three performances daily of the full variety programme’. ‘An unusually brilliant galaxy of stars is being presented by Mr. Chas. Gulliver at the Palladium this week. The most important novelty is “The Johnson ‘Ole,” presented by Captain Bruce Bairnsfather, who shares the authorship with Mr. B. Macdonald Hastings. This snippet of trench life, most realistically produced, serves to introduce us to Old Bill (the Walrus), that delightfully humorous creation who figures so prominently in many of Captain Bairnsfather’s sketches, cleverly portrayed by Mr. Harry Thurston. Needless to say, the episode was rapturously received by the huge audience, khaki and otherwise, on Monday’. The Era, 7 March 1917. The Illustrated Sporting and Dramatic News, 10 March 1917 published a photograph of ‘Mr. Harry Thurston in the Trench sketch entitled “The Johnson ‘Ole,” now being performed at the Palladium’. ‘That fine episode of trench humour, “The Johnson ‘Ole,” with Harry Thurston as Old Bill, the Walrus, remains a very popular item in the programme’ at the Palladium. The Era, Wednesday 14 March 1917. The show presumably closed at the Palladium on 17 or 24 March sine it opened in Liverpool on 26 March.

The Era, 5 December 1917.advertised ‘Capt. Bruce Bairnsfather presents Harry Thurston & Co. in “The Johnson ‘Ole”’ at the Palladium, London in the week commencing 10 December. ‘Bit of real luck for you - “The Johnson ‘Ole,” one of Bairnsfather and Macdonald Hastings’s best trench episodes, is on this week [at the Palladium]. The scene is laid in a Plug Street trench, and Mr. Harry Thurston plays” Old Bill.” A bit of real trench life is given us, and “Old Bill’s” own indomitable humour is not wanting. Also Bairnsfather’s touch lingers in the scenery to make the whole complete’. Pall Mall Gazette, 12 December 1917. ‘Did you go and see “The Johnson ‘Ole” last week It isn’t a thing you ought to omit if you want to see the way they do in the trenches. Besides, Old Bill will get you every time. By the way, I was talking to him last night: he is Mr. Harry Thurston in private life. “We try,” he told me, “to put the spirit of the humour of Mr. Bairnsfather’s pictures into the sketch, and yet to keep the realism, as far as it is possible.” And as a bit of the audience I think I can vouch that they have succeeded remarkably well. Mr. Thurston told me that Bairnsfather was coming along with some new episodes, which they hoped to produce very shortly. And very soon they hoped to take “Old Bill” into private life. So be on the look out!’. Pall Mall Gazette, 19 December 1917. At The Palladium this week ‘Harry Thurston as “Old Bill, the Walrus,” is fairly in his element in the mirth-provoking trench scene by Captain Bruce Bairnsfather and B. Macdonald Hastings, entitled “The Johnson ‘Ole,” and laughter of the heartiest description greets his excellent performance. Some of the expressions used by Old Bill, by the way, are in need of a little revision’. The Stage, Thursday 20 December 1917. The show presumably closed at the Palladium on Saturday 22 or 29 December since it opened in Bristol on 31 December.

‘The short play is one of the most stimulating forms of entertainment, I always think. Of necessity it wastes no time in coming to the point, and yet, if it is good, it is not sudden in its effect. Now “Parker’s Appeal” is good, and not only is it full of plot and quick retort, but in addition it is topical. We all have had either personal experience or first-hand information of Tribunals in these days, and so this little play has a particular poignant pleasure about it. In additional addition and last, though really first, we have the asset of Charles Austin, who plays “Parker” the hero. I wanted to have a talk with Mr. Austin, but just as I began his call came, and he charged on to the stage with a sort of cheery fury. For Charles Austin is a humorist of the natural and high spirited type, and yet he never let us forget that beneath it all he is an artist at heart. The play was written by him, and he is assisted by an extremely able cast, who depict many kinds of ordinary people in a way that go [sic] to make an excellent background for the all-smiling “Parker.” I am not going to detail the plot for you; you must see it for yourself; but I will tell you that “Parker’s” handling of the Tribunal is as masterly as his mastery of us - the delighted audience’. Pall Mall Gazette, 15 May 1918.

‘There is a happy land (without tribunals) far, far away. That is for us, some day, if we are good. Charles Austin has found a happy, though certainly not tribuneless, land only as far away as the Palladium this week; but, then, it takes its happy character from his very unique self and his able company. All this gets to the point that Charles Austin and Co. are playing “Parker’s Appeal” - a stirring episode in tribunal life, the humour of which will, I feel sure, appeal to you in the light of personal experience’ (Pall Mall Gazette, 21 August 1918). ‘There in nothing that goes half so far in this world as a little bit of cheek - except, perhaps, a big bit. This truthful truth was brought home to me as I watched Charles Austin as “Parker” in “Parker’s Appeal” dealing with his Tribunal. But it takes an artist to manipulate cheek superlatively, so my advice to you is, if you want some useful tips as to how to do it, go and see Parker! I can still leave you guessing as to his fate and yet tell you that his retort to his precocious wife, who also takes an active part, is: “You just wait till I get back from Mesaplatonica!”’ (Pall Mall Gazette, 28 August 1918).

‘Charles Austin and company return with a hilarious performance of “Parker’s Appeal,” a sketch which, although dealing with a rather out-of-date subject, is always welcome on account of Mr. Austin’s portrayal of the inimitable Parker’. The Stage, 3 April 1919.

‘Charles Austin and company presented the farcical comedy sketch, “Parker’s Appeal,” recalling the experiences of many before the military tribunals’ (The Era, 25 June 1919). ‘Charles Austin returns here this week with “Parker’s Appeal,” which, although it deals with the happily dead and gone days of the military Tribunals, is as welcome as ever for the excellent opportunities it offers its chief comedian. Mr. Austin has seldom been funnier, and it is good to hear the roars of laughter he causes’ (The Stage, 26 June 1919).