Coliseum, London

This play was performed as part of the weekly variety shows at the Coliseum, London. 'It is inevitable that in these times there should be something approaching an avalanche of war and patriotic items in music hall programmes, but it is equally certain that managers should exercise a kind of censorship with a view to preventing the production of pieces whose principal merit is that they deal with a phase of the War...the company and the popular author are wasted upon topical matter that has little dramatic value...the German villain makes a stronger appeal on the score of conviction than does the French hero' (Stage, 3 December 1914)

The play ran here for around two months and was followed by a tour. The cast changed during the run with Irene Vanbrugh replaced by Lillian Braithwaite in late January 1915. It was performed as part of a variety programme at the Coliseum, with other pieces in December beingHenry Irving in 'A Story of Waterloo' by Arthur Conan Doyle, and various patriotic musical pieces. Reviews were mixed. 'Sir James Barrie's one-act play, impulsively written and impulsively accepted by Mr Oswald Stoll for production' (Globe, 16 December 1914); 'If not a great masterpiece, it has fine moments' (Birmingham Daily Gazette, 22 December 1914); 'Der Tag is hardly a play in the accepted sense of the word; it is a treatise on the War and its cause' (Stage, 24 December 1914). It was however 'welcomed by an overflowing audience at the Coliseum' (Manchester Courier, 23 December 1914)

"The Bet" played at the Coliseum for 3 weeks. The Globe (3/3/15) - "the playlet ... is unworthy of her (Réjane's) reputation". Cast: Madame Réjane (as herself), M Bosman (German major), Bryan Powley (Major Darcourt), Francis Drake (Lieut. Penderton), Reginald Relsie (Lieut. Fanshawe), Mr Cameron (2nd Lieut. Cartwright), Jacques Remiche (M L'Hermitte).

The play was performed here until around 10 May 1915. It was performed by Leslie Carter; Athene Seyler; Thomas Sidney; and Lena Ashwell. The strong female characters of the play and strong performances from female performers were praised.: "Miss Lena Ashwell is to be welcomed on another visit to the variety stage, especially as the piece which she brings has a considerable topical interest, and provides her with opportunities for the display of her histrionic gifts [...] a woman burning with a fierce desire to do something to avenge the sufferings of those who are fighting on the Continent for the "stay at homes" of all descriptions" (The Stage, 22 April 2015). In another review: "to say the least, it is refreshing to have a war sketch without any death agonies on the stage [...] Miss Lena Ashwell makes the most of her part of a courageous Englishwoman but for whose timely intervention the entire Government would have been annihilated. The acting is certainly a more real affair than the play." (Western Mail, 21 April 1915) Performed alongside: 'Robert le Diable' by Meyerbeer; 'A dancing Lesson' (Emilie Hayes); Jewel song from 'Faust' (G.H. Elliott); 'The Grumblers' (Lois Barker and Percy Tarling); 'Judged by Appearances' (featuring James Welch); Suzanne Sheldon (recitations); the McNaughtons; the Cyolev Buffoons; Auber

‘[A] Barrie play will be done at the London Coliseum to-night - “The New Word” - in which Mr. O. B. Clarence and Miss Helen Haye will appear’. The Globe, Monday 4 October 1915. ‘“The New Word”. Mr. Oswald Stoll knows the value of a Barrie play , and it is not surprising, therefore, to find the distinguished author’s latest piece making its first variety appearance at the Coliseum this week. It is comparatively recently that the sketch was first seen at the Duke of York’s, so that there is no necessity to go into detail regarding the story, nor need one emphasise the excellence of the work of O. B. Clarence, Helen Haye , and Geoffrey Wilmer, who are responsible for the principal parts. “The New Word” is essentially a human piece, with sentiment and humour intermingled, and it is sure in its appeal to a popular audience’. The Stage, 7 October 1915. Helen Haye, O. B. Clarence and Co. in “The New Word” were still being advertised at the Coliseum, Charing Cross, in The Globe, Thursday 21 October 1915. The closing date of 23 October is a conjecture.

The cast included: Sarah Bernhardt (Strasbourg), Mme Mea (Notre Dame), M Normand (French soldier). The Globe commented that 'it seemed perfectly natural that in the end the audience should rise at one accord and sing The Marseillaise. Somehow one realised more than ever before how much France has suffered and how much she has consecrated herself to accomplish. In paying rapturous homage to the actress the audience seemed equally to be paying homage to France.' (Globe, 5 January 1916). The Birmingham Daily Gazette commented that 'It is impressive because its feeling is not fictitious, but profound and poignant.' (4 January 1916). The Cheltenham Looker-on further noted that 'Human nature is a queer mixture [...] It is curious that this wonderful piece of declamation by the great actress and her small company should be the chief rival to pantomime and review in popular estimation.' (15 January 1916). The Hendon and Finchley Times noted that the play was an 'interesting comment on German women as inferior animals' (21 January 1916). It was performed alongside 'The Bridal Suite' with Seymour Hicks and Isobel Elsom, Vesta Tilley, Imperial Russian Ballet, Cornella and Edie, Coram.

Performed by Sarah Bernhardt in a performance which also featured "A Pair of Knickerbockers", "Match Boxes", Albert Chevalier, Vesta Tilley.

Performed alongside: 'Du Théâtre au Champ d'Honneur'.

Performed for three weeks at the Coliseum by Arthur Wontner, Mary Rorke, Sidney Valentine, Fisher White, George Tully and Netta Westacott.

This is a film shown as part of the variety bill at the Coliseum.

This was a 'reappearance' by Sarah Bernhardt, alongside Raymond Roze's "Arabesque", "Arrival of a Rival", "A Five Shilling Bet", "Always Tell Your Wife".

"It was a sweetly pathetic piece of acting and showed Mmme. Bernhardt at her best." (The People, 16 April 1916) The cast included: Sarah Bernhardt, Mlle Seylor, M Normand, M Denebourg, M Montpass, M. Baert. Other acts on the bill were: Florence Smithson (singer), Mlle Odette Myrtil, Fred Lindsay, Hymack, Mex.

The programme for the production noted the author's indebtedness to Colonel Fletch for his 'kind assistance on matters pertaining to the East'. Scenes were designed by Fagan.

Performed for three weeks. 'All this is amusingly portrayed by Miss Helen Haye’s company, but it seems to fall little flat on the audience, who perhaps rather resented the unexpected attack on their feelings and pockets.' (Sporting Times, 5 August 1916)

Cast included: Sir George Alexander (Sir Anthony Howard); Mr J D Beveridge (Charles); Mr Charles Glenny (Mr George Biggin). A review commented that: 'Up to a point Howard and Son is an interesting little piece, which is exceedingly well played, but its central idea seems to be somewhat lacking in conviction [...] It is the father's attitude towards the absent son that, as we have said, provides the central idea for the playlet, and here the authors seem to have gone a little off the track of life. The most natural thing for Sir Anthony to have done would have been to have exhibited his fatherly love and appreciation of the effort's of thousands of other people's sons by ringing up for the police and detaining Biggin. [...]The audience on Monday afternoon gave play and players an enthusiastic reception, Sir George having to bow his acknowledgments several times.' (Stage, 17 August 1916) Also mentioned as performing on the same bill were: Loie Fuller (dance teacher) with her young dancers; Julien Henry, Margaret Norton and Gordon Lennox (singers), Hayley's Juveniles - being Augustus Yorke and Robert Leonard - (actors) performing "Isadore, You Tell Her"; Helen Haye and Company (actors) performing "the Great Redding Street Burglary"; Chester Kingston and Cliff Berzac and his (sic) amusing circus the Bioscope; and Mr Alfred Dove (conductor) and his orchestra 'providing their customary items.'

A 'great reception...the light-hearted gaiety of the cockney Tommy....the Bairnsfather touch...splendid spirit' (Era, 23 August 1916). 'Leslie Henson is at the head of a company of clever players...[in a recent notice] we pointed out earlier or two incongruities, and...the causes of complaint have now been removed...a merry little trifle in the Bairnsfather vein...may hurt those who have lost loved ones in the war...the vast majority of the audience revel in the comical doings and sayings of the Cockney soldiers' (Stage, 24 August 1916) 'whether it is in the best of taste to produce such a realistic presentation of life in the firing line...is a matter which alone concerns those whom it may affect. But the sketch...is of a very merry order and is played with great humour ...the depiction of the eccentricities of the heroic but always light-hearted cockney soldiers and their companions roused much merriment in a crowded house' (People, 27 August 1916) Performed for the week by Ralph Roberts, Robert Blythe, Charles Penrose, J.F. Dockery, Leslie Henson, Mabel Woof, Jack Buchanan (actors).

‘Something of a sensation in the little “theatrical village” was caused by the announcement early last week ... that Mr. Oswald Stoll had decided to take his London Opera House revue “Look Who’s Here” over to the Coliseum and stage his Coliseum variety programme at the London Opera House. People said: “Why this thusness?” Well, it is easily explained. Mr. Stoll had produced an exceedingly clever and amusing revue at the London Opera House and found that he was losing money. He wanted to test the magic influence of locality. He wanted to prove to his own satisfaction whether the crowds that flock every week to the Coliseum would go a little bit further on to the London Opera House to see their usual show, and whether “Look Who’s Here” would play to a paying house at such a popular resort as the Coliseum. It is a very sporting adventure, and it has a sporting chance of success. I wish Mr. Stoll every luck in his latest enterprise. At any rate, it will tell us more than we ever knew before’ (Sunday Mirror, 8 October 1916). 'So far as the Coliseum is concerned, the Stoll experiment may be taken to have proved - what many people guessed before - that this comfortable, spacious, and accessible hall has a large number of reliable patrons, who make a point of visiting it weekly, whether the bill of fare may be general, special, or even revue. “Look Who’s Here,” brought from the London Opera House by Mr. Stoll for its final week, before a provincial tour is begun, had packed audiences yesterday, an experience which ought to have been its lot at the Kingsway, but which it lacked there. At the Coliseum hardly a vacant seat could be seen in any part of the house, from boxes and stalls to gallery' (Westminster Gazette, 10 October 1916).

Performed by Sir George Alexander, Mr J D Beveridge, Mr Charles Glenny. Also on the same bill: The Trio of Great Concert Artistes, Melsa The Famous Polish Violinist; Louise Dale The Brilliant English Soprano; Solomon The Wonderful Boy Pianist; (also) Mr G.P. Huntley Supported by Irene Browne and Co in "Selling A Pup" by Margaret Haye; Mark Sheridan Comedian; Grock The French Musical Clown and Partner; Daisy Dormer Comedienne; Marie Dainton in Imitations.

'A lesson in thrift ... war economy playlet written, apparently, to order...frankly Sir Arthur Pinero is not happy in his present sphere, and his economy play is a mild little piece without much that is attractive. It is a kind of modernised 'Scrooge' story...Until there is obtained a play that is really likely to appeal to the reason of audiences - members of which are not entirely fools or prodigals - it would seem a better course to leave the theatre out of a form of propaganda that is not as convincing as it should be' (stage, 18 January 1917)

Performed from 12 February through until 11 March 1917 and described by the Pall Mall Gazette as an 'admirable patriotic playlet' (6 March 1917). Cast included: Mrs Patrick Campbell (Therese), Gladys Ellam (Marie), Mr Claremont (Jean), Henry Dan[?] (Fritz von Kessler), Stephen Wentworth (Pierre), Farmer Skein (General Count von Kessler). The Era commented that 'The piece is spoilt by a certain lack of clarity in its plot and a looseness in its construction' (14 February 1917). However later in the run noted that 'Mrs Patrick Campbell ... continues to stir the audience with her fine acting' (28 February 1917). Performed in the same bill were "The Fourth of August" and variety acts.

Performed for the week by Harry Buss, Mick Webber, J. F. Dockery, A. J. Charlwood, A. Stevenson, H. Mitchell (actors), Donal Parsons (writer of song "Living in a Trench".

Performed by G.H.Mulcaster (Private Dowey), A. Carlaw Grand (Mr Wilkinson), Irene Rooke(Mrs. Dowey, Chorus-Frances Wetherall, Helen Colville & Pollie Emery.

Performed by Billy Meeson, Vesta Tilley, Keith Vincent, and Zomah.

Performed by Marguerite Scialtiel alongside variety acts. The Stage commented that 'a possible fault upon the author's part is when he makes Joan of Arc rail over much against the English in her opening speech' (3 January 1918).

Performed for 12 performances here by Miss Lillah McCarthy. A review in the Globe on 22 January 1918 commented: 'There is Shavian touch about the new playlet Annajanska, the Wild Grand Duchess, which was produced by Miss Lillah McCarthy at the Coliseum last night. It is from the Russian of Gregory Biessipoff, and the subject is the Revolution. Besides the striking figure of the Duchess (Miss McCarthy) as she throws off a heavy cloak and emerges in the snow-white uniform of the Imperial Hussars as the young officer who will rouse and save the nation, there is the old General, ably played by Mr. Randle Ayrton, whose-devotion to his Panjandrum is only equalled by his contempt for and anger with those who have the making and re-making of men in the troublous times of today. The sketch was well received by last night’s audience. This week’s programme also includes Miss Vesta Tilley in a new song scene, “London in France,” and Neil Kenyon with some excellent studies of Scottish humour’. Other acts on the same bill were: ‘Miss Vesta Tilley in a new song scena, “London in France”’; Neil Kenyon with some excellent studies of Scottish humour’; ‘Mr. Mark Hambourg; a circus item; and a touch of ballet from Lydia Kyasht’ (mentioned in The Globe of 22 January 1918 and The Graphic of 26 January 1918, both below).

Tomorrow week G.P.Huntley will pay a return visit here with a new comedy sketch, "A Change of Tactics" by Cyril Fitch and Margaret Kaye. (The People Sunday 16 June 1918)

‘Miss Ethel Levey returns to the Coliseum on Monday, the company otherwise including Mr. Will Evans, in a new sketch, entitled “Home Defence" (Globe, 20 July 1918). ‘Miss Ethel Levey, Mr. Will Evans in a new sketch entitled “Home Defence,” and George Carvey, the French baritone in “Music at Home,” are the principal newcomers to the Coliseum to-morrow' (The People, 21 July 1918). Will Evans is advertised as performing at the Coliseum in the week beginning 29 July, e.g. the Westminster Gazette of that date, and the week beginning 5 August, e.g. the Daily News (London) of that date.

‘The outstanding feature in this week’s programme at the Coliseum is the presentation of a new one-act topical play, “The Boy Comes Home,” from the pen of Mr. A. A. Milne. The theme which the little work deals with is one which is being faced by hundreds of parents and guardians at the moment, and lies is the hard fact that many of our gallant young warriors who went out to Flanders four years ago mere boys, docile and willing to follow whatever call in life parental authority dictated to them, have returned as men, with definite ideas as to the call for which they feel best suited, and determined to adopt the career upon which their minds may be set. Although Mr. Milne does not approach the subject in serious vein, nevertheless there is an under-current of warning pervading the plot ... The dialogue is witty, if somewhat “snap-shotty,” and the satire is in places clever and biting. It “got right home” last night to the soldier element in the house. The triumph of the demobilised youth ever the rebellious household is extremely humorous' (Westminster Gazette, 8 April 1919). ‘A. A. Milne’s clever playlet, “The Boy Comes Home,” with Godfrey Tearle in the leading part, is retained in the bill. One notices the restoration of certain lines which were left out at the first performance here; the result is all to the good. Mr. Tearle is excellent as the young ex-officer, and has clever support from Arthur Bawtree, Amy Coleridge, Maud Scott, and Helen Hardy’. The Stage, 24 April 1919.

The cast is listed in Mander & Mitchenson, p. 335: Babsy, Bessie Elder; Lottie, Marjorie Bassett; Hannah, Clara Biscoe; Jessie, Ann Furell; Emma, Dolly Peter; Elder Daniels, Wilfred Shine; Blanco Posnet, John Martin Harvey; Strapper Kemp, Leonard Daniels; Feemy Evans, Nell de Silva; Sherriff Kemp, Gordon McLeod; Foreman of Jury, Frederick Morgan; Nestor, a Juryman, Michaël Mackenzie; The Woman, Mary Gray; Waggoner Jo, Harold Carton. ‘Bernard Shaw’s “The Shewing-up of Blanco Posnet” has a curious effect on audiences at variety theatres. When it was performed at the Alhambra some time ago by “Young Buffalo” the play was taken at first as a Wild West melodrama. This was understandable. All the characters are familiar in films, although the play was written long before the screen had made the Wild West popular, and to the eye everything happens as it should inn a self-respecting melodrama. The hero is the traditional good badman, and the worst woman of the town is discovered as being the most Christian of all. Elder Daniels is our old canting hypocrite of melodrama, and so on. But the climax of the play and the ideas leading up to the climax always puzzle popular audiences. It was so at the Alhambra, and again yesterday at the Coliseum, where Martin-Haney and his company are giving a complete performance of the play. The part of Blanco Posnet particularly suits Martin Harvey. The robustious side of the character comes easily to an actor trained as he is in holding the stage in strong drama. But he realised better than any other Blanco Posnet I have seen the spiritual conversion of the man and his half humorous contempt of his own softness. There is a good company, and Miss N. de Silva showed quite a new facet of her talent as Feemy Evans, the gay lady of the “rotten” town. This actress has always had to play colourless heroines, but she has evidently been wasted as a melodramatic puppet. She is a strong character actress’ (Daily News (London), 19 October 1926). ‘Bernard Shaw will have it that his plays are unsuitable for the variety stage unless tacked on to the end of a programme to serve as what are professionally called “house emptiers.” This, of course, may be one of Mr. Shaw’s little jokes or it may be due to the idea that a music-hall audience is in too frivolous a mode to appreciate or even desire anything that demands serious thought. I would not go so far as to deny the general accuracy of this diagnosis, but the success of Sir John Martin Harvey’s revival of “The Showing-up of Blanco Posnet “ at the Coliseum yesterday was sufficient to prove that there is an “audience” for Bernard Shaw even in the music-hall. The test was not altogether a fair one, as Mr. Shaw’s “sermon in crude melodrama” did not come on until the end of a very long programme, which ranged from the jazziest of jazz to the grace of Lola Menzeli, whose toe dancing is a joy to see. But there was never any question about Shaw “getting over" ... allowance must be made for a broadening of the acting to suit such a huge auditorium. All the same, this revival is interesting and well worth seeing’ (Westminster Gazette, 19 October 1926). 'This is the first time Sir John Martin Harvey ... has played from the works of Mr. Bernard Shaw … We are, however, in no danger of forgetting – Sidney Carton alone would keep this well in our minds – his power in drama; and, as Mr. Shaw describes “Blanco Posnet” as melodrama, it obviously is to be seen to the fullest advantage when played under the direction of the brain which has brought “The Only Way” [a stage adaptation of Dickens’ A Tale of Two Cities] to perfection. We not only see Blanco most vividly when he is acted by Martin Harvey, but we see Martin Harvey at his best as Blanco. No burly figure of man could demonstrate the heroic soul of the horse thief so well as this dauntless but rather frail figure. Swaggering, husky-voiced, stentorian when roused, unflinching in gaze, his idea of the horse thief is more robust, as well as finer, than any have seen since the war' (The Era, 20 October 1926). ‘Sir John Martin Harvey in Bernard Shaw’s long-banned playlet, “The Shewing-Up of Blanco Posnet,” and the appearance of Lola Menzeli, the astonishing prima ballerina, are the outstanding features of this week’s programme at the London Coliseum. The Coliseum audience was not bewildered or worried by the Shayian audacities. Why should they be when graver matters are so cunningly mingled with Wild West melodrama and such human things as the touching of a bad woman’s heart?' (Daily Mirror, 20 October 1926). ‘Sir John Martin Harvey’s revival of “The Showing Up of Blanco Posnet” will continue at the London Coliseum next week. In the same programme will be the Italian Fio-Reuza Sisters, who will be making their first appearance in England; Santos Casani and José Lennard, who will demonstrate the new flat Charleston dance, as well as other terpsichorean movements; Nixon Grey, Fred Duprez, and the Daros’ (The Stage, 21 October 1926).