Savoy Theatre, London

‘To-night Mr. H. B. Irving takes leave of the variety stage, for as long as may be, and resumes his management of the Savoy Theatre, There, on Thursday night [11 February] ... he will produce a play by Mr. Horace Annesley Vachell, entitled “Searchlights.” He explains that this is “a modern play, technically, a comedy, but with a serious quality. It is not … a war play, as the title may suggest. That is, there is no military aspect nor the sound of a drum. But the war is in the background. It induces the situations of the play, and influences the conduct of the characters' (Globe, 6 February 1915). ‘“Searchlights” has the distinction of being a play that deals with the war, without being a war play; or if it is a war play, at least it has none of the characteristics of the patriotic war plays as we know them. There is only one soldier in it, and he does not wear khaki; there are neither spies, nor pistol shots, nor – despite the title – searchlights! The play is not necessarily even a play of the moment. Mr. Vachell told our representative that it might as appropriately have been produced ten years hence; “though I won’t pretend that this is not the best time – except from the box-office point of view.” The war, in short, is used just as a stupendous earthquake might be used, to show the effect of cataclysm upon the characters and fortunes of a group of people. “My play shows the effect of war upon a certain number of human beings, but the application is universal," said Mr. Vachell ... The subject is treated in the comedy spirit, and Mr. Vachell hopes that there will be a great deal of laughter' (Westminster Gazette, 8 February 1915). '“Searchlights” is not a war play .... Mr. Annesley Vachell’s searchlights are not after aeroplanes. They peer into the souls of his people, make an English hero of the idling Guardsman, though his hopes of glory are dissipated by a sunstroke; soften to penitence the Honourable Mrs. Blaine; reveal an unexpected sympathy and tolerance in Blaine; and happiness opens out for the entire household' (Globe, 12 February 1915). 'A few days before the production interviews with the dramatist were published, from which it appeared that his intention in writing the new piece was to show the effect of the present war upon character. It may be suggested that he has hardly left himself sufficient room for the accomplishment of his task. for only one act of the three takes place after the outbreak of the war; in fact, we are not shown the interesting process by which the war affected the character of his personae, but merely the results of the process, and results not necessarily referable to the war. An ordinary financial catastrophe and any bold enterprise might, it seemed to me, have been employed instead of the great war to carry out the dramatic scheme. This point, however, obviously did not prevent the house from enjoying the play ... One may doubt whether Mr. Vachell has really carried out his idea, and whether the war is essential to his scheme. It is easy for authors to delude themselves on such points, and still easier, perhaps, to avoid making statements to interviewers about their intentions. The fact appears to be that Mr. Vachell has mastered the stage sufficiently to be able to use it very well for the purpose of story-telling, yet not enough at present to have the power of showing his real gift for creating and exhibiting character' (Westminster Gazette, 12 February 1915). ‘“Searchlights” ... was an instant success. It is not necessary to say that it is topical - that is suggested by its title, though, in fact, searchlights are only mentioned quite incidentally in the play, and most people must have come away wondering why Mr. Vachell chose the name at all. But the sympathies of the hour are strongly appealed to, and if Mr. Vachell had an easy task to find his characters and an easier one to make them interpret something of our national sentiment, he has shown great skill in the handling of a pretty romance running side by side with a daring moral theme' (Western Mail, 13 February 1915). ‘Amid the stream of revivals a new play, particularly if it be a strong one, is doubly welcome, and Mr Horace Vachell’s “Searchlights,” produced at the Savoy, has all the elements that appeal to the ordinary theatregoer. Sententious it may be, but with types distinctly drawn, dramatic moments, and a pretty love interest, it is essentially likeable. Although not a war play, it is written round the present world-struggle; the author choosing as his theme the effect of the conflict on the inmates of two households ... As a play it is not a masterpiece, but it is well worth seeing more than once’ (Manchester Courier and Lancashire General Advertiser, 13 February 1915). ‘Who could be angry with Mr. H. A. Vachell for giving us so wholly comfortable and pleasing a play? We might wish that he had been stronger in the drama, that his characters had taken on more of that colour which the writer of books who turns to playmaking somehow forgets to impart; but we cannot find it in our hearts to say that the author ... has not given us an agreeable blend of virtue and weakness of the ethics of the naturalised German and the sweet morals of his charming daughter, and has not, all things considered, offered us a pleasing evening’s entertainment ... we have our doubts about Mr. and Mrs. Blaine. However that is their affair; and fortunately “Searchlights” rings down the curtain before we have a chance to peep into the future’ (The People, 14 February 1915). The Era, 17 February 1915 listed the cast as follows: Robert Blaine … H. B. Irving Sir Adalbert Schmaltz … Holman Clark Harry Blaine … Reginald Owen Mr. Firmin … James Lindsay Mr. Moneypenny … Tom Reynolds Fewson … Charles Maunsell Tremlett … E. H. Ruston Hon. Mrs. Blaine … Fay Davis Lady Schmaltz … Kate Bishop Phoebe Schmaltz … Margery Maude Nurse … Lynn Fontaune. ‘… both as novelist and author Mr. Vachell has a gift for keeping the interest sustained in spite of slightness of action and an occasional excess of sentimentality, particularly noticeable in love scenes on the stage, which, though beautifully written, display an intimacy of affection that is apt to jar a little’ (The Era, 17 February 1915). ‘It was a happy thought of Mr. Vachell’s in writing his war play to take for his subject, rather than the new situation created by the war, the effect of the war on an old situation of long standing. For this is, in fact, the way in which the war affects most of us. How often one heard, a year ago, the superior person complacently admitting the decadence of England. That very speaker is now, as likely as not, living the life of a hero in the midst of every conceivable discomfort. The searchlights of war have discovered a patriotism in his heart, the existence of which he would have been the first to deny - a year ago. But if Mr. Vachell may be congratulated on his idea, it is, I fear, impossible to praise the way in which he has worked it out ... Mr. Vachell must forget all he has learnt in the career of a successful novelist before he can write a good drama. There is only one dramatic situation in “Searchlights,” and, coming as late as it does, well on in the third and last act, is, from the point of view of the stage, in the nature of an anti-climax. Either the third act should be split and a short fourth act written, or the early part of the second act should be considerably tightened up, so as to admit a further development of the plot before the curtain ... [the play] is sadly unconvincing' (Truth, 17 February 1915). ‘This new play [“Searchlights” by H. A. Vachell] cannot be said to possess a likely plot or a good story, but it all the same is amusing and interesting. The play is, moreover, well written; there are charming love scenes, and the dialogue and little touches of character are good, while the cast is excellent' (Gloucester Citizen 17 February 1915). ‘“Searchlights”, will be welcome at the Savoy, for the mere fact that it is not a revival. The critics are having rather an overdose in the revivals of plays which, as a rule, do not deserve disentombment. The popular novelist not unnaturally tries to bring the great war into his new comedy, but one notices that very few changes, none essential, would have to be made to write the work without the aid of the present cataclysm, which, indeed, does not figure till the last of the three acts. I gather from the title that the war is supposed to cast a searchlight into human souls, lighting up their secret places, causing their owners to know themselves, and, consequently, to try and improve themselves. No doubt there is truth in this but I do not see the actual operation in the play upon the central figure, Robert Blaine ... However, it is unnecessary to probe this kind of play, which relied for success - and, apparently, has got it - upon the author’s cleverness in story-telling, lively dialogue, and skilful use of stage situations' (The Sketch, 17 February 1915). ‘This is quite a good play. It is concerned with the war both before and during hostilities, but there are no military manifestations about it. The nearest thing to an alien enemy that we see on the stage is a German financier named Schmaltz, who, however, has not only been naturalised, but has been knighted as well' (The Bystander, 17 February 1915). ‘Searchlights, in the present War conditions, may be regarded as a somewhat misleading title, as the piece has the slenderest connection with War affairs, except in an indirect manner. Mr. Vachell, apparently, intends his title to be applied to those mental studies and summaries of the mind which usually impress one much more in the study than on the stage. His play is pleasantly written, a quality which even pervades but does not hide the weaknesses of his piece, and if first night applause is to be taken into account should meet with success. All the same, the play is one in which one is sensitive of an attempt to build the dramatic on an unsympathetic and not very strong basis. At the end one feels that the three acts have led nowhere, that a status quo prevails, in other words the play is a disappointing one' (The Stage, 18 February 1915). 'Mr. Vachell’s play does not bear the searchlight of criticism upon it, but it provides an interesting evening’s entertainment which is greatly enhanced by the capital acting’ (Clarion, 19 February 1915). ‘Mr. H. A. Vachell’s new play aims at providing a study of the effect, war upon character, a study which would seem to offer unusual opportunities to the student of humanity. Unfortunately, in his case, the dramatist was by no means equal to his self-imposed task, and the result was a rather conventional drama, whose episodes and whose conclusion were not apparently influenced to any great degree by the upheaval which is devastating the world ... The play was received with every mark of favour’ (Sporting Times, 20 February 1915). ‘It would be difficult not to like Mr. Vachell’s new play, though it is easy enough to sniff at its story. There is so much crispness about the dialogue, there are so many agreeable touches in the minor characters, there is such a pretty, natural love-scene, and such a quaint and lovable Anglo-German that the veriest curmudgeon could not keep up a grudge against the author. And yet, truly, the Blaine household as Mr. Vachell would have us accept them are an incredible enough trio' (Illustrated London News, 20 February 1915). 'I quite enjoyed the play, but never altogether grasped what he wanted to say; but the desire to say something is so rare that a little uncertainty in the saying of it may perhaps be forgiven. I think the message was that the character of men and women are shown up in new lights by war. This you gather partly from the title and partly from the fact that Mr. Vachell told the newspapers so some days before the production. You would not, however, have easily gathered it from the play itself; which was a pity, for plays should speak their own messages without the help of titles and newspaper paragraphs ... of any character changes, subtle or otherwise, induced by the world catastrophe, I marked none. This was probably due to the fundamental difficulty that there were no characters to change. Mr. Vachell wrote often with humour, but his strong scenes were just the good old story of the firm business man and the erring wife, told, as it has been told time after time, in the rather unnatural language deemed suitable to the occasion' (Illustrated Sporting and Dramatic News, 20 February 1915). 'Searchlights ... would make an excellent novel - it is that kind of play. The characters aren’t real characters at all, they are merely men and women put here and there to tell a tale like the actors of a cinematograph drama. But the story they tell is quite interesting, and two strong scenes and one love scene are very cleverly worked up by the author. But a play which might make a good novel always suffers from one great defect - the gaps. What happens “off” is sometimes so revolutionary that it makes what happens “on” quite disconcertingly jumpy. In Searchlights the family of Blaine go through a metamorphosis between the second and third acts which changes them from a family living the life of one perpetual “row” to a household wherein patience, forebearance, and forgiveness struggle with each other to obtain breakfast-table recognition - the hardest recognition of all. It is quite possible, of course, that war may be accountable for anything! - but the entr’acte is rather a bad time in which to accomplish this miracle. Still, sudden changes of front are recognised misfortunes in all plays which must have happy endings, and happy endings they must have if there is not to be frostbite in the box-office. Mr. Vachell makes everything end all right. The result is a very nice, interesting, if somewhat unreal play' (The Tatler, 24 February 1915). 'Vachell has not explained the character of Blaine, as a dramatist, always working within his canvas, would have done. But it makes a good entertainment all the same, fascinating in its topicality’ (The Graphic, 27 February 1915). 'Searchlights, which is having a good run at the Savoy, is almost barren of war interest in the more picturesque sense of the word. The marrow of this really fine play is the life problem of the erring woman, her wronged husband, and the son who, with the rest of the world, believes himself to be the real offspring of the gloomy millionaire, Robert Blaine ... the play has not much actual war interest; but in one respect it has a most significant bearing on the present international situation ... the one purely German character, Sir Adalbert Schmaltz, is a singularly loveable person, a South German of the music-loving, home-loving type of old Hans Sachs - a type just now swamped by the ascendency of the unspeakable Prussian. Having large financial interests in his native land, he is ruined by the war; but his affection for the country of his adoption remains unshaken. “Henceforth,” he says, I trink the English lager as a punishment for hafing been born in Bavaria.” His money is gone, but he still has “de family” and his wife’s very small fortune: so he smiles at fate. It is characteristic of the tolerant spirit of the English people that this old German is a prime favourite with the Savoy audiences; whereas, I understand, no one would dare to present even the most sympathetic English character just now upon the German stage' (Cheltenham Looker-On, 17 April 1915). The assumed closing date of 15 May is derived from two circumstances, First, The Globe, Saturday 8 May, was still advertising Searchlights at the Savoy Theatre, mentioning matinees weekly on Wednesday, Thursday and Saturday. Second, The People, Sunday 16 May 1915 reported, 'It is a matter of regret that Mr. Horace Vachell’s “Searchlights,” which reached its hundredth performance a week ago at the Savoy, has been withdrawn'. ‘Mr. H. A. Vachell had, in Searchlights, been groping rather ineffectually with some undefined ideas, and had not yet found his feet on the stage: in Quinneys he suddenly came into his own’ (Illustrated Sporting and Dramatic News, 21 August 1915). ‘Mr. Vachell is certainly the playwright of the year. He struck a new note in war plays last February with “Searchlights”’ (Sheffield Daily Telegraph, 27 November 1915). ‘Unquestionably Mr. Vachell is the playwright of the year. He struck a new note in war plays last February in “Searchlights,” which ought to have had a much longer run’ (Western Mail, 4 December 1915). ‘Searchlights [is] the least satisfactory of the three pieces in which Mr. Vachell is this year showing his versatile ability as a playwright. Searchlights was an inconclusive study of domestic infelicities and suspicions, on which the War was made to have an adventitious bearing’ (The Stage, 9 December 1915).

Performed by: Pioneer Players (Company), Erveinoff (author), Cicely Debenham (actress), Hilda Moore (actress), POllie Emery (actress), Agnes Thomas (actress), Leon Quatermaine (actor), Martin Lewis (actor), Percieval Clarke (actor), Stanley Logan (actor), George Plank (costume designer), Christopher Wilson (Music) Also on bill: "Ellen Young" comedy by Mrs Enthoven and Mr Goulding Review: "a harlequinade in one act" "A Merry Death" refered to as and "afterpiece" and was not well received by the reviewer, but noted that the costumes were good., Pall Mall Gazette

‘Mr. H. B. Irving invites sailors and soldiers (in uniform only) on Sunday evening, April 22nd, to a performance at the Savoy Theatre at 7.30. Seats will be allotted in order of arrival, and all seats will be free. The programme will consist of “A Bit of a Lad,” performed by Miss Mabel Russell and Mr. Gerald du Maurier; “The Bells,” with Mr. H. B. Irving as Mathias; and “The Division of Labour,” with Miss Mabel Russell, Mr. C. V. France, Mr. Gerald du Maurier, and Mr. A. E. George in the cast’. Illustrated Sporting and Dramatic News, 14 April 1917. ‘Many of the soldiers who were in London last Sunday enjoyed a most interesting evening at the Savoy. Mr. H. B. Irving, who had the assistance of Mr. Gerald du Maurier and other loyal comrades, opened his doors to soldiers and sailors in uniform. The pity was that the Savoy was not Drury Lane for the nonce. The invited audience began to assemble some hours before the advertised time, and at half-past six, when the doors should only just have been opened, “according to plan,” the theatre was filled. And what an audience it was that occupied the ground floor and the three tiers! Not a civilian to be seen, only row upon row of men, many of them wounded, in khaki. So quiet, so intent, and when the moments came for applause as enthusiastic a gathering as any actor could desire. The official entertainment was not to begin until seven o’clock, but in response to an appeal from the stage several of the guests wended their way behind the footlights, and with song and recitation gave pleasure to their comrades. The pièce de résistance of Mr. Irving’s programme was “The Bells” [which] was preceded by Mr. Gerald du Maurier and Miss Mabel Russell in “A Bit of a Lad,” and followed by the same artists in “The Division of Labour”’. The Stage, 26 April 1917.