Prince of Wales Theatre, London

Performed as part of the Percy Hutchison season every evening at 8.45pm and matinees daily at 3pm. 50% of the profits from the sale of programmes went to the H.R.H The Prince of Wales' Patriotic Fund for the duration of the war.

The programme in the VAM Theatre collection notes that the play was originally written by Rupert Hughes and has been 're-written and re-constructed by Walter Howard'.

The programme in the VAM Theatre collection notes that 'The Male Members of this Company (other than Mr Raymond Hitchcock) have either served with the Colours, attested under Lord Derby's Scheme, or have been rejected as ineligible for Military Service.'. Hitchcock was an American actor who was making his debut in England in the production. The production was a big hit and received significant attention in the press. On 22nd April, Edmund Taylor replaced J. Heath in the role of Sergeant Shott of the Yard. On 5 August Robert Emmett Keane replaced Raymond Hitchcock in the lead role.

First tour in England of the distinguished French actress. Supported by high-class company of French and Belgian artists of the best known Theatres of Paris, Bruxelles, and Anvers, including M. Yves Renaud. Servir by Henri Lavedan in Two Acts. Repertoire: Servir by Henri Lavedon La Chienne du Roi by Henri Lavedan Half of any net profit will go to the French Red Cross (The Stage - Thursday 13 April 1916)

This house opened for the first three nights of the week, and the French actress Alice Dermont and her Company presented Servir, and La Chienne du Roi to a demonstrative audience on Monday.On Tuesday and Wednesday La Parisienne, and Le Baiser were staged. (The Stage - Thursday 20 April 1916)

Performed as a series of 'Songs from the Trenches'. The scene showed a Belgian trench, a French trench and a British trench. Of note was the song 'Living in a trench' which had a chorus 'taking up any all the soldiers present' (Era, 5 July 1916)

Transferred from the Apollo.

This was produced as an original children's play, and included a cast of children. Prices ranged from £4 4s to 1s.

‘Amongst the plethora of revues, musical plays, or what you will, good, bad, and indifferent, which are only now beginning to “feel a slight draught” with the arrival in London of the early summer heat, “Tails Up” and “Bubbly” are amongst the best and least likely to suffer. Devotees of either will now have an opportunity of seeing the best in both, for “Tails Up” is moving to the Prince of Wales’ from the Comedy today, and will now include the pick of the “Bubbly” members. Phyllis Monkman … remains, but sprightly Teddie Gerard goes to the Pavilion’ (Dundee Courier, 2 June 1919). The Pall Mall Gazette, 2 June 1919, advertised the production at the Prince of Wales as ‘A Musical Medley of “Bubbly” and “Tails Up”’ with Phyllis Monkman and Odette Myrtle. ‘Mr. Charlot hit upon a happy idea when he decided to pick the plums from his two revues, “Bubbly” and “Tails Up,” and produced them as a medley. Certainly visitors to the Prince of Wales’ Theatre find the old scenes in the new setting much to their taste. Miss Phyllis Monkman, with her spirited acting and dancing and her infectious gaiety, is the star, but she does not shine alone, for Miss Odette Myrtil and Mr. Jack Buchanan, and, indeed, every member of the cast, are given opportunities, which they take. A very pleasant feature of the entertainment is the part taken by the orchestra, which, conducted by Mr. Philip Braham, who is responsible for most of the music, adds greatly to the gaiety and charm of the performance. With light music, pretty scenes and dresses, and an excellent chorus, the medley should enjoy the favour of the public for some time to come’ (Pall Mall Gazette, 6 June 1919). ‘The blend of the best features from “Tails Up” and “Bubbly,” which Mr Andre Charlot is presenting under the former title, turns out “the goods.” Included in the cast are gentlemen who have appeared in musical comedy in Dundee, Mr. Jack Buchanan and Mr Barry Baxter, the latter of whom will be best remembered for his neat rendering of “Piccadilly Billy” in “Mr. Manhattan.” In addition to Miss Phyllis Monkman there is also the dainty French lady, Miss Odette Myrtil, who plays the violin so skilfully’ (Dundee Courier, 9 June 1919). ‘If every revue producer would follow the excellent lead of Mr. Andre Charlot the Loudon stage might be loss boring than the man-about-town finds it at present. The show at the Prince of Wales, for example, is easily one of the best on the boards at present. By putting “Bubbly” and “Tails Up” into a mortar and hazing them well Mr. Charlot has produced a melange which will bear comparison with any revue now running in town’ (Daily Herald, 12 June 1919). The Hull Daily Mail, Wednesday 9 July 1919, included Tails Up at the Prince of Wales, with 520 performances up to Saturday 12 July, in a list of plays ‘still running uninterruptedly for more than a year’. ‘The last performance of “Bubbly” and “Tails Up” at the Prince of Wales’s took place on Saturday evening’ (The Stage, 24 July 1919).

‘The Union of the East and West gave a special matinée yesterday, at the Prince of Wales Theatre. They had chosen for their programme two plays of Rabindranath Tagore, “Sacrifice” and “Chitra.” It is always a pleasure to listen to Tagore’s work. There is about it a grand simplicity and dignity and an exquisite purity of language. But its very restraint and artistry makes it rather for the study than the stage. In one’s armchair one can visualise the gods walking the earth, the men and women as beautiful as they are poetical, the rich temples and the languorous scented gardens of the East. But on a rather stuffy London afternoon, amid the clatter of matinée teas and the vision of matinée hats, amid the inevitable one-performance hitches, the actors seem very human and twentieth century and conscious of their bare limbs - and the beauty of these plays, which is not something very great or strong, but only very beautiful and fragile, that beauty is lost. “Sacrifice” deals with the failure of the King Govinda to stop the blood sacrifice to the goddess Kali, and the terrible human toll she received. “Chitra,” which is the more interesting of the two, tells of how man needs more from a woman than mere beauty. Miss McGill as “Chitra” gave a very uneven performance. It is a part full both of opportunities and pitfalls’ (Daily Herald, 5 May 1920). ‘Princess Beatrice and the Duchess of Albany were prevented by their recent sad bereavement from being present at the performance of Rabindranath Tagore’s beautiful Indian playlets, “Chitra” and “Sacrifice,” which were produced yesterday afternoon at the Duke of York’s Theatre [sic] by the Union of the East and West. This was a great pity, for the Society has done more good work than any other single organisation in stimulating good feeling and understanding between us and our great Eastern Empire. We owe it no small debt for introducing to us the masterpieces of the East and all the wealth of imagination and poetry which lives among the Indian people. Tagore’s two short masterpieces received sympathetic treatment at the hands of such fine artists as Miriam Lewes, Moyra McGill, Marjorie Gordon, Ion Swinley, Gordon Bailey, George Skillan, and Frederick Sargent; and there was a distinguished audience despite the regretted absence of Royalty. Among those who showed particular interest in the success of the matinees were the Maharani of Cooch Behar, the Princess of Monaco, Lady Carmichael, Lady Foster Fraser, and Lady Muir-Mackenzie’ (Lancashire Evening Post, 5 May 1920). ‘The performances given by the Indian Art and Dramatic Society, under the auspices of the Union of East and West, with Mr. Kedar Nath Das Gupta as zealous hon. organiser, increase in interest arid certainly in artistic achievement as their number grows, and this was shown at the special matinée at the Prince of Wales’s on Tuesday, May 4, when was presented a double bill of plays by Rabindranath Tagore, “Sacrifice” and “Chitra,” both of which have been seen before. It is to be repeated at Oxford on May 11, and other special matinées are being arranged to take place in such centres as Cambridge, Manchester, and Croydon ... Both plays gave great interest to a large audience of Indians, and of those en rapport with the great Eastern Empire’ (The Stage, 6 May 1920).