Theatre Royal, Stratford

‘The military drama, “Three Little Britons,” in four acts and twelve scenes, written by A. Rosebery, with music composed by H. Sullivan Brooke, will be produced at the Theatre Royal, Stratford, on Monday next. The company includes Messrs Arthur Elwyn, Edmund Sydney, James Wilton, and F. Roy Jackson, Misses Olive Warne, Madge Soutter, Gertie Gascoyne, and the Dapper Dandy Girls. Mr. Francis B. Oliver will be manager’ (The Era, 30 December 1914). ‘At the Theatre Royal, Stratford, tomorrow night, will be presented the stirring drama, entitled “The Three Little Britons,” written by Arthur Rosebery. It embraces any number of stirring and life-like scenes, ranging from the great race for the Derby to the winning the V.C. amongst the realistic presentments of a battle field’ (The People, 3 January 1915). Reviewed in The Era, 6 January 1915, as a revival of the piece originally produced in 1900, with the dialogue and military situation brought up to date, which ‘is being received with much favour’.

The play was reviewed at length in The Era, 17 February 1915: ‘’ “When There Was War.” Drama, in Four Acts, by Joseph M. Wharncliffe, for the First Time in London, at the Theatre Royal, Stratford, on Monday, Feb.15’. The cast was: Captain Arthur Leigh, Albert Grenville; Lieut. Edward Freshwater, Jack Armitage; Private Jim Shallum, Wallace Black; Colonel Carruthers, J. L. Inglis; Captain Fritz Baumgarten, James Jarrett; Grosse, Henry E. Jones; Max, Francis Cavans; Lilian Carruthers, Nina Hardinge; Bessie Banks, Mary Brammer; Marie, Maggie Sadler; Gretchen Gesner, Hilda Beverley. The review continued: ‘this piece made its initial appearance in the metropolis on Monday at Mr. Fred Frederick’s popular melodrama theatre, and was very favourably received by a large audience. As the title implies, the piece deals with the present crisis, but is chiefly concerned with the German espionage system presumed to exist in this country. Interwoven there is the interesting love story of a young British officer, Captain Arthur Leigh, who becomes enamoured of and marries Lilian Carruthers. On the declaration of war the captain returns from Belgium to England, where he is quartered, and in this country makes the discovery that his wife is the long-lost daughter of the famous Colonel Carruthers of the British Secret Service. This fact is also known to one Gretchen Gesner, a dangerous German spy, who with a ready accomplice in Captain Fritz Baumgarten is a cause of much concern to the British authorities. These two plot the murder of Colonel Carruthers, and the fell dead is duly carried through, but the designs of Baumgarten on the fair Lilian are frustrated through the girl’s escape. About this time Captain Leigh is ordered on service, and thus has to leave without news of his wife, who, however, patriotically utilises her past nursing knowledge and becomes a Red Cross nurse, and in this way wife and husband meet at the wireless station near Harwich, where Captain Leigh is in charge, and where wounded are to be brought. To this wireless station comes Gretchen Gesner, cleverly disguised as an old woman, and temporarily the captain falls into her power and that of Fritz Baumgarten, who desires to use the station for signalling purposes. Fortunately they are foiled again, but they escape, and are next heard of at Captain Leigh’s house in London, whence the captain has returned after an adventurous and gallant sojourn at the front. Miss Hilda Beverley’s company is responsible for the interpretation of the piece, which is staged and dressed with much care'.

Nightly at 7.30, Matinee Monday at 2.30

Flora Hastings advertised herself in The Stage, 1 April 1915, as Countess Ardenfeldt in Gladys Hastings Walton’s latest success The Woman in Khaki with Mrs Frank Bateman’s company. Her address the following week was the T.R., Stratford. ‘Next week [at the Royal, Stratford] Mrs Bateman and company in a repertory of plays’. The Stage, 1 April 1915.

The Stage, 23 December 1915, listed Neither Wife Nor Maid as On Tour from 27 December at the Royal, Stratford. ‘“Neither Wife Nor Maid” is being played at the Theatre Royal, Stratford, Matinee, to-morrow, at 2’ (The People, 26 December 1915).

'Eva Elwes, who is responsible for Pals, has constructed a play that is never lacking in movement and often grips the imagination. The interest is well sustained, and the author has been at pains not to handicap the play with a superabundance of those comic scenes that so often militate against the success of Irish melodrama. The dialogue is good and the characterisation well above the average.' ('The Stage', 13 January 1916, p. 23)

Nightly, matinee on Monday. 'Originally produced as a twice-nightly play at the Pavilion, Liverpool, on July 26, 1915, John Raymond's Daughter after a successful provincial tour, was played in its entirety for the first time in the metropolitan district on Monday at Mrs C. Ellis-Fredericks's Angel Lane house. Eva Elwes has constructed a play fraught with particular interest at the present time. The plot, which displays originality, is well developed; the interest is sustained throughout, and the comic scenes are interpolated without retarding the action. Moreover the authoress should be congratulated upon the skilful handling of a theme that requires delicate and judicious treatment.' ('The Stage', 27 January 1916, p. 22)

Advertised in The People, 23 and 30 January 1916. When Miss Emma Litchfield’s company advertised Home Once More in The Stage, 10 February 1916, the advertisement included: ‘Packed at Early Doors at T.R., Stratford, on Saturday night last. Hundreds turned away at Early Doors’.

The Stage, 6 April 1916, published a review of Somewhere A Heart Is Breaking by Ivan P. Gore, produced by Miss Winifred Maude (under the direction of Mr. Victor du Cane) at the Royal, Stratford. The cast was as follows: Gen. Sir Philip Moore … Will White Gaynor Carton … Theophilus Charlton Dick Moore … Cyril Page Inspector Timothy Trim … Victor du Cane Sergt. Simeon Breeve … Hal Wellfox Police Constable … Will Manton A Servant … George Ross Dolores Wilbur … Freda Beckett Penelope Trim … Winnie Crichton Ruth Staveley … Winifred Maude 'Produced at the Royal, Leigh, on March 27, Somewhere a Heart is Breaking made its initial appearance in the Metropolitan area on Monday at Mrs. C. Ellis-Frederick’s Angel Lane house. Ivan P. Gore, the author, has constructed a capital play, full of movement and interest. There are plenty of strong scenes, with an excellent leavening of comedy ... [the plot is described] ... A capital representation is given by the company concerned. Mr. Cyril Page, although obviously suffering with a catarrhal affection [sic] on the night of our visit, gave a virile impersonation of Dick Moore. The Gaynor Carton of Mr. Theophilus Charlton is a fine exposition of suave, calculating villainy. Mr. Victor du Cane is a popular figure as Inspector Timothy Trim, and scores in the various comic passages. He is supported by the Sergt. Breeve of Mr. Hal Wellfox. Miss Winifred Maude acts with sympathy and charm as the sorely-tried Ruth. Miss Winnie Crichton submits an amusing character study of Inspector Trim’s wife, Penelope. Dolores Wilbur is depicted in lurid colours by Miss Freda Beckett. Subsidiary parts are undertaken by Messrs. Will Manton (constable) and George Ross (a servant). Somewhere a Heart is Breaking was favourably received on the night of our visit, and promises to prove a welcome addition to Mr. Victor du Cane’s melodramatic repertory’.

The Era, 24 May 1916, reviewed The Black Sheep of the Family, a ‘Drama, in Four Acts, by Gladys Hastings Walton, Produced at the Theatre Royal, Stratford, on Monday, May 16’. It listed the cast: The Hon. Ralph Sylvester … Arthur Hinton Lionel Sylvester … J. Knox Orde Lord Arlingham … Chauncey Morris Tough MacCoy … Roland Willis Jobson .. Louis Weston Bud Rawson … Leslie Wynton Dr. Mackham … Harry Deane Inspector Wilson … Fred Sharpe Judge Smythe … Arthur Acton Barrister Lumley … Oscar Lynne Lady Arlingham … Mrs. Henry Gascoigne Blanche Maitland … Nina Mallam Mary Leigh … Gladys Hastings Walton Mammy Dinkie … Beatrice Annersley Loyale Dare … Ethel Monton. The Era’s review began, ‘“The Black Sheep of the Family” is not a war play, but Miss Gladys Hastings Walton having contrived that her hero should join His Majesty’s Forces and win the D.S.O., the new drama is not wanting in the interest which attached to the tremendous struggle which is in progress in Central Europe. It is to Miss Walton’s credit as a playwright that she is able to bring down the curtain upon a skilfully planned dramatic crisis in the story without going beyond the limits of probability, and she has also shown discretion in not overdoing the “comic relief” – a common fault in plays of the popular order. The plot runs upon rather familiar lines, illustrating, as it does, the unfair treatment of their children of which some parents are guilty’. The review then describes the plot, including that the hero, Ralph Sylvester, goes to New York where he rescues a wealthy young woman, Loyale Dare, from a gang of toughs. He agrees to her plea that he should return to his own country and enlist, and he returns home a year later wounded and decorated with the D.S.O. The Stage, 25 May 1916, reviewed the play, listing the cast as in The Era. The review began, ‘The practice of adopting the name of a popular song as the title of a play is gradually on the increase … Gladys Hastings Walton has constructed an interesting and workmanlike play with no lack of movement, plenty of comic relief, and a well-developed plot. Certainly there are an unnecessary number of references to the “Black Sheep” throughout the play, and the *”Lusitania” speech, put into the mouth of an American character, could be eliminated with advantage, but these are trifles that can speedily be adjusted’. The review then describes the plot and some of the actors’ performances, concluding, ‘To judge from the warm reception accorded The Black Sheep of the Family on the night of our visit, Mr. Hinton has secured a play that should make a strong appeal to popular audiences and emulate the success of former enterprises of his’. [* The Cunard liner R.M.S. Lusitania was sunk by a German U-boat on 7 May 1915; 128 American citizens were among the dead.]

The Stage, 22 June 1916, noted that Mrs Frank Bateman’s company were performing Somebody Knows, Somebody Cares and The King and the Orange Girl that week at the Royal, Stratford.

The Era, 27 December 1916, listed The Little Grey Home in the West as On The Road from 1 January at the T.R., Stratford.

The authoress has constructed a workmanlike play that could easily be adapted to conform with twice-nightly requirements. There is an interesting story, and the plot is cleverly developed. If there is one point to be urged against "Honour the Man You Wed", it is the lack of originality displayed, as in many particulars it is reminiscent of a melodrama that has done duty on the road for some time past. ('The Stage', 5 April 1917, p. 15)

When Miss Emma Litchfield’s company advertised Always Welcome in The Stage, 7 and 14 June 1917, the address for the week beginning 11 June was the T.R., Stratford.

Nightly at 7pm, Monday at 2pm. (The People - Sunday 15 July 1917)

The Stage, 27 September 1917, listed The Unmarried Mother as On Tour from 24 September and 1 October at the Royal, Stratford. When Muriel Monteath, star lead in The Unmarried Mother, inserted a theatrical card in The Stage, 27 September 1917, her address for that and the following week was the T.R., Stratford.

The Stage, 27 September and 4 October 1917, listed Back To Wife And Blighty as On Tour from 1 October at the Royal, Stratford. Listed in The Stage, 4 October 1917, as Back To Wife And Blighty. N.B.: The Stage, 27 September 1917, listed The Unmarried Mother as On Tour from 1 October at the Royal, Stratford.

Advertised in The People, 21 October 1917. The Stage, 25 October 1917, listed His Last Leave as On Tour from 22 October at the Royal, Stratford.

When Charles Locke advertised in The Stage, 1 November 1917, for theatres for the ‘real success’ For Motherland, his address that week was the Theatre Royal, Stratford.

The People, 18 November1917, advertised Neither Wife Nor Maid at the Theatre Royal, Stratford, from the following Monday; and The Era, 21 November 1917, listed both Neither Wife Nor Maid and Sapho as On The Road from 19 November at the T.R., Stratford.

The Era, 5 December 1917, reviewed Deliver the Goods, a drama in three acts presented at the Theatre Royal, Stratford, on Monday 3 December. The cast was: Kenyon Ross, Mr. R. Cowell; Peter Ross, Leonard Mortimer; John Williams, Harry Gilbey; Ivor Hickman, Louis Gaye; Fritz, J. E. Wilson; Mary Haslewood, Ivy Shepperd, Vesta Mary Wood, Peggy Wise; Hannah Williams, Amy Lorraine; Cinderella Wells, Ida Clifford. The review continued: ‘John Williams, a narrow-minded and selfish man, is in love with Mary. She loves Peter Ross (the son of a local ironmaster). Peter gains his commission in the Army, and proceeds to France, not before securing Mary’s promise to wait for his return. John Williams fears conscription, and boasts to his friends that he has obtained an exemption on account of his having a weak heart. He tells Mary that Peter has been killed, and on the settlement of money she accepts him. The return of Peter from France on leave is followed by a series of exciting events. The story finishes with the death of John Williams from heart disease, and Mary is left free to marry the faithful Peter' (The Era, 5 December 1917).

The People, 6 January 1918, advertised The Enemy in our Midst at the Theatre Royal, Stratford.

Advertised as A Son of the Sea in The People, 27 January 1918.

The People, Sunday 17 February 1918, advertised Love and The Law at the Theatre Royal, Stratford. The Stage, 28 February 1918, advertised, ‘P. T. Selbit presents Love and The Law By Charles Darrell. This play has been produced with enormous and emphatic success, and can be seen next Monday, March 4, at the Elephant and Castle Theatre ...'. That confirms the play was performed before it was presented at the Elephant and Castle Theatre on 4 March 1918.

Advertised in The People, 24 February 1918.

The Era, 24 July 1918, reviewed ‘Duty! And The Girl’, a ‘Military Drama in Four Acts, by Clifford Rean. Produced at the Theatre Royal, Stratford, on Monday July 22’. The cast was: Tom Beresford, Vincent W. Carlyle; Harry Blackford, Harry Gilbey; Dr. Alex Malcot, Fergus Leslie; Sam Burrows, William E. Passmore; Joe Sparks, Leonard C. Way; Nurse Eden, Vera Wray; Chrissie Laugton, Winnie Crichton; Lelia Warren, Ethel Day; Rose Warren, Florence Churchill. The review continued: ‘This new military drama was produced by Joseph Millane’s company under the direction of Mr. Vincent. W. Carlyle. The first act, in the garden of Warren Manor in 1914, introduces us to the hero and heroine, the villain, and the adventuress, as well as the minor satellites who revolved around them. Tom Beresford, a rich country squire, has espoused Lelia Warren, much to the surprise of the villagers, who thought his affections were engaged elsewhere owing to his attentions to her younger sister, Rose. But Lelia has only set her cap at him for love of money, and she has still retained her penchant for Harry Blackford, her former lover. Tom’s battalion is ordered to France just as he is about to start for his honeymoon. Rose, to whose care Tom has confided Lelia, tries in vain to protect her, and in the second act Lelia determines to elope with Harry Blackford, as Rose forbids him the house. Tom, dangerously wounded, is at the base hospital, Folkestone, and he is blinded and suffering from shellshock. At this point “everything gets into a horrible tangle,” as one of the characters says; but in the dénouement the tangled skein is unravelled. As Tom Beresford, Mr. Vincent Carlyle acts with manly vigour and sincerity. Mr Harry Gilbey as the blackhearted villain, Harry Blackford, plays sufficiently well in keeping with the character to earn the execrations of the audience. Miss Ethel Day as the wicked and wanton Lelia acts with a certain amount of allurement and fascination. A very charming performance is that of Miss Florence Churchill, who proves herself to be a first-class emotional actress. Miss Winnie Crichton as the lively and loyal Chrissie Laugton is bright and amusing. Mr. Fergus Leslie, as the buoyant, good-hearted and irrepressible Alex Malcot is well in the picture, and Mr William E. Passmore as Sam Burrows also meet [sic] with approval’. The Era, 24 July 1918. The review in The Stage, 25 July 1918 (page 12), is illegible on the British Newspaper Archive.

The Stage, 22 and 29 August 1918, listed The Unmarried Mother as On Tour from 26 August at the R., Stratford. Advertised in The People, 25 August 1918.

Home From The Trenches is on tour 2 September at R., Stratford. The Stage, 29 August and 5 September 1918..

The Stage, 3 October 1918, listed The Unmarried Mother as On Tour from 30 September at the R., Stratford.

The Stage, 26 September 1918, listed The Man Who Made Good as On Tour from 30 September at the R., Stratford.

The Stage, 10 and 17 October 1918, listed On Leave For His Wedding as On Tour from 14 October at the R., Stratford. Advertised in The People, 13 October 1918. Edward F Furneau’s Personal Company advertised Clifford Rean’s On Leave For His Wedding in The Stage, 17 October 1918: ‘The greatest of all military plays. Can follow other Military Plays and break records. The most humorous trench scene ever written. The Bombardment of the Cathedral. (The talk of every Town.) … The most consistent money maker on the road … This, T.R., Stratford, E.; next, Victoria Theatre, Kettering.

The Stage, 24 October 1918, listed The Girl Who Changed Her Mind as On Tour from 21 October at the R., Stratford.

Venue and date mentioned in advertisements in The Stage, 27 June 1918 and in The Era, 18 September.

The evidence for this week is that The Stage, 6 March 1919, listed The Queen and the Knave as On Tour from 10 March at the R., Stratford.

Performed for the week.

Performed alongside other plays this week by Vivian Edmonds' company.

‘Mr. Oswald Cray is presenting C. Vernon Proctor’s dope drama, “The Plaything of an Hour” … Tomorrow (Friday) “An Unmarried Mother” will be played’. The Stage, 10 February 1921.

Ernest R. Abbott's company performed Wife In Name Only and Woman And Her Master at the Theatre Royal, Stratford, in the week beginning 13 February. They returned two weeks later: ‘Mr. Ernest R. Abbott’s company return after only a week’s absence, and are presenting “Neither Wife Nor Maid,” except to-morrow (Friday), when a new drama “Hearts and Homes” will be staged. In. the former piece Miss Ada Abbott plays the unhappy heroine with her customary effect, though she has fewer opportunities to show versatility in this role, which is throughout a mournful one. Mr. John Johnston is a cheerful Saunders with a trained dog, who soon becomes popular. Mr. Edward Wensbury is a sufficiently malevolent Steve. Miss Nellie Crowther is a bright little Tommy, and Miss Stella Foster imparts humour to her scenes with Mr. J. B. Stewart as a pair of conventional comic servants. Mr. Ernest A. Foster is a quiet Lord Kingdon, and Mr. Edward Fryer a somewhat stilted parson. Miss Margaret Dickenson plays Lady Rose, and others who appear include Miss Viola Jennings, a firm Dowager, and Miss Isabel Singleton, as the housekeeper’. The Stage, 2 March 1922.

Performed this week: ‘Mr. E. Vivian Edmonds remains at the Royal with his company this week and the programme comprises Coming Home, The Third Man, and The Daughter of a Thief, each being played for two nights. On Monday Coming Home had a capital interpretation, Mr. Edmonds scoring once again as Reggie Travers, into which part he was able to put much humour as well as some sound acting on more dramatic lines. Miss Hettie Hewitt played wistfully as the downtrodden Mary, and was well contrasted by the bold Rhoda of Miss Phyllis Orme and the droll Lillian Alice of Miss Eva Reed. Miss Lizzie Gordon was also well cast as Matilda. Mr. J. E. Reed was a conventional villain as Smith. The joyous natures of Bill and Eric were, fittingly shown by Mr. Jack Armitage and Mr Fred Carrol. Mr. David Day playing Billy, and Mr. A. Sanders appearing as Butterworth. The excellent study of Hargreaves by Mr. Ernest C. Edwards deserves special mention’ (Stage, 23 November 1922)

Mentioned in The Tatler, 30 October 1965: ‘This Stage 60 production by Shirley Butler is a farce in three acts showing the results of acting on the principle of peace at any price’.