Theatre Royal, Leeds
Performances at this Theatre
|23 Dec 1914||Cinderella||Unknown|
|15 Mar 1915||War and a Woman [Women and War]||Professional|
'It is a difficult and thankless task to attempt to make the war more thrilling than it actually is but that it is possible successfully to use it as a background for engrossing drama is shown in the play presented at the Leeds Theatre Royal, this week [...] tells a story which in many details possesses the verisimilitude of contemporary history [...] the brave officer who defeats their machinations is a character that would make an irresistible appeal to the patriotic instincts of any loyal audience. (Era, 24 March 1915) NB. The Era has confused the dates of the performance as it was at Leeds 15-20 March.
|5 Apr 1915||His Mother's Rosary||Professional|
Will Glaze's Company often performed in two different places on the same nights.
|6 Jul 1915||In Time of War||Professional|
In view of present events, "In Time of War," which is being presented at the Theatre Royal this week, will be found interesting. The piece, which is produced by Mr. C. Watson Mill's company, deals with the German spy system, and is thoroughly up to date. On the whole the acting is good. Mr. C. Watson Mill makes an excellent captain, while Mr. H. Scaddon played the part of a German spy with ability. Others who acquitted themselves well were Mr. Paul Neville as a British officer, and Miss Lydia Audre, who as the heroine acted with success. Mr.H. A. Whitmee and Mr. G. Chato were responsible for the comedy. The piece, which was well received last night, is admirably presented, three of the scenes being very realistic. Leeds Mercury - Tuesday 06 July 1915
|4 Oct 1915||John Raymond's Daughter or A Soldier's Love Child||Professional|
Discipline, like many other methods of regulating principle, is only applicable to the domestic hearth in limited measure, and not when it approaches harsh and pitiless severity of manner, if it is to be advantageous as a governing factor. Such is the intended lesson of "John Raymond's Daughter" at the Theatre Royal this week. ('Yorkshire Evening Post, 5 October 1915, p. 3) Performed twice nightly and matinee on Tuesday
|22 Nov 1915||In the Hands of the Hun [In the Hands of the Huns]||Professional|
'Performed under the title 'The Princess and the Soldier'
|22 Nov 1915||Confessions of a Wife||Unknown|
|23 Dec 1915||Robinson Crusoe||Unknown|
|20 Mar 1916||The Story of the Angelus||Professional|
|27 Mar 1916||The Soldier Priest||Professional|
Performers: Matthew H Glenville and Co.
|3 Apr 1916||When Love Creeps In Your Heart||Professional|
|8 May 1916||The Sunshine of Paradise Alley||Professional|
|16 May 1916||Brave Women Who Wait||Professional|
Twice nightly. The play "Brave women who wait" at the Theatre Royal is a mixture of domestic and war troubles, with a somewhat sordid flavour. A villain who shirks the Army, has an illicit passion for the innocent heroine, and to ensnare the girl, deludes her husband into the belief that she has not been true to him while he has been away fighting in France. Of course, everything comes right in the end. Incidentally, the one touch of originality comes at the finish of the story. Instead of murders, suicides or the other popular methods of removing the bad man of the piece, the villain announces his intention to go abroad, and the villainess, his cut-off lover, vows to hang on and haunt him to the ends of the earth - a punishment which fits the crime and is quite the best fate the authoress could possibly have invented. There is nothing sparkling about the humour of the piece, and the dialogue drags a little occasionally. (Yorkshire Evening Post, 16th May 1916).
|29 May 1916||The Woman Pays - Back||Professional|
Twice nightly. Matinee on Tuesday. A heroine who scarcely attains the customary exalted pinnacle of virtue, and who has a good deal of the spitfire in her nature, is a novelty in melodrama, and this and other touches of originality make the play, "The Woman Pays - Back," quite an acceptable piece. ... The authoress, however, does not get completely away from the commonplace lines of a certain type of melodrama, and she relies upon such old material as the theft of jewels, blackmail, fraud, and other treachery as a setting for the story.... How [the young girl] pays back her betrayer, is quite an exciting chapter. ('Yorkshire Evening Post', 30 May 1916, p. 3)
|21 Aug 1916||His Mother's Rosary||Professional|
|11 Sep 1916||Heaven at The Helm||Professional|
'There is war in abundance in this piece' (Yorkshire Evening Post, 12 September 1916)
|4 Dec 1916||The Little Grey Home In The West||Professional|
|5 Mar 1917||The Cottage Girl||Professional|
Eva Elwes's company performed with Elwes playing the role of Ada Stack achieving 'something of a triumph in a rather difficult part'. ('The Stage', 8 March 1917) Two performances per night and matinee on Tuesday
|9 Apr 1917||Should a Woman Forgive?||Professional|
Performed by Will Casey and company.
|30 May 1917||A Theatrical Marriage||Unknown|
|2 Jul 1917||Honour the Man You Wed||Professional|
Will Glaze's No. 1 Co. One of the most successful plays written by Miss Eva Elwes... it is a gripping story... ('Leeds Mercury', 3 July 1917)
|3 Sep 1917||John Raymond's Daughter or A Soldier's Love Child||Professional|
Twice nightly, matinee on Tuesday. 'The author has displayed some originality in the weaving of the plot, and she makes the heroine's path pretty thorny before she reaches the customary happy ending.' ('Yorkshire Evening Post', 4 September 1917, p. 2)
|3 Dec 1917||The Spirit of the Empire||Professional|
Performed for one week.
|22 Dec 1917||Dick Whittington||Unknown|
|29 Apr 1918||When The Joy Bells Are Ringing||Professional|
The play was performed here between 29 April and 4 May. The cast included: Alfred D. Adams (actor), Mr. George Gormley (actor), Hilary Burleigh (actress). A review in the 'Yorkshire Evening Post' (30 April 1918) commented that ‘[A] military drama occupies the boards at the Theatre Royal, and while 'When The Joy Bells Are Ringing' contains many stirring scenes, the plot is at times somewhat overdrawn. It is rather difficult, for example, to swallow the episode of the enterprising inspector of police who "camouflaged" as a typical "Ole Bill", is enabled by the thoughtful connivance of the military authorities, to continue the chase of a couple of “crooks” right up to the battle line’.
|20 May 1918||Married on Leave||Professional|
This performance (theatre and start date) is included in a list of previous performances of “Married on Leave” in The Stage of Thursday 1 August 1918. The Leeds Mercury of Tuesday 21 May 1918 reported, ‘The [Whitsuntide] holiday attraction of the Theatre Royal - “Married on Leave”, featuring Miss Dorothy Mullord - delighted large audiences last night. The play is a recent production by Lew Lake, and is a military drama of sound merit’. Advertisements in the newspaper said that the play would be performed twice nightly for six nights with no mention of a matinée. The Yorkshire Evening Post of Tuesday 21 May 1918 reported, ‘The military interest … pervades “Married on Leave” which Miss Dorothy Mullord presents with a capable company at the Theatre Royal, herself taking a leading part. The dramatic situations in the piece are well contrived, and one of the features is a fight in the air’. The Stage of Thursday 23 May 1918 reported that at the Theatre Royal, Leeds ‘The holiday programme … is the drama, Married on Leave. The company are Lew Lake’s, with the authoress Dorothy Mullord as the heroine. Captain Marlowe has a manly representation in Royce Carlton, whose fine elocution called forth applause’.
|5 Aug 1918||Back to the Wife and Home [Home from the Trenches]||Professional|
‘“Home from the Trenches” is being staged at the Theatre Royal - twice nightly. No title could better indicate the sort of fare to be expected. Corporal Dennison (Mr. Wilfrid Launceston) makes a most dramatic entry when the machinations of the villain are reaching the climax. There is realism in the soldier’s get-up. You might, indeed, imagine that it was the real thing, mud and all. He comes just in time to save the good name of his wife, and keep the happy home intact; and the discomfiture of the scheming stay-at-home makes delightful hilarity for the crowd, who always love to see virtue triumphant’. Yorkshire Post, 6 August 1918. ‘“Home from the Trenches”, a new war play drama, presented at the Theatre Royal by Mr. Will H. Glaze’s company, is well furnished with incidents both stirring and pathetic’. Yorkshire Evening Post, 6 August 1918.
|21 Oct 1918||Back From Overseas||Professional|
Back From Overseas is advertised with no mention of The Broken Trail in the Leeds Mercury and the Yorkshire Post and Leeds Intelligencer, 14 and 15 October 1918. Back From Overseas is listed as on tour at the R., Leeds from 21 October in the Stage, 17 October 1918. ‘“Back from Overseas,” the drama at the Theatre Royal, is one of the many spy plays prompted by the war situation. The spy is one Carl Meyer, a naturalised Englishman, who, to attain his objects, goes even as far as theft of the heroine’s “ring paper.” Miss Maud Warburton is a convincing heroine, and Mr. Wilson Howard acts with rare manliness as an honest and straightforward British Tommy’. Yorkshire Evening Post, 22 October 1918. ‘A play in which the author himself appears generally goes well, and “Back from Overseas,” which is produced at the Theatre Royal, is no exception. It deals with the work of the enemy secret service agents in a dramatic manner. Mr. Wilson Howard, in the part of Private Tom Brown, makes a manly soldier; and Miss Maud Warburton achieves success as the heroine. The piece possesses a good vein of comedy’. Leeds Mercury, 22 October 1918. The Broken Trail is listed as on tour at the R., Leeds from 28 October in the Stage, 31 October 1918.
|4 Nov 1918||Love's Young Dream||Professional|
|23 Dec 1918||Robin Hood and the Babes in the Wood||Unknown|
This is the licensed performance.
|21 Apr 1919||Called Up||Professional|
Performed 21-26 April. ‘There is [a] villain in Coming Home, at the Theatre Royal, a German spy, true to stage type, but his villainy is only a side-line. The Pharisee with his broad dialect – is it Yorkshire Lancashire, the way? - and vulgar display of new-gained wealth and social standing, is the arresting figure in the play. Plentiful comedy and witty and clever exchanges between the Pharisee and the hero, a gentleman ranker billeted the former’s house, raise the play well above the level its kind. With strong effect in his declamatory passages, and a happy knack of avoiding anti-climax by a quick change to comedy and whimsicality, Mr. Vivian Edmonds, the author and producer of the play, fills the part of the hero the capably’. (Yorkshire Evening Post, 22 April 1919)
|29 Jul 1919||La Flambee||Professional|
Performers: Cecile Barclay, Rupert Lister
|22 Nov 1920||Seven Days Leave||Professional|
|2 Oct 1939||The Luck Of The Navy||Professional|
Performed by the Arthur Brough Players.