Alexandra Theatre, Birmingham

‘The new play “When There Was War,” by Joseph M. Wharncliffe, which is presented at the Alexandra Theatre this week, is based on the great war in which Europe is at present engaged, and from its topical note should have more than an ordinary attraction for the public. Apart from this it is a fascinating story, full of the adventurous spirit of the times. Miss Hilda Beverley, the principal character, helps one to understand something of the German system of espionage' (Evening Despatch, 27 April 1915). Noted in The Stage, 29 April 1915.

'a powerful drama' (Evening Dispatch, 4 May 1915)

Twice nightly at 6.50 and 9 pm. Matinee every Wednesday at 2.30. "A" Company

It is not a very inspiring theme, and tends only to emphasise natural frailties. Still, the play is effective, and makes a strong appeal to the emotions, because one is bound to recognise the possibilities of such unfortunate domestic episodes. ('Birmingham Mail', 7 December 1915, p. 5) The play deals with a somewhat delicate problem involving the question of "War Marriages", but it is performed by a meritorious company, who treat the peculiar situations with the necessary restraint. ('Birmingham Daily Gazette, 7 December 1915, p. 7) Twice nightly and matinee on Wednesday.

‘“Neither Wife nor Maid,” or the story of a mother who sells her child to prevent him becoming a thief, is a strong domestic drama with a war flavour. Mr. E. R. Abbott’s company, which is responsible for its production twice nightly at the Alexandra Theatre, is a well-balanced one. The outstanding feature is undoubtedly the excellent work of Miss Ada Abbott, while she receives good support from Miss Nellie Crowther (Tommy), Miss Glory Kelland, and Messrs. F. Kelland and H. Barrs’ (Evening Despatch, 23 May 1916). ‘Miss Ada G. Abbott’s play, “Neither Wife nor Maid,” which is being presented at the Alexandra Theatre this week, tells the old, old story of a girl who stoops to folly, and pays the penalty thereof. Deserted by her betrayer, she leads a miserable life as the companion of a brute who thrashes her on the slightest pretext. The one bright ray in her existence is the love of her little son, and there is quite a powerful and pathetic scene when she decides to part with him to permit of his adoption by a lady who, curiously enough, is the wife of the betrayer. Deprived her child, Meg Huxter seems destined to sink lower and lower, but fortunately her old sweetheart, whose honest love she has discarded for that of the “fine gentleman,” turns up, and the curtain is rung down on a happy ending. The pathos of the play made a strong appeal to last night’s audience, and its reception augurs well for its success. The piece was admirably played by Mr. Ernest R. Abbott’s company, Miss Ada Abbott being excellent in the part of the heroine, Meg Huxter. Excellent, too, was the acting of Mr. John Johnston as “Curly” Saunders, Meg’s old sweetheart, whilst his song about his bull terrier was much appreciated. A word of praise, too, is due to Miss Nellie Crowther who appears as Tommy, Meg’s little son’ (Birmingham Mail, 23 May 1916). ‘“So you’ve decided to have your fine gentleman, but take care that he puts one of these (producing a wedding ring) your finger.” Unfortunately Meg Huxter neglected this excellent advice. The fine gentleman, otherwise an officer, marched off to the tune of “The girl I left behind me,” and Meg was left, “Neither Wife nor Maid.” The drama bearing this title, which Mr. Ernest R. Abbott’s Company is producing at the Alexandra Theatre this week, begins with an up-to-date military flavour, and ends at a period put ten years hence. The story of Meg’s life after her betrayal is one which is told with the simple directness of the drama beloved by patrons of this house. The colour is laid on with a lavish hand, humour follows quickly upon the heels of pathos, and life is depicted in series of the sharpest contrasts. It would not be fair to tell exactly how all the loose ends are brought together, and a final curtain reached in which the suffering heroine is rewarded with a moderated felicity. Sufficient to say, she is reserved for happy years with the faithful lover whom in the first act - or rather the prologue - she had foolishly rejected. Miss Ada Abbott, the authoress of the play, does well in the leading character, and most of the others satisfy expectations’ (Birmingham Daily Post, 23 May 1916).

Review Birmingham Mail 30 May 1916: "Somebody Knows, Somebody Cares is first-rate melodrama. is crisp and topical, with strong plot, an unscrupulous villain, and fair amount of bright comedy. The villain is a German spy, who tri.s (sic) ensnare defenceless girl, sea waif". Unable to access newspaper for further details.

‘People who delight in plays about war plots and counter-plots, submarines, and sunken transports, Zeppelin raids, and the evil work of German spies, will find all they like at the Alexandra this week. The Enemy in Our Midst is a red-hot war play. The audiences last night were obviously of the peculiar variety described above; they were frankly delighted with the entertainment provided for them by Mr. G. Carlton Wallace’s company. They were supplied with thrills innumerable and plenty of strong sentiment and heroics. The climax was reached in a scene representative of a Zeppelin raid, a raid, needless to say, that came to a sticky end when British guns were brought into action' (Birmingham Daily Post, 6 June 1916). ‘The Enemy in Our Midst, the topical war drama the Alexandra Theatre this week, contains many incidents which some people consider are not altogether imaginary. But the deepest plot of the villain, a naturalised German, and his accomplice, the German mother of the hero, however, is thwarted, and the submarine and Zeppelin raids prove more disastrous to the enemy than to Britain' (Birmingham Daily Gazette, 6 June 1916).

Presented twice nightly (Birmingham Daily Post, 13 June 1916, p. 3)

‘“The Man Who Came Back,” a story of a modern Enoch Arden, is to be the attraction at the Alexandra Theatre. It will be presented by Mr. Fred J. Little's company’ (Birmingham Daily Post, 17 June 1916). ‘"The Man Who Came Back,” the attraction at the Alexandra Theatre, contains plenty of thrills and a fair amount of bright comedy. Mr. F. J. Little’s company is a good one, and last night the honours were carried off by Messrs. E. Warden, Dennis Leslie, Miss Margaret Frame, and Miss Flo Bevan’ (Evening Despatch, 20 June 1916). ‘“The Man Who Came Back," the story of modern Enoch Arden, which is being played at the Alexandra Theatre this week by Mr. Fred J. Little's company, has all the elements that make for a popular success. It is, briefly, the story of man who enlists, is reported dead, and returns to find his wife married to another man. In the unfolding of the plot there are many thrilling situations, but happily all ends well. There were excellent audiences at both performances last night, and the play was accorded a hearty reception. The company all round is a satisfactory one, and the piece was admirably staged’ (Birmingham Mail, 20 June 1916). ‘Melodrama containing a good supply of bright comedy and based on the war provides excellent entertainment. "The Man Who Came Back,” which is staged at the Alexandra Theatre this week, is a play of this type, and is well adapted for the twice-nightly system. Good work is done by Messrs. J. Cullin [sic - Cullen], E. Warden. D. Leslie, and the Misses Flo Bevan and Margaret Frame in the leading parts, while the piece is well staged’ (Birmingham Daily Gazette, 20 June 1916). ‘There are plenty of thrills and pathetic moments in “The Man Who Came Back,” which was presented at the Alexandra Theatre last night, and will occupy the boards for the remainder of the week. The play was produced by Mr. Fred J. Little's company, which includes three or four actors of exceptional ability. The story, the programme admits, resembles that which Tennyson has woven around the hapless Enoch Arden, and has much in it that offers scope for good acting. Miss Margaret Frame as Nell Marsden is responsible for some excellent work, and Mr. E. Warden, in the role of the ne'er-do-well Phil Murket, succeeds in arousing the ire of the gods, which is a testimonial to histrionic talent. Mr. Dennis Leslie is the man who came back - it need not be said - from the war, and he performed his part satisfactorily. Humour is judiciously interspersed, and there is no lack of fun in an otherwise pathetic drama’ ( Birmingham Daily Post, 20 June 1916). ‘The Man Who Came Back is having a hearty welcome here [the Alexandra, Birmingham] this week (The Stage, 22 June 1916).

Performed by Will Casey and company.

'When the lapse of time has provided a proper perspective, the war will doubtless provide material for novel and drama only a little less gripping on the imagination than the event itself. In the meantime purveyors of fiction and minor drama are seizing their opportunity while the guns roar, and thus at the Alexandra Theatre this week we have in "Pals" a play with the war as a definite background. Miss Eva Elwes, the author, has softened the tenour of the play, however, by introducing at an early stage a charming Irish atmosphere, and this is perhaps the best feature of the production.' (Birmingham Daily Post', 12 September 1916, p. 7)

‘“The Unmarried Mother,” presented here by Mr. Oswald Cray, has been seen on the same boards before. Its welcome lacked nothing in warmth on that account. Mr. Norman Edwardes is the juvenile lead, and Miss Lissa Young scores a success in the strongly emotional art of Eileen. Mr. Roland Hope, Mr. Wilton Richards, Miss Pattie Dene, and Miss Amy Wood also do well’. The Era, 20 September 1916.

The wrong done to women by members of the opposite sex has been the theme of innumerable dramas. In "The Women Pays - Back", presented at the Alexandra Theatre this week, there is a reversal of the usual position, as the title of the play suggests. A deeply-wronged typist sets out to avenge herself for the harsh treatment meted out to her by her former employer, and demonstrates that men cannot always get their own way. ('Birmingham Daily Post, Tuesday 10 October 1916, p. 7)

Performers: Matthew H Glenville and Co. Reviews: "A thrilling drama of war, love and intrigue", Birmingham Daily Post

Performed for the week, twice nightly at 6.50 and 9pm with matinee Wednesday 2.30. Cast included G. Carlton Wallace, Evelyn Carlton, Ray Fortescue, Lydia Mannington, Frederick Scarth, Gertie Henderson, R. Harrold, Phyllis Evelyn, and Rob Anderson. 'Thrilling situations are provided, while humour comes to the relief of the more intense parts of the drama. The play has appropriately a strong military aspect' (Birmingham Daily Post 5 December 1916)

Twice nightly. '... a strong domestic drama based on a story of a naval hero'. ('Birmingham Daily Gazette', 17 April 1917)

‘Few plays staged at the Alexandra Theatre recently contain more thrills than Mr. Carlton Wallace’s “The Enemy in Our Midst.” Opening with a plot to torpedo transports, the climax is reached in the last act, when during a Zeppelin raid the “enemy” (a naturalised Englishman) is killed' (Birmingham Daily Gazette, 8 May 1917). ‘Novelty is certainly not lacking in this drama. In the final scene a Zeppelin travels across the darkening summer sky, but its death-dealing errand is terminated by British guns and a British biplane. As may be gathered from the title, the story of the play deals with spies and treachery. Innocent people are unjustly suspected, but in the end virtue triumphs over vice' (Birmingham Daily Post, 8 May 1917).

‘For Motherland, the dramatic production at the Alexandra Theatre, a representation of the fateful days for Britain in August, 1914, is well staged, produces many thrills, and found great favour last night. Chief honours fall to Miss Clare O’Sullivan, as an English lady true to her honour, who with the assistance of her naval lover, completely upsets the scheme of the German secret service agents, the characters of which are well played by Miss Flo Norman, Mr. F. Preston, and Mr. L. Lingham’ (Birmingham Daily Gazette, 15 May 1917). 'For Motherland, a play dealing with those fateful days, August 4 and 5, 1914, is produced at the Alexandra Theatre this week. It deals with spies and treachery, and shows how members of the German secret service take possession of a secret chamber at the top of the quiet home of a retired naval officer, overlooking Dover, for a wireless station. Such excesses of villainy are worthy of the agents of their master, and the audiences greatly enjoy their downfall' (Birmingham Daily Post, 15 May 1917).

Performed as part of a charity matinee on behalf of the Y.M.C.A Hut Fund, local Wounded Soldiers' Entertainment Fund and the Red Cross Fund. Organised by officials of the Wounded Soldiers' Entertainment Fund in conjunction with the Rocket Club, a Birmingham musical and social organisation. Other acts performing were Myra Hammond, Ernest Shand, Jack Hulbert, John Lunn, Wee Georgie Wood, Norris Stanley, and Ernest Maclee.

Performed by Will Casey and company.

Performed by Frank Bateman and company

Performers: Dot Stephens Co

A drama of true love and intrigue... there are cross-currents of sentiment and passion which have always such a fascination, and the story is skilfully unfolded by the players. ('The Era', 19 September 1917, p. 6) Twice nightly, Matinee every Wednesday. T. Edward Ward and Eva Elwes present their great success. ('Evening Despatch', 17 September 1917, p. 2)

Performed as 'The Middy V.C. Comes Home'. Twice nightly. '... a thrilling drama atune with the spirit of the times ... the play abounds in exciting situations and is remarkable for the wealth of incident that can be compressed into a twice-nightly production.' ('Birmingham Mail', 16 April 1918, p. 4)

‘It was inevitable that various phases of the great war should be adapted to the stage, and the incidents embodied in the drama entitled “Home from the Trenches” produced last night at the Alexandra Theatre by Mr. W. H. Gaze’s [sic, Glaze’s] company were witnessed with appreciation. The play centres around the despicable conduct of Silas Hardman, a pro-German profiteer, who imperils his liberty by his active endeavours to help the enemies of his country, and by the equally reprehensible conduct of his nephew Neville, who nothing but a shirker and a cad. The proofs of the villainy of both are acquired by Myra Gray, one of Neville’s victims, and also through the attempts of the latter to bring within his power the wife of a soldier. The story, in its development, contains exciting situations, all of which are drawn in an interesting manner with the object of asserting the loyalty of the women of this country to defend the honour of their husbands and to help to carry on the war during their absence'. Birmingham Daily Post, 30 July 1918. ‘Gratifying success at the Alex., Birmingham. July 29 (last). Gross £461. Week before the holiday; very fine and hot several nights, and the munition workers back to work, following the strike!’. The Era, 14 August 1918.

'A Canadian drama, “The Broken Trail,” has been booked for the Alexandra Theatre [next week]. Mr. Wilson Howard end Miss Maud Warburton will figure in the leading parts’. Birmingham Daily Post, 24 August 1918. Also reviews in the Birmingham Daily Post, the Birmingham Mail and the Evening Despatch, all 27 August 1918, identifying Wilson Howard and Maud Warburton as playing the leading rôles.

‘“The Sins of the Rich” is the title of the play at the Alexandra Theatre [next week], where those taking part will include Mr. Ernest R. Abbot [sic] and Miss Ada Abbott. On Friday evening the problem play, “Neither Wife nor Maid,” will be presented’. Birmingham Daily Post, 7 September 1918.

Performed 30 September to 5 October. ‘Stimulated by the news from the various battlefronts it needed little effort last evening on the part of Mr. E. Vivian Edmonds’s talented company at the Alexandra Theatre to rouse large audiences to enthusiasm as they presented the patriotic play entitled Called Up. There is much that is similar in all patriotic plays, but Called Up tells in happy fashion the story of volunteers, who, billeted in a coastal town, discover the dastardly intriguing of a Mr. Smith (Arthur Cheevers), whose sentiments and conduct were against the country he had made, for his own treacherous purposes, his place of domicile. [...] The whole play is delightful, and the humour is of the rare and refreshing variety’. (Birmingham Daily Post, 1 October 1918)

‘The military drama “On Leave for His Wedding,” produced last night at the Alexandra Theatre, appeals all lovers of the sensational, and it met with the cordial approval of large audiences. The story relates the history of two sisters, Angela and Mavis Hope. The former, an unscrupulous girl, is married to and separated from Captain Delpre, while her sister is engaged to Captain Derrick Tressillian, who is on leave for his wedding. Derrick is rich, and as Angela married in her sister’s name she, with the assistance of her equally unscrupulous husband, declares to Derrick that it was Mavis who was married. Proofs in the form of the marriage certificate and the word of the Rev. Noel Wheeler, who performed the ceremony, are forthcoming, and, in spite of the protestations of Mavis, Derrick returns to active service. Mavis becomes a nurse at the front, and Angela goes to the trenches, where, as soon as Derrick is wounded and blinded, she prevails upon him to marry her, Wheeler again officiating. The development of the story is carried through four acts before the misconduct of Angela is made known and virtue is rewarded. While the home scenes are satisfactory, many of the incidents at the front are most improbable, but they are of thrilling interest, and the German bombardment of the trenches is made as realistic as possible. Mr. Edward F. Furneau played admirably as Captain Tressillian, and the long-suffering Mavis was capitally impersonated by Miss Madge Turner, while Miss Stella Cedron and Mr. W. Humphries were successful in the unthankful parts of Angela and Captain Delpre respectively. The other characters were creditably taken, notably that of Reuben Egg, a tramp, and afterwards a soldier, by Mr. J. H. Knowles’. Birmingham Daily Post, 8 October 1918.

'With a series of stirring episodes as the component parts the play has a particularly apposite setting in the introduction not merely of war scenes, but of incidents designed to illustrate the whole-heartedness with which America's sons are entering the conflict'. ('Birmingham Daily Post', 15 October 1918, p. 3). Described as 'the Anglo-American play' ('Birmingham Mail, 15 October 1918, p. 2)

‘Mr. Will H. Glaze is the life and soul of the war play, “His Last Leave,” put on at the Alexandra this week with a capable all round cast. The part of Corporal Tim Trimfoot affords scope for the chief actor’s ready address in “getting across the footlights”’ (The Era, 24 September 1919). ‘Will H. Glaze appears in his original part of Corporal Tom Trimfoot in the clever melodramatic war play, “His last Leave.” His is a first-rate conception of the character, and capital support is given by Norton Shields, Edwin Davies, Monica Holmes, and others’ (The Stage, 25 September 1919).

‘An interesting repertoire of plays to be presented by Mr. Arthur Hinton’s company at the Alexandra includes “Broken Doll,” “Temptation,” and “The Black Sheep of the Family”‘ (Birmingham Daily Gazette, Saturday 25 September 1920). ‘With a trio of well-known plays presented by Arthur Hinton’s company lovers of strong drama are being well catered for at [the Alexandra Theatre]. In last night’s presentation of “A Broken Doll,” the company did ample justice to its dramatic possibilities. This play will be repeated to-night [Tuesday] and Saturday, with “ Temptation “ and “The Black Sheep of the Family” filling the bill on other nights’ (Birmingham Daily Gazette, 28 September 1920).

Performed twice nightly at 7 and 9pm with matinee Wednesday at 3.30

Performed for the week by Leon Salberg and his 1929 Repertory Company including Bruce Belfrage and Faith Liddle.

‘Mr. Salberg’s repertory players are to put [a] Barrie play on at the Alexandra next week - “A Kiss For Cinderella.” Birmingham Daily Gazette, Saturday 3 October 1931. The newspaper published a review on 6 October 1931.