Prince's Theatre, Bristol

In taste, picturesqueness, and finish "Business as Usual" is quite the best revue seen in Bristol. It is by F.W. Mark and Albert P. de Courville, the lyrics are the work of F.W.Mark: J.M.Glover has arranged the music: and there are special numbers by Hermann E. Darewaki jun. The production is yet another triumph for Mr Edward Lamm and Mr Harry Day, for presenting it to Bristol should receive the thanks which large audiences will express. (Western Daily Press - Tuesday 02 February 1915)

‘“Searchlights” has caught on at the Savoy, and Mr. H. B. Irving has already arranged for two flying matinées of Mr. Vachell’s clever play - at Bristol on Tuesday, March 2nd, and at Birmingham Royal on Thursday, March 11th’ (Gloucester Citizen, 24 February 1915). ‘Yesterday afternoon [at the Prince’s Theatre, Bristol] Mr H. B. Irving and his London company appeared in Mr Horace Annesley Vachell’s new play, “Searchlights.” It is not a very pleasant play, nor by any stretch of imagination a great one. But it offers splendid facilities for good acting. Indeed, the acting that the play obtained yesterday made it appear a much stronger play than it really is ... The play was enthusiastically received’ (Western daily Press, 3 March 1915). ‘Mr. Vachell’s play “Searchlights” was presented at the Prince’s Theatre on Tuesday afternoon before a crowded audience. Mr. H. B. Irving came down with his entire company from the Savoy Theatre, and the privilege of seeing this piece which has been one of the great hits in London this season was welcomed. “Searchlights” is not a pleasant play but it gives Mr. Irving opportunity for a fine bit of characterisation of which he avails himself to the full. Blaine and his wife are the central figures ... The play was enthusiastically received’ (Clifton Society, 4 March 1915). The Globe, 2 March 1915, still advertised the play at the Savoy Theatre that night.

‘The danger to Great Britain in allowing Germans who have become naturalised in form, but not in spirit, to remain at large, is pointedly dealt with in “The Day Before the Day,” the newest play from the St. James’s Theatre, London, which will be presented at the Prince’s Theatre next week. Dealing with the war period, and illustrating the feeling of Germans for this country, the play commands attention. The play, by C. B. Fernald, is a battle of wits between German spies and an English officer, who seeks to get hold of their information and thus turn the tables on the enemy. The company presenting the play is under the direction of Miss Cecile Barclay and Mr Rupert Lister’ (Western Daily Press, 7 August 1915). ‘That the war would produce war-plays was inevitable. They are divided into two classes, as is most drama, plays that deal with the physical possibilities of life and those that attempt to solve the deeper psychological problem. “The Day Before the Day” belongs to the former category, and is melodrama pure and simple. “The Day” is, of course, “Der Tag,” and the play ... is really concerned with the spy peril. It teaches nothing, however, being purely a romantic idea of what that peril may be. Consequently as such, the play has no value beyond providing an exciting and gratifying entertainment. In that it succeeds admirably ... The audience enjoyed it hugely; it is what they wanted to see happen' (Western Daily Press, 10 August 1915; much of the review is repeated in the Clifton Society, 12 August 1915, p. 12). ‘“The Day Before The Day” … is the attraction at the Prince’s Theatre this week. It is a play illustrative of the German spy peril, and Mr. C. B. Fernald, the author, has evolved a thrilling and up-to-date melodrama which arrests the attention of the spectator at the start and holds it to the end. Of course the tables are turned on the German and the large audiences are naturally delighted at their discomfiture and defeat. The play is splendidly interpreted. Mr. Rupert Lister makes an ideal Captain, who is always cool, even debonair In the presence of danger. Miss Cecile Barclay as the heroine, Victoria Buckingham, plays in excellent style and the German agents are well played, Mr. Bruce Lindley as the Professor being exceptionally good. Adequate support is given by Mr. Arthur E. Pringle, Mr. Charles Wiseman, Mr. Hubert Brett, Miss Lilian Seaton and Miss Beryl Wylly’ (Clifton Society, 12 August 1915). Reviewed in The Stage, 12 August 1915, which named the cast members as Cecile Barclay, Rupert Lister, Bruce Lindley, Hugh Lyndhurst, Charles Wiseman, Hubert Brett, Wallace Everrett [sic – Evennett], James Weston, Arthur E Pringle, Lilian [Seaton], Beryl Wylly, and Amy Morrison.

‘An up-to-date play is “The Man Who Stayed at Home,” which is this week being presented by Messrs. Vedrenne and Eadie’s company at the Prince’s Theatre. In a word the play … illustrates the German spy peril. But it does more. It also reveals how easy it is without knowing the true facts to form wrong conclusions. The play thus teaches a double lesson, first that it is necessary to guard against being too confiding, and secondly that it is equally necessary to guard against a false judgment. Many worthy people have been guilty of both errors. They have trusted Germans where they should have mistrusted, and they have mistrusted their own countrymen where they should have trusted … [it is] not wholly a sombre play for there are in it many amusing scenes and incidents … [it] must by no means be classed as a play in which all the customary exaggerations of melodrama are given their full fling’. The cast was George Tully, C. Haviland Burke, George Bailey, Eugenie Vernie, Gladys Hamilton, J, Augustus Keogh, Mignon O’Doherty, Laurie Flockton, Christine Jensen, Valerie Richards, George Hewetson (Clifton Society, 9 December 1915). ‘The Vedrenne and Eadie Company are presenting The Man who Stayed at Home. On Monday the performance was under the patronage of the British Jewish Literary Society, who, by arrangement with the management, had secured the use of the theatre in aid of the funds for the relief of the local Jewish poor’ (The Stage, 9 December 1915; also mentioned in the Clifton Society, 9 December 1915).

Performed as part of a special matinee being given in aid of the funds of the Bristol branch of the British Red Cross Society. The Duchess of Beaufort (president of the Bristol branch of the British Red Cross Society) accompanied by Lady Blanche Somerset and Lady Diana Somerset, occupied a box, and amongst other patrons present were the Lady Mayoress (Mrs Barclay Baron), the Sheriff of Bristol and Mrs H.E. Chattock. The programme was a comprehensive one. (see The Era, 23 February 1916)

The Era, 16 and 23 August 1916, listed The Man Who Stayed at Home (Red) as On The Road from 21 August at the Prince’s Theatre, Bristol. ‘“The Man Who Stayed at Home”. This exciting yet amusing war play pays a return visit [to the Prince’s Theatre]. Although those portions of it that deal with the baiting of the young Englishman for not enlisting are out of date, the main story of the foiling of the German spies plot remains excellent dramatic material. How Christopher Brent behind a fatuous exterior that so splendidly averted suspicion used his resourceful brain and was so useful to the country that he could not be spared from it, is now familiar history. It would spoil the pleasure of those who will be going to see the play this week to detail again the incidents, so we recommend them to see for themselves ... The play was very well received’ (Western Daily Press, 22 August 1916). The actors are listed in the Western Daily Press, Saturday 19 August 1916.

'Those who know Germany and the Germans thoroughly declare that the authors … have not been unfair in their picture of the German home life, of the colossal conceit of these people, and the utterly ridiculous attitude towards the rest of mankind of the Prussian lieutenant. Indeed, it is in keeping with the German religious and military writers and with the speeches of the All “Highest.” So when the English girl rebelled against the systematic insults and crushings inflicted, by her new relations and friends our English audience was thrilled. But it is difficult to believe that a girl of the instinct and intelligence of our heroine could have been so blinded by love as not to see how the Germans treated their women folk. Moreover, however hideous the brutality may seem to our minds it must not be forgotten that in the course of generations it has become an accepted law, and the absolute sacrifice of everything for the ideal of the regiment has produced a military nation second to none up till now. “Kultur at Home” is worth seeing, for it enables us to grasp how it is that the Germans are “blonde beasts” and why it is they have no humour'. Western Daily Press, 14 November 1916.

The Western Daily Press, Monday 26 February 1917, advertised Percy Hutchison and Hilda Trevelyan in A Kiss for Cinderella at the Prince’s Theatre, Bristol in the following week. The Western Daily Press, 6 March 1917, published a review of the production.

Charity event; organised by the Tractor Depot (Avonmouth) Entertainments Committee (the Royal Army Service Corps) to raise money for the Inquiry Bureau; cast specifically derived from soldiers, including professionals alongside those with "slight indication of unfamiliarity with environment"; emphasis on light-hearted, comic acts, including sketches about 'flying men' and soldiers dressing up as women; homely feel to proceedings, suggested by reference to Elm Tree Farm in Stapleton; article from 8th June describes it as a 'khaki performance' - does this mean it was performed in uniform, or simply that the cast was made up of soldiers? Staff Sergeant H.A. Robinson - described as "an old hand at this branch of the profession"; numerous Privates and Lance-Corporals mentioned, with Pte. A.E Pickworth singled out as a particularly successful singer and Pte. F.D Siddall "making up very cleverly as a charming young lady" - no mention of Folliss himself (spelled Follis in the WDP review) performing with this particular troupe, despite him having a professional card in The Stage between 1908 and 1915

‘Though “The Man Who Stayed at Home” is at the Prince’s Theatre this week for the third or fourth time, it is sure of drawing large audiences throughput the week, for the popularity of this thrilling and amusing spy play remains unabated, judging by its enthusiastic reception last evening' (Western Daily Press, 28 May 1918). ‘A return visit from E. Taylor Platt’s company with The Man Who Stayed at Home is attracting large audiences [at the Prince’s, Bristol]. The part of Christopher Brent is played with much success by Leslie Neilson Clare. J. Edward Pearce gives a capital portrayal of John Preston. Claude Edwards plays Fritz well. Peggy O’Hara is a charming Molly Preston . Agnes Lowson invests the character of Miss Myrtle with good comedy. Parts are also well acted by Harry C. Robinson, E. J. Bennett King, Hilda Francks, Hilda Glynn, and Frances Waring’. The Stage, 30 May 1918.

The Era, 17 July 1918, reported, ‘“Bubbly!” is indeed a mascot. Fresh from a 26-week tour, which recorded a success in every town visited, Mr. Ralph Haslam’s company is again in rehearsal preparatory to opening at the Prince’s Theatre, Bristol, on August Bank Holiday. The next tour embraces 45 weeks without a break, including every No. 1 date in the United Kingdom. The production is again under the direction of Mr. Augustus Bingham, who will personally conduct Mr. Philip Braham’s delightful music’. ‘Better holiday fare than “Bubbly” could scarcely have been selected for last night at the Prince’s Theatre. It delighted the packed house, and the bookings throughout the week are exceptionally good. The musical entertainment - a play it is not - has proved a great success in London. The book is by Mr J. Hastings Turner and the music by Mr. Philip Braham, who last night conducted the performance. The setting for the series of “Bubbles” was simple, but artistic, and the. entertainment was rich in fun, melody, and ideas, with a very good-company to give effect to them. One of the most popular features was, under “peace-time prophecies,” the introduction of “Old Bill” in “The Worst ‘Ole of All.” Another welcome feature in the second edition of the revue was the quartet, “A Perfect Day;” but some of the old numbers are favourites still, such as “Reckless Reggie,” “She’s a Hole in her Stocking,” and “A Little Cottage in a Little Town”’ (Western Daily Press, 6 August 1918).

‘One of the few dramatic successes during the war is “Nurse Benson,” a comedy - perhaps “farcical comedy” may be used to describe it - by two experienced writers, Mr R. C. Carton and Mr Justin Huntly McCarthy, which had a long run at the Globe Theatre. It is not a great play, nor will it make dramatic history, but as a bright and merry entertainment, as a play with a perfect wealth of amusing character-sketches, and with a tangle of cross-purposes at once more funny and less hackneyed than the too familiar complications of many farcical plays, “Nurse Benson” has deserved its success ... It belongs to farce rather than to comedy ... And yet there are moments of true comedy, and the farce is never of the kind to make the judicious grieve. The laughter the play evokes is constant, and it is hearty and honest laughter. It is as though the authors had taken up the challenge thrown down by musical comedies and revues, and said that without songs and dances, and without vulgarity, they could produce an entertainment that could delight audiences and send them away cheered and refreshed by two and half hours of merriment. It sometimes happens that plays that are well acted in London are not done well by the provincial companies that offer imperfect copies of the original creations. But the company that is appearing at the Prince’s Theatre this week more than satisfied the large audience last evening'. Western Daily Press, 15 April 1919.

‘The 1,111th performance of “Bubbly” took place [at the Prince’s, Bristol] on Whit Monday. Prominent among the leading artists of Ralph Haslam’s company are Ivy Tresmand, whose sweet voice and graceful dancing gain many encores, and Edmund Russell, whose portrayals of Major Blount and other characters deserve warm commendation. Ernest Seebold possesses a capital voice, and scores in several duets. Edith Payne acts well, and displays versatility. Florence Bayfield wins applause for her dancing. R. Barrett-Leonard [sic – Lennard] depicts various characters in good style, and participates in warmly applauded duets. Kathleen Martyn and W. Ashley Sinclair also deserve praise for their good work’. The Stage, 12 June 1919.

This was a return visit to the theatre.

‘No war play could be assured of a warmer welcome upon a return visit to the Prince’s Theatre, than “Nurse Benson,” R. C. Carton’s and Justin Huntly McCarthy’s clever and entertaining comedy. There is, as a matter of fact, quite a considerable strain of farce in the piece, particularly in the third and fourth acts, but this feature is not allowed to be obtrusive; whilst there are many moments when elements of real comedy predominate. The story is sufficiently familiar to most play-goers, and the fact of large audiences this week will prove, in the only fitting way that the joint authors saw ahead when they first produced the play at the Globe Theatre, London. It is the clean and witty humour, the occasional appeals to pure sentiment, that make “Nurse Benson” a piece that will easily bear seeing more than once' (Western Daily Press, 1 June 1920). Noted in The Stage, 3 June 1920.

Presented for a Thursday matinee as part of the week's repertoire at the theatre.

For six nights only.

Performed for one night as part of a week's repertoire by the company.