Finsbury Park Empire, Finsbury Park, London

‘In these days of feverish anxiety anything pertaining to the war is a sure attraction with the public. Quite in keeping with present sentiment is the new patriotic sketch, “The Coward,” which Horace Hunter and company, including Miss Lily Hammersley, are this week presenting at the Finsbury Park Empire. The story, briefly told, is that of the machinations of a German spy who occupies a position of trust in the Alien Investigation Department, of which Sir John Shelton is the chief. James Hilton, as private secretary and interpreter to Sir John, has many facilities for obtaining information of a confidential nature calculated to be of the greatest value to the enemy, and he is not at all backward in availing himself of all the opportunities which present themselves for carrying on his nefarious work. Dick Shelton, a son of Sir John, is regarded by his father as a wastrel. Unlike his brother Jack, he has failed to respond to the call to arms, and at the outset of the sketch he is the target of much parental criticism. But in the end Dick proves himself a man. By clever disguise he not only unmasks the villain Hilton, disclosing him in his real colours, but in doing so does his country yeoman service in effectively putting an end to the career of at least one unscrupulous spy. In this task he is assisted in no small measure by his newly-made bride, Evelyn Carville. From this bare outline of the sketch it will be appreciated that it belongs to that category particularly appropriate at the present time. The characters are all admirably portrayed. Mr. Horace Hunter himself plays the part of Dick Shelton, while the rôle of Sir John, his father, is entrusted to the capable hands of Mr. Harry Hardy. Mr Henry Latimer ably fulfils the requirements of his task as the spy, while a word of praise is also die to Miss Lily Hammersley for her very effective acting as Evelyn Carville. The cast also includes Mr. A. Weston in the part of Rodney’. The Era, 2 December 1914.

‘Eyes Right, a “little” revue, by Harold Simpson and John Tiller, is paying a first visit to the Finsbury Park Empire this week, although it has been touring the provincial towns for some time. It is considerably shorter than the majority of pieces of the kind, but it has all the characteristics with which larger and more ambitious works have made the public familiar. The comedy business is in the hands of Tom D. Newell, who, in a kind of pantomime dame part is the principal fun maker. Eileen Desmond is the only other name appearing on the programme: this is to be regretted as there are several artists appearing in the piece whose work is deserving of recognition. The Eight Empire Girls and a chorus provide not only the ornamental side of the show, but most of the bustle and movement which everyone looks for in pieces of the kind. “The Amazons’ Brigade,” a song sung by Miss Desmond, with chorus, finds much favour with the audience’ (The Stage, 11 May 1916). ‘Nowaday, no programme is considered complete without the irresistible revue and this week we have one of the miniature variety, which despite its shortness, is sufficiently long to permit of Eileen Desmond, Tom D. Newell and The Eight Empire Girls giving a good display of fun, song and story, the little show entitled “Eyes Right” going with a swing from start to finish’ (Holloway Press, 12 May 1916).

The Holloway Press, 27 October 1916, advertised at the Finsbury Park Empire on Monday 30 October and during the week ‘Miss Camille Clifford The creator of the famous “Gibson Girl,” in a new act, “The Girl of the Future” A Musical Fantasy by Harold Simpson and music by Mr. Arthur Klein. The caste includes – Mr. Norman Cheyne, Miss Ada Palmer, Mr. Bertie White, and Mr. Tupp [sic – Tripp] Edgar’. ‘There is, it appears, a place called Finsbury Park. I know, for I was there on Monday night. The magnet that drew me thither was Miss Camille Clifford, who made her first appearance in vaudeville at the Finsbury Empire. Her wonderful figure is as wonderful as ever, and she demonstrated that the “Gibson walk” is still a safe draw. “The Girl of the Future “ - the little play in which she appeared, gave her the opportunity for some sprightly comedy. I needn’t tell you the story, but if you can imagine Miss Clifford in an eighteenth century costume, smoking a twentieth century cigarette and indulging in some very twentieth-century slang, you will form some notion of the sort of incongruity on which the play is based’ (Daily Mirror, 1 November 1916). Miss Camille Clifford (the Hon. Mrs. Lyndhurst Bruce), the celebrated beauty, known to fame as the original “Gibson Girl,” who is making her very first appearance on the variety stage, and in doing so is enacting the principal character in a pretty musical fantasy, by Messrs. Harold Simpson and Arthur Klein, entitled “The Girl of the Future,” in which she exhibits her most wonderful charms and beauty in the very daintiest and clever of manners, which immediately took the fancy of the vast audience and brought forth thunders of applause. Considerable interest was also exhibited in her exquisite dress creations, which were much admired, and were the subject of a deal of comment, while the appearance of Mr. Harry Welchman, in the part of the stage lover, was as unexpected as it was pleasing, as this popular actor vocalist, now a member of H.M. Forces, and being home on short leave from the front, undertook the part at the shortest possible notice, and did himself great justice, his performance being as refined and refreshing as ever, and he naturally came in for a hearty reception. The acting and singing of both Miss Clifford and Mr. Welchman were really superb efforts, which were an undoubted source of delight to all, and they, together with Mr. Tripp Edgar, who rendered valuable assistance, richly deserved the huge reception they received at the conclusion of their memorable performance’ (Holloway Press, 3 November 1916). ‘Miss Camille Clifford could not have chosen a better venue for her re-appearance upon the stage than this palatial and well-managed house [the Finsbury Park Empire]. The subject which introduces the once-famous Gibson Girl is described as a musical fantasy, entitled “The Girl of the Future.” It is a familiar subject fairly well treated by its author, Harold Simpson, and deals in the main with a mysterious picture of the of the famous type of American Girl introduced by Mr. Dana Gibson, which ideal is what the early Louis XIV. heroine of the play wishes to finally attain. The story is set in dainty surroundings, and Miss Clifford made a genuine success with a very friendly house despite a little excusable nervousness in the rendering of her songs. She received excellent support from Harry Welchman (who was in excellent voice) and Tripp Edgar’ (The People, 5 November 1916).

Clara Evelyn and Ivy St. Helier are heading the bill at the Finsbury Park Empire next week. Sinice they last played together they have been featuring in London productions - Miss Evelyn in "Bric-a-Brac" at the Palace Theatre, and Miss St. Helier at the Empire in "Samples" at the Vaudeville Theatre. The record in the way of economy in revue is claimed by Miss |Victoria Monks, who will present her latest conception, entitled "The Extra Turn." In this, "John Bull's Girl" herself supplies the leading lady and all that matters in the way of chorus. She despises scenery of any sort, carrying out her situations upon a bare stage with no backing but the wall of the theatre, thus affording her audience an unique view of things behind the scenes. Her supporting company is enlisted from the stage staff and great fun is promised in the interpretation of the plot. Monks possesses a rare discernment in the selection of her songs, and her winners in this connection are prolific. De Busse with his novelty piano accordion, is an act with is entirely new and original, while Vivian Foster, "The Vicar of Mirth," is sure of a hearty welcome from Empire patrons. The turn of Duncan and Godfrey in their coster studies is familiar to "Park" audiences, and they return with their act entitled "A Soldier, a Girl and a Jolly Jack Tar," a comedy conception replete with topical allusion expressed in their own typical cockney way. Other attractive items on the bill include Herbert Cave, the eminent English tenor from the Queen's and, Albert Halls and Drury Lane Theatre. Spalding and Vanguard, the Kamakura Family of Japanese conjurors, and the latest war films. (Holloway Press - Friday 21 December 1917)

‘The programme - an exceedingly brilliant one - is headed by Charles Austin, the popular comedian of “Parker P.C.” fame, who is presenting his latest successful sketch, “Parker’s Appeal,” in which, as the inevitable Parker, Austin is found in his funniest mood, laughter loud and long prevailing the whole time he occupies the stage, his comical and witty quips and antics being given off in his own quaint style, proving that he, for one, has not ceased to retain his famous ability and resourcefulness as one of our foremost comedians. A great reception was, of course, accorded Austin and his company for carrying on [despite an air raid warning]’. Holloway Press, 1 February 1918.

‘The Finsbury Park Empire is topped by Cicely Courtneidge; “A Wife’s Dilemma,” Dion Titheradge’s latest playlet, with Constance Drever in the principal part, Talbot O’Farrell, Mary Law, the violinist, Chas. Cohen, The Mogadors, and Haley’s Juveniles complete an attractive programme’. The People, 30 June 1918.

‘An enthusiastic reception is accorded to Charles Austin, who, assisted by a capable company, is presenting his distinctly funny episode, Parker’s Appeal. Bristling with good, lively humour, this piece is to be reckoned among the most successful of the Parker episodes. Of the clever performance of Mr. Austin it is sufficient to say that the popular comedian is s seen at his best, and that laughter is much in evidence’ (The Stage, 13 February 1919). ‘A splendid variety programme at the Empire this week is headed by that popular comedian of Parker, P.C., fame, Charles Austin, who once again introduces us to his screamingly funny sketch in three scenes, “Parker’s Appeal,” with, of course, the famous Charles as the and only Parker, assisted by a strong company. This, we should say, is the of sketches that Austin has yet given us, for it is nothing but a continuous roar of laughter from start to finish, commencing with him receiving his calling-up notice, following on with his “cheerful” experiences on the way to the tribunal to lodge his appeal, and his eventual appearance before that body, whom he finally treats to an impassionate (?) and touching (?) speech, in which he asks one little favour - “Don’t call me up till peace is signed.” In the whole of these uproarious episodes, Austin is seen at his best, taking advantage of every opportunity to turn it to humour, which at times is indeed boisterous, and his efforts were provocative of the loudest prolonged laughter, as hearty as we have heard' (Holloway Press, 14 February 1919).

‘Charles Austin and company are presenting “Parker’s Appeal,” the humour of which has lost much of its savour (so far away do we seem from 1915), but it gives plenty of opportunities for Mr. Austin to convey his irresistible comic propensities to the audience. He is decidedly popular, and is well backed up by a company who act as capital feeders to the leading comedian’ (The Stage, 8 January 1920). ‘An entertaining variety programme is the fare being put forward at the Empire this week by the manager, Mr. Gordon Craig, the chief attraction being another visit of the popular comedian, Charles Austin, who, with his company, is once again presenting that by now well-worn although very laughable playlet, “Parker’s Apeal,” [sic] in which the resourceful Charles indulges in the most boisterous of fun, to the evident enjoyment of the huge audience’ (Holloway Press, 9 January 1920).

‘Here Charles Austin is presenting “The Adventures of Parker, P.C.,” written by himself in association with Charles Ridgewell, and produced by Charles Henry. The piece is divided into three episodes dealing with “Parker’s Wedding,” “Parker’s Appeal,” and “Parker P.C.;” and there are nine scenes in all. The piece includes a good deal of familiar material of the Parker school, but that is counted as an asset by audiences who welcome the opportunity to renew acquaintance with Parker P.C. and to join him in his adventures, first into matrimony, then as a man in war-time seeking exemption from military service at the hands of a local tribunal, and, lastly, as a new-style policeman who runs his own station at competitive prices and his own law courts on similar lines, acting as his own judge and surmounting his desk with a cash register and the necessary public-house furniture, so that customers for strong drink may be supplied during court hours. Of course, the story (or series of stories) is all very absurd, but that does not matter when one has so irresistibly a comedian as Mr. Austin to play the part of Parker. Mr. Austin’s humour is of the Cockney kind that audiences understand and appreciate to the full. He works very hard, and is on the stage most of the time, and there is laughter in plenty whenever he is about. A capital little company support their principal in whole-hearted fashion, and Ruby Norton, Alec Dane, Brian Watson, Rowland Douglas, Nancy Blackwood, and Harold Finden are among those whose work calls for particular mention. Opportunities remain for some additions to the book, for the piece played rather short on Monday, and for a better finish, but Mr. Austin and his company can be relied upon to remedy any deficiency in this direction. Finsbury Park audiences give the piece a cordial reception this week, and the success of Mr. Austin’s new experiment seems assured’. The Stage, 18 July 1929.