Haymarket Theatre, London

‘The London Welsh Stage Society, of which Lord Howard De Walden is president, is getting work, and on Tuesday, Feb. 29, will give a matinée at the Haymarket, when the entertainment will consist of items associated with the land of the leek. Included in the programme will be “A May Night Idyll,” a musical phantasy, by Vincent Thomas; a tone-poem and scena by Morfydd Owen; a short play (in Welsh) by R. G. Berry; the musical farce, “A Cabinet Secret,” by Harold Simpson; and a grand ballet of the Allies by Merlin Morgan. The proceeds will be devoted to the fund to provide comforts for Welsh regiments at home and abroad’ (The Era, 9 February 1916). ‘Her Majesty Queen Alexandra was present at yesterday’s matinée at the Haymarket, given by the Loudon Welsh Stage Society in aid of Mrs. Lloyd George’s National Fund for supplying additional comforts for Welsh troops at home and abroad. The programme was appropriately national from beginning to end … The third play on the bill, an amusing musical farce, “A Cabinet Secret,” written by Harold Simpson, with incidental music by Vincent Thomas, has nothing to do with politics. The plot concerns the love intrigues of a pre-revolution pair of French aristocrats, and the cabinet serves to conceal, one after the other, the lover of the Marquise and the bien-aimée of the Marquis. Mr. Vincent Thomas’ settings of the lyrics, notably that of “I hear the music of a bygone day,” with its brilliant waltz refrain, beautifully sung by Miss Gertrude Blomfield as the Marquise, and the minuet duet which she shared with Mr. Frederick G. Lloyd as Gaston de la Rue, are charming and characteristic examples of the composer’s genius. Miss Gwladys Nowth was a dainty Ninette, and Mr. Sydney Wallace, in the part of the Marquis, displayed a vein of George Gravesian humour truly diverting. The plays were produced by Mr. Lloyd’ (The Era, 1 March 1916). ‘Gallant little Wales held possession of the Haymarket Theatre yesterday afternoon, the occasion being the London Welsh Stage Society’s matinee in aid of the National Fund for Welsh Troops … Miss Gertrude Blomfield was a great success in a farcical operetta “A Cabinet Secret,” with a situation, set to music, worthy of Sheridan himself. The book and lyrics are ably written by Harold Simpson and Vincent Thomas is responsible for the music. Miss Blomfield was very ably seconded by Mr. Frederick G, Lloyd, Mr. Sydney Wallace, and Miss Gwladys Nowth’ (The Globe, 1 March 1916).

‘On my return from Chelsea [apparently the previous day] I looked in at the Haymarket [where] a special matinee was being given for the “War Hospital Supply” (Barnet depot). Here also was a full house, and a delightful programme, which included H. B. Irving and Co. in “Waterloo,” Sir George Alexander and Co. in “Good Gods,” and clever Mabel Russell and Gerald du Maurier in “A Bit of a Lad”’. Pall Mall Gazette, Wednesday 21 March 1917.

There appears to have been only one performance of this work. It was staged in order to raise funds for an ambulance. The cast for the play included: Norman McKinnel (The Policeman), Ellis Jeffreys (Lady in White), Doris Lytton (A Flapper), Pollie Emery (1st Shopper), Dora Gregory (2nd Shopper), Clare Greet (A Mother), Molly O'Shann (1st Child), Vera Lennox (2nd Child), Kitty Lofting (Woman with pram), Doreen Ley (Infant in pram), Maud Buchanan (1st Girl), Mary Clare (2nd Girl), Fewlass Llewellyn (Elderly Gentleman), Norman Forbes (German Spy), Miss Sydney Fairbrother (Solemn Woman). The play was produced by Norman McKinnel and other plays in the same bill were 'No Servants', 'The Mirror', 'The Van'. and 'Dyck'.

‘The Marchioness of Londonderry tells me that the King and Queen have given their patronage to a matinée which will be held on July 2 at the Haymarket Theatre in aid of the War Service and Woman’s Legion. The play selected for the occasion is Mr. Harold Owen’s “Loyalty,” and Queen Mary has promised to attend. I understand from Lady Londonderry that quite as much importance is attached to the propaganda of the play as to the profits which will accrue from its presentation. She is determined to make it a thoroughly patriotic affair in every way, and that is why their Majesties are taking such a keen interest in the occasion' (Pall Mall Gazette, 13 June 1918). ‘The Queen honoured with her presence at the Haymarket Theatre this afternoon a special matinée organised by the Marchioness of Londonderry in aid of the funds for the War Service and Woman’s Legion. Her Majesty was accompanied by Queen Alexandra, Princess Mary, and Princes Victoria. The matinee marked a new departure in functions of its kind, for the object of its organiser was not merely to raise funds for a patriotic purpose, but also, selecting for the occasion an exceptionally clever propaganda play, to make clear to the public the British war ideals. “Loyalty,” by Mr. Harold Owen, might have been written for the occasion. The play traces the psychological progress of a man who, starting a confirmed pacifist, is gradually converted to the view that nothing but a thorough defeat will cure Germany of her fever for military domination. A well-written piece work, it earned the hearty reception accorded to it. The house was crowded in every part, and the khaki uniforms of members of the Woman’s Legion, who filled the whole of the gallery, combined with the hospital blue of many wounded soldiers to give a pleasing note of colour to the picturesque scene' (Pall Mall Gazette, 2 July 1918). ‘At Lady Londonderry’s Women’s Legion matinée [Queen Mary's] jolly laughter fairly cheered up a house a little damped by the avalanche of Home Truths hurled at us by Mr. Harold Owen in his clever play, Loyalty. Apropos, what a bit of propaganda wasted this is. It ought to be running somewhere always - ‘specially, p’r’aps, in some of those provincial places (also Ireland) where even now they don’t get bothered very much by the war. It’d do some of our Conchies and pro-Germans and anti everything that’s English an awful lot of good' (The Tatler, 10 July 1918). ‘The Queen sent a charming letter of thanks in connection with the performance of Loyalty last week [at the Haymarket], which was witnessed by her Majesty’. The Queen realised ‘that staging a special play like Loyalty, which is not being played at the present time, requires a great deal of extra time and trouble on the part of the management and the artists, and her Majesty is very grateful to them for their courtesy in so readily responding to her request’ (The Stage, 11 July 1918).

Performed from 1 August 1918 to 8 February 1919. Cast included Dennis Eadie (actor), Sydney Valentine (actor), Randle Ayrton (actor), Billie Carleton (actress), James Carew (actor), Tom Reynolds (actor), Chas Groves (actor), Marion Lorne (actress), E. Holman Clark (actor), Henry Scatchard (actor). ''The Freedom of the Seas', the new topical and naval play which was produced tonight at the Haymarket Theatres is an unqualified success. Mr Walter Hackett, the author, has combined out war propaganda with dramatic art so skilfully that the play is an object lesson to our Ministry of Information. The main theme in the plot is the nefarious work of the enemy submarines, which is so courageously held and checked by the Senior Service. There is a pleasing love story, and an abundance of sane and healthy humour, which adds a sparkle to it. The cast is unusually strong.' (Aberdeen Press and Journal, 2 August 1918) 'There is the tang of salt water that invigorates a comedy that is in perpetual doubt as to whether it shall remain a comedy or become a farce, and when it has definitely decided on the latter course is moved to swift repentance[...] The play was received with every sign of favour, and the author and actors were called and recalled many times.' (Era, 7 August 1918) 'The cheerful thing about Mr Walter Hackett's new play at the Haymarket is that although it has every element of a popular success it is nevertheless quite a good play. For once one can side with the majority and the minority at the same time. One can be superior about it, and say "The play's the thing", or one can be just frank and human and say, "What a rattling good story.' (Daily Herald, 31 August 1918)

‘On or about the afternoon of Saturday, December 20, at the Haymarket, Mr. Frederick Harrison will revive Sir James Barrie’s “A Kiss for Cinderella,” with Miss Hilda Trevelyan again as Miss Thing. “Cinderella” will be given at daily matinees, so that the run of Galsworthy’s “Old English” (due for first production next week) will not be interfered with’. The Stage, 16 October 1924. Also mentioned in The Times of the same date. The production was reviewed by several newspapers: The Yorkshire Post and Leeds Intelligencer (22 December 1924: ‘We shall be surprised if this war-period play does not become one of London’s annual Christmas shows’); the Sheffield Daily Telegraph (22 December 1924: ‘As a nation, we seem to have almost forgotten the great lesson of service and sacrifice taught us by the war, and it is well that this play should be revived, for here Barrie is both poet end teacher’); The Scotsman (22 December 1924: ‘It was written, of course, in war time, and it may not be altogether fantastic to read into it something of the stress those tragic years imposed on an acutely sensitive mind. It is already out of date for those who can remember the war, and huge slices of it must be altogether incomprehensible to the rising generation. But the war atmosphere of the setting, impermanent and outworn, is as nothing beside the scenes of fantasy which reveal the true Barrie’); the Yorkshire Evening Post (22 December 1924 and 3 January 1925); The Stage (24 December 1924); the Dundee Courier (26 December 1924); and The Sketch (31 December 1924). ‘The run of “Old English” at the Haymarket will be suspended on Wednesday week, January 14, and “A Kiss for Cinderella” will be given at evening as well as afternoon performances’. The Stage, 8 January 1925. ‘The last performance of “A Kiss for Cinderella,” at the Haymarket, will be on Saturday, February 14.’ The Stage, 5 February 1925.