Haymarket Theatre, London
Address: London, UK
Performances at this Theatre
|19 Mar 1915||Five Birds In A Cage||Unknown|
|20 Apr 1915||Quinney's||Unknown|
|9 Dec 1915||Who Is He?||Unknown|
|15 Nov 1916||The Widow's Might||Unknown|
|18 Nov 1916||Postal Orders||Unknown|
|20 Mar 1917||A Bit of a Lad||Professional|
‘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.
|26 Jun 1917||The Mirror||Unknown|
|26 Jun 1917||Waiting for the Bus||Unknown|
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'.
|1 Aug 1918||The Freedom of the Seas||Professional|
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)
|20 Dec 1924||A Kiss For Cinderella||Professional|
‘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.
|22 Apr 2016||The Mayor Of Troy||Unknown|