Empire, Shepherd's Bush, London

‘Mr. Oswald Stoll has done well to send his Opera House revue into the suburbs, and with such a brilliant cast there should be no doubt about its success. Of course, limited to a twice-nightly performance several of the scenes have had to be omitted, but with one two exceptions everything that was best in the revue has been retained' (The Era, 1 November 1916).

Beatie and Babs, the famous juvenile artistes, are among the principal attractions on Monday. Five years ago they made their debut on the stage with "The Pavement Rehearsal." Their success was assured from the start. Next they starred in an indescribable pot pourri, "The Sagragette," that was so much to everybody's liking that, like Oliver, audiences were always left asking for more. Now they are presenting a new item which they call "Kitchen Frolics." Both Beatie and Babs pose as a couple of ambitious domestic servants - Babs as the dirtier of the two, as Sam Weller would have put it. The merry and ever-welcome coster couple, DUncan and Godfrey, are engaged to present their lovable Cockney conversation concerning "A Soldier, a Girl and a Jolly Jack Tar." Two other favourite duos, in the persons of Brightie and Carlyon, and Holdon and Bert have also been secured. The Comedy Meisters direact from a long successful tour with "The Bing Boys" will make a welcome appearance together with the clever Pasquali Brothers, Ed. Baisden and the Versatile Four. (Ealing Gazette and West Middlesex Observer - Saturday 9 June 1917)

‘The star attraction at Shepherd’s Bush next week will be “Parkers Appeal.” This is Mr Charles Austin’s latest success, burlesquing a topical subject and forming another number in the famous “Parker Series” of sketches' (West London Times, 4 January 1918).

‘An important attraction at Shepherd’s Bush Empire next week will be “Parker’s Appeal.” This is Mr. Charles Austin’s latest success, burlesquing a topical subject, and forming another number in the famous “Parker Series” of sketches’. Richmond Herald, 26 October 1918.

‘The important feature in next week’s bill at the Shepherd’s Bush Empire will be “Parker’s Appeal.” This is Mr. Chas. Austin’s latest success, burlesquing a familiar subject, and forming another number in the famous “Parker Series” of sketches’ (Richmond Herald, 24 December 1919). ‘The important feature in this week’s bill at the Shepherds Bush Empire is “Parker’s Appeal.” This is Mr. Chas. Austin’s latest success, burlesquing a familiar subject, and forming another number in the famous “Parker Series” of sketches’ (Ealing Gazette and West Middlesex Observer, 3 January 1920).

Mander & Mitchenson, p. 335, list a partial cast ( they advertised for details of the cast in The Stage, 7 January 1954): Elder Daniels, Frank Lindo; Blanco Posnet, Philip Yale Drew; Strapper Kemp, Arthur Stratton; Feemy Evans, Dora Dare; The Woman, Rose Ralph. The names of more cast members are listed in The Stage, 15 November 1923. ‘The inclusion of a play by George Bernard Shaw in a variety bill is a thing of unusual interest. At the Shepherd’s Bush Empire on November 19 “The Showing-Up of Blanco Posnet" will be staged, with Young Buffalo in the principal part’ (The Stage, 18 October 1923). ‘Bernard Shaw is to be brought to London suburbs, for next week, at the head of a brilliant variety company at Shepherd’s Bush Empire, is Young Buffalo (Phillip Vale [sic – Yale] Drew) in Bernard Shaw’s sermon in crude melodrama, “The shewing up of Blanco Posnet,” presented by Andrew Melville. There are more than twenty-two characters in this play, the action of which takes place in a territory’ of the United States during the Pioneer days when, for a trial, any barn was used for a Court House. The principal character, “Blanco Posnet,” is taken by Young Buffalo, who has scored sensational successes in more than one Lyceum drama’ (West London Observer, 16 November 1923, reprinted in the Hammersmith and Shepherds Bush Gazette, 20 November 1998). ‘George Bernard Shaw’s “The Showing Up of Blanco Posnet”, which the author describes as a sermon in crude melodrama, may not exactly fit in with the Shepherd’s Bush idea of a sermon, but there is no doubt concerning its success as an entertainment. Monday’s audience gave play and players a very hearty reception, and it surely marks progress when a Bernard Shaw playlet can hold the attention of a suburban audience for forty-five minutes or longer' (The Stage, 22 November 1923).