Theatre Royal, Plymouth

‘Still continuing to twice nightly next week, Mr. Glover presents “The Man Who Stayed at Home,” the successful spy play, which is still running at the Royalty Theatre, London. It is the work of Lechmere Worrall and J. E. Harold Terry, and is in three acts, each act being amusing and at the same time thrilling … The strong cast includes:- Clifford Marle, Charles H. Mortimer, J. Edward Pearce, C. Laverack Brown. Russell Bendle, Malcolm Cumming, Valerie Richards, Greta Wood, Hilda Francks, Frances Waring, Ethel Coleridge, Edith Cuthbert' (Western Morning News, 12 August 1916). The Era, 16 August 1916, listed The Man Who Stayed at Home (Red) as On The Road from 14 August at the T.R., Plymouth.

'We understand the advance booking for next week at the Royal has beaten everything since “Peter Pan,” which still holds the record. There are yet, we are informed, several seats which can be reserved and intending patrons would be well advised to apply for them at the earliest moment ... With a first class company, full chorus, and augmented orchestra “The Bing Boys” will be seen in Plymouth at their best’. Western Morning News, 4 November 1916.

Advertised in the Western Morning News, 15 December 1916: Camille Clifford. The original Gibson Girl of Charles Dana Gibson who will introduce to us for the first time “The Girl of the Future”. A New Musical Fantasy. Her dresses will startle all Devon, for she is bringing with her £2,000 worth of New Frocks. She has a Big Company of London Players to support her own piece, and also a large array of first class Vaudeville talent to further strengthen the programme’. Also: ‘“The Girl of the Future” is a quaint concert by the well-known playwright Harold Simpson, set to pleasing and tuneful melodies by Arthur Klein, now serving with His Majesty’s forces. The author was set the proposition of once again bringing Miss Clifford on to the stage she so long adorned, and this he has succeeded in doing by a deft manipulation of the somewhat old theme of bringing a picture to life – at any rate in over-wrought imagination of a bibulous, but kind-hearted old baron, who desires nothing better than the alliance of his ward Ninon (Miss Clifford) with his son Raymond (Edgar Stevens). The Baron (H. Tripp Edgar) falls a-dreaming over his cups in an eighteenth-century French chateau, and imagines he sees his go-ahead daughter stalking abroad à la Gibson Girl. The scheme of the projected match looks like being upset as the Baron believes his ward has gone mad. But she has only been playing a prank - and all ends in the accepted happy fashion’ (Western Morning News, 16 December 1916).

This play was "specially written" as part of a large fund-raising revue called "Take Cover" to raise money for Devonport and District Day Nursery Review: "it is written by Lt.-Col. Drury with fine dramatic power, and acted perfectly, and created last evening a deep impression.", Western Morning News

Advertised in the Western Morning News, 2 March 1918: ‘Arthur Rosebery’s Full London Company including Hettie Gale late of Plymouth. Scenes include Blanche Pearl’s Flat, The Shipbuilder’s Office, Dame Manley’s Cottage, George Gold’s Office, The Home of the Inventor, Gaythorne Manor, The Birthplace of Battleships, The Old Mill, The Old Crown, Submarine Interior, Tableau – Triumph of the British Fleet, Quarterdeck of H.M.S. Glorious, The Decoy Ship and The Sailor’s Church by the Sea’. ‘It is not often that a drama ends in a triple ceremony. The play being staged at the Theatre Royal, Plymouth, this week does. Hence it is no doubt that it is considered to make that special appeal to the fair sex which the title implies. Before the happy consummation of hopes a long story, with innumerable incidents and events grave and gay, has to be threaded through. From the shipbuilder’s office, with its villainous espionage, and the temporary triumph of the German agents, easily detected under a thin disguise of Northcountry dialect, the play moves to the tossing ocean, where some old scores are wiped off by the clever trapping of German submarine, with old “friends” aboard, by a decoy ship. The interior of the submarine is shown, and this scene, together with its excitement, was appreciated. There is an abundance of comedy to relieve the strain which might otherwise be felt ... There are songs at intervals, chiefly of a humorous character’ (Western Morning News, 5 March 1918).

Cast included: Dorice Garman (Phoebe), Elsie Stevens (Mary), Morgan (Joan), Roger Livesey (Tommy), Harry Cole (Hoskins), Goulgh[?] (Ivy Chaldis), Herbert Sparting[?] (Major Bramsgrave, Eric Maturn[? ](Captain Hardcastle), Ralph Lynn (Lieutenant Turnbull), Barring[?] (Phyllis), Loran[?](Esme), Dorothy Cecil (Sadie), Lorna[? ]D? (Angela) Watt[?] (Peggy), Graham (Babs), Murray Moore (Philip Bolton), Betty Ward (Mrs Makepeace), Boyd[?] (Augustus Tinkerton).

‘Bubbly finds much favour [at the Royal, Plymouth]. Edmund Russell proves himself a comedian who brims over with humour. He is ably supported by R. Barrett-Lennard and Ashley Sinclair. Ernest Seebold sings his various numbers with good taste. Ivy Tresmand possesses a charming voice and stage presence, and receives applause for her various numbers. Florence Bayfield, Kathlene Martyn, and Edith Payne also deserve mention’. The Stage, 6 March 1919.

‘“Nurse Benson,” presented by Marie Löhr’s company [at the Royal, Plymouth], is the essence of true comedy; crisp, and laughter provoking. The Lady Gillian of Hazel Jones is a dainty assumption of the part of the fascinating nurse, greatly aided by the finish and grace of her acting. James Carrall does extremely well as the testy Lord Messiger. From S. A. Cookson we have a clever piece of acting in the part of the somewhat irresponsible Brook Stanway. Clifford Poulteney [sic – Poultney] (an old Plymouth favourite) does sound and efficient work as Captain Tibbenham, V.C.; as does also Basil Dyne as the father of the Captain. As the butler Smeeton, Clayton Bentley is clever and amusing. Charles Bishop gives a good portrayal of Sergeant Hicks. The rôle of Mrs. Tibbenham is in the capable hands of Drusilla Wills’. The Stage, 10 April 1919.

Previewed in the Western Morning News, 28 June 1919. ‘Described as a musical extravaganza, “Tails Up,” which is being produced at Plymouth Theatre Royal this week, might also be truthfully written down as an extravagance of mirth, for in all the widely-diversified phantasmagoria of scenes through which the onlooker is bustled. the hilarious element is never lacking. A large audience last night fairly bubbled all through with laughter which oftentimes swelled into immoderate proportions. Among the many funny items was a “tale” in the nature of a skit on a plain man’s endeavour to see a highly-placed official at the War-office, which was very ingeniously constructed and caused boundless merriment, and which, if one is to believe what appears in public print, contains at least a substratum of truth. There is a great display of Army humour, which never fails to be appreciated. A mirthful “tale” of an intellectual sergeant-major’s attempt to produce “Hamlet” [sic - in other reviews the play is 'Macbeth'] with the aid of raw recruits was a rare plum of amusement, especially Private Small’s (Mr. Bert Monks’) woebegone expressions and ejaculations. In a. historical lecture of the war, given 500 hence, Mr. Edwin Adeler caused the maximum enjoyment with his quaint interpretations of popular Army catchwords, but we fear history is too solidly written to enable citizens of the future to have such interesting researches. Many topical jokes found a true target. There are many other scenes strongly seasoned with humour, and which are too numerous to mention. On the other side of the picture is prominent a very pretty love scene, which has an especial aptitude this week through representing the Waterloo celebrations in Vauxhall Gardens. This is extremely well staged. Among the strong company of artistes Miss Phillis Beadon gained many admirers through her joyous singing and acting, her graceful dancing and her piquant style. Miss Hilda Simpson scored many successes in songs and duets, singing with commendably clear enunciation and acting with insouciance. Miss Claire Ruane’s songs were also well received. Mr. Edwin Adeler displayed rare versatility as a comedian, presenting many parts in inimitable style. Mr. Jack Leopold also speedily became a favourite, the song “N’ Everything,” which peculiarly suited the nonchalant manner he affects, being one of the biggest hits of the evening. Mr. Leslie Ward was also happy in song and dance. The many secondary rôles were very ably filed, while the dresses were handsome. The music has at least the merit of tunefulness, and the may solos, duets and choruses went with a swing. There is no matinee this week’ (Western Morning News, 1 July 1919).

Previewed in the Western Morning News, 10 April 1920. ‘One of the brightest productions of the revue type, “Bubbly” is highly attractive [at the Royal, Plymouth]. It contains some original burlesque scenes, all delightfully portrayed. Phyllis Whitney, Elsie Stevens, Edith Payne, Wynne Bronte, Edward Steadman, Barrett-Lennard, Vyvian Pedler, and Lauri Aster are prominent for good work’. The Stage, 15 April 1920.

The Western Morning News, Thursday 10 June 1920, advertised for the following week at the Theatre Royal, Plymouth, the ‘farewell visit’ of Bubbly, ‘the brightest and merriest musical play of modern times’. Previewed in the Western Morning News, Saturday 12 June 1920. ‘… Of the revue type, which proved so popular during the war, when the strained nerves of the people required cheerfulness and melody without the exercise of any great mental activity, Bubbly is a representative musical comedy of the modernist school, and searches as far back as the pre-historic, and as recently as the war for scope for humour … One of the funniest skits of the while production is “Peace Time Realities,” depicting Old Bill at home and the retired major as they are imagined and as the author believes them to be’ ( Western Morning News, 15 June 1920). ‘A return visit of “Bubbly” is the attraction [at the Royal, Plymouth], with Edith Payne, Elsie Stevens, Phyllis Whitney, Wynne Bronte, Edward Steadman, Lauri Aster, G. T. Milsom, and Vivian Pedlar in the chief characters’ (The Stage, 17 June 1920). The Western Morning News, Thursday 10 June 1920, advertised for the following week at the Theatre Royal, Plymouth, ‘For the first time on any stage the new musical play by Edward Steadman “Keep Going” presented by the “Bubbly” Co.’. The Stage, 24 June 1920, reported that ‘A new revue, presented by Edward Steadman and the same company that appeared in “Bubbly” last week, entitled “Keep Going,” was favourably received on Monday, June 21’ at the Royal, Plymouth.

Flying matinee.

Performed by the Alfred Denville Stock company in a 'special revival' twice nightly at 6.40 and 8.45.

Starring Miss Annie Saker