Lyceum Theatre, Edinburgh

Performers: Cecile Barclay, Rupert Lister

‘“The Man Who Stayed at Home” At The Lyceum. This German spy play ... was presented last night at the Lyceum by a capable company, and was followed with the keenest attention by a large audience. The authors ... may be congratulated on having written so excellent a melodrama, dealing with a subject which has occupied the minds of so many people during the past nine months, and the difficulties and dangers of which are even yet by no means at an end. That the play is so thoroughly interesting is due to two main causes. In connection with the German system of espionage, organised in what may be called so scientific a manner in every country of Europe, many extravagant things have, no doubt, been written and said. But in the play, the incidents from all we know now of German spying at home and abroad in no case exceed the bounds of possibility, even of probability: and the game of the spies being themselves successfully spied upon by the emissaries of the British Government, which is the plot of the drama, provides some thrilling situations in the course of the three acts. Then, too, the drama is cleverly put together. It is not all serious. There is abundance of light comedy relief … “The Man Who Stayed at Home” is a play which can be strongly recommended, because for one thing it deals in a rather sane manner with a present-day problem which is not yet solved. It was admirably acted by the whole company …’. The Scotsman, 4 May 1915. This must be the Vedrenne and Eadie company as the Taylor Platt company was in Stockport this week.

'it was written in 1913, and is therefore antecedent to the outbreak of the present war. The explanation is due since the locus of the play is placed in Austria, and the viewpoint expressed by a German character is pointedly prescient of the inhumane attitude of the nation with whom we are now in deadly grips.' ...'In essentials the play was worthy of the cordial reception it earned. In itself it was interesting and entertaining, and it was certainly well and carefully produced" "Edinburgh Evening News", 4 June 1915

‘All the men who stay at home are not “slackers.” That’s the moral pointed by the play which is coming to the Lyceum Theatre. “The Man Who Stayed at Home,” in its exciting adventures in the hunting down of German spies on the East Coast, gives a hint to the white feather brigade to know something of the facts before they label a man. The monocled young idiot in the play is not so empty as looks. He is, in fact, a clever secret agent who, under the ruse of his silly cackle, effects the capture of a dangerous band of spies. The play has plenty of spirited action, and is, of course, intensely topical. Mr George Tully will play the man who stayed at home, and will be supported by a very capable company’ (Edinburgh Evening News, 11 September 1915; George Tully was a member of the Vedrenne and Eadie company). ‘On Saturday, 18th September, in addition to their usual weekly entertainment to 200 wounded soldiers at the Lyceum Theatre, Edinburgh, Mr and Mrs Forbes of Callendar entertained over 400 non-commissioned officers and mem of the 3rd Battalion A. & S.H. and other friends, in view of the date being the 17th anniversary of their eldest daughter’s birthday. The whole company, numbering about 700, was afterwards entertained at tea in the Artillery Halls, opposite the Lyceum Theatre … The 3-tier birthday cake was cut by Miss Forbes ably assisted by Lord Provost Inches, General Bethune, and Mr Tully (“The man who stayed at home”)’. Stirling Observer, 28 September 1915.

The Daily Record, 21 August 1916, advertised at the Lyceum ‘The Latest Successful London Revue, “Stop Press.” All-Star Cast incudes Kitty Major, Tom Major, Geo. Lawrence, Jack Cranston, And London Beauty Chorus'.

The Scotsman, 27 September 1916, advertised Hilda Trevelyan and Percy Hutchison in A Kiss for Cinderella at the Royal Lyceum Theatre in the following week. The Era, 27 September 1916, listed A Kiss for Cinderella as On The Road at the Lyceum, Edinburgh from 2 October.

The play is listed as ‘on the road’ at the Royal Lyceum Theatre, Edinburgh from 18 December in The Era, 20 December 1916.

The work [of Gus Oxley and George Hestor and Joan Hay] 'is essentially that of the music hall comedian. One has always the impression. of transplanted “turns “ with the rest of the play for a setting. How near the work of. the principals in the modern musical farce approaches that of the old-time circus clown, in manner, methods, and even in make-up, may also strike the reflective; and the thought may raise in the mind some misgivings as to whether modern dramatic development is entirely in the right direction. There is no denying, however, that the Bing Boys are entertaining. Merriment last night filled the Lyceum Theatre ... Last night’s audience showed a high appreciation of the light and sparkling fare that was presented to them’. The Scotsman, 20 February 1917.

The Scotsman, 9 April 1917, advertised Percy Hutchison and Hilda Trevelyan in A Kiss for Cinderella at the Royal Lyceum Theatre, Edinburgh from 16 April for six nights and two matinees. The Scotsman, 17 April 1917, published a review of the production.

A play in nine scenes, "The Girl and the Blackguard," is the strong attraction at the Lyceum. The story tells of the adventures of a British governess in Hun-land, and there are many thrilling episodes. The company responsible is that of Messrs. Frederick Baugh and Royce Carleton, and they sustain interest from start to finish. In addition to the play, several interesting films are shown. (Daily Record - Tuesday 12 June 1917)

Performed 8-13 April by H. V. Esmond, Moya Mannering, Frank Fort, Florence Helm, Hilda Harris, Mr Dupres, George M’Closkie. The Scotsman commented that 'the development of the theme in Julyann’s cabin is convincing as well as amusing. Its vivacious interpretation of character and temperament places the comedy on a high level of dramatic art' (9 April 1918)

The play was initially planned to be performed on Wednesday 2, Thursday 3 and Friday 4 October 1918. However, 'The Scotsman' announced on 3 October that the play was to be postponed until Friday 4 October when it would make its world premiere. Cast: Martin Harvey, Miss N. de Silva, Vere Bennett, Fred Grove, Walter Pearce, Leo Caselli, Alfred Ibberson, Rutland Barrington, J. Cooke Beresford, Roger Alywyn, Alfred Fisher (actor & Stage Manager), Leonard Cassell (actor & Assistant Stage Manager).

Allen Jeayes (actor), Gilbert Heron (actor), Florence Helm (actress)

‘“Bubbly,” the “musical entertainment” which made its first appearance in Edinburgh at the Lyceum Theatre last night, had an enthusiastic reception from an audience which filled every part of the house. The book is written by Mr J. Hastings Turner, with the music by Mr Philip Braham and others. As is the case in most works of its class, the piece is devoid of form and coherence, but there are some happy ideas in it, and there is a kind of. freshness due mainly to the players and partly to the authors and designers. “Bubbly” is a succession of humorous caricatures. Perhaps the funniest episodes were the clever parody of Old Bill and the torture endured by a major who is experiencing “the comforts of home” after serving in the war. The effect of the latter episode was greatly heightened by the mock bombardment which was introduced to enable the major to go to sleep. Mr Edmund Russell appeared both as Old Bill and the major, and the audience enjoyed to the full his play of face and voice ... ' (The Scotsman, 22 April 1919). ‘The attraction at the Lyceum Theatre is presented not in scenes but in “bubbles” (of mirth), hence the title. It is unnecessary to make the customary apology for the lack of a plot in this musical melange. A series of musical, terpsichorean, and witty things to laugh at is all that “Bubbly” professes to be, and it lives up to its profession. A succession of vaudeville turns of sparkling and incisive humour, “Bubbly” is reminiscent now and then of “The Follies” at their best, original and eccentric. The songs possess a pleasing lyrical quality, and more often than not a clever and entertaining “motif” ... Many of the other humorous touches are post-war in their up-to-dateness, and there is the quality of irresistible fun in the fantasy of “Old Bill,” his civilian life a burden through the attentions of those who would exploit his fame, wreaking vengeance on his creator, Bairnsfather, and in the skit on “any old Major,” nerve-wrecked and vitriolic under the enervating placidity and comfort of home life!' (Edinburgh Evening News, 22 April 1919). Also noted in The Stage, 24 April 1919.

‘The performance of “Nurse Benson” was thoroughly enjoyed by a large audience on Monday [at the Royal Lyceum, Edinburgh], the unforced humour of the dialogue and the clever characterisations finding ready appreciation' (The Stage, 5 June 1919).

Performed for one night only at a special matinee in aid of homes for nurses broken in the war.

‘The charming comedy, “ Nurse Benson,” which has numerous admirers, both in the story and in the play form, makes a welcome return visit to the Lyceum Theatre ... The whole atmosphere of the comedy will be recalled as singularly pleasant and happy, and upon this visit “Nurse Benson” should not only retain old friends but make many new ones’. Edinburgh Evening News, 5 June 1920.

Performed for one night as part of a week's repertoire by the company.

Performed for one night as part of a week's repertoire by the company.

The Scotsman, Monday 7 September, advertised at the Royal Lyceum Theatre ‘next week’ the ‘personal visit of Martin Harvey, Miss N. de Silva, and company’ in plays including on Thursday and Friday evenings Shaw’s Blanco Posnet. ‘The presentation by Sir John Martin Harvey at the Lyceum Theatre last night of “The Shewing Up of Blanco Posnet” makes an interesting addition to the list of Bernard Shaw plays which have been given in Edinburgh. It is characteristic Shaw material, and a fresh revelation of the extraordinary range and variety of his stage creations. Here the author invades the field made familiar a generation ago in the works of Bret Harte; but he presents the “Bill Nyes” and “Truthful Jameses” and their comrades, as is to be expected, in an independent and personal aspect, and in a setting of action which is original, highly coloured, and piquant. There is perhaps a hint of the guilelessness of the Bret Harte heroes in the primitive Court scene, where the prisoner is condemned before the evidence is heard, but receives the assurance from the Sheriff that, while he will be hanged, “he will be hanged fair”; in the turn given to events by the transparent prejudices and predilections of the jury, and in the engaging potency of simple, sentimental motives that occasionally emerge. While there is some extravagance in the characters of this Western community, there is an underlying strength in the play, based on a sense of the elemental in human nature. It might be supposed that Mr Shaw, in this instance, has taken up with peculiar gusto the task of making a play from the rough and primitive material of the Now World in the making but that his analytical instinct and subtle sense of motive have given the play a deeper significance and interest than was probably at first intended' (The Scotsman, 18 September 1925).

The Scotsman, 7 March 1927, advertised Martin Harvey’s at the Royal Lyceum Theatre the following week; they would perform “The Showing Up of Blanco Posnet”, preceded by “Ib and Little Christina”, ‘by Special Request’ on Friday evening. ‘Last night’s performance of the play was marked by the supreme artistry of the players, and all did “justice” to Shaw’s wit and philosophy in a piece of familiar psychology, romantic, human and absorbing. In the part of Blanco Posnet, a Wild West ne’er-do-well, Sir J. Martin Harvey finds ample scope for his far-ranging gifts, and his outstanding presentation of the part was given with all his accustomed vigour and spontaneity. Lady Martin Harvey’s Feemy Evans was a clever study; and the other characters were admirably interpreted’ (The Scotsman, 19 March 1927).

The Scotsman, 25 July 1927, advertised the third and fourth (and last) weeks of the Macdona Players’ season of Shaw plays at the Royal Lyceum Theatre. On Wednesday and Thursday, 2 and 3 August, they would present ‘The Showing Up of Blanco Posnet’ followed by ‘Candida’. ‘The Macdona Players, who have been delighting large audiences with the performances of Mr Bernard Shaw’s works at the Lyceum Theatre, Edinburgh, presented two fresh plays last night, when they gave satisfying renderings of “The Showing up of Blanco Posnet” and “Candida.” Mr Esme Percy, who has been producing the plays during the present season, appeared in the part of Blanco Posnet, the horse thief who risks his neck to do a human action, and played it with much success. Mr George Merritt was an amusing Sheriff of the approved Wild West type, and Miss Margaret Rawlings was a pert and convincing Feemy Evans … Both plays were cordially received by the large audience last night’ (The Scotsman, 4 August 1927).

Performed from 4-5 September 1929 by cast including Henry Baynton (actor), Douglas Rubery (actor), May King (actress), Gertrude Gilbert (actress). "By the aid of judicious lighting and other means, the right atmosphere was created last night. ...Miss King, in the part of Bransby's daughter, acted at times with a great deal of feeling, but one felt that she was never quite herself because of something conventional in her way of delivering a speech. A bright study of the part of Mrs Hilary was given by Miss Gertrude Gilbert." (Scotsman, 5 September 1929)

The Scotsman, Friday 14 September 1934, advertised the Brandon-Thomas company in the first performances in Edinburgh of J. M. Barrie’s A Well-Remembered Voice at the Royal Lyceum Theatre the following week. Previewed in the Falkirk Herald, 15 September 1934, as ‘a little curtain raiser which no Barrie admirer should miss. It has so striking and unusual a theme that it provokes controversy, and grips from curtain rise to fall’. ‘It may seem strange that Barrie’s one-act play, “A Well Remembered Voice,” had not been seen in Edinburgh before its performance last night in the Lyceum Theatre by the Brandon Thomas Company. The chief reason is that the “curtain raiser” has been for a long time out of vogue. The Brandon Thomas Company have to be thanked for bringing the one-act extra into favour again. Their rendering of the Barrie playlet once more demonstrates the something else, the magic aura, that seems to attach to the author’s written word. Some credit is, of course, due to the production. This play, with its unusual theme, had most intelligent and skilful interpretation ... last night’s performance held the tense interest of the crowded audience, and the players are entitled to the full share of credit in the result’ (Scotsman, 18 September 1934).

The Scotsman, 1 October 1916, advertised the Wilson Barrett company in Alexander Reid’s Worlds Without End at the Royal Lyceum Theatre that week. ‘“Worlds Without End,” a new play by Alexander Reid, an Edinburgh author, … received its first performance last night in the Lyceum Theatre by the Wilson Barrett Company … Barrie’s “A Well-Remembered Voice,” and one of his most interesting one-act plays, beginning with a table-rapping episode and developing unexpectedly, was given an admirable presentation before the principal play, with Derek Walker in a completely sympathetic interpretation of the artist, Kitty de Leigh as his wife, and Michael Nightingale furnishing the voice from the unseen figure of the soldier son’ (The Scotsman, 1 October 1946). Noted also in The Stage, 3 October 1916 (‘Derek Walker gives an outstanding performance’).