Olympia, Liverpool

The Liverpool Daily Post, 20 October 1914, advertised ‘Horace Hunter & Co. in a New Patriotic Sketch, “The Coward”' at the Olympia. Also: ‘Horace Hunter and Co., in a war sketch, and Val A. Walker, the navy wizard, … win favour’ (Liverpool Echo, 20 October 1914). And: ‘Horace Hunter and Co,’s clever sketch, “The Coward,” is well received’ (Birkenhead News, 21 October 1914).

Kultur was performed for two weeks until 20th March 1915.

(The Stage - Thursday 28 October 1915)

Liverpool Mr Andre Charlot presents the Enormous London Revue Success 5064 Gerrard. Direct from the Alhambra Theatre London. 7 Gorgeous Scenes including the Persian Ballet, and Murray's London Night Club. Cast includes George French, Lafayette Rannsley, Dorothy Monkman, Anna Dorothy, Syd Crossley, Connie Kaye and Full London Company over 50 Artistes. (Liverpool Daily Post – Friday 4 February 1916)

A touring company from the same production. A sketch "The Conscienceless Objector" was introduced into the show on 20/3/1916.

The sketch became part of the show 'Joyland' on this day.

Performed by Sarah Bernhardt. The Liverpool Daily Post recorded that 'as the curtains fell there was silence for a long, unforgettable second, the silence in which thought is lost in the profundity of the heart's emotion then gradually, like a gathering wave, the unrestrained applause swelled and flung itself against the stage' (30 March 1916). The Liverpool Echo on the same date noted that 'There was no one untouched. The wonderful emotionalism of the actress swept away all the barriers of language. There could have been no woman far from tears; if any man remained unmoved, only dynamite could shake him'.

‘Olympia’s programme is merry and bright all the way through. It contains the inevitable revue, but this is compressed into half an hour, much the advantage of the revue itself and the evening’s entertainment in general. Eyes Right is sustained simply by two principals and a ballet of eight, but the producers have given them plenty of scope, and the comedian’s imitation of sailors’ dances is exceedingly jolly’ (Liverpool Daily Post, 23 May 1916). ‘A bright and charming revue – a miniature revue – forms the chief part of the excellent bill at Olympia this week. It is entitled “Eyes Right,” and is most pleasing in every way. The chief provided [sic] of fun is Tom D. Newell, a comedian who enhanced his reputation at the last Royal Court Theatre pantomime. He is a host in himself, but is well supported by the vivacious Eileen Desmond, the Eight Empire Girls, and others’ (Birkenhead News, 24 May 1916). ‘Eyes Right, entitled a “petite revue,” is but a poor trifle, wherein appear the Eight Empire Girls, Eileen Desmond, and Tom D. Newell’ (The Stage, 25 May 1916).

It was performed by 'Four Vagabonds'. Others in the same bill were: 'Mrs O'Malley's Reception', Harry Bedford, Ed & Jack Smith, Fulgora, Buckley and Dove, May Erne and He.

Week of 26 February for the first time on any stage. A gigantic Moss Empires Production, "Follow the Flag" by William J. Wilson. 13 Superb scenes, stupendous cast includes: Walter Passmore the great Comedian, 100 beauty chorus. Twice nightly 6.40 and 8.50. (St Helens Examiner - Saturday 24 February 1917)

In this new production the Moss Empire Ltd. staged at the Olympia, Liverpool, on Wednesday 28th February a very entertaining, amusing, and pretty addition to our present stock of revues. In the matter of novelty of incidence and in richness of design there is not too close an approximation in the many preceding revues that Moss Empire Ltd. and other notable producers have put on. William J. Wilson the producer and designer of "Follow the Flag" leads along no new paths of glorified spectacular splendour, a great deal of the revue being rural. It moves along the primrose path of country prettiness in the charming scenes of rustic beauty by H.S.Kelly, rather than the spectacularly bizarre in dazzle, glitter and opulent stage effect. Leading off with a front-of-the-tabs "Forewood" nobly sung by Rosie Reys, we open into what is the best truly revue scene in the production, an Estaminet in France. There is a flavour and a real atmosphere of this very full and racy scene. "A Station in Paris" is also in the true spirit of revue, and the group up the ladder-like train indicator is one of effective staging which strike the distinctive note. After these two admirable displays we become rural and domestic, and most acceptable humour dwells therein. There are the Garden Wall, Over the Garden Wall, the Front of the Front, Somewhere in Somerset, and a Scotch Village, for instance. The climate of the production comes in a beautiful scheme of colour formation and delightful groupings and evolutions, glowingly materialised in a Vision of Empire and its Anyotheosis. If in limiting the number of scenes, which are usually costly and gorgeous, regard has been paid to present stringent circumstances, then the management are to be congratulated upon a production which is sufficiently good without over-elaboration or extravagant splendour. The songs are plentiful and pleasant in character. Rosie Reys has several in "Miss Britain," "The Red Cross Maid," and "Follow the Flag." Two companion songs "From Someone in France," and "To Someone in Somerset'" are a sweet haven of sentiment in the piece, and are delightfully rendered by Sydney Moorhouse and Madge Vincent. The words are by Harold Robe who has written almost the whole of the lyrics and Charles Cowlrick. "Flappers Three" is a comic vocal interlude in which Walter Passmore, Wilson James, and George Belmore mightily amuse the audience. "Oop to Lancashire" is well worked by Maud Dupre and chorus, sung after an "Apache Dance" cleverly if realistically executed by Green and Ellis. One or two Scottish items by Billy Walters finds ready humour. "The Girl in the Gingham Gown" is a nice number, brightly rendered by Madge Vincent and Sydney Moorhouse; and a scarecrow dance by Jim Marba and Brownie, is diverting. Walter Passmore is the lead in comedians, and he brings a great deal of humour to the performance, well strengthened by George Belmore, Wilson James, Billy Walters, and Charles Emerald. The music is almost wholly written by Herman Darewski, with interpolations by Harold Robe and Charles Cowlrick, while the book is by Marriott Edgar. Specialities are provided by Leo Ray, Billy Walters, Charles Emerald, and Dupre, Green and Ellis, and Eva Barnes' Troupe of Twelve Rubies. The opening performance was honoured by the Lord Mayor and Lady Mayoress, and the night's proceeds were handed over to the Lord Mayor's Fund in aid of Alder Hey Hospital.

Only three days old, plays to full capacity at Olympia both houses Saturday. Instantaneous and emphatic Success of William J. Wilson's Colossal and Unprecedented Revue. Book by Marriott Edgar, Lyrics by Marriott Edgar and Harold Robe. Songs Include Red Cross Maid, Flappers Three, Oop to Lancaster, Nothing But Eyes. Verdict of the Press The Liverpool Courier says: In "Follow the Flag" we have the art of revue-making carried to a point of excellence which has hitherto not been attained; in its material, and the employment of the same, leaving far behind some examples which have hitherto passed muster for the revue type. The Liverpool Post and Mercury says: There is nothing patchy in the show; it maintains throughout a consistent level of merit which prevents the interest from flagging during any of the thirteen scenes. Spectacularly the revue is super gorgeous. The settings are all on a lavish scale, without the garish glitter which finds such favour with many producers. A vote of thanks is due to the producers for having put forward an elaborate revue without having resort to a scene in which the chorus is brought among the audience. Other up to date producers might do well to note this. From the Liverpool Express - "Follow the Flag" certainly justifies its claim to being a super spectacular revue, for it is well in advance of anything of the kind ever presented to Merseyside theatregoers. "Follow the Flag" is not only an artistic triumph as a spectacle; it also has the merit of being bang up to date in its conception. The Liverpool Echo - Liverpool's first night passed off successfully, and the big revue, 'Follow the Flag' was given a hearty welcome. The Sunday Chronicle says: - Scope is afforded for elaborate scenic display and W.J. Wilson, the producer, has used it lavishly but judiciously, preserving continuity and restraint, yet achieving brilliant effects. Scenes: The Estaminet, Station in Paris - as it might be, The Garden Wall, Over the Garden Wall, the Front of the Front, Somewhere in Somerset, A Scotch Village, Lawyers Office. Tableaux - Builders of Empire, and Apotheosis of Empire Effects - Allies Escalade, Instantaneous Change from Trench to Farm, May Tableau with Blended Flag Backing, Empire Capes. A record triumph. Playing to crowded and enthusiastic houses, Olympia Liverpool. (The Era- Wednesday 07 March 1917)

The big revue "'Follow the Flag" was given a hearty welcome at the Olympia. The war scenes in which the comedians is Tommies in Estaminet, station, and trench and over the footlights scene of the real humour which has formed the subject of so much vivacious writing from the front are admirable. A story in which following the flag is the central idea without descending to spurious patriotic drivel. (Liverpool Echo Tuesday 13 March 1917) The new Moss Empire revue "Follow the Flag" at Olympia is fully equal to any of its mammoth predecessors. The story by Marriott Edgar embraces the fighting line in Flanders and the hills and dales of England and includes many topical hits. By the way scope is afforded for elaborate scenes and play, and W.J.Wilson the producer has produced lavishly, achieving brilliant effects. Judging from the big audiences nightly Liverpool's Follow the Flag at Olympia achieves a very extensive run. (Sunday Chronicle 11 March 1917)

Wilson James, who has hitherto been principally associated with the concert party world, has made a great success in the Liverpool revue, "Follow the Flag," in which he appears in a number of characters. He has never before played in a revue, but his wide experience on the concert platform would appear to have constituted a rare grounding process, as a local critic puts it. (The Stage - Thursday 22 March 1917)

After a most successful run William J. Wilson's fine production, "Follow the Flag," closes its Olympia season on Saturday. Liverpool has admired this big show to the full, and the audiences have revelled in the keen and unflagging humour of Walter Passmore, aided and abetted by the broader fun of Charles Emerald. (The Stage - Thursday 29 March 1917)

The Liverpool Echo, Monday 4 February 1918, advertised ‘a superb vaudeville programme’ including ‘Captain Bruce Bairnsfather Presents Harry Thurston, The London Hippodrome comedian, in “The Johnson ‘Ole”’ at the Olympia. At the Olympia ‘“The Johnson ‘Ole,” with Harry Thurston as “Old Bill,” was extremely laughable’. Liverpool Echo, 5 February 1918.

‘A remarkable programme is to be offered to patrons of the Liverpool Olympia next week ... Also in the bill [is] “A Wife’s Dilemma” sketch, by Dion Titheradge, in which Miss Constance Drever will introduce a new waltz song, “Dreamland of Love,” supported by leading actors’ (Liverpool Journal of Commerce, 2 March 1918). ‘A programme of unusual strength all round, with plenty of talent and variety, brought crowded houses to Olympia last evening … A sparkling sketch by Dion Titheradge, “A Wife’s Dilemma,” afforded good scope for the clever acting of Miss Constance Drever and Company’ (Liverpool Daily Post, 5 March 1918). ‘Olympia. A programme of outstanding excellence is being submitted this week to huge audiences in this spacious and luxuriously appointed West Derby theatre, where its patrons have had the opportunity at various tithes [sic] of seeing numioeriess “stars” Of the age [sic] … turns [included] a little playlet, “A Wife’s Dilemma,” which was capably acted by Miss Constance Drever and her company’ (Birkenhead News, 6 March 1918). ‘The programme arranged for to-day’s matinée at Olympia in aid of King George’s Fund for Sailors is one of the strongest ever arranged for a Liverpool matinée. It simply sparkles with stars’, including Constance Drever and Co (Liverpool Daily Post, 6 March 1918).

Performers: Fred Kitchen, Nora Delany

Performers: Fred Kitchen

Harry Roxbury took over the male lead from Tubby Edlin.

This is more or less original. Jack and Jill are the children of the late King, stolen by the Dame. The Crown is hidden at the bottom of the Well. The Regent proclaims that whoever shall find it shall be the Princess. The Prince, with Jack and Jill, finds it, but Carl the evil spirit of the piece carries them off and the Princes pursues and kills Carl. Still no-one can open the casket until the Good Fairy says Jack can because he is the rightful King. There is the usual 'low comedy' stuff of the Dame and other comic people, but it seems to be free from offence. The songs are all given. Recommended for Licence. G. S. Street

The Stage, 20 February 1919, reported that ‘Harry Thurston appears as Old Bill in The Johnson ‘Ole’ at the Olympia, Liverpool.