King's Theatre, Glasgow

‘At the King’s Theatre the “spy drama,” entitled “The Man Who Stayed at Home” was presented last night by Messrs Vedrenne & Eadie. The action of the play takes place in an east coast boarding-house, the proprietrix of which is a spy, and the topical interest, added to the skill in the construction of the drama, makes the production of particular interest. Christopher Brent, “the man who stayed at home,” poses at the boarding-house as an idler, braving the accusation of shirker, and unveils and frustrates the plot of the spies against peaceful non-combatants, reaping the credit of his work at the finish, Mr George Tully acted splendidly as Christopher Brent, and he was supported by a splendidly capable company, including Miss Mary Merrall, Miss Esty March, Miss Lola Duncan, and Mr Gordon Bailey. There was a large audience at last night’s production, and. the play was given an appreciative hearing’. The Scotsman, 27 April 1915. Noted in The Stage, 29 April 1915. The cast was George Tully (Christopher Brent), Charles Grenville (Fritz), George Martin (John Preston), Ethel Miller (Mrs. Sanderson), Esty Marsh (Miriam Leigh), Lola Duncan (Fraulein Schroeder), Valerie Richards (Daphne), Mary Merrall (Molly), Florence Harwood (Miss Myrtle), Gordon Bailey (Carl), A. R. Whatmore (Pennicuik).

‘A large audience at the King’s Theatre gave a hearty welcome to the dramatic play, “The Man Who Stayed at Home,” last night, when it revisited the city. The topical character of the piece and its intrinsic merits make a strong appeal to playgoers, the telling of the story of the intrigues connected with the secret service of Germany being accomplished most effectively. Messrs Vedrenne and Eadie’s company, which includes such fine players as Mr George Tully, Mr Frank Woolfe, Mis Esty Marsh, and Miss Gladys Hamilton, perform the play with appropriate spirit, holding the interest of the audience in the thrilling incidents throughout. From many aspects “The Man Who Stayed at Home” is one of the most successful dramas now before the public’ (The Scotsman, 21 September 1915). ‘A large audience welcomed back to the King’s Theatre last night the stirring war drama, “The Man Who Stayed at Home.” Linked intimately as it is with the war, and bound together with a romance of love interest, the play is very suitable theatrical fare at the moment. It serves to remind nervous people that the Secret Service of this country is as active and intelligent as that of Germany, though less advertised. The drama moves in a realistic manner, throwing out a quiet thrill here and there on its way' (Daily Record, 21 September 1915).

The Daily Record, 21 September 1916, advertised Hilda Trevelyan and Percy Hutchison in A Kiss for Cinderella at the King’s Theatre in the following week. The Daily Record and The Scotsman, 26 September 1916, published reviews of the production. The latter said, ‘Allusions to the war are never allowed to overshadow the atmosphere of fairyland which pervades the play’.

'‘If not exactly a war play, “Kultur at Home" … possesses all the elements of an appeal to emotions arising from the war. It concerns German military life in a garrison town, having for its foundation the experiences of a typical English girl married to a Prussian officer, and it presents the German character in such an aspect that no one is surprised that in the end the wife seeks shelter from her marital state by returning to Britain. A picture is presented of Prussian people and surroundings, their point of view, and their manners. There is more study of personality than dramatic structure about the play, though the authors have succeeded in achieving several strong dramatic moments'. The Scotsman, 12 December 1916. '‘Glasgow’s verdict upon “Kultur at Home,” as reflected last night at the King’s Theatre by the large audience, was a flattering testimonial to a strong play. The picture which the playwright has drawn of life in the Fatherland does not credit the Teutons with a superfluity of taste or of delicacy. It boldly insists that vulgarity and brutality are the chief ingredients in the German’s make-up. Whether true or exaggerated, the play sounds a warning on the subject of mixed national marriages'. Daily Record, 12 December 1916.

Noted as ‘On Tour’ at the King’s Theatre, Glasgow from 5 and 12 February in The Stage, 8 February 1917. ‘The revue, “The Bing Boys are Here,” which met with much success in London, was produced in the King’s Theatre last night, and the reception given to it suggested that the popularity which has been achieved will be maintained in the provinces. The theatre was crowded, and continuously throughout the performance there was hearty laughter and applause. This enthusiasm was justified as the revue is one of the brightest character, a lively production from start to finish. The music by Mr. Nat D. Ayer and the scenery by Messrs Harker are decidedly of higher than ordinary standard. There is something of a story also, but it matters only so far as it gives to the principals opportunities for excellent comedy and singing and dancing, and to the others occasions for wearing splendid dresses and contributing to the general gaiety. It is an artistically arranged show, but probably its strongest appeal to popularity is by its fun and brightness'. The Scotsman, 6 February 1917.

Performed as part of a charity matinee in aid of the Princess Louise Scottish Hospital for Limbless Sailors and Soldiers, Erskine House, and organised by Mr and Mrs Martin Harvey

The Daily Record, Tuesday 3 and 4 April 1917, advertised Percy Hutchison and Hilda Trevelyan in A Kiss for Cinderella at the King’s Theatre, Glasgow in the following week. The Daily Record, 10 April 1917, published a review of the production.

Performed as part of Martin Harvey's Special Matinee in aid of the National's Fund for Nurses. Also performed was 'A Tragedy of Truth' by Rosamond Langbridge.

‘Fresh from a successful run in London “Bubbly,” described as a new musical sensation, makes its first appearance in Glasgow this week, and a large audience was highly entertained at the King’s Theatre last night with a bright production, which in many respects is a distinct departure from the customary fare. “Bubbly” is a succession of humorous caricatures and contains effective skits on modem life, while the musical numbers are well adapted to each representation. Some pretty dances are introduced, and the scenic effects are decidedly ingenious. The company is well selected, and includes quite an array of talent, among whom Miss Ivy Tresmand, Miss Kathlene Martyn, Mr Ernest Seebold, and Mr Orr [sic - R] Barrett Lennard are outstanding’(The Scotsman, 15 April 1919). ‘Ralph Haslam is presenting “Bubbly” at the King’s, Glasgow], which is attracting large audiences. The piece is capitally played, Edmund Russell being specially good in the burlesque “The Comforts of Home” in which he causes great laughter. Ivy Tresmand is conspicuous in songs and dances. R Barrett-Leonard [sic – Lennard] is clever in burlesque, and also in song and dance. Jessica Bevan, Edith Payne, W. Ashley Sinclair, Ernest Seebold, and Frank Lorden are good. Florence Bayfield is a smart dancer. Mr. F. Leslie Tolhurst is the musical director’ (The Stage, 17 April 1919).

‘Comedy of delightful quality is the outstanding feature of “Nurse Benson,” which is being staged at the King’s Theatre this week. From beginning to end there runs through it a thread of merriment which enhances the story of the titled lady who poses as a nurse. The patient in the case is a Victoria Cross hero, and the subsequent love episode is complicated by rich but vulgar parents of the soldier and by the conduct of a person who has intentions of securing the aristocratic nurse for himself. In the telling of the story, Messrs Justin Huntly M’Carthy and R. C. Carton display advantageously their distinctive talents of literary skill and knowledge of stagecraft; and for its performance there is a splendid company, who represent effectively the tenderness of sentiment, the fine humour, and the clever characterisation of the play' (The Scotsman, 27 May 1919). Noted in The Stage, 29 May 1919.

The Stage, 22 April 1920, listed Marie Löhr’s Co. as On Tour in Nurse Benson from 26 April at the K.’s, Glasgow.

‘Amongst the latest musical plays which have proved a great attraction at the King’s Theatre is “Bubbly.” The play enjoyed such a successful run during its first appearance in the city that a return visit was assured, and last night a large audience had the pleasure of renewing acquaintance with a very lively and diverting performance. The chief attraction of “Bubbly” consists in its novelty and amusing burlesque. The scenes are laid in an atmosphere of fun and joviality, and the members of an excellent caste make the most of their opportunities’ (The Scotsman, 18 May 1920). ‘“Bubbly,” the diverting revue, is back at the King’s, where it is played by a company including Phyllis Whitney and Edward Steadman. Barrett-Lennard takes his original part of Reckless Reggie; and Edith Payne contributes some clever character studies’ (The Stage, 20 May 1920).

‘The King’s Theatre, Glasgow, was again crowded last night, when Sr John Martin Harvey and company staged Maeterlinck’s “The Death of Tintagiles” and Bernard Shaw’s “The Shewing-Up of Blanco Posnet.” Both performances were of a high standard, special recognition being won by Sir J. Martin Harvey in the rôles of Aglovale and Blanco Posnet respectively. Miss N. de Silva was also a success in both plays’. The Scotsman, 25 September 1925.

‘The Macdona Players, who are enjoying a successful season at Glasgow Theatre-Royal, delighted a large audience last night with the effective manner in which they presented “The Showing-Up of Blanco Posnet” and “Candida” … The dramatic situations in the first play were well treated, without being overdone, and the interest of the audience never flagged. The coarse-spoken and degenerate horse thief was powerfully drawn by Mr Esme Percy, who entered thoroughly into the spirit of the part and gave of his best. In the exacting role of Feemy, Miss Margaret Rawlings maintained her reputation. The personality of Sheriff Kemp was ably portrayed by Mr George Merritt, while Mr George E. Bancroft excelled in his delineation of Strapper Kemp. Mr Howieson Culff, as the foreman of the jury, and Mr George de Lara, as Elder Daniels, were also well cast’. The Scotsman, 25 August 1927. Noted in The Stage, 25 August 1927: that week was the third of the Macdona Players’; season and they were performing ‘The Philanderer’, ‘Blanco Posnet’ and ‘Candida’.