Hippodrome, Preston

Any of Seila Walsh’s masterpieces are! always welcome in Preston, and backed the supreme organisation of Harry Foxwell’s company, the military drama from the pen of that talented authoress doubly, welcome. This latest attraction real soul-stirring picture aof the great war typifying the love the Colonies bear us, and proving that British hearts heat strongly over the sea home. The drama drawing appreciative to the Hippodrome, and its success is well deserved. There are ten different scenes in the piece, ranging from Canadian storehouse to the field of battle, and the appropriate atmosphere wonderfully well caught. The cast is a good one, and pride of place cannot so much be accorded on outstanding merit individual taste. (Preston Herald, 9 June 1915)

The play is one of exceptional power and grip, dealing with the highly topical problem of the soldier's love child. It carries with it the moral, "Judge not, lest ye be judged." The delicate theme is dealt with by a master hand, in such a way as not to offend the susceptibilities of the ultra self-righteous, but it is a distinct effort on modern lines to break down the uncharitable barrier which the "unco guid" erect against all who overstep the strict line of sex intimacy. ('Preston Herald', 21 August 1915, p. 4)

‘The tactful manner in which the latest war drama, “The Unmarried Mother,” written by C. Vernon Proctor and staged by Oswald Cray, is treated quite justifies its creation, and two capital audiences at the Preston Hippodrome last night appreciated fully the strong underlying motive of the plot and its novel characteristics. The presentation seems certain to make a wide appeal on a difficult social problem which has attracted more sympathetic attention during the past year or so. The generous infusion of healthy humour contributes not a little to the acceptability of the play as such. Presented in six scenes by a strong company, the play, some of the strongest points in which are the pointed recruiting hints to “slackers,” works up to an effective and happy climax - the wedding of a wounded soldier hero in the ward of a war hospital’ (Lancashire Evening Post, 23 November 1915). Noted in The Stage, 25 November 1915.

The Era, 9 and 16 February 1916, listed The Little Grey Home In The West (South) as On The Road from 14 February at the H., Preston. Also The Stage, 10 February 1916. Also: ‘The play has enjoyed remarkable success, and the reason is quite clear. It is the work of a practised hand who has weaved together a story of strong human interest, expressing a wide range of emotion. It is presented in ten scenes, and like most of Mr. Kimberley’s work it is built on a sound foundation. The main idea from which the action springs is the love which two mothers – one poor and the other rich, but both in their different ways selfish and exacting - show for their sons. When sentiment and ambition come into collision the dramatic sparks begin to fly if manipulated by such a capable craftsman as Mrs. Kimberley. The incidents are well contrived to ensure a rousing finish, and most acceptable is the flavour of light comedy. The acting throughout is admirable’. Lancashire Evening Post, 15 February 1916.

‘The “petite revue” is a welcome form of this class of popular entertainment. The company is comparatively small, so that every artist may be an adept, and the performance is short, crisp, and sparkling. The long revues, as a rule, find it hard to keep up a sustained interest. The little extravaganza, “Eyes Right,” by Messrs. H. Simpson and Jno. Tiller, is concentrated fun and cleverness. The moving spirit is Tom D. Newell, a comedian of many parts, shining most in burlesque. He has an excellent foil in Teddy Gibbs. Another capable actress and vocalist is Eileen Desmond. Then there are the Eight Empire Girls as a background, charming in dance and song and in stage tableaux. One should not forget the fine setting of the piece’ (Lancashire Evening Post, 6 June 1916). ‘Harold Simpson and John Tiller’s revue, entitled Eyes Right! Provides plenty of opportunity for humour, singing, and dancing. Tom D. Newell looks well to the first feature, Eileen Desmond to the second, and the Eight Empire Girls to the last’ (The Stage, 8 June 1916). ‘The petite revue, “Eyes Right,” produced for the first time, is a tremendous success. Seeing that Mr. John Tiller is associated with it, one is not surprised to find that the dances and choruses of the Eight Empire Girls go with perfect rhythm, and including a lot of new movements which are pretty in the extreme. And a charming octette of girls they are, too. Tom D. Newell makes no end of fun, and he is splendidly supported by the dashing Miss Eileen Desmond and Teddy Gibbs. It is all apropos of nothing, but it is delightfully entertaining’ (Preston Herald, 10 June 1916).

‘The true spirit of revue is embodied in “Stop Press,” which is staged at the Hippodrome this week. The setting is bright, the dresses gay and charming, the music light and delightful, the dancing and chorus work of an enlivening character, while the dialogue and byplay are all most approved light comedy order. The show really consists of four miniature revues and a pretty little “firelight study,” in which a sister welcomes home in the firelight a sailor from “Somewhere on the North Sea,” the parts being excellently represented by Miss Betty Kitts and Mr. George Lawrence ... A tribunal burlesque, with Mr. George Lawrence as recruiting sergeant, is a big success' (Preston Herald, 29 July 1916). ‘The second French Red Cross Day, observed in Preston on Saturday, resulted in a sum of £218 being raised for the object in the street collection, compared with £194 10s last year. The ladies of the “Stop Press” revue company, appearing at the Hippodrome, were amongst the successful collectors’ (Preston Herald, 5 August 1916).

Performed by Messrs Jazon and Montgomery Company