Theatre Royal, Exeter

‘An enthusiastic audience, which included many khaki-clad men, witnessed, last night the initial performance of "The Man Who Stayed Home," which the Taylor Platt Company, by arrangement with Vedrenne and Eadie, are producing at the Theatre Royal, Exeter, each night this week, with the usual matinee on Friday. This successful Royalty Theatre spy play has created unbounded enthusiasm in London and wherever it has been played, and Exonians last evening accorded it a hearty welcome. Although the play has an undoubted moral, especially for members of the white-feather brigade, it is brimful of mirth and merriment from start to finish, while, at the same time, there are incidents as full of dramatic intensity as the most ardent lover of melodrama can desire … We confidently anticipate full houses at every performance this week, for the play is bound to please all lovers of clean and convincing acting’ (Exeter and Plymouth Gazette, Tuesday 14 March 1916). The cast was listed in the Western Morning News, 11 March 1916.

The Era, 25 April and 2 May 1917, listed The Man Who Stayed at Home (Red) as On The Road from 30 April at the Royal, Exeter. Also The Stage, 26 April and 3 May 1917. Previewed in the Exeter and Plymouth Gazette, 28 April 1917, which listed the actors: Clifford Marle, J. Edward Pearce, Arthur Grenville, C. Laverack-Browne, Malcolm Cumming, Valerie Richards, Christine Cooper, Hilda Francks, Frances Waring, Ethel Coleridge, and Edith Cuthbert. ‘There is a special attraction the Theatre Royal. Exeter, this week, Mr. E, Taylor Platt fulfilling an engagement in that bright and thrilling play "The Man Who Stayed at Home" ... It is full of interest, and, exposing as it does the working of the "Unseen Hand,” has done much to arouse the people to a sense of the danger of foreign spies on the East Coast. While it throws an interesting sidelight on this question, the piece has no suggestion of the horrors of war. Intense interest is sustained throughout ... he play is enlivened by many amusing incidents, and the actors made the most of it' (Exeter and Plymouth Gazette, 1 May 1917).

The Stage, 18 October 1917, listed Searchlights as On Tour from 22 October at the Royal, Exeter. Also The Era, 24 October 1917. ‘“Searchlights,” by Mr. H. A. Vachell, described as comedy domestic drama, which is being presented by Mr. Robert Brasher’s Company at the Theatre Royal, Exeter, is somewhat out of the usual run of such plays, the plot evolving on totally different lines from those the opening act would lead one to expect. Who would imagine, for instance, that Sir Adalbert Schmaltz, K.C.V.O., really was in Great Britain because he liked the country and detested the land of his birth instead of being a spy in the pay of the Germans? Indeed, throughout it is not easy to understand how things are really going to shape, but “Searchlights” is none the worse on that account, and there are some intensely dramatic incidents when the excitement is at fever heat. Mr. Brasher has brought a clever Company, who play up to one another excellently ... As a curtain-raiser a new one-act play by Geoffrey Wilkinson, “The Empty House,” a dramatic episode of the undoing of a German spy by a plucky English man, created considerable interest’ (Exeter and Plymouth Gazette, 23 October 1917).

‘At the Theatre Royal, Exeter, next week, will be staged “Bubbly,” the latest original musical revue now playing to full houses at the Comedy Theatre, London, where it has run for five months. It is very interesting to know that the Exeter Theatre Management has secured the same company that is visiting all the principal Theatres in the provinces after Exeter, where the tour commences. The cast includes well-known London artistes and those who appear in big touring companies’ (Exeter and Plymouth Gazette, Saturday 24 November 1917). 'If the 200 senders of telegrams of good wishes which members of the “Bubbly” Company, at the Exeter Theatre, Royal, received from London colleagues could have been present at the first provincial performance of this great Comedy Theatre success last evening they would have admitted unreservedly that it was an unqualified success. From start to finish everything went with a swing and dash which augur well. “Bubbly” abounds with clean and sparkling humour, bright and tuneful melodies, dainty dances, and pretty ensembles, while the settings of the various scenes are strikingly attractive. The “Eternal Triangle” - a woman and two men - as it may have appeared in the prehistoric ages, is as clever a piece of nonsense as we have seen for many a long day. In “The Worst ‘Ole of All” our friend Old Bill, immortalised by Captain Bairnsfather, appears in a new and extremely amusing light - a comment applicable also to “The Comforts of Home,’’ showing how a major after the war finds home life much too quiet and enervating. In their acting of “An Old Situation in Four Ways” a number of the principals give an excellent exhibition of their dramatic abilities, especially amusing being the presentation of the “Old Situation” after the O. Henry style. Without exception, the principals are all stars, and their contributions are given wit that vim and brightness manner which demonstrate to the full that they were happy in entertaining the crowded house. Gaby Condor is an attractive and pretty comedienne, and the possessor of a charming voice, among. her successes being “Honey, won’t you miss me?” and “It’s up to me,” an amusing number in which she is ably assisted Cedric Percival. The latter, by the way, knows how to get the most out of the many humorous contributions which fall to his lot, and he scored one of the hits of the evening with that tongue-twister “Cousins.” Florence Bayfield is not yet, we believe, in her teens, but she has early earned a reputation as a clever actress and artistic dancer, her dance “The Moth and the Lamp” being as dainty a contribution as one could wish to see. Ivy Tresmand also excels in dancing, the clever manner in which she and Claude Ryder perform that associated with the song “Have you forgotten?” being enthusiastically encored. The latter is also very successful in the fourfold part he plays in “An Old Situation.” A most graceful contribution was that of “The Hawaian Butterfly,” for which Ivy Tresmand was deservedly recalled. Doris Harrington and Ernest Seebold are another clever pair. Bobby Rutland and Edith Payne are other talented performers who contribute in no small measure to the success of the sketches. Edmund Russell is a typical “Old Bill,” while he also scores strongly in the other sketches. Raymond Douglas and William Bayfield are two other notable contributors. Especial mention should be made of the parody on “A Perfect Day” given by Ivy Tresmand, Gabey [sic – Gaby] Condor, Edmund Russell, and Cedric Percival. The chorus is strong and well balanced, and, to sum up, “Bubbly” is a production which should be visited by all who want to spend an entertaining evening. There will lie the usual matinee on Friday’. Exeter and Plymouth Gazette, 27 November 1917. Reviewed also in The Stage, 29 November 1917.

Performed Monday, Wednesday and Saturday evening and Friday matinee. A 'screamingly new topical comedy in khaki' ('Exeter and Plymouth Gazette' 25 February 1918)

‘A typical war-time drama being is produced at the Theatre Royal, Exeter, this week, and it is one which should attract large audiences, for it contains many thrilling incidents, interspersed with humour and love affairs. Throughout the piece Master Cupid is kept extremely busy. Of course, there are German spies in the story, and the manner which the master spy gains possession of the plans of a new design revolutionising British shipping on and beneath the water, and how he is finally brought to bay by the pluck and ingenuity of the inventor, form the basis of a strong plot which is well worked out amid many dramatic incidents. Some of the scenes are most ingenious, especially so being that of the old mill in which Frank Manley tests his model ships, and the scene inside the German submarine, while the tableau, “Triumph of the British Fleet,” is an excellent piece of stage realism' (Exeter and Plymouth Gazette, 12 March 1918).

Previewed at length in the Exeter and Plymouth Gazette, 22 February 1919: ‘… “Bubbly!” is the merriest, cleverest, and most up-to-date musical show at present before public [and] the Company appearing next week is precisely the same as on the first visit [to the Theatre Royal, Exeter] … Edmund Russell is once more the chief comedian, with his inimitable skit of the Major’s return from the war’. ‘It was in Exeter that “Bubbly!” made its first provincial appearance in November, 1917, scoring such an instantaneous success that the return visit of this sparkling comedy production to the Theatre Royal week has been eagerly anticipated. “Bubbly!” literally bubbles over with clean and clever humour, bright and tuneful melodies, dainty and pretty ensembles, while nothing has been spared in trouble and expense to make the settings of the various scenes as artistic and attractive as possible ... how hearty was the laughter during such scenes as “The Eternal Triangle,” “The Worst ‘Ole of All,” “The Comforts of Home,” and “An Old Situation in Four Ways” ... Mr. Edmund Russell still fills the role of “Old Bill” - that immortal creation of Captain Bairnsfather - and is the centre of that exquisite piece of fooling – “The Worst ‘Ole of All.” He is equally successful as the demobilised major in “The Comforts of Home,” and many other items ... One could go on describing the many attractions with which “Bubbly!” abounds for hours, but we advise our readers who have not yet seen “Bubbly!” to visit the Royal one night this week or at the Friday matinee. Those who have already seen it will need no pressing to renew acquaintance with the production’ (Exeter and Plymouth Gazette, 25 February 1919). ‘Yesterday afternoon about 70 prisoners of war belonging to the Devon Regiment were entertained by the Mayoress of Exeter (Lady Owen) at the Guildhall. Tea was served by the members of the Depot Committee, and smokes were handed round, after which a thoroughly enjoyable entertainment was provided by the principals of the company producing “Bubbly!” at the Exeter Theatre Royal. The programme included the popular skit “The Worst ‘Ole of All.” A welcome was extended by the Mayoress, and cheers were given for everybody concerned, on the call of Lance-Cpl. Perrin’ (Exeter and Plymouth Gazette, 28 February 1919).

Performed by Arthur Hardy (producer), Vernon Fortescue (actor), Marjorie Murray (actress), A. Blundell Murray (actor), Marjorie Gaffney (actress), Philip Knowx (actor), Garnett Hallick (actor), Arthur E. Owen (actor), Ethel Gordon (actress), Norman Arnold (actor). 'There have been many spy plays during the past five years, but none can be more thoroughly relied upon to retain the interest of audiences until the final 'ring down' than Austin Page's thrilling conception' (Exeter and Plymouth Gazette, 5 August 1919)

First visit of the production to the theatre.

‘If anyone had doubts as to the humour with which Nurse Benson,” the Globe Theatre success, abounds he would have had them set at rest had he listened to the wellnigh continuous laughter with which the audience at the Theatre Royal, Exeter, received its presentation last evening. It is a clever conception, full of the most laughable complications, but from start to finish there is really nothing to which exception can be taken, and for an evening’s real, undiluted enjoyment commend us to a visit to “Nurse Benson.” Authors less clever than R. C. Carton and Justin Huntly McCarthy might have found the tangles they create too involved to fashion a clear and satisfactory ending ... [but] everything works out it should in the final five minutes. Naturally, a comedy built upon the lines followed by the creators of “Nurse Benson” depends, to a large extent, upon the dialogues, and in this respect the comedy is sparkling in the extreme. Laughter is in the ascendant while the various characters try to make themselves understood by each other ... It is all real fun, and if full houses are not the order of the night at the Theatre this week we shall be very disappointed. It is an extremely capable company which Mr. Taylor Platt has brought to the city, and all the members fill their appointed roles in the most natural manner'. Exeter and Plymouth Gazette, 14 October 1919.

Previewed in the Exeter and Plymouth Gazette, Saturday 28 February 1920. ‘Like several other productions of recent years, “Tails Up” does not consist of acts and scenes each having more or less connexion with preceding scenes, but of a number of really clever sketches, most of them being a skit upon some phase or other of life in the 20th century. Some of them, like the opening scene, “The Cab Shelter,” partake somewhat of the character of the ordinary music hall turn, but the majority are really clever creations, in which rich humour and harmonious song scenas, attractive dances, and melodious choruses blend in delightful fashion. One of the most laughable is, beyond a doubt, “The Historical Lecture,” in which a lecturer gives an amusing description of the Great War, gathered from particulars gained by historians and explorers. The many topical allusions were much enjoyed by the audiences, as were those in “The Butler who has seen better days” - a skit on the “new rich and the new poor.” The satire “The Brigadier-General who was never seen” may not be appreciated by all “workers’’ in Government offices, but, judging from the manner in which the audience received it last evening, there were many present who have had unpleasant experiences of treating with Government offices. The advanced young men of the day have some curious ideas of courtship and a happy skit on this is shown in the two clever scenes with which “Tails Up” concludes. But, despite the fact that there is so much satire and humour in the production, due prominence is given to charming musical numbers, as witness “The old bran-pie,” “Wild Thyme,” and “Any little thing,” while the settings of such songs and dances as “A Will o’ the Wisp” are artistic and picturesque in the extreme. The Company which is presenting “Tails Up” is a talented one, and each and all play many very varied parts in a manner which adds to the success of the production. Among the outstanding members we may mention William Nixon, Phil Golding, and Alison McLaren, Lionel Halfpenny, Norman Astridge and Marie Dixon, Albert Wayne, Philip Vallentine, Evelyn Robson, and Jack Leopold' (Exeter and Plymouth Gazette, 2 March 1920).

Previewed in the Exeter and Plymouth Gazette, Saturday 6 March 1920. ‘Towards the end of 1917 that sparkling Comedy Theatre success, “Bubbly,” made its initial appearance in the provinces at the Theatre Royal, Exeter. Its week’s visit was a brilliant triumph, and inaugurated a tour which succeeded in breaking records everywhere ... It is a rejuvenated “Bubbly” which is appearing this week, for it has been re-dressed and staged, as well as re-cast, while all the topical allusions have been brought up-to-date. We were glad to note, however, last evening that the original sketches, songs, etc., have been retained, for they are all too attractive to be sacrificed ... Exonians ... last evening laughed as heartily they did in 1917 over the awkward situations in which our old pal ‘‘Old Bill” finds himself, or the clever skit “The Eternal Triangle.” The manner in which several of the principals presented “An Old Situation in Three Ways” proved as popular as ever, and emphasised the fact that a really clever comedy sketch bears repetition. Then there are those haunting melodies which have always been such an attractive feature of the production. “Ragging thro’ the Rye,” “Sympathetic Smile,” “She’d a hole in her stocking,” “We’ll have a little cottage,” “Keep on loving little girlies,” etc., are familiar to thousands who have never had the pleasure of seeing “Bubbly,” and rightly so, for the melodies are dainty and catchy. Dances of a particularly graceful character are always associated in one’s mind with “Bubbly,” witness “Hawaiian Butterfly” while such nonsense songs as “A Perfect Day” and “Cousins” are cleverly conceived. A number of important alterations have been made in the cast, which is greatly strengthened by the inclusion of Phyllis Whitney, who comes direct from her recent triumphs in “Bran Pie” at the Prince of Wales’s Theatre, London. Miss Whitney is a delightful actress and dancer. When her present engagement is concluded she returns to the Prince of Wales’s to create the leading part in the musical production which will succeed “Bran Pie.” Miss Whitney takes a very prominent part in the entertainment, one of the chief successes of the evening being the “quarrel” song – “Have you forgotten?” in which she is partnered by Mr. B. Barrett-Lennard. The two were also applauded for the song and dialogue associated with “Reckless Reggie.” Mr. Barrett-Lennard makes an excellent dude, while his accent and acting as Jerry Bentrave in “Bubble 6” were very clever. Mr. Edward Steadman is another member of the Company who has heavy demands made upon him. He makes a splendid “Old Bill,” an admirable irritable old Major, and ably sustains a treble role in “An. Old Situation in Three New Ways.” Miss Elsie Stevens takes a prominent part in most of the sketches, sings several catchy songs, and also dances in fascinating manner. Little Rita Webber adds to her laurels as “The Child,” and also contributes a clever dance as a prelude to the second “Bubble” in Act II. Miss Edith Payne demonstrates her versatility in filling such widely different roles as “The Teacher” in the opening “Bubble,” and “The Servant” in the “Worst ‘Ole of All.” Her acting in the latter is a clever piece of comedy. There are many other delights in “Bubbly” which we leave our readers to discover for themselves any night this week, or at the Friday matinee’ (Exeter and Plymouth Gazette, 9 March 1920). Also noted in The Stage, 11 March 1920.

Adapted to the context of the Second World War by Hamilton Deane from the original play and staged for the first time. Produced by and starring Percy Hutchison.