Gaiety Theatre, Hastings

Advertised as 'the Great Naval Play...special sensational and realistic effects, including the terrible submarine ... Special prices to all non-commissioned officers and men of His Majesty's Forces in uniform' (Hastings and St Leonards Observer, 28 November 1914). 'We hardly know whether it should be described as melodrama or comedy, so we have adopted the comprehensive title, melodramatic-comedy, which seems to fit the case' (Hastings and St Leonards Observer, 5 December 1914). Reported in The Stage, 3 December 1914.

‘The Moulin Rouge Revue comes from to us from Paris, via the London Pavilion, Piccadilly Circus, W. It is, of course, played in English by a brilliant French cast, including Mesdames Aldona Redo, Nellie Corti, Leo Darly, Ethel Bert, Henriquitta, Symia, De Sehgue, and Messieurs Jaques Lerner, Frank Attree, Lucien Dia, Aristide Semis, Mirroy, F. Demery, and Albert Brouett. There will be a chorus of 50 French and English beauties. Mons. Jean Fabert, manager and proprietor of the famous music hall, “Le Moulin Rouge,” in Paris, is responsible for this unique entertainment, which should make a furore in Hastings particularly, the home of L’Entente Cordiale”’ (Hasting and St Leonard’s Observer, 11 September 1915). After some variety acts ‘the remainder of the programme [at the Gaiety Theatre, Hastings] is taken up by “Le Moulin Rouge Revue,” by a powerful Company, direct from a great success at the London Pavilion. It is a brilliant show, presented by M. Jean Fabert, proprietor and manager of the Moulin Rouge, Paris, and though the artistes are French (with only one or two exceptions), the piece is given mainly in English, and can easily be followed all through by playgoers with no know ledge of the French language. The Revue consists of series of scenes, ten in all, and each scene represents an incident. These are all very interesting, and vary from the highly dramatic to the intensely comical. Throughout there is dancing and singing by a powerful Company of superbly-dressed young ladies, whose work is of a brilliant nature. Representing the various incidents are several capable artistes, and one these, M. Albert Brouett, is a wounded French soldier, who has been invalided out the Army, and whose war trophies are displayed on a board at the entrance to the Theatre. In the Revue he appears as *Arsene Lupin, Napoleon, and Albert, a young Frenchman. M. Jean Fabert, and another of the principals in the revue. M. Armandy, have also served in the French Army and been wounded. Perhaps the most popular artiste is M. Jaques Lerner, a first-class comedian, who is responsible for many highly-humorous scenes; but all the principals are excellent, and the ladies are charming, particularly Mdlle. Aldona Redo and Mdlle. Nelli Corti. M. Lerner is from the 22nd Section, French War Office, and is the artistic producer of the Revue. It is a delightful entertainment, with never a suspicion of vulgarity' (Hasting and St Leonard’s Observer, 18 September 1915). [* Arsène Lupin was the gentleman thief-cum-detective created by the French writer Maurice Leblanc.]

Previewed in the Hastings and St Leonards Observer, 15 April 1916, which listed the actors. ‘There was nearly a full house at the Gaiety Theatre on Monday, when the Taylor Platt company opened a week’s engagement with the great patriotic play, “The Man Who Stayed at Home” … At the conclusion of the play there was an extraordinary display of enthusiasm, the audience rising and cheering the Company, and giving the principals repeated calls before the curtain. There was good reason for this outburst; the play being intensely interesting and the acting excellent’ (Hastings and St Leonards Observer, 22 April 1916).

‘Mr. Carlton Wallace has an exceptional slice of luck in his great Zeppelin play, The Enemy in our Midst, for the more the German Emperor turns on the tap of frightfulness the bigger his business becomes. The receipts have leapt up until the play is now one of the biggest successes on the road' (Bexhill-on-Sea Chronicle, 28 October 1916). ‘The Enemy in our Midst, a four-act drama being played at the Gaiety Theatre this week, is described as a startling up-to-the-moment play, and the description is thoroughly justified. There are numerous very startling situations, and everything is certainly up-to-date, even to the engagement of women in khaki uniforms. It is really a thrilling play of the old Lyceum style, reminding us of In the Ranks and similar productions ... It is all very interesting, at times exciting, such as when a British aeroplane brings down a Zeppelin' (Hastings and St Leonards Observer, 4 November 1916).

In the week after next ‘Mr. Arthur Hare’s Company will play “A Pair of Spectacles” for the first three nights, and Mr. Taylor Platt’s Company appears in “The Man Who Stayed at Home” for the latter part of the week’ (Hastings and St Leonards Observer, 18 November 1916). ‘“The Man Who Stayed at Home” pays a welcome return visit to Hastings the latter part of next week at the Gaiety Theatre … It is a strong as well as an amusing play dealing with the absorbing interesting spy question, and is, indeed, the play of the moment. There have been a good many plays written upon war subjects during the past year, but none have achieved the success of Lechmere Worrall and Harold Terry’s comedy … The cast includes Clifford Marle, Charles H. Mortimer, J. Edward Pearce, C Laverack-Brown, Russell Bendle, Malcolm Cumming; Valerie Richards, Greta Wood, Hilda Francks, Frances Waring, Ethel Coleridge, Edith Cuthbert’ (Hastings and St Leonards Observer, 25 November 1916).

'Ten Naval men disabled and invalided out of the Navy have styled themselves "The Jutland Boys," and they will appear in a great scena next week at the Gaiety in conjunction with Miss Victoria Monks. This special engagement has been made at the last moment, and is in addition to the artistes already announced' (Hastings and St Leonards Observer, 9 December 1916). '"The Jutland Boys" are simply "great". We are sure Miss Monks will pardon us for saying these"Boys" deserve to be "starred" ...Their entertainment is one of the best we have ever seen. There is a freshness about it which captivates the audience at the start and holds it all through. Anybody who can see these"Boys" and not be moved to admiration must be without a heart...The show by these "Boys" is a tonic which we advise readers to take, and as many doses as can be got in during the week' (Hastings and St Leonards Observer 16 December 1916)

The Hastings and St Leonard’s Observer, Saturday 17 February 1917, advertised A Kiss for Cinderella at the Gaiety Theatre, Hastings from February 26th. The Hastings and St Leonard’s Observer, Saturday 24 February 1917, published a preview of the production, which mentioned that Violet Harley would play Cinderella. The Hastings and St Leonard’s Observer, Saturday 3 March 1917, published a review of the production, mentioning that Violet Harley played Cinderella.

Performers: Matthew H Glenville and Co. Reviews: "enthusiastically received, and the applause testified to the audience's appreciation", Hastings and St Leonards Observer

The Stage, 12 and 19 July 1917, listed The Man Who Stayed at Home (Red Co.) as On Tour from 16 July at the Gaiety, Hastings. ‘“The Man Who Stayed at Home” Spy Play Next Week. This play gives you the real, complete, wholesome thrill you got as a boy over a detective yarn. You outgrow the capacity for that thrill as you become older, and you would not regain it in this play had not the war shown the most lurid fiction be no stranger than the truth. Before 1914 the plain, matter-of-fact person smiled with superior scepticism at stories of espionage, with their paraphernalia of weird mechanism and their human touches revealed in the wiles of adventuresses entrapping by their physical charms young officers possessing State documents. But now we know the novelist's inventions to be no more weird than those of Hun engineers and chemists. Amid all its ingenuities and dramatic surprises the play still contrives throughout to be a comedy, and in that respect is quite entertaining. The cast includes:- Clifford Marle, George Percy, E. J. B. King, J. Edward Pearce, Malcolm Cumming, Hilda Francks, Jean Stanley, Christine Cooper, Frances Waring, Ethel Coleridge, and Edith Cuthbert’ (Hastings and St Leonards Observer, 14 July 1917).

First 3 days of the week.

Performed during the latter half of the week. Described as 'True to life from beginning to end, with the greatest attention to detail, there were both tears and riotous laughter in this piece which is so full of humanity and character'.

‘Great popular interest is being taken in the production of “Bubbly!” at the Gaiety Theatre next Monday, and already seats are being eagerly booked. This is not surprising when it is remembered that this charming revue has been playing to crowded houses at the Comedy Theatre, London, for the past six months to audiences the greater part of whom is composed of officers and men of both services ... The first provincial appearance of “Bubbly!” took place at the Theatre Royal, Exeter, on Monday last ... The production here will be an exact replica of that at the Comedy Theatre, and while it will contain the new features recently introduced into the Second Edition, such as, for instance, “Old Bill, or the worst ‘ole all” ...' (Hastings and St Leonards Observer, Saturday 1 December 1917). ‘One of the best musical pieces ever presented in Hastings is being played this week at the Gaiety Theatre. It is a feast of good things, in the way of singing, dancing, humorous sketches, dressing, and mounting. “Bubbly” is not a revue, or at any rate it not what has previously been served up as revue; it is a distinct cut above that class of entertainment, and it is as wholesome as it is artistic, which is saying a good deal. It should crowd the house every time. Prominent amongst the large company of first-class artistes are Mr. Edmund Russell, a perfect glutton for work, who plays many parts with really wonderful power and ability; Miss Ivy Tresmand, who was in the piece for over 100 performances at the Comedy Theatre, London, and who sings, dances, and acts in a perfectly bewitching manner; Miss Florence Bayfield, a remarkably clever child actress, who does many charming things and whose moth dance is alone worth a visit to the Theatre; Miss Edith Payne, Miss Doris Barrington, Miss Bobbie Rutland, and Miss Gaby Condor, all with excellent parts and all completely successful; and Messrs. Claude Ryder, Cedric Percival, and Ernest Seebold, actors and comedians of great merit. There will be a matinee as well as the evening performance on Saturday’. Hastings and St Leonards Observer, 8 December.

Performed by Moya Mannering (actress), H. V. Esmond (actor).

Performed 16-18 September 1918. William Home (actor), John McNally (actor), Garrett Hollick (actor), Helen Green (actress), Gladys Spencer (actress), Arthur Murray (actor). 'A play of the moment, 'By Pigeon Post' was played to the utmost capacity of the Gaiety Theatre at every performance of the week...The story proved exceptionally thrilling...The introduction of a number of perfectly trained carrier pigeons in a large aviary was a pleasing novelty, as also were the lady doctor and motorist who played a leading part in this brilliant piece. A spy play always makes its appeal, but perhaps none has met with greater success than 'By Pigeon Post.'...The piece was received with great enthusiasm.' (Hastings And St. Leonards Observer, 21 September 1918)

‘A spy drama is always a great attraction, and “The Live Wire,” one of London’s latest successes, has drawn good houses at the Gaiety Theatre, Hastings, throughout the week. The hearty thanks of local theatregoers are due to the Management for securing all the latest pieces. There is plenty of action in “The Live Wire,” and it is practically impossible to decide how the play is going to end until a few minutes before the final curtain. It is full of exciting incidents and false scents, laying suspicion first on one person, then another, and generally bewildering the audience. To relate the story of any spy drama is to spoil it for those about witness to its performance, so that all that need be said is that it is highly interesting and beautifully acted'. Bexhill-on-Sea Observer and the Hastings and St Leonards Observer, both 9 November 1918.

‘At The Gaiety Theatre, Hastings [next week]. “Nurse Benson,” the new comedy by R. C. Carton and Justin Huntley McCarthy was produced at the Globe Theatre on June 21st last year and is still playing to packed houses at each performance ... The complications and misunderstandings which arise out of Lady Gillian’s escapades are ludicrous in the extreme, and keep the audience rocking with merriment from the rise of the curtain until its fall. The strong cast includes Miss Doris Kendal, Miss Mary Griffith, Mr. Harry Robinson, Mr. P. Fuller, Mr. Blake Probert, Mr. Besley Beltman [sic – Beltram], Mr. George Polson and Mr. J Edward Pearce. The complete production (as at the Globe Theatre) is carried. There will one matinee, Saturday, at 2.30’. Bexhill-on-Sea Observer, 1 March 1919; also the Hastings and St Leonards Observer, the same date.

‘Arnold Bennett’s very successful comedy, “The Title,” is paying its first visit to the Gaiety Theatre during this week, and is being very warmly received. It is a delightful piece, beautifully written and perfectly acted, and although the author’s satirical wit is exercised at the expense of the Government in the buying and selling of honours, yet it cannot fail to please, the treatment of the subject being so excellent. The Company give a perfect interpretation of this comedy' (Bexhill-On-Sea Observer, 31 May 1919).

‘Theatregoers of all ages will welcome the return visit of “Bubbly” to the Gaiety Theatre, Hastings, next week, especially when it is known that the identical company which scored such an enormous success on its last visit - more than a year ago - will be responsible for its presentation. Dainty Ivy Tresmand will again head the cast, and those who remember her vivacious acting and dancing will hasten to renew her acquaintance. Edmund Russell will once more delight huge audiences with his droll impersonations of Old Bill and the Major who could not appreciate the comforts of his home after four years hardships on the battlefield, and Ernest Seebold’s rich baritone will again be heard in “Sympathetic Smile” and “Hawaian Butterfly.” The original and exquisitely-dressed chorus remains intact, and that delightful child dancer, Florence Babfield [sic – Bayfield] is still in the cast. The Company, which was only beginning its tour on its last visit, has now achieved a record of more than a thousand consecutive performances - a record so far as musical comedy is concerned ... This important event will mark the re-opening of the Theatre after a thorough renovation and re-decoration’ (Bexhill-on-Sea Observer, 5 July 1919). ‘After having been closed for a fortnight for the annual re-decoration [the Gaiety, Hastings] re-opened on Monday with a return visit from Ralph Haslam’s company in “Bubbly.” It went throughout with a merry swing, mainly owing to the clever acting of Ivy Tresmand, R Barrett Lennard, Ernest Seebold, and Edmund Russell’ (The Stage, 10 July 1919).

The Bexhill-on-Sea Observer, Saturday 30 August 1919, advertised at the Gaiety Theatre, Hastings, on Monday 1 September for three nights and a Wednesday matinee, ‘Mr. Frederick G. Lloyd presents by arrangement with M. Andre Charlot the highly successful musical extravaganza “Tails Up.” Direct from the Comedy and Prince of Wales’ Theatre, London’. ‘For the first three nights of next week Mr. F. G. Lloyd will present by arrangement with M. Andre Charlot, the highly successful Musical extravaganza “Tails Up” direct from the Comedy and Prince Males Theatres, London, where it has been running for over 500 performances. The Cast is a strong one and includes Edwin Adeler, Bert Monks, Phil Golding, Jack Leopold, Leslie Ward, Will Nixon. Arthur Laurie and Misses Hilda Simpson, Ellaline Thorne, Isobel Broznan, Marie Brian, and Essie Brett. The entire production is carried by the company with a Full Chorus and Augmented Orchestra.. The engagement is for three nights only with a matinee on Wednesday at 2.30’ (Hastings and St Leonards Observer, 30 August 1919). Performances noted in The Stage, 4 September 1919. ‘The long caste included many fine artistes who sang and danced and cracked jokes for the entertainment of their audience, and one and all worked hard to make the show a success’ (Hastings and St Leonards Observer, 6 September 1919).

Performed by Arthur Hardy (producer), Gilbert Heron (actor), Baliol Holloway (actor), Florence Helm (actress), Herbert Vyvyan (actor). 'The play has a good story, the action is rapid and direct, the tension is steadily maintained...an exciting play and one of the most ingenious that has been produced. It helps us to realise something of the intricate nature of the machinery by means of which the great war game has been carried on' (Hastings and St Leonards Observer, 1 November 1919).

‘At the Gaiety Theatre, next week, [the] Taylor Platt Company will present “Nurse Benson,” one of the finest comedies our stage has seen for some time. “Nurse Benson” is an ideal play for the times - all pleasantry and pretty sentiment; its hero is a wounded hero, but there are no alarums of war or excursions to battlefields. It is a bright, engaging comedy, written by two of our greatest authors, B. C. [sic – R. C.] Carton and Justin Huntly McCarthy. There is an interesting love story that is as rich in humour as it is strong in sentiment, and by a great triumph in high comedy writing it goes along to an increasing tempest of laughter. Plays that begin well often finish badly, but here is one that works out proper crescendo. It is good, better, best. “Nurse Benson” was produced at the Globe Theatre, London, where it achieved instantaneous success, and was played at that theatre for over performances. The strong cast includes:- Miss Maud Linden, Miss Mary Griffith, Miss Lilian Stanley, Miss Mary Polson, Miss Norah J. Hood, Mr. P. Fuller, Mr. Eric Fane, Mr. John Raymond, Mr. James Hornby, and Mr. George Polson' (Hastings and St Leonards Observer, 27 March 1920; also the Bexhill-on-Sea Observer, 27 March 1920 which published two photographs of the production, including one of Maud Linden).

The Bexhill-on-Sea Observer, 26 November 1921, advertised at the Gaiety Theatre, Hastings, from Monday 28 November the ‘Important Personal Visit of the Eminent Actor Mr. Jerrold Robertshaw and Actual West End Company prior to London Production in the New Play “The K.C.,” By Dion Titheradge’. Also: 'Hastings for some time past has been regarded by managers and authors as a criterion of dramatic fare. Acting on this and from a personal knowledge of the discrimination of the Hastings people, Mr. Jerrold Robertshaw has decided to place before the public an entirely new play, “The K.C.,” by Dion Titheradge, prior to a West End production, feeling that if his venture received commendation here there can be no doubt of future London approval ... The cast has been carefully selected and rehearsed, and the combination of a good play, fine cast, headed by a brilliant actor as Mr. Robertshaw undoubtedly is cannot fail to send every visitor the Gaiety home convinced that they have spent a pleasant and profitable evening' (Hastings and St Leonards Observer, 26 November 1921; also the Bexhill-on-Sea Observer, same date). Noted in The Stage, 1 December 1921. Also: ‘Hastings has been once again selected for a trial run of a new play before production in London, and if the welcome accorded Dion Titheradge’s “The K.C.” at the Gaiety Theatre on Monday night is any criterion of coming events, the piece has a brilliant future. Seldom has a theatre audience been so unanimous in its decision that the play is a fine one, or that it was superbly acted. The applause at each curtain was quite electrifying and many times did the onlookers spontaneously break in, being unable to bottle up their overwhelming appreciation. It is a matter for regret that the author was not present to share in the glories of the evening, but Mr. Jerrold Robertshaw, in a few words of thanks, said he would wire him in the morning and send him the good news' (Bexhill-on-Sea Observer, 3 December 1921; also the Hastings and St Leonards Observer, same date).

Performed for the week with matinee Saturday at 2.30.