Surrey Theatre, London

Performed alongside variety acts: Josie Delaine, Victoria Monks, Zellini, Brothers Egbert, Jack Smiles,John Donald, Belle Davis and company, Billy Hobbs

‘It would be unfair to Messrs. James and Robert Hargreaves, who have written the book, and to Magini, who has supplied the music, to say that their latest effort, entitled “Stop Press,” produced at the Surrey on Monday, in any way approaches their previous standard of excellence. “Stop Press” is described as a burlesque in five columns, and it lacks chiefly the one thing the title suggests, namely, novelty. The first scene is the familiar village meeting place, so frequently used in pantomimes - a hostelry on the O.P. side, and a stile and view of green meadows on the other. Much of the comedy, too, is of a pantomime order; for instance, the long-drawn-out argument between two of the characters as to who shall pay for a bottle of wine, and the bewilderment of the barmaid when one of them addresses an imaginary acquaintance who wants to borrow all his spare cash. The entire humour of the burlesque rests upon the shoulders of Mr. Tom Major as Peaceful Henry, a tramp; Mr. Jack Norman, as B. Swift, a waiter; and Kitty Major as Virginia Creeper, a housemaid. Provided with the right material, they would undoubtedly prove a vastly entertaining trio. Mr. Major aroused the Surreyites to wild enthusiasm with his delivery of “When I learn the world behind,” and “Who’s she?” very reminiscent of Miss Wish Wynne’s ditty, “Who ‘er,” sung by Miss Major, was equally enjoyed. The solitary burlesque of the concoction is that of a local tribunal, and here many laughs were raised the excuses of applicants for exemption. The blue pencil should be vigorously employed on the scene between Henry Ford, of U.S.A., and Peaceful Henry, in which the former wins a bet of a dollar for the who can tell the biggest lie by remarking, “I once knew a gentleman in America.” Surely, with the constant exchange of artistes between London and New York such remarks are hardly conducive to enduring friendship between subjects of the two nations on working the same bill. Miss Edna Clyde, as a Lancashire lass, leads the Verdun troupe of dancers and the chorus in “Here’s a few more from Lancashire,” at the conclusion of which the producer rushes on and declares “it is nothing like it,” and so it dawns upon the audience that they have only been watching a rehearsal. There follows a rehearsal on the bare stage, shorn of all stage costumes and scenic trappings, then a visit to a costumier’s where the girls are paraded in new dresses, and back once more to the first scene, this time covered with snow. The whole show left us with the impression that it was indeed a rehearsal of something that might develop into an entertainment. Royce, Babs, and Royce, in a prettily dressed dancing act; the Six Ceylons, in their always acceptable “Fun in an Opium Den”; the Courtiers, humorous and harmonious vocalists; and Miss Ada Wright, a popular comedienne, preceded the burlesque’. The Era, 29 March 1916.

‘The exploits of Parker as exhibited through the genial and broadly comical stage personality of Charles Austin have long formed one of the most attractive features of modern variety entertainment, and music-hall patrons have lingered lovingly over Parker’s many phases of character. In his latest incarnation – as shown in “Parker’s Appeal,” which was seen for the first time at the Surrey last week - he is in congenial employment at a brewery (brewer’s red cap and all), but has a rather unpleasant time at the hands of the president of a local military tribunal. The piece, which is in three scenes, and has been written by Charles Austin himself, first shows Parker, in the bosom of his family, getting the shock of his life by the receipt of his calling-up papers; and afterwards, in the next scene, there is some characteristically humorous business with Parker flogging up his courage outside the tribunal and getting scant comfort from his “pals” as they come out after the dreaded ordeal. Once before the greybeards, however, Parker enjoys himself for a time, especially when the president and his associates retire to luncheon, and there is a pretty serving-maid to flirt with. During this interval Parker also dons the president’s chain of office, and makes short work of the appeals of several applicants who come before him. Finally, when the president returns, Parker’s own appeal is dismissed; and then, in a sudden rhetorical, patriotic outburst, he declares that he is deeply ashamed of himself for having made it at a time when the country wants men, and so on. This outburst so impresses the president that he readily agrees to grant any one “last request” that Parker may make, and Parker, as may well be imagined, makes a pretty stiff one – that he be exempted from military service until the termination of hostilities! The curtain thus falls upon a note of hearty laughter; nor is most of the laughter that precedes the curtain fall any the less spontaneous or cordial. “Parker’s Appeal,” in short, should serve Charles Austin in excellent stead until the happy time ahead when tribunals will be almost forgotten. It is a wholly addition to the already lengthy Parker series, and not a little of its attraction lies in its broad and genial satire upon certain military tribunal methods. Mr. Austin has in it the assistance of a capital company, and the general success of the piece was never for a moment in doubt at the Surrey last week’. The Stage, 25 October 1917.

'Laughter reigned supreme [at the Surrey] during the half-hour’s run of this playlet on Monday. The holder of the cushy job is Captain B. who is in charge of a recruiting office. In his absence his place is taken occasionally by the corporal, whose sense of discipline and dignity is somewhat wanting. Two or three recruits, their names – Sebastian, Goldsilverstein, and Young Bill - will describe them, are enrolled. There is an interlude with the charlady, Mrs. Higgins, followed by some light duties in which the three “flapper” clerks play a part, and to crown matters, the office is taken over by the Food Controller. So Captain B. forsakes his “cushy job” and decides to take a rest cure in the trenches. The show is played with real snap throughout' (The Era, 6 February 1918). ‘Captain Baker’s new sketch comes to London after a successful run in the provinces, and is causing much laughter at the Surrey this week ... it runs upon irresponsible lines throughout, the purpose of the author being solely to amuse, without any special effort at plot or story. Under these circumstances no elaborate description of the piece is necessary; it amply achieves its purpose as a laughter-maker, and there are many topical allusions during the course of the action, which takes place in a recruiting office. It is cleverly played by a carefully selected cast ... Judging by its cordial reception on Monday evening, “A Cushy Job” should be in for much extended favour in the variety theatres as a piece of happy-go-lucky, disconnected farce’ (The Stage, 7 February 1918).

This was the first performance of the work. It was performed by Betty Kitts (actress), Madge (dancer) and 'made a big hit' (Stage, 28 February 1918)

Reviewed in The Era, 10 April 1918.

The Stage, 16 May 1918, advertised ‘Managers and Agents, See Mary Neil in her latest comedy study “Nell’s Luck.” “Is a brief, almost too brief, little play, acted with true humour by Miss Mary Neil.” – Vide Referee. “An amusing little piece followed with intense interest, punctuated with hearty laughter and applause.” – Stage. This, Surrey (7.30 and 9.30); next, Collins’.

Performed for the week by Louis Victor (actor), Patricia Selbourne (actress), Muriel Kelly (actress), Fred Emery (actor), Henry Scatchard (actor), Vincent Holman (actor), Guy Buckland (actor), Joseph R. Tate (actor), Mr Burgess-Barrett (actor), Harry Jackson (actor), Arthur Carlyle (actor), James Digby (actor), David Webster (actor), Wilson Blake (producer), W. Burgess-Barrett (stage manager). "By arrangement with Mr. Thomas C. Dagnall, Mr. Louis Victor made a successful start with Walter Hackett's wireless war piece, ..."The Freedom of the Seas", frankly farcical though much of it is, retains its thrillng effect in all the submarine and sea-plane and wireless business in the exciting last act, in which, Mr. Victor, in his capital and much-applauded performance, contrasts the meta-morphosed Smith as far as possible with the cringing creature of the first act." (Stage 26 August 1920)

Performed for the week by Louis Victor (actor), Patricia Selbourne (actress), Muriel Kelly (actress), Fred Emery (actor), Henry Scatchard (actor), Vincent Holman (actor), Guy Buckland (actor), Joseph R. Tate (actor), Mr Burgess-Barrett (actor), Harry Jackson (actor), Arthur Carlyle (actor), James Digby (actor), David Webster (actor), Wilson Blake (producer), W. Burgess-Barrett (stage manager). "By arrangement with Mr. Thomas C. Dagnall, Mr. Louis Victor made a successful start with Walter Hackett's wireless war piece, ..."The Freedom of the Seas", frankly farcical though much of it is, retains its thrillng effect in all the submarine and sea-plane and wireless business in the exciting last act, in which, Mr. Victor, in his capital and much-applauded performance, contrasts the meta-morphosed Smith as far as possible with the cringing creature of the first act." (Stage 26 August 1920)

‘Any of Mr. Oswald Cray’s productions are always assured of a hearty welcome in South London, hence the large audience which assembled at the Surrey Theatre to which he has gathered round him, and in Mr. Vernon Proctor’s drama, “The Unmarried Mother.” Mr. Cray is to be congratulated upon the excellent company which has gathered round him, and in no less a degree upon his leading lady, Miss Madeleine Burnette, who as Eileen, the unmarried mother, gets every bit of pathos from a somewhat trying part. Miss Hilda Malcolm makes a winsome Ethel Chalmers, and receives excellent support from Mr. Jack Terry as Lieut. Dennis Allan. To Mr. Eric Page falls the unsympathetic rôle of Gerald Blake. As the hard-hearted John Chalmers, Mr. Alfred Adams (the business manager) did exceedingly well, and Miss Louie Adams was sufficiently subdued as his wife, Martha. Miss Daphne Delorme and Mr. Todd Squires as Mrs. O’Goblin and Jimmy, of that ilk, provided plenty of boisterous humour, whilst Mr. Peter Tyson was earnest as Private Walter Newton, Eileen’s lover’. The Era, 22 June 1921.