New Theatre, Oxford

The Era, 22 and 29 November 1916, listed The Man Who Stayed at Home (Red) as On The Road from 27 November at the New, Oxford. ‘The attraction here [New Theatre, Oxford] for the first part of this week is “The Man Who Stayed at Home,” presented very ably by Mr. E. Taylor Platt’s company. With Clifford Marle as Christopher Brent, the efficient cast includes Chas. H. Mortimer, J. Edward Pearce, C. Laverack-Brown, Russell Bendle, Malcolm Cumming, Hilda Franks, Valerie Richards, Greta Wood, Frances Waring, Ethel Coleridge and Edith Cuthbert. Mr. Herbert Jay’s company are occupying the boards for the latter part of the week with “Tiger’s Cub”‘. The Era, 29 November 1916.

‘There was quite a galaxy of talent, both professional and lay, at the New Theatre, Oxford, on Saturday, when the cadets now in training there organised a special matinée in aid of the War Relief Fund of the St. John Ambulance. There was a very full and most appreciative house, and it was estimated that a sum of about £105 would be handed over to the fund - a very gratifying result … At the … matinée a new playlet, in one act, was produced, for the first time, by Cadet Percy Esme, entitled “D Company,” by Miles Malleson. The scene is laid a barrack-room at Malta in 1914. There is no particular plot, but it is rather an episode dealing with soldier life in barracks. As the Cockney private Cadet Frank Steward showed true grit(?); while Cadet Percy Esme as Pte. Garside, the gentleman who had no need for a “job” for a living, was truly a sympathetic “pal.” The other characters were all played with great naturalness. The little play, full of touching pathos in places, had a very cordial reception. The cast included Cadets Frank Steward, Brewer, Packer, Wills, Spink, and Percy’ (The Era, 14 February 1917). The Stage, 15 February 1917, also reviewed the play, the cast of which was: Private Alf. Tibbutt, Cadet Frank Steward; Private Tilley, Cadet Brewer; Orderly Corporal, Cadet Packer; Private Jim Penley, Cadet Wills; Corporal Joyner, Cadet Spink; Private Dennis Garside, Cadet Esmé Percy. The scene was a barrack room at Malta in October 1914. The review continued: ‘This little piece is essentially a sketch, from the author’s personal experience, of military life as live din barracks abroad by a London Territorial regiment in the early days of the war. There is practically no plot to describe, and the play consists of dialogue pure and simple. The soldiers come into the room straight from a route march, and are tired and hungry, and it appears there is very little food procurable. A discussion takes place amongst the early comers as to the station in life of one of their number, Dennis Garside, not then present. He, it seems, is of a quiet, reserved nature, and keeps much to himself. It is decided that he belongs to a good family, and is, if not wealthy, comfortably well off and of good education. This surmise eventually proves correct. The dialogue is mostly of an amusing nature, but there is one very pathetic passage, wherein Alf. Tibbutt, a typical cockney, receives letters from his mother and young wife, informing him that his brother has been killed in France. This little scene was very skilfully and artistically portrayed by those who took part in it. It was realistic in the extreme. The play ends with a humorous incident between Tibbutt and Garside, the former getting the latter to write a letter for him to his wife. Tibbutt is at a loss for words; so finally he notices a letter lying on Garside’s knee, and inquires who it is intended for. It is going to Garside’s fiancée, and is readily read out to Tibbutt upon a request to do so. As it is written in a romantic and poetical strain, it fairly takes poor Tibbutt’s breath away, and before he can recover himself and dictate his own letter the bugle sounds “Lights out,” and so – curtain. The trifle was capitally acted, and did credit to all the actor-soldiers concerned. The production was in the hands of Cadet Esmé Percy, and Cadet Allison deserves high praise for his excellent stage management. The play was written by the author when a private in a regiment stationed at Malta in 1914’.

The Era, 17 October 9117, listed A Kiss for Cinderella as On The Road from 22 October at ‘Cambridge (3), Oxford (3)’. ‘For Thursday, with a matinee on Saturday, Miss Emma Hutchison and Mr. Percy Hutchison’s company is booked with “A Kiss for Cinderella”’ at the New Theatre, Oxford. The Era, 24 October 1917.

3 days only

The Era, 13 February 1918, listed Bubbly as On The Road from 11 February for three nights at the New Theatre, Oxford.

Presented by Robert Courtneidge, and performed for the week by a cast including Julian Royce (actor) and Queenie Gwynne (actress).

Performed for the week.

‘Miss Marie Lohr’s principal company commenced a three nights’ engagement at the New Theatre last evening in “Nurse Benson.” The play was first produced at the Globe Theatre, London, in June last, and is still running with conspicuous success. “Nurse Benson” is the name assumed by Lady Cillian [sic – Gillian] Dunsmore, who during the war has qualified as a V.A.D. for the purpose of nursing a wealthy and attractive young officer who is invalided home from the front. The play offers plenty of scope for the artistes, the dialogue is both clever and witty, and hearty laughter is frequently provoked. In the title rôle Miss Hazel Jones, who was formerly a member of Sir George Alexander’s “Aristocrat” company, acted with conspicuous talent throughout, and at the close of the play was repeatedly recalled. Lord Messiger, a nobleman with a passion for economy, is cleverly enacted by Mr. James Carrall, Mr. Clifford Poulteney [sic - Poultney] is capital as Captain Tibbenham V.C., the wounded hero, whilst the remaining rôles are all effectively filled’. Oxford Chronicle and Reading Gazette, Friday 28 February 1919.

The Era, 12 March 1919, listed The Live Wire (André Charlot Co.) as On The Road for three days from 17 March at the New T., Oxford. Also: ‘The power of the Press has never been more in evidence than during the period of the European War, and the authors of the new spy play, “The Live Wire,” have made this subject the pivot of an excellent and coherent plot' (Oxford Chronicle and Reading Gazette, 21 March 1919).

The Oxford Chronicle and Reading Gazette, 21 March 1919, advertised at the New Theatre on Thursday 27 March for three nights only the Vedrenne and Eadie Company, including Stanley Turnbull and Louie Pounds, in the great Royalty Theatre success, The Title, a comedy in 3 acts, by Arnold Bennett. Also, ‘For the second first half [of next week] Mr. Arnold Bennett’s latest comedy, “The Title,” will be given. It is in the hands of a Vedrenne and Eadie company, who were responsible for “Milestones” and “Billeted.” Such well-known favourites as Mr. Stanley Turnbull and Miss Louie Pounds are in the cast’ (Oxford Chronicle and Reading Gazette, 21 March 1919).

The Stage, 18 and 25 September 1919, listed Bubbly as On Tour from 22 September at the New, Oxford.

Performed for the week by Thos. C. Dagnall's company.

Performed 19, 20 and 21 January 1920. Arthur Hardy (producer), Helen Green (actress), Alfred Gray (actor), C. Haviland Burke (actor)

‘Arthur Rosebery’s company are drawing good houses with “The Silent Watch” and “Sweethearts and Wives"' (The Stage, 19 August 1920).

Performed as part of the week's repertoire of plays.

‘Arthur Roseberry’s [sic] repertoire company is to re-visit Oxford on Monday, and there will be performances twice nightly ... On Saturday night “For Sweethearts and Wives” will be played, in which Roy Jackson and Miss Polly Marsh will have parts’ (Oxford Chronicle and Reading Gazette, Friday 19 August 1921). ‘Mr. Arthur Rosebery’s Company paid a welcome return visit to the New Theatre this week in three plays, “The Silent Watch,” “The Queen’s Rival,” and “For Sweethearts and Wives.” All the plays are old favourites, and there were large audiences each night’ (Oxford Chronicle and Reading Gazette, 26 August 1921).

Performed on Tuesday and Saturday matinee as part of a week's repertoire by the company.