Perth Theatre, Perth

‘A matinee performance will be held in the Perth Theatre on Wednesday afternoon [1 March 1916] in aid of the funds of the Perthshire Branch of the Scottish Veterans’ Garden City Association. The function promises to provide a grand treat. Mr Stephen Richardson, the well-known organist and music teacher, kindly consented to arrange the programme, which is of a specially attractive character, in which the musical and dramatic numbers will be pleasantly blended. The performers include the augmented orchestra of Her Majesty’s Theatre, Dundee, as well as distinguished vocalists, while a thrilling play, “The Little Prince,” will be given by well-known artistes’ (Perthshire Advertiser, 26 February 1916). ‘The programme concluded with a thrilling playlet, “A Little Prince,” by Felix Cross, which was sustained by Miss Audrey Mayhew, as “Madame Aubert,” a French peasant woman; Miss Astraea Hall, as Helen Aubert, her pretty daughter; Mr Fred Forbes, as Patrick O’Malley, an Irish artisan; and Miss Vida Hall, who assumed the title role’ (Perthshire Advertiser, 4 March 1916).

'can justly be described as inspiring and edifying', (Perthshire Advertiser, 27 December 1916)

‘What is described the “Great Scottish Super Spy Play,” “Carry On, or the Secret Aeroplane,” was successfully produced at Perth Theatre on Monday. The piece may be regarded as a rattling good melodrama, with a strong popular and patriotic appeal. Exception might be taken to the length of some of the “speeches” and the explanations, in the nature of stage directions, which are put in the mouths of certain of the actors, but no extraneous or unnecessary incidents have been introduced, and play moves swiftly from the start to the sensational denouement. As a piece of stage craft “Carry On” is entitled to rank highly. It was impossible that there could be any striking degree of originality in a play of this kind, but the situations are naturally developed and highly dramatic, and the robust, patriotic sentiments of the leading men and the heroine are expressed in felicitous language and in a marked degree inspiring. The mechanical effects add greatly to the attractions of the drama, and it is little short of marvellous that they could have been carried through on a first night, as they were, without the slightest accident. This alone is sufficient to show that the producers are consummate masters of the art of stage craft. The aeroplane fight in the last Act is somewhat hampered by the comparative smallness of the stage, nevertheless the machines are accurately modelled, and convey a clear impression of what genuine aeroplanes look like when skimming the zenith'. Perthshire Advertiser, 28 August 1918.

The Stage, 11 and 18 December 1919, listed The Girl Who Changed Her Mind as On Tour from 15 December at ‘Perth, Perth’.

‘Booking starts on Wednesday for the Christmas season, the first production being Barrie’s “A Kiss for Cinderella,” on the week commencing December 21. This will be followed on December 28 by a fortnight’s run of the pantomime, “Babes in the Wood”’. Perthshire Advertiser, 5 December 1942. The Perthshire Advertiser, 19 December 1942, previewed the production: ‘This play of Barrie’s, though written during the last war, can never date, and in fact to-day it seems more applicable than ever’. The Perthshire Advertiser, 23 December 1942, reviewed the production.