Empire Theatre, Nottingham

(The Stage - Thursday 04 November 1915)

The Era, 15 March 1916, reviewed Eyes Right, ‘A Petite revue, by Harold Simpson and John Tiller, Produced for the First Time at the Empire Theatre, Nottingham, on Monday, March 13. The initial performance of this little revue was given on Monday with all the necessary elements for success, and a crowded house gave it an enthusiastic reception. With his usual attention to detail, Mr. John Tiller has fully equipped this latest venture, with the result that a bright and breezy medley of good things has been pressed into its thirty-five minutes. The musical numbers are light and lilting enough to set the feet moving. The costumes are not only pretty, but harmonise well with the scheme of colouring of scenery, which is a picturesque setting of a mill and farmyard. Just a slender plot serves to allow of an unlimited amount of real humourous business. The Miller, who has been called to the war, leaves his wife (Mr. Tom D. Newell) to manage his affairs in his absence, and on this the whole of the fun and frolic hinges. To assert woman’s independence of man, the Miller’s wife resolves that she and the girls can easily run the show. This gives an opening for many funny incidents, in which Mr. Newell fairly revels, notably the laundry. Another smart skit is on the economy of household management. Mr. Newell also scores in a highly diverting song, “The District Nurse,” in which droll patter and a cleverly executed eccentric dance brought the house down. The only other principal is Miss Eileen Desmond, who gives an animated rendering of “There’s a land,” and a song, “The Amazon Brigade,” assisted by the girls, who perform an expert change of costume from country maids to Scottish Highlanders, in which they execute some smart military movements. The Empire Girls also dance with precision and neatness. The production is under the direction of Mr. John Tiller, with Mr. Teddy Gibbs as the able stage-manager’.

Performed by Sarah Bernhardt. The Nottingham Evening Post noted that Bernhardt had always been a woman of the theatre and had long refused to play 'the halls [but] the hinterland which divides theatre and hall is much narrowed in these days of constant exchange between the two branches of entertainment, and artists of the highest standing frequently fulfil variety engagements.' (30 March 1916)

Performed this week by George Hestor (actor), Dorothy Frostick (actress), Ethel Arden (actress), Joan Hestor (actress), Marie Ellie (sic - Ellis) (actress), Norman Carn (actor), Jack Mann (actor), Nat Lewis (actor). Also Fred Karno (co-writer), George Hughes (co-writer), John Gerant (co-writer). ‘Patrons of the Empire will have the pleasure next week of witnessing another Karno creation, and appetites will be whetted accordingly. Nosey Knows is Fred’s significant labelling of his latest effort, which he insists is not a revue but a “farcical musical sketch” … Karno and his collaborators, George Hughes and John Gerant, have managed to crowd in more than a sufficiency of the business that really matters, whilst at the same time resolutely refusing to make the plot a non-essential’. (Nottingham Journal, 5 January 1918)

‘Laughter reigned at the Empire last evening while Chas. Austin and his company were presenting his latest comedy “Parker’s Appeal,” quite the most consistently funny sketch he has produced since his original “Parker, P.C.” A running commentary upon the plan of a prospective recruit, with many humorous allusions to tribunal procedure, the sketch gives Austin a splendid opportunity for mirth. and he makes the most of it’.(Nottingham Evening Post, 2 July 1918). ‘Chas. Austin, who has made merry in other days with “Parker, P.C.” and “On the Panel” is more than successful at the Nottingham Empire in his topical “Parker’s Appeal.” He infuses a well-written sketch with an abundance of scintillating whimsicalities and, of course, carries the tribunal and incidentally his audience with him to the end' (Nottingham Journal, 2 July 1918).

‘A topical revue entitled “Rations” - one of Fred Karno’s productions - holds pride of place on the Empire bill this week, and last evening made a big hit with the two large audiences. As the title denotes, the piece is an extravaganza based on the many rationing orders issued, and as such it is exceptionally clever burlesque. Robb Wilton, one of the best comedians ever associated with the Karno name, carries the success of the piece on his shoulders. He is the drollest of the droll, and never fails to keep his audience hard at work with their risible faculties. As the controller of “lip manipulation” he is screamingly funny, whilst in the role of war-time butcher he gets home with many witty and topical thrusts. Musically the revue depends on Miss Winnie Collins, a charming principal whose singing and dancing is one long delight’. Nottingham Journal, 13 August 1918.

Duncan and Godfrey. The famous Cockney Comedy Couple in their successful scena "A Soldier, a Girl and a Jolly Jack Tar." (The Era - Wednesday 4 September 1918)

The performance was described as "Bright in every scene, and endowed with all the best elements of song, dance and comedy" (Nottingham Evening Post, 26 November 1918)

Performer: Fred Kitchen

‘If the war happily no longer lends point to “Parker’s Appeal,” Charles Austin is sufficiently funny to render its return to the Empire thoroughly enjoyable. Austin has done nothing more laughable than his burlesque of a tribunal, and his company backs him up capitally’. Nottingham Evening Post, 17 June 1919.