Queen's Theatre, Holbeck, Leeds

‘Mr. and Mrs. Percy Brown and Company are appearing at the Queen’s Theatre this week in a topical drama, “Remember Belgium.” There are eight scenes, mainly depicting the stormy localities in France and Belgium, and one shows a cellar after being bombarded - quite a realistic touch, by the way. There is a strong plot, and the inevitable German spy, who ultimately meets the fate he deserves. Miss Vida Haslewood as Marie, an English Colonel’s adopted daughter, proves herself a fine sympathetic actress. Thrills abound in plenty, and wounded soldiers and Red Cross nurses combine to make a picture [sic] which is not as exaggerated as it may appear. Last night’s audience evidently appreciated the play’ (Leeds Mercury, 22 June 1915). Also noted in The Era, 23 June 1915, and The Stage, 24 June 1915.

The Era, 14 July 1915, noted that Mrs Frank Bateman and her company were appearing that week at the Queen’s, Leeds in a repertoire consisting of The Woman in Khaki, The Way Women Fool and Every Woman’s Sin. ‘Mr. Charles Bush is reverting to drama again this week, and once more the patrons have the pleasure of welcoming back to Leeds Mrs. Frank Bateman and company in a repertory of plays. On Monday Mrs. Bateman appeared in a military drama, A Woman in Khaki. Mrs. Bateman has a fine emotional part in this play, and she and Mr. Fred Goddard gain much applause. The remainder of the company likewise do good work’ (The Stage, 15 July 1915). An advertisement in the Yorkshire Post and Leeds Intelligencer, 15 July 1915, showed that The Woman in Khaki was being played that night; but an advertisement in the Leeds Mercury, Friday 16 July, showed that for that night only Every Woman’s Sin was to be played.

‘Melodrama returns to the Queen’s Theatre this week, when Miss Emma Litchfield, a well-known authoress, introduces “Home Once More.” The story has a nautical flavour about it, and the scheming of the evil-doer takes place under the hoof [sic - roof!] of the Jack Tar hero’ (Yorkshire Evening Post, 10 August 1915). The Stage, 19 August 1915, included the following testimonial dated 14 August 1915 from Charles Bush, Queen’s Theatre, Leeds, in an advertisement for Home Once More: ‘Dear Miss Litchfield, When our patrons come to me personally to compliment the actresses and actors, scenery, and things in general, I feel it is my duty to speak, on their behalf and my own, of the satisfaction you have given us this week. To use their sentiments, “A most enjoyable show, so well played and tastefully mounted’.

‘If “The Day Before the Day” had been produced eighteen months ago, it would have been dismissed by the critics with a contemptuous shrug of the shoulders as a wildly impossible phantasy, a dream of the scaremongers. But the public to-day is vastly different to that of pre-war days - how long ago it seems! Its eyes have been opened and the spy danger is now a very real one. Any play dealing with the intricacies of the German espionage system is sure of a good hearing from the audience of to-day. “The Day Before the Day” is a logical sequence to “The Man who Stayed at Home,” and if its “run” in London was not so extended as its famous predecessor, one must attribute it to the fact that its appeal is almost too direct. It leaves one with a feeling of anxiety that such things could be, and even the final unmasking of the coterie of spies in the lonely East Coast house fails to reassure one. Things might so easily have gone the other way, were it not for the long arm of coincidence. “The Day Before the Day” is essentially a play of the period. If we were in the piping times of peace, it would have attracted but scant attention. Now it rivets one’s attention, it “grips” by its very reality. The plot is thin in the extreme, the dialogue undistinguished, but still it “gets there,” because it deals with a topic that has absorbed everyone’s attention during the past year ... “The Day Before the Day” is a thick layer of pate de foi [sic] gras between slices of stale bread. At the same time it is a very welcome relief from stock melodrama’ (Yorkshire Evening Post, 14 September 1915). ‘Patrons of the Holbeck house are provided with excellent Feast fare in the visit of Mr. Rupert Lister and Miss Cecile Barclay in a powerful topical drama entitled “The Day Before the Day.” German espionage is the main feature of what may be described a play full of interest throughout' (Leeds Mercury, 14 September 1915). Also reviewed in The Stage, 16 September 1915.

‘Many points touching upon a problem much discussed at the present time are disclosed in Mr. Oswald Cray’s drama, “The Unmarried Mother,” which is making a first appearance at the Queen’s Theatre this week. The play, which is full of interest and surprises, deals chiefly with the hardships endured by a young girl-mother, whose marriage is postponed by the sudden call of her soldier lover to France' (Leeds Mercury, 21 September 1915). ‘A widely-discussed problem - that of the relationship between soldiers and girls - is ventilated in Mr. Oswald Cray’s initial presentation of “An Unmarried Mother” at the Queen’s Theatre this week. Private Newton is hurriedly called away to the front as he is on the point of marrying the heroine, and during his absence she becomes a mother. Meantime, she is jeered at and ridiculed when she refers to her lover’s loyalty, and of his good intentions, and Mr. Gerald Blake, a man of the world, plots unceasingly against her happiness, but, of course, he fails in his dastardly schemes. It is an absorbing play, and the plot is cleverly worked out' (Yorkshire Evening Post, 21 September 1915).

‘Mr. G. Carlton Wallace, the popular author-actor, supported by a capable company, is presenting two of his own plays at the Queen’s Theatre this week, the attraction, yesterday, being: The Amazing Marriage ... To-morrow (including matinee) and Thursday, The Enemy in our Midst is to be staged, The Amazing Marriage occupying the remainder of the week’ (Leeds Mercury, Tuesday 28 November 1916).

The Leeds Mercury, Tuesday 8 February 1917, advertised Mrs Frank Bateman and Company in Somebody Knows, Somebody Cares that week at the Queen’s Theatre. However, the Leeds Mercury, 10 February 1917, advertised that the play that night was The Light That Leads Me Home.

‘Patrons of the Queen’s Theatre cannot complain of lack of variety in the fare provided, as, following pantomime and drama, the attraction this week is Messrs. Magini’s company in a revue, entitled “Stop Press.” It provides a thoroughly enjoyable couple of hours’ entertainment. A good deal of enthusiasm was created last night by a stirring recitation delivered by the conductor relating to two brothers, one in France and the other out on strike on the Clyde. Another item which was warmly applauded was a scene wherein the entertainers were the wives of eight men who are serving or have served with the Colours. In the revue itself the singing of Mr. Tom Major stands out most prominently, while Miss Kitty Major is well to the fore in the humorous part’ (Leeds Mercury, 27 February 1917). Also reviewed in the Yorkshire Evening Post, 2 March 1917.

‘At the Queen’s Theatre, Mr. Ernest R. Abbott’s repertory company hold the boards. They are a sound little company, and give a creditable performance. Their programme includes “Sapho,” which will be played to-morrow and Thursday, and two plays by Miss Ada G. Abbott - “Neither Wife Nor Maid” (Friday and Saturday) and “The Passions” (to-night [and last night])’. Yorkshire Evening Post, 4 July 1922.

At the Queen’s “The Unmarried Mother” is presented by the Queen’s own stock company, who conclude a four weeks season here’. The Era, 14 November 1923.