Grand Theatre, Birmingham

The revue is previewed in the Birmingham Daily Gazette and the Evening Despatch, 8 April 1916, and it is reviewed in the Birmingham Mail, Birmingham Daily Gazette, Birmingham Daily Post and Evening Despatch (all 11 April 1916), but there is no mention of a tribunal sketch.

Birmingham Twice nightly at 6.50 & 9pm. By arrangement with the Alhambra Theatre London. Mr Anre Charlot presents the London Revue 5064 Gerrard. Cast includes George French, Lafayette Rannsley, Syd Crossley, Dorothy Monkman, Connie Kaye, Anna Dorothy. Full Company of over 50 artistes. (Birmingham Daily Post – Tuesday 11 April 1916)

Performed by Sarah Bernhardt and described as 'a performance of outstanding humanity' (Birmingham Daily Post, 18 April 1916)

'The superb acting of Bernhardt weaved a magic spell' (Birmingham Daily Gazette, 22 April 1916)

‘Miss Camille Clifford, the original of Dana Gibson’s “The Gibson Girl,” is appearing in a musical phantasy, “The Girl of the Future,” at the Grand Theatre. Miss Clifford is making her first tour of the provinces, and at the same time making her debut upon the music hall stage, although, of course, she had taken part in London some years ago in such pieces as “The Catch of the Season,” “The Prince of Pilsen,” and “The Belle of Mayfair.” It is stated, however, as a unique fact, that in the sketch she will have her first speaking part' (Birmingham Mail, 22 December 1916). ‘There is an excellent holiday programme at the Grand Theatre this week, and the audiences yesterday afternoon and evening were well pleased with the entertainment. The main feature was a musical fantasy entitled, “The Girl of the Future,” in which the principal part was played by Miss Camille Clifford, one of the Gibson girls who a few years ago were the talk of London in musical comedy. In this little sketch Ninon is the ward of a Baron, whose son Raymond is her lover and affianced husband. Set in the aristocratic atmosphere of the eighteenth century, the Baron’s home contains a secret picture, which Ninon declares she has seen and believes to be the girl of the future. To test the fidelity of her lover she adapts herself to the circumstances and conditions of the life of the twentieth century, talks twentieth-century slang, and conducts herself as a lady of the present age. Her conduct mystifies her guardian and to a certain extent Raymond, but in the end she has to confess that she was only pretending, and the story has a happy termination. It serves to afford Miss Clifford an admirable opportunity to display her charm as an actress and a vocalist. The “Gibson girl walk,” which she created and made famous, at the outset seemed to be scarcely understood by the audience, but when she talked in aristocratic slang and again essayed the walk the audience rose to it and applauded her. Miss Clifford, to use her own familiar phrase, as a girl of the future was indeed “tophole.” Mr. Edgar Stevens made a capital lover as Raymond, his acting and singing being distinctly good; and Mr. H. Tripp Edgar was interesting and effective as the Baron’. Birmingham Daily Post, 27 December 1916.

Twice nightly 6.45 & 9pm A Gigantic National Revue. Powerful cast including Walter Passmore, Rosie Reys, Maudie Francis, William James, Leo Ray. (Evening Despatch - Monday 25 June 1917)

"Follow the Flag" the elaborately staged and interestingly patriotic revue, has a great reception here this week. Among the excellent single turns special mention should be made of that of Dorothy Storm, a double-voiced vocalist, Ernesto, musical juggler, and Elsie Prince, clever juvenile performer, also do well. (The Stage - Thursday 28 June 1917)

‘Those who appreciate the humour of Captain Bruce Bairnsfather will flock to the Grand Theatre to see his trench episode, “The Johnson ‘Ole,” in which Harry Thurston will appear as “Old Bill” (The Walrus). This sketch, in which Mr. Macdonald Hastings has collaborated, was the forerunner of these episodes, and it has been played over 200 times at the London Hippodrome’. Birmingham Mail, Friday 11 January 1918. ‘“Old Bill” (the Walrus) met a hearty reception at the Grand Theatre last evening. It is fortunate that laughter is not yet a controlled commodity. “The Johnson ‘Ole,” by Captain Bairnsfather and B. Macdonald Hastings, is a genuine bit of trench humour, free from artificiality, and well suited the taste of last night’s audiences. Mr. Harry Thurston is exceedingly popular as the now familiar Old Bill, and he is well supported by the other members of the company’. Birmingham Daily Post, 15 January 1918.

‘“A Wife’s Dilemma,” a stirring little playlet by Mr. Dion Titheradge, and delightful musical contribution by the Lawrence Wright Ensemble are the chief features in this week’s entertainment at the Grand Theatre. Miss Constance Drever last night did brilliant work in the playlet, and her waltz-song, “Dream long of Love [sic - land],” an original feature, was rendered with finish. Mr. George Bellamy’s “escaped convict” was a clever piece of characterisation’. Birmingham Daily Post, 12 February 1918.

Performers: Fred Kitchen, Nora Delany

‘At the Grand Theatre, “Parker’s Appeal,” which as the title suggests, has reference to the military tribunals, is an extremely amusing sketch in three scenes. It is a trifle old, now that peace seems within sight, but a good deal of amusement is afforded by reminders, in excellent burlesque, of the many subterfuges that were adopted – happily by a comparatively few persons – to escape military service. Mr. Charles Austin’s humour appeals greatly’ (Birmingham Mail, 26 November 1918). ‘A comedy sketch, entitled “Parker’s Appeal,” in which Charles Austin figures as the applicant before a tribunal, provides opportunity for much broad humour, rather than subtle, and proves a popular attraction’ (Birmingham Daily Gazette, 26 November 1918). ‘The signing of the armistice makes “Parker’s Appeal” appear rather out of date, but it is such excellent farce that one will readily overlook the fact that it is the old military tribunal that is the subject of burlesque. Up to a point the “general tendencies” of the time when men, the fathers of families, were called to the colours, are admirably expressed in the true spirit of comedy, but later the performance develops into broad farce. The humour is throughout refreshingly crisp. Mr. Charles Austin is extremely funny in the part of the brewer’s workman who has been “called up,” and he is adequately supported’ (Birmingham Daily Post, 26 November 1918). ‘Parker’s Appeal is excellent burlesque. It deals with the tribunals, and although the armistice has been signed, the subject matter does not seem a little bit stale. It is most excellent farce, and Charles Austin does brilliantly’ (he Stage, 28 November 1918).

‘Captain Bairnsfather’s sketch, “The Johnson ‘Ole,” is an episode of real trench humour, and the audience is held in a constant state of laughter. The scene is laid in “ Plug-street Trench,” and the lending characters are Old Bill (the Walrus) and Our Bert. The former part is taken by Harry Thurston and the latter by W. P. Sheen. Even if the imagination has been stretched in some respects, the language of the different characters has not been, for it is typical of the London soldier’. Evening Despatch, Tuesday 31 December 1918. ‘The tabloid form of the play associated with the name of Captain Bruce Bairnsfather makes very good entertainment for music-hall audiences. “The Johnson ‘Ole” is “The Better ‘Ole” in name only. A trench episode has been selected with the object of focussing attention entirely on the purely humorous side of Old Bill’s character. With the aid of Mr. B. Macdonald Hastings incidents and dialogue have been created and built up which reveal the central figure in a funnier light than we know him in the original form, without regard to whether or no he thereby becomes more remote from truth and probability. In one respect, and that only, the sketch is a more faithful reflection of trench life, and that is in the language put into the mouths of Old Bill Bert, and ‘Arry. It has all the directness and wit of the Cockney Tommy, and last night achieved the result aimed at in keeping the audience in constant state of laughter. Mr. Harry Thurston, of course, is playing Old Bill - his original character. It was an excellent piece of work’. Birmingham Daily Post, Tuesday 31 December 1918. ‘The irresistible humour of Old Bill (Harry Thurston) and his fellow warriors in “The Johnson ‘Ole” got right at the audience last night [at the Birmingham Grand], this funny episode of the trenches being all the more appreciated, perhaps, because the scene has now been robbed of its terrors’. Birmingham Daily Gazette, Tuesday 31 December 1918.