New Theatre, Cambridge
Address: Cambridge, UK
Performances at this Theatre
|27 Mar 1916||The Love Child||Professional|
|16 Oct 1916||The Bing Boys Are Here||Professional|
|12 Feb 1917||The Man Who Stayed At Home||Professional|
The Stage, 8 February 1917, listed The Man Who Stayed at Home as On Tour from 12 February at Cambridge (3 days) and Peterborough (3 days); and The Era, 14 February 1917, listed The Man Who Stayed at Home (Blue) as On The Road from 12 February at the New, Cambridge. Previewed in the Cambridge Daily News, 10 February 1917: 'The strong cast includes George Howard, Howard Brenan, Besley Beltran, Owen Cassidy, Herbert Rouen, George Percy, Nora Kingsley, Agnes Thornton, Barbara Hall, Agnes Lowson, Lilian St. Maur, Duff Earle-Howard’. '‘When “The Man Who Stayed at Home” was first produced in London many critics expressed the opinion that as the war progressed the play, the action of which takes place in September, 1914, would become hopelessly out of date. The reception of the play last night at the New Theatre, where it was produced by Mr. E. Taylor Platt’s company, shows how erroneous were those opinions. Despite the fact that many developments have taken place in the war since the date of the play, the plot has lost neither in interest nor in excitement. And for this reason: that the events with which it deals might happen in any modern war ... The authors ... invented a plot of thrilling interest, and used the war as a background' (Cambridge Daily News, 13 February 1917).
|2 Apr 1917||The Enemy||Professional|
"The Alien Enemy Peril is dealt with in a rather novel form in the [...] playlet." "In the part of Jean, Miss Katherine Harrowby acted sympathetically throughout, without over-exaggerating a very difficult part. Mr. Ronald Adair , as Hans, gave a typical study of a German, and Mr. A.J. Poulton as Oscar acted with finish. As an excitable landlady Miss Ada Gasgoigne did well and Mr. John Mason made a realistic policeman". "The Era", 11 April 1917.
|2 Apr 1917||The Enemy||Unknown|
|22 Oct 1917||A Kiss For Cinderella||Professional|
The Cambridge Daily News (14 August 1917) and the Cambridge Independent Press (17 August 1917) reported that A Kiss for Cinderella would play at the New Theatre, Cambridge on 22-24 October. ‘There are two attractive bookings [at the New Theatre] for next week - “A Kiss for Cinderella” and “Daddy Long Legs”’. Cambridge Daily News, Tuesday 16 October 1917. The Era, 17 October 1917, listed A Kiss for Cinderella as On The Road from 22 October at ‘Cambridge (3), Oxford (3)’. The Cambridge Daily News, 23 October, 1917, published a review of the production: ‘The poor little downtrodden maid … seeks to do her bit in wartime by taking charge of four little children who have no one else to care for them’.
|12 Feb 1918||The Trials Of Rule Britannia [The Trials of Mrs Rule Britannia]||Amateur|
Also performed were: 'Absent-Minded George' and 'The Twelve Pound Look'. Cast included: H. Rottenburg (playwright/Devil), Dr. Naylor (Orchestra), Cadet Garden (Cadet Percy Apollyon), Miss Carrie Unett (Mrs. Rule Britannia), Misses Ruth Emery, E. Hinnell, Maud Borrer (Three Fairies), Mrs. Scott Wilson (Charwoman), Captain A.C. Bellerby C.F. (Hon. J. Brown-Robinson), Mr. Brian Ruegg (Mr. Dash). Mrs. Edward Altham (Mrs. Dash).
|14 Feb 1918||Peace Time Prophecies or Stories Gone Wrong||Professional|
The Era, 13 February 1918, listed Bubbly as On The Road from 11 February for three nights at the New Theatre, Oxford, and for three nights at the New Theatre, Cambridge.
|7 Mar 1918||The Invisible Foe||Professional|
Presented by Robert Courtneidge, and performed for the week by a cast including Julian Royce (actor), Queenie Gwynne (actress), John McNally (actor), Walter Gay (actor), J.S. Blythe (actor), Diana North (actress), Ivy Gardener (actress), and Dorothe Brett (actress). Also on the bill was 'The Day After the Wedding'
|15 Apr 1918||Inside the Lines||Professional|
3 nights only
|25 Nov 1918||By Pigeon Post||Professional|
William Home (actor), John McNally (actor), Helen Green (actress), Gladys Spencer (actress), A. Blundell Murray (actor), Garrett Hollick (actor), Herbert Vyvyan (actor), Fred Conyers (actor), Helen Graeme (actress) 'By Pigeon Post'...is, in its way, one of the most enjoyable plays that have been seen in Cambridge for a long time...contains many sensations, of a deep and thrilling nature; much humour, of a most refreshing character; and a simple love affair of great charm...It was presented to the Cambridge public last night by a company of actors, some of whom are brilliant, and all extremely good.' (Cambridge Daily News, 26 November 1918)
|30 Dec 1918||Peace Time Prophecies or Stories Gone Wrong||Professional|
' ... next week ... ‘‘Bubbly,” “a musical sensation in two acts,” which will be remembered in consequence of a very successful appearance in Cambridge some time ago, will make a welcome return. It be produced during the whole of the week, and is certain to attract crowded audiences’ (Cambridge Daily News, 28 December 1918). ‘“All tickets sold for to-night” was the notice which greeted late-comers to the New Theatre yesterday evening, when “Bubbly,” the popular revue from the Comedy Theatre, began what promises to be another very successful week at Cambridge. This sparkling musical entertainment was seen here about a year ago, and its return visit is extremely welcome. There is nothing else quite like it on the stage to-day. In a series of “bubbles” many accomplished artistes, supported by a capable chorus, present many delightful and up-to-date musical numbers interspersed with some clever dramatic skits. The whole company play throughout with evident enjoyment, and the show never “hangs fire” for a moment. An unfortunate accident to Mr. Edmund Russell, one of principals, at the very beginning of last night’s performance made several changes in the programme necessary, but the other members of the cast rose to the occasion and ably succeeded in “carrying on.” Mr. Russell excels in the burlesques, and in his absence some these had to be omitted, but “The Worst ‘Ole of All” and “The Comforts of Home,” two “peace-time prophecies gone wrong,” were retained, and Mr. Russell’s parts as “Old Bill” and “Major Blount” were taken by Mr. James Robin, who is to be congratulated on the way he acquitted himself at such short notice’ (Cambridge Daily News, 31 December 1918).
|24 Mar 1919||The Title||Professional|
‘“Why do decent people take honours?” That is question which was asked last night at the New Theatre, and is in the mind of many people. If you want to know the answer - the real answer - worked up in the very best Arnold Bennett dialogue, you must not fail to see “The Title” presented by Messrs. Vedrenne and Eadie’s Company. It is a type of play which should certainly not be missed by any patron of the New Theatre. It is described as a comedy, and is all that a comedy should be. It always interesting; many of the “lines” are extraordinarily clever; at times it is absolutely brilliant; it is full of wit - not coarse vulgarity, but real genuine English humour - and what is perhaps even best all, it gives you something to think about ... The performance will be repeated to-night and Wednesday afternoon and evening’ (Cambridge Daily News, 25 March 1919).
|31 Mar 1919||The Luck Of The Navy||Professional|
Presented by Percy Hutchinson's company for three nights and a matinee.
|2 Jun 1919||By Pigeon Post||Professional|
Performed on 2, 3 and 4 June 1919 by Arthur Hardy (producer), Philip Knox (actor), Vernon Fortescue (actor), Garrett Hollie (actor), Marjorie Murray (actress), Miss Bucalossi (actress), C. Haviland Burke (actor)
|4 Aug 1919||The Luck Of The Navy||Professional|
Produced for six nights and a matinee and starring Percy Hutchinson.
|11 Aug 1919||Tails Up||Professional|
Previewed in the Cambridge Independent Press, Friday 8 August 1919. ‘Of course there may be a reason why the “highly successful musical extravaganza” running at the Now Theatre this week is called “Tails Up.” There may something profoundly witty or subtly intellectual in the title; all we can say is that we failed to perceive it. Admittedly there is a song in the piece of that name - but there are others too. However, what’s in name? Who will cavil at the title when the play is so good: - dainty lyrics, witty dialogue, catching music, graceful dancing, pretty dresses, and (last but not by any means least) a still prettier chorus. Plot there is none: the piece is a succession of separate scenes, humorous enough to make angel laugh. Most things come in for a liberal share of banter, from sergeant-majors (awful beings!) down to the Government. Even Shakespeare “gets it good and solid.” Brave author, to dare the rage of schoolmasters, which is terrible. And there is the lecture of the learned don in 2419 A.D. on the relics of the war which had been just dug up, with disquisitions on the strange and mystic religious symbols. “Rumssew”(?) and “Canteen now open.” The Swan of Avon, the Great Bard, etc., should have seen the military rehearsal of Macbeth, commencing at the stage direction, “Enter a bleeding sergeant,” and under the direction of the intellectual sergeant-major. It would have warmed his heart. And so would The Strange Tale of the Butler who had seen Better Days – a piece of somewhat war-time humour, but still funny. And The Strange Tale of the Brigadier-General who was Never Seen – a skit on Government offices with humour well-worn but not dead yet. Quite one of the most amusing and pretty of the scenes was the Strange Tale of the Charm that Worked. To smooth the course of true love the immortal shade of Henry the Eighth is raised, and gives the stony-hearted parents a lively quarter of an hour; and for the rejected modern lover, who, unfortunately proposed in the modern manner, a love-scene from 1815 was summoned from the vasty deep, probably as a punishment. The slickly sickly sentimentalism of this scene would have been quite intolerable but for the undertone of irony running through it, while the pretty dresses and the charming scenery (not to mention the chorus) made a wholly delightful picture. The company can be congratulated on their acting, and still more on the really excellent dancing of some of the principals. Miss Hilda Simpson, who took a number of different parts with complete success, was especially good, and Mr. Jack Leopold was deserving of the great enthusiasm he evoked. Mr. Bert Monks was a splendid profiteer, and Mr. Edwin Adeler as Prof. Octavius Ferrett could hardly have been surpassed. Miss Marie Brian as Mrs. Peel was very good. The rest of the company worked together well to make “Tails Up” fully justify its description – a “highly successful musical extravaganza”’ (Cambridge Daily News, 12 August 1919.
|25 Aug 1919||Nurse Benson||Professional|
‘“Nurse Benson,” which was presented to a good audience at the New Theatre last night, is a comedy of topsy-turvydom, intentional and otherwise. The two chief characters - the hero and the heroine – are non-essential: the minor characters are the life and soul of the piece. The major theme of the play is (of course) Love, but there is about as much real love-interest in it as there is in, say. “Religio Medici.” Sentiment there is in abundance - mais que voulez-vous? However, “Nurse Benson” is an excellent comedy, humorous rather than witty, and with the humour lying in the minor characters rather than in the words. The plot and dialogue are of no importance whatever. Twenty minutes after the rising of the curtain one can see straight ahead to the end, and prophesy most of the alarums and excursions: one can dismiss all anxiety as to the persons in the play from one’s mind, and comfortably study the characters ... One can foretell that the curtain will descend with “Nurse Benson” and Capt Tibbenham in each other’s arms, as easily and confidently as one can guess that the sun will set this evening'. Cambridge Daily News, 26 August 1919.
|8 Sep 1919||The Freedom of the Seas||Professional|
Presented by Thomas C. Dagnall's company. Cast included: J. Lawrence Anderson (actor), Alfred Harding (actor), Wilson Blake (actor), Arthur Fitzrov (actor), Evelyn Ormonde (actress), Will Smith (actor), Harry Gilberg (actor), Fellows Bassett (actor), Vincent Holman (actor), Henry Statchard (actor), Dorothy Clifton (actress)
|6 Oct 1919||Peace Time Prophecies or Stories Gone Wrong||Professional|
‘… “The comforts of home,” being an illustration of the horrible conduct of a demobilised major after four years in Flanders; “the worst ‘ole of all,” showing the persecution of Old Bill after was demobilised, and the “eternal triangle,” proving that this problem was known long before those propounded by Euclid, were other farcical interludes the audience appreciated’ (Cambridge Daily News, 7 October 1919). ‘After various difficulties, negotiations not being finally completed until late on Friday, W. Foster Horsfield’s company in “Bubbly” were secured for this week and opened on Monday evening. The tuneful numbers were capitally rendered, and the sketches “The Worst ‘Ole of All” and “The Comforts of Home” were most amusing, and heartily appreciated. The piece is kept going merrily by Doris Devigne, Helen Suttie, Grace Whitney, Edith Payne, R. Barrett-Leonard [ sic - Lennard] , Leedham Stanley, Lauri Aster, and Vyvian Pedlar. The work of the chorus is particularly to be commended, a number of taking movements being introduced’. The Stage, 9 October 1919.
|13 Oct 1919||The Amorist||Professional|
|13 Sep 1920||Seven Days Leave||Professional|
Six nights and a matinee.