Playhouse, Liverpool

Four performances by the Irish Players (Abbey Theatre Company) (Mander & Mitchenson, p. 124). There were actually five performances, on 10, 14, 15, 19 and 22 April 1916. The cast was: Babsy, Dorothy Lynd; Lottie, Maureen Delany; Hannah, Beatrice Drury; Jessie, ?; Emma, Kathleen Murphy; Elder Daniels, Arthur Sinclair; Blanco Posnet, Fred O’Donovan; Strapper Kemp, J. M. Kerrigan; Feemy Evans, Nora Desmond; Sherriff Kemp, Sydney J. Morgan; Foreman of Jury, J. A. O’Rourke; Nestor, a Juryman, Arthur Shields; The Woman, Kathleen Drago; Waggoner Jo, H. E. Hutchinson. ‘In Liverpool … a university professor wrote to the press and organized a demonstration against one of my plays. He actually succeeded in having a banner hung over the front of the gallery. The result was 16 curtain calls at the end of Blanco Posnet, and the banner bearers totally extinguished’. Shaw’s letter to William Faversham, c. 1 August 1917, in Bernard Shaw’s ‘Collected Letters’ edited by Dan H. Laurence (Max Reinhardt: 1985), volume 3, p. 496. The Liverpool Echo, 14 April 1916, published Shaw’s letter to Professor Alexander Mair. 'There is no doubt that in describing this piece as a “sermon in crude melodrama” Mr. Shaw has hit upon a phrase that exactly describes it. The play is more human than are the majority of his, and possesses a dramatic power that grips the audience, and yet through it all runs that brilliant and biting wit that is the chief characteristic of Shavian productions. The acting was excellent, the actors realising their parts with fine power and showing themselves as capable of dramatic playing as they are of the lighter Irish comedy with which their name is so much associated ... the play is a study of the rightness of human character put to the test, and though the author quarrels in no minced phrases with the conventional ideas of law and order, and goodness and badness, yet in the end he arrives at that stage in which he is compelled to confess that “there is a great game, and a mean game” in life. (Birkenhead News, 12 April 1916).

'Mr Galsworthy's queer little comedy "The Foundations" has not gripped the theatre-goers of Liverpool. Last night's audience at the Playhouse was by no means a large one, but it made amends for its lack of numbers by its eager interest in the playwright's creation and its generous appreciation of the acting. Truth to tell, it is the acting, and especially that of Mr. George Dewhurst as the revolutionary plumber, that makes bearable a stage presentation of a comedy which is much less a genuinely-constructed comedy than a whimsical piece of leg-pulling, in which democracy, aristocracy, and theatre patrons are alike the victims. Of burlesque and cynicism there is plenty, but as a coherent stage story, or as a study of social conditions after the war, even in the form of comedy, "The Foundations" is disappointing.' Liverpool Daily Post, 6 November 1917.

'A satirical parable of no little merit, it is especially suited to the present time, and should be a source of much amusement if of nothing more’ (Birkenhead News, 21 November 1917). ‘This parable in a farce, which was definitely “turned down” in London - not necessarily a condemnation of the play by any means – purports to show what happens if one lives up to the principle peace at any price’ (Liverpool Daily Post, 23 November 1917). 'The interpretation of the parable is that unreasoning brute force, which insists upon overriding the rights of others, cannot be combated by moral reprobation, but must be met by stronger physical force if civilisation is to endure. In putting this lesson into dramatic form Mr. Henry Arthur Jones shows a good deal of his old craftsmanship, though possibly he clings a little too much to the art of a generation ago. There is some good farce and lots of shrewd poking of fun at human and especially feminine nature, but the mechanism is a trifle rusty and the device of exaggeration somewhat overdone to be quite convincing. Accepting the play, however, in the spirit in which it is offered, it yields a capital evening’s entertainment, and it is well and capably played' (Liverpool Daily Post, 27 November 1917). 'Mr. Henry Arthur Jones is certainly not successful in “The Pacifists” at the Playhouse, which he describes as “a parable in a farce,” the farce being so exaggerated and unlikely that the parable is lost. Particular instances in it occasionally redeem it by being amusing, and if the play is poor the acting is very good’ (Liverpool Echo, 27 November 1917). ‘“The Pacifists,” H. A. Jones’ farewell parable, was staged with great success at the Playhouse on Monday. Though lacking in plot, the audience was kept both interested and amused by the ironic subtleness displayed by the author in dealing with the question of peace at any price ... “The Pacifists” is a good play well acted, and deserves greater patronage than the meagre audience of Monday promised’ (Birkenhead News, 28 November 1917). 'The satirical course of “The Pacifists” was followed with some interest and laughter on Monday, and the stock company worked heroically to galvanise the small audience into enthusiasm for the new satire' (The Stage, 29 November 1917). ‘At a time like the present, the pacifist movement stands in need of a corrective, even though the corrective takes the form merely of “a parable in a farce,” as it does in Henry Arthur Jones’s play. From this point of view it is rather a pity that “The Pacifists” is to be withdrawn from the Playhouse after to-night' (Liverpool Daily Post, 4 December 1917).

‘At the Playhouse we have what should prove a noted success in “The K.C.,” by Dion Titheradge, a new play produced last night for the first time on any stage, and to which additional interest is added by its being Mr. Titheradge’s first long play, and by his being himself well remembered as a talented member of the original Repertory Company. At present he is serving with the Army, and is under orders for the front. “The K.C.” is an excellent play. It is cleverly constructed round a well conceived and dramatic situation; its interest strengthens as the story unfolds, culminating in the last scene, and its characterisation shows intuition and knowledge, producing an ideal of justice joined to a kindly toleration. As the K.C. himself, Mr. Percy Foster must take chief honours for the acting, if it is possible to discriminate between the work of the small but admirable cast. The play was enthusiastically received, and the audience was not satisfied until the author came forward to receive the plaudits’ (Liverpool Echo, 30 April 1918). ‘In his play “The K.C.,” produced with every sign of cordial approval last evening, Mr. Dion Titheradge has struck a strong vibrant variant on an old but always interesting theme. Learned counsel’s conflict ‘twixt love and duty - professional etiquette versus parental, or other, affection - has done service in divers ways in dozens of theatrical performances. In the present instance we have an agreeably fresh and well-drawn version of a familiar story. There is considerable merit in the construction of the three acts, though no one could ever be in doubt as to the elucidation of the robbery which forms the basis of the work. Yet the interest is strenuously maintained, and if the closing episode is something in the way of an anti-climax it is nothing worse than a sweet sop which those who insist upon a happy ending delight to swallow ... In answer to insistent calls, the author, who appeared in khaki, offered a brief acknowledgment of thanks’ (Liverpool Daily Post, 30 April 1918). ‘On Monday evening, an appreciative audience witnessed “The K.C.,” a comedy by Mr. Dion Titheradge, which, although lacking in any special originality, interest sustained throughout' (Birkenhead News, 1 May 1918). ‘It has been pleasant to welcome Mr. Dion Titheradge to Playhouse in the rôle of author. His comedy, “The K.C.,” will be continued during next week. A new ending to the last act has been introduced to improve the final curtain’ (Liverpool Daily Post, 3 May 1918). ‘In his comedy, “The K.C.,” Mr. Titheradge has not aimed high enough either to succeed or fail particularly strikingly; he has just achieved the pleasant mediocrity that is compounded of little imagination and lot of stagecraft. The seven characters are very well presented by the Playhouse company, though in Mr. Percy Foster’s interpretation of the name-part lies, of course, the main interest of this production. It is a rôle that suits him, dare one say, too well? For there are moments when (is it Sir Benjamin or Mr. Foster?) who makes one feel, not boredom, but the gentle lassitude that so often overtakes the receiver of good advice’ (Liverpool Daily Post, 7 May 1918). ‘A Playhouse favourite - and one of its strongest artistic assets - Mr. Percy Foster, has joined the Army, without, we understand, actually waiting for the “calling up” notice for men of his age. Mr. Foster made his last appearance at the Playhouse on Saturday night, when at the close of “The K.C.” he was repeatedly called before the curtain. He made a neat little speech, explaining that he left the Playhouse on the most cordial terms with the directors and all his colleagues’ (Liverpool Daily Post, 14 May 1918).

Last night the Playhouse company produced, for the first time on any stage, Miss Gertrude E. Jennings's play "After the War." The title might seem to suggest some serious attempt to forecast the problems of that difficult time, but there is nothing serious about it - it is comedy, even farce - and if continuous laughter be the criterion of amusing situations and witty dialogue, and is at times genuinely humorous; but the main theme is one of which any elaboration in such a vein, however restrained, must of necessity be crude. (Liverpool Echo Thursday 26 September 1918)

The Liverpool Echo, 1 March 1920, advertised at the Playhouse four ‘special matinees’ at 4pm on Thursday 4 and 11 March and Tuesday 9 and 16 March of ''The End of the World' and 'The Staircase' by Lascelles Abercrombie.

The Liverpool Echo, Wednesday 10 June 1925, advertised that ‘The New Word’ was being performed to precede Frederick Lonsdale’s three-act comedy ‘Aren’t We All’ at the Playhouse; the last night would be Saturday 20 June. ‘The final production of the season [at the Liverpool Playhouse] again took the form of a double bill, Frederick Lonsdale’s “Aren’t We All” being given with Barrie’s playlet, “The New Word,” on Tuesday evening, June 2 [sic]. The Barrie piece can hardly be called Sir James in one of his most inspired moments, but it is very interesting and contains much that is characteristic. It exploits the embarrassment many fathers and sons feel in each other’s presence, and respective parts were excellently played by Messrs. Herbert Lomas and Godfrey Winn. Miss Elsie Irving as the mother whose son has joined the Army (it is unfortunate that this part of the play dates so badly) gave a particularly good study. Miss Primrose Morgan was a very charming sister’. The Stage, 11 June 1925.

‘The Playhouse Christmas show, “A Kiss for Cinderella” (Barrie) will be produced on Thursday, Dec. 23. Mr. Norman O’Neill has written special music for the fantasy’. Liverpool Echo, 12 November 1926. The Liverpool Echo, 3 December 1926, reported that Miss Emmie Arthur Williams would play Cinderella and Mr. Sebastian Shaw would play the policeman and the prince. The Stage (30 December 1926) and the Liverpool Echo (4 January 1927) published reviews of the production. The Liverpool Echo, Tuesday 25 January 1927, advertised the last two weeks of A Kiss for Cinderella at the Playhouse and said that The Mask and The Face would open on Monday 7 February.

‘On Wednesday next the first performance of the last production at the Playhouse for this season will take place. Lonsdale’s most recent comedy, “Canaries Sometimes Sing,” will replace “Thunder in the Air.” As a curtain-raiser there will be Shaw’s sparkling “The Shewing of Blanco Posnet.” Here is variety of production indeed, and a strong test of repertory versatility. In the Shaw playlet Mr. Lloyd Pearson will be the “Blanco Posnet.” Mr. James Harcourt the Sheriff, and Mr. Alfred Sangster the Elder Daniels, whilst the Misses Catherine and Pauline Lacey will be the leading ladies’ (The Liverpool Echo, 23 May 1930). ‘The final performance of the Playhouse current season will be on Saturday, June 21. The last programme of the season, “The Showing-up of Blanco Posnet” (G. B. Shaw), and “Canaries Sometimes Sing “ (Frederick Lonsdale), is attracting lively attention, and the advance bookings are very heavy. There are very few seats left for the last night’ (Liverpool Echo, 6 June 1930). 'William Armstrong has given us in “The Showing Up of Blanco Posnet” and “Canaries Sometimes Sing,” produced on Wednesday evening, May 28, one of the best double bills for some time. It is only of course in the readiness and pungency of their wit that Shaw and Lonsdale are to be compared, yet Lonsdale has a well-developed quality of satire, and these two plays make a good contrast. One of the most interesting points in seeing Blanco Posnet to-day is the realisation that the play was originally only licensed on condition that the truly religious side of it was to be excised. Nowadays it seems almost a fiercely moral play. It was admirably produced and equally well acted' (The Stage, 12 June 1930).