Grand Theatre, Nottingham

'A capital example of that type of melodrama in which emotional interest is cleverly blended with spectacle' (Nottingham Evening Post, 27 April 1915)

Performers: FB Woulfe (actor), Villier Stanley (actor), Edith Lorraine (actress), Mabel Rose (actress) Played for a week

"B" Company

The Era, 22 September 1915, listed The Little Grey Home in the West as On The Road from 20 September at the Grand, Nottingham. Also The Stage, 23 September 1915.

‘‘“Somebody Knows, Somebody Cares,” which Mrs. Frank Bateman is presenting at the Grand Theatre this week, is essentially a play of the moment. The hero is a dashing lieutenant (afterwards a commander) in the Navy, and among the other characters are a naval captain and a German agent. Add to these a drunken lighthouse keeper and, for a heroine, the pathetic figure of a sea-waif, and you have the material personnel of the play, as well as a suspicion of the dramatic method followed by the author. Mrs. Bateman acts with a well modulated force as the waif Nell, while Fred W. Goddard (as the hero), Marion Vyner as Nell’s child, and Dan Dunyille as the German spy, are all excellent. On Friday only “The King and the Orange Girl” will be staged’. Nottingham Journal, Tuesday 29 February 1916.

Performed by Leonard Mortimer's company.

‘Few people at the Grand Theatre yesterday realised that they were present at a “first night.” “The Slacker,” written by Miss Henrietta Schrier and Mr. Lodge-Percy, and presented by Mr. Fred. J. Little, is a brand new production, and fare, apparently, much to the liking of Nottingham patrons of melodrama. Its essentially topical flavour made a powerful appeal’ (Nottingham Evening Post, 28 March 1916). ‘Miss Henrietta Schrier. and Mr. Lodge Percy’s latest play, “The Slacker,” was produced for the first time on any stage by Mr Fred J. Little at the Grand Theatre last night, and was accorded a cordial reception. As the title suggests, the villain of the piece is a young man who will not do his duty to his country, and the manner in which he is finally roped in by the Compulsion Act constitutes the finale. The play went very smoothly indeed for a first night, the one or two little hitches almost inevitable on such occasions scarcely being noticeable’ (Nottingham Guardian, 28 March 1916, as quoted in an advertisement for The Slacker in The Era, 5 April 1916). ‘A product of the war. though not a war play. “The Slacker,” which Mr. Fred Little is presenting for the first time in Nottingham, at the Grind Theatre this week, deserves to score heavily for the very admirable piece of dramatic composition it is. When it is mentioned that the play is based on the theme employed by Tennyson in “Enoch Arden,’ and that the Enoch Arden in this case is a British soldier, the parallel will be more or less apparent, and one feels one need do little more than add a word in praise of a very efficient company, which includes E. Warden, Dennis Leslie, J. W. Wilkinson, Maud Elliott, Flo Bevan, and Margaret Frame. Last night “The Slacker” made an instantaneous appeal to a numerous audience’ (Nottingham Journal, 28 March 1916). A virile performance of “The Slacker” was given to a highly appreciative house on Monday by the company of Mr. Fred Little' (The Era, 29 March 1916). 'The enterprising Mr. Fred J. Little has added another excellent pay to his already numerous ventures, and that the audience found it to their liking was sufficiently evinced by frequent applause and several curtains. The authors have evolved a very interesting and dramatic story of domestic life, which loses nothing of its intensity by being set in humble surroundings ... [the plot is summarised] ... Miss Margaret Frame acted earnestly and with much pathos as Nell Marsden; Miss Flo Bevan gave a tactful interpretation of the betrayed Eva Steele; Mr. Dennis Leslie developed the part of Ned Marsden on convincing and attractive lines; Mr. E. Warden did not mince matters in his depiction of the callous knavery of Phil Murket; very natural interpretations of the old father and mother came from Mr. J. W. Wilkinson and Miss Maud Elliott. The humorous element was effectively sustained by Mr. Sydney T. Russell and Miss Pollie Denville, whose drollery was decidedly refreshing. Minor parts were capably sustained’ (The Era, 5 April 1916). '‘In their latest play, the authors of When the Angelus is Ringing and other plays have struck a vein in which strong dramatic interest is combined with an air of pleasant domesticity. Obviously there is apt use in a title that embodies salient consideration of an absorbing subject, and in this association the play supplies a wholesome lesson ... [the plot is summarised] ... Whilst the sober tints are judiciously accentuated, the piece is brightened by much humour, wherein Mr. Sydney T. Russell adds to his reputation for resourcefulness. Playing in a Lancashire strain, he adapts himself to the author’s adroitly contrived notion of the predilection of Steve’s sweetheart for moving pictures, wherein Steve wins her esteem by impersonations which are as smart as they are lifelike, of such of her favourite subjects as Maurice Costello, the Clutching Hand, Broncho Bill, and Charlie Chaplin, going to the extent of so humouring her as to be married wearing the habiliments of the redoubtable Broncho. The play, which was ably staged, with new scenery of an effective character, met with an encouraging reception from a large audience on Monday night, warranting the anticipation that Nottingham, which has witnessed the first nights of various successful dramatic ventures, may add The Slacker to its list. In that event, the authors will be much indebted to the discriminating selection which has been evidenced in regard to a company entrusted with the representation’ (The Stage, 6 April 1916).

Performers: Matthew H Glenville and Co. Reviews: "All the eligible men in the company have attested", Nottingham Evening Post

‘‘‘The Black Sheep of the Family,” with which Mr. Arthur Hinton and his company last night commenced their engagement at the Grand Theatre, is melodrama of a thoroughly popular order, with an interesting story and a strong emotional thread. It received an admirable interpretation from Mr. Hinton, Miss Ethel Monton, Mr. J. Knox Orde, and Miss Gladys Hastings Walton, who is the authoress of the play’ (Nottingham Evening Post, 3 October 1916). ‘The company of Arthur Hinton, Ltd., are capitally presenting the drama, “The Black Sheep of the Family.” As the n’er-do-well and callous Ralph Sylvester Mr. Hinton plays with strong and convincing effectiveness. The part of Loyale Dare is feelingly and expressively rendered by Miss Ethel Monton. The authoress (Miss Gladys Hastings Walton) shows excellent ability in her portrayal of Mary Leigh; and other rôles are well filled by Mr. J. Knox Orde, Mr. Chauncy Morris, Mr. Roland Willis, Miss Beatrice Annersley, and Miss Nina Mallam’ (The Era, 4 October 1916).

The Stage, 15 March 1917, published an advertisement for Miss Winifred Maude’s company seeking theatres for Somewhere A Heart Is Breaking: the contact was Victor du Cane at the Grand Theatre, Nottingham (two weeks). The Nottingham Evening Post, 19 and 22 March 1917, advertised Somewhere A Heart Is Breaking that night at the Grand Theatre. See under the Empire, Garston, 26-31 March 1917 for events concerning three cast members immediately subsequent to the final week at Nottingham.

‘Topical drama is offered at the Grand Theatre where Mr. Charles Locke presents For Motherland by Dorothy Lloyd Townrow. It is a dramatic and cleverly-told story, the period being laid at the outbreak of the war, and the activities a German secret agent form a portion of the plot’ (Nottingham Evening Post, 10 April 1917).

‘“Neither Wife Nor Maid,” which was offered at the Grand Theatre last night by Mr. Ernest R. Abbott’s Company, is a melodramatic production by Miss Ada Abbott, who sustains the leading feminine character. Miss Abbott, an actress-authoress of skill and experience, places another success to her credit in the new play’ (Nottingham Evening Post, 14 August 1917). ‘Ernest Abbott opened [at the Grand, Nottingham] with “Neither Wife Nor Maid,” with Ada Abbott as leading lady. To-night (Thursday) Miss Abbott will appear in “Sapho”’ (The Stage, 16 August 1917).

‘There is a nautical atmosphere about “For Sweethearts and Wives,” the drama which occupies the boards at the Grand Theatre that makes it very refreshing, and incidentally the work of the great, silent, senior service is admirably illustrated by the story it unfolds. While lore, interest, and romance are well in the picture, exciting moments come when wireless telegraphy is used and the designs of the crafty enemy are frustrated. Of a talented band of players Mr. Harry Bedford is chief’. Nottingham Evening Post, 11 September 1917.

'Miss Eva Elwes, the authoress of the play, takes the principal role herself, and is supported by a talented company of players. The action takes place amid rural scenery, and some of the settings are of great beauty.' ('Nottingham Evening Post', 25 September 1917, p. 3)

Performed for one week. Cast including: Charles Carter (actor) and Isa Steele (actress)

From the facile pen of Miss Eva Elwes, a dramatist of some repute, the production deals effectively with high life in London, and incidentally touches on the social problems of the hour. ('Nottingham Journal', 2 March 1918, p. 4)

‘A stirring story of sea life is told at the Nottingham Grand Theatre this week, “A Son of the Sea” being staged by Mr. Will H. Glaze’s company. The piece, which is a new production, is written by Clifford Rean, who, as Paul Tregarron, a Cornish smack owner, proves himself as versatile an actor as he is an author. As Poppy Wentworth Miss Marie Desmond shows considerable skill and talent, while in the character part of the Rev, John O’Farrell Mr. Edmond O’Grady is very telling. There a comedy side to the drama, which lightens it up very divertingly, and taken as a whole the play is entirely to the liking of the patrons of the Hyson Green house’ (Nottingham Journal, 19 February 1918). The Nottingham Journal, 16 February 1918, listed other cast members: John Worth, Charles Leverton, Arthur Gilroy, Clara Spillard, Maud Steeples, and Maudie Ryder.

‘“His Last Leave,” by that clever playwright Mr. Clifford Rean, is the fare provided at the Nottingham Grand Theatre this week by Mr. W. H. Glaze’s talented company, and, as its title indicates, it has a strong “soldier “ interest amusingly interwoven with a generous amount of good, laughter-making comedy, which proved very popular with last night’s audience’ (Nottingham Journal, 12 March 1918). ‘Horace L. Wheatley, one of the principal actors in “His Last Leave,” which is staged at the Grand Theatre, was remanded at the Nottingham Guildhall to-day, having been arrested for the Mountain Ash, Glamorgan, police, on a charge of deserting his wife and child. He appeared in the part of a corporal, who effected the rescue of his superior officer, and some difficulty was experienced in obtaining a man to take his place last night. It is understood that he was also wanted under the Military Service Act’ (Nottingham Evening Post, 16 March 1918; similarly in the Nottingham Journal and the Coventry Evening Telegraph, both 18 March 1918).

Performed as 'The Middy V.C. Comes Home' on Monday, Tuesday, Wednesday and Saturday.

The Stage, 21 March 1918, published an advertisement by Miss Winifred Maude’s Company seeking theatres for The Coward Who Made Good and The Mormon and The Maid, and For Her Boy’s Sake by Royce Carleton, giving the contact address for the following week as the Grand, Nottingham. ‘The infamy of Mormonism is ruthlessly exposed in the sensational play “The Mormon and the Maid,” which pays a return visit to the Nottingham Grand Theatre this week ... On Wednesday and Thursday a new play, “written by a soldier for the women who wait at home” – “The Coward Who Made Good” – is being staged’. Nottingham Journal, Tuesday, 26 March 1918.

Advertised in the Nottingham Evening Post, 9 May 1918, as ‘Mr. G. Carlton Wallace’s Company In the Startling Up-to-the-Moment Play, The Enemy in our Midst‘. Also: ‘Not only as a strong drama of human interest – it is all that – but as a propaganda play, The enemy in our midst at the Grand Theatre this week is worth seeing. Presented by Mr. G. C. Wallace’s talented company, the piece was well received last night, and the comedy interludes with which the sensational scenes are lightened produced an unusual amount of merriment. It is a good play, well played’ (Nottingham Journal, 14 May 1918).

‘Topical drama is again the fare the Nottingham Grand Theatre next week, viz.: Mr. Arthur Jefferson’s latest production, “Home from the Trenches”. The characters include a pro- German profiteer, a shirker and a cad, a soldier who did his bit in the Boer War and five members of the Metropolitan Police’. Nottingham Journal, 18 May 1918. ‘Of war-time plays there is seemingly no end. Still, “Home from the Trenches”, which Mr. Will Glaze’s company brings to the Grand this week, is worthy of a place. Profiteers and shirkers are both much in evidence and duly discredited. Mr. B. Wilson interprets Corporal Devaison [sic, Dennison] with discrimination, and Miss Ada Oakley imparted the necessary sympathy and charm to the character of his hapless wife’. Nottingham Journal, 18 May 1918.

‘“The Voice on the ‘Phone” at the Grand Theatre is one of Clifford Rean’s excellent melodramatic plays, with a well-written story and plenty of effective contrasts in humour and pathos. Mr. Will H. Glaze’s company give an admirable representation’ (Nottingham Evening Post, 28 May 1918). Will Glaze’s company was at the Grand Theatre, Nottingham, the previous week performing, apparently for the first time, Arthur Jefferson’s Home from the Trenches (also known as Back to Wife and Home).

‘Mr. Edward F. Furneau’s personal company received a cordial welcome at the Grand Theatre, Nottingham, last night, when they presented “On Leave For His Wedding.” As the title denotes the play is a war-time drama, and is of more than usual interest. A realistic portrayal of an actual battle scene is provided in the ruined hospital of Abbey Lereaux. Mr. Furneau gives a thoughtful and artistic presentation of the hero, whilst Miss Daisy Spalding as Mavis Hope, and Miss Stella Cedron as Angela Hope, were equally successful’. Nottingham Journal, 6 August 1918.

‘Another modern domestic drama from the pen of Clifford Rean, “The Girl who changed her mind” is being staged by Will H. Glaze’s No. 1 company at the Nottingham Grand Theatre next week. One of the scenes is laid near Mons and, later, the action takes place in a farm kitchen near the Belgian Frontier’ (Nottingham Journal, 21 September 1918). ‘With scenes on Belgian front in the first few months of the war, and capital story of plot and counterplot, “The Girl Who Changed Her Mind” is an excellent example of the methods of Clifford Rean. the popular melodramatist. The play had an appreciative reception at the Grand last night’ (Nottingham Evening Post, 24 September 1918). ‘Clifford Rean’s The Girl Who Changed Her Mind, with its scenes on the Belgian front, is popular at [the Grand, Nottingham]. Wilson Benge is a breezy and successful Dennis Royston, Sadie Smith an attractive Ruth Vallender, and Jerrold Ord an incisive Captain Cave’ (The Stage, 26 September 1918).

'The piece, which possesses many attractions out of the ordinary, is cleverly staged by Mr. W.H. Glaze's "standard" company....' ('Nottingham Journal', 29 October 1918, p. 3)

‘One of Clifford Rean’s plays, “His Last Leave,” is staged at the Grand Theatre by Mr. Will H. Glaze’s company. It deals with a story of wartime, and among the scenes depicted are episodes in the trenches’ (Nottingham Evening Post, 11 February 1919). ‘Mr. W. H. Glaze’s company present the play, “His Last Leave,” to appreciative houses. A sympathetic rendering of Roe Maxwell is given by Miss Dorothie G. Kirke; Mr. H. Wright-Scadden [sic – Scaddan] plays with force as Richard Maxwell; and Mr. I. W. Evelyn makes an excellent interpreter of the kind-hearted Rev. James Maxwell; Mr. Albert Caron is aptly sinister as the Hon. Robert Saltaire, and capital fun is provided by Miss Lena Brand’ (The Era, 12 February 1919).

‘At the Grand Theatre a new play entitled “Love and the Law” will be presented for the first time in Nottingham, by Mr. Stanley Carlton’s company’ (Nottingham Journal, 15 February 1919). ‘The dangers that abound in the London streets is the theme of the acceptable drama, “Love and the Law,” presented by the Stanley Carlton company at the Grand Theatre this week. Bright humour affords splendid relief to the sombre background of the story, and the whole centres chiefly on the evil awaiting demobilised men. Mr George Gordon makes the part of Caleb Partman “live,” while the breezy rejoinders of Corporal Dick Treowen give Mr. David Leslie a popular part. Miss Ivy Denny and Miss Winnie Rousley, in their two respective presentations, achieve a high standard of excellence’ (Nottingham Journal, 18 February 1919). ‘The perils of the London streets are Mr. Charles Darrell’s theme in his drama, “Love and the Law,” presented by the Stanley Carlton Company at the Grand Theatre. Sensation and emotion are adroitly combined' (Nottingham Evening Post, 18 February 1919).

‘Edward F. Furneau’s company make a popular appeal by their clever work in Clifford Rean’s drama “On Leave For His Wedding,” in which an incident of the German bombardment is effectively realised’. The Stage, 27 March 1919.

Each evening 7.15. F.G.Kimberley renowned Company Present the New Topical Drama: "A Soldier's Divorce." (Nottingham Journal - Saturday 10 May 1919)

The Stage, 29 May and 5 June 1919, listed The Unmarried Mother as On Tour from 2 June at the G., Nottingham.

Performed for the week.

Each evening during next week The Attractive Play "A Soldier's Divorce." (South Notts Echo - Saturday 24 January 1920)

‘“For Sweethearts and Wives,” which Messrs. A. Rosebery and G. F. Buckle present at Nottingham Grand Theatre this week, contains all the elements of the real melodrama which patrons of the Hyson-green house love. The piece, although not actually a war drama, has a naval atmosphere, and the secret workings of two Germans in this country are portrayed in it' (Nottingham Journal, 18 May 1920). ‘Arthur Rosebery and Gerald F. Buckle are presenting the favourite naval drama, “For Sweethearts and Wives,” which has not been here for three years' (The Stage, 20 May 1920).