Hippodrome, Stoke-on-Trent

‘The military drama “Three Little Britons” will be presented on Monday at the Hippodrome, Stoke. The spy peril is used as the dramatic theme. The title-roles are filled by professional singers and dancers, for whom H. Sullivan-Brooke (nephew of Sir Arthur Sullivan) has provided some charming musical numbers, notably, “Three Merry Little Britons,” “Keep the Old Flag Flying, Boys,” and “She’s the fairest"' (Staffordshire Sentinel, 13 March 1915). ‘At the Stoke Hippodrome this week, there is a return from variety fare to drama, a company which is reputed to have attained considerable popularity in its tour of the provinces presenting the play, “Three Little Britons.” It is a sporting military drama, and as it is presented in no fewer than fourteen scenes, there in little ground for complaint on the score of lack of variety. The plot is not a particularly well knit one, but in so far as it affords scope for patriotic passages it makes a considerable appeal. Quite a feature of the play is the racecourse scene' (Staffordshire Sentinel, 16 March 1915).

The Era, 26 January 1916, listed The Unmarried Mother (North) as On The Road from 24 January at the H., Stoke. Similarly The Stage, 27 January 1916. Oswald Cray advertised in The Stage, 3 February 1916, that ‘£78 14s 3d was my Actual Takings last Saturday night at the Hippodrome, Stoke.’ With The Unmarried Mother. ‘To Unbelievers. £100 reward to anyone who can prove this was not my actual return for Saturday night only'.

‘“How Do You Like It? – or Keeping On” is the title of the revue presented by Mrs. Kimberley and Mr. Frank Liston at the Stoke Hippodrome this week. The narrative concerns scenes at a W.A.A.C.s’ [i.e. a Women’s Army Auxiliary Corps’] recruiting office, a farm with land girls, a dug-out wherein letters from home give rise to very mixed emotions, and a room in a hotel forming a rendezvous of reunion and rejoicing. Ruby Kimberley excels both as an officer and as the girl he left behind him, and sings acceptably in “I may be gone for a long time” and “For me and my girl”; and Eric Wingfield, as Bertie, scores unmistakably with “Floating with my boating girl” and “When the bells of peace are ringing.” There are some really brilliant speciality dances by the Five Weetmans and Gertie Wingfield, whilst the amusing nonsense at the farm and bivouac is generously subscribed to by Sid Dean, Fred Round and Reggie Dingle. Other highly popular items are contributed by Lill Clifford and Ruby Bradford, and there a variety of well-conceived concerted numbers and spectacular demonstrations which both reflect and anticipate the dominant sentiments of the times. There will be a matinee on Thursday at 2.30 for wounded soldiers’. Staffordshire Sentinel, 19 November 1918.

‘Tom Major’s “Rosy Island,” a clever and very entertaining musical comedy revue will occupy the boards at Stoke Hippodrome next week. Rollicking humour, original and catchy songs, artistic dancing, pretty dresses, and stage settings of an elaborate character contribute to the success of the revue, which is something in the nature of a novelty from the fact that it is a musical play with a moral. A revue company touring the world find themselves stranded on the barren shore of a South Sea Island, and the plot pictures the unhappy plight of the revue girl suddenly placed in the position of having to wait on herself, and of course points the obvious moral. The comedy is in the capable hands of Tom Major, supported by Kitty Major and Lily Ennis, both charming actresses who are responsible for some very tuneful numbers, and are admirably supported by a full cast of pretty chorus girls’ (Staffordshire Sentinel, 14 December 1918). ‘The excellent standard of the entertainments provided at Stoke Hippodrome is firmly maintained this week. The attraction is Tom Major’s “Rosy Island,” a clever and fascinating musical comedy revue, and, judging by its reception by packed audiences on Monday night, its run at this popular house of entertainment should be highly successful. Rollicking humour, original and catchy songs, artistic dancing, pretty dresses, and stage settings of an elaborate character contribute to the success of the revue, which is something in the. nature of a novelty from the fact that it is a musical play with a moral. A revue company touring the world find themselves stranded on the barren shore of a South Sea Island, and the plot pictures the unhappy plight of the revue girl suddenly placed in the position of having to wait on herself. and of course points the obvious metal. It is admirably presented by a first-class company, under the direction of Mr. Tom Major, who personally figures in the cast, and is responsible for the major portion of the comedy. He carries out all his work in accomplished style, and provokes great amusement. He has two clever supporters in Miss Kitty Major and Miss Lily Ennis, both of whom are charming actresses, and fill their respective roles to everybody’s delight. Miss Major makes an attractive fisher girl, while Miss Ennis, as Queen of Revue, is very captivating. The music, almost on an operatic scale, is one of the chief features of the revue. The scenery adds to the charm of the piece. There are also several specialities, one of them, a wounded Tommy’s opinion of a Conchy, proving very popular’ (Staffordshire Sentinel, 17 December 1918).

Mentioned in advertisements in The Stage, 28 November 1918 as Back to Wife and Home and 9 and 16 January 1919 as Home From The Trenches. ‘Last week, Hippo., Stoke. Gross well over £300’. The Stage, 16 January 1919.