Grand Theatre, Derby

Performers: Cecile Barclay, Rupert Lister Review: "a remarkable play in every respect", The Derby Daily Telegraph

‘The twice nightly season opens at the Grand Theatre on Monday next with the “Three Little Britons,” a patriotic military drama. It is only quite recently the British public have realised the spy peril in their midst. This is the dramatic theme, and interwoven with it is the bright future in store for the boy who serves his King and country in the Army or Navy. We have revelled so long in peace, we had almost forgotten the dangers of war and the valour of our sailors and soldiers. The play is arranged in four acts and 14 scenes, that vary from Epsom Downs on Derby Day to the Land of Death, where our finest sportsmen have always behaved under renown against the foe. From the interior of a booth to the ballroom every scene is part of the main theme' (Derby Daily Telegraph, 20 March 1915). 'on Monday ... the patriotic military drama, “Three Little Britons,” was produced, and there were capital attendances at both houses ... Written by Mr. Arthur Roseberry [sic], and presented by his company, “Three Little Britons” deals with the spy mania, and shows the bright future in store for the boy who serves his King and country in the Army or Navy. The story centres around the lives of three little children, who have been “pinched,” as they describe it, and are brought up in a temple of varieties, and by the way ill-treated One of these is the child of Col. Robert King, V.C., whose mother, Isabel Fleichman, has abandoned her and married General Fleichman, who is an out-and-out spy, and compels his wife to do his bidding. The story is easily followed throughout the 14 scenes, which vary from the Downs at Epsom to the Land of Death, where the rival generals meet, and in a fight to finish with swords the Britisher wins and the Union Jack is hoisted over the captured territory ... The music is one of the features of the production, and all the principal parts are in good hands ... Some of the scenes are distinctly fine’ (Derby Daily Telegraph, 23 March 1915).

‘Revue is again the principal attraction at the Grand Theatre next week, the management having booked Magini’s company in their latest success, “Stop Press.” The revue has been written by James and Robert Hargreaves, whilst the music has been arranged by Magini. The artistes responsible for the production include Kitty and Tom Major, George Lawrence, Jack Warman, Edna Clyde, Betty Kitts, Amanda Day, and George Brooks, whilst specialities will be introduced by the Verdun Troupe of Dancers. There are five scenes, which represent country life in summer time, a firelight study, how a revue is rehearsed, Madame Lavinia’s Fashion Saloon, and country life in the winter time' (Derbyshire Advertiser and Journal, 23 June 1916; similarly the Derby Daily Telegraph, 24 June 1916). ‘Revue constitutes the principal attraction at the Grand Theatre again this week, and the title of the latest to visit Derby is “Stop Press.” It is presented by Magini and Company, in five columns, to stick to the printers’ phrase, and it is certainly out of the beaten track in many respects, whilst as it undoubtedly caused plenty of hilarity amongst the audience, and elicited frequent and hearty applause, it quite fulfilled its mission in providing a capital evening’s entertainment for those who assembled on Monday night ... Mr. George Lawrence ... is capital as the recruiting sergeant in the burlesque tribunal' (Derby Daily Telegraph, 27 June 1916). Also reviewed in the Derbyshire Advertiser and Journal, 30 June 1916.

The Era, 15 November 1916, listed The Man Who Stayed at Home (Blue) as On The Road from 13 November at the Grand, Derby. ‘Of all the war plays with which the stage was deluged in the early months of the great conflict, “The Man Who Stayed at Home” is one of the very few which have survived to the present time. This play, however, has had quite a remarkable run, and it has already been performed over 1,600 times. It is being produced at the Grand Theatre this week by Mr. E. Taylor Platt’s Company, and the initial performances on Monday were witnessed by large audiences. As is well known, the play was originally intended to emphasise the dangers which undoubtedly existed by reason of the number of German spies at large in this country, but the authorities having successfully countered their evil designs, the play may now be said to appeal to theatre-goers simply and solely by reason of the interesting episode it unfolds ... the play will doubtless attract attention and good audiences during the week’ (Derby Daily Telegraph, 14 November 1916).

Previewed in the Derby Daily Telegraph, 27 April 1918. ‘ … “Peace-time Prophecies,” or “Stories Gone Wrong in Two Nights” … [shows] how Bairnsfather’s “Old Bill” finds the worst ‘ole of all after the war, for he is pestered by ladies of the upper class who want to marry him, theatricals who want him to go on the halls with them, Press agents, and others. Mr. Edmund Russell is capital as “Old Bill” … “The Comforts of Home” [shows] how a blustering old major, on returning home after the war, cannot settle down to peace and quiet, and the whole household experience a dreadful time with him. Mr. Edmund Russell again plays the principal part of the major, and in this he is sees at his best. He keeps his audience in a constant state of laughter’ (Derbyshire Advertiser and Journal, 3 May 1918). Also reviewed in the Derby Daily Telegraph, 30 April 1918.

Performed for the week with Bob Stevens as Erb.

Cast: George Butler as Sir Charles Rosenbaum, Slaine Mills as chaplain, Walter E Wallis as Rosenbaum's secretary, Jack Levey as Fortescue Curzon, Christine Wilde, Millicent Granville, May Ward, C F Lloyd, T H Hudson, M Daniell.

'Although the war is happily over, there is no doubt that this class of play [i.e. spy plays] will retain interest for a long time, and in “The Live Wire,” as the name hints, there is an abundance of tension during the happenings that lead up the denouement' (Derby Daily Telegraph, 16 November 1918; also the Belper News, 22 November 1918). 'Although the war is now over, the play has lost none of its interest, nor any of its propaganda value, for it is well to keep the people of Great Britain alive to the danger of German spys [sic] and the deadly system of espionage, which, unless the nation exercises ceaseless vigilance, may spring up again in all its intensity. It is therefore desirable that “The Live Wire” and its kindred spy dramas should enjoy a long run in order not to permit that forgetfulness of past evils which is a trait of the national character, admirable perhaps, but impolitic where Hun unscrupulousness is concerned. Although at times tense with impelling sensation, “The Live Wire” is by means devoid of the lighter vein of true humour, and many an outburst of genuinely amused laughter is provoked (Derbyshire Advertiser and Journal, 23 November 1918).

Performed twice nightly at 6.45 and 8.45 by Oswald Cray's Popular Players.

‘At the Grand, Mr. Oswald Cray’s repertoire company continue their success, this week’s play being the “Unmarried Mother.” The name part is played by Miss Maude Stewart Drewry, with her usual brilliance; and Eric Portman makes a dashing hero. Richard Ferris achieve success in his accustomed heavy rôle, and the comedy is safely handled by H. Lloyd Parker’. The Era, Saturday 1 August 1925.

The Derby Daily Telegraph, 2 December 1926, advertised ‘The Midland Dramatic Society will present Sir J. M. Barrie’s “A Kiss for Cinderella” at the Grand Theatre, Dec. 20th-24th, 1926’. The Derby Daily Telegraph, 15 December 1926, published a preview of the production: ‘In many of the … characters can be traced quaintly satirical suggestions of the times when the play was produced - a time when England was war-stricken; when people were heavily charged with anxieties, full of new and hitherto unknown terrors; existing in darkened houses in fear of Zeppelins and the daily bulletins of the terrors of war. These, however, are treated in a vein of pleasing humour such as only Barrie can give expression to’. The Derbyshire Advertiser and Journal, 17 December 1926, also published a preview of the production.

‘Already bookings are piling up for next week, when Sir John Martin Harvey is visiting Derby again after an absence which has been prolonged far too much ... Tuesday evening will be presented a double bill, “The Showing-up of Blanco Posnet,” by Bernard Shaw, and Captain Basil Hood’s charming picture “lb and Little Christina”’. Derby Daily Telegraph, Wednesday 23 February 1927. ‘George Bernard Shaw gave to the world “The Showing Up of Blanco Posnet” in 1909, and for the best part of 20 years the play has been “banned” on religious grounds. When at last the ban is lifted, and this masterpiece of the greatest brain of the generation is presented by one of the finest actors of the day, one might reasonably expect that any theatre in the land should be packed to overflowing on the occasion of such an intellectual treat Such was not the case at the Grand Theatre on Tuesday, for the “house” was decidedly thin when Sir John Martin Harvey presented “The Showing Up of Blanco Basnet” and Basil Hood's delightful cameo “Ib and Little Christina.” What they lacked in size, however, the audience made up in enthusiasm, and the quality of the acting was indeed of an order calculated to rouse the most indifferent … In a very different way Shaw has painted the same moral as Jerome in the “Third Floor Back,” but where Jerome uses methods of gentle persuasion, Shaw employs shock tactics upon his audience. Jerome chastens, Shaw chastises' (Derby Daily Telegraph, 2 March 1927). ‘The play is characteristic of G. B. Shaw, and interpreted by Martin Harvey and his company it gladdens the heart of “Shavians.” The story is reminiscent of the old horse-stealing days out in the Wild West. Blanco Posnet, a typical product of that period when riding, shooting, swearing, and drinking went hand in hand, is accused of horse stealing but proves his innocence before a Sheriff’s court. Life suddenly assumes a different aspect for him, he resolves to turn from the “rotten game” to the “great game"' (Derbyshire Advertiser and Journal, 4 March 1927).

Performed for the week twice nightly.