Royal Hippodrome, Eastbourne

‘There is nothing so acceptable to the theatre-going public as a good, rollicking revue. For months past the management the management of the Hippodrome have been thoroughly alive to the abounding popularity of this form of entertainment, and have spared no expense in securing up-to-date productions. This week the title of the production is “All’s Well,” and Messrs. Florio & Co.’s No. 1 Company extract a vast amount of humour out of the doings of William Harrison (a retired tradesman), who is financing a revue. He finds “breakers ahead” in the shape of Blobbs, his trusty servant, who is ever getting into “hot water,” much to the delight of the audience. Mr. Bert Snowden gives capital impersonation of Blobbs. He has an overflowing store of jests; his songs are equally diverting; and he figures in duets with no inconsiderable success Mr. Hal Whitby appears as Jack Tranem (manager and controller of the productions), who renders some excellent musical numbers, the most popular being “I’m Trying to be Good, but the Girls won’t let me.” Mr. Frank Dauby, as Mr. Horatio Toppomly sic]. is extremely amusing. His “labour bureau” skit is a delicious piece of absurdity. Miss Dolly McCulls [sic - McCulla]] (Kitty Foxtrot) is much in evidence with new songs and dances, which win for her many friends. Miss Mamie Gould, who appears as Rene Proudy, makes a great “hit” in her patriotic song, “I’m proud to be a Mother of a Son like you.” Mr. Ashley Sinclair (William Harrison), Miss Mabel Brough (Rita Vernon) and Miss Dorothy Parsons (Mabel Friskey) and a bevy of beautiful ladies in wonderful costumes add greatly to the success the revue. A speciality is introduced by Signor Alexandro Vallo, a singer who comes direct from the Italian Opera and Coliseum, London’ (Eastbourne Gazette, 26 January 1916). An advertisement inserted by the producers Florio and Co. in The Era, 9 February 1916, claimed that All’s Well ‘played to packed houses at the Hippodrome, Eastbourne, despite the visit of a German submarine’.

Advertised in the Eastbourne Gazette, 3 May 1916: the cast included Tom Major, Kitty Major, George Lawrence, Edna Clyde, Gladys Ainsley, Arthur Brooke, Amanda Day and Jack Warman, plus the Verdun Troupe of Dancers and full beauty chorus. ‘The new burlesque revue which is being presented at Mr S. W. Winter’s theatre in Seaside-road this week is humorously described as being in “five columns.” The scenes form a splendid background for the parade of the charming principal ladies and pretty chords girls who appear in some of the latest creations. “Stop Press” has all the essential factors which go to make a successful revue. There are enlivening chorus songs and lilting music; and the smart comedians have a rich store of topical “gags” ... During the [first] scene there is a humorous skit at the expense of Harry Ford (the American peace crank), and scenes from the tribunal are thoroughly enjoyed by the audience' (Eastbourne Gazette, 3 May 1916). ‘Apart from the excellent and amusing nature of Magini & Co.’s burlesque, Stop Press, which forms the attraction at the Hippodrome during the current week, one of the most pleasing features of the production is the spectacular brilliance with which it is mounted. Rarely has such a strikingly picturesque mounting been seen at Mr. Winter’s popular music hall, and although the piece by no means rests solely upon its scenic effects for its success, the setting is an important factor in its appeal for public favour. The piece itself is just an irresponsible piece of fun, with no coherent story, but it with meets with enthusiastic appreciation owing largely to its smart up-to-date jests and its exhilarating humour, whilst the inspiriting songs and lively dances add appreciably to the pleasure of the audience ... “Harry Ford” of U.S.A. turns up and there is some witty conversation between him and the tramp. Later we see a burlesque tribunal, at which we some very funny excuses and reasons for trying to be exempted (Eastbourne Chronicle, 6 May 1916).

‘Another mammoth programme is booked for next week [at the Royal Hippodrome, Eastbourne], when the chief attraction will be Mr Harry Thurston (the popular London mirth-provoker), who will be presented by Captain Bruce Bairnsfather, in “The Johnson ‘Ole” (by Captain Bairnsfather and B. McDonald Bastings) which depicts an episode of real trench life. Mr Thurston will play the part of “Old Bill.” “Bairnsfatherland,” it will be remembered, was played over 200 times at the London Hippodrome during the run of “Flying Colours.” Mr Thurston is bringing the whole of the original London company with him, and should have no difficulty in filling the house at each performance. The sketch is kept thoroughly up-to-date and all the latest “gags” by Captain Bairnsfather are contributed'. Eastbourne Gazette, Wednesday 21 February 1917. ‘Our readers, young and old, are familiar with Captain Bairnsfather’s sketches which appear regularly in the “Bystander.” This week Eastbourne theatregoers will have an opportunity of witnessing some remarkably human episodes of trench life by the same author. “The Johnson ‘Ole” is being presented by Captain Bairnsfather [as one part of the evening’s programme], with Mr. Harry Thurston (the great London laughter-maker) in the role of Old Bill, the Sea Lion. All the little details of a soldier’s life in the trenches are reproduced, giving just that realistic effect which is so necessary. Captain Bairnsfather has succeeded in depicting the lights and shades of life near Plug St. Wood, during one day in the trenches, about Christmas 1914. A fine impersonation of “Old Bill, the Walrus,” is given by Mr. Harry Thurston, who played the part over 200 times during its run in the London Hippodrome revue “Flying Colours.” From the hearty laughter which greets his “gags” one has no hesitation in saying that is a great favourite. He was much appreciated on Monday by the khaki and blue boys, who were very much in evidence. During the week fifty souvenir matchboxes will be given to the audience at each performance. Mr. Thurston is ably supported by a talented company of artistes: - Our Bert, A. Bryon Douglas; Young ‘Arry, Leonard May; Officer, Percy Braithwaite; Sniper, Terry Hooker; Rum Man, C. Bentley; “Sandbags,” George Martin; Juggler, Alfred Cooke’. Eastbourne Gazette, Wednesday 28 February 1917.

‘Staged at the Royal Hippodrome on Monday before large and enthusiastic audiences, Gladys Hastings Walton’s “The Black Sheep of the Family” (presented by Arthur Hinton) was highly appreciated. The story of how the Hon. Ralph Sylvester, heir to an earldom and fortune, is ousted from his position by an usurping brother and made an outcast is an old-time theme; but the acting made the old story seem as fresh as ever - a thrilling, life-like narrative. As the Black Sheep, Harry Wood is at first the drunken baronet, then among the slums of New York with a perilous gang; and lastly a soldier returned from the battlefield with the D.C.M. Throughout he is the favourite. A murder scene is included, and Mary Leigh, the gypsy, delights the audience to a pitch of much excitement, although much is to be said for the American lady, Loyale Dare. The light hearted views expressed by Mammy Dingle [sic] and the Tough provide much amusement, whilst Jobson the butler are [sic] especially liked. The trial of the innocent man is very well presented in the form of a dream, whilst the suicide is equally dramatic. It is at the point when the murderer sees the ghost supposed to haunt the house in the form of a monk that the excitement of the house reaches its climax. The scenes towards the conclusion are touching. There are six scenes, well varied in the play, which is being shown twice nightly at the Royal Hippodrome at 7 and 9’ (Eastbourne Gazette, 6 June 1917). ‘Arthur Hinton presents “The Black Sheep of the Family” twice nightly for the first time locally [at the Royal Hippodrome, Eastbourne]. The name part of the Hon. Ralph Sylvester is filled to effect by Harry T. Wood, who is also for the acting management; while it is certain that no better representative of Loyale Dare than Ethel Mouton [sic] could be desired. These two clever artists are well supported by J. Wilton Richards (Lionel Sylvester), J. C. Ward (Lord Arlingham), Louis Weston (stage manager) as Jobson, Leslie Steward (Tough McCoy) Peggy Courtney (Mary Leigh), Beatrice Annersley (Mammy Dinkey), and Lilian Lawrence (Blanche Maitland)’ (The Stage, 7 June 1917). ‘The new and up-to-date drama by Gladys Hastings Walton, entitled The Black Sheep of the Family, has been very cordially received by Hippodrome audiences during the week. The piece is one which contains many incidents of a strikingly dramatic character, the plot being skilfully constructed, and without introducing any undue or far-fetched sensationalism’. The cast members named are Harry T. Wood, J. Wilton Richards, Ethel Monton, Leslie Steward, J. C. Ward, Peggy Courtney, Beatrice Annersley and Lillian Lawrence (Eastbourne Chronicle, 9 June 1917).

The Eastbourne Chronicle, 16 February 1918, advertised: ‘Very Important Engagement! Mr. Leonard Mortimer And Full No. 1 Company, in the Great During & After the War Play, - “Deliver The Goods!” A True Moving Story of Selfishness and Sacrifice. A Magnificent Appeal for the Future Prosperity of our Brave Sons when they return in hundreds of thousands from across the Seas. Written by an Ordinary Britisher. Mr. Leonard Mortimer as “Peter Ross,” supported by a Star Cast. The Play Produced under the Sole Direction of Mr. Leonard Mortimer’.

This performance was presented by Magini's company.

‘One of the burning problems of the day is skilfully and delicately tackled in Mr. Vernon Proctor’s drama, which is to be performed next week. “TUM” is a war drama that will grip the interest of all those who witness it. Mr. Oswald Cray has secured a company who sympathetically interpret the spirit of the play. Miss Betty Emery takes the rôle of the unfortunate girl, and Private Walter Newton, the lover, is depicted by Mr. Alfred D. Adams. No children will be admitted to the performances, which will take place at the usual hours’ (Eastbourne Chronicle, 21 September 1918). Also advertised in the Eastbourne Chronicle, 21 September 1918: ‘Extra Special Attraction. For Adults Only. No children under age of 16 admitted to see this Play. Mr. Oswald Cray presents the Great Problem Play on the Burning Question of the Day – “The Unmarried Mother,” By C. Vernon Proctor’.

‘The reversion to the dramatic type of entertainment at the Royal Hippodrome has been cordially welcomed this week by many patrons. Mr. Arthur Rosebery’s naval drama comes opportunely at a time when the power of the British Navy is more apparent than ever. Instead of dealing with the gay middy and the debonair officer, “For Sweethearts and Wives” centres round the inventors, builders and crews of our magnificent ships. The scenes are set in the shipbuilder’s office, the birthplace of battleships, the quarter-deck, the interior of the submarines, the supply ship, and the climax is reached within the Church-by-the-Sea. where the prayers of the women are offered unceasingly for their men who are braving the dangers of the deep. Mr. Rosebery’s excellent company work harmoniously, and the result of their united efforts is an entirely commendable presentation of his story ... ”). Much of the success of the production is due to the care which has been exercised on the setting. The result is that the scenes are brimful of interest. At the conclusion of the second act an effective and artistic tableau, entitled “The Triumph of the British Fleet,” evokes enthusiastic applause' (Eastbourne Chronicle, 16 November 1918).

‘Oswald Cray presents “The Unmarried Mother” for the second time. Edna Lester (Martha Chalmers) and Conrad Clerke (in his original part of John Chalmers) repeat their impersonations of September, 1918; and the new members are Hugh Wallace (Private Walter Newton), Laurie Potter (Eileen), Harry Lewis (Lieut. Dennis Allan), Pattie Dene (Ethel Chalmers), John Talford (Gerald Blake), Phyllis Vaughan (Mrs. O’Goblin), and Tom H. Solly (Jimny O’Goblin)’. The Stage, 13 November 1919.

‘At the Royal Hippodrome [in Eastbourne] a fine programme at the Warriors’ Day matinée last Thursday was sustained by’, among others, ‘Helen Ferrers, Frances Waring, Marjorie St. Aubyn, and Arnold Reynor (members of Murray King and Clark’s “The Young Person in Pink” company) in “The Honourable Gertrude”’. The Stage, 7 April 1921.