Theatre and Opera House, Cheltenham
Also known as: Everyman Theatre, Cheltenham
Address: Cheltenham, UK
Performances at this Theatre
|2 Nov 1914||To Arms!||Professional|
Performed alongside Shakespearean plays by Mr F. R. Benson and company. Performed on Monday, Wednesday, Friday evenings and Saturday.
|1 Feb 1915||Ring Off||Unknown|
|4 Sep 1916||When Love Creeps In Your Heart||Professional|
Performed by Leonard Mortimer's Company.
|16 Oct 1916||Kultur At Home||Professional|
'It is not a melodrama with cheap attempts at sensationalism, realism, and “local colour,” but an intensely interesting study of life in a German garrison town, just before the outbreak of the war, by two gifted dramatists who have had actual experience of the environment which they have so successfully pourtrayed [sic], and who have handled their subject with humour, discretion, and restraint … Readers should on no account miss this brilliant play, with its topical interest, satirical humour, strong emotional scenes, and delightful comedy passages. The company … has been personally rehearsed by Mr. Otho Stuart, the celebrated producer, and the entire production, furniture, and accessories from Court and Strand Theatres, London, are carried’. Cheltenham Chronicle, 14 October 1916. ‘One left the Theatre on Monday with of the greatness of the power of the stage when it is not frittering itself away upon things unworthy. [In] “Kultur at Home” … Rudolf Besier and Sybil Spottiswoode have dealt with a problem of the utmost importance to the British race - the psychology of its great enemy Most the [German] people in the play are quite excellent folk from their national point view, and the motif of the play is the clash of these ideals with the wife’s English notions. This clash leads to situations that the audience follow with an interest tense that for the most part it seems to forget those manifestations of approval or dislike which are ordinarily the outcome of plays which merely interest in an objective way, and to feel themselves a part of the material of the play. We, who have somewhat outgrown the concepts which not so long ago made the Britisher a very ridiculous fool, have not sufficiently realised what this play teaches us: that the Germans, once a quiet homely folk, have become a race of which every member has been taught, by ages of skilful drilling in the lesson, to thank God (“who is a German, too”) that he (the German) is a German. This national trait has found its highest manifestation in the Army, for which apparently the state exists, rather than the army for the state, just as from the German point of view the woman merely exists for the benefit of the man - always, of course, that Germany, that is the Army, may be great and glorious and tread under its rough-shod heels its enemies, who are everybody who does not appreciate its God-given mission of glorifying the German Army … The dominance of the military caste and the blind acquiescence of the German woman in the god-like superiority of her male folk, because they represent the army - that is Germany, and German ideals triumphant in the world – whereas they are in our eyes behaving like coarse, low cads gratifying their own vulgar selfishness, is a pathetic feature'. Gloucestershire Echo, 17 October 1916. '“Kultur at Home” is a decidedly successful attempt to enlighten the Briton on the outlook of the Teuton at home - and nations as well as individuals must be seen at home to be known … The piece is the more educational in that although the characters are strongly drawn and the bias of the authors is not hidden, yet in the main the balance is not very unfairly weighed against the Teuton. Our own feelings may cause us to sympathise wholeheartedly with the heroine, but if we saw the work from the German point of view we should probably sympathise with the hero, whom the authors have not selected from the worst of his class or from the comic-paper sausage-sauerkraut spectacles and swipes type. On the contrary, he is drawn as an excellent young fellow, who stands for his Teutonic ideals in a way that makes us sorry rather than angry with him, for some of us know how the swollen-headed of our own race are … by the time the curtain goes down the final scene - a truly magnificent thrill in which the audience are no longer spectators, but by virtue of nationality seem to be taking part in the acting - there must be very few who have not learnt something more for what Britain and her Colonies and her Allies are standing than ever they knew before … The difficulty is that until the Teuton has learnt his lesson he, like the rest of us, will continue to regard [his] ugly ideals as his real god. Our Tommies are probably proving the best possible missionaries to him!’. Cheltenham Chronicle, 21 October 1916.
|20 Apr 1917||The Sleeping Beauty||Unknown|
|25 Jun 1917||The Amazing Marriage||Professional|
Carlton Wallace's company was engaged for a month at the theatre, and this was extended a further two weeks in which they would perform 'East Lynne' as well as 'The Amazing Marriage'. (Gloucestershire Echo, 23 June 1917)
|4 Mar 1918||When Our Lads Come Marching Home||Professional|
Performers: Sheila Walsh (writer), Courtney Robinson (actor) Review: "The piece has very popular elements, and the many good fellows in khaki in the audience rocked with laughter" The Gloucestershire Echo
|9 Mar 1918||When Our Lads Come Marching Home||Professional|
Performers: Sheila Walsh (writer), Roy Selfridge (actor), Lilian Maitland (actress), Ernest Leslie (actor), Courtney Robinson (actor), Edgar C. Milton (actor), Arthur Edwards (actor), Frank Irish (actor)
|13 Jan 1919||Seven Days Leave||Professional|
Presented by Walter Howard.
|17 Feb 1919||By Pigeon Post||Professional|
Herbert Greville (director), Aubrey Mallalieu (actor), Reginald Turner (actor), Herbert Vyvyan (actor), Dorothy Edwards (actress)
|18 Aug 1919||The Luck Of The Navy||Professional|
|6 Oct 1919||The Freedom of the Seas||Professional|
Organised by Thos. C. Dagnall and presented by Robert Brasher. Performed for the week by Robert Brasher (actor), C.B. Keston (actor), Charlton Hutchinson (actor), T. Arthur Ellis (actor), Olivia Glynn (actress)
|22 Jan 1920||By Pigeon Post||Professional|
Performed by the Arthur Hardy company with Alfred Gray, Charles Poulton, Helen Green, Goodie Willis, and Haviland Burke.
|26 Jan 1920||Seven Days Leave||Professional|
Performed for the week with matinee Saturday at 2.30.
|26 Jan 1920||By Pigeon Post||Professional|
Performed on 22, 23 and 24 January 1920 by Arthur Hardy (producer), Alfred Gray (actor), Charles Poulton (actor), Helen Green (actress), Goodie Willis (actress), C. Haviland Burke (actor). 'Exploiting ground not so much over-cropped as some of that out of which so many of our spy stories have grown, the play is a good one of its kind and the acting is competent.' (Gloucestershire Echo, 23 January 1920)
|19 Apr 1920||General Post||Professional|
|3 May 1920||The Luck Of The Navy||Professional|