Royal Court, Liverpool

‘There was a sound of revelry last night at the Court on the occasion of the presentation of “The Man Who Stayed at Home” to a well-filled house, of which khaki was the prevalent colour. The action of the piece has as its central motive the counter-checking of German espionage, and as a foil the acerbities of a seaside boarding-house are wittily exploited. There is hardly a languishing moment. In the name-part, Mr. George Tully electrically charged the auditorium with thrills and merriment, and was altogether at home in his double character of “nut” and detective of keenest instinct. The company gave him excellent support’. Liverpool Echo, 20 April 1915. George Tully was a member of the Vedrenne and Eadie company.

‘“The Man Who Stayed at Home’’ is very welcome again. Even those who are most sceptical about the least wonderful spy stories which friends “in the know” tell in restaurant asides will have to admit a quickening of the pulse and a gasping interest in the tale of the pseudo “Johnny” who proves a military Sherlock Holmes - only more so. It is so good a tonic that one doesn’t stop to say, “ But—” and criticise. Mr. George Tully this time plays the entertaining Brent with infectious humour and telling unconcern; Mr. C. Haviland Burke has a well-fitting part as the blunt J P.; and Messrs. J. Augustus Keogh (whom we seem to remember pleasantly in very different parts), and Charles Grenville shared honours as German spies. Among the ladies there was the freshness of Miss Laurie Flockton as Molly, and the more sophisticated Mrs. Leigh of Miss Mignon O’Doherty - if one must single out any players, who all did well’. Liverpool Echo, 23 November 1915.

The Liverpool Daily Post, 27 July 1916, listed “A Kiss for Cinderella, ‘one of the baronet author’s most charming and whimsical creations’ among the new plays to come to the Royal Court Theatre. The Liverpool Echo, 21 November 1916, advertised A Kiss for Cinderella at the Royal Court Theatre in the following week. The Liverpool Echo, 28 November 1916, published a review of the production.

‘“The Bing Boys Are Here.” The elaborate extravaganza from the Alhambra possesses in a combined form some of the most agreeable attributes of musical comedy and revue. Yet, by the same token, it is not free from the vapid vanities of both forms of theatrical production. The blemishes, however, are rather of minor importance, and “The Bing Boys” may be regarded as a well-knit, smartly-written, and artistically-staged series of incidents, in which a merry round of song and dance is kept going throughout seven scenes ... Altogether the production is not one to be missed by those who like this particular form of irrepressible entertainment’. Liverpool Daily Post, 6 March 1917.

"Comedy, song and romance are embraced in "Never Give In," which forms the attraction this week at the Royal Court Theatre, Liverpool. It is the work of Messrs. William Boyle and Gil Byan, with special musical numbers by Mr. Riddell Hunter. It is not grand opera, but the company producing Never Give In" has at its head, in the person of Mr. E. C. Hedmont, an actor-vocalist whom the public delighted to honour when he trod the stage in the old Carl Rosa days. He is still bright, buoyant and beaming in a character that admirably suite him; that of Lucius Brutus O'Conor, a captain in Wellington's Army in Portugal, for it is in the latter country, in the days of the Napoleonic wars, that the plot of "Never Give In" is worked out. Perhaps there is not much plot, but it serves to provide opportunities for excellent acting and singing, and there is some charming music. The company is only ten strong, but if it be not numerous it is decidedly. efficient. There are some capital musical numbers, for instance "Jack Briton" and "I come from the land," two of the songs which fall to the share of Mr. Hedmont, who also participated in a delightful septet "Strangers," cue of the genie of this romantic comedy. Miss Elsie Norris as Francisca, the daughter of Dom Jeronymo, and the heroine of the comedy, does some admirable work, and has several tuneful numbers allotted her; one of the beat is "I loved a hero," whilst most effective is her singing in the duet with Mr. Hedmont, "When you've gone from me." Mr. Wensley Russell as Don Jeronymo, the Portuguese noble, afflicted with gout consequent, perchance. on his liking for port wine—and a maiden sister who fain would wed, does capitally; he is a versatile artiste. Mr. Reginald Gordon portrays Dom Pombal effectively, and Miss Nellie S. James must be accorded a meed of praise for her impersonation of Isabella, tho aunt of Francisca. The minor roles are capably filled, and a visit to the Royal Court during the week may be cordially recommended." (Birkenhead News, 15 August 1917)

Cast: Jesse Winter, Saba Raleigh, Maud Shelton, Molly Terraine, William Stack, Michael Sherbrooke, Stanley Drewitt, D Lewin Mannering, Leonard Shepherd, Kenneth Kent, George Lestocq, James Howard, Lionel Wilson, Howard Ringe, Horace James, Alexander Lubimoff, Frederick Boyce. 'a propaganda play, and its mission will be to assist the sale of War Bonds; while it is also hoped that it will prove a strong deterrent to strikes among war-workers, and generally brace up the nation to bring every ounce to bear on the winning of the war.' ( Aberdeen Press and Journal, 27 May 1918).

‘“Nurse Benson,” a light comedy founded on impersonation, is a pleasant achievement enriched by a few somewhat eccentric characters. In addition, one is given an inkling of the finesse of the Globe production by some perfect acting by Mr. James Carroll [sic – Carrall] and Mr. Basil Dyne, who play the elderly parts of Lord Messiger and Joseph Tibbenham delightfully. The comedy is typical of the modern school, often severely criticised for levity but nevertheless productive of much healthy enjoyment. A harmless story told with fascinating humour and polished with concert pitch acting by variegated characters. Such work is not so easy as it may appear and as a refreshing form of entertainment has proved its popularity with audiences well qualified to know what is worth liking' (Birkenhead News, 7 May 1919). ‘R. C. Carton and Justin Huntly McCarthy, both possessed of reputations as skilled and successful dramatists, have added to their names and fame a stage attraction in “Nurse Benson.” One may call this quite an amiable, unoffending piece of comedy and sentiment, both features being more of a pleasant sedative than exciting and stimulating elements. The real charm of it is the resolute, clear, and engaging Nurse Benson of Hazel Jones' (The Stage, 8 May 1919).

Performed for the night as part of the company's visit to the theatre this week.

‘Sir John Martin Harvey opened his week’s stay here with “The Showing Up of Blanco Posnet.” It is a number of years since Liverpool saw the Irish Players in the work, and this revival was the more welcome on that account. Sir John’s Blanco is a particularly fine study - perfect down to the last detail, and as finished and finely-wrought as is all his work. Miss de Silva as Feemy gave one of her best efforts, and among the other excellent characterisations those of Alfred Ibberson (Elder Daniels), Gordon McLeod (Sheriff), and Mary Gray (the Woman) stand out prominently. The management of the crowd in the Court scene is a triumph of production. Blanco Posnet was preceded by Maeterlinck’s “The Death of Tintagiles”’. The Stage, 1 October 1925.