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t : '- 5 r i\ G t. 





in fine qualities at reasonable prices 

The International Fur Store, 

163 P 165, REGENT STREET, W. 



6, Argyll Street, Regent Street, 
London, W. 

A. W. FISHER . ** General Manager. 




Tableau Curtains, Box Draperies, and all Theatre Furnishings 
Cleaned at Special Contract Rates. 


Artistes' private Orders returned in 24 hours 



Touring Managers can have their Wardrobes Cleaned 

between performances, when in or near London, by 

special arrangement. 

Chemical Cleaning & Dyeing Company 

(Next door to Palladium) 


TELEGRAMS "Cleaning." London. A. W. FISHER. 

ELEPHONE 1911 Gerrard (2 line.) General M mafger. 



I^ends, or Sells, Costumes, Fancy or HistoriVx 
\\so Wigs, or, in fact, anything that's Theatrical^ 
JH^enowned throughout Europe, Asia, Africa & Americ^\ 
|\ing Edward was pleased to appoint me sole PeiTUquie r*. 
your own Goods from the largest of Stocl\ 
Established of any Theatrical Store \^ 
New Premises situate 41 & 43, Wardoiir Street, SohO 


Telephone, 612 Gerrard. Telegrams, " Wiggery, London." 

TUC "VCDV I ATCCT " Unequalled for Comfort 
lIUi VLKl LAILOI. and Moderate Prices. 



at all prices, 



Theatrical Upholsterers 
and Furnishers. 


&c., of all kinds, 
Post Free. 

REG. No. 585,082. 

H. LAZARUS & SON, Ltd., Seating Specialists, 


Telephone: 9153 LONDON WALL. Telegrams I " MALLEABLE-NORTCN," LONDON 




99, Middlesex Street, Bishopsgate, 
LONDON, E.C. 7^-1, 

Three minutes from Liverpool Street and Broad Street Station! : two minutes from Aldgate. E. 


Scenery, properties, and lime effects for 
Amateurs and Private Theatricals ONLY. 
Costumes of every description in stock to 

suit ALL plays and characters. 
Wigs of every description, new and 

Competent men sent to dress and make up 

(town and country). 

Prices for hire of costumes and uniforms 
range from 2/6, 5/-, 7/6, 10/6, and 1-1-0 

according to character chosen. 

DRESS SUITS and Morning Suits for 

sale or hire. 







in the WORLD 


Pictorials in Stock to suit any Play, 
Old or New. Cinema Printing. 





Pictorials for Circus, Cinematograph, Variety, Drama, 
and Letterpress Posters, Daybills, Streamers, etc. 








ROLL TICKETS, N< K3KU 1- 6d. per Roll. 

Special quotations for large quantities and contracts. 


REGISTERS for counting the number of persons entering Theatres, etc. 

Send Six Stamps for Sample Roll of Williamson's Patent Roll Tickets for Preventing Fraud. 




CHAS. H. FOX, Ltd. 


, Wellington Street, Strand, 



Competent men sent to make up for 
Amateur Theatricals. 


Telephone : Telegrams : 



Scenic Studio : Felix Street, Westminster Bridge Road, London. 

Thorn- : H<>|> 1853. 

Undertakes High-Class Work in every Detail. 

Branch for Hiring Scenery for Trial Shows amd Short Productions. 

Has provided Scenic Work for Sta(e Society. C.HM k ! 'lays at Cambridge, O.U.D.S., 
at Oxford, Royal Academy of Music, (iuildhall School of Music, &c., &c. 

Alexandra School of Dancing 


(Near Runell Square Station). 

Principal - MISS ETHEL PAYNE. 

Pupils have been engaged as Principal Dancers, Parts, &c., in Geo. Edwardes', 
Robert Courtneidtfe's, Howard and Wyndham's, Geo. Dance's, Herbert Trench's 









of CHEAP PRtces 







Writ* to-day for List. 









(March's Patents), 

For Automatically Issuing and Registering Tickets 
of Admission to Places of Amusement, etc. . . . 


in the Leading Theatres, Music Halls. Picture Palaces, Exhibitions. 
Skating Rinks, etc.. etc., 




For quotations, with full particulars, apply 

1 7 to 21 , Tavistook Street, Covent Garden, London, W.C. 

Telephone: OBRRABD 1915. Telegram* : " UMRESKRTCO, LONDON." 


MRS. BETJEMANN'S rapid method of Voice Production 

effecting immediate and permanent improvement in the 

quality, power, compass and endurance of the voice. 





351, Strand, London, W.C. 



All Wines, Spirits & Cigars of the Very Finest 
Quality at Popular Prices. 


His Majesty's XHeaire. 

Proprietor and Manager - SIR HERBERT BEERBOHM TREE. 


Box Office open daily, 10 to 10. Telephone : 1777 Gerrard. 


Situated centre of town. Seats 1,000. Well heated and 
seated. Good dressing-rooms. Large gallery, fine pipe-organ, 
piano, electric light and Projector, etc., complete. Fully 
licensed, and every accommodation for fit-up Theatrical, 
high-class Concert, etc., Companies. 

Terms and dates, apply: 




Full size Stage with Fittings. Electric Light throughout. 

Accommodation of about 900. Good Dressing Rooms. 

Now open for Touring Companies, Varieties, Pictures, etc. 

For Vacant Dates and Terms of Letting apply to : 

WALTER F. WHITTINGHAM, Proprietor, Taunton. 

Telephone: 134. 



Seating Capacity, 550. Stage, 30 ft. by 20 ft., with fittings. Proscenium Opening, 20 ft. 
Good Dressing Room Accommodation from behind Stage. 

This hall is situated in the centre of the town, within seven minutes' walk from 
railway station. Available for stage plays, concerts, etc. 

Fee One Night, 3; Two Nights, 4 10s.; Three Nights, 6. 

The above is an inclusive charge for all light, heating, seating, etc. Both gas and electric light. 
For particulars as to vacant dates, apply to the Manager, 


DUMFRIES. Mechanics' Hall. 

Principal Hall in Town. Licensed for Dramatic Plays and Cinematograph Enter- 
tainments. Hall 75 by 60 feet. Gallery 32 by 23 feet. Platform 32 by 19 feet, with 
footlights. Proscenium and Scenery. Proscenium opening 20 feet. Accommodates 
1,000 people. Good Dressing Rooms. Lighted throughout by Electric Light. 

Dates and terms on application to W. A. HIDDLESTON, Manager. 




Managing Director, Mr. J. F. ELLISTON. 



AH corns., address J. F. ELLISTON. Telegraphic Address : " Elliston, Bolton." 'Phone 469. 





All corns. 

J. F. ELLISTON, Managing Director. 


DIMENSIONS: Hall, 70x31; Stage, 15x31; Floor to 
Ceiling, 22 feet. Two convenient Dressing Rooms 
under Stage, with Private Entrances, Lavatories, 
Ac. Sitting Aocommodation, over 500. 
RENT: One Night, 2; Two Nights, 3 10s.; Three 
Nights, 5; Four Nights, 6; Five Nights, 7; 
Six Nights, 8. Gas extra, about 5s. 1,000. 
A deposit of ft the Rent to secure booking, and 
balance prepaid before taking possession. 
Damages to Hall or Furniture will be charged. 
These Terms strictly enforced without exception. 
Skating Rink and Ball Court attached to Building. 



Well-furnished excellent Hall for Concerts, Theatricals, etc., with large Seating 
Accommodation on Floor and in Gallery. Licensed for Plays. The Hall contains 
Permanent Stage, with Proscenium, Tableau Curtains, Dressing Rooms, and other 
appointments. No picture shows. For terms of booking, apply 

J. H. HOLLYER. Secretary. Corbett Estate, DRO1TW1CH. 


Licensed for Stage Plays and Cinematograph Shows. 

Population, including places immediately adjoining, 20,000. Size of hall, 70 ft. by 
36 ft. Stage, 36 ft. by 16 ft. 3 ins. Balcony, with 120 tip-up seats. Good Dressing 
Rooms. Hall and Balcony hold 700. Electric Light. Gas for Lanterns, etc. Heated 
by hot-water apparatus. Dates and Terms on application addressed 

OWEN HILL, Secretary. 





Managing Director 





3-5, Capistrangasse, Ecke 



Mariahilferstrasse N. 33, 




VI. Bezirk, 



Telephone: N 854 and N4173. 



Telegraphic Address : 



Kostum- Atelier Wien. 


F. O. WERNDORFF, Architect. 


Stage Managers 


50% Profit 

Direct with the 

Textile Manufacturing Co. 

George Piek. 


c/o " The Stage,'* 16, York St., Covent Garden, London, 


9 Post St., Berlin C. 2, Germany. 

Weavers and Dyers of all kinds of Cloths, Wools, Silks, 

Satins and Prints, for Costumes and Stage Curtains, etc. 

Also Armours, Tights, Hats and Shoes, Stage Carpets, such 

as Grass, Sand, Snow or Moss. 

Our modern equipped Workshops and Studios enable us 
to supply every kind of 


at the cheapest price to suit the requirements of the most 
up-to-date Stage. 

First-Class Costumiers for all Styles. 

References : Messrs. COMELLI, Covent Garden ; Princess Theatre, 
Bradford ; Mr. GRANVILLE BARKER, etc., etc. 








Address for wire: " Periickenanton Berlin." 



Carvers, Gilders and Restorers. 

OLD FRAMES repaired and renovated equal 

to New, both in English Gold and my own Patent 


PICTURES, faded or damaged, skilfully restored. 


a Specialite, with exclusive designs. 


(Established over Half-a-Century), 


(Workshops and Warehouses at Rear). 

Telegrams: "Rabbitry, Westcent, London." 'Phone: Central 6135. 


'Phone -Brizton 2224 (two line*). 
2225 (two lined. 


379 & 381 



S. A. NEWMAN S Establishments are not 
of mushroom growth. He has been 
established over 35 years, and does 
the largest trade of any Tailor in South 

S. A. NEWMAN is the greatest authority 
upon the art of Tailoring In the world. 
Specially patronised by all the Leading 
Artistes in London. 

No connection with any other firm in 
London or the United Kingdom. 
Stage Suits to any special design made 
on the shortest notice. 

Smart Lounge Suits made in all the 
newest shades of Cloths and pure Indigo 
Serges. To Order, from 42/- 

Golfing and Fishing Suits a Speciality. 



to order, from SO/- 



from 7 Guineas. 


Goods sent to any part of the United Kingdom, Carriage Free. 


Perfect Fit Guaranteed without Fitting on. 


For . . 


Ring . . 



St laments [ress 

^^B*^ * LTD 

Printers of 





Ballet Mistress. 


All Communications to 25, OAKLEY SQUARE, N.W. 


Founder - MRS. CARSON. 


3, Bayley Street, Bedford Sq., London, W.C. 



Booking Offices 

of America 

B. F. KEITH President. 

F. F. PROCTOR - - - Vice-Preiident. 
E. F. ALBEE ... General Manager. 
A. PAUL KEITH - - Buiineu Manager. 
J. J. MURDOCK - - Executive Manager. 

Artists and Acts of every descrip- 
tion suitable for Vaudeville can 
obtain desirable engagements in this 
Office. You can Book Direct by 
addressing S. K. Hodgdon, Booking 





United Booking Offices of America 


B. F. KEITH'S THEATRE Boston, Mass. 


New York City 

New York City 

New York City 

New York City 

New York City 

Brooklyn, N. Y. 

Brooklyn, N.Y. 

Brooklyn, N.Y. 

Brooklyn, N.Y. 

Brooklyn, N. Y. 

Brooklyn, N.Y. 

Brooklyn, N. Y. 

New York City 

B. F. KEITH'S NEW THEATRE Philadelphia, Pa. 

Philadelphia, Pa. 

B. F. KEITH'S HIPPODROME... Cleveland, 0. 

Cleveland, 0. 

B. F. KEITH'S THEATRE Columbus, 0. 

B. F. KEITH'S THEATRE Toledo, 0. 


Cincinnati, 0. 

B. F. KEITH'S THEATRE Louisville, Ky. 


Indianapolis, Ind. 

B. F. KEITH'S BIJOU THE *TRE Boston, Mass. 
B. F. KEITH'S NEW THEATRE Portland, Me. 

B. F. KEITH'S THEATRE Lowell, Mass. 


Manchester, N.H. 

B. F. KEITH'S THEATRE ... Jersey City, N.J. 
B F. KEITH'S THEATRE, E. F. Albee, Prop. 

Providence, R.I. 

B. F. KEITH'S THEATRE, E. F. Albee, Prop. 
Pawtucket, R.I. 

New York City 

New York City 
F. F. PROCTOR'S THEATRE ... Newark, N.J. 


F. F. PROCTOR'S THEATRE ... Albany, N.Y. 
F. F. PROCTOR'S THEATRE... Elizabeth, N.J. 

New York City 


New York City 

New York City 

New York City 

Pittsburgh, Pa. 
B. B. KEITH'S THEATRE... Washington, D.C. 



Baltimore, Md. 

SHEA'S THEATRE Buffalo, N. Y. 

SHEA'S THEATRE Toronto, Can. 

TEMPLE THEATRE Detroit, Mich. 

TEMPLE THEATRE Rochester, N. Y. 

S. Z. POLI'S THEATRE Worcester, Mass. 

S. Z. POLI'S THEATRE Springfield, Mas*. 

S. Z. POLI'S THEATRE Hartford, Conn. 

S. Z. POLI'S THEATRE ... New Haven, Conn. 

S. Z. POLI'S THEATRE Bridgeport, Conn. 

S. Z. POLI'S THEATRE Waterbury, Conn. 

S. Z. POLI' S THEATRE Wilkesbarre, Pa. 

S. Z. POLI'S THEATRE Scranton, Pa. 





TEMPLE THEATRE Hamilton, Can. 

ORPHEUM THEATRE Montreal, Que., Can. 




Brighton Beach, N.Y. 

Brighton Beach, N.Y. 

Rockaway Beach, N.Y. 







ORPHEUM THEATRE Harrisburg, Pa. 



LYRIC THEATRE Richmond, Va. 




Wilmington, Del. 




EMPIRE THEATRE Pittsfield, Mass. 



SAVOY THEATRE Atlantic City, N.J 







LOUIS PINCUS, Representative, 


Telephone: 419 Bryant. 
European Offices : Offices : 



Rpre*nutiv. SEATTLE. DENVER. 


















Writer of "Any Little Girl that's a Nice Little Girl is the Right Little 

Girl for Me," "Think It Over Mary," " Good Night, Nurse," "There's 

a Little Church Around the Corner," etc., etc. 

The Writer of To*day 



Sketches Songs Monologues. Jlsk Anybody. 


and over 400 other artistes are using successful " GRAY " matter. 

Max Witt's "COURT BY GIRLS," Book and Lyrics. 


Book and Lyrics. 


"The Suffragette Pitcher." 

B. E. Forester's "AMERICAN BEAUTIES," Book and Lyrics. 
"THE FOURTH DEGREE," Police Travesty. 

Suite 804, Palace Theatre Building, Broadway, 
and 47th Street, New York, N.Y. 



'The Poems that made Kipling laugh. 




"GungaDhin." _> Ki98es 

'The Ladies." ~ ~~ Crosses. 

"ToP. G. W. 

y~V ~M~^ 

I I h 



"Getting Ready 

-r^^^V-B-^T* jff^ the 

"The Bar Room T)/J I^IV/I ^1 The Bun alow -" 
Floor." M. V^/A-^i.T-l.k5 "Clown Night." 


This is not a joke book, but contains twenty-flve original poems, 
just the kind to do when called upon to entertain. 

A beautiful book printed on heavy paper with an art cover. 

A valuable addition to your library. These poems are written 
to help pass the time away when nights are long, the town lone- 
some, and friends few. 

I am not trying to fool my brother artists, and you can have 
your money back if you are not satisfied with the book. 

Send International Money Order for $1 to 



Broadway and 47th Street, New York City, U.S.A. 



Court Violinist to his Majesty Alfonso, King of Spain. 

Tremendous success in the United States on the 

Keith and Orpheum Circuits. Opening in 

London the middle of February. 

Returning to America for 

Starring Tour in 

Season 1914. 





D I X I ~ET "TTl N E S r . 1K1 



The largest and most important Press Bureau devoted to interests of the 
Stage in the world. Correspondence invited with artists contemplating 
visiting the United States or Canada Personal and efficient representation 
of interests of all clients. Endorsed by leading American and English Artists. 



Price 4s. 6d. Greatest Book of Comedy Material ever written. 

CONTENTS include : 12 Sure-flre Monologues, 8 Wonderful Acts for Two Males and 7 Acts for Male 

and Female, 16 Brand-new Parodies on Latest Songs, 3 trreat Minstrel First-Parts, a Side-Splitting 

One-Act Farce, besides hundreds of Original Qag8, Jokes, Sidewalk Bits, etc. Published by 

JAMES MADISON, 1404, Third Avenue, NEW YORK, U.S.A. 

British Headquarter* -HAROLD FOSTER. Ashvillo Mount, Halifax, England. 


should hare their acts Americanised by James Madison, thn man who writes for Al. Jolson, Jack 
Murworth, Joe Welch, Marshall P. Wilder, Ben Welch, Fred Duprez, Nat Carr, Jack Wilson, Howard 
and Howaid, Lee Harrison, Barney Bernard, Pat Rooney and Marion Bent, and other foremost stars. 


Mrs. ETHEL HODGE, of Trafalgar Crescent, Bridlington, Yorks, writes: 

" He is a fine, healthy, and strong boy, having been 
entirely fed on your ' Patent ' Barley and Milk from three 
months old. He was entered in the ' Daily Sketch ' com- 
petition of last year, and came out on top in his division, 
thereby winning a prize of 50." 

Babies fed on cow's milk diluted with Barley Water made from 


always thrive wonderfully. Perfect nutrition, sound sleep, and freedom 
from digestive troubles are some of the happy results of adopting this diet. 

Send for Free Booklet, "Advice to Mothers," Dept. "5.F.B.," 






Occupies a unique position amongst professional 

Absolutely indispensable to all interested in 
Variety matters. 

Offers Advertisers sure and speedy results. 



Particulars of the very moderate Advertisement 

Kates and other particulars will be gladly forwarded 

on receipt of a card at 

18, Charing Cross Road, London, W.C. 

Telephone: Gerrard 6950. Telegrams: " Artifedera, Westrand, London." 



Summer Entertainment Bureau and 
Concert Party Agency. 

Booking Agents 
for the 






" GEMS." 








" QU Al NTS. 

&c., &c., &c. 

Pavilion Managers 
wanting Big Box 
Office Winners 
communicate with 
THIS Agency. 


The RIGHT Goods 

at the RIGHT Price. 

21 years' Sound 


Contracts for 1914 

Barrow, H.M. Theatre 
Blackpool Tower 
Blackpool North Pier 

Frizinghall Pavilion 
Bridlington Spa 
Buxton Opera House 
Derby Pavilion 

Gaiety Theatre 
Hoylake Pavilion 
llfracombe Pavilion 

Arcadian Pavilion 
Lytham Pier 

Central Pier 
New Brighton Pier 
Plymouth Pier 

Winter Gardens 
Rusholme Pavilion 
St. Annes Pier 

Clarence Pier 
Torquay Pier 

&c., &c., &c. 



Telegrams: "Laughs, Manchester." Telephone: 473 Rusholme. 



All corns, to DAN DANIELS, 34, Elphinstonc Road, Southsea, Hants. 


Charming Duettists and Dancers. 


i 2 

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43 K M 

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' 2T 












Theatrical & Vaudeville Exchange 


Broadmead House, Panton St., Haymarket, S.W. 
Rooms 12, 14, 15, 16, 17. 

rr i v, ., ( 9839 GERRAED. 
Telephones | 1656 REGENT . 

Telewriter: CHARING CROSS 241. 


























AMERICAN : Under personal supervision of 
M. S. BEMTHAM, Palace Theatre Building, 
1564 Broadway, New York (the premier agent 

of the U.S.). 

Broadmead House. 

HENRY CARLTON, Broadmead House. 


Business Management Undertaken for 

Some of our 
Clients : 








and many other well-known artistes. 















Telephone: GERHARD 7545. (2 lines). 



Chairman and Managing Director, OSWALD STOLL. 

Secretary and Chief Accountant. W. 8. GORDON MICHIE. 

Addrttt mil communications to the Managing Director. 

London Coliseum 


Two Performance! Dally at 2.30 and 8. Rehearsal! every Monday at 10 a.m. 




Two Performance!* Nightly at 6.40 and 8.50. 
Matinee* Tuesday and Saturday. Rehearsal* 
every Monday at 12 noon. 




Two Performances Nightly at 6.30 and 9.10. 
Rehearsals every Monday at 12.30 p.m. 




Two Performances Nightly at 6.45 and 9. 
Balaam In every Monday at 12 noon. 




Two Performances Nightly at 6.45 and 8.50. 
Rehearsals every Monday at 12 noon. 




Two Performances Nightly at 6.20 and 8.45. 
Rehearsals every Monday at 2 p.m. 

VARIETIES, LTD. Joint Managing Director 
H. E. Davis, ex-Mayor of Gravesend. 


Two Performances Nightly at 6.40 and 8.50. 
ReheargaU every Monday at 12 noon. 




Two Performances Nightly at 6.40 and 9. 
Rehearsals every Monday at 12 noon. 




Two Performance* Nightly at 6.40 and 9. 
Rehearsals every Monday at 12.30 p.m. 



Two Performances Nightly at 6.30 and 9.10. 



Two Performances Nightly at 6.40 and 9. 
Rehearsals every Monday at 12.20 p.m. 


NOTE : All sketches played at the above theatres must be licensed ty the Lord Chamberlain , 
and a copy of the license, together with script a* licensed, must be sent to the atoll office* at least 
21 days before date of performance. 

BAND PARTS REQUIRED. 14 different parts for English Orchestrations and 17 for Foreign 
Orchestrations. Bristol Hippodrome requires 20 parts, including three first violins and piano part 
for harp. 

STAGE DEPARTMENT. Songs proposed to be sung should be submitted and special stage 
requirements stated, in letters marked " Stage Department," by artistes three weeks before opening. 

ADVERTISING MATTER. Bills, Blocks, photograph*, and specimens of pictorials really 
representing the act should be forwarded three weeks before opening. If return of photographs 
required, please say so. 

COARSENESS. VULGARITY, ftc., is not allowed. The Licensing Authorities forbid this 
and the majority of the public resent it. This intimation is only rendered necessary by a very 
few artistes. 

ARTISTES' SCENERY AND PROPERTIES must be fi reproofed or they cannot be brought 
into the theatre. This is by order of the Licensing Authorities. 



An Agent with an " Ideas " Department, 






(produced by Barker's Motion Photography, Limited) 
is the sole property of THE ROYAL FILM AGENCY. 





(Owners of ' I SHOULD WORRY* 

and * A Year in an Hour' Revues). 





Prima Donna.) 


Including : "THE WINDOW OF 

KEY," &c. 
(Vaudeville Bookings only). 








Including : 










Telephone: 5996 GERRARD. 



The Vaudeville Booking Office, Ltd., 

Provides and Exploits Original 
Notions, and Conducts its Business 
on Original Lines. It is "LIVE." 

Joint Managing Directors: 

T. F. Dawe & W. Buchanan Taylor, 

26, Charing Cross Road, London, W.C. 

Telegrams: VEBO. LONDON. 

Telephone: 2926 REGENT. 



";. Records 

Everywhere ! 

'Phone: REGENT 2945. 







Manchester and Blackpool. 

Operating the following Establishments: 


Resident Acting Manager. Rehearsal, 

Hippo.. Hulme, Manchester Fr4 Dry 2 p.m. 

Pavilion, Liverpool George Slatter 2 p.m. 

Empire. Ahton-under-Lyne John Boyle 2 p.m. 

Winter Gardens, Morecambe Alfred H. Read 10.30 a.m. 

King's, Manchester James Trippett 2 p.m. 

Metropole, Manchester Edward Hamilton 11 a.m. 

Hippodrome, Salford Fred Bernardo 2 p.m. 

Royal Osborne, Manchester Joseph Brearley 2 p.m. 

Junction, Manchester John Mason 2 p.m. 

Palace, Preston William Boyle 2 p.m. 

Hippodrome, Preston Frank Burdett 11 a.m. 

Crown, Eccles Albert Rogers 2 p.m. 

Hippo., Queen's Park, Manchester Clarence Meek 2 p.m. 

Hippodrome, Bury Raymond Furniss LI a.m. 

Pavilion, Ashton-under-Lyne Arthur Downes LI a.m. 

Empress, Manchester Wilfrid Hayes 11 a.m. 

2388 Central 
1799 Royal 
95 Ashton 
8 Morecambe 
665 Rusholme 
2392 Central 
2394 Central 
2391 Central 
2397 Central 
317 Preston 
360 Preston 
824 Eccles 
2396 Central 
146 Bury 
95 Ashton 
2391 Central 

Instructions to Artistes and Managers. 


The words of all toog* matt be 
sent to the Keiiident Acting Mana- 
ger fourteen days before opening. 


The Lord Chamberlain's license 
mast be obtained and mast be 
produced to the Resident Acting 


Artistes should note the times of 
rehearsal as specified above. This 
clause in contracts will be strictly 


Full particulars of matter for Bills. 
Blocks. Specimens of Pictorials and 
AdvertiHements mast be sent to 
the head offlce.Hulme Hippodrome, 
twenty-one days before opening. 
Failing this, artistes are liable to 
cancellation of contracts. 
The Management cannot permit 
Scenery, Properties, eto., which 
have not been fireproofed, and 
Electrical Installations must be in 
accordance with the regulations of 
the Licensing Authorities. 

AH Communications r may of theft Establishments to 

The Hippodrome, Hulme, Manchester. 

General District Manager - H. WINSTANLEY. 
Secmtary - - - - W. H. ISHERWOOD. 

Telegram* : " Broadheads, Manchester." 'Phones : City 5928. 5929, 5037 & 49. 


ETEL. : REGENT 2325. f^ 





Offices, 53 & 54, HIGH STREET, NEW OXFORD 







The above Productions Invented and Produced by ERNEST C. ROLLS. 

Artistes of all descriptions are invited to write in for Appointment. 


ERNEST C. ROLLS & CO., Sl 5 i;: fi c H8TREET 




Still in the Running. 



Still in the Running. 











"Going better than ever." 


nunications : 

>T EDELSTEN, Walter House, Strand, London, W.C. 









James W. Tate 

The Theatrical Expert, 





"I Should Worry" 


"A Year in an Hour." 

5, Green Street, Leicester Square, 


'Phone : Gerrard 6493. 




Dame Trot in Babes in the Wood Pantomime, 
Grand Theatre, Glasgow. 

Another Big Production in March 




London Season. 





London s Own 
Coster Comedy Couple, 





Not forgetting "ME AND 'ER." 





"Stiffy, the Goalkeeper." 

Representative : 

ERNEST EDELSTEN, Walter House, Strand, W.C. 







In Their Original Vaudeville Entertainment. 





Sail for South Africa January 31, 1914, under Rufe Naylor's 


Fully Booked Summer, 1914, 
by Harry Leslie, Manchester. 

Music Hall Dates, Apply Karl Hooper's Agency. 

AH Communications, 






Britain's Premier Hebrew Comedian. 









Peterman's Productions, Ltd. 





Mr. Joe Peterman's 


Stop ! Look ! Listen ! 

What we are about to say 
is the Truth, the whole Truth 
and nothing but the Truth. 

Radf ord 



The Famous Fun Furnishers 
are booked SOLID. -AMEN. 



He who bets and does not jjay, 
Must not bet another day. 




The Home of the Vaudeville 


MEALS (Hot or Cold) till 
4 o clock a.m. 


Only the best quality kept. 


Anyone of note in the profession can always be 
found when in London, at 



'Phone 8297 GERRARD. LONDON, W.C. 




Presenting their Laughing Comedy Successes, 





Booked by HUGH D. McINTOSH, E*q. 

Best of Good Wishes to all our Friends the World over. 

"The Vicar.** "The Curate." " The Swell." " Mr. John Bull." 


(A Comedian with Original Idea*). 

N.B. Discovered by the late Charles 

Morton of The Palace, W., and booked 

by the King of Agents, the late 

Hugh J. Didcott. 


An American Manager to 
give me a trial booking. 

Refer. Charles Aldrich, W. C. Fields and Griff. 

1912-13 Pantomime, 

1913-14 Pantomime, 

Address, co. Herbert BUckmore'i Aftncy, 



Acknowledged by Public, Pro- 
prietors, Managers, Agents and 
Press as the One and Only 

Recognised Star in hi? Original 
Studies of Children. 

Ruthlessly copied by many. Equalled 
by none. Imitators take his ideas but 
can never aspire to his Personality. 


Gains more laughs in a few minutes than 
other Entertainers gain in ha.f-an-hour. 

Called by the late Mr. George Adney Payne 


England's It." 



Vaudeville Club, 98, Charing Gross Rd., London, W,C. 





Following are a few unsolicited newspaper criticisms : 

Liverpool Express "None the less enthusiastic was the recaption accorded Friend and 
Downing, the inimitable pair of Hebrew comedians, whose mirth-provoking patter and 
excruciatingly funny songs keep the audience always in ' fits,' and they may truly be awarded 
'the Palm in the Hebrew Couples Class.'" 

Leeds Evening News" There is no better turn at the Leeds Empire this week than 
Friend and Downing. Unlike the usual Hebrew comics, they do not rely in the main on skits 
on the alleged characteristics of their own people. They have a fund of humour which must 
assuredly appeal to all, even to the most touchy Hebrew." 

ITrVTII 1Q17 with Moss Empires, Ltd., Variety Theatres Con- 
UN11L Itfll trolling Co., London Theatres of Varieties, 

, etc., etc. 

Permanent Address: 99, KENNINGTON ROAD, LONDON, S.E. 

////. .SV.U,7T Yf-.AR ROOfC. 




of the 


to all 

Is the 


of the 






Wholesome Gymnastic Comedy. 







Printers to 
9 His Majesty the King, 

68-70, Wardour Street, W. 

J. MILES & Co., Ltd 

Telephone: 4680 REGENT. 

Telegrams: " SERANIVOLO," LONDON. 


Theatrical, Concert and Variety Agency, 



Sole Agent for : JACQUES PINTEL, 



(Composer of 
" Principessa Bizzarra "). 





The Russian Pianist. 


THE 7 FIORENTINE, &c., &c. 




44 BABES in the WOOD " Panto., 
Grand Theatre, Glasgow (BOY BABE). 

Booked at Star Salary at every Hall of note. 

Agency HAERY DAY'S. 


4 PARKER P.C.," 









His Majesty's Theatre. 




6, Ingoldsby Mansions, Avonmore Road, W. 
'Phone: Hammersmith 1075. 


Miss Winifred Maude's Companies. 
Address en route or c.o. "The Stage." London. 


Leads, Special Parts, etc. (Miss Agnes Gagan Heavies and Character.) 
Communications re Autumn S3, Vane Street, Hull. 


Prin. Comedy. Sing and Dance, Falls, etc. 
S. Rodney Road, Hackney, London, N.E. 


Juveniles, Light Comedy, etc. Stage or General Management. 
11. Fambridge Road, Sydenham, S.E. 


Address: Sturt House, St. Augustin's Road, Bournemouth. 


Mrs. Henry Percy. Character, Comedy, or Aristocratic, or Comedy Old Women, 
or any special part. 80, Gloucester Road, South Tottenham, N. 


Principal Singing Soubrette or Special Lead. Speciality Mandoline Solos. Petite, 
Dark. Permanent Address, 714, Great Northern Road, Woodside, Aberdeen. 


Shaftesbury Theatre, W. 




Heavy Leading Business. Robust Character and Srage Management. Chambermaids. Soubrettcs and Boy*. 
Permanent Address, 30, Clavering Road, South Wanstead, N.E. 


Chambermaids and Juveniles. 
66, Downing Street, Evcrton, Liverpool. 


Principal Comedian. Yorkshire Comedian. 

Permanent address, 30, Ashton Street, Harehills, Leeds. 


The Eccentric Comedian. P.A.. 2, Stamford Grove East, Stamford Hill, N. 

Agents: Frank Weathersby. or Barnard & Eden. 


Character, Comedy. Grand Dames. Disengaged; Actors' Association, 
32, Regent Street, W. 


142, Long Acre. London, W.C. 
Telegrams: "Vinticon," London. Telephone: 9549 City. 


General Manager, Gaiety Theatre, Ayr. 



Versatile Artiste. 
Compliments to all. Perm., Poplars, Glan Conway, N. Wales. 


Starring in their immensely successful Musical Comedy Interlude, "The Soldier and the Girl," by Bert Lee 
and Worten David. Agents: Harry Burns, Ltd. Pernunent address: " Seaholme," Promenade, Blackpool. 


Perm. Address ; "The Hollies," Fulham. 


and FAIRY FOUNTAINS. The spectacular triumph, graceful posing and artistic 
pictorial tableaux. Perm, address, 48. Freshford Street, Wandsworth, London, S.W. 




Aj<cnt, James Fioni. Norton St., Liverpool. Panto, 1913-14, "Beauty" and 
Speciality Dancer. Perm. Add. : Urmston, near Manchester. Tel. : 215 Ui mston. 


Memi and Mandie, Dainty Singers of Dainty Songs, and Dainty Dancers. In their Pretty and Refined 
JAPANESE SOftG SCENA. Own Electrical fit-up. Perm. Add. : 6, We^tbourne Avenue. Gateshead-on-Tyne. 


Light Comedian and Dancer. Permanent Address: '* The Newgate, 
St. John Street, Chester. 

Extraordinary Sinter* and Novelty Dancers. Featuring their Great Novelty, DANCING ON THE ELECTRIC 
ILLUMINATED REVOLVING TABLE. Continental Offers Invited. Perm. Add. : 64, Whalley St., Blackburn. 


And A VOCALIST, in Novel Musical Scena. "GIPSYLAND." 
All corns.: VI. NAVA. 51, Talbot Road, Blackpool. 


London's Baby Toe-D.*ncer. Most Charming and Refined. 

All Com*, to "Thelma," Essex Road, Enlield. 


On the Crystal Pyramids. The only act of its kind in existence. Something entirely new. 

For terms and dates apply First Class Agents, or 19, Oxford Street, Middlesbrough. 


On Tour with "A Goad Idea; or Daddy's Reform," Sketch. 
The Season's Greetings to all friends. Per.. 50, Beach Lane, Musselburgh, N.B. 


"The Kentish Mystic." 
46, Watling Street, Bexleyheath, Kent. 


THE JOLLY JUVENILE. The Marvellous Dancer on Roller Skates. 
Perm. Add. : 1O, Roger Street, Newcastle-on-Tyne. 


Prima Donna. Singing Violiniste. 1 he artiste who plays her own violin obligates whilst singing. 
An entertainer at the piano. Perm. Add. : Princess Theatre, Churchgate, Bolton, Lanes. 




Producer-Manager. 20th Panto. The Biggest Success known in Dublin, "Jack and the Beanstalk." Open 
for Offers 1914-1915 as S. M. & P. Vaca\t Fe>. 16th. Pernonent: 52, Newsomb: St., Liverpool. 


The Miniature ComeJy Comet. 
Corns.: Barney Armstrong, Vaudeville Club, Charing Cross Rnad, London, W.C. 

Still on Top. 


The Battling Bantam. 500 Open Challenge to the World, no one Barred. Genuine Records for big business 
Broken all over Great Britain. Corns. : Permanent Address, 34, Margaret St., L verposl. 


Jack and Ted, Comedians and Dancers. tn established act by established performers. Panto, Seebold's 
Red Riding Hood, Jimmy Green and Johnny Stout. For vacan:ies, all corns c/o Stage or en route. 


In novelty pot-pourri. " Blacksmith Act," original, comedy and sensational. Own scenery, full stage setting 
D.C. Lithos. The only act of its kind in the WM-ld. Offirs invite*. G nuine top. P.A., 3, Marland St., Dukinfield. 


Chocolate Coloured Coon with "Singing" Voice and Expert Dancing. 
Perm. Add.: 12. Brendon Street, Edgware Road. London. 


Handcuff King and Jail Breaker. 
Perm. Add.: 65, Dicken Street, Audley, Blackburn. 


Solo Dancer and Soubrette. 
Permanent address, 25, Earl's Court Square, Earl's Court, London. 


Expert Singers and Danczrs. 
____^ Permanent address, Prof. Lloyd, Barry. 


HAPPY DUTCH COUPLE. Look out for new Dutch Scena (5 People), producing Palace, Tibshelf; Aug. 3, 1914 
Perm. Add. ; c.o. W. FAWCETT, Norman Grove, Linthwaite, Huddersfield. 

The original 


Operatic and Ballad Vocalist. In picturesque Gipsy costume. Neat reliable turn. 
Still some vacancies, 1914. Communications, 20. Blake Street, Sheffield. 

Write to R. E. V. E., MYCENAE ROAD, BLACKHEATH, S.E., for Lists of 

Jewellery, Fairies' Wings, Wands, Stars, Crescents, Sequins, Jewels, Gold Trimmings, &c. 

JEWELS, ALL COLOURS, 8d., 10d., 100; f-in., II ; Larger, 1/3; J-in., 1/9 100. 

JEWEL-SPANGLES, 1 - 1,000; COINS OR STARS, 1 - 100. 

Coin Head-dresses, Necklets, Armlets, Bracelets, Creole Earrings, &c., a speciality. 
40-in. Gold or Silver Gauze, 10|d. yard; Braid, J-in., 10d. doz.; 1-in., 1/3 doz. 







THE ROYAL ACADEMY OF Music offers to students of both sexes (whether 
amateur or professional) a thorough training in all branches of music under the 
most able and distinguished Professors. In addition to receiving individual 
lessons in the various branches of the Curriculum, students have the advantage 
of attending the Orchestral, Choral, and Chamber Music Classes, and the 
weekly lectures on music and musicians. Evidence of their progress is given at 
the Fortnightly and Public Concerts and by periodical Operatic and Dramatic 

There are three Terms in the Academic year viz., the Michaelmas Term, 
from Michaelmas to Christmas; the Lent Term, from early in January to 
Easter ; and the Midsummer Term, from early in May until the end of July. 

The Fee for the ordinary curriculum is 12 Guineas per Term. 

A large number of Scholarships and Prizes are founded and are competed 
for periodically. 

Students who show special merit and ability receive the distinction of being 
elected by the Directors Associates of the Institution, and are thereby entitled 
to the use after their names of the initials A.R.A.M. Students who distinguish 
themselves in the musical profession after quitting the Institution may be 
elected by the Directors Fellows of the Royal Academy of Music, and are 
thereupon entitled to the use after their names of the initials F.R.A.M. 

Subscribers have the privilege of attending the Lectures and Public 
Concerts and of introducing friends in proportion to the amount of their 

An examination of persons trained independently of the Academy is held 
twice a year viz., during the Summer and Christmas vacations successful 
candidates at which are elected Licentiates of the Academy, and are thereupon 
entitled to the use after their names of the initials L.R.A.M. 

An examination of persons engaged in the Training of Children's Voices 
is eld annually in September and during the Christmas vacation and a 
certificate is granted to successful candidates. 

A Special Course of Lecture Lessons for Professional Musjc Teachers has 
been instituted, to be followed by an Examination for the distinction of 

Prospectus, entry form, and all further information may be obtained on 

F. W. RENAUT, Secretary. 



8 . 8 








(Near Blackfriars Bridge). 

Established by the Corporation of Londoriftln 1880, 
And under the Management and Control of the Music Committee. 

Principal - LANDON RONALD. 

The Guildhall School of Music wss established by the Corporation of the City of London in 
September, 1880, for the purpose of providing high-class instruction in the art and science of Music at 
moderate cost to the Student. The School is for Professional and Amateur Students. 

The subjects taught in the School include :- Elocution. Gesture and Deportment, Stage 
Dancing, Fencing and all Musical subjects. 

Instruction in the above subjects is given daily from 8.30 a.m. till 8.30 p.m. 

The year is divided into Three Terms, arranged to commence as follows: Third Monday In 
September, Second Monnay In January. Fourth Monday In April. 

Students of any age are admitted at any time. Fees from 1 14s. to 10 10s. per term. 

The only School in London or the Provinces possessing a fully equipped Theatre. 

Students of the Guildhall School have played leading parts In the following Theatres and 
Companies: The Moody Manners Company. The Carl Rosa Company, Greet's Companies, 
The D'Oyly Carte Companies, The George Edwardes Companies. Mr. Seymour Hicks' Com- 
pany, Drury Lane, The Gaiety, The Savoy, The Vaudeville, The Garrlck, The Palace, &c., A.C., &c. 

The Stage Training given Is of a thorough description, and opportunity Is afforded pupils 
each term of taking part In performances In the School Theatre. 

OPERATIC CLASS. Saturday* at 3 o'clock, and other appointed times. 

For Protpectu* ami all further particular* apply to 

H. SAKE WYNDHAM, Secretary. 
Telegraphic Address:" ECPHOXICM, FLEET, LONDOX." Telephone No. 1943 Holborn. 

Royal General Theatrical Fund 

Established 1830. Incorporated by Royal Charter 1853. 

3fl$ 5ttai*t? tb 

3fcr Stlaiest? th* Queen : 3fcr !fttaiet? Queen 




To provide Annuities for Aged and Infirm Actors 


others connected with the Theatrical Profession. 

Particulars as to Rules, Subscriptions, etc., on application to 


Office hours : Tuesdays and Fridays, 1 1 till 4. 



Academy of Dramatic Art 139 

Acting of the Year. By Bernard Weller ; 145 

Actors' Association ... ... ... ... ... ... ... ... ... 115 

Actors' Benevolent Fund ... ... ... .-..- ... ... ... ... 118 

Actors' Church Union ... ... ... ... ... ... ... ... ... 121 

Actors' Day 120 

Actors' Orphanage Fund 119 

Actresses' Franchise League ; ... ... 122 

Adelaide Neilson Fund 123 

America, The Drama in. By W. H. Denny 57 

America, Fires in Theatres ... ... ... ... ... ... ... ... 261 

America, New Theatres Opened ... ... ... ... ... ... ... 234 

America, Obituary 262 

America, Pliys of the Year 235 

American Vau leville 

The Principal Proprietors ... ... ... ... ... ... ... ... 69 

United Booking Office and its Work. By Walter J. Kingsley ... ... 66 

Australian Stage, The. By Eardley Turner 97 

Authors of the Year , 222 

Beneficent Order of Terriers 137 

Birmingham Repertory Theatre ... ... ... ... ... "134 

Books of the Year. By L. H. Jacobsen 27 

Bushey Repertory Theatre ... ... ... ... ... ... ... ... 134 

Catholic Stage Guild '.. ' 122 

Censorship and Licensing ... ... ... ... ... ... ... .... 103 

Children (Employment Abroad) Act ... 107 

Circuits ... .,. ... ... ... ... ... ... ... ... ... 153 

Concert Artists' Benevolent Association 140 

Concert Party Proprietors' Association... ... ... ... ... ... ... 149 

Concert Societies 140 

Critics' Circle 140 

Dinners, Banquets, etc. ... ... ... ... ... ... ... ... ... 230 

Drama and the Royal Academy, The ... ... ... ... ... ... ... 103 

Drama of the Year, The. By E. A. Baughan 1 

Dublin Repertory Theatre ; ... 133 

Fires in Theatres 276 

General Meetings of Societies, Funds, etc. ... ... ... ... ... 26 

German Plays, Alphabetical List 272 

Germany, The Theatrical Year in. By F. E. Washburn Freund ... ... gl 

Glasgow Repertory Theatre ... ... ... ... ... ... ... ... 133 

Grand Order of Water Rats 137 

Hampstead Literary Theatre ... 134 

Ibsen Club... ... ... ... ... ... ... ... ... ... ... 124 

Incorporated Stage Society, The ... ... ... ... ... ... ... 123 

Kinematograph Associations ... ... ... ... ... ... ... ^41 

King and the Theatre, The ... ... ... ... . ... ... ... ... 271 

King George Pension Fund ... ... ... ... ... .;'. - .;. ... -122 

CONTENTS continued. 


Legal Cases 279 

Legal Cases (Index to same) 278 

Liverpool Repertory Theatre 133 

London County Council Licences ... ... ... ... ... ... ... 104 

Manchester Repertory Theatre 132 

Masonic Lodges HO 

Meetings of Societies, etc. 26 

Miscellaneous Events of the Year 230 

Miscellaneous Societies 138 

" Modern Scenic Art." By Arthur Scott Craven 17 

Music Hall Artists' Railway Association 135 

Music Hall Award (1913) 53 

Music Hall Home Fund... 137 

Music Hall Ladies' Guild 136 

" My Lady Kinema." By Arthur Coles Armstrong 33 

New Theatres and Music Halls Opened 231 

Notable Farewells 109 

Obituary 232 

Paris. Plays of the Year 267 

Paris Stage in 1913. The. By John N. Raphael 76 

Playgoers' Clubs 129 

Play -Producing Societies 123 

Plays of the Year (Alphabetically arranged with full Casts) 159 

Poetry Society 138 

" Portraits of Shakespeare. " By Austin Brereton 7 

Repertory Movement, The, General Review 39 

Birmingham. By T. W. J. Wilson 46 

Dublin. By W. J. Lawrence 43 

Liverpool. By J. James Hewson 41 

Manchester. By Thos. F. Hunter 44 

Repertory Theatres 132 

Royal General Theatrical Fund 119 

Shakespeare Memorial Nationa' Theatre ... 144 

Society of Authors 117 

Society of the Theatre 138 

Staff Organisations 142 

Stage Needlework Guild 120 

Theatres Alliance, The 117 

Theatrical Clubs 126 

Theatrical Ladies' Guild 120 

Theatrical Organisations 

Theatrical Managers' Association 116 

Touring Managers' Association 117 

Travelling Theatre Managers' Association 117 

United Bill Posters' Association 140 

Variety Artists' Benevolent Fund and Institution 136 

Variety Artists' Federation 135 

Variety Organisations 135 

Variety Year, The. By E. M. Sansom 48 

Vaudeville Producers' Association 135 

West End Theatre Managers, Society of 11 




IN spite of the many failures of 1913 there is still room for optimism in regard to 
the theatre. Indeed, are not the failures themselves some ground for optimism? 
A Mark Tapley might put that question, but it is not so unreasonable as it may 
seem, for many of the plays that have ignominously failed have not deserved 
any other fate, and their average merit has 'been higher than the average merit of 
unsuccessful plays of even a decade ago. Take the late Mr. Stanley Houghton's " A 
Perfect Cure " as an example. It ran for only four nights. Yet it had a certain 
facility of characterisation in the selfishness of the father. It was only in the conduct 
of his cure that the play failed, and in a certain naive simplicity which made it seem 
more suitable for amateurs than for Mr. Hawtrey's ripe talent. I do not affirm that 
this play would have succeeded ten years ago, but in the eighties I ajn sure it would 
have been hailed as a delicate piece of the domestic genre, and its machine-made 
denouement would have been accepted as a matter of course. Perhaps even Lengyel's 
" The Happy Island," another of the year's failures, would have achieved some 
success twenty years ago. I am sure its obvious satire would have been considered 
very daring then. Baron Rothschild's "Croesus," which only ran for twenty-two 
nights at the Garrick Theatre, would have achieved considerable reputation for its 

The fact 'is, not only the critic but the public has become much more fastidious. 
The taste in drama has improved with its achievement, and the manager who does 
not recognise that fact is certain to see the blue bills outside his theatre very soon 
after the production of an inferior play. Instead of facing the altered conditions 
many managers cling to their old-fashioned ideas of plays and blame the 
Press for their failures. Now and then an old-fashioned play succeeds, and the 
manager is confirmed in his ideas. The triumph of " Diplomacy" is a case in 
point. This play of Sardou's was revived on March 26, and is still running at the 
moment of writing. Why it has been successful I do not know, except that the 
conduct of the plot is exciting, and it gives many opportunities for broad and 
emotional acting. Essentially it is an old-fashioned play, and its drama is quite 
machine-made. It must be remembered, however, that its revival appealed to many 
middle-aged playgoers who naturally desired to see it once again. That would -not 
account, of course, for such a long run, but doubtless it was a factor in its success. 
Also there is a reaction in favour of melodrama, or, perhaps, one should say, in 
favour of exciting, picturesque plays. " Within the Law," another great success of 
the past year, for the play was produced on May 24, is further proof of this reaction. 
" Within the Law " is not, however, an old-fashioned play. Its incidents, and, to 
some extent, its characterisation are fresh and new, and its dialogue is much more 
natural and easy than the dialogue of old-fashioned melodrama. Melchior Lengyel's 
" Typhoon " was another of the successes of the year. It would be wrong to class 
that play as an ordinary melodrama. Its theme has only been possible since the 
rise of Japan to power in the councils of the nations, and it does try to give a true 
picture of the Samurai ideals which have made Japan what she is. Incidentally, 
the fine acting of Mr. Lawrence Irving as Takeramo had much to do with the success 
of the piece. Mr. Harry M. Vernon and Mr. Harold Owen's "Mr. Wu " is cut 
more according to the ordinary pattern of melodrama, but in this play again, there 
is attempt to realise the oriental character in contrast with the occidental. The 
play was only produced on November 28, so that one cannot yet claim a success for 
it measurable to that of " The Typhoon," but it may very well achieve it. In this 
play, too, we were given a fine piece of acting in Mr. Matheson Lang's Mr. Wu. 
The East has evidently a fascination for the playgoer of to-day. Mr. George C- 



JIazelton and Mr. Benrimo'a "The Yellow Jacket" ran for over a hundred and 
fafty nights. ThU was an amusing and naive comedy, representing a typical Chinese 
play iu a Chinese theatre. Its humour and beauty of setting were the chief factors 
oi its success. Karl Vollmoeller's " Turandot," a most picturesque version of the 
Persian tale, did iiot please the ordinary playgoer. To tell the truth, the artless 
humour of Pozzi's Commedia dell' Arte was very poor, and as there was a great 
deal of it the rest of the play was swamped. It deserved a better fate, if 
only for the acting of Mr. Godfrey Tearle as the Persian Prince and for the beautiful 
and distinguished Chinese Princess of Miss Kvelyn d'Alroy. The mise-en-scene 
and Busoni s music ought to have made a triumph of the production, but none of 
these merits could stand against the puerilities of the humour. I only mention 
this particular failure, for failures are best buried without any epitaph, in order to 
show that even when there seems to be a popular desire for a certain type of piece 
it by no means follows that everything that conforms to that type will interest the 
public. " Turandot " was no doubt mounted because " Sumurun " had been such a 
success, and because the triumphs of Reinhardt and the Russian liallct, with its Bakst 
costumes, had proved that there is a vogue for the bizarre and picturesque. 


Bvfuru dealing with the plays of the year in more detail it will be well to glance 
at the successful comedies, so that some kind of lesson may be learned from the 
dramatic year. We have seen that stirring melodramas such as " Diplomacy " and 
' Within the Law " have been among the most popular productions, and that the 
love of spectacle, combined, if possible, with thrilling dramatic interest, has been 
the appeal of these Eastern plays. In comedy itself the cirri pl.u ( must be given 
to Mr. Arnold Bennett's " The Great Adventure." Produced on March 25, one day 
before the revival of " Diplomacy," it shows every sign of running well into the 
new year. 1 never had any doubt of its success from the first, although it did drag 
at its premiere. "The Great Adventure" is a type of the modern comedy which 
has some serious ideas as its basis. Mr. Bernard Shaw must be given the credit of 
having founded this type of comedy as far as the London stage is concerned, but 
Mr. Arnold Burnett rt-hes more on quaint characterisation and less on thr drama of 
mind. In all Mr. Shaw's work th working out of an idea is really the drama, and 
not the situations or even the characters. Indeed, his dramatis persona; are made 
plastic for the expression of that drama. That results in giving them the 
air of puppets, without any life of their own apart from their maker's will, and to 
that extent even the drama of ideas is marred, lor the characters who express them 
and are set up as a living argument for or against the ideas have no stability, so 
that in the end they prove nothing. Mr. Bennett makes no pretence to Mr. Shaw's 
profundity, but " The Great Adventure " owes much to the author of " You Never 
Can Tell" in respect of the characters thinking aloud. There is genuine wit in the 
play, and that quaintness and strangeness which modern audiences domain] f 
comedy. I doubt if an ordinary manager would have foreseen a success for this 
piece. He would have been frightened by the unconventionally of dividing the four 
acts into no fewer than eight scenes. Yet I think we have here a departure which will 
mean much for drama. Mr. Galsworthy had already done the same thing in "The 
Silver Box," and in France M. Bernard Tristan has recently carried this apparently 
scrappy treatment even farther. To the lover of the well-made play this new idea 
of construction, copied from thr Kli/.al>ethan dramatists, must seem to embody all 
the vices of bad play-writing. Half the art of the old-fashioned playwright wa* 
concentrated on conducting a drama within three or four symmetrical acts. When 
this is well done it has a certain value of concentration and of form, but it is very 
doubtful if the good effect of this symmetry is not achieved at a heavy expense of 
reality and variety. In these days, when scenery can be shifted quickly, and in 
days to come, when the stage will be even better equipped with time-saving 
appliances, there is not, and will not be, the same need of retaining one scene for a 
whole act. Obviously, if an author can divide his play into many scenes, he can 
present his subject from more points of view and cover a wider psychological field. 
His play, then, has something of the freedom of a novel without losing any of the 
more definite attributes of drama. Neither " The Great Adventure " nor " The Silver 
Box " could have been written in the conventional three or four acts. Apart 
altogether f-c-m its intrinsic merits, Mr. Arnold Bennett's comedy has broken new 
ground in the technique of play-writing. Its success is one of the most gratifying 
features of the year. I would point out, too, that, like " Typhoon " and "'Mr. 
Wu," " The Great Adventure " owes much to the acting. Mr. Henry Ainley and 


Miss Wish Wynne and the clever company at the Kings way Theatre have given us 
some of the best comedy acting to be seen on the London stage. 


In respect of its technique, " The Great Adventure " is, perhaps, the most notable 
play of the year. Mr. Arnold Bennett one may describe as a " middle-aged " drama- 
tist," not because he is really dwindling into the sere and yellow, but because he 
does not belong to the younger generation of playwrights, nor yet to the older. Our 
established dramatists, to tell the truth, have been disappointing. Sir Arthur Pinero 
has given us nothing new except a poor one-act piece, " The Playgoers," which might 
have been excellent satire, but was not. The revivals of " The Schoolmistress " and 
"The Second Mrs. Tanqueray " proved that there is vitality in Sir Arthur's work. 
He has such a keen sense of the theatre that his plays will always hold the atten- 
tion, however old-fashioned their style of comedy and problem may have become. 
Mr. Henry Arthur Jones seems to have taken a new lease of life in his "Mary Goes 
First." Technically, it is a brilliant comedy, but there is something too bitter in 
its satire of provincial pretentiousness, and the satire is rather theatrical. Miss 
Marie Tempest's wonderful impersonation of the managing and rather cattish pro- 
vincial lady, who fights for precedence, has lifted the comedy into one of the decided 
successes of the year. We have had nothing from Mr. Alfred Sutro or Mr. Haddon 
Chambers. Sir James Barrie's "The Adored One" was a delightful whimsicality, 
full of real Barrie touches. The public seemed to have objected, however, to a mur- 
deress being made a heroine of a comedy, although it was quite obvious the play was 
the merest fantasy. A second version, in which the action was made part of a dream, 
was brought out, but the alteration was not really an improvement. In the same 
evening's bill was included " The Will," a trenchant little drama, in three scenes, 
showing the deterioration which age often works in the characters of men. Mr. 
Bernard 'Shaw's reputation has been upheld mainly by revivals of "The Devil's 
Disciple" and "Caesar and Cleopatra" (by Sir Johnston Forbes-Robertson), and 
" The Doctor's Dilemma " (by Mr. Granville Barker during his repertory season at 
the St. James's and Savoy Theatres). " Androcles and the Lion" was poor fooling 
and not altogether without offence. The author has only himself to blame if his 
audience and many of his critics did not grasp the fact that the main thesis of the 
play was a contrast between the showy Christianity of the early Christian martyrs 
and the practical Christianity of Androcles. This thesis was obscured by much 
horseplay and cheap witticism, and the climax that Christ cannot be properly wor- 
shipped while men still bow before the god of war seemed almost like an after- 
thought. There were some fine ideas in the play, but the treatment did not bring 
them out clearly. Mr. Shaw's " Great Catherine," produced at the Vaudeville, is 
mainly remarkable for being a farce in four scenes. It is extraordinary how the 
author has managed to give flash-light pictures of life in Catherine the Great's Court, 
but the farce is, for the most part, very obvious and cheap. Mr. Shaw is apparently 
determined to be amusing at all costs. Neither of these new plays is worthy of him. 

Mr. John Galsworthy is a dramatist of whom we expect much. He is, indeed, 
almost our only serious playwright. His masterpiece, " Strife," was revived at the 
Comedy Theatre, and ran for nearly fifty nights. From the point of view of the 
commercial theatre that is not a long run, but such a play is not for all markets, and 
it is satisfactory that it could attract so many audiences to its revival. The same 
author's " The Fugitive " is a sincere and earnest endeavour to show how a gently- 
born woman, who has been brought up to do nothing, is hunted down by men. The 
play suffered from obscurity of characterisation, and from stating a particular case as 
if it were general. Mr. Galsworthy's praiseworthy ideal of impartiality resulted in 
a curious shifting of the audience's sympathy. Moreover, the denouement seemed 
to be in no way a natural end tc the play. Of course, like all Mr. Galsworthy's 
work, " The Fugitive " is sincere and dramatic without being theatrical. If only 
he had humour and allowed his characters to stumble without his leading strings, Mr. 
Galsworthy would do work of which the English stage would be proud for many a 
generation. At present he is so intent on being serious, for his work gives that 
impression of self-consciousness, that he fails to give his plays the roundness of human 


There is certainly cause for optimism when we survey the work done during the 
year by dramatists who are either quite unknown to fame or have not written much 
for the stage. Here, again, the tendency is not towards serious drama, but towards 
comedy, with a serious undercurrent or else frank, light-hearted fun. Mr. Galsworthy 


is, indeed, the only dramatist of comparative recent fame who writes straightforward 
serious plays. 1 confess I am not of those who deplore this modern tendency. For 
one thing the theatre, however intellectual it may be, is a place of recreation for 
the mind. No man with imagination fails to be kindled by a great idea, finely 
expressed, but no man who has work to do in this world wishes to see all that he 
finds most sordid and harrowing in life reproduced on the stage. Seriousness need 
not be synonymous with ugly realism or grey, unemotional sordidness. Very great 
drama rises, of course, through this sordiduess by dint of its emotional strength. It 
is lack of feeling rather than actual environment that makes a drama sordid. Ibsen 
is a case in point. The environment of his dramas is unnecessarily sordid and ugly. 
His people have an irritating lack of even the common attributes of humanity, but 
the mental drama he conceived has such force that it sweeps everything before it. 
Such is the stimulating mental effect of his plays that you never leave the theatre after 
witnessing one of them in a depressed state of mind. We cannot expect to have an 
English losen as a matter of course. Failing a dramatist of that calibre, it is best 
that our lesser men should approach life in a spirit of geniality and sympathy. 

Only one dramatist of special note has made his debut this year. I refer to Mr. 
J. O. Francis, whose "Change," produced by the Incorporated Stage Society, carue 
as an absolute surprise. It is a simple little Welsh drama, dealing with the jld p.nd 
new spirit in a small South Wales village, and has scenes of great emotional tension 
as well as much quiet humour. The denouement, always such a difficult matter to 
the inexperienced dramatist, has a suspicion of being forced, and is certainly not 
inevitable; but the play is otherwise one of the most notable achievements of the 
younger school. Mr. Francis is quite young, and his future will bo watched with 
interest. Mr. Eden Plullpotts, tne well-known novelist, is by the way ot being a 
serious dramatist. "The Shadow," produced by Miss Horniman's company, is not, 
however, a great or even a convincing play. The scenes of country-side humour 
and characterisation were fresh and amusing, but the main theme, the bigger courage 
of living in spite of the shadow of a crime, did not seem to spring naturally from the 
characters. Mr. Phillpotts has much to learn in the matter of terse and dramatic 
dialogue. His peasants are very literary. 


These two plays form the output of serious drama by the lesser known men. On 
the other hand, we have to welcome several writers who have made their first attempt 
at writing plays, although well known as literary men. " George A. Birmingham's " 
"General John Regan was one of the delights of the year. The comedy showed 
inexperience in many ways, but its fresh and spontaneous humour captivated many 
audiences. A perusal of the Rev. Canon Hannay's novels suggests that his characters 
appear again and again under different names. This may militate against his future 
as a dramatist, for playgoers do not care for that kind of repetition. Mr. Hawtrey had 
also the good luck to introduce another new dramatist, Mr. W. 11. Post, whose 
" Never Say Die " is one of the funniest and most witty farces of recent days. At the 
same time Mr. Hawtrey was responsible for the shortest run of the year, with the 
late Mr. Stanley Houghton's "The Perfect Cure." What the author of " Hindel 
Wakes " would have done in the future is not now a matter for discussion. Neither 
"Pearls," nor "The Perfect Cure," nor yet "Trust the People," produced by Mr. 
Bourchier at the Garrick Theatre, was worthy of him. Besides " George A. Birming- 
ham " and Mr. Eden Phillpotts, a third distinguished literary man, Mr. G. K. Chester- 
ton, has tried his hand at stage work during the year. " Magic " is witty and has one 
good character, an absent-minded Duke with a habit of irrelevant quotation, but it is 
rather a flimsy little play, and the seriousness of the author in championing magic 
does not ring true in the theatre. It is the kind of thesis Mr. Chesterton might uphold 
in au cfsay with paradoxical seriousness, but on the stage it seems very superficial 
and unreal. W T want English literary men to write for the theatre, but it is an 
art which requires either considerable study and care or the natural gift of a Barrie, 
whose clearness of visualisation enabled him tn become a dramatist without any 
experience at all. Another literary man not quite new to the stage, Mr. A. E. W. 
Mason, had a certain success with "Open Windows." Mr. Mason works, however, 
in the manner of the old-fashioned well-made play. He is ingenious, but " Open 
Windows," like " For the Defence," is frank drawing-room melodrama. Yet a 
fourth novelist. Mr. Temple Thurston, sought fame and fortune as a playwright. 
"The Greatest Wish in the World," produced by Mr. Bourchier, is a dramatisation 
of one of Mr. Thurston 's novels. Its simple sentimental story is better told in the 
book than on the stage. 


Mr. Cyril Harcourt, -whose " A Place in the Sun " will probably prove one of 
the success of the year (it was only produced on November 3), is also a novelist, 
but he has been an actor, and has almost too much knowledge of the stage. I mean 
he has allowed his dramatic instinct and knowledge to play tricks with his psycho- 
logy, and has succeeded. That kind of mastery of the stage is dangerous to a 
youngish writer. Still, there is real dramatic grit in "A Place in the Sun," and 
much power in building up dramatic climaxes, as well as pleasant and easy wit. 
Mr. Harcourt, whose novel " The World's Daughter " is full of delicate and truthful 
observation, and is remarkable for 'the reticent handling of a difficult subject, should 
do fine work for the stage. 

There is no kind of problem in any of these plays by literary men, if we except 
Mr. Chesterton's " Magic," and, in a minor degree, Mr. Phillpott's " The Shadow." 
One might almost say there is not even a thesis. That really means that these 
dramatists have not put any strong fundamental brain-work into their plays. It is 
in that brain-work that Mr. Bernard Shaw, however little one may caire for his 
work, is immeasurably above the other dramatists of the day. He has always, 
except in "Great Catherine," some idea which has (inspired his plays. There is a 
reason, beyond mere entertainment, why ihe wrote them. Mr. H. M. Harwood, in 
his " Literlopers," had a definite aim. He wanted to show 'that children should 
not be the end and sole aim of their parents' life. The treatment was, however, 
too theatrical and conventional. The brain-work of conception was behind the 
play, but the idea was too big for the playwright's powers. Still, even this play 
is far above the standard of ten or fifteen years ago. And how many other plays 
have been produced during the year that have had at least one good idea as their 
basis? I could fill a couple of pages with a bare analysis of them. Mr. Harold 
Chapin's "The Marriage of Columbine" and "It's the Poor That Helps the Poor," 
Mr. St. John Irvine's "Jane Clegg," Mr. Ronald Jean's "The Cage," Miss Bridget 
Maclagan's " Collision " (a sad waste of good material), Mrs. Alison Garland's " Votes 
for Men," Mr. Edward Knoblauch's "The Faun," Miss Gladys Unger's "The Son 
and Heir," Mr. Inglis Allen's "If We Had Only Known," Mr. Robert Vansittart's 
" The Cap and Bells," Mr. Frank H. Rose's " The Whispering Well," Miss Dorothy 
Brandon's "Venus on Earth," and Mr. R. Duncan McNab's "My Lady's Garden" 
these are but a few of the plays of the year which have shown considerable fresh- 
ness of idea. 


Several comedies and farces which passed their fiftieth performance must be men- 
tioned for the sake of completeness, but they do not require comment. Mr. Joselyn 
Brandon and Mr. Frederick Arthur's "The Chaperon," "The Real Thing" (an 
adaptation of Sacha Guitry's "La Prise de Berg-op-Zoom "), Mr. George Broad- 
hurst's " Bought and Paid For," Mr. WiUrid T. Coleby and Mr. Edward Knoblauch's 
"The Headmaster," Mr. George M. Cohan's "Get-Rich-Quick Wallingford," Mr. 
C. B. Fernand's " The Pursuit of Pamela " (a triumph for Miss Gladys Cooper and 
Mr. Dennis Eadie), Mr. J. K. Jerome's "Esther Castways," "This Way, Madam," 
"Oh, I Say!" and "Who's the Lady?" 

Some of the melodramas produced during the year have already been noticed. It 
should be added that Mr. Louis N. Parker's " Joseph and His Brethren " has proved 
one of Sir Herbert Tree's "obstinate successes." It will have run for more 
than four months before "The Darling of the Gods" is revived. Mr. Edward 
Ferris and Mr. B. P. Matthew's " The Grand Seigneur " gave Mr. H. B. Irving 
the kind of part in which he excels. The autumn Drury Lane drama, " Sealed 
Orders," was one of the most stirring of these elaborate melodramas, and at the 
Lyceum and the New Prince's there have been the kind of plays which the patrons 
of those theatres require. Amonsc the best of these productions were " Nell Gwynne " 
and " The Story of the Rosary." 

Revues showed no signs of waning popularity, but precisely why they are call id 
"revues" is a mystery of nomenclature. That some of the musical comedies have 
not had the long run expected of them has not been due to the modern vogue for 
the revue. At least it would not be safe to assume that. " The Pearl Girl," " The 
From Utah," " The Laughing Husband," rechristened " The Girl Who Didn't," 
with a new cast and new numbers, and " The Marriage Market " are still running. 

The Girl on the Film " ran from April 5 to the middle of December, when many 
of the principals left for America to take part in the production there. In general, 
musical comedy has improved from year to year. The music is more ambitious, and 
we Jow comedian does 'not. have everything his own way. At the same time ono 


feels the need for better singing, especially in ensembles. The managers are rather 
in a quandary in this respect. The pubuc has taken a great fancy to the finished 
and workmanlike scores of the Viennese composers, but it insists on the slimness 
and good looks of the principal artistes. Vocal ability and atti active appearance 
rarely go together. There are exceptions on the London stage, but the rule holds 
good. Until musical comedy can recruit its artists from the young people at our 
musical institutions, it is useless to expect any great development in this form of 

Pantomimes hardly come within this review. Only two have U-en given in 
central London last year "Sleeping Beauty Re-Awakened," at Drury l*vne, auJ 

'The Babes in the Wood," at the Lyceum. On the other hand, there have I 
no fewer than four plays mounted especially for children: "Where tin- Rainbow 
Ends," "Peter Pan," "Alice in Wonderland," "The Shepherdess Without ,i 
Heart," and several children's plavs at the Court Theatre. "The I'oor Little Kieh 
Girl," an importation from New York, where it has run for a year, may !*> m 
dered a play for children. Its authored. Miss Eleanor (.'.ates. has \\iitteii a pi 
imitation of " Hannele," with a happy ending. 

SHAKESPEARE AND THK REI'KH mi: v t,)l ivilov 

With so much of interest in a year of drama in London it may ! asked. Is a 
repertory theatre required? I > not the London theatres ^i\e us a huge up i 
tory? As far as variety goes, we do not require a repertory the.iiie. An ordinary 
playgoer cannot keep ]ace wi-th the numerous productions in London. Kvi-n a pro 
fessional critic, who spends, on an aveiage. four nights a week in the t ie. l>. M.|.> 
matinees and Sunday performances, cannot manage to see every production. BI-I 
therw U another reason why a repertory theatre is required. For one thing we 
really do not have enough Shakespeare j M London. Wit.'i the exception <; 
Herbert Tree's Shakespeare festival (itself a icpertory season). Mr. Forbes Robert 
son's farewell performances at Dimy Lane (an exceptional circumstance), and an 
isolated production of "The Taming of the Shi.w." by Mr. Martin llaivey (a 
very interesting production in the modern manner). we have had no Shakesp 
As far as Indon managers are eoneerned. \\.- should have I.e. n entirely depi ndent. 
on Sir Herbert Tree's festival fur our Shakesj>eare. Nor is "the Bard" the only 
consideration. There are many plays which cannot In- expertrd to have a long run 
at an ordinary theatre and yet appeal to quite a large number of playgoers. Mr. 
Granville Barker's season at'st. .James's Theatre, after the withdrawal of " Androclen 
and the Lion," and the ingeniously contrived "Harlequinade," has pro\ed tliai 
there is room for a repertory tlnatre. During his tenancy of the St. -l.> 
Theatre and the Savoy Theatre, pending the piodneti >n of " A Midsummer Night's 
Dream," Mr. Barker has levivtd "Nan." "Tin- Witch." "The Silver 
Box," "The Wild Duck." and "The Doctor's Dilemma," and lias been 
able to produce an admii.ible translation of Molien-'s " I.e Mai iago Force," 
and Mr. Sutro's version of Maeterlinck's "The Death of Tintagilet." With 
the exception, perhaps, of Mr. Shaw's nlay. not one of th< se plays could 
be mounted for U long run at an ordinary thcatic. Ibsen's "The IV 
tenders," one of the greatest plavs in all dramatic literature, only reached thirty 
five performances at the llaym.uket T'leati I- il.jeet \\.as not to the popular 

taste. Thiitylive pel foi niaiio s would be quite a respectable success if spread over 
the season at a repertory theatre. Again, during the year the revivals of "The 
School for Scandal" reached forty seven pei foimanccs, of "Strife" forty nine, and 
of "The Second Mrs. Tanqucray " sixty eight. These are not great runs for an 
ordinary theatre, but they would be more than sufficient for a repertory theati . 
where the cost of production is not ;vo. We could do with at least a couple 

of repertory theatres in I^.ndon. That is our crying need at present, and it is to 
be hoped that before the New Year is out the nerd will be supplied. 




















































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In Two Parts. 


Part I. A Symposium. 

THROUGHOUT all history the development and decline of nations have been 
reflected in the work of their artists, whether plastic, graphic, or literary ; 
and if all the detail of written history were lost, we might read the broad 
outlines of racial evolution in the artistic expressions of each succeeding school 
of pottery, painting, sculpture, and philosophy. But the art of nineteenth century 
Europe or, at least, of Western Europe seems to present at first sight a contradic- 
tion of this general rule. It was essentially the century of eclecticism. The machine 
in its 'many forms had thrown open the doors of the great storehouse of material, and 
even the artist was affected by the extraordinary influence of an intellectuality that 
was imitative rather than creative although we may well question whether pure 
intellectualism can ever create a work of art. The effect upon the theatre was, 
inevitably, an ever-increasing bias towards realism or naturalism. The movement 
had begun with the works of Sir William Davenant and Thomas Betterton in the 
seventeenth century, and had received an enormous impetus from the influence of 
Francois Talma and his friend David, the painter, at the end of the eighteenth and 
the beginning of the nineteenth centuries. It only remained to develop the tendency 
a few steps further, and the spread of a nationalism that had its origin in the amazing 
scientific discoveries of the last sixty years, encouraged the movement up to a pitch 
of absurdity. For half a century at least mechanism has reigned triumphant, and 
every addition to the theory of stage productions has been in the direction of a 

treater realism. Shakespeare has been staged with every adjunct that could tend to 
eceive the audience into believing that it was witnessing an actual representation 
of life in the period presented ; until by a perfectly natural process the scenic effects 
became of more importance than the play and the only anachronism was the method 
of the dramatist. And in the last year or two it would seem that this demand for 
naturalism has reached a limit. We have had the suggestion of the fourth wall to 
fill the ever-present gap in the staging of an interior ; indeed, it is difficult to imagine 
any further development unless every member of the audience be asked to witness 
the play through a key-hole cut in a sheet of cardboard. 

But signs are not wanting that the crest of the wave has been reached, although 
whether we are now entering a higher form of art it is not our present purpose to 
decide. The intimations are found in our inclination to consider stage productions 
as a whole, and to consider them as creative designs rather than mere imitations of 
natural life. The most striking example of the tendency may, perhaps, be found in 
the recent Shakespearean productions of Mr. Granville Barker who, with Mr. Norman 
Wilkinson, has proved not only that new effects are possible, but also that they may 
be, in the best sense of the word, made popular. We must not forget, however, that 
Mr. Gordon Craig has been experimenting magnificently in the same direction for 
many years, and that he has, moreover, set out his theory of this new scenic art in 
various books of enduring worth and moment which, coming slightly in advance of 
the general movement, have met with the criticism that always awaits the genius who 
is likewise pioneer. Another, and in this particular aspect, more recent exponent of 
the theory is Mr. Albert Rothenstein, who would, we believe, hasten the new 
development by every means in his power. Other names, also, may suggest them- 
selves in this connection, but for the moment we may content ourselves with these 


three, and in order that we might arrive at some clearer conception of the general 
purpose and theory of what may represent the typical scenic art of the middle of 
our own century, we have initiated the present symposium of opinion. 


We will take Mr. Albert Rothenstein's admirable contribution first, inasmuch as his 
letter to us sets out more clearly than any other the true object and the defence on 
(esthetic grounds of the new theory. After the opening of his letter, which is not 
relevant to our present purpose, he says : 

" We now come to the question of the Theatre, and as to what some of my ideas 
are as regards the art of it, or as to what that art should be ... I should like 
to take a simple view for the moment and treat it as it stands to day in Kneland. 
This being so, it becomes purel\ and simply a matter of v hat, for want of a better 
word, I will call decoration, ana by this I mean the entire mounting of a play, stag- 
ing, dresses, etc. ; in fact, every detail concerning the aprearance of the stage and 
the mimes on it. 

"To begin with, let me say at once that I consider any form of realism in tin- 
Theatre to be wrong, and as m painting, sculpturing, and all the arts, we demand 
higher qualities than a mere copying of nature, so we must look for the same in the 
Theatre. The mere copying of familiar objects, such as men and women, trees, and, 
indeed, anything in nature, however faithfully or slavishly done, is a very poor 
affair indeed as an end in itself, and we need those qualities of creation, imagination, 
and vis! >n, without which tln-n- is no true or great work of art. When we judge of 
the great men of the past, and with the perspective which time tends to make our 
judgment the more certain, wn find that it is this particular quality of the creative 
vision which allies the great artists, the one to the other, in a common brotherhood ; 
and however different and diverse they be in any particular manner of expression 
or execution neither the skill nor the technique matter (these are accidental), it is 
the fact that there was matter to express, the mind working to express itself and 
creation following. This, then, is something to start on, and when we examine the 
Theatre in England to-day and look for a gleam of any form of imaginative expression 
we must suffer defeat at the outset. Indeed, the complete absence of any serious 
thought or idea is such that the people as a whole do not ever think of looking for 
it, and are content to accept a form of jerry building, often skilful enough, hut both 
wrong and ridiculous and pathetic. When further we come to examine how this 

}'erry building is done, it is at once obvious as to why the final results are so poor ; 
or it is impossible that a dozen or six or three men working separately to produce 
a single idea together ahmild succeed ; and they must fail before ever they begin. 

" To begin with, then, the decoration of a play, in every detail must be the con- 
ception and work of one mind alone. No other way is possible. 

"I will not here go into the larger question of one man doing both play, produc- 
tion, decoration, etc., for I am not, in this letter to you, concerned with this view 
of things. 

"As to how the actual decoration should be attempted : this is a large question, 
and it must depend also on the play ; a point, by the way, which has no consideration 
amongst most of our producers to-day, and the same old painted scenes, etc., are 
used for every conceivable thing. In short, the habit of realism has become part ami 
parcel of our Theatre, whilst practically no attention or thought has been given to 
the one crying problem in the matter of stago decoration the relation between a 
living and moving thing, the actor, to his backgroxind. It is obvious that it is 
wrong that an actor, alive and moving and speaking, should have as his (or her) 
background a thing which, though lifeless, pretends to life, and this being too its 
only merit if it can be so called for the moment for we may take for granted that, 
as naturalistic representation has been the decorator's aim, a mere faithful copying, 
a naturalistic representation (often well enough achieved) is the only result, and no 
attention has been passed to the all-important fact that a relationship in value 
between actor and setting is all that is required. Actor and setting should together 
have the right value the one to the other, and so treated that each is indispensable 
the one to the other, both mediums, the living mime and the humanly conceived set- 
ting, playing, as it were, into one another's hands to make one complete whole. 

" Tte setting, in short, should be a decorative suggestion, and the greater the 
imaginative power of the decorator so will the more beauty and significance be 
created. This surely must ba applicable to the Theatre if the Theatre ranks with any 
of the other great arts. 

" I do not mean that this should apply alone to the more serious side of the 
Theatre. It must apply and be applied to every side. One can speak of Watteau 


and Giotto in the same breath : of Loughi and Rembrandt. The difference is only 
one of particular vision, the important thing being that the vision is there, living 
and lively, and so creating a life of its own. 

" We can all of us realise the beauty of a gay bunch of flowers placed against, let 
us say, a white wall ; immediately the room is filled with colour, and we observe 
not only how wonderful the flowers are themselves, their colour, form, and droop, 
but also how wonderful that piece of white wall becomes in its value to the flowers. 
Place the same flowers against a mass of imitation flowers, and the result is an ugly 
confusion. We see neither the beauty of the real flowers nor the quality of the 
imitation ones. So in the theatre it must be a matter of relationship, and by arrange- 
ment of the material at our disposal we must give sense of the tragic or the gay ; of 
breadth, space, height, or the reverse; and by means of contrast and suggestion, 
never by an attempted imitation. 

"In making a scene which represents, let us say, a solid building, the important 
thing is to suggest a solid thing, and unless this effect is obtained no mere decoration 
of the surface of it can have meaning. No painting of bricks and mortar is needed. 
The thing must be reduced to a simple background for your moving and living 
figures to live and move against, and the impression to be given is that behind or 
around them is a solid thing. Broadly speaking, this seems to me to be the crux 
of a question of the sort, and in all these remarks to you I attempt only a broad 
underlying principle in the matter of decoration, and do not attempt to describe 
either ways or means. Indeed, such problems are to be solved only when we are at 
work on them. In the matter of designing clothes, the same principles I have put 
before you are equally good. It is wrong to attempt to simply copy from the past. 
A fashion plate, dead and lifeless, is the result, and this we see for ourselves in 
almost every theatre where such doings are the practice. A play is a more imagina- 
tive . affair than this, and when we design clothes for one we must be imaginative 
and invent, building on a foundation of knowledge of the particular moment or 
period, but making of it a thing creative and alive so that the impression given is 
that it must be such or such a moment or period. This, then, is the necessity, and 
again it becomes a matter of suggestion and not of a slavish copying. All things 
were and are possible after all, in all times and at any time, and who is to lay down 
the form ? No, we must re-make and re-invent every time, and provided we do it well 
enough and with enough true instinct, and with enough creature power, then we 
bring forward a living thing and not a dead one. 

" We must further produce men for the Theatre who take a serious view of the 
importance of the Theatre as a whole, and for each side and every point of it. No 
one side should be more important than the other, and every small detail should 
be of equal importance. Decoration should not be regarded as a sort of joke a minor 
thing to be placed in the background at every opportunity. All must work 
together. The actor and actress must learn that they are to do what they are asked 
to do in the matter of their personal clothes, wigs, etc., etc. How, can they, seeing 
himself, or herself, alone in a small dressing-room realise possibly what they look 
like ? They do not see themselves merely as a part of a whole conception, but look 
at it from a personal point of view." 

Here, then, we have a very lucid analysis of what the new art of the theatre 
promises to do, and we find a practical 'application of the same theory in Mr. Norman 
Wilkinson's letter which follows, omitting such parts as cover too precisely the same 
ground as that of Mr. Bothenstein, one of the most brilliant and promising men, in 
his own line, of the present day. 


In his description of Mr. Granville Barker's superbly simple and supremely effec- 
tive Shakespearean productions, Mr. Wilkinson writes : 

" The endeavour all along has been to produce something that is very closely 
knit, that does not show the seam where one person's work is joined to another's. 
Mr. Granville Barker himself has labelled my work 'Decoration,' and what this 
actually means is the designing (after much preliminary discussion with the pro- 
ducer) and the supervision of the making of costumes, scenic backgrounds and 
scenes, and properties of all sorts. I have always believed that it is useless to be 
merely a designer for the theatre. 

" Though there is always the preliminary planning and drawing for a production, I 
am convinced that the bringing into being of the actual scenery, dresses, etc., is the 
work where art is needed, and it should be supplied by one man who grasps the 
central idea of the work. 


" There is, one feels, a tendency in the theatre to-day to do what is done now so 
much in house-building and furnishing having a house ' Waring and Gillowed," or 
' Thornton Smithed,' instead of having it, for good or for evil, just as one can do it 
oneself to suit oneself. 

" In the Barker Shakespeare productions a definite attempt has been made to give 
a play a simple, direct treatment that is free from ' style ' and ' period 'simply some- 
thing that is the result of a thorough investigation of the play as it stands alone. 

"This was what I attempted when the 'decoration' was done for 'Twelfth 
Night ' at the Savoy last Christmas. 

Roughly speaking, there were two forms of decorative scene used in it front 
curtains and built scenes, the latter occupying the whole stage. The curtains that 
were the backgrounds for the short front-stage scenes (the Elizabethan convention 
of front and back-stage was used) were meant to be only suggestive of the time, place, 
and mood of the action that took place in front of them. There was no attempt at 
scenic illusion in the ordinary sense of the word, only such colour and form as is 
appropriate to a soft-folded material was used. 

" The whole stage decorations, used for the more important scenes of the play, 
were treated in a real manner real, that is, in that everything was solid, of those 
dimensions tangible, not a flat piece of canvas painted to look like what it was not. 

" All the objects that went to make up Olivia's garden were solid. They had 
plan and elevation, and were as usable as the component parts of any garden, or as 
a street and houses. 

" I cannot believe that stage trees can ever have the natural life, or stage build- 
ings the weathered and sun-lit beauty that actual trees and buildings have, but they 
may possess structure and colour and under an artificial light this may be a revela- 
tion of art and beauty that is satisfying. 

" What one calls a ' natural effect on the stage is got by cheating people, for the 
moment, into the idea that they are where they are not, and at the Savoy there 
was no attempt to convince the eye against the judgment of the mind that one was 
out-of-doors looking at clipped yew trees and marble canopies. 

' I attempted to give the design and plan that was necessary for the action of 
the play, and the charm of light and line and colour that might result from that 
and that alone. 

" The costumes in ' Twelfth Night ' were purposely more elaborate in design than 
the backgrounds against which they were set. I feel that the characters of Shake- 
speare are drawn elaborately with all the rich detailed feeling of the Renaissance, 
and that apart from his characters there is in his plays this simple and dignified 
and almost indefinite sense of background that rerves to throw the already brilliant 
characters into still more brilliant relief." 

It may be argued, perhaps, that this treatment is more particularly suitable to 
Shakespearean productions, inasmuch as a certain separation of the " time, place, and 
mood,' as Mr. Wilkinson says, is more strongly felt in this relation, and that the 
form of words and methods of construction being in a sense more remote from us, 
we are able to regard the whole more nearly as a single artistic form than it is 
possible for us to do in a modern play. This argument, however, begs the question 
that we are unable to produce a modern playwright whose work can be regarded 
as an artistic form, for we would submit that even though it may not be acceptable to 
the larger public, the work of the contemporary artist though we may deprecate it 
in relation to the work of his predecessors is, or should be, the most vital expression 
of contemporary thought. If, therefore, we once admit that a modern play cannot 
be treatea as an aesthetic whole, and so depicted in terms of "time, place, and 
mood," we must admit also that it cannot fall into the category of true art. But 
a more practical controversial of the argument mav be found in the fact that Mr. 
Wilkinson has if in a less marked degree adopted his principle to modern drama, 
such as "The Madras House" and "The Sentimentalists" at the Duke of York's, 
" The Master Builder " at the Little, or Eden Phillpotts's " Secret Woman " at the 


" Lastly, in this connection, we may quote in toto certain passages from the letter of 
"that consummate master of stage decoration," Mr. Gordon Craig, regretting that 
we have not space t print his admirable and extraordinarily lucid contribution in 
full. He begins by attacking the same question of the single mind that is necessary 
to regard the production as a whole. "Modern scenic art," he writes, "includes 
under one heading the crafts of scene making and painting, costume making, property 
making, the movement of everyone, the grouping of everyone, the lighting of scene, 
Costumes, figures, and faces. Add to tpig the designing of the scenes, cogtunies., 


properties, lighting, and movement, and we have the whole business of modern 
scenic art as I understand it. Each of these parts affects each other part, and all 
affects the whole. Let one of them be out of key or foreign to the others, and all 
' art ' has gone. . . . and only the ' modern scenic ' remains." He adds caustic- 
ally : "And this is what generally happens." He goes on to claim that the time 
is coming when we shall teach the Russians, Germans, and French. " They still 
think," he says, " that a work of art is made as you make a patchwork quilt. . . . 
industry and plenty of scraps of stuff . . . many-coloured . . . they think 
that a work of art is a trick. They come over here with plenty of money to spend 
on their patchwork and we just love it. But if that's what we seriously care to 
pass as modem scenic art, then let us hesitate before we follow in their footsteps." 
After this hopeful pronouncement, Mr. Gordon Craig examines the evidence of 
history in regard to scenic art, but the claim which emerges from his examination 
is all that is strictly germane to the present article. This claim we may pick up at 
the end of the argument as follows : 

" These books, as I said, show really what was done in scenic art in Greece and 

"And every scrap of the evidence proves our own William Poel to be wrong. 

" He wants (or wanted, till he ' took up ' with the modern way) to have his boards 
bare ; because, says he, Shakespeare liked 'em bare. 

"I don't care a rap what Shakespeare liked, but I may tell you that I have seen 
evidence here in Italy during the last seven years that the fifteenth and sixteenth 
centuries didn't like the boards to be bare. 

" So all this rubbish which has been talked at the poor reporters and journalists 
during the last twelve months about the new way being the old way is what is 
known in our estimable and well-cultivated land as ' All my eye and Betty Martin.' 

" And the word Martin reminds me that my old friend and understudy, Martin 
Harvey, led the van in this piece of propaganda work. 

" But that was possibly his joke . . . for he will surely know that the old way 
was not a single esplanade stretching from the Year One to 1913, but was cut up 
into many, many bye-ways, each unique in its own way. 

" We need not hurry Mr. Martin Harvey, but he will perhaps some day look up 
the facts and tell us from some pleasant lecture seat, where the air is nimble and 
sweetly recommends the sitter, all that we ought to know about scenic artists and 
their ways, not forgetting Bibiena, Sabbattini, Ferruzzi, Serlio, Scamozzi, Parigi, 
Pozzo, and a host of others. 

"He will have a long story to tell, and for my part I should be glad to have the 
privilege of telling the tale before Mr. Harvey nips in. I should tell it by repro- 
ducing the pictures which these masters have left us to show the world that the old 
ways were always swagger, and those who were more serious than others were always 
the swaggerest. 

" NO ! The new way is NOT the old way. 

" They say I am the leader . . . forerunner (that's the funny title) of the new 
way. So I ought to know. 

" But if I may be pardoned for putting in a word for myself and my way, I must 
say that my way changes every three years. 

"Perhaps this accounts for my 'followers' having lost their way ... or my 
way ... or the old way . . . which is it? 

"And to conclude: Modern scenic art, if it be modern, is a new thing. It is of 
European importance. It is worth our respect and need cause ne one any apprehen- 

Modern scenic art is a difficult thing if it is to be worthy of our age difficult even 
for those who realise its possibilities, and do not care to avoid its difficulties. 

" On the other hand, up-to-date scenic art is very easy. I know of at least half-a- 
dozen young bloods who ' take up ' up-to-date scenic art after a few years' training 
at the Slade School, and there are even more who go in for it on the strength of 
half-a-dozen visits to the Russian Ballet. 

" Poor Bakst has more to be responsible for than I .... for he is always the 
same dear and delightful Bakst of blues and greens and tassels and cushions, and, as 
Balance says, ' an occasional bead,' whereas I am cursed by a longing to try new 
roads, and so my imitators, once I'm out of sight, forget how the trick was done. 

"Moreover, we ought all of us to cry, 'Long live up-to-date scenic art,' for 'ts 
life is always so short. 

" Modern scenic art, on the other hand, has a great future before it, and its future 
lies iri the hands of those few individual thinkers who, with plenty of blood in. their 


bodies and fine thoughts in their heads, can love our lovable Theatre as she 


With this letter our case for the new theory is closed, and it seems to us that we 
have little material at command with which to controvert the broad aesthetic argu- 
ment so clearly and cleverly adduced by the three authorities quoted above. Mr. 
Conrad Tritschler's criticism under this head, although he is plainly a warm oppo- 
nent, does not really affect the main contention, although we quote it to show how 
strong is the opposition of some ecenic artists of the first repute. Mr. Tritschler 
opens at once by saying : 

"One might be tempted to believe that the scenic art of this country was too 
deplorable for words, if the acclamation accorded to certain recently imported 
innovations in stage scenery were any criterion, and one gave ear to the continual 
ranting of the worshippers of the new art craze. No one denies that scenery can be 
found (at times) which is unsatisfactory, unsatisfying, and even repugnant to 
refined taste. Salvation will not be found in new art, it is too full of the spirit 
of eccentricity and freakishness for that, too unreal, too opposed to nature. 

" It would certainly be cheap and non-committal ; you couldn't get very far wrong 
(in a hurry) with whitewashed flats and a bit of gold paint. There would be no 
need to worry about the style of architecture or the period. The kaleidoscope 
hieroglyphs might be a bit monotonous to the paint boy he never did like sten- 


Not less antagonistic is the attitude of Mr. R. C. McCleery who, refusing to enter 
the controversy for the reasons stated in the extract from his letter below, never- 
theless makes his own position perfectly clear. " I am afraid," he writes, " that 
my views on the present state of scenic art would not be pleasant, the striving to 
do eccentric productions, for the sake of being different to others or for the sake 
of advertisement, which exists with a certain few management*, or, again, the abor- 
tions in painting shown by the Russian ballets or opera when one thinks of what 
has been done in the last sixty years by the pastmasters in scenic art, this causes 
one to grieve. Therefore, I don't think it would be worth wasting words on, as it 
would only be my own opinion and would only be understood by my fellow workers 
in the art or craft." 


Our letters from Mr. W. T. Hemsley and Mr. Joseph Harker do not touch the 
controversial question which we have raised, and we regret that for various 
reasons several other names are not represented, notably those of Mr. Walter Hann, 
Mr. Bruce Smith, Mr. Leolyn Hart, and Mr. Ryan. Nevertheless, with the material 
now at our disposal it may be possible to summarise the position, although we do 
not wish to range ourselves definitely on either side ; desiring rather to present one 
of the- instant problems of the stage, than to suggest a solution. 


And for this reason, and because the case for the new scenic art has been so ably 
set out in the letters quoted above, we may turn for a moment to elaborate the 
case for realism, which has not, perhaps, been iairly stated. It is easier to do this 
when we remember, as we must, that the particular art under consideration does 
not stand alone, and should not be differentiated, as some writers seem to imply, 
from the other graphic arts. Indeed, if we were so to differentiate it, the new move- 
ment would still have authority on the ground that the work of the scenic artist 
did not stand alone but was designed as a setting to the words and suggested action 
of the dramatist, a plea which might well be used as an attack upon realism as, 
in effect, Mr. Rothenstein does use it in his simile of the bunch of flowers. But 
we would claim rather that as Mr. Arnold Bennett acknowledged in his brilliant 
articles to the English Review last year, and as Sir Herbert Tree has so consistently 
and brilliantly maintained the production of a play is essentially a work of 
collaboration, that dramatist, producer, and actors combine to produce the final 
effect which, if perfection is to be won, must then be the result of a sympathetic 
understanding between the three agents. Assuming, then, that the producer who 
for our present purpose is supposed to combine all the functions of his art in one 
person is an artist working to effect the same purpose as the dramatist, whether 
living or dead, we must regard his art as essentially one of the greatest and so to 


be judged by the same standards that we should adopt in criticising a painting, a 
group of statuary, or an essay in ceramics. And from this point of view it is not 
difficult to state a case for the realists. 

For it may well be claimed that we have not at the present time reached the 
highest point of naturalistic representation in art, and that, Post-Impressionism 
and Cubism notwithstanding, a more perfect form of realism is still possible, and 
that it is, a fortiori, the most apt expression of our own age. Are not two of our 
most able dramatists of the present day realists, par excellence, namely, Mr. Bernard 
Shaw and Mr. Granville Barker ? And while the latter has allied himself with the 
new movement and is obviously in sympathy with it, we wonder if he would consent 
to mount " The Voysey Inheritance " without all these aids to the presentation of 
atmosphere which are to be found, for instance, in the natural setting of a lawyer 
among the familiar details of a lawyer's office? We see in such a case as this, that 
while the play can by no means be excluded from the category of true art," it 
falls into the subdivision of realism, and so requires for a background those adjuncts 
which realism demands. Nor must we decry this realistic art on any traditional 
ground, for the height of Greek attainment in this kind, the sculptures of Phidias 
and Praxiteles to the former of whom may be assigned the pediment of the Par- 
thenon was essentially realistic, and markedly so in contrast to the sculpture of 
the ^Egean civilisation which preceded the Hellenic. There is, therefore, an excel- 
lent case to 'be made out for those who uphold this school, and more especially so 
in this connection, in which, as we have said, we have to remember that our modern 
expression in the drama is realistic, and so demands its natural setting. 

We have stated this problem, we hope without prejudice, believing it to be one 
that is destined to figure prominently in the future history of the stage in England. 
Art is a living force and moves continually onwards, even when, as in the past, 
some influence appears momentarily to stem its advance. And when the life of a 
people is no longer manifest in any aesthetic expression, it is, according to the pre- 
cedent of history, an unfailing sign that this people is a moribund and failing race. 
And for this reason, if for no other, we should welcome the new movement in 
scenic art, taking it as a sign that we in Western Europe are still vital, and that 
the theatre in England may yet rise to a new dignity. 

Part II. Non-TechnicaL 

In connection with our illustrations, it is of interest to note a few details con- 
cerning the production of three well-known scenic artists whose names have not 
been very prominently mentioned in the foregoing discussion on the future of stage 


Prominent among them is that doyen of the profession, Mr. Joseph Barker, best 
of good Savages and fellows, and we cannot perhaps do better than print his own 
amusing letter in full. 

" I commenced," he writes, " at a very early age with Mr. Thomas Hall and my 
uncle, John O'Connor, at the Haymarket. I was next associated with Mr. Thomas 
Grieve at the old Cremorne and Surrey Gardens. Followed some years of general 
assistance to the principal scenic artists of that time strenuous years, hard slogging 
'but it was experience of the very best kind, and rapidly gave me that most 
valuable asset confidence. Afterwards I went to the provinces, and was stock 
artist for some time at the Royal, Glasgow. From there to the Gaiety, Dublin, 
where I met Sir Henry Irving. It was to this meeting that I owed my first real 
start, for Sir Henry remembered my work, and on my establishment in London, 
after visits to the States covering some four years, I again became associated with 
him an association which lasted till the end' of Sir Henry's life. My first work 
for Sir Herbert Tree was in " Hypatia," about 1892. It was, as I remember, about 
the same time that I commenced work with Sir Augustus Harris, also for the 
Empire Theatre. 

" A conversation that I had with him (Sir Augustus) over a scene that he wanted 
me to do may prove of interest, being rather typical of his methods, his sense of 
the theatre of how much*must be conceded for the sake of effect. 

' You see, my boy Charing Cross station ! fine chance for you platforms, 
lights, signals, smoke, steam ! On one side Waterloo Bridge ; on the other Houses 


























Hanging cloths painted in dyes. 



Arrival of Orsino at the gates of Olivia's house. 











Reproduced for a Savage Club Dinner. 















of Parliament, clock tower.' . . . . ' Yes, but you can't see the clock tower 

from the inside of the station.' 'Doesn't matter a ! You put it there, and 

they (the audience) will see it ! ' 

" Then followed in due course, association with most of the leading managers of 
to-day Frederick Harrison and Cyril Maude, George Edwardes, Sir George 
Alexander, Oscar Asche, Arthur Collins, and many, others. 

" Much of my most successful work has been with Sir Herbert Tree and Mr. 
Oscar Asche, as spectacular productions, such as 'Joseph and His Brethren' and 
' Kismet,' naturally give the most scope. With regard to intending aspirants, in 
the first place I would say DON'T. But if you will, if you must, be prepared for 
hard work, be prepared for drudgery, be prepared to have to discipline your yearn- 
ing artistic soul with a large brush, with which to demolish pails of priming (the 
first preparation of the canvas before it is painted) and heartbreaking acres and 
acres of canvas. When you have achieved proficiency in this first branch of your 
ART you may be promoted to the passionate joy of line-ruling lines, lines, miles 
of lines then perhaps 'pouncing,' which consists of applying a piece of paper on 
which a design is pricked, to the canvas, ruLLing thereon a porous bag containing 
black powder which means your being enveloped in a choking inky cloud, and 
from which you emerge in a condition to make a chimney sweep cry with envy. 
Then perhaps minor forms of decoration, such as the feverish excitement of 
'mosaicing' millions and millions of little squares, etc. then may follow 'laying 
in,' and so on. But what I want to lay stress on is that there is, and can be, 
nothing meteoric in the career of the scene-painter. You must, to achieve anything, 
start at the bottom you must work and keep on working. You have to acquire 
a knowledge of periods ; you have to train your memory, your observation, keeping 
your mind ever open how much harm has been due to the tendency to reduce ocene 
painting to a formula : same old skies, same old specious trick effects, with ever- 
increasing disregard of Nature and, above all, there is your imagination ! And 
in so much as you possess these qualifications is the measure of your success. 

" As with acting, so many have approached my profession in complete oblivion of 
the preliminary drudgery and hard work fascinated by its breadth and strength, 
and thinking to be entrusted right away with work which only years of experience 
can entitle them to. But it cannot be ! Then comes disillusion in the words of 
an illiterate ' would be * : ' I comes 'ere for foliage, and they puts me on to priming.' 

" With such revolutionary methods, which crop up from time to time with 
beautifully ingenuous belief in their own startling originality, I have naturally 
little sympathy. I have so often seen them come and seen them go! in the words of 
who was it, ' Those that like that sort of thing will find that the sort of thing they 

" As regards my life, apart from my work, my mistress, ART, is an exacting one, 
and I have little time for relaxation an occasional pious evening at the Savage Club 
or I he London Sketch Club, of which this year I have the honour to be president; 
an hour or two snatched occasionally to plunge into my favourit -; sports polo, yacht- 
ing, shove-ha'penny, and huntrthe-s'lipper. Tiddleywinks, too, once held me in its 
toils, but it proved too engrossing. But how the memory lives of that glorious night 
when, after an appalling struggle, I brought home in triumph the Championship 
Shield of the Tottenham Tiddleywinks Tournament." 


Hardly less well-known, perhaps, is Mr. W. T. Hemsley, who was born at New- 
castle-on-Tyne in 1850, and whose first professional work was the painting of stock 
scenery for the Mechanics' Institute at Swindpn, in 1868 ; and his first London 
engagement for "The Eviction," at the Olympic, in 1880. His many famous pro- 
ductions have covered nearly the whole range of Shakespeare's plays ; he has painted 
Greek scenes for the University plays at Cambridge, and Roman scenes for the far- 
famed " Quo Vadis?" ; indeed, he has covered nearly every sort of ground in historical 
and modern settings. We are glad to be able to add that his present activity shows! 
no sign of declining, and he is now at work on some remarkable new scenic effects fon 
a forthcoming Horse Show. 


Mr. Conrad Tritschler's list of productions is not less worthy of note, beginning 
as it does with a first experience at the Old Queen's, Manchester, in the days of 
Richard Mansell, and ending, for the moment, with " The Pearl Girl," at the Shaftes- 
bury. Mr. Tritschler has very kindly written us with regard to the general condi- 


tions of the painting of stage scenery, with various comments on the hardships and 
triumphs of the artists, a letter which we are glad to print, and which fiftly closas 
our note on the subject of scenic art. Mr. Robert Courtneidge was largely responsible 
f >v his ' ' discovery. ' ' 

''The conditions under which our scenery is painted," he begins, "are neither 
ideal nor conducive to the best results. The artist is compelled to choose the quickest 
way, and falls back on old ideas and designs, and sticks to conventional colour 
schemes and methods for safety. He has little time to work out correct perspective, 
or to give much thought to bold composition. 

" Scenic art could be raised to a higher plane than this, and will be when the 
artist ceases to be forced to be a mere commercial scene painter. 

''Producers ought to realise this, and, more, they ought to encourage the Press to 
take a livelier interest in him and his work generally. This is the. way to give him 
ambition and imagination, and give him incentive to cleverer and less conventional 

" The average scene-painter of to-day seldom sees his work or his name mentioned. 
Even when the very finest efforts are commented on there is no reference to the artist 
who is responsible. Scenery might be the work of an automaton, of a mechanical 
contrivance ; something without susceptibilities, ambition or aspirations, wth no 
brains or individuality. 

" The scene-painter requires a tremendous lot of knowledge of one sort and another. 
His work is both mentally and physically very ihard, and he has to work much longer 
hour? to get through than any other man of his class. 

" Scene-painting, moreover, is a very beautiful, a very wonderful art, and loses 
nothing in comparison with any other. Because it is broadly treated as it must 
be to have effect it is disparagingly referred to as coarse and dauby. Just reduce 
a gc od scene down to the siw, of a picture, and. behold, what a wealth of interest and 
effects 'it contains. Again, magnify a picture to the size of a scene, you will find the 
daubs and the coarseness are there, too. 

" Improvement in scenery could also be brought about if more first-class theatres 
had their own studios, kept their own artists, and did their own work, ,as Mr. Robert 
Courtneidge does. And if artists generally received the encouragement and con- 
sideration that he gives, I am sure the all-round improvement would be quite surpris- 
ing, apart from any new art influences 

" On the other hand, if artists continue to be considered of but little account and 
looked upon as a sort of necessary evil, it will be discovered one of these days that 
all the first-class men have gone. Artists of the class of William Telbin and the 
late Hawes Craven are slowly but surely becoming extinct. The young ones are not 
coming along to fill their places. What encouragement is there for them to do so? 

" The nature scene-painter (there are still a few left) is a hardy creature and can 
stand a lot ; he will even survive this bad epidemic of Russian influenza and the 
other troubles. The Berliner new art bogey gave him a nasty turn, but it won't 
prove fatal. A better place in the sun, where he can feel its rays and have his mind 
thawed ; a little tonic now and then to keep down convention and make him bolder ; 
and he will be all right. 

Looking back through the ever-lengthening vista of years to the days when 
provincial theatres were homes of creative industry, little kingdoms self contained, 
each depending on its own resources and trying its level best to outshine the others 

"When one thinks of the big productions and pantomimes; of the life and death 
interest everyone took ; of the nights and days lived in the theatres 

" Of the first nights; of the pent-up feelings, of the qualms, of the misgivings, of 
the relief that came as one heard the outburst of applause as scene after scene was 
disclosed, and one realised that again the labours of months were crowned with 
success - 

" One can surely understand it was then, and under such conditions, that artists 
were made. . . . 

"It was then that the imagination was fired as the bosom swelled with pride in 
work accomplished and successful. 

" Then it was that inspiration came, that the vision cleared and showrd the loftier 
ideals that attract the willing and the eager step by step up the ladder of fame. 

" Things have changed since then, many for the better, but not so, up till now, 
for the artist. The sun for him has ceased to shinn. The Art of the Theatre atmo- 
sphere, once so bright and invigorating and conducive to the ground of the ideal, is 
now thick with grime and soot of commercialism. Time is measured only in hard 
cash ; everything has its rock-bottom price ; Scenic Art is old-fashioned and out of 
favour, and the artist is now a man of commerce," 





So ends our long, laborious, but agreeable task ! 

It is inevitable that an article dealing with so vast and comprehensive a theme 
should be distinguished or disfigured by many notable omissions and defects, but 
it is the first serious experiment that has been made in any popular work of reference 
known to us to deal at all exhaustively with a highly-interesting but strangely- 
neglected subject, and we shall welcome criticism and suggestions of all kinds gladly. 

It has necessitated many weeks of hard and somewhat trying labour to gather 
together the copious material required for such an article, and the wish of the Editor 
was to have added not only the opinions of Mr. Hann, Mr. Bruce Smith, Mr. Ryan, 
and Mr. Hart to the views expressed so ably by the gentlemen with whose works this 
article deals, but to have included the views of others whose talents have contributed 
so much of real value to " stage decoration " in recent years. 

But fell circumstance proved too formidable an opponent to enable us to present 
a more nearly complete survey in the present issue. 



January 22. Annual meeting of the Show- 
men's Guild at the Agricultural Hall 
(World's Fair). Mr. Patrick Collins pre- 

January 26. The annual general meeting of 
the Variety Artists' Federation was held 
iat the Criterion Restaurant. The chair 
was occupied by Mr. W. H. Clemart, Chair- 
man of the Federation. 

January 30. General meeting of the Vaude- 
ville Producers' Association, Bedford Head 
Hotel, Mr. Herbert Darnley in the chair. 

February C. Annual meeting of the Theatri- 
cal Managers' Association , Gatti's Rat- 
staurant, Strand, Mr. Cyril Maude in the 

February 7. Annual conference British Empire 
Shakespeare Society at His Majesty's, 
Princess Marie Louise of Schleswig-Holstein 

February 11. The twenty-second annum! 
general meeting of the Actors' Association 
was held at His Majesty's. The President, 
Sir Herbert Beerbohm Tree, occupied the 

February 14. The annual general meeting of 
the Actors' Benevolent Fund was held on 
the stage of His Majesty's. Sir Herbert 
Beerbohm Tree presided. 

March 14. Special general meeting Variety 
Artists' Federation to amend certain rules, 
Bedford Head Hotel, Mr. W. H. Clemart 
in the chair. 

March 27. The annual .general meeting of the 
Royal General Theatrical Fund was held 
at the St. James's. Sir George Alexander 
(President) was in the chair. 

March 28. Mr. Syd. Walker was appointed 
Trustee of the Music Ball Artists' R.ail- 
way Association, in the room of Mr. Paul 
Martinetti, resigned, at a special meeting 
of the Association held at the Bedford 
Head Hotel. 

April 20. The annual service of the Actors' 
Church Union took place at All Saints'. 
Margaret Street. The preacher was the 
Rev. J. A. V. Magee. 

April 27. The annual meeting of the Concert 
Artists' Benevolent Association was held 
at the Criterion Restaurant. Mr. George 
Robin? presided, 

April 28. The annual general meeting of the 
Variety Artists' Benevolent, Fund and In- 
stitution was held at the Bedford Bead 
Hotel, Maiden Lane, Strand. Mr. Albert 
Voyce occupied the chair. 

May 2. Mass meeting of the Actresses Fran- 
chise League at Drury Lane, Lady Wil- 
loughby de Broke in the chair. 

May 22. The Provincial Variety Agents' As- 
sociation was inaugurated at a meeting in 
Manchester, Mr. Edgar Stebbings in the 

May 23. Annual general meeting of the Tour- 
ing Managers' Association, Mr. Bertram 

May 23. The seventeenth annual general meet- 
ing of the Actors' Orphanage Fund was 
held at the Playhouse. Mr. J. Forbes 
Robertson presided. 

June 3. Theatrical Garden Party an aid of 
the Actors' Orphanage Fund at Chelsea 
(Royal Hospital grounds). 

June 10. The thirteenth annual conference of 
the Actors' Church Union was held in 

September 29. The annual general meeting of 
the Travelling Theatre Managers' Associa- 
tion was held at the Kingsway. The 
chair was taken by Mr. A. E. Drinkwater. 

September 29. Seventh annual festival of the 
British Empire Shakespeare Society at 

November 2. A meeting called under the aus- 
pices of the National Association of Thea- 
trical Employees was held at the Royal 
Victoria Hall, Waterloo Bridge Road, for 
the purpose of further organising workers 
in places of amusement. 

December 7. Under the auspices of the 
National Association of Theatrical Em- 
ployees a meeting was held at the Royal 
Victoria Hall to consider proposals for 
the amendment of the Music Hall Award 
of 1907. Mr. W. A. Appleton presided. 

December 12. The annual general meeting of 
the Theatrical Ladies' Guild of Charity 
was held at the Haymarket. Miss Fanny 
Brough, President of the Guild, occupied 
the chair. 

December 16. Annual general meeting of the 
Catholic Stage Gui}d at thp Sodality HalJ. 



Vrom tltftdt by H. Cj . GavtAonii 
i.u siinii.- <>f ;in.'v<-i-lifiit Poster, the work of DAVID ALLBN& SONS, LTD. 




THERE was abundant food for thought in the books published during the year. 
As will be seen, the most important of these fall under the headings of 
Controversy and Criticism, which is packed full of interesting matter, and 
Shakespeare and His Stage will also demand particular notice. The section 
devoted partly to Biography shows, unhappily, a tendency to degenerate into mere 
Gossip in the books compiled by certain authors. Wagner naturally loomed large 
in the department of Music, and there was a good deal of interest also to be found 
among the works of fiction and the miscellaneous writings sent for one's opinion. 


In .this semi-Homeric combat between heroes, if not exactly a Titanic struggle o/ 
giants or demi-gods, the protagonists were Sir Herbert Tree and Mr. Henry Arthur 
Jones, who have carried on a vigorously waged controversy from the stage, on the 
platform, and in print. In his " Thoughts and After Thoughts," to which an 
arboreal sub-title might be supplied, Sir Herbert Tree, after his double-edged Dedica- 
tion to "Mine Enemy," and to "My Friend," gave to an expectant public, in book 
form, a collection of the essays and papers that he had written in the last couple 
of decades. Most notable amongst the many arguments that he sets forth in 
characteristic fashion are those to be found in his Defence of Modern Taste, with an 
elaborate Apologia for his methods of Shakespearean production, a subject on which 
he, and some of his critics, are openly at variance. 

In this connection some significant passages may again be quoted. The first runs : 
"I maintain that the only men who have ever done anything for the advancement 
of the higher forms -of the drama, the only men who have made any sacrifice to 
preserve a love of Shakespeare among the people, the only men who have held high 
the banner of the playhouse, on which the name of Shakespeare is inscribed, are 
the actors themselves." A second interestingly illuminative extract that bears repro- 
duction is : "It should be remembered that Shakespeare was himself a stage manager. 
The fact must never be lost sight of that his plays were primarily designed for the 
stage, and not for the library ; that, though the greatest of poets, he was an 
experienced actor as well ; and that the prompt copies of his own plays must (perhaps 
it would be safer for us to interject ' may ') have been originally filled with stage 
business in the highest degree illustrative of the text indeed, it is one of the 
tragedies of literature that the greater part of them has been lost for ever." 

Again, "It is the fashion to say that the mounting of Shakespeare is the main 
consideration the modern actor-manager has in view. No author demands a more 
natural, a more sincere, a more human treatment at the hands of the actor than does 
Shakespeare." A final quotation " The plays of Shakespeare most suitable for stage 
representation are those which contain a strong love interest. Probably the plays 
which are most popular to-day were also the most popular in Shakespeare's own age ; 
but, whereas in Elizabeth's time the spectators were chiefly men, women are the 
determining factor in the theatre of to-day." 

The vexed, if not precisely burning, question of Publication before Performance 
was raised by Mr. H. A. Jones in the issuing of his hitherto unacted play, " The 
Divine Gift' (Duckworth and Co., 3s. 6d. net). Among the pertinent passages in 
his Preface or in his sarcastic Dedication to Prof. Gilbert Murray, this one may be 
selected: "In advocating the publication of plays prior to their production, I may 
claim that I am doing a good turn to those authors who wish for a thoughtful con- 
sideration and a well-founded estimate of the permanent value of their work. Of 
course, publication wi}J never protept from failure any play, or any individual pro- 


duction of a play, that has in it no germ of potential success in the theatre. But 
publication does afford the best and easiest means of winnowing the wheat from the 
chaff, and of judging whether a play has any claims to serious consideration; tliat. 
is, to rank as literature. " 

Previously to this, in his volume on ' ' The Foundations of a National Drama ' ' (Chap- 
man and Hall, 7s. 6d. net), Mr. Jones had expressed very forcibly his opinions con- 
cerning a National Theatre, and the relations between the Drama and the Theatre 
generally. Among other things there was a trenchant attack upon Musical Comedy, 
and there was an interesting suggestion the gist of which is " The Academy of Dra- 
matic Art could be taken over as it stands and made a most valuable home for the 
crucial experiments which it is necessary to make before the National Theatre can 
be started on a secure basis. A repertory could be chosen, and performances could 
be constantly given." Further, he advocated the introduction of "a healthy 
friendly rivalry in the playing of modern parts," averring that by " this excellent 
custom our baneful system of long runs would be broken up and new life would be 
shot into every limb and artery of our drama." 

Rather more acrid and aggressive in tone than "'Jimmy' Glover, His Book" 
was " ' Jimmy ' Glover and His Friends " (Chatto and Windus, 7s. 6d. net). Under 
this heading J. M. G. (whose initials emphatically do not mean " Jimmy Must Go "), 
the popular musical director of Drury Lane, worked off the final instalment of Re- 
miniscences of a varied career, making the rather unexpected confession : "I have 
been mixed up with theatrical people living in at atmosphere of spangles, wig-paste, 
and limelight and yet the one tning I have never really liked is the theatre, for 
which reason I have always kept near my journalism and other things, and often 
tried many a venture to free me from ttie thraldom of the footlights." What he 
ays about "Command Performances," Revues, and ragtime may not have proved 
agreeable to all Mr. Glover's readers. 

There was much to praise and enjoy in Mr. Gordon Craig's latest work with the 
lengthy title, " Towards a New Theatre Forty Designs for Stage Scenes, with 
Critical Notes by the Inventor, Edward Gordon Craig" (J. M. Dent and Sons, 
Limited, 21s. net). This included, besides a number of his original and imaginative 
drawings for Shakespearean and other plays, and some of the usual invective against 
the Commercial Theatre, a charming Dedication " to the Italians in respect, affection, 
and gratitude to their old and their new actors, ever the best in Europe." Near the 
end of the work is a strongly worded paragraph, " The popularisation of Ugliness, 
the bearing of false witness against Beauty these are the achievements of the 
Realistic Theatre. I wish these designs of mine to stand as my protest against the 
Realistic Theatre and its anarchistic tendency." 

One places in this section, and not in that dealing partly with Gossip, " Gaiety and 
George Grossmith " (Stanley Paul, and Co., 5s. net), merely on account of the 
youngest G. G.'s enthusiastic eulogy of Mr. George Edwardes, and in his remarks 
about the qualifications needed for success by a Gaiety girl, and the training and 
opportunities for advancement afforded at the theatres under Mr. Edwardes's control. 
Otherwise, in these " Random Reflections on the Serious Business of Enjoyment " one 
cannot congratulate either the popular comedian or his self-styled Boswell, Stanley 
Naylor, on the display of any particular taste, or any sense of the relative importance 
of things. The elaborate dissertation upon the differences between the " Blood " and 
the " Nut " has interest only for men and women about town. Mention might here 
be made also of William Poel's " Shakespeare in the Theatre," and that competent 
critic, H. M. Walbrook's "Nights at the Play." 

To this lengthy aper$u of books falling under the conjoint category of Controversy 
and Criticism may be added passing notes on Shaw's new and enlarged edition of 
" The Quintessence of Ibsenism," a Criticism of the Norwegian Master, by R. E. 
Roberts; a useful Lippincott publication, "The Drama To-day," by Charlton 
Andrews (6s. net) ; and two more works by John Palmer, of the Saturday, who 
recently attacked the Censorship problem. These were " The Future of the 
Theatre" and "The Comedy of Manners: A History, 1664-1720," the latter a 
scholarly and able survey. Doubts may be entertained as to which group may most 
conveniently and correctly be assigned the best work composed so far by Cecil Ferard 
Armstrong, well known as author of "The Dramatic Author's Companion," "The 
Actor's Companion," " A Century of Great Actors," and so on. As it has been found 
necessary to speak with some severity of Cecil Armstrong's previous writings, it is all 
the more pleasant to be able to praise his volume styled " Shakespeare To Shaw " 
(Mills and Boon, 6s.). This comprises " Studies in the Life's Work of Six Drama- 
tists of the English Stage," the Gallant Six being composed of Shakespeare, Congreve, 
Sheridan, T. W. Robertson, Pinero, and G- B. Shaw, and the essays being largely 


critical as well as descriptive and biographical. Otherwise it would have been placed 
in the following section, and much the same applies to a capital monograph on Sardou. 
The author of this volume entitled " Sardou and the Sardou Plays " (the J. B. Lip- 
pincott Company, 9s. not) is Jerome A. Hart, a well-informed American writer, who, 
besides giving Sardou's own plots and many biographical and chronological details, 
has also discussed, under his sub-title, adaptations of the long renowned artificer of 
"The Well-Made Play," English and also American. A frankly TransAtlantic pro- 
duction is a work, " endorsed by the Drama League of America," " The Play of 
To-day : Studies in Play Structure for the Student and the Theatregoer " (John Lane, 
5s. net), by Elizabeth R. Hunt, who may be commended for her good intentions and 
righteous earnestness, at any rate. 


This designedly composite heading serves a double purpose. Under the former 
category apparently falls the companion volume to " A Century of Great Actors," 
Harold Simpson and Mrs. Charles Braun's brightly and pleasantly written " A 
Century of Famous Actresses" (Mills and Boon, 10s. 6d. net), which does not 
profess to be much 'more than a collection of character studies and little pen-pictures. 
This it is impossible to say about several of the other books in this group, some of 
which approximate unpleasantly to the genre of Scandalmongering and more or less 
malicious tittle-tattle. Evidences of original research and close and careful study 
of authorities enable one to exempt in the main from such censure Charles E. 
Pearce's " Polly Peachum " (Stanley Paul and Co., 16s. net), which is full of 
valuable particulars about " The Beggar's Opera," and also about the eighteenth- 
century stage. Mainly marked by rather disagreeable personalities regarding a 
popular actress's protectors and intrigues is Philip W. Sergeaunt's " Mrs. Jordan : 
Child qf Nature" (Hutchinson, 16s. net), an obvious piece of mere book-making, in 
the course of which the author half apologises for having at one point to follow 
pretty closely his frail subject's " theatrical record." Terms of still greater harsh- 
ness might be used about a very undistinguished and scarcely edifying book of a 
type with which no true well-wisher of the stage has any sympathy, -"Peeresses of 
the Stage," by Cranstoun Metcalfe (Andrew Melrose, 7s. 6d. net), which, in its 
chapter inelegantly entitled " The Modern Actressocracy," presents some sort of 
resemblance to the young George Grossmith's " Gaiety " book already noted. The 
pictures are the best things in the " Peeress " compilation. 


Under this heading fall a fair number of works either really important or of some 
intrinsic interest. The J. B. Lippincott Company are continuing to bring out 
further volumes in the sumptuous and absolutely- exhaustive New Variorum Edition 
of the Works of William Shakespeare, initiated by that eminent scholar the late Dr. 
Furness, and now continued with his father's assiduity and comprehensiveness by 
Horace Howard Furness, jun. The latter treated "Julius Caesar" with the 
thoroughness characteristic of the series, the eighteenth volume of which, " Cymbe- 
line " (royal octavo, 15s. net), was the last work from the pen of Furness pere. This 
New Variorium Edition should be prized by all Shakespearean students, and there 
are excellent features to be found also in the lately issued Savoy Edition (Eyre and 
Spottiswoode, 7s. 6d. net). This is illustrated with twenty-eight coloured and sixty 
five black and white pictures, reproductions of famous Shakespearean pictures or 
facsimiles of photographs of performers, mainly modern, in numerous roles. The 
value of this Shakespearean picture gallery is considerable, but it would have been 
greater if there had been more examples of Henry Irving, shown, once only, as 

Greening and Co. have started a promising " Novels from Shakespeare Series," 
the opening volume of which (6s.) deals with the story of " The Merchant of 
Venice," " Told by a Popular Novelist," who has filled in, apparently out of his 
own head, the surnames of the Shakespearean characters, and has introduced the 
sensational incident of a duel fought with Bassanio by "a profligate Venetian 
noble," Niccolo Grimani ; otherwise he has kept closely to Shakespeare's plot and 
dialogue. Somewhat similar is " Shakespeare's Stories," by Constance and Mary 
Maud (Edward Arnold, 5s. net). 

Excellent intentions, if also an ingenuity misplaced and almost perverted, might 
be discerned in a laboriously worked out and decidedly mathematical monograph 
(Smith and Elder, 6s. net), styled Shakespeare's ' Hamlet ' : A New Commentary. 


with a Chapter on First Principles." This was by an ex-Professor of English 
Literature at Irish Universities, Wilbraham Fitz-John Trench, who bears a name 
honoured in the annals of Hibernian scholarship. Mr. Trench's main thesis has 
reference to "the formalism of Shakespeare's plot structure as seen especially in 
his frequent determination to secure for a plot a mathematical centre," and he 
holds that " there is a moral centre of the plot deliberately placed in the central 
scene or scenes of the central act" in a dozen of the plays including "Hamlet," 
which has for this centre act three, scenes three and four. 

The success of W. J. Lawrence's first volume on "The Elizabethan Playhouse" 
encouraged that brilliant scholar and original investigator to issue, at the Shake- 
speare Head Press, Stratford-on-Avon (12s. 6d. net), another ' volume of such 
fascinating and illuminating Studies, the sections on The Origin of the Theatre 
Programme, the Picture Stage, and Windows (the last a most elaborate 
treatise) being especially suggestive and valuable. Charlotte Carmichael Slopes 
may also be commended for her monograph on " Burbage and Shakespeare's 
Stage" (Alexander Moring, Limited, 5s. net), which comprises a former contribution 
of hers to THE STAGE, and is packed full of details concerning the Burbage family 
and early London theatres. Similarly useful to students should be G. H. Cowling's 
able little book, "Music on tl.e Shakespearean Stage" (Cambridge University 
Press), both technical and literary in nature, and illustrated with curious plates. 
Mention should be made also of two delightful gift books (Constable, 2s. 6d. net 
each) of Shakespeare's Songs and Sonnets, with initials and borders illuminated 
by Edith Ibbs, and " Shakespeare and Stratford," the first volume in the new 
Literary Shrines Series, written by that expert topographer Henry C. Shelley, 
author of such well-known and similarly attractive works as " Literary By-Paths in 
Old England " and " Untrodden English Ways." 


As might have been expected in the Centenary Year of Richard Wagner, 1913 was 
noted for the issue of a good many works dealing with the Bayreuth Master or some 
of his compositions. His autobiography, " My Life," was followed by the publica- 
tion of his Family Letters, and far on in the year there appeared a volume of 
some importance (G. Bell and Sons, 10s. 6d. net, photogravure frontispiece), styled 
" Richard Wagner, Composer of Operas," by John F. Runciman. In this ably 
written book, partly biographical, partly critical, the very independent and out- 
spoken musical critic of the Saturday Review essayed with success to set forth 
"no special pleading, no defence or extenuation, no preposterous eulogy, on the 
one hand, and, on the other, no vampire work, but a plain and concise attempt to 
depict the mighty artist as he lived and to describe his artistic achievement as it is." 
That erudite scholar Edwin Evans, sen., issued an admirable translation of Wagner's 
monumental and tremendously abstruse and difficult treatise on "Opera and 
Drama," in two volumes, 10s. net each, published by William Reeves, from whose 
firm proceed also Rose Koening's " Three Impressions of Bayreuth " nd small books 
on "The Ring" and on "Parsifal," by Gustave Kobbe and N. Kilburn. G. 
Bernard Shaw also had sent forth, by Constable (3s. 6d. net) a new edition of his 
Commentary on the " Nibelungen Ring," " The Perfect Wagnerite." Alice Leigh- 
ton Cleather and Basil Crump, whose Interpretation of "The Ring," "embodying 
Wagner's own explanations,' has now reached a fifth edition, issued, also through 
Methuen, a second edition, revised and with much new matter, of their companion 
monograph on "Lohengrin" and "Parsifal." The "releasing" of "Parsifal," at 
the end of the year, and the forthcoming production at Covent Garden, were 
accountable not only for this re-issue of the Cleather-Crump book, but also for 
Richard Northcott's admirable and comprehensive little work on "Parsifal," a 
theme with which he dealt lovingly on the recent production of tableaux at the 
London Coliseum. Near to the end of the year that long distinguished accompanist 
and cultured artist Chevalier Wilhelm Ganz published a volume of reminiscences 
under the title of " Memories of a Musician " (John Murray, 12s. net). A period of 
seventy years of great changes in musical life was covered by this engrossing book, 
which, full of first-hand information and of acute and discerning criticism as it was, 
should rank very high among the literary outpourings of musicians. 


In "Fifteen Years of a Dancer's Life " (Herbert Jenkins, Limited, 10s. 6d. net), 
a work originally published in French, with a laudatory preface by Anatole France, 


and designed in the first instance for Gallic readers, Loie Fuller proved herself much 
more interesting in giving particulars about the various dances Butterfly, Fire, 
and so on which won her fame some twenty years back, than in gossiping about 
" Her Distinguished Friends." Her views about colour and light, the harmony of 
motion, and cognate themes are decidedly worth studying. There is much acute 
criticism, besides useful details concerning the Russian Ballet, in Geoffrey Whit- 
worth's volume on " The Art of Nijinsky " (Chatto and Windus, 3s. 6d. net), which 
is embellished with some beautiful coloured pictures by Dorothy Mullock, who, In 
scenes from nine "typical ballets," has caught Nijinsky'e poses exactly. A more 
elaborate and ornate work, dealing at large with the achievements of Nijinsky and 
his colleagues, is that sumptuous colour book, " The Russian Ballet," illustrated by 
Rene Bull, with sixteen coloured plates and numerous drawings. This is published, 
in buckram, full gilt, at 21s. net, by Constable and Co., Limited. Its letterpress is 
by A. E. Johnson. 


That sympathetic and graceful writer S. R. Littlewood, in his charming little book 
" The Fairies Here and Now " (Methuen, 2s. 6d. net), adopted a very different 
view of the often beneficent Little Folk from that lately expressed by G. K. Chester- 
ton in his Fantasy with a mystical and Obscurantist tendency " Magic." What Mr. 
Littlewood writes is always worth reading. In the late Mark Melford's " Life in a 
Booth ' ' (Henderson, Is. net) by far the most interesting and important passages were 
those concerned with his graphically told early experiences of the days when he was a 
strolling player. In " The Indian Theatre : A Brief 'Survey of the Sanskrit Drama," 
by E. P. Horrwitz (Blackie and Son, Limited, 2s. 6d.) there were full accounts of 
" Sakuntala," "The Toy Cart," and other Indian plays. A good many plays, by 
Galsworthy, Strindberg, Lady Gregory, Yeats, Zangwill, and others, were published 
during the year. There also appeared " My Sketches from Dickens," by Bransby 
Williams (Chapman and Hall, Limited, Is.), besides a beautiful edition of " Quality 
Street," illustrated by Hugh Thomson, and " The Ibsen Calendar" (Frank Palmer), 
admirably put together and arranged by Constance A. Arfwedson. 


The novels published during 1913 included " The Fool's Tragedy," Arthur Scott 
Craven's able, if rather depressing, psychological study of a clever man with whom 
success seems likely to come only posthumously. This first novel by a versatile 
man was published by Martin Seeker. Other works of fiction that came under one's 
notice were "The Vaudevillians " (John Long, Limited, 6s), dealing with the life 
of some of the variety artiste; " The Pearl-Stringer," by Peggy Webling (Methuen, 
6s.); "The Dancing Child," by Brenda Girven and Monica Cosens (Chapman and 
Hall, 6s.) ; and " The Cloak of St. Martin " (Stanley Paul and Co., 6s.), written by 
Armine Grace, and based on a previously composed drama by H. A. Saintebury. 








































THE title at the head of this page calls for some little explanation, and 
embodies a certain diffident fancy. The explanation is comparatively easy, 
for journalists, like lawyers and party politicians, can explain anything ; 
but the fancy is as speculative a matter as, say, a seed dropped in mid- 
air by a passing bird, or a winged arrow shot, like ithe symbolic barbed shafts of 
the king of Israel, at a venture. In the golden world of the pagans, it will 
readily be recalled, the devoted practitioner of the arts had the fascinating habit 
of deifying the comprehensive spirit of his particular affection, with the glorious 
result that he invariably found an inspiring god or goddess ready to his aid when- 
ever he set about practising his chosen art or science. Were he in search of a 
theme, for instance, he strained his closed eyes towards the mountains of Helicon 
or Parnassus, where the patron Muses dwelt ; did he find the wings of his fancy 
unduly heavy with mundane influences, he still looked in the same direction, 
supremely confident that at least one oi the nine beautiful virgin daughters of Zeus 
and Mnemosyne would direct him to his particular patch of heaven. In other 
words, and to be decidedly more prosaic, there were nine Muses- who patronised 
and 'Controlled the arts and sciences, and but a truce to the past tense ! The 
nine Muses, yea ! the whole mighty hierarchy of the golden pagan world are as 
surely and as palpably alive to-day as ever they were, notwithstanding the insincere, 
self-deluding protests of the gaitered cleric, with his back everlastingly turned 
towards the East, or that anaemic modern Intellectuality (not necessarily Intelli- 
gence) which arises like a more or less disagreeable miasma from a more or less 
disagreeable mess of unsavoury proteids, and scorns anything with red blood or 
wa-ran colour in it. Yes, the Muses are most assuredly alive, but with this little 
difference there are no longer nine of them ! For quite a long time there have 
been no fewer than eleven ; and their father, Zeus, must still be very proud of his 
family of sonsy girls, notwithstanding the possibility that, in his nodding Homeric 
moments, he may be tempted to scratch his heroic locks and wrinkle his mightily 
eloquent forehead in confused speculation as to the exact origin of the two latest 
arrivals Muses ten and eleven ! The late Sir Edwin Arnold is responsible for the 
tenth Muse, or .perhaps it would be more correct to say that he was responsible 
for the christening of the tenth Muse. A few years ago, it will be remembered, 
his warm Oriental imagination dubbed her Ephemera, Our Lady of the Press ; and 
the very fact that the mighty parents of the celestial nine seem to have desired no 
particular word in the matter upon that auspicious occasion, emboldens the present 
writer, straying for the nonce among the Immortals, to seek to rescue the eleventh 
Muse from her nameless condition she is quite old enough by this time ! and to 
christen her Kinema, Our Lady of the Animated Picture. That, patient and 
learned reader, is the explanation of the title of this article. As for the diffident 
fancy? Well, the diffident fancy is that possibly the high gods have chosen a 
(hitherto) humble individual to be responsible for the publication and birth, of the 
name, and ordained, probably centuries ago, that it be announced in THE STAGE 
YEAR-BOOK for 1914. It is an inspiring thought so inspiring, in fact, that the 
present writer is almost persuaded to throw away the mental crutches which have 
enabled him to hobble along in the wake of so distinguished a litterateur as Sir 
&dwm Arnold, and to begin to persuade himself that he really knows something. 
I he name Kinema is a fine one. It has the true smack and apt termination, a 
well as the real classic ring; and it must always be spelt with a " k." That it 
f 8 ,, en ' bee , n use d jn a certain debased sense as denoting the possible equivalent 
camera, or indicating a mere building in which pictures are screened, is only 


auother instance of how " angels unawares " may be subjected to humiliation before 
their divine presence be realised ! May the name of my Lady Kinema be regarded 
fcoin now and for ever as that of ihe patron Deity of the Animated Picture World ; 
may her beautiful sisters upon high Helicon celebrate her christening by weaving 
filmic garlands about her brow, and casting mystic reels about her feet; and may 
Apollo, for ever the leader of the nine, and the choirmaster of the morning stars 
that sing together, instruct and direct her in the proper distribution of sunlight 
and shadow among her vastly increasing disciples upon earth ! 

This is, perhaps, rather a quiet christening for so stupendous a personage as tlio 
eleventh Muse. But a quiet celebration, like a quiet woman, is always the beet ; 
and who so quiet as my Lady Kinema? Let us hope that she may flourish and 
grow even more beautiful as the years go on, and that her spirit may inspire only 
that which is good and true, and 'therefore beautiful. It is for her whole-hearted 
worshippers to promote and extend her good works ; for, be it understood of all 
men, she can live beautifully only by the faithful belief and trustful endeavour 
of those who love her -like the good fairy Tinker Bell in " Peter Pan." Having ,>-;ii<l 
thus much, and at too great a length, he fears, the writer must e'en take a plunge 
into the colder world of practical generalities, and, after labelling a goddess, 
condescend to become a mere scribe again. 


Probably the most important as well as the most commonplace thing to say 
about one of the most wonderful inventions of our present wonderful age is tli;ii 
it has come to stay. Such a statement would be unnecessary but for the fact that 
there are still many ultra-conservative persons roaming the earth who not only 
know not the kinematograph, but steadfastly refuse to know it. Some of them, too, 
are quite intelligent as, for instance, the well-known journalist who recently 
informed his readers in a popular weekly that the kinematograph had reached the 
limit of ite powers of attraction, and has more than onoe told' the present writer 
that he has never set foot within a picture thea-tre, and never .means to ! Surely 
such ultra-conservatism as that blots out something of the joy of living ! What 
has to be remembered is that the kinematograph, notwithstanding its present pitch 
of perfection, is still in its comparative infancy, as much so, lor instance, as is 
the aeroplane, or wireless telegraphy, or the potentiality of radium. One thing is 
quit* certain, and that is that it is impossible for any really catholic-minded man 
or woman to regard the lasting presence and influence of the kinematograph as 
anything less inexorably inevitable than to-morrow's dawn, or rent day, or grisly 
Death itself. It would be well for the ultra-conservative person io remember that 
if the ultra-conservative person, whose deplorable condition is due to the fact of 
his having forgotten all about the evolution of the world from primeval swamp and 
chaos to motor-'buses in the Strand, ever remembers anything. It is not entirely 
necessary, of course, to point to the thousands of picture theatres which have 
sprung up during the last few years in and about the whole length and breadth 
of England, to enumerate the almost countless numbers of persons who patronise 
them, or to attempt any calculation of the vast turnover of capital involved in 
an industry which is rapidly becoming one of the foremost of those concerned with 
the recreation and amusement of the people. Mere numbers, mere figures, may 
indicate a possibly ephemereal condition, and your average ultra-conservative flies 
to a vulnerable point like a nee-die to a magnet, or a navvy's lips to the pewter 
when the dinner-bell rings. What is infinitely more to the purpose is to convince 
him, or endeavour to convince him, that a new influence, a new power, has arisen 
which is at the hub of a great art, a vast, radiating, scientific industry, and that 
it -would remain just as significant and potent a power if it attracted or appealed 
to nobody at all ! A giant is no less a giant beca.use he is locked up in a coal-cellar ; 
nor is the fact that the kinematograph has not yet attracted the ultra conservative 
person any indication of weakness in an industrial influence which ie in every way 
calculated to survive mere popularity, and become a thing permanently essential to 
the life of the nation. On the other hand, it is a tribute to its intrinsic strength, 
for the stronger the pull on the bow, the farther the flight of the arrow. Perhaps 
the ultra-conservative person has his unsuspected mission in life. His very stolidity 
inspires a certain impetus, warms the blood, and tunes up the orchestra of the 
soul. But for him a general survey of the manifold benefits to mankind of which 
the kinematograph is capable would perhaps be unnecessary, although his retro- 
grade spirit may find some comforting balm in the knowledge that the lover of 
animated pictures is usually so much obsessed by the sheer daylight obviousness 
of fuch benefits that he is unable to speak to any great length upon the subject. 


The -almost uncanny power, the almost unlimited possibilities of a simple little 
machine which sets before the spectator not only a photographic realisation of life, 
bait a photographic realisation of life in natural action and colour as it is live-d, 
must surely be patent to all. Think of it, you ultra-conservative person ! you who 
have grown so old in spirit as to take all the wonderful things of the present Anno 
Domini as a mere matter of course, and swear that you will write- to the Times 
because something has gone wrong with the telephone which enables you to speak 
from the Strand in London to your friend in the Boulevard des Invalides, the 
Friedrichstrasse, or the wilds of Timbuctoo with as much ease as you order your 
long-suffering wife .to put your slippers before the fire think of it! Or if your 
imagination still remains in its blind puppy stage, take down that family album 
you are so fond of showing to those friends iwho are sceptical ahout your claim 
to have escaped Debrett only by the skin of your grandmother's teeth, and try to 
realise the weird possibility of the photographs of your dead and buried ancestors 
suddenly stepping from their respective pages, and telling you, in so many animated 
and eloquent gestures, that that last transaction of yours upon the Stock Exchange 
was unworthy of the family blood, and that you ought to be ashamed of yourself 
for sacking the office-boy as you did without a moment's warning. That is the 
kind of thing the kinematograph will enable your children, and your children's 
children to exiperience or something very much like it long after you have 
returned to that clay you now so much resemble. But even the rocks fade under 
a persistent succession of raindrops, and perhaps one of these fine days who knows ? 
you may be persuaded to turn your repentant eyes towards my Lady Kinerna, 
and to express yourself with a familiarity and a lack of reverence strangely out 
of keeping where a goddess is concerned, but eminently characteristic of your 
upbringing in those deathless sentiments of the now-popular pantomime lyrist, 
" You made me love you ; I didn't want to do it ! " But you had better hurry up 
before your teeth go. The gods dislike false accent and articulation. In the 
meanwhile it may interest you to learn that increasing attention is being paid day 
by day to the kinematograph in the daily Press, and that a big exhibition was 
held in honour of my Lady Kinema at Olympia ,some months ago, which attracted 
thousands and thousands of her enthusiastic worshippers. 


Of course, even those progressive beings who fully appreciate the worth of the 
kinematograph did not wholly realise, during those hideous flickering beginnings, 
that within a very short space of years the picture upon the screen would be as 
natural as any to be seen by the naked eye. But that, perhaps, is another story, 
and concea-ned more with purely technical matters. How many of us, however, 
whose imaginations have since been kindled by my Lady Kinema, then realised that 
considerations of time and space were so soon to be almost entirely eliminated, and 
that the excitement of, say, a lion hunt in an African jungle, or a whale chase in 
Greenland's icy waters would so quickly become simply a matter of a cigar and an 
armchair within half a mile of Charing Cross ? It is not necessary nowadays to go 
to mid-America in order to see what those clever engineering fellows are doing in 
their stupendous task of joining the Pacific and Atlantic Oceans ; ten minutes' walk, 
and the expenditure of a few pence will bring the whole thrilling business before 
our eyes ! And who, in the dark, prehistoric days of twenty years ago, would have 
dreamed of the possibility of seeing a live python, in its wild and free state and 
still in India! in Coventry Street, hard by Leicester Square? The man whom 
you meet in Oxford Street, and, in answer to your query, says that he is just off 
to see that herd of wild buffalos in Yellowstone Park some thousands of miles 
away can no longer be regarded .as a drivelling idiot ; nor must you suspect the 
friend of having indulged too freely in rosy vintages who buttonholes you in 
Piccadilly Circus with the exciting information that he has just seen, at exceedingly 
close quarters, an orang oufcang feeding in a tree in British North Borneo, for it 
is ten to one that he is speaking the sober truth. To take a trip on one of those 
delightful little steamboats on the Seine ; to shout yourself hoarse in a sunburnt 
bull-ring in old Castile if you are one of those extraordinary persons who like to 
see their beef worried before it is killed ; to see the giggling midinettes in the Rue 
de la Paix, or slack-limbed niggers at work and play on a South African ostrich 
farm ; to see a Labour riot in Johannesburg, or a Peace Conference at The Hague ; 


not necessary nowadays to walk more than a mile, or to spend more than a nimble 
chilling. The eye of my Lady Kinema is over the entire habitable and uninhabitable 
globe ; and it is in her almost unlimited power to bind the nations of the earth into 
a closer understanding of each other, not by the self-interested wiles of gilt-edged 
diplomacy, or the disgorgings of conscience-stricken millionaires turned philan- 
thropists, but by the simple medium of a few thousand feet or so of pearly per- 
forated film ! To see ourselves as others see us is a great moral and humanising 
tonic. Is it not as vitally important, and as comprehensively humanising, that we 
also see others as they see, or perhaps fail to see, themselves? 


Those who fear that the kinematograph is, or ever can be, a serious rival to the 
interests of the drama, or those engaged in the animated picture industry who 
imagine that the future of the drama will possibly be in their eventual keeping, 
are rather wide of the mark. The drama can never be affected by the popularity 
or otherwise of the kinematograph for the simple reason that it has no more to do, 
as a counter attraction, with the living and spoken drama than has a glove fight 
at the National Sporting Club, or a Cup Tie football match at that draughty, over- 
grown greenhouse known as the Crystal Palace. It seems rather late in the day 
to have to repeat the evident truth that the drama can have no enemy but the one 
that comes from within, and that so long as it is true to itself, and produces the 
right kind of play, all the picture paJaces in the world can have no effect upon box- 
office receipts. The "superior " lover of the drama who dislikes the kinematograph 
is deluded in this matter, as indeed he is in most other matters, and probably takes 
his cue from the present popularity of what is known as the picture play. He 
deplores the fact that thousands of persons go to see What Happened to Mary 
at the local picture palace who do not care a brass button about " What Happened 
to Jones " at the local Theatre Royal, and quite ignores the obvious explanation 
that one section of the populace is going to see a kinematograph display and the 
other a spoken drama acted by actually-present persons. The two publics are at 
present wide apart, and the average picture lover can no more be tempted to sit 
out a play than can the inveterate theatre-goer be persuaded to descend to what is 
to him the ghastly frivolity of "seeing the pictures." The "superior" lover of 
the drama also grounds his fears upon something even more simple and obvious 
something, moreover, which those interested in the picture industry would do well 
to lay to heart and that is, that the imitation article, however apparently real, will 
never out-rival the appeal of the real article. A living person, inspired by human 
thoughts and passions, is always infinitely more attractive than your mere auto- 
maton, or moving photograph ; and nothing on earlh can ever dethrone the value 
and beauty of the spoken and acted word. This also seems rather a superfluous 
thing to say, but it is necessary for more than one reason. As has already been 
explained in this article, the kinematograph is as yet in the earlier days of its 
development, and is feeling for ground, as it were, upon which to erect the lasting 
foundation of its future existence. This is proved, if proof were needed, by the 
extraordinary diversity of the subjects it exercises its ingenuity upon, and the 
peculiar, if sometimes rough-shod, facility with which it exploits and assimilates 
them. Its present appetite would seem to be just as rapacious as that of a growing 
child, and just as liable to be injudicious. What more natural, therefore, than 
that, like a greedy boy, it should sometimes turn its eye away from that sustenance 
best suited to its own constitution, and cast a sheep's gaze at the bigger and older 
fellow's plate? It would be idle for even the most devoted worshipper of my 
Lady Kinema to enter upon a whole-hearted defence of the picture play in its 
present phase. Some are good, some merely indifferent, but a vast number, it must 
be confessed, are hopelessly crude and sensational. Moreover, many of them have 
a most deplorable lack of continuity, which is emphasised rather than dissipated by 
a form of interruption that can only be described as an aggressive resurrection of 
the old-fashioned theatrical aside or Greek chorus that of the explanatory word 
thrown on the screen to serve as a sort of connecting link between scene and scene. 
If for that little circumstance alone, pregnant as it is with something of the pathos 
of a dumb man trying to make himself understood, it should be obvious that the 
kinematograph can never replace the spoken drama. That several leading actors 
have recently succumbed to the golden persuasions of picture-producing firms can 
discomfort only those theatrical whole-hoggers who possess not the seeing eye, or 
what the Americans call horse sense. Nor will the device of exploiting a theatrical 
"star" benefit the film producer in the long run, because it is quite certain that 



the entertainment-seeker is not going to look for a famous player upon the screen 
if he can see him in the flesh round the corner. In the same connection, also, the 
entertainment-seeker may be disinclined to go back to the picture palace when once 
he has tasted the play it induced him to see ; for once a playgoer always a playgoer 
is one of those axioms which admit of no argument. The film exploiter, therefore, 
is going against his own ultimate interests by encroaching, or endeavouring to 
encroach, upon the Tom Tiddler's ground of the drama, and by creating a public 
which, it is reasonable to suppose, will eventually leave him for the theatre. Owing 
to the comparatively modest ca/pital he requires for his enterprise, he can penerate 
into districts where the average theatrical manager would fear to tread, even with a 
fit-up. He is, therefore, moulding the tastes and desires of an entirely new public ; 
is it to his ultimate interest that he turn their thoughts towards the drama by giving 
them snippets of popular plays, or featuring famous players ? Is he not, by so 
doing, acting simply as a sort of advance agent for the theatrical manager ? When 
the picture man has extricated himself from the uncertain desires of adolescence, 
none will recognise this truth more readily than he ; for the kinematograph, like the 
drama, like variety, can only hope to succeed by assiduously ploughing its own 
particular furrow. Its legitimate sphere in anything approaching drama must lie 
solely in the pictorial representation of those stories, novels, themes, and broadly 
comic effects which are too large for the restricted and concentrated canvas of the 
dramatic stage. In other words, the kinematograph must stick to its task of 
realising the pictorial worth of a herd of cattle, for instance, and leave the con- 
centrated beef essence suggested by such herbivorous quadrupeds to the skill of 
the theatrical dramatist. At its best the kinematograph cannot give the soul of a 
play ; and to see, as one has recently seen, prominent actors mouthing the words 
of Shakespeare, is anything but a pleasing experience. Surely the real value to 
humanity of such productions, excellently produced as most of them have been, is 
in a theatre for the chronically deaf, or in a storehouse of future records in the 
British Museum ! And, speaking of the British Museum, what would the present 

feneration of drama-lovers give to be able to spend an afternoon in Great Kussell 
treet in the filmic presence of the great histrions of the past ? To see Garrick, 
Siddons, the two Keans, Kemble, Macready, Phelps, Irving all the giants of the 
sock and buskin in their full habit as they fretted -their brief hour upon the stage, 
and then were seen no more ! Could anything make that old thief Time look more 
stupid than that ! Such an experience is reserved only for our more fortunate 
descendants. For the present, my Lady Kinema will surely not take it amiss if 
some of us make the most of the contemporary player while he is yet with us in 
the flesh, and refrain from paying him the questionable compliment of anticipating 
his demise by looking for him only on the screen. 


The inestimable value of the kinematograph as an aid to the history book, the 
scientific treatise, or the natural history essay cannot fail to be vitally apparent to 
those interested in the intricate problem of education, and it is a matter for regret 
that the educational authorities in Great Britain are not yet agreed as to the 
advisability of its use in public schools. As is perhaps natural in the home of the 
" Kindergarten," Germany has already realised the high value of the animated 
picture as an aid to the spread of knowledge, and it is interesting to learn that a 
film library has been opened in Berlin where, by the payment of a small fee, parties 
of school-children, accompanied by their teachers, may be shown special pictures 
bearing upon their current subject of study. Such a scheme has been made possible 
by the enterprise and generosity of a number of leading film manufacturers ; and 
the society, which is under the management of Director Goerke, assisted by two 
secondary and two elementary school teachers, also organises kinematograph exhibi- 
tions in all parts of North and Central Germany with the present object of making 
its work known. During last winter, one also learns from the same source, some 
700 sets of films were hired, and special exhibitions were arranged for children and 
adults in no fewer than 186 towns ! Possibly, when Germany has fully launched 
the film as an educative medium, a wily Teuton will come over to these shores with 
a box or two of scientific subject pictures, and not only be hailed as a mighty 

gioneer dropped from the skies, but also be paid huge sums by an enraptured 
oard of Education. It is understood, it is true, that a well-known British firm 
has, at present, such a scheme in hand, but then there is our old friend the ultra- 
conservative person to consider. The Italian Government is also in the van, and 
has ordered a considerable number of machines and films for use in the big educa- 



tional centres of Italy, and the King of Italy has very aptly described the project 
as " the most progressive move of modern times from a scholastic point of view." 
Why should England wait? The methods of Dr. Wackford Squeers at Dotheboys 
Hall where, it need scarcely be recalled, it was a case of w-i-n, win, d-e-r, der, 
winder, a casement, go and clean one have come in for a deal of hot-blooded 
criticism ever since Dickens dragged that brutal Yorkshire schoolmaster into being, 
and kicked him down to the execration of posterity, but is it not possible that in 
those methods may be found the germ of a future educational system ? Does not 
the film, with its* natural illustrations of animal, bird, or reptile in its native 
haunts, its phases of plant life, and its wonders of engineering science offer a huge 
and invaluable field in such a connection? There are the chief events and episodes 
of history, too, crying aloud for filmic reconstruction, some of which have already 
been brought into the comprehensive vision of my Lady Kinema, and reflected with 
wonderful verisimilitude. When is the modern school to be robbed of some of its 
horrors for the juvenile mind and made not only a place for instruction, but also 
a place of infinite attraction ? 


Some brief indication of the probable future development of the kinematograph 
has already been given, as far as the fields of the drama, education, and public 
records are concerned, but it needs a prophet inspired to predict its final use. 
Probably the immediate future will see it as the handmaid of the drama, rather 
than its would-be rival, for its value in the connecting up of scenes, for example, 
has surely not vet been fully exploited. (In this connection it is permissible to 
record that the late Mr. Charles Berte was one of the first to call my Lady Kinema 
to .Sis aid as a dispeller of the entr'acte when he introduced several connecting films 
into the dramatic sketch " The Mystery of the Red Web," produced by him at the 
Canterbury Music Hall in May, 1908.) One thing may, perhaps, be reckoned upon 
as certain the kinematograph will eventually cause a revolution in illustrated 
journalism, and later on in journalism itself. Who will care to read about a big 
race, for instance, when he can possibly have the whole affair brought before his 
eyes in a matter of an hour or so possibly within a mere matter of minutes? Then 
there are those terribly long jwlitical speeches in which a Minister "hits back" at 
So-and-So, or "admits" something: is it not possible that they will be seen and 
heard some time in the future long before the compositor has had time to get his 
apron on ? At the least calculation the present nighly imaginative descriptive 
reporter will most assuredly wake up one fine morning to find his wings gone, and 
for that reason, if for no other, the discriminating person ought to take off his hat 
to my Lady Kinema ! 








MB. Ai.ntii. Hi III.KV, mid MR. PHILII* Jinn. 






THE Repertory Movement generally, which may be credited with some 
advancement, received a notable stimulant in the last month of the year 
1913 by the interesting season which Mr. Granville Barker and Miss Lilian 
McCarthy 'began during the last weeks of their tenancy of the St. James's. 
London, oi course, had not been without some previous attempt at Repertory. Mr. 
Charles' Frohman's costly experiment carried out at the Duke of York's a few 
years ago with unsuitable material will -be remembered, principally for ite failure. 
Sir Herbert Tree, who was responsible for the now famous " When is a Repertory 
Theatre not a Repertory Theatre? When it is a success " regularly year after year 
presents Repertory in a specialised form in his fine Shakespearean Festival at His 
Majesty's. That this on one occasion at least has been temporarily displaced 
from the April month on account of a long run "obstinate success," is, of course, 
only in the nature of things so long as private enterprise unassisted by State 
or other aid is responsible for the high achievements in repertory production Sir 
Herbert has educated the public to expect at His Majesty's. There were, in 
addition, the short seasons provided by the Irish Players, Miss A. E. F. 
Horniman's company, and Mr. Algernon Greig and Mr. Milton Rosmer at the 
Court, by Mr. F. R. Benson's company at the Coronet, and Sir Johnston Forbes 
Robertson's farewell season at the Drury Lane. 

Mr. Granville Barker and Miss McCarthy began their Repertory on December 1 
at the conclusion of the run of " The Witch." They aimed at achieving a three 
weeks' season only, with a b'll varying practically with each performance ; but 
so promising was the support that the season was extended to four weeks, and 
after that carried on at the iSavoy, where at the time of writing it hae every prospect 
of running for .a further four weeks. 

Mr. Granville Barker, who in his previous Shakespearean productions ait the 
Savoy (had shown himself to be a manager of advanced ideas, naturally sought for 
his Repertory programme in the field of what is usually referred to as the drama 
of ideas. No one would deny the necessity for intellectuality in Repertory if 
it is to be of any value to the Drama ; but some would prefer that the drab and 
sombre plays should be interspersed with the lighter works. Mr. Barker, although 
his selection leaned heavily towards the tragic, probably had this in mind 
when he followed the opening night, devoted to the vague symbolism of Ibsen's 
" The Wild Duck," with a performance on the second night of an English version 
of Moliere's quaint and witty " Le Mariage Force," in which the quaintness was 
emphasised by the setting given by Mr. Albert Rothenstein. " The Witch," by 
H. Wiers-Jensen, in an English version by John Masefield, which has been given 
a regular production at the St. James's on October 29, was also included, and as 
a strong contrast to this stood out the 'brilliant and audacious wit of G. Bernard 
Shaw in his eight-year-old play " The Doctor's Dilemma." Maeterlinck was 
represented by "The Death of Tintagiles " in Alfred Sutro's translation; and 
John Galsworthy's " The Silver Box," which, like " The Doctor's Dilemma," was 
produced in 1906 at the Court, and John Masef eld's " Nan " were also given. 

The interest Mr. Barker and Miss McCarthy's experiment aroused was con- 
siderably augmented by a suggestion for the establishment of a Repertory Theatre 
made by Mr. Barker on Wednesday, December 17, in a speech delivered at the 
St. James's after the performance of "The Silver Box." Mr. Barker put his 
suggestion in the form of an invitation to those who were enthusiastic in their 
support of the ideals of Repertory to put their ha-nds in their pockets. He 
said : "If there are a thousand people in London who care enough for the 


vitality of the theatre to put on the table twenty-five pounds each and to 
guarantee twenty-five pounds a year for three years this Repertory can continue " 
and he added that if there were a thousand people in London who cared enough 
he would be very glad to hear from them. Evidently there are a number of people 
in London who care enough, for since then Mr. Barker has announced that the 
response has been quite satisfactory though it ia doubtful if the required full 
number of subscribers will be found. Mr. Barker's intention is not to give 
to such subscribers any return for their money in the way of seats. They are 
to 'be treated in the ordinary way as investors, and as Mr. Barker has stated that 
on his Repertory season at the St. James's he made money instead of losing it, his 
contention that in a short time a Repertory Theatre would be paying a dividend 
seems justified. Mr. Barker places the number of plays which should be going on 
in the theatre during the year as between twelve and twenty and these not pro- 
duced on the short run system, but regularly going into the bill. Initial expenses 
in connection with mounting all these plays would, qf course, be heavy and it i:; to 
meet these that so much as 25,000 is asked ; but after the first year or so the 
producing costs should be considerably reduced. It is sincerely to be hoped tliat 
the enthusiasm of theatregoers will be sufficient to enable Mr. Barker to put Jus 
excellent scheme into practice. 

Sir Johnston Forbes-Robertson's season at Drury Lane perhaps strictly speaking 
should not be classed as a contribution to Repertory of the year. It was his 
farewell to the London stage, and he included among the plays he presented most of 
those in which, during a long and active career on the stage, he had made personal 
successes. And it was the personality of the actor-manager and the knowledge 
thai this was the last opportunity London playgoers would have of seeing him 
which were mainly responsible for the crowded houses which throughout marked the 
reason. The plays he presented included " Hamlet," " Othello," " The Light 
that Failed," " The Passing of the Third Floor Back," " The Sacrament of Judas," 
" Mice and Men," eitc. 

Among the plays given at the Court by the Manchester Gaiety company during 
their three weeks' season, which opened on May 12, were " The Pigeon," by John 
Galsworthy ; "Jane Clegg," a new three-act play 'by St. John Ervine ; " Nan," by 
John Masefield ; "Prunella," bv Laurence Housman and (.Ji;in\ illc Barker; 
"Elaine," by Harold Chapin ; " The Whispering Well," by J. II. Koulds ; and the 
following one-act plays : " The Little Stone House," " Miss I a-; . \ ." by Elizabeth 
Baker; "Complaints," by Hamer Clegij ; "The Woman Who Sold Herself," by 
W. F. Casey; and " The Dream Child, by W. Oliphant Down. 

At the same theatre the Irish National Theatre Society, during a short season, 
opened on June 2, gave the following plays new to London: "The Magnanimous 
Lover," by St. John G. Ervine; "The Magic Glass," and "The Country Gentle- 
man," by George Fitzmaurice ; "The Gombeen Man," by R. J. Ray. 

Mr. Algernon Greig and Mr. Milton Rosmer's short season at the Court, which 
began on August 30, was mainly notable for the production of John Galsworthy's 
" Tho Fugitive," in which .Miss Irmo Rooke made such an impression with ;i 
finely emotional study of the part of Clare. 

Repertory had a test in the suburbs at Croydon, where, on April 14, with commend- 
able enterprise, Mr. Keble Howard and Mr. Dick Adams began a short preliminary 
season, which aroused considerable local interest. "Chains," by Elizabeth Baker; 
" The Situation at Newbury," by Charles McEvoy ; " The Tyranny of Tears," " The 
New Sin," "Candida," and "Dropping the Pilot," the last a new four-act comedy 
by Keble Howard, were each put up for a week's run. The season was <|iiite an 
artistic success, and from the support received though we are unable to 
say whether Mr. Howard and Mr. Adams added to their banking account or not 
over their venture it would seem that there certainly is a repertory public in 

Tho year 1913 was not a particularly happy one for the advancement of reper- 
tory in the provinces. Productions in Glasgow, once an active hive of repertory 
industry under the guidance of Mr. Alfred Wareing, have been conspicuous by their 
scarcity. The Scottish Playgoers, Limited, whose productions Mr. Wareing con- 
ducted, had trouble to contend with in their own camp in the varying opinions of 
their shareholders. Some of the large shareholders pressed the company to go into 
liquidation, and a meeting was held in March in Glasgow, which happily resulted 
in the shareholders authorising the directors to carry on the work of the company. 
The company gave only a few one-act plays in the form of a " turn " at one of the 
Glasgow music-halls late in the year. They will resume operations at the Royalty, 


Glasgow, on January 21, 1914. Mr. Alfred Wareing, as an independent venture, gave 
a repertory season at the Royalty, Glasgow, lasting from March 10 to April 26, during 
which he produced " The Bill," a four-act comedy, by Mrs. Cornwallis West; " The 
Average Man," by Kenelm Fcss; "The Carrier Pigeon," by Eden Phillpotts; and 
" The Surrender of Joan," by Sybil Noble; also reviving " A. Gauntlet," by B. Jorn- 
son ; "The Waldies," by G. J. Hamlen; "The Importance of Being Earnest," by 
Oscar Wilde; and "Light o' Love," by Arthur Schnitzler. He also gave a private 
performance of G. Bernard Shaw's "Mrs. Warren's Profession." At the conclusion 
of his season Mr. Wareing, in a short speech of thanks, had the satisfaction of 
announcing that the season on the financial side had been a success. 

Manchester and Liverpool, though producing much valuable material, as a glance 
at 'the extensive lists given in another part of 'the book will show, had to 
face discouragement in decreased attendances and consequent financial troubles. 
That much interest is locally evinced in everything appertaining to the movement 
in each of these towns, however, is shown in 'tine correspondence which was 
carried on in the Liverpool and Manchester papers by playgoers and critics of 
the policy of the management and of ways and means. Birmingham, in a way, 
shines as a bright spot. Here Repertory, largely due to the enthusiasm of the 
Pilgrim Players and others associated with them an their venture, has apparently 
nourished at the handsome and cosy Repertory Theatre, some pictures of which 
given on another page illustrate the style adopted in the building. 


It is just a little more than two years since the Liverpool Repertory Theatre 
opened its doors, and at the moment of writing a meeting of the shareholders is 
being held to consider a depressing balance-sheet, showing an adverse 'debit of 1,858, 
and to discus's the fate of the theatre itself. The question uppermost in the minds 
of all who are interested in the existence of the theatre as : What has brought about 
so great a calamity to an institution which was established in all sincerity, honesty, 
and unselfishness, with a view to place dramatic art before the people in its highest 
and most cultured phases. Naturally, the present position has evoked a flood of 
correspondence in the daily Press, in which are contained the most contradictorv 
views and opinions of the policy and future of the theatre more bewildering than 
enlightening. One thing stands luminously clear, and that is that the Liverpool 
people do not appear to want the theatre. Even those who were most enthusiastic 
in its inception have marked the value of that enthusiasm by consistently staying 
away. In a manner it is inexplicable why they do so, and why the theatre has been 
so ingloriously checked in lits career. An examination of its record of plays shows 
that not only should these have appealed irresistibly to those who were reasonably 
regarded as being predisposed regularly to patronise the theatre in proof of their 
belief in it, and for the encouragement of others, but they were, both in quality 
and variety, even if at times they lacked freshness, an invitation to a larger circle 
of those who look for wholesome, literary, and well-intentioned plays. And whether 
one goes to (the theatre for enlightened relaxation, healthy amusement, or intellec- 
tual mental improvement, the Repertory management, according to their lights, 
have endeavoured to 'provide all these with care and discrimiinatio'n ; and the com- 
pany, during the whole life of the theatre, have maintained an excellent standard 
of histrionic ability. If the works of Bernard Shaw, Sydney Grundy, Oscar Wilde, 
Ibsen, Davies, Pinero, Sutro, Barker, Galsworthy, Synge, Anstey, Tom Robertson, 
St. John Hankin, Robert Marshall, Hauptmann, and Arnold Bennett have failed to 
draw a public willing to maintain a paying patronage, tihe management may well 
despair of the theatre being a success under trie policy of confining it to the " intel- 
lectual " drama. And it is difficult to see how an annual municipal subsidy of 
2,000 (which in their embarrassment the management are suggesting) would induce 
a-i indifferent public ito enter a theatre from wlhioh they are standing aloof, as it is 
more than probable that this subsidy would be regarded as merely cutting losses. 
I echo Mr. Henry Arthur Jones, and say that if a theatre cannot pay its way after 
it has established itself no artistic purpose can be 'served 'by an outside subsidy. 

The avowed aim of the Repertory is to produce works which are not generally 
familiar to the playgoing public, and which are not financially acceptable .to the 


modern manager. And in pursuit of this (policy the Repertory management point 
out -that in two years they have produced twenty-three plays wihioh have not been, 
and probably but for the Repertory would never have been, seen in Liverpool ; 
and that fifteen new plays have been produced at the* theatre for the first time on 
any stage. In point of numbers this is entirely satisfactory work, and though none 
of the latter has been since heard of or seen, their production proved the disposi- 
tion of the Repertory to discover new dramatic authorship, and thus endeavour to 
carry out part of their policy. But here a thought intrudes itself as to whether 
after all a Repertory theatre is really proving its .necessity for the discovery of 
exceptional dramatic talent, or is in view of the monotony of failure here pointed 
out merely a refuge of the destitute, and a home for dramatic Rejected Addresses ? 
It is admitted that all the foremost dramatists will not agree to their plays being 
originally produced at the Repertory, and that when a production is a success 
elsewhere it is impossible immediately to secure it lor this theatre. The Repertory, 
being thus handicapped, is dependable upon the resurrection of the obsolete, or, 
the performance of that which apparently no one else wants. The public have 
shown a studied indifference to the plays, as a whole, which have been produced at 
the Repertory under a policy of this kind performed by the resident company. The 
consequence is that there have been raised foolish charges that dramatic taste has 
deteriorated ; that the drama is in decline : and that no one nowadays is intellectual 
enough to appreciate Shakespeare, or sufficiently so to warrant continual perform- 
ances of our national drama. Even the Liverpool Repertory management haw 
fallen into the utterance of these cries, apparently overlooking that up to this 
moment their own stock company have not once performed a Shakespeare play.* Of 
course, no one with a thoughtful knowledge of what the modern theatre in general 
has done will be disturbed or prejudiced oy loose talk of this nature, but as it is 
indulged in somewhat extravagantly just now in Liverpool, it impels one to observe 
in all fairness and impartiality that the Repertory has no monopoly in the presen- 
tation of enlightened drama and clean comedy, and that in this respect in the mind 
of the public at large the performances apart from musical comedy and pantomime 
at the Repertory Theatre have differed nothing in genre from those presented at the 
other first-class theatres in the city. Often enough, less in quality, freshness, and 
interest. And putting oneself for the moment in the place of the ordinary playgoer 
the Repertory stands in the general mind as being in the category of the theatres out 
for the purpose of catering on lines not obviously differentiated from those of other 
first-class theatres, its face value being in effect the same. This is so easily capable 
of proof as to stand in no fear of contradiction. 

All must, as lovers of the best in drama, be thoroughly sympathetic with all that 
aims for its purity, idealism, truth, and intellect, and no one will cast a doubt 
upon the bona-fides of the Repertory management in the zeal, unselfishness, and 
high-minded views which have characterised their work and illumined their pur 
pose, and carried them on through so many difficulties in from their point of view 
determining to lift the British drama from the slough into which a section of 
extreme playgoers insist that it has fallen. 

To arrive at an understanding of the failure of the Repertory is a simple matter 
only in the mind of the quidnunc. The more thoughtful and experienced follower 
of the drama finds it a problem hard to solve. But I venture a word or two upon 
this point. First, it is a difficult thing to persuade the provincial playgoer into the 
theatre to see unknown or resuscitated plays. Set before him a trumpet-tongued 
success of the day, and you are assured of him multiplied in thousands. I nave 
shown that the Repertory cannot command such plays, and here at once is a seem- 
ingly insurmountable bar to success. Another question is this and I touch upon 
it with delicacy, and without prejudice to personal merits Is the stock company 
system a -wise one, and sufficient for a first-class provincial theatre at the present 
time? It is significant that, broadly speaking, the imported attractions at the 
Repertory have proved the most successful. Even your highest-minded playgoer 
has his volatile side, and to expect the patrons of a provincial theatre to sustain 
a high enthusiasm for one set of players be their quality what it may for eight 
months of the year is straining endurance. I am inclined to the view that herein 
is the crux of the movement. It ie not sufficient to change the play week by week, 
there are other stimulating factors necessary to keep alive the interests of the circle 
of patrons indigenous to a provincial Repertory theatre. It ie a purposeless thing 
to sneer at the star actor, and the old stock company system depended for its 

* Since writing "Twelfth Night '' has been successfully produced for a short season. 





Setting of ''Julius Caesar/' 




Setting of "Julius Cssar." 


Fig, l.-THE FORUM, 
















fortune mainly upon such. The modern revival is only a revival in part, and the 
greater part has been dispensed with. I submit either its restitution, or an 
exchange of Repertory companies, if the stock system is to be continued and relied 
upon, to make the movement a success. 



Whatever may be the standing of the Abbey Players and the movement, of which 
they are the outward and visible manifestation, in England and America, the Abbey 
Theatre itself is languishing. Except to those who have followed its history in the 
making, it will hardly appear credible that, at the close of a nine years' record, it has 
barely emerged from its chrysalis state of coterie-theatre. Considered at one time 
to possess the nucleus of a National Irish Theatre, its woeful failure is writ large 
in the fact that it has never been able to inflame the popular imagination, or to make 
irresistible appeal to the great body of entnusiast ; c Irish playgoers. Years ago, W. 
B. Yeats, in a memorable speech, expressed his intention of " disciplining the bour- 
geoisie," but, so far from listening to the voice of the charmer, the bourgeoisie have 
passed by scornfully on the other side. Their opinions have been forcibly expressed 
by certain of the Dublin critics, who have constituted themselves their spokesmen, 
and the preponderating journalistic attitude of uncompromising hostility towards the 
Abbey school of thought has at last induced the Abbey directors to retaliate by 
staging. St. John <G. Ervine's heavy-handed satire, " The Critics; or, A New Play at 
the Abbey Theatre." The truth is that outer recognition of Synge's genius has done 
irreparable injury to the Dublin Dramatic Movement. One is careful here to use 
the word "Dublin," not the more sweeping term, "Irish," mindful of the fact 
that the Ulster Literary Theatre has not bowed the knee to Baal. Synge's harsh 
imagination and grimness of outlook still hang like a pall over the whole scheme 
of Abbey dramaturgy. Misled by his deification, the budding Irish playwright, 
instead of delivering his own message in his own way, has sought to express himself 
in terms of the Great Acclaimed One. The result has been an abundant crop of 
ineffective and unconvincing peasant plays, in which coarseness of thought has been 
mistaken for realism, and coarseness of language for strength. Since the Dublin (one 
may even write Irish) public has never expressed any particular liking for this type 
of "unpleasant" play, it is not surprising that during the intermittent repertory 
periods at the Abbey during the past year, performances have often been given to 
meagre audiences. On the other hand, when the well-worn comedies of William 
Boyle or W. F. Casey are put in the bill, " standing room only " is the cry. 

While in point of productiveness the year at the Abbey has been more than com- 
monly fruitful, the result has been, for the most part, a garnering of Dead Sea apples. 
Irrespective of R. J. Ray's grimly powerful, if technically defective, drama, "The 
Gombeen Man," which was first produced by the Abbey Players during their 
prosperous season at the Court (a somewhat erratic procedure which, it is hoped, 
will not be followed so long as Dublin remains headquarters), ten new pieces saw 
the light. Of these no fewer than six were in the one-act form, a statement of fact 
subtly indicative of the short-windedness of the rising Irish playwright. One cannot 
speak of the success or failure of an Abbey play with the decision that one speaks of 
the success or failure of a London production. At the little Marlborough Street 
house, where no play has ever been kept in the bill longer than a week, there .is no 
box-office measure. Moreover, ever since the hostile verdict on " The Playboy " was 
unaccepted by the Abbey directorate, our first night audiences have lost the habit of 
sitting in judgment on the play. 

Prior to the return in May of the first company from their s'econd American tour, 
it fell to the lot of the second company to produce four new pieces. 
All, with one exception, were by writers new to the theatre. Although 
betraying the ^ hand of the novice in its indecisiveness, John Guinan's three- 
act play, "The Cuckoo's Nest," proved to be a merry comedy of intrigue 
with (what is so rare in Abbey Theatre drama) a gently sentimental 
love interest. In " The Home Coming," Gertrude Robins told once more 
that ghastly old Cornisih folk-tale upon which Lillo based " The Fatal Curiosity," 
but by dint of investing it with latter-day Galician surroundings and discussing the 


well-worn theme with technical expertness, contrived to evolve a grimly-absorbing 
little tragedy. Despite their slavish imitation of Syuge's multicoloured diction, 
Miss S. R. Day and Miss G. D. Cummins contributed in Broken Faith " a realistic 
peasant play of considerable emotional power and cumulative grip, but the whole 
would have been bettered by a little humorous relief. Geo. Fitzmaurice's fantasy, 
" The Magic Glasses," disappointed in presenting a profusion of sun-kissed foliage 
behind which lay little fruit. Subsequently, the second company, who had been 
originally established under the superintendence of Mr. Nugent Monck, in November, 
1911, were disbanded, but, happily, their chief members were drafted into the main 

Of the six new plays produced by the first company in the latter half of the year, 
one, "The Critics," has already been referred to. Symptomatic of a growing ten- 
dency in the theatrical world to kick against the pricks, St. John G. Ki vine's sturdy 
attack on the Philistines of the Press utterly lost its sting after a brilliantly satirical 
opening. In " Sovereign Love," Mr. T. C. Murray, best and cleanest-minded of 
Abbey realists, discussed the familiar theme of Irish mercenary marriages from an 
entirely new and delightfully whimsical standpoint, while never transcending the 
bounds of probability. In point of constructive power, delicacy of characterisation, 
economy of dialogue and abounding humour, the piece takes rank with the best one- 
act comedies (amounting to not more than two or three) in the Abbey repertory. 
Technical inexperience was written large over Joseph Connolly's three-act comedy of 
Ulster life, "The Mine Land." Several of the elements of success were prominent, 
the characterisation was well-observed, if occasionally exaggerated, and the humour 
spontaneous, but the play itself was unshapely, the theme being too meagre for the 
canvas. When a threeact comedy, waits and all, takes little over an hour in the 
acting, one may be sure there ia something wrong with the construction. The bud- 
ding Irish playwright pays too little attention to the mere mechanics of his art. 
Although effective in a cheaply theatrical way, Mrs. Bart Kennedy's brief reflex of 
remoter rural conditions, " Sly Lord," offended by its obsolete patriotic clap trap 
and its poverty of phrasing. Less pretentious than " The Magic Glasses," it proved 
an equally conspicuous failure. One cannot comprehend how the Abbey directorate 
came to produce either of these pieces. Sounder judgment was shown in staging Mr. 
Seumas O'Brien's right merry farce, " Duty," in which the potent but inoffensive 
girdings at the human, as well as official, weaknesses of the Royal Irish Constabulary 
proved so effective as to keep the house in a continual bubble of enjoyment. Assuredly, 
"Duty " will long hold a prime place in the Abbey repertory. Last in point of pro- 
duction, Mr. Seumas O'Kelly's threeact drama, "The Bribe," stands first in point 
of merit. One hails it, without hesitation, as the play of the year. Breaking new 
ground, Mr. O'Kelly discusses, with telling power and admirable artistic reticence, a 
deep-rooted canker on the body politic, the moral corruption attached to the system 
of Poor-law Guardianship, and, passing from the general to the particular, illustrates 
the deadly potency of its contagion by slow revealment of the downfall of a right- 
minded man of affairs. Consummate artistry is shown in the tragic ending, which, 
without obvious insistence, leaves in the mind the germs of a powerful moral. 
Realistic in the best sense of the term, "The Bribe " convinces, not by a striving 
after a blunt coarseness of diction the prevailing Abbey Theatre method but by 
fidelity of atmosphere and the unerring interplay of character. 

The" most regrettable feature of the year was the secession from the Abbey, in July, 
of Miss Allgood, an actress of pronounced versatility and abounding resource, whose 
association with the little theatre dates from its inception. People pass away and 
the planet still revolves, but assuredly we who are devotees of the Dublin dramatic 
movement will have a heavy miss for long of Sara Allgood's golden notes. 


Thu repertory movement has undoubtedly made some headway during the year 
1913, inasmuch" as large cities and towns have adopted the movement. The great 
drawback, however, is the monetary side of the venture. The object of the reper- 
tory is to uplift the art of the theatre, and not to look upon the theatre as solely 
a place of entertainment. As a commercial enterprise the theatre must pay its 


way ; but that is just what the theatre of art cannot be expected to do. To attain 
the object of overcoming the money conditions and to assert the true art of the 
theatre is to have unlimited funds. This condition can only be attained by State 
or municipal subsidies to cover losses. Manchester stands unique in this respect, 
having so enthusiastic a patron of the art as Miss Horniman. Few men have etood 
so firmly and stoically by their convictions and determination as the proprietress 
of the home of repertory in England the Gaiety, Manchester. 

Severe criticism 'was levelled at Miss Horniman's repertory enterprise in ibhe 
early part of 1913. It was asserted that mediocrity was all that the venture had 
attained. The new plays produced were (mediocre, and the acting mediocre. The 
success of .several members of the Gaiety company in London either gives a direct 
refutation to the mediocre statement as regards the artists, or London's judgment 
is worth little. There will at all times be diversion of opinion on the merits of 
new plays a Shakespeare is not born every century but Miss Horniman's enter- 
prise has been the means of bringing the names of aspiring dramatists before the 
public. The work accomplished during the year by the repertory company at 
the Manchester Gaiety may or may not have reached the ideals of playgoers 
generally, but, taken in its entirety, strenuous and highly commendable work has 
been accomplished under the able direction of Mr. Lewis Casson. There were only 
two productions of note during the spring season "The Whispering Well" and 
"Jane Clegg," and both dramas gained high enconiums when seen in London, at 
the Court, in June. The autumn season has proved of greater value from a pro- 
ducing point, and .records seven new plays produced by the repertory company, 
viz. : " The Price of Thomas Scott," " The Shadow," " Account Rendered," 
"Nothing Like Leather," "Wind o' the Moors," " The Pie in the Oven," " The 
Apostle," and an artistic and memorable revival of "Julius Caesar." Apart 
from the new productions there has been fifteen revivals of drama and 
comedies, chief of which are " The New Sin," " The Marriage of Columbine," 
and "The Way the Money Goes." Mr. Matheson Lang gave at the 
Gaiety " Westward Ho ! " ; Messrs. B. Iden Payne and H. Theodore's company pro- 
duced during their stay "Other People's " Babies," " The Lost Silk Hat," 
"The Moor Gate," and " The Death of Chopin," and revived John Fletcher's 
"The Elder Brother," and the "Last of the de Mullins." Mr. Milton 
Rosmer, while on a visit with "The Fugitive," staged for the first time 
the one-act play, "A Man with a Maid." Mr. Esme Percy also produced 
a hew play, "The Awakening Woman." A feature of the revival of 
Julius Caesar ' ' was the staging with the simplicity of the Elizabethan 
period, to which Mr. Casson had given much study and careful research to 
accomplish the high standard of art that was attained. Miss Horniman has 
adopted the Continental system of no orchestra, except in cases where the play 
requires music. This innovation has provoked heated controversy, and is put 
forward by some as one of the causes of a decline in the box-office receipts. The 
cry for refinement and great art for the multitude is to a great extent " cant." 
The multitude exhibits little appreciation for great art, and the question arises, 
" Will it ever do so? " This is the great problem for Repertory to solve. 

as produced by Lewis Casson at the Gaiety Theatre, Manchester. 

The .setting of the play consisted of one built set only, shown in Fig. 1. In 
the first scene the centre arch closed by grey velvet curtains running in a panorama 
groove stood for the entrance to the circus. 

The night street scene was a front cloth, painted without perspective as a wall 
of great squared stones. This cloth was dropped immediately behind the two small 
permanent arches in the P. and O.P. corners. For Brutus' Orchard (Fig. 2) the 
central arch (mounted on castors for easy movement) was run down to the side 
of the stage, and formed the entrance to Brutus's house. A few very dark tree 
wings Completed the scene, which was lit by a single shaft of light from the flies. 
Caesar s house was a front scene, used like all the front scenes in connection with the 

apron," backed by a loose drapery of old gold, with a bold blue stencilled border. 
The street scene that followed was the same towering wall used for the night scene. 

The Senate scene, shown in (Fig. 3, was a re-arrangement of the original set 
(Fig. 1). The panorama curtains closed all the arches, and short, brown-stencilled 


curtains backed the recesses thus formed, and the steps were set in a different 
formation. At the exit of the conspirators a black drapery fell behind Antony. 
and during the "Havoc" speech and the scene with Octavins's servant this 
interior was instantaneously converted to the Forum scene (Fig. 1) by the striking 
of the various curtains and re-arranging the steps. The pulpit stood on one of the 
bastions of the central arch. The absolute continuity from the Murder scene to 
the end of the Forum scene was a great gain. The Cinna-Poet scene was played 
on the apron with the curtain down, and the Lepidus' house scene on the main 
stage before the csame cloth as Ca?sar's house, with different lighting and furniture. 
This scene finished the second part. For the third part the main set was the 
Plains of Philippi (Fig. 4). For the Tent scene the panorama curtains, shown 
drawn back at the sides of the photograph, were closed. A few short scenes were 
played on the apron in front of the curtain, but except for these and for change! 
of lighting this set stood for the whole of the battle scenes. 

The production was designed for absolute continuity of voice and action 
throughout the play, but as a concession to the wishes of the modern audience there 
were two intervals. 


By T. W. J. WILSON. 

As the Birmingham Repertory Theatre was opened with a performance of 
"Twelfth Night" on February 13, 1913, it has not quite completed yet its first 
year's work ; but as it has been open continuously since then, with the exception 
of a short vacation in the summer, there has been time enough for a clear policy 
to be carried out, and a notable contribution made towards the artistic appreciation 
of dramatic art in the provinces. Most of the repertory seasons in England, 
whether in London or provincial cities, have devoted themselves to popularising 
the realistic drama, "naturalism" in the theatre similar to that popularised in 
the novel a decade ago and now beginning to make itself felt in the work of our 
younger poets. But in Birmingham the tendency has been towards that poetical 
drama which is less popular at present, although of more permanent importance, 
in the view of many critics, than the less inspiring types of realism. I', ili;i|is this 
tendency was only to be expected when the post of general manager was filled by 
the appointment of Mr. John Drinkwater, whose published work luis already shown 
him to be a versemaker and literary critic of real distinction ; and he has the support 
of the founder of the theatre, Mr. Barry V. Jackson, himself part author of a 
verse drama and a children's play, both produced at the Liverpool and Manchester 
Repertory Theatres. This agreement in taste has resulted in the production of 
such plays as W. B. Yeats's "Countess Cathleen," Rostand's "The Fantasticks," 
Maeterlinck's "Death of Tintagiles," and Mr. Lascelles Abercrombie's "The 
Adder." Mr. Masefield'a " Nan," despite its prose, probably belongs to this 
group also. 

The prominence given to Shakespeare has, too, been exceptional. " Twelfth 
Night," "The Merry Wives of Windsor," "King John," "King Henry IV." 
(Part I.), "Merchant of Venice," and a portion of "Richard III." have all been 
played a considerable number of times, and the second production in the New Year 
will add "As You Like It" to the list. The manner of presenting these plays 
has been somewhat similar to that adopted by Mr. Granville Barker at the Savoy, 
though there has been no copying ; the permanent apron stage, lit from the back 
of the theatre, and proscenium doors, have made the performances approach more, 
perhaps, to the Restoration than to the Elizabethan stage, but these devices have 
permitted the whole of the plays to be given without intervals for changing scenery 
or any excision of short scenes. Though the staging has been simple, it has not 
lacked beauty, and if rooms of state are not always well realised by means of 
curtains, a hemispherical plaster wall and the Marino-Fortuny system of diffused 
lighting have given open-air scenes great charm of colour and atmosphere. In the 
production of Professor Gilbert Murray's translation of the "Medea" of Euripides, 
the black hangings, with a white column on each side of a great white gateway, 
suggested Reinhardt rather than Granville Barker, perhaps, except that the chorus 
was dignified and small in numbers. 


It would be unfair, however, to suggest that modern plays have been absent from 
the programmes. Mr. Galsworthy's fantasy "The Pigeon" has been done fre- 
quently, and remembering its comparative failure in London, its success here over 
"The Silver Box," which has been given by the company at Stratford-on-Avon as 
well as in their own theatre, is perhaps explained by its very artificiality and lack 
of realism. His early play " Joy " was less a real success of merit than a rarely acted 
piece of 'prentice work interesting for purposes of comparison. Mr. Shaw's " You 
Never Can Tell," "Candida," and " Press Cuttings" have been given also, 
the second more frequently, although the first had large audiences during 
its run. The late St. John Hankin, and also Oscar Wilde in " The Importance 
of Being Earnest," have, though, been the theatre's great draws in the fashion of 
modern comedy ; " The Cassilis Engagement," " The Return of the Prodigal," and 
" The Constant Lover," by Hankin, have been admirably acted with much success. 
Mr. F. A. Besant Rice has produced all these modern plays, on orthodox lines, with 
the footlights restored, and at -the end of the year he added "The Voysey In- 
heritance " as an example of modern intellectual comedy. The plays of a fuller 
emotional interest like Ibsen's "Enemy of the People," Stevenson and Henley's 
"Admiral Guinea," and Lady Gregory's "White Cockade" had a more fluctu- 
ating appeal, and Mr. Robert Vansittart's "The Cap and Bells" was nearly a 
complete failure, at least artistically. Sheridan's "The Critic" was acted as wild 
burlesque, and as such repeated at Christmas time. 

The composition of the company has made the acting vary considerably in quality. 
The theatre was really the result of the performances in Birmingham and neigh- 
bouring towns during some years of an amateur society calling themselves the 
Pilgrim Players, and the best of their number were engaged at full salary for the 
theatre ; they included Miss Margaret Chatwin, Mr. Claude Graham, Miss Cicely 
Byrne, Mr. Frank Moore, Mr. Thomas Foden, Miss Betty Pinchard, Miss Cathleen 
Orford, ,and Mr. Barry Jackson. To these a stiffening of experienced professional 
actors was added, including Miss Mary Raby, Mr. 'Felix Aylmer, Mr. Ivor Barnard, 
Mr. Scott Sunderland, Miss Maud Gill, Miss Margaret Dudley, Mr. W. Ribton 
Haines, and Mr. E. Stuart Vinden, with one or two pupils from the school attached 
to the theatre. For special plays other players were obtained for engagements of 
varying length, their names including Miss Madge Mclntosh, Mr. Allan Wilkie, 
Miss Florence Haydon, and young pupils of Miss Italia Conti. These were respon- 
sible for the whole of the performances, with the exception of visits from Miss 
Jean Stirling Mackinlay, Miss Nellie Chaplin and her company in ancient dances and 
music, and the Graeme-Percy company. 

Two plays received their first public performances at this theatre a four-act 
drama, " The River," adapted by Christopher Sandemann from Max Halbe's 
" Der Strom," and a one-act comedy of bankruptcy, " Re Pilgridge," by L. B. 
Chatwin, a local solicitor. Perhaps the theatre has hardly done enough to en- 
courage the writing of one-act plays, usually so negligently treated in the ordinary 
theatre; one of Schnitzler's " Anatol " episodes, Mr. Harold Chapin's "Augustus 
in Search of a Father," and Mr. W T ilfred Coleby's "Their Point of View" have 
been the only others produced in this style. A sort of quasi-novelty came to the 
theatre, however, through the interest of the Rev. Arnold Pinchard, who prepared 
and produced a new version of three Nativity plays from the cycle of the Chester 
Mysteries, as well as those other interesting examples of the medireval stage, 
" Everyman " and " The Interlude of Youth." 




IT is a curious fact that nearly every year in the history of variety can be written 
down as a " boom " year in one respect or another. During 1912 music-hall 
managers vied with each other in their endeavour to book ragtime acts of all 
daicriptions, and although a number of these certainly the best of them still 
remain with us, one seeks in vain for anything approaching the great number which 
contributed so much to bills in London and the provinces. 1913 dawned with the 
ragtime craze in full blast, and though sunset has come with ithe desire diminished 
and the attraction less pronounced, there can be little doubt that the curious synco- 
pated music winch hailed from America has left its mark in England. Ragtime 
music, judged from the high ideal of the musician, may not have been a paragon of 
virtue, but there were a virility and an indefinable charm about it which made its 
appeal irresistible to the great body of music-hall patrons, and even if the ragtime 
craze has gone the music of the period still lias some of its form. 1913 has been 
revue year without a doubt, and in all quarters of the kingdom has this style of 
entertainment been popular. Revue hails from Paris and includes within its scope 
a desire to hit off the follies and fashions of the moment, as well as to deal in 
amusing fashion, or in the spirit of burlesque, with topical items of interest. The 
English genre is somewhat different, though in few instances an attempt has been 
made to follow the pattern of the Continent. Here a revue is merely the excuse 
for the elaborate staging of a succession of song scenas strung together -with the 
merest semblance of a plot, or with scrappy dialogue which has little reference to 
anything in particular. But the public has proved by its enthusiastic reception of 
the new form of entertainment that it is to its liking, and one cannot help wonder- 
ing how long is to elapse ere some enterprising producer comes along with a revue 
that reaMy reviews the affairs of the time. It is evident that this new form of 
entertainment has come to stay, though it will of necessity undergo various changes 
as time progresses. Many so-called revues will go to the wall, but the beat will 
survive, and with constantly changing component parts will fill the bills in the 
variety theatre for a long time to come. 

So far as the West End of London is concerned, the revue is no new tilling, for 
the Empire has had many such productions, and the Alhambra during recent years 
has staged several examples of this entertainment. But the competition is increasing, 
and at the London Hippodrome "Hullo, Ragtime! " produced at the end of 1912, 
ran well into the following year; while another similar piece, " Hullo, Tango! " was 
presented as a Christmas 1913 attraction, and looks as though it will run its prede- 
cessor very closely in the matter of length of season. Touring revues have also to 
be considered, and some excellent examples have to be recorded as visiting the 
various houses. " Step This Way," and " Full Inside," were 'both produced at the 
Oxford the latter at the end of the year and the former some time previously 
and the success of "Step This Way" on tour has been remarkable. "What Ho, 
Ragtime ! " and " And Very Nice Too ! " both played successful engagements in and 
around the West End after productions in the provinces and successful tours ; while 
"I Should Worry!" lhad the enviable and unusual experience of playing at "three 
West End music-halls within a month, and " Alice Up-to-Date " appears ^to be 
challenging its competitors at the London Pavilion as the New Year opens. " Come 
Over Here ! " played for over two hundred performances at the London Opera House, 
while among the suburban and provincial revues which have been prominent during 
the year are "I Should Say So!" "Splash Me" (which introduced aquatics into 
its scheme, an example which was followed by "Say When !"}, " What a Game! ' 
"How D'ye Do," "Who's Got It," and "Mind Your Backs. ' 


During the greater part of the year Mr. Oswald Stall has given over the new 
Middlesex, to revue, and here Mme. B. Kasdmi (whose success with this form of 
piece at the Ba-Ta-Clan, Pads, is well known) has produced no fewer than three, 
all of them played in French, by Parisian companies. They were entitled " J'adore 
Ca," "C'est Chic/' and " Caohez Ca." A sure indication of the attractive quality 
of the revues was to be found in <the fact that instead of the lowly prices which 
formerly obtained at the Drury Lane house, the stalls were priced at 7s. 6d., and 
other seats were in proportion. The Palladium was visited during the year by 
several revues, but it was not until the last week of 1913 that the management 
followed the lead of competing houses and produced their own piece, which was 
entitled "I Do Like Your Eyes." Before leaving the subject of revues one cannot 
help referring to the peculiar and exclamatory titles which have been used for tlhe 
pieces. Those mentioned above are all in this category, and the Alhambra's " Eight- 
pence a iMile " and "Keep Smiling," and the Empire's "All 'the Winners" can 
hardly be called exceptions to the rule. 


At one time we were threatened with a dancing boom similar 'to that which has 
characterised other years, but fortunately this never quite "came off." The dance 
in question 'was the Tango, a Spanish product which as apparently one of the prin- 
cipal dances of Spanish South America. The dance is a double effort containing a 
number of intricate movements, iand seems to be based to some extent upon the 
waltz, with peculiarly attractive music. From the spectators' point of view, the 
dance is too slow ever to achieve much success as an individual music-hall turn, but 
as an incident in a revue or similar performance it has been quite popular during 
the year. Its main accomplishment, however, ihas been the introduction of what 
was called the Tango Tea afternoon performances where the Tango and other 
similar dances were performed in, conjunction with dress parades which gave the 
halls concerned the appearance of a showroom of one of the great drapery emporiums. 
This scheme met with only partial success, limited to a very few houses ; while 
many suburban and provincial houses which attempted the scheme confined their 
efforts to a week's trial. The Tango is no new thing to London, and though it has 
received much newspaper publicity, mainly on the ground that it is considered in 
some quarters to be lindecent, it has not proved a very formidable rival to the 
ordinary attractions of the music-hall. 


Though the Lord Chamberlain took over the licensing of music-halls for the pre- 
sentation of sketches with authoritative sanction during 1913, the variety world had 
had no trouble with him in the matter of refused licences or banned pieces until 
October of the past year. Then a bombshell was dropped in the form of a peremp- 
tory order to Mr. Alfred Butt, of the Palace, to modify the performance of " A la 
Carte," in which Mile. Gaby Desiys played the principal part. The piece had been 
duly licensed by the Lord Chamberlain, and had been in the Palace bill for several 
weeks ; but it appeared that clerical gentlemen had been present at a performance 
and had made representations to their superiors with the result that the aid of the 
Lord Chamberlain had been invoked. Mr. Butt strongly denied that anything 
had been added to the piece since it had been licensed and seen by a representative 
of the Lord Chamberlain ; but this availed him little, and the piece had to be revised 
somewthat to remove the parts to which objection had been taken. But the action 
of the clergy did not stop at the Palace ; there was much high flown talk about 
"throwing down the gauntlet" to the music-halls, and the Bishops of London and 
Kensington were the leaders of a church party who made more or less vague accusa- 
tions against the morality of the music-hall and 'threatened joint "cleansing" 
action. It is useless to deny tihat there are some things in the music-halls which the 
profession would be better without, and perhaps during recent times there has been 
on the part of a few performers a very few a return to the suggestive joke ( ?) as 
a means of raising a laugh, while in some of the revues a display of lingerie and 
the exhibition of ladies clothed in the minimum of attire have been features which 
have taken the place of real items of entertainment. But one or even a few black 
sh&p-p do not make a whole flock bad, and tihe music-hall world is quite capable of 
looking after its own affairs without the assistance of the clergy. One has no desire 
to follow a frequent line of alleged argument and bully the other side, though, it 
should be remarked, the " mudsHngine " was 'not all on the side of the clergy at the 
time of the controversy ; but it Is permissible to question whether tlhe clergy as a body 


have a sufficiently adequate knowledge of the life of the people to entitle them to 
interfere with their pleasures. The music-halls have become something more than 
a luxury .to the people of this country ; they are part and parcel of the daily life 
of the worker, and as such, for their very existence's sake provide the entertain- 
ment which is demanded by the public. Errors of taste in variety programmes are 
nothing less than faulty investments, for the audiences have no use tor such things, 
and if any manager persisted in catering for a small section of his 
patrons who might appreciate the salacious, he would be committing 
business suicide by driving away the " family audience," which is now the main- 
stay of all music halls. .No one would contend that those engaged in the music-hall 
industry are any better than any other section of the community, but, on the other 
hand, they are no worse, and it is to be hoped that we shall hear no more of " Purity 
Crusades " and similar heroic enterprises until such time as they be nccr.s.-ary which 
is hardly likely to come in this generation. 


It was hardly likely that either the artists or the managers would let pass the 
opportunity available this year for a revision of the Music Hall Award which was 
issued subsequent to the strike in 1997. As a matter of fact the parties held 
many joint meetings with the object of arranging matters amicably, but in the end 
it was necessary to apply to Sir Georgo Kanken Askwith for his ruling upon 
Certain points, and a new Award was issued, and came into force on July 16. 
It cannot be said that the artists gain very much under the new arrangement , 
indeed, the Chairman of the V.A.F. (Mr. W. H. Clemart) rather aptly describes it 
a* a " Syndicate Halle Award." Some relief, in the matter of barring an the 
provinces, is accorded the artist, and no one will regret the abolition of the involved 
" extension bar," but when one comes to London one finds that West End manage- 
ments can issue contracts for seven, performances (i.e.. inclusive of a matinee), 
while the barring arrangements have been much changed. Under the old Award 
a West End contract used to bar for one mile and four months, irrespective of the 
length of the engagement. Now a week's engagement bars for one mile and 
sixteen weeks, while one for two weeks or longer increases the bar to one mile and 
thirty-two weeks. Barring at the suburban halls (other than exclusive houses) 
has increased from two miles and eight months to two miles and forty-eight weeks, 
but the bar at the exclusive houses has been reduced from two miles and fifteen 
months to two miles and fifty-two weeks. The new Award as can be seen 
from the copy which appears in another part of this Year-Book is a much simpler 
affair than its predecessor, and the necessity for the removal of an option clause 
(if any) from the body of a contract; the uniform time for the despatch of bill 
matter ; the. fixing of twenty-one days as the maximum period for the receipt of a 
confirmation ; and other points which at first sight might appear to be of minor 
interest, but which, in reality, are of great importance to the artist, are questions 
upon which the Arbitrator has laid down very definite instructions. Considering 
that the managers appealed for "Freedom of Contract" and that the artists 
echeduled a lengthy list of amendments they desired to ithe 1907 Award it i 
obvious that neither side has obtained anything approaching what it wanted, but 
in any case the Award does furnish a basis for the businesslike working of the 
profession, and the Variety Artists' Federation can be relied upon to see that 
its provisions are carried out in the spirit as well as in the letter. 


Though 1913 has not produced another Command Performance similar to that of 
the preceding year, there have been two occasions upon which the King haa 
emphasised his interest in the profession. The first of these was in July, when 
the King and Queen were the guests of Lord Derby at Knowsley Hall. Lord Derby, 
whose sympathies w'th matters of the music Jiall have ; been given practical ex- 
pression upon more than one occasion, arranged, with the assistance of Mr. Frank 
Allen, a variety entertainment for the Royal visitors, and a programme comprising 
Tom Edwards, George Formby, Neil Kenyon, David Devant, Olga, Elgar, and Eli 
Hudson, Frank and Vesta, and George Graves and company was presented with 
considerable success. 

The second special performance under Royal patronage was in October, when at 
the London Coliseum the King and Queen, as well as the Prince of Wales and a 
large number of other members of the Royal Family, attended a great charity 
entertainment, which was arranged by Lord Lonsdale and Mme. Sarah Bernhardt 


on behalf of the French and Charing Cross hospitals under the title of the " Good 
Samaritan Performance." The best artists from the dramatic, variety, and 
musical professions contributed to the entertainment, and the music hall was 
represented by W. C. Fields, Green and Wood, George Graves, George Robey, Will 
Evans, Neil Kenyon, George Formby, Arthur Roberts, Billy Merson, Mark Sheridan, 
Alfred Lester, Fred Emney, the late Harry Fragson, Lydia Kyasht, Harry Tate, 
James Watts and others who are mo*e or less temporarily domiciled in the music 
halle after making their reputations in the theatre. No less a sum than 5,000 
was realised from this performance, and Mr. Oswald Stoll had the satisfaction 
of receiving a Royal letter of thanks, in which reference was also made to the 
beautiful character of the decorations of the Coliseum. By the way, it should 
bo mentioned that the accounts for the 1912 Command Performance were passed 
early in the year, and that a sum of 2,350 7s. 4d. was distributed as follows: 
To "the Variety Artists' Benevolent Fund and Institution, 1,343 le. 4d. ; to 
the Music Hall Home Fund, 503 13s.; and to the Music Hall Ladies' Guild, 
503 13s. 


The past year has been one of general success so far as the various organisations 
connected with the profession are concerned, and fuller records of the year's work 
of the various societies are to be found elsewhere in this Year Book. The Variety 
Artists' Federation have completed another year of great usefulness under the able 
leadership of the chairman, Mr. W. H. Clemart, and though its main work never 
sees the light of day except to those particularly concerned, it is recognised as a 
wonderful power for good. The Music Hall Artists' Railway Association, with its 
six or seven thousand members, has pursued the even tenor of its way, devoting its 
energies to the saving of money for members and subscribing its profits which are 
considerable equally between the railway and music-hall charities. It would be 
interesting if the committee of the M.H.A.R.A. could contrive to give an annual 
return showing exactly how much had been saved on railway journeys undertaken 
by its members, and the ingenuity of the secretary, Mr. C. Douglas Stuart, should be 
equal to the task. Mr. Stuart has another important post, that of secretary of the 
Variety Artists' Benevolent Fund and Institution, and in this latter capacity he has 
been prominent during the year in various ways. A fete and gala at " Brins worth," 
a splendidly successful dinner at the Trocadero Restaurant in December, when over 
1,100 was raised ; the amalgamation of the Music Hall Home and the Institution are 
the greatest enterprises in the cause of charity which have marked the year 1913, and 
to Mr. Joe Elvin, Mr. Charles Austin, Mr. Harry Tate, and the other prominent 
artists who are always to the fore in the cause of charity, the heartiest thanks of 
the profession are due. It should be noted, too, that by means of an excellent 
arrangement under which a tax on special performances is made, the Variety Artists' 
Fedeiation has been able (with the assistance of some special donations) to hand over 
250 10s. 7d. to the profession's charities. There are schemes in the field for the 
establishment of a convalescent home and an orphanage for the children of the pro- 
fession. The former was suggested by Mr. Elvin at the V.A.B.F. dinner, and is 
already in process of organisation. The orphanage is the idea of the Music Hall 
Ladies' Guild, a hardworking body of ladies who strive to make the lot of the women 
and children brighter with what degree of success their records plainly show. The 
Guild purpose making the receipts from the Command Performance the nucleus of a 
fund for the purpose, and having regard to the fact that they have a happy knack of 
accomplishing all they set out to do, it seems reasonable to suppose that their latest 
scheme will have a successtul result. Regarding the Grand Order of Water Rats and 
the Beneficient Order of Terriers (a strong and influential body of performers which 
has risen Phoenix-like from the ashes of the old Terriers' Association), little can be 
said because both organisations are of a private character, but it may not be out of 
place to remark that both societies .ire ever to the fore in all matters of interest to 
the profession, and that their strength increases as the years pass. 


With hardly a hint of a new combine, there have been very few changes in the 
management of home affairs during the past year, though interesting appointments 
have been those of Mr. Frank Allen as managing director of the Moss Empires, 
Limited ; Mr. Charles Reed as general manager of the newly erected Golder's Green 
Hippodrome (where Mrs. Walter Gibbons appears as the managing director of the 
new enterprise), and Mr. Harry Masters, who has returned to his position as general 


manager of the London Theatres of Varieties, Limited. South African and Austra- 
lian variety has been much in the public eye. In the former country the Africa's 
Amalgamated Theatres Trust, Limited, of whom Mr. Rufe Naylor is the London 
agent, have obtained almost complete control of the music halls and parties of 
English artists sail every week to fulfil engagements in Africa. Mr. Hugh D. 
Mclntosh, the new managing director of the Rickards' Theatres in Australia, has 
visited England and America during the past year and has booked many turns for 
the Antipodes. 


The large share of the bills which has fallen to the lot of revues has already been 
noted, but there is one point in connection therewith which cannot be over-emphasised. 
A revue takes up a large share of the ordinary programme of a music-hall, and it is 
obvious that, as a consequence, fewer single-turn artists have been necessary, and 
"postponements" and "cancellations" have been rife. Speaking generally, the 
leading revue artists have not been the ordinary music hall favourites, but there 
has been a noticeable move, particularly during the last weeks of the yeax, to include 
some of these artists. Herein, it would seem, lies the future of this form of enter- 
tainment, for the public will not be deprived of its stars, and it is just those very 
artists who can do so much to make a success of a production. The success of Harry 
Tate in "Hullo, Tango! " the Poluskis in "I Do Like Your Eyes! " and Billy Mer- 
son in "Hullo, Ragtime!" may be cited as instances. How fond are music-hall 
patrons of those who have supplied them with mirth for so many years is emphasised 
when one recalls the success during the past year which has attended such artists 
as Eugeno Stratton and Joe Elvin. Apparently even their oldest songs or sketches 
are more than good enough for audiences, who receive with enthusiasm the work 
of these two really great artists who ever have their fingers upon the public pulse, 
understanding exactly what is required of them, and being in the happy position to 
supply it. How well they, in association with Little Tich, R. G. Knowles, Harry 
Lander, Wilkie Bard, George Mozart, Mark Sheridan, Harry Weldon, and others 
whose names are truly " household words," have kept up the traditions of the music 
hall does not need to be dilated upon at this time. They are and will continue to be 
leaders in the music hall industry, and the single artist of their calibre will remain 
a staple attraction when other things have been forgotten. The artistic musical 
act of Olga, Elgar and Eli Hudson, and that of May Erne and Erne Chester have 
been features on many bills, and a new Hebrew comedian in Charles Cohan (formerly 
of Lowenwirth and Cohan) has scored a notable success during 1913, while Jimmy 
Learmouth is a new comedian who has rapidly come to the front via Joe Peterman's 
sketches. Ella Retford, one of our daintiest and best comediennes, has performed 
much delightful work, and her appearance in the " Eightpence a Mile " revue at the 
Alhambra was attended with complete success. 

Last year it was remarked that the prevalence of tabloid versions of plays in music- 
halls was hardly in the best interests of variety, and it is pleasing to be able to 
record that the tendency to include these "boiled down dramas' has been less 
frequent during 1913. In a great number of instances they are unworthy of inclusion, 
and managers have been well advised to leave them alone. The twice-nightly panto- 
mimes have been popular at the Christmas season, but as these employ a large num- 
ber of music-hall artists they are to be welcomed, especially if they meet with public 
approval as would seem to be the case. 


Music halls have a great future before them, providing those responsible realise 
their opportunities. Some of the circuits jog along with booking arrangements which 
would be humorous were the results not so serious, but on the whole the public are 
being excellently catered for, and one looks forward with optimism to what 1914 
has to offer. 




ON May 14, 1913, Sir George Askwith issued the following Award as between 
variety artists and managers of variety houses, replacing the Award of 1907. 
The Award, which does not affect musicians and stage employees who came 
under the terms of the Award of 1907, came into existence on June 16. 
Except in respect of transfers, it does not apply to contracts made before June 15, 
which, however far ahead they may go in their provisions, remain under the Award 
of 1907. 


The following award is made by mo 
the undersigned May 14, 1913, for 
Theatres of Varieties in Great Britain 
and Ireland, to govern the relations of 
managers and artists for a period, by 
request of the parties, of not less than 
five years, and in accordance with the 
provisions of my award dated June 14, 
1907, the provisions of such award re- 
lating to future disputes being deemed 
and hereby found to 'have been duly ful- 
filled, and the parties 'having been heard 
on April 24, 25, and 26, and their state- 
ments fully considered. 


(1) No existing contracts made prior to 
this award shall be deemed to be affected 
by this award, except that by consent of 
the pa/Hies it was agreed that all actual 
expenses reasonably incurred of any trans 
fer shall be allowed and shall be paid 
within fourteen days of the completion of 
the transferred agreement. 


(2) In contracts made by a management 
for the performance of an artist at a West 
End theatre of varieties, i.e., a theatre 
situated within a radius of one mile from 
the monument in the yard of Charing 
Cross Railway Station on the northern 
bank of the Thames, to the entire exclu- 
sion of any other theatre of varieties, the 
terms and conditions shall be such as may 
be agreed upon between the parties. 

(3) The terms and conditions of other 
contracts are to be deemed to be subject 
to the following obligations, viz. : 

(a) A contract containing or in accord- 
ance with the provisions laid down 
in the annexed model contract 
should be ordinarily used with such 
proper alterations and additions as 
may be suitable for particular 
localities or circumstances. 

(6) No barring clauses shall impose 

greater restrictions than the restric- 
tions mentioned under the heading 
of Barring Clauses. 

(c) In the event of the contract baing 
made without the intervention of 
an agent, the management shall not 
charge or deduct any commission. 

(d) Options of re-engagement may be 
agreed upon between the artist and 
the management upon terms to be 
mutually arranged, 'but must be 
either upon a separate form, or, if 
put on the same form as the con- 
tract, must be in a space set apart 
from the rest of the contract and 
separately signed or initialled by 
the artist. 

(e) Any clause inserted in the form 
of contract calling upon the artist to 
prolong his engagement shall be 
subject to the engagements already 
entered into by the artist. 

(f) The number of performances 
allowed to be inserted in Clause 2 
of the form of contract shall, unless 
the artist agrees to the contrary, 
be tho usual weekly number of per- 
formances at the time of making 
the contract ; the number shall not 
in any case exceed twelve. 


The following is the form of model con- 
tract mentioned above: 

An Agreement made the day 

of 191 between 

hereinafter called the management of the 

on part and hereinafter 

called the artist of the other part wit- 
ni'sseth that the management hereby en- 
gages the artist and the artist accepts an 

engagement to appear as 

(or in his usual entertainment) at the 
theatres and from the dates for tho 
periods and at tho salaries stated in the 
Schedue hereto, upon and subject to the 
undermentioned conditions: 

1. The word "artist" shall when more 
than one is included in the performance 



include the plural (the troupe, company, 
partnership, or combination) and tho 
word " theatre " shall include all places of 
public entertainment. 

2. Tho artist agrees to appear at 

performances per week at 

a salary of and shall be 

paid at tho rate of one-twelfth of that 
salary for each performance required by 
the management in excess of ouch num- 

3. Where this contract relates to a 
troupe, company, partnership, combina- 
tion, or sketch, tho artist shall at the 
time -when the contract is signed furnish 
the management in writing with such 
names as tho management may require 
and shall not substitute a performer for 
a person so named without the written 
consent of the management. 

4. The artist may 1 transferred during 
the whole or any part of the engagement 
(not less than one week) to any other 
theatre owned or controlled by or asso- 
ciated with the management, with the 
consent of the artist, such consent not to 
be unreasonably withheld. 

All actual expenses reasonably incurred 
of any transfer shall be allowed and shall 
be paid within fourteen days of the com- 
pletion of the transferred engagement. 

5. Barring clause 

Upon breach of (any of) the barring 
clauses tho artist shall pay to the manage- 
ment as liquidated damages one week's 
salary for such breach thereof, but nothing 
in this clause shall affect tho right of tho 
management to apply for an injunction 
to restrain the artist from performing in 
breach of the said clauses, nor the right to 
determine the contract. 

6. The artist shall not infringe any 
copyright, patent, or other proprietary 
rights of third parties, and in the event 
of infringement shall bo liable for and on 
demand pay the amount of all damages, 
penalties, and costs incurred by the man- 

The artist shall not give or permit to be 
given any colourable imitation or version 
of his performance within the radius or 
time proscribed by the barring clauses. 

7. In case the artist shall, except 
through illness certified as hereinafter 
provided, or accident proved to the satis- 
faction of the management, fail to per- 
form at any performance, he shall pay 
to the" management, as and for liquidated 
damages, a sum equal to the sum which 
the artist would have received for such 
performance, in addition to costs and ex- 
panses incurred by the management 
through the default of the artist. 

When the management own or control 
two theatres in any provincial town the 
artist shall act as deputy in cases of 
emergency upon request, and be paid at 
a rate to be mutually arranged. 

8. The artist undertakes that his per- 
formance shall not 'be dangerous to the 

artists, audience, or stage employees. If 
any accident or injury results from the 
performance of the artist the artist ehall 
pay for any loss, damage, or costs in- 
curred by the management. 

9. The management shall not be liable 
to the artist or to the legal personal re- 
presentative of the artist for any loss, 
damage, or injury to the artist's person 
or property during or in connection with 
the engagement, unless caused by the 
negligence of the management. 

10. Tho artist shall not assign, mort- 
gage, or charge his salary, nor permit the 
same to bo taken in execution. No salary 
shall be paid for days upon which tho 
theatre is closed by reason of national 
mourning, fire, epidemic, strikes, lock- 
outs, disputes with employees, or order 
of the licensing or any public authority. 
No salary shall be payable for any per- 
formance at which an artist may not 
Appear through illness or his own default, 
nor provided that eight weeks' previous 
notice has been given to the artist for 
days upon which the theatre is closed for 
alterations, decorations, repairs, or any 
cause which the management may reason- 
ably consider adequate. 

11. The artist agrees to observe and 
carry out conditions and regulations im- 
posed by statute, the London County 
Council, or other public authority, and to 
comply with the requirements of any 
public authority that scenery and pro- 
perties used by tho artist shall be non- 
flammable. All flammable material 
brought into the theatre by the artist may 
be required to bo made non-flammable by 
him, or at his expense, 'by the manage- 

12. The artist declares that at the time 
of signing this contract he is under no 
engagement with any other management 
that can preclude him from fulfilling the 
engagements shown herein, and that he 
has not concealed any change of profes- 
sional name or description. 

13. The rules and regulations subjoined 
shall be read and construed as forming 
part of this contract, and the artist agrees 
to abide by all reasonable rules which may 
from time to time ba made by the man- 
agement for good and orderly conduct or 
special requirements of their theatres, pro- 
vided that the rules shall have been 
served on or brought to the notice of the 

14. Upon the breach by the artist of 
any of the terms and conditions in this 
contract, or of Rules 1 to 10, the manage- 
ment, without prejudice to other remedies, 
and in addition to rights given under the 
terms and conditions aforesaid, or the 
rules, may forthwith determine this con- 
tract, and the artist shall have no claim 
upon them for salary (other than a pro- 
portion for performances played), ex- 
penses, costs, or otherwise. 

The same provision shall apply upon 
breach by any member of a troupe or 



company, if not remedied after complaint 
by the management. 

15. Any notices under this contract may 
be served upon the artist by posting the 
same to his last known address, or to the 
agent through whom this contract is 
made, or while performing at any theatre 
in the manner specified by Rule 11. 

16. If the artist's performance is con- 
trary to law, or is objected to by any 
licensing or other public authority, this 
contract may be cancelled by the manage- 

If the management be threatened with 
legal proceedings in respect thereto the 
contract may bo cancelled, unless the 
artist forthwith provides indemnity to the 
satisfaction of the management. 

17. The artist shall notify his intention 
to appear, specifying dates and places, 
and send matter for billing, programmes, 
and advertisements, and in the case of a 
sketch or stage play a copy of the Lord 
Chamberlain's license, to 

in time to arrive at 

not later than twenty-one days before 


18. The artist is permitted to perform 
within the barred area of any theatre 
referred to herein not opened for public 
entertainment, provided that his perform- 
ance takes place within eight weeks of 
the making of the contract for the said 
performance and that he makes no new 
contract for any such performance after 
receipt of notice from the management 
that the actual building of any such 
theatre is then substantially commenced. 

19. If the theatre shall not be in the 
occupation and possession of the manage- 
ment at the date fixed for performance 
thereat the engagement shall, provided 
the best possible notice has been given to 
the artist in writing, be deemed to be can- 
celled as from the date of such notice. 

20. The agreement is subject to written 
confirmation by the management. If not 
confirmed within twenty-one days after 
receipt by the management of the agree- 
ment signed by the artist no liability 
shall attach either to the management or 
the artist. 


Week at 
the salary of 


1. The artist shall attend rehearsals if 
required at the places and times notified 
by the management. 

2. The artist shall be present in the 
theatre and ready for his appearance not 
less than five minutes before he is due to 
appear on the stage. 

The artist may be put on ten minutes 
later than the specified time, and if re- 
quired must do the whole of his perform- 
ance. The artist (unless exclusively en- 
gaged) shall not have the time for his 
appearance varied after the second per- 
formance on Monday evening, except in 

per week. 

case of emergency, unless the artist be 
notified in writing not later than noon of 
the day upon which the proposed change 
of time is required. 

3. In the event of an artist being un- 
able to perform through illness a medical 
certificate must be sent immediately to 
the management at the theatre, setting 
forth the nature of the illness and that 
the artist is unable to appear. If the 
artist is prevented by illness or from any 
cause whatever from performing on the 
first night, or for three consecutive per- 
formances, the engagement may either be 
determined or be treated as po&tponcd to 
such date as the management decide, sub- 
ject to engagements entered into by the 

4. Any artist giving expression to any 
vulgarity or words having a double mean- 
ing or using any objectionable gesture 
when on the stage shall be liable to in- 
stant dismissal, and if dismissed shall for- 
feit the salary for the current week. Any 
question under this clause to be decided 
by the management, whose decision shall 
be binding and final on the artist. 

5. Any artist being da the theatre in a 
state of intoxication may be fined one 
week's salary or dismissed. 

6. Artists shall not address the audi- 
ence except dn the regular course of the 
performance nor interfere in any manner 
with other artists or employees nor go 
into the front of the house without per- 

7. Singers shall, if required, sing at 
least three songs at each performance 
ine management may prohibit the whole 
or any part of the performance which 
they may reasonably consider unsuitable 
or displeasing to the audience, and in the 
case of songs may require a copy to be 
forwarded for approval twenty-one days 
before a song is to be sung, and no varia- 
tion will be permitted from words so ap- 
proved. The artist shall not be required 
to perform if by the unruly behaviour of 
ate audience his performance would be 
or is (rendered inaudible. 

The artist agrees to produce a new or 
revert to any old song, sketch, or busi- 
ness, on the reasonable request of the 
management, and to provide suitable 
dresses and properties. 

8. Artiste must respond to encores or 
not, as the management shall reasonably 

9. No naked lights shall .be carried or 
matches used, nor any lighting apparatus 
interfered with by the artists. Artiste 
u M , not ' bnn *?**> * he theatre com- 
bustible or explosive materials without 
the written permission of the management. 

10. Smoking is strictly prohibited in 
dressing-rooms or anywhere in proximitv 
to the stage. 

11. The artist must furnish the hall- 
keeper with his address, and while per- 
tormmg at any theatre notice shall be 


sufficiently served if sent to such address, 
or ff no address is furnished by deposit 
in the place for deposit of letters at the 

12. The management shall have the sole 
right to determine the position of the 
artist's name, the size and nature of the 
type, and the description of the turn on 
bills, programmes, and advertisement. 

13. No person not employed at the 
theatre shall go behind the scenes with- 
out permission. 


The United Kingdom, for barring pur- 
poses, shall be divided into three eec- 

(a) West End of London, as defined in 
Clauso 2 (Future Contracts). 

(b) Suburban, i.e., the Metropolitan 
Police District, exclusive of the 

Wot End. 
() The Provinces. 

An exclusive engagement means that 
during such engagement the artist shall 
not appear at any other public phi-- *>f 

nature of such alteration and the reasons 
therefor and the theatres affected thereby. 
The party receiving the notice shall have 
the right of replying to it within i\\<> 
calendar months, either by giving counter- 
notice or otherwise, and within one calen- 
dar month of the said counter-notice, on 
or before 31st March, two managers and 
two artists shall meet together and n 
deavour to come to an unanimous under- 
standing before 30th June, failing which 
both parties shall refer the question to 
arbitration. A party upon receiving notice 
as hereinbefore specified may within seven 
days demand that a like notice shall bo 
> rved on any other managements whom 
ho shall derm to lie nlUvted, and upon 
such demand notice .shall be served forth- 
with upon -udi .ihr managements, and 
shall bo d> fun d to have been served on 
the 1st January. 

In the event of no understanding being 
arrived at between the parties affected the 
question, in accordance with agrreui. n; 
now come to, shall be referred for final 
determination to me, or failing me to 
another agreed arbitrator, or failing agree- 
ment to an arbitrator appointed by 
the Hoard of Trade. Upon such reference 
each party shall, as a condition precedent 

M \\IMr.M BARS. 

Distance i.e., n RadiuH 
(according to the 
Ordnance Survey) of 


West Knd, exclusive, nee CUuic 2 (future contracts). . 
West End turns (one week's engagement) 

1 mile 
1 mile 
2 miles 
2 miles 
6 miles 

16 weeks 
48 ,. 
52 ,, mid also 2 weeks 
after engagement 

West Cnrt tarns (two weeks' engagement or Ion*. 
Suburban , exchmive 

Suburban turns 


The extension bar referred to in the 1907 Award, Barring Clauses, subsection (ft is abolished. 


In the event of any dispute arising here- 
after no strike or stoppage of work shall 
take place, and if any change be desired in 
the rules and conditions hereinbefore de- 
clared six calendar months' notice in 
writing must be given, either by manage- 
ments or artists, such notice to expire on 
June 30 in any year (except that neither 
side shall give such notice prior to Janu- 
ary 1, 1918), and shall state clearly the 

to arbitration, deposit the sum of 20 with 
the arbitrator, who may out of such sum 
award costs to either party. The decision 
of the arbitrator shall be final and binding 
on the parties. 

This present Award shall come into foroe 
on and after Monday, June 16, 1913. 

Signed and published this 14th day of 
May, 1913, 

Chief Industrial Commissioner. 































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Miss RF.TFOHP scored 9, success in the Alhambra Eevue, " Eightpence a Mile." 



In his new " Broncho " song. 












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By W, H. DENNY. 

THE year .now passed and gone has proved a great disappointment to managers, 
who looked for a revival of business after the election had ended the 
indecision of affairs prior to November in the previous year, when the 
Democrats made such a clean sweep and put their candidate in the Presi- 
dential chair. 

It was prophesied that business would take a jump, and once more the days of 
plenty would arrive ; but the year turned out one of the worst on record, when 
the number of productions and the amount of capital invested in the numerous 
ventures put forth by the various producers in this vast country are taken into 

Whatever the cause inducing this condition of affairs, this is no place for the 
discussion ; but it may not be quite out of place to record that in one large city 
alone nearly eight million people paid for admission to the picture houses last year, 
representing a cash statement amounting to close on $5,000,000, or one million 
pounds. Of course, this is only a newspaper announcement, and, in the absence 
of opportunity for verification, one may receive the statement with caution ; but 
for all that there is not the least gainsaying that an enormous amount of business 
has been taken away from the theatres by these cheap entertainments. 

The advent of the New Year saw no fewer than fourteen successes running on 
Broadway, three of them of the first magnitude, these being "Broadway Jones" 
at the Cohan Theatre, "Oh! Oh! Delphine ! " at the Knickerbocker, and "The 
Whip " at the Manhattan, this last-named attracting wonderful business. The 
prices being of the popular kind, from one shilling to four and twopence, perhaps 
furnished an object-lesson to those managers who insist upon charging double, and 
even more. 

The remaining successes were "Years of Discretion " at the Belasco, "Snow 
White" at the Little, "The Conspiracy " at the Garrick, "The Argyle Case" at 
the Criterion, " The Yellow Jacket " at the Fulton, " Stop Thief ! " at the Gaiety, 
" The Lady of the Slipper " at the Globe, " Firefly " at the Casino, " Little 
Women" at the Playhouse, "Milestones" at the Liberty, and "Fanny's First 
Play" at the Comedy, the last two, like "The Whip," being, of course, London 
successes prior to being presented in this city. These fourteen plays represented 
the result of nearly one hundred and fifty produced since the opening of the season 
in the previous August. 

The month of January saw about a dozen productions, of which but three proved 
attractive, " A Good Little Devil," by Mme. Rostand and her son, which was 
presented by David Belasco at the Republic Theatre; "The Poor Little Rich 
Girl," by Eleanor Gates, presented by Arthur Hopkins, a new addition to the 
extremely limited small producers ; and " Joseph and His Brethren," which turned 
out to be one of the most successful productions made by the Lieblers, the play 
having been selected by George Tyler, the author being Louis N. Parker. After 
this play had run the season out at the Century Theatre, it proved an irresistible 
draw on the road, and is still making large sums of money in the States. 

During this month the Shuberts endeavoured to introduce the English system 
of charging for programmes, but it aroused such a volume of indignant protest 
that the scheme had to be abandoned. 

Early in the year several mechanical contrivances were tried out to supplant the 
orchestras in theatres, the movement being induced by the increasing demands of 
the musicians, made through their union. Several were installed in different 
theatres, but only proved moderately successful. 


An attempt was made during January by an association dubbing itself The Stage 
Society to give plays in New York on Sunday, but the police interfered, and after 
deferring the beginning of the performance until after midnight for one or two 
productions the promoters gave up the idea, and held performances on week nights, or 
matinees, though very little in this direction transpired throughout the subsequent 

The New Year also gave birth to a rumour concerning the arrival at a mutual 
understanding of the rival firms of Klaw and Erlanger and the Shuberts, and 
although strenuously denied at first, subsequently it became an accomplished fact, 
and the two firms entered upon an agreement to consult each other with regard to 
bookings. Prior to this understanding or agreement each firm tried to find out 
the bookings in each large city, and endeavoured to send an attraction similar to 
that sent by the opposition, but stronger. Another part of the agreement was 
that unremunerative theatres should be abandoned or given over to pictures, both 
firms having gone into the picture business, in conjunction with the Biograph and 
\ : itagraph companies. At the time of writing they are endeavouring to bring about 
an understanding'whereby the salaries of actors employed by them may be reduced, 
since the cladm is that actors in the first rank obtain remuneration entirely out of 
proportion to the services rendered. How far this may go in the way of achieve- 
ment remains to be seen. 

The actors were not slow to appreciate the danger of the approaching change in 
affairs, and a number of the principal members of the various companies met and 
suggested the formation of a new society called The Actors' Equity Association, 
the principal persons connected with it being Francis Wilson, who was elected 
President; Henry Miller, who was chosen for Vice-President; Bruce McCrae, Secre- 
tary ; Frank Gilmore, and several others, while the membership speedily rose to 
tho number of five hundred, including practically all the principal actors of New 
York. .Soon after the Association was placed on a working footing actresses also were 
accepted as eligible, but at present extremely little has been accomplished in the 
way of effective steps to insure united action. The Association is perhaps too young 
to allow of an estimation of its probable effectiveness ; but a significant sign of 
its weakness may be gathered from the fact that the Vice-President published a 
letter in a theatrical organ evidencing extremely inimical ideas regarding the actor, 
siding with the managers regarding the contention that the actors were an overpaid 

Towards the end of the month of January a rather sad indication of the modern 
trend of theatrical affairs was evidenced in the turning of Wallack's Theatre into a 
picture house. This did not last very long, however, and an attempt was made to 
establish a stock company, with Nance O'Neill as principal leading woman, but it 
failed, and later the Irish Players entered upon a season, which proved attractive 
an;l remunerative. 

February proved more successful as a producing month, since out of nine 
productions five turned out to be successful, these being "The Sunshine Girl " at 
the Knickerbocker Theatre, with Julia Sanderson in the principal part; "The 
Honeymoon Express " at the Winter Garden, with the mechanical effect of a race 
between an express train and an automobile, which drew the public to the Garden 

Proxy" at .the Cohan Theatre, with May Irwin in the star part, which made 
considerable money for the Lieblers ; and " Romance," by Edward Sheldon. The 
last-named had a fanciful construction, whereby the former life passed again 
before the imagination of the elderly ecclesiastic, and once more he saw himself 
the devotee of the opera singer, which character served for Miss Doris Keane 
to register an artistic success of the highest order, and place her dn the ranks of 
the stars of the dramatic profession. 

In Chicago during February the authorities bestirred themselves regarding the 
safety of the theatres in case of fire, and as a result ordered quite a number of 
houses to be closed, including the popular La Salle, until alterations could be made. 
In February also the Marquis of Queensberry arrived, after being much heralded 
by a pushing Press agent, eventually producing a piece entitled " The Light on 
the Road." But it proved but a poor farthing dip, and flickered out immediately. 

In spite of the fact that everybody connected with the theatres in this city was 
painfully aware of the fact that there were far too many theatres, no fewer than four 
new ones were opened during the first two months of the year. They were the 
Court, the Eltinge, the Forty-eighth Street, and Weber and Fields Theatre, while 


two more, the Booth and the Shubert, were in active course of preparation, and were 
opened later on. Ground had also been cleared for another, the Strand, but opera- 
tions came to a standstill for want of capital. Towards the end of the year, however, 
they were resumed, and at present the house is near completion, with the announce- 
ment that it is to be opened at the dollar limit, with an attraction that has made 
enormous profit in San Francisco. Other new theatres are to follow. 

March had eight productions to its credit, and the opening of the Princess Theatre, 
with three playlets, "The Switchboard," "Fancy Free," and "Any Night." One 
of these productions, " The Ghost Breaker," by Paul Dickey and Charles W. God- 
dard, was most successful at the Lyceum Theatre, with Harry Warner in the star 
part. Another success was achieved at the Thirty-ninth Street Theatre by " The 
Five Frankfurters," though not of any very great proportions ; but it served to reveal 
unsuspected powers in the acting of Madame Cotrelli, who played the part of the 
mother. Another of these productions caused a run on plays on similar lines. This 
was " Damaged Goods," an adaptation reported to be by Mrs. G. B. Shaw, of " Les 
A varies," by Brieux. The play was announced as under the auspices of a medical 
association, and contained the most outspoken sentiments regarding certain medical 
subjects, usually discussed in secret, or at medical gatherings. The first representa- 
tion was at a matinee, but later the piece was put into the night bill, and drew 
crowded audiences, running out the season, reopening after a brief withdrawal 
during the hot period, but only for a limited run. Later in the year it was sent to 
Chicago, also under the auspices of the local medical authorities, and attracted extra- 
ordinary business. In consequence of this, there was a rush on the part of managers 
and authorities to provide the public with plays on kindred subjects, called vice 
plays, under the impression that the public required that class of dramatic food, but 
disappointment was the result, except in the case of one or two which contained 
sufficient power to carry the otherwise objectionable matter. 

A new association sprung into existence about this time, termed The Federation of 
Theatre Clubs, with Sydney Rosenfeld at the head of affairs, and the name of William 
A. Brady also on the list of principal members. The avowed object was to produce 
plays selected by the committee, the guiding influence being exerted -by Rosenfeld, 
but early dissension sprung up among the members concerning the Rosenfeld methods, 
and little of importance was accomplished in this direction. 

Additions to the Copyright Bill were made owing to the efforts of the National 
Association of Producing Managers, rendering play piracy more difficult and prosecu- 
tion of offending persons easier. 

In March Winthrop Ames filed a bond for $10,000 (two thousand pounds) with a 
banking firm, the amount to be awarded to the author of a play selected from any 
sent in before a certain date. The judges appointed to select the play were Augustus 
Thomas (the author), and Adolf Klauber (the dramatic critic of the " New York 
Times "), and Winthrop Ames himself. A deluge of MSS. was the result, and, 
although the competition closed long before the opening of the autumn season, the 
winning play has only just been selected. By pre-arrangement, however, the name 
of the author will not be made public until after the production, which is shortly 
to take place. This method of obtaining MSS. has since been adopted by several 
other managers and producers, notably Oliver Morosco and the management of the 
Princess Theatre. 

In March new excess rates on the railway came into force, whereby all trunks over 
a certain height were to be charged excess, but owing to the efforts of the White Rats 
Actors' Union of America professional baggage was exempted. 

There were only two original productions in April. " The Lady From Oklahoma," 
by Kate Jordan, at the Forty-eighth Street Theatre, was produced by Jessie Bonstelle 
in conjunction with Messrs. Shubert and Brady. Unfortunately it had too strong a 
resemblance to " The Governor's Lady," played the previous season at the Republic 
Theatre, under the management of David Belasco, and it was withdrawn immediately 
owing to want of interest on the part of the public. The second was " The Purple 
Road," a musical piece, produced by Jos. M. Gaites, with the most lavish scenery 
and effects, in which Miss "Valli Valli gave a most beautiful performance of the 
heroine, but in spite of every effort the play came to an end on the road soon after 
the autumn season had opened. 

Though there were but two original productions, quite a number of revivals took 
place, including the old Wallack play, "Rosedale," at the Lyric; the Gilbert and 
Sullivan operas at the Casino; and " The Amazons " at the Empire, with Miss Billie 
Burke in the principal part. 


In this month Miss Horniman, with her Manchester company, opened at the Ply- 
mouth Theatre in Boston, and registered a success. 

In April the Mayor of this city, Mr. Gaynor, in an eoideavour to curb the evil 
wrought by the keeping open of restaurants until all hours by means of cabaret 
shows, issued an order for a general closing of all restaurants and saloons at one 
o'clock during the week, except Saturday, when midnight was given as the time to 
shut down. This order aroused considerable objection, in many instances from 
the guests themselves, who frequently had to be forcibly ejected from the places 
frequented by them by the police. 

In Chicago this month a fruitless fight against an ordinance calling for a 200 
license for theatres charging a dollar or more for admission terminated in the 
order becoming law. Other places of entertainment, down to the 5> 
houses, were ordered to take out licensee at proportionate amounts. 

In Chicago, too, a successful prosecution of a play pirate iv.Milt.'d in a fine of 
$500 (100) for selling a manager in Vancouver a MS. of " Baby Mine " for a sum 
which he said covered fee* for the original author and consequently permission to 
play. Sutro's " Builder of Bridges " was also in the case, but the defendant proved 
that it was registered before the present law case came into force. 

A plan had been evolve J for the provision of opera at the Century Theatre, 
and among the contributor* to the capital necessary to finance the scheme were 
many of the promoters of the New Theatre project, for which the Century 
originally built, the principal being Otto Kahn, the banker. Considerable spV 
tion was aroused as to who would be given the direction, but late in April it was 
announced that the Brothers Aborn (Milton and Sargent), who have been associated 
with Kn^lish opera at cheap prices for years, had been appointed to the position. 
and in tin- autumn the Century was opened with opera at popular prices, and has 
since continued to attract crowded audiences. 

In Chicago dissensions led to the resignation of Andreas Dippel from the manage- 
ment of the Grand Opera Company and the substitution of Campanini, while in 
Philadelphia the beautiful Opera House built by Oscar Hammerstein was acquire'! 
by a vaudeville syndicate headed by Nixon and Zimmerman. A provision was 
(liand Opera should be given during a certain number of weeks in the season. 

In far-off California a Bill passed the Senate containing certain provisions for 
the pit< c-'.ioti of actors, agents being called upon to furnish bond before they 
could begin operations, while contracts were ordered to be drawn out by the Com- 
missioner of Labour. 

May wis a month of failures, for three original productions were quickly with- 
drawn, while an attempt of Fritzie Scheff to revive interest in " Mile. Modiste " 
failed utterly, and a subsequent season in Chicago resulted in disbandment. 

This month saw the closing down of several productions which had been classed 
among the principal successes, including " Stop Thief," " The Lady of the Slipper," 
and "Oh! Oh! IMphine ! ' In ;i)l tliirt<-'ii attractions closed down, and most of 
the theatres remained dark until the opening of the autumn season. Charles 
Frohman made an earlier departure for London than usual, and in June Al. H. 
Woods followed his example, as did Marc Klaw also, the object of the three being 
the scouring of the United Kingdom and the Continent for attractions for the next 
season. These were followed soon by William A. Brady, while David Belasco, for 
the first time in ten years, crossed the Atlantic in order to look around the London 
and Parisian theatres. 

In June the summer attractions "All Aboard" and "The Follies of 1913" 
were presented on the roofs of the Forty-fourth Street and New Amsterdam 
Theatres. .The actors arriving on Broadway, after the calling in of the attractions 
with which they were playing, discovered that an order of the police prevented fc^eir 
loitering on the pavement of that portion of the popular thoroughfare known as the 
Rialto. This order was issued on the complaint of the shopkeepers, who claimed 
that ^.he loiterers interfered with their custom by preventing people seeing the 
wares in the windows. 

In July a remarkable instance of plays being " released " for stock was given hy 
Charles Frohman putting a number of his plays on the list of those eligible for 
stock managers. Among others were "The Mind-the-Paint-Girl " and "Preserv- 
ing Mr. Panmure." Previously to this years used to elapse before a popular play 
was allowed to be released. 

In Montreal a new opera was given its initial performance, with Joseph P. Bicker- 
ton as the producer, though it was an open secret that at his back was William 
Ziegler, jun., who had just been given the first instalment of a fortune left him by 
his uncle; this fortune amounting to over $16,000,000. The opera was " A dele," 
and has since established itself in New York as a reigning succe&e. 


in " Madame President." 


in "Adele," Act. II. 





as PEG, in "Peg o' My Heart." 


During the close month the stage hands, musicians, and managers resumed the 
old standing fights between them, and this led to an agreement between the stage 
hands and the managers, a mutually agreed contract being drawn up and signed, to 
be operative for two years. 

The autumn season opened early in August with " The Silver Wedding," produced 
by Henry Frazee, with Tom Wise in the star part, but the piece proved a failure ; 
while on the same evening "Damaged Goods" was revived, and later a version of 
the Montague Glass tales, prepared by Charles Klein, and previously tried out in 
Atlantic City, was presented at the Cohan Theatre, and proved an instant success, 
while at the Maxine Elliott Theatre the first instalment of the vice plays, with 
which the theatres of this city were to be inundated, was presented by the Shuberts. 
The play was called "The Lure," by George Scarborough, and attracted consider- 
able attention, as did also a play by Bayard Veiller, presented at the Hudson 
Theatre the first week in September, entitled " The Fight. " Both plays came under 
police supervision, resulting in an order for the objectionable c.cenes to be eliminated, 
after a private performance had been given before the authorities. The alterations 
proved fatal to " The Fight," which was soon withdrawn, and sent on tour, but 
. " The Lure " survived, and ran until late in December. 

Nine original productions were given in August, and out of these five were suc- 
cessful, including " The Family Cupboard," presented at the Playhouse by William 
A. Brady, and "Believe Me, Xantippe," at the Thirty-ninth Street Theatre, with 
John Barrymore as the star. This latter play was the winner of a prize offered 
by John Craig, of the .Castle Square Theatre, Boston, for competition among the 
Harvard students, the author being an undergraduate named Frederick Ballard. 
" Adele," already referred to, was also brought to the new Long Acre Theatre, and 
registered a success. 

The month of September saw no fewer than fifteen productions, in addition to 
the opening of the Hippodrome, with the great spectacular production " America '" 
and John Drew's appearance as Benedick in "Much Ado About Nothing." For 
this last an enormous amount of Press agent's work had been scattered abroad, the 
result .being what the title of the play suggested, for in less than two weeks the 
scant addition to the box-office receipts induced Charles Frohman to present his 
star in modern comedy, which failed to attract also, so Mr. Drew was sent on the 

Of the fifteen productions but four turned out successful, while the others regis- 
tered short runs, from one performance to a week or so. Of these four, " Nearly 
Married," at the Gaiety, was looked forward to with interest, for the reason that 
it marked the first appearance of Bruce. McCrae, a nephew of Sir Charles Wynd- 
ham's, as a star actor. The result was, to a certain .extent, successful, and the 
comedy registered quite a respectable -run, considering present conditions, keeping 
the boards until nearly Christmas; while "Madame Presidente," at the Garrick, 
produced under the direction of Charles Dillingham, with Miss Fannie W T ard as the 
star, reached the New Year. 

One of the other two successes was " Sweethearts," a new comic, opera by Victor 
Herbert, with Miss Christie McDonald in the principal part. This was originally 
presented in New York, at the New Amsterdam Theatre, being removed to the 
Liberty later, to make room for Ivan Caryll's musical version of " The Little Cafe." 
The other was " Seven Keys to Baldpate," by George M. Cohan, adapted from a 
novel of the same title, by Earle Derr Biggars, which was presented at the Cohan 
Theatre, and scored a success which promises to run the entire season out. 

Considerable disappointment was experienced at the Casino, through " Lieber 
Augustin " failing to attract to any considerable extent. This was the same 
musical comedy as "Princess Caprice," which ran at the Shaftesbury in London. 
But the Shuberts thought it better to revert to the original German title. After- 
wards it was changed to "Miss Caprice," but in spite of the fact that an excep- 
tional cast was provided, including May De Sousa, George Macfarlane, and De Wolf 
Hopper, the piece had to be removed, and was sent to Chicago in the hope that it 
would create interest there. But there also it was a failure, and De Wolf Hopper 
was recalled to New York, to take the principal part in the production of the 
Drury Lane pantomime " Hop-O'-My-Thumb " at the Manhattan Theatre. 

Still another disappointment was experienced in the production of the George 
Edwardes musical comedy "The Marriage Market," which came with the hall- 
mark of a London success, but in spite of the most lavish mounting, and the reputa- 
tion of a Frohman production, it failed to arouse any very great interest, and was 
sent on the road to try its chances. 

Stanley Houghton's "Younger Generation" fared still worse, in spite of the fact 


that it received most favourable notices, and, furthermore, was bolstered up with 
Barrio's " Half-an-Hour," with Grace George in the leading part. After a few 
weeks' endeavour to force a run, the bill was withdrawn, and sent outside New 
York, where it proved equally unsuccessful. 

David Belasco, in September, revived " The Auctioneer," with David Warfield 
in the character which originally brought him into prominence ; but it failed to 
excite much interest, in spite of the fact that the piece had been brought up to 
date, and was withdrawn after a run of several weeks. 

October opened rather badly with the production of a dramatic version of Long- 
fellow's " Evangeline," which Arthur Hopkins, who also produced " The Poor 
Little Rich Girl " with such success, presented, with Edna Goodrich in the name- 
part. The reception was so adverse that the piece was speedily withdrawn, inflict- 
ing a very severe monetary loss upon the producer, who had mounted it in the most 
gorgeous and expensive manner. 

Of the other twelve productions made subsequently in this month but four proved 
successful, the principal being the Granville Barker production of " Prunella," 
which Winthrop Ames presented at the Little Theatre. It made an instantaneous 
success, in spite of the fact that it was entirely opposed to the class of play sought 
after by almost everybody running theatres in New York City. Its charming sim- 
plicity and pureness of motive made a direct appeal to the public, and after playing 
to packed houses for over two months at the Little the piece was removed to the 
Booth Theatre, to replace " The Great Adventure," which was also produced this 
month, but which failed to attract any very considerable amount of patronage. The 
success of " Prunella " was as much d*ue to the cast as to the merit of the play itself, 
for Miss Marguerite Clark as Prunella and Ernest Glendinning as the Pierrot 
attracted exceptional notice from the reviewers. 

" At Bay," by George Scarborough, who wrote " The Lure," proved successful 
at the Thirty-ninth Street Theatre, mainly owing to the playing of the principal 
part by Guy Standing, who came over from London especially engaged for it. 
The piece was done out of town first, after which some alterations were effected by 
Augustus Thomas. Though Augustus Thomas could apparently effect a change for 
the better in " At Bay," he evidently could not do the same for his own play, 
" Indian Summer," in which Charles Frohman presented John Mason at the 
Empire. The piece did not last long. 

A success was registered at the Forty-eighth Street Theatre, where " To-day," 
one of the numerous vice plays with which New York was inundated after the 
success of " Damaged Goods," was presented. The play was given the most un- 
favourable comment by every critic, and all connected with it expected a speedy 
dissolution, but it was suggested to the producers that a different ending to the 
original one might prove more interesting, for it would excite, perhaps, more feeling 
among the audience if the husband killed the guilty wife whom he found in the 
resort, instead of going out and leaving her to an indefinite fate. This was effected, 
and th box-office immediately showed improved results. Prior to this, one of the 
actresses, who had put money into the venture originally, sold her interest out to 
Harry von Tilzer, the composer of popular songs, thus giving him almost sole 
ownership, and she is appealing to the courts to rescind the transaction, alleging 
that von Tilzer had taken undue advantage of his knowledge of the improved 
conditions, and induced her to part with her holdings. A musical version of " Oh ! I 
Say!!" produced at the Casino, also proved successful. 

The arrival of Sir Johnston Forbes-Robertson and Lady Forbes-Robertson with 
their company for the purpose of playing a season of Shakespearean and other plays 
at the new Shubert Theatre aroused extraordinary attention, and public receptions 
were tendered them, at which the notables of the city attended, and their subsequent 
appearance in their repertory proved to be the most important event of the season, 
and the time set apart for them had to be extended indefinitely. 

About the same time Cyril Maude, accompanied by his daughter Margery, arrived 
in Canada with his company. After several weeks of successful appearances he 
came to New York, where his first productions failed to succeed, though his per- 
sonal notices were of the most favourable description. Eventually he presented 
his latest play, "Grumpy," which scored an immediate success; so much so that 
his managers^ the Lieblers, decided to relinquish the original intention of present- 
ing him in repertory, and confine his appearances in this country solely to 
"Grumpy," which is at the time of writing attracting magnificent business to 
Wallack's Theatre, where Mr. Maude was placed. 

Mr. F. R. Benson, too, arrived about this time for the purpose of presenting a 
company in a round of Shakespearean plays, but hU coming had been anticipated 


by a singularly unpleasant statement explaining his reasons for not appearing in 
New York, reflecting upon the taste of the playgoing public of that city. In spite 
of denials and absolute refutation, the report seriously affected the public opinion 
in Chicago, where the first American appearance was made. 

The increasing establishment of stock companies received a serious set-back 
with the closing of the Orpheum Players at the Chestnut Street Theatre, where 
stock had existed for many years, latterly under the management of Mr. Percy 
Winter, a nephew of William Winter, the one-time critic of the New York Tribune. 
For some reason or other, Mr. Winter was replaced by another manager, a step 
which apparently resulted in a speedy ending of the venture. 

At the Garden Theatre in this city, also, an attempt was made to institute a 
stock company, but without success. 

At this period rumours were general regarding the failure of productions to 
attract paying business all over the United States, and from San Francisco the 
news arrived of the stranding of the company touring " The Enchantress," a 
musical comedy, headed by Miss Kitty Gordon, and looked upon as a first-class 
venture. A benefit performance had to be given, in order to assist most of the 
members of the company -back to the East ; and in the North-west " Over the 
River," a musical version of "The Man from Mexico," headed by Eddy Foy, 
shared a similar fate. The members of "The Count of Luxembourg " perhaps 
were more fortunate, since the company were disbanded in the regular manner by 
Klaw and Erlanger on the grounds that, although fine business had been done, the 
heavy salary list prevented a profit being made, and so they had to call it in. 

The beginning of November saw the opening of the Cyril Maude season at 
Wallack's Theatre, already referred to, and the presentation of new productions, 
the most important and successful of which was a musical version of Justin 
Huntly McCarthy's novel " iSeraphina," by David Stevens and the author, -with 
music by Victor Herbert, in which Anne Swinburne performed the principal part. 
The title chosen was " The Madcap Duchess," and the initial performances took 
place in Boston, where the piece made an instant success. It was -brought to the 
Globe, and repeated the Boston success, and is still running, the venture being 
that of H. H. Frazee, who, in conjunction with George Lederer, an enor- 
mous amount of money out of an American version of the London failure, 
' ' Madame Sherry. ' ' 

"General John Regan," too, scored a success at the Hudson Theatre, with 
Arnold Daly in the part played originally by Charles Hawtrey, while "The Little 
Cafe," at the New Amsterdam, made an impression scarcely inferior to that 
created by " The Pink Lady" and " Delphine." 

Considerable consternation was created by the announcement that hereafter 
actors' salaries exceeding $3,000 (six hundred pounds) per annum in the case of 
eingle and $4,000 for those married would be subject to a tax of one per cent., 
amounting to a little more than twopence in the pound, the tax to be deducted 
from their salaries by the manager, who is held responsible for the collection. A 
decision of some importance was handed down by one of the judges this month. 
The case was one brought against the Shuberts by an author, who had submitted 
a play to them, and who claimed that they had taken the main idea from his 
play and .embodied it in their production of " Niagara" at the Hippodrome. The 
judge decided against the plaintiff. A few weeks previously to this a ruling was 
given in an action brought by Acton Davis against the author and producer of 
"Kindling," claiming that the plot had been taken from the report of an occur- 
rence brought to his notice during a journey and which he had recorded. The 
judge decided that no copyright could exist in anything which had really happened, 
and was merely news of the period. 

November was an extremely busy month, with ten productions new to New York, 
in addition to the Forbes-Robertson and Cyril Maude seasons, entailing frequent 
changes of bill, and the Winter Garden entertainment. Of the twelve productions 
buit two turned out to be real successes, "General John Regan " and "Madcap 
Duchess," both, strangely enough, the product of Irishmen, the first-named being 
by the Dublin ecclesiastic who hides his real name under the nom ds 
guerre of George A. Birmingham, while Justin Huntly McCarthy's novel, 
" Seraphina," supplied the motif for "The Madcap Duchess," Victor Herbert, 
also an Irishman, providing the music. "General John Regan" jumped at once 
into favour with the public, its quaint display of intimate Irish life attracting 
business, which induced the Lieblers to announce that they would cease to make any 
more productions, especially as almost immediately afterwards the production of 
"Grumpy" at Wallack's Theatre, also under their management, proved a success. 
"The Madcap Duchess,' too, made an instant success, owing to the delightful 


music of Victor Herbert, and to the charm of the art of Miss Anne Swinburne, who 
made her bow to the audiences of New York for the tirst time as an operatic star. 

Of the others several disappeared from the programme immediately, while a few 
created just sufficient attention to justify the management in keeping them going, 
principally for the reason that there was really nothing in sight to replace them. 
An exception perhaps might be made in the case of "The Little Cafe," at the New 
Amsterdam Theatre, where Ivan Caryll's catchy music infused a certain amount of 
popularity into the musical comedy, but the effect on the public fell far short of 
that made by " Oh ! Oh ! Delphine " and " The Pink Lady,' by the same composer. 
Increased advertising, however, offset this for a time, but the piece could not be 
classed among the wonderful successes of the year. 

Perhaps the most notable matter at this time was the marvellous business done 
by Sir Johnston Forbes-Robertson at the new Shubert Theatre, where night after 
night the entire house was sold out to audiences which packed the theatre, and gave 
every indication of the most enthusiastic appreciation. 

The advent of Cyril Maude did not create the attention that was expected, one 
reason being that he was relegated to a down-town theatre, far away from the 
theatrical centre, and another that he was ill-advised enough to open with a play 
already seen in this city, having failed to attract much attention then, and, as 
though that were not sufficient, this was followed by another which had previously 
proved a failure here. At length " Grumpy " was presented, scoring a success at 
once, inducing the Lieblers to make the announcement already referred to, and, 
furthermore, to cause Cyril Maude to rely on it as his one effort, instead of reper- 
tory, as originally intended. 

\ table event also took place in November, being the first production offered in 
New York by David Belasco, other than at one of his own theatres for many years. 
The popular manager presented a " crook '' play, by Roland B. Molineux, entitled 
" The Man Inside," at the Criterion Theatre, the Belasco being occupied by David 
Warfield in " The Auctioneer," and his other theatre, the Republic, by " The Tem- 
peramental Journey." Although bearing the hall-mark of David Belasco, the pro- 
duction could not >be placed on the first list, though it served to attract a certain 
amount of patronage for a limited period. At the Winter Garden the Shuberts 
presented an entertainment entitled, " The Pleasure Seekers," by Edgar Smith and 
Ray Goetz, but the production fell far short of previous attractions at the place, 
ana vigorous steps were at once taken to introduce items calculated to improve its 

An event of importance to the theatrical profession came this month with the new 
income-tax, which is intended to offset the effect of the reduced tariff. As the tax 
is to be deducted at the source, managers were prepared to make weekly reductions, 
since they would be held responsible for the amounts due. An appeal by one of the 
actors to the Treasury officials educed the fact that actors' salaries came under the 
section providing for incomes of uncertain and indefinite amounts, the tax on which 
must be paid by the individual after a sworn statement. This caused considerable 
relief to the members of the theatrical profession generally, and to those in receipt of 
large salaries particularly. 

At the Manhattan Theatre the Drury Lane pantomime, " Hop-O'-My-Thumb," was 
produced late in November by the same syndicate that made such a large amount of 
money out of " The Whip," but the experiment proved a failure, although as good 
a cast as possible, as far as names were concerned, was obtained, and no expense was 
spared in the mounting, the whr.le of the elaborate effects from the Lane being 
brought over. The last month of the year saw quite a number of new productions, 
owing to the fact that so ma/iy attractions failed to come up to the expectations of 
their promoters. Of these special mention must be made of David Belasco' s produc- 
tion of a version of Henry Bernstein's "The Secret," which gained considerable 
notice from the public owing to the artistic acting of 'Miss Frances Starr, who 
playect the heroine. 

And so the very worst year on record closed with depleted exchequer in many 
instances, bankruptcy in others, while never before has it happened t/hat so many 
actors have been idle at this time of the year, when usually every available artist is 
occupied. Nor is this the worst phase of the case, since managers have scarcely 
an attraction that they can count upon to take them safely to the summer, or one 
that can offer any very great prospect for the road when the present pieces have to 
be called in. 

However, hope springs eternal in the human breast, and none can foretell what 
good fortune awaits the American drama in the immediate future. On all sides 
confident predictions are heard regarding the possibilities of next year, and the 
most one can remark is "Let us hope so ! " 









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In " The Lure," at the Maxine Elliott. 


In " The Little Caf<S" at the New Amsterdam, 



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THE announcement that during the week of December 1, 1913, the vaudeville 
world celebrated the thirtieth anniversary of the foundation of Aim-i-iran 
vaudeville by 13. F. Keith brings to public attention the fact that the iim.-t 
popular of American amusements has barely reached the end of its third 
decade, and that Hroadway has a great clearing house for vaudeville, where evrry 
first-class act on the native and European stage is represented and traded in as an 
amusement staple. To the men and women of variety this clearing house for enter- 
tainers of all kinds, from intelligent animals to Sarah Bernhardt, is known as the 
United Booking Offices, and it controls a weekly salary list of well over a half- 
million dollars. It is located in the Putnam Bujlding, at No. 1,493, Broadway, and 
the presiding genius and general manager, who has made "big business" out of 
an amusement, is . F. Albee. Half-a-dozen floors are given over to the executive 
offices and headquarters of the magnates of vaudeville and their allied agents and 
managers. This is the home of " Big Time," in the argot of tne two-a-day artists, 
and every first-class vaudeville theatre in America is an integral part of the great 
organisation that has linked up a once disorganised and inchoate business into a 
wonderfully co-ordinated and efficient institution. The halls and elevators of the 
1'iitnam Building are crowded all day long with vaudeville performers seeking 
audience with the booking powers, who determine the weekly programmes in Port- 
land, Me., and P 'land, Ore., and every city and major town between. In a few 
weeks the Unit i -ill remove to the marble B. F. Keith Palace Theatre Building, 
where a dozen floors have been arranged for the special needs of vaudeville. In 
the new offices only solid mahogany is used for fittings and furniture, and the 
United's new home will be finer than any bank. 

At present on a morning in the Putnam Building one may see Loney Haskell 
chaperoning Don, the talking dog, on his way to an audience with the booking 
powers. Peter, the man-monkey, chatters savagely at Don, his rival, as they enter 
the elevator together. In the same car going up is Dainty Marie, she of the silk 
union suit and the flying rings, chatting with Willa Holt \Vakefield, the most refined 
pianologist. Joe Welch, Hebrew monologuist, exchanges stories with Frank 
Fogarty, the Dublin minstrel, and the cachinnation of ( 'onroy and Lemaire, 
specialists in Ethiopian comedy, is heard as they enter the building. Pretty Bessie 
Wynn says " howdy " to Olga Nethersole, and Lynch and Zeller, club swingers, re- 
mind Marie Lloyd, in the entrance, that they played on the same bill with her in 
Leeds. Odiva and the tutor of the Diving Seal follow closely after one another, and 
an elephant trainer scoffs at a rival who exhibits cockatoos and trained cats. A pair 
of tumblqrs discuss falls, while a wire walker tells how an untipped stage hand 
"crabbed" his act in "San Antone." The old-timers cling to "bo" and " cul " 
and " pal " in their greetings. But the youngsters prefer " old dear " and " sweet- 
heart." "How did you go in Syracuse?" asks one. "They fell for me like a 
peal of thunder " is the reply. "I'm gettin' it over all right, but that skirt has put 
a jinx on me," complains a song-and-dance man, and his companion says, sagely, 
" Them dames never knows when they're hitched up right ; can 'em at th* first 
holler is my motter. " This is by no means the general manner of speech, but there 
is sufficient of it to engage the wayfarer's attention. As a matter of fact, the 
majority of vaudeville artists speak with crisp, clear enunciation, and use excellent 
English as a result of their training in the two-a-day where vague diction is an 


abomination. Just loiter in the entrance of the Putnam Building any week- 
day, and in the course of a few hours a hundred of your favourites will pass in 
or out. They all go to No. 1,493, Broadway. It is the Mecca of variety, and the 
high priests are the men who give or withhold contracts. A highly specialised slang 
is spoken here, the vocabulary of vaudeville being tersely expressive. A hit is 
always a "riot," while a fiasco is a "flop." To be jeered from the gallery is 
"getting the bird," but to be applauded vociferously is to "clean up." A woman 
who works all by herself is a "single woman." Two women working together are 
a " sister act." A.n act in which no word is spoken, as in juggling and acrobatic 
turns, is a " dumb act." The position of an act on the bill is the " spot." Vulgar, 
slap-stick comedy is "jasbo," "hokum," or "gravy." 

But to return to the United Booking Offices and the clearing-house methods of 
major vaudeville. The top floor of the Putnam Building contains a huge room 
filled with Circassian walnut desks, ranged in close formation. Each desk is 
allotted to the local or visiting representative of each "big time" house in the 
United States and Canada. In many cases a dozen houses are represented by one 
expert booking agent. The Orpheum Circuit, for instance, includes territory from 
Chicago to San Fxancisco, and one man, with a staff of assistants, books it. In 
another large room, opening off the booking men's quarters, is a huge table, around 
which gather the agents, as the men who act as business representatives for artists 
and acts are known. The agent sells entertainment and the booking man buys. 
When his theatre is stocked a week's bill is retailed to the public. The United 
gets five per cent, of the artists' salaries to maintain its organisation, whose 
expenses are necessarily vei-y large. This five per cent, commission on salaries 
is fixed by law. Thus we have the men who buy acts and the men who sell acts 
in juxtaposition. The agents have neat cards made out listing all their acts and 
the weeks that each is at liberty ; that is to say, unsold. The booking men have a 
thorough' personal knowledge of 'thousands of established standard acts. Their idea 
is to buy nine excellent acts, covering as wide a range of entertainment as possible, 
for their respective houses for a week in the future. Each city has its favourite 
types of vaudeville, and the buyers of acts submit a thousand demands to the 

All around the big rooms for buyers and sellers are the executive rooms of the 
United Booking Offices. Here are huge ledgers that tell the past movements and 
the future bookings of every good act and every artist deemed worthy of "big 
time." There are wonderful card indexes that enable the workers to run down 
the records of everyone in the business. Each week every house manager in 
America forwards to the United a detailed analysis of each act or. current bill. 
These reports are classified, and the buyer of the acts who do ...s an agent's 
estimate of a turn that ,he is selling turns to the reports upon past performances 
and finds out just how Bruin's Bears, Nolan and Sweeney, or Millicent Marigold 
impressed the good people of Providence, Omaha, and every other city they ever 
played. Telegraph instruments tick madly. Every few minutes a cry for help 
comes from neighbouring cities demanding fresh artists to take the place of those 
who have fallen sick, been injured, or walked out of the programme for some reason 
or other. Long-distance telephones are jingling, and the whole place is a motor 
centre of vaudeville energy. 

Buying and selling of acts goes on merrily. The law of supply and demand 
governs the price paid for acts. There are no prices set a.s a standard. The agent 
of an act drives the best bargain possible with the booking men. In the event of 
several theatres wanting the same artist for the same week the price as apt to go 
up. " I want an opening act for the week of December 8," shouts the booking 
man for Trenton, N.J. A dozen agents offer him acrobats, cycle riders, jugglers, 
and other opening acts. Manager Jordan, of Keith's, Philadelphia, wants a 
closing act. He selects it from the score that are offered. In this connection be 
it known that there are hundreds of acts that are doomed always to open or close 
vaudeville bills. They are "dumb" acts, which are not disturbed by late- 
comers or early-goers. There are insistent demands for every type of act, and 
the United can supply comedy, tragedy, light opera, grand opera, song and dance, 
tabloid drama and musical comedy, side-walk conversation, Irish, German, Hebrew, 
Scotch, negro, and every other kind of comedian, wire-walkers, sharpshooters, 
equilibrists, divers, strong men and strong women, trained seals, marionettes, 
cockatoos, dancing bears, animals of all kinds, jugglers, Nautch dancers, prima 
donnas, dramatic -stars, dwarfs, giants, freaks, talking dogs, skaters, hoop-rollers, 
bicycle ridere, musicians, clowns, acrobats, tumblers, and a thousand other forma 


of entertainment which go to make up variety. No sooner is the want expressed 
than the agents strive to sell their clients' services. It is a wide, open market. 
There is no bar to a buyer bidding as high as he wishes, and there is no hard-and- 
fast rule fixing prices for the salesman. There is one iron-clad rule, however, and 
that is that an act once sold for a week or a series of weeks remains sold. The 
moment a buyer closes with an agent for an act he fills out a slip with the name 
of the act, the price and the date, and registers it under a time clock whose die 
times to seconds. These slips determine priority of claim in the event of a dispute 
over a performer's services. Contracts are made out by experts in triplicate ; they 
are sent to the Commissioner of Licenses for his sanction, and then the artist gets 
one, the theatre another, while the third is filed at the United Booking Offices. 

A huge Press bureau has a half-acre of filing cases containing photographs, 
records, stories, plots, technical details, and billing for every act playing first-class 
houses. The moment an act is booked the Press bureau is notified, and a full 
supply of all matter necessary to announcing the feature is sent to the theatre to 
be played. This Press department is the largest and most efficient in the country. 
It handles an average of a thousand acts a week. 

Tho United maintains its own elaborate legal department and a law library of 
10.000 volumes. Maurice Goodman, a young lawyer of high standing, is general 
counsel, with a staff of assistants. He receives a large salary for his exclusive 
services, and is pointed out in the profession as a shining example of the possibili- 
ties of the law in New York. For that matter all the executives of the United 
are well paid, it being Mr. Keith's motto that liberality toward trusted and 
efficient lieutenants is the highest form of business tactics in maintaining a great 
organisation. Mr. Keith and Mr. Albee have never had their confidence in an 
employee .misplaced, and the men close to them have their fullest confidence in 
all matters pertaining to vaudeville. 

The United is partial to women in business, and the highest salaries ever pa,'d 
in the theatre have been paid to women stars. Vaudeville could not exist were it 
not for women performers and women patrons. A number of successful agents 
wear petticoats, and drive as hard a bargain for their clients as any male repre- 
sentative could possibly do. The club department, which provides entertainers for 
private and special functions, and is kept running at high tension night and day, 
is in charge of a keen-witted young business woman, Frances Rockefeller King, 
who can turn from a grande dame, demanding Fritzi Scheff for her musicale, to 
Alderman Gowanus, insisting upon acts with " jasfoo " and "gravy" for a club 
smoker, and give both patrons what they want off-hand. The rule of the United is 
courtesy, always courtesy, and the waiting-rooms have maids in attendance and 
every convenience for artists seeking audience. 

American vaudeville appears to be the best-paid profession. No united act is 
paid less than $150 per week, and Sarah Bernhardt was paid $7,000 per week net. 
Ethel Barrymore is paid $3,000 for each week she plays. There are many artists 
getting $2.500, and many more draw $2.000. Scores of acts are paid $1,000 or 
more, and hundreds run from $500 to $1,000. There are more than 2,000 acts 
recognised as first class or "standard." 

Like the circus, vaudeville is made up of thrifty, clean-living people. The pace 
is too fast for much dissipation. Since E. F. Albee organised vaudeville, prosperity 
has come to the artists, and the majority are buying homes. There is nothing less 
than a mania for real estate among performers since the new era of big salaries 
and continuous bookings. The vaudeville artist without a good bank account is 

During the business hours the rush and excitement of the booking offices are 
tremendous. Only officially designated representatives of theatres and acts are 
permitted in the big rooms, but for them the place is as free as air. They buy 
and sail for all " big-time " acts and all " big time " theatres. All first-class vaude- 
ville centres in these rooms. Comedy is sold in quantity, dancers are to be had 
by the gross, monologuists and singers by scores. Any act unbooked is in stock. 




WHEN B. F. Keith selected Edward F. Albee to be his chief he proved 
himself to 'be a shrewd judge of men. E. F. Albee has never known defeat 
in his innumerable .business campaigns. 'Since 1893 'he has been in full 
charge of the enormous interests of B. F. Keith, and to-day, besides that 
vast burden of responsibility, he is the general manager of the United Booking 
Offices. He rules over a magnificent business and an artistic kingdom. From his 
offices in the Putnam Building, E. F. Albee is in actual touch with everything in 
first-class vaudeville from New York to San Francisco. The pay-roll of the 
theatres composing the United Booking Offices average more than $500,000 a week 
during the season. 

Edward F. Albee is an American. He hails from Machias, Maine, coming from the 
best Puritan stock. His ancestors were distinguished border soldiers in the French 
and Indian wars, and several Albees won fame in the Revolution and the war of 1812. 
It was off Machias that the first naval engagement of the Revolution was fought, an 
Albee being prominent in the sea fight that resulted in lowering the British colours. 
Mr. Albee is the son of Nathaniel S. Albee, for many years a prominent shipbuilder, of 
Machias, and later a resident of Boston, of which city he became an honoured public 
official. Born in 1860, Mr. Albee attended the public schools of Boston until 1876, 
when he joined P. T. Barnum and became a circus expert. In a short time he became 
known nationally as a showman, and until 1883 travelled each season on the road 
with one or other of the big circuses. In 1883 he entered the employ of B. F. Keith, 
in Boston, as manager of the old Gaiety Theatre and Musee. Mr. Keith was then 
beginning to work out his ideas for elevating variety, which have resulted in the 
glorified Keith vaudeville of to-day. Mr. Albee caught his employer's enthusiasm 
and set himself to work to master every detail of theatricals, aiding Mr. Keith in his 
work of creating a new field of amusement for the American public. As manager of 
the Gaiety he staged and produced light operas for the Gaiety Opera Company, 
thereby winning a reputation that still obtains as an operatic producer. This com- 
pany was wonderfully successful. Meanwhile Mr. Albee studied house construction, 
theatre decorating, stage equipment, the technique of house operation, and kindred 
subjects. His good taste in decoration and furnishing is shown in the great Keith 
theatres, all of which he supervised in construction and outfitting. For Mr. Keith 
the young lieutenant supervised the building of the magnificent Keith theatres in 
Boston, Providence, Philadelphia, and elsewhere. Mr. Albee watched every brick 
laid, and studied every detail of construction of these houses which established a new 
era in theatre building in this country. After the houses opened he remained with 
them until they were running like watches. Some years after Mr. Albee had risen 
to be the Keith general manager the magnate presented him with the magnificent 
Keith's Theatre, Providence, as an outright gift. It was E. F. Albee, acting for 
Mr. Keith, who created the United Booking Offices. E. F. Albee is in his prime, and 
still the busiest man on the Rialto. He has the reputation of being resolutely just. 


That there is no more interesting and dominant figure in vaudeville than Martin 
Beck is an assertion that will doubtless meet with no contradiction. The rise of 
this man to the heights of a great business and vaudeville, as Mr. Beck sees it, 
is a business is a sto^v of real interest. Not many years ago Mr. Beck was an 


actor who had to cope with the trials and vicissitudes that fall to the lot of the 
"struggling genius." His start was in New York, at the Thalia Theatre. From 
the Thalia he took his first significant step forward by joining the Waldemer Stock 
company in St. Louis. This step was an important move, as it started him on 
his march to the West, where fame and fortune awaited him. He progressed to 
the top of the ladder from the time he went to the Pacific Coast and became 
associated with Morris Meyerfield, jun., in the original Orpheum Theatre of San 
Francisco. After drama, opera, and the concert had t'aiTed to make any money, 
vaudeville was tried in this theatre. Mr. Beck's belief that vaudeville would be a 
success proved to be correct. Theatres in other cities that were secured by the 
same interests that owned the 'Frisco Orpheum made money from the start, and 
thus cut down the long jumps that it was necessary for acts to take in going to 
the West. This plan of spreading out the Orpheum Circuit has developed it into 
the powerful organisation of to-day. The circuit now reaches from Chicago to 
San Francisco, and from New Orleans to Winnipeg, with many theatres in all the 
prominent cities, and more being built and opened every year. 

As one house after another was added to the circuit, it became necessary for 
the executive offices to be moved near to the base of supplies. The head offices 
were for a while located in Chicago, but several years ago were removed to New 
York. Branch booking offices are maintained in London, Paris, and Berlin. The 
real estate holdings of this circuit are alone worth several million dollars. 

The Orpheum Circuit has joined forces with European interests in its affiliation 
with the Variety Theatre Controlling Company of London. 

Mr. Beck is a man of most artistic taste and good judgment in theatrical affairs. 
He believes that the clientele of his theatres want the best and most artistic 
offerings the amusement world affords. This he gives them, and that his judgment 
here is correct is proven by the success of all his theatres. Martin Beck has 
accomplished so much in the business department of the theatre that it is difficult 
to recount adequately his various achievements. He is one of the most conspicuous 
figures in the amusement world of to-day ; admired by his associates, and respected 
by those who oppose him in a commercial way. 

A glance through the executive offices of this active chief in New York City 
gives the observing visitor an idea of Mr. Beck's principal qualification, and the 
one which more than any other, perhaps, accounts for the ease with which he 
dispatches large and varied interests systematic organisation. His headquarters 
are unlike any theatrical offices in the world, taking on the dignity and general 
appearance of a huge banking institution, rather than the booking and executive 
offices where the weekly amusement for a million people is provided. 

Every visitor is greeted with prompt and courteous attention, for the Orpheum's 
chief officers who include M. Meyerfield, jun., as well as Mr. Beck do not believe 
in letting a matter rest upon the table for an indefinite period, but rely upon 
quick, fair, and polite execution of each application and each problem as soon as 
they present themselves. Not a little credit is due to these gentlemen for the 
selection of lieutenants, as each department is in charge of a most efficient head, 
and it is without the least hesitation or anxiety that Mr. Beck leaves his desk 
for months at a time to travel through Europe or to seek recreation in the pleasure 
resorts at home, entirely out of communication with these lieutenants. But 
whether actually at the helm of affairs or away, the Beck principal and methods 
are perceptible in every transaction, for his strong personality and the example he 
sets his large staff permeate the entire circuit. A man of tireless energy, Mr. 
Beck has a great capacity for work. With the utmost ease and complacency, he 
directs the affairs of his interests even to many of the details. In spite of the 
great a-mount of business he transacts, he seems always to find time to devote to 
interviews with authors, composers, and artists, which gives him a vast number 
of acquaintances among these people. Mr. Beck is an extensive traveller, a reader, 
a student, and an athlete. One cannot fail to be impressed by the strength of 
Mr. Beck's personality. His leadership, his force, his energy, and those other 
characteristics that have made him a master in his business are evident to the 
observer almost instantly upon meeting him. 


Having "sized up" the theatrical, or, more properly, the vaudeville situation in 
the Pacific North-west, some ten years ago. John W. Considine. executive head of 
Sullivan and Considine, conceived the idea of "popular priced vaudeville," and in a 
remote part of his brain was an idea of a transcontinental vaudeville gircujt, Ag 


this thought began to develop, the possibilities for a theatre in every city from coast 
to coast became more appaient to him. He had the idea as to procedure, and he 
knew that it meant an outlay of a vast amount of money, and that years would elapse- 
before he could bring the scheme to perfection. He knew that it could be consum- 
mated if he had the proper kind of backing, and though the vaudeville situation at 
this time was extremely indefinite, he submitted the scheme to his old friend, the late 
Timothy D. Sullivan. 

Mr. Sullivan, who was respected by his fellow men as one of the highest integrity, 
was not found wanting. His answer was conspicuous by its brevity " Go ahead, 
John, I'm with you." Mr. Sullivan remained with Mr. Considine until his death, 
though he never took an active part in the management of the huge Circuit. 

Being of a courageous and far-seeing nature, Mr. Considine began by acquiring a 
small theatre in Seattle. This proved, under the astute Considine's management, a 
"gold mine." Then another theatre was added, and still another. All the while 
the wiseacres back on the Rialto winked their eyes knowingly. Then into 'Frisco 
jumped Mr. Considine, where he built a theatre. Then Chicago, Kansas City, Los 
Angeles, and another in Seattle. Before the wise ones were thoroughly cognizant of 
what had taken place, he had a vaudeville circuit that was giving fifteen-week con- 
tracts to performers. 

In justice to Mr. Considine it might be mentioned here that his firm is perhaps ihc 
only one to-day issuing contracts so broad and equitable that they stand to-day as 
testimonials to the man's desire for a " square deal " to everyone. No act has ever 
been closed voluntarily by Mr. Considine since the inauguration of his circuit. 

"Who is this man, Considine?" was the question on Broadway, and before any 
reply was forthcoming Mr. Considine had obtained theatres between Chicago and 
Cincinnati, and in the meantime, as a sort of diversion, he had gained control of four 
other theatres in Butte, Spokane, Seattle, and Portland, which were the means of 
bringing Orpheum shows to Mr. Considine's houses in the Pacific North-west. The 
foresight of the man may be partially understood when it is known that his Empress 
Circuit paralleled that of the Orpheum, but did not conflict in any way, by reason 
of the difference in the price of admission all of which he had figured out in advance. 
The credit of the achievement of bringing Orpheum shows into the Pacific North-west 
falls to Mr. Considine, without detracting in any way from his pet "hobby" of 
"Popular Priced Vaudeville." Mr. Considine is a quick thinker, dignified, and, one 
may say, almost aggressive ; but underlying all this tenacity of purpose, beats a big 
heart, through which surges the warm blood of sympathy and compassion for the 
" under dog." It is said that few men grow with their business, but in this par- 
ticular instance the business bulged, and from what has since transpired the conclusion 
to be drawn is that the ' ' man ' '. was always larger than his business and broadened 
ahead of it. Early in life, like his business associate, Mr. Sullivan, he recognised 
the value of a good physical understanding and a healthy body. He rarely, if ever, 
smokes, and never touches intoxicants. 

Mr. Considine is most patient and considerate in business matters, particularly so 
with regard to the errors of his employees. He has said: "The man who never 
makes a mistake is not a man -he's a saint." Probably the knowledge of Mr. Con- 
sidine's feelings in the matter is largely responsible for the affection in which he is 
held by his employees. No one except his intimates has ever quite understood his 
confidence in mankind. He has stood like a bulwark by the foolish and erring, some- 
times to his own disadvantage, but even this has not shaken his faith in humanity. 
But let a man attempt any " saffron-hued tactics," and he's as vitriolic and tenacious 
as the proverbial terrier. 

Seattle is the home of Sullivan and Considine's big financial undertaking, involving 
as it does millions of dollars annually for its maintenance, a greater portion of which, 
either directly or indirectly, finds its way back to the main office. Mr. Considine 
occupies the position of a director, with the reins extended to San Francisco, Denver, 
Chicago, Cincinnati, New York, and London, where are located his superintendents, 
whose duty it is to keep tab on the various managers under their jurisdiction, and 
in turn to report to Mr. Considine. In that way the fifty odd shows on the circuit 
move on weekly from one city to another without the slightest hitch. The books 
for the entire circuit are kept in Seattle and closed each week. The profit and loss 
is closed off, and a statement is placed on his desk every Monday morning, which 
shows him t at a glance the amount of profit and loss of each individual theatre on the 
entire circuit, and in which is included figures for the previous year's business on this 
particular week. If he is travelling this information is sent him. The system 
employed was worked out snd perfected bv Mr- Considine.. and is so accurate that 


a discrepancy of a ten cent admission cannot escape the scrutiny of his subordinates. 
His pay-roll over the entire circuit amounts to, approximately, $8,000,000 a year, and 
that paid out to performers alone amounts to almost $4,000,000 annually. 

During all his efforts toward the conclusion of " big things " involving a tremendous 
amount of detail and money, Mr. Considine has found time to add to his string of 
horses, and his kennels of Llewellyn setters, and for shooting and billiards. Every 
great mind has some hobby. Dogs seem to be Mr. Considine's. If he be discussing 
the details of a million-dollar theatrical deal, and a bewhiskered dog fancier is let 
into his private office with some fine breed of dog attached to a chain, the deal is 
off until he has concluded a talk on dogs. 


Marcus Loew is looming up as a powerful figure in the theatrical world. Eight 
years ago he had nothing, and to-day he is master of $37,000,000 and owns or 
controls thirty-two theatres. He is adding to both his wealth and his theatres 
daily, and has opened three million dollar houses within two months, the last 
being the Young Street Theatre in Toronto, opened Monday, December 15, 
at a cost of over a million dollars. Mr. Loew is brought into greater prominence 
because of the fact that he has entered the producing field, having put on, 
at the Winter Garden, New York, the musical comedy "The Pleasure Seekers." 
His success with this production, the personality of the man himself, his many 
millions, and his wonderfully organised force of workers make him a rival to the 
other big American producers. 

Marcus Loew was born forty-three years ago on the Lower East Side in New 
York, where a $750,000 theatre now stands, a monument to this poor little boy's 
wonderful fight against great odds to a position of eminence in his chosen field. Like 
most boys of the neighbourhood he started life as a newsboy, and at the age of six, 
late at night and early in the morning, he peddled his wares. This early education 
in the streets of New York sharpened his wits and aged him before his time. At 
the age of thirteen he was a partner in a printing establishment, and later helped 
to edit a paper called the East Side Advocate. He learned when he could, but 
worked for the most part, for his parents were poor, and he had to help in their 
support. Later he went to work for a relative in his fur store for $2 a week, 
became a helper in a wholesale fur house, and then went " on the road " for the 
firm as a salesman. Always anxious to be in business for himself, he cut away from 
a salaried position, borrowed $3,000 from a wealthy relative, and started a fur busi- 
ness of his own. He failed, and went back to his job. Gaining more experience, 
he again started a fur store, and again he failed. The third time it was the same 
story. All this occurred before he was twenty years old. Before he was twenty- 
three he had paid back every cent, of debt against him. 

Mr. Loew went westward to Cincinnati, and there, in company with David War- 
field, the actor, a lifelong friend, he started penny arcades, which at that time were 
all the rage. They borrowed $40,000 to start, but made money. One day Loew 
heard about a man running a motion picture show at Covington, Ky., just across 
the river from Cincinnati, and Mr. Loew went over to see it. It was a crude sort 
of an affair, in which the owner was also ticket seller, operator, and actor, but it 
made money. Mr. Loew realised the possibilities, and opened one in Cincinnati. 
Loew then came to New York and opened motion picture theatres at Twenty-third 
Street and Seventh Avenue, and two other places in the vicinity just corner stores 
made over into theatres. They prospered, and laid the foundation of his fortune. 

\Vhile running his motion picture theatres, the first in New York, a young violinist. 
who owed Loew money, came up to him and said he could not pay, but he was willing 
to work out the debt, and offered to play in his theatre. Loew, more to help him 
out than anything else, told him to go ahead and play a selection after each picture, 
while a new one was being arranged. He did so, and the combination proved such 
a hit that Loew determined to adopt it on a larger scale. He wanted a real theatre 
to try out his theory that vaudeville and motion pictures would go well together, so 
he sought out of the Royal, Brooklyn, probably the worst selection he could possibly 
make. The theatre had been closed for two years, and before that it had accumu- 
lated an unenviable reputation because of the brand of burlesque shown there. 
When Mr. Loew, with his brother-in-law, Mr. Sichel, went to the theatre to look 
at it, it was ankle deep in mud. Against the advice of his friends he leased the 
theatre for a year, renovated it thoroughly, and arranged a bill consisting of six 
acts of vaudeville and six reels of motion pictures- He announced his opening and 


awaited the result of his experiment. The first day the theatre opened one man 
paid his ten cents and took his seat. That was all. Mr. Loew, deeply disappointed, 
took it upon himself to tell the man that the cashier had made a mistake in selling 
him a ticket, and that it was only a dress rehearsal. The man said he was perfectly 
satisfied to pay ten cents to see a dress rehearsal, and stuck. There was nothing 
else to do, so Mr. Loew ran his six vaudeville acts and his six reels of pictures 
for one man. This was enough to discourage anyone, but Marcus Loew has made 
himself what he is by refusing to accept defeat. He stuck to his original plan, and 
at the end of the first week his receipts were something over $60. The first year he 
made $67,000, and the Royal, now devoted to motion pictures exclusively, makes 
$100,000 a year for him. Originality, nerve, and courage did it. 

That was the beginning of Mr. Loew's vaudeville and motion pictures combined. 
Now there are more than three score small vaudeville theatres in New York, while 
motion picture theatres can be found in every street. Once successful in combining 
vaudeville and motion pictures, Mr. Loew advanced rapidly, and is now a great force 
in the lower priced vaudeville field. Mr. Loew is furnishing the people with from 
six to ten acts of vaudeville, in a beautiful theatre seating on an average 2,500 people, 
with everything for their comfort and convenience, for 10, 15, and 25 cents. 

Mr. Loew started his career alone, and when his operations grew too big for him 
to handle individually he showed good judgment in selecting his helpers. For 
general manager he has Mr. Nicholas M. Schenck, a theatrical man with a capacity 
for getting the viewpoint of the public. His brother, Mr. Joseph M. Schenck, is 
general manager of the Loew Booking Office, with offices in the centre of New York, 
at Forty-second Street, and Broadway ; Mr. David Bernstein is treasurer, and deals 
with all financial matters. Mr. Samuel H. Meinhold has charge of all employees of 
Mr. Loew's theatres, books feature pictures, and does a vast amount of detail work 
in connection with the enterprises. The power lies within the hands of these five 
men, who know exactly what is going on all the time all over the vast circuit, and 
theirs are the brains which run this piece of theatrical machinery. 

The theatres owned by Marcus Loew (the list does not include theatres booked 
or controlled) are : 


Boulevard, Southern Boulevard and Westchester Avenue; National Theatre, 149th 
Street and Beggan Avenue ; Seventh Avenue, 124th Street and Seventh Avenue ; 
Orpheum, 87th Street and Third Avenue ; Yorkville, 86th Street and Lexington 
Avenue; Lincoln Square, 66th Street and Broadway; Circle, 60th Street and Broad- 
way ; American Theatre and Roof Garden, 42nd Street and Eighth Avenue ; Broad- 
way, 41st Street and Broadway ; Herald Square, 35th Street and Broadway ; Greeley 
Square, 30th Street and Sixth Avenue; Avenue B Theatre, Avenue B and Fifth 
Street; Delancey Street, Delancey and Suffolk Streets. 


Bijou, Smith and Livingston Streets ; Shubert, Broadway and Howard Avenue ; 
Liberty, Stone and Liberty Avenues ; Royal, Pearl and Willoughby Streets ; Colum- 
bia, Washington and Tillery Streets. 


Young Street Theatre. 

Mr. Loew is also building theatres in Montreal, Ottawa, Buffalo, Rochester, Provi- 
dence, and other cities. 


At the age of forty-three, Alexander Pantages is the sole owner of one of the 
most popular high-class vaudeville circuits in America, the houses being located 
principally in the Far West and Canada. Ten years ago he started his first vaude- 
ville venture in a small theatre in Seattle. The public patronised his well-meaning 
efforts for their amusement to such an extent that at the end of the year he was 
enabled to build a magnificent modern edifice, that stands to-day one of the most 
beautiful amusement palaces in America. Rapidly spreading out, he gradually 
built theatres in Los Angeles, San Diego, Spokajie, San Francisco, Salt Lake City, 
Oakland, Tacoma, Denver, Ogden, Winnipeg, Edmunton, Calgary, Vancouver, Port- 
land, Oregon, and other large cities. The name of Pantages stands for everything 
that is high-class and clean in modern vaudeville. Hence the support of the theatre- 
going patrons in every city he has a house. 

74 THE STAGE F4# 300 A > . 


Although but thirty years old, Louis Pincus is considered to be one of the beet- 
known vaudeville experts in America. Starting in business with George Liman, 
Pincus rapidly acquired a knowledge of what was then variety. When William 
Morris, the well-known agent, decided to go ahead for himself he engaged him as 
one of his chief assistants. Remaining with Morris for ten years, Mr. Pincus 
subsequently signed a contract with Alexander Pantages to represent him in New 
York City, and book all the programmes for the rapidly growing Pantages circuit. 
Pincus has been acting as booking representative for the past six years, and will 
probably continue in the same capacity for many more years to oome. 


Twenty-five years ago Mr. Pali commenced his operations in the vaudeville field 
in Newhaven, though he had been for several years engaged in theatrical under- 
takings, both individually and in conjunction with others, in New York, Chicago, 
Huffalo, Toronto, Troy, and other cities, but Newhaven was destined to be the 
permanent centre of his activities. Now he has theatres in various parts of 
Connecticut, Massachusetts, New Jersey, Pennsylvania, Maryland, and the district 
of Columbia. If a man is known by his works, Sylvester Z. Poli reaches high 
standards. The opportunities that the land opened to his efforts have been availed 
of to the very limit of their possibilities. Careful attention to details, breadth of 
provision, fideJity to the interests of the public he serves, keen intuition as to the 
best thing to do in moments of difficulty, and withal an abiding and sure confidence 
in his own judgment and powers, are the dominant features of the years that have 
brought Mr. Poli to the hour of his theatrical silver jubilee. 

The New York Vaudeville 
Representative of 



Mr. J. J. IRIS. 

Putnam Buildings, 

1493, Broadway. 





Managing Director of the Orpheum Circuit, 



General Manager, United Booking Offices. General Manager for Mr, B. F. Keith. 




of Sullivan amliConsidine. 


Owner of the Loew Circuit of Theatres. 



of Sullivan and ConsidhiC: 



Owner of tlie Poli Circuit, 



Owner of^PantagescCircuit of^Theatres. 



New York Booking Bepresentative for Pantages Circuit. 




TO the stage of Paris, as to many other things, 1913 has proved a most unlucky 
year. There is no definite progress to put on record. We have lost Mon- 
sieur Jules Claretie; the handsomest theatre in Paris and the newest 
has been obliged to close its doors for want of support ; there have been 
constant troubles at the Opera ; and the three outstanding plays of the twelve 
months which have gone are again by the three playwright-teams who were alone to 
score in 1912 MM. Henry Bernstein, solus princeps, de Caillavet and de Flers (this 
year with Etienne Rey to help them), and Tristan Bernard, who has scored two 
goals, one by himself and one with the help of Alfred Athis. 


The death of Jules Claretie is a heavy loss to the French stage, to France, and 
to French journalism. For ei'/Mt and t\vnt\ y, us (Jtiimauve lo Conquerant, as Paris 
used to call him (guimauve, in caae your school French wanes, means the marsh- 
mallow), has ruled the destinies of the Comedie Frangaise so gently and so diplo- 
matically that the fussiest societaires have never felt the yoke, and, though he has 
been criticised and laughed At, caricatured on the stage and off it, no man was ever 
more respected in his difficult position or more utterly, because unwittingly, obeyed. 
I was honoured with the old man's friendship (he was the providence of every 
journalist who hungered for the anecdotic history of Paris) and know that he had 
'hoped to complete his spell of thirty years' management. His enforced retirement 
killed him, though doctors called it grippe, and he died with dramatic suddenness 
a week before he was to leave .the Frangaise. In 1914 Monsieur Albert Carre will 
succeed Jules Claretie at the Franca i--.-. :'inl Paris lias hopes of him, too, for Mons-icuif 
Carre's management of the Opera Comique has shown him to be both a man of the 
theatre and a man of affairs. The Isola Brothers (who were conjurers once, and 
are, metaphorically, conjurers still) succeed M. Carre. Of the year at the Opera 
there is little or nothing to be said that is pleasant. There have been quarrels 
without end, unpleasant scandals, and as the new year will begin with a new 
management, the less said about the old one the better. It is to bo hoped that Mon 
sieur Roche, who comes with a ,good record and a big bank balance from the tiny 
Theatre des Arts to the Opera, will succeed in making the great Paris opera a joy 
again. For more years than I care to think of, the handsome building has been a 
half-lighted horror, the successive managements of which have invariably, instead of 
successes, presented excellent reasons for their failure to give the public good pro- 
ductions, even at the wicked prices which are charged for seats. 


The Grand Theatre des Champs Elysees opened with a flourish of trumpets, and 
was backed by a syndicate in which English and American money figured largely. 
The money has gone, the beautiful big theatre is closed, and a few Russian operas, 
a revival" of " Benvenuto Cellini," and regret for a lost opportunity, are all that the 
season has left us. The Astruc Theatre (M. Gabriel Astruc wag responsible for the 
enterprise) was, and, for that matter, is, the best and most luxuriously built theatre 
in Paris, and perhaps we may have the luck to welcome its renascence from its dead- 
sea fruit in the coming year. 


This year, again, has been remarkable as 1912 was for the number of plays and 
productions which have been imported to Paris from our own side of the Channel 
As usual, too, by no means the best plays have been selected for importation. One 



as HUGUETTE in Paul Fcrricr's "Yvonic," 

at the Comdie-Fran$aise. 



as CHRISTIANE DE SERVAIS in Kistemaecker's ** Embuscade," 
at the Comdie-Fran<jaise. 



as ETIENNETTE in *'Le Bourgeon/* by Georges Feydeau, 

at the Athenee. 




would expect Paris managers to be as keen on importing the best English plays fo 
adaptation and production here as London managers are keen on the contrary 
operation ; but Paris has always been a good seller and a bad buyer. The managers 
of the Paris theatres import only when importation is more or less forced on them 
and can be secured cheaply, and they still have the belief that the only thing in 
the stage world which London can do better than Paris is musical comedy. Foi 
this reason, while " Hindle Wakes," "The New Sin," and other plays of interest 
from London which would certainly interest Paris if properly done, are still waiting 
production on this side, the only "straight" plays from the English which 
Paris has seen in 1913 have been " Hamlet " which is hardly a novelty and 
" You Never Can Tell," by George Bernard Shaw, which was not a success. 
Parisians have got into the habit of talking of Bernard Shaw as " un maitre," but 
I know few Parisians who either have seen his works played or have read them. 
In the way of musical comedy we have had " The Arcadians," which would have 
been a greater success in Paris at a theatre than it was at the Olympia Music Hall ; 
a revival of "The Quaker Girl " in French, which proved as popular this year as it 
was last; and "La Chaste Suzanne," which was "The Girl in the Taxi," after 
having been " Le Fils a Papa" in "straight" form; and, of course, "The Magi- 
strate." I have often wondered why nobody ever pointed out the fact that 
Pinero's "Magistrate" was produced eleven years before " Le Fils a Papa's" 
production. Monsieur Antony Mars certainly owed more than a slight debt of 
gratitude to Sir Arthur Wing Pinero. Madame Suzanne Despres was the Paris 
Hamlet of the year and gave a marvellous performance. She succeeded in sinking 
her womanhood, and her reading was not even an effeminate one. But Madame 
Suzanne Despres has always been a magnificent actress, and it will always be 
one of my regrets that Paris sees comparatively so little of her. Another English 
play (which surprised those few Parisians who saw it more than a little) was 
" L'aventure du Capitaine Lebrun," by Mrs. Irene Osgood. It was produced at 
the Theatre Moliere a melodrama of the tawdry and transpontine type, more 
suited to the stage of a one-night stand in the provinces than to the metropolis. 
But though Paris playgoers have not yet seen by any means of England's best, 
these small beginnings are a step in the right direction, and before long we may 
perhaps hope to see almost as many English plays on this side as we see French 
plays on yours. 


Paris playwrights have not, with the exceptions I have mentioned, distinguished 
themselves this year. Their work has run in those grooves which point in the 
work of the stage to a period of mental laziness, and not the least remarkable fact 
about the Paris theatrical year has been the curiously topical basis of the new plays 
given, as though writers were too slack to invent and took their subjects from the 
news. Brieux, Donnay, Marcel Prevost, and Edmond See have all given us plays 
on the woman's rights question. In " La Femme Seule " Brieux preached (cleverly 
enough, but unilluminatingly) on women's wrongs; in " Les Eclakeuses " (which 
would, I suppose, be called " The Pioneers " in English) Maurice Donnay showed 
quite amusingly the basis of hysteria which underlies the women's howl for rights. 
"Les Anges Gardiens," by Marcel Prevost (for the play was an adaptation of the 
novel), proved a catchpenny play, an attack on foreign governesses of all nationali- 
ties, a disregard of their necessity if children are to learn other languages than 
their own, and an effort to bring the Paris public to the theatre, by pandering to 
the protectionism which is in every Frenchman's heart and at the bottom of his 
pocket. See's play, " L'Irreguliere," was a more earnest piece of work, but the 
author had spent so many years on the writing that it smelt of the lamp and 
was dull. 

The beginning of the year was remarkable for an outburst of stage patriotism 
in Paris, caused, of course, by the state of the political situation, and, for that 
reason, less interesting than it might otherwise have been from an artistic point 
of view. At the Theatre Rejane " Alsace " scored a triumph, though mingled 
with its vibrating qualities was a coarse humour at the expense of the German 
conquerors of Alsace which weakened the force of the play as a whole. " Servir," 
by Lavedan, was another topical triumph in which Lucien Guitry as a super-spy 
made good some of the loss which "Kismet" must have caused him. 


But a return to its old love for melodrama, for the quick-starting tear and the 
ready laugh, sandwiched and served up in gorgeous scenic surroundings, has been 



the main characteristic of the stage in Paris in the last twelve months. Even the 
Comedie Franchise has condescended to emulate the call of the kinematograph, for 
" L'Embuscade " was melodrama, beautifully acted and well-written, but 
still melodrama, and " Le Phalene," by Henri Bataille, which failed to 
attract enthusiasm, was merely an effort at super-melodrama which rather 
over-reached itself. The management of the Chatelet the theatre which owns the 
biggest stage in Paris has tried again this year to emulate Mr. Arthur Collins at 
Drury Lane, and both "The Champion of the Air" and " L'Insaisissable Stanley 
Collins " have succeeded with the great public of the simple-minded who enjoy 
cheap sentiment and cheaper humour mixed with the dressing of expensive pro- 
duction. " Mon Ami L' Assassin," by Serge Basset, at the Ambigu, was a com- 
bination of the story of the Paris motor bandits with a clever idea, which the 
author neglected to work out as it might have been treated. There is certainly a 
play idea still in the notion of the discovery by an honourable man that the friend 
to whom he owes all his success in life is a murderer and a burglar by profession. 
MM. Descaves and Noziere were responsible for "La Saignee," a play on the Com- 
mune which was melodrama of the picturesque " Dead Heart " type, but which, 
to suit the taste of the experienced playgoer, needed a little more of Sardou's 
genius to help it on. M. Kistemaeckers scored heavily with melodrama, patriotism, 
and psychology in " L'Occident," and Paul Lindau's Jekyll and Hyde play, " Le 
Procureur Hallers," is still running in an excellent adaptation from the German 
at the Theatre Antoine. But the best melodrama of the year, the simplicity and 
style of which are a well-learned lesson from the success of the kinematograph, is 
undoubtedly Tristan Bernard's "Jeanne Dore," in which Madame Sarah Bern- 
hardt is making the biggest success of her career since "La Dame aux Camelias." 
The success of " Jeanne Dore " is likely to set a fashion, and for some time to come 
we shall no doubt have little life stories upon the Paris stage, with tableaux 
instead oi acts, and carefully reproduced fact photography of life, in place of fic- 
tion. "Jeanne Dore" is noteworthy, too, from the fact that it has introduced a 
new jeune premier to the Paris public in the author's son, Raymond Bernard, 
who with the charm of youth combines his father's gift of observation and the 
art of appeal to the heart of the crowd. It is too soon to welcome Raymond Bernard 
as a great actor, but the undoubted charm and magnetism of his first performance 
show that he may, with more experience, become one. 

Paris always loves plays about business, and it is amusingly true that the French, 
who jeered at us in the past for a nation of shopkeepers, are quite the most com- 
mercial-minded people in the world, not excepting even the Americans. No two 
Parisians can ever talk for three minutes without mentioning francs and centimes. 
This year we have had besides the successful revival of Bernstein's " Samson " 
two plays about business and francs and centimes Dario Niccodemi's " Les Re- 
quins " and Pierre Decourcelle's "Rue du Sentier " at the Odeon. 


Once again this year Paris has fallen short of its best in high comedy, and during 
the past twelve months there have only been two notable comedies of totally 
differing types. In 1912 any committee oi playgoers would have awarded the prize 
for the best play of the year without exception to M. Bernstein for "L'Assaut." 
This year he would win the first prize again with " Le Secret," in which, despite 
the difficulty of his subject, he held Paris playgoers spellbound for months, and 
keeps them arguing still as to the points he raised. The other comedy success 
came late, but was none the less welcome. Just before Christmas MM. de Cail- 
lavet, de Flers, and Etienne Rey sot Paris laughing and crying a little now and 
then at "La Belle Aventure," a play which will perhaps prove a danger to the 
flapper when it gets to London, but the daring and daintiness of which have 
enchanted Paris. A good third, though perhaps not quite in the comedy class of 
the new Paris plays of the year, is "Les Deux Canards" at the Palais Royal. 
MM. Tristan Bernard and Alfred Athis are the collaborators in this excellent dish 
of laughter, which is likely to prove as successful as "Toddles," and which Mr. 
Frank Curzon will show you in London before very long. 

Alfred Capus, to whom we ought always to be able to look for the high class 
of comedy which has made the Paris stage's fame, has failed us this year. His 
two plays, " L'Institut de Beaute" at the Varietes, and " Helene Ardouin " (which 
is his own dramatisation of that little masterpiece of novel-writing " Robinson "), have 
pleased neither the public nor the critics, and the comparative failure of " L'Institut 
de Beaute " is the more regrettable that an excellent idea was spoiled by careless 


working out. There were, however, such excuses for the play's lack of finish (the 
severe illness of the author's wife during the final rush before the production, among 
others) that we may still hope for his best work from the master of optimist 
comedy. His rivals have given us little to boast of in the year. " Les Rpsei 
Rouges," by Remain Coolus, "Vouloir," by Gustave Guiches (at the Frangaise), 
were sound, but unremarkable, and " Le Veau d'Or," by Lucien Gleize, though bril- 
liant and amusing, left an unpleasant taste behind it owing to its bitter mockery 
of the small vanities of a dead man who did a great deal of good in his lifetime. 
The two lyric plays of 1913 it is curiously characteristic of modern Paris that 
there are only two, and that neither of them is the work of a Frenchman were 
Maeterlinck's "Marie Magdeleine " and "La Pisanelle," by d'Annunzio. "The 
Woman of Pisa," ambitious, and dotted with flashes of true poesy at intervals, 
fell flat, owing to the absurd pretensions which characterised it. " Marie Magde- 
leine " will often be played at Easter, I imagine, but it is far from the best work 
of the great Belgian. One of the successes of the Paris year, " Le Minaret," by 
Jacques Richepin (the son of the Academician), stands by itself. The play was 
trivial and uninteresting. The Oriental beauties of the staging, the scenery, and 
costumes, not only saved it, but made it a success. It was produced at the 
psychological moment, when women were looking round for new clothes and new 
fashions, and, though lovers of poetry found few ideas to joy them in " Le 
Minaret," the wives, sisters, and daughters went two or three times to see it, 
BO as to be able to meet their dressmakers on equal terms. The one truly excellent 
farcical comedy of 1913, in addition to "Les Deux Canards," already mentioned, 
is by a great author who wrote some years ago, Voltaire. MM. Charles Mere and 
Regis Gignoux, two Paris journalists, had the ingenious notion of adapting Vol- 
taire's "L'Ingenu" to the Paris stage, and the little play met with instantaneous 
success at the Theatre Michel, and is running still. Voltaire proved, though 
dressed in the clothes of his own period, as modern and as much in tune with 
modern' notions as though "L'Ingenu" had been written yesterday, and the only 
liberties taken by the adaptors with the original were taken so skilfully that 
Voltaire rather gained than lost by them. An effort was made late in the year 
to bring about a renaissance of French operette, but neither the librettists nor 
the composers of "Monsieur de la Palissa " and " Cocorico " can be congratulated. 
Perhaps, now that he is free from business worries, M. Andre Messager may give 
ns another " Veronique," or a new genius or two may spring up. It is to be 
hoped that something of the kind may happen soon, for Paris has grown tired of 
operette from Vienna via London and New York. 

There is little to say about the music halls. Both the Folies Bergere and the 
Olympia have adopted the Tango tea, which has invaded every other place in 
Paris where there is room for an orchestra. With the wane of the year there are 
signs that the Tango is dying in Paris, but it is by no means dead yet. The 
cabarets offer the usual highly spiced fare, and music halls are still improving 
glowly. Next year will see the opening of an English-managed hall in the very 
centre of Paris, for the success of the Alhambra here, under Mr. Butt's director- 
ship, has induced his company to acquire ground in the Rue Mogador, and a great 
music hall will be opened there in a few months and run on a happy combination 
of London and Paris lines. 



Who appeared in " Le Cceur Dispose," at the Athende, 



Who appeared as Nadina in " The Chocolate Soldier," at the Apollo. 



Who appeared in " Les Petits," at the Antoine. 




As Catherine in " La Rue du Sentier," by Decourcelle and Andr<5 Maurel, at the.Odeon. 




As Henriette in " Les Femmes Savantes," at the Th6Atre-des-Arts. 




.Who had "great success as Hermione in Racine's " Andromaque," at the Cometlie-Fran^aise. 



As Claire Frenois in ' La Demoiselle du Magasin," at the Gymnase. 



Of the Th(atre-aes-Arts. 




As Fanny in " Les Anges Gardiens," at the Com^die-Marigny. 



(UP TO DECEMBER 1, 1913.) 


THE German Stage during 1913 was notable for the many centenaries which 
were celebrated : The War Against Napoleon for Freedom ; the anniver- 
saries of the births of Wagner, Friedrich Hebbel, Otto Ludwig, and the 
talented young writer Georg Buchner, who died when only a little over 
twenty. Verdi also came in for his share of celebration. Then there were also 
the fiftieth birthdays of two modern dramatic writers, A. Holz and H. Bahr, who 
are still working energetically, and have exercised great influence on German 

The War of Freedom was celebrated in nearly every town by Festival plays, 
most of which, however, were of ephemeral quality, pieces written for the occasion 
and serving their purpose more or less, then disappearing. Amongst them, cf 
course, were several good pieces of work, of which I shall mention three. The 
first is " Freiheit " ("Liberty"; publishers, A. Langen, Munich), by Max Halbe, 
the author of " Jugend " (''Youth'') and " Der Strom" ("The River"; given 
quite recently in English by the Birmingham Repertory Theatre). It plays in 
Danzig during the time of Napoleon's disastrous Russian campaign, and mirrors 
the great events of that period condensed into the small frame of the story of one 
family. Arthur Dinter's " Eiserne Kreuz " ("The Iron Cross; publisher, Felix 
Lehmann, Berlin ; agents, Vertriebsstelle des Verbandes Deutscher Biihnen- 
schrif tsteller, Berlin) is a well-planned and . constructed play, full of warm sym- 
pathetic feeling, showing many happy and original touches of characterisation, 
especially in the drawing of low-class figures. It contains a very arresting scene, 
in which the son of the house where Napoleon is staying is discovered in an attempt 
on the life of the Emperor, who is by no means shown here as black as he is 
generally painted. The young man is condemned to death unless he will repent 
of his act, but prefers death, and in this spirit of sacrifice and patriotism the result 
of the great drama, which was being fought out between the two nations, is fore- 
shadowed. Walter Lutz's " Andi'eas Hofer " (agent, S. Fischer, Berlin) is a drama 
describing simply and convincingly the Tyrolese peasant-hero, Andreas Hofer, in 
his fight against the French, his betrayal by a jealous countryman, and finally his 
condemnation to death in Mantua. 


But the Festival play which created the greatest interest in all circles in rather 
a sensational way, it is true was Gerhart Hauptmann's Festival play in German 
rhyme. He was commissioned to write it by the City of Breslau, and it was given 
for the first time in the new Rotunda of the Breslau Centenary Exhibition, bril- 
liantly produced by Max Reinhardt, but, after a painful scandal and a short run, 
taken off the repertory, as otherwise the Crown Prince would have resigned his 
position as patron of the Exhibition. It was to a certain extent Hauptmann's fault 
that matters went as far as this, although one cannot honestly deny his right as 
poet and free man to express his ideas and opinions openly. But, of course, his 
intellectual opponents have the same right also. Hauptmann made his Festival 
play into a sort of manifesto of democratic culture, in which he extols the spirit of 
the people as expressed by its spiritual leaders the " spirit of the War of Freedom," 
he calls it in contrast to that of the rulers, and hails the spirit of Peace on Earth 
and Goodwill to Men. Thus he closes his play with the word " Forward ! " meaning 
it in the sense of development of culture and peace. The play itself is less a drama 


of action than an allegory, a life-sized puppet play, in which the Deity is the director 
and Napoleon, Bliicher, and the others are the puppet players. Its language is 
formed to a great extent on the style of Hans Sachs. 

Otherwise no new play came from Hauptmann's pen, although another work by 
him, entitled " Der Bogenspanner Odysseus" ("Odysseus, the Archer") evidently 
the fruit of his visit to Greece is said to be finished and will soon be produced. 
Following Goethe's example, Hauptmann has taken up practical work on the stage 
as producer in the newly-founded Deutsches Kiinstlertheater, Berlin, and began 
his duties there boldly with a performance of Schiller's " Wilhelm Tell." This beau- 
tiful " Song of Freedom " naturally appealed to him very much, besides being most 
suitable to this year of commemorations. Everything in it which was merely rhetorical 
he entirely eliminated, and emphasised instead all that was characteristic, thus 
bringing it nearer to the modern public. Many of his hearers were horrified at his 
version, for they missed in it the well-known quotations and text. In an article 
entitled "Das Recht der Klassiker " ("The Rights of Classical Writers") in the 
Berliner TageUatt, Paul Schlenther reminded these cantankerous critics that 
what Hauptmann had done to Schiller's " Tell," Schiller himself had, in his way, 
done to Shakespeare's " Macbeth." With Schiller, Tell himself is the " hero " ; with 
Hauptmann, son of a democratic age as he is, Tell is only the symbol of his whole 
people, whose suffering, bondage, and struggle for freedom are the principal themes 
of the whole play. Can any one seriously blame him for that? 


The Wagner Centenary Celebrations have fallen at a time when there is a ten- 
dency in certain circles, as I indicated in my previous survey (1912), to break away 
" iiberwinden " is the German expression from the views of art and life repre- 
sented by Wagner, although the majority of the public is still under his spell. Julius 
Bab, a well-known writer in Germany, has just published a book in which, by the 
antithesis " Fortinbras-Hamlet," he gives sharp expression to this tendency. Hamlet 
represents the romantic view of life, the last great exponent of which was Wagner. 
The longings of the romanticists were directed towards "salvation," because with 
them, as with Hamlet, the burden imposed on them was too heavy, and they fled 
from it rather than face it. From ' ' The Flying Dutchman " to " Parsifal ' ' the 
central theme of all Wagner's works is "salvation." It is not so with Fortinbras; 
he is the hero of deeds who takes the world as it is with a bold spirit, and makes 
himself its master. He is the representative of the new generation which has just 
begun to stir, which has been nourished on Nietzsche, and grown up in a time of 
tremendous technical inventions (conquc-t of the air, etc.), and hard political facts 
(huge armies and the struggle for "a place in the Sun). This spirit of Young Ger- 
many as opposed to the now older generation of Hauptmann is beginning to make 
itself felt in the drama also, the drama in Germany at least to a certain extent 
being, for better or for worSe, the mirror of the intellect and culture of the times, 
however far the writers may seem to roam into the lands of history or phantasy. 
The lyric poet, Freiligrath, once said in one of his political poems: "Germany is 
Hamlet." To-day they are saying : Germany is or at least ought to be Fortinbras. 
The tremendous intellectual energy in all possible directions shown by a number of 
young writers, as, for example, Stefan Zweig, is lacking in concentration and pene- 
tration, but the reaction against narrow specialising in all branches is very welcome. 
Another thing they have not got and no one can give it to them, for it is foreign 
to their natures is the unconscious lyrical flame within, which brings forth the most 
delicate and tender blossoms of poetry, and alone can lift for one moment the veil from 
the riddle of nature. With them everything is conscious, springing from an intellect 
always on the alert. And as the development goes on, a one-sided poetry of the mere 
intellect, a new period of rationalism, will arise, which will become farther and 
farther removed from the true source of poetry, instinct, and feeling, till the heart 
again begins to revolt. But it is of no account whether one approves of this develop- 
ment or not ; its time will, and must, come, for the soil of to-day can only nourish 
such seed. Everything is still struggle and chaos, so the works of these young poets 
are anything but complete. They waver between " artistry " and kinematograph 
effects ; with the former they hope to master the new material and with the latter 
they hope to get at the public. 


Consciously to give centre and core to one's work should be learned by these 
writers from Friedrich Hebbel, whose life-work was to show, in his dramas, the 


eternal laws of nature against which single figures revolt only to be shattered to 
pieces. What moves one so powerfully in this most conscious of all the poets is hii 
incessant work at himself, to make himself, as it were, the pure vessel which was 
to give forth the great doctrine. It almost seems as if the human voices in him had 
to be silenced, so that he might devote himself exclusively to his great mission (later 
on Nietzsche did somewhat the same thing). And so well did he " put out to usury " 
the talents which the Lord had given him his gift of philosophical poetry that he 
sometimes makes us almost forget that his qualities do not come straight from the 
heart, because his spirit is always striving to reach the purest heights. 

It was very different with his contemporary, Otto Ludwig, who is certainly one 
of Germany's most richly-gifted dramatists. An unhappy lack of trust in his own 
splendid poetic gifts perhaps partly from ill-health, perhaps from the feeling 
that the uncontrolled poetical ecstasy of the moment was apt to lead 
the imagination into bye-paths, and that therefore self-discipline was necessary led 
him over and over again to seek to write poetry by theory, to try, when the inner 
voices are silent, as William Blake expresses it, to win his muse by method. So he 
gave himself up to digging into Shakespeare's works, even to the most minute details, 
examining their construction and all the art methods which Shakespeare employed, in 
order to be able to turn them consciously to account himself. Thus he lost his power 
of creating and became more and more a penetrating critic, in spite of his great 
talent for original poetry. For this reason his poetical works, especially his dramatic 
ones, are few in number and hardly even finished most of them are mere sketches 
although in his most important works ( " Erbforster " and " Makkabiier ") there are 
scenes full of real dramatic power, true characterisation, and great poetic beauty. 
He recognised the beauty of Nature, but at the same time saw her other sides also, 
and was thus, in his small-minded time, almost the only representative of artistic 
realism, from which, later on, a new generation drew its inspiration. 

Georg Buchner, the third dramatist whose centenary was celebrated this year, 
died when he was only about twenty-four years of age, after having written a few 
not even completed works, full of fire and rebellion. His drama of the French Revo- 
lution, " Dantons Tod," has, for its principal scene, the tragedy of dying genius 
painted from the poet's own inner experience; his romantic comedy, " Leonce und 
Lena," reminds one of an idyll in the midst of a storm; and his terrible tragedy, 
" Wozzeck," left as a mere skeleton, tells of a poor man who, persecuted by life 
and his fellow-mortals, tries hard to keep straight, but is driven to commit a crime, 
and in the end drowns himself. The last-named play was produced this year in 
Munich for the first time on any stage, and made a deep impression. It was given 
in a carefully-prepared version of Dr. Karl Wolf and Dr. Kilian, chief producer at 
the Munich Court Theatre. Like Hauptmann many years later when he wrote 
" Die Weber," this young poet loved all who were poor and oppressed, and his early 
death was an irreparable loss to the German drama. All the tones in the gamut of 
poetry were at his command, from lyrical tenderness to grimmest wrath, while his 
temperamental power was second to none. 


Arno Holz is the father of "consistent naturalism," and as such exercised at one 
time a great influence on Hauptmann, who is the same age as he. The theoretical 
side of his talent is the more highly developed, which is doubtless the reason for his 
not continuing to advance as Hauptmann has done. He remained in the backwaters, 
as it were, while the current swept along ; and now he naturally feels lonely and 
neglected. In Hamburg, it is true, they gave his new work, a tragedy entitled 
" Sonnenfinsterniss " (" The Sun's Eclipse "), but the style of his art failed to appeal 
to his audience. The play is full of strong, forceful points, which seem to be taken 
straight from life, but they have not been knit into an unbroken chain. There is a 
ring of chance, even untruth, about much of it, therefore, which proves that " con- 
sistent naturalism " in art has no raison d'etre. This and several other plays by him 
strike one as having been written only to prove the truth of his theories ; but, as a 
matter of fact, they do exactly the opposite. That is much to be regretted, because 
Holz's mental energy enabled him to wield a great influence at one time. And that 
must never be forgotten of him. 


In the midst of all the intellectual combats which are being fought still stands 
Hermann Bahr. His place has always been in the forefront of the battle, bearing 
the standard high before all the others. And on his standard are the words : 


"Liberty! Liberty for the spirit, for the faith, for one's true self! " His interests 
are many, and the theatre and drama show only one side of his activities. He once 
gave as his definition of an artist: "An artist is one who feels he has the ability 
in him to bring happiness to men by helping them to become better and more beau- 
tiful." He himself has faithfully worked to that end, and it must not be omitted 
here that he has stood on the side of the actors, as no others have done, in their fight 
for a better position, and has always spoken on their behalf. His dramatic works 
are not all of equal value ; some of them are perhaps rather hastily done, written on 
the spur of the moment, and are sometimes apparently the outcome of bad temper. 
Those, however, which are the offspring of humour, and his delight in the peculiarities 
of his fellow-creatures, are amongst the treasures of the German drama. His dialogue 
is light, brilliant, and at the same time characteristic ; he is a gifted and witty con- 
versationalist, and his plays show a spirit eager to draw nourishment from everything 
and able to assimilate it. He is most successful in satirical comedies, but once he 
wrote a play, " Franzl," which is brimming over with human love, kindness, and 
understanding. Here he is entirely himself, and has made of the play a monument 
of real love to the memory of a national Austrian peasant poet. Bahr's new play, 
"Phantom," is being given in Darmstadt as I write these lines. 


In contrast to his last piece, " The Beggars of Syracuse," Sudermann, in his new 
play, " Der Gute Ruf " (" Good Reputations " ; agents, Vertriebsstelle), returns to the 
criticism of society with which he originally made his name as an effective playwright. 
Berlin, W., is the scene of the action, misunderstood women and matrimonial errors 
form the contents. The dialogue is illuminated by aphorisms ; there are entangle- 
ments such as one reads in novels, and the ending of each act is effective and pointed. 
No wonder, then, that he again manages to get the big public with him. 

A clever " theatre piece " is Ludwig Hatvany's " Die Beruhrnten " (" Celebrities " ; 
publishers, G. Miiller, Munich ; agents, Drei Masken Verlag, Munich). It tells of an 
authoress who, having made a name and fame for herself in the world of letters, 
marries a learned scholar and tries to settle down quietly as his wife. But the 
temptations of fame and the Bohemian life are too much for her, and she succumbs. 

Many of the dramatists have made woman's character the theme of their plays with 
more or less success. In " I rauen " (" Women "), by Beyerlein, the author ot ' LigM.,3 
Out," a musician is placed between two women of different temperaments, and the 
author tries sincerely to make the old " triangular theme " simple and true to life 
(agents, Vertriebsstelle, Berlin). 

Heinrich Mann, the novelist, gives, in " Die Grosse Liebe " (" The Great Love "), 
the picture of a worldly woman who, in all her passing affairs of the heart, longs 
for the one great love of which, however, her own nature is incapable. The author 
has flavoured his work with all sorts of superficialities, such as jewellery thefts, 
blackmail, and so on, and thus robbed the play of all semblance of real life. 

The woman past the first blush of youth, but unwilling to renounce the love and 
admiration she has been accustomed to, has given three dramatists material for plays. 
Korfiz Holm has written a pleasant comedy with a splendid " star " role in " Mary's 
Grosses Herz " ("Mary's Big Heart"; agents and publishers, A. Langen, Munich). 
Mary's humour and graceful ways reconcile one to her somewhat easy principles, and 
won great applause for the work, to which the fluent dialogue and frank audacity 
contributed in no small degree. Another proof that honest frankness is better than 
double entente. 

The same theme is handled gently and sympathetically by Sil Vara in his " Frau 
von Vierzig Jahren " (" A Woman of Forty " ; agents, Anstalt fur Auffiihrungsrecht, 
Berlin-Charlottenburg). This finely-thought-out play tells a story of renunciation 
of love. It is almost a duologue between Leonie, a noble-minded woman, and her 
foster-son, for whom, although loving him with something more than a foster-mother's 
love, she finds a life-companion of his own age. The dialogue is quite free from senti- 
mentality and would-be cleverness, and breathes a spirit of warm humanity which 
lets us see into the very hearts of the characters. No wonder, then, that the play 
won hearty and genuine applause. Sil Vara is also the translator of Synge's " Play- 
boy of the Western World," his version of which aroused extraordinary interest in 

Almost the same theme as Sil Vara's "Frau von Vierzig Jahren" is treated in 
"Erziehung zur Liebe" ("Learning How to Love"; publishers and agents, S. 
Fischer, Berlin), by Hans Kyser, the gifted author of " Titus und die Jiidin," of 
which I spoke in last year's survey. To the figures of the woman and young man 


Kyser, however, adds the husband of the former and the mother of the latter, so that, 
with a fuller score, as it were, the theme indicated in the title is treated from several 
different sides. His strong temperament and poetic gift of making himself live in 
the passions and longings of the ripening youth have helped him to create several 
scenes of great fascination ; and yet it is astonishing how, in spite of this capability 
for " youthfulness," he has been able to give his maturer characters the calm under- 
standing of experience, instead of making them talk in rhetorical and conventional 

" Im Turm " ("In the Tower"; agents, Vertriebsstelle, Berlin), by R. Walter, is 
the tragedy of a youth. The style is seemingly realistic, but in reality symbolistic, 
built up with almost an excess of consciousness out of the ordinary events of reality 
and the words of every-day life. In this he follows somewhat closely on Strindberg's 
lines in dramas such as " Easter." 

A fine psychological study of the human heart, dealing principally with a husband 
and wife, is given by P. Apel in his play " Gertrud " (publishers and agents, 
Oesterheld and Co., Berlin). The wife, Gertrud, who is entirely devoted to her 
husband, seeks her own death on learning that his love for her has ceased. The tone 
of tender sadness which pervades the whole, the fine shading, free from all "theatri- 
cality," both in the characters and in the natural course of the action, capture one's 
attention and interest. 

The anti-Jewish question, which constantly crops up in Germany, gives material 
for two dramas: " Klein-Eisen " ("Ironmongery"; agents Drei Masken Verlag, 
Munich), by Eugen Albu, and " Ueberwinder " ("The Master Power "), by G. Hirscn- 
feld. Eugen Albu's play is less a drama than an honest psychological study and 
sincere confession of faith; while Hirschfeld's " Ueberwinder " is more a book drama, 
rich in tender poetic touches, than a work for the stage. In it two lovers, artists 
both, but belonging to two different worlds, are only united to each other on the 
death of one of them. 

Two dramas with military surroundings are " Die Frau des Kommandeurs " (" The 
Commander's Wife"), by the exiperienced writer Max Dreyer, and a well-worked-out 
play, " Lutz Lowenhaupt " (agents, Vertriebsstelle, Berlin), by the newcomer Hans 
Schmidt-Kestner, who, after this proof, shows that he does not found his claim to con- 
sideration on the fact that he is a descendant of Goethe's " Lotte " in " The Sorrows 
of Werther." The characters of his play have flesh and blood, and the action has 

The novelist Gustav Frennsen already known in England by his novel " Jorn 
Uhl "tried his hand at a drama, " Sonko Erichsen " (agents, Drei Masken Verlag, 
Munich), the theme of which is undying love for one's home and country. It is easy 
to see, however, that it has cost the author a struggle to write in this new form. The 
inner life of the piece does not blend with the outer, and one notices all sorts of little 
points which show his dependence on older dramatists. 

Eulenberg, this time, gives us strong theatrical fare, which he wishes taken as 
symbolic in the wider sense, but it fails in this respect. Jakob Schafner, a new 
man as a dramatist, tries to do the same in " Heilige " ("The Saint"; 
agents, Drei Masken Verlag, Munich), which simply breathes murder and sudden 
death. All the same one feels that the play is written with the very heart's blood 
of the poet, but he needs distance to view his work properly. Nevertheless, it is a 
good proof of talent. 

Eulenberg's " Zeitwende " (" The Turn of the Tide ") tries to show the turn of the 
present times towards the Moloch of commercialism, against which he has so often 
battled. His "hero," a reckless adventurer and swindler, is evidently intended to 
represent the present day. Like so many of Eulenberg's plays, however, this strange 
piece was a failure. On the other hand, a clever little one-act play of his, "Paul 
and Paula," received well-merited applause, for it handled a very ticklish situation 
with a delicate yet sure touch. 


The foundation of most modern German comedies a,t least of those which are not 
intended only as the lightest fare for the big public is either society or political 
satire. Amongst the satires of the former class is " Burger Schippel," by that bitter 
opponent of all philistinism Carl Sternheim. In this play he draws, with a pen 
dipped in acid, the upward career of a man from the proletariat to the bourgeois 
class. Ludwig Thoma's " Sippe " ("Dear Relations"; publishers and agents, A. 
Langen, Munich) shows the struggle of two free-minded people confronted with the 
narrow prejudices of provincial town-dwellers, who (sacrifice their whole Ijves to the 
small questions of rank in society and such matters. 


Other plays of the same class are: A. F. Cohn's " Kulturplast " ("Homes of 
Culture " ; agents, Vertriebsstelle), the satire of which is directed against certain 
Berlin building speculators; H. Ilgenstein's charming and amusing " Kammer- 
mueik " ("Chamber Music"), which makes merry over a certain class of pedantic 
moralists and the dialogue of which is easy, fluent, and natural while the principal 
female part is a brilliant "star" role full of spirit, wit, and true-heartedness ; and 
Otto Soyka's " Geldzauber " ("Magic of Gold"; publishers and agents, A. Langen, 
Munich), which, with a half-mocking, half-regretful smile, shows the power of gold 
over men. The plot centres round an American millionaire whose creed is that for 
gold he can buy love, friendship, everything. Soyka's temperament is an intellectual 
one, and his interest in the world and mankind deep. He is quite devoid of sentimen- 
tality, but at the same time has none of Sternheim's scornful bitterness, so that one 
can follow his work with something more than mere interest. 

In "Das Paar nach der Mode" ("Marriage a la Mode"; agents, S. Fischer, 
Berlin), R. Auenheimer discourses in a light satirical dialogue on the marriages of 
fashionable young society people. H. Vosberg, in " Generalprobe " ("The Dress 
Rehearsal " ; agents, Anstalt fur Auffuhrungsrecht, Berlin), describes the sorrows of 
a young author at the way his play is :treated. 

A play of considerable originality is T. Rittner's "Mann im Souffleur Kasten " 
(" The Man in the Prompter's Box "). A poet-dramatist finds his way into the 
empty theatre at night, and soon the theatre is peopled with the figures of his 
imagination till, on the appearance of the "beautiful leading lady," he is dragged 
forth into daylight, and alas ! only too soon after he is discovered writing plays to 
catch the public. Which is as much as .to say that poets' dreams cannot stand the 
garish light of day, and that beautiful ladies are only to be won when one has a 
good banking account. The figures are moulded in the true spirit of comedy, yet 
they are true in all essentials, and the whole play moves like a dainty dance. 

Rudolf Holzer gives us some good, amusingly observed figures in " Gute Mutter " 
("Good Mothers"). Without great pretensions it makes a good impression by 
reason of its warm-heartedness and simplicity. The " Good Mothers" are in reality 
the bad ones, because love makes them blind, and they give their children either 
too much or .too little freedom. 

Smart and in some parts brilliant dialogue distinguishes " Das Europaische Kon- 
zert " (" The European Concert " ; agents, Anstalt fur Auffuhrungsrecht, Berlin), by 
Max Roosen. In it an American manages to bring about a " concert " of the three 
European nations, England, France, and Germany, represented by their national 
types. Except for this, however, there is no political satire in the play, which is 
worked out from a rather old-fashioned recipe. 

Of farces and farcical comedies there has been no dearth. Some which are over 
the mere average are: R. Herzog's " Herrgottsmusikanten " (agents, Vertriebs- 
stelle, Berlin) ; G. Engel's " Heitere Residenz " (" The Gay Capital " ; agents, Ver- 
triebsstelle, Berlin), a light satire on a small German Court ; " Will und Wiebke," by 
F. von Zobeltitz (agents, Vertriebsstelle, Berlin), a pleasant little family story; 
" Piquebube " ("Knave of Spades"; agents, Vertriebsstelle, Berlin), by R. Over- 
weg, a good-natured satire on the sagacity, or rather stupidity, of the police, who 
are set at naught by the cleverness and 'cuteness of a trio of scoundrels; " Excellenz 
Max" ("His Excellency Max"; agents, Vertriebsstelle, Berlin), by Julius Bis- 
chitsky, also concerning scoundrels; and two wild but effective farces, " Donatello," 
by G. D. Jennings (agents, Drei Masken Verlag, Munich), a parody on the art- 
treasure-seeking American millionaire in Europe ; and " Die Spanische Fliege " (" The 
Spanish Fly " ; agents, Ahn and Simrock, Berlin), which may be called the record in 
comical confusions and spicy situations. 


Carl Hauptmann (Gerhart Hauptmann's brother) has spent many years of his life 
in a village, and has got to know the peasant and his ways very thoroughly. The 
fruits of this are two new dramas. One of these, " Die Lange Jule " (" Long Julia "), 
is a relentlessly realistic study of a woman who sacrifices everything to her will. 
But by the sudden appearance of a ghost the author brings a supernatural note into 
the play. In his other work, "Die Armseligen Besenbinder " "The Poor Broom 
Binders "), he combines dream and reality somewhat in the style of " Hannel^s 
Himmelfahrt," making it seem almost a real fairy-tale, in which one is ready to 
believe the reality of the unreal. It describes the dream-heaven of a poor old man 
whom, as Mignon sings, this life has burdened with sin. A picture of the scene in 
which he dreams of his arrival at the Gate of Heaven will be found amongst the 





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To be given at the Freiburg Municipal Theatre early in 1914. 


(From the special " Parzifal " number of " Die Scane," edited by Dr. Ernst Leopold Stahl, 

formerly Professor of Genian Literature at the Nottingham University. Publishers 

Vita, Charlottenburg, Berlin.) 



To be givi'n at t'ie Freiburg Municipal Thjitr; early in 1914. 


(From the special " Pavzifal " number of "Die Scene," edited by Dr. Ernst Leopold Stahl, 
formerly Professor of German Literature at the Nottingham University. Publishers 
Vita, Charlottenburg, Berlin.) 







S -s 
a HO 


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illustrations accompanying this article. The reproduction shows that the simple yet 
fairy atmosphere of the play has been preserved in the staging at the Royal Court 
Theatre in Dresden under Dr. Zeiss' artistic directorship. " Die Armeeligen 
Besenbinder," with its mixture of true poetry, humour, freshness, and tender 
symbolism, is probably Carl Hauptmann's most successful work, although perhaps it 
makes a stronger appeal as a book than as a stage play. 

Ernst Legal, an actor at the Wiesbaden Court Theatre, made his debut as dramatist 
tliis year. His " Liitaie " (publishers, Oesterheld and Co.) is a valuable addition to 
modern dramatic literature, being original and true to nature. It reproduces very 
convincingly the spirit of dawning Spring amongst the inhabitants of a little village 
where they still keep up the custom of bearing Winter solemnly to his grave, and 
ringing in Spring, the season of love, with joy-bells. 

Jakob Scherek gives us a simple village tragedy in "Marthas Leidensweg " 
("Martha's Path of Suffering"), the story of a poor fallen girl, rejected by every- 
one, who pleads in vain for pity; but alas! "moral" people have no hearts. The 
piece shows genuine feeling and a true instinct for "popular" style in the good 
sense of the word. 

Another village play a comedy this time, but which, however, almost threatens 
to become a tragedy is " Das Beschwerdebuch " (" The Complaint Book " ; agents, 
Drei Masken Verlag, Munich), by Karl Ettlinger, the author of "Die Hydra," a 
splendid satire on theatre audiences and art enthusiasts. The originality of the 
idea, the well-observed types, and fresh dialogue won for "Das Beschwerdebuch" 
a very warm welcome. 


Faust's pupil Wagner waxed enthusiastic on the delight of steeping oneself in 
the spirit of olden times. Faust's answer to that was that those who do so generally 
take their own spirits with them into those strange times. That is quite a usual 
thing .with authors of historical dramas, and in most cases they do not deny it, for 
their first concern is to find the most suitable setting for a theme of general human 
interest ; as, in fact, the Greek dramatists did also when they dramatised the old 
sagas of their country. Many of these German dramatists have learned much from 
Hebbel, and very often their work rests more on a philosophical than on a poetical 
foundation. Others, again, wish to reproduce on the stage bright and varied pic- 
tures of strange happenings and peculiar characters, and they ransack the history of 
all lands for a subject to suit their purpose. Some, however, are content to hide 
a merry comedy in a picturesque historical costume, and offer it to the public in 
this guise. 

All these styles of "historical" plays were represented in no meagre quantity in 
this year's output for the stage. To deduce from that, however, that public and 
authors took special interest in historical things would not be justified. 

To the class we may call the "idea dramatists" belongs L. Lublinski, who died 
a few years ago. A tragedy of his, " Kaizer und Kanzler " ("Emperor and Chan- 
cellor"), full of thought and earnestness, this year made its appearance on the stage 
at last, although it had been published in book-form for some time. The Emperor 
of the title the great and still enigmatical Friedrich II. of Hohenstaufen is fight- 
ing for what seems to the people of his day an utterly incomprehensible idea, namely, 
that every man should carry his God within himself, and should belong to this earth, 
not, as the Church preaches, to the world beyond the grave. Everything lyrical or 
temperamental is absent; the principal conflict is kept well in the foreground, and 
everything else is directed towards it. But it is all done with such evident intention 
that the tragedy leaves one cold, because nothing has a real anchorage in living 
human nature. 

E. von Bodman also works from an " idea." only in his " Heimliche Krone " (" The 
Invisible Crown ") in which a Prince wins a crown, but loses the crown of his inner 
life. In this play also the characters are "sicklied o'er with the pale cast of 

Else Torge, a lady who is making her first appearance as a dramatic writer, 
plainly follows Hebbel in her " Urtheil des Salomo " ("The Judgment of 
Solomon "), in which she uses the well-known story of Solomon and the two mothers 
with their children as groundwork for a drama on The Woman. Her Basmath wishes 
to belong only to a man worthy of her, to enjoy, at least for once, all the sweetness 
and wonders of life, so that she may put to use all the possibilities slumbering in 
her. Hers is the Faith in Life, and she gives it expression in the words : " This 
soul will rejoice and sing aloud ! Whatsoever may happen, I will live ! " Fine & 
the intentions of the play are, they are not yet embodied in a perfect shape. 


H. Lilienfein goes back to classical days jn his " Tyran " ("The Tyrants"; 
agente, Ahn and Simrock, Berlin), which, avoiding all theatrical effects, gives the 
tragedy of a ruler who is forced to play the solitary tyrant while longing for the 
love of one human being whom he can trust. 

Other works are: D. H. Sarnetzki's " Eroberer " ("The Conqueror"; agents, 
Vertriebsstelle), which has William the Conqueror for its hero, and describes 
cleverly his wooing expeditions to Flanders; "Astrid," an Icelandic love-tragedy 
by Edouard Stucken, the poet-author of dramas of the Holy Grail (" Lanval," etc.) ; 
Paul Zifferer's " Die Helle Nacht " (" Light in the Night " ; agents, Vertriebsstelle, 
Berlin), a well-thought-out poetical drama playing in the Paris of the Middle Ages 
and written in rich verse of changing rhythm; Lily Braun's "Mutter Maria" 
(" Mother Mary " ; publishers, A. Langen, Munich), a tragedy which, although out- 
wardly playing in Florence in the time of the Medicis, is in reality a sort of parallel 
to the "Passion of Christ"; " Fiorenza " (publishers, S. Fischer, Berlin), by the 
favourite novelist Thomas Mann, more a book than an acting drama, the climax 
of which is reached when Lorenzo de Medici and Savonarola, the two antagonists in 
their viewe of life, meet face to face ; H. Heiseler's " Peter und Alexei " (agents, S. 
Fischer, Berlin), which gives, with subtle power, the story of Peter the Great 
and his unfortunate son in well-built acts. Finally, " Schirin und Gertraude," by 
E. Hardt, a light comedy clad in historical dress; " Fiirstliche Maulschelle " ("A 
Princely Blow"), by E. von Wolzogen ; and A. Zinns's " Drei Briider von 
Damaskus " ("The Three Brothers of Damascus"; agents, Vertriebsstelle, Berlin), 
show a pretty gift of invention and delight in telling stories. 


Since the tremendous success of " The Five Frankfurters" all over Germany 
some years ago (it was also seen in London about the same time) dramatists are 
fond of using the time of " Grandmama and Grandpapa " that is to say, the end of 
the eighteenth and the first half of the nineteenth centuries as milieu for their work. 
Among these plays this year were several of more than average quality. W. von 
Scholz, a writer in whom thought and feeling are equally strong, chose a still 
earlier period the time immediately preceding the outbreak of the French Revo- 
lution to draw a convincing picture of Parisian morals, mostly bad, of the ancien 
regime, in his play " Gefahrliche Liebe " ("Dangerous Love"; publishers, G. 
Miiller, Munich ; agents, Drei Masken Verlag, Munich). The play is founded on 
the novel " Les Liaisons Dangereuses," by Laclos. 

The eve of another revolution, that of 1848, but in Berlin this time, is used by 
Hans Heinz Ewers, a novelist of an unusual type, in his " Wundermadchen von 
Berlin" ("The Miracle Girl of Berlin"; publishers, G. Miiller, Munich), which 
gives a brilliant description of the milieu and feelings of that time, and proves that 
its author has a sure eye for the stage. It introduces us to some curious charac- 
ters, amongst them the historic figure of the Wundermadchen herself, who by 
day is a sort of saint and by night a frequenter of low places of amusement. A 
goodly supply of grotesque humour gives it, in the good sense of the word, a 
genuine German flavour. 

Another novelist, G. Hermann, made use of his own novel " Jettchen Geberts 
Geschichte " ("Jettchen Gebert's Story") for a play, "Jettchen Gebert " (Drei 
Masken Verlag, Munich), in which, as is generally the case, much that is good in 
the novel is lost. Nevertheless, it makes a strong appeal by reason of its kindly 
if not always consistent characterisation, especially of the heroine. 

Other plays of the same class are: Cruwell's " Schonwiesen," a peculiar mix- 
ture, not always " chemically " blended, of life and " theatre," with Austria in 
the days of Maria Theresa for milieu ; H. Miiller-Schlosser's humorous and popular 
comedy " Schneider Wibbel," which plays in Diisseldorf in the time of Napoleon 
(agents, Vertriebsstelle, Berlin); L. Schmidt's " Christiane," a dramatic picture of 
Weimar during Goethe's time, with many of his friends as " dramatis personse " 
(publishers, G. Miiller, Munich ; agents, Vertriebsstelle, Berlin) ; and finally 
Mozart's marriage turned into a gay, popular play by J. Krauss and Otto Schwarz 
(agents, Vertriebsstelle, Berlin). 


As the system of curtain-raisers is not in vogue in Germany, one-act plays are 
comparatively seldom given, and therefore seldom written. Now and then " One- 
act Evenings," as they are called, are given, in which generally three or four plays 
by the same author are presented, A group of plays of this class, und-^r th<> 


collective title of " Gesinnung " ("Convictions"), is by H. Miiller, who has 
evidently learned much from Shaw and Schnitzler. Single one-act plays are : 
Ludwig Thoma's " Sauglingsheim " ("The Home for Infants"; publishers, A. 
Langen, Munich), a biting political burlesque in the style of "Press Cuttings," 
which, however, does not quite stand comparison with the same author's 
deliciously humorous " Lottchens Geburtstag " ; and A. Wildgans' "In Ewigkeit, 
Amen!" ("For Ever and Ever, Amen!"; agents, Vertriebsstclle ; publishers, L. 
Staackmann), a deeply earnest play, the theme of which is the so-called justice of 
the Courts of Justice. 


Among the comparatively large number of English plays given for the first time 
in Germany or Austria during 1913, may be mentioned G. B. Shaw's "Pygma- 
lion " (produced in the Hofburgtheater, Vienna, for the first time on any stage) 
and his " Androclcs and the Lion," which latter piece, after having been left for 
slain on the critics' battlefield, was splendidly vindicated by Julius Bab in a fine 
analysis in issue No. 50 of the weekly theatrical paper "Die Schaubiihne " ; J. M. 
Synge's "Playboy of the Western World"; Sir Arthur Pinero's " Mind-the-Paint 
Girl" and "Theatregoers"; E. Knoblauch and A. Bennett's "Milestones"; E. 
Knoblauch's "Faun"; Cicely Hamilton's "Phyllis"; and John Galsworthy's 
"Justice," "The Pigeon," and "The Eldest Son" (the two last-named published 
in neat volumes by Messrs. Oesterheld and Co.), while his " Strife " was revived 
by the Volksbuhne in Vienna with the greatest success. 

In this connection may also be mentioned a very successful revival of " The 
Mikado " in Berlin and Munich, and an English tour under the management of Miss 
Glossop Harris and Mr. Frank Cellier with Shakespeare and Sheridan plays. 


The important foreign plays given for the first time on the German stage 
which, in its cosmopolitanism rightly draws nourishment and stimulus from all 
sources were several plays by Strindberg, who has become a power in the German 
theatre; the Icelandic dramatist J. Sigurjonsen's "Berg Eyvind und sein Weib " 
("Berg Eyvind and His Wife"); Molnar's " Liliom " ; Melchior Lengyel's " Tante 
Rosa" ("Aunt Rosa"); Van Eeden's " Lioba " ; Schalom Asch's "Bund der 
Schwachen " ("The Bond of the Weak"); and Tolstoi's " Lebender Leichnam " 
(" The Living Corpse "). 

Reinhardt's production of the last-named work, which was merely an unfinished 
sketch at the time of Tolstoi's death, was one of his greatest successes, and shows 
him to be a master of what is called in Germany " innere Regie " (the suggestive 
guidance of the actor by the producer), in contrast to the " aussere Regie" (the 
producer's rule over the stage). Reinhardt's work in the latter connection has been 
followed to a certain extent by the various reproductions of his scenes in the 
different volumes of this book. In order to give an idea of his power in the former 
capacity I should like to say a few words about his Tolstoi production. 

Briefly, the "plot of the sketch is the following : The " hero " is one of the 
poorest and weakest of mortals, a drunkard and card player, but possessing one 
divine spark which nothing can extinguish. This spark burns in him as in a 
brother of Christ, and Tolstoi makes i't grow and grow in spite of the most terrible 
degradations till the poor creature, even in his outward appearance and manner, 
shows some similarity to Christ. But temptation is always at hand. One day, in 
a low-class tavern, he is telling a fellow-sinner some of the incidents of his life, 
and says that his wife, thinking him dead, has married another man, and has 
therefore committed bigamy. Someone who has been listening in a shadowy corner 
of the room to the conversation suddenly joins them and puts the idea into his 
head that he could make use of that knowledge to blackmail his wife for money, 
for, if she refused to give him anything, he could then accuse her of her crime 
and get her imprisoned. Here Reinhardt's genius recognised a parallel to the 
Temptation of Christ in the Wilderness, and with equal genius lie made the Listener 
the embodiment of a sudden thought in the hero's own soul. But, degraded though 
he is, he can still repel the tempter. Reinhardt made this perceptible to his 
audience by making the listener speak in a curiously high monotonous voice, and by 
giving his figure something uncanny, something almost nonhuman, although in 
the middle of a realistic night scene. 

Finally, I should like to mention a very interesting performance of Calderon'a 
" El gran teatro del mundo," a grandly conceived allege r i :al representation of 

90 ftiu STAGU YAK BOOK. 

the whole Roman Catholic conception of the Universe. It was given by the 
Calderon Society, whose aim it is to foster the art of poetry particularly in 
dramatic form which specially breathes the spirit of Christianity. The society 
is now preparing to found a sort of religious theatre for the people (Christliche 


The place of the real operette is gradually being taken by the lightest of vaude- 
villes in the style of " The Girl in the Taxi," the music of which consists more or 
less of only a few "hits," while the play is kept going otherwise by rattling 
dances especially two-step and tango and plenty of fun. Fashionable dress, or, 
rather, undress, of course, also plays a very important role. This class of piece 
seems to suit the taste of the " big " city public, and is also cheaper to put on because 
only a small orchestra is required and no first-class singers. For the education of 
taste, however, the less said the better. 

But it is pleasant to be able to speak of at least one musical work of quite 
another kind, the chief value of which lies in its light but none the less artistic 
dtmsic, full of verve, charm, and colour. It is Oskar Nedbal's "Polenblut," which 
was an instantaneous success both in Vienna and Berlin, proving that when some- 
thing genuine does come along it finds recognition. I almost think the success is 
partly due to the fact that Nedbal's music is not the kind which is intended to 
please everybody and anybody and in the end pleases nobody. Nedbal is a Slav, 
and his music expresses the true Slav temperament, just as Puccini's does the 
Italian. But things that are genuine push through in the end and live on, ,so 
Nedbal's music will also conquer. "Polenblut" has already been secured for 


The kinematograph has increased and flourished to such a degree that it has 
become a most formidable competitor to the theatres. This can best be proved by 
the result of an Amusement Tax levied by the town of Hanover on all classes o>f 
entertainments. For 1912 this tax brought in Mks. 8,131 from theatres ; Mks. 13,241 
from variety halls ; while from the kinematographs alone came the astonishing 
sum of Mks. 25,562 ! No wonder, then, that the Society of German Theatre Directors 
sounded the alarm at their yearly meeting. On the other hand, it must be con- 
fessed that picture house managers are business men who understand their business, 
and have learned that only the best is good enough. They have had several hand- 
some houses built, as, for example, the Cines-Nollendorfplatz, Berlin, designed by 
no less an architect than Oskar Kaufmann, whose work has several times been 
illustrated in these pages (Hebbeltheater, Berlin; Stadttheater, Bremerhaven). 
They persuade well-known writers to write films for them, and musicians to com- 
pose special music. In fact, the whole thing has developed into such an important 
business that the Verband Deutscher Buhnenschriftsteller (the authors' own 
dramatic agency) has started a special branch for the purpose of transacting 
business, on agreed lines, between authors and film-makers, and also for ensuring 
for authors adequate performances of their work. For these works the best-known 
and most favourite actors are often engaged for the principal parts, and one firm 
the Projections Aktien-Gesellschaft Union, Berlin has even had a film " produced " 
by Reinhardt. This was " Die Insel der Seligen " (" The Island of the Blessed "), 
composed with fine taste and a pleasant touch of humour by A. Kahane, Reinhardt's 
literary manager. Two pictures of this film are given here, as further examples of 
what I have described as Reinhardt's " aussere Regie." 


Faced with such competition, it is becoming harder and harder for private man- 
agers to keep their heads above water. In the big towns, especially in Berlin, they 
are trying to keep things going by means of the long-run system, with all its bad 
consequences and its entire dependence on a big " draw " ; or else they do their beet 
to win the coy public by catering entirely for their baser wants. That the only real 
cure for this lies in the municipalising at least to a certain extent of the theatres, 
the managers themselves are now beginning to realise, and at the yearly meeting of 
their Society a resolution was passed saying that "the Society of German Theatre 
Directors regards it as one of the noblest duties of German towns to work to a much 
greater extent than heretofore to promote the interests of the German stage." And 
all the time the towns, quite apart from the ruling princes, are doing a great deal, and 
in an ever-increasing degree, in that direction. 


The number of towns running their theatre as an entirely municipal concern grows 
every year. Breslau has, during this year, started a municipal opera under Inten- 
dant W. Runge ; in Elberfeld, the theatre, which is under the artistic direction of 
von Gerlach, has become entirely municipal. In many towns the subventions have 
been raised where the building of a new theatre is contemplated, and the towns 
share in the expense by giving the ground free and contributing a sum towards the 
building fund. In Bonn, for example, the town has given the ground and almost 
half the sum for building, while other public-spirited citizens have started a sort of 
" Theatre Building Fund Society " in the town in order to .raise the remainder of 
the required sum; an excellent and fair arrangement all round. 

In Krefeld, the Town Council decided to grant a sum of 1,750,000 marks for the 
erection of a new theatre if private citizens would subscribe 400,000 marks between 
them. Without the slightest difficulty, however, 600,000 marks wexe raised ! (It is 
instructive to compare this with what happened in Glasgow a few years ago !) This 
example ought to go to prove the erroneousness of the belief, so generally accepted 
in England, that Germany's "paternal Government" nips all private initiative in 
the bud. Several towns, such as Cologne, Leipzig, Dusseldorf, Frankfurt a/ Main, 
Freiburg, Strassburg, spend comparatively large sums on their theatres in some 
cases up to 30,000 a year and even more, because they hold that their theatres 
are "sources of culture." In that light, so far, only Art Schools are regarded in 
England. R - ddency towns, too, such as Munich, Stuttgart, and Darmstadt, whose 
theatres are *wned by ruling princes, have recently granted sums towards their 
upkeep, knowing well that good theatres are good for them from a business point 
of view also, because they attract visitors to the town. The town of Darmstadt 
decided to vote a yearly sum of 1,000 to be specially devoted to increasing the 
salaries of employees. The grounds given for this grant were that, under the new 
Intendant, Dr. Paul Eger, the theatre had reached such a high artistic rank that 
the good work deserved special recognition. Our illustrations this year include some 
scenes from Darmstadt performances, and the grandeur yet simplicity of their style 
will show the artistic earnestness with which the work is being carried on there. 

Altogether the towns are now very much alive to the needs of the employees of the 
theatre, and everywhere more and more is being done to help them. This con- 
sideration is very greatly due to the excellent propaganda of the -German Actors' 
Association. Aroused to a sense of its duty by this propaganda, the town of Aachen 
has decided to pay at the rate of half a day's salary for the days during which 
the rehearsals take place before the engagement proper begins ; besides that, the 
chorus singers are to get all their costumes free, and are also to be paid by the year, 
although they are only on active duty for seven months. So the intervention of the 
towns helps all round. 


It is good to report that the movement towards these kinds of theatres (which 
have been repeatedly mentioned here) is spreading considerably and is being warmly 
supported by the Actors' Association, because they see in it something good for 
their own members. The Reichsverband deutscher Stadte (The Imperial Union of 
German Towns), which embraces the small towns of Germany, petitioned the Govern- 
ment for support for these theatres, because they bring the art of the drama into the 
smaller and more remote places without working for a profit. 

The two big Volksbuhnen (Peoples' Theatres) of Berlin recently formed themselves 
into a "combine," which now brings the membership up to 70,000, and the founda- 
tion-stone was laid for a handsome theatre of their own, to which the town of 
Berlin helped with a loan. Their scheme of work includes not only the theatr* 
performances but also concerts, lectures, etc. ; in short, they represent a sort of 
Peoples' University in the field of Art. In the provinces the same idea is carried 
out, but in a different way, namely, by arrangements being made by the towns or big 
societies (like trades unions) with the theatres to give frequent cheap performances 
for the people, as was done, for example, in Minister in 1913, when such perform- 
ances were given once or twice a week at the cheap uniform rates of 6d. for a play 
and Is. for an opera. Needless to say, nearly all the performances were sold out. 
Fifteen operas and twenty-six plays were thus made available to the poorer classes 
of the population. 


Many changes, especially in the management of several of the important theatres, 
took place in Berlin during the past year. Since the bankruptcy of several theatrical 
undertakings which, financially speaking, were of the broken reed order, theatre 


concerns in the capital now seem to rest on a surer foundation. The principal inno- 
vation is the formation of a Societaires's theatre somewhat on the lines of the 
Comedie Frangaise, but without a public subvention called the Deutsches Kiinstler- 
theater, run by the principal members of the old Lessingtheater under the late Dr. 
Brahm. One of its Societaires is Gerhart Hauptmann, who acte at the same time ae 
producer and adviser. 

Reinhardt's great scheme for a Theater der Fiinftausend (Theatre for Five Thou- 
sand Spectators) is likely to become a reality soon. In an article which he wrote 
for the Neue Freie Presse, he says he wishes to regain the "grand style" 
which is akin to that of the old classical stage, and he hopes that it will also give 
fruitful impetus to modern dramatists. Besides that, it will appeal to a wide public, 
to whom the low prices will make it possible. Reinhardt has been working for 
several years with Professor Roller and others at designs for this theatre, and now 
it has been decided to alter Circus Schumann to suit his plans. They expect to open 
this great theatre in autumn, 1914. 


In last year's survey I spoke of the new Royal Schauspielhaus in Dresden which, 
as regards technical arrangements, is one of the most up-to-date theatres of the 
present day. It was opened in autumn, 1913, under Dr. Zeiss, whose artistic 
management and excellent choice of plays, both classical and modern, have made 
Dresden one of the centres of modern drama in Germany. For years many important 
works have made their first appearance under him ; this time it is Carl Hauptmann'a 
"Die Armseligen Besenbinder," one scene of which is included in our illustrations. 
It serves to show that real poetic simplicity is the keynote in the staging of plays 
at this theatre. In suggestive lines and forms the scenery reproduces the spirit and 
style of Carl Hauptmann 's fine work. 

Among other important new theatres built during the year is one by Professor M. 
Diilfer in Duisburg. The acoustics of this theatre are said to be particularly fine, 
owing to a special arrangement in the ceiling of the auditorium. With the aid cf 
special machinery the proscenium can be made narrower or wider at will. The stage 
has all the modern improvements, including a " Schiebebiihne " (movable side stage), 
on which new scenes can be set while the play is going on before the audience, thus 
doing away with the necessity of long stops. Here also they go in for the new 
impressionistic style of staging. For the actors there are excellent, airy, almost 
luxuriously fitted-up dressing-rooms. Nevertheless, the architecture is entirely free 
from all superfluous ornamentation, both inside and outside. 

The Bremen theatre is another of the important new theatres of the year, built 
by two architects of the town. It is a simple, quiet, tasteful building with a well- 
proportioned auditorium, the private boxes right and left being done away with, as 
is the case in many new theatres nowadays. The theatre is fitted up with all the 
most up-to-date technical arrangements. 

A third new theatre is in Heilbronn, built by Professor Theodor Fischer, which, 
with its up-to-date stage and bright and inviting dressing-rooms for the actors, is in 
no way behind the Duisburg theatre. The auditorium is refined and "intime," with 
a warm dark wall-covering resembling wood panelling, inlaid with dainty repre- 
sentations of classical dancers, etc., by Friedrichson. This wall-covering a kind 
of thin veneering of different fine African woods is used here for the first time, and 
with splendid effect, although much cheaper than real panelling. Another feature 
is the finely curved oval foyer. At all points beauty is combined with utility. The 
arrangement against fire is quite novel, and consists of thirty-two windows above 
the rigging-loft intended to let the smoke escape, the whole arrangement being easily 
set going by one handle. 

The question of fire is a " burning " one in more senses than one, and much atten- 
tion is being given to it. In the Wiesbaden Court Theatre, for instance, a " Fire and 
Smoke Test " was carried out, while in Diisseldorf a very interesting experiment is 
to be tried. The town, in connection with several building societies and fire insurance 
companies, has decided to erect a theatre to be used entirely for fire experiments. It 
is to be built at a cost of 4,000 from designs by Fire Inspector Schlunck, and is to 
be half the size of the Dusseldorf Stadttheater. No one, however, has yet tried the 
panic-proof type of theatre designed by Architect Henry Helbig, of Munich, the 
most distinctive feature of which is a -wide, imposing flight of steps outside the build- 
ing, right and left. A picture of this theatre was given amongst our illustrations a 
few years ago, and a model of it was also seen at the Whitechapel Theatrical Exhibi- 







* H 

^ PH 

5 W 








(Under the direction of Intcndant Dr. Paul Eger.) 


(Designed by Curt Kempin.) 


(Pesigned3by Curt Kempin,) 





(Designed by Kurt Kempin, Darmstadt.) 



(Designed by Professor B. Pankok.) 




[Photographers : Werkstaette fur Kiinsthrische Photographic Berlin, Kc.'.serstrassc SO, 




[Photographer: Frau Enia Lendvai-Dirksen 


(Architect : Heinrich Tersenow.) 


tion, London. It is, however, to be turned to practical account soon although not 
exactly as a theatre as the German Theosophical Society in Munich is going to build 
a Temple with platform stage from Heilbig's designs. The Society's magazine, 
" Mazdaznan " (Leipzig), gives an illustration and full description of this Temple 
in its issue for July, 1913. 


A ' ' theatre " of a unique character has stood for some time now in Hellerau, near 
Dresden, the first Garden City in Germany, which owes its being to the initiative of 
Dr. Wolf Dohrn, an idealistic and enthusiastic worker in the field of art and culture. 
This little place is beginning to attract the attention of many countries as being the 
home of Dr. Dalcroze's School of Eurythmics.* The "theatre," designed by Tesse- 
now, is really the Great Hall of the school. Here, in summer, Festival performances 
are given in which pupils of the school take part. In 1913 they gave Gluck's 
"Orpheus" and "Annunciation," by the new French mystic writer, Paul Claudel, 
the theme of the latter play being what might be described as the wrestling of the 
human soul with God. In the representation of these pieces there was no division 
between the stage and auditorium. Players and spectators were in the same light, 
namely, a diffused light resembling daylight without visible sun, a system invented 
by A. von Salzmann. This effect was obtained by means of innumerable but in- 
visible electric lights placed behind the transparent covering of the wall, so that 
the hall seemed to glow with light instead of being lit from an external source. The 
stage itself in so far as it can be called a stage consisted merely of a platform 
divided into three parts and connected by flights of steps, which lent themselves 
splendidly to effective groupings and processions. On this platform simple pieces 
of furniture necessary to the action were placed, such as a table, a seat, or, as in the 
case of " Orpheus," the funeral urn. All realistic decoration was thus avoided, and 
even the surroundings were merely indicated ; for example, the impression of a wood 
was suggested by long stripes, the vertical lines of which created in the mind of the 
audience an impression of trees, and tuned their thoughts to the right rhythm. Thus 
the imagination of the spectator whose bodily eye sees only a few simple forms 
is stimulated to do some of the work itself, and the word of the poet reigns supreme. 
It is helped in this work by the lighting, which is made to increase 'and decrease in 
accordance with the ebb and flow of the poem. It might be said, therefore, that in 
this theatre the audience is, in a sense, indeed part and parcel of the play, and yet, 
in another sense, outside it ; which, of course, is the ideal state. With their experi- 
ments the Hellerau directors aim at making their theatre supersede the modern stage 
in its present state of development, at least for works of the "grand style." They 
also hope that the outcome of their endeavours will be a new style of acting. The 
"Paul Claudel Programmbuch," published by the Hellerau Verlag, gives a good 
resume of their aims and objects. An article by F. Rosenthal, which appeared in 
the excellent bi-monthly magazine, " Der Merker " (Vienna, July 2 issue, No. 14, 1913) 
may also be mentioned as containing a detailed and well-reasoned explanation of this 

One of the most important tasks which confronts the originators of this movement 
is the education of a new public. In this task Dr. Dalcroze's teaching of Eurythmics 
will play an important role, for it has been proved that his training not only educates 
the body, but also develops a deep sense of the artistic. 


As we have seen from the Hellerau production, Dr. Dalcroze goes to the farthest 
limit of the idea underlying simplified staging. Its originator at least as far as the 
opera is concerned was M. Alphonse Appia, a French Swiss, like Dalcroze, who, as 
early as 1896, broke a lance for the new style in his book, "Die Musik und die 
Inscenierung," and in his own designs for Wagner's musik dramas. But the first one 
to put into practical use the idea of the simplified style as applied to the productions 
of operas was Professor Willy Wirk, chief producer of the Munich Court Opera, 
already well-known to London by his work in Covent Garden. Some of the operas 
produced by him in this way are : " Tristan und Isolde," " Magic Flute," " Orpheus," 
etc., and since then talented artists in many of the German opera 'houses ihave 
been at work ki the same field, although none of them goes as far in his views as 

* This school lately opened a hransh in Liondon under the management of Mr. T. B, 
Inghani, B.A., 23, Store Street, W.C., af er great interest had been aroused in England by , 
course of lectures given by Dr. Dalcroze himself. 


the Hellerau artiste. The illustrations this time show the work of some of these 
artists such as the impressive yet simple scenes by G. Wunderwald, of the Deutches 
Opernhaus, in Charlottenburg ; the grandly conceived group of weeping women 
from O. Starcke's production of "Orpheus" in the Frankfurt Opera House; some 
refined scene-pictures from " Figaro's Hochzeit " in Stuttgart, where Emil Ger- 
ha'user is chief producer and Professor B. Pankok (the excellent organiser of the 
whole art movement iai Stuttgart) is designer to the opera; and finally an " intime " 
warmly coloured picture from Debussy's " Pelleas et Melisande " by Professor 

It will probably be a bitter pill for those Wagnerites who hold more to the letter 
than to the spirit to see the master's works apparently against his intentions and 
tha Bayreuth traditions brought under the sway of this new style. They <->ught 
not to forget, however, that Wagner must have thought of a style like this himself, 
for he repeatedly requested A. Bocklin, the great emotional poet-painter, to design 
scenes for him. JThis painter's pictures, such as " Heiliger Hain," show vsry 
clearly that the present-day movement must have been influenced by him, at least 


On January 1, 1914, Wagner's works became free of copyright, and with them 
" Parsifal " also. As the latter is to be performed almost everywhere, we give 
here a number of stylistic designs for " Parsifal " taken from the richly illustrated 
"Parsifal" number of "Die Scene" (publishers, Vita, Berlin), edited with great 
skill by Dr. E. L. Stahl. Dr. Stahl is no stranger in England, for he was formerly 
Professor of German Literature in the University of Nottingham, and has just 
written an exhaustive "History of English Theatres in tTie Nineteenth Century," 
which is to be published shortly in Munich by Messrs. Oldenbourg. He has kindly 
sent us a charming picture, " Music in the Good Old Times," illustrating one of the 
" Artistic Matinees " which he introduced to Diisseldorf and elsewhere. At these 
matinees a subject such as Music in the time of Schubert (who, with some of his 
confreres, appears in the picture) is made to live on the stage. 

" Parsifal," the work which brought Wagner peace for his soul from the world's 
vanity (" Frieden voin Wahnen "), demands, in its very essence, a noble and simpli- 
fied setting. A realism which only imitates reality would not be in place in a work 
whose theme is the rise of man from the earthly plane to higher regions. 

M. Appia describes his three scenes thus : 

Heiliger Wald (The Sacred Forest) : The Sacred Forest must 
prepare architecturally, as it were, the eye of the spectator for the Temple 
of the Holy Grail. At the very beginning of the act, the trumpets of the 
Temple must be clearly heard ringing through the Forest. 

The moving backcloth goes from left to right (of the audience). Graduilly 
the tree trunks become simpler and more like architecture. Shortly before 
the entrance into the Temple they stand rootless, like pillars with rocks for 
a base. Thus the tree trunks have become pillars. 

Klingsor's Zauberschloss (Enchanted Castle) : Klingsor's Enchanted 
Castle is built on darkness. Deep blue sky. At first Klingsor stands down 
below, on the terrace overhanging the precipice. When Parsifal approaches, 
Klingsor mounts the flight of steps and, standing, leans against the tower, 
making a silhouette against the light. 

Blumenau (The Flower Meadow) : In order to preserve the unity of 
this scene, it is absolutely necessary to treat Wagner's description of this 
decoration very freely. So, from the very beginning, the path up to the Temple 
of the Grail remains quite free and unused. Gurnemanz' Hut stands lower 
down, so that the old man has to mount two or three rocky steps before he can 
reach the Sacred Spring The Spring must be in the middle. Kundry lies 
under the bushes on the left. Parsifal comes up from below to the middle of 
the stage, between the Flower Meadow and the Hut. At first his head only 
is visible, then gradually his whole body. He walks past the astonished 

In the " Parsifal " number of " Die Scene," mentioned above, which contains many 
valuable contributions, Dr. Stahl discusses in detail the problem of the scenic repre- 
sensation of " Parsifal " and also the difficult question of the " moving backcloth." A 
well-illustrated article on the " Parsifal " performance which took place in Zurich in 
1913 (the Swiss copyright law making this performance possible) can be found in 
No. 8 of " Der Merker " (April 2 issue, 1913). 



An important exhibition of modern artistic designs for costumes and scenes from 
a great variety of plays took place in Mannheim in the early part of the spring of 
1913, on the initiative of th^ " Kunsthalle " there, at which English artists (Gordon 
Craig, Norman Wilkinson, and others) were also represented. It gave an excellent 
survey of the development of the modern movement, and showed the different charac- 
teristics of a number of artists. Dr. W. F. Storck's finely illustrated and compiled 
catalogue, " Moderne Kunst," contains valuable contributions from A. Appia, Gordon 
Craig, O. Starke, and others. Like the special number on this exhibition, edited by 
him for " Dekorative Kunst " (April, 1913), this catalogue is made of permanent value 
by the information it gives about the progress of the movement. The art magazine, 
" Kunstwelt " (Berlin, W., 62), also published in November, 1913, a special " Theatre 
Number," treating the new style of staging in text and illustration. Amongst the 
illustrations are some of Mr. Byam Shaw's scenes for "Parsifal," designed for the 


The year which is just gone has been one of great importance to the German actors. 
The long-expected Imperial Theatre Law has not yet received the sanction of Parlia- 
ment, it is true, but the draft of it, drawn up by the Government, was sent to the 
actors and managers for their consideration early in 1913. The result of the dis- 
cussions, initiated by the Government, between ail the parties concerned, allows the 
hope that the coming law will bring many good innovations. There is no doubt that 
it will come into force in 1914. 

In Austria the first part of a Theatre Law (what is called " public law ") was laid 
before Parliament for consideration in November. Some of its most important 
paragraphs are those concerning the conditions of the licenses which managers must 
procure before starting management, and quite a new point is a clause prohibiting 
managers, during the holding of the license, from changing the form of agreement 
upon which they undertake to engage the members of their company. It also 
establishes a minimum salary for members of touring companies. 

On the 1st of last January the Insurance of Employes Act came into force in 
the German Empire, and all theatre employes, including actors and members 
of orchestras, "quite irrespective of the value of their artistic work," must now be 
insured (hitherto no " artists " of any kind came within the scope of this Act). The 
insurance is : Against illness, if the actor's income is not more than 125 ; and against 
permanent inability to work, old age, and in favour of survivors in case of death, if 
his income is not over 250 a year. The amount of the insurance varies according 
to the income, also the contributions, of which the manager must pay half. This 
insurance means an important step towards a proper provision for members of the 

The Actors' Association also had a "great year." Their membership now stands 
at over 14,000. The combine (of which they are the most important part) counts 
noarly 70,000 members, the other societies being the Austrian Actors' Association, 
German Musicians' Society, the Chorus Singers' Association, Austro-Hungarian Musi- 
cians' Society, and the Ballet Union. On several occasions during the year the 
combine made successful use of that sharp weapon, the boycott, in its fight against 
managers, and, in fact, proved itself a power to be reckoned with. The Association 
has raised its yearly subscription slightly (to Mks. 18), and for that sum the members 
can now get the benefit of (a) the Legal Protection Bureau (whose methods have been 
pronounced quite permissible by the Courts of Law, and whose splendid work cannot 
be accused of Ibias in favour of the actors) ; (b) Home for Children and Fund for 
Mothers administered through the Women's Committee ; (c) Engagements Registry 
free of charge ; (d) travelling loans to facilitate accepting engagements at a distance ; 

(e) insurance against unemployment (for this a small extra subscription must be paid) ; 

(f) costumes at very reduced prices : (g) cheap advertisements in the official organ 
of the Association, " Der .Neue Weg," which continues, as before, its excellent pioneer 
work by publishing special articles of great value to actors. The Association also 
publishes every year its comprehensive ' Biihnen-Almanach " (" Stage Almanack "), 
which appears this year for the twenty-fifth time and contains, besides other matter, 
very complete statistics and addresses of all the German-speaking theatres. Members 
of the Association can obtain it at a reduced price. 

This most admirable activity has extended into yet another field of work, for the 
Association recently went into theatre management on its own account by taking over 
the theatre of the town of Guben. This theatre is managed for the Association by 


one of its members, and in it all the demands of the Association as to payment for 
rehearsals before the engagement begins, minimum salary, providing of all costumes, 
etc., are to be carried out. Happily the town of Guben helps the Association, for, 
without such assistance, the scheme could not be worked, as the expenses would be too 
great. The Association hope to be able to prove, by this experiment, that their 
demands are justified, at least if the towns also do their duty by helping the managers. 
They hope that, by this truly welcome form of " syndicalism," they are contributing 
towards the solution of the theatre problem. For this reason the Association agreed 
to help, with the grant of a guarantee, in the formation of a " Stadtebundtheater " 
in Westphalia, at the special request of the Government. This theatre, too, will be 
worked on the lines laid down by the Association. Other ventures of the same kind 
are to follow. The leaders of the Association see clearly that the salvation of the 
actors and employees of the theatre lies in their being taken over by public or 
syndicalist institutions, because it is they who are the first to feel the increasingly 
hard competition of kinematographs, etc. And as art, too. demands this change and 
many people are in sympathy with it, there is little doubt that it will come to pass. 

The brilliant example of the Association has spurred on other professions to organise 
themselves, such as concert singers and players, artists (painters), and others. And 
the motto of all is now " viribus unitis." 







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THE year 1913 will long be remembered in Australia for the severe loss tha 
theatrical world suffered by the death of Mr. J. C. Williamson, the founder 
of the great firm known for some time past by the title of J. C. Williamson, 
Limited. Though of date the deceased impresario had taken a less active 
part din the business than in former years, the, as governing director, was ever 
keenly alive to every change in the theatrical situation, and saw to it that his firm 
went with the times. Shrewd and far-seeing, his judgment was seldom at fault, and 
to the last his interest in matters connected with the stage in this country to which 
he first came thirty years ago never slackened. 

The "firm" continue their chief's large-minded and open-handed policy, and 
with three such experienced and astute managing directors at the helm as Messrs. 
George Tallis, Hugh J. Ward, and Clyde Meynell, who have as heretofore Mr. 
J. A. E. Malone to look after their interests in Europe, J. C. W., Limited, will, 
one may be confident, still retain unchallenged their premier position as wholesale 
amusement caterers for this part of the world. The company's interests are indeed 
expanding daily. The principal theatres in South Africa having been leased, 
engagements will be entered into in future for all first-class and "star" attractions 
to make what may be termed a " grand tour " of both the Australian and African 
continents, which partakes undoubtedly of the nature of a "large order." One of 
the firm's own companies, playing the Gilbert and Sullivan operas, will inaugurate 
the scheme this year. The principals engaged in London will meet the members of 
the chorus, engaged in Australia, in South Africa, and after visiting the principal 
centres there will come on to this country, and here complete the tour. Such enter- 
prise deserves to succeed. 


Turning to theatrical matters in general and attempting a review of the past 
twelve months, it appears to me that the outstanding features of. a somewhat fitful 
year may be summarised thus : 

(1) The striking advance made by the repertory theatre movements throi ghout the 
Commonwealth ; 

(2) The renewed activity in the building of new places of amusement ; 

(3) The appreciable, not to say surprising, all-round improvement in the work of 
the native-born actor ; and 

(4) The comparatively few English plays staged, and, consequent on this, the 
remarkable number of pieces produced of American origin. 


To take these items seriatim, the repertory theatre is evidently here to stay. 
Each large city now has it "Rep.," as it has come to be familiarly called, and in 
every case highly favourable reports as to the progress of the various societies are 
to hand, which, I take it having in mind the ultimate good to the cause of the 
Drama is matter for congratulations all round. At Melbourne, Sydney, Adelaide, 
and even Brisbane the capital of Queensland's population is the smallest of all the 
cities named it has been made possible for admirers of the literary drama to 
witness performances of most of the plays that have done so much to bring 
fresh intellectual support to theatres in older lands, and incidentally offer 
encouragement and opportunities to local historians and playwrights to show their 


mettle at' public performances. There is not an established theatrical management 
in Australia, faced with the ever-increasing competition of music halls and picture 
shows, that dare risk the production of a series of plays frankly termed by their 
supporters " uncommercial," and small blame can be apportioned to the managers 
for their attitude. It is not to be inferred that experiments in this direction have 
not been tried by them : costly experiments they have proved in nearly every case. 
The vast majority of playgoers in this part of the world, as has frequently been 
pointed out and as frequently been proved to demonstration, cannot be drawn to 
the theatre for anything but amusement. But the repertory movement was not to 
be denied, and so, engineered by competent and energetic enthusiasts, it comes to 
pass that it has become an important factor in the advancement of the taste of 
theatre-goers generally. Bernard Shaw, curiously enough, though his plays cannot 
be said to be paying propositions on the professional stage out here, is easily the 
most popular author. During the last few months performances have been given of 
"Candida," "Getting Married," "Man and Superman" (this piece has also been 
produced professionally by a J. C. W. company), " The Devil's Disciple," " The 
Man of Destiny," "Major Barbara," "How He Lied to Her Husband," and 
" Fanny's First Play " (this also has been professionally played by the Sydney Little 
Theatre Company). A remarkable list. But it must not be thought that other 
authors have been neglected. Galsworthy, Hauptmann, Bennett, and Maeterlinck 
have also figured in the bills. At present the pieces are acted mostly by amateurs, 
but with the best professional assistance on occasion, and some really first-class 
performances have been given. The Melbourne Society, with Mr. Gregan McMahcn 
at the head of affairs, has made the most marked progress. The Sydney organisa- 
tion, whose policy is directed by an "advisory board," is of a more recent growth, 
and first and foremost avows vide pro-pectus its intention " to encourage by prac- 
tical means Australian authors to write Australian plays for Australian audiences." 
A patriotic pronouncement, of a somewhat insular character, maybe. But it goes 
without saying that should a worthy play be found in this way its worth cannot fail 
to become noised abroad, and it will be a proud and happy day for this far-away 
land when a native-born writer succeeds in having a piece produc-ed with success in 
the capitals of the old world. The native repertory theatre, then, has for its 
ultimate aim the foundation of a national drama, and, such being the case, its 
onward march will be watched with sympathetic interest. 


The building of new theatres is sufficient in itself to show that the country is not 
standing still or marking time in matters of amusement. Considering the slow 
growth of the population, the constant additions made and projected to the list of 
playhouses are indeed something to wonder at. 

In Sydney that unusually live show-town was opened in the early months of 
1913 a cosy comedy house. It was run on somewhat novel lines by a syndicate, with 
Mr. Hugh C. Buckler, the popular actor, at its head. The house was appropriately 
christened the Little Theatre. This was not really a new building though the 
alterations to the interior were extensive and thorough for it had been standing 
untenanted for many years, known as the Standard. Mr. Buckler started his cam- 
paign at the Little amidst, it must be confessed, a chorus of anything but 
encouraging remarks from superstitious theatrical folk, but the scheme succeeded 
from the beginning, and the charmingly conducted Little Theatre soon became a 
recognised rendezvous, in its particular way supplying a long-felt want. Mr. 
Buckler was fortunate in securing for his business manager Mr. Reynolds Denniston, 
who had but recently severed his connection with Mr. Harry Plimmer. Together 
these two well-known actor-managers had started the Plimmer-Denniston comedy 
company, but the partnership was dissolved and the managers went separate ways, 
Mr. Plimmer continuing his control of the original organisation and Mr. Denniston 
throwing in his lot, as aforementioned, with the Little Theatre proprietory. As 
he is the youngest manager in Australia, Mr. Denniston will assuredly go far. His 
energetic methods, aided by an engaging personality, have made him, in a very 
short while, one of the most popular men in the theatrical business. Under his 
spirited direction the Little Theatre in its first season produced four plays new to 
Australia viz., "The Man on the Box," "Bobby Burnit " (both these are by 
American authors), Bernard Shaw's "Fanny's First Play," and Arnold Bennett's 
"The 'Great Adventure." The last-mentioned piece was done only two or three 
months after its London premiere a "scoop" keenly appreciated by playgoers. 
In all of these comedies the leading parts were sustained by Mr. Buckler and Miss 


Violet Paget (Mrs. Buckler), who were firm public favourites beforehand, and who 
were supported by some well-chosen local talent. The Little, as may be judged 
from its programme, is really another phase (a professional one) of the repertory 
movement, and it is gratifying indeed to know that it has made such an auspicious 

Another new Sydney theatre and a novelty in every department as far as 
Australia is concerned is that designed for Mr. George Musgrove's management. 
Mr. Musgrove, who needs no introduction to London playgoers for one thing, was 
he not responsible for the bringing of the ever-popular "Belle of New York " to 
the Shaftesbury? has the idea of running a theatre and a restaurant a dining hall 
and playhouse combined to be known as the Pavilion. The stage will be fully 
equipped for the proper presentation of any kind of play, though sketches and 
vaudeville will predominate in the programme, of which a complete change once a 
month is contemplated. The scheme is a sufficiently daring one, I think, but 
Australians, and .Sydneyites especially, crave after novelties, and no doubt will be 
attracted by the latest idea. The Pavilion is to be erected on a prominent site in 
the Darlinghurst district a penny tram ride from the centre of the city. 

In Melbourne the J. C. Williamson directorate are busy with the erection of a 
new small-sized, elegant comedy house, which is estimated to cost 40,000. The 
requirements of the firm in recent years have not been met as regards the produc- 
tion of comedy and the lighter class of plays, their Theatre Royal and Her Majesty's 
being both built on somewhat too large and spacious a scale for pieces of the kind 
mentioned to be satisfactorily or properly staged. This latest playhouse is to be 
known as the Williamson Theatre a graceful and fitting memorial to the departed 
chief. A bust of the late manager, subscribed to by the entire theatrical profession 
throughout Australia, is to be placed in the vestibule of the new theatre, which 
it is hoped will be completed by February, 1914. 

Another new building projected in Melbourne is a vaudeville house for the ever- 
expandihg Rickards circuit, controlled by the energetic Mr. Hugh D. Mclntosh. 
When this is completed music hall artists are to have their first experience of 
working two turns a night in Australia, as it is the managing director's intention 
to adopt the London plan now made possible by the growth of the suburban popu- 
lation. The new Rickards music hall will be erected in the heart of Prahran, a 
populous district not more than two miles from Bourke Street, in which city 
thoroughfare the firm's long-established Opera House stands. The same manage- 
ment has only recently opened in Adelaide a new and most up-to-date vaudeville 
theatre, with the title of their older but now discarded property, the Tivoli. 
This is one of the largest houses of its kind in Australia, its seating accommodation 
providing for over 2,000 people. From all of which it will be gathered that business 
m theatres and music halls continues to flourish. 


With these many additions to the already existing places of amusement, it can 
be naturally surmised that good times are in store for the native-born artists. Not 
that they know any real bad times comparable, for instance, to those experienced, 
alas ! on occasion in England. But there are signs that even more and better 
chances of distinguishing himself in good parts, with commensurate salaries, will 
be offered the local actor in the near future. The system of bringing big stars 
with their full companies from England will, I think, be found to be less encouraged 
by the premier management for one thing ; I betray no confidences in suggesting 
that latest experiments in this direction have not proved exactly gilt-edged invest- 
ments for the Australian partners in the enterprises. If my view is a correct one 
it will naturally mean that the companies will be recruited entirely from the ranks 
of artists on the spot, which is a consummation the local professionals have been 
wishing for, more or less devoutly, for some considerable time. And the local pro- 
duct has of late been showing, under accomplished and wise stage-management, 
what he is really capable of, and he has surprised many people (including his own) 
by the first-class ability displayed. To give instances: "Milestones," produced 
for the first time in Australia at Sydney Criterion last December, under the direction 
ot Mr. Julius Knight, for J. C. Williamson, Limited, was thought in advance by 
many good judges to be a piece difficult to cast here. Comedy acting of a quiet and 
delicate kind has been rarely asked for of recent years. In spite of its wonderful 
English credentials, then, " Milestones " was regarded as a somewhat dubious pro- 
position as an attraction for this country, where there is undoubtedly always a 
chance of the fatal "square peg in a round hole." But the result proved quite an 
' eye-opener," for it was acknowledged all round as one of the best-played pieces 

100 ttt StAGZ Y&AX BOOK. 

seen here. The acting throughout was evenly balanced and quite worthy of the 
play, which scored a complete success. 

Again, a very pronounced hit has been made by the J . C. W. combination playing 
a round of American comedies, with Mr. Fred Niblo at the head, and also producer- 
in-hief. The company, playing " GetrRich Quick Wallingford," "The Fortune 
Hunter," " Excuse Me," and " Officer 666," have been a big money-maker from the 
Btart, and, with the exception of Mr. Niblo (Miss Josephine Cohan was originally 
the leading lady, but left for a trip to America, during which her parts were given 
to two Australian actresses, Miss Beatrice Holloway and Miss Enid Bennett), the 
make-up of the casts, all of which are lengthy, has been all-Australian, and the 
actors, without exception, have acquitted themselves admirably. 

Take, aJso, the case of the latest Williamson production, " Witihin the Law," 
which is the biggest boom that Australia has seen for many years. After the four 
American principals brought out specially for the piece Miss Muriel Starr, Miss 
Mary Worth, Mr. Lincoln Plumer, and Mr. E. W. Morrison the characters are 
played entirely by actors engaged on the spot, and a better-acted drama has never 
been staged here within my recollection. How has this been made possible? Why 
this distinct and pleasing improvement in the art of the native actor? Well, first 
and last, the greatest credit is to be given the various producers. Mr. Knight, Mr. 
Niblo, and Mr. Morrison, to whom the productions were entrusted, have careful 
and stringent methods of stage-direction, and spare no pains to let the members of 
the company fully grasp their ideas. Strict disciplinarians, they have taken local 
talent in (and by the) hand, and shown that there are the makings of fine artists in 
the young actors of this country. 

The influence of the repertory theatre and the best class of producer has inevit- 
ably brought about a higher standard of acting, and Australian playgoers who have 
hitherto lain under the reproach that they were lacking in proper appreciation of 
the work of their own countrymen are showing themselves alive to the fact. 


It will have been remarked that frequently in this article I have had to refer to 
American plays. The list is indeed a long one, and, like the much-advertised 
giantess shown in London in my youthful days, is "still crowing." With the 
exception of the usual run of melodrama staged by Mr. William Anderson and 
George Willoughby, Limited (quite a number of these, too, are manufactured in the 
U.S.A.), and tne ever-popular musical comedies made at home, few are the pieces 
that come to us from England these days. Glancing at the programmes for the last 
twelve months, how many British plays do we find? In addition to " Milestones " 
and " Bella Donna " (which both started the 1913 season), not half-a-dozen ! 

On the other hand, frequently has it been the case that every theatre in a capital 
city (with the single exception of that house in which either grand opera or musical- 
comedy has held the boards) has during the same week staged an American piece. 
I make no further comment on the situation except to say, " It was not always 

Mr. Lewis Waller, at present touring here, has, of course, a very acceptable all- 
English programme, and has given Australian audiences novelties in " A Butterfly 
on the Wheel" and (a quite extraordinary event, a "first production on any 
stage") "A Fair Highwayman." Both have been much appreciated, the new 
romantic play by William Devereux having been most cordially received. It was 
staged at the Royal, Sydney, on September 6, and should do good service for the 
popular visiting star, who was not blessed with the best of luck for his first appear- 
ance in Australia, an epidemic of small-pox breaking out in the New South Wales 
capital just prior to his opening date. Mr. Waller and his company special mention 
being naturally deserved by his talented young leading lady, Miss Madge Titheradge 
have since then been received everywhere with every token of approbation. 


It can be easily imagined from what has been said re the scarcity of English 
plays that a good opening presents itself to the Australian writer, and there is 
evidence that he, like the Australian actor, is "coming out of his shell." At 
present there are astonishingly few authors who attempt stage work, but that is 
hardly to be wondered at so little encouragement has been offered the embryo 
playwright. A great impetus to his activity has undoubtedly been given recently 
by the huge success all through the Commonwealth of the locally-written comedy- 
drama "On Our Selection," produced by the Bert Bailey company of all-Australian 



Executed by Mr. J. B. ATHOLWOOD, one of Australia's best character actors. 



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In " Bella Donna." 

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In "Within the Law." 



In "Within the I,a\v." 



As Nat Drncan] 


'The Forture Hunter." 

Betty Graham, 



One of Australia's most popular writers. His series of 

"Selection " stories have been adapted for the stafje, and 

his "On Our Selection" has scored a big hit, 


A well-known Australian author and playwright. 

One of the founders of the Sydney Repertory 



A writer in the foremost rank of Australian literary 
men. Author of many books and plays. 

<^ Minn Moore 


A versatile and popular Australian author 'and 
journalist. His play "The Golden Shanty," pro- 
duced in 1913, was warmly received. 



players. A typical Australian piece this, and only a slightly exaggerated picture of 
fife in a small back-blocks community. Amusing all the time riotously funny on 
occasion this home-grown production is financially the biggest thine of its kind I 
can ever remember. The author of the book (or, rather, series of books) from which 
has been obtained the material for the play is recognised as one of the most humorous 
writers Australia has produced. " Steele Rudd," in fact, is a household word, and 
his Stories sell by the hundred thousand. An Australian of Australians, Mr. Arthur 
Hoey Davis for such is his real name is as unaffected as a child ; whatever he 
writes is simple, sincere, and lifelike racy, indeed, of the soil. 

The only other prominent local writers who have tried their hands at stage- 
craft number four all told Louis Esson, Arthur H. Adams, Edward Dyson, and 
Randolph Bedford. 

I was enabled in the last issue of " THE STAGE YEAR BOOK " to give a few details 
concerning the career and work of the first-named, so I will now merely mention 
that Mr. Esson continues to employ his clever pen at play-writing, and that his 
latest piece a four-act comedy is to be staged by the Melbourne Repertory Theatre 
at about the end of the year. Mr. Gregan McMahon (who tells me he thinks highly 
of the work) will produce and play in the piece, which is as yet without a title. 

Mr. Arthur Adams is a well-known journalist and author, who has published 
various novels and books of verse, and has also a goodly list of produced plays to 
his credit. He, one suspects, is only waiting the chance to submit an important 
and ambitious work to playgoers. He gave London a taste of his quality not so 
long ago, when his fanciful play, " Pierrot in Australia," was staged by Miss Ger- 
trude Kingston at the Little. A striking one-act piece from his pen, " Dr. Death, 
has proved its popularity by being produced by various organisations of the repertory 
kind on five different occasions. Unlike the work of " Steele Rudd," Mr. Adams s 
plays, all modern comedies, although Australian in atmosphere and filled with 
modern types, are concerned with city life, with town society generally, not with 
the back-blocks and the bush. Mr. Adams "started in the business," as he puts it, 
by becoming literary secretary to the late J. C. Williamson, and the experience 
gained during that period in a theatrical atmosphere should stand him in good 
stead For Mr Williamson, it is interesting to note, he wrote the libretto of 
"Tapu " a Maori opera, with music by Mr. Alfred Hill, which the, firm produced 
successfully throughout Australasia. Mr. Adams has a new play on the stocks, and 
it is to be 'hoped the public will be given an early opportunity of seeing it. 

Mr Edward Dyson's name has been to the fore for many a year. He is a facile, 
racily humorous writer of verse and stories, with a keen appreciation of " character 
the lower and broadly comic types for preference. When the popular Bland Holt 
melodrama company was in existence Mr. Dyson, in addition to his work as an 
author and journalist, assisted Mr. Holt in giving " local colour" and the necessary 
"atmosphere" to many and various English plays, converting them in this way 
into acceptable Australian pieces. The practical and technical knowledge i 
acquired naturally proved of value to Mr. Dyson, as was evidenced in two recent pro- 
ductions of his fertile pen. The first, a one-act play of bush life, entitled 
Climax " was produced by the Melbourne Repertory Theatre two seasons ago; the 
second, a more ambitious effort, was a four-act play, "The Golden Shanty, stage 
by the Bert Bailey company at the Palace, Sydney, in August of 1913. Encouraged 
by the reception of this latter piece, Mr. Dyson intends utilising the excelh 
material contained in several of his published books (a method he adopted in the 
case of " The Golden Shanty ") for the purpose of plays. As he is undoubtedly well 
equipped for the task, Mr. Dyson should go far. 

A good all-round literarv man is Mr. Randolph Bedford, one of the best, indeed, 
that Australia has produced. He has travelled far and wide, and his name is a 
familiar one in English and American magazines, in many of which short si 
from his pen have appeared. A strong, virile, " grippy " writer he should one daj 
succeed in fashioning a play that will do himself and the land of his birth the fullest 
credit Up to now, he confesses, his produced plays have suffered from being 
"booky." He is preparing for .his next aJttempt by seduously unlearning novel 
construction and paying instead more attention to stage technique. 

His pieces already staged include "White Australia," a patriotic drama, with the 
Asiatic menace for its subject, produced by the William Anderson company, IE 
"The Lady of the Pluck-Up," a mining story, done at the Princess i 
Melbourne, in 1911 ; and " The Unseen Eye," seen at the Palace Theatre, Sydney, 

If industry, combined with "grit" and perseverance, not to mention a Kip- 


lingesque command of language, go for anything, Mr. Bedford will assuredly "get 
there" as a playwright. 

In addition to the authors I have mentioned, there are a number of quite worthy 
Australian writers who continue to turn out plays mostly of the melodrama type 
for popular consumption, and many of these efforts have obtained no little success. 
But I take it that those who have already won their spurs at literary work of all 
kinds (the literary man in Australia is perhaps the most versatile in the woVld !) 
are the more likely to succeed in producing the workmanlike, artistic, and vital 
native play so long looked for. From that view-point the writers alluded to are 
without question " in the lead," as the colonial expression goes. They constitute 
a little band of talented authors imbued with national sentiment, and that it will 
be from them and such as they the national drama will spring there can be little 

Meanwhile, it must be ungrudgingly admitted that theatre-goers and enthusiasts 
for the play generally continue to oe well-served in regard to the quality of 
imported attractions. 


Perhaps the chief event of the passing year has been the return visit of the 
Quinlan Grand Opera Company a rare musical treat. Music lovers have in truth 
been specially favoured all the year through. We have had such singing stars as 
Madame Clara Butt and Mr. Kennerley Rumford, Madame Nordica, Mr. David 
Bispham, and Mr. John McCormack. All of these have proved powerful attractions, 
Madame Butt and Mr. MoCormack (both of whom were making their second tours 
of Australia) being especially favoured with regard to patronage. The reception of 
the renowned Irish tenor, one can truthfully say, has been sensational wherever he 
has sung. On the last night, for example, of his return visit to Sydney the takings 
al the Town Hall were in the near neighbourhood of 1,000. 

All these artists are managed in this country by Messrs. J. and N. Tait, who 
have in a comparatively few years built up a great reputation and a splendid business 
as concert and musical impresarios of the first order. Also they have built a 
palatial concert hall, known as the Auditorium, in Melbourne, where, of course, all 
the performers under their management make their bow. 

Returning to the Quinlan Opera, it is pleasant also in this case to have to record 
brilliant seasons better business, in fact, than on the first trip, and that was 
highly remunerative, as the quick return proves. And the colossal undertaking of 
Mr. Quinlan deserves the success achieved. To give an idea of the work involved 
in a tour of this country, I may mention that during the Melbourne season of not 
quite eight weeks twenty-five operas were performed, many of them for the first 
time in Australia. Among these latter were Puccini's " Manon Lescaut " a.nd 
Charpentier's " Louise," also (first (time Jiere in English) Wagner's " Ring of the 
Nibefung," which, on account of its success, had to be repeated in its entirety. 
Among other stellar attractions during the year Mile. Genee must not be for- 
gotten. The famous dancer and the supporting members of the Russian Imperial 
ballet (including M. Alexander Volinin and Mile. Halina Schmolz) scored an all-round 
artistic success, and one hopes that the monetary result also gave all-round satis- 


Australia said a final farewell to Mr. Oscar Asche and his company about the 
middle of the year, and many were the regrets expressed when the actor-manager 
announced that he would not be re-visiting anyhow, professionally his native 
land. He has given some fine presentations, and his productions especially will be 
remembered. His "Antony and Cleopatra" and "Midsummer Night's Dream" 
were splendidly put on. The pity is that they were not better patronised. With 
regard to the reception of the latter play, Mr. Asche was tempted to remark : 
" Australia is not yet ready for the fantastic: it prefers the obvious! " 

In confirmation of those words the obvious kind of melodrama continues to flourish 
Bxceedingly, perhaps because it is very well done out here by George Willoughby,. 
Limited, and Mr. William Anderson. The former organisation was known origin- 
ally as George Marlow, Limited, but Mr. Marlow, who founded the firm, went out 
of the business, intent on .taking a rest in August, and from the first day of the 
following month Mr. George Willoughby, who had previously been a co-director 
with Mr. Marlow, took over the entire control, Mr. Ben J. Fuller of the well- 
known music hall firm, Brennan and Fuller joining the board of directors under 
the new arrangement. Mr. Willoughby is not making any departure from the 
former policy of his management. He still continues "to supply the goods" his 


thousands of patrons like and appreciate at the old addresses the Adelphi, Sydney, 
and the Princess's, Melbourne. 

On the other hand, Mr. William Anderson, of the King's, Melbourne, so long 
known as a drama proprietor, with an occasional excursion into pantomime produc- 
tion, shows an inclination to branch out in other directions. In addition to running 
his ordinary melodrama company, with his talented and popular wife (Miss Eugenie 
Duggan) as leading lady, he is controlling the destinies of an American musical- 
farce company, playing "The Grafters," "The Speculators," and "A Day at the 
Races," and the success of this venture (the hit it made was one of the surprises 
of the year) has no doubt influenced him in his decision to present, on a more 
ambitious scale, at Christmas time or thereabouts, .a musical piece, long a favourite 
in the U.S.A., called " The Land of Nod." 


Other "futures" are the revue "Come Over Here," which will be staged by 
J. C. W., Limited, in Sydney what time their pantomime is running at Melbourne. 
Then, in the drama line, will come "Joseph and His Brethren," which, judging 
from the reception accorded "Ben Hur," should be a sure success for the big firm. 
Rumours were current that Sir Johnston Forbes-Robertson was to pay us a visit, 
but I " hae ma doots " ; Pavlova also, but that engagement is not to be counted 
on. There are, however, no "doots " about Harry Lauder, and very few about his 
reception when he gets here, I should think. Australia 'has been waiting for the 
Scotch comedian for years, and Messrs. Tait, who are bringing him, should be well 
rewarded for their costly enterprise. 

A new company, whom Mr. Louis Meyer is reported to be sending from England 
to play farcical comedies "The Glad Eye," "The Chaperon," and "The Presi- 
dent " should be welcome. Nothing is more acceptable to playgoers over here 
than "a good laugh." 

There are busy times ahead, and the outlook was never more promising. Australia 
happily continues in a state of remarkable prosperity, and I think that in the 
future, much more than has been the case in the past, this young country will show 
that she is surely beginning to "find herself" in matters theatrical. 


The Drama was poorly represented at the Royal Academy last year. Among the 
portraits of those connected with the stage were those of Miss Lilian McCarthy in the 
character of Jocasta in " CEdipus Rex," painted by Mr. Harold Speed; Miss Kate 
Moffat in the part of Bunty, painted by Mr. Cowan Dobson ; and Sir Johnston 
Forbes-Robertson, a reproduction of which serves as the frontispiece to this issue of 
THE STAGE YEAR BOOK. Mr. George Harcourt was the painter. Mr. Michael 
Sherbrooke was shown in character by Mr. J. H. Amschewitz, and there was a bronze 
bust of Mr. Gerald du Maurier, executed by Mr. Newbury Trent. The miniatures 
included a full length picture of Miss Violet Vanbrugh as Queen Catherine in " King 
Hency VIII." 


In the House of Commons on April 16 Mr. Robert Harcourt moved that the 
attempt to maintain by means of antiquated legislation a legal distinction between 
a theatre and a music hall, and to differentiate between productions called stage 
plays and other dramatic performances, is unworkable ; that the system of licensing 
stage playe before production in Great Britain, though not in Ireland, by means 
principally of the perusal of a manuscript should be abolished ; and that, as 
regards stage exhibitions of whatever kind or wherever given, reliance should be 
placed on subsequent effective control. 

The motion was agreed to without a division. 




Arising out of representations made by 
the Theatres. Alliance, the Theatres and 
Music Halls Committee of the London 
Qountj i 'ouncil revi.-rd tin 1 

il Id applications for jnii'-if, 
and dancing, and stage ]ihivs 
-03. The revised regulations, which 
apply to all houses for which the Council 
grants licenses, were passed by the Coun- 
cil at the meeting at Spring Gardens on 
TmvMlay, July 15. 

The Theatres Alliance suggested that an 
applicant for the renewal of a license, 
without alterations in terms, should not 
be required to post a copy of the notice 
of his application on the premises, but it 
was not suggested that any alteration 
should be made in the case of applications 
for new licensee or for the removal or 
modification of the conditions attaching to 
existing licenses. This alteration brings 
the regulations more into accord with the 
regulations of other licensing authorities, 
and it is not necessary, according to the 
procedure laid down under the <tihe Licen- 
sing (Consolidation) Act, 1910, for an appli- 

cant for a renewal of an excise license to 
.post a copy of fche notice of application 
upon the premises. The posting of a copy 
of the notice serves little or no purpose. 
This alteration obviates the necessity in 
the case of applications for renewals, for 
a statutory declaration being made. 

Part I. of the Regulations has 
been recast and re-arranged. An altera- 
tion has been made in the regulation in 
connection with applications for transfers. 
The regulation required applicants for 
transfers to submit evidence of character, ' 
and in order to give effect to this regula- 
tion it was the practice to require an 
applicant to obtain the signatures of two 
householders, being neighbours of the 
applicant, to a certificate as to ttiis conduct 
and character, but no inquiries were made 
with regard to the persons who signed the 
certificate. In the case of new licenses, 
however, the regulations did not require 
any such evidence. No useful purpose 
was served in requiring evidence of char- 
acter, and the regulation has been 
amended accordingly. 

Music, Music and Dancing, and Stage Play Licenses. 




1. (a) Applications are investigated by 
the Theatres end Music Halls Committee 
of the London County Council, referred 
to hereafter as " the Committee." 

(b) The Committee report the result of 
their investigation to the Council, bv 
whom all licenses are granted or refused. 

(c) The annual meeting of the Commit- 
' tee shall be held in the month of Novem- 


2. A person applying for a new license 

(i.) On or before the 1st day of October 
in each year, give notice to the clerk 
9f the London County Council of such 
intended application on a form to be 

obtained on application to the clerk 
of the Council. 

(ii.) Within seven days after senving the 
notice of intended application on the 
clerk of the Council, affix and, until 
the application has been dealt with, 
maintain upon the principal outer 
door or other conspicuous part of the 
premises sought to be licensed, at the 
height of five feet above the footway, 
a copy of such notice printed in large 
type, known as " Two-line English 
Roman," so that the same can be seen 
and read by persons in a public street 
or place. 

(iii.) Advertise the fact of his intended 
application in three newspapers circu- 



lating generally throughout the county 
or throughout the locality in which 
the premises are situated or proposed 
to be erected, and must transmit one 
copy of each such newspaper contain- 
ing the advertisement of _such notice 
to the clerk of the Council. 

Such advertisement must be inserted by 
the applicant within seven days after 
serving the notice of the intended ap- 
plication upon the clerk of the Council. 

(iv.) Send to the clerk of the Council, 
seven clear days at least before the 
day appointed for the hearing of his 
application by the Committee, a statu- 
tory declaration that he or 'his agent 
has duly published and served all the 
notices prescribed by this regulation. 

Where the notices have been served by 
an agent, a joint statutory declaration 
must be furnished. 

3. Applications must be supported by 
satisfactory documentary evidence that 
tho applicant is owner or lessee (for at 
least one year certain) in possession of the 
premises in respect of which the license 
is required. 

4. No application will be entertained 
unless plans of the _ premises for which 
the license is required have been ap- 
proved by the Council. 

5. Applicants must attend personally 
before the Committee, and. if required 
by the clerk of the Council, must also 
attend before the Council. 


(i.) With removal or modification 

of conditions. 

6. A person applying for the renewal of 
an existing license and desiring the re- 
moval or modification of any condition 
or conditions attached to such license must 
comply with all the provisions of Regu- 
lation 2, and must state in the notice to 
the clerk of the Council and in the notice 
to be affixed to the premises and in the 
advertisement, that he intends to apply 
for such removal or modification, and 
must set out in the notices referred to and 
in the advertisement the condition or con- 
ditions sought to be removed or modified. 

Regulation 5 also applies to such appli- 

(ii.) Without Alteration in Terms. 

1. A person applying for the renewal 
of an existing license without alteration 
in the conditions, if any, attached 
thereto, must, on or before October 1 
in each year, give notice to the clerk 
of the Council of such intended applica- 
tion on a form to be obtained on appli- 
cation to the clerk of the Council. 

Applicants need not attend before the 
Committee unless notice of opposition 
to the renewal has been given, or they 
haye been specially required to do so by 
the clerk of tlie Council. 

Swimming Baths. 
8. (a) Application for licenses in re- 

spect of any swimming baths erected 
under the Baths and Washhouses Acts, 
1846-1882, may be heard at the annual 
licensing meeting of the Committee, or 
at any other meeting of the Comni i 

(b) Such applications must be made in 
accordance with regulations Nos. 1 to 7, 
but they may be heard at any meeting 
after the expiration of one month from 
the date of the notice to the clerk of the 

9. The licensee of any swimming bath 
licensed by the Council for music, or music 
and dancing, must give notice annually 
to the clerk of the Council when it is 
proposed to alter the baths so as to render 
them suitable for the purposes of the 
license, and such license will not be issued 
until the alterations have been satisfac- 
torily completed, and the district surveyor, 
or the borough surveyor, or any surveyor 
accepted by the Council, has certified his 
iipproval of the construction of the floor- 
ing over the swimming bath. 


10. Applications for ajinual licenses for 
the performance of stage plays in premises 
outside the jurisdiction of the Lord Cham- 
berlain must be made in accordance with 
regulations Nos. 1 to 7. In addition to 
the notices required by these regulations, 
the applicant must send to the clerk of 
the Council, at least fourteen days before 
the hearing of the application, the names 
and addresses of his proposed two sureties. 
The licenses, if granted, are subject to the 
provisions of the Act for regulating 
theatres (6 and 7 Viet., ohap. 68), save as 
to the provision requiring the signatures 
of the justices. 

11. Applications for licenses for the per- 
formance of stage plays for periods of less 
than one year but more than a few days 
must, so far as practicable, be made in 
accordance with the regulations relating 
to annual licenses except that they may 
be heard at any meeting of the Committee 
after the expiration of fourteen days from 
the date of the notice to the dork of the 

12. Applications for licenses for occa- 
sional dramatic performances may be 
heard at any meeting of the committee. 


13. Applications for provisional licenses 
for premises about to be constructed, or 
in course of construction or re-arrange- 
ment, must be made in accordance with 
regulations Nos. 1 to 11. 

14. A provisional license does not justify 
the use of the premises for public enter- 
tainments. The premises must not be 
so used until such license has been con- 
firmed by the Counoil. Such confirma- 
tion can take place at any meeting of the 
Council held during the year, provided 
that the Committee report that the 
premises have been satisfactorily com- 




15. (a) A person applying for a trans- 
fer of an existing license must give notice 
to the clerk of the Council of such appli- 
cation at least one month before the 
meeting of the Committee at which such 
application is to be considered. The 
application must be supported by satis- 
factory documentary evidence that the 
proposed transferee is owner or lessee (for 
at least one year certain) in possession 
of the premises in respect of which the 
license is required. 

(6) Applications for transfers may bo 
heard at any meeting of the Committee, 
except during the months of August, 
September, and October. 

(c) Applicants must attend personally 
before the Committee, and, if required by 
the clerk of the Council, must also attend 
before the Council. 


16. Notice of intended application for 
a license or for a transfer of a license 
when given on behalf of any company 
registered under the Companies (Consoli- 
dation) Act, 1908, must be signed by a 
responsible officer of the company, and 
proof of his appointment must be given 
if required by the Committee. 

17. If a person who has given notice 
of his intention to apply for a license 
vacates the premises in respect of which 
the license is sought, or dies before the 
application is heard, the new tenant, or 
the legal representative of the deceased 
person, may be heard in place of the 
original applicant if the Committee 
think fit. 

18. Licenses are subject to the regu- 
lations of the Council in reference to 
arrangements for the safety and protec- 
tion of the public. 


19. No objection made by any person 
other than a member of the Council to 
tho granting or renewal of any license 
shall be heard by tho Committee unless a 
notice of such objection, setting forth the 
grounds upon which the opposition is 
made, and where definite offences are 
alleged, the dates and particulars of such 
offences, has been received by the Clerk 

of the Council and by tho applicant four- 
teen clear days before the day appointed 
for the hearing by the Committee. 

On the hearing of the case before the 
Committee it shall not be competent for 
any person (other than a member of the 
Council) 1 objecting to the granting or 
renewal of any license to go into any 
matter not set forth in such notice. 


20. Application for licenses will be heard 
by the Committee in the order in which 
they appear in the list complied by the 
clerk of the Council except chat applica- 
tions which are opposed will be heard last, 
provided that the Committee may, in the 
exercise of their discretion, take any appli- 
cation out of its proper order, or post- 
pone it. 

21. The meetings of the Committee shall 
be open to the public. The Committee 
shall, however, conduct their deliberations 
and consider their report to the Council 
upon the applications in private. 

22. Every applicant for a license, and 
every person objecting to the granting 
thereof, who shall have given the notices 
required by regulation No. 19, shall be 
heard, either personally or by counsel, and 
shall be entitled to call witnesses. 

23. The order of hearing shall be as 

(i.) On the case being called each 
person objecting shall be heard in person 
or by counsel in the < order of the date 
of his notice or objection, and, after 

stating his grounds of objection, may 
call witnesses in respect thereof. 

(ii.) The applicant or his counsel may 
then call witnesses, and may be heard 
in ireply to objections. 

(iii.) On the hearing of applications 
for new licenses or for the removal or 
modification of the terms of existing 
licenses, this order of procedure shall 
be reversed, and the applicant shall in 
every such case be heard first. 

24. Where a member of the Council, or 
of the Committee, makes an allegation 
for or against any application in regard 
to a license, and such allegation is un- 
supported by the evidence of any other 
person or persons, the party affected 
thereby or his counsel, shall be permitted 
to put questions through the chairman by 
way of cross-examination. 

25. Regulations Nos. 1 to 24- will, so far 
as they are applicable, be observed at all 
the meetings of the Committee at which 
application for licenses are considered, 
unless the Committee otherwise determine. 




Tho Act (3 and 4 Goo. 5, Ch. 7) to pro- 
hibit and restrict children and young 
persons being taken out of the United 
Kingdom with a view to singing, playing, 
performing, or being exhibited, for profit, 
was passed on August 15, 1913, and came 
into force on September 15, 1913. The 
trxt is as follows: 


1. (1) If any person causes or procures 
any child or young person, or, having the 
custody, charge, or care of any child or 
young person, allows such child or young 
person to go out of the United Kingdom 
for the purpose of singing, playing, perform- 
ing, or being exhibited, for profit, that 
person shall, unless, in the case of a young 
IMTSOII, such a license as is hereinafter men- 
tioned has been granted, be guilty of an 
offence against this Act. 

8 EDW. 7. C. 67. 

(2) A constable or any person authorised 
by a justice may take to a place of safety 
any child or young person in respect of 
whom there is reason to believe that an 
offence under this section has been or is 
about to be committed, and the provisions 
of Section twenty of the Children Act, 1908, 
shall apply as if 'such an offence were an 
offence mentioned in the First Schedule to 
that Act. 

(3) This section shall not apply in any case 
where it is proved that the child or young 
person was only temporarily resident in the 
United Kingdom. 


2. (1) A police magistrate may grant a 
license in such form as the Secretary of 
State may prescribe, and subject to such 
restrictions and conditions as the police 
magistrate thinks fit, for any young person 
to go out of the United Kingdom for the 
purpose of singing, playing, performing, or 
being exhibited for profit, but no such 
lii'i.' shall be granted unless the police 
magistrate is satisfied 

(a) that the application for the license 
is made by or with the consent of the 
parent or guardian of the young person ; 

(b) that the young person is going out of 
the United Kingdom in order to fulfil a 
particular engagement; 

(c) that the young person is fit for the 

(d) that proper provision has been made 
to secure the health, kind treatment, and 
adequate supervision of the young person 
whilst abroad and his return to the United 
Kingdom at the expiration or revocation of 
the license; 

(e) that a copy of the contract of em- 
ployment or other document, showing the 
terms and conditions of employment, drawn 
up in a language understood by the young 
person, has been furnished to the young 

(2) A license under this section shall not 
be granted for more than three months, but 
may be renewed by a police magistrate from 
time to time for a like period, but no such 
renewal shall be granted unless the police 
magistrate is satisfied by a report of a 
British consular officer or other trustworthy 
person that the conditions of the license 
are being complied with. 

(3) Where a person applies for a license or 
the renewal of a license under this section, 
he shall, at least seven days before making 
the application, give notice thereof to the 
chief pfllcer of the police for the district 
in which the young person resides or re- 
sided, and that officer may make a report 
in writing on the case to the police magis- 
trate, or may appear or instruct some per- 
son to appear before the police magistrate 
hearing the application, and show cause 
why the license should not be granted or 
renewed, and the police magistrate shall not 
grant or renew the license unless he is satis- 
fied that notice has been properly so given. 
The notice given by the applicant shall 
be accompanied by a copy of the contract 
of employment or other document showing 
the terms and conditions of employment, 
which copy shall be sent by the chief officer 
of police to the police magistrate. 

(4) The police magistrate to whom appli- 
cation is made for the grant or renewal of a 
license under this section shall, unless he is 
satisfied that under the circumstances it is 
unnecessary, require the applicant to give 
such security, either by entering into a re- 
cognisance with or without sureties or other- 
wise, as he may think fit for the observance 
of the restrictions and conditions contained 
in the license, and the recognisance may be 
enforced in like manner as a recognisance 
for the doing of some matter or thing re- 
quired to be done in a proceeding before a 
court of summary jurisdiction is enforceable. 

(5) In any proceeding for enforcing a re- 
cognisance under this section, a report of 
any British consular officer, and any deposi- 
tion made on oath before a British consular 
officer and authenticated by the signature of 
that officer respecting the observance or 
non-observance of any of the conditions or 
restrictions contained in a license grant rd 
under this Act, shall, upon proof that the 
consular officer or deponent cannot be found 
in the United Kingdom, be admissible in 
evidence; and it shall not be necessary to 
prove the signature or official character of 
the person appearing to have signed any 
such report or deposition. 



(6) Where a license is granted under this 
section, the police magistrate shall send to 
the Secretary of State for transmission to the 
proper consular officer such particulars as 
the Secretary of State may by regulation 
prescribe, and every consular officer shall 
register the particulars so transmitted to 
him and perform such other duties in relation 
thereto as the Secretary of State may direct. 

(7) A license granted under this section 
may be revoked by the police magistrate at 
any time if he is satisfied that any of the 
conditions on which the license was granted 
are not being complied with. 


3. (1) A person guilty of an offence against 
this Act shall, on summary conviction, be 
liable, at the discretion of the court, to a 
line not exceeding one hundred pounds, or 
alternatively or in default of payment of such 
fine, or in addition thereto, to imprisonment 
with or without hard labour for any term 
not exceeding three months : 

Provided that, where the offender, by 
means of any false pretence or false repre- 
sentation, procures the child or young per- 
son to go out of the United Kingdom for 
any such purpose as aforesaid, he shall be 
liable on conviction on indictment to im- 
prisonment, with or without hard labour, for 
any term not exceeding two years. 

(2) Where proceedings are taken against 
any person under this Act in respect of any 
child or young person, and it is proved that 
the defendant caused or procured or allowed 
the child or young person to go out of the 
Tinted Kingdom, and that the child or young 
person has, out of the United Kingdom, been 
.smiling, playing, performing, or been ex- 
hibited, for profit, the defendant shall be 
presumed to have caused or procured or 
allowed such child or young person to go out 
of the United Kingdom tor that purpose 
milts* the contrary is proved: 

Provided that, where the contrary is 
proved, the court may order the defendant 
to take such steps as the court directs to 
secure the return of the child or young 
person to the United Kingdom, or to enter 
into a recognisance to make such provision 

as the court may direct to secure the health, 
kind treatment, and adequate supervision of 
the child or young person whilst abroad, and 
his return to the United Kingdom at the ex- 
piration of such period as the court may 
think fit. 

(3) Proceedings in respect of an offence or 
for enforcing a recognisance under this Act 
may be instituted at any time within three 
months from the first discovery by the per- 
son taking the proceedings of the commis- 
sion of the offence or (as the case may be) 
the non-observance of the restrictions " and 
conditions contained in the license. 
(4) The wife or husband of a person charged 
with an offence under this Act may be called 
as a witness either for the prosecution or 
defence, and without the consent of the per- 
son charged. 


4. For the purposes of this Act, the ex- 
pression " police magistrate " means the 
chief magistrate of the metropolitan police 
courts, or one of the other magistrates of the 
metropolitan police court in Bow Street, and 
the expression "chief officer of police "- 

(a) with respect to the City of London, 
means the Commissioner of the City Police ; 

(b) elsewhere in England has the same 
meaning as in the Police Act, 1890; 

(c) in Scotland has the same meaning as in 
the Police (Scotland) Act, 1890; 

(d) in the police district of Dublin metro- 
polis, means either of the Commissioners of 
Police for the said district; 

(e) elsewhere in Ireland, means a district 
inspector of the Royal Irish Constabulary. 


5. (1) This Act may be cited as the Chil- 
dren (Employment Abroad) Act, 1913, and 
shall he construed as one with the Children 
Act, 1908; and that Act, the Children Act 
(1908) Amendment Act, 1910, and this Act may 
be cited together as the Children Acts, 1908 
to 1913. 

(2) This Act shall come into operation on 
the expiration of one month from the pass- 
ing thereof. 


The Children (Employment Abroad) 
Act,, 1913 (3 and 4 Geo. 5, Ch. 7), au- 
thorises the Home Secretary to make 
regulations and prescribe a form of license 
for young persons eenit abroad. The 
Home Secretary in pursuance of these 
powers issued the following : 


(1) I prescribe the annexed form of license 
for use under Section 2. 

(2) I make the following regulation : 

The particulars to be sent by a police magi- 
strate to the Secretary of State for transmis- 
sion to the proper consular officer where a 
license is granted for a young person to go 
out of the United Kingdom for the purpose of 
singing, playing, performing, or being exhi- 
bited, for profit, shall be as follows: 

(a) The name and address of the young 

(&> The date and place of birth, and, 
where known, the nationality of the young 

(c) The name and address of the appli- 
cant for the license. 

(d) Where the father, mother, or guar- 
dian is not the applicant far the license, 
the name and address of the father, 
mother, or guardian. 

(e) Particulars of the engagement, with 
the place or places at which and the 
period or periods during which the young 
person is to sing, play, perform, or be ex- 

(f) Copy of the contract of employment 
or other document showing the terms and 
conditions of employment. 

(g) Copy of the license. 

One of His Majesty's Principal 

Secretaries of State. 
Whitehall, August 27, 1913. 


"3 and 4 Geo. V., Cap. 7, Sec. 2. 
License for a young person to go out of the 
United Kingdom for the purpose of ling- 
ing, playing, performing, or being exhi- 
bited, for profit. 

Whereas (a) 

being [or having the consent of] the parent 



[or guardian] of (b) 

of years>, 

born, so far as can be ascertained, on 

lias made app!ie;itum to me for a licen 

ml young PI.T.S.HI to go out of the United 
Kingdom for tin? purpose of singing, playing, 
mi;;, or IHMIIH exhibited, for profit; 

And yhereas I am satisfied that the young 
iiii.' out <>f the I 'niti-d Kingdom in 
order to fiilitl a particular engagement; that 
the YOUII;,' (>erson is fit for the purpose; that 
proper provision lia.s been made to secure the 
h.'ulth, kind treatment, and adequate super- 
vi*ion of the young person whilst abroad and 
his [or her] return to the United Kingdom at 
tin- expiration or revocation of the license, 
anil that a copy of the contract of empl<>> 
mcnt or other document, .showing the terms 
and conditions of employment, drawn up in a 
language understood by the young person, has 
been furnished to him [or her]: 

I do grant license for the said (M 

to go out of the United Kingdom for 

months for the purpose of fulfilling the afore- 
said engagement, subject to the restrictions 
and conditions set out below [(c) for the ob- 
servance of which the aforesaid (a) 

is to give security by entering into a recog- 
nizance for the sum of pounds, with 

sureties, each in the sum of 


(Chief Magistrate of the 
Police Courts of the 
A Magistrate of the 
Metropolitan Police Court 
at Bow Street. 

The conditions and restrictions referred to 
above are : 

(a) Name of applicant. (6) Name of youns 
person, (c) Strike out if not necessary. (d) 
Strike out inappropriate words. 



, (Jap. 7, J- 

Renewal of License for a young person to go 
out of the United Kingdom for the pur- 
pose of singing, playing, performing, or 
being exhibited, for profit. 
Whereas application has been made to me by 

(e) for the renewal of 

the license granted on ; 

to go out of the Unite.! 

Kingdom for months for the purpose 

of singins;, playing, performing, or being ex- 

:. for profit: 
And whereas I am satisfied by the report of 

(;/) that the conditions of tin' are being complied with: 
I her, h\ renew the said license for a period 

of months from (M 

Chief Magistrate of the 
Metropolitan Police Courts, 
(i). A Magistrate of the Met- 
ropolitan Police Court in 
Bow Street. 

(e) Name of applicant, (f) Name of young 
person, (g) Name of British Consular Officer 
or other person reporting, (ft) Date of expiry 
of existing license. (t) Strike out inappro- 
priate words. 


3 and 4 Geo. V., Cap. 7, Sec. 2. 
Revocation of License for a young person to 
go out of the United Kingdom for the 
purpose of singing, playing, performing, 
or being exhibited, for profit. 
Whereas I am satisfied that the conditions 

of the license granted on for (j) 

to go out of the United King- 
dom for months for the purpose of 

singing, playing, performing, or being exhi- 
bited, for profit, are not being complied with, 
I hereby revoke the said License. 

(Chief Magistrate of the 
Metropolitan Police Courts. 
(it)-] A Magistrate of the Met- 
ropolitan Police Court in 
( Bow Street. 

(j) Name of the young person, (fc) Strike 
out inappropriate words. 



Sir Squire Bancroft, though he with his wife retired from active work on the stage so 
far back as 1885, some few years later imposed upon himself the task of raising 20,000 
in aid of the hospitals by means of readings. The reading of " The Christmas Carol," 
which brought the amount he thus gained up to the figure he had set himself to 
attain, was given on Tuesday, March 11, when Sir Squire, who, fifty-two years ago, at 
the age of nineteen, appeared before the public, said good-bye to it. In another 
portion of the Year Book, we publish a photograph of Sir Squ re surrounded by the 
members of the company who appeared in the revival of " Diplomacy," the success of 
which, at Wyndham's, has been one of the features of the dramatic year. 


Though he has not said "good-bye" to the public generally, Sir Johnston Forbes- 
Robertson, the knighting of whom, during the past year, proved a welcome recognition 
of dignified and distinguished service in \he cause of the Drama, played a farewell 
season to London at Drury Lane. He opened on March 22 with a performance of 
" Hamlet," ;md his repertory included "The Passing of the Third Floor Back," "The 
.niicnt of Judas," " The Light that Failed," " Mice and Men," "The Merchant 
of Venice," " Othello," and " Csesar and Cleopatra " (Shaw). 





LODGE OF ASAPH, No, 1319. 

Consecrated 1870. 
Held at Freemasons' Hall, Great Queen Street, 
London, W.C., on the fourth Tuesday in February, 
March, May, June, October, and November. 
Installation in November. 
OFFICERS, 1913-14. 
Tom Clare L.R., W.M. 


Consecrated, 1875. 
Held at Freemasons' Hall, Great Queen Street, 
London, W.C., on the fourth Monday in February, 
April, June, and November. 
Installation in June. 

OFFICERS, 1913-14. 
George A. Keen M.E.Z. 
Chas. W. Trollope . . . . H. 

Frank Lister I. P.M. 
W. E. Holloway S.W. 

Alfred P. Oxley J. 

George Dy ball J.W. 
Chas. Cruikshanks, P.A.G.Std.B., 
I'.M Treasurer. 
James W. Mathews, P.A.G.D.C., 
P.M Secretary. 
Rev. W. P. Besley, P.A.G.C. .. 8.D. 
Douglas Cox .U>. 
E. W. Whitmore, P.M D.C. 
Ernest Bucalossi . . . . . . Organist. 
Herbert Chenery, P.M., L.R. .. Ass. Secrty. 
Harry Locket Asst. D.C. 
W. L. Barrett, L.R Almoner. 
Joseph Batten Ass. Organist. 

Herbert Chenery, P.X Scribe E. 
Hairy Nicholls, P.Z. .. .. Treasurer. 
E. H. Paterson P.S. 
John Ryley Scribe N. 
James Powell .. .. .. .. 1st A. 8. 
TomCl re 2nd A. 8. 
A.E.George Organist. 
John Gilbert . . . . . . . . Janitor. 
James Weaver . . . . 1877 P.A.G.D.C. 
Edward Humphrey . . . . 1887 
James E. Hambleton . . 1896 L.R. 
W. 8. Per ley 1897 P.O., Treasr. 
Harry Nicholls 1898 P.D.G.D.C. 

Oscar Grimaidi . . . . . . I*G. 
Charles Norton . . . . . . ) Oi _ 
Alpern- n Rose | Stewaids. 
J.Gilbert Tyler. 
E. Stanton Jones . . 1870 1 
Charles Coote .. 18712 
John M. Chamberlin 1872 3 
James Weaver . . 1873 4 P.G.Std.B. 
Edward Frewin . . 1874 5 
Charles 8. Jekyll .. 18756 P.G.O. 
William A. Tiiiney . . 1876 7 

Tom de Brnnow Holmes .. 1900 P.P.G. O.Kent 
Arthur G. Duck 1901 P.A.G.D.C. 
James D. Beveridge . . 1903 L.R. 
Luigi Lablaihe .. .. 1904 L.R. 
William J. Harvey . . . . 1906 
James W. Mathews.. .. 1907 P.A.G.D.C. 
Edward W. Whitmore . . 1908 
Clarence T. Coggin . . . . 1909 
E. H. Bull 1910 
F. Stewart, L.R 1911 
W. J.Keen 1912 
Robert D. Cummings . . . . P.A.G.D.C. 

Edward Terry . . 1877 8 P.O., Treasr. 
George Buckland . . 1878 9 
Edward Swanborough 187980 
Charles Wellard . . 1880- 1 
W. Meyer Lutz . . 1881 2 
John Maclean . . 1882 3 

J. Percy Fitzgerald P.A.G.D.C. 
William Clegborn P.G.Std.B. 
Address of Scribe E. 
78, Addison Gardens, 
Kensington, W. 

Frederick Delevanti 1883 4 
Charles E. Tinney . . 1884 5 
William J. Kent . . 1885 6 
Henry J. Tinney . . 1886 7 
William Lestocq . . 1887 8 P.A.G.D.C. 
James D. Bevendge 188990 
T. de B. Holmes . . 1890 1 
Alfred E. Bishop . . 1891 2 
W. Sydney Penley . . 1892 3 P.O., Treasr. 
J. Edward Hambleton 1893 4 
Francis H. Macklin . . 1894 5 
Charles C. Cruikshanks 1895 6 P.A.G.Std.B. 
Samuel Johnson . . 1896 7 
W. John Holloway . . 1897 8 


No. 1609. 

Consecrated 1876. 
Held at Masonic Temple, 22, Hope Street, 
Liverpool, on the fourth Tuesday in every month 
except June, July, and December. 
Installation in October. 

OFFICERS, 1913-14. 
Frank M. Coker ("Fred Coles").. W.M. 
H. C. Arnold, jun I.P.M. 
E. Geo. Cox S W. 

Luigi Lablache .. 18989 
Charles Blonnt Powell 1899 1SOO 

George Smith .. .. .. .. J.W. 
Win. Savage, P.M., P.Pr.G.,Treas. Treasurer. 

James W. Mathews 1900 1 P.A.G.D.C. 
Algernon Syms . . 1901 2 
Louis Honig . . . . 1902 3 
Akerman May . . 1903 4 
Herbert Leonard . . 1904 5 
Edward W. Whitmore 1905 6 
E. H. Bull . . . . 1906 7 
Herbert Chenery . . 1907 8 
Ernest H. Paterson . . 1908 9 
Chris Hilton . . . . 190910 
A. B. Tapping .. 191011 
Albert Le Fre . . 191112 
Frank Lister . . . . 191213 
Address of Secretary 
Duke of York's Theatre, 
St. Martin's Lane, W.C. 

R. T. Palmer, P.M Secretary. 
W. D. Jones, P.M Ass. Secrty. 
E. Haigh, P.D.G.S. (Gib.) . . S.D. 
Alfred Hatton J.D. 
E. Baxter, P.M., P.Pr.G.S. of W. D.C. 
J. J. Hewson, P.M., P.G.D.C. . . Asst.D.C. 
A. F. Savage Organist. 
Harold Terry Ass. Organist. 
John Breeze I.G. 
Wm. Crompton, Jack Waters, 
Albert Moore, Frank Stokes, 
R; H. J enson, George M Saker, 
W. A. Burnham.and J. Leslie 
Green Stewards. 
J. Wiatt Tyler. 
Lewis Peake, P.Pr.A.G.D.C. . . Charity Rpve. 

-////: STAGE YEAK $OOK. 


Liverpool Dramatic Lodge Continual. 

\\.M. (i. I, .RANK. 

\V. \V. Siimlbrook 1880andl889 P.P.(i.l). 

\\.snviu;.' 1882 P.P.G.,Treas. 

.1. l''m,,-ix 1890 P. !'.('.. 1". 

K. Baxter 1898 P.P.G.S.ofW. 

oold.. .. 19012 P.P.G.D. 
Uawav.' .. .. 1903 P.G.8.U.O M.K 

.1. .1. Hcwson 1904 P.Q.D.C. 

T. It. Kobrmon . . . . 1905 

H. T. I'almrr 1906 

\V. I). Jones 1907 

.1. lull 1911 

H. C. Arnold, Jun 1912 

I;. IV.'lkr, 1035 P.P.A.G.D.C. 

O. 10. B. Limbrick, 1620 .. 

T. Hash P.P.G.D. O. 

S. Haden Jones, 1299 .. .. P.P.G.P. 
Address of Secretary 

61, Park Road, 

Seacombe, Cheshire. 


Consecrated 1885. 

Held at the Theatre Royal, Drury Lane, 
London, W.C., ore the second Tuesday in 
February, March, April, and November. 

Installation in February. 

OFFICERS, 1913-14. 

Col. H.Walker, P.G.S.B Acting W.M. 

Bruce Smith 8.W. 

J. H. Ryley J.W. 

Rev. W. Cree, M.A Chaplain. 

Thomas Catling, P.A.G.D.C. . . Treasurer. 

J. Percy Fitzgerald, P.G.Std.B. . . Secretary. 

Dr. W. Wilson S.D. 

E. T. Pryor J.D. 

Albert G. Neville, P.D.G.D.C. . . D. of C. 

J. C. Harker Almoner. 

Frank Braine Organist. 

Geo. A. Highland, W.M. 3377 . . I.G. 

R. Frost, A. Steffens Hardy, W. J. 
Crumplin, Louis L. Weiner, 

and J. Myer Stewards. 

T. Reeves " . . . . \ . .. Tyler. 



The Karl of Londesborough 1886 P.G.W. 

Sir Augustus Harris.. .. 1887 P.G.W. , Trsr. 

Sir John E.Gorst, Q.C., M.P. 1888 P.G.W. 

Adtn. Sir E. A. Inglefield . . 1889 P.G.D. 
Sir Henry A. Isaacs (Lord 

Mayor) 1890 P.G.W. 

James Fernandez . . . . 1891 P.A.G.D.C. 

Sir 8. B. Bancroft .. .. 1892 P.G.D. 

Harry Nicholls .. .. 1893 P.G.Std.B. 

Thomas Catling .. .. 1894 P.A.G.D.C. 

Oscar Barrett 1895 

Henry Neville 1 1|^ } P.A.G.D.C. 

Gerald Maxwell .. .. 1898 A.G.D.C. 

GuyR-pton 1899 P.G.D. 

Lionel Rignold . . . . 1900 

J. H. Barnes 1901 

Luigi Lablache . . . . 1902 

Albert G. Neville . . . . 1903 P.D.G.D.C. 

A. Rashleigh Phipps .. 190* 

H.Nye Chart 1905 

Clarence T. Coggin . . . . 1936 

S. H. Tatham Armitage . . 1907 P.G.D. 

James Powell 1903 

Rt. Hon. Lord Athlumney 1909 P.G.W. 

Bedford MoNeill . . . . 1910 

A. Blomfield J.icksoii .. 1911 

Col. H. Walker .. .. 1912 P.G.S.B. 

Blake Adams 1913 

Address of Secretary 

3, Dean Road, 

Cricklewood, N.W. 

LODGE, No. 2387. 

Conieerated 1891. 

Held at Freemasons' Hall, Cooper Street, Man- 
chester, on the fourth Thursday in January, 
February, Marih, April, May, June, September 
October, and Njvember. 

Installation in April. 

OFFICERS, 1913-14. 

ManbyWillson W.M. 

John Bentley I. P.M. 

F.Morris S.\V. 

Harry C. Roberts J.W. 

Chas. Swinn, P.P.G.D. .. . Treasurer. 

J. Butterworth, P.P.G.Swd.B. . Secretary. 

E.L.Wilson S.D. 

F. Green J.D. 

J. J. Bennett, P.M D.C. 

Ernest Catling Organist. 

M. Tench I.G. 

W. Lawley, F. Thorpe, H. R 

Clarke, G. T. Ashton, E. Ben 

nett, and W. Chad >vick .. .. Stewards. 

E. Roberts, Prov.G.T Tyler. 

J. Butterworth, P.P.G.Sw.B. . . Charity Rpve 


W.M. G.L. RANK. 
. 1895 P.P.G.J.D. 
. 1898 P.P.G.S.W. 
. 1900 P.P.G.Swd.B. 
. 1901 

. 1902 P.P.G.J.D. 
. 1903 
. 1904 
. 1906 
. 1907 
. 1908 
. 1909 
. 1910 

. 1911 
. 1912 

. 1880 P.P.J.G.D. 
. 1884 P.P.G.A.D.C. 

Chas. Swinn 
Edwin G. Simpson . . 
John Butterworth . . 
J. Pitt Hardicre 
T. LI. Marsden 
Harry S. Greenwood 
Nelson Stokes 
Phillip Joseph 
James J. Bennett 
John R. Piekman . . 
Arthur E. Wait 
S. Fielder 
Tom Cook 
John Bentley 
Peter Lawton. . 
Louis Peake 
Geo. W. Potter 

; At present Members of the Lodge. 
Address of Secretary 

Rochester Avenue, 

Sedgley Park, Manchester. 

LODGE, No. 2454. 

Coneeerated 1892, 

Held at the Holborn Restauranf, High Holborn ; 
London, W.C., on the second Monday in Feb- 
ruary, March, May, November, and December. 

Installation in December. 

OFFICERS, 1913-14. 

Mortlake Mann W.M. 

F. Harold Hankins, P.M., L.R., 

P.P.G.O.Herts I.P.M. 

Frederick A. Winter . . . . S.W. 

Ben Johnson J.W. 

Walter Morrow, P.M., L.R. . . Treasurer. 

George F. Smith, P.G.O Secretary. 

E. Lewis Arney S.D. 

Frederick J. Griffiths .. .. J.1J. 

Bernard Turner I.G. 

Albert E. Rowarth, P.M., L.R., 

Dep.G.Orgst D.C. 

Arthur H. Lines, P.M., P.P.G.8.D. 

Herts, Grand Pursuivant . . A. D.C. 
David Beardwell, P.M., L.R., 

P.Dep.G.O Asst. Secy, 

Charles Mogs Organist. 

P. G irlicld Blake and Walter 

Hnbbard Stewards. 

George Coop Tyler. 




Guildhall School of Music Lodge Contd. 


1893 P.G.Svvd.Br. 

18934 P.G.O. 

1894 5 P.G.O. 

1895 6 

1896 7 

T. Hastings Miller . . 
Geo. F. Smith.. .. 
W. Henry Thomas . . 
Henry Gadsby . . 

Henry Guy, L.R. . . 
William H. Cummings, 

Mus. Doe., Dublin 1897 8 P.G.O. 
William Hy. Wheeler 1898 9 
Walter Syckelmoore 18991900 
David Beardwell . . 1900 1 

W.Rogers .. .. 1901- 2.) 

Thomas R. Busby . . 1902 3 

Albert E. Rowarth . . 1903 4 

George H. Dawson . . 1904 5 

Arthur L. Simmons.. 19056 

Montague Borwell . . 1906 7 

(I. A. Hustler Hinchliff 19078 

Sir T. Brooke-Hitching 19089 

Arthur H. Lines . . 190910 { . 

H. Turnpenny . . 191011 
George K. Lang . . 191112 
F. Harold Hankins.. 191213 P.P.G.O. 
Address of Secretary 

" Seabourne," 

Bonham Road, 

Brixton Hill, S.W. 

CHAPTER, No. 2,454. 

Consecrated 1900. 

Held at the Holborn Restaurant, High Holborn, 
London, W.C., on the fourth Friday in March, 
June, and October. 
Installation in March. 

OFFICERS, 1913-14. 

P 'g;g; Dep ' 



George K. Lang 
Hugo T. Chadneld 
Arthur H. Lines 
C. H. Allen Gill 

.. M.E.Z. 

.. I.I'./. 

.. II. 

.. J. 

Dr. W. H. Cummings, P.G.O. .. Treasurer. 

David Beardwell, P.G.O So 

KiilniMU R. Ronay Scribe N. 

Dr. John W. Pare I'.S. 

Arthur T. Cummings .. .. 1st A.S. 

Edwin F. Frcund 2nd A.S. 

George Coop . . . . . . . . Janitor. 

OFFICERS, 1914-15. 
(Elected October 24th, 1913.) 

Arthur H. Lines 

G. Kershaw Lang 

C. H. Allen Gill 

Kiilmai) R. Ronay . . 

Dr. W. H. Cummings, P.G.O. 

David Beardwell, P.G.O. . 

Dr. John W. Pare 

Arthur T. Cummings 

Edwin F. Freund 

Orton Bradley 

George Coop 

M.E Z. 





Scribe E. 
. . Scribe N. 
.. P.S. 
.. 1st A.S. 
.. 2nd A.S. 
. . Janitor. 

1900 1 P.G.Std.B. 





T. Hastings Miller 

Dr. W. H. Cummings 1901 2 

W. H. Thomas . . 1902 3 

Thomas R. Busby . . 1903 4 

Fountain Meen . . 1904 5 

Charles E. Tinney . . 1905 6 

David Beardwell . . 1906 7 P.G.O. 

Walter Morrow . . 1907 8 

Albert E. Rowarth .. 1908 9 

F, Harold Hankins . . 190910 
George F. Smith, P.G.O. 191011 
Arthur L. Simmons. . 191112 
Hugo T. Chadneld . . 191213 

G. K. Lang . . . . 191314 
Address of Scribe E. 

38, Patshull Road, 

Camden Road, N,W, 


Consecrated 1903. 

Held at the Imperial Restaurant, 60, Regent 
Street, London, W., on the first Friday in 
January, February, April, MaYi June, November, 
and December. 

Installation in May. 

OFFICERS, 1913-14. 
E. Vivian Reynolds ...... W.M. 

Frank Vernon ........ S.W. 

Fred Annerley ...... J.W. 

Harry Nicholls, P.G.Std.B. . . Treasurer. 
J. H. Ryley, P.M ....... Secretary. 

Douglas Gordon . . . . . . S.D. 

A. E. Raynor ........ J.D. 

John R. Crauford ...... I.G. 

W. P. Besley, A.G.C ..... Chaplain. 

W. Lestocq, P.A.G.D.C ..... D.C. 

Hubert Harben ...... A. D.C. 

C. A.Doran ........ Almoner. 

A. E. George ........ Organist. 

Arnold Lucy ........ Ass. Secrty. 

A. K. George, Arnold Lucy, Julian 

Royce, Frederick Ross . . . . Stewards. 

E. J. Nesbitt ........ Tyler. 



Harry Nicholls . . . . 1903- 4 P.O. Std.B. 

J. D. Beveridge . . . . 1904 5 

Gerald Maxwell.. .. 19056 

Herbert Leonard . . 1906 7 
Akerman May . . . . 1907 8 

K. II. Bull ...... 1908 9 

Charles Macdona . . 190910 
Hubert Willis .. .. 191011 

J. H. Ryley . . . . 191112 

Blake Adams . . . . 191213 

Address of Secretary 

38, Maida Vale, W. 


LYRIC LODGE, No. 3016. 

Consecrated 1904. 

Held at the Imperial Restaurant, Regent Street, 
London, W., on the fourth Saturday in February, 
March, October, and November. 

Installation in February. 

OFFICERS, 1913-14. 
Wilson James Lakeman (Wilson 
James) ........ W.M. 

C. H. E. Goodman ...... I. P.M. 

D. Lome Wallet ...... S.W. 

J. H. Willey ........ J.W. 

John A. Stovell (Edgar Bari;cs), 

P.M., P.P. G.D., Surrey .. .. Treasurer. 
Thos. F. Noakes, P.P.G., Organist, 

Middlesex . . . . . . . . Secretary. 

Chas. E. White ...... S.D. 

James E. Ward ...... J.D. 

Sir George Pragnell, P.M., L.R. . . D.C. 

Walter Walters ...... A. D.C. 

Clarence Nobbs ...... Almoner. 

Harry Hudson ...... Organist. 

T. Thorpe Bates ...... I.G. 

Ernest H. Shields, H. J. Barclay, 

Ernest H. Baker, and F. de Lara Stewards. 

J. Bailey 



W. S. Penley . . . 
Joseph Harrison . 
Charles Bertram . 
J. A. Stovell . . . 
Sir George Pragnell. 

F. A. Ransom. . . 
Tom Clare . . . 
Harry T. Dummett . 

G. H. E. Goodman . 
Address of Secretary 

Apsley Lodge, Kimberley Road, 
Clapham, S.W. 

1904 5 P.G. Treasr. 

1905 6 A.G.D.C. 

1906 7 

1907 8 






/ 1910. 

i lull, (Ireat Queen Street, 

hnmlon, W.C., on tli.' third Saturday in January, 
Muivli, mill November. 

'ation in January. 

oi ni'l'Ks ELECT," 1914-15. 

Ivos M.E.Z. 

P. A, Ransom (P.P.Q.T. Surrey).. I.P./. 

: irclay H. 

<!. II. K. Goodman J. 

,1. H. Willey Scribe E. 

. \\'aiters Scribe N. 

.1. \.Stovell Treasurer 

1 Hill P.S. 

.lames 1st A.S. 

A. Francis May 2nd A.S. 

Harry Hudson Organist. 

Robert Dennant Steward. 

J. Bailey Janitor. 


Tom Clare 1910 11--12 

.JolmA. Stovell 191213 

Address of Scribe E. 

Apsley Lodge, Kimberley Road, 
Clapham, S.W. 


Consecrated 1904. 

Held at the Holborn Restaurant, High Holborn, 
London, W.C., on the fourth Thursday in March, 
May, September, and December. 

Installation in March. 

OFFICERS, 1913-14. 

W. Silvester ........ W.M. 

R. Gray ........ I. P.M. 

H. Van Dermeerschen .. .. S.W. 

Herbert (loom ...... J.W. 

John Solomon ...... Treasurer. 

George F. Smith, P.O. ..... Secretary. 

Charles J. Appleford . . . . S.D. 

Edwin F. James, P.M., P.P.Q.O., 

Surrey ........ J.D. 

Cecil Dorliug .. .. .. .. I.G. 

Tlios. H. Busby, P.M., P.Dep.G.O. D.C. 
Albert E. Rowarth, P.M., L.R., 

Deputy (irand Organist . . . . A. D.C. 

Charles J. Woodhouse .. .. Organist. 

Walter E. Lawrence .. .. Ast. Organist. 
Victor A. Watson, Sydney H. 

M ixon, Jonn M. Appleford .. Stewards. 

J. Whiteman .. .. .. .. Tyler. 



Thomas R. Busby .. 

Albert E. Rowarth . . 
\V. A. Sutrh .. .. 
Frank Stewart, L.R.. 
John H. Callcott . 

James Breeden . . . 

1904 5 

1905 6 D.G.Organist. 

1906 7 
1908 9 

1909 10 

Kdwarcl W. Whitinore. . 1910-11 
Frank James .. .. 191112 
Robert Gray . . . . 191213 
Address of Secretary 


Bonham Road, 

Brixton Hill, S.W. 


Comecrated 1906. 

Held at the Holborn Restaurant, High Holborn, 
I ,oiulim, W.C., on the third Friday in April, June, 
ami December. 
Installation in April. 

OFFICERS, 1913-14. 

Edwin F. James /. 

Robert Gray l.P.Z. 

Frank G. James H. 

Orchestral Chapter Continued. 

W. Silvester J. 

D. Beardwoll Treash 

George P. Smith Scribe K. 

Montague BorffeU Scribe N. 

C. Appleford I'.S. 

C. Dorling 1 

Walter Morrow 2ml A.S. 

J. Whiteman Janitor. 


PAST PitiNciivu.s. IN CHAIR. G.C. RANK. 

Thomas R. Busby . . 1906 7 P.G.O. 
J. Kit ward Hambleton 1907 8 
Albert E. Rowarth . . 1908 9 
Frank Stewart . . 190910 
Edward Whitmore . . 191011 
H. G. Hambleton . , 191112 
Robert Gray .. .. 191213 

Address of Scribe E. 


Bonhan Road, 
Brixton Hill. 


Consecrated 1905. 

Held at the Town Hall, Chelsea, London, S.W. 
on the third Friday .in March, April, May, June 
July, August, September, and October. 

Installation in May. 

OFFICERS, 1913-14. 

Ernest T. R. Lester W.M. 

George H. Dyball I. P.M. 

William H. Roberts S.W. 

Albert Brady J.W. 

Wolfe S. Lyon, P.A.G.P Treasurer. 

Charles J. Doughty Secretary. 

H. W. J. Church S.D. 

Douglas White J.D. 

A. W. H. Beales, P.M D.C. 

Walter H. Hitch, P.M Almoner. 

Ernest Smith I.G. 

W. J. Garrett Organist. 

William J. Wells, Henry Mason, 

Wm. J. Mundy, and Chas. H. 

Burton .. .. .. .. Stewards. 

J. H. McNaughton Tyler. 



James W. Mathews .. 19056 P.A.G.D.C. 
Albert Le Fre .. .. 1306- 7 
Theodore Schreiber . . 1907 8 
Henry Coutts . . . . 1908 9 
Walter H. Hitch . . 1909-10 

Harry Bawn . . . . 191011 
Walter F. K. Walton . . 191112 
George H. Dyball . . 191213 

Address of Secretary 

14, Rostrevor Road, 

Fulham, S.\\r. 


Consecrated 1907. 

Held at Freemasons' Hall, Great Queen Street, 
London, W.C., on the fourth Friday in March, 
June, September, and November. 

Installation in June. 

OFFICERS, 1913-14, 
W. H. Roberts (Atlas) .. .. M.E.Z. 

Charles J. Doughty H. 

George H. Dyball J. 

Walter H. Hitch, P.Z Scribe E. 

Monte Bayly .. .. .. .. Scribe N. 

Wolfe Simon Lyon, P.A.G.D.C. . . Treasurer. 

Frank Hardie P.S. 

A.T. Earnshaw 1st A.S. 

J. T. W. Grant 2nd A.S. 

A. T. Chamberlain D.C. 

Erne Warsaw.. Organist. 

John Gilbert .. , Janitor, 



Chelsea Chapter Continued. 

James W. Mathews . 
Albert Le Fre . . 
Herbert Chenery 
Henry Coutts 
Walter H. Hitch 
Harry Bawn 
Address of Scribe E. 

14, Rostre'vor Road, 

Fulham, S.W. 


1907 8 P.A.G.D.C. 

1908 9 



Consecrated 1908. 

Held at Masonic Hall, Oliver Street, 
Birkenhead, on the fourth Friday in January, 
February, March, April, May, September. 
October, and November. 
Installation in May. 


A. J. Shelley-Thomp- 

H. R. Romer .. 

W. S. Tafner 
Henry Mathison 
Address of Secretary 


Belmont Drive, 

G.Li. RANK. 
( P.P.G.W., 
1908- 9 I . Cheshire. 

lonn ln I P.P.G.D., 

10 i Cheshire. 
1910-11 P.P.A.G.D.C. 



Coneecratfd 1910. 

Held at the Town Hall, King's Road, Chelsea, 
S.W., on the first Tuesday in March, April, May, 
June, July, August, September, and October. 

Installation in March. 

OFFICERS, 1913-14. 

William James Wells . . . . W M. 

A.B. J.Bayly.. .. - .. .. 8.W. 

A. W. H. Beales J.W. 

Wolfe S. Lyon P.A.G.P. 

Charles J. Doughty, I. P.M. . Secretary. 

John T. W. Grant S.D. 

B J. Whiteley J.D. 

W. H. Roberts, P.M D.C. 

Albert Le Fre, P.M., L.R. . . Almoner. 

Achille C. Girard I.G. 

S. F. Haines Organist. 

Ernest A. Warsaw, Stanley Palmer, 

C. J. N. Bootbby and G. A. Keen Stewards. 

J, H. McNaughton Tyler. 



Albert Le Fre 

W. H. Roberts (Atlas) 
Chas. J. Doughty 

Address of Secretary 

14, Roetrevor Road, 

Fulham, S.W. 



Consecrated 1895. 

Held at Mark Masons' Hall, Great Queen 
Street, London, W.C., on the second Thursday 
in February, fourth Thursday in March, and the 
second Thursday in October, November and 

Installation in December, 

Dramatic Mark Lodge No. 487 Cant. 

OFFICERS, 1913-14. 

J. H. Ryley 

James Powell.. 

Alfred Ellis 

Ludwig Simon 

Tom Clare 

W. E. Holloway 

Douglas Gordon 

Rev. C. E. L. Wripht, P.M. 

C. Cruikshanks, P.M 

Clarence Sounes 

Will Sparks 

W. H. Roberts (Atlas) 

G. S. Beeching 

A. H. Hunt 

Frank Callingham 

Joseph Batten 

E. Vivian Reynolds and W. J. C. 

F. Banchini . . 


Harry Nicholls 
Rev. C. E. L. Wright 
Charles Cruikshanks 
W. A. Tinney 
Harry Nicholls 
H. G. Danby . . 
W. J. Holloway 
Herbert Leonard 
Thomas Fraser 
E. H. Paterson 
The Rt. Hon. the Lord 

A. G. Duck (D.M.) 
Clarence T. Coggin . . 
J. E. Hambleton 
G. A. Keen 
W. J. Keen . . 
W. Hotten George . . 
Chris Hilton 
James Powell .. 

I. P.M. 





Reg. of Marks 







.. Tyler. 


1895 6 P.G.Std.B. 

1896 7 P.G.C. 

1897 8 

1898 9 
18991900 P.G.Std.B. 

1900 1 

1901 2 

1902 3 

1903 4 P.G., Treasr. 

1904 5 

| 1905 6 P.G.W. 

1906 7 

1907 8 

1908 9 
1912 -13 

Address of Secretary 

32, Walbrook, E.G. 


Consecrated 1901. 

Held at the Mark Masons' Hall, Great Queen 
Street, London, on the first Thursday in the 
months of January, April and October in every 
year, and at such other periods as the VV.C.N. 
for the time being shall appoint. 

Installation in April. 

OFFICERS, 1913-14. 

Chris Hilton 
Clarence Sounes 
W. H. Roberts 
Will Sparks 
James Powell 
Major John Barker . 
J. J. Pitcairn .. 
W. J. C. Nourse 

. . C.N. 
. . J. 
. . 8. 
. . Treasurer. 
. . Scribe. 
.. D.C. 
. . S.D. 
. . J.D. 
.. G. 

Charles Cruikshanks 
Harry Nioholls . . 
Rev. C. E. L. Wright 
Herbert Leonard 
Thomas Fraser . . 

A M Scarff 

. . 1901 2 
.. 1902-3 
1903- 4 
. . 1904 5 
1905 6 
. . 1906 7 
. . 1907 8 

Address of Scribe 


Essex Street, 
' Strand, W.C. 

TJIR .S'/'.UVA 1 r/i.lA' /.VWA'. 115 



STFADY \( slow pr work of the Actors' ASBOCI 

''iiiilding up the 1 position to which tin- n-pr. 
If the inn. in,' l>r small and tin- 

riut.ioii has the satisfaction of having emerged fn,m t.lic insolvent slat,' in 

which it was a lew yeara ago. The debentures, which at time stood at 800, 

anil were ulway- a millstone round the neck of the A^-oriation, have been considerably 

ced, while a growing memhership roll brings increased subscriptions. At the 

annual general meeting, held on February 11 at His M 

that, during 1912 the income had been 796, subscriptions bringing in 644 11s.; 
the Agency, 48 19s. 4d. ; and entra C29 5s. The work of the Council of tin; 

-hould o well toward gaining the, conlidence of actors generally, and bring 
: increased support. That they have not yet, succeeded in obtaining the Standard 
ract for which they have worked for some years is rather a reason for the actors 
who remain outside the one organised body his profession has, to join it and strengthen 
the membership roll and the influence of the Association for future efforts in this 
direction. There seemed early in the pa - ome hope that the Council of the 

Actors' Association and the Society of West End Theatre Managers would agree upon 
the terms of such a contract. The Managerial Society expressed their willin, 
to take the draft contract into consideration, and appointed a sub-committee to meet 
the representatives of the Association, but the result was distinctly disappointing. 
The Society intimated to the Association that after considering the opinions of their 
members they felt that it would not be possible to arrive at a satisfactory arrangement, 
and so the matter ended, no indication being given to the Council as to what 
particular clauses in the draft contract were considered as objectionable. The draft 
contract submitted by the Council set out that no season, run, or tour, should be 
terminated at less than a fortnight's notice ; that fares from London during tour or 
a, and to London at) the termination of the agreement, be paid by the manager; 
that artists engaged at a salary of 5 per week or under should receive, as payment for 
rehearsals, salary at the rate of 25 per cent., with a minimum of 1 after rehearsals 
had been in progress a fortnight ; and aimed at establishing six performances per 
week as the standard for purposes of the contrac.t with payment for math 
computed in sixths or twelfths. The Council also recommended the adoption of the 
principle of payment by performance. 

Acting jointly with the Society of West End Theatre Managers and the Theatrical 
Managers' Association, the Council prosecuted inquiries in regard to the National 
Health Insurance Act, which had the result that the benefits under the Act 
made more applicable and more convenient to the actor or actress moving about 
from town to town. 

As a result of representations made by the Association, Mr. Ben Webster, as 
representing the Association, was elected as a member of the Shakespeare Memorial 
National Theatre Committee. 

The Annual Hall was held at the Holboru Restaurant on February 7. Sir Herbert 

took the chair at the sapper. The annual dinner was held at the Cecil on 

December 14. Sir Herbert Tree was iii the chair, and the other speakers included Lady 

ctt Roe, Mr. Allan Aynesworth, Mr. Rutland Barrington, Mr. Cl;u 
Derwent, and Mr. H. B. Irving. 

The I 'resident of the Actors' Association is Sir Herbert Tree; the Vice- Presidents 
are Sir George Alexander, Mr. Martin Harvey, Mr. H. B. Irving, and Mr. I 

The Association is governed by a council of twenty-five. Those elected in 1913 
were: Mr. Ben Webster, Mr. C. Hayden Cot'tin, Mr. C. Derwent, Mr. I'. Annerley, 
Mr. \V. H. Fay, Mr. F. Morland, Mr. Chris Walker, Mr. M. MoncrietT, Mr. Cyril 
Cattlev, Mr Adnam Sprange, Mr. \V. Deveroux, Mr. Frederick James, Mr..lohn 
Mortimer, Miss I 1 . Uroughtou, Mr. F. J. Arlton, Mr. Douglas Munro. Miss \\ Ch. 
Miss Lucy Sibley, Mr. Norman Yates. M : -. c. F. Ceilings, Miss I.. Leyi 
Mr. Arthur Dennis, Mr. .1. H. I'.utler, Miss Judith Kyrle. Mr. \V\ii Weaver. 

iar\ , Mr. 1 >iincan Y 
Oih'ces, 32. Regent Street, Piccadilly Circus, W. Telephone, (lerrurd 1753. 




The Theatrical Managers' Association has 90 members, who represent about 250 

President : Mr. Cyril Maude. 
Vice-Presidents : 

Mr. J. B. Mulholland. 
Mr. J. F. Elliston. - 

Mr. W. B. Redfern. 
Mr. Arthur Bourehier. 

The Council, which is elected annually, is divided into four sections, as 
follows (1913) : 


Mr. Arthur Bourchier. 
Mr. Tom B. Davis. 
Mr. ('has. Frohman. 
Mr. P. M. Faraday. 
Mr. H. B. Irving. 

Mr. Cyril Maude. 
Mr. Walter Melville. 
Sir Herbert Tree. 
Mr. Fred Terry. 

Mr. II. G. Dudley Bennett. 

Mr. Wentworth Croke. 
Mr. Fred Fredericks. 

M . Milton Bode. 
Mr. J. \V. P.ougluon. 
Mr. IVrey li. llroadl, 
Mr. Sidney Cooper. 
Mr. <>tto Culling. 
Mr. K. J. Domville. 
Mr. E. Dottridge. 
Mr. J. V. Elliston. 
Mr. Charles Elphinstone. 
Mr. ( 'rraham J''alcon. 

Mr. Frank -B. O'Neill. 




The annual general meeting takes place the last 
Secretary, Mr. Her-nit I'.laekmore, 11, Garriek 
Treasurer, 'Mr. Fred \V. Wanlen, Royal. Belfast. 

Mr. J. B. Mulholland. 
Mr. Fredk. Melville. 
Mr. Ernest Stevens. 

Mr. John Hart. 
Mr. W. \V. Kelly. 
Mr. Egbert Lewis. 
Mr. W. B. Redfern. 
Mr. R. Redford. 
Mr. II. \V. Rowland. 
Mr. T. W. How.-. 
Mr. \V. 1'ayne Seddon. 
Mr. F. \\.\Vyndham. 
Mr. Fred W. Warden. 

Mr. T. C. Wray. 

Tuesday in January. 
Street, London \Y.C. Honorary 


The Society of West End Theatre Managers consists of twenty-two members, 
including two hon. members, Sir Squire Bancroft and Sir John Hare. 

dent, Sir Herbert Tree ; Vice-Presidents, Sir Charles WMiilliani, Sir < 
Alexander, and Mr. George Edwardes. Members: Sir George Alexander, Sir 
Squire Bancroft, Mr. H. Granville Barker, Mr. Arthur Bourchier, Mr. Arthur 
Chudleigh, Mr. Robert Courtneidge, Mr. Frank Cur/on, Mr. Tom B. havis, Mr. 
George Edwardes, Mr. Charles Frohman, Mr. P. M. Faraday, Mr. J. M. Gatti, Mr. 
William (Vreet, Sir John Hare, Mr. Frederick Harrison, Mr. Gerald du Maurier, 
Mr. Louis Meyer, Sir Herbert Tree, Mr. J. E. Vedreniir, Mr. Lewis Waller, and 
Sir Charles Wyndham. 

ings are held on the first Wednesday of each month. The Committee meet 
when required. 

The theatres controlled by the members are : Adelphi, Apollo, Comedy, Criterion, 
Daly's, Duke of York's, Gaiety, Garrick, Haymarket, His Majesty's, Kingsway, 
Lyric, New, Prince of Wales's, Royalty, St. James's, Shaftesbury, Strand, 
Vaudeville, and Wyndharn's. 

Secretary, Mr. H. E. B. Butler, 95, St. Mary's Mansions, Paddington, W. 
Registered Offices, Bassishaw House, Basinghall Street, E.G. Telephone: Bank 633. 

During the year, a sub-committee was appointed to consider the draft of a 
Standard contract proposed by the Actors' Association. Negotiations, which it was 
hoped would lead to the adoption of such a contract were, however, suspended in April 
at the instance of the Society, which intimated to the Association that, after 
considering the opinions of its members, it felt that it would not be possible to arrive 
at a satisfactory arrangement, and did not intend to proceed farther in the matter. 




This Association was formed in fhr year 1894, under the name of the Suburlm.n 
Mai: bion. 'I'll fillip was originally limited to suburban 

managers, but, it being found desirable to extend the sphere of usefulness of the 
n, the scope was enlarged by making eligible for membership all pro- 
prietors, lessees, licensees, directors, and > -punsilile managers of theatres receiving 
touring companies. 'I'hr name! was changed to tin: present one in 1908. 

The objects of the Association are, -inter nlm, the discussion and settlement by 
arbitration or otherwise of matters of common interest to theatrical managers or 
proprietors ; the affording to members a central means for inter-communication and 
encouragement, by meetings or otherwise, of the direct exchange of opinions arid 
ideas regarding theatres; the taking when necessary of concerted action and the 
institution or defence of proceedings legal or otherwise. 

The officers of the Alliance are : President, Mr. Bannister Howard ; Vice-President, 
Mr. W. Bailey; Hon. Treasurer, Mr. W. Payne Seddon ; Hon. Auditor, Mr. S. 
I'.aniard; Hon. Secretary, Mr. J. Moverley Sharp, Criterion Chambers, Jenny n 
Street, S.W. 

The members meet every month at Criterion Chambers, Jermyn Street, S.W., 
on the second Tuesday in the month to discuss and deal with any matters of 
general or particular interest that may arise. 


The Association has one hundred and twenty members. Committee ! President, 
Mr. Wentworth Croke ; Chairman, Mr. A. Bertram ; Vice-President, Mr. E. Graham 
Falcon ; Hon. Treasurer, Mr. G. Carlton Wallace ; Asst. Hon. Treasurer, Mr. Frank 
Weathersby ; Hon. Solicitor, Mr. W. Muskerry Tilson ; Auditors, Messrs. Bryden, 
Fedden and Co. ; Messrs. Cecil Earth, A. H. Benwell, J. A. Campbell, Joseph 
Collins, Oswald Cray, William Giffard, W. H. Glaze, Charles Harrington, Grahame 
Heringkm, J. Bannister Howard, J. Forbes Knowles, W. W. Kelly, G. B. Lambert, 
M. V. Leveaux, Samuel Livesey, Lauderdale Maitland, Robert Macdonald, Ernest 
E. Norris, Leslie Owen, Alfred Paumier, E. Taylor Platt, G. M. Polini, Herbert 
Ralland, H. W. Rowland, W. Payne Seddon, N. Carter Slaughter, Brandon Thomas-, 
John Tolly, and Sir H. Beerbohm Tree. Secretary, M. Martin. 

During the year the Association extended some official recognition to the prin- 
ciple of the 2 minimum by passing the following resolution : " That no action 
be taken against artists for breach of contract, so far as the Association is con- 
cerned, where the artist receives less' than 2 per week." 


An Association, formed in 1907 among managers and proprietors of portable 
theatres. One of the principal matters to which the Association turned its 
early attention was (working hand-in-hand with the Copyright Play Protection 
Association) that of preventing the pirating of plays in portable theatres. By 
purchasing the portable rights of plays and letting them out to their members the 
Association has been able to put a certain amount of check on piracy and to bring 
the price of copyright plays well within the limited reach of its members. It is 
not a large body, and possibly handicapped by a lack of funds at the last annual 
general meeting in September it had but 281 10s. 8d. it has not sought much in the 
way of reform amongst portable theatres beyond that already mentioned in the 
way of piracy prevention, and even in this direction the Association can do but 
little, as many portable managers are not members, and its authority, of coarse, 
does not extend beyond its membership. The officers for the current year are : 
Mr. A. E. .Drinkwater, chairman; Mr. Ebly, vice-chairman; Messrs. J. Johnson, 
Ebley, Haggar, and Garrett, emergency committee ; and Mr. H.Johnson, secretary; 
Messrs. Harcourt and Garrett, auditors. Its office is at 219, Folkestone Road, Dover. 
Among the new rules passed at the annual general meeting, held at the Kingsway on 
September 29, with Mr. A. E. Drinkwater in the chair, was one by which every 
member was bound each week to send to the agent a copy of his printed day-bill. 


Dramatists have no separate body to represent them, but under a Dramatic Sub- 
Committee of the Society of Authors, they are able to act as an independent section 


of that body, save on the question of finance, The dramatists now members of the 
Society number over 250, comprising nearly all the best known authors. The 
Dramatic Sub-Committee has for its chairman, Mr. R. C. Carton, and is composed of 
Mr. C. Haddon Chambers, Mr. Anstey Guthrie, Miss Cicely Hamilton, Mr. Jerome K. 
Jerome, Mr. W. J. Locke, Mr. A. E. W. Mason, Mr. Justin Huntly McCarthy, Mr. 
Cecil Raleigh, Mr. Bernard Shaw, Miss E. M. Symonds, and Mr. James T. Tanner. 

The questions dealt with by the Dramatic Sub-Committee have been many and 
varied, comprising such important issues to dramatic authors as Copyright, Domestic, 
Colonial, and International ; the Managerial Treaty, Kinematograph Film Contracts, 
Amateur Fees, Foreign Agents. The meetings, and the subjects discussed, are 
chronicled fully month by month in The Author, the organ of the Society. 

On the recommendation of the Sub-Committee to the Committee of Management, 
cases are carried through on behalf of dramatic authors. These cases comprise claims 
for infringement of copyright at home and abroad, actions for breach of agreements, 
claims for unpaid authors' fees, questions of plagiarism by one dramatist against 
another. Those last mentioned cases are very carefully investigated by the Sub- 
Committee, and members of that body, very often help the member, if the claim 
seems a sound one, by giving evidence on his or her behalf. 

There is, in addition, a Collection Bureau attached to the Society. This Bureau 
collects authors' fees on contracts in the United Kingdom, United States and Canada, 
Holland, and Germany. Its operations are being extended and it is hoped, at no 
distant date, to cover all the countries with which Great Britain is in copyright 
relations. Amateur fees, equally with professional fees, are collected by the Bureau 
which, in addition, keeps its members informed of performances in the States and 
Canada of their plays, thus enabling them to receive early news of any unauthorised 
performance should one occur. 

The Society has, as well, a Register of Scenarios and Plays. For a fee of 2/6, a 
member is able to deposit with the Society a copy of his play immediately he has 
completed it. The evidence of the date of completion of his work, which he thus 
obtains, may prove of importance should his work be pirated subsequently or 
should its originality be challenged by another party. 

Secretary, Mr. G. Herbert Thring, 1, Central Buildings, Tothill Street, Westminster, 
S.W. Telephone, Victoria 374. 


The object of the Actors' Benevolent Fund, which was established in 1882, is to help, 
by allowances, gifts, and loans, old or distressed actors ;md actresses, managers, stage 
managers, and acting-managers, and their wives and orphans, and choristers whose 
efforts arc entirely devoted to theatrical work. 

The President is Sir Charles Wyndham. The Vice-Presidents are Sir Herbert 
Beerbohm Tree, Sir George Alexander. -Mr. Harry Nicholls is Hon. Treasurer, and Sir 
Charles Wyndham, and Sir Herbert Beerbohm Tree are the Hon. Trustees. 
The members of the Executive Committee are as follow : 

Mr. Morris Abrahams. Mr. A. Holmes-Gore. Mr. Harry Nicholls. 

Mr. J. D. Beveridge. Mr. 9. Bannister Howard, Mr. Lionel Rignold. 

Mr. E. H. Bull. Mr. S. Major Jones. Mr. Algernon Syms. 

Mr. Robert Courtneidge. Mr. Cecil King. Mr. A. B. Tapping. 

Mr. Charles Cruikshanks. Mr. Cyril Maude. Mr. Arthur Williams. 

Mr. A. E. George. Mr. M".' R. Morand. 

Actor's Saturday, when a collection is made in every theatre for the benefit of the 
Fund, is held on the last Saturday in January. The Secretary of the Fund is 
Mr. C. I. Coltson, and the offices are at 8, Adam Street, Strand. 

The annual dinner was held on November 30, at the Hotel Metropole, with Mr. 
Martin Harvey in the chair, when a subscription list of 1,200 was announced. 

The annual general meeting was held at His Majesty's on February 14 with Sir 
Herbert Tree in the chair. The accounts showed that during the preceding year in 
donations and pensions the sum of 3,246 9s. lOd. had been granted. The investments 
totalled nearly 28,000, while the Fund had another 2, 000, in hand. The Benevolent 
Fund, in addition to distributing money for charitable purposes in the ordinary 
way, has on its books many old actors and actresses to whom pensions are granted in 
the form of stated sums per week. It also undertakes whenever possible the burial of 
a member of the theatrical profession in cases where otherwise the expense would 
be borne by the parish in which the person died. 



This Fund, founded in 1836 by Mrs. C. L. Carson, has for patrons the King and 

ii and tli.' J'rineess Royal. Mr. Cyril Maude is the President, hit 
elected to that position on the death of the late Sir Henry Irving, the Fund's 

i'lvMdeiit. Vice-Presidents are Miss Carlotta Addison, Lady Bancroft, Mr 
I,. Carson, Miss Winifred Emery, Miss Kllen Terry, Lady Tree, SirCeor^e Alexander, 
and Sir Herbert I'.eerbohm Tree. Trustees are Mr. Arthur Bourchicr, Mr. Charles Cruik- 
shanks, Mr. Harry Nicholls, Mr. Cyril Maude, and Mr. A. J. Austin. Hon. Treasurer, 
Mr. C. Aubrey Smith, and Hon. Secretary, Mr. A. J. Austin. The offices of the 
Fund are at THE STAGE Offices, 16, York Street, Covent Garden, London, W.C., and 
at 26, Old Buildings, Lincoln's Inn, W.C. 
Executive Committee : 

Lady Alexander 
Miss Dorothea Baird 
Miss Ada Blanche 
Miss Lilian Braithwaite 
Miss Phyllis Broughton 
Arthur Bourchier 
Charles Cruikshanks 
Robert Courtneidge 

Dennis Eadie 
Miss Sydney Fairbrother 
Miss Vane Featherston 
Edmund Gwenn 
D. Lyn Harding 
Miss Constance Hyem 
Miss Marie Lohr 
Dawson Milward 

Harry Nicholls 
E. Lyall Swete 
Miss Hilda Trevelyan 
Miss Irene Vanburgh 
Miss May Warley 
Ben Webster 
Arthur Wontner 
Mrs. Fred Wright 

The aim of the Fund is to board, clothe, and educate destitute children oj 
actors and actresses, and to fit them for useful positions in after life. 
DEFINITION OF DESTITUTE CHILDREN. By destitute children is meant 

(a) A fatherless and motherless child. 

(b) A child, of whom one parent is dead, or incapacitated ; the other living, 
but unable to support it. 

. (c) A child whose father is permanently and entirely unable, by reason of 
mental or physical affliction, to contribute to the support of the child, the 
mother living but unable to support it. 

The Orphanage Homes are at 32 and 34, Morland Road, East Croydon. Matron 
Miss K. Eady, assisted by a Resident Master, Assistant Matron, and Household Staff. 

At the end of 1913 the Fund was supporting fifty children, nine of whom were 
admitted during 1913. 

The Annual General Meeting was held on May 23, at the Playhouse, with Sir 
Johnston Forbes Robertson (then Mr.) in the chair. The accounts showed that 431 was 
derived from subscriptions, 67 from collecting boxes, 111 from taxes on free admissions, 
and 1,412 from the Garden Party in 1912, while 1,790 was spent on the maintenance 
and education for 26 of the children. The balance of income over expenditure was 
1,937, while the assets stood at 19,571. The .speakers at this meeting included 
Mr. Sydney Valentine, Mr. Edmund Gwenn, Mr. Charles Cruikshanks, Mr. Gerald du 
Maurier, Mr. Huntley Wright, Miss Carlotta Addison, Miss Irene Vanbrugh, Mr. Cyril 
Maude, Mr. Robert Courtneidge, and Mr. Arthur Wontner. The Annual Garden Party 
in 1913 was held at the Chelsea Hospital on June 3, when the net profit came to 
more than 3,000. 


The Royal General Theatrical Fund, which has the King, the Queen, and Queen 
Alexandra as its patrons, was instituted January 22, 1839, and Incorporated by Royal 
Charter January 29, 1853. It is for the purpose of granting permanent annuities 
regulated by the rate of quarterly subscriptions paid by members in accordance with 
the published scale to actors and actresses, singers, dancers, acting mana.L. 
managers, treasurers, chorus singers, scenic artists, and prompters on attaining the age 
of sixty. Quarterly payments cease at sixty in the case of men, at fifty-five in 
the case of women. Any member who has regularly contributed to its funds by 
payment of quarterly subscriptions for the term of seven years, at any time afterwards, 
on becoming permanently incapacitated by accident or infirmity from exercising his or 
her duties, has a claim on the Fund as if he or she had attained the age of sixty years. 

On the death of any member the sum of ten pounds, if applied for, is allowed and 
paid out of the fund for funeral expenses, arrears of subscription, if any, being first 
deducted if the Directors think fit. President : Sir George Alexander, J.I'. ; Trustees : 
Mr. Alfred do Rothschild, C.V.O., Sir Squire Bancroft, and Sir George Alexander, 
J.P. ; Mr. M. R. Monuid, Chairman of the Association; Mr. Charles Rock, Honorary 


Treasurer ; Directors : Messrs. Lionel Carson, Lewis Casson, H. Cooper Cliffe, Charles 
K. Cooper, Tom Craven, Arthur Curtis, Henry Evill, Douglas Gordon, Edmund Gwenn, 
Hubert Harben, Herbert B. Hays, Ealph W. Hutton, H. B. Irving, Alfred Jenner, 
Herbert Lyndon, Frank Eidley, Lionel Rignold, Bassett Roe, F. Percival Stevens, 
Hubert Willis, and H. Saxe Wyiidham. Mr. Charles Cruikshanks, 55 & 56, Goachen 
Buildings, 12 & 13, Henrietta Street, Covent Garden, W.C. Office hours, Tuesdays and 
Fridays, 11 till 4. 

The Annual Dinner was held on Tuesday, May 20, at the Savoy, when the Bishop 
of London took the chair. The speakers included Bishop Boyd Carpenter, Sir George 
Alexander, Mr. A. E. W. Mason, Mr. Charles Bock, the Rev. H. C. de la Fontaine, 
and Sir John Hare. The subscription list came to over 700. During the year the 
Fund benefited considerably under the will of the late Mr. George Rignold, who 
left the residue of his estate, estimated to realise over 7,000, to the Fund. The 
Annual General Meeting was held at the St. James's on March 27, with Sir George 
Alexander in the chair. The accounts showed assets amounting to 51,309 16s. lOd. 


Founder, Mrs. C. L. Carson; President, Miss Fanny Brough ; Vice-Presidents, 
Mrs. Edward Compton, Miss Carlotta Addison, Miss Compton, and Miss Ma\ 
\Vhitty ; Members of the Executive Committee, Miss Lena Ashwell, Lady I'.nn 
Mrs. Alfred Bishop, Miss Phyllis Broughton, Miss Lilian Braith waits, Miss Ada 
I'.lanehe, Mrs. 'John Douglass, MKS Vane Featherston, Miss Helen Fenvix Mrs. 
Synge Ilutehinson, Mrs. Ernest, Ilendrie, Miss Sophie Harriss, Miss Clara Jerks. 
Miss Lindsay .lardine. Miss Kva Moore. M iss Wynne Matthison, Miss Alma Mu 
Mrs. Raleigh, Miss Louise Stopford, Miss Irene Vanbrugh, Mrs. Fred Wright, Miss 
Frances \\Vtheral!, and Miss May Warley. 

Every member to pay not less than Is. per year, and to contribute Is. or more 
towards buying material. The Guilds helps mothers (members of the theatrical 
profession) during the period of their maternity by a complete outfit for mother and 
child, in special cases doctors' fees being paid. The Guild also provides second band 
clothing for stage purposes and for private wear to the poorer members of the pr 
sion. Ladies not connected with, the theatrical profession can be elected as honorar\ 
members on payment of a donation not less than 2s. 6d. They can then attend the 
weekly Bee meetings, the annual general meeting, and all social furictions in COD 
tion with the Guild, but they have no voting powers. 

The Guild is allied to the Needle and Thimble Guild, Edinburgh, and the Stage 
ilcwork Guild, which annually contribute clothing and sums of mop 

I'.ee meetings every Friday, 3 p.m. to 5 p.m. 

Secretary, Miss Hammond. Oflic.cs : 3, liayley Street, Bloomsbury, London, W.C. 


The Stage Needlework Guild was founded in 1895 by Miss Louise Stopford as a 
branch of the Theatrical Ladies' Guild. Its object is to provide new clothing for the 
poorer members (men, women and children) of the theatrical profession and the working 
staffs of the London and Provincial theatres. The Stage Needlework Guild undertakes 
only the making and supplying the clothes; for purposes of distribution it hands the 
garments, after an exhibition usually held in December, over to the Theatrical Ladies' 
Guild. There is one president, Miss Louise Stopford. There are unlimited vice- 
presidents, the qualification for such a position being an undertaking to find at least 
five- associates. 

Rules. All members to contribute two new useful garments (at least) every year, 
and pay a subscription of 6d. (at least) to cover printing and postage expenses, or 
contribute 2s. 6d. (at least) in lieu of clothing. Men can become Associates by 
contributing 2s. 6d. (at least) per annum, which will be used in buying articles which 
women cannot make (such as blankets, etc.). 

Address, Miss Louise Stopford, 19, Belgrave Road, London, S.W. 


The initiation of Actors' Day took place on Thursday, October 18, 1906. 
The annual Collection falls on the third Thursday in October in each year. 
Conditions. All who contribute one night's salary, or fees, once a year are on the 
register. Actors, actresses, authors, managers, whether actor-manager, theatre 


touring manager, business or acting manager, or stage manager, arc eligible. 
Fund helps no one who is not on the register. All not playing on Aci 

hut who have, in previous years, when playing, contributed their night's salary, will 
11 mi tin' register, provided they notify the Committee of the fact. Those on the 
ter may apply for benefit. The Committee may authorise grants or loan 
contributors, in case of sickness or urgent need. 

Trust. v* : Mr. Robert Courtneidge, Miss A. E. Horniman, and Mr. Kdmmid (!v, 
The Advisory Board stands as follows : 

chairman, Mr. Henry Ainley. Deputy Chairman, Mr. Sydney Valentine. 
Mr. Story Gufton, Mr/E. M. Robson, Mr. C. Seymour, Mr. Norman V. Norman, 
Mr. Cecil Earth, Mr. C. Hayden Coffin, Mr. Laurence Irving, Mr. Walter Maxwell, 
Mr. H. A. S.iintsbury, Mr. Brandon Thomas, and Mr. Cyril Cattley. 

Secretary, Mr. Clarence Derwent, Dudley House, 37, Southampton Street, Strand, 
London, W.C. 


The object of the Actors' Church Union is to endeavour to make special provision to 
meet the spiritual needs of those members of the Church who are engaged in the 
dramatic profession. 

The chaplains (nominated by the President with the approval of the Bishop of the 
Diocese) endeavour to render any service in their power to the theatrical members of 
the Union, and are glad to be notified of any case of illness or other emergency which 
may need their help. 

The Actors' Church Union is in no sense a mission to the stage. It does not regard 
actors and actresses as in any way different from other people, nor as needing any 
" special treatment." It looks upon them simply as members of the Church who, on 
account of the constant travelling which their profession involves, are deprived of many 
of those spiritual advantages which are enjoyed by other Churchmen whose mode of 
life permits them to have a fixed place of residence and to attend some particular 

In London the Union in many instances, through its chaplains, has been able to 
co-operate with the Actors' Benevolent Fund, the Music Hall Ladies' Guild and other 
theatrical charities in looking after cases of distress. 

One special feature of the work of the A.G.U. is the lodging-house register, 
containing addresses in the various towiis recommended by the local chaplains. The 
register is published in the A.C.U. Directory, and is issued to all members. 

The Union also attempts to organise something in the way of entertainment and 
friendly social intercourse to alleviate the monotony of life on tour. 

Any member of the dramatic profession may become a member of the A.C.U. on 
payment of an annual subscription of one shilling, which is required to defray the 
printing and postage expenses connected with the Union. 

President, the Right Rev. the Lord Bishop of Winchester ; Vice-Presidents, Right 
Rev. the Lord Bishop of London, Right Rev. the Lord Bishop of Southwark, Right 
Rev. the Lord Bishop of Oxford, Right Rev. the Lord Bishop of Birmingham, Right 
Rev. the Lord Bishop of Bristol, Right Rev. the Lord Bishop of Lichfield, Right 
Rev. Bishop Boyd Carpenter, Right Rev. the Lord Bishop of Glasgow, Right Rev. 
the Lord Bishop of Argyll and the Isles, Right Rev. the Lord Bishop of Southampton, 
Right Rev. the Lord Bishop of Burnley, Rev. Prebendary Pennefather, Sir Charles 
Wyndham, Sir Herbert Tree, Mr. Arthur Bourchier, Mr. Edward Compton, Mr. Ben 
Greet, Mr. Martin Harvey, Mr. H. B. Irving, Mr. Charles Manners, Mr. Cyril 
Maude; Committee, Rev. J. Stephen Barrass (Chairman), Rev. Wm. Give, Rev. 
H. P. Davidson, Rev. Wynn Healey, Rev. A. D. V. Magee, Rev. A. M. Dale, Rev. 
W. E. Kingsbury, Rev. Thomas Varney, Mrs. H. R. Gamble, Mrs. Donald Hole, Miss 
C. Chambers, Miss E. G. Clarke, Mrs. Murray, Mr. G. Munro Miller, Miss Lilian 
Baylis, Miss Lilian Braithwaite, Miss Phyllis Broughton, Mr. Charles Coborn, Mrs. 
Carson, Mrs. Edward Compton, Miss Winifred Emery, Miss Harriet Greet, Mr. Charles 
1 lalhird, Mr. Fewlass Llewellyn, Mr. C. Douglas Stuart, Mr. Chris Walker, Mr. Duncan 
Young ; Hon. Treasurer, Mr. G. Munro Miller, Barton St. Mary, East driii-: 
Sussex; Hon. Lady Correspondent and Visitor, Miss Clarke, 30, Blomfield Road, 
Maida Vale, \V. ; Organising Secretary, Rev. Donald Hole, 14, Milton Road, 
Highgate, N. Tel. 839 Hornsey. 

The A.C.U. Annual Directory (price 7Jd. post free) can be obtained from the 



The objects of the Catholic Stage Guild, founded in 1911, are to help Catholic artists 
on tour and to place them in touch with the local Catliolic Clergy. The means by 
which these are accomplished are by distributing to the theatres cards giving the 
hours of Mass and name of priest ; forwarding names of members to the priests in 
the towns visited ; and furthering social intercourse among the members. Membership 
is open to artists or those engaged on the staff and the minimum subscription is Is. 
per annum for members and 2s. 6d. per annum for associates. The committee are : 
Mrs. F. R. Benson, Miss I'na Gilbert, Miss Ethel Rainforth, Miss Ellaline Terriss, 
Messrs. J. J. Bartlett, Charles Burden, Reginald Garland, Wai Kent, R. La Fane, 
Arthur G. Leigh. Arthur Linay, Hyland J. O'Shea, J. P, Turnbull, J. K. Yedrenne, 
J. Ansdell Wilson, J. K. Woods, Rt. Rev. Monsignor Brown, V.G., Rev. Roderick 
Grant. Mrs. Leslie Stuart, Miss Hdith Anton-Laing, Miss Bessie, Annyta.uv, Miss A. 
Gould, Miss I. Gould, Miss Ida Molesworth, Miss Mary Rorke, Miss Hilda Trevelyan, 
Miss Frances Vine, Messrs. Lilford Arthur, F. Owen Chambers, Reginald Garland, 
A. Houghton Goddard, Patrick Kirwan, James W. Mathews, Duncan McRae, Bernard 
Merefield, George Mo/art. Harry I'aulton; Secretary, Miss Ethel St. Barbe, 80, Walton 
Street, Knightsbridge ; Hon. Assistant Secretary, Mr. Richard B. Mason, 88, Walton 
Street. Knightsbridge ; Hon. Treasurer, Rev. L. N. Herlihy, Church House, Effingham, 

The Guild has the following Provincial Representatives: 

liirviiiiiiluini. -Miss Auriol F. Roberts, 431, Stratford Road; Dublin. Miss Mary 
Nairn, 13, Wotlaml Row ; Glctx<iir. Hugh Boyle, Roselea, 100, Dixon Avenue, 
Crossbill; Leeds. Rev. Thomas Kelly, S.J., Sacred Heart, Burley Road; Liverpool. 
J. Stephen*- Karnshaw, 25, Nicander Road, Sefton Park; Manchester. Rev. S. Gates, 
O.P., St. Sebastian's Priory, IVndleton. 


This League wa* founded by Miss Adeline Umirne, Miss Winifred Mayo, Miss Sime 
Scruya. and Miss Gertrude Elliott (now Lady Forbes-Robertson), in November, 1908. 
It now numbers 870 members. Lady Forbes- Robertson is the President of the League, 
and tile Yiee-Presidents are Mi*s Lena A*hwell, Miss Nina Boucicault, Miss Marie 
Brema, Miss Constance Collier, Mrs. 1'a^an, Miss Julie Opp Faversham, Mrs. Langtry, 
Miss Lillali McCarthy, Miss Deeinia Moore, Miss Eva Moore, Mrs. Mouillot, Miss 
Beatrice Korbes- Robertson. Mrs. Madeline Lucette Ryley, Miss Elizabeth Robins, 
Mrs. E. S. Willard, Mrs. Theodore Wright, and Madame Lydia Yavorska. 

The Executive Committee are. Mis* Ashwell. Miss Victoria Addison, Miss Inez 
Bensusaii, Miss Nina P.oueirault, Mrs. Carl Level, Mrs. Fagan, Miss Sidney Keith, 
Miss Winifred Mayo, Miss Edyth Olive, Miss Eva Moore, Miss Blanche Stanley, Mrs. 
M. L. Ryley. Mi*s .lanette. Steer. Mi*s Henrietta Watson, and Miss May Whitty. 

Among tin 1 distinguished members are. Miss Ellen Terry, Miss Compton, Miss 
Suzanne Sheldon, Miss Fanny Brough. Miss Evelyn D'Alroy, Miss Sarah Brooke, and 
many others. 

Hon. Secretary : Miss Nina Boucicault ; Hon. Treasurer: Mrs. Fagan; Organising 
Secretary: Miss Winifred Mayo; Organiser of the Play Department: Miss Inez 
Ik'nsusan ; Hon. Treasurer Play Department : Miss Victoria Addison. 

Pink and Green are the colours of the League. 

The A.F.L. organised a Petition to the House of Commons asking to be allowed to 
stand at the Bar of the House, the signatories of which petition represented over 
100,000 women. 

Many meetings have been held in large Halls and in private houses. A series of 
open air meetings were held in Hyde Park. Performances of propaganda plays were 
held all over the country and in London, and a week's season was given at the Coronet 
Theatre in December, when a translation by Mrs. Bernard Shaw of Brieux's " La Femme 
Seule " entitled " Woman on Her Own " was given, and also Bjornson's "A Gauntlet." 

The League held a mass meeting at Drury Lane on May 2. Among the speakers 
were Lady Willoughby de Broke, Miss Gertrude Elliott, Mrs. Arncliffe Sennett, Miss 
Compton, Miss Irene Vanbrugh, Miss Eva Moore, Madame Lydia Yavorska, Miss Lena 
Ashwell, and Miss Lind-af-Hageby. 

Office : 2, Robert Street, Strand, W.C. Tel. City 1214. 


This Fund was founded on the amount derived from the first Gala performance 
given in an English theatre (apart from those given at Covent Garden). The 


performance in 1911 at H in Majesty's in c,,nnectkm with the func' 

which in ( '"roiia.tion, and resulted in a profit of more than 4,000. In 

1913 a special performance of " London Assurance " was given at the St. James's, 
and this, with special donations, including 250 from t- Cassel, brought a 

profit of 1,093 11s. 6d. to the Fund. Mr. Arthur Bourchier is the honorary 


Lilian Adelaide Ncilson, who was born in 1850 and died in 1880 in Paris in 
Ijhe zenith of her fame, endowed a fund for charity amongst certain needy actors and 
The fund is admin 1st (.'red by the present trustees, Sir Squire Bancroft, Sir 
nd Mr. Arthur Bourchier, 



This Society was founded in 1899 and incorporated in 1904. Council of Manage- 
ment : Mr. L. E. Borman, Dr. Antonio Cippico, Sir Almeric Fitzroy, K.C.B., 
K.C.V.O., Mrs. Gordon-Stables, Mr. H. A. Hertz, Mr. E. J. Horniman, 'Mr. W. S. 
Kennedy (Hon. Treasurer). Mr. W. Lee Mathews, Mr. T. Sturg.? Moore, Professor 
Gilbert Murray, Sir Sydney Olivier, K.C.M.G., Miss Magdalen Ponsonby, Mr. G. 
Bernard Shaw, Mrs. Bernard Shaw, Mr. Charles Strachey, Mr. W. Hector Thomson, 
Mr. Frank Vernon, Mr. Charles E. Wheeler, Mr. Frederick Whelen, Mr. Norman 
Wilkinson, Mr. Allan Wade, Secretary. Address, 36, Southampton Street, Strand, W T .C. 
Telephone : Gerrard 6907. 

The year's productions of this Society were as follows : 

February 16, "The Brothers Kanuua/ov," drama in five acts, by Jacques Copeau 
and Jean Croue (from Dostoievski), Aldwych ; March 9, " Comtesse Mizzi," comedy in 
one act, and "The Green Cockatoo," grotesque in one act, by Arthur Schnit/ler. 
Aldwjch ; June 22, " Elizabeth Cooper," comedy in three acts, by George Moore, 
Ifaymarket; December 7, "Change," play in four acts, by J. 0. Francis, Haymarkct. 


This Society was founded in May, 1907, by members of the Actors' Association 
for the production of original works by English authors, Shakespearean plays and 
other classic works, translations of well-known foreign works, and to benefit the 
position of the working actor and actress. 

The membership consists of two degrees acting membership and ordinary 

iate. Only professional players who are members of the Actors' Association are 
admitted to the first, and from these the various plays presented and produced are 
cast. Associates' subscriptions are from 5s. (for gallery) to 2 2s. (stalls), according to 
the position and the number of seats desired by the members. 

During the year 1913 the Play Actors produced the following : 

February 16, "A Gauntlett," play in three acts, by Bjo: nstjerne Bjornson, trans- 
lated by R. Fanpiharson Sharp (afterwards presented by the Actresses' Franchise 
League during their Woman's Theatre week at the Coronet in December) ; March 16, 
'' Those Suburbans." a family comedy for young people, in three acts, by Cecil Clifton; 
May 19, " Pillar of the State," play, by Henry Arncliffe Sennett, "The Newly Married 
Couple," by Bjornson. translated by R. Farqiiliarson Sharp, " It's the Poor t hat- 
Helps the Poor," by Harold Chapin ; June 22. "My Lady's Garden," play in three 
arts, by Duncan McXab ; November 17, "A Man of Tdeas," comedy in three acts, by 
Miles Malleson, and " Venus on Earth," modern fantasy by Dorothy Brandon, all 
produced at the Court. 

Council, for the ninth season, consisted of Mr. Fcwlass Llewellyn (Chairman). Mr. 
H. K. AylilT, Miss Ine/ Bensusan, Mr. Herbert Bunstoii, Mr. Harold Chapin, Mr. YY. 
G. Fay, Mr. A. M. lleathcote, Mr. Ralph Hutton, Miss Agnes *lmla\ . Miss Mary 
Mackenzie. Miss Winifred Mayo, Mr. Reginald Rivington, Miss Blanche Stanley. M.-. 


Hugh Tabberer, Mr. Jackson Willcox ; Hon. Treasurer, Mr. A. M. Heathcote, The 
Malt House, Faringdon, Hants ; Secretary, Miss Ruth Parrott, Court Theatre, Sloane 
Square, S.W. 


The Society was founded in September, 1910. The object of the society : To 
introduce to the West End of London plays and players hitherto unknown in the 
metropolis. Performance in 1913 : 

May 30, " Blind Fate," play in three acts, by Christopher Landeman, Little. 

Director (during Miss Mara Maltby's absence abroad), H. F. Maltby, 32, Regent 
Street, W. 


This Society, founded October, 1911, produces plays at special matinee performances. 
The subscription is 3s. 6d., which admits to one performance. Full particulars may be 
obtained from Secretary, The Drama Society, International Club, 22A, Regent Street, 
S.W. Director, Mr. Rathmell Wilson. 

In 1913 the Society presented the following plays: "Catherine the Great," by R. 
Henderson Bland and A. E. Manning Foster (Cosmopolis, February 11); "The 
I'a-iM-r-by," an English version by Rathmell Wilson of " Le Passant, by Francois 
Coppee (Cosmopolis, May 26); "A Short Way with Authors," by Gilbert Cannan; 
"Open or Shut," an English version by Rathmell Wilson of " II font qu'une porte 
soit ouverte ou fermee," by Alfred de Musset ; " When We Dead Awaken," by Henrik 
Ibsen (translated into English by William Archer). 


l.'iit : 11.11. Princess Marie Louise of Schleswig-Holstein. Committee: The 
Karl am! < ' mntess Beauchamp, The Countess Grosvenor, The Earl of Plymouth, The 
Earl of Portsmouth, The Earl of Lytton, The Viscount Halifax, The Lady St. Helier, 
The Hon. Mrs. Reginald Fremantle, Sir Sidney Colvin, Sir Oliver Lodge, F.R.S., 
Sir Charles Stanford, Sir Herbert Tree, Sir Henry Wood, Miss Lena Ashwell, 
Mr. F. It. Benson, Mr. Acton Bond, Mr. Arthur Bourchier, Mrs. W. K. Clifford, 
The Rev. Percy Dearmer, Miss Hay Drummond, Mrs. Gamble, Mr. Frederick 
Harrison. Mr. and Mrs. Martin Harvey, Mr. Vivian H. King, Miss Gertrude Kingston, 
Mrs. Ronald McNeill, Mrs. Noble, Mr. William Poel, Mrs. Romanes, Mr. Athelstan 
Itiley, Mr. Cecil Sharp, Miss Ellen Terry, Miss Marion Terry, Mrs. Ernest Waggett. 
Hon. Treasurer I Mr. F. E. Blaiklock. Hon. Director of Plays : Mrs. Percy Dearmer, 
lion. Consulting Solicitor: Mr. Harvey Clifton. Hon. Secretary: Miss Maud 
ISartlett, 57, Fellows Road, London, N.W. Minimum Subscription, 2/6. 

The Morality Play Society was founded in June, 1911, to produce original Moralities. 
Mysteries, and Miracle plays, and other modern plays of an ideal nature. 


The Society is not now a society in the strict sense of the word, but is rather a 
voluntary association of those numbering well over 1,000 who are kept together by 
the interest and vitality of Mr. William Pool's works. Mr. Poel is the Director, and 
Mr. Allan Gomme the Hon. Secretary, 41, Upper Gloucester Place, Baker Street, W. 


This club was founded in November, 1909, by Miss Catherine Lewis to present 
the works of Henrik Ibsen. Directress, Miss Catherine Lewis; secretary, Miss C. A. 
Arfwedson ; studio and office, 65A, Long Acre, W.C. 

Since its inception the club has produced: "Ghosts," " Hedda Gabler," "The 
Master Builder," " Rosmersholm," "When We Dead Awaken," " A Doll's House," 
" The Wild Duck," "Peer Gynt " (first performance in England, February 26, 1911) ; 
" The Lady from the Sea," " Olaf Liliekraus " (performance of first English transla- 
tion, June 18, 1911); "Brand" (4th act), "Little Eyolf," "The Hero's Mound" 
(performance of first English translation, May 30, 1912), and "Mary Magdalene," by 


Mauriee. Maeterlinck (first performance in Kngland, March 17, 1912). A reading of 
"Tin: 1'ivtrtiders " and the following lectures have also been given: "I 
Lover." " Ibsen, the Man and Poet," " Ibsen and his Outlook upon Women," " I 

i'^iry Lore." During the year 1913 the club gavo performances, readings, and 
lectures as follows: January 19, "The Viking," a reading, the Ibson Studio; 
:i:iry 9, " Littlo Eyolf," the Ibsen Studio; February 23, "Mary Magdalene" 
(Maeterlinck), the Ibsen Studio; March 2, "The Boy Ibsen," lecture by C. A. 
Arfwi'dson, and " St. John's Night," reading (first English translation), the Ibsen 
Studio; March 9, "The Master Builder," the Ibsen Studio; March 30, " The Lady 
from the Sea," the Ibsen Studio; April 13, Scenes from "When We Dead Awaken," 
the Ibsen Studio ; April 27, "Peer Gynt," the Ibsen Studio. 


Among the plays given by the Pioneer Players during the year 1913 have been " A 
Matter of Money," drama in three acts, by Cicely Hamilton, Little, February 9; 
"Hamlet," on lines laid down by Louis Calvert in his book "An Actor's Hamlet," 
King's Hall, Covent Garden, March 9; "The Great Day," by Cecil Fisher, "The 
Month of Mary," by Salvatore Di Giacomo, translated by Constance Hatton, and 
" The Last Visit," by Hermann Sudermann, all three at the Little on May 18 ;" The 
Street " in three acts, by Antonia R. Williams, and " The King's Wooing," a fantasy, 
by Norreys ConneH, at the Little on November 30. Address, 139 Long Acre, W.C. 
Telephone, Regent 4086. 


This Society produced " The Link," Strindberg's play, translated by E. Bjorkman, 
at the Clavier Hall on January 26. 


Had no performances during 1913. The former Hon. Secretary informs us that the 
Now Players do not now exist. 


The object of the Women Writers' Suffrage League, which was founded in 1908 by 
Miss Cicely Hamilton and Miss Bessie Hatton, is to obtain the Parliamentary 
Franchise for women on the same terms as it is, or may be, granted to men. 

The qualification for membership is the publication or production of a book, article, 
story, poem, or play for which the author has received payment, and a subscription of 
2s. 6d., to be paid annually. 

President: Mrs. Flora Annie Steel. Vice-Presidents : Miss Cicely Hamilton, Miss 
Beatrice Harraden, Miss Bessie Hatton, Miss Evelyn Sharp, Dr. Margaret Todd, Mrs. 
Belloc Lowndes, Miss May Sinclair, Mrs. Margaret Woods, Mrs. Meynell. Mrs. F. A. 
Steel, Mrs. Zangwill, Mrs. Baillie Reynolds, Miss Symonds (George Paston). 
Committee: Mrs. Marion Holmes, Miss S. Bulan, Mrs. Madeleine Greenwood, Miss 
E. M. Symonds, Miss Josephine Knowles, and -Mrs. Sarah Tooley. Hon. Secretary : 
Mrs. Romannefames. Hon. Solicitor : Mr. Reginald C. Watson. Hon. Head 
Literature Department : Miss Compton Burnett. Hon. Treasurer : Mrs. H. W. 
Nevinson. Office : Goschen Buildings, 12 and 13, Henrietta Street, London, W.C. 
Telephone : Gerrard, 1495. 


The Stockport Garrick Society was founded in 1901, for the purpose of studying and 
giving performances in dramatic literature. Its headquarters are at Garrick Chami 
Wellington Street, Stockport. The officers are as follow : President, Alderman Albert 
Johnson, J.P. ; Honorary Members, Miss A. E. F. Horniman, M.A., William Archer, 
H. Granvillo Barker, and John Galsworthy ; Honorary Secretary, George Leigh Turner, 
174, Wellington Road South, Stockport; Honorary Treasurer, Arthur 11. (libbiuis, 
" Ruskin," Nursery Road, Heaton Moor; Executive Committee, Horace Abson, 
H. J. Bagley, Mrs. Burley Copley, Walter Chadwick, Miss Gaul, S. A. Jepson, Edward 
R. Lingard, T. G. Morris, A. Horace Page, R. J. Smith, A. W. Slater, Fred. W. Taylor, 
William Temple, Albert Walthew, T. Henley Walker ; Honorary Auditors, Joseph 
Aikin and Thomas Dutton. 

During the year 1913 the Society gave performances of: "The Secret Woman, ".by 
Eden Phillpotts ; " Jephthah's Daughter," a play in three acts and a prologue by 


X.Y.Z. ; "Civil War," by Ashley Dukes ; "The Pigeon," by John Galsworthy; "A 
Gauntlett," Farquharson Sharp's translation; "The Clodhopper," by S. M. Fox; 
and "In the Black Forest," by H. M. Richardson. Beginning on April 21, the 
Society gave a week of repertory at their headquarters. The following six plays were 
performed: "The Secret Woman," " Jephthah's Daughter," "The Waters of 
Bitterness," " The Pigeon," " The Drone," and " Civil War." 

Prospective performances in 1914 include those of ' Woman and Destiny," by Ross 
Hills, one of the members, in February ; and "Family Failing," by William Boyle. 
The Society will undertake another repertory week in March, consisting of the plays 
given during the season, and a revival or a new play, which at the time the YEAR 
BOOK went to Press had not been selected. 

Some efforts ara being made to begin branches of the Society in Altrincham and 
Bakewell. It may be decided, however, to organise them as separate societies, and to 
give them such guidance as they may desire. 


The Bury Stage Society has its officers as follow : President, Mr. B. Iden Payne ; 
Producer, Mr. F. Taylor (of Stockport Garrick Society); Hon. Secretary, Mr. T. L. 
Peers, 78, Heywood Street, Bury; Assistant Hon. Secretary, Mr. H. B. Hall, 12, Mon- 
mouth Street, Burnley; Hon. Treasurer, Mr. A. M. Pennington, 366, Limefield, Bury. 
H ;iil<|ii:irii r.. Textile Hall, Manchester Road, Bury. Objects: To stimulate an 
interest in modern dramatic literature by means of performances, lectures, readings, 
and discussions. Recent plays presented under the auspices of the society, or to be 
presented during the year 1914, include "Woman's Rights," "'Tilda's New Hat," 
" A Question of Property," "The Workhouse Ward," "A Doll's House," and " The 
Silver Box." 



The Garrick Club, Garrick Street, Covent Garden, was founded in 1831. Its objects 
are defined as follows : " The Garrick Club is instituted for the general patronage of 
the drama, for the purpose of combining a club, on economic principles, with the 
advantages of a Literary Society, for bringing together the supporters of the Drama, 
and for the foundation of a theatrical library with works on Costume." The club 
possesses a collection of more than 600 theatrical portraits and other pictures, and 
numerous theatrical relics, to which an addition was made recently in the legacy under 
the will of the late Mr. Augustus F. Montague Spalding, an old and prominent 
member of the club. Mr. Spaldiug left to the club some valuable oil paintings and 
souvenirs of Charles Mathews. These included "The Bath," by Etty ; "Listen 
Introducing the Young Mathews to the Public," once the property of Charles 
Mathews ; the oil painting by Mathews of his villa at Twickenham, painted by him for 
Mrs. Spalding in 1874; and a cigar case and blue ash tray used by the celebrated 
comedian for many years. Secretary, Mr. Charles J. Fitch. 


The Savage Club, 6 and 7, Adelphi Terrace, Strand, London, W.C., is for the 
association of gentlemen connected professionally with Literature, Art, Science, the 
Drama, or Music. Trustees, Mr. Conrad W. Cooke, Mr. A. Gordon Salamon, Sir 
William P. Treloar, Bart. Committee, Messrs. Oliver A. Fry, Fred Grundy, Bernard 
Hamilton, Joseph Harker, J. W. Ivimey, Yeend King, V. P.R.I., D. A. Louis, J. W. 
Mathews, H. G. Montgomery, MostynT. Pigott, Edward G. Salmon, J. Walter Smith, 
Hon Treasurer, Sir James D. Linton, P.R.I. ; Hon. Secretary, Mr. Reginald Geard ; 
Hon. Solicitor, Mr. R. H. Humphreys. Hon. Auditors and Scrutineers, Mr. Thomas 
Catling and Mr. Achille Bazire ; Hon. Librarian, Mr. C. J. Shedden Wilson. The 
annual dinner took place on December 6, at the Connaught Rooms, with the Lord 
Chief Justice in the chair. 


The Eccentric Club, 21, Shaftesbury Avenue, W., is constituted for the purpose of 
promoting social intercourse amongst gentlemen connected, directly or indirectly, with 


Art, Music, tin? I>nim:i. Sri, 'iice, Sport, and Commerce. Tl nt in 

ii(lli;un. tin! Hon. Secretary J. A. Harrison. The Committee are as 
,l:i jor 1 1 . Kiteman. Messrs. 1 1 . Montague Hates, \V. -I. \V . Heard, \V. Ili-llamy, 
r,i-ln>|i. Frank H . CaHingham, r.aniet Cohen, Bertie Crewe, Walter de I 

ills, 'I'ln >i 1 1:1-, l-'ra set, YV. K. I iaisl in, Frank ( 1 ]cni-4er. 1 1 . .1 . Homer, 
, \V. S. Hooper, Sydney Jousif'fe, Percy Leftwich, John Lc Hay, 
T. liichanls, YV. J. Dayer Smith, Ernest Stuart, A. J. Thomas, and R. L. Wurn-r. 
Telephone : 1723/1724 Regent, 


The Green I loom Club was founded in 1877 for the Association of gentlemen of the 
dramatic and artistic professions. The Committee are vested with power to elect 
others than those engage! in dramatic, literary, and artistic professions as members of 
the club. The larger proportion of the members are actors. The club for a number of 
was situated in Bedford Street, whence it moved to its present premises in 
Leicest3r Square in 1902. The late Duke of Beaufort was the first President of the 
club. Sir Squire Bancroft is the present President. The Green Room Club exchanges 
courtesies with the Savage Club, ea^h club finding accommodation for the members of 
the other when such occasions as redecorating and repainting temporarily deprive the 
members of the Green Room or of the Savage of their club premises. Snooker-pool 
and billiard matches between the two clubs are arranged annually, when silver 
challenge cups, presented one by each club, are competed for. Sir Herbert Tree some 
ago presented a challenge cup to the club for billiards, which is played for every 
year. Mr. Lewis Waller has presented one for golf, and Mr. Murray Marks one for 

The late Mr. George Detacher was for more than twenty years the Honorary 
tary of the club, and only retired when the club was enlarged and moved into its 
i premises. 

The Green Room Club includes amongst its treasured possessions valuable pieces of 
autographed plate, the gifts or legacies of various members and celebrities in the 
dramatic profession. Mr. Henry Neville, by whose death during 1910 the club lost 
one of its most popular members, left a small legacy to the club in order that it might 
purchase a memento of him in the shape of a silver tankard. The annual dinner was 
held on Sunday, December 14, at the Criterion, with Mr. Fred Terry in the chair. 
Secretary, Sir. d. Swann. Address, 46, Leicester Square. 


This club was formed at a meeting held on October 16, 1911, at the Rehearsal Theatre, 
when Mr. Harry Paulton was elected President, Mr. Harry Nicholls, Honorary 
Secretary, and Mr. Charles Cruikshanks, Honorary Treasurer. Membership is limited 
only to actors, that is to say those who at the time of joining are not managers, 
business or acting managers, musical directors, authors, critics, journalists, etc., and 
only those who have been in the profession for 21 years or more are eligible for 
membership. The club house is at the Adelphi Hotel, Strand. The Committee include : 
rs. Frank Alton, J. H. Barnes, J. H. Ryley, H. A. Saintsbury, Edward Sass, 
Arthur Williams, and, ex officio, the President, the Treasurer, and the Secretary. 


The Managers' Club is instituted for the purpose of bringing touring and resident 
manager.-,, theatrical proprietors, and all interested in theatrical enterprises and 
business into touch with each other. The club has 300 members, and the annual 
subscription is 2 2s., except in the case of members of the Touring Mana 

ieiation, Limited, who pay an annual subscription of 1 Is. in addition to their 
subscription to the Association. The Committee, which is elected annually, consists 
of twenty-one members. The present Committee is as follows : Chairman, Mr. A. 
Bertram; Hon. Treasurer, Mr. G. Carlton Wallace; Assistant Hon. Treasurer, Mr. 
Frank \Yeathersby; Auditors Messrs. Bryden, Fedden & Co. ; and Messrs. (Veil 
I '.a nli, A. II. r.etiwell, Harry Barf ord, Sydney Bransgrove, Oswald Cray, Went\vorth 
. F. Graham Falcon, William Gift'ard, J. H. Hart, Grahame Herington, W. YY. 
Kelly, J. Forbes Knowle.-,, (I. I',. Lambert, M. V. Leveaux, Jose G. iiuuel 

Livesey, Lauderdale Maitland, Krnest E. Norris, Leslie Owen, Alfred I'aumie: 

' I'i.iM. Berber! Ralland, H. YV. Rowland, W.Payne Seddon, Sir H. Beerbohm 
, John Tully ; Secretary, Mr. M. Martin ; Address, 5, Wardour Street, YV. Tel. 
Gerrard 8458. 



The Rehearsal Club (29, Leicester Square) was founded in 1892 with the view to 
furnishing a quiet retreat to which minor actresses might resort between the hours of 
rehearsals and matinees and the evening performance. 

The members' subscription is 2s. per quarter. The club is open from 11 a.m. to 
8 p.m., and contains comfortable reading, resting and refreshment rooms, the former 
well supplied with books, papers, and magazines. Anyone wishing to see the club will 
be gladly shown over by one of the committee or the matron. 

President, H.R.H. Princess Christian of Schleswig-Holstein ; Vice- President, the 
Lady Louisa Magenis. Committee : Chair, Lady Maud B. Wilbraham, Lady 
Alexander, Lady Bancroft, Mrs. Bayne Chapman, Mrs. Gilmour, Miss Alien 
Gladstone, Mrs. Max Hecht, Mrs. R. S. Henderson, Mrs. Kendal, Mrs. George 
Marjoribanks, Mrs. Cyril Maude, Mrs. Mayne, Mrs. Frank Pownell, Lady Tree, 
Eleonora Lady Trevelyan, Mrs. Philip Walker, Mrs. W. H. Wharton; Hon. Treasurer, 
Mrs. Mayne, 101, Queen's Gate, S.W. ; Hon. Secretary, Mrs. George Marjoribanks, 
22, Hans Road, S.W. ; Secretary, Miss Murray, 10, The Grange, Maitland Park Road, 


The Lyceum Club was started in 1904 for the purpose of affording a meeting ground 
for women of all professions. The interests of dramatists were, however, unrepresented 
until 1908, when the Authors' Board extended its protection to the dramatists, and a 
sub-committee was formed, which has included Mrs. Havelock Ellis, Miss M. Stanley 
('lurk, Miss Beatrice Harraden, Miss Bessie Hatton, Mrs. Teignmouth Shore (Priscilla 
Craven), and Miss Muriel Currey. At present it consists of : Miss M. Stanley Clark, 
Miss Bertha N. Graham, Miss Muriel Dawbarn, Miss Marjorie Hamilton, Miss Olive 
Lethbridge and Mrs. Turnbull (Eliot Page). 

The object of the dramatic sub-committee has been to afford dramatist members an , 
opportunity of producing their plays experimentally, and it has been already proved 
that the work is of real use. Two of the plays given at the club have this year reached 
the regular stage "The Rose with a Thorn" (Sheffield Repertory Season) and 
" Taffy's Wife," as curtain-raiser on tour. 

Owing to the success of the one-act play competition, for which over fifty plays were 
sent in, a long play competition has been inaugurated, for which twenty-nine entries 
have at the time of writing been received. It is hoped to give the winning play early in 
the New Year, after Mr. Frederic Harrison has passed final judgment on the I\ISS. 
On October 27 the dramatic sub-committee entertained Mr. Frederic Harrison in 
recognition of his kind promise of help in the competition. 

The chief event of the year was the production on March 10, 1913, at King's Hall, 
Covent Garden, of the prize plays in the one-act play competition, judged by Mr. 
Martin Harvey for the Costume Plays, of which the collaborating winners were Mrs. 
Teignmouth Shore (Priscilla Craven) and Sybil Ruskin, with "The Painted Nun," a 
story of the Revolution, and the late Miss Alice Ardagh, with her study of Scottish 
life, in " As the Law Stands," judged by Mr. H. Granville Barker to be the best 
modern play sent in. Miss Leah Bateman Hunter has secured the latter play for 
some special matinees which will take place in January, 1914. In addition to the 
prize plays two others were given "John Anderson's Chance," by Mrs. Steuart 
Erskine, and " The Dancer," by Mrs. Vigo. 

A reception to Miss Horniman and her company was given on May 27, and was 
largely attended. On November 4 two new plays were produced ' ' On the High Veldt, ' ' by 
Sybil Bristowe, and " The Blue Hat," by Bertha N.. Graham. 

On December 5 Mr. Clarence Derwent gave an address, followed by an informal 
debate, on " The Mirage of a National Theatre." At the close of the debate, in which 
Mr. S. R. Littlewood and Mr. William Poel took part, a resolution was passed in 
favour of the National Theatre. 

The plays are submitted under a pseudonym, and are judged by five readers : Miss 
Constance Beerbohm, Mrs. Matthew Arnold, Mrs. Vigo, Mrs. Mouillot, and Miss 
Lucy Dale. 

A professional play reader has also been retained by the Club, who will give advice 
on MSS. for a small fee. 

Address : 128, Piccadilly, London, W. Telephone, Gerrard 640. 



The Actors' Sword Club was founded by Mr. Gerald Ames in 1910. Membership 

is limited t<> artist-;, authors, singers, musicians, and anyone en^a^rd m (.In- alii. 
of the theatre. The yearly subscription is 5s. The club badge is a scarlet band worn on 
the left sleeve of the jacla-t. Kach member provides his own jacket, foils, etc. Members 
inert and feiK.v together on Tuesdays and Fridays at one or another of the following 
Salles d'Armes : Felix Bertrand, 10, Warwick Street, W. ; Felix Grave, 159, Brompton 
1; MI!, S.W. ; Fred MePherson, 3, Victoria Street, S.W. The president is Sir George 
Alexander ; the vice-presidents are Lord Howard de Waldeii, Mr. Norman Forbes, and 
Mr. Kgorton Castle. The Committee are Messrs. .). P. Blake, Justin Huntly 
McCarthy, E. Vivian Reynolds, Jerrold Robertshaw, Athol Stewart, and Lyonel 
Watts. Honorary Secretary, Mr. Gerald Ames, 48, Greycoat Gardens, S.W. 


The Actresses' Foil Club is the ladies' branch of the Actors' Sword Club, and is 
formed on similar lines to that Club. The president is Miss Irene Vanbrugh. The 
Committee are : Miss Esme Beringer, Miss Gracie Leigh, Miss Alexandra Carlisle, 
Miss Mary Mackenzie. Hon. Secretary, Miss Ruth Maitland, 32, Basil Street, 
Knightsbridge, W.C. A six-monthly subscription of 5s. entitles members to meet and 
fence together at three London Salles d'Armes. 



This club was founded in 1884 to encourage social intercourse amongst those 
interested in the Drama, and to afford facilities for the discussion of all matters 
connected with the theatre. Debates on new plays are a feature in the club, and in 
addition, lectures, concerts, dinners, dances, etc., are held to which members have 
the privilege of inviting guests. There are a golfing society and a Masonic Lodge 
and Chapter in connection with the club, and it exchanges courtesies with the 
Manchester Playgoers' Club and other provincial clubs. 

Commodious new premises above the Leicester Square Tube Station in Gran- 
bourn Street and Charing Cross Road have recently been acquired, where ample 
accommodation is provided for the large and increasing membership. Annual sub- 
scription, 3 3s.; entrance fee, 2 2s., in addition to which every member must on 
election take up one 10s. (fully paid) share in the Playgoers' Club, Limited. 

Officers and Committee : President, Mr. E. Marshall Hall, K.C., M.P., ; vice- 
president, Mr. F. G. E. Jones ; trustee, Mr. Louis E. Harfeld ; treasurer, Mr. Will 
Sparks; committee, Messrs. E. J. Bevan, H. Passmore Edwards, Osman Edwards, 
A. M. Latham, Arthur F. Spencer, E. A. Whitehouse, W. H. Watts, W. Stickland ; 
hon. secretaries, Messrs. James Sharpe and Chas. E. B. Kibblewhite ; hon. architect, 
Mr. H. E. Pollard. 

Excellent work is done by the Playgoers' Club in connection with its Christmas 
Pantomime Fund. Thousands of children who possibly otherwise would have little 
chance of witnessing one of the hardy annuals are annually taken to pantomimes, and 
if any endorsement were wanted as to this work of the Club being good work, it would 
be found in the enthusiasm and happiness displayed by the favoured youngsters on 
these occasions. 


The O.P. Club was founded and opened in the year 1900 by a body of play- 
goers interested in the pursuit and progress of the drama, and desirous of estab- 
lishing an institution which would foster and conserve the love of playgoing in a 
broad and catholic spirit. Its headquarters are at the Adelphi Hotel, Adelphi. 
Permanent features of the Club are two annual dinners, to which leading acton 
and actresses are invited. During 1912 a ladies' dinner was given on March 24, at the 
Criterion Restaurant, with Mr. J. M. Gatti (Mayor of Westminster) in the chair ; and 
a dinner was given at the Hotel Cecil to Miss Neilson Terry, M-iy 19, Sir Herbert 
Beerbohm Tree in the chair. Most of the " Terry " family were present. 

President, Lord Howard de Walden ; Vice-President, Mr. Percy Barringer ; T 
Mr. Carl Hentschel ; Hon. Treasurer, Mr. A. E. Elkan ; Hon. Seer. tarn-. Mr. J. 
Davis Smith and Mr. Ernest H. Miers. 


On October 20 a "Milestones" Dinner was given at the Hotel Cecil. The three 
toasts " 1860," " 1885 " and " 1912," the three periods in the play, were responded to 
respectively 1860, Miss Genevieve Ward, Miss Bateman and Mr. Jas. Fernandez ; 
1885, Sir Squire Bancroft ; and 1912, Miss Gladys Cooper and Mr. Dennis Eadie. 


The headquarters of the Gallery First Nighters' Club are at the Bedford Head 
Hotel, Maiden Lane, Strand, W.C. Subscription, 10s. 6d. per annum. President, 
Mr. H. S. Doswell ; Vice-President, Mr. F. Page ; Hon. Treasurer, Mr. G. F. Wright ; 
Hon. Secretary, Mr. John Page. Committee : Messrs. L. Arnold, J. Campbell, 
H. Cohen, A. T. Ellis, J. Kenny, R. Levy, J. L. O'Riordan, and W. 0. Summers. 
Hon. Auditor, Mr. F. H. Long. 

The Club was founded in 1896, "to maintain the right of playgoers to give free 
and independent criticism in the theatre, and to afford facilities for social intercourse 
among gallery first nighters." Genuine gallery playgoers alone are eligible for 
membership. The club holds frequent debates on subjects connected with the Drama. 
Other functions include the annual dinner, held at Frascati's in February, Bohemian 
suppers, concerts, etc. Ladies are invited to the annual dinner and the debates. 

At the Seventeenth Annual Dinner, to be held at Frascati's on Sunday, February 22, 
the principal guests will be Miss Wish Wynne and Mr. Arthur Whitby. 


The Bristol Playgoers' Club was founded on November 8, 1911, and has now a 
membership over 460. The subscription is 10s. per annum and there is no entrance 
fee. The Club nights are Thursdays, and the meetings are held at the Eoyal Hotel, 
College Green, at 8.30 p.m. Committee : President and Chairman, Dr. Barclay 
Baron ; Vice-Chairman, Mr. Richard Castle ; Hon. Treasurer, Mr. F. B. Stead; Joint 
Hon. Secretaries, Mr. J. F. Holloway, Cairns Villa, Sneyd Park, and Mr. J. C. Wing, 
37, Whitoladios Road, Clifton ; Mrs. Barclay Baron, Mrs. Ostlere, Mrs. Fleetwood 
Webb. Miss Alexander, Mr. Or. K. Archbold, Mr. G. W. Boyd, Dr. Green, Mr. C. H. 
King, Mr. H. N. Matthews, and Mr. W. J. Robinson. 

The Club has organised a play competition for one act plays, which must be written 
by members of the Club, and submitted before February 1, 1914. The Committee 
reserve the first option of producing the winning play. 


The Leeds Playgoers' Society was founded in April, 1907, for the " furtherance of 
operatic and dramatic art." The objects of the Society are : (a) the announcement of 
engagements ; (b) the arrangement of special performances ; (c) lectures ; and (d) co- 
operation with similar societies. The headquarters are at the Leeds Art Club, 8, 
Blenheim Terrace, Leeds. The Theatre Night is Monday, and the Meeting Night 
the first Thursday in the month. 

The President is Prof. Sadler, M.A. (Vice-Chancellor of Leeds University). The 
Hon. Treasurer is Mr. T. A. Lamb, 9, Newport Mount, Headingley, Leeds, and the 
joint Hon. Secretaries are Messrs. W. P. Irving (Arts Club, 8, Blenheim Terrace) and 
F. G. Jackson (8, Park Lane). The Committee are : Prof. Cohen, Messrs. J. B. 
Crossley, F. R. Dale, C. M. Dawson, H. Hildesheim, L. Marcan, Miss M. Taylor, 
Mrs. Albert Dawson and Miss Josephy, 

The Society does not produce plays on its own account, but frequently arranges for 
special performances of plays which would not otherwise be seen in Leeds. The 
Society had a very large share in the work of the Committee which arranged an 
experimental Repertory Season in Leeds in 1913, and its members formed the bulk of the 
subscribers to the guarantee fund. 

Among those who have delivered lectures before the Society are Mr. Holbrook 
Jackson, Mr. G. K. Chesterton, Mr. E. T. Heys, Mr. Edward Compton, Mr. James 
Welch, Mr. B. Iden Payne, Mr. Ashley Dukes, Mr. Laurence Irving, Mr. Wm. Archer, 
Mr. W. B. Yeats, Mr. Hilaire Belloc, Mr. Basil Dean, Mr. Lennox Robinson, 
Miss Ellen Terry, Mr. C. E. Montague, and Mr. Henry Arthur Jones. 


The Sheffield Playgoers' Society was founded in March, 1910, for the purpose of 
awakening and encouraging an interest in the drama and kindred arts. Amongst 
others the following have lectured to the Society : Mr. B. Iden Payne, Miss Cicely 


Hamilton, Mr. (1. K. Chesterton, Mis-; \. K. I'. llonumaii, Mr. H. Cranvilln !;.- 
Mr. J. Galsworthy Mr. Hilaire Hclloc, Mr. ,1. T. Grcin, and Mr. II. A. Jones. 

At the request of the Society Mr. B. Iden Payne and <-\n\< orm- 

ances of " Man and Superman," " Nan " and " Cupid and Comn- in March, 

1912. During the week beginning October 7, 1912, Mr. I'aync and comp 
plays entireh new to Sheffield, three of which "The Seril F. .1 . AdkiiiK, 

neat," by Alan Moukhouse, and " Emancipation," \,\ Leonard Inkstcr were 
produced for the first time on any stage. During November vore made 

with the I Jessie Comedy Company to give special performances of " Billy's Little Love 
Affair," by 11. V. Esmond, "The Dear Departed," by Stanley I lough ton, "The Liar," 
by S. Footo, " 4 A.M.," by Harry Paulton (for the first time on any stage) and " The 
Rehearsal," by George Villiers, Duke of Buckingham. 

In February, 1913, a month's Repertory Season was held under the auspices of the 

Society. The programme included "Chains," "The Return of the Prodigal," 

" Admiral Guinea," " Cupid and the Styx," " The Importance of being Earnest," and 

il one-act plays. The Season, artistically , was a great success, but it resulted in a 

financial loss. 

At a special meeting held in May the subscription to the Society was increased from 
2/6 to 5/-. This has resulted in a considerable falling off of members, the number to 
date being 225. 

Meetings are usually held at the Grand Hotel at irregular intervals. An interesting 
experiment during the present session is a play-competition for members. The 
following are the officers : Vice-President, Mr. H. A. L. Fisher, Vice- Chancellor of 
Sheffield University ; Hon. Treasurer, Mr. F. Bowman; Hon. Assistant Secretaries, 
Miss G. Davidson, and Miss C. Radford ; Chairman of Committee, Mr.' F. J. Adkins ; 
Committee, Mrs. T. P. Lockwood, Miss A. E. Escotfc, Miss F. Corbett, Mis.-, L. 
Hawson, Mrs. Hutton, Mrs. R. Wood, Messrs. W. S. Jackson, H. L. Cooper, J. B. 
Simpson, J. A. Clarke, E. E. Lewis, G. H. Simpson, E. H. Newman, and H. I',. 
Gallimore. Hon. Secretary, Mr. R. D. Bennett, 3, Mackenzie Crescent, Broomhall 
Park, Sheffield. 


The Bradford Playgoers' Society was founded in May, 1912, the first public meeting 
being held on Thursday, May 16, under the Chairmanship of Dr. Warchauer. The 
Inaugural meeting was held on Thursday, October 3, 1912, when Miss A. K. I'. 
Horniman delivered a characteristic and inspiring address. At that time the 
membership numbered about 350, but at the end of the inaugural session there v. 
membership of over 700, this result of a first year's working constituting a record in 
membership for any playgoers' club or society in the country. 

The following is the list of Committee and Officers : 

President : The Lord Mayor (Aid. John Arnold) ; Vice-Presidents : Mrs. Alfred 
Illingworth,' Sir Geo. Scott Robertson, Mr. A. M. Drysdale ; Chairman : Mr. R. 
Lishman ; General Committee : Mr. H. McGee, Mr. B. Riley, Dr. R. Pohl, Mr. A. L. 
Auty, Mr. A. C. Wilkinson, Mr. W. Greenwood, Mr. J. R. Symons, Mr. D. L. Lip 
Mr. J. Fotheringham, Mr. Tom Turner, Mr. J. Dexter, Dr. Warschauer. Mr. R. 
Lishman, Mr. R. J. Foster, Miss Naylor, Miss Logan, Mrs. Newboult, Miss I'attinson. 
Miss R. Woolfe, Miss Nalton, Mrs. Holtom, Miss Jetley ; Hon. Secretary : Mr. < 
Hoi torn, Victoria Cottage, Lindley, Huddersfield. 

The objects of the Society are the furtherance of operatic and dramatic art, and the 
work is intended to include 

(a) The early notification of theatre engagements by special arrangements witli 

theatre and company managers. 

(b) The delivery of lectures by eminent authors, critics, and exponents on the 

subjects of opera and drama. 

(c) The arrangement of special performances by desire of the Soci. 

The Society endeavours by means of lectures and readings to arouse interest in all 
forms of intelligent drama. Readings of plays are held every week and have proved 
most successful, being attended by over 100 members on each occasion, 
i The Society does not aim so much at arranging for special visits or performanc. 
at inducing the local management to arrange for visits from the best and most forward 
companies on the road. fiEverything possible is then done to make the visit a financially 
successful one. In this connection the Society posts to all its members copies of 
small printed matter on behalf of the companies they are supporting, holds lectures 


readings and discussions on the plays in question, arranges lectures, if possible, by 
members of the visiting company and generally by these and other means endeavours 
to arouse interest in the performances. 

A number of well-known local lecturers have placed their services at the disposal of 
the Society, and other societies or groups of people can, upon application, be provided 
with a lecturer upon the subjects of the Drama and the theatre. A large number of 
lectures have been arranged throughout the city under this scheme. 

This Society has been the first in the country to induce the Education Authority to 
arrange for series of lectures on plays to be given. 

A journal, " Plays and Playgoers" is published monthly, and posted to members 
free of charge. This contains articles by well-known people relative to the objects of 
the Society, it also gives a list of coining and a resume of past events, and has many 
other interesting features. 


President, Mr. J. T. Grein ; Hon. Treasurer, Mr. F. G. Jackson ; Hon. Secretary, 
Mr. R. D. Bennett. The Federation is composed of the following Societies : The 
Playgoers' Club, London; Bristol Playgoers' Club, Oxford Drama Society, Birmingham 
Drama Society, Sheffield Playgoers Society, Huddersfield Playgoers' Society, Leeds 
Playgoers' Society, Manchester Playgoers' Club, Liverpool Playgoers' Society, and the 
Worcestershire Playgoers' Association. The Second Annual Conference was held at the 
Playgoers' Club on April 12, 1913. 



During the year 1913 Miss A. E. F. Horniman, in addition to the work done by 
her company at the Gaiety, Manchester, sent out a company in the early Spring to 
Canada and America. Montreal, Ottawa, Chicago, Boston, and Springfield were 
visited, and the following plays presented, viz.: "The School for Scandal," "The 
Rivals." "She Stoops to Conquer," "Nan," "What the Public Wants," "The 
Silver Box," " Candida," " Miles Dixon," and " Makeshifts." A three weeks' season 
was also given at the Court, London, commencing May 12. The plays presented 
were: "The Pigeon," "JaneClegg," " The Whispering Well," "Nan," "Prunella," 
and " Elaine." In the Autumn, Miss Horniman sent out a tour of " Hindle Wakes," 
visiting Nottingham, Liverpool, Leeds, Newcastle, Glasgow, Edinburgh, Birmingham, 
and finishing at the Court, London, with a month's season, followed immediately by a 
fortnight of " The Shadow," and a fortnight of "Jane Clegg." 

Other towns visited by Miss Horniman's company during the year are Cambridge, 
Oxford, Harrogate, Liverpool, Brighton, Swansea, Bury, and a fortnight's season at 
Bristol, when " Hindle Wakes," " The Silver Box," " The Shadow," and "Candida " 
were presented. 

The plays staged at the Gaiety, Manchester, during the year 1913, and for which Miss 
Horniman's company were responsible, are as follows : "The Rivals," "Wonderful 
Grandmama," " Nan," " Candida," " The New Sin," " Miss Tassey," " The Return 
of the Prodigal," "Old Heidelberg," " The Whispering Well," " Lydia's Sacrifice," 
"The Marriage of Columbine," "The Little Stone House," "Jane Clegg," "Mr. 
Perkin's Pension," "Prunella," " The Dream Child," " Mary Broome," " Winds o' 
the Moor," "Hindle Wakes," "A Family Affair," "The Apostle," "More 
Respectable," "The Price of Thomas Scott," "Account Rendered," "Hiatus," 
"The Silver Box." "Nothing Like Leather," "<Fhe Shadow," "Julius Caesar," 
"What the Public Wants," " The Way the Money Goes," "The Pie in the Oven," 
and " Columbine." 

Other companies have staged the following: "Westward Ho" (Matheson Lang), 
" Hannele " (Liverpool Repertory Company), " The Turning Point " (Alban 
Limpus and Cecile Barclay's company), " The Eldest Son " (Liverpool Repertory 
Company), "The Fugitive" (Algernon Greig and Milton Rosmer's company), "The 
Honeymoon" (Elsie Vron Neville), aud "The Gay Lord Quex " (Charles Stretton). 

During the month of August Messrs. H. Theodore and B. Iden Payne had a season 
at the Gaiety and presented "A Pair of Spectacles" and "The Lost Silk Hat," 
"Other People's Babies " and "The Moor Gate," " The Last of the De Mullins " and 

/'/// YEAR BOOK. 133 

"The Death if Chopin," " The Eldor I'.n it In r " and " The Admirable Bashville." 
i ho Christmas season "Miss I loriiiman'n company played "The School for 
Scandal", .ind Mr. Algernon < Iroig presented " Kifinella." 

Mr. Louis Casson, who for moro than two years was director of the Gaiety, 
relinquished his position in December, being succeeded by Mr. Douglas Gordon. 


The following plays were given at the Liverpool Repertory Theatre during 
the secnm! srason 1912-1913 :- " The Importance of Being Earnest," by Oscar 
Wilde, " The Doll's House," by Henrik Ibsen, " Lonesome Like," by Harold Brighouse, 
" The Mollusc," by Hubert Henry Davies, " Iris," by Sir Arthur Pinero, " Instinct," 
by Henry Kisternaeckers, "Press Cuttings," by Bernard Shaw, "A Florentine 
Tragedy," by Oscar Wilde, "The Pigeon," by John Galsworthy, "The Education 
of Mr. Surrage," by Allan Monkhouso, " Lonely Lives," by Gerhardt Hauptmann, 
"The Voysey Inheritance," b\ Granville Barker, "What the Public Wants," by 
Arnold Bennett, "Fifinella," by Barry Jackson and Basil Dean, "The Right to 
Die," by Kathleen M. Lion, "Admiral Guinea," W. E. Henley and Robert Louis 
Stephenson, "Strife," by John Galsworthy, "The Charity that Began at Home," 
by St. John Hankin, "The Adder," by Lascelles Abercrombie, "Miles Dixon," by 
Gilbert Cannon, " Ser Taldo's Bride," by Barry Jackson and John Drinkwater, 
"Hannele," by Gerhardt Hauptmann, "The Perplexed Husband," by Alfred Sutro, 
" The Conynghams," by George Paston, " Candida." by Bernard Shaw, " The Shadow 
of the Glen," by J. M. Synge, "His Excellency- the Governor," by Captain Robert 
Marshall, " The Man from Blankleys," by Prank Anstey, " Caste," by Tom Robertson. 

The plays of the third season, 1913-14 given and promised include "Lady 
Patricia," by Rudolf Besier, "The Eldest Son," by John Galsworthy, "Arms and 
the Man," by Bernard Shaw, " An Enemy of the People," by Henrik Ibsen, " A Pair 
of Spectacles," by Sydney Grundy, "Playgoers," by Sir Arthur Pinero, "Masks and 
Faces," by Charles Reade and Tom Taylor, "Barbara Grows Up," by George J. 
Hamlon, "The Second Mrs. Banks," by F. H. Rose, "The Mother." by Eden 
Phillpotts, "Jim the Penman," by Sir Charles Young, "The Cage," by Ronald 
Jeans, "A Roman Holiday," by Lawrence Hanray, "The Game," by Harold 

Managing Director, Mr. Godfrey Edwards ; Business Manager, Mr. T. J. Pigott ; 
Stage Manager, Mr. Arthur K. Phillips. 


Repertory in Glasgow, except for a short season provided by Mr. Alfred Wareing, has 
practically been moribund during 1913. The Scottish Playgoers, Limited, the company 
who ran the Repertory Theatre, were faced with a loss at their meeting on June 10 of 
125 16s. 3d. The directors, at an Extraordinary General Meeting held in the preceding 
March, had been authorised to arrange a season for the autumn, but no theatre was 
available. So the contribution of the Scottish Playgoers, Limited, a body once in the 
foreground of Repertory work, resolved itself into a series of one act plays given ai a 
turn at the Alhambra Music Hall, Glasgow, during the three weeks in November of 
1913. The Playgoers, however, have made arrangements to reopen the Royalty. 
Glasgow, for a spring season in January, 1914, and have engaged Mr. Lewis ('. 
from the Gaiety, Manchester, to be their producer. Directors, Messrs. F. L. Morrison, 
T. Lawrence Jowitt, Neil Munro, D. Dehane Napier, J. R. Richmond, E. J. Thompson, 
and J. Brownlee Young ; Secretary, Mr. James Winning, 93, West George Street, 


Founded in 1898. Its aim was to produce ' ' plays that are literature." In the begin- 
ning English actors were brought over to play in the pieces, and at the first production 
of Mr. W. B. Yeats's " Countess Cathleen " Miss May Whitty, Miss Florence Farr, and 
Mr. Trevor Lowe were in the cast, with Miss Farr as General Manager and Mr. Ben 
Webster as Stage Manager. In 1901 performances were given by Mr. W. G. Fay's 
company of Irish amateurs, calling themselves the Irish National Dramatic Company, 
and afterwards the Irish National Theatre Society. 


Miss Horniman acquired the lease of the Abbey Theatre, rebuilt the house, and gave 
the Irish National Theatre Society its free use. From 1904 to 1910 Miss Horniman 
in addition gave the society an annual subsidy. 

For seven months of the year the Abbey Theatre Company will be found at the 
Abbey Theatre, Dublin, and another three months are generally spent in visits to 
towns in Ireland and England. In 1911-12 a tour was made in the United States of 
America. In 1912 a Second Company were formed, who perform at the Abbey Theatre 
when the first company are away. There is also a School of Acting in connection with 
the theatre. 

There are about fifty plays in the active repertory of the company. The following 
plays were produced during 1913 : 

Jan. 23, " The Dean of St. Patrick's," G. Sydney Paternoster; February 6, " The 
Casting Out of Martin Whelan" (Revival), R. J. Ray; February 20, " Hannele," 
Gerhard t Hauptmann ; March 6, " There are Crimes and Crimes," August Strindbcrg ; 
March 13, "The Cuckoo's Nest," John Guinan ; April 10, "The Homecoming, 1 ' 
Gertrude Robins; April 17, " The Stronger," August Strindberg ; April 24, "Broken 
Faith," Misses S. R. Day and G. D. Cummins ; April 24, " The Magic Glasses," George 
Fitzmaurice ; May 17, "The Post Office," Rabindranath Tagore ; June 30, "The 
Gombeen Man," R. J. Ray; September 11, "Sovereign Love," T. C. Mu ray ; 
October 2, " The Mine Land," Joseph Connolly ; October 16, " My Lord." Mrs. Bart 
Kennedy ; October 30, " The King's Threshold " (Revival), W. B. Yeats ; November 20, 
" The Critics," St. John G. Ervine. 

Directors : Mr. W. B. Yeats and. Lady Gregory ; Manager : Mr. Lennox Robinson ; 
Business Manager : Mr. A. Patrick Wilson. 


The Birmingham Repertory Theatre was opened on February 13, 1913, with a 
performance of "Twelfth Night." Among the plays presented since then are: 
"Countess Cathleen," by W. B. Yeats; "The Fantasticks," by Kostand ; "The 
Da^th of Tinitagiles, " by Maeterlinck; " Nan," by John Masefield; "The Pigeon," 
"The Silver Box," and "Joy," by John Galsworthy; "You .Never Ca.n Tell," 
"Candida," and "Press Cuttings,' by G. Bernard Shaw; "The Importance erf 
Being Earnest," by Oscar Wilde; "The Cassilis Engagement," "The Return of 
the Prodigal," and "The Constant Lover," by St. John Hankm ; "The Enemy 
of the PeopJe," by Ibsen; "Admiral Guinea," by Stevenson and Henley-, "The 
Voysey Inheritance," by Granville Barker; "The White Cockade," by Lady 
Gregory ; "The Crifdc," by Sheridan; "The River," by Christopher Sandemann ; 
" Re Pilgridge," by W. B. Chatwin; " Augustus in Search of a Father," by Harold 
Chapin; " Their Point of View," by Wilfred Coleby ; "The Merry Wives of Wind- 
sor," "King John," "King Henry IV.," "The Merchant of Venice," a portion 
of "Richard III.," "As You Like It," "Everyman," "The Interlude of iouth," 
and three Nativity plays from the Chester Mysteries. 


This society, a sort of local Stage Society, with its members playing most of the 
part* in the pieces represented, gave its first performance on Saturday, November 
29, when were presented G. Bernard Shaw's " The Dark Lady of the Sonnets," 
" The Unseen Helmsman," by Laurence Alma-Tadema, and " The Maharani of 
Arakan," adapted by George Calderon from a story by Rabindra Nath Tagore. 
The society consists of about 200 members, at an annual subscription of 10s. each. 
The term Repertory Theatre as applied to the intermittent amateur performances 
given by the society limited to a minimum of three each season is perhaps too 
definite and conclusive, but the movement has in a distant way its relation to 
the Eepertory Theatre. 


Formed for the purpose of presenting plays of literary and dramatic merit. The 
promoters consist of a director and an advisory board. The fellowship, which has been 
formed on the basis of a nominal annual minimum subscription of Is. per member, 
exceeds 1,000. Four performances of Ibsen's, " The Pillars of Society," were given in 
November, and the plans for 1914 include: a triple bill in January and February 
comprising four performances of "Augustus in Search of a Father," by Harold Chapin; 


Williams; I Imi. Sec ivtary and Treasurer, Mr. 1 'lorian Williams, 26, Temple l-'-irtmic 
N.W. : Advi-.-ry Hoard, Mr. J. Scott Caldur, Mr. Darn II l-'iggis, 
Mak, .In, Knee, Mr. Malcolm Knee, Mr. II. W.O'K . rt liur ( tppenlu 

Mr. Florian William-, Mr. W. E.Williams, and Mr. Frank Ycrbury. 



Founded February 18, 1906. Registered under the Trades Union Acts, 1871 and 
1876. Offices, 18, Charing Cross Road London, W.C. Telephone, Gerrard 6950. 
Affiliated to the White Rats Actors' Union of America, the International Artists' 
Lodge nf (lei-many, L'Union Syndicate des Artistes Lyriques of France, the 
Australian Vaudeville Artists' Association, and the Trades Union Congress. Officers: 
Chairman, Mr. W. II. Clemart ; Secretary, Mr. Fred Herbert ; Trustees. Messrs. Joo 
Klvin. I'aul Martinctti, and Edmund Edmunds; Treasurer, Mr. G. H. Chirgwin ; 
Accountant, Mr. W. H. McCarthy. Executive Committee meetings are held every 
Thursday at the offices at 12 noon. 

The Federation aims at the abolition of all abuses detrimental to the interests 

and welfare of the music hall profession. It provides its members with financial 

aii'.-t: as regards railroad fares in the United Kingdom, free legal advice, and free 

protection. There is also a death levy of 6d. per head per member in full benefit. 

Entrance fee, 21s. Weekly subscription, 6d.. 

The Executive are as follows : Jas*. Alexandre, Martin Adcson, W. H. Atlas, F. V,. 
(Lieut.) Albini, Barney Armstrong, Charles Austin, Joe Archer, Signer Borelli, 
Sid Bandon, Bert Byrne, Harry Barrett, J. R. Barnard, F. J. Barnard, Edwin 
Barwick, Gco. Brooks, Burnetti, Andie Caine, J. W. Cragg, G. H. Chirgwin, Lioni 
Clarke, Fred L'urran, Chas. Coborn, Harry Conlin, Morny Cash, W. J. Churchill, 
T. C. Callaghan, Whit Cunliffe, Dave Carter, Syd Crossley, Tom E. Conover, Harry 
Claff, Geo. D'Albert, Herbert Darnley, Harry Delevine, Sam Deleviue, Percy 
Delevine, Sid Doody, Robert Dunning, William Downes, J. J. Dallas, Johnny 
Dwyor. Marriott Edgar, Seth Egbert, Harry Falls, W. F. Frame, James "Foreman 
A. L. Godfrey, Eorace (ioldin, Arthur Gallimore, W. E. Gillin, Fred Griffith*, (ins 
(Ian-irk, den. 1 lushes, Carl Hertz, Martin Henderson, Phil Herman, Harry Jee, Tom 
.Io\. Lew Lake, Chas. Kasrac, James Kellino, Fred Kitchen, C. W. Kloof, Max 
He ml Konarah. -I. W. Knowles, Albert Le Fre, Alf Leonard, Harry Lauder, 
J. Laurier, Fred Latimar, J. P. Ling, John Le Hay, Frank Melvin, B. Monti, 
Walter Munroe, Fred Maple, James Mooney, Harry Mason, Chas. McConuell, Joe 
McConnell, Steve McCarthy, Geo. Newham, Orpheus, Jim Obo, Ben Obo, Wai 
Pink. Jack Plcasants, Fred Parr, Pip Powell, Fred Russell, Charles Rich, W. B. 
Raby, Austin Rudd, J. W. Rickaby, Harry Radford, F. V. St. Clair, Fred Sinclair, 
Ryder Slone, Max Sterling, Harry Stelling, Eugene Stratton, George Sanford, Albert 
Schafer, Alfred Sutcliffe, Harry Tate, Joe Tennyson, Thora, Deane Tribune, Albert 
e, Horace Wheatley, Tom Woottwell, Fred Woellhaf, Erne Warsaw, W. H. 
Wallis, Horace White, Bert Williams, J. W. Wilson, John Warren, H. O. Wills, 
L A. Wilson, Ben Whiteley, Howard Ward, Charles Whittle, Major Charles, and 
J. Miller Sutcliffe. 


Founded on February 2, 1897. Head offices, 18, Charing Cross Road, London, W 
Secretary, Mr. C. Douglas Stuart. Branch offices in Cardiff : Agent, Mr. W. F. Moss ; 
<ow : Agent, Mr. John Alexander; Liverpool: Agent, Mr. Tom McKa\ : and 
Manchester: Agent. Mr. l-'red Slingsby. Officers, for the current >ear: Hon. 
ient. Mr. Joe Elvin ; Hon. Vice-Presidents, Lieut. Albini, Mr. Charles Austin, 
Mr. Harry Hlake, Mr. W. H. Olemart, Mr. Charles Coborn, Mr. Arthur Gallic: 
Mr. Fred Herbert, Mr. Edward H. Lucas, Mr. Bon Obo and Mr. Albert Vovce ; H 



Trustees, Messrs. J. W. Cragg, G. H. Chirgwin and Syd Walker ; Hon. Treasurer, Mr. 
Arthur Rig by ; Chairman of Committee, Mr. Stanley J. Damerell; Vice-Chairman, 
Mr. Jack Harris; Hon. Solicitor, Mr. Eugene Judge (Judge and I'riestly). 

The annual subscription is 7s. 6d., Entrance Fee 5s. and from this 2s. 6d. is donated 
to the new Music Hall Benevolent Institution. At the close of the financial year on 
September 30 the total funds were : Reserve Account, 601 15s. 4d. ; Current Account, 
4190s. 8d. ; Cash in hand, 47 10s. 4d. ; Total, 1.068 6s. 4d. A largo number of new 
members have joined during the last twelve months and the total on the books of active 
members was, on September 30, 7,534. Weekly meetings of the Committee are held 
every Wednesday at twelve o'clock. 


Offices, 18, Charing Cross Road, W.C. ; Secretary, Mr. C. Douglas Stuart. The 

work of the society consists of the granting of relief to the deserving poor of the 

variety profession, and the direction of the Institution of " Brinsworth," Staines 

Road, Twickenham, where eighteen old performers of both sexes are housed, fed and 

clothed and the Gipsy Hill Branch where ten male performers are maintained. 

The Committee is composed as follows: Elected for three years: Messrs. 

Hen Obo, W. H. Atlas, -lim Oho, Arthur Gallimore, T. C. Callaghan, 

Ed. II. I mley -I. Damerell, If. Griff, Ed. Crosland, Cecil Rutland, Chas. 

. E. Simthson, S\d Walker, Horace Wheatley, Tom Packer, Bert 

Williams, Robert Abel, Mirliii Henderson, Ken Gallimore, I 1 '. W. Millis, Chas. 

Coboni, A. de Brean. C. Kasrae, Win. Welsh, J. W. Gallagher, W. E. Gillin, Bert 

Marsden, Eugene Stratton, and H. Falls. Elected for two years : Messrs. Ben 

Wh'- ; , Julian Mack, H. (). Wills, Harry Bancroft, Burnetti, W. 

Fullbi-onk. Bniee Green, Kicb. Ta\l >r, Tom E. Conover, E. Gribben, H. Braff, 

Arthur Ui-!>\ , W. Marrett. A. I'. Hemsley, Harry Wright, Chris Van-Bern, J. Barker, 

\. Borelli, Ohas. Clark, Ted E. Box, Harold Finden, Albert Lc Fre, 

Edwin Uarwick, Lieut. Albini, Sid Baker, Reginald Prince, Cyril Yettmah, and Chas. 

for one yeai 1 : ' \ . Huley, Sam Vincent, Horace White, 

Com Francis, W. Jackson, Toni Morton, A. Schafer, Marriott Edgar, 

I-'. .Mel \ in', Waller Dale, Alt. H rrirk, James Kellino, Dick Bell, 

i MrNaiighton, Dave ()"' Sandford, Fred Hughes, Seth Egbert, Fred 

illiaf, D. Ileiidy Clark, Gus McNaughton, Dusty 'Rhodes, Alf. Leonard, Geo. 

Herd, II. M. Darsie, Fred I'arr, and W. Kellino. Chairman, Mr. Albert Voycc, 

Chairman, Mr. Edward II. Lucas. 


Guild \\.is formed on September 23, 1906, with the object of assisting the 

iists, who, through lack of employment, illness or confinement, are 

in \\ant- ui help, by supplying proper medical aid, food, coal, or other necessaries 

as may ht! required. Also, in cases of confinement, to lend a supply of suitalii 

baby clothes for the first month, to 'be returned at the expiration of that time; to 

Aidows of artists to find suitable employment, to find employment for 

children of poor artists and orphans as programme sellers, in sketches, or in 

: to supply uece.ssit: hs with free clothing; to give stage or other 

clothing to artists who may require it; to visit the sick; to give 'toys, books 
and games M> the sick children of artists. During 1913 the Guild's 

, .have ]>een devoted to a matinee a,t the London Pavilion in aid of their 
funds, a fa.ncy dress ball at the Trocadero for the same object, a fortnight's holiday 
at the seaside and in -the country for a number of poor children, and a Christmas 

or the children at the Horns Hotel. Kennington, while the Committee also 
distributed a large number of Christmas dinners to necessitous people. The officers 
of the Guild are as follows : President, Miss Cecilia Macarte ; Vice-Presidents, 
Mrs. Charles Cobur.n, Mrs. Gintaro ; Hon. Treasurer. .Miss Lottie Albert; Executive 
Committee, Miss Irene Rose. Miss Marie Lloyd, Miss Alexandra Dagmar, Miss 
Kate Vulcana, Miss Louie Vere, Mrs. Vernon Co\vper, Mrs. Herbert Shelley, 
Miss Ray Wallace, Miss Julia Macarte. Mrs. George Gilbey. Miss Fanny Harris, 
Mrs. Thomas Fawkes. Miss Marie Kemlal. Mrs. Fred Kitchen. Mrs. Arthur 
Were. Mrs. Audie Caine. Mrs. Kasrae. Mrs. G. H. Chirgwin, Miss Irma Lorraine, 
Mrs. Harry Tate, Miss Clarice Mayne. Miss Evelyn O'Connor, Mrs. Billy Merson, 


Ml.-,, Klnrne ( ;.l!lniluiv. Miss l)i;ui;i Hope, .Miss Dorothy \M 11H IM-, Miss .111 

\li-. Olga 'IVIumui. .M Maidii- S< . Clara Romanic, M i.iik', 

Mi- II. 15. Dillon. Miss Mary Neil, Miss Ros' I'.ancrot't , M 

I'ail Hert/., Miss .Jennie Lyir.vood. Mrs. Lewis Levy, V 

A.l.i He.'\.', Mrs. \Yalford Bodie, Miss Ru'th Da\ enport. Miss V-/ 

Unison, Mrs. C. Hayden Coffin, .Miss Niagara, Miss \Yinifreil Ward, 
Kelton, Miss Kmilie .1 laves, Mrs. Fred Millis, Kth'l Newman. 
H uiiton: Hon. Committee, Mrs. Austin E. Farleigh, .Mrs. Sly. 

Committee meetings are ;lild every Wednesday at 3.30 p.m. at the 
3, Newport House, 16, Great Newport Street, W.C. Secretary, .Miss Melimla .May. 


The Music Hall Honits Fund was founded fourteen years ago by o 
prominent members of the Terriers' Association with the object of providing sli< 
to deserving members of the variety profession who (have fallen on evil time^, and to 
provide a permanent home for poor .performers, who, through illness, <lisabl< i 
or old age are unable to find employment. The present home at Gipsy Hill is used as 
a branch of .the Variety Artists' Benevolent Institution at " Brinsworth," Twickenham, 
the two societies having amalgamated during 1913. Secretary, Mr. C. Douglas Stuart, 
18, Charing Cross Eoad, W.C. Matron, Mrs. Fruin. 


This Society was founded in 1890. Ite headquarters are the Vaudeville Club, 
98, Charing Cross Road, W.C. For the present year the officers are as follows : 
King Rat, Fred Russell; Prince Rat, Arthur E. Godfrey; Scribe Rat, \\ . 11. 
McCarthy; Test Rat, Deane Tribune; Musical Rat, James Stewart; Bait Rat, Gus 
McNaughton; Collecting Rat, Gus Garrick ; Trustees, J. W. Cragg and Charles 

During the year the Water Rats held their Up-river Outing, and gave a matinee 
at the Oxford on December 3, in aid of their own charities. 


The Order, which was founded in December, 1912, by the active member* 
(variety performers) of the Terriers' Association (now dissolved), has had a most 
prosperous year and is in a good financial position. Nearly 300 artists have 
become members of the Order, and a large number of candidates are awaiting 
initiation. The entrance fee is 5 5s. and the subscription from Is. to Is. 6d. 
per week, according to age at joining. The benefits include free medical attend- 
ance in town, country, or abroad, sick pay during illness, free legal advice, in 
unce of properties against loss by fire, emergency loans, death grants, etc.. and 
many other advantages. A grand ceremonial meeting of the Order is held every 
Sunday cveiiing at the Three Stags Hotel, 69, Kennington Road, London, S.E., 
when the general business is conducted in open lodge, new members are initiated 
into the mysteries, and a social gathering is held. Keen competition exists for the. 
various official (positions, and amongst the members who have had the honour of 
being elected to the chair are Will Cody, Harry Falls, Bert Marsden, Chris Baker, 
Julian Mack, Harry Gribben, Syd Walker, Harry Wright, Ben Whitely, ami 
George Cooper. The principal events of the year 1913 were the annual dinner 
and dance at Frascati's Restaurant, a most successful function; the production 
of the Terriers' Tribunal, a revue by Albert Voyce at the Variety Artists' Benevo- 
InsttttUtion Fete at "Brinsworth," a/nd the' ladies' suppers and concerts, held 
nearly every month at the Boulogne Restaurant. The officers for 1913 are : 
President, Ben Obo ; Vice-President, Syd Walker; Trustees, Willie Benn and 
Arthur Gallimore ; Treasurer, Jim Obo ; Auditors, Harry Gribben and Julian Mack ; 
Assistant, Secretary. Tom Packer ; Solicitors. Messrs. Osborn and Osborn ; Secretary 
Arthur Were. Headquarters, the Three Stu-f HoU-1. 69, Kennington Road, 
London, S.E. 

138 TH STAGS YEAR 800X. 


The object is to further the interests of the producers of sketches, etc., in the Variety 
theatres. It was founded in the Autumn of 1912 by Mr. Herbert Darnley, who i 
present chairman. The members of the Executive Committee are as follows: Messrs. 
Leonard Marry. Monte Bayly. William Berol, Fred Eustace, Arthur Gibbous, P. S. 
Henderson, Maurice Hoffman, Edward Lauri, Edward Harris, George Pickett, Harold 
Wolfgang, J. W. Cragg. Wai I 'ink, Sam Richards, Joe Peterman, J. K. Poole, The 
offices, pro tan., are care of Mr. Herbert Darnley, 38, Stockwcll Park Eoad, Clapham 



The Society of the Theatre aims at creating a dramatic movement which shall appeal 
to the theatrical rather than to the literary aspects of drama. By "theatrical" is 
meant that form of stage production which makes an appeal thro ugh the senses to the 
imagination rather than to the intellect. 

The Society has adopted the idea of Gordon Craig, and continues to spread that 
idea by means of propaganda. 

Subscription : One shilling. 

The list of the Committee is as follows: Miss Elsie Fogerty, Mrs. Gordon Craig, 
Messrs. Gordon Craig, J. Cournos, P. ( 1 . K<mody. Haldane Macfall, Lovat Fraser, Ralph 
Hodgson, A. M. Ludovici, Walter Crane, Kenneth Bell, W. B. Yeats, 0. H. Chi i 
Cecil Sharp, Ezra Pound, Professor Sauter. Mr. Krnest Marriott, Honorary Treasurer; 
W. B. Meo, Hon. Secretary. 

Offices : Adelphi Chambers, 7, John Street, Adelphi, London, W.C. 


The objects of the Society, as stated in the Constitution, are to promote, in the words 
nf Matthew Arnold, adopted as a motto, "a eleaiv. use of the best in poetry 

and of the strength and joy to bo drawn from it." To bring together lovers of ]> 
with a view to extending and developing the intelligent interest in, and proper appreci- 
ation of. poetry. To form Local Centres and Reading Circles and encourage the intelli- 
gent reading of verse with due regard to emphasis and rhythm and the poet's meaning, 
and to study and discuss the art and mission of poetry. To promote and hold private 
and public recitals of poetry. To form sub-societies for the reading and study of the 
works of individual poets. 

The ordinary membership is 7s. 6d. with an entrance fee of 2s. 6d. The Society was 
founded in February, 1909. Sir J. Forbes-Robertson is the, President, Mr. Galloway 
Kyle the Hon. Director, Mr. C. O. Gridley the Hon. Treasurer, and Miss V. E. James, 
the Secretary. Headquarters, 16, Featherstone Buildings, London, W.C. 'Phone, 
Holborn 2188. 

The Society holds periodical auditions, and features of these have been the addresses 
delivered by Sir Forbes-Robertson. 


The Academy of Dramatic Art (62-64, Gower Street, London, W.C.) was founded 
by Herbert Beerbohm Tree in 1904. It was reconstituted in 1906, and is now vested 
in the following Council : 

Sir Squire Bancroft (President). 

Sir John Hare, 

Sir Arthur Pinero, 

Sir H. Beerbohm Tree, 

Sir George Alexander, 

Sir James Barrie, Bart., 

Sir Johnston Forbes-Robertson, 

Mr. Arthur Bourchier, 

Mr. Cyril Maude, 

Mr. G. Bernard Shaw, 

Mr. E. S. Willard, 

Miss Irene Vanbrugh 

Administrator. Kenneth R. Barnes, M.A. 
The aim of the Academy is to provide a thorough training for the dramatic stage 
in England, and to encourage those who show talent and discourage those who do 

TV/;- sr.-\nr KAMA- KOOK. 139 

lalifying t ling of tv us, three times ann 

at the commencement - i>f each term. Januar r. Two sdiil.c 

of one \ car's free tuition are awarded t.< tin- best lady and gentleman stn-i 
term ; tlins, there are six scholarships in tins 

'I'h.' training consists of voice product ion . elocution. : 

fencing, ivheai .; also lecture-; on subjects connected with the drain 

(optional). The ordinary c, : four terms, hut student 

arm. The fee per term is 12 12s., and the ent> 

The I'Yench diction classes arc 1 Is. extra for regular students. The nuinher of 
regular students during the past sear lias been 120. 

There is a body of eighty-four Associates, consisting of distinguished members of tin- 
theitrical profession. The Council and Associates take voluntarily an active part in 
the w.irk of th . During 1913 the following ladies? and gentlemen assisted 

at qualifying tests, scholarship competitions, lectures and prize-judging, etc.: Lady 
B.mcn>tt. Miss Gertrude Burnett. Miss Klsie Chester, Mr. Harold Child, Miss Kate 
Cutler. Mr. (1. Dickson-Kemvyn, Mr. Dennis Kadie, Sir Johnston Forbes-Robertson. 
Mr. A. K. i . uly Gilbert, Mr. Edmund (Iwenn. Miss Helen Ha\e. Mr. C. M. 

Lowne. Mr. Cyril M-iudo, Mr. (lerald du Maurier, Mr. Norman 1'age. Mr. Nigel 
Playfair. Sir Arthur I'inero. Mr. K. I A all Swete, Lady Tree, Sir Herbert Tree. Miss 
Hilda Tievdvan, Miss Irene Vanbrugh, Mr. Ben Webster, Mr. Arthur Whitby and 
Mr. .1. Fisher White. 

The last students' public performance took place at the Playhouse, and the following 
programme was performed : Act one, "Milestones," by Arnold Bennett and Eduard 
Knoblauch; act two. "A Woman of no Importance," by Oscar Wilde; act t: 

is one and two, " Romeo and Juliet " ; " 'Enery Brown," by Edward Granville ; 
act one, ' Diana of Dobson's," by Cicely Hamilton: scene from "On ne Badin- 

1'Amour," by Alfred do Musset ; a play in mime: and Mazurka, Harlequin et 
Columbine, ami l'a.s de Trois Dances. The Bancroft Gold Medal was asvarded by Lady 
Bancroft, Sir .lohnston Forbes- Robertson and Mr. Cyril Maude to Mis-s Oli\e \Y. 
Davie-s: and sp it Medals were also awarded to Miss Gladys Young and Miss 

Marv !'. l\' i\\an by Sir Johnston Forbes-Robertson and Mr. Cyril Maude. Certili' 
of honour and merit were also awarded by the judges. 

The following ladies and gentlemen have held positions on the salaried staff, and 
gave regular classes during 1913 : 

Teachers of Acting. Miss Gertrude Burnett, Miss Klsie Chester. Miss Helen II . 
Mr. Norman Page. Mr. Nigel Plavfair. Mr. Arthur Whitby and Mr. J. Fisher White. 
Teacher of Voice Production. Mrs. George Mackern. 
Teacher of Klocution. Mr. A. E. Geoi 
readier of (Delsarte) Gesture. Mrs. Kdward O'Neill. 
Teacher of Dancing. Mr. Louis Hervey d'Egville. 
Teachers of Fencing. M. Felix Bertram! and Mile. Bertram!. 
Teacher of French Diction. Mile. Alice Cleiv. 

In addition to the regular classes the advanced students have during 1913 had the 
.i 1 vantage of special rehearsals voluntarily undertaken by the following Associates : 
Mr. Kenneth Douglas, Miss Fllis Jeffrey-*, Mr. Charles Maude, Sir Arthur Pinero. 
Mr. (',. Bernard Shaw. Mr. Alfred and Mr. L. Lyall Sv 

There are three different divisions, eight different classes, usually including a 
chilli-en's class. Kadi class consists of twelve to fifteen students, and forms, as it 
w re. a company. Pla\ s rehearsed in the acting classes are performed at the end 

h term. ^ providing generallv over thirty performances, each of about : 
hours' duration. A variety of plays from Shakespearean i raged v to modern i 

ikeii. The aim of the Academy is in the first place to afford a practical training, 
to lie of use both to the student and to the man 

The Academ\ is self-supporting, and is not a source' of profit to am of 
Ming Bod\ . Any surplus in fun Is is applied to the enlargement of the prem 
and the improvement of the training. 

The Council, assisted b\ a generous gift of 1.000 from Sir Squire Bancroft, are now 
having a theatre tor the students constructed .m a site adjoining the present prem: 
The stage will be about the si/e of thai at the Duke of York's, and the auditorium will 
.iOO comfortabl\ . having a dress circle and boxes. It is estimated that this 
theatre \\ill he opened during the | ir 1914. It will be a great addition to 

the practical value of the training at the' Acadenu . The present -tage and auditorium 
will also bo kept in use, 



President, Mr. David Allen, M.A., LL.B.. B.L., Dublin ; Vice-President, Mr. Cyril 
Sheldon, Leeds ; Committee : Mr. W. H. Breare, J.P., Harrogate ; Mr. John Hill, 
Reading ; Mr. J. M. Godfrey, Portsmouth ; Alderman J. Duckworth, J.P., Accrington ; 
Mr. H. \V. Klmcr, Bristol ; County Councillor David Western, J.P., Enfield, Middlesex ; 
Mr. Walter Hill, London; Councillor Joseph Crookcs Grime,. F.I. S. A., Manchester; 
Mr. L. Bockley, Nottingham ; Councillor Charles Pascall, London. Consultant 
Secretary, Mr. G. F. Smith, 12, John Street, Bedford Row, W.C. ; Secretary, Mr. 
C. G. Wright. Offices, 4, and 5, Warwick Court, Holborn, London. Telephone, 
6447 Holborn. 

This Association, which had been in existence for many years, was registered in 
June, 1890, for the protection and advancement of common trade interests. 

It has a committee of management, governed by a president, vice-president and ten 
other members, which meets monthly. The Association has a membership of between 
600 and 700, comprising practically the whole of the Billposting contractors in the 

It has also (jointly with other associations) a Committee of Censors, whose duty is 
the examination of posters of questionable taste which may be sent them, and whose 
views upon them are communicated to the members. It has also a Parliamentary 
Committee to watch all proposed legislation and any bye-laws under same. 


During the year 1913 there has been formed a Critics' Circle in connection with the 
Institute of Journalists. Dramatic critics were not previously without any organisation. 
There was a Society of Dramatic Critics formed in 1906 with a membership of between 
50 and 60, with Mr. A. B. Walkley as president. Interest in the Society, however, on 
the part of its members, most of whom have joined the new Circle, waned, and the 
Society of Dramatic Critics is now moribund. The Critics' Circle was formed in April. 
The Committee consists of : Messrs. William Archer, G. E. Morrison, J. T. Grein, 
Richard Northcott, and S. H. Littlewood, Honorary Secretary. 



The Association, of which Mr. George Robins is chairman, consists of ladies and 
gentlemen who are professional vocalists, instrumentalists, and entertainers. It has 
been established since 1897, and is managed by an annually elected Committee of 
fifteen members. 

The Association is for the purpose of relieving the sick and needy, promoting 
sociability, providing legal and medical advice, furnishing a central address, redressing 
grievances, giving opportunity for discussion upon all matters connected with the 
concert artists' profession, and publishing a list of members for the use and guidance 
of entertainment promoters. The Association is willing to act as arbitrator when any 
dispute concerning its members' interests is brought to its notice. 

The Association has its Benevolent Fund and Special Sickness Fund. During 
the year a number of "At Homes" are held on certain Sunday evenings, when 
members have the opportunity of appearing. These "At Homes" are attended by 
organisers of concerts and otheis, and the advantage to the artist appearing is obvious. 

The entrance fee is 5s. Annual subscription 1 Is. For country members resident 
over forty miles beyond London the annual subscription is 10s. 6d. 

Secretary, Mr. Arthur C. Roberts, 9-10, Pancras Lane, London, E.C. 


Formed in No\ember, 1913. Objects, to safeguard the interests of concert party 
proprietors generally, to receive and deal with suggestions for the benefit of members' 
interests, to establish, by means of meetings and written correspondence, a closer 
friendship amongst members, and generally to deal with all matters of complaint 
brought before the executive of the Association. 

Only bona fide proprietors of concert parties, either resident or touring, are eligible 
for membership. The Association is gpverned by a Council of fifteen, elected annually, 


ul. Walter < !arr, Fl> 
Harry Leslie, S\d: ll:m>li| Mont ,'ihll, 

I \V:tltiT c Air. Lionel 

Mr. K. M.Sansom. Office-,: 13, York S' 



Office, 62, Strand, W.C. Tel, -phono, 6316 Central. Secretary,.!. HrookeWi; 
Formed tn proteol the interests of manufacturers and publishers of fil 


Til.- Kinematograph Exhibitors' Association of Great Britain and In 
im-oi May 22, 1912. as the ivsult of a meeting held at the I lolborn Restaur- 

ant on January 24, 1912. when a provisional committee was formed to mak' 
ments for the- formation of the Company. The tirst general meeting was held 1*11 
Eebruarv 13, when a chairman, officers and an executive commit , otpointed. 

and these appointments wen; confirmed by the Directors, sitting after the incorpor- 
ation of the Association as a limited Company. The liability of the mi 
bv tlie Art ociation at one shilling. 

The following are the objects of the Association and the conditions of membership : 

1. To maintain the rights and further the; interests of the Kinematograph e\l. 

of the British Isles. 

2. To protect Kinematograph exhibitors in their general relations with Parliamentary 

and local authorities. 

3. To promote the interests of the whole Kinematograph industry. 
Members consist of three clas:-> 

(a) Exhibitors who own 6ne or more Kinematograph theatres, but who ai 
also carrying on the ordinary business of film manufacturers or hirers. 
(o) Exhibitors who own one or more Kinematograph theatres, but who an; 

also carrying on the ordinary business of film manufacturers or hirers. 
(c) Any other person who may be interested in the exhibiting branch of the 
Kinematograph industry, either practically or financially, but \vho i 
eligible lorn and b membership, and any other person who. in the opinion 
of the Committee, is likely to further the interests of th, on. 

a members only are eligible for election to the executive committee. If a member of 
the executive committee is found to be carrying on the ordinary busines.- 
manufacturer or renter lie automat ically ceases to be a member of the commie 

The subscription of a and h members is one guinea per annum for each hall owned 
or represented by them. The subscription of c members is half a guinea per annum. 
One-half of the amount of the annual subscription is allocated to district commit 
or local associations for the purposes of their work. 

For the purposes of <- i. the country has been di\ ided into four - 

divisional branches have been established in the Northern. Northern Central. Midland 
and Southern eounti>- . Local associations ha ^mcd within t he divi-ions, ;md 

existing i d. The General Council directs t : : 

on. The Executive Committee carry out the policy decided ab the C.eiieral 
Council. The Association is now represented in the following counties, viz., IV, i 
shire, Berkshire. Carmarthenshire, Cheshire, Cumberland. Derbyshire. I >i \oitshire. 
I>orseNlmv. Durham, Essex, Glamorganshire, Gloucestershire, II 

donshire, Kent. Lancashire, Leicestershire, Lincolnshire, Middlesex, Norfolk, 
' lumiberland. Northamptonshire. "Not t iimli.i in ~bi r hire, Staffordshire. 

Suffolk, Sum ., Warwickshire. Westmorland. Wilts!: hire. 

Yorkshire: and the afTaiix of Lon'i.'H are looked afl London Distric: 


Since the formation of the Association the Executive Committee, who number 
thirteen members, have met on an average once each fortnight, Sub-committees 
meeting sometimes daily, and an enormous amount of work has been transacted. 

The Association publishes a monthly journal and a weekly film selection, which are 
issued free to its members. It keeps a keen outlook upon the action of locfrt 
authorities, and renders legal assistance to its members in cases where any principle is 
involved affecting exhibitors generally. 

The Secretary is Mr. W. Gava/zi King, and the offices are at Broadmcad House, 
Panton Street, Haymarket, S.W. 

(Branch No. 10, N.A.T.E.) 

This Association was established in April, 1'907. Its office is 1 Broad Court 
Chambers, Bow Street, London, W.C. Its members arc qualified operators of animated 
picture apparatus. 

Objects : (a) To protect and promote the interests of qualified operators, and to 
raise the status of their profession, (b) To encourage among its members a knowledge 
. of the science of new inventions affecting their business, (c) To establish a standard 
of proficiency by a qualifying examination. (</) To secure the recognition of a 
minimum rate of pay for each class of work, (e) To establish an employment register, 
and to assist mem hers with legal advice and assistance at the discretion of the 

Entrance fee, 3s, Contributions, section a, Is. per month ; section b, Is. 4d. per 

Certifieates are issued to members passing an examination, particulars of which are 
supplied on application. 

Present Officers: President and Acting Hon. Secretary, Mr. E. H. Mason ; Vice- 
President, Mr. A. Savers; Treasurer, Mr. Wm. Johnson; Finance Committee aud 
Trustees, Messrs. E. H. Mason, A. Malcolm, and John Hutching : Managing Com- 
mittee, Messrs. E. S. Catlin, H. Hackell, C. Perry, F. W. Green, A. Malcolm, and 
W. Watson. 

Full particulars of membership and benefits supplied post free on application to the 
Hon. Secretary, at 1, Broad Street Chambers, Bow Street, London, W.C, 


A Censorship Board voluntarily established by the Kinematagraph Manufacturers in 
the eatly part of 1913, the idea being', on the one hand, to get publishers of films to 
submit all their films, other than those known as " topicals " or locals, for censorship, 
and to pay for each subject at a fixed rate of Is. per 100 ft. ; and, on the other, bo get 
proprietors of halls where pictures are shown to exhibit only those pictures which have 
passed the censorship. Two forms of certificates are issued. One is issued by the 
Board for every film examined and passed, and the other applies to those films passed 
for " Universal " exhibition, which are specially recommended for children's matinees. 
When a film has been passed, the publisher is entitled and expected to cause a photo- 
graphic reproduction of the certificate to appear in each film immediately after the 
main title. The Board is controlled by Mr. G. A. Bedford, who at one time was the 
Reader of Plays under the Lord Chamberlain, in connection with the licensing of plays, 
The offices are at 75-77, Shaftesbury Avenue. Tel. Regent 2076. 



This Association was established on August 20, 1890. It represents those 
employed in the various stage departments, in the manufacture and use of stage 
scenery, properties, electrical fittings, animated picture machines, comprising 
stage managers, heads of departments, carpenters, electricians, kinematograph 
operators, property men, stagemen, and in fact all men and women employed on the 
mechanical or administrative staff of a dramatic, variety, or picture theatre, theatrica) 
or cinematographic business or industry. 


\\illl the < ieneral I I 'liH'11 

Hi and Provincial Trader and Labour Conn. 
1, I '.road ( '..HI ! Street. London, W.C. Telephone, 1305 Uerrard. 

;ilinarv ol ' "f cadi class and grade of run 

maintaining a minimum rate of pay, definite working rules, and llie provision of 

flllle: nevolcnt benefits for inemlii i',. '|'l,. : 1 1- branch 

!"ti and one each ill Birmingham. Bradford . Oldhai : 

ton-On-Tees, Keston and Doneaster. The en! ram < neluding 

eopv nf rules and membership card. The contributions and benefits are as foil 
(a) TRADE SUCTION MKMUKKS. Open to employes over 18 yea ntri- 

but.ions, 3d. per \vrek. Benefits: Trade protection; Dispute pay, a sum equal t 
half of tin; normal earnings at the time, from theatre work, not exceeding the sum '[ 
20s. per week : Legal advice free ; Legal assistance in approved circumstance^ ; (l> 
from the Benevolent Fund subject to the discretion of the Committee, (b) TRADK 
\ND KrsKKAi, ITM) SECTION MEMBERS. Open to those under 40 years of aj 
time of joining. Contribution 4d. per week. Benefits, in addition to all th. 
provided for class (a) members, the following sums at death: 10 on the death of a 
member, 5 on the death of a member's wife or husband, after 12 months' membership. 

The constitution of the Association permits any grade or section of employes eligible 
to join to form a branch, or all sections to combine in one branch in any locality. The 
aim of the organisation is to enroll all eligible men with touring companies, and those 
resident in e\cr\ theatrical centre in the United Kingdom. 

The National Kxecutive Committee is selected from the members residing within 
twenty miles of the chief office, but it is open to any branch to nominate any member 
ueral offices. This Committee organises the London annual theatrical 
sports and annual concerts, and lias charge of the National Open Bene\olent Fund, 
which is maintained from the proceeds of the theatrical sports and donation 
by the. annual concert funds, for the benefit of non-members, men and women 
employe''-,, \\hose case is recommended by a subscriber to the sports or concert funds, or 
l) theatrical or music hall association whoso rules do not permit them to help 
such applicants. 

The .in secured during 1913 about 3,000 additional member--. 

Members of the Executive Committee are : President, Mr. J. Cullen, master 
ca i pouter, the St. James's; Treasurer, Mr. J. Atherton ; Trustees, Mr. Arthur 
I'almer (V. I'.). irpenter, the Comedv : Mr. Charles Thorogood, President, 

No. 1 Branch; Committee, Mr. C. T. Cory, master carpenter, the Vaudeville; 
Mr. A. -lones ; Mr. Edward Stow, stage staff; Mr. George Pickering, stage staff; 
Mr. II. .1. Kemp. Mr. T.Lowe; Mr. H. S. llenby, property master, Strand; Mr. 
<1. A. Mason. ,J. Hutchins, A. Ward, carpenter. C. Burgess, master carpenter, Play- 
house; It. Billinghurst ; Mr. C. R. Porter, master carpenter, the Strand ; Mr. 1 
Sinkins, carpenter ; ( ieneral Secretary, Mr. William Johnson, 1, Broad Court Cham 
Bow Street, London, W.C. 

TJi/e Association is affiliated with the Australian Federation of Stage Employes. 

The National Association of Theatrical Kmployes is also an approved Society for the 
purposes of the National Health Insurance Act, 1911. 

" This approval extends to the Society in respect of persons resident in Kngland, 
Scotland. Ireland and Wales, who are members of the Society for the purpo- 
Pari I of the Act." 

Am man or \\oman betsveen the ages of 16 and 65 engaged in any capacity in the 

rtainment World may apply to join the A^ociat.ion for the purposes of the 
irrespective; of wheth- he is eligible or ineligible to join the Association f. 

other purp 


This fund is a and independent fund for >pecial purpose,. It is not 

ri of any Approved Societv. although it is managed b\ the Kxecutive (.' 'inmi;' 
-."ational Association of Theatrical Employ 

It is for those who wish to make provision for more assistance during sickness than 
the National Health Insurance Act provides. It combines the savings bank priii. 
with the c i operati\e method of providin; i'enetit and sums at death. That is 

bributions noi needed to as.-i^t members in any one year arc 
divided at the end !' the vear between the mem 



This Association is open to any man employed in the entertainment world over eighteen 
and under forty-five years of age whose application is accepted by the Committee. 

Entrance Fee. Is. 3d., including membership card and book of rules. Revised 
contributions : Class A.-H5d. per week to the General Fund. Class B. 3d. per week 
to the General Fund. Levy of 6d. per member on the death of a member. Levy of 
3d. on the death of a member's wife. No levy for any member with less than six 
months' membership. Revised Benefits : Sick Pay. Full benefit (on the respective 
scale) after six months' and half benefit after three months' membership. Class A. 
15s. per week for thirteen weeks ; 7s. 6d. per week for a further thirteen weeks if 
necessary. Class B. Half Class A scale of sick pay. At death of a member or 
member's wife a sum equal to levy, as above. Annual division of the surplus General 
Funds. In December of each year, each member receives an equal share for equal 
period of membership (Class A full share, Class B half share), less Is. deducted to 
carry on the membership, and if required Is. for the Benevolent Fund. The share 
for 1909 was 15s., in 1910 9s.. in 1911 10s. per member. 

1, Broad Court Chambers, Bow Street, London, W.C. Telegraphic address : 
" Stagcland-ran, London." Telephone: 1305 Gerrard. 


Tliis Association is a branch of the N.A.T.K. and was established in November, 1902, 
and consists exclusively of stage managers, scenic artists, master carpenters, chief elec- 
tricians. master propertymen, and master gasmen of dramatic, variety, and picture 
theatres. Membership is open to those connected with any theatre, music hall, or touring 
company in the United Kingdom who have held such positions for at least six months, 
and are otherwise qualified. The entrance, fee is 3s. The contribution varies from Is. to 
4s. 8d. per month, according to benefit desired and age of applicant. Sick pay is assured 
to those subscribing for same from 10s. to 20s. per week for a number of weeks. 

The Association has a benevolent fund, and affords free legal advice to members. 
An annual dinner has heen given each year, at which the following gentlemen have 
in turn presided: Mr. J. ('minus Carr, Sir George Alexander, Sir Herbert Bcerbohm 
Tree, Mr. H. B.Irving, and, on the last occasion, Mr. Edward Terry. The Association 
assisis to organise the London theatrical sports and the annual concerts. Officers are: 
President, Mr. James Cullen, master carpenter, the St. James's; Hon. Secretary, Mr. 
Philip Sheridan, electrician, the Strand Theatre; Financial Secretary, Mr. \Vm. 
Johnson; Committee, Mr. W. G. Wilton, property master, the Vaudeville; Mr. R. 
J. Carter, electrician; Mr. David Sheridan, electrician; Mr. Geo. Bailey, master 
carpenter, Alhambra ; Mr. H. S. Henby, Property Department, for Mr. Forbes; 
Robertson; Mr. Win. Sindall, carpenter; Mr. G. W. Wilcox, property master - 
Mr. C. R. Porter, master carpenter, the Strand Theatre ; Mr. W. Marsh, electrician, 
the Savoy Theatre. Office, 1, Broad Court Chambers, Bow Street, London, W.C. 
Telephone, 8753 Central. 


TOWARDS the end of the year it was announced that the Committee had 
acquired, at a cost of 60,000, a site for the Memorial Theatre. The site 
is between Russell Square and Bedford Square. It is about 47,700 square 
feet in extent, or more than an acre, and has at present three street frontages 
Gower Street, Keppel Street, and Malet Street. It has a frontage of 281 feet on 
Gower -Street, 182 feet on Keppel Street, and 281 feet on Malet Street. 

At a meeting of the General Committee earlier in the year at the Mansion House, 
on May 22, the balance-sheet then presented showed a balance of cash in hand of 
79,763. The purchase of the site therefore leaves the sum of 19,763 as the nucleus 
of the fund which, it is hoped, will be raised to erect and equip the theatre. 
In the House of Commons on April 23 Mr. Mac-kinder moved : 

" That, in the opinion of this House, there should be established in London 
a National Theatre, to be vested in trustees and assisted by the State, for the 
performance of the plays of Shakespeare and other dramas of recognised merit. 
Mr. Ellis Griffiths, speaking for the Government, asked the House for its guidance 
in the matter. He stated that when a contribution was made by the State to a 
project it would be in the form not of a capital grant, but of an annual subsidy. 
The motion, to which several members spoke, was eventually "talked out." 




TO glance back at the acting of the past year is to call up before the mind's eye 
a multitude of images. Perhaps no one of them may bear the authentic mark 
of genius. But in that case the stage is no worse off than other branches of 
ail and letters. If there is no Garrick. no Sarah Siddons on the pies -'lit day 
boards, equally there is no Dickens nor Thackeray in fiction, no Tennyson nor Brown- 
ing in poetry, no Carlyle nor Spencer in philosophy, no Turner nor Constable in fine 
an. \ ct ol those images which spring freshly intto remembrance, how many an: 
altogether admirable ; and are there not some that have elements of greatness ? 
All in all, the West End stage is well served in acting, and in one respect extremely 
well served. Physically, our actors and actresses can challenge those of any foreign 
stage. What other stage can show the maze of pretty faces smiling forth every 
night in town from any musical comedy ? The remark is true not only of our 
musical comedies. Good looks are g< j in 'nil and good figures also figures not 
cumbered with the too too solid flesh of the German actors, nor abbreviated in 
height like the French. In intellectual power which is not the highest thing in 
acting our artists may be excelled by the German, and in technical accomplishment 
by the French. Technical accomplishment is no doubt the weak spot in the a. 
of our younger players. The old training ground of the provinces has been 
There is little experience to be found on tour Long runs in the West End supply 
even less. But when a, theatre is run .somewhat en repertory lines, when the 
members of a company are well-selected and play together in a number of pieces, tho 
richness of our histrionic material so wastefully and unproductively used in the 
ordinary way speedily becomes plain. One needs not go merely to the Gaiety, 
.Manchester, for an illustration. In town much the same thing has been seen on 
various Occasions as at the Otho Stuart period at the Adelphi, at the Yedrenne- 
Barker period at the Court, the iFrohmau repertory season at the Duke of York's. 
the seasons under Mr. Herbert Trench at the Haymarket, the McCarthy-Barker 
seasons at the Savoy and the St. James's, and so forth. These seasons brought out 
the abilities or established the fortunes of a number of players. Repertory touring 
can point to similar results. The example here, most fruitful of all over a ; 
course of years, is of course that of the Benson company. However, at the moment 
the reference is naturally to the fine though alas all-supported work of Mi-s 
A. E. Horniman in .Manchester. Again and again the activities of her theatre : 
indicated the extent of the latent gifts or the unappreciated powers only await- 
ing opportunity. The list is much too long to be examined in detail here. But, 
in a single direction, seeing tin iek of leading -ladies, three names may fairlv 

be mentioned those of Miss Irene Booke, Mi-s Kdvth Goodall, and Miss Sybil 
Thorndike. In short, the amount of italent in the ranks of the youn 
remarkably large. It only wants intelligent and regular direction. 


Our best acting is in modern comedy. The reason is a simple one. Modern 
comedy offers the most favourable field for practice. For the same reason, on the 
i he standard of Shakespearean acting is, with ;', few exceptions, not 
so high as it should be. And during tho year the. lit tin eminent Shakespearean 
acting left to UK .suffered a loss in tho retirement of .Johnston FoH'es i;,,l,er, 
Of Forbes-Robertson Mr. Bernard Shaw, in connection with tho farewell dinner in 
March last, said a thing entirely apt and just when he called Forbes Robertson " the 


greatest classical actor on the English stage" a fact to which the knighthood 
coming shortly afterwards paid, so to speak, a national tribute. During his season 
at Drury Lane Sir Johnston naturally appeared in representative parts from 
his repertory. But his fame will re^t in the Shakespearean parts, und most sttraly 
in Hamlet. His "aweet Prince" may not be the complete Hamlet it is 
not in mortal actor to be that but it is a Hamlet that in humanity, in sheer beauty, 
and in spiritual feeling is amongst the foremost in a line of which the British stage 
is rightly proud. During his successful season at Jh'ury Lane Sir Johnston also 
appealed as Shylock and Othello. Unlike his Jew of Venice, his Moor had been seen 
in London prior to this season, but, like the Jew, the Moor was not amongst the 
parts best suited to the actor's powers. The noble voice and its rich cadences made 
music of the verse the actor could touch nothing, and particularly the distraught 
love of Othello, and not endue it with beauty. The softer emotions of the Moor 

finely .-hown. and in the la>t ad the tenderness for | >,-demi>tia. that i 
the fell purpose of the Moor was made very evident. To Forbes-Robertson the 
wild growth of the character meant little. The barbaric, tempestuous Othello would 
not be in his temperament at all. His reading, therefore, did not emphasise the 
racial difference between the warrior son of the desert and the fair Venetian, and 
was one that in this respect could not please the school of critics who take Brabantio's 
view of the blood-wrong that Desdemona has done in wedding the Moor, and who 
find in this fact rather than in the villainy of lago the real cause of the tragedy. Air. 
Forbes-Robertson minimised this theory of Othello of the "sooty bosom," showing 
instead "the tawny Moor," in whom there is scarcely anything physically repulsive 
a sombre, loving, not unreflective Othello, who is less the victim of a violated 
natural law than the prey of wicked machinations. Mr. Forbes-Robertson dressed 
Othello with slight turban and clinging white robes, \vhich brought out the 
lines of the classic face and spare figure. Presenting an Othello of this aspect and 
working chietly through the intell:t. Mr. Forbes-Roberteon kept rein upon the 
passions, and when Othello is most heavily moved, as in the scenes with lago, it wan 
mure with a nervous vehemence than with the primal feelings in ungovernable storm. 
To this non-volcanic Othello Mr. J. II . Barnes opposed a specially bluff and 

inn ami as.Mired style of this aennnplished 

artist. Mr. Barnes excelled in the honest front that lago keeps to the persons of 
the play. The defect of this quality, however, was that the inner nature of the 
super-subtle Venetian was not fully conveyed to the audience. lago was, with Mr. 
Barnes, a man of some maturity, though Shakespeare meant the ensign to be com- 
paratively young. In "Hamlet" Mr. Barnes was seen again in his impersonation 
of Polonius, an unexaggerated, natural picture of old age, with a fine vein of humour. 
Miss Gertude Elliott also re-appeared as Desdemona and Ophelia, and made a first 
appearance in town as Portia. As Desdemona she looked as well as ever, and slit- 
played with a less studied simplicity than before, and her acting was very effective 
in the scenes with Othello and Emilia in which Desdemona shows how cruelly she 
is wounded by the charges of the Moor. Her Ophelia was wanting in a sense of 

M flowers, the maid " turns to favour and to 

prettiness . . . thought and affliction, passion, hell itself " ; and the actress's 
Portia was on a somewhat small scale. The general company at Drury Lane were 
scarcely adequate to the occasion, but good work was done by Mr. Basil Gill, play- 
ing in "The Merchant of Venice" his courtly Bassanio here as well as at His 
Majesty's ; and by Miss Adeline Bourne, Mr. Alexander Scott-Gatty, and others. 

(2) AT His MAJESTY'S. 

To his <li\ lory of Shakespearean impersonations Sir Herbert Tiw added 

yeai Mercntio. which he played for the first time during the Festival of which 
His Mak'sty's is ;is our leading theatre the fir .. A part of this Oiigh 

fantasy doubtless made a natural appeal to Sir Herbert, though for him it was ' 
somewhat in the nature of a tour de force. His Mercutio was no gay, mercurial 
young fellow, but a stalwart man, an accomplished courtier, with a keen sense of 
humour. In the death scene Sir Herbert showed that originality of treatment which 
marks all his acting. The mortal hurt from Tybalt's treacherous blade was so 
realistically suggested that it seemed that, with the sudden assuming of rigidity at 
the lines, "your houses," the body that Benvolio bore off had no life left in it. 
The directions in the text .speak of Meirutio's making his own exit, supported by 
Benvolio; and then Benvolio reappears with the cry, "0, Romeo, Roineo, brave 
Mercutio's dead! " So graphic was Sir Herbert's treatment in showing the collapse 
of "that gallant spirit" that Benvolio's statement seemed rather an anti-climax. 

/7//: STAGE r/i.lA' BOOK. 147. 

During ' Sir Herbert treated < 

Shylock, liis inimitable Malvoliu. and his highly wioi, lift Antonius. 

Phyllis Xeilson Terry bore once mure <m Ir-r young shoulders the i espuiisibili! 
It-ailing lady showing a growing measure of pouer ami uf facilit;, Her 

parts Were Juhei. I'urtia. \'iula, ami the minur I'urlia uf " Jnlin- I'he lirst 

named was the must in; .f an artist for whom 

future may well hold much in store. Her Juliet had the great gift of youth. But 
there was little Sothern passion in it. Nor had it much of the feeling for tragedy. 
Miss Neilsoii-Terry .showed more executive ability than in her first appearances in 
the part. Her voice had lost many of the former harsh and hurried tones and 
inflections. .Much of the exquisite verse of the Balcony scene was softly and charm- 
ingly spoken. Hut in strenuous scenes Miss Neilson Terry usually attempts 
too much, overloading neatly all her scenes. which therefore miA the 
pie ami direct purpose of acting uf true, clarity. She needs to culti- 
vate the sense of selection, which rejects all that is inessential and super- 
ficial, and she should be very much on h'>r guard against, mere tricks of 
expression, such as hearings of the chest, kittenish turns of the shoulder, and the 
like. As Juliet she was at her best perhaps in the scene of cajolery with the Nurse 
the scene in which Juliet learns from the Nurse that Romeo has been, sentenced to 
bajii- .'happily cut out and in the scene of parting from Romeo what 

time "Night's candles are burnt out. and jocund dry Stands tiptoe on the misty 
mountain tops." There, as she said "It is the lark that .sings so out of time. 
she caught '.something of the poetry that suffuses the real Juliet. Her Juliet .vas 
radiantly young, highly forcible, but was not drawn from the deeps. Juliet's 
was not lucent, luminous, not compelling, not pitiful. There appeared'to be a Inck 
oi imagination, or it may be that the concept was there, with a failure at pr. 
to realise it. Her Lady of Belmont showed a gain in graciousness and in humour: 
and her Viola was pleasing and picturesque, continuing to be, so far, the part 
best within her means. Mr. Gill, in addition to playing Bassanio admirably, brought 
a poetic air to Or.sino and vigour and exaltation of spirit to Brutus. That abln 
Mr. A. K. George, to whom nothing comes ill, went with practised skill 
from the extremes of the clownish drollery of Launcelot Gobbo to the dignity of 
The "envious C'asca " Iri I a commanding exponent in Mr. James 
Berry, a rising actor also noteworthy for his Tybalt, which was Shakespearean in 
spirit and vividly worked out. Mr. Philip Mi ri vale was rather overweighted as 
I'.umeo. and his Antonio was curiously brisk and jaunty .for the sedate merchant. 
lie was more in the vein as Cassius, only excelled by his Joseph Surface in the 
revival of "The School for Scandal" at this theatre. Mr. Merivale, let it be said 
here, was throughout excellent as Joseph. He spoke well, looked well, carried him- 
y.ell. and succeeded in the difficult task of conveying to the audience the dupli- 
city of nature that the man of sentiment must conceal from the characters in the 
play. Mr. Merivale. greatly advanced his position by this admirable performance. 
His soliloquies he gave direct to the audience, a practice followed by other actors 
in the same circumstances No pretence was made. The fourth wall was put aside 
and the audience, as it were, invited into the mechanism of the play. This tr 
ment is new on the modern stage, though " Tu ran dot " and " The Yellow Jacket'' 
also gave some examples of it. Also lending valuable support to the Festival v, 
amongst many others, .Miss Maire O'Neill, an enchanting Nerissa ; Miss Marjorio 
Patterson, a pleasing, if flaxed-wigged Jessica : Miss Rose Edouin, a good N>. 
humorous, garrulous, leaning to the extra-comic side; and Miss Cicely Richards, as 
vivacious as ever as Maria. 

Reference may be made here in passing to the further work in the busy year at His 
Majesty's. In " The Happy Island," in which there was an unconvincing parable 
attempted against modern industrialism. Sir Herbert Tree played Derek Arden, a 
" civilised scoundrel." He had his fine moments in the part, but generally his 
skill in impersonation, ^reat as it is. was held back by a pinchbeck character. 
Miss Neilson Terry acted the guilty wife with an effective emotional abandon. 
The revival of " The School for Scandal " wa leomp. Sir Herbert does 

let tradition stand in his way as Sir Peter. The old reading of Sir Peter Teazle 
was of an irascible, lean old fellow. Sir Herbert has an eye to dignity a.nd w;irm 
human nature in the man a Sir Peter on the higher plane. Fresh a-nce 

shows this Sir Peter mellowed somewhat, but still a sturdy gentleman, a trifle 
choleric, simple, unaffected, and full of quiet force of character. The sheer comic 
side to which the old reading lent itself in the domestic duel of course suffers, and 
there is also a tendency to slowness of pace, but right or wrong as the present 


reading may be, this Sir Peter is rich in the real flavour of 'old comedy. As much 
could not altogether be said for the Lady Teazle of Miss Neilson-Terry. The 
excellent cast for "The School for Scandal" included, among othe'rs, Mr. 
George, Mr. G. W. Anson, Mr. Fisher White, Mr. Henry Mori-ell, 
Mr. Hayden Coffin, and Mr. Matheson Lang, Miss Frances Dillon, and Miss Edouin. 
After Sheridan, Moliere, with Sir Herbert in an elaborate study of M. Jourdain 
in " Le Bourgeois Gentilhomme." Mr. Merivale gave a fine air to Dorante, and Mr. 
Roy Byford was notably good as the Master of Philosophy. Miss Neilson-Terry, with 
a part in another manner as Dorimene, -showed her address as she did later in the 
year in French farce of the present year of grace, acting with spirit and charm as 
Paulette Vannaire in "The Eeal Thing" at the Garrick. Lastly to be noted at 
His Majesty's is "Joseph a.nd His Brethren,'' jn which Sir Herbert made so 
impressive a patriarch as the white-bearded Jacob, and in which Mr. Henry Vibart, 
Afr. Owen Roughwood, Mr. II. A. Saintebury, Mr. Hubert Carter, Mr. Merivale, 
Mr. Bassett Roe, Mr. Byford, Miss Jessie Winter, and Mr. George Relph especially 
i ihuted t<> a fine nil-round performance, the rapt yet suptle dreamer of the last- 
named being of bright omen for the future of the actor. 


To pick up again the Shakespearean thread is not a long business. There 
was the revival of " Taming of the Shrew" by Mr. Martin Harvey upon 
mixed Poel Reinhardt lines at the Prince of Wales's ; there was the revival 
of "Romeo and Juliet" on popular lines at the New Prince's; there was the 
revival of "Hamlet" on avowed Louis Calvert lines which did not seem to depart 
much from tire ordinary old-school lines at King's Hall, Covent Garden; and in 
Manchester there were the Flanagan revival of " Romeo and Juliet " and the Horni- 
maji revival of "Julius Csesar." In "Taming of the Shrew" Mr. Harvey did not 
aim as Petruchio at much physical truculence. This Petruchio was a genial fellow, 
with an air of bravado assumed for the pufpose. Whether it would deceive a 
woman of the real temper of Katbarina one may more than doubt, but to meet the 
position the Shrew of Miss N. de Silva was not upon a large scale, and even for 
what she was she was untamed. By a fresh reading Katharina mocked Petruchio 
rather subtly over the sun-moon episode ; and the spirit in which the speech on 
wifely duty was delivered a speech in which a considerable cut had been made 
suggested that Katharina wae only doing lip-service to her lord and keeper. Mr. 
Charles Glenney gave a full flavour of bibulous humour to Christopher Sly, as the 
part requires, and his rich laugh and grotesque antics ingeniously made up for lack 
of matter when, after the Induction, the tinker watches the play unfold.. "Romeo 
and Juliet" had a good working cast at the New Princes, with Mr. E. Harcourt 
Williams as ;i .spirited and impassioned Romeo. Miss Lilian Hallows as Juliet, .Mr. 
Alfred Brydone as the Friar, and Miss Blanche Stanley as the Nurse. The Man- 
chester revival had Mr. Dennis Xeilson-Terry as the star-crossed lover to the tender 
and poetic Juliet of Miss Margaret Haktan, an actress of a flower-like grace of style, 
who is too seldom seen in town. In "Julius Caesar" the most noteworthy feature 
was the Cassitis of Mr. .lulus Shaw, a valuable actor in the Horniman forces. In 
the ambitious " Hamlet " performance in which Mr. Calvert was a robustious Prince 
of Denmark, good points were the plaintive Ophelia of Miss Ellen O'Malley, the drily 
humorous Polonius of Mr. Fisher White, the First Gravedigger of Mr. Edmund 
Gwenn, the Horatio of Mr. Halliwell Hobbes, and the Laertes of Mr. Berry. 


The perennial art of Sir Charles Wyndham had during the year a fleeting expres- 
sion in David Garrick, a part in which his name will probably and worthily 
endure best. Sir George Alexander very artistically played John Herrick in 
"Open Windows," a part calling for subdued emotion and the turning on of the 
cooling hose of reason ; re-appeared as Aubrey Tanqueray, and also acted on his 
provincial tour the strong and complex part of Alexandre Merital in " The Attack." 
To Pinero's most famous 1 play Sir George brought the old charm of his Aubrey 
Tanqueray. The performance attracted once more by its simplicity of means and 
its entire naturalness. Nothing was overdone ; and there was a genuine thrill in the 
quiet force with which Tanqueray commands Paula at the critical moment where 
the angry woman is about to strike him in the face. Mr. Arthur Bouichier acted 
widely different charactere in his strenuous Labour Minister in " Trust the People," 
his genial Father O'Leary in "The Greatest Wish," and his astute and politic 
Comte Sorbier in " Croesus," to say nothing of hie delightfully weighty Dr. Johnson 

A' BOOK. 149 

in the play of that name. .Mr. Martin Harvey, in addition to the parts in which h<; 
]>n|iul;ir in his repertory, was seen as Silvani, the pseudo-Sardinian I'ruice in 
" The- Faun." As this mythological figure in the terms of modern life, witn 
goatish tricks and semi godlike pretensions. Mi-. Harvey gave a rnnai kalilc per 
formance, of much originality, flexibility, and uncanny power. The success of 
"Diplomacy" lias held Mr. Ccrald du .Manner to a single part-- Hem . 
for which his touch ie somewhat light. Another actor of the younger school. .Mi 
Dennis Eadie. had also, through the long run of " Milestones," limited opportunities, 
but he made the most of the rather acrid raisonneur in " Interlopers " and the 
harum-scariun, globe-traversing lover in " The Pursuit of Pamela." Mr. H. B. 
Irving, returning from his South African tour, had a part scarcely worthy of hi* 
a.s I>csire. .Munmis <le la Y.'iHierc. in "The Cram! .Seigneur," but he portrayed 
picturesquely and -with psychological skill the "sneering devil" who executes a 

f(t<-> to .something like virtue in the last act. His brother, Mr. Laui 
Irving, was fortunate in two fine parts, displaying the range of the actor'a powers 
first the ambitious, conscience-tossed Skule, too strong and not strong enough, as 
Mr. Galsworthy might say, and second, the subtle, secretive Takeramo of 
" Typhoon." caught in the frenzy of a Western crime passionnel. In the Ibsen 
character, a sort of Macbeth of the fjords, Mr. Irving gave a tense, vivid perform- 
ance, somewhat marred by mannerisms of voice and gesture. In his jTakeramo .Mr. 
Irving was marvellously close in hie study of Japanese traits, particularly in facial 
expression, speech, and peculiar gait. The reserve, the quiet power of his acting 
were profoundly impressive. Behind the man seemed to lie the semi-sinister inscrutable 
mystery of the East. The foregoing players, excepting Sir George Alexander. Mr. 
Harvey, Mr. L. Irving and Mr. du Maurier, appeared, it might be mentioned, in 
the cast of the Command performance of "London Assurance" at the St. Jam 
as also did Mr. Charles Hawtrey, Mr. J. D. Beveridge, Mr. Henry Ainley, Mr. 
Weedon Grossmith, Mr. Godfrey Tearle, Miss Marie Tempest, Miss Irene Van 
brugh. Miss Neilson-Terry, and Sir John Hare. The last-named also came out of 
his retirement to play with all his old sense of character, acnteness, and finish of 
method the Judge in " The Adored One." 


One of the most versatile of our actors as he is one of the most highly endowed is 
Mr. Henry Ainley. He can play a character part as well as a jeune premier, a tragic 
or poetic part as well as a modern light comedy. This year the long run of " The 
Great Adventure " has almost monopolised him for the bashful and tongue-tied Ham 
Carve, an elusive concept of the author's, nevertheless worked out by the actor with 
rare plausibility and skill, and invested with a sensitive charm invaluable to the part. 
Mr. Matheson Lang, also a versatile actor, ranged from Charles Surface in old 
comedy to his delightfully humorous French Canadian in one melodrama " The 
Barrier" and his wonderfully-composed Chinaman in another "Mr. Wu. " If his 
Charles Surface left something to be desired, his 'Poleon Doret and Wu-li-Chang were 
masterly studies. Mr. Leon Quartermaine, an actor of no little imaginative force, 
played various parts, and played them well. Few can strike better the fantastic note, 
though perhaps he overdid it a little in Hialmar in "The Wild Duck." Bui 
reckless Bohemian in " Typhoon " was thoroughly in the vein, a brilliant piece of 
work. One recalls, amongst other impersonations, the dissipated Henri in "The 
Green Cockatoo," the romantic Gerard Mordaunt in "Panthea," the serio-comic 
Caesar in " Androcles and the Lion," the kindly Blinkinsop in "The Doctor's 
Dilemma," the ill-starred Jones in " The Silver Box," and the old man in "Nan," 
in which character Mr. Quartermaine, skilfully made up, fiddled and quavered, and 
babbled of Gaffer Pearce's ghostly love and weird imaginings with an exquisite 
touch. It is a record of which any actcr might be proud. Of Mr. Charles V. France's 
various parts perhaps the wicked Baron in "Panthea " was the most notable a subtle 
and powerful portrayal ; but he was exf llent also in his more familiar manner aa 
Richard Stern in "The Handful" and Richard Whichello in "Mary Goes First." 
Mr. Norman McKinnel, who gives an almost Zolaesque realism to his work, had con- 
genial characters in the nerve-racked George Digby in "Collision," the brutish Jim 
Harris in "Between Sunset and Dawn, the * sardonically-passionate Henri in 
" The Green Cockatoo," when revived at the Vaudeville, and in " Great Catherine " 
in the one-eyed, semi-barbarous Prince Patiomkin, coarse, drunken, and supremely 
cunning, a character in -which Mr. McKinnel discovered a rich vein of humour. Mr. 
McKinnel was also seen as James Ralston in "Jim the Penman " and John Anthony 
in " Strife "the latter one of the finest impersonations on the modern stage. 


A like remark may be applied to Mr. J. Fisher White's David Roberts in Mr. John 
Galsworthy's play. Contrasted with the nervous force and vehemence of Mr. 
White's playing of this character were the composure and finesse of his Baron Hard- 
feldt in "Jim the Penman." This accomplished artist, in addition to his Shake- 
spearean and old comedy work at His Majesty's, acted the irritable and eccentric 
student of criminology in " The Scarlet Band " and the dour old Puritan in " The 
Night Hawk." Reference has already been made to Mr. Gill's roles at His Majesty's 
and Drury Lane, but there remains a high tribute to pay to his strong, sure Hakon 
Hakonsson, i/he fortunate man, in " Th-e Pretenders." Mr. Gill, under the impulse 
of this great character, got into the heart of Hakon with a freedom not always his, 
making Hakon not merely a romantic but an heroic figure, splendid of spirit. In 
"The Pretenders" also Mr. William Haviland was subtle and intense as the 
intriguing and malignant Bishop, and the long death scene of the wicked Nicholas 
was sustained with unfaltering concentration and graphic if not magnetic power. Mr. 
Sydney Valentine showed in the embittered Philip Brook in "Open Windows" his 
wonted grip, and in Philip Ross in " The Will " the true vein of feeling with which 
this actor can underlie and humanise his work. Mr. C. Aubrey Smith is, like Mr. 
Valentine, a virile actor who does not always get the parts tha-t he merits, as ,in 
'' Years of Discretion," where Christopher Dallas had, in company with three other 
swains, to make love to a gramophone obbligato. Anthony Ashmore, in " Margery 
Marries," was another part in which Mr. Smith was not well served, but it was very 
pleasant to renew acquaintance again with his altogether admirable Torpenhow in 
" The Light that Failed." Mr. Allan Aynesworth gave two performances of excel- 
lent temper and discretion as Robert Stafford, the millionaire with drunken and 
sensual fits, in "Bought and Paid For," and as Charles Herio, the irrisistible 
lady-killer, whom he played very happily in the vein of light comedy in " The Real 
Thing." Mr. Frederick Rosa had a part well after his resolute manner in the hard-fisted 
Edward Gilder in " Within the Law " ; and another part in which he showed a fresh 
side to his elocutionary powers in the utterances of the suave, dulcet-voiced Chorus 
of " The Yellow Jacket," a performance of which the rounded art was a thing for the 
connoisseur. Mr. Julian Royce had a character somewhat out of his line as Horace 
Daw in " Get-Rich-Quick Wallingford," but one briskly and admirably played, and 
he was in his element as Baron Kurdmann in "Sealed Orders." The polished 
villain has perhaps in the West End, at all events Fallen from his high estate, 
though not, when Mr. Royce ie about, " never to hope again." Speaking of villains, 
Mr. Ellle Norwood should lie noled for the concentration of his Jim Garson, set off 
with a certain glamour that was highly effective. In " Within the Law " Mr. E. 
Lyall Swete gave a Bland subtlety to perhaps the best-drawn character in the play as 
the lawyer, George Demarest. Mr. Gerald Lawrence also broke fresh ground as Amos 
Thomas in "Years of Discretion." This half-rogue, half-visionary, self-satisfied, de- 
liberate, spouting transcendental nonsense, and keeping his unworldly eye steadily 
on the main chance, was a droll and clever study. Mr. Lyston Lyle brought his 
forceful personality adroitly and effectively to the part of the senile Sir John Capel 
in " A Place in the Sun " ; and Mr. Edward Sass showed an equal address in por- 
traying the robust Admiral in " Sealed Orders " and the ineffably foppish Trdssotin 
in "The Blue Stockings." Mr. Alfred Brydone had one of his best parts, very 
vigorously hit off, as Ferrovius in " Androcles and the Lion," in which also Mr. 
O. P. Heggie as Androcles gave a performance of winning humour and pathetic gentle- 
ness. Mr. Heggie also acted with much insight as well as strength of handling as 
the thoughtful and tolerant clergyman in "Magic." Few actors can combine the 
genial with the earnest and impressive as well as Mr. J. D. Beveridge, with his rich 
voice and firm and finished style, though the Irish doctor in " The Big Game " and 
the old Italian musician in " Panthea " did not supply him with any great opportunity. 
Absolon Beyer in " The Witch " was a part more worthy of his powers. Mr. 
William Farren, son of the third William Farren, of a famous line, is also an actor 
in whom one always feels the value of good elocution and sound style. There was 
force in his materialistic doctor in "Magic" as there was humour in his dry 
lawyer in "The Adored One." Maturity of style, quiet, cultivated, also marks the 
playing of Mr. Frederick Kerr, who appeared in a number of more or less raisonneur 
parts, including Edward Grimshaw in " The Big Game," the Earl of Chislehurst in 
"Cap and Bells-," Sir Joseph Little in "People Like Ourselves," and the elderly 
bachelor Don in "A Cardinal's Romance." 


Comic acting on our stage has less and less indulgence in broad effects, based on 
"star" parts. The influence of actors such as Mr. Charles Hawtrey, Mr. Cyril 

' ROOK. 151 

Maud.', Mr. Weedoii Grossmith. M --o, and even of 

|il.-i\ '-mi and M r. ( 

Ml in. 'lit, iml. di\oieed from Llio jl;iy as ;i whole. Of Mr. 

jius Woodhury, jun., in Niy Die," was 

i in popularity with pla\goeis, who !i old 

! iiilinarian in "Tin- Perfect ( 'in e, " : 'it- impersonation was. They liked 

thi-ir favourite with the attain of quiet audacity, not as tin- man who would be ill, 

man who wouldn't. The suave and n Lucius O'Grady in 

John K> u ;an " was also properly Hawt.ivyan and duly appreciated. "General John 

in " was also noteworthy, amongst other things, 1'or the inimitable Timothy 
Doyle of Mr. Leonard Boyne. Mr. Maude's most prominent part was as the Rev. 
Cuthbcrt Sanctuary in "The Headmaster." Mr. Maude \\ as at his best in this 
mildly eeceiiine character. Mr. Maude scored another hit as Andrew Bulli- 
vant, in " Grumpy," though, so far, only in the provinces and the United States. 
Mr. Grossmith made the most of the Duke of Chuffam in " The New Duke," and 
John Queebury in " Ask Quesbury," two char.-ict eristic impersonations by this skilful 
comedian. Mr. Welch gave a fresh turn to his laughter-making powers as the touch- 
and-go Marcel Durosel in "Oh, I Say!" Mr. Clarence had a congenial old man 
part in Mr. Devizes in "The Will," a middle-age part in the nervous Thou 
i.ii " P.illy'.-: Kurt mi.'." and a rather lnw comedy part as the much-married valet in 
" The inferior Sex." Some good and diversified parts fell to Mr. Gwenn as the 
choleric Rankling in "The Schoolmistress," the Dickenslike Guppy in "Yours," 
the self-made, self-opinionated John Barger in " The Cage," and the man-of 
people capitalist in " In and Out." Mr. Cloves, one of the ablest of our comedians of 

ilder school, gave a performance of remarkable excellence, clean-cut, reticent, beau- 
tifully finished, as the keen but not unkindly old Pargetter in " Nan." The light 
touch, the imperturbable humour of Mr. Eric Lewis had not much to work upon as 
Sir Holier! I'.acUns in "The Adored One," nor as Peter Dodder in "Pamela." Mr. 
K. llolmaii ( lark has, in his own way, a touch as light as Mr. Lewis's. Very deft in 
the handling, and significant in its minute details, was the latter's Property Man in 
" The Yellow Jacket," in which piece also Mr. Ernest Hendrie as Tai Fah Min and 
Yin Suey (long was, in two adroitly differentiated characters, ludicrously bix; 
Mr. Michael Sherhrooke, who excels in comic parts requiring pace, was also Very 
as the far-seeing philosophic German professor in "Collision." Two comedians who 
made conspicuous strides forward last year were Mr. Arthur Whitby and Mr. Arthur 
Hatherton. Mr. Whitby has a peculiarly dry style, shown in his tetchy Uncle Kd 
in Th- Harlequinade," his sepulchral-looking Pancrace in " Le Manage Foi 
his self-satisfied Bonnington in "The Doctor's Dilemma," his keen investigating 
Judge in " Typhoon," his clearly-limned John Barthwick in " The Silver Box, and 
in other parts. His work is delicately pointed and rich in detail, yet never overladen 
as to obscure the humour. Mr. Hatherton has a gift of simple and direct drollery, 
which can easily take on colour, as in his studies of the indifferent ship's hand in 
" Brother Alfred "bad plays sometimes offer the compensation that they bring to 
light good actors the clownish emergency valet in "This Way, Madam," and the 
fiery provencal scornful of the Northerner, in "Who's the Lady?" Mr. Fred 
Lewis has a full and fruity humour, admirably expressed, as the inconsequent Duke, 
in "Magic." He gave a skilful performance as Sir Herbert Craddock in "The 
Faun," and another as Brigella in "Turandot." In sheer drollery the year saw 
little better than Mr. James Blakeley's glib and loquacious matrimonial "agent in 
"The Laughing Husband," a part originally confined to the but on the 

ground that one cannot have too much of a good thing afterwards worked int. 
preceding acts. Mr. Paul Arthur, an accomplished American light comedian, m, 
welcome appearance as Dick Roderick in " Vanity." Mr. Arthur is well-known t 
but Mr Hale Hamilton came tor the first time last year, and as Rufus Wallingford iii 
" Get-Rich-Qnick Wallingford," at once, using an appropriate idiom, "madegood." 
Hannibal K. Calhoun. in " Sealed Orders.'' did not give him much scope, but his sense 
of fun and his nicely cnleuhi.ted style, easy and ingratiating, had plenty of pin-. 
Nathaniel Duncan in ''The Fortune Hunter." The latter piece also introduced an 
obviously good charaet er a< -tor in Mr. Forrest Robinson, who acted tin- simple hearted 
old inventor very happily. Note on the American side is also due to Mr. Frank 

ven in the part of James Cilley. in "Bought and Paid For," a type 
cleverly drawn from American life, with quiet, easy humour. American comedians 
excel in acting nonchalant character pa : tin' 


The murical-comedj stage mal [| rr ,, 

M>' raves. Mr. Kdmund Payn<>. Mr. George Grossmith. jun., Mr. W 


Passmore, Mr. Joseph Coyne, Mr. G. P. Huntley, Mr. W. H. Berry, Mr. Alfred 
Lester, Miss Gertie Millar, Miss Connie Ediss, Miss Gracie Leigh, and many more 
were again to the fore in parts of the conventional musical-comedy sort. 


One looks in vain amongst our leading ladies for an artist of the enchanting 
personality and the sunny genius of Miss Ellen Terry, or of the emotional force 
always under so sure an artistic control of Mrs. Kendal. Short of that, the stage 
has a plentiful supply of talents on the distaff side. Our actresses, as a rule, get 
too little help from the parts that fall to them. As an instance, how inadequate was 
the part of Leonora in "The Adored One" to the exquisite art that Mrs. 
Patrick Campbell brought to it. A part such as Paula Tanqueray emphasises the 
fact from force of contrast. The re-appearance of Mrs. Campbell in Sir Arthur 
Pinero's play showed her in the fulness of her powers. Mrs. Campbell had 
modified and harmonised Paula Tanqueray without, however, weakening the 
appeal. Mrs. Tanqueray was not so neurotic as she had been. The old reading 
showed her less a victim of circumstances, less "a good woman maimed," than 
a woman temperamentally unsound. If it was not altogether easy, it was not now 
impossible to conceive Aubrey Tanqueray marrying this woman. There was a 
valuable gain of sympathy in the part. Mrs. Campbell, indeed, acted with a new 
subtlety, and her style had lost such rough edges as it used to have. A piece of 
acting of a finer finish as well as of more deep and luminous expression it would be 
difficult to imagine. Miss Irene Vanbrugh, also one of the ablest exponents of 
Pinero women, had no better part to play than Cynthia Harcourt in " Open 
Windows." With the supremacy of Mrs. Campbell in certain pants in drama is 
that of 'Miss Marie Tempest in certain parts in comedy. As Mary Whichello in 
" Mary Goes First," wkty, feline, fascinating, Mr. H. A. Jones fitted our comedienne 
of comediennes to a nicety. She was less happily served in her other parts, but 
even poor material she can;vitalise and fashion with her quick humour and swift and 
unerring technic. Miss' Ethel Irving, who seems to the manner born for 
Lady Teazle, as she was for Millamant in "The Way of the World," 
undertook mere theatric parts in "Vanity" and "Years of Discretion,'' 
though her resources as a comedy actress, with a fitfe sense of feeling, 
had some scope again as Lady Frederick in Mr. W. iSomerset Maugham's 
play. Miss Marie Lohr's return to the stage gave her delicate and sensi- 
tive gifts only a showy and artificial character to work upon as Adele Vernet in 
"The Grand Seigneur." Miss Evelyn d'Alroy, failing parts worthy of so sin- 
cere and able an actress, showed her versatility as a Chinese princess in 
" Turandot " and as a musical comedy princess an "Love and Laughter." In 
the musical comedy she brought her powers as a skilled actress to Yolande, 
greatly to the advantage of the character. Her acting was exquisite in the scene of 
renunciation. Miss Lilian Braithwaite, always a graceful and natural actress, was 
committed to the ugly melodramatics of a white woman trapped by a yellow man in 
"Mr. Wu." Miss Alexandra Carlisle had also a melodramtic part, though a good 
one of the sort, in " Bought and Paid For." Very sweet and womanly indeed 
was her Virginia Blaine, and these qualities threw up the contrast of natures 
presented in the acene between the wife and her drunken husband, and emphasised 
the poignancy of the wife's situation. The character was depicted with great 
sensibility and' delicacy and also with an emotional expression of which Miss 
Carlisle has a growing command. We see altogether too little of Miss Nina 
Boucicault, whose Susan Thjossel in "Quality Street" brought out the beauty of 
conception and treatment in which she excels. Miss Winifred Emery, also too seldom 
seen, gave play to her xich vein of humour as Miss Dyott in " The Schoolmistress." 
Miss Eva Moore, who has so true a command of pathos, masqueraded as a little 
fright of farce in "Eliza Comes to Stay." Miss Moore played Eliza with a 
conscientiousness that you almost resented in so charming an actress. Her bespec- 
tacled Eliza in straw hat and plaid skirt was an appalling young person. You could 
not believe in the third-act metamorphosis, but you were grateful for it, for at all 
events it gave you Miss Moore in her bright and delightful manner. Lady Herbert 
Tree played for the most of the year, and played with a rare sense of character, 
Lady Henry Fairfax in "Diplomacy." Also in "Diplomacy" Miss Ellis Jeffreys 
endowed Countess Zicka with something of the graciousness of manner belonging to 
this charming actress of comedy, and played with a sensibility very effective those 
scenes in the last act when the toils have closed round Zicka and confession and a 
prayer for pardon alone remain for her. Miss Violet Vanbrngh, if one can trust 


memory, hud nf> new jiart of importance. x 
plisl' ill high comed\ . mad"' ;i He. '.'lilu- 

similar appearance in " \\oinan mi Her < h\ n "---a title Imiir 

,-, :ili mingled sympathy, tenderness, an I s Lillah 

tier Old parts - -.Jennifer J >el>udat, in " I In- I ) 
whii-i' it her best : Nan, which she plays with an aim 

\nne Pederadotter in " The Witch." a character in which she 
manner; d gait. Her Livinia in " Ainlrocies and the I. 

duly Shavian. Various part* fell In Miss Kllen <)' V ! marked 

individuality \vh<> is perhaps best, in c'n 

Irene Martin in " The Cage." or Paine Julian in " Dame Julian's Window." 
in a straight part for example. i in " A I'iac,. in the Sun" she 

employ a simple and moving pathos. Miss Grace Lane is an actress with something of 
the economy of means and the direct method of Mrs. Kendal. Miss Lan- 
admirable Airs. 1'alston in the revival of "Jim the Penman," and her Susan Digby, 
the fragile yet spirited wife of the volcanic George Digby in "Collision," was ably 
conceived and skilfully and dramatically worked out. Miss Henrietta \Vatcon has 

equals in characters hard upon the surface yet sub-pathetic, of which her Mrs. 
Parfitt in "The Greatest Wish" was a good dnsta-nce. Miss Hilda Trevelyan is 
another individual actress, good in a part of mischievous fun as Peggy H< 

The ScholmistresB," but better where she can temp- 
delicious homely feeling, as in Jenny Gibson in " Yours." Actresses of temperament 
to use technically a word somewhat vague in itself, for all acting is dependent on 
temperament are Mise Mabel Hackney, Miss Dairagh, Miss Miriam Le 
K tie Cutler, Miss Tittell-Brune, and Miss Marie Doro. Miss Hackney gave a per- 
formance marked by passion and abandon, if not altogether complete, as Helene in 
'Typhoon"; Miss Darragh showed her emotional power in a number of assump- 
tions, chiefly in repertory work in the provinces; Miss Lewes depicted the Countesn 
von Hoenstadt in " Elizabeth Cooper " with vivacity and warmth, if with not much 

shj ie usually cast for, brought, her breadth of style and vigour of expression to Nell 
Gwyn at the Lyceum, and Miss Doro acted with touching sensibility in the char;, 
of Margaret Holt in "The Scarlet Band." Misc Grtrude Kingston acted and 
acted excellently a part a little out of her range as an actress of marked intellectual 
quality as the amorous Empress in "Great Catherine." Miss Madge Mclntosh : 
another actress on the intellectual side. Her Olive Jaggard in " Dropping the 
Pilot" was admirable, and not less so her Mrs. Moody in "If We Had Only 
Known." A performance of much merit was given by Mies Dorothy Dial. 
Lizzie Rogers in "The New Duke." 

In nothing was the year more encouraging than in the number of younger actresses 
coming to the front. It is significant that it has been the repertory system, and 
especially that expression of it to be found under Miss A. E. Horniman at the Gaiety, 
Manchester, that has brought about some valuable accessions to the ranks of our 
leading ladies. Miss Irene Rooke, for example, had, prior to taking up repertory 
work, been playing in and but of London without the opportunity of developing or 
exhibiting those high powers of acting which favourable conditions have established. 
Her Nan at the Court was in the nature of a revelation a performance of sheer 
beauty, however unspeakably sad. One's humanity revolts, no doubt, at the remorse- 
less and indeed causeless cruelty of Nan s evil fortune in this jnelodrama in terms 
of poetry; but the part must be taken as it is. There can be few 'more poignant 
memories than that of this soft voiced sweet and vital woman, with her pat;- 
her faith, and her wealth of loving of this woman thrown back upon herself in her 
mute and desolate despair. Miss Rooke in the part has a large, sure manner, in 
which nothing is overwrought, everything simplified, as in the clarity of tragic acting. 
In Clare Dedmond in " The Fugitive " Miss Rooke had a different character to por- 
tray one modern and complex. But she gave to it the same living force, the same 
acute reality never with obtrusive detail, always with lucid and natural et' 
woman "too fine and not fine enough," dogged by fate to her pitiable end, wai 
made wonderfully real and sentient; and the death scene, in the midst of the glitter 
and luxury of the gay restaurant, had again that elevation of mood, that realism 
which is transfigured into mystery and beauty, that " pity of it " which i. essentially 
tragic. Miss Rooke played many other parts during the year, but it is sufficient to 


think of her work in the light of these two remarkable achievements, which place her 
amongst our foremost actresses. If she perhaps might have arrived sooner, ut all 
events she escaped the misfortune of beginning at the top. To do so is never properly 
to learn the minutiae of acting to do so is, as a rule, to become an undisciplined 
player, with crudities that overload style and faults that crystallize into mannerisms. 
Miss Edyth Goodall, another of the same Manchester school, is more frankly dramatic 
in method than Miss Rooke. Miss Goodall's Fanny Hawthorn in " Hindle Wakes " 
proved her to be an actress of strong individuality and no little power, but did not 
suggest the grip, the breadth, 'the intensity of expression such as she put into her 
Margaret Taylor in " Within the Law." Miss Goodall not only thrilled the audience 
with her emotional gift and declamatory force, but she was also able, by play of 
personality, to maintain the character of Margaret Taylor more or less in the 
sympathy of the audience in those scenes with Agnes Lynch, Garson, and others 
where the artifice and the ethical unsoundness of the piece wsre in danger of asserting 
themselves. A uiird Horniman actress to make a reputation is Miss Sybil Thorndike, 
whose Jane Clegg in Mr St. John Ervine's play was a deeply realistic study. In 
this type of part as also as Malkin in " The Whispering Well "she excels, but how 
well and variously she can act her Lady Philox in "Elaine," her Ann Wellwyn in 
"The Pigeon," and her Annie Scott in "The Price of Thomas Scott" bore ample 
testimony. She scarcely, however, touched the heights of Hester Dunning in " The 
Shadow." a fact, however, for which the dramatist, with his love for word-piling 
was not free from blame. Nothing retards and dissipates good acting so much as 
redundant dialogue. Another histrionic reputation of the year was that of Miss Wish 
Wynne. Miss Wynne came directly to the pan of Jane Cannot in " The Noble Vaga- 
bond " from the music halls, where she was giving her excellent character songs, but 
she did not conic as a stranger to the regular stage, on which she had already had 
considerable experience. To this experience the technical excellence of her acting may 
be ascribed, but her insight to the concept of the author and her sustained \c\ easy 
power of working it out were much more than would be looked for in the ordinary 
way, revealing an actress of unsuspected powers, .lane Cannot is the type of in., 
ing. motheriii'_ r woman, shrewd, practical, homely, with a humour that may veil hut 
docs not shut out a tender and solicitous heirt. The character is as as Maggie 
Wylie or Bnnty Biggar, or even better than cither; and Miss Wynne's treatment of 
it was one of the most refreshing as it was one of the most illuminating things in the 
acting of the year. 

Of rising actresses. Miss Gladys Cooper, Miss Catlilecn Xesbitt. and Miss Laura 
Cowic, amongst others, are specially noteworthy. Each has the gift of personality. 
Miss Cooper was a little overweighted as Dora in "Diplomacy," but her performance 
had some emotional strength and much charm, and her wayward, half fantastic 
runaway in "The Pursuit of Pamela" many delightful moments. Miss Nesbitt 
perhaps found the dainty interpolated part of Alice Whistler in "The Harlequin- 
ade " the most within her present means, delivering her lines as she did with a cap- 
tivating girlish relish. That she is not simply an ingenue we know, however; and 
in such opposite parts as the laconic Irish colleen in " General John Regan," the 
hot-blooded Linet in "Dame Julian's Window.'' and the tired and somewhat jaded 
Phoebe of the ringlets who 1 merges into the supposititious Livy of lively temperament 
in " Quality Street," the young actress showed her sense of character and range of 
expression. Her present slight hardness of style she will no doubt grow out of. 
Miss Cowie, who was so merry a romp in " The Seven Sisters," played feelingly, if 
mercurially as Renee de Rould in "The Attack." As an ingenue Miss Margery 
Maude is extremely pleasing, though Portia Sanctuary in " The Headmaster " did 
not give her much chance ; and so is Miss Rosalie Toller. The latter was an almost 
ideal Ellean in ^' The Second Mrs. Tanqueiay." She looked the part of the fair 
girl delightfully, and conveyed without coldness its virginal character. Her Elsie in 
" Open Windows," and Cicely Cardew in " The Importance of Being Earnest " were 
also in their different degrees admirably done. It will not perhaps seem invidious 
to mention amongst the good ingenue work of the year that of Miss Gladys Storey, 
Miss Rita Lascelles, and Miss Muriel Martin Harvey. One recalls Miss May Blaney 
for her sympathetic acting as Necia in "The Barrier"; Miss Renee Kelly for her 
bright Eve Addison in " The Inferior Sex," Miss Mabel Russell for the Cockney humour 
of her Agnes Lynch in " Within the Law," Miss Lettice Fairfax for a similar humour, 
skilfully veneered, as Lady Orreyed in "The Second Mrs. Tanqueray " ; Miss Mnr- 
jorie Patterson for her vivacious Jababa in " The Happy Island " and the squalid 
Liz Higgins in " Between Sunset and Dawn " ; Miss Lola Duncan for her vivid picture 
of a slattern in " The Whispering Well " and her Marjorie McGregor in " A Daughter 


her highly promibin</ 

tli<- I Miss II ild r her warmly ulelma in 

in " Lilian II. i' i the sup). . ',don 

nf li. . [onckton ll"ii. 

intensity ( lirr llerlot's Mart.e in "'I In- Witch " and IHT " I'. 

Kiiid Hell, playing a number of p ably 

ami always a beautiful woman, was perhaps at her best as Jieatrice in " A Cardinal's 
Romance." showing in the second act Mile. Beri 

attempted too much as I 'lie's work 

Mie making. Sunn- little Fronch and ol "li.s brought to 

notice Mill.-, .lulii'ttt' Mylo, a iinisii < tiously spirituelle, for whom 

there should be a brilliant future. 

.JKTM.S l'i;v.\i Q 

The young lover as a line of business is not so well defined as it once was, perhaps 

.ire out of favour with playgoers. This tendency inea' 

r range for juvenile leading men. Thus we have Mr. Henry Ainley as the 
hero of t ' garters, or Mr. Godfrey Tearle as the fascinating pirate wanting 

to be " mothered." or Mr. Mutheson Lang as an inscrutable Cliinaman, or Mr. 
E. Harcourt, Williams as a Jingle-like Englishman amongst the. innocent Welsh, or 
Mr. Reginald Owen and Mr. Charles Maude as musical comedy young men. Mr. 
Tearle. appeared in a round of parts, varying from the picturesque Astrakan prince 
in " Tiirandot " to the dashing Valentine Brown in " Quality Street," and inch; 
Lord Arlington in "Her Side of the House"; Percy Robinson in "The Cap and 
mil Captain Rattray in "The Adored One," all pi; lias they were 

looked by this handsome and manly actor. Mr- Owen acted in "Elizabeth 
i ooper" in Dnyne rather on effeminate lines, and his very clever Stuart 

Capel in "A Place in the Sun " was yet inclined to be too much a smiling doli. 
Some of t.lie younger actors lean to an invertebrate manner. Mr. Owen Nares gave 
to Julian Boauclerc in " Diplomacy " a good deal of the distempered anxiety of 
the problem play weakling. Mr. Dennis N eilson-Terry has a lack of stamina, which 
may disappear witli experience. He .is best so far in parts of poetic colour as in 
Martin in "The Witch " though the realistic, long, and difficult death sceii' 
Louis Dnbcdat in "The Doctor's Dilemma" was handled wtih much technical 
cleverness in so young an actor. But Mr. Neilson-Terry over-emphasised the 
decadent characteristics of the painter. On the other hand, there was a quiet 
and excellent grip in the Orloff of Mr. Arthur Wontner, if an insufficiency of colour, 
seeing th. ; mt is a Russian. Mr. \Vontner, who is an actor of no little 

individuality, was good with few opportunities as Philip Cast ways in 
Castways." Mr. Robert Loraine can always be relied upon for virile work. He 
has seldom dome anvtihing better than iris Dick Blair in "A Place in the Sun." 
Whether in the tenderly chivalrous scene with Rose stage brothers, as a rule, 
have scant pity for erring sisters in the scenes of altercation with the Capels, ir. 
the pretty love passages with Marjorie, or in the swiftly changing perplexities of 
the last act, Mr. Loraine was never at a loss. He is one of the most magnetic of 
our actors. Mr. II. Marsh Allen and Mr. C. M. Hallard also know how to grip a 
part. Mr. Allen was vary strong as Jack Howell in " The Scarlet Band," as 
earnest and sincere a piece of acting as one could desire. Mr. Hallard had a 
congenial rule ns Max Hallard in " The Cage." He also did extremely well as 
in am.thor sort of part John le Page in " Sealed Orders " tempering villainy with 
a certain sympathetic glamour. Mr. Cyril Keightley, who can play a villain of your 
polished and subtle sort, made a diversion into farce, acting Hilary Chester in 
''The Chaperon" with capital nonchalance. Mr. W. Graham Browne is always 
easy and facile, with the right finesse for modern comedy. HLs Felix Galpin in 
"Mary does First" was in a happy vein, and as the nondescript nuin of the 
world flitting through "Esther Castways" he added force to finesse in the melo- 
dramatic third act. The light, jaunty humour of Mr. Kenneth Douglas had scope 
in a number of parts Kenyon Juttle an " People Like Our- Winslow 

in "The Inferior Sex," and .Tames Daubenay in "The Xight Hawk," 

ood in "Jim the Penman" a detective eligible for 

room and Frederic Wilder in "Strife," a character that he varied in reading i 
the former exposition hy Mr. I Minis Ead:e. In "Strife" should also bo i 
in passing, Mr. Athol Stewart for his Edgar Anthony, the product of a more 
humane t ion of capitalists, acted skilfully and with a quiet gravity 


of touch; Mr. Bassett Roe, who as the hard, matter-of-fact Oliver Wanklin, played 
finely, with conspicuous distinction of style; Mi: Charles Kenyon, whose Simon Har- 
ness, a piece of close observation, might have stepped from actual life; and Mr F 
Crembn as the typically Welsh Henry Thomas, less visionary than Mr "H ' R' 
tt s had been, but more racv of the soil. A juvenile lead deservedly' coming 
"Yr *nt Mr. J?^JS who lf i'P-i-sonations of dive Rushton in 
A Cardinal s Romance," Jack Chiaholm in "Interlopers," and Alexis Vronsky in 
-iannf ^? r Tr , u C if * >leasill S * Presence, well wrought, and full of nervous 
Mr Bahol Holloway ean play a jeune premier part, a, witness hie graplnc: 
cture of the romantic -but sensual Dick (hirvil in "Nan"; -but little come 
tins well graced actorhis Belling i,, "The Wild Duck," for instance. 


In this section one must ask the indulgence of very many well-known and able 
artiste who have not been mentioned in detail or at all. There must necessarily be 
many faults oi omission where the field of reference is so wide and the limits of 
space, comparatively speaking, so severe. Much could be written alone concerning 
ish acting, Welsh acting, and the acting of what may be called the Lancashire 
Hi.; growths in these ttBpecte wlm-h the year has maintained are welcome 
highly interesting plovers and students of arting. The Irish players some of 

wfcom have gone b,. yi ,,ui their own hounds-include players richly endowed with 

drama ,c and luum,u,u s gifts, ,,fwh,,,,,. Mr. ., Sinclair. Mr. Krod O'lJonovan, Ml 
J-M- Kerrigan, Miss Sara Allgood, and Miss Mairc O'Neill come prominently to imnd' 
i ! II ' ''' hlivo ' l mitm-al predisposition to acting, and it' ... a pitv 

the prejudice against the stage, Mill surviving in the Principality as a whole 
jmongst other Lnflueacee kept back much theatrical development there The 
players in - 1 ho Joneses' 1 and "Change " were remarkable for their indi- 
lual talents, and they played together with a natural ease and a buoyant 
effect no less remarkable. It is not too much to say that they afforded the London 
tage a iresh sensation in acting, and they did so with a legitimate art, such as the 
Irish players, for examp e, have sometimes been wanting in, and also without the 
violence oi method o the Lilians. Thi, Utter referSice'may seem far-fetched 
it is remembered how <.mme,iHy racial Welsh acting is. Of \\elsh artists Mr. 
Harding Thomas and Miss Lilian Masm, were already known to us. Mr Thomas 
and Mus Mason d,d not have in " The Joneses," which was mainly on the 


ae n e oneses, wc was mainly on the comic 

the opportunities that the old father and awthei av them in"" Change " They 
(b end <>. - Change" inexpressibly s;id. with the poor proud mother bereft 
r .on* and utterly sundered m svmpathv from her rigid yet not unsympathetic 
The pride of motherhood - all the more beautiful because bred within 
hes,. humble \\elsh cot. profotfndly shown by Miss Mason, whose 

had .1 simple strength of line that belongs to the fim-st etching Mr I! \ 
Hopkins, who was so tempestuous a lover in "The Joneses," gave the glow of 
an TcL w'fl young strike leader in "Change." M,ss Eleanor Daniels is 

i actress with a quaint and self-possessed air of coquetry very much her own 
Which made her MyWy Jones and Jinnie Pugh unconventionally piquant Mr' 
Tom Owen is a comedian of the first water, with a variety of expression that Ins 

Jon \h *T Vn " K ' 'T^ aS We 1 ' 1 aS lm em P h:itlc and ^ xcitabl Eleazer 
. Mr- Led Eopkins >s also a eonunhun of the drollest kind. He made the 
slow-witted, good-humoured Moses Watkins in " The Joneses" the funniest farm 
hand imaginable. To the Horniman players some references have already bn 

M,n 1 P 5 ft" ' \ l J V" ly ^^ ^ pay a most ^adequate tribute to Miss 
Munel Pratt, so good a fanny Hawthorn in "Kindle Wakes " to mention one of 
a dozen impersonations; Miss Ada King. Mr. Brember Wills, Mr. Bernard Copping 
, Lewis Casson, Mr. Claude King, Mr. Leonard Mudie, and Mr. Jules Shawfthe 
!f^, nan ?, ed / fit ?S and skllfu actor ' who was ver y ^rcible as the butcher-lover in 
ihe bhadow But over-much playing in narrow Lancashire drama perhaps inclines 
lese players to a treatment at times too matterof-fact and unimaginative. Their 
The Shadow was in a hard and material manner it had no savour 
of West-country sweetness, of the breadth and mystery of the moors 

louching the remainder of the histrionic \vork of the year, there have 
i contributions from, amongst others, Mr. Norman Forbes, whose Baron 
tern of a meticulous finish, was worthy of the acting traditions of 

M^FZS ' : V li D M W T Mil T d ' Ml \J >Jm " d Malice, Mr. Philip Cuningham 
) Neill Mr. -Spencer Trevor, Mr. Herbert Buuston, Mr. Leonard Rayne, 
Mi. Guy Standing, Mr. Edmund Gurney, Mr. Luigi Lablache, Mr. Harcourt Beatty 


Mr. Lv Vivian Reynolds, Mi'. lVn-e\al C!aik', Mr. Mi'. Ma 

ry, whose cheery doctor in " The Poor I, ill I.* Rich Girl 

er than his mournful Choula in " Collision " ; Mi. II. A. Sainlsbury, M 
I'.'ss, Mi'. Henry Loiisdale. Mr. Albert. Ward, Mr. Frederick Mnt-lami. Mr. \! 
Muraiid, Mr. K H. Kelly, Mr. Vernon Steele, and Mr. Lauderdil. Maiilaml, an 

'les II. in "Nell Gwyn " ; Mr. Charles Kenyon, Mr. .1. \ 

Mr. Milton Rosmer, Mr. A. E. Mattln-ws, who took up Algy ;ilomacy " 

in -Tune; Mr. Clarence Blakiston, Mr. Kric Maturiu. Mr. Shu! . Arthur 

Craven, Mr. Aoton Bond, Mr. CLive Currie, Mr. (',. ion S\\inli'V. Mr. Donald 
Calthrop, Mr. Bertram Forsyth, Mr. Lionel Atwill, Mr. Fewlass Llewellyn, Mr. 
Clarence Derwent, and Mr. W. H. Muni-o; Mr. K. W. Royce, Mi. Kntlan ; 
ton, who was mainly on tour, though he succeeded Mr. Ross as Chorus in " The 
Yellow Jacket"; Mr. George Shelton, an excellent Tadmari in " M. 
Firsl " ; Mr. E. M. Robson, Mr. George TuLly, whose sailor man in "The 
Harbour Watch " was a ripe piece of comic acting; Mr. E. Dagnall, very funi 

in "The Chaperon ' : ; Mr. Fred Kastman, highly d 

the Lady?" Mr. Thomas Sidney, Mr. E. W. Garden, Mr. T. X. \\Yguelin, Mr. 
Frederick Volpe, Mr. Sam Sothern, Mr. John Tresahar, Mr. George. Bealby, Mr. J. 
Karren-Soutar, a light and amusing Cypnen Gaudet in ' Who's the Lady?" Mr. 
Lawrence Grossmith, Mr. Rudge Harding, Mr. I 1 '. A. Vane-Tempest, Mr. Percy 
Hutchison, Mr. Laurie de Frece, Mr. George Barrett, Mr. Robert Xainby. Mr. V. 
Kay, and Mr. J. T. Macmillan ; Mr. Courtice Pounds, who scored one of the sue*' 
of his career as Ottakar Briichne in " The Laughing Husband " ; Mr. Hayden Coffin, 
and Mr. Bertram Wallis ; Miss Maxine Elliott, Miss Alma Murray. Miss Frances Ivor. 
Mrs. Saba Raleigh, Miss Aimee de Burgh, Miss May Whitty, Miss (! \\-ynne Jlerh'Tt. 
Miss Mary Rorke, Miss Maude Millett, Miss Suzanne Sheldon, Miss Sarah I'.rooke. 
Miss Ethel Dane, Miss Hilda Spong, Miss Lena. Burnleigh, Miss Maud Cressall. Mi.-s 
Cicely , Hamilton, Miss Christine Silver, Miss Athene Seyler, Miss Cynthia Brooke, 
Mi*s Madge Fabian. Miss Edyth Latimer and Miss Alice Crawford, Miss Carlott.i 
Addison, Miss Kate Bishop, Miss Kate Sergeantson, Miss Helen Ferrers, Miss Gl 
Ft'olliott, Miss Vane Featherston, Miss Annie Schlet'ter, who gave a clevorly in 
vcntiotial reading of the Marquise in "Diplomacy"; Miss Hutin Britton, Miss Fthel 
Warwick, and Mine. Lydia Yavorska ; Miss Fanny Brough, us full of her 
vibrant, infectious humour as the part of Mrs. O'Mara in "Sealed 
Orders" would allow; Miss Nancy Price, and Miss Helen Haye. an act 
who continues to make notable progress; Miss Hilda Anthony, Miss Audrey 
Forde. Miss Mary Jerrold. Miss Sybil Carlisle. Miss Nina Srvcnin^. 
Lydia Bilbrooke, Miss Ethel Dane, Miss Estelle Winwood, Miss Doiotliy 
Minto, whose Lulu in "The Real Thing" was rather out of her dainty 
silver-point style; Miss Minnie Terry, Miss Daisy Thimm, and Miss Koueiiu 
Jerome, Miss Mary Brough, Miss Annie Hughes, Miss Alice Mansfield. Mi-.- I'.ianche 
Sianley. Miss Drusilla Wills, Miss Alice Beet, Mis* Kloremv Lluyd. 
Miss Jean Aylwin, Miss Louie Pounds, Miss Iris Hoey. Mi-- Kinmy 
Wehlen. Miss Marie George, Miss Ada Blanche, Phyllis I' 
Cicely Courtneiclge and Miss Yvonne Arnaud. Mention should also be made of Mi. 
Franklyn Dyall, an actor of striking personality, whose Hortensio in "Tainic_ 
thi: Shrew " was as fantastic as his Stranger in " Magic" was weird and 1 
man in "The Three Wayfarers" grim and powerful; of Mr. Merl- bson, 

whose cold, self-satisfied old We-rle in " The Wild Duck" was a masterly stiui\ 
Mr. H. 0. Nicholson for a pathetic broken Kkdal in " The Wild Duck." and a c 
cut William Pargetter in " Nan " ; of Mr. Edmond Breon. sjiruce and official a- the 
young captain in " Great Catherine." and highly realistic an th< D in 

"Between Sunset and Dawn"; of Miss Clare Greet, who perhaps made Oina 
Kkdal in "The Wild Duck" too drab and commonplace, but faithfully worked 

her concept of the part-, which was curiously pathetic and impressive ii 
studiously low tones; and of Mrs. A. I>. Tapping. . life study of the 

untidy, wheedling charwoman in "The Kugitive" was in str-; her 

cold-tongued and icy-hearted Mrs. Pargetter in " Nan." one of the best and most 
memorable bite of characterisation of the year, throwing up by force of sheer repel- 
lency the lone beauty of the Nan. 





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YEAR 1913. 


diett.i, by ' Henry Set-on." March 11. 

.lames Soutter . Air. Kdmund Bivou 

Lily Lancaster M i>* Vera I' 

Daisy Dinirosc Miss Thimm 


M'.SKNT 'AIR. JOHNSTON. THE, comedy tri- 
viuin for romantic souls, by Ian Richard- 
.-.II. Jul> 22. 

Pepparahaw Air. G. Chalmers Colonia 

Panthea 'Linck Miss Nancy Blackwood 

K. Lester Hestexshock..Mr. C. A. W. Brown 

ACCOUNT RENDERED, one-act play, by John 
H. Turner. September 22. 

Anna Date Alias Alary Byron 

Joan Dale Al iss Alstry Fenner 

Ella, Darley AI iss Alarie Royter 

John Martin Air. Bernard Copping 

Constable Mr. S. A. Eliot 

Motorist *.... Mr. Ernest Haines 

Gaiety, Manchester. 

ACTING MA/D, farcical sketch, with songs, by 
Alexander J. Haviland. March 7. 
An Actor, Author, etc. ..Mr. A. J. Haviland 

A Postman Mr. Edward Ashworth 

A Ataad of all Work ..Aliss Phyllis Vaughan 

Roll i 

ACTING TO ACT, play, in one act, by Jack 
Hulbert. (Produced by amateurs.) Feb- 
ruary 3. 

Herald Thornton Air. Jack Hul'bert 

Bubbles Miss Judith Sandber.; 

Mrs. Thornton Miss Gaskell 

Archie Wooding Mr. D. Carmichael 

.New, Cambridge. 

AT)DF/R, THE. play, in one act, by Lascelles 
Abercrombie. March 3. 

Ne\\by Mr. J. H. Roberts 

Seth iMr. Laurence Hanray 

The Girl Miss Eileen Thorndike 

Th<- Squire Air. Norman \McKeown 

Repertory, Liverpool. 

ADORED ONE, THK, legend of the Old Bailey, 
in three acts, by J. M. Bame. ('Revised 
version, September 28.) September 4. Last 
performance (the 83rd), November 14. 

Mr. Justice Grimdyke Sir John Hare 

Sir Robert Backus Mr. Eric Lewis 

Capt. Rattray, R.N. .. Mr. Godfrey Tearle 

Mr. Tovey Mr. Frank Denton 

Mr. Lebetter MT. Wm. Farren 

Railway Guard Mr. Charles Trevor 

Foreman of Jury Mr. John Kelt 

Juryman Air. Richard Hai^'h 

Leonora Airs. Patrick Campbell 

Lady Backus Miss Helen Haye 

M rs. Tovey Miss Mary Barton j 

M:i.i<l Miss Gladys Calthrop , 

Duke of York's. I 

freely adai>ted from the Frcncli ol 
and Legouve, by Cecil HowaTd-Tumer. 
June 8- 

Ai'rienne Lecouvreiir Aliss Ella Erskinp 

Maurice, Com to <le Sa\< ..Mr. Noel Pholps 

Prince de Bouillon Air. J. Poole Kirk 

I'rincesse do Bouillon .. Aliss Hedda I 
Abb6 de Chazeuil .. Air. J. Henry Twyford 
Inirhesse d'Auinont 

Aliss More-Dunphlo 
Mairquase dc Beaumarcliais 

'Aliss Phyllis Birkett 
Baronne de Drolincourt 

Mi.-- Kathleen Dunsmuir 

Michonnet Mr. Campbell Car?ill 

Mile. Jouvenot Miss Bertha Verral 

iMlle. Dangevillc Aliss Phyllis Birkett 

M. Quinault Mr. Rathmell Wilson 

M. Poisson M. Paul Lejssac 

Marie Alias Estelle Desmond 

Servant Mr. Georpe F. Woir 


from Old French Songs " by Gustavo 
rari. April 3. 

Pierrot Miss Nancy Denvers 

Jeanette Miss Alarpot Ashton 

Tircis Aliss Violet Morton 

Lisette Miss Dora Matthews 

Villageoises. Misses Munday, Hunter. 
Ashton, Palmer, M.c 


AFTER GOOD-NIGHT, farcical episode, by 
H. G. Willis. February 15. King's Half, 

AFTKK Till: I'KODUCTION, musical c..!.t,Ml> 

skctrh. by Itrrt LI-I'. April L'S. 

Einjin 88. 

AGFNCY, THE, comic sketch, by L. J. Clar- 
nice. July 4. Rehearsal. 

AHA ! " panto, mixture," by Max Cardiff. 
December 26. Devonshire Park, Ka-t- 

A LA CARTE, sketch, " in two cafes and a 
street," by Dion Clayton Calthrop, the 
music composed and arranged by Herman 
Finck. September 1. 

Ninon Mile. Gaby Deslys 

Carolus Mr. Harry Pllcer 

Baron Cigalc Mr. Robert Mn 

Alphonse Mr. Lewis Sydney 

Werbert Mr. Herbert Ma 

Uranie Miss Florence I.! 

A Sleepy Gentleman.. ..Mr. Ernest Arundle 

Pa 1 

ALCIDES, allegorical play, in two act 

Majorie H. Woolnoth, the music by 
Richard J. C. Chanter, and (be dances and 



Alcrdes (continued). 

movements arranged by Mrs. Woolnoth. 
November 26. 

Alcides Mr. Peter Upcher 

Phronime Mr. Ernest Meads 

Hedonide Miss Esther Walker 

Arete Miss Freda Cooper 

Bacchus Mr. Bernard Crewdson 

l Miss Winifre i Woolnoth 
Three Bacchantes j Miss Hermie Woolnoth 
I Miss Mabel Goshawk 

Ill-Temper Miss Elaine Gayford 

Faith Miss Mabel Goshawk 

I Miss A. Wyndham Gittens 

H P e i Miss Marjorie Bell 

Charity Miss Freda Dunn 

Truth" Miss Hermie Woolnoth 

Mercy Miss Elso Fossick 

Purity Miss Kathleen Fossick 

Peace Miss Winifred Woolnoth 

Resolution Mr. Walter M. Kecscy 

Innocence Miss Edith Bilke 

Humility Miss Stella Oldfield 

Despair Miss Phyllis Fenton 

Love* Mr. Dennis Stubberlield 

Angel of Death Miss Isabel Emery 


ALICE IX WOXDERLAXD, revival of the 
magical dream-play, music by Walter 
Slaughter, bixik by the late 11. Savile 
Clarke, based on Lewis Carroll's famous 
stories, " Alice in Wonderland " and 
"Through tire Looking-Glass." ( December 
23, 1886, Prince of Wales's). December '-!;i. 

ALICE UP-TO-DATE, revue, by Fred Thomp- 
son and Eric Blore, music by Philip Bra- 
ham. (November 24, Empire. Liverpool.) 
December 29. London Pavilion. 
ALL'S FAIR, play, in one act, by Tom Gallon. 
August 25. 

Richard Xedby Mr. Templer Powell 

Col. Lidstone Padwick Mr. F. W. King 

Mrs. Scambler Miss May Holland 

Flora Padwick Princess Khan 


ALL SQUARE, one-act play, by Captain Frank 
H. Shaw. (January 6, Empire, York.) Sep- 
tember 1. 

Mike Draylott Mr. J. K. Walton 

Jake Thomas Mr. L. Williams 

The Innocent Mr. Alfred Richards 

Surton Mr. Xaylor Gnmson 

Colash Miss Susie Winifred 

Hiram Mr. Richard Dunwell 

Kate Briscow Miss Jessica Black 

Woolwich Hippodrome. 

ALL THE WINXERS, revue, in three scenes, 
by C. H. Bovill, music composed, selected, 
and arranged by Cuthbert Clarke, pro- 
duced by Fred Farren. April 10. Empire. 
ALWAYS TELL YOUR WIFE, farce, in one 
act, by E. Temple Thurston. December 22. 

Mr. Chesson Mr. Seymour Hicks 

Mrs. Chesson Miss Ellaline Terriss 

Melrose Miss 7oe Gordon 

London Coliseum. 

ALYS THE FAYRE. one-act play, by Robert 
Elson. Produced by the Stage Players 
July 10. 
Lady Alys de Gueselin.Miss Beatrice Wilson 

Joanna Miss Evelyn Cecil 

Sir Bertrand de Fourget 

Mr. P. Gedge Twyman 

A Palmer Mr. Charles Maunsell 

Lord Ralph de Gueselin...Mr. Charles Vane 

Page Miss Rosamund Belmore 


Housden, in four acts. October 13. 
General Sir Raglan Riversdale 

Mr. Henry Eglington 

Gilbert Lance Mr. Walter Cruikshanks 

Major D'Arcy Denville Mr. Felix Pitt 

Amazing Marriage, An (cnntiinictl). 

Captain Kennedy. Mr. G. Mortimer Hancock 

Aklor Mr. Gerald Byrne 

Lieut. Wimpole Mr. Johnny Leone 

Subaltern Porknidge Mr. Ellis Leigh 

Coonga Mr. Sam Edwards 

Violet Miss Dorothy Love 

Mrs. Wimpole Miss Eveline Kingtoii 

Mina Ida Potter Miss Lizxic Adair 

Hazel Riversdale .. Miss Florence Delmar 
Elephant and Castle. 

AMBASSADOR, THE, farcical comedy sketch, 
by Leonard F. Durrell. (July 21, Grand, 
Derby.) August 18. Euston. 
AMI DE MARCEL, L', play, in one act, by 
Yves Schwarz. November 14. 

Francis Laurent M. Y T vcs Schwarz 

Marerl \utier M. Paul Lacage 

Joseph M. Main 

llayinonde de la Tourprensgarde 

Mile. Alice Dermont 
Solange Bernard .. Mile. Maximo, de My:a 

Host- Mile. Juliette Myln 


VMorils I)' \i TOMM'. " Poeme theatral," by 
Juliette Mylo and Yves Schwarz. Feb- 
ruary l.'i. Cosmopolis, W.C. 
\\Dl;iH l.lis \M> Till' LION', a fable play, 
by George Bernard Shaw. Septernl'- 
Last. ].n -fonnaiice (the 52nd)) Oetober 2,"). 

Thti Kmpcror Mr. I. con Quarteniianie 

Tli" Captain Mr. Ben Webster 

Androcles Mr. (). !'. II 

The Lion Mr. Kdward Sillward 

Leiitulils Mr. Donald Calthrop 

Mi-tellus Mr. lle.-keth Pearson 

I'Vrrovins Mr. Alfred Brydoiie 

Spintho Mr. J. F. Out ram 

Centurion Mr. 11. O. 

Tho Editor Mr. Herbert II. \\etson 

The Call Boy Mr. Neville Gartside 

.itor Mr. Allan ,l< . 

Ketiarins Mr. J. 1'. Turnbull 

The Menagerie Keeper Mr. Baliol Holkrway 

The Slave Driver Mr. Ka.lph Button 

Megaera Miss Clare Greet 

I.Hvinia. Miss Lillah McCarthy 

Christians. courtiers, \r.\-_ otors. 

etc., Rosemary Craig, Gladys 
Alwyn, Pamela Derrick. Angela Colenso, 
Ycra Tschaikowsky, Mary Ross Shore: 
Messrs. Templeton, Kilby, Tucker War- 
burton, Jerome, Madgewick. All'ne. Bush, 
Campbell Brown, Yal Gurrn y, Collins, 
Bfiimi.-h. W. Moore. F. Brunton, I '. 
Courtley, S. BusH. 

St. James's 
AM) V Kit V MCi: TOO. n >.uc in three 

by Au-tcn Jlnr'.'on. (September 29. Mi:. 

pOdrOUte, I.ivcr]i<i<il.) Deeejnller 15. < 

don < aliseuin. 

ANNA KAUKNIXA. play, 1n four acts, by John 
Pollock, from Leo Tolstoy's novel. De- 
cember I. 
Prince Chcrbatsky. .Mr. Leonard Shepherd 

Princess Cherbat -ky Miss C. Grayson 

Princess Dolly Oblonsky. .Mi.-s Mary Grey 

Anna Karenina Mme. Lydia Yavorska 

Prince Oblonsky. .Mr. Arthur Scott Craven 

Footman Mr. Edward Lyttleton 

Constantine Levin Mr. Charles Doran 

Countess Nordstone..Miss Margaret Dunbar 

Princess Cherbatsky Miss I). X. Trevor 

Count Alexis Vronsky..Mr. Xorman Trevor 

Prince Yashvin Mr. Basil Ryder 

Captain Petritsky .... Mr. W. Wild Moore 
Count Alexander Vronsky..Mr. A. B. Imeson 

Cord Mr. Edward Victor 

Princess Tverskaya .. Miss Moira Crecgan 
Countess Ivanovna..Miss Margaret Marshall 
Princess Miagkaya .... Miss Kthci Cannon 

M. Karenin ' Mr. Herbert Bunston 

Count Siniavin Mr. John Burton 

Annoushka Miss Elspeth Dudgeon 



Ann Kiiri'iiiim (/nnliniinl}. 

Serge Lisa Sterkcr 

lan Mr. Ualph Kent 

'Hitch Mr. Victor Wiltshire' 

Berpouhovsky.Mr. Leonard Shepherd 

ANNKTTE, <mc act drama. In Frank Macrae. 
January '2'.>. Clavier Haii, \v. 

ANVBODY'S \VIKi:. a dome-tie <|r:ilua, by 
Kenned) Allen and Kvu Elwes. .Novem- 
ber 10. 

Mailv Meadow-, .Mr. Fred I). DavN 

! Langdale Mr. Andrew Money 

Sail! Meadows Mr. Douglas Ste 

Mr. Bertram Hanks .. Mr. ];. Hall Eldon 

Silas Slammer Mr. Syd Lertou 

Hill Blinkers Mr. Kennedy Allen 

Mary Clement- Miss Marie Cotton 

Kllen (iertrnde Miss Shiel Porter 

C'ara Klphinstone .. Miss Georgie <le Lara 
Cambridge, Siiennymoor. 

APOSTLK. Till':, three-act play, by' Paul 
lly.-uriiitlie lyoy-on, translated from the 
French by V. M. Kaukin. September 11. 

Kngenie Miss Lucy Beaumont 

Hatidain Mr. Jules Shaw 

Michu Mr. S. A. Eliot 

Maidservant Miss Dorothy Hick 

Clothilde Miss Amy Ravenscroi't 

Octave Baudain Mr. Douglas Vigors 

Galimard Mr. Lionel Mingaye 

Pratt Mr. Horace Braham 

l!o<iuin ...- Mr. Noel Spencer 

Ferrand Mr. Percy Foster 

Moreau Mr. Brember Wills 

Latouetoe Mr. Ernest Haines 

Inles Mr. Leonard Chapman 

Duval-Porcheret Mr. Horace Braham 

Me.vr-rheini Mr. Basil Holmes 

Adele Mi.-s Mabel Salkeld 

Jean Mr. Tommy Nickson 

Puylaroche Mr. Bernard Copping 

II U Majesty's, Carlisle. 

ARABIAN M(iI!T, AN, scena, by George 
Arthurs, music by .Tullien H. Wilson. 
\ 18. South London. 

AKBOUR OF REFUGE, THE, comedy, in one 
.iet, by Gilbert Cannan. February 4. 

Mary Miss Madge Mclntosh 

Truman Mr. Bertram Forsyth 

Dashbord Mr. Scott Craven 

Sempter Mr. Edward Rigby 

Loeum Mr. Ben Webster 

Gardener Mr. David Hallam 


ARK YOU THERE? farcical musical play, in 
two acts, music by Leoncavallo, book by- 
Albert P. de Courvilie, and lyrics b.-, 
Kdgar Wallace. November 1. Last per- 
formance (the 23rd) November 23. 

Percy Pellett Mr. Lawrence Grossmith 

Gordon Grey Mr. Alec Fraser 

Antonio Mr. Eric Roper 

Bertie Carlton Mr. Lawt'ord Davidson 

OoanmiBMbnatoe Mr. Alec Johnstone 

Viscount Guineas .. Mr. Francis E. Vane 

Carlo Mr. William Thomas 

A Customer Mr. Harold Trcadaway 

Another Customer .. Mr. Ronald Graham 

Gregory Lester Mr. Billy Arlington 

Miss Bins Miss Veronica Brady 

Mafalda- Malatesta Miss Carmen Turin 

Maud Waring Miss Dorothy Fan. 

Winifred Miller .. Miss Madge Melbourne 
Mi.-s Hammersmith .. Mi-.- Winit'red v 

Mi-- Kensington Mi-, M.-,rjorie ]>mi,b;tr 

Miss London Wall .. \li>s Helen Beltramo 

Miss Gerrard Miss Violet ]/ i, 

Miss Mayl'air Miss Olive Homer 

Miss Wimbledon Mi.-s Sophie Fox 

Miss Hopp Miss Cissie Moore 

A Loafer Mr. Arthur Bourn" 

1st, Keeper Mr. Ernest Shannon 

An Yi'H Tlii'ir ' d;,nlin. 

2nd K''<|>er Mr. Harry Donrli 

Mr. Becord Mr. Law: 

M-. Nott \\ rlghl Mr. Kn. 

Grand Vizier Mr \ 

Sylvia Lest IT M,SS shir)f> 

Prince <>\ u 
\Ki \D\I. IN \ \\os. Richard 

OJKTa, l,.H,k b> 11,11..,, \. in 1|,, : 

included in T||,. perfi . t (,. ml, man " 
adaptation by W. Somei-rt Maiiyham nl 
Mohere'.-, coined). " ]., Gentil- 

homme." May ^7. (Produced for eJgtit 
special performances.) 


M. Jourdain Sir Herbert Tree 

Mme. Jourdain Mi-s ROM; F.douin 

Dorimene Miss Phvllis [ 

Oorante Mr. Phili), Merlval* 

^''ole Miss Stella St. 

Music Master Mr. A. I 

Dancing Master Mr. Ben Field 

Fencing Master Mr. Gerald Ame- 

Master of Philosophy .. Mr. \;,,\ I',\I.,M 

Tailor Mr. H, 

An Apprentice Mr. Alexander Sarner 

First Footman Mr. B. Ni, 

Second Footman .... Mr. Sydney (loiildi- 
Third Footman .... Mr. Stanley Howhtt 
Fourth Footman .... Mr. Patrick Kirw.m 
Composer .... Mr. Walter R. Creiuhton 

Dancer Mi-s Mabel i;,,y 


Ariadne Fr. Eva Von Der Ost en 

Bacchus Herr Otto MaraK 

Na.iade .... Fr. Martha Winternit/-Uord -i 

^"yade Fr. l.illi Hollman 

Kcho Fr. Erna Hcllciisleben 

Xerbinctta Mme. Herminc ' 

Harlekiii Hrrr Carl Armster 

Scaramuccio Herr Heinrlc! 

'Iruffaldin Herr Josef Schlembach 

Brighella Herr Juan Spivak 

Conductor, Mr. Thomas Beecham. 

Opera produced by Herr Emil Gerhiiuser 

and Mr. T. C. Fairbairn. 

His Majesty's 

AKMV AMI \ \\-\\ THK. Bong cycle com- 
posed and jirranired by Alice' \rlelaid.' 
Needbam. .Mine l(i. Palladium. 

AS 1.1! DAMS ARK MADK OF. play, by Wil- 
(red Stephens (Black Cat Club). Reh, nr- 
sal, February 24. 

ASK' QUESBURY, farce, in three acts by T 
Herbert Lee. February H. Last perform- 
ance (the thirty-fourth) .March i:,. 
John Quesbury .... Mr. Weedon Grns.-mith 
Wittbnn Daintrc-e .. Mr. Edwin H. Wynne 

Pragnell Thurston Mr. Undue Harlin- 

TwiL-i-s Mr. Henry Ford 

Frank Elverton Mr. Qeoffrej D.-ny- 

Luolsa Daintree Mi.-, Daisy Thimm 

Fanny Thur.-ton .\|j v , \| : ,,,;i , 

Ida Mountjoy \|,,. \,, r;1 i.;,,,,;,,., 

Morris Mi.s si,. 



the first timi- on the variety stai;<-), pla\ . 
in one act, by ):. |.,n Swinley. September 

Archibald Mr. Brnediek Butler 

Evansieline Mi-.- Florei . 

Nance PiL'ott .... Mi.-s Mariorie Tli,N>bal,| 


\< Till: LAW STANDS, modern play. I) 
act. by Winifred M. Ardauli. M.,: 

Mi.-- Leah Itateman-Hnnt.T 

John Graham Mr. C. Marshal 

Archibald Campbell .. Mr 

Kinc's Hall. \\ c 



AT BRONTE'S SHACK, Canadian sketch. 
December 15. Grand, Clapham. 

ATTACK, THE, play, in three acts, from the 
French of Henry Bernstein, by " George 
Egerton." (November 10, Royal Man- 
chester.) January 1. 

Alexandre Me>ital .. Sir George Alexander 
Antonin Frerjeau .. Mr. E. Holman Clark 

Garancier Mr. E. Vivian Reynolds 

Daniel Marital Mr. Philjp Desborough 

Julien Marital .... Mr. Reginald Malcolm 

A Servant Miss J.. Adeane Barlow 

Georgette Marital Mias Gladys Storey 

Range d Roufld .... (Miss Martha Hedman 
-jSt. James's. 

in three acts, by Edwin George. January 

Ruddy Rodger Mr. H. P. Sullivan 

Mexican Jake Mr. Edwin Davlefl 

Ezra Higbee Mr. Jas. Mailey 

Ebenezer Guffy .... Mr. W. 0. Rossiter 

Matt Hinds Mr. Harry Beverley 

Slim Jim Mr. Walter Leahair 

Tony Harris Miss Margaret Brinsley 

Pat Hickey 'Mr. Forbes Dawtrey 

Wishee Washee Mr. Ambrose Finder 

Titus Tanssig Mr. Jen-old !:, Keed 

Stumpy Liz Miss Alice Mamie 

Lucy Harris Mi.-s Haxel lient 

Ruth Marlow Miss Ruby LoiN-raine 

Royal. Woolwich. 

Idyll, by Francos A. McOallum. (Produced 
by the Stage Players.) November 14. 

Harmion Mr. Pereival Maducwick 

Narsia Miss Barbara Everest 

Glaucus Mr. W. Stack 

Helena Miss Judith Kyrle 

Orcias Mr. F. J. Nettlefold 

Lycus Mr. Benedict Butler 

Astraea Miss E. Nolan O'Connor 

Chrysia Miss Lilian Wao-de 

Ida Miss Maud K ir w an 

1st Messenger Mr. Garrett Hollick 

2nd Messenger Mr. Charles Maunsell 

Arete Miss Margherita Gordon 

Attendant Miss Rosamond Belmore 


AUDITION. THE, musical comedy sketch. 
August 25. Holborn Empire. 

AURORA'S CAPTIVE, play, in one act, by 
Tom Gallon. June 18. (October 26, 1911, 
New, Cardiff.) 

William Mr. Alfred Ibberson 

Miss Dorcas B urn in gh am. .Miss Ada Palmer 

Aurora Petunia (Emma). .Miss N. <le Silva 

Prince of Wale.s's. 

AUSTRALIAN NELL, four-act melodrama, by 
Mrs. F. G. Kimberley. August 18. 
Arthur Carrington .. Mr. John C. Carlyle 

Jed Angeles Mr. Carthage Caldcleugh 

Jack Richardson . . Mr. Frederick Garrett 

Sambo Mr. Jay Kay 

Ted of the One Eye Mr. Fred. Newburn 

John Carrington Mr. Edwin Lever 

American Bill Mr. Jack Hope 

Gerald Montressor . . Mr. Edward Fletcher 
The Goldflelds Doctor .. Mr. Frank Guy 

Kidd'e Miss May Masterman 

Phoebe Miss Florence Mclnnes 

Arrabella Miss Bella Moody 

Laura Carring-ton Miss Leah Corentezs 

Nell Carrington Mrs. F. G. Kimberley 

Junction, Manchester. 

drama, by Arthur Campbell. March 18. 

Splinter Mr. Wilfrid Stephens 

Worker Mr. Albert Hayzen 

Sleeper *, Mr. Arthur Campbell 

V Rehearsal. 

AVERAGE MAN, THE, comedy, in three acts, 
by Kenelm Foss. April 21. 
Josep'hine Fladgate .. Miss Elaine Sleddall 

Sally Miss Sybil Noble 

The Gardener Mr. Mawson 

John Morland Mr. Richard Fielding 

Marion Miss Ruth Mackay 

Geoffrey Claris Mr. Kenelm Foss 

Jim Davis Mr. George Elton 

Royalty, Glasgow. 

AVUNCULITIS, one act farce, by " W. Stag." 
(Produced by the Black Cat Club.) Novem- 
ber 28. Arts Centre. 

AWAKENING WOMAN, THE, play, in three 
acts, by H. M. Richardson. November 28. 

Sally Firmlin Miss Judith Wogan 

Mrs. Firmlin Miss Una Gilbert 

Willie Firmlin Mr. Paul Hansell 

James Firmlin Mr. J. Augustus Keogh 

Clarice Firmlin Miss Darragh 

Herbert Marston Mr. William Muir 

Lizzie Miss Nita Minards 

Dick Delane Mr. Esme' Percy 

"The Person" Miss In<5 Cameron 

Mrs. Delane Miss Kirsteen Graeme 

Mr. Delane Mr. Desmond Brannigan 

Gaiety, Manchester, 

AWKWAKD FIX. AX. sketch, by Allan Morn-. 
March 17. 

He Mr. Norman Vat is 

His Friend Mr. Arthur Pilbeum 

His Friend's Friend. .Miss Josephine Harratt 

She Mrs. Sterling Mackinlay 

Camber well Empire. 

LOVE), one-act play, by Carlotta R/we 
and Raymond Le Caudey. September in. 
Dr. Arthur Wingrave . .Mr. R. Carfax Bayley 
Gerald Huntwortli..Mr. Cyril H-ardiiiL 

Maid Miss Catherine Lord 

Elsie Grandison .. Miss Evelyn Brennard 

Mrs. Wallace Miss Isabel Christison 


BANK OF BIG IDEAS, THE. playlet, by 
Drexel H. B. Sharman. April 28. 

Camber well Empire. 

BARREL ORGAN'. THE. monologue, with in- 
cidental music by Herbert H nines. 
March 21. London Coliseum. 

BARRIER, THE. first West End production 
of the play, in four acts, adapted by Philip 
E. Hubbard, from the novel by Rex He.adi. 
(July 15, 1912, Kelly's, Liverpool : Novem- 
ber IS. 1012, Elephant and Cattle). July 
17. Last performance. (the, eighty-first); 
October 4. 

John Gale Mr. Charles l!o ; -k 

No-Creek Lee Mr. Hubert Willis 

Alluna Miss Luna Lyndon 

Necia Miss May B'Jaym \v 

Meade Burrel Mr. Malcolm Cherry 

'Poleon Doret Mr. Matheson Lang 

Runnion Mr. Lewie WUloughby 

Corporal Thomas Mr. E.ldrett Giilson 

Trooper Mr. Walter Plinfic 

Dan Stark (alias Bennett). .Mr.-H. Beatty 

Skagway Jack Mr. Sidney Vautier 

Pincher Pete Mr. R. C. Harcourt 

Trailer Johnson .... Mr. Louis Ashmeade 

Trooper Parker Mr. W. Hubert 

Miners, Troopers, etc. 


BEDFELLOWS, farcical comedy sketch, in 
one scene. June 9. 

Jack Taviatnck Mr. J. R. Spurlins 

Farren Mr. David Baird 

Swindon Mr. A. R. Scarlett 

Ka<thLe<en (Miss Beaumont Collins 

Holborn Empire. 

of, the drama by Walter Melville. 
(Originally produced October 19, 1908, 



Elephant and Cattle). Anguat 20. Last 

pen. r 25. 

. Mail land 

Mr. All)! it Ward 

rni Mr. Fr> ; 

MI irvey 

P.O. Phillip: Mr. I- tock 

11 Mr. Fred Morgan 

mpson Mr. C. Brown 

HUMS Mr. II. Elton 

Lizzio M iss LLly Trounsell 

Tina Torkington Miss Eva Dare 

Maud Villiers Mise Elinor Foster 

Gilbert Lindsay Mr. Henry Lonsdale 

Joe Webster Mr. J. T. Macmillan 

The Dodger Mr. Horace Kenney 

Robert Grim&baw Mr. C. F. Collings 

Old Cloe Mrs. Wilson 

liin Rothschild Mr. George Bates 

Corky Mr. J. Clark 

Elsie Cunningham . . Miss Cicely Stuckey 

Bessie Webster Miss Phyllis Relph 


rnan's revival of Hannah Cowley's comedy. 
July 8. Court. 

VYAL, THE, one-act play, by Padraic 
C-olum. April 7. 

Morgan Lefroy Mr. Kenneth Bruce 

William Frizflle Mr. Joseph A. Keogh 

Peg Miss Dorothy Kingsley 

A Bellman Mr. William Dexter 

Royal, Manchester. 

Ki:iTER HALF, THE, play, by Alison Gar- 
land. (Produced by the Actresses' Fran- 
chise League.) May 6. 

King's Hall, W.C. 

BETTY VERSUS DOLLY, play, in one act, 
by Anna Kinnison. July 2. 

Sir Edward Norman Mr. Scott Clarke 

;.?. Willoughby Mr. Geoffrey Gilbey 

Miss Betty Vereker .. Miss Marjorie Moore 


BETWEEN qrRFELYrs, sketch, in one scene, 
by Francis Annesley. May 20. 

Mrs Miss Marie Pera 

Mr Mr. James Adams 

Another Mr. Francis Anneeley 

Another Miss Helen Thomson 


four scenes, by Hermon Quid. October 28. 

Mrs. Harris Miss Ada King 

Jim Harris Mr. Norman McKinnel 

An Old M^n Mr. Ernest G. Cove 

c.urly Tom Mr. Harold Bradly 

Liz Biggins Miss May Blayriey 

A Respectable Woman .. Miss F. Harwood 

Bill Higgins Mr. Edmond Breon 

Mrs. Hlggins Miss Alice M-ansfleld 

Mrs. Lansdowne Miss Ethel Marryat 


BIG GAME, THE, play, in four acts, by 
Sydney Wontworth Carroll. August 19. 
Last performance (the nineteenth), Sep- 
tember 6. 

Mrs. Grimshuw Miss Francos Ivor 

Kitty Morrison M iss Eileen Esler 

Mildred Carnithers..MLss Margaret Chute 

Lizzie Hopton Mix Mary O'Farrell 

MM id Misn M;'.r_'aret Dallas 

Rita Morrison Miss Ethel Dane 

Edward Qrimshaw Mr. Frederick Kerr 

Dr. Doyle Mr. J. D. Beveridge 

Charles Geddes Mr. Lyonel Watte 

Julian Ross .... Mr. Dennis NeHson-Terry 


BIG JOSS. THI-:, a Him --American episode 
of the Gold Rush of 1849, by Francis 
Annesley. January 6. 

Tong-Li Mr. George Pickott 

Ah-Luu Mr. Laurence Osborne 

" On- -(inn " |i 



.Inly :(. Imperial Tint,, | 

KILL, Till.. In f.nir act 

rnwallK U . -; Man I. 
Henrietta Lam-on . . M 
Maliei Laiii.-ori .. 
Rt. Hon. J. Laiii.-i.ii Mi. II. 
Rt. Hon. Chas. Veriioii ..Mr. f.'ooki 
1 1 an ild Lamson ...... Mr. Richard ! 

Lady Corisande l,ain...; : 

Sir Timothy Bullen ---- Mr. <;. 

Kir George Lacey Mr. Owen Kounhuo...! 
Walter Devereaux Mr. Frank 
Footman ............ Mr. Rudolph 

Servant .................... Mr. II 

Fitz Alan .............. Mr. G. A. 

Memprise ................ Mr. .To Harki-r 

Pemberton .............. Mr. Guy AiMi^on 

Mrs. Parsons .......... Mi- 

Mrs. Rumbold ......... 

t'sher .................. Mr. J. ~B. Wood- 

Lady Middlesboro ...... Miss Dora Hark.T 

A Doctor ................ Mr. G. A. I 

Visitors t<> the HoiiM'- of Parliament and 
Guests in the Sncakrrs' Gallery M 
Adele Villiers, Ina" Carter, Kathleen 
Molly Milne, Jessie Mat-Donald, Am 
Phyllis Despard, Dora Stanley, liuth Lock, 
Messrs. Chas. Wilton. O-iiom K\ans, Chris- 
topher Nutall, Francis (Jardner. 

Royalty. Gla-uow. 

BILLY'S T'llJST LOVE, comcdv sketch, l,v 
Sfwell Collins. May 12. 

Hippodrome, Manchester. 

BILLY'S FORTfXE, comedy, in three acts, by 
Roy Horniman. January 16. Last perform- 
ance (the 28th) February 8. 
Mr. Grohy ............ Mr. H. B. Surrey 

Mrs. Davis ........ Miss Sinna St. Clair 

Billy Charteris ---- Master Johnni. 

Mr. Dakin ........ Mr. Howard Stnruc 

Sarah .................. Miss Lydia \v, -t, 

Benjamin Qameboys .. Mr. Arthur Vc/in 
Mrs. Benjamin (Jameboys .. Mi-- c. Mason 
Bertie Bradley ...... Mr. Clifford Mollison 

Mr. Bradley .......... Mr. E. M. : 

Mrs. Bradley ---- Miss Henrietta I 

Mrs. Thomsett ............ Miss Alice Beet 

Mrs. Tarvis Ganii'lmys Afiss ("Jwvn. (Jaltou 
Mr. Thomsett ...... '. . Mr. O. B. Clarence 

Jarvis Gameboys ____ Mr. Rndge Hardiim 

Mr. Stone .......... Mr. Philip K. Kno\ 

Chummy ........................ The Dm: 

Wopsall .......... Mr. Heath .T. TJnvilaml 

Cook .................. Miss Ella Tarrant 

Aunt Fanny .......... Mis< Alice Matisti, Id 

Waters .......... Miss Elizabeth > 

Broomhall ............ Miss Hetta Bartlett 

Tilda ................ Miss Gertie Britton 

Tommy Gameboys ____ Mr. Chris. Saint'Eve 

Benjie Gameboys ........ Mr. Jack Rooke 

Jane Gameboys .......... Miss Edna > < 

Maloney ................ Mr. Victor Way re 


BLACK PASSION, A, four-act drama, by Ivan 
Patrick Gore. August 11. 
Captain Peter Potter .. Mr. Victor fin 
Richard Carton ...... Mr. Vivian Charles 

Prof. John Derwent ____ Mr. Angus Warden 

Jasper Malaiki . . Mr. J. Leicester Jackson 
Lung Tu .............. Air. Geor 

Rev. Ezekiah Squills .. Mr. M 

Fred Dirke ............ Mr. Jack Carroll 

Angus M'Giiinnpss ........ Mr. Will Whitf 

Sir Harrv Stanhope ........ M 

Juliana Cantanarc ...... Miss Emily I 

Lipa ................ Mi- Winnie > 

Dawn Derwent ........ Miss iioio: 

Royal, Belfast 



FROM THE YARD, " murderous melo- 
drama, in three stabs," by John Harwood. 
June 3. (Actors' Orphanage Fete.) 

Royal Hospital Grounds, Chelsea. 

BLIND FATE, drama, in three acts, by Chris- 
topher Sandeman. (Produced by the On- 
comer's Society.) May 30. 
Dr Carl Rosenheim .. Mr. Ernest Hames 

Butler Mr. William Muir 

Dr. Hanbury Smith Mr. Harold Neville 

Donald Sinclair Mr. Bernard Copping 

Violet Miss Darragh 

Bryan Montgomery . . Mr. B. Chailey Lewes 

Langton Mr. Rex Barrington 

Police Inspector Mr. Frank Snell 

Sir Richard Henley.. Mr. \V. Garrett Hoi lick 


BLUE BAT, THE, one-act play, by Bertha N. 
Graham. November 4. 

Madame Isis Miss Martha Vigo 

A Lady Miss Peggy Dorot 

-V Gentleman Mr. V. Stanislaus 

Lyceum Club. 

BLUE BLOOD, play, iu one act, by Arthur 
Rose. July 28. 
Nathan Goldsmith . . Mr. Herbert Landeck 

Julia Goldsmith Miss Winifred Pearson 

Jones Marshall Mr. Howard Brenan 

Hon. Aubrey Winchester.. .Mr. Tom Terris 

James Mr. E. Lloyd 

Koberts Mr. H. Cheeney 

Hammersmith Palace. 

BLUE STOCKINGS, THE, version of MolU T< >"> 
Les Femmes Sacuntes, by Mesl/ey Down and 
Henry Seton. November 28. 

Chrysale Mr. Edward Rigby 

Philamente Miss Fortescue 

Annaiide Miss Esme Beringer 

Henriette Miss Jessio Winter 

Beliso Mi s s Dmsilla Wills 

Arista Mr. W. R. Staveley 

Martino Miss Florence Lloyd 

I'litandre Mr. Robert Minster 

Trissi >tin Mr. Edward Sass 

Vadius Mr. Michael Sherbrooke 

Notary Mr. James Lindsay 

Lepine Master Christopher St. Eve 


monde), an episode from Juliette Mylo's 
" Silhouettes Parisiennes." March 7. 

Olivette Mile. Juliette Mylo 

Yvonne Mile. Alice Dermont 

Suzette Volant Miss Lily Kerr 

Gaston M. Ren! Helie 

Fourmi M. Georges Hunaut 


BOOSTER'S BILLIONS, comedy sketch. De- 
eember 8. Royal, Yarmouth. 

BORIS GODOUNOW, inusic drama, in three 
acts and seven tableaux (after Pouchkine 
and Karamzine), by M. P. Moussorgsky. 
June 24. 

Boris M. Chaliapine 

Fedor Mile. Dawidowa 

Xenia Mile. Brian 

A Nurse Mme. E. Petrenko 

Prince Chuisky M. Nicolas Andreew 

Vimene M. Paul Andreew 

Gngori (afterwards the false Dmitri) 

M. Damaew 
The Hostess of the Inn Mme. Petrenko 

Varlaam M. Belianin 

Missail M. Bolchakow 

An Idiot Boy M. Alexandrowitch 

Chelkalow M. Dogonadse 

A Commissary M. Zaporojetz 

A Noble M. Alexandrowitch 

Twn Tpsnits J M - Semen W 

Iwo Jesuits | M _ S t ro binder 

(Boris Oodounoia (continued). 

Conductor, M. Emile Cooper. Opera pro- 
duced by M. Alexandre Sanine. General 
Stage Director, M. P. Strobinder. 

Chorus under the direction of M. D. 
Stage Manager, M. O. Allegri. 

Drury Lane. 

BORSTAL BOY. THE, first variety perform- 
ance of the play, in one act, by H. Hamil- 
ton Fyfe, March 17. (Originally produced 
on November 26, 1911, His Majesty's.) 

Albert Mineral Mr. John McNally 

Charlie Mr. Reginald Davis 

Mrs. Albert Mineral .. Miss Nancy Price 
London Coliseum. 

drama. December 8. 

Frank Marvel Arizona Jack 

Richard Huntley Mr. Jerrold Heather 

Moqui Mr. Burt Hawthorne 

Billy Wilson Mr. F. J. Gavillet 

Doc. Rye Mr. Hobhs L\on> 

Arabella Miss Ida Fane 

Florence Curtis Miss Hilda Shirley 

Madge Marvel Mi.-s May Dalby 

Hippodrome, Stoke-on-Trent. 

BOUGHT AND PAID FOR, drama, Ib four 
acts, by George March 12. 
Last performance (the sltli), May 24. 
Robert Stafford .. Mr. Allan Aynesworth . 

James Gilley Mr. Frank Craven 

Oku Mr. Giro Kim 

Waiter Mr. J. H. Stewart 

Virginia Blaine .. Miss Alexandra Carlisle 

Fanny Blainu Miss Alice Crawford 

Josephine Miss Sonia Bourcard 


HOI NDKIt, THE, play, by W. F. Mennioii. 
May 21. Assembly Rooms, Balham. 

BOY DKTKC'I 'I YD, THE, melodrama, by Mrs. 
F. G. Kimberley. May 12. 

Adam Daunt Mr. Valmore Miain 

" liny" Master Harold Bell 

Silas Deep Mr. Leslie Langham 

William Pickles . . Mr. Highland T. O'Shea 

Miser Rat Mr. C. H. Brookes 

Sam Blinkins Mr. H. Garrett 

Howard Studleigh Mr. G. Shirley 

P.C. Wilson Mr. H. Jones 

Joseph Onions Mr. W. Ellis 

Jasper Hope Mr. Byrom Douglas 

Dan, the Bloodhound By Himself 

Minnie Hope Miss Lydia Andre 

Maud Berry Miss Lina Nazeby 

Harriett Ann Mannaduke 

Miss Edie Macklin 
King's, Longsight. 

BREWSTKIl'S MILLIONS. Revival of Winehell 
Smyth and Byron Ongley's dramatisation 
of George McCutcheon's novel. (Original 
London production, May 1, 1907. Ilieks.) 
May 12. Transferred to the Strand on 
June its. Last performance (the 55th), 
June 28. Prince's. 

BRIBE, THK, drama of Irish rural life, in 
three net.--, by Seumas O'Kelly. December 

John Kirwan Mr. Arthur Sinclair 

T)r. Luko Diamond . . Mr. Fred O'Donovan 
Dr. Power O'Connor Mr. Sydney J. Morgan 
Dr. Jack Power O'Connor Mr. Philip Guir.V 

Mr. Tbomey Mr. H. E. Hutchinson 

A Pauper Mr. M. Coniffe 

Mrs. Diamond Miss Nora Desmond 

Mary Kirwan Miss Kathleen Drngo 

Mrs. Cooaey Miss Eithne Magee 

Poor-law Guardians, Messrs. J. M. Ker- 
rigan, J. A. O'Rourke, U. Wright, A, 
Patrick Wilson, Farelly, Pelly, etc. 

Abbey, Dublin, 



IU;M \:>\v u .m\ i.s. pi.iy, -,'.\ toui 

M Cohan. Septeml,. 

........ Mr. Seymour I; 

... MI. Thomas Meighan 
.broke ...... Mr. William I 

.hid. .1. C. Murk 

d ........ Mr. Harry Laun 

i-. in .......... Mr. Archibald McLean 

____ Mr. .Icihn Keati'.-liamp 

................ Mr. John Burton 

............... Mr. Arthur \\ i 

llenrv Hopper .......... Mr. Jack Morris 

Mr. Leary ............ Mr. .1. Cliff Appleby 

M; . i,.;ard ...... .Miss Elizabeth Watson 

i ...... Mis Adda M. 

it swood ........ Miss Zoe Gordon 

: Richards ...... Miss Gladys Cooper 

Royal, Bradford. 

ilUOKF.N FAITH, drama, in two acts, of 
t omit y Cork peasant life, by 8. R. Day 
and G. D. Cummins. April 24. 
Michael (Jam .......... Mr. Farrell Pclly 

l>au Houriban ...... Mr. Michael Connittv 

Timothy Call ............ Mr. Philip Guiry 

Mikeeii .......... Master Laurance Byrne 

1'olicenian ............ Mr. Charles Power 

Bridget Gani ........ Miss Nora Desmond 

Old Mrs. Gara ........ Miss l.'na O'Connor 

Abbey, Dublin. 

I1KOKEN STRIN'G, TIM:. (Iraniatii- episode, by 
Kdali- l.atehfonl. Man-li 4. Produced, for 
thr lirst time in variety, at the Huston, 

ier 6- 

Mr Richard Vaiie .. Mr. Di.'lim-ourt Odium 
Hi n Ho\vden ........... Mr. Richard Carfax 

\l:i jaret Var.e .......... Miss Evelyn Hope. 


ALFRED. farcical comedy, in three 
. liy II. \V. \\c-tlirook and .Pj^G. Wode- 
JuHtot 1 . (March .'i, Devonshire Pork, East- 
Bourn e.) April 8. Last performance (the 
14t In, April 19. 
.lolii' Marshall ........ Mr. (.'. Mayor-Cooko 

Hilly Marshall ......... Mr. Arthur Chesney 

George Lattakcr ...Mr. Lawn/nee GrossTnith 
\ii-ii-tiis Arbutt ...... Mr. E. W. Garden 

Count Fritz von Coslin 

M' . 1'hiiip CoaloghaiD 
]) nman Sburgis ...... Mr. Sydney Skarratt 

Voule.s .................. Mr. Edward Sass 

Sidney ............... Mr. Arthur Hatherton 

Vanderly ____ Miss Gwynneth Galton 

la ................... Miss Faith Celli 

M runic Foster .......... Miss Maud Creesall 

,111 ........... -Miss Florence Tempest 

Wanda de Baron, Mary 

. Freda. Watson, Dorothy Wymlprl, 

11, Violet Blyth-Pratt, 

II. V. Surrey, Stap- 

. Adkins, Bejibie, Vaughan. 


I'.Kol HKK> KAI!A'\IA/uV, TI1K, drama, in 
livii arts by .laei|"' .iinl Jean 

om tin- Kii--ian of ])o-toievski, 
translated by CbriBtOpheir St. John. (Pro- 
duced by t b nary ]<;. 

AliAt-i Karama/.ov ....... Mr. Allan \Vade 

:ma ........ Mr. Ralph lluttmi 

Dmitri Karama/ov .. Mr. <)\M-II !: 
Nnerdiakov ................. Mr. Shiel liai-y 

Ivan Karamazov ...... Mr. Francis Roberts 

Father Paissy ...... Mr. lleliry \\'i: 

ih ........ M : . < 

. . . Mr. R. Farquharson 

i!i';t Ivaiiovna . . Mi-- Hilda Ant< n> 

\ Servant ........ I :trwood 

n a Ale\:inilrovna..Mi>s Miriam Lewes 
: ..................... iMr. James Skea 

Mr. C. Herbert 1! 
............. Mr. H. B. Waring 

....... Mr. Tom Ronald 

................. Mr. Val < 

Boris .............. Mr. H. Caunoii George 



Charles llald'Ain. V.. C. M.ii 

Kit iiiid:e> 1'ov.i 

LM. Hlppo.ll- ii,;, . lle.lmmM- .. 10. 

Victoria P.I 

in N i \ l-i LtLd 'I in. >i 1:1 
the Scot < i 

ham Mollatt. I ( Ii mnially ; 
43rd), July 18.- I 

HI uu,\i: AM* 'i HI; CUM., i in:, .i u ., 

liy Matthew Boulton. Febrtiary '24. 

Jturglar Mi ri iott, jun. 

Girl Mi-s Ruth l)o<j\vra> 

l'a\il:on, \V( \mouttl. 

CACHF/ CAI i: true, b> Mme. i:. Ua-imi. De- 
cember 7. Middlesex. 

OJ5SAR AM) ri.lxii-Al i; \, MI. Forbes- 

'ertcon's reNival of the, " History, 
live acts, by (, - aw. (Ori- 

:nally produced March 15, 1899, R- 
Newcastle; November 25, 1907, Savoy.) 
April 14. 

Chorus Mr. Grendon Bentlcj 

Julius Ctesar Mr. .1. Forbe-.Robi 

C'.copatra Mi> (iertrude Elliott 

I'tatateeta Mi^s \deline Boui'iiu 

Pothimis Mr. H. Athol Forde 

Theodutus Mr. S. \ . 

Ptolemy XIV Ma-t- -t' n 

Aehilliis Mr. Walter Ringham 

Rufio Mr. Frank Lacy 

Britannus Mr. Ian Robertson 

Lucius Septimi us Mr. Percy Rhodes 

A Wounded Soldier .. Mr. Ri'-h.i 

A Sentinel Mr. S. T. I 1 . 

A Major Domo Mr. Go 

Apollodorus Mr. Alex. Scott-Gatty 

Centurion Mr. Robert Atkins 

First Porter Mr. L. Frith 

Second Porter Mr. ]:. A 

Boatman Mr. I 

A Nubian Slave Mr. D. V. 

Dnir.v Lane. 

CAGE, THE, comedy, in three acts, by Ronald 
Jeans. June 10. 
Cuithia Harrington.. Miss Estelle Win-wood 

Mrs. Barger M:.- <;w\nn..>t' 

Mrs. Harrington MBS Lena Halliday 

Max Barger Mr. C. M. 

John Barger Mr. Edmund Gwenn 

\ rarlounnaid .... Miss G. Black-Re' 
Another Parlourmaid. .'Misa Marjorie Butler 
Martin .. 

Mr. Ljonel WatU 

Miss Stedmaji 


CALIPH AM) '1 in. IlKl.i. AJ; S DAM. H'l I I:, 
I II !;, T!a-t. rn mil 
\n:ust 4. 

The i Mr. Leo ]>r\d<-n 

The ]'e Mr. Bex' 

'I he Beggar's ham 

The CalpihV Chamber!:. in. . Mr. II. 

The Story Teller Mr. A. Bradley 

Morie M iss Mamie v 

r Girl Miss Carri- 

Mi IVilsey Cariclio 

Tin Fakir Mr. < 

Laurie Pui- 

Incense Bur: fa. Walford, Wallis. 

and Reed-Pinaiid 

Bodyguards .. <Me->r<. Williams and Vort 
Train Beau 

Webb, an<i 



Caliph and the Beggar's Daughter, The (continued). 
Fan Bearers .. Miss Lincoln and Mr. Lacey 

Trumpeters Messrs. Irwin and Watson 

The Old Man Mr. Bertie White 

Has Daughters Misses Grant, Lester, 

and Marshall 


CAN YOU BEAT THIS? revue. December 26. 

Hippodrome, Bedmdnster. 
CAP AND BELLS, THE, comedy, in three acts, 
by Robert Vansittaxt. April IT. Last per- 
formance (the 44th), May 30. 

Earl of Chislehurst Mr. Fred Kerr 

Duke of Dartford Mr. Eric M<aturin 

Percy Robinson 'Mr. Godfrey Tearle 

Hammond Mr. Heath Haviland 

Lady Chislehurst Miss Maude Millett 

Lady Clara Marden .. Miss Ethel Warwick 


CAPTAIN CHRIS, drama, in three acts, by 
John Johnson and Dagney Major (produced 
by the HildenT orough Village Players). 
January 21. 

Drill Hall, Hildenborough. 
CAPTAIN CUPID, musical comedy, in two 
acts, by H. F. Housdcn. May 26. 


dramatic, romance, in four acts, by J. H. 
Danili'y. July 21 
I'ic-tri Sarillo (" Capt. Starlight ") 

Mr. G. Steer Flindci> 

Starkey Mr. Frank Woodville 

Bruno Benjamin Isaacs Mr. J. W. Bradbury 

Ling-Soo Mr. David Douglas 

Shaun O'Shaughnessy Mr. Chas. H. Hugho.s 
Capt. Frank Fairfleld -. Mr. Cecil Kle>>. 

Albn Dale Mr. Frank Wheatley 

Commissioner Bainbridge . . Mr. R. Hope 

Martin Mr. Geo. Lawrence 

Heywood Mr. James Mount 

:'.iniien Miss Stella Carmich.U'l 

Martha Mullarkey .. Miss Fay Rivington 

Elaine Miss Ethel Raynor 

Prince's, Portsmouth. 

CARDINAL'S ROMANCE, A, play, in three 
acts, by -Edward G. HemmeTde. June 14. 
Last performance (the 15th), June 28. 

Clive Rushton Mr. Norman Trevor 

Mark Cartel Mr. Douglas Greet 

Gilbert Tyrell Mr. Hunter Ne?bit 

Richard Farrant Mr. Fred Kerr 

Frank Lester Mr. Ernest Mainwaring 

Kenneth Lester Mr. Godfrey Kerr 

Father Luigi Villari . . Mr. Alfred Brydone 

William Mr. Frederick Morland 

Sr. Tito Castelli .. Mr. Fewlnss Llewellyn 

Beatrice Miss Enid Bell 

Mrs. Frank Lester Miss Joy Chatwyn 

Gladys Pennant Miss Ethel Tusoo 

Si'bell Jackson Miss Cicely Le G-ros 

Dolly Rushton (Miss Peggy Fitzmaurice 


CARELESS LASSIE, A, sketch, in one scene, 
by Harry Grattan. M.ay 19. 

Fattier Mr. Ernest H. Paterson 

Mother Miss Adelaide Grace 

Daughter Miss Jean A vlwin 

Empress, Brixton. 

CAROLINA BROWN, sketch, presented by Wai 
Robbins and company. November 10. 
West London. 

CARRIER PIGEON, THE, one-act play, by 
Eden Philpotts. A,pril 7. 

Harry Hawke Mr. George Elton 

Elias Cobleigh Mr. Mawson 

Milly Hawke Miss Dora Harker 

Royalty, Glasgow. 

CASTE, revival of the comedy, in three 
acts, by T. W. Robertson (Prince of 
Wales's, April 6 1867). August 4. 

King's, Hammersmith. 

CATHERINE THE GREAT, play, in three 
acts, by R. Henderson Bland and A. E. 
Manning Foster. February 11. 
Princess Sophia Augusta Fredericka 
of Zerbst, afterwards Empress 

Catherine II Miss Frances Dillon 

Princess Jeanne Elizabeth. .Miss Rose Duprfi 

Empress Elizabeth Miss Ella Erskine 

The Grand Duke Peter .. Mr. Alfred Toss<5 
Count Bestoujeff Mr. Clarence Derwent 

Count Lestocq Mr. Alexander Rivers 

Herr Brummer Mr. Stanley Roberts 

Count Peter Schouvaloff. .Mr. Leon M. Lion 
The Archbishop of Novgorod 

Mr. Frederick Moyes 
Gregory Orloff Mr. Langhome Burton 

Alexis OrlofT Mr. Noel Phelps 

Adjutant-General Goudovitch 

Mr. Benedict Butler 

Sir Han-bury Williams.. Mr. Geo. Fitzgerald 
Count Poniatowski. .Mr. R. Henderson Bland 
General Munnich . . Mr. George Fitzgerald 

Lamberti Mr. Stanley Roberts 

Courier Mr. Benedict Butler 

Elizabeth Worontzofl . .Miss Edith Graham 

Mme. Krause Miss Irene Moncrieff 

Countess Roumanizofl .... Miss Lily Kerr 

CATS, farce, by C. King Coyne. (Produced by 
the Black Cat Club. January 24. 

Kitty . . . .' Miss Wynn Weetcott 

Mary Primrose Miss Ruby Bashall 

Mis." Jann.m Miss Ella Daincourt 

Mrs. 'Opkins Mrs. Taunton 

Adalbert Mr. Wilfred Stephens 

Professor Percy Mr. Percy Venion 


C'EST CHIC, French revue, in twenty-four 
scenes, by MM. Celval and Charley. Sep- 
tember 1. Middlesex. 

CHALLENGE, THE, comedy, in three acts, by 
Dnde Shearim. September 11. 

Daphne West Miss Beryl Hamilton 

I e Croomo Mr. N. Thorpe-Ma>nc 

Mortimer Croome..Mr. Chas. Kent-Francis 
liernara Whyte .... Mr. W. Jules Kemp 
Miss Isabel Fortiscue 

Miss Sylvia Faucet-Baker 
Mrs. Ebbutt .. Miss Margaret Deiuiistoun 

Frances Miss Bee Sutherland 

Dulcie Whyte Miss Bessie Jewell 

King's Hall, Ilkley. 

CHANGE, Glamorgan play, in four acts, by 
J. 0. Francis. (Produced by the Stage 
Society.) December 8. 

John Price Mr. Harding Thomas 

Gwen Miss Lilian Mason 

Gwilym Price Mr. Harold West 

Sam Thatcher Mr. Frank Ridley 

Isaac Pugh Mr. Tom Owen 

Lewis Price Mr. R. A. Hopkins 

John Henry Price Mr. John Howcll 

Dan Matthews Mr. Gareth Hughes 

Twm Powell Mr. William Hopkins 

Jinnie Pugh Mis Doris Owen 

Lizzie Ann Miss Eleanor Daniels 


CHANGE FOR A SOVEREIGN, musical play, 
in three acts, by A. Howard Llnford and 
Edith M. Bathurst. (Produced by ama- 
teurs.) December 20. 

Canty Mr. D. Brlault 

Joe Spindleshanks Mr. B. Linford 

Jimmy Boracks Mr. E. Baum 

Mat Berry Air. V. Paulks 

Jack Jolly ..." Mr. K. C. Darling 

Hugh Mr. E. Morrell 

Tom Mr. H. Sherwood 

Miles Fenton Mr. A. Stevenson 

Lord Arlington Mr. P. Smith 

Duke of Fattington Mr. G. Baer 

Lord Lovatt Mr. T. Sergius 



ur I'.cntwich 

Mr. K. ! 
.... Mr. T. I 

1 Mr. 1 ' 

,i>le Mr. <l 

< Ambrose Mr. M. Dreyfus 

Mr. A. Knight < 

Line Grey 

I'riii. h Miss ARMCS Wylic, 

(Jucen of Scots Miss Gla.i 

iiaui|i-iead Conservatoire. 
cil \i'i:i:n\. TH 

,11 Brandon and Frederic ArtllMC 
(April 21. Devonshire I'ark. East bourne.) 

April performance (tlie flfty- 

fourt.ii). June 14. 

Hilary Cluster Mr. Cyril Keightley 

Him. Algernon Broeklelmrst 

Mr. Lawrence Robbins 
Christopher Pottinger. M.I'. Mr. K. Dagnall 
Admiral Peter Maxwell. . Mr. M. R. Morand 

Colonel Redwood Mr. Harold Sturge 

1'aul Kominsky Mr. Edward Irwin 

Sehwarx Mr. J. Parish I; 

Mr. Lambert Plummer 

Pane Boy Master Maurice F.dmond-- 

:.. nid Gaythorne Miss F.tliel Dane 

: .nger Mir-s Helen Have 

Hairiet Maxwell Miss Ada Kini; 

Mayne Miss Mary Dibley 

Curtis Miss Violet Graham 


cil U! LEY'S AUNT, revival of Brandon 

Thomas's farce. (February 29, 1892, Royal, 
Bury St. Edmunds.) December 20. Prince 
of Wales's. 

CHARMER, THE, revised version of the play 
of that name, by Compton Riekett, givc-n 
by the Play Actors, at King's Hall, Covnt 
Garden. Oct.. her 13, 1907. October 3. 
Caroline Fairleigh .. Miss Dorothy Jarkson 
Millicent Gret!g .. Mrs. W. Brooke Willis 

Marsh Mr. A. C. I 

Gregory Fairleigh .. Mr. L. Barlow-Ma.-sicks 

Jan Mr. S. Elden Minns 

Stella Fairleigh Mrs. H. W. Griffith 

Roy Fairleigh Mr. C. Compton Ricket; 

Dirck Sinclair. M.I). .. Mr. H. W. Griffith 

Eliza Filders Miss Gertrude Hall 

.la Day Mrs. Wildman 

Mrs. Filders Miss Jessie Phillips 

Gracie Miss Kathleen Phillips 

Assembly Rooms, Rotherbam. 

CHEER-OH! CAMBRIDGE, musical comedy, 
by Jack Hulbcrt. music by Alan Murray, 
extra numbers by J. W. Ivimey. B.Mu>., 
and C. F. Smyly. extra lyrics by H. Rotten- 
burg and J. L. Crommelin-P.rown. (Pro- 
duced by the Footlights D.C.) June 12. 

Algy Verc Mr. Jack Hulbert 

Mogg Mr. E. G. Snaitli 

Teddy Brown Mr. R. M. H 

Le.Comte Tango Mr. A. Portauo 

Glum Mr. \. M. Pcii/er 

Professor of Psych<'loL!> . . \lr. I', oilereiishaw 

Rowing Coach Sir. H. C. M. Farmer 

Auctioneer Mr. P. L. Barrow 

k Mr. T. P. Ellis 

Waiter Mr. L. S. St raker 

Sylvia Mr. M. Cuthb. 

Daphne Mr. D. Carmiehae.l 

Mrs. Walker Mr. II. V. To 


C1IIVA ORANGE, A, one-act play, by Emil 
Lock. March 31, 

Vladimir MirskofT Mr. Rnb.-rt Noble 

Paul Goveski Mr. Edinun ! 

Countess Alexandrovna. .Miss Alma Stanley 

(TTI/IA Mnl;n, 

\|.nl HI. 

\r\ club. 


b.V I.e \ lli.i. 

t 11. 


01 \i M: \i'.i;n\n, : , 


Aaria..Mr. A. H. Leveaux 
Mari|iii ol 

Sir Simeon Stuart, ' 
Lord Claude C'! 

Count Am..r\.-ki Mr. I 

Siinpkins .Mr. CM 

Mnii^iciir Gail/ .. Mr. S. Edgar Wain 


Damski Mr. P. Ni-villf 

Balouski Mr. H. I. 

Reporter Mr. W. 11 

Waiter Mr. i 

Gendarme Mr. I 

.^vendor Mr. 11. R. Ward 

Lady Violet Cbattert'.n. . \i 

Brishka Miss Marjurie Hamilton 

Trimmings Mrs. i 

Cicely Canning Miss Gertrude ' 

i ! 1 \1I1.V AN h cuNClsl.I.V. dl 

Robert lli!-"-inbotliam. January ;). St. 

CLIMAX, THE, one-act play, by Murray Gil- 
Christ. May 2. 

Job Askew Mr. Martin Sands 

Jud Yellot Mr. Desmond Uraimigan 

Joanna Miss Car 

. Dane Miss Ine" Cam 

Royal, M 

CUM \\. THE: A SONG OF THE .-ol I . 
n. '\v version of tlw play, by Edward 1 


for tho Englisb stage by C. M. Brune, 
LL.D., M.A., with musical tbemo by 
Joseph Carl Breil. October 20. 
Adeline von Ha/en Miss Helen Cunningham 
Dr. John Raymond Mr. Bernar ! 

Luigi Golfantl Mr. i:<: 

Pietro Gollanti Mr. i:rir M 

siguora Vittorin ^ 

Anton Kubeiistcin Mr. 'lam 

Mr. James Kelinitli 

Georgo Downio Mr. 

lievonshire Park, Eastbourne. 

COCODRILI .1 come'die ' 

Croix. N 

COLD Ditrrill'. A. romcd y -|, hy H- r 


COLLIi I ill., don 

Mrs. F. G. Kimbe- 

iing Mr. J 


John Willie Hay..V 

Hubert Cardel Mr. ! 


.l.'lr M^. .1 

Bill Giles Mr. Fred Barnp* 

Flossie Shaw M 




Collier's Lass, The (continued). 

Mary Ellen Nuttal Miss Lynn Darlington 

Martha Copley Miss Ellen Beverley 

Maud Fernley Miss Mona Gray 

Grace Copley Miss Muriel Dean 

Royal, Stratford. 

COLLISION, play, in four acts, adapted by 
Bridget Maclagan, from her novel of 
Indian life. October 1. Last performance 
(the 19th) October 17. 
Gopi Chand, C.l.D. .. Mr. D. H. Munro 
George Digby, I.C.S. Mr. Norman McKmnel 

Imogen Daunt Miss Alice Crawford 

Susan Digby Miss Grace .Lane 

Ismail Mr. Ernest G. Cove 

Bobbie Concannon Mr. Vernon Steel 

Edward Annandale Mr. J. Cooke Beresford 

Prof. Shalieb Mr. Michael Sherbrooke 

Benjamin Trotter Mr. Leslie Carter 

Kashir Ram Choula, M.D. 

Mr. Malcolm Cherry 

A Mohammedan Mr. Harold Bradly 

Fulmani Miss Dorothy Edwards 

Mrs. Badri Nath .. Miss Suzanne Sheldon 
Rai Sahib Badri Nath Mr. E. F. Mayeur 

Nautch Girl Miss Nancy Denvers 


COLONEL CLEVELAND, V.C., play, in on 
act, by A. F. Owen-Lewis and Eille Nor- 
wood. October 20. 
Colonel Cleveland, V.C. .. Earl of Carrick 

Maud Cleveland Miss Mary Jerrold 

Doctor Maxwell Mr. Franklin Dyall 

Sergt. Silver Mr. Clifford Brooke 

London Coliseum. 

COME AND SEE (The Real Show), revue, by 
F. Storry, with music by S. M. Paul. 
November 3. 

Lucy Miss Lydia Alexandra 

Fifl Miss Rosie Gaston 

Princess Wiskiana .. Mile. Valma Dupont 

Chief Mr. Nat Lewis 

Cornelius O'Reilly Mr. Phil Coleman 

Lord John Wentworth . . Mr. Joo Wilson 

A Slave Mr. David Keir 

Palace. Bath. 

COME INSIDE, revue, written by Joseph 
Hayman, music by W. Neale, with addi- 
tion numbers by Bert Lee (October 6, 
Hippodrome, Boscombe). October 13. 

Wiggs, the Waiter Mr. Horace Jones 

Lieut. Jack Wayne .. Mr. Conway Dixon 

Ram! Sam Mr. F. W. Ring 

Tommy Master Edmonds 

Sergeant Mr. J. W. Hemming 

Gendarme Mr. Moody 

Kitty Travers Miss Netta Lynd 

Very Fly Miss Minnie Leslie 

Lady of the Snows Miss Cecily Laurl 

Our Sarah Ann By Herself 

Astor's Waldoria, U.S.A. 

Miss Bessie Clifford 
Holborn Empire. 

COME OVER HERE, revue, in three acts, 
book by Wilson Mizner and Max Pember- 
ton, music by Louis A. Hirsch and J. 
Rosamond Johnson, lyrics by Harry 
Williams, production by Gus Sohlke. April 
19. London Opera House. 

ary performance of a sketch by A. C. 
Torr. February 5. Royal, Yeadon. 

COMFORTERS, THE, comedy, in one scene, 
by Lewis Sydney and Herbert Mason, with 
music by Herman Finck. November 10. 

.Tosiah Grizzle Mr. Lewis Sydney 

Geoffrey Speekswete ..Mr. Herbert Mason 

Betty Speekswete .. Miss Marjorie Moors 


COMPOSER'S DREAM, A, musical ecna. 
May 19. Oxford. 

COMPROMISED, light comedy, in one act, 
by Edgar Jepson. (October 7, Ambassa- 
dors.) May 19. 
Rupert Verrinder . . Mr. Yprko Stephens 

A Policeman Miss Jess Sweet. 

Lady Molly de Carteret Miss Edith Graham 

Emmeline Miss Helen Leyton 


COMTESSE MIZZI, comedy, in one act, by 
Arthur Schnitzler, translated by H. A. 
Hertz. (Produced by the Stage Society.) 
March 9. 

Servant Mr. Val Cuthbert 

Count Arpad Pazmandy 

Mr. Robert Horton 

Mizzi Miss Katherine Pole 

Gardener Mr. Charles Bishop 

Egon, Prince Ravenstein Mr. Athol Stewart 

Philip Mr. GodfTrey Dennis 

Lolo Langhuber .. Miss Margaret BussS 

Wasner Mr. Rupert Lumley 

Professor Windhofer Mr. Ivo Dawson 


CONFESSION. ,THE, Irish episode, in one 
scene, by Montague Turner. April 14. 

Connor Fitzgerald Mr. Aldan Lovett 

Dennis Fitzgerald Mr. Gilbert Ritchie 

Father Maguire Mr. James Skea 

Eileen O'Hanlon ..Miss Frances Ruttledg* 
Putney Hippodrome. 

CONTRACTS, one-act play. by Wilfrid 
Stephens. (Produced by the Black Cat 
Club.). January 24. 

Airs. Tabb Miss Ruby Bashall 

Jeannette Mrs. Taunton 

Bella Miss Mona Maughan 


play, by James L. Dale. (Produced by the 
Stage Players.) July 10. 

A Saint Mr. William Stack 

A Scoundrel Mr. Wilfrid Seagram 

Charon Mr. Wyn Weaver 

A Respectable Person. ..Mr. Ernest Graham 


CONYNGHAMS, THE, comedy, in three acts, 
by " George Paston." April 14. 

Julian Rolfe Mr. Algernon F. Greig 

Rossle Miss Ellinor Arup 

Freida Conyngham .. Miss Marie O'Neill 

Eliza Miss Mona Smith 

Mrs. Fitzalan Miss Eileen Thorndike 

Mrs. Rolfe Miss Aida Jenoure 

Rufus Pagnall Mr. Baliol Holloway 

Major Fitzalan Mr. Shiel Barry 

Hugh Conyngham Mr. Norman McKeown 

Mrs. Lewis Miss Estelle Winwood 

Mr. Rolfe Mr. Wilfred E. Shine 

Toby Master Harold French 

Mrs. Hollyer Miss Fannuy Olive 

Brodie Mr. J. A. Dodd 

Albert Baxter Mr. Richard Evans 

Repertory, Liverpool. 

CORMORANT, THE, one-act play, by May 
Isabel Fisk. June 16. 

Airs. Leighton Miss Concordia Merrel 

Dora Miss Manora Thew 

Will Mr. H. E. Schwartze 

Fred Mr. Leslie Pryce Harner 

Clive Leighton Mr. Cavendish Morton 


duction in London of a comedy, In three 
acts, by George Fitzmaurice. June 28. 

Julia Shea Miss Nell Byrne 

Norry Shea Miss Helena Molony 

Matt Dillane Mr. Farrell Pelly 

Min Miss Una O'Connor 

Pats O'Connor Mr. Eric Gorman 

Edmund Normyle .. Mr. Michael Conniffe 

Michael Clohesy Mr. George St. John 

Maryanne Miss Nora Desmond 

Babe Miss Peggie Buttimer 



, Tit, (I'lintiiiufil). 

Miss Kathleen Drago 

Mr. Charles Power 

i.MiiltiT Mr. Philip Ouiry 


Ml, playlet, by Ena May 
r 21. Passmore Edwards' 
COWAJtD, 'Mil:, play, in one act, by Ada 

iiii|ii<m. December 11. .' 

cn\\ Buys i;i:\ I:M;I:. Till';, Wild-West play, 
in four acts. .March 10. 

I Oanvers Mr. Wilson Benge 

Jim Travers Mr. Harry Vane 

Burley Skeets Mr. Charles T. Higgins 

Mr. Daw.son Mr. Austfn Dean 

HIT Wee .Mr. Fra^ik Cavanah 

loia-l Mr. Lauri Moynaham 

Mr. Washington Wells .. Mr. Bob Linton 

Tom Archer Mr. Charlie Smythe 

The Sheriff Mr. F. J. Lawson 

Bob Ford Mr. Bert Denton 

'1-gi- Hopkins Mr. S. T. Wilson 

Larch Lees Mr. P. J. Tomkins 

Frank Hendon Mr. Ralf Hillier 

Roy Matthews Mr. H. J. Sanderson 

Jack Conroy Mr. Karl Peters 

Paul .Jones Mr. Seth Thomas 

Bill Hickock Mr. Tim Preston 

Ga Na Gule Ska Wapka 

Hudin Skawin Foy Caflnch 

Long Eagle Amos Halrna 

Nell Dawson Miss Maud Hastings 

an Dawson Miss Nellie Hazel 

Hurricane Kate Miss Sadie Smith 

Royal, Swansea. 

CRACKSWOMAX, THE, drama, In four acts, 
by Henrietta Sehrier. June 23. 
Eustace Strangeways . . Mr. Lodge Percy 

Andrea Vassili Mr. G. Edward Hall 

Colonel St. Justin Eyre.. Mr. Libley Hicks 

Gilbert Eyre Mr. H. Erle-Seamore 

Philip Eve Mr. Eric Crowther 

Forbes Mr. Richard Austin 

Parker Mr. Theo Gautier 

Sylvia Dale Miss Dorrie Lawrence 

Cassandra Moorhouse. ..Miss Adela Harvey 

Mrs. Fitzgerald Eve. .Miss Henrietta Schrier 

Royal, Rochdale. 

n; \I>LE. THE, one-act play, by A. Rochester. 
li 11. 

Mr-tthcw Steere Mr. Lionel Atwill 

Sarah Steere Miss Esme" Beringer 

Tlrrtothy Jeal Mr. H. O. Nicholson 


ri;i:ol,l', THE, dramatic sketch, in one scene, 
by Loon M. Lion. (May 12, Olympic, Little- 
hampton.) June 30. 

Juan Valia Mr. Wm. Fraser-Brunner 

Dick Carrol Mr. Douglas Cecil 

Patterson Mr. Josh. E. Arundell 

Lucho Mr. Juan Garcia 

Skinny Mr. Claud Wi'.root 

Bud Mr. Bud Sadler 

>u> Creole Miss Helena Millais 


CRITIC, THE, Sheridan's comedy, revived for 
tin- Christmas season by the Birmingham 
Repertory Theatre. 


ABl'.KY THEATRE, dramatic satire, in one 

. by St. John G. Ervine. November 20. 

Mr. Barhary Mr. .T. M. Kerrigan 

Mr. Quacks Mr. Fred O'Donovan 

Mr. Quartz Mr. Sydney J. Morean 

Mr. Bawlawney Mr. Arthur Sinclair 

\n \ttendant .... Mr. H. E. Hutchinson 
Abbey, Dublin. 

-f'S. play, in three acts, by Henri de 
iiild. May 22. Last performance 
i 50th), Jiih 

rnmte Sorbier Mr. Arthur Bourchler 

I .< vicomte de Fon?ac..Mr. Spencer Trevor 

I Grandva! .. M 

. - M 

Hnmot .\; 

Hrouard Mr. - 


Hippolyte v Imondu 


HeMene de Grandcourt.M 


Miss Barbara 

2rn brkl f,, Miss Pearl Aufrere 

Mil.-. Vilk-Ue 

Mme. Robert Miss Carton; 

Mme. Martin Miss Beatrice May 

Toto Mr. Joyce Robey 

Yvonne Pinchard..Miss ' 


CROOK, THE one-act play, by Graham Hill 
January 20. Collins's. 

CROSS Pl'U'osES. one-act play, by Major 
T. MacGregor Greer. December 18 
Lady Mary Swift 

Edith Waldemar-Leverton 

Nancy Swift Miss Marc" 

Capt. Reginald Blood Mr. Milton Frey 

';' n . cs le Hesilrige 

Major-Gen. Blood Mr. Charl. 


CRYSTALS, THE. miniature magical play, 
written and produced by David Dcvant 
February 18. 

Richard Bulwell ^ 

Si K nor Ombrosio .... JMr - lK ' lvuI Devant 
(''apt,. Robert Bralntree. .Mr. Arthur Burne 

Nora Braintrce Miss Mun 

Mrs. Michelmas .. Miss Nina Westerleigh 

Pyson Mr. Williat- 

St. George's Hall, \V . 

CUCKOO'S NEST, THE, comedy of contem- 
porary Irish life, in three acts, by John 
Guinan. March 13. 

Phil Dolan Mr. Mi, ha, 1 ConnilTe 

Lake Muldowney Mr. Philip Guiry 

Hugh Loughnane Mr. Farroll I'dly 

Nancy Kennedy ATiss Helm Holooy 

Nora Flanagan Miss Pegtry Mnttimer 

Peg Galvin Miss 

Abbey, Dublin. 

CFPID, rNLIMITED, burlesque, by 3os6 G. 
Levy and Percy Barrow. March 3. 

Mornabelle Mr. Sidney T Pease 

Kidling Mr. P. \. Wenlock Brown 

R am Mr. Philip Durham 

Betty Chance Sihley 

Mrs. ( fo Grubb Mi- - Shore 

Dorothy M 

Baling Hippodrome. 

<Tl; \TE'S DILEMMA. THI ketch. 

by Itr. Haiiiilt-iii S. \ mow g. 


fTT OFF THE JOINT. A. playlet. l,v Walter 

E. Grogan. October i:;._ Palladium. 

Cowen. June 21. 

Willyer M-. \ K. W a lk<r 

Ixird Nrtrr.-ys 

A Clerk 

T'" .ham 

'"ire Park, 1 

KAMI: DI'.MPTY-S mi IM \i \. ( . 

\. Hanbury Frore. Oet^b. 
Hall, Walham Green. 8.W. 



DAME JULIAN'S WINDOW, morality, by 
the Hon. Mrs. Alfred Lyttelton. Pro- 
duced by the Morality Play Society. July 

Dame Julian Miss Ellen O'Malley 

Annvs . Miss Barbara Everest 

int /.. Miss Cathleen Nesbitt 

Avmar Mr. Langhorne Burton 

Martyri Mr. Alan Trotter 

Piers the Merchant .. Mr. Clifton Gordon 

\n Old Man Mr. Rathmell Wilson 

Kobin Mies Dorothy Maaville 

Marfiet Miss Barbara Noel 

p 1[ 8 Miss Joan Carr 

4n Old Woman Miss Marian Bird 

A Mother Mrs. Percy Allen 

A Child Miss Mamie \V albs-Jones 

A Gallant Mr. Basil Hallw.ard 

Blind Man Mr. Trevor 


D\MER'S GOLD, comedy, in two acts, by 
Lady Gregory. (Abbey, Dublin. November 
21, 1912.) June 16. Court. 

DANCER IN THE HAREM, A, Eastern epi- 
sode. October 27. 
Hassan Ben Mackara^ ^ ^^ Yofk 

Eunuchs of the Harem ^ ^ ^ ^ 

Zuleika La Belle Binda 

Hammersmith Palace. 

DVNCEK. THE, one-act comedy, by " T. 
' V." March 12. 

Ii Reine Miss Martha V)go 

Joseph . .'" Mr. Albert Waimvright 

Colonel Gunnsled Mr. Vincent W. Lawson 

Prince Dorian ..Mr. Owen Ediss 

King s Ball, W.C. 

DANCE THIS WAY. revue of dancing. June 
16. Hippodrome, Boscomhe. 

DANDY BAND, THE, comedy spectacular 
'sketch, in three scenes, by Edward Mar- 
m music by A. W. KVtrlbv. (Septem- 
ber 18, Opera House, Dudley.) Novem- 

Maior' Phil Mordyke .. Mr. Phil Lester 
Optimus Squawkes .. Mr. Harry Rydon 

MW M Mr. Freddy Kigby 

Mr.Meeke Mr. Kenny Rove 

Jackson Mr. George Marte 

The Bellman Mr. Harry Burgon 

Marjorie Miss Peggy Rydon 

Pearl Mo-rdyke Miss Audrey Leslie 

Jessie Jasmine .. M'iss Gertrude Morrow 

M.arie Messenger Miss Nellie Turner 

Bodkins Mr. Bert CTiarles 

Finsbury Park Empire. 

DAN THE OUTLAW, a romantic Irish melo- 
'drama, in eleven scenes, by Herbert Shel- 
ley. (An elaboration of the author's one 
scene protean sketch.) February 17. 
Domanie Corrigan Mr. John Beauchamp 

Wolf Mooroo Mr. Charles A. White 

Lord Kinsale Mr. Emmet Dunbar 

Dana Kinsnle Mr. Royce Milton 

Capt. Jefferies Mr. Harry Johnston* 

Pat Dwyer Mr. Hush Kendal 

Tin, O'Connor Mr. Dennis Hogan 

Dick Arran Mr. Thomas Sandford 

Ned Lismore Mr. George Wells 

Barney Conolly Mr. Arthur Tighe 

Miles Cavan Mr. John Longford 

Private M<acnab Mr. Laurence Atkins 

Private Buckley Mr. Samuel King 

Dan Mr. Herbert Shelley 

Eileen " .' M_iss Winnie Donovan 

Dolly Corrigan .. Miss Kathleen Bryant 

The Banshee Miss Rowena Moore 

Robin Miss Sophie Larkin 

W'illesden Hippodrome. 

G. Bernard Shaw. Revival for the first 
performance of the Bushey Repertory 
Theatre of the play. November 29. 

The Warder Mr. H. F. Sainsbury 

William Shakespeare. .Mr. J. B. Hobsbaum 

Queen Elizabeth Mrs. William Mollison 

Mary Fitton Miss Kate Attenborough 

DARLING DEVIL, THE, comedy, by Hugh 
Marlin. May 28. 

Mrs. Lovall Miss Elsie Harcourt 

Howard Marriott Mr. Harry Tremayne 

Maid Miss Ethel Ramsden 


DARLING JACK, domestic comedy, in one 
act, by Alfred Barnard. August 4. 

Jack Mannering Mr. Henry 

Kitty Mannering .... Miss Anna Rutland 

Arnold Butterwick Mr. Fred Seeley 

Madame Phyllis Miss lima Dayne 

Polly Miss Eva Ross 

Balham Hippodrome. 

DAUGHTER OF FRANCE, A, play, in four 
acts, by Pierre Berton .and Constance 
Elizabeth Maud. October 21. Last per- 
formance (the 19th), November 8. 
Sir Archie McGregor 

Mr. Arthur Scott Craven 
Colonel Farquharson Mr. Herbert Bunston 
Alan Farquharson .. Mr. Douglas Imbert 

Duncan Mr. Chalmers Colona 

Todd Mr. William Armstrong 

Fergus Mr. W. Ros.s 

Doctor Mr. Cyril Turner 

Waiter Mr. Gilbert Chambers 

Lady McGregor .. Miss Elspeth Dudgeon 
Marjorie McGregor .. Miss Lola Duncan 
Kirstie McGregor .. Miss Ethel Gannon 

Mrs. Duff .... Miss Nancy Blackwood 

Adfele Miss Joan Pereira 

Jack Lisa Stecker 

Jeanne de Clairv.aux Mme. Lydia Yavorska 

DAUGHTER OF ITALY, A, one-act play, by 
Eve Adams. Produced by the Stage Players 
July 10. 

Lucia Miss Laura Leycester 

Maria Miss Frances White 

Stranger Mr. W. Slaine Mills 

Carlo Mr. Templar Powell 


DAUGHTER OF PLEASURE, A, revised ver- 
sion of the sketch produced at the Bed- 
ford during 1904. July 28. Bedford. 

DAVID GARRICK, comedy sketch, in two 
SCTTIOS. May 12. 

David Garrjck Mr. Sinclair Neil] 

Alderman Ingot Mr. Basil Dyne 

Mr. Brown Mr. Ivor Barry 

Sniffy Mr. R. Bell 

Mrs. Brown Miss Beatrice Annersley 

Ada Ingot Miss Alice Miller 

Shoreditch Olympia. 

DEADWOOD DICK, Western drama, by Fred 
Bulmer. August 2. Royal, Lincoln. 

DEAL IN MAYFAIR, A, play, in one act, by 

J. L. Dickie. October 24. 

Sam Butterneld Mr. Colston Mansell 

Anthony Mr. Peter Upcher 

Mrs. Bumpus 

Miss Edith Waldemar-Leverton 

Miss Lampkin Miss Catherine Lord 

Tom Hazel Knutt Mr. Arthur Lindo 

Miss Warmington Brown 

Miss Grace Edwards 

Enid Dawson Miss Enid Groom 

DEAN OF ST. PATRICK'S, THE. drama, ir, 

four acts, by G. Sidney Paternoster. 

January 23. 

Dr. Jonathan Swift . . Mr. Patrick Murphy 

Mr. Joseph Addison Mr. Farrell Pelly 

Dean ,,/' .S.'. / 

r l!i. \ivhhisliop ____ M 

nt. Bolm^biokr .... Mr. Philip i.un \ 

Dllkr ill 111 Illllllll ...... Ml I h.i . I'oiv II 

I Oxford ...... Ml. SIMM I oinioiU 

Mr. Coogreve ...... Mr. \ Patrli h \\'ii on 

Dr. John Arliiitliiint. .... Mi l.n< <.o> man 

IStii. K ............. Mr. Mirha, 

Royal Si'i \.rnt ....... Mr. Tims-. P.;irn-tt 

Esther Johnston ........ Mis- Ni-ll B\ me 

Mr-, Dm-!. \ ........ M D snionil 

Hclster \';in lloinrigh 


Mr-. VMM Homiigh ____ I- letcher 

Misi !.-> Anne l.n'iu' .. Mir-H I IIM O'Connor 
Mrs. Touchet ........... Miss N.-ll 

First. Lady ........ Kathleen o 1 linen 

IK! Lady .......... Mi-s Betty Kin;: 

Sweetlit art ..... ____ Mi.--- Helen Moloiicy 

Lbbey, Dublin. 

DI-: \l! FOOL, 'I II K, comedy, in tin 
IT. V. Esmond. Dec* inher 4. 

i I "unbar .......... Mi.-s Kva M....-V 

Bill .................. Reginald Crasdorl)' 

Jack ........................ Hoy Royston 

Eth,-l ................ Mi, Estelle De-pa 

Dolly Pal.L'rai\e .. Mi - Syliil Westfflacott 
Mrs. Hunter .... Miss Cnnst ance (JnAe- 

Mary .............. Mi-.- I'lti, l.< ii/h-Hnnt 

The Marquis of Murdon Mr. Leslie Banks 
Dr. Wiiile .............. Mr. Freil (irove 

Bfrlnaham .............. Mr. Harry Ashford 

Sir Egbert InslefleW .. Mr. H. V. Esmond 
Lyceum, Edinburgh. 

DEATH OF CltOPlX, Till-:, hi-toriral , : 
in one art. by Leonard Tnkstor. Alien 
Frederic Chopin ...... Mr. F.nieM i 

The Abbe .1, lowirki .... Mr. Breniber Wills 

!iitiiian ............ Mr. W. ,T. Kvennett 

Franchomme ........ Mr. II. (J. Phillips 

Doctor .............. Mr. Harold Oreaves 

Ciiniitc-s Delphine .. Miss Helm TVndcnnis 
Mme. Dudevaiit .. ^liss Dorotlu Kinirsley 


ville Barker revived Maet.i-rlinck's play on 
December Is <luriiiK his repertory season. 
St. James's. 

Di;\ril THAI'. THE, drama, in one art. b\ 
Snenccr T. .Iiirncs. July 23. 
Muriel Campbell ....... . Miss Kdith Carter 

Peters .......... Miss Matiorie Theobald 

Captain Victor Kentisbeare Mr. Peril Bevan 
Arts Centre. \V 

DF.CKI'TIOX. i>!ay, ,in one act, by Leslie II. 
Steiner. (Produced by amateurs.) 1". 
her 20. 
Rutherford .......... Mr. F. G. Mitchell 

Tollcmache ............ Mr. C. F. Bnser 

Wilson Smith ...... Mr. Leslie II. Steiner 

Stanley H.all. Norwood. 

DE1RJEE OF P.ROVfDEN'CK, A. t.rM^cdy, in 
one act. (Prodllei-d by the P.lark Pat 
Club.) Ortober 24. 
Rii'hard ArmstronR ...... Mr. F. A. K. Pijir 

.lolm Detiton .......... Mr. T. Plibnrn 

Janet .................... Miss B. Lindlcy 

Mrs Armstrong ........ Miss .loan Ashbv 


mime-drama, in four tableaux. April 7. 
Hippodrome, Colchester 

DEFJAXPK, one. act play, by llobert Meynell. 
(Produced by amateurs.) December l.'i. 
Tin-- Servant' ...... Mi Ren* < h. villiard 

The Aunt ............ M llaL'hcr 

The- Elder Brother Mr. Alexander Charlier 
'U>iUT Brother.. Mr. Ba-il S. Pa\m- 
The Father of the Servant 

Mr. Robert \l.-\nell 
St. Luke's Hall. Stroud (Jreen, N. 


DI.I.I\ i .1:1 i 

l.i-int ward 

lil. -I l; I ll> l:i \ \l -. I III.. " pi 

rhyme.'' by < "hri-i in,- C.iiinell Ajinl M 
Flake \\hil, 

Mr. Ooi Mi 

Cupiil . 
\r;ililin1 ;i 

D|-;SPI.I: \|)i> I" \ltBS, <lr;i;i 

II, ; : March in. 

DF.sPl'.II.VI ION. one-act pla> 

I;. -in,. Delorme M 

Ja<'qui H Delorme Mr. \\ ; 

ild Balmain Mr. < 

Lionel Arthur M 

DFSTINV, i:u"i.-iM drama, in foin 

Arkadew. June 21. .poli.<. 

DIAN ^ DISM'PKVItS. play. b> I.. M. 

'. rlllbrr Ci. 

Eii--rn Parr Mi-- 

it'rjtv Dt-Miir Mr. c 

Aunt. Parolitie M i>s K;ttv WilloiiL-hby 

I'ncle Charles Mr. PI;,: 

Broun Miss Daphne F.r.-kine 

ion Pavilioi.. 

Dli:i HI.KI'. I.E. Hindu legend ballet, in one 
act. by MM. .lean Pord-aii an, I 1 1 
music by Ruynaldo Halm. Fcbru.- 

Covent (iardi-n. 

Dll.KMM \s OF I- \PII\K. Till., comedy, in 
o\ Dade Sheariiu 

D.iphu.' West Mi-- Beryl Hamilton 

Leslie Croc, me Mr. N. Thorp, Mayne 

Mortimer Proomc Mr. Charles Ken' 

Bernard Whyti Mr. William Jules Kemp 

Isabel Fortisrm- Mi-- Svhia > 
Mrs. F.bbutt ... Miss Margai 

Frailer- M: In-rland 

Dulcie Whyte 

Pier Pavilioi. 

Ill NCI. F. THE. a play, in onr a 
by Halcott (Jlover. July 1. 

Moll Miss Kathrrme 

I .,i,, : Bernej Mi-s \'. "rrow 

Lavenuro Mr. It. Henderson Bland 

The Finning Tinman .. Mr. Adrian liordon 

Postillion Mr. Wii: 


DIPI.OMACV. revival of B i -, and 

Clement Seott'.- phi;.. in four 
adapted from Saidoii's " D^r.'." 
pr<luee<l at the old Prince of W., 
.lann.-iry 12, 1-7-; revu,,l (i.ini.k. February 
18, 1893.) March 26. 
Hei raid dii Manrier 

Julian Beaiich-n- M 

Algernon Fairfax Mr. Donald Palthrop 

nt Oiloil Mr. Arthn- 

Stein .... 

Markham Mr II i 

Sheppard Mr 

Antoine Mr. Frederick Pulley 

Lady Henry Fair' :\ Tri.- 

Countess Xicka M 

Dora M: 




Gilbert Pardcw Mi 

Hi- Fath. - 



Disciple, The (continued), 

His Mother Miss Elaine Limouzin 

His Sister Miss Annie Edelsten 

His Sweetheart .. Miss Sybil Westmacott 

His Friend Mr. Austin Melf ord 

A Neighbour Miss K. M. Begbie 

\ Gipsy Mr. Leslie Rea 

King's Hall, W.C. 

DISRAELI, dramatic sketch, in two episodes, 
by John Lawson and Samuel Gordon. 
May 26. 
Aquillar Montana .. Mr. C. W. Somerset 

Drummond Mr. W. A. James 

Freda Montana Miss Lucille Sydney 

Sir Rupert Marsden .. Mr. Henry Ludlow 
Disraeli, Earl of Beaconsfield Mr. J. Lawson 

Mahmoud Bey Mr. F. H. de Quincey 

Political Envoy Mr. Charles Vane 

Political Envoy Mr. J. Camberyard 

De Costa Mr. C. Stanford 

Royal Messenger Mr. Frank Seddon 


in one act, by Margaret E. Dobbs. 
August 18. 

Dr. O'Connor Mr. Graham Smyth 

Richard Dobbs Mr. Joseph Doherty 

John Mr. N. H. Graham 

Mrs. Macauley Miss Matthews 

Harriet Miss G. Shields 

Opera House, Belfast. 

DR. JOHNSON, first London music hall pre- 
sentation of Leo Trevor's one-act play. 
(Originally produced Royal, Richmond, 
May 11, 1896.) September 22. London 

George Bernard Shaw's play by Mr. Gran- 
ville Barker on December 9 during his 
repertory season. 

April 11. Battersea Palace. 

DOCTOR, THE, sketch, in one act, by 
Frederick C. Broadbridge. April 4. 

Dr. Granton Mr. Rollo Balmaip 

Harry Spalding Mr. Christopher Steele 

Ruth Spalding Miss G. Verschoyle 


DOG'S CHANCE, A, sketch, by Matthew Boul- 
ton. March 24. Palace, Reading. 

DOPE, dramatic sketch, in one scene, by 
Joseph Medill Patterson. September 22. 

Doc KalthoS Mr. Hermann Lib 

Slim Mr. Phillip Kay 

Jerry Mr. Arthur Ricketts 

Arthur Robeson . . Mr. Bernard Merreftelrt 

Miss Courtney Miss Evelyn Walls 

Jimmy Master John Gartland 

Lil Miss Alice Chiswick 

Chelsea Palace. 

DOUBLE BLANK, sketch, by R. Louis Casson. 
June 23. 

Kate Alston Miss Miriam March 

Richard Forbes Mr. B. A. Pittar 

Jack Thornton Mr. Henry Deas 

Empire, Sheffield. 

DOUBLE EVENT, THE, spectacular sporting 
play, in seven scenes, by Malcolm Watson. 
October 27. 

Prologue Mr. Sydney Borrodaile 

Sir Harry Croft Mr. Harry Dodd 

Ramon Dalvarez .. Mr. Edmund Kennedy 

Matthew Digwell Mr. Edmund Lee 

Jo Whittuck . . Mr. Lawrence J. Lawrence 
Solway Molyneux Mr. Edward Mervyn 

Tom Spriggs Mr. Bobby Dillon 

Bob Sutton Mr. Hubert Woodward 

Dan Sutton Mr. Jack Scott 

Juan Enriquez Mr. George Kent 

Carson Mr. Frank G. Dunn 

Double Event, The (continued). 

M.C Mr. Vernon 

Comte de Tourain* Mr. F. H. Wood 

Cuthbert Mr. F. G. Townaend 

Media Spriggs Miss Dorothy Wilmer 

Lady Vavasour Miss Dorothy Romaine 

Jennie Whittuek Miss Violetta Bruce 

Chris Whittuek .. Miss Violet Blyth-Pratt 

DOUBLE'S TROUBLES, A, comedy sketch. 
May 19. Palladium. 

act, by B. Mandeville Phillips. May 26. 

Kate Seaton Miss Lydia Busch 

Mabel Wyatt Miss Ida Phillips 

Jack Armstrong .. Mr. Everard Vanderup 

Dick Armstrong Mr. Julian D'Albi 

Pier, Eastbourne. 

DREAM CHILD, THE, one-act play, by Oli- 
phant Down. April 28. 

Pierre Mr. Bernard Copping 

Jeannet Miss Lilian Cavanagh 

Father Dubonnet Mr. Brember Wills 

Gaiety, Manchester. 

DREAM OF LOVE, A, musical sketch, com- 
posed by Francis Bohr. December 22. 

DREAM PR1NCKSS, THE, rustic musical fan- 
tasy,- in. three acts, written -and composed 
by Arthur S. Gill, with additional numbers, 
jokes, and jingles by Harry Farnsworth. 
(Produced by amateurs.) December 8. 

ivdrillp Mr. Albert Farnsworth 

Preludio Mr. Harry Farnsworth 

Imacula Mr. Percy W. Hobson 

Confabio Mr. Frank. -Lees 

Sonambula Mr. Harold Horley 

Georgio Mr. Gordon Litchfteld 

Enrico Mr. Wilfred Robinson 

Ursula ) Mme. Florence 

Felicity ) Farnsworth 

Lola Miss Dorothy Irene 

Morning-Star Miss Dora Blee 

Lotus-Blossom Miss Ivy Sybil 

Yvonne Mme. Gertrude Baumfleld 

Lolita Miss Winnie Woollatt 

Volga Miss Ida Harrison 

Zobeide Miss Ida Sargent 

Yen-Yen Miss Constance King 

Amina Miss Flora Moakes 

Rosella Mme. Middleton-Woodward 

Royal, Nottingham. 

DREAM WOMAN, THE, play, by Ena Hay 
Howe. (Produced by th Black Cat Club.) 
February 24. Rehearsal. 

DROPPING THE PILOT, comedy, in four acts, 
by Keble Howard. May 12. 

Mrs. Jaggard Miss May Pardoe 

Olive Jaggard Miss Madge Mclntosh 

Klaine Miss Nora Keseler 

Marian Hooke Miss Elaine Sleddall 

Oswald Lewis Mr. James Gelderd 

Mr. Jaggard Mr. Stanley Lathbury 

Leslie Hooke Mr. John Nap per 

Philip Lowe Mr. Eille Norwood 

Mrs. Piper Miss Pearl Keats 

A Messenger Boy "Alfred" 

Edith Miss Alison GilUes 

A Policeman Mr. Bruce Irving 

Grand, Croydon. 

DU BARRY, LA, opera, in four acts (in 
Italian), by Ezio Camussi. July 3. 

Duca di Brissac Signor G. MartinelH 

Zamor Signor Mario Sammarco 

Jean du Barry M. Armand Crabb6 

Maupeou M. Defrere 

Cazott* M. Gugtave Huberdeau 

D'Aiguillon Signer Michele Sampieri 

Grieve M. Defrere 

Nicolet Signer Pompilio Malatesta 



La I)u Hurry Mm, 

brun Mine. J. Rover 


Mile. Ruby lleyl 

Premiere iMintfe'UM- .. Mile. FeTyne 

r 1-viguor Ettorc Panizza 


!>[( in.-s or i;i:cki.i:v. THI:. fan-,-, in cm-- 

i-y \V. \!;,\w,-ll Cmly. OctObl 

! Koiitli Mr. .1 I 

Kit Mr-. I'Vln-r .Ji,in> 

Will Evans Mr. Maxwell Cml;. 

r Ford Mi.-- l'n, la Cay 

Thomas Mr. Fred \\estlak,- 

Duchess of Beckley .. Mr.-. ! i.-h,-r Joiie* 
White Rock Hall. Hastings. 

DUCHESS'S NECM.ACK, THI-:, play, in four 
acts, by James A. Douglas. June 7. Last 
performance (the seventh), June 13. 

Charles Harvt-y Mr. Charles Kenyon 

Alfred Wood Mr. A. H. Imeeon 

Reginald Fletcher . . Mr. Henderson Bland 

Barry Groom Mr. E. VaswiH-Vaughun 

Colonel Delve Mr. Lewi* Sealy 

R6n6 Desparre Mr. Warburton (.Iambi,- 

Rubenstein Mr. Harry Parker 

Julius Macfloosy Mr. K. II. Ki-lly 

Dr. Duncan Mr. W. Brunton 

Waiter Mr. H. Wynn 

Page Boy Mr. J. Cherry 

iMiehess of Heniiia. .Miss Margaret Hal>tan 

Gertrude Fair Miss Phyllis Relpb 

Harvey Mis- Frances Dillon 

Mrs. DuBfOaa Miss Gertrude Le Sage 

K> becca Rubenstein .. Miss Diana. Durand 

Lizzie Miss Daune O'Neill 

Mary Miss Eva Treverina 


DUTY, farce of County Cork rural life, in one 
act, by Shamus O'Brien. December 16. 

Padna Sweeny Mr. J. A. O'Rourke 

Miens Goggin Mr. J. M. Kerrigan 

Head-Constable Mulligan... Mr. A. Sinclair 

Sergeant Dooley Mr. Fred O'Donovan 

Constable Huggins..Mr. Sydney J. Morgan 

Mrs. Cotter Miss Una O'Connor 

Abbey, Dublin. 

ECONOMISING, comedy, in one act, by John 
F. Haylock. (Marcih 3, Royal, Ashton.) 
March 31. 
Mrs. Albert Ogston .. Miss M. Trpnchard 

Mr. Albert Ogston Mr. John Cecil 

Mrs. Ogston Miss Martraret Berk 


EIGHTPENCK A MILK, revue, ill two art- 
anil twenty-live tableaux, by George Gros- 
smith and Fred Thompson, music coin; 
and (irran^. <1 hy Willy Redstone, lyrics by 
Hugh E. Wright, ballets by 'I 

aid ensembles by Julian 
Alfred. May 9. Alhambra. 

EKMITPI-NCE A SMILE, revue, in " 
regrettable acts and some paini 
written and produced hy Arthur Witni 
June 3. (Actors' Orphanage F6te.) 
Royal Hospital Gronn 

EILEEN'S SANTA CLAUS, a Christmas story, 
by Henry Allen Ashton. December 18. 

Mr. Tam'linton Mr. Milton Frey 

Mrs. Tamlinton 

Edith Waldemnr-I.i \ 

Eileen Tamlinton Miss Lilian Hay 

Stewart Miss Armine Grace 

Harvey Barlow Mr. Telford Hughes 

Joe Mr. Charles Hows 

Bill Mr. Walter Danks 

Sam Mr. Arthur Lindo 

Herbert Renshaw . . Mr. Reginald Donhan 


I.I. M S by Harold 

i. May 26. 

! Briggi 





I.I.II:K r.ko'i IM:K. 'i HI:. Jol n 

i :t>Iie. 

I. lij. 


.unont M ;iaine 

;u; .ma 


K list ace ' -,rrow 

iiioiit Mr. W J. Evennett 

Andrew Mr. H 

Cook Mi .-hts 

Uutler M' aveg 

Notary Mr. Norn hton 

Angelina I'- n-l,-nnU 

Sylvia Miss Dorothy Kir 

Gaiety, Mam! 

Kl.l)i:i:.> lion:- inestic sketch. In 

one scene, by R. J. Mael,nnan. (January 
C, King's, Southsea.) July 14. 

Sam Mr. Georpe Tawde 

Bella Miti.s Eva ' 

" Tom " ., "A Br 

Hohx>rn Empire. 

KLr.VENTH H(M IT. THE, dramatic sketch, by 
Constance Stnedley. April 15. 


ELIZAUI:TII roMi'KU, comedy, in three acts, 
by George Moore. (Produced by the Stage 
.ety.) June 22. 

Martin Mw Edith Evan 

Sebastian Dayne Mr. ReKinald Owen 

Mrs. Dayne Miss Emily Luck 

Lady Thurlow Miss Jov Chatwyn 

; s Davenant Mr. C. \ 

Godby Mr. Kenyon 

Countess von Hoenetadt .. Miss M. Lewes 

Fletcher Mr. Charles Maiinsell 

Lord Thurlow Mr. Val Cuthbert 

Professor Dayne Mr. Gedge Twyman 

Lady Kingsweight M- ^prn 

Miss Ca-inan Mis- Edith Cut> 

Mr. Ireton Mr. John 

Lady liiisin-,' Miss Iren, 

Sir I ing .. Mr. Telford Huuhes 


i:l .!/ \ I'dMKS 'in S'l \V. f . :'.. by 

H. V. E.-mond. (Originally pr<-: 
t.niber 30, 191^, \\ 

nary 12. Last performance (the 132nd), 
June 7. 

Hon Sandy Verrali .. Mr. 11. V. E-mond 
:in,l, r Stoop Verrali.. Mr. Kr',l (.Jpove 

Jordan Mr. Eric 1 

llerbrrt Mr. Chat 

Lady Pennybroke .. ' 

M -rtw 

All:iwa> N: 

Eliza '. M -*>r 


EMILY, play, in one ftct, 

Ma\ R] rpool. 

I.NCII \N IT: i) (I \I:DI.\, THE. children's play, 

it. (Children's Theatre.) 

December 29. Court. 

180N, THE, musical come- 
dietta, by Margaret Parker. M 


ENGAGEMENT. Till l:n li&D play, in one 
act, by K. l-iail -A it-- h April 19. Cos- 

111 'polls. 



ENGLAND EXPECTS, one-act play, by F. 
Leonard A. Gibbs. November 21. 

Mrs Fov Miss Carrie Haase 

p oy ' Mr. Charles Howe 

Captain Bettiswith .... Mr. Clarence Hart 

Lieutenant Vane Mr. Cyril Ashford 


ENQUIRE WITHIN, sketch, in three scenes, 
by Wial Pink. (March 3, Empire, Glasgow.) 
March 17. 

Tupper Mr. Jay Laimer 

Lord Pcppercomb .. Mr. Eric J. Langham 

Samson Mr. Hyilton Warde 

Don Gomez ;Mr. Harold Wallace 

Miriam Miss Maudie Francis 

Lady Peppercomb Miss Violet Kendal 

New Cross Empire. 

ERROR OF HIS WAY, THE, comedietta, by 
Miss Gibbons (produced by amateurs). 
January 27. 

Watson Memorial Hall, Tewkesbury. 

ESTHER CASTWAYS, play, in four acts, by 
Jerome K. Jerome. January 21. Last per- 
formance (the 47th) March 5. 

Esther Castways Miss Marie Tempest 

Philip Castways Mr. Arthur Wontner 

John Farrington . . Mr. W. Graham Browne 

Joselyn Penbury Miss Marie Polini 

Virginia Grey Miss Rowena Jerome 

Reuben Pierce Mr. Charles V. France 
Mr. Jackson-Tillett Mr. Ernest Mainwaring 
Mrs. Jackson-Tillett Miss Kate Serjeantson 

Miss Lechmere Miss Sybil Carlisle 

Jimmy Allingham Mr. Stafford Hiltiard 

Stephens Mr. Horton Cooper 

Hodgson Miss Drusilla Wills 

Manservant .. Mr. Montague Elphinstone 
Prince of Wales's. 

EVER OPEN DOOR, THE, drama of London 
life, in four acts, by George R. Sims and 
H. H. Herbert. September 6. 
Miriam, Lady Dereham Miss Hilda Spong 

Robbie Miss Ruth B>uuell 

Maggie Miss Moya Nugent 

Lady Orme Miss Joy Chatwyn 

May Miss Janet Alexander 

Sister Lil ,Miss Dulcie Greatwich' 

Molly Dundon Miss Kathleen O'Connor 

Sally Miss Nora Nagel 

Mrs. Johnstone Miss Gwen Trevitt 

Mrs. Sydney Miss Mabel Mulyany 

Father Clement Mr. Frederick Victor 

Lord Dereham Mr. Charles Weir 

Hon. Charles Aveling Mr. Edward JepLson 

Sergeant Slithers Mr. Stephen Adeson 

Jim Dundon Mr. Jack Haddon 

Swankey Dottles Mr. Ernest Sclig 

Tom Slatter Mr. Henry Matthews 

Footman Mr. A. Wood 

Martin Mr. J. Cherry 


EVERYWIFE, symbolic play, in four scenes, 
by George V. Hobart. April 14. 

Nobody Mr. Mitchell Lewis 

Every wife Miss Helen Luttrell 

Everyhusband Mr. Vivian Gilbert 

Happiness Miss Edna Rich 

Rhyme Miss Florenz Kolb 

Reason Mr. Halliwell Hobbes 

Jealousy Miss Leonora Le Fevre 

Care Miss Roy Price 

Gamble Mr. Glenwood White 

Sporty Mr. Richard Baker 

Money Mr. Harry Bentham 

Highflier Mr. Stanley Young 

Drink Mr. Frederick Moyes 

Expectation Mr. Charles Hersee 

Trifler Mr. Vivian Ross 

Dress Miss Winifred Ray 

Beauty Miss Renee Raymond 

Affinity Miss Brenda Guida 

Gaiety Miss Millicent Vernon 

Flirt Miss Florrie de Mar 

Everywife (continued). 

Elegance Miss Connie Carr 

Vanity Miss Ethel Wayne 

Squabina Miss Adelaide Harland 

London Coliseum. 

EXPERIMENT, THE, one-act play, by Mrs. 
Albert S. Bradshaw. February lf>. 

Willie Wendover Mr. Frank Hills 

Hetty Mrs. Albert Bradshaw 

Melier Ann Honeydew Miss Kuth Wallace 
King's Hall, W.C. 

FAIRIES' CAPTIVES, THE, fairy operetta, in 
one scene, by J. A. Farren, composed by 
Walter Bloxham, with additional dances in- 
vented and arranged by Miss E. Lamb. 
(Produced by Amateurs.) November 29. 

Puff Miss Ella Lydall 

King Miss porothy Hawkins 

Queen Miss Norah Diplock 

n ! Mr. Mervyn Bloxham 

' es 1 Miss Vera Hawkins 

Sway Miss Kitty Langford 

Flip -. Miss Ivy Brown 

Will o' the Wisp Mr. Dick Lydall 

Poppy Miss Muriel Fisher 


Tom Mr. Jack Hawkins 

Elsie Miss Kathleen Hawkins 

Public Hall, West Norwood. 

FAIRY DOLL. THE, children's play, by Netta 
Syrett. (Children's Theatre.) December 
29. Court. 

FAIRY IDYLL, THE, children's ballet, by 
Jeanne d'Enereaz; music by Tom Sutton. 
November 5. 

A Prince Miss Helenor Bevan 

A Princess Miss Betty Kenning 

The Fairy Queen .. Miss Eileen Castle 

(Misses Marjorie Daw, Doris 
Hall, Genitha Halsey, Vio- 
let Lambert, Daphne Mor- 
gan, and Joy Kenning. 

Arts Centre. 

FAIRY STORY, A, sketch, by Henry Bedford. 
April 25. 

Colonel Cowan Mr. George Hudson 

Mary Cowan Miss Maude Rosslyn 

Little Mary Miss Dorothy Hudson 

Tivoli, Manchester. 

FALLEN IDOL, A, sketch, based on the book 
of the same name, by F. Anstey, 11,e illu- 
sions and effects by Nevill Maskelyne and 
David Devant. January 25. 

Ronald Campion Mr. Arthur P.urne 

Axel Nebelsen Mr. H. de Lange 

Chalanka Mr. Charles Glenrose 

Colonel Elsworth Mr. Percy F ncis 

Hales Mr. Rutland Sfiericer 

A Boy Master Len Bethell 

A Female " Elemental " Miss Thea Hansard 

Mrs. Staniland Miss Annie Hill 

Sibyl Elsworth Miss Winifred Beech 

St. George's Hall. 

FALSE PROPHET, A, one-act farce, by Mauds- 

legh Dudley. (Produced by the Black Cat 

Club.) November 28. Arts Centre. 

FAMILY AFFAIR. A. play, in one act, by 

A. C. Magian and Countess Max. July 28. 

Robert Smallman Mr. Edward Landor 

James Smallman Mr. Leonard Mudie 

Mrs. Berry Miss Hilda Davies 

Mr. Carey Mr. Reginald W. Fry 

Royal, Nottingham. 

FANCHETTE, THE NEW MAID, farcical in- 
cident. June 16. 

Alexandra, N. 

FANCY DRESS, comedy, in one act, by Gerald 
Dunn. April 14. 

Captain Truscott Mr. Charles Esdale 

Laurence Browning Mr. Richard Lane 

Parkins Mr. Fred Grove 




\Mi I l.\ .y, l.y 

ipliallt. Sej 

I -lit h \\ uM 

Dr Way iv ........ Mr. It. Caff H \ 


KATHKi;. OBI ,1 pla>. l.y H. T. Sidtfwick. 
September 19. 
Kli/a Morley ...... Mi-- Flon-m e Harwood 

---- ." ....... Mi - I.M-lyn Uremiard 

\Villi.-iin ............ .Mr. It. Carfax l',,yley 

Jim Prcttiman .. Mr. It. Campbell Fletcher 


FU'V. THE, |>l:iy, in three act*, l>y Edward 
Knoblauch. June in. l.a-t prrfoi maiire 
(the twenty-third), June 28. 
Prince Silvani ...... Mr. Martin Har\ry 

Lord Stonbury ........ Mr. Basil Hallam 

Sir Enwst (.'ruddock, K.C...Mr. Ii 


Cyril Overton ...... Mr. Stafford Hiliiurd 

Fish ................. Mr. Gordon 

ii .............. Mr. Ernest Stidwell 

Lady Alexandra Vancey 

Madce Fabian 
Mrs. Hope Clarke ...... Mis- II 

Vivian ........ Miss Muriel Murl-in Harvey 

l.ydia Vancey ---- Miss Ada I'alnier 

Prince of Wa: 

FKMIN'OI.ocisT, Till:, drama, in two scenes, 
Muriel! Keed. (Produced by the Black 
Cat Club.) February 24. 
Lady Romer ....... Miss farina \lc.\!li-.t >-r 

Miss Pinncll ........ Miss Wynn V 

Mrs. Dene .......... M 'laiifthan 

De Bouvilh: ...... Mr. (;. 1C. V. Fletcher 

Mr. Dene ............ Mr. Wilfred Stephen* 

Butler ..................... Mr. A. Campbell 

Silas Marston ........ Mr. Frederic Morena 



February 17. 

Molly Purvis .......... Miss Molly Shine 

fee Purvis .......... Mr. B. Murray 

The Loafer .......... Mr. Stanley Bereton 

Hippodrome, Aston. 

FIFIXELLA, revival of the "fairy frolic and 
some pantomime," presented by Algernon 
Greig. December 22. Gaiety, Manchester. 

FIND THK MAN. farcical epi>odo. by S. \ 
nary i:,.--Kin-'s Hall, W.C. 

!' INK FEATIIF.liS cmneily. in two acts, by 
William <;. WatM.ii. (Produced by ama- 
teurs.) March 29. 
Archibald Rutterbury .. Mr. S. T. Wvbber 

,ld ............ Mr. F. Duncan Hart 

Mr. Franklins ...... Captain A. > 

The Duke of Rowton. .Mr. Leonard Edmunds 
Beiberl Willmichby. .Mr. Harold .T. Turner 
Oftptfl n .lack Villiers ...... Mr. \1 . I! 

Hon. Algernon dc Comiiton-J'iiwer 

Mr. E. ('. T. ( 
P.C. Small ............... Mr. J. Hiiuliliun 

James ................ Mr. Donald H. Hart 

Bates .............. Captain T. N. MO..I- 

liatterbury ............ 

Elale ................ Miss Etliel ( 

Duchess of Rowton ..... Mr<. Chas. Stiickc 

Mrs. \Villoughby ........ Miss F 

Clare Everard ...... Mis Eunice Campbell 

Mrs. Villiers .............. Miss M. Smith 

Mrs. Appleby ........ Mrs. Oeo. H. Graham 

Julie ....... " ......... Mis- Edith Jl. Hrown 

Town Hall, Woolwich. 


i. by 

Lilian LHC.-IH Mi i'..irb 

\lr.-. Morier i Busch 

ii Morier Mr. .1. H. I 1 . 

Grant Morier Mr 

Mary Morier 

Alan Seymour M 

: ier V 

m Waters Mr. C. F. Colling* 


Hodges M '.-ifnie 

Sharps Mr. J 

FI. \TS, farcical sketch, in three sceri' 

Fred Karno and Charles Baldwin. March 


Hon. Billy Browning .. Mr. Fred Edwards 

'iiu- !>' Ven Miss Ma 

Major Mount Mr. W. E. Mathews 

Spinks ince 

The Lift Attendant .... Mr. Bob!.. 

Mrs. Mount Mi-> Jessica Gray 


FLOUR GIRL, THE, musical " millodrama," 
written by Percival C. We-t. music by 
Cecil Goodall. December 15. Grand, Clap- 

FOOL'S M \T11. First, music hall presentation 
of the comedy, in one act. by F. W. 
Brought on. Toole's, December 12, 1889). 
August IB 
F.arl of Summerdale 

Mr. Hubert Woodward 

n Mr. Austin Kennedy 

Servant Mr. (Juy Swindon 

Dorothy Eyerton Miss Grace Muriell 

New, Northampton. 

\i !.[> I \M; SVM. .L.tneotic drama. In 
four acts, by Fred Bulmer. December 29. 
Harold Clifton .... ' .ther 

Sir Frederick Clifton, Bart. Mr. G. gli:. 
Philip Marchmont . . Mr. Jerrold Heather 
The Hon. (ierald S>! 

Mr. Stephen C. Venner 

George Truscott Mr. E. Hall Eldon 

Len Rushton Mr. Claverins Craig 

.lames Moore Mr. Eust :ie,- Day 

Wilfred Jacques ..Mr. Richard Wentworth 

Audrey Vernon M 

Katherino O'Xeil . . 

Lisbeth Rushton it. Vincent 

Nancy Mayrie Miss Marie 

Donald Leiah -1 Lingnrd 

ijh Mi's Hilda Si 

Junction. Mnti 

Fill! III'R CHI' 

con in four a< 'lore 

Kr.i t 4. 

II' v. U. K ucr J. Will 

Dr. .. Mr. II : 

\~ht-on Mr. G era Id K> r 

ilurrourt Mr. B. Turner 

Jonathan Prymm Mr. Lan 


Mi.- Tylden Mi-s M. ; 

Little Ka; 

Mina Senimmelhusch 

Edna K inpsley Pass 





FOR THE KING, romantic play (in which 
some of the incidents were partly adapted 
from Sir Walter Scott's " Woodstock "), by 
Emily F. E. Lamb. March 13. 
Sir Henry Lee .. Miss Emily F. E. Lamb 

Alice Lee Miss Winifred Bailey 

Lord Amyas Carruthers.Mr. John Hawlains 
Colonel Albert Lee.. Miss Dorothy Hawkins 
Lady Lillian Carruthers..Miss K. Hawkins 

King Charles II Miss Norah Diplock 

Breakfast Miss Vera Hawkins 

Col. Markham Everard..Miss Jessie Diplock 

Edith Everard Miss Kitty Langford 

Oliver Cromwell Mr. Robert Lydall 

Oanp. Grace-be-faere H<uimigudgeom 

Mr. Richard Lydall 
South Place Institute. 

one act, by Alice Clayton Greene. Janu- 
ary 27. (April 17, Clavier Hall, W.) 

Arthur Ingram Mr. Campbell Cargill 

James Grant Mr. Eric Bass 

Constance Grant .. Miss Carrie Brockman 
New Cambridge. 

FORTUNE HUNTER, THE, comedy, in four 
acts, by Winchell Smith. December 17. 

Nathaniel Duncan Mr. Hale Hamilton 

Henry Kellogg Mr. W. Boyd-Davis 

George Burnham Mr. G. Mayer-Cooke 

James Long Mr. Bryan G. Powley 

Lawrence Miller Mr. Lawrence Phillips 

Willie Bartlett Mr. Norman Yates 

Robbing Mr. Robert Ayrton 

Newsboy Mr. John A. Weymouth 

Sam Graham Mr. Forrest Robinson 

Mr. Lockwood Mr. George Traill 

Roland Barnet Mr. Henry Wenman 

Tracey Tanner Mr. C. Denier Warren 

Pete Willing Mr. Fred Forrest 

Charles Sperry Mr. Arthur Brandon 

"Watty" Mr. E. W. Royce 

Herman Mr. George Spellvin 

Betty Graham Miss Myrtle Tannhill 

Josie Lockwood Miss Clara Mackin 

Angie Tucker Miss Clara Coapcr 


FOR VALOUR, one-act play, by T. G. Wake- 
ling. September 19. 

Daddy Brown Mr. B. A. Pittar 

The Colonel Mr. R. Campbell Fletcher 

Mrs. Sims.. Miss Frediswyde Hunter-Watts 


TASY, spectacular ballet and ragtime 
revue, arranged by Mile. Pauline Rivers. 
July 5. Tower, Blackpool. 

FRENCH LEAVE, comedy, adapted from the 
French of Dr. Miller by P. Barrow. 
March 3. 
Horatio Ponting..Mr. C. A. Wenlock Brown 

Mrs. Ponting Miss Lucy Sibley 

Robert Ponting Mr. W. Abingdon 

Minks Mr. Hampton Gordon 

Fanchette Mile. La Rubia 

Baling Hippodrome. 

Robert Provo, in four acts. March 10. 

Jack Trusdale Mr. Cunning 

Winston Marlowe .. Mr. Arthur Wingrave 

Robert Wilson Mr. Almyr Vane 

Sir James Harrington .. Mr. W. Hamilton 

Barney M'Guire Mr. Arthur Byron 

Tod Small Mr. Frank Ayrton 

Dr. Paton Mr. George Benson 

Gov, Hopwood .... Mr. Charles Enwright 

Warder Moffatt Mr. Edward Wynter 

Dr. Lightfoot Mr. Fred Millar 

Otto Mobile Mr. Frank Mackay 

Duke of Colney Hatch.. Mr. Howard Veale 

Keeper Mr. Sidney Humphreys 

Assistant Keeper Mr. Bertram Dixon 

Paul Rovergi Mr. Paul Atherton 

From Portland to Libtrty (continued). 

Pietro Mallucci .... Mr. Robert Emsdale 

Enrico Bellini Mr. George Best 

Guido Marini Mr. Vincent Dunn 

Charles Conway Mr. W. H. de Vere 

Nellie Harrington..... Miss D. Richardson 

Dot Underwood Miss Ida Thompson 

Mammy Caroline . . Miss Florence Lovyell 
Lyric, Hammersmith. 

FUGITIVE, THE, play, in four acts, by John 
Galsworthy. September 16 (special 
matinee). Went into the evening bill at 
the Prince of Wales's, .September 25. Last 
performance (the 27th), October 18. 

George Dedmomd Mr. Claude King 

Clare Dedmond Miss Irene Rooke 

General Dedmond .. Mr. Nigel Playfair 

Lady Dedmond Miss Alma Murray 

Reginald Huntingdon Mr. A. Hylton Allen 
Edward Fullarton Mr. Leslie Rea 
Dorothy Fullarton ..Miss Estelle Winwood 

Paynter Mr. Frank Macrae 

Burney Miss Doris Bateman 

Twisden Mr. J. H. Roberts 

Haywood Mr. Charle* Groves 

Malice Mr. Milton Rosmer 

Mrs. Miller Mr*. A. B. Tapping 

Porter Mr. Eric Barber 

A Messenger Boy Walter Cousins 

A Young Man Mr. Vincent Clive 

Arnaud Mr. Clarence Derwent 

Mr. Varley Mr. Charles Groves 

A Languid Lord Mr. J. H. Roberts 

His Companion .. Miss Eva More-Dunphie 

A Blonde Gentleman Mr. Leslie Rea 

A Dark Gentleman . . Mr. Montague Wigan 
Two Ladies with ) Miss Doris Bi.iteman 
large hats .(Miss Grace Newcombe 

FULL INSIDE, a " merry musical dream," In 
two scenes, book by Charles Willmott and 
Ernest C. Rolls, music by Max Darewskl, 
produced by Ernest C. Rolls. December 29 

January 6. Hoborn Empire. 

FUTURIST LOVE, comedietta, by Hugh Mar- 
tin. May 28. 

Dolly Miss Barbara Barry 

Molly Miss Norah Bird 

Jack Mr. Harry Tremayne 


GALATEA, " phantasy of musac and marble," 
in one act, by J. E. McManus. October 27. 

Galatea Miss Marie Stuart 

Eliza Miss Nina L>n 

Angus Farquharson Mr. Donald Fergusson 

M,acDougal Mr. Leo Stormoat 


GAME, THE, football comedy, in three act*, 
by Harold Brighouse. November 39. 
Austin Whitworth .... Mr. J. A. Podd 
Edmund Whitworth Mr. Lawrence Hanray 

Leo WhitwoTth Mr. Algernon Greig 

Jack Metherell .. Mr. Lawrence Anderson 

Hugh Martin Mr. George Dewhurt 

Dr. Wells Mr. Leonard Clarke 

Barnes Mr. A. C. Rose 

Elsie Whitworth .. Miss Eileen Thorndike 
Florence Whitworth Mr. Lois Heath^ley 

Mrs. Metherell Miss Aids Jenoure 

Mrs. Wiilmot Miss Mona Smith 

Mrs. Norbury Miss Nina Henderson 

Repertory, Liverpool. 

GAMESTER, THE, one-act romantic costum* 

gay, by Sydney Bland. July 14. 
uc de Courley .. Mr. G. - R. J. Austin 

Anatole Mr. Sydney Bland 

Martin Mr. J. P. Marsden 

Duchesse de Courley .. Mies M. Hodson 
Empire, Wakefldd, 



GAKDKN (IK \\1\KS, Till-:. " de&ert com- 
pote," b,M>k ami lyrics by Sidney Moi . 
mu.Mc l>y Louis Arnold and Peter Rjed. 
June 2. London Pavilion. 

GARRICK, " adaptation of the old story and 

the old play." by M.-ix I'cmberton, v ith 
incidental music by Dora Bright. July H. 
David Garrick ...... Mr. Seymour It irks 

Simon Ingot ........ Mr. William Lugg 

Lord Farelcigh ---- Mr. Vincent Stern 

Mr. Brown ............ Mr. Henry I 

Mr. Smith ........ Mr. J. C. ; 

Mr. Jones ........ Mr. Laurence r'-iird 

Miles ............ Mr. C. Osbonie Adoir 

Barry .......... Mr. Victor E. Armi'imc 

Miss Araminta Brown .. Miss Nellie Dade 
Mrs. Sm it ti ........ Miss Adda M. 

Ada Ingot .......... Miss Ellalinc T. 

London Coliseum. 

: .eteh, in one act. April 7. 
May ............ Miss Marjory Armstrong 

Mr. Ladbury ...... Mr. Horace Douglas 

Simpson ............ Mr. Arthur Ten-pie 

Edmonton Empire. 

c, \rNTI.K.T, A, play, in three icts, \\ 
Hjtini.-tcrne Hjornson, translated by 
R Farquarson Sharp. (Produced by the 
1'lay Actors.) February 16. Subsequently 
presented during the Women's Theatre 
week at the Coronet 
Mrs. Riis ............ Miss Winifred Mayo 

Dr. Nonian .......... Mr. H. K. Ayiill 

Riis .............. Mr. A. M. Hcathc-", 

Svava .......... Miss Ernita I.aeelles 

Alfred ................ Mr. James lierry 

Margit ............ Miss Elizabeth Rosslyn 

Hoff ................ Mr. Jackson Wflcox 

Christensen .......... Mr. Charles Vane 

Mrs. Christensen .. Miss Phyllis Manners 
Thomas ................ Mr. E. Reynolds 


GAY BUTTERFLY, THE dance-soena. written 
and arranged by Ettie Sismondi, with 
music by Denham Harrison. July 7. 
The Gardener ............ M. Jean Grossi 

The Maiden .......... Miss Xan Sannders 

The Butterfly .............. Mile. Rosalie 


GAY LOTHARIO, THE, vaudeville, in one 
scene, by C. H. Bovill, the music by 
Frank Tours. September 15. 
Sir George Toorish Mr. Shaun Glenville 
John James Cheesehouse..Mr. Rene Koval 
Charles Simpson ---- Mr. Vernon Watson 

Mr. Valentine Ver .. Mr. Charles Troode 
Fritz .................... Mr. Fred Payne 

Mrs. Simpson ...... Miss Kate Sergeantson 

Dahlia .................. Miss Unity More 

Miss Peacock ........ Miss Florence Helm 

Miss Winnie .......... Miss Peggy Evelyn 

Valerie ................ Miss Maidie Hope 


GEMINAE, farce, in one act, by George Cal- 
deron. {November 3, Devonshire Park, 

iiourne.) November 7. 
Alexander ............ Mr. Thomas Sidney 

i'harles ........ Mr. Guy I rton 

A Waiter ............... ' Mr. A. K. Walker 

Rose .................... Miss Helen Brown 

Violet .................... M 


.Inhn Jtrgati (run fir: 


C. Gregg .......... 

Sergeant Colgan..M- 

.errigan ---- 

Rev. Father McCormack 

Lord Alfr 


Dane, Patrick 'I 

ll.iv.ard, 1'atr, 


6uininer'ey, M. Duigan, 15. 
C. Moore, B. Courtenay, etc. 


" curb-. Nine romance," adapted > 

Ly<'!i>, with the co-operation of Philip E. 
Hubbard. from a story in his volume, 
" Arthur." August 18. Victoria Palace. 

JOHN REGAN, play, in three acts. 
toy George A. Birmingham (the Rev. J. O. 
Hannay). (Ran for 176 performances, finish- 
ing June 13. Revived June 23, and ran for 
another ninety-nine performances, finishing 
September 9.) January 9. 
Dr. Ludus O'Grady .. Mr. Charles Hawtrey 
Timothy Doyle ........ Mr. Leonard Boyne 

Major Kent ............ Mr. Franc Stoney 

iMCII-t^riCK WAI.LlNiiroKD. ; 
comedy, in four acts, b> 
adapted from the stories by George > 
dolph ' .lannary ;, i 

dens, Folkestone.) January 14. Last per- 
formance (the 158th), May 24. January 14. 
J. Rufus Wallingford .. Mr. Hale 11 
Horace Daw .......... Mr. Julian I: 

Andy Dempsey ...... Mr. II 

Edward Lamb .......... Mr. Cecil < 

il Welles ...... MV. 1 

Kenneth Lampton ---- Mr. J. J 

&. W. Battles .......... Mr. Frank C 

Timothy Battles ...... Mr. EL: 

Harkins .............. Mr. D 

O.ui;: .......... Mr. K. \. 

Doc. Gunther ...... Mr. K-: 

Tom Donahue .......... Mr i 

Willie .............. Mr. C. I' 

Yosi ................ Mr. Frank S: 

K. B. Lott .......... Mr. ltr> 

Mrs. Dempsey ...... 

ie .................. v 

Dorothy ........ M iiart 

Bessie" ............ Miss Siniita M.r 

Chambermaid .......... Miss Kita 

Fanny Jasper ....... '-:>> Fabian 


(i IH >.-'!'. TIIK. comedy, in one act, by Charles 
IVnd.-r. May 1. 
Horace Overend .... Mr. s. \\ . Maddock 

1'ranU \Vakely ........ Mr. J. (Jilles Butt 

Peter ............ Mr. Robert V. .1 

Kthcl Desmond ........ 

Abbey, Dublin. 

(ill.DKH I'll. I.. I Hi:, play, in tin. 

J Storer Clouston. June 18. Last 
formance (the 'J9th) July 12. 
R,,' ii.. Mr. Rutland i 

...... Mr. I 

Sir -nhury..Mr 

:iry .... V 

The Duke of Polegate .. Mr. t. 
Dr. Carmiehael ........ Mr. D. 

Marker .............. Mr. nun 

Footman ................ Mr. Ii 

Diana (ilastonbnry utley 

Muriel Glastonbury .. Miss Mary O'Fan-oll 
Mr. Fanton ........ Miss Emma Sto. 

Kitty Tyson .......... M!<* Laura C 

Duchess of Poflegate a Homfrey 

Mrs. Uathway-Dene..Miss Muriel Hampton 




GINGER, sentimental farce, by Stanley 
Houghton. September 26. 

Mrs. Fail-brother Miss Una Gilbert 

Mr. Gee Win. J. Rea 

Teddy Faiirbrother . . Desmond Brannigan 

Mr. Fairbrother J. Augustus Keogh 

Katie Fairbrother Miss Judith Wogan 

Horace Botwright Mr. Esme Percy 

Maud Sankey Miss Nita Minards 

Helena Vernon-Mowbray . . Miss Diarragh 

Olive Bridges Miss Kirsteen Grasme 

Countess of Castlebar ..Miss Una Gilbert 
Rev. Vernon-Mowbray .. Mr. Wm. Muir 
Harold Vernon-Mowbray.. Mrs. Paul Hansell 

Paton Mr. Desmond Brannigan 

R. J. Saunders Mr. W. J. Rea 

Royal, Halifax. 

GIPSY'S DAUGHTER, A, one act play, by 
Hubert Stewart. Produced by the Black- 
Cat Club. June 27. 

Ernest Vesper Mr. Norman Newcombe 

Edith Vesper Miss Westcott 

Lena Willow Miss Gwendoline Ellwood 

lago Deenial 


tabloid comedy drama. August 18. 

The Girl Miss Lorraine Buchanan 

The Detective Mr. Billii; Di-vens 

Tottenham Palace. 

GIRL FROM UTAH, THE, musical play, in 
two acts, by James T. Tanner, the dia- 
logue in collaboration with Paul A. Rubens, 
the lyrics by Adrian Ross, Percy Green- 
bank, and Paul A. Rubens, and the musie 
by Sydney Jones and Paul A. Rubens. 
October 18. 

Lord Amersham Mr. Alfred do Manby 

Policeman i.R. 38 Mr. George Cooper 

Colonel Oldham-Pryce. .Mr. Douglas Marrs 

Page Master Michel Matthev. s 

Commissionaire Mr. David llallam 

Detective Shooter Mr. F. W. Russell 

Lord Orpington Mr. Harold Latham 

Archie Tooth Mr. William BainliridL'e 

Douglas Noel Mr. Harry R. Drummond 

Bobbie Longshot Mr. Sidney Laiiie 

Sandy Blair Mr. Joseph Coyne 

Trimmit Mr. Kdnurnd Payne 

Una Trance Miss Ina ('lain: 

Clancy MiSs r.'r.-n 

Lady Amersham Miss Bella Graves 

MTss Mona West 

Miss Heather Feathers/tone 
Miss Sylvia Paget ... Miss Gertrude White 
Miss Lydia Savile . . Miss Dorothy Devere 

Miss Alma Cavendish Miss Kitty Kent 

Miss Violet Vesey 3'i ' !som 

Miss Rosie Jocelyn . . Miss Queenie Vincent- 

A Waitress Miss Gladys Kurton 

Lady Muriel Chepstowe 

Miss Cynthia Murray 
Hon. Miss St. Aubyn. .Miss Valerie Richards 

Lady Mary Nowell Miss Helen Rae 

Mrs. Ponsonby Miss Beatrice Guiver 

Dora Manners Mis-s Phyllis Dare 


GIRL IN EVERY PORT, A, comedy, in one 
act., by Sydney Blow and Douglas Hoare. 
March 17. 

Rose Parrott Miss Eileen North 

Hannah Meatyard . . Miss Irene Moricrieff 
Jane Dutton Miss Jessica Black- 
jack Summers Mr. Tom Seymour 


vember 3. Collins's Music Hall. 

GIRL ON THE FILM, THE, musical farce, in 
three acts, adapted from the German of 

Girl on the Film, The (continued). 

Rudolf Bernauer and Rudolf Schauzer by 
James T. Tanner, with lyrics by Adrian 
Ross, and musdc by Walter Kollo, Willy 
Bredsehneider, and Albert Sirmay. April 5. 
, Last performance (the 232nd), December 5. 

Cornelius Clutterbuck Mr. Geo. Barrett 

Valentine Twiss Mr. Chas. M'aude 

Doddie Mr. Robert Nafnby 

General Frtzgibbon. .Mr. Graf ton Williams 
Sergeant Tozer .. Mr. Reginald Crompton 

Lord Ronuy Mr. Arthur Wellesley 

Tom Brown Mr. William Stephens 

Max Daly Mr. Geo. Grossmith 

Winifred (" Freddy ") Miss Emmy Wehlen 

Liiula Miss Madeleine Seymour 

Signora Maria Gesticulate 

Miss Gwendoline Brogdeu 

Lady Porchester Miss Violet Wilson 

Viola Miss Blanche Stocker 

Olivia Miss Gladys Wray 

Portia Miss Florence Reade 

Mrs. Clutterbuck Miss Irene Verona 

Kupheniia Knos Miss Connie Edis? 


GIRLS, fameal comedy, in three acts, by 
Clyde Fitch. September 10. Last per- 
formance (the eighth), September 17. 

Pamela Gordon Miee Enid Bell 

Violet Lamsdowne Miss Daisy Thimm 

Kate \ Miss Dorothy Fane 

Lucille PurceHe Miss Esrne 1 Ber>mge>r 

Mr.-;. Dennett Miss Winifred Turner 

Kd-ar Molt Mr. Sam Sotheni 

George H. Sprague..Mr. Drelincourt Odium 

Frank Ixx>t Mr. H. E. Garden 

Dennett Mr. Ernest Leverett 

Willis Mr. Victor Pierpoint 

The Janitor Mr. A. T. Lennard 

man Mr. Alex. Brown 

Messenger Boy Mr. Clifford Molli'son 

Prince cf WaJes's. 

GIRL WHO DIDN'T. THE. Revised version of 
Till: L\r<;iIIN<; HUSBAND. December 

l.uc inda Miss Amy Augarde 

Hans Ximt Mr. Morant Weber 

Dolly Miss Gwladys Gaynor 

llella P.niekner Miss Grace la Rue 

Herr von Hasewit/ ....Mr. D. J. Williams 

Baldrian Mr. lago Llewys 

Count Sel/.tal Mr. F. Pope Stamper 

Ktelka Basewitz Miss Yvonne Arnaud 

l,ut/. Nachtigall Mr. Lionel Mackinder 

otta-kar liriickner Mr. C. H. Workman 

I'ipdhuher Mr. Tom A. Shale 

Wiedchopf Mr. Eliot Skinner 

Dr. Rosenrot .... Mr. James Blakeley 

Juliette Miss Violet ^Graham 


GIULIANA, one-act opera, by David Knox, 
the libretto being the composer's transla- 
tion firom the Italian of Enrico Gollixiani. 
November 19. 

Paolo Mr. F. Christian 

Count Daniele Mr. Elitoff Moore 

Lorenzo Mr. H. Dunkerley 

Mairta Miss O. Weetwood 

Giuli'ana Mme. Saiviania 

Opera House, Cheltenham. 

GLEANERS' DREAM. THE, children's ballet, 
by Jeanne d'Ene'reaz, music by Torn Sut- 
ton. November 5. 

The Harvest Fay Miss Helenor Bevan 

A Dragon Fly Miss Genitha Halsey 

1 Misses Phyllis Crook, Doris 
Neale, Betty Kennittg, 
Daphne Morgan. DorLs 
Page, and Muriel Tuckex 
Arts Centre. 



UOtiGLES (for provisional purposes), farcical 
sketch, in one act, by i). B. N< 
January 28. 

Jack Mr. E. B. Norrnon 

Dolly ' May 

Wilson .Miss Marion dr Maiiville 

Chauffeur Mi--, l.:iur;i Howard 

Shakespeare, Liverpool. 

U01VS ON AT KITTY'S, eoinedy. by W. .1. 
Lovett. April 4. 

Patrick Ketty Mr. W. J. Lovett 

Sarah Ketty Mis> .lean, tte .Inn 

Peggy Ketty Miss Hilda O'Neill 

Maggie Ketty .Miss Helen I.. Browne 

Mrs. Mawhinney.Miss Caroline A. Crawford 

James M"omb Mr. Jas. Milliken 

Claude Malcolm Mr. William Scott 

Constable Regan Mr. W. A. Wallace 

Dun Brown, A.B Mr. Victor Salter 

Lieut. Ketty Mr. G. I!. M'lkiugall 

Dufferin Memorial Hall, Bangor, Co. Down. 

GOLD DUST, play, in one act, by Leslie Gor- 
don. October 24. 

Buck Hackett Mr. R. Carfax Bayley 

David Parkman Mr. Ewart Scott 

Silas Mr. Fred Bailey 

Jack Mr. Arthur Lindo 

Dick Mr. W. F. Danks 

Madge Bateman Miss Grace Edwards 


(iOl.DEN BELL, THE, musical comedy, by 
Captain Stacey, music by Paul Pym. 
(Produced by amateurs.) January 27. 
-Watson Memorial Hall, Tcukesbury. 

GOLDFISH, THE, comedy, In one act, by Lady 
Troubbridge and Richard Fletcher. Decem- 
ber 15. 

Lord St. Vede Mr. Robert Minster 

Butler Mr. Edgar Ashley Marvin 

Mrs. Whiting Miss Sarah Brooke 


GOM.HEEN MAN. I UK. Play, in tlm . 
by R. J. Ray. June 30. 

Michael Myers Mr. J. M. Kerrigan 

Richard Kiniry Mr. Fred O'Donovan 

Roger Connors Mr. J. A. O'Rourke 

William Naughton Mr. Philip Guiry 

Mrs. Naughton Miss Eileen O'Doherty 

Stephen Kiniry Mr. Arthur Sinclair 

Martin Shinnick Mr. Sydney J. Morgan 

Mrs. Kiniry Miss Sara Allgood 


GOOD FAIRY, THE, playlet, in one act, by 
Harry Wall. April 4. 
John Faversham...Mr. K. Nelme Grasswell 

Harold Noel Mr. Chas. Wiseman 

Young Lawson Mr. Wm. Daunt 

Mrs. Faversham . . Miss Macdnnald Martin 

Mrs. Parsons Miss Eve Bates 

The Good Fairy Miss Haide'e Gunn 

Tyne, Newcastle. 

GRAND SEIGNEUR, THE, play, in four acts, 
by Edward Ferris and B. P. Matthews. 
October 4. Last performance -(the 88th), 
December 20. 

Marquis de la Valliere Mr. H. B. Irving 

Due de Rennes Mr. Cowley Wright 

Vicomte de St. Croix Mr. Basil Hallam 

Captain Taberteau Mr. Leonard Rayne 

Dr. Dupont Mr. A. E. Benedict 

The Maire Mr. Ben Field 

Rougeterre Mr. Raymond Wood 

Lemaitre Mr. Claude Reed 

Monsieur de Troyes Mr. Tim Ryley 

Captain Felix Mr. C. Trevor-Roper 

Pierre Mr. E. H. Ruston 

Jean Mr. Tom Reynolds 

Jacques Mr. L. Oswell 

Andre Mr. 11 

Joseph Mr. J. Cass 

Sergeant Mr. W. Graham 

Adele Vernet . . .... Miss Marie L6hr 

Hi u ml 81 


A \ 

Tliu Mai: 

Anm-tti; ...... 

QBE \ I \\< .: four 

sMI'.l.i lielill, U. 

Han. ........ M . inley 

Albert Shawn ...... 

Dr. i 

Edward Horning ... 

Janet Cannot . 

Cyrus Carve .......... Mi 

A Page ................ Mr. Cyril beiinett 

Honor!* Loo,. ...... MI - i.Mlia It, 

I'.-ter Horning ........ Mr. A. <,. ; 

l-l'ag .............. : .vt-nt 

A Waiter .............. Mr. V:il C'uthbert 

.larnes Shawn ........ Mi 

John Shawn .............. Mr. John A 

\lbert Shawn.... Miss Alma I 

Lord Leonard A!ear...Mr. I' ^ard 

el .............. Mr. Frankh 

A Servant .............. Mr. Ow 

<;i:i:\T ('\Tlli:l;l.\i:. thumbnail sketch of 
Rus iiiv in th. 

tury, in lour 
Shaw. N<>\. -nitii-r 18. 
Varinka .............. \ 

Prince Patiomkin.. .Mr. Nun.ian McK 
A Cossack Sergeant. .Mr. .1. 
Captain Kdsta.^lun .... Mr. l-idp 

Nar\shkiii ............ M: 

Empress Catherine. - M 

The Princess Dashkott .... M 

Claire .......... Miss Dor 


GREAT CONsl'ikAi y. THE, play, by Joseph 
M. Wharacliffe. Ootobi 

Captain Arthur Leigh .... .Mr. ]' 

Gboolab Shah ...... Mr. Char 

Lu-ut. Freshwater ---- Mr. .1 

Jim Shallurn ........ Mr. Leo Montgomery 

Col. Carrn; .. . 

Sergt. Cartwright I Mr ' ' wood 

l-'in Sing .............. Mr. 1 

P.O. lilogum ............ Mr. E. D. Allen 

Lilian Carruthers .. 

Hanks .......... \ 

.............. Mi>s Emmie I 

Euphemia Palter M 

Torema Merkana . . Mi 

i>\y. THE, 

Fisher (produced by the i 
.May 18. 

........... Mr. i 

on .. Air. .1 
i eon ird Joyi 

Mr. llM.k'ii .......... Mr. ' 

David Arm-itnuiK ____ M' 

A. <le Winton 

-er .......... Mr. Li- 

j>h HemmiiiR ........ Mr. Frank 

Mr. II. l> r W. I 

I 1'ER LOVE TH \\ TIT piny, 

by M;r, 


(iiulia Verlaine ____ 

Lady l>!;ina Wrioth 

iel Palmer 
Jerrold Brereton ...... Mr. Edmund 


i;i;i: \TEST WISH. 1 1 .. in a pro 

logue and three . i . niple 

Thurston (aiapt<l from his nov< : 



Greatest Wish, The (continued). 

Greatest Wish in the World "). March 20. 
Last performance (the 59th), May 10. 
Father O'Leary .. Mr. Arthur Bourchier 

Stephen Gale Mr. Farren Soutar 

Pinchers Mr. Thomas Sidney 

Nicholas Gadd Mr. Frank J. Arlton 

Michael Mr. W. S. Hartford 

Carter Paterson's Man 

Mr. Archibald Maclean 

Longshoreman : Mr. W. Hubert 

Mrs. Parfltt Miss Henrietta Watson 

Mrs. Gooseberry Miss Barbara Gott 

Mrs. Coburn Miss Beatrice May 

Peggy Miss Isabel Jeans 

Lizzie Miss Aimee de Burgh 

The Reverend Mother ..Miss Maud Milton 
Mother Mary Carthage.. Miss Nina Bentley 
Sister Mary Conception 

Miss Agnes Thornton 
Sister Mary Catherine Miss Florence Piggot 
Sister Mary Berchmans .. Miss Edith King 

Elizabeth Miss Joyce Robey 


GREAT NAME, THE, episode by Norman H. 
Lee. February 24. Grand, Gravesend. 

GREEN COCKATOO, THE, grotesque, in one 
act, by Arthur Schaitzler, translated 
by Penelope Wheeler (originally produced 
by the Stage Society March 9). October 23. 
Last performance (the 26th), November 15. 

Grasset Mr. Edward Rigby 

Lebret Mr. Harold Bradly 

Prosper Mr. A. G. Poulton 

Inspector of Police Mr. E. Cresfan 

Grain Mr. J. Cooke Beresford 

Scaevola Mr. Ernest G. Cove 

Jules Mr. Douglas Munro 

Henry Mr. Norman MoKinnel 

Leocadie Miss Mary Clare 

(Francois Mr. Edmond Breon 

Albin Mr. E. Evan Thomas 

Michette Miss M:ele Maund 

Flipotte Miss Hilda Davies 

Emile Mr. Malcolm Cherry 

Guillaume Mr. Arthur Cleave 

The Marquis de Lansac..Mr. E. F. Mayeur 

Seve'rine Miss Sarah Brooke 

Rollin Mr. Henry Hargreaves 

Georgette Miss Louise Regnis 

Balthazar Mr. Leslie Carter 

Stephen Mr. 'Geoffrey Goodhart 

Maurice Mr. Gordon Bailey 


revue, (produced by George Leyton. (Octo- 
ber 27. West End Playhouse, Glasgow.) 
December 29. Balham Hippodrome. 

GRUMPY, comedy, in three acts, by Horace 
Hodges and T. Wigney Peroival. Septem- 
ber 19. 

Andrew Bullivant Mr. Cyril Maude 

Ernest Heron .. Mr. Edward Combermere 

Ruddock Mr. John Harwood 

Mr. Jarvis Mr. Montague Love 

Isaac Wolfe Mr. Lennox Pawle 

Keble Mr. Arthur Curtis 

Merridan Mr. James Dale 

Dawson Mr. P. Young 

Dr. Maclaren Mr. E. Groom 

Susan Miss M. Andrew 

Virginia Bullivant.... Miss Margery Maude 
Royal, Glasgow. 

HABIT VERT, L', French farce, by de Flers 
and de Caillavet. originally represented 
at the Varie'te's, Paris. June 9. 
Duchesse de Maulevrier 

Mme. Jeanne Granier 

Brigitte Touchard..Mlle. Betty Daussmond 
Mme. de Saint Gobain 

Mile. Therese Ornay 

Mme. de Jargeau Mile. Nelly Beryl 

(Mme. Janvr Mile. Sahita 

Habit Vert, L' (continued). 

Mile. Marechal Mile. Louise Baudry 

De Saint Gobain M. Foucher 

Le Colonel M. Rudolphe Verlez 

Secretaire Particulier M. Maujean 

Officier de la Garde M. Valentin 

Eveque de Tarentaise M. Souchon 

Due de Maulevrier M. G. Guy 

Hubert de Latour-Latour M. Rozenberg 

Parmeline M. 6. Fabre 

Pinchet M. Poggi 

Durand M. Chambreuil 

General Roussy des Charmille..M. A. Simon 

Le Baron Benin M. Rozanne 

Le Doyen M. Emile Petit 

Francois M. Dupuis 

Laurel M. G. Dupray 

Champlein M. Alexandre 

Michel M. Fontin 


HAIRDRESSER, THE, (farcical sketch, in four 
scenes. (August 25, Hippodrome, Bed- 
mister.) September 8. 
Aldwin Devigne .. Mr. Jimmy Learmouth 

Lord Fallsdene Mr. George Rick&tts 

Mr. Jack Daw Mr. Charles Stevens 

Bains Miss Kingston 

Miss Take-Moore Meringue. .Miss Ruby Riley 

Lady Fallsdene Miss Dollis Brooke 


HALF AN HOUR, play, in three scenes, by J. 
M. Barrie. September 29. 

Mr. Ganson Mr. Edmund Gwenn 

Doctor Brodie Mr. Sydney Valentine 

Hugh Paton Mr. Frank Esmond 

Mr. Redding Mr. J. Woodsill-Biirde 

Butler Mr. James English 

Susie Miss Gertrude Lang 

Mrs. Redding Miss Netta Weatcott 

Lady Lilian Garaon . . Muss Irene Vanbrugh 
London Hippodrome. 

HAMLET, Mr. Forbes Robertson's revival of 
Shakespeare's play. March 22. 

Claudius Mir. Walter Ringham 

Hamlet Mr. J. Forbes-Robertson 

Horatio Mr. S. A. Cookson 

Polonius '. Mr. J. H. Barnes 

Laertes Mr. Alex. Bcott-Gatty 

Ghost of Hamlet's Father. .Mr. Percy Rhodes 

Fortinbras Mr. Grendon Bentley 

Rosencrantz Mr. Montague Rutherfurd 

Guildenstern Mr. Eric Ross 

Osric Mr. George Hayes 

Miarce.ll us Mr. Robert Atkins 

Bernardo Mr. Richard Andean 

Francisco Mr. E. A. Dcney 

Reynaildo Mr. Eric Ross 

First Player Mr. Robert Atkins 

Second Player Mr. R. Andean 

First, Gravediigger Mr. J. H. Ryley 

Second Gravedigger Mr. S. T. Pearce 

Priest Mr. Montague Rutherfurd 

Gertrude Miss Adeline Bourne 

Player Queen Miss Olive Richardson 

Ophelia Miss Gertrude Elliott 

Drury Lane. 

HAMLET. The Pioneer Players revived 
Shakespeare's play. March 9. 

Francisco Mr. Kenneth Kent 

Bernardo* Mr. Eric Snowdon 

Horatio Mr. Halliwell Hobbes 

Marcellus , . . . Mr. Howard Sturge 

Ghost Mr. Courtenay Thorpe 

Claudius Mr. Charles Vane 

Gertrude Mrs. Saba Raleigh 

Hamlet Mr. Louis Culvert 

Polonius Mr. Fisher White 

Laertes Mr. James Berry 

Voltimand Mr. Charles Kenyon 

Cornelius Mr. Alan Stevenson 

Ophelia Miss Ellen O'Malley 

Reynaldo Mr. Lancelot Lowder 

Rosencrantz Mr. Edmund Breon 



Hiimlft (cantinued). 

Guildenstern Mr. Hulnrt Willis 

First Player Mr. Clann 

ad Player .Mr. \. U. Tupping 

Third Player Mr. Gordon Gay 

Fortinbras Mr. Henderson Bland 

A Captain Mr. Lancelot Lowder 

\ Gentleman Mr. Alan Stevenson 

\ Sailor Mr. llereward Knight 

\ Lord Mr. Lionel C'arltoli 

iwn Mr. Edmund <; \svnii 

>nd Clown Mr. Leon M. Lion 

A Priest Mr. A. B. Tapping 

[C Mr. Krnrst Thesiger 

English Ambassador .. Mr. Eric Snowdon 
King's Hall, W.C. 

HANDFUL, Till), a comedy, in four acts, by 
William Gordon Edwards. March 8. Last 
performance (the 05th), May 8. 
.sir Arthur Wetheral, K.C. 

Mr. \V. Graham Browne 

Richard Stern Mr. Charles V. France 

Tom Wetheral Mr. Steff Macdonald 

Lord Brandon Mr. John Astley 

Landlord of Inn Mr. Horton Cooper 

Butler Mr. George C. Brown* 

A Fisherman Mr. George Bellamy 

Lady Wetheral Miss Marie Tempest 

Joyce Wetheral . . Miss Margaret Bruhling 

Maid Miss Evelyn Beaumont 

Prince of Wales's. 

HAPPY ISLAND, THE, play, in three acts, 

adapted by James Bernard Fagan, from 

the Hungarian of Melchior Lengyel. 

March 24. Last performance (the nine- 

a), April 9. 

Derek Arden Sir Herbert Tree 

Andrew Remmiugton Mr. Norman McKinnel 

Gilbert Hall M,r. Eric Maturin 

Mortimer Hunt Mr. Nigel Playfair 

Lord Somerfleld Mr. Arthur Wood 

Sir Gordon Stephens.. Mr. A. Scott Craven 

James Blake Mr. Henry Scott 

Baxter Mr. A. E. George 

Groves Mr. Francis Chamfer 

Rorotu Mr. J. Fisher White 

Jadedik Mr. E. O. Smythson 

Ca.ptain Bainbrig Mr. Henry Morrell 

Lieut. Hawes Mr. Stanley Hewlett 

Midshipman Merryweather Mr. R. Grasdorff 

Rogers .' Mr. Roy B yford 

Williams Mr. Ben Field 

Murphy Mr. Archibald Forbes 

Smith' Mr. George Laundy 

Clair Remmington . . Miss P. Neilson-Terry 
Lady Auatha Pangbourne. .Miss F. D>illon 

Ruby Pardoe Miss Patricia oaeaae 

Alice Forder Miss Mar got Brigden 

Eva Barnes Miss Marjorie Dyson 

Jauaba Miss Mnrjorie Patterson 

His Majesty's. 

HARBOUR WATCH, THE, play, in one act, 
by Rudyard Kipling. April 22. Went into 
the evening bill at the Royalty, September 
Emanuel Pyecroft .... Mr. A. B. Murray 

Edward Glass Mr. G. F. Tully 

Albert Blashford .. Mr. Lawford Davidson 

William Agg Mr. H. Lane Bavliff 

Corporal Walters.. Mr. W. Lemmon W'arde 

Jenny Blashford Mi.^ Uarjorte I My 


HARLEQUINADE, THE, play, contrived by 
Dion Clayton Calthrop and Granville 
Barker, music by Morton Stephenson. 
September 1. Last performance (the 
52nd), October 25. 

Miss Alice Whistler. .Miss Cathleen NerotM 
Her Uncle Edward .. Mr. Arthur Whltbj 

Harlequin Mr. Donald Calthfop 

Columbine Miss Phc^a Hayes 

Clown Mr. Nieel Playfair 

Pantaloon Mr. H. 0. Nicholson 


A HI-PI Mr. LOII Qimru-rmadn* 

A Villain Mr. !! . toon 

A Philosopher Mr. Ralph Hut/ton 

St. James's. 

HAUVI-sr OF HATE. THE. drama, in four 
acts, by A. T. Dancey. 

Onna " Un ^' r '-. Frank Carlyl* 

Frank Dunst. -r .. Mr. Arthur Charringtoii 

t Markham .. Mr. ('has. W. Ti: 
Andrew Fairburn Mr. Chas. Turner 

,-ht Mr. A. I 

Tod Bmllor Mr. i ;>d*U 

Kitty Meadows Mr. Jack J. Dancey 

I'wylight .. Miss Ethel Crawford 

Lola Tempest -tepheneoo 

N' : i<-ad. 

HAVOC, play, in three acts, by John Hasting* 
Turner. November 3. 

Geoffrey Charleston Mr. Noel Phelpa 

James Worth .... Mr. R. Henderson Bland 

Redman Mr. Cyril Percy 

Ross Mr. James Holland* 

Ferris Mr. Jan: 

Fenner Mr. Bernard Sir 

Dorothy Neville Miss Joan Harcourt 

Eileen Charleton Miss Ella Erskint- 

Pier, Eastbourne. 

HEADMASTER, THE. comedy, in four acU, 
by Wilfn-d T. Coleby and Edward 
lauch. January 22. Last perform 
(the 164th) June 18. 
Rev. Cuthbert Sanctuary. .Mr. Cyril Maude 

Portia Miss Margery Maude 

Antigone Miss Kathleen Jones 

Jack Struhan .. Mr. Edward Combermere 

Munton Mr. J. Har 

Hon. Manford Wilton.. Mr. Charles Bibby 
Hon. Cornelia Grantley..M Ivor 

Palisser Orantley Air. Arthur Curtis 

Richards major Mr. Jack Hohbs 

Jim Stuart M R ae 

Bill Etheridge .. Master Kendrick Huxham 

HEATIT OF A CHILD, THE. sketch. In one 
act, presented by Mr*. Walter Simmons' 
company. Palace, Heading. January 20- 

episode, in one acene, by La Rubda. 
July 21. 

Vera de Lara La Rubia 

Flo Mis" Mary Ross Shor* 

Mr. ROM Mr. Sydney T. Peaae 

Croydon Empire. 

HE KNEW IT ALL THE TIME, sketch, by 
vStanley Hope. April 21. Opera House, 

HELLO. EXCHANGE! sketch, by Edgar Wal- 
lace. April 7. London Pavilion. 

HKLLO, LONDON! farcical musical comedy 

lie, by A. Myddleton-Mvle*. AURI: 
Sir Peter Pal .'. .. Mr. Edmund Edmunda 

Ananias Gunn Mr. Frank Stone 

Rudolf Labelle .... Mr. G. Villiero Arnold 

Willie Gunn ' O'Brien 

Rejreie Gunn Miss TlU<l.-\ Hanhury 

Wcllincton Waffles Mr. < 

Charintt Cross Mr. !-.>> Mnin 

r C Sloane Mr. Aneus MaodoiMM 

Johnnie Walker Mr. Alfred Kranc.U 

Vircinin M " Cll!l 

Carrie Flip Miw Feliri.i F.-rmin 

^a Baker Miss Lillian Druk* 

Nanti Knorti M 

Bow Palace. 

Win:. THK. dramrttio epi^..le. In 
one srr-ne. hv A. Patrick Wilwn. (May 12. 
Alhambra, Glasgow.) Jun. 
John St."- Mr. Dirkson MofTat 

.Tnnet Stewnrr .... Mix Dorothy McMillan 

David Murchie Mr. J^onard Booker 

Chelsea OPalacc. 



HER LADYSHIP, farcical sketch, by Harry 
Grattan (previously produced at the 
Hippodrome, Boscombe). February 17. 
Mrs. Mary Desborough 

Miss Marie Studholme 

Arthur Desborough Mr. Walter Pearce 

Mr. Billbury Mr. Cecil Burt 

Maid Miss Tiny Grattan 

Wood Green Empire. 

HER ONiE FALSE STEP., melodrama, in four 
acts, by Ivan Patrick Gore. June 9. 
Rev. Noel Thome.. Mr. George Edwin Clive 
Sir David Darvilte .. Mr. Norman Lewas 
iMajor Douglas Warne.. Mr. Hugh Travers 

Bill Stanley Mr. Sydney Hallows 

Ben Britton Mr. Edward Ashworth 

Warder Moore Mr. Frank Eldridge 

Old Gummage Mr. Fred East 

P.O. Wilson Mr. Reginald B.age 

Muriel Stanley Miss Amber Wyville 

Nurse Elizabeth . . Miss E. M. MacAIlister 

Betty Ireland Miss Maude Stuart 

Lady Grace Darville . . Miss Lillian Aubrey 
Royal, Stratford. 

MODEL, dramatic sketch. March 20. 

Marie Miss Marion de Manville 

Jack Mr. Reginald A. Fox 

Tivoli, Manchester. 

HER SIDE OF THE HOUSE, comedy, in three 
acts, by Lechmere Worrall and Att<5 Hall. 
(Gaiety, Hastings, February 24.) March 4. 
ILast performance (tlhe fiSth), April 25. 

Lord Arlington Mr. Godfrey Tearle 

Duke of Vernay Mr. Spencer Trevor 

Lord Gerald Cholmley Mr. H. Deacon 

Guy Errington Mr. Philip Anthony 

Monsieur Teste Mr. Alfred Toose' 

Simpson Mr. John Probert 

Phillips Mr. Henry Wynn 

Summers Mr. C. L. Stuart 

Mr. Perkins Mr. Richard Carfax 

Cecile Miss Dulce Musgrave 

Mme. De Brienne Miss Helen Ferrers 

Peggy Tresyllian Miss Helen Green 

Lady Heathcote Miss Joy Chatwyn 

Victorine Miss Jane Cooper 

Marie Miss Manora Thew 


HER WEDDING NIGHT, play, in one act, by 
Alicia Ramsay. October 27. 
Countess of Fotheringham 

Miss Violet Vanbrugh 

Earl of Fotheringham. .Mr. Roland Pertwee 

London Coliseum. 

HIATUS, THE, play, in one act, by Eden 
Phillpotts. (September 22, Gaiety, Man- 
chester.) October 20. 

Leonard Bassett Mr. Bernard Copping 

Sir Hubert Innes, Bart... Mr. Percy Foster 

Rix Mr. Basil Holmes 

Jane Sturt Miss Amy Ravenscrof t 

Amy Prodgers Miss Lucy Beaumont 


HIGHWAYMAN, THE. comic opera, in two 
acts, by the late M. J. Blatchford, com- 
posed by Joseph Broadbent. April 14. 

Capt. Carstairs Mr. E. W Mitton 

Sergt. Marrow Mr. H. Peel 

Samuel Applepip Mr. G. L. Hanson 

Jonathan Myrtle Mr. C. D. Wilson 

Jack Junket Mr. Percy Eccles 

Sergt. Fluff Mr. Arthur Dixon 

Timothy Bunnett Mr. H. Spencer 

Giles Ramshorn Mr. R. H. Woodcock 

Flora Myrtle .... Miss Rosamund Clark 

Alice Myrtle Miss Lena Pickles 

Grace Myrtle Miss Baume 

- Royal, Halifax. 

HINDLE WAKES, revival of the play, in 
three acts, by Stanley Houghton. Sep- 
tember 22. 

Mrs. Hawthorn .. Miss Louise Holbrook 

Christopher Hawthorn Mr. Charles Bibby 

Fanny Hawthorn Miss Muriel Pratt 

Mrs. Jeff cote Miss Daisy England 

Nathaniel Jeffcote Mr. Herbert Lomas 

Ada Miss Hilda Davies 

Alan Jeffcote Mr. Leonard Mudie 

Sir Timothy Farrar Mr. Edward Landor 

Beatrice Farrar Miss Evelyn Hope 


HIS GAL; OR, 'ER 'AT, preliminary perform- 
ance of a sketch by C. Douglas Carlile. 
June 6. Bedford. 

HIS HONEYMOON, dramatic episode, in one 
act, by G. W. Clifton. April 21. 

John Robertson Mr. Coltson Mansell 

Irene Miss Madge Trenchard 

Royal, Bury. 

HIS LAST NIGHT OUT, sketch, by P. T. 
Selbit. October 13. London Pavilion. 

HIS SATANIC MAJESTY, a farcical frenzy, 
in one act, by A. J. Dearden. April 30. 
David Lewis Hostel, Liverpool. 

HIS SON, play, in four acts, by E. Henry 
Edwards and Edward Irwin. February 10. 
Winter Gardens, New Brighton. 

HOLIDAY REVUE, THE, London production 
of the musical extravaganza, written and 
arranged by Henry Curwen, with music by 
Alan D'Albert. June 30. Chelsea Palace. 

HOME-COMING, THE, drama, in one act, by 
Gertrude Robins. April 10. 

Ivan Loweski Mr. Philip Guary 

Stefan Mr. Sean Connolly 

Paul Loweski Mr. Farrell Pelly 

Catherine Loweski .... Miss Helen Molony 
Abbey, Dublin. 

HOME FROM THE BALL, one-act play, by 
Edith Lyttelton. (Produced by the Theatre 
in Eyre.) November 18. 

St. George's House, Regent St., W. 

HOME RULE, sketch, by Judith Wogan. 
(Produced by Amateurs.) April 11. 

George Broadly Mr. W. S. Maddock 

Dolly Broadly. ..Miss Claire Wogan Browne 

Jeanne Miss Judith Wogan 

Gaiety, Dublin. 


HONI SOIT, " Tune on a Triangle," by iLau- 
rence Cowen, April 28. Tivoli. 

HONOURABLE WOMEN, a caricature, in 
two acts, by James L. Dale. (Produced 
by the Stage Players.) November 4. 

Mrs. Abbey < Miss Lucy Sibley 

Raymond Abbey ..Mr. Percival Madgewick 

Colonel Trant Mr. Cyril Ashford 

Gwendoline Trant .. Miss Phyllis Thatcher 
Rosalys Mend'elheim . . Mfes Lilian Revell 

Netta Miss Evelyn Cecil 


HOO RAY! on act farce, by Lew Hearn and 
Henry Ciive. September 1. Stratford 

three acts, toy Marion Cunningham. (Pro- 
duced by the Advance Players.) April 25. 

Geoffrey Vane Mr. Harold Holland 

Rhoda Vane Miss Irene Greenleaf 

Tom Methlyn Mr. Percy Vernon 

Rose Methlyn Miss Crystal Rayne 

Mary Methlyn Miss Maud Marshall 

Maurice Brant Mr. Leslie Rea 



Hour and the Woman, Tin- 

Louise Raymond Mis.s Kditi, 

ii Mr. I 

Pelligriui Mr. Reginald ll;<: 

aru Mr. I). \\e]|.. 

Penrl Rudel 

Paul Rlldel Mr. L.-Min nr, .1 i 

Alma Kudel \li- 


Kinally entitled " Ki, Sim. 
First variety present .-it i<.u of tlic plaj. 
in out' act, l>y Anthony P. \\li.irtuii. Octo- 
ber 13. 

William Lassen Mr. Charles White 

John Rutt Mr. Kollo Balmaine 

('<(;! Henry Carter .. Sir. Ronald Squire 

Ilaeburn Miss Hilda Trcvciyaii 

London (' 

HOW D'YE DO? revue, Iwok by Arthur Falk- 
land, music by George Arthurs. Ji.em, 
ber 8. Grand, Chipham. 

HOW Hi: I us I HIS TUAI.N. one-act farce, 
by R. T. Guuton. April It;. Clavier Hall. 

HOW IT'S DONE, play, in <>n- act. 

duced at the Glob.-, l-'.-bruary 25.) June 2. 
Major Cardigan Vi\ian 

Mr. Weedon Grossmith 
Clarice Manette De Vere 

Shelley Calton 

Reginald Bantock .. Mr. Wilfred i 
Proprietor of Hotel .. Mr. Richard Hurley 
Police Inspector Mr. Arthur <;. 

Detective Eraser Mr. Duncan Druoe 

Waiter Mr. Hinnston 

London Coliseum. 

HULLO, CINDERELLA! pantomime revue, by 
Bertrand Davis, composed by Arthur 
Wood. June 3. (Actors' Orphan* g< 
Royal Hospital Grounds, Clu-i 

HULLO, TANGO! revue, in nine 

Max Pemberton and A. 1'. de (.'ourville, 
by George Arthurs, music by Louis 
Hirsch. December 23. London Hippo- 

HUMAN NOTE. THE, one-act play, by Bea- 
trice Heron-Maxwell. December 4. 

Petronia Warden Miss Carrie TTaaso 

-ie Miss Kitty Brown 

William Hunt Mr. Cyril Hardinsham 

Hew Warden Mr. R. Carfax Bayley 


HYLAS, classical pantomime, in one tableau, 
by D. L. Murray, with music by Norman 
Smith. January 2. 

The Prince Mr. Ottino 

Hylas Mr. D. L. Murray 

A .Satyr Mr. Lindsay 

The Water-Nymph .... Miss Lillie Lauri 

I DINE WITH MY MOTHER, revival <-f the 
one-act comedy, adapted from ! 
by Michael Morton. (February 21. 1910, 
Palace). May 26. 

Sophie Arnould .. Miss IVaR.v Fitzmnurico 
Prince D'Hauteville .. Mi-s Lewis !'. 

Peter Didier Mr. Eric Cowley 

The Chevalier Mr. Rupert Lumley 

Marion Mi^-s Marcaret Gros 

Chef Mr. A. .1. Char: 

Footmen Man 

Trotter, Eric Charles. 


I DO LIKE YOI'R EYES, revue, in three 
';ray and Har.ild Simp- 
son, lyrirg by Harold Simpsorn, mil- 
Charles J. Moore, some situations In 
Waters and William Harjrrenvfs, pro<lur*d 
by Sidney Ellison. December 29. Palla- 

<rd Maybe. 

Mr Clia 
Mr. DoiuOd MeKy 


Smyth Mr. Philip DorM 

hino Mr. J. 0. Abby 


Mr. Jos. 



Lily West Miss 

M.--. Bradbur) . 

Op< : Helfaat. 

IF UK HAD ONLY I . .val of the 

acts, by Innlis Allen 

ber 13, 1912, Little), November 19. 

Myra Yale rrold 

. ;ile Mr. 

Mr-. \I i> 

Hi ! an^e ..Mr 

A I.-'iiVr Mr. (Jeor^'o De-!: 

:<! Vaughan-Thompson 

Mr. Arthur Cleave 
Mi Thompson 


Mis Joyce 1: 


TVi: i:o| I;HT A ITJ!, farcical t-ketch, in one 

dit'-h Empire. 

I I.0\ 1' Yor: English a<i!i; .lames 

...T, of a cutiHxly, in three act^, by 

fom r -j. loii.i 

Arthur Van Doorman .. Mr. W 
Clr t Hnnston 

'iint Withinpton .. Mr. Ivo Da 

Dr. Salvotti Mr. Art 

I'hilip Head Mr. H. ! vt.iii 

'. n,l,Tby..Mr. R.ib.-rt Kar.jul: 

Pop.- Mr. Martin Sands 

Giles Mr. H. De I 

Sandna, Marchcsa di Fontanaroaa ' 
\":in D<x>rman). 

[Mi'oK'i \NCI: OF BEIM; nn:. 


Wil : February 

forrnaiice (the 15th). March ~ 


IMITI.SF. OF A NIGHT. THE. play, in one 

1 i:ili> and V. 
ni!ii< r 2(i. 

I] \\ainwright Miss Ruth Mackay 

Ad. ! 


IN \ M \ N 


F. H.Klart 

Th. -r.way 

A liiiru'lar M: 

: ' ' .irv .... M 

Juan d'Albertl 
Mr. Hal Charlton 

Hobhouse . . Mr. Sidney Hughes 



In a Man's Grip (continued). 
Albert Thomas Parker 

Mr. Ernest iPlumpton 

P.C. Traynor Mr. Herbert F. Jones 

Viscount Montressor 

Little Dorothy Baker 
Countess of St. Hilary 

Miss Gertrude F. Godart 
Lady Sophia Montressor 

Miss Violet Craufurd 

Lottie Hasluck Miss Nellie Sheffield 

Lyric, Hammersmith. 

IN AND OUT, play, In three acts, founded by 
" George Paston " on Papillon dit Lyonnais 
le Juste, by Louis Bdniere. December 16. 

Silas Churchward Mr. Edmund Gwenn 

Mr. Ripley Mr. J. Rudge Harding 

Mr. Luttrell Mr. A. E. Benedict 

Horace Fleming Mr. Vernon Steel 

Sir Henry Wollaston....Mr. Athol Stewart 

William Hubbard Mr. Gordon Tomkins 

Thomas Salter Mr. Norman Page 

Crampton Mr. Horton Cooper 

Mrs. Ripley Miss Lottie Venne 

Eve Ripley Miss Mary Jerrold 

Mabel Fleming Miss Marjprie Day 

Susan Dyer Miss Sydney Fairbrother 

Lady Wollaston .. Miss Muriel Ashwynne 

Mrs. Hubbard Miss Annie Chippendale 

Watson Miss Margaret Omar 


American drama, by F. M. Browmann. 
March 10. 
Jack Stevenson.. Mr. Mathew H. Grenville 

Seth Preenes Mr. Cecil A. Melton 

Who Ray Mr. Fred Osmond 

Lanky Bill Mr. Percy H. Wood 

Limber Tim Mr. Robert Mann 

Indian Jos6 Mr. Chas. H. Gallier 

Eagle Eye Mr. Reginald T. Fox 

Bossie Hawkins Mr. Oscar Power 

Jonathan Hope .... Mr. C. Croxton Jones 

Buckskin Charlie Mr. Wm. Emery 

Tony Foster Mr. Harold Goodyier 

Wild Flower Miss Alice Buckland 

Katie Walsh Miss Elaine Vanbrugh 

Golden Dawn Miss Lilian Malvern 

Bessie Hope Miss Margaret Hobart 

Junction, Manchester. 

INDIAN MUTINY, THE, revival of George 
Daventry's melodrama (originally pro- 
duced December 26, 1892, Burnley), Feb. 
ruary 5. Last performance (the 45tty 
March 15. Princes. 

INDIAN ROMANCE, AN, musical scena, 
arranged by Florence Smithson, April 7. 
London Coliseum. 

INFERIOR SEX, THE, comedy, in three acts, 
by Frank Stayton. April 3. Last perform- 
ance (the 20th) April 19. 
Charles Winslow .. Mr. Kenneth Douglas 

Bennett Mr. O. B. Clarence 

Luigi Mr. Arthur Grenville 

Ah Sin Mr. Percy Goodyer 

Engineer Mr. Reyner Barton 

Officer of R.M.S. " Dunottar Castle " 

Mr. Gerald Ames 

Eve Addison Miss RenSe Kelly 


in four pictures, by Dora Bright, from a 
story by Pieter Van iDer Meer. January 

Minna Miss Margery Maude 

Gerritt Mr. Mark Paton 

Polman Mr. James Dale 


IN PURPLE INK, play, in three acts, by 
Percy Fullerton. (Produced by Amateurs.) 
December 16. 

Walter James Mr. James Sexton 

Martha Junes Mrs. Harold Dickinson 

In Purple Ink (continued). 

Mary Miss Lawrence 

Wilson Mr. Angus Wall 

George Mannering .. Mr. Harold Leighton 

Nora James Miss Helinor Hard'i^ 

Timothy Smiggins Mr. E. Skinner 

Howard Fletcher Mr. J. Eric David 

Chief Counting Assistant. .Mr. G. J. Mahon 

Mannering's Agent Mr. F. B. Lunt 

James Worthington Mr. E. A. Strugnell 

Worthington's Agent.. Mr. G. T. Starbuck 
Shakespeare, Liverpool. 

INTERLOPERS, comedy, In four acts, by 
H. M. Harwood. September 15. Last per- 
formance (the 33rd), October 13. 

Peter Ross Mr. Dennis Eadie 

Jack Chisholm Mr. Norman Trevor 

Mr. Ross Mr. Hubert Harben 

Amos Thorpe Mr. Miles Malleson 

Mr. Robertson Mr. Campbell Gullan 

Waiter Mr. Leonard Notcutt 

Servant Mr. Arthur Baxendell 

Iris Mahoney Miss Miriam Lewes 

Margaret Chisholm .. Miss Evelyn Weeden 

Isabel Ross Miss Elizabeth Risdon 

Mrs. Ross Miss Gwynne Herbert 

Beatrice Harbord Miss Elaine Sleddall 

Phyllis Miss Lisa Stecker 

Maid at Pinner Miss Olga Ward 

Nurse- Miss Dorothy Dundas 


monologue, by Barry Pain. Performed by 
Miss Nancy Price, January 30. Bechstein 

IN THE AIR, one-act drama, by Frederick 
Fenn. August 23. 

Hilda Marsden Miss Mary O'Farell 

Lieut. Geoffrey Tregenna 

Mr. Cowley Wright 

Lieut. Dennis Brady Mr. Leigh Lovel 

Major-Gen. Stewart Pole 

Mr. John Armstrong 

IN THE BALKANS, romantic spectacle, book 
by L. F. Durell, invented and produced by 
Albert Hengler. March 17. 

Maza Pasha Mr. Costello 

Princess Zeleka Miss Marie Kildare 

Irmak Hassan Mr. Matt Powell 

Konnia Hassan Miss L. Melbourne 

Hiram Maccarthy Mr. M. R. Nono 

Mackintosh Mr. Doodles 

Baltzik Mr. L. F. Durell 

Suli Mr. Frank Eaglesfield 

Kasyr Mr. Albini 

Captain Yetish Mr. W. Almero 

Muratizim Mr. L. A. Cooke 

Hippodrome, Manchester. 

IN THE DESERT, sketch, by John G. Bran- 
don. September 29. 
The Sheik El Thorab ..Mr. T. H. Bentham 

Oran Mr. A. T. Daneey 

Paul Ardon Mr. S. Elwyn Leslie 

Zelie D'Armand Mile. Margot Delan 

Pavilion, Leicester. 

the New York Underworld," by Mary 
Asquith and David Higgins. February 10. 

Jim Nolan Mr. Walter Gay 

Terry Sullivan Mr. Lionel D'Aragon 

Steve Henessy Mr. Cecil Morton York 

Dave Morgan Mr. William Dunlop 

Bill Mr. Arthur Byron 

Reliable Jake Mr. Charles Ashby 

Molly Dowd Miss Lilian French 

Freda Ducommon Miss Rose Morison 

Two Step Liz Miss Doris Watson 

Her Pard Mr. Johnny Watson 

Jessie Cassidy Miss Maud Stuart 

Kate Kerrigan Miss Jessie Millward 

Chelsea Palace 



IN THE GRIP OF FATE, dramatic sketch, by 
Alan York Charters. November 6. 

Jem Mr. Frl Lake 

Mike Mr. Mi. ILL! Muitley 

Liza Miss Chri.-tine It. 

Doctor Mr. King 


IN I UK LIUIMRY, drama, in one act 
\V. \V. Jacobs ami Herbert r 
February 17. 

Trayton Burleigh Mr. Roland Pcrtwee 

James Fletcher Mr. Cyril II. Sworder 

Burglar Mr. Richard Norton 

eant, of Police ..Mr. Lancelot Lowder 

Policeman Mr. Fn .!, ri,-k .hums 

London Opera House. 

INVISIBLE MAX. T1IK. farce, in urn- act. 
by Cyril Twyford and Leslie Lambert (sug- 
gested by the story of the same title by 
H. G. \\Y1M. November 3. 

Denis Stewart Mr. G. Trevor Roller 

Harry Hamber Mr. Cecil lievan 

Police Inspector Mr. Frank Snell 

P.O. Harris Mr. Herbert R:: 

Miss Evelyn Cooper .. Miss Tommy Clancy 
London Coliseum. 

IN WAR TIME, dramatic sketch, by Emil 
Lock. (Produced by the Black Cut Club.) 
January 24. 

The Princess Thordeski Miss Hall 

Burgas Mr. C. Fletcher 

Colonel Sorovitch . . Mr. Wilfred Stephen* 

Olenka MJ.--S Alma Stanley 


IOLE, trapedy, in one act, in verse, by 
Stephen Phillips. July 11. 

Pelias Mr. J. H. Stanners 

Laomedon Mr. E. Ion Swinley 

An Old Man Mr. Eugene Herbert 

A Priestess Miss Katharine Herbert 

( Miss Margaret Gerome 
Attendants , Miss LiUan Yates 

lole Miss Efga Myers 


IRISH STEW, one-act comedy, by May Finney. 
May 12. 

Mrs. Potter Mrs. Monroe 

Dora Potter Miss Dorothy Falkiner 

Mrs. Murphy Miss Sheelagh Tobin 

J. Murphy ". Mr. \V. Henry 

Servant Miss Elsie Hughes 

Abbey, Dublin. 

IRIS OF THE RAINBOW, early Victorian 

fantasy, in two acts, by Gwen Forwood. 

(Produced by amateurs.) January 15. 

Town Hall, Rickmansworth. 
IRON BARS sketch presented by France? TVle- 

val. Septembers. Shoreditch Olympic 

IRON LAW, THE, one act play, by Ruth 
Young. (Produced by the Actresses' Fran- 
chise League.) July .v 

Mary Erdington MJss Mildred Orme 

William Erdington.. Mr. Lancelot Lowdi-r 
Dorothy Dawson . . Miss Vera Cunningham 

Mrs. Simkins Miss Nancy Blackwood 

Arts Centre, W. 

I SHOULD SAY SO! "Cockney revue." by 
George Barclay. Fred Malcolm, and Her 
bert Rule, music by Herbert Rule, lyrics 
by Herbert Rule. Tom M'Ghee, and Fred 
Malcolm. December 8. Surrey. 

I SHOULD WORRY, extravaganza, with music, 
in three scenes, by Arthur Davenport, the 
lyrics by Clifford Harris, and the music 
composed, selected, and arranged by James 
W. Tate. (Preliminary production as IT 
IS SO. August 4. Willesden Hippodrome.) 
August 11. 

Silas Q. Smith Mr. Ben Zellar 

Mamie Jones Miss Marie Courtenay 

President Nugget Mr. Barnsbury Dodd 

. 'continued). 

Miu Ragt -ufng 

-ck Wayho 

Ml.--, ilo.,!..- I!., bill". II , 

Signora Solfain . Marie Dalnton 

:l O!dAkJ 

Mr. Dewingharn Hall L 

Dr Mr. Tom Payne 

'al<l ) 

.lohiinii: Walki.-r M it.|,-r 

Muihr. r M., i. nh. n; . r. .Mr. J. ( k.; Friedman 

in: PIIUI: TII \T HKLl 1 .- mi; i 

|il;c , 

duced by tin- I y 19. 


Mr. II. mi- Mr. Wai; 

Charlie King 

Miss Arinine < 

Kinily 1'ipt 

Willie l'i|,. ; i.ra.-dorir 

Mr. 1'ickard Mr. .Si-ba.-' 

Mrs. Manly M 


Alfred Wright Mr. Vn 

Walter Wright; 

Miss ' 

Ted Mr. Pt r 

IT'S UP TO YOU, farcical sketch, in one 

by George Arliss. (Originally produced at 
the Kriipir.-, December, 1'jin, a^ \\ID- 
\\ i:KDS). October 6. 

William Waring M iioll.- 

II.-"- Mr. H. i.. lirandoti 

Mrs. Waring Mr Aulay 

Mrs. Lewson ' ce Barnes 

Jane, a Servant Mis* Jenn> Hackctt 


IT P\VS TO ADVERTISE, one-act comedy, by 
Sew ell Collins, imiMc by Arthur Kii: 

art. October 13. 
Clare Rornney, an actress.. Miss Frederick 

Admiral Foster Mr. Harry Br 

Lieut. Crawford Mr. (Jer.ild M 

Lucie M irner 

Lewisham Hi|'||: 

IVAXHOE, play based on Sir Walter Scott's 
romance. May 22. Last performance {tin- 
iV.'iul), July 6. 

Ivanhoe Mr. Lauilcrda! 

Prince lohn Mr. F: 

Lucas de Beaumanoir. .Mr. 


Abdul Mr. H. Su! 

Cedric the Saxon Mr. Allan \\ 

<;urth Mr. J. T. MucMillan 

Wamba Mr. Fred Ingram 

\tbelstane Mr. Norm. 

ild Mr. Percy Baverstock 

Sir Brian du Bois Guilbert 

Mr. Ht-nr 

De Bracy Mr. W. K. Hall 

Claude V ' -riuth 

maid Front du Kn u( Mr. Austen Milroy 

Fit Mr. !. 

Philip MalvoiMn Mr. Allen Kllis 

Will Locksley Mr. Frank Harvey 

Friar Ayliner Mr. Jcrrold Manvillc 

Much the Miller M-- ^lilton 

Stamford Mi :\g*te 


Ulrica .. 

Elgith.i M Nancy U 

Richard, King of England 


Conrad Mr. F. Kl>\\..rthy 

Francis . . . 

Isaac of York Mr 

Rebecca .. : . !l-Bnine 




IVAN LE TERRIBLE. First production to 
England of an opera, in three acts and 
five tableaux, music by Rirasky-Korsakow. 
July 8. 

Tsar Ivan, "The Terrible "..M. Chaliaplne 
Prince Youri Tokmakoff..M. Paul Andreew 
The Boyard Nikita Matuta 

M. Nicolas Andreew 
Prince Athanasius Vdazemsky 

M. Zaporojetz 

Michael Toucha M. Damaew 

Yushco Velebin M. Zaporojetz 

Princess Olga Tokmakoff Mme. Brian 

Stephanie Matuta Mme. Nicolaewa 

Vlasyevna Mme. Petrenko 

A Sentinel M. Semenow 

Conductor, M. Emile Cooper. Opera pro- 
duced toy M. Alexandra Sanine. General 
stage director, M. P. Strobinder. Chorus, 
under the direction of M. D. Pokhitonov. 
Stage manager, M. O. Allegri. 

Drury Lane. 

JACKDAW, THE, first variety presentation of 
Lady Gregory's play. August 4. London 

J'ADORiE CA, MM. Celval and Charley's revue 
from the Ba-Ta-Clan, Paris. May 5. 
Second edition, with the addition of new 
tableaux, June 16. Middlesex. 

JANE CLEGG, play, in three acts, by St. 
John G. Ervine. (April 21, Gaiety, Man- 
chester.) May 19. 

Mrs Clegg Miss Clare Greet 

Jane Clegg Miss Sybil Thorndike 

Jenny Clegg Miss Mabel Salkeld 

Johnnie Clegg Mr. Tommy Nickson 

Henry Clegg Mr. Bernard Copping 

Mr. Munce Mr. Eliot Makeham 

Mr. Morrison Mr. Ernest Haines 


JAPANESE CURIO, THE. playlet, by Mr 
A. C. Bunten. January 28. 

Frokuchi Mr. Alexander Price 

Chry San Miss G. Vander Beck 

Tomatan Miss Ellen Robinson 

A Priest Mr. Joseph Ireland 

Lyceum Club. 

JAPPY CHAPPY, musical play for children, 
by E. L. Shute, music by H. W. Hewlett. 
November 28. Little. 

JEPHTHAH'S DAUGHTER, play, in three 
acts and prologue, by X.Y.Z. (Produced 
by amateurs.) January 27. 

Mr. Norton Mr. Ross Hills 

Priest Mr. R. LI. Hartley 

Innkeeper Mr. H. J. Bacley 

Johanna Miss Engine Bradsnaw 

First Peasant Mr. Harold Skerrett 

Second Peasant Mr. J. Peake Jenson 


MT. Norton Mr. Ross Hilts 

Mrs. Norton Mrs. Rihan 

Margot Miss Delia Rihan 

Mme. De Beaurdvage Mrs. Ogden 

Sir H. Mainwaring Mr. R. LI. Hartley 

Gerald Farringdon Mr. T. Armstrong 

Cardinal Mr. E. R. Lingard 

Huida Miss Margaret A. Borrett 

Dr. Harbord Mr. Basil 

Butler Mr. Albert Walthew 

Garrick Chambers, Stockport. 

JEWEL OF THE EAST, THE, dramatic epi- 
sode. March 17. Bedford. 

JIM THE PENMAN. Revival of the four-act 
play by the late Sir Charles L. Young, 
Bart. (Originally produced March 25, 
1886, Haymarket.) June 18. Last per- 
formance (the 61st), August 9. 
James Ralston .. Mr. Norman McKinnel 
Lord DreUocourt Mr. Athol Stewart 

Jim the Penman (continued), 

Baron Hartfeldt .... Mr. J. Fisher White 
Captain Redwood .. Mr. Kenneth Douglaa 

Louis Percival Mr. Godfrey Tearle 

Mr. Netherby Mr. E. F. Mayeur 

Mr. Chapstone Mr. Arthur Grenville 

Dr. Pettywise Mr. Edgar Payne 

Butler Mr. D. Greene 

Footman Mr. Horace Bradley 

George Ralston Mr. Evan Thomas 

Agnes Ralston Miss Rene"e Kelly 

Lady Dunscombe Miss Helen Ferrers 

Mrs. Chapstone Miss Nellie Bouverie 

Mrs. Ralston Miss Grace Lane 


JOAN OF ARC, historical music drama, in a 
prologue, three acts, and seven tableaux, 
by Raymond R6ze. November 1. 

Joan of Arc Miss Lilian Granfelt 

Jacques Mr. Norman Williams 

Durand Lazard Mr. Furness Williams 

Charles VII Mr. Henry Rabke 

Gerald Machet Mr. Manitto Klitgaard 

Regnault de Chartres Mr. Cormac O'Shane 
Estienne de Vignolles. .Mr. Edward Ramsay 

Karl of Dunois Mr. Raoul Torrent 

Philip, Duke of Burgundy 

Mr. Charles Mott 

Isabeau de Baviere Miss Dora Gibson 

An English Soldier .. Mr. Julian Kimbell 

Raymond M iss Renee Gratz 

De La Tremouille Mr. John Bellkim 

The Jester Mr. Allan Glen 

The Voices Misses Marie Scott, Ethel 

Duthoit, Florence Ludwig, Millicent 

Premiere Danseuse, Karina. Premier Dan- 

simr, Roberty. 
Assisted by Misses Marjorie Neville and 

Gwen Gauntlett. 
Maitre de Ballet, M. Espinosa. 
Conducted by the Composer. 

Covent Garden. 

one act, by Mrs. Steuart Erskine. March 
Maisie Anderson ..Miss Marjorie Hamilton 

John Anderson Mr. Jackson Wilcox 

Olga Deane Miss Inez Bensusan 

King's Hall, W.C. 

JONESES, THE, play of Welsh life, in three 
acts, by Laurence Cowen. November 1. 
Last performance (the 23rd), November 21. 
John Thomas Jones. .Mr. Cadwalader Jones 
Elizabeth Ann Jones.. Miss Nancy Roberts 
Plantagenet Jones Mr. Harcourt Williams 
David Morgan Jones. .Mr. H. West Gwynne 

Elcazer Lewis Jones Mr. Tom Owen 

Myfanwy Jones Miss Eleanor Daniels 

Jane Ellen Evans Miss Lilian Mason 

Moses Llewellyn Watkin. .Mr. Ted Hopkins 

Nance Ellen Diavies M.iss May Hopkins 

Rev. Daniel Thomas. .Mr. Harding Thomas 
Captain Owen Thomas.. Mr. R. A. Hopkins 
Thomas Christmas Jenkins 

Mr. Alec Thomas 
William Glyndwr Morris 

Mr. William Morgan 
Hugh Tredegar Williams 

Mr. Gareth Hughes 

JONES IN EARNEST, play, in one act, by 
Francis M. G. Abell. October 24. 

Lucy Brind Miss Daphne Erskine 

Dick Brind Mr. Ewart Scott 

Gerald Soames . . Mr. R. Campbell Fletcher 

Tomlin Miss Catherine Lord 


JOCK'S INVENTION, Scotch comedy sketch. 
November 18. Empire, G.iUow. 



I'll AND Ills HKI'.THI | n f,,, ir 

acts, by Louis N. Park 


Jacob Herbert Tree 

Reuben ..] f Mr. Philip MerivaJa 

Simeon . . I Sons of j Mr. H. A. Snintsbury 

r.ovi j Leah j Mr. L. B. Hnrley 

Judah I ( Mr. Hubert Carter 

Dan \ Pons of ( Mr. Howard Rose 

Naphtali f Hilliah \ Mr. Bernard Htorrs 

Gad ( Sons of j Mr. Richard Neville 

Asher ) Zilpah | Mr. Stanley Howlett 

Issachar. . ] s ^" e ' f j Mr. J. W. Mollison 
Zebulun f b ' ' ( Mr. Cyril Sworder 
Joseph . . I Sons of f Mr. George Relpb 
Benjamin ) Rachel I Mr. Alfred Will mo re 

Hachel Miss Cynthia 

Bilhah Miss Frances Torn us 

Zilpah Miss Geomina Milne 

Miss Rhoda 

A Singer Miss Hilda Antony 

Camel Driver Mr. Dennis Wyndhnm 

1st Slave Mr. Alexander Sarner 

2nd Slave Mr. Victor M. I 

3rd Slave Mr. Laurence Sterner 


Pharaoh Mr. Henry Vibart 

Potlphar '. . Mr. Owen Routrlnvnod 

Imhotep Mr. Basset t Roe 

i Mr. Roy Byfnrd 

Mcnthu Mr. Edward Irwin 

Enenkhei Mr. Henry Morrell 

/uleika Miss Maxirie Klliott 

Asenath Miss Jessie Winter 

Wakara Miss Alice Phillips 

Tamai Miss V. Vivien-Vivien 

Ani Mr. G. F. Weir 

Hern Mr. G. Dickson-Kenwin 

S'-hni Mr. Chris Walker 

Atha Mr. A. H. Goddard 

Ranofer Mr. A. Nicholson Tucker 

Pesbes Mr. A. T.uhinioff 

Mehtu Miss Patricia Stuart 

Anset Miss Ksnie Lee 

Arilenrni Miss Joyce Francis 

Taherer Miss Louise Regnis 

Nesta Miss Ef|>a Myers 

A Dancer Miss Delphine Wyndham 

His Mai 

Bourgeoisie), an episode from Juliette 
Mylo's " Silhouettes Parisienne." March 7. 

Gaby Mile. Juliette Mylo 

Mme. Dupuis Mile. Alice Dermont 

Octave Aniedce M. Yves Schwari: 

M. Gentil M. Rene" Helie 

M. Deroy M. Jean Menetrez 


comedy, by H. Browninc June 9. 
Julian Terraine .. Mr. Stephen T. Kwart 

Mrs. Turnpenny Miss Cecil,- Uan-lay 

Mr. Turnpenny Mr. E. W. Thomas 

Lucille Turnpenny 

Hornthy Dewhurst 

Jackie Hinton Mr. Rupert Lister 

Miss Hinton Miss A. Vansittarr 

Gibson Mr. Wilfred K. shine 

A Bailiff Mr. J. A. Do.ld 

Lady Southwiek Miss Au'ip's Knifrhtx 

Emmy Southwick Mi-s ('. Knniili\ 

Laundry Maid Miss A. Vansittart 

M'anager of Laundry .. Mr. Kdward (' 

James Murphy Mr. J. \ n<"M 

John Murpiy' Mr. Seiriol Rutherford 

Mr. Hopkins Mr. C. Edwards 

Servant Mr. A. Cecil 

Winter Gardens, New Brighton. 

JULIUS CJESAR, Sir Herbert Tree's revival of 
Shakespeare's play. June 2.V 

-His Majesty's. 

H Li : . com- 

JuliiiH Ciunar Mr Will* 



Marcus HrutiiH .. 

Mr. .1 

Casca M 

Trebonliu Mr M.,ri.-v 

III-CMIS Unit us Mr. llcrnard ' 

MctdliH Cimb.-r Mr. II 

Cinna Mr. Torn Kilfov 

Flavins MT 

Marullus Mr. Ernest 

-. .Mr. Fra; 

Lucius Master Wilr: 

Calpurnia Miss Mary Ft-nner 

Portia Miss Sybi> 

Artemidorus, of Cnidos ..Mr. John Wardle 

Cinna Mr. Lionel Uriel.'* 

Another Poet Mr. N 

Lucilius Mr. I; 

Titinius Mr. Hernard ' 

-sala Mr. Kn, 

I'iccro Mr. .V 

Publiiis >Tr. Arthur 

Popilius Lena Mr. Arthur Pod: 

Voiintr Cato .. Mr. Knu .'..-rtson 

Volumnius Mr. Fred V M 

V'arro Mr. Hubert Helliwell 

Clitus Mr. Km 

Claudius Mr. Charl'-s Citcl|o 

Strato Mr. John W 

Dardanlus Mr. James Dilloi. 

Pindarus Mr. S. A, 

First Citizen Mr. .7am. -s Dillon 

Second Citizen Mr. Norman E. Lnughton 

Third Citizen Mr. Charles Costello 

Fourth Citizen Mr. Joseph Wricht 

Antony's Servant Mr. En- 

Cffisar's Servant Mr. Raymond Conway 

Octavius' Servant Mr. John Wardle 

First Commoner M 'lion 

'Hd Commoner Mr. Eliot Makeham 

First Soldier Mr. Norman E. Lauchton 

Second Soldier Mr. Tnrn Kilfov 

Gaiety. Mali.-' 

Jt'Ll! . revival of SI 

play. April 29. .Mirt. 

Wilfred Douthitt. April 7. 

Txindon Coliseum. 

JIT.Y RETIRE. THE. one-act play, by Austin 

: . ()ct,,l,er 22. 

Dr. Kenny Mr. Charles Norman 

Pat Casey Mr. H. T- 

Phelini O'Knurke .. Mr. Edmui 

\ I HiniiLIS. .,ne-aet |-l:i\ 

Kathleen Ileale. October 18. 

John Faulkner Mr. GenfTre> 

Gerald Faulkner Mr. Seymour ! 

Ikner .... Miss Viol," 

Janet Miss Marion i 

s\i>il Horf.m Miss Hilda 1 

Mrs. llorton Miss Mar-.-ar, t Murch 

JUST IN TIME, monologue by Williair 

ban ' .>h. Played by Mr. 

Sam \Val-h. May )_'. 

US OF \! 

- Palaci Soul 

liiddulph Synion r 4. 

la Warden Mi^ E. V. Richar- 1 

Edmond Warden Mr. Powell Symondu 

Parkerson >tr. f -imnd 

Empire, Littlchauipton 



KEEPING SUNDAY, farce, by Wilfrid Step- 
hens. March 18. 

Captain FitzJames Mr. Dan Seymour 

Cuthbert Savage Mr. Wilfrid Stephens 

Dan Dabble Mr. Albert Hayzen 

A Cabman Mr. Arthur Campbell 

Maidee Kent Miss Mona Maughan 

A Servant 'Girl Miss Ena Haye Howe 


KEEP SMILING, revue, comedy scenes by 
Cosmo Gordon Lennox and L. E. Berman, 
lyrics by Hugh E. Wright, Assyrian ballet 
produced by Theodore Kosloff, dances and 
ensembles arranged by J. W. Jackson. 
October 6. Alhambra. 

KHOVANCHINA, LA, music drama, in three 
acts and four tableaux, by M. P. Mous- 
sorgsky, orchestration by Rimsky-Korsa- 
kow. July 1. 

Dosithens M. Chaliapine 

Prince Ivan Khovansky M. Zaporojetz 
Prince Andrew Khovansky ..M. Damaew 

Chaklovity Mr. Paul Andrew 

Maria Mme. Petrenko 

The Scribe M. Nicolas Andreew 

Emma Mil. Brian 

Varsonoflev M. Bellanin 

Kouska M. Bokhakow 

i M. Belianin 
Theree Streitsy ] M. Alexandrowitch 

I M. Strobinder 

Suzanne Mile. Nicolaewa 

The Persian dance in Tableau III. com- 
posed and arranged toy (M. Adolf Bolm. 
Miles. Astafleva, Tcherniohova, Maiche- 
srka, Pflac, Kopycinska, Konietska, 
Bonietska, Dombrovska, Jezerska, Gouluk, 

Maningsova, Bromney. 

Conductor, M. Emile Cooper. 

Opera produced by M. Alexandre Sanine. 

Stage Manager, M. Charles Waltz. Dances 

composed and arranged by M. Adolf Bolm. 

Drury Lane. 

KID, THE, sketch, presented by H. W. 
Waynes. March 10. Olympia, Shoreditch. 

KILL THAT FLY! a revised version of the 
revue was presented on January 16. 

children's fairy play, adapted from Grimm's 
Fairy Tales, by John J. Sullivan. Decem- 
ber 29. New, Manchester. 

KING'S (BLESSING, THE, iplay, in five aofcs, 
by Walter Savage Cooper. (Produced by 
amateurs.) February 10. 

King Wenceslas Mr. W. Savage Cooper 

Prince Mordred Mr. Dashwood Carter 

Princess Agnes Miss Adelaide Watts 

Princess Mathilda Miss Doris English 

Count Stanislaus . .Mr. Berkeley Cascoigne 

Eric Miss Christine Tempest 

Lord Conrad Mr. Eric Lester 

Lord Oswald Mr. Cyril Cheffins 

Lady Edith Mrs. Herbert Teasdale 

Lady Ida Mrs. Dashwood Carter 

Lord Godwyn Mr. Cecil Lowes 

Sir Leofric Mr. Cecil Lowes 

Bertha Miss Isobel English 

Gurth Mr. Sydney Gowlett 

Grissel Miss Marg'aret Way 

Emm Miss Ethel Cheffins 

Robin Mr. Cyril Chefflns 

Gaffer Hugh Mr. Claude Welch 

Hal Mr. Eric Lester 

1st Officer ... Mr. Joseph Baxley 

2nd Officer Mr. Geo. Blount 

Grandad Mr. Philip Jewin 

Cripplegate Institute. 

KING'S MINSTREL, THE, play, In one act, 
by F. Randle Ay rton. -^Coronet, February 

KING'S OWN, THE, dramatic sketch, in one 
scene, by Herbert Sidney. September 16. 
Colonel Brett Sharpies 

Mr. Jerome Rollason 

Mrs. Arundel Miss Elsie Rollason 


KISS OF JUDAS, THE, play, in ten scenes, 
by H. A. and Dora Langlois. September 

Archer Cameron Mr. John Davidson 

Harry Trehearne Mr. Paul Neville 

Sid Daring .":..'.} Mr ' Cedl Ravenswood 
Horace Blackoow, J.P. 

Mr. Charles Dickens 
Crocker Mr. Leo Montgomery 

TomTagget :::} Mr ' F - Arnold Mussett 

Claffin Mr. R. Seath Innes 

Ostler Mr. Charles Townsend 

Mabel Cameron Miss Evie Conway 

Rose Daring Miss Gwen Watson 

Paula St. Osyth Miss Bessie Thompson 

Mrs. Trother Miss Beatrice Hudson 

Cyril Cameron .., Miss Doris Neil 

Bob Miss Grace Emery 

Royal, Liverpool. 

comedietta, by J. E. Harold Terry, March 

Millicent Barton Miss Gillian Dene 

James Carey Mr. Clarence Bigge 

Septimus Barton Mr. John Deverell 


LABOUR LEADER, THE, melodrama, in ten 
scenes, by Frand Lindo. June 9. 

Mark Staveley Mr. Harry Tresham 

Henry Dornton Mr. J. Templar Ellis 

Richard Carswell Mr. Clavering Craig 

Tom Lorrimer Mr. Percy Boucher 

Sam Stripes Mr. Wm. A. Armour 

Podgers Mr. Ivor Smith 

Rev. Wilfrid Lucas Mr. John Belton 

Andrews Mr. Alfred Ames 

Annette Miss Alice Baines 

Gracie Staveley ..Miss Bertha Brocclehurst 

Peggy Silber Miss Molly Hackett 

Countess of Castleburg 

Miss Francis J. May 

Mary Miss Louise Hampton 

Alhambra, Openshaw. 

LADIES OF BAGDAD, THE, Oriental comic 
opera, in two acts, written and composed 
by A. Stanley Gill. (Produced by ama- 
teurs.) January 26. 
Haroun-al-Raschid ..Mr. Percy W. Hobson 

Prince Ahmed Mr. Albert Farnsworth 

Tipbad Mr. Harry Farnswortn 

El Akbar Mr. J. H. Lees 

Giafar Mr. Frank Lees 

Mesrour Mr. Stanley Martin 

Ibraheem Mr. Digby Wootton 

Herald of Abmed ..Mr. Wilfrid Robinson 

Forbidden-Fruit Miss Elsie Wilkins 

Sweeping-Train Miss Connie Harrison 

Flutter-ot'-Frills..Mme. Florence Farnsworth 

Pearl -of-the-Portal Miss Dorothy Irene 

Dish-of-Dainties Miss Minnie Frost 

Bul-Bul Mme. Middleton Woodward 

Candidates : Misses W. Woollatt, D. 
Blee, I. Witham, (N. Harper, I. Sargent, B. 
Greensmith, I. Hill, and G. Baumfield. 

Mechanics' Hall, Nottingham. 

LADY DOCTOR, THE, one act play, by Richard 
Maurice. (Produced by the Black Cat 

Dr. Joan Portland .... Miss Joan Ashby 
Dr. George Portland 

Mr. Douglas Murray 

Jack Mr. F. A. E, Pine 

Servant .Miss Dulcia Ellwood 

Rehearsal, June 27. 



LADY NOOUS. play in thre acts, adapted 

iton from stories liy Edgar 
JepbaOD. February 15. Last performance 
I. Aj>ril 18. 

,1 orringtoii Mr. Lyston Lyle 

Liilly llorrodailo Mr. K. Evan 'Hi 

.' Alfred iri-Ki{ Mr. A-lifii I 1 , 

Lord Hartlepool Mr. Li 

my I'ottciiham Mr. Kenneth K.-ul 

-Ult'uaU' .... Mr. Arthur Circiivillc 

(ottcrill Mr. Key HIT Barton 

i ton Mr. Edar 1!. Payne 

!cia Lady Urandison 

MUs Mary Glynno 
iiitcss Karskoviteh .. Mrs. Saba Kaleldi 

-. Stetson Mi~-, .Mary Mackenzie 

iiess of Huddorsiield 

Mis Hettie Cavendish 

Lady Hartlepool Miss May Warley 

su/.i'tto Miss Margaret Chute 


LAIRD AND THE LADY, THE, comedietta, 
in one scene, by Jessie Millward and John 
idinning. August 4. 

The Lady Miss Jessie Millward 

Mrs. McLean Miss Lilian Caird 

Tile Mclirt'gor Mr. H. Ni-ilsoii 

The Laird Mr. John Glendinning 

Chelsea Palace. 

!. \M> OF THE FREE, THE, one act play, 
r.ertha N. Graham. January 27. 

Mr. Hardacre Mr. Ralph Button 

Jenny Miss Leah Batepan-Huntet 

Clare Canninge Miss Phyllis Kclph 

Mr. Roinily Mr. Char' 

Cosmopolis, V. 

LAST ROLL CALL, THE, Scottish sketch, Dy 
\Val Croft. May -Jf,. 
Sergeant Geordie Robertson 

Mr. Wai Croft 
Maggie Robertson 

Miss Jtathleen Naughton 

Empn 'ss>. 

LAST SCENE, THE, melodramatic sketch. 
May 19. 


I. AST V T ISIT, THE, one act play, by Hermann 
Sudermann. (Produced by the Pioneer 
Players). May 18. 

Daisy Miss Ruth Bower 

Frau Mulbridge Miss Marie Ault 

Mulbridge Mr. Tom Woods 

Tempski Mr. Kric .UVney 

A Groom Mr. Lionel Carlton 

Lieutenant Von Wolters. .Mr. James Berry 

Kellerman Mr. Anthony Warde 

The Unknown Lady Miss lledda ! 


LATCHKEY. THE, one act play, by Percy 
Fitzgerald. November 21. 
Mrs. Winterton .. Miss Kitty Wttloughby 

Algernon Dormer Mr. Walter Dank* 

Policeman Al Mr. Charl. 

Taxi Driver Mr. Arthur Lindo 

by Mr. Shaun I 1 

Mr. Whelks Mr. Clan-nc.- Hart 

Mr. Winterton Mr. Cyril 


L\n;in\<; iirsp, \ND, THK. musical 
comedy, in three acts, book by Arthur 
Wimperis, adapted from the German of 
Julius Brammer and Alfred Griinuald. 
music by Edmund Kysler. October 
performance (the 78th) December 12. Re- 
presented under the title of " The Gi'l 
Who Didn't " at the Lyric on December 18. 
Ottakar BrUckner . . Mr. Courtlce Pounds 

Bella BrUckner Miss Daisy IrviiiR 

Andreas Pipelhuber .. Mr. D. J. \'- 

Lucinda ' 

Dr. Rosenrot Mr. James B 

Count Selztal Mr. George Carvey 

Han* /nut 

\\ledehopf ... Iff. Alfred I! . 

Jiir.. Mr. ! 

Wiedner Mr 

Jii!' ' 


iry 24. Bedford. 


t|,i !on. July 


Kliid Mi -- Nar^-y ' 

Ernef-t Allenliirst, M >nn 

Meinik Mr. J. 

tain Redvers M: 

Co*mo polls. 

'VE, A, scene from 

IHACII 1 : .ille. 

LET IN. farce, in one act. 'A ;ird 

and itoU . H B< itl P dw i d b] 

teurs.) Decelilln r 3. 

Colonel I .... Mr. C. I' 

Edward Itrowii Mr. D. MeM 

! Mr. \V. W. Morric-' 

Winifred Fitzroy ... 

Mr M ^cep 

Mire Hall, Wini' 

LIE. THE. play. : Mrs. Wai'. 

.11. Novell. 

i Hamilton 

Mi-, ri'\d. HllTif. ' 

Jack Hamilton .... Mr. H. Carfax 1'. 
Lord l-'rederick Tayne .. Mr. Arthur Lindo 

I letcher Mr. Cl.r 

Edward Dent M^r. 11 

Prince Boris Mr. Ken' 

The Doctor M' 

nbcr of Policr- Korcc Mr. Cli 

London !' 

LIGHT THAT FA 1 1. ]:!. Till:. J. Forbes- 
Robertson n-vived ' (ieorfie Fleming's" 
adaptation of Kipling's n li 31. 

Drury Lane. 

LINK. Till n one 

(Product by the Century Play So< 


The .JmlLie Mr. Desmond Brannlgan 

Th, Mr. David Uallam 

Tlu' Baron Mr. I.eiL-h Lovel 

Tii . Kenmorfl 

Tin- Sheritl Mr. George T. Greig 

Tli Mr. W. F. Thomas 

Th. .... Mr. Wilfred Stanford 
Al, Mr. Kill- 
Alt Miss Je*s Dorynne 

Th.- Milk-maid Mi-s Edith Carter 

The Farm-hand M' 'Ust'll 


.It. W. 

production of 

.ally iirixp: '. IflOS. 

'ill's Hall, Wembley.) .Innu. 

Harry Linton Mr. P. F. Pollings 

Burges* Mr. H. Chanter Gordon 

ny Mis* Vita Sp 

Kitty Cliv >' -awford 

Hippodrome, Manchester. 

LITTLE FOWL PI. \Y. A. Revival of Harrold 
(Oricinnlly prod 

::iry 10. Apollo. 



LITTLE MISS RAGTIME, musical play in two 
acts, by Isa Bowman, music by W. Neale. 
July 24. 

Teddy Walkover Mr. Alf Passmore 

George Mashwell Mr. Frank Green 

Harry Weston Mr. Frank Barclay 

K. Ragtime Mr. Joseph R. Tate 

J. Jackoby Mr. Ernest Foster 

Francois Mr. George Russell 

George Wise Mr. Claude Farrow 

Fred Knowal Mr. Percy Pope 

Ernest Cleaver Mr. H. Rinaldo 

Betty Barlow Miss Dulcie Delmar 

Connie Gardner Miss Dora McCaskey 

Miss Swankfirst Miss Jessie Compton 

Bridget Magee Miss Kitty Kirwan 

Peggy Miss Lillie Ellis 

Su/otte Miss Mane Jermaine 

Lallie Miss Nellie McCaskey 

Marjie Miss Winnie New 

Mrs. Drummedout .. Miss Mollie Outhbert 

Mary Johnson Miss May Warden 

Lady Pat Miss May Compton 

The Hon. Miss Porter .. Miss R. T. Mack 

Miss Hathaway Miiss M. Richardson 

Little Miss Ragtime Miss Isa Bowman 

Royal, Margate. 

LITTLE PRINCE, THE, dramatic episode, 
taken from Shakespeare's KING JOHN. 
August 11. 

Prince Arthur Miss Cora Coffin 

Hubert de Burgh Mr. Clive Currie 

Grand, Clapham. 

LITTLE SECRET, THE, comedy sketch, by 
Margaret Linton. March 7. 

Hester Tanner Miss Ethel Hall 

Iris Clifford Miss Bell Hames 

Olive Hay Miss Minnie Seymour 

Arnold Broadfoote .. Mr. William Gourlay 

LITTLE STOWAWAY, THE, new version of 
the sketch, by Fred Bowyer, taken from 
Arthur Matthison's story, modernised l>y 
George Abel and Harry J. Robinson; Isling- 
ton Empire. January C. 

LIZA'S DISCOVERY, dramatic monologue. 
May 26- Victoria Hall, Walthanistmv. 

LOLOTTE, comedy in one act, adapted from 
the French of H. Meilhac and L. Ha hey 
by John Pollock, March 10. 

Lord Feltham Mr. J. Clifford Brooke 

Lady Feltham Miss Lilian Talbot 

Sir Augustus Pett Mr. Robert Horton 

Maid Miss Ethel Cannon 

Manservant Mr. W. Cadogan 

Lolotte Mme. Lydia Yavorska 

London Coliseum. 

LONDON ASSURANCE, revival of the late 
Dion Boucicault's play at a special matinee 
in aid of King George's Pension Fund for 
Actors and Actresses, at which their 
Majesties the King and Queen were present 
(originally produced Covent Garden, March 
4, 1841). June 27. 

Sir Harcourt Courtly Sir Herbert Tree 

Charles Courtly Mr. Godfrey Tearle 

Dazzle Mr. H. B. Irving 

Dolly Spanker Mr. James Welch 

Max Harkaway Mr. Henry Ainley 

Mark Meddle Mr. Arthur Bourchier 

Cooi Mr. Charles Hawtrey 

James Mr. J. D. Beveridge 

Martin Mr. Dennis Eadie 

Solomon Isaacs Mr. Weedon Grossmith 

Lady Gay Spanker .. Miss Irene Vanbrugh 
Grace Harkaway, Miss Phyllis Neilson-Terry 

Pert Miss Marie Tempest 

Th* play produced by Mr. Dion Boucicault. | 
St. James's. | 

LOST SHEEP, THE, Scottish comedy, in one 
act, by Charles Hannan. February 10. 

MacGregor Mr. J. T. Macmillan 

Mistress Mackie Mrs. Blake Adams 

Lost Sheep, The (continued). 

The Minister Mr. Kenneth Black 

The Minister's Wife Miss Lindsay Grey 

A Gipsy Girl Miss Dahlia Gordon 

London Pavilion. 

LOST SILK HAT, THE, episode by Lord Dun- 
sany. August 4. 

The Caller Mr. Basil Ryder 

The Labourer Mr. H. F. Maltby 

The Clerk Mr. Leonard Chapman 

The Poet Mr. Ernest C. Cassel 

The Policeman Mr. Tom Kilfoy 

Gaiety, Manchester. 

LOST WAGER, THE, play, in one act, by R. 
Campbell Fletcher. October 24. 

Jack Spencer Mr. Cyril Hardingham 

Hugh Caufleld .. Mr. R. Campbell Fletcher 


LOVE AND A THRONE, play, in four acts, by 
C. A. Clarke. March 24. 

pang 8 !? 16 .. :::::::: 1 Mr - Percy Ballard 

Prince Oregon Mr. Charles Adair 

Philip Demetri Mr. Ernest Digges 

General Melachati Mr. Kenyon Gray 

Nikyas Mr. Tom J. Taylor 

Captain Klitos .. Mr. S. Conyers Radcliffe 

Perikles Mr. Fred G. Kay 

Draco Mr. Cyril Teale 

Borsal Mr. Albert Murray 

Archbishop of Tin's Mr. Joseph Cantor 

The Headsman Mr. William Hall 

Demos Little Violet Lussanne 

Piquant Miss Lulu Bowes 

Lydia Miss Olive Warne 

Helen Miss Genna Lyndon 

Elephant and Castle. 

LOVE AND LAND, comedy, in four acts, by 
Lynn Doyle. November 24. 

Pat Murphy Mr. Robert Gorman 

Thos. Dorrian Mr. Charles M'Intyre 

Peter O'Hare Mr. J. G. Abbey 

Brian O'Connor Mr. Joseph Money 

Hughey Rogan ... Mr. Rutherford Mayne 

Bdlly Rourke Mr. Laurance M'Larnon 

Vidow Doherty .. Miss Margaret O'Gormn" 

Rose Dorrian Miss Mary Crothers 

Mary O'Connor Miss Marian Cummins 

Opera House, Belfast. 

LOVE AND LAUGHTER, musical play in three 
acts, the libretto by Frederick Fenn and 
Arthur Wimperis, lyrics by Arthur Wim- 
peris, music hv Oscar Straus. September 
3. !Lab~pr[OriiiailC(i (Lll" 65th), October 

Princess Yolande Miss Evelyn d'Alroy 

Zara Miss Yvonne Arnaud 

Queen of Magoria Miss Amy Augarde 

Balbus Mr. Tom A. Shale 

Lieutenant Skrydloff Mr. Nelson Keys 

Schmidt Mr. Eliot Skinner 

1st Gardener Mr. lago Lewys 

2nd Gardener Mr. Joseph Ritte 

3rd Gardener Mr. Robert Eadie 

1st Lady Gardener .. Miss Googoo Murray 

^Prince Carol Mr. Bertram Wallis 

Grand Duke Boris .. Mr. Claude Flemming 

Hunyadi Mr. Frederick Volp6 

Alfred Harris Mr. A. W. Baskcomb 

Sergeant Mr. Arthur Ballance 

1st Soldier Mr. Jack Stephens 

2nd Soldier Mr. Jack Hornby 

3rd Soldier Mr. Frank Melville 

4th Soldier Mr. Ewart Baker 

Sentry Mr. Barry Calvert 

Gipsy Miss Doreen Langton 


LOVE AND THE DRYAD, masque adapted 
for the stage by Ruby Ginner, music by 
Agnes H. Lambert. April 29. 

The Dryad Miss Ruby Ginner 

First Singing Nymph 

Miss Evangeline Florence 



:n Mall 

Mr. Hubert Bromilow 

Tli<- (Joddc-; .... Mi Oeral 

I Mr. Hall 
Mr. <Ji.. 
Mr. I 
.Mr. I'. 
Mr. i 

Shepherd Bo> \i iiubi.ard 

King s Hall, W.C. 

LOVE AM> THE i-KESs (;.\N<;, com* 
one act, l>\ \v. !'. .Mciini..n. May 21. 

mhly Km. ins, Balhalil. 

l.o\ i: EPISODE. A. wordless play, in one 
in?, by Arthur K. Phillips. 8ep 

.t Mi>s Eileen Thorn.!-, ke 

Pi.-nvtte- MI>S Retberle? 


T.OVK IN ALBANIA, musical scena, by .Ma-. 
Stciner. .May t2G. Tivoli. 

LOVE PASSAIJE, A. < edy, in one act, 

adapted from \V. \V. Jacobs' story by the 
author and Philip K. Hubbard. February 

LOVE THAT FORGAVE, THE, drama, in four 

, by (iraee. Vasey. July 28. 

Varian Brandt' Mr. Chas. H. I.. 

Stafford Cavendish .. Mr. Marius St. John 

ilrande Gospodin A. Lubinoii 

Jack Cavendish Mr. TIarvey Maeready 

Mr. Carruthers .. Mr. William Bradford 

John Laird Mr. Charli-s Neville 

Colonel Cavendish Mr. John A'Bn 

Sir Fortescue Clivc .. Mr. ,T. Ellis, jun. 
V.bbleton Clarke .. Mr. Arthur Oanville 
Rov. Mr. Goodchild .. Mr. Frank Lasc- 

The Keeper Mr. Win. Ernstono 

Lola La Vigne Miss Margaret Dainer 

Betty Cavendish .. Miss Marie Schaniinjj 

Knith Miss Norm a 

Hope Miss Dorothy Hope 

Charity Miss Lilyan Demiond 

tOT Miss Winifred Hainelin 

Purity Miss Marjorie Raymond 

Dorothy Cavendish .. Miss Mario Duncan 
Lyric, Hammersmith. 

l.o\ i: \ I'.nsi s si FFK A(;r;. one aoi comedy, 
by Ki'ica Kathleen Beale, (d-tober 18.' 

Robert Qnither ATr. Kdward Clarke 

Ann Ncnke.v Miss MLIly Burrow* 

Mrs. Franker ATi.-s Marinn Kin>; 

- Hippodrome. Kritrlitnu. 

Ll'CK, THE, sportinp sketch in five Beenes, 
by \V. P. sheen and Erie Hudson. 

June 2. 

lack Lin wood Mr. Edward .Tpph-n 

Olive Dane Miss Ivy Shepuard 

Joe Felix Mr. William T'. Sheen 

1>ick Felix Mr. Edward Jo-iab 

Dick the Twister Mr. Eric HinNoii 

Mrs. Leiuhton Mowbray ..Mi--. Cnid Fi.rde 

I.I'CKV .inf. skefch. June 16. (irainl. I'.ir 


LI'CKV MISS I'll v\ rE. musical play in 

acts, by W. T. Ivory and Kmneth Morri- 
son. January 13. 

Tootle Mr. i 

Dickie A\.i\ Mr. Frank 1 

Captain Filbert Mr. Dudley Middleton 

il Strong Mr. ' 

Kliino Burns Mr. Victor \. ' 

I'imple Mr. Edmund Kichai 

Old MI HHC Mr. Freean I 

Stella Fl. 

Marion Bright 

Winnie \V.\n<nm \li~> I'hilli- -I'.iMinj; 

\'ir^inia Creep, r Mi~s Minnie Best 

Honey Suckle Miss Cissie Best 

Lily V, 

l.i i K \ ri 

M l.ove|| 
Llllll Lit Xollehe 

I.I KJI'S \\ 

de la ' 


LVIHA's BACRIFIC1 :ay, by W. 

H. ! 


I.ibby Ann 

H T 

Gaiety, Mancli 

MAh: IK, farcical comedy, in one 

act., by Amelia \l. Barker. September 10. 
".ton (Arty) .... Mr. Albert Dudk-y 
Mr. Beeton ( BartyJ ..Mr. E. Beal I. 

pin Mr, 

i Bell'.') Miss Myra 

Mrs. Beeton (.I'npp.v) - M""re 

Mrs. Dos-it Miss Marj 

and Dramatic Club. 

MADKI.KINE COUTURAT (Let Travaitteun), 
an :u Juliette M 

" Sil !i 7. 


Mme. Coiiturat Mile. Alice Dermont 

Mons. Hi-naud M. Henri ' 

Jaci|ii. > M. Yves Sdiwarz 


MADEMOISELLE FIFf. in <>no act. 
dramati>ed by ()>car Metcnier from Guy 
Si'i.ti-iub. r 

Major Mr. Herbert Bunston 

'tain Mr. 1 

Lieut. Auatolo Mr. li Leyton 

Mr. William An 

Lieut. Willy Mr. BobeVt Farquhar.on 

Priest Mr. Ed\var<l 

Sacristan Mr. H. <le Lance 

Orderly Mr. G. Chalmers Colona 

Pamela M Daniel 

Bloiidina Mi-i Nancy Black 

Amanda !i Hail 

E\;i Miss Vera George 

!' I Mine. Lydia Vavorkka 

M vi.ic, fai i and 

a prelude, by (J. K. ('he I 

DeTODshil 'iiher 


'Ih Mr. Franklin Dyall 

1 roft 

Ke\. Cxril Smith Mr. O. I'. Hexgie 

II, i Mr. Frank RamU'II 

rimthorpe .. Mr. William Farren 

'Hi.. Duke Mr. Fred LewU 

Morris I'arleon Mr. Lyonel V 

MAI.!' I ME. pn.dn, fcion in English 


\[iril 28. C' 


- ian:ihau Mr K>hn 

Mr. (,' 


Aunt Mary Miss Nora Desmond 




MAGIC SPELL, THE, one act opera, by A. V. 
Rennison. November 14. Craiglands Hydro. 
MAGIC VIOLIN, THE, play, in one act, by 
Ena Hay Howe. April 26. 

Marth> Miss Adelina Dine h 

Miss Dolly Miss Elsa Dmelli 

Passmore Edwards Settlement. 
act, by St. John G. Ervine. June 2. 

Sam Jiinde Mr. J. A. Rourke 

Mrs Cather Miss Helena Moou> 

William Cather Mr. Sydney J. Morgan 

Henry Hinde Mr. J. M. Kerrigan 

Mae"ie Cather Miss Sara Allgood 


MAB \RAXI OF ARAKAN, THE, revival for 
the first performance of the Bushey Re- 
pertory Theatre of the play, adapted by 
George Calderon from a story by Rabindra 
Xath Tagore. November 29. 

Amina Miss Xorah Delaney 

Roshenara Mrs. F. H. Gorle 

Dalia Mr. J. S. Wheelwright 

Rahmat .... Mr. Richard H. M. Spooner 

Tung Loo Mr. Herbert Russell 

Courtiers, Musicians, Attendants, etc., 

Mrs. Holt, Mrs. Burdett, Mrs. Fellows, 

Heap, Lion, A. Jameson, and Elsa 

Hall ; and Messrs. Mollison, Humphrey, 

Puller, and Merrill. 

MAIDEX IN MA Its, Till-:, musical play, by 
Graham Anderson. (Produced oy 
amateurs.) Town Hall, Aylsliaiii. 
PORTRAIT, Egyptian comic opera, in two 
acts, book and lyrics by Richard Ogle, and 
music by Oscar Eve. Produced by amateurs. 
April 2. 

Antiaocirs Miss Jessie II. ROM 

Amara Miss Kay Blake 

Sipbah Miss Violet Cooper 

Apophis Mr. Arthur Nye 

Osorkon Mr. C. Edward Bonton 

Logrollo Mr. KolxTl (.'unnin.wam 

Lonoto Mr. Rex Gurney 

Rekh Mr. T. F. Wills 

NeiYrt Miss Doris Cornford 

Reshut Miss Kitty Cornford 

Mert. Miss Winifred Follett 

Heknut Miss Daisy Hancox 

Ynert Miss Violet James 

Gert Miss Christine van Eitzen 


MAID OF THE MILL, THE, Lancashire play, 
in 'three scenes, by E. Vivian Edmonds. 
August 22. 

Characters in Prologue, 1892. 
Adam Ackroyd .. Mr. Ernest E. Edwards 

Ned Ackroyd Mr. E. Vivian Edmonds 

Stephen Gaunt Mr. J. Adrian Byrne 

Elizabeth Ackroyd Miss E. Manning 

Maggie Drake Miss Ethel Vinroy 

Mary Blackburn Miss Ford-Howitt 

Mrs. Blackburn Miss Bella Power 

Eli Platt Mr. Fred Green 

Dan Horrocks Mr. W. C. Bland 

Morris Barker Mr. William Manning 

Mr. Sidebottom Mr. J. Hinnigan 

P.O. Jones (Mr. Fred Hartington 

Characters in Play. Present day. 
Adam Ackroyd .. Mr. Ernest C. Edwards 

Ned Ackroyd Mr. E. Vivian Edmonds 

Stephen Gaunt Mr. J. Adrian Byrne 

Dr. Mason Mr. George Power 

Jack Mason Mr. Raymond Raynor 

Otto Micklestein The Stranger 

Dan Horrocks Mr. W. C. Bland 

Morris Barker Mr. William Manning 

James Binks Mr. J. Hinnigan 

John Hastings Mr. F. Green 

Maggie Drake Miss Ethel Vinroy 

Mrs. Ackroyd Miss Eleanor Manning 

Mary Miss Gladys Ford-Howitt 

Prince's, Blackburn. 

MAISON DECOLLETE, operetta, in one act, 
by Erich Urban and Louis Taufstein, music 
by Martin Knopf, English version by 
George Arthurs, lyrics by Sydney Morgan. 
January 13. 
Duke Von Prascovia Mr. Charles Danvers 

Bernhardt Decollet6 Mr. Jack Denton 

Chiffon Mr. J. Warren Fi 

Bob Miss Winifred Delevante 

Lucette Miss Nan Stuart 

Mannikins: Missis Florence Darrell. Ada 
Holt, Mary Graham, Madeleine Lamare, 
Eileen Dai-try, Lucy Frank. 

London Pavilion. 

MANAGER'S DRKOI, THE, topical and 
musical " revue.tte." book and lyrics by 
Edgar Wallace, music by Arnold Blake. 
April 14. 

Ivy Prunella Miss Ivy Sawyer 

Daniel Bromley Mr. Dan Leno 

George Bromley .. Mr. James O. Harcourt 

Perks Mr. George Nash 

Violet Miss Netta Foster 

Phyllis Miss Connie Amor 

Chelsea Palace. 

MAN AT THE WORKS, THE, play, by Austin 
Fryers. October ^1. 

Herbert Groves Mr. Charles Maunsell 

Old Nip Mr. H. Tripp Ed-ar 

ivte Mr. C. Child 

Minnie Groves Mi> Kate Kuskin 

Mrs. Chessle Miss Elizabeth Dexter 

Arts Centre. 

M\X OF IDEAS, A, comedy, in three acts, 
by Miles Mallcsoii. (Produced by the Play 
.) Xovember 17. Reduced to a 
act piece and (presented at the Queen's 
in December. 

Mr. P. Perceval Clark 
.. Mr. Douglas Gordon 

Miss Kutli Parrott 

. Mr. Campbell Gillian 
Miss Amy Ravenscroft 
M;,rv . . Miss Margaret Omar 


drama, in eight scenes, by Edward Thane. 
July 28. 

Dick Barnet Mr. Joseph Mlllanfl 

Ben Brown Mr. John S. Millward 

Daniel Barnet Mr. Villiers Stanley 

\Ul>rman Barnet Mr. H. Earlesmere 

Tr.M\ Ldwards Mr. V. Garnet-Vayne 

Warder Bates Mr. George Lester 

Sporty Mr. E. Mayilew 

Vfannaduke Poolc Martin Mr. Frank Evans 

Major O'Donovan Mr. James Revill 

Hilly White Mr. R. Kirk 

Rev. Charles Saunders .... Mr. Mill Warde 

M.-,r( ha Miss Phyllis Claude 

Mrs. Edwards Miss Edith Blanoe 

Vera Maxwell Miss Mabel Rose 

Queen's, Poplar. 

play, in four acts, by Jack Denton (pre- 
liminary performance). October 25. 

Knightstone Pavilion, Weston-super-Mare. 
MAX WITH A MAID, A, one-act play, by 
Donald Jeans. November 10. 

Robin Mr. John Napper 

Cecily Miss Beatrice Smith 

Rose Miss Barbara Hannay 

George Mr. Charles Groves 

Gaiety, Manchester. 

MARCH HARE, THE, farce, in three acts, 
by Harold Smith. (April 26, 1909, Royal 
Birkenhead, Amateurs. July 7, Pier 
Pavilion, Herne Bay). July 10. Last per- 
formance (the 24th) July 30. 
Uncle John Croker .. Mr. Spencer Trevor 

Dr Dart Mr. Robert Horton 

Rev. Joshua Flewitt ..Mr. J. H. Brewer 
James Bolton Mr. Stanley Turnbutl 


Frank Cftrtwright 

Alice Cartwrlght . 

XYville Foster ... 

Helen Gardner 



, The (coittu, 

Sykes Mr. Arthur 0. I 

L)r. Lister Mr. Charles Steuart 

Mrs. Tivertoil Mi-., Mary 

Lucy Thcrton Miss Edie Grhnrn 

Mi~. Pilling i H:iir.l 

Mary Mi.-s Kli/.al.eth I 

kat Tivcrton Miss M<iry I 


MARGKUY M\[;i;ii:s. comedy, in three act, 
hy Norman McKeowii. (March 3, Royal, 

Brighton.) June 2. 

Anthony Ashmor.- .. Mr. C. Aubrey Smith 
Marsery Ashmore. .Mtafl Lilian Braithwaite I 

Kitty Blindon Miss Gl;n! 

Morton Evered Mr. Charles Vernoo 

Kenneth Workley Mr. W. Kershaw 

Mrs. Blindon Miss Marion Sterling 

Morris Blindon Mr. Norman McKeown 

Mason Miss Helen<ly 

Mrs. Kvi-red Mi.-s Mary Raby 

Henry Evcred Mr. Tom M 

-;.kcs Mr.-. K. Kinton 

Ros* Miss Edith He 


MARIAGE FORCE, I.E. English version of 
Molierc's play. December 2. 

Sganarelle Mr. Nigel Playfair 

Ge"ronimo Mr. Baliol Holloway 

Alcantor Mr. Ralph Hutton 

Alcidas Mr. Donald Calthrop 

Lycaste Mr. H. Pearson 

Pancrace Mr. Arthur Whitby 

Marphurius Mr. Herbert II 

Dorimene Miss Kvelyn Weeden 

Qj,, f Miss Gladys Wilee 

' ' | Miss Eltnor I 

St. James's. 

MARKKD MONKY, play, in one act, by John 
J. Connor. January 13. 
Richard Crosby, Jr. (alias Dick Kane) 

Mr. Robert M'- 
Edyth Glendinning (alias May Martin) 

Miss Violet Lewis 

Richard Crosby, Sr Mr. Leslie Carter 


MARK OF CAIN. THE. dramatic episode, by 
Warren Killingworth. December 1.x 

Elii-aheth Stilward Miss Lilian 'I 

.John Hollingsworth ..Mr. Leonard Calv-rt 

Gilbert Stilward Mr. (J. I'. Woir 

Samuel Davidson Mr. H. Moi.t 

Nance Hulliday Mi.-s Kleanor Daniels 

Solomon Brooks .. Mr. J. Henry Twyl'ord 


MARRIAGE MARKET, THE, musical play, 
in three acts, by M. Brpdy and F. M.r 
music by Victor Jacobi, lyrics by Arthur 
Anderson and Adrian Ross, adapted for 
the English stage by Gladys Unger. 
May 17. (New .v>n<_'s introduced N<>\ em- 
ber 29.) 

Jack Fleetwood Mr. Robert Miehaelis 

ifor Abe K. Gilroy Mr. A. E. Dougtes 

Bald Faced sandy . . .' Mr. Tom Walls 

Mexican Bill Mr. !' 

Shorty Mr. Maurii - 

Tabasco Ned Mr. Edward Am: 

Cheyenne Harry Mr. Frank I' 

Ili-Ti .' Mr. Himh Wakrlield 

1'adre Petro Mr. \\alt-or Adim.s 

Cajitain of the "Mariposd" 

Mr. Harry Dearth 

Blinker Mr. W. H. lierry 

Lord Hurllngham Hr. G. P. Huntley 

Mariposa Gilroy Miss SAri I'etraw 

A Middy Miss Elise Craven 

Emma Miss Avir 

Dolly Miss Eileen M<>lynuz 

Pansy Miss Dolly Dombey 

Peach n Brunner 



M \i:i:i M, 

one act, by Clr . th 

MAKIM \(.i:. Till 

by Lady Oregon 


M \ i: ' 

i ...Mr. !> ".iiinii 

Cant. Iliidiviteh Mr. 

Major Shojnro .... Mr. li,:< 

C| Mr. Jan 

Auguste Low i n. 

Mr. H. McKenzie Kogan 
The General's Orderl'. 
Marusa M 

I'l in. c.! U'ales'g. 
MAKV (;OKS 1'IRST, comedy, In four acU, 

nry Arthur Jones. September 18 
Sir r th 

Mr. Keiiyori Mi, 

1 Which.-llo Mr. Cir.rl , \ 
K.-lix (;a!pin .... Mr. W. Graham 

Mr. Taihnan Mr 

Dr. Chesher Mr. li 

Harvey Betts Mr. Ri, ' 

Mr \ander 

P-il^ 1 " Mr. IL.rt n Cooper 

rth .... M 
llthwood .. Miss MnrL-;.- 

Mrs. Tadtnan Mis- Claire Paiiii.-cfort 

Mary Whichello .... !ie t 


M\l;Y LATIMER-NDN, melodr;.ni:. in 
.' n scenes, by Eva E!v.. &. 

d Pterpoint Mr. I , isot, 

Hon. Alfred Piei 

Mr. Richard C. Wagner 

John Drayton Mr. 11 

Stnbbs M 

Dicky Stubbs M 

R/ev. Cannon, Hill .... Mr. Georj-e. Gormloy 

Stasre Hand Mr. Chas. I 

Waiter at Lord Pierpoint's 

Mr ! ,1**} 

in Mr. 

Cla: N,.ll ,ln M'I 

e Drayton Miss M 

Miss Elizab 

y Stubbs nour 

Mary I^itimor M ; ;k<>r 

M \s(.ti i or i r \UMNi.. TIII:. i,v IT, i 

ick Goddee, was i :rom 

AL.r.-h 11 to 15 in th<- Great, HaJI of 1h 
University of London at South K 

MASTI:;; <>i n AH:, diama. In 

iibald Templeton . M -lyle 

'ark ('live 

it. Arthur Charrin(rton 

Tin. M- 

loll " 


M \TTI:I: 01 


TV Mall 



Matter of Money, A (continued). 

Lucia Coventry Miss Sarah Brooke 

Dr. Channing Mr. Ben Webster 

j acob T Master Walter Plmge 

Mr Bentley Mr. Ernest Thesiger 

Mrs Bentley Miss Winifred Mayo 

Mrs Meadows Miss Inez Bensusan 

Marjorie Miss Rosamund Belmore 

Mrs. Channing Miss May Whitty 

Maid Miss Angela Colenso 

Porter Mr. Edmond Breon 


MENDEL BEILISS, Yiddish play of Russian 
life, founded by J. Marcovitch upon in- 
cidents in the " ritual murder ' case at 
Rieff. November 14. 


MEN IS SICH FULES, Scotch sketch, by 
Charles Hannan. February 3. 

Macgregor Mr. Milroy Cooper 

Mistress Mackie Miss H. Cavendish 

Greta Miss Eva McRoberts 

Maeconochie Mr. George Tawde 

Jimmy of the Hills Mr. Geo. Gordon 


Tree's ninth London Shakespeare Festival, 
at His Majesty's, opened on Monday, June 
9. with a week's performances of The 
Merchant of Venice. 

comedy. First London production of Mr. 
Forbes- Robertson revival. (August 31, 
1906, Royal, Manchester). May 5. 

Duke of Venice Mr. Ian Robertson 

Prince of Morocco . . Mr. Grendon Bentley 

Shylock Mr. J. Forbes-Robertson 

Antonio Mr. Percy Rhodes 

Bassanio Mr. Basil Gill 

Lorenzo Mr. Charles Graham 

Gratiano Mr. Alex Scott-Gatty 

Salanio Mr. Walter Ringham 

Salarino Mr. George Hayes 

Tuba! Mr. Montague Rutherford 

l.aunrelot Gobbo .... Mr. H. Athol Forde 

Old Gohbo Mr. S. T. Pearce 

Leonardo Mr. E. A. Ross 

Balthazar Mr. Robert Atkins 

Gaoler Mr. Eric Adeney 

Clerk of the Court .. Mr. Richard Andean 

Portia Miss Gertrude Elliott 

Nerissa Miss Audrey Ford 

Jessica Miss Joan Tuckett 

Drury Lane. 

MERELY PLAYERS, lyrical comedy, in one 
act, by Fred Macrae, music by Mary Maryon. 
(Produced by the Black Cat Club), Feb- 
ruary 24. 

Gilbert Goldacre Mr. Denis E. Cowles 

Charles Golightly Mr. Arthur Hare 

Dulcie Golightly Miss Annie Matson 

Lady Goldacre Miss Ella Daincourt 

Mary Miss Clarice Vernon 


MEXICAN HEARTS AFLAME, drama, in four 
acts, by Jean Marvin. April 28. 

Chiquita Miss Jean Marvin 

.lack Hamlin Mr. Thomas Rhyde 

Carlos Mendoza Mr. Ernest Dare 

John Maynard Mr. Mark Henry 

H<. ward Waring 

Mr. Clarence L. Managan 

Bully Briggs Mr. Laurence Atkins 

Frank Maynard Mr. A. W. Ashton 

Indian Jim Mr. Harry Roberts 

Pantages Mr. Steve Jackson 

Captain Donez Mr. George Toseland 

Sergeant Morillo Mr. Bud Monroe 

Arana Mr. Horace Cobham 

Grace Maynard Miss Lillian Rignold 

Fawn Afraid Tree-Pe-Dee 

Mrs. Doppledinger . . Miss Lizzie Maddocks 
-Royal, Belfast. 

MIDNIGHT, dramatic sketch, by Berber C. 
Sargent. February 10. 

Domingo Mr. Stephen Sorley 

Pedro Sebastian -Mr. Rupert Stutneld 

Burtrey Miss Doris Lawford 

Beatrice Sebastian . . Miss Ruth Maitland 
Hippodrome, Manchester. 

musical fantasy, in two acts, by Nancy 
Borrett. (Produced toy amateurs.) Novem- 
ber 10. 

Pierrot -Mr. Harry Craymer 

Pierrette Mr. Jessie Rose 

Bunty Miss Bertha Sandland 

Janemina Miss Muriel Strickson 

Max Mr. Max Thompson 

The Showman Mr. Basil Mercer 

Marionette Miss Nancy Uorrett 

Cripplegate Institute. 

MIDSUMMER MADNESS, comedy, in one act, 
by Christopher Sandeman (produced by the 
Oncomers' Society). May 30. 

Dr. Robert Winglield Mr. Ernest Haimes 

Harris Mr. Kklrett Gulson 

Mrs. Seatoo Miss Helen IVndemiis 

Nancy Miss Lillian C'avanagh 

Sir Marcus Hamilton. .Mr. Vivian Gilbert 


Richard Flanagan's revival of Shakespeare's 
jiJaj 1 . November 3. 


Theseus Mr. Geo. H. Montford 

Eueus Mr. S. Leigh Courtney 

Lysander Mr. Harvey Braban 

Demetrius Mr. Archie W. Ctoappell 

Philostrate Mr. Wilfred Leighton 

Quince -Mr. J. H. Atkinson 

Snug Mr. Sidney Dench 

Bottom Mr. Ryder Boys 

Flute Mr. Archibald McLean 

Snout Mr. Arthur Gilroy 

Starveling Mr. Julian .). UaLlter 

Hippolyta Miss Claire Welby 

Hermia Enid Lonmer 

Helena Miss Evelyn Hope 


Oberon Mr. Norman Partriege 

Puck Miss Edith Blair-Staplea 

Peaseblossom Miss Kerflia Sweeney 

Cobweb Miss Florence Kennedy 

Moth -Mi** J' ;lsie Copsey 

Mustard-seed Miss Ethel Mec 

First Staging Fairy 

Miss Queenie Westbrooke 
Second Singing Fairy .. Miss Averilla Peers 

Titania Miss Beatrice Terry 

Principal Dancers, Miss Elaine Middleton 
and Mile. Adele Durrand. 

New, Manchester. 

farcette, by T. Bonsall and Fuller Stem. 
February 24. 

Millie Newby Miss Maud Davies 

Dick Newby Mr. D. Jephson 

Mrs. Williams .... Miss Sylvia St. Quentm 

Uncle Timothy Mr. Gus Wheatmam 

Camberwell Empire. 

MILLIONS, comedy-dramatic sketch, by Ernie 
Lotinga and Leonard F. Durell. December 

Thomas Radford Mr. A. Cavendish 

Milly Radford Miss Maud Linden 

Antoinette Mile. Rie Costa 

Harry Law Mr. Bert Roper 

Jake Inde Mr. Harold Hawk 

William Plowden Mr. Adolph Luck 

Jimmy Josser Mr. Ernie Lotinga 



Ml\ h Yoi i: r. \< 

I " hy 

' ' .in ; in ll' i in. inn 

llan-uski. llrr. -inli. 

\il\l: I. \\ l>. I'll I . ,-. OK d .imtiy 

e, in thre<- acts, i>\ .io.-*-pii Connolly. 

Malta I..MIII ...... Mr. Suli 

........ 'Mr. Philip (inirv 

Mr. KiirncU ............ Mr. Than. 

Mr. Lavelk ........ Mi. H. i:. HutehiiiH.n 

Mr. Har<ly ............ Mr .l.ilui 

Moll .......... Mr. Farn-ll IVlly 

William Lulddl .... Mr. ll. !:. Uutchhwon 

Charlie MeCrea ...... Mr. s.-ali Connolly 

t .laiir Lynn ............ Miss I'nu O'Connor 

Annie Mi-Keiidry ---- Miss Kitlmr V 

AblM-y, Dublin. 

MINI 1. 1' TlfK, comedy, in . Kaa 

lla\ Ho'.u-. July \'t. Battereea PolyU-ch- 

Mli: \<;K OK MISI-OUTIM:. \. one ad play, 

b\ McN'icl Irvlarnl. November 21. 

tirey Uraithwaite. .Mr. K. Carlav Uayley 
Tain Mclieaii .......... Mr. Cyril A.-hlord 

Mrs. Hmithwaite 

\l;-s F.ditli \\ aldenmr-L<-\' 
Jos.vlyn BraithwaiU-. .Miss Daplmf Ki^kim- 
Betty Chalmers .. Mi- Mated Mami-rinj: 
Harry B ra ith e 

Mr. Cliarl.s Trevor-Roper 

MISCHIKYorS M1SSIVK. A, onr-act, play, hy 
F. Cyril Lfi^litoii. Novi-nilicr 10. 
Colonel Warrinyton. .Mr. F. Cyril Lcighton 
Mainr Toniniy harton 

Mr. Ivhvanl Onstoii 

lain Hilly Mathcws. .Mr. I'. Hunt LwU 
(iiTtnnlc \VarriliKtou ..Miss Cynthia ! 
.laiiii.'.-. .................... Mr. Lionel \\Vst 

Mail! .................... Mi-ss Viola Hairs 

I'irr. Ka>tniiriif. 

M1SKK, Til)'., three scenes from Moliere's 
l/\\ar',' translated by Lady Gregory. 
.lime 14. Court. 

MISl'.U \HI.KS, LKS". drama, in four acts, 
founded on Victor Mnj-o's no\rl, hy Ivan 
Patrick Gore. November 10. 
iiishoji Myriel Ponternery 

Mr. Charles Cameron 
Jean Valjean ...... \ 

M. Madeleine ...... I.Mr. F. H. Wonlfe 

\l. lUanc .......... I 

Thenadier .......... >lr. Frank PettiBgel] 

Javert .................. Mr. Terry Davies 

The Judge ........ Mr. Alfred \Vat:h<>ni 

Counsel for Prosecution 

Mr. Sydney Kni'-tine 
nisei for Defenci- ...... Mr. Alfred \\ ;nle 

Clainiesous ................ Mr. Fred Itlake 

Marins .............. Mr. Krn.-t I!. Allen 

Bister snlpiet- ........ Mis- Winiired Alban 

I'antine .................. Mi.-s Kuby Le< 

It.' ................ M : : aille 

Mine. Majiloirc .. Miss May Irene \Vrinht 
Mine. Thenadier ...... Mi :,rne 

I'lponitu' .............. Mi*s In-ne Slieppard 

Little Cosette ............. 

Royal, Stratford. 

HRONVVS HKOTMIM:. aa*-*ct play, by 

Dorothy Sadler 1- 

ibie Watson ...... Mr. Milton Frey 

Charlie Riclianis ...... Mr. Ci 

Dora Brown .. Miss Mnrpuerite Harland 
Mr. Brown .......... Mr. Telford Hushe* 




Mix VanderJ 


II. M. 


nti in Mr. 

U ll'.S lloll-e 



Ml; I'll:' 

May 15. 

M M irlel Pratt 

Ml: V \Nin. i:imn. i 

land and i 

. -M' Grant 

\\ I . Chuiev! play, in -,, by 

-n ami HaMld Owen. 



1 Mr. l\->r .smith 
' lan.le Burl 
1 Mr. 

.... ' 
Ml-< l-:th, 

.Mrs. (Jrejjory Mi-- I. ilia: 

Hilda (Jrejiory .M 

Ah Woliu M 

Mr. On-cory 

Tom Car^ullier- .... \1 . M 

Wu Li Chan;; Mr. V 

Chin, -e Clerk M- 

irapradore v 

Murray Mr. 1 

Hiilman Mr. Flarcourt B> 

A Coolie Mr. Frank Tborndike 

simp-mi Mr. Sydney Va 

Ml:s. PKCKH \M s CAIIOI si:, farcical - 

'i 17. 

Mil, .11. 

MKS. u \i:u;\ s pnori --mx 

the play, in four acts. b\ (J. liiTnard Shaw. 
A Lyric Club, January ;1 in. 

I'raed Mr. Ou, n I 

Sir !s .. Mr. Hiehard Fieldiru 

nel (iardner . . M I Itoli 

nk Mr. I 


Mrs. Warren Mi-> Kuth ' 

Koyalty, {, 

MONi:Y TM.KS. eomeily playlet, ] 
Barton and Ashley. February X. 


by John Tiller, mn ,nck 

and Sydney Ikiynes. and 1 -tace 

l'.a\n.-. John Tiller, and Frank Gordon 
July 7. 

'o^e Jefferson .. v Vine 

lx>r<l llarksliire. of M 


/-Browne -harpies 


oral Kapp Mr 

Private Knapp 

Prince I 





'laetano Laurito n n<rh 

Raff a, ! 



Month of Mary, The (continued). 

Varriale Mr. Austin Fehrman 

Gennaro Mr. Leonard Craske 

Carmela Battimell' .. Miss Annie Schletter 

Maddalena Miss Rosamund Belmore 

Sister Cristina Miss Olive Terry 

Sisters of Charity Misses Nellie Moore, 
Alys Mutch, Margaret Chute, Martha 

Children of the Infant Asylum. Irene 
Ross, Willie Courtney, E. Linnett, etc. 


MOOR GATE, THE, one act play, by H. 
Murray Gilchrist. August 11. 

Mrs. Thrall Miss Agnes Knights 

Miss Lockett Miss Helen Pendenniis 

Myra Allott Miss Dorothy Kingsley 

Hezekiah Green Mr. Ernest C. Cassel 

Postman Mr. Christian Morrow 

Gaiety, Manchester. 

MORE RESPECTABLE, play, in one act, by 
W. F. Casey. May 12. 

Millie Miss Mary Byron 

Doris Miss Mabel Balkeld 

'Mrs. Wood Mrs. Albert Barker 

Roberts Miss Muriel Pratt 

Alf Wood Mr.. Eliot Makehain 

Charlie Mr. H. F. Maltby 


MORE WAYS THAN ONE, sketch, in one 
scene, by James Horan. January 27. 

Trixie Flyte Miss Beatrice McKenzIe 

Jack Hastings Mr. Walter Shannon 

Chas. Gana Ibsen Mr. Tom Shannon 

Janitor and Model Mr. Chas. Entwistle 

Maid Miss Winnie B. Wi'liams 


four acts, by H. F. Housden. (Originally 
produced June 3, 1912, Junction, Man- 
chester.) February 24. 
The Rev. Dudley Wade .. Mr. Oswald Cray 

Josiah Beamish Mr. Clifton Earle 

Silas Hellish .... Mr. William H. Burton 

Michael Maloney Mr. Ernset A. Duval 

Jerry Ackrpyd Mr. Bert H. Reynolds 

Jasper Weirdale Mr. Harold Stevens 

Zacariah Papp Mr. Leslie Howard 

Gawkdns Mr. Leonard H. Rooke 

P.C. Skinner Mr. G. W. Wright 

Osprey Mr. Chas. A. Chandler 

White Hawk Mr. Charles Fields 

Mrs. Weirdale Miss Helen Lowther 

Rosie May Miss Pattie Dene 

Julia Beamish .. Miss A. Grattan-Clyndes 

Silver Bell Miss Mamie Reindeer 

Nellie Weirdale Miss Sybil Hare 

Elephant and Castle. 

MORNING POST, THE. one-act play, by 
Morley Roberts and " Henry Seton," 
March 11. 
Bertram Michelmore . . Mr. Rudge Harding 

Eve Michelmore Miss Ellen O'Malley 

Chalmers Mr. W. R. Stavely 


MORT DE CLEOPATRE, LA. play, in one 
act by H. Cain and M. Bernhardt. 
October 13. 
Cleopatre, Reine d'Egypte 

Mme. S. Bernhardt 

Iras Mile. Duo 

Marc Anroine M. R. Joub6 

Pharos M. Deneubourg 

Phrao M. Favieres 

Mei M. Mariani 

La Centurion M. Andre" Cernay 

London Coliseum. 

MOTHERLESS, play, by Herbert Fuller. 
May 12. 
Captain Harry Roberts 

Mr. Stanley Hoban 

Nornan Brassy Mr. Arthur C. Goff 

Bill Rousby Mr. Ambrose Horton 

Lieut. Sewbrick Mr. Will Beaslty 

Motherless (continued). 

Lord Scarbrick Mr. Bertram Darner 

Teddy Holmes Miss Lily Fuller 

P.C. Softly Mr. Herbert Ful'er 

Dr. Bradley Mr. Kit Carson 

Tom Western Mr. Harry Owen 

Jack Stern Mr. David Harrison 

Tod Bayles Mr. Jhibberd Marks 

Rev. Childs Mr. Clarencu Mynon 

Footman Mr. F. D. Walls 

Bill Miss Mignon Briscoe 

Jackie Miss Ray Briscoe 

Nell Miss Yolande Briscoe 

Sallie Flapper .., Miss Cissie Hall 

A^lSe^^i MissEmilienne Terry 
Joan Roberts \ 

Alicia Roberts I The Three Little Dots 
Alida Roberts J 

Nurse Harvey Miss Alice Whineer 

Joan Roberts Miss Dorothy Love 

Alida Roberts Miss Florence Delmar 

Grand, Lancaster. 

MOTHER'S BILL, one-act play, by Mary 
Burnham. March 10. 

Mrs. Merritt Miss Maud Morris 

Mary Merritt Miss Ethel Russell 

Bill Merritt Mr. Paul Smythe 

Royal, Manchester. 

MOTHER'S MISTAKE, farce, in one scene, by 
Ada Roscoe. June 9. 

Jim Jenkins Mr. Edward Lewis 

Mary Jenkins Miss Ruby Louis 

Mrs. Davis Miss Emily Mellon 

London Pavilion. 

MOTHER, THE, play, in four acts, by Eden 
1'hillpotts. October 22. 

Arthur Brown Mr. Algernon Greig 

Lizzie Pomeroy Misa Eileen Thorndike 

Ruth Rindle Miss Dorothy Thomas 

i\vs Pomeroy Mr. F. Pennington-Gush 

Kmanuel Codd Mr. Howard Cochran 

Avisa Pomeroy Miss Gertrude Sterroll 

Nathan Cawker Mr. Wilfred E. Shine 

Matthew Northmore 

Mr. Lawrence Hanray 
Inspector Forrest ..Mr. Lawrence Anderson 

Nicholas Toop Mr. Cecil Rose 

Constable Mr. A. C. Rose 

Constable Mr. Leonard Clarke 

Jill Wickett Miss Kathleen Fitzsimons 

GkwRo Bonus Mr. George Dewhurst 

Samuel Wickett Mr. J. A. Dodd 

Butcher Boy Mr. Leonard Clarke 

Repertory, Liverpool. 

MI'M'S THE WORD, sketch, in three scenes, 
by Edward Marris. (February 17, Palace, 
Maidstone.) March 10. 

Walthamstow Palace. 

MY LADY'S GARDEN, play in three acts, 
by R. Duncan McNab, produced by the 
Play Actors. June 22. 

Patterson Mr. Hubert Willis 

Mrs. Jarvie Misa Blanche Stanley 

John Mr. George Tawde 

Mr. Tracy Mr. H. K. Ayliff 

Lady Graham Miss Mary Mackenzie 

Amy Miss Barbara Everest 

Sir Malcolm Mr. P. Perceval Clark 


MY LORD, play, in one act, by Mrs. Bart 
Kennedy. October 16. 

My Lord Mr. Arthur Sinclair 

Dermot Mr. J. A. O'Rourke 

Cm-ran Mr. Philip Guiry 

O'Grady Mr. Sydney J. Morgan 

Ma lone .... Mr. J. M. Kerrigan 

Nurse Miss Helena MaJomey 

Abbey, Dublin. 

NATIVITY OF OUR LORD was performed 
at All Hallows' Hall, Poplar, on January 2. 


NARKISS, Egyptian operatic ballad fantasy, 

Mm.-. Mariiiuita ami .1 lirin.l- 

Legend of Jean Ix>r- 

C I'V J' a'l V' IgUftl 

Woman ................ s., 


The Athlete ........ Mr. 

................ Mr. Allan ' 

nerd .... Mr. William Wanklyn 

High I'rirst .. Mr. Corniac 0'Shain- 
Trinple Guardian .................... 

................. Smihadrn 

Whip Roy ...................... K.SJI 

Th< ! ......... Mix Violet Hume 

TbePr., ..... m~.....\ " 

The Shepherdess ................. f , . . 

The Spirit of the Pool ............ 1 Karln: 

Covent Garden. 

NARROW ESCAPK. A, one-act play, by John 
Cutler. December 4. 

Isabel Dormer .. Miss Rosemary firrvillc 
Charles Dormer ...... Mr. Walter Danks 

Theodore Mathieson ---- Mr. Milton Frry 

Ella Mandalay .. Miss Margaret Knapman 
Smith ...... .' ......... Mr. Charles Howe 


NARROW SQUEAK. -A, comic operetta, in one 

no. by F. J. Whitmarsh, musi 
Howard 'Talbot. (Hippodrome, Manches- 
ter.) June 16. 

The Husha-Tid Mr. John T. MaeCWlum 
The Wife ............ Mi.-* Florence Wr.-iy 

The Taxi-driver .............. Mr. J. James 

The Burglar ........ Mr. F. Pope Stamper 

The Policeman ...... Mr. John Humphries 

London Coliseum. 

Birmingham Repertory Theatre for the 
Christmas season. 

NAVY BLUE, nautical dramatic comedy, by 
Bernard Parry. September 29. 
Jack Meadows ........ Mr. Recinald Davis 

Petty Officer Rotes . . Mr. Fred Binninston 
Potty Officer Smith .......... Mr. A. ! 

Lieutenant Villiers ....Mr. Arthur Lennard 

Ron Eagle ................ Mr. J. McNally 

Polly .................. M iss Yolande Ma y 

New Cross Empire. 


lay. in four acts. February 19. 

NEV\D\, a revise.! version of IT:irrv M. Ver- 
non's DON'T v<>r BELIEVE IT. April 
28. Shepherd's Bush Empire. 

NEVER S\Y I>IE. farcical comedy. in three 
arts, by W. H. Post. September 13. 
iu< Woodbury. .Mr. Cli 

II, ctor \\ alt< ' ..... Mr. L'-iii-; ' 

Viruil Oal.-sliy. M.D...Mr. K. Holman Clark 
Sir John Fni^r. M.D ..... Mr. John Clulow 

Ori ........ -Mr. I. Va 

Verchesi ....... Mr. D.-micl ^^ 


Mr'. Gihbs .............. Mr. B. \\ 

Servant .......... . ........ Mr. .T. B 

M Man .... Mr. S. OrenvlHe Darlin- 


La Ciealc .............. Mis- I 

The Hon. Mrs. Stevenson 

Miss Winifred Emery 


NEW CHAR. THE. farcical adventnrr 

ber 13 

Chelsea Palace. 

. three acU. by 

Mr. HaiiM>n . 





Mrs. Rogers 

Lizzie ItoKt-rs 

C< : 

Ni:\\ IlFK, THE, sketch. March 31. 
Cross Empire. 

NEWLY MAlM:ii:i> corpl.E. THE, play, in 

Bjornson, translated t 
Fai(ii: :p. Produced by the 

Play Actors.) May 19. 



Father Mr. Hunh Tui. 

Axel Mr. A-hton Pears* 

;hilde Miss Judith K 

Servant -_y Hatton 


NKillT P.EFoitE. THE, musical farce, in one 
acen, by Valentine and Burcber, to muaic 
by Harold Loasdale. September 15. 

Capt. Montcarres Mi 

! Llewellyn Mr. Arthur 

Harold Derbyshire .. Mr. Howard < 

:'. Ponsonby Mr. ! 

.1. -lines Mr. Miiroy < 

luez Miss Ethel ' 

Babs Ivy Proudfoot 

Mollie Ellesmere .. Miss Winifr.', 


NIiiHT HAWK. THE. play, in four acU, by 
Lecbmere Worrall and H- .alf. 

(December 1. ; 
ber 6. 
James D:uil>- nay Mr. Kinri'th Dougla* 

Arthur Scudamore 

Mr. Roland Cunnincham 

Jacob Banister Mr. 



Joe Burba '-' M r 1 


Billy Klake 


I \V1I II \ ''IN. A. dramatic 

no scene, by Maurice Leblanc. 


.> Inspector Mr 



NIGHT WITH THE POETS, A, arranged by 
Percy Boggis. October 13. Victoria 

NINETTE, episode, by Hugh de Selincourt. 
Produced by the Playfellows. June 22- 

Ninette Miss Efga Myers 

Mother Mass Hannah Jones 

Peter Mr. Hunter Nesbitt 

Mr. Smith Mr. Arthur Coke 

King's Hall, W.C. 

NOBBY, V.C., musical military play, in one 
act, to book and music by Daisy McGeoch. 
September 22. 

"Nobby" Mr. C. Hayden Coffin 

Nurse Rose Miss Gladys Doree-Thorne 

Captain McKellish Mr. John Browne 

"Sloppy" Mr. Sam Walsh 


discretion." by Allan Monkhouse. Sep- 
tember 29- 

Mr. Topaz Mr. Percy Foster 

Mr. Nuncot Mr. Noel Spencer 

Mr. Push Mr. Horace J'.rahain 

Mr. Cash Mr. Ernest llaines 

Mr. Ball . .' Mr. Brember Wills 

Miss Stormit Miss Sybil Thonxlike 

Mr. Harrow Mr. Douglas Vigors 

Mr. Lullum Mr. Bernard Copping 

A Call Boy Master Tommy Nickson 

Gaiety, Manchester. 

OBERST CHABERT, opera, in German, in 
three acts, by H. W. von Waltershaueen. 
April 24. 

Chabert Herr Rudolf HofJwuier 

Ferraud M. Jean )!iiy.sson 

Rosine Frl . Pemrd-Petzl 

Derville Heir Werner Engel 

Godeschal Heir Johannes Fonss 

Boucard Herr Hans Lttch.stein 

Covent Garden. 

ODD NUMBERS, farce, by Alec Badhain. 
November 6. 

Memorial, Tewkesbury. 

OFFICE BOY, THE, serio-comic sketch, by 
Horace Kenney. March 17. 

llt'urd Hippodrome. 

OFFICER 666. revival of Augusfin Mr-Hugh's 
three-act " melodramatic farce." July 2. 
Originally produced at the Globe, October 
50, 1912. where it ran until February 1,1913 
(110 performances). Last performance of 
revival (the 51st), August 16. 

Travers Gladwin Mr. Percy Hutchison 

Alfred Wilson Mr. Ben Webster 

Whitney Barnes Mr. Sam Sothern 

Officer Phelan 666 Mr. F. G. Thurstans. 

Police-Captain Stone Mr. Harry Parker 

Detective Kearney.. Mr. George Stephenson 

Wetkins .*. . . Mr. Alfred Wiltshire 

Bateato Mr. Wilfred Stamford 

Ryan Mr. A ubrey Mather 

Sadie Small Miss Claire Milvain. 

Mrs. Burton Miss Laura Hansen 

He.len Burton Miss Enid Bell 


O'FLANAGAN, episode, by Ena Mary Howe. 
November 21. Passmore Edwards Settle- 

OH! I SAY! farce, in three acts, adapted by 
Sydney Blow and Douglas Hoare from 
Henry Keroul and Albert Baud's Une Ntiit 
Jet Noces (April 28 Royal, Bournemouth). 
Mav 23. 

Marcel DuroseJ Mr. James Welch 

Henri Gourdon Mr. Robert Averell 

Monsieur Duportal Mr. Bruce Winston 

Jacques Laverdet Mr. Clifton Alderson 

Sorbier Mr. Langdon Bruce 

Langely Mr. W. Limdsey 

Batinot Mr. Eric A'lbury 

A Cook Mr. Cecil Fairfax 

A Waiter Mr. James Ashf nil 

A Gendarme Mr. George Muir 

Oh ! I Unit ' (continued). 

A Gendarme Mr. Tom Fenton 

Joseph .Mr. Bertram Phillips 

Suzette Durosel Mi&s Sybil de Bray 

Marguerite Miss Maxine Hinton 

.Madame Duportal Miss Hannah Jones 

C'kiudine ' Miss Ruby Miller 

Madame Pigache Miss Emma. Chambers 

GabrieHe Miss Eileen Northe 

Julia Miss Kathleen Gower 

Sidonie de Matisse 

Mile. Marguerite Scialtiel 

OH, JOY! revue, produced by Bertie Shelton. 
Utrniiber 15. Shepherd's Bush Kmi>ire. 

OH! OH!! DELPHINE!!! musical comedy, in 
three acts, book and lyrics by C. M. 8. 
Me Lellan , music by Ivan Can^l , founded 
on the French farce, Villa Primrose, by 
Georges Berr and Marcel Guillemaud. 
February 18. Last performance (the 174th), 
July 26. 
Colonel Pomponnrt .. Mr. Courtice Pounds 

Fernamle Miss Cissie Defoenham 

Blum Mr. Coningsby Brierly 

A Hall Porter Mr. Charles Chamier 

Victor Jolibrau Mr. Harry Welchman. 

Jac(|ueliiu; .MISS Winifred itoma 

Tutu Miss Gwenyth Hughes 

Aiiioim-He MJse M&rjorie Corapton 

Amandine Miss MoIIie Hanbury 

Lulu Miss Connie Luttrell 

IH-.1 ingiu-tte Miss Ma.rjorie Villas 

Louis (;i^iu\ ^Ir B< *-ff i "' a iM Owffl 1 

Alphonee Bouchotte..Mr. Walter Pasemore 

I'hine ,_Mis> 

KiuetN; Miss Winifred Dcleven'ti 

Bimboula Miss Dorothy Jardon 

I'ncle N<ie! Jolibeau Mr. Fred Lewis 

Pluchard Mr. Fred Evison 

Simon; 1 Miiss Nan Stuart 

Mine. Bax Miss Violet Gould 


OLIVE BRANCH, THE, play, in three acts, 

pted liy Fivderi<-k Fenn from the French 

of Lex Pi-tit*, by Lucien Nepoty. July 14. 

..rlos Willoughby .. Mr. i ance 

Mary Willoughby Miss ErniTa LascellPs 

Hubert Willonghby Mr. Mtx Leeds 

Fanny Willoughby .. MJSS Dulcie Greatwich 

Richard Biirdon ' Mr. Robert Minster 

(Jeoi-ye Burden Mr. Bobbie Andrews 

r y Miss Phyllis Williams 

|.;iI L .,i Miss Mabel Trevor 

I xjiot hy Miss Gwenda Wren 

Mr. Charles Daly 

>f ;i i (1 Miss -Esther Whitehouse 

Devonshire Park, Eastbourne. 

OLIVER TWIST, revival of the play, in four 
acts, founded on Charles Dickens's novel. 
(First presented at the Lyceum, November, 
1912.) July 9. Last performance (the 46th) 
Augu : 

Oliver Twist Miss Mary Glynne 

Mr Brownlow Mr. C. F. Collings 

Mr. Grimwig Mr. Edward Thayne 

Mr. Sowerberry Mr. Frank Harvey 

Mr. Bumble Mr. J. T. Macmillan 

Monks Mr. Fred Morgan 

Noah Claypole Mr. Lawrence Phillips 

Giles Mr. George Dayton 

Brittles Mr. H. Smith 

Harry Maylie .. Mr. Lauderdale Maitland 

Bill Sikes Mr. Henry Lonsdale 

Toby Crackit Mr. Henry G. Wright 

Fagjn Mr. Albert Ward 

The Dodger Mr. Herbert Williams 

Charley Bates Mr. Hal Charlton 

Turnkey Mr. George Aston 

Susan Miss Nancy Bevington 

Ttose Maylie Miss Lilian Hallows 

Nancy Miss Lilian Hallows 

Mrs. Corney Miss Bla.ncb.6 Stanley 




oi.l v 1:1: 'i \\ i;- i 'iaii. 

ns'S iio\rl. in four .ut>. by (J. lli'iir\ 

Lyceum, Sheffield. 

A '11111 !'. ilrainati.- sUtr'.i. in thru- 
ll.iiiy Ulos-oin. April 21. 

Miss Hilda Moore 

" Mollii r " Miiiii'lifiilu'iin 

Helen Leyton 

ity Mr. Yorke Stephens 

"Gumshoe" (Jus Mr. Nixon Hold 

Inspector Flynn Mr. Charles Weir 

Big Bill Mr. T. Horsfall 

Empress, Brixton. 

100 AND A 1 . S.-otti>h <luologue, by Hugh 
Marlin. May 28. 

Angola Miss Edith Corn 

Fred Mr. George Wyley 

ONK <)P Till: MIS. comedy sketch 

Miitnl by Aubrey Fitzgerald, for the 
time in London. October -0. Collins's. 

ONE OF TJS. farce. In one act, by Barnett 
Lando. March 3. 

Israel Burnstein Mr. Barnett Lando 

Kay Miss Grade Emery 

Sidney Elton Mr. Arthirr Delarm-r.' 

Camberwell Empire. 

ONIOOKER. THE. r>lay. in one act, by L. 
Bamberg. October 12. 
Randolph Morier..Mr. Frederick Annerley 
Lady Sybil Winterby..Miss Dolores Diorigo 

Frances Morier Violet Faucheux 

Dr. Merivale Mr. C. Denier Warren 

Wyckley Bassett Mr. Stanley Roberts 

Arts Centre. 

ONLY \CTINO. burlesque sketch, by George 
Arthurs. May 19. Empire, Smethwkk. 

ONLY A DREAM, musical sketch, In one 
scene, by Roland Carse. June 23. 

Ladv Diana Miss Marion Meath 

Sir Ralph Mr. J. Edward Fraser 

Lord Hastings Mr. Tom Squire 

Gladys Miss Sylvia Bassano 

Islington Empire. 

drama, In six scenes, by Nita Rae (March 
24, Alexandra. Hull). September 1. 

Victor Ballard Mr. William Vane 

Rupert Slim Mr. Edward Cudd 

Tommy Allspice Mr. Fred Garside 

Reggy Fairfax Mr. Gerald Lee 

John Smith Mr. Edwin Turner 

Bill Shingles Mr. Percy Garland 

Police X 71 Mr. Frank Wootton 

Judge Lawrence. M.P...Mr. Edward Mason 
Mr. R. Powell, K.C. ..Mr. Edward Lester 

Mr. E. Sliackle Mr. Charles Damer 

Diana Barclay Mr. Leslie M. Cudd 

Belle Loraine Miss Ruby Lee 

Mrs. Mason Miss Isabel Marte 

Alice Mason Miss Grace Heath 

RoyaJ, Woolwich. 

ONLY SON, THE, Yiddish drama. September 


ONLY WAY. THE. revival of the play, 
founded by Freeman Wills on Charles 
Dickens's story, " A Tale of Two Cities " 
(originally produced at the Lyceum, Febru- 
ary 16, 1899). June 30; last performance 
(the 30th) July 25. Prince of Wates's. 

ON THE HIGH VELDT, one-act play, by 

Sybil Bristowe. November 4. 

Jack Brd<lon Mr. Francis J. DngoU 

Norah Nevera Miss Nell Carter 

Terry Blake Mr. Garrett Hollick 

Lyceum Club. 

ON TOnt. fanv. in on,' a<-t. "by Wilfrid 
Stephens. April 3. 

! by tin.- 


Urquise ... 

WIMows. pUjr, in thr.-o acU. by 
A. E. W. Mason \i. i-.-i, n. Laet perform- 
ance (the 90th) May 30. 
John Ht-rrick ...... hir George Alexander 

Sir Henry Clu: a Reynold* 

Captain Clufle ---- Mr. i: ginald Malcolm 

Philip Brook ....... ntlna 

Heart Fournier ....... Benedict 

Hobbs .................. Mr. 1C. Templetoo 

Footman .................. Mr. John Ridley 

Howard .............. Mr. Austin Frhrmau 

Lady Clufle ............ Mi*s May WbittT 

Cynthia Horrick ---- Miss Irene Vanbrtisb 

Elsie Herrick .......... Miss Rosalie Tolter 

St. James's. 

(M: \\GE-M\N. Till-:. Iri-h play, in OIL 
by St. John Ervinr. October 10. 
John McClurg ---- Mr. Desmond Rrannigan 

Tom McClurg ............. Mr. W 

Jssie McClurg ____ l -rt 

Andy Uaveron .......... Mr. J. A. K 

Palace, Maidtone. 

(illh.IV (I!- AI.F. 'IHi:. j,l.. 
Jane Wells. June 12. 


comedy, by Richard M.u 

'ib.) April 28. 
R'ally Carndover .... Mr. I 

Dr. Diinchurdi ...... Mr. Douglah Murray 

Dunchurch ...... Mis< Joan \ 

<;ilrs .............. Mr. f. Ki\ 

Mrs. Middcl ...... Miss Brunette Blaiberg 

Arabella .............. M ->rt*-r 

, Rcl: 

oTIM-lLLO. Sir J. Forbes-Robertson's revival 
of Shakespeare's play. May 19. Drury 

OTHER LADY. THE. farcical comedy, in thr* 
acts, by George Elton. January 13. 
Archibald Pennilove ..Mr. Leonard Calvert 
Valentine Chapman ---- Mr. Powis Pinder 

Wychweed .......... Mr. Edward 8. Petley 

Colonel Bullioger ........ Mr. F. K. Brenan 

Joseph Bowers ........ Mr. Alfred PhiUpps 

George .................. Mr. John Beg- 

ins: >i.iw..Mr. Arthur Hambling 

C.irlotta Pennilove ...... Miss Una Gilbert 

Diana Fitzaubyn ...... Miss Dorothy Dale 

Virginia West-oil ........ MK< Uita Rpooti 

.' ............ Miss Renee de L'Estrad* 

Mary ............... .M-= I i! .m Earle 

t Pier. Brighton. 

oTIirR PEOPLE'S BABIES, comedy, in 
nrts. by Li-dinn-re Worrall 
Gi raid Devereux ........ Mr. I: 

Mary Dovorruv ---- ' 

Mrs. Devereux .......... Miss Lydia 1! 

Mrs. Trevenna ...... 

Mark Rtanmore ........ M 

Stanmorr ...... Miss Agnes Knifhts 

TC .. Miss Frances Kendall 
Miss Tween ........ Mis' Dorothy Mavflfld 

Tim Hadley .......... Mr. Ernest C. Caael 

Rev. Septimus 11 

Mr. H rhinip* 

Gaiety. Manchester. 

OTHER WOMAN. THE. play. In four acts, by 
Francis Daniel. December IS. 
Henri, Count Lenolr .. Mr. Escott Robson 
George Rt. Albans . -:c Morden 

!( RyrUnd Leigh 
Ixird Fiti Ponsonby ...... Mr. 8yd. Rertoo 

'on 1^ Blon ...... Mr. Brooke Shlrlty 

l..v Mr. Harold Blackrtt 

Hopkins .............. Mr. Frank Btd 




Our Kid 

Other Woman, The (continued). 

Servant .............. Mr. Jones Rutland 

Edith Somerville ____ Miss Altona Stafford 

Mrs. Cresswell ........ Miss Violet Malton 

Sniffles .............. Miss Effie Macintosh 

Lucille ................ Miss Cissie Bellamy 

Royal, South Shields. 

OUR KID, farcical comedy, in two acts, by 
Erskine McKenzie. September 22. 
Sir John Ballantyne ...... Mr. Cyril Dane 

Hon. Bunny Ballantyne.. Mr. Jack Kelvyn 
James .................. Mr. Arthur Hunt 

Grimes .............. Mr. F. Couch Clarke 

Professor Wood ...... Mr. Eric Wingfield 

Pansy Plantagenett ---- Miss Alice Nixon 

Lady Haversham .. Miss Ernestine Walter 
Lizzie Wood .......... ,\ 

.:::: MissMadgeGrey 


Grand, Chorley. 
OUR MUTUAL WIFE, comedy, in one act, by 
Arthur Eckersley. March 29. 
Sir Mervyn Jenkins, M.D.Mr. Chas. Kenyon 
Bland ................. Mr. Edward Uighy 

Mr. Hutton ........ Mr. Robert Pateman 

Mr. .............. Mr. Cyril Ashford 

Sal .................... Miss Dora Barton 


one act, by J. A. Douglas. June 7. 


OUT OF THE DEPTHS, play, in one act, by 
R. Beresford and Foster Howard. Novem- 
ber 17. 
An Adventuress .... Miss Florence Russell 

A Detective .............. Mr. R. Beresford 

A Forger .............. Mr. Morton Powell 

Star Palace, Glasgow. 

OUT OF THE PAST, play, in one act, by Hugh 
NOLAN. (February 4, 1898, Royalty, Bar- 
row.) December 29. 
Hugh Seaton ........ Mr. Leonard Robson 

Ada Seaton ............ Miss Helen Russell 

Captain Somerset ____ Mr. Leslie Ryecrof t 

Willis .................... Mr. G. McLeod 

Grace Harding ........ Miss Maisie Stuart 

Alexandra, N. 

Charles Leftwich. January 7. 
Padlock Domes ---- Mr. Charles Leftwich 

Dr. Jptson ........ Mr. Hubert Woodward 

BUlikin ................ Mr. Andrew Baird 

Mr. B. Lowe Parr ........ Mr. Leslie Kyle 

Professor Notoriety Mr. Wilfred S. Stanford 
Murgatroyd Parr ........ Miss Grace Vicat 


PAINTED NUN, THE, costume drama, in one 
act, by Priscilla Craven and Sybil Ruskin. 
March 12. 
Annette de Regnlere ____ Miss Alice Greeven 

Pere Xavier ...... Mr. Albert Wainwright 

Denise de Briancourt 

Miss Beatrice Wilson 
Vicomte de Lausac ____ Mr. Charles Vane 

Thibaut ................ Mr. Rollo Balmain 

Jacques ................ Mr. Harry Collier 

King's Hall, W.C. 

scena, written and composed by Harrison 
Frewin. April 29. 
Syrinx .......... Miss Evangeline Florence 

Pan .................... Miss Joyce Lambert 

King's Hall, W.C. 

PANEL DOCTOR, THE, Scottish sketch, by 
Katherine Mann. May 5. 

Pavilion, Glasgow. 

PANTHEA, play, in lour acts, by Monckton 
Hoffe. June 6. Last performance (the 
16th) June 18. . 

Gerard Mordaunt ..Mr. Leon Quartermaine 
Baron de Duisitort ...... Mr. C. V. France 

Panthea (continued). 

Pablo Centeno Mr. J. D. Beveridge 

Henry Simon Mordaunt 

Mr. George Fitzgerald 
Percival Mordaunt Mr. Rudge Harding 
Dr. Von Reichstadt ..Mr. Stanley Turnbull 

Francois Bonito Mr. Ralph Hutton 

Count Stephanoff Mr. G. Mayor-Cooke 

Rev. Walter Fringe Mr. Reginald Lamb 

Little Pogo Master Harley Merica 

Gibson Mr. John Probert 

Cynthia Mordaunt Miss Caroline Bayley 

Mrs. Kilby Cubitt Miss Lena Flowerdew 

Princess Malchi Miss Barbara Conrad 

Matilda Vanier Miss Edie Graham 

Gilda Bonito Miss Nona Wynn 

Lucie la Var Miss Vera Cunningham 

Priska Miss Evelyn Beaumont 

Rosa Miss Vera Gay 

Babette Miss Iris White 

Elsa Miss Elise Claire 

Julie Miss Cynthia Goode 

Panthea Miss Lillemor Halvorsen 


burlesque by Cecil Clay and Edward Jones. 
(June 6, 1891, Terry's.) December 15. 
Lord A. Pomeroy. .Mr. Weedon Grossmith 
Captain Tom Robinson. .Mr. Robert Horton 
Sir Charles Grandison. .Mr. Alfred Drayton 

Jack Deedes Mr. Frederic Norton 

Lady Muriel BeaucIerc..Miss Muriel Barnby 
Hon. Lily Eaton-Belgrave 

Miss Gwendolen Brogden 
Hon. Violet Eaton-Belgrave 

Miss Dorothy Selbourne 
Hon. May Russell-Portman 

Miss Eileen Temple 
Hon. Rose Russell-Portman 

Miss Alice Mosley 

Frederick Mr. Duncan Druce 


PARIS FRISSONS, musical comedietta, by 
L. E. Berman. with Ivrics by M. Tharp 
and music by 'Herman Finck. December 29. 

Philippe Tournevau Mr. Robert Nainby 

Gerald Stirley Mr. George Grundy 

Loveday Miss Esme Huhbard 

Laura Bellingham Miss Aliop Leigh 

Alice Miss Jessie Wharton 

Betty Miss Georgia Cairns 

Christine Miss Annie Lorraine 

Dora Miss Minnie Shaw 

Edith Miss Rosie Day 

Frances Miss Kitty Dolan 

Gladys Miss Teresa Mac Spirit 

Harriet Miss Nelly Whiting 

Babette Mile. Re'gine Flory 


PARSIFAL, a Series of Tableaux Illustrative 
of Wagner's " Parsifal " were presented at 
the London Coliseum on June 23. 

PASSER-BY. THE, new English version, by 
Rathmell Wilson, of Le Passant, by Fran- 
cois Coppe'e. (Produced by the Drama 
Society.) May 26. 

Zanetto Miss Pata Sponti 

Silvia Miss Christine Willmore 


THE, by J. K. Jerome. (Harrogate Opera 
House, August 17. 1908; St. James's Sep- 
tember 1, 1908; Terry's, November 9, 1908) 
(Forbes-Robertson's farewell season) ; Drury 
Lane, March 31. 

PASSING SHOW, THE, revue. In fifteen items, 
the libretto by G. D. Wheeler and Bert 
Morley, the lyrics and music by G. D. 
Wheeler, with incidental and dance mnsic 
by William Bailey, jun. August 4. 





interlude, I 


111.--.-, lIl'T 

< llll. llll 


r \xsi-oi. i ,, ,,ii.- act, i 

iVORD, Till., play, m one act, by Frank 

Kn, -iai\ IV. 


King of Boravia .... Mr. John H. 

-hal l;ln Ilil't i u. . Ml . Kl 1 . il H. CulMahli- 


................ Mr. Bert Athcrtoii 

................ .Mr. Edward 

Jaaiuettu ............ Mi>- Ada .\1. I 

Avenue, Snnderland. 

I'AlI.INi:, duologue, \.\ John Reynolds. 
.May 10.- Repertory, l.i\eri>ool. 

\-\\ INI, THE PENALTY. Russian Ian 

oin: art, hy (,. G. .Sa.s.iiillli. April 


Ph Ull, (illM.. THE, niiiM. . hook 

Ka.-il Homl, music hy Hugo 
,\ ;m<l Howard Talbot, in three . 

: mlier 25. 

The Unko of 'In-lit.. Mr. Harry \\ . 
Jallray ........ Mr. J 

Mr. Jeck-, ............ Mr. Lauri .i 

Mr'. Muiwridge ---- Mr. Ed 'jar summon; 

Mr. Banbnry ........ Mr. l)nin-an Tovoy 

Mr. 1'oultcr ..... .'.. .Air. -iiiith 

Mr. llojikiii-i ............ Mr. Harry lUiy 

llyles .................. Mr. Alfred I 

Lord Ocoi- 

Mr. I -;.irliind 

-tain Ciuiniimhain. .Mr. T. l!ryc<'-\\ 
Mr. I'rin.- Mi. 11. V. , 

Jan ............ Mr. KIM Curtis 

s ................ Mr. Ct-orjje EItx>n 

Ernest ............ Mr. Jteuinakl Andrc-ws 

DIIC-IK.-SJ of T: !'orotli<.'a Tuinyle 

Lady Betty Uiddulj>h 

''ifcly Con: 
Lady Catharine \Vli- 

- id rune Storri 

Mme. Alvarez Miss Marjorie Maxwell 

Walker. .Mi.->s Joan Hay 

.ter-Browne ____ .\i niche 

......... Mi-> \'iol<;t Blythe 

.s Beresford iliss Violet Crompton 
Miranda Peploe .......... Mass Iris Hoey 


PEARLS, one-act play, l>y Stanley Houghton. 
January G. London Coliseum. 

PEG AM) Till: TUKVliri:, play, in four 
acts adapted hy Kinest llindri'- from the 
novel by Frank Barret- 
KiiiK- Charles II. Mr. H. Hombertaon-Wright 
.luliii Qoodman..Mr. James Carter Kdwurd.- 
ilow ---- Mr. John H. Tiirnbull 

KeiijaMiin Wedge ...... Mr. Horace Hodges 

I . nailles ...... Mr. Leslie H. (iord-.n 

... Mr. Arthur Williams 
...... Mr. Telford HI. 

Rev. Anthony Pym ---- Mr. Georj," 

Ttu Duke "i Mnniii'iiith. .MI 

Lord Ralph Baxter ..Mr. Bellendeu Clarke 

A Notary ............ Mr. Alex. R. Laden 

;y Clip .......... Miss \Vini; 


ft Goodrnai. 



, oomdy, ID 
tart. October 


II H .! i.:i nghm 

Mander ... 

Parsons Mr. E<l(t;. 

. I 

1 1'Karrell 

- Ton-iinn 

:ie Vava.sour .. Miss Ethel Warwick 


I (.'ray Mr. Charles 1! 

- Cathleen 


I'i'lM ,V. THE. anadaptoUon. 

by W. Sonier- -t Man \lolifere' 

I.K ltd i:<;i in- (, i:\-irr.Hc' 
\i:\i \M: i\ \ \ 
l'i:i;il,s \viinn HC-I.T \\M\: 

drama, in ten \rthnr Jeffenon 

(pro<hiced July 10, 1890, Kmpi- 

Tydvil. as Till: \Vul;'S Vi: 

.In no 30. 

Sir Geoffrey WoodU.-ih. .Mr. Jamea Ei: 

Jasper Woodle^-h Mr. Klli 

e Ashford .... Mr. MArius 8t. John 

rrot Mr. Arthur Jefferson 

i Black Mr. (',. Eardley Howard 

Jeremiah Screw Mr. J. H. La Fao 

Old NVd Mr. Ernest Walters 

Inspector of Police . . Mr. Edward Mitchell 

Jones Mr. J. Ranger 

^1r. \V \ 

Florence Woodleih .. ' 

Ashford Mix< Marv 

Sally JenkiiK ^ 1 

Cora CassiUa MJsa Kathleen Cavarmh 

PETER VAN. revival ,,f J. Af. T, 

in three acts (TVoember 27, 1904, Duke of 
rk's). December 23. 

I'an Misg Paulina Chaae 

I iok JFr. Godrrev T33l 

Mr. Parlini: Mr. BUlI foSSS 

' .trims Miss Xina S 


John Naimleon Mr. Alfred Will 

Mii-hael Xieholas .. V 


Tinker Hell 

- M 

Mi-> Mar- 

Sliwlitly ... 

Cnrlv Mi-, rrudi-nce Hni;- 

1>( Twin 

^nd Twin . ilthun* 



Mullins Mr 

Tiikcs M- 

' .' 

Great Big Little Panther 

Mr. Humphrey W.irden 

Acmbly Room*. 



PETIT CABAEET, IE, revue. First London 
presentation, March 24 (second edition, 
November 17, Palladium). Palace. 

PETROUCHKA Russian ballet, music by 
Stravinsky. February 4. Coyent Garden. 

PETTICOAT PRINCE, A, opera, in three acts, 
libretto by 'Charles Wlnthrop, music by 
Bernard Johnson^ (Produced by amateurs.) 
January 28. 
Louis, King of Petrania.. Mr. W. P. Wood 

Paul, Grand Duke Mr. Val Gould 

Feodor Miss Dorothy Cranswick 

Sergius Mr. Hubert Grantham 

Perekoff Mr. Wm. Cooper 

Vladimdr Mr. G, Lacy Wallis 

Peter ; Mr. S. Dobson 

Vaneshka Mrs. Frank Moor 

Annetta Mrs. J. 3. Wardill 

Daria Miss Olive Joy 

Spa, Bridlinigton. 

PHANTOM BURGLAR. THE, comedy, in one 
act, by Edward Ellis and W. Cary Duncan. 

Mr Blacker Mr. Roland Pertwee 

Doctor Madison Mr. James Dale 

Mrs. Madison Miss Helen Hamilton 

Thompson \ Mr i, ance lot Lowder 

Burns J 


PHEDRJE, Mile. BiSrendt'is revival of Racine's 

play. September 23. New. 
PHYL, play, in three acts, by Cicely Hamilton. 
March 10. 

Petty Ponsonby Miss Zola Woodruff 

Olive Ponsonby Miss pliva Novina 

Mabel Ponsonby Miss Cicily Fairflcld 

Maid Miss Agnes Bain 

Cathy Chester Miss Helen Mackenzie 

Phyllis Chester Miss Mona Limerick 

Jack Folliott Mr. J. H. Irvine 

Mrs. Ponsonby Miss Ine Cameron 

' Waiter Mr. Arthur Phillips 

Mr. Westmacott .... Mr. Claude Haviland 
West Pier. Brighton. 

in a prologue and three acts, adapted by 
G. Constant Lounsbery from the late 
Oscar Wilde's novel of the same name. 
August 28. Last performance (the 35th) 
September 27. 

Dorian Gray Monsieur Lou-Tellegen 

Basil Hallward . . Mr. Arthur Scott Craven 
Lord Henry Wooten . . Mr. Franklyn Dyall 

James Vane Mr. Edmund Goulding 

Mr. Isaacs Mr. Ivan Berlyn 

Dr. Alan Campbell Mr. Charles Kenyon 

Parker Mr. Stanley Roberts 

Victor Mr. Andr Cernay 

Mrs. Vane .... Miss Molly Hamley Clifford 

Sybil Vane Miss Julia James 


PIE IN THE OVEN, THE, play, in one act, 
by J. J. Bell. November 10. 

John McNab Mr. T. G. Bailey 

Susie McNab Miss Lucy Beaumont 

Flora Miss Christie Laws 

Peter Duff Mr. Leonard Mudie 

Royal, Bury. 

PIGEON, THE. Miss Horniman's revival of 
John Galsworthy's play (January 30, 1912, 
Court) May 12. Court. 

PILLARS OF THE STATE, play, in one scene, 
by Henry Arncliffe Sennett. (Produced by 
the Play Actors.) May 19. 

Mr. Chance Mr. F. Morland 

Mrs. Lorn Miss Alice Arden 

Rupert Mr. Vivian Gilbert 

Sally Miss Rosalie Notrelle 


PINK NIGHTGOWN, THE, comedy, in one 
act, by F. Kinsey Peile. September 22. 
Lord Arthur Toliemache Mr. F. Kinsey Peile 

Lady ToUeroache Miss Kate Cutler 

Inspector Barratt Mr. John Evans 


PIRATE SHIP, THE, drama, in four acts, by 
C. Watson Mill. September 1. 

Steven Gaunt Mr. C. Watson Mill 

Vasco Del Arno..Mr. Beresford Whitcoinbe 
Rex Hungerford . . Mr. Sidney A. Monckton 
Sir John Hungerford . . Mr. Herman Soutar 

Grim Farriday Mr. Sidney Rennef 

The Weasel Mr. Sidney Ernest 

Simon Brew Mr. Charles Walker 

Haggard Mr. R. J. Hamer 

Carrots Miss Mabel Hall 

Kraul Massa Ben Webba 

William Black Mr. Curtis Johnson 

Sebastian Sfancho Mr. Cantos Vembre 

Mary Keston Miss Lottie Pearce 

Millicent Maul Miss Mysie Monte 

Loraine Ives Miss Mab,el Lowe 

Royal, Sunderland. 

PLACE IN THE SUN A, play, in three acts, 
by Cyril Harcourt. (July 21, Devonshire 
Park, Eastbourne.) November 3. 

Dick Blair Mr. Robert Loraine 

Sir John Capel, Bart Mr. Lyston Ly!e 

Stuart Capel Mr. Reginald Owen 

Arthur Blagden Mr. Cyril Harcourt 

Parsons Mr. Gissing Walters 

Marjorie Capel Miss Jean Cavendish 

Rose Blair Miss Ellen O'Malley 

Agnes Miss Ivy Williams 

Mrs. Moutrie Miss Vane Featherston 


PLANCHETTE, dramatic sketch. .Novem- 
ber 21. 

Grace Miss Frances Ivor 

Olga . Miss Gertrude Scott 


PLAYGOERS, domestic episode, by Arthur W. 
Pinero. March 31. 

The Master Mr. A. E. Benedict 

The Mistress Miss Mary Clare 

The Cook Miss Margaret Yarde 

The Kitchenmaid . . . Miss Iris Fraser Foss 
The Parlourmaid. Miss Elizabeth Chesney 

The Housemaid Miss Annie Walden 

The Useful Maid Miss Esme Church 

The Odd Man . . . Mr. E. Vivian Reynolds 
St. James's. 

PLAYMATE, THE, mystery play, by Mrs. 
Percy Dearmer. Produced by the Morality 
Play Society. July 3. 

The Mother Miss Ida Molesworth 

The Child Miss Moya Nugent 

The Playmate Miss Mavis Yorke 


POINT OF VIEW, THE, one-act play, by 
Eden Phillpotts. (Produced by the Theatre 
in Eyre.) November 18. St. George's 
House, Regent Street, W. 

POLICY 1313, sketch, by Neil F. Grant. 
January 30. Victoria Palace. 

POLITICAL PAIR, A, one-act play, by Ernest 
Hilder Godbold. Produced by the Black 
Cat Club. June 27. 

Margaret Trent .... Miss I. M. Cockburn 
Gilbert Marshall Mr. Fotheringham Lysons 

Parker Mr. Percy H. Vernon 

Rehearsal . 

Fact and Fancy." in three acts, by 
Eleanor Gates. December 30. Last per- 
formance (the 14th) January 10, 1914. 
In Fact- In Fancy. 

Mr. Clarence 

m , BlakiBton 

o 'S J Miss May Laar- 
' O 3 fi hoven 

" G , Miss Peggy Tandy 
Miss Josset Ellis 

Potter (the Butler) Mr. George Mallett 

MissRoyle Miss Helen Haye 

Jane Miss Florence Lloyd 

Gwendolyn Miss Stephanie Bell 

Dancing Master 


French Teacher 
Music Teacher 


He Hirh U,r. nued). 

Thomas (the First Footman) Big Ears 

Mr. J. CooM-Bereiford 

Plumber. .The PJP. -Mr. Fcwlasa Llewellyn 
Organ Grinder. .The Mart who m , 

! llfsl Hi II ,1 if 

Mother.. The Bee Woman M ' ET 

Miss Helen 


Miss Rosemary 
Miss Dorothy 

Mr. Percy 


Father. .The Money Man . .Mr. Lionel Atwill 
Doctor.. The Hobby Rider j Mr - M * loO c crr y 

y Woman.. 
Second Society Woman 
Third Society Woman 

First Society Man 

:'-ty Man .. . 
Broker.. The Breaker.. Mr. Herbert Jarniun 

Policeman. .Heels over Head | Mr- F f D n unn 
Teddy Bear. . Live Bear. . Mr. Edward Si'llward 

King's English Mr. Edmund Kennedy 

Little Bird Mr. Sidney Leighton 


POST OFFICE, THE, play, in two acts, by 
Rabindranath Tagore. July 10. 

Madliav Mr. Arthur Sinclair 

The Doctor Mr. J. M. Kerrigan 

Gaffer Mr. Fred O'Donovan 

Amal Miss Lilian Jagoe 

The Dairyman .Mr. Sydney J. Morgan 

The Watchman Mr. H. E. Hutchinson 

The Headman Mr. Philip Guiry 

Sudha Miss Eithne Magee 

The King's Herald Mr. U. Wright 

The King's Physician . . Mr. J. A. O'Rourke 


POUPEE LA, condensed and revised version of 
Maurice Ordonneau and Arthur Sturgess's 
comic opera. July 7. Grand, Clapham. 

PRAIRIE OUTLAW, THE, drama, in four acts, 
by Mrs. F. G. Kitnberley. March 3. 

Rob Middleton Mr. Ashley Page 

Josh Hawkins Mr. Terry Davis 

Rube Thompson Mr. Edward Bikker 

Blue Hawk Mr. Herbert Sydm-y 

Happy Harry Mr. Hyland T. O'fihea 

Black Pete Mr. George ficulley 

Blue Stone Mr. F. Wright 

Great Star Great Star 

Wah Wahne Mr. J. Jones 

Running Elk Running Elk 

Prairie Joe Mr. Ernest Greeno 

Yellow Flower Miss Nellie Lorraine 

Little Moon M is* Nellie Masterson 

Morita Miss Marion Denvil 

Royal, Woolwich. 

I'KETENDERS, THE. hUtorie drama, in five 
acts, translated by William Archer, from 
Kongirmnerne, by Hi-iink Ibsen, music by 
Norman O'Neill. February 13. LaV; per- 
formance (the 35th) March 15. 

Hakon Hakons~oii Mr. Basil Gill 

InjM of Varteig 

V von ne Q. Orchardson 

Hagfinn Bonde Mr. Montagu Love 

Earl Skule Mr. Laurence Irvin 

Lady Kagnhild Miss Helen Haye 

rid I ita Brand 

Margrete MI,, N.tu v. 

Nil holas Arnesson Mr. William Haviland 

Mia Villiatn Mr. Henry Hargreives 

Ivar Bodde Mr. Henry Crocker 

Master Sigard of Brabant 

Mr. Franlc 

(fathom Ingewon Mr. Robin shiells 

Gregorius Jousson Mr. Ewan Brook 

Paul Flida Mr. E. A. Warburton 

Chief Bratto Mr. Allan Jeayes 

Jatpcir Skald Mr. Guv Rathbone 

<Uf, The (,-., ni i nued). 

.Htu Madge Mclntoth 

.Mr. L. Ion bwmley 


ri:l< : ; in.. i-lay. tn four act*, 

by Alexander J. ; .Uuuary U. 

J. Havllmnd 
James MarinUrUi ....Mr. Goo. Edwin 

Mr. : 

Willie Tubbs 

Morgan Mr. E<lwar.i 

Armstrong ..Mr. T. Castello William* 

P.O. Squirrel Mr. SU-phen Markley 

Juiles Burnstitn Mr. Frank Forest 

Williams Mr. Herbert Wright 

Police Sergeant Mr. lorn KuMell 

Pip By Herself 

M-.ii:i Dainton Miss Joau Barcourt 

U^.r.i Grayham Miss Amber Wjull* 

Emily Wright Miss Phyllis Vaughan 

Palace, Ramsgate. 

riilCE OF THOMAS SCOTT, THE, play, in 
three acts, by Elizabeth Baker. Septem- 
ber 22. 

Leonard Scott Mr. Leonard Chapman 

Annie Scott i) Thorndik 

May Ruilord Mi--> 'chrlstie Law* 

Johnny Tite Mr. Ernest Hainea 

Peters Mr. Horace Brahatn 

Thomas Scott Mr. Brember Wills 

Ellen Scott Miss Dorothy Hick 

>rge Rufford Mr. Douglas Vigor* 

Wicksteed Mr. Bernard Copping 

Lucy Griffin Miss Mary Byron 

Tewkesbury Mr. Noel Spencer 

Gaiety, Manchester. 

PRIDE 0* THE MILL. THE, four-act drama, 
by Sheila Walsh. November 5. 

John Butterworth Mr. Harry Foxwell 

Jim Lancaster Mr. Arthur Chisholme 

Paul Darnt-on Mr. William Bradford 

Percy George Shuttk-worth 

Mr. Cecil A. Raymond 
Don Bruno Di Vilanos..Mr. Frank Lyndon 

ivter Robinson Mr. Sydney P. Clew low 

Bright Smart Mr. Joseph Foter 

Alphonso Mr. John Porter 

Norma Darnton Miss Grace Letter 

Eliza May Shuttkvvorth 

Mis* Cissie Cleveland 

Martha Butterworth Miss Marv Dawson 

,!ter\vorth Miss Sheila Walsh 

Junction, Manchester. 

PRISE DE BERG-nl'-ZnoM, LA. comedy, in 
four acts, by Sacha Guitry. April 6- 

Charles Herio M . Renato-M*rLani 

Leo Vaamaire M. Andr6 Ceroay 

Paul Rochcr M. Henry d Bray 

Vidal M. Adrwn Lamy 

Schutz M. Victor Marcel 

ml La Gob-tt: M. Hunaut 

Durose^u Mr. Fraci Serte 

Gcorgca M. Mrteau 

Iu .leune Hi. iniin- Mr. Gerald Ames 

Utv Valet d Clwmhrc M. Deroy 

L'Homme de 2 in. 5 Mr. T. Wegwlin 

Paulette Vaonaire Mme. Nicole Clary 

Lulu Mme. Carene 

Mine. VJdal Mi.vs Mary Mackencie 

Une Ouvreuso Mine. ValUenoe 

l,a Femme de Cbflrbre..MUe. Gaby BrisM* 

Mine. Duroeeau Mlk. Mart he Preval 

ag UaU, 1! 

n:i/Kri(;irn:i: - s MHTVKI:. A 

i Empire. 

ri;n-i.i.vrr. 'iin. ,,ne-act pu>. 

;ib*r 11. Adler Hall, 

PROSERPINE, Greek musical play, by Edith 
Veatch. composed by Norman K. Veitch. 
December 10. S<x-iali>t Flail, Newcastle. 

I 264' 


PURSUIT OF PAMELA, THE, play, in four 
acts, by C. B. Fernald. November 4. 

Alan Greame Mr. Dennis Sadie 

Peter Dodder Mr. Eric Lewis 

John Dodder Mr. Campbell Gillian 

Doctor Joyce Mr. George Tully 

Fah-Ni Mr. Azooma Sheko 

Haranobu Mr. J. Z. Coby 

Janet Miss Olga Ward 

Ume San Miss Aya Yamada 

NUTS Trace y Miss Eve Balfour 

Pamela Miss Gladys Cooper 


QUALITY OF MERCY. THE, playlet, by J. A. 
Campbell (March 31, Hulme Hippodrome, 
Manchester). April 28. 
Hon. Frances Challoner 

Mr. Herbert Mansfield 

Loud Burchell Mr. Richard Bosco 

Mrs. Taylor Miss Martha Jephson 

Katharine Ghalloner Miss Mary Fulton 


QUALITY STREET, revival of the comedy, in 
lour acts, by J. M. Barrie (September 17, 
1902, Vaudeville). November 25. 

Valentine Brown Mr. Godfrey Tearle 

Ensign Blades Mr. Austin Mellord 

Lieutenant Spicer Mr. Edward Douglas 

Recruiting Sergeant Mr. George Tully 
A Waterloo Veteran Mr. Charles Daly 
Master Arthur Wellesley Tomson 

Master Ronald Hammond 
Miss Susan Throssel ..Miss Nina BoucicauJt 
Miss Phoebe ' Throssel 

Miss Cathleen'Nesbitt 

Miss Willoughby Miss Mairy Barton 

'Mass Fanny WiLloughby 

Miss Marie Hemingway 
Miss Henrietta Turnbull 

Miss Muriel Martin Harvey 
Miss Charlotte Parratt 

Miss Susan Richmond 

Patty Miss Louie Pounds 

Harriet Miss Doris Macintyre 

Isabella Miss Moya Nugent 

Duke of York's. 

sketch, in one scene, founded on Temny- 
son's work. February 10. 

Queen Mary Australia's Bernhardt 

Lady Clarence Miss Adelida Montague 
Lady Magdalene Dacres 

Miss Elsie Hayman 

Alice Miss Lucae Conway 

Louise Miss M. Godwin-Norris 

: Emmeliie Miss E. Godwin-Norris 

Sir Nicholas Heath 

Mr. Shakespere Stewart 

Father Bourne Mr. C. Everett 

Kilbnrn Empire. 

QUEEN MOTHER. THE. romantic drama, in 
four acts, by J. A. OampbeE (October 30, 
1912, Junction, Manchester). September 1. 

Kin* of Morataiiia Mr. Eardley Howard 

Duke of Carola Mr. C. W. Standing 

Prince of Menteburg Mr. Charles Adair 
Lieut. Adrian Loritza 

Mr. Leonard Seymour 

Count Jenitzer Mr. Fred Elvin 

Peter Mr. Arthur Denton 

Francis Mr. Stanley Marsh 

Baron Von Metsch..AIr. Douglas Tremayne 

Marshal Lanitseh Air. Archer Brown 

Capernick Mr. John Rimmer 

Prince Osric Master Frank Beresford 

Duchess of Miramar..Miss Winifred Pearson 
Countess of Ebenstadt . . Misa Peggy Dare 
Widow Capernick . . Miss Helena Bracewell 

. Elsa v Miss Hilda Bateman 

Queen of Montania Miss Lilian Hallows 
Elephant and Castle. 

QUEEN OF THE AIR, melodrama, in four 
' acts, by Edward Thane. (December 8, 
Alexandra, Birmingham.) December 22. 
Jack Harding Mr. 'Arthur Haviland 

Queen of the Air (continued). 

Terry Miles Mr. Joseph Magrath 

Suja Khnn .. Mr. Dore" Lewin Mannering 
Captain Dudley Wynne 

Mr. Charles Lind-Vivian 
Col. Sir Henry Vibart Mr. Henry Ellesmere 

Ganesha Mr. Herbert Wills 

Hon. Ronald Gughes 

Mr. Victor Gnrnet-Vayne 

Grimshaw Mr. Arthur Ross 

A Priest Mr. Ernest Duttoji 

Bentley Mr. Tom Fuller 

Sergeant Webster Mr. Richard Kirk 

P.C. Johnson Mr. Fred James 

Horace Mr. James Neville 

Azeema Miss Grace Edwards 

Myra Curtiss .... Miss Olga Jefferson 

Rose Vibart Miss Joan Ellis 

Royal, Stratford. 

QUEEN TARA, tragedy, in three acts and seven 
scenes, by Darrell Figgis. February 25. 

Juliam Mr. Henry Herbert 

Serge Mr. Horace Biraham 

Peter Mr. H. Pardoe Woodmen 

Anthony Mr. John Cairns 

Stephen Mr. Charles Warburton 

Lyof Mr. Basil Rathbone 

Brabo Mr. Duncan Yarrow 

Mark Mr. Basil Osborne 

Hage.n. Mr. Edmund Sulley 

First Soldier Air. S. B. Bickmore 

Second Soldier Air. Frank Freeman 

A Servant Air. F. W. Demman 

Tara M i*s Gladys Vanderzee 

Cathna Miss Brunliild Muller 

A Page Miss Muriel Dawn 

Gaiety, Dublin. 

QUESTION OF DUTY. A, one-act play, by 
Cyril Ashford, produced by the Stage 
Players. July 10. 

Mrs. Fulton Mass Lisa Co-leman 

Airs. Nesbitt Miss Helen Vicary 

Frank Fulton Mr. Olaf Hytten 

Wiggins Air. John R. Collins 

Maid Miss Clarice Vernon 


one act, by George Owen. July 11. 

The Dad Mr. George Owen 

Mumsie Miss Nell Du Maurier 

Mollie Miss Efga Myers 


QUESTION, THE. an episode in the War of 
La Vendee, by Robert Dudley. June 24. 

Gourgaud Mr. J. Poole-Kirkwood 

Roux Air. Harold Anstnither 

Duva.1 Air. R. Carfax Bayley 

Jean Air. Dacre Marshall 

Jacqueline.. Aliss Edith Waldemar Level-ton 
Marguar-ite de Alarolles 

Miss Isvibel Christison 
Captain Marny .... Air. E. Thoraley-Dodge 


RACE FOR, A, sketch, in four 
scenes, by T. Allan Kdwardes and Clifford 
Rean. April 25. Hippodrome, Stoke-on- 

RAGMANIA. February 17. Oxford. 
RAGTIAIE REVUE, THE. revue, written and 
produced by Austen Hurgon. February 17. 
New Cross Empire. 

RATNAVALI: or, A NECKLACE, drama, by 
King Sri Harsha Deba. (Produced by the 
Indian Art, Dramatic, and Friendly 
Society.) May 20. 
Vatsa (King of Kausambi) 

Mr. Albert E. Eaynor 

Vashanta Mr. Newis Benson 

Yogandha Mr. Geo. W. Hodgson 

Debadatta Ram Singh 


Vashu . Dhlra Swami 


Queen Vasava Miss Olga Ward 



Miss Isabel Johns 

Joya Miss Barbara L. Murray 

Miss Elsie May 

Born Miss 1'. \Vli 

Naiini Cosmopolis. 

RE-AO.ll s I Ml \ I. A. comedy of inversion, by 
(1'roduced by the 
Playfellows.) Juno 2. 
Hon. Furnival Scrope 

Mr. Reginald Hargreaves 

nson Mr. Reginald M 

Cynthia Brookes .. Miss \ era Cunningham 
-ing's Hall, W.C. 

REAL THING, THE, comedy, in three acts, 
ijitcd from tlie French of La Prise de 
by Saoha Gultry. Augu. 

Charles Hdrio Mr. Allan Aynesworth 

Dr. Duval Mr. T. Weguelin 

Leo Vannaire Mr. George 

Henri Vidal Mr. Spencer Trevor 

Paul Roclier Mr. Max Leeds 

Kmile Mr. Chas. Daly 

(ieorge Mr. Claude Edmonds 

Suzanne Vidal Miss Mary Mackenzie 

Lulu Miss Dorothy Minio 

Marie Miss i'hyllis 'lha!> -sn r 

Paulette Yannair* 

Miss Phyllis Nealson-Tcrry 

REAPER'S DREAM, THE, ballet-idyll, in one 
r.e, the music by Leo Delibes and 
Tschaikowsky, with additional numbers by 
Cuthbert Clarke. February 11. 

The Reaper Miss F. Martell 

Sun Ray Miss Phyllis Bedells 

The Spirit of the \Vheatsheaf 

Mile. Lydia Kyasht 

1; HATER, THE, dramatic sketch. December 8. 
Kingston Empire. 

RED 'RIA, first presentation in variety of the 
play, in one act, by Gertrude and Jack 
Land a. January 20 

Ria Mi.-s Edyth Goodall 

Mrs. Perkins Mi.-.s Esther Phillips 

Countess Tolhurst .. Miss Gladys Anderson 
Major Fitzaylwin .. Mr. Patrick S. Murray 


REGULATING A HOME, sketch, in one scena, 
by Edward Godal. June 16. 

Henry Marsdeii Mr. Eldre-tt Gulson 

Gladys Marsden Miss Estelle Desmond 

C/>nrad Stephens Mr. James Edouin 

Islington Empire. 

OF COLl MKH.LK, THE, play, in 
two acts. (1'r xlnei il l.v the In.-h Historical 
J'luyers.) January 15. Hibernian Hall, 

REVUE GIRL, THE, comedy revue, in three 
acts, by W. T. Ivory and Kenneth Mor- 
rison. December 1. 

Strong Mr. Chas. Adam 

Prof. Tootle Mr. Irry Palmer 

Dickie Mr. Ernest Heathcote 

Capt. Filbert Mr. Arthur Loman 

Pimple Mr. llert Swan 

Rhino Burns Mr. Will Stiles 

Stella Fierce Miss Catlileen Cavanagn 

Winnie Winsome Miss May Rodney 

Millie Miss Sadie Sadler 

Pollie Miss Grace Stuart 

Daisy Miss Dolly Payne 

Violet Miss Marie Minto 

Grace Miss Bertha Roberts 

Ml-s Julia W;, 

Lily Miss Lily 1. 

I'-: Misa Belle Wilson 

Delia Chance Miss Lily Walbrook 


REWARD, Till,. Western American sketch, In 
one scene, by Edward 1 .yum- 

her 10. Surrc-y. 

RIP.-V. DON, 'HIE. farcical sketch, 

in four scaurs, hy w. C. McKibbin. 
Maharajah of Mannaladia 

Mr. Harry Roberts 

P pos Mr. ILirry Lavers 

<ii M 

Kartan Mr. Harry Morris 

The Baboon Mr. Richard Lomas 

Conchita ' ' Ailwood 

Abe Mr. t 1 hurley Sequin 

Jerry Mr. Bob Morris 

Nobbier Mr. Lew Lake 

Islington Empire. 

RIGHT TO DIE, THE, play, in one act, by 

Kathleen Lion. February 5. 

Dora Wimpole Miss Eiloen Thorndlke 

Mary Bailey Miss Doris Lloyd 

Suminers Miss Nora. Charrlngton 

J)*.lly Compton Miss Estelle Winwood 

. Stelon Stpon..Mi.^ Nina Henderson 

Dr. A. Keith Norton Miss Mona Smith 

Rachel Mendoza 

Miss K at lik-en Fitzsimmons 

Miss Agnes Keppel Miss Ethel James 

Repertory, Liverpool. 

RIVER, THE, play, in three acts, translated 
from the German of -Max Halbe, by Chris- 
topher Sandemann. November 20. 

Jacob Doom Mr. Earne" Percy 

Reinhold Ulrichs .. Mr. J. Augustus Keogh 
Frau Phillippine Doom . . Miss Ine" Cameron 
Peter Doom .... Mr. Desmond Brannigan 

Renate Miss Darragh 

Henry Doom Mr. W. J. Rea 

Hannah Miss Judith Wogan 

Repertory, Birmingham. 

ROBESPIERRE, " an Episode in the Life of 
the Great Revolutionary Leader," by Marie 
Vuntini. (Produced by the Black Cat 
Club.) April 28. 

Robesiperre Mr. H. Bonhote Wilson 

Pierre Morin Mr. Ratlimell \N 

Louis Bernier Mr. Wilfrid Stephens 

Diane de Sevienne Miss Eva Trevenna 



in four acts, by Jerome K. Jerome. 

(November 3.) Palace Pier, Brighton, 

December 16. Last performance (the 22nd), 

unary 10, 1914. 

Lord Rathbon Mr. Harold Ciiapin 

Horace Greehleaf Mr. Richard Evans 

\inosJordon Mr. Edmond Breon 

"The Doctor" Mr. E. G. Cove 

Inspector FlaneJly Jones 

Mr. W. 0. Billintrton 

Jollyboy Mr. Chris Simpson 

Dolove Mr. F. J. R...rk*> 

Post Boy Mr. F. St. Aubyn 

RobLn-a Pennicuique .. Misa Roweaa Jerome 

Kat* Gambett Miss Winifred Beech 

Suaan Raflleton Miss Lillian William* 

Mrs. Mulberry Mies Jeannie Thomas 


ruary 19. Last perforaianoe (the 96th), 
May 17. Lyceum. 

ROMEO AND JULIET. Sir Harbwfc Tree's 
revival of Mr. Fred Terry and Mis Julia 
Neilson's presentation of Shakespeare's 
play (September 2, 1911, New). Juno 30. 
His Majesty's. 


KOI.1KO AND JULIET, Messrs. W. and F. 
Melville's revival of Shakespeare s play. 
March 22. Last performance (the 26t<n) 

Romeo ' . Mr. E. Harcourt-Will'ams 

Mrcutio Mr. Gordon Bailey 

Tybalt Mr. Philip Hewland 

laris ." Mr. Henry Hargreaves 

Benvolio Mr. Frederick Leister 

Montague Mr. John Melton 

Capulet Mr. Rothbury Evans 

Friar Laurence Mr. Alfred Brydone 

Friar John Mr. George Fellowes 

Kinsman to Capulet .. Mr. Alfred Weston 

Apothecary Mr. Victor Lorraine 

Escalus, Prince of Verona 

Mr. Asheton Tonge 

Peter Mr. Willie Garvey 

Abram Mr. H. H. Stanton 

Gregory Mr. Percy Bray 

Balthasar Mr. Eric Snowdon 

Officer of the Guard Mr. Charles Cleave 

Page to Paris Mr. W. T. Smith 

Lady Montague Miss Eose Withers 

Lady Capulet Miss Grace Lester 

Nurse Miss Blanche Stanley 

Julie; Miss Lilian Hallows 


ROMEO AND JULIET, Mr. Richard Flanagan's 
revival of Shakespeare's tragedy. March 3. 

Romeo Mr. Dennis Neilson-Terry 

Escalus Mr. Alfred Hilliard 

Paris Mr. Farrar Peel 

Montague Mr. W. F. Stirling 

Capulet Mr. Story Gof ton 

Uncle to Capulet Mr. M. Clifford 

Mercutio Mr. Norman Partriege 

Benvolio Mr. Bartlett Garth 

Tybalt Mr. Lincoln Calthorpe 

Friar Laurence Mr. Ryder Boys 

Balthasar Mr. Wilfrid Beckwith 

Peter Mr. J. H. Atkinson 

An Apothecary Mr. Frank Follows 

Sampson Mr. R. Conway 

Abram Mr. Sidney Bench 

Gregory Mr. Gordon Kingsley 

Page to Paris Miss A. Mathews 

Lady Montague Miss Clare Welby 

Lady Capulet Miss Una Rashleigh 

Nurse to Juliet Miss Clare Pauncefote 

Juliet Miss Margaret Halstan 

New, Manchester. 

ROSALIND, first variety presentation of J. M. 
Barrie's one-act play. February 10. 
(Originally produced October 14, 1912, 
Duke of York's.) (London Coliseum. 

ROSARY, THE, play, in four acts, by Edward 
E. Rose June 30. 
Father Brian Kelly ..Mr. John Glendinaing 

Bruce Wilton Mr. Rayson-Cousens 

Kenward Wright .... Mr. G. Steer Flinders 
Charley Harrow Mr. Dan Kelsey 

Alto March "I: | Miss Beatrice Burdett 
Lee Martin (Skeeters)..Mr. Harry Hartley 
Kathleen O'Connor .. Miss Evelyn Kington 

Lesura Watkdns Miss Lilian Caird 

Elephant and Castle. 

ROSENKAVALIER, DER, "a comedy for 
music," in three acts (in German), by 
Hugo voo Hofmannsthal, music by Richard 
Strauss. January 29. 
Princess von Werdenberg 

Frau Margarete Siems 
Baron Ochs of Lerchenau 

Herr Paul Knupfer 

Octavian Fraulein Eva von der Osten 

Herr von Faninal Herr Friedrich Broders,en 

Sophie Fraulein Claire Dux 

Mistress Marianne Leitmetzzer 

Fraulein Elsa Julich 

Valaacclu Herr Hans Bechstean 

Anuiuu Fraulein Anna Gura-Hummel 

Rosenkavalier, Der (continued). 
A Commissary of Police 

Herr Ernst von Pick 
Maior-Domo of the Princess 

Herman Kant 
Maior-Domo of Faninal 

Herr Georg Nieratzky 
The Princess's Attorney 

Herr Arthur Pacyna 

Landlord Mr. Denis Byndon-Ayres 

A Singer Mr. Frederick Blarney 

A Milliner Miss Gwenn Trevitt 

Boots * Mr. Albert Chapman 

Three Orphans 

Misses May Storia, E. Bailey, Roy 
Four Footmen 

Messrs. Booth, Dini, Fenwick, Lansbury 

Head Waiter Mr. Allen Johnstone 

Four Waiters 

Messrs. Cornish, Williams, Dunbar, 

Octavian's Courier Mr. J. Bargeman 

Och's Servants 

Messrs. Treadaway, Morgan, Parsons 

A Little Negro Master Harold Barrett 

Conductor, Mr. Thomas Beecham. 
The opera produced by Herr Hermann. 

Covent Garden. 

RUIN OF A COUNTESS, THE, first London 
production of the drama, in four acts, by 
0. Silverstone and Miss G. H. Walton. 
February 24. 

Hon. Francis Hunter .. Mr. 0. Silverstone 
Lord Wilfred Efflngham . . Mr. Ernest Dare 
Dr. Stephen Webster Mr. Sydney Humphries 

Jack Carruthers Mr. Geoffrey Chate 

Barney O'Rourke Mr. Ted Mooney 

Quong Hi and Chung Li 

Mr. Harry C. Rutland 

Black Mike Mr. Joe Nicholas 

Bertie Efflngham Miss Olive York* 

Lucette Miss Maud Grainger 

Ivy Hunter Miss Mary Douglas 

Lady Marion Efficgham ..Miss Jessica Ford 
Royal, Woolwich. 

RULING VICE, THE, dramatic sketch, py 
Jack Fortescue. March 17. Olympia, 

RUNAWAYS, THE, musical farcical fairy fan- 
tasia, by Mr. St. J. Sellon. December 30. 
St. Alban's Hall, North Finchley. 

SACRAMENT OF JUDAS, THE, revival of the 
play, In three acts, adapted by Louis N. 
Parker from the French of Louis Tiercelin 
(Prince of Wales's, October 9, 1899 ; altered 
version, Comedy, May 22, 1901). March 31. 
Drury Lane. 

SAINT AND SINNER, THE, dramatic episode, 
in one act, by Maude Williamson. Feb- 
ruary 17. 

The Man Mr. Alfred Woods 

The Woman Miss Maud Williamson 

The Saint Mr. G. Mayor Cook 

The Sinner Miss D. E. Woods 

The Hypocrite Mr. James Saunders 

The Profligate Mr. Cyril Delevanti 


SAMARITAINE, LA (The Woman of &atnaria), 
act two, by Edrnond Rostand. Septem- 
ber 8. 

Photine Mme. BernlhaTdt 

Tine Femme Mile. Seylor 

Uae Jeune Filte Mile. Due 

TJne Femme Mme. Boulanger 

Le Centurion M. R. JoubS 

Le Grand Pxetre M. Favieres 

Azriel M. Deneubourg 

Un Homme M. Tere&tffi 

Un Marchand M. Maillard 

London Coliseum. 

preliminary performance of a sketch, by 
A. C. Torr. February 5. Royal, Yeadon. 



by Frank 

I'luttcrxkw. Al.uch *. 
Krv. James Bertram 

Mr. Laurence J. Clareno* 

ifry Rochester Mr. Claude Homer 

John Bradley Mr. Reginald Mater 

Alan MacKic Mr. Newton Wetherilt 

Diana Tempest Miss Edith Carter 

Clavier Hall. W. 

s\vu;i<; ENCOUNTER, A, comedy sketch, in 
one scene, by Laurence Steaner. fleptem- 

^.Islington Empire. 

SAVING SILVER CITY, sketch, in three 
scenes, by Rarry M. Vernon (June 2, Hip- 
podrome, Birmingham). July 14. 

Jeremiah Kelly Mr. F. Jacques 

Tom Dugan Mr. E. II. Templeton 

Bill Murray : Mr. W. Mclford 

Rube Martin Mr. J. Colli.son 

Pete Simmons Mr. C. Clayton 

One-Eyed Henderson Mr. T. Dawe 

Scar Face Sam Mr. Chisholm 

Jasbo Jim Mr. Hamilton 

Eatem-up Jake Mr. Langard 

Dirt, Road Buck Mr. W. Barnes 

Mrs. Kelly Miss Minnie Rayner 

Miners Messrs. A. HoweH, li. Parnell W 
Johns, L. Bleech, and E. Grey. 

Shoreditch Olympia. 

B \ Y NOTHING, comic sketch, by Wai Pink 
and Herbert Darnley. June 16 (first London 
production). Surrey. 

WHEN, musical, dramatic, farcical 
comedy, by L. F. Durell. December 15, 

-Hippodrome, Manchester. 
BAT \\ UI:N. iwue, produced by Adolph Isen- 
thal. December 22. Lewisham Hippo- 

si'U.IT.D. musical playlet, , by Edward 
McCullon .Tonniiiu's, inusie by Julian, H 
Wilson. March 10. 

Bobs Mr. Ed. E. Ford 

His Pal Mr. Arthur Bravo 

Professor Cruncher Mr. Jack Bland 

His Nephew Mr. Arthur Ballard 

His Flunkey Mr. Cha - 

Miss Dorothy Funstone 

Palace, Bath. 

SCARLET BAND, THE, play, in three acts, by 
John Emerson and Robert Baker. August 
27. Last performance (the 36th), Septcm- 
Iter 27. 

Rose Towne Miss Victoria A. 1 

Shipman Mr. R. A. Clifford 

.neJ Schultz Mr. Reynor Barton 

Kaufman Mr. .1. Robertson Hare 

Margaret Holt Miss Marie Doro 

.i.K-k Howeill Mr. H. Marsh Allen 

< teptafa Ryan Mr. LewLs Fielder 

Winthrop ( i Mr. J. Fisher White 

Mr. Christopher Mr. Ashton Peurse 

Uncle Mark Mr. Edwir 1'.. Payne. 

Martha Miss Gertrude Irving 

.luanita Miss Edyth Latinier 

Enrico Savelli Mr. Arthur i 

Weinberg Mr. Alfred P. Phillips 

Victor Holt Mr. Malcolm Tearle 

Newsboy Muster Leslie Stones 


SCHOOL FOR SCANDAL, Miss Horniman's 
revival of Sheridan's comedy. December 22. 
Gaiety, Manchester. 
SCHOOL FOR SCAMiU.. Till-:. Sir 1! 

Tree's revival of Kiri, 5 Slu-ri- 

<lan's comedy. April 12. Last perform- 
e (the 47th), My 23. 

Sir Herbert Tree 

-urface Mr. ATE. George 

irry Bumper Mr. Harry Williams 

Sir B. ;hite.. Mr. Nieel Playfair 

Joseph Surface Mr. Philip Men vale 

Charles Surface Mr. Mat !:.- 'ii 

Crabtrce ............ Mr. J. FiBher White 

Rowley ................ Mr. Henry Morrell 

Mosea .................. Mr. Q. W. Anton 

Sir Toby ................ Mr. Roy Byford 

Trip .................. Mr. Stanley Howlett 

Servant, to Joseph .. Mr. Alexander 8arn*r 
I,ady Teazle .... Mis 

Mrs. Candour ........ MM BUM JUwuln 

M:iid to Lady ! Winifred FitcJ) 

Maria ............ Miss Marie Hemingway 

Maid to Lady Sneerwell.. Mis Irene Dellwe 
Lady SneerweLl ...... Mias Frances Dillon 

His Majeaty'i. 

SCHOOLMISTRESS, THE, revival of the farce, 
jn three acts, by Arthur W. Pinero 
(originally produced March 27, 1886). Feb- 
ruary 25. Last performance (the 103rd), 
May 24. 
The Hon. Vere Queckett 

Mr. Dion Boucicault 
Rear-Admiral Archibald lUinldin^. C.B. 

ME. Edmund Gweno 

Lieutenant John Malloxy Mr. Ronald Squire 
Mr. John Saunders Master C. Saint- Eve 
Mr. Reginald Paulover 

Mr. Stafford Hilliard 

iMr. Otto Bernstein.. Mr. Walter Westwood 
Tyler .......... .. ....... Mr. Archie McCaig 

Uotr .................. Mr. Douglas Munro 

Jaflray ............ Mr. Oh'ver G. Johnston 

Miss Dyott .......... Misa Winfred Emery 

Mrs. Rankling ...... Miss Gwynme Herbert 

Dinah ........ Miss Muriel Martin Harvey 

ndoline Hawkins ...... Miss Crissy Bell 

Ermyntrude Johnson, Miss N.-ll Carte-r 
Peggy Hesfileriggo ---- Mies Hilda Trevelyan 

Jane Chipman .......... Miss Lilian Mason 


SCRUB LADY, THE, sketch by Sewell Collins. 
(February 17, Hippodrome, Manchester.) 
March 8. 
Mr. Heilbecker ...... Mr. George Stephenson 

Mr. Smith ........ Mr. Alfred Field Fisher 

Mr. Forbes ................ Mr. Victor Kerr 

Mr. Adams ........ Mr. Patrick S. Murray 

Miss Mar * aret Mof!at 

London Coliseum. 

SCULPTOR'S STRAD, THE, play in one act, 
by Adelina Dinelli. April 26. 
David Shirley ........ Miss Adelina Dinelli 

Ernest Vale .......... Mr. Valentine Sellva 

Terpsichore .............. Miss Elsa Dinelli 

Passmore Edwards Settlement. 

SEALED ORDERS, drama, in three acts and 
sixteen scenes, by Cecil Raleigh and Henry 
Hamiltoii. September 11. Last per- 
formance (the 115th) December 12. 
John Le Page ........ Mr. C. W. Hallard 

Ellen Le Page ........ Miss Mildred Cottell 

Ruth Le Page ...... Miss Marjorie Walker 

Mendel Hart .......... Mr. Robert Ayrton 

Bertie Hart ............ Mr. E. H. Kelly 

Monty Bevis ............ Mr. Bryan Powley 

Joe Allan .......... Mr. Oli ft on A Iderson 

Bill Corry ............ Mr. Herbert Vyvyan 

Harry Symonds ........ Mr. George Forest 

Inspector .............. Mr. Henry Leader 

Hannibal K. Calhoun ..Mr. Hale Hamilton 
Mrs. O'Mara .......... Miss Fanny Brough 

Admiral Gaveston ........ Mr. Edwanl 

Ludy Felicia Gau-ston ..Miss Madge Fabian 
Gaston Fournal ........ Mr. C. M. Hallnrd 

Ruth Fournal ...... Miss Myrtle Tannehil! 

Hon. Dennis Willoughby 

Mr. Langhorne Burton 
Edward Hay ........ Mr. Forrester Harvey 

Cecil Drummond ........ Mr. Gerald Ames 

Lady Violet Faux Miss Alice Chartres 
Baron Kurdmann ........ Mr. Julian Royce 

be ...... Miss Violet Lewis 

ham .... Mr. Arthur Poole 


Staled Orders (continued). 
Sir John Denshire . . 


;!^"". '"---Mr. Fred Pearse 

Ned Corrv Mr. Denier Warren 

Ginger /. Mr. Edward Morgan 

rnt Poinfret Mr. A. Robertson 

SSiS*? Rinck ........Mr. 0. Towle 

Admiral Don Diego Valdez..Mr. IP f -Hughes 

g acna Mr. Herbert Wilson 

Duchess of Farnborough 

Miss Jean Bloomfield 

Jim Saunders Mr. Arthur Leigh 

Valet to Calhoun Mr. Edwin Palmer 

Butler to Gaston Fournal^ R ^ ^^ 

Capt. Trevor-Rawson Mr. H. Watson 

Spriggs Fortescue Mr. Walter Teale 

Jean "Moray Mr T. Richards 

Stefan Mr. L. Ashdowne 

Flower Girl Miss Florence Vaughan 

Drury Lane. 

SECOND MRS. BANKS, THE, one-act domestic 
drama, by F. H. Rose. October 15. 

Eliza Miss Dorothy Thomas 

Polly Miss Rasima Anton 

Sam Briscoe Mr. Cecil Rose 

Billy Magginson ..Mr. Lawrence Anderson 

Joe' Banks Mr. J. A. Dodd 

Repertory, Liverpool. 

George Alexander's revival of Arthur Wine 
tir-ero's drama, in four acts. (Originally 
produced May 27, 1893, St. James's.) 
June 4. (Last performance (the sixty- 
eighth), August 8.) 
Aubrey Tanqueray . . Sir George Alexander 

Sir George Orreyed Mr. James Limls-iy 

Captain Hugh Ardale Mr. Reginald Malcolm 

Cayley Drummle Mr. Nigel Playfair 

Frank Misquith Mr. A. E. Benedict, 

Gordon Jayne Mr. E. Vivian Reynolds 

Morse Mr. Frank G. Bavly 

Servant Mr. John Ridley 

Lady Orreyed Miss Lettice Fairfax 

Mrs. Cortelyon Miss Kate Bishon 

Paula Mrs. Patrick Campbell 

Ellean Miss Rosalie Toiler 

St. James's. 

SECRET, LE, play, in three acts, by Henry 
Bernstein. June 23. 

Gabrielle Jeannelot Mme. Simone 

Henrictte Hozleur . . Mile. Blanche Touta'n 
Comtesse de Savageat 

Mile. Marcelle Josset 

Denis Le Guenn M. Victor Boucher 

Charlie Ponta Tulli M. Henri Roussel 

Constant Jennelot M. Claude Garry 


SEEIN" REASON, one-act play, by Roland 
Pertwee. November 21. 

Ike Rutter Mr. Roland Pertwee 

Ned Rutter Mr. Reginald Grasdorff 

Alf Mr. R. Carfax Bayley 

Sal Rutter. .Miss Edith Waldemar-Leverton 

Bessie Rutter Miss Avice Schultz 

Sam Lewis Mr. Charles Trevor-Roper 


SEVEN DAYS, play, in three acts, by Mary 
Roberts Rinehart and Avery Hopwood. 
February 20. 

Jimmie Wilson, Mr. James Welch 

Tom Harbison Mr. Viv'an Gilber 

Dallas Brown Mr. James Lindsay 

Flannigan Mr. Lempriere Pringle 

The Burglar Mr. J. H. Brewer 

A Fcotman Mr. Henry Agar Lyons 

Bella Knowle* Miss Audrey Ford 

Kitty McNair Miss Marie Hemingway 

Anne Brown Miss Athene Seyler 

Miss Carruthers Miss Ada Blanche 

Opera House, Harrogate, 

SEVEN SISTERS, THE, farce, toy Ferencz 
Herczegh. May 14. LAS* performance (the 
20th) May 31. 

Mrs. Gyurkovics Miss Mary Rorke 

Katinka Miss Enid Bell 

g ar i Miss Heather Featherstone 

Ella Miss Peggy Fitzmaurice 

Mici Miss Laura Cowie 

Terka Miss Florence Pigott 

Lj za Miss Olive Walter 

Klari Miss Mattie Block 

Tom '....Mr. Bertram Steer 

Yanko Mr. Arthur Cleave 

Baron Radviany Mr. Edmund Maurice 

Baron Gida Radviany.. Mr. Ernest Thesiger 

Sandorfly Mr. Sam Sot/hern 

Count Feri Horkoy Mr. Norman Trevor 


drama, in four acts, by Edward Darbey. 
October 13. 
The Due de Rochefort. .Mr. Will Ellythorne 

Henri de &t. Cyr Mr. Walter Clarke 

Claude de St. Cyr Mr. Oscar Wyatt 

Pierre Duval Mr. Vic C. Rolfe 

Colonel Lebceuf Mr. Ernest Lodge 

Jacques Mr. Will Kirk 

Lieutenant Antoine Mr. A. James 

jailor Mr. A. Sawny 

Soldier Mr. Henderson 

Executioner Mr. Johnson 

Executioner's Assistant Mr. A<ppleby 

Officer Mr. H. George 

Adele de Rocbefort. .Miss .Margaret Tueskie 
Hortense Lefevre . . Miss Hilary Burleigh 

J ean I Miss Bessie Courtney 

Madame. Duval Miss Rosa Thornbury 

Julie Miss Rene Belle Douglas 

Royal, Stratford. 

SHADOW, THE. drama, in a prologue and 
three .acts, by Eden Philpotts (October 6, 
Gaiety, Manchester). October 20. 

Nanny Coaker Miss Mary Byron 

Sarah Dunnybrig Miss Lucy Beaumont 

Willes Gay Mr. Percy Foster 

Thomas Turtle ...Mr. Brember Wills 

Ellas Waycott Mr. Bernard Gapping 

Hester Dunnybrig Miss Sybil Thorndike 

Philip BLanchard Mr. Julius Shaw 


SHE PAYS THE PENALTY, mimo-drama, 
by Dr. Stefain Vacano. March 3. 

Mrs. Ruth Sybil Mile. Lotte Sarrow 

General Dimitriff M> Von Kelety 

Captain Gray M. Morosofl 


fairy fantasy, music by Franklin Harvey. 
December 19. 

Kasper Peterkin Mr. E. W. Garden 

Martha (his wife) . . Miss Florence Haydon 

Pip Chris. Saint-Eve 

Pippen Gloria Gold 

Pippinette Herma Hilair 

Old Simon Mr. Ernest Cockburn 

Nathaniel Piper Mr. Cyril Cattley 

Dreams Mr. Bertram Forsyth 

Cuckoo Miss Mercia Cameron 

Bonzo Mr. Harry Billiard 

Little Brown Miss Viola Parry 

Mrs. Little Brown Miss Joan Dilla 

Pixie Mai Deacon 

Trixie Nora Edwards 

Blotch Mr. Bertram Forsyth 

Old Old Mr. Kenneth Dennys 

Pa Stork Mr. Harry Billiard 

Ma Stork Miss Doris Hardy 

Freda Mai Deacon 

Olav Nora Edwards 

Grizel Charles Wareham 

Malkin James Mummery 

Snow Boy Viola Parry 

Snow Girl Doris Hardy 

Fuel Mr. Eric Bass 



rt, T 

Ml .l..;ill Dllla 

Mr. Sydnc) 

i IK; llilliard 

SHKI'lli:i:l>l. \\i' <w\ instrumental 

:-.;i, !i\ M,t\ Kranl. t'cbruary 3. -Wood 

i Empire. 

silKi'HKRDS IIP:, i \i\,,| i,y the Birming- 
ham K< 'pcrlo! 

SHERIFF AND Hill HCTI.UV, Tin.:, Cana- 
dian iilajlci, in oin- art, li\ K. $ 

Harry Earle Mr. It. S. Ben-ford 

" g Harrison Mr. Harry ! 

(iraliaiu Miss Ksmai Ellys 

Mi-s Florence I! 

imbcrwcll Empire. 

\\ ll-'i:. Till 1 :, preliminary peiiorm- 
aiicr of a sketch, by Hurry Fnrniss. Fi.h- 
ruary -1. 

Royal, Castleford. 


uirdy. was presented by the 
O.U.D.S. January 29. (Originally produced 
on January 1, 1599.) 

The Knig Count J. de Salis 

The Karl of Cornwall Mr. M. Wrong 

Sir Hugh Lacy Mr. J. H. Turner 

Rowland I. acy Mr. G. W. 8. Hopkins 

Sir Roger Oateley Mr. T. B. O'Connor 

Master.-, Haiiuiioii. \Varren, and Scott 

Messrs. K. (i. Sebastian, 15. F. Law- 
rence, and H. W. Coofe 

Simon Eyre Mr. C. K. Allen 

Hodge, Frisk, and Ralph 

re. A. K. Gilmour, W. 0. P. Rose- 
dale, and A. G. Garrod 

Lovell Mr. T. Longworth 

Dodger Mr. P. H. B. Lyon 

A Dutch Skipper Mr. F. E. Hill 

Servant Mr. \V. E. Houston Boswall 

A Boy Mr. W. R. F. Wyley 

Prentice Mr. X. P. Birley 

Rose Miss J. Austin Taylor 

Sybil Miss Ruth Jefferson 

Margery Mrs. A. Francombe 

Jane Mrs. Ainley Walker 

Prologue spoken by Mr. A. K. Gilmour. 

New, Oxford. 


by Gilbert Carman. May 20. (Produced 
by the Drama Society.) 
Mr. 1'es-i nier Steel 

Mr. R. Henderson Bland 

Mr. TYrcy Yigo Mr. Noel Phelps 

Mr. Che, -eman C'lay ..Mr. Ratlunell Wilson 
Mr. Kauerkeller ...'.Mr. Ernest Shiel-Porter 

Bateman Mr. Stanley Robert- 

>fiss Britannia Metal ..Miss Ella Erskine 

SHOT'LD A WOMAX TKLL? "controversial 
domestic morality problem." in one act, by 
the Rev. A. J. Waldron. October 27. 

The Woman Miss Mary Devon II 

The Man of the World.. Mr. Alfred Brandon 

The Convert Mr. Georgi Cooks 

The Yicar Mr. K. 

Yietoria Palace. 

BIBBBIA, revival of the spectacular play. May 
5. 1 Olympia, Liverpool. 

SIGN OF THE ROSE. THE, sketch, in one 
art. by George Beban. May 2G. 

tecfcive Mr. Henry Weaver, 

The Wa'rdman Mr. George McBnrroa 

Mother .. .vnc' 

I'ln (CnHtilni- 

r ........ !ix Krembs 

In. r .... 

'I If lcili.ui ..... ....... M 


Ml,\ III: lin\, Till:. Mr. (Iraiiville Barker re- 
vived John <;al-.\vorthy's play on Dei ember 
18 <iuriiiii his repertory season. St. 

SII.YKR LIN INC, Till le, by 

itnrl' Delaiinoy. ( I'rodiic'ed by ama- 

i April 19. 
Mar.-ton ................ Mr. Crant Molene 

Mabel .Nfarsloii. .Mi-- Mar'.-an-t Kliapmaiiii 
Dick Malthi-ws ........ Mr. Gordon Baker 

tc Institute. 

MMI'l.i; 'I'. AI;Ti:i) BILL, miniature musical 
comedy, by Percy Barrow and " Aitch," 
musif- by Howard Talbot. (August 11, 
Km pire, Liverpool.) December 1. 
Kdwin Thornton ...... Mr. Fitz Lewis 

I'rofe.s.sor Gollop ...... Mr. Lewis Fielder 

AiiL'y Gollop .......... Miss Florence Wrny 

Bill .................. Mr. Huntley Wriulit 

London Coliseum. 

SIROCCO. THK, play, in one act. adapted by 
.'.rtlinr Scott ( raven from August String- 
b< i'g. August 2 
I'.iskri .................. Miss Ella Erskine 

Yuss,uf ............ Mr. Edmund Goulding 

Guimard ................ Mr. Vernon Steele 


SISTI'Ml HKLKX. one-act play, by Dante 
Gabriel Rossetti arranged bv .\uss Bate- 
man (Mrs. Crowe). January 27. 
Little Brother ........ Miss Marie Goldie 

er licit n .. Miss Leah Batemau-Hunter 
The Yoice ............ Miss Phyllis Relph 

Co-smopolis, W.C. 

sill \TIOX AT XEWBURY, THE, comedy, in 
four acts, by Charles McEvoy. April 28. 
i originally produced Repertory, Liverpool, 
March 18, 1912.) 
Iris ...................... Miss Pearl Keats 

Miss llam'yn .......... Miss Alison Gillies 

Philip 1'errin .......... Mr. Willium Stack 

Chauffeur ................ Mr. John Napper 

Morris ......... ..... Mr. Stanley Lathbury 

George Yqnge .......... Mr. Eille Norwood 

Mrs. Porrin ........ Mi.-s Madgo Mclntosh 

Maid ................ Mi-s Kitty Woodbrklge 

Repertory, Croydou. 

SIXTY MILF.3 AN HOUR, dramatic sketch, by 
Harold .sinip-oii itir.-t London presentation). 

ember 22. 
CM us Blam -y .......... Mr. Henry Brooke 

Mrs. IUane\ ............ Mi.-s Sara Dclyroot 

Williams .............. Mr. Douglas Phillips 

The Baronet .......... Mr. Edgar Lighting 

Kilburu Empire. 

SLY WKKKS HENCI-. S.-otti.-h comedy sketch, 
by Walter Roy. December 
John Robinson .......... Mr. Walter Roy 

Carrie Glen ........ Miss Jean Robinson 

Sandy Wilson .......... Mr. Joseph Barker 

Empire. Glasgow. 
SKYCR \PKRS, THE, by A. Shirley James. 

October 13. Bedford. 

SLAVES OF YICE, dr:un;i. in four acts, by 
Dennis chde (July 28, Hippodrome. Mex- 
boroogb). August 11. 
Uttt Mo.-t>n St. I. 

Mr. Dennis Clyde 
Jake Holroyd ---- Mr. Hugh Montgomery 

Joe Mutton .............. Mr. Bert Dench 

Yea Li..... ............. Mr. Lionel Belmoot 

Mr. Terence Moron d 
y Duuitaa ---- Mr. Atlioll 


Slavet of Viee (continued). 

Farm Hand Mr. H. Manners Le 

Policeman Mr. Robert C. Ryder 

Inspector Mr. James Jackson 

Sin Foo Mr. Edward Saunders 

Louis Divert Mr. Leslie Cudd 

Chin Sen Mr. Tom Kelsey 

Mrs. Fenton Miss Marie Harcourt 

Ruth Fen ton Miss Marjorie Seymour 

Sally Lamb Miss Alice Ionian 

Oli Miss Susan Felton 

Zenda Miss Grace Verner 

May Fen ton Miss Annette Howard 

Metropole, Bootle. 

by (Miss) Marriott Hodgkins. (Produced 
by the Black Cat Club.) April 28. 

Felix Jocelyn Mr. Val Fletcher 

Rex Raymond Mr. Douglas Murray 

Mine. Sara Vernhart Miss Nancy Lee 

Annette Raymond Miss Aileen Murphy 

Flora Moore Miss Maud Lindley 


Jos6 G. Levy and Lionel Goldman. March 

Sylvia Arlington ..Mile. La Rubia 

Connie Brook Miss Mary Ross Shore 

Capt. Travera Mr. Philip Durham 

Wilkina Mr. Chas. A. White 

Baling Hippodrome. 

SNOWDRIFTS, play, in one act, by Constance 
Rae. November 17. 

Ann Brent wood Miss Esme Hubbard 

Mrs. Brentwood Miss Phyllis Manners 

Jim Bryant Mr. Frank Darch 

A Gipsy Mr. Ambrose Flower 

Alhambra, Glasgow. 

SOCIAL SUCCESS, A, play, in one act, by 
Max Beerbohm. January 27. 

Tommy Dixon Sir George Alexander 

The Earl of Amersham 

Mr. Frederick Kerr 

Henry Robbins Mr. C. M. Lowne 

Hawkins Mr. Ernest Benham 

Countess of Amershaim....Miss Kate Cutler 
Duchess of Huntingdon 

Miss Muriel Barnby 

boxing act, by D. Stitcher. February 17. 

Joseph Solomon Mr. Ben Stanley 

Silas Harrison Mr. Seymour Rose 

John Johnson Mr. Jack Talt 

Islington Palace. 

SON AND HEIR, THE, play, an four acts, by 
Gladys Unger (January 27, Devonshire 
Park, Eastbourne). February 4. Last per- 
formance (the 49th) March 15. 
Sir E. T. Chilworth.. Mr. Edmund Maurice 

Everard Chfl worth Mr. Max Leeds 

Pascoe Tandridge Mr. Norman Trevor 

Felix Fourie Mr. Raymond Lauzerte 

John. Brock Mr. Reginald Owen 

Cecil Chilworth Master Bobbie Andrews 

Tidder Mr. Charles Daly 

William Mr. Lambert Plummer 

Lady Chilworth Miss Cynthia Brooke 

Amy Chilworth Miss Ethel Dane 

Miss Chilworth Miss Jean Cadell 

Dormaji Miss Mary Griffiths 

Beatrice Wishaw Miss Ethel Irving 

SON OF HIS FATHER, THE, sketch, by E. C. 

Matthews. January 27. Canterbury. 
SOVEREIGN LOVE, comedy of contemporary 
Munster life, in one act, by T. C. Murrav 
September 11. 

Dpnal Kearney Mr. J. M. Kerrigan 

Maurice O'Brien Mr. Philip Guiry 

Charles O'Donnell . . Mr. Sydney J. Morgan 
Pvld O'Donnill Mr. Charles Power 

Sovereign Love (continued). 

Tom Daly Mr. Michael Conniffe 

Andy Hyde Mr. Farrell Pelly 

Ellen Kearney Miss Ann Coppinger 

Katty Kearney Miss Eithne Magee 

Mrs. Hickey Miss Helen Molony 

Abbey, Dublin. 

SPLASH ME, revue, in two scenes, music by 
Frank Bradsell. September 22. Shore- 
ditch Olympla. 

STAR TURN, THE, sketch, in three scenes, by 
Arthur W. Field. March 10. 

Job Dobbin Mr. Will Lindsay 

Rueben Rules Mr. Gilbert Rogers 

William Mr. Charles Byron 

Susie Green Miss Minnie Myrle 

Monsieur Quick .... ) M k j i 

Gussie Vayne } ur< Jaclc Jewel 

Prince's, Bradford. 

STEAM LAUNDRY, THE, farcical sketch, in 
three scenes, by Fred Karno, Leonard Dur- 
rell, and Charles Baldwin. (September 1, 
Hippodrome, Southampton.) September 8. 

Mr. White Mr. Lewis Leslie 

Cecil Mr. Chas. Griffiths 

Sinks Mr Victor Roberts 

Major Grunt Mr. W. E. Chewd 

Boy Mr Jimmy Burgess 

Inspector of Factories . . Mr. Fred General 

Managing Director Mr. Hal Byford 

Belle Perkins Miss Helen Lauraine 

Jane Miss Maud Sheard 

Alice Miss Ada Reed 

Mary Miss Jessie Crammonde 

May Start Miss Phyllis Stuart 

Miss Lenton Miss Vere Fortescue 

Perkins Mr. Harold Wellesley 


STEP THIS WAY ! " new vaudeville idea," in- 
vented by Ernest C. Rolls, the libretto 
and lyrics by Charles Willmott, with 
music composed and arranged by Max 
Darewski. June 23. 

TJTFT'VVallingford Mr. W. H. Kuming 

The Hon. G. P. Washington Mr. Geo. Clarke 

Susannah Miss Isabel Dillon 

Miss Phyllis Rare .. Miss Violet Rangdale 
Mr. George Roastsmith..Mr. Eric Randolph 

Lord Hownow Mr. Eric Langham 

Lord Helpus Mr. Billy Vandeveer 

Lord Knowswhoo Mr. H. A. Rowell 

Count Getofski M. Isadore Maurice 

Four Ladies from a Theatrical Agency.. 
Miss Nellie McMillan, Miss Gladys 
Glynn, Miss Violet Simlone, Miss Gladys 

Cissie Neat Miss Violet Blyth-Pratt 

Jessie Smart Miss Connie Hillyard 

Alice Joli Miss Dorothy Temple 

May Bee Miss Edith Nance 

Mrs. G. P. Washington Miss Gwen Harrison 

Percy Knutt Mr. G. Arnold 

Pppsy Miss Lillian Shelley 

Signer Daruso Mr. Eric Randolph 

fiignor Ubelik Mr. Louis Delvenne 

Countess of Chilli .. Miss Lester von Lohr 
Misses Winnie Burke, Peggy Doyle, Pat 
Bevan, Vera Edwardes, Edith Maynot, 
Louise Hardinge, May Evans, Jessie Fen- 
ton, and Alice Marr; and Messrs. F. Nolan, 
Arnold Lelievre, Harry Daly, R. Jeffries, 
J. A. Green, L. Morgan, Jos Miller, Alfred 
Browning, and Percy Ashton. 


STEVEDORE, THE, sketch, by Mansfield Brad- 
ford. June 2. Grand, Gravesend. 
STOLEN FRUIT, dramatic comedietta, by Cecil 
Twyford. Majch 17. 
Eon Mrs. George Wilson 

Miss Sybil de Bray 

Bertie Lloyd Mr. Ernest Thesiger 

Isobel Miss Hilda Moore 



MOI:\I IN \ il. \t l r. i, revival ol 

ii 20, 1854). February 24. 

S10UY ()!' 'I HI i:os Vl;V. Till . 

, b\ Walter How aid 

- j<un|ct*Q 

nn Mr. Alfred 

I'll! . Mi . .' '-" " 

Cokmvl Hil<l< rbuui.l .. Mr. Jolm .NV.,biU 

tenant ivuTkin ...Mr. George Desmond 

Troop* Smutz Mr. Arthur Terry 

Karl Lai.-.-.' Mr. Waiter Howard 

I'rmoj V.n Sui.ran .... Mr. K. W. Thomas 

itriiani lldst. -in ....Mr. Hugh Selwyn 

Wiulv.-Urin (Um-le) ....Mr. Philip Gordon 

iier Theodore Mr. J. \V. Kv.lyn 

i Hill. tnu Mi.-s Millicent Hallutt 

Wtlhelnmi.i Miss May Dallas 

The Mother Superior .. Miss Agnes Knights 

Veuetia Von Sabran .... Miss Annie Saker 


STRANGE BOY, THE, children's play, by 
Netta Syrott. (Children's Theatre.) De- 
cember 29. Savoy. 

STRANGER AT Till: INN, THE, comedietta, 
by Affleck Scott. Jane 24. 
Mrs. Cherry 

Miss Edith Wtfktemar Leverton 

Aggie Miss Edith Parker 

James Gray Mr. Lamonit Dickson 

Dr. Doddy Mr. Edward Ragby 

Captain Prawle Mr. Clement Braby 


STRIFE, revival of the play, ia three acts, 
by John Galsworthy (originally produced 
March 9, 1909, Duke of York's). May 3- 
Last performance (the 4%h), June 14. 
John Anthony Mr. Norman McKinoel 
Edgar Anthony, his sou 

Mr. Athol Stewart 

Frederic H. Wilder ..Mr. Kenneth Douglas 
William Scantlebury Mr. Luigi Lablecbe 

Oliver WanklLn Mr. Bassett Roe 

Henry Tench Mr. O. B. Clarence 

Francis Underwood Mr. Reyuer Barton 

Simon Harness Mr. Charles Kenyon 

David Roberts Mr. J. Fisher WMte 

.lames Green Mr. Edgar B. Payne 

John Bulgin Mr. Cecil du Gud 

Henry Thomas Mr. Fred Gremlin 

>rge Rous Mr. Owen Roughwood 

Henry Kous Mr. Dannel Green 

Jago Mr. Ackerman May 

Kvms Mr. Percy Goodyer 

Frost Mr. Arthur Grenville 

Enid Underwood Misa Renee Kelly 

Annie Roberts Misa Dora Barton 

Madge Thomas Miss Esm6 Beringer 

Mrs. Rous Miss Marie Ault 

Yeo Miss E. Tarrant 

A Parlourmaid Miss Goodie Willis 

Jan . Walter Pritchard 


STROLLERS. THE. revue, produced by Syd- 
ney James. December '29. Pavilion, Rus- 

STYI.i;. drama, in four arts, in Yiddish, by 

- I'avtlion. 

>-l MURUX, Max Relnliardt's revival of the 
play in pafrtemlme. May 5. London 

SUNDAY MOKNINi;. first variety production 
of the ont'-.-K't play, I'.v st.-mloy Cooke 
(April 8, 1912, Royal Court, Liverpool). 
January 6. 

Kill Mr. Stanley Turnbull 

Little. Bill Miss Irene Ross 

Captain Jane Miss Mary Forbe* 


M NI.K.HT \V.\\ . THi:. pla). '" 

ritxluced by the HUck 

I Allirk Mr. \Vilfn-l 

M:li Mi>- K'litli i 

,.|y Mis .' li'-ux 


SUPPOSING, eatire by Sewell Collins. June 30. 
London Hippodrome. 

si Klir.NlM.u in .11 AN, THE, comedietta, by 
Sybil .Marrh 18. 

Captain Donald Juan Mr. Frank Conroy 

Lady Jane Castlcton Miss Sybil Noble 

Royalty, Glasgow. 

SWEET MIGNONETTE, comedy, in one act, 
by William V. R. Mist. May 29. 

M. Bimjn Mr. S. Dyon 

M. Lemoine Mr. C. H. Baker 

Jules Mr. Will Quaite 

.lack Langford M^r. D. Murray 

Odette Bifl'on Miss Christine Wacher 

Royal, Canterbury. 

one act, by Lilian Bamberg (produced by 
amateurs). January 9. 

John Harland Mr. E. F. Crome 

lather Harland Miss Lilian Ramfoxd 

Frank *-ee Mr. Ayah Hawke 

Thomas Perry Mr. Percy Harford 

Annette Miss Cecilia Gould 

Cripplegate Institute. 

protean sketch, iu one scene, by Campbell 
MacCulloch. September 15. 

Thomas Culver Mr. Joseph Scowden 

Insp. Thomas McAuliffe 

Mr. George Wharnock 

Mrs. Warner Miss Caroline Neilson 

Hop Lee 

Thomas Brady ... 
Albert Warner ... 
James Warner 
Gustav Schwartz , 
Giovanni Pardello 
Isaac Silverstein . 

Hammersmith Palace. 

SYSTEM. THE, play, in three scenes, written 
by Messrs. Taylor Grenville, McCree. and 
Clark. July 21. 

Billy Bradley Mr. Taylor Granville 

l>an McCarthy Mr. Geo. Dickson 

Tim Dugaa Mr. Clifford Dempsey 

James O'Mara Mr. Paul Lovett 

Officer Flynn, Mr. Frank Seeley 

Tom Hiadley Mr. Fred Burton 

"Buck" Hanralum Mr. William Odom 

Phil. Wallack Mr. Geo. M. Dunlap 

Mr. Darnell Mr. Hugh Bangs 

Hobby Perkins Mr. Jerry . Burgees 

Dickie Van Hudson Mr. E. W. Shield 

Mr. Inbad Mr. W. Leonard 

Mrs. Worthiagton .. Miss Bertane Robtasoo 

Majj;ie Mis^s llertine Robinson 

Goldie Marshall Miss Laura Pierpont 


k Mr. Frank Mayne 

TAI.E OF GERANIUMS, A, conifdy skc-tcli. 
June 1C. 

Empress, Brixton. 

Harvey's revival " in a new way " of Shake- 
speare's play. (March 4, Grand, Hull.) 

A Lord Mr. Percy Walsh 

Oiristopher Sly Mr. Charles Qlenney 

Hostess Miss Florence Hunt 

Page Master Harold French 

Huntsman Mr. David Bain 

Baptlsta Mr. Albert E. Raynor 

Vincentio Mr. Charles J. Cameron 



Taming of the Shrew, The (continued). 

Lucentio Mr. Eugene Wellesley 

Petruchio Mr. Martin Harvey 

Gremio Mr. Ernest Stidwell 

Hortensio Mr. Franklin Dyall 

Tranio Mr. Gordon McLeod 

Biondello Mr. Denholm Muir 

tirumio Mr. Michael iSherbrooke 

Curtis Miss Bessie Elder 

A Pedant Mr. Alfred Ibberson 

A Tailor Mr. Gerald Jerome 

A Haberdasher Mr. Sydney Coltson 

A Widow Miss Brenda Gibson 

Bianca Miss Annie Furrell 

Katharina Miss N. de Silva 

Ladies in Attendance : Misses Mary 
Gray, Rita Ritchie, Lilian Stidwell, Molly 
Wellesley, etc. 

Servants, Huntsmen, Officers, etc. : 
Harold Carton, A. Robinson, H. McHugh, 
C. Goodall, A. Lloyd. 

Prince of Wales's. 

TANGO REVUE, presented by Howard M. 
Hartman. November 24. Palladium. 

by E. and H. Gordon Clifford. (January 
27, Court, Brighton.) February 24. Em- 

TEN SHILLINGS, one-act play, by Hilda C. 
Adshead. Produced by the Actresses' Fran- 
chise League. July 8. 

Ethel Tongborough 

Miss Marie Hemingway 

Jack Haddington Mr. Evan Thomas 

Felicia Tongborough ..Miss Mignon Clifford 
Mr. Tongborough ....Mr. Lancelot Lowder 

Mrs. Tonborough Miss Rita Milman 

Mary Miss Lydia (Sydney 

Mrs. Hildred Miss Edith Pither 

Amy Durwell Miss Eleanor Elder 

Mrs. Melcombe Miss Ada Francis 

Mr. Burroughs Mr. Frederick Castleman 

Arts Centre, W. 

TETE DE CANARD, LA, " comedie de salon," 
in one' act, by Justin Gay and Henry Syms. 
June 22. 

Dubois M. Henry Minseen 

Suzanne Mile. Ellennette Gay 

Un Garcon de Bureau M. J. Portal 

Un Docteur M. R&ny Gay 

Un Commissaire de Police ..M. Justin Gay 

DeuxHommes | ^Remy^y 

THAT PARSON CHAP, dramatic sketch, by 
Mrs. F. G. Kimberley. May 24. 

Robert Dixon Mr. F. G. Kimberley 

Herbert Gray Mr. Herbert Sydney 

Ruth Gray Mrs. F. G. Kimberley 

Paul Gray Miss Ruby Kimberley 

Grand, Wolverhampton. 

THEIR POINT OF VIEW. First variety pro- 
duction of W. T. Coleby's one-act play. 
January e. 


13, SIMON STREET, one-act play, by Anthony 
Wharton. May 1. (First variety production as 
13, London Coliseum.) 

William Lasscn Mr. George Desmond 

John Rutt Mr. Douglas Munro 

('.en Henry Carter Mr. Ronald Squire 

Mfss Raeburn ......Miss Hilda Trevelyan 


THIRTEEN, one-act play, 
March 23. 

Guy Renwick, F.R.C.S. 
Lady Jocelyn Weston 

Sir Bruce Weston 

Cornelius Vanderhoven . 

by Robert Elson. 
/.Mr. Marsh Alln 

Marie Anita Baizi 
.Mr. Edward Irwin 
...Mr. H. Browning 
.Mr. Victor Maude 

THIRTEENTH, THE, play, in one act, by 
Edward Rigby and Phyllis Austin. No- 
vember 3. 

Thomas Lingham Mr. Edward Rigby 

Polly Lingham Miss Esru6 Hubbard 

George Ansell ....Mr. J. Cooke Beresford 

The Stranger Mr. Walter Gay 

Mr. Johnson Mr. Reginald Besaut 


THIS IS THE BUSINESS, sketch, in three 
scenes. (March 10, Coliseum, Glasgow.) 
March 17. 

Mr. Giggleswig Mr. A. Ktigant 

Mrs. Giggleswig Mr. Joe Nightingale 

i The Policeman Mr. W. Fullbrook 

Finsbury Park Empire. 

THIS WAY, MADAM ! farce, in three acts, by 
Sydney Blow and 'Douglas Hoare, adapted 
from Aim6 des Femmes of Maurice Henne- 
quin and Georges Mitchell. (September 15, 
Royal, Plymouth.) September 27. Last 
performance (the 57th) November 15. 
Armand Desroches ....Mr. Maurice Farkoa 

Albert Bonnipard Mr. Henry Wenman 

Louis Faribol Mr. Arthur Chesney 

Victor Catiche Mr. John Tresahar 

Pierre Mr. J. N. More 

Jean Mr. Arthur Hetherton 

Lucille Bonnipard .Miss Edie Graham 

Annette Faribol Miss Maud Cressall 

Mariette Miss Diana Durand 

Finette Miss Doris Hurley 

Blanche Miss Desiree Hesse 

Suzanne Miss Violet Ashton 

Julie Miss Peggy Doyle 

Estelle Miss Mollie Seymour 

Jeannette Miss Greta Lewis 

Mme. Banco del Rio de la Plata 

Miss Kitty Barlow 
Baronne des Herbettes ..Miss Diana Cortis 

Justine Miss Dorothy Rundell 

Marie Ange Miss Mabel Sealby 


THOMPSON, comedy, in three acts, by St. 
John Hankin and George Calderon. 
April 22. 

Mrs. Vaughan Miss Lottie Venne 

Helen Miss Athene Seyler 

Miss Latlmer Miss Alice Beet 

Gerald Mr. Robert Horton 

Frohock Mr. G. F. Tully 

James Mr. Dennts Eadie 


THORNS, drama, by A. Dontach. January 28. 

Zipa Mme. B. Goldstein 

Hoischke Miss Ida Feldman 

Mendel Ginsberg Mr. Ludwig Satz 

Miriam Miss Sylvia 

Michel Mr. M. Brinn 

Rischka v . .Mr. N. Hamburger 

Chava .Mme. Brinn 

Manuel Gainsborough 

Herr Maurice Moscowitz 

Katie . Mme. Blumentha! 

Harold Miss Sylvia 

Mary Mme. Brinn 

Donald Ditch Mr.' 8. Goldenberg 

Postman Mr. Tomianow 

Henoch Master J. Arbeitef 




, for 

,iets, by Cecil 
0'iodiu-i'd i.y the Play Actors.) 

H n>\\ 11 Mr. Sebastian Smith 


Mr. Jiutii-ri Woodward 

Alice HIM Ih'li-n.-i 1'arsons 

Mr. J. Nappcr 

.M m AUlersoi 

Mi-- Mignon Clifford 

' rl Brown Mr. Kewlass I 

i Mi Allies Hill 

\ Mi', \llri d Harris 


IIIKEE, modern comedy of Roman life, in 

three acts, translated from Hi': Italian of 

t>\ <Mi"i !>. St. C\r. 

Ibert t'aiinaii. February 4. 

!. performai 

Baroness 8aogioy4..Ml8i Gertrude Kingston 

Barou Sang'oyi Mi . 

Enrico Itaneo Mr. Scott Craved 

I'.attisto Mr. David Hallain 

Giovanni Mr. R. C. Harcourt 

M.tid Miss Joan Temple 


THREE KINGS, THE, revived by the Bir- 
mingham Repertory for the Christmas eea- 

THREE WAYFARERS. THE, revival of the 
ndary trifle, by Tli<pm:i- Hardy. (June. 
Terry's.) November 21. 

The Hangman Mr. Franklin Dyall 

Timothy Somers Mr. Frank Randell 

Joseph Somers Mr. Miles Mallesoi 

The Constable Mr. Thomas Sidney 

The Shepherd Mr. Hugh Tabberer 

A Magistrate Mr. A. E. Walker 

Turnkey Mr. Guy Leigh-Pemberton 

Serpent Player Mr. Leonard Trollope 

The Odest Inhabitant. .Mr. Arthur Bachner 

Boy Fiddler Miss Janet Hope 

The Shepherd's Wife Miss Hilda Sims 

A Damsel Miss Faith Celli 

\ Young Girl Miss Norah Hill 

Guests at the Christening". Barbara 
Everest, Muriel Stewart, and Gertrude 
Pennington, Messrs. Noel Groom, Cyril 
Turner, Cecil Stcck, and Roderick King. 


THROUGH THE POST, play, in one act, by 
Atliol Stewart (adapted from the French of 
l. Jliclie). January 9. 

Edward Stacy Spells ..Mr. (J.orge F. Tully 
Lilian Stacy Spells .. Miss Mona Harrison 

George Binning Mr. Edgar B. Payne 


III! MBS UP! musical revue, in six scenes, by 
Kin- C. Cole. Sept-ember 1. 
Lord Augustus Montagu Mr. Edgar Stevens 

Mr. McKay Mr. Joseph Freeman 

Jerer,.iah Geo. M Hums 

Mr. King C. Cole 

John Mr. Roi.t. j.,-i, 

'ames Mr. Geo. R. Scott 

Frederick Mr. Benj. Williams 

Kobert Mr. Chas. Brown 

Albert Mr. Arthur Wilson 

Charles Mr. Fred. Anders 

Justus Mr. Joseph 8 

Mary Grey !V i:,j,n 

Josephine Bards Miss Dolly Hamilton 

Gwendoline Longford Miss Nan<-y Buckland 

Strolling Players The SUters Solarl 

New, Northampton. 

TIGRESS, THE, dramalie. sketch, bv Cecil 
Howard-Tunirr, incidental music by 
Christopher Wilson, dance arranged by 
Miss Katti-Launer. February 17 
Pedro Mr. Noel Phelps 

Marta Mil* Rita Denison 

Lola Miiw Ella Ersklne 

Tottenham Palace. 

TITANIA, fantastic choral ballet, In thre 

*. aux, a>l;.ptr<l f:- Care's The 

Midtummrr .\ij>kt's Dream, arranged and 

-lueed by Ly<lia Kyasht and C. Wilhelm, 
and with MeodeUcobn'a music. October 4. 


k Jt'it torn Mr. Fred Payne 

T Quince Mr. Laurie Hunter 

Snout Mr. A. Jameson 

Starveling Mr. C. Perkins 

Fluto Mr. B. Ford 

Snug Mr. G. Vincent 


Oberon M. Leonid Joukofl 

Puck Miss Unity More 

Philomel Mi.-.s Phyllis Bedells 

Titania Mile. Lydia Kyasht 

Peaseblossom, Cobweb, Moth, Mustard 
Seed, and other Fairies and Elvee attending 
on Oberon and Titania, an Indian Child, 
liutteiilies, <ilo\v-worms, etc., by Misses 
Walters, Cunninghame, Taylor, Farraat. 
Osmo.-id, Hill, Banks Moss, Courtland, 
Roullright, McFarlaiie, Tree, Findlater. 


TOADSTOOLS, children's fairy play, in three 

scenes, by Ruth Streatfleld. December 22. 

Drill Hall, Eastbourne. 

TOAST, THE, one-act comedy, by A. W. David- 
son. April 20. 

John Sarile Mr. Clive Carrie 

" Jimmy " Knowles Mr. Charles Danlell 

Mrs. Savile Miss Dorothy Dale 

Maggie Mi3s Florence Neville 

Arts and Dramatic Club. 

TORCH, THE, comedy sketch, by Harold Wolf- 
gang. February 17. Bedford. 

in eleven scenes, by Wilson Howard. 
June 23. 

Count Eergius Mr. Wilson Howard 

Baron Michael Mr. Norton Shields 

General Moscowvitch Mr. Frank Hert'e 

Lieut. Alexis Mickleoff..Mr. Gerald Smythe 

Boris Ivanovitch Mr. T. H. Winter 

Peter Petroif i ,, , , 

Paul Petrofl .1 JIr - Carl Vallender 

Lipskonski Mr. E. A. Rose 

Georges Hakavenski .. Mr. Paul Forrester 

Sergeant Kellen Mr. George Shreeve 

OrloK Mr. K. Merrmg 

Yan Pauloff Mr. Harry Pitt 

The Berena Miss Madge Clare 

Anna Lipskonski .. Miss Florence M. Daly 

Olga Ivanovitch Miss Carlotta Ansou 

Royal, West Stanley. 

TOWSEE MONGALAY, " Anglo-Chinese 
musical comedy," in one act, by Grahame 
Jones. April 4. 

John Whittier Mr. W. Hartill 

Sally Whittier Miss Hilda Moss 

ivuch Blossom Miss Doris Lind 

Ah Fong Mr. G. Gibb, McLaughlin 


TRAGEDY OF NAN, Messrs. Algernon Greig 
ami Milton Rosmer's revival of John Manr- 
lield's play. (Originally produced Iti.'. 
M ay 1M, 1908.) August .Hn Court. ' 
Miss Horninian revi\.-i| John Masefleld's 
"The Tragedy of ihr Ouirt, 

May 22, and Mr. Granville Barker included 
it in his Repertory Season at the St. 
James's on December 2. 



- Mr. Arthur Rose 

TRAIN 44, railroad drama, by Langdon 
McCormick. June 16. 

The Operator Mr. M. west 

The Track Walker .... Mr. William Riley 
The Deputy Sheriff .. Mr. John Harrington 

The Girl Miss Sylvia Bidwell 

Master Mechanic .. Mr. John Woodruff 

Electrician Mr. Joe Hardy 

Wood Green Empire. 

TRAPPED, one-act piece, by Dion Clayton 
Calthrop. May 3. 

The Man Mr. Arthur Grenville 

The Woman Miss Dora Barton 


TRUSSED, a Protean playlet. October 27. 
Silas K. Baxter . 
Ned Rochester . . 

Simon Cohen 

Pierre Barrere ... 
Patrick O'Connor 

John Willie Soot 

Clarisse Egerton .... Miss Margaret Murch 
Royal Hippodrome, Eastbourne. 

TRUST THE PEOPLE, play, in three acts, by 
Stanley Houghton. February 6. Last 
performance (the 44th) March 16. 
John Greenwood .. Mr. Arthur Bourchier 
John Greenwood, sen. .. Mr. John McNally 
Mrs. Greenwood .... Miss Barbara Gott 
Stephen Jebb .... Mr. P. Percival Clark 
Nathan Brierley .. Mr. Frank J. Arlton 
Joseph Walmesley .. Mr. W. S. Hartford 

The Mayor Mr. W. Hubert 

The Mayoress Miss Edith King 

Mrs. Riley Miss Margaret Boyd 

One of the Lads ..Mr. Clifford Heatherley 

A Reporter Mr. Hubert Woodward 

The Earl of Eccles..Mr. Thomas Weguelin 
Marquis of Cheadle Mr. Kenyon Musgrave 
Lord Northen'den .. Mr. Richard Neville 
Sir J. Harvey-Macpherson Mr. H. Bunston 

Morris Johns Mr. Thomas Sidney 

Thompson Mr. Archibald McC