jRT SUPPLEMENTS*
i ||
i
I ill!
••M^^H
; jiij i liii
i i
HE STAGE
BOOK
PRICE TWO SHILLINGS KET.
LONDON: 5T3GE, Off ICES,
STttEKi, COVENT OARDEM,
:. ••'.: --
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Delicious COFFEE |
~BI Pure Highland Mall |
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RED WHITE |
VJ PEATMOOI |
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*BLUE |
WHISKY |
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For Breakfast & after Dinner |
GUARANTEED 12 YEARS OLD |
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In making, use less quantity, |
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Wholesale- |
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it being so much stronger than |
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Hanson's, London |
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ordinary COFFEE. |
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8-af •
ls
Babies cannot
digest cow's
milk alone.
c/i
Milk taken in its natural state, or diluted with plain water, is liable to curdle in the stomach, and cause vomiting and wind. These ill-effects never follow when milk is diluted with Barley water made from
ROBINSON'S^ BARLEY
Send for Free Booklet "Advice to , Mothers."
KEEN, ROBINSON & Co., Ltd., LON
THE STAGE YEAR BOOK
IDNDON-GORSET (2
I Hanover
AN IDEAL CORSET
for Colonial or Evening Wear. Of exceptionally light make, it is cut very low in bust and exceptionally long over the hips, combining absolute freedom with the necessary support, and being especially constructed for the laundry, is particularly suitable for hot climate or dancing,
PRICE (including suspenders), 42/-.
The wear of all Corsets guaranteed. Sent on Approval upon receipt of satisfactory references.
THE STAGE YEAR BOOK.
X
The Chemical Cleaning and Dyeing Co., 6 Argyll St.,
Regent St., W.
X
Pioneers
of
Theatrical Cleaning.
CLEANERS AND DYERS
TO THE THEATRICAL PROFESSION
Tableau Curtains, Box Draperies, and all Theatre Furnishings Cleaned at Special Contract Rates.
SHOW DRESSES AND COSTUMES CLEANED BETWEEN SHOWS
Artistes' private Orders returned in 24 hours
OUR VANS COLLECT AT ALL WEST END THEATRES NIGHTLY
PARCELS MAY BE LEFT WITH STAGE DOOR KEEPERS
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)
6, ARGYLL STREET, REGENT ST., LONDON, W.
TELEGRAMS " Cleaning," London. A W. FISHER,
ELEPHONE 1911 Gerrard (2 lines)
General Manager.
THE STAGE YEAR BOOK.
in.
CLARRSON
l^ends, or Sells, Costumes, Fancy or . ./\lso Wigs, or, in fact, anything that's Theatrical^ iienowned throughout Europe, Asia, Africa & Americ l\ing Edward was pleased to appoint me sole PdTUquic Cielect your own Goods from the largest of StoclV Uldest Established of any Theatrical Store \^ New Premises situate 41 & 43, WardoUf Street, SohO
CLARRSON
Telephone, 612 Gerrard (2 Lines).
THE "VERY LATEST.
THE « PERIOD
REG. No. 585,082.
Special Illustrations of above Chairs. Write for "PERIOD " CHAIRS. Usual Catalogue, " EXAMPLES OF SEATING," &c., of all kinds, Post Free.
H. LAZARUS & SON, Ltd., Seating Specialists,
21, GREAT EASTERN STREET, LONDON, E.G.
Telephone: 9i53.LONDON WALL' Telegrams: " MALLEABLE-NORTONJW LojfDON,
THE STAGE YEAR BOOK.
L BENJAMIN & Co.
THEATRICAL AND FANCY COSTUMIERS
99, Middlesex Street, Bishopsgate,
LONDON, E.C. ,Swk
Three minutes from Liverpool Street and Broad Street Stations ; two minutes from Aldgate, E.
ESTABLISHED 1841.
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
second-hand. 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.
CARNIVAL DRESSES A SPECIALITY
THE STAGE YEAR BOOK. « v.
DAVID AILEN&SONS
Limited
The LARGEST THEATRICAL and GENERAL POSTER PRINTERS in the WORLD
LONDON, BELFAST, HARROW, MANCHESTER, GLASGOW, DUBLIN, BIRMINGHAM, LIVERPOOL, ETC.
Pictorials in Stock to suit any Play, &c., that may be produced, as well as for all that have been produced for the last twenty years. :: :: :: ::
WRITE FOR ILLUSTRATED CATALOGUE
IF YOU WAUT THE BEST
POSTERS + LITHOS
For CIRCUS, CINEMATOGRAPH, VARIETY, etc.,
wire or write us. We can dispatch at a moment's notice. Catalogues free. Estimates for Letterpress, Streamers, Day bills, Handbills, etc.
STAFFORD & CO., Ltd.p-SE'BSF
Telephone : 14, Carlton, Nottm. Telegrams : Stafford, Netherfield, Notts.
ALFRED WILLIAMSON,
Tel, 320. NORTH MILL PRINTING WORKS, ASHTON UNDER-LYNE. Est. 1835,
ROLL TICKETS, "".esaU"1 6d. per Roll.
Special quotations for large quantities and contracts.
THEATRE BOOKING TICKETS. PASS-OUT CHECKS. TICKET-ISSUING CASES.
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.
PRICE LIST POST FREE.
THE STAGE YEAR BOOK.
WIGS.
COSTUMES.
CHAS. H. FOX, Ltd.
. . WIGMAKERS AND COSTUMIERS . .
27, Wellington Street, Strand, LONDON, w.c.
WIGS & COSTUMES TO HIRE OR PURCHASE.
Competent men sent to make up for Amateur Theatricals.
ESTIMATES GIVEN.
Telephone : 4552 CENTRAL.
CATALOGUES FREE,
Telegrams : THEATRICALS, RAND, LONDON."
St. Clements Press,
NEWSPAPER BUILDINGS, PORTUGAL STREET, KINGSWAY, LONDON, W.C. CITY WORKS : 38, GRACECHURCH STREET, E,C.
Printers of THE STAGE and THE STAGE YEAR BOOK.
GENERAL COMMERCIAL PRINTERS,
Manufacturing Stationers, Photo- Process Engravers.
MANAGER : Mr. GEO. EATON HART. HIGHLY EQUIPPED WORKS.
45 LINOTYPE MACHINES*
The largest installation of Linotypes of any Printers in tha United Kingdom.
Machinery of the Latest Designs. WORKS RUNNING DAY AND NIGHT.
THE STAGE YEAR BOOK.
STAGE HOSIERY
PIONEERS
of CHEAP PRICES f OR (ASH .4
No CREDIT : -^
TELEPHONE
WHITE • Seift
NUTTAU WORKS
BOBBERS MILL
WHY PAY MORE?
Write to-day for List.
^
viii.
THE STAGE YEAR BOOK.
Haben Sie schon das "Deutsche Theater-Adressbuch 1912/13"?
Es ist jetzt erschienen!
Bestellen Sie sofort bei Ihrem Buchhandler oder beim Verlag
OESTERHELD & CO., BERLIN W. 15,
ein Exemplar ! Sie konnen dies praktische vom Deutschen Biihnenverein herausgegebene im Taschenformat iiber 1200Seiten starke Buch nicht
entbehren !
Es ist Zeit, dass Sie sich das Werk sichern, ehe es vergriffen ist.
C*J£| fifltflim fisififl (lit vollst«ndi^en Personal-Verzeichnisse fcJlC II11UC11 Uailll flller deutschsprachlichen Theater, an
Zahl ca. 675, ein Register von etwa 40,OOO Namen Umfang, das auch Chorsanger, Orchestermitglieder, Ballett und technische Angestellte umfasst und ferner die Sommerengagements verzeichnet, praktische Hinweise iiberdie Theaterversorgung auch der kleinsten Orte, tiber die lokalen Verhaltnisse jedes Theaters, eine vom Biihnenverein ausgearbeitete Vakanzenliste, eine Eisenbahnkarte, ein reichhaltiges, mit sehr praktischen Neuerungen versehenes Kalendarium.
Aus dem Inhalt des " Deutsclien Th eater- Adressbuches 1912/13 " :
Merktage fiir die Theaterpraxis. Kalendarium. Postalische Bestimmungen. Munzen mit Kursschwankungen. Die Gewichte aller Lander. Wichtige Adressen. Notizen.
Rollenverzeichnis. Bibliographic. Die Toten des Jahres. Vereinswesen. Biihnenvertriebsanstalten. Urauffiihrungen. Meist aufgef iihrte Stiicke. Meist aufgefiihrte Autoren. Autoren, die 1914 1915, 1916 frei werden.
Biihnenschriftsteller und Kom- ponisten.
Theater fiir gastierende Ensembles.
Sale fiir Theater und Konzerte.
Vcm Gerichtskostenwesen.
Pei sonal-Verzeichnisse der deut- schen Buhnen.
Vakanzen
Gastierende Buhnenkiinstler und Rezitatoren.
Ehemalige Biihnenkiinstler.
Fiihrer durch den Theaterges- chaftsverkehr.
Register der Personal-Verzeich- nisse.
Anzeigen-Register.
Anzeigen.
Preis 3 Mark. Gebunden 4 Mark.
777 £ STAGE YEAR BOOK.
IX.
NOT only do the Great Music -Hall Stars Sing and Play EXCLUSIVELY for
the
COLUMBIA
GRAPH-o-phone
but they Bay it for their own Entertainment
Ask any of the following what they think of the COLUMBIA GRAPH-o-phone :
2 THE COLUMBIA GRAPH-O-PHONE.
Columbia GEAPH-o- phones are made in two styles — Horn-equipped, and Hornless. In Horn- equipped models the prices range from 60s. to £12 10s. That shown above represents the 'Junio- Regal 'at £5 10s. The Hornless models range in price from £5 10s. to £50. Our new catalogue illustrates every model.
HARRY TATE CHAS. AUSTIN LEW LAKE DOROTHY WARD JACK & EVELYN RICH & RICH BETH TATE
FRED KITCHEN GEORGE CARNEY THE TWO BOBS MAY MOORE-DUPREZ THE POLUSKIS WHIT CUNLIFFE ALEXR. PRINCE
All these, and many others, make exclusive COLUMBIA-RENA Records.
.-.- SEND FOR CATALOGUES. ::
COLUMBIA PHONOGRAPH COMPANY, GENERAL
(Dept. SY), 102-108, CLERKENWELL ROAD, LONDON, E.C.
THE STAGE YEAR BOOK.
W. PAYNE SEDDON'S THEATRES.
THEATRE ROYAL, LINCOLN.
Lessees: W. PAYNE SEDDON and ERNEST POPE.
NEW THEATRE ROYAL, LOUGH BOROUGH.
Proprietors: W. PAYNE SEDDON and QEO. ROBERTSON.
OPERA HOUSE & HIPPODROME, LONDONDERRY
Proprietor: W. PAYNE SEDDON.
AND FIT-TII* TOXJItS
COMPANIES FARMED IN THE FIT - UP TOWNS. THEATRICAL BOOKINGS OF ALL RINDS.
London Office of the London Bioscope Company.
WHITBY, SALTBURN, Etc.
THE IRISH LIVING PICTURE CO. :
LONDONDERRY, COLERAINE, BALLY MENA, Etc.
W. PAYNE SEDDON, Criterion Chambers, 10 & 11, Jermyn Street, London, S.W.
Telephone: "6534 GERHARD." Telegraphic Address: SEDONITIC, LONDON.
TOWN HALL, ALLOA.
Situated centre of town. Seats 1,000. Good dressing-rooms.
Well heated and seated. Large gallery, fine organ, piano,
electric light. Fully licensed, and every accommodation for
fit-up Theatrical, high-class Concert, etc., Companies.
Terms and dates, apply:—
TOWN CLERK, ALLOA.
DUMFRIES. Mechanics5 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 Booms. Lighted throughout by Electric Light.
Dates and terms on application to W. A. HIDDLESTON, Manager.
ALEXANDRA HALL, COWES.
Manager, Mr. H. KINGSWELL.
Dramatic and music and dancing licenses. Holding capacity: Number of persons, 500. Stage measurements: 33 ft. wide, 18 ft. deep, 18 ft. high; proscenium, 18 ft. Electric light.
TERMS FOR HIRING: Sharing OP Rental. Stock of Scenery.
TtfE STAGE YEAR BOOK.
XI.
DUNDALK TOWN HALL.
Large Stage with Fittings and Drop Scene.
Open for Daily and Weekly Lettings.
Seating accommodation, 800.
One of the largest Provincial Towns in Ireland, situate on the Main Line midway between Dublin and Belfast, and has daily service with all parts of England vid Greenore and Holyhead. Also four days weekly by steamer direct to Liverpool.
Electric Lighting throughout. For Vacant Dates and terms of letting,
Apply to
M. COMERFORD, Town Clerk, Dundalk.
ATHENAEUM HALL, ENH1SCOBTHY.
DIMENSIONS: Hall, 70x31; Stage, 15x31; Floor to Ceiling, 22 feet. Two convenient Dressing Rooms under Stage, with Private Entrances, Lavatories, &c. Sitting Accommodation, 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 J 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.
Address: SECRETARY, ATHENAEUM, ENNISCORTHY.
DROITWICHL-SALTER'S HALL.
. 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 Booms, and other appointments. No picture shows. — For terms of booking, apply
J. H. HOLLYER. Secretary, Corbett Estate, DROITWICH.
CLAUDE HARRIS Ltd.
Portrait Photographers, 122, Regent Street, W.
If you find difficulty in getting a good photo of yourself, don't delay in giving us a sitting.
DELICATE LIGHTING EFFECTS.
CS3
EVERT SITTER MADE A CAREFUL STUDT.
122,
CLAUDE HARRIS Ltd.,
REGENT STREET. (2 minutes from Piccadilly Circus.)
xii. THE STAGE YEAR BOOK.
ACCURATE CHECK TAKER
The Original Ticket-Issuing Machines
are in use at all the principal Theatres in London and the Provinces, and are the Standard Checking Machines*
OVER 2,000 HAVE BEEN INSTALLED.
They afford a most reliable control upon takings* Every Ticket sold is accurately registered*
Machines to issue One* Two* Three or Four differently priced
Tickets installed at lowest possible rentals* and Inspected,
Maintained and Renewed free of charge*
FOR QUOTATIONS WITH FULL PARTICULARS APPLY—
The Accurate Check Taker, Ltd.,
17 to 21, Tavistock Street, Govent Garden, London, W.G.
Telephone :-GERRARD 1 91 5. Telegrams :— " UNRESERVED, LONDON."
CHARLES DOBSON,
Theatrical Hamper Maker,
40 YEARS' EXPERIENCE. STOCK ALWAYS ON HAND.
Send for Illustrated Price List to—
DOBSON. Bradford Road, DEWSBURY
WELLINGTON HOTEL
Wellington Street, Strand, London, W.C.
COMFORTABLE LOUNGE BAR UPSTAIRS FROM
SALOON BAR.
All Wines, Spirits & Cigars of the Very Finest Quality at Popular Prices.
THE STAGE YEAR BOOK.
MUSIC HALL ARTISTS' RAILWAY ASSOCIATION.
Founded February, 1897.
President, JOB ELVIN. Chairman of Committee, HARRY BLAKE,
Vice-Chairman, ALBERT VOYCE. Hon. Treasurer, ARTHUR RIGBY.
Terms of Membership, 5s. entrance fee and 7s. 6d. annual subscription.
Advantages of Membership : 25% Reduction on all Railways in the United Kingdom when travelling in parties of five or more. Free Insurance against accidents and loss of luggage. Free Medical and Free Legal Advice. All Variety Artists not Members should send for Prospectus from — C. DOUGLAS STUART, Secretary, 18. CHARING CROSS ROAD, W.C.
VARIETY ARTISTS' BENEVOLENT FUND & INSTITUTION.
Founded December, 1907.
President CHARLES AUSTIN.
Chairman of Committee, ALBERT VOYCE Vice-Chairman, EDWARD H. LUCAS.
Hon. Treasurer, HARRY BLAKE.
Committee Meetings are held Every Wednesday at 1 o'clock.
Established for the Relief, by Grants or Loans, of bond-fide Variety Artists only.
FUNDS URGENTLY NEEDED. All cases are carefully investigated.
Donations should be sent to — • C. DOUGLAS STUART, Secretary, 18, CHARING CROSS ROAD, W.C.
THE BENEVOLENT INSTITUTION. " BRINSWORTH," STAINES ROAD, TWICKENHAM,
NOW OPEN.
Candidates for admission, who must be genuine old performers, must apply to the Committee.
Annual Subscriptions earnestly required for the maintenance of the Institution. C. DOUGLAS STUART, Secretary, 18, Charing Cross Road, W.C.
THE BENEFICENT ORDER OF TERRIERS FOR VARIETY PERFORMERS.
Any bo n a -fide Variety Performer over the age of 18 and under 4O is eligible as a Member.
Grants are made in the event of sickness and death of Member or Member's Wife. Free Medical Attendance. Loans. Insurance of Properties against Loss by Fire. Free Legal Advice.
Social Advantages :— GRAND CEREMONIAL MEETING every Sunday Evening at 7.30 p.m. at the"THKEE STAGS HOTEL" Kennington Road, S.E.
For full particulars apply to :—
ARTHUR WERE, Secretary, "THREE STAGS HOTEL," 69, Kennington Road, LONDON, S.E.
THEATRICAL LADIES' GUILD.
Founder - - MRS. CARSON.
President - MISS FANNY BROUGH.
3, Bayley Street, Bedford Sq., London, W.C.
Tele. :
Gerrard
8159
POTTERTON'S
11, AGAR STREET, STRAND, W.C.,
And at TUNBRIDGE WELLS.
Every Requisite for Stage Wear. Sale or Hire.
COSTUME, WIGS, PROPERTIES, Etc. SCENERY, UNIFORMS, Etc.
THE STAGE YEAR BOOK.
JULIAN WYLIE
Jin Jlgent with an "Ideas " 'Department.
is, CHARING CROSS ROAD
LONDON, W.C.
SOLE AGENT FOR:-
DAVID DEVANT. BETTY BARCLAY AND A BARITONE.
OSWALD WILLIAMS. THE JESSE L LASKY COMPANY
in " Detective Keen."
"THE GIRL WITH THE GOLDEN HAIR" (MISS MARGARET DEMPSEY, Prima Donna.)
MASKELYNE AND DEVANT'S MYSTERIES,
Including: "The Window of the Haunted House," "The Disappearing Donkey," Etc.
"THAT 'CELLO MAN," JACQUES GRANDPIERRE. LAURI WYLIE AND COMPANY
in " Early Morning Reflections " and " The Toy Theatre."
P. T. SELBIT'S NOVELTIES,
Including : Shadow People, The Wrestling Cheese* Spirit Paintings, The Ohjecticon, Etc.
OWEN CLARK.
DEANE TRIBUNE AND ESTELLE CERRERO. ERNEST H. MILLS, Etc.
Telephone: 5996 GERRARD. Telegrams! "WYLICARRO, WESTSTRAND, LONDON.'
THE STAGE YEAR BOOK.
Telephone : Telegrams :
4319 CENTRAL. " SHEREKIUM, LONDON."
B. SHEREK'S
International Variety Agency.
GENERAL MANAGER :
JACK GOODSON
WE CAN BOOK YOU AT ANY HALL, AS WE ARE IN DAILY CONTACT WITH ALL PROPRIETORS IN THE UNITED KINGDOM, AMERICA, AND THE CONTINENT.
THE STAGE YEAR BOOK.
TOM SHAW i CO.
1 8, Adam Street,
STRAND, W.C.
Telegrams : " Stagery, London." Telephone : 3871 Gerrard.
Always an opciing tor real Talent
SOMERS & MASTERS,
Variety and Dramatic Agency,
Tele 3 rams: Extras, London. Telephone Nos. I ™ Gerrarcf.
OXFORD MUSIC HALL BUILDINGS, No. 1, Tottenham Court Road, LONDON, W.
|
OFFICE HOURS : Daily, 11 till 1: 2 till 4. SATURDAYS, 11 till 1. OTHER TIMES BY A PPOINTMENT. |
WELMANS INTERNATIONAL STAGE SUPPLY. Copyrighting Bureau. Head Offices: 24, BUCKINGHAM ST., STRAND, FIRST FLOOR. W.C.. LONDON. NR. CHARING X. |
Every Kind of BUSINESS CONDUCTED IN ALL parts of the World FOR THEATRES, MUSIC HALLS, PICTURE PALACES, EXHIBITIONS &c., &c. |
QUEEN'S, POPLAR, E.
Proprietors: F. & M. ABRAHAMS. General Manager: MORRIS ABRAHAMS.
TWICE NIGHTLY and MATINEE THURSDAY.
Music and Dancing, Stage Plays, and Cinema Licenses Held.
Electricity, 230 volt direct. :: :: Stage, 30 opening, 42 depth.
THE STAGE YEAR BOOK
xix.
OLGA, ELGAR & ELI HUDSON.
Artistes who have assisted in raising the tone of the Music Halls."— Vide FRANK ALLEN and OSWALD STOLL.
The most artistic entertainment ever presented on the Vaudeville Stage."
— Vide MANCHESTER GUARDIAN.
BOOKED SOLID TILL 1916
BY THEIR BUSINESS MANAGER- JACK GOODSON, 17, LISLE STREET, w.c.
THE STAGE YEAR BOOK
BETTY BARCLAY
AND A
BARITONE
The acme of refinement and originality in vaudeville
NO VACANCIES 1913
34, CRANBOURN STREET, LONDON, W.
2473 Central 968 Willesden
JULIAN WYLIE'S AGENCY, 18, CHARING CROSS ROAD, LONDON, W.C.
THE STAGE YEAR BOOK.
xxi,
The Pioneers of Rag~time Shows in England.
HEDGES BROTHERS &JACOBSON
We do not want to throw bouquets at ourselves, but who will deny that the
present boom in Rag-time is due to the success achieved by us ?
Since our first appearance at the Palace we have consistently featured REAL
Rag-time at all our performances throughout the Kingdom.
We have trained British audiences to appreciate Rag-time. For the result — See
our date-book, and count the Rag-timers who have followed us.
Rag-timers may come,
Rag-timers may go,
But we'll be with you for ever.
Booked at all the Principal Halls until 1917.
Address : Vaudeville Club, 98, Charing Cross Road, w.c.
THE STAGE YEAR BOOK.
NEW YEAR'S GREETINGS
FROM
MAURICE C. GERALDO
his Juggling Boys AND THAT GIRL
All Communications— VAUDEVILLE CLUB.
Successfully worked the Four Republics of South America (SEQUIN TOUR). Two months prolonged for six.
THE GREATEST LITTLE LADY ON THE STAGE TO-DAY.
ATHELDA THE GREAT.
Own elaborate fit -up, 32 ft. by 24 ft.
FAMOUS LADY CHAMPION STRONG ACT. THE LADY WITH A PERFECT FIGURE.
ATHELDA ^THE GREAT,
IN A MARVELLOUS UP-TO-DATE ATHLETIC SHOW.
ATHELDA
Does not suggest a vulgar display of adipose, but a graceful figure of
beauty, muscle and concealed strength. TOP, BOTTOMED, OR FEATURED ON EVERY BILL.
Managers are invited to see this Act when in their district, also to inspect the weights, which will prove that Athelda is one of the hardiest little Lady Athletes on the Halls to-day and a Champion. And always an immense success.
Made an Instantaneous Success on the Broadhead Tour. Complimented by Messrs. Broadheadf to whom please refer. No Sole Agent.
Perm. Address:— 5, ST. MARY'S PLACE, ABERAVON, S. WALES.
THE STAGE YEAR BOOK.
xxiir.
THOSE UNIQUE ENTERTAINERS
IMIISS
MAY ERNE
AM BI-"PE "-DEXTER (Registered)
AND
HE OF THE VOICE.
9 9
UNIQUE Singing and
UNIQUE Dancing to
UNIQUE Self-Accompaniment upon
UNIQUE Self -Invented Instruments.
by Moss Empires, Ltd.,
London Theatres of Varieties, Ltd., Macnaghten Circuit, etc.,
THE ACME OF ORIGINALITY; ARTISTIC & HUMOROUS.
TILL 1914
Scenery by W. D. HOBBS, Pictorials by ST. PAUL'S.
PANTOMIME, KENNINGTON T., LONDON.
Communications en route or to ERNE CHESTER, The Vine Hotel, Abington St., Northampton.
xxiv. THE STAGE YEAR BOOK.
HARRY C AFF
presents
THE WHITE KNIGHT
and
THE DEMON AND THE FAIRY
GOING BETTER THAN EVER.
5, MARIUS MANSIONS, MARIUS ROAD, BALHAM, S.W. 'Phone: 57 Battersea.
MR. DAN DANIELS
presents the famous
SCARLET MR. E's,
RENOWNED MASKED ENTERTAINERS, with their
JESTER.
In an up-to-date entertainment, unequalled in originality and refinement. Costumed and Staged by JOE DANIELS, JUN.
Particulars— DAN DANIELS, 112, LEADENHALL STREET, LONDON, B.C.
Phone, 12099 Central.
CORNALLA & EDDIE,
Toss 'em and Miss 'em.
REGARDS TO ALL.
A. WALKER'S THREE ORIGINAL GUARDS
MILITARY ACROBATIC GYMNASTIC ACT.
A REAL NOVELTY :: IN IMPROVED ACT,
The one and only act of its kind. Daring equilibrlstic feats, sensationa finish.
Clean and Refined.
ADDRESS; 88, CONYBERE STREET, HIGHGATE BIRMINGHAM.
THE STAGE YEAR BOOK.
THE ACKNOWLEDGED HIT OF THE SEASON.
Myron M. Gilday
and
Harry W. Fox
wish a Prosperous New Year to all Brother and Sister Artists : may their future be, as prosperous as
our past.
To Proprietors and Managers we wish a Prosperous New Year.
There is a boom in trade: you should have packed houses; if not, why not ? Because you have not Gilday & Fox Topping your Bill. Be up-to-date, as we are. If you have no dates with us, book immediately and play to capacity.
Only a few vacancies in each year during the next five years.
TOP OR BOTTOM EVERYWHERE
Agent i~WQRUWD S. WHEELER. Sale 1 Proprietor and Manager, MYRON M. GILDAY.
LEON I CLARKE, the Cat King.
Royal Comedy Animal Act. One Long Laugh from Start to finish.
THIS ACT CONSISTS OF CATS, MONKEYS, RABBITS, HARES, PIGEONS, CANARIES and GUINEA PIGS.
ALWAYS SOMETHING NEW. SHARE OR CERTAINTY
Managers and Proprietors of Piers, Pavilions, Winter Gardens, Theatres, Hippodromes, Halls, Seaside
Resorts, and places that can take money, kindly note that where their audiences consists of large
numbers of ladies and children this act for drawing powers has no equal.
Magnificent Pictorial Posters, Lithos, Printing Display. Notice to Proprietors and Managers. -When making offers for Sharing Terms, please state size of
stage, seating capacity, and prices of admission. Permanent Address: -RACEHORSE HOTEL, NORTHAMPTON.
IN
ZELLA VONDI & CO.,
A BRILLIANT MUSICAL AND DANCING POT-POURRI
TALENT. VERSATILITY. ORIGINALITY. (Par Excellence.)
Unique Instruments— Artistically Staged.
Novel Dances -Beautifully Presented.
Exclusive Costumes — The Acme of Perfection,
ONE TON STAGE REQUISITES CARRIED, c/o "The Stage," 16, York Street, Co vent Garden W.C.
XXVI.
THE STAGE YEAR BOOK,
VARIETY CARDS.
GEORGE FORMBY.
With all MY faults I love ME still.
Tivoli. Oxford, Pavilion, 10 weeks.
FRANK CASS,
Versatile Artiste. Compliments to all. Perm., Poplars, Glan Con way, N. Wales.
CHRIS VAN BERN,
The New Method Comedian, With a Monologue that Entertains, Amuses, and Mystifies.
PAUL GLOVE,
The World's Greatest Club Swinger, Bar-Bell and Tennis Racquet Manipulator. Sure Success. All Communications : 106, Leopold Road, Liverpool.
LITTLE LEEMAN CLOUGH,
The Tangle Feet Wooden Shoe Dancer, Touring with Captain Grahames. Permanent Address: 171, Old Street, Ashton-u.-Lyne.
THE GREAT STIRLING.
The Human Marionette of 1913, All communications c/o "The Stage." _^
CHARLES AUSTIN,
COMEDIAN, Yenetia, Cottage, Brixto** Kill, S.W..
PRESENTS
"THE EXPLOITS OF PARKER, P.C," "THE BOMBSHELL," " PARKER'S PROGRESS," and "PARKER, P.C."
Telephone ; BRIXTON 1512.
KISBEY
THE CALL BOY
Communications —
VAUDEVILLE CLUB.
THE STAGE YEAR BOOK.
DRAMATIC CARDS.
HERBERT BEERBOHM TREE.
His Majesty's Theatre.
MR. WILFRED ESMOND.
On Tour. 3, Loughborough Park, Brixton, S.W.
J. W. CORDINER.
Proprietor "Dare-Devil Dorothy." 13th year of continuous tour. Co-Proprietor and Manager of the
latest Musical Comedy, "The Colombo Girl." Member of Touring Managers' Association and Theatrical
Managers' Club. Permanent address, 5, Wardour Street, London, W.
HAMILTON DEANE.
Address: Sturt House, St. Augustin's Road, Bournemouth.
MR. ARTHUR KNIGHT.
Character, Stage or General Manager. Miss Edith Knight, Lead. Permanent ; 36, Oswald Road, St. Albans.
J. TELLY DILLSEN.
Comedian. Puts character into Comedy and comedy into Character. Permanent address, c/o "The Stage." 16. York Streef. London, W.C.
JAMES STEPHENS.
Comedian. Address: 47, Watford Road, Stoke Newington, London.
Heavy Leading Business.
CLIFTON EARLE.
Permanent Address: Hawkesbury Hall, Coventry.
Mr. LESLIE HAMILTON,
Juveniles, Light Comedy, etc. Stage < r General Management. 11, Fambridge Road, Sydenham, S.E.
MR. AND MRS. WILLIAM HEILBRONN
(Miss Dorothy Haigh). Leading Business. All communications 15, Varley Street Old ham Road, Manchester.
MR. AND MRS. ALFRED STRETTON
(Helene Thomson^. Chambs. Special Comedy, Heavy Leading Business.
C/o "The Stage," 16, York Street, London. W.C.
MR. AND MRS. GEORGE EDWIN CLIVE
(Miss Amber Wyville^. Leads. 46, Granvillc Gardens. West Kensington. London.
IMPORTANT REVIVAL. THE WORLD-RENOWNED ENTERTAINMENTS.
Mofrawk Minstrels
(LATE ROYAL AGRICULTURAL HALL, LONDON).
Moore and Burgess Minstrels
(LATE ST. JAMES'S HALL, PICCADILLY, LONDON, W.). All communications to Charles Henry Phipps, 28 Silchester Road, Netting Hill, London, W.
xxviii. THE STAGE YEAR BOOK.
DRAMATIC CARDS.
HARRY NICHOLLS.
RUPERT COTTAGE, BEDFORD P \RK, W.
J. R. LA FAN,
Producer, Stage Director and Character Actor, A.A. 1912, "Night' and General Manager, Messrs. Mark Curzan, G. Du Maurier's "Passers By" Co.
BERT MURRAY,
Prin. Comedy, Sing and Dance, Falls, e*c. 3, Bodney Road, Hackney, London, N.E.
HARRYJW. DAY.
General Manager, Gaiety Theatre, Ayr.
FRED BENTLEY,
Actor, 79. HARTHAM ROAD, ISLEWORTH.
MISS ADA BLANCHE.
ADDRESS :
c/o "The Stage/' 16, York Street, Covent Garden, W.C.
TME MASCOT MANAGER.
WALLE SPINNER,
A RELIABLE GENERAL MANAGER WHO CAN ACT.
Speciality: Character and Old Men. Over 12 years' good sound experience
in all branches of the business (touring and resident).
Address en Route, or* c/o "The Stage."
HUGH CLAYTON,
Leading Business.
Perm., 59, Withnell Road, South Shore, BLACKPOOL.
LEN DELMAR, Juv., Light Com., Pathos. EMILIE DAVIES, Light Com., Aris. & Com. O. W,
OWN SINGING AND MUSICAL SPECIALITIES.
''Pierrot and the Maid," " Widow's Encumbrance," "Paradise Lost," etc. PERM. ADD., 66, High Street, Neyland, South Wales.
THE STAGE YEAR BOOK. xxix.
THE GUILDHALL SCHOOL OF MUSIC,
VICTORIA EMBANKMENT, E.G.
(Near Blackfriars Bridge).
Established by the Corporation of London in 1880, And under the Management and Control of the Music Committee.
Principal - LAN DON RONALD.
The Guildhall School of Music was 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 Monday in January, Fourth Monday in April.
Students of any age are admitted at any time.
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 Garrick, The Palace, &c., &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.— Saturdays at 3 o'clock, and other appointed times.
For Prospectus and all further particulars apply to
H. SAXE WYNDHAM, Secretary. Telegraphic Address : — " EUPHONIUM, FLEET, LONDON." Telephone No.— 1943 Holborn.
Royal General Theatrical Fund
Established 1839. Incorporated by Royal Charter 1853.
PATRON : Kis Mlaiest? tyc IKlng.
PATRONESSES : Tfer Mlaiest? tlje Queen ; 3fer Stalest? Queen ^Alexandra.
PRESIDENT : SIR GEORGE ALEXANDER, J.P., L.C.C.
TRUSTEES
ALFRED DE ROTHSCHILD, ESQ., C.V.O. ; SIR SQUIRE BANCROFT; SIR GEORGE ALEXANDER, J.P., L.C.C.
To provide Annuities for Aged and Infirm Actors
and
others connected with the Theatrical Profession.
Particulars as to Rules, Subscriptions, etc., on application to CHARLES CRUIKSHANKS, Sec.,
SAVOY HOUSE — 115-116, STRAND — LONDON. W.C. Office hours : Tuesdays and Fridays. 1 1 till 4.
THE STAGE YEAR BOOK.
THE ROYAL ACADEMY OF MUSIC,
YORK GATE, MARYLEBONE ROAD, N.W.
INSTITUTED I 822. INCORPORATED BY ROYAL CHARTER 1830.
Patron -HIS MAJESTY THE KING.
President— H.R.H. THE DUKE OF CONNAUGHT AND STRATHEARN, K.G. Principal— SIR ALEXANDER CAMPBELL MACKENZIE, Mus.D., LLD., D.C.L., F.R.A.M.
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 Performances.
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 subscriptions.
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 held annually in September and during the Christmas vacation and a certificate is granted to successful candidates.
A Special Course of Lecture Lessons for Professional Music Teachers has been instituted, to be followed by an Examination for the distinction of Associateship.
Prospectus, entry form, and all further information may be obtained on application.
F, W. RENAUT, Secretary.
"THE STAGE
YEAR BOOK
1913
EDITED BY L. CARSON
LON DON :
cc THE STAGE " OFFICES
16, YORK STREET, COVENT GARDEN
The Stage" Guide
Price 2/6
A COMPLETE AND UP-TO-DATE GUIDE
- TO ALL THE THEATRES, MUSIC HALLS
£ 7 AND HALLS IN THE UNITED KINGDOM.
650613
T>0- '-SI
The book, though in the main aiming at being one of complete reference to all places of amusement, covers even a larger field and provides the actor or manager with all information concerning a town from, say, the size of a stage to a descrip- tion of the local golf links.
Offices : Covent Garden,
16, York St., London, W.C.
CONTENTS.
PAGE
Academy of Dramatic Art ..122
Actors' Association .. .. .. .. .. •• •• 93
Actors' Benevolent Fund .. .. .. .. .. «£•_ •• ->* I02
Actors' Church Union • • 104
Actors' Day .. .. , .. .. .. .. .. .. • • •• •-• IO4
Actors' Orphanage Fund .. ..102
Actresses' Franchise League .. .. .. .. .. .. -ii IO^
Agents, List of Licensed . . . . . . . . . . . - • • - * • 85
L.C.C. By-Laws ..89
America, The Drama in. By W. H. Denny .. .. .. .-.'.. 55
Fires in Theatres .. .. .. .. .. .. .. •• 220
New Theatres Opened 220
,, Obituary .. .. .. .. .. .. .. .. .. .. 221
Plays of the Year i. .. . ... .. .. .. . .. ..211
Australia, Progress in. By Eardley Turner.. .. .. .. .... 60
Authors of the Year .. .. .. .. .. .. .. . ." .. 197
Baddeley Cake, The .. . .. .. 86
Birmingham Repertory Theatre.. .. .. .. .. >.. .. .. 118
Books of the Year. By L. H. Jacobsen .. ~. . -.-..' .. .. .. 74
Catholic Stage Guild *. ~ .. .. ,-.105
Censorship and Licensi i, g .. .. .. .. .. .. .. .. .. 82
Circuits .. .. .. .. .. .. .. .. ...... 127
Concert Artists' Benevolent Association -. -., 123
"Conditions of Modern Drama, The." By Laurence Housman .. .. 17
Dinners, Banquets, etc. .. .. .. .. ,- ..- .. .. .. .. 210
Drama of the Year, The, by E. A. Baughan .. .. ,. .. .. 5
Dublin Repertory Theatre .. .. .. .. .. .. -..- :. 117
English Play Society . . . . . . . . . . ',.... • • . • 106
Fires in Theatres .. .. .. .. .. .. ..'.... .. 93
General Meetings of Societies, Funds, etc ., .. .. .. 206
German Plays, Alphabetical List -.231
Germany, Tne Theatrical Year in, by F. E. Was iburn Freund .. .. .. 41
Glasgow Repertory Theatre .. .. 117
Grand Order of Water Rats . . . . . . . . . . . . . . . . 120
Ibsen Club . . . . . . . . . . . . . . . . • . . . . 109
Incorporated Stage Society, The ' =. . ' .. - .. .. 106
Kinematograph Associations .. ;. .. .. .. 124
King and the Theatre, The ......*.. 12
b
CONTENTS— continued.
PAGE
Legal Cases 236
Legal Cases (Index to same) . . -. 234
Liverpool Repertory Theatre 117
Manchester Repertory Theatre 116
Masonic Lodges and Chapters . . . . . . . . . . . . . . . . 94
Miscellaneous Events of the Year .. .. .. .. .. .. .. gi
,, Societies .. .. .. .. .. .. .. .. .. 121
Music and Dancing Licenses Bill, The . . . . . . . . . . . . 85
Music Hall Artists' Railway Association .. .. .. .. .. .. ..119
Music Hall Home .. 120
Music Hall Ladies' Guild 119
" Music of the Year." By F. Gilbert Webb .. 23
New Theatres and Music Halls Opened . . . . . . . . . . . . . . 93
Obituary . . . . . . . . . . . . . . . . . . . . . . 207
Paris, Plays of the Year 226
Paris Stage in 1912, The. By John N. Raphael 37
Pictures at the Royal Academy.. .. .. .. .. .. .. .. 205
"Plaint of the Earnest Student, The." By Mostyn T. Pigott 14
Playgoers' Clubs .. .. .. .. .. .. .. .. .. ..113
Play-Producing Societies . . . . . . . . . . . . . . . . . . 106
Plays of the Year (Alphabetically arranged with full Casts) .. .. .. 129
Poetry Society .. .. .. .. .. .. .. .. .. .. 121
Railway Rates .. .. .. .. .. .. .. .. .. .. 12
Repertory Theatres.. .. .. .. .. .. .. .. .. .. ii6
Royal General Theatrical Fund 103
Society of Authors .. .. .. .. .. .. .. .. .. .. lot
Society of the Theatre .. .. .. .. .. .. .. .. ..121
Staff Organisations .. .. .. .. .. .. .. .. .. .. 126
Stage Children: Their Employment and the Law. By Bernard Weller .. 78
Stage Needlework Guild . . . . . . . . . . . . . . . . . . 104
Sunday Opening 92
Terriers' Association .. .. .. .. .. .. .. .. .. 120
Theatre Design and Construction. By Ernest Runtz, F.R.I.B.A., F.S.I. .. 67
Theatres Alliance, The 101
Theatrical Clubs .. • .. ..no
Theatrical Ladies' Guild . . . . . . . . . . . . . . . . . . 104
Theatrical Organisations .. .. .. .. .. .. .. .. .. 99
Theatrical Managers' Association 100
Touring Managers' Association . . . . . . . . . . . . . . . . 101
Travelling Theatre Managers' Association .. .. .. .. .. .. 101
United Billposters' Association .. .. .. .. .. .. .. .. 123
Variety Artists' Benevolent Fund .. .. .. .. .. .. ..119
Variety Artists' Federation 118
Variety Organisations 118
Variety Year, The. By E. M. Sansom 27
Vaudeville Producers' Association .. .. .. .. .. .. ..121
West End Theatre Managers, Society of 1 10
"Witch, The." By B. I. May 32
INDEX TO ILLUSTRATIONS.
ART SUPPLEMENTS.
Miss Phyllis Neilson-Terry . . " Drake"
" Ann " 1 ' Gipsy Love " Mile Arlette Dorgere . . ,, Huguette Dastry ,, Jane Renouardt . . ,, Marthe Debienne
PLAYS OF THE YEAR.
" Drake "
" The Mind the Paint Girl "
" Twelfth Night "
" Milestones "
•' Kindle Wakes"
" Jelf's "
" The Dancing Mistress "
" The Sunshine Girl "
" Little Miss Llewelyn "
" A Scrape o' the Pen "
CONCERT PARTIES.
Mr. Stanley Kirkby's Party The Vagabond Players Mr. Will Catlin's Party The Gems The Gaieties The Wags
IThe March Hares 'HE VARIETY STAGE.
" Variety's Garden Party "
The Palladium Minstrels
" The Blue House "
" The Constant Husband "
" Kill That Fly! "
" Patching It Up."
" The King They Kouldn't
Kill"
" Uncle Jasper " Betty Barclay and a Baritone " The Bombshell " " Seven Blind Men " Olga, Elgar and Eli Hudson " The Ticket Collector " Miss Ivy Ray
Frontispiece facing page 8
"* ,, 20
26
35 37 3*
" Art and Opportunity "
'• Officer 666 "
" The Amazons "
" The Turning Point "
" Doormats "
" Gipsy Love "
" The Little Cafe "
" Princess Caprice "
" Ready Money "
" The Malingerer "
— pages 12-14.
The Gay Gondoliers The Brownies The Cigarettes The Georgians The Ideals The Strolling Players
— pages 22-23
Mr. Bert Gilbert
" Signposts "
" Everybody "
" The Real Napoleon "
" Striking Home "
Mr. Alfred Lester
Little Tich
Hedges Brothers and Jacobson
" The Gipsies "
" At the Seaside "
Mr. Harry Claff
Miss Ella Shields
" Ambipedexter "
— pages 32-35
INDEX TO
THE GERMAN STAGE.
The Double Theatre, Stuttgart
(exterior) " Antigone " •' Lysistrata "
" Much Ado About Nothing" —pages 44-45 " Othello "
" Gyges and His Ring " ' ' A Woman of No Importance " " Hamlet "
THE AMERICAN STAGE.
" "1 he Daughter of Heaven ' ' 1 Oliver Twist" "Broadway Jones" ' ' Officer 666 ' ' " Little Women " " Hawthorne of the U.S.A." " Over the River " "The Greyhound"
— pages 56-57
" Within the Law " Miss Marie Doro and Mr. Lyn Harding
THE AUSTRALIAN STAGE.
"The Quaker Girl" " Every woman " Adelphi Theatre, Sydney. Mr. Gregan McMahon Mr. Louis Esson
" Gudruss "
— -pages
" Nibelungen " " Hamlet " " Tristan and Isolde " " Pelleas and Melisande " The Double Theatre, Stuttgart
interior) " Sylvia "
—pages
48-49
52-53
Miss Edith Taliaferro Mr. Basil Gill Miss Viola Allen Mr. Frank Mclntyre and Miss Mildred Manning Mr. Scott Welsh and Models Miss Alice Brady ,, Florence Nash Grace Edmond Jane Cowl ,, Irene Fenwick Mr. Eddie Fay
—pages 58-56
Hilda Spong and Eardley Turner Miss Ivy Schilling and Leslie Holland
Mr.
— pages 63-6'
MISCELLANEOUS ILLUSTRATIONS.
The Peter Pan Statue " Milestones " Poster
facing page
A OF THE YEAR.
BY E. A, BAUGHAN.
.iistie. The popular . of note, and barrenness. Fortn- oirit, not only : : tt also be •ling strings. . although the r !uence as being a r^. vial • at. Bernard r
human beings motives which :ior of " You Never " Troilue and Cvee::-
most ordinary
romance, has u< b shadow forth real pure reason, and )v.- auddenly break up the &u- nt ae a man he does : ivd them in hit.
• is that }u
led to draw of it, lif what they gain in Shavia:
:
10 attempt to imitate the Sh aw's mood and technica- ;asonably trace the rena. attracted
e of m>
••e rar€>-
:t that
im of Bernard »r Can
may il-.
THE STAGE YEAR BOOK.
DRAMA OF THE YEAR,
BY E. A. BAUGHAN.
IN reviewing the drama of 1911 it was impossible to be optimistic. The popular and well-known dramatists had given the world nothing of note, and the plays by the younger school did not compensate for this barrenness. Fortu- nately, I can review the drama of 1912 in a more optimistic spirit, not only because what has been actually achieved has had intrinsic merit, but also because the new school has outgrown the necessity of running in leading strings. The younger men no longer imitate Bernard Shaw in their comedies, although the Shaw influence is very strongly marked. I would define that influence as being a realism of psychology instead of a realism of material environment. Bernard Shaw rebelled against the romance which assigned to human beings motives which they thought ought to rule their conduct but did not. The author of " You Never Can Tell" took the same attitude to drama in general that " Troilus and Cressida " takes towards the rest of the Shakespearean comedies. The most superficial observer of life is aware that motives are so complex that human beings never think or act in the straightforward heroic or villainous style of the old drama. Good and bad is inextricably mixed in the psychology of the most ordinary man. Unfortunately Sha,w, with his passion for truth and for cutting down to the reali- ties of things, and with his disgust for the sensual basis of romance, has never understood that the pretences of romance did in some sort shadow forth realities. He has criticised life as if it could be lived by the light of pure reason, and he has taken no account of the emotional upheavals which suddenly break up the smooth crust of reason. I do not believe for a moment that as a man he does not recog- nise the force of these upheavals. If he has not experienced them in his own life, he has had many examples before his eyes in his own day. Rather it is that having laid down for himself a point of view from which he could focus humanity so that it should come well within the picture he wished to draw of it, he has pur- posely omitted all feelings and thoughts which would disturb or break up his picture. As a consequence, his plays lose in reality what they gain in Shavian wit.
THE NEW DRAMATISTS.
The younger school of dramatists has been influenced to a great extent by Mr. Bernard Shaw, but not as directly as either the late Mr. St. John Hankin or Mr. Granville Barker; that is to say, that there is no attempt to imitate the Shavian outlook in sociology or ethics, although Mr. Shaw's mood and technical methods have been imitated. I think we may quite reasonably trace the renascence of British drama from the days when Ibsen first attracted attention here. Psycho- logical and ethical fantasy expressed in terms of modern life is the real technical lesson of Ibsen's plays. The ethical ideas themselves of the great Norwegian dramatist had a marked influence on Bernard Shaw himself, but that influence is hardly traceable in the work of the younger school. Nor do our present drama- tists deny the existence of emotion as a motive force in the actions of men and women. The characters of the newer drama do not have their being in the rare- fied atmosphere of cold, pure reason. On the other hand, one must admit that none of the younger men possesses the mental grip and curious idealism of Bernard Shaw himself. The author of " Major Barbara " and " You Never Can Tell " stands by himself in that respect, and however unsatisfactory we may find his explanations of life, ignoring or sneering at some of its strongest impulses, as they do, yet in every one of his dramas we are made to feel that a man of high mind and singular powers of analysis is expressing himself.
1
THE STAGE YEAR BOOK.
Before dealing with what may be called the "normal theatre," that is to say, the theatre which seeks to give entertainment to those willing to pay for it — a theatre in which great Art has had and may yet have its place — I will pass in review those plays of the year which seem to me to have some vital and original characteristics. A feature of the year which makes for optimism is that the new artistic play does attract a paying audience. The kind of drama which once only appealed to a very limited and special audience is now more widely popular, and theatrical managers may do well to recognise that fact. First and foremost in this review must pass Miss K. G. Sowerby's " Rutherford and Sons," which, originally produced at a series of matinees at the Court in February, was after- wards placed in the evening bill at the "Vaudeville, and had quite a vogue. This drama of life in the North is grey, dour, and hard, but it has power, vitality, and reality. Moreover, it is no mere realistic study on the old-fashioned lines, but has a kind of message in its presentation of woman's courage in love and mother- hood. This emotional kernel of the play is an excuse for its rough and uninviting husk. Miss Sowerby has, perhaps unconsciously, grasped the fact that the days of Art for Art's sake have gone. We no longer demand ugly realism for the sake of its ugliness. We ask of a dramatist that there shall be some patent reason for putting ugly realism on the stage. In "Rutherford and 'Sons " there is a woman's reason. It presents to a world of men some of the thoughts and feelings of real womanhood, and not the thoughts and feelings of womanhood as man sees it. On the other hand, the play has the weakness of all plays and novels by women : the drawing of a "strong" man without sufficient modelling. John Rutherford, in his persistent harshness, in his lack of humour and average geniality, and in his want of ordinary tenderness and friendliness towards his children is like no man who ever walked this earth. The play has other weaknesses, especially in its last act, but it is a play which presented to us a new dramatist of genuine insight and talent.
Mr. Stanley Houghton's " Hindle Wakes " was also a feature of the year. It was given its first performance by Miss Horniman's company at one of the Incor- porated Stage Society's performances, and made such a sensation that, like " Ruther- ford and Sons," it was put into an evening bill. " Hindle Wakes " deals with an old enough theme : whether a man should be compelled by honour to marry a woman with whom he has had an episode. The treatment is new, however, for the woman also looks on the episode from the man's point of view. The value of the play lies not an its statement or solution of a problem, but in its fresh and telling charac- terisation, its easy and witty dialogue, and in its dramatic effectiveness. In a different vein the same author's " The Younger Generation " was one of the remark- able plays of the year. In this play the religious tyranny of a father over his children and their ultimate rebellion and his discomfiture are treated with humour, and yet without exaggeration. There is also a welcome ironic note in the comedy. "The Younger Generation" was first produced in London in 1911 at the Coronet by Miss Horniman's company, and was revived on November 19 as one of the plays in the triple bill at the Hay market. A year which gave us three such plays could not be cooisideired barren of atGhieveimeinlt ; bait t<he tale tis by no means ooimpleite.
The success of another new dramatist, Mr. B. Macdonald Hastings, has to be chronicled. " The New Sin " is much influenced by Bernard Shaw and St. John Hank in, but it is an original, witty, and fantastic comedy. Its theme is, perhaps, a trifle recondite. We do not much believe in the possible necessity of a man having to kill himself for the sake of his poverty-stricken brothers and sisters, who can only then benefit by a father's preposterous will. That might pass as the central idea of a farcical comedy, but Mr. Hastings has attempted to make us seriously sympathetic with the woes of his hero. The wit and gaiety of the piece triumphed, however, over the far-fetched central idea of the play. " The New Sin," originally produced at a matinee at the Court in February, was afterwards placed in the evening bill at the Criterion in May. The same author's " Love, and What Then? " produced by Mr. Cyril Maude at the Playhouse, showed no advance on " The New Sin," although it really had a better central idea — that of a young girl whose hot blood rebels against a marriage of convenience, and moves her to claim her right to an " episode " before she settles down. Whether the episode did or did not take place the play left us in doubt. It would have been much stronger if there had been no question at all, but then " Love, and What Then? " would have been a tragedy and not a comedy. Mr. Macdonald Hastings, in both these plays, has endeavoured to give us a curious mixture of tragedy and comedy. That is to &ay, he has taken tragic themes and decked them out in comedy. He was successful in " The New Sin," but not in " Love, and What Then ? " A third play, " The Tide,"
THE STAGE YEAR BOOK.
produced at the Queen's Theatre on December 14, was even more disappointing. It dramatised the trite theme of society's treatment of illegitimate children, and for its big scene, a faire it brought the mother and her daughter into conflict over a young man's love. Probably " The Tide " ie an early play by Mr. Hastings.
A fourth new dramatist, Mr. Harold Chapin, has to be welcomed, and warmly. He is not, in " Art and Opportunity," a dramatist with a " message," but a writer with a peculiar talent for the stage. " Art and Opportunity " did not have a very long run as runs go in these days, but it delighted a large number of playgoers who know fine work when they see it. The peculiarity of Mr. Chapin's talent is that he makes you understand the thoughts of his dramatis personae without in any way emphasising the dialogue. That is, I think, the sign of the true dramatist. A little one-act play of his, " The Dumb and the Blind," produced in Miss Marie Tempest's triple bill at the Prince of Wales 's, .had the same merit. Mr. Harold Chapin has the lightness of touch of a Hubert Henry Davies, and a much finer and more extended vision.
This list does not finish the tale of new dramatists. Mr. G. I. Hamlen, one of the Glasgow Repertory Theatre playwrights, has been represented by two plays. One of them, " Barbara Grows Up," is only an amiable little comedy of domestic jars between husband and wife, and is only saved from the commonplace by the grace of humour and observation. ''The Waldics," produced by the Incorporated Stage Society, is a work of considerable achievement and still more promise, for, although the author is not young, he is new to stage work. The theme is similar to that of " The Younger Generation," but it is treated with more subtlety and strength. Mr. Hamlen must grow out of the use of theatrical tricks when he is cornered by his plot. There is rather a bad instance in " The Waldies," when, for the sake of making a ring stolen by a son of the house, the author suddenly endows one of his sisters with such religious zeal that she places the jewel in the offertory plate of a Revivalist meeting. This religious fanaticism is quite foreign to her nature. We shall hear more of Mr. Hamlen. We shall also hear more of Mr. Inglis Allen, whose " If We Had Only Known " was produced by Miss Gertrude Kingston at the Little Theatre on December 13. Mr. Allen deals with the hackneyed theme of the dangers of a childless marriage with freshness, observation, and humanity. His play suffers from an almost naive use of time-worn theatrical devices, but its good qualities come through the conventional machinery of the play. With a little alteration "If We Had Only Known" should be successful in an evening bill. Mention must also be made of Mr. Harold Brighouse's " The Odd Man Out," produced at one of the special matinees at the Royalty. It is a comedy of freshness and unforced humour.
Those who would repeat the old cry of the decadence of British drama must find this renascence an insuperable gag. It will be observed that Miss Horniman's Repertory Theatre and the Glasgow Repertory Theatres have been responsible for the rise of many of these new dramatists. Also it may be noted that each of them has dealt with middle-class life. Of course, the great success of " Bunty " has had something to do with these trials of new plays. Every manager in London hopes he will find a new " Bunty."
PLAYS OF WELL-KNOWN DRAMATISTS.
We need not inquire too closely into the reasons of the renascence, however. It is sufficient that it exists, and, for the matter of that, has influenced the writers who have already made their reputations. But the analyst of the year's doings must, if he be honest, confess that some of the older writers can no longer keep pace with the present ideas of the public. The tendency is all towards psycho- logical, fantastic comedy. Our younger men are humorists and philosophers. In all their plays there is a serious basis, but the general texture of them is comic. I think one may rightly trace the influence of Mr. Bernard Shaw in this tendency, and on the whole it is a good influence, for a profound criticism of life may be made amusing. There does not seem any room for the old-fashioned serious drama, problem play, or otherwise. Sir Arthur Pinero has recognised that fact. He has not given us another "Thunderbolt" or "Mid-Channel," but has revived his "Amazons," which seemed very old-fashioned and trite, and has given us "The ' Mind-the-Paint ' Girl." His satire of musical-comedy life was too bitter for comedy, however. It became a very serious play, and more than a trifle heavy- handed in its satire. One of the younger school, if he could have dealt with such a difficult subject, would ihave made us laugh with the " Mind- the- paint " girls as
8 THE STAGE YEAR BOOK.
well as at them. However, Sir Arthur Pinero said some very true things in this comedy, and the writing of it required moral courage of no mean order. As a technical exercise the conduct of the piece is masterful, perhaps one of the beet things Sir Arthur has done, just as " The Widow of Wasdale Head," produced as part of the triple bill at the Duke of York's Theatre, was one of his worst.
Mr. Charles Frohman was rather unfortunate in this triple bill. Mr. Bernard Shaw's only new contribution to the year's drama was his " demonstration " "Overruled," a poor little piece of Shavian dialectics. Mr. Shaw has otherwise been a most successful dramatist this year. "You Never Can Tell" drew large audiences to the Criterion; " Captain Brassbound's Conversion " was fairly success- ful at the Little ; and " Fanny's First Play " ran from April 19 in 1911 to December 20, 1912. Of 'GG'Ursie, during ipart of the (time it has only been given at matinees, but even so it is almost a record run. It was replaced on Boxing Day by "John Bull's Other Island," a play which has particular political significance just now. It should be mentioned, by the way, that Mr. Granville Barker's " The Voysey Inheritance " had a short run at the Kingsway. Mr. Shaw and Mr. Barker must not be classed with the older dramatists, but as the leaders of the modern renascence, which has developed, however, in a different direction.
Mr. Alfred Sutro began as an old-fashioned tendency melodramatist with " The Walls of Jericho," and he has always put forward a conventional view of the theatre. In " The Perplexed Husband '' last year he wrote a tendency-comedy, by far the 'best work which has yet come from his pen. " The Fire Screen," pro- duced early this year at the Garrick, was a disappointment. The idea of the play is distinctly good : the attempt of a worldly woman to capture the love of a man, who is happily married, partly because she is jealous of that happiness, and partly because she has never counted a man of his stamp among her victims. Also there is the motive that in the past he adored her. The treatment is, however, very theatrical, and such a play as " The Fire Screen " marks how far we have developed in our theatrical taste. Although Mr. Sutro has not been influenced by the new spirit Mr. Herbert Henry Davies has in " Doormats," Mir. Davies has to suffer for his reputation as a writer of light and airy trifles, but he has had the courage to strike out a new line, and has been rewarded with success. As a matter of fact there is a distinct idea of merit in "Doormats," nothing less than the eternal war- fare between those who give and those who take, with a battle royal between two of the " takers," who make the mistake of imagining they are suitable mates. Mr. Davies, in his fantastic treatment of serious situations, has evidently been influenced by the younger school. Mr. J. M. Barrie is a school by himself. The only play he has given us this year, " Rosalind," has all the Barrie charm and unexpected- ness. It was the redeeming feature of Mr. Frohman' s triple bill, and when that entertainment was finished the little play was added to the triple bill at the Hay- market, in the place of Lord Dunsany's " The Golden Doom," a rather pretentious allegory on the futility of faith.
There was, of course, a whole group of comedies, good, bad, and indifferent which do not belong to either the old or the new school. Mr. Graham Moffat's " A Scrape o' the Pen" stands by itself. It is really a direct descendant of " Bunty Pulls the Strings," and probably came into being on account of the success of that charming little comedy. It is said that " A Scrape o' the Pen" was originally written in two acts. The plot which holds the play together could very well have been manipulated in one act. It is rather a trite plot of the "Enoch Arden "type, but the wanderer returns to a wife who was only a wife in name, and was married in the Scotch f a-shion by a declaration signed and witnessed. The two old people, who are always bickering in spite of their affection, are as good as anything in " Bunty," but the rest of the play, amusing as it is, has not the cohesion of the first piece. Mr. Cosmo Hamilton, on the other hand, is one of the dramatists who is not quite old-fashioned. He would be modern, and yet is not modern. In "The Blind- ness of Virtue" he addressed himself to the problem of whether a young girl should be told everything, a problem which seems to have solved itself nowadays. Some advertisement was given the play by the Lord Chamberlain only granting a pro- visional license, but there was really nothing to which he could reasonably object. An artistic Censor may protest, however, against the crudeness of the play. Mr.
doomed. Mr. R C. Carton is distinctly one of the old school. His "Bear Leaders had a good idea, but the treatment was too farcical. Mr. Horace Annesley Vachell's
DAVID ALLEN & SONS, LTD.
:HROMOTYPE.
« DRAKE/'
MISS AMY BRANDON THOMAS and MR. LYN HARDING
$ (etc/i b\ Chas. A. Buchel. Reduced facsimile of a striking Poster, the work of DAVID ALLEN & SONS, LTI
THE STAGE YEAR BOOK.
" Jelf 's " and Mr. Anthony P. Wharton's "At the Barn" were amusing, amiable comediee of no particular distinction, and Mr. Besier's version of Mr. H. G. Wells's "Kipps" proved to be mere farce. Mr. C. B. Fernald's "98.9," produced at the Criterion by Mr. Loraine, was a rather pretentious comedy, on the converse of the Shaw idea that woman chases man, but it was amusing. Mr. Lechmere Worrall's "Ann," Mr. Bernard Parry's "Where There's a Will," both produced at the Criterion, Mr. A. P. Wharton's "Sylvia Greer," which followed " Zaza " and preceded " The Tide " at the Queen's Theatre, and Mr. Frank Stayton's " Tan- trums," a modern version of " Taming of the Shrew," are plays that point no moral to the analyst of success. " The Five Frankforters," translated by Captain Basil Hood from Carl Rossler's popular play, may be superficial, but it is not common- place. The satire of the famous banking family did not tell in England, and the comedy as a play of character does not cut very deep.
There must be a .root-idea of interest, not necessarily a problem, in a modern comedy if it is to capture the imagination of London. That was the secret of the success of " Bunty " and "Fanny's First Play," and it has been the reason why "Milestones," produced on March 6, is still running at the Royalty. Mr. Arnold Bennett and Mr. Edward Knoblauch's piece has humour, freshness, wit, and pathos. I do not say it is the masterpiece some critics have affirmed it to be, and there is no doubt it has owed much of its success to the splendid acting of Mr. Dennis Eadie and his company. Above all, however, it has a strong central idea running through its pictures of the manners of 1865, 1885, and 1912. The same reason may be given for the popularity of "Little Miss Llewelyn." The adaptors of " Le Mariage de Mile. Beulemans " have done their work well, and, as nearly as possible, have reproduced the ideas of the original play, only the English work is a trifle more farcical.
SERIOUS PLA^S.
The author of " Strife " I have left to the last. He has given us tw» new plays this year, but I do not think either of them can be called a comedy, although neither is a tragedy. " The Pigeon," produced at the Royalty in the beginning of the yeai- 18 a variant of an idea which is fixed for Mr. Galsworthy : that character cannot change. That makes the tragedy of "Strife," and it is a true and dramatic idea. The old artist in " The Pigeon " can no more help being rooked than the rooks can help victimising the pigeon. It is an interesting play, but is too samely throughout. In "The Little Dream," produced at a Court matinee, after having been first per- formed at Manchester, Mr. Galsworthy has attempted to write a poetic allegory of the fight of a soul to peace through the battle of life, but the method of the author is anti-poetic. He has not the natural symbolic vision of a Maeterlinck. In "The Eldest Son," at the Kingsway, we have a variation of the theme of " The Silver Box. In that play there were two social laws for the rich and poor; in "The Eldest Son" there are two moral laws. It is a powerful play, but suffers from a rigid determination on the part of the author to illustrate his thesis. Mr Galsworthy has purposely eliminated feeling from his problem. The under game- keeper does not love the girl he has wronged ; the eldest son of the squire has never looked on the lady's maid as anything but a kind of episode. Breeding and a kind ot obstinacy make him wish to do the right thing. Perhaps it was necessary to make the parallel cases the same, but all the play really proves is that the squire is wrong m forcing his gamekeeper to marry a girl he does not love. The real moral is that neither of the men should be compelled to make a loveless marriage
Except, perhaps, for this play of Mr. Galsworthy's it is noticeable that there has been no serious drama of note this year. I do not believe we shall ever return to the serious problem play. The gravest issues. of life can' be treated in what one may call a play —that ,is a mixture of comedy and tragedy, such as life itself is Ihe nearest approach to a tragedy was " The Secret Woman " by Mr. Eden Phill- potts, produced at the Kingsway by Mr. Granville Barker after inuch fuss with the Uensor. It is a novelist s play and not a drama, and its chief aim seemed to be the arousing of a sense of horror. It is exceedingly painful without being dramatic r tragic ; sordid without being true to life. The same kind of thing is much better done by the young dramatists of the Irish Theatre. Mr. St. John Ervine's " Mixed Marriage, .produced at the Court by the Abbey Theatre Company of Dublin is a very tragic affair and it has the right dramatic stuff in it. Mr. Lennox Robin- sons "Patriots "ike Mr. J M. Synge's "The Play Boy of the Western World,'"
a comedy, but its aim is the same as Mr. Phillpotts's " The Secret Woman
presenting peasant life in its mingled tragedy and comedy. Only the Irish play- wrighte have a finer sense of humour. r
10 THE STAGE YEAR BOOK.
MELODRAMA.
If serious plays have been scarce there is still room for melodrama in London, especially if it be of a polite and picturesque type. Mr. Louis N. Parker's " Drake " has been one of the great successes of the year, for instance. Its subject has, of course, topical interest at the present moment, but, apart from that, Mr. Parker has done his work well. Those playgoers who remember Henry Hamilton and Augustus Harris's "Armada," nearly a quarter of a century ago, will be able to gauge how much better we do these things now. The autumn melodrama at Drury Lane, Mr. Stephen Phillips's revised version of the late Walter Browne'- " Everywoman," struck a new note. In outward style it is a kind of Morality play, but in essence it is really familiar melodrama. Beauty, vice, vanity, greed, and love are only our old friends the hero, heroine, villain, and comic relief in disguise. Still there were, perhaps, more ideas in the piece than in an ordinary melodrama, and to that extent "Everywoman" may be considered an advance in taste.
To all intents and purposes the adaptation of Henri Kistemaechers's " The Turn- ing Point " at St. James's is a melodrama. It is old-fashioned in technique, and relies entirely on its "strong" situations. I think that may be usefully employed as a definition of melodrama, which now means to us a play in which the situations are everything, and the characterisation and ideas subordinate to them. Mr. Charles Klein's "Find the Woman" was another example of modern melodrama. It is modelled on the Bernstein lines of having a central thesis, and in the case of "Find the Woman" this thesis is the New York police examination in the third degree. But all the same, the thesis is nothing in comparison with the situa- tions. Mr. Hartley J. Manners's " The Great John Canton " stands a little apart from this type of melodrama, for in the drawing of the domineering old millionaire and in some of the other dramatis personse there is an attempt at charac- terisation. Mr. George Fawcett's acting gave the play a distinction it would other- wise have lacked. Henri Kistemaeckers's " Instinct," which came to the Duke of Yank's via Liverpool, (dealt waith the old itiheme of whether a man would save tihe life of his wife's lover if the action came within the ordinary round of his duty. " Instinct" is an example of the Pinero well-made play, but it has not a tithe of our own dramatist's ability. Mr. Eugene Walter's " The Easiest Way," the third American melodrama of the year, was a crude, brutal play on a subject akin to that of Pinero's "Iris." It was mainly remarkable for showing what the Censor will permit if there is no moral in a play. Other melodramas, such as " Ben Hur," " The Women of France," "The Apple of Eden," and "Monte Cristo " do not demand more than a passing mention. But " The Open Door " at the Lyceum was an attempt to follow the Morality fashion set by Drury Lane, and it had, perhaps, a great deal more meaning. As it was followed by a version of " Oliver Twist," in which the brutalities of Bill Sikes's murder of Nancy were emphasised, we may assume that Moralities are not to the taste of Lyceum audiences.
SHAKESPEARE AND EEINHARDTISMS.
The production of " Othello " at His Majesty's in the spring, and the usual Shakespeare festival in the early summer were the only "legitimate" Shake- spearean productions. Mr. Granville Barker's " The Winter's Tale " and " Twelfth Night " come in a category of new scenic productions. Sir Herbert Tree's Othello is not one of his best impersonations, and Mr. Laurence Irving's lago was very con- versational and casual ; yet it was the most interesting feature of the production. Sir Herbert Tree's Othello was, of course, a tour de force, for the part is not really suited to his temperament. The production was not so elaborate as usual, but even so there were omissions and alterations of the text. Mr. Granville Barker, on the other hand, has done well to follow the example of Mr. William Poel, and give us practically the whole of Shakespeare. This was made possible by the use of the apron stage, which Shakespeare's technique demands. The scheme of decoration in "The Winter's Tale" gave rise to much discussion. Frankly, on looking back on the production, I do not think the discussion was necessary. It is quite evident that Mr. Norman Wilkinson's eccentric scene of Leontes' palace and Mr. Rotherstein's imitation of Bakst's baroque cu-esses were not the expression of any sincere artistic need on the part of Mr. Barker, except inasmuch as he has come to the general conclusion that old-fashioned realistic scenery hampers rather than helps Shakespeare. I think it not unfair to suppose that the manager of the Savoy is human enough to desire to make his show discussed, and he succeeded
THE STAGE YEAR BOOK. 11
beyond all reason. In "Twelfth Night " there was the same eccentricity of scenery, but Mr. Wilkinson supplied the designs of the dresses, which were not at all eccentric, and many of them very beautiful. Above all, the rapidity of speech which marred "The Winter's Tale" had given place to a normal delivery in " Twelfth Night." The second play was better cast, too, and indeed was very finely acted, so that Mr. Barker is evidently a manager who is not above learning something from his critics.
This innovation of scenery has been one of the vital features of the year. Max Reinhardt began the fashion with his production of " Sumurun " last year. Then he gave us his version of " (Edipus " early this year. The whole production was an attempt to underline the horror of Sophocles' tragedy. The black columns of the palace, the blood-stained altar, the dim lights and rushing crowds achieved this, but destroyed the dignity of the tragedy. It was a veritable hocus-pocus of stage art. Mr. Granville Barker imitated this style of production in " Iphigenia in Tauris." The temple was blood-red this time, and everything was done to create a scene of horror, in spite of the fact that Euripides' play is full of hopefulness and open air. However, " Iphigenia " was well-acted, and when Mr. Barker took the production to the Greek Theatre at Bradfield College one was able to appreciate the fact that apart from its trappings the performance of the play was excellent.
Max Eeinhardt himself has given us nothing new except " A Venetian Night " at the Palace, a poor, dull thing, whatever his apologists may say. The piece was banned by the Censor, but trifling alterations were made. In other directions the new spirit of scenic reformation has made itself felt, and the irony of the situation is that Mr. Gordon Craig, who is the real leader of the movement, has not been represented by an important production in London of recent years. He has infinitely more poetic vision than Max Reinhardt. Sir Beerbohm Tree should hand over His Majesty's Theatre to Mr. Craig for a production of "Hamlet." For my own part, I think that Mr. Lewie-Ransom, who designed the dresses and scenery for " The Malingerer," the charming wordless play which Miss Marie Tempest pro- duced as part of her triple bill, has done more than either Mr. Barker or Max Reinhardt to solve the difficulties of scenery. Mr. Ransom has been influenced to some extent by Aubrey Beardsley, but that is neither here nor there. His picture of an eighteenth-century bedroom strikes just the right note as a fantasy, and the picture is beautiful without being ordinary. What Mr. Norman Wilkinson has forgotten is that the figures in his pictures are real. When they move and talk the "conventional" picture in his mind's eye is altogether broken up. The modern scenic artists must invent some background which will be in accord with his figures, which are only part of a static design when they are still. Nor must we accept too readily the idea that Shakespeare's play should be produced in the Elizabethan manner. Mr. Barker's ideas do not pretend to be Elizabethan at all. Mr. William Poel is the real Elizabethan producer of Shakespeare, but he is only Shakespearean as far as an observance of the limitations of the Elizabethan stage are concerned. His " Troilus and Cressida," the culminating performance of the Elizabethan Stage Society, was full of new and unjustified readings. I think H was the least Shakespearean performance I have ever seen.
FARCES AND MUSICAL COMEDY.
There have been only two farces of any moment produced during the year, and they were by American authors. Mr. James Montgomery's " Ready Money " is an amusing, original piece, and Mr. Austin MacHugh's "Officer 666" is both exciting and amusing. The British farces, either by native playwrights or transla- tions from the French, have been singularly poor. In farce there will no doubt be a renascence, as there has been in comedy. The melodramatic farces of America seem to me to open a new road. Musical comedy, on the other nand, is steadily progressing, although, it must be confessed, only on its musical side. " Princess Caprice" by Leo Fall, "Gipsy Love" by Franz Lehar, and "The Girl ;n the Taxi " by Jean Gilbert are musically far above the musical comedies of a decade ago. Mr. Lionel Monckton has held his own in " The Dancing Mistress," but on the whole the British composer of musical comedy has not been able to face the competition of the Viennese school. The Gaiety pieces are permanent in type, and are peculiar to London. There is no reason why our own composers should not easily surpass the work of foreigners, but our clever young men would consider it beneath their dignity to write musical comedies. They aim at being nothing leas than a Wagner or a Strauss. However, the advance of musical comedy if very slow
12
THE STAGE YEAR BOOK.
is none the less sure. If only a librettist of genius could be discovered this form of art would receive a new impetus. The public wants something new and better than it has been given.
There is no space to enter into details of the doings of the many stage societies now in existence. All have done good work, and are helping the cause of drama and acting. Indeed the activity in the theatre of to-day is remarkable, and, as I have tried to show in this review of the year's work, the dramatic renascence is influencing our stage in every direction. There is no longer any cause for a pessi- mistic point of view in discussing the present and future of British drama.
RAILWAY RATES*
NEW regulations concerning the railway travelling of theatrical companies and parties of music-hall artists, adopted by the Clearing House, came into force on July 1, 1912. They concerned the truck privileges and the prices of trucks, the three-quarter fare concession which THE STAGE obtained for theatrical companies in 1896 happily remaining unaltered. The new regulations are as follow : —
NEW REGULATIONS.
1 to 9 passengers. — No free truck. 6d. per mile for a truck not exceeding 21 ft.
in length. Is. per mile for a truck exceeding 21 ft. in length, but not
exceeding 45 ft. 10 to 20 passengers. — No free truck. 3d. per mile for a truck not exceeding 21 ft.
in length. 6d. per mile for a truck exceeding 21 ft. but not exceeding 45 ft.
in length.
21 to 33 passengers. — One truck not exceeding 21 ft. in length free. 34 to 66 passengers. — Two trucks not exceeding 21 ft. in length free. 67 to 100 passengers. — Three trucks not exceeding 21 ft. in length free. 101 to 133 passengers. — Four trucks not exceeding 21 ft. in length free. 134 to 166 passengers. — Five trucks not exceeding 21 ft. in length free. 167 to 200 passengers. — Six trucks not exceeding 21 ft. in length free. 3d. per mile for each additional truck (not exceeding 21 ft. in length) ; maximum
load, 50 cwts. ; minimum charge, 5s. 6d. per mile for each additional truck exceeding 21 ft., but not exceeding 45 ft.
in length ; maximum load, 5 tons ; minimum charge, 10s. 9d. per mile for each additional truck exceeding 45 ft. ; maximum load, 5 tons ;
minimum charge, 15s. Each passenger, whether first or third class, to be counted as one passenger in
reckoning the allowance of free trucks. Regulation governing guard trucks and runners cancelled so far as theatrical
scenery is concerned.
THE KING AND THE THEATRE.
During the year the King witnessed the following entertainments : —
April 23.— Royalty. "Milestone0." ,, 26.— St. James's. " Bella Donna." f| 27.— Wyndham's. "Jelf's." ,, 29. — London Opera House. League of
Mercy Matinee. May II. — Scala. Kinemacolor.
., 13.— Covent Garden. (<Aida." July 1. — Palace. Command Music Hall Per- formance.
„ 12.— Covent Garden. " Madame Butterfly." ,, 17. — Covent Garden. " La Boheme." „ 20.— Garrick. "Find the Woman." „ 23.— Queen's Hall. Royal College of Music
Patrons' Fund Concert.
,, 25.— Covent Garden. " Le Lac des Cygnes," " Le Spectre de la Rose," and "Prince Igor." ,, 27.— Daly's. "Gipsy Love."
August 15.— Shaftesbury. " Princess Caprice."
Oct. 26.— New. '-Ready Money."
,, 28.— St. James's. " The Turning Point."
Dec. 2. — " Rosalind." J. M. Barrie's play, was the principal item in the Command performance which was given at Sandringham in honour of the anniversary of Queen Alex- andra's birthday. Miss Irene Vanbrugh, Mr. Donald Calthrop, and Miss Helen Haye appeared in their original parts. Also in the programme were Mr. Yorke Stephens and Miss Margaret Moffat in "Just Like a Woman," and Mr. Barclay Gammon. „ 14.— Strand. "The GladEye." ,, 21.— His Majesty's. " Drake,"
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Miss MARY JERROLD, MR. STANLEY LOUAX, MR. DENNIS EADIE, Miss MARY RELI-II, M,ss HAII>KI: WKH;IIT,
and Mu. HUBERT HARBEN.
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MR. HUBERT HARBEN, Miss ESMK HUBBARD, Miss MARYJ JERROLD, Miss EVELYN WEEDEN, MR. STANLEY LOGAN, MR. DENNIS EADIE, and Miss HAIDKE WRIGHT.
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14 THE STAGE YEAR BOOK.
THE PLAINT OF THE EARNEST STUDENT.
BY MOSTYN T. PIGOTT.
T
HE Drama of these modern times I've made my study conscientious, And comedies and pantomimes And tragedies which reek of crimes
And '' txmveirisiations '' most pretentious, 1 carefully have mastered them all, From theatre to music hall.
I've studied them from the legit.
Downwards (or upwards) to variety, And heard the Drama told that it Was of unbounded benefit
To ev'ry section of society; I've seen the Licenser correct It when it was not circumspect.
I've read long articles about
Its destination and its mission And noted pundits pointing out That there exists no sort of doubt
Concerning its exact -position ; ['ve seen it take up more or less Two-sevenths of the daily Press.
I've watched it growing day by day To absolutely huge dimensions,
And seen enthusiasts display
A dark desire to cast away
Its most respectable conventions.
I've marked its tendency and growth,
And made a mental note of both.
But as I gazed I found that I Was rapidy becoming fuddled ;
The talk of aspirations high
And fateful changes drawing nigh Left me pre-eminently muddled ;
I wholly fail to comprehend
Precisely how it's all to end.
The more the subject I survey
The more I feel I'm getting nervy ;
I feel my hair is growing grey
As I perceive to my dismay
The advent of the topsy-turvy;
And I get plaintively perplexed
At thought of what's to happen next.
THE STAGE YEAR BOOK. 15
For instance, music-halls intent On finding anything that fetches
Show very clearly they are bent
On giving plays of sentiment And also Grand Guignolesque sketches,
And are not backward nowadays
In playing even Shakespeare's plays.
Their chief reliance now they place On turns that aim at the dramatic,
And they can pretty clearly trace
Their patrons in nigh ev'ry case Exhibiting in style emphatic
That they undoubtedly incline
To stars like Sarah the Divine.
And on the other hand we find
The theatres their methods changing
And framing programmes of a kind
That show they have it in their mind That matters call for rearranging :
Their triple bills, one can but feel,
Are very near to vaudeville.
And if front-pieces they require No more they give us one-act dramas,
But "entertainers" they will hire
Who sing the songs that never tire Concerning flappers and pyjamas :
In their opinion, thus they show,
Variety is all the go.
I gaze around as in a trance And, with my breath distinctly bated,
I see things to the pitch advance
When theatres to song and dance Are quite completely dedicated,
And when the halls the home will be
Of tragedy and comedy.
I see a nearing day in which
His Majesty's and the Apollo Will listen to the humour rich Of Wilkie Bard and Little Tich
With histrionic seals to follow, While sisters on the high trapeze Win cheers till now Sir Herbert Tree's.
I see grim dramas from the Norse And farces from the Rue de Rivoli,
And Shaw's and Shakespeare's plays, of course,
Transferred by circumstance's force, Up to the Palace and the Tivoli,
While Alexander's bound to have
All his productions at the Pav.
It then suggests itself to me
That all this very queer and strange is ; The more I try the less I see What sense there possibly can be
In constant chops and constant changes. What good on earth shall we get from This modern topsy-turvydom ?
PETER PAN STATUE,
Erected in the Kensington Gardens.
THE STAGE YEAR BOOK.
THE CONDITIONS OF MODERN DRAMA/
BY LAURENCE HOUSMAN.
fBE " Man of the World " has got hold of modem drama. His control of it is far more potent than of any other branch of art that one can name ; and his control arises from, or has been greatly increased by, modern dramatic con- ditions, many of which did not obtain to anything like the same extent a tion ago.
He has got control in three different ways — by over-commercialism, by over- centralisation, and by a Censorship that springs not from the national conscience, but from convention.
Let us take first the commercial conditions. At the present day the drama is run on more fiercely competitive lines and for higher stakes than any other branch of art or literature; it is produced at a far greater cost and under far more speculative conditions. Theatrical management is a much greater gamble than publishing or picture dealing. For a prosperous existence the drama depends on great trade interests, in a far greater degree than used to be the case thirty or forty years ago, and in a far greater proportion to its cost of original production than any other form of art you like to name.
I By cost of " original production " I mean cost of invention to the author. A play has taken a dramatist as long to write, say, as it takes an author to write a '.. though probably it has not taken so long. There you get, as the nucleus its life (the creative effort which has made it a work of art), six months' or a 's brainwork. But before that creative effort, that brainwork, can put on in stage form it has to be connected with an expenditure of several hundreds »ven thousands of pounds. Before it can have its popular chance a play has probably at least £100 to every £10 that need be spent by a publisher on The costs of advertising are enormous, far more than the costs of adver- ig books or pictures. The cost in rent of theatre, of upkeep in salaries of itrical staff and actors, has enormously increased. Add to this the further rerse condition that when once a manager has started to produce a play it is a hable article, very expensive to keep with all its working paraphernalia around it. And this initial factor of expense has, of course, a tremendous influence on the manager's acceptance or rejection of plays and on the character of plays submitted to him. A publisher can, and often' does for the credit of his firm, publish a good book of a non-popular kind, though he sees in it no immediate or ultimate return on his outlay. He can afford to ; it does not cost too much. :ie gets credit by it. In the same way a picture-dealer can afford to invest in the work of an unrecognised painter. But a theatrical manager, saddled with his huge expenses, cannot afford to do that to a play. He must see his money and his public waiting for him at the doors of his theatre, or he cannot afford to handle the play. And so he caters only for the taste of the day, and can offer very little direction and encouragement to the possibly better taste of to-morrow. Trade .interests force him away from a free artistic choice: he must cater for majorities. In comparison, then, to the brainwork — the imaginative effort which is the centre ,of the whole thing — the monetary considerations have become hugely dispropor- tionate. The pressure of commercial conditions drives the manager to think only iraediate popularity; he in turn drives the dramatist who depends on him for in living to think of immediate popularity also, and to direct his brainwork accord- 'inglv.
COMMERCIAL MORALITY.
These are the most apparent conditions which have led to the over-commercial- * The substance of a lecture delivered at the City Temple.
18 THE STAGE YEAR BOOK.
ising and the intellectual cheapening of modern drama ; but there are others which go more subtly and more poisonously to its very roots. The modern musical comedy is their outward and visible expression ; the inward and spiritual disgrace which they cover you will, I think, sufficiently gather if I quote to you Mr. Bernard Shaw's words in connection with the censoring in America and in this country of his play " Mrs. Warren's Profession." In the preface to another of his plays he writes : " Since the above was written news has arrived from America that a leading New York newspaper (which was among the most abusively clamorous for the suppression of ' Mrs. Warren's Profession ') has just been fined heavily for deriving part of its revenue from advertisements of Mrs. Warren's houses.
" Many people have been puzzled by the fact that whilst State entertainments which are frankly meant to act on the spectators as aphrodisiacs are everywhere tolerated, plays which have an almost horrifyingly contrary effect are fiercely attacked by persons and papers notoriously indifferent to public morals on all other occasions. The profits of Mrs. Warren's profession are shared not only by Mrs. Warren and her partner, but by the landlords of their houses, the newspapers which advertise them, the restaurants which cater for them, and, in short, all the trades to which they are good customers, not to mention the public officials and representatives whom they silence by complicity, corruption, or blackmail. Add to these the employers who profit by cheap female labour, and the shareholders whose dividends depend on it (you find such people everywhere, even on the judicial bench and in the highest places in Church and State), and you get a large and powerful class with a strong pecuniary incentive to protect Mrs. Warren's profession, and a correspondingly strong incentive to conceal from their own consciences no less than from the world the real sources of their gain."
There you see how commercialism helps to encourage what Mr. Shaw calls the "aphrodisiac play" — the play which reflects the low average standard of sexual morality — which the Censor so readily passes, and which is to-day occupying, with great profit to its producers, a very large proportion of the London stage ; and you will find that in recent years the majority of censored plays have been those which show themselves hostile to this far-reaching commercial alliance by attacking our low average standard of sexual morality. I need mention only "Waste," by Granville Barker, " Mrs. Warren's Profession," and " Maternity," by M. Brieux.
THE DEARTH OF PROVINCIAL DRAMA.
The second evil from which our drama is suffering is over-centralisation. For you will never get drama of really native character and national importance if you '" capitalise" it, so to speak, by giving it no real encouragement to flourish outside the metropolitan area.
For various reasons the old stock companies which used to carry a large repertory of quite respectable drama throughout the length and breadth of England have either disappeared or entirely changed their character ; and except in our really large towns you get from the travelling companies that visit them hardly anything but inferior reproductions of a few of the popular successes of the day, generally of the musical comedy type. You might live for years in one of our cathedral or county towns nowadays and go starved, with never a chance of seeing any of the more serious dramatic efforts of the day. It is quite exceptional now for these to visit the provinces outside our large towns. For these are the plays which require good acting, and not merely that popular substitute for it, a good stage presence and a knack of securing the cheap laugh ; and in over-centralising oar drama we have also over-centralised our actors. Good actors no longer take a steady apprenticeship of provincial touring as a matter of course — they prefer an alternative which brings far less practical experience, but more ease and higher remuneration — ithe filling of smaller parts in popular plays that run at the London theatres for whole months at a time or even years. And the selection of the play which is likely to run for so long a. time (owing to its ultra-popular appeal) is another of the causes of our present dramatic decadence. The long run gives the actor an easier time, but less experience ; and it gives the drama less chance of growth and development.
REPERTORY THEATRES.
Now, for the drama to recover its national character, and be not merely an exotic exportation from the capital to the provinces, we need local centres with companies of good actors permanently located, and so acquiring local repute, and
777.fi: STAGE YEAR BOOK. 19
arousing a certain local pride in their achievements. This is being done to-day in three centres far removed from London — at the Abbey Theatre in Dublin, at Miss Horniman's theatre in Manchester, at the Repertory theatre in Glasgow, and tentatively also, I believe, in Liverpool. And at those places the public is being supplied with serious and original drama, in many respects of a more intellectual kind than you would meet with in the repertory of any single London theatre since the Court Theatre established its record a few years ago. Now those theatres, which are doing this most valuable work of decentralisation, all show a tendency or a wish to produce censored plays. Why is that? Do you for a moment suppose that it is because those managers and the public for which they have to provide are more immorally or indecently inclined than others elsewhere? That alongside of this record of fine and serious work accomplished runs a morbid craving for impropriety? Not a bit of it. It is because they are aiming for something better and higher and purer in drama than our present Censorship aims for — something which our present Censorship sets itself to defeat. Those managers would reject with contempt and disgust plays which the Censor has licensed ; while they have sought permission in vain to produce to the serious and considerate audiences forming their clientele some of those plays I have named to you which the Censor will not allow to contaminate a public on which he has let loose " Spring Goats," and " Giddy Chickens," and a constant supply of inconstant " Georges " and good old " Charlies," the basis of whose dramatic attraction is their infidelity to their wives or the general looseness of their morals. The local respect which those managements I have spoken of have secured for themselves — the touch of local patriotism which their efforts ihave evoked — are a far surer safeguard of public morality and decency than the imported " yes " and " no " of an aloof and distant Censor. Give -a quickened local life to your drama, and you will give it also a quickened and a more native standard of morality.
VILLAGE PLAYS.
Here and there in recent years there have been other more humble attempts to localise the drama. You have heard of Mr. McEvoy's company of Village Players and their instinct was at once to get hold of some form of drama that had native life and local colour in it. That drama, too, can safely be left to look after its own morals. If you can but surround your drama with right conditions, make it a thing growing iout of the community in which it is placed, give it a home flavour of its own, your Censorship becomes an obvious superfluity. I heard some time back of a clergyman in a West Somerset village who started to construct a Nativity play by making his players — the village youths — sav at rehearsal the things they thought best to say in their character as shepherds approaching the manger of Bethlehem ; and, taking note of the simple things said at one time or another by those untrained youths, out of these he constructed his play. Well, there again you get natural native drama producing itself under right and safe conditions. Yet under the rule of the present Censorship it is impossible for that simple village drama to receive a license. It may be played with open doors, people may come to see it, all may be edified, no one offended, but it cannot look for a legal license ; it is outside the conventions of the Censorship.
You will see, then, how in considering the over-centralisation of the drama, and tihe symptoms of good which accompany its reversal, I have come again (as I did when treating of its commercial aspect) upon the question of the Censorship, which, as .at present constituted, I believe to be one of the great demoralising influences of modern drama, and one of the things which tends to impose upon it the "man of tihe world's" point of view.
" MAN OF THE WORLD " DRAMA.
Now what sort of advice has your "man of the world " to give you toward the solution of your social problems? The true dramatist is always looking at life both individual and communal. If ,he studies the individual only, he may startle, amuse, excite ; but it is not till he studies life in its groupings that he becomes socially valuable ; and the more broadly he can group the more likely is his work to become of ^eal and permanent value. But you can't group broadly without coming on social problems, the unsolved evils of civilisation ; and so, just when the dramatist is finding his real stride, and going where Heaven meant him to go, up comes your man of the world and says, "Where are you off to? What are you after? " And when he points to those darker places of civilisation, where the grouping of life is
20 THE STAGE YEAR BOOK.
densest and where the conditions obtaining are most obviously evil and corrupting, is not the advice of the " man of the world " almost sure to be to " let sleeping dogs lie," "not to stir muddy waters," or some conventional plea of that sort? "Well, in the Censor you have your ",man of the world," backed with absolute prohibitive powers ; he lays down his law that certain things are not to be referred to or dealt with publicly on the stage, and as the things the dramatist wants to deal with are often very popular abuses — which lower our national vitality — which everyone knows about, but of which it is unpopular to speak, the Censor, with his prohibitive powers, tends on the whole to be a popular character ; and the tendency of his authority is to turn the drama in a comfortable, popular direction, suited to the "'after-dinner habit" of listening digestively only to what is pleasant.
Now, a purely popular drama of the urban kind will inevitably reflect popular ideals ; that which is the .accepted pivot of our social conduct will become also the pivot of such drama, and the denouement of the play will be, in ninety-nine cases out of a hundred, just what the public would wish it to be. For the popular mind loves nothing better than to see its own verdicts and sentences endorsed and carried into effect upon the stage. Now, so far as I can discover, the only Nemesis (short of death or physical disaster of some sort) that your average theatre-goer can visualise and understand is the Nemesis of " being found out " — found out pub- licly, I mean. And, accordingly, nearly every ex-ample of what we are pleased to consider the higher drama, that has made a popular hit, has depended for its denouement on the merely external accident of certain characters in the piece being found out or not being found out. You see them for two or three acts playing at hide and seek with the god of their worship until the god of their worship (namely, public opinion) finds them out. And when they are found out the play ends, generally in a rush to suicide. On being brought face to face with their loved and feared deity — charged with this, that, or the other offence against him — their remedy is to jump into another world where he does not exist. And the public is flattered; it feels itself worshipped. "I am a god, to kill and to make alive ! " You have but to go through in your own minds some of the best- written and best-comtructed drama of our day, and you will find that for its moral centre it has nothing better than a sort of truckling worship of popular opinion.
Vox POPULI vox DEI.
Now, do you think you are ever going to get really noble drama out of such material? Is such a god (when you have discovered him, or when he has dis- covered you) of such a high moral quality as to make this haphazard contact between him and the soul of a detected sinner — this bumping up against each other in the dark — very much worth considering? Apparently even the dramatists do not think so ; for no sooner has the apparition of this dedty flashed its triumph upon the scene than the drama collapses in disaster, someone " goes under," and that is the end. Whereas, surely, the real drama — if this be a deity worth having — the real drama should begin where the man and his god have got to close grips beyond all possibility of escape ; and in the ensuing struggle the drama would show you the worth of the god and the worth of the man. Yet it is very seldom that your modern drama gives you anything better than the story of some fugitive from public exposure run to earth, and there killed. What I wiant to know is, what your god does with him and makes of him if it catches him and keeps him alive? How this godhead of popular judgment sets its mark on him — not when it kills him, but when it gets real possession of him ? And when I see a play on those lines then I shall know more about the worth of the man and a good deal more about the worth of the god.
A few years ago we had such a play given us ; but though it made its mark and won fame and respect, and did good work, it wasn't a popular play. It was called "Justice." There, right at the beginning of the play, the people's god got hold of the man and broke him — slowly, systematically, and cold-bloodedly wasted him ; after get/ting complete control of him, turned him loose again a wreck — made a worse thing of at the end than at the beginning ; and you saw upon him the marks of the tee'th of the people's deity as though he had been mangled by some savage beast ! Well, that play was worth seeing, but it didn't make you respect the people's deity — public opinion — the god of popular drama.
Now, when its scheme is thus put before you, you cannot but see that the writer of that play had something to give to the 'public which (whether you agree with it or not) was worth considering. And you must feel convinced that such a man
« ANN/'
From Sketch by Harold Smir/i, of o/Jfm '^enee f\e/(y Reduced facsimile of an artistic Poster, the work of DAVID ALLEN & SONS, LTD.
THE STAGE YEAR BOOK. 21
would not write anything frivolously and wantonly merely to shock people or produce anything that could be called indecent. Yet that writer, in giving evidence before the Committee on Stage Plays a few years ago, had to admit that he had been prevented from writing a pl;iy which he very much wished to write because of a Censorship which claims to judge better than he what is good for the public to receive at his hands !
THE SOCIAL DRAMA.
We are told that one-half of the community does not know how ths other half lives. And that fact, in so far as it is true — and it is very largely true — as altogether bad for our social health ; it keeps us callous and ignorant. Now, if true drama is alive in our midst it will set itself to correct and to make tha/t anti-socdal condition of modern life (if not impossible) more difficult. It will set itself to socialise the national conscience as a necessary step toward national drama. Where do you find that corrective tendency at work? Again, I say, among that group of dramatists who are most keenly set on the abolition of tne Censorship. You find it in the plays of Mr. Galsworthy, in "Strife," and "Justice," and " The Silver Box," and in " Chains," by Mrs. Baker. You find it, intellectually expressed rather than socially, in the plays of Bernard Shaw and Granville Barker — 'intellectually, because with them we do not generally get, as with Mr. Gals- worthy, a picture of the social relations between rich and poor, but of the mental relations between the people who are trying to think and the people who are refusing to think. And there, again, is a huge department of life where one-haJf of the community does not know anything of the life of the other half, and tries to avoid knowing it. The support which the Censorship receives is largely the support of people who are dead set against the theatres they frequent being invaded by thoughts and ideas which they do not wish to listen to. If they can prevent any opening up of the social conscience on their playground they will. It shall not even have a public playground of its own.
There, then, is yet another indication that to be freed for social effectiveness — for the bringing together of the minds of the community, even if it be only to make them knock heads together — you need a greater freedom for the drama than a -Censorship ruled by conventionalism and officialism will ever permit of. The plays of Bernard Shaw are largely concerned in attacking conventions of sex and conventions of religion ; the plays of Granville Barker are largely concerned in attacking our social, industrial, and political conventions by an exposition of their appallingly bad social results. Both set themsalves to show that under some of our most cherished conventions, and behind our most monumental respectabilities, lie hideous evils which threaten to eat out the vitals of the nation. In their plays which have been censored they have laid their fingers upon evils that every grown man and woman knows of — that we are all in part responsible for — so widespread that they amount to what may be called illicit national institutions — things which are mentioned in our daily Press quite as openly and with quite as much detail as in these censored! plays, but which have not elsewhere had their moral so ruth- lessly and uncomfortably pressed home. And it is for the uncomfortable pointing of the moral that those plays have been condemned ; not because — as many of i/he plays passed by the Censor might well do — not because they could seduce any young man or woman into vice, not because there is anything in them to excite undisciplined passions, but because they could make a well-to-do audience un- comfortable and troubled in their consciences, and so give them (from the man of the world's point of view) a very bad return for their money. The Censorship sets itself to prevent a public attack on certain broad conventions which, often to most evil results, rule our social life. It does not set itself to prevent a public exposition in the most exhilarating and diverting form possible of a low standard of sexual morality and of equivocal situations so attractively presented that their general effect upon the less thinking of the audience cannot be anything else than a suggestion to " go and do likewise," for (as you perceive from its laughter and applause) the general theatre-going public is quite ready to regard those who do these things as "very good fellows."
STATE REGULATION OF VICE.
Now I do not say that the Censor should forbid these plays, but I do say that the known fact that the Censor has licensed these glorifications of a loose and harmful code of morals, while forbidding others which are aimed seriously against
22 THE STAGE YEAR BOOK.
such evils — I do not say that such knowledge creates in the public mind a bias in favour of tolerating and perpetuating certain social conditions, and that such licensing does come perilously near to a Sitate regulation of vice.
These censored plays for which I plead do often deal painfully with painful subjects— but they deal witih them seriously. But the plays which the Censor passes deal frivolously and light-heartedly with painful subjects, and try to make you forget that they are painful. That is the most horrible thing about them — they enable an audience to feel comfortable.
There are two things I want to leave prominently in your minds as regards this question. First, I want you to realise that the men who are most in danger of, and most hindered by the Censorship to-day are the very men who are most seriously and whole-heartedly intent on social reform and the awakening of a national conscience as a means to national self-realisation. "What," inquires one of the characters in Granville Barker's play, " Waste," " what is the prose for God?" "That," answers another, "is what we irreligious men are giving our lives to discover." " The prose for God " — how to interpret God in the terms of every-day life, and how to carry out His will — the preservation of life. " That's an unhappy man, or woman, or nation — I don't care what their brains, or their riches, or their beauty, or any of their triumphs may be — they are unhappy and useless if they can 'it tell life from death." It is because of its failure to dis- tinguish in the things of the drama between what makes for life and what makes for death that I ask for your condemnation of the present Censorship as an unhappy and useless institution.
The second point I want to impress upon you is the danger of turning a deaf ear to any voicing of an unpopular cause, lest it should in truth turn out to be the word of God. In a famous passage in the Book of Kings you may remember how four hundred prophets prophesied smooth things and flattered the ears of the King, but only one told the truth, and incurred for it the King's displeasure.
In the drama of to-day there is a great deal that natters the public ear, and helps to drug the conscience of (the community : and that will always be the more popular drama. But there is in the hand of the dramatist a great power — .the power of compelling by his art interest in and attention to unpopular truths. Give to the men who are willing to do that an unhindered right of way, and before ^ng you will see modern drama, as a means for rousing us to our full duty of citizen- ship, quickened into new life. After and following upon that you may get (what all artists must finally aim for) the drama of mirth and beauty — of pure and divine comedy.
CONCERT PARTIES,
MR. STANLEY KIRBY'S CONCERT PARTY (MARGATE).
MR. FREDERICK ARTHUR, MissaELSiE STEADMAN, MR. FRED WILDON,' MR/STANLEYBKIRBY, MR. JACK LENNOL, Miss EDITH -LORRAINE.
I
MR. HAROLD MONTAGUE'S "THE VAGABOND PLAYERS.1'
Miss GWEN LEWIS, Miss AGNES ARDEN, Miss DAISY WARD, MR. ARTHUR THOMAS, MR. LESLIE BURGISS, MR. ARTHUR E. GODFREY, MR. HAROLD MONTAGUE.
CONCERT PARTIES.
MR. WILL CATLIN'S SCARBOROUGH PARTY.
MR. ARTHUR BRADDOCK, MR. WILLIE MANDERS, MR. ANDREW MCALLISTER, MR. F. CARLTON
FOSTER (deceased), MR. WILL CATLIN, MR. FRANK TERRY, MR. BERTRAM NOEL, MR. HARRY
MITCHELL, MR. WILLSB. MERRY, and MR. ERNEST;CLERC.
MESSRS, GARY'S "THE GEMS/'
CONCERT PARTIES.
MR. WILSON JAMES'S "THE GAIETIES."
Miss GERTRUDE HART, MR. HERBERT COOKE, MR. FREDERIC GROOME, Miss RUBY WILSON, MR. BERNARD TURNER, MR. WILSON JAMES, MR. HARRY HUDSON.
MESSRS. STEDMAN'S "THE WAGS."
\. LEEDAM STANLEY, Miss MARJORIE STONE, MR. BRYAN O'SULLIVAN," Miss GIPSY HODGSON, MR, WILL LENTON, Miss ROSALIE CARTER.
r
C/)
a
h
PL, H
o u
If
CONCERT PARTIES.
.; MR. CHARLES HESLOP'S "THE BROWNIES/7
ME. CHARLES HESLOP, Miss PHYLLIS MELVILLE, MR. GILBERT LATIMER, Miss VIVIEN STAFFORD, MR. ALEC S. CLUNES, Miss DOROTHY WEBB, MR. FRANK BUTT, Miss MAIDIE FIELD.
MR. ERNEST CRAMPTON'S "THE CIGARETTES/'
MR. ERNEST CRAMPTON, Miss BEATRICE EDWARDES, MR. ALBERT FOSTER, Miss OLIVE MAITLAND, MR. EASTFN PICKERING, Miss SIGRID DAGMAR, MR. HORACE MANGER.
CONCERT PARTIES
MR. ROBERT ^CARR'S "THE GEORGIANS."
Miss ETHEL KEMISH, Miss BETTY BATES, MR. LEONARD HENRY, MR. HARRY HEARNE, MR. EUSTACE
WALLACE, MR. ROBERT CARR.
MR. H. FLOCKTON-FOSTER'S^'THE IDEALS."
MR. E. LONGSTAFFE, MR. JAMES CRAIG, MlSS RlTA VlNCENT, MR. VlCKERS SMITH, MlSS FLO
ORCHARD, MR. DONALD GILBERT, Miss DOLLY EARLE, MR. VAL MORGAN, MR. H. FLOCKTON-FOSTER.
CONCERT PARTIES.
MR. SIDNEY JAMES'S "THE STROLLING PLAYERS."
CONCERT ARTISTS
should make a point of reading
THE STAGE
each week.
CHATTY NOTES & CRITICISMS.
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THE STAGE YEAR BOOK. 23
MUSIC OF THE YEAR.
By F. GILBERT^ WEBB.
THERE is wisdom in reviewing the past. It may not always bring satisfac- tory sensations, but undoubtedly it teaches many valuable lessons, and in the doings of recent times is to be found the key to the near future. In looking back over the past twelve months the most prominent object is the London Opera House, which now stands a monument of misdirected energy. To the experienced observer of London life Mr. Hammerstein's scheme was hopeless from its inception. From the time of Handel London with all its wealth has never supported two concurrent Grand Opera seasons in foreign tongues. One or the other has suffered financial disaster. Apart from this Mr. Hammerstein could not secure the artists and operas most popular in London as the Royal Covent Garden Syndicate was able to do, and as his prices were the same as those of Covent Garden music lovers naturally went to the older house. Moreover, Londoners have practically no curiosity concerning operatic novelties or fresh artists, and they have never shown any predeliction for the works of Massenet, on whom Mr. Hammerstein so greatly relied. These facts were familiar to the initiated before the foundation-stone of Mr. Hammerstein's theatre was laid, but it is well to state them in a work of reference such as the present volume, because Londoners have been accused vaguely of ingratitude and want of appreciation of rare enterprise, and because its failure has been adduced as a proof of the impossibility of founding a national school of opera in England. All Mr. Hammerstein did was to set up a rival to Covent Garden. There was nothing national in his scheme whatever. At the same time, .it is but fair to acknowledge that the American impresario has built us an extremely handsome theatre, and made us acquainted with several works and artists previously unknown to us.
LONDON OPERA HOUSE.
It will be remembered the London Opera House was opened on November 13, 1911, with the first performance in England of " Quo Vadis ? " by Jean Nougues! The other novelties were Massenet's " Don Quichotte," introduced on May 17 last — the feature of which was the masterly impersonation of the name part by Mr. Lafont, and the first production on the following June 15 of " The Children of Don," conducted by Mr. Arthur Nikisch. The libretto of the last-named opera was by T. E, Ellis (otherwise Lord Howard de Walden), and the music by Mr. Joseph Holbrooke, both of whom showed a want of perception of stage requirements fatal to the success of the work. During the season there were revived the old Italian operas " Norma," "William Tell," and "La Favorita," none of which proved successful, the first-named being played only once. Massenet's " Herodiade," " Le Jongleur de Notre Dame," and " Mignon," and Gounod's "Romeo et Juliette" were also revived. The remainder of the repertory consisted of "The Barber of Seville," "II Trovatore," "La Traviata," "Rigoletto," "Faust," " Tales of Hoffman," "Louise," and " Les Cloches de Corneville." The principal newcomers included Mmes. Felice Lyne, Victoria Fer, Vallandri, Isabeau Catalan, Augusta Doria, Yvonne Kerlord, Berthe Caesar, Marguerite D' Alvarez, Olchanski, and Jeanne Jomelli j and Messrs. Orville Harold, Frank Pollock, Jean Auber, Gennaro De Tura, Vilmos Beck, Lafont, Jose Danse, Georges Chadal, Figarella, De Grazia, and Enzo Bozano. The conductors comprised Messrs. G. Merola, Luigi Cherubini, Raymond Roze, Fritz Ernaldy, and Arthur Nikisch. At the close of the season in July Mr. Hammerstein announced that he had lost £40,000, but that he intended to re-open in November last. Second thoughts prevailed, however, and the theatre has now been leased to Mr. F. Akoun, of the Luna Park, Paris, who opened it on Boxing-day with a variety entertainment.
COVENT GARDEN.
The Grand Opera season at Covent Garden was the longest ever given under the present management. It extended from April 20 until August 1, during which
24 THE STAGE YEAR BOOK.
time ninety-five performances were given of German, Italian, and French opera and Russian ballet. The works and their respective repetitions were as follows : — "La Boheme," seven times; "La Tosca," " Madama Butterfly," and " The Jewels of the Madonna," six each; " Ai'da " and " Pagliacci," five (with ballet); "The Huguenots," " Rigoletto," and "Louise," four; "La Traviata," "Samson and Delilah," "The Secret of Susanna" (with ballet), "Girl of the Golden West," and "Carmen," three; "Barber of Seville," " Manon Lescaut," " Conchita," and "Tristan," twice; also two cycles of "The Ring," comprising eight performances. Of the above operas " The Jewels of the Madonna," by Wolf Ferrari, and " Con- chita," by Zandonai, were respectively heard for the first time in England on May 31 and July 3. The principal parts in the former were sustained by Mme. Edvina, Mr. Martinelli (a newcomer this season), and Mr. Sammarco. The name- part in " Conchita " was impersonated by Miss Tarquinia Tarquini, who made her first appearance at Covent Garden as Carmen on the opening night of the season. From the above list it will be perceived that " The Jewels of the Madonna " proved exceptionally successful ; in fact, it was the chief feature of the season.
In addition to the artists already mentioned, the cast of the operas included Mmes. Destinn, Tetrazzini, Saltzmann-Stevens, Kirkby Lunn, Bourgeois, Donalda, Lipkowska, Berat, and Agostinelli, and Messrs. Paul Franz, John MacCormack, Seveilhac, Hensel, Cornelius, Hans Bechstein, Cellini, Dinh Gilly, Huberdeau, Marcoux, Romano, and Van Rooy, etc. The conductors of the " Ring " were Dr. Rottenberg and Mr. Paul Drach, and those of other works Messrs. Campanini, Panizza, Percy Pitt, and Thomas Beecham. Two new ballets were introduced, " L'Oiseau de Fer," by -Stravinsky, a gorgeous production, with music written after the manner of Richard Strauss, and " Narcisse," by Tcherepnine, remarkable for the beauty of its scenic effects. The principal dancers were Mme. Karsavina and Mr. Nijinsky.
CONCERTS.
A large number of orchestral concerts were given, and a high standard of excel- lence maintained. The Philharmonic Society, continuing its centenary season, produced, on February 22, a new symphony in D minor, No. 7, op. 124, by Stan- ford, land " Four Famous Lyrics," for voice and orchestra, by Landon Ronald. On March 21 wfas produced an " Invocation," for orchestra, written for the Society by A. C. Mackenzie, and ithe first performance in London was given of a sed> of symphonic variations, entitled " Life Moods," by Arthur Hervey. The Society completed its hundredth season on May 23 last, when Beethoven's Ghoral Symphony was performed with the assistance of the London Choral Society, under the direc- tion of Arthur Nikisch. The choice of this work wias appropriate on this occasion, for the great Symphony was commissioned by the Philharmonic Society, and firat performed by it in London ton March 21, 1825. The veteran Society commenced its [hundredth and first season on November 7, under the direction of Mengelberg, who introduced into its repertoire Richard Strauss 's tone-poem, "Also Sprach Zanathrusltra. " At the succeeding concert, on the 21st of the same month, con- ducted ^y Frederic H. Cowen, was produced an orchestral suite, in C op. 37, " After Wordsworth," by H. Wtalford Davies. On December 5, the Society was able, for the first time, to use the prefix "Royal " on its programme. On this occasion the initial performance took place of a mew " Symphony, in four linked movements," in B min'or, by Hubert Parry, and first performances in England were also given of la "Fantasy on Four Scots' Tunes," iby Charles Macpherson, and h, "Finnish Fantasia," toy Glazounoff. After the concert, which was conducted by Percy Pitt, a supper was given at Pagani's Restaurant in celebration of the King's graciousness, and Madame Tetrazzini, who had sung during the evening, was presented with the Gold Medal of the Society. At the previous concert, 6n November 21, a like honour had been paid to Harold Bauer. It may be added that the present flourishing condition of the Society, /after an existence dating from 1813, is no slight testimony to London's love of music.
The London Symjphony Orchestra resumed dts concerts a/t Queen's Hall on January 15. Adhering >to its policy of employing different conductors, there were engaged, for the completion of its eighth series, Safonoff, Elgar, Mengelberg, Stein- bach, Nikisch, and Gustav Doret, the last-named a Parisian musician new to London. Ihese concerts, by reason of their exceptional excellence, have taken the place of the famous Richter Concerts. The programmes are of a conservative character, but a few novelties were introduced. On January 15 first performances were given in London o* the second and fourth of Ippolitoff-Ivianoff's " Caucasian Sketches,"
THE STAGE YEAR BOOK. 25
and Rimsky-Korsafcoff's Easter Overture, in D op. 36. Hamilton Harty's (tone- poem " With the Wild Geese," was played on January 29; Holbrooke's symphonic poem' in B minor, " The Raven," was revived on February 12; and Paderewski's symphony, in B minor, op. 24, was given on June 3. The composer of the last- named work played at the concert on the 17th of the same month. The ninth series of these concerts commenced on October 28, under Ithe direction of Fritz Steinbach, and the two succeeding concerts, on November 25 land December 9, were conducted by Elgar. The programme on the latter occasion consisted of Elgar's first sym- phony, his violin concerto and the " Enigma " variations, a selection that mode prominent ithe imaginative power and masterly craftsmanship of our leading
composer.
The Saturday afternoon Symphony Concerts, given by the Queen's Hall Orchestra, conducted by Henry J. Wood, at Queen's Hall, were recommenced on January 20, and large audiences have attested to the public's appreciation of the menits of the performances. Several novelties were introduced. On April 13 " Momento Mori," for violin and orchestra, by Max Vogrich, the solo part being played by Mischa Elman. On November 16 "A Comedy Overture," op. 120, by Max Reger, and on the 30th of the same month ia symphonic poem, entitled " Les Sirenes," op. 33, by Rheinhall Gliere.
The New Symphony Orchestra, founded and conducted by Landon Ronald, gave, on February 1, the first performance of a symphony, in E minor, No. 2, by York Bowen, and on March 30 introduced to England what was claimed to be a hitherto unknown symphony, by Beethoven. It was called ithe "Jena" by its discoverer. It seems probable that it was written by Beethoven, but it is evidently a very early effort by that composer. It comprises the usual four movements, and is scored for a Hiaydn orchestra, without clarionets. The work is as obvaous an imitation of its model as its originality is small.
The only orchestral concert given by Thomas Beecham, apart from the Sunday Concerts ait the Palladium and elsewhere, was a performance of French and Italian eighteenth century music at yEolian Hall, on February 24. Mention should be made of a band, formed by this musician, consisting of a novel com- bination of wind-instruments. The intention was to secure new varieties of tone- • colour. This object was achieved. That the results were not always satisfactory may be attributed to .the music having to be rescored, and the writers lacking experience in the possible effects.
The attendances at the Queen's Hall Promenade Concerts, conducted by Henry J. Wood, were exceptionally large. On several occasions, indeed, in excess of the capacities of the building. The exceptionally cold summer greatly favoured these concerts, in common with all places of amusement ; but there is no doubt that these performances are greatly esteemed by la large section of the London public. They commenced on August 17, and the programmes included a considerable number of novelties, for the most part, of light and pleasing nature. On the 29th was intro- duced to England the " Vorspiel and Serenade," from the " Showman " ballet, and on October 17 a " Schauspiel " overture, by the rarely gifted youth, Erich Korn- gold. Arnold Schonberg's "Five Orchestral Pieces," described as "Experiments in dissonance," and understood to be an attempt to introduce into music the prin- ciples of the new " Futurists " school of painters, were played on September 3, but excited so much derision that up to the present no one has ventured to repeat the experiment. A new suite, in four movements, of imaginative character, entitled " The Sea," by Frank Bridge, was produced on September 24. The late Coleridge "Baylor's violin concerto, originally produced at the Norfolk Festival, Conn., in May last, was played for the first time in England on October 8, the soloist being Arthur Catterall. On the same night a remarkable piece of "atmospheric " music, called a " Nocturne," by Pold'owski (Lady Dean Paul), was produced, and on the 10th of the same month two " Celtic .Sketches," by Edgar L. Bainton. Six orchestral variations on "Down Among the Dead Men," by Julius H. Harrison, were heard for the first time on October 22, and three delightfully vivacious "English Dances," by Algernon Ashton, were introduced two nights later. The season closed on October 26.
Among miscellaneous concerts record should certainly be made of a series of performances by the Queen's Hall orchestra, under the direction of Henry J. Wood, at Earl's Court Exhibition. The programmes consisted entirely of music inspired by the writings of Shakespeare. The selections were admirable, the music was most interesting, and although the scheme failed to attract the public, the con- certs formed a remarkable testimony to the power of Shakespeare's genius.
26 THE STAGE YEAR BOOK.
An attractive series of Choral 'and Orchestral Concerts, organised by Balfour Gardiner, commenced on March 13. Their object is to encourage native art, and among the works produced were "The Enchanted Summer" and a "Festival Overture," by Arnold Bax ; " News from Whydah," by Balfour Gar diner ; " The Baron of Brackley," by W. H. Bell; a piece, for string orchestra, entitled " Mock Morris," and a " New English Dance," by Percy Gradnger ; and ian orches- tral suite, founded on Arab airs, called " Beni Mora," by Gustave von Hoist.
The Royal Choral Society iat the Albert Hall gave the first performance in London of Elgar's "We Are the Music Makers," on November 28. The soloist was Muriel Foster, as on the production of the work at the Birmingham Festival. On December 23 a Carol Concert was given, a new departure by this Society.
The London Choral Society resumed its concent® ait Queen's Hall, on October 30, with Bantock 's " Oniiar Klhayyam," and at the succeeding concert, on December 4, produced ta setting of Milton's " Lycadas," for soprano land baritone solos, chorus and orchestra, by Hugh Hulbert.
Chamber music ihas been well represented if not generously supported. The Classical Chamber Concerts, the Holbrooke Chamber Concerts, and the " Thursday 12 o'clocks " seem to ihave succeeded in establishing themselves, and other parties which, deserve mention are the London Trio, the London String Quartet, the Langley Mukle Quartet, Wesseley Quartet, the Grimson Quartet, and the " Motto " Quartet. We were visited by the " Flonzaley," "Rose," "St. Petersburg," and " Sevcik" Quiartets.
Of the numerous pianiste who have given recitals may be mentioned Carreno, Johanne Stockmarr, D'Albert, Bauer, Lamond, Busoni, Backhaus, Paderewski, John Powell, and York Bowen. Violin and 'cello recitals were given by Kreisler, Misoha Elman, and Pablo Casals. A very large number of vocalists have given concerts, the most prominent being Melba, Tetrazzini, and Clara Butt. Generally speaking, a higher standard of vocalism has prevailed at song recitals. Among the most popular were those given by Muriel Foster, Gerhardt, Gulp, Maggie Teyte, and Plunket Greene.
VARIETY PRODUCTIONS.
Much enterprise has been shown by managers of variety theatres in introducing high-class music. Two remarkable productions were a masque, entitled " The Crown of India," by Elgar, at the Coliseum on March 11; and " The Gypsies," an opera in two acts by Leoncavallo, on September 16, at the London Hippodrome. Neither work revealed the composer at his best, but that these writers should have received commissions from the respective managements is significant of the increasing appreciation of good music by the masses.
FESTIVALS.
This article would be incomplete without reference to the provincial Festivals, for it is at these gatherings that important novelties are produced. The new marks at the Hereford Festival were a vivacious " Serenade for String Orchestra," by Granville Bantock; an "Ode on the Nativity," by Hubert Parry; and a " Fantasia on Christmas Carols," by Vaughan Williams. The Birmingham Festival was conducted for the first time by Henry J. Wood, and the new works comprised "We ane the Music Makers," by Edward Elgar; "The Song of St. Francis," by Walford Davies; " Fifine at the Fair," by Granville Bantock; and a new symphony in A minor No. 4, by the Finnish composer, Jean Sibelius. No novelties were pro- duced at; the Bristol Festival, the feature being a performance of Wagner's " Ring " in concert form. At Brighton a successful revival was made of the musical festivals organised in 1909 and 1910 by Joseph Sainton. This year the festival conductor was Lyell Tayler. The novelties were a new version of Edward German's " March Rhapsody," an expressive " Melodie Pathetique " by Marie Home, and two orches- tral pieces, respectively entitled "Infancy" and "Childhood," by W. H. Speer. As there was a profit of some £200, it may be expected that the Brighton Munici- pality will continue these festivals.
The Obituary of the year includes H. Trotere (Henry Trotter), the composer of "Old Madrid," "Asthore," and other songs of exceptional popularity; Giulio Ricordi, the head of the famous publishing firm ; Jules Ma&senet, the far-famed French operatic composer, aged seventy; Samuel Coleridge-Taylor, who died on September 1 from pneumonia at the age of thirty -seven ; Wilhelm Kuhe, in his eighty-ninth year; and Frances Allitsen, aged sixty-three, one of the most popular of lady song writers.
DAVID ALLEN & SONS, LTD.
CHROMOTYPE.
« GIPSY LOVE/'
MISS SARI PETRASS and MR. ROBERT MICHAELIS
•'• by ^. Tanner,'. Reduced facsimile of an • - ID AI.LEN & SONS, LTD.
THE STAGE YEAR BOOK. 27
THE VARIETY YEAR.
BY E. M. SANSOM.
NINETEEN HUNDRED AND TWELVE in the Variety World has been marked with considerable movement, but it is doubtful whether any great progress is to be reported, except, of course, that the Music Hall Command Performance marked an epoch in the history of the industry. But one Com- mand performance cannot keep a profession upon the highest pinnacle of public favour any more than one swallow can make a summer, and looking back over the year with a calm and unprejudiced view one is forced to doubt whether the body of music hall managers have really been aware of the power that has been in their hands. This feeling largely arises in connection with the issue of what are familiarly known as double licensee. It will be remembered that the Lord Chamberlain, following a sketch prosecution of the Palace for presenting " A Man in the Case," and the granting by the London County Council of music and dancing licenses to places of amusement already in possession of a stage plays license (and vice versa), made it known that he would be willing to issue his license for the performance of stage plays to houses within his area subject to certain reservations. The principal conditions imposed made it necessary that in addition to the dramatic portion of the entertainment there were to be five other items in the bill, or, in other words, each •music hall programme was to include not fewer than six turns. The Lord Chamber- lain thus agreed (to (the isiubmiis&ion flbait the public desired sketches, but one wonders whether the public demanded the plethora of dramatic fare which flooded the Variety stage during 1912. The scheme of Variety is sufficiently broad, and its limits are so obscure and undefined that practically anything that will tend to interest, amuse, or otherwise entertain may find a place upon the boards of a Variety theatre. But the happy manager is be who can so arrange his programme that all sections of his audience have their wants supplied, and directly he overloads a bill with a superabundance of any particular form of entertainment so soon does he miss the value of that true Variety which can be sufficiently charming to make all the difference to the box office and the hold of the music hall upon the affections of the public/ Many of the condensed dramas which made their appearance with the granting of the double license were excellently done from all points of view, but many of the others were quite the reverse. Old plays with a humour that was out of fashion, and a number of characters that were more or less unintelligible to 1912 audiences, found their way to the music halls, and the lover of Variety, discon- tented with a programme made up of two hours of drama and a minimum of Variety, went elsewhere for his amusement. Where ? Probably to the picture palace. From the economic point of view, the manager (looking only at the present) probably felt himself justified in cutting down expenses, and the engagement of a theatrical company proved much cheaper than that of a number of "stars." One house paid under £40 pe<r week for dibs oompiany, though the average expenditure wias con- siderably more than this. But the fact remains that the acting and staging of many of the pieces would have reflected little credit on some of the London amateur clubs, and though it may pay for a little while to present such companies, Variety suffers in the long run, and with it the best interests of the music hall profession. The success of Variety depends mainly upon the presentation of the best and the best only, and decadence will commence (if it has not already commenced) when managers impose the cheap and nasty instead of the best obtainable that has hitherto done duty. There are plenty of good sketches, and there are many plays which will bear condensation, and it would seem to be the best idea for managers who recognise a demand for drama to engage an adviser with a theatrical reputation who can book and direct the presentation of acts within his own special province.
28 THE STAGE YEAR BOOK.
SUNDAY.
Something in the nature of a bombshell was hurled by Mr. Oswald Stoll in July, when in the columns of THE STAGE he issued a manifesto on the Sunday question. Mr Stoll argued that as picture palaces were allowed to open on Sunday and to draw a greater or lesser amount from the entertainment-seeking public at the expense of the remainder of the industry, music halls and theatres should in common honesty be similarly favoured. The matter provoked the liveliest discussion, many and varied being the views expressed in the columns of THE STAGE by people eminent in the entertainment world and others interested. Naturally the subject was of groat importance to the working members of fob® theatrical and varsity profession, and the Variety Anti-sts' Federation, (through its chairman, Mr. W. H. Clem<a,rt, was early in the field to take up the cudgels in the fight to prevent a seven days' working week. For a long period Mr. Clemart dealt with, all phases of the subject in lead- ing articles in the "Performer "; the various Federation meetings throughout the country endorsed the official view in no uncertain fashion, and members of the profession to the number of several thousands signed a petition for presentation to the London County Council. .A mass .meeting of the profession was held at the Trocadero Restaurant towards the end of September, and was presided over by Mr. Edward Smallwood, J.P., L.C.C., who had taken great interest in the Sunday ques- tion, and had made the subject his special charge in the Council Chamber. All branches of the opposition to Sunday Opening were represented. Mr. Clemart spoke for the V.A.F., Mr. Charles Austin represented the Grand Order of Water Rats, and Mr. Albert Voyce the Terriers' Association. Mr. William Berol expressed the views of the International Artists' Lodge, Mr. William Johnson spoke for the stage hands, and other speakers included Mr. Wai Pink, Mr. R. P. C. Corfe, Mr. Frank Briant, L.C.C., and (the Rev. F. B. Meyer. The meeting, by an overwhelming majority, pa>soed the following reaolrcriaon : —
That with a view to preserving Sunday as a day of rest and recreation for all concerned in the production of public entertainments, this meeting calls for the abolition of entertainments on Sunday in dramatic, variety, and picture theatres.
Subsequently a deputation representing the various music hall societies waited upon the Theatres and Music Halls Committee of the London County Council. Mr. W. H. Clemart acted a« spokesman and read a long statement, which emphatically protested against the Sunday opening o>f places o>f amusement in London. On the same day representatives of the kinematograph exhibitors and the Amalgamated Musicians' Union waited upon the Committee.
When the Sunday question was first raised in the L.C.C. the Chairman of the Committee promised to bring up a report on the subject in October, in order that a full and free discussion might take place thereon. This duly arrived, and advocated a kind of "as you were" policy, but many influential members of the Council, including Sir George Alexander, Mr. Edward Smallwood, and Sir John Benn have given notice of various amendments. Unfortunately the year closes without any- thing definite having been done, pressure of other business having forced the Council to postpone the consideration of the report until after the Christmas recess. 1913, however, should provide a fight to a finish upon a subject of vital interest to the Variety profession.
THE COMMAND PERFORMANCE.
After two postponements, rendered necessary first by the disastrous fire at the Empire, Edinburgh, in the previous year, and secondly by a Royal bereavement, the Royal Command Performance — the first of its kind in the history of the music hall — duly took place at the Palace on July 1. The King and Queen were present with their suite, and other Royal personages who attended the performance were the Grand Duchess George of Russia, Princess Victoria, Princess Christian of Schleswig- Holstein, Princess Victoria of Schleswig-Holstein, Prince Arthur of Connaught, the Duke and Duchess of Teck, and Prince Alexander of Teck, and Princess Henry of Battenberg. The house was brilliantly decorated, the view of the auditorium disclosing flowers — thousands of blooms — upon a background of pavemezzo marble as the principal feature of the decorations. The fronts of the circles were formed by a rich moulding of pavemezzo marble, upon which roses of pink, yellow, and red were arranged in profusion. In the centre of each tier was a marble jardiniere having at each end two cornucopias laden with roses and carnations. The walls of the auditorium were hidden by scenic panelling and trellis work designed to give
///A STAGE YEAR BOOK. 29
the effect of an Italian garden. Surmounting the Royal Box, which was on the O.P. side of the house, was a dome of blossoms, and the box itself was designed in the shape of a huge jardiniere of marble, with carnations and roses emerging from a cornucopia at each end. The building was a veritable flower garden, the Royal Box seemingly representing a bower of roses, and the manner in which the decorative artist worked in harmony with the artist in luminants had the happiest results.
The programme was contributed to by Charles T. Aldrich, Wilkie Bard,, the Bogannys, G. H. Chirgwin, Cinquevalli, David Devant, Happy Fanny Fields, Bar- clay Gammon, La Pia, Harry Lander, Alfred Lester, Cecilia Loftus, Clarice Mayne and J. W. Tate, the Palace Girls, Anna Pavlova, Pipifax and Panlo, Arthur Prince, George Robey, Harry Tate, Little Tich, and Vesta Tilley, while for a concluding item a tableau, representing "Variety's Garden Party," was given. In this nearly 150 music hall artists took part, the central position being occupied by Harry Claft', who took the solo part in the National Anthem. The first Command Performance was a splendid success, -and a. sum of £2,738 13s. 5d. was realised as profit on the function. This, in Rcacffidtamce wiith the expressed wish of the King, is to be divided among the music-hall ehftrfiaes.
The modern music hall is almost an essential to a large proportion of the popula- tion of the country, and it behoves all connected with the profession to see to it that the scutcheon of Variety, figuratively raised aloft by the visit of the King to the Palace, is not blotted by any retrograde movement. Cheap cynics may sneer at the humour of the halls, critics may condemn much that still remains, but the funda- mental principle to recognise is that tine Music Hall is an institution of the people, who, in some degree, govern the supply according to their demand. The honour which the King conferred upon the music halls is certain to find a responsive echo in the increased attendances of the more cultured section of the community, and it will b© better for all concerned if a high standard of excellence be insiisted upon regard to all entertainments. The future success of the music hall is, to a great extent, in the hands of those who own and control the various syndicates ; they are the master of their fate, and if Variety loses its hold upon the public favour for many years to come the only excuse will be the incompetence of those who now dominate the situation.
FUNDS AND SOCIETIES.
A record of the year's work in connection with the various funds and societies appears elsewhere in the YEAR-BOOK, but no review of the year could be considered complete without the inclusion of an appreciation of the admirable work carried on in these directions. The Variety Artists' Federation continues along its successful way with a bank balance of something in the neighbourhood of £10,000. It has etili as its chief executive officer Mr. W. H. Clemart, a gentleman whose knowledge of the inner workings of the profession 's limitless and unexcelled. There are so many minor matters, connected chiefly with individual performers or small groups of artists, which call for tactful treatment, during the year that it needs no " big fight " to enable the Federation to justify its existence. It claims to protect the artist against injustice, and it maintains that claim and assumes the responsibility connected therewith in whole-hearted fashion. Among the most important work of the year was the consideration of a number of suggested amendments to the Award of 1907. Mr. W. H. Clemart and Mr. Wai Pink, representing the artists, and Mr. Walter Payne and Mr. J. L. Graydon on behalf of the managers, have held many meetings with the object of adapting the Award in a manner rendered necessary by the experience of its .five years' working, and although nothing definite has been decided it is to be hoped that an amicable settlement will be reached, and that all parties will work together in the best interests of the industry, realising that each part of a machine is essential to the whole, and the smooth running of the parts means the increased capacity of the instrument.
The Musiic Hall Arttiiigit®' Railway Association, boasting a membership o<f about 7,000, has pursued a peaceful path, securing for iite privileged members & satis- factory (reduction in travelling expenses. lit has only one reverse (to ohnonicle, and that affects but a small proportion of its members — an increase in the charges for the use of -railway 'trucks. Arising from tihis increase a new society, tlhe Vaudeville Proteeftdion Association, has sprung into existence through the inrjtiative of Mr. Heirbart Daimley. This society consists of sketch proprietors and others who travel troupes, or with ,a considerable aimodmt of properties, and the main object is to secure 'a reduction in the truck charges, though the aim of the V.P.A. i<s the general and mutual bene-fit of its membeirs.
30 THE STAGE YEAR BOOK.
The charities of the profession — the Variety Artists' Benevolent Fund and Institu- tion, the Music Hall Ladies' Guild, and the Music Hall Home Fund — have con- tinued their good and useful work with unabated enthusiasm. The V.A.F. have collected £240 during the year from percentages on managers' benefits, etc., and the V.A.B.F. and I. has profited to this extent. During the year the V.A.B.F. and I. adopted a new constitution, which retains in the hands of the artists the control of the Fiund. The Home -wiais moved (to new /premises at Gipsy Hill during the year, and a. number of old professionals (males only) continue to be clothed and fed by the Fund. The Institution -at " Bnimiswortlh, " Twickenham, has .sixteen inmates of both isexes.
The Terriers' Association has been practically disbanded, and in its place has arisen the Beneficent Order of Terriers, which is open for membership to white performers only.
A DEATH AND SOME CHANGES.
The death of Sir Edward Moss on November 24 removed a remarkable figure from the music hall world. The late Sir Edward, in the course of a strenuous life, accomplished more than anyone . else in the task of elevating the music hall, and the Empires which he left behind as the monuments of his life's work are very different places to those with which he was first associated. He was a great-hearted
Gentleman, and he will be sadly missed. Mr. Frank Allen has succeeded the late ir Edward Moss as managing director of the Moss Empires, Limited, and Mr. William Houlding is the new chairman of the company. Mr. Allen is too well known that it should be necessary to make more than a passing reference to the geniality and straightforward dealings which have always characterised his profes- sional career. His long association with the Moss Empires — 'extending over twenty- seven years — under the late Sir Edward Moss, gives him particular fitness to put on the mantle of his late chief.
The offices of the London Theatre of Varieties, Limited, familiarly known as the Gibbons' Circuit, have seen several important changes. First, Mr. Harry Masters relinquished his position as general manager, then Mr. Walter Gibbons resigned the managing directorship "owing to ill-health," and was succeeded by Mr. Charles Gulliver; and liatefr Mir. Charles Reed, the boohing manager, departed for fresh fields and pastures new. Mr. Gulliver has surprised many people by the abundant energy and resourcefulness with which he has attacked his new position ; he has tried many experiments and has proved that he is not afraid to take risks, and speaking with a knowledge of the state of affairs at his principal West End Hall, the Palladium, it seems safe to assume that the future will be bright for the share- holders in the L.T.V.
THE YEAR'S ENTERTAINMENTS.
In the main, of course, music hall programmes have been much the same during 1912 as they were in previous years, but one or two features have been intro- duced which demand recognition. Of the great influx of condensed dramas mention has already been made, and there is also to be recorded a distinct improvement in the quality of the dramatic and musical fare provided at the leading Variety houses. The ;Tivoli, ifor instance, produced several sketches of considerable merit, though more than one of them were what might be included within the comprehensive "sex problem" description — a subject in which, to judge from results, the music hall public are not particularly interested. The Palace introduced a much-heralded Reinhardt spectacle, " A Venetian Night," which, while (possessing many points otf interest mainly on account of original staging, did not prove .successful, possibly owing to tihe inteTVienitdon oif the Censor, who caused to be altered iiruueh of the perfonmaince eire he. would sanction its presentation. At the Palace, it' should be noted, Sir Herbert Tree made his vaude- ville debut in "The Man Who Was." "Arms and the Girl" was a popular musical comedy item which ran at the London Hippodrome for many weeks, and another notable essay of the same management was a revue, " Hullo, Ragtime," which, produced at the end of the year, was a brilliant success, and promises to fill the house for a long while to come. Revue has jumped into popularity in London during the year, and as these lines are written no fewer than four West End houses are staging this form; of entertainment. The reconstructed Alhambra opened in October with " Kill >That Fly!" The Empire, which might be termed the originator of London music hall revue, has had "Everybody's Doing It" in the bill for a long while, and the Oxford is staging "A Seaside Review." Another "craze" to. be mentioned is that of Ragtime. Syncopated melody,
THE STAGE YEAR BOOK. 31
introduced from America, caught the London public in its grip about half-way through the year, and ragtime troupes of varying degrees of excellence made their appearanc-3 all over the country. One of the first among the best of these com- panies was that of Hedges Brothers and Jacobson, and others distinctly good were the Kagtime Six and the Ragtime Octet. Individual ragtime artists also fliowrislhed considerably during (the year. The most important eve-nit dn the year's history of the London Coliseum was the production of Sir Edward Elgar's bril- liant masque, " The Crown of India," and another special engagement was that of the .Sheffield Choir under Dr. Henry Coward. The Oxford staged two morality plays, " Everybody " and " Signposts," and thus catered for an exist- ing demand for this form, of sketch, and the Palladium introduced several Grand Guignol " thrillers " with more or less success, and provided several strong sketches, among which were " The Real Napoleon " and Cicely Hamilton's " The Constant Husband." The Palladium was also responsible for a series of daily matinees of full theatrical pieces, and a revival at the same house of Minstrelsy on a huge scale, under the direction of Mr. Eustace Gray, is to be set down as very successful.
But those features noted above are in the nature of novelties and variants, and it must not be overlooked that during 1912 the leading music hall artists have quite held their own. A number of illustrations, set herewith, record a few of tlhe leading sucoei9S<c« of the year. M>r. Joe Elvin, with two new sketches, " A Day's Siport " and " Patching It Up " ; Little Tich with several studies in his best vein ; Mr. Bert Gilbert, who returned to England after a long sojourn in Australia, and with Miss Ivy Ray presented " The Ticket Collector " ; Miss Ella Shields, a recruit to the ranks of the male impersonators ; May Erne and Erne Chester with a delightfully staged musical act; Alfred Lester with new as well as familiar material of an unusually humorous character ; Betty Barclay and a Baritone (Mir. George Glover) with orte of the most successful acts of the year; Mr. Charles Austin with an immensely funny sketch, " The Bombshell " ; Mr. Eugene iSitraittom wdlth another of has dnimitalble coon scemas, "Uncle Jasper"; and Olga, Elgar, and Eli Hudson, whose artistic musical act is on an exceptionally high plane, have all assisted to keep the flag of Variety flying high in the popular fancy, while there are many other (artists who continue on their successful way as .favourites of the public.
32 THE STAGE YEAR BOOK.
THE WITCH. A STORY OF SOMERSET.
BY B. L MAY.
T
WERE zum ten year ago, Oi thinks, The witch vurst come. Oh Lor !
'Ow us did vear 'er ! She did bide A moile away, or more ;
'Er cottage stood upon thik hill ;
Ye zee the ruins of 'un still.
Us used .to zee 'er most voine days
A zettin' in (the zun, An' mutt'rin' vearsome mutterin's
'Most all the time she spun. Jim (thik's my man) 'e sez to Oi : " There's pothers comin' boi-an-boi."
Waal, then the vever came along,
Volk zed sihe'd oast a spell ; Wen all the village else waur sick,
The old hag she kep' well. If they'd 'a* let we burn the quean That vever never would V been !
Zo then my darter, too, veil ill,
An' Jim 'e sez to Oi : " Onless 'ee zend vur that there witch
The maid 'ull surely die ! " She nursed we all by night and day, An' then the vever went away.
" The witch be gone," the neighbours sez,
" The Devil's took his own ! Us durstn't go too nigh the hut,
But sure it do look lone ! " An' Jim 'e sez to Oi, sez 'e : " The Lard be praised ; we's rid o' she !
Us did not know that she waur sick
Ontil a boy one day At ween the shutters peeped, and saw
The creature where she lay. " Don't vear Oi, Oi can't 'urt," she cried ; " Oi be a woman!" An' An' she
The quality they blames we now, An' sez we're " a bad crew "
(They might 'a' thought o' that before An' taught we better, too).
But Jim 'e sez to Oi, sez 'e ;
"Us made a buryin' voine vur she ! "
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THE VARIETY STAGE.
MR. BERT GILBERT'S "THE TICKET COLLECTOR/'
MISS IVY RAY
MR. BERT GILBERT.
THE VARIETY STAGE.
[Campbell-Gray
44 SIGNPOSTS " MORALITY PL .AY AT THE OXFORD,
[Campbell-Gray
" EVERYBODY" MORALITY PLAY AT THE OXFORD,
THE VARIETY STAGE.
[Campbell-Gray
"THE REAL NAPOLEON" AT THE PALLADIUM,
In the cast were MR. RICHARD LANK, Miss AMY BRANDON-THOMAS, MR. EVELYN VERNON, Miss MAY CHEVALIER, Miss LEWIS DAYTON, MR. A. CHARLWOOD, and MR. H. V. ESMOND.
[CampbcU-Qraii
44 STRIKING HOME" AT THE PALLADIUM,
MR. EDMUND GURNFA-, MR. OSCAR ADYE, Miss MAKCAUKT KCI-DAMORK, and Miss BEATRICE MAY,
THE VARIETY STAGE.
[Claude Harris
MR. ALFRED LESTER
as "The Village Fireman."
LITTLE TICH
as "The Bargee."
HEDGES BROTHERS AND JACOBSON,
THE VARIETY STAGE.
[Campbell-Gray
LEONCAV ALLO'S NEW OPERA, "THE GIPSIES," AT THE LONDON HIPPODROME,
"AT THE SEASIDE" BALLET. AT THE LONDON HIPPODROME.
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o by REUTLINGER.
MLLE. ARLETTE DORGERE,
as COLETTE in "La Bonne Vieille Coutume"
at the Bouffes Parisiens.
THE STAGE YEAR BOOK. 35
THE ART OF THE ACTOR.
By AUGUST STRINDBERG.
. — The late August Stn'ndberg, one of the greatest Swedish writers, was born in Stockholm, January 22, 1849. From the beginning of his career he excited a great deal of attention by the extreme views he expressed. During the first period of his writings he represents women and love as the main forces of life, and the following plays characterise the views he then held: — "Master Olof," " Frau Margit," and "Lucky Peter." During the second period woman is represented as the tantaliser of man ; he considers aristocratic culture a failure, and becomes a defender of Utilitarianism, when the following plays were written: "Comrades," "Countess Julia," "The Father" (with an introduction by Zola), " Creditors," " Samum," and his very frank self- analysis — "The Son of a Maid Servant." After this fanaticism for equality followed a reaction : the ideas of superman culture under Nietzsche's influence — " Tschandala," "At the Open Sea." Strindberg's criticism is merciless ; he looks at himself and at life under a microscope. Neither as a man of feeling in the first period, nor as an intellectual aristocrat of the second, has he found a solution to the problem of life. In this way he reached the third period, and became a mystic. The historical dramas give an expression to his mysticism : ' ' The Folkunger," " Gustav Wasa," "Eric XIV.," "Gustav Adolf II.," "Queen Crisitine," "Charles XII.," Gustav III.," and "The Wittenberg Nightingale." Here he expresses the thought that the world is led by higher supernatural forces. In his latest works the former naturalist developed a tremendous amount of romantic poesy: "Advent," "Easter," "Midsummer," "Fairy-tale," "Lonely," "Historical Miniatures." Strindberg is undoubtedly, in Swedish literature, the greatest pioneer of modern thought.
THE art of the actor is the most difficult, and, at the same time, the easiest of all arts. But it is like all beauty, almost impossible to define. It is not the art of dissimulation, for the great actor does not dissemble, instead of which he is sincere, true, undisguised. It is only the low comedian who does every- thing to disguise himself by mask and costume. It is not imitation, for bad actors often possess a demoniac ability to imitate well-known personages, whereas the true artist lacks this gift. The actor is not entirely the medium of the poet, but only to a certain extent and with certain restrictions.
The art of the actor is not reckoned in aesthetics as one of the independent arts, but as one of the dependent ones. It cannot exist without the text of the poet. An actor cannot do without the ipoet, whereas the poet can do without the actor in a case of emergency. I have never seen a representation of the second part of Goethe's " Faust," nor Schiller's " Don Carlos," nor Shakespeare's " Tempest," but still I have iseen (them when I <read them, and there are good plays which should not be performed ; they cannot stand it, they cannot bear being seen. But there are many bad plays which must ibe played in order to live ; they are only perfect through the art of the actor, and can thus be ennobled. The poet is generally aware of the .thanks which is due to the actor, and he is usually grateful. The clever actor is also grateful to his poet; and I would like to see that they thank each other, since the obligations are mutual. But they would live in still better harmony if this uncalled-for question was never put. But it is often brought up by conceited fools or by the .stars when it happens that a play has been brought to honour which really deserved to sink. For such the poet is a necessary evil, or just somebody who is writing the text to their part, since there must be a text.
The art of the aotor appears to be the easiest of all arts, since every man in everyday life can speak, walk, stand, make gestures and grimaces. But then he plays himself, his own part ; and this very soon proves something different. If he is to learn a role and to represent it, and is admitted on the stage, it is soon noticeable that the most knowing, profound, and strong character is impossible ;
36 THE STAGE YEAR BOOK.
whereas a very simple nature feels iat home at once. To the one, the art of repre- sentation is innate ; others .have not got ithis art. But it is always difficult to judge a beginner, for tendencies may exist without their being revealed imme- diately, and often great /talents have had a very meagre beginning. Therefore, director and regisseur must be very cautious in their judgment, for they hold the fate of a young man in their hands. They shall test and observe ; have patience and leave the verdict to the future.
What really makes an actor, and what qualities he must have is very difficult to say, but I will try to state a few.
At first he musit have concentration ; he must be able to concentrate his thoughts on his role, and not permit himself to be diverted in the least. He who plays an instrument knows what it means when he lets his thoughts play about. Then the notes disappear ; the fingers wander, make mistakes and halt, even when they know their piece.
The second condition is to possess imagination ; that means here to be able to realise expression and situation in such a vivid manner that they can take form. I believe the artist is put into a sort of trance, forgets himself, and finally becomes the one whom he is to represent. This reminds one of somnambulism, but it is hardly the same. If he is disturbed in this condition, or is brought to conscious- ness, he stops — is lost. Therefore I have always hesitated to interrupt a scene at a rehearsal. I have .seen how the actor suffers when he is awakened ; he stands there as if drunk with sleep, and it takes some time for him to fall asleep again, so to speak ; to find the same atmosphere and tone.
No art is so unindependent as that of the actor; he cannot isolate his work of art; he cannot ishow it and say "This is mine." For instance, if he does not find resonance in his fellow-actor, he is not supported by him ; he may be drawn down arid tempted to fall into false notes ; even when he does his best he is not likely to withstand this influence. The actors are in each other's power ; they are unusual egotists, who wish to play the rival down, ,to force him into the background in order to appear themselves and alone in the foreground.
Therefore, the spirit of good understanding among the actors is of the greatest importance in the theatre, if the play is to have effect and become prominent. The actors must subject themselves and subject others ; they must fall in line and work together, but principally they must work in harmony. That is expecting a good deal of men, especially in a field of work where worthy ambition urges everyone to make himself noticeable and to earn the appreciation and win the well-deserved prize by permitted means.
If an actor has imagined vividly the character and scene which he is to represent, the next thing that he imu&t do is to learn his part. That begins with the spoken word, and I consider that that is the most important part in scenic art. If the tone is correct, the .gesture, the movements, the position, and the attitudes follow in sequence if the gift of representation (imagination) is developed energetically. If this is lacking, then the arms and hands hang like lifeless things ; the body is as dead, and only a speaking head appears on a lifeless figure. This is usually the case with a beginner. The word — the spoken word — 'has not had the power to penetrate the body and to bring about all the necessary connections. But false contacts can also originate, muscles can act out of place, sprawl and move ; fingers are drawn, and the feet are continually looking for new positions without finding repose or proper attitudes. The actor is nervous and disquiets the public. There- fore it is not of small importance that he keeps his body healthy, so that he has it 'Under control.
The actor shall control his part and shall not be controlled by it. That means that he is not to let himself be carried away or intoxicated by the words — that he is not to lose consciousness. He shall pay attention to himself ; he shall not allow himself to be overpowered by the words, and this can only be when his role, comes naturally from his memory and has entered into the art of representation or imagination. Then the role, is really rooted in him, and consciousness stands sentinel. A role that has entered no deeper than the memory sounds hollow.
The actor must be strong, go that he is not influenced by his fellow-actor, and will not permit himself to be tempted into their sequence of tones.
The actor is an illusionist, and is to give the illusion that he is someone else than he really is. If he has a strong, rich personality it penetrates and creates a plus which makes the great actor. It is this plus that is so difficult to be found and which cannot be learned. It is a general exaggeration of imagination, obser- vation, feeling, tastt\ mid control.
TiE
STAGE
Photo by REUTLINGER.
MLLE. HUGUETTE DASTRY, as LILI in " L'Idee de Francoise " at the Renaissance.
THE STAGE YEAR BOOK. 37
THE PARIS STAGE IN 1912
BY JOHN N. RAPHAEL.
I HAVE just returned from a mental air trip, and the journey has been some- thing of a disappointment. To look back on what the theatres of Paris have lu'i'ii doing for the year which is finishing I got into my airship "Looking 15 ukwurd," and sailed up above the Boulevards to get a complete picture. The picture is a poor one. Looking dowoi from the height of December, 1912, on the plays of the year, there is only one which towers over the others. The dramatic production of Paris has been curiously poor in 1912, and both in quality and quantity the plays submitted to us compare badly with those of former years. It is not difficult to put a finger on the cause of this. The life of Paris is always a few months in intensity ahead of the life of any other city. You will remember that when London was talking about the marvels of the motor-car and the possi- bility and probability of using it commercially and generally, Paris had already motor-cabs in her streets. You have noticed, I expect, that the Paris motor-cabs of to-day are infinitely inferior to the motor-cabs of London, and I believe to those of Berlin and Vienna. The reason for this is not that the Paris cabs have deterio rated. It is because they are the same cabs which were used at the beginning, while London has gone on improving hers. In fact, when Paris led the way London bought motor-cabs from her, and some months later, after using them, she sold them back again to Paris and built new ones for herself, and these same cabs — " retour de Londres " — are jolting us in Paris in December, 1912. This peculiarity of enterprise, without staying power behind it, describes the Paris stage in its defects and in its qualities. In London there is usually a distinct improve- ment ifrom the first night, in the performance on the twentieth or thirtieth night of a play. In Paris there is almost as invariably a distinct deterioration. The manager, the author, the actors concerned in the production of a French play make their chief effort for the first night, or rather for the "repetition generale," the dress rehearsal for the Press, and that nondescript body of well-dressed " dead- heads " known as " the friends of the house." For the next day or twro after the first night a certain amount of effort continues. Then when the paying public has the theatre to itself the effort ceases, and a Paris play in the fourth or fifth week after production has but little left of the sparkle and spring which it had at the beginning. It is typical of French theatrical managers that, knowing this and recognising it as a fault, they make no effort to correct it, and it is typical of the Paris playgoing public that a play which has been a real success with the first night audience is very rarely a failure with the public, in spite of its shortcomings later on.
And what is true of each individual play is true of the Paris theatre as a whole. The assurance that Paris leads the world in things dramatic has become a dogma now, and in consequence everyone connected with the Paris theatres has become distinctly slack. There is, however, one great outstanding exception. There is one man who has not allowed himself to settle down into the slough of commercialism, or to trade on his reputation without living up to it. That man is Henry Bern- stein, and he has written the one really remarkable play of the Paris year, the one play which is head and shoulders above all the others, and which, better still, is head and shoulders above all that he himself has written before. And Bernstein has done even better than write the best play of the year. An old play of his, " Le Detour," was produced in the autumn at the Gymnaee, and it is still running. On the first night of the revival everybody wr\s impressed by the vitality and freshness of the work. It had not aged at all. The reason was that M. Bernstein had taken the trouble to work on it. He had freshened it up, he had rewritten many scenes in it, he had renovated parts of it that needed renovation, and the
38 THE STAGE YEAR BOOK.
play lived with vigour instead of making the impression of stale reproduction, which is too often the impression made by a revival after many years. M. Bern- stein's new play, "L'Assaut," came as a revelation. We knew this author's strength — he writes with the punch of a Carpentier — but we had not realised his gift of tenderness before. " L'Assaut " is a play which, unlike much of the author'a former work, aroused the best feelings in those who saw it, and I venture to believe that it will prove to be the first of the series of really great plays which Henry Bernstein, who is still a young man, will give to the world.
The other big success of the Paris year is a play of a totally different kind, "L'Habit Vert," by De Flers and De Caillavet. It is still running, and will probably run for a long time still, at the Theatre des Varietes, and it is difficult to see where eke it could be so attractive. For " L'Habit Vert" is of those plays which are of the very essence of Paris, and which make the intelligent foreigner who sees them wonder what has gone wrong with hi 15 French. It is typical, too, of the Paris of 1912, in that, in essentials, it is a revival of the method which the authors of it found so successful in " Le Boi " and in " Le Bois Sacre." I believe Messrs. De Flers and De Caillavet to be fully capable of writing a play which will live. Yet people will talk of ". L'Assaut " when everything but the name of "L'Habit Vert" and the laughter it caused have been forgotten. Messrs. De Flers and De Caillavet have the Parisian habit of never quite doing their best, you see, while Henry Bernstein's work is always the very best that he can do.
And now let us look a little more generally at the stage year in Paris. It is remarkable for the large number of foreign importations, and for the obvious effort on the part of many dramatic authors here to write plays with a view to exporta- tion. The Paris author has been too much petted by foreign managers of recent years, and has been pampered by fees from abroad. He has become decidedly commercial in his dealings, and the fact that he is writing with one eye on the market has been unpleasantly apparent. My experience of the Paris stage goes back more years than are quite pleasant, when they set me wondering how few I may have left. I never remember a year in which the Paris stage has welcomed foreign work so readily as it has welcomed it this year. The Paris playgoer is no longer the enthusiast he used to be. He dines later. He likes his supper after the theatre. He likes the play to be a little light refreshment between dinner and supper. It is remarkable that this year Paris has seen not only several thoughtful plays from abroad, notably " Puissance de Hoi," by a clever Danish lady, who wrote with inside knowledge of the difficulties of a king, but also " The Count of Luxemburg," "The Girls of Gottenberg," "The Quaker Girl." "The Chocolate Soldier," " Sumurun " (which Paris did not care for), "The Eternal Waltz," " The House of Temperley," " Kismet," and one or two smaller plays adapted from the English and the German. It is typical of the Parisian attitude towards impor- tations that in every case the success of these plays in Paris has been set down not to the plays themselves but to the adaptors. There is no closer corporation in the world than the French stage. Nothing foreign is admissible unless it be hall-marked by a known French writer. I remember a few years ago being immensely amused by the request made me by a manager who produced a farce of mine written in collaboration with a Frenchman. The play was so French that I had hesitated, and still hesitate to do it into English. But I was asked to suppress my English first name "John" so that the fact that I am a foreigner should not be used against the play. The highest compliment a Frenchman can pay to anything foreign is to say that it is very Parisian. In the light of this attitude it is significant that so many foreign plays should have been Paris successes this year, and one is inclined to smile at the eagerness of Parisians to ascribe their success to the adaptors, much as one smiles at the eagerness with which a woman asserts that the false hair she wrears is made up of her own combings, and is therefore " really her own." It may be a truism, but it is certainly a truth, that Parisians like what they may patronise with good-natured contempt, while English audiences love what they can admire. The Paris love of melodrama is typical of this feeling. Parisians really do love melodrama, for the French playgoer has much of the child and even more of the woman in him, but a melodrama adapted from a foreign language pleases them best, I think, because they need not feel ashamed of themselves for liking it. That is why this year " The Mystery of the Yellow Room " did not achieve the success of " Sherlock Holmes." And while we are on this subject it is curious to note how quaintly neglectful the French writer, the French actor, and the French public are of accuracy in foreign condi- tions. There are, of course, one or two exceptions, but not many. It has, for
TME
Photo by REUTLINGER.
MLLE. JANE RENOUARDT.
THE STAGE YEAR BOOK. 39
instance, never occurred to a French manager to insist on all the details of a foreign setting being correct. Even in " L'Habit Vert" Mme. Granier, who plays an American gorgeously, has not troubled to make the few English words she speaks the real tiling. French audiences don't mind it. They must know that Mme. Granier's English is un-American, because the English governess is as much an institution in Paris now as the English tea, but they don't care. And though Frenchmen read quantities of English books in excellent translations they apparently untouched by the many incongruities of pseudo-English language, manners, and customs as shown them on the Paris stage.
The Francais this year has given us nothing really remarkable. The most prominent play has been " Bagatelle," by Paul Hervieu, and that is not a play which will live long. Paul Hervieu is a man of whom Paris speaks with bated breath as a giant, and who has suffered in his work from too much and too unwise admiration. "Bagatelle " is witty in parts and thoughtful in others, but as a theatrical whole it is not satisfactory, possibly for the reason that it is too theatrical for the eclectic taste of to-day.
This year the Paris stage has suffered less than it has suffered formerly from the labels which are put on Paris theatres. One used to know just what a play would be in Paris by the theatre at which it was acted. This has changed now, and it is a great change for the better. Another great change, and I think an important one, has been the excellence of the programme at the little theatres of Paris, which have sprung up like mushrooms. The little theatres are the outcome of the later dining hour. They begin late, their seats are expensive, and the bright little comedies produced at them are short, epigrammatic, and have snap. As the manager of one of these theatres told an author in my hearing : " An intelligent digestive which gives the audience something to think about while waiting for supper is what we want, and get."
The music halls in Paris .have shown distinct improvement during the last twelve months. It was a constant complaint of visitors to Paris that the Paris music hall shows were tawdry. The French theatrical manager does not care for th:i comfort of his customers as the London manager is forced to care, nor does he, or I may perhaps now say, nor did he, bother very much about the details of stage production. Until very recently Paris managers regarded elabora- tion in production with contempt. Every visitor to Paris has remarked the absence of show in the best Paris restaurants. While the food is excellent, the surroundings are of the simplest. So with the Paris theatres. A Paris audience does not mind, or did not mind, sitting in discomfort, and cared little for real mahogany doors on the stage if the play were good and well acted But of late years Frenchmen have travelled more, and Parisians have become far less provincial than they used to be. The Theatre Rejane set the fashion of comfort in the theatre, and little by little it is being followed. Old theatres are disappearing, new ones are growing up, and next year there will be some in the Champs Elysees and near it which will provide for their audiences' comfort as thoroughly 'as do the best theatres in London. Stage production is also becoming more elaborate every day. and in the music hall this is quite remarkable. The pioneer has been the *Folies Bergere, and the Olympia is a good second.
The taste for the cafe-concert form of performance is dwindling in Paris, I think, possibly because foreigners do not support it, but the music hall on English lines does enormous business. This being so, it is curious that there chould be so few music halls in Paris, and that the Moulin Rouge, which would seem to be an excellent house for this form of entertainment, should be given up to musical comedy.
Sketches at the Paris music halls are popular. There have been some very good ones this year, and the managers are catering for the public taste with more.
The revue, which London has adopted at last, is as popular as ever in Paris. It has improved a great deal. Last year there were two kinds of revues. The revue which was witty, and the revue which was a pleasure to the eye alone. Now managers have made it their business to combine wit and amusement with a hand- some show, and they have amplified the attraction by inserting numbers which they adapt to the scheme of reflections on the affairs of the year with considerable suoceee.
One always expects great things of high comedy in Paris, but this year results have been somewhat disappointing. It looks as though, for the time being, French playwrights had lost touch a little. M. Abel Hermant is a witty writer, and in the papers has written pungently and caustically of the life of Paris. His play at
40 THE STAGE YEAR BOOK.
the Vaudeville, "Rue de la Paix," was a great disappointment, and it was one mainly because of the author's too evident ambition to write something which foreign managers would buy. The big comedy success of the year was " Le Cceur Dispose," at the Athenee. Wittily written, delightfully acted, and perfectly mounted it had a long run, and deserved it. Another big success is M. Sacha Guitry's "La Prise de Berg-op-Zoom," at the Vaudeville, but it can hardly be called comedy, and the success is very largely due to the author's habit of acting his own principal part with his wife as leading lady. A Sacha Guitry play without Sacha Guitry and Charlotte Lyses in it must, one fancies, fall flat. It never gets the chance of doing so, of course.
There have been one or two good farces, but not many, on the Paris stage this year, and while the comedies have had a tendency to become more farcical, the farces have more comedy in them than they used to have. Even the Palais Royal, after the huge success of " Le Petit Cafe," has found another in "La Presi- dente," which is comedy-farce of the old Theatre des Nouveaubes type rather than farce as we know it.
A typical success in quite another line has been " Coeur de Francaise," at the Ambigue. The play is patriotic melodrama. As a play it is negligible. As an appeal to patriotism it is immense, and the audiences literally quiver with enthu- siasm as appeal follows appeal, showing to the observe* how absurd was the idea that patriotism in France was disappearing. The success of this play is the more remarkable because of the French love of making fun of their soldiers on the stage. This, of course, is a noteworthy side of the French character. A Frenchman loves to chaff what he loves best, and it would be entirely wrong to fancy that because the President of the French Republic is always a figure of fun on the French stage, Frenchmen have any less respect for the office and the idea which the President represents.
The number of revivals on the Paris stage this year has been enormous. To mention only a few of them, "Petite Peste," " Arsene Lupin, " L'Enfant du Miracle," and " Chonchette," have been revived in the last few months. Taken in conjunction with the quantity of foreign plays, and the small number of remark- able new plays in Paris during the year, there is no doubt that French dramatic production has undergone a time of pause. I am inclined to believe that the mind of the French author has been resting. I am the more inclined to believe this from the fact that the central idea of many of the new plays of the year has been quite obviously taken from recent happenings in real life, and that the people in many of the new Paris plays have been portraits rather than types. I do not say that this is of itself of great importance — there is no real reason why an author should not take Mile. Thirion out of the German spy case and put her story on the stage, or that another should not use Mme. Humbert as a stage figure, or even, though a fine idea was spoiled by doing so, why in " Les Flam- beaux," by Henry Bataille, an unhappy crisis in the life of a great woman scientist, should not be put under the microscope. This absence of imagination, this laziness in mental effort, though, is certainly significant and interesting. I am inclined to think that next year will show renewed activity of the best kind on the Paris stage, and 'that, whether Parisians get rid of their old motor-cabs and build new ones or not, a revival of active thought and of originality in stage work will be the feature of 1913.
TME PAIEDS STAGE
Photo by REUTLINGER.
MLLE. MARTHE DEBIENNE, as LULU in " La Prise de Berg-op-Zoom " at the Vaudeville.
THE STAGE YEAR HOOK. 41
THE THEATRICAL YEAR IN GERMANY.
(UP TO DECEMBER 1, 1912).
BY FRANK E. WASHBURN FREUND.
DURING the year 1912 seven of the best-known German dramatists have attained their fiftieth birthday, a fact which has inspired the German Theatre Directors' Society with the happy thought of celebrating these occa«sions in future by giving a work or cycle of works (as in the case of Gerhart Hauptmann) by the authors in question. In this way a graceful tribute is paid to the dramatist, and his works are enabled to make a wider appeal through out his native land.
Of these seven dramatists four of them played an important part in the " Sturm und Drang " of the nineties, when " Naturalism " first came to life in Germany : Gerhart Hauptmann, Johannes Schlaf, Ludwig Fulda, and Arthur Schnitzler. The last-named, being Viennese, did not exactly belong to the Berlin coterie, but had his distinct personal note from the very beginning. Johannes Schlaf, in conjunction with Arno Holz (whose " Biixl," written about two years ago, is to be given at the Haymarket) wrote the first realistic German drama, " Papa Hamlet " (1889), and, very significantly, it appeared under a Norwegian pseu- donym, showing plainly the source from which the young authors derived their inspiration. Later on Schlaf, again collaborating with Arno Holz, wrote " Familie Selicke," which was called the "pattern" of the realistic style, and was the •deciding influence on his more slowly developing contemporary, Gerhart Haupt- mann. Then a third drama of his appeared, " ^Leister Oelze " (Master Oelze), but after that he spoke no more from the stage- Sii.ce then he has gone through the whole development of the " Sturmer and Dranger " of those dayc, from natural- ism of style and materialism of philosophy to a pantheistic monistic creed of the Universe, having been shown the way by Walt Whitman.
LUDWIG FULDA.
Ludwig Fulda, whose gifts were never strikingly distinctive, was always possessed of a strong feeling for form and the gift of adaptability. His play " Talisman." „ which, at the time of its production, was considered rather daring because of his straightforward way of telling plain truths in high places, put him in the first row of dramatists, but the best of all his works is certainly his excellent translation in verse of Moliere, in which he comes very close to the spirit of the original.
1912 saw the production of his latset work, " Seeraubsr " (The Pirate), in the Burgtheater, Vienna, but on account of his shallow and almost burlesque treat- ment of a good theme it did not achieve any success. The story is about a pirate, who, having given up his evil ways, retires into private life, and becomes the upholder of law and order and comfortable living. On one occasion, however, his vanity getting the better of him, he boasts that he is the pirate whom all had feared and fled from, only to find that his story is laughed at by all as absolutely incredible. A one-act play by the same author, " Feuerversicherung " (Fire Insurance, Komodienhaus, Berlin), also appeared this year, but the treatment is frivolous without having other qualities as a saving grace.
ARTHUR SCHNITZLER.
Towards the end of 1912 Arthur Schnitzler's play, "Professor Bernhardi," had its premiere in Berlin instead of Vienna, because it was forbidden by the Austrian Censor. It shows the conflict between a Roman Catholic priest and a physician, the head of a hospital, as to whether a dying girl should be roused from the happy unconscious dreams in which she is likely to pass away peacefully in order to be
42 THE STAGE YEAR BOOK.
bold of her condition and receive the Last Sacrament. The physician prevents the priest from doing his duty, but has himeelf to pay for it by the loss of his position. Seme personal experiences seem to have been woven into the play, but in spite of that Schnitzler remains faithful to his style, for, where other dramatists would have taken sides hotly, he intentionally stands calmly aside, favouring neither party. But in this play his non-committal manner seems almost too intentional, for it is opposed to the theme of the piece. Partly for this reason and partly because the play is rather too long, it had not a really notable success. Otherwise, however, Schnitzler has received homage enough during the year. He is a man to whom the world appears as a curious kind of stage, sometimes amusing, sometimes terrible, and the people in it "merely players," while he himself is the manager who decides what they are to play. Such a view of life must necessarily lean towards scepticism, and, in fact, that is Schnitzler's most individual characteristic. In his early days — when he wrote " Anatol " and " Liebelei " — his scepticism was tinged with a modicum of Viennese sentimentality ; in his riper years this youthful tenderness was turned into irony mixed with a light cynicism, which, however, was never used as a lash. He has always been highly esteemed by his fellow-writers for his grace and clearness of form, his sure eye for human psychology (he is not a physician for nothing !) and his fine ear for the melody and characteristics of the language. At the same time he is ahvays able to give much to the general public, too, because, in his relationship to his characters and their fortunes, he is not only the dissecting physician but also the interested fellow-creature. This sympathy, although perhaps slight, gives to his works a certain warmth which is at once felt by both reader and spectator. Thus his influence on the younger generation of Austrian writers is very great indeed.
GERHART HAUPTMANN.
While Schnitzler was able to form himself on an old culture as it had existed in Vienna for generations — a circumstance traceable in all his works — Gerhart Hauptmann found chaos reigning in Berlin when he plunged into the vortex of the literary-social life there. It might be said of the Berlin of that time that the newly-awakened social conscience impelled men to seize pen or paint brush, the result being the movement called " Armeleutemalerei " and " Armeleutestucke " (paintings and pieces representing the milieu of the poor). For the first time the voices of the poor were heard; it was the birth of the "Fourth Estate," helped by the young intellects of the day. And Hauptmann was soon the recognised leader. Nowadays his first works seem old-fashioned in some ways. The "tendency" in them is quickly felt, and their technical faults and awkwardnesses easily noticed, but the genuine fervent earnestness, the holy fire which once gave them birth, preserves them from the reproach of being "tendency plays." They could not be impartial, and were not intended to be so, but were always the fruits of a true poet's soul. Since then many years have passed. Hauptmann has always gone with the times, has, as far as his nature would allow, made their development his development, and he is now their most truthful representative.*
This year Hauptmann, to whom the Nobel Prize of 1912 was presented on the occasion of his fiftieth birthday, has, on his side, given to his people a play, " Gabriel Schillings Fluent " (The Escape of Gabriel Schilling). It was written several years ago. He gave it almost with diffidence, for it is evidently a personal confession ; what he had suffered, what he had overcome, had to be separated from him by time before it could be given to the world. He himself felt that this piece was more suited to a chosen audience, while his plays as a rule are intended to appeal to the whole people. Here, symbols lie concealed behind all the realities. The eternal voice of the sea speaks through the words ; on its breast the people seek refuge ; in its waves poor tormented Gabriel Schilling at last finds rest from the torturing struggle for victory between the man and the artist in him. But his friend Maurer prepares for a journey to the land of the Greeks, there, in the study of the great arts, t( experience the " rinascimento of the fourth decade." Since then Hauptmann himself — like Goethe in Italy — has experienced this in Greece, so that something ripe and purified may be expected from him. " Gabriel Schil- lings Flucht " had its first performance in Goethe's little theatre in the small town of Lauchstedt, near Halle, in June, 1912, under the directorship of Dr. Paul Schlenther
* Richard Gerner has written a fine analysis of this development founded on two of Hauptmann's orks, " Die Jungfern vom Bischofsberg " and " Pippa tanzt." (Publisher : H. Marbach, Meiningen.)
works
THE STAGE YEAR BOOK. 43
CARL HAUPTMANN.
Carl Hauptniann, Gerhart Hauptmamrs brother, has *n far not met with great success, for his great and isomewhat Faust-like ambition has never found its adequate form. A play of his, " Bergschmiede," which was published in book- form some ten years ago and received the Volksschiller Prize, was performed in the Freilicht Theatre in Thale im Harz. It touches on many problems of the world, of life, and of humanity. As philosophic poetry it ranks high, but on the stage it is not vital enough, although it gives the impression all through that the author himself has lived and felt it.
Of the other three dramatists who have attained their fiftieth birthday this year I shall speak later on.
Two REVOLUTIONISTS.
The two writers who may be called the " Sturmer und D ranger " of the present day among German dramatists are Frank Wedekind and Herbert Eulenberg, both of whom have been frequently mentioned here. Of Wedekind it may truly be said that through the untiring energy of his attacks he has at last succeeded in conquer- ing the fortress "Public Recognition." This was brought about by the perform- ance of a cycle of his works in Reinhardt's Deutsches Theater, Berlin. People went even further : they gave a dinner in his honour !
In last year's STAGE YEAR BOOK I mentioned three one-act plays which he had just written. This year he has combined the three into one piece under the title " Schloss Wetterstein " (publisher, Georg Miiller, Munich). In the preface, he says that this play contains " his views on the inner necessity on which Marriage and Family rest. The material, the incidents, the conduct of the plot, are of no account." The last-mentioned point also applies to his latest work the "modern mystery play — Franziska," which, after a long resistance on the part of the Censor, was at last produced at the " Kammerspiele," in the Munich Lustspielhaus, while in Vienna it could only be read. It shows hardly any attempt at drawing human beings, but is, as it were, a paraphrase on the mystery Woman seen by Wedekind in his mind's eye. In the principal character he draws a kind of female Faust, who, after going through all the grades of depravity, finally, as Mother, sits like a Madonna surrounded by roses as if Heaven itself had opened. One feels a personal note sounding all through the play.
Eulenberg also creates the form and style of his works out of his own imagina- tion. To him it is not a matter of depicting life truthfully ; he only wishes to give form to certain feelings which he has in himself. So he shapes men according to his mental picture, places them in a world which he sees himself, and makes them speak his words. It can well be conceived, therefore, that a poet such as he — for he is a true poet — is not easy for the general public to understand, especially when he belabours it, not gently, with his scorn and contempt. His last new work, '^Belinde," which received the Volksschiller Prize, searches into the tragic mystery of love. "Is that what love is like?" asks a young girl in the play, standing, happy and careless, before the Gates of Love and forced to behold the sorrow and tragedy it can work. She had been playing gaily with two balls, unconscious that they were charged with life and death. Her brother and his rival for the love of a woman each choose a ball, the one getting life and the other death. The woman herself feels that even in her love there is nothing durable, that it changes like everything mortal, that here, too, the saying "the living is right" holds good, for, after the death of the one, she is tortured with the knowledge that she is beginning to long for the other. In the chaos of her mind and out of the purity of her soul she, too, seeks death. Eulenberg has not yet recognised the permanence of life as did the old sage Gottfried Keller when, in one of his poems, he makes a widow, at the very grave of her husband, muse on a new life — like new green growing over dead leaves. In another character in the play. Hyacinth, an assthete who lives on sweet dreams and " Art for Art's sake," Eulenberg draws a type which reminds us strongly of certain dramatists of to-day who think themselves " modern." These writers do not wish to know anything of the life around them. They think back with a shudder on the old-fashioned realism and its crudities, and its individual cases appear to them to be too much a matter of chance. Per- haps they do so because they do not possess enough intellectual and creative force to see a symbolical significance in these individual cases, and draw from them a universal law. They choose a subject — generally a psychological fact — provide it with figures of their own invention, and make them speak in literary sentences which are extremely unnatural and have no individual shading. They consider the \vrrking out of a plot to be of no importance, and "atmosphere" does not exist
44 THE STAGE YEAR BOOK.
for them. As they are entirely wanting in Eulenberg's temperament and his very human hatred and love, the result is almost always an artificial work, which leaves one quite cold and unresponsive. The influence of Schnitzler can be traced in their liking for psychological subtleties, and of Hugo von Hofmannsthal in their use of a chosen although somewhat exalted language, but they never even approach Schnitzler in his fineness of intellect, nor Hofmannsthal in his great feel- ing for form and rhythm. Of course, among them are men who do stand for something, who aim at something more than mere "artistry," who work from intellectual necessity and the desire to do something for their generation. Such men, for instance, are Stefan Zweig, the German translator of Verhaeren's poems, and W. von Molo. Stefan Zweig's " Haus am Meer " (The House on the Sea Shore), the theme of which (symbolised in the title) is stability in contrast to unrest in the human heart, has at least strong and well-built acts, although the author has not been successful in moulding them into a whole ; for the rest, it remains merely a book. In " Gelebtes Leben " (Lives that are Lived, G. Miiller, Munich), von Molo, with his peculiar "modern" pathos which revels in adjectives, writes about human beings, but does not mould them either mentally or physically. Their exterior and surroundings are nothing to him; such details are out of date now. His " Mutter " (Mother) is the conception of Motherhood, that is, the principle of self-sacrifice for others.
It is evident, therefore, that these writers are steering straight towards allegory, which such men as Richard Dehmel expect to do great things for the drama of the future. They hold that the great questions of life and work are becoming more and more difficult and involved, and, therefore, no longer capable of being con- vincingly represented by merely human figures. It cannot be denied that broadly- viewed modern allegory (a dramatic allegory somewhat on the lines of the pictures by Puvis de Chavannes) would be~ of the greatest importance for the artistic con- quest of modern life and its problems, in much the same way as in the Middle Ages allegory was used to give outward form to religious and moral ideas. But to Man himself the most interesting creation will always remain Man, the being, the concrete, not abstract creatures of thought, even although they be clad in human garments and be supplied with a mechanism working according to the most minute psychological rules in place of a living organism. Perhaps these works are the first tentative steps toward this idea of allegorical representation. Whether more successful attempts will follow remains to be seen. A work said to be on these lines, " Der Bettler " (The Beggar), by Reinhard Sorge, has just received the Kleist Prize, started last year, and has been accepted by Reinhardt for per formance.
POETIC AND COSTUME DRAMAS.
A few years ago a drama by a newcomer was mentioned here — " Medusa," by Hans Kyser — which, in spite of brilliant promise for the future, failed through its over-exuberance of feeling and words. In the short time which has elapsed since then Kyser has made great strides towards clearness of vision, and in his last play " Titus und die Jiidin " (Titus and the Jewess) has produced a work of power and intellect, and, in some places, of great beauty. The innermost meaning of the play is the contrast between external and internal power, the power of the World against the power of the Kingdom of Heaven in the human heart. In the Jewess who conquers Titus, the Conqueror of Jerusalem, Kyser has created a great and noble yet simple figure, like a beautiful statue in bronze, which one cannot easily forget. He has learned from Hebbel to mould the merely historical material of his play into universally human form, while his language has fire and a peculiar clearness which reminds one of well-cut gems. Compared with the many fine qualities of the piece, the few weaknesses do not count very much. With this play Kyser has shown himself to be one of the greatest hopes of the German drama.
Schmidtbonn has this year given us a play, " Der Verlorene Sohn " (The Prodigal Son), founded on the New Testament parable, which has not yet been given on the stage but is published in book form (Egon Fleischel, Berlin). This piece shows all Schmidtbonn's fine qualities ; his straightforward simplicity, his concise yet vivid style, his sure hand in working out the principal characteristics, Jiis discarding unnecessary psychological subtleties; in short, his " wood-cut " style of treatment reminding one of Diirer'is " Prodigal Son." These qualities stamp him as the most National of the German dramatists of the day.
Another play on a Biblical theme is "Judas," by Gerdt von Bassewitz (produced in Leipzig under Martersteig), in which Judas — -not for the first time in literature —
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THE GERMAN STAGE.
MAX REINHARDT'S SHAKESPEARE PRODUCTIONS,
[By permission of Hans Biihm, Berlin W. 30, Schu-cibische Strass? 20.
"MUCH ADO ABOUT NOTHING."
Margaret, Miss PAULA RONAY ; Hero, Miss ELISABETH WEIRAUCH; Beatrice, Miss ELSF HEIMS.
[By permission of Hans Blihm, Berlin W. 30, Schwabische'Strasse 20.
"KING HENRY THE FOURTH/' (PART II.).
Mrs. Quickly, Miss SOPHIE PAGAY; Falstaff, Mu. WILHELM DIEGELMANN ; Doll Tearsheet, Miss ELSE BASSKRMANX ; Falstaff's Page, Miss ELSE ECKEKSBEUG.
THE STAGE YEAR BOOK. 45
hopes to find in Christ the hero who is to drive out the Romans. Christ's influence on the different characters, although He Himself does not appear (because of the Censor), is finely shown, but the piece is lacking in unity. It reminds one too much of " detail painting," and towards the end the thread of the plot is almost lost.
Also in Leipzig under Martersteig the first performance of "Johanna von Neapel " was given, a tragedy showing strong dramatic instinct. It is by a lady dramatist, Hanna Rademaeher, who has successfully followed on Hebbel's lines in using a single case to illustrate the eternal conflict between the sexes. The strange character of the principal figure, torn by her own conflicting feelings, is of great interest.
The question, " Who is the real King— the man who is born in the purple or the man who becomes King by his own prowess? " has been cleverly handled by W. Weigand in his "Konigen" (Kings, Insel Verlag, Leipzig), but he is too imper- sonal in his language and characters j one might almost say too literary and philo sophical. In "Psyches Erwachen " (The Awakening of Psyche) the same author has used the theme of the purity of woman as did Hebbel in his " Gyges und sein Ring." He has adapted it to modern life and taken away the tragedy, but the result was not satisfactory. The same idea is the central point in " Godiva " (pro- duced in the Dresden Royal Court Theatre) by the Swiss dramatist Victor Hardung, who has written his play round the English legend of that name. In it the corporeal is used as symbol for the spiritual. In the end Godiva takes her own life because her pure womanly feelings are misunderstood by all. The language is noble but lacking in individuality, leaving the characters mere figures instead of making them human beings.
Moritz Heimann, whose "Joachim von Brandt" was mentioned in a former STAGE YEAR-BOOK, has this year written a play, " Der Feind und der Bruder " (The Enemy and Brother). The meaning of this play seemed so incomprehensible to the audience when given for the first time in Berlin that the work did not meet with a very friendly reception. It plays in Venice of the Renaissance, and triee to show that a brother — meaning one's nearest and dearest relation — can in reality be the greatest enemy, because he does not demand the highest that is in one, while, on the other hand, the enemy brings into play one's strongest qualities. The language is intentionally kept free from all individual traits ; for example, a Venetian courtesan speaks in the words of a philosopher. Evidently, therefore, everything is meant to be taken as symbolic, but this is not clearly enough brought out, so the result is a sort of hybrid.
For several years the performance of Franz Dulberg's " Korallenkettlin " (The Coral Necklace, Egon Fleischel and Co., Berlin) had been expected. The Censor, however, forbade it because, in moving language, it took up the defence of tns poorest of women, the fallen ones, its motto being the words : " Whosoever amongst you is without sin . . ." At last it was given in the beautiful new theatre of Bremerhaven under Director Burchard, a brave action, which is greatly to his credit. Diilberg had partly rewritten it in order to make it mpre suited to the audience, so the performance was a great success, although in book form it makes a deeper impression. With a sure touch the author has surrounded his play with the romantic scenes of the Middle Ages, with their strong and sudden contrasts of height and depth, life and death. It is clothed in forceful language, and burns with the fire of personal feeling. Dulberg's last piece " Cardenio " (also Egon Fleischel and Co.) had a very successful premiere in Niirnberg. It also is set in rich Renaissance surroundings, and in it the author handles, somewhat arbitrarily but artistically, an unusual theme : the subservience of the physical to the intellect and the will.
Other authors this year have also chosen the Middle Ages as setting for their plays, as, for example, Max Halbe, the author of "Jugend," in his "Ring des Gauklers " (The Juggler's Ring, Albert Langen, Munich), in which he paints, rather long-windedly and with too uncertain a hand, the unstable game of life, now high now low, the balance of which can only be kept by independence and self-reliance; Tim Klein in a first work "Vert Stoss," which in spite of all its weaknesses gives an excellent picture of life in Niirnberg at that time; and Harry Vossberg in " Till Eulenspiegel " (Vertriebsstelle der Buhnenstchriftsteller), also a first work, which gives the impression of being a well-dramatised version of a rollicking student's song, with that legendary vagrant Till Eulenspiegel as prin- cipal character. Other new dramas playing in that picturesque time could still be mentioned here, but it would take too long. Enough has been said, however,
46 THE STAGE YEAR BOOK.
to show what a fascination the Middle Ages and the Renaissance have for these dramatists.
Finally, amongst the plays classified under this heading may be mentioned H. Lilienfein's " Olympias " (Vertriebsstelle), first performed in Hertenstein. In it the author makes the curious experiment of using the Homeric verse, that is, the epic (hexameters), for the drama, and it must be admitted that, from the very start, the play thereby gains a certain monumental grandeur which is of grea't value to the title role. But the verse, of course, precludes any attempt at individual characterisation, so that the whole remains stiff and hard in spite of the often passionate and picturesquely conceived scenes.
COMEDIES.
A good many comedy writers have this year favoured the "good old days" for their settings. Thus Karl R6«sler took Old Frankfurt for the scene of his pleasant little comedy " The Five Frankfurter," which has been seen in London also. The same period was chosen by Max Dreyer, one of the seven dramatists who reached their fiftieth year in 1912. His " Lachelnder Knabe " (The Laughing Boy; agents, Vertriebr,ctelle) plays in the time after the great Napoleonic wars, and is a descrip- tion of life in a small provincial town. It is somewhat long drawn-out and obvious, but well suited to the provinces. Dreyer is the right man for the big public. It can always follow him, for his horizon does not go beyond theirs. At the same time he gives them good solid food, preaches against narrowness and intolerance and for freedom of views, all of which he serves us humorously, seasoned with a little sentimentality and good fellowship, so that he deserves thanks for his influence on the people.
Otto Ernst, another of the dramatists entering the fifties, author of " Flachsmaim als Erzieher " (Flachsmann as Teacher), is much more of the schoolmaster on the etage than Dreyer. He is always "out" against some enemy, whom he invariably sees in the blackest light. But he, too, is a favourite with the people.
Otto Hinnerk, whose fine "Graf Waldemar " was noticed here on a former occasion, has this year written a play, " Ehrsam and Genossen " (Honesty and Co. ; agents, Anstalt fur Auffiihrungsrecht, Berlin-Charlottenburg), produced for the first time at the Lustspielhaus, Vienna. In it he creates for himself the milieu of a petty State in the " good old days," and mocks at honesty and theft, law and order, although at somewhat too great length.
Felix Salten, whose cycle of one-act plays " Vom andern Uf er " (Points of View) is known in London through the Stage Society's performance, this year gives us a comedy, "Das Starkere Band" (The Stronger Bond), which lightly satirises reign- ing princes. In it there is a most humorous figure of a duchess, which is quite a new dramatis persona in German comedy. In the Wiener Deutsches Volkstheater it was received with great delight. It is almost needless to say that his dialogue is, as usual, charming, easy, and illuminating.
Hermann Bahr plunges straight into the thick of modern life for material for his two new comedies, "Das Prinzip " (Principle) and "Das Tanzchen" (The Dance; agents for both, A. Ahn, Berlin). "Das Tanzchen" is in reality a political satire aimed at certain Prussian conditions, and for that reason, and also because the author was an Austrian outsider, it was received with marked disfavour in Berlin. In spite of its clever dialogue and its honest attempt at being impartial, the piece gives one the feeling of being a rather forced effort. This is perhaps because the play was conceived in righteous anger, but, during the actual writing, the mood wore off, and the play had to be finished as best it could. In " Das Prinzip " he makes fun of a modern prophet. He does it, however, with a sparing and kindly hand. The result is a gay, kindly, merry play, which is nevertheless charged with a deeper meaning.
" Sommer," a new play by Thaddeus Rittner — whose " Dummer Jakob" wa.-s noticed here last year — had its first production in the Burgtheater, Vienna, in 1912. It might almost be styled the companion piece to a " picture of the year " called " The Judgment," in the Royal Academy Exhibition a few years ago. In this painting a young man learns from his doctor that he has only a short time to live, the knowledge acting upon him like a death warrant. In Rittner's play — which has nothing of solemnity in it — the same knowledge changes a weakly, awkward youth into a young man determined to drain the cup of life to the last arop for the few summer months left to him. The whole play is an ironical comedy of life and death, clever and playful, but somewhat improbable, as is the fundamental idea also. There are no broad effects in the piece; everything moves
THE STAGE YEAR BOOK. 47
softly, on tip-toes as it were. It plays in a Home for nervous patients, and the author has succeeded in making these "hyper-modern" people with their complex moods and natures seem really genuine, a task which was no easy one. Fraulein Marberg as " Frau Maya" gave a brilliant rendering of the difficult psychology of her part.
In Diisseldorf (Schauspielhaus) a new writer, Otto Soyka, was given a hearing, not a new occurrence in the Schauspielhaus. His comedy "Revanche" (Revenge, A. Langen, Munich) inclines in some parts to burlesque, but on the other hand is intellectually on a high level. The theme is revenge, over which, in the end, the author himself makes merry. The play lacks the spontaniety of life but a fresh and free spirit breathes through it, and the tendencies of time and character receive interesting treatment rich in illuminating paradoxes.
Another new man this year is Robert Faesi, whose pretty little comedy " Die offenen Tu'ren " (Open Doors; agents, Berliner Theater, Verlag,) had a very warm reception in Zurich. The inexperience of the author is noticeable in the arrange- ment of the scenes, for the entrances and exits are made to suit his will and plea- sure, but he understands how to mould his characters, although perhaps somewhat superficially, and his dialogue is clever and natural if sometimes a little dry. A second play clearly showing the inexperience of its author in the same respect is " Nachtrab " (The Rearguard, G. Miiller, Munich), a comedy by Josef Schanderl, which recently had its first performance in Munich. The author has already made something of a name for himself as a lyric writer. In this piece, however, the characterisation is more individual and interesting than in Faesi's, and in spite of the strong leanings of the piece towards burlesque there are signs of the author's becoming perhaps a society satirist of some account later on. It was probably for this reason that the piece was taken up by the " Neuer Verein," Munich, one of the numerous stage societies in Germany, and it is to be hoped that the author will profit something by the experience.
The last of the seven dramatists to complete his half century is Lothar Schmidt, who this year appears with two comedies at once (both published by G. Miiller, Munich; agents, E. Bloch, Berlin). "Die Venus mit dem Papagei " (Venus with the Parrot) is a satire on the rich, would-be artistic circles who are at heart totally uncultured. It is labelled "not an erotic comedy." The author fully make up for that, however, in his other play, "Das Buch einer Frau" (A Woman's Book), in which he deals too freely with adultery and other matters of the same kind. In his " Nur ein Traum," the wine and the scented May evening were at least eome excuse for the escapades. But in the present case everything goes on in broad daylight, as it were, and with a cynicism which is only painful because one feels through it that it is intended to catch the audience. His easy and graceful dialogue can always be praised, but Schmidt can do better and finer work than these plays. It is significant to note that his "erotic" play is being given everywhere, while his other one was only played in a few towns.
Blumenthal and Skowronnek are responsible for a couple of comedies of a very light style and. very old pattern. As a sample of the stuff favoured by a certain class of the Berlin public, a mixum gatherum of nonsense with a certain amount of cleverness and eome touches of Berlin local atmosphere called " Grosse Rosinen " (The Choicest Plums) may be cited. To see it would make any outsider think that he had got in with a company of lunatics, yet it reached several hundred perform- ances in the Berliner Theater. Such pieces, frankly intended to catch the gidciy public, show the theatre in the light of the poorest "entertainment provider."
SATIRICAL PLAYS.
Only one satirical play of importance appeared in 1912 ; that was Leo Birinski's " Narrentanz " (The Fools' Dance; publishers, G. Miiller, Munich; agents Drei Masken-Verlag, Munich). It is an intensely funny satire on the Russian Revolu- tion, in which Russian Governors want to have the revolution and revolutionists try to enforce law and order, both doing it for very substantial reasons. The author knows his milieu, and as there \z always a groundwork of truth beneath his wit and comedy, the play is made humanly interesting also. Altogether Birinski has suc- needed in producing a very effective piece for the stage.
MILIEU AND OTHER PLAYS.
A very good military play, genuine but perhaps not quite " ripe," is "Officiere " (Officers, E. Reiss, Verlag," Berlin) by a young officer. F. von Unruh, which Rein-
48 THE STAGE YEAR BOOK.
hardt produced with very encouraging success. All the figures— and there are a good many— are well-observed and sharply characterised, and although all are individual characters they represent very cleverly the different types in the German army. Altogether, the author possesses decided dramatic instinct, and is free from all effect-hunting and false sentimentality. The love interest is very simple — it is carried on almost in monosyllables ! — but it is none the less warm and well handled.
Ludwig Thoma, in his three-act play " Magdalena " (A. Langen, Munich), gives us a village tragedy in which, without being the least melodramatic or theatrical, a father kills his daughter because she has brought shame on him. The whole is worked out with the simplest means and not a word too much dialogue. The phy made a deep impression on the audience when a performance, splendidly acted was given in the Berliner Kleines Theater under Barnowski's direction.
In "Peter Luth von Altenhagen," the new play by Ottomar Enking (author <f "Das Kind"), produced recently in the Wiesbaden Hoftheater, the author has not succeeded in mastering the right dramatic form. His people are again real human beings with sharply delineated characteristics, who rightly win the sympathy of the audience, but he wastes himself in too many details, compared with which the big scenes stand out too theatrically.
In spite of some repellent parts there is much that is fascinating in Hans W. Fischer's " Flieger " (The Flight, G. Miiller, Munich), which was produced in Coblenz. One is constrained to forget the almost painfully bad taste in the dialogue when, as the plot develops, the principal character — an artist who ? as fallen a prey to a fatal disease — pulls himself together to take a last flight on high and create a great work of art before his end, a work which shall be free from all conventions and restrictions. After this intellectually daring piece of work some- thing good is to be expected from Fischer. In the second character of the play, an airman, the author shows that fitting in with society and suppressing one's own egotism leads to useful work and real life, while the egotism of the artist, which makes him sacrifice his nearest and dearest for his purpose, destroys him in the end. Nevertheless, such sacrifice is necessary if a great work is to be created.
Finally, a play must be mentioned which, like so many German plays, does not combine literature and the stage, but mistakes the one for the other, the result being a piece of philosophical literature with unreal figures. This play is "Das Dritte Eeich " (The Third Kingdom), by Paul Friedrichs. The author tries to show here — but without success — the development of a great lonely soul, which is exactly the thing farthest removed from the domain of the stage. The hero of this piece is none other than Friedrich Nietzsche, his well-known spiritual conflict with Richard Wagner being the deciding moment in the inner development of the play. A mystic figure called " Der Fremde " is employed, evidently to represent the Spirit of the World. Nietzsche enters into the Third Kingdom where the Strong rule and the Weak must .go to the wall. But idealism alone does not make a play.
On the whole, the yield for 1912 was not overwhelming, although it cannot exactly be called poor. Of life and movement there have been plenty amongst the dramatists, however much they may still complain of want of encouragement.
FOREIGN PLAYS.
Several good plays of other nations found their way on to the German stage in 1912. Amongst English plays there were some of very different styles, such as " Fanny's First Play," " Passers-By," " The Land of Heart's Desire," " Kismet," and " Sacrapant," by the old English writer George Peele, a contemporary of Marlowe. This last-named play was given in Marburg in an adaptation by Prof. Ischallig, of Dresden.
The special Shakespeare performances to be named are Reinhardt's production of *' Much Ado About Nothing" and "Henry IV.," some scenes of which are among our illustrations. These two productions are considered two of Reinhardt's happiest efforts.
Russia is represented by Tolstoi's confession : " And the Light lightens the Darkness," adapted by Dr. H. Stiimcke (Vertriebsstelle).
Of the Scandinavian authors, the first one to be mentioned is August Strindberg, who died in 1912. He was very highly thought of in Germany, and many of ' is plays were given during the year, amongst them " Totentanz," which is considered Reinhardt's best modern production. Other Scandinavian works were : Peter Nans en's "Eine gliickliche Ehe " (A Happy Marriage); H. Nathansen's " Hinter Mauern " (Behind Walls, publishers, Oesterheld and Co., Berlin); Julius
THE GERMAN STAGE.
TWO SCENES FROM "OTHELLO,"
as given at the Dresden Royal Court Theatre.
THE, GERMAN01 STAGE.
"GYGES AND HIS RING."
A tragedy by F. Hehbel, as given at the Dresden Royal Court Theatre.
"A WOMAN OF NO IMPORTANCE," by Oscar Wilde ACT I.
as given at the Dresden Royal Court Theatre.
THE GERMAN STAGE.
TWO SCENES FROM "HAMLET/*
as given at the Dresden Royal Court Theatre.
THE GERMAN "STAGE.
TWO SCENES FROM "GUDRUSS,"
tragedy by Ernst Hardt, as given at the Dresden Royal Court Theatre.
THE STAGE YEAR BOOK. 49
Magnussen's " Wer seinen Vater Lieb hat" (He Who loveth his Father, Anatalt fur Auffuhrungsrecht, Berlin), a play which is written somewhat in. the style of Bjornson.
Of the French authors, only Moliere, whose "Bourgeois Gentilhomme " was made to do duty as the framework of the opera "Ariadne auf Naxos," by Hof- mannsthal and Richard Strauss, need be named. Max Grube, in Meiningen, revived his "Don Juan" for the German stage in a fine adaptation by himself, and Voll- moeller's version of " Georges Dandin " was produced by Reinhardt on a stage fashioned after Moliere's own stage.
Spain was represented by Calderon's " Circe" in a new version by Prof. Fuchs (agents, Drei Masken-Yerlag ; publishers, G. Miiller, Munich). It was given in the Kiinstler Theater, Munich, in a most beautiful and artistic setting, which caused a great sensation.
Of old German plays, either revived or given for the first time, there was no scarcity. The principal one was in Weimar, where the attempt was made to put on the stage Goethe's fiery, youthful sketch of "Faust" — the " Urf aust " as it is called. In the Essen theatre — which holds faithfully to its motto " Art for the People " — the Director, H. Bacmeister, put on for the first time an old comedy, "Hans Frei," by Otto Ludwig, whose 100th anniversary falls with Hebbel's in 1913. It was written in 1842, and shows much of Shakespeare's influence. Another interesting production was a pastoral play, " II re pastore," by King Frederick the Great, whose 200th anniversary was on February 2, 1912. Other interesting per- formances were : " Leonce und Lene," by G. Buchner, who died quite young; and the strong " Armeleute " drama "Die im Schatten leben," by the realist Emil Rosenow, who was only thirty-three when he died. This play was forbidden by the Censor for a long time, and, in the opinion of some, ranks only second to Hauptmann's "Weber."
KINEMATOGRAPHS AND VARIETY HALLS.
Kinematographs and variety halls, both in Berlin and in the provinces, are proving serious rivals to the theatres. The halls are now following London methods, and giving sketches, etc., generally with favourite actors in the cast, while the kinematograph shows have increased to such an extent that, in the course of the year, several theatres have been forced to become kinematograph houses. At the general meeting of the German Theatre Directors' Society, the question of taking steps against these shows was discussed, and the demand made that the regulations of the Municipal Building Department should apply to kinematograph houses also; further, that they should be subject to the same license laws as the variety halls. Already a somewhat sharp but just Censorship for films exists, and several towns are even thinking of putting a special tax on kinematographs.
THE PROVINCES.
Many alterations took place in the provinces during 1912, especially amongst some of the most important theatres, several of which changed their directors and with them their policy also. With a few reservations and restrictions, the Leipzig theatre has become practically a municipal one since Geheimrat Martersteig took up the reins of direction. As soon as his rule began he brought out new authors and started reforms in the stage decorations, a few scenes from his production of Hebbel's " Nibelungen " being among our illustrations this year. The town no\v contributes about £17,500 to the theatre.
Intendant Volkner, late of Leipzig, is now director of the Frankfurt am Main Stadttheater and Opera House, and promises to make Frankfurt still more a centre of theatrical culture than it has been in the past. Under him, Dramaturg Dr. Weichart, a well-known litterateur and ^connoisseur of the drama, looks after the enlargement of the repertoire. This theatre and opera are owned by a society which is not out to make profits, and the town pays up the yearly deficit. The newest inventions, such as the round horizon and Fortuny lighting (diffused light system) have been installed at an outlay of £8,000, paid by the town.
The Schauspielhaus of Hagen-in-Westphalen, opened in 1912 (population about 100,000), is also owned by a society which does not work for a profit. During its season of about seven months 174 performances were given, of which no fewer than sixty-four were " cheap " ones. Of the thirty-eight dramatists who were heard, seven were classical authors (Schiller, Shakespeare, Sophocles, and others), and of the forty -nine of their works which were given nineteen were new to Hagen. The
50 THE STAGE YEAR BOOK.
system in vogue in Frankfurt and in Hagen, as well as in quite a number of other German towns,, is somewhat the same as that of the Liverpool Repertory Theatre, which was probably formed on their pattern, as Mr. Basil Dean has studied German theatres very thoroughly. There is one difference, however, and that is rather an important one; in Germany the towns help with a subvention, which gives the theatre more the character of a public institution and a higher standing altogether. This system might be called the transition stage between a private theatre and the municipal theatre proper. The latter kind already exists in a number of German towns — as stated in a former Year-Book — such as Freiburg in Breisgau, Mulhausen in Elsass, and others, while Breslau is also about to adopt the same system. Dort- mund (population about 220,000), where an imposing new theatre was built a few years ago, is also one of the towns which not only support their own theatres but carry them on as municipal concerns. The Dortmund Municipality, however, wisely does not interfere with the artistic arrangements of its director. There is also a sort of Playgoers' Society in the town, which has pledged itself to support the theatre in every possible way. Performances for the people at 6^d. for all seats were given here at intervals during the season. This all shows what an important role the theatre plays in the life of the town.
THE STRASSBURG STADTTHEATEB.
The Strassburg Stadttheater is also a municipal theatre in the strictest sense of the word, that is to say, it is owned and carried on by the town as a municipal concern. The Intendant, Herr Wilhelmi, was so kind as to send me the yearly Budget of the theatre for 1910-11, and it makes most interesting and instructive reading. According to it, the expenses for that year amounted to about £27,000, not including rent and payment for the opera orchestra, which is also under the municipality. The income of the theatre, derived from various sources (tickets, etc.), was about £15,750, so that a deficit of about £11,250 had to be covered. Of this, £1,000 were cleared off by the interest on a legacy left to the theatre by a wealthy man. The rest of the deficit was covered by a sum of £1,800 paid by the State of Alsace as subvention, and a sum of £8,450 contributed by the city of Strassburg itself. The city also bears the cost of the opera orchestra and the loss of interest on the capital outlay for the ground and theatre building, as, of course, the theatre pays no rent. A budget is made up every year by the Burgomaster to balance income and expenses, and fix the subvention for the year. The budget is then passed by the town council. If, as was the case in 1910-11, the subvention passed does not suffice to balance income and expenses at the end of the season, the deficit is paid out of the municipal exchequer. The season lasted eight months, from September 16 till May 15, and there were altogether 283 performances, of which six were for the people, five for schools, and two for pupils of Board schools, the tickets for which were free. 109 plays and operas were given. These were : 10 tragedies, 26 times ; 11 plays, 31 times ; 19 comedies, 52 times ; 1 farce, once ; 10 dialect plays, 10 times ; 3 Fairy plays, 18 times ; 10 French plays, 10 times ; 36 operas, 131 times ; 5 musical comedies, 14 times ; 4 ballets, 14 times.
STAGE SOCIETIES FOR THE PEOPLE.
The "Wiener Freie Volksbiihne " (under Stefan Grossmann and A. Rundt) has now, like the Berliner Neue Freie Volksbiihne, got its own theatre, and thus becomes a great factor in the literary life of Vienna, quite apart from its great social importance for the less well provided part of the population.
Performances for the people, school children, or workmen were again given in many German towns as a sort of substitute for, or perhaps the beginning of, muni- cipal theatres. Amongst these towns were : Bremerhaven (from 3^d. to od. per seat) ; Osnabriick (from 2^d. to Is. per seat) ; Hamburg (under Leopold Jessner, who is also one of the foremost in the actors' struggle for the betterment of their position and the strengthening of their organisation); Frankfurt a/ Oder (ten per- formances at prices from Id. to 6^d.), where the new director, Herr H. Roeb- beling, from Meiningen, is making the theatre the centre of artistic interest in the town; Essen, where H. Bacmeister, director of the Rheinisch Westfalische Volks- theater (owned by a society of the same kind as the Hagener Theater), arranged some special performances for children of charmingly simple fairy tales, written by himself some years ago, and founded on Grimm's stories.
The "Wander Theater" and " Stadtebund Theater" were described in a former issue of this Year-Book, but I may say a few words about them here again. The
THE STAGE YEAR BOOK. 51
"Wander Theater" are travelling companies subventioned by the small towns or by the educational societies in these towns, and the " Stadtebund Theater" are stock companies which, during the season, perform in a restricted number of places, thus providing for them carefully produced performances. This movement has been spreading steadily during 19l2, in spite of the very hard competition of the kinematograph shows.
COURT THEATRES.
The large " double " theatre in Stuttgart, built by Geheimrat Littman, was opened in 1912. Last year we gave an illustration of the front view of the theatre ; this year we show the two auditoriums and a bird's eye view of the building, showing its important position in the town. Ths " double " theatre, consisting of a large and a small one with all the offices, storage for decorations, etc., under one roof, represents an entirely new type, which, for theatres with extensive repertoires — classical and modern — is of the greatest importance. The principal technical stage improvements are moveable side1 stages in place of the revolving stage, making possible a noiseless change of scenes in1 the shortest time. This huge theatre stands in the Royal Park of the town, and cost £370,000, in the payment of which King, country, and town took their share, the ideal in such cases. Further, the town will now pay a yearly sum towards the support of the theatre instead of letting the entire weight fall on the King and the ratepayers of the whole land. Lovers of the theatre contributed by presenting pictures and statues for decorating t^e build- ing Professor Littmann, whose finest work this is, received great honours from the King. An interesting description of the theatre, entitled ' ' The Royal Theatre in Stuttgart" (Das Konigliche Hof theater in Stuttgart), has just been published, written by Prof. Littman himself, in which the whole building is described, and amongst other things several interesting technical details are given about the new machinery arrangements. The theatre has been for years under the broad-minded and liberal direction of Baron v. Putlitz, with the widely-known dramatist W. Blom as his dramaturge, and the fine artist Prof. Pankok as artistic adviser, while the director of the opera is the well-known composer Max von Schillings. With such men to direct affairs the Stuttgart Theatre in its new home will be able to do fine work, which will be of influence even outside its own land. In the King of Wiirtemberg it has a patron who not only brings interest and understanding to the subject but also, like v. Putlitz himself, broad-mindedness in the truest sense.
Since the death of Baron v. Speidel, General Intendant of the Munich Hof- theater, the directorship of that theatre has fallen to Baron v. Frankenstein, who is not unknown to London. His father was Austrian Ambassador in London at one time, and he himself, a musician by profession, directed concerts and operas for five years in England and America. For the production of operas he has the valuable assistance of Prof. W. Wirk, also well-known here by his work in Covent Garden. Prof. Wirk's " Tristan " production in simplified staging is amongst our illustrations this year, also a scene from his production of Debussy's opera " Pelleas et Melisande." This was the first attempt at staging opera in the new Impressionistic style, in which a neutral proscenium plays an important role. The object Wirk always has in view in his productions is to accentuate the mood and atmosphere of the play by his setting, which, however, he only uses as a back- ground for his characters. We also reproduce here some very effective yet simple scenes from " Hamlet," as given on Prof. J. Klein's New Shakespeare Stage in the Munich Hof theater. This stage was invented with the object of combating the over-elaboration and realism of scenery, which only stifle the imagination of the spectator.
Through the kindness of Geheimrat Dr. Zeiss, Art Director of the Dresden Court Theatre, we are enabled to reproduce here a number of interesting and impressive pictures illustrating productions as they were given at that theatre. Amongst them are " Hamlet," Oscar Wilde's " A Woman of No Importance," and other plays. We also give a picture of an old pastoral play, produced by Dr. Zeiss, entitled " Sylvia," by Gellert, which was received most cordially because of its delicate daintiness of form, colour, and movement. The Dresden Court Theatre has been for years now one of the foremost centres of German theatrical art from all points of view. Its opera is famous; nearly all Richard Strauss' operas have been produced at it for the first time on any stage. It is now following Prof. Wirk's idea of impressionistic staging for operas, and has ordered new scenery for Wagner's " Ring " from Fritz Erler, one of the best known and most original of modern German artists. His scenic pictures should at least prove most stimulating. The stage of the Royal Opera House has also been entirely rebuilt,
52 THE STAGE YEAR BOOK.
A new Court Playhouse is nearly completed in Dresden, the stage being fitted with a great many new inventions, which will make this house, when finished, the most completely equipped of modern theatres. The designer is Adolf Linnebach. Ho has placed all the machinery underground, and the whole stage can be lowered in three sections. " Schiebebuhnen " (moveable side .stages) are set underneath while an act is going on, and are then moved up and pushed to the front, thus making scene-shifting quite a simple affair, a point of the greatest advantage, especially in repertory theatres. There are also a round horizon, Fortuny diffused light system, etc.
A new policy has been begun in the Court Theatre of Darmstadt under the regime of the energetic new Intendant, Dr. Paul Eger, who has just taken up the reins there after having done valuable work as producer in Prague. He is whole- heartedly supported in his work by the Grand Duke himself, who has long been a friend of all Art, and has made Darmstadt a centre of the new Arts and Crafts movement in Germany, besides gathering round him quite a number of distinguished artists. In the repertory, as well as in the style of staging, Dr. Eger has already introduced new ideas, and in the next Year-Book we shall be able to show the kind of work he is doing by reproducing some scenes from different plays produced under his guidance.
THE ACTORS' YEAR.
The German Actors' Association is in a flourishing condition, in spite of rather serious internal dissensions, partly of a personal nature, and is still striving its utmost to achieve the social betterment of the actor's calling. The great event of the year 1912 was the formation of a " combine " between this Association, the Austrian Actors' Association, the German and the Austrian Musicians' Associations, and the Chorus Singers' Society. During years of hard work and strife they have all learned that "combination means power, and they are determined to use it.
In Austria, where the life of the actor, and still more of the actress, was very hard, a great victory was won in 1912, for the Austrian Managers' Society at last showed signs of being willing to make terms. The actors wisely showed great moderation, and thus managed to gam the main points which were so badly needed. The managers must now only engage members of the Association, and must insist on beginners who come to their theatres joining the Association, and also on their becoming subscribers to the Pension Fund started in Austria some time ago. Managers must also only engage such beginners as have fulfilled the regulations of the Theatre Central Board, by which means it is hoped to combat the over-crowd- ing of the profession by actors of no talent, who only lower the salaries and the whole standard of the calling ; rehearsals before the engagement begins, which hitherto have not been paid at all, must now b-3 paid for according to a fixed tariff ; the respective rights are now made more equal, especially as regards giving and receiving notice.
No sooner had the two parties thus joined hands, as it were, than they began to see that in reality they belong to each other, and that the welfare of the one is the welfare of the other. But in order to reach such an understanding, equality of station is the conditio sine qua non in these cases. So they organised a common board called the " Theaterzentralkommission " (Theatre Central Board), the duty of which is to look after the interests of both parties and the theatre in general. It is to bring into operation a minimum salary scheme arranged according to the siza of the different towns, and will also act as official organ of both bodies in their negotiations with municipalities and the State in the questions of subventions, schools for acting, etc. This combination felt itself so strong from the very beginning that it almost immediately used the powerful weapon of boycotting against a manager who did not wish to comply with the terms arranged, and even against a municipality (Czernowitz) because it asked from the lessee of its theatre conditions considered unjust and degrading to the actors engaged. The Board is now trying to get State subvention for the Austrian provincial theatres, the money for which, it is proposed, is to be collected by levying a tax of 10 per cent, on all amateur performances and such entertainments. Actors and managers have also decided to start a " Buhnenschiedsgericht " (private Court of Arbitration), in which cases between actors and managers are to be tried by delegates chosen from amongst both actors and managers. So peace and contentment reign in Austria, and the theatre there will have no cause to regret it.
In Germany there is still some bad feeling between the actors' and the managers' organisations, but no doubt the Austrian example will (help to make better counsels
THE GERMAN STAGE.
1WO bCEiNUb FROM "NIBELIjNGEN," PART L,
a tragedy by F. Hebbel, as piven at tbo Leipzig Municipal Theatre under Geheimrat Max Mnrtcrc'c'
THE GERMAN STAGE.
TWO SCENES FROM « NIBELUNGEN," PART IL,
tragedy by F. Hebbel, as given at the Leipzig Municipal Theatre under Gehoimrat
THE GERMAN STAGE.
TWO SCENES FROM "HAMLET,"
as u;ivon on the new Shakespeare stage (Professor Julius Klein) at the Munich Royal Court Theatre,
ACT EL, SCENE IV.-THE QUEEN'S ROOM,
ACT IV., SCENE IV.-A PLAIN IN DENMARK.
(Enter Fortinbras and Forces — a scene usually cut.)
w o
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w a:
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J5
*o~
fcl
1!
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THE GERMAN STAGE.
SCENE FROM THE PASTORAL PLAY, "SYLVIA,"
by Gellert, as given under Geheimrat Karl Zeiss at the Dresden Royal Court Theatre in 1911, The MISSES TRKSSNITZ and VF.RDEN.
THE STAGE YEAR BOOK. 53
prevail there, too. One thing is certain, the German actors will not and cannot be satisfied with less than their Austrian colleagues have already gained.
Even the ballet dancers, whose payment is often very poor, have also quite recently formed themselves into a union which, while this is being written, has joined the German-Austrian Combine.
The much hoped-for and no lees talked of Imperial Theatre Law in Germany seems to be coming along at last, and may be passed before the year 1913 is out. The draft of it has just been sent to the Association by the Government, in order to get their opinion. A good many points are touched upon in it to the advantage of the actors, but they themselves must still do the greater part of the uphill work, and there is every reason to believe that they will do so. Trade unionism, if one may use the term, may be an ugly word in the ears of many who think that Art (especially Art with a capital A !), and its followers should have nothing to do with such mean and worldly things, but all the same it is a splendid human education in many ways.
SOME INTERESTING LEGAL DECISIONS.
The German Actors' Association publishes regularly in its official organ " Der Neue Weg " a ''black list," in which it gives the names of managers who are "financially unsound." In this way members of the Association are warned against taking engagements with these managers. A manager, whose name had appeared in the black list, took legal proceedings against the Association for having done him damage and injured his personal honour. The Court decided that the Asso- ciation was entitled to publish the names of managers in that way if, as happened to be the case, the financial unsoundness of the manager in question could be proved. The Association, the Court ruled, only acted in the interests of its members by warning them against such managers.
The Court of Appeal for the Court of Commerce in Vienna decided last March (1912) against a clause in the contract which stipulated that the actor was to attend rehearsals before his engagement begins without any remuneration, the Court considering that this clause was entirely the result of the greater financial power and stronger position of the manager. This decision no doubt helped to make the Austrian managers agree to the actors' demand for payment for rehearsals before the beginning of the engagement, as stated in " The Actors' Year."
Decision as to the number of performances which an actor is legally compelled to give. The Court in Hamburg decided that special performances and matinees in cases where the latter had not been the custom when the contract between the actor and manager was concluded must be paid for extra. According to the ruling of the Court, a paragraph in the contract which compels the actor to attend every rehearsal put on, and also to play in every performance the manager likes to give, is not to be interpreted in such a way that the manager has the right to force his actors to play in as many performances as he chooses to give. The custom in force in the place in question is to be taken as standard in such cases.
Is a criticism of a performance a proof of its merit or demerit? The Anstalt fur Auffiihrungsrecht, a large Berlin play-ibroking firm, took proceedings against a manager for not producing a play of theirs "with the proper care" according to the stipulation in the contract signed by him. In proof of this they quoted several newspaper criticisms, in one of which the following passage occurred: "Where one was supposed to shed tears, the fun on the stage was furious and irresistible." The Berlin Court refused to hear the case, ruling that it is questionable whether a newspaper critic is always the right man to give a judgment on a performance, as any one might write criticisms without having much literary knowledge or ability, and a newspaper is entirely free to engage as its critic a man who can in no wise claim to criticise plays and productions in the name of the public. The result of this ruling may perhaps be that the suggestion made by the local branch of the Actors' Association in Freiburg (reported in THE £TAGE of January 4, 1912), that official certificates of efficiency should be issued to critics before they are allowed to exercise the calling of critic, will now be considered in wider circles, in spite of the ridicule cast on it by papers in Berlin and elsewhere. Or at least a certain standard of knowledge might be insisted upon ; such a question, however, could only be approached in a spirit of broad-mindedness and discrimination.
OBITUARY.
Of the theatrical people who have left us this year, only three may be men- tioned.
54 THE STAGE YEAR BOOK.
J. Ettlinger, the former president of the Neue Freie Volksbiihne, Berlin (Peoples' Stage Society), was a great organiser and indefatigable worker and enthusiast like the lamented Dr. Lowenfeld, late director and founder of the Schiller theater. Under him the Neue Freie Volksbiihne reached a great height, not only in numbers.
Max Burckhart was the late director of the famous Burgtheater in Vienna, and although an outsider (he studied originally for the law) proved an excellent man- ager and a good friend to actors.
Finally, there is Dr. Otto Brahm, the famous director of the Lessing Theater. I -should like to quote here a few words from the 'speech given at his grave by Gerhart Hauptmann, as they show best what he was to the German stage and what hie loss means to it.
" I do not think that, in the history of the German Theatre, there has ever been such a combination of practical strength with ideal strength as his. He forced the theatre to become an earnest, living, and real Art. He brought Life and Stage together in a way that has never been done before."
SOME GERMAN THEATRICAL PUBLICATIONS.
There is no space this year to do more than mention a few very interesting books which appeared during 1912. Perhaps there may be an opportunity later on of referring to them again. They are :
Garl Hagemann, the former Intendant of the Mannheim National Theatre : "Die Kunst der scenischen Darstellung " (The Art of Scenic Production). Schuster anJ Loeffler, Berlin. 6s.
Dr. Charlotte Engel-Reimerc : "Die Deutschen Biihnen und ihre Angehorigen j eine Untersuchung ihrer wirtschaftlichen Lage " (German Theatres and their Per- sonnel ; a treatise on their financial and social position). This is founded on statistics prepared by the German Actors' Association. Duncker and Humblot, Berlin. 15s.
Gustav Rickelt (a well-known German actor) : " Schauspieler und Direcktoren " (Actors and Managers). Paul Langenscheidt, Berlin.
Max Reinhardt : Classical Works as produced by Max Reinhardt. With illus- trations of some of the scenes. Five Shakespearean plays have appeared so far. Price of single volume, Is. 6d. ; cloth bound, 2s.
Anonymous : " Aus dem Tagebuche einer Deutschen Schauspielerin." This is a description of the position and temptations of German actresses in form of a novel, which created almost a furore in Germany. Robert Lutz, Stuttgart. 6s.
Neuer Theater Almanach : The old and trustworthy Year-Book of the German Actors' Association. It is a complete Directory of the German stage, and contains all the important theatrical news of the year.
Das Deutsche Theater Adressbuch : Edited by the German Theatre Directors' Society and published by Messrs. Oesterheid and Co. 3s. It contains the names of all the German theatres and their companies, besides other information.
THE STAGE YKAK HOOK. 55
THE DRAMA IN AMERICA.
By W. H. DENNY.
THE past year has not been quite a disappointment for either managers or public, and on the whole it may be regarded as a successful one, in spite of the overpowering effect of the Presidential election, which proved to be one of the bitterest on record, though at the beginning of the year the belief was expressed that it would be uninteresting, from the fact that it would be simply a walk-over for Roosevelt, an opinion which was not justified by the result.
The year opened with an unusual number of successes, still running, several of them having attracted great business for a considerable time.
At the Astor Theatre, " The Red Widow," a musical comedy by Charming Pollock and Rennold Wolf, was in full swing and attracting large audiences, and at the Belasco David Warfield was appearing in " The Return of Peter Grimm," a supernatural drama by David Belasco and Cecil De Mille, which had .hit the taste of the public quite early in the season. " The Garden of Allah," too, at the Century Theatre, with Lewis Waller as the star, continued to draw big business, and continued to do so for the remainder of the season.
At the Comedy, " Bunty Pulls the Strings," which had been produced early in September, and scored an instantaneous success, attracted wonderful business at each performance, when the New Year was ushered in, and remained during the whole of the season, during the summer, and was only removed late in the autumn to make room for another success. The unusually long run was perhaps due to the extremely economical arrangements observed in the production, which enabled the management to play to a profit during the heat of the dog days. At the Cohan Theatre, " The Little Millionaire " continued to attract record business, although it was fifteen weeks' old.
At the Knickerbocker Theatre Otis Skinner saw the New Year in with crowded business, attracted by his successful production of " Kismet," while at the Lyric Henry W. Savage carried over from the old year "Little Boy Blue," which had proved one of his biggest successes of the season. This production was notable from the fact that the principal character was played by a young actress, Gertrude Ryan, who had only a few weeks before been a member of Mr. Savage's chorus, and who made one of the biggest acting successes of the season.
At the Playhouse " Bought and Paid For " still filled the house to its utmost capacity, remaining a veritable bonanza for William A. Brady, the producer, and George Broadhurst, the author, for the remainder of the season, remaining during the summer months, like "Bunty," only to be removed in the autumn to make room for another rousing success, "Little Women."
"The Woman," at the Republic Theatre, one of David Belasco's early season's production, as is usual with this manager's attractions, still remained in the bill when the New Year came in, and continued until late in the season, while George Arliss continued to present "Disraeli," which was produced by him under the management of the Lieblers.
At other theatres the luck was not quite so favourable, and no fewer than sixteen changes of bill took place during January, of which " Officer 666," a comedy by a new author, Augustus MacHugh, proved to be one of the most successful, remain- ing at the Gaiety, where it was produced by Messrs. Cohan and Harris, for the rest of the season and during the summer.
Another success was " Over the River," which Charles Dillingham presented at the Globe, with Eddie Toy as the star, being the first time this musical comedy actor had appeared under his management. This production was a musical ver- sion of " The Man from Mexico," which in its original dramatic form had been a vehicle for Willie Collier.
56 THE STAGE YEAR BOOK.
It was in January that John Cort, the well-known Western manager, made his first appearance in New York as a producing manager in the Eastern States. He presented a musical comedy adapted from the German by John L. Shine, with music by Heinrich Berte. It did not quite hit the mark, though it was sufficiently successful to warrant those interested in arranging a tour, which proved most satisfactory to all concerned.
At the Casino Winthrop Ames celebrated the New Year by presenting " Sumurun," which proved most successful for a few weeks, when it was removed to Chicago, where it failed most dismally, the same fate befalling it, to a minor degree, in Philadelphia, and in spite of the most energetic efforts to boom it the Beinhardt spectacle had to be catalogued among the failures of the season.
At the Thirty -ninth Street Theatre " A Butterfly on the Wheel," with Madge Titheradge in the principal character, proved one of the most successful produc- tions of the month, and it remained for quite a long period as one of the principal attractions, later being sent on a tour, which has been eminently satisfactory.
An important alteration in the city ordinances was made in January, owing to the managers appealing against the order preventing people standing during the per- formance in the auditorium. The order was relaxed where sufficient room had been provided to enable free egress in case of panic. This relaxation of the ordinance meant considerable increase in the holding capacity of the theatres affected.
E. A. Sothern and Julia Marlowe were playing their usual season this month of Shakespearean plays, presenting " The Merchant of Venice." The production seemed to stir up feeling in the Jewish portion of the population of New York, who made certain representations to the authorities regarding what they deemed as somewhat of a libel on their race in presenting the part of Shylock. It was, however, rather uncertain as to whether they referred to the Bard or to the actor.
In February twelve changes of bill took place, five of them being the work of English dramatists, only one of which made anything of an impression on the public, the one being the Comyns Carr version of " Oliver Twist," for which a cast of stars was engaged. The four other British products which failed were "Lady Patricia," " Preserving Mr. Panmure," and " The Lady of Dreams," a poetical play by Rostand, which had been prepared for Mine. Simone by Louis N. Parker, and was speedily relegated to the storehouse, and " Lydia Gilmore," the work of Henry Arthur Jones.
It was a sincere pleasure to the playgoing portion of the public to hear at this period that Joe Weber and Lew Fields had once more been brought together, and a promise made that they would later in the season appear in an entertainment similar to that which used to be the delight of the patrons of their theatre seven or eight years ago, a promise which was fulfilled during the season. At the begin- ning of February Henry W. Savage took the important step of reducing the scale of charges for admission to the Lyric Theatre, where his "Little Boy Blue" was running, an example that was followed later by others, the experiment proving most advantageous.
In Pittsfield, Mass., a decisive move was made in February towards instituting a municipal theatre. Several of the leading members of the local council acquired the theatre, which they remodelled and furbished up thoroughly, and took under their control.
An important incident this month was the creation of a federation of patrons of the drama, formed for the purpose of directing those who frequented theatres. The project was set on foot originally by persons who objected to many of the attractions sent round by the New York and other managers on the ground that they were not first-class and in numerous instances banal, and frequently immoral. In the various cities committees were formed, the members of which undertook to report to their associates and lay members of the league the advisability or other- wise of patronising the plays which came under their ken. The scheme was accepted readily by thousands throughout the States, and it speedily grew into a most important organisation. Later another society was formed, headed by Sydney Rosenfeld, which was designated the National Federation of Playgoers' Clubs, which not only undertook to consider plays but also to produce them, so that the unknown author might stand a chance. Subsequently during the season the Federa- tion produced one or two plays, but nothing which may be regarded as phenomenal. Later several of the most important managers joined the Federation.
This month Miss Horniman, of Manchester, brought her company to Canada, opening in "Candida." The ability of the members was admitted on all sides.
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During .March the number of productions dropped to ten, out of which but three stood the test, including " The Pigeon," by John Galsworthy, with which Win- throp Ames opened his Little Theatre; "The Rainbow," produced at the Liberty, in which a most remarkable performance of the heroine wan given by Miss Ruth Chatterton, remarkable from the tfact that she had previously had practically no experience. The third production which succeeded was " The Typhoon," which gave occasion to proceedings in the Courts.
In March Lewis Waller made the daring experiment of presenting " Mi.n sieur Beaucaire," daring from the fact that it was originally played by the late Richard Mansfield, who created a furore in the character. The experiment, how- ever, proved most satisfactory to all concerned, and Mr. Waller received the greatest praise from the critics.
It was in March that the late Henry B. Harris sailed on the trip which was to prove fatal, for he took passage a month later on the ill-fated "Titanic," and perished in her. His motive for sailing in her was to be present at the rehearsals of a new play, which he had hoped would be a great success, otherwise he had arranged to return later. His loss was regretted by all who knew him, since he had the reputation of being one of the most straightforward managers in America. The business matters connected with his theatres were subsequently undertaken by his father, William Harris, and his brother, in conjunction with Edgar Selwyn, who had departed with him on his holiday, but who decided to remain a few weeks longer abroad.
The moving picture business having arrived at cuch a pitch of popularity, the theatrical managers deemed it advisable to consider the matter as it affected them, and an Act was about to be considered, which, in their opinion, rendered the repro- duction of their plays easier. They formed a mutual protective association, and sent a deputation to Washington to protest against the Townshend Bill, which would merely inflict a fine of $100 for infringement of copyright.
In March also, David Belasco, in conjunction with William Elliot and Morris Gest, his two sons-in-law, entered the Vaudeville field with " Madame Butterfly " and later " The Drums of Oude," with which they achieved a great success. Daniel Frohman, too, decided to produce sketches in the vaudeville theatres, while his own theatre, the Lyceum, was given over to moving pictures, an indication of the deep hold this form of entertainment has made upon the public.
April saw a still farther reduction in the number of changes in the bills, but six taking place, none of which may be regarded as successes of the first magni- tude, though " The Rose Maid," with Miss Adrienne Augarde ran for a respectable period.
Charles Hawtrey arrived this month with a company for the purpose of present- ing "Dear Old Charlie," which his brother WTilliam had already produced in Chicago under the title of " Dear Old Billy." The result of the visit may not be arranged in the catalogue of the principal hits of the season.
George Arliss, who was appearing in " Di«sraeli " at Wallack's Theatre, received the distinction of being invited to deliver an address on the drama at the New York Academy.
May saw but five productions, including " The Explorer," which Lewis Waller hoped would prove attractive, but the play was withdrawn after a short period. Two interesting revivals took place this month, one of which was the De Koven opera "Robin Hood," which proved a most gratifying success at the New Amster- dam Theatre. The other was a revival of the Gilbert and Sullivan Operas at the Casino, with so-called star casts. The result was beyond all expectation, and the vogue was so great, and the interest evinced so general, that a company were immediately formed and despatched at the end of the Casino season to San Francisco in a special train. Arrived at the coast, the company immediately pro- ceeded to smash all records.
In May the Lambs opened their tour of public gambols at the Manhattan Theatre, which was packed from floor to ceiling. As a proof of the interest taken in this scheme, the Shepherd Joe Grisme.r "auctioned off" an autographed pro- gramme for $675, or nearly £140.
June and July were absolutely bare of changes of bill, and most of the legitimate theatres were dark, the managers having taken their departure for Europe, where they proceeded to search for material for their next seasons.
It was at this inopportune time that the musicians pushed forward their claims for increased pay and allowances, which were promptly refused by the managers remaining in New York, and subsequent consultations resulted in the giving way
THE STAGE YEAR BOOK.
to the demands to a certain extent, but a determination on the part of the theatre owners and producers to dispense with music wherever possible. During a strike in connection with the movement it was demonstrated to the satisfaction of the managers that the full orchestra was not an absolute necessity, while a new inven- tion, the Unit Orchestra, was brought forward, which could be manipulated by one individual, as a substitute for the expensive orchestra. The invention gave a certain amount of satisfaction, but subsequent experience proved that it scarcely came up to the standard required.
Some idea of the push of the American may be gathered from an incident which occurred during the hot month of July. A Miss Marjorie Kambeau hearing in San Francisco that Henry W. Savage wanted someone for the part of " Every - woman," she took the Overland Express, arriving in New York a week later, read the part to the manager, signed the contract, and departed the next day for the Coast to take up her interrupted duties in a stock company.
A victory was gained in Louisiana, by those who desire children in plays, by a law being passed in the Legislature permitting children of tender years to take part in theatrical performances under certain restrictions. In California a partial success was gained, since it was allowed that the local laws did not affect children of non-residents, which will enable managers of touring companies to present their plays which include child characters.
The season opened early in August, during which month ten new attractions were submitted, of which "The Merry Countess," a version of the old Strauss operette, " Der Fledennaus," prepared by Gladys Unger, and known in London under the title of " The Night Birds," achieved, perhaps, the greatest success at the Casino, while "Ready Money" at the Maxine Elliott also scored, after having achieved a great success in Chicago. The Hippodrome, too, opened its doors for the season with "Under Many Flags," presenting scenes in all parts of the world on a scale of magnificence which all agreed surpassed those submitted in former seasons.
Just prior to the opening of the season David Belasco issued a pronouncement to the -effect that he would for the future discard wall advertisements and use only the newspapers, since the wholesale adoption of the picture poster by commercial firms rendered the theatrical posters almost useless.
About this time, too, John Cort arrived from the West, having completed arrangements for a chain of theatres to the Coast, and plans for building one in Boston in addition to the one already preparing in New York.
Trouble, too, appeared to be brewing with the stage hands, who, unlike the musicians, waited until a fitting opportunity to press their claims, which were granted, with little abatement, by the managers, who realised that the beginning of a season was not the time to quarrel with their staff.
One Abraham Goldknopf claiming that David Belasco had infringed upon his copyright, by conveying certain scenes and incidents from his piece, "Tainted Philanthropy," into "The Woman," the manager arranged for two complete performances to take place before the judge. The promised double performance took place early in December, and adequately demonstrated to those present that Mr. Belasco was innocent of purloining anything from Mr. Goldknopf 's play. It also showed the latter as "being unsuitable for stage production.
A dearth of chorus girls was most noticeable at the beginning of the season, the number of new musical productions quickly exhausting the normal supply, so that salaries for this class of employment went up considerably.
Although the most severe measures apparently had been taken during the past season against ticket speculators, the pest was early in evidence so soon as any attraction proved to be successful, and the public were robbed during August as shamefacedly as ever.
In September the record number of twenty productions took place, of which "Broadway Jones" at the Cohan, "Fanny's First Play" at the Comedy, "The Governor's Lady " at the Republic, " Milestones " at the Liberty, and " Oh ! Oh ! Delphine " at the New Amsterdam may be recorded as first-class.
" Milestones " and " Fanny's First Play " particularly hit the public taste, the satire of the Shaw play arousing much amusement, while the tender and absorbing interest of "Milestones" made an instantaneous appeal to the public.
"Oh! Oh! Delphine" proved to be, perhaps, the biggest success in the way of musical comedy that Klaw and Erlanger have ever put before the public, and the demand for the music, which is by Ivan Caryll, has exceeded all records for musical plays in the United States.
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THE AMERICAN STAGE.
A STRIKING PICTURE OF MISS MARIE DORO AND MR, LYN HARDING AS OLIVER AND BILL SIKES IN "OLIVER TWIST,"
at the New Amsterdam, New York,
THE AMERICAN STAGE.
MISS EDITH TALIAFERRO,
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THE STAGE YEAR BOOK.
" The Whip " was promised for an early date, but several unavoidable adjourn- ments occurred. It was eventually (produced about the middle of November, and made a great and instantaneous hit.
As an instance of the success which attends stock companies in this country, it may be mentioned that the lease of the Castle Square Theatre, in Boston, expiring this September, John Craig renewed it for a further period of six years, he having accumulated quite a respectable-sized fortune during the last few seasons.
This month William A. Brady announced his intention of getting round the city ordinance forbidding Sunday performances by organising a club, whose aim would be to promote the representation of plays on Sunday. The police took a hand in the discussion, claiming that the club members would only be the public in a modified form, and the scheme was abandoned.
During October the fatal thirteen was the number of productions, of which "The Affairs of Anatol," the opening bill of the Little Theatre, and "Little Women," which supplanted "Bought and Paid For" at the Playhouse, may be placed in the category of successful plays, the latter particularly.
In connection with " Little Women " there is a tragedy somewhat resembling that connected with the production of " Every woman," when Walter Browne died on the morning of the production of his play. "Little Women" had been adapted by Miss Marion Forrest from the stories by Louisa M. Alcott, and the piece had been accepted by Miss Jessie Bonstelle, who manages a stock company most suc- cessfully in Buffalo during the off season. During the final rehearsals of the piece on the road early in the season she received the news of the serious illness of her husband, with the result that she had to leave the rehearsals in other hands while she returned home, only to receive the news of the great success of the play as she sat by the side of her dying husband. "The Daughter of Heaven" also proved successful.
In October Messrs. Klaw and Erlanger initiated a system similar to that obtain- ing in London, where the libraries take a deal in seats for successful plays, in an attempt to counteract the effects of the ticket speculators, who again came into great prominence on the sidewalk outside theatres running popular attractions.
About the middle of the month the officers of the Actors' Fund decided to remove from the quarters in the Gaiety Theatre Building to more commodious premises in the Long Acre Building.
An old landmark in the theatrical world disappeared in the razing of Miner's Bowery Theatre, which had been in operation since 1872.
During November twelve productions were submitted, the most successful of which was " The Yellow Jacket," an adaptation of several Chinese plays, by G. C. Hazelton and Harry Benrimo. The production was noticeable for its primitive- mounting and the curious method of procedure, the intervention of the property man and his assistants during the progress of the play arousing much interesting; merriment.
Another success was that of Mme. Nazimova in "Bella Donna," which was pre- sented by Charles Frohman at the Empire, and aroused much public attention owing to the deeply interesting .study the Russian actress had made of the- character.
At the Gaiety, too, a success was scored by "C.O.D.," a farce by Frederic Chapin, produced by Messrs. Cohan and Harris.
" Julius Caesar," also at the Lyric, as presented by William Faversham, achieved success, as did also a fairy play adapted by Jessie Braham White from the Grimm fairy tales, entitled " Snow White and the Seven Dwarfs," produced at the Little Theatre, and intended for matinees.
Annie Russell this month opened her season of ^ old English comedies at the Thirty-ninth Street Theatre, owing to the Princess's, which is building for her. not being ready. Her opening bill was " She Stoops to Conquer," with George Giddens as Tony, and Fred Permain as Old Hardcastle, and herself in the character of Kate. The premiere was attended by members of New York fashionable circles, and the result warranted the belief that the experiment will prove a most gratify- ing success.
60 THE STAGE YEAR BOOK.
PROGRESS IN AUSTRALIA.
BY EARDLEY TURNER.
I SHOULD be justified, I think, in using Dominie Sampson's somewhat over- worked exclamation " JProdeegious ! " when, glancing back over the four years I have spent on the Australian stage, I attempted to describe in one word the advance in every grade of theatrical business in the colonies during that short period. " Prodeegious," indeed! On every hand one notes progress and attendant prosperity. Turn to the Saturday morning issue of the daily newspaper in any big city of Australia nowadays. Where a year or two back a few lines sufficed to give the reader information regarding current enter- tainments, it is no uncommon thing now to find a column or a column and a-half devoted to " Amusements." It is a case of the appetite growing by what it feeds on. New theatres are springing up ; more are projected. New managements have come into existence, and are thriving. Actors of all classes, in spite of the inter- mittent wailings of the obscure native-born, have little difficulty in obtaining almost constant employment. In fact, to put the matter shortly, the country having happily enjoyed most prosperous seasons of late, things theatrical have shared in that prosperity, and have "boomed" all along the line. Some there are who shake their heads and predict a slump soon. I feel it difficult to share their pessimism.
English visiting " stars " have frequently expressed their surprise at the big money that can be taken at all kinds of entertainment in Australia — a country with a total population of but four and a-half millions ! But then, to paraphrase Carlyle, the four and a-half millions are "mostly playgoers," and they seemingly 'will pay any price in reason for a big attraction. Ordinary theatre prices, by the way, have been raised of late by the premier proprietors, and it may be interesting to quote the charges of admission for big attractions : Dress circle and reserved stalls, 7s. 6d. ; stalls, 4s. ; gallery, 2s.
VARIETY COMPETITION.
Among such an amusement-loving community, therefore, it is hardly surprising to find that during the last three or four years three new, important theatrical firms have been successfully launched, and goodness knows how many picture- show proprietorships — all making small fortunes. Then, again, the music-hall business has grown enormously of late. Since the death of Mr. Harry Rickards (the father of the modern vaudeville entertainment in these parts) there has been a lively competition amongst several managements in this lucrative branch of amusement, with the result that in these days the public of each large city of the Commonwealth 'have a choice of at least two well-conducted and up-to-date music halls, the programmes of which are made up, with regard to the majority of turns, by artists brought from England or America.
Casual mention may be made here, leaving details to be dealt with later on in this article, of the excellent results achieved by the Repertory Theatre movement, inaugurated first of all in Adelaide (as befits the " City of Culture," the name given to it by Mr. Foster Fraser, and which still sticks), and extended nowadays to Melbourne and Sydney. Surely here are signs sufficient- of progress !
When Mr. Bland Holt retired from the cares of management — with a snug Mttle fortune, it is said — he left no successor. There was not a theatrical firm in Australia to stage Drury Lane drama and high-class melodrama generally on the lavish scale he produced it. J. C. Williamson, Limited, were content to let Mr. Holt have the monopoly in purveying that class of goods, and Mr. William Anderson's friendly rivalry never became sufficiently formidable to harm the popular "Bland-Holt Company," or oust it from premier position. True it is
THE STAGE YEAR BOOK. 61
that the J. C. Williamson firm suddenly returned to the melodrama business (and with excellent results) when they produced " The Whip " in 1910-11, bringing out the principal members of the cast from England, and at the time of writing the firm's big production of another Drury Lane drama, " Ben Hur," is running to great business ; Out, as 1 have said, no successor to Bland Holt appeared or seemed likely to appear on the theatrical horizon.
THE MARLOW MANAGEMENT.
Four years ago the name of George Marlow, theatrical manager and lessee, watt unknown in Australia. To-day his firm — now a limited company, of which Mr. Marlow is governing director — controls first-class theatres in Sydney and Melbourne, at which are to be found (as the jocular " Bulletin " puts it) popular Marlowdrama companies. At the same time a couple at least of the new firm's dxama com- binations are on tour. George Marlow has come to be recognised as the legitimate successor to Bland Holt. Indeed, he has leased many of the plays of the Holt repertory, and has already produced on a big scale, at his Adelphi Theatre in Sydney, the Drury Lane successes, " Sins of Society " and " Marriages of May- fair." His co-director, Mr. George Willoughby, has been a familiar figure in theatrical circles, both as actor and manager, in Australia for many a year. In turn partner with Mr. Charles Arnold (the late), Mr. Hugh J. Ward (now a managing director of J. C. Williamson, Limited), and Messrs. Clarke and Meynell, he has played in and produced almost every conceivable class of piece out here. Under such auspices the firm of George Marlow, Limited, should go far.
Their Adelphi theatre in Sydney is the latest addition to the already formidable list of playhouses in that thriving and go-ahead New South Wales capital. It is a commodious and up-to-date building, and claims to be the largest theatre in Australasia. Its imposing frontage is situated in Haymarket, and quite close to the Central railway station. It seats just on 3,000 people, the stalls alone accom- modating 900, and all tip-up seats. Popular prices rule. The Adelphi is the Marlow firm's headquarters. Their other theatre is the Princess' in Melbourne, the lease of which was acquired when the J. C. W. firm relinquished it.
PLIMMER AND DENNISTON.
Another new management — now in its third year — is that of Plimmer and Denniston (Messrs. Harry Plimmer and Reynolds Denniston, with Mr. Allan Hamilton as general director). These new proprietors have not as yet any "local habitation " of their own — leasing a theatre for the season in each town they visit — but doubtless a continuation of their present success will embolden them to start building. Their policy is the production of the best available comedies, and they are apparently ambitious of reviving the glories of the old Brough-Boucicault days out here — days always affectionately remembered by Australian theatre-goers. Their company — at the head of whom is that fine artist Mr. George S. Titheradge — have already won golden opinions (not to mention golden receipts) in such plays as " Nobody's- Daughter," " Inconstant George," and revivals of the old-time favourites, "The Second Mrs. Tanqueray " and "The Village Priest." It is worthy of note that, with the exception of Mr. Titheradge, the members of the Plimmer-Denniston company are all colonial actors.
ANOTHER NEW MANAGEMENT.
The remaining new management to be noticed — as it is also the most recent — is the Bert Bailey Company, run by Messrs. Bert Bailey and Edmund Duggan, their business manager being Mr. Julius Grant. These three gentlemen were all connected for many years with Mr. William Anderson's companies. Like Messrs. Plimmer and Denniston, Messrs. Bailey and Duggan were actors. Only concluding their long engagement with Mr. Anderson about a twelvemonth ago, their success in management has been instantaneous and remarkable. As dramatic authors they were already favourably known — a play of theirs, full of " local colour " and
a stage adaptation of a well-known and long-popular Australian book called "On Our Selection," written by an author whose pen name is " Steele Rudd." It is a pronounced success, and will bring the lucky managers and dramatists much good Australian gold. This company also is " all colonial " through and through, management, cast, and plays being "made in Australia."
62 THE STAGE YEAR BOOK.
CHANGES IN THE Music HALL WORLD .
Turning to the 'music hall, it is interesting to note the great changes in that branch of entertainment that the last year or two have brought about and the strides in popularity these changes betoken. About eighteen months ago a new company was floated called Brennan's Amphitheatres, Limited, the promoter, Mr. James Brennan, an Australian, .being the proprietor of vaudeville theatres in all the large centres. Previous to the forming of the company the majority of the artists playing the Brennan circuit were Australian performers, but afterwards — the director following the example of the Kickard's management — English and American stars were imported. After a few months the scheme was further extended by the Messrs. Fuller (a well-known and highly respected New Zealand firm, of vaudeville and "pictures" fame) amalgamating with the new company, the general manager of the combine being Mr. Ben Fuller. Music-hall artists can now do a complete tour of Australia arid New Zealand under the one management — a thing impossible before. The advantage to the public is obvious, and by all accounts music-hall frequenters are greatly appreciative of the change.
A change also in the proprietorship of the rival group of variety theatres run for many years by Mr. Harry Rickards has, consequent on Mr. Rickard's death, eventuated during the past few months. This business has been purchased for a large sum by the well-known boxing promoter, Mr. Hugh D. Mclntosh, a Sydney man, still on the right side of forty, who has made .a name and much money for himself in many and diverse enterprises. Like Alexander, Mr. Mclntosh sighs {if such a .cheery optimist can ever be said to sigh) for more worlds to conquer ; and, with his world-wide knowledge of entertainments in general, the new pro- prietor may be relied on to give a good account of his management of the well- established variety houses. I for one shall not be surprised if Mr. " Huge Deal Mclntosh " (once more to quote the ever-ready " Bulletin ") makes some startling engagements for his halls in the near future. He is not one to consider the expense of an attraction if he wishes to place it before the Australian public. Before leaving the subject I may mention — I am not sure whether the fact is generally known in England — that neither drinking nor smoking is allowed in the music halls of the Southern Hemisphere. The entertainment is "the thing" solely and wholly. With such energetic catering all round, what wonder the vaudeville business progresses ! And it is yet, I consider, only in its infancy.
THE REPERTORY MOVEMENT.
The before-mentioned Repertory movement is a very interesting experiment, which does much to assist in the progress of the theatre proper in these parts. It might have been thought that Australian taste hardly lay in the direction of the plays which Repertory theatres, stage societies, and kindred organisations in other and older parts of the world take joy in producing. But it has been proved that there is a steadily increasing public (it is admittedly small at present) for the thoughtful literary drama out here. Among the cities which have shown appre- ciation of this intellectual enterprise Melbourne is most highly favoured in having a clever actor and keen enthusiast in Mr. Gregan McMahon (long a member of the J. C. W. companies) at the head of affairs. Under his direction the Repertory theatre has done most valuable work, which should accomplish much in regard to raising the standard of public taste, and at times (when, for instance, such pro- ductions as " The Blue Bird " have to be written down failures) one can but feel that is "a consummation devoutly to be wished." The Melbourne Repertory Theatre was organised early in 1911, and since its inception has staged nearly a score of plays — a splendid record, considering that its " seasons " last no longer than four or five nights at a time a few months apart. Many of the pieces are what may be termed the " stock " plays of the Repertory theatres in England. The best-known works of Bernard Shaw, Granville Barker, Arnold Bennett, John Galsworthy, and Ibsen, Hauptmann, and Tchekhov being drawn upon. Other pieces have been first productions of works of budding Australian playwrights, and here is what strikes one as being by far the most interesting and valuable part of the scheme — the chance thus afforded to local writers. It has been a constant reproach that this vast continent has no dramatic literature of its own — that 'practically all its iplays have to be imported. The Melbourne society offers an opening to the native dramatist, and I think will most probably succeed in bringing into the limelight one at least of that hitherto rare species. Already four short plays of promise by Australian authors have been staged. One of these was most
THE STAGE JA.IA' BOOK. 63
highly thought of by all who saw it — a realistic and truthful sketch of bush life in the back blocks, entitled " Dead Timber," by Mr. Louis Esson, a travelled Australian, by profession a journalist, who has written for most papers here, and has also, during a short visit to London, contributed some Australian articles to the " Pall Mall Gazette." This author followed up his success in " Dead Timber" recently with a larger and more ambitious effort— a four-act comedy — to which he gave the title (utilising the phrase ever on the lips 'of the procrastinating politician of these parts) "The Time is not Yet Ripe !" Without pretending to be a prophet, I should not be astonished if Mr. Esson makes a successful appeal to an English audience one of these days. Of the little group of Australian literarv men who have had plays produced (as distinguished from the many rough-and*- ready craftsmen in this country, who, I admit, can nail up a melodrama quite as well as it can be done anywhere) Mr. Louis Esson stands out by himself. He has the sincere feeling for drama, the sensitive touch, combined with the gifts of characterisation and a natural style in his dialogue. He is, in short, to my mind, the long-looked-for Australian playwright, and it is to the credit of the Melbourne Repertory Theatre and its director, Mr. McMahon, that his work has not been allowed to go undiscovered and unproduced.
THE WILLIAMSON MANAGEMENT.
Returning for a moment to the question of public taste, the education of the playgoer in that regard has certainly not been neglected during the last eighteen months. Australia has been toured during that short period by the following "star" attractions, all managed by the ever- energetic J. C. Williamson firm: — Mr. H. B. Irving, Mr. Oscar Ashe (who is still Here), Miss Ethel Irving, and two grand opera companies — those of Mmfe. Melba and Mr. Thomas Quinlan. Truly an embarrassment of riches ! Theatre-goers, it must be confessed, rising grandly to the occasion, have given each high-class company abundant evidence of their appreciation. They have thronged to one and all of the productions — at raised prices in most cases — and the entertainment provided them must surely have its effect. " We^needs must love the highest when we see it," and Antipodean play- goers— as keenly 'alive to a good thing as any in the world — may be confidently relied upon in the 'future to encourage the best in the way of plays and acting that is put 'before' them. All of 'which makes for progress. In the meantime, the great majority continue' to affect the " lighter vein " in drama and musical comedy, and therein they are, I suppose, little different from theati'e supporters in other pants of the world. "A good laugh" and "A good cry" are still all potent attrac- tions, and the demand must be supplied. To give an idea of the magnitude of the Messrs. J. C. Williamson operations in their constant endeavour to supply " the goods" here is a 'list 'of the firm's productions, which — in addition to the big combinations brought out complete from Europe and already named — have all been staged by their own companies during the period mentioned: — "The Speckled Band," "Alias Jimmy Valentine," "The House of Temperley," " Every woman," "Passers By;" "The Woman," "Ben Hur " (still running), "The Girl in the Train," " Nightbirds," "The Quaker Girl," and revivals of " Floradora," "The Chocolate Soldier," and "Dorothy." To this must be added the annual panto- mime (which is a daily pantomime in Australia, for it runs here all the year round), and (yet another section of playgoers having to be catered for) the 'new J. C. W. American Comedy Company, playing "Get-Rich-Quick Wallingf ord " (a record hit for this class of piece) and "Excuse Me." The big firm is never idle. As soon as a new production is launched another has to be got ready, for if one piece is not a "boom" another muat take its place — mediocre successes do not pay. For the equipment of their many companies the Williamson manage- ment must obviously employ hundreds of actors. Many of these performers are (like myself) imported, but a very great number are native-born histrions — in fact, the majority are.
AN "AcTOBs' UNION" MOVEMENT.
Such being the fact (and in addition I have already named two out of many companies that are made up entirely of Australasian artists), it seems curious tha't a movement should have been inaugurated among a certain section of colonial actors — a section which, I understand, could not by any stretch of imagination be classed as representative of local talent — to attempt primarily to do away with the system of bringing artists out from England or elsewhere for special engage-
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ments. A so-called Actors' Union was formed by these malcontents, and, allied with the Trades Hall, their object was to coerce managers into giving engagements to none but Australians and members of the Union. Further, a boycott was recommended of all non-unionist entertainments in the following terms (I quote from a circular sent out to all the Labour bodies in the State of New South Wales in the early part of 1912 and signed by the secretary) : — " It has, therefore, been decided to write to the organisations in those towns in which there are strong societies representative of Australian sentiment and of union principle, in order that some assistance may be secured by a strong attitude being adopted towards non-union theatrical companies." This state of things was, of course, " most intolerable and not to be endured," and the managers (the J. C. W. firm at their head) have taken steps to have the registration of the body cancelled. Litigation will no doubt follow. The lawyers will benefit : certainly no body else. Actors have a perfect right to combine — no one will deny that — but in this country, where their calling is practised, I am bold enough to say, under the easiest conditions in the world, the reason for their action in the present connection seems hardly adequate or convincing. But I hasten to once more state that I <am one of the hated " importations," and for that reason slightly biassed. It is not surprising in the circumstances to hear rumours of a big managerial counter-move — something in the nature of a general association of Australasian managers. So much for the Union and the good it has done ! As is pretty generally known, the two big firms out here — those of Messrs. Williamson and Messrs. Clarke and Meynell — had already amalgamated a year ago, and now in self-protection all the principal managements will be still further linked up, ready to combat any outside com- bination. With what result to the actor, who shall say? I personally notice very little difference in the conditions under which I work for the new J. C. W. firm as compared with the old.
But, of course, there is no denying the fact that J. C. W., Limited (the managing directors being Mr. Williamson, Mr. George Tallis, Mr. Hugh J. Ward, and Mr. Clyde Meynell) are a monopoly, strong enough to resist successfully anything in- the nature of an unreasonable or exorbitant demand.
PICTURES.
Business theatrical in Australia meanwhile (as I have shown) continues in a flourishing condition. I have made only passing mention of the picture-show industry. Except for the fact that many local actors find employment in the productions of Australian-made films (many of \vhicli are excellent) the subject hardly comes within the scope of this article. But one cannot escape the inevitable, and "pictures" nowadays are inevitable, seemingly. "Palaces" and theatres for their exploitation have sprung up in every quarter of any city of importance in Australia, and the end is not yet in sight. Many an old actor probably wishes it was. In this connection, and by way of taking leave of the subject, may I be- pardoned for quoting a few lines of verse of my own which appeared in the- "Bulletin" some time ago?
THE HAS-BEEN.
The Has-Been sat in the Domain,
His hoary tresses shaking ; " Never," sighed he, " a screw again
It's likely I'll be taking; My voice is hushed ; dumb shows are what
The public pays to see now — Insensate lot ! No one a jot
Cares what becomes of me now !
" The companies in which I starred
Are years ago disbanded ; The theatres where ' staffs ' worked hard
Are now worked single-handed. One kinematograph machine,
With films blurred and unsteady ; One large-sized screen — no painted scene —
And then the show is ready !
66 THE STAGE YEAR BOOK.
"Poor Drama's dead! The critics who
You'd think would all regret her ! By gad, seem to support the view,
That picture shows are better ! Of shaky, jumpy actors they
Would write most scathing strictures ; But I will lay no word they say
Against the jumpy pictures ! "
But, this serio-comic view apart, what of the future ? Well, with new theatres (two more are in course of construction in Sydney at the present time), new managements, and newly discovered authors of its own, Australia should loom larger in theatrical matters than ever before, and further progress may be easily looked for. That is my .firm opinion, and I have known the country and watched the situation carefully for nigh on a full decade.
THE STAGE YEAR BOOK. 67
THEATRE DESIGN AND CONSTRUCTION.
BY ERNEST RUNTZ, F.R.I.B.A., F.S.L
THE play is the thing — granted, but who will deny that a good play seema more brilliant, and an indifferent drama less tiresome, if produced within surroundings making wholly for the physical and mental comfort of the audience, players, and employees. It is the architect's province to design such a setting, and solve what in most instances is a very difficult problem (bearing in mind the conditions and restrictions imposed by the authorities and the many and varied requirements essential to success) both before and behind the curtain. It is impossible in the short space available to give a full treatise upon this important branch of the architectural profession, and one can only touch upon the most salient features in connection with theatre buildings, essential though they are, which warrant the large expenditure involved in their erection. To begin with, in London we are faced with perhaps the most perfect set of theatre regulations extant ; there are, and always will be in official document* of this description, flaws and incongruities, but there can always be a saving clause for the admission of modifications in any or all of them, and this to an extent is the case with the rules and regulations issued by the London County Council in regard to theatre buildings.
THE SITE.
The ideal site for a theatre is, of course, an isolated one, but we can dismiss this so far as London is concerned ; such a site in the heart of the West End would be too costly to warrant the erection of a theatre capable of bringing in a reasonable profit. The most likely form of any new sites available in London are corner ones, having frontages to two thoroughfares (three preferably), one of which, according to the L.C.C. regulations, must be not less than 40 ft. wide, and the other not less than 30 ft. wide from end to end ; moreover, one half of the boundaries at least must abut on such thoroughfares.
A good shape for a corner site for a medium-sized theatre, one may roughly take to 'have a frontage to the main thoroughfare of 70 or 80 ft. by a depth of 140 ft., with a superficial area of between 10,000 and 11,000 ft. This would allow about 25 to 30 ft. for the crush-room and foyer and main approaches, an auditorium 50 ft. square, stage 35 to 40 ft. in depth, and sufficient space for a block of dressing-rooms in the rear. Out of the site itself a side passage way about 10 ft. in width in this case would be required, so that ingress and egress could be obtained from both sides of the house.
The level of the site is a matter of importance, a dead level is, of course, a satisfactory problem to deal with, but perfection for a theatre is a site having a slope from its main entrance downwards toward the stage ; this not only economises in the staircases, which are a costly feature in theatre buildings, but it enables the audience from the various parts to gain access to the streets quickly.
REGULATIONS.
Those enforced in London are many and varied, but space does not permit of any attempt to mak an analysis of them. Generally they make for the safety of the public first, the width *of the staircases being governed by the number of persons to be accommodated in the various parts of the house, the minimum height between the tiers is fixed, the width of gangways and of seats, and the distance from one row to another. Projecting architectural features in the corridors are rigidly excluded, even if such corridors comply strictly with the regulations in other respects ; inflammable building material is excluded from the
68 THE STAGE YEAR BOOK.
construction as much as possible, thus wooden lininge are not allowed to walls unless made fire resisting, and the number of hydrants and fire appliances are carefully set out with a view to providing for every emergency.
A theatre building, moreover, is divided into three distinct fire risks, viz. :— auditorium, stage, and dressing-room blocks, and commercially this is a consider- able advantage from an insurance point of view, as the risks vary, i.e., a heavier rate is put on the stage block for obvious reasons, and the rates charged for the auditorium and dressing-room blocks vary according to the surroundings and circumstances ; therefore, new theatres have to face standing charges for insurance of much smaller dimensions than the older theatres, where the line of demarcation between the three parts of the theatre are not so well defined.
Where openings are necessary for the purpose of communication between the various blocks fire-resisting doors or partitions are insisted upon, and are either of hard wood, steel armoured, but best of all in the writer's opinion are the unarmou'red 2-in. teak doors, as the presence of metal or, at any rate, exposed metal of any description (metal being a splendid conductor of heat whereas wood is a non-conductor), is obviously a. disadvantage in the presence of fire; moreover, metal expands considerably under the influence of heat, and the doors are likely to get twisted and jammed, so that where hard wood can be used with the consent of the authorities it is preferable.
A very important regulation, which is, doubtless, now in universal use, is the provision of an iron-framed double-lined asbestos fire-resisting curtain to the proscenium opening, which is operated by a lever from the stage, and also by a lever from the stage doorkeeper's office, so that in a case of panic at the curtain line the last-named lever could >be worked by a person close to an exit, and in comparative safety.
Curiously enough there is no special regulation with regard to the heating and ventilation of theatres, and the writer is somewhat surprised that the authorities have not given some indication that they will require to be satisfied on these most important points in connection with the health of both players and audience.
PLANNING.
The first thing to think of in planning a public building, such as a theatre, is the means of getting the audience out in the event of panic in the shortest space of time; to this end, ,apart from other cogent reasons, the planning should be simple and direct, that is to say, so that a person having once entered from the street and found his way to his seat should have no difficulty in finding his way out instinctively, even under conditions of great excitement ; in other words, the way to the street should be obvious.
This proviso for minimising the risk of panic should come as the first considera- tion; next, the structure generally should be of fire-resisting material; no man can hope to make a theatre fireproof.
EXTERIOR.
The treatment of the exterior or elevation of a theatre is to an extent — at any rate, from a commercial point of view — a minor matter. In big cities and important thoroughfares a dignified, if not elaborate design, would seem essential, and, of course, affords the architect an opportunity of displaying his ability to the general public by adding a landmark to the district.
On the other hand, in smaller townships and in side city streets, all that seems necessary is a simply designed front indicating the purpose of the building, with some prominent feature emphasising the main entrance. The money available is best spent on the interior of the theatre, where the comfort of the audience is concerned, as people do not sit on a kerbstone to see a play, however much they may cling to theatre walls like limpets in a queue.
AUDITORIUM.
The best shape for an auditorium is a perfect square, but there is a growing tendency to make it wider than it is deep, which may have advantages of simplicity in arranging the sight line, but which, whilst adding possibly to the breadth and dignity of the auditorium, is detrimental to the acoustic properties, necessitates a larger stage opening, and, therefore, a more costly setting, and an augmented number of chorus and supers.
THE STAGE YEAR BOOK. 69
There should be no seat in a modern theatre from which a full and complete view of the stage is not obtained. Cast-iron columns are now, of course, things of the past, and the circles are practically bridges of steel, generally with one deep girder from side to side of the auditorium, at an appointed distance between the front of the circle and the rear wall, from which radiate other girders running through the web of the first-named, and forming cantilevers, until the circle curve is met in the front. On this steel structure concrete flooring is placed, on which are wooden fillets at intervals for fixing the boarded surface.
It is not likely, at any rate in London, that a three-tier house will again be permitted, the minimum distances between the tiers in accordance with the regula- tions are such as to make the gallery so steep as to look, even if it is not, uncomfortable and dangerous. It is a fact, moreover, that the view from the gallery of a three-tier house cannot be satisfactory, owing to the dwarfing or fore- shortened appearance of the actors on the stage ; at the same time the acoustic properties of the gallery portion are frequently the most effective in the building.
A two-tier house is, in the opinion of the writer, the most satisfactory form for an auditorium, the dress, or first tier, having a tier in the rear of it running over the main approaches, such as the crush-room and foyer, with a tier over as an upper or balcony circle.
It is usual that the stalls level of the theatre should be sunk some distance from the pavement level, the advantage of this is that the means of egress from all parts is thus within the shortest possible distance of the street level, apart from which much valuable space underneath the pavement is usually permissible by arrangement with the authorities.
A pleasing feature in all theatres should be the crush-room, which should be spacious and attractive. From here are usually situated the main entrances to the stalls, dress circle, and balcony. To each part of the house there should be at least two exits (more in large theatres) placed symmetrically, so that the audience coming in at one entrance will know that there is immediately opposite to it in the auditorium a similar exit, and if this system were universally adopted the danger from panic would be much less, as the audience would instinctively find the exits.
As one can scientifically sight on the sections and plans each seat, there is no excuse for any architect in erecting a theatre putting in any seats which do not afford a perfect view of the stage.
In planning the gangways it is desirable so to place them as to give the appear- ance of space and amplitude, as the sense of overcrowding does not engender a feeling of comfort and freedom in the audience. Kegulations here again govern chiefly one's course of procedure ; for instance, no seat is allowed to be more than 10 ft. from a gangway, so that the length of any row of seats is limited to 20 ft. In the stalls area stage boxes are generally provided, and at the Gaiety, in London, a gangway is saved by placing a number of seats immediately under the boxes instead' of, as is usually the case, having a gangway on either side and one in the centre of the stalls. This not only gives a very roomy appearance but actually saves a gangway, thus providing more seats. Excepting under special circumstances this method seems capable of universal adoption. On the other hand, the question of the efficiency of the proscenium boxes has never been solved even now ; they are always the cause of dissatisfaction, as it is very difficult to provide for people to do other than look round a corner. I should like to see these boxes abolished in their present form. The space could be well and advan- tageously utilised in connection with the stage, and if boxes are essential, as presumably they are, the better place for them is at the back of the dress circle, where they are approached directly from the foyer. A block of empty boxes facing the audience always has a depressing effect, and those flanking the prosce- nium opening are constantly in view, and are the greatest offenders.
The crush-room and foyer are often sacrificed so far as spaciousness and utility are concerned for the sake of the auditorium and the provision of a greater seat- ing capacity; indeed, these more important adjuncts are often relegated to the background in theatres in this country as compared with those on the Continent, where a very large amount of space is devoted to them, often wastefully. A happy mean would seem to be advantageous.
The refreshment buffets in our theatres, in many instances, seem to be after- thoughts, and one has to burrow one's way into a far discant cellar through
70 THE STAGE YEAR BOOK.
tortuous passages, or to some small apartment about the size of a scullery in the upper regions, to obtain refreshment. Surely this must be through carelessness or over-haste in planning ; at any rate, the writer commends this matter to intend- ing owners of new theatres as one worthy of greater consideration and attention in a new theatre.
THE STAGE.
The dimensions of the stage chiefly depend on the class of entertainment or play which is likely to be evolved at any particular theatre. A theatre designed for chamber plays or comedies need not, of course, be so spacious as those devoted to musical plays and the drama. In London the line of demarcation is generally plain, but in the provinces, where all sorts and conditions of touring companies provide the "attraction," the class of stage required is one having a depth of at least 40 up to 60 ft. from the float, proscenium opening 28 to 30 ft. in width, and the stage itself should be double the width of the proscenium opening, which in the latter case would be 15 ft. on either side, making 60 ft. in all. On one side of the stage, or at the back at least, there must be a pair of elephant doors for the reception of the scenery. A scene dock, too, is a very useful if not necessary adjunct.
The flies should be of fire-resisting construction, and of sufficient height from the stage to take any scenery on the road. There should be underneath these flies a similar but smaller structure for the electricians, and the grid should be of sufficient height to take up a scene without folding.
Care should be taken that ample exits are provided for the stage hands. It is hardly fair to leave the men in the flies, for instance, with only a cat ladder to the stage level as a means of escape. There should be an emergency door on to the roof of some adjoining building, or an outside ladder or stair with direct access to a passage, yard, or street.
What is known as a working stage is now hardly ever erected in the first instance, it is left for the resident stage carpenter or engineer to provide such developments as occasion may require.
DRESSING-ROOMS.
The writer has inspected in detail some eighty theatres throughout the United Kingdom. It is astounding to find that actors and actresses even now have to put up with dressing-room accommodation not worthy of the name — ill- ventilated, unclean, and in most cases without hot water supply, and with the sanitary conveniences conspicuous by their scarcity. Their very existence is a tribute to the long-suffering qualities of those whose mission in life is to provide entertain- ment for their fellows. They must, indeed, be enthusiasts to put up with such environments. Happily in more modern theatres it has been largely recognised (as generally now in all business undertakings) that men and women are capable of better work if their surroundings engender comfort and cheerfulness, and even sa there is still room for improvement in the accommodation behind the curtain. I should like to see a revival of the Green Room for the convenience of the members of the company. It has many advantages, but here again space and money con- siderations are governing factors.
DECORATIONS.
It is difficult as an architect to write under such a heading without blushing, in view of the many monstrosities which are, and probably will be, perpetrated in many theatres and music halls in the name of architectural ornament. It cannot be that the designs are prepared by architects; if they are, in many cases it would be well if the architects confined their attention to the structure. Surely the decorations of the auditorium should be of such a nature as will give a sooth- ing and restful sensation to the eye on the fall of the curtain, the brilliancy of the setting of the stage must be enhanced in value by the contrast, and this alone is a good and sufficient reason for the argument. How often do we find the auditorium plastered with sanguinary or glaring wall paper reminiscent of an "abbatoir?" how often do we find the structure constituting the private boxes cloaked with gigantically proportioned petrified housemaids despoiling by exag- gerated contours " Hogarth's line of beauty," the lower portion of them where nature intended a very different finish being concluded by a prime tail end which would be more in place at Billingsgate. Again, ^ we are indulged with the con- templation of gaping jaws of wild animals adjacent to chubby little cherubs
THE STAGE YEAR BOOK. 71
evidently in blissful ignorance of the possibility of a near acquaintance with the interior of these denizens of the jungle. Still further are our feelings harrowed by contemplating a sleeping beauty surrounded by a bevy of energetic angelic heralds emitting blasts from golden trumpets calculated to awaken the dead.
Are these descriptions exaggerated ? Well , perhaps they may be. But do such marvels of artistic design emanate from the drawing boards of the eminent theatre architects, or as they are sometimes called theatrical architects, or are they not the product of cheap German and Italian me dels?
We are seriously asked by some to believe that the public ask for these when the question is raised, but the writer pleads ignorance of the demand, and from his experience can say no one more appreciates refinement, provided it is bright and cheerful, than the general public; they just submit to these incongruitie* because they are helpless in the matter. It is to be seriously hoped that in the numerous new theatre structures that must in course of time replace the old ones throughout the country, the building owners will make a point of having their decorations supervised by an architect, or at least call in really able decorative experts.
Thus a well-planned and solidly constructed theatre will not be ruined by being clothed with so-called decorations which are abortions. The result will be that dis- tinctive characterisation is given, and a higher tone engendered, than that obtained by adopting the garish and degenerate emanations of those who revel in plastic coarseness. Economy will also be the result, if not in the initial outlay, in the upkeep of the property-
With so many beautiful shades of secondary and tertiary colours available, the introduction of primary colours in the auditorium in all their crudity is to be deprecated. Judicious mural decoration in the t;hape of paintings are, of course, quite admissible, but here again it is best to be without them unless they possess individual merit, better to have a few examples which are good than to smother every available space of plain plaster with impossible clouds and figures.
With regard to the act drop, especially in provincial theatres, where the same people congregate weekly, landscape or figure subjects as the basis are undesirable. They become monotonous, if not annoying. Scenic artists at the present day- possess such high merit and capabilities that a painted realistic draped silk or satin curtain (if actual material is impossible) is far more suitable, and if its tones are kept in harmony with the general scheme of the auditorium it helps to make the whole homogeneous, instead of making a break in the continuity of the design.
With regard to furnishing, this, of course, depends upon the length of the purse, but it is best in the long run to avoid the cheap stall and common carpet and to have the very best quality, even if it is to be plain, and if this course is adopted and the " vacuum " cleaner installed, it will economise in the long run both in wear and in the number of cleaners required, and this economy will be more appreciated a.fter the theatre has been opened some years.
In conclusion, the circle fronts and the frame constituting the proscenium open- ing being generally in plaster, there is no difficulty in getting refined, original, and beautiful designs rather than crowding every inch of space with impossible Gargantuan monstrosities.
ACOUSTICS AND VENTILATION.
How many otherwise pleasing theatres have been spoiled by the lack of atten- tion to these most important factors? How many times does one hear of persons after visiting a theatre remark when they reach home that they have a bad headache, and that they always get one when they go to a theatre? Doubtless many readers themselves have been victims. It should be the aim of every theatre proprietor to have his theatre so ventilated that his patrons should feel better when they have left than when they came in. It is not an extremely difficult thing, at any rate, to give a modicum of ventilation other than the old sun burner (which in its way was very good), or the electric fans placed very largely in evidence which do no more than stir up the foul air.
A little forethought, the provision of flues with an up current engendered by hot water pipes and fans, would do much ; but by far the best system is the "Plenum " system as adopted. I believe, at the Hippodrome, in London, and at the Gaiety, the latter being equipped by Messrs. Stotts. The writer claims no credit for it himself, and can therefore speak freely as to its merits. This "Plenum" system consists of sucking in the air by means of fans at the top of the building,
6
72 THE STAGE YEAR BOOK.
the air is then passed through or over a canvas wheel soaked with water and thus purified, from thence it is forced over a battery of radiators and heated in accordance with requirements. It is then forced down ducts or flues to the various parts of the auditorium, being regulated by dampers conveniently acces- sible for the attendants' supervision. In the summer time the air is passed through cooling chambers, and it is so adjusted that the atmosphere is changed four times within the hour. No more striking example of the effectiveness of this system can be adduced than the evidence of a lady journalist who attended the opening night at the Gaiety, and who by some oversight had not received a ticket for admission, she being subsequently provided with a back seat in the upper circle. I received a communication from her the next morning asking what had been done to the new Gaiety, for she went there with a bad headache and came away without one. This may have been partially due to the exhilarating influence of the entertainment, but more probably to the purity of the atmosphere. Mr. George Edwardes was advised to advertise that " one night at the Gaiety was as good as a fortnight at Margate," but evidently the public have discovered this without his going to the expense.
One great feature which will appeal to theatre proprietors of this system is that the installation of radiators throughout the auditorium becomes unnecessary. They will know from experiencee that even the best regulated radiators are occasionally a source of trouble, and wherever they are placed dust accumulates, and does mischief to the decorations.
ACOUSTICS.
Judging from many examples of theatres in existence in London this is a matter which seems to be the last to be considered, and when one remembers that after providing for the safety of the public the essential features of a theatre should be that the audience should see and hear perfectly, one marvels at the omission. But little thought appears to be given in connection with the material used for engendering perfect sound, and the shape of the auditorium seems to be governed by the number of people that can be accommodated, the result in many instances being that one half the people in the auditorium may hear well and the remainder indifferently, or not at all.
What are the causes of these serious defects? First of all there seems to be a growing tendency to put as much marble as possible on the walls, in conjunction with the foreign plaster work previously referred to. If the latter is offensive in appearance, the former is equally an offender from the point of view of sound, in so far as it is non-resonant. This was known to the ancient Greeks in their open-air theatres, which were constructed of stone and marble; to remedy this defect they placed at intervals round the tiers metal vases and vessels to counteract the difficulty by their resonant qualities.
Fibrous plaster or hard wood is far better for sound, and if marble is to be used at all it should be applied with a light hand.
To obtain a good chance of perfection in acoustics the auditorium of a theatre should be either square or an extension of a square, at right angles to the prosce- nium. The best formation of the roof of the latter should be in the nature, so far as practicable, of a musical instrument of trumpet mouth formation. This is easily accomplished by the provision of an arch of fibrous plaster over the top of tha proscenium springing from the sides of the boxes, or if these are abolished, what is better still, decorated panelling in lieu of the same. Beyond this arch of trumpet mouth formation should be a "slung " ceiling hung of resonant material, such as fibrous plaster, constituting, as it were, a " Baldacchino. " It is advisable if possible to have no naked upward outlets at the back of the auditorium or in the ceiling itself.
The respective merits of a medium-sized proscenium opening and circle fronts in accord, as compared with a huge proscenium opening, a flattish auditorium, and a very wide circle, so far as acoustics are concerned, are self-evident. The circle is so near the singer in the latter case and so extensive in width that the voice has no opportunity to spread to the necessary angle to embrace all the audience ; whereas with a smaller front and greater depth of auditorium, the volume of sound pursues its way as from a musical instrument within its appointed limit of radiation.
GENERALLY.
The writer does not pretend that his views will be shared by all who read this attempt to generalise the main feature* of theatre construction; if, however,
THE STAGE YEAR BOOK. 73
in4 a few instances he has given food for reflection to those who are about to erect theatres, and possibly a few hints which may be of service, his purpose is served.
Great strides have been made in the last two decades in the endeavour to attain the attributes necessary for the physical comfort of the players and the audienr^, but whilst important improvements have been effected both before and behind the curtain the "perfect" theatre has yet to be built, for even in some of the latest and most up-to-date structures one may truly say there have been done those things which ought not to have been done, and there have been left undone those things which ought to have been done, and without proper attention to ventilation, one^ might add, and there is no health in them. This is not intended as a tirade against the architectural profession, which in many instances is deserving tho greatest possible sympathy by reason of the conditions surrounding an architect's employment and by the smallness of the client's purse. It is useless to attempt to make bricks without straw, and it is of too common occurrence to blame the architect for not making a proper brick, when, if the truth were known, he is more sinned against than sinning. One of the^ greatest difficulties that he has to face is the work at high pressure in preparing designs for what is often one of the most complicated of buildings, when he ought to be given many months for the solution of the problem instead of rushing out at the shortest notice working drawings, so that the building may be erected within a ridiculous period. Under such circumstances he neither does credit to himself nor to his client ; many items are bound to come in as afterthoughts, and it is well to remind those who are fortunate enough to be able to erect and own a theatre of the old adage " the more haste the less speed," and that art in architecture, as in its other branches, cannot be turned out like mincemeat from a machine.
Mr. Granville Barker, that staunch pioneer of purpose and simplicity in stage setting, has struck a note which theatre architects and owners may well take to heart in dealing with the problems as to the suitable treatment of auditoria; are there not some amongst us who will strive to break away from the form and expression of the stereotyped so-called decorative art which is prevalent? As usual, if attempts in this direction are made, there is the inevitable danger of revolutionary exaggeration, but even so a real break in the traditionary methods might lead to a wholesome shaking up of the decorative dice box to the advantage of all.
As Mr. Granville Barker's setting of Shakespeare has been a revelation to play- goers, his views upon the disposition and housing of an audience and the treatment of auditoria would be equally instructive and interesting.
74 THE STAGE YEAR BOOK.
BOOKS OF THE YEAR.
BY L. H. JACOBSEN.
FOR the third or fourth year in succession the rather imaginary and elusive than actually realised cloistered seclusion and sequestered peacefulness of the realm of Letters were disturbed by extraneous circumstances, by disquiet- ing rumours of dire events in the greater World without. The detrimental effect of the long-continued series of grave political difficulties in " these Happy Isles ' ' was increased by another chain of even more harassing Labour troubles, and, as though these things were not enough to turn grey the hair of the youngest and most Micawberish of publishers, the Dogs of War were, late on in the year, let loose amid cries of "Havoc." Hence the book-record of 1912 is not a very plentiful one in matter of quantity, although, as with 1910 and 1911, a considerable number of works of high interest and much importance were issued, in the depart- ments, for instance, of biography and memoirs, of criticism and scholarship. As, further, there is a good deal to be chronicled under the categories of fiction and of miscellaneous writings, the seeker after literary nourishment has some fairly rich pasture-land to browse upon, and has no need to batten, unsatisfied, upon a bleak and barren moor.
BIOGRAPHY AND MEMOIRS.
In this section the list may be headed, in point both of magnitude of work and of intrinsic value, by " The Diaries of William Charles Macready," edited by William Toynbee, and issued in two handsome, finely-produced, and beautifully illustrated volumes, at 32s. net, by Chapman and Hall. The editor might easily have adopted some simple method of indicating the passages now printed for the first time, as distinguished from those contained in Sir Frederick Pollock's Selections from the tragedian's Diaries and Letters, issued by Macmillan's four decades back, and even now there are a good many references that might possibly cause pain to the relatives of some of the hundreds of notabilities mentioned. These Macready Diaries indeed cast a flood of garish limelight, rather perhaps than sunlight, upon the Stage, the Society, and the Literary World of Early Victorian days, besides affording an often melancholy picture of the defects of temperament and the abnormally sensitive and thin-skinned nature of the famous actor who, as will readily be gathered from the full lists, in the Index, of characters sustained by him and of plays produced by him or in which he appeared, was, in several senses, a protagonist in the theatrical development of a hard-hitting period. One need not dwell again ad nauseam upon the many quarrels that marked Macready's life, both professional and private, but, as an example of the artistic irritability of a really kindly man, who was a tender and devoted father, there might be given the following extract under the date of December 9, 1833. It runs : " I went to the theatre, thinking first of my dress and secondly of King John ! I am ashamed,
?rieved, and distressed to acknowledge the truth : I acted disgracefully, worse than have done for years ; I shall shrink from looking into a newspaper to-morrow, for I deserve all that can be said in censure of me. I did what I feared I should do, sacrificed my character to my dress."
Another profoundly interesting, admirably arranged, and tersely -written volume of reminiscences, dealing with a period immediately posterior to that covered by the Macready Diaries, is etyled " An Actor's Notebooks " (Stanley Paul, 7s. 6d. net), and comes from the cultured pen of that accomplished player, Frank Archer (Arnold). This book is crowded with first-hand anecdotes about and outspoken criticisms of the celebrities with whom Mr. Archer mixed before his regrettably premature retirement from the boards that he had adorned, and few works of the class better deserve to be kept handy upon a convenient shelf.
THE STAGE YEAR BOOK. 75
The note of almost undiscriminating adulation was struck too freely for the i of many judicious readers, and certainly with damaging effect undesigned by authors, in a couple of more or less informal biographies concerned with two of the ablest and most popular of contemporary actors, H. B. Irving and Martin 11 a; M. E. Wotton was altogether too gushing in her booklet (CasselTs, 6d. net), called " H. B. Irving : An Appreciation," and this was a great pity, especially as there were some charming illustrations and some agreeable stories in a well-meant little volume. George Edgar dealt with his subject far more fully, and certainly with greater skill, in "Martin Harvey: Some Pages of his Lite " (Grant Kiehards, 7s. 6d. net), a book also capitally illustrated, to which, apropos of Mr. Harvey's Pelleas, Maurice Maeterlinck contributed an exceedingly flattering Foreword. Whatever its faults, Mr. Edgar's book, which is packed with delightful Irving reminiscences, has succeeded in its triple object of presenting a complete picture of Martin Harvey as man, artist, and manager.
CRITICISM AND SCHOLARSHIP.
The place of honour in this category must assuredly be awarded to William Archer's admirably designed and truly exhaustive treatise on " Play-making : A Manual of Craftsmanship," issued by Chapman and Hall at the extraordinarily reasonable figure of 7s. 6d. net, about half the price often charged for works infinitely less valuable. Those who may be disposed to quarrel with this dis- tinguished and eminently judicious critic for his over-frequent use of illustrations from the writings of Shakespeare and Ibsen as "the most generally accessible of playwrights" should bear in mind that Mr. Archer wrote' much of this excellent book on shipboard, and hence without the facility of reference to a large library. In these circumstances it is astonishing how well Mr. Archer has been able to deal with his wide subject, under such heads, for instance, as The Choice of a Theme, The Point of Attack (with a searching comparison of the methods of the Swan of Avon and the Norwegian Master), Exposition, The Obligatory Scene (Sarcey's scene a faire), Keeping a Secret, Blind-Alley Themes, and so on. He has, there- fore, fairly attained his main object, which he sets forth as follows : " Having admitted that there are no rules for dramatic composition, and that the quest of such rules is apt to result either in pedantry or in quackery, why should I myself set forth upon so fruitless and foolhardy an enterprise? It is precisely because I am alive to its dangers that I have some hope of avoiding them. Rules there are none; but it, does not follow that some of the thousands who are fascinated by the art of the playwright may not profit by having their attention called, in a plain and practical manner, to some of its problems and possibilities."
Another capital book, also issued at 7s. 6d. net (Smith and Elder) was "Plays and Players in Modern Italy," by Addison McLeod, who had plainly studied his theme first-hand. Although a hasty critic might have given some readers the impression that the chief merit of the book rested in the impressions of contem- porary Italian players, another tale might have been told by the explanatory sub- title running :*" Being a Study of the Italian Stage as affected by the Political and Social Life, Manners, and Character of To-day." Indeed, one finds much the more important Mr. McLeod's survey of the various permanent theatres, local rivalries and differentiating characteristics with regard' to both methods and audiences, dialect theatres, the classification of plays, and so forth.
An incorrigible flippancy, better fitted for ephemeral journalism in evening doses than for a work presented in regular book-form, marred W. R. Titterton's " From Theatre to Music Hall" (Stephen Swift, 3s. 6d. net); and similarly an acridly expressed inability to see any good at all in the much-vilified Victorian Era impaired the value of an otherwise useful little book (John Ouseley, Is. 6d. net) on " The English Stage : Its Origins and Modern Developments," from the pen of D. E. Oliver, favourably known as a lecturer in the Manchester district. Mr. Oliver is a " Whole-Hogger " with regard to the abolition of the Licensing of Plays, and views tending in the same direction, but less crudely worded, were set forth by John Palmer (dramatic critic of the Saturday Review) in his careful analysis of the Report of the Censorship Committee, styled " The Censor and the Theatres " (Fisher Unwin, 5s. net).
As was anticipated in THE STAGE YEAR-BOOK for 1912, Frank A. Hedgecock's work on David Garrick and his French Friends, originally written in French, was re-issued, enlarged and expanded, in English dress, with " A Cosmopolitan Actor" heading the former title. Fine scholarship was displayed by W. J. Law- rence in his volume of deeply interesting essays, based on original research, on
76 THE STAGE YEAR BOOK.
"The Elizabethan Playhouse arid Other Studies," sent forth, in the Shakespeare Festival week, at 12s. 6d. net, by A. H. Bullen, from the Shakespeare Head Press, Stratford-upon-Avon. Now admitted to be author of " The Dramatic Author's Companion " as well as of the fellow-work " The Actor's Companion " (Mills and Boon), Cecil Ferard Armstrong had. towards the close of the year, published by the same firm, at 10s. 6d. net, an illustrated volume on " A Century of Great Actors : 1750-1850." By adopting this arbitrary division Mr. C. F. Armstrong, whose style is somewhat cocksure, began with Garrick, and went on, via John Philip Kemble, the Keans, Macready, and Betty (oddly classed as " Prodigy "), up to Charles Mathews and Robson. He thus, save for a sympathetically laudatory reference in the Introductory section, left out Irving, as well as Phelps, Barry Sullivan, the Bancrofts, and other celebrated players. Perhaps he meant to give some explana- tion of this in his rather infelicitous opening sentence, "It is not easy to write about actors. There is danger, if they are alive, and the risk of dullness, if they are dead," with more of the same sort to follow. Critical writings on Ibsen, Synge, and Shaw, as not submitted to one's special notice, need be mentioned but cursorily.
Music.
The list of musical treatises, though short, comprises at least three notable works, in addition to two well-meant minor publications, "Voice Production with the Aid of Phonetics," by Charles Macan Rice (Cambridge : W. Heffer and Sons), and " How to Attain the Singing Voice," by A. Richards Broad (William Reeves). The latter " popular handbook " has the very optimistic sub-title, " Singing Shorn of its Mysteries." No such pretensions are made by that accomplished Irish baritone Harry Plunket Greene, in his fascinating and most informing volume, expanded presumably from his well-known lecture, styled also " Interpretation in Song," and published by Macmillan, at 6s. net, in that excellent series " The Musician's Library." This volume should be in the hands of every earnest and aspiring vocalist, who should pay special heed to Mr. Greene's three chief canons, " Never stop the March of a Song," " Sing Mentally through your Rests," and " Sing as you Speak."
Military Music, a subject mentioned many a time and oft recently in " The Music Box," has its "Rise and Development " discussed fully by Henry George Farmer in his work published by William Reeves, at 3s. 6d. net. It has a Fore- word by Lieut. Albert Williams, now Bandmaster of the Grenadier Guards. Issued by the same firm, at 4s. 6d. net, is a book by another well-known writer on musical subjects, Joseph Goddard. This is " The Rise and Development of Opera," and in it Mr. Goddard has both availed himself skilfully of the usual sources of information, and has expressed his views freely, yet impartially, on the various Schools of Opera, French, German, Italian, English, and the rest.
Under this heading should be placed, by rights, Henry Davison's excellent com- pilation, "From Mendelssohn to Wagner," from the memoranda and other docu- ments left by his father, James William Davison, for forty years the powerful, much-hated, and sometimes sharply reprimanded, musical critic of the Times. Some supercilious persons have thrown cold water upon these pictures of old Homeric combats waged about or with various musical giants or bogies, but those not ashamed to look back may find much engrossing matter in a work inspired by most laudable filial affection. The book was published by William Reeves, at 12s. 6d. net.
MISCELLANEOUS WRITINGS.
An unusually varied collection of works of one sort or another may be grouped together under the category of Miscellaneous. Early in the year, under the attractive title of "In Dickens Street" (Glasgow, John Smith and Son; London, Chapman and Hall) some capital sketches of Dickens scenes and characters, reprinted in the main from the Glasgow Herald, were issued, from the sharply- pointed and sympathetic pen of W. R. Thomson. Characteristically Trans-Atlantic in its racy humour in every respect, from its pleasantly interrogative title onwards, was Helen Mar's " May I Tell You a Story " (J. and J. Bennett, the Century Press, 2s. 6d. net). In this well-filled little storehouse of yarn and reminiscence, not a few of them telling against the authoress herself, the popular American entertainer traced her life-story and professional career from the very beginning, starting with her childish days on the banks of the Mississippi, near to Lake Winona. Useful for purposes of reference, and issued about the time of the Command Variety performance in London at the Palace, should be Richard North- cott's brief compilation " Royal Performances in London Theatres " (Percy Lindley),
THE STAGE YEAR BOOK. 77
giving a detailed list of such events from 1736 onwards. Of great value also to future chroniclers of the Irish Stage should be Joseph HoDoway's full record of Plays, Irish in subject, or containing Irish characters, included in the first Part of "A Guide to Books on Ireland," edited by Stephen J. Brown, and published, in London, by Longmans, Green, and Co. Besides being a writer, Mr. Holloway, followed with regard to Recent Plays by Mr. Brown, is known as architect of the Abbey Theatre, Dublin.
Gertrude Leigh's blank-verse historical play, " Tasso and Eleonora " (Chapman land Hall (5s. net) was dedicated " To F. R. Benson, to whom the stage owes a new spirit, and the public a new understanding," and perhaps Kitty Barne (Mrs. Eric Streatfield), who has turned into a story (Hodder and Stoughton, 3s. 6d.) the most charming children's play, " To-Morrow," which she wrote in collaboration with D. W. Wheeler, may do the same with their more recent production, " Winds."
There were some well-turned lyrics, besides martial passages, in Clara A. Walsh's verse translation from the Japanese poets, " The Master Singers of Japan," issued, at 2s. net by John Murray, in " The Wisdom of the East" series. W. A. Eaton showed his accustomed facility in the treating of town topics, some of them theatrical in nature, in his " Lays of London Town " (E. Marlborough and Co., Is. net) ; and a work of considerable importance and diversity of theme and interest was the new volume of " Poems," by that scholarly writer, Clifford King (Kegan Paul, 5s. net). In this collection Mr. King included, besides several Odes and other topical verses, several long poems, dramatic subjects being an Iphigenia theme, "The Priestess," "Anselmo," and a dramatic romance, "A Cloistered Heart." One has much respect for the knowledge and ability of Clifford King.
Mention should also be made of the sombre and painful, but decidedly clever, "Bedford Street Ballads," by Arthur Stanley (Gay and Hancock, Is. net).
NOVELS.
Pretty numerous in the course of 1912 were the works of fiction either written by authors connected in some way or the other with the theatrical profession, or having some bearing on stage subjects. Most of them were issued in the usual 6s. one-volume form. One might head the list with Lady Bancroft's first full-sized novel, of legendary theme, " The Shadow of Neeme " (John Murray). Others were "Carnival," by that clever young author, Compton Mackenzie (Martin Seeker), "The Third Chance," by Gladys Waterer (George Allen), "The Principal Girl," by J. C. Snaith (Methuen), ''Felix Christie" (also Methuen), by the versatile Peggy Webling, and Rosina Filippa's rather unsatisfactory " Bernardine " (Duckworth). The number was swelled further by Charles Gleig's " A Woman in the Limelight" (Methuen), by two Everett publications, "Life — the Jade," by Martin H. Potter, and "The Man Pays," by Arthur Applin, by "The Enchanting Mysteries of Kathleen Carter," by Pierre LeClercq (Grant Richards), and by a couple of Stanley Paul books, " A Babe in Bohemia," from the vitriolic and unsparing pen of Frank Danby, one of the most realistic of women writers, and " The Career of Beauty Darling," by Dolf Wyllarde, besides books by Rathmell Wilson and Denton Spencer.
78 THE STAGE YEAR BOOK,
STAGE CHILDREN: THEIR EMPLOYMENT AND THE LAW.
BY BERNARD WELLER.
THE employment of children in .places of public entertainment was never greater than it is 'to-day. Yet the law regulating the employment seems very imperfectly ^understood. It is now some years since the Employment of Children Act, 1903 (3 Edw. 7, c. 45), and the subsequent Prevention of Cruelty to Children Act, 1904 (4 Edw. 7, c. 15), threw the existing practice, such as it was, into much confusion. At first — and until the matter was put right in THE STAGE — there was a .general belief that, as la consequence of the new legislation, every child up to 'the age of fourteen must have a .license for theatrical and similar performances. Managers applied for licenses accordingly. Magistrates and justices granted or refused this or that license as they thought fit. In a case here and there a manager who, either in ignorance of the revised law or out of negligence, employed without a license a child over eleven but under fourteen, was convicted and fined for an alleged offence of which he was not guilty. One hopes by now that it is realised that the 'Cruelty Act only requires, for its own part— excepting in the case of training for dangerous performances, as of acrobats, etc. — a license for a child between the age of iten and eleven years ; and that, where >a license for a child between eleven and fourteen is called for, the necessity arises — with the exception noited — in order that the child may obtain exempt-ion from the .provisions of the Employment Aot. At tihe same time, the joint working of the two Acts does not appear to be appreciated sin detail. There are further complications, by reason of the bye-laws that local authorities can enforce under 'the Employment Act, and by reason of the provisions of the Education Acts. In London, as far as agents are concerned, the 'bye-laws of the County Council, made under the General Powers Act, 1910, have also to be observed. To the Children Act, 1908 (8 Ed. 7, c. 67), and also to the Criminal Law Amendment Acts (48 and 49 Viet. c. 69, and 2 and 3, Greo. 5, c. 20), a passing reference will be made later.
UNDER THE EMPLOYMENT ACT.
The position under the Employment Aot had better be taken first. In this Act a child is a person under. the age of fourteen years. Section 3 (1) of the Act says : —
A child shall not be employed between the hours of nine in the evening and six in the morn- ing : Provided that any local authority may by bye-law vary these hours either generally or for any specified occupation,
Such bye-laws may (1) prescribe (a) the age below which employment is illegal; (6)/the hours between which 'employment is illegal, and (c) the number of daily and weekly hours beyond which employ ment is illegal. But bye-laws so made do not become operative until sanctioned by .the Secretary of State.
UNDER THE CRUELTY ACT.
Passing to the Cruelty Act, we find this position under the Employment Aot modified in certain material respects. Under Section 2 it is an offence if any person
(a> causes or procures any child, being a boy under the age of fourteen years, or being a girl under the age of sixteen years, or, having the custody, charge, or care of any such child, allows that child to be in any street, premises, or place for the purpose of begging or receiving alms, or of inducing the giving of alms, whether under the pretence of singing, playing, performing, offering anything for sale or otherwise ; or
(b) causes or procures any child, being a boy under the age of fourteen years, or being a girl under the age of sixteen years, or, having the custody, charge, or care of any such child, allows that child to be in any street, or in any premises licensed for the sale of any intoxicating liquor, other than premises licensed according to law for public entertain- ments, for the purpose of singing, playing, or performing, or being exhibited for profit, or offering anything for sale, between nine p.m. and six a.m. ; or
(e) causes or procures any child under the age of eleven years, or, having the custody, charge, or care of any such child, allows that child to be at any time in any street, or in any premises licensed for the sale of any intoxicating liquor, or in premises licensed
THE STAGE YEAR BOOK. 79
according to law for public entertainments, or in any circus or other place of oublic amusement to which the public are admitted by payment, for the purpose of singing, play ing, or performing, or being exhibited for profit, or offering anything for sale or ((/) causes or procures any child under the age of sixteen years, or, having the custody, charge, or care of any such child, allows that child to be in any place for the purpose of being trained as an acrobat, contortionist, or circus performer, or of being trained for any exhibition or performance which in its nature is dangerous.
The Act, however, does not enforce all that it says in this section. In addition to a minor reservation — in this section — affecting occasional entertainments for the benefit of schools or of charities, and to another reservation — also in this section — giving local authorities power by bye-law to vary the hours mentioned in paragraph (b), there is in the following section a provision that by means of license obtainable from a petty sessional court or in Scotland from the Education authority sanctions the forms of employment that paragraphs (c) and (d) otherwise forbid — sanctions these forms provided the child is over ten years of age. The prohibitions contained in paragraphs (c) and (d) hold good up to an age less than ten years. That ie to Bay, no child under the age of ten years must be employed in a place of entertainment to which the public are admitted by payment, for the purpose of singing, playing, performing, or being 'exhibited for profit. Moreover, as regards a child engaged in an entertainment — not dangerous — in a public place of amusement, a license under the Cruelty Act is only compulsory for the age of ten. It is not compulsory as soon as the child is eleven. The ridiculous position that the license is, under the Cruelty Act, only compulsory during a single year of a child's life — namely, from ten to eleven — was no doubt brought about by faulty drafting. One may fairly assume that there is nothing in this particular year that requires the elaborate and also unpleasant machinery of police-court licensing.
WITHOUT LICENSES.
Stage children, then — except those engaged in dangerous performances — at the age of eleven may perform without licenses, subject to the provisions of the Employ- ment Act. The general restriction under this Act says that a child shall not be employed before six o'clock in the morning nor after nine o'clock in the evening. But the Act gives a very free hand to the local authority — meaning in the City of London the Lord Mayor, aldermen, and commons in common council assembled, and elsewhe!re in this connection the county council, borough council,, or district council, according to circumstances, and in Scotland the education authority. The local authority can, amongst other things, vary by bye-law the general nine o'clock limit for any specified occupation. Thus it is open to managers to apply to the local authority for special treatment in the case of stage children. The local authority can, if it is sympathetic to the general needs of theatrical employment, make the hour ten or eleven instead of nine o'clock; even, if it pleases, varying the hour to the age of a child between eleven and fourteen, or to the season of the year, as, for example, at Christmas. On' the other hand, the local authority can, subject to the approval of the Home Secretary, restrict both ages and hours.
The London County Council was at first disposed to take the latter course, arguing that stage children would be exempted from the bye-laws by means of licenses. This view, however, wae not upheld at the inquiry ordered by the Home Secretary in 1905; and, therefore, the present bye-laws of the L.C.C. do not in the case of stage children, as they do in that of children otherwise employed, vary the nine o'clock limit, though the ordinary reader, not noticing or not understand- ing the inconspicuous three lines at the end of bye-laws, might not suppose it.
Not merely in London, but generally in the country, this statutory limit — that is to say 9 p.m. as the time up to which children may be employed — remains unaffected in the case of stage children not less than eleven years old and not engaged in dangerous performances. If in any town the hour of 9 p.m. has been altered by byelaw, inquiry from the local authority will bring the the necessary information. It is the sort of local information thait no place of amusement ought to be without. This freedom to employ stage children up to 9 p.m. without license is a considerable facility. In plays a child is often only wanted in the prologue or the first act. In spectacular productions the scenes with juvenile effects, or that part of them in which the younger children under fourteen are concerned, can be brought within the first half of the performance, as, for example, in [pantomimes. In variety and other programmes of a miscellaneous nature child turns can — apart from two performances a night, where the second performance cannot take place before 9 p.m. — be arranged for in this way. For day performances there is no time restriction, but the education of a child, unless the
6*
80 THE STAGE YEAR BOOK.
fhild is exempt from school attendance, must not be interrupted. Attendance at the public elementary schools, however, is not compulsory. Education, so long as it is efficient, may be given privately.
WITH LICENSES.
Where the nine o'clock facility does not meet the case, then recourse must be had to license under the Cruelty Act. A magistrate can, even more than a local authority, for his decision is not subject to the approval of the Home Secretary, fix what hours of employment and also other conditions that he pleases for any child whom he licenses. Usually a magistrate carries the hour beyond 9 p.m. A license is granted .by the court in the .distract in which the license is ifoo take effect. A form can be obtained at any (police court. In Lomdon the form, when filled in, must be ,sent to the Commissioner of Police of (the Metropolis seven, clear days before (the application for the license. In the (provinces the form must be sent to the head constable or (similar officer. In .both London and (the provinces for each place of performance in a new police distriolt la fresh application must be made and a fresh license obtained. It follows that a manager on tour, often with (long dis- tances to travel, is continual]y perplexed about any child members of his company. In every town the preliminaries, witfti the seven .days' notice, and ithe dreary police courit business, have ito be gone through, and every sort of magisterial or justice's vagary endured. One bench grants a license freely enough, another refuses alto- gether, and la third naises difficulties or imposes conditions. A single license should cover the duration of a tour. If one icouirt is satisfied that a license may be granted, the license should be valid not in the district of origin for the few days, but everywhere else. It should be borne in mind that tlhe granting of the license does not suffice evien for the 'district- in which the license takes effect. The person to whom the license is issued for a child performer is required, under a penalty not exceeding five younds, to cause a copy thereof to be sent forthwith to the local authority — that is, to the county, borough, district, or (in Scotland) education auitlhority, as the case may be. That is so in order that the inspectors and other officers appointed under the Employment Act may isee whether the restrictions and conditions of licenses are duly complied with. Any such inspector or other officer has the /power to enter, inspect, and ex'amine any place of (public entertainment at which ^licensed child is for the time being engaged. This power also applies where a child is so employed without a license.
PENALTIES.
In applying for a license the applicant ishould produce a certificate of birth of the child and a doctor's certificate. The penalty under the Employment Act for a false or forged birth certificate or a false representation of age is a fine not exceeding forty shillings in the case of the parent of a child. If this penalty scarcely seems sufficient, the penalties for offences under Section 2 of the Cruelty Act, already quoted, are severe enough. The penalty on summary conviction is at the discretion of the court a fine not exceeding £25, or alternatively, or in default of payment of such fine, or in addition thereto, imprisonment with or without hard labour for any term not exceeding three months. The Cruelty Act gives a constable powers of arrest without warrant. Under the Employment Act any person who employs a child or other person under the age of sixteen in contravention of the Act, or any bye-law under the Act, is liable on summary conviction to a fine not exceeding forty shillings, or, in the case of a subsequent offence, not exceeding £5. _ Where the offence of wrongly taking a child into employment is in fact committed by an agent of an employer such agent is liable to a penalty as if he were the employer.
THE CHILDBEN ACT, 1908.
This Act (8 Edw. 7, c. 67) prohibits children from being in the bar of licensed premises except when closed. This prohibition, however, one assumes, does not operate in any oppressive way against theatres and music halls, as it is stated that nothing in the section (Section 118) shall apply to a child who is in the bar of licensed premises solely for the purpose of obtaining access to or egress from some other part of the premises not being a bar, or in the case of railway refreshment-rooms or "other premises constructed, fitted, and intended to be used in good faith for any purpose to which the holding of a license is merely auxiliary." A child here means a person under the age of fourteen years.
Persons habitually wandering from place to place, taking children more than five years of age, must be in a position to prove that the child is either (1) totaUy
THE STAGE YEAR BOOK. 81
exempted from school attendance or (2) not, by being so taken about, " prevented from receiving efficient elementary education." The penalty is a fine not exceeding, with costs, 20s. A constable may arrest without warrant any person whom he believes to be guilty of an offence under this section of the Act (Section 118).
If during October to March a child has obtained a certificate for 200 attendances at a public elementary school during that period, it is not encumbent on the parent or guardian — such person being engaged in a trade or business of a nature to require him to travel from place to place — to prove that the child is receiving efficient education during the months of April to September.
OBLIGATIONS OF LICENSED AGENTS.
Theatrical, variety, or concert agents licensed by the London County Council are subject to the bye-laws of that authority, made under the London County Council (General Powers) Act, 1910. The fact that the children are licensed or unlicensed is immaterial. Under these bye-laws (8, 9, and 16) no agent may pro- pose or arrange for the employment abroad of a girl under the age of sixteen years without first obtaining the sanction in writing of her parents or lawful guar- dian. He must have satisfied himself that suitable arrangements have been made for the welfare of the girl during the continuance of such employment, and for her return to this country on the conclusion of the employment. The employment must be legal in the country in which the employment is to take place. The agent on making an engagement with such person must furnish to her free of cost a written document containing the provisions of this bye-law (8), and stating that such provisions have been complied with. The agent must in any particular case if required furnish the Council with full particulars 'of the arrangements.
The agent must in every case in which he arranges for the employment abroad of any young person of either sex, or the employment in this country of such person resident abroad, furnish the person free of charge with a copy of the contract or other document showing the terms and conditions of the employment drawn up in a language understood by the person.
The agent must keep a complete list of children under the age of sixteen years who are booked by him for engagements either in London or elsewhere. In the list he must indicate the (place or. places of entertainment at which each child is booked to perform and the length of engagement of each child at each place in public.
The crime of procuring or attempting to procure — which has been committed before now under cover of alleged stage employment — is provided for in the Criminal Law Amendment Acts, 1885 and 1912.
THE GENERAL POSITION.
It may be useful to append a summary of the general position under the Cruelty Act and the Employment Act : —
A child under ten must not be employed in any stage or similar performance or exhibition in public.*
A child between ten and eleven can only be so employed under a magistrate's or similar license.
A child 'between eleven iand fourteen may be BO employed without license up to nine o'clock at night, or alternatively up 'to such hour as has been fixed by the local authority.
A child between eleven and fourteen may, in spite of local bye-Jaws ito (the contrary, toe so employed up to any hour if holding a license issued from the court for 'the district in which the performance takes place, provided the license itself contains no contrary .restrictions as to hours, and also provided that the Education Acts are not infringed in any way — a provision that applies in all cases.
A child under ten must not be trained as an acrobat, contortionist, or circus .performer, or for iany exhibition or performance of a dangerous nature.
A child or young persons between ten and sixteen may be so trained or so employed under license.
m A boy under fourteen or a girl under sixteen must not be in any street or in any premises licensed for the sale of intoxicating liquor other than premises licensed according to law for public entertainments, for the purpose of singing, playing, performing, or the like after 9 p.m., or after hours fixed by llooal bye-laws.
A _boy under fourteen or ia girl under sixteen must not perform or be exhibited for begging purposes.
But a child of any .age may, without license or other regulation, appear at and perform in any occasional entertainment the net proceeds of which are wholly applied to a school or a ' ^XCep<; ^at, avcvild,- miay not appea'r lin such circumstances in premises 'two justices * C kquors (Le" Public-h<>uses, etc.)., unless an exemption has
exhibited> * «* *- I"** OP *> 9 P.m
82 THE STAGE YEAR BOOK.
CENSORSHIP AND LICENSING.
CENSORSHIP and Licensing have been rather prominently before the public during the past year, and so far as licensing is concerned a distinct advance is to be recorded in the fact that early in the year the Lord Chamberlain < granted stage play licenses to managers whose music halls came within his jurisdiction. It was not without pressure, however, that the official mind came to this important decision. On the one hand were music hall managers with the scars of heavy fines inflicted at police courts for presenting stage plays without licenses. On the other, were theatrical managers who, generally speaking, would have preferred conditions laid down as to the length and number of sketches in music halls, and in addition there were resolutions from the Authors' Society and other representative bodies. Possibly the heavy fine o-f £130 inflicted upon the Palace Theatre — reduced be it noted upon appeal — hastened matters. In January he granted the licenses, thereby only following the policy of the London County Council, who had adopted this means of legalising stage plays in music halls some time before, and now it would be difficult to find a music hall in London which does not hold a double license. The licenses were granted on the music hall managers giving their written consent to certain conditions, which were that the programme must consist of not fewer than six items, but how ineffective these proved in preventing the music halls coming into active competition with the theatres on a common ground was shown by the fact that the Palladium has run a long matinee season of plays, while " Othello " has been played twice nightly at the Middlesex, where full-blooded dramas have been the regular fare. The only theatre, the management of which took steps to obtain whatever security the possession of a double license may bring, was the Kingsway, for which a music and dancing license was applied for and obtained at the November Licensing Ses- sions of the London County Council.
A Music and Dancing Bill fathered by the London County Council was presented in the House of Lords, and went through various amendments to its third reading. The principal object of the Bill is to make it possible to obtain a license at any time during the year. The text of the Bill is given in full in another part of the Year Book.
At their annual licensing sessions in November, the London County Council again refused Mr. Oswald Stoll a license for the Empire he has for so many years proposed to erect in Fulham. The Council also maintained its attitude of previous years, and refused to allow intoxicants to be sold in the Hippodrome and the Coliseum, though opinion was so equally divided amongst the members that it was by one vote only that the Hippodrome failed to secure this privilege. The Council, too, very reasonably, by conditions attached to music licenses, prevented the entertainment in certain kinematograph houses from extending to ' ' turns ' ' by artists, or otherwise taking on a music hall character. This expansion on the part of the picturehouses was not so noticeable in London as in the country, where in Birmingham, Manchester, and other large towns the licensing authorities had earlier in the year stopped it by permitting only ;nstruniental music, or definitely stating that no such "turns" should bo given.
The Censorship has been kept before the public, who probably take very little interest in. the institution, /by what has been written against or for that much- d'scussed office rather than by the acts of the Censor himself. Plays for which licensee have been refused have been few. The most important was " The Secret Woman," dramatised by Eden Phillpotts from his book. With the Lord Chamber- lain on the one hand refusing to license the play until certain passages had been altered, and with the author on the other hand refusing to alter the lines, there came the usual deadlock. Miss Lilian McCarthy and Mr. Granyille Barker, who were to produce the play at the Kingsway, then announced that it would be given for six performances, " technically private," but actually free to whoever wished
THE STAGE YEAR BOOK. 83
to attend them. An application in the High Court for an injunction to prevent these performances was made by Miss Lena Ashwell, who probably foresaw danger to the license of her theatre, and finally they resolved themselves into ' ' invitation ' ' performances. A number of dramatic authors, who felt aggrieved at the treat- ment Mr. Phillpotte had received, rather mistakenly took advantage of the oppor- tunity to address a petition to the King — quite a futile proceeding, because the Lord Chamberlain's powers as Censor under the 1843 Act are absolute, and can only be curtailed. or abolished by a new Act of Parliament. The result of this petition was a counter-petition praying for the retention of the Censorship, and signed very extensively by managers and actors. One theatrical manager entered with such spirit and interest into the whole business that he put his signature to both petition and counter-petition. The documents were presented in due course, and that naturally was the last that was heard of -them.
A short play by Lawrence Cowen was refused a license, the peculiar element in the case 'being that the play was an extract only .from a longer play for which a license had (been granted some years previously. Mr. powen kept the matter before the public, and -aroused considerable interest by bringing an action in the County Court against Lord Sandhurst, the Lord iChamberlain, to recover the original manu- script of the play, which he alleged had been illegally detained. The case went againsit him. Among a few other works " A Venetian .Night," a wordless play staged 'by Professor Reinhardt, was refused a license in November ; and this delayed its production at the Palace, London, for a week, during which the play was altered to suit the requirements of the Censor. " The Next Religion," ;by Israel Zangwill, was also denied a license. It was given a private performance by the New Players at the London Pavilion on April 18.
A few fugitive references have been made to the subject of the Censorship in the House of Commons, and Mr. Robert Harcourt, the most persistent seeker after enlightenment in the matter, has, as occasion permitted, made inquiries after the 1909 Joint Committee Report, now fast sinking into the customary oblivion enjoyed by iReports. In the House of Lords the Report was also referred to, but was frankly done so by Lord Newton more with the object of allowing Lord Sandhurst to 'defend and explain his position than to further the passage of the Report towards the Statute Book. Lord Ribblesdale, Lord Plymouth, and Lord Lytton took part in the debate, and Lord Sandhurst, replying for the Government, gave some particulars of the working of the Censor's department in regard to plays to which licenses might be refused. A play, he said, was first submitted to a reader, and then went to the Lord Chamberlain with a synopsis attached. The play might be objectionable as a whole, or only certain phrases or passages in it. The play was then circulated to the various members of the Advisory Committee, who furnished their views on the objections. Each member of the Advisory Committee read the play and passed his opinion on it in writing, and with the play those opinions were recorded.
Some (particulars of the work of the London County Council as a Censor ex post facto were given, early in the year in a report of the Theatres and Music Halls Committee, who dealt with eight inspections made during the previous year in London music halls. They were as follow : —
London Coliseum : Wordless play, entitled " Sumurun," no action taken.
Paragon Music Hall : Boxing, no action taken.
London Palladium : Songs by George Robey, no action taken.
New Kilburn Empire : Sketch, entitled " The Girl Who Lost Her Honeymoon," played by Arthur Roberts, licensee asked to have certain passages modified.
London Coliseum: Wordless play, entitled " Rialon," licensee informed that the performance was one to which considerable objection might not unreasonably be taken.
London Palladium : Wordless sketch, entitled " The Dawn of Love," licensee asked to discontinue performance. Modified version subsequently allowed.
New Kilburn Empire : Oriental dance, by " Ular Api," licensee informed that ths continuance of performances of this nature was undesirable, and asked not to allow the performance at any of the other balls under his control.
Palace Theatre : Oriental dance, by Mile. Napierkowska, no action.
The growth of the Kinematograph industry, and the occasional exhibition of a film to which some objection might be found, brought the question of a Censor-
84 THE STAGE YEAR BOOK.
ship of films before the London County Council in April. The Council declined, however, to establish any such office. The film manufacturers late in the year voluntarily appointed a Censor in the person of the late Examiner of Plays, Mr. G. A. Bedford, and Mr. Bedford is now established in an office in Charing Cross Road with a staff of assistants engaged in the eye-wearying task of viewing films, and subsequently making suggestions ifor alterations of certain parts which may appeal to him as not suitable for public exhibition. That the manufacturers themselves should place their productions under a censorship with such wide powers as Mr. Bedford possesses in his new office, shows an anxiety to reduce the possibility of interference by local authorities to a minimum, and in this respect Mr. Bedford's long experience as Beader of Plays probably has an influence, pos- sibly by attaching some moral weight to a film to which 'his official sanction has been >given. The past year has not been without its instances of objection taken by local authorities 'to the exhibition of certain pictures. From Manger to Cross, a film taken with much enterprise and at great cost of time and money, caused some discussion, and its exhibition was banned in a few towns. Dante's Inferno was another production which came in for a certain amount of prohibition.
TIUL STAGE YEAR BOOK.
85
MUSIC AND DANCING LICENSES BILL.
The following Bill was introduced in , the House of Lords, and after various ; amendments in Committee, passed its third reading in the form in which it ap- \ pears below on J\larch 26. The Bill is not yet law, as ""it yet has to be dealt ( with in the Commons.
The Bill proposes to effect an amend- ment of the law contained in the pro- visions of the Disorderly Houses Acts, 1751 and 1818, and the Public Entertain- ments Act, 1875, which relate to musio and dancing licensee, and which apply in i the cities of London and Westminster and the area (exclusive of the administrative . county of Middlesex) within twenty miles thereof.
The principal object of the Bill is to enable the Councils of the administrative | counties of London, Essex, Hertfordshire, Kent, and Surrey and the Corporation of West Ham (which are the licensing autho- rities) to grant such licenses within the limits in question at any time, instead of being restricted, .as, at present, to annual licensing meetings ; to make charges for licenses for music and dancing, varying in amount according to circumstances ; and to repeal to some extent the Acts of 1751 and 1875, and to re-enact, with minor modifications, provisions in place hereof.
A BILL INTITULED
An Acit to amend the law as regards music and dancing licenses in London and parts of certain (adjoining counties.
Be it enacted by the iKin-g's most Excellent Majesty, by and with the (advice and consent of the Lords Spiritual .and Temporal, and Commons, in this present Parliament assem- bled, and by the authority of the same, as follows : —
EXTENT OP ACT.
1. This Act Shall extend land apply to (the administrative county of London and to •those parts of the administrative counties of Buckinghamshire, Essex, Hertfordshire, Kent, and Surrey, iand of the county borough of West Ham and the county borough of Croy- don, which are within twenty miles of the cities of London and Westminster.
DEFINITIONS.
2. In this Act "licensing authority " means:—
(a) as respects any administrative county or any (part thereof the council off such county; and
(6) as respects the county borough of West Ham and (the- county borough of Croydon, the mayor, aldermen, and bur- igesses of such borough; and "premises" means a house, room, garden, or other place.
Music AND DANCING LICENSES. 3. (1) Premises, whether ilicensed or not for the sale of wines, spirits, beer, or other fermented or distilled liquors, shall not be kept or used for ,public dancing, singing, music, or other public entertainment of the like kind without a license first obtained from the licensing authority for ithe purpose or purposes for which the same respectively are to be kept or used.
(2) The licensing authority may grant licenses, to such persons as they think fit, to keep or use prenrses for all or any of the pur- poses aforesaid, upon such terms (and condi- tions, and subject to such restrictions, as they by the respective licenses determine.
(3) The licensing authority may fcflansfer any such license to such person 'as they may tfaiak fit.
(4) Subject to the provision hereinafter con- tained as to the revocation of ia license by the licensing authority, every license 'granted as aforesaid shialil be in force for one year, or for such shorter period as the licensing authority on the ©rant of the license shall determine.
(5) Premises kept or used .as aforesaid shall not 'be opened for any of the purposes afore- said except on the diays and between tfae hours stated in the license relating thereto, and no such premises sihall be open for any of the purposes aforesaid iaftex midnight and before the hour of noon : Provided that if any person .applies to the licensing authority for -a license exempting him on any special occasion or occasions from the provisions of this sub- section relating to the closing of premises it shall be lawful for the licensing authority, if in their discretion tibey think fit so fo> do, to grant to the applicant a -license exempting him from the before-mentioned provisions of this sub-section during certain hours ,and on the special occasion or occasions to be speci- fied in the license.
(6) The observance of the dlaye and hours of opening and closing as aforesaid shall be a condition of every license.
FEES FOR LICENSES.
4. There shall be paid to the licensing authority in respect of the grant or transfer of a license under this Act such fees as the licensing authority may fix, not exceeding:—
(1) For the grant of a license in respect of church halls, mission halls, schools, institu- itutes, and similar premises, five shillings for every month or part of a month for which the license is (granted, or one pound, which- ever amount is the lesser;
(2) For the grant of a license dn .respect of assembly rooms, club rooms, concert halls, hotels, restaurants, public-houses, dancing halls, stating -rinks, town ba&fe, drill halls, and swimming baths, five shillings for every month or part of a month for which the license is granted ;
(3) For the grant of a license in respect of any premises other than those in this section hereinbefore mentioned •.
For premises accommodating not more than five hundred persons—
86
THE STAGE YEAR BOOK.
Ten sMflmigs for every month or part
of a montih for which the license is
granted.
For premises accommodating more than five hundred but not more than one thou- sand persons—
One pound for every month or part
of month for which the license is
granted.
For premises accommodating more than one thousand, tout not more than fifteen hundred persons—
Tlhiirlty shillings for every month or
part of a month for whiidh the license
is granted.
For premises accommodating more than fifteen (hundred, but not more than two thousand ipensons —
Two pounds for every month or ipart
of 'a month for which the license is
granted.
iFor premises accommodating more than itwo thousand persons—
Three pound's for every month or part
of la month for whiich the license is
granted. (4) iFor itihe transfer of a license—
For premises to which paragraph (1) or l>ana,gnaph (2) of ftlhis section apply, five shillings.
For other premises, ten shilLings.
PENALTIES.
5. (1) Any premises kept or used for public dancing, singing, music, or other public enter- tainments of the like kind without a license tor such purposes first obtained, shiald be deemed a disorderly ihouse, and without pre- judice to -any enactment respecting the- iprose- cuition of persons keeping a. disorderly house, the person keeping or rated as occupier of the «ame stual'l be liable on summiary conviction to a penalty not exceeding one hundred pounds, and, dn the case of a continuing offence, to a further penalty not exceeding fifty pounds for every day on whiich the same .are so kept or used after conviction therefor.
<2) In itihe case of any breach or disregard of /any of the terms, conditions, or (restric- tions upon or subject to which ia license wias granted, the (holder thereof shall be liable on summary conviction to -a .penalty not ex- ceeding twenty pounds, and in ttoe case of a continuing offence to & further penalty not exceeding five pounds for each day on which such offence continues <afteir convic- tion therefor, and -such license shall be
liable to be revoked by the licensing authority.
(3) Notwithstanding (anything in any other Act any fines recovered under this section on the prosecution of a licensing authority shall be paid to the licensing authority taking the (proceedings leading to the re- covery of the same.
SAVING FOR THEATRES AND OTHER PLACES LICENSED BY THE CROWN OR LORD CHAM- BERLAIN.
6. Nothing in this Act shall extend or be construed to extend to the theatres royal in Drury Lane or Covent /Garden or either of tJhem, nor to such performances iand public eutertaiinmentfi ias (are or shall be lawfully exercised and carried on under or by virtue of letters patent, oir license of the Crown, or the license of the Lord Chtamiberfain.
SAVING FOR OTHER POWERS.
7. The .powers by this Act conferred upon a licensing authority slhiall be in 'addition to and not in derogation of ^any of the powers of Licensing now vested tbeiredn.
SHORT TITLE AND COMMENCEMENT.
8. This Act may be ciited .as the Music and Dancing Licenses Act, 1012, and shall come into operation on the first day of November nineteen, hundred and twelve.
REPEAL.
9. From and after the commencement of this Act the enactments mentioned in the schedule to tlhiis Act are hereby repealed to the extent speed fled in tihe third column of that schedule.
SCHEDULE.
|
Session and Chapter. |
Short Title. |
Extent of Repeal. |
|
25 Geo. 2 |
Disorderly |
Sections two, |
|
c. 36. |
Houses Act, |
three, and four. |
|
1751. |
||
|
38 & 39 Viet. |
Public Enter- |
The whole Act. |
|
c. 21. |
tainments Act, |
|
|
1875. |
||
|
59 & 60 Viet. |
Baths andWash- |
In section two the |
|
c.59. |
houses Act, |
words "in the |
|
1896. |
manner herein- |
|
|
after pre- |
||
|
scribed." |
||
|
Section three. |
THE BADDELEY CAKE.
The time-honoured custom of cutting the Baddeley Cake at Drury Lane on Twelfth Night still remains in force, though the occasion is not now made the excuse for a social function, as was the case when the late Sir Augustus Harris directed the fortunes of Drury Lane. The practice was the outcome of a bequest on the part of Richard Baddeley, a comedian at the theatre, who, by his will, left the sum of £100 to the Drury Lane Fund, to be invested in Consols, in order to provide cake and punch for the members of the Dxury Lane company to partake of on Twelfth Night of every year. The first recorded occasion of this having taken place was in 1796, and the custom has been continued without a break every year since. In 1912 Mr. Harry Nicholls, the Master of the Drury Lane Fund,' performed the ceremony for the eighth year in succession.
THE STAGE VEAR BOOK.
87
LICENSED AGENTS.
The following is a list of the agents to whom licenses were granted by the L.C.C. at the meetings of the Public Control Com- mittee held on Decembec 6 and 13:—
Actors' Association, 32, Regent Street, S.W.
Adacker and Co., W. Scott, 100, Charing Cross Road, W.C.
Adams's Agency, Broadmead House, Panton Street, S.W.
Albemarle Syndicate, The (Edward Willis), 157, Strand, W.C.
Albion Concert Bureau (H. G. Hill), 52, New Bond Street, W.
Alliance Agency (E. W. Smith), 23, Cecil Court, Charing Cross Road, W.C.
Altman and Co., H., 7, Bear Street, Leicester Square, W.C.
A.M.U. National Entertainment Bureau, 9, Great Newport Street, W.C.
Ancaster Agency and Exchange, 39, Oving- ton Street, Cadogan Square, S.W.
Anger and Bauer, 132, Charing Cross Road, W.C.
Ashton and Mitchell, 38, Old Bond Street,
Ashton's Royal Agency, Albany Mansions, 87, Charing Cross Road, W.C.
Auckland, Alfred, 12-13, Henrietta Street, Covent Garden, W.C.
Aytoun, George, 7, Prima Road, Brixton, S.W.
Barclay, George, 221, Brixton Hill, S.W.
Barnard and Eden, Elephant and Castle Theatre.
Bassano's Agency, 61, Carados Street, W.C.
Bauer, L. H., 2M, Portman Mansions, W.
Bawn's Agency, 18, Adam Street, W.C.
Beale, Ashley, Walcot Cottage, Kennington Road, S.E.
Bellew and Stock, 35, St. Martin's Street, W.C.
Benn's Variety Agency, 78, New Park Road, S.W.
Bentley, Walter, 168, Brixton Road, S.W.
Bernhardt's Philharmonic Concert Direction, H., 101, Regent Street, W.
Blackmore's Dramatic Agency, 11, Garrick Street, W.C.
Bliss, David, 110, St. Martin's Lane, W.C.
Boyde and Brinkworth, 443, Strand, W.C.
Braff, Ltd., A., 42-43, Cranbourn Street, W.C.
British Bioscope School (Cohen Hyman), 6, New Oxford Street, W.C.
Brook's Agency, 36, Shaftesbury Avenue, W.
Brown, Papa, 30, Angell Road, Brixton.
Brown and Co., Joe, 58, Chicksand Street, S.E
Bureau des Debutants, 87, Wigmore Street,
Burns, Harry, Walter House, 418, Strand, W.C.
Cadle's Agency, 105, Strand, W.C.
Cass, Richard, 87, Shaftesbury Avenue, W.
Casson, Ltd., Louis, 17, Shaftesbury Avenue,
Cazman, Henri, 138, Denmark Hill.
Central Agency, E. E. Cutler, 61, Chandos 'Street, W.C.
Chappell and Co., Limited, 50, New Bond Street, W.
Claflin, Corliss, 5, Rostrevor Road, Fulham.
Claxton, Tom, 2, Gordon Mansions, Francis Street, W.C.
Collins, Joe, 102, Dean Street, W.
Collins's Music Hall (J. P. MitcheltoiU), Islington Green, N.
Concert Direction, E. W. Gilchrist, 19, Mil- ner Street, S.W.
Concert Direction, Daniel Mayer, Chatham House, George Street, Hanover Square, W.
Concert Direction, Mitchell and Ashbrooke, 7A, Piccadilly Mansions, W.
Concert Direction, E. L. Robinson, 7, Wig- more Street, W.
Concert Direction, G. A. Backhaus, 193, Regent Street, W.
Cooke-Frankish and Robinson, 89, Boundaries Road, Balham, S.W.
Cooper-Lassenden, Walter, 34, Stockwell Park Road, S.W.
Co-Partnership Agency, 34, Strand, W.C.
Dallas and Sons, 4.15, Strand.
Daniels' Agency, 5, Gresham Road, Brixton.
Darrell, Fred, 415, Strand, W.C.
Daraley's Agency, 38, Stockwell Park Road, S.W.
Day <and Liddy, 44, Cranbourn Street, W.C.
Day, Harry, Effingham House, Arundel Street, W.C.
Day, Nat, 5, Denmark Street, W.C. ^Denton and Hart, 56, Whitcomb Street,
p De Reeder, Limited, Louis, 29, Loughborough
De'Vere," Ernest, 72, Waterloo Road, S.Ei Durham, Fred, 74, Upper Tulse Hill, S.W.
Edelsten, Ernest, 17, Green Street, W.
Egbert's Agency, 17, Shaftesbury Avenue, W.
Elaine and Co., 22, Harleyford Road, Vaux- hall.
Empire Variety Agency (H. M. Hartman), 20B, Charing Cross Mansions, W.C.
Entertainment Supply Bureau (Wm. Trus- sell), Oakley House, Bloomsbury Street, W.C.
Fortune and Granville, 91, St. Martin's Lane, W.C.
Foster's Agency, Limited, 8, New Coventry Street, W.
French's Agency, 17, Charing Cross Road,
Fritz's Agency, 20, Cranbourn Street, W.C.
Ga-rrick Entertainment Bureau (F. Tyler Wiggins), 71-72, Strand, W.C.
General Theatrical Agency (Frank Wethersby), 3, Bedford Street, Strand.
Globe General Agency (A. D. Starr), 199, Piccadilly, W.
Goodson, Jack, 17, Lisle Street, W.C.
Haimsohn, N. P., 8, Stafford Street, W. Hamilton, Jack, 41, Charing Cross Road, W.C.
88
THE STAGE YEAR BOOK.
Hart, Davdd, 18, Charing Cross Road, W.C.
Hart, Samuel, 24, Endjmion Road, Brixton.
Haymarket Bureau (Charles Steuart), 14, Whitcomb Street, W.C.
Hays' Concert Direction, Alfred, 26, Old Bond Street, W.
Henschel's Agency, 22, Leander Road, Bo-ix- ton.
Higham, Fred, 5, Durand Gardens, Clapham Road, S.W.
Holmes, Thomas, 10, St. John's Road, Brix- ton.
Hooper, Karl F., 132, Charing Cross Road, W.C.
Howaon's Bureau, 314, New Cross Road, S.E.
Hubbard's Agency, 219, Coldharbour Lane,
o w
'Hutchings, Harry, 53, Thurlow Street, Wai- worth.
Hyman, Limited, S. M., 29, Leicester Square, W.C.
Ibbe and Tillett, 19, Hanover Square, W.
Imperial Agency (W. H. Baker), 20, Regent Street 8 W
International Agency (Adolph Isenthal), 27, Holmwood Ro>ad, Brixton, S.W.
International Agency (Maurice de Frece), 72, Chiasefield Road, S.W.
Johnson, J. W., 93, Kennington Park Road, SJS
Jury's Imperial Pictures, Limited, 7A, Upper St. Martin's Lane, and 19-21, Tower Street, W.C.
Keith, Prowse and Co., Limited, 162, New Bond Street, W.
Kjngsley and Ball, 37, King Street, W.C.
Kremer, A. C., Percy Hall, 3, Percy Street, W.
Lacon and Oilier, 2, Burlington Gardens, W.
Leader and Co., 14, Royal Arcade, Old Bond
Little, Fred J., 4, Arthur Street, W.C
Littler and Co., F. Kolison, 8, West Street, Cambridge Circus, W.
London Dramatic and Literary Bureau (F. R. Rutter), 81-83, Shaftesbury Avenue, W.
loring's, Ltd., 3, Piccadilly, W.
Lotto's Agency, 10, Greek Street, W.C.
McDowell's Agency. A. S., 57, Ashburnham Grove, Greenwich.
McLaren and Co., Waldorf Chambers, 11, Aldwych, W.C.
MarinelM, Ltd., H.B., 18, Chairing Cross Road,
\\T C*
Maskelyne and Devant, St. Georges Hall, W.
Milburn Hartley, 22, Leicester Square, W.
M.S. Bureau (M. H. Harden), 99, Regent Street, W.
Napoli and Co., 35, Waterloo Road, S.E.
Nathan and Co., Ltd., Ben, 113-117, Charing Cress Road, W.C. .
National Federation of Professional Musi- cians, 39, Gerrard Street, W.C.
Newman, Robert, 320, Regent Street, W.
Newman's Agency, 108, Strand, W.C.
Oliver, Will, 40', Stockwell Park Road, S.W. Opera and Concert Bureau (A. E. Joseph), 8, Stafford Street, Old Bond Street, W. Orchestral Association, 13-14, Archer Street.
Pacey's Agency, 18, Charing Cross Road, W.C.
Basspart, W. L., 39, Charing Cross Road, W.C.
Pastor's Agency, 15, Great Russell Street, W.C.
Pearson, George, 30, Limesford Road, Peck- ham Rye.
Peel's, Ltd., Granville House, Arundel Street, W.C.
Phillips, H. B., 17, Orchard Street, W. Preston, James, 5, Wardour Street, W.C.
Ealland, Herbert, and Russell, Bay, 32, Lisle Street, W.C.
Rainbow's Concert Direction (G. Killick- Morley), 53, Bousneld Road, New Cross.
Rayne, George, Portugal House, Portugal Street, W.C.
Reeves's Agency, 331, Brixton Road, S.W.
Rosen and Lewis, 59, Connaught Terrace, Hyde Park, S.W.
Rouse, Willie, 23, Southwold Road, Clapton.
Rubens and Co., Frank, 20, Cranbourn Street, W.C.
Russell Concert Direction, T. Arthur, 13, Sackville Street, W.
St. James's Musical Agency, 60, Great Port- land Street, W.
Scandinavian Agency (Jules Guise), 25, Bon- ham Road, Brixton.
Schultz-Curtius and Powell, 44, Regent Street, W.
Schultze Paul, 38, Cranbourn Street, W.C.
" Semper Ubique " Agency, 15, Ingle wood Road, N.W.
Shaw and Co., Tom, 18, Adam Street. Adelphi.
Sherek Bernard, 17, Lisle Street, W.C.
Sinclair and Co., George, 118, Kennington Road, S.E.
Smythson's Agency, 38, Craster Road, Brixton.
Somers and Masters, 1, Tottenham Court Road, W.C.
stage Agency, 304, Regent Street, "W.
Stage Dancing Academy (George Lestocq), Durham House Street, Strand, W.C.
Steadman's Agency, 58, Berners Street, W.
Stearn, J. H., 78, Upper Street, N.
Sullivan and Considine Circuit (Benno Obermeyer). 16, Green Street, W.C.
Sylvester's Agency, 271, Clapham Road. S.W.
Tate and: Co., George, 150, Strand, W.C.
Temple Agency (N. C. Slaughter), 242-3, High Holborn, W.C.
Iheatrical and Vaudeville Exchange (Will Col- lins and Sam Gethings), Broadmead House, Pa n ton Street, S.W.
Universal Theatrical Bureau (C. E. M. Verity), 49, Bedford Street, Strand, W.C.
Valerie Concert Direction (Annie Valerie), Clavier Hall, W.
Vaudeville Booking Office, 5, Green Street, W.C.
Vert, Limited, N., 6, Cork Street, W.
Victor's Agency, 263, Hammersmith Road,
Ward's Agency, 44, Cranbourn Street, W.C.
Ware's Agency, 6-7, George Street, W.
Warner, Limited, Richard, 27, Shaftesbury Avenue, W.
Warwick Theatrical Bureau (W. Cooper- Lissenden), 8, Warwick Court, W.C.
Watts. Clive, 138, Oglander Road, East Dul- wich, .S.E.
Way, Owen, 15, Grove Road, Brixton.
Webster and Waddington, Limited, 304, Re- gent Street, W.
West London Variety Agency (Samuel Lee), 453, Strand, W.C.
Wheeler, Worland S., 12, Henrietta Street, W.C.
Wieland's Zseo Agency, 10, St. Martta'a Street, W.C
Williams, Bertram, 10, Blenheim Street, W.
Wollheim, Limited, 17, Charing Cross Road. W.C.
World's Variety Agency (Rufe Naylor), 41, Charing Cross Road, W.C.
Wyllie, Julian, 18, Charing Cross Road, W.C.
THE STAGE YEAR BOuK.
89
AGENCY BY-LAWS.
The following by-laws, drawn up by the London County Council, were con- firmed on August 10 by the Home Secre- tary. They refer to agents practising in the administrative county of London (ex- clusive of the City of London), and are made under the London County Council (General Powers) Act, 1910: —
Throughout these by-laws the following words and expressions shall, unless the context otherwise requires, have the meanings hereafter assigned to them, that is . to say —
The "Council" means the "London County Council."
" Agent " means a person licensed by the Council to carry on an employment agency.
" Applicant " means and includes both an applicant seeking an employer and an applicant seeking an employee.
"Register" means and includes a book, card, or form.
" Brelim/iiriairy fees " means and includes any fee, audition fee, commission, deposit or monetary payment required or accepted from an applicant either in connection with the registration of the application or for any service connected with such application before the appli- cant has accepted employment or entered into the situation procured or has been otherwise suited.
" The premises " means and includes the premises specified in the license of the agent and any other premises used for the purposes of or in connection with his business.
2.
No agent shall demand or receive from any applicant payment of any fee or charge unless he shall previously have furnished to such applicant printed or written particulars of his fees or charges, or, if the fee or charge is paid at the premises by the applicant in person, un- less his scale of fees or charges is exhi- bited in such a position that it can be read by the applicant in that part of the premises in which payment is made.
An agent shall within seven days of the receipt of a license to carry on an agency furnish the Council with a copy of his scale of fees or charges, and shall not sub- stitute therefor any other fees or charges without first giving notice in writing of the same to the Council.
4.
No agent shall receive any preliminary fee from any applicant who applies to an agent in respect of and in response to an advertisement of a vacant situation.
No agent shall in any advertisement, circular, contract, or other document issued or made by him or on his behalf or by any verbal representation made by him or on hie behalf in connection with his business knowingly deceive or attempt to deceive or cause to. be deceived any applicant.
6.
An agent shall in every advertisement or circular issued in connection with his business notify that he is an agent, and shall keep on the premises a copy of every such advertisement or circular for a period of twelve month from the date of the issue of such advertisement or circular.
7.
No aigent sihiall arrange for the em- ployment <aibroad of amy female petrson unless he is in possession of information obtained from a responsible person or society or from some other trustworthy source testifying to the satisfactory nature of the proposed employment.
8.
No agent shall propose or arrange for the employment abroad of a female per- son under the age of sixteen years with- out first obtaining the sanction in writ- ing of her parents or lawful guardian, and unless he has satisfied himself that suitable arrangements have been made for the welfare of such person during the con- tinuance of such employment, and for her return to this country on the conclusion of such employment, and that such em- ployment is legal in the country in which the employment is to take place ; and on making an engagement with such per- son he shall furnish to her free of cost a written document containing the pro- visions of this by-law, and stating that such provisions have been complied with. The agent shall in any particular case, if so required by the Council, furnish the Council with full particulars of the arrangements.
9.
An agent shall in every case in which he arranges for the employment abroad of any person, or for the employment in this country of any person resident abroad, furnish such person free of charge with a copy of the contract or other document showing the terms and conditions of such employment drawn up in a language understood by such person.
10.
No agent shall make or cause to be made any false entry in any register, re- ceipt, commission note, or other document required to be kept, furnished, exhibited,
90
THE STAGE YEAR BOOK.
drawn up, prepared or executed in pur- suance of these by-laws.
11.
If an agent provides u'pon the .premises sleeping accommodation or lodging for any female applicant, he
(a) Shall not suffer any room used by such female applicant for sleeping to be so occupied that there will be in such room less than 350 cubic feet of air space for each person accommodated therein.
(b) Shall keep exhibited in such room a legible notice stating the total number of persons which such room will accom- modate in conformity with this by-law.
(c) Shall keep such room furnished with suitable separate bedsteads and sufficient suitable bedding for the num- ber of. persons which such room will acommodate in conformity with this by-law.
(d) Sdiall not cause or suffer any bed in such room to be occupied at any one time by more than one person.
(e) Shall not suffer any male person, other than a person in charge of the premises, to be in that part of any pre- mises which female applicants are for the cime being using for sleeping ac- commodation.
12.
An agent (other than an agent in con- nection with whose business no pre- liminary fees are demanded or received, and who makes each transaction with an applicant the subject of a contract in writing) shall keep a register of applica- tions made by employers, and shall enter therein particulars of every application as to employment he receives, and shall include in such particulars (a) a refer- ence number against the name of each applicant, (b) the date of registration, (c) the name and address of the appli- cant, (d) the nature of the employment,
(e) the salary, wages, or terms offered,
(f) the amount of any fee paid or pay- ment made by the applicant, and the num- ber of the receipt given for such fee or payment, (g) the name of avery person seeking employment who is either named to the applicant or to whom particulars of the employment are given, and (h) if an engagement has been made, the name of the person engaged and the reference number against the name* of that person in the register of applications made by persons seeking employment. Such agent shall either keep the applications he re- ceives in alphabetical order, or keep a correct' alphabetical index of such appli- cations.
13.
An agent (other than an agent in con- nection with whose business no pre- liminary fees are demanded or received,
I 'and who makes each transaction with an applicant the subject of a contract in writing) shall keep a register of applica- tions made by persons seeking employ- ment, arid shall enter therein particulars I of every application for employment he I receives, and shall include in such par- j ticulars (a) a reference number against I the name of each applicant, (b) the date of registration, (c) the name, address, and age of the applicant, (d) the nature of the employment desired, (e) the salary, v wages, or terms desired, (f) the amount of any fee paid or payment made by the applicant and the number of the receipt .given for such fee or payment, (g) the names and addresses of previous em- ployers and the nature or character of the last employment, (h) the name of every emiployer who is named to the applicant or to whom the name of the applicant is given, and (i) the name and address of the employer engaging and the reference number against the name of such em- ployer in the register of applications made by employers. Such agent shall either | keep the applications he receives in alpha- | betioal order, or keep a correct alpha- ; betical index of such applications.
u.
'An agent (other than an agent in con- nection with whose business no pre- liminary fees are demanded or received, and who makes each transaction with an applicant the subject of a contract :n writing) shall keep a book of forms of numbered receipts and counterfoils, and shall issue a receipt in respect of every payment or deposit made by an appli- cant, and shall enter on such receipt and the counterfoil thereof his trade name and address, the date of payment and the reference number of the applicant in the register of applications made by em- ployers or the register of applications made by persons seeking employment, and, where the payment is an engagement fee, the nature of the employment offered to the applicant and the wages and emoluments attaching thereto.
15.
An agent in connection with whose business no preliminary fees are de- manded or received, and who makes each transaction with an applicant the subject of a contract in writing, shall in every such transaction correctly indicate in the contract or commission note the follow- ing particulars: —
(a) The name and address of the appli- cant.
(b) The name of the person with whom the engagement of the applicant is made.
(c) The place at which the engagement is 'to be fulfilled. •
(d) The salary to be paid to the appli- cant.
THE STAGE YEAR BOOK.
91
(e) The commission to be paid fco the agent.
(f) The conditions under which any future commission to the agent will be payable.
The agent shall provide a copy of such 'contract or commission note to the appli- cant, and shall keep a copy on the premises for a period of not less than twelve months, and he shall also keep all such contracts or commission notes or copies thereof correctly indexed and in order of date or arranged alphabetically according to the name of the applicant.
16.
A theatrical, variety or concert agent shall keep a complete list of children
under the age of 16 years who are booked by him for engagements either in London or elsewhere, and shall in such list indi- cate the place or places of entertainment at which each child is booked to perform and the length of engagement of each child at each such place of entertainment.
17.
From and after the date of the con- firmation of these by-laws, the by-laws relating to employment agencies, which were made by the Council on the 18th day of December, 1906, pursuant to Sec- tion 47 of the London County Council (General Powers) Act, 1905, shall be re- voked.
MISCELLANEOUS EVENTS OF THE YEAR.
January 7.— Reception given by Mr. and Mrs.
Martin Harvey to Professor Max Eeinhardt
at the Prince's Galleries, Piccadilly. January 14.— Inaugural meeting of the new
Touchstone Club at the Adelphi Restaurant. January 15. — Opening meeting of a Conference
on Speech Training at the Bedford College,
Baker Street.
February 20.— What was described as " the first artistic Cabaret in England " presenting .1 new style of entertainment " had its open- ing performance at the little Boudoir Theatre, Pembroke Gardens, W.
March 19.— Opening of new Music Hall Home at Gipsy Hill.
May 10.— Owning of " Shakespeare's England "
at Earl's Court Exhibition. May 25.— Princess Alexander of Teck opened
the Latin-British Exhibition at Shepherd's
Bush.
June 11.— The Theatrical Ladies' Guild held their annual Tea Party at the Albert Hall.
July 1.— Royal Command music-hall perform- ance at the Palace.
July 2. — Annual Theatrical Garden Party in aid of the Actors' Orphanage Fund at the Botanic Gardens.
July 9.— The annual elocution competition (final examination) of the British Empire Shake- speare Society took place at the Hay- market. Mr. Martin Harvey was the judge.
July 11.— Marriage of Miss Viola Tree and Mr. Alan Parsons at St. Martin's-in-the-Fields.
July 17.— Second " Tag Day " on behalf of Music Hall Charities.
August 3.— The Big Circus at Earl's Court was opened under the direction of Mr. C. B. Cochran.
August 17. — Opening of the eighteenth season of Promenade €oncerts at Queen's Hall under the direction of Sir Henry J. Wood.
October S.—Matine'e at the London Pavilion in aid of the Music Hall Ladies' Guild.
October 23.— The Insurance Commissioners held the third of a series of inquiries as to whether certain classes of workers are em-
ployed under contract of service within the meaning of the Insurance Act at the Civil Service Commission, Burlington Gardens. Mr. Shackleton presided. The question of the position of theatrical orchestras came up for consideration.
October 23.— At the Savoy Hot-el a gathering of her admirers presented to Mme. Sarah Bernhardt a national tribute in the form of three volumes containing 100,000 signa- tures. The occasion was the sixty-ninth anniversary of her birth.
November 4.— At Southwark Cathedral took place the unveiling ceremony and dedication of the Shakespeare Memorial, Sir Sidney Lee and the Bishop of Southwark being the chief participants therein.
November 10.— Annual Playgoers' Club Panto- mime Fund performance at His Majesty's.
November 11.— Annual charity matinee, pro- moted by the Grand Order of Water Rats, at the Oxford.
November 14.— At the ,Niewington Sessions House the Theatres and Music Halls Com- mittee of the London County Council sat to hear applications for music, music and dancing, and stage-play licences. The list contained 543 applications in respect of 508 places.
November 29.— The London County Council sat as the licensing authority for the County of [London at the County Hall, Lo-rd Cheylesmore presiding.
December 3.— Matinee at the London Hippo- drome in aid of the Variety Artists Bene- volent Fund and Institution.
December 12.— Mr. Martin Harvey delivered his lecture, " Some Reflections on the Art of Acting," before members of the Etholo- gical Society at the galleries of the Royal Society of British Artists. Mr. W. L. Courtney presided.
December 17.— A testimonial mating, was given at the Oxford to Mr. Charles Coborn, in celebration of his sixtieth anniversary, and in recognition of his work upon the variety stage extending to nearly forty years.
92 THE STAGE YEAR BOOK.
SUNDAY OPENING.
PROBABLY one of the most discussed subjects of the past year was that of Sunday opening. lit was started by Mr. Oswald Stall in the columns of THE STAGE tin July. Mr. Stoll argued that an unfair advantage was held by picture houses, which we/re' allowed to open on Sundays, and he claimed that the trading conditions should be revised, that the picture hous'es slhould be sihut, or, alternatively, if they were to open, theatres and music halls should be allowed to open too. A long discussion, contributed to by many pro- minently concerned in tlhe entertainment world, followed in THE STAGE, and many interesting suggestions were put forward for dealing in a practical way wdth the grievance. Actors and •music hall artists naturally were against any extension of their working week, and voted accordingly. The Actors' Association held a meeting in September' at H/is Majesty's, at which Sir Herbert Tree was in the chair. The tone of the meeting represented a resistance against a seven days' working week, and the matter so far as it represented the position of the actor in the event of Sunday opening eventuating at some future time was left untouched. The meeting instructed the Council to oppose any attempt to open theatres and music halls on Sundays. O<n exist/ing Sunday entertainments, such as those given in picture houses, it was silent, thereby giving a tacit approval to them, which prevented the Council later from joining the Variety Artists' Federation in the deputation which waited on the London County Council and argued against Sunday opening generally. The Variety Artists' Federation went further than the Association, tand called for the closing of picture theatres. At a meeting held at the Trooadero Restaurant on September 22, with Mr. Edward Smallwood, L.C.C., in the chair, the following resolution was passed : —
That with a vdew to (preserving Sunday as a day of rest and recreation for all concerned in the production of public entertainments, this meeting calls for the abolition of entertainments on Sunday in dramatic, variety, and picture theatres.
As already stated, the Variety Artists' Federation, in company with the National Association of Theatrical Employes and the Imperial Sunday Alliance, then sent a deputation to the London County Council and laid their views before the Council. Other deputations from representative bodies also visited Spring Gardens, and argued for and against the abolition of Sunday opening in picture houses. At the time the YEAR BOOK w>e>nt to press the London County Council had not dealt with the report of its Theatres and Music Halls Committee on the subject, which favoured a continuance of the- existing state of things, with a closer supervision on the financial side to see that the. condition that the entertainment should not be given for private gain or by wiay of trade foe strictly enforced. That such a supervision is necessary in a number of cases no one .could doubt who studied the returns disclosed to the Council earlier in the year, when it was found that the charitable associations which nominally ran tihe picture hquses on Sunday had benefited a little, 'but the 'houses a great deal more by way of heavy rentals charged lor the Sundays. According to these (figures in one case the rent paid for 'each enter- tainment worked out at £1,750 per annum for the theatre, in another it worked out at £2,400 a year, and in another at the large sum of £6,000. Mr. Smallwood, at a meeting of the Council in July, drew attention to these figures, and remarked that when he found so large an amount for rent was charged by the proprietors of these different theatres to those who were using them one day in seven, and that there was to be no private gain, he would like to ask the committee responsible to go to the various borough authorities and ask for -a ireturn of the assessments on each of these places. It was quite iimpossible to realise that the rent of any of these theatres could work out at £6,000 iper annum, and if the proprietors were charg- ing those w*ho used them one day a sum that worked out at £4,500 or £6,000 » year, then they w>ere letting them for private gain or in the way of trade.
THE STAGE YEAR BOOK.
93
The Sunday opening question also extended to ifohe provinces. Birmingham was one of the first towns in which a idecdision was given by the licensing authorities, who early in October, by 55 votes to 30, <prothibited Sunday opening in picture houses. This lead was followed in many other towns.
As under (the Kineniatograpth Act, 1909, licenses are necessary only wnen inflammable films are usjed, many exhibitors find it convenient to use " non-flam " films, and so relieve theniiselves of any responsibility under this particular Act, opening on Sunday as on any other day. The difficulty arises in the definition of wnat a " non-flam " film .really is. The Kinematograph Act affords no help in this respect, an lomissaon for wJiiclh there seems to be no excuse. The difficulties in this connection were emphasised in two police-court prosecutions in December. In one case an exihibitor was summoned at Woolwich for using premises for the purpose of a kinematograph en.t©rt?.iimment with inflammable films without a license. Mr. I. A. ;Symmons, the magistrate, after having pieces of the film tested in court, decided that they came under the (heading of "non-flam," and dismissed the summons. In the otlher case, iat North London, an exhibitor wa* similarly summoned, and Mr. Hedderwick, after having samples of the films tested in court, decided that they were inflammable, and fined the exhibitor. In each case the samples of films (tested were similar, and made by the same firm.
NEW THEATRES, MUSIC HALLS, ETC.
January 15.— Empire, Seaham Harbour.
January 29.— New, Cannock. x
January 29.— Camden re-opened with drama, twice-nightly, a.nd again, later in year, as Camden Hippodrome (pictures).
February 5.— Hippodrome, Altrincham.
March 8.— Eastern Cinema, Eastbourne.
March 18.— .Empire, Chatham.
April 1.— Vint's Picturedrome (late Empire), Carmarthen.
May 20.— Cinema Palace, Felixstowe.
June 10.— New Empress Picture House, Man- chester.
June 15.— Pavilion PfcTure Palace, Musselburgh
June 17.— Empire, Ashbourne.
June 24.— Cinema de Luxe, Ashford, Kent.
June 27.— Picture Theatre, Eccles.
July 22.— Tivolj. Newry.
July 29.— Palladium, Weymouth.
August 1.— Reconstructed Royal, Worcester.
August S.-^-Tivoli, Hull.
August 15.— Coliseum, Bristol.
August 15.— Star Picture Palace, Castleford.
September 2.— Chiswick Empire.
September 7.- Picturedrome, Prestwich
September 9.— Wood Green Empire.
September 14.— Prince's Cinema, Edinburgh.
September 19.— New, Bangor.
September 19.— Eden Pavilion, Coundon.
September 21.— Picture Palace (late Miners' Hall), Butterknowle.
September 30.— Alexandra Picture Palace,
September 30.— Grand (late Tivoli). Pentre. October 14.— The reconstructed Alhambra.
October 19.— Besses o' th' Barn Picture Pailiace, Manchester.
October 21.— Palace, Westcliff, Southend.
October 21.— Grand (late Prince's), Accrington
October 21.— Palace, Kidderminster.
November 2.— Empire, Jarrow.
November 4.— St. George's Hall, Falmooith.
November 7.— Picturedrome, Heywood.
November 9.— New and Hippodrome, North- ampton.
November 16.— Hold erne ss Picture Hall, Hull.
November 16.— Hippodrome, St. Augustine's, Bristol.
November 21.— Picture Palace, Northampton.
November 25.— Hippodrome, Newcastle.
November 25.— Picture Hall, Bunco's Lane, Otley.
November 25.— West End Cinema, Dundee.
November 25.— Bijou, Bridgwaiter.
December 9.— New Royal, Guildford (late Borough Hall).
December 14.— The Coliseum Picture Theatre, New Brighton.
December 21.— Imperial Picture Palace, High- bury, N.
December 23.— Arcadia Picture Palace, Swin- don.
December 23.— Borough Cinema, Fowey.
December 23.— Playhouse, Stafford late the Lyceum).
December 25.— Palace, Haswell, Co. Durham.
December 26.— New, Manchester.
December 26.— Palace, Luton.
December 28.— Picture House, Bradford.
December 30.— Opera House, Dunfermline (re- constructed).
FIRES IN THEATRES.
February 10.— Messrs. Hollands' travelling Elec- tric Palace, which for the previous nine days had been standing on the Anglesby Hotel ground, Hednesford, was partly destroyed by fire.
February 22.— Royal, Worcester, gutted.
March 11.— Lyceum, Gillinghiam, gutted. October 18.— Slight fire at the back of the stage of the Royal, Leicester.
December 29.— Mr. Harry de Mar's portable theatre at Finedon was burnt down.
94
THE STAGE YEAR BOOK.
MASONIC LODGES.
A RECORD OF MASONIC LODGES AND CHAPTERS, MEMBERS OF WHICH ARE CONNECTED WITH THE DRAMATIC, MUSICAL, AND VARIETY PROFESSIONS.
LODGE OF ASAPH, No* 1319.
Consecrated 1870.
Held at Freemason's Hall, Great Queen Street, London, W.C., on the fourth Tuesday in February, March, May, June, October, and November.
Installation in November.
|
OFFICERS, 1912-13 |
|
|
Frank Lister |
W M |
|
Albert Le Fre |
I. P.M. |
|
Tom Clare |
S.W. |
|
W. Edwyn Holloway |
J.W. |
|
Rev. W. P. Besley, A.G.C. |
Chaplain. |
|
Chas. Cruikshanks, P.A.G.Std.B |
Treasurer. |
|
James W. Mathews, P.A.G.D.C. |
Secretary. |
|
E. A. Pickering |
S.D. |
|
George Dyball |
J.D. |
|
E. W. Whitmore, P.M. .. |
D.C. |
|
Harry Lockett |
Asst. D.C. |
|
J. E. Hambleton, P.M.. L.R. . |
Organist. |
|
Antoine Cloetens |
Ass. Organist. |
|
Herbert Chenery, P.M., L.R. |
Ass. Secrty. |
|
R. Douglas Cox |
I.G. |
|
Oscar Grimaldi » Charles Norton j |
Stewards. |
|
John Gilbert |
Tyler. |
|
PAST MASTERS. |
G.L. RANK. |
|
E. Stanton Jones . . 1870— 1 |
— |
|
Charles Coote . . 1871— 2 |
— |
|
John M. Chamberlin 1872— 3 |
— |
|
James Weaver . . 1873— 4 |
P.G.Std.B. |
|
Edward Frewin . . 1874— 5 |
|
|
Charles S. Jekyll . . 1875— 6 |
P.G.O. |
|
William A. Tiuney . . 1876— 7 |
— |
|
Edward Terry . . 1877— 8 |
P.G., Treasr. |
|
George Buckland . . 1878— 9 |
— |
|
Edward Swanborough 1879—80 |
— |
|
Charles Wellard . . 1880- 1 |
— |
|
W. Meyer Lutz . . 1881— 2 |
— |
|
John Maclean . . 1882— 3 |
— |
|
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. Beveridge 1889—90 |
— |
|
T. de B. Holmes . . 1890— 1 |
— |
|
Alfred E. Bishop . . 1891— 2 |
- |
|
W. Sydney Penley . . 1892— 3 |
P.G., 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 |
— |
|
Luigi Lablache . . 1898— 9 |
— |
|
Charles Blount Powell 1899—1900 |
— |
|
James W. Mathews 1900— 1 |
P.A.G.D.C. |
|
Algernon Syms , . . 1901— 2 |
— |
|
Louis Honig . . . . 1902 — 3 |
— |
|
Akerman May . . 1903— 4 |
— |
|
Herbert Leonard . . 1901— 5 |
— |
|
Edward W. Whitmore 1905— 6 |
— |
|
E. H. Bull . . . . 1906— 7 |
— |
|
Herbert Chenery . . 1907— 8 |
— |
|
Ernest H. Paterson . . 1908— 9 |
— |
|
Chris Hilton .. .. 1909—10 |
— |
|
A.B. Tapping .. 1910—11 |
— |
|
Albert Le Fre . . 1911—12 |
— |
|
Address of Secretary- |
|
|
Duke of York's Theatre, |
|
|
St. Martin's Lane, W.C. |
Scribe E. . . Treasurer. .. P.S. . . 1st A.S. . . 2nd A.S. . . Janitor. IN CHAIR. G.C. RANK. . . 1877 P.A.G.D.C. . . 1887 .. 1896 L.R.
P.G., Treasr.
P.D.G.D.C.
P.P.G. O.Kent
P.A.G.D.C.
L.R.
L.R.
1897 1898 1900 1901 1903 1904 1906 1907 1908 1909 1910 1911
P.A.G.D.C.
P.A.G.D.C. P.A.G.D.C. P.G.Std.B.
CHAPTER OF ASAPH, No. 1319.
Consecrated 1875.
Held at Freemason's Hall, Great Queen Street, London, W.C., on the fourth Monday in February, April, June, and November.
Installation in June.
OFFICERS, 1912-13.
W. J. Keen M.E.Z.
G. A. Keen H.
C. W. A. Trollope J.
T. de B. Holmes J. Weaver J. H. Ryley E. H. Paterson J. PoweU J. Gilbert
PAST PRINCIPALS. James Weaver Edward Humphrey . . James E. Hambleton W. S. Penley Harry Nicholls Tom de Brunow Holmes Arthur G. Duck James D. Beveridge Luigi Lablache William J. Harvey . . James W. Mathews. . Edward W. Whitmore Clarence T. Coggin . .
E. H. Bull
F. Stewart, L.R. Robert D. Cummings J. Percy Fitzgerald . . William Cleghorn . .
Address of Scribe E.—
10, South Villas,
Camden Square, London, N.W.
LIVERPOOL DRAMATIC LODGE
No. 1609.
Consecrated 1876.
Held at Masonic Temple, 22, 'Hope Street, Liverpool, on the fourth Tuesday in every month except June and July.
Installation in September.
OFFICERS, 1912-13.
H. C. Arnold, jun. , . W.M.
J. Ball I.P.M.
Frank Coker (" Fred Coles ") . . S.W.
Ed. Geo. Cox J.W.
Wm. Savage, P.M., P.P.G., Treas. Treasurer.
R. T. Palmer, P.M Secretary.
Geo. Smith .. . . . . .. S.D.
Ed. Haigh, P.D.G.S. (Gib.) .. J.D. Eustace Baxter, P.M., P.P.G.
Supndt. of W D.C.
J. J. Hewson, P.M Asst.D.C
Aug. Savage Organist.
W. D. Jones, P.M Ass. Secrty.
Alf . Hatton I.G.
J. Breeze, W. Hassan, W. O.
Bond, W. Crompton, R. Klass,
R. E. Goffin, A. Moore, and F.
Stokes Stewards
J. Wiatt Tyler.
Lewis Peake, P.P.A.G.D.C. . . Charity Rpve
THE STAGE YEAR BOOK.
95
Liverpool Dramatic Lodge — Continued.
WHEN
MASTKKS. W.M. G.L. RANK.
\V. \V. Siiiulbrook .. .. 1880 P.P.S.C..D.
Win. Savage 1882 P.P.G.,Treas.
-I. Kineberg 1890 P.P.G.J.D.
E.Baxter 1898 P.P.G.S.of W.
II. ('. Arnold.. .. 1901—2 P.P.G.J.D.
\V.G. Hargriivi- .. .. 1903
J. J. Hewson 1904
T. R. Robertson . . . . 1905
R. T. Palmer 1906
\V. I). Jones 1907
Joseph Pall 1911—12
Address of Secretary —
61, Park Road,
Seacombe, Cheshire.
DRURY LANE LODGE, No. 2127.
Consecrated 1885.
Held at the Theatre Royal, Drury Lane, London, W.C., on the second Tuesday in February, March, April, and November.
Installation in February.
OFFICERS, 1912-13. Col. H. Walker, P.D.M., G.Swd.B. W.M. A. Blomfleld Jackson . . . I. P.M.
Blake Adams S.W.
Bruce Smith J.W.
Rev. W. Cree, M.A Chaplain.
Thomas Catling, P.A.G.D.C. . Treasurer. J. Percy Fitzgerald, P. G.Std.B. . Secretary. J. H. Ryley . . . S.D.
Dr. W. Wilson J.D.
Albert G. Neville, P.D.G.D.C. . . D.C.
Frank Braine Organist.
E. T. Pryor . . I.G.
J. C. Barker, R. Frost, George A.
Highland (Almoner), A. Steffans
Hardy, W. J. Crumplin, and
Patrick Gow
T. Reeves
PAST MASTERS.
The Earl of Londesborough 1886 Sir Augustus Harris.. .. 1887 Sir John E. Gorst, Q.C., M.P. 1888 Adm. Sir E. A. Inglefield . . 1889 Sir Henry A. Isaacs (Lord
Stewards. .. Tyler. WHEN W.M. G.L. RANK.
P.G.W.
P.G.W., Trsr.
P.G.W.
P.G.D.
Mayor) James Fernandez Sir S. B. Bancroft Harry Nicholls Thomas Catling Oscar Barrett . .
1890 1891 1892 1893 1894 1895
P.G.W.
P.A.G.D.C.
P.G.D.
P.G.Std.B.
P.A.G.D.C.
.{}fg}P.A.G.D.C.
A.G.D.C. P.G.D.
P.D.G.D.C.
P.G.D. P.G.W.
Henry Neville. .
Gerald Maxwell .. .. 1898
Guy Repton 1899
Lionel Rignold .. .. 1900
J. H. Barnes 1901
Luigi Lablache . . . . 1902 Albert G. Neville . . . . 1903 A. Rashleigh Phipps . . 1904
H. Nye Chart 1905
Clarence T. Coggin . . . . 1906 S. H. Tatham Armitage . . 1907
James Powell 1908
Rt. Hon. Lord Athlumney 1909 Bedford McNeill .. .. 1910 A. Blomfield Jackson .. 1911 Address of Secretary—
3, Dean Road,
Cricklewood, N.W.
MANCHESTER DRAMATIC LODGE, No. 2387.
Consecrated 1891.
Held at Freemasons' Hall, Cooper Street, Man- chester, on the fourth Thursday in January, February, March, April, May, June, September October, and November.
Installation in April.
Manchester Dramatic Lodge — continued. OFFICERS, 1912-13.
John Bentley W.M.
Councillor Tom Cook . . . . I.P.M.
Richard Martin S.W.
ManbyWillson J.W.
Chas. Swinn, P.P.G.D Treasurer.
John Butterworth, P.P.G.Swd.B. Secretary.
Frank Morris S.D.
Harry C. Roberts J.D.
James J. Bennett D.C.
Ernest Catling Organist.
E. Lorimer Wilson I.G.
F. Green, M. Tench, W. L. Law- ley, F. Thorpe, H. R. Clarke,
G. T. Ashton Stewards.
Edward Roberts, Prov.G.T. . . Tyler.
WHEN
PAST MASTERS.* W.M. G.L. RANK.
Chas. Swinn .. .. .. 1895 P.P.G.J.D.
Edwin G. Simpson .. .. 1898 P.P.G.S.W.
John Butterworth .. .. 1900 P.P.G.Swd.B.
J. Pitt Hardacre . . . . 1901
T. LI. Marsden . . . . 1902 P.P.G.J.D.
Harry S. Greenwood . . 1903
Nelson Stokes .. .. 1904
Phillip Jeseph .. .. 1906
James J. Bennett . . . . 1907
John R. Pickman . . . . 1908
Arthur E. Wait . . . . 1909
S. Fielder 1910
Tom Cook 1911 —
Peter Lawton 1880 P.P.J.G.D.
Louis Peake 1884 P.P.G.A.D.C.
Geo. W. Potter . . . . 1898
* At present Members of the Lodge. Address of Secretary- Rochester Avenue,
Sedgley Park, Manchester.
GUILDHALL SCHOOL OF MUSIC LODGE, No. 2454.
Consearated 1892.
Held at the Holborn Restaurant, High Holborn, London, W.C., on the second Monday in Feb- ruary, March, May, November, and December.
Installation in December.
OFFICERS, 1912-13. F. Harold Hankins, P.M., L.R.,
P.P.G.O.Herts W.M.
George K. Lang I.P.M.
Mortlake Mann S.W.
Frederick A. Winter . . . . J.W.
Walter Morrow Treasurer.
George F. Smith Secretary.
Ben Jahnson S.D.
E. Lewis Arney J.D.
Albert E. Rowarth D.C.
Arthur H. Lines, P.P.G.S.D.Herts Asst. D.C.
Bernard Turner Organist.
David Beardwell Asst. Secy,
Frederick Griffiths I.G.
Garfield Blake and Charles Mogg Stewards.
George Coop Tyler.
WHEN
PAST MASTERS. IN CHAIR. G.L. RANK.
T. Hastings Miller . . 1893 P.G.Swd.Br.
Geo. F. Smith.. .. 1893—4 P.G.O.
W. Henry Thomas . . 1894— 5 P.G.O. Henry Gadsby . . 1895— 6 Henry Guy, L.R. . . 1896— 7 William H. Cummings,
Mus. Doc., Dublin 1897— 8 P.G.O.
William Hy. Wheeler 1898— 9 Walter Syckelmoore 1899—1900
David Beardwell . . 1900— 1 P.Dep.G.O. W. Rogers . . . . 1901- 2 { p-P-G.Dep.
[ JJ.^.
Thomas R. Busby . . 1902— 3 P.Dep.G.O. Albert E. Rowarth . . 1903— 4 —
George H. Dawson . . 1904— 5 —
96
THE STAGE YEAR BOOK.
Guildhall School of Music Lodge — Contd.
Arthur L. Simmons.. 1905—6 P.Dep.G.O. Montague Borwell . . 1906— 7 G. A. Hustler Hinchliff 1907— 8 Sir T. Brooke-Hitching 1908— 9 P.G.D. Arthur H. Lines . . 1909—10 H. Turnpenny .. 1910—11 —
George K. Lang . . 1911—12 Address of Secretary —
" Seabourne,"
Bonham Road,
Brixton Hill, S.W.
GUILDHALL SCHOOL OF MUSIC 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, 1912-13.
Hugo T. Chadfield M.E.Z.
Arthur L. Simmons I.P.Z.
G. Kershaw Lang H.
Arthur H. Lines . . . . J.
Dr. W. H. Cummings, P.G.O. Treasurer.
David Beardwell, P.G.O. .. Scribe E.
C. H. Allen Gill . . . . Scribe N.
Kalman R. Ronay . . . . P.S.
Alfred Heather, P.G.O. Natal 1st A.S.
Dr. John W. Pare . . . . 2nd A.S.
George Coop Janitor.
WHEN
PAST PRINCIPALS. IN CHAIR. G.C. RANK.
T. Hastings Miller . . 1900— 1 P.G.Std.B. Dr. W. H. Cummings 1901— 2 P.G.O. W. H. Thomas . . 1902— 3 P.G.O. Thomas R. Busby . . 1903— 4 P.G.O. Fountain Meen . . 1904— 5 P.G.O. Charles E. Tinney . . 1905— 6 —
David Beardwell . . 1906— 7 P.G.O. Walter Morrow . . 1907— 8 Albert E. Rowarth . . 1908— 9 F, Harold Hankins . . 1909—10 George F. Smith, P.G.O. 1910—11 Arthur L. Simmons.. . 1911—12
Address of Scribe E.—
38, Patshull Road,
Camden Road, N.W.
GREEN ROOM LODGE, No. 2957.
Consecrated 1903.
Held at the Imperial Restaurant, 60, Regent Street, London, W., on the first Friday in January, February, April, May, June, November, and December.
Installation in May.
OFFICERS, 1912-13.
Blake Adams W.M.
J. H. Ryley I.P.M.
E. Vivian Reynolds S.W.
Frank Vernon J.W.
Rev. W. P. Besley, A.G.C Chaplain.
Harry Nicholls, P.G.Std.B. . . Treasurer.
J. H. Ryley, I.P.M Secretary.
Fred Aunerley S.D.
Douglas Gordon J.D.
W. Lestocq, P.A.G.D.C D.C.
Sydney Lawrence A. D.C.
Frederick Ross Almoner.
A. E. George Organist.
Arnold Lucy Ass. Secrty.
A. E. Raynor I.G.
J. R. Crauford, Arnold Lucy,
Spencer Trevor Stewards.
E. J. Nesbitt Tyler.
Green Room Lodge— Continued. WHEN
PAST MASTEKS. W.
Harry Nicholls . . . 1903 — 4
J. D. Beveridge . . . 1904— 5
Gerald Maxwell.. . 1905—6
Herbert Leonard . 1906— 7
Akerman May . . . 1907— 8
E. H. Bull 1908—9
Charles Macdona . 1909—10
Hubert Willis . . . 1910—11
J. H. Ryley . . . 1911—12 Address of Secretary—
38, Maida Vale, W.
G.L. RANK. P.G. Std.B.
P.A.G.D.C.
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, 1912-13.
G. H. E.Goodman W.M.
H. T. Dummett I.P.M.
Wilson James Lakeman (Wilson
James) S.W.
D. Lome Wallet J.W.
John A. Stovell, (Edgar Barnes)
(P.P.G.D., Surrey) Treasurer.
Thos. F. Noakes, P.P.G., Organist,
Middlesex . . . . Secretary
J. H. Willey S.D.
C. E. White J.D.
Sir George Pragnell, D.L., L.R. . D.C.
Walter Walters A.D.C.
Jas. Edward Ward Almoner.
Harry Hudson ' Organist.
Clarence Nobbs . . . . I G T. Thorpe Bates, E. H. Shields,
H. J. Barclay, and E. H. Baker Stewards.
J, Bailey . . Tyler.
WHEN
PAST MASTERS. W.M. G.L. RANK.
W. S. Penley . . . . 1904— 5 P.G. Treasr. Joseph Harrison . . 1905— 6 A.G.D.C. Charles Bertram . . 1906— 7 J. A. Stovell . . . . 1907— 8 George Pragnell . . 1908— 9 F. A. Ransom. . . . 1909^10 Tom Clare .. .. 1910-11 Harry T. Dummett . . 1911—12 Address of Secretary —
Apsley Lodge, Kimberley Road, Clapham, SjW.
LYRIC CHAPTER, No. 3016.
Consecrated 1910.
Held at Freemasons' Hall, Great Queen Street London, W.C., on the third Saturday in January March, and November.
Installation in January.
OFFICERS "ELECT," 1913-14.
P. A. Ransom (P.P.G.T. Surrey) . . M.E.Z. John A. Stovell, Prov. G. Treas.,
Surrey I.P.Z.
J. H. Willey H.
H. J. Barclay J.
Thos. F. Noakes Scribe E.
G. H. E. H. Goodman . . . Scribe N.
J. A. Stovell Treasurer
Walter Walters P.S.
Alfred Hill 1st A.S.
Wilson James . . . . . 2nd A.S.
Harry Hudson Organist.
A. Francis May Steward,
J. Bailey . . Janitor.
THE STAGE YEAR BOOK.
97
Lyric Chapter — Continued. AST PRINCIPAL. WHEN IN CHAIU.
Tom Clare 1910—11—12
John A. Stovell 1912-13
Address of Scribe E.—
Apsley Lodge, Kimberley Road, Claphain, S.W.
ORCHESTRAL LODGE, No. 3028.
Consecrated 1904.
Held at the Holborn Restaurant, High Holborn, London, W.O., on the fourth Thursday in March, May, September, and December.
Installation in March.
OFFICERS Robert Gray.. Frank James . . W. Silvester . . H. Van Deermerschen John Solomon Geo. F. Smith Alfred Ballin . . H. Goom
Thomas R. Busby . Charles Woodhouse. .
B. Jones
C. Appleford . . R. B. Whiteman
1912-13.
W.M.
T.P.M.
S.W.
J.W.
Treasurer.
Secretary.
S.D.
J.D.
D.C.
Organist.
1.6.
Steward.
Tyler.
PAST MASTERS.
WHEN W.M.
1904— 5
G.L. RANK.
P.Dep.G.
Organist
Thomas R. Busby . .
Albert E. Rowarth . . 1905— 6 W. A. Sutch . . . . 1906— 7 Frank Stewart . . 1907— 8 John H. Calcott. . . . 1908— 9 James Breeden . . . . 1909—10 Edward W. Whitmore . . 1910-11 —
Frank James .. .. 1911-12 -
Address of Secretary—
Seabourne,
Bonharn Road,
Brixton Hill, S.W.
ORCHESTRAL CHAPTER, No. 3028.
Consecrated 1906.
Held at the Holborn Restaurant, High Holborn, London, W.C., on the third Friday in April, June, and December.
Installation in April.
OFFICERS, 1912-13.
Robert Gray Z.
Hale G. Hambleton I.P.Z.
Edwin James H.
Frank James J.
George F. Smith Scribe E.
W. Silvester Scribe N.
D. Beardwell Treasurer.
C. Appleford P.S.
Montague Borwell 1st A.S.
Cecil Dorling 2nd A.S.
J. Whiteman Janitor.
WHEN
PAST PRINCIPALS. IN CHAIR. G.C.RANK.
Thomas R. Busby . . 1906— 7 P.G.O. J. Edward Hambleton 1907— 8 Albert E. Rowarth . . 1908— 9 Frank Stewart . . 1909—10 —
Edward Whitmore . . 1910—11 —
H. G. Hambleton . , 1911—12 Address of Scribe E.—
Seabourne,
Bonham Road,
Brixton Hill.
CHELSEA LODGE, No. 3098.
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
George H. Dyball . .
Walter F. K. Walton
Ernest T. R. Lester..
Albert E. Nicklin . .
Wolfe Simon Lyon,L.R., P A.G.P
Charles J. Doughty . .
W. H. Atlas
Albert Felino ..
Harry Bawn, P.M. . .
Walter H. Hitch, P.M.
Angelo A. Asher
Hal Chapter
Douglas White, Erne Chester
Edwin Brett.. J. H. McNaughton . .
1912-13.
W.M.
I.P.M.
S.W.
J.W.
Treasurer.
Secretary.
S.D.
J.D.
D.C.
Almoner.
Organist.
I.G.
Stewards. Tyler.
PAST MASTERS. James W. Mathews Albert Le Fre . . Theodore Schreiber Henry Coutts . . Walter H. Hitch Harry Bawn Walter F. K. Walton
WHEN
W.M. G.L. RANK.
1905— 6 P.A.G.D.C.
1906— 7
1907— 8
1908— 9 1909-10 1910—11 —
1911—12 —
Address of Secretary—
14, Rostrevor Road,
Fulham, S.W.
CHELSEA CHAPTER, No. 3098.
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, 1912-13,
Harry Bawn . . . M.E.Z.
W. H. Roberts (Atlas) .. . . H.
Charles J. Doughty J.
Walter H. Hitch, P.Z Scribe E.
A. T. Chamberlain Scribe N.
Wolfe Simon Lyon, P.A.G.D.C. . . Treasurer.
Monte Bayly P.S.
Frank Hardie 1st A.S.
A. W. Hanwell . , . . .. 2nd A.S.
George H. Dyball D.C.
H. E. Rayne, G. Cheeseman . . Stewards.
Erne Warsaw Organist.
John Gilbert . . Janitor.
WHEN IN CHAIR. G.C. RANK.
1907— 8 P.A.G.D.C.
1908— 9
1909—10 —
1910-11 —
1911—12
Address of Scribe E.—
14, Rostrevor Road,
Fulham, S.W.
PAST PRINCIPALS. James W. Mathews Albert Le Fre . . Herbert Chenery Henry Coutts .. Walter H. Hitch
BOHEMIAN LODGE, No. 3294.
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.
98
THE STAGE YEAR BOOK.
Bohemian Lodge, No. 3294 — Continued.
OFFICERS, 1912-13.
Dr. H. Keays Bentley .. .. W.M.
Henry Mathison I.P.M.
Will Jones S.W.
R. E. Goffin J.W.
W. J. Kerr, P.M., P.P.G.Treas. . . Treasurer.
A. J. Fishlock, P.P.A.G.D.C. . . Secretary.
George Mathison, P.M. 2294 . . S.D.
Andrew T. Wright, P.P.G.S. . . J.D.
A. J. Shelley-Thompson, P.P.G.W. D.C.
J. Taylor- Davies, P.P.G.S.W. . . Asst.D.C.
Frederick Bulmer Almoner.
J. F. Swift, P.M., P.P.G.O. . . Organist.
Ernest Wighton Asst. Secy.
Frank Weston I.G.
E. H. Godsland, Arthur Russell,
James Moie, J. F. Wood, A. N.
McLeod, George Prince. W. W.
Hook, F. A. Parker, W. Lund,
T. A. Williams, F. Parkinson,
James Mills and E. W. James. . Stewards.
John Scott, P.M., P.P.G.S.W. .. Tyler.
WHEN
PAST MASTERS. W.M. G.L. RANK. A. J. Shelley-Thomp- (P.P.G.W., son . . . . . . 1908- 9 I Cheshire.
. 1909—10
Cheshire. P.P.A.G.D.C.
H. R. Romer . .
W. S. Tafner . . . . 1910—11 Henry Mathison . . 1911—12
Address of Secretary—
" Inglewood,"
Belmont Drive,
Liverpool.
PROSCENIUM LODGE, No. 3,435.
Consecrated 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, 1912-13.
Charles J. Doughty W.M.
W. H. Roberts (Atlas) .. .. I.P.M.
Frank Hardie (appointed not in- vested) S.W.
Monte Bayly J.W.
Wolfe Simon Lyon, L., R.P.A.G.P. Treasurer.
George A. Keen Secretary.
Harry Bawn .' S.D.
John T. W. Grant J.D.
Albert Le Fre, P.M., L.R D.C.
Erne Warsaw Organist.
B;J. Whiteley I.G.
Gilbert Girard, Harry Bancroft,
Stanley Palmer, Chas. Norton.. Stewards.
J. H. McNaughton Tyler.
PAST MASTER. WHEN W.M.
Albert Le Fre 1910—11
W. H. Roberts (Atlas) . . . . 1911—12 Address of Secretary—
14, Rostrevor Road,
Fulham, S.W.
DRAMATIC MARK LODGE, No. 487
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 December.
Installation in December.
Dramatic Mark Lodge No. 487— Cant.
OFFICERS, 1912-13.
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James Powell |
W.M. |
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Chris Hilton . |
I.P.M. |
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J. H. Ryley Alfred Ellis |
S.W. J.W. |
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Ludwig Simon |
M O |
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Tom Clare |
s.o. |
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W. E. Holloway. . . . |
J.O. |
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Rev. C. E. L. Wright, Charles Cruikshanks, |
P.M.' P.M. |
Chaplain. Treasurer. |
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Clarence Sounes |
Reg. of M. |
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Will Sparks |
Secretary. |
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Douglas Gordon |
S.D. |
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W. H. Roberts |
J.D. |
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G. S. Beeching |
D.C. |
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A. H. Hunt |
I.G. |
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Frank Callingham and E. V. Rey- |
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nolds |
Stewards. |
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F. Banchini |
Tyler. |
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PAST MASTERS. |
G.L. RANK. |
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Harry Nicholls |
1895— 6 |
P.G.Std.B. |
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Rev. C. E. L. Wright |
1896- 1 |
P.G.C. |
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Charles Cruikshanks |
1897— 8 |
— |
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W. A. Tinney |
1898— 9 |
— |
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Harry Nicholls |
1899—1900 |
P.G.Std.B. |
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H. G. Danby .. |
1900— 1 |
— |
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W. J. Holloway |
1901— 2 |
— |
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Herbert Leonard |
1902— 3 |
— |
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Thomas Fraser |
1903— 4 |
P.G., Treasr. |
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E. H. Paterson |
1904— 5 |
— |
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The Rt. Hon. the Lor< |
1 ) |
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Athlumney |
[ 1905— 6 |
P.G.W. |
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A. G. Duck (D.M.) |
j |
— |
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Clarence T. Coggin . |
1906— 7 |
— |
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J. E. Hambleton |
1907— 8 |
— |
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G. A. Keen .. |
1908— 9 |
— |
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W. J. Keen . . |
1909.— 10 |
— |
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W. Hotten George . |
1910-11 |
— |
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Chris Hilton . . |
1911-12 |
— |
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Address of Secretary — |
32, Walbrook, E.G.
DRAMATIC LODGE NO. 487 OF ROYAL ARK MARINERS.
Consecrated 1901.
Held at the Mark Masons' Hall, Great Queen Street, London, on the second Thursday in the months of November and December in every year, and at such other periods as the W.C.N. for the time being shall appoint.
Installation in December.
OFFICERS, 1912-13.
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Chris Hilton |
.. C.N. |
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Clarence Sounes |
J. |
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W. H. Roberts |
. S. |
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Will Sparks |
Treasur |
er. |
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James Powell |
Scribe. |
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J. J. Pitcairn . . |
. S.D. |
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W. J. C. Nourse |
. J.D. |
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J. Barker |
. D.C. |
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A. E. Mallinson |
. G. |
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F. Banchini |
. W. |
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PAST COMMANDERS. |
WHEN IN CHAIR |
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Charles Cruikshanks . |
.. 1901— |
2 |
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Harry Nicholls . . Rev. C. E. L. Wright . |
.. 1902- . . 1903— |
3 4 |
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Herbert Leonard |
. 1904— |
5 |
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Thomas Fraser . . |
. . 1905— |
6 |
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. . 1906— |
7 |
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A. M. Scarff ! '. ! ! |
. . 1907— |
8 |
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Address of Scribe— |
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34, Essex Street, |
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Strand, W.C |
THE STAGE YEAR HOOK. 99
THEATRICAL ORGANISATIONS.
THE ACTORS' ASSOCIATION.
STEADY if slow progress has marked the work of the Actors' Association towards building up the position to which the representative body of actors should attain. If the income be small and the expenses be heavy the Assp- •ciation has the satisfaction of having emerged from the insolvent state in which it was a few years ago. The debentures, which at one time stood at £800, and were always a millstone round the neck of the Association, have been reduced, and the liability amounts to something under £200, while a growing membership roll brings increased subscriptions. At the annual general meeting, held on March 19 at His Majesty's, the accounts showed that during 1911 the income had been £827 18s. 4d. and the expenses £779 17s. 6d. The work of the Council of the past year should go well toward gaining the confidence of actors generally, and bring about increased support. The Standard Contract has been kept well before managers, and its claims have been duly pressed, with some success so far as the Society of West End Theatre Managers are concerned, as from this body a promise was extracted that a deputation would be received to discuss the points. In February the Council placed on record their support of a suggestion made by Sir George Alexander at a London County Council meeting advocating a municipal theatre. The Council appeared somewhat undecided for a time on the question of the Censorship. Mr. Bendall being appointed as assistant examiner of plays, the Council passed a resolution to the effect that the Council learnt with regret that a successor to Mr. Redford had been appointed as Examiner of Plays without apparently any modification in the powers entrusted to that office. The Council had sincerely hoped that the resignation of the Lord Chamberlain, announced at the moment when the office of Examiner of Plays was vacant, would lead to some definite action towards carrying out the recommendations of the Joint Committee. A copy of the resolution was sent to the Prime Minister.
At their next weekly meeting the Council apparently modified views they had expressed in the foregoing resolution by passing one to the effect ' ' That in view of any possible misapprehension they desired io place on record their unswerving adherence to the retention of the office of Censorship of Plays."
Members of the Association were kept well informed on the rather intricate workings of the National Insurance Act, and in addition to issuing a clearly drawn statement in pamphlet form, a mass meeting was called and held at His Majesty's, where the working of the Act so far as it affected actors was explained farther by one of the Commissioners. At another mass meeting held in September at His Majesty's, the Association naturally showed a strong disapproval of opening theatres and music halls on Sunday, without entering upon the question of the privileges in this respect held by the picture houses.
The annual dinner held at the Criterion on Sunday, December 8, was well attended. Mr. Cyril Maude was in the chair. At the time the book went to press the Council were making arrangements for a benefit matinfe to be held early in 1913, for which they have the promised active help of the President of the Associa- tion, Sir Herbert Tree.
The President of the Actors' Association is Sir Herbert Tree"; the Vice-Presideiits are Sir George Alexander, Mr. Martin Harvey, Mr. H. B. Irving, and Mr. F. R. Benson.
The Council are as follows : — Mr. Frederick Annerley, Mr. F. J. Arlton, Miss Phyllis Broughton, Miss Rose Cazalet, Mr. C. Haydeii Coffin, Mr. C. F. Ceilings, Mr. C. A. Collins, Mr. Arthur Dennis, Mr. Clarence Derwent, Mr. William Devereux, Mr. W. G. Fay, Mr. James Gelderd, Mr. Frederick James, Miss Laura Leycester, Mr. Murri Moncrieff, Mr. John Mortimer, Mr. Frederick Morland, Mr. Henry Pettitt, Mr. Tom A. Shale, Miss Vita Spencer, Miss Lucy Sibley, Mr. Adnam Sprange, !Mr. Wyn Weaver, Mr. Chris Walker, and Mr. Ben Webster. Secretary, Mr. Duncan Young. Offices, 32, Regent Street, Piccadilly" Circus, W. Telephone Gerrard 1753.
100
THE STAGE YEAR BOOK.
THE THEATRICAL MANAGERS' ASSOCIATION.
The Theatrical Managers' Association has 90 members, who represent about 250 theatres.
President : Mr. Cyril Maude. Vice- Presidents ;
Mr. J. B. Mulholl&nd. Mr. J. F. Elliston.
The Council, which is elected annually, is divided into four sections, as follows (1912) :—
LONDON.
Mr. Arthur Bourchier. Mr. Tom B. Davis. Mr. Chas. Frohman. Mr. P. M. Faraday. Mr. H. B. Irving.
Mr. W. B. ^edfern. Mr. Arthur Bourchier.
Mr. Cyril Maude. Mr. Walter Melville. Sir Herbert Tree. Mr. Fred Terry.
Mr. H. G. Dudley Bennett. Mr. Wentworth Croke. Mr. Fred Fredericks.
Mr. Milton Bode. Mr. J. W. Bough con. Mr. Sidney Cooper. Mr. Otto Culling. Mr. E. J. Domville. Mr. E. Dottridge. Mr. J. F. Elliston. Mr. Charles Elphinstone. Mr. Graham Falcon. Mr. John Hart.
SUBURBAN.
PROVINCIAL.
Mr. J. B. Mulholland. Mr. Fredk. Melville . Mr. Ernest Sfeervens.
Mr. W. W. Kelly. Mr. Egbert Lewis. Mr. W. B. Eedfern. Mr. E. Bedford. Mr. H. W. Kowland. Mr. T. W. Rowe. Mr. W. Payne Seddon. Mr. F. W. Wyndham. Mr. Fred W. Warden.
TOURING.
Mr. Frank B. O'Neill. | Mr. T. C. Wray.
The annual general meeting takes place the last Tuesday in January.
At their autumn meeting, when Mr. Cyril Maude took the chair at a general meeting for the first time since his election as president, the association adopted a resolution of the council to the effect that: — "Our members be recommended in al cases in which performances are given at their theatres for the benefit of any object not connected with the theatrical profession, that 10 per cent, of the gross takings of such performances be collected by the manager and paid to theatrical charities."
THE SOCIETY OF WEST END THEATRE MANAGERS.
The Society of West End Theatre Managers consists of twenty-two members, including two hori. members, Sir Squire Bancroft and Sir John Hare.
President, Sir Herbert Tree ; Vice-Presidents, Sir Charles Wyndham ; Sir George Alexander, and Mr. George Edwardes : Members, Sir George Alexander, Sir Squire Bancroft, Mr. Arthur Bourohier, Mr. Arthur Ghudledg-h, Mr. Arthur Collins, Mr. Robert Courtneidge, Mr. Frank Curzon, Mr. Tom B. Davis, Mr. George Edwardes, Mr. Gharles Frohman, Mr. P. M. Faraday, Mir. J. M. Gattd, Mr. William Greet, Sir John Hare, Mr. Frederick Harrison, .Mr. Gerald du Maurier, Sir Herbert Tree, Mr. Herbert Trench, Mr. J. E. Vedrenne, Mr. Lewis Waller, and Sir Charles Wyndham.
Meetings 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, Drury Lane, Duke of York's, Gaiety, Garrick, Globe, Hay- market, His Majesty's, Lyric, New, Prince of Wales's, Royalty, St. James's, Shaftes- bury, Vaudeville, and Wyndham' s.
Managing Director and Secretary, Mr. J. E. Vedrenne, 74, Dean Street, Shafttee- bury Avenue, W. Telephone: Gerrard 93.
THE STAGE YEAR BOOK. 101
THE THEATRES ALLIANCE.
This Association was formed in the year 1894, under the name of the Suburban Managers' Association. The membership was originally limited to suburban managers, but, it being found desirable to extend the sphere of usefulness of the Association, the scope was enlarged by making eligible for membership all pro- prietors, lessees, licensees, directors, and responsible managers of theatres receiving touring companies. The name was changed to the present one in 1908.
The objects of the Association are, inter alia, 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 and 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. S. Barnard ; Vice-President, Mr. F. W. Carpenter; Hon. Treasurer, Mr. W. Payne Seddon ; Hon. Auditors, Mr. J. L. S. Moss, and Mr. Bannister Howard ; Hon. Secretary, Mr. J. Moverley Sharp Criterion Chambers, Jermyn 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.
TOURING MANAGERS' ASSOCIATION, LIMITED.
The Association 'has one hundred and twenty menibeirs. The Committee, which is elected annually, consists of twenty-seven members. The present Com- mittee i* as follows: — President, Mr. Wentworth Croke; Chairman, Mr. M. V. Leveaux; Vice-President, Mr. E. Graham Falcon; Honorary Treasurer, Mr. J. Bannister Howard ; Honorary Solicitor, Mr. W. Muskerry Tilson, 26, Southampton Street, W.C. ; Messrs. Cecil Barth, Eugene Bertram, Arthur Bertram, J. A. Campbell, Oswald Cray, William Giffard, W. H. Glaze, Charles Harrington, J. Forbes Knowles, W. W. Kelly, G. B. Lambert, H. A. Langlois, Samuel Livesey; Lauderdale Maitland, Eobert Macdonald, Ernest E. Norris, Leslie Owen, Alfred Paumier, G. Bry don -Phillips, E. Taylor Platt, G. M. Polini, Herbert Ealland, W. Payne Seddon, Brandon Thomas, Sir H. Beerbohm Tree, John Tully, G. Carlton Wallace. Secretary, Mr. M. Martin.
The Association made some attempt during the year, without success, however, to approach the Railway Companies in order to obtain a reduction in the new truck rates, which came into force in July.
TRAVELLING THEATRE MANAGERS' ASSOCIATION.
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 May it had but £239 12s. Id.— 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 course, does not extend beyond its membership. The officers for the current year are : — Mr. A. E; Drinkwater, chairman; Mr. Ebley, vice-chairman; Messrs. J. Johnson, E. Ebley ,'W. Haggar, and F. D'Albert, advisory committee; and Mr; H. Johnson secretary ; Messrs. Plant and Pitt, auditors. Its office is at 219, Folkestone Road.
THE SOCIETY OF AUTHORS.
Dramatists have no^eeparate 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 about 250; comprising nearly all the best-known authors. The Drama-
102 THE STAGE YEAR BOOK.
tic Sub-Committee has for its Chairman Mr. R. C. Carton, and is composed of Mr. Rudolf Besier, Mr. C. Haddon Chambers, Mr. Anstey Guthrie, Miss Cicely Hamilton, Mr. Jerome K. Jerome, Mr. W. J. Locke, Mr. Justin Huntly McCarthy, Mr. Cecil Raleigh, Mr. G. Bernard Shaw/ Miss E. M. Symonds, and Mr. James T. Tanner.
The questions dealt with by the Dramatic Sub-Committee during the past year have been many and varied, comprising such important issues to dramatic authors as Colonial Copyright, the Sketch Question, the Managerial Treaty, Kinematograph Film Contracts, Travelling Theatre Fees, and Foreign Agents. The meetings and subjects discussed are chronicled fully, from month to month, in "The Author."
On the recommendation of the Dramatic Sub-Committee many cases have been carried through by the Society on behalf of its dramatist members, including claims against travelling managers for fees due to dramatists, actions for breach of agreements, and infringement of copyright cases. Under the last-named head- ing the Society has recovered a large sum from an American newspaper trust for unauthorised novelisation of a member's drama; in India it has been endeavouring, despite the difficulties of following travelling companies, to put a stop to the piracy of the works of English dramatists, and in other parts of the world has taken action to protect dramatic property from the pirates. To this end it hopes to get strong penal clauses incorporated in the pending Colonial Copyright Laws, as it has found the civil processes at present available sadly inadequate for the protec- tion of the owner of dramatic property. Smaller matters, such as the detention of plays by managers and other theatrical people, it has also taken in hand. While in some cases it has not been able to recover the detained MSS., in others it has been successful, the scripts having been returned to the authors.
Secretary Mr. G. Herbert Thring; address, 39, Old Queen Street, Storey's Gate; S.W.
ACTORS' BENEVOLENT FUND.
The object of the Actors' Benevolent Fund, which was established in 1882, is bo help, by allowances, gifte, and loans, old or distressed actors and actresses, managers, stage managers, and acting-managers, and their wives and orphans*
The President is Sir Charles Wyndham. The Vice-Presidents are Sir Herbert Beer- bo hm Tree, Sir George Alexander, and MTS. D'Oyfly Carte. Mir. Harry Nichols is Hon. Treasurer, and Sir Charles Wyndham, and Sir Herbert Beerbohm Tree are the Hon. Trustees.
Tlhe members of t*he Executive Committee are as follows : — Mr. Morris Abrahams. Mr. A. Holmes -Gore. Mr. M. R. Mprand.
Mr. J. D. Beveridge. Mr. J. Bannister Howard. Mr. Harry Nicholls.
Mr. E. H. Bull. Mr. S. Major Jones. Mr. Lionel Rignold.
Mr. Robert Courtneidge. Mr. Cecil King. Mr. Algernon Syms.
Mr. Charles Cruikshanks. Mr. Cyril Maude. Mr. A. B. Tapping.
Mr. A. E. George. Mr. Akerman May. Mr. Arthur Williams.
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 December 15, at the Hotel Metropole, with the Duke of Teck in the chair, when a record subscription of over £3,000 was obtained.
The annual general meeting was held at His Majesty's on February 28, with Sir Herbert Tree in the chair. The accounts showed receipts of £5,326, while the expenditure had been £4,884. 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.
THE ACTORS' ORPHANAGE FUND,
This Fund, founded in 1896 by Mrs. C. L. Carson, has for patrons the King and Queen and the Princess Royal. Mr. Cyril Maude is the President, having been elected to that position on the death of the late Sir Henry Irving, the Fund's firsl President. Vice-Presidents are Miss Carlotta Addison, Lady Bancroft, Mrs. C. L. Carson, Miss Winifred Emery, Miss Ellen Terry, Lady Tree" Sir George Alexander.
THE STAGE YEAR BOOK. 103
.iiitl Sir Herbert Beerbohm Tree. Trustees are Mr. Arthur Bourchier, 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.
Kxecutive Committee : Miss Ada Blanche, Mr. Arthur Bourchier, Miss Lilian Braithwaite, Rev. Arthur Brinkman, Miss Phyllis Broughton, Mr. Robert Courtneidge, Mr. Charles Cruikshsmks, Mr. Kenneth Douglas, Mr. Dennis Eadie, Miss Sydney Fair- brother, Miss Vane Featherston, Mr. George Grossmith, Mr. Edmund Gwenn, Miss May \Yurley, Mr. D. Lyii Harding, Miss Constance Hyem, Miss Marie Lohr, Mr. Dawson Milward, Mr. Harry Nicholls, Mr. Guy Standing, Miss Hilda Trevelyn, Miss Irene Vanbrugh, Mr. Arthur Wontner, and Mrs. Fred Wright.
The aim of the Fund is to board, clothe, and educate destitute children of
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. (6) 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. At the end of 1912 the Fund was supporting fifty children, ten of whom were admitted during 1912.
ROYAL GENERAL THEATRICAL FUND.
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 to actors and actresses, singers, dancers, acting managers, stage managers, treasurens, chorus singers, scenic artists, and prompfters. Any member who has regularly contributed ito its funds for the term of seven years, at any time after- wards, on becoming incapacitated 'by accident or infirmity from exercising Ihds or her duties, Jias a claim on the Fund as df Hue or s'he >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 funds for funeral expenses, arrears of subscription, if any, being first deducted if the Directors tlbink fit. President: Sir George Alexander, J.P.j L.C.C. ; Trustees : Mr. Alfred de Eothschild, C.V.O. Sir Squire Bancroft, and Sir George Alexander, J.P., L.C.C. ; 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, H. B. Irving, Alfred Jenner, Herbert Lyndon, M. B. Morand, Lionel Rignold, Charles Bock, Bassett Boe, F. Percival Stevens, Hubert Willis, and H. Saxe Wyndham. Secretary : Mr. Charles Cruikshanks, Savoy House, 115-116, Strand, W.C. Office hours, Tuesdays and Fridays, 11 to 4.
THEATRICAL LADIES' GUILD.
Founder, Mrs. C. L. Carson ; President, Miss Fanny Brough ; Vice-Presidents, Mrs. Edward Compton, Miss Carlotta Addison, Miss Compton, and Miss May Whitty ; Members of the Executive Committee, Miss Lena Ashwell, Lady Burnand, Mrs. Alfred Bishop, Miss Phyllis Broughton, Miss Lilian Braithwaite, Miss Ada Blanche, Mrs. John Douglass, Miss Vane Featherston, Miss Helen Ferrers, Mrs. Synge Hutchinson, Mrs. Ernest Hendrie, Miss Sophie Harriss, Miss Clara Jecks, Miss Lindsay Jardine, Miss Eva Moore, Miss Wynne Matthison, Miss Alma Murray, Mrs. Baleigh, Miss Louise Stopford, Miss Irene Vanbrugh, Mrs. Fred Wright, Miss Frances Wetherall, and Miss May Warley.
Every member to pay not less than Is. per year, and to contribute Is. or more towards buying material. The Guild 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 provide* second-hand clothing for stage purposes and for private wear to the poorer members of the profession. Ladies not connected with the theatrical profession
7
104 THE STAGE YEAR BOOK.
can be elected as honorary 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 functions in connection with the Guild ; but they have no voting powers.
The Guild is allied to the Needde and Thimble Guild, Edinburgh, and the Stage Needlework Guild, whddh annually contribute clothing and sums of money.
Bee meetings every Friday, 3 p.m. to 5 p.m.
During the year a performance of "Pitch — and Soap," by E. Lyall Swete, was given at the Haymarket and realised £128 odd, in aid of the Guild, and a Tea Party was given at the Albert Hall, bringing in over £500. The Annual General Meeting was held on December 6 at the St. James's, with Miss Fanny Brough in the chair and the Duchess of Sutherland as the guest. The accounts made up to the end of July showed a balance in hand of £2,272 16s. 6d.
Secretary, Miss Hammond. Offices : 3, Bayley Street, Bloomsbury, London, W.C.
THE STAGE NEEDLEWORK GUILD.
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.).
The number of garments contributed between 1895 to the end of 1911 was 47,364. An exhibition was held on December 3 at Grosvenor House, Park Lane, at which Mrs. Kendal presided.
Address, Miss Louise Stopford, 19, Belgrave Road, London, S.W.
ACTORS' DAY.
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 manager, touring manager, business or acting-manager, or stage manager, are eligible. The Fund helps no one who is not on the register. All not playing on Actors' Day, but who have, in previous years, when playing, contributed their night's salary, will remain on the register, provided they notify the Committee of the fact. Those on the register may apply for benefit. The Committee may authorise grants or loans to contributors, in case of sickness or urgent need.
Trustees : Mr. Robert Courtneidge, Sir George Lewis and Mr. Edmund Gwenn.
The Advisory Board stands as follows : —
Chairman, Mr. Henry Ainley. Deputy Chairman, Mr. Sydney Valentine. Mr. Story Gofton, Mr. E. M. Robson, Mr. C. Seymour, Mr. Norman V. 'Norman, Mr. Blake Adams, Mr. Cecil Earth, Mr. C. Hayden Coffin, Mr. J. Forbes Robertson. Mr. Laurence Irving, Mr. Walter Maxwell, Mr. H. A. Saintsbury, Mr. E. Lyall Swete, Mr. Brandon Thomas.
Secretary, Mr. Clarence Derwent, Dudley House, 37, Southampton Street, Strand, London, W.C.
ACTORS' CHURCH UNION.
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 STAGE YEAR r.OOK. 105
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 illnesa or other
^ency 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 need- 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 church.
In London the Union in many instances, through its chaplains, has been able to
••orate with the Actors' Benevolent Fund, the Music Hall Ladies' Guild and other tlieatrical^charities in looking after cases of distress.
One special feature of the work of the A.C.U. is the lodging-house register, con- taining addresses in the various towns 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, tho 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. Bishop Boyd Carpenter, Right Rev. the Lord Bishop of Glasgow, Right Rev. the Lord Bishop of Argyll and the lates, Bdgftut Itev. the Loird Bishop of South- ampton, Right Rev. the .Lord Bishop of Burn/ley, Briglht Riev. tine Lord Bishop of Hull, Rev. Prebendary Penne father, Sir Charles Wyindiharn , Sir Herbert Tree, Mi. Robert Arthur, Mr. Arthur Bourchier, Mr. Edward Compton, Mr. Ben Greet, Mr. Martin Harvey, Mr. H. B. Irving, Mr. Charles Manners, Mr. Cyril Maude; Committee, Rev. W. Alington, Rev. J. Stephen Barrass, Rev. Wm. Cree, Rev. H. F. Davidson, Rev. Wynn Healey, Rev. A. D. V. Magee, Rev. Thomas Varney, Mrs. H. R. Gamble, Mrs. Donald Hole, Miss C. Chambers, Miss E. G. Clarke, Mr. G. Mimro 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 Hallard, Mr. Fewlass Llewellyn, Miss Eva Moore, Mr. Chris Walker, Mir. Duncan Young; Organising Secretary, Kiev. Donald Hole, 14, Milton Road, Hdgthigate, N. ; Hon. Treasurer, Mr. G. Munro .Miilitar, Barton St. Mary, East Grinstead, Sussex; Hon. Lady Correspondent and Visitor, Md,ss Clarke, 13, Warwick Road, Earl's Court, S.W.
The A.C.U. Annual Directory (price 7£d. post free) can be obtained from the Secretary.
CATHOLIC STAGE GUILD.
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 Catholic 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 Una Gilbert, Miss Ethel Rainforth, Miss Ellaline Terriss M.-ssrs. J. J. Bartlett, C. H. E. Brookfield, Charles Burdon, Wai Kent, Arthur Linay] Hyland J. O'Shea, J. P. Turnbull, J. E. Vedrenne, J. Ansdell Wilson, J. K. Woods; Rt. Rev. Monsignor Brown, V.G., Rev. Roderick Grant, Rev. Thomas Kelly, S.J.' Rev. B. W. Kelly, Mrs. Leslie Stuart, Miss Edith Anton-Laing, Miss Bessie Army tage! 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 Mozart, Harry Paulton ; Hon. Secretary, Miss Ethel Stl Barbe, 108, Grange Road, S.E. : Hon. Assistant Secretary, Mr. Richard B. Mason, 88, Walton Street, Knightsbridge ; Hon. Treasurer, Rev. L. N. Herlihv The Presbytery, Dockhead, S.E.
106 THE STAGE YEAR BOOK.
ACTRESSES' FRANCHISE LEAGUE.
This League was founded by Mrs. Forbes-Kobertson, Miss Winifred Mayo, Miss Sime Seruya, and Miss Adeline Bourne. The League now numbers about 700 members. Mrs. Forbes-Robertson is the President of the League, and the Vice- Presidents are Madame Marie Brema, Miss Lilian Braithwaite, Mrs. Langtry, Miss Decima Moore, Miss Eva Moore, Miss Lilian McCarthy, Mrs. Frederick Mouillot, Miss Elizabeth Robins, Mrs. Madeleine Lucette Ry ley, Miss Beatrice Forbes-Robertson, Miss Julie Opp, Miss Irene Vanbrugh, Miss Violet Vanbrugh, Mrs. E. S. Willard, and Mrs. Theodore Wright. The Executive Committee are : — Miss Inez Bensusan, Mrs. Saba Raleigh, Mrs. Veasey, Miss Winifred Mayo, Mrs. Arncliffe Bennett, Miss Eva Moore, Mrs. Madeleine Lucette Ryley, Miss Hilda Wautoii, Miss May Whitty (Mrs. Ben Webster), Miss Adeline Bourne, Miss Janette Steer, Miss Sydney Keith, Mrs. J. B. Fagan, Miss Decima Moore. Among the members are : — Miss Ellen, Terry, Miss Fanny B rough, and Miss Compton. The Hon. Secretary is Miss Adeline Bourne, and the offices are at 2, Robert Street, Adelphi, W.C., Telephone, City, 1214. The Hon. Treasurer is Mrs. Carl Ley el ; the Hon. Barrister, Mr. M. Campbell- Johnston, 2, Paper Buildings, Temple, E.G. ; and the Hon, Solicitor, Mr. A. C. T. Veasey, 8, Queen Street, E.G. Green and Pink are the colours of the League.
The League held a matinee at the Lyceum in November. In December it addressed a memorial to the Government asking to be allowed to stand before the Bar of the House and lay before the Commons reasons for claiming the vote.
PLAY PRODUCING SOCIETIES,
THE INCORPORATED STAGE SOCIETY.
This Society was founded in 1899 and incorporated in 1904. Council of Manage- ment: Dr. Antonio Cippico, the Hon. Everard Feilding, Sir Almeric W. Fitzroy, K.C.B., K.C.V.O., Mrs. Gordon- Stables, Mr. H. A. Hertz, Mr. E. J. Horniman, Mr. W. S. Kennedy, Mr. W. Lee Mathews, Mr. T. Sturge 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 (Hon. Treasurer), Mr. Charles E. Wheeler, Mr. Frederick Whelen, Mr. Norman Wilkinson, Mr. Ernest E. S. Williams, Mr. Allan Wade, Secretary. Address, 36, Southampton Street, Strand, W.C. Telephone : Gerrard 6907.
The year's productions of this Society were as follows : —
February 4, " Travellers," play in three acts, by Norman McKeown, New Princes ; March 10, " The Fool and the Wise Man," play in one act, by Hermann Bahr ; and "Creditors/' tragi-comedy in one act, by August Strindberg, New Princes; May 5, "The Bias of the World," puppet play in three scenes, by Jacinto Benavente, New Princes; June 16, "Mary Edwards," anachronism in one act, by P. R. Bennett; and " Hindle Wakes," play in three acts, by Stanley Houghton, Aldwych ; December 9, " The Waldies," by G. D. Hamlen.
THE PLAY ACTORS.
This Society was formed in June, 1907, amongst several of the more active members of the Actors' Association. The objects of The Play Actors are the pro- duction of : — a. Original works by English authors ; b. Shakespearean plays and other classic works ; c. Translations of well-known foreign works.
From these it will be seen that the objects are in a degree similar to those of other play-producing societies, such as the Incorporated Stage Society, but they go further than these, for in their working details they are so arranged as to bring indirect benefit to the Actors' Association. The membership consists of two degrees — acting membership and ordinary or associate. 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 as follows : — £2 2s., entitling the member to two seats (stalls) throughout the season; £1 Is., which carries one stall throughout the season, or two seats in the dress
THE STAGE YEAR BOOK. 107
circle and upper circle alternately; and 12s. 6d., which carries one seat in the dress circle and upper circle alternately.
During the year 1912 the Play Actors produced the following :— January 21, "Ferdinand," by David Dainow, Court; "The Painter and the Millionaire," by H. M. Paull, Court; March 10, "The Demagogue," by Norman Mac-Owan Court; March 31, "December 13," by Norman Oliver Cecilia Brookes, Court ; "The Burden," by A. Herbage Edwards, Court ; May 19, " The Autocrat of the Coffee Stall," "Innocent and Annabel," "The Dumb and the Blind," and " Muddle Annie," by Harold Cliapin, Court ; November 10, " Brand " by Ibsen, Court. Council : Mr. Fewlass Llewellyn (Chairman), Mr. H. K. Ayliff, Miss Inez Bensusan, Mr. Herbert Bunston, Mr. Harold Chapin, Mr. C. F. Collings, Mr. Clarence Derwent, Mr. W. G. Fay, Mr. A. M. Heathcote, Miss Agnes Imlay, Miss Winifred Mayo, Mr. Reginald Rivington, Mr. H. A. Saintsbury, Mr. Hugh Tabberer, Mr. Jackson Wilcox ; Hon. Treasurer, Mr. A. M. Heathcote, Lower Farringdon, Alton, Hants ; Secretary, Miss Ruth Parrott, Court Theatre, Sloane Square, S.W.
THE ENGLISH PLAY SOCIETY.
Play- Examiners and Producers :— Mr. W. L. Courtney, Mr. Arthur Hands, Mr. Tom Heslewood, Mr. T. Arthur Jones, Mr. Frank Lacy, Mr. Fred Lewis, Mr. Leon M. Lion, Mr. Eric Mayne,, Mr. Lyddell Sawyer, Mr. Sydney Valentine. Treasurer : Miss J. A. Burton. Manager : Mr. Lyddell Sawyer, 19, Sloane Street, London, S.W.
No performances were given during the year 1912.
THE ONCOMERS' SOCIETY.
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. Performances given in 1912 were as follows : —
June 13, "A Bit of Blue Ribbon," a comedy in one act, by E. M. Thorpe ; "The Matchbreaker," a comedy in three acts, by Christopher Landeman, Little Theatre ; June 27, "A Man's Wife," a play in one act, by Kathlyii Rhodes ; " The Right to Die," a drama in one act, by Riccordo Stephens. " The Prime Minister," a play in one act, by Olive Lethbridge Baiibury ; " An Unorthodox Bishop," a comedy in one act, by E. M. Thorpe.
Director (during Miss Mara Maltby's absence abroad), H. F. Maltby, 32, Regent Street, W.
THE DRAMA SOCIETY.
This Society, founded in 1911, produces plays at special matinee performances, for which subscription tickets (Price 3s. 6d. each) may be obtained from Secretary, The Drama Society, 5, Summerlands Mansions, Muswell Hill, N. Committee : — President, Mr. Rathmell Wilson ; Miss Muriel Hutchinson, Miss Isobel Barr.
In 1912 the Society presented the following plays : — " The Roman Road," adapted from a story by Kenneth Grahame, by Ella Erskine, (first production in London) ; "The Pierrot of the Minute," by Ernest Dowson ; "La Mort de Tintagiles," by Maurice Maeterlinck, translated into English by Alfred Sutro, (in this play Miss Edyth Olive appeared as Ygraine) ; "Orestes," by Richard Le Gallienne, (first production, Miss Edyth Olive appeared as Clytemnestra) ; "The Experimentalists," by Rathmell Wilson and Muriel Hutchinson, (first production) ; Contrasts," by G". A. Redford, (first production); " Hedda Gabler," by Henrik Ibsen. (Translated into English by Edmund Gosse.)
THE MORALITY PLAY SOCIETY.
President: H.H. Princess Marie Louise of Schleswig-Holstein. Committee: The Earl and Countess Beauchamp, The Countess Grosvenor, The Earl of Plymouth, The Earl of Portsmouth, The Earl of Lyttorf, 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. R. Benson, Mr. Acton Bond, Mr. Arthur Bourchier, Mrs. W. K. Clifford,
108 THE STAGE YEAR BOOK.
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 Riley, Mr. Cecil Sharp, Miss Ellen Terry, Miss Marion Terry, Mrs. Ernest Waggett. Hon. Treasurer: Mr. F. E. Blaiklock. Hon. Director of Plays : Mrs. Percy Dearmer. Hon. Consulting Solicitor: Mr. Harvey Clifton. Hon. Secretary : Miss Maud Bartlett, 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 Soul of the World," first given on December 1, 1911, at the Great Hall of the University of London, Imperial Institute Buildings, South Kensington, was its first production. This was played for five matinees. The music was composed by Mr. Martin Shaw. Miss Lilian Braithwaite, Miss Henrietta Watson, Mr. H. A. Saintsbury, Mr. James Hearn, Miss Helen Haye, and Miss Edyth Latimer were among those who took part. " The Soul of the World " was also presented in Llanfairfechan, North Wales, and at Bradford.
In the spring of 1912 the Morality Play Society presented a triple bill at the Court — " The Travelling Man," by Lady Gregory, " The Hour Glass," by Mr. W. B. Yeats, and "Epiphany," by the Hon. and Rev. J. G. Adderley. The following actors and actresses gave their assistance for these plays : — in " The Travelling Man." Mr. Arthur Wontner, Miss Edyth Latimer, Miss Dorothy Manville ; in "The Hour Glass," Mr. WT. G. Fay and Mr. Guy Rathbone ; in "Epiphany," Mr. Richard Neville, Mr. Stuart Musgrove, Mr. Bertram Forsyth, Miss Lucy Wilson, Miss Helen Haye, Miss Athene Seyler.
There have been several dramatic readings given in connection with the Society by Mrs. Percy Dearmer. Miss Adeline Bourne gave a reading of " Medea," and Miss E. Walsh Hall of "Electra."
On November 29 " The Dreamer, a poetic drama of Joseph in Egypt," by Mrs. Percy Dearmer, was given for a run of eight performances at the King's Hall, King Street, Covent Garden. The music by Mr. Martin Shaw. In this play Mr. Harcourt Williams, Mr. Otho Stuart, Mr. Acton Bond, Miss Sybil Carlisle, Mrs.' F. R. Benson, and Miss Olga Ward appeared.
The Society hope to produce in 1913 another triple bill in the spring — " Cophetua," by John Drinkwater, "Dame Juliana's Window," by the Hon. Mrs. Alfred Lyttelton, and " The Marriage of the Soul," by Clifford Bax.
THE GERMAN THEATRE COMPANY. (Deutsche Theatre Gesellschaft.)
Was founded in January, 1908, for the production of plays in German, in private or in public. Founder and Director, Mr. Gerald Weiss ; Secretary, Mr. Joseph Frublmg. Office: 58, Finsbury Pavement, London, E.G. Membership, acting or non-acting. No liability attaches to non-acting members. Acting members to be either professionals or well-trained amateurs. Producers of plays : Mr. Gerald Weiss and Miss Lena Wirth. Best German authors are chosen, but also works from well-known authors of other nationality than German are presented in German. Also original works produced. MSS. to be sent to the Secretary. One of the main objects of the Society is to give English people an opportunity of getting acquainted with good German works in the original language. The following plays were presented during 1912 : —
February 3, " Renaissance." Comedy in 3 acts by Schoenthan and Koppel Ellfeld, at Clavier Hall ; March 9, " Liebelei " (Light o' Love). Play in 3 acts by Schnitzler, at Clavier Hall; April 20, "Alt Heidelberg" by Meyer-Foerster. Play in 5 acts. Matinee and Evening, at Clavier Hall ; June 8, " Die Haubenlerche." Play in 4 acts by E. v. Wildenbruch, at Clavier Hall; June 23, "Antje." Play in 1 act, by Bruno Koehler, at The Little ; October 12, " Komtesse Guckerl." Comedy in 3 acts, by Schoenthan and Ellfeld, at The Cosmopolis Theatre; October 27, Triple Bill, " Jephtha's Tochter " by Halm. Comedy in 1 act. " Ein ungeschliffener Diamaiit." Farce in 1 act, by Bergen. "Antje." Play in 1 act, by Koehler, at The Cosmopolis Theatre; November 16, "Nora" (A Doll's House), by Ibsen, at The Cosmopolis Theatre ;. November 28, " Liebelei." Repeated, at the Cosmopolis Theatre ; December 7, "Nora." Repeated, Matinee and Evening, at the Cosmopolis Theatre; December 14, " Alt Heidelberg." Repeated at the Cosmopolis Theatre.
THE STAGE YEAR BOOK. 109
ELIZABETHAN STAGE SOCIETY.
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.
The works given during 1912 were: — "Jacob and Esau," a sixteenth century interlude, and°Kuripides's play " Alcestis," at the Little, for a week in January; " Sakuntala," Kalidasa's Indian play, at Cambridge, under the auspices of the Cambridge Summer Meeting, for two 'performances on August 1 ; Shakespeare's " Troilus and Cressida " for three performances at the King's Hall, Covent Garden, on December 10, 15, and 18.
The " Jacob and Esau " was a revival from the previous April, and the " Alcestis " a continuation of performances given at the London University in December of 1911.
A dinner was given in Mr. Poel's honour at the Trocadero Restaurant on Sunday, December 1, and was attended by many people prominent in artistic circles.
THE IBSEN CLUB.
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. During the year 1912, the Club gave performances, readings and lectures as follows: — January 28, "The Pretenders," a reading, the Ibsen Studio; February 28, lecture, "Ibsen, the Man," by C. A. Arfwedson, the Ibsen Studio; March 17, "Mary Magdalene," by Maurice Maeterlinck, Rehearsal Theatre. Maiden Lane ; May 30, " The Hero's Mound," scenes from " Peer Gynt," and last act of " A Doll's House," Clavier Hall, Hanover Square; October 27, three scenes from " The Master Builder," short paper on " Ibsen and his outlook on Women," by C. A. Arfwedson, the Ibsen Studio; December 8, two scenes from "Little Eyolf," short paper on "Ibsen and Fairy Lore," by C. A. Arfwedson, the Ibsen Studio.
THE NEW PLAYERS.
President, Major-General Sir Alfred Turner, K.C.B., R.A. ; Executive Committee, Mrs. Drew Anderson, Miss Adeline Bourne, Mr. Reginald Bach, A. W. Evans, Mrs. Sydney Pauling, Mrs. A. C. T. Veasey, Mrs. Crawshay Williams ; Hon. Secretary, Mrs. Gladys Mendl, 2, Hanover Terrace, Regents Park, N.W. ; Hon. Treasurer, Dr. John Biermacki, Plaistow Hospital, E.
The productions of 1912 were the ''Medea" of Euripides at the Kingsway on February 5, and Mr. Israel ZangwilPs " The Next Religion " at the London Pavilion on April 18.
WOMEN WRITERS' SUFFRAGE LEAGUE.
The object of the Women Writers' Suffrage League 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, financial year ending December.
President : Mrs. Flora Annie Steel. Vice- Presidents : Madame Sarah Grand, Miss Beatrice Harraden, 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: Miss Cicely Hamilton, Miss Beatrice Harraden, Mrs. C. Roma'nne- James, Mrs. H. W. Nsvinson, Mrs. Waldemar Leverton, Mrs. Sarah Tooley, Mrs. Rentoul Esler, Miss Annesley Kenealy. Hon. Secretary: Miss Bessie Hatton. Hon. Solicitor: Mr. Reginald C. Watson. Hon. Head Literature Department : Mrs. Eileen Mitchell. Hon. Treasurer : Mrs. H. W. Nevinson. Office: Goschen Buildings, 12 and 13, Henrietta Street, London, W.C. Telephone : City, 1808.
A Matinee was given at the New Princes in February, 1912, at which the following plays were presented :— " Edith," by Elizabeth Baker ; " Votes for Women " (Act II.), by Elizabeth Robins; "Shakespeare's Dream" a Pageant; also "Foreword," by Cicely Hamilton.
110 THE STAGE YEAR BOOK.
STOCKPORT GARRICK SOCIETY.
The Stocfeporrt Garrick Society was founded in 1901 for the purpose of Studying and giving performances in dramatic literature. Its headquarters are at Garrick Chambers, Wellington Streeit, Stockport. The -officers are ias follow : — President, Alderman Albert Johnson, J.P. ; honorary members, Miss A. E. F. Horniman, M.A., William Archer, H. Granville Barker, and John Galsworthy ; honorary secretary, George Ledgh Turner, 174, Wellington Road South, Sitockport ; honorary treasurer, Arthur H. Gibbons, " 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 1912 the Society gave performances of: "Strife," by John Galsworthy, at the Royal, Stockport, February 12, for a week ; " Dealing in Futures," by Harold Brighouse, privately, at headquarters, on April 6 ; " The Waters of Bitterness," play in three acts, by S. M. Fox, six private representations, October 30, 31, November 1, 2, 5, and 6; "David Ballard," play in three acts, by Charles McEvoy. public performance at St. Thomas's School, Stockport, November 25 ; public performance, Saos Hall, Stretford, November 30. The syllabus for the early part of 1913 includes the following : —
"Madonna," by George Middleton, " Bombastes Thunderton," by Ludvig Holberg, " Mother and Son," by Percy Redfern, private performance at Garrick Chambers by the Marple Dramatic Society, January 11 ; Literary meeting, Wednesday, January 15. "Robert Browning," by Professor H. H. Herford, Litt.D. ; "The Secret Woman." a play in four acts, by Eden Phillpotts, private representations at Garrick Chambers ; Whist Drive, February 6 ; " Jephthah's Daughter," a play in three acts and a Prologue by X.Y.Z., private representation at Garrick Chambers; "Civil War," a comedy in four acts, by Ashley Dukes, private representations at Garrick Chambers, February 14, for six nights, public performance at Saos Hall, Stretford, February 22 ; Literary meeting, Thursday, February 13, " A Study in the Character of Shakespeare's 'Macbeth,'" by Rev. Spencer J. Gibb ; Debate, Thursday, February 27, "Is the Modern Drama Gloomy? " ; " The Pigeon," a fantasy in three acts, by John Galsworthy, private performances at Garrick Chambers, Monday, March 3, for six nights ; Annual General Meeting, Thursday, April 24.
In the case of several of the plays performed by the society the scenery is made and painted by the stage staff. The profits from public performances are handed over to charitable and deserving institutions.
THE BURY STAGE SOCIETY.
The Bury Stage Society, which is now in its second season, has its officers as follow: — President, Mr. B. Ideii Payne ; Producer, Mr. F. Taylor (of Stockport Garrick Society) : Hon. Secretary, Mr. T. L. Peers, 78, Heywood Street, Bury; Hon. Treasurer, Mr. A. M. Pennington, 366, Limefield, Bury. Headquarters, Girton Hall, Manchester Road, Bury. Objects : To stimulate an interest in Modern dramatic literature by means of performances, lectures, readings, and discussions. The plays to be given this season are: — "David Ballard," by C. McEvoy, " Spring in Bloomsbury," by H. Brig- house, and "Realities," by Gertrude Robins.
THEATRICAL CLUBS.
THE GARRICK CLUB.
Th« 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
THE STAGE YEAR BOOK. • 111
prominent member of the club. Mr. Spalding left to the club some valuable oil paintings and souvenirs of Charles Mathews. These included "The Bath," by Etty ; " Liston Introducing the Young Mathews to the Public," once the property
of Charles M:itlu.-\vs : 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.
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. Achille Bazire, Oliver A. Fry, Reginald Groome, Joseph Harker, Yeend King, V. P.B.I., D. A. Louis, L. Raven-Hill, Edward G. Salmon, J. Walter Smith, E. J. Steegmann, J. Scott Stokes, David Urquhart. Hon Treasurer, Sir James D. Linton, P.B.I. ; Hon. Secretary, Mr. Reginald Geard ; Hon. Solicitor, Mr. R. H. Humphreys. (The above-named are members of the Committee ex-officio.) Hon. Counsel, the Rt. Hon. Sir Rufus Isaacs, K.C.V.O. •; Hon. Auditors and Scrutineers, Mr. Thomas Catling and Mr. T. H. Gurrin ; Hon. Librarian, Mr. C. J. Shedden Wilson. The annual dinner took place on December 7, at the Connaught Rooms, with Lord Moulton in the chair, when Sir John Hare responded to the toast of " The Visitors."
THE ECCENTRIC CLUB.
The Eccentric Club, 21, Shaftesbury Avenue, W., is constituted for the purpose of promoting social intercourse amongst gentlemen connected, directly or indirectly, with Literature, Art, Music, the Drama, Science, Sport, and Com- merce. The President is Sir Charles Wyndham ; Trustees, Mr. Walter J. W. Beard, Mr. Frederick Bishop, and Mr. Thomas Honey ; Treasurers, Mr. Tom Fraser and Mr. H. J. Homer; Hon. Secretary, Mr. J. A. Harrison. Committee: — Major H. Bateman, Messrs. H. Montague Bates, W. Fellamy, Frank Calligan, E. L. Campbell, Barnet Cohen, A. J. East, Alfred Ellis, Walter de Frece, W. E. Garstin, F. Glenister, W. S. Hooper, S. Jousiffe, P. Leftwich, John Le Hay, Ernest Stuart, W. J. Dayer Smith, A. J. Thomas, Bertie Crewe, T. Richards, and R. Warner. Telephone : Gerrard 3950.
THE GREEN ROOM CLUB.
The Green Room 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 engaged 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 years was situated in Bedford Street, whence it moved to its present premises in Leicester 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 Glub exchanges courtesies with the Savage Club, each club finding accom- modation 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 years 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 bridge.
Mr. George Delacher was for more than twenty years the Honorary Secretary of the Club, and only retired when the Club was enlarged, and moved into its present premises. Mr. Delacher is now more than eighty years of age.
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 Nevil10-, 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.
Secretary, Mr. G. Swann. Address, 46, Leicester Square.
7*
112 THE STAGE YEAR BOOK.
THE TOUCHSTONE CLUB.
This club was formed at a meeting held on October 16, 1911, at the Behearsal 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 Messrs. Edwin Barwick, J. R. Crauford, J. H. Ryley, H. A. Saintsbury, Edward Sass, and Arthur Williams, and, ex officio, the President, the Treasurer, and' the Secretary.
THE MANAGERS' CLUB.
The Managers' Club is instituted for the purpose of bringing touring and resident managers, 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 Managers' Association, 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. M. V. Leveaux ; Messrs. Cecil Barth, A. H. Benwell, Harry Barford, Arthur Bertram, Sydney Bransgrove, Wentworth Cfoke, E. Graham Falcon, Grahame Herrington W. *W. Kelly, G. B. Lambert, Jose G. Levy, Lauderdale Maitlaiid, Ernest E. Norris, Leslie Owen, Alfred Paumier, E. Taylor Platt, Herbert Rallaiid, Sir H. Beerbohm Tree, John Tully, G. Carlton Wallace, and Albert Ward ; Hon. Treasurer : Mr. J. Bannister Howard ; Asst. Hon. Treasurer : Mr. Frank Weathersby ; Auditors : Messrs. Bryden, Fedden & Co. ; Secretary : Mr. M. Martin ; Address : 5, Wardour Street, W.
THE REHEARSAL CLUB.
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-Holsteiii ; Vice- President, the Lady Louisa Magenis. Committee : Chair, Lady Maud B. Wilbraham, Lady Alexander, Lady Bancroft, Mrs. Chapman, Mrs. Gilmour, Miss Alice Glad- stone, 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, 35, Parkhill Road, N.W.
THE LYCEUM CLUB.
The Lyceum Club was started in 1904 for the purpose of affording a meeting ground tor 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 Clark, Miss Beatrice Harraden, Miss Bessie Hatton, Mrs. Teignmouth Shore (Priscille 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 Miss Sybil Ruskin.
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.
The plays are submitted under a pseudonym, and are judged by five readers : — Miss Constance Beerbohm, Mrs. Matthew Arnold, Mrs. Vigo, Mrs. Mouillot, and Mrs. Turnbull (Eliot Page).
The dramatic sub-committee gave performances on October 26, 1911. December 5, 1911,
77//<; STAGE YEAR BOOK. 113
and April 30, 1912, the plays produced being :— " According to His Lights," by Ada and Dudley Janu-s ; "Securing a Fortune," by Bertha N. Graham ; "The Anniversary," by M. Stanley Clark ; "Johanna of Brooker's Flat," by Arthur Hood.
A large reception was given in Miss Felice Lyne's honour on January 25, at which a one act play by Eliot Page, entitled " Preparing Croary," was produced.
An interesting reading was given by Mrs. Percy Dearmer on November 9, on her Mystery Play, " The Soul of the World," with incidental music by Martin Shaw ; and on April 30, Mr. Robert Stevenson gave a lecture on "The Voice on the Stage — and off."
Under the auspices of the sub-committee, a Conference of the London Play Producing Societies was held on March 5, and a Repertory Theatre Dinner on April 15, at which Miss Horniman, of Manchester, Mr. Alfred Wareing, of Glasgow, Mr. Drinkwater, of Birmingham, and Mr. Frederick Whelen, of the Stage Society, were among the guests of honour, and Mr. Clifford Mills presided.
Address : 128, Piccadilly, London, W. Telephone, Gerrard 640.
THE ACTORS' SWORD CLUB.
The Actors' Sword Club was founded by Mr. Gerald Ames in 1910. Members .lip is limited to artists, authors, singers, musicians, and anyone engaged in the allied arts of the theatre. The yearly subscription is 5s. The club badge is a scarlet band worn on the left sleeve of the jacket. Each member provides his own jacket, foils, etc. Members meet and fence together on Tuesdays and Fridays at one or another of the following Salles d'Armes ; Felix Bertrand, 10, Warwick Street, W. ; Felix Grave, 159, Bromp- ton Road, S.W. ; Fred McPherson, 3, Victoria St., S.W. The president is Sir George Alexander ; the vice-presidente are Lord Howard de Walden, Mr. Norman Forbes, and Mr. Egerton Castle. The Committee are Messrs. Henry Ainley, J. P. Blake, Justin Huntly McCarthy, E. Vivian Reynolds, Jerrold Robertehaw, and Athol Stewart. Honorary Secretary, Mr. Gerald Ames, 159, Brompton Road, S.W.
During 1911 an important Assault-at-arms was held on June 16 011 the Roof Garden, 159, Brompton Road ; and a supper was largely attended at the Pall Mall Restaurant on November 23.
The chief event in 1912 was the matinee at the St. James's on June 13, in aid of the Actors' Benevolent Fund, when was presented " The Duel throughout the Ages," in which many famous swordsmen participated.
Two members of the club, Mr. J. P. Blake and Mr. Gerald Ames, were in the final pool for the British Amateur Championship, 1911, won by Mr. Blake. Mr. Ames was again in the final in 1912, and he and Mr. Blake were among the British representatives chosen to fence for Great Britain at the Olympic Games, Stockholm, 1912.
THE ACTRESSES' FOIL CLUB.
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, 27, Brunswick Square, W.C. A six-monthly subscription of half a guinea entitles members to meet and fence together at three London Salles d'Armes.
PLAYGOERS' CLUBS.
THE PLAYGOERS' CLUB.
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 Lodee 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 Cran- bourne Street and Charing Cross Road have recently been acquired, where ample
114 THE STAGE VEAR BOOK.
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. Henry Rees ; trustee, Mr. Louis E. Harfeld ; treasurer, Mr. Will Sparks; committee, Messrs. E. J. Bevan, H. Passmore Edwards, Osman Edwards, Carl Hentschel, F. G. E. Jones, A. M. Latham, W. Pett Kidge, Arthur F. Spencer, E. A. Whitehouse; hon. secretaries, Messrs. James Sharpe and Chas. E. B. Kibblewhite; hon. librarian, Mr. Edwin H. Shear.
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. A notable event in connection with the Club, was, in the closing month of the year, the "Peter Pan" dinner, at which Mr. Marshall Hall presided, and several artists who have appeared in Mr. J. M. Barrie's hardy perennial responded to toasts.
THE O.P. CLUB,
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 actors 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, May 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 ; Trustee, Mr. Carl Hentschel; Hon. Treasurer, Mr. A. E. Elkan ; Hon. Secretaries, 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 GALLERY FIRST NIGHTERS' CLUB.
The headquarters of the Gallery First Nighters' Club are at the Bedford Head Hotel, Maiden Lane, Strand, W.O. Subscription, 10s. 6d. per annum. President, Mr. James Kenny ; Vice-President, Mr. Aldoii Roen ; Hon. Treasurer, Mr. John Page ; Hon. Secretary, Mr. J. L. O'Riordan ; Committee: — Messrs. John Calhaem, H. S. Doswell, Arthur Ellis, Robert Levy, F. Page, P. Rawson, W. 0. Summers and G. F. Wright ; Hon. Auditor, Mr. Frank 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." Genuin^ gallery playgoers alone are eligible for membership. The Cluo holds frequent debates on subjects connected with the Drama. Other functions include the annual dinner, held at Frascati's in March, Bohemian suppers, concerts, etc. Ladies are invited to the annual dinner and the debates.
The Club claims to be the most democratic playgoing club, and one of the last strongholds of Bohemianism. Its bugbear is "Respectability." Their presidents, etc., are always genuine gallery " boys," the club having a rooted objection to honorary figureheads.
The club had strong associations with the late Nellie Farren, who always spoke affectionately of its members as " her boys." They entertained their never-to-be- forgotten favourite at a dinner on Saturday, April 29, 1899, when Mr. Cecil Raleigh marvelled at the "weird and wonderful enthusiasm." This, however, is a feature which characterises all their dinners. At the annual dinner held in February, 191'^, the principal speakers were Mr. Louis Calvert and Miss Kate Cutler. Among the other well-known people who have spoken at their dinners are Miss Ellen Terry, Miss
THE STAGE YEAR BOOK. 115
Kv:i Mfoiv. Miss Kate Knrkr, (Jwi-nni"1 Murs. Miss Ruth Vincent, Miss Nina Boucicault, Mile. Adeline (u-mV, Miss Hilda Trevelyan, Miss Fanny Brough, Sir W. S. Gilbert, Sir ( ifor-v Alexander. Messrs . H. V. Esmond, J. Forbes-Robertson, Lewis Waller, Dennis Eadie, Gharl^a IFawtroy, H. B. Irving, Robert Loraine, Arthur Bourchier, James \\Vlch, Oscar Asche, Cecil Raleigh, Sydney Valentine, Martin Harvey, Rudolf Hosier, \V. Louis Bradfield, Spencer Leigh Hughes, T. McDonald Rendle, W. Pett Ridge, E. F. Spence, James Douglas, Alfred Robins, Hannen Swaffer, Randal Charlton, and the late C. L. Carson, of THE STAGE — a list of which any club might he proud.
At the Sixteenth Annual Dinner, to be held at Frascati's on Sunday, February 23, the principal guests will be Mr. Henry Ainley and Miss Haidee Wright.
BRISTOL PLAYGOERS' CLUB.
The Bristol Playgoers' Club was formed on November 8, 1911, and had elected over 400 members by the time of the annual meeting in May, 1312. During the short first season the following programme was arranged: —
December 14, Miss Horniman addressed the Club, "A Talk on the Drama"; January 4, Mr. Mostyn Pigott lectured on "The British Drama — The Pessimist's Playground''; January 18, Miss Gertrude Kingston lectured, "The Origin of the Dramatic Censorship — being a chapter from the History of Prejudice" ; February 2, A Musical and Social Evening; February 8, Dickens Centenary. Recital from "A Tale of Two Cities," by the Rev. A. N. Blatchford. Character sketches by Mr. Bransby Williams ; February 22, Lecture on "John Galsworthy" by Prof. Skemp ; March 7, Discussion on "What Every Woman Knows." Miss Hilda Trevelyan and Company were entertained at Supper by the Committee ; March 14, Lecture by Mr. Hilaire Belloc on "The Misanthrope" ; March 28, Discussion on The Shakespeare National Memorial Theatre Scheme ; April 11, Discussion on the Ibsen plays presented at the Princes' by Mr. Leigh Lovel and his Company. Rev. Canon Talbot opened the evening ; April 25, Mr. Charles Collette gave reminiscences and sketches.
The 1912-1913 season began with a dinner at which Mr. Rutland Barrington was the guest, on October 26. The programme arranged up to Christmas was as follows : —
October 10, Address by Mr. Hilaire Belloc entitled "The Stage as a Criticism of Public Life and Public Officials" ; October 31, Reading of Galsworthy's " The Silver Box" by club members; November 14, Discussion 011 "Typhoon"; November 28, Address by Mr. Iden Payne ; December 5, Address by Mr. John Galsworthy ; December 9, Performance of " Iphegenia in Tauris " by the Greek Play Company, organised by the club ; December 12, Address by Miss Lena Ash well.
The Bristol Playgoers' Club is affiliated to the Playgoers' Club, London, and to the British Playgoers' Federation.
Over 500 members have now been elected. The subscription is 10s. per annum, and there is an entrance fee of 10s. Committee : President and Chairman, Dr. Barclay J. Baron; Vice-Chairman, Mr. Richard Castle; Hon. Treasurer, Mr. F. R. Stead; Joint Hon. Secretaries, J.F. Holloway, Cairns Villa, SneydPark, andJ. Clifford Wing, 37. Whiteladies Road; Mrs. Barclay Baron, Mrs. J. Curtis, Mrs. Ostlere, Miss Alexander, Mr. G. K. Archbold, Mr. G. W. Boyd, Dr. Green, Mr. F. C. Hawkins, Mr. C. H. King, and Mr. H. Norton Matthews.
LEEDS PLAYGOERS' SOCIETY.
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 office of President was vacant at the time the YEAR BOOK went to press. 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, H. Thompson, Mrs. Albert Dawson and Miss Josephy.
The Society does not produce plays on its own account, but, during the year 1912, it arranged for Mr. B. Iden Payne's company to perform "Man and Superman"
116 THE STAGE YEAR BOOK.
(twice), "The Tragedy of Nan" and ''Cupid and Commonsense," the two latter for the first time in Leeds, while the Greek Play Company, under the direction of Miss Penelope Wheeler, were invited to give performances of " Iphigenia in Tauris " (twice) and " Hippolytus," each for the first time in Leeds. The Society has had a very large share in the work of the Committee which is arranging an experimental Repertorv Season in Leeds for 1913, and its members form the bulk of the subscribers to the guarantee fund.
Among those who have delivered lectures before the Society are Mr. Hoi brook Jackson, Mr. G. K. Chesterton, Mr. E. T. Keys, 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 Bobinson, and Miss Ellen Terrv.
SHEFFIELD PLAYGOERS' SOCIETY.
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. G. K. Chesterton, Miss A. E. F. Horniman, Mr. H. Granville Barker, Mr. J. Galsworthy and Mr. Hilaire Belloc. g
At the request of the Society Mr. B. Iden Payne and Company gave special perform- ances of " Man and Superman," " Nan " and " Cupid and Commonsense," in March, 1912. During the week commencing October 7, 1912, Mr. Payne and Company gave seven plays entirely new to Sheffield, three of which — " The Heritage," by F. J. Adkins, M.A., " Resentment," by Alan Monkhouse, and " Emancipation," by Leonard Inkster — were produced for the first time on any stage. During November arrangements were made with the Bessie Comedy Company to give special performances of " Billy's Little Love Affair," by H. V. Esmond, " The Dear Departed," by Stanley Houghton, "The Liar," by S. Foote, " 4 A.M.," by Harry Paulton (for the first tinie on any stage) and "The Rehearsal," by George Villiers, Duke of Buckingham.
At the commencement of the 1912-1913 session a public meeting, initiated by the Society, was held to discuss the question of holding a Repertory Season, and the proposal was unanimously agreed upon. A guarantee fund was opened which was fully subscribed to within a fortnight. February 10, 1913, has been decided upon for the opening date. In the repertory will be " Chains," " The Return of the Prodigal," "Admiral Guinea," " Cupid and the Styx," and several new one-act plays, which will be produced under the direction of Mr. Orlando Barnett. i The membership at the end of last session was 465.
£ The following are the officers : — President, Mr. T. Walter Hall ; Hon. Treasurer, Mr. F. Bowman ; Chairman of Committee, Mr. F. J. Adkins, M.A. ; Committee, Miss F. Corbett, Miss G. Davidson, Miss A. Leesley, Miss E. Ormay, Miss M. Duplock, Miss A. E. Escott, Mrs. T. P. Lockwood, Miss L. Hawson, Mr. E. W. Turner. Mr. E. E. Lewis, Mr. C. E. Young, Mr. J. B. Simpson, Mr. J. A. Clark, Mr, H. L. Cooper, Mr. W. S. Jackson, Mr. A. W. Francis ; Hon. Secretary, Mr. R. D. Bennett, 3, Mackenzie Crescent, Broomhall Park, Sheffield,
REPERTORY THEATRES.
THE GAIETY, MANCHESTER.
During the year 1912 Miss Horniman 's Company, in addition to several months' season spent in Manchester, have played seasons in London, at the Coronet, and in Canada. Their first productions of the year have included " Mary's Wedding," " Hindle Wakes," "The Question," "Elaine," "Race Suicide," and "Revolt," fuller particulars of which will be found under the heading of Plays of the Year. Their repertory has also included " Twelfth Night," " Candida," " Nan," "Makeshifts," " Mollentrave on Women," " The Little Stone House," " The Silver Box," "Reaping the Whirlwind," "She Stoops to Conquer," '' The Return of the Prodigal," "Cupid and the Styx," "Man and Superman," "The Perplexed Husband," "A Question of Property," "The Thieves' Comedy," "The Younger Generation," "You Never Can Tell," Ibsen's Plays, " Widowers' Houses." "What
THE STAGE YEAR BOOK. 117
the Public Wants," " Mary Broome," "Beauty and the Barge," " The Subjection of Kezia," " Pilkerton's Peerage," "The Polygon," "The Charity that Began at Home," "The Pigeon," "The Shepherd," " The Devil's Disciple," " Prunella."
lu February and March Miss Darragh's Company played the following at the Gaiety, Manchester : — " The Walls of Jericho," "Alias Mrs. Fairfax," " The Foun- tain," "The Notorious Mrs. Ebbsmith," "The Likeness of the Night," "The Perfect Widow," "Old Jan," "Captain Brassbound's Conversion," " A Dear Little Wife."
The Liverpool Repertory Company visited the Gaiety, Manchester, in October and November, and performed " Iris," " Lonely Lives," " The Education of Mr. Surrage," and " Tilda's New Hat."
On December 2 matinees of " Hippolytus " and "Iphigenia in Tauris " were given by the Greek Play Company under the direction of Miss Penelope Wheeler.
THE LIVERPOOL REPERTORY THEATRE,
The following plays were among those given by the Liverpool Repertory Com- pany during 1912:— "The Perplexed Husband," "The Tyranny of Tears," "The Oak Settle " (for the first time), " Pillars of Society," " The Return of the Prodigal," "The Fountain," "Marriages Are Made in Heaven," "The Honeymoon," "The Bracelet " (for the first time), " The Shepherd " (for the first time), " The Situation at Newbury " (for the first time), " The Convict on the Hearth," "You Never Can Tell," " The New Sin," " The Cassilis Engagement," " A Roman Holiday " (for the first time), "Dealing in Futures," "Tilda's New Hat," "Captain Brassbound's Conversion," "The Importance of Being Earnest," "A Doll's House," "The Mollusc," "Lonesome Like," "Iris" (first production in the English provinces), "Instinct" (for the first time on any stage), "Press Cuttings," "A Florentine Tragedy," "The Pigeon," "The Education of Mr. Surrage" (for the first time), "Lonely Lives," and " The Voysey Inheritance."
GLASGOW REPERTORY THEATRE,
At a meeting of shareholders of the Scottish Playgoers, Limited, the company which maintains the Glasgow Repertory Theatre, in June, the directors, in their report for the period from June 1, 1911, to May 6, 1912, stated that the Royalty, Glasgow, was opened under the company's management for thirty-one weeks, and that the accounts showed a net loss of £322 5s. 6d. They remarked that " the support accorded by the public to the plays produced during the three months of the season was extremely disappointing, and had it not been for the success of the Christmas production, ' Wee Macgreegor,' the loss for the year would have been considerably larger." The balance- sheet showed a capital account of £5,989 in fully-paid £1 snares, and funds in hand and in the bank to the amount of £1,029.
No autumn season was arranged for, and operations of the company are, we under- stand, temporarily suspended.
THE ABBEY THEATRE, DUBLIN,
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 Ab*bey 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 \yill 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.
118 THE STAGE YEAR BOOK.
There are about fifty plays in the active repertory of the company. The following plays were produced during 1912 : —
January 4, " The Annunciation," circa, 1400, " The Flight into Egypt," circa 1400 ; January 11, " \ acDarragh's Wife," Lady Gregory; February 1, revival of "The Country Dressmaker," George Fitzmaurice ; February 15, " The Tinker and the Fairy " (played in Gaelic), Douglas Hyde ; February 29, " The Worlde and the Chylde," 15th century; March 28, "Family Failing," William Boyle; April 11, "Patriots," Lennox Robinson; April 15, "Judgment," Joseph Campbell; June 20, "Maurice Harte," T. C. Murray ; July 4, " The Bogie Men," Lady Gregory ; October 17, " The Magnanimous Lover," St. John G. Ervine ; November 21, " Darner's Gold," by Lady Gregory ; and a revised version of W. B. Yeats's Morality, " The Hour Glass."
Directors : Mr. W. B. Yeats and Lady Gregory ; Controller : Mr, Nugent Monck ; Manager : Mr. Lennox Robinson ; Business Manager : Mr. Fred O'Donovan.
BIRMINGHAM REPERTORY THEATRE.
The Birmingham Repertory Theatre will be opened on Feb. 15th with a perform- ance of " Twelfth Night."
The plays to be performed include John Galsworthy's " The Pigeon," W. B. Yeates's "Countess Kathleen " and Lady Gregory's "White Cockade."
VARIETY ORGANISATIONS.
VARIETY ARTISTS* FEDERATION.
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 Trades Union Congress, the White Rats Actors Union of America, the International Artists' Lodge of Germany, and L' Union Syndicale des Artistes Lyriques of France. Officers : — Chairman, Mr. W. H. Olemart ; Trustees, Messrs. Joe Elvin, Paul Martinetti, and Edmund Edmunds ; Treasurer, Mr. G. H. Chirgwin ; Accountant, Mr. W. H. McCarthy. Executive Committee meetings every Thursday at 12. London and provincial meetings first Friday in the month at 12. Mr. Fred Herbert, Secretary.
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 assistance as regards railroad fares, free legal advice, and free legal protection. There is also a death levy of 6d. per head per member. Entrance fee, 21s. Weekly subscrip- tion, 6d.
The Executive are as follows : — Jas. Alexandre, E. Adeler, Martin Adeson, W. H. Atlas, Barney Armstrong, Charles Austin, Joe Archer, Peter Bijou, Signor Borelli, Sid Bandon, Bert Byrne, Harry Barrett, J. R. Barnard, F. J. Barnard, Albert Brady, Thomas Bright, Harry Bancroft, Edwin Barwick, Geo. Brooks, Burnetti, Andie Caine, J. W. Cragg, G. H. Chirgwin, Leoni Clarke, Fred Curran, Chas. Coborn, Harry Conlin, Morny Cash, W. J. Churchill, T. C. Callaghan, Whit Cunliffe, Dave Garter, Syd Cro&sley, Tom E. Conover, Harry Claff, Geo. D'Albert, Harry Delevine, Sam Delevine, Percy Delevine, Robert Dunning, William Downes, J. J. Dallas, Johnny Dwyer, Marriott Edgar, Seth Egbert, W. F. Frame, James Foreman, Fred Ginnett, A. E. Godfrey, Horace Goldin, Arthur Gallimore, W. E. Gillen, Fred Griffiths, Gus Garrick, Geo. Hughes, Carl Hertz, Martin Henderson, Phil Herman, Harry Jee, Tom Joy, Lew Lake, James Kellino, Fred Kitchen, C. W. Kloof, Max Berol ^ Konarah, J. W. Knowles, Albert Le Fre, Alf Leonard, Harrj Lauder, Jay Laurier, Fred Latimar, J. P. Ling, John Le Hay, B. Monti, Walter Munroe, Fred Maple, James Mooney, F. W. Millis, Harry Mason, Chas. McConnell, Joe McConnell, Steve McCarthy, Geo. Newham, Orpheus", Jim Obo, Ben Obo, Wai Pink, Jack Pleasants, 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 Voyce, Horace Wheatley, Tom Woottwell, Erne Warsaw, W. H. Wallis.
THE STAGE YEAR BOOK. 119
Horace White, Bert Williams, ,J . W. Wilson, Harry Wenburn, John Warren, II. o. Wills, j. A. Wilson, IJi-ii Whiteley, Howard Ward, Chas. Whittle, Charles M;ijor. Millrr Sutclifie, W. U. Button.
MUSIC HALL ARTISTS' RAILWAY ASSOCIATION.
Founded February 2, 1897. Head offices, 18, Charing Crow Road, London, W.C. Secretary, Mr. C. Douglas Stuart. Branch offices in Glasgow : Agent, Mr. John Alexander ; Liverpool : Agent, Mr. Tom McKay ; and Manchester : Agent, Mr. Fred Slingsby. Officers, for the current year : — Hon. President, Mr. Joe Elvin ; Hon. Vice- Presidents, Mr. Charles Coborn, Mr. Albert Le Fre, Mr. Fred W. Millis, Mr. E. H. Lucas, and Lieut. Albini ; Hon. Trustees, Messrs. J. W. Cragg, Paul Martinetti, and G. H. Chirgwin ; Hon. Treasurer, Mr. Arthur Rigby ; Chairman of Committee, Mr. Arthur Gallimore ; Vice-Chairman, Mr. Stanley J. Damerell; Hon. Solicitor, Mr. Eugene Judge (Judge and Priestly). *
The annual subscription is 7s. 6d. 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, £558 8s. 8d. ; Current Account, £182 6s. 4d. ; Cash in hand, £40 14s. lOd. ; Total, £811 9s. lOd. The membership still continues to increase ; the total number now on the books as active members is a few under 7,000. Weekly meetings of the Committee are held every Wednesday at 12 o'clock.
VARIETY ARTISTS' BENEVOLENT FUND AND INSTITUTION.
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. The Committee is composed as follows : — Elected for three years : Messrs. Albert Voyce, Ben Obo, W. H. Atlas, Jim Obo, Arthur Gallimore', T. C. Callaghan, Ed. H. Lucas, Stanley J. Damerell, H. Griff, Ed. Crosland, Cecil Rutland, Chas. Gardener, Geo. E. Smythson, Syd Walker, Horace Wheatley, Tom Packer, Bert Williams, Robert Abel, Martin Henderson, Ken Gallimore, P. W. Millis, Chas. Coborn, A. de Brean, C. Kasrac, Wm. Welsh, J. W. Gallagher, W. E. Gillin, Bert Marsden, Eugene Stratton, and H. Falls. Elected for two years : Messrs. Ben Whiteley, Harry Herald, Julian Mack, H. 0 Wills, Harry Bancroft, Burnetti, W. Fullbrook, Bruce Green, Rich. Taylor, Tom E. Conover, E. Gribben, H. Braff, Arthur Rigby, W. Barrett, A. P. Hemsley, Harry Wright, Chris Van-Bern, J. Barker, Jack Harris, A. Borelli, Chas. Clark, Ted E. Box, Harold Finden, Albert Le Fre, Edwin Barwick, Lieut. Albini, Sid Baker, Reginald Prince, Cyril Yettmah, and Chas. Grantley. Elected for one year : Messrs. H. Huley, Sam Vincent, Horace White, Fredk. Day, Tom Francis, W. Jackson, Tom Morton, A. Schafer, Marriott Edgar, F. Melvin, Walter Dale, Alf. Herald, P. Bijou, Gus Garrick, James Kellino, Dick Bell, Fred McNaughton, Dave O'Toole, Geo. Sandford, Fred Hughes, Seth Egbert, Fred Woellhaf, D. Hendy Clark, Gus McNaughton, Dusty Rhodes, Alf. Leonard, Geo. Herd, H. M. Darsie, Fred Parr, and W. Kellino.
MUSIC HALL LADIES' GUILD.
The Guild was founded in 1906. President, Miss Irene Rose ; 1st Vice-President, Mrs. Charles Coborn ; 2nd Vice-President, Mrs. Herbert Shelley ; Hon-Treasurer, Miss Lottie Albert ; The Committee includes, Mrs. Gintaro, Miss Marie Lloyd, Mrs. Herbert Shelley, Mrs. George Gilbey, Miss Julie Macarte, Miss Kate Vulcana, Miss Louie Davis, Mrs. Vernon Cowper, Miss Alexandra Dagmar, Mrs. Chas. Coborn, Mrs. Fred Kitchen, Miss Marie Kendal, Miss Fanny Harris, Mrs. Fawkes, Mrs. Edward Lauri, Miss Ray Wallace, Mrs. Morton, Mrs. Arthur Were, Mrs. Andie Caine, Mrs Kasrac, Mrs. G. H. Chirgwin, Miss Irma Lorraine, Miss Gladys Huxley, Mrs. Harry Tate, Mrs. Alva, Mrs. G. H. Smythson, Miss Carlotta Levey, Miss Clarice Ma'yne, Miss Evelyn O'Connor, Mrs. Billy Merson, Miss Maggie Bowman, Miss Bertha De Pas, Miss Mabel Mavis, Mrs. John Spissel, and Miss Norah Delaney.
The Guild was formed with tihe object of assisting the wives of artists
120 THE STAGE YEAR BOOK.
who, through lack of employment, illness, or confinement, are in want of help, by supplying proper medical aid, food, coal, or other necessaries as may be required. Also, in cases of confinement, to lend a supply of suitable baby clothes for the first
month, to be returned at the expiration of that time. To assist widows of artists to find suitable employment; to find employment for children of poor artists and orphans, as programme sellers, call boys, in sketches, or in offices ; to supply necessitous artists with free clothing ; to sell stage and other clothing to artists who may require it, at a very small charge ; to visit the sack ; to give toys, books, and games to sick children of artiste.
Meetings are held every Wednesday at the offices, Newport House. Great Newport Street, W.C. Secretary, Miss Melinda May.
THE MUSIC HALL HOME.
The Music Hall Home was founded sixteen years ago by certain prominent members of the Terriers' Asisociaition. The objects of the Music Hall Home are to afford shelter to deserving members of the variety profession who have fallen on evil times, and to provide a permanent home for poor performers who, through illness, disablement, or old age, are quite unable to find employment.
At the time the book went to press there were eleven inmates lodged in the Home, which is situated at Colyer House. 53, Alexander Road, Gipsy Hill, S.E.
The officers for the ensuing year are : — President, Mr. Walter de Frece ; Vice- Presidents, Messirs. Harry Barnard, Harry Bawn, Ted E. Box, G. P. R. Burgess, Tom Branson, Ha*ry Day, Jas. E. Dunedin, Percy Ford, Harry Gage, Walter Hassan, John Lawson, F. H. Pedgrift, C. J. Bartleet Perry, Jesse Sparrow, C. Douglas Stuart, Chas. Weldon, Arthur Were, Douglas White, and Bransby Williams. Committee, Messrs. John Alexander, W. H. Atlas, Phil Ascot, Willie Benn, Harry Birkhead, Harry Blake, T. C. Callaghan, William Cody, George Cooper, C. C. Cornish, Syd Crossley, J. H. Davy, W. R. Dunkley, Nelson Francis, Harry Gribben,'H. Griff, "Berry Hope, Jack Hurst, W. Kloof, F. H. Kohler, Ernest Lepard, Geo. Leyton, Julian Mack, C. Mannering, Bert Marsden, Jock Miller, Maurice, Walter Norman, Ben Obo, Jim Obo, Tom Packer, Samuel Salter, Arthur Simmons, 'H. R. Stephens, Leo Stirling, Syd Walker, Horace Wheatley, Jack Woolf, Russell Brandow, Harry Conlin, Fred Day, Harry Falls, Glanmore Jones, Ernest Powell, Dan Whitley, B. Woodger, Harry" Wright ; Chairman and Treasurer, Mr. Harry Barnard ; Hon. Auditor, Mr. Arthur R. Welchman, A. C. A., chartered accountant, 9, Old Jewry Chambers, E.G.; Secretary, Mr. Jesse Sparrow; Hon. Solicitor, Mr. G. P. R. Burgess ; Matron, Mrs. J. Fruin. The committee meetings are held at the Three Stags Hotel, 69, Kennington Road, on the first and third Fridays in the month at 3.30 p.m.
GRAND ORDER OF WATER RATS*
This Society was founded in 1890. Its headquarters are the Vaudeville Club, 28, Charing Cross Road, W.C. For the present year the officers are as follows : — King Rat, Mr. Charles Austin (for the second consecutive year) ; Prince Rat, Mr. W. Bankier (Apollo) : Scribe Rat, Mr.'W. H. McCarthy ; Test Rat, Mr. Dave Carter; Bank Rat, Mr. Edwin (Papa) Brown ; Musical Rat, Mr. Alf. Leonard ; Collecting Rat, Mr. Billy Brown ; Bait Rat, Mr. Arthur E. Godfrey; Trustee Rats, Messrs. J. W. Cragg and Edwin Brown.
During the year the Water Rats held their Up-river Outing, and gave a matinee at ^he Oxford on November 11, in aid of their own charities,
THE TERRIERS.
The year 1912 has been an eventful one in the history of the Terriers. Nearly 100 variety performers were initiated, and the financial position has been greatly augmented, owing also to the few claims received for sick pay and death grants. At a special general meeting held in November, it was decided to dissolve the association as a registered friendly society, and to start a new organisation on different lines, fop variety performers only. The idea was unanimously supported by the members and enthusiastically adopted at the meeting, and a provisional organising council created "The Beneficent Order of Terriers." All the business of the Order is conducted in open lodge at the Sunday meetings, and the committee has been abolished, Member-
777 K STAGE YEAR BOOK. 121
ship of tbe Order entitles members t<> niiiny benefits in the shape of sick pay during illness, death grants, loans, etc. The Terriers meet every Sunday at the Three Stags Hotel, Kennington, \\heiv a large room is fitted up specially for the Terriers, who ha\v their own regular and special officers for important positions in the Order. Ladies' concerts are held upon the first Sunday in every month, after the usual meet- ing. Mr. Arthur \Yere. Secretary, Three Stags Hotel, Kennington Eoad, S.E.
THE VAUDEVILLE PRODUCERS' ASSOCIATION,
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 is its present chairman. The members of the Executive Committee are as follows : — Messrs. Leonard Barry, Monte Bayly, William Berol, Fred Eustace, Arthur Gibbons, F. S. Henderson, Maurice Hoffman, Edward Lauri, Edward Harris, George Pickett, Harold Wolfgang, J. W. Cragg. Wai Pink, Sam Richards, Joe Peterman, J. B. Poole, Hon. Treasurer and Secretary, Mr. George Rowlands ; the offices, pro tern, are care of Mr. Herbert Darnlev, 38, Stockwell Park Road, Clapham, S.W.
MISCELLANEOUS.
THE SOCIETY OF THE THEATRE,
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 through the senses to the imagination rather than to the intellect.
The Society has adopted the idea of Gordon Craig, and is formed to promote dis- cussion of that idea, and to try to establish a School for the Art of the Theatre, with Gordon Craig as authoritive director.
Subscription: Ordinary membership. 5s. Od. per annum. Associate members, 10s. 6d. per annum. Fellows, £10 10s. Od. life membership.
The list of the Executive Committee is as follows : — Miss Elsie Fogerty, Mrs. Gordon Craig, Messrs. Gordon Craig, Mortimer Menpes, H. Slonimsky, J. Cournos, P. G. Konody, Haldane Macfall, Lovat Fraser, Ralph Hodgson, A. M. Ludovici, J. M. Bulloch, Holbrook Jackson, Walter Crane, Kenneth Bell, W..B. Yeats, A. D. Flower, 0. -H. Christie, Cecil Sharp, Ezra Pound, Professor Sauter, Mr. Ernest Marriott, Honorary Treasurer; and Madge K. Pemberton, Secretary.
INTERNATIONAL COMMITTEE. — ENGLAND, Duchess of Leeds, Miss Ellen Terry, Walter Crane, Augustus John, Haldane Macfall, Harold Child, Terence Philip, P. G. Konody, R. B. Cunninghame-Graham, Albert Rothenstein, Gerard Chowne, Charles Shannon, Gilbert Cannan, William Poel, J. Martin Harvey, St. John Hutchinson, Martin Shaw. IRELAND, W. B. Yeats, Lord Dunsany, S. P. M. Bligh. GERMANY, Count Kessler. RUSSIA, M. Constantin Stanislawsky, M. Simon Lourie, M. Sergius Poliakoff, M. Valerii Briusoff, M. Memirovitch-Dantchenke, Dr. G. Baltrudhaitis. ITALY, Contessa Serristori, Signer Carlo Placci, Signer M. Scherillo, Tomasso Salvini. AUSTRIA-HUNGARY, Dr. Alexander Hevesi. JAPAN, Y. Tsubouchi, Matsumoto Koshiro. FRANCE, Contesse Greffulhe, Madame Yvette Guilbert, M. Andre Germain, M. Doucet.
Offices : Adelphi Chambers, 7, John Street, Adelphi, London, W.C.
THE POETRY SOCIETY.
The objects of the Society, as stated in the Constitution, are to promote, in the words of Matthew Arnold, adopted as a motto, "a clearer, deeper sense of the best in poetry and of the strength and joy to be drawn from it." To bring together lovers of poetry 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.
122 THE STAGE YEAR BOOK.
The ordinary membership is 7s. 6d. with an entrance fee of 2s. 6d. The Society was founded in February, 1909. Mr. J. Forbes-Robertson is the President, Mr. Galloway Kyle the Hon. Director, Mr. C. 0. Gridley the Hon. Treasurer, and Miss V. E. James, the Secretary. Headquarters, Clun House, Surrey Street, Strand, London, W.C. 'Phone, Gerrard, 4961.
The Society holds periodical auditions, and features of these have been the addresses delivered by Mr. Forbes-Robertson. The Society to a certain extent comes into contact with professional stage life. It gave a performance of " The Hippolytus " of Euripides in severely plain but appropriate conditions at the University in London in March, 1912, and a performance of Browning's " In a Balcony " at the Court in May, 1912. The Society has among its aims the development of poetic drama activity. It has in hand the preparation of a new poetic drama by Dr. Ronald Campbell Macfie, on the recom- mendation of Mr. Forbes-Robertson, and this will be its first essay in original and contemporary work. The Society has a drama sub-committee, the duty of which is to produce representative poetic drama of the 17th and 18th centuries. The Society has the support of Sir Herbert Tree, Mr. H. B. Irving, Miss Ellen Terry, Miss Lena Ash well, Mrs. Kendal, and Sir Arthur Pinero.
ACADEMY OF DRAMATIC ART,
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,
Mr. Arthur Bourchier, Mr. J. Forbes-Robertson, Mr. Cyril Maude, Mr. G. Bernard Shaw, Mr. E. S. Willard.
Mr. J. M. Barrie,
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 not. There is a qualifying test, consisting of two recitations, three times annually, at the commencement of each term, January, May, and October. Two scholarships of one year's free tuition are awarded to the best lady and gentleman students each term ; thus, there are six scholarships in the year.
The training consists of voice production, elocution, Delsarte gesture, dancing, fencing, rehearsal classes ; also lectures on subjects connected with the drama and French diction (optional). The ordinary course takes four terms, but students can enter for a single term. The fea per term is £12 12s., and the entrance fee £1 Is. The French diction classes are £1 Is. extra for regular students. The number of regular students during the past year has been 120.
There is a body of eighty-seven Associates, consisting of distinguished members of the theatrical profession. The Council and Associates take voluntarily an active part in the work of the Academy. During 1912 the following ladies and gentlemen assisted at qualifying tests, scholarship competitions, lectures and prize-judging, etc. :— Sir George Alexander, Sir Squire Bancroft, Mr. Alfred Bishop, Mr. Arthur Bourchier, Miss Gertrude Burnett, Mr. Dion Clayton Calthrop, Miss Kate Cutler, Mr. Charles Daly, Miss Fay Davis, Mr. Hubery Henry Davies, Mr. J. Forbes- Robertson, Mr. A. E. George, Mrs. Leo. Grindon, Sir John Hare, Mr. Anthony Hope Hawkins, Miss Helen Haye, Miss Marie Lohr, Mr. C. M. Lowne, ColoneJ Matthey, Mr. Gerald du Maurier, Sir Arthur Pinero, Mr. E. Vivian Reynolds, Miss Irene Vanbrugh, Mr. Ben Webster, and Mr. E. S. Willard.
The last students' public performance took place at the Duke of York s, and the following programme was performed :— " The .Virgin Goddess " (first part), by Rudolf Besia; act one, " Trelawny of the Wells," by Arthur W. Pinero; act two, scene one "Strife," by John Galsworthy; scenes from " The Two Gentlemen of Verona"; an extract from " Le Mariage de Figaro," by Beaumarchais ; a play m mime • Plantation, Gavotte, and Valse Mazurka Dances, a duel and the final heat of a fencing competition. The Bancroft Gold Medal was awarded by Sir John Hare, Mr Gerald du Maurier and Lady Tree to Mr. Leonard E. Notcutt, and a special Silver Medal given by Sir John Hare to Miss Ida E. Moon. Certificates of honour and merit were also awarded by the judges.
THE STAGE YEAR BOOK. 123
The following ladies and gentlemen have held positions on the salaried staff, and gave regular classes during one or more terms in 1912 : —
Teachers of Acting.— Miss Gertrude Burnett, Miss Kate Cutler, Mr. Kenneth Douglas, Mr. C. M. Lowne, Mr. Ben Webster, Miss Elsie Chester, Mr. Charles Daly, Miss Helen Haye, Mr. E. Lyall Swete, and Mr. J. Fisher White.
Teachers of Voice Production.— Miss Kate Emil Behnke and Mrs. George Mackern.
Teacher of Elocution.— Mr. A. E. George.
Teacher of (Delsarte) Gesture.— Mrs. Edward O'Neill.
Teachers of Dancing. — Mr. Louis Hervey d'Egville and Miss Ina Felly.
Teachers of Fencing. — M. Felix Bertrand and Mile. Bertrand.
Teacher of French Diction. — Mile. Alice Clerc.
In addition to the regular classes the advanced students have during 1912 had the advantage of special rehearsals voluntarily undertaken by the following Asso- ciates : — Mr. Henry Ainley, Mr. Dion Boucicault, Mr. Kenneth Douglas, Mr. Edmund Gwenn, Mr. Frederick Kerr, Mr. Alfred Sutro, Mies Hilda Trevelyan, and Miss Irene Vanbrugh.
There are three different divisions, eight different classes, usually including a children's class. Each class consists of twelve to fifteen students, and forms, as it were, a company. Plays rehearsed in the acting classes are performed at the end of each term, providing generally over thirty performances, each of about three hours' duration. A variety of plays from Shakespearean tragedy to modern farce are taken. The aim of the Academy is in the first place to afford a practical train- ing, to be of use both to the student and to the manager.
The Academy is self-supporting, and is not a source of profit to any of its Governing Body. Any surplus in funds is applied to the enlargement of the pre- mises and the improvement of the training
THE UNITED BILLPOSTERS' ASSOCIATION.
President, Mr. W. H. Breare, J.P., Harrogate ; Vice-President, Mr. David Allen, M.A., LL.B., B.L., Dublin; Committee :— Mr. H. W. Elmer, Bristol; Mr. David Weston, Enfield, Middlesex ; Mr. Walter Hill, London ; Mr. Joseph Crookes Grime, F.I.S.A., Manchester; Mr. L. Eockley, Nottingham; Mr. Cyril Sheldon, Leeds; Mr. Charles Pascall, London; Mr. John*Hill, Reading; Col. Geo. Pearson, V.D., J.P., Ashtoii-under-Lyne ; Mr. W. E.. Bleakley, Bolton. 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 kingdom.
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.
THE CONCERT ARTISTS' BENEVOLENT ASSOCIATION,
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 Com- mittee 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, re- dressing grievances, giving opportunity for discussion upon all matters connected with the concert artists' profession, and publishing a list o-f 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
124 THE STAGE YEAR BOOK.
by organisers of concerts and others, 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.G.
KINEMATOGRAPH ASSOCIATIONS.
ASSOCIATION OF KINEMATOGRAPH MANUFACTURERS.
Office, 62, Strand, London, W.C. Telephone, 6316 Central. Secretary, J. Brooke Wilkinson. Formed to protect the interests of manufacturers of films, the Society took a large part in arranging for the establishment of a film censorship, of which Mr. G. A. Redford is the head. The office of the Censorship Board is 75-77, Shaftes- bury Avenue.
THE FILM RENTERS' ASSOCIATION.
At the time of the general meeting in November the Association had the names of 86 members on its books. The officers (1912-13) are : Chairman, Mr. J. Williamson ; Hon. Treasurer, Mr. J. W. Smith; Auditor, Mr. Arthur Barnsdale ; Secretary, Mr. H. Cluett Lock. The Council is as follows : — Messrs. W. Baker, Ritson Benneil, A. P. Cross, H. Dickson, G. Henderson, J. Lambert, T. Power, G. Soole, T. Thompson, J. D. Walker, E. Ward, and A. T. Wright.
Film Renters buy from manufacturers and producers, and hire out the films to exhibitors. The Association entered into an agreement in December, 1911, with the Manufacturers' Association to regulate the conditions of the sale of films. It was decided to let this agreement lapse at its expiry on December 31, 1912. Negotiations have been and are still in progress with the Exhibitors' Association with the object of preparing an agreement for use between renters and exhibitors covering the hire of films. Arrangements will, it is hoped, also be made to act conjointly with the Exhibitors' Association in any question affecting the trade that may arise.
The publication of a defaulters' list is an important branch of the work of the Association, which is being conducted by the solicitors (Messrs. Jarvis, of 4, Finsbury Square, E.G.), and is proving of value to those members who avail themselves of the service.
The offices of the Association are at 2, Gerrard Place, W.
THE KINEMATOGRAPH EXHIBITORS' ASSOCIATION OF GREAT BRITAIN AND IRELAND, LIMITED.
The Kinematograph Exhibitors' Association of Great Britain and Ireland was incorporated 011 May 22, 1912, as the result of a meeting held at the Hoi born Restaur- ant on January 24, 1912, when a provisional committee was formed to make arrange- ments for the 'formation of the Company. The first general meeting was held on February 13,' when a chairman, officers and an executive committee were appointed, and these appointments were confirmed by the Directors, sitting after the incorpor- ation of the Association as a limited Company. The liability of the members is fixed by the Articles of Association at one shilling. The following are the objects of the Association and the conditions of membership : —
1. To maintain the rights and furthur the interests of the Kinematograph exhibitors
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.
THE STAGE YEAR HOOK. 125
Members consist of three classes ; —
(a) Exhibitors who own one or more Kinematograph theatres, but who are not also carrying on the ordinary business of film manufacturers or hii
(6) Exhibitors \vh<> own one or more Kinematograph theatres, but who an; also eari-yin- 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 who is not eligible for a and b membership, and any other person who, in the opinion of the Committee, is likely to further the interests of the Association.
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 business of a film manufacturer or renter he automatically ceases to be a member of the committee.
The subscription of a and b 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 committees or local associations for the purposes of their work.
For the purposes of organisation, the country has been divided into four sections, and divisional branches have been established in the Northern, Northern Central, Midland and Southern counties. Local associations have been formed within the divisions, and existing local associations absorbed. The General Council directs the policy of the Association. The Executive Committee carry out the policy decided at the General Council. The Association is now represented in the following counties, viz., Bedford- shire, Berkshire, Carmarthenshire, Cheshire, Cumberland, Derbyshire, Devonshire, Dorsetshire, Durham, Essex, Glamorganshire, Gloucestershire, Hampshire, Hunting- donshire, Kent, Lancashire, Leicestershire, Lincolnshire, Middlesex, Norfolk, Northumberland, Northamptonshire, Nottinghamshire, Somersetshire, Staffordshire, Suffolk, Surrey, Sussex, Warwickshire, Westmorland, Wiltshire, Worcestershire. Yorkshire ; and the affairs of London are looked after by the London District Branch.
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 local authorities, and renders legal assistance to its members in cases where any principle is involved affecting exhibitors generally.
The Secretary is Mr. W. Gavazzi King, and the offices are at Broadmead House, Panton Street, Haymarket, S.W.
NATIONAL ASSOCIATION OF CINEMATOGRAPH OPERATORS* (Branch No. 10, N.A.T.E.)
This Association was established in April, 1907. Its office is 1, Broad Court Chambers, Bow Street, London, W.C. Its members are 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. (d) To secure the recogni- tion of a minimum rate of pay for each class of work, (e) To establish an employ- ment register, and to assist members with legal advice and assistance at the dis- cretion of the Committee.
Entrance fee, 3s. Contributions, section a, Is. per month, section b Is. 4d. per month.
Certificates 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. John Hutchins ; Treasurer, Mr. Wm. Johnson ; Finance Com- mittee and Trustees, Mes^s. E. H. Mason, A. Malcolm, and John Hutchins; Managing Committee, Messrs. E. S. Catlin, H. McDonnell, F. W. Green, A. Malcolm, A. Savers, 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.
126 THE STAGE TEAK BOOK.
STAFF ORGANISATIONS.
NATIONAL ASSOCIATION OF THEATRICAL EMPLOYES.
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, theatrical or cinematographic business or industry.
It is affiliated with the General Federation of Trade Unions, the Trade Union Congress, London and Provincial Trades and Labour Councils. The chief office is 1, Broad Court Chambers, Bow Street, London, W.C, Telephone, 8753 Central.
Summary of Objects . — To raise the status of each class and grade of employe's by maintaining a minimum rate of pay, definite working rules, and the provision of sick, funeral, and benevolent benefits for members. The Association has four branches in London and one each in Birmingham, Bradford, Oldham, Newcastle-on-Tyne, Middles- borough, Stockton-on-Tees, Keston and Doncaster. The entrance fee is 3s., including copy of rules and membership card. The contributions and benefits are as follows : — (a) TRADE SECTION MEMBERS.— Open to employes over 18 years of age. Contri- butions, 3d. per week. Benefits : Trade protection ; Dispute pay, a sum equal to one half of the normal earnings at the time, from theatre work, not exceeding the sum of 20s. per week ; Legal advice free ; Legal assistance in approved circumstances ; Grants from the Benevolent Fund subject to the discretion of the Committee, (b) TRADE AND FUNERAL FUND SECTION MEMBERS. — Open to those under 40 years of age at time of joining. Contribution 4d. per week. Benefits, in addition to all the benefits 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 every theatrical centre in the United Kingdom.
The National Executive 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 to one of the general offices. This Committee organises the London annual theatrical sports and annual concerts, and has charge of the National Open Benevolent Fund, which is maintained from the proceeds of the theatrical sports and donations received by the annual concert funds, for the benefit of non-members, men and women employes, whose oase is recommended by a subscriber to the sports or concert funds, or by any theatrical or music hall association whose rules do not permit them to help such applicants.
The guilds of the Association on December 31, 1911, amounted to £1,507 19s. 7d., to which date tflie Association, .in addition to tftie increase of wages, sieoured and maintained, and tdne protection afforded to its members, had paid in cash benefita to members : —
£ s. d.
At death of Members and Members' Wives 3,372 16 0
To Members supporting the objects of the Society 1,729 14 1
Legal Assistance to Members 247 15 4
Compensation secured for Members 253 12 4
Sick Pay ito Members 235 4 5
Special Grants to necessitous Members, Wages advanced due from Fraudulent and Bankrupt Managers (including sums to Non-^Meonbers and their Widows from the Open Benevolent Fund) 585 9 10
Total./ £6,424 12 0
Members of the Executive Committee are : — President, Mr. J. Cullen, master caipenter, the St. James's ; Vice-President, Mr. Philip Sheridan, chief electrician, the Strand ; Treasurer, Mr. J. Atherton ; Trustees, Mr. Arthur Palmer, master carpenter, the Comedy ; Mr. Charles Thorogood, President, No. 1 Branch ; Com-
THE STAGE YEAR BOOK. 127
mittee, Mr. C. T. Cory, master carpenter, the Vaudeville.; Mr. A. Jones, carpenter, Royal Opera House (Treasurer, Carpenters' Branch) ; Mr. Edward Stow, stage staff ; Mr'. George Pickering, stage staff; Mr. J. N. Hunt, stage staff, Mr. H. Porter, Mr. H. J. Kemp, Mr. T. Lowe ; Mr. H. S. Henby, property master, with Mr. Forbes- Robertson ; Mr. Geo. Bailey, master carpenter, Alhambra ; Mr. A. Malcolm, N.A.C.O. ; Mr. C. R. Porter, master carpenter, the Strand; Mr. F. C. Sinkins, carpenter; General Secretary, Mr. William Johnson, 1, Broad Court Chambers, Bow Street, London, W.C.
The Association is affiliated with tihe Australian Federation of Stage Employes.
The National Association of Theatrical Employes 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 England, Scotland, Ireland and Wales, who are members of the Society for the purposes of Part I of the Act."
Any man or woman between the ages of 16 and 65 engaged in any capacity in the Entertainment World may apply to join the Association for the purposes of the Act, i nvspective of whether he or she is eligible or ineligible to join the Association for its other purposes.
THE DRAMATIC AND VARIETY THEATRE (Employes') PROVIDENT ASSOCIATION.
This fund is a separate and independent fund for special purposes. It is not a part of any Approved Society although it is managed by the Executive Committee of the National Association of Theatrical Employee.
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 principle with the co-operative method of providing sickness benefit and sums at death. That is to say, the members' contributions not needed to assist members in any one year are divided at the end of the year between the members.
This Association is open to any man employed in the entertainment world over eighteen and under forty years of age whose application is accepted by the Com- mittee.
Entrance Fee. — Is. 3d., including membership card and book of rules. Revised contributions : — Class A. — 6d. 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 Decembe" 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 : " Stageland^ran, London." Telephone: 8753 Central.
HEADS OF DEPARTMENTS ASSOCIATION.
This Association is a branch of the N.A.T.E. and was established in November, 1902. and consists exclusively of stage managers, scenic artists, master carpenters, chief electricians, master propertvmen, 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 contribu- tion 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 been given each year, at which the following gentlemen have 'in turn presided]: — Mr. J. Comyns Carr, Sir^George Alexander, Sir Herbert Beerbohm
128 TH'E STAGE YEAR BOOK.
Tree, Mr.'H. B.Irving, and, on the last occasion, Mr. Edward Terry. 'The Association assists 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. Wm. 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. Wm. 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. .
CIRCUITS.
WHERE AND TO WHOM TO WRITE FOR ENGAGEMENTS*
FREDERICK BAUGH'S ENTERPRISES.— Foresters' Music Hall. (Telephone : Avenue 5954.)
BENNETT AND TOLFREE TOUR.— Hippodrome, Wakefield.
BLACK BROS. TOUR.— 47, North Bridge Street, Sunderland. (Telephone : 88 P.O.)
BOSTOCK TOUR.— Mr. E. H. Bostock, Zoo, Glasgow. (Telegrams : " Zoo, Glasgow." Telephone : 492 Douglas.)
BROADHEAD TOUR.— Mr. Percy B. Broadhead, Hippodrome, Hulme. (Telegrams: " Broadheads,
Manchester." Telephone : 7359 and 7360 Central.) HARRY DAY TOUR.— Mr. Harry Day, 1, Effingham House, Arundel Street, Strand, London-
(Telegrams : " Terpsichore, London." Telephone : 1500 Central ; 1009 and 6915 Gerrard.) T. ALLAN EDWARDES TOUR.— Mr. T. A. Edwardes, Grand Theatre, Derby. (Telephone: 193.)
KARNO TOUR.— Mr. Fred Karno, 28, Vaughan Road, Camberwell, S.E. (Telegrams: " Karno Camberwell, London." ^Telephone: 3550 Hop.)
KENNEDY TOUR.— Head Office : Empire, Smethwick. (Telephone : 127.)
LONDON THEATRES OF VARIETIES.— Mr. Charles Gulliver, Randvoll House, 39, Charing Cross Road, W.C. (Telegrams: " Randvoll, London." Telephone: 9870 Gerrard.)
MACNAGHTEN TOUR. — London : Oakley House, Bloomsbury Street, W.C. (Telegrams : "Cirvanmac, London." Telephone: 9167 Gerrard.) Provinces: King's Chambers, Angel Street, Sheffield. (Telegrams : " Macnaghten, Sheffield." Telephone : 3449.)
MIDLAND ELECTRIC THEATRES.— Empire, Shirebrook.
MOSS EMPIRES, LTD.— Mr. Frank Allen (Mr. Ernest Wighton, chief of booking staff), Cranbourn Mansions, Cranbourn Street, W.C. (Telegrams: " Twigsome, London." Telephone: 1050 and 1051 Gerrard.)
POOL.E TOUR.— Mr. C. W. Poole, Palace, Gloucester. (Telegrams: " Myrioama. Gloucester.' Telephone : 176 Gloucester.)
PRINGLE'S PICTURE PALACES.— Elm Row Picture Palace, Edinburgh. (Telephone : 288 Central. ) GEORGE URIE SCOTT TOUR.— Mr. G. U. Scott, 609, Gallowgate, Glasgow.
STOLL TOUR.— Mr. Oswald Stoll, Coliseum Buildings, St. Martin's Lane, W.C. (Telegrams : " Oswastoll, London." Telephone: 7545 and 7546 Gerrard.)
SYNDICATE TOUR (Mr. Leon Zeitlin).— 1, Durham House Street, London, W.C. (Telegrams: " Mimesis, London." Telephone: 2619 Gerrard.)
VARIETY THEATRES CONTROLLING CO., LTD. (Butt, Barrasford, De Frece Tour).— Mr. Paul Murray, Randvoll House, 39, Charing Cross Road, W.C. (Telegrams : " Yellit, London." Telephone : 9870 to 9875 Gerrard.)
LEON VINT TOUR. — Mr. Leon Vint, 142, Long Acre, W.C. (Telephone : City 9549. Telegrams: " Vinticon, London.")
F. VERNON WALFORD.— (Grimsby, Doncaster and Scunthorpe Palaces), 81, Victoria Street, Grimsby. (Telephones : 842, 155 and 816.)
ALBANY WARD TOUR.— Mr. Albany Ward, Jubilee Hall, Weymouth. (Telephone : 180.)
WILMOT TOUR.— Mr. Fred Wilmot, 33, Norton Street, Liverpool. (Telegrams : " Vacancies, Liver- pool." Telephone : 1758 Royal.)
THE STAGE YEAR BOOK.
129
PLAYS OF THE YEAR.
BEING A COMPLETE LIST WITH CASTS OP NEW PLAYS, SKETCHES, AND IMPORTANT REVIVALS AT THEATRES AND MUSIC HALLS IN THE UNITED KINGDOM DURING THE YEAR 1912.
The Copyright Act. 1911, came into operation on July 1, 1912, and amongst other things made performances previously known as stageright unnecessary and ineffective. Performances described as stageright in the following list are those which, taking place before July 1, were operative under the old Acts now repealed.
YDVEOTURE OF A'RISTIJ>E PUJOL, AN, comedy, in. one act, by William J. Locke. November 19.
Maid Miss Angela Lee Lewes
Aristide Pujol Mr. Leon M. Lion
Hear Schneider Mr. E. A. WarburUxn
Miss Chnistabel Smith . . Miss Anne Carew
Mr. Smith Mr. Fewlase Llewellyn.
Monsieur Poiiron Mr. Creagh Henry
Hon. Harry Ralston Mr. J. Woodall-Birde — Haymarket.
ADVENTURE OF LADY URSULA, THE, con- densed version, in two scenes, of Anthony Hope's four-act comedy. (Originally pro- duced October 11, 1608, Duke of York's.) (February 26, Hippodrome, Manchester.) April 22. Sir George Sylvester . . .Mr. Herbert Wiring
Mr. Dent Mr. Charles Ganry
Jack Castleton Mr. King Fordiham
Sir Robert Clifford Mr. Charles Staite
Mr. Warde Mr. J. K Macdonald
Mills Mr. Camplin Smith
Lady Ursula Bartrington
Miss Evelyn Mi Hard —London Coliseum.
ADVENTURES OF THE COUNT DE MONTE CRISTO, THE, version, by Walter and Frederick Melville, of Alexandra Dumas's romance, in a .prologue and four acts. October 9. Last performance (tfhe 77th). •December 14.
TROLOGDE.
Kdmond Dantes Mr. Lauderdale M ait land
M. Danglars Mr. Austen Milroy
Fernand Mondego .. Mr. Leyton Canceller
M. NoLrtier Mr. G. Mayor .Cooke
M. de ViUefont Mr. Felix Pitt
Caderousse Mr. J. T. Macmdllan
Gendarme Mr. Herbert Milton
La Carconte Miss Polly Marsh
Marie Mis* Isabel Roland
Mercedes Miss Frances Dillon
DRAMA.
No. 19
Abt>6 Busoni Jonannes
Mr. Lauderdale
Maitland
«| WJ.lUMiU.Ci3 i
Count de Monte Cristo I
Abb<§ Faria Mr. Fred D. Daviss
Fernand Mondego .. Mr. Leyton Cancellor
Baron Danglars Mr. Austen Milroy
M. N'oirtier Air. G. Mayor Cooke
M do Vill<?fort Mr. Felix Pitt
Oaderotiflse Mr. J. T. Macmillan
Adventures of the Count de Monte Cristo (continued). Albert de Morcert
Mr. R. Maurius St. John
Gendarme Mr. Spencer Carpenter
La Carconte Miss Polly Marsh
Mercedes Miss Frances Dillon
— Prince's.
AFTER A THOUSAND YEARS, miniature grand opera, in one scene, by G. H. Clutsam, book by T. B. Lightfoot. April 29.
Pharaoh's Daughter Miss Muriel Terry
Usuf Mr. Frederick Ranalow
— Tivoli
GOOD-NIGHT, comedietta, by Miss H. G. Willis. (Produced by amateurs.) August 2.
Mrs. Runnimeade Miss Sadler
Miss Alice Runnimeade Miss Tucker
Miss Florence Smith .... Miss H. G. Willis Rev. Geo. Weyland .... Mr. H. T. Tucker
Dr. Frank Hudson Mr. S. Gould
— Pier Pavilion, Shanklin
VFTER MIDNIGHT, play, in four acts. (S.P.. April 11, Shakespeare.) May 20. P.C. William Spearing Mr. Leonard Robsor.
Felix Vandyke Mr. Pringle Roberts
Jasper Vandyke Mr. Algernon Syms
P.C. Price Mr. J. W. Hooper
•Sergeant Briggs .... Mr. Fred C. B.ailey
Harrv Briggs Miss Marjorie Hayter
John Lawless Mr. W. Stevens
Ned the Looter Mr. J. G. Lowther
Gideon Ditton Mr. Percy Hall
Bill Figgs Mr. Fred Leonard
Jacob Kkxskovitch .. Mr. Herbert String
Miguel from Lisbon Mr. Harry Rope
Simpson Hawksley Mr. Stanley Liston
\ Starving Woman Miss Cissie Locke
Mother Cadsby Miss Lillie White
Mrs. Ftggs Miss Grace Collier
Ivy -Stickles Miss Alice E-sden
Ne'll Reward M.iss Grace Jones
—Shakespeare.
AFTER WORCESTER, one-act play, by Mrs. Stepney Rawson. December 19.— Queen's Gate Hall, W.
AGAIN A WOMAN, "problematical happen- ing," in one scene. 'September 23.
Judge Delaney Mr. Charles King
Billy Buckstone Mr. Bertram Burleigli
Nurse Miss Cissie Williams
Mrs. Dorna Kilbrook ..Miss Cissie Laweon — €auiberwell Empire
130
THE STAGE YEAR BOOK.
AGENCY, THE, comedy-sketch, in one act, by Laurence J. Clarence, July 10. Fred Hopkins .. Mr. Laurence J. Clarence Reggie St. John.. Mr. C. Lawford Davidson
Nugget Mr. Harry Grant
Herbert Castelloni-Smithers
Mr. Harold S. Snell
Edith Danvers .. Miss Rosamund Croudace —Clavier Hall, W.
A LA MORT, wordless play, in two episodes, January 15. — Canterbury.
AlLCEOTliS, of Eoiiripddes, reviva/l of the Elizabethan Stage Society's production for a series of eight performances, January 3.
—Little.
ALIAS MRS. FAIRFAX, one-act play by Geo. H. Jessop. February 12.
Nellie Vahsittart Miss Muriel Pope
Mrs. Fairfax Madame Moller
Julie Miss Eva Tumour
Mr. Harold Budd Mr. H. F. Maltby
—Gaiety, Manchester.
ALLAH'S ORCHARD, drama of the East, in four acts, by Emma Litchfield, October ?.
Prince of Borona Mr. Arthur Hinton
John Waring Mr. Eric Leighton
Mehnet Ali Mr. Trevor Assheton
Lieut. Herbert Trevelyn . . Mr. B. C. Wynn
Mirza ..". Mr. Edward Christopher
Tony Smart Mr. Alfred G. Raymond
Captain Forbes Mr. Forbes Harrison
Hassam Mr. Leonard Gardiner
Kafln Mr. W. Elliott
Kitty Carrington — Miss Evelyn Johnson
Donna, (Miss Pan line H-aydon<
Alzida Miss Gwen Kinross
Dorothy Tate Miss Ethel Monton
Eastern Nightingale Miss Olive Purcell
Florida Miss Bertba Felsing
Lizette Miss Kitty Thornton
Lulu Miss Rose Kocker
Greda JViss Norma Craig
Muriel Dugarde .. Miss Florence Zillwood —Elephant and Castle.
ALL MEN ARE FOO1S, ilay, an one act, by H. M. Vernon. September 19.
Colonel Hazeldon Mr. Clifford Brooke
Major Farnam Mr. Norman MacOwan
Hon. Percy Montrose .. Mr. J. V. Bryant
Tanda Mr. J. Morton
—Comedy.
ALL SOULS' EVE, one-tact pie<Jte, by the Marchiione'ss Townshend, invented and pro- duced by Nevil Maskelyne, May 7.
John Wire Mr. Chas. Glenrose
Sir Merrick Scmers Mr. W. Mayne
Barton Mr. Edward Morehen
Mrs. Bristow Mis? Nina Westerleigh
Anna Miss Glenrose
The Spirit Miss Mozart
—St. George's Hall, W.
ALL SOULS' EVE, one-act play, by Mrs. Ayton Gostling, December 6.
Gaud Mrs. Guy Michell
Francesca Miss Kitty Malcolm
Julian Fanti Mr. Beckingham Challis
—St. James's Hall, Worthing.
AMARILLA. Gipsy ballet, with music by Gliazounov, Drugo, and Dorgovousky. June 5 (matinee).
—Palace.
AMAZONS, THE. Revival of Sir Arthur Pinero's farcical romance, In three acts (Originally produced March 7, 1893, Court.) June 14. Last performance (the 120th) September 27. Galfred, Earl of Tweemwayes
Mr. Weedon Grossmith Barrington, Viscount Litterly
Mr Godfrey Tearle
The Amazons (continued). Andre, Count de
Mr. Dion Boucicault Rev. Roger Minchin — Mr. Berte Thomas
Fitton Mr. Duncan McRae
Youatt Mr. Lichfield Owen
Orts Mr. J. WoodaU-Birde
Miriam, Marchioness of Castle Jordan
Miss Ellis Jeffrey? Lady Noe-line Belturbet
Miss Phyllis Neilson-Terry Lady Wilhelmiua Belturbet
Miss Pauline Chase Lady Thomasin Belturbet ..
Miss Marie Lohr
" Sergeant " Shuter Miss Ruth Mackay
— Duke of York's.
AMOUR DE PIERROT, L'. Operetta, libretto by Edith Carter, music by Margery Barras. October 17.
—Clavier Hall, W.
ANGEL OF GRIEF, AN, an episode of the Peninsular War, in one act, by Lady Katherine Milnes Gaskell. December 28.
Suzanne de Saumarez Miss Eva Stuart
Jeanne Miss Florence Harcourt
Charlie Corbet Mr. Harold Neville
— Royal, Bury St. Edmunds.
ANNETTE, play, in one act, by Frank Macrae. (Produced by the Black Cat Club.) De- cember 21.
Gerald Mildmay Mr. Arthur Vezin
Effie Ellerton Miss Kitty Trevail
Annette Miss Mona Maugh an
—Rehearsal, W.C.
ANN. Modern comedy, in three acts, by Lech- mere Worrall. June 18. Transferred to the Court, September 16. Last performance (the 115th) September 27. The Very Rev. Samuel Hargraves
Mr. E. Holm an Clark
Edward Hargraves Mr. Basil Hallam
" Billy " (William Lloyd)
Mr. A. Hylton Allen
Mrs Hargnayes Miss Fay Davis
Evangeline Lipscombe Miss Jean Cadell
Ann Anning Miss Renee Kelly
— Criterion.
ANOTHER DOG STORY. Preliminary perform- ance of a comedy sketch, in three scenes, by Walter Bevan and Percy Jordan. July 27. — Lyric, Hammersmith.
ANTJE. Play, in one act. m German, by Bruno Kohler. (Produced by the Connois- seurs.) June 23.
Klauss Andrees Herr Helnrich Victor
WilheJm Klemm Herr Gerard Weiss
Widow Nedel Fraulein Elsa Lessing
Johanna Fraulein Rita Mann
Antje Fraulein Lena Wirth
—Little
ANYBODY'S WIFE. Preliminary performance of a drama, by Kennedy Allen. Novem- ber 22.
—Hippodrome, Bolton.
APPLE OF EDEN. THE. First performance in the West End of the romantic play, in four acts, toy G. Carliton Wallace. (Originally produced August 22, 1910. Elephant and Castle.) April 17- Last per- formance (the 63rd) June 8.
Julian Hambury Mr. Henry Lonsdale
Robeirt Bertram Mr. Fred Ingram
King Ferdinand of Sliavonla
Mr. Stephen E. Scanlan
Prince Nicola Mr. Fred Morgan
General Pavlos ....Mr. Edward Valentine
Colonel Ferat Mr. Henry Chalmers
Vassili Mr. Lionel Braham
Zlatan Mr. Percy Baverstock
Stefan Mr. Herbert Williams
A Sentry Mr. P. G. Marler
THE STAGE YEAR BOOK.
131
The Apple of Kdrn (continued).
Lady Hanbury Miss Annie Hill
Winifred Cresson Miss Alice Bowes
Anna Miss Ethel Bracewell
Queen Margaret of Slavonia
Miss Nora Kerin — Pdmce's.
APPROPRIATING ANTHONY, a farcical act, by Carol Cartwright. (Produced by the Rehearsal Theatre Introductory Coy.). May 11.
Anthony Marsh Mr. George Hinchliff
Jim Kennedy Mr. Fred W. Avison
Lisette Harding .... Miss Carol Cartwright
Marion Harding Miss Emily Avison
Mrs. Marsh Miss Averil Dane
—Rehearsal.
RT AND OPPORTUNITY, comedy, in three acts, /by "HaroUid' Ohapimj. September 5. (Last performance <the 115th), December 14. Algernon Horatio Gossamore
Mr. W. Graham Browne George Frederick Gossamore
Mr. Charles V. France Algernon George Frederick Gossamore
Mr. Edmond Breon Henry Bently, M.P. ..Mr. Norman Trevor
Tenby Mr. Horton Cooper
Lady O'Hoyle .... Miss Kate Serjeantson
Pauline Cheverelle .. Miss Marie Tempest
—Prince of Wales's.
ARTFUL ALFRED, a farcical sketch. (Nov. 11, Camberwell Empire.) October 14.
George Gadd Mr. Wilton Heriot
Mrs. George Gadd Miss Jean Gilmour
Alfred Master Jack Coyle
—Empire, Southport.
AS ONCE IN MAY, costume episode, by Violet Gibbons. April 11. Lady Katherine Grandison
Miss Violet Gibbons
Sophia, her niece.. Miss Dorothie Pidcock
Sir Benjamin Portly .. Mr. J. S. Gibbons
— Boddington, Cheltenham.
AS OTHERS SEE US, comedietta, by R. N.
Higginbotham. April 18.— Royal, Colchester.
ASPIRATIONS OF ARCHIBALD, THE, play,
in one act, by E. Ion Swinley. (June 28,
909, Devonshire Park, Eastbourne). July
Evangeline Ashleigh
Miss Florence M. Watson
Nance Piggott. .Miss Marjorie E. Theobald
Archibald Ashleigh . . Mr. Frederic Ward
—Clavier Hall, W.
AT APHRODITE'S TEMPLE original play in one act, by Frances' A. McCallum.' (Produced by Amateurs.) April 19. Eros (in Prologue)
Master Horace Townsend
Harmion Mr. Godfrey Downing
Orcias Mr. Aysh Hawke
Glaucus Mr. Hugh Gordon
Ly.c"s, Mr. E. Carl Theelke
1st Messenger Mr. Keith Swain
2nd Messenger Mr. Leslie Booth
Narsia Miss Dorothy Townsend
Helena Miss Hilda Knight
Astne.a Miss Helen McCallum
Miss Elsie Dunning
Miss Winnie Saunders Miss Mabel Townsend
lst Lady Miss Daisy Martinson
—Public Hall, West Norwood. ARABELLA, modern comedy, in three acts, by George Reston Malloch. October 8. rhomas Wentmore .... Mr. George Owen
Philip Ronaldson Mr. A. V. Bramble
Robert Bond Mr. Leigh Lovel
Mr. Perowne Mr. Campbell Cargill
Mr. Temple Mr. W. H. Garbois
Arabella (continued).
A Servant ............ Mr. Gerald Jerome
Arabella ........ Miss Octavia Kenmore
Margaret Russell — Miss Hilda Kenyon Mrs. Perowne ........ Miss Barbara Fenn
Mrs. Riraington ____ Miss Edith Fitzgerald
A Maid ........ Miss May Edward Saker
— Court.
ARABIAN VENGEANCE, AN, romantic spec- tacular drama, in four acts, by Ward Bailey. (June 24, Empire, Southend). July 1.
Beni El Hamid — Mr. George Arthur Abdurrah Ben Hazar..Mr. Chas. Chandler Jhaal ........ Mr. Matthew H. Glenville
Salem Gondar ...... Mr. Poison Turner
Sheik Albarah ...... Mr. Vincent Harvey
Khassim ............ Mr. Victor C. Rolfe
Mustapha ................ Mr. Lance Usher
Ali ...................... Mr. Bob Mann
Jachid ................ Mr. Jack Topping
Gasler ................ Mr. Lewis Gordon
Yussuf .............. Mr. Richard Hutton
Jaffar ................ Mr. George Organ
Nekayah ............ Miss Daisy Forrest
Jadie .................. Miss Flo Hasling
Yaluari ............ Miss Violet Sterling
Beydah .............. Miss Bettie Bowers
Leila ................ Miss Hattie Hanson
Miriam ............ Miss Maggie Hobart
Zenobia ................ Miss Ethel Kensley
—Royal Stratford.
ARMS AND THE GIRL, comic operette, in two scenes, music by Richard Fall, book by Austen Hurgon. April 29. Sergeant-Major John Water
Mr. G. P. Huntley Elsie Manners ........ Miss May de Sousa
Margaret McCurdie .... Miss Jean Aylwin
Capt. Tresham ........ Mr. Ivor Walters
Nancy Tresham ........ Miss Babs Taylor
General Sir John Bywater
Mr. Drelincourt Odium Col. Masterman .......... Mr. Fred Ring
Lieut. Randall .......... Mr. C. Walter*
Lady Bywater .......... Miss Lilian Talbot
Joan Winterton ...... Miss Nancy Malone
Doris Randall ........ Miss Phyllis Shale
—London Hippodrome.
AT BAY, amateur production (first time in London) of a drama, in one act, by H. Marriott Watson and G. W. Raper Bingham. February 27. Grant Corfield .... Mr. W. Harold Squire
A Waiter ............ Mr. R. W. Windus
A Detective .......... Mr. Robert Baines
Nina Courtfield ........ Miss Kate Harris
— Court.
AT POINT O' BUGLES, episode, founded on a Canadian story, by Sir Gilbert Parker. October 17.— Clavier Hall, W.
AT SILVEfR GREEK, American cowbov sketch, in three scenes, written by C. Shir- ley and E. Thane, with music arranged by Charles Johnson. April 1. Tim Fenner .......... Mr. H. Lame Bayliff
Ned Mason ............ Mr. F. W. Onann
Steve Weyibrid/ge .. W. Henry Hargreaves 5.eimis .................. Mr. James Skea
.. Jack, Dandy George, Sonny'.. Mr
Mr. A. Curwood Miss Helena Millais --Empress, Brixton.
X¥Sv^vE-3i£
132
THE STAGE YEAR BOOK.
At the Barn (continued). Austin Crane William Lewis . . . Duncan Stewart
Knowles
E'ttpbeanja Oawes
Linda Moore
Grace Trevelyan Motllie Blair . .
Mr. Charles V. France
Mr. Ernest Mainwaring Mr. Ben Field
.... Mr. Charles Weir . Mass Kate Serjeantson
Miss Marguerite Leslie Miss -Dorothy Bell
. . . Miss Marie Tempest —Prince of Wales's.
A'T THE SIGN OF THE "TWO CvROWS," .play, in one act, toy Alex. Maclean. June 10. Captain Dick Trevor.. Mr. J. Henry Twyford Silas Locke .... Mr. J. Littleton Holyoake
Lady Cihilcott Miss 'Mary Palmer
Betty Locke Miss Lottie Watts
-^Devonshire Park, Eastbourne.
AUNT BESSIE, comedy, in one act, by Wil- fred T. Calefby. (September 28.
Mr. Gibson Mr. D. Munroe
Fred Chayter Mr. Arthur Curtis
Emily C. Boucher Miss Mabel Garden
Mrs. Gibson Miss Joan Blair
—Playhouse.
AUTOCRAT O(F THE CO'FflTEE STALL, THE. London production ('by the Play Actors) of & one-^act play by Harold Chapin. May 19. A Coffee iSitaill Keeper.Mr. Fewlass LleweJlyn
Bert Mr. Lancelot Lowder
Sam Mr. Telford Hughes
A Humorist Mr. George Tawde
The Autocrat Mr. Norman MaoOwan
A Reservist Mr. Harold Chapin
—Court.
AUTUMN H>Y(LL, AN, ballet, arranged Iby Miss (Ruby Ginner to music by Choipin. June 25.
The Autumn Leaf Miss Rulby Ginner
The Wand Mr. Alan Trotter
-^Savoy.
AUTUMN MANOEUVRES, " play with music," adapted to the English stage by Henry Hamilton from the German of Karl von Bakony and R. Bodanski, with music by Emearich Kalman, and lyrics by Percy Greenback, May 25. Last performance (the 75th) August 10. Captain Frank Falconer.. Mr. Robert Evett
Oswald Orde Mr. Lionel Mackinder
Col. Annesley..Mr. A. Bromley Davenport
Captain Devenish Mr. F. W. Russell
Thorpe Vereker Mr. Audley Willis
Charles Tremayne. .Mr. Cuthbert Montague
Corporal Keltett Mr. Cecil Curtis
Major-General Pomeroy..Mr. Edward Sass Sgt.-Major Sykes....Mr. Leonard Mackay
Waterman Mr. E. H. Wynne
Jephson Mr. George Bellamy
Captain Withers Mr. Huntley Wright
Alix Luttrell Miss Phyllys le Grand
June Pomeroy Miss Daisy Elliston
Lady Ulleswater Miss Hilda Antony
Mary Medhurst Miss Leila Griffin
Mrs. Ley land-Holt Miss Ann Cleaver
Claire Ingleby Miss Ruby Kennedy
Sybil Houghton Miss Dora Fraser
Jean Ogilvie Miss Gipsy O'Brien
Lady Larkins Miss Grade Leigh
— Adelphi.
AWAKENING OF HELENA RITCHIE, THE, play in four acts, by Margaret Deland and Charlotte Thompson. October 7.
Dr. Lavender Mr. William Lugg
Dr. William King.... Mr. Lancelot Lowder
Samuel Wright, -Senr Mr. J. J. Daly
Samuel Wright, Junr..Mr. 6.-H. Mulcaster
Lloyd Prior Mr. Charles Garry
David Miss' Joyce Robey
Martha King Miss Louisa Gourlay
Sarah Miss Irene Moncrieff
Helena Ritchie Miss Olga Nethersole
—Prince of Wales'B, Birmingham.
'AWKIN'S ORDEAL, episode of coster life, dramatised from Hubert Bartlett's story, "Henry 'Awkin's Ordeal." March 4.
'Enery 'Awkins Mr. Hubert Bartlett
Dr. Lepard Mr. Charles Olive
Emma May Hawkins — Miss Cissie James
Night Sister Moss Edith Muir
D,a.y iNniT.se Miss Valle"
—Edmonton Empire.
AXES TO GRIND, one-act play, by Max Bit- tenberg. July 21.
Mortimer Shane Mr. Otto Mathiesen
Elsa Miss Edith Edwards
Bessie Miss Mimi Raydor
Josiah Osborne Pigott..Mr. Basil Osborne — Rehearsal.
AYESHA, romantic Indian drama, in two acts, by H. N. Maitra and N. Pal, based upon the novel, " Durgeshnandini," by the late B. C. Chatterjee. June 6. A»,aja Virendra Singh.. Mr. G. W. Hodgsoi. Maharaja Man Singh.. Mr. Harendra Maitra
Prince Jagat Singh Mr. T. Stevenson
Raja Amar Singh Mr. M. S. Master
Kumar Dharam Singh Mr. N. Mitter
Raja Josovanta Singh.. Mr. R. L. Khastgir
Abhiram Swami Mr. W. Macdonald
Gajapati Vidya Diggaj..Mr. Binal Ganjuli
Nabab Katlu Khan Mr. S. K. Roy
Osman Khan ..Mr. Richard Young
Rahim Mr. Bholanath
Vizier Mr. G. W. Hodgson
Temple Keeper Mr. Sree Kanta
A Pathan Soldier M/r. Meena Chur
Zenina* Miss Margaret Allen
Sakina Miss Ida Ewan
Asmani Miss Florence Albany
Bimala Miss Tina Martini
Tilottama ' Miss Gladys Gill
Ayesha Miss Irene CLarke
—Whitney.
BACHELOR'S TWINS, THE, American farce comedy, played for the first time in Eng- land. February 26.
— Camberwell Empire.
BAD DREAMS AND GOOD FAIRIES, fairy play, hy the Rev. Father Sellon. Novem- ber 15-
—St. Albans Hall, North Finchley.
BAKER STREET MYSTERY, THE, "an epi- sode from an incident in Lama's and Cham- ber's series of mystery, adapted by Mrs. Richard Pole," December 2.
— £outh London.
BARBARA GROWS UP, a comedy, in three acts, (by George J. Hamlen (September C, 1909, Royalty, Glasgow). November 12. Barbara Morrison ....Miss Mary O'Farrell
Janet Miss Jean Cadell
Kenneth Morrison Mr. C. M. Hallard
Andrew Purdie Mr. Ian 0. Will
Margaret Morrison ..Miss Sybil Carlisle
Mrs. O'Brien Miss Daisy Maynard
Barney O'Brien .. Mr. Alexander Bradley
— Litt'e.
BARBER OF (SEVILLE, THE, Mr. Laurence Irving's production of his own version of Beaumarchais's work. July 25. Count of Almaviva . . Mr. Laurence Irving
Figaro Miss Mabel Hackney
Doctor Bartholo Mr. Lionel Braham
Don Basilio .Mr. Charles Trevor
An Alguazil Mr. Wilfred Fletcher
A Notary Mr. James Stanners
A Constable Mr. James Skea
Gil Mr. Wentworth Fane
Alphonso Mr. Robin Shiel's
First Watchman Mr. Azooma Sheko
Second Watchman Mr. L. Barnet
Rosina Miss Pauline Hugen
Marcellina Miss Florence Mitchell
Juanita Miss Winifred Turner
— Opera House, Harrogate.
THE STAGE YEAR BOOK.
133
BARGEMAN'S DERBY, THE, scena, by Her- bert C. Sargent and Leedham Bantock. April 29. See also COALS TO NEW- CASTLE.
Timothy Mr. Lcedhain Bantock
Alice Miss Violet Lindsay
Peter Mr. J. .Tamo
Heritor Himself
Lulu Mr. John Humphries
—Palladium.
BARRIER, THE, four-act drama, from the novel by Rex Beach, of life in Alaska. (July 15, Kelly's, Liverpool,). November 18.
John Gale Mr. Stanlej Bedwell
Dan Stark Mr. Richard Hicks
Runiiion Mr. Arthur Leigh
"No Creek" Lee Mr. C. C. Grattan
Napoleon Doret Mr. Charles Barrett
Captain Burrel Mr. Louis Hector
Corporal Thomas Mr. Harry Morgan
Trooper Mr. Aries Conway
Pete Mr. B. Colenzo
Necia Miss -Jessie Belmore
Alluna Miss Florence Tressillian
—Elephant and Castle.
BASIL DUNTHWAITE COMES HOME, play, in one act, by Godwin Bulger. July 8.
Basil Dunthwaite Mr. Arthur Chesney
Mrs. Dunthwaite ..Miss Evelyn Martheze
Eric Duntbwaite Mr. Ronald Squire
George Harris wood, J.P.
Mr. J. Patric Curwen Amy Harriswood. .Miss Thelma Marchmont
Barton Mr. J. Dodd
— Winter 'Gardens, New Brighton. BASTIEN AND BASTIENNE, pastoral opera, in one act, by Mozart; English version by S. Langford. October 21.
Bastien Miss Elsie Gough
Bastienne ..Miss Theresa M. Schlagintwett
, Colas Mr. Hamilton Harris
—Gaiety, Manchester.
BEAR LEADERS, THE, farcical comedy, in four acts, by R. C. Carton. February 1. Last performance (the 200th), July 30. Duke of Gallminster . .Mr. Spencer Trevor Sir Kennedy Loomes ..Mr. Ashton Pearse
Horace Beckton Mr. Robert Horton
Edward Petworth Mr. Donald Calthrop
Mr. Felgate Mr. Fred Lewis
* Anatole Durocq ..Mr. Michael Sherbrooke
Byles Mr. E. F. Mayeur
Rawdon Mr. C. Lascelles
Stanhope Molyneux ..Mr. Edmund Gwenn Dowager Countess of Grimsdal
Miss May Whitty Lady Marjorie Hillborn
Miss Muriel Martin Harvey
Lady Tuddenham Miss Mary Brough
E vadne Tu ddenham
Madame Mescale ....Miss Ada Webster
Lloyd Miss Margaret Chute
Mrs. Stanhope Mo'yneux . .Miss Compton —Comedy.
BEASTIE, one-act play, by Hugh de Se"lin- court. (Produced by the Pioneer Players.) December 15.
Johnnie Grant Mr. Geoffrey Denys
Jessie Grant Miss Hilda Bruce Potter
Ellen Smith Miss Frances Vine
—Little.
BEFORE AND AFTER, sketch, in one scene, by Lawrence Cowen'. June 24.
Mr. Sinkins Mr. Wilfred E. Shine
Mrs. Gunn Miss Polly Emery
—London Pavilion.
BEFORE BREAKFAST, comedy, in one act, by K. G. Sowerby. May 2.
Mrs. Gray Miss Eugenie Vernie
Snee Mr. John Harwood
Jinny Miss Vera Cobjirn
George Linton .. Mr. Lawrence Anderson
BEHIND THE FOOTLIGHTS, play, in one act, written by Mrs. B. Robertson (produced by amateurs). November 13.
Carlotte Snook Miss M. Poore
Daisy Jenkins Miss N. Wavell
Sophrona Jones Miss J. Reynolds
Lord CarrIngton..Col. Norton Knatchbul Hon. Wm. Carringtou
Mr. E. M. J. Robertson
Bob Merton Major H. G. S. Young
—Assembly Rooms, Andover, BEN-HUR, revival of Wm. Young's drama- tised version of Lew Wallace's novel (ori- ginally produced April 3, 1902). April 1*. Last performance (the 74th), June 23. CHARACTERS IN THE PRELUDE.
Balthazar Mr. Clifton Alder-son
Gasp-ar Mr. Charles J. O'Brien
Melchior Mr. William Markham
CHARACTERS IN THE DRAMA.
Ben-Hur Mr. Arthur Wontner
Simonides Mr. Charles Rock
Ilderim Mr. Frederick Ross
Messala Mr. Reginald Owen
Balthazar Mr. Clifton Alderson
Arrius Mr. Alfred Bucklaw
Malluch Mr. Frank Tennant
Hortator Mr. Edward 4rundell
Khaled Mr. Robert Brownlow
Sanballat Mr. Frank Collins
Drusus Mr. Austin Melford
Cecilius .* Mr. Stuart Musgrove
Metellus Mr. Philip Desborough
Centurion Mr. Charles Hinton
Officer of the Galley .. Mr. James Baxter Iras Miss Ethel Warwick- Mother of Ben-Hur Miss Kate Rorke
Esther Miss Jessie Winter
Amrah Miss Marie Housley
Tirzah Miss Maxine Hinton
— Drury Lane.
BEN-MY-CHREE, revival of the romantic play, in five acts, by Hall Caine and Wilson Barrett. (Originally produced at the Prin- cess's. May 17, 1888). July 3. Last perform- ance (the 110th), October 5.
Dan Mylrea Mr. Lauderdale Maitland
Ewan Mylrea Mr. Austen Milroy
Thorkelf Mylrea Mr. Felix Pitt
Gilchrist Mylrea Mr. William Lugg
Davy Fayle Mr. Austin Melford
Billy Quilleash Mr. Edwin Gritfen
Ned Teare Mr. Ronald Adair
Jim Callow Mr. H. Smith
Michael Looney Mr. William Allen
Jabez Gawn Mr. Wilson Blake
Mr. Harcourt Mr. Leyton Canceller
Jem Curphey Mr. Raymond Wood
Hommy Beg Mr. J. T. Macmillan
Coroner Mr. Charles Cleveland
Kitty Miss Alice Belmore
Liza Teare Miss Betty Melton
Nancy Miss Peggy kelson
Kathleen Miss Marjorie Day
Mona Mylrea Miss Jessie Winter
—Prince's.
BERUHMTE FRATJ, DIE (The Famous Wife). The Deutsches Volkstheater West Londons (Deutscher Biihnen-Verein) produced the comedy, in three acts, by Franz von Schon- than and Gustav Kadelburg. April 28. Baron Romer-Saarstein .. Herr Max Sylge
Acnes Mrs. Alix Grein
Herma Fraulein Hedda Kostner
Wally Fraulein Hedwig Rohmann
Ulrich von Traunstein. .Herr G.T.Lambert
Paula Hartwig Frau Olga Sylge
Ottilie Friedland Fraulein Else Fink- Count B<?la Pdlmay .... Herr Paul Nathell Prof. Georg Ziegler
Herr Alfred Goltermann Fraulein Seem ann. .Fraulein Olga Romberg
Anton Herr Richard Miiller
Betty Fraulein Marie Rohne
—Court.
134
THE STAGE YEAR BOOK.
BESIDE THE BONNIE BRIER BUSH, London variety production of John Clyde's adap- tation. December 2. — South London.
BESSIE, THE DAUGHTER OF THE BLIND BEGGAR OF BETHNAL GREEN. Musical play, by Walter Emden, music by the Rev. B. Smyth. August 28.— St. Margaret's, Dover.
BETRO'TBAL OF NUMBEIR 13, THE, tragedy, in one act, by Mabel dapper. October 8.
Mary Miss Dulcie Greatwich
Mrs. Barker Miss Barbara Fenn
A Woman Miss Katherine Maynard
Jim Barker Mr. Campbell Cargill
A Policeman Mr. W. H. Giarbois
A Man Mr. Gerald Jerome
— ^Court.
BETTER MAN, THE, dramatic sketch, in one scene, by Alfred Toose". August 26.
Bill Mac-Govern Mr. Serge Courtney
Kate Miss Agnes MacCarthy
Frank Shanley Mr. Arthur West
Shorty Mr. Jack Hutchins
— Camberwell Empire.
BETTY 'IS (LITTLE JOKE, musical comedietta, in three scenes, by Bertram Wallis, musi- cal numbers by Cola Robinson. May 27. The Duke of Wallingford
Mr. Bertram Wallis Sir Geoffrey Molynenx, Bart.
Mr. Ridgwell Cullum
Tom Stout Mr. Leonard Calvert
(Runicles .... Mr. Hugh Wright
Betty Molyneux .. Miss (Elizabeth Rifidon
Sally Stout Miss Lily Maxwell
—Palladium.
BIETWEIE.N FIVE AiND SEVE.N, incident, by John N. Raphael. November 25.
iRupert Mr. Gerald Ajnes
Giulia Miss Marion Munro
Phyllis Grey Miss Ruby Miller
— Tivoli.
BETWEEN THE ACTS, one-act play, by Max M. Simon. June 24.
Harold Mr. F. Rabin
William Mtr. F. C. Leister
Marie Miss Beatrice Grosvenor
Manager Mr. Sidney C. Sinclair
Olivette Mme. Malvine Label
— London Coliseum.
BEWAKE O'F LODGEIRS, comedy sketch. (Stegeright production .) February 3.— Grand. Nelson.
BHANCA, one-act drama, by "X." (Pro- duced by the Black Oat Club.) April 23.
Biianca Miss Adrienesse Clark
Matteo Mr. Launcelot Lowder
Oarlish Mr. Harry Turrill
--Clavier Hall, W.
BIAS OF THE WO'RUD, THE (LOiS INTE- iREISEiS GREIADOS), puppet play, in three scenes, by Jiacinto Bemavente, translated by Francesch de Ros and Beryl de Zoete. (Produced by the Stage Society.) May 6.
Xreandro Mias Mary Barton
Crispin Mr. W. G. Fay
Hoist Mr. Edmund Gurney
1st Inn Servant Mr. J. R. Collins
2nd Inn Servant Mr. Telford Hughes
Harlequin Mr. Shakespeare Stewart
Captain Mr. George C. Browne
Dona Sirema Mrs. F. R. Benson
Columbine Miss Beatrice Collier
1/aura Miss (Eve Erskine
iRisela Miss Etvelyn Martheze
Punchinello Mr. Herbert Bunston
Mistress Punchinello
Miss Violet Farebrother
Silvia Miss Nell Carter
Pantaloon Mr. Ivan Berlya
Doctor of Law Mr. Athol Forde
Clerk ...„ Mr. E. Cresfan
— Prince's.
BIFF, comedy sketch, by F. Kinsey Peile December 2.
Constance Miss Lottie Venne
Jack Mr. F. Kinsey Peile
—Chelsea Palace.
BIGAMIST, 'THE, play, in one act, By Fre- derick Ward. October 3.
Jess Miss Edith Carter
Annie Miss Daphne Crawford
Jim Mr. Reginald Master
'Liz Miss Marjorie Theobald
—Clavier Hall, W.
BIG GAME., play, in four acts, 'by Sidney WentwortJh Carro.ll. July 8.
Mrs. Grimshaw Miss Marion Terry
(Rita Morrison Miss Lettice Fairfax
Mildred Carruthers .. Miss Dorothy Davis Lizzie Hopton .... Miss Beatrice Manning
Kitty Miss Eileen Esler
Maid Miss Josephine Garrett
Edward Grimshaw .. Mr. Clifton Alderson
Dr. Doyle Mr. Arthur Whitby
Charles Geddes Mr. Douglas Imbert
Julian Ross .... Mr. Dennis Neilson-Terry -^Devonshire Park, Eastbourne.
BIG HOUSE, THE, stageright production of a sketch in throe scenes, by Fred Karno Herbert Sidney, and Albert Bruno'. March 1 :—
Moggs, the porter Mr. Albert Bruno
Joshua Niggs, Chairman
Mr. William Chewd John Puddler, inmate .... Mr. Geo. Daiper
Pipp, solicitor Mr. Bert Crewe
Grammap, inmate .... Mr. Fred Newham
Nutts, guardian Mr. Jack Sinclair
Jane B!omtosh Miss Julia Bassett
Mary Miss Lydia Weber
—Hippodrome, Aston.
BIG RACE, THE, sketch by Robert Higgin- botham. February 22.
Erskine Mr. Fredk. Meads
Do.iglas Mr. Wm. Podmore
Aunt Pa n Miss Sylvia Dawson
—Tivoli, Manchester.
BILL ADAMS, THE HERO OF WATERLOO, " whimsical musical extravaganza," ;n two acts, book and lyrics by Reginald Bacchus, Herbert Shelley, and Alexandre Dome, music by Stephen R. Philpott. April 22. General Sir Binga Barr
Mr. J. Ellis Preston
Duke of Brighton Mr. Robert Selby
Major Choux d© .Bruxelles
Mr. C. A. Stephenson
Lightning Mr. Chas. Dent
O'Malley Mr. Jack Salter
Farrier Mr. Wm. Johnson
Rajah of Poonah Bey . . Mr. Alfred Ware
Microbe Master T. Edmonds
Bill Adams Mr. Edward Lauri
Lady Binga Barr Miss Amy Venimore
Mimette Miss Dorothy Gould
Marguerite Miss Ciceley Lowe
Margot Miss Rosali Jacobi
— Crouch End Hippodrome.
BILLY, farce, in three acts, by " George Cameron." April 6. Last performance (the 16th) April! 19.
Billy Hargrave Mr. A. E. Matthews
John Hargrave Mr. Athol Forde
Sam Eustace Mr. Robert Averell
Captain Ransome Mr. A. Wheatman
Dr. T. H. Rehun Mr. Peter Blunt
'Erb Mr. John Harwood
Bill Mr. Arthur Cleave
Steward Mr. Lawrence Anderson
Auctioneer Mr. Ernest Graham
Alice Hargrave Miss Maidie Hope
Mrs. Hargrave Miss Emma Chambers
Mrs. Sloane Miss Florence Haydon
Beatrice Sloane Miss Vera Coburn
Stewardess '. Miss Marianne Caldwell
—Playhouse.
THE STAGE YEAR BOOK.
135
BIRTHRIGHT, THE, play, In three acts, by Jan Paulus (produced by the Adelphi Play Society). February 25.
John Morton Mr. Jules Shaw
Miss Ful'er Miss Margaret Boyd
James Palmer Mr. Leonard Calvert
Clerk Mr. R. E. Pickering
Paul Strelski Mr. Maurice Elvey
Philip Morton .... Mr. Lawrence Anderson
Mary Willis Miss Lisa Macready
Mrs. Willis Miss Madge Spencer
Catherine Markoff .. Miss Mary Mackenzie
Mr. Ankerage Mr. Leslie Gordon
Mr. Williams Mr. Thomas B. Simmons
—Little.
BISCAJESA, LA, dancing scena, by Achille Vi-ensi, A 11 cru^ t 5. Biscajesa Gitana..Mlle. Mana Dobromilove
Pablo M. Achille Viseusi
Officer of Gendarmes
Mile. Louisa Dobremysl
Gipsies :— Miles Martinee. Joseph Muller,
Vasslar Kolina, Bohlan Likora, Frantisek
Balek, Vaczlav Fabian, Frantisek Zdisnal,
Louis Veselz. —London Hippodrome.
BIT OF A RISK, A, one-act episode, by Charles Rock and Wallett Waller. 'February 26. Arthur Ashworth .... Mr. Edward O'Neill
Mabel Ashworth Miss Cybel Wynne
Jobson Mr. Hubert Willis
Steve Crawley Mr. Charles Rock
— Alhambra.
BIT OF BLUE RIBBON, A, one-act comedy, by E. M. Thorpe (produced by the On- oomers' Society). Jame dS. Madeline Brunton
Miss Alice Clayton-Greene
Sarah Miss Ethel Hart
Geoffrey Brunton Mr. Wyn Weaver
-Little.
BITS OF DRESDEN, ballet fantasy, by John Tiller, music composed by Max Steiner. (Presented at the Palace December 23 as A DRESDEN FANTASY.) July 8.
Rtrp<nhon MIFS Nora Desmond
Ph ill's Miss Maggie Smythe
Cupid Wee Nora
— Winter Gardens, Blackpool.
BLACK HORROR, THE. sketch, in three scenes, by Cameron Matthews. September
Marian Haver. sham
Miss Jessamine New com be
William Morrison Mr. H. Arkwright
(Reuben Mathew Mr. R. Illington
Hellfire Sam Mr. S. Corahffl
Dr. Harwick Mr. GeoTge Drummond
Tneophilus Calder Mr. Harry Copley
Bettv Miss Katie Monria
John Armstrong .. Mr. Cameron Matthews —Edmonton Empire.
BLACKMAIL, sketch, in one act. by Richard Harding Davis. (January 6, 1913, Victoria Palace.) June 17.
Richard Fallen Mr. Guy Standing
Lou Mohun Mr. Norman M'Keown
Leonard Mr. Charles Troode
Helen Howard Miss Dorothy Hammond
— Alhambra, Glasgow.
RL1XD GIRL'S LOVE. A. romantic musical drama, in three acts and a prologue, by 'H. F. Housden. (S.P., (March 8, Coloseum. Oldham.) Jirlv 16.
Characters in, the Prologue.
Gustav Telmar Mr. Elton Morgan
Germaine Miss Flo Norman
George Carfax Mr. Georcre Steel
Alice Carfax Miss Goldie Melnotte
Louise, their Baby Little Edna
Juan Fernandez.. Mr. Norman A. Overton Jagon Mr. Wallace Bruce
A Blind GHrl'a Love (continued).
Characters in the Play.
Gustav Telmar Mr. Elton Morgan
Germaine Miss Flo Norman
Juan Fernadez Mr. Norman A. Overton
Peter Mr. Willie Reid
Paul Mr. Artie Francis
Gerald Carfax Mr. George Steel
Gaston Mauritz Mr. Issherwood
Cora Clenrarte Mis.s Adeline Rabys
Coquette Miss Cherrv Va heyne
Louise Miss Goldie Melnotte
—Elephant and Castle.
BLINDNESS OF VIRTUE, THE, play, in four acts, by Cosmo Hamilton, January 29. Last performance the 71st) March 29. The Rev. Harry Pemberton
Mr. Charles Kenyon The Hon. Archibald Graham
Mr. Owen Nares.
Collins Mr. Leonard Calvert
Mrs. Pemberton Miss Beryl Fabe^
Mrs. Lemming Miss Dora Harker
Mary Ann Lemmins Miss Leicester
Cookie Miss Polly Emery
Effle Pemberton Miss Margery Maude
—Little.
BLUEBOTTLES, comedy sketch, by Herbert C. Sargent. (December 16, Hippodrome, Brighton.) December 23.
Richard Clayton Mr. Bert Roper
Elsie Clayton Miss Mamie Thome
Lisette Mile. Ric Costa
Inspector Gale Mr. Harold B. Lewis
Bill Barnard Mr. Adolph Luck- Jimmy Josser Mr. Ernie. Lotinga
—Palladium.
BLUE HOUSE. THE, musical " laundriette," music, by Emmerich Kalman. book, lyrics, and production by Austen Hurgon. Octo- ber 28. Hon. Chippendale St. Arch
Mr. Bert Coote Major Claude E. Starkev
Mr. Cyril Clensy
Lady Dilling Miss Constance Barker
Lady Anastasia Dilling. .Miss Rlsa Treness
The Typist Miss Phyllis Shale
Miss Smith Miss Vivien Hesse
Miss Pink Miss Ida Bransby Williams
Miss Jones Miss Maud Rolanda
Mi-ss Green Miss Eileen Gordon
Miss Bliss Miss Susfe Beardon
Miss Robb Miss Ida Evelyn
Miss Toody Miss
[This character does not appear in the play as she i« in-disposed.)
'Ide "
'ealey
S,;;;;i staff
O'Connor Mr. Gera'd O'Brien
John Fish Mr. Cecil Burt
Mons. Henri Ramu Mr. Eric Roper
Miss Cornelia Van Hurt
Miss Shirley Kellogg —London Hippodrome.
B DT^NTDTvT? FR S T^.K. comfdv. in three acts. by Archibald Henry Pocock. May 2.
Cope Mr. Francis Everard
Christopher I'Anson.... Mr. Arthur 8. Pitt
Mrs. I'Anson Miss Frances White
Major John Hartley
Captain Gerald Gambier Miss Tabitha Hartley. .Miss Ethel Russell Mrs. Walter Hibbert. .Miss Kitty Crichton
Alec I'Anson Mr. Leslie Ryecroft,
Sir James I'Anson Mr. James Geldercl
Miss "Pat" Hartley. .Miss Kitty Crichton
Walter Hibbert.. Mr. Edmund F. Fennedv
— Kursaal.
8
136
THE STAGE YEAR BOOK.
BOAT EACE, THE, farcical play, in three scenes by George Rowlands and Herbert Sydney. May 20.
—Empire Palace, Birmingham.
BOBBY BOBS UP, comedy sketch, in one scene, by Frank Price. May 6. Bobby Shoolbred .......... Mr. Francis Hope
Ralph Maydew ........ Mr. Naylor Crimson
Mabel Kingsley .......... Miss Tina Langlois
— Shoreditch, Olympia.
BOGIE MAN", THE, comedy, 'in on© act, by Lady Gregory. July 8. Taag O'Harragha ...... Mr. J. M. Kerrigan
Darby Melody .......... Mr. J. A. Rourke
—Court.
BOiHEIMIA. musical fantasy in seven scenee, by Percy Honiri. iSeipt. 2.
— iFinsbury Park Empire.
BOMBSiHEiLL, TH<E, farcical comedy, in three scenes, by Charles Austin awl Charles Ridsewell. (Stageright production, June 15; Reading.) June 24. .Parker ................ .Mr. Charles Austin
Chief Detective Copham ..Mr. Geo. Wilson Detective Blake ....... Mr. Cha<s. Hawkins
Mannaduke Fitzroy ...... Mr. Fred Norris
'SiarsTi Pitzroy .............. M^* Ra ymond
Boritzi ................ Mr. Will Ingram
Harry .................. Mr. Harry Ransom
—.Metropolitan and Euston.
BON MODiEiLE, U!N, comedy, by Th. Gun- goire. Oct. 8.
— Cosmopolis, W.C.
BONNIE BORDERLAND, THE. comic opera, in two acts, words by Pacey Felix, music by Frederick W. Odttri/enay. May 13. •Basil Merton ........ 'M,r. Robert A. Ayre?
Captain Desborougih . .Mr. Marcus L. Taylor Sir R.i chard En tw is tie. .Mr. Joseph Grono<w Oecil Emtiwistle ........ Mr. Bert J. Rogers
Andrew McCupple ........ Mr. Pacey Felix
ftandv McAllister. .Mr. Robert W. Tansley Sergeant Jack Robbing ..... Mr. Will Curd
Jock ...................... Mr. Harry Stone
Jennv ..................... Mtee Amy Jones
Soip<hon.isba Pastern ____ Miss Nelly Summers
Lucy Pastern ........ Miss Ethel Hawkins
Kate Merton ........ Miss Margaret Baxter
— Opera House, Woolwich.
BOY SCOUT, THE, comedy -with music, in •three acts, by Arthur Branscombe and George Fearnly. May 20. Lieut. Meredith ...... Mr. C. Hayden Coffin
Percy Fiitzwinney ---- 'Mr. Herbert Snarling
Baron Deechiamips ---- Mr. Evelyn Vernon
[Rivers .................... (Mr. Fred Trott
Old Joe, a tramp ....Mr. Cecil A. Col line
Bull ...................... Mr. D. McArthur
Gwendoline .......... Mies Mildred Cottel!
Rx>se Boyton .......... Miss Margery Gray
Mrs. Meredith .......... Miss Grace Lester
Claire .................... Miss Ivy Knight
Suzanne .............. Miss Violet Welford
—Royal, Birminghaim.
BRACELET. THE, play, in one act, by Alfred Sutro. Feb. 26. William .................. Mr. John Gamde
(Smithere .............. Miss Dorothy Day
<Ma.ntin ................ Mr. Oliver Johnston
Hiarvev West-era ____ Mr. Grendon Bent ley
I\frs. Western .......... Miss Aida Jenoure
Mrs. Banket ........ Miss Estelle Winwood
Judge B.ankeit .......... Mr. Ernest Borik'n
Miss Farren ____ Miss Dorothy Mpesinigham
—Repertory, Liverpool.
BRASS AN\D CLAY, one-,act play. (Produced by the Actresses' Fran-ch'ise League.) Feb. 20.
Gould Tnaverson Mr. James Gelderd
Walter Simmo.ns Mr. Wilton Ross
King Ransome Mr. S. W. Heweteon
Lucy Leigh Miss Adeline Bourne
Marion Milner Miss Lucy MJlner
Mrs. Desbury Miss Mildred Orme
Katharine Carey . .Mit-s Evelyn WaLsh-Hall — Rehearsal.
BRAiSiS BOTTLE, THE, F. Anstey's four-act
farce iforigdnaHv produced 'September 16,
3909, Vaudevdlle) was revived for a
month's season of matinees. October 7.
—Palladium.
BROKEN HEARTS, THE, drama, in four acts, by Z. Libin. April 3.
Yiddish People's, E.
BROKEN HEARTS, revival of Sir W. S. Gilbert's fairy play, in three acts . (Ori- ginally produced Dec. 9, 1875, Court). At Miss Kate Rorke's rnatine'e, Jan. 4.
—Court.
BROKK.N VASE. TH:E, short play, by Geoffrey Hardinge. Aug. 19.
— Roy.a.1, Edinburgh.
Hi: DOHA, dramatic version of Sir Ediwin Arnold's " Light of Asia," in six episodes, by S. C. Bose. Feb. 22.
Prologue :Mrs. Brown-Potter
Voice of the Wind Miss Viola Tree
Sidhartha Mr. Clarence Derwent
King of Mag ad a Mr. George Ellis
Channa Mr. S. C. Bose
Devad.atta \ ,- XT ,, ,
Old Man | Mr- N- Pal
Triipushaka Mr. M. 8. Master
Bhaluk Mr. Dhisa Swarmi
Min.ister Mr. A. Trotten
Hermit Mr. E. Creefan
Dying Man Mr. W. Macdonald
Page Mr. R. L. Khasilagir
Crowd.-- Mescars. B. N. Misra, S. K. Roy, B. B. Roy, B. Singiha, and R. Maiumd.ar
Queen Mi*s Ruth Parrot*
Jashodhara Miss Ruby Miller
Chitra Miss Delphjne Wyndiham
Sujata Miss Morrison
Sorceress Miss Vansittart
Doubt Miss Eva More Dumphiie
Conceit Mies Elfrida Derwent
— Court.
BURDEN, THE, play Herbage Edwards. Actors.1) March 31.
Mrs. Ballard
Amy
Laura
John Ballard
Clarence
David
A Tradesman . .
an three acts, by A. (Produced by the Play
.. Miss Armine Grace . . . Miss Inez Bensusan Miss Margaret Darner . . Mr. Hugh Tabberer . . . Mr. Charles King . . Mr. Ashton Pearse . . Mr. Lancelot Lowder —Court.
BURNHAM BEECHES, English operetta, by Arthur Poyser. November 28-
Eric Dornton Mr. Charles Carr
Ethel Maybud .... Miss Aileen Fitzgerald
Miss Vandyke Browne ..Miss May Graham
—St. James's.
BUSHED, an Australian sketch, by Charles Glermv a^d Phillip Roughwood. Decem- ber 17.— Oxford.
BYGONE DAYS, one-act sketch, by Hugh Mytton. January 13. The Duke of Campden . . Mr. H. Campton
The Duchess of Campden Mrs. May
—Assembly Rooms, Surbiton.
THE R BOOK.
137
BY RIGHT OF S\VOKI>, play, in fOUt adapted from A. \\'. Maivhmoii'
of the same name. Din-inluT 1*',. Lieut. Alexis Pftrovitrh i Mr. diaries Hamilton Tregethner ____ I Kenyon
Prinre BilhasolV ...... Mr. llnirv l.alimrr
Col. Christian Tm-.ki.Mr. Clarence Derwent Major I.oiis iH'vinski. . . . Mr. Lewis Fielder
(.'apt. IHiivsi] .......... Mr. 1-iric Hudson
('apt. Weisswicli ____ Mr. liouglas \V. 1'roiit
Lieut. Kssa it'll' ---- Mr. Vane Sutton Vane
('apt. Gradinsk ........ Mr. E. H. Kelly
Lieut. Ehanovlcb..Mr. Harold Anstrulher Lieut. Barrinski ........ Mr. C.\ril Ashford
1'auloir ................ Mr. Clifton Boyne
Ivanoir .............. Mr. Wilfred llenson
Vladski .................. Mr. Fred Prior
Yosk ...................... Mr. I-I. Y. Rao
Police Oflicer ...... Mr. Richard Fielding
Paula Tueski ........ Miss Frances Dillon
Olga Petrovitch ...... Miss Mary O'Farrell
—Royal, Bury. BY THE KING'S LEAVE, comedy-drama, in three acts, by Alex. Maclean and Dorothea Moore. May 30.
King William III. ..Mr. J. Anthony Snalth Lord Wharton ---- Mr. J. Henry Twyford
Robert G rattan ...... Mr. Frederic Morena"
Crowthorne .............. Mr. Tom Squire
Sir Geoffrey Merivale . . Mr. Alex. Maclean
Mistress Lucy Loftus .. Miss Mary Palmer
Pamela, Lady Merivale ..Miss Laura Leigh
—Royal, Margate.
CALAMITY JANE, R.N., play, in one act, by Major W. P. Drury. January 8. Harry Maitland .. Mr. Philip Desborough
William Booley Mr. A. Corney Grain
Benjamin Figg Mr. Walter Kingsford
Thomas Coggins Mr. Leon M. Lion
Jan Pearse Mr. C. Leveson Lane
Sister Grace Miss Joan Chaloner
—Globe.
CALL, THE, stageright production of a drama, in one act ,by W. Laird. April 17.
Miles Maxon Mr. Louis du Cane
Moyra Maxon Miss Gertrude Morrow
—Royal, Belfast.
CALLISTO, ballet, by Maurice Hewlett, music by Annette Hullah, adapted from Greek folk songs, movements and dances by Mar- garet Morris. October 28.
Artemis Miss Winifred Durie
Callisto Miss Margaret Morris
A Faun Mr. J. Fraser Outram
Callisto 's Child Miss Iris Rowe
—Court.
CAMARGO, LA, ballet, in one scene, written and designed by C. Wilhelm, music by Dora Bright. May 20. (Last performance July 27.)
Louis XV Mr. Jack Millar
Sergeant Chabot M. Enrico Bartolo
Gerard Van Staaden .. M. Alexis Kosloff
Mme. Van Staa/den Mile. Zanfretta
Toinette Miss Lillie Lauri
Felicie Miss A. Peters
Mile. Camargo Mile. Adeline Gene"e
— London Coliseum.
'OUR OF MATURITY, THE, sketch, by Hilaire Belloc. (Produced by the M> Society March 18.) - Steinjvay Hall, W. CAPTAIN BILLY, play, in four acts, by Arthur West. February 29.
Royalty, Redditch.
CAPTAIN BKAxsBOIXb's COXVL'U.smN. Re- vival of George Bernard Sha\\ 's •• Adven- ture." (Originally produced March 20. 1906, Court.) Oetoix r Eg. L.-i-t perform- ance (the 78th) December 21. Felix Drinkwater .... Mr. Harry Nicuolls Leslie Raukiu Mr. Graeme Campbell
Captain Jiruxxliound'x Cottvcrxiou (continued). Lady Cicely Waynflete
Gertrude Kingston
Sir Howard Hallam .. Mr. Charles Bugden Marzo ................ Mr. David Hallam
Captain Ura.-sliound. .Mr. Gerald Lawrence Redbrook ............ Mr. Geoffrey Denys
Osinaii .............. Mr. Arthur Bachner
Johnson .............. Mr. Hugh Tabberer
Sidi <•! Assif ...... Mr. Philip Cuoingham
The Cadi ...... . ....... Mr. George Barnm
Cupt. IJanilia Kearney .. Mr. W. B. Davis Petty Officer ...... Mr. Clifford Maxqimid
—Little.
CAPTAIN •BK/AiSSBY, V.C., "grand Guigno.1- Mellvillany," in four seene,s, written by Deux Rats D'Eau ; music by Musical R«t A If Leonard ; the whole produced by Rat Arthur E. Godfrey. (Water Rats matinee •production.) November 11. C.a,ptain Brassiby. .King Rat Charles Austin Captain Plumer ........ Rat Wilkie Bard
Colonel Hunter ................ Rat A.pollo
Major Wcston ...... Rat Arthur Godfrey
Drummer Boy .......... (Rat Billy Merson
'Sergeant O'Grady.Jlat Fred McNiaugfaton Conporal Hennesey ---- Rat George San ford
Lieut. Daring .......... R.at Billy Brown
Pnesideait of Court .. Rat Marriott Ed«ar C-asWer of B^ank .... Rat Paul Martinetti
General daxfcoii ........ Rat Dave Carter
Colonel Fairby ........ Rat James Finney
Sergeant-Major Maxford..Rat Dave O'Toole Orderly ............ Rat Gus McNaughton
Gladys ............ Rattling Daisy Dormer
-^Oxford.
CAPTAIN SOARL-ET, English operetta, by Arthur Po-per. November 28. Captain Scarlet... Mr. Roland Cunningham Dr. Dovedale .. Mr. H. Lempriere Prmgle [Lord Faversiham . . Mr. Frederick Hudson Mr. Miley .......... Mr. Leonard Calve rt
Tom .................... Mr. Charles Carr
Jerry .................... Master B. Fenn
Mabel ............ Mi*s Winifred O'Connor
Amelia Dovedale .. Miss Leonora Biaham Nancy1 ................ Miss Deborah Volar
CAPTAIN O'F THE " SARAH JANE." Stage- right <arod notion of a one-act farce by James Skea. March 19.— Surrey.
CAIRwm. Bizet's opera was revived for tlie openm.g performance of the summer grand ypei-a season. April 20.-Covent- Garden.
CARMEN, spectacular ballet, in five scenes, music by Bizet, interpolated dances se- lected and music arranged by G W Byng, production supervised by* Mr. Dion Clayton Calthrop and presented under the direction of Mr. Alfred Moul, the dramatic action and dances arranged by Herr Ber- ber. January 24.
.
Mr Zanf??tUta
Miss Perzini Old Gjpsy .................... Mifis voysey
&* Danseilse •• ™«* Carlotta Moscetti Carmen .................. Maria la Bella
( > Ail! NTUXD.FJR^TANTIiXOPSLE,
House Ctob, HammersmW,
138
THE STAGE YEAR BOOK.
CASINO GIRL, THE. Sketch by P. Bristow. September 30".
Robert Kenmore Mr. Geo. Varden
Adrienne Kenmore Miss Thea Horwich
Jack Mr. Henry Burnard
—Hippodrome. Hulme.
CASTING VOTE, THE, dramatic sketch, in one scene, by Stanley Wallace. Decem- ber 7.
Jack Reading Mr. Alfred Harding
Gilbert Kaye Mr. One Denys
Judge Potter Mr. Murdock Stimpson
Capt. Cartwright Mr. W. S. Stanford
Rev. Cecil Stephton.. .Mr. Wilfred Mackay — Shoreditch Empire.
CAT AND THE CHERUB, THE. Revised ver- sion of C. B. Fernald's Chinese play (ori- ginally produced October 30, 1897, Lyric). May 20.
Wing Shee Mr. Frederick Lloyd
Sun Luey Mr. Cyril H. 'Sworder
Hoo King ..; Mr. Charles Danvers
Hoo Chee Miss Ella Jonee
Chim Fang Mr. Francis Annesley
Hwah Kwee Miss Elizabeth Rossi yn
A Policeman Mr. Montague Weston
An Opium Fiend Mr. Rolf Benter
Ah Yoi Miss Hilda Bruce-Potter
— Surrey.
CAUSE OF IT ALL. THE. One-act play by Leo Tolstoy. (Produced by the Aoelphi Play Society.) April 28. Translated by Louise and Aylmer Maude.
Martha Mrs. Haden-Guest
Akulina Miss Inez Bensnsan
Taras Mr. John R. Collins
The Tramp Mr. Leonard Calvert
Michael Mr. Albert V. Br amber
Ignat Mr. Telford Hughes
Neighbour Mr. H. McMaster
2nd do Mr. Lindsay Ellis
—Little.
CAVALLERIA RUSTICANA. Opera in one act by Pietro Mascagni. Libretto founded by Signori Menasci and Targioni-Tozzetti on a Sicilian tale of village life by Giovanni Verga. Produced for the first time in a music hall in its entirety, February 26.
— London Hippodrome.
CAVERN. THE. Play by J. M. Cuthbertson. May S.
Ah Old Woman Miss Jean Stewart
A Young Woman Miss May Lindsay
An Old Man Mr. Robert Irving
An Angel Miss Helen W. Adamson
A Young Man Mr. John L. Speirs
—Royal Institute, Glasgow.
CELLE OU'ON ADORE, comedy, in three acts, by Albert Acreryant. May 24.
Stanislas M. Fern'and Demorange
Romnald M.Hubert Daix
Bouston • M. Alfred Bouzin
Serge M. Maurice Wick
Ephraim M. Pierre Maugud
Le Mendiant M. Jacques Landier
Chariot M. Farnand
ler Garcon M. Picard
2me Garcon M. Lucien
Le Lyce"en M. Teannot
Tin Marchand de Journaux M. Me"nard
Petit-Jean M. Pernier
Rosette Mile. Fanny Tellier
Ravmondine Mile. Demars
Juliette Mile. Norva
L'lnstitutrice .... Moss t&teitiiLnig MacKnrlny
—Little.
CELTIC FAERY POEMS, by W. B. Yeats and (Fiona M'Leod. April 30.
Dalua -Miss Claude NuchoiTson
Th° Bnirtniidh Miss Mareot Balfour
Voiro of the Sidli*-. .Mb;s Elsie Tlird-Morgan !
— Court.
CHALK LINE, THE, play, in four acts, by Fabian Ware and Norman MacOwan. March 2. Last performance (the 29th) March 30.
Lord Strachan Mr. Charles V. France
Captain Peter Greig..Mr. Kenneth Douglas
John Summers Mr. Frederick Lloyd
Miary Summers Miss Helen Brown
Peggy Summers Miss Marjorie Dane
Jess Summers Miss Eileen Esler
Andy Roddick Mr. Alfred Brydone
Leonard Stiles Mr. W. Cronin Wilson
Lord Tempest Mr. Stratt on Rodney
William Baines Mr. A. S. Home wood
Veerland Mr. Leon M. Lion
Countess Derada Lady Tree
Kathleen Stuart Miss Lydia Bilbrooke
Alice Miss Mary Mackenzie
Mason Miss Lucie Verrier
— Queens.
CHARLEY'S AUNT was revived for a Christ- mas season. December 26.— Little.
CHAT WITH MRS. CHICKY, one-act play, by Evelyn Glover. (Produced by the Actresses Franchise League.) Subsequently playefd by the Connisseuireirs, June 23, Little, the parts being undertaken by Miss Edith Anton-Laing and Miss Inez Ben- susan. February 20.
Miss Holbrook Miss Marianne Caldwell
Mrs. Chicky Miss Inez Bensusa.TV
—Rehearsal.
CHECK TO THE QUEEN, dramatic episode. December 2. Captain Lord Arthur Greatorex
Mr. Eustace- Burnaby
The Fair Inconnue ....Miss Nina Bentley Sir Robert Enderby
Mr. Rutland Harrington — Tivoli.
CHILDREN OF DON, THE, Cymric music- drama, in three acts and a prologue, by "T. E. Ellis" (Lord Howard de Walden), music by Josef Holbrooke. June 15. GODS.
Nordens Mr. Enzo Bozano
Lyd Mr. Humphrey Bishop
Don Miss Gertrude Blomfleld
MORTALS.
Math Mr. Henry Weldora
Gwydion Mr. Alan Turner
Govannion Mr. Andrew Shanks
Elan Mme. Augusta Doria
Dylan Miss Jacobs
The Sacrifice Miss Von Nichols
Gwion Mr. Frederick Blarney
Goewin Mme. Jeanne Jomelli
Arawn Mr. Frank Pollock
First Priest Mr. De Moraes
Second Priest Mr. Arthur Philips
Demon Mr. Henry Altechuler
—London Opera House.
CHILDREN'S DREAM, THE, ballet, in one scene, .arranged by Lila Field, music by Osborne Roberts. May 16.
— Aldwych. —Chelsea Paluje.
CHINA, pageant spectacle. May 25.
—Crystal Palace.
CHOICE, THE, after-dinner episode, by A. Northcote. November 15.
Dr. Armitage : Mr. Alick Chumley
Miriam Armitage .. Miss Miriam Armitage
Clifford Nairn Mr. A. Russell-Davis
Seal (a butler) .... Mr. Wilfred Keriston —Winter Gardens, New Brighton
CICADA, THE, lyric fable, in one act, music and libretto by John Urich, poem by Eliza- beth Alexander. June 25.
^sop Mr. Stuart Edwards
Livia Miss Alice Prowse
The Cicada . . Miss Mabel Manson
[R BOOK.
139
• •'(;/,( (i-unti'
The Ant ........ Miss M. Palgrave Tumor
The Butterfly ........ Mr. Hubert Eisdell
—Savoy.
CIRCUS GIRL, A, dramatic sketch, by Arthur Shirley and Ben Lamleck. July 1. Henri Koniain ...... Mr. Stanley Carlton
Luigi Ferroni ............ Mr. Max Coutts
Gorriott .............. Mr. E. W. Bretton
Detective Pelere ---- Mr. Frank Fortescue
Magistrate ............... Mr. Chas. .Rose
Mathilda ................. Miss Ida Fane
Jacqueline ............ Miss Ruby Maude
— Camberwell Empire.
CIEOPATRA'S NEEDLE, Egyptian scena. April 29. — Chelsea Palace.
CLOCHES DE CORNEVILLE, LES. Mr. Oscar Hammerstein's revival of Robert Planquette's comic opera. June 10.
—London Opera House.
COALS TO NEWCASTLE, sketch, by Herbert C. Sargent and Leedham Bantock. March 25. (See also THE BARGEMAN'S DERBY.) Timothy .......... Mr. Leedham Bantock
Alice ................ Miss Violet Lindsay
Peter ........................ Mr. J. James
Hector . ; ......................... Himself
Lulu ................. -Mr. John Humphries
— Empire, Liverpool.
COLLABORATORS, duologue, by Daisy McGeoch. June 10.
—Clavier Hall, W.
COLLIER'S LASS, THE, drama, in four acts, by Mrs. F. G. Kimberley. May 27. Robert Copley ...... Mr. Harry Sainsbury
Tom Fielding ...... Mr. Stanley Radclifle
Frank Cecil .............. Mr. D. Douglas
John Willie Hay .. Mr. J. Newton Cowling Hubert Cardelr .............. Mr. Ben Carr
Joe Miggins ............ Mr. Bert Johnson
John Bailey ............ Mr. John Locke
P.C. Wilson ............ Mr. Easter Crook
Bill Giles .............. Mr. Fred Barnes
Flossie Shaw ........ Miss Laura Treherne
Mary Ellen Nuttall ..Miss Lynn Darlington Martha Copley ........ Miss Adele Liddon
Maud Fernley ............ Miss Ana Corri
Grace Copley .......... Miss Elsie Snelton
—Royal, Wolverhampton.
COLOMBINE, .poetical fantasy, in one act, ly Reginald Arkell. April 1.
— Royal, Brighton.
COMBAT, THE, play, in one act, by Bernard Hamilton, with incidental and introductory music by Christopher Wilson. October 21. Harpax .................. Mr. Shiel Burry
Caius Servilius ........ Mr. Kenelm Foss
Myrrha ................ Miss Yolande May
— Chelsea Palace.
CONCHITA, opera, in four acts (in Italian), music by Riccardo Zandonai. July 3. Conchita ........ Mile. Tarquinia Tarquini
Don Mateo ............ Signor Schiavazzi
Dolorea .................. Miss Amy Evans
Rufina .............. Mile. Jane Bourgeois
Estella ................ Miss Betty Booker
La Sorvegliante ........ Miss Edith Clegg
L'Ispettore ....... ) ,» ,, ,
Banderillero .. f Mr' Gaston Sargeant
La Madre di Conchita. .Mme. A. L. Berat Una Voce ................ M. Andr6 Giily
I Mlle- Hortense Verbist 1 M.
. Ambrosiny Conductor, Signor Ettore Panizza.
— Covent Garden.
CONFEDERATES. Amateur production of a drama in one act, by H. Woodville. February 6.
—Prince of Wales's, Grimsby.
Ill SIUNI). THE, play, in one act, by Cicely Hamilton. February 19.
Mrs. Beaumont Miss Vera Coburn
Kdward Ronpell Mr. Clayton Green
Stevens Miss Nannie Bennett
Justine Ronpell Miss Lena Ashwell
•—Palladium.
CONSTANT LOVER, THE, a "Comedy of Youth," in one act, by St. John Hankin. January 30.
Evelyn Rivera Miss Gladys Cooper
Cecil Harburton Mr. Dennis Eadie
—Royalty.
CONTRACT, THE, dramatic sketch, in one act, by Gerard Fort Buckle. (Produced by Amateurs.) October 22.
George Doon Mr. Osborne Adair
Madge Doon Miss Joan Waugh
—All Saints' Parish Hall, Battersea Park. CONTRASTS, play, in one act, by G. A. Red- ford. (Produced iby the Drama Society;, October 29.
Bertie Fane Mr. Charles King
Binney Mr. Charles Wemyss
Ethel Fane .... Miss Constance Arfwedson
Servant . Miss Dorothy Turner
—Clavier Hall, W.
CORONATION, THE, play, in one act, by Christopher St. John and Charles Thursby. (Produced by the Pioneer Players.) Janu- ary 28.
Henricus XVI Mr. Godfrey Tearle
Mr. Verbi Verbi Mr. Marsh Hannam
Admiral Nihiltini ..Mr. Clifford Heatiherley General Militomnes. .Mr. Fewlass Llewellyn Lord Benedict Pulcher
Mr. Victor Wiltshire An Aide-de-Camp .... Mr. Barnet Parker
A Reporter Mr. Charles King
An Usher Mr. John R. Collins
Lord Bellegard Mr. Telford Hughes
A Woman Miss Haidee Wright
Messrs. Frank Dennys, J. W. L. Ellis, Cyril Lawrence, J. Gelderd, H. N. Gaze, A. McMaster, A. Rhaden, J. Bartlett, Claude Heys Thomson, G. S. Roche, W. Andrews, C. Ashford, Frank Conroy, King Fordham, Herbert Lane, Charles A. Staite.
— Savoy.
COTTAGE ON THE MOOR, THE, play, in one act, by Miller Anderson. January 28.
The Woman Miss Mabel Mannering
The Man Mr. Miller Anderson
—Clavier Hall, W.
COUNTESS CATHLEEN, THE. First produc- tion in London of a play, in five scenes, by W. B. Yeats. July 11.
Mary Rua Miss Nell Byrne
Teig Rua Mr. U. Wright
Shemus Rua Mr. Patrick Murphy
The Countess Cathleen..Miss Maire O'Neill
Oona Miss Moaa O'Be'jrae
Aleel Mr. Fred O'Donovan
First Merchant .. Mr. Herbert Hewetson
Second Merchant Mr. J. M. Kerrigan
Steward Mr. H. E. Hutohinson
—Court.
COWBOY AND THE GIRL, THE, " episode of Arizona life," in three scenes, by Young Buffalo, June 10.
The Stranger Young Buffalo
Colonel Dawson Mr. E. J. Foster
Dick Peterson Mr. Arthur C. Goff
Corrello Mr. Louis Ashmeade
Big Waller Mr. G. W. Parte
Bounce Mr. Robert Ch ambers
Alkeli Mr. Gus Ruhlin
Cheyenne Ed Mr. J. H. Brownlee
Black Gilbert Mr. Ralph Brambles
Tombstone Jake Mr. Albert Morgan
Wah-Sing Mr. All Delamere
Madge Miss Caroline May Blaney
— E us ton.
140
THE STAGE VEAR BOOK.
COWBOY JURY, THE-, revised version of the sketch, " The Virginia Jury." March 11.
Mr. Kelly Mr. J. F. Gtnnett
Bill Cassidy Mr. W. Barttlett
Mrs. Cassidy Miss L. Keen
Bob Boulder Mr. F. Victor
Steve Mr. Frank Ginnett
-Rosy Cassidy Miss D. Gregory
Harry Mr. E. Gennings
—Oxford.
COWPUNCHER, THE, melodrama, in four acts, by Jean Marvin. (S.P., May 31, Elephant and Castle; September 2, Opera House, Northampton.) September 30.
Tom Granger Mr. Thomas Rhyde
Billy Granger Mr. George Craig
Pedro Saltillo Mr. Wm. R. Glenny
Seattle Ike Mr. Robert Rivers
Dublin Tim Mr. Joe Martin
Black Luko Mr. A. J. Murray
Frisco Fred Montana Joe
Jim Mr. Thomas Clarke
Wall Eyed Joe Mr. Harry Roberts
Brassy Bob Mr. A. W. Aston
Tangle Foot Pete .. Mr. Wm. H. Bartlam
George Lloyd Mr. Horace Cobham
Montana Bill Mr. Dick Bushert
Big Shot Bud Mr. Bud Monroe
Long Haired Dan Mr. Sampson Brown
Red Mike Mr. Ray Sasquetoon
Fat Head Butte . Mr. Hal Judson
Weptoma By Himself
Marie Alvarado Miss Ethel Dunbar
Ann Miss Dorothy Dunbar
Guiding Star Tree-pe-Dee
Cherita . \
Beauty By Themselves
Kestee I
Molly Cooke Miss Blanche Fiske
Dancing Bell Miss Victoria Browne
•Genie Calvert Miss Jean Marvin
—Britannia.
CREDITORS, tragi-comedy, in one act, by August Strindberg, translated by 'Ellie' Schleussner. (Produced by the Stage Society.) March 10.
Adolf Mr. E. Harcourt- Williams
Gustav Mr. Guy Standing
ThekLa Miss Miriam Lewes
— Princes.
CRICKET ON THE HKAKTJr. THE, drama- tisation by K. iC'kirvinioe iB>nii<elle of Clbair>l<et> Dickens's story. (Produced by Amateurs.) January 3.
John Peerybingle Mr. Max le Feuvre
Caleb Plummer Mr. C. F. Snellgrove
Mr. Tackleton Mr. Reg Grandin
The Stranger .Mr. W. V. d'Authreau
Mr. Jordan Mr. Bert le Sueur
Porter • Mr. E. C. Boielle
Mary "Dot" Mrs. E. C. Boielle
Bertha Miss Grace Smith
May Fielding Miss Eileen Guille
Tilly Slowboys Miss Ida le Feuvre
Mrs. Fielding (Miss Dora Carcaud
Mrs. Jordan Miss Lily Oldridge
Spirit Cricket Master Dick Boielle
Peerybingle'.s Baby Master Averty
—Oddfellows Hall, Jersey.
CRIME OF POVERTY, THE, sketch by Frederick Meads. February 20.
Pere Lereaux Mr. William Podmore
Claire ., Miss Sylvia Dawson
Jean Mr. Frederick Meads
—Grand, Manchester.
CROOKED NAILS, duologue, by Violet Gib- bons. April 11.
Richard Neville Mr. R. R. Bowles
Cecily Graham Miss Violet Gibbons
— Boddington, Cheltenham.
CROOKS, SPOOKS, AND SPIRITS, comic sketch, presented by the Six Brothers
• Luck. December 9.— Holborn Empire. UCROWN OF INDIA, THE, Imperial Masque, in two tableaux, written by Henry Hamilton, music by Sir Edward Edgar. March 11.
India Miss Nancy Price
St. George Mr. BarEj^Dearth
Agra Miss Marion BVele>
Delhi (Miss May Leslie Stuart
Calcutta Miss Evelyn Kerry
Benares Miss Sybil Etherington
— London Coliseum.
CRUISE OF THE MASCOT, THE, sketch, by Fred Bowyer, lyrics by J. T. Stevens. October 28.
Captaia Rowbolt Mr. Arthur Melvin
Percy Fail-bank Mr. Sidney Herbert
Dan Mr. Fred Danvers
Maud Meadows Miss Beatrice Laurie
Edith Meadows ....Miss Dorothy Bowyer
Jane Miss Violet Lowen
Miggs Mr. Alfred Knutt
— Hippodrome, Margate.
CUPID AND THE STYX. London production of a comedy, am three acts, by J. Sack- ville Mantott. (Origimaffly produced at tibe Gaiety, Manchester, on' February 8, 1909.)
Dr Hope . . Mr. Lewis Casson
Sir Peregrine Prendergast Mr. Chas. Bibby
Porter Mr. Herbert Lomas
Dr. Garside Mr. J. V. Bryant
Nurse Price Miss Edyth Goodall
Mrs. Barton Miss Muriel Pratt
Philip Barton Mr. Cecil Brooking
—Coronet.
CUPID INTERVENES, one-act comedy, by Ivan Patrick Gore. (Produced by the Black Cat Club.) April 25.
Lord Northesk Mr. J. L. Irvine
Fit/roy Walker Mr. Evelyn Vernon
Lady Northesk Miss Ethel Beale
Mrs. Tapps Miss Elsie Mildred
-Clavier Hall, W.
CURATE CALLS, THE, comedy, in one act, by J. A. Ferguson. February 15. Bridget 0' Flaherty .. Miss Isobel Crawford
Ruth Ryan Miss Bessie Jeffery
The Curate Mr. A. C. Temby
Mrs. O'Donoghue Miss Daisy Gordon
--St. Martin Hall, Glasgow.
CURIO'S, comedy sketch, in one scene, by Harry Grattan and U. P. Huntley. (No- vember 11, Hippodrome, Manchester.) No- vember 18. —Shepherd's Bush Empire".
DAISY CHAIN, THE, children's play. February 2. -nSavoy.
DAMER'S GOLD, peasant comedy in two acts, by Lady Gregory. November 21.
Patrick Kirwan Mr. Arthur Sinclair
Staff y Kirwan Mr. Sydney J. Morgan
Ralph Hessian Mr. J. M. Kerrigan
Simon Niland Mr. N. Wright
Delia Hessian Miss Sara Algood
—Abbey, Dublin.
DANCING MISTRESS, THE, musical play, dm three acts, by James T. Tanner, music by Lionel Monckton, lyrics by . Adrian Ross and Percy Greenbank. October 19.
Widdicombe Mr. James Blakeley
Lord Lyndale Mr. F. Pope Stamper
Dubois" Mr. D. J. Williams
Baron Mont-alba M. G. Carvey
Berchili Mr. Ivan Berlyn
Signer Tonelli Mr. Eliot Skinner
M. Rosemblum .. Mr. Ernest A. Douglas
Teddy Cavanagh Mr. Joseph Coyne
.Icanie McTavish Miss Gracie Leigh
M!!e. Virginie Touchet. .Mile. M. Gaumont
Til R STAGE J'A'/IA' r,OOK.
141
The Dancing Mistrets (continued).
Bella Peach Mies Elsie Spain
Miss Pindrop M ws Agnes Thomas
Lady Margrave Miss Maud Cressall
LiH Miss Gina Palermo
M:ir«ot Miss Ruby Kennedy
I'.-uihi Miss Ann Cleaver
Genie M Us Gertrude White
Mimi Mis Leila Griilin
Tonse Miss Lilian Hadley
Riette Miss Dorothy Devere
Camille Miss Yvonne Fitzroy
Toinette — Miss Heather Feather stone
Tommy Miss Isobel Elsom
Lina Miss Kathleen Vincent
Mary Miss Gipsy O'Brien
Nora Miss Claire Lynch
I>ora Miss Betty Olgar
May Miss Flora Allen
Alicia Miss Nora Wadeley
f° • •• Miss Maude Aston
Sybil Miss Bessy Millard
£°yl Miss Gladys Ivery
Nancy Joyce Miss Gertie Millar
— Adelphi.
DANCING VIENNESE, THE, Viennese operetta (played in. German) in two scenes by Julius Brammer and Alfred Grunweld' music by Oscar Straus. June 3. Lizzi Fiora ....Fraulein Joseflne Ritzinger
™" Fraulein Emmy Petko
™re Fraulein Bianca Vallon
ff V-v- •••••••• Fraulein Marie Spieler
Graff Andre Clairville
Herr Hubert Marischka
5fuk>" Herr Gustav Werner
Baron Planchette .... Herr Paul Guttmann —London Coliseum.
DANCING VIENNESE, THE, English version by C. H. Bovill, of the Viennese opera, in two scenes, by Oscar Straus. July 1.
Liszi Fiora Miss Constance Drever
Mima Miss Clara Dow
S *e»"J Miss Phyius Monkman
<*raff Andre Clairville. .Mr. Philip Simmons
^°ulou^ Herr Gustav Werner
Baron Planchette Mr. Eric Thome
Blby Mr. Willie Atom
—London Coliseum.
DANDY AVIATOR, THE, miniature musical comedy, in three scenes. February 26.
—Canterbury.
DARING OF DIANE, THE, " leap-year comedy operetta," in one scene, by Hein- noh Reiahardt, libretto and lyrics by Arthur Anderson, based on the German of Julius Wilhelm. January 22.
Prosper Mr. Bruce Winston
Severin Mr. William Saville
JuLien Mr. Guy Le Feuvre
Caroline Mass Suzanne D'Amery
Rosalie Miss Kathleen Courtney
Diane de Regnault. .Miss Marjorie Maxwell
— Tivoli.
DAUGHTER OF ISRAEL, A, four-act drama, by Nita Rae. May 20. Stephen Lyons ....Mr. Hugh Montgomery Lord Dave Montague. .Mr. Claude Graveley
Charlie de Vere Mr. Reg. E. Kendrick
Bob 0'S.hea Mr. Jack Ravenscroft
Hon. Percy d'Alroy. ...Mr. James Wright
Jean Mr. D. Ravenscroft
Dr. Ellam Mr. Gordon Phillips
Bessie Woodleigh Miss Carrie Johnson
Mrs. Woodleigh Miss Mavis Harcourt
Lady Montague Miss Norah Kingsley
Mona Grey Miss Bessie Osborne
Little May Clarice Handel
Judith Miss Laura Hansen
— Lyceum, Stafford.
DAUGHTER'S DEVOTION, A. Provisional performance of sketch, by Arthur Jeffer- son. August 8.
tfrcy Winter Mr. T. R. Lockwoorl
Snooker Mr. E. H. Clarke
Inspector Armstrong Mr. H. Leonard
" Nance " Miss Maude Ryder
Mary Hamilton Miss Georgie de Lara
Policeman Mr. Gilbert
— Metropole, Glasgow.
DAY AND NIGHT, pastoral masque, by C. M. A. Peake, music >by Francis and Geoffrey Toye. July 31.— Boxford Rectory Park.
DAY OF RECKONING, THE, play, in one act, by Stanley Hougihton and Frank Nasmith. September 30.
Merlin Mr. Charles Brandon/
Trevor Mr. Edward J. Coyne
Gabrielle de Richepin
Miss Florence Cheverton — Crown, Eccles.
DAY'S SPORT, A, spectacular sketch, in twelve scenes, by Wai Pink, music by J. S. Baker. January 8.
— Palladium.
DEAR LITTLE WIFE, A, Japanese comedy, in one act, by Gerald Dunn. March 25.
Sujihana San Miss Muried Pope-
Hajiyamia Mr. Rule Pyott
Takijiro Mr. J. Henry Twyford
—Gaiety, Manchester.
DEAR OLD CHARLIE, comedy, in three acts, adapted by Charles H. E. Brookneld from Labicne and Delacour's " Celimare le Bien- Aiine" (Royal, Newcastle, May 17, 1906; Vaudeville, January 2, 1908). February 20. Last performance (the 34th), March 23.
Charlie Ingleton Mr. Charles Hawkey
Gabriel Peploe Mr. Eric Lewis
Thomas Dumphie ..Mr. E. Holman Clark Colonel Fishbourne. .Mr. Chas. B. Vaughan,
Purkitt Mr. Arthur Grenville
Florist's Boy Master Dunstone
Mrs. Fishbourne Miss Mabel Younge
Re-eve Miss Mona Harrison
Agnes Miss Enid Leslie
—Prince of Wales's.
DEATH OF TINTAGILES, THE. The Drama
Society revived Alfred Sutro's translation of Maeterlinck's tragedy. (Originally pro- duced July 22, 1902, St. GeoTge's Hall.) March 4.
-Clavier Hall, W.
DEBORAH'S LOVER, " domestic tragedy," in one act. July 11. Maurice Sinclair.. Mr. Godfrey Washington
Billy Cox Mr. Reginald Rivington
Mrs. Price Miss Marian Stirling
Deborah Price Miss Beryl Durand
Patsy Brown Miss Norah Gregory Jones
— Savoy.
DECEMBER 13, piece, in one act, by Norman Oliver and Cecilia Brookes. (Produced by the Play Actors.) March 31.
Josiah Stables Mr. Arnold Lucy
Sarah Stables Miss Lilian Tweed
Mark Estridge Mr. Cecil A. Collins
Olive Estridge ....Miss Beatrice Whitney
— Court.
DECREE MADE ABSOLUTE, THE, play, in one act, adapted by (Miss) M. G. Splatt, from a story by Mrs. Belloc Lowndes. November 29.
James Tapster Mr. Rollo Balmaine
A Policeman Mr. Stuart Marshall
Mrs. William Tapster
Miss Marjorie Hamilton
Elfrida Miss Olive Letbbridpe
Flossie Tapster Miss Fortescue
— Lyceum Club.
142
THE STAGE YEAR BOOK.
Mr. Jb'ranc Stoney
Mr. J, Nappe*
.Mr. A. S. Home wood .Mr. Sidney Sherwood .Mr. Charles Roberta
DECREE NISI, comedy, in one act, by Lennox Kendall. April 29. Sir Rupert btephenson
Mr. Lennox Rashleigh Valet to Sir Rupert.. Mr. Fernley Bisshopp
Mrs. Stephenson Miss Lilian Peirett
Amilie Miss Dorothy Wilmer
— Grand, Southampton.
DEMAGOGUE, THE, comedy, in three acts, by Norman MacOwan. produced by the Play Actors.) March 10.
Stephen Drew Mr. H. K. Ayliff
David Hardman Mr. C. F. Colkngs
William Hickson, M.P. ..Mr. Alfred Harris
John Masterton Mr. Hubert Willis
John Vernon Mr. Stuart Musgrove
Chas. Mildon Mr. Ralph Hutton
Reginald Phillips Mr. James Gelderd
Haiph Underwood Robert Randall .., Mr. Frederic Traill Horace Straker ... Alfred Renton ...
Ben Frost Mr. Rothbury Evans
An Errand Boy Mr. Arthur Sinnian
Rachel Bolder Miss Violet Sterne
— Court.
DEMOCRATS, THE. The Birmingham Dra- matic and Musical Society produced a musical play in two acts, written by Graham Squires and St. John Hamuna, composed by Guy Jones. May 13.
Andrew McCarthy Mr. Ernest Wright
Gilbert McCarthy ..Mr. Alfred D. Butler Jit. Hon. Percy Vere..Mr. Hugh 8. Gibson
Wilkuis Mr. George B. Worrall
Detective Mr. J. Finnemore Retallick
Lord Harneld Mr. 0. H. Ru&s
Saunders Mr. Stanley Worrall
Peggy Effordyne Miss Lillie Aston
The Duchess Miss Boanie Phillips
Mrs. Packenham Smith
Mrs. E. W. Hughes — Royal, Birmingham.
DEMON, THE. Condensed version, in two scenes and a tableau, of Anton Ruben- stein's opera. Presented by a Russian company. February 19.
Princess Tamara ....{M^: JSrovskaya
Thp T^non \ M' Suiitzky-Pavlenko
The Demon \ M Bastyaaorf
Angel Mile. Nakolaeva
Prince Sinodal M. liratzian
Servant to tTincess Mile. Anajewa
A Boy Mile. Feodorowa
— London Coliseum.
DESERT, THE. Spectacle founded by H. Holford Bottomley upon Felieien David's symphonic ode, " Le Desert." April 22. —Albert Hall, W.
DETECTIVE KEEN. "Detective drama- lette." May 13.
— Canterbury.
DEVELOPMENTS A sketch, an one scene February 12.
A Photographer Mr. Howard Ward
An Actress Miss Louie Vere
— Batteifiea Palact.
DEVIL AND THE HINDMOST, THE, comedy, in four acts, by Harold Cantrill. (Pro- duced by Amateurs.) December 11. Robert Edmunds ....Mr. A. Harold Chovil
Sam Summers ' Mr. Frank Cowper
Lionel Clare Mr. H. M. Vanderfelt
Mr. Freeman Mr. T. G. Holder
Mrs. Freeman Mrs. F. W. Langley
Vera Freeman Miss Gladys Vale
Firkin Mr. John Heywood
Wilks Mr. Arthur Neen
Mortiboys Mr. Harold Beaufort
—King's Heath Institute, Birmingham.
DEVIL HIMSELF, THE. Fantasy, in one scene. November 11.
—Palladium.
DEVIL'S KEG, THE. Drama, in four acts, by Ridswell Cullum and H. K. Garden. May 27. Hon. William Bunaing Foxde
M,r. Derwent Hall Caine
John Allandale Mr. R. A. Brandon
Verner Lablache Mr. Murray Yorke
Arizona Mr. Knc Hudson
Dr. Abbott Mr. Henry Martin
Serg'eajvt HorrocKs ....Mr. W. J. 'Yeldbam
Gau.tier Mr. Vernon Sansbury
"Tough" Despard Mr. F. J. Whyte
Pedro Mancha Mr. F W. Cram
Pat Nabob Mr. Henry Vincent
Thomson Mr. Cha*. W. Tindall
Mrs. Abbott Miss Amy Lorraine
Mamie Miss Kathleen Wynn
Joaquina Allandale. .Miss Laurie Flockton — Borough.
DEVIL'S MAIL, THE, dramatic *cena, by Arnold Yorke. February 12.
Dr. Mordaunt Mr. H. Sherbrooke
Pierre Dairolles Mr. Arthur Burne
Ivan Lumbimoff Mr. H. O. Nicholson
Phineas H. Yerker ....Mr. Robert Morath
Mrs. Mordaunt — Miss Constance Barton
— Ardwiok Empire, Manchester.
DIAMOND CORONET, THE, incident, by C. B. Fernald. September 16.
A Gentleman Mr. Norman McKinnell
His Associate Mr. James Storey
A Safe-breaker „.. Mr. J. Detliv
— Hippodrome, Manchester.
DIANA OF DOBSON'S. The first act of Cicely Hamilton's play was presented for the first time on the music hall stage March 4. —Palladium.
DIANE'S DIAMONDS, farcical sketch in one scene, by Max Pemberton. August 12.
Odette Miss Esme" Lee
Roper Mr. Cecil Kinniard
Henry Le Bland Mr. Compton Coutts
John Hogg Mr. James Pegge
La Diane Miss Ivy Williams
— Collins's.
DICK'S PRISONER, one-act play. July 24. —Clavier Hall, W.
DISARMED ! play in a prologue and one
scene. May 6. Characters in the Prologue :— The 1st Comte de Lassier..Mr. Fred Rivers
. The Husband Mr. E. Rayson-Cousens
The Wife Miss Blanche Forsythe
A Pedlar Mr. Edward Christopher
A French Officer Mr. Frank Holyoake
French soldiers :— Messrs. Alfred Wright, Maynard- Norton, Gilbert, Sims, Carter. Characters in the Play :— General von Mackenheim
Mr. Frederick Moyes
Paul Mr. Chas. Fancourt
Captain Kraatzberg Mr. Russell Barry
Sergeant Lenbach Mr. Leslie Harvey
Rene"e de Vaury..Miss Violet Hammersley Prussian Soldiers :— Messrs. Fred Leonard, A. Kramer, H. Pitt, C. Oakley, E. Wil- liams.
—Canterbury.
DOLLAR DID IT, A, comedy, in three acts, by Ralph Stuart. Produced for provisional purposes. October. 11.
Ezra Fee Mr. Walter Langford
Cyrus Scroggings Mr. Thomas Holmes
Ashton Franklin Mr. E. Fheppard
Eva Brown Miss May Norris
Sarah Smart Miss Lisa Coleman
Stanford Whipple (Sliver)
Mr. Edwin Wheeler
THE STAGE YEAR BOOK.
143
ADollar Did It (continued).
Oliver Dolittle Mr. James Green
Mrs Dolittle Miss Gertrude Harrison
Joshua Sampson Mr. Henry Barton
Joseph Price Mr. Arthur Wilson
Elijah Strong Mr. Louis de Verne !
Hiram Lawson Mr. Robert Watt '
Baxter Billings Mr. Ernest E. Norn's
Veronica Scroggings Miss Edith Hobson
— Dalston.
DOLLY DYE, musical absurdity, written by W. T. Avery, composed by Kenneth Mor- rison. May 20.
Squire Blossom Mr. J. W. Forrest
Rev. Hugh Popoff Mr. Frank Lester i
Major K. N. Pepper Mr. J. Allen |
Sammy Snail Mr. W. H. Irving j
Birdie Mr. Bert Collins
Handy Harry Mr. Ernie Howard
Rose Bush Miss Minnie Best
Vesta Swan Miss Clara Best
Lena Trix Miss Cissie Best
Mamie Chance Miss Madge Best j
Flossie Knockem Miss Ida Conroy
Winnie Wen ton Miss E van ge line Hope
May Blossom Miss Millie Millwarde j
Dolly Dye Miss Florrie Greensmith I
—Alexandra, Pontefract. '
DOLLY'S LITTLE BILLS, one-act sketch, by Henry Arthur Jones, from his four-act piece. DOLLY REFORMING HERSELF. July 8.
—London Hippodrome.
DOMESTIC DIFFERENCES, farcical comedy, by H. M. Le*on. December 19.— Mechanics' Hall. Nottineham.
DON QUICHOTTE, opera, in five acts (in French), music by Jules Massenet. May 17 j
Dulcinee Mile. Yvonne Kerlord i
Don Quichotte M. Lafonde
Sancho M. Jose" Danse
Jua" M. Georges Regis }
Rodriguez .M. Fernand Leroux |
Pedro Mile. Andre" Kerlane
Garcias Miss Kathleen Lockhart
Chef des Bandits M. Verheyden
1st Valet M. Landel i
2nd Valet M. Deshayes
Stage director, M. Jacoues Colni. Musical conductor, Mr. Fritz Ernaldy.
—London Opera House.
DON C;ESAR DE BAZAN, adaptation by Fred Maxwell. Sept. 23.
Don Caesar Mr. Fred Maxwell
Charles II. of Spain.. Mr. Arthur Chisholm
Don Jose* Mr. Mansell Fane
Lazarillo Miss Bessie Courtney
Captain of the Guard Mr. W. Arnold
Marifta Miss Minnie Sadler
— Bedford.
DON'T YOU BELIEVE IT ; OR, THE TERROR OF TIGERTOWN, play, in one scene, by Harry M. Vernon. Oct. 7.
Jim Howard Mr. A. E. W. Barnes
Tim Sherwood.. Mr. E. Howard Templeton
Mary Lawlor Miss Sylvia Morris
Dan McCarthy Mr. Sydney Benson
Dick Lawlor Mr. Leon Dawe
Buck Murray Mr. Reynolds Watson
The "Spoil Sport" ..Mr. Leslie Hamilton
Bob Kelly Mr. J. C. McCloud
His Assistant Mr. Ulster Gray
—Palladium.
DOORMATS, comedy, in three acts, by Hubert Henry Davies. Oct. 3.
Noel Gale Mr. Gerald du Maurier
Uncle Rufus Mr. Alfred Bishop
Captain Harding Mr. Dawson Milward
Aunt Josephine Miss Nina Boucicault
Leila Miss Marie Lohr
— Wyndham's.
DORTNDA. thrpe-aet nlay, by the Countess Of Roden. Aug. 24.
— Tullymore Park.
DOUBLE GAME, THE, play, in three acts, by Maurice Barling. May 7. Ivan Borisovitch Bloum..Mr. Arnold Lucy Elizaveta Ivanovna Bloum
Mrs. A. T5. Tapping
Boris Nikolaevitch Rakint..Mr. Claude King Dimftri Vasflevitch Romodin
Mr. E. Harcourt-Williams Maria Andrevna Bernova
Miss Ernita Lascelles Count Peter Zoiirov ..Mr. C. H. Hewetson Alexei Ivanovitch Philfpov
Mr. Mark Hannan Fe'dor Petrdvitch Dimftriev
Mr. Fewlass Llewellyn Sergei Andrevitch Neilsen
Mr. B. Creagh Henry
Harold Jameson Mr. Lionel Pap«
S6fla Dimftrevna Okdunova
Miss Mary Mackenzie Alexander Alexandrovitch Pondv
Mr. Michael Sherbrooke
K61ia Mr. Len Bethel
Sasha Miss Mildred Surrey
— Kingsway.
DOUBLE WOMAN, A, fantastic comedy, in three acts, by Harry and Edward Paulton. March 11.
Sir Charles Glynne Mr. Robert Minster
Muriel Lady Glynne
Miss Lilias Waldegrave
Bloundell Greene Mr. Wilfrid Shine
Mrs. Greene Miss Eugenie Vernie
Percy Fairleigh Mr. Goodyer Kettley
May Fairleigh Miss Dulcie Vernie
Lord Lismore Mr. Walter Henty
Vera Lismore Miss Eileen Atherley
Alwyne Bruce ....Mr. Herbert Garthorne
Mrs. Bruce Miss Cynthia Fane
Captain Winterhole ....Mr. A. V. Bramble
Gwen Warlaby Miss Beatrice Terry
Anstiss Miss Rhoda Beresford
Major Allen Mr. Fred Lake
Gamekeeper Mr. Harry Yeates
Rudge Mr. Cyril Brook
—Devonshire Park, Eastbourne.
DOVE UNCAGED, THE, fantasy, in one act, by Eunice Hamilton Moore* Feb. 20.
Sister Mon'ca Miss Marion Terry
Sister Lucia Miss Mary Relph
Sister Clara Miss Rose Yule
Sister Serena Miss Rose Dupre"
The Novice Colombina Miss Gladys Cooper
DRAGON, THE, historical play by W. T. Saward and Eustace Ponsonby. December 9.
Contessa di Palanti ....Miss Janet Barrow Marquis di Monaldeschi
Mr. Brendan Stewart
Ninon de L'Encles Miss Ruby Bower
Captain Bardon ..Mr. Herbert H. Herbert
Pietro Miss Gwen Lofts
Queen Christina of Sweden
Miss Isa Noella
Mazarin Mr. W. T. Saward
Prince Gustavus Mr. Eustace Ponsonby
Count Oscenstiern Mr. Robert Percy
Father Le Bel Mr. E. P. Anthony
Pierre Corneilli Mr. Oscar Dane
Lieutenant of the Guard.. Mr. Harold Noel
Moreno Mr. E. Lowings
Angelotti Mr. R. Wood
Olaf Mr. H. Tysoe
— County, Bedford.
DRAKE, play, tn three acts, by Lonis N. Parker. Sept. 3. (On Mr. Harding leaving the cast to go to America the part of >Drake was taken up by Mr. Frederick [Ross.)
Francis Drake Mr. Lvn Harding
Queen Elizabeth. .Miss Phyllis Neilson-Terry
Lord Burleigh Mr. Bassett Roe
8*
144
THE STAGE YEAR BOOK.
Crake (continued).
Lord Howard of Effingham
Mr. Frederic Sargent
Christopher Hatton Mr. Rohan Clensy
Sir Walter Raleigh Mr. Harold Bliss
John Doughty ...Mr. Herbert Waring
Thomas Doughty Mr. Philip Merivale
Don Guerau D'Espes. .Mr. Francis Chamier
Don Pedro Zubiaur Mr. W. E. Gene
Don Bernardino de Mendoza
Mr. Digby Strous
Don Pedro de Valdez ..Mr. E. A. Smythe Sir George Sydenham ..Mr. Henry Morrell Le Sieur de Marchaumont
Mr. Arthur V. Webster
Sir John Hawkins Mr. Fred Vigay
Martin Frobisher ....Mr. William Harberd John Wyn.ter ....Mr. N. Campbell Browne
John Chester Mr. J. Esmond Walls
Captain John Thomas. .Mr. Chris Walker
Thomas Fenner Mr. Scott Clarke
Tom Moone Mr. A. E. George
Gregory Mr. Ross Shore
Brewer Mr. Frederick Ross
Lady Lenox Miss Elinor Foster
Mother Moone Miss Cicely Richards
Bright ...Mr. Roy Byford
. Fleming Mr. Howard Rose
Rev. Francis Fletcher Mr. Ben Field
Pedro Mr. Stanley Hewlett
Diego Mr. Loring Fernie
Mr. Vicary Mr. Anthony Warde
Mr. Charles ....Mr. Frederick J. Burnett
Mr. Caube Mr. H. E. Nieholls
Cooke Mr. Ernest Digges
William Hawkins Mr. W. Esmonde
Yole Mr. Alfred -H. Goddard
Potter Mr. Archibald Forbes
Bewes Mr. A. E. Allen
Doidge Mr. Sydney Gouldie
Menhennick Mr. Montague Kerr
Beckerleg Mr. Gordon Carr
Courtenay Mr. Arthur Chicken
Tailor Mr. M. A. Buxton i
Haberdasher Mr. A. Thornley |
Eikeman Mr. George Laundy 1
Balladmonger Mr. Alexander Sarner
Dame Sydenham. .. .Miss Stella St. Audrie Elizabeth Sydenham
Miss Amy Brandon- Thorn as —His Majesty's.
DREAMER, THE, a poetic drama of the life ! of Joseph, in five acts, by Mrs. Percy Dearmer. November 29.
ARCHANGELS.
Gabriel Mr. Gordon Bailey
Michael Mr. Christopher Dearmer
j Mr. Hugh Law -j Mr- staniey Roberts CANAANITES.
Israel Mr. Otho Stuart
Reuben Mr. J. Henry Twyford
Simeon Mr. Stuart Musgrove
f Mr. Gilbert Hudson
I*vl (Mr. John Kelt
Judah Mr. Harry Irvine
Zebulun Mr. G. West
I Mr. E. K. Montague Issachar , Mr Baroard way
Dan Mr. Arthur Hare
Gad Mr. E. Reynolds
/ Mr. Cyril Way
Assher \ Mr. G wynne Vaughan
Naphtali Mr. Clifton Gordon
Joseph Mr. E. Harcourt-Williams
j Miss Dorothy Manville Benjamin j Mr Peter UpcneT
Rachel Mrs. F. R. Benson
Leah Miss Constance Robertson
Bilhah Miss C. Adams
Zilpa'h • Miss Reynolds
MlDIANITES.
Chief Mr. Tom Heslewood
First Midianitc Mr. Rathmell Wilson
The Dreamer (continued),
Second Midianite Mr. R. Wallis-Jones
Third Midianite Mr. A. G. Hill
Fourth Midianite Mr. H. R. Hall
EGYPTIANS.
The Pharaoh ,, Mr. Acton Bond
Asenath Miss Sybil Carlisle
TsTpfprt J Miss Olga Ward
1 1 Miss Eva Stuart
The Governor of the Prison
Mr. Scrope QuentLn
Priest of Isis Mr. E. S. D. Carter
Second Priest of Isis.. The Rev. J. B. Hunt
The Chief Butler Mr. E. S. Lester
The Steward of the House of Joseph
Mr. Rathmell Wilson
Aphophis Mr. H. B. Waring
Kamases Mr. J. Killick
lannas Mr. Lester
Aseth Mr. Neville Brand
First Man Mr. Denis AinsLie
First Woman Miss Maud Douie
First Servant Mr. E. H. Wood
Second Servant Mr. Leslie Stevens
Manas&eh Mr. Peter Shaw
Ephraim Mr. Sebastian Shaw
Handmaids of Asenath played by Miss McNeill, Miss M. McNeill, and Mrs. Jack White. Egyptian dances by Miss Annie Spong and pupils. Misses Marjory Prince, Irene Spong, Doris Mathews, Greta ThorneJy, Mary Wait, <and others.
— King's Hall, W.C.
DREAM LADY, THE, pastoral play, by Netta
iSyrett. (Produced 'by amateurs.) July 13.
—The Hermitage, Barnes.
DREAM OF DEATH, THE, one-act play, by Hugh de Selincourt. August 12.
A Girl Miss Gladys Carton
A Young Man Mr. Weston Fields
A Strange-looking Man.. Mr. George Owen
A Middle-aged Man. Mr. Bridges-Adams
— Prince's, Manchester.
DREAM OF DRESDEN CHINA, A, plot by H. S. W. and B.S., music by Mme. Mar- guerite Hamilton. July 2.
The Bachelor Mr. Russell V. Allta
The Girl Miss Ivy Davies
The Boy Miss Gladys I. Lloyd
The Mandarin Oily Moody
—Guildhall School.
" DREAMLAND," children's play, by Walter Emden. December 27.— St. Margaret's, Dover.
DREAM WOMAN, THE, one-act play, by Eva -May Howe. June 23.
—Clavier Hall, W.
DRONE, THE, comedy, *n three acts, by Rutherford Mayne. February 6.
John Murray Mr. Rutherford Mayne
Daniel Murray Mr. WThitford Kane
Mary Murray Miss Josephine Mayne
Andrew McM,inn Mr. John F. Ma^cr
Sarah McMinii ..Miss Margaret O'Gorman Donal McKenzie ....Mr. Alec F. Thompson
Sam Brown Mr. Stanley Gresley
Kate Miss Nellie Wheeler
Alick McCready .. Mr. John P. Campbell —Royalty.
DRUM, THE, dramatic sketch, by Edward Perini. March 9. .
Re~my Gaillard Mis Doris Glover
Philomene Boucher.... Miss Maxine Conrad
Nicolas Boucher Mr. Robert Hume
Punchinello Mr. Harold Hillinnn
////•: STAGE YEAR BOOK,
145
DUCHESS OF DANTZIC, THE, abridged ver- sion, in one scene, arranged by W. H. Basque, of the musical play by Henry Hamilton, music by Ivan Caryll. (Origin- ally ]>.mtlnu':'(l at the- Lyiric on ^October n, 1903.) March 18. Catherine Upscher (known as Bane-Gene) Miss Evie Greene
Misette Miss Ethel Oliver
Therese Miss Constance Craven
Philipp Mr. E. Gordon Cleather
Captain Regnier Mr. Garnet Wilson,
Napoleon, Bonaparte Mr .Frank Bradley
Sergeant Lefebvre ..Mr. Herbert Clay ton- Sergeant Flageot Mr. A. J. Evelyn
Corporal Gildon Mr. F. W. Bowes
Papillon Mr. Courtice Pounds
— Palladium.
DUEL THROUGHOUT THE AGES, THE. June 13.— St. James's.
DUKE, THE. Amateur production of the dramatisation, in four acts, of J. Storer Clouston's novel of the same name, by David Kimball. April 16. Lady Georgina Stock
Mrs. Frank Anderson
Gwendoline Miss Rose Anderson
James Mr. Frank Cowis
Lady Roulett Mrs. C. J. Berridge
Angela Miss Winnie George
Clara Golden Miss Ethel Leicester
Sir Pursuivant Debrette
Mr. Edgar S. Rouse
Marjorie Gaye Miss Dorothy Manning
Jack Kavanagh Mr. Cyril Lawrence
Lambert Haselle Mr. Gerald Lindsay
Archibald Mr. C. Arthur Harris
John Sanderson Stock Mr. C. Cobbold
— Cripplegate Institute.
DUMB AND THE BLIND, THE. London production (by the Play Actors) of a one-act play by Harold Chapin. May 19.
Jo , Mr. Hubert Willis
Liz Miss Winifred Rae
Bill Mr. Telford Hughes
Emmy Miss Irene Ross
— Court.
Subsequently presented November 19, Prince of Wales's, with the following cast :—
Joe Henderson Mr. Graham Browne
Liz Miss Elsie Davison
Emmy , Miss Bessie Courtney
Bill Pepper Mr. John Alexander
DUST OF EGYPT, THE, farcical fantasy, in four acts, by Alan Campbell. Feb- ruary 3. Last performance (the 65th) March 30.
Geoffrey Lascelles.. Mr. Gerald du Maurier General Sir John Manning
Mr. Lyston Lyle
Dan Smith Mr. Ernest Mainwaring
Michael Simpson — Mr. Charles Crawford
Ani Mr. Jules Shaw
Pinetem Mr. Howard Sturge
Billings Mr. Hubert Druce
Benson Mr. A. E. Benedict
Wiggins Mr. Harry Cane
Cabman Mr. Richard Carfax
Footman Mr. F. J. Rorke
Princess Amenset Miss Enid Bell
Lady Lillian Manning. .Miss Lena Halliday Miss Phoebe Manning. .Miss Alice Chapin
Violet Bradley Miss Gladys Harvey
Annie Mi>s Florence Harwood
— Wyndham's.
DUSTY PATH, THE, comedy, in one act, by Wilfred T. Coleby. November 2.
Kitty Scarcliffe Miss Athene Seyler
George. Scarcliffe Mr. Brian Egerton
Mrs. Posthurst Miss Helen Rous
— Playhouse.
DUTCH CORPORAL, THE, revised version of Juke Friedman's sketch. .1uh 8. -Colliijs's.
EARLY ONE MORNING, Cockney duologue, by Frances M. Gostling and Sybil Michell. (June 14, Clavier Hall, W.) February 14.
Abel Mr. G. Boulton
Alice Miss Lilian Hampton
— Royal, Worthing.
EASIEST WAY, THE, London production of the play, in four acts, by Eugene Walter. (Originally produced at the Stuy- vesant, New York, January 19, 1909. First English performance February 5, 1912, Pier, Eastbourne.) February 10. Transferred to the Queen's, April 6. Last performance (the 115th) June 8.
Laura Murdock Miss Sarah Brooke
Elfie St. Clair Miss Laura Nelson Hall
Annie Miss Violet Rand
Willard Brockton Mr. Guy Standing
John Madison Mr. Godfrey Tearle
Jim Weston Mr. 0. B. Clarence
—Globe.
EDGE 0' DARK, one act play, by Gwen John. July 18.
Esther Wagstaff Miss Gladys Jones
Tom Sylvester Mr. Roland Pertwee
William Wagstaff ....Mr. Moffat Johnson
Zacharias Barker Mr. Stanley Roberts
Albert Dolphin .. Mr. Charles A. Roberts —Clavier Hall, W.
EDITH, comedy, in one act, by Elizabeth Baker. (Produced by the Women Writers' Suffrage League.) February 9.
Edith Stott Miss Janette Steer
Mrs. Slott Miss May Whitty
Gladys Stott Miss May Martin
Gerald Stott Mr. Lawrence Leyton
Mr. Bloom Mr. James Gelderd
George Ruff Mr. Frederick Morland
Mrs. George Ruff Miss Rose Yule
Arthur Sting Mr. Lyonel Watts
Maid Miss Bertha Graham
—Prince's.
EDUCATION OF MR. SURRAGE, THE, comedy, in four acts, by Allan Monk- house. November 4.
Rose Surrage Miss Ellen Thorndike
Archie Surrage Mr. Scott Sunderland
Mr. Surrage Mr. Arthur Chesney
Violet Surrage Miss Estelle Winwood
Mrs. Staines :.. Miss Ada Potter
Bindloss Mr. Wilfred E. Shine
Mr. Arthur Suckling. .Mr. J. H. Roberts Mr. Geoffrey Vallance
Mr. Lawrence Hanray —Repertory, Liverpool.
ELAINE, comedy, in three acts, by Harold Chapin. September 23.
Henri Mr. Lionel Briggs
Lady Philox Mrs. Albert Barker
Rev. Sir Peter Philox.. Mr. Ernest Bodkin Hon. Michael Seelby..Mr. Reginald W. Fry
John Curtis Mr. Lewis Casson
Elaine Miss Irene Rooke
Gerald Ferrers Mr. Frank Darch
Louise Miss Muriel Stewart
—Gaiety, Manchester.
ELDEST SON. THE, domestic drama, in three acts, by John Galsworthy. November 23. Sir Wm. Cheshire. .Mr. Edmund Maurice
Lady Cheshire Miss Irene Rooke
Bill Mr. Guy Rathbone
Harold Mr. Robert Rendel
Ronald Keith Mr. Claude King
Christine Keith Miss Winifred Scott
Dot Miss Irene McLeod
Joan Miss Mary Deverell
Mabel Lanfarne Miss Ellen O'Malley
Rev. John Latter.. Mr. Charles Maunsell
Studdenham Mr. William Farren
Freda Miss Cathleen Nesbltt
Dunning Mr. Moffat Johnston
Rose Taylor Miss Irene Hentschel
Jackson Mr. E. H. Brooke
Charles Mr. Val Cuthhort
— Kingswny.
146
THE STAGE YEAR BOOK.
ELEANOR'S ENTERPRISE, comedy, in three acts, (by " George Birmin>ghaim." Origin- ally produced at tih>e Gaiety, Dublin, on (December 11,1911. (First English presen- tation.) October 7.
Lord Kilbarron Mr. Charles Power
Lady Kilbarron Miss Violet Mervyn
Eleanor Maxwell.. The Countess Markievicz
Marion Ashley Miss Aideen O'Connell
The Archdeacon of Barna..Mr. E. Gorman
Dr. Reilly Mr. Patrick Quill
Paudeen Finnegan Mr. Shaun Connolly
Mrs. Finnegan Miss Helena Molony
Butler Mr. Harry Martin
Housemaid Miss De Vere
Cook Miss Nell Gifford
Sergeant, R.I.C Mr. Robert Harding
Constable, R.I.C Mr. Michael O'Brien
— Kelly's, Liverpool.
ELIJAH, dramatic setting by Harrison Frewin of Mendelssohn's oratorio. February 20. (London production with same principals, Kennington, May 14.)
Elijah Mr. Graham Marr
Obadiah Mr. Wilson Pembroke
Ahab Mr. Clegg
Elisha Mr. Harry Brindle
Gareb .- Mr. Moore
Hezron Mr. Mackie
Rizpah Miss Weste
Tirzah Miss Cartwright
Jehqsheba Miss Penville
Jessica Miss Burns
Zelek Miss Wilmore
The Widow's Son Master Boyd
Jezebel Mis,s Helen Culver
Mamutal Miss Lily Moody
Widow of Zarephath
Miss Florence Morden — Kelly's, Liverpool.
ELIZABETH, REINE D'ANGLETERRE. Mme. Sarah Bernhardt appeared in the last act of M. Emile Moreau's play. October 7.— London Coliseum.
ELOPEMENT, AN, comic-mimo sketch, by H. M. Zazell. August 19.
Catherine's Sweetheart Mr. A. Dang
Catherine's Mother — Miss Helen Hefreu
Catherine Miss Catherine Hefren
A Clumsy Servant Mr. H. M. Zazell
— Coliseum, Glasgow.
EMANCIPATION, THE, play, in three acts, by Leonard Inkster. October 9.
Mrs. Arrowsmith Miss Minnie Webb
Mrs. Peterson Miss Josephine Lee
Laura Miss Sylvia Dawson
Mr. Arrowsmith Mr. Claude Haviland
Jack Mr. B. Iden Payne
Edgar Field Mr. Esme" Percy
Janet Miss Isabel Turner
—Temperance Hall, Sheffield.
EMBARRASSED BUTLER, THE, comedy, in two scenes, by Keble Howard. May 28.
Austin Grain Mr. Vivian Gilbert
Celia Grain Miss Violet Graham
Jack Mr. Walter Ringham
Tily Mr. Walter Kingsford
—Lyric.
ENTENTE CORDIALE, L', play, in one act, by Julian King. (Produced by the Rehearsal Theatre Introductory Company). May 11. Richard Caldwell Mr. H. J. Robinson
Williams Mr. George Hinchliff
Parkyna Mr. R. Ferguson
Emmaline Caldwell ..Miss Mabel Hewkley
M. de Gamier ..Mr. Charles A. Roberts
— Rehearsal.
EPIPHANY, Twelfth-Night interlude, by the Hon. and Rev. J. E. Adderley. (Produceo by the Morality Play Society.) February 9.
Tom Browne Mr. Richard Neville
Dick Jones Mr. Stuart Musgrove
Epiphany (continued).
Harry Robinson Mr. Bertram Forsyth
A. Fryer Mr. Ralph Button
Mary Davidson Miss Lucy Wilson
Joshua Davidson Mr. Benedict Butler
Lady Browne Miss Helen Haye
Hon. Lattice Brown Miss Athene Seyler
Butler Mr. Harding
— Court.
ESCAPE, THE, episode in the life of Count Lally-Tollendal, by G. Lally. June 25. Count Lally-Tollendal
Miss Gwendolen Lally Marcelle de Rochefort
Miss Cathleen Nesbitt National Guard ..Mr. Charles D. Grenville
—Court.
EVERYBODY IN SEARCH OF FORTUNE, morality sketch, in four phases, by Peter G. Piatti, with music by John Neat. June
Everybody Mr. Martin Lewis
Shirk Mr. Lawrence Leyton
Honesty Mr. E. W. Thomas
Advice Mr. Chris Walker
Future Mr. Bellenden Clarke
Work Mr. L. Sommerville
Chance Mr. Gilbert Yorke
A Friend Mr, George Acton
A Friend Mr. S. Kemble
Waiter Mr. Hugh Hooper
Policeman Mr. Alan J. Chester
Fortune } Miss Wimifr«d Braneby Williams
Pleasure Miss Violet Blyth-Pratt
—Oxford.
EVERYBODY'S DOING IT!, revue, in three scenes, written by George Grossraibh, and C. H. Bovill, music composed and ar- ranged by Cuthbert Clarke, produced by Mr. Fred Fanreo. February 14. Trans- ferred to the Apollo, December 9, and back to the Empire, iDecemiber 23.
. —Empire.
EVERYWOMAN, modern morality play, by Walter Browne, revised by Stephen Phillips, with music by George W. Chad- wick. September 12. Last performance (the 95th), December 4. Everywoman .... Miss Alexandra Carlisle
Truth Miss Kate Rorke
Beauty Miss Gladys Cooper
Youth Miss Patricia Collinge
Modesty Miss Jessie Winter
Conscience Miss Wilda Bennett
Greed Miss Mary Brough
Self ^ Miss Vera Beringer
Vice Miss Clara Beck
Vanity Miss Madge Fabian
Nobody • Mr. H. B. Irving
Wealth Mr. Fred Lewis
Stuff Mr. W. H. Denny
Bluff Mr. Henry Wenman
Passion Mr. Wilfrid Douthitt
Puff Mr. John Tresahar
King Love Mr. Ion Swinley
Witless Mr. E. H. Kelly
Flattery Mr. Austin Melford
Age Mr. E. W. Royce
Time Mr. Howard Russell
Potts Mr. Edward Morgan
Charity Mr. Ashdown
Scribe Mr. Boldrini
Pert Miss M. Bell
Flirt Miss V. Foster
Dimples Miss F. Watson
Curls Miss S. Bourcard
Giggles Miss M. Macdona
Shape Miss F. Vaughan
Smiles Miss I. Dean
Sly Miss V. Rangdale
Curves ....... Miss C. Murray
— Drury Lane
THE STAGE, I'AMA' BOOK.
147
liXl'KIM.MKM ALISTS, THE, "unusual comedy," in three acts, by Rathmell Wil- son and Muriel Hutchinson (produced by the Drama Society). October 29. Roger Gardiner .... Mr.Henry De Bray
Charles Turner ____ Mr. Stanley Robert
Tom O'Callaghan .. Mr. Spencer Carpenter A French Artist ...... Mr. Alfred Toose
Penelope Turner ...... Miss Rita Sponti
Miss Turner .... Miss Winefride Borrow
Louise ...... Miss Eve Balfour Hulston
A Fruit Seller ...... Miss Gladys 'Jones
—Clavier Hall, W.
EVE OF WANG, THE, Celestial musical fan- tasy, in two acts, book and lyrics by M. Stewart-Dyer and George Jenkins, music by H. J. Colquhoun, M. Stewart-Dyer, and L. D. Marsden (produced by amateurs). April 30.
Corn Exchange, Wallingford. *
FACES IN THE FIRE, one-act play, by Ber- nard Bagnall. May 27. Arthur Newent .... Mr. Wernham Ryott
Hefen Newent ........ Miss Violet Lewis
Dorothy ............ Miss Gertie Renaud
—Royal, Plymouth.
FAKING THE FILM; OR, SKINNYMA- COLOUH, burlesque, by Edward Marris. (September 30, Hippodrome, Margate). October 14.
— Empress.
FALL OF THE CURTAIN, THE, sketch. May 20. —Islington Empire.
FAMILY FAILING, corrfedy, in three acts, by William Boyle (March 28, Abbey, Dub- lin). June 27.
Maria Donnelly .. Miss Eileen O'Doherty Nelty .............. Miss Kathleen Drago
Dominic Donnelly .... Mr. Arthur Sinclair
Joe Donnelly ...... Mr. Sydney J. Morgan
Tom Carragher .... Mr. J. M. Kerrigan
Mrs. Carragher .. MJss Violet McCarthy Robert Donnelly .. Mr. Fred O'Donovan Francy Kiel ..... . Mr. Michael Conniffe
—Court.
FAMILY RIGHTS, play, in one act, by M. F. Scott. December 9. Dan Fogarty ............ Mr. J. M. Harding
Mrs. Fogarty ........ Miss Mary Crothers
John Rooney .......... Mr. G. A. Charters
Mrs. Rooney . . ........ Miss Peggy McCurdy
Mrs. O'Halleran ..Miss Kathleen Lawrence —Opera House, Belfast.
FANCY FREE, one-act play, by Stanley HotiKhton. (November 11, 1911, Gaiety, Manchester.) June 17. Alfred ............ Mr. Stanley Turnbull
Ethelbert .......... Mr. Philip Anthony
Delia .................. Miss Hilda Moore
Fancy Free ............ Miss Mary Forbes
— Tivoli.
FANNY'S FIRST PLAY. Transferred from the Little, 'January 1. Last performance (the 634th) December 27.
FALLING HIS CREST, comedy, in two acts, adapted from " L'Oncle Baptiste," by Emile iSouvestre. August 5. Paul Dupont .......... Mr. David Barnett
Baptiste Dupont ...... Mr. Buchanan Wake
Quentin ................ Mr. Hugh Marlein
Arthur de Restoul ____ Mr. Leslie Ryecrof t
Ba-on de Verne ux .. Mr. Richard Cowell SBenoit .................... Mr. Terry Hurst
Lolotte .............. Mias Una Bruckshaw
Louise ............ Miss Joan Willoughby
Emma ................. Miss Phyllis Birkett
— Wyndham's.
FALSE WITNESS, THE. " The Father of Her Child " "was re-named thus in October.
\sv. A, adaptation of .Inlm Driiikwater's poem, by Dorothea Keottah-WTigbt, Sep- tember 28.
Pierrot Mr. Laurence Heywoxth
Harlequin Mr. Kenneth Varvill
Pierrette Miss U. Kentish-Wright
— Mechanics' Hall, .Nottingham.
FATHER OJF HER CHILD, THE, drama, in .four acts. January 29. (March 25, Jttoyal, Stratford.) Re-narned " The False Wit- ness " in October. Colonel Matlock . . Mr. Charles A. Chandler
Gerald Matlock Mr. John Gerant
Frank Hope Mr. Terence Byron
Bobby Bunting MX. Avis C. Phelps
Fred Fleetwood Mr. Frank Venn
John Parkings Mr. Ernest St. John
John Thomas Mr. Frank Corneld
Thomas John Mr. Herbert C. Jones
Mr. Penfold Mr. L. H. Lewis
Mr. Grimm Mr. Charles Petherill
•Dr. Camp Mr. John Hastings
Jones Mr. Sidney Woolf
Policeman X44 Mr. Thomas Orman
Clare Randall Miss Cissy Bellamy
Lucy Randall Miss Dora Weber
Mrs. Randall Miss Julie St. George
Kitty Garland .... Miss Elizabeth Watkins — Metropole, Abertillery.
FENTON PEARLS, THE, comedy, in three acts, by Cicely Wroughton. May 16.
— Court.
FERDINAND, play, in one act, by David DaJ- now. (Produced by the Play Actors.) January 21.
Ferdinand Mr. Ralph Button
Elizabeth Miss Rita Tomkins
Ms. Avigdale Miiss Ada Palmer
Miss Mandon Moss Mary Mackenzie
Annie Miss Mignon, Clifford
— Court.
FERRET, THE, play, in one act. October 28.
John Benham Mr. Hubert Willis
Kate Benham Miss Dorothy Thomas
Philip Morgan Mr. Frank Tennant
—New.
FIFINELLA, fairy frolic, in three acts. (Pro- duced by Basil Dean.) December 26. Uncle Thaddeus ....Mr. Scott Sunderland
Mary Miss Esme Hersee
Oily Master Roy Royston
Demon King Mr. Wilfred Shine
Fairy Queen Miss Aida Jenoure
Utter and Rot- Messrs. J. H. Roberts and Richd. Evans
An Owl Mr. Eric Blore
Fifinella ... Miss Dorothy Bowett
East Wind Mr. Robert Crichton
Litterkin Miss Estelle Winwood
Bitterkin Miss Eileen Thorndike
Elf King Mr. Lawrence Hanray
Dream Merchant Mr. Baliol Holloway
Man in the Moon
Mr. Percival Madgewick
Abdul Mr. Richard Evans
—Repertory, Liverpool.
F1LBY, THE FAKER, playlet, by Leon M. Lion. (Originally produced as " The Fairy Uncle," November 28, 1907, New.) Novem- ber 11.
—South London.
FILLE MAL GARDEE, LA, d'Oberval's ballet in two scenes, played for the first time in England July 15.
Madame Marcelline M. Chiriaeff
Mme. Anna Pavlova M. Novikoff
M. Manahoff
His Father M. Kariloff
Notanus M. Larianoff
—Palace.
148
THE STAGE YEAR BOOK.
FIND THE WOMAN, play, in four acts, by Charles Klein. Last performance (the 189th) December 7. June 17.
Richard Dex'ter Mr. Arthur Bourchier
Howard J elides, senr. Mr. Herbert Bunston Howard Jeffries, junr. Mr. A. E. Matthews
Robert Underwood Mr. Julian Royce
Captain Clinton Mr. James Carew
Doctor Bernstein .. Mr. Kenyon Musgxave
Mr. Bennington Mr. Cyril H. Sworder
fcergt. Maloney .. Mr. Clifford Heatherley
Officer Mr. Gilbert Clarke
Jones Mr. Claude Edmonds
Elevator Attendant .. Mr. Roland Young Mrs. Howard Jeffries, sear.
Miss Lydia Bilbrooke Mrs. Howa/rd Jeffries, junr.
Miss Violet Vanbrugh — Ganrick.
FIRE SCREEN, THE comedy, in four acts, by Alfred Sutro. February 7. Last per- formance (the 61st) March 30.
Horace Trovers Mr. Arthur Bourchier
Oliver Badden Mr. J. Fisher White
Sir William Murdoch Mr. Herbert Bunston
Cap-tain Hough M,r. Kenyon M us grave
Mr. Hough Mr. Arthur Eidred
Joshua Mr. Gilbert Clark
Parker Mr. Thomas Weguelin
Angela Verrinder Miss Kate Cutler
Martha Hadden .... Miss Violet Vanbrugh — Garrick;
FIRST LOVE, dance episode, in one scene, by Lydia Kyasht, music by Glinka (gavotte by C'uthbert Clarke), mis-en-scene and cos- tumes supervised by C. Wilhedm. Septem- ber 24.
Olga Mile. Lydia Kyasht
Donitri M. Alex Volinin
—Empire.
FIRST STONE, THE, one-act play, by Robert Higginbotham. (Produced by the Rehear- sal Company.) April 14. Rev. James Cholmondeley
Mr. Lancelot Lowder Rev. Ernest Finch.. Mr. Luxmoore Bockin
Mrs. Mudge Miss Beryl Nori
Nellie Perkins Miss Nell du Maurier
—Rehearsal.
FIVE FRANKFORTERS, THE, comedy, in three acts, by Basil Hood, adapted from the German of Carl Rossler. May 7. Last performance (the 56th), June 29.
Frau Naomi Miss Henrietta Watson
Michael Mr. Louis Oalvert
Joseph Mr. C. W. Somerset
Samuel Mr. C. M. Lowne
\ Ernest Mr. Clarence BlakiSton
\David Mr. Henry Ainley
Rose Miss Carlotta Addi-son
Lizzie Miss Violet Graham
Rachel Miss Gladys Guy
Boel Mr. Cecil Rose
•Gufitavus, Reigning Duke of Taunus
Mr. Leon Quartermaine Prince Christopher Maurice
Mr. Walter Kingsford Prince of Klausthal-Agordo
Mr. Dawson Milward Count Fehrenberg ....Mr. Rudge Harding
Baron Seulberg Mr. W. Abingdon
Herr Von Yssel Mr. Ralph Button
A Canon Mr. Walter Cross
A Servant Mr. Frank Melville
Princess of Klausthal-Agordo
Miss Christine . Ferris
Princess Evelyn ....Miss Gwladys Gaynor Mme. de St. Georges. ...Miss Danie Rayne
— Lyric.
FLAME, THE, play, in one act, by Edward Pcrini. March 9.
Pierrot Miss Amy AbereromJbie
Pierrette Miss Gladys Vivian
M. Arlequin Mr. Monteflore
Baron Pantalon Mr. Percy Williams
Comtesse Dore Miss Bee Davis
— Stedman's Academy.
FLAPPER AND THE HANGMAN, THE, " Some Reflections and a Thrill," by Ivan Firth and K. Malpass Cranage. October 11.
The Flapper Miss Myna Selwyn
The Hangman MX. Ivan Firth
—Clavier Hall, W.
FOILED BY A WOMAN, melodrama, in four acts, by Joseph M. Whannclitfe. (Orgin- adly produced Junction, Manchester, De- cember 4, 1911.) May 20.
Harold Siward Mr. Cecil W. Parke
Charles Travis Mir. Jack Armitage
Robert Rokeby Mr. James Jarrett
Joe Todd Mr. &yd Clayden
Mr. Mortimer Mr. Arthur Swaine
Jim Maverick Mr. Leonard Conroy
P.C. Piking Mr. A. Cresswell
Davis Mr. Francis Cavans
Night Watchman Mr. Huzzee
Florence Vandyke Miss Mary Brammer
Daisy Graham Miss D. Hildebrande
Mrs. Siward Miss Grace Carew
Mrs. Fleece Miss Hetty Schular
Sylvia Carew Miss Hilda Beverley
—Royal, Stratford.
FOLLY OF A FOOL, THE, Old English oper- etta, by Claud Hales, music by W. T. Glid- don. May 20.
Walter Mr. Marcus A. Stone
Captain of the Guard
Mr. George Graystone
Jianet Miss Ruth Trafford
Alfred the Jester ..Mr. Herbert Franklyn —County, Kingston.
FOOL AND THE WISE MAN, THE, play, in one act, by Hermann Bahr. translated by Mrs. F. E. Wasbbuirn Freuha. (Produced by the Stage Society.) March 10.
Huster Mr. Holliday Attlay
Vinzens Haist Mr. C'laude King
Regel Mr. H. Athol Forde
Sophie Miss Irene Henfcschel
Edouard Haist Mr. O. P. He.ggie
Dr. Halma Mr. J. Patric Curwen
Hugo Haist Mr. Owen Nares
—Prince's.
FORGOTTEN, sketch, in one act, by Arthur Shirley. October 14. Dr. Robert Ladell ....Mr. Arthur Vaughan
Jack Manners Mr. Ralph Button
Waldick Mr. Chas. Douglass
Corporal Belton Mr. Henry Bedford
—Metropolitan.
FOR HER SON, romantic military drama, in nine scenes, by Eva Elwes. February 19. Crown Prince Alexis, and Marquis
of Maxwell, R.N. . . Mr. Herbert Skardon Colonel Count Hubert von Herder
Mr. Richard Ferris Prince Carl of 'Urtsburg
Mr. Louis Lingard Emperor of Urania
Mr. Edward M. Heanley Sergt. Major Kellman
Mr. Newton Pearce
William Bowles .... Mr. George B. Lewis Major Count von Lanier
Mr. Sam J. Liddle
Prince Christian .. Little Gladys Brittain Archduchess of Urania.. Miss Doris Brookes
Carita Miss Nancy Mitchell
Duches3 Sophia Miss Mary Vane
The Cro'va Princess Nesta
Miss Sidney Crowe —Coliseum, Saltley.
THE STAGE YEAR BOOK.
149
FOR LOVE AND THE NAVY, naval drama,
in t-k'wn tci'iii-s, by " Max Allen."
(June 10, ..TuiK.'taoii, Man-chester.) October
14.
Admiral Sir Henry Habisher
Mr. Julian Cross Lieut. Jack Foreland
.Mr. Vernon Fortescue
Joe Merry Mr. Jack Denton
Captain Crowle ..' Mr. A. C. Julian
The Black Ferret. Mr. Wilfred H. Benson
Clarence Hawkeye Mr. Henri Dore"
Hamil Khan Mr. W. M. Sheridan
Count Von Drachsburg.. Mr. W. Passmore Peter th> German .... Mr. Fred Terriss
Ned Mr. Chas. A. East
Jim Mr. E. J. Arthurs
Policeman Mr. Sam Andrews
Katherine Miss Agnes Allen
Lisa Miss Marie Scharning
Hilda Miss Alice Hampton
Shelah Habisher .. Miss Barbara Wallace
Peggy Miss Agnes Paulton
Annette Miss Rita Trekelle
Countess Davow&ka
Miss Sybil Etherington —Middlesex
FOR PEACE AND QUIET, comedy, in one act, adapted by Mrs. Max O'Rell from " La Paix Chez Soi." (Boudoir, W., October 24, 1911, and .played previously as a music -toalil sketch.)
John Stoker Mr. Leslie Faber
Valerie Stoker Mrs. Leslie Faber
—Vaudeville
FORTUNE TELLERS, THE, one-act play, by H. R. Abbott. September 17. (Septem- ber 12, Opera Hou.se, Cheltenham.) Sir William Brancaster
Mr. Thomas Weguelin Julius Brancaster.. Mr. Thomas Pauncefort
Claud Thornleigh Mr. Ronald Pertwee
Lady Brancaster
Miss Constance Robertson
Lady Angela Miss Joy Lumsden
—Criterion
FOR VALOUR, sketch, in one scene, by Sydney Mason. December 9.
James Carew Mr. Sydney Mason
Frank Carew Mr. F. Elmore
Winifred Miss R. Macey
Lena Miss F. Morley
Manservant Mr. C. Holt
— Shoreditch Empire.
FOUR TO ONE, farcial comedy, in two acts, by P. Biddulph Symonds and Sybil C. Michell. May 17
Philip Vail Mr. Powell Symonds
Alick Maxwell .... Mr. Gladstone Warren Mrs. Penelope Pcppett..Mrs. Guy Michell Miss Matilda Trotters .. Miss Edith Booth
Zenobia Darem Miss B. Hollway
Daisy Maxwell Miss Kitty Malcolm
— Helae Church Rooms, Worthing.
FREXCHY, a playlet, in one act, by Morrice Seaton. December 18.
John Win-all Mr. Morrice Seaton
Jem Mr. Anthony Snaith
The Doctor Mr. Jose" Carltqn
Frenchy Miss Rose Edouin
—Clavier Hall, W.
FROG HE WOULD A-WOOING, A, musical fantasy, book by Percy French, music by J. A. Robertson. August 12.
The Frog Mr. Ivan Berlyn
The Mouse Miss Annie Heenan
The Mother Frog ..:... Miss Mary Hay The Lily-White Duck .. Miss May Foster
Anthony Rowley Mr. Brendan Stewart
The Rat Mr. Sam Walsh
—Chelsea Palace.
FROM A TO Z, serio-comic phantasy, by Se-
well Collins. October 7.
Peggy Packer Miss Florence Radcliffe
Henry Packe • „
William Shakespeare..
Roscius
David Garrick Mr.LeBterlxmergan
Dion Boucicault —
Richard Mansfield ..
Lester Lonergan ...
— Kilburn Empire. FUGITIVE, THE, romantic episode of the
French Revolution, by H. W. Barker.
June 27.
M. Maximilian Robespierre
Mr. George Hudson
Armand Battaille .. Mr. Graham Woods
Marquis Letnaire Mr. Archie Helsby
Picot Mr. Pat Quinn
Dyot Mr. George Archer
Jeanne, Marquise Lemaire
Miss Marie Robson
Therese Miss Cissie Ashley
— Grand, Mansfield. FILLY INSURED, comedietta, in one act, by
Major J. C. Brinton. (Amateur produc- tion.) April 27.
Mrs. Seymour Miss M. Gilliat
Colonel Goodholme Major Brinton
Slim Steve Mr. Hugh Brodie
—Institute Hall, Tetbury.
GAMBLER, THE, sporting drama, in four acts, by Sheila Walsh. August 19. D,ck Randall .... Mr. S. Herbert. Humber
Peter Burton Mr. Dane Clarke
Caip&ain Cyril Stanley
Mr. T. Re maud Lock wood
Twig Fowler Mr. Charles Lorraine
Danny Ryan Mr. Joseph Ajcuraah
Joan Morton Mr. Harrison Ford
James lurnetr Mr. Erue&t iiauiiii/on
The <Jaiurub Mr. Tod W ood
Pinchex , Mr. Charles Walsh
WaUam Ray Mr. John Harris
Joshua Ltggat Mr. John Alien
Helen Randall Miss Margaret, fcname
Rdiie Ray Miss Rene Belle Dougias
Lady Paula Ware .... MU« Sheila Walsh — Junction, Manchester.
GARDEN CITIZEN'S, THE. farcical comedy, in three acts, toy R. H. Roberts and Jamee Davies. (Produced by Amateurs.) October 19.
Captain Sturgeon Mr. Fred Slater
William Brace Mr. Stanley Q. Cook
Arthur Mo re land .. Mr. Walter Duncan
Percy Sims Mr. S. Maitland &taipley
Huniington Hill .. Mir. Cyril D. Lidingtoa Sebastian Milo Mr. Alan W. Stapley
Hawker ...}Mr- A- Powe11 Jones
Telegnaph Boy Master H. Palm
Mrs. Cracknell Miies Frances Jolly
Bella Oracknell Mies Linda Brooke
Patricia St. Clair Mrs. Noel Maudsley
Elsie Gray Miss Irene Clemenits
— Itford Town Hall.
GARDEN OF MIRTH, A, an extravaganza, invented and arranged by John R. Huddle- stone and John Tiller, written by Sidney Diaviee, lyrics by Eustace Baynes, music selected and arranged by Sidney Baynes. July 8. Mr. Adam Post let hwaite
Mr. Horace Jones
Mrs. Postlethwaite .. Mies Nellie Rodney Miss Postlethw-aite Miss Doris Mayor Cooke The Hon. Mrs. Fitz Montmorency
Miss Jessie Gerrard
Miss Yera Percy-Smythe Miss Florrie Page Mi-s Flora Cecil Browne
Miss Mary Broughton
150
Ttt'E STAGE VEAR BOOK.
Garden of Mirth (continued). Mr. Percy Vexe de Vere
Mr. Joe Nightingale Mr. Claude St. Clair .... Mr. Arthur Bell
Jakes Mr. Teddy Gib be
Rakes Mr. Ian Mackenzie
Pate Mir. Barney Dixon
—Winter Gardens, Blackpool. GATE OF LIFE, THE, epic ballet, composed and produced by Arild Rosenkramtz to music by Beethoven. July 23.
The Maiden Mile. Vallya Lodowska
The Warrior M. Andire" Pavley
Death Mr. T. A. Shannon
— Savoy.
GAY DECEIVER, THE. London production of a comedy melange. April 22.
— ^Bedford.
GAY LADY DOCTOR, THE, musical sketch, mi one .act, by Frederick Fenn and Des- mond Donovian, music and lyrics by Maurice Patrice. July 22. Dr. Sophie Martin .... Miss Ada Thomas
Pat Flanagan Mr. Jerome Muirphv
Harry Thornton .... Mr. Louis Bradfield —Palladium.
GEISHA. THE, condensed version by W. H Risque of the Japanese, musical play, in two acts, by Owen, Hall, lyrics by Harry iGreenbank, music toy Sidney Jones. (Originally produced at Daly's, April 25, 1896.) February 26.
Lieut. Reginald Fain-lax Mr. Robert Evett Lieut. Cunningham .. Mr. Cameron Carr Lieut. Bronville .... Mr. Walter Williams
Lieut. Grimston Mr. Geoffrey Stair tin
Mr. Midshipman Stanley Master Foirteecue
Wun Hi Mr. Phil Smith
Marquis Imari Mr. Edward Sa&s
Takemine Mr. Jack Lennol
Captain Katana Mr. L Phillips
O Mimosa San Miss Blanche Tomlin
O Kiki San Miss Alice Hatton
O Hana San Miss Elise M.artim
O Kiakoto San, .... Miss Eileen Clanfcrd Komuraski San .... Miss Florrie Arnold Lady Constance Wynne Miss Hilda Antony
Mabel Grant Miss Babs Taylor
Ethel Hurst Miss Vera Sinclair
Molly Seamore MJas Gladys Guy
— Palace.
GENTLEMAN RANKER, THE, military sketch, by A. C. Lilly. September 1€.
—Metropolitan.
GENTLEMAN WHO WAS SORRY, THE, a curbstone romance (adapted from the story in " Arthur's "), by A. Neil Lyons and Philip E. Hubbard. October 18.
Arthur Mr. Clarence Blakiston
The Watchman Mr. Sydney Pease
The Loafer Mr. Charles Staite
The Policeman Mr. Charles Russ
Robert Walpole Mr. Eliot Makeham
The Sailorman Mr. T. N. Weguelin
Kitty Miss Esm6 Hubbard
Frederick William Darcy, Davenport
Devereaux Mr. Nicholas Hannen
—Little.
GETTING OUT OF IT, sketch, in one scene. June 24.— Palladium.
GETTING WHAT YOU WANT ; Variations on a Matrimonial Theme, by Hugh de Selincourt. (Produced, by the Connois- seurs.) June 23.
He Mr. George Owen
She Miss Efga Myers
-Little.
GHETTO, THE, drama, in three acts, by Her- man Hyerraans. April 6.— Yiddish People's
GHOSTS OF SPECTRE GRANGE, THE, mystical musical comedy, in three scenes, by Charles Stanley Self. May 6. Harry, Earl of Slushington
Mr. Walter Williams
Dorothy Dalrymple . . Miss Joyce Dalesford Madam Tompkinson . . Miss Pattie O'Brien
Silas Smithers Mr. Henri Stewart
Selina Slump Miss Louie Lonora
Gussy de Suppitt .... Mr. Victor Stevens
Mephisto Mr. G. Halford
Marguerite Miss G. Hinton
Vesta Miss B. Powers
Luna Miss F. Cromah
Mother Shipton Miss A. Lennox
Lord Perambulator .. Mr. Dato Gildardoni —East Ham Palace.
GIOJELLI DELLA MADONNA (THE JEWELS OF THE MADONNA), opera, in three acts (in Italian), music by Ermanno Wolf- Ferrari. May 30.
Maliella Mme. Edvina
Carmela Mme. A. L. B6rat
Gennaro Signor Giovanni Martinelli
Rafaele Signor G. Mario Sammarco
Biaso Signor Dante Zucchi
Cicillo Mr. Maurice D'Oisly
Stella » Miss Amy Evans
Concetta Miss Betty Booker
Serena Mile. Jane Bourgeois
Grazia Mile. Rosina Galli
Totonno M. Andre" Gilly
Rocco Signor Carossetti
First Monk Mr. James Goddard
Second^Monk Mr. Gaston Sergeant
11 } Signor Sampler!
Nurse Mile. Elvira Leveroni
— Covent Garden.
GIPSY LOVE, musical play, in three acts, by A. M. Willner and Robert Bodanzky, English libretto by Basil Hood, lyrics by Adrian Ross, music by Franz Lehar. June 1.
Jozsi Mr. Robert Michaelis
Andor Mr. Harry Dearth
Jonel Mr. Webster Millar
Kajetan Mr. Lauri de Frece
Dimitreanu Mr. Fred Kaye
Rudolph Mr. Charles Coleman
Rollo Mr. Frank Perfitt
Richard Mr. Nicholas Hannen
Dragotin Mr. W. H. Berry
Ilona Miss Sari Petrass
Julesa Miss Rosini Filippi
Jolan Miss Mabel Russell
Zorika Miss Madeline Seymour
Marischka Miss Kate Welch
Lady Babby Miss Gertie Millar
Gipsy Dancers : Misses Dombey, Stocker, Riga, Arnold, Molyneaux, Sinclair, St. Clair, Jarvis, and Collier.
GIPSY NIGHT, dance scena. July 29~
— Alhambra.
GIRL BEHIND THE BAR, THE, sketch, in one scene, by Gertrude E. Jennings. June 17.
The Girl Miss Emilie PoliniX
Mrs. Edgers.-. Miss Gertrude Lang
Joe Edgers Mr. Leon Courtville
The Detective Mr. Le Grand
— Finsbury Park Empire.
GIRL IN THE PICTURE, THE, musical play in two acts, the took and lyrics by Isa Bowman, and the music by Harry Richard- son. September 2.
Frank Fortescue Mr. Frank Barclay
Sammy Smeara Mr. Hylton Warde
Hautier, Mr. Gregory Scott
THE STAGE YEAR BOOK.
151
The (lirl in the Pictun- (continued).
John Matthews Mr. Besley Beltran
Hilton Hardmere Mr. Tom Squire
Waiter Mr. George Holmes
Marjorie Matthews Miss Vera Davis
Mrs. Wimple Miss Kitty Kirwan
Vera Hardmere Miss Kitty Carlisle
Nina Abingdon Miss Nora Harrison
Lucy Roy Miss Wynne Bronte
Grace Poline Miss Peggy Phyle
Marie Greening Miss Jessie Compton
Leonard Rayne Mr. Arnold Dean
Edward Cooper Mr. Hubert Graham
Fisher Partridge Mr. Graham Ross
Winnie Wimple Miss Isa Bowman
Royal, I>eal.
GIRL IN THE TAXI, THE, musical play, in three acts, adapted from the German of Georg Okonkowski by Frederick Fenn and Arthur Wimperis, with music by Jean Gil- bert. September 5.
Baron Dauvray Mr. Arthur Playfair
Baroness Delphine Dauvray
Miss Amy Augarde
Jacqueline Miss Margaret Paton
Hubert Mr. Robert Averell
Rene" Mr. Alec Fraser
Mariette Miss Violet Graham
Monsieur Pomarel Mr. C. H. Workman
Suzanne Miss Yvonne Arnaud
Professor Charcot Mr. Louis Goodrich
Rose Miss Cecily Stuckey
Alexis Mr. Frederick Volpe"
Emile Mr. George Carroll
Felix Mr. W. fl. Geale
Tina ,Miss Phyllis Allen
Mimi Miss Gwladys Gaynor
Phyrnette Miss Danie Rayne
Irma Miss EtheJ Morrison.
Fraisette Miss Violet Vernon
Charlotte Miss Googoo Murray
Celeste Miss Peggy Bethel
Godet , Mr. Edmund Digues
Paillasson Mr. Louis Russell
Vivarell Mr. Otto Alexander
—Lyric.
GIRL FROM THE JAM FACTORY, THE, domestic drama, in four acts, by Frank Dix. June 3.
Theodore Cornell Mr. E. Story-Gofton
Leonard Merton Mr. Eric T. Langham
.Termine Hicks Mr. Royce Milton
Rainy Muliins Mr. James Bond
Rev. Peter Rock Mr. Eustace Golding
Dr. Abbis Mr. Johnstone Clive
Perkins Mr. J. Williams
Inspector Dewhurst Mr. Geo. Francis
Old Abel Mr. E. W. Royce, sen.
Esther Morrison Miss Emelienne Terry
Flo. Hastings Miss Violet Kendal
Maggie Dench
Miss Maude Stewart-Drewry —Royal, Stratford.
GIRL IN POSSESSION, THE, comedy sketch, in one scene, by Sydney Blow and Douglas Hoare. June 10.
Charles Chetwyn Mr. Stanley Brett
Molly Lamb Miss Dora Levis
Viola Fairchild Miss Florence Lloyd
— London Pavilion.
GIRL WITH A MILLION, THE, drama, in four acts, by Fred S. Jennings. May 20.
John Allaway Mr. Herbert Goddard
Sir Herbert Radcliffe
i Mr. Charles Lind-Vivian Lieut. Harry Wharton
Mr. Charles Dickens
Capt. Powell Mr. Robert Ryder
Horace Topley Mr. Oswald Waller
Tobias Tubba Mr. C. H. Hughes
The Nipper Mr. Victor Garnet- Vayne
P.C. Dixon Mr. Fred Bonner
The Girl with a Mill inn (cohtinu
Maanett Mr. Walter Bourcher
The Rev. Arthur Hope
Mr. Morton Melville
Warder Skelton Mr. Henry Roberts
Audrey AjLaway Miss Mary Lovett
Polly Primrose Miss Grace Emery
Margaret Viildadre ....Miss Helene Forest — Lyric, Hainersmith.
GIRL'S GOOD LUCK, A, drama, in four aots, by Charles Dorrell. October 7. Sir Derik Montcalm .... Mr. Charles Adair Lord Crowder Fitzgarvon. .Mr. Sidney Burt Captain Philip Drake.. Mr. Wm. Robertson
Mr. Wrysdali Deeds Mr. Ben Roby
Horatio Cheek MX. Sam Casson
Marmaduke Stubbins Mr. Leslie Vyner
Inspector Deering Mr. John Nicof
Policeman Mr. Alfred Shott
Lady Arabella Fitzgarvon
Miss E. M. Walton
Hon. Cordelia Fitzgarvon .. Miss W. Love
Maud Muddies .... Miss Denny Fitzherbert
Felicity Summers .... Miss Nellie Garside
—Royal, Wolverhampton
GIRL WITHOUT A CONSCIENCE, A, drama, in four acts, by Lewis Gilbert. May 20.
Leo Stephano Mr. Lewis Gilbert
Marco Mr. Robert Morath
Tomasso Mr. Charles Higgens
Pietro Mr. Walter Hybert
Giuseppe Mr. Edwin Arthurs
Prince Luis of Catania. .Mr. Edward Morton
Giovanni Mr. Harry Fletcher
Monk Mr. Sutton Taylor
Cyril Mannerley Mr. Gerald Wilde
Jacob McAaron Mr. Freddie Edwards
Marrietta Miss Aggie Cook
Franceses Miss Edith Kirke
Elsa Miss Evelyn Brewster
—Royal, Woolwich.
j /JLAD EYE, THE, commenced a season at the Strand September 2.
i GLADIATORS, THE, farcical absurdity, by E. D. Nicholis. November 25.
— Eus'ton
i GLASTONBURY, historical and ecclesiastical play, by the Rev. W. T. Saward, February 6.
Prologue Miss Ruby Bower
Abbot Whiting Rev. H. S. Tupholme
Prior Richara Rev. W. E. Hardcastle
Brother Christopher Rev. P. L. Leakey
Brother Francis Rev. R. Howes
Mav°r Mr. Basil Hope
Sir John Redfyrne Mr. K. Gammell
Lord Russell Mr. C. Stimson
Sergeant-at-Law Mr. J. E. Davies
Granfer Giles Mr. A. M. Wilson
Spryggs Mr. G. A. Vesey
Town Clerk Mr. H. Smith
Layton, afterwards Dean of York
Rev. W. T. Saward
£°llard Mr. H. Fryer-Smith
Foreman of the Jury Mr W C Toll
Clerk of the Court Mr. G. Deacon
Ju8gler Mr. W. B. Stimson
A Tale Teller Miss Ruby Bower
Cutbbert Miss Eileen Holmes
Madge o' Lachland ....Miss Janet Barrow
Gipsy Miss Browning
—Corn Exchange, Bedford.
! GLAUCUS. Provisional performance. A drama adapted by Charles G. Line from Lord Lytton's " The Last Days of Pompeii " August 21. —Tottenham Palace.
| GODDESS OF DESTRUCTION, THE. Stage- right production of a romantic military
152
THE STAGE YEAR BOOK.
The Goddess of Destruction (continued). Father Nicholas of Moscow
Mr. J. Carter Lisle
Prince Mierzensky .... Mr. Lionel Charles Earl of Kinnerley . . Mr. Charles Cameron Lord Lionel Welford .. Mr. Eugene Sterne Count Boris Torvineff. .Mr. Terence Nerrey
Ischar Viborsky Mr. Fred J. Lennox
Peter Zertov Mr. Neil Jervis
Griffith Jones Davies .... Mr. Joe English
Enid Welford Miss Violet Manley
Yenia Poltava Miss Elise Giddings
Cari'ta Miss Annie Bond
Mrs. Teresa Towzer Mrs. Carter Lisle
-New, Oswestry.
GOLD DIGGERS, THE; OR, THE BROKEN TRAIL, Western mining drama, in six scenes, by Pat Eden. July 22. Lord George Sarsfield. .Mr. Cyril Austen-Lee
Zeed Alley Mr. Richard Ferns
Bud Coon Mr. Beckett Bould
Soft Bill Mr. Sidney Rennef
Dan Mr. Willie Hicks
Johnston Mr. Leonard Marshall
Sheriff Mr. Evan Roland
Auntie Sue Miss Nellie Sinclair
Inez Miss Florence Lyndon
Isla Mass Doris Brookes
Pixie Miss Gertrude Bonser
—King's, Gateshead.
GOLDEN DOLPHINS, A TALE OF OLD TET- BURY, comic opera, ia three acts, written by T. Warburton Walker and W. H. Ludlow, composed by F. N. Baxter. (Pro- duced by amateurs.) Noven ber 6.
Kimg Neptune Mr. Alec Walker
Davy Jones Mr. Fred Munday
Ben Barnacle Mr. Colin Lawn
Jean de Valois Miss Alice Hill
Lord Cranmore Mr. Ernest Mann
Pedro Mr. Vivian Hugginson
Gomez Mr. Ivor Curtis
Simple Simon Mr. Charlie Pride
Jarge Wirral Mr. Bob Vick
Ush<-r Mr. Fred Nelson
Servant Mr. Edward Dommett
Natrio Mr. Kempton Noonan
Fairy Queen Miss Ethel Long
Sea Foam Miss Kathleen Munday
Pearl Miss Gertie Parker
Coral Miss Gracie Parker
Anemone Miss Olive Curtis
Queen Elizabeth Miss Gladys Jenkins
Lady Cranmore Miss Loris Mann
Phoebe Miss Olive Curtis
Margery Miss Flo Boulton
Chlorida Miss Daisy Boulton
—Institute Hall, Tetbury.
GOLDEN DOOM, THE, play, in one act, 'by Lord Dunsany, music fey Noirman O'Neill. November 19.
First Sentry Mr. Allan Jeayes
Second Sentry Mr. G. Diekson-Kenwin
Stranger Mr. Leonard E, Notcutt
•Girl Miss Eileen Esler
iBoy Master Eric Rae
Chamberlain Mr. E. Lyall Swete
Ttoe King M>r. Henry Hargreaves
First Prophet Mr. Ralph Button
Second Prophet Mr. Frank Ridley
Chief Prophet Mr. Ewan Brook
Spies.— Messrs. '"Ijir^ — p^p^ Gerald Jerome, and CyrtrTrarrtiTvprnariv
Attendants.— Messrs. M. Brier, R. Lewis, C. Miles, and G. Playford.
— Haymarket.
GOLDEN WEDDING, THiE. Revival of the play, in one act, toy Eden. Phill potts and C'has. Groves (originally produced Feb- ruary 22, 1908, Playhouse), by Mr. J. H. Brewer, at a matinee. January 9.— Court.
>GO(LD THREAD, THE, one-act play, toy Cecil Clifton. (November 7.
Mrs. Innes Miss Margaret Halstan
A Trained Nurse .... Miss Emma Lovett
Dr. iStroud Mr. Leonard Calvert
Mr. Hanson, F.R.C.S.
Mr. Jerrold Robertshaw —Court.
GOOD LITTLE DEVIL, A, preliminary per- formance of a play, by Austin Strong December 2. • — Dalston.
GOVERNOR'S LADY, THE. StagerigM pro- duction of a new play, am four acts, by Alice Bradley. April 24.
Peter Morton Mr. Ernest (B. Norris
Mrs. Morton Miss May Norm
Senator Strickland .. Mr. Fred Castleman
Inez Strickland M-iss Constance Barton
Jack Hamilton Mr. .Edwin Wheeler
Mr. Osborne Mr. Arthur WdLson
Mrs. Osborne Miss M. Browning
Mjaw Miss Sneppard
Tne Mortons' Footman .... Mr. A. Scott
Joco, the Stricklandfi' B u*tler.. Mr. 0. Moore
Governor Morton's Footman..Mr. B. Keane
, —Dalston.
GRAIN OF TRUTH, A, farcical episode, by Herbert C. Sargent. December 16.
Rogers Mr. W. Walton Wynne
Sir George Churchward.Mr. Charles Esdale
Lady Churchward Miss Decima Moore
—King's, Southsea.
GRAXGiE COALMAN, domestic drama, In three acts, by Edward Martyn. (Produced by the Independent Theatre Company.) January 25. -Michael Colman ....Mr. George Fitzgerald
Lucius Devlin Mr. Patrick Quill
Horan Mr. Robert V. Justice
Clare Farquhar Miss Edith Dodd
Mrs. Devlin.Mme. Constance de Markievicz —Abbey, Dublin.
GfRASS WIDOWS, THE, comic opera, in three acts, founded on the German of A. M. Willner and Julius Wilh>elm, by Arthur Anderson and Hartley Carrick, with music by Gustave Kerker. September 7. Last performance (tihe 50th) October 26.
Poly carp Ivanovitch Mr. Bert Coote
Count Boris Rimanoiw.Mr. Gordon C leather
Jerome I Mr. Edward McKeown
Prince Petroff Mr. Walter Dowling
M. Descham/ps Mr. Jack Buchanan
Lieutenant Andrd .... Mr. Frftrrb A: Wood
Priest Mr. Ernest Arundel
Vodka Mr. Alfred Lester
Betty Baker Miss Dorothy Minto
Princess Athanasda Mis® Daisy LeHay
Olg,a Miss Muriel Morris
Irene Miss Nora Guy
Elisa Miss Larry Lawson
Natalie Miss Daisy Manning
Nadina Miss Daisy West Collins
Petrovna Miss Lily Collier
Lydia Miss Germaine Arnoux
A,nma Mi&s Florence Ray
Honorka Miss Thelma Haye
Tatjana Miss Constance Drever
— Apollo.
GRANNIE'S PEIN'SIO'N1, sketch, by Portland Akerman and Mrs. Haslingden Russell. February 10.
Grannie Mise Gladys Gaunt
Macready Jones Mr. Arthur Dale
Kate MLss Taaffe
— ^lamtoerwell Empire.
GREAT ADVENTURE, THE, play of fancy, in four acts, by Arnold Bennett (adapted from his novel, " Buried Alive "). July 16.— Royal, Portsmouth.
7 y/A' STAGS, VEAR BOOK.
153
i ; UK AT BEYOND, THEi Amateur production of a romantic play, in a prologue and four acts, dramatised from Dickens' s " A Tale Off Two Cities," by Hermann, Erskine, J. F. Nolan, and Frank Rolison. March 28.
—Court.
GREAT GAME, TS'E, a comedy-drama sketch, in one scene, 'by W. Croncm Wilson,. Played for the first time on the variety stage, October 28.
Johnny Mackay Mr. Alan Bortttrwick
Bill Hamlin .... Mr. William H. Brougham
Snippey Mr. Charles W. Anson
-^Metropolitan.
GREAT JOHN CANTON, THE, play, in four .acte (founded upon Arthur J. Edd<y's novel, " Canton and Co."), by Hartley J. Manners. September 14. Last perform- ance (the 48th), November 1.
John Ga/nton Mr. George Fawcett
Will Canton, Mr. Eric Matunin
Alan Borlan Mr. E-arle Browne
Jack Wilton Mr. Drelincourt Odium
B rowning Mr. Frank Collins
Delaney Mr. Ernest Leicester
Rev. R. Clavering . . Mr. Herbert Vyvyan
Dr. Shields Mr. H. Applet) y
Norbury Mr. E. Gulson
Dr. Morton Mr. J. Murdoch
Adolph Mr. T. Berry
Shatter Mr. King Fordham
Macduffy Mr. A. Glenroy
Clerk Mr. J. Hill
May Kating Miss Laura Cowie
Mrs. Wilton Miss Mabel Trevor
Hester Ganton .. Miss Marie Hemingway
(Mrs. King Mies Lorna Tuffley
Mrs. Trelnay .. Miss Marjorde Waterlow
Nurse M iss May Taverner
Typist Miss Muriel Mason
— Aldwych.
GREAT WHITE CHIEF, THE, four-act melo- drama, by Lingford Carson. January 29.
Leo Stanley Mr. Mansell Fane
Reindeer Mr. Russell Nome
Hartley Deane Mr. Howard M. Hamilton George Rupert Walker
Mr. Leonard M ait-land
John Whiarton Mr. Leslie Norman
Ernest John Wallett . . Mr. George Perrin
Dave Carlton Mr. Victor Ellerto'n
.Sparrowhowk Mr. Leonard Yorke
Black Forresti Mr. Harry "Furniss
Strong Arm (Mr. F. Wilson Lowther
Warcloud Wongaitah
Bounding Wolf Suequenka
Pete -Mr. Lionel Hardinge
Martha Jane Cuiriey Miss Eleanor Papera Hestor Stafford .. Miss Gabrielle Romero
Latika Miss Dorothy Haigh
—Junction, Manchester.
GREEN GOD, THE, Indian dream phantasy. March 18.
Prince Atomed Mr. George Pelham
Violet Miss Kitty Dease
Ddck Mr. Leslie Phillips
Cassandra Miss Nellie Clarence
Coolie Mr. Henry Lane
— Grand, Forest Gate.
f.llHY (MASK, THE, three- act comedy, by Alex. Maclean and Dorothea Moore. May
Sir Jasper Hood Mr. Alex. Maclean
General Stooior Mr. J. Anthony Snaith
Dick Tressel .. Mr. G. Lyttleton Holysake
Squire Verney Mr. Frederic Morena
Tom Motton Mr. J. Henry Twyford
Rumbottle Mr. Edward Clopin
Clontarf Mr. Tom Squire
(Miss Georgina Sackett Miss Mary Palmer
Martha Miss Lottie Watts
Elizabeth Stonor Miss Laura Leigh,
—Royal, M<arga.te,
GllIP. THE, "dnaraatic thrill," in one scene, by Jean S.jitere. October 21. Jean Marie Hardouin
Mr. Louis Bouwmeester Hippolyte HardouLn
Mr. Cecil Morton York
Rose HiardouLn Miss Barbara Barry
Emile Mr. C. Hovraix]
Eitien-ne Mr. H. Gilbert
— Palladium.
GUIDE TO PARIS, THE, modernised version, by George QBOasmrth, of Offenbach's " La Vie ParLsientne." May 27.
Willy de Rip Mr. Kenneth Douglas
Bobinet Mr. Tom Shelford
Flick Mr. Henry Fxan-kise
Joseph Mr. Sidney Skarratt
Lord Blinke<ttt Mr. James Blakeley
Metella Mass Dorothy Selborne
Gabrielle Miss Eilise Martin
Pauline Miss Dorothy Craske
Leooie Miss Dorothy Monckman
Claire Miss Claire Lynch
Caroline Miss Marie Bazzi
Augustine Miss Muriel Finlay
Louise Miss Mary Robsom
Julie Miss Aida Knibb*
Lady Winifred Blinkett Miss Alice O'Brien — Alhambra.
HALF-WAY HOUSE, THE, song scena, pre- sented by Harriett Vernon. December 9. — Holborn Empire.
HALVES, PARTNER, HALVES, sketch. May 23.
—Palace, Maidstone.
HAND OF DESTINY, THE, romantic costume drama of the French Revolution, by Edward Whitty and G. H. Walton. No- vember 25.
Napoleon Bonaparte ..Mr. A. Austin Leigh Count de L'Oraine — Mr. B. S. Chedburn
Baron de Tourville Mr. Guy P. Ellis
Henri Le Febvre Mr. Arthur Gordon
Marquis de Mauprez — Mr. John Corless
Monsieur Depreany Mr. Harold Ford
Sergeant Hoche Mr. Stanley White
Mons. Jules Ecrit Mr. H. T. Weldou
Corporal Lannier Mr. Charles Gratton
Chevalier Griselli Mr. Robert Sedgeley
Fortunatus Mr. Richard L. Priestley
Eliza Bonaparte Miss Flora Hastings
Blanche de Mauprez Miss May Neilson
Francois Grandcoeur
Miss Dorothy Dewhurst Catherine Saasgene
Miss Ethel Van Praagh —Royal, Stratford.
HAND OF FATE, THE, dramatic sketch, in one scene, by Clare Shirley. June 3.
Jim Codger Mr. Hugh Travers
Nance Marchmont ..Miss Florence Delmar
Ned Stirling Mr. Jack Neilson
— Camberwell Empire.
HANG IT ! " domestic eruption in one bang," by Herbert C. Sargent. June 3.
Peter Dumper Mr. Arthur Dandoe
Mrs. Dumper Miss Molly Ramsey
Kitchener Dumper Mr. Harry Howe
Violet Brown Miss Richie Bell
Uncle Smithers ....Mr. George Brunswick —Palace, Reading.
i HANGING OUTLOOK, TffE, play, in one act, by John Savile Judd and Robert Ban- July 11.
John Bodman Mr. William Haviland
Mrs. Mayden Miss Clara Hubbard
Mrs. Bodman Miss Edyth Latimer
—Court.
154
THE STAGE YEAR BOOK.
H'ARUM LILY, THE, Oriental operetta, in one act, by Paul Lincke, the English version and lyrics by Arthur Anderson and Hartley Carrick. December 9.
Mario Mr. Rex Curtis
The Pasha Mr. Bruce Winston
Agobar Mr. Edward Blythe
Mr. Schlipps Mr. Stuart Debnam
Marietta Miss Marjorie Maxwell
— London Pavilion.
HARTLEYS, THE, domestic comedy, in one act, by Arthur Eckersley. September 28.
Mrs. Hartley Miss Molly Hewett
Hestor Miss Letty Paxton
Susan Miss Evelyn Fraser
George Perrin Mr. Nigel Loring
Rupert Hartley Mr. Cyril Vernon
— Prince of Wales's, Birmingham.
HAVOC, THE, play, in three acts, by H. Sophus Sheldon. November 19.
Richard Craig Mr. James Carew
Paul Hessert Mr. Julian Royce
Paton Mr. Frederick James
Sandberg Mr. Clifford Heatherley
Kate Craig Miss Maud Cressah
— Garrick.
HEART CASE, A, one-act incident, by Harry Gratton. May 6.
Col. Trevor Mr. H. >V. Surrey
Charlie Vain Mr. Jack Thompson
Cyrus Gremlin Mr. William Kershaw .
Judkins Mr. G. Clifton Boyne
Footman Mr. Ivan Murray
Hon. Ruth Cuthbert ..Miss Lily Hewetson
Edna Lothian Miss Winifred Murray
Eva Lothian Miss Dorris .Murray
Mrs. Millie Merridew Miss Constane Drever — London Coliseum.
HEART OF A FOOL, THE, play, in one act, by W. G. Wateon. July 18.
The King Captain A. G. Rose
Prince Leon of Castleton
Mr. Robert A. Ayres
Earl of Morville Mr. Duncan Hart
Sir John Devereux Mr. H. Hague
The King's Jester Mr. Norman Jones
The Queen Mrs. W. G. Watson
Princess Mina .Miss Isabel Prewer
Lady Falchester Mrs. E. H. Kemp
—Shooters Hill Bowling Club, Woolwich.
HEID 0' TH' HOUSE, THE, an anti-suffragist sketch, by Helen McLeod Scott (October 7, Tivoli, Aberdeen). December 23.
— Finsbury Park Empire.
HELPING THE CAUSE, sketch, in one scene, by Percy Fendall and Lady de Bathe. (February 5, Hippodrome, Manchester.) February 12. Lady Victoria Vanderville ..Mrs. Langtry
Mrs. Cross Miss Leonora Braham
Dr. Herbert Bradflnd ....Mr. A. Mansfield
Sir Martytf Mangles Mr. Cecil Bevan
— London Coliseum. ;
HERB-O'-JOY, phantasy, by Marie Clothilde i Balfour. April 30 (matinee). The Herbmonger ....Miss Claude Nicholson
The Princess Miss Margot Balfour !
— Court. I
HER HALF-STEP UNCLE, romantic musical i farce, written by Avalon Collard, com- posed by P. Bronte. May 25.
J. Llewellyn Jones Mr. Chas. Dunman
Jean Colinet ..Mr. A. L. Rose
Madame Colinet Mr. Charles Dunman
Nina Colinet Mrs. Noel Johnson
Pierre Billart Mr. Avalon Collard
Assembly Rooms, W.hitstable.
HERITAGE, THE, a play, in one act and three scenes, by Frank J. Adkins. October 7. Duke of Reichstadt ... ) ,,, -. ,, „
Napoleon f Mr- Esm(S Percv
Miss Betsey Miss Shirley King
Las Oases Mr. Desmond Brannigan
Sir Hudson Lowe ..Mr. Percival Madgewick An English Captain .. i Tutor of the Duke of [ Mr. Alfred Payne Reichstadit
Tim Rourke Mr. Joseph A. Keogh
An English Corporal — Mr. James Strood — Temperance Hall, Sheffield.
HER KINGDOM, play, in one act, by Clara Elstob. January 30.
Otto Mr. Leonard Oalvert
Margaret Miss Gwendoline Garland
Melanie Miss Agnese de Liana
Count Max Stauffer Mr. Nigel Severn
—Studio.
HER LADYSHIP'S NOSE, one-act play, by Charles Eddy. August 19.
Lady Dodd Miss Lottie Venne
Mrs. Mayfield ....Miss Henrietta Leverett
Sir Harry Dodd Mr. Lancelot Lowder
—Finsbury Park Empire.
HBROIQUE LE CARDUNOIS, L', comedy, in French, in three acts, by Alexandra Bisson. May 1.
Le Oardunois M. F. Demorange
Ludovic M. Jean de Lano
Guefinot M. Jacques Laudier
Canasson M. A. Bouzin
Paatourel M. Pierre Maugue
Justin M. Maurice Wick
Mulot M. Hubert Daix
Eliaue Mile. Fanny Tellier
Mme. Roussin Mile. Renee De"rigny
Caroline Mile. Claire Morni
Rosalie Mile. Norva
—Little.
HER ONLY WAY, one-act play, by Roy Cooper Megrae. (July 31, 1911. Empire, Liver- pool.) October 21.
— London Hippodrome.
HERO'S MOUND, THE, dramatic poem, in one act, by Henrik Ibsen, translated by C. A. • Arfwedson (first performance in English). May 30.
Roderik Mr. Cyril Percy
Blanka .Mies Catherine Robertson
Gandalf Mr. Guy C. Buckley
Asgant Mr. Henry J. Robinson
Hrolloug Mr. Otto Mathieson
Jostein Mr. James Lindsay
Hemming Mr. Charles A. Roberts
—Clavier Ball, W.
HER POINT OF VIEW, comedy, in one act," by Wilfred T. Coleby. April 6.
Rev. Philip Mo,nkton Mr. Athol Forde
Albert Bartlet Mr. Arthur Cleave
Mrs. Bartlet Miss Beryl Mercer
—Playhouse.
HINDLE WAKES, play, in three acts, by Stan- ley Houghton. (Produced by Miss Horni- man's Company, under the auspices of the Stage Society.) June 16. Went into the regular bill at the Playhouse July 16. Transferred to the Court September 28. Last performance (the 109th) October 19.
Mrs. Hawthorn Miss Ada King
Christopher Hawthorn ..Mr. Charles Bibby Fanny Hawthorn ....Miss Edyth Goodali
Mrs. Jeffcote Miss Daisy England
Nathaniel Jeffcote Mr. Herbert Lomas
Ada Miss Hilda Daviea
Alan Jeffcote Mr. J. V. Bryant
Sir Timothy Farrar ..Mr. Edward Landor
Beatrice Farrar Miss Sybil Thorndike
— Aldwycn.
THE STAGE YEAR BOOK.
155
HESTER, play, in four acts, by Bertram For- syth. March 22.
Hester Cayle Miss Helen Haye
James Cayle Mr. Richard Neville
Seith Cayle Mr. Sidney Sherwood
Agatha Cayle Miss Alice Arden
Bertram Tennant ....Mr. Bertram Forsyth
Claude Franks Mr. Leon Quartermaine
A Policeman Mr. Douglas Front
A Doctor Mr. John Clayton
Milly Miss Beatrice Ainley
—Court.
HIS LAST REFUGE, play, in one act, by Graeme Goring. April 27.
Mrs. Britton Mrs. Graeme Goring
Mr. Britton, a farmer Mr. Walter Roy
Jim, a farm hand Mr. Alec Mack
Hawke, a convict Mr. Graeme Goring
— King's,. Edinburgh.
HIS CHUM, episode, in one scene December 2.
—Metropolitan.
HIS LEADING LADY, one-act play, by Ellis Wyburd (produced by the Rehearsal Com- pany). April 14.
Harold Jonson Mr. Lancelot Lowder
Jack Thornton — Mr. Luxmoore Hockin
Mrs. Pennyfather Miss Lisa Coleman
Violet Carson Miss Helen Colvin
Eileen Johnson Miss Flora Grey
—Rehearsal.
HIS LIFE, dramatic sketch (stage-right pro- duction). February 3.
—Grand, Nelson.
H.M.S. " ROBERTUS," nautical comic operetta, book by Percy V. Bradshaw and Douglas j Walshe music by Stephen R. Philpot. ! July 18.
Jack Nelson \
Captain Fluff [ Mr. Arthur Roberta
Micky Dooley I
Mr. Grubban Chepeleigh
Mr. Harry J. Worth |
Laura Miss Roma June
Carmencita Miss A. Hamilton i
Admiral Spithead Mr. Colin Coop '
John Robinson Mr. Ed-win Sykes
Lieutenant Devonport Miss Reeve I
Lieutenant Chatham Miss Earle I
Midshipman Raleigh ..Miss Doll Radcliffe ' Midshipman Drake ..Miss Nellie Townsend i Midshipman Hawkins .... Miss Ren6e May !
Midshipman Frobisher Miss Elsie Arkell
—Edmonton Empire.
HIS MOTHER, a story, in one scene, by Geoffrey Hardinge. August 12.
Mrs. Colquhoun Miss Denise Dene
Jack Colquhoun Mr. Geoffrey Ray
Major Philip Mortimer
Mr. Geoffrey Hardinge —Royal, Glasgow.
HIS PRAIRIE BRIDE, Indian detective drama in three scenes, by Sidney Rennef (S.P.', May 22, King's, Gateshead). July 8.
Arizona Joe Mr. Cyril Austen-Lee
Jales Hawk Mr. Richard Ferris
Tom Slain Mr. Beckett Bould
Whepton Wish Mr. H. C. Lanceley
Mike Maloney Mr. Willie Hicks
Bob Silverstone Mr. Harwood Roberts
Barney Levy Mr. Sidney Rennef
Mr. Turman Mr. Wilfred Lyndon
The Bartender Mr. Dennis Renton
Bill Mr. Rossitter
Coachman Mr. Tom Burgess
Myrtle Little Gladys Brittain
Hachel Levy Miss Florence Lyndon
Flora Ashton Miss Doris Brookes
Red Wins; Miss Gertrude Bonser
—King's, Gateshead
HOLLOW BABY, THE, comedy-sketch, in one act. December 16.
The Rev. Dr. Sproutley. .Mr. Cecil Fowler Col John C. Bunworthy, D.S.O...Mr. Sane
Waiter Mr. James Walker
Miss Nojis Miss Emma Chambers
Mr. James Seymour. .. .Mr. J. E. Stevenson
Molly ..• Miss Dulcie Greatwich
— Holborn Empire.
HONOR1 ABLE, THE, musical comedietta in one act. May 1.
Nona Goodthing Miss Adela Masson
Rosie Miss Molly Denton
Mr. O'Brien Mr. E. H. LangforJ
Mr. Goodthing Mr. Spry-Palmer
—Clavier Hall, W,
HONOUR OF THE BRACCIOS, THE. play, in one act, by Neilson Morris (amateur pro- duction). April 29.
David Innes Mr. G. V. Hirst
Pietro Corleone Mr. A. K. Dyer
Duchessa Adela Braccio
Mrs. Hancock Nunn
Dolores Corleone Miss Alice Skuse
Clavier Hall, W.
HONOUR THY FATHER, one-act play, by H. M. Harwood. (Produced by the Pioneer Players.) December 15.
Edward Morgan Mr. J. Fisher White
Jane Morgan Miss Estelle Stead
Richard Stearn .J. . Mr. Moffat Johnston
Madame Pellet Miss Elizabeth Rn= hn
Claire Miss Hilda Moore
Madge Miss Vera Cunningham
HOOKED IN HOLLAND, duologue. June 24. —Islington Empire.
HOUR GLASS, THE. revival, by the Morality Play Society, of W. B. Yeate's play. (Originally produced May 2, 1903, Queen's Gate Ban. S.W.). February 9. Court. A new version was produced at the Abbey, J>u'blin, on Neveoribw 21, with the following cast:—
The Wise Man Mr. Nugent Monck
Teagne the Fool Mr. J. A. O'Rourke
The Angel Miss Mona Beirn^
Wife Miss Eileen O'Doherty
Child Miss Kathleen Drago
Pupils.— Eric Forman. Charles Power, Fred Harford, Michael Dolan, T. Barrett, Des- mond Fitzgerald, and T. Healy.
HOUSE, THE, revival of George Gloriel's two- act play (Originally produced at the Court Tfceee-TrJvr 31, 1907.) Fplbrwrv 19.
Jack Mudsey Mr. Albert Chevalier
Joe Creek Mr. Julian Cross
Eliza Creek Miss Alice Beet
Mildred Creek Miss Mabel Garden
—Savoy
HOUSE THAT JACK BUILT. THE. play, by Albert E. Drinkwater. September 23.
A Motor Man Mr. George Desmond
A Cycling Girl Miss Marjorle Day
— Shakespeare, Liverpool.
HOW HE DID IT, fantastic farce, by Edward Bedford Mr. Sampel Potterby. .Mr. Edward Bedford
Mrs. Potterby Miss Jenny White
Hon. Saville Rowe Mr. Fred Harley
—Assembly Rooms. Sheffield.
HOW HE ROSE TO THE OCCASION, comedy,
in one act, by Charles Windermere. April 8.
—Royal, Bury St. Edmunds.
HOW ONE WOMAN DID IT, comedy, in one act, by John Austin. March 11. The Hon. Flora Allington
Miss Estelle Stead
Lady Petersfleld Miss Aileen Curran
Mary Miss Irma Fold!
Nash Mr. Easten Pickering
Wilson Miss Dorothy Spencer
— Court.
156
THE STAGE YEAR BOOK.
HULLO, RAGTIME ! revue, in three scenes, by Max Pemberton and Albert de Cour- ville, music by Louis Hirsch, produced by Austen Hurgon, dances and ensembles by Jack Mason. December 23. — London Hip- podrome.
HUMAN FACTOR, THE, play of Welsh life, in four acts, by Nauniton Davies. June 3.
John Williams Mr. Harding Thomas
Rev. Gordon Morgan Mr. F. A. Flower
Rhys Morgan Mr. Edgar Kent
Dr. Roberts Mr. H. A. Young
James Watford Mr. W. Cromdn Wilson
Tony " Pandy " Mr. Douglas Munro
David Pen/twyn Mr. Leon M. Lion
Gwilym Mr. Alec F. Thompson
Lady Florence Morgan ..Miss Rose Dupre"
Mr. Williams Miss Elaine Verner
Nest Williams Miss Elsie Vron Neville
Elizabeth " Pentwyn " ..Miss Gladys Lloyd
Gwen Miss Evelyn Grey
—Lyceum, Newport
HUMOUR OF IT, THE, " fantastic comedy," in three acts, by Leon Brodzky. March 11.
Charley Mr. Lawrence Anderson
Policeman Mr. Fewlass Llewellyn
Mr. Notley Mr. W. G. Fay
Phyllis Notley Miss Irene Clark- Mrs. Notley Miss Aileen Curran
Miss Arkworth Miss Madge Spencer
Bertie Notley Mr. Norman Yates
Milkman Mr. Easten Pickering
Newsboy Mr. Gordon Gay
Bill Smith Mr. Leslie Gordon
Jim Brown Mr. J. R. Collins
Tom Hawkins Mr. Leonard Calvert
Dave Jones Mr. Telford Huphes
Eliza Miss Una Tristram
Betsy Miss Constantia Brookes
Dr. Smithers Mr. Allan Jeayes
— Court.
HYACINTH HALVEY, Lady Gregory's one-act play, presented for the first time on the music ha'lil stage. July 15.
—London Coliseum.
HYDRO. THE. First London production of the farcical sketch, in two scenes, by Frank Calv&rt, Fred Karno, and Sid Chaplin, music by Dudley Powell. April 1.
Nick Sharp Mr. Syd Chaplin
Colonel Badshott Mr. R. J. Hamer
Marca Miss Lily Griffen
Lord Narkington . . Mr. J. Wolton Richards
Nurse Raymond Miss K. Birkbeck
Billy Bilks Mr. Lennie Dormer
Sylvia de Grey Miss Constance Carmen
—Oxford.
1,000 TO 1 CHANCE, A, dramatic comedy, by
H. J. Corner anid ILeo Wiard. Nownrher ig.
— Gamberwell Empire.
IDYLL OF NEW YEAR'S EVE, AN, revival of Rosina Filinpi's fantasy. (Originally pro- duced at Chelsea Town Hall, January 31, 1890.) December 17.— Clavier Hall, W.
IDEAL WIFE, THE, play, in three acts, by Marco Praga, translated from the Italian of La Moglie Ideale by Mrs. T. C. Crawford. (First presented by the Theatre in Eyre, May 17, Crosby Hall, Chelsea.) July 15.
Gustavo Velati Mr. C. M. Hallard
Andrea Campiani . . Mr. Clarence Blakiston
- " Giannino Master Frank Beresford
Constanzo Monticelli Mr. Leslie Faber
Teresa Mrs. James Hearn
Ettore Mr. Fred Penley
Julia Cainpiaiii Mis? Ada Potter
— Vaudeville.
V^IF WE HAD ONLY KNOWN, play, in three acts, by Inglis Allen. December 13.
' Robert Vale Mr. Leon Quartermaine
Dr. Paul L'Estrange...Mr. Rudge Harding Edward Vaughan Thompson
Mr. Arthur Curtis
Reggie Moody Mr. Eric Maturin
Bobs Miss Isabel Donne
A Loafer Mr. Wilfred Benson
Myra Vale Miss Mary Jerrold
Mrs. Moody Miss Lilian Mason
Mrs. Vaughan Thompson
Miss Aime"e de Burgh
Meeks Miss Florence Harwood
—Little.
IMAGINARY CONVERSATION, AN, one-act play, by Norreys Connell. November 19.
Kate Moore Miss Marie Tempest
Tom Moore Mr. Shiel Barry
Robert Emmet Mr. Graham Browne
—Prince of Wales's.
IMP OF THE HUMAN HEART, THE, fsery play, in one act, by Kate Delschaft, music by Ethel A. France. April 23.— Town Hall, Gerrards Cross.
IMPOSTOR, THE, comedy, in three acts, by Leonard Merrick and Michael' Morton. April 16.
Charlie Owen Mr. Percy Marmont
Mary Fenton Miss Lucy Wilson
Mrs. Fowler Miss Hilda Sims
The Chambermaid Miss Janet Hope
Mrs. Walford Miss Gertrude Sterroll
Loftus Walford Mr. H. O. Nicholson
Blake Walford Mr. Lewis Willoughby
Mrs. Owen Miss Greta flahn
Mr. Hunter Mr. E. H. Brooke
Dodswell Miss Nora Charrington
—Royalty, Glasgow.
IMPROPER PETER, comedy, in three acts, by Monckton Hoffe. April 19. The title was subsequently changed to PROPER PETER. Last performance (the 61st) June 15.
Peter Everest Mr. Arthur Bourchier
Sir Walter Stancombe,. .Mr. Frederick Kerr
Charles Mr. Herbert Sleath
Captain Mitchener Mr. Frank Atherley
Elliot Hay Mr. James Carew
George Plumley .... Mr. Thomas Weguelin Arthur Markwick .. Mr. Claude Haviland
Parkinson Mr. Kenyon Musgrave
Evans Mr. Norman Yates
Duckworth Mr. Gilbert Clark
Lane Mr. Roland Young
Flora Everest Mrs. Saba Raleigh
Helen Mitchener Miss Lydia Bilbrooke
Celia Crevoisier .. Miss Marjorie Waterlow Susan Torrence .. Miss Tonie Edgar-Bruce
Dulcie Lind Miss Barbara Conrad
Gladys Pickering. .Miss Margaret Scudamore
Periwinkle Miss Julia James
— Garrick.
IN A MAN'S POWERs new drama, in four acts, by Arthur Shirley and Ben Landeck. February 19. Claude Templeton Mr. Reginald Joy Turner
Cynthia Miss Valerie Crespin
Mabel Little Daphny Grey
Dr. Monti Gudala..Mr. Edward L. Garside Capt. Dudley Clifford Mr. J. Forbes Knowles
Miss Brooke Miss L. Gilmore
Lord Bertie TwembIy..Mr. Edward Swinton
Belinda Cookson Miss Susie Beaven
Dick Banshaw Mr. Joe Rockley
Ram Singh Mr. John E. Tomlinson
Naldgi Miss Tilbury George
Mary Miss Edith R. Manton
Araminta Miss E. Kenyon
Sarah Miss Frances Ferina
Wardress Miss L. E. Rogers
Charles Mr. Edward Wishaw
Cli;ipl,ii)i <>f I'ri-oii Mr. U. Keith
THE STAGE YEAR HOOK.
157
In a Man'* Power (continual.
Uncle Dodger Mr. J. V. Harte
Col. Newton Mr. George Shirley
—Elephant and Castle.
IN AND OUT (OF THE INN), farcical comedy, in three acts, by Gilbert Dayle. May 27. Sir Hamilton Kyftte, K.C.B.
Mr. Cecil du Cue
Hazel Kyte Miss Winifred Wing
Lord Montague Bannerdale
Mr. Bertie White
Lady Berkeborough Miss Mabel Durrant
Melisande Maxim Miss Mary Dandridge
Fabian P. Ropp ....Mr. Reginald Weighill Alma Ropp ....Miss Kathleen Gordon-Lee
Harley Way Mr. E. Rayson-Cousens
Orlando Ponsonby Mr. Harry Cole
Mrs. Shotter Miss Kate Kearney
Henry Wilks Mr. Charles Garry
Peter Essery Mr. Claude Cameron
—Royal, Bradford.
INDIANA, musical playlet, produced by Mark iSantoi. June 3.
White Gloud Mr. T. Mercer
Red Cloud Mr. H. Lloyd
Black Snake Mr. Will Power
Watson Mr. A. Rozelle
Long Deer Mr. E. Marler
Wolf Mr. L. Mclntoch
Red Fox Mr. E. Floyd
White Rose Miss Milly Sadler
Red Rose Miss Gladys Selvidge
Blue Violet Miss Ida Rayner
Blue Bell Miss Winnie Rayner
Princess Lola Miss Marie Santoi
—Surrey.
INDIAN SCOUT, THE, Anglo-Mexican romance of the Golden West, in four acts, by George A. de Gray. August 5.
Sleeping Water Mr. Geo. A. de Gray
Juan De Courcelles Mr. Max Coutts
Jack Tempest Mr. Robert H. Hall
Jules Fernandez Mr. Tyrone Power
Dr. Graham Mr. Reginald J. Turner
Col. Richard Vernon Mr. Dick Crosby
Timothy Thomas Twitchett ) Mr. Seymour Thomas Timothy Twitchett t Perry
Larry Mr. Bert Carlton
Jake Mr. Jack Soderick
Kit Mr. Gerald Connor
Jose Mr. Leonard Douglas
Lucy Salome Dent ..Miss Kitty Fitzgerald
Beulah Miss Doris Brereton
Maraquita Fernandez Miss Etta Turner
Marjorie Graham Miss Violet Ingram
— Eleiphant and Castle.
IN HAARLEM THERE DWELT , music- drama, in four " pictures," by Dora Bright, from a short story by Peter Van Der Meer. (Matinee.) May 21.
Gerritt Mr. Guy Standing
Minna Miss Eva Moore
Polman Mr. Leslie Faber
—His Majesty's.
INNOCENT AND ANNABEL, London produc- tion (by the Play Actors) of a one-act play, by Harold Chapin. May 19.
AchiHe Innocent Mr. Murri Moncrieff
Mrs. Achille Miss Gillian Scaife
Annabel Miss Agnes Imlay
Servant Miss May Saker
— Oourt.
IN SEARCH OF A GIRL, one-act musical sketch, written and composed by Guy H. Inglis. October 9.
Andrew Molyneux Mr. Morley Peel
Molly Desmond Miss Molly Stoll
Mamie Miss Doris O'Donnell
Hon. Percy Fitzsneeze
Mr. Reginald Master -ier Hall, W.
INSTINCT, play, in three acts, adapted from the French of Henry Kistennaecker's by Penrhyn Stanlaws. (October 14, Repertory, Liverpool. At Lavetfjiol the parts of Christy, Walker, Amy Vane, and Mrs. Walker were played by Mr. Richard Coke, Mr. Wilfred Shine. Miss Amy Ravens- croft, and Miss Aida Jerome.) Novem- ber 6. Last performance (the 43rd) De- cember 13.
Bradford Mandover ..Mr. C. Aubrey Smith Arthur Mandover . .Mr. Norman McKeown
Christy Mr. A. S. Homewood
Walker Mr. T. Mowbray
Mrs. Mandover . . Miss Lilian Braithwaite
Amy Vane Miss Muriel Beaumont
(Mrs. Walker Miss Mary Raby
—Duke of York's.
INSURANCE ACT, THE, play, by Lady Lever. December 23.— North Camberwell Radical Cluh, Albany Road. S.E.
INTERRUPTED DIVORCE. AN, one-act farce, by Frederic Sargen/t. September 9.
Sir James Thurloe '. . Mr. A. S. Barter
Mabel Garden Miss J. Bennett
Judd (Mr. E. O. Mervyn
—King's.
IN THE DATS OF "GOOD QUEEN BESS, an 'Elizabethan fantasy, in two acts and five scenes, by Emily F. E. Lamb, mtusic by Thomas G. Lamb. (Produced by amateurs.) January 27.
Earl of Leicester
Miss Jessie Diplock
Sir Walter Raleigh . . Mise Winifred Bailey
Richard Varney Miss E. F. E. Lamb
Flibbertigibbet .... Master Jack Hawkins
Jocelyn Miss Vera Hawkins
Queem Elizabeth .. Miss Dorothy Hawkins Countess of Leicester.. Miss No rah Diplock
Lady Phoebe Miss Elsie Purser
Janet Miss Kathleen Hawkins
—All Saints' Parish Rooms, Dulwich.
INTO THE LIGHT, protean sketch, presented by Charlotte Parry. September 2.
—London Hippodrome.
IN THE LONG RUN, drama, in four acts, by Wm. S. McNeill. March 11.
Jeredn'aJi Gradder Mr. A. E. Bannister
Horace Dumville Mr. Harry Lowe
Cant. Paul Dumville . . Mr. M. L. MT'osky
Mizral Mr. W. J. Wilson
Jim Gorman Mr. Frank Lloyd
Trackstone Mr. Westgate Pimloie
Bill Langton Mr. Luke Mattimak
Jeanne Miss >S. E. Morton
Pierre Mr. Wm. S. McNeill
P.C. 41 Mr. R. Whittaker
Boden Mr. Tom Kay
Mark SWnner Mr. H«nk Ritchie
Convict 46 Mr. Fred Cocker
Kitty Waffles Miss Aidee Mellor
Nurse Miss Hetty Thornton
Mabel Collmgwood Miss Lena Barrobt
— Co1o=spnm. Oldham.
IPHIGENIA IN TAURIS, Euripddes's tragedy, translated into English rhyming verse by Gilbert Murray, produced by Granville Barker, music by S. P. Waddington. (Re- vived again June 4, His Majesty's.) March 19.
Iphrtgenia Miss Lilian McCarthy
Orestes ' Mr. Godfrey Tearle
Pylades Mr. W. Bridges Adams
Thoas Mr. C. H. Hewetson
A Herdsman Mr. Jules Shew
A Messenger Mr. P. A. Gawthorn
Goddees Pallas Athena
Miss Ernita Lascelles CHcmrs OP CAPTIVE GREEK WOMEN. Leader of Chorus . .Miss Pemelo-pe Wheeler Misses Mflrcelle Du Cros. Eleanor Elder, Beatrice Filmer, Hilda Honiss, Marion McCarthy, Helen Macdonald, Una Mac- lardy. Margaret Omar, Enid Rose. Jean Sterling. — Kdngsway.
158
THE STAGE YEAR BOOK.
IRIS, revival, by the Liverpool Repertory Theatre company of Sir Arthur Pinero's play. (Originally produced at the Garrick, September 21, 1901, and in New York in the autumn of the following year.) September 30. —Repertory, Liverpool.
IS LAW JUSTICE? drama, in four acts, by Matt Wilkinson. March 11.
Harry Westleigh Mr. Frank Beresford
Martin Clifford Mr. Frank Stone
Walter Clifford Mr. Courtney Robinson
Dick Warrencr Mr. F. Lestere
Jack Spratt Mr. Roy Loraine
Joey Perkins Mr. Fred de Vere
Mervyn Denham Mr. F. Harold
Nick Saunders ..Mr. Houghton McOaulay
William Walker Mr. C. Franks
P.C. Oarry Mr. Hugh Carmichael
Nell Warremer Miss Edith Lewis
Lillian West'eigh Miss Ida Chaprr an
Nancy Grey Miss May Davis
—Sadler's Wells.
IT, fairy play, in three acts, by Gwen For- wood. February 3.
— Bendrose Grange, Amersham.
JAOK AND GILL, playlet, by Cicely Hamilton. April 15.
Jack Mr. C. M. Hallard
Roger Mr. Leopold Profeit
Jill ., Mass Hilda Trevelyan.
—Pavilion, Glasgow.
JEAN-MARIE, play in one act, by Andre Theuriet. May 5.
Jean Marie M. H. Dix
Joe"! M. Fernand Demorange
The>es© Mile. Renee Derigny
-Little.
JELF'S, play, in four acts, by Horace Anmesley Vachell. April 10. Last per- formance ("the 130th), August 2.
Richard Jelf Mr. Gerald du Maurier
Sir Jonathan Dunne Mr. Alfred Bishop
James Palliser Mr. Cyril Keightley
Honbte. Archibald Mull
Mr. Robert Rendel
Adam Winslow Mr. Jules Shaw
Charles Perkins Mr. Hubert Druce
Fagg© Mr. Harry Cane
Tom Harkaway Mr. A. E. Benedict
Grimshawe MT. Richard Carfax
Bulger Mr. Harry Gerrish
The Countess of Skene and Syke
Miss Vane Feathers-ton The Lady Fenella Mull
Miss Rosalie Toller
Dorothy Dunne Miss Dorothy Fane
Maid Miss Dorothy Giles
— Wyndham's.
JEWELS OF THE MADONNA, THE, opera, by Wolf Ferrari. See " Giojelli Delia Madonna."
JEW OF PRAGUE, THE. London production of the romantic play, in four acts and seven- scenes, by Alfred Wilson-Barrett. (Originally produced, with the same cast, April 29, Royal, Colchester.) May 8. Last performance (the 26th). May 31. Count Max von Riesler..Mr. Ben Webster
Saponi Mr. Edward O'Neill
Smutts Mr. Oscar A dye
Abraham Baruch Mr. Arthur Phillips
Gardener Mr. Windham Guise
Baron Otto Lenbach . . Mr. G. Mayor-Cooke
Shadrach Mr. C. Lionel Brocknor
Klenka Mr. R. Young
A Waiter Mr. W. G. Manning
Counsel Mr. Kenneth Hara
President Criminal Court
Mr. Windham Guise
Prince Lichtenburg .. Mr. Arthur Hi^nro Frederic Mr. C. Lionel Brocknor
The Jew of Prague (continued).
Prison Warder Mr. W. Cutler
Lieutenant Carl Harden
Mr. Trevelyan Phillip*
Vassa Miss Adela Weekes
A Novice Miss Phyllis Birkett
A Gipsy Girl Miss Lilian Campbell
Katinka Miss Jane Wells
Baroness Hasen Miss Nina Bentley
Countess Anita Miss Helen Hamilton
Lona Miss May Vaudrey
Countess Czerwenka. . Miss Frances Sinclair Countess Sophie Vyneck..Miss Viva Birkett Ladies. Courtiers, Officers, etc., Misses Joan Adair, Nellie Allen, Connie Bethel, Maj Boothroy, Elsie Fraser, May Duchesney, Ivy Dymonds, A. Furrell, Irene Hentschel, Muriel Mason, Violet Wood. Gwladys Faunce, etc., Messrs. Felix Aylmer, Gordon Carr, W. Cross, F. Evans, W. Mackay, G. Ronald, S. Aubrey Howard, etc. —Whitney.
JENNING'S FIRST JOB, comic sketch. April 29. —South London Palace.
JOANNA OF BOOKER'S FLAT, play, in one act, by Arthur Hood. April 30.
Joanna Miss Ethel Hodgkins
Vera Carruthers Miss Martha Vigo
Jack Carruthers Mr. James Gelderd
Arthur Miss Mollie Shiells
— Lyceum Club.
JOB, drama, adapted from the book of Job by Sybil Amherst, and presented by the Norwich Players. November 28.
—King's Hall, W.C.
JOHN AND THE COUTURIERS, one-act play, by the Marchioness Townshend. May 4.
—Court.
JOHN BULL'S OTHER ISLAND. George Ber- nard Shaw's play was revived for a series of matinees, December 26.
— Kingsway.
I JONGLEUR DE NOTRE DAME, LE, Massenet's opera (revival). January 10.
—London Opera House.
JUDAS MACCABEUS, Biblical play, by J. Archer. (Performed by the Jewish stu- dents of the Old Ford and North Bow classes.) December 5.— Bow Baths Hall, E.
JUDGMENT, drama of Ulster peasant life, in two acts, by Joseph Campbell. April 15.
Owen Ban Mr. H. E. Hutchinson
John Gilla Carr Mr. J. G. St. John
Parry Cam Aosta Mr. Philip Guiry
Colum Johnston Mr. A. P. Wilson
Peter Mr. T. Barrett
The Stranger Mr. G. R. Burke
Father John Mr. Chas. Power
Nobla Miss Nell Byrne
Kate Kinsella Miss Mon. O'Beirne
Peg Straw Miss Mary Galway
—Abbey, Dublin.
' JULIUS C3ESAR. Sir Herbert Tree's revival of Shakespeare's play. June 3.
His Majesty's.
JUST LIKE A WOMAN, London production of a domestic duologue, by Sewell Collins. April 22.
—London Coliseum.
JUST LIKE JOHN. Stage-right production of a farce, in three acts, by George Broad- hurst and Mark E. Swan. April 23.
—Royal, York.
JUST LIKE NETTIE, playlet, by the Rev. Charles Marson. May 23.
Nettie Miss Elizabeth Dexter
Rev. Tony Treemor ..Mr. Douglas Murray
Alfred Clincher Mr. Ivan P. Gore
—Clavier Hall, W-
///A' STAGE YEAR BOOK.
159
JUST THE THING, three-act comedy, by " Charles Frederick " (Charles Winder- •mere). (June 14, Royal, Margate.) Octo- ber 22.
Wilding Mr. Cecil G. Calvert
Dick Ralland ....Mr. Charles Windermere
Fanny Miss Florence Born
Horatio Hatch Mr. Frank J. Arlton
Cecil Balby Mr. Guy Leigh-Pemberton
Mrs. " Tudworth " Miss Meta Pelham
Carrie Miss Nora Laming
A Locksmith Mr. Cyril Berry
Mrs. Walland Miss Christine Jensen
Mr. Slater Mr. Frank Saker
Polly Miss Doris Limes
—Little.
JUST THREE KISSES, duologue, by R. J Dunkelsbuhler. January 26.
Helen Miss Una Tristram
Jack Mr. Gerald Willshire
—Little.
KALR-EN-NEDA. Stage-right production of an Egyptian fantasy, by C. E. Langdon ! and Clare Shirley, with music by E. Ver- non. March 14.
Kalr-en-Neda Miss Eleanore Leyshon
Haroon Mr. Arthur Vernon
Abu-I-Kasdm Miss Clare Shirley
Egyptians Messrs. Carr, Wright, Wood
Mourners ....Messrs. Jaryis, West, Rayne i
—Lyric, Hammersmith.
KATHERINE PARR, incident in the life of i Henry VIII., by Maurice Baring. April ', 30 (matinfie).
Henry VIII Mr. Patrick Kirwan :
Katherine Parr — Miss Gertrude Kingston j — London Hippodrome, i
KEEPERS OF THE GARDEN, comedy, in three acts, by E. Ion Swinley. (Produced by the Playfellows'.) November 10.
Primula Hetherby Miss Athene Seyler
Martin Chough ..Mr. Laurence J. Clarence
Josiah Broadcombe Mr. Harold Scott
Mrs. Brack Miss Jane Wells.
A Boy Master Jack Frost
Geoffrey Lindon Mr. E. Ion Swinlej .
Amelia Chough Miss Dorothy Bowden
Tom Chough Mr. Reginald Mastei
Hilary James Mr. Austin Melford I
Frances Bering ....Miss Brenda Montesole I —King's Hall, W.C. j
KEY THAT TOOK THE WRONG TURNING THE, comedy sketch, by J. M.' Napper. August 12. —Empire, Birmingham. !
KID, THE, fantasy, in one act, by K. Mai- I pass Grandage. (Produced by the Re- hearsal Company.) April 14. Michael Cass .... Mr. Percy Baverstock
Dr. Thompson Mr. Paul Hansell
•Dollie Deane Miss Irene Richards
A Fairy Miss Gladys Clarke
—Rehearsal.
KILL THAT FLY!, revue, in four scenes and twelve tableaux, by George Grossmith, I lyrics by Robert C. Tharp, music com- | posed and arranged by Melville J. Gideon, dances and ensembles arranged by Julian Alfred, produced by the author in con- junction with A. Chariot and M. V. Leveaux. October 14.
A West-end manager,
Mr. J. F. McArdle . .
M. Rene Kaval
M, Hugh E. Wright
Mr. Henry Frankiss Mr. Julian Alfred
man, etc. ( A Viennese composer, -I A professor of eugenics ( etc.
Kill that Fly (continu* d),
Mr. Alirca Austin ....{Thh'eln^t,6'
Mr.Garry Lynch ...... (
M, Horace W.rfl ...... j * Sack cSeter, etc.
Mr. J. Edward Eraser. . \ Mis. Dorothy Selborne j
Mis,Kath,een Courtney [ let, etc Miss Kitty Mason ...... A dancing diver, etc..
Miss Muriel Hudson . .
.
A policeman, etc. A cabaret dancer, etc.
etc.
TV/T- „ TVT •« TJ , i J A musical comedy
Miss Mamie Buck ....j favourite, etc.
< 'Arriet, Miss Maudie Lloyd ____ \ The Queen of Beauty,
( etc.
Miss Mary Robson ....{*^**gS?
Miss May Flower ...... A Parisienne, etc.
— Alhambra.
KING AHAZ, opera, in four .acts and nine scenes, libretto and music by Mr. Samuel Alman, A.R.C.M. March 16. Ahaz, King of Israel ......... >M K t
Hezekiah, his son ............ f Mr- *
Oziel, a wealthy citizen .. Mr. Kasinsky Miriam, his wife .. Miss Fanya Zausmer Aliphelet, their son ...... Miss Blecker
Yehoshuva, the Viceroy's wife
Miss Phyllis Davies Naphtali, Oziel's servant Mr. Winogradoff
Sen: Viceroy •;:::::: fMr' Schachnoff — Fernman Yiddish Theatre.
KING'S ARMS, THE, English operetta, by Arthur Poyser. November 28. Roland Race ............ Mr. Leslie Stiles
Host Hobson .. Mr. H. Lempriere Pringle Mabel Landor ...... Miss Deborah Volar
Maude Landor ........ Miss May Graham
Hattie Hobson .. Miss Margaret Ormerod — St. James's.
KING THEY KOULDN'T KILL, THE, re- vised version, in four scenes, by Wai Pink, of the sketch originally produced October 12, 1911, Hippodrome, Poplar. (November 11, Hippodrome, Eastbourne.) November 18. The King ................ Mr. Alex Keith
Peter Pipps .................. Harry Buss
Suzette .......... Miss Elsa Brettingham
The Duke ................ Mr. W. Nugent
Gondolo ................ Edward Stanley
Peggy .. ...... ... ...... Miss Ray Haydon
The Duchess ...... Mrs. Herbert Darnley
— Putney Hippodrome.
KIPLING, DETECTIVE, play, in three acts, by Arthur C. Oddie, J.P., of Horsham. (Produced by amateurs June 24; stage- right production March 8, King's Head Assembly Rooms, Horsham.) Sir Philip Sandeman Lancaster
Mr. Barton Pearman Major Gerrard ____ Mr. H. S. Goodwin
James Bellinger ...... Mr. A. C. Oddie
Dr. Jeremiah Bottomley
Mr. M. H. H. Vernon Mr. Gruggen ............ Mr. A. S. Agate
Jack Broughton ........ Captain Vernon
Hopkins ................ Mr. J. R. King
Superintendent of Police Mr. S. Stedman Lady Lancaster .......... Miss B. Daniel
Mrs. Gerrard ...... Miss B. Streatfleld
Mme. St. Etienne ...... Mrs. Eden Paget
Dorothy .................... Miss Vernon
Rebecca Kipling ........ Miss E. Hodgson
—King's Head Assembly Rooms, Horsham.
.160
THE STAGE VEAR BOOK.
KIFPiS, pLay, in three acts, by H. G. Wells and Rudolf Besier, dramatised from tlhe story by the former. March 6. Last per- formance (the 52nd) April 20.
Edwin Shalford Mr. Frederick Volpe"
Ouir Mir. Carshot Mr. Leonard Calvert
Our Mr. Mmton Mr. Campbell Brown
Our Mir. Billam Mr. Percy Goodyear
Our Mr. Pierce Mir. Gilbert Yorke
Our Mr. Kiipps Mr. O. B. Clarence
Youm.g 'Tapley Mr. Claude Vernofl.
Miss Mergle Miiss Dora Barker
Chester Coote Mr. Rudge Harding
Mrs. Wals.iing,ham .. Miss Gertrude Scott
HeLen Walsingham Mfes Helen Haye
Mrs. Revel Mies EJla Tarrant
Mk> Revel Miss Evelyn ParJbewy
Harry Ohitterlow Mr. Leslie Carter
Parlourmaid Mies Eileen Barry
Mrs. Bindon-Botting
Miss Henrietta Leverett Miss Bindon-Bat'tuLg
Miss Rosamund Mayne-Younig
Louisa Miss Victoria Addison
Cook Miss Nellie Bouvede
Miss May Hairley Miss Evelyn Hope
Hon. John Farquhar Mr. FiranJi Ridley
The Rev. H. Denis>more. . Mr. F. G. Knott
Arm Porndck Miss Christine Silver
Customers, Guests, etc.: Misses Saker, Cuthtoept, Nieibet, .Rundell, Messrs. Lever- •utt, WLsley.
—Vaudeville.
KISS, THE. Revival of the comedy, by " George Paston," bas'ed on Der Kuss, by Ludwig Huna. (Originally produced Novem- ber 24, 1910, Haymarket). May 6. Catherine Hervey .... Miss Gladys Cooper Humphrey Wh.arton/ .... Mr. A. G. Poulvcm
Tiie Stranger Mr. Malcolm Cherry
Mrs. Budgea. .... Miss Florence HaTwood —Criterion.
KISS, THE, sfcetch. by John Brownson. October 7.
Ivan, N-aviilsky Mr. John Hague
Paul Kra.n<sky Mr. Harold Wallace
Olga Navitsky Miss Ella Eirskine
Sergeant Mr. George Harvie
—Empire, Dublin.
KIT CARiSOfN, THE BLIND DETECTIVE. First London production of the drama, in four acite, by Ben Landeck and In- spector Guilbert. (Originally produced ut tihe Royal Leamington, oni Decerraber 26. 1911.) February ,12.
Kit Carson Mir. John S. Millward
Ned Patterson Mr. Chas. H. Longden
Mervyn Fitzroy Mr. Edward Vivien
Jim Poole Mr. Henry Deajn,e
Peter Mercian Mr. Victor Knight
Pedro Pasquale Mr. Bernard Liell
Inspector Storkey Mr. Arthur Canto
Joe Mr. Frederick Voider
•lum Mr. Stanley Wyntom
Bill Mr. J. Wood
Letitia Miss Clarice Barnard
Dolly Miss Jeannie Weston
Annie Poole .... Mfes Cathken Cavanagh
Jack Pattea-eon Miss Marie Longden
Nora'h Patterson . . Miss Georgette Thierry —Lyric, Hammer smith.
KITTY OF OURS, a play, in four acts, by Emily Taylor. November 8.
Caipt. Ronald Lucas Sir Geoffrey Lucas Col. Buff-Orpington
Capt. Archer
Capt. Moore
Lieut. Beaumomt .., Lieut. Reeve .
Mr. Frank Royd
Mr. Francis Dugmid
Mr. William Daunt
. Mr. Frank Milray
Mr. Beresford Innes
Mr. Edgar G. Wood
Mr. Charles Eustace
Trooper Marten Mr. Percy St. Clair
Trooper Parker Mr. Edward Dicks
General Dimrobui Mr. R. Nelme
Kitty of Ours (continued)
Coloniel Tiriggs
Lieut. Beaumont . Major Kneller Major Ponsomby . .
Major Hardy
Copt. Jenkins
Orderly Sergeant . Lady Lascedles . . .
Mrs. Moore
Kitty Moore .....
. Mr. Charles Wiseman .. Mr. Edgar G.-Wood . . Mr. Reginald Carfax Mr. Hugh GboLmoaidley . Mr. Thomas Lambert Mr. William Haibingtom ..... Mr. Ernest Scott
...... Miss Eva Bates
..... M:iss Sybil Grieg
. . . Miss Haidiee Gunn — Opera House, Burton.
KOMT'ES'SE G'UOKJERL. Revival of Franz von Sah6ntih.an's comedy by the Deutsche.
KTMAiR SiAMBHAVA; OR, THE BIRTH OF THE WAR GOD, a series of tableaux, together with passages written in. rhyming couplets, illustrative of the 'Sanskrit play. foty the Hindu poet and; dramatist, Kali- dasa Majrch 1.
KYNASTO'N'iS WIFE, play, in four acts, by (Roth we 11 Haig. Ma.y 10 (matinee). Jiames Kynaston ...... Mr. Lionel Atwii!
Stacey Langton ........ Mr. Basil Hallam
Lord Pangbourne .... Mr. Clifford Brooke
The Earl of Holohester.Mr. J. C. Buckstone The Hojn. Vivian Thesi;ger..Mr. Ivo Diawson Chris Halliday ...... Mr. Edmond Breon
Parkes ............ Mr. Arthur Fitzgerald
Frangods .................... Mr. Theobald
Zoe Wyimm'ering ...... Miss Iris Hawkins
The Viscountess Ruspar..Miss Adela Measor Mr*. Sandilands ........ Miss May Brooke
Lady Barbara Carshalton
Miss Alexandra Carlisle —St. James's.
LADY BETTY'S BAKING, play, in one act, by Beatrice M. d<e Burgh. June 25. Lady Betty Dislboro'. .Miss Winifred Emery Lord DAsiboro' Mr. J. M. Dale
Jaek Car,michael..Mr. Lawrence Anderson
David Franklin. .Mr. Lauderdale Maltland
— Playhouse.
LArDY GASBIEiR, THE, one-act play, by H. M. Piaull. February 5.
Lwtt-ie Potter M,iss Amy Willard
Mrs. Bodley Miss Constance Bachner
Sir Peter Rashleigh..M.r. E. Spencer Geach
Mr. Amory Mr. Edward Leith
Jules Mr. Leslie Owen
-^Coronet.
LADY ELEANOR— LAWBREAKER, comedy, in three acts, by Robert Barr. Decem- ber 16. Charles, Lord Brandon.. Mr. Claude Liardet
Humphrey Sharp Mr. M. C. Ralli
Humble Sycamore Mr. H. T. Bagnall
Miles Mr. W. A. Cattley
Richard Brinsley Sheridan
Mr. Eben Wallace
Bates Mr. B. A. Carr
Simmons Mr. J. Bradbury
Trisket Mr. Percival Montray
Miss Barsanti .. Mrs. S. Freeman Burrows
Mrs. Lessingham Miss Maud Kirkness
Miss Barsanti .. Mrs. S. Freeman Burrows
Mrs. Sheridan Mrs. Eric Keizer
Sophronia Mrs. Geoffrey Earle
Miss Selina Chaffers Mrs. Eben Wallace
Lady Blearier Beaumont.. Miss Ida Tulloch —Repertory, Liverpool.
LAMB AMON'G WOI/VE/S, A, one-act comedy- drama, written by Ivan P. Gore. May 13. Abe laarathawl, ) Tlhe )
a Jew [ Wolves } Mr. George Belmore
'Nell, a Decoy j and /Miss Jessie Belmore John K. Smith. ..the Lamb.. Mr. Clifford Lomer
—Surrey.
THE STAGE YEAR BOOK.
161
L\Ml'LIt;HTQER, THE, one-act play, by •• Percy Fullerton." January 29.
Old Tim Mr. Jolm A. A. Berne
Ansele Vivrc Miss Nora Hrndrir
\\,iit,r Vivre Mr. Walt-er Shore
Harold U.rtiiam M>r. E. Gibson
Hopkins Mr. M. R. Hampshire
—Kelly's, Liverpool.
LAST CHANCE, THE, dramatic sketch, by •Frederick Gat tie. July 8.
Renshaw Mr. Charles Freeman
Archie Mr. R. Seaton Dane
Vera Miss Florence Tench
Diok Mr. C. Claxton-Turner
(Detective Wilkins .... Mir. George Teark-
-Major Bulvard Mr. Gordon Ashley
— Camiberwell Empire.
LAST GREEN, THE, playlet, "a golfing inci- dent," told " very shortly " by F. S. A. Lowndes. December 26.
Dolly Dormy Miss Dulcie Greatwich
Earl of Robertsbridge. .Mr. Robt. Burnett Donald Angus McTavish .. Mr. D. Hallam
—Little.
LAST OF THE DUKES, THE, sketch, m one scene. ((February 5, Palace, Manches- ter.) February 12. Duke of DiUwater .... Mr. J. F. McArdle
A Chemist Mr. John Detliv
A Policeman Mr. James A. Storey
Page Boy Mr. Cyril Berry
Cashier Misa Cicely Brockleban-k
Sadie Greenback Miss Lily Iris
— Tivoli.
LATEST NEW YORK SENSATION, THE; OR, THE TWENTY-FOUR HOURS' MIL- LIONAIRE, preliminary performance of a musical comedy sketch, fcn three scenes, by Chas. Sarkany and H. H. Lewis, music by G. Leone. November 13.
—Elephant and Castle.
LEGACY, THE, play in one act, by Frederic Ward. (Produced by the Connoisseurs.; June 23. Henry Armstrong .. Mr. Lancelot Lewder
Arthur Mr. Reginald Master
Mr. Freeman Mr. H. Francis Wager
Mary Armstrong Miss Ellie Chester
LIE. THE, one-act play, by Fergus Leslie! (April 15, Palace, Carlisle). July 29. Hilda Belmont .... Miss Phyllis MorJand
Jack Belmont Mr. J. Ireland Hind
Bernard Trevor Mr. Fergus Leslie
— Bedford.
LIEBELEI, The "Deutsche Theater Gesell- sohaft " produced a drama, MI three acts, by Doctor Arthu- Schnitzler. March 9. On May 14, 1909, an English translation of this play was presented at His Majesty's tinder the title of " Light o' Love."
Hans Weiring Herr Fritz Fluhrer
Christine Weiring .. Fraulein Lena Wirth
M.izi Schlaser Fraulein Eisa Leasing
Katharina Binder.. Fraulein Gertrud Helbig
Lina Binder Fraulein Phyliss Sfeele
Fritz Lobbekoer .... Herr Heinrich Victor
Theodor Kaiser Herr Reinhold Griff
A Gentleman Herr Phillip Druckeo-
—Clavier Hall, \V.
LIFEGUARDSMAN, THE. condensed version, in ten scenes, of Walter Howard's mili- tary romantic drama. (Originally pro- duced September 6, 1911, Junction, Man- chester.) March 18.
—Middlesex.
LILY OF TRIPOLI, THE, one-act play, by Valroy Norman. June 24. Abdul Serandil .... Mr. William Bedford
Mahmoud-Ducali Mr. R. F. Stacey
Civo -.. Mr. Guy Routh
Delie- Miss Lily Prescott
Azrene Miss Ethel Arden
Zasa M.iss- Azalea Corelli
— Camberwoll Empire.
LIMIT OF THE LAW, THE, one-act play, l»j \lary le Bone (Charles Hugden). March 4.
Mr. O.a.rl«-.s Si,
Mr. li. 1-. M:.
M :I rie Mrs - Char I-
Mr. .1. in iiry 1 \\.\i-.ni
—Gaiety, Manchester.
l,lu\ AND Till: LAMB, THE, comedy, with music, ill two acts, book by Harold Simp- son and music by Charles Moore. April 8. Hans Bau'ierniann..Mr. Auguste Van Biui> captain Beresiord .. Mr. Jameson Thomas
Henry Jamieson Mr. U. Lillord Delph
hiiward Steele Mr. Bardie Russell
Jim Saunders Mr. Lloyd Mackenzie
Tommy Chapman Mr. Jack Vv ilson
Violet Miss Peggy Tighe
my Miss Winiired Roma
Kose Miss Daisy Bray
Mrs. Bandermann .. Miss Jennie Armstrong
Alice Ingleby Miss Ray Parry
Minnie Miss Weatherby
—Lyceum, Sheffield.
LLPS OF LA iSAUTE'RELLE, TH.E, one act play, by Frances M. Gosling. A revised vtjiion of •"ine iLaiw of the Zingali." (.May 1, Royal, Worthing). July 14. Mongette Lescure .. Miss Gertrude Gilbert
Tawno Chickno Mr. J. H. Irvine
Tanguy Lescure Mr. Eugene Wellesley
Pepita Miss Florence Glossop-Harris
—Clavier Hail, W.
LITTLE BOSS, THE, dramatic sketch, in one act by Ernest Bucalossi. April 15.
feilas lite Mr. C. Bancroft
Kip Mr, Adnam bprange
Frankie Little Joyce Robey
— Willesden Hippodrome.
LITTLE BURGLAR, THE, dramatic sketch, in one scene, by Arthur (Rose. September 30
Robert Overton Mr. Gilbert Heron
John Mr. Edward Belinore
James Ward Mr. George Talbot
Philip Drake Mr. Leo Frank
The Little Burglar .... Miss Jessie Danvers
— Surrey.
\ LITTLE CAFE, THE, farce, in three acts, by Tristan Bernard. September 28.
Albert Loriflan Mr. Cyril Maude
Bigardon Mr. Charles Glenney
Philibert Mr. Charles Bibby
jL,uigi Mr. J ohn Harwood
Flouvier Mr. James Dale
Gastonnett Mr. George C. Browne
Colonel Kerkondec Mr. Mark Paton
Roche Villar Mr. Hastings Lynn
Pietro Mr. E. R. Holjway
Cellarman Mr. Ernest Graham
Bianca Poggiaipartioo . . Miss Maidie Hope
Berengere U'Aquitaine Miss Seymour
Yvonne Miss Vera Coburn
Miriam Miss Daisy Thimm
Jacqueline Miss Peggy Hyland
Laporte Mr. G. Masters
Jabe-t Mr. Ronald Brent
Pezard Mr. W. Hemstock
Poulain ..Mr. T. Cass
Popinot Mr. G. H. Gilbey
Parbonnet Mr. Colston Mans*. 11
Radinot Ton G. "Tilorris
Oliver Mr. L. Anderson
Xavier Mr. R. Carfax
Frasier Mr. H. Coats
Crouchot Mr. C. B. Keston
Ninon Miss Ruth Bidwell
Lawyer's Clerk Mr. L. Prince •
Diane Miss Maude Andrews
Amelie Miss Faith Cejli
Madame Grandet Miss A. Travers"
Antoinette Miss Monica Webb
Pamela Miss T. Edgar Bruce
Zouzou Miss M. Fprsyth
Nanon Miss Lawrence Cooper
Zelie Mi?? Amy Elliot
162
THE STAGE YEAR BOOK.
The Little Cafe (continued).
Corinae Miss Dorothy Hanbury
Suzanne Miss Netta Westcoljft
Stephanie Miss Alice Chalmers
Aimee Miss Rose Atkins
Lola Miss Daisy Leigh
Bianca's Band :— Misses Kathleen Grahame, Elsie Maynard, G. Vane, Doris Bates, Cus- tomers, Waiters, Sergt. de Ville, etc., etc. — Playhouse.
LITTLE CHRISTMAS MIRACLE, A, drama, in one >act, by E. Hamilton Moore. December 26.
Daniel Byrne Mr. Philip Guiry
Michael O'Halloran .. Mr. Patrick Murphy
Larry Sullivan Mr. Michael Conniffe
The Captain Mr. Farrell Peliy
Bridget Cassidy Mies Helen Moloney
The Strange Woman Miss Nell Byrne
—Abbey, Dublin.
LITTLE DREAM, THE, allegory, in six scenes by John Galsworthy, music by Wolfgang von B.artels. (Gaiety, Manchester, April 15, 1911.)
'Seelchen Miss Irene Clarke
Lamond Mr. Brian Egerton
Felsman Mr. Richard Neville
CHARACTERS IN THE DREAM.
The Great Horn Mr. Victor MacClure
The Cow Horn Mr. Richard Neville
The Wine Horn Mr. M.ark Hannam
The Edelweiss Miss Iris Rowe
The Alpenrose Miss Irene Colebourn
The Gentian Miss May Meggs
The Mountain Dandelion.. Miss Vera Nelson
Death by SJumber Miss Margaret Drew
Death by Drowning.. Miss Margaret Morris
Goat God Mr. J. Fraser Outram
Goatherd Miss Margaret Morris
— Court.
LITTLE FAY, stageright production of a fairy play, in one act, by George Capel. April 6.
Prince Amoro Mr. G. Capel
Zigzag Mr. W. Pike
Princess Fibbina Miss Alice Brown
Starlight Miss White
Little Fay Miss Lily Rose
—Court.
LITTLE FOWL PLAY, A, sketch, in one scene, by Harold Owen. (October 21, Palace, Man- chester.) October 28.
Gilbert Warren Mr. Charles Hawtrey
Sybil Warren Miss Ivy Williams
Mr. Tolbooth Mr. Leslie Rae
Mary Miss Gertrude Thornton
Boy Master Noel Coward.
—London Coliseum.
LITTLE MISS LLEWELYN, comedy, in three acts, founded on " Le Mariage de Mile. Beulemans," by Frantz Fonson and Fer- nand Wicheler. August 31.
Enos Llewelyn Mr. Edmund Gwenn
James Barrington Mr. E. W. Garden
Walter Barrington Mr. Ronald Squire
Owen Griffiths Mr. Tom Owen
Thomas Griffiths Mr. R. A. Hopkins
Gwilym Richards Mr. D. H. Munro
Noah Davis Mr. Ernest G. Cove
Emlyn Evans Mr. David Pryce
Benjamin Lewis Mr. Jeffrey Reed
David Jones Mr. Owen Pntchard j
Mrs. Llewelyn Miss Hannah Jones i
Lizzie Miss Lilian Mason !
Maggie Annie Miss Pamela Dudley \
Miss Llewelyn Miss Hilda Trevelyan
— Vaudeville.
LITTLE PROSPECTOR, THE, drama of the Golden West, by W. Locke, rehearsed and produced by Mr. Brian Daly. April 1.
Kitty Colwell Miss Amy Rudd
Dr. Colwedl Mr. Frank Woodville
Harry Meyers Mr. Fred W. Freeman
Frank Tregresser Mr. Brian Daly
Frank Plunkett ..Mr. Norman A. Overton
Pedro Mecardo Mr. B. B. Lawrence
John Holmes Mr. Fred Deakin
Mose Smith Mr. Alfred La Folle
Sheriff Owens I.Mr. Frank Bertram
Lun How Mr. G. H. Ford
Old Tim Mr. C. B. Finch
Judge Carson Mr. J. W. Braithwaite
Solomon Swiggs Mr. Gordon Dempster
Colonel Parks Mr. Fred Ingram
Mrs. Bridget O'tfowd
Mrs. J. W. Braithwaite
Helen Black Miss Gertrude Harrison
— Royal, Birkenhead.
LITTLE RED SHOES, play, in one act, by Harold Brighouse. May 20.
Tom Spink Mr. Reginald Beeant
Mary Spink Miss Lilian Christine
Janey Spink Miss Bessie Courtney
Peter Marrable Mr. Horton Cooper
Robert Bennett Mr. John Alexander
—Prince of Wales's.
LITTLE SPLASH, A, musical sketch, in one scene, book and lyrics by Louis Cowen, music by Harold Lonsdaie. February 19.
Miss Kitty Kincky Miss Marie Wilson
The Dresser Miss Louie Emery
Hon. Eustace Splasih
Master Bobbie Andrews — Finsbury Park Empire.
LITTLE WILLIE, one-act farce, by Walter Ellis. April 22.
John Smith Mr. Richard Oliver
Mrs. Smith Miss Anna Fawcitt
Mrs. Gray Miss Elsie Craig
Uncle Will Mr. Thomas E. Marshall
Nellie Miss Ruth Denton
Baker's Boy . Mr. Tom Dawson
Little Willie ^Mr> waiter Ellis
Archie Gray >
—Collins.
LIVING CORPSE, A, tragedy, in six tableaux, by Leo Tolstoy. August 24.
— Pavilion.
LODGERS, THE, sketch, in one scene, by Charles Hannan. December 9.
Mistress Auld Miss Hettie Cavendish
Mistress Pierson ...... Miss Jean Turnbull
Erohde Macdonald Mr. Willie Black
Miss Macallister Miss Lallan Fonsyth
— London Pavilion.
LONDON OUTCAST, A, condensed version of Carr Loates's drama. July 29.
— Battersea Palace.
LONELY LIVES. Revival of Mary Morrison's English version of Gerhart Hauptmann's Einriame Menschen. November 7.
—Court.
LOOKING FOR TROUBLE. Revival of the farcical comedy, hi three acts, by He"lene Gin gold and Laurence Cowen. (Originally produced July 4, 1910, West Pier, Brighton.) May 13. Last (performance (the 40th) June 20.
Kate Bellingiham Miss Eva Moore
A 1 r.s Porches Miss Joy Chatwyn
Helen Porches Miss Geraldine Le Sage
Pierpoint Porches Mr. Sam Walsh
Captain Frank Porches ..Mr. Vincent Clive Charles Bracebridge ..Mr. Thomas Holding
Bethel Petch Mr. Murray Moore
Crawling Mr. Harry Dauby
Inspector Gotham Mr. J. M. East
No. 18,420 Mr. Charles A. White
ATI ens Macpherson Mr. Neil Kenyon
— Aldwych.
THE STAGE YEAR BOOK.
163
LORD MAYOR'S PARTY, THE, comedietta, by Hugh Onslow. July 8. Bill Hickey .............. Mr. Hugh Onslow
Polly Hickey .......... Miss Sophie On-slow
—Hippodrome, Lowestoft.
LOUISE. First English version of the four-act opera, libretto and music by Gustave Char- .pentier. (Originally produced February. 1900, Opera Comique, in Paris. It was first seen in England at Covent Garden. June. 1900 (in French;, October ,17. Julian .............. Mr. Maurice D'Oisly
Louise ................ Miss Jeanne Brola
Mother .............. Miss Edna Thornton
Father .............. Mr. W. J. Samuell
Irma .................. Miss Gladys Ancrum
Camille ................ Miss Hilda Morris
Gertrude .......... Miss Winifred Holme
Blanche .................. Miss M. Carter
Elise .................. Miss Blanche May
Suzanne .............. Miss Lilian Scotson
Marguerite ............ Miss Ella Waters
Madeleine .............. Miss C. Edwards
A Forewoman ...... Miss Winifred Mayes
Street Arab .......... Miss Mabel Dennis
Errand Girl .......... Miss Maxine Verande
A Ragman ............ Mr. Arthur Wynn
First Philosopher .... Mr. Edgar Schofield
Junkman .............. Mr. W. Outhwaite
—Palace, Manchester.
LORD HARKAWAY; OR THE SPORTING DETECTIVE, drama, in four acts, by Fred Maxwell. March 18. Lord Harkaway ...... Mr. Lawrence Tessier
Stuart Landon ........ Mr. Valmour Shain
Leonard Grey .............. Mr. Fred Acton
Sir Edward Grey ...... Mr. Arthur Waring
Squibbs .......... Mr. Edward Lockstone
Isaac .................... Mr. Wm. Glenny
Karl ...................... Mr. George Clive
Pedro ............. ..... Mr. Cyril Franks
Stella Raby .......... Miss Agnes Anderton
Aada ................ Miss Marion Holly
Ellen Grey ............ Miss Lois du Cane
—Grand, Nelson.
LOVE— AND WHAT THEN? comedy, in three acts, by B. Macdonald Hastings. Last per- formance (the 83rd) July 13. May 2. Bishop of Munbridge ____ Mr. Cyril Maude
Rev. William Rumsey..Mr. Ernest Graham Lieut. Frank Ettridge, R.E.
Mr. Eric Ma.turin Ian Lindsay ...... Mr. Lawrence Anderson
Jack Garth .............. Mr. James Dale
Rev. John Burden ____ Mr. Gayer Mackay
Beryl Burden ........ Miss Margery Maude
Mrs. Burden, sen ....... Miss Frances Ivor
Sheila Morris ............ Miss Faith Celli
Olive Morris ........ Miss Dulcie Greatwich
Parlourmaid ............ Miss Violet Gibbs
—Playhouse.
LOVE IN A RAILWAY TRAIN. " comedy re- hearsal," in one scene, by Frank Stayton. July 31.
He )
The Porter [ ..... Mr. Lawrence Brough The Actor I A Butler .................... Mr. G. Leslie
The Actress } ........ Mi&s °1^ Esme"
— Brixton.
LOVE, LAW, AND THE LADY, comedy, by J.
James Hewson. November 25.
Ambrose Murgatroyd .. Mr. Howard Innes
Millicent Meredith .... Miss Maud Rosslyn
— Lyric, Liverpo*"'
LOVE'S ENEMY, play, in four acts, by Walter Savage Cooper, written in blank verse and lyrics, with incidental music by Edith Ells- worth and F. A. W. Docker. January 22. King of Altas ...... Mr. Dashwood Carter
Princ* Erikon .......... Mr. Geo. Forbes
Prince of A nan ...... Mr. Sidney Gowlett
Prince Valdanus ...... Mr. Philip Jewitt
Belas .................. Mr. Guy Gowlett
Cantor ................ Mr. Fred Thomson
Decanor ........ (Mr. W. (Savage Cooper
Herald .................. Mr. B. Brfetow
Oueen of Altas .............. Mrs. Frazer
Princess Malata .... Miss Isobel English
Veetis ............ Mrs. Herbert Teasdale
Elva .............. Mrs. Dasihwood Carter
Ctemence .............. Moss Hilda Foster
Ladies of the Court : Misses Christina Wesson, Elsie Forbes, Ba/ckshell, Chefflns, and Olave S't.roulger. Gentlemen of the Court : Mr. Cyril Cheffins and Mr. Harry Foster. Page : Master Marcus Evans. Solo dancer: Miss 'Mildred Lowndes.
LUCTPKIR AND HIS ANGEL, "present-day iDlaylet," by E. Nolan O'Connor. Septem- ber 2. Sir Lucian .......... Mr. Guy (Rathbone
Lady Frome ........ Miss Aime'e de Burgh
— Tivoli.
MAfTMRAGH'S WIFE, one-act play, by Lady Gregory. January 11.
Mr. Philip Guiry First Ha-g ................ Mr*. Roberts
Second Hag ................ Miss Maloney
—Abbey, Dublin.
, one-act play, by Ohristonher St John. (Produced by the Pioneer Players.) April 21.
Joseph Siemaszko.Mr. E. Harco-urt- Williams Colonel Fedor Uszakoff
Mr. Clarence D^rwen/t ™* .................. Mr. Frank Conrov
fljster Mipcyslawska .. Miss Ellen O'Malley Sister Colomba ...... Mis-s Esmc* Hubbard
Sister Hyacintha ...... Miss Hilda Mbore
Sister B.aptista ........ Miss Gillian Scaife
Father Michalie/wicz .. Mr. Patric Curwen '— King's Hall, W.C.
MA<D-A<ME SANS-GENE, sketch, in three scenes. August 12.
Mr. Jackson Dene Lefevbre ...... Mr. Edward Ashhv
6 ........ Mr. Jarpos C. Carl vie
Oa-ptamAmaud ...... Mr. T. Mncdonald
J/ieut. Lacroix .. Mr. Montague Ra.vment •J*0™" ................ Mr. H. Robinson
A Flunkey ................ iyfT G Brav
Oom:tes^e de Beauvais.Miss DotianneDavn^ M*pte de Lorine ........ Miss Daisv TTJric
£'dlva'nt • ......... Mi&s Mndge Laverton
M,adiame Sans-Gene ...... M?« Mary Neil
—Metropolitan!
MOLLE. CHIC: OR. A DAY IX TROFVTT.TT- musical comedietta, in one act. Au7iist 2fi' Mile. Pnaby Deslvs M. PiPrre T^toT Mr. Harry Pi'crr —Palace. DTANA. First performance
•••• Mr. Leu-is Wllk>ii«hhv Ch-iTlM Laore.Mr. Stephen Wentworth
Diana
\rme. LyHin
—King's Hall, W.C.
164
THE STAGE YEAR BOOK.
MADMAN AND THE MAID, THE. sketch, by L. Lincoln. November 25. The Maid .............. Miss Bessae Jewel]
The Doctor .......... Mr. Eustace Bnrnaby
The Madman ____ Mr. Rutland Barrington
— Tivoli.
MAGnDiA. A condensed version of Sudermann's play was presented by Mr. Charles Garry and coimipamy. Jianiua>ry 8.
—Tivoli.
MAGIC BELL, THE, a fairy fantasy, in two scenes. book and music bv Archibald H. Benwell, produced by Marshall Moore. December 2(1. Thistledown .............. Mi*s Edith Hill
Love in the Mist ...... Mi<« Gladys Vivian
Oueer- of the Fairies. .Mi- s Myfanwy Newell Harebell .............. Mis« Eileen Jow-itt
Ariel .................... Mi«s Vera Clarke
Betty .................... Miss Ivy Sawyer
Billv .................. Mr. Dan Leno, iun.
Green Man .. .......... Mr. Percy Davison
Rags ...................... Mr. GPO. Nash
Ro'Vs ................ Mr. .Tiroes Harootn't
Snirit of the Golden B"ll MISS Vid?et Dpjizel —London Opera Hoiise.
MAGNANIMOUS LOVER, THE, drama. In one act, hv St. John G. Ervine. October 17. iSamue! Hinde ........ Mr. J. A. O'Rourke
Henry Hinrte .......... Mr. J. M. Kerrigan
William Gather ____ Mr. Sydney J. Morgan
Mrs. Cather .......... Miss Mona O'Bnrne
Maggie Gather ........ Miss Maire O'Neill
—Abbey, Dublin.
OF ARAKAN, THE. romantic comedy, by 'Geoiwr.i? Cta M'eron . adapted from a fitorv Ihv (Phltoimdiria/ INwtfh T,a<?ore. produced bv 'Mr. Douglas Gordon. (p"odnr><d ihiv tlh# 'iTM'l'inrii Dnaimia'tfic and Fr;i'en><i:.v floetet-y). July 30. Amina ................ Miss Muriel Recall
Roshenara ................ Miss Olca Ward
Dalia .................... Mr. Vernon Steel
Rahmpt -Sheikh ...... Mr. Ambrose Flower
Tung Loo ................ Mr. Leon M. Lion
Dances executed by Miss Effle Grimaldi and Miss Gracie Whitney.
—Albert Hal!.
MAID iMARJORiE. a romantic comic opera, I'Miskr bv Edward .Tones. October 7. T'he Earl of Lin don.. Mr. Norman Hodgson Tord Rupert Neville ...... Mr. Jos. Savile
Harry Vane ............ Mr. A. Percy Ecc'es
John Slack .............. Mr. A . T. Hanson
Peter Run? .................. Mr. J. Driver
Titus Barebones ........ Mr. F. A. Taylor
Bull ........................ Mr. L. Turner
Smith ...................... Mr. C. Wilson
Sexton .................... Mr. Sam Nvmon
Simon Simnlesides ...... (Mr. Reg. F. Smith
Corporal Slow .......... Mr. A. M. Leeson
T.adv Molly Neville _____ Miss E. Hanson
Marie, ............. Miss Frances A. Carter
Old A"n .......... Miss Vere M. Thompson
Maid Marjorie ........ Mise E^hel Baldwin
Susnn ........................ Mr<5. A. Ward
Ruth. .................... Mi^s Ida Craven
\nn ........................ Miss D. Taylor
Nancy ................... M:^ « Th^oftn
—Royal, Halifax.
MAIDEN IN MARS. THF. nmsicnl play, pom- nosed by Gr^h.nm \nr1cr-on. November 27. Captain the Hon. John Anstmt-her
Mr. Leo Trood ^;«r«boo .............. Mr. H. F. Ppondfoot
^i-ankan .................... Mr. Chn«?. Gav
T.ipnt. Brn.".<hy ...... Mr. Geoffrey Koblich
Fit7c-l?irence . ....... Mr. F. N. Briflsrwater
Prof. Mpikeliohann ...... Mr. Herbrtnt Gav
M. Montemardc ........ Mr. E. Springfield
The Maiden in Mars (continued).
Puffin Mr. John Hales
Mrs. Neubriche Miss Beryl Durand
Mattel Miss Olive Rogers
First Fan Girl Miss Burton Panning
Second- Fan Girl Miss Barbara Hales
Third Fan Girl Miss Auriol Grant
Fourth Fan Girl Miss Lilajh Carter
Silva Miss Violet Morton
Princess Monella Mrs. Bertram Talbot
—Town Hall, Aylsham.
MAKER OF DREAMS, THE, phantasy, in one act, by Oliphant Down. August 31.
Pierrot Mr. Eliot Makeham
Pierrette iMiss Pamela Dudley
The Manufacturer Mr. E. W. Garden
—Vaudeville.
MALINGERER. THE, one-act fantastic word- less comedy, invented by Sidney Lewis- Ransom, music by Herman Fanck. Novem- ber 19.
Frivol (Pierrot) Miss Marie Tempest
Malice Mr. Graham Browne
Fraud Mr. Sidney Lewis- Ransom
Silence Miss Kate Serjeantson
Caprice Miss Frances Dillon
—Prince of Wales'*.
MAN", THE. sketch, by Harold Wolfgang, J. G. Brandon, .and Herbert Daraley. Octo- ber 14.
—Bedford.
MAN AND SUPERMAN, revival of Bernard Shaw's ' play. April 8. Last performance (the 25th) April 27.
-rCriterion.
MAN FROM MEXICO, THE, condensed ver- sion of the farce, written by H. A. Du Souchet, and condensed by Stanley Cooke. June 5.
Benjamin Fitzhugh Mr. Stanley Cooke
Roderick Majors Mr. Charles S. Bedells
William Loveall Mr. William Stack
—Grand, Birmingham.
MAN'S WAY, A, sketch, by Graham Hill and Stephen Sorley. February 26.
—Crouch End Hippodrome.
MAN'S WIFE, A, play (produced by the On- oomers' Society), in one act, by Kathlyn Rhodes. June 27.
Eliza Miss Edith Pither
Maria Hick Miss Hilda Holloway
Matthew Dunn Mr. Eldrett Gulson
Bill Perkins Mr. Wyn Weaver
—Little.
MAN TEMPTED ME, THE, melodrama, in four acts and eleven scenes, by F. Marriot Watson. September 2.
Amos Sharpe Mr. Aubrey Norton.
Albert Algernon Higgs..Mr. Tony Snape
Mary Wylde Mr. Juan <T Albert!
Dufican Wylde Mr. Claude Seaton
Isaac Schlenk ....Mr. F. Marriot Watson Rev. Reginald Varley..Mr. Robert Faulkner
Dr. Jules Cheveral Mr. Maurice Clifton
Jacob Ja/cobs Mr. Anthony Fordo
George Everett Mr. Richard Newman
Raymond Mr. John Raymond
Benjamin) Dawkims Mr. Bert Chaffer
John Augustus Mr. Eric Mortimer
Lilian Wynter Miss Fay Garnet Vaync
Betty Maxton Miss Phyllidia Rushby
Matilda Anm Snoggs. .Miss Connie Meadows
"La Jolie Diabte" .. Miss F. E. Florence
— Britannia.
M\N. THE ARTFUL DODGER: OR, SLIP- PING THE SHADOWS, farcical comedy, by L. F. Durell. June 17.
Wilfred Graham Mr. Chris Chapman
Reynolds Mr Arthur White
Rosie Burton Miss Kitty Hyde
THE STACK YEAR WOK.
165
3/riH, the Artful Doilni-r (i-ontinufd).
Miss Accrington Mi*s A. Carter
a Lillie Miss Dot Deakin
Mi** Aland Mi« Audrey Leslie
Marguerite Miss Owen Clifford
Phyllis Miss Claire Romaine
—Woolwich Hippodrome.
MAN WHO LIVED AGAIN. THE, domestic drama in four scenes, by Lionel Scuda- more February 26.
Frank Meredith Mr. Val Luxbaurg
Martin Stone Mr. William Diamond
Joe Mug Mr. J. French
\ndrew Nutt Mr. Frank Masters
Eli Warren Mr. Henry Ashman
Jim Hodge Mr. F. Wild- James Mr. George Stapleton
PC. Cole Mr. Mark Elms
Doctor Jones Mr. Victor Rains
\ Beggar Mr. J. Williams
A Bargee Mr. H. George
\ Passey-by Mr. C. V. Wright
Victoria Myrth Miss Nettie French
Lola Clive Miss Alice Richards
Little Winnie Little Doris
Kate Meredith ..... M>s Mabel Scudamore — Royal, Stratford.
M\\ WHO WAS, THE. F. Klnsey Peile's dramatisation of Rudyard Kipling's storv. (First variety production of piece originally nroduced at Her Majesty's, June 8. 1903.)
Vustin Limmason Sir Herbert Tree
Colonel Durgan Mr. A. E. George
Captain Basset Holmer
Mr. Arthur Herbert
"Little Mildred" Mr. Basil Gill
Basil Gordon Mr. Ro-ss Shor^
Denis O'Sulliv-an ....Mr. Alfrerd IR. DigK
OR«lrt>h Os'bourne Mr. Frank Conroy
Cyril Jackson Mr. Douglas Jeff cries
Caiptain Deane Mr. Frank J. Randell
Hira Singh Mr. Francis Chamier
Sergeant Colsom Mr. Alfred Bellew
Colonel Dirkovitch ....Mr. Philip Merivale
Milltoerot Diinran Miss Frances Dillon
Svbil Mason Miss Laura Cowie
Mrs. Dean? AlKs Joan Chaloner
Daisy Deane Mi>* Ruth Nighthwale
—Palace.
MAX WITH HIS BACK TO THE EAST, THF. play, in four Acts, bv " W. Brandon." (Produced by the Play Actors.) Decem- ber 8.
Soame Mr. Hubert Willis
Mrs. Hall Miss Svhil Xoble
"Vurse Veronica Miss Mary Mackenzie
Dr. Jervoise Mr. Douelas Gordon
Dr. Robinson Mr. Rothbury Evans
Sir Blundpll Bullen Mr. Allan .Teayes
Lord Alresford Mr. E. Evan Thomas
Ladv Alresford Miss Doris Murray
Ladv Bullen Miss Katharine Stuart
Drummond Mis? Blanche Stanley
Mr. Milsom Mr. Alfred Harris
—Court.
MAN WHO WAS DEAD. THE, drama, by Leo Tolstoy, translated by Z. Vengerova and John Pollock. (Produced by the Literary Theatre Society.) December fi.
Anna Pavlovna Miss Florence Wood
Nurse Mis® Vita Spencer
Sa*ha Miss Lilian Talhof
Duniasha Miss M. John Wood
Victor Mikh-ailovidi Karenin
Mr. Laurence Anderson
Elizaveta Andreevna Protassova (" Li«a ")
Miss Violet Lewis
Afremov Mr. Leonard Calvort
Fedor Protassov Mr. Edmond Br<x>n
Ivan Makarovich Mr. Frederick Culley
Officer Mr. James Parker
The Man Who Wn* Deal (conti,
Musician Mr. Kenneth Ware
Nasta-ssia Ivanovna .... Mi** Vit?. Si-
Masha Mme. Lydia Yavorska.
Doctor Mr. Louis Shand
Korotkov Mr. Douglas Marrs
Stakhov Mr" Edirar Lighting
Servant at AfrciM<>\'- .. Mr. Sydney Lain.-
Butkevich Mr. W. Townl. y S-
Anna Dmit.rirvna Karenina
Miss Ethel Gannon
Servant at Mme. Karenin a's
Mr. Eliot Skinn- r
Prince Abreskov Mr. Anthony Ward-
Waiter Mr. Gilbert Esmond
Ivan Petrovich Alexandrov
Mr. Clarence Denvr-nt
Misha Mi.ss Ella Victoria
Servant at Lisa1* Mr. Sydney Laiine
Vossnessensky Afr. Douglas Marrs
Petushkov Mr. W. Townley Searle
Artemiev Mr. Frederick Culley
Waiter •. . Mr. Louis Shand
Magistrate Mr. C. F. Colling*
Meinikov Mr. Willox Cadogan
Clerk Mr. Eliot Skinner
Guard Afi-. Gilbert Esmond
Young Lawyer Mr. Kenneth Ware
Lady Mi.^s Efga Mve=r«
Petrusliin Mr. Rathmell Wilson
• — Court.
MAttOHEN, DAS, Arthur Schnitzler's t)lay. English version by C. E. Wheeler and Gran- ville Barker. Januarv 28. (Produced by •the Adetohi Play Society.)
Fanny Theren Mi.-s Penelope Wheeler
Agatba Muller Miss Betty Bellairs
Fr,-«u Theren Mrs. Alice Chapin
Adalbert Wandel ....Mr. Camnbell Cargill
Clara Theren Mis Hilda TTonw
Emmie Werner Miss Irene Clarke
Fedor Denner Mr. Leslie Gordon
Robert Well Mr. Maurice Elvev
Dr. Leo Mildn-r ....Mr. Alfred P. Al!in=on
Fmerich Berger Mr. Xict-1 Barrio
Vus'ist Witte Mr. Norman Yates
Dr. Friedrich Witte ....Mr. Guy Rathbone
Vinettp Mi-> Alfaon Trent
Moritzki Mr. Eric Adeney
—Little.
MARTS DE LEONTINE. LES, comedy, in French, in three acts, by Alfred Capus. May 20.
\dolnhe Dubois M. Jacnues Landier
T,e Baron M. Hubert Daix
Plantin M. Fernand Demoranpo
Anatole AT. Jean de Lano
Boucat M. Pierre Maii.*u6
Le Secretaire M. Maurice Wjrk
Le Garcon-de Recettes Af. Alfred Bouzin
Leontine Mil". Suzanne Dem an;
T-a ATarqnir-e Ml'e. P^n^e DenVny
Hortense Mile. Fanny Tellier
Vireinie .\rilc. Nilson Norm
Juliette ATlle. Claire Morni
Miette Mme. Sterling ATacKinlnv
Tsabelle Mile. BurpIIe
Ernestine Mile. Mardon
— Little
AI4RKFT. THE, sketch, by E. D. . April 20.
Afr. E. D. XiVholl^
Herr von Buster .. Air. Arthur T. T-ennard
Ebpnf»7pr Dabs A^r. F. W. "NTewbp^
Adolf Butter \iv. C^n^es Carto
PercivMl rle Xorc....Mr. Wilfred H. Benson
Earl of Knout ATr. Ha^rv Tp\vi>
White Vasle ATr. D. S. M'iT.dl,-
Yellow Fane A[r. Garage Walker
ATr=!. Mary BlA5«oin. .^ric;S Florence Smith Mary Jane Williams Flipnet
Mi«s Ada T'^pH»
Tilda von Buster Afks ,\tla "PVmk
— Battersca Palace.
166
THE STAGE YEAR BOOK.
MARRIED BY (FORGE, .drama, by " Riada." July 22. Jack Loftus ........ Mr. R. Seath Innes
Herr Max Zimmerman Mr. Sydney Grant
Ata Luna .......... Mr. John Davidson
Don Pedro Alvarez ---- Mr. John Nella
Khy Hy .......... Mr. Leo Montgomery
Philip Markham ....... 1 n/r- i? T»
Mr' E" D'
Don Juaii De Castro...
Atachio Mr. Charles Townsend
Donna Palupo Miss Gwynne Warren
Mi Mi Miss Florence Cameron
Inez Hardinge Miss Evelyn Kington
Mabel Hardinge .. Miss F. Melrose Millett — Royal, Liverpool.
MARUSA, one-act play, written by . Brandon Thomas, with music by Edward Jones. (S.P., March 7, Marlborough.) May 81.
General Rakovski .-. Mr. Roy Byford
Captain Rndivitch .. Mr. T. McC. Stewart
Major Shojoro Mr. Sebastian Smith
Captain Loyama Mr. Robert Burnett
Auguste Lowemeyer Mr. MeKenzie Rogan
Orderly Mr. Sydney Compton
Corporal Mr. Philip Anthony
Marusa Miss Vivian Vanna
—Royal, Birmingham.
MARY BROOME. London production of a comedy, i.m four a cits, by Allan Monk- house. (Gai'pty, 'Manchester, October 9, 1911.) May 24.
'Sh^iLa Rnv ..Miss Lilian Warde
Ada Timbrpll Miss Mary Goulden
Edgar Timbrell Mr. Herbert Lomas
Mary Broome Miss Irene Rooke
Leonard Timbrell .. Mr. Milton Rosmer
Mrs. Timbrell Miss Ada King
Edward Timbrell Mr. Charles Bihby
Maid Mfss Doris Bateman
Mr. Pendl^ton . . Mr. Cecil Brooking
Mrs. Pendleton ...... Miss Annie Mfiller
Mrs. Greaves Miss Hilda Davles
'John Broome Mr. "E^aH Lnnd'or
Mrs. Broome Miss Muriel Pratt
— Coronet.
MARY EDWARDS, " anachronism," by P. R. Bennett. (Produced bv Miss F^rniman's company, under the auspices of the Stage Society. (Gaiety, Manchester, May 8, 1911) June 16.
Mary Edwards Miss Irene Rooke
Lord Anne Hamilton Mr. Milton Rosmer
Nnrse MI'FS Doris Bnteman
Serving Man Mr. Howard Rose
Mr. Roe Mr. Cecil Brooking
— Aldwych.
MARY MAGDALENE. The Tbsen Club gave for the first time in England the play by Maurice Maeterlinck, translated by Alex- ander Teixeira de Mattos. March 17.
The Voice Mr. Frank Tennant
Lucius Verus Mr. Arthur Bachnpr
Ann feus Silanus Mr. Fred Morgan
Apnius Mr. Basil Osborne
Cselius Mr. Charles A. Roberts
T,azarns Mr. Henrv J. R/ihrnpoTi
Josepji of Arimathsea Mr. Otto Mathiespn
Nicodpmus Mr. Cecil Clovellv
Bartimspns Mr. James Lindsnv
A Hunchback Mr. Roberts
A He*led Man Mr. Valentine Mark
ATnrv Magdalene .... Miss Pnx Robertson Martha Miss Gladys Jones
Mary Salome Miss Rut'i BMwrM
—Rehearsal.
MARY'S WEDDING, comedy, in one act, by Gilbert Cannan. May 6.
Ann Davis Miss Mary Goulden
Tom Mr. Herbert Lomas
Mary Miss Irene Rooke
Mrs. Airey Miss Muriel Pratt
Bill Airey Mr. Charles Bibby
Villagers and others, Misses Doris Bate- man and Hilda Davies, Messrs. Ernest Haines and Howard Rose, etc.
—Coronet.
MASHING A MILKMAID, duologue farce February 12. Prudence Peach
Mrs. Spankflrst
Hon. Harold Harebrane
Mr. Wemsley Russell — Camberwell Empire.
MASK, THE, one-act play, by Dion Clayton Calthrop. January 22. Miss Elizabeth Greens-haw
Miss Christine Silver
Sir George Moreton Mr. Frank Collins
Mr. Thomas Greenshaw..Mr. King Fordham
Mr. Henry Blake Mr. Charles Staite
Mr. Fredk. Alloway Mr. L. E. Notcutt
Mr. Tristram O'Connell
Mr. Herbert Waring —London Pavilion.
MASQUE OF FASHION. May 15. —Court. MASTERY OF MUSIC, THE, Parisian episode, with music arranged by G. W. Byng. October 28. , — Alhambra.
MASQUE OF LOVE AND DEATH, THE. (Pro- duced by H. M. O'Grady and played by amateurs.) December 13.- A Prince of Fairies .... Mr. Geo. Dardis
Moneen Miss Nellie Kewer
Malun Miss Ida Lake
Priest Miss C. E. Trevillian
—Goldsmith's College.
MATCHBREAKER, THE, comedy, in three acts, by Christopher Sandeman. (Produced by the Oncomers' Society.) June 13. Mrs. Holton-Carey. .Miss Edith Anton-Laing Angela Holton-Carey .. Miss Edith Pither Sir John Winkm . . Mr. E. Bellenden Clarke
Horace Fleeter Mr. Ralph W. Button
Corinne de Pontmarsin . . Miss Muriel Pope The Rev. Basil Venables.. Mr. Arthur Curtis Viscount Dunsfor .... Mr. Barnett Parker Lady Caroline Cox .... Miss Ethel Percival
Chorlton Mr. T. Summers Townsend
Hans Wolff Mr. Harris Fraser
Mrs. Thompson Miss Lilian Mason
—Little.
MATCHGIRL'S DREAM OF FAIRYLAND,
THE, children's play, by Rev. J. Delahaize
Ouvry (Produced by amateurs.) January 9.
—Parish Hall, Grazeley.
MATES,, a collier episode, by W. W. Gibson.
October 25.— Athenasum, Glasgow. MATRIMONIAL ERROR, A, comedy sketch, by May Shepherd. December 26.— Ruskin Manor Recreation Hall, S.E. MAURICE HARTE, play, in two acts, by T. C. Murray. June 20. Mrs. O'Connor .... Miss Eileen O'Doherty
Ellen Harte Miss Sara Allgood
Maurice Harte Mr. Fred O'Donovian
Father Mangan Mr. Sydney J. Morgan
Michael Harte Mr. Arthur Sinclair
Owen Harte Mr. J. A. O'Rourke
Peter Mangan Mr. U. Wright
—Court.
MAYOR OF MERSHAM, THE, sketch, in one scene. June 10. —Palladium.
MEDEA, by Euripid.es. Presented «by the New Players' Society February 5.
— Kingeway
THE STAGE YEAR BOOK.
167
MKDIUM, THE, play, in one act, adapted f roan the French " L'Aii'goiste " of Mme. Devy- Lai's and Pierre Souvestire (first English production March 21, 1908, &haftesbuiry), by Jose" G. Levy. November 25. Dairttoez .............. Mr. Robert Noble
Bervil .............. MX. Edmund Gurney
Elise ...................... Mile. La Rubia
— Palladium.
THE, sketch, by Lucie Con/way. Juno 2. -Clavier Hall, W.
POT, THE, play, by Israel Zang- will. June 5. —Yiddish Theatre.
.MK.UB'BR iFOR SLOOUIM,, THE, revised ver- sion, in three acts, of the farcical comedy by George R. Sims. December 2. Onesimus Epps, M.P. Mr. M.aitland Marleir Bill Smd'tth ...... Mr. Oh-arles V. Sandfoird
Gunning .......... Mr. Edward P. Major
Mrs. Jeffs ............ MLSS Emily Stevens
Madeline ................ Miss May Dallas
Fanny ................ Miss Marie Clayton,
Arethusa .................... Mrs. Bennett
Betsy .............. Miss Dorothy Veirnon
—Royal, Margate.
M KM BEE OF TATTER&ALL'S, A. First per- formance in the West Endi of the play, in. iour acts, toy H. S. Browning. (Originally produced (Royal, Brighton, October 8, 1909.) February 28. I/aist (performance (the 47th; April 20. Carl Sampson ...... Mr. Philip Cu.ningh.ain
Capt. Lord Winthirop Mr. Eustace Buraaby Capt. Brookea-Greiville Mr. C. W. Blackall Bertie Monkton .......... Mr. Max Leeds
Foxey .............. Mr. Frederic Monti
Clerk of Scales ...... Mr. Eric Bridgeiman
Assistant Clerk ........ Mr. Stanley Killbv
Weighing Room Attendant .... Mr. E. Hill
Footman ................ Mr. Fred W. Ring
Barton ............ Mr. Archie A'rbuthnot
Williams ................ Mr. F. Holgate
Barris .............. . ..... Mr. J. Chenrie
Page .......... Master Reginald Grasdorff
Peter Perks — Mr. Rutland Barrington Mrs. Craven' ...... Miss Marguerite Leslie
-Lady Flashington .... Miss Gladys Mason
Niancv Playfair ...... Miss Mary O'Farrell
Mrs. Devereux .. Miss Florence Bteventon Edith Playfair .... Mies Florence Pigott
Olive Monkton ...... Miss Anne Matson
Maid at Ladies' Club .. Miss Joan Daweorc Mary WSlmot . ............. MLss Iris Hoey
— Whitney.
MEMiCKRIEiS, one-act play, by William G. Watson. February 16.
Sir Humphrey Beverley . . Mr. T. N. Moore Guy, his son .......... Mr. W. G. Watson
Lord Fulton ............ Mr. Duncan Hart
Buxton ...................... Mr. H. Smith
Mary .............. Miss Ethel Coventry
Mrs. Quintan .......... Mies Isabel Pa-ewer
Betty .................. Miss Leah Mellor
— Freemasons' Hall, Woolwich. MEN MUST WORK AND WOMEN MUST WEEP, episode, in one scene, by James Hannon. January 8. Dr. Gaster .............. Mr. John Lawson
Louie Gaster .............. Miss Viola Page
-Mr. Pemberton ........ Mr. E. H. Herbert
Alma Pemberton ...... Miss Lucille Sidney
Post Boy ...................... Mr. Seddon
The Clerk .......... Mr. Aynsworth Allan
— Camberwell Empire.
MEPHISTO, Kinemacolor musical drama, by Alfred de Manby. August 31.
-Scala.
MERCHANT OF VENICE, THE. Sir Herbert Tree's revival of Shakespeare's play. May 20.
—His Majesty's.
MERE CHINA, comedietta, by Marie CJothalde Balfo-ur. April 30.
He Miss Claude Nicholson
She Miss Margot Balfour
—Court.
MERRY ENGLAND REVIVED, pageant pro- duced July 6.
— Hinchingibrcoke Park, Huntingdon.
MESSAGE, THE. Amateur production of a play, by Godwin Bulger. February 24. I3>ir Thomas Braxtooi .. Mr. A. J. Dearden
Lady Braxton Miss Jean Morton
Philip Biraxton A Mr. Harold Leighton
Dora Braxton Miss Margaret Cowan
Dr. Pryce Mr. F. J. Wilkinson
Hon. Mrs. Pryce Miss Hudson
Hon. Charles Medlock . . . .Mr. S. D. Morgan
Count Alexius Orlovitch Mr. J. A. Dodd
Petroff Petrovski Mr. Harry Astley
Vera Mrs. Fred \\ilkinsou
Gregson Mr. Egerton Payne
—David Lewis Hostel Theatre, Liverpool.
METEMPSYCHOSIS, play, in one act, by Thomas MacDonagn. (Produced /by the Theatre of Ireland.) April 18. Earl Winton-Winton de Winton
Mr. Crawford Neill
The Stranger Mr. Robert Eaton
Lady Winton- Wdnton de Winton
Miss Moira Walker
Gladys Miss Gipsy Walker
— Hardwicke Street Hall, Dublin.
MID PLEASURES AND PALACES, drama, by C. Watson Mill. September 25-
PROLOGUE.
Roulbert le (Grand . . Mr. Strathmore Earle Leon de Bertaux ..Mr. D. Laurance Doyle Captain Derrick ..Mr. Horace A. Whitmee
El Hassan Mr. W. Balliser Acock
Jean Mr. Francis Searle
Leserque Mr. Fred Sutcliffe
Rayhab Miss Myra Eyton
Jacques Mr. George Buckley
Lasca Mr. Harry Presoner
PLAY.
Ronalt Mr. C. Watson Mill
Roubert le Grand ..Mr. Strathmore Earle Captain Derrick ..Mr. Horace A. Whitmee
Dubosque Mr. Francis Searle
Lieut. Henri de Sirrac ..Mr. Richard Oliver
Noirti Mr. D. Laurance Doyle
Pierre Mr. Fred Sutcliffe
MeJot Mr. George Buckley
El Hassan Mr. W. Palliser Acock
Phillipe le Grand Miss Mira Eyton
Marie Miss Emily Lovelace
Coira Noirt Miss Edith Gregory
Iroma Miss Joan Ellis
—Grand, Mansfield.
MILES DIXON, London production of the play, in two 'acts, by Gilbert Cannan. (Originally produced October, 1910, Gaiety, Manchester.) May 8.
Miles Dixon Mr. Milton Rosmer
Ellen Baisibrown Miss Irene Rooke
John Bai&brown Mr. Herbert Lomas
J'anie B.adsbrowD Miss Mary Goulden
Jan Baisibrown Mr. Frank Darch
—Coronet.
MILESTONE'S, play, an three acts, by Arnold Bennett and Edward Knoblauch. March 5. ACT ONE.— I860.
John Rhead Mr. Dennis Eadie
Gertrude Rhead Miss Haldde Wright
Mrs. Rhead Miss M>arj Relph
/Samuel Sibley Mr. Hubert Harben
Rose Sibley Miss Mary Jerrold
Ned Pym Mr. Stanley Logan
Thompson Mr. Cassela Cobb
' 9
168
THE STAGE VEAR BOOK.
Milestones (continued}.
ACT TWO.— 1885.
John Rhead iMr. Dennis Eadie
Gertrude Rhead Mies iHaid6e Wright
Rose (Rheiad , Miss Mary Jerrold
E'mily Rhead Miss Evelyn Weeden
iS-am Sibley Mir. Hubert Harben ;
.Niancy Sibley Miss Esm^e Hubbard
Lord Monkhurst Mr. Stanley Logan
Arthur Preece IMr. Lionel A twill
Thompson Mr. Cassels Cotob
ACT THEEE.— 1912.
Sir 'John fRlhead Mr. I>enmis Eadie
\ Gertrude Rhead Miss iHaid^e Wright
\ Lady 'Rheiad Miss iMiary Jerrold
\Lady Monkhurst .... Miss Evelyn Weeden
\Lord MonkhuTBt Mr. Owen No-res
The iHon. MuKiel Pym..Mis6 Gladys Cooper
Nancy Si'bley Mliss Esm6e Hubbard
Richard iSibley .. Mr. E. Reginald Malcolm
Arfthur Preece Mr. Lionel Atwill
Webster Mr. W. Lemon Warde
—Royalty.
MILITARY GIXL, THE, iamateur production of a musical farce, in two acts, book and lyrics by Charles and Muriel Bcott-Gatty, musdc toy Charles Scoitt-Gatty. April 16. Sultan of Helouan .. Mr. Walter Leveaux j Col. Abdul Bulbul Pasha. .Mr. A. E. Cotton i Lieutenant Waned Yussuf Pasha
Mr. E. P. Nicholls !
Viscount Bradsiter .. Mr. Trevor Addinsejl Col. Hindering .. iSir 'Simeon Stuart, Bart, j Private Smart .. M<r. Charles Scott- Gatty j
Mr. Phluster Mr. Jack Evans
Buttons Mr. Alfred E. Abrahams j
Brea-kem Mr. C. E. Schuler j
Timothy Mr. Jeffrey Blake
Postman Mr. Clifford Erskine-Bolst [
AsshuiT Mr. H. Lowe Urling
Habou Mr. Geoffrey Edwards
Princess Nalda Miss Edna Stevenson
M'iss Cashdofwp .. M,iss Nannie Fitzgerald
Elsie Mrs. Charles Scott-Gatty
Violet Vandia Miss Kay Blake
— Savoy.
"MIND THE GATES" GIRL, THE, " Futur- ist Tubist Harlequinade, in eighteen acts," with a prologue by Harry Graham, arranged by Dion Clayton Caltihrop, and "concocted" by G. E. Jennings, assisted by Nigel Playifadr. May 21 {matinee).
— Bifi Majesty's.
"MIND THE PAHNT" GIRL, THE, comedy, in four iacts, toy Arthur Wing Pinero. February 17. Last performance (the 126th) Jaime 7.
Viscount Farncombe Mir. Vernon Steel
Col. Arthur Stidulph .. Mr. Charles Doran Baron von Retaenmayer
Mr. Louis Goodrich Captain Nlicholas Jeyes
Mr. Allan Aynesworth
Lionel Roper Mr. Dion Boucicault
Sam de Castro Mr. Nigel Playfair
Herbert Fulkerson .... Mr. Frank Denton
Stewart Heneage Mr. W. Cado>gan
Gerald Grimwood Mr. E. Douglas
Garlton S<mythe .. Mr. Charles E. Vernon
Douglas Glynne Mr. A. Fitzgeinald
Albert Park Mr. C. A. W. Brown
Wilfred Tavish Mr. Cecil Newton
Sigismund Shirley Mr. Norman Yates
Vincent Bland .... Mr. Bernard Mereneld
Norris Cooling Mr. John Tresahar
L^gi Mr. J. Woodall-Birde
WalfceiB ( Mr- E- Thirlby, Mr. A. Thorn, Walbere<- land Mr. J. Megus Hon. Mrs. Arthur
Stldulph Miss Ruth Mackay
Lily Parradeftl Miss Marie Lohr
Jinyuie Birch Miss Gwen. Brogden
The "Mind the Paint " Oirl (continued).
Gabrielie Kato Miss Nina Sevening
Enid Moncrieff Miss Hilda Moore
Daphne Dure Miss Doris Macintyre
Nita Trevenna Sjiss Marjorie Dore
Flo Connif y Miss Georgina Milne
Sybil Dermott Miss Alma Dudley
Olga Cook Miss Gwen. Jesson
Evangeline Ventris ..Miss Margaret King
Mrs. Upjohn Miss Clare Greet
Gladys Miss Zoc Gordon
Maud Miss Gladys Brenda
—Duke of York's.
MINERVA'S HUSBAND, corned^ in three acts, by J. B. Sterndale Bennett. (Pro- duced by the Playfellows).
Conrad Hamilton Mr. Ewarb Scott
Marjorie Fergusson Miss Vera Cunningham Johanna Hamilton ....Miss Betty WTard
Mrs. Fergusson Miss Jane Wells
James Hamilton Mr. Harold Scott
Honeysett • Mr. E. Douglfaa
Ursula Hamilton Miss Athene Seyler
Robert Carter Mr. Ion Swinley
Mrs. Carter Miss Winifred Evans
—Rehearsal.
MINIMUM WAGE, THE, sketch. March 18.
Harry Trevelyan Mr. E. C. Lilly
Joseph Strickland Mr. Norman A. Overton Jack Hewitt ........Mr. Jack Whitehouse
Bill Yeats Mr. Robert West
Tom Hardy Mr. Franklin Miles
Margaret Trevelyan ..Miss Tresa de Bern —Grand, Manchester.
MIRACLE, THE, English version, by the Rev. John Maclaren and Alfred Denville. Sep- tember 9. (S.P., April 26, Metropole, Gateshead.)
Cflpt. Feldharm Mr. Clifford Rean
Arnold Karleim Mr. J. H. Clyndes
Johann Karleim Mr. Robson Riche
Bombastes Mr. Alfred Denville
Archbishop Mr. R. Ossulston-Riche
Jacques Mr. John Denville
Henri Mr. George Keene
Von Griebleau Mr. T. R. Bannister
King Victoris Mr. Dobson Paige
The Spielman Mr. C. H. Garten
Strapado, the Robber Mr. Philip Tremayne
Juan Mr. G. Philips-Broughton
Grasso Mr. Gorge Gordon
Officer Mr. Oliver Betts
Lucette Miss Hilda Playfair
Madame Karleim ..Miss Constance Eburne
The Sacristan Miss G. Gordon
Marie, the Girl Miss Elsie Saville
Sister St. Lewis ..Miss Margaret Bradley
The Abbess Miss Gertrude Carten
The Madonna Miss Betty Stannara
— Hippodrome, Stoke-on-Trent.
MISERY THAT TEMPTS, THE, tragedy, in one act, by Julian King. (Produced by the Rehearsal Theatre Introducing Company.; May 11.
Huggins Mr. Henry J. Robinson
Lodger Mr. Fred W. Avison
Mrs. Huggins Miss Emily Avison
—Rehearsal.
MR. WILKINSON'S WIDOW, one-act play, by Constance Clyde. November 29.
Mrs. Wilkinson Miss Blanche Stanley
Mrs. Ross Miss Mary Deverell
Mr. Ross Mr. Arthur Curtis
Mirams Mr. Fredk. Morlana
Railston Mr. Charles Trevor Roper
Jack Wilkinson Mr. Caton Woodville
—Lyceum.
TttE STAGE YEAR BOOK.
16$
.MISSING MAID, THE, London production of the revised version of THE FLOWED GIRL, which was originally produced May 14, 1908, Itoyal, Lincoln; November 30, 1908, Grand, Croydon. Revised by George Unwin, with additional numbers by Jacques Henri and lyrics by George de Lara, and originally produced December 26, 1910,
—Court.
MISS JULIA, one-act play, by August Strind- berg, translated by Lucy Carr Shaw ana Maurice Elvey. (Produced by the Adelphi Play Society.) April 28. Christine ............ Miss Jean Bloomfiela
John ................ Mr. Frederick Groves
Julia .............. Miss Octavia Kenmore
—Little.
MRS. DANE'S DEFENCE. Revival of Henry Arthur Jones's comedy, in four .acts. (Originally produced October 2, 1900, Wynd- ham's.) May 16. Last performance (the 59th), July 13. Si? Daniel (Mr. Justice) Carteret
Sir Charles Wyndfaam Lionel Carteret ........ Mr. Charles Ken yon
Canon Bonsey .............. Mr. Eric Lewis
Mr. Bulsom-Porter ...... Mr. Sam Sothern
Mr. James Risby ........ Mr. Gerald Ames
FendicK .<• ............ Mr. Reginald Walter
Adams ............ Mr. Thomas Pauncefort
Wilson .................... Mr. Arthur Hare
Mrs. Dane .............. Miss Lena Ashwell
Mrs. Bulsom-Porter . . Miss Marie Illington Janet Colquhoun ...... Miss Athene Seyler
Lady Eastney ............ Miss Mary Moore
—New.
MRS. WARREN'S PROFESSION. G. Bernard Shaw's play was revived by the Pioneer Players for a special performance. June 16.
—King's Hall, W.C.
MOCKERY OF MARRIAGE, THE, Edward Thane's dramatic play, condensed to one act. August 12. Dick Kenyon .......... Mr. Edward Thane
Larry Boyne ...... Mr. Bertram Burleigh
Sefch Pearce .............. Mr. Jack Miller
Old Pete ................ Mr. H. C. Morton
Ned Stanley ............ Mr. Frank Dalton
Jed Parker .............. Mr. Henry Lewis
Buck Johnson ............. Mr. T. M. Martin
Bud Hooper .......... Mr. Sydney Penfold
Alva Kenyon .......... Miss Adah Rothwell
— Camberwell Empire.
MODEL CO-REiSPO'NDENT, comic sketch, pro- - duced by Fred Edwards. January 22.— Holborn Empire.
MODERN CRUSADER, A, "a dramatic •pamphlet," in three acts, by Florence Edgar Hobson. April 30. The Rev. Thomas Harrington
Mr. Clifford Heatherly /Mrs. Barrington ...... Miss Doris Digiby
Dr. Thomas Lawson.. Mr. Barnett Parker Lady Lawson ........ Miss Inez Bensusan
(Robert Blake ...... Mr. T. N. Wagueihi
Mrs. Blake .......... Miss Mildred Surrey
Josephine Blake ........ Miss Lilian Hay
The Hon. Maurice Oldfield
Mr. J. Woodhall Birde Freddy .............. Mr. Douglas Murray-
Mr. Jones .................. Mr. J. Collins
Green ................ Mr. Telford Hughes
Mary .............. Miss Mignon Clifford
1st Countryman ____ Mr. Harold Meltzer
2nd Countryman ...... Mr. Charles Staite
A Countrywoman ...... Miss Sydney Keith
A Little Girl ........ Miss Mignon Clifford
A Postman .......... Mr. Charles Roberts
— King's Hall, W.C.
MODERN JUD'AiS, A, sketch, in two scenes Iby Robert Beelby. March 15.
Jack Cnaine Mr. E. C. Lilly
Geoffrey Dean Mr. T. Graham Smith
President Secret Society. Mr. J. Whitehou&e
.Muriel Crane Miss Thea Horwich
Maid Mi&s De Barri
— Tivoli, Manchester.
MiO'LLY ANJ> I A'NSD THE) BA'BY, comic drama, by John Harwood. June 17.
Enoch Harden- Mr. Ed. Avinall
Molly Miss Violet Lytton
John. Mr. J. D. Fox
—(Royal, Blackburn.
MONK AMD THE WOMAN, THE, romantic •play, in four acts, by Frederick Melville. Fefbruary 28. Trainst'erred to the Prince's June 10. Last peirfonmamoe (the 144tb) June 29.
Paul Mr. Basil Gill
Peter Mr. J. T. Miacmillan
Jialbez Mr. Leyton Oancellor
John Mr. Lauderdale Maitland
Father Ignatius Mr. Wiilli<am Lugg
Henri De Montrale .... Mr. Austen Milroy
Oaptain La Tour Mr. Edwin Griffen
Barriere Mr. Fred Elsworthy
La Touche Mr. Victor Edwards
Groville Mr. Henry T. Rose
iManiton Mr. Charles Walters
Captain Armande .. Mr. WILmot Jackson
The Kinig Mr. Basset Roe
Wiseman Mr. Edmund Waller
Marshall Mr. Raymond Wood
Captain of th'e Gua,rd Mr. H. Field
Clhamlbertini Mr. Richard Scott
Madame De Vigne . . Miss Frances Dillon Comtesse De Salle.Miss Violet Farelbrother
Unknown, Girl Miss Alice Belmore
Vernet Miss Gillian Soaife
Liane Miss Marie Polini--
— Lyceum.
MONTE GAIRLO GIRL, THE, musical come- dietta, written and composed by Gerald Lane. October 7.
Hon. Algy St. Ives Mr. Jack Hofobs
Doike of Ditchingham
Mr. C. Bruce Winston
Lady Margery Miss Phyllis Monkman
To'to Toupinet Miss Ethel Newman
—Victoria Palace.
MONTE CRISTO, new stage version of Dumas' novel, in eight scenes, by Rollo Balmain. December 9.
Edmond Dantes
Prisoner No. 17
Abbe Busoni > Mr. Rollo Balmain
Joannes \
Count of Monte Cristo
Danglars Mr. Frank Carlyle
Abbe Faria Mr. Geo. Grace
Caderousse Mr. Fred Sothern
Penelon Mr. Ed. Frere
Fernand Mr. Wm. Gourlay
Chef de Gendarmes Mr. Geo. Grant
De Villeforte Mr. Richard Carroll
Antoine Mr. A. E. Willing
Baptiste Mr. G. Luke
M. Morrel Mr. F. Fuller
Albert de Morcerf .... Mr. A. W. Gilbert
La Carconti Miss Nellie Lionel
Mercedes Miss Gwendoline Verschoyle
—Royal, Woolwich.
MOON OF CAIRTHAGE, THE, comic opera, •written by Hugh Higginbottom, composed (by F. D. Barnes and R. Armand. (Pro- duced by amateurs.) January 23.
Himilco Mr. C. J. Ranger
Khana, "The Moon of Carthage"
Miss E. V. Barnes
Vaehimo Miss D. Stevenson
Madron Mrs. F. T. F. Watts
Tanu Mr. A. L, Rush
Philomoeme Miss Duke
Brittiuis Mr. Neville R. Stone
THE STAGE YEAR BOOK.
The Moon of Carthage (continual).
Garak Mr. R. L. Seivenoaks
Biaibilas M<r. F. T. F. Watts
Kiareth Miss Phyllis Symes
Berice Miss F. E. Comnan
Zania Miss Oliver
Soarius Mr. G. H. Morris
Prudion Mr. E. V. Oliver
Gisica Miss R. Baudains
A Slave Miss dates Warren
Clean'tihus Mr. Alton Stuart
— Opera House, Tun'bridge Weills.
MOiRlMON AND HIS WIVES, THE, four-act drama, by H. F. Housden. June 3. The Rev. Dudley Wade.. Mr. Oswald Cray
Josiah Beamish Mr. W. J. Butler
(Silas Mellish Mr. William H. Burton
Michael Mtaloney .. Mr. Mackintosh Clyde
Jerry Ackroyd Mr. Hugh Wallace
Jasper WeirdiaLe Mr. Harold Stephens
Zachariah Papp Mr. Leslie Howard
Qowikans Mr. Leonard H. Rooke
P.C. Skinner Mr. E* M. Browne
Osiprey Mr. Ernest A. Duval
White Hawk Mr. Charles Fields
Mns. Weirdale Miss Helen Lowther
iRosie May Miss Dorothie Dene
Juliah Baaimish
Miiss Aime'e Gratian Clymdes
Salver Bell Miss Mamie (Reindeer
Nellie Weirdale .... Miss Rosalie Notrelle — Junction, Manchester.
MORIMON AN.D THE MAID, THE, play, by Ivan Patrick Gore. October 24.
Phineas Carno Mr. Arthur L. Reade
Stephen Walmer Mr. Geo. Serle
Jacob Wray Mr. Will White
Hercules U. P. Gnat. .Mr. Victor du Cane
Peter Bri.ggs Mr. A. Lenfrene
Tug Quinn Mr. Geo. Ross
Marion Walmer Miss Greta Drury
Molly Bri.ggs Miss Florence Macinnes
Pauline Brail Miss Gipsy Alexander
Dove Carton Miss Winifred Maude
— Grand, Lancaster.
MORMON DANGER, THE, drama, in four acts, by Fred Moule. June 24.
Nick Carter Mr. Frank Stone
Hoffemiheiiner von, Moses Macgregor
Mr. Frank Stone Patsey O 'Isaacs \
Moulin Rouge L Mr. Fred Lane
Ching Limg Soo j
Allan Nestor Mr. Gerald Kennedy
Anthony Pemfold .... Mr. Clifford Marie
JoisLafa *\ackham Mr. Hugh Carmichael
Manaissen Pilgrim Mr. H. Maxwell
Bartholomew Jupikins Mr. Fred Moule
Verona Paulton Miss Sylbil Hare
He&iba Penfold Miss Effle Bart Lett
(Sister Ruth Miss R. Manning
Judith 'Raekham Miitss May Emery
— (Foresters.
MORNING'S WORK, THE, sketch, by Sybil Michell. February 14.
An Amateur Authoress Mrs. Michell
Martha Miss Hazeldine
—Royal, Worthing.
MOTHER'S VENGEANCE, A, drama, in three acts, by W. V. Garrod. December 16. »ir John Trevelyan . . Mr. Gerton Ashard Oscar Havilson .... Mr. Edmund Kennedy
James Cartmell Mr. William Clayton
Harry Owsnitt Mr. Paige Lawrence
P.C. Skinner . . Mr. Fred L. Connynghame
Antony Fynne ..'Mr. Ralph Ingilby
David Hearne Mr. Tom McCaffrey
John Moad Mr. Frank Darley
Effle Havilson Miss Bertha Spofforth
Mrs. Fynne Miss Annie Rogers
Dolly Draper Miss Nan Appleton
Phyllis Trevelyan.. Miss Marguerite Cellier Royal, Leigh.
MOTIVE, THE, drama, in three acts, by Phoebe Ansle. June 6. John Harding ...... Mr. Clarence Derwent
Philip Stuart .......... Mr. Arnold PiLbeam
Basil Stuart ............ Mr. H. R. Barton
Sir Peyton Carstairs ..Mr. Robertson Bare Mrs. Russell .............. Mies Alice Howe
Daphne Russell ........ Miss Beryl Jackson
Mildred Howard.... Miss Mignon O'Doherty
Eileen Carstairs .......... Miss Amy Lilian
Agnes (a maid) ...... Miss Florence Wright
—Rehearsal.
MOTOIR BANDITS, THE, dramatic episode, in four scenes, by Harry Boden. September 2. Dick Marsden ........ Mr. Roland Metford
' Edna ...................... Miss Ruby Rosini
Col. Hetherington . ....... Mr. Tom Deane
Lady Lucas .............. Miss Elsie French
Reuben Larch ............ Mr. Fred Normaii
Sam ........................ Mr. Phil Philips
—Palace, Glasgow.
MUCH ADO ABOUT NOTHING. Revived by Miss Bateman (Mrs. Crowe) for a special mathiee- February 19.
—Court.
MUDDLE ANNIE. London production (by the Play Actors) of a one-act play, by Harold Chaipin. May 19. Albert Broad ............ Mr. Cyril Griffiths
George Rose .............. Mr. S. Musgrove
Mrs. Wright .................. Miss Galton
Annie ................ Miss Lorna Lawrence ,
Mabel .................. Miss Gladys Mason'
Efl .................... Miss Gwladys Morria
Jenny ................ Miss Calypso Valetta
—Court.
MULTONOMAH; OR, THE WHITE SPIRIT, preliminary "performance of a legendary Indian play, in four acts, adapted by Walter Adriopole and John H. Bell, Jim., Oregon, U.S.A., and arranged by T. C. McQuire. October 10.
—Queen's, Netherfield, Nottingham.
MUSICAL DUKE, THE, one-act musical play, by Maurice Froyez and J. C. de Chassaigne, with lyrics by A. Grey-Venne. June 10.
—Palladium.
MUVVER, LIZA, AND THE MOKE, East End episode, in one scene, by Sir Joseph Lyons. July 29. Josh Bilings ................ Mr. Fred Lake
Spider ................ Mr. Arthur Gibbons
Mr Nash .............. ..Mr. Wm. Brandon
Mrs. Billings ........ Miss Florence Nelson
Liza ...................... Miss Rose Martan
The Moke ......................... Himself
— Holborn Empire.
MYRTLE MAIDEN, THE; OR, THE GIRL
OF GRANADA, comic opera, by W. H.
O'Reilly and Edward Jakobowski. July 13.
— Ladbroke HalL
MYiSTERY OF EPIPHANY, THE, play, by B. C. Boulter. February 9.
—St. Silas Hall, Kentish Town.
N - G - ! ! " surprise " sketch, by Leo Stor- mont. February 19.
Sylvia Sweete ............ Miss Olivia Lorell
Juliette .......... Miss Violet Blyth Pratt
The Stage Manager ....Mr. Claud Bigwood
The Author .......... Mr. Henry S. Daere
—Oxford.-
NAMELESS. First London production of the romantic drama, in four acts, by Millar Anderson. (Originally produced Novem- ber, 1909, Abertillery.) February 5. Dick Fenton .............. Mr. Sam Ford
Isaac Goldstein * ....... Mr. John Sanger"
Jacques Renee ...... Mr. Millar Anderson
TJJE STAKE YEAR BOOK.
171
Nameless (continued).
Bill the Bruiser Mr. J. Melan
Hon. Reggie McNut .... Mr. Percy Verc
Inspector Wilson Mr. Cecil Bain
Meg Miss Mary Ethel Thorburn
Jeanne Oalthorpe Miss R. Tharey
Margot Lestrange..Miss Mabel Mannering
Lizette Miss Rosa Thornbury
Molly Miss May Shields
—Royal, Stratford.
NANCE ARDEN. a dramatic fragment, by Cecil Raleigh. (Played at the Eusto<n Theatre of Varieties, on Monday, July 29.)
\ance Arden Miss Lucy Sibley
Hose Army tape Miss Kitty Lofting
Wilfrid Armytage.. Mr P. Gedge Twyman
Dot Little Miriam Stuart
John Brent Mr. Adnam Sprange
Another Warder Mr. John Lane
NATION IN ARMS, A, play, in four acts, by B. S. Townroe. (September 20, 1909, Court, Warrington.) July 25.
Jack Graham Mr. C. Leveson Lane
Betty Burley Miss Jean Bloomfield
Marjory Hall Miss Beatrice Ainley
Kit Fisher Mr. Alan Stevenson
Jacob Burley Mr. Cecil Burt
Jim Bruce Mr. Perceval Clarke
Major Viner Mr. F. M. Conroy
Sergeant Pinto Mr. William Abingdon
Sergeant Babbs Mr. Cecil Armstrong
Baxter Mr. Sydney Linnit
Orderly Mr. C. Drew
Jessie Fisher Miss Flora Campbell-Patterson
— Savoy.
NE'ER-DO-WEEL, THE, musical play by Paul
Pym. (Produced by amateurs.) April 15.
—Town Hall, Maidenhead.
NELLIE LAMBERT. The Pioneer Players presented a play, in three acts, by J. Sack- ville Martin. May 5.
Mr. Potter Mr. Edgar B. Payne
Mr. Gibson Mr. Douglas Murray
Tom Potter Mr. Cilayton Greene
Servant Miss Lilla Nodon
Rev. Ernest Farrell Mr. Fred Hill
Nellie Lambert Miss Mona Harrison
Mrs. Lambert Miss Lydia Rachel
A Female Miss Elaine Sleddall
A Detective, Mr. Patric Curwen
A Policeman Mr. Charles Staite
—King's Hall, W.C.
NEW GUN. THE, patriotic episode, by Rose- mary Rees. December 23.— Camberwell Empire.
XEW REGIME. THE. First music-hall pre- sentation of the one-act play, by Charles H. Brookfleld. (Originally produced June 25, 1903, Prince of Wales's.)— Tivoli.
NEW DETECTIVE, THE, a comedy spasm, by Arthur White. (Produced for the first time on any stage at the Tivoli, Man- chester, on Monday, November 4.) Snm Snappen Mr. Arthur White
(Mr. Egbert Carter Mr. Ernie Bee Miss Eva Conway Miss Frances Lyric
NEW SIN. THE, play, in three acts, by B. Mncdonald Hastings. February 20. Went into the evenin/g ball at the Criterion, May f>. Last performance (the 39th) June 8.
Hilary Outts Mr. Arthur Wontner
Maximilian Cutts Mr. O. P. Heggle
Jim Benziger Mr. Malcolm Cherry
Will Grain, M.P Mr. Guy Rathbone
David Llewellyn Davids. .Mr. A. G. Poulton
Stuart Campbell Mr. H. Lane Bayliff
Peel Mr. Arthur Bowyer
—Royalty.
\r.\T RELIGION, THE, play, in three acts, by Israel /angwill. (Produced by the New I May ITS.) April 18.
Rev. Stephen Trainc. . Mr. J. Fi.-lu r White Sir Thomas McFadden Mr. Herbert Bunston
Hal McFadden Mr. Frederick Lloyd
Bishop of the Soudan .. Mr. Bassett Rae
Squire Rowley Mr. William Fatten
Silas Burr Mr. Horace II-
Jvli Oakshott Mr. Frederick Groves
Andrews Mr. James Gelderd
Wilfred Trame (acts one and two) , Miss Dorothy Turner
Wilfred Trame (act three) Mr. Basil Hallam
Old Gaffer Mr. Lancelot Lowder
Claribel Mailing .. Mrs. Theodore Wright
Joanna Burr Miss Blanche Stanley
Sophia Miss Muriel Carmel
Mary Trame Miss Adeline Bourne
—London Pavilion.
NICELY, THANKS! a Pierrot entertainment. December 26. — Strand.
M.QHT UNI SOCIETY, A ; OR, BOBBIE BAX- TER'S TRIP TO LONDON. Provisional performance of a sketch, by Arthur Jeffer- son. August 8. Sir Reginald Anstruther
Mr. T. R. Lockwood The Hon. Bertie Tyloff . . Mr. C. O'Connor
James Mr. R. Brown
Miss Diana De Luxe.. Miss E. Desborough Miss Cynthia Darling .... Miss C. Fairley
Phyllis Miss Georgle de Lara
Harry Brown Mr. Clifford Reau
Bobbie Baxter Mr. Arthur Jefferson
Mrs. Baxter Miss Nellie Statham
— Metropole, Glasgow.
NINA'S DREAM, fairy story, by J. Haines, jun. April 1.— Gaiety, Manchester.
98.9, three-act comedy, by C. B. Fernald. February 27. Last performance (the 43rd) April 3.
Mrs. Anne Delphy .. Miss Marie Illington 'Mr. Napoleon Delp.hy M,r. A. Vane-Tempest
Spink Miss Elizabeth Rosslyn
Miss Grace Challisroare . . Miss Mabel Love Mr. Stanley Miles . . Mr. Robert Loraine Sir James Cavanagh Mr. Chas. Cartwright
Noccioli 'Signor A. Cucchia.ra
—Criterion.
NOBLE SACRIFICE. A, melodrama, by H. (Brin-sley Hill and J. H. Darnley. April 8.
John- Ware Mr. J. H. Damley
Earl Standish Mr Douglas H. Watson
Philip Den<smore . . Mr. Frank Eaglesfie-ld Michael Scholtz .. Mr. T. Handley Parker
Pierre Mr. George Scully
P.C. Baxter Mr. A. W. Harvey
Fleming Mr. W. (Denver
Timothy Podmore . . Mr. W. S. Stevenson
Mary Ware MLss Kate Sullivan
Dorothy Miss Grace Stafford
Anna Sctioltz ..Miss Marguerine Treve.«por
Alphonsine Miss Pauline Walker
Mirs. E. Bronson .. Miss Evelyn Robson —Royal, Darlington.
NOVICE. THE, piay. in one act, adapted from the French by Raymond Need.ham. March 10.
Duke de Montaillon Mr. W. Anning
MArrwise de flrontaWoni Mlite. Juliette Mvlo
Mimi Duchene Miss Esme" Lee
—Clavier Hall. W.
NUIT DE NOEL SOUS LA TERREUR. ONE, •one-net play, by Henri Cain and Maurice Bernhardt. October 21.
La Vivandiere Mme. Sarnh Bernhardt
Le Comte M. Lou Tellegen
La Ba.lafre M. DeiiPiibourg
Malek M. Terestri
Le Commandant M. Favieres
La Comtesse Mme. Savior
Yolett-e Mme. Boulanger
— London Coliseum.
172
THE STAGE YEAR BOOK.
Nb. 1 GERRARD; OR, SELFRID€E OUT- BONE, sketch by Fred Mainland. (April 15, Empire, {Birmingham.) June 17.
— Surrey.
OAK SETTLE, THE, comedy, in one act, by Harold Brighouse. January 16.
— Repertory, Liverpool.
OBJECT LESSON, AN, .play, an one act, by Frederic Sargent. (Subsequently played as a music-hall sketch, June 17, Pavilion, Glasgow ; July 15, Victoria Palace.) March 19. Mark Graff ham .. Mr. Jerrold Robertshaw
M.ary Graftham Miss Vera Coburn
Noel Frobisher Mir. Owen Nares
— Hay market.
OCEAN MAID, AN, operetta, in one scene, written and composed by George Sheldon. September 2. Capt. Alan Vane, R.N. Mr. Sam Lockridge
Cabel True Mr. H. A. Mather
Miss Carr Meiite Miss Flo Barnes
Betty .' Muss Mabel Ross
— Surrey.
ODD MAN OUT, THE, comedy, in three acts, by Harold Brighouse. April 16.
Daniel Weir Mr. Dennis Eadie
Jonas Enderby Mr. Hubert Harben
Lauren.ee Enderby Mr. Stanley Logan
Dick Carrington M»r. Malcolm Cherry
Butler Mr. Arthur Bowyer
Constance Enderby Miss Helen Haye
Barbara Weir Miss Gladys Cooper.
Dolores Miss Marcel!
—Royalty.
ODD WOMAN, THE, one-act play, by Charles Eddy. (April 29, Pavilion, Glasgow.) May 6. Sir John Duggan Mr. H. Lawrence Leyton
Lizzie Dawson Miss Vera Beringer
Madge Miss Lilian Bralthwnite
— Shepherd's Bush Empire.
(EDIPUiS iREX, Mr. M.artin Harvey presented Max iReitth audit's production, of Sopihoeles's tragedy., " (Edipus Tyiraziinus." translated by <3iilJbe.nt> Murray, adapted by W. L. Ctoiurtney. January 15.
(Edipus Mr. Martin Harvey
Jocasta Miss Li Hah McCarth y
Creon Mr. Louis Calvert
Tiresias Mr. H. A. Saintsbury
An old Servant of Laius
Mr. Philip Hew land A Messenger from Corinth
Mr. Herbert Dansey ^A Messenger from the Palace
Mr. Franklin DyaJl
A Priest Mr. Earnest Stidwell
Leader of the Chorus Mr. Hubert Carter
1st Elder Mr. Edward Combermere
2nd Elder Mr. Joseph Rorke
1st Attendant on Jocasta
Miss Brenda Gibson 2nd Attendant on Jocasta
Miss Florence Hunt — Covent Garden.
OFFIOEIR 066, melodramatic farce, in three acts, by Augustin, M.acHugh. October 30.
-Bateato Mr. Albert Roccardi
Officer Phelain 666 Mr. Dan'l Moyles
Wihitney Barnes Mr. Sam Both em
Traveirs Gladwin . . Mr. Wallace Eddinger
Helen Burton Miss Vim Birkett
Knxlie Small Miss Enid Leslie
M:ns. Burton Mi«9 Hel«O Ferrers
Alfred Wilson Mr. Jojm Miltarn,
Watkms Mr. Arthur Cn'lin
Police Captain 'Stone . . Mr. Harry Parker Detective Kearney Mr. George SteipheniW!
(Ryan Mr. Fred Forrest
(Mr. W. F. Mattby
Policemen ....,,,,... \ Mr. Charles Bishop
I Mr. Eric Ellesmere
-.Globe,
OFF THE MAP, one-act play, by Barton White. September 30.
Mick Herrick J^Ir. Kiaye Brudell
Joaa Herrick Miss Beatrix Wynn
Aunt Clara Miss Margaret Marshall
—New, Windsor.
OH ! MOLLY, operetttia, In one .act, "written by Eirnest C. Rolls and Siss-ie Levey, with music by Max Darewski. September 2.
Molly Mite Miss Marjorie Maxwell
Mrs. Mate Miss Maud Shelton
Jessie Cood Miss Mary Allen
Phyllis Shood Miss Etea Flack- Alice Miay Miss Oilive Sloan*
Nellie Wood Miss May Poole
Rede Dotot Mies Margot Kelly
Helen Dida Miss Florence Byrne
Reggie Will Mr. Gerald Walliams
Jimmy Oaatt M.r. Nelson Keys
• — London Pavilion and Eon press,
OH, SMILEiT! Sttagerigiht production of a comedy, in three acts, by Dr. Charles Hermanra Leibbrand, music by Harold Bayley, and additional numbers by Theo. Wenor. May 24. —Princes.
OH! WHAT A iSTJRiPRISiE, one-act farcical comedy, by " Philipa " (produced by the Black Cart/Club). April 23.
Jack Armstrong Mr. Reginald Master
Dick Armstrong Mr. Harold Snell
Kate Seaton, .. Miss Ida Wynn Westcatt
Mabel Wyatt Miss Elsie Mildrpd
--Clavier Hall, W.
OiLD JA^, (Dutch sketch, Iby Gertrude Koibins. March 18.
Old Jan Mr. J. Heniry Twyf ord
Katrina Miss Emily Patters™
NeW.je Mies O'Neill
Little Jan. Miss Eva Tumour
— Gaiety, Manchester.
OLIVE BRANCH, THE. Preliminary perform- ance of a play adapted by Frederiick Fe.n,1! from " Les Petites," by Lucaen Nepoty. ( October 3. —Strand.
OLIVEiR TWIST. Revival of Comyns Canr'e? dramatisation of Dickens's work. June 11. Last performance (the 31st) July 6.
iFa.gin Sir Herbert Tree
Bill Sikes Mr. Lyn Harding
The Artful Dodger . . Mr. Frank Stanonoire
Cluarlie Baites Mr. E. Ion Swinley
Tom CWtldOkg Mr. Stanley Bel!
Ba-rnev Mr. Rose Shore
'Mr. Brownlow Mr. Heniry Morrell
Mr. Grimwig Mr. A. E. Georce
Monks Mr. PTiiliip MeTiv^i"
Harry Maylie Mr. Basil Gill
Dr. Sime Mr. Clifford Heatherley
Mr. Bumble Mr. Hubert Carter
Giles Mr. George Dayton
Brittles Mr. Sydney Gouldic
Ja.i lor Mr. Arthur ' S.m ithson
Warder Mr. George French
Servant Mr. Peter TTiociher
Oliver Twist Mr. Alfred Willnfore
Nancv Miss Constance Collier
Betsy Miss Grace- Croft
Mrs. Maylie Miss Alma Murray
(Rose Maylie Miss Laura Cowie
Mrs. Bedwin Mit^s Clare Greet'
MTR. Bumble Miss Stella St. Audirie
Mi so Ethelwyn Arthur-Jones
—His Majesty's.
TWIST, version, in four acts, of Cibarlet* Dicke:ns'e novel. November 2o.
Oliver Twist Miss Mary Glynne
Mr. BT'Ownilow Mr. C. F. Collingfi
Mr. Grimiwig Mr. Edward Thane
Mr. Sawerbemry Mr. Cyril G,riffit>«
Mr. Bumble Mr. Percy Baverstock
Monks Mr. Fre4
THE STAGE YEAR fiOOK.
173
Oliver Ticixt \cn>itinne ii Clay pole .
-;
!fts
ILirrv May lie ..
Bill Sikes
Toby Oackit ...
iii
Artful Dodt Quu
Turnkey
Susan '
Mayli-'
Xancv
r.*. Conner, aft
... Mr. La.wr«ace Phillip/:
Mr. George Dayton
Mr. H. Smith
Mr. C. W. Standing
Mr. Henry Lonsdak
... Mr. Heno-y'G. \
Mr. Albert
:rr Mr. Herbert Williams
Mr. Hal Char!\c:i
Mr. George A- Q
MiiS'S Evelyn Hep1
Miss Ethel Biracew-e'l
Miss Lilian Hallow,.
\\;inls Mrs. Bumble Miss Blanche S-
— Lyceum.
AFTERXOOX. on-e-act comedy, by Ewart Mackinnon. December 1C.
Mary Pallant Miss Iris Hawkins
Richard Armitage Mr. Hugh Robinson
Gage Mr. Harry k?ng
—Pier, Eastbourne.
OPEX QUESTION, THE, dramatic episode, by F. B. Wyngate. December 7. Sir Arthur Vachell. Mr. Xorman V. Norman
Dr. Angus Macalister Mr. H. McKee
Mrs. Rivers Miss Beatrice Wilson
— Oxford.
OXE LIFE. OXE LOVE, drama, in four acts, by H. F. Housden. (6.P. April 18, Grand, Halifax.) August 5.
Richard Midway Mr. Claude Grave ley
The Rev. Willie Winchester
Mr. Geo. Byrne
Hubert Manners Mr. Fred H. Constable
Victor Vaughan Mr. Gerald Lea
Chas. Martin Mr. Hamilton Warden
Mtirdock Mr. Pat Erson
Candles Mr. Edward Pearse
Mr. Partridge Mr. Arthur Martin
Mr. Eenracker Mr. Dan Bremen
Martin Sieger Mr. Fred Lawrence
Biles Mr. John Bush
Rev. Nobel Pryce Mr. Harry Neville
Walker Mr. Edwin Thomas
Hall Mr. Wilson Williams
Mrs. Medway Miss Ivy Chandos
Maisie Medway Miss Grace Heath
Stella Delaney Miss 'Amy McXeill
Elsie Dale : Miss Ethel Kay
— Queen's Farnworth.
OX THE BEACH, farce, in one act, by Sir Francis Burnand. January 8.
Herbert Swift Mr. Lawrence Brough
Dolly Swift Miss Olga Esme
Joseph Latimer — Mr. Alfred Hemming
Matilda Latimer Miss Helen Langton
Count von Hoffnitz Mr. Charles Groves
Conky Parker Mr. Jay Ellis
— ^Hippodrome, Leeds.
OPEN DOOR, THE, play in four acts, by Arthur Shirley and Ben Landeck. Octo- i't-rformainoe (the 61st) Xo- vember 23.
Raphael Mr. C. W. Standing
Colonel Stepanuitch Mr. C. F. Collings
Tarask Kravosky .... Mr. Herbert Williams Superintendent of Police
Mr. Harry Newman
Osip Mr. C. Morgan Rickards
Rabbi Simeon Mr. Edward Thane
Jankel Mr. Lawrence Phillips
Fifl Dupont Miss Evelyn Hope
Carmen Gelaune Miss Cissie Norris
Vi Darville Miss Lilian Dacroy
Hortense Rigodou Miss Gladys Vivian
Joseph Mr. Fred Elsworthy
Anna Feodorovna Miss Blanche Stanley
Judah AbramofT Mr. Fred Morgan
Th< <>IK>H Door (continued).
Baron Gavrilo Petroff .. Mr. Albert Ward
Kwas Mr. Henry Lonsdale
Gourki Mr. Fred Powell
Peter Mr. Percy Baverstock
Paul Mr. Cyril Griffiths
Feodor Shtabel Mr. Harry G. Wright
Major Zarvod Mr. H. Smith
Lieut. Pavolda Mr. Alfred Everitt
Capt. Kara Mr. Harold Gaze
Capt. Vladimir Mr. Hugh Selwyn
Ivan Vinikoff Mr. Will T. Riley
Zorah Miss Lilian Hallows
Miriam Miss Ethel Bracewell
Homo Mr. Halliwell Hobbes
— Lyceum.
OPFEKLAIM, -DAS <THE VOTIVE LAMB). The " Deutsches Volkstheater West Londons " produced a farcial comedy, in three acts, by Oskar Walther and Leo Stein. (Origin-
3V i
illy
ally produced August 21, 1897, Apollo Theater, Niirnberg.) March 3.
Bodo von Prochnow Herr Ernst Kuehl
Conatantia von Prochnow
Frau Olga Sylge Adelheid von Prochnow
Fraulein Hedda Kostner Hans von Prochnow
Herr Alfred Goltermann
Erich von Werden Herr Paul Nathell
Lehmann Herr Richard Mueller
Hildegard Lehmann
Fraulein Hedwig Rohmann Fraulein von Ingelfingen
Fraulein Olga Romberg
Von Schmettwitz Herr Walter Rath
Prof. Otto von Griebenow..Herr Max Sylge Lucie von Griebenow
Fraulein Kathe v. Ber,g
Wanda Bilinski Frau Alix Grein
Franz Herr Karl Rohn
OREGON EXPRESS, THE, dramatic sketch, by R. A. Brandon. June 7.
— Marlborough.
ORESTES, The Drama 'Society -produced, for the first time in England^ a tragedy, in two acts, by Richard Le GalHenne. May 6.
Agamemnon Mr. William Fazan,
Clytemnestra Miss Edyth Olive
Orestes Mr. Rathmell Wilson
Electra Miss Eve Balfour
Cassandra Miss Beatrice Irwin
Aegisthus Mr. Geoffrey Douglas
Pylades Mr. Ernest James
Callirhoe Miss Rita Sponti
Talthybios Mr. Henry Austin
Eurybates Mr. Ernest James
A Watchman Mr. Alexander Irth
—Boudoir, W.
OTHELLO. Sir Herbert Tree presented, in four acts, Shakespeare's tragedy. April 9. Last performance (the 43rd) May 25.
Duke of Venice Mr. Henry Morrell
Brabant io Mr. A. E. George
Gratiano Mr. A. R. Dight
>/odovico Mr. Ross Shore
Othello Herbert Tree
Cassio Mr. Philip Merivalte
lago Mr. -Laurence Irvine
Roderigo Mr. Ernest Thesiger
Montano Mr. Hubert Carter
A Senator Mr. E. Ion Swinley
A Herald Mr. Anthony Warde
Desdemona Miss Phyllis Neilson-Terry
Emilia Miss Alice Crawford
Bianco- Mis* Laura Cowie
— His Majesty's.
OTHER PEOPLE'S MOXEY, farcical sketch." July 15.
•— Holborn Empire.
174
THE STAGE YEAR BOOK.
OUR TWINS, " comedy biologue," by J. Hal- ford Ross. November 4.
Kitty Miss Raydon Dallas
Georgie Mr. Mark Henry
— Camberwell Empire.
OUT OF DE'E.P ISHA.DOW18, sketch in one act, by (Miss) S. R. Day. Oct. 7.
Dan Cronin Mr. Harding
His Wife • Miss Nellie Gifford
Maureen Miss Helen Maloney
Michael Macassey Mr. Charles Power
Shaun Leary Mr. Shaun Connolly
— Kelly's, Liverpool.
OUT €(F THE FOG, iptoylet by Edmund Gould in-g and Gilbert Brown. Oct 21.
— Camberwell Palace.
OUT WEST, play, in one act, by Sir Joseph Lyons. February 19.
English Dick Mr. Norman Trevor
Inez • Miss Edyth Latimer
Pedro Mr. Robert Minster
Jimmy Brook Mr. Charles Harley
Josy Miss Grace Armitage Noble
Grizzly Mr. Cecil Morton York
The Chow Mr; James Hearn
— Palace.
OVERRULED, demonstration, in one act, by G. Bernard Shaw. October 14. Last per- formance (the 27th) November 5.
Gregorv Lunn Mr. Claude King
iSibthorpe Juno .... (Mr. A. Vane Tempest
Mrs. Juno Miss Miriam Lewes
Mrs. Luna Miss Geraldine Olitt'«
—Duke of York's.
OVER THE HILLS, comedy, in one act, by John Palmer. November 10.
Robert Wilde Mr. Edmund Gwem*
Helen Wilde Miss Hilda Trevelyan
Martin Durrant Mr. T. N. Weguelin
—His Majesty's.
PADDED C(S)ELL, A, absurdity, by Victor Stanley. September 23.
Tom Reefer Mr. W. T. Elsworthy
Joe Blake Mr. Victor Stanley
Nellie Graham Miss Ena Douglas
—Her Majesty's, CarMsle.
PAGEANT OF THE CHILD, A. January 11. —Assembly Rooms, Balhuri.
PAiGT/lACCI, Leoncavallo's opera, in two acts, played for the first time on the variety stage (conducted by the i-ompo<ser). (Original English production at Covent Garden, May 19, 1893.) February 26.
— London Hippodrome.
PAID IN HIS OWN COIN, one-act play, by Grenville Fulton, November 21.
Isaac Mosenstein Mr. Arthur Hare
Rebecca Mr. Lloyd Desmond
Reuben Stern Mr. C. H. Byrne
Leah Cohen Miss Rachel Ricarde
A Detective Mr. Leslie Parker
—Rehearsal.
PAINTER AND THE MILLIONAIRE, THE, modern Morality Play, an two acts, by H. M. Paull. (Produced by the Play Actors.) January 21.
Painter Mr. Henry Le Grand
Pleasure Miss Vita Spencer
Poverty Mr. Hugh Tabberer
Croesus Mr. Fewlass Llewellyn
Fame Miss May Saker
Luck Miss Judith Kyrle
Conscience Mr. William Stack
Death Mr. H. Lawrence Leyton
Waiter Mr. Jackson Wilcox
Art Miss Margaret Damer
Model Miss Rosemary Rees
The Prologue spoken by the Acting- Miamiager.
The Painter and the Millionaire (continued).
Visitors to the Gardens: Misses Inez Bensusan, Miilicent Metcalfe, Queende Powell, Ru/tili Parrott, Mabel Saunders, Eily Wilson, Ada Hatchwell, Edith Pither, Amy O'Donohoe, Gladys Townsend ; Messrs. Herbert Buniston, C. F. Collings, Reginald Rivington, R. Hutton, J. Roach, S. Kelly, P. Dennis. —Court.
PAM ANO> BIILLY children's play, drama- tised from a book by Brenda Girvin by Maude Parr and Monica Co sens, the musi** composed and selected by Maude Parr. ('Produced by amateurs.) January 30. MORTALS.
Billy M,iss Gwen. Robertson
The Great Mian .. Mr. Herbert Strudwick
Big Bluff Master Brian Amsden
A If Master Holland Johnson
Tim Masiter Gordon Tickel
The Princess Miss Clare Cosens
iSue Miss Helen Vesey-Brown
Para Miss Mary Livingstone
IMMORTALS. Fairy in the Violin .... Miss Stella Monk
/Rhythm Miss Winnie Sollas
Melody Miss Sylvia Wilton-Ainsley
Croehety Crochet Master Tickel
Quavery Quaver . . Master Howard Daniels
Andante Mis'S Mona Phillips
Allegretto Miss Llewyn P.aget
Pizzicato Miss Nora Monk
No Ear Master B. Amsden
Sharp Note Master Clifford Daniel*
Flat Note Master Gordon Amsden
Tuneless Master Roger Johnson
A Miss Molly Clayton
B Miss Miarjorie Holmes
C Master H. Johnson
C Master Ronald Monk
E Miss Phyllis Audrey
G /. Miss Gwen. Amsden
D Master Desmond Felton
F Miss Maisie Greenfield
Voice Master Denzil Hersee
— Anerley Town Hall.
PANTALOON, revival of J. M. Barrie'e pla.y, in one act. (Originally produced at the EDufoe of York's, April 5, 1905. Again revived London Coliseum November 18.) February 19.
Pantaloon Mr Albert Chevalier
Clown Mr. Harry Brett
Harlequin Mr. Julian Cross
Columbine Miss Mabel Garden
Baiby Cilown Little Dorrit
— Savoy.
PAlRK-'KE'EiPElR, TH'E, farce, in one act. by Montague Turner. (June 3, Royal, Ches- terfield.) July 8.
—Edmonton Empire.
PASSERELLE, LA, presentation by Les Pari- siens of Mme. Gre^ac and Mme. de Crois- set's play. July 22.
—Clavier Hall.
PASSING OF ALCESTE, THE, terpsichorean tragedy, by K. Malpass Grandage. Oc- tober 11. The Young King Master Charles Thomas
The King's Tutor Mr. Ivan Firth
Alceste Miss Annie Edelsten
—Clavier Hall, W.
PASSING OF CLAUDE, THE, one-act play, by Mary Stafford Smith. (September 2, Grand, Leeds.) October 7.
John Wood Mr. Arthur Grenville
Mrs. Wood Miss Mabel Younge
George Mr. Edward Compton Coutts
—Borough,
THE STAGE
BOOK.
175
l'A>M\G OF THE BAILIFF, THE, folk play,
by the Rev. Neville Lovett. November 9.
— Church House, Farnham.
PASSION ET L'ASSOMPTION DU DIVIN PIEHROT, IE, morality play, by Emilie Lerou. November 29.
—Playhouse.
PATCHING IT UP, comedy sketch, in one scene, by Wai Pink, incidental music by J. S. Baker. August 5.
The Rector Mr. Kenneth Altamont
Murjorie Miss Eva Price
Samuel Sindle Mr. George Denham
Mrs. Porgy Miss Leonora Castelli
Peter Porgy Mr. Joe Elvin
—Palladium.
PATHFINDERS; OR, BUILDERS OF EM- PIRE, melodrama, in three acts, by Ger- trude Page. August 5. Bobbie Glynn Miss Florence Hale Daviss
Twilight Mr. Frank Beresford
Betty Glynn Miss Susie Claughton
Kenneth Glynn .... Mr. Arthur Hambling
Toiby Fitz-Gerald Mr. Eric B>ass
Bay Glynn Mr. Geoffrey Ray
Harry Blake Mr. J. M. 0. Twiss
Johannes Van Tyl .. Mr. Leslie Hamilton Sir James Fortescue Mr. Geoffrey Hardinge
Kitt Langley Mr Ernest Plumpton
Willy Hope Mr. Deane Cliffe
Sergeant Johnson .. Mr. Frederick Valder
Lavinia Courtney Miss Denise Dene
Bye-and-Bye Master Douglas Lowe
Dr. Philip Stanhope Mr. Deane Cliffe
— Miners', Ashington
PATRIOTS, play, in three acts, by Lennox Robinson (April 11, Abbey, Dublin.) June 10. Peter O'Mahoney .. Mr. Sydney J. Morgan
Ann Nugent Miss Sara Allgood
Rose Nugent Miss Kathleen Drago
Mrs. Sullivan .... Miss Eileen O'Doherty
Bob Mr. Arthur Sinclair
Harry Mr. J. A. O'Rourke
Willie Sullivan .. Mr. H. E. Hutchinson James Nugent .. Mr. Fred O'Donovan
Father Kearney Mr. J. M. Kerrigan
Dan Sullivan Mr. U. Wright
Jim Powell Mr. J. M. Kerrigan
Two Young Men
Messrs. U. Wright and Michael Connlffe
—Court.
PEARLS, a comedietta, by Stanley Houghton. (January 6, 1913, London Colliseum.) De- cember 20.
Richard Mr. Arthur Bourchier
Hester Miss Violet Vanbrugh
Gill Mr. William Burchill
Roberts Mr. Clifford Heatherley
— Pavilion, Glasgow.
PEBBLES ON THE BEACH, musical farce, in one scene, by Seymour Hicks, music by H. E. Haines. December 16.
Mr. Robinson Mr. Seymour Hicks
Miss Brown Miss Ellaline Terriss
Mr. Jones Mr. J. C. Buckstone
Our Ancestor Mr. Edward Sillward
—London Coliseum.
PEDESTAL, THE, new one-ast play, by Olive Lethbridge and Philip Essery. September 27.
Kelog Mr. H. F. Maltby
Stephen Mayland .... Mr. Philip Es-ciy Kitty Van Courtland Miss Olive Lethbridg
Mamie Miss Ella Kitson
—St. Leonards Pier, Hastings.
L'KNNY BUNTOH, A, kerbstone episode by A. Neil Lyons and Henry Seton. October 31. See also THREE COMMON PEOPLE, under which title A PENNY BUNCH was first produced. Sarah Moon ............ -Miss Lilian Mason
Poppy Dyke .......... Miss Esm6 Hubbard
Professor Alf. Beeny..Mr. Eliot Makeham — Vaudeville.
PENNY DREADFUL, THE, comedy sketch. December 16.— Empress.
PEOPLE'S KING, THE, play in five scenes, by George Gray. November 25. King Victor Brydonia ........ Mr. D. Munro
Bertram Lasquelle ...... Mr. Booth Conway
I/duis Gerogue .......... Mr. Tracy Barrow
Johanne Brunelle ...... Mr. Albert Bernard
Karl Morale. ................ Mr. T. Lawson
Patio Roucrehomrne ............ Mr. F. Dark
Paul Servia ............ Mr. J. G. McMahon
Henri Matalesta .......... Mr. A . Desmond
Tomasso Manini ............ Mr. J. Tweedie
Tristani .................... Mr. V. Gurney
Pasquarg .................... Mr. R. Sydney
Polaire ................ (Mr. Charles Russell
Michael ................ Master Martin Rose
Princess Dagmar
Miss Yvonne Q. Orchardsoni Wanda .............. Miss Louise Hampton-
—Chelsea Palace.
PERCY, THE ALTRUIST, comedy, by Claude Ponsonby. December 12. Chistopher Williams.. Mr. George A. Vesey Gerald, his Son . . Mr. Herbert H. Herbert George Carton ...... Mr. Brendan Stewert
Elizabeth .............. Miss Ruby Bower
Helen Carton .......... Miss Janet Barrow
Gladys Williams ...... Miss Joan Barrow
Dr. Manton ............ Mr. Harold Noel
Perkins ................ Mr. Robert Percy
Captain Collitt ---- Mr. Eustace Ponsonby
Percy Barclay .......... Mr. Frank Powell
An Old Gentleman ...... Mr. P. H. Nesbitt
A Cyclist ....................... Mr. Rowe
A Sailor ............ Mr. G. G. P. Goldney
Lady Tourist ---- Mile. Marie Le Guicheun
Cockney Tourist .. Miss Marjory Ponting A Child .............. Miss Gwennie Lofts
—County, Bedford.
PERFECT WIDOW, THE, three-act comedy, by Gilbert Canaan. March 18. Carson .................. Mr. Charles Sugden
Mrs. Deeley ............ Mr. Charles Sugden
Mrs. Wilton ........ Miss Emily Patterson
Moss Hallett .................. Miss O'Neill
Lady Marrable ................ Miss Darragh
John Tilford ............ Mr. Julius Knight
Mr. Betts ................ Mr. H. F. Maltby
Mr. Brandt ........ Mr. J. Henry Twyford
Mr. Olphert Page ........ Mr. Gordon Ash
Mary Marrable .......... Miss Muriel Pope
Mrs. Matthews ____ Mrs. L. SabLn-Bennett
Clerk .............. Mr. W. Garrett Hollick
—Gaiety, Manchester.
PERILS THAT BESET WOMEN, THE, re- vised version by Arthur Jefferson of " The World's Verdict." Preliminary perform- ance October 12.
— Metropole, Glasgow.
PERKINS IN PARIS, sketch, in two scenes, by Leonard F. Duretl. music by Dudley Powell. January 13.
Countess of Lemonton. .Miss Elsie Skillings Molly ................ Miss Kathleen Sandy
Osmond Neversoll ...... Mr. George Daiper
Jotty .................... Mr. Alfred Stunt
The Professor ............ Mr. W. Matthews
The Count ................ Mr. George Clark
Perkins . ................. Mr. Albert Bruno
—New Cross Empire. 9*
THE STAGE YEAR BOO it.
PERKINS, THE PUNTER; OR WAKES WEiEK, (by 'Fred Karno, Charges Baldwin, •and Tom Nelson, September 30.
Lizzie Waddle Miss Aggie Morris
Mr. Higginibottom, sen.
Mr. Fred Carrington
Mr. Higginbottom, jun Mr. Sid Cook
Mr. Bolter Mr. Nat Goodman
Mr. Finch Mr. Arthur Willmer
William Snap Mr. Jack Osborne
Sally Smap Miss Victoria Wright
Jo Waddle Mr. Tom Nelson
—Palace, Blackburn.
PERKIN WARBECK. Amateur production of a play, in three acts, by Frances M. Cost- ling and W. Trotter Steed. February 12. Perkin Warbeck, Duke of York
Mr. Powell Symonds
James IV. of Scotland Dr. Morton Calmer Sir Robert Clifford ....Mr. S. W. S. Nodes
Friorn Mr. A. M. Butler
Sir Macgregor Macgregor
Mr. J. Aitcheson
Paracelsus ..Dr. Leeds Harrison
Court Jester Mr. Guy Temple
Jock Mr. Donald Cameron
Sergeant Mr. G. Weller
Soldier Mr. W. T. Frost
Pages of James IV Masters Legg
Lady Catherine Gordon Miss Kitty Malcolm
Duchess of Burgundy Mrs. Guy Michell
Lady Eleanor Lindsay
Miss Berkeley-Calcott
Countess of Fife Mrs. Chapman
Grizel Miss Lalla Henderson
Dancing Peasant Girl ....Miss Violet Paine —Royal, Worthing.
PERSIAN SLAVE, THE, Arabian episode, by Sidney Blow and Douglas Hoare. De- cember 9. The Prince of Albania . .Mr. William Seguin
The Sheik Mr. Royce Milton
Ganem Mr. John Richter
Nourdreddin Mr. Lionel Walton
Bussorah Mr. A. Evremond
The Hunchback Mr. Leslie Clair
Abou Hassan Mr. James Albion
Sheik's Sword Bearer ....Mr. Hugh Craig
The Soothsayer Mr. Harold Henderson
Dancer of the Harem Miss Lilian Hicks
Princess of Circassia. Miss Evelyn Beresford — Kilburn Empire.
PETER'S CHANCE, play, in three acts, by Edith Llttelton. M.ay 17.
Father Bentley Mr. J. D. Beveridge
Rev. Percy Blythe ..Mr. Reginald Malcolm
Peter Grieve' Mr. Owen Nares
Joe Price Mr. Stanley Logan
Meatie Mr. Arthur 'Bowyer
Bodger Mr. Stewart Dawson
Billy Boy Mr. Robert Lawlor
A Tramp Mr. Wilfred Shine
Kitty Roman Miss Florence Lloyd
Mrs. Jenks Miss Mary Relph
Susie Troak Miss Constance Little
Mrs. Chase Miss Rose Yule
Bert Miss Molly Shields
Betsy Miss Estelle Gil!
—.Royalty.
PETER PAN. Revival of the play, in three acts, by J. M. Barrie. (Originally produced December 27, 1904, Duke of York's.) Miss Mary Glynne played the part of Wendy; Master Reggie Sheffield, Michael ; Mr. Hoi- man Clark, James Hook ; Mr. George Shel- ton, Smee; and Miss Pauline Chase, Peter Pan. December 24.— Duke of York's.
PETIT VOLEUR, LE, wordless play, with music by " Eyolf Gorireki." July 29.
Pierrot Pere M. Gringoire
Pierrot Fils Mile. ZaLska
Pierrot Gros M. Henri TJrochard
Pierr>t Maman Mme. E. Ricnr-lo
— Empress, Bmton.
PET OF THE RANCH, THE, drama, in four acts, by Mrs. F. G. Kimberley. (April 22, Lyric, Hammersmith.) April 6. Philip Trelyan ........ Mr. James Stillwell
Mexican Joe .......... Mr. T. Arthur Ellis
Ben Bates .............. Mr. Ed.?ar Morgan
Robert Gray .............. Mr. Cyril Smith
Reindeer .............. Mr. Harry Lyndon
Sammy ................ Master Harold Bell
Yellow Hawk .......... Mr. Frank Guest
Jack Jolly ................ Mr. Frank Astle
Big Tree .................... Little Cayuse
Looking Sky .................... Lone Star
Whirlwind Meggie ____ Miss Anena Walton
Kate Trelyan .' ............. Miss Mora Gray
Zelda .................... Miss Iza Lyndon
1 —Royal, Wolverhampton.
PHILANTHROPIST, THE, sketch, in one scene, by Arthur Rose. October 28. SiLas Hardwrack ....Mr. Ernest K. Nelson
Nellie .................. Miss Rita Sponti
Frank Seymour .......... Mr. Dennis Clyde
Mrs. Edwards ........ Miss Amy Lorraine
Mrs. Jones .............. Miss Kate Dumar
Mrs. Smith .............. Miss Irma Phillips
Mr. Gubblns ............ Mr. Will Thornton
— Surrey.
PHIPPS, comedietta, by Stanley Houghton. November 19. Phipps .............. Mr. Arthur Bourchier
Gerald ................ Mr. A. E. Matthews
Fanny .................. Miss Rosalie Toller
— Garrick.
PHYLLIS, rustic musical comedietta, in one scene, book and lyrics by J. P. O'Reilly and Sydney Morgan, music by Airlie Dix and W. Tunbridgc. July 22. The Prince ............ Mr. Carlton B rough
The Landlord ........ Mr. W. O. Billington
William ................ Mr. A. T. Gullifer
Tom ...................... Mr. John Doran
The Landlord's Wife
Miss Kathleen O'Neill Phyllis ................ Miss May de Sousa
— Tivoli.
PICTURE, THE, comedy-drama, in one act, by Wyna Miller. May 27. General Truscott ........ Mr. J. A. Howitt
John Erskine ........ Mr. Reginald Weighill
Dick .............. Mr. E. Rayson-Cousens
Watson .................. Mr. Cecil Du Cue"
" Angel of the Dream "
Mis* Winifred Wing. —Royal, Bradford.
PIERROT IN AUSTRALIA, fantasy, by Arthur Adams. January 26. Dad .................. Mr. Benedict Butler
Liz .................. Miss Dorothy Spencer
Pierrot .................. Mr. Mark Hannam
Bill ...................... Mr. Ewan Brook
—Little.
PIERROT OF THE MINUTE, THE. The Drama Society revived. Ernest Dawson's fantasy. (Originally produced December 16, 1905. Bijou, Bayswater.) March 4.
—Clavier Hall, W.
PIERROT'S LAST ADVENTURE, pantomime, in one act, by Victor Arnold, music by Friedrich Hermann. March 11. Father Pierrot .......... Herr Eugen Jensen
His Wife ............ Fraulein Mary Spieler
His Wife's Sister
Fraulein Camilla Godlewsky Pierrette .......... Fraulein Jennie Gruber
— London Coliseum.
PIERROT'S LITTLE JOKE, play, in one act, by " Henry Seton." February 8. Pierrot ................ Miss Esme" Beringer
Marie ...................... Miss Fay Davis
Fiflne .................. Miss Dora Barton
Madeleine .............. Mrs. A. B. Tapping
—Court.
THE STAGE YEAR BOOK.
Ill
I'UJKON, TIIK, fantasy, in three acts, by John Galsworthy. January 30. Last perform- ance (the 38th) March 2. Christopher Wellwyn ..Mr. Whitford Kane
Ann Miss. .Gladys Cooper
Guinevere Megan . . . .Miss "Margnrot Morris
Rory Megan Mr. Stanley Logan
F errand Mr. Dennis E a > I i c
Timson Mr. Wilfred Shine
Edward Bertley Mr. Hubert Harben
Alfred Calway Mr. Frank Vernon
Sir Thomas Hoxton ..Mr. Frederick Lloyd A Police Constable ..Mr. Arthur B. Murray i Mr. W. Lemmon Warde . Three Humble-men-? Mr. P. B. J. Sharp ( Mr. A. Bowyer
—Royalty.
INK LADY, THE, musical comedy, founded on the French of Le Satyre, by Georges Berr and Marcel Guillemaud, book and lyrics by C. M. S. McLellan ; music by Ivan Caryll. April 11. Last performance (the 124th) July 27.
Serpolette Pochet Miss Flora Crosbie
D6sir£e Miss Frances Gordon
A Photographer Mr. Henry M. Johnson
Pochet Mr. F. Newton Undo
The Hungry Man Mr. Joseph Carey
Annette Miss Polly Bowman
Gilberte Miss Dorothy Goafrey
Gabrielle Miss Marie Vernon
Raymonde Miss Florence Beryl
Minette Miss Jessie Crane
Sophie Miss Irene O'Donnell
Yvonne Miss Edyth Taylor
Benevol Mr. Fred Wright, jun.
Lucien Garidal Mr. Jack Henderson
Julie Miss Ethel Stannard
Nini Miss Teddy Hudson
Suzanne Miss May Hennessy
Angele Miss Alice Dovey
Maurice D'Uzac Mr. Craufurd Kent
Bebe Guingolph Mr. Scott Welsh
The Girl from the Saskatchewan
Miss Jean Crane Claudine, The Pink Lady ..Miss Hazel Dawn
Crapote Mr. Eddie Morris
Madame Dondidier ..Miss Alice Hegeman
Philippe Dondidier Mr. Frank Lalor
Theodore Lebec Mr. A. S. Humerson
La Comtess-e de Montanvert
Miss Louise Kelley
Rouget Mr. Henry M. Johnson
Dr. Mazou . ... Mr. Maurice Hegeman
Pan Mr. W. Jackson Sadler
Ywaxy Violini
—Globe.
1'ITriI AND— SOAP, play, in three acts, by E. Lyali Swete. April 16. Hon. Geronimus Hugh Jiffard-Butcher-
Jiffard Mr. Charles Maude
Major-General Pither Mr. A. E. George
Mr. Adolphus Hazel .... Mr. O. B. Clarence Rev. Denis Genald.ine, M.A.
Mr. E. Ly.all Swete
Mr. Arthur Gentry.. Mr. Leom Quiartermaine Duchess of Glastonfoury
Mijs Frances Ivor
Mr>. Geraldine Miss C arietta Addison
Briggs Miss Kathleen Goraon Lee
Hon. Sylvia Lame.. Miss Alexandra Carlisle — Heymarket.
PLAYBOY OF THE WESTERN WOK I.I).
THE (with Kathleen ,ni Houlihan), formed
the bill at the opening of the Irish
ITS' season. June 3. —Court.
PLAYWRIGHT. THE. "heresy," in one act, by Major W. P. Drury. September 2.
The Queen Miss Winifred Eimery
The Queen's Counsel.. .Mr. Daniel McCartrfy
The Player Mr. Spencer Trevor
An Old Seneschal Mr. George Bellamy
A Young Varlet Mr. Ernest Graham
— Palace.
PLAYING TIIK CAME, a comedy, in one net, by Leon M. Lion and Austin Philips, founded on >a story by Austin Philips. November 25.
Ddiuild BUkibton Mr. Vincent Clive
Joan Haniland Miss Maud Davis
iSir Reuben Benyon-Blayne
Mr. Arthur Cullin iRuth Benyon-Blayne
' Miss Florence Harwood
Toon Mowibray Mr. Alfred Wilt.sJi.ire
— Globe.
POEiTASTERiS OF ISPAHAN, one-act play, by Clifford Bax. (.Produced by the Adelphi Play Society.) April 28.
Haliaj Mr. Maurice Elvey
Xejrihtal Mr. Goodwin Nock
Ala'd'din Mr. Bernard Merefleld
Sulimian Mr. Ross Shore
Gu.leesh Mr. Campbell Cargill
Ibn-Hass'im Mr. James L. Diale
iSilvermoon Miss Betty Bellairs
A Slave Mr. Gordon Gay
— LittTa.
POETRY" OF FLOW'ERiS, THE, masque, by Trevor Thomas. April 17.
— Hampstead Conservatoire.
POOL, THE, a wordless mediaeval idyll, in one scene., with musk by G. H. Clutaam. May 20. The NymrA, M>elisande..Miss Muriel Ridley
The Peasant Mr. Fred Rolph
The Peasant's Wife .... Mis<s Bella Wallis
The Novice Herr Rocholl de Raadt
The Friar Mr. Edmund Gurney
The Albhess Miss Phoebe SLewellyu
The King Mr. Eric Miayne
First Courtier Mr. B. H. Vallis
Second Courtier Mr. J. Jolly
— Alhambra.
POOiR PIBEITTY COLOMB1NE, wordless dance- play \v-iith music, by Dora Bright. June 3.
Go'Lom'bine Miss Dorothy Edward
Marigold Miss Grace £. Ringwood
Sweet William Mr. Ernest Belcher
Monkshood Mr. J. Eraser Outram
— Kilburn Empire.
POSY ON A RING, A, condensed version, in six scenes, of Thomas Middleton's comedy, " A Chaste Maid in Cheapside." Sep- tember 16.
Sir Walter Mr. Allan Jeayes
Touchwood, senior Mr. Charles R. Rose
'Touchwood, junior Mr. J. M. Napper
Welshwomiani Miss Freda. Morri.s
Tim Master Dick Hearst
Tutor to Tim Mr. N. Seynwre
Pianson Mr. Benedict Butler
Maudlin : Miss Florence Saunders
•Noll Miss Mary Clare
Y'ellowlLamaner .,^Mrx Patrtek Kinvan
— {Globe) Earl's Court.
POTTS IN POIRT, sketch in thre« scenes, by Herbert Darnley, Geo. Rowlands, and Heribert Sydney. February 12.
— Hackney Empire.
PRAIRIE OUTLAW, THE, Western romantic play, in ten scenes. September 16.
Rob Middleton Mr. Scott Leighton
Josh Hawkins Mr. Carthage Caldcleugh
Rube Thompson Mr. Arthur Preston
Great Hawk Mr. Herbert Sidney
Happy Happy Mr. J. Russell Bogue
Black Pete Mr. Jay Kay
Blue Stone Mr. H. Hay ward
Wuh Watae Mr. J.' Jones
Prairie Joe Mr. F. Campion
Yellow Flower Miss Lorraine
Little Moon Miss Ruby Kimberley
Morita Mrs. F. G. Kimberley
—King's, Manchester,
178
THE STAGE YEAR BOOK.
PREPARING CROARY, adaptation of a short story by Anne Shannon, by Elliott Page. January 25.
Mrs. Breaker Miss Clare Greet
Mrs. Carson Miss Inez Bensusan
Miss Bean Miss Armine Grace
Mat-tie Bates Miss Muriel Dawbarn
Elly Mrs. Havelock Ellis
Tim Croary Mr. Fred Gremlin
— Lyceum Club. '
PRETORIA'S LOVE STORY, play, in one act, by Ivan Patrick Gore. (Produced by the Black Cat Club.) September 16.
Paul Derwent Mr. Walter Benington
Mrs. Tooms Miss Ella Daincourt
Violet Miss Edith Carter
Pretoria Miss Ida Wynn Westcot-t
— Rehearsal.
PRICE, THE, play, in three acts, by George H. Broadhurst. November 21.
Ethan Bristol, M.D Mr. Ben Webster
Stannard Dole Mr. J. W. Dean
Professor Damaroff ..Mr. Frederick Kerr
Ambrose Lorrimer Mr. Max Leeds
Mrs. Dole Miss Henrietta Watson
Florence Bromley Miss Muriel Mason
Susan Miss Pattie Brown
Ethel Toscani Miss Fannie Ward
— Aldwych.
PRICE OF FREEDOM, THE, drama, by George A. de Gray. April 22.
Dan the Scamp' Mr. Percy Follis
Captain D'Ynellen ....Mr. Clavering Craig
Moses Isaacstein Mr. Arthur Byron
' Corporal Bruneau ..Mr. Alfred Collingham
Fritz Mr. Hugh Brady
Jacques Mr. Thomas Wheeler
Nazurah Mr. Hassan Singh
Denise Dorval Miss Phyllis Elton
Tilly Spriggins Miss Pollie Denville
Mother Cliquot ; Miss Helen Craig
Papeete Miss Velda Serato
Made Miss Marie Desmond
Joan Bruneau Mrs. Charles Draycott
—Alexandra, Birmingham.
PRIDE OF BYZANTIA, THE, pantomime play, by Arthur W. Field, music by J. A. McAlistex. (Originally produced Prince's, Bradford, August 21, 1911.) April 22.
Mr. Oofenstein Mr. Sam Springsohn
Lieut. Dareham Mr. Reg. Matthews
Sammy Blenkinsop Mr. W. H. Irving
Sir Joseph Rivers ..Mr. James Chippendale
Percy Rivers Mr. Victor Crawford
Mrs. Blenkinsop Miss Lucy Murray
Sarah Ann Miss Madge Soutter
Mialbel 'Gray Miss Olive Pu-rcdl
Harry Miss Minnie Myrle
Winnie Little Mary O'Hara
Miss Briggs Miss Edie Wyatt
James Mr. Ralph Morton
Bill Punehem Mr. Alfred Clifton
Princess Sadie Miss Kitty Douglas
— Dalston.
PRIDE OF THE PRAIRIE, THE, drama of life on the sjerras and prairies of Mexico, by H. F. Housden, September 2.
Carlos Durango Mr. Stephen E. Scanlan
Dick, the Dandy Mr. Graham Winsford
Jacob Martin Mr. William Hayes
Great Storm Mr. Percy Morton Wright
Red Eagle Mr. Arthur Duval
Big Wolf Mr. Harry Sidney
White Fang Mr. Henry Goodier
Pat O'Donovan Mr. C. Young Fixott
Broadway Bill Mr. Geo. Fenton Hurst
The Dough Nut Mr. J. J. Stadden
John Meadows Mr. Walter Murray
Ching Chimg Mr. Walter Hicks
P.rave Bear Mr. Cecil Harding
Grey Fox Mr. Ling Treherne
Big Spring Mr. Leonard Gardener
Thunder Cloud Mr. Frank Shirley
The Pride of the Prairie (continued}.
Matt Murdock Mr. Jack Entwistle
The Greaser Mr. Ben Batty
Scooper Sedden Mr. Ernest Williams
Harvey Dale Mr. Henry Hurst
Dropper Dan Mr. Fred Horning
Bill the Beader Mr. Julius Werner
Santos Mr. Alfred Sooper
Maggie Miss Kitty Vererose
Pachuca Miss Elsie Dene
Carmencita Manuel Miss Mary Pitcairn
Clattering Kate Miss Eveline Kington
— Elephant and Oastle.
PRIME MINISTER, THE, play, in one act, by Olive Lethbridge. (Produced by the On- comers Society.) June 27.
John Callum Mr. E. Bellenden Clarke
Lady Melville Miss Ethel St. Barbe
Liz Miss Olive Banbury
—Little.
PRINCESS CAPRICE, musical play, adapted from Dex Liebe Augiisthi by Rudolph Bernauer and Ernst Welisch, the English version by Alex. M. Thompson, lyrics by A. Scott Craven, Harry Beswick, and Percy Greenbank, the music by Leo Fall. May 11.
Jasomir Mr. Courtice Pounds
Nicola Mr. Fred Leslie
Augustin Hofer Mr. Harry Welchman
Gjuro Mr. George Hestor
Colonel Burko Mr. Charles Chamier
Captain Mirko Mr. Frank Wyatt, juai.
Ensign Pips Mr. Nelson Keys
Sigilloff Mr. George Elton
Mathaeus Mr. Alfred Clark
Pasperdu Mr. Campbell Bishop
Conrad Mr. Louis Victor
Rudolph Mr.. Arthur W. Ashdowne
Dimitrieff Mr. Victor Tollemache
Ulrich Mr. Ivan Leslie
Bursoff Mr. Boris Bellew
Vladimir Mr. Arthur Stroud
Bogumii Mr. George Graves
Princess Clementine
Miss Cicely Courtneidge
Gretchen Miss Hope Charteris
Ursula Miss May Etheridge
Lisbeth Miss Olive Wade
Margarita Miss Margaret Swallow
Cecile Miss Cissy Debenham
Countess Brach Miss Muriel Varna
Countess Cracfa Miss Doris Vinson
Countess Grosse Miss Kathleen Hayes
Anna Miss Marie Blanche
Princess Helen Miss Clara Evelyn
— Shaftesbury.
PROSELYTE, THE. A comedietta by Mrs. Haden Guest. May 13.
Solly Isaacs Mr. J. Henry
Harry Jacobs Mr. Charles Russell
Mr. Isaacs Mr. Michael Sherbrooke
Mrs. Isaacs Miss Annie Lewis
Clara O'Brien — MJss Margaret Ashton — Portman Room's, W.
PROUD MAISIE. Romantic play, in four acts, by Edward G. Hemmerde, K.C., in- cidental music and songs by Hamilton Harty. March 12. Last performance (the 38th), A>pril 19. Prince Charles Stuart ..Mr. Ben Webster
Earl of Pitcour Mr. J. H. Barnes
Guy, Lord Monteith
Mr. Leon Quartermaine
Neil MacAlpine Mr. Henry A-inley
Alan MacGregor ....Mr. Norman Trevor MacDonald of Clanranald
Mr. Thomas Holding
Cameron of Lochiel — Mr. Rohan Clensy Ronald MacPherson ..Mr. John Bardsley
Puncan Mr. Blake Adams
Mhorag MacGregor ..Miss Madge Fabian Jean MacGregor ..Miss Margaret Dempsey
Lady Maisie Mis,s Alexandra Carlisle
— AUJwyeh.
777 /•: STACK YF.AK HOOK.
179
PROXY. Play, in four acts, by J. M. Lewis. (Produced by -amateurs.) Nov. 5. Paul Vmil.i'in ....Mr. Clifford Pettican
Chalmers Mr. Harold Edward*
Dr. Fox Mr. A. C. A. Nitz
George Grohmer ..Mr. Stanley B. Nobbs
Brookes Mr. Reginald Cottam
Mrs. Brown© Miss Violet Carruthers
Daphne Stormont Miss Ida Beauchamp
Peggy Stormont Mips Muriel de Noon
— Cripplegate Institute.
PRUNELLA. Revival of the love-phantasy, in throe acts, by Laurence Housman and Granville Barker; Music by Joseph Moo- rat. Oct. 21.
Boy Mr. Leonard Chapman
First Gardener Mr. Brember Wills
Second Gardener Mr. Arthur Milton
Third Gardener Mr. Ernest Bodkin
Queer Miss Dora Mayfield
Prunella Miss Marie (Roytei
Prim Miss Doris Bateman
Privacy Miss Irene Rooke
Prude Mrs. Albert Barker
Quaint Miss Annie Moller
Pierrot Mr. Milton Rosmer
Scaramel Mr. Jules Shaw
Kennel Mr. Lionel Briggs
Callow Mr. Reginald W. Fry
Mouth Mr. Edward Landor
Hawk Mr. Frank Darch
Tawdry Miss Muriel Stewart
Doll Miss Hikja Sims
Romp Miss Sybil Thorndike
Coquette Miss Christie Laws
Love Mr. Lewis Casson
— 'G'aiety, Manchester.
QUEEN AND THE MAN, THE. Drama, in four acts, by Clifford Rear.. Feb. 8. Archduke Michael ..Mr. Fred W. Goddard
Graf Bernidino Mr. Harry Aynsleigh
Captain Helbron .:.... Mr. W. Crawford Hon. Reg. Fite-A-llen ..Mr. Clifford Bean
Baron Draga Mr. Robert Monteigle
Gen. Straltzholm Mr. Tyrone Power
Lieutenant Mingi Mr. Percy Shaw
End,ino Staga Mr. John Anderson
Wounded Messenger Mr. W. Priest
Councillor Mr. E. Brunsford
Valmal Miss Mattie Everett
Olga Beldane ^ Miss Camille Treherne
Queen Paula Mrs. Frank Bateman
—Empire, Southend.
QUEEN FOR A WIFE, A, romantic military drama, in four acts, by Jack Denton. De- cember 16. Captain Dairennen.Mr. Warrick Wellington
King Sergius. Mr. Ernest Fosbrooke
Prince Hugfried of Menekhrinia
Mr. Felix Pitt
General Scutavitch Mr. Michael Staples
Paulus Damoski Mr. Arthur Robinson
Ivan Mr. William Garhois
Baron Sternoff Mr. Henry Armytage
Teddy Spanner Mr. Torn J. Taylor
Marash Mr. Walter Wilson
Adolphe Mr. John Lytton
The Veiled Woman Mrs. Bennett
Evangeline Hopkins Miss Rosie Russell
Elissa Menovitoh...Miss Frederica Williams
The Princess Allitza Miss Alice Belmore
Soldiers of the Menekhrinia Army: — Messrs. Tritchler, Howard, Harcourt, Wil- liamson.
—Royal, Stratford.
QUEEN MOTHER, THE. Melodrama, in four acts, by J. A. CJumipbell. Oct. 30'.
King of Montania Mr. Richard Bosco
Duke of Carola ..Mr. Herbert Mansfield Prince of Menteburg
Mr. Frank Strickland
The Queen Mother (continual). Lieut. Adrian Loritza
Mr. William Lenten
Count Jentzer Mr. Leo Klo*t>
Peter Mr. Arthur Denton
Francis Mr. Eric Morden
Kaiv,n \ on /.M.I/ ..Mr. Unii^la- Tn •niayne
Marshal Lanitsdi Mr. Frank White
Capernick Mr. John Rimmer
Prince Osric Mr. Frank Beresford
Eleanor Miss Ruth Zillwood
Ursula Mis,} Laurie Potter
\\idow Ciapern'ick Mi-s I.ina. Na.^-bv
Elsa Miss Etter Arnold
Queen Mother Miss Mary Fulton
—Junction, Manchester.
Ql'KKR FISH. Musical extravaganza, by Walter Passmore and Percy V. Bradshaw, with music arranged by Dudley Powell. (July 22, Hippodrome, Eastbourne.) Aug. 19.
Astypalea Miss Agnes Eraser
Mrs". Squibbs Mass Madge Girdlestone
Chrysea Miss P. Edwards
•Doris Miss A. Hambley
Neptune Mr. Johnny Danver s
Sammy Squibbs Mr. Walter Passmore
— New Cross Empire.
QUESTION, THE. One-act play, by John J. Wickham. Aug. 19.
Mrs. Netherby Miss Doris Bateman
Jennie Rollins Miss Sybil Thorndike
Flo Miss Muriel Pratt
Jack Rollins Mr. Brember Wills.
— Gaiety, Manchester.
QUESTION, THE. Comedy, in three acts, by " A. Chance." March 21.
Hon. Jack Tremayne ..Mr. Trevor Roller Hon. Mrs. Tremayne ..Miss Lilian Hole
Colonel Rideaway Mr. Gerald Jerome
Lady Cantleford Miss Regina Repton
Mrs. Venn Mrs/ Athol Stewart
Mrs. Frazer Misg. Elizabeth Chesney
Lord Allan Bothwell
Captain Arthur Wood
Colin Frazer Mr. Clayton Green
Mr. Felner Hon. Stephen Powys
Rufus Brentano Mr. Alfred Harris
Flo Hargis ....Miss Esm<5 Shirreff Hilton Algernon Laurel ..Mr. Philip Streatfeild
Miss Idalia Hogg Miss Dorris Hay
Morse Mr. Reginald Denham
Butler Mr. Alfred Piper
—Chelsea Palace.
QUESTION OF PROPERTY, A. London production of the comedy, an one act, by J. Sackville Martin. (Originally produced at t'h-e Roval, Margate. January *$, 1903.) May 6.
Comrade Weaver Mr. Herbert Lomas
Mrs. Weaver Miss Edyth Good all
Comrade Mark-land Mr. J. V. Bryant
Uncle John Mr. Edward Landor
Comrade Pettigrew Mr. Ernest Haines
—Coronet
QUESTION OF TACTICS, A. One-act Comedv by Resinald Harereaves. May 27. Elisabeth Amelia iHan*
Miss Renee de 1'Estrade Harriett Victoria Hunt ..Miss Mabel Jeye William Albert Edward Hunt
Mr. Arthur Bell
Polly Smith Miss Helena Parsons
— Gaiety, Manchester.
180
THE STAGE YEAR BOOK.
RACE SUICIDE, one-act play, by H. Hamilton Fyfe. (Produced by the Pioneer Players.)
Mr. Brown ........ Mr. Frederick Morland
Mrs. Brown .......... Miss Mjary Jerrold
Reeves ................ Mr. Arthur Cleave
Colonel Flaag ........ Mr. Frederick Lloyd
The Vicar". ......... Mr. Hubert Barberi
—King's Hall, W.C.
RACK, THE, play, in one act, by Mrs. Harlow Phibfo's. (Produced by the Actresses Franchise League.) February 20. Lady Valencia Carew
Mrs. Madeleine Lucette Ryley Betty ................ Miss Gwladys Morris
Withers ............ Miss Blanche Stanley
—Rehearsal.
RAGGEiD PATRIOT, THE, dramatic sketch, in one scene, by Aubrey Fitzmauriee. June 10. Bobs ...................... Miss Effie Dane
Baroness von Neishart
Miss Margot Lockhart Major Sternroyd' .......... Mr. A. Beatoii
Dick .................... Mr. Robert Lord
— Camlberwell Empire.
(RAGGED PRINCE, TBE. Condensed version and first London production of Walter Howard's drama. (Originally produced as "The Boy Kin.g," October 3, 1910, Junc- tion, Manchester.) April 15. Marco ......... ..... Mr. Philip Cunmgbam
CamiUo ............ Mr. Henry Hargreaves
tond Duke of Save™ ^^ ^^
Captain Raymond .. Mr. Bellenden Clarke Captain Fabian ...... Mr. Scrope Quentin
Sergeant Simon ...... Mr. Herbert Vy vyun
Mario ................. •• Mr. W. J. Miller
Stephano .......... Mr. Arthur Grinstone
Sentry .................. Mr. John Miller
Messenger ............ Mr. Frank Dermot
Captain of the Guard.. Mr. H. Elphmstone Grand Duke's Officer .. Mr. H. L. Clinton /Riaa ............. Miss G. Le Sage
Elaine ............ Miss Millicent Hallatt
............... Miss
.RAIXBOW, THE, staigeright performance of a play, in three acts, by A. E. Thomas. February 26. —Duke of York s.
RAMPE, LA, drama, in French, in four acts, by Henri de Rothschild. May 9. Claude Bourgueil ...... M. Henry Roussell
Pradel ' .............. M. Jacques Landier
Ohatmann ........................ M. Arvel
Saint-Glair ...... M. Fennand Demorange
Verdier ....... • ......... M. Henri Seehaud
Due de Neronde ........ M. Pierre Maugu<5
Lizerolles .............. M. Alfred Bouzin
Tmuibert ..... • M. Hubert Daix
SS2S .::.: ........... M. Maurice Wick
Le Maitre d'Hotel .............. M. Louis
Un tzLgane .................... . .M. Picard
Duchesse de Neronde ...... Mile. Derigny
CfhO'Uquette .......... Mile. Fanny Telher
Oharlotte .......... MJle Suzanne Demars
Madame De Lan-glars ........ Mile. Norva
Madame de Ronsin .... Mile. Claare Momi
L'Habilleuse ................ Mme. Brunet
Madeleine Grandier ,.Mlle. Juliette Margel
—Little.
RANK OiUTSlDEIR, A, " sporting episode," in five scenes, by Herbert Gordon and Mans- field Bradford. June 10. Sir John Trelawney ---- Mr. Murray Yorke
Jack Landon ........ Mr. W. P. Morgan
iMii^ys .................. Mr. Tom Sinclair
Inspector Dell ...... Mr. Herbert Gordon
Captain Devereaux. .Mr. Edmund Kennedy Mary Scribbins .... Miss Dorothy Herrte
Bertha Trelawney .. Miss Ros-abelle Dodd
—Surrey.
RANSOM, THE, play, in three acts, by Mrs Dollie Radford. June 9. —Little.
REiADY MOiNEiY, comedy, in three acts, by James Montgomery. 'August 12.
Jackson Ives Mr. Allan Aynesworth
Stephen Bair»J Mr. Kenneth Douglas
William Stewart Mr. Frank Denton
Sydney Rosenthal Mr. A. E. Benedict
S<am Welch Mr. Tom Shelford
Sumner HoJibrook .... Mr. Robert Rendel James E. Morgan .. Mr. Owen Roughwood
Hon. John H. Tyler Mr. Harry Cane
Ca,ptain West ...... Mr. Franklyn Roberts
Hammond Mr. Hubert Willis
Quin Mr. Edward Thirlby
Flynn Mr. Jameson Thomas
Neil Mr. Frank Tennant
Paul Mr. Cecil Rose
iReddy Mr. William Manning
Miiss Grace Tyler Miss Hilda Antony
Miss Ida Tyler Miss Alice Russon
.Mrs. John Tyler Miss May Whitty
Mi&s Margaret Elliott
Miss Dorothy Thomas —New.
REAL NAPOLEIOiX, THE, play, in one act toy Wilfred T. Coleby. February 26.
Captain Manet Mr. Richard Lane
Julie Manet .. Miss Amy Brandon-Thomas
La Miarque Mr. Evelyn Vernon
Marie de Longville .. Miss May Chevalier
Jules Mr. Lewis Dayton
I'rene Mr. A. Charlwood
General Bonaparte Mr. H. V. Esmond
—Palladium.
REBECCA OF SUNNYBROOK FARM, play, in four acts, by Kate Douglas Wiggin and Charlotte Thompson. (September 2. Last performance (the 56th), October 19.
Miranda Sawyer . .- Miss Marie L. Day
Jane Sawyer Miss Eliza Glassford
Mrs. Perkins Miss Ada Deaves
Mrs. Simpson Miss Viola Fortescne
Rebecca Rowena Randall
Miss Edith Taliaferro
Emma Jane Perkins Miss Liela Frost
Clara Belle Simpson Miss Violet Mersereau
Minnie Smel'lie Miss Nunette Foster
Alice Robinson Miss Clara Mersereau
Jeremiah Cobb Mr. Archie Boyd
Abner Simpson Mr. Sam Coit
. A hi j ah Flag-' Mr. Edwin Smedley
Adam Ladd' Mr. Hayward Ginn
—Globe.
REBEL, THE, Irish operetta, in three scenes, libretto by John 'Savile Judd, music by Houston Collisson. July 11.
Norah Blake Miss Clarice Howard
Sir Richard Blake Mr. Harry Tollfree
The Violinist Miss Nora Ford
Father O'Halloran ..Mr. Reginald Dawson
Ray Hone .. Mr. Henry Beaumont
-^Court.
RED HEN, THE, tramp sketch, by Charles McEvoy. April 3.
Amos Black Mr. Edmund Gurney
Emma Black Miss Beatrix O'Brien
Policeman Mr. H. Denvjil
The Baby Bobbie Dennis
— Tivoli, Manchester.
REDSKIN, THE, first London production of " a tale of the Far West, in four scenes and a climax," by A. Hengle_r, mu;ic by Harry Wood. (Originally produced in Glas- gow). February 12.
Dick Burton Mr. Douglas Cecil
Jennie Burton Miss Jennie Mclntyre
Pat Regan Mr. F. J. Fox
Jim Dawson Mr. Etheridge
Thompson Mr. Laundy
Black Eagle Mr. B. Coningsby
Onvx Eyes '. Miss G. Pierpoint
—Palladium.
THE STAGE YEAR BOOK.
181
REGGTE'S DOUBLE, protean sketch, by G. J.ally. June 25.
iyn Middleton ....Miss Gwendolen Lally Daphne Charteris ....Miss Ecca Van Leer
Jane Miss Gwenny Griffiths
—Court.
Iir.CIMKNT.VL IMPRESARIO, THE, play, in two acts and eight scenes, by Roland Carse. February 5.
— Tyne, Newcastle.
REPENTANCE, drama, in a prologue and three acts by Herbert Barrs. (Produced origin- ally at *the Grand, Leek, October 27, 1911.) June 3.
Sir Guy Montague Mr. A. Pitt
Stuart Manville ..Mr. H. Wallace Curnock
Dr. Eric Stanton Mr. A. Wimpenny
Gerald Eden Mr. Herbert Barrs
Solomon Levinstein Mr. J. B. Stanley
Jerry Jump Mr. Ted Mooney
Mr. Mustipher Mr. W. Ash
Rev. Geo. Franklyn Mr. F. Wilkiiu
Bertie Rrassey Mr. C. Chapman
P.C. Softy Mr. R. Elliott
Pioson Mr. H. W. Dale
Bill Mr. A. Jones
Hazel Miss Margaret Turner
Mrs. Maggs Miss May
Susy Miss Maggie Stewart
Totfoie Truelove Miss Flossie Hall
Daisy Nowait Miss Winnie Wish
Stella Miss Dorothy Oswald
—Royal, Woolwich.
RFSCUE BOAT, THE, sketch, by Arthur Eck- ersby and Arthur Curtis. June 10. Nathaniel Grainger ....Mr. Arnold Pilbeam
Mathew Grainger Mr. Roy Beard
Jess Miss Dorothy Macmillan
—Court.
RESENTMENT, play, in one act, by Allan Monkhouse. October 8.
Doctor Mr. Claude Haviland
Nurse Miss Isabel Turner
Mr. Brent Mr. B. Iden Payne
An!se Brent Mr. 'Shirley Kins
—Temperance Hall, Sheffield.
RE.VEL DAY, musical comedy, in two acts, by Jan Stewer (A. J. Coles). April 23.
Squire Arscott Mr. H. W. Hawker
Simon Mr. A. J. Coles
Jan Gay Mr. A. Gattey Cull
Job Craiker Mr. William Whittear
Lirxs Buzzacott Mr. Alfred Mills
Johnny Down Mr. Thomas Fenn
Mrs. Arecott Mrs. F. Russell-Jones
Cicely May Miss Evelyn Mardon
Molly, the Shepherdess ..Miss Mary S tiling
Bessie Mrs. A. Gattey Cull
Mrs. Tolley Mr. Douglas Tompkins
—Royal, Torquay.
REVOLT, play, in four acts, by George Calderon. November 11.
Blandford Mr. Ernest Bodkin
Renie Dalrymple Miss Sybil Thorndike
Canon Woolmer .Mr. Brember Wills
Sir John Poole Mr. Edward Landor
Lady Poole Mrs. Albert Barker
Lady Eaglesham Miss Doris Bateman
Constance Woolraer Miss Christie Laws
Dr. Hodder Mr. Jules Shaw
Bagshaw Mr. Lionel Briggs
Barnaby Mr. H. A. Young
Auctioneer Mr. Edward Broadley
Maggie Miss Muriel Stewart
Alf Mr. Ernest Haines
Lord Wonersh Mr. Herbert Lomas
Gregory Hodder Mr. Frank Darch
Jeff Hodder Mr. Milton Rosmer
Harry Hodder Mr. Reginald Fry
Miss Partridge Miss Hilda Sims
A Builder's Workman ..Mr. Arthur Milton Telegraph Messenger ....Mr. Thomas Burns
Dr Hunter Mr. Ernest Haines
Mrs Mackintosh ....Miss Muriel Stewart
Vernon Hodder Mr. Lewis Casson
First Cyclist Miss Doris Bateman
Second Cyclist Miss Marie Royter
Hubert Norton Mr. Leonard Mudie
I Mr. Reginald Fry Workmen 1 Mr< Tom Kiifoy
Third Cyclist Mr. Leonard Chapman
Mrs. Beverley Miss Annie Moller
Nelly Miss Marie Royter
Pownall Mr. Herbert Lomas
Mayo Mr. Arthur Milton
Elderly Woman Miss Doris Bateman
—Gaiety, Manchester.
RIGHT MR. WRONG. THE, musical absurdity, two acts, libretto by Leslie Hawkins, music by George Burton. June 3.
Percy Dickens Mr. Leslie Hawkins
Barnaby Dickens Mr. Edward De-Vere
Herbert Wrong Mr. R. J. Long
Roger Wrong Mr. Harry Cooke
Harold Smarte Mr. Eric Boyd
Mr. Jackson Mr. Harvey Hildergard
Marjorie Dickens
Miss Muriel Sancton
Mrs. Roger Wrong Miss Ada Tyre'l
Miss Turtle Miss Julie May
Miss Mock Miss Ina Thornton
Miss Hako Miss Marie Gale
Miss Plaice Miss Mabel Tremere
Mrs. Dickens Miss Maud Beard
Ruth Miss Hettie Gale
—Grand, Luton.
RIA'S LUCK, play, in one act, by Clara Elstol. January 30.
Florrie Miss Beatrice Bell
Aggie Miss Clara Elstob
Jenny Miss Gwendoline Garland
Ria Watson Miss Agnese de Liana
Bill Lawson Mr. Frank Harris
—Studio.
RIGHT TO DIE, THE, drama, in one act, by Riccardo Stephens. (Produced by the On- comers' Society.) June 27. Dr. R. Beckenham Mr. H. Graham Gribble Harry Beckenham ..Mr. Edmund Kennedy Beatrice Beckenham
Miss Alice Clayton-Green
A Trained Nurse Miss Lilian Mason
—Little.
RIGOLETTO. Presentation of Verdi's opera in Yiddish, translated, condensed, and adapted by Samuel Alman, A.R.C.M. April 10.
— Yiddish People's, E.
RING OFF. Amateur production of a comedietta, by Cecil Brooking and Alistair N, Tayler. February 6.
—Prince of Wales's, Grimsby.
ROB ROY. Revival of the Scottish play, by the London Scottish. March 18.
—King's, Hammersmith.
ROBERT EMMET, Irish historical drama, by J. W. Whitbread. December 6.
John Philnot Curran Mr. J. C. Warren
Leonard McNally..Mr. John Bryant Tully
Plunkett Mr. Victor Silverni
Robert Emmet Mr. Wilfred Short
Larry O'Ryan Mr. James O'Brien
Barney Duggan Mr. Harry Ireland
Major Sirr Mr. J. C. Wilton
Corporal Hallam Mr. D. J. Davis
Lord Norbury Mr. L. Gill
Counsel for Prosecution. .Mr. Frank Worley
Sara Curran Miss Elsie Chapin
Anne Devlin Miss Laura Lawson
Maid at the Priory Miss Edna Vene
— Castlebar, Ireland.
18
THE STAGE YEAR BOOK.
ROBE ROUGE, LA. Revival of the play, by Eugenie B'rieux. Miay 13.
—Little.
ROMAN HOLIDAY, A, one-act piay, by Laur- ence Hanray. April 15.
The Secretary Mr. Laurence Hanray
The Sub-Manager Mr. Oliver Johnston
The Managing Director ..Mr. Ernest Bodkin
The Aviator Mr. Arthur Chesney
The Aviator's Wife
Miss Marjorie Patterson — Repertory, Liverpool.
ROMAN ROAD. THE. The Drama Society gave the first London production of Ella Erskine's one-act play, adapted from " The Golden Age " of Kenneth Grahame, March 4.
—Clavier Hall, W.
ROMEO ET JULIETTE. Gounod's opera was revived for the opening of the summer opera season, April 22.
—London Opera House.
ROSALIND, comedy, in one act, by J. M. Barrie. October 14. Trams f erred to the Haymarket. December 14.
Mrs'. Page Miss Irene Vanbrugh
Charles (her friend) Mr. Donald Calthrop
Mrs. Quickly Miss Helen Haye
—Duke of YortTs.
ROSE O' LOVE, play, in one act< by Stephanie Baring. September 20. Princess Marie of Retzberg
Miss Annie Gordon
Mianka Miss Helen Pendennis
Adrian Jen-nery ..Mr. H. Graham Gribble —Palace Pier, St. Leonard's.
ROSES ALL THE YEAR, a one-act play, transilated from the Portuguesee of Julio D antes by Mrs. Edward 1/ew.is and A. F. d'Akneida Carvalho, March 25.
Ignez Miss Gwladys Mawer
Susana* Miss Arddyn Hansard
-^Court.
ROiSMEIRSlHOLM. The Adelphi Repertory Company's revival of Ibsen's play. May 28.
—Little.
ROUGH RECEPTION, A, stagerigtfl produc- tion of a play, by James Skea. March 19.
—Surrey.
ROUND-UP, THE, a play, in four acts. Octo- ber 28. Sheriff of Dead" Man's Gulch. . Arizona Dan
Topaz Carson Mr. Cole Aspinall
Colonel Redmond — Mr. W. S. Hartford
Geoffry Lawson Mr. Alfred Grenville
Lawyer Bay Mr. James Newland
Jasper White Mr. Alfred Lafolle
Cheyenne Bill Clark Cherokee Bill
Buck Wade Mr. G. Balsten
Ed. Curry Mr. Alfred Lovell
Tobe Michaels Mr. Edgar Neville
Jim Spratt , Mr. Lewis Block
Indian Joe Mr. F. D. Kelly
Cream By Herself
Tuesday Clark Miss Mercia Russell
Mrs. Hay Miss Beatrice Grosvenor
Mrs. Wallace Miss Lena. Flowerdew
Lilian Redmond Miss Rita Tomkins
— Holloway Empire.
RUCTIONS, sketch, by Henry Bedford. June 24.
The Cook Miss Bessie Bedford
T,he Maid Miss Sybil Melville
The Footman Mr. Anderson
— Camberwell Empire.
RUSTLEiR, THE, dramatic episode, by William Myles. May 20. —Canterbury.
RUTHERFORD AND SON, play, in three acts, by K. G. Sowerby. January 31. Went into the evening bill at the Little, March 18. Mr. Harvey Braban and Miss Marie Ault took up the parts of Martin and Mrs. Henderson. Last performance (the 137th) July 13. John Rutherford .. Mr. Norman McKinnel
John Mr. Edmond Breon
Richard Mr. Frank J. Randell
Janet Miss Edyth Olive
Ann Miss A gnes Thomas
iMary Miss Thyrza Norman
'Martin Mr. A. S. Bomewood
Mrs. Henderson Miss Agnes Hill
— Court.
SACRIFICE, THE, allegoric, dramatic idyll, written and composed by Francis Bohr. December 9.— Palladium.
SACRIFICE, THE. Play in one act. by Alfred Crocker. Oct. 18. MORTALS.
Hera .Miss Nona Lancaster
Irene Miss Olive Terry
Alcides Mr. Charles Kejnyon
IMMORTALS. The Goddess Aphrodite
Miss Maufl Cressall
The Spirit of Hera Miss Ina Pelly
Spirits. — Misses Margaret Drew, Dorothy Hodgson, Yvonne Kaye, Muriel Lake, Athene Seyler, Joan Tuckett, Martha Vico, Jane Wells, Vivian Whitaker.
—Little.
ST. OSWALD OF NORTHUMBRIA, first Lon- don production of a religious and his- torical play, by the Rev. H. M. Down- ton. (Originally produced October, 1909, Plymouth). April 20.
—Crosby Hall. Chelsea.
SAILOR AND THE NURSEMAID, THE. nautical! episode, words and lyrics 'by Charles Childerstone, music by Hamish McCunn. June 27.
Captain Ironside.. Mf. Reginald C. Hunter Jack WeaUherall Mr. Charles OhiMerstone
Nancy Jones Miss Maudi Thornton
— Aldwych.
SAIREY GAMP. Incident in the life of Mrs. Gamp, adapted from " Martin Chuzzlewit " by J. Comyns Carr. March 25.
Sairey Gamp Mr. Cyril Maude
Betsy Prig Mr. Arthur Helmore
Mr. Sweedlepipe — Mr. Ernest Graham
—Palace.
SANDY AND HIS ELIZA, comedy, in three acts, by H. V. Esmond. Sept. 30.
Hon. Sandy Verrall Mr. Ben Webster
Alexander Stoop Verrall ..Mr. Fred Grove
Montague Jordon Mr. Earle Douglas
Herbert Mr. Charles Esdale
Lady Pennybroke Mrs. Kemmis
Vera Laurence Miss Helen Hamilton
Mrs. Allaway Miss Constance Groves
Dorothy Miss Eva Moore
—*West Pier, Brighton.
SANOYA. " Japanese idyll," in one act. by Marjorie Seymour, music by H. W. Hew- lett. June 26.
Sanoya Miss Marjorf e Seymour
A Stranger Mr. Morley Peel
— Lyric, Hammersmith.
SAPHO, dramatic sketch, in three scenes, adapted from Daudet's novel, by He"lene Forest. Nov. 18. Fanny Le Grand — Miss He"lene Forest
Jean Gaussin Mr. Franklyn Bellamy
Uncle Cesaire Mr. Aylmer Vane
La Gournerie Mr. Oswald Waller
La Caudal Mr. H. C. Rene
Rosa Mass Hilda Attenborough
—Putney Hippodrome.
77/7-; STAGE YF.AK BOOK.
183
SAXORRA AND THE PRINCE. Preliminary performance of a drama, in four acts, by Leonard Ambler and Thomas Stake. Sept. 14.
—Albert, Brighouse.
SCAMP HAWKINS. Western dramatic sketch, " in one scene and three lights," by C. Douglas Carlile. June 10. Scamp Hawkins ..Mr. C. Douglas Carlile
Red Gregory Mr. Charles A. Carlile
The Sheriff Mr.Robert Carton
The Kid Mr. Gerald Blake
The Greaser Mr. Arthur Charrington
Bud Mr. Arnold Deveraux
adi<> Logan Miss Carlotta De Yonisom>
— Woolwich Hippodrome.
E IN A RESTAURANT. First London presentation by Cavalieri of a protean sketch, in one scene. Aug. 26.
—Palladium.
SCHEHERAZADE, Music-hall production of the ballet, in two scenes, by Rimsky Korsa- kov. July 29*.
Shachi-iar M. Boulgakofl
Albdurachman M. Morosoff
Scheherazade M<lle. Adamovitch
Usbek M_ Alexis Kosloff
•Nazi Mile. SchmoLtz
Ingo M. Theodore Kosloff
—London Coliseum.
SCHEMERS, THE, comedy, in one act, by Francis Maenamara. (Produced by the Theatre in Eyre.) May 17. Bartholomew Madder Mr. H. A. Sain.t&bury
Mrs. Madder Miss Emily Luck
Henry Madder Mr. P. Perceval Clark
Brock Madder , Mr. Herbert Ranson
Lucy Madder Miss Cathie en Nesbitt
Miss Vauxhall Miss Ada Potter
Mr. Otley Mr. Julius Knight
—Crosby Hall, Chelsea, S.W.
SCHOOL FOJR LIF1E, A, comedy, in three acts, 'by Sylvia Bristowe. March 25.
Mrs. Goodhiart Miss Eetelle Despa
George Mr. Charles Stuart-Linton
Alex Miss Athene Seyler
Penigrine Scarlett Mr. Geoffrey Denys
Arthur Callander .... Mr. Eraest Thesiger
Hurry Callander Lieut. E. M. King
Mrs. CaLland«r Miss Kathleen Alt
•Servant at Arthur Callander's
Mr. A. MoMaster Servant at Mrs. Goodhiart's
Miss Violet Baldz --Court.
SOOTTILAIND FOR (EVER, military song scena by Leonard Cooke, music by Edward St. Quentin. (July 22, King's, .Southsea.) August 19. — Walthamstow Palace.
SCOTTISH EMIGRANT, THE, comedietta, by Katherine Mann. October 25.— Athenseum, Glasgow.
SOBAPE O' THE PE.N, A, Scottish comedy, in three acts, by Graham Moffat. September 4.
Eppie Inglis Miss Kate JTcsbit
Flora M'Gdlp Miss Margaret Noble
Mrs. Baikie Miss Agnes Miller
Geordie Pow Mr. Joseph Parker
Hugh Menzies Mr. Alfred Brydone
M'attha Inglis Mr. Graham Moffat
Leezie Inglis Mrs. Graham Moffat
Jean Lowther Miss Jean Aylwin
Peter Dalkeith Mr. Will Jaxone
Miss Prin.gle Miss Margaret Boyd
Taffy Knot Mrs. BlaJce Adams
•Alec Inslis Mr. Norman MacOwan
Beemie Scot* Miss Adelaide Grac<?
— Comedy.
SEAGULL, THE, a play in four .acts, trans- lated by George Calderon, from the Rus- sian of Anton Tohekhof. March 31. Mme. Arcadina ... Miss Gertrude Kingston Constantine Tr^plef
Mr. Lawrence Anderson
Peter S6rin Mr. Leonard Calvert
Trigorin Mr. Maurice Elvey
Nina Mme. Lydia Yavorska
Shamrayef Mr. Leslie H. Gordon
Pauline Miss Hilda Honiss
Masha Miss Mary Mackenzie
Eugene Dorn Mr. Ross Shore
Medvedenko Mr. Campbell Cargill
Yakof Mr. John R. Collins
Gook Mr. Lindsay Ellis
—Little.
SEASIDE REVIEW, THE (ALL YOU SEE BY THE SILVERY SEA), book toy Joe Peterman and Stanley Leedham. Music by Frank Leedham. (December 30, Oxford.) December 9.
Rosenburg O'Hagan Mr. Joe Peterman
The Mayor Mr. Leedam Stanley
The Restaurant Keeper Mr. W. Elgar
The Waiter Mr. Mark Lane
Charlie (the juvenile) Mr. Angus Strong
Miss Gabriel Miss Roma June
Mrs. Brixton Miss Marie Shield
Comedy parts
Messrs. J. Dudley and W. Jordan — Hippodrome, Southampton.
SECOND HONEYMOON, THE, farcical comedy, in one scene, by J. M. Lewis (produced by amateurs). November 25.
Jack Devereux Mr. W. M. Macdowall
Dick Gladwyn Mr. W. J. Stamp
Morson Mr. Leslie R. Hodge
Mrs. Devereux Miss Margaret Cottam
Lydia Gladwyn .... Miss Cecilia Macdowall — Cripplegate Institute.
SECOND IN COMMAND, THE, revival of Captain Robert Marshall's comedy in four acts. (Originally produced November 27, 1900, Haymarket). February 8. Last performance (the 52nd), March 23. Lieut.-Col. Miles Anstruther
Mr. Cyril Keightley Major Christopher Bingham
Mr. Cyril Maude Lieut. Walter Mannering
Mr. Robert Averell Lieut. Peter Barker — Mr. Evan Thomas
Medenham Mr. John Harwood
Hartopp Mr. Frank Bradley
Sergeant Mr. Ernest Graham
Corporal Mr. Peter Blunt
Orderly Mr. Leonard Batchelor
Mr. Fenwick Mr. Daniel McCarthy
The Hon. Hildebrand Carstairs
Mr. A E.. Matthews The Duke of Hull ... Mr. Lawrence Leyton
Muriel Mannering Miss Doris Lytton
Lady Harburgh Miss Helen Ferrers
Norah Vining — Miss Marie Hemingway —Playhouse.
SECRET WOMAN, THE, play in five acts by Eden Phillpotts. February 22.
Sarah Tapp Mrs. A. B. Tapping
Joshua Bloom Mr. William Farren
Anthony Redvers Mr. Claude King
Jesse Redvers Mr. Hunter Nesbitt
Michael Redvers Mr. Harold Chapin
William Arscott Mr. Horace Hodges
Joseph Westaway Mr. Charles Daly
Salome Westaway Miss Iris Hoey
Barbara Westaway . . Miss Esm6 Hubbard
Nathaniel Tapp Mr. E. H. Paterson
Ann Redvers Miss Janet Achurch
Toby Hannaford Mr. J. E. Daniels
Ned Peara Mr. Alan Wade
Police Inspector ... Mr. Thomas Mowbray — Kingsway.
184
THE ST4GE YEAR BOOK.
SENSE OF HUMOUR, A, comedietta, in one act, by J. H. Irvine (produced by the Black Cat Club). September 16.
Mary Featherstone Miss Ella Daincourt
Eileen Hadaway Miss Cicely Barcham
Jack Danfred Mr. A. F. Lysons
Bennett Mr. Percy Vernon
— Rehearsal.
SEVEN BLIND MEN, drama, in one act. adapted from the French, " Atelier d'Aveugles," of Lucien Descaveis, by Jose G. Levy. September 2.
Mr. Martin Mr. Clarence Derwent
Knox Mr. Ivor Barnard
Jenkins Mr. Howard Cochran
Stevens Mr. Sidney Burt
Walters Mr. C. A. Wenlock Brown
Franklin Mr. Geoffrey Guise
Mason Mr. Lancelot Lowder
Rogers ' Mr. Fred Dark
Foxey Bill Mr. W. s. Hartford
— Palladium.
SHAKESPEARE'S DREAM. Pageant of Shakespeare's heroines. (Produced by the Woman Writers' Suffrage League. February 9. William Shakespeare ..Mr. Charles Esdaile
Puck Miss Beatrice Ferrar
The Spirit of Literature ..Miss Edyth Olive
Clown Mr. Courtice Pounds
Viola Mrs. Leslie Carter
Jessica Miss Esm6 Lee.
Portia Miss Marion Terry
Hermione Miss Francis Dillon
Paulina Miss Maud Hoffman
Perdita Miss Hester Margetson
Amiens' Mr. George Westlain Davies
Nurse Miss Marianne Caldwell
Juliet Miss Mary Dibley
Desdemona Miss Edith Pither
First Witch Miss Penelope Wheeler
Second Witch Miss Inez Bensusan
Third Witch Miss Armine Grace
Lady Macbeth Miss Cicely Hamilton
Anne Bullen Miss Italia Conti
Attendant Miss Hetta Bartlett
Queen Catherine Miss Janette Steer
Attendant Miss Kathleen Russell
Audrey Miss Agnes Miller
Rosalind Miss Alice Crawford
Touchstone Mr. Plumpton
Celia Miss Winifred Mayo
Kate Mrs. Sabia Raleigh
Ariel Miss Berne" Hersee
Miranda Miss* Nona Kerm
Cordelia Miss Eva Stuart
Ophelia Miss Lena AsMwell
Imogen , . . .Mass Nora Lancaster
Mrs. Ford Miss Eva Moore
Mrs. Paige Mrs. J. T. Grein
Beat ri ce M iss Christie Laws
Portia (J<ul. Cfles.)..Miss Victoria Addison
Cleopatra Miss Adeline Bourne
Attendants — Miss Constance Moxon,
Miss Ethel Hart, Miss Lydia Sydney,
Miss Ivonne Kaye. Sprites Master Walter Wood gate,
Master Harry Whitney, Mis* Eva
Drysdale, Miss Gwynne WJiitby.
—Prince's.
SIIEiPHERD, THE, one-act play, by C. A. For- rest. March 11.
The Shepherd Mr. Laurence Hanray
The Wife Miss Estelle Winwood
The Gamekeeper — Mr. Oliver Johnston — Repertory, Liverpool.
SHEiRB'EtRT OF PE1R,SIA, "Eastern mixture," in two scenes. June 24.
Prince Cassim Miss Hulo Hodgson
Mr. Moonday Mr. Alec T. Gillette
Hafiz Mr. Walter Murray
AM, Mr. A. Leslie
Sherbert of Persia (continued).
Lady Myra Miss Elline Tooney
Mi-f. V;»i der Bosh Miss Evelyn Shelley
Mamie Van der Bosh.. Miss Mavis Beames
Mrs. Herbert Miss Amy Lyons
Herbert Mr. Harry Lowther
— ^Hippodrome , Eastbourne .
SHE WAS XO LADY, re-written version of George Grossmith's " thrilling " drama, in onid act. September 10.
The Hero Mr. George Grossmith
Tlhe Heroine Miss Ellaline Terriss
The Villain Mr. Seymour Hicks
The Detective Mr. Kenneth Douglas
The Retainer Mr. George Barrett
The Adventuress^ Miss Evelyn D'Alroy
The Child Miss Ivy St. Helier
— London Coliseum.
SHOCK-HEADED PETER. Revival of the children's play, in two acts, by Philip Carr and Nigel Playfair, founded on " Der Struwwelpeter." (Originally produced De- cember 26, 1900, Garrick.) December 21.
Papa Mr. T. N. Weguelin
Peter Mr. Edmund Gwenn
Augustus Mr. Edward Rigby
Philip Mr. E. Compton-Coutts
Blackamoore Mr. George Lane
Mintz Master George Selig
Mauntz Mr. W. A. Harvie
Mamma Miss Kate Bishop
Harriet Miss Nellie Bowman
—Vaudeville.
SHOOTING STAIR, THE, farcical sketch by F. Kinsey Peile. March 18.
Lord Bernard Mr. James Geldered
iRennell Paton Mr. Cecil A. Collins
Adams Mr. Wyn Weaver
Angela Pinker Miss Marie George
—London Pavilion and Chelsea Palace.
SHYLOCK HYAMS, comedy sketch, "by Wai Pink. September 2.
— fflammeflsani th iPalact .
SICKLE AND GROSS, one-act play, in verse, by J. M. Cuthbertson. May 3.
Geirrida Miss Nora Wynn
°rm Mr. Joseiplh Moore
A Monk Mr. G. B. Hood
Katla Miss Bella Anderson
A Maiden Mis* Loie M. Maclachlaii
— >RoyaJ Insititivte, -Glasgow. SIGNPOSTS, " fantastic romance in four direc tions " and an epilogue, by Prank Dix. September 16.
Direction I.
Gram Mr. Leslie Carter
Mawg Mr. Jackson. Wilcox
At-ya Miss Margaret Darner
Direction II.
Sir Galahad Mr. Stephen Adeson
Lawrence Mr. Walter Hunt
Lady lErmyntrude Miss B>uena Bent
Direction III.
John Groom Mr. Leslie Carter
Jim Morgan Mr. Jackson Wilcox
Alicia Miss Margaret Darner
Direction IV. Galbradth Pankhurst, M.P.
Miss IM. Wyn Weaver.
Lawrie Miss Buena Ben
Ernest Mr. Walter Hunt
—Oxford.
SIMPLE LIFE, THIE, comedy, in one act, by Julian Kin.?. (Produced by the Rehearsa'l Theatre Introductory Company.) May 11.
Jack Burkitt Mr. Charles A. Roberts
Esther Burkitt Miss Mabel Hewley
Mrs. Knaggs Mis® Carol Cartwrifeht
Mrs. Selwyn Miss Emily Avison
Julia Purvis Miss AverW Dane
Maidservant Miss Maud Beverley
—Rehearsal
THE STAGE YEAR HOOK.
185
slN'iKRS. THK, drama (in Yiddish), in four acts, by Mark Arnstein. March 27.
— Feinman Yiddish Tbeatri . V..
stNNKIts. four-act play, by Constance Glusby. November 18.
Arthur Lloyd Mr. Louis Calvert
Aunii^tiis Oliver Mr. Gayer Mackey
Stacey Neville Mr. Charles Cowper
sir Wilfred Brydon Mr. George Herbert
Lady Brydon Miss Kate Waif red
,ia Brydon Miss Dulcind Glasby
Lord Haven Mr. Arthur Vezin
Mrs. Eiliii'.'hani Miss Eva Dare
Doctor Mr. Herbert Vere
Morton Mr. Willie Scott
Skinner Mr. Arnold Winters
Osra Mr. Charles Slarke
Sooka Mr. George Jones
Jeanne Oliver Miss Rose Ralph
— P?-lacc Pier, Brighton.
SIR FRANCIS DRAKE, romantic drama, in four acts, by E. H. Tyrwhitt-Drake. July 13.
— Kingston Empire.
SIR ROBIN HALL; OR, THE FAIRY SUF- FRAGETTES, fantastic opera, in four acts, words by C. J. Tonsley, music by C. E. Cowlrick. (Produced by amateurs). May 7.
Sir Robin Hall Mr. Alec J. Barrie
Joe Muggins Mr. A. Yorke-Lester
Mayor of Starborough
Mr. George W. Clarke
Mr Kidd Mr. Harold H. Holmes
The Watchman Mr. 'Sydney Harris
A Ballad Monger Mr. W. H. Pilgrim
Mace Bearer Mr. Robert Miller
A Burgess Mr. Harry P. Lever
The Fairy Queen Mrs. A. L. Tippetts
Phantos Mies Hylda Klee
Leader of Suffragettes Mrs. W. L. Cheary
Dorothy Hall Mi?s Madge Morrall
A Market Woman Miss Eunice Hefford
Judge of Assize Mr. Sydney Hams
Clerk of Assize Mr. Harold H. Holmes
Court Usher Mr. Joseph O'Shea
Foreman of the Jury ..Mr. Robert English
Counsel for Prosecution Mr. William Harris
Counsel for Defence ..Mr. William Furber
— Temperance Hall, Leicester.
SIR THOMAS MOORE, historical play (pro- duced by amateurs). December 11.
— Temperance Hall, Birmingham.
SITUATION AT NEWBURY, THE, play, in three acts, by Charles McEvoy. March 18.
Iris Perrin Miss Esme" WTynn
Miss Hamlyn Miss Louise Holbrooke
A Parlour Maid Russell Rogerson
Philip Perrin Mr. Ronald Squire
Morris Mr. Arthur Chesney
A Chauffeur Mr. J. H. Roberts
George Yonge Mr: ^Gr en don Bentley
Mrs. Perrin Miss Dorothy Ma-sssingham
A Gardener Mr. John Garside
A Housemaid Mi~s Dorothy Kingsley
— Repertory, Liverpool.
SIX PERSONS. Revival of Israel Zangwill's duologue (originally produced December 22, 1893, ' Haymarket). (Again revived April 29, London Coliseum). January 4.
—Court.
SLAVE RUNNERS, THE, episode of the West, African Swamps, by John G. Brandon and Mrs. E. Cantrell. April 22.
Abe Bluch Mr. Geo. Pickett
Capt. Jim Hollis Mr. F. Annesley
Luce Varoa Mr. L. Osborne
The Rev. .Arthur Bankes Mr. L. Howe
Joe Mr. A. Fisher
An Old Negro Mr. J. Smith
Katherine Innes Miss Campbell
—Poplar Hippodrome.
SL'UMBRRLAND. Amateur production of a musical fairy play in two acts and a •icau, written and composed by Hubert Rooney. March 7.
Mortals :
Miss Primrose Miss Moni-s
rtle Primrose Miss Molly Meagher
Lady Pickleberry Brown — Mi<s Brunton
Kllen MUs Lily Douglas
Doris Eileen Byrne
* Susie Gracie Nolan
Sheila Nance Jeffares
Margery Rosalind Cohen
Maisie , Alice Nolan
Immortals : Fairy Queen ..Miss Kathleen Gerald Byrne
Shiny Eyes Beatrice Leggett Byrne
Kis-mi Joyce Chancellor
Mi-tu Kathleen Armstrong
John Willie Billy Deiwar
Humpty Dumpty Paddy Nolan
Characters in Nursery Rhymes: Jack and Jill Jack Taylor and Nell Jeffaree
Little Bo-Peep Eleanor Taylor
Little Boy Blue Billy Jeffares
Curly Locks Violet Mercer
—Gaiety, Dublin.
SMUGGLER, THE. First London' production of a spectacular sketch, in five scenes, by Albert Hengler. July 15.
Mary Collet Miss Marie Kildare
Martha Collet Muss Emilie Melbourne
Granny Collet Miss Evelyn De Rheims
George Logan Mr. Cuthbert Taylor
John Logan Mr. W. .Lewis
Ned Logan Mr. W. Martinetti
Tom Logan Mr. F. Martinetti
Lieut. Dawson Mr. J. Robertson
Captain Erbe Mr. L. F. Dure:l
The Waster Mr. C. Martinetti
Little Davey Master Eager
Old Peter Mr. W. Brunton
— Hackney Empire
SNAKE WOMAN, THE, drama, in one act, by Rathmell Wrilson. (Produced by the Black Cat Club. April 23.
Dick Charters Mr. Rathmell Wilson
Snake Charmer Mr. Geoffrey Douglas
Boy ' Miss Violet Lewis
Zillah Miss Eve Balfour
—Clavier Hall, W.
SNOOKERED, first London production of Fred Rome's comedietta. Jan. 1.
—Crouch End Hippodrome.
SOIR, UN, play in three acts, by Gabriel Trarieux. April 24. (Originally produced at the Ode'on, Paris, Oct. 18, 1910).
Andre" de Chambolles M. Jean de Land
Commandt. Villars M. A. Bouzin
Achmet M. P. Maugu6
Andr6 Houvette M. F. Demorange
Mathilde Houvette Mile. Derigny
Antoinette Villars Mile. Morni
Miss Clarke Mile. Fanny Tellier
Le Petit Marc Mile. Rosa tfloch
Sabinne Villars Mile. Myriam-Deroxe
— Litftle.
SOLDIER PRINCESS, THE, four-act romantic dnnna, >by Walter Howard. (Nov. "1, Ea/1- in.g). Se.pt. 4.
Prince Leopold Mr. Walter Howard
Nicolas Mr. Frederick Moyes
Nigel, the Crown Prince
Mr. Alfred Brandon
General Swarzburg ..Mr. W. A. Mackersy Colonel Hellenstein ..Mr. Edward Harrison Colonel Reinhardt ....Mr. Walter Billiard
Colonel Stalitz Mr. Joseph Ellis, jun.
f;iptain Geldermann Mr. Ralph Ennal
Captain Wellburg ..Mr. William Walton
186
THE STAGE YEAR BOOK.
The Soldier Princess (continued),
Colonel 'Gerolsdiorf ..Mr. Ernest Femley.
Lieut. Flapp Mr. Forrester Harvey
Lieut. Brissel Mr. Frank G. Cariello
Count Augustus Von Swankstein
Mr. J. W. Braithwaite Count Adolphus Von Swankstein
Mr. Ewart Drake
A Captain Mr. Gray Dolby
A Royal Servant ..Mr. William F. Gruton
A Soldier Mr. Arthur West ley
Countess June Von Rubenstein
Miss Jessica Black Countess July Von Rubenstein
Miss Ivy Millias
Carina Miss Annie Saker
— Junction, Manchester.
SON OF A JEW, A, sketch produced by Her- bert Landeck. January 22.
— Shoyeditch, Olympia.
SONG OF THE SEAL, THE, one-act play, by Graham Price. October 25.— Athenaeum, Glasgow.
SONS OF A MIGHTY EMPIRE, naval and military spectacle, presented in a series of tableaux, designed, arranged, and pro- duced bj» Mile. Pauline Rivers, in conjunc- tion •witih Mr. iGeopge H. Hairrop, music composed and .arranged by J. Woof Gaggs. July 6.
—Tower, Blackpool.
SPAEWIFE, THE, play, in three acts, by P. Charles Carragher. December 18. Provost John Linklater.Mr. Robt. McDowall
Henry Heathergale Mr. Will Johnston
Red Rattray Mr. David Forsyth
Tickie Teeyindale Mr. David Hastings
Grub Morrison Mr. Frank Scott
Justice Gilchrist Mr. Joe Hastings
Lanston Birsie Mr. R. Meldrum
"Seegin" Barclay Mr. Mitchell
Francie Fitchet Mr. James Clark
Captain of the Guard.. Mr. Hector Savage
Laurie Lindsay Mr. Chas. Hutton
Gabbie Gilchrist I T.T_ T TT ,
The Spaewife } Mrs' J' Hastings-
Madge Linklater Miss Lizzie Riddle
Elspeth Mackenzie .... Miss Nellie Riddle
Mrs. Dalrymple Miss Flora Douglas
—Royal, Montrose.
SPANISH LOVERS, THE, play in three acts, adapted from Fernando de Rojas's Spanish romance, " La Celestina," by Edward Gar- nett. May E2.
Sosia Mr. Wilfred Fletcher
Parmeno Mr. Ivan Berlyn
Elicia Miss Margaret Yarde
Areu&a Miss Marie Royter
Sempronio Mr. W. G. Fay
Calisto Mr. Alfred Wild
Melibea Miss Mona Limenck
Lucretia Miss "Carrie Haase
Cefestina (Miss Isaibel Grey.
Alisa Miss Emily Luck
Pleberio Mr. Henry Austin
Centurio Mr. Archibald McLean
—Little.
SPLENDID SILENCE, THE, romantic play, in one act, by Arthur Rose. Sept. 16.
Roland Miss Anna Cuka
Princess Isabel — Miss Violet M. Barnett Count Villamere — Mr. Norman Desmond Lieutenant Starn ..Mr. JTrnest K. Nelson Lieutenant Savar — Mr. James Lingard Commandant Raarfelt Mr. Wilfred Keevil
Raff Woolfer Mr. Alfred Harding
Stepan Laandor Mr. Johnson Travis
Adrian Roman Mr. Arthur Rose
— Balham Hippodrome.
SPORTING OFFER, A, " a walk-over in one canter," by G. Fennimore-Glynn. (A efcageirigM peirfioranamce took place on Jamie 29.) Juily 1.
The Widow Miss Nellie Stevens
The Wife Miss Phyllis Waller
The Prodigal Mr. William Midgley
The Lamb Mr. iFramlk Ellistom
—Hippodrome, Eastbourne.
SPRINGTIDE, operette, by Aubrey Fitz- gerald, music by Frank Lambert. July 29. — Collins's.
STAFF DINNER, THE, " an annual episode," an one scene. May 20.
Mr. Archie Mr. A. W. Baskcomb
Mrs. Archie Miss Ninon Dudley
It Mr. Herbert Russell
— Tivold
STAGE STRUCK, farce, by Edith Harrison. (Produced by the Black Cat Club.) Sep- tember 16.
Bridget Miss Elsie Mildred
Nancy Miss Wynn Westcott
Professor Mr. Percy Vernon
—.Rehearsal.
STARiLINiG, TvHE, Scotlfeh playlet, founded by P. D. M. upon Dr. Norman Macleod's work. (June 25, Playhouse; July 8, Lon- don Pavilion.) June 10.
Adam Mercer Mr. Dickson Moffat
Rev. Daniel Porteous — Mr. J. B. Gordon
Kate Mercer Miss Louica Goursey
— Alhambra, Glasgow.
STATE INSURANCE; OR, THE DOCTOR'S MINIMUM WAGE, sketch, by W. H. Perrette. December 16.
Mrs. Carlisle Miss Ella Thornton
Claude Mr. T. Renaud Lockwood
Dr. Finishem Mr. John Beech
Mary Miss May Mostyn
John Mr. W. H. Perrette
—Grand, Manchester.
STATIONMASTER, THE, comic &ketoh, by Joe Petal-main land 'George Rictoetts. {iStage- night pnoduiction, January 20, King's, South- sea). March 11.
— Walthamstow Palace.
STRIKING HOME, play, in one act, adapted from the French SABOTAGE of Ghas. Hellem, William Valcros and Pol D'Estec, by Jose G. Levy. (Originally produced •Royal Glasgow, April 5; Ga'rric-k, May 9.) First m'Uisic-hailill product ioiii, Ju'ly li§.
Jim Mason Mr. Edmund GUrney
DT. Cartwright Mr. Oscar Adye
Maggie Mason.. Miss Margaret Scudamore
Mrs. Finch Miss Beatrice May
—Palladium.
STREET SINGER, THE, sketch. November 25.
SUCH STUFF AS 'EROE'S ARE MADE OF, one-act play by Isabel Tippett. November 15.
—Chelsea Town Hall.
SUDDEN CALL, A, musical monologue, by E. C. Rolls. May 27.
— Granville.
SUNDAY MORNING, play, in one act, by Stanley Cooke. (January C, 1913, Metro- politan.) April 8.
Bill Mr. Ediward Chester
Little Bill Miss Irene Ross
Captain Jane Miss Katherine Fielder
—Royal Court, Liverpool.
THE STAGE YEAR BOOK.
187
si \>HIM: <;IKL, THE, musical play, in two
/ acts, by Paul A. Rubens and Cecil Raleigh,
lyrics by Paul A. Rubens and Arthur Wim-
peo-Ls, music by Paul A. Rubens. February
24.
ILord Bicester Mr. Geo. Grossmith, .Tun.
Vernon Blundell Mr. Basil S. Foster
Commodore Parker Mr. George Barrett
Hodson Mr. Tom Walls
Stepneyak Mr. Robert Nainby
Whitley Mr. G. Grundy
Dever Mr. W. Stephens
Baring Mr. S. Lloyd
NY1 grove Mr. G. Lynch
Telf ridge Mr. J. Grande
Mr. Williams Mr. O. Collins
Major Lascelles Mr. A. WeJlesley
Bobbie McLeod Mr. G. Comyn
Policeman Mr. Charles Russ
Policeman Mr. James Redmond
Sailor Mr. Austin Camp
Footman Mr. Raynham
Floot Mr. Edmund Payne
Lady Rosabelle Merrydew ..Miss Olive May
Marie Silvaine Miss Mabel Sealby
Emmeline Miss Violet Essex
Sybil Miss Avice Kelham
May Miss Blanche Stocker
Lucy Miss OEleie Collier
Violet Miss Florence Reade
Lily Miss Olive Wade
Kit Miss Marie Mitchell
Lady Mary Miss Irene Warren
Miss Molyneux Miss Gladys Wray
Hon. Miss Grey Miss Pattie Wells
Lady Clara Miss Dorothy Fane
Mi^s Rivers Miss Ethel Lawson
Miss Pontifex Miss Kitty Undley
Brenda Blacker Miss Connie Edi-'s
Delia Dale Miss Plhyllis Dare
—Gaiety.
SUXNY BUSHES, playlet, by Horace Annes- ley Vachell. December 9.
William Panel Mr. George Fawcett
Mrs. Panel Miss Ethel Beaumont
Nathaniel Leveson . . Mr. Ernest Leicester
Judge Taylor Mr. Eldrett Gulson
—Shepherd's Bush Empire.
SURPRISE OF HIS LIFE, THE, one-act play, by Jess Dorynne. (Produced by the Pioneer Players.) April 21.
Mr. Jenkins Mr. Telford Hughes
Mrs. Jenkins Miss Gwynneth Galton
Kliza Miss Edyth Olive
Emily Miss Athene Seyler
Sally Miss Auriol Lee
Alfred Williams Mr. W. B. Abingdon
—King's Hall, W.C.
SUSAN'S EMBELLISHMENTS, a play, in one act, by Arthur Eckersley. December 23.
Susan Smith Miss Clare Greet
Jane Pratt Miss Betty Ward
Miss Wilcox Miss Mary Merrall
Bill Smith Mr. Edward Rigby
— Palace.
Sl'SANNEN'S GEHEIMNISS (SUSANNE'S SECRET), German intermezzo in one act, music by Ermano Wolf-Ferrari. February
Count Gil Mr. George Parker
Countess Susanne
Miss Therese M. Schlagintweit
Sante Mr. George Till
— Gaiety, Manchester.
Si:ii.MARINE F7, TEE, playlet, adapted from tibe iFre-ntoh of Atli. Moretix and J. Petard, by Harold Simpson. March 25.
Lieut. Gordon Mr. Wordley Hulse
Lieut. Crawford Mr. Clifford Marquard
Dennis Mr. Arthur Robson
The Submarine F7 (continwlt.
Sutton , Mr. Charles Benson
Foster Mr. M. Hodgson
Rogers Mr. H. Wynn
Bell Mr. J. Patrick Turnbull
Birch .. Mr. Hugh Rene
' Cox Mr. F. Hall
Chadwick Mr. Buckley
E\ans Mr. J. '
—Tottenham Palace.
SWEEPING THE COUNTRY, comedy, in two acts, by William Paul. December 1U. James McKay, J.P..Mr. Gerald Macnamara
Mrs. McKay Miss Evelyn Fitzgerald
Molly Miss Kathleen Laurence
Mrs. Gray Miss Mary Crothers
Charlie Moore Mr. C. J. Abbey
Arthur Vincent Mr. Jackson Grahame
Andy Cunningham Mr. J. M. Harding
Paddy Doyle Mr. Alan Whitley
Albert Parr Mr. John Field
—Opera House, Belfast.
SYLVIA GREER, comedy, in three acts. November 16. Last performance (the llth), November 27.
Dr. Wybrant Mr. Guy Standing
Mr. Blount Mr. Hugh Ardale
Captain Harte Mr. Reginald Owen
Mr. West Mr. Edward Rigby
Bertie Channing .. Mr. P. Perceval Clark
Paget Carmody Mr. Heath Haviland
Sir John Gatacre Mr. W. R. Staveley
Colonel Greer Mr. C. M. Lowne
Sylvia Greer Miss Ethel Warwick
Mrs. Greer Miss Trevor Lloyd
Mrs. Harte Miss Alice Mansfield
Mrs. W£st Mrs. Sam'Sothern
Lillian Channing ... Miss Constance Little
Kitty Ingersoll Miss Jane Savile
Lady Gatacre Miss Claire Pauncefort
Grace Woolcott Miss Lydia Russell
A Maid Miss Nancy Girling
—Queen's.
TANGLED 'WEDLOCK, farce, in one act, by J. H. Oliver. October 11.
Rev. Walter Fry Mr. L. E. Notcutt
Fred Arden Mr. Edmund Daly
Gwendolyn Davies Miss Myra Sehvyn
Matilda Graham Miss Joyce Moore.
—Clavier Hall, W.
TANTRUMS, play, in three acts, by Frank Stay ton. October 22. Last performance (the. 23rd) November 9.
Myrtle Miss Christine Silver
Cranley Fordyce Mr. John Deverell
Rose Miss Dora Barton
Mrs. Halstead Miss Nellie Bouverie
Virginia Miss Marjorie Day
Mr. Halstead Mr. O. B. Clarence
Butler at the Halsteads'
Mr. L. Williams
Parlourmaid Miss Gladys Preston
Charlton Vansittart Mr. Charles Maude
Porter Mr. Gordon Hay
Waiter Mr. Roland Pertwee
—Criterion.
TAR AND THE TARTAR, THE, "one-act vaudeville." November 11.
Mustand Pasha Mr. W. Gordon Meagor
Jim Jaggers Mr. Jack White
Bill Bowling Mr. Jack Hill
Zenobia Mis> Lillian Claire
Haidee Miss Doris Hamilton
-ton Empire.
TKA AND BANNOCKS, a duologue, by Frances M. Gostling and Lalla Henderson. February 13.
Mrs. Macpherson Miss L. Henderon
Mrs. Robertson Miss Ethel Cassels
—Royal, Worthing.
188
THE STAGE YEAR BOOK.
TELEGRAM, THE, one-act play, by Jess Dorynne: October 18**
Delia Carton Miss Jess Dorynne
Mrs. Lutrell Miss Estelle Stead
John Warren Mr. Charles Maunsell
Maid Miss Martha Vigo
—Little.
TEMPO FURIOSO, Beethoven episode, in one act, by Howard Cochran. June 24. Ludwig 'Van Beethoven Mr. Arthur Ohesaey
Ferdinand Reis Mr. Howard Cochran
Frau Goldstein Miss Alice Mansfield
Marie Miss Estelle Winwood
—Winter Gardens, New Brighton. : TEMPTATION OF" SIR GALAHAD, THE, ! play, in blank verse, by G. Lally. June 25.
Sir Galahad Miss Gwendolen Lally
Vivien Miss Cathleeu Nesbitt
Spirit of the Lake Miss Anna Nesbitt
—Court.
TERRIBLE TOREADOR, THE, sketch. (Pro- duced by Leo Fields.) March 25.
The Terrible Toreador Mr. Leo Fields
Juanita Miss Ettie Leonard
Prince Alfonso Mr. Geo. Steele
Slosher Mr. Bobbie Walkir
Sir Percival SpendalL.Mr. Bertram Thorns
-^Euston.
TERRORIST, THE, presentation for the first ' time on the London variety stage of an episode of Russian life, by Laurence Irving. (Originally produced April, 1911, Duke of York's.) February 5. The Governor's Sister.. Miss Beatrice Smith
Osip Mr. George Owen
Col. Jablonski Mr. A. C. Hardie
General Obelyani Mr. Fred Grove
The Terrorist Miss Mary Forbes
—Middlesex.
TEXAS RANGER, THE; OR, THE VANISH- ING RACE. " Play of the Plains," in three acts. (July 1, Prince's, Portsmouth.) July 8.
Freshwater Jack Mr. Cecil Klein
Colonel Marshall Mr. Arthur S. Pitt
Lieut. Vivian McClure ...Mr. Danell Greene Surgeon-Maj. Mitchell... Mr. Frank Norman
Lone Wolf Mr. Vernon Travers
John Yellow Dog Mr. Brian Daly
Red Bull Mr. Frank Richardson
Old Tom Mr. Linton L. Bishop
Private Perry Mr. Alfred Carpenter
Hop-wah Mr. Alfred La Folle
Schneider von Darn.. Mr. Peter H. Gardner j Mrs. Martha Ramsey
Mrs. J. W. BraithwaJte
Ann Washington Miss Amy Loraine
Ne-wa-ta Miss Ethel Greene
Ethel Marshall Miss Ethel Raynor
— Holloway Empire.
THANK GOODNESS, farcical comedy sketch. October 7.
Horace Percival Mr. Nevill Graham
Mrs. Percival Miss Dorothy Dale
An Unknown Man .. Mr. Edward Beecher
Maid Miss Trixie Ray
— Palace, Reading.
THEIR POINT OF VIEW, one-act play, by Wilfred Coleby. (First variety production, January 6, 1913, Palladium.) April 27.
— Hay market.
THERESE RAQUIN, revival of A. Teixeira de Mattos's translation of Emile Zola's play, in four acts. (Originally produced Octo- ber 9, 1891, Royalty.) April 23.
—Court.
THIRD TIME, THE, one-act play, by Francis M. Gostling. June 14.
Catel Harmon Mile. Norva
Pierre Le Run Mr. J. H. Irvine
Ninon Spot Adamson
—Clavier Hall, W.
THOMPSON IN TIR-N'A-N'OGE, fantasy, in one act, by Gerald Macnamara. December 9. High King of Tir-N'a-N'oge
Mr. Jackson Graham
Finn Mr. Norman Gray
Angus Mr. C. J. Abbey
Cuchalain Mr. C. K. Ayre
Conan Mr. Chas. Wilson
Maey Miss Kathleen Laurence
Grania Miss Evelyn Fitzgerald
Thompson of Scarva Mr. J. M. Harding
— Opera House, Belfast.
THOU SHALT NOT, sketch, by N. Thorpe Mayne. (April 1, Bedford.) July 22.
Leslie Heseltine Mr. N. Thorpe Mayne
Amyas Heseltine Mr. Leo G. Lilly
Harold Grey Mr. Mervyn Tempest
Harpur Mr. Frank Smith
Jessica Grey Miss Beryl Hamilton
—Victoria Pier, Folkestone.
THUMBSCREW, THE, one-act play, by Edith Lyttelton. (Produced by the Pioneer Players.) December 15.
Bernice Field Miss Phyllis Relph
Mrs. Field Mrs. Saba Raleigh
Will Dengate Mr. Shiel Barry
Joe Seldon Mr. Alfred Sangster
Mis. Densate Miss Lillian Revell
Mrs. Muggle Miss Margaret Yarde
Bob Miss Irene Ross
Lucy Miss Bessie Courtney
Fred Mr. Willie Courtney
—Little.
THREE CHAPTERS FROM LIFE, dramatic scena, in three parts, by Edwin Beverley. June 17.
— Euston.
THREE COMMON PEOPLE, play in one act, by Neil Lyons and " Henry Seton." (First Music-hall presentation March 11, Victoria Palace.) Subsequently played at the Vaudeville as PENNY A BUNCH. Feb- ruary 8.1
Alf Beeny Mr. Blake Adams
Poppy Dyke Miss Florence Lloyd
Sarah Moon Miss Pollie Emery
—Court.
TH!R'.EE DAYS IIX THE LIFE OF SAPHO, con- densed version of Alphonse Daudet's Sapho. April 29. Fanny le Gran-d
•Miss Jessamine Newcombe
Cesaire Gaussim Mr. J. W. Hooper
He'tte'ma Mr. Charles Wihitley
Mme. He'tte'ma Miss Lily Fern
'Flomant Mr. A. W. Fleming
Pierre Baby Entwistle
Jean Gau&sin — Mr. Cameron Matthews — Edmonton Empire.
TBRiElE KNOCKS, sketch written by Mf.ssrs. A. Luck, E. Lotinga, and Leonard F. Durell. January 29. Mr. Benjamin Fleet woo di. .. .Mr. M. Alwyne
.Mrs. .Edith Fleetwood Miss M. Thorpe
.Mr. William Ashcroft Mr. A. Dane
Jim Josser Mr. Ernie Lotinga
Suzette Mile. Rie Costa
— 'Woolwich Hippodrome.
THUMBS UP. Stageright production of a sketch in three scenes, by Fred Karno, Hickory Wood, and Albert Bruno. March
s'hakey Amdronicus .... Mr. Albert Bruno
Dromo Mr. Geo. Dalper
Balasih Mr. William Chewd
Zazara. Mr. Fred Newham
Emperor Mr. Bert Crewe
The Silent Knight Mr. Jack Sinclair
Nadea Miss Julia Barrett
Nitish Miss Lydia Weber
— Hippodrome, Aston.
THE STAGE YEAR BOOK.
189
TIDE, THE, play, in four acts, by Basil M;u- donald Hastings. December 14. (On De- •tiluT 30 the piece was played without the ct and otherwise altered in form.)
Pettcity Soarth Mia 1.1 hel Warwick
Dr. Stratton Mr. Norman Trevor
Jerry le Mult-re Mr. Shiel Barry
Lieut-. Col. Whithair ....Mr. Edmond Breon Mrs. Bivtlurt.m ....Miss Cievly Hamilton Maisie Bretherton
Miss Muriel Martin Harvey
Mr. Strick Mr. lli-ath Haviland
Tom Denny Mr. J. T. Macmillan
Hot-el Chambermaids: Miss Nancy Gir- ling, Miss Lydia Russell, Miss Kathleen , Banvtt. Page at the Hotel: Mr. Eric H. Albury.
' —Queen'*. I
TOASTED CHEESE, comedy drama. June 17.
John Brown Mr. J. D. Fox
Mary Brown Miss Daisy Cryer
Harry Thornton Mr. Ed. Avinall
Bill Jackson Mr. Gordon Kingsley
Cissie Brown Miss Violet Lyttooi
—Royal, Blackburn.
TRACKED, sketch, in one scene, by William Wade. August 16.
Mary Morris Miss Laura Hanseii
Eileen Miss Carrie Johnso.i
Gideon Banks Mr. Stanley Ravenscroft
Dick Connors Mr. Hugh Montgomery
— Britannia.
TRAFALGAR. First London .production of a nautical and spectacular sketch, based on la;e Robert Buohamaitt's d'Hama, " Tibe M;tri::.er.s of England." Originally pro- duced Coliseum, Glasgow May 29, 1911 •) March 4.
—South London Palace.
TRAGEDY OF A COMIC SONG, THE, piece, in one scene, adapted by Alfred Wareing from a story by Leonard Merrick. April 16.
The Frenchman Mr. H. A. Saintsbury
The Journalist Mr. Frederick Culler
The Waiter Mr. Eliot Makehum
— Royalty, Glasgow.
TRAN'SFORiMATIOiX OF BiACOHUS, THE. dance scena, by H. Saxe-Wyndham. music by Grace Hawkins. (Originally produced, July 2, Guildhall School of Music.) July 22. Lay Brother "I
and Mile. Katinska
Spirit of Wine I
Young Bacchus Miss Ivy Davies
— Kennington.
TRAPPED, play, in one act, by Neilson Morris. (Amateur production.) April 29.
James Anderson Mr. A. J. Neill
Edward Mr. Leslie Rea
Inspector Graves ...Mr. A. Hewlett Smith
Rachel Moore Miss Ellie Chester
—Clavier Hall, W.
TRAVELLERS, play, in three acts, by Norman McKeown. (Produced by the Stage Society.) February 4.
Mr. Warrington Mr. H. Athol Forde
Jack Baker Mr. Guy Rathbone
Hubert Ruthven Mr. Ralph Button
Muriel Ruthven .. Miss Madge Mclntosh
Tom Mr. Hugh F. S. Casson,
Josh Mr. Sebastian Smith
Waiter Mr. Charles Bishop
Ted Mr. E. Cresfan
Sandy Mr. F. Cremlin
Amos Mr. Gerald Merrielees
Bill Mr. E. H. Paterson
—Prince's.
TR VVET.LIXG MAN, THE. Revival by the Morality Play Society of Lady Gregory's play. February 9.
—Court.
TiRILBY Revival of the drama. In four acts, adapted by M. Salter from du Maurier's novel. (Originally produced at the Royal, .Manchester. September 7, 1895; Haymarket, October 30, 1895.) February 19. Last per- formance (the 48th), March 30. Svengali ____ .* ........... Sir Herbert Tree
Talbot Wynee ........ Mr. Edmund Maurice
Alexander McA/lister ...... Mr. A. E. George
William Bagot ........ Mr. E. lo-n Swinley
Gecko .................. Mr. Henry Morrell
Zouzou ...................... Mr. Ro-> Shore
Dodor ................ Mr. Philip Merivale
Oliver .................. Mr. Frank Oonroy
Lorimer .................. Mr. Peter Upcher
Rev. Thomas Bagot ..................
Mr. Walter R. Crdphton. Manager Raw ........ Mr. Francis Chamfer
Trilby O'Ferrall Miss Phyllis Neilson-Terry Mrs. Bagot .............. Miss Dora Diehl
Madame Vinard ...... Miss Rosina Filippi
Angele .................. Miss Laura Cowie
Honorine .............. Miss Joan Chaloner
— His Majesty's.
TRIUMPH OF THE BLIND, THE, drama, in tour acts, by Forbes Dawson, September 16. Andrew Marston ____ Mr. Jame? R. Sinclair
Mr. Dunstan .......... Mr. W. J. Robertson
Doctor Diarley ........ Mr. Walter Brodie
Dr. Runciman ...... MT. George Brunswick
Claude Dunstan ..Mr. Charles Lind- Vivian Rundle ................ Mr. Walter McEwen
Anthea Runoiman . ....... Miss Enid Baird
Grace Panmure .......... Miss Doris itfgby
Adeline .............. Miss Hermione Lester
Mary .................... Miss Alice Esden
—West London.
TROILUS AND CRESSIDA was revived for the Elizabethan Stage Society by Mr. William Poel, King's Hall, Covent Garden. Decem- ber 10.
TURNING POINT, THE. English version, in three acts, of Henry Kistemaecker's play, La Flaml^e, by Peter Le Marchant. October 1. Lie u ten ant -Colon el Felt
Sir George Alexander Bertrand de Mauret ____ Mr. Athol Stewart
Marcel Beaucourt . ..... Mr. Godfrey Tear'.e
Julius Glogau ____ Mr. E. Vivian Reynolds
Monseigneur Jussey ..Mr. J. D. Beveridge Stettin .................. Mr. Rupert Lister
Henri Cartelle ...... Mr Alfred A. Harris
Paul Rudiet .......... Mr. Harold Holland
Justin ................ Mr Edgar B. Payne
The Mayor .............. Mr. Herbert Rea
DT. Dufot ............ Mr. W. Coats-Bush
Recorder to M. Rudiet... .Mr. John Ridley
Orderly .............. Mr. Austin Fehrman
Country Policeman ........ Mr. V. C. Guy
Monique Felt ............ Miss Ethel Irving
Yvonne Stettin ...... Miss Norma Whalley
Therese Deniau ...... Miss Lettice Fairfax
Annette .............. Miss Olga Nicholson
— St. James's.
TWELFTH MAN, THE, dramatic sketch July 22.
TWELFTH NIGHT, Shakespeare's comedy, arranged in three acts. November 15. Orsino ................ Mr. Arthur Wontner
Sebastian ........ Mr. Dennis Neilson Terry
Antonio ............ Mr. Herbert Hewetson
A S^a Captain ........ Mr. Douglas Munro
Valentine .............. Mr. Cowley Wright
Curio .................... Mr Frank Conroy
Sir Toby Belch ........ Mr. Arthur Whitby
Sir Andrew Aguecheek
Mr. Leon Quartermain-e' MalyoUo ................ Mr. Henry Ainley
Fabian ................ Mr. H. O. Nicholson
reste ................ Mr. C. Hayden Coffin
Driest .................. Mr. Edgar Playf air
190
THE STAGE YEAR BOOK
Twelfth Nifjht (continued).
1st Officer ............ Mr. Francis Roberts
2nd Officer .......... Mr. Herbert Alexander
Servant .............. Mr. Neville Gartside
Olivia ................ Miss Evelyn MiEard
Maria ........ Miss Leak Baseman Hunter
• Viola ................ Miss Lillah McCarthy
Lords, Guests, Sailors, Officers, Musicians, Attendants. Messrs Geo. Burrows, Maurice Tosh, Gilbert Chalmers, Colona, Felix Aylmer, William Moore, Harold French. Eric Lugg, H. B. Waring, Reginald Gar- nett, Cecil Apted, J. Burrows, S. Belin- fante, and Misses Margaret Bruhling, Vera Dyer, and Enid Rose.
— Savoy.
TWELFTH NIGHT. Sir Herbert Tree's re- vival of Shakespeare's play. May 23.
— H4s Majesty's.
TWELVE O'CLOCK, one-act play, by F. Kinsey Peile January 15, Sdr Oeorge iPurvLs ---- Mr. Francis Charmer
Tomkiinson .............. Mr. Frank Collins
Sinks ...................... Mr. E. Cresfan
Charles Trefusis ...... Mr. Richard Neville
Pym .................. Mr. Reginald Hunter
Mrs. Bryanston Smyth
Mme. Lydia Yavorska — Finsbury Park Empire.
TWICE REMOVED, farcical comedy, in three acts, by Beard Francis and Herbert Lae- land. May 27. Tim Lovejoy .......... Mr. Kenna Lawson
Mr. Burton .. ........ Mr. Somers Bellamy
Sir Giles de Feetum ...... Mr. A. H. Jenner
Dick ................ Mr. Lawrence Robbtins
Smith .............. 1 ......... Mr. B. Moore
Mrs. Burton . . . : ...... Miss Madge Haines
Alice .............. Miss Kathleen Goslett
Sophie Lovejoy ............ Miss St. Barbe
Sarah .............. Miss Marcella Hudson
Anne ................ Miss Evelyn Crightau
Colchester.
"TWIXT HEART A!N1D BOtJL. sketch. October 25. Fra Amgelo .......... Mr. Bernard Copping
Dr. Keith ................ Mr. C. A. James
• Irene Chester .......... Miss Isa Bellington
— Tdvoli, Manchester.
TWO LITTLE SCOUT BOYS, patriotic drama, in four acts, written by John Dunbar and Herbert Lloyd. December 2. Sir George Vanbrough. .Mr. Harold Greaves Lieut. Jack Vanbrough, R.N.
Mr Herbert Evelyn Capt. Stephen Vanbrough, R.E.
Mr. David Macfarlane Hon. Bertie Blatchford..Mr. Frank Kelland Bob Giillings .......... Mr. Herbert Lloyd
Patrick McGuire ....... Mr. Fred A Morley
P.C. 1020 X 'Division . .Mr. Fred A. Morley Postman ...................... Mr. Hastings
Scout Master .................. Mr. Cooper
Mlichael Strauvitch ....Mr. Edward Lowrie
Margot ................ Miss Glory Kelland
Mrs. McGuire .......... Miss Gtlory Kelland
Mrs. Cornelia van Hayter
Miss Leslie Warner Marguerite D'Estelle ....Miss Ethel Vinroy
Evelyn Vanbrough '..Miss Winifred Whyte •Tack .................. Miiss Doris Nowland
Peter .................... Miss Isabel Hunt
— Royal, Rotherham.
TWO OF THE OtLlD BOYS, one-act play, by Winifred St. Clair. July 3.- The Professor ............ Mr. F. W. Lamb
Mrs. Rowley ...... Miss Winifred St. Clair
Bertha .............. Miss Irene Gveenleaf
— Caxton Hall, W.
TYPHOON, play, in four acts, translated from the German of Melchior Leugyel by Laurence Irving. Oct. 3.
Tokeramo Mr. Laurence Irving
Kobayashi Mr. Henry Crocker
Voshikawa Mr. Robin Shiells
Omayi Mr. Basil Sydney
Hironari Mr. Wilfred Fletcher
Kitamaru Mr. A. Sheko
Amamari Mr. L. B. Fujiya
Yamoshi Mr. Charles Terric
Miyake Mr. W. I. Bashi
Yotomo Mr. George G. Carr
Georges, Tokeramo's Servant
Mr. J. Slain
Renard-Beinsky Mr. Bertram Forsyth
Professor Dupont Mr. James Skea
President of the Assize Court
Mr. Wentworth Fane
Procureur Mr. Lionel Braham
Counsel Mr. James Stanners
Usher Mr. J. Arnold
Interpreter Mr. B. Wells
J uryman Mr. R. Clegg
Dupont's Wife Miss Winifred Turner
Therese Miss Enid Lorimer
Helene Miss Mabel Hackney
— Tyne, Newcastle.
UNDERSTUDY, THE, musical monologue, by George Arthurs, music by J. W. Tate, pro- duced by Mile. Marise Fairy. Jan. 1.
— Alhambra.
UNCLE SAM, Anglo-Ameican farcical comedy, in three acts, by Herbert Shelley. (Aug. 19, Royal, Nottingham.) Sept. 30.
Uncle Sam Mr. John Beauchamp
Billy Brown Mr. Herbert Shelley
Reuben Grey Mr. Bruce Allen
Max Schcink Mr. Tom Taylor
Mr. Donahue ..Mr. G. Lyttleton Holyoake
Spud Murphy Mr. Emmet Dunbar
Mary Brown Miss Felicie Roche
Ansonia Cooney ....Miss Drusilla Hanbury
Valetta Miss Valentine Savage
Mrs. Samuel Brown . . Miss Sophie Larkin —King's, Hammersmith.
UNDINE, " Idyll of Forest and Stream," the pantomime and music by Manuel Klein. May 20. The Lord of Rose Hill
Mr. Douglas Payne The Lady of Rose Hill
Miss Margaret Murch
Jacqueminot Miss Irene Ash
Ursula Miss Katherine Strong
Atheling Mr. Maximus Weily
A Court Jester Mr Oliver Smith
A Shepherd Mr. Harold Marshall
Undine Miss Annette Kellermann
—Oxford.
UNiOSRiTBOiDOX BISHOP, AN,, comedy, in one act, by E. M. Thorpe. (Produced by the Qncomers Society.) June 27.
Priscilla Brown Miss Mildred Orme
Letitia Brown Miss Daisy England
. Kesiah Miss Betty Stannard
Susie Vernon Miss Olive Banbury
Jack Ingleton Mr. Paul Wynter
—Little.
UNSE/E'N KINDS', mythological verse-play, in one act, by Eva Gore Booth. (Produced by the Independent Theatre Company.) Jan. 25.
Cuculain Mr. Patrick Quill
Cathvah Mr. George Fitzgerald
A Bard Mr. Breffni O'Rorke
Niamh Miss Violet Mervyn
Nineen Miss Helena Molony
A Stranger
Mme. Constance de Markievicz
First Singer Miss Nettie Edwards
Eileen Furlong Miss Eileen Furlong
—Abbey, Dublin.
THE STAGE YF.AR BOOK.
191
UNSER DOKTOR (OUR'DOCTOR), Volksettick People's play) with incidental songs, in four acts, by Leon Treptow and Louis Herrmann. (Produced by the Deutsches » oiKstncaLcr, «est> JJOIIQOIIS.) reo. 4.
Lebrecht Herr Ernst Kuehl
Johanne Lebrecht Frau Olga Sylge
Paul Lebrecht Herr G. T. Lambert
Captain Petersen Herr M&\ Bergam
Roschen Petersen
Fraulein Hedda Kostner
Tubbecke Herr Alfred Goltermann
Else Tilbbecke
Fraulein Hedwig Rohmann
Munimel Herr Richard Mueller
Fritz Stiinmej Hear Max Syilgs
Hasse Herr Karl Bach
Lilli Fandango Fraulein Olga Romberg
Mispel Herr W. J. Schmidlin
iSfiheffler Hear Bams Karam
Teckelmann Herr Fritz Haase
Emil Herr Erich Sylge
— Court
UP A TREE, comedy, in one act, by G. Laliy. June 25.
Poppy Vamdertent .... iMttss Vena Marshall Lady Lessingham ..Miss Cathleen Nesbitt
Lord Culvertom Mr. Charles Lascelles
—Court.
USURERS, THE, Socialist play, by Mr. and Mrs. Leon Lejust. (Produced by the British Socialist Party Dramatic Society.) April M.
—Walton College, Liverpool.
USURPERS, THE, comic opera, by Dudley S. Page, composed by H. Sullivan-Brooke. (Produced by amateurs,) October 28.
Valeric Mr. John Doran
Count Saffronie Mr. Philip Williams
General Skopia Mr. B. M. Jary
Baron Teuchra Mr. Basil Neale
Cronio Mr. Dudley Page
Elbassan Mr. S. Broad
Kroja Mr. T. 0. Eariah
Jafar Mr. Percy Wright
The Iman Mr. E. Broad
Jamema Mrs. Harry Howes
Lezah Miss Isa White
Ren? Miss Ethel Sporne
Murah Miss Grace Page
Amara Miss May 'opkiss
Nana Miss Jessie Dunning
The Almah Miss B. Rowell
Princess Thalia Miss Trixie Smith
— Royal, Kings Lynn.
VEGETARIANS, THE. The Cambridge Uni- versity Footlights Dramatic Club presented a dietetic absurdity, in two acts, by H. Rottembers, music toy J. W. Ivimeiy. extra numbers by C. F. Smyly and Alan Murray, extra lyrics by James Heard and R. F. Patterson. June 13.
Jim Carthrop Mr. R. M. Dexter
George Renfrew Mr. G. A. C. Moore
Edward Frensham . . Mr. P. D. Ravenscroft
Algernon Gormeigh Mr. C. J. W Miller
Philip Burt Mr. O. D. Winterbottom
Henry Cote Mr. H. Cuthbertson
Thomas Artoe Mr. H. C. M. Farmer (
William Berry Mr. E. F. H. Taylor
Newton Pippyn Mr. 0. W. Nicholson
Arthur Choke Mr. W. S. Watkina
Elihu P. MacFaddist .... Mr. L. S. Straker Benjamin Berwick, F.R.S.
Mr. 8. d'a Luard
Solomon Kantegel Mr. J. B. Neale '
Eber.ezer Pott Mr. W. E. Harris
Porter of Botolph Hall .. Mr. R. W. Gosse Dr. Welphed Boddy
Mr. S. H. Greville-Smith
Professor Gastrico Mr. R. A. Evans
Iris Carthrop Mr. M. Cuthbertson
Ethel Maine Mr. D. Carmichael |
Miss Benskin Mr. H. V. Tennant •
Mrs. Myrtle Mr. G. L. Cazalet
—Court.
VMNiETIAN NIGHT, A, s.pwtacuiar wordless play, in four scenes and thirteen episodes, by Carl VollmSlter, with music by Fried- rich Bermann. November 11. The Young 'Stranger .. Mr. Paul Bien&fcklb The Young Marquise .. Miss Miaria Canni The Bridegroom from Mestre
Mr. Joseph Klein
The Lover Mr. Hans Felix
Pipistrello Mr. Ernst Matray
A Venetian Girl
Miss Gertrude Hesterberg The Hotel Proprietor. .Mr. Berthold Reissig
Trappola Mr. George Hoetzel
—Palace.
VERDICT OF CONSCIENCE, A, episode, by I van Fii*h. October 11.
Ruth Miss Joyce Moore
Her Husband Mr. Edmund Daly
Clave Mr. Ivan Firth
Clavier Hall, W.
VERY MUCH MARRIED, farce, in three acts, by Vane .Button- Vane. June 20.
Mrs. Dowsett-Greene Miss Emily Luck
Miss Sophia Chatfleld . . Miss Ruth Norreys
Lambert Mr. Clifford Heatherley
Lord Ceresby Winterport
Mr. Ernest Thesiger
M-r. Basil Fyske Mr. Vane Sutton- Vane- Mr. Justinian Dilke, J.P.
Mr. Clarence Derwent Miss Dora Adams ..Miss Vera Cunningham
Mr. Finch Mr. Edward Viner
Hotel Manager Mr. Stacey Hamilton
Miss Dod Miss Marjorie Rose
M>iss Winifred Look Miss Nina Hazel
Pauline Miss Faith Celli
Miriam del Tolga Miss Ruby Miller
—Little.
VICAR OF WAKEFIELD, THE, adaptation of Goldsmith's novel by Herbert T. Ranger. (Produced by amateurs.) April 24.
Dr. Primrose Mr. W. H. Banks
Squire Thornhill ....Mr. Herbert T. Ranger
Mr. Burchell Mr. H. 0. Barnett
Moses ~ Mr. Douglas Grundy
Dick Master Phillott
Jenkinson Mr. Bruce Norman
Officer Mr. H. B. Harding
Mr. Symonds Capt. de Pledge
Olivia Miss Brenda Harvey
Sophia Miss Eileen Growse
Mrs. Primrose Miss C. Holmes
Mr*. Symonds Miss M. Fraser
—Winter Gardens, Cheltenham.
VICE VERSA. F. Anstey's comedy, in three acts, transferred from the Comedy to the Globe. January 6. Last performance (the 42ndi), January 20.
VILLAGE FIRE BRIGADE, THE, skit, in one scene. Produced by Alfred Lester (Janu- ary 29, Tivoli). January 22.
— -Crouch End Hippodrome.
VILLAGE SPORTS, THE. London production of a revised version of the Karno sketch. November 11. —South London.
VIOLETS, romantic drama, in three arts, 'adapted by Hugh Mytton from "The Flowers That Bloom in the Spring." Janu- ary 13.
Lady Mildred Miss Rid«rway
Queen Parma Miss Humdall
Tatters Miss Kathleen Alcock
Policeman Mr. A. Sterry
Earl of TTialston Mr. F. W. Hodses
Andante Picoadilli M-r. E. Radigway
Teddy Bear Miss D. Welby
Dog Master Frank Sturt
Smutty ....Master R. Alcock
Housemaid Miss M. Salmon
Slimey Miss O. Riagway
—Assembly Rooms, Surbiton.
192
THE STAGE YEAR BOOK. •
VIOLIN-MAKER OF CREMONA, THE, a re- vised version of Jerome <K. Jerome's one- act play, adapted from " Le Luthier de Gre"m6ne " of Frangois Coppe". (Originally produced at the Novelty, March 31, 1888.) February 26.
Faddeo Ferrari ..Mr. C. Maynard-Brown Giannina ............ Miss Ada Hatchwell
Sandro ...................... Mr. Fred Hill
Fillippo .............. Mr. Ernest Rivarz
— Olympia, Shoreditcn.
VIPERESS'S VENGEANOEi, THE, OR, THE FINGERMARKS OF FATE, a melodrama, by George R. Sims. July 2. (Actors' Orphanage Garden Party.) Hector ............ Signer Frederico Volpesi
Dodo ...... Signor Kennetihoff Douglaskoff
Titus Squelch ...... Signor Cyxilo Mandini
Paul Popemoff ____ Signor O. B. Clarencetto
Dr. Bertillon O'Brien. .Edwardi Sassalozzi Aubrey ........ Signor Georgeous Tawdofski
Marmaduke .......... Signor Henri KittskT
Warder ........ Signor Ernesto Grahamskofl
Dilavola ---- Signorina Evelynina D'AlroyettI
Mrs. Tibbets ..Signorina Ciceiiar Richardski Effle ........ Signorina Verakoff Coburnosi
— Botanic Gardens, N.vtf
VISITS DE NOCES, UNE, play, in one act, toy A. ODiumas fas. May 5. De Cygneroy ............ M. Hubert Dalx
Lebonntard .................. M. A. Bouzan
Un Domestique ........ M. Pierre Maugue •
Lydia .......................... Mile. Norva
Mme. de Cygneroy ..Mme. Fanay Tellior
—Little.
VISIT OF THE KING, THE. Scottish comeay, in one act, by E. V. Lucas. December 2- Joseph Robb .......... Mr. Watson Hame
Provost Alexander ...... Mr. Milro'y Cooper
Jeames Geddes ........ Mr. George Grelg
John Divots ........... ...Mir. Ian 0. Will
Major Wheeii y ...... Mr. Dlckson Moffatt
Mr. Gowans ............ Mr. Gavin Blake
Isabella Howard ............ Miss Ina Grant
Mrs. Alexander ...... Mrs. Arthur Yates
Robina Robb ............ Miss Laura Cowie
Katrine Robb ........ Miss Dorothy Adams
Christina .............. Mrs. Stuart Adams
A Nurse ............ Miss Elspeth Cameron
Mrs. Robb ........ Miss Florence Haydon
— Palac*.
VOYSEY INHERITANCE, THE. Revival of the 'Comedy, in five 'acts, by GranviLle Barker. (Originally produced November 7. 1905, Court.) September 7. Last peoTorm- ance (the 80th) November 16. Mr. Vovsey ........ Mr. Edmund Maurice
Mrs. Voysey ........ Miss Florence Haydcn
Treotichard Voysey ....Mr. Eugene Mayeur
Honor Voysey ........ Miss Geraldine OlifFe
Major Booth Voysey ..Mr. Charles Fulton Mrs. Booth Voysey ...... Miss Janet Hope
Christoper .............. Master Eric Rae
Edward Voysey ......Mr. Arthur Womtner
Hugh Voysey ..Mr. E. Harcourt-Williams r Mrs. Hugh Voysey ...... Miss Grace Lane
Ethel Voysey ........ Miss Barbara Everest
Denis Tregoning ---- Mr. Charles Maunsel)
Alice Maitland ---- Jean Sterling Mackirilay
Mir. Booth ............ Mr. William Farreiii
The Rev. Evan Colpus ....Mr. Charles Daly
Peacey .............. Mr. Moffat Johr .ston
Phoebe ............ Miss Gwynneth Galton
Mary .............. Miss Vera Cunningham
— 'Kingsway.
WAGEiR, THE, musical comedy, by Violet Gib- bons and Cyril Stacey. January 24.
Sir Barker Greville ...) »••_ T r, r,-^v
Mr. J. S. Gibbons
Maximilian Grevile ....Mr. R. R. Bowles
Stella West ............ Miss Violet Gibbons
Gloria Golden.. Mrs. R. E. Grice-Hutchlnson George Napier .......... Mr. De Lisie Bush
Th6rese ............ Miss Dorothie Pidcock
The Wager (continued).
Mrs. Beamer Miss Elspeth MaxKng
Obadiah Jobbs, P.C.
Mr. Bruce Bairnsfattier Hilary Campion ..Mr. T. Weldon Thomson
First Magistrate Mr. G. Martin
Second Magistrate Mr. J. V. Parsons
Magistrate's Clerk ....Mr. W. Ridler, Jun. -—Watson Hau Tewkesbury. WALDIES, THE, play, in four acts, by George J. Hamlen. (Produced by the Stage So- ciety.) December 8.
Mrs. Waldie Miss Gwynneth Galton
Euphemia Waldie ..Miss Cathleen Nesbitt
Aleck Waldie Mr. Philip Leslie
Hannah Waldie Miss Ellen O'Malley
John Waldie Mr. Charles Bibby
Jeanie Miss Ethel Evans
James Pritchard Mr. Anthony Warde
Leslie Fyfe Mr. Ewan Brooke
Allan Ross Mr. Norman McKeown
— Haymarket.
WALLABY JACK, one-act play, by G. Trevor Relling and Margaret Chute. August 29.
Wallaby Jack Mr. Nigel Loring
Sergeant James ..Mr. W. Garrett Hollick — Pier, Eastbourne.
WALLED IN, in one act, by Harold Weston. July 11.
Edith Frampton Miss Mary Manner! air
Gordon Graham Mr. Nigel Loring
Ernest Littleton Mr. D. Lewin Marineriag —Gaiety, Hastings.
WALTZ SCREAM. A. sketch, invented ami arranged by Fred Karao, -writteni and composed by Frank Calvert and Orlando Powell. March 25. AcCount Rendered Ben.edi,cttn.e
Frank Caivert
M. Kummell Mr. H. Matthews
Grand Marnier Chas. Usher
Maraschino di Zara Florence Marsh
Mile. Anisette Miss Rene May
Creme de Menthe Didsihe
Miss Mabel Medrow — Hammersmith Palace.
WASHING-HOUSE KEY, THE, Scotch comedy sketch. October 21.
Mrs. Robertson Miss N. Walters
Mrs. Todd Miss B. Armytage
Wdllie Todd Mr. J. C. Burch
Elffie Robertson Miss Mollie Lindsay
—Bedford.
WATER NYMPH, THE, roman/tic ballet, in one scene, arranged by Lydia Kyasht, with music by Pouney and sole variations by Kadlez. April! 2-
The Naiad Mile. Lydia Kyasht
The Magician Mr. Edward Kurylo
— Empire.
WAYFARER'S CHRISTMAS VISION, THE, mystery play. December 14.— Old Palace, Croydon.
WEDtDIN-G MORNfNG. THE. musical version, adapted by Adrian Ross, with music by Lachlan Maclean, of the " Amatol " play- let. September 30
Max Mr. Robert de Bruce
Franz Mr J. Watson
Lona Miiss Mariette Dulac
Amatol Mr. Leslie Stiles
— Tlvoli.
WEEK-fflOSftDi, THE, stageright production of a farce, in three acts, by Charles Dickson. April 9.
Sylvester Bradley Mr. Bert Morley
Nathaniel Goodnow Mr. Clive Currie
Philip CnmmJing^ Mr. Cecil Calvert
George Washington White
Mr. Richard Norton
Wilson Stone Mr. Charles Danvers
Malvina Bradley ..Miss Marguerite Murch
Mrs. Daphne Wilder Miss Ethel Royale
Imogene Oumminigs . .MSss Blanka Stewart
Vilma Miss Darrell
— Ladbroke Hall, W.
THE STAGE YEAR BOOK.
193
V> T.TLrxXJTON, musical military spectacle by H. Chance N< wton, lyrics by J P. Harring- ton, music by John Neat. January 22.
—Oxford.
\\ II VT A DOG! farcical absurdity. March 4. Dick Twister, alias Fido Mr. Fred Conquest
Joe Fakewell Mr. Frank Gordon
Jenkins Mr. Fowler Thatcher
Policeman Mr. J. Stevens
Mrs. Easy Miss Kate Vernon
— Hoibora Empire
WHAT'S FAIR IN LOVE, one-act play, by O. A. Arfwedson. July 21. .Mary Waring . .M5ss Constance Arfwedson Jack Maitland, M.D.
Mr. F. Ambrose Flower The Earl of Maniston . .Mr William Fazara
lord Townby Mr. Basil Osborne
Davis Miss Mimi Raydor
—Rehearsal.
WTHAT WOMEN WILL DO FOR LOVE, drama, in four acts, by J. H. Clyndes and Walter Saltoun. (May 30, Prince's, Blackburn.) December 2.
Kittie Sharp Miss Carlotta Anson
Lilian Strong Miss Madge Clare
Martha- Angelina Robinson
Miss Florence M. Daly Colonel Strangeways ..Mr. Fred C. Ingleby Desmond O'Gorman — Mr. Frank Hertie
Sandy McDougal Mr. Gerald Smythe
Reginald Robinson — Mr. Carl Vallender
Lumpy Slagg Mr. Ambrose Horton
Governor of the Prison ..Mr. Geo. Shreeve
Dr. Molyneux Mr. A. E. Rose
Joe Sharkey Mr. J. Whiteside
Jim Roseblade Mr. J. Leicester
Dick Sugden Mr. T. H. Winter
John Strong Mr. Wilson Howard
— Royal, Stratford.
WHEELS OF TIME, THE, play, in three epi- sodes, dramatised by Robert H. Rowell from a novel by Mrs. Florence L. Barclay. December 17. Dr. Deryck Brand . . Mr. Robert H. Rowell
Flower Miss M. Robinson
Jeannette Miss F. Robinson
Stoddart / Mr. C. Hudson
— Assembly Rooms, Benton, Newcastle.
WHEN THE DEVIL LAUGHS ! dramatic play, in one act, by, John Conrad. Oct. 12. Sir Henry Ingram, F.R.C.S.
Mr. T. T. Warren
Geoffrey Warrington Mr. John Conrad
The Devil Mr. H. Gardner
Thompson Mr. J. W. Fortune
Lady Sylvia Ingram Miss Rita Carson
—Bedford.
WHEN WE BEGIN TO THINK, comedy, by R. J. Dunkelsbuhler. Jan. 26.
A Young Man Mr. P. A. Gawthorn
Henry Mr. Gerald Wiltshire
—Little.
WHERE IS WIILLIAM? fance, in three acts, by A. J. Nib, produced for the firs: time at the West End (Fulham, April 11, 1510.) Feb. 13.
—Court.
WHERE'S THAT GIRL? musical sketch, by " Neil Erskine/' Revised version of IN SEARCH OF A. GIRL Nov. 20. Andrew Molyneux . .Mr. Atec Torrington
Mollie Desmond Miss Mollie Stoll
Mamie Miss Dorris O'Donnell
Hon. Percy Fitzsneeze
Mr. Reginald Masters —Clavier Hall, W.
WHERE THE RAINBOW ENDS. Revival of fairy play, in four acts, by Clifford Mills and John Ramsey, music by Roger Quilter. (Originally produced December 21, 1911, Savoy.) December 11.— Garrick.
WHERE THERE'S A WILL—, four-act comedy, by Bernard Parry. Nov. 26. Last performance (the 40th) January 4, 1913.
Richard Temp'e. K Mr. Paul Arth'ir
William BurcheH ... .Mr. M. A. Morand
Harry Redgrave Mr. Vernon Steel
Herbert Mossop Mr. Spencer Trevor
Mr Crossfield Mr. Howard Sturge
Hilda Burchell Miss Dora Barton
Dolly Graham Miss Dorothy Minto
Mrs. Burchell Miss Vane Featherston
Pearson Miss Elizabeth Rosslyn
—Criterion.
WHIRLIGIG OF TIME, THE, play in one act, by Clara Elstob. Jan. 30.
Grace Mervyn Miss Agnese de Liana
Harry Mervyn Mr. Frank Harris
Rt. Hon. James Charteris
Mr. Nigel Severn
Maid Miss Audrey Webb
— Studio
WHITE AS A LILY, drama, in four acts, by Charles Darrell. November 4. Lord Mount-Arliston ..Mr. Lionel Belmore
Gordon Canterville Mr. Edward Avlnal
Hon. " Dicky " Birchenough
Mr. Herbert Mauie
Tom Puttiker Mr. A. B Lyor-s
George Maltby Mr. Dallas H. Keanfl
Guillaume Mr. William Page*
Gesler Mr. Wa/lter Denhim
Parkins Mr. Alfred Renton
P.C. Andover Mr. George We<nih am
Dowager Lady Harriet Mount-Arliston
Miss Evelyn Vaudray Leah Van Zalma ..Miss Stella Carmlcha*n
Judy Puttiker Miss Marion Beresford
Bobbie Miss Lussanne
Susie Miss Trixie Gem
Eiireen Beauclaire Miss Dorothy White
—Elephant and Castle
WHITE GIRL SLAVE. THE. melodrama, in four acts, by Joseph M. Wharncliffe. De- cember 12.
Tom Henderson Mr. Frank V. Fenn
Gerald Denvers Mr. James Jarrett
Will Plumpton Mr. Syd. Claydon
David Lennard Mr. J. L. Inglis
Luke Darvel Mr. Jack Armitage
Don Pedro Castellano. .Mr. Francis Cavans
Dickson Mr. Leonard Kendall
Policeman Mr. Leonard Conroy
Slader Gellimun Mr. Ned Huzzee
Eva Lennard Miss Gilroy
Moll Carrington Miss M. Brammer
Rose Drummond Miss Carew
Claire Fontenoy Miss Hilda Beverley
—Gaiety, Methil.
WHITE SLAVE, A, play, in four acts, by Edward Thane. December 9.
Victor Ashton Mr. Joseph Millane
Sir Anthony Paget Mr. J. O. Stewart
Jim Gardner Mr. Edwin Mavdew
Bernard Crawford Mr. Geo. Porteous
Billy .Tarvis Mr. Oliver Seymour
Count Paul Zaloski .. Mr. Stanlev Villiers
Giovanni Mr. Oswald Peters
P.C. Blake Mr. A. Snelling
Pete Clark Mr. Arthur Ross
Sam Kelley Mr. Frank Evans
Spike Fennell Mr. James Revill
David Thomas Mr. John Miller
George Morton Mr. Arthur Rodney
Barker Mr. Ernest Dutton
Wilson Mr. William Walsh
Jessie March Miss Jennie Clare
Inex Morella Miss Graham Edwins
Keerie Paget Miss Mabel Rose
7-Star, Swansea.
194
THE STAGE YEAR BOOK.
WHITE SQUAW, THE, dramatic sketch, In one scene, by R. 8. Beresford. Februarys.
Harold Trevor Mr. R. S. Beresford
The Sheriff Mr. John Turner
Leon Dupreau Mr. Theo Pinaud, jun.
Rosy Sefton Miss Cissie Cleveland
Brown Eyes Miss Florence Russell
—Victoria Hall, S.E.
WHO LAUGHS LAST, comedy episode. Pro- duced by J. R. Crauford. January 29. Colonel Mark Coverdale
Mr. J. R. C'rruifprd
Leonard Cooper Mr. Hubert Willis
Howson Mr. Percy CrauforQ
Evelyn Millbrooke Miss Gladys Morris
— Hippodrome, Eiasttoourne.
WHO SHALL WIN HIM? one-act farce, by Thomas J. Williams. February 24. (Pro- duced by amateurs.)
—Royal Albert Hall.
WHOSE HAT? duologue, by Violet Gibbons. April 11.
— Boddimgton, Cheltenham.
WIDOW. THE, farcical comedy, in three' acts, by Hubert Stuart. October 29.
Peter Rolf Mr. A. Lubimofl
Jeffrey Sage Mr. Len>ard Caivert
Reginald Sage ..Mr. R. Malcolm Strachan
Allan Lettern Mr. R. F. Thompson
Lena Wisheart Miss Adela M ass >n
Jesse Rolf Miss Vida Varrell
Charlotte Sage Miss Ethel St. B.iroe
Annie Horton ..Miss M. E. Ellis
— Rehearsal.
WIDOW OF WASDALE HEAD, THE, fantasy, in one act, by Arthur W. PLnero. Oc- tober ,24. Last performance (tine 27th) November 5.
Sir John Humslet Mr. A. E. Anson
Mr. Edward Fane Mr. Vemon Sttel
Tubal Mr. WiLle Warae
Reuben Mr. J. Woodall-Birde
The Visitor Mr. Fred Kerr
Mrs. Jesmond Miss Margery Maude
—Duke of Yorke's.
WIDOW WHO DID, THE, comedy monologue, by Wai Pink. January 29.
— Empire-, [Liverpool.
WINDS, play for children, in three acts, by Kitty iB.a>roe and L. W. Wheeler, and; music (by Kitty Bartne. (Produced toy amateurs) (November 29, Court.) January 18.
Air Miss Frankie Browne
Tornado Miss Matheson
Mistral ., Miss Farnell
Bora Mis® A. Primrose
Scirocco Godfrey Phillips
(Fresh Breeze Miss Mlarjorie Young
Simoon Leonard Bartlett
Squall Eric Richards
Breath of Air ..Mass Audrey Tudor-Davies
1st Puff of Wind Dennis Pegge
2nd Puff of Wind Valentine Pegge
Calm Miss Stanford
1st Doldrum Miss D. Streatfleld
2nd Doldmm Miss Freda Pegge
3rd Doldrum Miss Gipsy Pegge
4th Doldrum Miss Noreen Richards
Jim's Mother Miss Lucy Barne
Sally Miss Nancy Harrington
Tony Miss Dorothy Pegge
—Devonshire Park Theatre, Eastbourne.
WINDS, play for children, written by Kitty Barne and D. W. Wheeler, composed by Kitty Barne. (Produced by amateurs.) November 29.
Air Mrs. Christopher Lowther
Breath of Air Miss C. W. Baxendale I
Calm Mrs. D. J. Thomas
Hurricane Miss Dykes Spicer |
Mistral Miss Olive Dickens
Bora Miss Elaine Dickens
Winds (continued).
Tornado Miss Violet Mouncey
Simoom Miss Mary Trotter
Sirocco Miss I. M. Lewis
• Fresh Breeze Miss Angela Hubbard
First Trade Wind Miss IT. N. Griffiths
Second Trade Wind. .Miss Olga Dykes Spicer
Gust George Tatham
First Puff of Wind......C. Bonham-Carter
Second Puff of Wind D. Bonham-Carter
Third Puff of Wind Ian Black
Draught Owen Griffiths
First Doldrum Miss Doreen Parsons
Second Doldrum. .Miss B. Gordon Cleather
Third Doldrum Miss Meriel Green
Fourth Doldrum .... Miss Norah Burbury
Fifth Doldrum Miss Yolande Barron
Sixth Doldrum Miss G. Y. Hunter
Dancing Breeze Miss Eileen D'Esterre
Dancing Doldrum .... Miss Gracie Curnock
Mrs. Hall Miss Lucy Barne
Sally Miss Olga Wharneford
Tony Miss Dorothy Neville Rolf e
—Court.
WINTER'S TAUE,, THE, Granivilte Barker's re- vival of Shakespeare's play, arranged in two parts. September 21. Last performance (the 52nd) 'November 2, followed by three special matinSes.
Time Mr. Herbert Hewetson
Leontes Mr. Henry Ainley •
Mamillius Master Eric Rae
Camillo Mr. Stanley Drewitt
Antigonus Mr. Guy Rathbone
Cleomenes Mr. Frederick Culley
Dion Mr. Frederick Mori and
Polixenes Mr. Charles Graham
Florizel Mr. Dennis Neilson-Terry
Archid'amus Mr. Fellix Aylmer
Mariner Mr. Francis Roberts
Old Shepherd Mr. H. 0. Nicholson /
Clown Mr. Leon Quartermaine /
Autolycus Mr. Arthur Whitby
A Servant Mr. Eric Lugg
Another Servant Mr. J. P. Turnbull
A Gaoler Mr. Herbert Alexander
An Officer of the Court Mr. John Kelt
The Court Poet Mr. H. B. Waring
A Lord Mr. George Burrows
Another Lord Mr. Frank Conroy
Paulina's Steward Mr. Nigel Playfair
Hemiione Miss Li'lla-h McCarthy
Perdiita Miss Cathleen Nesbitt
Paulina Miss Esm<5 Beringer
Emilia Miss Enid Rose
Mopsa Miss Janet Ross-Johnson
. Dorcas Miss Efga Myers
A Lady Miss Mary Deverell
Another Lady Miss Vera Dyer
Guards, Ladies, and Peasants:— Messrs. Maurice Tosh, G. Chalmers Colona, Misses Margaret Bruhling, Muriel Somerset, Anna Nesbitt, Rhoda Symons, Angela Colenso, Blanche Payling
— Savoy.
WITH THE PUBLISHER'S COMPLIMENTS, musical sketch, libreto by Mrs. A. E. Bun- tin, music by Mrs. Maitland Malcolm. March 6.
Netta Miss Colquhoun of Luss
Jack IM¥, Ian Falconer-Stewart
Hans Mr. Graeme Goring
— -Lauriston IH/all, Edinburgh.
WOMAN AND WINE, revival of the drama, in four acts, by Arthur Shirley and Ben Landeck. February 7. Last performance (the 87th) April >li3.
Dick Seymour Mr. Henry Lonsdale
Hugh Seymour Mr. C. F. Coiling
Alphonse Beaudet Mr. Mnvor Cooke
Carlo Mr. Ferry
Professor Sawter Mr. Herbert Williams
Charles Sawter Mr. Fred Ingram
THE STAGE YEAR BOOK.
195
Womunand Wine (continual).
Phineas Collins Mr. Bellenden Clarke
.Mark Parkins Mr. Percy Baverstock
J)uc Arriac Mr. Fred Elsworthy
Bob Tipton Mr. Page Lawrence
President of the Court Mr. Charles Wingate
1'ierre Cruteru Mr. Fred Morgan
A Waiter Mr. A. Bachner
Joseph Mr. Adams
Foreman of the Jury Mr. Thomas
An Advocate Mr. Eric Lugg
Janet Marlow Miss Eva Dare
Madame Perinet Miss Blanche Stanley
Susanue Miss Edith Marchant
Mary Andrews Miss Janet Alexander
"La Colombo" Miss East Robertson
Marcel Rdgadout Miss Ethel Warwick
—Prince's.
WOMAN HE WANTED, THE, drama, in four
•acts, by Lodge Percy and Henrietta Schrier. December 23.— Royal, Stratford.
WOMAW INTERVENES, A, play, in one act, by Hartley Manners. August 12.
Paul Winthorpe Mr. Templer Powell
Quinn Mr. Billington
Colonel Brent Mr. Michael Santley
The Womaa Miss Ruby Milter
— Tivoli.
WOMAN WHO WANTS, THE, fantasy, in one scene, by Edgar Allan Woolf. Septem- ber 25. Violet Esmond Miss Gertrude Bibby
Paul Esmond .... I M_ Wvninotrwi "Ram.^
Tfee New Husband f MT' wymngton B*1™*5 The Man of the World.. Mr. Frank Esmond The Theatrical Manager
Mr Alfred Hemming
A Spirit iMr. Leon M. Lion
—Tivoli.
WOMAN WHO ATONED, THE, a comedy drama, in two acts ,by Augusta Tullock. (Originally produced under the title of Judith, as a one-act piece, at the Central, Altrineham, June 15, 1908, and at the Palace, Boston, in four acts, under the title of The Woman Who Sinned, December 7, 1908. Subsequently played, May 10, 1909, at the Royal, Edmonton, as Judith, the Woman Who Sinned.) July 8.
Jack Carrington Mr. Eric Norman
Eugene Darville Mr. Roy J. Cuthbert
Percy Hogg Mr. Ernie King
Sergeant Jones Mr. Frank Marlow
Bill Scamp Miss Louie Watson
Hooligan MT. Francis Nelson.
Counsel Mr Hesketh Wood
Silas Norris Mr. Frank Marias
Hester Norris Miss Dorothea Vivian
Maudie Green Miss Rosie Watson
Mrs. Sergeant Jones . .Miss Violet Gordon
Mep Scamp Little Ruby
Judith Sartoris 'Miss Augusta Tullock
—Royal, Woolwich.
WOMA2? WHO MATTERDBD, THE. one-act play, by Ethel Dane. January 22.
Wilfred Crocker Mr. Charles Rock
Mrs. Leyster Miss Edith Cartwright
Street Singer Mr. G. Hobbs
Mario Mr. Cyril Keightley
— Pavilion, Glasgow.
\VOMENKIM), play, in one act, by Wilfrid William Gibson. (Produced by the Birming- ham Repertory Company.) February 24.
Jim
Judith Ellershaw... } *he Pilgrim Players. Phoebe Martin f
— lEdgbaston Assembly Rooms, Birmingham.
WOMEN OF PRANCE, THE, romantic play, fin four acts, founded by Arthur Shirley and Ben Landeck on a book of letters, " A Friend of Marie Antoinette."' June 12. Last performance (the 127th) September 28. Chevalier de Villeroy ..Mr. Henry Loiisdale
Corporal Pache Mr. Herbert Williams
The Due de Brissac
Mr. Edmund Kennedy
Charles Capet Miss Mary Glynne
Philippe de Recour ....Misa Ada Glynne General Ohaumette Mr. Edward Valentine
Paul Mr. Percy Baverstock
F6dor Mr. Cecil Tresilian
Citizen Couthon Mr. Charles \V innate
Sergeant Garbette ....Mi. Fred Efewofthy
Jacques Mr. Ferry
A Priest Mr. Charles E. Gordon
Citizen Bremont ....Mr. William T. Ritley
Simon the Cobbler Mr. Fred Powell
Madam Simon Miss Nellie Kelsie
Sanson Mr. Fenn Chains
Pierre Mr. George Cressy
Jean Mr. M. Smith
Ben Barclay Mr. H. Preece
Lady Atkyn Mise Hetta Bartlett
Suzanne Miss Evelyn Hope
Lizette Miss Mary Peon
Margot Miss Gertie Andrews
Clementine Miss Eva Dare
Marie Antoinette ....Miss Ethel Bracewell
Valerie de Brdssac ....Miss Noraji Kerin
•- l»yceum.
WOMEN OF SHAME, drama, in seven scenes, by William Melvyn. August 12. William Dorrington ..Mr. William Melvyn
Reggie Harwood Mr. Will Collins
Clifton Clyde Mr. Jack Darnley
Percy Percival Mr. Fred M. Hood
Caleb Catchem Mr. A. A. Tomlin
Rev. Bro. Meek Mr. George Overs
Rev. Bro. Mild Mr. Edward Benson
Jack Warden Mr. Arthur Britton
Count De Laval Mr. Fred White
Old Meekiin Mr. Jack Watts
P.C. Wilks Mr. Cecil Renton
Lucian Helene Miss Cissie St. Elmo
Flossie Flax Mr. Phyllis Rae
Mrs. Dorrington Miss Beatrice Hill
Tottie Granville Mr. Marian Keith
Sylvia Dorrington Miss Irene Mumo
—Victoria. Broughton.
WONDERFUL GRANDMAMA AND THE WAND OF YOUTH, new children's play, in two parts, by Harold Chapin, music by J. H. Fouids. December 26.
Buddy Master Harold French
Sissy Miss Joyce Robey
Goodfellow Miss Molly Shiells
Peggy Mr. Tom Kilfoy
Will Patch Mr. Brember Wills
Daddy Kidlet Mr. Bernard Copping
Mummy Kidlet Miss Marie Royter
Captain Scarabang Mr. Jules Stoaw
Clown Mr. Alec Payne
Old Joey Mr. Francis Hope
Old Lady in Flowered Gown
Miss Ellinor Arup Toll-gate Man. .Mr. Frank Forbes-Robertson
Bodger Mr. H. F. Maltby
Grandmama Mise Hilda Sims
Ring Master Mr. Alfred Billiard
First Watchman Mr. Ernest Haines
Second Watchman Mr. George Blythe
Third Watchman .. Mr. Charles Courtney
Fourth Watchman Mr. Paul Hansell
Host Mr. James Dillon
First Waiter Mr. Leonard Chapman
Second Waiter .. Mr. Norman E. Laughton
First Minion Mr. James Dillon
Second Minion Mr. Raymond Conway
Third Minion Mr. Henri Gisbourne
Fourth Minion . . Mr. Norman E. Laughton -Gaiety, Manchester
196
THE STAGE YEAR BOOK.
WOOIN' O'T, THE, comedy, to one act, by James Scrymgeour. January 31
Taminas Wisfiiart Mr. Parry Gunn
Rev. Chas. Eadie Mr. J., B. Alexander
Mrs. Eadie Miss Hilda Stirling
— Alhambra, Glasgow
WORLDE AND THE CHYLDE, THE. Pro- duced by the pupils of Mr. Nugent Momck's School of Acting, for the 'first time on the modern stage, an anonymous fifteenth cen- tury morality-play. February 29.
The World Mr. Patrick Murpiiy
The Mother Miss Una Nic Shiubhlaigh
The Child Master Felix Hughes
Manhood Mr. Nugent MomcK
Conscience Mr. A. Patrick Wilson
Felly Mr. Phil'p Guiry
Perseverance Mr. Chas. Power
Pride Miss Ethel Fletcher
Covetousness Miss Maidha Gallagher
Wrath Miss Kathleen O'Brien
Envy Miss Roberts
Indolence Miss Nel Byrrie
Gluttony Miss G. Laird
Luxury Miss Mon O'Belrne
Page Miss P. Goodwin
—Abbey, Dublin.
WORLD OF BOREDOM, THE, revival of the English version, by Martia Leonard and J. T. Grein, in three acts of Pailleron's 1 comedy, Le Monde ou I'on s'ennuie. (Ori- ginally produced in England at the Strand, February 12, 1901.) December 5.— St. James's.
WOULD YOU HANG HIM? Sketch, by Fred Moule. .December 16.— Bow Palace.
WRITTEN IN RED. detective drama, tin four acts, by F. M. Douglas. December 26. John Redwood .... Mr. H. A. S*intsbury
Amos Larpent Mr. Sam Livesey
Ambrose Faber, M D. . . Mr. Charles Vane
Jordan Bull Mr. Drelincourt Odium
Isaac Leverson Mr. Rothbury Evans
Viscount Can-swell ... Mr. A. H. Steerman
Inspector Webb Mr. Philip Hewland
Mr. Teale Mr. Charles Terric
Roesiter Mr. Desmond Brannigan
Mr. Hilton Mr. Arthur Hambling
James Boyle Mr. Fred Grove
Thorney Mi^s Gillian Deverell
Janet Royle Miss Armine Grace
Hilda Larpent Miss May Chevalier
—Court.
YACHT " GRASSHOPPER," play jn one act, adapted from the French by Raymond Needham. March 10.
Guy Ponsonby Mr. W. Anning
The Skipper .., Mr. R. Seddon
Julie Bonishon Mdlle. Juliette Mylo
--Clavier Hall, W.
YEARS BETWEEN, THE, sketch produced by Horace Hunter. Sept. 30.
Major Van Holtz Mr. Horace Hunter
General Xmier Noivard Mr. Ribton Haines Count Ivan Vassilofl ..Mr. Charles Jeffries
James Mr. W. Fenton
Cbunltess Nadia Vassiloff
Miss Vera Delange —Chatham Empire.
YOUNGER GENERATION, THE, comedy, in three acts, by Stanley Houghton. (Nov. 21, 3910, Gaiety. Manchester; May 8, 1912, Coronet.) First West End perform- ance Nov. 19.
The Younger Generation (continued). James Henry Kennion
Mr. Stanley Drewitt
Mrs. Reunion Miss Ada King
Maggie Miss Hilda Davies
Reggie Kennion Mr. J. V. Bryant
Grace Kennion Miss Caroline Bayley
Thomas Kennion Mr. Nigel Playfair
Mr. Leadbitter Mr. Norman Page
Mr. Fowle Mr. Luke Forster
Arthur Kennion ....Mr. J. Woodall-Birde
Mrs. Hannah Kennion Mrs. Crowe
Clifford Rawson Mr. Ewan Brook
— Haymarket.
YOUNG MAN'S FANCY, A, comedy, in three acts, by H. V. Esmond. (Sept. 12, Opera House', Cheltenham.) Sept. 17. Last per- formance (the 35th), Oct. 18.
Lord Porth .'. Mr. C. M. Lowne
Hon. Gerald Porth ....Mr. Charles Maude
Lord Pierton Mr. Roland Pertwee
Worgan Mr. Thomas Weguelin
Steele Mr. Charles Bishop
Lady Julia Ventermere Miss Lottie Venue
Ella Grant Miss Enid Bell
Madame Monpansier
Miss Marianne Caldwell
Cora Miss Dora Biartom
Mrs. Macherew Miss Nellie Bouverie
Miss Rudder Miss Jane Comfort
Clara Miss Avice Scholtz
Emily Miss Eileen Biarry
Clarinda Miss Elspeth Innes-Ker
Waitress Miss Joy Lumsden
--Criterion
YOUTH AND A THEORY, one-act play, by Brodie Bass. March 10. Professor Baldwin ..Mr. Lancelot Lowder
Clorinda Baldwin Miss Jane Wells
Josephine Stubbs Miss Rowena Jerome
Kenneth Dalkeith Mr. Leslie Rea
—Clavier Hall, W.
ZAZA. Miss Ethel Warwick's revival of the play, by Pierre Berton and Charles Simon, adapted by David Belasco. October 7. Last performance (the 40th), Nov. 12.
Bernard Dufresne .Mr. Guy Standing
Due de Brisac Mr. H. Asheton Tonge
Jaques Rigault Mr. Philip Hewland
Cascart Mr. H. A. Saintsbury
Blac Mr. Leslie Ryecroft
Joly Mr. Heath Haviland
Hector Mr. Kenneth Basham
Verneau Mr. Frederick Binnington
Rosa Bonne Miss Kate Kearney
Madame Dufresne Miss Minnie Grey
Devonne Miss Nancy Girling
Lisette Miss Constance Bachner
Toto Miss Dorothy Burgess
Alice Morel .Miss Beatrice Ainley
Florianne Miss Madeleine Meredith
Lolette Miss Florence Grimaldi
Juliette Miss Madeleine Bowland
Flower Girl Miss Esme Frances
Nathalie Miss Irene Cameron
Zaza Miss Ethel Warwick
—Queen's.
ZINGAtRI, I, opera in two acts, libretto by E. Cavacchioli and Guglielmo Emmanuel, founded on a romance by Pushkin, music by Leoncavallo. Sept. 16.
Fleana RSnalda Pawni
Radu Egedio Cunego
Tamar Ernesto Caronna
II Vecchio Armando Santolini
—London Hippodrome.
tttE STAGE YEAR BOOK.
197
AUTHORS OF THE YEAR.
AN ALPHABETICAL LIST OF AUTHORS AND COMPOSERS WHOSE PLAYS, OPERAS, ETC., HAVK BEEN PRODUCED OR REVIVED DURING THE YEAR 1912, ALSO OF THOSE HOSE WORKS HAVE BEEN DRAWN UPON BY DRAMATISTS, INCLUDING AUTHORS OF FOREIGN PLAYS FHOM WHICH ENGLISH ADAPTATIONS HAVE BEEN MADE.
No references are included to the plays of Shakespeare or to familiar operas.
ABBOTT, H. R.— " The Fortune Tellers." ACRERYANT, ALBERT.—" Celle qu'on
adore."
AMA'-MS, ARTHUR.— " Pierrot in Australia." ADDERLEY. J. E.— " Epiphany." ADKINS, F. J.— "The Heritage." ADRIOPLE, WALTER.—" Multonamah." AKERMAN, PORTLAND.—" Grannie's Pen- sion."
ALEXANDER, ELIZABETH.—" The Cicada." VLLEN, INGLIS.— " If we Had Only Known." ALLEN, KENNEDY.—" Anybody's Wife." ALLEN, MAX.— "For Love and the Navy." ALMAN, SAMUEL.— " King Ahaz." AMBLER, LEONARD.—" Saxorra and the
Prince."
AMHERST, SYBIL.— " Job." ANDERSON, ARTHUR.— " The Daring of The H'Arum Lily," " The Grass
GRAHAM.—" The Maiden in
Diane," Widows.' ANDERSON,
Mars." ANDERSON, MILLER.—" The Cottage on the
Moor," " Nameless." ANSLE, PHCEBE.— " The Motive." ANSTEY, F.— "The Brass Bottle." (Revival.) ARCHER, J.— " Judas Maccabeus." ARFWEDSON, C. A.—" What's Fair in
Love," " The Hero's Mound." ARKELL, REGINALD.—" Colombine." ARMAND, R.— " The Moon of Carthage." ARNOLD, EDWIN.—" Buddha." ARNOLD, VICTOR.—" Pierrot's Last Adven- ture."
ARNSTEIN, MARK.— "The Singers." ARTHURS, GEORGE.—" The Understudy." AUSTIN, CHARLES.—" The Bombshell." AUSTIN, JOHN.—" How One Woman Did It." AVERY, W. T.— "Dolly Dye."
BACCHUS, REGINALD.— " Bill Adams." BUFFALO, YOUNG.—" The Cowboy and the
Girl."
BAGALL, BERNARD.-" Faces in the Fire." BA1IE, HERMANN.—" The Fool and the Wise
Man."
BAILEY, WARD.— "An Arabian Vengeance." BAKER, ELIZABETH.—" Edith " BAKER, J.S.— " Patching It Up," "A Day's
Sport." BAKONY, KARL VON.— " Autumn Man-
oauvres." BALDWIN, CHARLES.— " Perkins the Pun-
BALFOUR MARIE C.-" Herb o' Joy," " Mere
China.
BALMAIN, ROLLO.-" Monte Cristo." BANTOCK, LEEDHA'M.— " CoaJs to New- castle" "The Bargeman's Derby." »™ *™, MRS. FLORENCE L._" The ol Time."
BA111XG, iMAURICE.— " The Double Game,"
" Kat<hedne< Parr."
BARING, i&TEPHANIE.— " Rose of Love." BARKER, GRA.NVILLE — "The Voysey In- iheiri'tiance " (revival), " Prunella " (re- vival), "Das Marchen." BARKER, H. W.— " The Fugitive." BARNAS, MARGERY.— " L' Amour de Pier- rot."
BARNE, KITTY.—" Winds," BARNES, F. D.— " The Moon of Carthage." BARRETT, WILSON.— " Ben-My-Chree " (re- vival).
BARK, ROBERT.—" Lady EJeanor— Law- breaker," "The Hanging Outlook." BARRIE, J. M.— " Pantaloon " (revival), " Rosalind " (revival), " Peter Pan " (re- vival).
BARRS, HERBERT.— " Repentance.' BARTELS, WOLFGANG VON.— " The Little
Dream."
BARTLETT, HUBERT.— "'Awkin's Ordeal." BASS, BROD1E.— " Youth and a Theory." BAX, CLIFFORD.— " Poetasters of Isaphan." BAXTER, F. N.— " Golden Dolphins " BAYLtiY, HAROLD.—" Oh, Smiley! " BAYNES, EUSTACE.—" A Garden of Mirth." BAYNES, SIDNEY.—" A Garden of Mirth." BEACH, REX.— "The Barrier." BEAUMARCHAIS.— " The Barber of Seville." BEDFORD, EDWARD.—" How He Did It " BEDFORD, HENRY.—" Ructions." BEEBY, ROBERT.—" A Modern Judas " BEETHOVEN.—" The Gate of Life." BELASCO, DAVID.—" Zaza." BELL, JOHN H.— " Multonomah." BELLOC, HILAIRE.— " The Candour
Maturity." BENAVENTE. JACINTO. — " Bias of
World."
BENNETT, ARNOLD.— " Milestones." BENNETT, ARNOLD, " The Great Adventure." BENNETT, P. R.— " Mary Edwards." BENNETT, J. B. STERNDALE.— " Minerva's
Husband." BENWELL, ARCHIBALD H.— " The Magic
BERESFORD, R. S.-" The White Squaw."
BERGER.— " Carmen."
BERMANN, FRIEDRICH.— " Pierrot's Last
Adventure," " A Venetian Night." BERNARD TRISTAN.—" The Little Cafe" " BERNAUER, RUDOLPH.-" Princess Caprice." BERNHARDT, MAURICE.— " Une Nuit de
Noel sous la Terreur." ERR. GEORGES. -"The Pink Lady." BERTON, PIERRE.—" Zaza." (Revival ) BESIER RUDOLF.-" Kipps." n^^' HARRY.-" Princess Caprice." BEVAN WALTER.— " Another Dog Story " BEVERLEY, EDWIN.-" Three Chlpters from
of the
198
THE STAGE YEAR BOOK.
BINGHAM, G. W. RAPER.— " At Bay." BIRMINGHAM, GEORGE.—" Eleanor's Enter- prise.'1 BISSON, ALEXANDRE.— " L'Heroique le
Cardunois." BLOW, SYDNEY.— "The Girl in Possession,"
" The Persian Slave." BODANZKY, ROBERT.—" Gipsy Love,"
" Autumn Manosures." BODEN, HARRY.—" The Motor Bandits." BOHR, FRANCIS.—" The Sacrifice." BOIELE, E. C.— " The Cricket on the Hearth." BOOTH, GORE-, EVA.— "Unseen Things." BOTTOMLEY, H. H.— " The Desert." BOULTER, B. C.— " The Mystery of Epiphany. BOVILL, C. H.— " Everybody's Doing It,"
" The Dancing Viennnese." BOWMAN, ISA.—" The Girl in the Picture." BOWYER, FRED.— "The Cruise of the Mas- cot."
BOYLE, WILLIAM.—" Family Failing." BRADFORD, MANSFIELD.— " A Rank Out- sider."
BRADLEY, ALICE.—" The Governor's Lady." BRADSHAW, PERCY V.—" H.M.S. Robertus,"
" Queer Fish."
BRAMMER, JULIUS.— " The Dancing Vien- nese." BRANDON, JOHN G.— " The Slave Runners,"
"The Man."
BRANDON, R. A.—" The Oregon Express." BRANDON, W.— " The Man With His Back to
the East."
BRANSCOMBE, ARTHUR.—" The Boy Scout."
BRIGHOUSE, HAROLD.— "The Oak Settle,"
" The Odd Man Out," " Little Red Shoes."
BRIGHT, DORA.—" Poor Pret/ty Colombine,"
" La Camargo."
BRINTON, J. C.— "Fully Insured." BRISTOW, P.—" The Casino Girl." BRISTOWE, SYLVIA.—" A School for Life." BROADHURST, GEORGE.—" Just Little
John," " The Price."
BRODZKY, LEON.—" The Humour of It." BRONTE, P.— "Her Half Step-Uncle." BROOKES, CECILIA.—" December 13." BROOKFIELD, C.H.— " The New Regime"
(revival), " Dear Old Charlie " (revival). BROOKING, CECIL.—" Ring Off." BROWN, GILBERT.—" Out of the Fog." BROWNE, WALTER.—" Everywoman." BROWNING, H. S.— " A Member of Tatter- sail's." (Revival.) BROWNSON, JOHN.—" The Kiss." BRUNO, ALFRED.—" Thumbs Up." BRUO, ALBERT.— "The Big House." BUCALOSSI, ERNEST.—" The Little Boss." BUCHANAN, ROBERT.—" Trafalgar." BUCKLE, G. F.— " The Contract." BULGER, GODWIN.—" Basil Dunthwaite
Comes Home," " The Message." BUNTIN, MRS. A. E.— " With the Publisher's
Compliments."
BURNAND, FRANCIS.—" On the Beach." BURTON, GEORGE.—" The Right Mr.
Wrong." BYNG, G. W.— " The Mastery of Music."
CAIN, HENRI.—" Une Nuit de Noel Sous la
Terreur."
CAINE, HALL.— " Ben-My-Chree (revival). CALDERON, GEORGE.—" The Maharahi of
Arakan," "Revolt," "The Seagull." CALTHROP, DION CLAYTON.— " The 'Mind
the Gates ' Girl," " The Mask." CALVERT, FRANK.— "A Waltz Scream.
"The Hydro."
CAMERON, GEORGE.—" Billy." CAMPBELL, AX.LAN.— " Dust of Egypt." CAMPBELL, J. A.— "The Queen Mother." CAMPBELL, JOSEPH.—" Judgment." CANNAN, GILBERT.—" The Perfect Widow,
" Mary's Wedding," " Miles Dixon." CANTRELE, MRS. E.— " The Slave Runners."
CANTRILL, HAROLD.—" The Devil and the Hindmost."
CAPEL, GEORGE.— " Little Fay."
COPPE, FRANCOIS.— " The Violin-Maker of Cremona " (revival).
CAPPER, MABEL.—" The Betrothal of No. 13."
CAPUS, ALFRED.—" Les Maris de Leontine."
CARLILE, C. DOUGLAS.—" Scamp Hawkins."
CARR, COMYNS.—" Oliver Twist" (revival), " Sairey Gamp."
CARR, PHILLIP.—" Shock-headed Peter " (revival).
CARRAGHER, P. CHARLES.—" The Spae- wife."
CARRICK, HARTLEY.— " The H'Arum Lily," " The Grass Widows."
CARROLL, SIDNEY WENTWORTH.— " Big Game."
CARSE, ROLAND.— " The Regimental Im- presario."
CARSON, LINGFORD.— " The Great White Chief."
CARTER, EDITH.—" L'Amour de Pierrot."
CARTON, R. C.— " The Bear Leaders."
CARTWRIGHT, CAROL.—" Appropriating An- tony."
CARVALHO, A. F. D'ALMEIDA.—" Roses all the Year."
CARYU,, IVAN.— "The puchess of Dant- zic " (revival), " The Pink Lady."
CAVACCHIOLI, E.— " I Zingari."
CHADWICK, GEORGE W.— " Everywoman."
CHANCE, A.—" The Question."
CHAPIN, HAROLD.—" Wonderful Grand- mamma and the Wand of Youth," " Muddle Annie," " Elaine," " Art and Opportunity," " The Autocrat of the Coffee Stall," " The Dumb and the Blind."
CHAPLIN, SYD.— "The Hydro."
CHARPENTIER, GUSTAVE.— " Louise."
CHASSAIGNE, J. C. DE.— " The Musical Duke."
CHATTERFEE, B.C.—" Ayesfaa."
CHILDERSTONE, CHARLES.—" The Sailor
and the Nursemaid." CHOPIN.—" An Autumn Idyll." CHUTE, MAHGARET."— Wallaby Jack." CLARENCE, LAURENCE J.— " The Agency." CLARKE, CUTHBERT.— " Everybody's Doing
CLIFTON, CECIL.—" The Gold Thread." CLONSTON, J. STORER.— " The Duke." CLUTSAM, G. H.— " After a Thousand Years,"
"The Pool." CLYDE, CONSTANCE.—" Mr. Wilkinson's
Widow." CLYDE, JOHN.—" Beside the Bonnie Briar
Bush" (revival). CLYNDES, J. H.— " What Woman Will do for
" Love."
COCHRAN, HOWARD.—" Tempo Furioso." COLEBY, WILFRED T.— " The Dusty Path,"
" The Real Napoleon," " Her Point of
View," " Aunt Bessie." COLLARD, AVAI/ON.— "Her Half Step-
Uncle." COLLENS, SEWELL.— " From A to Z," " Just
Like a Woman."
COLLISON, HOUSTON.—" The Rebel." COLQUHOUN, H. J.— " The Axe of W<ang." CONNELL, NORREYS.— "An Imaginary Con-
versation."
CONRAD, JOHN.—" When the Devil Laughs." CONWAY, LUCIE.— " The Meeting." COOKE, LEONARD.—" Scotland for Ever." COOKE, STANLEY,—" Sunday Morning." COONER, H. J.— " A 1,000 to 1 Chance." COOPER, W. S.— " Love's Enemy." CdSENS, MONICA.— "Pam and Billy." COURTENAY, FREDERICK W. — " Bonnie
Borderland." COURTNEY, W. L.— " CEdipus Rex."
THE STAGE YEAR 1'OOK.
199
COWBRICK, C. E.— "Sir Kobin Hall." COWEN, LAURENCE. — " Looking for
Trouble," " Before and After." COWEN, 'LEWIS.— "A Little Splash." Ci; Al FOR!), J. K.— " Who L.-ui-h.s Last." < KAVKN, A. SCOTT.— " Princess Caprice." UiA \\FORD, .MRS. T. C.— " The Ideal Wife." riKH'KKR, ALFRED.— "The Sacrilice." CULLUM, KIDGWELL.— "The Devil's Keg." CURTIS, ARTHUR.— "The Rescue Boat." CUTHBERTSOX, J. M.—" Sickle and Cross,"
" The Cavern."
PA1AOW, DAVID.—" Ferdinand."
DANK. KTHEL.— "The Woman Who Mat-
tered."
DAXTAS, JULIO.— " Roses All the Year." DAHEWSKI, MAX.— "Oh! Molly." NVUXLEY, HERBERT.— " The Man," "Potts
in Port."
DARXLEY, J. H.— " A Noble Sacrifice." DARRELL, CHARLES. — "A Girl's Good
Luck," " White as a Lily." DAUDET, ALPHONSE.—" Three Days in the
Life of Sapho," " Sapho " (revival). DAVID, FEL1CIEN.— " The Desert." DAVIKS, HUBERT HENRY.— " Doormats." DAVIES, JAMES.—" The Garden Citizens." DAVIES, N A UN TON .—"The Human Fac-
tor."
DAVIES, SIDNEY.—" A Garden of Mirth." DAVIS, RICHARD HARDING. — " Black-
mail." DAWSON, ERNEST.— " The Pierrot of <the
Minute." DAWSON, FORBES.— " The Triumph of the
Blind."
DAY, S. R. (MISS).—" Out of Deeip Shadows." DEARMER, MR.S. PERCY.— " The Dreamer." DE BATHE. LADY.—" Helping the Cause." DE BURGH, BEATRICE M.— " Lady Betty's
Baking." DE COURVILLE, ALBERT. — " Hullo ! Rag-
time."
DELACOUR.— " Dear Old Charlie." (Revival.) DELANO, MARGARET.— " The Awakening of
Helena Ritchie." DELSCHAFT, KATE.— " The Imp of the
Human Heart."
DENTON, JACK.—" A Queen for a Wife." DENVLLLE, ALFRED.— " The Miracle." DESCAVES, LUCIEN.—" Seven Blind Men." DE SELINCOURT, HUGH.—" Beastie " DEVYLARS, MME.— " The Medium."' DE WALDEN, LORD HOWARD (" T. E
Ellis ").— " The Children of Don." DICKENS, CHARLES.— " The Cricket on the Hearth," " The Great Beyond " (from " A Tale of Two Cities"), " Sairey Gamp," "Oliver Twist."
DICKSON, CHARLES.— " The Week-end." DIX, AIRLIE.— " Phyllis." DIX, FRANK.—" The Girl from the Jam Fac-
tory," " Signposts." D'OBERVAL.-" La Fille Mai Gardee." DOCKER, F. A. W.-" Love's Enemy." DOME, ALEXANDRE.— " Bill Adams " DONOVAN^ DESMOND.— " The Gay Lady
DORGOVONSKY.— " Amarilla "
or
DOWNTOy, H. M.-" St. Oswald of Northdin-
"1 A
C0,a-
DUMAS, ALEX.—" Monte Cristo." DUMAS, A., flls.— "Une Visite de Noces." DU MAURIER.— " Trilby " (revival). DUNBAR, JOHN.— "Two Little Scout Boys." DUNKELSBAHLER, R. J.— " When We Begin
to Think," "Just Three Kisses." DUNN, GERALD.— "A Dear Little Wife." DUNSANEY, LORD.— " The Golden Doom." DURELL, L. F.— " Man, the Artful Dodger."
"Three Knocks," "Perkins in Paris."
ECKERSLEY, ARTHUR.—" Susan's Embellish- ments," "The Rescue Boat," "The Hart- leys." EDDY, ARTHUR J.— " The Great John
Ganton." EDDY CHARLES.— " Her Ladyship's Nose,"
" The Odd Woman." EDEN, PAT.— "The Gold Diggers." EDWARDS, A. HERBAGE.—" The Burden " ELGAR, EDWARD.—" The Crown of India." ELLIS, T. E. (Lord Howard de Walden).--
"The Children of Don." ELLIS, WALTER.—" Little Willie." ELLSWORTH, EDITH.—" Love's Enemy." ELSTOB, CLARA.—" The Whirligig of Time,"
" Her Kingdom."
ELSTON, CLARE.— " Ria's Luck." ELVEY, MAURICE.— " Miss Julia." ELWES, EVA.— "For Her Son." EMDEN, WALTER.—" Bessie, the Daughter of the Blind," " Beggar of Bethn.al Green." EMDEN, WALTER.—" Dreamland." EMMANUEL, GUGLIELMO.— " I Zingari." ERSKINE, ELLA.— "The Roman Road." ERSKINE, HERMANN.— " The Great Be- yond."
ERSKINE, NEIL.—" Where's that Girl." ERVINE, ST. JOHN G.— " The Magnanimous
Lover."
ESSERY, PHILIP.— "The Pedestal." ESMOND, H. V.— " Sandy and His Eliza,"
" A Youing Man's Fancy." ESTEC, POL D'.— " Striking Home." EURIPIDES.—" Medea," " Alcestis."
FALL, LEO.—" Princess Caprice." FALL, RICHARD.—" Arms and the Girl." FEARNLEY, GEORGE.— " The Boy Scout." FELIX, PACEY.— " Bonnie Borderland." FENDALE-PERCY.— " Helping the Cause." FENN, FREDERICK.— " The Girl in the
Taxi," "The Olive Branch," "The Gay
Lady Doctor." FENNIMORE-GLYNN, G.— " A Sporting
Offer."
FERGUSON, J. A.— "The Curate Calls." FERNALD. C. B.— " The Cat and the
Cherub" (revival), "98.9," "The Diamond
Coronet." FERRARI, ERMANO WOLF.— " Giogelti Delia
Madonna " (" The Jewels of the
Madonna "). FIELD, ARTHUR W.— " The Pride of Byzan-
tia."
FIELD. LILA.— " The Children's Dream." FILIPPI. ROSINA.— " An Idyll of New Year's
Eve " (revival).
FINCK, HERMAN.—" The Malingerer." FIRTH, IVAN.—" The Flapper and the Hang- man." " A Verdict of Conscience." FITZGERALD. AUBREY.—" Springtide/' FIT/MAURICE, AUBREY.—" The Ragged
Patriot."
FOXSON, FRAXTZ.—" Little Miss Llewelyn." FOREST. HELENE.— " Sapho." FORREST. C. A.—" The Shepherd." FORSYTH, BERTRAM.—" Hester." FOULDS, J. H.— " Wonderful Grandmamma
and the Wand of Youth." FRANCE. ETHEL A.—" The Imp of the
Human Heart." FRANCIS, BEARD.—" Twice Removed."
10
200
THE STAGE YEAR BOOK.
FRENCH, PERCY.— "A Frog He Would A-
wooing." FREUND, MRS. F. E. WASHBURN.— " The
Fool and the Wise Man." FREWIN, HARRISON.—" Elijah." FRIEDMAN, JAKE.—" The Dutch Corporal " FROYEZ, MAURICE.—" The Musical Duke."' FULLERTON, PERCY.—" The Lamplighter ' FULTON, GREN^ILLE.— "Paid in His Own
Coin." FYFE, H. HAMILTON.— " Race Suicide."
GAGGS, J. WOOF.— "Sons of a Mighty Em-
pire."
GALLIENNE, RICHARD I.E.—" Orestes." GALSWORTHY, JOHN.—" The Little Dream,"
"The Pigeon," "The Eldest Son." GARNETT, EDWARD. — " The Spanish
Lovers."
GARDEN, H.E.— "The Devil's Key." 'GARROD, W. V.— " A Mother's Vengeance." GASKELL, LADY KATHERINE MILNES.—
" An Angel of Grief."
GATTIE, FREDERICK.—" The Last Chance " GILBERT, LEWIS.—" A Girl Without A Con-
science." GIBBONS, VIOLET.—" Whose Hat? " " The
Wager," " Crooked Noils," " As Once in
May."
GIB«ON, W. W.— " Mates," " Womenkind " GIDEON, MELVILLE J.— " Kill that Fly." GILBERT, JEAN.—" The Girl in the Taxi." GILBERT, W. S.— "Broken Hearts." GINGOLA, HELENE.— " Looking for Trouble " GINNER, RUBY.—" An Autumn Idyll." GIRVIN, BRENDA.— " Para, and Billy." GLASBY, CONSTANCE.—" Sinners." GLAZOUNOV.— " Amarilla." GLIDDON, W. T.— " The Folly of a Fool." GLENNY, CHARLES.—" Bushed." GLISfKA.— " First Love." GLOR1EL, GEORGE.—" The House." GLOVER, EVELYN.— " Chat with Mrs
Chicky." GOLDSMITH, OLIVER.—" The Vicar of
Wake-field."
GORDON, HERBERT.—" A Rank Outsider " GORE, IVAN P.—" Cupid Intervenes," " Pre-
toria's Love Story," " The Mormon and
the Maid," " A Lamb Among Wolves." GORING, GRAEME.—" His Last Refuge." GOSTLING, MRS. AYRTON.— " All Souls'
Eve." GOSLING^ FRANCES M.— " The Lips of La
iSauterelle, ' " Tea and Bannocks," " Perkin
Warbeck," " Early One Morning," " The
Third Time."
GOULDING, EDMUND.— " Out of tlie Fog" GRAHAM, HARRY.—" Tfhe • Mind the Gates '
Giirl." GRANAGE. K. MALPASS.-" The Flapper and
the Hangman," " The Kid," " The Passing
of Alette." GRATTAN. HAJIRY.— " Curios," "A Heart
Case."
GRAY, GEORGE.—" The People's King." GRAY. GEORGE A. DE.— " The Price of Free-
dom." GREENBANK, HARRY.—" The Geisha " (Revi-
val.) GREENBACK, PERCY.— " Autumn Mamce-
uvres." " Princess Caprice," " The Dancing
Mistress. GREGORY. LADY.—" Macdarngh's Wife."
" The Travelling Man." " The Bojrie Man "
" Darner's Gold," " Hyacinth Halvey." GREIN. J. T.-" The World of Boredom " (re-
vival).
. A.-" The Musical Duke/' GROSSMITH, GEORGE.—" Kill That Fly " " The Guide to Paris," " She Was no lady," "Everybody's Doing It." GROVES, CHARLES.— "The Golden Wedding "
GRUNWELD, ALFRED.— " The Dancing Vien- nese."
GUEST, MRS. HADEN,— "The Proselyte." GUILBERT, INSPECTOR.—" Kit Carson " GUILLEMAND, MARCEL.—" The Pink Lady " GUNGOIRE, T.— " Un Bon Modele."
HAIG, ROTHWELL.— " Kynaston's Wife." HAINES, H. E.— " Pebbles on the Beach." HAINES, J.— " Nina's Dream." HALES, CLAUD.—" The Folly of a Fool." HALL, OWEN.— "The Geisha." HAMILTON, BERNARD.—" The Combat." HAMILTON, CIOEiLY.— " The Constant Hus- band," " Diana of Dobson's " (revival). HAMILTON, COSiMO.— "The Blindness of .. Virtue."
HAMILTON, HENRY.—" Autumn Manoeu- vres," " The Duchess of Dantzic " (re- vival), " The Crown of India." HAMILTON, MARGUERITE.—" A Dream of
Dresden China." HAMLEN, GEORGE J.—" Barbara Grows
Up," "The Wnldies."
HAMUND, ST. JOHN.— '"The Democrats." HANKEN, ST. JOHN.— " The Constant
Lover."
HANNAN, CHARLES.—" The Lodgers." HANNON, JAMES.—" Men Must Work and
Women Must Weep."
HANRAY, LAURENCE.— " A Roman Holi- day." HARDINGE, GEOFF.R.EY.— " The Broken
Vase," " His Mother." HARGREiAVElS, REGINALD.—" A Question
of Tactics."
HARRINGTON, J. P.—" Wellington." HARRISON. EDITH.— " Stage Struck." HARROP, GEORGE H.— " Sons of a Mighty
Empire."
HARTY, HAMILTON.— " Proud Maisie." HARWOOD, H. M.— " Honour Thy Father." HARWOOD, JOHN.—" Molly and I and the
Baby."
HASTINGS, B. MACDONALD.— " Love— and What Then?" "The Tide," "The New Sin." HAUPTMANN, GERBART.— " Lonely Lives "
(revival). HAWKINS, GRACE.—" The Transformation of
Bacchus." HAWKINS, LESLIE.—" The Right Mr.
Wrong."
HEARD, JAMES.— "The Vegetarians." HELLEM, CHAS.—" Striking Home." HERMERDE, EDWARD G.—" Proud Maisie." HENDERSON, LALLA.— " Tea and Bannocks." HENGLER, ALBERT.—" The Smuggler," " The
Redskin."
HENRI, JACQUES.— " The Missing Maid." RERRMAN, LOUIS.— " Unser Doktor." HEWLETT, H. W.— " Sanoya." HEWLETT, MAURICE.—" Callisto." HEWSON, J. JAMES.—" Love, Law, and the
Lady."
HICKS, SEYMOUR.—" Pebbles on the Beach."
HIGGINBOTHAM, ROBERT. — " The First
Stone," " The Big Race," " As Others See
Us."
HIGGINBOTTOM, HUGH.— " The Moon of
Carthage."
HILL. GRAHAM.—" A Man's Way." HILL, H. BRINSLEY.— " A Noble Sacrifice." HOARE, DOUGLAS.—" The Girl in Posses- sion," " The Persian Slave." HOBSON, FLORENCE E.— " A Modern Cru- sader."
HOFFE, MONCKTON.— " Improper Peter." HOLBROOKE, JOSEF.—" The Children of
Don."
HONRI, PERCY.—" Bohemia." HOOD, ARTHUR.—" Johanna of Booker's Flat."
TUE STACK YEAR BOOK.
201
HOOD, BASIL.—" The Five Frankforters," " Gipsy Love."
HOPE, ANTONY.— "The Adventure of Lady Ursula."
HOUGHTON, STANLEY.—" Pearls." " Fancy Free," " Kindle Wakes," " Phipps," " The Day of Reckoning," " The Younger Generation."
HOUSDEN. F.— " A Blind Girl's Love," " One Life, One Love," " The Mormon and His Wives," " The Pride of the Prairie."
HOUSMAN, LAWRENCE.—" Prunella " (re- vival).
HOWARD KEBLE.— " The Embarrassed Butler."
HOWARD WALTER.—" The Lifeguardsman," " The Ragged Prince," " The Soldier Prin- cess."
HOWE, EVA MAY.—" The Dream Woman."
HUBBARD. PHILIP E.— " The Gentleman Who Was Sorry."
HUDDLESTONE, JOHN R.— " A Garden of Mirth."
HULLAH, ANNETTE.—" Call^to."
HUNA. LUDWIG.— "The Kiss."
HUNTER. HORACE.—" The Years Between."
HUNTLEY, G. P.—" Curios."
HURGON, AUSTEN.—" Arms and the Girl," " The Blue House."
HUTCHINSON, MURIEL.—" The Experimen- talists."
HYERMANS, HERMAN.—" The Ghetto."
IBSEN, HENRICK.— " The Hero's Mound." INGLIS, GUY H.— " In Search of a Girl." INKSTER, LEONARD.—" The Emancipation." IRVINE, J. H.— " A Sense of Humour." IRVING, LAURENCE.—" The Barber of
Seville," " The Terrorist," " Typhoon." IVIMEY, J. W.— " The Vegetarians."
JAKOBOWSKI, EDWARD.—" The Myrtle Maiden."
JEFFERSON, ARTHUR.— " A Night in Society," " A Daughter's Devotion," " Perils that Beset- Women " (revised ver- sion of " The World's Verdict ").
JENKINS. GEORGE.—" The Eye of Wang."
JENNINGS. FRED. S.— " The Girl with a Million."
JENNINGS, GERTRUDE E.— " The Girl Be- hind the Bar," "The 'Mind the Gates' Girl."
JEROME, JEROME K.— " The Violin Maker of Cremona " (revival).
JESSOP, GEORGE H.-" Alias Mrs. Fairfax."
JOHN. GWEN.— " Edge of Dark."
JONES. EDWARD.—" Maid Marjorie," " Marusa."
JONES. GUY.— "The Democrats."
JONES, HENRY ARTHUR.—" Dolly's Little Bills," " Mrs. Dane's Defence " (revival).
JONES, SIDNEY.—" The Geisha " (revival).
JORDAN. PERCY.—" Another Dog Story."
JUDD, J. S.— "The Hanging Outlook," "The Rebel."
KADELBURG. GUSTAV.— " Die Beruhmte
Frau."
KADLEZ.— " The Water Nymph." KALEDASA.— " Kumar Sambhava." KALMAN, EMERICH.— " Autumn Manoeu- vres," " The Blue House." KARNO. FRED.—" A Waltz Scream," " Per- kins, the Punter," " The Big House," " The Hydro," " Thumbs Up." KENDALE, LENNOX.— " Decree Nisi." KENTISH-WRIGHT. DOROTHEA.— " A Fan- tasy."
KERKER. GUSTAV — " The Grass Widows." KIMBALL, DAVID.— "The Duke." KIMBERLEY, MRS. F. G.— " The Pet of the
Ranch," " The Collier's Lass." KING, JULIAN.—" L'Entente Cordlale," " The Simple Life," " The Misery that Tempts."
KIPLING. RUDYARD.— " The Man Who Was "
(revival). KIS'1 ' M ' KCKER. HENRY.— "The Turning
Point."
KLKIN. CHARLES.— "Find the Woman." KLKTN. MANUKL.— " Undine." KNOBLAUCH. EDWARD.-" Milestones." KOHLER. BRUNO.-" Antic." KORSAKOV, RIMSKY.— " Scheherazade." KYASHT, LYDIA.— " First Love." " The Water
Nymph."
LABICHE.— " Dear Old Charlie." (Revival.) LACLAND, HERBERT.— "Twice Removed." LAIRD, W.— "The Call."
LALLY, G.— " Reggie's Double," " The Escape," " Up a Tree." " The Temptation of Sir Galahad."
LANDECK. BEN.—" Women and Wine " (re- vival), " The Women of France," " In a Man's Power. " Kit Carson," " The Circus Girl." " The Open Door." LANE, GERALD.— "The Monte Carlo Girl." LANGDON. C. E.— " Kalr-en-Neda." LANGFORD. S.— " Bastien and Bastienne." LARA. GEOPGE DE.— " The Missing Maid." LI EDHAM, FRANK.—" The Seaside Review " LEEDHAM. STANLEY.— " The Seaside Re
view."
LEHAR. FRANZ.—" Gipsy Love." LEIBBRAND. C. H.— " Oh. Smiley!" LE.TUST. MR. and MRS. LEON.— " The
Usurpers."
LENE, CHARLES G.— " Glaucus." LEON, H. M., " Domestic Differences " LEONARD. A.— "€aptain Brassby. V.C." LEONARD. MARTIA.— "The World of Bore- dom " (revival). LEONCAVALLO.—"! .Pagliacei" (revival),
" I Zingan."
LEVER. LADY.— "The Insurance Act." LINCKE. PAUL.— "The H'Arum Lily." LINCOLN. L.— " The Madman and the Maid." LEON, LEON M.— " Filby the Faker," " Play- ing the Game."
LEONE. G.— "The Latest New York Sensa- tion." LERON. EMILIE.— "Le Passion et I'Assomp-
tion du divin Pierrot." LESLIE. FERGUS.— "The Lie." LESTER, ALFRED.— "The Village Fire
Brigade." LETHBRIDGE, OLIVE.—" The Pedestal,"
" The Prime Minister." LETTGYER. M^LCRTON.— " Typhoon." LEVFY, STSST*!.— " Oh ! Mollv." LEVEY. STVORT.— " Carntunderstantfnople." LEVY. JOSE C.— " Seven Blind Men," " Strik- ing Ho^e." " The Medium." LEWIS, MRS. EDWARD.—" Roses All the
Year." LEWIS. H. H.— " The Latest New York Sen-
Ration."
LEWIS. J. M.— " Proxy," •• The Second Honey- moon."
LEWIS-RANSOM, S.— " The Malingerer." LIBTN. Z.— " The Broken Hearts." LIGHTFOOT, T. B.— " After a Thousand
Years."
LILLY. A. C.— " The Gentleman Ranker." LTTfTTFIET.n. BATATA.—" Allah's Orchard." LLOYD. HERBERT.— " Two Little Scout. Boys."
, CARR.— " A London Outcast " . W.— "Thr Little Prospector." LOCKK. WTTTTAM J.— "An Adventure of
Aristtde Pujol."
LOVSr>4LE. HAROLD.-" A Little Splash." T,ATTVO\. K._" Three Knocks." LOVPTT NEVILLE.— " The Passing of the
Bailiff." LOWNDES. BELLOC (MRS.).— " Thfi Decree
Made Absolute." LOWNDES. P. S. A.-" The last Green."
202
THE STAGE YEAR BOOK.
LUCAS, E. V.—" The Visit of the King." LUCK, A.—" Three Knocks." LUDLOW, W. H.— "Golden Dolphins." LYONS, A. NEIL.—" The Gentleman Who Was
Sorry," " A Penny Bunch " (also called
" Three Common People "). LYONS, JOSEPH.—" Muvver, Liza, and the
Moke," " Out West." LYTTLETON, EDITH.—" The Thumbscrew,
" Peter's Chance." LYTTON, BULWER.—" Glaucus."
MACDONAGH, THOMAS.-" Metempsychosao." MACHUGH, AUGUSTIN.—" Officer 666." MACKINNON, EWART.—" One Afternoon. MACLAREN, JOHN.— " The Miracle." MACLEAN, ALEX.-" At the Sign of the Two ' Crows," " The Grey Mask," By the
King's Leave."
M \CLEOD, NORMAN.— "The Starling. MACNAMARA, FRANCIS.-" The Schemers^ MACNAMARA, GERALD.—" Thompson in Tir-
MACOWANT' NORMAN.—" The Chalk Line,"
" The Demagogue." MACRAE, FRANK.—" Annette." MAETERLINCK, M.— " The Death of Tinta-
giles," " Mary Magdalene." MAITLAND, FREDERICK.—" No. 1 Gerrard.
.-" With the Publisher's Compliments."
MALLOCH, GEORGE RESTON.— " Arabella.
MANBY, ALFRED DE.— " Mephisto."
MANN, KATHER1NE.— " The Scottish Emi- grant "
MANNERS^ J. HARTLEY.—" A Woman Inter- venes," " The Great Game."
MARCHMONT, A. W.— " By Right of Sword.
MARCHANT, PETER, LE.— " The Turning Point."
MARRIS, EDWARD.—" Faking the Film.
MARSHALL, ROBERT.—" The Second in Com-
MARSON, CHARLES.—" Just Like Nettie." MARTIN, J. SACKVILLE.— " A Question of
Propriety," Cupid and the Styx," " Nellie
Lambert."
MARTYN, EDWARD.—" Grange Colman." MARVIN, JEAN.— "The Cow Puncher." MASCAGNI, PIETRO.— " Cavalleria Rusti-
MASKELYNE, NEVIL.— " All Souls' Eve." M\SON. SYDNEY.— " For Valour." MASSENET.—" Le Jongleur de Notre Dame,"
" Don Quichotte."
MATTHEWS, CAMERON.— " The Black Hor- ror." MATTOS, A. TEIXEIRA DE.— " Therese
Raquin,'" " Mary Magdelene." MAUD, AYLMER-— " The Cause of It All. MAUDE, LOUISE.—" The Cause of It All. ' MAXWELL, FRED.— "Don C«sar de Bazan,"
" Lord Harkaway."
MAYNE, N. THORPE.—" Thou Shalt Not." MAYNE, RUTHERFORD.— " The Drone." McALISTER, J. A.—" The Pride of Byzantia." McCALLUM, FRANCES A.—" At Aphrodite's
Temple." McCUNN, HAMISH.— " The Sailor and the
Nursemaid." McEVOY, CHARLES.—" The Situation at
Newbury," "The Red Hen." McGEOCH, DAISY.—" Collaborators." McKEOWN, NORMAN.—" Travellers." McLELLAN, C. M. S.— " The Pink Lady." M'LEOD. FIONA.—" Celtic Faery Poems." McQUIRE, T. C.— " Multonomah." MEAD'S. FREDERICK.— " The Crime of
Poverty."
MEGRUE, ROY COOPER.—" Her Only Way." MELVI'LLE, FREDERICK.— " The Monk and
the: Woman."
MELVILLE, WALTER AND FREDERICK.—
" Adventures of the Count of Monte
Cristo."
MELVYN, WILLIAM.—" Women of Shame." MENDELSSOHN.—" Elijah." As an opera. MERRICK, LEONARD.—" The Tragedy of a
Comic Song," " The Impostor." MICHELL, SYBIL.—" Early One Morning,"
" Four to One," " The Morning's Work." MIDDLETON, THOMAS.—" A Posy on a
Ring " (cond. vers. " A Chaste Maid in
Cheapside "). MILL, C. WAT-SON.— " 'Mid Pleasures and
Palaces."
MILLER, WYNN.— "The Picture." MILLS, CLIFFORD.—" Where the Rainbow
Ends " (revival).
MOFFAT. GRAHAM.—" A Scrape o' the Pen." MON€KTO"N, LIONEL.—" The Dancing Mfe-
tress." MONKHOUSE, ALLAN.—" Mary Broome,"
" Resentmemit," "The Education of Ma.
Sun age."
MONTGOMERY. JAMES.—" Ready Money." MOORAT, JOSEPH.—" Prunella " (revival). MOORE. CHARLES.—" The Lion and the
Lamb." MOORE, DOROTHEA.—" By the King's
Leave," " The Grey Mask." MOORE. E. HAMILTON.—" A Little Christ-
mas Miracle."
MOORE. EUNICE H.— " The Dove Uncaged." MOREAU. EMIL.— " Elizabeth, Heine d'Angle-
MOHF.UX. A.— "The Submarine." ^TOTfrMN. SYDNEY.—" Phyllis." MORRIS, MARGARET.—" Callisto." MOPRTS. NEJLSO.N.— " The Honour of the
"Trnnned."
FFVATTCTTT.— " Dolly DyP." MAT!V. — "Lonely Lives." . THHAFL.— " The Imnostor." MOULE, FP^D.— " w<niid YOU Hang Him?"
Dansrer."
en and Bflstienne." . — " The VeQretviTian«."
MTTPT? AV. nTL"RTlP.T — " fFfVT'^K "RPX."
T ft. — " M^i'i^'ce TTl^r'te." TTJT A|\T .— " The R-Ti^t-ler." HUGH.—" Bygiome Days," " Vio-
lets."
X'APPEiR. J. M.— " Tlhe Key that Took the
NASMITH, FRANK.— "The Day of Reckon-
ing-" NOB AT. JOHN.—" Everybody dm Search of For-
tune," " Wellington." NRFjTVHAM, RAYMOND. — " The Nwice,"
" Ya-cht ' Gra?8'hicipper.' " NELSON, TOM.—" Perkins the Punter." V^PATV LUOIEN.— " The Olive Bnaneih." NE'RREY. TER'EiNCiE.— " The Goddess of De-
X. H. CHANCE.—" Wellinigfcon." NILE, A. J.—" Where is William ? " XlfF^TXS 'E. D. — "The M>arriiage Markett,"
" The Gladiatoirs."
viO/TAiN J. F.— " Tlie Gr'Hat Beyond." \OR:M AN. VALROY.— " Tlhie Liliy of Tripoli." NORTHCOTE, A.—" The Choice."
.0'OOiW'O.T}., JE. NO'LAN.— " Lucdfer and Hiis
Amgel."
OiT>WE, ARTHUR C.— " Kiplin.g. D&tective." onP^TiV'BAfJH. — "Tlhe Guide to P-aris." OiRONKOWiSiKI, GEORG.— " Tlhe Girl in the
Taxi."
OLIVER. J. H.— " Taimrled Wedlock." OLIVER NOR-MAN.— " December -13." O'NEILL, NORMAN.— " The Golden Doom." ONSLOW, HUGH.—" The Lord Mayor's Party."
THE STAGE YEAR BOOK.
203
OUVRY, J. DELAHAIZE.— " The Match- girl's Dream of Fairyland." O'RELL, MRS. MAX.—" For Peace and Quiet." O'REILLY, J. P.—" Phyllis." O'REILLY, W. H.— " The Myrtle Maiden." OVYKN, HAROLD.— " A Little Fowl Play."
PAGE, DUDLEY S.— " The Usurpers." PAGE, ELLIOTT.—" Prepary Croary."
r.v(;i:, GERTRUDE.—" Pathfinders."
PAILLERON.— " The World of Boredom " (re- vival).
PAL, N.— "Ayesha." PALMER, JOHN.—" Over the Hills." 1'AKKER, GILBERT.— " At Point o' Bugles." 1'AKKER, LOUIS N.—" Drake." PARR, MAUDE.—" Pam and Billy." PARRY, BERNARD.—" Where There's a
Will "
PASSMORE, WALTER.— " Queer Fish." PASTON, GEORGE.— "The Kiss." PATRICE, MAURICE.—" The Gay Lady Doc- tor."
PATTERSON, R. F.— " The Vegetarians." PAULL, H. M.— " The Painter and the Million- aire," " The Lady Cashier." PAUL, WILLIAM.—" Sweeping the Country." PAULTON, EDWARD.—" A Double Woman." PAULTON, HARRY.—" A Double Woman." PAIJLUS, JAN.— "The Birthright." PEAKE, C. M. A., " Day and Night." PEJLE, F. KINSEY.— " The Man Who Was." " Biff," " The Shooting Star," " Twelve o'Clock." PEMBERTON, MAX.—" Diane's Diamonds,"
" Hullo, Ragtime! " PERARD, J.— " The Submarine." PERCY. LODGE.—" The Woman He Wanted." PERINI, EDWARD.—" The Drum," " The
Flame."
PJERiRETTE, W. H.— "State Insoi ranee." PETBRMAN, JOE.— " Tlhe Station Master,"
"The Seaside Review." PHEBBS, Mrs. HARLOW.— " The Rack." PHILIPS, AUSTIN.—" Playing the Game." PHILLIPA.— " Oh ! What a Surprise! " PHILLIPS, STEPHEN.—" Every woman." PHILLPOTTiS, EDEN.— " The Secret Woman,"
" The Golden Wedding." PHILPOTT, STEPHEN R.— " Bill! Adams,"
" H.M.S. Robertus." PIATTI, PETER x G.— " Everybody in Search
of Fortune."
PINERO, ARTHUR WING.— " The ' Mind- the Paint ' Girl," " The Amazons " (revival), " The Widow of Wasdale He-ad." PINK, WAL.—" Patching It Uu," "A Day's Sport," " Shylock Hyams," " The King Thev Kouldn't Kill," " The Widow who Did." PLAXQUETTE, ROBERT.— " Les Cloches de
CorneviLle " (revival). PLAYFAIR, NIGEL.—" Shock-Headed Peter "
(revival), " The ' Mind-the-Gate-s ' GirJ." POCOCK, A. H.— "The BLunderers." POLE, MRS. RICHARD.— " The Baker Street
Mystery." POLLOCK, JOHN.— "MadfinuiM-Uc Diana,"
" The Man Who Was Dead." I'OXSONBY, CLAUDE.— " Percy, the Altru-
POXSONBY, EUSTACE.—" The Dnaigon." POUNEY.— "The Water Nymph." POWELL, ORLANDO.— "A Waltz Stream." POWELL, DUDLEY.—" Parkins in Paris," " A
Queer Fish," " The Hydro." POYSER, ARTHUR.—" Burnham Beeches,"
"Captain Scarlet," "The King's Arms." PRAGA, MARCO.— "The Ideal Wife." PRICE, FRANK.— " Bobby Bobs Up." PRICE, GRAHAM.—" The Song of the Seal." PUSHKIN.—" I Zingari." 1'YM, PAUL.— "The Ne'er Do Well."
QUILTER, ROGER.— " Where the Rainbow Ends " (revival).
RADFORD, MRS. DOLLIE.— " The Ransom." RAE, NiTA.— " A Daughter of Israel." RALEIGH, CECIL.—" The Sunshine Girl,"
" Nance Arden." RA.MSEY, JOHN.—" Where the Rainbow
Ends " (revival). RANGER, HERBERT T.— " The Vicar of
Wakeneld." RAPHAEL, JOHN N.— " Between Five a:id
Seven."
RAWSON, MRS. STEPNEY, " After Wor- cester." REAN, CLIFFORD.—" The Queen and the
Man."
REDFORD, G. A.—" Contrasts." REES, ROSEMARY.—" The New Gun." REINHARDT, HEINRICH.— " The Daring of
Diane."
REINHARDT, MAX.—" (Edipus Rex." RENNEF, SIDNEY.— " His Prairie Bride." RIVERS, PAULINE.— " Sons of a Mighty
Empire."
RHODES, KATHLYN.— " A Man's Wife." RIADA.— " Married by Force." RICHARDSON, HARRY.—" The Girl in the
Picture."
R1CKETTS, GEORGE.—" The Station Master." R1DGEWELL, CHARLES.—" The Bombshell." RISQUE, W. H.— " The Duchess of Dantzic "
(revival), " The Geisha " (revival). RITTENBERG, MAX.—" Axes to Grind." ROBERTS, OSBORNE. — " The Children's
Dream."
ROBERTS, R. H.— " The Garden Citizens." ROBERTSON, MRS. B.— " Behind the Foot- lights." ROBERTSON, J. A.—" A Frog He Would
A-Wooing."
ROBINS, GERTRUDE.—" Old Jan." ROBINSON, COLA.— " Betty's Little Joke." ROBINSON, LENNOX.—" Patriots." ROBSON, FRANK.—" The Great Beyond." ROCK, CHARLES.—" A Bit of a Risk." RODEN, COUNTESS OvF.— " Dormdia." ROFAS, FERNANDO DE.— " The &i>a.inWi
Lovexs."
ROLLING. G. TREVOR.—" Wiallaby Jack." ROLLS, ;E. C.— " A Sudden Call," " Olh !
Molly."
ROONiEY. HUBERT.—" SLumberland." ROS, FRANC ESCH DiE.— " Bias c<f the World." ROSE, A/RTMUR.— " The Little Burglar,"
"The Philanthropist," "The Splendid
Silen-ce."
ROSE, S. €.— " Buddlha." ROSENKRANTZ, A.—" The Gate of Life." ROSS, ADRIAN.—" The Dancing Mistress,"
" The Wedding Morning," " Gipsy Love." ROSS, J. HALFORD.— " Our Twins." ROSSLER, CARL.—" The Five Frankfurters." ROTHSCHILD. HENRI DE.— " La Rampe. ' ROTTENBURG, H.— " The Vegetarians." ROUGHWOOD, PHILLIP.—" Bushed " ROWE, FRED.—" Snookered." ROWELL, ROBERT H.— " The Wheels of
Time." ROWLANDS, GEORGE.—" Potts in Port "
" The Boat Race."
RUBENS, PAUL.—" The Sunshine Girl." RUBENSTEIN, ANTON.—" The Demon " RUSSELL, MRS. HASLINGDEN.— " Grannie's
Pension."
SALTER, M.— " Trilby."
SALTOUN, WALTER.—" What Women Will Do for Love."
SANDEMAN, CHRISTOPHER.— " The Match- breaker."
SARGENT, FREDERIC.—" An Object Lesson."
204
THE STAGE YEAR BOOK.
SAEGENT, HERBERT C.— " Coals to New- castle," " The Bargeman's Derby," " A Grain of Truth," " Bluebottles," " Hang
SARKANY, CHAS.— " The Latest New York
Sensation."
SARTERE, JEAN.— "The Grip." SAWARD, W. T.— " The Dragon," " GlastoD-
bury." SAXE-WYNDHAM, H.— " The Transformation
of Bacchus."
SCHLEASSNER, ELLIE.— " Creditors." SCHONTHAN, FRANZ VON.—" Die Berahmte
Frau." SCHNITZLER, ARTHUR.—" Das Marcheo,"
" Ldebelei." SCHR1ER, HENRIETTA.—" The Woman He
Wanted." SCOTT, HELEN MCLEOD.— " The Head o' th'
House."
SCOTT, M. F.— "Family Rights." SCOTT-GATTY, Charles.—" The Military Girl." SCOTT-GATTY, MURIEL.—" The Military
Girl."
SCRYMGEOUR, JAMES.—" The Wooin' O't." SCUDAMORE, LIONEL.— " The Man Who
Lived Again."
SEATON, MORRICE.— " Frenchy." SELF, C. S.— " The Ghosts of Spectre
Grange." SELINCOURT, HUGH DE.— " Getting What
You Want," " The Dream of Death." SELLOX, REV. FATHER.— " Bad Dreams and
Good Fairies."
SETON, HENDY.— " A Penny Bunch " (also called " Three Common People "), " Pier- rot's Little Joke."
SEYMOUR, MARJORIE.— " Sanoya." •SHANNON, ANNE.—" Preparing Croaly." SHAW, GEORGE BERNARD.— " John Bull's Other Island " (revival), " Captain Brass- bound's Conversion " (revival), " Man and Supermaa " (revival), " Mrs. Warren's Profession " (revival), " Overruled." SHAW, LUCY CARR.— "Miss Julia." SHELDON, GEORGE.—" An Ocean Maid." SHELDON, H. SOPHUS.— " The Havoc." SHELLEY, HERBERT.—" Bill Adams," " Uncle
Sam."
SHEPHERD, MAY.—" A Matrimonial Error." SHIRLEY, ARTHUR.— "In a Man's Power," " Forgo tten," " The Circus Girl," " The Open Door," " Women and Wine " (re- vival), " The Women of France." SHIRLEY, C.— "At Silver Creek." SHIRLEY, CLARE.—" Kalr-en-neda," " The
Hand ol Fate."
SIDNEY HERBERT.—" The "Big House." SIMON, MAX M.— " Between the Acts." SIMON, CHARLES.—" Zaza." SIMPSON, HAROLD.— "The Lion and the
Lamb," " The Submarine." SIMS, GEORGE R.— " The Member for Slo- cum " (revised version), " The Vipix-sb s Vengeance." SKEA, JAMES.—" Captain of the ' Sarah
Jane,' " " A Rough Reception." SMITH, MARY S.— " The Passing of Claude." SMYLY, C. F.— "The Vegetarians." SMYTH, B.— "Bessie, the Daughter of the
Blind Beggar of Bethnal Green." SONCHET, H. A. DU. — " The Mun from
Mexico."
SOPHOCLES.—" (Edipus Rex." SORLEY, STEPHEN.—" A Man's Way." SOUVESTRE, EMILE.—" Falling His Crest,"
" The Medium."
SOWERBY, K. G. (Miss).— " Before Break- fast," " Rutherford and Son." SPLATT, M. G. (Miss).—" The Decree Made
Absolute."
SQUIRES, GRAHAM.—" The Democrats." STACEY. CYRIL.— "The Wager." STAKE, THOMAS.—" Saxorra and the Prince."
STANLEY, VICTOR.-" A Padded C(s)ell." STAYTON, FRANK.— "Love in a Railway
Train," " Tantrums." ST. CLAIR. WINIFHED.— " Two of the Old
Boys."
STEAD, W. TROTTER.—" Perkin Warbeck." STEIN, LEO.— "Das Opperlam." STEINER, MAX.—" Bits of Dresden " STEPHENS, RICCARDO.— " The Right to
Die."
STEVENS, J. T.— " The Cruise of the Mascot." STEWART, DYER, M.— " The Eye of Wans? " STEWER, JAN.—" Revel Day." ST. JOHN, CHRISTOPHER:—" Macrena,"
" The Coronation." STORMONT, LEO.—" N— G— ." ST. QUENTIN, EDWARD.— " Scotland for
Ever."
STRAUS, OSCAR.—" The Dancing Viennese." STRINDBERG, AUGUST.—" Creditors," " Miss
Julia."
STRONG, AUSTIN.— "A Good Little Devil." STUART, HUBERT.—" The Widow." STUART, RALPH.—" A Dollar Did It." SUDERMANN.— " Magda " (condensed). SUGDEN, CHARLES.—" The Limit of the
Law."
SULLIVAN, BROOKE H.— " The Usurpers." SUTRO, ALFRED.— "The Death of Tinta-
giles," " The Bracelet," " The Fire Screen." SUTTON-VANE. VANE.— " Very Much Mar- ried."
SWAN, MARK E.— " Just Like John." SVVETE, E. LYALL.—" Pitch and— Soap." SWINLEY, E. ION.— "The Aspirations of
Airchiibald," " Keepers of the Garden." SYDNEY. HERBERT.—" Potts in Port," " The
Boat Race."
SYMONDS, P. BIDDULPH.— " Four to One." SYRETT, NETTA.— " Th© Dream Lady." «
TAGORE, R. NATH.— "The Maharani of
Arakan."
TANNER, JAMES P.~" The Dancing Mis- tress."
TATE, J. W.-" The Understudy." TAYLER, ALISTAIR N.— " Ring Off." TAYLOR, EMILY.—" Kitty of Ours." THANE, EDWARD.—" A White Slave," " At
Silver Creek." " The Mockery of Marriage." THOMAS, A. E.— " The Rainbow." THOMAS, BRANDON.— " Charley's Aunt" (re- vival), " Marusa." THOMAS, TREVOR.—" The Poetry of
Flowers."
THOMPSON, ALEX. F.—" Princess Caprice." THOMPSON, CHARLOTTE.— " Rebecca of
Sunnybrook Farm," "The Awakening of
Helena Ritchie."
THiARP. ROBEUT C.— " Kill ttot Fly." THORPE. E. M.— " ATI Unorthodox Bishop,"
" A BM> oif Blue Ribbon." THURftBY, OHARl/EiS.— " The Corona/lion." TILLER. JOHN.—" Bits of Dresden," " A
Garden of Mirth." TIPPF/rT LSABE1L.— " Suclh Stuff as 'Eiroee axe
' Made of."
TOHEKHOF, ANTON.— " The Seagull." TOLSTOY, LEO.—" The Man Who Was Dead."
" A Livomig Corpse," " The Cause of It
All."
TONiSLIEY, C. J.— " S-fir Robin Hall" TOOSE. ALFRED.—" The Better Maa." TOWNfRiOiE, B. 8.—" A Na/tioi* in Arms." TOWNSHEND, MARCHIONESS.— " John and
the Couturiere," " All Souls' Eve." TRARIEUX, GABRIEL.—" Un Soar." TTOKiPTOW, LEON.—" Unser Doktotr." TULLOCK. AUGUSTA.— " The Womao WJio
Atomed."
THNBRTDGtE, W.— " Phyllis." TURNER, MONTAGUE.— "The Park Keeper." TYRWHTTT-DRAKE, E. H—" Sir Francis
Drake."
THE STAGE YEAR BOOK.
205
UNWIN. GEORGE.—" The Missing Maid." URICH, JOHN.— "The Cicada."
VACHELL, HORACE ANNESLEY.— " Sunny
Bushes," " Jelfs."
VALCROSS, WILLIAM.—" Striking Home." VERNON, H. M.— " All Men are Fools,"
"Don't You Believe It." VISEUSI, ACHILLE.— " La Biscapesa." VOLLMOLLER, CARL.—" A Venetian Night."
WADE, WILLIAM.—" Tracked." WOLFGANG, HAROLD.—" The Man." WALKER, T. WARBURTON.— " Golden Dol- phins." WALLACE. G. CARLTON.—" Apple of Eden,
The."
WALLACE, LEW.—" Ben Hur." (Revival.) WALLACE, STANLEY.—" The Casting Vote." WALLER, WALLETT.— " A Bit of a Risk." WALLIS, BERTRAM.— " Betty's -little Joke." WAL&H, SHEILA.—" The Gambler." WALSHE, DOUGLAS.—" H.M.S. Robertus." WALTER, EUGENE.— " The Easiest Way." WALTHER, OSKAR.— "Das Opferlmn." WALTON, G. H.— "The Hand of Destiny." WARD, FREDERICK.— " The Bigamist." WARD, FREDERIC.— " The Legacy." WARE, FABIAN.—" The Chalk Line." WAREING, ALFRED.—" The Tragedy of a
Comic Song." WATSON, F. MARRIOTT.— " The Man
Tempted Me."
WATSON. H. MARRIOTT.—" At Bay." WATSON, W. G.— "The Heart of a Fool,"
" Memories." WENGEROVA, Z— " The Man Who Was
Dead." WHARNCLIFFE, JOSEPH M.— " The White
Girl Slave."
WHEELER, D. W.— " Winds." WHITBREAD, J. W.— " Robert Eminett." WILHELM, C.— "La Camargo." WILHELM, JULIUS.—" The Daring of Diane,"
" The Grass Widows." WELISCH, ERNST.—" Princess Caprice." WELLS, H. G.— "Kipps." WENOR, THEO.— " Oh, Smiley ! " WEST, ARTHUR.— " Captain Billy." WESTON, HAROLD.—" Walled In." WHARNCLIFFE, JOSEPH M.—" Foiled by a
Woman."
WHARTON, ANTHONY P.— " At the Barn." WHEULKR, C. E.— "Das Marchen."
WHI;I;LER, L. w.— " winds."
WHITE, ARTHUR.— " The New Detective." WHITE, BARTON.—" Off the Map." WHITTY, EDWARD. — " The Hand of
Destiny." WICHELER, FERNAND. — " Little Miss
Llewelyn."
WICKHAM, JOHN J.— " The Question." WIGGIN, KATE DOUGLAS.— " Rebecca of
Sunnybrook Farm." WILLIAMS, THOMAS J.— " Who Shall Win
Him?"
WILLIS, H. G. (Miss).— " Afte- Good-night." WILLNER, A. M.— "The Grass Widows,"
" Gipsy Love." WILSON-BARRETT, ALFRED.—" The Jew of
Prague."
WILSON, CHRISTOPHER.— " The Combat." WILSON, RATHMELL. — "The SJiake
Woman," " The Experimentalists." WILSON, W. CRONIN.— "The Great Game." WIMPERIS, ARTHUR.—" The Sunshine Girl,"
"The Girl in the Taxi." WINDERMERE, CHARLES.— " How He Rose
to the Occasion," " Just the Thing." WOLF-FERRARI, E-RMANO.— " Sussanen's
Geheimniss."
WOOD, HARRY.—" The Eedskin." WOOD, HICKORY.— " Thumbs Up." WOODVILLE, H.— " Confederates." WOOLF, EDGAR ALLAN.— " The Woman
who Wants."
WARD, LEO.—" A 1.000 to 1 Chance." WORRALL, LECKMERE.— " Ann." WROUGHTON, CECILY.— " The Feniton
Pearls."
WYBURD, ELLIS.— " His Leading Lady." WYNGATE, F. B.— " The Otpen Question."
YEATS, W. B.— " Celtic" Fairy Poems," " The
Countess Cathleen," " The Hour Glass." YORKE, ARNOLD.—" The Devil's Mail." YOUNG, WILLIAM.—" Ben Hur." (Revival.)
ZANDONAI, RICCARDO.— " Conchita." ZANGWILL, ISRAEL..— " The Melting Pot," " Six Persons " (revival), " The Next Reli- gion."
ZAZELL, H. M.— "An Elopement." ZOETE, BERYL DE.— " Bias of the World." ZOLA, EMIL.— " The"rese Raquin."
PICTURES AT THE ROYAL ACADEMY.
The stage was not largely represented on the walls of the Royal Academy in 1912. The portraits included one of Anna Pavlova by John Lavery, A.R.A., with the title of "La Mort du Cygne " ; one of Mr. Dion Bouoioault by Mr. Byam
Shaw; and a third of Miss Christine Silver taking a call, by Mr. G. J. Coates. There were a marble bust of Miss Evelyn d'Alroy by Mr. W. C. K. King, a minia- ture of Miss Marie Lohr by Mrs. E. R. Carnac, and a miniature of Anna Pav- lova by Miss Hilda Griffith.
S06
THE STAGE YEAR BOOK.
GENERAL MEETINGS OF SOCIETIES, FUNDS,
ETC.
January 17.— Tihe Annual London Meeting o! tine Showmen's Guiltd of Great Britain was held at the Royiail Agricultural HaM, Isling- ton, in connection with the World's Fair. Mr. Fred Bibby (Manchester) presided.
January 24. — A Meeting of kineinatognapih theatre ipriopriietors, convened by Mr. Frank Oigden Smith, was held at the HoU- born Restaurant for the purpose of form- ing an Association of Exhibitors.
January 28.— The Sixth Annual General Meet- dug of the Variety Artists' Federation was held at the Criterion Restaurant, Mr. W. 'H. Clemiart {Chairman) presiding.
February 9.— The Annual General Meeting of rtlhe Tihaatnic'al Managers' Association, pre- sided over by Sir Herbert Tree, took place at the Tavistock Hotel.
Febmary 13.— A Gene<nall Meeting of the Kine- matogriaph Exhibitors' Association of Great Biriitaiin and Ireland was held at the iHojibora Restaurant. MX. R. T. Jupp '(Proviniciiail Kinemiatograph Theatres, Limited) presided.
February 20.— The Annual Service ol tine Actors' Cihiurch Union took ipLac© at St. [Peter's Church, Eaton Square. The preacher was the Rev. J. Stephen Baniiass, (Recttor <A ,St. Lawrence Jewry, and tine A.C.U. Chaplain for West Central London. The Vicar, the Rev. J. Stores, assisted at the service. .
February 28.— <Siir Herbert Beerbohm Tree pre- sided at the Annual General Meeting of the Actors' Benevolent Fund, which was held on the stage of His Majesty's.
Martin 19— The 21st Ann/ual General Meeting of the Actors' Association was held at His (Majesty's, with the President, Sir Herbert Tree, in the clfoair.
Mianch 29.— The Annual General Meeting of the iRoyail General Theatrical Fund was held on the stage of the St. James's, Sir Geooige Alexander presiding.
.— The Annual Meeting of the Concert Artists' Benevolent Association was held in the Criterion Restaurant, with Mr. Geo. Robins in the chair.
AiprW 28.— Tflie Annual General Meeting of the Variety Artists' Benevolent Fund and In- stitution was held at the Bedford Head Hotel, Maiden Lane, Strand, with Mr. Charles Coborn in the chair.
May 14.— The Annual Geneiral Meeting ol the iReheareal Club wtas held at the St. James's, with Mr. Rutland Barringtc-n in /the chair.
May 31.— £iir George Alexiander, L.C.C., pre- siided at the Sixteenth Annual General Meeting of the Actors' Orphanage Fund, which was held at the Pkyhouse.
June 5.— The Annoial General Meeting of the Travelling Theatres Managers' Association wiaa held in the foyer at the Kingsway, Mr. A. E- Drinikwatea- presiding.
July 9. — The Annual Meeting of the Catholic Stage Guild was held at the Vaudeville. Sir Charles Santley presided.
July 23. — The twelfth annual conference of the Actors' Church Union was held at the
Kennington, under the chairmanship of the Bishop of Winchester (Dr. Talbot). This followed a meeting at King's College, Strand, in which chaplains only took part.
July 30.— A special General Meeting of the Actors' Association was held at 32, Regent Street, for the purpose of considering a resolution relative to the method of filling up vacancies on the Council which occur during the year. Mr. Ben Webster pre- sided.
August 16.— The Annual General Meeting of the Music Hall Home Fund was held at the Three Stags Hotel, Kennington Road, S.E. Mr. Walter de Frece (president) occu- pied the chair.
September lO.-Oonvened by the Actors' Asso- ciation, a mass meeting of the theatrical profession was. held at His Majesty's, to discuss the Sunday opening of theatres and music halls. The president of the Asso- ciation, Sir Herbert Beerbohm Tree, was in the chair.
September 22.— At a special meeting at the Trocadero Restaurant, called by the Va- riety Artists' Federation a resolution was passed almost unanimously advocating the entire closing of all places of public enter- tainment on Sunday.
October 4.— Annual General Meeting of the O.P. Club at the Adelphi Hotel.
October 11.— The Annual General Meeting of the Playgoers' Club was held at thfe Club
October 18.— The first General Meeting of the newly formed Vaudvdlle Producers' Asso- ciation was he'd at the Bedford Head, Maiden Lane, Strand, with Mr. Herbert Darnley in the chair.
October 26.— Annual General Meeting of the Music Hall Ladies' Guild at the Bedford Head Hotel, Maiden Lane, Strand, W.C. Miss Irene Rose presided.
October 27.— Annual General Meeting of the Music Hall Artists' Railway Association at the Bedford Head Hotel, 'Maiden Lane, Strand, W.C. Mr. Joe Elvin presided.
November 7. — The autumn General Meeting of the Theatrica1 Managers' Association was held in the Banqueting Hall at Gatti's Restaurant, King William Street; Strand. Mr. Cyril Maude took the chair.
November JO— A Special General Meeting of the Variety Artists' Benevolent Fund and Instiution, convened to pass the rules and constitution of the Society, was held at the Bedford Head Hotel. Mr. E. H. Lucas presided.
December 3.— The Annual General Meeting of the Catholic Stage Guild was held at the Soda'ity Hall, 114, Mount Street, W. The Rev. Father Smith presided.
December 6.— The twentieth annual meeting of the Theatricxl Ladies Guild of Charity was held at St. James's Theatre. The presi- dent (Miss Fanny Brough) was in the chair.
December 29.— A mass meeting of persons en- gaged in dramatic, variety, and pdcture theatres met under the auspices of the National Association of Theatrical Em- ployees to consider the question of demand- ing an all-round increase of wages. Mr. James O'Crady, M.P., presided.
THE STAGE YEAR BOOK.
207
OBITUARY.
Abrahams, Frederick. Aged 00. June 16. Alexander, Allen. Aged 04. March •-':'..
Mary ((.enildim) Alko Mary E;l-
dowes). July 10.
Allen, Robert Henry. October 13. Allitsen, Frances. October 1. Ansell, Albert Edward. June 30. Ardworth, Mrs. Fred (Cissy Highton). Aged
30. June 17.
Armitage (Hill), Percy. Aged 34. July 18. Armstrong, Haydn. Aged 36. August 24. Ashton, Henrietta. May 11. Atkins, Will. Aged 58. August 7. Avone, Thos. L. Aged- 60. June 3. Axmann, Edmund. Aged 41. October 10.
Bach, Albert B. November 19.
Bale. Edwin. March 20.
Bancroft. Mary Jane. Aged 62. March 15.
Barber, William Charles. A',Lred 58. August 17.
Barnes. J. E. July 4.
Barr. Mrs. Olive. Aged 88. April 15.
Bartholomew, Mrs. January 9.
Bartlett, Fred. Aged 73. October 12.
Batty, Mrs. John. April 21.
Bedford, Robert Wilton. January 27.
Beecham, Charles. Aged 41. June 3.
Bellair, Jenny (Mrs. J. F. Warden). Aged 75. October 31.
Bentley, Dave. Aged 30. October 12.
Bentley, Joseph. April 20.
Billington, Dan. Aged 58. April 18.
Bird, Sam. Aged 54. July 15.
Bisson, Alexandre. Aged 64. January 27.
Black, Marjorie. May 5.
Bolton, Arthur. February 6.
Bond, Barry (Barrington W. Griffiths). Octo- ber 10.
Bontems, 'Mrs. 'Lucy. Aged 75. May 31.
Booth, Junius. December 9.
Boothman, James. August 24.
Borelli, Mme. Anita. October 6.
Bostock, Frank C. Aged 46. October 8.
Boswell, A. P. Aged 55. January 23.
Bowman, Arthur. February 1.
Brewster. John Edward. Aged 58. August 13.
Brooks, Mrs. Ellen Margaret. June 21.
Bryer, James William. September 15.
Buckatone, Mrs. J. B. Aged 73. December 15.
Burnard, Fred. April 18.
Caino, Mrs. Sarah Hall. December 27. Calmour. Alfred C. Aged ">">. November 6. Cameron. Marguerite Winifred Morton. Aged
5. October 15.
Cannell. Sarah. Aged 7. August 4. Carey, Pat. Aged 53. October 7. Carlton, Amy. Aged 71. October 19. Carlton, Xeil. Aged 58. November 16. Carroll, Agatha (Mrs. J. E.). May 28. Cathcart, Charles. Aged 56. December 26. Cave, Joseph Arnold. Aged 89. November 20. Chasemore. Sarah Elizabeth. November 14. Chester, Elizabeth Edith. February 16. Chute, James Macready. Aged 55. February
15.
Clarke, Hamilton. Aped 72. July. Clarke- Jervoise, Florence, Lady. October 18. ('lenient. John Mauric". Audi 71. February 24. Clements, Charles. February 20.
Coe, Beulah. Aged 38. August 25.
role, Mrs. Charles. May 21.
Coleridge-Taylor. Samuel. Aged 37. Septem- ber 1.
Conlon, Edward Jerrold. Aged 61. March 8.
Correy, Elizabeth. Aged 63. August 17.
Costello, Mrs. Tom. October 4.
Costelloe, Mrs. E. Aged 63. September 13.
Cottell, Victor Lansdowne. October 23.
Crane, Edith (Mrs. Tyrone Power). Aged 40. January 3.
Craven, Thomas. January 19.
Crawford, Mattde. December 4.
Crawford, Robert. Aged 73. January 14.
Crawley, Dan. Aged 40. October 22.
Crighton. Mrs. Sarah. Aged 70. July 14.
Croker, T. F. Dillon. Aged 80. February 6.
Grotty. Ann. Aged 72. January 5.
Cunard, James. January 31.
Gushing, Mrs. December 3.
Cyril. Professor (Albert Higgins Heppe'l). Aged 44. May 27.
Dacre, Frank. June 13.
Dalton, Kate (Mrs. Geo. Ellison). Aged 62. July 8-
DanJby, Fran,k. May 13.
Dauncey, Silvanus (Wm. John Jones). Novem- ber 24.
Davidson-Mayne, Mrs. Ann. Aged 78. Decem- ber 8.
De Rozel, Baron Moritz. October 10.
Dewhurst, Frances Clana. Aged 50. April 26.
Dockwray, Charles. August 23.
Dorrill, Charles C. Aged 51. November 26.
Douglas, Josie. December 30.
Duckworth. Mrs. W. M. Aged 67. April 28.
Duval, Cynthia Erol. October 14.
Dyer, Teddy. Aged 67. October 12.
Edwin, Mrs. Walter. December 6. Ellis, Frank. Aged 42. August 6. Ellis, Marion. Aged 21. July H. Emery, Mrs. Rose. Aged 61- December 9. Esty, Annan Baldwin. July 24.
Faber, Beryl. May 1.
Falkner, Mrs. T. H. (Kate Helmsley). Aged 61.
January 6.
Farrar, Atheling. July 3- Finlay, Edward J. February 1. Finney. Mrs. James- May 6. Fitzgerald, John. Aged 74. January 21. Ford, Rosina. Aged 56. November 15. Fosse tt, Emma. Aged 84- June 4. Foster, F. Carlton. Aged 29. September 18. Fox. Polly (Mabel Phillips). Aged 29. July 16. Franklin, Anne. Aired 90. July 5. Friedman. Eli/abeth (Bev-i,;. Willow). March 10. Friend, Wilton. Aged 76. February 14. Frost. Alexander G. (Temple). September 10.
Gallagher, Major John Patrick. Aged 79.
January 12.
Gaudy, Sidney. Aged 46. February 14. Genoa, Dolly (Mrs. Harry BrafT). June. Gifiord, Li 1 lie (Mrs. Charles Groves). Aced
63. December 12.
Gilmore, .Mrs. Harry. Aged 41. April 27. Godfrey. Frederick W. Aged 43. August 8-
10*
208
THE STAGE YEAR BOOK.
Golden, George Fuller. February 17. Goodfellow, Herbert William (Bert Wade).
Aged 31. March 1. Gordon, Barney. April 23. Aged 39. Gordon, D'Arcy Johnston. July 1. Gordon, Lizzie (Lizzie Scobie). April 4. Gorton, Belle (Mrs. Leslie Gaze). May 14. Grant, Agnes Wright Hall. Aged 25. April 13. Gray, Mrs. December 26. Green, Jessie. November 13. Greensmith, Emma. Aged 65. February 6. Gresham, Alfred. Aged 49. April 8. Griesley. Samueil. Aged 43. October 8. Griffiths, Barington W. (Barry Bond). October
10-
Grimes, Margaret. April 24. Grossmith, George, March 1. Groves, J. W. October 27. Groves, Mrs. Charles (Lillie Gifford). Aged 63.
December 12. Guyer, Charles Starry. Aged 43. September 12.
Haggar, Gwyneth. October 9.
Hague, Amy Florence. Aged 45. February 5.
Harland, Fred (Wm. Richard Russ). November 13.
Harris, Henry B. April 15.
Harrison, Edward. Aged 44. May 28.
Harrison, Florrie. December 4.
Harvey, Mrs. John (Ganlotta Ze.rbini). Aged 69. April 15.
Helene (Winter), Rose. May 5.
Henry, Mrs. David. June 8.
Hemschel, Louise. November 16.
Henton, Mrs. Hiram. January 31.
Heppel, Albert Hugglns (Professor Cyril). Aged 44. May 27.
Hicks, Margaret. July 29:
Hill (Armitage), Percy. Aged 34- July 18.
Hill, Emily Caroline. February 4.
Hoare, Elizabeth. August 10.
Holland, Jessie (Mrs. Leland Jones). February 1.
Holman, Gertrude (Mrs. Sydney Smith). Novem- ber 1.
Horrocks, Joseph Robert. Aged 45. July 30.
Howard, Mrs. J. B. Aged 84. November 17.
Howe, Charles Harry (Fred Manners). Novem- ber 4.
Humphreys, Mrs. F. W. (Marie Longmore). September 16.
Hunt, H. Creagh. Aged 39. February 27-
Hyatt, Wililiam. July 10-
Jennings, George. December 12. Johnson, Clara. Aged 55. February 8. Johnstone, Matbie. Aged 22. April 20. Jones, Hilda. June 3.
Jones, Mrs. Louisa Mary. Aged 81. Septem- ber 28. Judith, Mme. Aged 85. October 27.
Kahara. April 22.
Kelly, Thomas (Kelly Robinson). Aged 73.
February 9.
Kenway, Rebecca. Aged 89. February 3. Kenyon, Rose. January 31. Kirk, George. September 10. Kraton, Harry. Aged 30. October 20. Kuhe, William. Aged 89. October 8.
Lang, William. February 28.
Laurel. Mrs. Syd. February 28.
Leslie, Henry. Aged 68. December 3.
Leslie, Wallie. January 6.
Lester. Mrs. W. R. Aged 71. June 13.
Lewis, Tommy. Aged 29. July 11.
Lewis, Walter. February 8.
Lincoln, Frank. Aged 33. January 2.
Lodge. Henry Bedford. March 4.
Lorrell, Florence (Florence Clementine Wood).
Aged 36. December 2. Lotto, Alf October 31. Louise, Marie. May \.
Lowther, Lancelot St. George. Aged 32.
October 24. Lupino, Lily. Aged 20. April 24.
MacDonaJd, Wm. March 16.
Maitland, Monte. Aged 51. May 15.
Marsden, J. P. June 13.
M.irx, Sarah. December 6.
Mason, D. Sainpel Butler. September 26.
Massenet, Jules. Aged 70- August 13.
Matthison, Mrs. Henry (Mme. Kate Wynne). March 9.
May. Alec. June 29.
.May. Mrs. John. December 28.
May vine, Harry. Aged 37. February 12.
Md'arthy, Justin. Aged 81. April 24.
.McClelland, Nellie Lawrence (Mrs. Henry McClelland). Aged 51. November A.
McNally, Theresa. Aged 55. May 25.
Meier, Dave. Aged 35. June 4.
Middleton, John Frederick. Aged 27. Feb- ruary 5.
Mignon. Clarice. September 24.
Mitchell, Mrs. Rhoda. February 7.
Mitzi (of the Two Leons). November 17.
Monckton, Lily. Aged 35. January 28.
Moore, John. Aged 60. February 1.
Morgan, Fitzroy. October 23.
Morgan, Wilfred Robert. June 22.
Mortimer, George Charles. Aged 87. August 7.
Morton. Mme. (Julia d'Alberte). Aged 57. September 9.
Morton, W. E. April 16.
Moss, Sir Edward. Aged 60. November 25.
Munro, George. Aged 25. May 22.
Murphy, W. H. October 13.
Nesson, Alfred Clarke. October 25. New-ham, Fred W. November 2. Newsome, Jane. Aged 87. January 2. Newsum, Mrs. E. (Dorothy Ruby). June 9 Norris, William Micklefield George (Sirron),
August 15. Nuttall, Harold. Aged 27. August C.
O'Connor, Reginald, March 2.
Owen, Charles. Aged 38. October 7.
Paget, Martha Elizabeth. Aged 82. April 15. Paget, Rose \rernon. October 13. Papini, Guido. Aged 65. October 2. Penley, W. S. Aged 59. November 11. Penman, Charles. April 5. Percy, Ernest. Aged 44. June 17. Phelps, Fredericks. February 7. Phillips, Mabel. Aged 29. July 1C. Pinder, George Ord. Aged 43. June 0. Pitt, Rose Ellen Dibden. March 28. Polonaski, Eugen. Aged 62. January 1. Power, Mrs. Tyrone (Edith Crane). Aged 40.
January 3.
Price, Charles H. Aged 80. July 14. Purvis, Walter. Aged 45. June 19.
Rabinoff, Mme. La Salle. September 9.
Ramsey, Edward. Aged 41. March 3.
Reed, Frank Arthur. Aged 56. January 16.
Reilly, Phil (Graham Craig). April 22.
Reynolds, Mrs. Eliza. November 4.
Ricordi, Commendatore Giulio. Aged 71. June 6.
Riley, Michael Frank. December 18.
Risson, Carl. Aged 69. June 18.
Ritchie, Robert. Aged 24. August 21.
Robinson, Frederic. Aged 81. October 10.
Robinson, Kelly (Thomas Kelly). Aged 73. February 9.
Rodwell, Mrs. Rosetta Elizabeth. August 30.
Rogers, James. Aged 33. August 4.
Rosen, Frederick. Aged 46. March 4.
Royston, Arthur. June 22.
Ruby, Dorothy (Mrs. E. Newsum). "June 9.
Russ, Wm. Richard (Fred Harland). No- vember 13.
THE STAGE YEAR BOOK.
209
Russell, Caroline. February 28.
Russell. Mrs. Harriett Ellis. Aged 66. April
St. John, Florence. Aged 57. January 80.
St. Ruth. Walter H. Aged 81. March 14.
Saker, Mrs. Edward. Aged 64. February 6.
Saltley, Leona. July 12.
Sai.-vomf, William Thomas Fletcher. Decem- ber 28.
Sante, Mrs. Aged 86. August 16.
Sargent, Richard Edward. March 31.
Saville. Mrs. Emily. August 7.
Scobie, Lizzie (Lizzie Gordon). April 4.
Scott, John. Aged 57. July 3.
Sennett, Annie Merton (Mrs. Charles S«-nnett). Aged 67. February 11.
Sergeant, Will. Aged 60. November .°,i).
Seymour, Phoebe. Aged 75. Nov. 25.
Shaw, Tom. Aged 45. October 20.
Shenton, Edward B. Aged 65. September 2.
Simpson, Catherine Raynor. June 1.
Sirron (William Micklefleld George Xorris). August 15.
Slater, C. Dundas. Aged 60. July 8.
Smart, Richard. June 19.
Sm£rdon, R. Aged 71. June 19.
Smith, Mrs. Sydney (Gertrude Holman). No- vember 1.
Snazelle, G. H. May 17.
Snow, Ellen Rebecca. March 28.
Snowball, Mrs. June 30.
Snowdon, Walter. Aged 50. July 15.
Soldene, Emily. Aged 72. April 8.
Stead, W. T. April 15.
Stebbing, May Isabelle. May 2.
Stevenson, Rhoda. July 1C.
Steyne, E. T. April 21.
Stoker, Bram. Aged 64. April 20.
Stone, W. P. Aged 44. December 17.
Studt, John. August 31.
Sullivan, Kate. Aged 56. July 28.
Swingler, J. W. February 17.
Taylor, Jessy Olivia. August 13. Telford (Amos), Richard. February 23. Temple, Alexander G. (Frost). September 10 Temple, Richard. Aged 65. October 19. Terry, Edward O'Connor. Aged 68 April 2 Tierney, Eliza. Aged 80. July 29 Tiltman, Nan. Aged 38. November 25
Travis, Edna May. October 11. Treadgold, W. T. Aged 67. February 2. Trotere, H. April 9. Tyler, Leslie. Aged 48. August 19. Tyrrell, Margaret Ann. Aged 52. September 20.
Unsworth, Wm. Frederick. Aged 61. October.
Verne, Arthur. Aged 48. January 3. Vernon, Mrs. W. H. January 25. Yokes, Jessie. Aged 33. November 24. Yokes, Robert (Bob). Aged 56. March 2.
Wade, Bert (Herbert William CJoo.ltYllow).
Aged 31. March 1. Wakeman, Helen Beatrice. July 25. Watford-Henry, Marie Louise. Aged 2:', May 1 Wallett, Russell. Aged 44. March !>. Waller, Mrs. Lewis. Aged 50. November 14. Wallis, Maria. November 1. Warden, Mrs. J. F. (Jenny Bellair). Agt-d 75.
October 31. Wareham, Henry James. Aged 40. February
Watson, Fred W. June 28. Watson, Harold Stewart Strathearn. May. Weight, Chas. Jose*. Aged 61. November 21. Wellings, Charles Sydney. Aged 51. October
25.
Whaley, Joseph. November 13. Whitmee, Clara Buckmaster. January 11. Widdicombe, Victor. February 27. Willey, Mary Augusta. March 12. Willow, Bessie (Elizabeth Friedman). March
Wingard, Professor (Stephen John Woodier).
Aged 64. December 28.
Winkelmann, Hermann. Aged 62. January 1? Winter, Rose Helene. May 5. Womack. George. Aged 30. January 29. Wood, Florence Clementine (Florence' Lorrell)
Aged 36. December 2. Wood, Frank Percy. August 22. Woodley, Stephen John (Professor Wingard)
Aged €4. December 28. Wynne, Mme. Kate (Mrs. Henry Matehison).
March 9.
Yates, Frederick. Aged 40. October 14 Young, Carrie. Aged 22. March 30.
210
THE STAGE YEAR BOOK.
ANNUAL DINNERS, BANQUETS, ETC.
January 7.-- Mr. Albert Voyce (President of the Association) occupied the chair at the New Year's Banquet of the Terriers' Asso- ciation, held at Pinoli's Restaurant, War- dow Street, W.C.
January 10.— Luncheon to Professor Max Rein- Ihard't, given by the Albert Committee at the Carlton Hotel, the Duke of Argyll pre- siding.
February 7.— Tfhe Annual Ball of the Actors' Association took place at the Holborn iResrtauirant. Mr. Cyril Maude presided at supper, and among the speakers were Sir Herbert Tree and Miss Madge Mclntosh.
February 11.— To celebrate the fifteenth anni- versary of the birth of the Association, the Executive Committee of the Music Hall Artists' Railway Association airoanged la dinner and dance, which took place at the Criterion Res/batman*.
February 18.— The fifteenth Annual Dinner of the Gallery First-Nightere' Club took place at the Frtascati -Restaurant. The Presi- dent, Mr. Jiames Kenny, occupied the chiair.
March 17.— The sixty-seventh Dinner in connec- tion wiitlh the Royal General Theatrical Fund was held at the Whitehall Rooms, (Hotel Metropole. Mr. Lionel de Roth- schild, M.P., occupied the chiaiir.
March 31.— The President, Mr. E. Marshall flail, K.C., M.P., occupied the chiair a-t the twenty-eighth Annual Dinner of the Play- goers' Club, wluich was held at the Hotel
Cecil.
Aiprtil 6.— The members of the KinenKatoigraph . Tirade hed'd their fourth Annual Dinner at the Hotel Cecil, under the chairmanship of Sir Ernest Sihackleton.
April 23.— A company n/umbemn,g just over 100 gathered in the Alexandra Room of the Tirocadero Restaurant to do honour to Mr. Harry Masters, who was relinquishing the iposition of general manager of the London Theatres of Varieties, Limited, in order to (take up a partnership in the agency busi- ness with Mr. Jack Somers. Mr. Walter Gibbons acted as chairman, and Mr. Walter de Frece was in the vice-chtair.
A/pril 30. — The fifth Annual Luncheon of the National Association of Kinematoaraph Operators (Branch No. 10 of the N.A.T.E.) was given in the Sheraton Hall, at the Popular O.atfe. Mr. Ed. H. Mason, Presi- dent of the Association, was in the chair.
May 5 — The Annual Dinner and Ball of the 'I i i Tiers' Association took place at the
Horns Hotel, Kennington. Mr. Harry Barnard, the President of the Association, occupied the chair at dinner.
May 12.— The New Vagabonds' Club's " Othello " Dinner at the Hotel Cecil.
May 19. — The O.P. Club gave a complimentary dinner at the Hotel Cecil in honour of MLss Phyllis Neilson-Terry. Sir Herbert Beer- bohm Tree presided.
October 20.— The O.P. Club celebrated the suc- cess of " Milestones " by a dinner, at which prominent p'layers representative of the three periods dealt with in that play re- sponded to the toasts of " 1860," " 1885," and "1912,' at the Hotel Cecil under the chairmanship of the Club's president, Lord Howard de Walden.
November 20.— The First Annual Dinner of the Variety Artists' Benevolent Fund and In- stitution was held at the Whitehall Rooms, Hotel Metropole, under the chairmanship of Earl Winterton. Mr. Frank Allen was in the vice-chair.
November 25.— The Eccentric Club held their twenty-second Anniversary Dinner at the Hotel Cecil. The chair was occupied by Mr. Walter de Frece, the vice-chairman being Mr. George Graves.
December 1.— A large and distinguished com- pany assembled at a Dinner given at the Trooade<ro Restaurant in honour of Mr. William Poel.
December 3.— Annual Dinner of the Magicians' Circle at Anderton's HoteJ. Mr. Ne\il Maske/lyne occupied the chair.
December 8.— iA Dinner was given at the Mid- land Hotel, Manchester, to Mr. Edwin T. Keys in recognition of his work as mana- ger of the -Gaiety Repertory, Manchester. Mr. Ediwiard Acton presided.
December 7.— Fifty-fifth Annual Dinner of the Savage Club at the Connaught Rooms, Lord Mouliton presided, and Sir John Hare re/plied for "The Visitors."
December 8.— The Annuiail Dinner of the Actors' Association was held at the Hotel Cecil. The chair wtas occupied by Mr. Cyril Maude.
Decemiber 15.— The twenty-second Annual Dinner of tine Actors' Benevolent Fund was held a-t the Whitehall Rooms. H.H. the Duke of Teck presided.
'22.— The Playgoers' Club gave a •• ivter I'au " dinner at the Hotel (v<-ii.
Mr. .Marshall Jlall, K.C.. M.I'., over a gathering of -ab'Mit r»dO.
THE STAGE YEAR. BOOK.
211
THE AMERICAN STAGE.
PRINCIPAL PLAYS PRODUCED IN AMERICA, AND IMPORTANT REVIVALS IN NEW YORKT FROM DECEMBER 1, 1911, TO NOVEMBER 30, 1912.
ADELAIDE, drama, in one act, by Hugo Mul'er, adapter! by David Buspham. — .New Amsterdam, New York. .May ?7.
AITUIJS OF AXATOL. THE, sequence of < •pis-jdiv, by Arthur Schiatzler. Produced by Winthrop Ames.— Little, New York, Ort-.ber 14.
ALIAS MR. ROSEBERRY, presented by the Walter N. Lawiencfc Players.— Proctor's, Fifth Aveme, New York, June 24.
ALL AT SEA, playlet, by Jette:&on DeAngelis. Proctor's, New York, August 26.
AND THEY LIVED HAPPY EVER AFTER, translated from the German by Philip Bar- tholomae. Produced by the Bartholomiie- Miles Peebles company at Union Square, New York, October 21.
ANUELUS, THE, phiy, in three acts, by Neil Twomey. — Washington, September 19.
ANTIQUE GIRL, THE, book and lyrics are by William Le Baron and Cecil De Mille, :nus(ic by Robert Hood Bowers. — Colonial, New York, January 29.
AUM OF THE LAW, THE, playlet, by Roland West.— American, New Yorfk, October 4.
AJ;<;YLE CASE, THE, play, in four acts, by Harriet Ford and Harvey J. O'Higgins, written in co-operation with William J. Burns. Produced by Klaw and Erlanger, Atlantic City. October 17.— Broad, Phila- delphia, October 21.
AT PINEY RIDGE, dramatic sketch, by David Higgins.— Hammerstein's, New York, April 29.
AT THE BARlRAOKiS, operetta in one act, by Cecil B. de Mille, lyrics by Grant Stewart, music by Robert Hood Bowers, produced by Jesse L. Lasky.— Keith's Aihambra, New York, September 30.
AT VERSAILLES, 1780, a comedy in four acts by Louis IN. Parker, founded on II. de Vere Stacpool's novel, " The Order of . ase," produced under the direction of the Liebler Company. — Princess,, Toronto, Ont., Can., November 11.
ATI'AOK, THE, play in three acts, by Henri
Bernstein, adapted into English by George
ivgerton. produced by diaries Frohmati.—
p, Buffalo, August 29; Garrick, New
York, September 19.
AWAKENING OF MINERVA, THE, farce in one act, by Claude GiUingwater, produced by Arthur Hopkins.— Colonial, New York, September 9.
A/:TI-:<- i:f)MANC(B. AIN, a spectacular play In four acts, by Orestes Utah Bean, music by Harold Orlob. (Produced some years ago as " Corianton " in Salt Lake City).— Manhattan Opera House, New York, Sep- tember 18-
B'ARIBARAZA. play hy J. Hartley Manners.—
Alcazar Theatre, San Francisco, Cal..
August 19. BARGAIN', THE, drama In four acts, hy Hil-
liard Booth and Cora Maynard.— Criterion,
New York, March 28, matinee.
BARON TRENCk". comic opera, in two acts and three scenes, with book by Henry Bios som, lyrics l>y F F. .Schrader. and music by Felix Albdni, produced by F. C Whit- ney.— €iasino, New York, March 11.
BARRIERS BURNED AWAY, romantic drama in lour actefc, by George MSddleton, from the novel by E. P. Roe.-Prospeet, New York, February 26.
BACHELORS AND BEKED1OT8, comedy in three acts, 'by Jackson D. Haa.g and James Monty-ornery, produced by H. H. Fra/c- Coairt, Springneld, Mass., October 30;' Cri- terion, New York, [November 2, 1912
BEAUTY AND THE JACOBIN, one-act play * kington-Corat'dy> X
<' wa *our-™t dramatisation from Robert Hichens's novel by James Bernard Fagan. (Produced by Ch tries Frohman.) Empire, New York Nov. 11 BELLE OF SOUTH CAROLINA THE
BEN 'HUR, r'evi
in six acts and
BETSY comedy with, music, in three acts b? W§ikBby ?-hkfett Chamber!? lyrts rl ,WlllT,B- Jonastone, and >music bry Charles E. Candee, jun. (originally pro- duced as " The Butterfly "). Produced by
13
in one acfc ^ Avenu€» New York,
OF PARADISE, THE, play by Richard WaUon Tully. Rochester, /.Y f S^ 25,
BIRD OF PARADISE, THE, Hawaiian plav in three acts and five scenes, by Richard
BLINDNESS OF VIRTUE, THE, Cosmo Hamil- ton s four-act play. Produced bv Willi-un Morris Princess, Montreal, Canada. Sept
York, Ocf 28niUth ^'^ Theatre« ^
BOUGHT AND" PAID FOR, a drama in four
acts by George Broadhurst. Produced by
^
UHOADWAY JONES, a comedy, by George M Cohan, produced by Cohan and Harris — timber 23 C°haD Theatre» New York, Sep.
L 212
THE STAGE YEAR BOO&.
BRUTE, THE, a play in three acts, by Fre- deric Arnold Kummer.— Newell Theatre, White Plains, N.Y., October 4; Thirty- Ninth Street, New York, October 8.
BUNTY BULLS AND STRINGS. Parody on " Bumty Pulls the Strings," in two scenes, by Edgar Smith, with music by A Bald- win Sloane, amd lyrics by E. Ray Goetz. Produced by Weber and Fields.— Broad- way, New York, February 8. Revived, Collier's Comedy, New York, August 26.
BUTTERFLY BARONET, THE, play by Robert Keith Snow.— Castle Square, Boston, October 28.
BUTTERFLY ON THE WHEEL, A, drama, in four acts, by Edward G. Hemmerde, K.C., and Francis Neilson, M.P. Produced by Lewis Waller, Thirty-ninth Street, New York, January 9.
C \BB\GES AND KINGS, play, in three acts, by Hugh Ford and Joseph Medill Patter- son, from 0. Henry's story. Prod-uced by the Alcazar Stock Company.— Alcazar, Sau Francisco, July 1.
C\FE CABARET, THE, sketch by Vincent Bryan. Presented by Mabel Kite.— Fifth Avenue, New ¥ork, May 13.
CALL OF PARIS, THE, play, in one act, by.. Virginia Harned. Orpheum Theatre, Brooklyn, N.Y., September 2.
CAPTAIN JOE, comedy, in four acts, by Alice Garsteniberg. Produced by the American Academy.— Empire, New York, Feb- ruary 8.
CARNIVAL, THE, play, in four acts, founded by Compton Mackenzie upon the novel of the same name.— Alexandra, Toronto, Canada, November 18.
C\SE OF BECKY, THE, play, in three acts, by Edward Locke. Produced by David Belasco.— Belasco, New York, October 1.
CAUGHT WITH THE . GOODS, four-act comedy, by Roby •Danenbaum.— Columbia, Milwaukee, September 30.
CHARITY GIRL, THE, musical play in three acts, libretto and lyrics by Edward Peple, added lyrics by Melville Alexander, music by Victor Hollaender. Presented by the 1 George W. Lederer Production Company.— Studebakeir, Chicago, 111., July 29; Globe, New York, October 2.
CHIP OF THE OLD BLOCK, A., play, in one act. Produced by Thomas A. Wise.— Fifth Avenue, Ne.v York, February 19.
CHOSEN PEOPLE, THE, drama, in four acts, by Eugene Chidkoff.— Garrick, New York, March 21.
CLOWN, THE, playlet, by Edgar Allen Woolf. —Colonial. New York, May 29.
C.O.D., three act farce, by Frederic Chapin. Produced by John Cort. — Schubert Theatre, Rochester, New York, October 4; Gaiety, New York, November 11.
COMEDY FOR WIVES, A, playlet, by Owen Johnson. Produced by Arnold Daly.— Ham- mer .>teiin's, New York, October 14.
COME ON, THE, playlet, in one act, by Grant Stewart.— Fifth Avenue ,New York, June 3.
COMING HOME TO ROOST, play, by Edgar Selwyn.— Hollis Street, Boston, October 14.
CONCEALED BED, THE, a Scottish sketch, by Graham Moffat, presented by Graham Moffat's Players. — Union Square, New York, October 21.
COPY, one-act play, by Kendall Banning and Harold Kellock.— Colonial, New York, De- cember 18, 1911. •
COUNTESS NADINE, THE, drama in one act, by Joseph A. Golden, produced by Blanche Walsh and company. — Proctor's Fifth Avenue Theatre, New York, September 9.
COUNT OF LUXEMBOURG, THE, comic opera in two acts, from the German of Willner and Bodanzky, music by Franz Lehar, Eng- lish lyrics by Adrian Ross and Basil Hood, American version by Glen Macdonough, produced by Klaw and Erlanger.— Tre- mont, Boston, Mass., August 26; New Am- sterdam, New York, September 16.
COUSIN KATE, comedy, in three acts, by Hubert Henry Davies, revived by Charles Frohman. — Empire, .New York, January 29.
COWARD, THE, play, by George Broadhurst, Alhambra, New York, January 9.
COYOTE, GUSS1E, Western comedy.— Proctor's Fifth Avenue, New York, September 30.
CROOK, THE, four-act play, by William J. Hurlbut, produced by James K. Hackett. —Olympic, St. Louis, October 27.
CZAR PAUL I., historical drama, in five acts, by Dmitri Mereshkovsky.— Garrick, New York, March 18.
DAD AND MOTHER, a one-act comedy, by Abigail Marshall, presented by Thomas A. Wise.— Proctor's, New York, July 1.
DAUGHTER OF HEAVEN, THE, a dramatic spectacle in three parts and eight scenes, by Pierre Loti and Judith Gautier, English adaptation by George Egerton, produced by the Liebler company. — Century, New York, October 12.
DEAR OLD CHARLIE, farce in three acts, by Charles H. Brookfield, produced by the Shuberts.— Maxine Elliott's, New York, April 15.
DETECTIVE KEEN, a one-act melodramatic farce, by Percival Knight, presented by Daniel Frohman.— Keith's, Union Square, July 1.
DEVIL'S DILEMMA, THE, farce, by Jessie Straus and Lee Arch.— Woman's Musical Club, Cincinnati, March 13.
DIAMOND NECKLACE, THE, one-act drama, by Frederic A. Kummer, presented by Daniel Frohman.— Keith's Union Square, New York, September 16.
DINGBAT FAMILY, THE, a musical comedy by Mark Swan, music by John W. Bratton, produced by Liebler and Bratton.— Lyceum, Patexson. N.J., October 28.
DISCOVERING AMERICA, a modern play in four acts, by Edward Knoblauch, produced by Mr. Lewis Waller.— Daly's, New York, September 7.
DIVORCE QUESTION, THE, by William An- tony McQuire, produced by Messrs. Row- land and Clifford.— Whitney Opera House, Chicago, April 20.
DOLLAR DID IT, A.— Burbank Theatre, Los Angeles, October 12.
DORTNfDA <DA(RES, by Eleanor Maud Crane. Aimericaini Academy Matinee.— jEmpire, New York, March 14.
DOVE OiF P.EAOE, THE, a comic opera, in three acts, dramatic plot toy WaMace Irwin and Walter Damrosch, lyrics toy Wallace Irwin, music by Walter Damrosch.— Lyric, Philadelphia, October 15; Broadway, New York, iNbvemtoer 4.
DRUMS OF OUDE, THE, a one-act play by Austin Strong, produced by (Daviid Belasco. —Colonial, New York, November 25.
BG Y I'T, jplay, tin four acts, (by Edward Sheldon, prodtuoed ;by 'Margaret Anglin.— Garrick, Chicago, October 2.
ELEVATING A HUSB^NO), play, in four acts, iby Clara ILipnran and1 Samuel Ship man, produced by Werba and Luescher.— Liberty, New York, January 22.
ELIJAH, presented as a grand opera, in three a.cts amd five scenes, by the Majestic Graind Oipera Cb.-HPifctsfield, Mass., October 25.
ETERNAL WAiLTZ TBiE, a sa/tirical operetta, toy 'Leo Fall.— (Palace Muaic Ha/11, Chicago. October 14
Till-: STAGE VKAR BOOK.
213
BSCAPB, Illl'. play, by 1'uul Armstrong.
. liurbank Theatre, LOJ Angelos. October 28.
a musical drama in three act*?, by (ih-n MacDonoimb, ba-sed on the original by Will- tier ami Bodan*ky, music by Franz Lehar, produced by Klaw and Erlanger.— Ap Atlantic City. N.J., Novembu- H7. F.XPI.OR'Kll. THK. drama, in four acts, l.y \v. Somerset Maugham,, produced by J. \\ , , Vork, .May 7.
l-'VITH AiX-D COUNTRY, play, by Carl Schocn- herr.— Broadway Pa'. irk, Febru-
ary 7-
lAhSFJLY TIR/UE, diraaua, m one act, by Johanna Redmond, produced by the Irish Players.— Maxine Elliott's, New York, De- cember 20, 1911.
\NNY'S FIRST PLAY, by George Bernard Shaw. Messrs. Shubert, managers. — Comedy, New York, September 16. FATHER, THE, drama, in three acts, by August Strindberg, translated by Edith and Warner Oland. — Berkeley, New York, April 9.
FATTED CALF, THE, comedy, in three acts .and four scenes, by Airthur Hopkins, pro- duced by William A. Brady, Limited. — Albany, N.Y., February 12; Daly's, New York, February 20.
FEAR, dramatic sketch, in one act, by Charles Lamb, from M. D. Post's story, ," The Nameless Thing." — Brighton Beach Music Hall, July 29. -
FIGHT, THE, American comedy, in four acts, by Bayard Villier.— Colonial, Providence, R.I., October 28. FINE FEATHERS, play, by Eugene Walters.—
Cort Theatre. Chicago, August 12. FINISHING FANNY, a comedy drama, in four . acts, by Lee Wilson Dodd, produced by A. S. Stern.— Haxrisburg, Pa., November 25. FIRST AFFAIR, THE, a pre-historic mimo- dramatic sketch, by W. Cronin Wilson, music by Leonard W. Chalk.— At Winter Garden, New York, November 2. FIRST LOVE, a one-act operetta, book by Ray- mond W. Peck, lyrics by Melville Alexander, and music by Anatol Friediand.— Orpheum, Brooklyn, September 30; Colonial, New York, October 7.
FLOWER OF THE PALACE OF HAN. THE, Chinese drama, in five scenes, by Ma Tcheu-Yuen, adapted in French by Louis Laloy, and rendeTed into English by Charles P^ann Kennedy, produced by Winthrop Ames.— Little, New York, March 19. FLYERS, THE, comedy, in three acts and two scenes, by George Barr McCutcheon.— Lyceum, Rochester, New York, January 15. FOLLIES OF 1912, THE. by H. B. Smith, by Raymond Habbell, produced by Zieg- feld.— Moulin Rouge, New York, October 21.
FOOL OF FORTUNE, A, comedy, in three act?, by Martha Morton, revived by Joseph Brooks. — Garriek, New York, January 12. FORTY-FIVE MINUTES FROM BROADWAY, musical play, in three acts, by George M. Cohan, revived. — George M. Cohan's, New York, March 14.
FOUR-LEAF CLOVER. A, protean playlet, by Robert Hildreth.— Hudson, N.J., January 19.
FRAU GRETEL, DIE. farce, in three acts, by Bernard Buchbinder, produced by Gustav Amberg.— Irving Place, New York, Decem- ber 25, 1911.
FROM BROADWAY TO PARIS, a musical revue in two acts and twelve scenes, by George Bronson Howard and Harold At- terirtge, music by Max Hoffman, produced by the Shuberts, \Vinter Garden, New York, November 20.
FKOi; FIKHJ, drama, in live act-, by AlciLha<: .UK! Halevy, adapted by Harrison Grey Fiske, revived by Mme. Simone.— Hudson, New York, March 18.
FRUEHLING8 ERWACHEN. tragedy, in three acts and fifteen scenes, by Frank Wede- kind.— Irving Place, New York, March 22.
FF.IIVA.MA, J aitanese operetta, in two ft
produced by George Choor.— Proctor's, Twenty-thbd Street, New York, April 13.
GENTLEMAN FROM MISSISSIPPI, A, con- densed version of the four-act play of the same name, presented by Joseph Hart.— Colonial, New York, November 18-
GLAUBE AND HEIM\TH, tragedy, in three acta, by Oarl Schonherr, produced by Gusti.v Amberg.— Irving Place, New York, February 7.
GIRL, THE, a one-act comedy, by Edward Peple, produced under the direction of John W. Rumsey and Edgar MacGregor.— Keith's Union Square, New York, October 14.
GIRL FROM BRIGHTON, THE, a musics! comedy in two acts, book and lyrics by Jean C. Havez, music by William Becker. — Academy of Music, New York, August 31.
GIRL FROM MONTMARTRE, THE, farce in three acts, by Harry B. and Robert B. Smith from the French of Georges Fey- deau and Rudolph .Schanzer, music by Henry Bereny, produced by Charles Froh- man.— Criterion, New York, August 5.
GIRL IN PAWN, A, play in one act, by Cecil Spooner, produced by Cecil Spooner Stock company.— Metropolis, New York, July 8.
GOING THE LIMIT, farce by Augustin and Albert Glassmire.— Polis Theatre, Wilkes Barr, July 22.
GOOD-NATURED LIAR, A, sketch in one act, written and produced by Albert 0. War- burg.—De Kalb, New York, August 1.
GOVERNOR'S LADY, THE, in three acts and an epilogue, by Alice Bradley, produced by William Elliott and David Belasco.— Republic Theatre, New York, September 10.
GRAIN OF DUST, THE, drama in four acts, by Louis Evan Shipman, founded on the novel by David Graham Phillips, produced by James K. Hackett.— Criterion, New York, January 1.
GREAT GAME, THE, drama in one act, by W. Cronin Wilson, produced by Lewis Waller. —Daly's, New York, May 16.
GREYHOUND, THE, melodrama in four acts and six scenes, by Paul Armstrong and Wilson Mizner, produced by Wagenhals and Kemper.— Astor, New York, February 23.
GYPSY, THE, a romantic operetta in two acts, book and lyrics by Frank Pixley, music by Gustav Luders. Produced by John Cort.— Park Theatre, New York, November 14.
HABEN SIE NIGHTS ZU VERZOLLEN? farce in three acts, from the French, by Maurice Hennequin and Pierre Veber, translated into German by Max Schoenau.— Irving Place, New York, January 11.
HALF WAY TO PARIS, musical farce in three acts, by Paul M. Potter, lyrics by Arthur J. Lamb, music by John T. Hall.— Court Square, Springfield, Mass., April 19.
HAMLET, tragedy, by Shakespeare. Revived by Ian MacLaren.— Wallack's, New York, April 23. Another revival by John E. K. Herd— Garden, New York, November 18.
HANKY PANKY, njusical comedy in two acts, book by Edgar Smith, lyrics by E. Ray Goetz, music by A. Baldwin Sloane. Pro- duced by Lew Fields. — Broadway, New York, August 5.
214
THE STAGE YEAR BOOK.
HARVEST, satirical play in three acts, by Lennox Robinson. Produced by the Irish Players.— Maxine Elliott's, New York, De- cember 18, 1911.
HAWTHORNE 01 THE U.S.A., a comedy- romance in four acts, by James Bernard Fagan. Produced by Cohan and Harris. — Astor, New York, November 4, 1912. (Pro- duced as " Hawthorne, U.'S.A." at the Im- perial, London, May 27, 1905.)
HELL HATH NO FURY, play in three acts, by Cecil Owen and Charles W. Bell.— Prospect Theatre, New York, July 1.
HELPING THE CAUSE. Produced by Mrs. Langtry.— Colonial, New York, September 30.
THE HIGH ROAD, a drama in four acts, by Edward Sheldon. Produced by Mrs. Fiske and company. — His Majesty's, Montreal, October 14; Power's, Chicago, October 27; Hudson, New York, November 19.
HIMMELBETT, DAS, musical farce, in three acts, Book by Franz Wagner and Heinz Reicthert, music by Fritz Lehner. Pro- duced by Gustavo Amberg. — Irving Place, New York, November 23.
HOKEY POKEY, pot-pourri, in two scenes, with dialogue by Edward Smith, lyrics by Edgar Smith and E. Ray Goetz, music by John Stroimberg, A. Baldwin &loane, and W. T. Francis. Produced by Weber and Fields.— Broadway, New York February 8. ^HIGHER COURT, THE, American play, in three acts, by Henry Irving Dodge. Pro- duced under the auspices of the National Federation of Theatre Clubs.— Maxine Elliott's, New York, October 6.
HONEST JIM BLUNT, a comedy, in three acts, by William Boden. Produced by tihe Liebler Company. — Hudson, New York, September 16.
HONOUR IS SATISFIED, sketch. Produced by W. L. Abingdom.— Proctor's, Fifth Avenue, New York, March 25.
HOUSE DIVIDED, A, play, by Allan Davis, Produced by Wm. A. Brady.— Hyperion, New Haven, Conn., June 4.
HUSHED UP, one^kct play, by Harrison Arm- strong.—Fifth Avenue, New York, May 29.
HYACINTH HALVEY, comedy, in one act, by Lady Gregory. Produced by the Irish Players.— Maxine Elliott's, New York, De- cember 5, 1911.
IMAGE, THE, comedy, in three acts, by Lady Gregory, by the Irish Players.— Maxine Elliott's, New York, December 21, 1911.
IMPULSE OF THE MOMENT, THE, one-act play, by Channlng Pollock and Charles Hanson Towne. Produced by B. Cun- ningham and Co.— Proctor's, Twenty-third (Street, New York, February 26.
IN FIFTY YEARS, farce-comedy, by Morgan Wallace. — Hartmann, Columbus, 0., July 1.
IN OLD NEW YORK, one-act play, by Tom Barry. Presented by Harry Beresford. — Keith's, Union Square, New York, June 17.
IN THE GRAY OF THE DAWN, play, an one act, by Mary Asquith and David Higgins.— Proctor's, Fifth Avenue, New York, Sep- tember 2.
INCOMPATIBLES. THE, comedy, in three acts, by Anna Steese Richardson and Ed- mund Breese.— Hudson, Union Hill, N.J., July 15.
INSPECTOR FROM KANSAS, THE, comedy sketch, in one act, by Grant Stewart. Pro- duced by Olive May.— Fifth Avenue, New York, July 15.
ISLE O' DREAMS, romantic comedy, in four acts, by Rida Johnson Young. Produced by Chauncey Olcott.— McVicker's, Chicago, October 27.
IT HAPPENED IN POTSDAM, by A. II. Wilson.— Academy of Music, Pa., January
IT NEVER HAPPENED, musical comedy by Ren, Shields, music by Frank L. Callahan.— Payton's, Lee Avenue, Brooklyn, N.Y., February 26.
JACKDAW, THK, comedy, in one act, by Lady Gregory. Produced by the Irish Players.— Maxine Elliott's, New York, December 11, 1911.
JULIA FRANCE, play by Gertrude Athertou. Produced by Mrs. Fiske.— Princess, Toronto, Can., January 17.
JULIUS C^SAR, a tragedy, by William Shakespeare. Produced by William Faver- sham.— Lyric, New York, November 4.
JUNE BRIDE, THE, three-act Viennese open- etta. Weber and Fiedd's production. — Bos- ton, September 23.
JUNE MADNESS, play, in three acts, by Henry Kitchell Webster. Produced by Wmthrop Ames.— Albany, New York, Sep- tember 21; Fulton, New York, September 25.
JUNGE FRITZ, DER, drama, in four acts, by Ferdinand Bonn.— Irving Place, New York,, March 8.
JUSTICE, drama, in one act, by Edgar Jarnes. Produced by Julius Steger.— Alhambra, New York, March 22.
JUST LIKE JOHN, a farce, in three acts, by George Brpadhurst and Mark Swan. Pro- duced by William A. Brady and George Broadhurst, Inc.— Teck, Buffalo, April 18; Forty-eighth Street, New York, August 12.
JUST TO GET MARRIED, comedy, in three acts, by Cicely Hamilton. Produced by William A. Brady.— Maxine Elliott's, New York, January 1.
KIDDIE, play, In one act. — Broadway, New York, April 2.
KINDLING, play, in three acts, by Charles Ken yon. Produce.! by Edward J. Bowes.— Daly's, New York, December 5, 1911.
KING HENRY V., Shakespeare's play. Revived by Lewis Waller.— Daly's, New York, Sep- tember 30.
KISMET, in three acts and ten scenes, by Edward Knoblauch, produced by Harrison Grey Fiske and Klaw and Erlanger.— Knickerbocker, New York, December 25, 1911.
KREUZELSCHREIBER, DIE, comedy in thioe acts, by Ludvvig Anzengruber.— Irving Place, New York, April 10.
LADY FROM OKLAHOMA, THE, three-act drama, by Elizabeth Jordan-Garrick. — De- troit, Mich., July 15.
LADY OF DREAMS, THE, romance in four acts, adapted by Louis N. Parker, from the French by Edmond Rostand, produced by the Liebler Company.— Hudson, New York, February 28.
LADY OF THE SLIPPER, THE, a musical fantasy in three 'acts, book by Anne Cald- well and Lawrence McCarty, lyrics by James O'Dea, musac by Victor Herbert, produced by Charles Dillingham.— Chest- nut Opera House, Philadelphia; Globe Theatre, New York, October 28.
LADY PATRICIA, comedy in three acts, by Rudolf Besier, produced by Harrison Grey Fiske.— Empire, New York, February '2C>.
LAND OF DYKES; THE, by Herbert Hale Winslow, music and lyrics by A. Von Tilzer, presented by Sam Chip and Mary Marble.— Colonial, New York, October 14.
LATE MR. ALLEN, THE, a comedy-sketch, by May Tully and Bozeman Bulger.— Keith's Union Square, New York, Augusts.
fHE STAGE YEAR BOOK.
215
LEGACY, T11E, by Arthur Schiiitzler, trans- lated by Alary L. Stephenson.— American \ra.lemy matinee. Empire. New Y.>rk, March 14.
LKT GEORGE J»O IT, musical .-mindly in two
acts and four M-eiu>, by Aaron ilofl'man,
.founded on drawings by ticor^c Mc.Maiius,
with son«s by Paul Wot and Nat D. \yrr,
produced by Leffler-Bratton Company.—
\Ye.-t End. N< w York, April 22.
MB. play, in oiw act, by Amne, Moore.—
Mroadway, .New York, April 2. LIEBKLKI, a tragedy by Arthur Sdmitxlcr, produced by Dr. M. Baumf eld.— Irving Place, New York. November 29. LIFER, THE, play, in three relics, by Aaron Hoffman.— HAinmerstein's, New York, April 1.
LIFE S SHOP WIN DOXY, dramatisation of Victoria Cross's novel by W. H. Clifford. — St. Louis, Mo., June.
LILY OF POVERTY FLAT, THE, drama, by Marion Russell, from the poem " Her Letter," by Bret Harte. Produced by the IVeil Spooner Stock Company.— Metropolis Theatre, New York, November 11. LITTLE CHURCH AROUND THE CORNER, THE, a playlet, by James Horan. Pro- duced by Inez Macauley. — Proctor's, Ne\v Y'ork, August 19.
LITTLE MILLIONAIRE, THE, a play with music, in three acts, by George M. Cohan. — Cohan Grand Opera House, Chicago, No- vember 24.
LITTLE MISS BROWN, a farcical comedy, dn three acts, by Philip Bartholomae. Produced by William A. Brady and Philip B'artholoinae, Inc.— Cleveland, April 22— Forty-eighth Street, New YTork, August 23. LITTLE WOMEN, dramatised from Louisa M. Alcott's story by Marian De Forest; -staged by Jessie Bonstelle. Produced by Wm. A. Brady.— Playhouse, New York, October 16.
LIVE WIRES, sketch, by Ivy Ashton Root.
Presented by Minnie Dupree.— Fifth
Avenue, New York, April 29.
LOOK WHO'S HERE, musical comedy, in
three acts, by Rida Johnson Young, lyrics
by Paul West, and music by Jerome D.
Kern.— Adelphi, Philadelphia, October 24.
LOVE AFFAIR, THE, play, by Frederick
Paulding.— Plainfeld Theatre, Plainifeld,
N.J., November 27.
LOVERS' QUARREL, A, opera, in one act, by Attilio PareMi.— Metroplitan Opera House, Philadelphia, Pa., March 6. LYDIA GILMGRiE, drama to four acts and scenes, by Henry Arthur Jones, pro- duced by Louis Nethersole.— Baltimore, January 27; Lyceum, New York, Febru- ary 1.
MA( I'SHLA, romantic comedy in four acts, by Rida Johnson Young, produced by Augustus Pitou.— Grand Opera House, New York, February 5.
MAKING GOOD, drama, in four acts, by Owen Davis, produced by William A. Brady.— Auditorium, Baltimore, January 6. ; Fulton. New York, February 5.
MAMA'S BABY BOY, musical farce, in three acts, adapted with lyrics by Junie McOree, music by Hans S. Linne, and additional numbers by Will H. Becker, produced by George W. Lederer. — Broadway, New York, May 25. (Previously produced in Phila- delphia.)
MAX AND SUPERMAN. G. Bernard Shaw's play revived, produced by Ldebler and Co. —Hudson, New York, September 30.
MAN FHOM COOK'S, THK, musical comedy, in two acts, from the French by Maude. Or- dontit an, with Eiigli.sh book by Henry Blossom, and music, by Raymond Hubholl, produced by Klaw and Krlangcr. A/ca- dt-my of Music, Baltimore, I'V.bruary 12; New Amsterdam, New York, March 25.
MAX I'KOM THE NORTH, THE. j.l.-.ykt, by- Bernard OcragfcHn r— Keith's, Union Square, New Y'ork. September 2.
MAN IN FRONT, THE, a dramatic episode in one act, produced by Minnie ]>upn e and Company.— Union Square Theatre, New York, November 11.
MAN ON- HORSEBACK, A, play by Booth Ta.rkington, produced by James K. Haekett.— Columbia Theatre, iSan Fran- cisco, Col., August 19.
MAiRDfl GRAS BALL, operetta, in three acts, by Carl Wilmore, produced by Josephine dement.— Keith's, Boston, July 8.
MARIONETTES, THE, comedy, in four act-* adapted by G-ladys Unger, from the French by Pierre Wolff, produced by Charles Frohman. — Lyceum, New York,, December
MARRIAGE-NOT, THE, comedy, in three acts, by Joseph Noel. Produced by Cecil De Mille.— Empire, Syracuse, N.Y., April 22; Maxine Elliott, New York, May 13.
MASTER OF THE HOUSE, THE, American comedy in four acts, by Edgar James, with acknowledgments to a German source. Produced by Messrs. Shubert.— The Thirty- ninth Street, New York, August 22.
MEIN LIEBSCHEN, sketch. Produced by Joe Hart.— Bronx, New York, February 27.
MERCHANT PRINCE, THE, sketch, by Stephen Champlin. Presented by Harry Holman.— Proctor's, Twenty-third Street, New York, June 17.
MERE MAN, a. comedy in three acts, by Augustus Thomas, produced by William Harris.— Lyceum, Rochester, N.Y., Novem- ber 22; Harris Theatre, New York, Novem- ber 25.
MERRY COUNTESS, THE (Die Fledermaus), music by Johann Strauss, book by Gladys Unger, lyrics by Arthur Anderson. Pro- duced by Messrs. Shubert.— Casino, New York, August 20.
MERRY WIDOW REMARRIED, THE operetta in three acts, book by Max Hanisch, music by Carl von Wegern Pro- duced by Consolidated Amusement Com- pany.—Colonial, Chicago, August 4.
MEYERS, force in three acts, by Fritz Fried- man-Friedrich.— Irving Place, New York, February 19.
MILESTONES, play in three acts, by Arnold Bennett and Edward Knoblauch. Produced by Klaw and Erlanger and Joseph Brooks. —Liberty, New York, September 17.
MILITARY GIRL, THE, musical comedy in two acts, by Cecil Lean. Produced bv W. K. Ziegfeld.— Ziegfeld, Chicago, August 12.
MILLION, THE, a medley of melodrama and farce, in four acts, adapted by Leo Dit- richstein, from the French of Berr and Guillemand.— Olympic Theatre, Chicago, November 10.
MIND-THE-PAINT GIRL, THE, comedy, in tour acts, by Arthur Wing Pinero. Pro- duced by Charles Frahman.— Lyceum, New York, September 9.
MINERAL WORKERS, THE. comedy in three :iets. by William Boyle. Produced by the Iri.h Players.— Maxine Elliott's, New York, December 4, 1911.
MISS 318, sketch, by Rupert Hughes.— Proc- tor s, Fifth Avenue, New York.'May 27.
216
THE STAGE VEAR BOOK.
MISS HELEN OF TROY, musical comedy, in two acts, by Edwin M. Lavine, with lyrics and'music by Charles Gilpin. Produced by the M-ask and Wig Club.— New Amsterdam, New York, April 26.
MISS PRINCESS, operetta, book by Frank Maudell, lyrics by W. B. Johnstone, and music by Alexander Johnstone. Produced by John Cort, Allentown, Pa., November 1. — Garrick, Chicago, November 12.
MISSION PLAY, THE, pageant, in three acts, by John Steven McGroarty.— San Gabriel, Cal., April 29.
MIXED MARRIAGE, drama, in four acts, by St. John G. Ervine. Produced by the Irish Players.— Maxine Elliott's, New York, De- cember 11.
MODEL, THE, new comedy, by Augustus Thomas. Produced by Charles Frohman.— Harris Theatre, New York, August 31.
MODERN EVE, A.— Garrick, Chicago, April 21.
\IODERN WAY THE, comedy, in three acts, by Mrs. W. K. Clifford. American Aca- demy matinee.— Empire, New York, February 29.
MODEST SUZANNE, operetta, in three acts, music by Jean Gilbert, book by Georg Okonowsky; American, adaptation by Harry B. .and Robert B. Smith. Produced by A. H. Woods and H. H. Frazee.— Liberty, New York, January 1. (Or. prod. Valentino Theatre, Tol-edo, November 24, 1911.)
MOMENT, THE, by Bryon G. Ongley.— Actors' Society Benefit, Playhouse, New York, April 26. (Previously done at a Lamb's Gambol.)
MONEY GETTER, THE, by Searl Allen. Pre- sented by Hal1 Davis. — Hammerstedn's, New York, October 7.
MONSIEUR BEAUCA1RE, romantic comedy, in four acts and five scenes, by Booth Ta.rking- ton and E. G. Sutherland. Produced by Lewis Waller.— Daly's, New York, March 11.
MOON MAIDEN, THE, Burmese comic opera, in two acts and three scenes, book and lyrics by George E. Stoddard, music by Charles Berton.— WaJham Park Theatre, Fitchburg, Miass., July 29.
MOONSHINE, play, in, one act, by Arthur Hop- kins. Produced by Arthur Hopkine.— Alhambra Theatre, New York, September 16.
MRS. CHRISTMAS ANGEL, a comedy in three acts, by Lawrence Eyre, produced by Arnold Daly.— Harris Theatre, New York, November ID.
MUCH ADO ABOUT NOTHING, Shakespeare play, arranged in three acts and produced by Annie Russell at the Thirty-ninth Street Theatre, New York, November 25.
MUSTERWEIBER, DIE, operetta, in three acts, with book and lyrics by Paul Hubl and C. Quedenfeldt, and music by Fran/ Werther. Produced by Gustav Amberg.— Irving Place, New York, January 31.
MY BEST GIRL, a musical play, in three acts, book and lyrics by Chanming Pollock and Rennold Wolf, music by Clifton- Crawford and Augustus Barratt. — Cleveland, 0., August 26; Park, New York, September.
MY ERROR, a satire, in one act, by Edgar Allan Woolf. Produced by Cyril Chadwick. —Proctor's, New York, August 12.
MY INDIAN LOVE, play, in four acts, by Charles E. Blaney amd G. H. Shephard.— Metropolis, New York, October 21.
MY LITTLE FRIEND, comic opera, in a pro- , logue and two acts, music by Oscar Straus, book and lyrics by Harry B. and Robert B. Smith. Produced by F. C. Whitney.— Studebacker Theatre, Chicago, November 11
NATHAN THE WISE, version of Lessing's poetic drama.— New York University, July 26.
.NE'ER-DO-WELL, THE. a dramatisation of Rex Beacirs novel by Charles Klein. Pro- duced by the Authors' Producing Com- pany.—Lyric, New York, September 2.
NEVER SAY DIE, comedy, in three acts, by W. H. Post and William Coliier. Pro- duced by Lew Fields.— Forty-eighth Street Theatre, New York, November 12.
.NEW SIN, THE, play, in four acts, by B. Macdoaald Hastings. Produced by the George C. Tyler Company, Chicago, October 1.— Wallack's, New York, October
NIGHT FROLIC, A, musical comedy, in two acts. Presented by J. J. Flynn.— Man- chester, N.H., July 22.
XINTY AND NINE, THE, one-act version of Ramsay Morris's drama of the same n;ime. —Colonial, New York, December 4, 1911.
NO EXTRADITION, play, by O. Heury.— San Francisco, July 1. ' »
OFFICER 666, melodramatic farce, in three acts, by Augustiu MacHugh. Pro- duced by Cohan and Harris, Taylor's O.H. Trenton, N.Y., January 1.— Gaiety, N«:w York, January 29.
OH! OH! DELPHINE, musical comedy, in three acts, founded on Georges Berr and Marcel Guillemand's French farce, " Villa Primrose," book and /lyrics by C. M. S. McLellan, music by Ivan Caryll. Pro- duced by Klaw and Erianger, Phila- delphia, September 11.— Knickerbocker, New York, September 50.
OLIVER TWI'SIT, drama, hi five acts a<nd nine scones, by J. Comyns Carr, from the novel by Charles Dickens.— Produced by Liebler and Company, New Amsterdam, New York, February 26. •
ONJB DAY, drama, Jn four acts, by Cecil Spooner, 'based on the novel by Elinor Glyn.— Produced by the Blanej-Spooner Amusement Company, Metropolis, New York, March 11.
OiN T1HE LBVEiL, drama, by Richard Madden. —St. James's, Boston, October 14.
ON THE W.IMGiS OF LOVE, aviation romance, by Commodore J. Stuart B'lackton.— Waldorf-Astoria, New York. February 7.
OP;EiN(lN\G (NIIGiHT, AN, sketch, by Joseph Hart.— Colonial, New York, April 1.
OPJEIRA BA1LL, THE, musical comedy in three acts, derived from the German of Victor I/eon and H. von Waldberg, English adap- tation toy (Sydney Kosemfeild and Clare Rummer. Music by Richard H ember ye r. Produced by Klaw and Erlanger.— Liberty, New York, February 12.
OUR WIVES, comedy in three acts, by Frank Mandell and Helen Craft. Produced by Joseph M. Gaites, Parson's, Hartford, Con.i., July 1.— Wallack's, New York, November 4.
OVER THE RiIVER, musical farce, in three acts, by George V. -Hobart and H. A. <Du Souehet. Music by John L. Golden. Produced by Charles Dillingham and Florenz Ziegfeld, Jr., Globe, New York, January 8.
PAPER CASE, THE, a comedy, in four ;H K by Louis N. Parker, produced by the Lk'l> ler Company.— First New York performance a-t \Vallack's, New York, November 25.
PATIE'NClE, the comi-c opera, wi> two acts, by W. S. Gilbert and Arthur Sullivan. Re- vived by the Messrs. Shubert and W. A. Brady.— Lyric, New York, May 6.
PAY DAY XTOiHT. on^ot p^V. by Margarlt Tunibull.— The De Kalb, Brooklyn, Feb- ruary 12.
Tt/E STAGE Y£AR BOOK.
217
PEACH AND PROFESSOR, THE, musical comedy in two acts, book and lyrjcs by Kenneth S. Webb, music by Roy D. Webb. —Carnegie, New York, February ID.
PEARL MAIDEN, THE, ;i musical play, in three arts, book by Eaile C. Anthony and Arthur F. Kilos, IHUMC by Harry Auracher. Produced by Welch and Aarons.— New y..rk. \< w York, January 22.
PECK ()' PICKLES, play, by Frank Stammers. tic, LOG Angeles, Cal., August 10.
PEGGY, musical play in two acts, founded on XaiiroU' and Guerin's " L'Amorcage," with liuok by George Grossmith, jun., lyrics by i . II. Bovill, and music by Leslie Stuart. Produced by Thomas W. Itiley.— Casino, \ York. December 7, 1911.
PEG 0' MY HEART, a comedy by J. Hartley Manners, produced by Oliver Morosco.— Shubert, Rochester, N.Y., November 25.
PERPLEXED HUSBAND, THE, comedy in four acts, by Alfred Sutro. Produced by Charles Frohman.— Empire, New York, Sep- tember '2.
PERSIAN GARDEN, A, miniature musical comedy, book and lyrics by Edgar Allen Woolf, music by Anatol Friedland. Pro- duced by Louis A. Simon. — Colonial, New York, February 26.
PETER'S GARDEN, four-act play, by Boyd Martin.— Shubert Masonic Theatre, Louis- ville, Ky. (amiaiteurs).
PHANTOM BURGLAR, THE, by William Cary Duncan.— Actors' Society benefit, Playhouse New York, April 20.
PIETRO CARUSO, dramatic playlet, by Roberto Bracco.— Irving Place, New York, January 24.
PIGEON, THE, comedy in three acts, by John Galsworthy. Produced by Winthrop Ames. —Little, New York, March 11.
PINK LADY, THE, revival.— New Amsterdam, New York, August 26.
PIRATES OF PENZANCE, THE, comic opera, in two acts, by W. S. Gilbert and Arthur Sullivan, revived by Messrs. Shu- bert and W. A. Brady.— Casino, New York, June 3. Originally produced, New York, Fifth Avenue, December 31, 1879. Revived by H. W. Savage, 1900.
POETASTERS OF ISPAHAN, THE, one-act play, by Clifford Bax.— Comedy, New York, November 29.
POINT OF VIEW, THE, a play in four acts, by Jules Eckert Goodman, produced by William A. Brady.— Adelphi, Philadelphia, September 9; Forty-eighth Street Theatre, New York, October 25.
POLISH WEDDING, A, farce with music, adapted by George V. Hobart from " Die Polnische Wirtschaft," music by Jerome Kern, produced by Cohan and Harris. — Empire, Syracuse, August 31; Grand Opera House, Chicago, September S.
PRESERVING MR. PANMURE, comedy In four acts, by Arthur Wing Pinero, produced by Charles Frohman. — Lyceum, New York, February 26.
PRESS CUTTINGS, play by G. Bernard Shaw. —Broadway, New York, April 2.
PRICE SHE PAID, THE, a play in four acts, by Louis Lipsky and Avon Ross, rewritten by Cecil Spooner.— Metropolis, New York, June 17.
PRIVATE SAMMY, musical comedy, by Wil- liam Ryan and Oscar Condon. — Delmar Garden, St. Louis, June 30. PRODUCER, THE, farce by Ned Wrayburn.—
Hammerstein's, New York, February 19. PUBLICITY, curtain-raiser, by Macgregor Bond.— American Academy matin6e; Em- pire, New York, February 29.
IN BOOTS, pantomime, by Jean Bedini,
American book by Frank Kennedy, ljri'-*
by Wm. J. MrKeima, and music by H. \.
. . Proctor's Filth Avciiur, New York,
October 21.
l-i ITlMi IT OVER, comedy in three acts l.y Lee Arthur :uid Frank Hatch, produced by 1 rank Hatch.— Olympic, Chicago, August 1.
11 lll\f, <iNJ. oVl.R, one-act sketch, pi«>- duced by John T. Doyle.— City, New York, May 17; Proctor's, New York, July 29.
QL AlvKR FOLLIES, comic opera, in U-
by Margaret Whitney. — Garrick Theatre, Salt Lake City, Utah. May 30.
Ql'ESTlON, THE, a play in four act-, 1»\ Sh> r- man Dix, based on the, book by.Fornst Halsey, produced by Walton Bradford.— Court 'Square, Springfield, Maes., November 21.
QUITS, sketch, by Hall McAllister, produced by Wilton Lackaye.— Hammerstein's, New York, April 22
RAINBOW, THE, comedy in three acts, by A. E. Thomas, produced by Henry Miller. —Liberty, New York, March 11.
RANSOMED, a drama, in three acts, by The') dore Bunt Sayre and Cleveland Rogers, pro- duced by John Cort.— Providence Opera House, Providence, R.I., November 26.
RAUBRITTER, DER, comedy in three acts, by Ludwig1 Biro.— Irving Place Theatre, New York, October 30-
READY MONEY, comedy in three acts, by James Montgomery, produced by H. H. Frazee.— Asbury Park, N.J., August 16; Maxine Elliott, New York, August 19-
REAL Q'S, THE, playlet, by Maverick Tar- rell and H. O. Stickham, produced by S. Miller Ktnt.— • Colonial, New York, Febru- ary 26.
RED PETTICOAT, THE, musical comedy, in three acts, by Rida Johnson Young and Paul WTest. music by Jerome D. Kern, pro- duced by the Messrs. Shubert.— Daly's, New York, November 13. (Revised ver.-io.i of " Next," produced at Daly's, New York, September 30, 1911.
REFORM CANDIDATE, THE, one-act play, by Maclyn Arbuckle and E. A. Guest.— Chase s, Washington, December 25, 1911; Colonial, New York, January 15, 1912.
REGULAR, THE, playlet, by J. C Nugent.- Keith's, Ua^on Square, New York, July 22.
REGULAR BUSINESS MAN, A, one-act piece, by John Stokes, played by Douglas Fair- banks and company. — Fifth Avenue, New York, February 19.
RETURN FROM JERUSALEM, THE, play, in four acts, by Maurice Donnay, translated by Owen Johnson. Produced by Liebler and company. — Hudson, New York, January 10.
RETURN OF TORISAN, playlet, in one act, by Mabel Taliaferro.— New Brighton, July 8.
RICH MAN'S SON, A, pomedy, in three acts, by James Forbes. — Harris, New York, November 4.
RIDERS TO THE SEA, tragedy, in one act, by J. M. Synge. Produced by the Irish Players.— Maxine Elliott's, New York, December 14, 1911.
RIGHT TO BE HAPPY, THE. play, in three . by H. Kellett Chambers. Produced by Henry B. Harris. — Hudson, New York, March 27.
Rl'.HT TO HAPPINFSS, HIE, (CHACUN SA VIE), comedy, in three acts by Gustave Guiche and P. B. Greusi, translated by Mme. F. C. Fay. Produced by L. S. Sire.— Bijou, New York, Jam ary 11.
218
THE STAGE YEAR BOOK.
ROAD TO ARCADY, THE. a comedy, in four acts, by <Mxs. Edith Sessions Tupper, pro- duced by Sydney Rosenfeld under the auspices of the National Federation of Theatre Clubs.— Berkeley Theatre, New York, November 25.
ROAD TO MANDALAY, THE, farce, in four acts, by Carl W. Hunt. Produced by Corse Payton Stock company. — West End, New York, July 35. »
ROBIN HOOD, light opera, in three acts, by Reginald de Koven and Harry B. Smith. Revived. — New Amsterdam, May 6. ROLY POLY, in two acts, by Edgar Smith, lyrics by E. Ray Goetz, music by Baldwin Sloane.— Weber and Fields' Music Ha'il, New York, November 21.
ROMANCE OF THE UNDER WORLD, A, play, in three acts, by Paul Armstrong.— Taylor Opera House, Trenton, N.J., March 20. ROOM 44, farce, in four acts, by Frances Nord- strom.—Apollo, Atlantic City, July 8. ROSE MAID, THE, operetta, in two acts, adapted by Harry B. Smith and Raymond Peck from " Bub Oder Maedel," music by Hugo Gra.nichstaedten, and lyrics by Robert B. Smith. Produced by Werba and Leuscher.— Globe, New York, April 22. ROSEN IM SCHNEE, allegorical play, in four acts, by Conrad Nies. Produced by Gustav Arnberg.— Irving Place, New York, Decem- ber 23, 1911-
ROSE OF PANAMA, THE, opera comique, in three acts, derived from the European opera. " Kreolenblut," of Schneitzer and Von Gatti. English libretto, by John L. Shine and Sydney Rosenfeld, music by Heinrdch Berte. Produced by John Cort. — Daly's New York, January 22.
SCRAPE O' THE PEN, A, a three-act Scottish play, by Graham Mo flat. Produced under the •cirection of Weber and Fields. — His Majesty's, Sherbrooke, Ont., September 14; Weber's New York, September 26. SHADOW OF 1HE GLEN, THE, play, in one act, by J. M. Synge. Produced by the Irish Players.— Maxine Elliott's, New York, De- cember 15.
SHE STOOPS TO CONQUER, revival of Goild- smith's comedy. Produced by Annie Russell.— Thirty -.ninth Street Theatre, New York, November 11.
SLICE OF LIFE, A, curtain-raiser, by J. M. Bairrie. Produced by Charles Frohman.— Empire, New York, January 29.
SHERIFF OF SHASTA, THE, a one-act play, reduced version of " Sue " (New YorK, September 15, 1896), produced by Theodore Roberts. — Proctor's Fifth Avenue, New- York, September 23.
SNOW WHITE AND THE SEVEN DWARFS, a fairy tale play, dramatised from the story of the Grimm Brothers, by Jessie Braham White.— Little, New York, November 7.
SOCIAL PIRATE, a play, by James Frances Cooke. — Chestnut, Philadelphia, April 1.
SOMMERSPUK, a farce in four acts, by Kurt Kuechler. — Irving Place, New York, Octo- ber 15.
SQUARING ACCOUNTS, sketch by Harrison Armstrong.— Fifth Avenue, New York, June 17.
STALLED, one-act play, by George Cameron.— Fifth Avenue, New York, December 24, 1911.
STEVE, an American play in three acts, by John T. Mclntyre.— Harris, New York, Sep- tember 28.
STILL VOlflK, THE, sketch by Mrs. Sidney Drew.— Fifth Avenue, New York, March 4.
STRANGER, THE, comedy drama in three acts, by Charles TYDazey.— Apollo, Atlantic City, N.J., December 14; Bijou, New York, De- cember 21, 1911.
STRONGER CLAIM, THE, ijiay by Margaret Turnbull.— Columbia, W ashington, D.C., November 5.
STRUGGLE, THE, comedy-drama in four acts, by Will L. Tucker.— Metropolitan Theatre, Oklahoma City, Okla., March 18.
SUENDIGE LIAB, folk drama, in three acts, by Hans Werner Holzmann. Produced by Gaston Olmar. — Irving Place, New York, April 25.
SUFFRAGETTE, THE, presented by Franklyn Ardell.— Fifth Avenue, New York, April °2.
SUMURUN, a wordless drama, in nine scenes, by Friedrich Freska, with incidental music by Victor Hollaender. Presented by Win- throp Ames.— Casino, New York, January 16.
STOP THIEF, farce, by Carlyle Moore. Pro- duced by Cohan and Harris.— Apollo, At- lantic City, N.J., July 28; Empire Syra- cuse, New York, November 18.
SUNBEAM, THE, sketch. Presented by Fuller Hellish. — Proctor's, Fifty-eighth Street, New York, June 14.
SUNBONNET SUE, drama in four acts, by Whitney Collins.— Opera House, Watervliet, Mich., July 29.
SUN DODGERS, THE, a musical play in two acts and seven scenes, by Edgar Smith, E. Ray Goetz, and A. Baldwin Sloane.— Har- manus Bleecker Hall, Albany, N.Y., Octo- ber 18. Produced by Lew Fields Broadway, New York, November 30.
SUSAN'S GENTLEMAN, sketch, by Kate Jor- dan.—Matinee, Lyceum, New York, May 3. SYSTEM, THE, a playlet, conceived by Taylor Granville, written in collaboration with McCree and Clark. Produced by Taylor Granville — Keith's Union Square, New York, September 30.
TAIFUN, drama, in four acts, by Melchior Lengyel. Produced by Gustav Amberg.— Irving Place, New York, December 4, 1911. TAINTED FILANTHROPY, a tragedy, in three acts, by Abraham Goldknopf, produced by David Belasco.— Belasco, New York, No- vember 26.
TAKING THINGS EASY, a farce comedy, in four acts, by William J. Hurlbut and Frances Whitehouse. Produced by James K. Hackett.— Illinois, Chicago, November
TAILKER, THE, play, in three acts, by Marion Fairfax. Produced by Henry B. Harris.— The Harris, New York, Janu- ary 8-
TANTALIZING TOMMY, musical comedy, in three acts, from the French of Paul Gavault, book by Michael Morton, lyrics by Adrian Ross, music by Dr. Hugo Felix. Produced by A. H. Woods. (Musical ver- sion of ' The Richest Girl," produced Criterion, New York, March 1, 1909.)— O.H., Chicago, September 1; Criterion, New York, October 2.
TEMPTRESS, THE, one-act comedy, adapted from the German of Gustav von Moser by Florence Frederick Beryl. American Academy matinee.— Empire, New York, March 14.
TERRIBLE MEEK, THE, episode, in one act, by Charles Rann Kennedy. Produced by Wintihrop Ames.— -Little, New York, March 19.
THREE FINE CITIZENS, sketch, by Colin Davis. Presented by Hylda Hollis.— Fifth Avenue, New York, May 20.
THROWING THE BLUFF, comedy playlet, by Bozeman Bulger. Produced by Marion Murray.— Keith's, Union Square, New York. 'November 18.
TO KILL A MAN, sketch, by Roi Cooper Megrue, based on story by Jack London. — Hammerstein's, New York, May 27.
TJTR STAGE YKAR KDOK.
21
TO-MORlioW LAN I). musical satire, in three acts, book and lyrics by ('. W. Tacken- g, music by Richard Kierserling.- Fitchburg, Mass., \ugust 5.
TU<rcll 01-' INCH III!.. Filth
Avenu<\ N« \v York. Ju no 24-
THAI I, OF THK >L(>\ KSOM K PINK. TIIK, drama, in four acts by Eugene Walter, from the novel by John l''o\, Jr. (Pro- duced by Kla\v ami BrUnger.) New Am- -twdam.' "New York. January 29.
Ti: AIM-ID NI'KSKS. rmiK. book by William I Haroji. lyrics by Blain-he Marriri, music i>\ !.,•.-. Edwards. <V)l«-tiii;il. New York. mber 16.
TIIIAL MAURI V<;F. a. play, in thro
by E'.mer -Harris JIud.-on, New York. October 29.
TIU'TH WAGON. THK, comedy, in three nets, by Hayden Talboi. (Produced by Oliver MToroeoo.) Daly's, Now York. February 26.
TURN' OF THK C.VRD. a one-net drama, by Edwin F. Reilly and Ralph D. Robinson. De K:,:h. N<?w 'York. Julv 8.
TWO LITTLE BRIDES, musical comedy, in two acts, with book and lyrics by Arthur Anderson, James T. Powers, and Harold Attendee, from the German by Wollner and Wilhelm. Music by Gustave Kerker. (Produced by the Shuberts.) Casino, New York. Aiprif 23.
TYPHOON. THE, drama, in three a«ts. by ,F,mil Nyitray ami Byron Onsr'ey. from the Hungarian by Menyhert Lengyel. (Produced by Walker White-side.) Pro- duced in the original at the Irving Palace, New York, on December 4. 1911. Opera House, Chicago, February 4. Fulton, New York. March 11.
TYPHOON1, THE. adaptation of Taifaun, by Frances G. Corcoran. Passaic Theatre, Pa<sa:ic. July 28-
TYRANNY OF 'FATfE. THE, sketch, in one act. by Herbert Thompson. (Produced by IStelta HlammersteiiO Hammers tern's, New York. Feibruary 25.
UNDER MANY FLAGS', conceived by Arthur Voegth'n, stage grouping and musical num- bers arranged and staged by William J Wilson, drama written and staged by Car- roll Fleming, music and lyrics by Manuel Klein, produced by Messrs. Shubert. — Hip- podrome, New York. August 31.
UNDER THE LAW, play by Allan Davis.— Duquesne Theatre. Pittsburgh, October 28.
UNWRITTEN LAW. THE. play by Edwin Mil- ton Royle. — Apollo Theatre, Atlantic City, April 15.
YICTORIA AMORIS. poetic drama, in one act. by Frank Harold, music by Court- landt Palmer.— Waldorf Astoria, New York, mber 19. 1911. -
WATTING AT THE CHUROH. one-net comedy, by Willie Collier and Edgar Selwyn, pro- duced by Edward A'be'.es. Fifth Avenue, "Ntjw York. April 22.
WALL STREET GIRL. THE, musical play, in three acts, witli bonk by Margaret Mayo and Edcar iv-hvyn, lyrics by Hapgood Burt, and music by Karl Ilosc-lma, pro- duced by Frederic McKay. — Cohan, Nrw York. April 15
WEDDING JOURNEY, THE. comedy by John T. Mclntyre, produced by H. H. Frazee. — Shubert Theatre, Boston, September 9. »
WF.DDTXG TRIP, THE. comic opera, in three acts, music by Reginald dv Koven. book liy Fred de Gresa and Harry B. Smith, produced by Sam S. and Lee Shubert.— Broaxlway, New York, December 25, 1911.
WHAT AILS YOT7? farce, in three acts, by Rupert Hughes, produced by Henry W. Savage.— Ford's Opera House, Baltimore. Md., November 11; Criterion, New York, November 18-
WHAT THE DOCTOR ORDERED, playlet. In one .act, hy A E. Thomas, produced by Kanni^ Ward. — Proctor's, Fifth AM -IIIK-, JTorif, March 25.
Wlll<;\ IT COM MS HOMK, play, by An
Thomas. Lyceum, Rochester, N.Y., April 4.
WIMP. THK, a melodrama, in four aH
thirteen scenes, by Cecil Raleigh and Henry Hamilton.— Manhattan opera Hous.-, N«-\V York, November 22.
\VIIII5L OF SOCIFTV. TITF, musical satire of up-to-dat.- society, bouk by Harrison Rhode?, lyrics by Harold AttridL'f. mu-i.- 1>\ Loni-^ A. Hirsi-h.- --Winter Gardens. York, March 5.
WIIITi: MAGIC, comtdy. in threr ;„ ••
Roi Cooper Megrue, from the novel ti\ David Gra,ham Phillips. Produced by Liebler ,ind company.— Criterion, New Y.trk. January 24.
WHO'S SAFE? comedy, in three acts, by Celie Ellis Turner. — Carnegie Lyceum, New York, December 22, 1911-
WHOM DOES HELEN BELONG TO? farce, from the German of Eberhard Buchner, adapted by Ferdinand Gottschalk.— Hype- rion Theatre, New Haven, Conn., August 19.
WHY SCIATICA STAYED AT HOME, ubr- lesquo farce, by Frank Shcridan.—T'nion Square. New York, August 26.
WINSOME WIDOW, A, farce-comedy, with mu.sic, in three acts and five scenes, founded on " A Trip to Chinatown," by Charles H. Hoyt. mu&ic by Raymond Hubbell. Produced by Florence Ziegfeld, jun.— Moulin Rouge, New York, April 11.
WITHIN THE LAW. play in four acts, by Bayard Veiller. Presented by the Ameri- can Play Company. — Princess, Chicago, April 6, Broadway, Long Branch, N.J.. August 30; Eltinge Firty-second Street Theatre, New York, September 11.
WITHOUT THE LAW, in one act, by <Edgar Smith, E. Roy Goetz and A. Baldwin Sloan, produced bv Weber and Fields.— Weber and Fields' Music Hall, New York. November 21.
WIi'XKSS FOR THE DEFENCE. THE. A. E. W. Mason's four-act play. Produced by Charles Frohman.— Empire, New York, December 4, 1911.
WOMAN HATERS. THE. operetta in three acts, from the German of " Die Frauenfresser," by Leo Stein and Karl Lindau. music by Ed- mund Eysler. American book and lyrics by George V. Hobart. produced by' A. H. Woods. Or produced as The Woman Haters' Club.— Astor, New York, October
WOMAN INTERVENES, THE, one-act comedy, by Hartley Manners, presented by Florence Roberts.-— Majestic, Chicago, September 30: Fnion Square Theatre, New York, October
WORLD. THE FLESH. AND THE TAILOR. THE. play in four acts, by Hartley Davis, produced by the Actors' Society.— Hudson. New York, January 8.
YEARS OF DISCRETION, a new comedy, by Frederick and Fanny Locke Hatton, pro- duced by David Belasco.— Empire Theatre. Syracuse. N.Y., November 4; Power's Theatre, Chicago. November 10
YELLOW JACKET, THK, a Chinese play in three parts, by George C. Hazelton and J. Harry Benrimo. produced by Harris and Setwyn, Inc.— Fulton. New York. November 4.
YELLOW PERIL. THE. a one-act drama, by Albert Cowles. produced by Nina Morris and company.— Keith's Union Square, New York, September 9.
ZfLA. dramatic playlet in three scenes, from the French of Maurice de Marcy.— Union Square, New York, August 26.
220
THE STAGE YEAR BOOK.
FIRES IN AMERICAN THEATRES
BETWEEN DECEMBER 1, 1911, AND NOVEMBER 30, 1912.
1911.
December 15.— Majt*t>i<-, Maron, (im. Destroyed.
December 18.— Louis Theatre, Settle, Wash. Destroyed.
December 20.— Palmer O.H., Palmer, Neb. De- stroyed.
December 24-— Aranszaza Theatre, Aranszaza, Mexico. Destroyed. Four lives lost.
1912.
January.— Music Hall, Milford, Mass. Damaged. January 7.-^01d Royal, Fortworth, Tex.
Damaged. January 28.— ^Academy of Music, Pittsfield,
Miass. Destroyed. January 31.— .Bates' Opera House. Attleboro',
Mass. Destroyed., February 3.— Opera House, Oanfard, N.J.
Destroyed.
Mureli 30.— Young's Pier Theatre, Atlantic City, N..1. Deytroyed.
May 2.1.— iK.mipiv.ss, Butte. Destroyed. June C. Lyric, Cobalt, Conn. Destroyed.
June 24.— St. George Opera House, Liberty, Me. Destroyed.
July 2. — 'Empire, North Adams, Mass. De- stroyed.
July 9.— (Empire, Winchester, Va. Destroyed.
July 13.— Grand Opera House, Free-port, 111. Destroyed.
October 3.— New Remington Theatre, Kanka- kee. Destroyed.
November 8.— Empire, Edmonton, Alta. De- stroyed.
November 15.— Armory, Clarinda, Iow«.
November 28.— -Wheeler Opera House, A.spen, Colo. Destroyed.
NEW THEATRES OPENED IN AMERICA
BETWEEN DECEMBER 1, 1911, AND NOVEMBER 30, 1912.
1911.
December 23.— -New Alcazar, 'San Francisco
drama. December 24.— Park, Glen VM*, N.Y. Pictures
and variety.
December 25.— Harris Theatre, Pittsbiire
Vaudeville. December 25.-Miner.s' NVw Kni^in-, Newark.
Vaudeville.
December 30.— Pantage's NCAV House, San Fnan- nsco. Vaudeville.
1912.
January 8.— New Shufoert, NeAvajk NJ
Drama. March 25.— The Playhouse, Hudson, tf.Y.
Drama. A/pril 8.— Proctor's Schenectady, N.Y. Vaude-
ville and pictures.
April 15.-Ompheuzn, New Bedford. Vaudeville May 27.— Pole's Bijou. New Haven, Conq.
24.— Cataract, Drama.
Niagara Falls, N.Y.
'August 12.— Forty-'Ei'gihth Street Theatre, New York.
August 18.— sNeiw Giarden, Kansas. Vaudeville. August 23.— New Playhouse, San Diego, Cai. August. 30.— iSt. James's, Boston. Drama.
August 31.— iHippodrome, Forth Worth. Vaude- ville and pictures.
September ' 11 .-^iltange • Theatre, New York.
September 15.— Queen's, viile.
A.Uig'U&t 23.— (Hippodrome, ville.
October 6.— Paris Theatre, -Denver, Col.
October 7.— New Lyric, Hot Springs,
Vaudev'Jle. November 22,-— 'Gaiety, Kankakee, 111.
ville.
Forty-Second Street Gal veston , Vaude - Alton, III. Vaude.
Ark.
Vande-
7V//" STACK YF.AR BOOK.
221
AMERICAN OBITUARY.
rilOM ])(.;ri:MHKR 1, 1911, TO END OF NOVEMBER, 1912.
\lihott, Ma\, bnrleM|iie actor. <'iiieiniia(i, ()..
: >iary ].".. Abraham*-, 'diarle.s M., manager. November
13. Aii'amofT, Sijrnor. opera Binder. Brooklyn,
January 23. Aiken, Harry C.. scenic artist. A'.'td 3:.
Bronx., N.Y., November 12. Albiach. Francisco, tenor. Aged 47 yeans.
Newton, Pa., August 1.
.-, Harry D., actor. Aahland, 0.,
February 22. Ali, Joseph, trombone soloist. Aged 7S years.
Brooklyn, N.Y., April 18
A.shton, Josie (Mrs. Josephine Gagnon), eques- trienne. Aged 42 years. Oranue, N.J.,
April 28. Atkeri, William, burlesque actor. Aged 60
years. Maiden, Mass., December 12", 1911. Austin, Lloyd P., actor. Chicago, November
21. Avery, Daniel, vaudeville artist. Aged 34
years. New York City, February 23.
Bailey, Fred (Hisminson), vaudeville a.rtist.
Aged 38 years. Freeport, L.T., N.Y.,
April 12. "
Banks, Charles L., actor. Aged 63 jears. Bal- timore, Md.. November 12. Banning, Mrs. Hedwig concert singer. New
York City, July 7. Bannon, Edward, actor, Atlantic City, N.J.,
September. Harbour, Lawrence, actor. Aged 59 years.
Mt. Vernon, N.Y., June 23. Bardon, Thomas F., treasurer. Aged 80 years.
New York City, November 6. BariM, Armando C., baritone. Philadelphia,
Pa., September 4. Barmann, Ferdinand, manager. Aged 62 years.
San Francisco, September 1. Bajnum, 'Mrs. Tillie, actress. Saskatoon, Mani- toba, Can., November 3. Harrison, Mabel, actress Aged 30 years.
Toronto, Canada, October 31. Bartell, Sam, vaudeville artist. Aged 47 yeans.
Buffalo, N.Y., March 17. Batc'helor, Wm. Henry, musical director.
Aged 55 years. New York, October 19. Bauer. J. G.. actor. Aged 88 years. Staten
Island, N.Y., January 20. Bean. Wm. C., actor, Drowned Great Egg
Harbor Bay, N.J., June 16. Bedeo, Geortre, manager. Chicago, April 3. Beeson, Edwin R., -vaudeville artist. Aged
20 years. Seattle,' Wash., July 7. Beeson. Harry (Sayles), comedian. * Columbus,
0., January 24. Behrens, Siegfried, musician. Aged 72 years.
Philadelphia. November 5. Belcher, W. M., manager. Aged 60 vears.
March 1. Bclgarde, Laurence I. Aged 37 years. Glovers-
ville, N.Y., December 9. 1911. Benson, Adrianne, actress. Aged 17 years.
Des Moines, la., February 7. Bertram, Vedah, actress. Oakland, Cal.,
August 26.
Texre Haute, Ind.,
August 21. Biederstadt, Ed., manager. Madison, Wls.,
March 2.
Bigelo-w, Cha.rl''S A., comedian. Asnl ^0 years.
Meadville, Pa., March 12 Hinu'liani. K. F.. cnnc-rt ain-ger. Nc\\ York.
])ecember 31. Boleyn, Rowland A., vaudeville artist. A'_"-d -I:'
year*. Chicago, February i:>. Boiiiiface, G?eorge C., actor. Aged 79 yean.
New York, January 3. Bordeaux, Rena (Mrs. 8am Levy), burlesque
actress. Oak Forrest, 111.. July 2". Bornemann F., opera singer. Aged 78 years.
New York, December 27. 1911. Bradshaw, Charles H.. actor. Aged 67 years.
Montclair, N.J., May 27.
Bragan., Harry, singer. Aged 65 years. Bush- kill, Pike County, Perm.. October. Bragg, John B., burlesque comedian. Pleasant
Ridge, Cincinnati, 0., May 12. Brand, Michael, musician. 'Aged SI year.-.
Cincinnati, March 10. Brandeds, H. 'Hugo, theatre owner. Aged 44
years. Omaha, Neb.. July 21. Brandt, David Henry, pianist. " Aged 24 vears.
Brooklyn, N.Y., July 4. Droeck, Arthur Wellsley T.. musician. Aged
60 years. New York. June 25. Bryant, Eugene, actor. Chicago, ill.. Feb- ruary 2. Burke, Lalle E., actress. Dallas, Tex., Januarv
28. Burnett, Ethel Wynne, actress. Guelph.
Can., January 21. Burroughs, Agnes, actress. Aged 50 vears.
New York City, August 2.
Butler, T. B., actor. Aged 58 years. Jack- son, Ala., April 21. Byram, Edward R.. one-time manager A^cd
78 years. Chelsea, Mass., July 12.
Cain, John J., vaudeville artist. New York- City. April 18.
Cairns, S. T.. actor. Aged 24 years. Boston, Mass., February 29.
Calhoon, George, stage carpenter. Palmvra. N.Y., July 10.
CaUan. Peter, vaudeville performer. Brooklyn,
Campbell, Henry J., manager. Aged 67 years.
Astoria, June 1. Cannon. Hughie, song writer. Aged 39 year?.
Toledo, 0., June 19. Carlen. Rose (Mrs. Chas. Falke), burlesque
actress. New York City, August 24. Carr, Elmer Wilson, stage manager. Provi- dence, R.I., May 1. Carr, Etta, cornetist. East Methuen, Mass.,
Apria 13. Carroll, John, circus performer. Reedsburg,
WK, July 26. Carter, Viola, burlesque actress. Aged 21
years. St. Agathe, Con., March 2. Caven, Joseph E., manager. Aged 67 years.
Santa Cruz, Colo., June 2.
A'.lt-ntown. Pa..
July 20. Cerita, Rosa (Mrs. W. B. Hellen), dancer.
Aged 73 years. New York City, July 3. Chagnon. Charles Wilfred, actor. Aeed 33,
years. Woonrocket, R.I., July 21.
222
THE STAGE YEAR BOOK.
Chalfant, E. A., singer. Aged 52 years. Pitte-
burg, Pa., September 16. Chandler, William E., musician. New Haven,
Conn., November 12. Chapman, Edward, comedian. West New York
N.J., June 3. Chunn, J. D., manager. Aged 43 years. St.
Louis, February 7. Clanahan-Wlllis, Leonard, dramatist. St.
Louis, Mo.. August 19. Clarke, Wilmont H., song writer. Melienacket,
Me., January 26. Clements, Robert S., circus manager. Punzsu-
tawney, Pa., September 28. Clifford. Viola (Mrs. E. Ashton), vaudeville
artist. Aged 39 years. Chicago, March 10. Coghlan, Louisa E., actress. Aged 75 years.
Chicago, 111., January 24. Colby, Georgia Gardner, vaudeville artist.
Chicago, June 18. Collins, Joseph J., actor. Aged 33 year?.
Brooklyn, N.Y., May 14. Conlan Warren, actor. Winnepeg, Mon.,
Can., May 14. Constantine, Wm. J., actor. Aged 71 years.
New York, March 15. Cooper, Fred. A., manager. Aged 58 years.
San Francisco, May 2. Crane, Ediith, actress. Aged 40 years. New
York, January 3.
Crawley, Mabel, actress. Boston, January 10. Crooke, Daiisy Lee, planiste and singer. Den- ver, April 21. Curfcis, Thomns R., ^ac'tor. Aged 33 years.
Sacramento, Cal., July 18. Cutmore, George, singer. Aged 43 years. New
York, October 27.
Daly, William, vaudeville artist. Aged 55
years. Renere, Mass., April 4. Dance, Wm. H., manager. Aged 34 years.
Sioux City, la., January 18. Darley, Mrs. Lorette Lucille, actress. Aged
29 years. September 13. Davenport, Lew (Cohen), acrobat. New York
City. September 10.
Davis, Ivy, actress. Omaha, Deb., January 30. Day, Edmund, playwright. Aged 43 years.
Brooklyn, January 22. Deagon, Edwin H., vaudeville performer. New
Haven, Mo., July 8.
Dean, Amelia (Mrs. B. C. Hart) actress. Oc- tober 7.
Del Bonta, M., manager, New York, May 31. De Mario, Mario, singer. Aged 35 years. New
York City, August 9.
Deuel, James P., actor. Aged 71 years. Phila- delphia, January 23. Devo, Geo. Warren, actor. New York, Januarv
21. Doris, John B., circus manager. Aged 64 years.
New York, February 6. Douglas, Marion W., actress. Springfield, Mo.,
January 17. Doutrick, Charles H., agent. Aged 50 years.
Chicago, October 8. Dow, Howard Malcolm, composer. Aged 75
years. Pelham Manoo, N.Y., June 12. Doyle, John A., vaudeville artist. Aged 58
years. New York City, March 22. Duff, Frederic E., actor. New York City,
March 24. Dunham, Kimble, cornetist. New Brunswick,
N.J., May 27. Durkee, Frank A., manager. Otsego, Mich.
March 20.
Kberbe, Robert M., actor. Aged 71 years. South Bend., Ind., May 24.
Edmonds, Chas. J., actor! Staten Island, No- vember 17.
Edwards, Frederick, actor and manager. New York City, July 27.
Edwards, Jennie, burlesque actress. Raleigh N,C., March 9.
Eichelo, Jacob, musician. Aged 65 years. New York, City, July 31.
Eldridge Buke (Mrs. Fred Martell), aetress Aged 26 years. Avon, Mass., August 8
Llroy Edwin H actor and playwright, Eliza- beth, N.J., February 24.
Ellmore, Barnett N., manager. Aged 83 years New York City, September 13
Engle, Charles, manager. Aged 45 years. NVw \ork, May 1.
Erie. Marion, actress. Chicago, February 11
Kustis, Frederick J., musical director anil coin- poser. Aged 53 years. Toronto, Can March 28.
Fagan, Frank B,, minstrel. Aged 40 years.
New Bedford, Mass., August 10. Fagan, John P., circus manager. Aged 52 years
Madison, Ind., April 28. Fait, Clarence-Manning, actor. Aged 51 years
Gloucester, Mass., May 13. Farnum, G. Dustin, actor. Aged 65 years. New
York. February 19. Fauntleroy, H. B., manager. Aged 50 rears
Portland, Ore., April 18. Feeley, Wm. B., actor. Aged 24 years. Denver,
Colo., January 21. Fellows, Marie (Mrs. Harry J. Good now),
actress. Columbus, O., May 9. Fenner, Thomas Putnam, musician. Agfd 82
years. Hampton, Va., October 16. Fiala, Frank J., musician. Aged 65 years.
Jamaica Plain, Mass., April 6. Fields, Anna (Mrs. A. Asher), actress. Aged 50
years. East Orange, N.J., February 27. Ford, George T., treasurer. Aged 58 years.
Baltimore, July 5. Ford, Lottie De Verne, comedienne. Aged 43
years. Doluth, Minn., June 5. Freeman, Max, actor and manager. New York,
March 28. Fritz, Margaret Smith, actress. Aged 22 years.
Athol, Mass., January 18. Frizzell, Edward C. (Howard), actor. Aged 52
years. Brooklyn, N.Y., June 12.
Gaudin, Henry, composer. Aged 62 years.
Pittsburgh; Pa.. February 22. Cagen, Chas. H., junr., minstrel. Aged 31
years. Cleveland, O., December 24, 1911. Gazzallo, Andrew G., manager. Louisville, Ky.,
August 1. Gebest, Gustave E., musician. Aged 60 years.
Zanesville, 0., January 15- Gentry, James B., actor. Aged 53 years. Xew
York City, July 24. Giesemann, senr., Arnold, musical conductor.
Aged 87 years. New York, February 26. Gillette, Fanny (Stevens), actress. Long Island.
N.Y., July. Gilson, Lottie, vaudeville artist. Aged 45
years. New York, June 10. Ginsberg, H. J., Jewish actor. Aged 40 years.
New York, January 3. GHdden, Charles, minstrel. Seattle, Was.Ii.,
January 4. Gloss, Gus J., gymnast. A.ged 52 years.
Chicago, August 4. Goldberg, Nathan, singer. Aged 50 years. Xe\v
York City, March 6. Golden, George Fuller, vaudeville artist. ALT.I!
44 years. Los Angeles, February 17. Gonzales, Charles, actor. Aged 78 years.
Tompkinsville, March. Gonzalez, Mrs. Fanny, actress. Aged 71 years.
New York, February 7. Goodwin, Florence (Mrs. Wm. Scott), actress.
Mobile, Ala., March 20. Gordon, Mrs. Lenore, actress. Aged 36 years.
Long Island, N.Y., July 24. Gould, Ada I., actress. Aged 74 jvars.
Brooklyn, N.Y., June 21.
THE STAGE YEAR BOOK.
223
Graf, George, musician. Aged 82 years.
Brooklyn, N.Y., May 22. Grant, Charles, stage manager. Stepney., Conn.,
March 5.
Gratz, Felix, pianLst. Aged 57 years. Balti- more, Md., November 16. Gran, Herman, manager. Aged 87 years. New
York City. October 27.
YYm. II., musician. Brooklyn, N.Y.,
January 22. Greene, Winifred, vaudeville artist. Aged 21
yrars. Kansas City, Mo., February 24. Grceiileaf, Mace, actor. Philadelphia, Pa.,
March 24.
\. C. A., musician. Aged 55 years.
Brooklyn, January 9. Grillith, A. F. lightning calculator. Aged 31
yrars. Springfield, Mass., December 25,
Groebler, Fritz, trombone player. Omaha, Neb., February 28.
Hager, Elvin F... bandmaster. Bronx., N.Y.,
November 8. HaJverson. H. J., vaudeville singer. Aged 23
years. Chicago, December 30, 1911. Uardwick, Charles (Bottles), manager. Aged
41 years. Canton, 0., October 12. Harrington, Helen C.. actress. St. Louis,
November 2. HarrJngton, Mabel, actress. Los Angeles,
Cal.. November 19. Harris, George H., vaudeville performer. New
Orleans, La., June 16. Harris, Henry B., manager. Drowned in the
wreck of the "Titanic," April 15. Harris, Mrs. Iza L., vaudeville artist. Agea
42 years. Roxbury, Mass., May 19. Harrison, Bob (Patterson), minstrel. Aged 70
years. Philadelphia, March 6. Hart, Tony (Hefterman), actor. Aged 41 years.
Worcester, Mass., January 13.
-ley, Charles M., musician. Trenton,
N.J., August 20. Hayes, Fred A., comedian. Aged 37 years.
Sanford, Me., March 7. Heffern, John W., actor. Aged 42 years.
Worcester, Mass., February 15. Hein, F., German actor. Aged 62 years.
December 12. Hempzling, George A., actor. Aged 27 years.
Galesburg, 111., April 18. Henderson, Heine (Zhetter). scenic artist.
Hamilton, O., September 13. Heimella, Joseph, femaJe impersonator. St.
'Louis, Mo., November 3. Henshaw, Vanderbilt L., vaudeville artist.
Aged ^ years. Brooklyn, N.Y., July 6. Herbert, Mrs. Elizabeth, actress. Aged 70
years. April 5. Herbert, Horace, actor. Amityville, L.I., July
16. Bess, Emma (Mrs. J. P. Morgan), vaudeville
artist. St. Johnsville. N.Y., March. Hi-lit, Jennie {Mrs. C. H. Smith), actress.
Aged 69 years. Chicago, February 19. Hill. James M., Manager. Aged 64 years.
Xew York City, October 2. Hinckley, Sallie A. (Mrs. A. W. Forbes),
actress. San Francisco, Cal., Marcn. Birscbberg, Fanny Portugal, song-writei.
Chicago, 111., January 20. Hitf, Mabel (Mrs. Michael Don.tin), actress.
Aged 26 years. New York. October 22. Hoffman, Minnie, vaudeville artist. Reading.
Pa., June 26. a, J. M., female impersonator. New
York, December 29, 1911. Hopper. Garry, vaudeville performer. St.
Louis, Mo., November 4.
Hosf-hna, Carl, composer. December 23, 1911. Howard, Mrs. May, actress. Brooklyn, N.Y.,
March 20. Hudson, Alfred J., actor. Aged 27 years. New
York, November 24.
Imbolt, Chrifl, vaudeville artist. Irvington, Ind.. .November 13.
Imbolt, Mrs. Chris., vaudeville artist. Irv- ington, Ind., November 13.
Irving", John W., actor. Aged u7 year.-. New York City, July 20.
lula, John, violinist. Aged Balti-
more, April 23.
Jackson, Charley (BecMel), actor. Philadelphia,
January 13. Jerome, Kkic (Mrs. F. D. Hills), acbreee.
Bridgeport, Conn., February is. Jones, John, stage-manager. Chicago, 111.,
February 13. Jones, Nathaniel D., comedian. Aged 73 years.
Scituate, Mass., August 15. Jordan,., Emily Thome (Mrs. >E. J. Oharnber-
'ain), actress. New York, February 18. Joyce, James E., circus performer. Aged 44
years. Greenwich, N.Y., July 17.
Kayser, Henry C., musician. Aged 68 years. New York, April 21.
Keane, George T., musician. Aged 30 years. Denver, Col., June 18.
Kellam, Lee J., actor. Aged 52 yeans. St. Louis, Mo., May 18.
Kelley, Mrs. Adelina E., dancer. Aged 61 years. Middletown, N.Y., May 14.
Kelly, George F., minstrel. Binghamton, N.Y., January 23.
Kelton, Jane, actress. Aged 32 years. Van- couver, B.C., January 26.
Kenyon, John M., actor. St. Louis, Mo., Sep- tember 5.
Kernan, Eugene, manager. Aged 78 years. Washington, D.C., October 4.
Kiinc aid, Pearl, actress. St. Louis, Mo., August 6.
Klag, senior, Henry, musician. Trenton, N.J., August 13.
Knox, Harry (Dawson), vaudeville artist. Highland Park, Mich., October 8.
Lambson, George D., minstrel. Aged 50 years.
Gardner, Mass., April 6. Landie, Charles E., actor-manager. Aged 49
years. Taunton, Mass., July 15. Lane, Frank, actor. Aged 54 years. Phila- delphia, October 14. Langan, E. J., musician. Aged 41 year.-.
Chicago, November — . La Pointe, Louisa, circus performer. Aged 52
years. Milwaukee, April 28. La Rue, William, acrobat. Aged 80 year.-.
Philadelphia, Pa., January 12. Laskey, jun., James, musician. Morr.'eburg,
Ont., Con., August 2. La Varaie, Frank, vaudeville artist. Aged 60
yeans. Chicago, February 13. Lavine, John, manager. Aged 64 years. New
York City, August 1. Lawrence, Atkins, actor. Aged 76 years. San
Francisco, February 18. Lea, Mary Jordan, actress. Omaho, Neb.,
May 4. Leary, Theodore M., advance agent. Aged 35
years. Los AngeJes, Cal., February 14. Leary, Wm. 'F., treasurer. AsheviUe, N.C.,
January 22. Leavilt, Burton E., composer. Putnam, Conn.,
November 20. Lee, Dorothy, M., actress. Aged 32 years.
Stratford', Conn.. January 1. Leech, Al., vaudeville artist. Aged 43 years.
New York City, July 5. Lehman, Julia, actress. Aged 65 years. New
York, April 4. Lester, Harry, comedian. Aged 42 years.
Springfield, Mo., January 27. Lester, Minnie, actress. Conastota. N.Y.
June 29.
224
TtiE STAGE ^EAR BOOK.
Leveque, J. M., librettist. New York, Decem- ber 30.
Le Vine, Charles (Ashburn), actor. Bound Brook, N.J., February 23.
Lewie, Joseph, violinist. Providence, R.I., July 31.
Lewis, Virginia, actress. Denver, Col., Octo- ber 25.
Littell, Mrs. Joseph, dancer. Aged 92 years. Ballidaysburg, Pa., July 4.
Lobe, Ben, manager. Leadville, Colo., January
Lochrane, Will, comedian. Kamloops, B.C.,
August 5. Lowe, Chas. H., vaudeville artist. St. Louis,
Mo., March 21. Lumbard, Jules, singer. Aged 88 years.
Chicago, October 10.
Maas, John, mu>.caan. Aged 56 years. Syra- cuse, N.Y., October 25. Madden, Gladys, actress. Aged 22 years.
Chicago, January.
Miaddern, Mary, actress. New York, April 18. Marble, William, actor and .manager. Aged 72
years. Staten Island, September 13. MaffMey, Hattie, vaudeville airtist. Aged 37
years. Ohioago, 111., May 8. Marks, T'heodoire D., vaudeville agent. Aged
58 years. New York, February 9. Markstein, Henrietta, pianist. Aged 50 years.
New York City, March 31. Mans, Leo, actor. Aged 41 years. New York
City, April 7. Marsih, Margie (M. M. Smith), .actress. Aged
35 years. St. Louis, Mo., December 7, 1911. Mains'hall, Madeline (Mrs. M. J. Coakley), bur- toque actress. Freeport, L.I., N.Y.,
August.
Marshall, Rhodia, actress. New York, Decem- ber 26, 1911. Mauch, Tafiey, cornertist. Aged 48 years.
Ailston, Miass., January 28. May, H. Huntington, singer. Aged 30 years.
Washington, B.C., March 7. M)ay, LuciLle, actress. Vincennes, Ind., Sep- tember 21. Mayer, Leon, manager. New York City,
August 12. Mayer, Nathan, dramatic critic. Aged 73
years. Hartford, Conn., July 10. SVlayne, KozeMe (Mrs. J. E. Wilson), actress.
Columbus, O., August 21. McChesney, Joseph H'., treasurer. Teore Haute,
Ind., June Ii5. MoGray, William L., manager. Aged 50 years.
Cumber Land, Md., June 19. MtoGrumo, Hazel (Mrs. C. Barnes), actress.
Kansas City, Mo. August 22. McGregor, Sandy, vaudeville .artist. Aged 30
years. Marshall, Mo., January 24. McKee, Thomas A., manager. New York,
February 27. McKisson, H'anry, comedian. Aged 49 yeairs.
Rockport, Me., January 10. McKlusker, Edward, actor. Ag*ed 48 years.
New York City, July 11. Medxer, Heinz, scene painter. Aged 49 years.
Milwaukee, December 21, 1911. Merz, Peter, coirnetist Aged 58 years. Mer-
rick, N.Y., July 30. Meyer, C. W., stage-manager. Cincinnati,
O., March 29. Meyers, Carrie, dancer. Aged 39 years.
Chicago, September 6. Middecke, MJS. Josefa, operatic singer. Aged
48 years. New York City, March 5. Monock, Charles T., actor. Aged 43 years.
January 31.
Morganbesser, Aaron, Yiddish actor. New 1 York City, September 20. Morris, Edward burleque comedian. Brook- lyn, May 20. Moye, J. W., actor. Pelham, N.Y., August 22.
Mullen, James B., song writer. Aged 38 years
New York City, August 81. Murphy, F. A. (Pat.), manager. Aged 45 years.
Ced'ina, O., February 16. Murray, John, theatrical press agent. Aged
43 years. New York City, September 30. Murray Wm. B., actor. Aged 65 years. Bath,
N.Y., January 25.
Nickerson, Mrs. Clara, singer. New York,
May 29. Nohren, Jack, trapeze artist. Brooklyn, N.Y.,
September 13.
Ober, George, actor. Aged 63 years. Hastings- on-the-Hudson, November 17.
O'Brien, Frank B., pianist and composer. El Paso. Tex.. May 9.
Olmstead, Welles W., scenic artist. Fitch- burg, Mass., February 29.
Owens; John E., actor. Meridian, Miss., July 9.
Pach Edith, burlesque actress. Toronto, Can., May 26.
Packard, Elmer C., theatre proprietor. Brock- ton, Mass., January 24.
Palmer, Daisy (Mrs. Harry Morton), burlesque actress. Aged 24 years. Valhalla, N.Y., August 22.
Parker, Francis, vaudeville performer. Syra- cuse, N.Y., June 8.
Parkes, Sen., Albert. L., agent. Aged 85 years. New York, February 8.
Patrick, John C., manager. Aged 58 years. Boston, Mass., July 13.
Paulsen. Wm. G. musician. Aged 57 years. New Albany, Ind., February 4.
Payton, Isaac, manager. Centerville, la., January 10.
Peck, Al. E., actor. Aged 62 years. Los Angeles, Cal., October 12.
Pieczonka, Albert, composer. New York City. April 12.
Pike, George Walter, actor. Aged 82 years. West New Brighton, S.I., March 14.
Plunkett, Richard, vaudeville artist. Aged 55 years. Boston October 13.
Polk, James D. (Donn). vaudeville artist. Aged 30 years. Liberty, N.Y., February 6.
Pollard, Percival, author. Aged 42 years. Bal- timore, December 17, 1911.
Pritchard, David Burton, circus acrobat. Aged 53 years. Waterbury, Conn., July 27.
QuiLgley 'Docary, minstrel miainager. Columbus, December 26, 1911.
Randolph, William, showman. Aged 76 years.
Cincinnati, O., October 16. Radnor Horace W., musical director. Duluth,
Minn., September 1. Reed, David, minstrel. Aged 61 years. Wil-
liamstourg, January 31. Reichardt, John Frederick, tenor. Aged 8a
years. New York, October 9. Reidy, John, treasurer. Aged 27 years. New
York, June 22. Reynolds, Wm. D., vaudeville artist. Aged 4u
years. Kinmundy, 111., April 12. Risbee, Virgie, vaudeville performer. White
Plains, N.Y., May 28. Robinson, Frank E., musician. Aged 32 years.
Detroit, Mich., December 30, 1911. Robinson, George Frederic, musician. Aged 70
years. New Haven, Conn., March 22. Robson, Will, manager. Aged 41 years.
Florida, April 13. Rogers Harry, actor. Aged 57 years. Nor-
walk, 0., August 28. Rohan, Erma, actress. Aged 50 years. New
York, April 27. Rooney, John R., circus performer. Chicago,
111., November 7. Rose, George M., vaudeville actor. Aged t
years. Philadelphia:
ttiE STAGE YEAR BOOK.
225
8
Rouse Fanny Denham, actress. Aged 81 years.
ttnioville, N.Y., July 25. Rowell, Henry W., actor. Milwaukee, Wis.,
February 13. Rudolph, George, vaudeville artist. Kansas
City, February 5. Kuff, Frederic A., actor. New Castle, Pa.,
February 18.
Russell, Harry J. (Magrath), manager. Bath, March 20.
Saenger, Rudolph K., vaudeville agent. Aged
24 years. New York, February 22. Salvatti, Mme. (Maria de Cockerille Mitchell), Aged 69 yeans. Brooklyn, N.Y., r 10. xton. Marguerite, actress. Ag.'d 63 years.
Chicago, August 17.
ihaffer. Eric, actor Allentown, Pa., July 20. Julius, violinist. Aged 52 years. Philadelphia, February 17. Schneider, Edna (Edna Snydar), vaudeville artist. Aged 22 years. Brooklyn, N.Y., June 13.
Schneider, Rosa, actress. St. Louis, Decem- ber 28, 1911.
-lit, Bernard De -Santelyfi, .actor. Aged 35 years. New York City, June 23. Sharpe, Harry, vaudeville artist. Aged 50
years. Syracuse, N.Y., November 5. Shay, Charles, actor. Aged 73 years. Cin- cinnati, January 17.
Shearer, Glen. W., connetist. Accidentally drowned in Lake Minneehaduza, Valentine, Neb., June 25. Shine, Giles, actor. Aged 52 years. New YorK,
February 28. Showles, Jacob, clown. Aged 82 years. Long
Beach, N.Y., January 1. Skinner, Washington Martin, musician. Jack- son, Mich., February 1. Slee, Harry, musical director. Waterloo, la.,
January 5. Smith, Dr. Gerrit, musician and composer.
Aged 53 years. Darien, Conn., July 21. Snow, Benjamin M., manager. Aged 75 yeiu».
Boston, Mass., October 9. Snyder, Rose, actress. Aged GO years. New
York, November 21. Sorlin, Victor E., 'cellist. Aged 34 year».
New York City, November 20. Spicker, Max, musical conductor. Aged 54
years. New York, October 15. Spissell, Frank X., acrobat. Plainfield, N.J.,
July 31. Stafford, Wm. (Tibbetts), actor. Marblehead,
Mass., September 13. Standish, Gedron B., manager. Aged 65 years.
Tacoma, Wash., July 17. Stanley, Archie W., vaudeville artist. Chicago,
May 11. Stanley, Robert, actor. Aged 59 years. New
York City, October 20. Stedman, David, minstrel. New York, March
17. Stevens. Floyd, musician. Aged 30 year,*.
Mackinaw City, Mich., August 13. Stewart, Eddie (Faby), burlesque actor. Bal- timore, March 16. St. John, Fay Carlisle, actress. Charleston,
S.C., January 21.
Stockton, J. A., vaudeville actor. Phila- delphia, December 12, 1911. Stockwefl, L. R., manager. June 7. Stow, John A. Aged 79 years. New York,
December 27, 1911. Strebig, I. Z., agent. Aged 65 years. New
York City, July 28. Stuart, A. H., actor. Aged 57 years. Detroit,
February 11. Stuart, Marie, vaudeville artist. Aged 41
years. New York. Apr.il 21. Sutcliffe, Wallace, violinist. Ottawa, Can.,
April 26.
Talbot, Walter J., vaudeville artist. San Francisco, Cal., January 27.
,ux, Jackson, actor. New York, Thomas, Eddie, comedian. Richmond, Ind.,
Thompson, "Minnie May (Mrs. A. Don), vuud--
ville artist. Los Angeles, Cul., Mar. Thome, William 11., actor. Aged 81 JT<
i>, Md., June 7. Thoroon, Al., vaudeville -artist. Liberty,
N.Y., May 23.
Tilden, William S., musician. Aged bl } .MeilhYld, -Ma,.., May 14.
, Julia (.Mrs.), pianist. Aged 83 ; New York, February 2. Tresscott, Virginia T., actress. Aged 41.
Flushing, L.I., December 30, 1911. Tres.-ell, Geo. C., one-time manager. Aged
67 years. Ada, O., December 19, 1911. Tucker, T. J., song-writer. Aged 52 year...
Brooklyn, December 24, 1911. Turner, George C., actor. Aged 52 years.
titapleton, October 2. Tyson, Mrs Ray, vaudeville artist. Aged 29
years. New York City, February 11. Utter, Margaret, rag-time singer. Chicago,
June 19; Vanetta, Frank, vaudeville artist. Aged 54
years. Montreal, Canada, March 19. Vincent, Felix A., actor. Aged 80 years.
January 11. Wake-field, Press, acrobat. Des Moines,
.March 14. Walker, Evelyn (Mrs. Evelyn Fay), burleequc
actress. New York, April 30. Wallace, W. F., circus proprietor. Ho*
Spa-ings, Ark., September 13. WaLsh, Mrs. Alice, actress. Aged 57 years.
Brooklyn, N.Y., May 29. Walton, Solon, singer. Aged 80 year*.
Revere, Mass., April 7. Ward, James M., actor. Aged 73 years. San
Francisco, February 4. Warmington, William, manager. Aged 5t>
years. Syracuse, N.Y., October 15. Warren, Edward, actor. Pittsburgh, Pa..
February 10. Webster, William, agent. Aged 53 years.
New York, June 11. Weil, Joseph, vaudeville artist. Aged ««
years. Darby, Pa., July 2. Wescott, William, trea«sur-.r. Aged 76 year*.
Newport, K.I., July 8. White, Archie, minstrel. Ontario Beach,
N.Y., October 15. White, Charles A., manager. St. Paul, Minn.,
September 4. White, William D., singer. Aged 23 \eai-.
Brooklyn, N.Y., March 7. Wiley, " Lem," one-time minstrel. Aged b'J
years. Peoria, 111., January 9. Willard, Mac (Mrs. MacConnor), actre.v-.
Brooklyn, N.Y., February 11. Williams, Walter V., showman. Aged <i:J years. Manchester, Delaware, la., June 9. Wills, Anthony E., playwright. Aged 2s
years. East Stroudsburg, Pa., July. Willse, Edward, actor. New York City.
August 5. Wilson, James E., actor. Aged 52 vcai>.
York, March 19. Wilson, Vio'a (Mrs. F. L. Brown), actress.
Monticello, N.Y., September 4. Winniett, Thomas H., agent. New York
City, June 22. Wood, George A., vaudeville artist. .Bronx.,
N.Y., November 9.
Wooderson, John L., actor and manager. Aged 53 years. Bangor, Me., June 10.
Yale, Francis, actor. Aged 35 years. Liberty,
N.Y., March 7. Yeamauis (Mrs.), Annie, .actress. Aged 70
years. New York, March 3. Youturkey. Prince, Japanese circus performer.
Atlantic City, N.J., July 8.
226
THE STAGE YEAR BOOK.
THE PARIS STAGE.
PRINCIPAL PLAYS AND REVIVALS OF THE YEAR 1912.
AIGLON, L', a drama in four acts, by Edmoiid Rostand (revival).— Theatre Sarah Bern- hardt, September 20, and revived again November 18.
AiFFAIRE D'OIl, HJNE, a comedy, in three acts, by M. Marcel Gerbidon.— Theatre Antoine, October 15.
AGLA'iS, a comedy, in two acts, by M. Louis Beniere.— Comedie-Royale, October 9.
AGNES, DAME GALAN1E, a comedy, in three acts in verse, by Henri Cain and Louis Payen, with incidental music by Henri Feviier.— tBouffes-Parisiens, March 27.
AIGRETTE, L', a comedy, in three acts, by M. Dario NiCcodemi.— Rejane, February 17.
ALKESTIS, a drama, in four acts and a pro- logue, by Georges Rivollet (revival).— Comedie-Francaise, January 28.
AMES SAUVAGES, a drama, in four acts, by M. Severin-Mars and Mme. Camille Cler- mont.— Rejane, May 9.
AMIRAL, L', a comedy, in three acts, in verse, by M. Jacques Normand (revival).— Comedie- Francaise, July 25.
AMOUR .TZIGANE, a comic opera, in three acts, music by Franz Lehar, with French adaptation by J. Benedict and Henry Gau- ttiheiir ViMans.— Trianon-Lywque, October 31.
AXE ET BURiIDiAN, lL', comedy, in one act, in verse by Pierre Lafe,restre.— Odeon, January 22.
ANNE . . . MA SffiUR. a comedy, in one act, by M. Auzanet.— Theatre Antoine, January 29.
ARSENE LUPIN, a drama, an four acts, by Francis de Croisstt and Maurice Leblanc. (Revival.)— A th6nee, July 6.
ASSAUT, L', a, drama, in three acts, by Henry Bernstein. — Gymnase, February 2.
AUTRE MARI, L', comedy, in ome act, by M. Dieudonne'.— Capucines, April 30.
AVOCATE, L', a comedy, in one act, by Michel Missoff.— Theatre Michel, April 27.
BACCHANTES, LES, a ballet, the poem by Felix Niaquet and Alfred Bruneau, after iE>uriipides, with music toy Alfred Brunea'U.— Grand Opera, October 13.
BAGATELLE, a comedy, in three acts, by Paul Her vieu.— Come die Francaise, October 28.
BAiHS/E'R -DANS /LA NULT, LE, drama, in two acts, 'by Maurice Level.— (Grand G'uiigno.1, December 112.
BAIiSER DEFEND'U, LE, comedy, in one act, by George Saur and Mat-he. — Comedie Royale, October 9.
BEAU REGIMENT, LE. drama, in two acts, by Robert Rauchevi'Ue.— Grand Guignol March 24.
BEL AMI, a. comedy, in light tableaux, adopted by Fernaud Noziere, from the novel of the same name by Guy de Mau- passant.—Vaudeville, February 23.
BIENFAITRICE, LA, comedy, tin one act, by Paul Gafferi. — Grand' Guignol, June 14.
BONHEUR SOUS LA MAIN, LE, a comedyt in three <acts, by Paul Gavault.— Vari6tes, January 25.
BONNE MAISON, LA, a comedy, in three acts, by MM. Gaudray and H. Clerk.— Theatre Michel, October 10.
BONNE VIEILLE COUTUME, UNE, a comedy, in three acts, by MM. Davis and Doermaun, with translation by Jean Benedict. — Bouiles-Parisiens, November 22
BOUGRE D'ORIGINAL, LE, tragedy, in one act, by Gabriel Soulages.— Antoine, Feb- ruary 19.
CAGE OUVERTE, LA, a comedy, in three acts, by M. Edouard Bourdet.— Theatre- Michel, March 13.
CANDIDA r M.icHKFER, LE, comedy, in one act, by Charles Hellem and Pol d'Estoo, from the novel of Emile Fagnet.— Antoine. February 19.
CARMOSINE, a comedy, in three acts, by Alfred de Musset.— Porte-St -Martin. March 5.
CARNAVAL DE PERCE ET DE PLOCK, LE, comedy, in two tableaux, by MM. Moriss and Marius Bernard.— Grand Guigaol, March 24.
CARTOUCHE, an operette, in three acts, by" MM. Hugues Delorme, and Francis Gaily, with music by Claude Terrasse.— Trianoii- Lyrique. March 8.
CASQUETTE BLANCHE, LA, comedy, in one act. by Louis Gilbert.— Femina, Novem- ber 20.
CE QUE J'K PKiT'X RiIiRiT:. a revuie. in- two acts and twenty-nine tableaux, by M. P. L. Flers.— Alcazar d'Ete, June 1.
CE QU'ON PEUT DIRE ! a revue, in two acts. by MiAI. Husrhes Delorme-and Jean Deyr- mon.— Oapucines, April 30.
CHAOUN SA VIE, a comedy, in three acts, by MM. Gustave Guiches and Ghensi, re- vival.—Cbrnedie Francaise, July 20.
CHAMPION DE BO'XE, comedy, in one act, by Yves Mirande,— Come'die Royale, Janu- ary 31.
CHANGE, UN, comedy, in one act, by G. de Bruvzie-alx.— Theatre Michel, June 6.
CHARITB S.V.P., LA, play, in three acts, by William Speth —Theatre ' Antoine,
January 29.
CHATEAU HISTOKiloriE. LE. a comedy, ii three acts, by MM. Alexandre Bisson and Julien Beiv de Turique, revival.— Gymn;uc, September 16.
OLOCHiES IDE <<!()''!{\i'vVHLLF:. L:E>S. an operette, in three acts and four tableaux, by MAT. Clairville and Gabet, with music by Robert Planquette, reviTal.— Apollo, June 22.
CLOISON, LA. comedy, in one act, by M. C. Gevel.— Theatre Michel, October 10.
COBZAR, LE, an opera, in two acts, by Mm.-. Gabrielle Ferrari.— Grand Opera, March 30.
C(EUR DE FRANOAISE, a drama, in eight tableaux, by Arthur Bernede and Arislxlo Bruant. — Ambigu, October 23.
CCEUR DISPOSE', LE, a comedy, In three nets, by M. Francis de Croisset.— Ath^nee, Fch ruary 21. Revived September 14.
COMME ON FAIT SON LIT, a comedy, in three acts, by M. Jean-Jose^ Frappa. — Theatre Imperial, October 22. Revived November 28.
THE STAGl YEAR HOOK,
227
roMTK DE LUXEMBOURG, LK. ;i French adaptation of MM. Willner and Bodanski's three-act operctte, with music by Franz Lt'har.— Apollo, March 13.
D'AAKU'i:. l,\. a comedy, in throe acts, hy Ilomain Coolu-. Ho ill, 6.
COll1 M: CVXIF. a roiix'dy, in one act, by M. J. Luhorary Com. ,1:, JL< vale, Janu- ary 31.
COUP D'KTAT. I.K. a comedy, in three acts, Maurice Vaucaire and F. de Croidelys.— tntna, .March 4.
CO IP DE TELEPHONi:. IX. a comedy, in three acts, by MM. Paul Gavsuilt and Georges Berr. — Re'jane. November 11.
COCKSF. MIX DOLLARS. LA, comedy, in throe acts by M. M. Gabriel Tommory and Mar>;m.— Ch'atvk't. August 9 (revival).
CREDULITES, comedy, in three acts, by Louis Boniere.— Theatre Antoine, Novem- ber 13.
ClirciIK, LE, comedy, in two acts, by Georges CourteHno and Pierre Wolff.— Theatre Michel, November 23.
DANSEUSE DE POMPEI, LA, opera ballet, in five acts and eight tableaux, the poem by Mme. Henry Ferrare and M. Henri Gain, from the novel by Mme. Jean Bertheroy.— Opera Comique. October 29. DANS L'OMBRE DES STATUES, drama, in t-hree acts by M. Georges Duhamel.— Odeon, October 24.
DAPHNIS ET CHLO E ballet, in three tableaux, by M. Michel Fokine, with music by M. Maurice Ravel.— Chatelet, June 8. DEMISE, comedy, m four acts, by Alexandre Dumas, flls.— Come"die Frangaise, July 22 (revival).
DERNIERE HEURE, drama, in four acts, by Jean-Jos6 Frappa.— Theatre de 1'ffiuvre, May 11.
DETOUR. LE, comedy, in three acts, by Henry Bernstein.— Gymnase, October 14 (revival). D.1ABLE ERMITfE, LE. . comedy, in three a>ets. by Lucien Besnard.— Athenee, November 14.
DINDON, LE, a comedy, in three acts, by Georges Feydeau.— Vaudeville, June 17; revived August 8.
DIVOROONS. a comedy, in three acts, by MM. Victorien Sardou and Emile de Niajac. (Revival?). — 'Reniaiissanice, April 16. DOUBLE MADRIGAL, LE, a comedy, in three acts, by M. Jean Auganet. — Odeon, November 30.
DUEL. S.V.P., UN, comedy, in one act, by Henry Moreau and Marc Sonal. — Cluny, February 10.
DOZ'ULE. comedy, in one act. hy Andre" Pieard. Come'die-Royale, December 6.
EDUCATION DE PRINCE, a comedy, in four acts, by Maurice Donnay, with Madame Jeanne Grander in the r61e she created at the Varietes. (Revival.).— Vaudeville, April 22.
DV AVAN-T. MAROHE! a revue, bv MM. Rip and J. Bosquet. — Les Ambassadeurs, June 16.
EN CAMARADES, comedy, in two acts, by Madame Collette Willy.— Michel, Feb- ruary 17.
ENFANT DU MIRACLE, L', a comedy, In three acts, by MM. Paul Gavault and Robert Charvay. (Revival). — Bouffes- Parisiens, September 7.
EN GARDE! a comedy, in three acts, by MM. Alfred Capus and Pierre Veber.— Re- naissance, March 18-
ENJOLEUSE, L', a comedy, in three acts, by MM. Roux and Sergine.— The'atre-Femina.
I/, a comedy, in three acts, by M. Guv de Pasilldc.-0.! , 15.
ESCAPADE, L', a comedy in throe acts, hy GUkbi ovetn-
23.
i:si'i:iT SOUTERRAIN, L', drama, in two acts, by II. II. Lenormand, adapted from Dosoievsky.— Gran<l-Gui«:nol. June 14.
ESTHER PRINCE88E 1>IM:\IL, a drama, in four acts, by MM. \ndrV' Dumas ;,n,l Sebas- tien Charles Leconte.— Ode"on, February 7.
FEU DE LA SAINT JEAN. LE, a comedy, in three acts, by MM. Franz Fonson and Fernand Wicheler. — Renaiss-anoc, May 21
FIILGLE DE MADAME AV(;f)T. LA, a comic opera, in three acts, by MM. Clairville, Rirandin, and Koning. with music by Charles Lecoccj. (Revival.)— Trianon- Lyrique, January 12.
F1LLE DU FAR WEST, LA, an opera, in three axJte, t»y Giiacomo PiH'oiai. t!he li»«^tto adapted from a novel by David Belasco. Performed by the Operatic Troupe of Monte Carlo.— Grand Opera, May 16.
FILS TOUFFE SONT A PARIS, LES, an oper- ette-revue, by MM. Rip, Bousquet, and Richemond with music by M. Fernand Malet.— F^mina, April 10.
FLAMBEAUX, LES, a drama, in three acts by Henry Bataille.— Porte-St. -Martin, Novem- ber 26.
FLAMBEE, LA. a drama, in three acts, by Henry Kistemaecker?. (Reviva.l.)-'-Porte-St.'- Ma.rtin, August 24.
FLIRT POUR DEUX, comedy, in one act, by Maurice Hennequin.— Capucines, October 2.
FLORISE, a comedy, in four acts, in verse, by Theodore de Banville.— Odeon, June 6.
FOI, LA, a drama, in five acts, by Eugene Brie-ux. with music bv Camalle Saint-Saen^ (Revival.)— Odeon, May 24.
FRANC-MACONN, a vaudeville, in three act?, by MM. Claude Roland and G. Leprimce. (Revival.)— C'limy, August 28.
FRED, a comedy, in three acts, by Auguste Germain and Robert Tre'bor. (Revival.)— Theatre GreVin, August 6.
FUGITIFS, LES, a lyric episode, in two acts. by Georges Loiseau, adapted from a novel by M. Francois de Nlion, with mu-ic by M. Andre^ Fijan.— Op^ra-Comique, February
FUTILE, a comedy, in one act, by M. Francis Bernouard.— Antoine, February 19.
GRAND ORSEAU, LE, drama, in one act. by M Jeannot and M. Muller.— Grand Guignoi December 12.
GASPARD DE BESSE. a drama, in five acts. and verse, by MM. Henri Sauvaire and Julien de Nus.— Theatre Antoine, May 4
GIRONDINS, LES, a lyric drama, in four' acts and six tableaux, by Andre" Le"ne"ka and Paul de Choudens, with music by M. Fer- . nand Le Borne.— Gaite", January 12.
GRAND MATCH, LE. comedy, in one act, by Andre* Leroy and Paul Cartoux.— Grand Guignoi, June 14.
GRAND NOM, LE, a comedy, in three acts, by the Viennese dramatists Victor Leon and Leo Feld. the Fr.<Ti<>h adaptation by M. Pierre Veber.— The"atre-des-Arts, November 9.
HABIT VERT, L*. a comedy, in four acts by Robert de Flers and G. A. de Caillavet.— Varidt4a, November 17.
HKLKNF, DE SPARTE, a tragedy, in four acts, by Emile Verhaeren, with incidental music by De"odat de Severac.— Chatelet. May 5.
HEURE DES TSIGANES. L'. comedy, in one act, in verse, by Leo Largenier— Odeon, November 30.
228
THE STAGE YEAR BOOK.
HOMME QUI ASSASSINA, L', a drama, in three acts, adapted by Pierre Frondaie from the novel toy C'laude Farrere. — A:n- toine, December 18.
HONNEUR JAPONAIS, L', a drama, in five acts and six tableaux, by M. Paul An- thelrae.— Ode-on, April 17.
IDEE DE FRAMBOISE, L', a comedy, in four acts, by M. Paul Gavault.— Renaissance, October 31.
IMPRESSIONS D'AFRIQUE, a drama, in four acts and a prologue, by Raymond Roussel, adapted by the author from his book of the same* name. — Antoine, May 11.
INKS DE CASTRO, a tragedy, in three acts, by Alfred Poizat.— Theatre Francois-Cop- pe"e, April 2.
INGRATS, LES, a comedy, in one act, by Jean Martet.— G<ra.n>d-'G>u>i?;n>oi:, .March 24.
IMPREVU, L', a comedy, in 'two acts, by Fre'de'ric Febare.— Michel, February 17.
INTERIM, L', comedy, in one act, by Maxime Vermont.— Theatre des Capucines, Febru- ary 26.
INOUBLIABLE NUIT, L', a sketch, in two tableaux, by George Grossmith and Max De'arly.— Comddie Royale, May 21.
JEAN III., OU L' IRRESISTIBLE VOCATION I>U FILS MONDOUCET, comedy, in three acts, by Saoha Guitry.— Come'die Royale, March 8.
JEANNINE, a comedy, in three acts, by M. Pierre Grasset — Theatre des Arts, May 23.
JOIE DU SACRIFICE, LA, comedy, in one act, by M. J. J. Bernard. —-Come" die Royale, March 8.
JOLIES FILLES DE GOTTENBERG, LES (The Girls of Gofctenib.eriff') a 'spectacular operetite. iu three acts, by Messrs. George Grossmith and Berman, the French version by MM. Gabrie! Timmory and Maurice de Marsan, music by Ivan Caryll and Lionel Monck- ton.— Moulin Rouge, October 18.
KIKI. a vaudeville, in four acts, by MM. Bertol Graivil and Marc Sonal. (Revival.) — Cluny, March 21.
KISMET, an Arabian story, in three parts, by Edward Knotdlauich, with French adap- tation by Jules Lemaitre.— 'Sarah Bern- hard'fc, December 17.
LEPREUSE, LA, a tragedy, in three acts, the poem by Henry Bataille, and music by Sylvio Lazzari — Ope"ra Comique, Febru- ary 8.
LOGE POUR "FAUST," UNE, a comedy, in one act, by Pierre Vefoer.— The'atre-des- Arts. October 12.
LOI DE L'HOMME, LA, a comedy, in two acts, by Paul Hervieu, given on behalf of the charity known as Les Trente Ans de Theatre. (Revival.)— Varies, June 20.
LOUSTIC, LE, a comedy, in three acts, oy MM. Joullot and B. RaiMer.— Theatre • Cluny, October 8.
LYSISTRATA, a play, in four acts, by Maurice Donnay. (Revival).— Bouffes Parisiens, January 28.
MADAME DE CHATILLON, a comedy, in five arts and six tableaux, by Paul Ve"rola.— Ode"on. November 22.
M \D\ME EN AURA, UN, comedy, !n one act, by Jean' Pellerin.— Theatre Michel. April 27.
MAI8ON DE TEMPERLEY, LA, a drnma, in five acts and seven tableaux, adapted by M. Eugene Gugenheim from the English of Conan Doyle.— Theatre Sarah Bernhardt, November 5.
MARIE D'AOUT, comedy, in three acts, by Leon Frape.— The'atre-des-Arts, October 12.
MARIE MADELEINE, a rustic tragedy, in three acts and four tableaux, by Friedrich Hebbel, with the French adaptation by Paul Bastier— The'atre-des-Arts, November 14.
MARI HONORAIRE, LE, comedy, in one act, by M. Montrel.— Come'die Royale, October 9.
MARTS DE LEONTINE, LES, a comedy, in three acts, by Alfred Capus.— Bouffes Pari- siens, February 16.
MARITZA, LA, a comedy, in two tableaux, by Paul Bail, with music by M. Rodolphe Berger.— Theatre Michel, June 6.
MATCH DE BOXE, a comedy, .in three acts, by Jean Jose" Frappa, and Henry Dupuy Mazuel.— V<ari6t6s, August 22.
MENAGE DE MOLIERE, LE, a comedy, in five acts and six tableaux in verse, by Maurice Donnay. — Com£die Francaise, March 11.
MIDI A 14 HEUR1EIS, a revue, In twenty tab- leaux, by MM. Andre" Barde and Michel Carre".— Cigale, September 9.
MILLE NEUF CENT DOUZE, a play, in five acts and seven tableaux, by MM. Charles Miiller and Re"gis Gignoux.— Theatre des Arts, April 18.
MINISTRE, a comedy, in three acts, by M. Geo.— Gynmase, August 1.
MIOCHE, a drama, in three acts and one tab- leaux, by Pierre Berton.— Vaudeville, April
MISS ALICE DES P.T.T., a spectacular musi- cal comedy, by Tristan Bernard, Maurice Vancaire, and Claude Terrasse.— Oigale, December 14.
MONSIEUR CHOUFLEURY RESTERA CHEZ LUI. an operette, by Jacqueis Offenbach, ' with libretto by Saint Remy. (Revival.)— Trianon Lyrique, June 1.
MONSIEUR COLLERETTE, a comedy-bouffe, vn owe act, Tby MM. du Jules Thtoet and Georges Falori.— Theatre Imperial, Novem- . ber 28.
MOU-LIXiS QUI CHA'NTENT, LEiS, a Belgian operette, by MM. F. Fonsoni and Wicheler, with music by M. Van Oost.— R6jane, April 6.
M!OiUiSQUETATRJ39 AIU COUVENT, 'LEiS, >a comic opera, in three acts, by Paul Fermer and Jules Prevel, with music by Louis Vartl-ey. (Revival.)— Tri;anon SLyrique, Sep. temibsir 21.
MYSTERE DE LA CHAMBRE JAUNE, LE, a drama, in five acts, by Gaston Leroux. — Ambigu, Fe.bruary 14.
MYSTERES DE PARIS, LES, a drama, in five acts and six tableaux, adapted from the novel by Eugene Sue, by M. Ernest Blum. (Revival.).— Ambigu, May 20.
NAIL, a-n opera, in acts, by Isidore de Lara, with libretto by Jules Bois.— GalteS April 22.
NANA, a drama, in five acts adapted by William Busnach, from the novel of the same name by Emile Zola. (Revival.).— Ambigu, September 17.
N \POLEON, a drama, in five acts and nine tableaux, by MM. Ferniand Meyin>et ami Gabriel Didier, with incidental music by M. La<oaze. (Re vd vail.).— iSaraih Berntordt, June 1.
NOEL DE PIERROT, LE, a mimodrama, in three acts, by M. F. Beissaer, with music by V. Monti.— Bouffes-Parisiens, December
NON/NON, NGN, comedy, in one act, by . Alexandra Bisson.— Theatre Michel,
March 13. NUIT D'AMOURE, UNE, comedy, in one act,
by Maurice Henn/equin and Serges Basset.
—Grand Gulgnol, March 24.
THE STAGE YEAR BOOK.
229
OBSEDF. T/ drama, in one act, by Theodore iris, --tiranil Guignol, March 24.
,in three acts,
by Tristan Horn aril ami Jean Schlum- berger. — Vaudeville, April 3- ONf PURGE ISKHE, «-om«-dy. in one act, by
.Vpril iff-
Oh F II KM ATX INFERS, faerie-opera, in three
: tableaux, by Hector Cre"-
:i\, with music by Jacques Offenbach.
May 10 and Seiptera-
30. •
PAS COMPLEX! comedie-bouffe, in two <»cts, by Sacha Guitry,. with music by L6 Pouget. — Maritruv Theatre. - Srpr inber 1.
'.RFLLE, LA, comedy ,in three acts, by Fed Gresar and Etanda dr Crois~«t. (Re- vival.).—Theatre Grevin, July 17.
FATACHON, comedy, in four acts, by Maurice Hennequin and Fe'lix Duquesnel. (Re- viva.1.).— .Renaissance, October 1.
PVUL ET VIRGIXIE. a comic opera, in three acts and six tableaux, by MM. Jules Barbier and Michel Carr6, with music by Victor Massg (revival).— Trianon- Lyrique, December 4.
PEMDANT L' ARMISTICE, comedy, in one act, by Armand Charmain, adapted from Guy de Maupassant. — Grand Guignol, June 14.
PERDREAN, comedy, in two acts, by Robert Di'rudonne'. — Com«klie Royale, May 21.
PETIT CAFE, LE, comedy, in three acts, by -:.a.n Bernard. (Revival.). — Palais Royale, August) 31.
PETIT DUC, LE, a comic opera, by MM. Meilhae and Hale"vy, with music by Charles Lecocq (revival). — Gaite'-Lyrique, December
PETITE DERN1ERE, LA, comedy, in one act, by Robero Dieudonne". — Come'die Royale, May 21.
PETITE JASMIN, LE, comedy, in three acts, by Mil. Willy and Georges Docquois.— The~atre Imperial. September 20.
PET ITS. LKS. play, in three acts, by M. Luoien Nepoty.— Theatre Antoine, January 23; revived. September 6.
PHARES SOUBIJOU, LES, a comedy, in three acts, by Tristan Bernard.— Come'die-Royale, December 6.
PLACE DE LIBRE. UN, drama, in one act, adapted from Duyernon's novel by L6on MicheL— Grand-Guignol, December 12.
PLUMARD ET BARXATE, a military vaude- ville, in three acts, by MM. Henry Moreau ; Charles Quinel. CRevival).— <fliray, rrwary 10.
PLUS FO'RTE, LA, drama, in three acts, .pt-d from the Italian of Lalia Pater- nost'ro, by M. Venturing performed under the auspices oi t,ue society Known as L'Astr^e for one representation cnly, at the Theatre Femina, January 10.
POIRE EN DEUX, LA, a comedy, in one act, by Alfred Edwards.— Grand-Guignol, De- cember 12.
,'OMPETTE, comedy, in two acts, by Pierre VeJber and Pierce Monbrel.— Com&Ide Roya'e. January 31.
POTIN6 ET PAUT7NS. a, revue, in two acts, by M Hugues Delorme.— Capucines. Octo- ber 2.
pi)UR VIVKF TFKI'RF.T'X. a oomedv. in three acts, by Yves Miraude and Amdr6 Rivoire. —Renaissance, January 16.
POUSSE L' AMOUR. LE, sketch, in one act, by Maurice de FSraudy and Jean Kolb, with n . Lucy Jousset.— The'atre
Imperial, November 28.
PRES DE LIN. comedy, in four act?, by M. Denys Amiel.— Ode'on, February 24.
P REST DEN TE, LA, comedy, In three acts, by
MM. Manrir,. Hennequin and Pierre Veber.
—Palais Royal. November 28. PRINCFSS ET LK POI:< Mil:. LA, comedy,
in ' .eatre
Re'jane, September 20. 1'RINC'F.SS REVUE, a revue, in one act. by
MM. Cha: I. a (Jui Midi.-!
February 29. PRISE DE BERGOP-ZOOM; LA, a comedy, in
four acts, by Sache Guitry.— Vaudeville,
October 3. PROFESSION DE MADAME WARREN, LA,
a comedy, in four acts, by George Ber- nard Shaw, the French version by M.
Augustin and Madame Henrietta Hamon.
— Th^atre-des-Arts, February 16. PUISSANCE DE ROI a modern Danish
drama, in four acts, by Karen Bramson.
— Marigny, February 24.
RAPIDE DE 22 HEURES, LE, comedy, by
Paul Grafferi and Raymond Duez.— Grand"-
Guignol, December 12. REDOUBTABLE. LE, a drama, in three acts,
by Mile. Marie L<Sn£ru.— Ode"on, Jan- uary 22. REINE ELIZABETH, LA, a drama, in four
acts, by Emile Moreau.— Sarah Bernhardt,
April 10. REINE MARGOT, LA. drama, in five acts and
twelve tableaux,, by Alexandra Dumas
pere amd Ausruste Maquet. (Revival.).—
Ode"on, September 27. REVUE DE L'AIXIX'EE, LA, a revue in 40
tableaux by MM. Rip and Bousquet. —
Olympia, November 21. RICOCHET, LE, comedy, in one act, by Henri
Clerc.— Michel, February 17. ROBE ROUGE, LA, a drama, in four acts,
by Eirerene- Brfeux. (Revival.).— Port-e-
Saint-Martin, September 27. ROGER LA HONTE, a drama, in five acts.
by MM. Jules Mary and Georges Grisier
(Revival.).— Ambigu, March 22. ROI, LE, a comedy, in four acts, by MM. G. A.
de Ca.illavet, Robert de Flers, ami
Emmanuel Arene. (Revival.)— Vari^tes,
March 11. ROI DE L'OR, LE. a spectacular play, in four
acts and twenty-three tableaux, by Victor
Darlay and Henry de Gorsse.— Chatelet,
November 23.
ROMA, a lyric tragedy, in five acts, by Jules net, with libretto by Henri Cain.—
Grand Ope"ra, April 24. RUE DE LA PAIX, a comedy, in three acts,
by Abel Hermant and Marc de Toledo.—
Vaudeville, January 22.
SACRIFICE. LE, a comedy, in one act, by Jean d'Agnyan, adapted from a novel of Henri Duvernois.— Grand Guignol, June 14.
SALOME, LA DANSEUSE, by Andre Aveze. with music by Edouard Mat-he.— Tbe'atr*' Imperial, September 20.
SANS FATRTF. UN, a drama, in three acts, by Alphon?e S^crig and Jules Bertant.— Tht'-atre Antoine, April 23.
SAPHO, a drama, in five acts, in prose, by Alpbonse Daudet and AdoInheBelot, originl ally prodtice-d by the late Victor Koning at the Gymnase. (Revival.).— ComMie Fran- Caise, May 6.
SAPPHO, an operette, in two net?, hy MM. Michel Carr^ and Andre Rarde. with music by Charles Cuvillier.— Theatre do Capucines, February 26.
230
THE STAGE YEAR BOOK.
SAUVATEURES, LES, comedy, in one act, by Jean Chezy.— Theatre Michel, March 13.
SENTENCE, .LA, comedy, in two acts, by M. Barot-Foriiere. — Odeon, March 16.
SCEURS ZIGOTTEAU, LES, vaudeville, in three adts, iby MM. Henry Moreau and Marc Sonal.— Cluny, April 16.
SOLDAT DE CHOCOLAT, LE, operette, in three acts, with music by Oscar Straus, the French adaptation by Pierre Veber. — Apollo, November 9.
SON INNOCENCE, comedy, in one act, by MM. Paul Francois and Gui'llere.— Theatre Michel, October 10.
SON VICE, comedy, in one act, by Leon Xanirof.— Tlh Satire, i&epit ember 20.
SORCIERE, LA, a musical drama, dn four acts and five tableaux, adapted from Victorien Sardou's drama by 'his son, AnorS Sardou, with music by Camille Erlanger.— Opera- Comique, December 17.
SURPRISE, LA, comedy, in one act, by Jean Gusky.— Capucines, April 30.
SUMUBUN, panltamime, adapted from the Oriental fables of FrednLch Fretoa, witih music by Victor Hollaender. Produced •under the dliredtiion of Mlax Reiwbardit with a German company.— Vaudeville, May 25.
TIERS PORTEUR, LE ; OU, L'HONNEUR DE DESIRE, operette, in one act, by Jean Kolb and Andr6 de Fouqieres, with music hy Claude Terrasse.— Theatre Michel, April 27 •
TRAIN iD'E 8 HJBUiRIS 47, !LE. comedy, in- three lacts by Leo Marches. (Revivtal.— Ambigii, August 31.
TRAIN DE 8H. 47, Paris, an episode of mili- tary life, in three acts and six tahleiaiux, by M. L6o M'axches, adiapted frotn the novel by Georges Courteline. (Reiviival.)— Arabigoi, June 17.
VALET I>Ei CffiUR, LE, comedy, in three acts, by Louis Gilbert.— Femina, November 20.
VEIUVE JOYE-USE, LA, operette, in three acts, by Franz Lehar (revival).— Apollo Theatre, July 19.
VISIONNAIRE, LA, drama, in two acts, by Y. Joseph Renaud.— Antoine, February 19.
VISITEURS NOCTURNES, LES, comedy, in one act, by Tristan Bernard.— Comedie Royale, March 8.
VOILE D'AMOUR, LE, operette, in two acts,
by MM. Nloziere amid Georges G'u^rin, with music by Paul Marcelles.— Theatre Impe- rial, October 22.
YEUX OUVERTS, LES, comedy, in three acts, by M. Camille Oudinot.— Theatre Rejane, September 20-
ZUBIRI, comedy, in one act, by Georges de Porto-Riche, adapted from a novel by Vic- tor Hugo. — Come'die Royale, January 31.
THE STACK YEAH B(
231
GERMAN PLAYS.
LIST OF PRINCIPAL PLAYS IN GERMAN PRODUCED FOR THE FIRST TIMIl IX
(iKllMAXV, AUSTRIA-HUNGARY, AND sWlT/KRLAND, FROM
DECEMBER 1, 1911— NOVEMBER 30, 1912.
KE8TIS, a parody in throe acts by K. Konig ^iiiRt heater, Berlin. (Agents, V. d. B.) March 2.
AR1HXGHKLLO, a drama by R. Burghaller, Freilicht Theater, Hertenstein, August 15.
AUFSTAND IN SYRAKUS (Rebellion in Syra- CMI-> by fmdwig Bauer, Kammer-
spiele. Deutschos Theater, produced by the NauePreie Htthne, Benin, (Agents, Eduard Bloch, Berlin), May 11.
BELINDE, by Herbert Eulenberg, a play of love,
Hoftheater, Dresden, October 22. BENNO HARTWICH'S TRAUM (Benno Hart-
Avich's Dream), a comedy in two acts by
E. Bacmeister, Rheinisch-Westfttlisch.es
Volkstheater, Essen, March.
BUBI, by Roda Roda ind G. Meyrink, a comedy,
Volkstheater, Munich, October 9. BUCHHANDLER PALM (Palm, The Bookseller),
by H. von Wentzel, play in three acts, Kgl.
Schauspielhaus, Potsdam, October 21.
CARDENIO, drama in five acts by Franz Diilberg, Stadttheater, Niirnberg. (Publishers and agents, Egon Fleischel, Berlin). April 13.
CASANOVA, a comedy in three acts by A. Friedmann and T. Frank, Theater an der Josephstadt, Vienna, February 23.
DAS BUCH EINER FRAU (A Woman's Book), a comedy in three acts by Lothar Schmidt, Resklenztheater, Hanover, September 20.
DAS GROSSE LOS (.The First Prize), a farce in three acts by F. Friedmann-Frederich, Kur- theater, Friedrichroda. (Agents, Eduard Bloch), August 4.
DAS GRUEXE HAUS (The Green House), by Hans Hags, a satirical play, Residenzbiibne, Vienna, October 21.
DAS HAUS AM MEER (The House on the Sea- shore), by Stefan Z \veig, a play in two parts, Bergtheater, Vienna, October 26.
DAS HINDERXISS (The Obstacle), a comedy in three acis by Wenzfl Goldbaum, Kiirtheatcr. Kreuznach. (Agents, V. d. B.), August 8.
DAS 1'KIN/IP (The Principle), by Hermann Bahr, a comedy in three acts, Deuthches Schauspielhaus, Hamburg. (Agents, Ahn and Sim rock, Berlin), October 19.
DAS STARKERE BAND (The Stronger Bond), a •iedy in three acts by Felix Salten, Deutsches Volkstheater, Vienna, June 16.
DAS TANZCHEN (The Dance), a political farce •nann Bahr, Lessing Theater, Berlin. (Publishers, S. Fischer, Berlin; agents, Ahn and Simrock, Berlins January 6.
DAS TAUCHBOOT (The Submarine), a satire
by Ad. Miiller-F.h-ster ;unl L. \V. stein Deuteches Theater, Cologne, i Agents, A.F.A.i January 21.
DER FEIND UNO DER BRUDER (Enemy and Brother), by M. lleimann, a tragedy in four acts, Kainmerspiole, Berlin, March 26.
DER GROSS?] TENOR (The Famous Tenor), by Victor Leon, a comedy, Deutsches Volks- theater, Vienna, November 23.
DER HAIXKOXIG (The King), a drama in one act by \V. Arminius, Freilicht Theater, Hertenstein, May 31.
DER HERZOG VON PARMA (The Duke of Parma), a comedy ir five acts after Massinger by M. Epstein, Stadttheater, Eisenach. (Agents, A.F.A.), January 19.
DER HOTELREGISSEU R (The Hotel Manager) by L. Kastner, a farce in three acts, Stadt- theater, Frankfurt an Oder, November 8.
DER KOPF DES CRASSUS (The Head of Crassus), a historical phantasy in one act by T. V. Widmann, Hofburg Theater, Vienna. (Agents, Eduar Bloch, Berlin), December 20, 1911.
DER LACHELNDE KNABE (The Smiling Boy)- a comedy in three acts by Max Dreyer, Hof> theater,' Wiesbaden. (Agents, V. d. B.) September 19.
DER RING DES GAUKLERS (The Juggler's Ring), a play in four acts by Max Halbe, Residenztheater, Munich. (Publishers and agents, A Langen, Munich), January 6.
DER SCHATZ DES RAMPSIXIT (Rampsinit's
Treasure), a three act play in verse by F.
Oliven, Hoftheater, Dessau. (Agents, Harm-
onie), March 1. DER SEERAUBER (The Pirate), a comedy in
four acts by Ludwig Fulda, Hofburgtheater,
Vienna, January 17.
DER WILLE ZUM LEBEN (The Wish to Live by L. Ganghofer, a play in three acts, Schauspielhaus, Miinchen, November 22.
DIE BERGSCHMIEDE (The Smithy in the Mountains), a drama by Carl Hauptmann, Bergtheater, Thale, Harz, July 14.
DIK BOTEN SEINER HERRLICHKEIT (His Highness' Messengers), a comedy by FeLx T< skv, Kolosseum, Vienna, October 3.
DIE El -FTE MUSE (The Eleventh Muse), by Jean Gilbert, an opprettn, Operetten Theater, Hamburg, November 22.
DIE FRAU DF.S KOMMANDEURS (The Colonel's Wife), by M. Dreyer, a drama, Hoftheater, Stuttgart. (Agents, V. d. B.), November 7.
DIi: r.KNKKALS KCKE (The General's Retire- 11 1 1, by R. Bkowronnek, a comedy in three nets, Komddienhaus, Berlin, October 26.
DIE GOLDEX-QUARRY (The Golden Quarry), a drama in two acts by Erich Korn, Stadt- theater, Eisenach, February 20.
DIE 11 ]'.1I>I< ;>'!']•- N (11 TK K (The Most Sacred sessions), a farce by Jul. Berstl, Intimes Theater, Xiirnberg, April 20.
11
232
THE STAGE YEAR BOOK.
DIE HOFLIEFERANTIN (By Special Appoint- ment), a farce in three acts, by L. W. Stein, Kurtheater, Friedrichroda. (Agents, Eduard Bloch, Berlin), June 16.
DIE IM SCHATTEN LEBEN (Under the Shadow of Life), a diama in four acts by E. Rosonow, Schauspielhaus, Stuttgart, Septem- ber 18.
DIE KINDERSTUBE (The Nursery), by R. Misch, a burlesque comedy, Neues Schau- s-pielhaus, Konigsberg, November 13.
DIE LIEBESBURG (The Castle of Love), by A.
Sturm, a comedy, Hoftheater, Gera, October
26. DIE MUTTER (The Mother), a drama in four
acts by W. von Molo, Schauspielhaus, Graz,
September 24.
DIE RIVALIN (The Rival), a play in three acts by E. E. Ritter, Worms, February 24.
DIE ROTE VENUS (The Red Venus), comedy in three acts byT. Burg and Otto Schwarz, Neues Sc-hauspielhaus, Konigsberg (A.F.A.), Jan- uary 1.
DIE SCHWERSTE PFLICHT (The Hardest Duty), a tragedy in one act by Paul Heyse, Residenztheater, Munich, January 23.
DIE STERNENBRAUT (The Bride in Name), by Prof, von Ehrenfels, a drama in four ants, Neues Deutsches Theater, Prague, March 23.
DIE THURNBACHERIN, a Tyrolese play in three acts by R. Greinz, Deutsches Theater, Cologne, February 24.
DIE VENUS MIT DEM PAPAGEI (Venus and Parrot), a comedy by Lother Schmidt, Schauspielhaus, Diisseldorf. (Publishers, G. M filler, Munich; Agents, Eduard Bloch, Berlin), August 16.
DON JUAN, a drama by Carl Sternhnim, Deutsches Theater, Berlin, September 13.
EHRSAM UND GENOSSEN (Honesty & Co.), a satirical comedy in three acts by Otto Hinnerk, Lustspieltheater, Vienna, February 21.
EIN SCHATTEN FIEL UBER DEN TISCH (The Shadow across the Table), a play in 3 acts by Max Dauthendey, Schauspielhaus, Cologne, January 31.
EIN WAFFENGANG (ADuel), by O. Blumenthal, a, comedy in ihr e acts, Kgl. Schauspielhaus, Berlin, October 5.
ENDL1CH ALLEIN (Alone At Last), comedy in three acts by Max Bernstein, Schauspielhaus, Munich, December 23, 1911.
ES ZOG EIN BURSCH (On the Road), a play in three acts by F. Wolff, Stadttheater, Eisenach. (Agents, A. F. A.), March 1.
EUROPA LACHT (Europe Laughs), play in three acts by H. Ilgenstein, Stadttheater, Essen. (Agents, Anstalt fiir Anffiihrungsrecht (A/F.A.), Charlottenburg-Berlin, December 18, 1911.
FEUERVERSICHERUNG (Insurance Against Fire), by L. Fulda, a one-act play, Xomodien- haus, Berlin, September 19.
FILMZ \UBER (The Wonders of Films), a farce in four acts with m sic by Ru. Bernauer and Ru. Scbanzer, Berliner Theater, Berlin, October 19.
FLIEC-ER (The Flying Man), a drama in five acts by Hans W. Fischer, Stadttheater, Coblenz. (Publishers, G. Muller, Munich), January 29.
FRANZISKA, by Frank Wedekind, a modern mvsterv play, Kammerspiele (Lustspielhaus), Munich. (G. Muller, Munich), November 30.
PU ENF FRANKFURTER DIE (The Five Frank- furters), by Carl Rossler, Theater in der Koniggratzer Strasse, Berlin, December 23 1911.
GABRIEL SCHILLINGS FLUCHT (G. Sch's. Flight), a drama by Gerhart Hauptmann, Goethetheater, Lauchstedt, June 14.
GEMUETSMENSCHEN (Kind Fellows), a farce in three acts by F. Friedmann-Frederich, Kurtheater, Norderney. (Agents, Eduard Bloch), August 11.
GESINNUNG (Convictions), by Hans Miiller. a cycle of four one-act plays, Deutsches Volks- theater, Vienna, October 19.
GODIVA, a drama in three acts by Victor Hardung, Kgl. Schauepielhaus, Dresden, March 21.
GRAF PEPI (Count Pepi), a comedy in three acts by R. Saudeck and A. Halm, Thalia Theater, Hamburg, October 31.
GRENZSPERRE (Closed Frontiers), by H. Stobitzer and R. Kessler, a play in three acts, Intimes Theater, Nurnberg, November 23.
GROSSE ROSINEN ODER BERLIN HAT'S EILIG (The Choisest Plums or Berlin in a Hurry), abmiesque with music in three acts by Rud. Bernauer and Rud. Schanzer, Berliner Theater, Berlin. (Agent, Drei — Masken Verlag), December 31, 1911.
HAENSEL UND GRETEL (Tommy and Mar- garet), a children's play, by Dr. R. Bruck, Schauspielhaus, Diisseldorf, December 16, 1911.
HANNS FREI, a comedy by Otto Ludwig (adapted by H. Bacmeister), Rhein-west, Volkstheater, Essen, December 25, 1911.
HEINRICHS KRONUNG (The Coronation of King Henry), a play by Paul Friedrich, Berg- theater, Thale (Harz), August 4.
HELGA HOLGERSFN, a play in three acts by F. Brehmer, Stadttheater, Altona, Septem- ber 29.
HERRGOTTS MUSIKANTEN (The Musicians), by R. Herzog, a comedy, Thalia Theater, Hamburg, September 2.
JESUITEN (Jesuits), a play by T. van Mens, Schauspielhaus, Bremen, May 4.
JOHANNA VON NEAPEL, drama in four acts by Hanna Rademacher, Neues Theater, Leipzig, June 28.
JUDAS, by G. v. Bassewitz, a- tragedy in four acts, Altes Theater, Leipzig, October 4.
KLEINER KRIEG (The Little War), by L. Rohmann, a comedy in four acts, Hoftheater, Weimar, October 20.
KONIGE (Kings), by W. Weigand, a play in fire acts, Lobe Theater, Berlin, February 11.
KORALLENKETTLIN(The Coral Necklace), by Franz Dill berg, a drama, Stadttheater, Bremerhaven. (Publishers, Egon Fle'shel, Berlin, October 27.
LAURA MASSIERT (Laura, the Masseuse), by Carl M. Jacoby, a farce in three acts, Schau- spielhaus, Diisseldorf, September 25.
MAGDALENA, by L. Thoma," a play for the people, Kleines Theater, Berlin, October 12.
THE STAGE YEAR BOOK.
233
MARCHENTURM (The Fairy-towen, M, comedy ill three acts by Jon Lehmann and H. Wurin- feld, Kin-theater. Friedriohroda, \u-ustl8.
MARIGNANO, by Karl Kri.-dricli Wiogand, a drama, Stadttheater, Basel, November 22.
MEIN ALTl.R HERR (The Governor), by K.nnd
V. Arnol I, :i citinedy in three :u:is, haus, Berlin, Oe obcr 4.
NACHTRAB(The Rear Guard), a corned; in three acts by T. Schonderl, Lustsi ielh.-ms, .Munich. (Publishers, G. Mitller, Munich), February 16.
NARRENTANZ (The Dance of Fools), a comedy in three acts by Leo Birinski, Lessing Theater, Berlin. (Publishers, G. Miiller, Munich), September 28.
OFFIZIERE (Officers), by Fritz von Unrnh, Deutsches Theater, Berlin. (Publishers and agents, Erich Reiss, Berlin). December 15, 1911.
OHAHA, a comedy by Frank Wedekind, Lustspiel haus, produced by The Neue Verein, Munich) December 20, 1911.
OLYMPIAS, a tragedy by Heinrich Lilienfein, Freilicht Theater, Hertenstein. (Agents, V.d.B.), June 6.
PARKETTSITZ Nr. 10 (Stall No. 10), a farce in three acts and a prologue by Max Neal and Hans Gerbach, Volkstheater, Munich. (Agents, Arion), December 30, 1911.
PETER LUTH VON ALTENHAGEN, by Otto- mar Enking. a tragedy in four acts, Hof- theater, Wiesbaden, November 26.
PLATOS SCHULER (Plato's Disciple^, a comedy in four acts by H. L'Arronge and W. Turs- zinsky, Kurtheater, Bad Luebenstein, July 18.
PROFESSOR BERNHARDI, by Arthur Schnitz- ler, a comedy in five acts, Kleines Theater, Berlin, November 28.
PSYCHES ERWACHEM (Psyche's Awakening), a play in three acts by W. Weigand, Schau- spielhaus, Munich. (Agents, Ann & Simrock, Berlin), March 18.
REVANCHE (Revenge), by Otto Soyka, a comedv, Schauspielhans, Diisseldorf. (Publishers and agents, A. Langen, Munich. January 17.
SCHEIDEN TUT WOHL (To Say Good-bye is a comfort), a farce in three acts byM. Schonau and A. Lippaohitz, ljustspielhaus, Diisseldorf, October 9.
SCH(")NT\VTHSEN, by G. A. CrUwell, a comedy in five acts, Burgtheater, Vienna, November 27.
SCHULDIG? (Guilty?), a ].!;iy for the people in three acts by Hennine Villinger, Hoftheater, Karlsruhe, December 21, 1911.
SIMPLJCIUS, a tragic fairytale in five acts by F. Kayssler, Schauburg, Hannover. (Agents, E. Reiss, Berlin), February 3.
SOMMER (Summer), by Thaddiius Rittner, comedy, Burgtheater, Vienna, October 10.
SI NDENBOCKE (The Scapegoat), a farce in three acts by Gebh. Schiitzler-Perasini, Lustspielhaus, Diisseldorf. (Agents, Berliner Theater Verlag, Berlin), April 6.
TILL EULENSPIEGEL, a comedy of the Middle Ages in four acts by Harry Vossberg, Schau- burg, Hannover. (Agents, Vertriebsstelle des Verbandes deutscher Buhnenschriftsteller (V.d.B.), January 13.
TITUS UNO DIE JUEDIN (Titus and the Jewess), a tragedy in three acts by Hans Kyser, Hoftheater, Stuttgart, April 13.
UM EINE SEELE (The Fight for a Soul), by Friedrich Werner v. Oesteren, Deutsches Volkstheater, Vienna, December 2, 1911.
URSULAS FROHLICHE FAHRT (Ursula's
Trip), a comedy in three acts by Kurt
Kiichler, Schauspielhaus, Bremen, Septem- ber 26.
VEIT STOSS, a play in five acts by Tim Klein, Residenztheater, Munich, April 25.
VILLA LOHENGRIN, a comedy in three acts by Jacques Burg and Ernst Huldschinsky, Kur- theater. Bad Liebenstein. (Agents, Eduard Bloch), August 15.
WAR A, a tragedy by Emil Kaiser, Deutsches Theater, Cologne,' January 31.
WIESELCHEN (The Little Minx), a 'comedy in three acts, by Leo Lenz, Hofthea*er, Coburo- October 15.
234
THE STAGE YEAR BOOK.
INDEX TO LEGAL CASES,
|
Plaintiff. |
Defendant. |
Date. |
Nature of Case. |
|
Ashwell |
Barker |
February 21 |
T ' t' t ' fi- |
|
Bolton Theatre En- |
arch 21 |
ance of unlicensed play |
|
|
Table Co. |
tainments Co |
usic a or picture house . |
|
|
Baraldi |
Prowse |
April 23 |
«• -t > * |
|
Northamp t on |
October 21 |
||
|
Theatre Syndicate Bolton Hippodrome |
June 26 |
||
|
Beadon |
Capital Syndicate |
May 13 |
Alleged conspiracy and breach of |
|
and others Warner |
contract |
||
|
King Insurance Co. |
July 20 |
||
|
Blundell |
Charing Cross |
November 19 |
artist |
|
Cinema, Ltd. Clifton |
January 18 |
Libel |
|
|
Booker |
Amalgamated Kine- |
April20 |
|
|
Broemel |
matograph Theatres, Ltd. Meyer Barrington |
December 13 April 23 |
Similar titles. A question of copyright |
|
Bycroft |
Asche |
February 6 |
|
|
Cadle |
Harmony Four .... |
June 6 |
|
|
Carpentier |
Barber |
February 7 |
|
|
Caryll and M'Lellan |
Davis |
July 26 |
|
|
Chappell |
White and another.. |
January 18 |
Concert party contract |
|
Collier |
Poole's, Ltd. |
July 16 |
|
|
Cowen |
The Lord Chamber- |
March 12 |
ing premises caused by fire. Question of party wall Detention of MS. of unlicensed play |
|
Craiff |
lain Tree |
May 7 |
|
|
Daily Express |
April 29 |
Alleged libel |
|
|
Dallimore |
Williams and |
April 23 and Novem- |
Libel and liability of Trade s Unions |
|
another |
ber 11 |
||
|
Kubelik |
JulyS |
||
|
Dare Davenport |
Bognor Urban Coun- cil Faraday |
June 16 November 14 |
" booming" Unfit chairs " Recessing " an artist |
|
Davison |
Ariston |
February 19 |
Claim for payment for service |
|
Dawney |
Mulholland |
May 23 |
Claim for money due and counter claim |
|
Day |
The Times |
February 22 and |
Alleged libel |
|
Bolam |
March 20 March 5 |
||
|
Edwards |
Knight |
October 1 |
Claim for introductory fees |
|
Edwardes |
de Sousa Meyer |
April 26 July 23 |
Injunction refused |
|
Fairless |
S. Shields Palace Co. Grimes |
November 14 |
Personal injury through fall of ceiling |
|
another |
Bo^anny |
July 11 |
|
|
Foster |
Mariiielli |
June 18 |
|
|
Friedman Fuller |
Porter Marinelli |
June 14 March 20 |
Alleged breach of contract |
|
Graham |
London Cou nty |
January 19 |
Licensing of agents |
|
Graham? |
Council Fritz's Agency |
November 20 |
Alleged breach of contract |
|
Sleath |
Mavl6 |
||
|
Harcourt |
Lumsden |
February 14 |
Breach of contract |
|
Tullock |
April 1 |
||
|
Smith |
May 21 |
Libel |
|
|
L. and N. W. Railway |
October 24 |
Lost luggage |
|
|
Clifford and Fielding |
July 20 |
To recover a royalty |
|
|
Henderson |
Scala Kinemacolor, Ltd |
March 14 |
Breach of contract |
|
Hurst |
London Theatre of |
July 12 |
Claim for salary |
|
Varieties ROS |
July 17 |
Claim for commission |
|
|
right Bureau |
Lingard |
January 12 |
An expired license |
|
Preston |
June 18 |
Breach of contract |
|
|
Bruno ... |
December 5 |
Action to restrain |
|
|
Kiaro |
July 12 |
||
|
King |
Co-o per a tive |
April 30 |
Alleged wrongful dismissal |
|
Varieties, Ltd. Alhambra, Ltd. |
June 6 ... |
An objectionable sketch |
|
TtJE STAGS YEAR BOOK.
235
INDEX TO LEGAL CASES— Continued.
|
Plaintiff. |
Defendant. |
Date. |
Nature of Case. |
|
~ |
Parr |
June 27 |
Claim for salary in lieu of notice |
|
Lee |
Braff |
November 5 |
Blander |
|
William |
June 5 |
( Maim for salary in lieu of notice |
|
|
Conway and Dutt . . |
February 21 |
A stopped cheque |
|
|
|
(in^'ow Pavilion, |
November 20 |
Claim for salary |
|
Lloyd |
Ltd. Hawkins |
July 23 |
Alleged breach of contract |
|
Breach of contract |
|||
|
London Theatre of |
July 25 |
Breach of contract — Question of com- |
|
|
Varieties, Ltd. |
July 25 |
petency Claim for salarv |
|
|
McKay |
Zancig |
Mav6 |
Authority in engaging artists |
|
Menchen |
Mh to Sales Agency. . |
December 14 |
" The Miracle " Him |
|
Miller |
Melodrama Produc- |
Jun° 24 . |
Compensation for injury |
|
Monckton |
tions Syndicate Gramaphone, Co., Ltd |
January 24 |
Copyright |
|
Crown Film Hiring |
October 29 |
Breach of contract |
|
|
Co. Hall Oaine |
February 21 |
Breach of contract |
|
|
Neilsou |
Woolwich Opera |
January 24 |
Alleged breach of contract |
|
Palace Co., Ltd Parker and another. . |
House Bourchier . . . South of England Hippodrome, Ltd.. |
January 13 May 15 and July 2 .. July 16 |
Injunction Question of transference of artist Application for injunction |
|
Pepi |
Sofiano |
April 16 |
Breach of contract |
|
Bo lam |
November 5 |
Breach of contract |
|
|
Portsmouth Hippo. |
Fields |
December 17 |
Illness and a medical certificate |
|
Edwardes |
October 22 |
Breach of contract |
|
|
Raphael |
Andrews |
April 19 |
Breach of contract |
|
Reinhardt |
Payne |
June 6 |
Royalties |
|
Seddon |
February 23 |
Unauthorised performance |
|
|
Rock .. |
M et ropolitan |
October 15 |
Workmen's Compensation Act |
|
Rose |
Theatre of Varieties |
May 21 |
Chapel converted to picture hall |
|
Rubens |
Pathe Freres |
December 19 |
Gramophone records and royalties |
|
Moffat |
July 26 |
||
|
Stables |
Page |
September 21 |
Alleged negligence in lighting theatre |
|
Stinns |
Kandt |
June 19 .. |
Breaoh of contract |
|
Thorne ... |
Cash |
May 4 |
Slander |
|
Tivoli, Aberdeen Venton |
Bolton and another McDonald |
January 22 November 19 |
Application of injunction Violinists and deputies |
|
Vincent |
Morris |
November 15 |
Breach of contract |
|
London Theatre of |
July 8 |
Question of " extra musicians " for |
|
|
Wallrock and Co. |
Varieties Hoffman |
November 13 |
special " turns " Irving theatre negotiations |
|
Wisbech Public Hall |
Taylor |
July 1 |
A dishonoured cheque |
|
Co. Woodward |
Berzac |
November 13 |
|
|
Wootton Zamco |
Clarke Hammer-stein . |
June 19 July 19 |
Claim for salary in lieu of notice |
PROSECUTIONS.
|
Name. |
Date. |
Nature of Case. |
|
Albert Hall |
July 19 |
Question of the authority of the L.C.C. in regard to a music license Entertainments in unlicensed building Alleged breach of terms of license Manufacturers' showrooms and the Kine- matograph Act Bogus agency Question of non-flam films Unlicensed agency Misleading uniforms An old Guernsey law Employment agency without a license ',)MI stion of non-P»"> fllrns Kinematograpb Acr Unlicensed plays in unlicensed building Leaded cocoanuts Turns and stage plays Kinematograph Act Performing in unlicensed premises |
|
Bolam |
February 5 October 15 |
|
|
Bush |
||
|
Century Film Co. |
October 17 |
|
|
Cooper Dickman and another Graham Hyman and others Lawrance |
February 18 |
|
|
December 12 |
||
|
October 27 October 15 |
||
|
Ap il 20 |
||
|
Lecture League New Bioscope Co Owen Palace Scott Tivoli . . |
November 22 December 16 |
|
|
April 1 |
||
|
January 5 May 9 |
||
|
April 16 |
||
|
Turner |
April 2 |
|
|
Vince |
August 13 |
|
236
THE STAGE YEAR BOOK.
JAN.
LEGAL CASES OF THE YEAR.
JANUARY.
UNLICENSED PERFORMANCES. — PALACE SHEATRE.
The Palace Theatre, Limited, were the de- fendants in a summons heard by Mr.
5 Mead at Marlborough Street Police Court, being prosecuted toy " an in- former " for producing what, was alleged to be a stage pk.y without the license of the Lord Chamberlain in a 'building unlicensed foe stage plays. The piece in question was A Man in the Case, in which the principal artists were Mr. Arthur Bourchier and Miss Violet Vanbrugh. There were two summonses against the company, issued on the infor- mation of West F. de Wend-Fenton.
Mr. Beyfus pleaded guilty on condition that he was allowed to call evidence in mitigation of penalty, and this the magistrate agreed to.
In outlining the case Mr. Bodkin said there were two summonses. One was under Section 2 of the Act, and was for producing a stage play without the license of the Lord Chamberlain, and the other was under Section 15, and was for not submitting a copy of the play to the Lord Chamberlain before production. Com- menting on the penalties under the latter sec- tion, counsel said that if those who were in- terested in the Palace Theatre presumed to pux upon the stage not only a new play but a new part in a play, without first having it sub- mitted to and approved by the Lord Cham- berlain, they were not only liable to the penalties, but their theatre, must there ana thea close on conviction, because the license became void.
Mr. Mead : There is no license here.
Mr. Bodkin admitted that there was no theatrical license, but the point was important as contrasting the position of the theatre and the music hall under the present state of the law.
The dates with which the summons was con- cerned were December 18, 19, 20, and 21 of 1911, and the play was A Man in the Case. As far back as 1903 the Palace Theatre was sum- moned for performing a stage play without a license, and a fine of £50 was ordered. That was the first prosecution instituted by the Theatri- cal Managers' Association.
Mr. Mead asked whether the piece in question conformed to the requirements of the agree- ment between theatrical and music-hall man- agers.
Mr. Bodkin replied that it did. It ran for about twenty minutes and had four speaking parts, whereas the limits in the agreement were thirty minutes and six speaking parts.
The magistrate said there was no other course for him, after the plea of guilty, but to convict on both summonses. He had nothing . to do with concordats or any arrangements which might have been made between parties interested in the matter. Licenses, he sup- posed, were necessary to regulate the very valuable properties which theatres and music halls were, and it was not considered desirable —though it might be at some time— that there should be free trade with regard to both places of entertainment. That was a matter with
which he had nothing to do. Nor did the fact that action was taken by a privat§ individual alter his duty.
" I must say," continued the magistrate, " that I regret that a functionary in the posi- tion of the Lord Chamberlain has not the power to enforce the law, and has allowed his authority systematically to be flouted by per- sons who disregard his power to grant licenses and act absolutely as if no such power existed at all. Of course, I have nothing to do with that."
On the first summons the magistrate inflicted a fine of £20 per day— £80 in all— and for the second oft'ence, which, his worship said, only seemed to aggravate the first, the maximum fine of £50 was imposed, costs being included in the fines.
The Palace management lodged an appeal on the ground that the penalties were ex- cessive, which was heard at the London Sessions before Mr. Robert Wallace, K.C., on April 22, when the Bench reduced the penalties to £10 and £5, and the payment of the taxed costs.
JEROME v. LINGARD— AN EXPIRED
LICENSE.
In the Chancery Division, before Mr. Jus- tice Neville, Air. Jerome K. Jerome 1 2 Applied for judgment in default of ap- pearance against Mr. Horace Lingard. Mr. E. J. Macgillivary, for Mr. Jerome, said his client was the author of The New Lady Bantock; or, Fanny and the Servant Pro- \ blem, and was proprietor of the performing rights. He had given Mr. Lingard a license for one year to play the piece in the provinces. The license expired in February, 1911, and it was now complained that Mr. Lingard, in November last arid subsequently, played the piece without permission at Eastbourne, Nor- wich, and other places. He had also refused to deliver up the MSS. and acting parts. An interim injunction had been granted by Mr. Justice Swinfen Eady, and Mr. Jerome now asked that this should be made perpetual. Plaintiff asked for an inquiry as to the num- ber of such performances, the delivery up of the MSS. and acting parts, and costs. His lordship made the orders asked for.
THE PALACE THEATRE, LTD., v. BOUR- CHIER.— APPLICATION FOR INJUNC- TION.
In the Court of Appeal, before the Master of the Rolls and Lords Justices •| 3 Moulton and Buckley, the case of the Palace Theatre, Ltd., v. Arthur ourchier and wife was heard upon appeal of the plaintiffs from the refusal of Mr. Justice Bucknill in Chambers to grant an injunction to restrain ihe defendants, Mr. Arthur Bourchier and Miss Violet Vanbrugh, from •performing iat any provincial music hall during the year 1912 until they had per- formed or offered to perform, at a weekly salary of £150 each, for the plaintiffs at a
JAN.
THE STAGE YEAR BOOK.
237
certain provincial music hall, lor .a period of two v\>
Mr. Butt's affidavit stated that he was the managing director of the Palace, London, the Glasgow Alhumbra, and other places of amuse- ment, and a number of letters passed between htanaeli uud Mr. Bourchier regarding the mice of that gentleman and Miss Violet Vanbrugh at the theatres under the 1'aalce management. The salary was £100 each per week for the London appearances, and £150 each per week lor the provincial appearances. The iirst letter written by Mr. Bull was in January, 1910, when it was stipulated that Mr. Bourchier should appear tinder the Palace Company for eight weeks, four in London and four in the provinces. In a subsequent letter that agreement was modified to six weeks, four of which should be at the Palace, London, and the other two at other halls under the Palace management.
The defendants opened their engagement at the Palace on December 18, 1911, but soon afterwards the plaintiff company was fined sums amounting to £130 for playing a stage play without a license in an unlicensed build- ing.
In these circumstances it was agreed between the parties that it was impossible to continue the performance in London, and it was then suggested by the plaintiffs that the defendants should appear at the Glasgow Alhambra on January 15, 1912, at a combined salary of £250 per week. Later in the day Mr. Arthur Bour- chier telegraphed to Mr. Butt that he could not accept the offer of £250 per week for Glasgow, and that the lowest terms were £450. On January 8, 1912, Mr. Butt wrote to Mr. Bourchier alleging that Mr. Bourchier had undertaken under his contract to appear in the provinces with Miss Vanbrugh for £300 per wee.k, and that until he had done this he was not at liberty to appear elsewhere in the provinces. No reply was received from Mr. Bourchier, but his solicitors wrote pointing out that under the contract the Palace Theatre, Ltd., was only entitled to the re- fusal of Mr. Bourchier's services for the pro- vinces at a figure equal to that offered by other proprietors of music halls. Defendants subsequently arranged to appear for a week at the Pavilion, Glasgow, for £450, and on January 11, 1912, the plaintiff company com- menced proceedings to restrain the defendants from appearing at any provincial music hall during 1912 unless and until they had per- formed for the plaintiff company at a com- bined salary of £300 per week at a provincial music hall for a period of two weeks.
Mr. Justice Bucknill in Chambers on Jan- uary 12 dismissed an application for an inter- locutory injunction.
The Master of the Rolls said it would be a serious thing to issue an injunction to restrain the defendants from earning their living.
Mr. Beyfus said he had a good case. If the Court did not grant the injunction the Palace Theatre Company would be practically de- prived of all remedies.
Lord Justice Moulton said the jury could asse.-vs them. The plaintiffs could produce evidence to show that the defendants would be a good attraction.
Lord Justice Buckley said he failed to see any ground for the application. The agree- ment as to the performances in London was illegal, and the performances had to be aban- doned owing to the summonses a.gainst the Palace Theatre, Ltd.
Mr. Beyfus admitted that the part of the agreement relaCmg to the engagement of the defendants to perform in London was illegal, but it was possible to sever from this the por- tion as to the performances in the provinces, against which no objection could be raised.
Mr. McCardie said that Mr. Bourchier had
throughout acted on the assumption that the agreement between uhe parties was at an end alter the engagement 10 perform in London had been found to be i.
In giving judgment dismissing the appeal the Muster of the Roil;, .said th..t the written letters were not clear, and the precise terms of the bargain which the parties had entered into must depend upon oral testimony. In the circumstances it would be wrong in his opinion to interfere by interlocutory injunc- tion. Moreover, it was .said that the contract was illegal because the particular performance had been stopped in London. That point wu.s a very serious one which would have to be dealt with when the case came on for trial. He thought the appeal failed, and should be dismissed with costs.
The Lords Justices concurred.
BERESFORD v. WARNER.— LIABILITY OF AGENTS FOR NEGLIGENCE.
At the Westminster County Court, before Judge Woodfall, Miss Evelyn Bcresford, 17 residing in Esmond Road, Bedford Park, claimed from Richard Warner and Co., Limited, variety agents, of Lyric Cham- bers, Shaftesbury Avenue, the sum of £45 (less four guineas due to them for commission) in respect of loss sustained through a visit made by her company to a variety theatre at Barry Dock.
Mr. Doughty was counsel for the plaintiff, and Mr. H. N. Field represented the defendants.
Mr. Doughty said the plaintiff was the owner of two sketches called The Money Spider and The Half-Caste, and she controlled combination companies that performed these in various parts of the country. The action arose out of alleged misrepresentations made on behalf of the defendants with respect to an engagement entered into with the plaintiff to play at Barry Dock. Miss Beresford had been in communica- tion with Messrs. Warner, and early in August, after receiving a communication over the tele- phone, she went to Messrs. Warners' office to discuss a proposed visit to Barry. She saw Miss Warner, and during the conversation Miss Warner said that the firm would guarantee that if Miss Beresford's combination troupe went to Barry Dock the takings would be from £200 to £250 a week— certainly not less than £200. As a result of this representation, the plaintiff agreed for her company to play at Barry, and a contract was signed by which she was to take 57£ per cent, of the gross takings. The entertainment was given at Barry during the week commencing August 21, but it proved disastrous. On August 28, when the returns became known, plaintiff informed Miss Warner that she had been " entirely taken in," and on August 31 Miss Beresford wrote stating that she found the record week's takings at Barry amounted to £101, whereas the takings during her company's visit amounted to only £74. Her own share was £42, against expenses and a salary list of £85, leaving an adverse balance of £43, which did not include the value of her two sketches. The defendants' reply was that " we only repeated what we were told by the proprietor. We cannot be blamed for strikes, etc."
The plaintiff gave evidence in support of her counsel's statement, and said that when Miss Warner represented to her that the takings at Barry Dock would be at least £200 to £250 a week, she said the engagement would be some- thing " very special." Witness made reference to the coal strike in Wales, but Miss Warner replied that that only made business better, as the people had nothing else to do than go to music halls. Miss WTarner appeared to be " in command " at the defendants' offices, and when witness signed the contract she remarked
238
THE STAGE YEAR BOOK.
JAN,
LJ Ivuos Warner, " I hope it's all right," and the reply was, " I should not let you in for anything."
In cross-examination, the plaintiff said in ad- dition to the coal strike there had been diffi- culty in respect of the railway strike when her company went to Barry.
Counsel : In fact it nearly caused trouble in getting there?— Well, I believe some tele- graphed to say that they could not get there, but they ultimately turned up.
And then you tried to stop their salaries, did you not?— No.
Your husband did then?— No, I believe there was some trouble, but it was very slight.
Was not all theatrical business very bad through the strikes?—! don't think so.
Mr. Henderson, husband of the plaintiff, gave similar evidence, and said that in conversation Miss Warner, wno he understood managed the defendants' business, when asked by his wife how she knew that combination companies were attracting at Barry, said that Mr. Fred Gin- nett's company had been a great success there, and Miss Beresford's, being an excellent show, should prove the same.
Cross-examined, he said his wife's company did good business at Barry, considering the house, but, as they alleged, it was quite dif- ferent to what had been represented, so far as the takings were concerned. With regard to the trouble over the railway strike, the com- pany wired from Manchester on the Saturday night before the Barry engagement commenced to say they could n<>t get through, but the strike ended the next day and they reached Barry in time.
Mr. Cyril Gilbert, variety agent, formerly employed by Messrs. Warner, spoke to Miss Warner conducting the theatrical business for the defendants, and Mr. May, also a variety agent, said he booked Mr. Fred Ginnett's com- pany for Barry, on which occasion the week's takings only amounted to £38 is.
Mr. Arthur Carlton said he was a director of Tours, Limited, and held the leases of the theatre at Worcester where the plaintiff's company played on August Bank Holiday week and also the theatre at Barry, and he was pleased with the performance of the company when he saw it at the former house.
Cross-examined, he said the highest takings for varieties at the Barry theatre were just under £200 weekly. There had been a coal strike in progress for about nine months when the plaintiff's company appeared there.
Counsel: Did that affect the business?— It ruined the Rhondda Valley for a time. The month of August was very hot, and that would also adversely affect the business. In the corresponding month of the previous year the takings averaged nearly £200 a week. Barry was closely identified with the coal in- dustry, and during the strike the business was disastrous. The railway strike also affected the attendance of visitors from sunounding places.
For the defence Miss Warner was called. She said she exercised no control over the de- fendants' business, simply receiving a salary of £1 per week to assist. Vv'ith regard vo u.e visit of the plaintiff's company to Barry, she saw the plaintiit four times, but she omy dis- cussed the matter with Mr. Henderson, and she emphatically denied that either to that gentle- man or to the plaintiff she represented that the takings at Barry would be from £200 to £250 a, week. As a matter of fact, she knew nothing about the theatre at Barry Dock.
Further cross-examined, witness said that she was the daughter of the managing director of the defendant firm, but it was not true that she acted as manager when her father was absent.
His Honour, iu giviug judgment, found that there had been negligence on the part of the defendants, but not fraudulent misrepresenta- tion. He could not, however, connect the whole of the loss sustained by the plaintiff with the negligence, inasmuch as one of her chief wit- nesses had stated that the Barry district was practically ruined for the time being by the strikes. Under the circumstances, he should give judgment for the plaintiff on the claim for £38 8s., and for the defendants on fche counter- claim they made for £8 &s., leaving a balance judgment for the plaintiff for £30 with two- thirds of the costs.
CHAPPEUj v. WHITE A'ND ANOTHER.— CONCERT PARTY CONTRACT CASE.
In the King's Bench Division, before Mr. Justice iicrutton, Messrs. Chappell and 1 8 Co., Limited, music publishers, Bond Street, W., sued Messrs. John T. White and A. J. Harding, proprietors of the Gaiety Concert Hall. Ilfracombe, lor breach of con- tract.
me plaintiffs, who were the agents for The Grotesques, agreed to hire the troupe to the defendants for two weeks, August 8 and 15, 1911, at their hall at ILl'racom-be, at £70 per week. The plaintiffs alleged that the de- fendants had refused to carry out the con- tract.
Mr. Hohler, K.C., and Mr. Arthur Houston (instructed by Mr. H. Percy Becher) were counsel for the plaintiffs, and the defendants were represented by Mr. Craig Henderson.
The action had been set down for hearing before his lordship and a common jury, but it was agreed to dispense with the jury and to deal with the case on a point o>f law as to whether a letter setting out the terms, and a telegram which followed accepting those terms, formed a complete contract, or whether it was merely an arrangement to be followed by a complete form o<f contract.
Mr. Hohler (for the plaintiffs) said a Mr. Demarche, on behalf of Messrs. Chappell and Co., arranged the engagement of The Gro- tesques at the defendants' concert hall at ILfracombe. Counsel proceeded to read corre- spondence between the parties, which showed that the .plaintiffs had offered to hire The Grotesques for twe weeks, two performances a day, at £70 a week. He quoted a telegram from the defendants accepting the offer, and submitted that the letter and telegram formed a complete contract. A month later the defendants sent a form of contract, in which alterations were made, the defendants requiring that the troupe should give an extra performance, and that they should again return to Ilfracombe to give performances a year later. The plaintiffs did not agree to this. Counsel contended that the terms were £70 per week for the troupe's services, and these services were two performances a day. Anything else 'would be the subject of a dif- ferent agreement or arrangement. He pointed out that these troupes were booked up some little time in advance, and if they had to wait for a month until a contract form was sent forward the position of such troupes would be intolerable.
His Lordship : Is not your remedy to make the offer subject to the contract being signed within a certain time, say a week?
Counsel submitted that the whole thing was fixed, and that it did turn upon the letter and telegram, to which he had referred. There they had the elements of a binding contract.
Evidence was , heard as to the practice in regard to contracts.
Mr. William Boosey, managing director to the plaintiffs, said his firm were under con- tract with The Grotesques, and Mr. Demanche
JAN.
THE STAGE YEAR BOOK.
239
was business manager for them to the troupe. Mr Hohler: Is there any usual form of con- tract in repnrd to engagements?
Witness: We look upon a contract by letter and telegram as binding. There is .also a form of contract such as is used by other firms in letting out similar part
In answer to his lordship, witness said, with . -to a South sea contract, a form of which was before his lordship, that contract music-hall one, which was quite distinct from a concert-hall one. In music halls they ini-'ht have two twenty-minute performances in one night and several matinees; but per- formances on piers lasted the whole of the afternoon or evening, and it was a physical impossibility to give three performances in one day. It would be- only right and u?ual. added », to have some clause as to the next appearance of a company in the same town or district, but this agreement asked them to return Ln a year's time at the same terms. The company might not be in existence then.
Mr. Hohler: Is it usual to stipulate the period that should elapse between perform- ances of a company in one place, or is it a matter of arrangement?
Witness: It is a matter of arrangement, but it would never be refused.
Senor Bocchi, employed by Messrs. Ashton and Mitchell, Old Bond Street, also gave evidence as to forms of contract.
Mr. Hohler: Is there any usual form of contract In regard to concert parties? Witness: What do you mean? Mr. Hohler: Supposing an engagement >s mad^. and the services of a party are offered at £70 a week and accepted, would there be any usual form of contract entered into?
Witness: Yes; if the party wished to have a contract, there was a form sent for them to sign.
Witness produced a form of contract, which his lordship examined, and pointed out that it contained a clause, with blanks to be filled in, binding companies not to perform in the same district for certain periods after per- formances.
His lordship said he was against Mr. Hohler so fa-r, but he would hear him further.
Mr. Hohler submitted that if there was an offer of £70 a week, and that was accepted in a telegram, and if nothing more were done, there was a binding contract. When the form of contract was sent forward the defendants endeavoured to impose terms wholly outside the arrangement already come to.
His lordship said the point raised was a very common one, and it was sometimes very difficult to determine whether the letters be- tween parties amounted to a complete con- tract, so that nothing more remained to be done, or whether they amounted to a pre- liminary agreement subject to a contract being drawn up and signed by the parties. In many oases in which the point was raised, it ran very fine, and turned on the facts of each case. In this casjfc it appeared from the evi- dence given by Senor Bocchi that while it was usual to fix the date and figure, that transaction was always followed in ordinary course by the sending forward of a contract by one party and the signing of it by the other. Mr Boosey had stated that it was very usual and reasonable to have in the final contract a provision that the concert party or artists should not perform in the same town or within so many miles of the town for a certain period before or after the engagement in question. The forms of contract showed that what the exact radius should be and what the period should be were matters of bargain in each case, the parties to agree to what they considered reasonable. In this
case the letters and telegrams showed agree- ment as to dates and the sum per week, but no contract had been drawn up and signel For some reason the defendants had not sent the form of contract for some time after the letters had passed between the parties, if that were to be allowed to make any engage- ment still binding, artists would be put in a very difficult position. As a matter of fact, another company, The Revellers took that v'ew that there was no binding contract. Th«- dates had been fixed; but not having .any contract sent forward, they said, " ^ off; we have taken something else." He thought that was a quite reasonable view for them to take. The defendants then sent for- ward a contract for The Grotesques, and Messrs. Chappell and Co. disagreed in three matters— as to the place and time, as to the number of performances, and as to the matter of re-engagement for the next year. No formal contract ever was signed. He neld that in the correspondence in this case there was no binding contract between the parties. The delay in sending the contract, in his opinion, made it necessary that they should make it a condition that the contract form should be sent in by a certain time. He held that the plaintiffs failed to make out their case. He regretted that the defendants had failed to send forward the contract earlier, but he could not punish them for that. He gave judgment for the defendants, with costs.
BOQANNY v. CLIFTON.— LIBEL. Mr. Joseph Boganny was the plaintiff in a libel action which came before Under- 18 Sheriff Burchell and a jury tat the London Sheriff's Court for the assessment of damages. The defendants were Joshua Clif- ton, Messrs. Odhams, Limited, and the Variety .\rinV l-v iteration, the two latter, the printers and proprietors respectively of the Performer. The alleged libel was contained in a cartoon which wtas published as an advertisement in the Performer on October 20, 1910. It was entitled " Retribution," and was alleged to represent the plaintiff, in a torn and tattered baker's costume, blacking the defendant Clifton's boots. Tears were streaming down his face, and he was saying, "Alas! it has come at last." The foot-rest was marked " Fragile," while behind th* bootblack hung a placard announcing "Josh. Clifton, 5 X Rays." Be- hind the man whose boots were being blacked were a number of other people, from whose lips issued such remarks as " How are the mighty fallen!" "Stop it," "He can't clean our boots," "I used to know him— what a drop!" and "Honesty is always the best policy."
Mr. Taylor appeared for the plaintiff, and Mr. L. Tyfield defended.
Mr. Taylor said that he very much regretted to say that the parties were near relatives, and were not merely members of the same family, but were rivals in their profession. The plaintiff was the owner of a troupe which was known by the name of the Lunatic i Bakers. The defendant Clifton owned similar ' companies. In October, 1910, it appeared that i Clifton was the owner of two companies known as the Five X-Rays and the Six Ceylons. i There w.as a rival company touring the Con- tinent under the name of the Five Sunrays, and for this company Boganny happened to be ! the agent. Clifton got it into his head that , Boganny was running that company against him and infringing his copyright. He brought an action against Boganny, claiming an in- junction against him. Mr. Boganny won that ' action, but his costs had never been paid. ' Immediately after the lawyer's letter had been
11*
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THE STAGE TEAR BOOK.
JAN.
sent in that case the libel complained of was inserted in the Performer, the organ of the Variety Artists' Federation, to which both be- longed. It was the picture of a man intended to represent plaintiff in the act of blacking another man's boots. There was also a little devil with a string tied round the plaintiff's neck, suggesting either that he was instigated by the evil one or -was being dragged down to the infernal regions. (Laughter.) The plaintiff had .accepted £15 and an apology from the other defendants, but there had been no sug- gestion of an apology from Clifton.
Joseph Boganny said that there was only one fat baker in the business, and that was himself. The picture had done him a lot of harm. Up to now he h;ad always had his book full up two years ahead, but this year he had the whole of June and July free.
Mr. Taylor: What are you earning?: — £50 and £60 a week.
Cross-examined by Mr. Tyfield, witness said he had been in the music hall business since he was three years old. and he had never e-prrse across a bakers' troupe except the Five Jolly Bakers, which was 'his own troupe. Out of the £50 or £60 a week he paid five other men sums ranging from €4 to £2 10s. a week. He had to pay this whether they "wre w-crkine or not,.
In defence counsel said it was a trumpery claim, and the damage sustained had been in- finitesimal.
The jury assessed the damages against Clif- ton at £50.
LICENSING OF AGENTS.
At Bow Street Mr. Curtis Bennett had before him nn appeal against a decision 1 9 °f the London County Council, under their General Powers Act of 1910. refusinc to grant to Bob Graham and Charles Henry Coventry (trading as Graham and Co.) a license to carry on f\ theatrical employment agency in ivennington Road. The proceedings took 'the form of a summons against the County Council.' who were represented by Mr. A. H Bodkin (instructed by Mr. Godfrey). Mr. C. J. Dwyer (instructed by John H. 'Mote and Son) ap- peared for the appellants.
At the outset, Mr. Bodkin submitted that the magistrate had no jurisdiction to hear the appeal by reason of the formalities of the Statute not having been complied with. The Act provided that an applicant who was re- fused a license could appeal within fourteen days if four days' notice of such appeal was sent to the licencing authority. In this case the License was refused on December 15, and the summons was taken out on December 28. The obtaining of the summons constituted the act of appealing, but notice was not given to the County Council until two days afterwards.
Mr. Dwyer argued that what was intended bv the section was not that four days' notice of the intention to appeal should be given, but that when an appeal had been made notice should be sent within four days, as was done here.
Mr. Curtis Bennett said he was clearly of opinion that the words " notice of such ap- peal " bore the ordinary interpretation, which \vn=; that nofice of intention to appeal should he given. Upon that ground the appeal would be dismissed, but he was. prepared to state a case.
TiVOLI, ABERDEFN v. BOLTON AND
ANOTHER.
Before tSheriff La(in^, at A'berdeen. the
Tivoli, Limited, Aberdeen, asked for
2 2 interim interdict against Bolton and
Mackinnon's Scottish Meisters Quartet,
appearing In the pantomime of Cinderella, which was to open in Aberdeen. These artists had engaged to appear at the T'voli, Aberdeen, later in the yenr under an agreement by which they could not appe.tr in any other place of entertainment within a radius of tea miles of Aberdeen within a period of fifteen months of the date of xJ.eir engage- ment at the Tivoli. The case of Bolton" was taken first, and Mr. George Mackenz'e, solici- tor, who appeared f>r the complainers. stated that respondent was to take the part of Peter, the baron's page, in the pantomime.
Mr. Mackenzie explained the terms of the contract to the Sheriff, pointing out that in breach of the agreemsnt or any of its clauses the artist should pay to the management by way of damages one week's salary. Bolton had contracted to appear at the Tivoli on February 14 at a salary of £16 per week.
It was pointed out in the course of the debate that Bolton had written the manager of the Tivoli Theatre ten days ago asking per- mission to fulfil the engagement in the panto- mime, but got no reply.
The Sheriff remarked that it was open to the suggestion that ..< matter might have been brought to an issue sooner, because if interim interdicf WTC granted that d-ay it might seriously prejudice the presentation c-f the pantomime.
Mr. R. P. Stott, solicitor, for the respon- dent?, urged tha- if interim interdict were granted it would mean that a company of eighty performers would be thrown out of employment for a week, as there w-as no one available to take the place of the respon- dents. A company of eighty performers, with a big wages bill. wo:ild be left in the hando of the management. Mr. Stott urged that there was a custom that artists under such CTcnm.'tances had only to ask permission to appear and they would be granted as a matter of courtesy
After hearing parties Sheriff Lain 2 said, <n view of the fact that the pantomime had betn advertised for a "week or more with respon- dents' names on the bill, that there had bren extensive bookina by the public, and that it was impossible to get other artists to take the places of the respondents, and that there wn.s thereby a risk of the entertainment beinc; withdrawn 'in consequence, he would exercise the option which was open to him of refusing interim interdict, but he would order the respondent Bolton to lodge a sum of £16 and the other respondents £25 in tne hands of the clerk of court in ^iew of further proceedings that might be taken by the complained.
NEILSON v. WOOLWICH OPERA HOUSE.
Before Judge Grander, at Woolwich County Court, Harold V. Neilson, Limited.
2 4 claimed £30 damages for breach of contract from the management of the Ttoval Artillery Theatre and Opera House, Woolwich.
Mr. Tatham was counsel for the plaintiffs, and Mr. Cox Sinclair appeared for the defendants.
The case for the plaintiffs was that they entered into an agreement with the defendants for the production of The House Opposite for one week from November 27. Under the agreement the defendants were to provide all the usual staff and accessories of the theatre, but they provided no proper lighting at all. One man was combining the duties of stage carpenter and electrician. There was no one to watch the limes. On the first night the theatre was not heated at all. It was a bit- terly cold night, and by the end of the third act the act/resses, who were in evening dress,
JAN.-FFB.
THE STAi 'OOK.
241
were so cold that they were quite unable to spt-ak tlioir lines properly. People in the stalls aat in cloaks and greatcoats, \\ith their collars tin IK tl up. I!y Thursday l\vo proper limes forthcoming, hut tliero was no one to work th-Jin. On the .Monday night when it was important that a good impression shou'd be in ado, the absenoe of limes from the first )i!t the whole story, for at the crux of the play a shadow should have been seen on the window of the house opposite. The plot of aa absolutely ruined. On the first night the takings were £7, and on the s< e •• nd night, when th y should have increased, they d to £4 13s. The whole takings for the week aggregated £51. Under the agree- ment plaintiffs got €25. They estimated £120 should have been taken, and now claimed £30, half of the additional £60 which shoukl have been taken if- the defendants had carried out their part, of the contract.
The defendants contended that they had pro- vided an adequate staff and all necessary Ties. On the first night of the visit of the company ther? was an accident with the heatine apparatus, hut this was immediately put riuht. and the lighting effects were perfect. Witnesses declared that on the opening niiht they saw the shadow on the w'ndow of the house opposite quite distinctly, and that the theatre was comfortably warm.
The Judee said he thought that if there was any loss of receipts it wa>s due to the fact that the people of Woolwich did not apnrecinte this high-class drama, and accordingly gave judgment for the defendants, with costs.
MONCKTON v. GRAMOPHONE CO., LT1).
In the Appeal Court, before the Master of the Rolls and Lords Justices Moulton 2 4 and Buckley, Mr. Lionel Monckton, plaintiff in an action against the Gramo- phone Company, Limited, appealed from a judgment of Mr. Justice Joyce.
Mr. Shearman, K.C. (for Mr. Monckton), said that the judgment appealed from was given on December 6, 1910. whereby the judge n action brought by the plaintiff to retrain the defendants from publishing wit.hout his consent and selling what was known as certain gramophone records which reproduced a musical piece of which Mr. Monekton was the composer. The music re- ferred to was a song called " Moon struck." The plaintiff composed the aiir and also the words. The song was part of Our Miss Gibbi. What the defendants had done was to get a lady to sing the song into the gramophone, with the result that the record of it \vas prodi-ced, and they cold the record and made profits.
Lord Justice Moulton: Are you proceed! 12 under any statute?
Mr. Shearman replied in the negative, and •iat he based his right to restrain the defendants under common law.
Do you mean to say that if a man extern- pomes an air and I repeat it. that I am in- whatTsav copyright?— Yes> that is exactly
Lord Justice Moulton: Do you mean ^o Say you can sue an echo? (Laughter. )
Mr. Shearman: I do not think I oouid ^°°a.bly h°Pe to argue that with su-x-^s. (Laughter.) I should submit that you could sue anybody if you could catch him within the jurisdiction, but you cannot catch an eeho. I could not ans-ver such a question as tn-it.
Proceeding, counsel said that what tht? deVn- dant.s had done was to produce note fo- nor-e an entire musical composition.
Lord Justice Buckley: Your proposition U
that there is a right of property in a sequence of sounds?
Mr. Shearman: I >ay that there is a mon law right to preve it a man from produc- ing for profit an '.iM'iice of sound-1. An author the protection of the combination of soi
Lord Justice Moulton : You cannot, I think, bring this wit!, :n the domai i of properly. Counsel, his 'ordship .-ddrd, was trying to create a new form of property which would be mo>>t O]
Mr. .Shearman: )f a man takes som else's work and fill his pockets by reproduc- ing the author's brains your lordship may hay that the author has no right in law, but I canrot. .see how it can be oppressive to any- body but the author.
Mr. DanckwertF. K.C. (for the respondents) remarked that Mr. She-arma-i might just as well claim a copyright in the winds that blow.
Without calling upon coursel for the respon- dents, their lordship* dismissed the appeal, holding that the plainti'T had asserted a claim whirl) was lUTnamtainabie.
[For original case see STAGE YEAR BOOK, 1911. p. 313. This action and the appeal were heard when the old copyright laws were in force. The new Act, which came into oper- ation in July, 1912. gives to the composer rights in reproductions by mechanical con- trivances.—Ed., THE STAGE YEAR BOOK.]
FEBRUARY.
GiATEiSJIEAD (DURHAM) THEATRE.
PERFORMANCES IN UNLICENSED
BUILDING.
F. \V. Bolam, lessee of the Queen's, Gates- head, appeared before the magistrates 5 on a charge of having kept the theatre open without ia dramatic license on January 15, and five days following, and also of having kept the King's open without a sing- ing and music license on these specified dates. The defence was that at the time the offence was committed the tenancy of the King's was about to terminate, and the diary and other papers belonging to Mr. Bolam had been mislaid, and the date of the Sessions at which he should have applied for a temporary license had been overlooked. With regard to the Queen's, Mr. Bolam made application to the Gateshead Town Council on November 25 for a dramatic license. As a result the borough surveyor visited the theatre and made recom- mendations, which had now been duly carried out. Before the house was opened on January 15 the Town Council held a meeting 'and re- fused to entertain a recommendation by the Town Improvement Committee that the license be granted, the reason given being that cer- tain alterations bad not been compjeted. Mr. Bolam, however, had made all arrangements for the opening of the theatre, and, under the circumstances, decided to take the risk, despite information from the Chief Constable that the license had not been granted.
In the case of the Queen's Theatre the de- fendant was fined 20s. and costs, and the charge in respect to the King's was dismissed, defendant paying the costs, which amounted to £1 123.
BYCROFT v. ASCHE.
Mr. Oscar Asche was the respondent in an
application under the Workmen's Com-
6 pensatioa Act, before Judge Sir William
Selfe at the Marylebone County Court
the applicant being a theatrical super and
dresser named Herbert Bycroft
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THE STAGE YEAR BOOK.
FEB.
Mr. C. T. Williams, for the applicant, said Bycroft was engaged as a member of Kismet company at the Garrick, and on August 29 of Last year he was one of a crowd of supers on the stage. His duties Included scrambling for money. It was a noisy, turbulent kind of scene, and somehow applicant received a senatch on the back of the calf of the right leg. The injury became septic, and finally got so bad that he had to give up his work, and he went to the Charing Cross Hospital. He went and siaw Mr. Oscar Asche about the matter at Ms private house, and he (counsel) thought there w,as rather a stormy interview, but the applicant could get no saitos faction, and finally put the matter in his solicitor's hands.
His Honour made an -award in applicant's favour for compensation for 20 weeks at 13s. a week.
MACNAGHTEN v. JOHNSON.
The adjourned action against Jack Johnson, the champion heavyweight boxer, for
7 damages for breach of contract, was resumed in the London Sheriff's Court. The plaintiff was Mr. Frank Macnaghten of the Macnaghten Vaudeville Circuit, and the claim was for the breach of a contract under which Johnson was to perform for a week each at Bradford, Burnley, and Black- burn at >a salary of £200 a week.
The defendant failed to appear and was not represented.
Mr. Walter Payne, for the plaintiff, said that at the time the contract should have been fulfilled Johnson had a reputation which was world-wide. He was on the first visit to this country after the great fight in America, which had been boomed" all over the world. The re- sult was that Jack Johnson was the biggest attraction one could have got at that time- one of the most important and valuable attractions plaintiff then or ever could have secured. The contract was entered into on October 4, and Johnson was due to open at Bradford on December 4. Mr. Macnaghten had taken the precaution of advertising the visit extensively, with the result that everyone to Bradford was on the tiptoe of expectation for the arrival of this fighting man. Without any warning to Mr. Macnaghten, Johnson failed to appear. This was perhaps character- istic of the man. He did not even send the plaintiff a telegram, but went off to Paris on business or pleasure of his own and left Mac- naghten entirely " in the cart." There might, counsel contended, have been a serious riot as the result of the disappointment of the public. The people there were not so easy- going as in London, and it might have led to serious disturbance, but fortunately nothing happened.
Mr. Macnaghten (recalled) said Johnson ful- filled his contract so far as Hudder.-field was concerned, but plaintiff estimated his loss of profit as follows: — Bradford, £700; Blackburn, £800; Barnsley, £850. These were based on the profit made by other big attractions at the $ame halls.
Archibald Fredk. Parnell, booking manager of the Variety Theatres Controlling Company, eaid that he booked Johnson to appear at a number of their halls.
Mr. Payne : He started by breaking contracts with you, didn't he?— His first contracts he broke because he was going to train for the rouch-ditscussed Wells fight. Witness added that they afterwards compromised with him, and he signed fresh contracts to appear at eight halls at a later date. The average profits at these towns was £405.
The jury awarded plaintiff £1,500.
CARPENTIER v BARBER.— FAILURE TO PLEASE NOT INCOMPETENCE.
At the Tunstall County Court, before his Honour Judge Ruegg, K.C., Gus
7 Carpentier, of 63, Jervis Street, Hanley, brought an action against George H. Barber, of Tunstall, to recover £7 for services rendered under an agreement. Mr. F. L. Dickson was for the plaintiff, and Mr G L Pedley for the defendant.
It was stated that plaintiff was engaged by defendant to appear at the latter's picture halls at Fenton and Tunstall, a week at each place. Plaintiff was a musical monologuist, and was to have given two sketches, Demi May vare and How We Saved the Barge. The first per- formance at Fenton was not a success, and de- fendant's manager told plaintiff he could not appear again. The Fenton audience was a " hard " one, and did not like the musical monologues afc all. On the following evening plaintiff was allowed to appear at Tunstall. but the turn was not a success there either. pl?in- tiff admitted' this, but sa:d it was due to t>h» band and the fact that there had been no re- heansal. When plaintiff went to the hall for a rehearsal at the time arranged he could not get an. One of the witnesses for the defence <=a;d plaintiff might make a good drawing-ro^m entertainer, but he did not "take" with the Fenton and Tunstall audiences. There was a clause in the printed Agreement to the effect that if an artist proved incompetent he could be paid up on the first night, but plaintiff said it had been struck out in this case.
His Honour pointed out that the fact of plaintiff's having failed to please the audiences at Fenton and Tunstall did not prove that be was incompetent. Some of the greatesst art-'sts had failed to please their audiences, either b°cause the audience was too critical or be- cause the artist was above their heads. It was the duty of a manager to take the character of the audience into account wh°n enraging artists, a"d if he made a mistake he could not get out of it by saying that because the art'st did not please a certain audience he was incom- petent. This would be an unfair slight on the artist. In this cas°, so far as he con Id see, there was no personal incompetence. On the other hand, the Plaintiff ought not to have held himself at defendant's disposal during the remainder of the fortnight. In such circum- stances a man must endeavour to minimise the damages
Judgment was given for £5 damages.
HARCOURT v. LUMSDEN.— BREACH OF CONTRACT.
A claim for breach of contract was brought by Harry Harcourt in the Newcastle
1 4 County Court 'against W. Lumsden, of Not'th View, Heaton, Newcastle, pro- prietor of a picture hall at Berwick.
The claim was for damages amounting to £50. The particulars set out that on March 13, 1911, defendant, by a written contract, en- gaged the plaintiff to produce a pantomime and act as general manager and comedian at a weekly salary of £5 for eight weeks certain, a percentage of the profits, and £2 10s. for four weeks before the pantomime was to be pro- duced on December 21 for preliminaries.
Mr. T. H. Smirk, who appeared for Harcourt, said that plaintiff returned to Berwick on April 24, and Mr. Lumsden then said he had decided to abandon the proposed pantomime. Plaintiff, however, had held himself ready to produce the pantomime, and he was claiming damages for the breach of contract. Certain negotia- tions were entered into in April, when the idea of the pantomime was abandoned, in which de- fendant was to instal plaintiff as manager of a picture hall. Suggestions were made, and plaintiff was agreeable to accept the post of
FEB.
TtiE STAGE YEAR
243
manager of one of the halls that defendant was proposing to open, providing that the engage- ment was for six months at a salary of £2 10s. a week and 60 per cent, of the profits of three nights during that time. This arrangement was never carried out, however, and fresh terms, unacceptable to plaintiff, were suggested. As a result Harcourt had kept himself open to abide by the original contract.
The plaintiff said that during the term covered by the contract he had earned £19 13s., and he was prepared to deduct this from the £50. He admitted that in October he agreed to accept £15 in settlement— purely out of friendship.
Mr. Strother Stewart, who defended, sug- gested that it was the custom of the profession that if eight weeks' notice were given a con- tract could be varied. Sir George Askwith had given an arbitration award to the. same effect in 1907.
The plaintiff denied the existence of any such custom, and pointed out that the award mentioned referred to music halls, besides which it did not apply in this case, as a pantomime contract came within the purview of the legitimate stage
His Honour ruled that the award had no bearing on this case.
Mr. Mark Sheridan and Mr. Arthur Rigby gave evidence for the plaintiff.
The defendant denied that he produced the pantomime after all. His name was used, but he had no financial interest in the show.
After hearing further evidence from de- fendant, his Honour gave judgment for £30, with costs for plaintiff.
BOGUS AGENCY.— ALLAN COOPER SEN- TENCED.
Allan Cooper or Charles S. Harris was charge.1 before the Stipendiary Magis-
18 trat«, Mfr- Stuart Deacon, at the Dale Street Police Court, Liverpool, with ob- taining eight sums of money, varying from 10s. 6d. to £1 4s., by means of false pretences. He pleaded guilty.
Mr. H. S. p-uder, who prosecuted, said the prisoner carried on a business in Bold Street under the name of Allan Cooper's Agency. He inserted advertisements in the newspapers stating that he was in a position to obtain situations for young ladies. When they called at the address given in Bold Street he ob- tained money from them and pretended to secure posts as actresses or stewardesses for the applicants. In one instance he promised a lady a position with Mr. George Edwarde&'s company at a salary of £0 10s. a week. Later he handed her what purported to be a con- tract. He had no authority from Mr. Ed- wardes or his company to do anything of the sort. The other cases were all of a similar character, except that in several he pretended to give contracts from shipping companies. It having been suggested by the prisoner's relatives that he was not accountable for his actions, he had been examined by a doctor, who certified tha<£ the only disease from which he was suffering w:as incurable Laziness.
The prisoner, who pleaded for leniency, was sentenced to six months' imprisonment in the second division, the Magistrate remarking that such a very mean sort of fraud deserved punishment.
DAVISON v. ARISTON.— ACCOMPANIST'S CLAIM.
At the Marylehone County Court, before his Honour Sir W. Lucius Selfe, Ernest
1 9 Davison, professional pianist. li^J, Corn- wall Road. W., sued Mrs. Miln. of 100.
Abbey Road, N.W., known on the concert stage
as Miss Floyd Ariston, for £10 for professional services.
Mr. Lambert Hall, solicitor, informed h1a Honour that in answer to instructions from Messrs. Keith, Prowse, and Co. the pLaintiif called on the defendant on October 13 las* year, and she then asked him to try over several of her songs. After the test she ex- pressed herself satisfied, and dictated an en- gagement for October 16 'to rehearse the pieces. This was kept, and from time to time similar meet-ings .took place at defendant's request, lor these services he had never been paid. This went on till December 12, when the plaintiff sent in an account. On the 16th of that month he received a telephone message that he need not attend on that day, and that his services were no further required.
Plaintiff said on one occasion the practice lasted an hour, and afterwards it Lasted aa much as three hours. He attended an " At home " which she gave, and played the accom- paniments for her and for several other singers. Plaintiff specified the occasions on which he had (accompanied the defendant's songs at the American Club, the St. James's, Queen's Hall, Alhambra, etc., for which he received no fees.
Defendant's account of the matter was that she asked the plaintiff to accompany her with the view to his "memorising" her songs and the accompaniments. The concerts mentioned in the plaintiff's account were charity con- certs, for singing at which she had not re- ceived one penny, and she understood that plaintiff was -to be paid only when she received a salaried engagement. There was an audition with. Mr. Butt, following which plaintiff was to receive £5 a week, but she was not engaged, although the pLaiontiff had discussed the matter with her. Her practice with her previous ac- companist was that he w<as paid only when she received a salary.
His Honour said the relations between the parties were extremely vague as to the terms on which these charity concerto stood. So far as they were concerned there was some doubt, and he could not allow for them. There would be judgment for the plaintiff on the other items for five guineas and costs.
MURRAY v. HALL CAINE.— BREACH OF CONTRACT.
In the Westminster County Court, before
Judge Woodfall and a jury, Miss Mar-
21 jorie Murray, actress, sought to recover
damages from Mr. Derwent Hall Caine
for alleged breach of contract.
Mr. E. Bowen-Rowlands was counsel for the plaintiff, and Mr. Artemus Jones for the defendant.
Mr. Bowen-Rowlands said the claim was for £100 in respect of breach of an agreement made with the defendant to play the lead- ing parts in The Christian and The Manxman. The defendant offered the plaintiff an en- gagement from July, 1911, to the following Whitsuntide, with certain privileges in the way of dresses being found, etc., at £6 a week for the tour. Before the engagement com- menced the defendant's manager submitted a contract to the plaintiff, in which the stipu- lation was made that the engagement should be subject to a fortnight's notice. She, however, refused to sign it. She went on tour with the two plays, going first to Blackpool, where the actress was most favourably re- ceived. On the company reaching the Isle of Man, however, the plaintiff was not called at rehearsal, and the following week at Dublin she found another lady rehearsing her part. Subsequently, owing to the period when she
244
THE STAGE YEAR BOOK.
was thrown out of her engagement, the plain- tiff was only able to obtain an engagement in pantomime at £2 10s. a week.
The plaintiff gave evidt-nce in support of counsel's statecneiat, and said she quite under- stood that the agreement was for her to play the principal parts in The Christian and 1'he Hanxmin, for forty-five weeks. She played Glory Quayle in the former piece at Blackpool, and rehearsed her part in The Manxman. She then went to the Isle of Man. where she p&yed for a week, but was not called for rehearsal, and at Dublin she was surprised to hear that her engage-Bent ended with a fortnight'.? notice. Mr. Ball Cadne had- -told her " that she would make a good Glory," and she con- sidered that that view was borne out by the appreciation of her performance .shown by the public.
In cross-examination the plaintiff said she had no opportunity of speaking to Mr. Hal! Caine with regard to the form of contract shown to her by his manager.
Mr. Arte.nus Jotes, for the defence, sub- mitted that there had been no special contract entered into with the plaintiff who.se agree- ment, like all the other members of the com- pa/ny, was terrnlTible ty a fortnight's notice. Mr. Hall Caine, the defendant, who gave his address as W-hiteh.aH Court, said he did not agree -with the account given by the plaintiff as to his first interview with her. The plain- tiff asked £8 a week salary, and when he said that was too much she agreed to accept .£6 She stipulated that she was to have a " star " Aine on the bill, but there was nothing said a.bout the engagement going on until Whitsun- tide of this year. With regard to notice, witness said he was sending out contracts in writing, and these provided for a fortnight's notice. The agreement for a fortnight's notice applied to the leading lady as well as to the other members of the company. It was the ordinary thing in making engagements. Nothing was said to him by the plaintiff as to ih©r not accepting a fortnight's notice, and that she expected to go on until \Vhitsuntide. When he first heard of this was on his return to London late in August.
Mr. W. Francis Grant, an actor, said h« was a member of the company which the defendant formed in July last, and he received a con- tract similar to the one produced, and which stipulated a fortnight's notice.
C\lr. Artemus Jones, addressing the jury for the defence, contended that it was ridiculous to imagine that an agreement was entered into with the plaintiff for her to play under any circumstances leading parts in the plays named in a tour extending from July in one year to Whitsuntide of the following year.
Mr. Bowen Rowlands pointed out that the plaintiff had declined an engagement at £8 ,a wetk for thirteen weeks an order to take the engagement with Mr. Hall Caine at £6 a week, the sole inducement being the length of time over which it was represented to her that the defendant's tour would extend. The plaintiff' had been a loser to the extent of about £2-10 but the cliaim had been placed at £100 eo as to bring it within the jurisdiction of the county court.
His 'Honour, in summing up, said it was c^r the jury to say whether they considered that the nlaintiff wa& bound by an ordinary thea- trical i-oitFict with a notice terminable flit fourteen days or whether there had been a specific agreement made between her and Mr. Hall Caine for an extended tour.
The j'iry gave a verdict for the plaintiff, and assessed tht danriuw at r3n. ,-itid jmigmtnt for that anwwt was entered with costs.
LE ROY v. CON WAY AND DUTT.
At Clerkeawell County Court an action was
brought by the Servals Le Roy Co.,
21 manufacturers, Hatton Garden, B.C.,
against Albert Con way and Amar Nath
Dutt, music-hall artist, Stanley Road, Chiswick.
for £53 10s., as money due on a stopped
cheque.
Mr. Tyffeld (instructed by Messrs. Judge and Priestley) was counsel for plaintiff; Mr. Merlin (instructed by Messrs. Clarke, Lewthwaite and Co.) appeared for the defendants. A counter-claim for £50 was filed. In opening, Mr. Tyfield said the plaintiffs were makers of theatrical apparatus and illu- sionist outfits. The second defendant, Amar Nath Dutt, was a music-hall artist, profes- sionally known as Linga Singh. Giving credit fo-r two sums paid, plaintiffs were claiming for £29 19s. 6d. as the balance due for goods sold to the defendant between the dates of October, 1911, and November 24 of that year. In October the defendants came to plaintiffs' warehouse,, and certain orders were given for mechanical apparatus to be used by Linga Singh as an illusionist on the music-hall stage. On October 5 a £50 cheque bearing the signa- tures of both defendants was given to plain- tiffs, and on October 17 another cheque for £17 was given. The goods ordered were to the value of £100 o^d.
On November 22 or 23 defendants called at plaintiffs' warehouse and gave orders for addi- tional apparatus amounting to £37 odd. De- fendants were then, with the additional goods, indebted to plaintiffs in the sum of £53 odd. The additional goods being ready for delivery, plaintiffs desired" to get a cheque in payment. On November 23 defendants called and examined the apparatus and were perfectly satisfied; an invoice was given them of all goods supplied, and showing the credits for sums already paid by the defendants. It was suggested by defendants that the goods were necessary for rehearsal, and that they should be sent on November 24 to the Islington Palace. On that day defendants called and gave plain- tiffs a cheque for £53 10s., and defendants were assured that the goods would be delivered to the Islington Palace. The goods were sent off in the afternoon, and plaintiffs' manager, who promised that he would attend at the rehearsal, followed them. He first went to the Islington branch of the London County and Westminster Bank and presented the cheque. He found that payment had been stopped.
Evidence in support of the plaintiffs' claim was given by Herr Zelha, their manager. Wit- ness said he tested all the goods thoroughly before they left plaintiffs' establishment, and they were in good working order. At no time had the defendant Linga Singh supplied any diagrams to make the apparatus.
Linga Singh was called by Mr. Merlin. Re- plying to his Honour, defendant said he was a Buddhist. He was allowed to make an affir- mation. With regard to a Buddha table, said defendant, he was told by plaintiffs' manager that he had made a similar one for Mr. Horace Goldin. Defendant's table was to be made on the same principle. It proved, however, not to be strong enough, and he had made com- plaints to the plaintiff firm. He had used the table with difficulty all the way through. He had been charged £8 for the table, added defendant, and he was claiming £2 reduction in respect of it. With re- gard to the target, tub, and stand, it was of no use to him. It was top-heavy. Continuing, defendant said he ordered two rab- bit boxes and stand. They proved to be un- workable. He took the things back, stating that there must be a stronger stand. Without the latter the boxes were useless. He had not
FEB.
THE STAGE YEAR BOOK.
245
them tinee. Defendant sa'd i of everything he ordered. With regard to the canopy and mirror appa- ratus, plaint ill's had only partly carried it out ling to his design. Electrical fitting -1 with it, and he had pur- i fittings at a cost of £2. Regarding ,ake box, the snakes came out. To pre- 'iat tlu> lid should be at tin- top il -of at the side. He had been bitten by thi- ll is Honour and the jurymen afterwards pro- : to Collins'* Music Jlall to in.-pect the apparatus. Tlu hi-urinc: was resumed on February 23.
-.-. Inud Koberts. in an exhaustive summing up. dtalt item by item with the ite between the parties, and d the evidence given. iury gave a verdict in favour of plain- tiffs on ths claim for £23 Os. 3d. On the 'i\ the jury awarded defendant £20 damage-; r»r "non-publication of advertise- durin'4 two weeks." In respect of t.\vo other items in the counter-claim they awarded defendant £i 8s. 6d.
Mr Tyfleld afterwards submitted that the award of £-20 damages on the counter-claim could not stand., on the ground tli-at the de- fjndant had not shown that he had suffered any loss of contract in consequence of the advert i-sements not appearing for two weeks. I!i> Honour upholding the view that there was no evidt-nc-t' of defendant having suffered pecuniary loss through the non-appearance of the advertisements, set aside the £20 damages and awarded nominal damages of 40s. it- The verdict on the counter-claim would, 'there- fore, be for £6 8s. Gd.
ASHWELL v. BARKER.—" THE SECRET WOMAN."
An application was made to Mr. Justice
Channel!, sitting in Chambers on behalf
21 of Miss Lena Ashwell for an injunction
to restrain the performance at the
King.sway of The Secret Woman on the
ground that the performance of the ' play,
including the parts disallowed by the Lord
Chamberlain, might endanger the license held
by her in respect of that theatre.
The learned Judge expressed the opinion that a public performance of the play, includ jng the parts disallowed by the Lord Chamber- lain, would endanger the License, but that a performance in private would not, and on counsel for Mrs. Granville Barker undertaking not to admit the public to the proposed per- formance and to admit only those individually and directly invited thereto, his Lordship did not grant the injunction.
DAY v. THE TIMES.— RIGHT TO CRITICISE.
In the Court of Appeal, before Lords Justices Vaughan Williams, Farwell, and Kennedy 22 Mr. Jellicoe said he appeared with Mr. H. Lewis on behalf of the plaintiff, Harriet Day, professionally known as O Hana San. who desired leave to appeal from a dec-Von of Mr. Justace Channel! at Chambers. The application was ex parte. The action was for alleged libel, the defen- dants being the Times Publishing Company and another. The Master, in the exercise of -••retion, had given the plaintiff leave to administer certain interrogatories to the de- fendants. Against that order the defendants appealed to Mr. Justice Channell at Chambers. He read the statement of claim, and then ex- pressed the opinion that the words the plain- tiff complained of as amounting to libel were
only fair criticism and no libel, and that if the case came into his list lor trial he would tre that it did not <^> to the- jury. "He declined to louK. ..i tbi ;<>rics," con-
i counsel, " and practically bundled us out. We applied to him for luavu to appeal from his order striking out the interrogatories. His lordship said he was shocked at such an app^-ation being made, and went on to say that these applications to serve interrog. were becoming too frequent among a ( class of practitioners, and should not be en- couraged, as they were merely done for thu sake of piling up costs. 1 do not deny for a moment the truth of his lordship's remarks; but I do say that we ought not to have the sins of other people visited upon us."
Lord Justice Vaughan Williams said these applications to review the discretion exercised by a learned judge at Chambers had, in his opinion also, been too frequent of late. When such applications were made, counsel should be very careful to be in a position to state to this Court exactly what took place before the judge at Chambers. He should be correct in iiis details, so that that Court might know what was said in favour of both sides, and not have to act on a one-sided statement like the eloquent story the learned counsel had given them that morning. Mr. Justice Chan- uell wac a most experienced judge, yet the Court was asked, on a general glowing state- ment of what had happened, to say that he was wrong when, having read the statement of claim, " he bundled us out of the room."
Mr. Jellicoe repi:ed that he quite accepted all that his lordship Lad said, and he desired to withdraw any observation he had unwittingly made which the Court tvok exception to. He did not mean by the expn.-sion " bundled out oi the room " that counsel Lad received any discourtesy from the learned judge. He meant merely that the case was bundled out— dis- posed of off-hand without really the questions at issue being considered in any way.
His Lordship, reading from the statement of claim, said the plaintiff, Mrs. Harriet Day, was a theatrical play-writer, professional arti-t, and caterer of public entertainments. Sh-- was the authoress of a sketch, and proprie- tress of a company giving the public represen- tations of particular phases of life in Japan, under the name of 0 Hana San and her com- pany in A Vision of Japan. In July, 1911, the sketch was given at the London Hippo- drome, and plaintiff alleged that she had suffered damage from the defendants falsely and maliciously writing and publishing of her and her company the words complained of:— 0 Hana San and her company in A Vision
of Japan show us not Japan, but a bad
American imitation.
Lori Justice Vaughan Williams: If in the opinioi of the learned judge those words are not defamatory, do you say he had no juris- diction i.i his discretion to strike out the interrogatories?
Mr. Jelluoe: Certainly not, but what he did say was he thought they were fair criticism, and therefore not defamatory. But the ques- tion of fair comment is a question for the jury.
Lord . Justice Vaughan Williams thought there ought to be no leave to appeal in this case. The alleged libel was set out in the icnt of claim, and the learned judge at Chambers, in his discretion, held that the alleged libel, on the face of it, was nothing but fair criticism on a performance which had presented to the public for the very purpose of criticism. People who choose to invite criticism had no primary cause of action if the criticism was unfavourable, and provided that it contained nothing wrong, nothing violent, nothing inconsistent with the.
246
THE STAGS YEAR BOOK.
FEB.-MAR.
honest performance of the writer's duty as a newspaper critic, he ought not to be deprived of his right to criticise the performance. In his opinion the learned judge at this stage of the case was perfectly right in refusing to allow these interrogatories.
The other Lords Justices concurred, and the application for leave to appeal was refused.
[For report of trial of action see March 20.]
RIGNOLD v. SEDDON.— " WHAT HAP- PENED TO JONES."
In the King's Bench Division, before Mr. Justice Phillimore, Mr. Lionel Walter
2 3 Rignold sued Mr. W. Payne Seddon, of Spa, Whitby, and Mr. Ernest Pope, the lessees, of the Royal, Lincoln, and the King'*, Gainsborough, for giving unauthorised per- formances of What Happened to Jones.
Mr. Colam, on behalf of the plaintiff, stated that his client sued for six penalties of 40s. each in respect of performances of the play given without his permission. In March, 1911, defendants entered into an agreement with Miss L. Dare and her company to. play it at Lincoln and Gainsborough for three days each, commencing March 13. When plaintiff heard of this, he sent a telegram to the manager at Gainsborough, saying the play was his, and that he would hold defendant responsible if performed. This telegram and a letter which followed did not come into defendant's hands till after the performance, and he wrote saying the players had gone on to York. Proceeding, counsel said that it was . one of his client's grievances that these unauthorised companies did his play harm.
Plaintiff stated in evidence that defendants knew even before the date of his telegram that the play belonged to him.
Mr. McCurdie submitted that there was no evidence to show that his clients performed a play which was subject to plaintiff's certificate of registration. There was no proof that de- fendants were responsible, and no proof that the play performed was an infringement.
His Lordship entered judgment for plaintiff for £12.
MARCH,
D'ENVILLE v. BOLAM.— DETENTION OF PLAYS.
At the Gateshead County Court Mr. Alfred Deuville sued Mr. F. W. Bolam, manager
5 of the Queen's, Gateshead, for the re- turn of several manuscripts of plays received from plaintiff from defendant's man- ager, Mr. Douthwaite, on behalf of the de- fendant, with a view bo the plays being pro- duced at the defendant's theatre, or their value, and for damages for their detention. The claims set forth were for the following plays : — MS. of play entitled The Lancashire Witches, or its value, £38; MS. of play en- ttt'ed Andrew Mills, or its value, £10; MSS. of olays entitled Midnight Paris, Queen Without a Crown, In Old Madrid, Silver Horseshoe, Shall We Forgive Her? and Prince of the People, or their value, £3. Damages claimed for detention amounted to £5.
Mr. BoLam's reply to the claim was that the matter w,as entirely out of his knowledge, and that the party to whom the plaintiff alleged he handed the documents in question Wias a former servant of his. The defendant also stated that there had been several applicants for the manuscripts, and although he pos- sessed all the plays — with one exception^ lie had decided not to hand them over to the plain-tiff until he was sure as to whom they /eally belonged.
Judge Greenwell pointed out to Mr. Bolam
that it did u/ct matter to him whose property they were. He had received the manuscripts from Denville, and he was responsible to Den- ville for their return.
Judgment for plaintiff was entered, with damages at £5, and a'so costs.
COWEN v. LORD CHAMBERLAIN.— THE . DETENTION OF MS. OF UNLICENSED PLAYS.
In the Westminster County Court the action of Cowen v. Lord Chamberlain came
12 before Judge Woodfall.
Mi-. Laurence Cowen, playwright, sued Lord Sandhurst for the return of the manu- scripts of two of his plays.
In his particulars of claim the plaintiff set forth that the defendant " detained his goods and chattels ; that is to say, the manuscript of a play called The Pity of It and the manu- script of a play called Tricked, deposited by the plaintiff with the defendant on November 17, 1911, and the defendant having refused to license the two plays in question, the plaintiff claims the return of the two manuscripts."
Mr. E. H. Cannot (instructed by Messrs. Cunningham and Co.) was counsel for the plain- tiff, and Mr. S. A. T. Rowlatt (instructed by the Solicitor for the Treasury) represented the defendant.
Mr. Cannot said The Pity of It was a play in tabloid form, taken from another play called The World, the Flesh, and the Devil, which had been taken on tour. There was nothing changed either in the incidents or dialogue. It was simply a compressed play, and it was sent in for the purpose of being licensed for performance on September 8 at some special performances at the Court Theatre. Under the statute, said counsel, whether the Lord Chamberlain licensed or refused to license a play, the Act was silent as to the Lord Chamberlain's right to retain manuscripts of plays sent to him for examina- tion. Counsel detailed the circumstances of Mr. Cowen's application at Bow Street in December for a summons against the Lord Chamberlain, and the receipt by him of a letter in which the Lord Chamberlain stated that copies of the plays would be made and the originals returned to the plaintiff. Later, however, another letter was received by the plaintiff from the Lord Chamberlain to the effect that, in view of the application made to the magistrate, the plaintiff must consider the previous letter as cancelled, and that the Lord Chamberlain would await any action that might be taken by the magistrate in the matter. Other correspondence followed, and on the then Lord Chamberlain resigning his office, and being succeeded by Lord Sandhurst, the plaintiff decided upon instituting the present proceedings. There was a very im- portant reason for the plaintiff desiring the return of these manuscripts, and his only remedy was in the Law Courts, Lord Sandhurst contending that he was entitled to retain them. The Lord Chamberlain said there was nothing in the Act of Parliament that made it obligatory on him to return the plays; but, on the other hand, said counsel, there was nothing in the Act which entitled the Lord Chamber- lain to retain manuscripts that were sent in to be examined. A light was shed upon this by the proceedings before the Joint Select Committee of both Houses of Parliament, which appeared in the form of a Blue Book.
His Honour said he could not permit that to be put in in evidence.
Mr. Cannot said he looked upon the House of Commons and the House of Lords as the two great legislative bodies in the kingdom,
MARCH
THE STAGE YEAR BOOK.
247
and the Joint Committee came to the con- clusion that there waa something lacking in | the statute as it affected this particular issue. He contended that if the Act intended the Lord Chamberlain to have the right to retain stage manuscripts then the statute would clearly state so.
Mr. Rowlatt said that this was a pure ques- tion of construction of the statute. When documents were sent to public authorities, or to persons, he supposed it must always be a question whether the document was sent with an obligation to return, or it might be sent with an obligation to keep it and preserve it, or it might be sent without anything being said upon that matter, thereby leaving the recipient to do as he liked with it. In this ' case the third seemed to him to be the right one, although he thought it was perfectly obvious that the Lord Chamberlain would keep the document and file it. The statute | simply said that a copy should be sent to the Lord Chamberlain for him to read, and there left the document to its fate. In this case the plaintiff sent the original as the copy. The section said that a copy had to be sent signed by a master or manager of the theatre. Mr. Cannot admitted that if the Lord Chamberlain granted a license it was obviously a reasonable interpretation of the section that the Lord Chamberlain should keep the play by him to see that the play that was acted corresponded with the play which he licensed.
The Judge : I think that is obvious. If the play had been licensed 1 should not think the case could be even argued, but in this case you have three special considerations : first, that it was sent by the author, not by the manager; second, that he sent the original and not a copy; and, third, that it was not
Mr. Rowlatt, on the last point, remarked that it would not have been lawful to play it without a license. The Lord Chamberlain could not have refused the document on the ground that it was the original instead of a copy. Whoever did so, it was sent in .to comply with the Act for the Lord Chamber- lain's inspection. If defendant liked to throw it away, file it, or burn it, he might do so, Ii he refused to license a play the Lord Chamber- lain recorded hie decision in the public office. Mr Cannot contended that there was no ri^ht to license or refuse a license, as the Act was not complied with by the manager not signing. The Lord Chamberlain ought to have returned it for the manager's signature. It was not reasonable and not necessary to keep unlicensed plays.
His Honour, in giving judgment, said in this case the plaintiff had to prove two things— first, his right to the possession of those docu- ments; and, secondly, that the defendant was wrongfully detaining them from him. 11 it> had been a case in which the plays had been licensed, he should have thought that the right of the Lord Chamberlain to keep a copy sent to him under section 12 was not arguable. It seemed to him that the Lord Chamberlain must have some record in case he might have to take proceedings in respect of a matter under «>me of the primitive sections of the Act: that being so, what was the distinction in this case? First, it was admitted that the Lord Chamberlain had not licensed the plays gent in, and further, that the copies sent In were not signed by the manager of the theatre. Did that give the plaintiff any rights? He thought not. It was his own act in sending the copy to the Lord Chamberlain, and he sent it in as required by the provision in the Act. He did not think that the mere fact that the plaintiff chose to send in a copy not signed by the manager of the theatre gave him any rights at all. Looking at the whole
<ii of the Act and the powers given to the Lord Chamberlain, he concluded that t was reasonable and almost necessary that he should have some record in the office of the matter with which they had to deal. H<: thought it sufficient to say that there was no obligation pub upon the Lord Chamberlaia to return tlta scripts. That being so, he thought the pla.iui.iff had failed to bhow that he waa cut it led to the possession of the documents, and thwe must be judgment for the defendant, with costs on Scale- B.
HENDERSON V. SCALA KINEMACOLOR, LIMITED.
At the Westminster County Court before Judge Woodfall, Evelyn Henderson, an 1 4 actress; professionally known as Evelyn Beresford, of Esmond Itoad, Bedford Park, claimed £15 from the bcala Kinemacolor, Limited, as damages for alleged breach of contract. Mr. Doughty and Mr. Ganzone (in- structed by Messrs. Judge and Priestley) were counsel for the plaintiff, and Lord Tiverton (instructed by Messrs. Roberts, Seyd and Co.) represented the defendants.
Mr. Doughty said in November Last a con- tract was entered into with the defendant* for her and one of her companies to appear in a sketch at the Scala. The plaintiff was engaged for a fortnight at £15 a week. The first week the plaintiff and her company ap- peared in the afternoon and at a little after eight o'clock in the evening, but in consequence of members of her company having to appear the following week at Camberwell and Rother- hithe it was impossible for the plaintiff to appear early in the evening at the Scala. This \vas explained to the manager, who, according to the plaintiffs' case, agreed to her giving her sketch at the close instead of the begin- ning of the entertainment. When the Satur- day arrived, however, and Miss Beresford re- marked that she would not fail to be at the theatre at 10.20 on the Monday night, the manager replied that she must be there at eight o'clock or she would not be allowed to appear. The plaintiff and her company gave their usual turn at the matinee performance on the Monday, but when they presented themselves at 10.20 at night they were not allowed to go on the stage. "
The plaintiff gave evidence in support of counsel's statement, and mentioned that the sketch produced was called The Money Spider. In cross-examination by Lord Tiverton, the plaintiff said she had three companies, in two of which she herself appeared. On the second week of the Scala engagement she had to appear at Camberwell, and it was absolutely impos- sible for her and her company to be at the defendant's theatre to open the entertainment. Lord Tiverton : Do you seriously suggest that it is not for the management to settle the time at which you appear?— Well, the management settle the time, certainly, but in conjunction with the artists, so as to make it mutually convenient.
Supposing it came to a deadlock. Do you suggest that you would have the last word?— Yes. I do under the circumstances I have explained.
Do you seriously suggest that the Scala were bound to alter the programme to suit you ?— Certainly, if they could alter their pro- gramme without upsetting themselves.
But supposing they could not do that?— But they could in this case.
Answering further questions, the plaintiff said it was true that at the Scala it was necessary to alter the stage arrangements so as to fix a screen, but she dsd not agree that it »•««» necessary that any sketch that waa
248
THE STAGE YEAR BOOK.
MARCH
produced should necessarily be given in front of the pictures.
Mr. Henderson, husband of the plaintiff, said he made the contract on behalf of his wife, and when fixing the dates he told the manager of the Scala that it might not be possible for his wife and her company to open the house.
For the defence Lord Tiverton submitted that there was no evidence whatever of breach of contract. It was thoroughly understood at the commencement of the agreement that the plaintiff should open the establishment with her sketch, and when the lady asked for the time to be changed she was told that it would be impossible, and the management, even had programmes printed at the end of the first week announcing that Miss Beresford would appear at eight o'clock each evening on the following week.
Mr. St. Jcjhn Hamund, manager of the enter- tainment .department at the Scala, said the first mention of a desire on the part of the plaintiff to change the time of her performance was made to him on the Friday of the first week of the engagement. Witness told the plaintiff's husband that it would be impossible to alter the time, and Mr. Henderson said later : " If it costs me £20 we will be there at eight o'clock." On the Monday of the second week Miss Beresford appeared at the theatre as usual, and before leaving remarked : " We shall be here to-night at 10.20." Witness replied : " You must be here earlier. Your husband has agreed that you Should appear at eight o'clock." The plaintiff said : " I don't know what I shall do; I can't manage it." And the witness remarked : " I am very sorry, but that is the arrangement."
In cross-examination witness said he had had some experience of the music-hall stage, and had appeared at the Royal, Holborn, in the old days, and more recently at the Holborn Empire. When the plaintiff appeared at the Soala the first week witness received no inti- mation that she was performing elsewhere.
His Honour, in giving judgment, said he had come to the conclusion that there had betn no breach of contract. The case rested en- tirely on a supposed custom in the profession which admitted of changes being made in the times for the appearance of different artists. Of courses everyone knew that popular artists fulfilled many engagements at different houses, and it was unquestionably true that artists did arrange among themselves and with the management of theatres and halls to appear at times that were mutually convenient. In this case, however, it appeared to be beyond doubt that in the first place there was an agreement that the plaintiff and her company should open the performance, and there was nothing to prove that this arrangement was departed from by the management. There must be judgment for the defendants, with costs.
DAY v. " THE TIMES."— ALLEGED LIBEL.
In the King's Bench Division, before Mr. Justice Darling, Mrs. Harriett Day, play- 2 O richt and artist, professionally known as 0 Hana San, sought to recover damages for alleged libel from the Times Publishing Company and Mr. John Parkinson Bland, prin- ter and publisher of the Times.
Counsel for the plaintiff was Mr. Jellicoe, while Mr. Ernest Pollock, K.C., and Mr. Eustace Hills appeared for the defendants.
Mi'. Jellicoe stated that the plaintiff, who was professionally known as 0 Hana San, claimed damages 'in respect of a paragraph published in the Times on July 25, which, she alleged, was libellous. The defence was that it
was not a libel, that the words did not refer to the plaintiff, and that they did not consti- tute a libel, but were fair criticism of a repre- sentation.
Proceeding to open the case for the plaintiff, Mr. Jellicoe stated that the plaintiff was a theatrical variety artist of some repute. She was the proprietress of a company engaged in giving the public re- presentation of particular phases of life in Japan by means of what was called an elec- trical Japanese novelty act, A Vision of Japan. That act comprised some fifty-eight changes of scenery, and as the time allowed for its per- formance occupied some fifteen minutes, it would be understood that the brilliant combina- tion of lantern slides and mechanical electrical effects was something unique in scenic exhibi- tions. The plaintiff, from a personal study made in Japan, had in this little colour scheme of hers not only portrayed Japanese scenery but Japanese life as depicted by night on Japanese houses, the tea houses and the funny shop signs. She had given the public a theatri- cal exhibition of a series of Japanese pictures of life in the Land of the Rising Sun. It was first produced with success in Japan; then for some two years the plaintiff travelled about the world with it, visiting the continents of Europe and America. In February, 1909, she produced the work at the London Coli- seum, and since that time she had exhibited at almost every music hall in London and on the Continent. In July of last year she was under engagement with heir company to give a representation at the Hippodrome, and performances took place there during that month. Thereupon the defendants, the pro- prietors and publishers of the Times news- paper, inserted the paragraph complained of. That was some five years after the plaintiff's work had acquired a world-wide reputation, and for the first time, so far as ihe- plaintiff was concerned, that anything of that charac- ter had appeared. The defendants displayed their journalistic powers of condemnation by publishing words casting not only discredit on the plaintiff but discredit upon the whole of her work and that performance. This was what they said:—
O Hana San and her company in A Vision of Japan show us, not Japan, but a bad American imitation.
That was the libel of which they complained. The only interpretation of the words com- plained of that he (counsel) should submit to them was that they conveyed, and were intended to convey, that the lady, in repre- tsentdng that production as one of Japanese life, was imposing upon the public, that in- stead she was putting forward something that was not representative of Japan ait all, and which had been taken from an American source. That was alleged to be a eh am and spurious because it was American— something de-void of dramatic art or skill, something that was a bad limitation of a Japanese pic- ture. In so many words it was intended to convey that that lady was a quack in the sense that she lent (herself to a theatrical imposture.
Mrs. Harriett Day stated that she was professionally known as 0 Hana San, and had been connected with the act concerned since 1900. She had been in Japan and had per- formed on the stage there. Several Japanese gentlemen were the authors of the scena. During the seven months she was in Japan she brought out the novelty at Tokio. It repre- sented a series of decorative pictures of life in Japan.
In answer to the judge, witness said the play had no dialogue, but there was singing by request.
MARCH
THE STAGE YEAR BOOK.
249
Proceeding, witness said that the scenic por- tion was the main part of the act. About fifty-eight scenes were included in the act. All of these were electrically thrown on the
stage. They v, ere all painted by a .lapalie.-e artist- and represented tunny shop signs, tea- houses, and houses by night-. The costumes were Japanese, and ever} tiling used came from Japan.
Answering the judge, witness said that four other artists besides herself appeared in ict.
Proceeding with her evidence, witness stated that she first took the act from Japan to America. She went to Japan for a novelty, and .1 Vis/on of Japan was brought to her -t novelty. She subsequently produced the act on the Continent. In Japan, where it was nr.st produced, it was received with creat success. The act had no star artist. "She should say the lantern slides were the star part. Dealing with the production which led to the criticism complained of, wit- ness stated that she brought the act to the Hippodrome last July. There was nothing American about the performance as far as she knew. The Times publication had undoubtedly affected her reputation, and there was no foundation whatever for the suggestion that the act was not a Japanese act, but was an American representation. Mr Pollock, in his cross-examination, havjng "ie music was English, asked : Does a young lady walk across the stage whist-
1IThed' witness replied that two 'adies walked across the stage whistling a tune.
Counsel : You do not suggest that is a Japan- ese picture?— Why not? They whistle in Japan.
Counsel : 1 do not say they do no.t, but what do you mean by saying this is Western music? —Because the waltz they whistle is European.
The hearing was resumed on March 21.
M:-. Nathanson, plaintiff's sister, stated that she was with her sister in Japan at the time the act was acquired. She occasionally took part in the act. The pictures used in the ie described as a series of decorative painted pictures shown by an electrical appa- ratus. The act was illustrative of Japanese life in every detail, except so far as the music was concerned. It was a genuine Japanese act, and contained nothing of an American character. " When we say America we usually mean something 'shoddy,' " added the witness.
In cross-examination by Mr. Hills witness stated that she did not consider that a feature of Japanese dancing was posturing of the body and not movements of the feet.
Counsel : Now, let us take these pictures about the shops. Do you see any double meaning in them?— 1X0.
His Lordship (to witness) : Then what is the point? — Funny English; the Japanese are so anxious to cater for the English tourist*.
Tad a wo Ogogari, Japanese merchant, stated that he was familiar with the stage of Japan. He had seen the plaintiff's act on the sfage, and he described " it as being an essentially Japanese representation. The lantern slides, the costumes, the kimonos, the posing, and the dancing were all Japanese. He saw nothing in the performance as distinguishable from the Japanese.
In cross-examination by Mr. Pollock, the witness stated that the misuse of English words outside some of the shops in Japan did exist.
Ayko Suznhi-g stated that he had seen the slides used in plaintiff's performance, and they were made by a Japanese firm. There was nothing American about the performance; he considered it a genuine representation of Jn.nane^e life.
Mr. Harry Gould, manager for Messrs. Row- land and Sales, music-hall agents, stated that
he had acted in booking that act. He had been
•in, and he considered the act was a good representation of that country. It
• 1 time.s to him. i the plaintiff, where- 1:-. 1'ullock iiat there was no
case to go to the jury. The question was, he .vi id, wlnther or not that was a criticism which may be fairly or honestly given by a .'. ent to see the performance. The critic CD jurate or inaccurate, but so
lie gave an honest criticism of what he saw he was quite within his rights. That position was fully, set out in the case of Maguire u. the Western Morning News, in Lord Collins's judgment. As to the question of its beirug a bad American imitation, they knew that the music was not Japanese. The critic might say that was American; there was nothing impossible about that. Then, possibly finding the American flag was thrown upon the lady, he might attach more importance than was right to that. He might have come to the conclusion that that was a sort of per- formance that one saw in some seaport towns, possibly in Japan, which was intended to amuse Western audiences, but was not a true vision of the country scenes in Japan. And therefore he dubbed it American.
His Lordship : You can have a good Ameri- I can imitation or a bad American imitation. I He says this is a bad American imitation.
Mr. Pollock : It does not follow that in
! calling it a bad American imitation it is
! libellous. The critic may have thought it
reminded him of something he saw in America.
\ He could call the act an American imitation;
then, if Ihe meant that the whole performance
was not a good one, that it was not biap^ily
carried out, ,'that some of 'its features were
| inferior, he was entitled too say it was a bad
i im-i'tatiiou.
His (Lordship : I have no compunction in saying the critic wiho honestly rtihinks a thing bad not only litis a. Tight to say so, butt he : ought to say so. My point is this : Supposing there lis nothing American 'about it, and this man sayis ilt is a bad American imitation. Is tihat honest criticism? The thing ought to be a representation of Japan. He gays, " Xo ; thiils lis a ted American imitation. This is a travesty; at is mot Japanese at all. It is American in its essence." Supposing there is no evidence 'tihat oit is anything of the kind; ought not that ''to be left ito the jury?
Mr. Pollock : There is no evidence that the critic deeiired to say anything which was dis-
Hi:s Lords/hip (thought the c-a;se should be proceeded wilth ; and Mr. Pollock, addressing the, jury for 'he defence said the jury might- have seen that performance, and they might have thought it good or bad, but their view or his vi:'w was not the test at all. What they had to say was whether the critic who went to that performance had formed a judgment on fair ground, and whether he had fulfilled hi:s duties ais a critic. K he did that, whatever view he took, he was entitled to certain privilege. That act was supposed to be " a vislion of Japan." TThat meant that it was to be a representation, not a caricature of Japam. Wihtut they found in that act was that the music was Western. Then the whist- ling introduced in the act started in America, and became popular in other places: it was not a characteristic feature in Japan. Further, the shadowgraph was not a fair representation or a characteristic feature of Japan. Proceed- ing, counsel sai'd he was asking for their ver- dict on public grounds. It -would be -a real misfortune to the public if the work of a honrptly done, was to be called into •>n in that manner. What they wanted was to give a critic every opportunity to
250
THE STAGE YEAR BOOK.
MAH6N
In* caliin*, to advise honestly on what he saw, and it would halp to get the best work if critiics were .untrammelled bv ti artists who \vere criticised
Mr. Harold Child, who wrote the criticism comipnainied of, was thtn called. He stated that he had been a dramatic critic on the limes for the past ten years. The criticism in question w,as a perfectly honest one as lar as be was concerned, and he had no personal feeling against MJIS. Day. The turn was of a miscellaneous character. Wiith regard to the statuesque portion of ,the turn, that was after the Loie Fuller style, and he believed that style originated in America. Another part of the performance consisted of a young lady wfa'i&ul/in.g, and before he went to the Hipino drome he always considered whistling a most un- J aipanese p eriforman c e .
In cross-examination by Mr. Jellicoe, witness stated that he had not been in Japan, but had been to America— to .New York lor three days. He thought the act was a bad Ameri- can imitation of life in Japan. He found some oharan in the act, and he had no objec- tion to the picture's on the ground of inhox- mouiiO'US colouring.
Counsel: Did you consider the /pictures arttis tic V— Well, it is difficult to define that word.
Course!: Why do you introduce the word American" in this "bad iimitatiou "?— For several reasons. First, because of the charac- ter of the music, which seemed to be quite American in character. Then the throwin^ of moving lights on to the lady's figure, which, to the best of my belief, is an American in- vention and was brought to England by Loie Fuller. The third reason was the display of the American flag; and the fourth was, in connection with that performance, it seemed a probable extension to England from the Western Coast of America. It might have been picked up there and brought over.
Mr. Osman Edwards stated that he was the author of several Japanese plays, and had visited Japan to study matters. He had seen paaiintifTs aot several times, and he thought it ohowed superficial observation of Japan. The {Matures, scenery, and dresses were beautiful, but there were many errors of fact and a great many foreign elements introduced. " One mistake," the witness added, " was the kimono being folded from right to left. That is the English fashion. The Japanese ladies Ibid it from leift to right. They fold it from •rright to left when they make preparation for the next world." In his further evidence the wiitness stated that the dancing showed super- ficiality. A,s to the whittling lady, he did not know that Japanese ladies whistled. As far as his knowledge and judgment went, that idea w.as American. In the " posing " part of the performance he distinctly saw the shape O'f the form of the (lady. If she wore a kimono tit must have been transparent. That repre- sentation was not of a Japanese character. The Japanese ladies were very prudish on the Bitage. The performance witness described as exploiting the igtnoranee of those who knew too littile to the ignorance of those who knew too much.
Sheko Tschubouchi, who was studying English •literature, and stated that he hoped to become un adtor -manager on his return to Japan, de- scribed the performance as very amiusing and Interesting, but not high -class taste. It was not a common custom for Japanese girls to whistle on the stage. The wlgis worn by the (performers were not of Japanese character, •and he did not see anything in the shadow graph portion of the entertainment to re 'rind Mm of Japan. As for ladiies undressing before the window, "you can," added the witness, " see this sometimes, but not very often."
The ladies who wore so many clothes as the performers in the act would be high-cla«a people, and such people would not undress in front of a. window. (Laughter.) Wtitness went on to state that the dancing in the «cb v/aa not Japanese.
Captain C. Smilth stated' that he had several! times visited Japan, and had studied dramatic art in China and Japan. He saw A Vision of Japan some time ago, and sa,id that the eoene presented a charming background, but at the same time it might have been created toy somebody who had never been in Japan, but had studied the matter in this country. • The act contained incidents which were cer- itainly not Japanese, but which would seem to have been imported and adapted to suit Western tastes.
His lordshuip, in summing up, remarked that . a person who put something on the stage might fee'l aggrieved if nothing appeared at all respecting it, and that act having been put on the stage, and those few Lines having been written, that action had been brought to recover damages, although there was no pre- tence that anybody was prevented from going to see the play, and he believed it was run- ning still. If the jury came to the conclusion that there must be a verdict for the plaintiff, what were the damages? It was not said that that was an attack upon the character of anyone in the piece. The defendant did not say that what had been written was true; it was a matter of opinion. The defence urged that that was written for the public; that it was fairly and honestly written; that it was a fair criticism, written by an honest critic. iHe may have written what some did not agree •with, but that was not the test. The ques- tion was, supposing they did not agree with him, well, they were just as much entitled to the/ir own opinion. In a theatre any people were entitled to exipress their opinion. Some might voice their opinaon by applause, some Iby hissing, and some by walking out. They were entitled to do that, but a person who went to a theatre would not be entitled to (hiss out of malice. The right of public criticism was a very valuable one.
The jury returned a verdict for the defen- dants.
His Lordship : I will now say, in my opinion, there was no case to leave to the jury, and the reason why I dnd not supiport Mr. Pollock when he made that application at the con- clusion of the plaintiff's case was that the law has laid down lately that the practice should be to leave tlhe case to the jury in order that, if anything should be wrong, it should not have to go to a new jury. Therefore, I left, the case with the jury, but my own opinion wtas there was no case, and in the old days I should have withdrawn it from the jury.
FULLER v. MARINELLI. — ALLEGED NEGLIGENCE BY AGENT.
At the Westminster County Court before Judge Woodfall, John Fuller of Deven- 2O shire Road, South Baling, claimed dam- ages from Messrs. Marinelli, variety agents, Charing Cross Road, in respect of alleged negligence through failing to procure him a contract to play in Berlin.
Mr. Anderson was counsel for the pla'ntiff, and Mr. Brandon represented the defendants.
Mr. Anderson said the action arose out of transactions which took place in the autumn of last year. The plaintiff was approached by the defendants with a view to his takmg an engagement to appear at the Winter Gardens, Berlin, during the month of October. He at first saiJ he could not, as he had arranged to appear at Blackpool and elsewhere in that month, but on its beirg represented to him
MAR. -APRIL.
THE STAGE YK.\R BOOK.
251
that the Berlin engagement would mean 2,000 marks Tor the month lie decided to take it, ami threw up his English riign'-'emcntfl f"'
•. Mr. Johnson, the maiK'.gtT fur the defendants' London branch — they having other branches in Paris and Berlin — handed the p'ain- tiff a contract, but later suid it would be ;try for him to go first to Vienna in :o rehearse, this being so as the plain- till', who played the part of a cat, had to <: lot her urtist to work with him, in order to show up his business. ,The plaintiff said if at to Vienna he should require to have ;>onses paid and also receive half salary during the rehearsals. He considered it try that he should add these terms to his contract, but on Mr. Johnson saying that he was sure the Winter Gardens management would pay all his expenses and salary during rehearsals, the plaintiff tore the contract up. Subsequently, he was asked to supply the music and dialogue introduced into his turn, but the plaintiff explained that the important part of it was the business. He, however, dic- tated as well as he could the acts and dia- logue which he proposed to play, and there were forwarded to Berlin. On September 20, however, the plaintiff received a wire to call on the defendants, and on going there he was informed that the whole business was off.
The plaintiff gave evidence in support of counsel's opening statement. In cross-examina- tion he said it was true that on September 9 he was being pressed as to what the nature of his act was. It was the custom when an artist signed a contract for it to be sent to the hall for confirmation. The reason that he was engaged for Berlin was because he had been such a success in Paris. He admitted that on September 11, when being pressed from Berlin for the songs and music, he told them that he could not supply them then. He, however, sent enough music for them to go on with.
His Honour, without calling evidence for the defence, said th'at he was sorry to have to come to the conclusion that the plaintiff must fail. He thought the plaintiff had been treated badly by Steiner, of Berlin, but there was no evidence whatever of negligence on the part of the defendants. Steiner had insisted upon having the music sent over to him, and it was clear that it was not sent when it ought to have been. The plaintiff gave a bona-fide. reason for that, but It meant delay, and gave Steiner a reason for getting out of. the en- gagement if he wianted to. But where was the proof of negligence on the part of tJhe defend'ante? There was none, and the plain- tiff must be non-suited, with costs.
AUTOMATIC TIME-TABLE CO., LTD., v. BOLTON THEATRE ENTERTAINMENTS CO., LTD.— IS A PICTURE PALACE A Ml >IC HALL?
At the Westminster County Court the Auto- matic Time-Table Company, Limited, 21 >'K-d the Bolton Theatre Entertainments Company. Limited, to recover the price of certain advertisen
Mr. E. A. Farleigh was counsel for the plain- tiffs, and Mr. Hedderwick for the defendants. On behalf of the plaintiff*, a witness named Baniard. who took the advertisements, said .vhen the agreement was signed for the .Grand, Bolton, it stipulated that no advertise- ment for a music hall in Bolton should be accepted. That, however, did not include the picture palaces, and an advertisement was ac- cepted from the Paragon Picture Palace.
Mr. Hedderwick: What do you say consti- tutes a music hall?
Witness: A musb hall consists of an enter- tauuneut in which the majority of the turns
are variety turn.". *urh as Ringing, dancing.
acrobats, and such like, ;iinl
orchestra of not less than five Instruments.
.lud-.'o Woodfall: What was the bulk of the entertainment at the Paragon?
The witness: Pictures.
Mr. Farleigh: What is a vaudeville theatre? — I should say it i-- a slig] t variation of the pictures, a turn or two' just to break the monotony.
The programme for this place says " V ville Theatre." How much is music ! . Well, there are two items, I think, apart from the pictures, but the pictures are in t.J>« maiority.
Mr. Rogers said the Paragon was distinctly a picture palace. It was similar to those foui'd all over the country, where for a little vari- tv one or two turns such as conjuring, etc., were given.
Counsel: Would it be proper to call them music halls? — Most emphatically no. No music hall would dream of advertising as an p'ectric theatre or picture palace. They would con- sider it coming down too low. (Laughter.) They would be giving themselves away. They would be insulted if you asked them to adver- tise as an electric palace or theatre. In th" same way an electric palace cannot be regarded as a music ha'l just because it has one or two outside turns.
Counsel for the defence submitted that the Paragon, which had a music and singing license, was both a music hall and a theatre. The management could use it either as a pic- ture theatre or a music hall or both. F« ur^ed that they used it as both.
Two witnesses were called, who stated that the Paragon was hni't for vaudeville rmrTwopr. and they" expressed the opinion that it should properly be denominated a music hall.
His Honour intimated that he did not wish to hear further evidence. He did not believe that any hall that was a music hall, and had a right to call itself a music hall, would adver- tise itself as anything else. In this case the place was advertised as an electric theatre, and the fact that one or two variety turns were introduced did not. in his opinion." consti- tute it a music hall. There would be judg- ment for the plaintiffs, with costs.
APRIL,
HARDACRE v. TULLOCK.— " EAST LYXNE."
In the King's Bench Division, on the appli- cation of Mr. John Pitt Hardacre, an 1 injunction and damages in the sum of 40s. were awarded against Miss Augusta Tullock for performing without plaintiff's con- sent the play East Lynne (Bullock version) at Pontefract.
THE KINEMATOGRAPH ACT. At the Feltham Police Court Charles A Owen, of 30, Bishop's Mansions, Fulbain, 1 was summoned, as the. occupier of the Queen's Picture Palace, Teddinston, for caus'ng the building to be used for kinomato- graph exhibitions on February 19 without a license. Mr. Potter prosecuted for the Mid- dlesex County Council.
The defence was that the management had been led into using inflammable films under the impression they were non-flam. The Bench imposed a fine of £5 and costs.
THE KINEMATOGRAPH ACT.
At the Stockport Borough Police Court
Wilherforce Turner, Westbrook House,
2 Langdon Grove, Eccles, proprietor and
- 'e of the Albert Hall Picture Palace.
Wellington Street, was summoned for not
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THE STAGE YEAR BOOK
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keeping the gangways, staircases, and passage leading to the exits clear to the public on March 23.
There was also a second summons against the defendant, under the Children Act, " that he did not keep a sufficient number of adult attendants, perfectly instructed as to their duties, to control the movements of children admitted to the hall."
The defendant was ordered to paj for the first offence a fine of £10 and costs, and for •the second a fine of £20 and costs, including advocate's fee.
TURNS AND STAGE PLAYS— TIVOLI PROSECUTED.
At Bow Street Police Court before Mr. Marsham, the New Tivoli, Limited, were
1 6 summoned, at the instance of Mr. Gran- ville \Barkor, for presenting for hire alleged stage plays that had not beeji allowed by the Lord Chamberlain.
Mr. Sankey, E.G., and Mr. Walter Frampton appeared in support of the complaint; Mr. Ernest E. Wild and Mr. Walter Payne were for the defence.
Mr. Sankey said this was a test case with regard to the performance of stage plays in music-halls, and the gist of the complaint was that upon March 1 last the defendants per- formed at the Tivoli Theatre a stage play that had not been licensed by the Lord Cham- berlain, for which they were liable to penal- ties under the Theatres Act, 1843. Section 23 of the Act described a stage play as follows:
" In this Act the word stage-play shall be taken to include every tragedy, comedy, farce, opera, burletta, interlude, melodrama, panto- mime, or other entertainment of the stage or any part thereof."
Leading up to this case there were certain facts which the Court ought to be aware of. Of course, the Tivoli had always had a license as a music-hall, but mere music-hall licenses did not necessarily allow the performance of stage plays, and therefore, the Tivoli and other halls were under considerable disability, because they were unable to do what the theatres were entitled to do. For a long time the music-halls had some sort of an agreement with the theatres about the performance of stage plays, but recently the music-halls made representations to the Lord Chamberlain, and as a result the Tivoli, at the beginning of this year, was granted a license to perform stage plays. How far the music-hall license was sunk in the theatre license might be a nice point of law. At any rate, having got a license from the Lord Chamberlain, the Tivoli became a theatre as well as a music hall, and in those circumstances they must take the rough with the smooth. If they found that by reason of having got a theatrical license they had placed themselves in legal difficulties, their remedy was to drop the theatrical license and con- tinue as a music hall. In fact, that was what must happen if these summonses were suc- cessful, because part o>f the penalty prescribed was that the license should become void.
Proceeding to describe the nature of the per- formance compained of, counsel said that on March 1 Mr. Granville Barker went to the Tivoli. He paid 5s. for admission, so there could be no question that it was a perform- ance for hire. The programme started with an overture, and then there were a number of separate items, followed by an operetta, The Daring of Diane. There could be no doubt at all fhat this was a stage play, and probably a license was obtained for its performance. The next turn was that of Little Tich.
It was hardly possible to conceive any per- formance which was more dramatic and more in the character oi a stage play than that given by Little Tich. For his first song he appeared in military uniform, and represented a sergeant or some other non-commissioned officer in the Army. He wore yellow hair and a yellow moustache, and successfully mimicked the type of voice that a sergeant employed in drilling his men. In the " patter " between the verses he pretended to be addressing the men of his company in the wings. There was drama and there was action. Little Tich next appeared as a gamekeeper, having become bald, with da.rk whiskers and beard, and he described h:'s experiences as a gamekeeper. For his third song he might be said to have appeared as Little Tich himself, wearing a more or less conventional music hall costume.
A second summons related to the perform- ance of Mr. Johns-en Clarke, ventriloquist. Here again all the accessories of the stage were present. The scene represented a street in a country village, and there was a figure of a countryman. Mr. Clarke entered, and car- ried on a long conversation with the other occupant of the stage, who turned out in the long run to be only a dummy, so that what appeared to be a duologue was really a mono- logue.
Counsel went on to draw attention to the wide meaning borne by the word "entertain- ment," and, after quoting decided cases, he said the proceedings were not taken in any spirit of hostility at all. This wa-s a question that had long agitated the theatrical and music hall profession, and what was desired was a magisterial decision as to whether, in the circumstances detailed, the New Tivoli Company had not rendered themselves liable under the Act.
Mr. Joseph Wilson, manager of the Tivoli, who attended on subpoena, gave formal evi- dence as to the house being licensed by the Lord Chamberlain.
In reply to Mr. Wild, he said that in the course of a long experience he had never before heard it suggested that a performance like that of Little Tich was a stage play. His " patter " varied nightly, and dealt with cur- rent events of the day.
Further cross-examined, Mr. Wilson said that every week the Tivoli programme was sub- mitted to the Lord Chamberlain, and any item which in his opinion came within the definition of a stage play was approved by him. During the week in question The Daring of Diane, and Mr. Alfred Lester's performance were ap- proved.
The hearing was resumed on Tuesday, May 7.
Mr. Granville Barker continued the evidence .he gave at the last hearing, with regard to the songs given by Little Tich. He said that the third song was more of a personal, direct character than the other two. There was scenery and costume as in the other songs, but there might have been rather less monologue.
Mr. Frampton : Of what does the art of acting consist?— The assumption of character and the general development of character.
Was that present in the performance of Little Tich?— Oh, certainly.
How would you describe his performance?— A general term would be " monologue " ; to give a technical definition I should call it an interlude.
Mr. Granville Barker then proceeded to describe the songs given by Mr. Johnson Clark, the ventriloquist. Scenery and various pro- perties were employed, and Mr. Clark repre- sented the character of a sportsman carrying a gun. He was accompanied by a " figure,"
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THE STAGE YEAR' HOOK.
•53
and the performs. .i;:ilo«iio b« I
Mr. Clark and the figure. As Mr. Clark was Dtriloqulat, witness assumed that r \\as carried "H entirely by
ili ml tliat ill'1 :i.ly a duologue. li> bad no t'cilini: <>!' h»-t:.!ity against management, and he en
•!i and Mr. I 'ark.
.?ied by Mr. Wild. \\ •ieting in eon.imietion \\ith •>• in bringing • it inn.
Mr. Wild : You are aware that for a number ;i quest ion ha? been a v« \.d M between the th^'res and the music -Yes. I'ji to this time has it ever hrrn crag
:eh pi rforrnances as those of Little Tieh and Mr. Johnson Clark come under the defini- tion of a stage play?— It has been suggested. By whom? — I consider it was suggested by Mr.' Rutland in one of his answers at the Joint Commission on Stage Plays.
Further questioned, Mr. Granville Barker said that he entered the Tivoli at the seventh . turn and stayed until the end. With the ex- •i of two it-ems, one of which was a selection by the band, and the other Miss Mary Law (violinist), he considered all the turns he saw were stage plays. He thought that if rich's third turn was given in a. draw- ing-room without the stage accessories used at the Tivoli it would not be a stage play, hut the other two turns, he considered, would be stage plays wherever given.
Robert Fastnedge, the secretary of the Theatres and Music Halls Committee of the L.C C., was the fit-it witness called for the defence. He stated that up to the present such performance's as those in question had net- been seriously considered stage pliys for {-racveal pu-po=es.
Mr. Wild: Would you describe these per- formances as stage plays?— I should have "No" before thi? prosecution, but I now pre- fer to wait untif this action is decided. (Laughter.) Now this case has come on 1 have an oper mind.
Fredk. Stanley Osgood, a clerk in the Lord Chamberlain's Department, said that the dep:."t-ment received every week a copy of the mu-;ic hall programmes. The practice was to call attention t<> any performance which t licensed and which it was considered was a stage play. Attention had not been caned to any items which were not licensed on the Tivoli programme referred to by Mr. Granville Barker.
Replyin? to Mr. Sankey, witness said the
only definition he could give of a sketch was
that it was a stace p'ay, but he could not Bay
where that definition occurred. When atten-
as cal'ed to an if em on a programme,
simply a friendly warning; it did not
irily mjiii that ul! the oilur items were
j.'-'e plays.
Witness, re-examined, said that it was rot the practice in the Lord Chamberlain's depart- ment to regard Mr. Johnson Clark's perform- ance as a stage play.
Ben Nathan, theatrical agent, said that his definition of Little Tich w'as a comedia'i— a it " comedian he would add — and he should describe his performance as " a quite irresponsible entertainment." It was absolute nonsense to say that his performance could come under the definition of a stage play.
Mr. Sankey : In one song he impersonates a samekeeper. — I would not say that he is sup-
- tmekeeper. The hearing was resumed on May 8-
Hen- tor of 'the New Tivoli. Limited, called hy the .1 he had ii' v J con-
perform nee of Little 'f 'i(ih : Clark could ]><•
f a stage play.
Mr. \ViM: What is your definition <>f a iion which is usiialh I is the one I r
lie by and with a
Has '1 until now that
the p. of either Little Tieh or Mr.
Johnson Clark w :ay6?— No, this ifi
the very first time in my experience that it has ever been stogS
Are all the items on the programme which come under the defmit • ;;::e pla.y, or
even near it, licensed?— They are. As a matter of business, if we err at all it is on the right side.
Cross-examining. Mr. Sankey asked : Has your music hall become a theatre?— It has
• a music hall cum theatre, or a 4 cum nr.isie hall. (Laughter.) Proceeding, wit- .. (1 the performance of Little Tich as humorous exaggeration. He did not con- sider it could be called giving a story.
Mr. Sankey : But dr.es he not give this humorous exaggeration in the story? — There is no story whatever.
Is it <an account of some experiences?— To listen to it, or to read the words, which he changes from time to time, I don't think even "Mr. Granville Barker would say it is a story.
Mr. Sankey proceeeded to question the wit- ness with regard to scenes in plays which only one character appeared in, and nn-n- tioned Sir Henry Irving appearing alone in a scene in The Bells, but witness said he had not had the good fortune to see that play.
Mr. Sankey: If you had a ^cene out of a play for production, it would require the very closest consideration to decide whether a license was necessary or not? — That has not happened to us yet.
Further cro^s-examined. witness said he con- 'sidered that Mr. Granville Barker's deduc- tions, after seeinc the performances of Little-, Tich and Mr. Johnson Clark, were from a stretch of the imagination.
Mr .Sankey: But his description of the fa 't- is accurate? — I think his imagination has stretched the description of the facts so as to fit in with this prosecution.
Witness would not admit that Little Tich's patter was connected. He was generally tum- bling down and " splitting his legs," and rising up again in a laughable manner, but the patter was absolutely disconnected and wns frequently altered. He did not consider that Little Tieh impersonated the soldier or keeper, because it was really a ridiculous tra- vesty.
Mr. Wild: There never was a soldier or a gamekeeper like it?
Witness replied with a very emphatic " N> •.
Mr. Wild w;i~ about to address the magis- trate", but the latter said lie had come to the conclusion that, as a fact, neither the perform- ance of Little Tich nor Mr. Johnson Clark was a-stage play. He should therefore dismiss the summons.
Mr. Wild applied for costs, and Mr. Mar- sham said he should allow twenty guineas.
In reply to Mr. Sankey. Mr. Martini:. he would be prepared to state a case.
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PEPI v. SOFIA-NO.— BREACH OF CONTRACT.
An action was brought before the Acting Under Sheriff and a jury at Durham,
1 6 to assess damages for breach of contract brought by Kino Pepi, proprietor of the Hippodrome at Darlington, against Con- stantine Sofiano, pantomime proprietor and producer, of 26, Burleigh Mansions, St. Mar- tin's Lane, London. It appears that defendant had allowed judgment to go by default, and the only question for the jury to decide was that of damages.
Mr. J. Patrick, of Durham, appeared for the defendant, and asked for an adjournment, on the ground that defendant was too ill to at- tend, and submitted a medical certificate to the effect that defendant could not travel.
Mr. Smith, of Darlington, who represented the plaintiff, objected.
The Sheriff thought the inquiry ought to proceed.
Mr. Smiith said the plaintiff arranged with the defendant to produce the pantomime Babes in the Wood at the Palace or Hippodrome, at Darlington, in the week beginning February 19, at 60 per cent, in the first £200, 62J- per cenit. in the third £100, and 65 per cent, in all further takings. The defendant was to pro- vide all the printing, and the pantomime wae also to be produced in the following week at the Hippodrome, Bishop Auckland, of which plaintiff was the lessee. Mr. Smith wen* on to quote telegrams which had passed between plaintiff and defendant, and said plaintiff told defendant that the bills had not arrived. De- fendant replied that they had been sent off a week or two be-fore, and added in his tele- gram, " All right for Monday next." On Sun- day, February 18, the day before the opening, plaintiff received a telegram, handed in at London at 1.38 a.m.: "Owing to dispute with Baugh management, scenery and dresses re- tained. Regret therefore impossible open Mon- day unless, can arrange." Plaintiff spent greater part of that Sunday telephoning to different persons in London trying to get the company to Darlington. On the same day he received a telegram sent out 1 p.m. : " Have arranged -;bout the scenery and can travel, but both babes ill. Doctor's cer- tificate submitted, and impossible to play without them. — Sofiano." With re- gard to this, added Mr. Smith, "the babes" were one of the minor features in the panto- mime. They had little or nothing to do, and could have got understudies. The jury would see that it was never intended that the con- tract should be fulfilled. Further telegrams passed, but the company failed to arrive, and the theatre had to be closed for a week. Plaintiff communicated with defendant as to the engagement at Bishop Auckland, and re- ceived a reply regretting that it was impos- sible to fulfil that engagement, but plaintiff, having a full week before him. was able to get another company there. He could not, however, get another company for Darlington, and a notice had to be printed and posted stating that, owing to unforeseen circum- stances, the pantomime would not appear, and that the theatre would be closed for a week. A notice of that sort had a very bad effect. Since then the takings at Darlington had not been so good as they were previously. The actual lew* sustained by the plaintiff was £20 17s. 6d. for the orchestra, £17 7s. for the theatre staff. £15 10s. for rent, £6 rates and taxes, 30s. insurances. £8 5s. electric light, 25s. eas, £3 10s. Drinting. £4 3s. 4d. hill posting, £2 10s. Lewspaper advertiseme -ts, 10?. telegrams and telephone fees, £2 10s. for advertising the closing of the theatre,
and £5 10s. miscellaneous, making a total of
Plaintiff, in reply to his solicitor, estimated the damages at £153. The jury assessed the damages at £100
RAPHAEL v. ANDREWS.
In the King's Bench Division, before Mr Justice Hamilton, Mr. J. N. Raphael
19 playwright and journalist, residing at
Rue Rossini, Paris, sued Miss Daisy
Andrews, proprietor of a theatrical business—
the Play Exchange, Clements Inn, W.C.— to
recover £150 undea an agreement.
Liability was denied by the defendant, who counter-claimed for damages.
Counsel: For the plaintiff, Mr. Lewis Thomas, K.C.. and Mr. Giveen; for the defendant, Mr. Hohler, K.C., and Mr. Hous- ton.
Mr. Thomas, K.C., said that on December 14, 1910. Mr. Raphael entered into an agree- ment with Miss Andrews to write a sketch which would be suitable for the display of the characteristics of Mme. Louise Balthy upon the London stage, and also to translate some French songs. Mme. Balthy was a light comedienne, and Miss Andrews acted as her entrepreneur in this country. Mr. R.aphael wrote a sketch entitled Just a Minute. It was performed for four weeks at the Palace. Mr. Raphael was to receive royalties on the production, and an any event £150. When asked for payment. Miss Andrews suggested that Mr. Raphael should writf another sketch, as she had been unable to ^et engagements for Just a Minute. Miss Andrews now alleged that Just a Minute was not suited to the requirements of Mme. Balithy, but counsel said there was no ground for that suggestion.
Mr. Raphael, examined, said alterations 'n the sketch were made to suit the requirements of the management of the Palace. The de- fendant has never expressed disappro\al of the sketch.
Mr. Edward A. Pickering, formerly acting- manager at the Palace, said the sketch was suitable for Mme. Balthy and the theatre. She received £250 a week.
Mies Andrews, giving evidence, said she told Mr. Raphael that Mme. Balthy was much up- set about the sketch. When rehearsed, Mr. Butt said it was " piffle " and that Mme. Balthy must introduce some of her songs. At the first performance Mme. Balthy was re- called several times, but it was for her reci't\l from Hamlet and for two songs, which were not in the plaintiff's sketch. Cross-examined : Mme. Balthy wrote to Mr. Raphael that the sketch was a " great success," and thank-^ him for writing such a bright and amusing piece.
Mr. Justice Hamilton said the question wias whether the sketch was substantially different from that bargained for. It was largely a matter of criticism, and he was under the disadvantage that he had not seen the sketch, Mme. Balthy, or M. Leoni. nor indeed ever heard of them. The plaintiff's sketch -vas originally too long, therefore the fact that there were cuts was of less significance. No doubt, as performed, the sketch differed con- siderably from that which was originally writ- ten, but it was substantially the same, and continued to serve .its purpose. Mme. BaJthy had thanked the plaintiff for it, and it -in for four weeks. It would be the worst busi- ness in the world to run a stupid r.nd un- successful piece for four weeks. He was un- able to hold that Mr. Raphael had not per- formed his part of the contract. There must be judgment for the pUVntiff for £150 and costs,.
APRIL
777 A' STA :<)OK.
255
ilATO- GRAPH THKATUKS, 1.1MITKU, AM) 1'YKK.
In tin- Kind's Bench Division, before Mr. Justice KMlcy and ;i .-pcrial jury, Mr. 2O Booker brought an ac'aou again lanl- company, claiming ilaiir. wrongful dismissal and malicious prosecution. ni.niuis, K.C., and Mr. II. 8. Sim- moiis represented the plaiiuill', and Mr. Mar- Hall, K.C., and Mr. W. Clarke Hall the defendants.
The defendant company employed the plain- tiff as their manager of the kinematograph theatre in Oxford Street at a weekly salary and determined it without notice, on the allegation that he was drunk and incapable of performing his duties on November 26, 1910. In December the plaintiff was arrested on a charge of embezzling £25 19s. Id., the pro- perty of the defendant company, which he stated he was holding as moneys due to him. The magistrate at Marlborough Street com- mitted him for trial at the London Sessions, where, in January, 1911, he was acquitted.
Mr. Justice Kidley, after the evidence had been heard, held that there was none against the defendant Pyke, who had acted as the company's agent throughout.
The jury found a verdict for the plaintiff, assessing the damages at £11 on the claim of \vrorgful dismissal and £400 on the claim of malicious prosecution. There w an admitted counterclaim of £16, and judg t was there- fore entered against the coi: any for £395 with costs.
A stay of execution was granted on the usual terms.
AN OLD GUERNSEY LAW— CONCERT COMPANY MANAGER PROSECUTED.
At the Guernsey Police Court Mr. John Lawrance, manager of the Moths costume 2O concert party, responded to a summons charging him with an infringement of an Ordinance dated 1777, by providing enter- tainments without previously having obtained permission from the Royal Court. The offence nie.l.
Defendant was charged in respect to a per- formance given " on or about Tuesday, April 15."
Advocate Randell appeared for the defence.
Police-Sergeant Burley, P.C. Robert, and Mr. Wilfred Pritchard stated that they witnessed the performance in question, concerning which details were given.
Further evidence was given by Messrs. 0. Priaulx and W. D. Murdoch, constables of St. Peter-Port, and Mr. A. I. Le Patourcl, secretary of the Guernsey Entertainments Committee.
These witnesses were cross-examined by Advocate Randell as to out-door and in-door performances given under the auspices of the S.E.B.C., and it was shown that the permis- sion of the Court was not obtained for these entertainments.
In reply to the Bailiff (or Chief Magistrate), Advocate Randell said that the object of his question was to show that the Ordinance of 1777, under which the charge was brought, was obsolete, but had been " raked up " during the last three or four years. Counsel argued that an Ordinance might be abolished by non- usage.
The Bailiff thought that this suggestion was Inadmissible.
Advocate Randell argued that circumstances and time made certain Ordinances obsolete, and referred to Ordinances prohibiting a native of the island from marrying a non- native, and prohibiting a subject of his
j -uing to .<ii.-r a penalty of
1UO livrea tournois.
hearing Counsel at considerable length, and ll.M.'s 1'rociirciir lor the prosecution, the Court decided that the Ordinance had been infringed, and inflicted a tine of 100 livres tournois (£7 2s. 10 it in default
ot p.-iymriit "ne toriiiight'a Imprisonment, The
paid.
DALLIMORE v. WILLIAMS AND ANOTHER.
In the King's Bench Division, before Mr.
Justice llidley and a special jury, Mr.
23 Alfred Holmes Dalliniore, band manager
and conductor, brought an action
against Mr. Joseph B. Williams and Mr.
diaries Jesson, L.C.C., respectively general
secretary and ^secretary of the London branch
of the Amalgamated Musicians' Union.
Sir F. Low, K.C., and Mr. H. Dobb (in- structed by Air. M. Grunebaum) appeared for plaintiff; and Mr. Langdon, K.C., and Mr. McCardie (instructed by Messrs. Dangerneid) v ere for defendants. In opening, Sir F. Low said that the society occupied the anomalous position of being, through its officials, a band proprietor or manager. In 1910 its band was engaged at Worthing, but in 1911 Mr. Dalli- more secured the engagement, and there was in consequence a good deal of irritation on tha part of the officials of the union. In Septem- ber, 1911, Mr. Dallimore was engaged by the National Sunday League to provide a band for a concert at the Alhambra on October 1. He arranged with performers at fees ranging from 8s. to 10s., with which they were perfectly con- tented. On September 28, however, a circular, signed by the defendant Williams, was sent to all the members of plaintiff's band who were members of the union. It said that the branch committee had had a special meeting to con- eider the report that Mr. Daliimore was paying for the Alhambra Sunday Concert less than the recognised minimum rate. They felt, they said, that the time had come when strong action should be taken to put a stop to undercutting, and they had decided that members engaged by Mr. Daliimore should report themselves and particulars of their engagement to the com- mittee. The circular went on to say that any member who refused to assist the committee or declined to carry out its instructions would be dealt with as per rules for conduct detri- mental to the best interests of the union. It was not suggested that there was any dispute, and the circular afforded one of the best illus- trations of trade union tyranny. The commit- tee wrote to Mr. Daliimore, asking him to pay a minimum of 10s., and subsequently that was altered to half a guinea, when, as a matter of fact, the minimum in the scale of prices pub- lished at the ollices of the union was 7s. 6d. On October 1 most of the men who had been engaged by plaintiff arrived at the Alhambra. They said they had no dispute with Mr. Dalii- more, but when they got to the hall they found it picketed by trade union officials. Every sort of pressure was brought to bear, and the result was that, to carry out his en- aont with the Sunday League, Mr. Dalii- more had to make further payments to some of his musicians. On December 2, 1911, reports appeared in London newspapers, it which it was stated that Mr. Jesson had told a Press representative that the quarrel was with Mr. Daliimore and others who took out bands below the recognised minimum rate of 10s. It was a part, though a small part, of plaintiff's grievances that defendants were responsible for the publication of these statements.
Mr. Daliimore, in his evidence, said he had himself been a member of the union for a short time. In the course of his membership he
256
THE STAGE YEAR BOOK.
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came into conflict with the defendants over a question concerning the expulsion of one of the vice-presidents. He shortly after resigned his membership. A request by him for leave to rejoin was refused, on the ground, as ex- pressed in a letter from Mr. Jesson, that " We feel that it would be much the best if band- masters like yourself did not join us, as it often causes complications amongst the mem- bers." Afterwards he was successful in getting for his band at Worthing an engagement for which the union's band was applying. Most of the men he employed were union men. He bore out counsel's statements in regard to the Alhambra matter.
The case was continued on the 24th, when,
Cross-ex am Jned by Mr. Langdon, K.C. (for
the defendants), Mr. Dallimore said his men
were all tried me.n, who had gone through the
mill.
Counsel: I suggest that this military band • ought to have the same remuneration as the Guards irom which they ccme?— The Plaintiff: Yes, I agree.
I suggest that if they have not got it, it is partially the fault of the man who engages them? — No, it is not.
Mr. DalUmore said his band was the best paid outside the Foot Guards, which were the best paid of the lot.
Replying to his lordship, Mr. Langdon then said has case was that 10s. 6d. was the rate which had always been paid in West End halls, and that Mr. Dallimore had refused to pay. That was the trade dispute.
His lordsh'p, after further discussion on the point, said that if the bandsmen were content the union had no right to interfere.
Mr. Dallimore stated that after the Alham- bra concert he had to pay eighteen or nine- teen men extra money. They received it reluc- tantly, and some said they were taking 11 under compulsion, and six or seven returned it.
The hearing was continued on April 25. A number of members of the band were called, and expressed themselves as quite satisfied with Mr. Dallimore's terms. They had never heard, they said, of any hall- guinea minimum, nor of any agitation to obtain it.
For the defence, Mr. Langdon urged that plaintiff provoked the contest, and delibe- rately abstained from settling it. Action was forced on defendants if they were to do their duty to the union of which they were officials, and all they did was to carry out the instruc- tions of the committee, who was their master. Mr. J. B. Williams, the general secretary of the union, said it had over 6,000 members, with branches all over the country. Witness bore no malice towards plaintiff in conse- quence of his action when a member, and there w<as no subsequent friction.
The hearing was continued on Friday, when Mr. Williams was further cross-exanttned.
As to the point as to whether there was a dispute going on, the judge said thait the plaintiff was engaging as he chose, " and you said he was to engage them as you chose? " Witness: Yes.
His Lordship :. That is not a dispute. WLtniess: The point we make is that as far as the terms are concerned, if a number of our members take pay which is a danger to others, we have the right, on behalf of those injured by the lower prices, to take up the cudgels.
His Lordship: What you call taking up the cudgels is holding a pistol at their heads. You do not seem to see the Mandit between per- suasion and force. It is a threat to say to a man tha-t if he does not do something out he goes.
Witness said lie knew of the picketing of the Alhambra.
His Lordship: Peaceful peirsuasion? Witness: Certainly. The men went to tell those who had not been ait the meeting what had happened at the meeting.
Mr. Oharles Jesson aliso gave evidence, and said the recognised minimum rate was 10?. 6d. He first heard of a breach of that rate three days before the concert. From first to last he acted according to the instruction's of the union committee, a>nd he had no personal feel- ing against Mr. DalMmore.
Cross-examined by Sir F. Low, witness sadd that members of the plaintiff's band came to a meeting of the committee which was held. They said that if the union could get more mqney for them they would stand by the union. One man said 'je vould ft and by Mr. Dallimore, and he was ordered out of the union. Sir F. Low: Do you call that " persuasion "? Witness : I don't call it coercion. His Lordship: What do you call it? Witness said his view was that if a man joined a lunion he ought to abide by ate rules, and he did not think he could complain if he was punished for not doing so.
Other evidence was called to the effect that 10s. 6d. was the minimum rate for musicians at Sunday concerts in the West End.
Mr. Justice Ridley, in the course of his summing-up, said a great dcial had been said about trade unions and the -action they took (in trade disputes and in their endeavour to regulate the prices workmen were to receive from their employers. Personally, he was in favour of trade unions, which had done a great deal of good in this country, and had acted well on behalf of both men and masters in years gone by. On the other hand, if there was anything he hated it was tyranny and dictation, especially on the part of petty officials. That, however, was not germane to this case, but, considering the discussion which had taken place, he thought he was entitled to say it.
It was very easy to talk about miinimum rates (his lordship continued), but very diffi- cult to enforce them. They involved the pay. ment of the same rate to men doing different- work, and tended to prevent those doing better work getting better wages. That was a truth which people in this country were beginning to recognise, partly owing to matters such as those which the jury were considering in the present case. The allegation of slander against the defendants had not been proved, and would be withdrawn from the jury, and Mr. Williams had nothing to do with the publica- tion of the paragraphs in the newspapers.
The jury, after retiring for over half an hour, found that the defendants, without jus- tification and witti intent to injure the plain- tiff, procured anu induced the plaintiff's em- ploye's to break their contracts and inter- fered with his business; that they conspired to do the acts mentioned in the first part of the finding ; that Mr. Jesson published untrue 'and libellous statements about the plaintiff ; that there was no trade dispute, and that the defendants did not act in contemplation o: furtherance of a trade dispute, and that tli defendants acted out of spite. They awarded £450 damages against both defendants f< inducing the bandsmen to break their con' tracts, and £100 in addition against Mr. Jesson for lib el.
Judgment accordingly. His lordship granted the plaintiff an injunction against the « fendants restraining them from interfemj with the plaintiff and his men otherwise than in furtherance of or in contemplation o trade dispute. [For report of appeal see November 11.]
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BROOKE v. BAKKINGTON.-CLAIM. FOR COMMISSION.
In the Marylebone County Court Mr. John
Clin'ord Brooke, theatrical manager,
23 s-ui-d Mr. Rutland Harrington for £50
on iho production of a play
iu-.iii,d ,1 Member of TlttertatV*.
R. J. Drake, for the plaintiff, said a con- :iad been made with Mr. Browning, the :ant's agent, for a tour of fourteen \ in the country, the terms being £40 and ^ PIT on the earnings up to £50. The tour had been a most successful one, and when applied to for payment of the contract price no reply had been received.
Plaint ill bore out this statement, and said that he was told the whole amount of his claim had been earned in four weeks from the start of the tour. The tour had been a most successful one.
His Honour : There may be a difference between a successful tour and a successful play; there is a letter here in which they say that they lost on the tour.
Mr. Drake reminded his Honour that there was no defence to the claim.
His Honour suggested that the case be adjourned to allow a defence to be put in.
Mr. Drake : If your Honour gives me judg- ment now you may have an opportunity of Hearing what the defence is later on.
His Honour : Then there will be judgment for the plaintiff for the amount claimed, payable in fourteen days, with costs.
BARALDI v. PROWSE.— A SINGING
MASTER'S SEES.
Ir the Marylebone County Court before his Honour .Sir W. Lucius Selfe and a jury, 23 Signor Ernesto Baraldi, teacher of sing- ing, of 312, Regent Street, W., sued M"s Alice Prowse, widow, of Westbourne Park Road, W., for £47 3s.. for professional services.
Tie jury found for the plaintiff for £29 13s., and judgment wao entered for this amount Mi til oo&lfi.
EDWARDES v. DE SOUSA.— INJUNCTION REFUSED.
In the Chancery Division Mr. Justice Joyce le fused a motion by Mr. George 2 6 Edwardes to restrain Mrs. May Haines, professionally known as Miss May de Souza, from appearing at the London Hippo- drome during the following week in Arms and the Girl.
Mr. Edwardes's case was that under an agreement of April 18, 1911, he had the ex- cluMve right to Miss de Souza's services until M;iy 20.
Mr. Justice Joyce: Will it do him irre- parable damage it' she appears at the Hippo- drome?
Mr. Hughes, K.C. (for Mr. Edwardes) : I do not say irreparable, but serious damage. It is very important to Mr. Edwardes that these young ladies should not have the idea that they can break their agreements whenever they like. It may cause very serious inconvenience and loss to the touring company in which K- Souza was en paired.
Mr. Bryan Farrer, for Miss de Souza, stated that in September last there were disagree- ments between the plaintiff and the defendant with regard to her salary. Miss de Souza's husband had a dUrn>>ii>n with Mr. Edwardes, and it was agreed that the engagement could be terminated on the giving of two weeks' notice. On April 8 Miss de Souza gave Mr. Edwardes two weeks' notice of her desire to terminate the agreement. An opportunity for
her to appear in London was very important for her, and if she were wrong damages would compensate Mr. Edwardes
Mr. Justice Joyce said it was obvious he could not decide the matter on the materials beiure him, and tnal he would adjourn the motion until Friday, May 3.
Mr. Hughes said in that case he would go to tlie Cou»t of Appeal and say his lordship mused to hear him.
Mr. Justice Joyce : Then I refuse the motion.
The case came before the Court of Appeal, composed 01 the Master of the Rolls and Lords Justices Buckley and Kennedy, on April 29, in the form- of ans application to expeuite . the hearng. The case was 'held on the iollowing day.
Mr. Hughes, K.C.. and Mr. Luxmore ap- peared for the appellant; Mr. Younger, K.C., .and Mr. Bryan Farrar for the respondent.
Mr. Hughes and Mr. Younger read the affidavits made on behalf of their separate
Miss'de Sousa in her affidavit said she was to receive during a provincial tour under Mr. Edwardes's direction £50 a week. Her case was that in consequence of a disagreement that arose her husband had an interview with Mr. Edwardes, at which an understanding was arrived at that either could terminate the en- gagement by a fortnight's notice. Mr. Edwardes in his affidavit denied having made any such arrangement, but Miss de Sousa on April 8, 1912, gave a fortnight's notice to ter- minate her engagement.
Mr. Hughes, arguing the appeal, submitted that that sentence was inconsistent with any definite and binding arrangement on the ques- tion of notice apart from the terms orf the contract.
The correspondence between the parties in- cluded Miss de Sousa 's letter to Mr. Edwardes, in which she gave him notice, and referred to this as " the customary two weeks' notice.
Mr. Edwardes's reply was that he did not intend to allow her to treat him just as she pleased; that she could not give two weeks notice, being under a definite contract until May 20.
' The Court refused the injunction and dis- missed the appeal, with costs.
The Master of the Rolls said he thought the injunction ought not to be granted for two reasons— first, because the agreement was very close to its termination, and second, because the agreement had admittedly been varied last September in respect of the salary to be paid. There was a direct dispute as to what took place at the interview between Mr. Edwardes and Mr. Haines, and it was ex- tremely undesirable, except in cases of dire necessity, to decide an issue of fact like that without the opportunity of seeing the witnesses and getting at the truth. Further, an injunc- tion would not give Mr. Edwardes the services of Miss de Sousa. It would only prevent her fulfilling her engagement at the Hippodrome, which would most seriously prejudice her and injure her in her profession without giving an equivalent to Mr. Edwardes. If Mr. Edwardes was right he had a remedy in damages, and he thought that was far the most appropriate course to take.
Lord Justice Buckley said he was of the same opinion. He would be very sorry if the public were led to snpipose that, because trie Court thought that an injunction ought not to be Granted, it had come to the conclusion that Miss de SOUP a was justified in the course she had taken. If this hearing were the final trial of the action and the Court had to decide on the materials at present before it whether Miss de Sx>usa was right or wrong, he would, speaking for himself, have decided that she was wrong. But that was not the
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point here. The question was whether an interlocutory injunction ought to be granted. His Lordship was of opinion that there were two reasons why an injunction should not be granted; first, that there had been some delay in applying for an injunction, and, secondly, that there was a question for the trial of the action whether the agreement of Aipril 18, 1911, was or was not determlnable upon a fortnight's notice. If he had had to decide that question now he would have decided it adversely to the defendant, but there was a conflict of evidence on the ques- tion, and it was not a. matter to be determined on an interlocutory application. In his opinion the appeal must be dismissed.
Lord Justice Kennedy gave judgment to the same effect.
DALLIMOfRE v. THE "DAILY EXPRESS."
In the King's Bench Division, 'before Mr. Justice Ridley and a special jury, Mr.
29 Dallimore claimed damages for an alleged libel against the publishers and pro- prietors of the Daily Express. The defen- dants denied any libel.
Counsel : For the plaintiff, Sir F. Low, K.C., Mr. H. Dotob, and Mr. H. Benjamin; for the defendants, Mr. C. F. Gill, K.C., and Mr. Albert Profumo.
Sir F. Low. K.C., explained the circum- stances set out in the case of Dallimore v. Williams and Jesson (see report, April 23). The present case arose out of the way in which those events were dealt with by the Daily Express. The report had been sent to the newspapers by a news agency, which also cir- culated a corrected report at the instance of Mr. Dallimore, but the Daily Express refused to insert any correction.
Mr. Dallimore gave evidence.
No evidence was called for the defence, but Mr. Gill, K.C., contended that the paragraph complained of contained nothing libellous.
The jury, after retiring for an hour and a- half, came into court and gave their finding (written on a slip of paper) as follows:—" The jury consider that the Daily Express issued the statement without intent to injure the plain- tiff, out they feel that the Daily Express failed in its duty in not recording the plain- tiff's explanation, thus causing him annoyance and some damage."
» His Lordship : I don't think that a verdict at all; I am afraid I cannot take it. The question of intent to injure does not arise, and as to the explanation it ia an incident only in the case. What you ought to consider is whether the statement is a label or not.
The Foreman: We cannot find a libel.
His Lordship: Then you think there was no libel.
A Juryman: Some of us do and some do not.
Hir Lordship : Do you think you could agree on the question
Several Jurymen: No.
His Lordship: Then you are discharged with- out a verdict.
After the jury had left the court his lord- ship noticed that written on the other side of the paper which they had handed down were the words, " Damages, £5." He said : I don't think it would have made any difference if I had seen the statement about the £5, but the jury is discharged and I cannot do anything more now.
KING v. CO-OPERATIVE VARIETIES, LIMITED.
In the King's Bench Division, before Mr
Justice Lush. Mr. A. L. Murray, pro
3 O fessionally known as Leo King, sued the
Co-operative Varieties, Limited, to re
cover damages for alleged wrongful dismissal.
The plaintiff alleged that his dismissal was in breach of an agreement by which he waa engaged by the defendants as manager of the Colchester Hippodrome for three years from September 5, 1910. The defendants ad- mitted that they dismissed plaintiff, but said that they had given him sufficient notice, and that they were justified in dismissing him be- cause he disobeyed orders.
Mr. Doughty appeared for plaintiff; Mr. H. Brandon for the defendants.
Counsel explained that when the defendants' company , w.as started, Mr. Murray wias en- gaged by them at short notice as manager for music halls at Wakefield, Colchester, and Hastings. In the summer of 1910 he secured the position of manager at the Colchester Hip- podrome. The managing director of the de- fendant company wrote to the plaintiff : "It will be a permanent position. The lease is for at least three years." The terms of the engagement were finally fixed, and the plain- tiff said that he was taking the new post at his old salary, £3 per week, because it was n permanent position. In August, 1911, the plaintiff was informed in a letter that he would be transferred to another hall at West Bromwich for a month or so. The plaintiff replied expressing surprise at this arrange- ment, and said that the terms of engagement were for three years at Colchester. On Oc- tober 14 the defendants gave him a fortnight's notice to determine his engagement.
Mr. Justice Lush : The quarrel arose out of the assertion by the defendants of a right to Vansfer his services to another place?— Yes.
Mr. Justice Lush (to Mr. Brandon) : Do you say that the defendants agreed at the inter- view t° the three years' engagement?— No. We say that it is an implied contract that we in one particular business can transfer a manager.
Mr. Doughty, in reply to his 16rdship, said that he relied on the correspondence as to the terms of the agreement.
The plaintiff having given evidence in sup- port of his case,
Mr. Brandon, for the defence, submitted that no contract had been made out.
Mr. Justice Lush accepted this view, and pointed out that the plaintiff's counsel said it was sufficient for him to rely on the passage in the letter in which the defendants' manag- ing director refers to the engagement being permanent. The term permanent was so elastic that he did not think it possible to say what the contract was. The word permanent was a mere phrase used in the course of the negotiations, and meant that the plaintiff would have something better than his former temporary engagement. Judgment would therefore be for the defendants, with costs.
MAY.
THORNE v. CASH.— SLANDER ACTION.
At Leeds Assizes, Mrs. Lily Thome sued Mr. Will Cash for alleged slander. It 4 was stated that at the time of the slander both the plaintiff and the defen- dant were appearing at the Varieties Music Hall, and that the slander was uttered without a particle of provocation and with wanton malice, apparently with the intention of des- troying the happiness of a newly-married couple. The plaintiff, whose stage name was Lila Vesta, was married to Mr. Ambrose Charles Grantley Thorne dn November, 1910, and they toured the music halls together as vocalists and dancers. Before her marriage
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the plaintiff had twice met the defendant, who were partners in Cash and Clair, comedians. In August last the defendant met Mr. Thome at a music-hall stage door at Leeds, and made certain imputations against the plaintiff. Later he repeated his remarks upon two occasions in the presence of other people. Mr. Thome assaulted Mr. Cash.
The UndtT-ShcrifT said the slander was scan- dalous and abominable. Words could not describe the feelings of indignation aroused by such an offence as this. The jury must aw.ml such damages as would mark their sense of his impropriety.
The jury assessed the damages at £100.
McKAY v. ZANCIG.
Mr. and Mrs. Zancig were defendants in an
action at the Wandswortb County Court.
6 The plaintiff was Miss Ethel McKay,
who claimed £14 as wages due. Mr. Nicholls, solicitor for the plaintiff, said ihat plaintiff was a soprano, and while engaged as a fairy queen in a pantomime last year, she came into contact with Mr. Elgar, manager to the Zancigs. Elgar offered her an engage- ment to go on tour, and this she accepted. At ;he last minute, however, she was told that Mr. Zancig had himself engaged a soprano, and therefore she could not be engaged.
For the defence it was contended that plain- ,iff was not definitely engaged, but was asked ,0 have a voice trial. After that took place she was told her voice was not good enough !or the entertainment. The defendant further contended that Elgar had no power to engage artists.
This raised an interesting point of the powers and duties of a business manager, and Mr. Sidney Paxton, who said he had been in the >rofession for thirty years, declared that a msiness manager had no power to engage artists, unless instructed by his principal.
Judge Harrington expressed sympathy with the plaintiff, but held the view that Elgar '(had no authority to engage artists, and there- fore, he found in favour of the defendants.
CEAIG v. TREE.
Before Mr. Justice Ridley, in the King's Bench Division, it was announced that an
7 actku by Mr. Gordon Craig against
Sir Herbert Tree had been settled. i Mr. Storry Deans, for the plaintiff, said the h'ury would not be troubled with the case. It n action brought by Mr. Gordon Craig against Sir Herbert Tree for detinue in respect pf certain theatrical models supplied to Sir Herbert Tree. The parties had been friends nor a great number of years, and they had agreed to settle their differences without air- Ing them in public. The settlement had no- thing to do with the legal rights or wrongs pf the matter. Neither party in the least ad- Imitted that he was legally wrong or the other !\vas legally right; it was not in any way an adjustment of the legal right of the parties. Counsel asked that the record should t/e witn- Urawn, and that a sum of £100 which had been (paid into court by the defendant should be (paid out to the plaintiff, and he asked for an brder to that effect.
Mr. H. J. Rowlands, for the defendant, ex- blained that the action was brought for the return of certain models which, through some hnisunderstanding, had been destroyed. Before phe action was commenced Sir Herbert Tree pad offered to Mr. Craig the sum of £100, and phat sum had been paid into court by him. Mr. Craig had agreed to accept that sum in (satisfaction of his calim, and counsel was glad
to say the action was settled upon the terms mentioned. It had been agreed each party would pay their own costs. This was to be the only public announcement either of the dispute or the settlement of it.
LEADED COCOANUTS.— FALSE PRE- TENCES.
At Hereford City Police Court, Mrs. Mary Scott, owner of a cocoanut stall, was 9 charged with obtaining by false pre- tences the sum of lid. from William Ashtou with intent to defraud, and Arthur Scott, her son, and William Jarnes Miles, her assistant, were char</< -d with aiding and atetting her on Wednesday, Hereford May Fair.— William Ashton, of Westfield Street fcaid on Wednesday evening he went to Mrs. Scott's cocoanut shie, .and in common with otl-ers tried his luck. In the front were two nuhs on a sta/id, with another on top, and it looked very tempting. Altogether ho had eleven balls, and hit the supposed cocoanut five or six times, diialodging it at the tenth ball. Miles tossed him another nut, but witness demanded the nut he had knocked off. Miles said. " Have this one ; that may be a bad one." He again demanded the nut, and eventually a policeman came up and requested the man to give it to him. This was the nut produced, containing the lead. He saw no notice intimating that any of the nuts were imitations. — The Bench found defendants guilty, and fined Mrs. Scott £5, Arthur Scott £2, and Miles £1, with costs, amounting to £11 19s. 6d.
BEA.DON v. CAPITAL SYNDICATE AND
OTHERS —ALLEGED MU6IO HALL
CONSPIRACY.
In the Appeal Court, before Lords Justices Vaughan Williams, Fletcher Moulton,
13 and Farwell, Phyllis Beadon, of the Patchwork Pierrot Troupe, who was the plaintiff in an action for alleged breach of contract and conspiracy against a number of persons connected with London music halls, appealed from an order of Mr. Justice Lush, who had stayed the action as against Mr. William James Fox, manager of the Holborn Empire, one of the defendants.
Mr. A. E. Woodgate appeared in support of the appeal, MT. Hen.l<$ for the respondent.
A point was dealt with in this matter which Lord Justice Vaughan Williams stated had not been raised for at least fifty years, namely, whether, when an action is broug-ht against several defendants, and one of them pays a sum of money into court which plain- tiff takes out in satisfaction, the other defen- dants must pay plaintiff's costs as well as their own.
Mr. Woodigate said that Miss Beadon was engaged by the Capital Syndicate. Limited, to give a performanee at the London Palladium with her troupe at a salary of £75 a week. The contract contained a clause entitling the defendant company to require the plaintiff to give her performance at another hall, on notice, and there was a further clause em- powering them to prohibit the performance should they consider it displeasing to the public. After the contract had been made Mr. Walter Gibbons, who was the managing director of the company, discovered that the Palladium was overbooked, and the plaintiff therefore was directed to give her perform ance at the Holbora Empire, of which Mr. Fox was mar-
This place was also found to be fully booked (continued counsel), and plaintiff was asked to postpone her contract. This being inconvenient, she declined, and then came a/n act on the part of -the defendants which gave
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THE STAGE YEAR BOOK.
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rise to the action. The defendants, it was suggested, engaged a number of men of the roughest descriptiodi in London, gave them free admission to the gallery at the Holborn Empire, and instructed them to shout down Miss Beadon when she gave her performance, the obvious intention being to enable the defendants to terminate the contract by alleging that the performance was displeasing to the public.
Before the action came on for trial (counsel went on) the Capital Syndicate, Limited, paid £260 into court in «atisf action of the whole cause of action, and the plaintiff took this sum out. The other defendants, with the exception of Fox, subsequently obtained an order staying the action as against them upon certain terms as to costs. Fox did not enter his plea that 'the action had been extin- guished until Miss Beadon gave notice to pro- ceed as against him, and the short point now was whether the learned judge was right in holding that tihe plainftiff, by her action in taking the money out of court, had extin- guished /tihe whole action as against all the defendants.
Counsel submitted that the plaintiff was eniMtled to recover costs as against Fox so far as they were not recoverable from the other defendant's. The learmed judge had directed the pLaintiff to pay Fox's costs, and from this ord'er the plaintiff now appealed.
Mr. Henle". for Mr. Fox, supported the decision of the Court below.
Lord Justice Vaughan Williams, in giving judgment, said fhat this was- a very important and very remarkable question. He had ta.ken tihe trouble to inquire, a.nd found that during the whole period from the passing of the Judicature Awts until now no such order as that now appealed from had been made, nor had there been any application for such an order The statement of claim here charged all the defendants with conspiracy, and nothing toad happened to show that they were not guilty.
That was srftM an open question. A!l that had happened (his lordship continued) was that the cause of the action had been satisfied, but the action sitill remained as the basis of orders re'laiting to cO'sts, etc. That, in these circumstances, the plaintiff sibonld be- called upon to pay' tihe cO'ats seemed to him wrong and uniust. and tihe order he made was that in 'SO far as coste were incurred before the acceptance of the money paid into court, they must be paid toy the defendant Fox. To tbis extenit the order of Mir. Justice Lush ought to be varied.
Lord Justice Fletcher Moulton was satisfied thait the costs in a matter like this were not provided for specifically by the rules, but fell undler Order 65. Rule 1, find were in the discre- tion of tihe Court. If Mr. Justice Luslh exercised his /discretion, this Court should not interfere. Assuming he did not, it was for this Court to exercise their discretion. On what- facto were flbey to proceed? By no fault of his own Mr. Fox was unable at a trial to defend himself. Plaintiff had rendered that impossible by accepting the £?/>0 in sartisfac- tion of the whole action. Prim ft facie, if there were no otlber facts, he should say defendant's claim to costs, was a preferable one, anrt thait he was a person who must be assumed 1o he innocent: and had he beard the a.T>i3leaiblan in Chambers, he should have decided -tha<t. -Hie plaintiff should pay him his cost", and this, not a* a riffM. but as an pxercice of di^cre-t^vn. That being so. he he^d that M>. Justice T/u«b's order was right, a.nd that the appeal failed.
Lord .Tusttire Farwell agreed with Lord Justice Fletcher Moulton.
^he appeal was therefore dismissed, with costs.
PARKER AND FAIRBANKS v. SOUTH OF
ENGLAND HIPPODROME AND ANOTHER.
THE TRANSFERENCE CLAUSE AND THE
CONSENT OF THE ARTIST.
At the Westminster County Court Judge
Woodfall decided the case of Parker
15 and Faiirbank v. 'South -.of England
Hippodrome, Limited, and the Variety
Theatres Controlling Co., Limited, which was
an action for alleged breach of contract, the
amount claimed being £40.
Mr. L. Tyfield was counsel for the plaintiffs, and Mr. Turner represented the defendants.
Mr. Tyfield said the plaintiffs were known as the proprietors of the Gotham Comedy Quartette. At the beginning of March they were appearing in Portsmouth, and, according to their agreement with the defendants, they Avere engaged to play at the Boscombe Hippo- drome during the week ending March 9 at a salary of £40 a week. While at Portsmouth a telegram was received by one of the plaintiffs, Mr. Parker, informing him that their Bos- combe " turn " would be transferred to Brighton. It happened that another quartette company, one of the principals of which had formerly been employed by the plaintiff com- pany, was playing at Brighton that week, and as this company imitated the members of the plaintiffs' company in many respects, the plaintiffs felt that it would seriously injure their reputation if they appeared at the same hall immediately after the termination of the engagement of the other company. Provincial audiences, said counsel, were somewhat curious in many respects. They were in the habit of attending one place of amusement week after week,, and were inclined to resent what would appear in the nature of a repetition. The plaintiffs' performance consisted of comedy " turns," the imitation of musical instruments, and a considerable amount of original busi- ness, and they maintained that in many resipects the ^erfoirmance of tihe other com- pany was practically identical with their own. The essence of a musical comedy entertain- ment was that it should contain items that were distinctly original, and the plaintiffs, knowing that their business had been largely copied by the other company, and that if the^y Immediately succeeded their imitators at the same (ball they would be coldly received by the audience, refused to transfer their Bos- combe week to Brighton, They consequently appeared at neither place, and they now claimed for the loss of one week's salary.
Mr. Frank (one of the plaintiffs) gave evi- dence in support of the counsel's opening statement. He said the other quartet com- pany to which reference had been made gave an entertainment which was in many respects similar to that of the Gotham Quartette, and which he considered had been copied from them. When he heard that they were appear- ing at Bnigifoton he pointed out that it would be damaging to the Gotham Quartette if they followed them, but the manager of the defen- dant companies remarked, " Oh, that won't hurt you." Witness dissented, and said the other company must be withdrawn if the Gotham Quartette were to appear. The man- ager then promised to wire the next morning, but he did not do so.
In cross-examination witness safd ne was not aware that the salary of his company was nearly that of the other company.
Did you not ring up the defendants' manager and tell him that ft was impossible for you j to follow the other company?— No. I only sug- gested that they should have the " turn " altered so as not to be an imitation of my company.
Do you not think that he was the best judge •is to whether you v following the other com- <
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THE STAGE YEAR BOOK.
261
pany would be detrimental to you or to the theatre?— No, I don't think so.
Mr. Harry Fairbanks gave similar evidence, and Mr. Gilbert Spicer and other witnesses stated that there was a great similarity be- tween the performances given by the two quartette companies.
For the defence, Mr. Parnell, booking man- ager for the defendants, said that in his opinion the plaintiffs would have suffered no damage by following the other company.
Mr. Turner submitted that the plaintiffs were most unreasonable in asking that the other company should change their business, and that in refusing to follow them they them- selves broke the contract.
His Honour, in giving judgment, said they must look at the terms of the contract to see what rights the South of England Hippodrome, Limited, had to transfer the engagement from Boscombe to Brighton. The contract set forth that " artists may be transferred to any other theatre with the consent of the artists." Therefore, the first thing to consider was whether there was consent, and if not whether the co'nsent was unreasonably withheld. In his opinion, the plaintiffs did not refuse their consent arbitrarily. Their company consist^ of four performers, who had gained some de- gree of eminence in their profession. Another company who were singing the same songs and imitating the performance of the plaintiff company had performed at Brighton, and the plaintiffs' contention that injury would result to their reputation if they immediately fol- lowed the other company at the same theatre did not appear to be other than reasonable, and under such circumstances the perform- ance of the plaintiffs might fall flat and ap- pear stale Members of the audience might say, " Wuy; we saw the same thing last week "; and it might lead to remarks in the Press that would be calculated to do some injury to the plaintiff company. The pla,in- tiffs must know their own business best. They had made their own troupe, and must be the best judges as to whether the other perform- ance would be injurious to them or not. On the other hand, the defendants were gentle- men of great experience, and they expressed an opinion that was opposed to that of the plaintiffs. Mr. Turner had tried to make out in cross-examination that the real object of the plaintiffs was not to protect their pro- perty, but to try and injure the other quar- tette troupe, and if they were really trying to dp that he would have to hold that the plain- tiffs refusing to play was unreasonable. But, in his opinion, the plaintiffs did not withhold their consent unreasonably, and the defendants committed a breach of contract in refusing to allow them to perform at Boscombe. There would accordingly be judgment for the plain- tiffs for the amount claimed, with costs.
[See Report of Appeal in which this judg- ment was upheld, July 2.]
GREEN v. SiLE A TH.— BREACH OF
CONTRACT.
Judge Woodfall, at the Westminster County
Court, heard an iiotion in which the
16 actor, Mr. Clayton Green, claimed £32
from Mr. Herbert Sleath, theatrical
manager, for breach of contract.
Mr. G. M. Hilbery, counsel for the plaintiff, snid the action was one remitted from the High Court. The claim was for four weeks' salary, dating from November 20 to December 18 last. In October Mr. Sleath was conte;n- plating the production of a new play by Mr. Douglas Murray, entitled The Triumph of Kitty, and as a preliminary to its being pro- iuced in London it was decided to give it a tun in the province*, four towns being decided
upon— Newcastle, Edinburgh, Glasgow, and Ahvidd-n. On October 19 Mr. Sleath sent for the plaintiff, an 1 in an inteiview asked him if ho would undertake to play the part of Tubby, a leading character in the n^w play. A salary of £8 a week was mentioned for the first month's performances, and Mr. Green after at first asking for £12, ultimately \< to these terms. He then attended n-h of the play, and at first everything went on satisfactorily. On October 25 Mr. Sleath for- warded a form of contract, and the plaintiff, finding that it contained clauses which he considered bore out the terms arranged, did not take the trouble to sign it, intending to speak to Mr. Sleath on the subject at the first convenient period. Then Mr. Murray, the author of the play, turned up on the scene, and apparently he took an objection to Mr. Green's personality. The character of Tubby was that of a weak, vacillating man, and the author appeared to think that Mr. Green was not suitable for such a part. Ac- cordingly the plaintiff was approached by Mr. Sleath, who informed him that it was not thought desirable that he should play Tubby, and that therefore his engagement would not hold good. Mr. Green replied that he had been specifically engaged for the part, and that if his services were dispensed with the management must stand the racket. The plaintiff placed the matter in the hands of his solicitor, and from the correspondence which followed it appeared that the plaintiff was offered the part of Bernstein, an elderly Jew picture dealer of a very pronounced type, which the plaintiff considered it undesirable for him to take. It was further suggested on the part of the defendant that the plaintiff was engaged to play any part in the play that might be considered by the management most suitable for him, but this was denied.
The plaintiff bore out the statement of counsel ,as to the verbal agreement, and said ho was positive that the defendant said nothing to him as to his engagement de- pending on the approval of the author. When he was spoken to about playine; the part of Bernstein instead of Tubby, he at once declined to play such a part, as it would have been injurious to his reputation.
In cross-examination by Mr. Beyfus, counsel for the defendant, the plaintiff said he had many times been engaged without there being a written contract. He refused two other engagements in order to accept Mr. Sleath's offer. Witness emphatically denied that Mr. Sleath told him the cast would have to have the author's approval.
Mr. Beyfus : Tubby does not sound a very romantic name.
Plaintiff: He was in love with the leading lady. (Laughter.)
He was a slack, lazy, lackadaisical creature? —That was not my idea of the part.
That appears to have been the idea of the author. — It was not mine. We did not agree.
The plaintiff further said that having played juvenile parts he thought it would be detri- mental for him to play the part of an old Jew.
Mr. Herbert Sleath, the defendant, said the plaintiff entered into an agreement with him to play Tubby, on the understanding that the engagement was approved by the author. When the latter disapproved, the part of Bernstein, which witness considered a very good part, was offered to the plaintiff at the same salary, and. in witness's opinion, he should have accepted it.
In ciwsoxnmination. the defendant ad- mitted that when the agreement was made there was no mention of the probability of
262
THE STAGE P 'EAR BOOK.
MAY
the plaintiff being required to play any other part than Tubby.
Counsel suggested that the contract that was given to plaintiff was of the type that would be given to chorus girls to sign.
The Defendant: Oh, no; it was the sort of contract that would be given to actors for " A " towns.
Mr. Warren, acting-manager, gave evidence in support- of the defendant's version of the interview with the plaintiff when the agree- ment was entered into. In reply to a ques- tion the witness said : " I considered that if Mr. Sleath engaged the plaintiff at £8 a week he could do as he liked with him."
Counsel: Then you would suggest that you might have sent him to Timbuctoo ?— Not when there was another suitable part for him to undertake, as was the case here.
Did you say he would have to have the author's approval? — Yes.
Then why did you not put it in the con- tract that we have heard so much about.
Mr. Douglas Murray, the author of The Triumph of Kitty, said he had been a dramatic author for twelve years. He did not consider the plaintiff suitable for the part of Tubby, and the part of Bernstein would, he was con- vinced, not have injured Mr. Green's reputa- tion. It was a really good part.
His Honour, in giving judgment, said !he had to decide a dispute between two gentlemen whose good faith could not be impugned, and the unpleasant duty fell to his lot of giving a decision as to the recollection of the actual agreement entered into. After perusing the documents between the parties, he could come to no other conclusion than that they corro- borated the case put forward by the plaintiff. The question was whether the plaintiff was definitely engaged to play Tubby for the four weeks' tour, and he (the judge) was of oj ;nion that he was so engaged before the author ex- pressed either approval or disapproval. A- to whether the fact that the plaintiff refused to play the part of Bernstein could be advanced in mitigation of damages, he thought rot. Had he done so, the plaintiff, according «o the correspondence, would only have received two week's salary. It seemed reasonable— and. surely, the plaintiff should be the best judge of his own capabilities — that he might con- sider the part of Bernstein one which, if he played it, would be injurious to his reputa- tion. If the defendant could prove that the plaintiff was an actor who was incompetent to play the part of Tubby it would be differ- ent, but, under the circumstances, he thought the defendant made himself liable on the con- tract, and there would be judgment for the plaintiff for the amount claimed, with costs.
HARRIS v. SMITH.— LIBEL.
Before Mr. Justice Scrutton and a special jury, in the King's Bench Division, Mr.
21 Frederick James Harris, «. theatrical manager, sued Mr. Charles Aubrey Smith, a solicitor, for damages for alleged libel contained in a letter written to Mr. J. A. E. Malone, of th-3 Adelphi, on November 29. 1911. The defendant pleaded privilege and justification.
Mr. Stephen Lynch appeared for the plain- tiff, and Mr. Sanderson, K.C., and Mr. E. Grimwood Mears for the defendant.
Mr. Lynch, in opening for the plaintiff, said that in the autumn of 1911 the plaintiff was manager of Mr. George Edwardes' The Girl in the Train company. At the end of Novem- ber the company were at the Kennington. Mr. Robert Evett, who had been playing in the company, had to go away to Vienna with Mr. George Edwardes. Air. Evett's name was blacked out of the bills, and that of his under-
study appeared. Another actor, Mr. De Frece, who was suffering from a sore throat, tele- graphed on November 29 that he was unable to appear. On that evening Mr. Smith, the defendant, who was accompanied by Miss Lily Iris, an actress, visited the theatre. At the end of the first act the lady approached Mr. Brandreth, the manager of the theatre, and complained that she had not seen Mr. Evett and Mr. De Frece.
Mr. Harris, the manager of the touring com- pany, saw her, and explained that he was not to blame for the absence of those two actors. He pointed out that directly the curtain went up the lady could have seen that those two actors were not present, and that if she had liked she could have had her money back, and he offered to let her have her money back then. The lady became more angry still, and said that some announcement should have been made at the box-office. A crowd gathered, and Mr. Harris, who offered to show the telegram he had received from Mr. De Frece, retired. That evening Mr. Smith wrote a letter to Mr. Malone, which was the libel complained of.
The letter ran as follows :—
Dear Sir.— I was exceedingly disappointed to find that neither Mr. De Frece nor Mr. Evett was able to appear at the Kennington Theatre this evening, especially as I had journeyed thither purposely to see these two gentlemen.
I ventured to suggest to the manager that it was customary in such cases to display some notice to that effect at the box-office or elsewhere for the benefit of those intend- ing to purchase seats.
With an indifference that hardly did jus- tice to his position, he informed me that it was not customary to do any such thing, but offered to refund to me the money I had paid, I admit.
Surely it would be more satisfactory on such occasions, rather than leave them to find it out for themselves, and have to suffer indignity if they venture to make so bold as to complain.
Plaintiff said that fie hud been a theatrical manager for over twenty years. His manner to the lady and gentleman was' courteous, and he did not subject either of them to any in- dignity. Miss Iris, who said. that she was in the profession, was talking very loudly. Plain- tiff offered her the telegram, but she would not look at it. It was not true that defendant looked at it, and that witness snatched it from him.
Are you now managing for Mr. George Ed- wardes?— No, I would like to be.
Cross-examined by Mr. Sanderson: Do you suggest that you are not employed by Mr. Edwardes in consequence of this letter?— I do, indeed— not at this particular moment, becausn there is no employment for me ait this period of the year, but there might have been in the autumn.
How do you know you will not be employed? —Mr. Edwardes has informed me so.
Mr. Brandreth, manager 'at the Kennington. gave evidence to the effect that Mr. Harris was polite.
Further evidence was given that Miss Iris spoke loudly, and that plaintiff behaved politely to her and the defendant.
Mr. Sanderson, for the defendant, said it was Absurd to say the plaintiff had suffered any damage whatever from this letter, because on the 28th, the day before this alleged libel was published, Mr. Harris had a letter from Mr. George Edwardes, saying he regretted he would not be able to find him employment after Christmas. Mr. Smith had written to Mr. Malone, because he was told he was the
MAY
THE STAGE YEAR BOOK,
263
proper person to writs to. He was on terms of confidence with Mr. Edwardes, and was one of Irs managers, and if he was, as Mr. Smith supposed, Mr. Edwardes's general manager, there was nothing improper whatever in the better.
Mr. George Edwnrdcs, examined by Mr. San- derson, for defendant, said that Mr. Malone had been associated with him for fully twenty- five years. Mr. Malone was the general man- ager of some of his provincial tours, and also il him in the management of the Adelphi. Mr. Malone would be the proper person to write to in regard to certain tours, but not in this instance. He was a well- known man in the profession, but he had nothing to do with the Kennington. Wftness had felt very much annoyed. He thought the letter was a privileged communication to him, and he did not think Mr. Harris ought to have taken any notice of it. There were instruc- tions that when a prominent artist was not to be present a printed notice had to be ex- hibited, but it took some time to get the notices printed.
Cross-examined : He had always known Mr. Harris to be a courteous manager. The public were entitled to make complaints, and his managers were there to see what was wrong. After hearing the plaintiff's evidence he would have sided with him.
Defendant, in the witness-box, complained of plaintiff's manner at the Kennington. When witness was looking at the telegram it was taken out of his hand by plaintiff. M!ss Iris was a lady who was on the stage. Miss Iris suggested that he should write to Mr. Malone. He wrote the letter from the club at which he lived. He was a solicitor, but did not now practise.
Miss Lily Iris said she had gone to the Ken- nington especially to see these two gentlemen act. She complained of having been brought all across London on a foggy night to see these two act when they were not in the cast. Mr. Harris said it was not his fault. He offered to give them their money back. His manner was very managerial; he terminated the discussion by declining to discuss the matter further.
To questions left them by Mr. Justice Scrut- ton the jury returned the following answers: — (1) The letter was defamatory; (2) the state- ments made in the letter were not true; (3) the statements were not made maliciously; (4) writing to Mr. Malone was not a proper way of communicating with Mr. George Edwardes • (5) the plaintiff suffered damage to the amount of £10.
Judgment was entered accordingly for the plaintiff, with costs.
ROSE v. HYMAN AND ANOTHER.— CHAPEL AS KINEMATOGRAPH HALL.
In ll\3 House of Lords before the Lord Chancellor and Lords Macnaghten,
21 Atkinson, and Shaw, judgment was given
in the appeal which arose out of the
conversion of the Adelphi Chapel, Hackney
Road, into a kinematograph [house, their
lordships allowing the appeal.
Walter Hyman and Adolph Rosenthal, the appellants, both residing in London, sought to set aside the judgment of the Court of Appeal, which affirmed an order of Mr. Justice Hor- ridge and three orders of Mr. Justice Eidley. Respondent was Mrs. Mary Rose.
Appellants paid £1,750 for the premises, which they intended to use as a kinematograph hall. To do this certain alterations and repairs were necessary. Respondent raised an notion while the work was in progress, claiming
damages for injury to the reversional interest. Mr. Justice Horridge granted an injunction unti' the trial of the action, while Mr. Justice Ridley dismissed the application of appellants in the action for relief against the alleged forfeiture of the lease. The Court of Appeal, by a majority, affirmed the orders appealed against.
It was denied by appellants that any work they were carrying out would prevent the building being us°d as a chapel if so desired, while they urged that the work had made the building more suitable and convenient for use as a chapel, and would greatly increase the value of respondent's reversion. They said they had no intention to dedicate any of the land round the chapel to the use of the public. They also offered to deposit a sum of money to restore the premises to their original con- dition. The Master of the Rolls and Lord Justice Fletcher Moulton thought the works contemplated were breaches of the covenants and amounted to waste, but Lord Justice Buckley disagreed. Appellants contended that there was nothing in the lease to prevent the building being used for business premises.
The Lord Chancellor, in giving judgment (in which Lords Macnaghten. Atkinson, and Shaw concurred), said there had been breaches of covenant, as to which there was no doubt they must be remedied as a condition of relief. But the real dispute related to certain altera- tions which had been effected, and were in- sisted upon by appellants for the purpose of turning the chapel into a place of public entertainment. He had examined the lease, and had come to the conclusion arrived at by Lord Justice Buckley. He found nothing in the lease which required that the building should be used as a chapel. Certain trades were forbidden, but there was nothing to prevent other trades. Nor was there any- thing to prohibit internal alterations suitable for such trade. Again, there was a covenant not to vary the front elevation, and a covenant for supporting, upholding, and maintaining. He did not regard that covenant as prohibiting such alterations as those in question. He did not think it waste in this case if a movable railing were put up in place of a wall and iron railing. No harm was done to anyone, and the reversion was in no way injured. The internal changes he considered quite legitimate for the purpose which he held to be allowed by the lease. Appellants were willing to deposit a sufficient sum to secure the restora- tion of this building to its former condition at the end of the lease. As they were asking for an indulgence in regard to other admitted breaches of covenant, he thought the execu- tion of this offer should be made a condition of relief without too curiously inquiring whether the offer was in excess of what the Court would exact, and he agreed that those terms should be in the form suggested by Lord Justice Buckley.
The -appeal was allowed.
DAWNEY v. MULHOLLAND.
In UK* Official Referee's Court Mr. Muir
Mackenzie delivered reserved judgment.
23 after A prolonged hcsring, in an action
brough by Messrs. Dawney and Sons,
Limited, steel constructional engineers, of
London .-ind Cardiff, against Mr. J. B.
Mulholland, theatrical manager, to recover
£2,301. balance of an account alleged to be
due in respect of steel constructional work
at the Wimbledon Theatre, of which the
defendant is the proprietor
The defendant admitted the claim, but fiald that the work should have been completed by June 30, 1910, but was not completed until
12
264
THE STAGE YEAR BOOK.
MAY-JUNE
November 3, 1910, and that under the contract he was entitled to £25 a day as penalties. De- fendant also counter-claimed damages on the ground that he had been prevented from pro- ducing plays which he was under contract to produce during the autumn season.
Plaintiffs denied that they were responsible for the delay, and said that the work was carried out in as short a time as possible, but pleaded that they had been handicapped by the absence of adequate plans.
Mr. J. R. Randal and Mr. H. Cohen appeared for the plaintiffs ; Mr. Maurice Drucquer and Mr. Bodoano for the defendant.
The Official Referee said there had been some delay, and the steel work should have been completed about three weeks earlier than it actually was. On the counter-claim he awarded the defendant £300. There would be judgment for the plaintiffs for the amount claimed and judgment for the defendant on the counter-claim for £300. He gave the plain- tiffs the whole of the costs of the action, but he would not award the defendant the whole costs of the counter-claim, because he (the Official Referee) thought it was exag- gerated and to a great extent it failed. He would award the defendant one-third of the costs of the counter-claim.
JUNE.
LEONISE v. WILLIAM.— PICTURE PALACE AND ITS BAND.
At the Westminster County Court, before Judge Woodifall, Mr. Ugo Leonise, a
5 musician, clai.-ned £40 from Mr. W. William, described as a theatre manager, of 382, 384, and 386, Edgware Road, for alleged breach of contract.
Mr. W. de B. Herbert, counsel for the plain- tiff, said the matters which gave rise to the action occurred in October and November of 1911. In the former month the defendant entered into negotiations with the plaintiff to supply a band of six performers for the Im- perial Theatre, Edgware Road— a picture house— at a remuneration of £10 -a week. The band gave a rehearsal on a Sunday at Mr. William's houses, .and great satisfaction was expressed with the performance. A verbal agreement was entered into to the effect that the engagement should be termin- able by a month's notice, but on November 18 the plaintiff received a letter complaining of the band and intimating that their services would not be required after the end of the week.
The plaintiff gave evidence in support of counsel's opening statement, and added that to meet the requirements of the engagement he spent £6 or £7 on music, and when the band was dismissed he failed to get another engagement for something like three months.
Cross-examined by Mr. Cairns (counsel for the defence), the plaintiff said it was true that some of the musicians were changed after the agreement was entered into, but said the sub- stitutes were equal in ability to those whos" places they took. He himself played solos, and he did not hear the defendant make any com- plaint.
The defence was that the agreement was for a month on trial, that the plaintiff introduced different musicians into the band from those who played -at the rehearsal, and that some of the players proved so incompetent that the 'business of the theatre was damaged in con- sequence. His Honour, in giving judgment, said that
in one of his lettete the defendant had made
a specific reference to a month's notice, and jfl
none of the documents written to the plaintiff had . he complained of such incompetence as was alleged in evidence. It was true that the defendant wrote : " I .am sorry yo<ur music does not suit and that you have supplied dif- ferent musicians." There was, however, no contract to supply certain musicians. Many cases of that kind oaine before that court, and when certain artists were contracted for <they were put ui the agreement. Under all the •circumstances, he thought the plaintiff had establish ed his claim. He did, however, re- ceive what was equivalent to a week's notice, and there would be judgment for the plaintiff for £30 and costs.
KREMER (CLERC) v. THE ALHAMBRA, LTD.— AN OBJECTIONABLE SKETCH. Before Mr. Justice Scrutton in the King's
Bench Division, Edase Kramer, profession- 6 ally known as Elise Clerc, ballet mistress, -sued thd Alhambra Co., Limited, for £40, four weeks' salary, for the defendants' failure to produce early this year a sketch en- titled You May Telephone From Here. The defendants pleaded that they were entitled to determine the contract on the ground that the sketch was objectionable, and that they had the right to dismiss the plaintiff.
Mr. Valetfca appeared for the plaintiff, and Mr. Norman Craig, K.C., and Mr. Storry Deans appeared for the defendants.
It appeared that by the agreement the plain- tiff undertook to produce the sketch for four weeks from January 29, 1912, at a salary of £35 per week, rehearsing and performing it in a correct and satisfactory manner. Clause 6 of the agreement provided that "This act is accepted upon the introduction of and represen- tation made by the engaged's agent, but if it should be considered in the opinion of the management impracticable for working or ac- commodating upon the Alhambra stage the em- ployer shall have the right of cancelling the engagement. If the engaged should, in the opinion of the employer, be considered incom- petent to fulfil the duties of the engagement, or if the performance shall be considered by the employer in any way objectionable, dan- gerous, or hazardous, the engaged will be sub- ject to dismissal at eny time. . . ." By the following clause four weeks' salary was fixed as liquidated damages in the event of a breach by either ptrty.
The defendant* admitted that they had not allowed the performance to take place, but alleged that this was on the ground that it proved to be objectionable, the passages com- plained of being marked on a copy of the per- formance returned to the plaintiff on January 30, and that the plaintiff, despite their objec- tion, continued to irclude these passages in her rehearsal. They counterclaimed the liquid- ated damages of £140, but this claim was not persisted in
Mr. Valetta explained that the sketch was to have been produced at the Alhambra on January 29. There was a rehearsal on Janu- ary 25, and Mr. Alfred Moul, the managing director of the Alhambra, was present. The sketch ran thirty-four minutes. Mr. Moul said that it was too long, and under his direc- tion Mr M. Dudley who wrote the sketch, cut out certain parts. There was r.o complaint that anything was objectionable except the- length. After the bket-ch had been cut down, ,; so that it could be played within twenty-five minutes, Mr. Moul said: " Like that it will be all right." On January 26 tho sketch was again rehearsed. Mr. Bryan, the stage man- ager at the Alhambra, said : " You are off the earth, not on the programme. The programme i-. lull." The plaintiff was told the sketch
JUNE
///A' .SV.lt/ E YEAR BOOK.
265
could not be produced on the 29tb. The com- it ten-led i-ii that day, and were not al- lowed to produce it. It was then su^ lor the first time that the sketch was objec- tionable.
The plaintiff, giving evidence, said she had
produced many of the ballets at the Alhainbrii
and Kmpiiv. Until she had a letter from the
defendants' solicitors on January 29 she did
. i .v it ws said there was anything ob-
.•lable in the sketch.
Mr. Norman Craig, K.C. (cross-examining): lias the tketih been produced7— No, it was
to be for the first lime at the Alliainbra. You agree that if the defendants thought a mauee was objectionable you should be
[subject to dismissal?— If we did not alter it according to what the management wanted \amined.-It had been licensed by the Lord Chamberlain.
Mr. M. Dudley, who wrote the sketch, said that at the rehearsal Mr. Moul only com- plained of the length of the sketch.
Witness said the management did not abject to particular words. There was nothing ob- jectionable en the sketch, and after the first rehearsal Mr. Moul did not say it was objec- tionable.
Mr. Craig : Which were the two most laugh- able eh.iracters they intruded to cut out? Witness: The characters of the two swells. Counsel said in the sketch a scene was divided in the middle, shewing a bedroom and a sitting room. A middle-aged gentleman named Fogs went to bed in the bedroom. A telephone had been installed inside the sitting- room, and the company had put up outside the usual not'ce, " You may telephone from here." The thread of humour running through the sketch was that Fcgg was kept out of bed by people going to use his telephone. These people " included .1 clergyman, a burglar, a young lady, ;i swell clubman, a sportsman, a coster, and two young shells.
Mr. Craig referred to various incidents and words in tho sketch, and witness denied that they were vulgar or objectionable.
For the defence, Mr. Moul said an idea of
til** ^ketch had bear, conveyed to him, but he
had not seen the script before the first rehearsal.
Was the sketch, as rehearsed, in your honest
opinion objectionable? — Ye^
\Vitn'33S said that the p'aintiff sat with him in the grand circle during the rehearsal, and she admitted to him that it was far too long, and that a great deal of it would have to he taken out. As to the incidents he told ber it was a " coarse farrago of nonsense." It was not true that any of the script was pro- duced to him on that day or that he made or indicated certain alterations. He never said, " Like that it will do." Owing to this sketch not being produced anotter turn which cost £50 per week instead of £35 had to be ob- tained.
Cross-examiiied. — When he entered into the
uient what he had to guide him was a
:ption of the sketch from Mr. Dudley,
and the assurance of the plaintiff that it was
a rattling «:cod farce.
His Lordship s-aid that all the defendants had to show was that their disapproval, whether reasonable or not, was honest. He was satisfied that the manager's disapproval was honest. If he had had to express any opinion of Us own, he should have agreed with the opinion of the manager th:it the piece was " a coarse farrajro of nonsense." He was satis- fied, further that the manager never did give '>proval of the piece in the later shape it assumed. Ther^ would therefore be judgment for the defendants on the claim, with costs. Th* counterclaim was not persisted in.
His Lordship added : " I desJre to say in ad- dition that I am not sorry the Court has been
ablo to support a music-hall management in rai>ing the character of its performance." He added that he was surprised that the Lord Chamberlain s department should have i some of the stuff contained in the manuscript.
J;,I:IMIAHDT v. PA YNIE. -(ROYALTIES ON
THE MIRACLE.
Professor Max Rtifabardt, the producer of The Miracle, the wordle.vs play at
Q Olyrnpia, had a.urecd, it was stated in
the King's Bench Division, to accept
£1,250 and costs in settlement of an action
agairst Mr. F. H. Payne <»nd another lor
royalties on the play.
Mr. Shearman, K.C., in announcing the .settlement of 'the case, said that Professor KJeiniha.rdit 'had only arrived from Germany the. previous day. The action -was brought airainst two gentlemen connected with the company owning Olympia. There was a dis l>ute as to the royalties, and counsel was sorry to say that in the pleadings there was a statement .alleging misrepresentation on the part of the plaintiff. That wa.s the only thing that had stood in the way of a settlement. The defendants were mow satisfied that there was no justification for any such statement, and it had ibeen unreservedly withdrawn. The defendant had consented to pay t/he plaintiff what was substantially the whole of hia claim >a.nd a counter-cLaim by the de- fandaiDts 'about 'kinematograph rights, which raised >some mice points of daw, would be with- drawn. The agreement was that the defend- ants would ipay Ito the plaintiff £4,250 and costs on. term* which would he endorsed on counsels' ibriefs
CADLE v. THE HARMONY FOUR.— CLAIM
FOR COMMISSION.
Before Judge Woodfall. in the Westminster County Court, Mr. Ernest Cadle, 6 theatrical agent, sued the Harmony Four for £6 10s. in respect of com- ini^ion on engagements secured for the defen- dants at the Holborn and Islington Empires. The hearing had been adjourned four times in consequence of the defendants having been in Vienna and other places abroad.
The plaintiff obtained various engagements for the defendants, about which no dispute arc e, but in regard to the two engagements at the Holborn ard Islington Halls the defen- dawts alleged tbal their 'manager, Mr. Berger, secured these on his initiative, and expressly stipulated with the plaintiff that he was not to book the Harmony Four for the London Theatre of Varieties, to which company the two halls in question belonged.
His Honour said the case rested on the re- collection of two gentlemen of what actually occurred something like five years ago. Under such difficult circumstances he must be guided by a letter written by Mr. Berger to tho plaintiff a,f a time when no litigation was pern]. , ing. In that letter Mr. Berger said : " Please find £5. for which give me credit. Will send you s;>me more as soon as I possibly can." No mention whatever was made in the letter of ; an unjustifiable claim being made. There would be judgment for the plaintiff with costs.
FRIEDMAN v. PORTER.—" TAKING OVER " ARTISTS.
At Lancaster County Court before Judg-; Haas Hamilton, Jake Friedman, actor, 14 161. Clapham Road, was plaintiff "rn^an action against John Porter, proprietor of me. Lancaster, to recover £27 a!- due under a written guarantee that if plaintiff accepted an engagement to perform at the Hippodrome during the week commenc- ing April 5 last defendant would guarantee
266
THE STAGE YEAR BOOK.
JUNE
that plaintiff's share should not be less than £40. It was alleged that defendant only paid £13, and £27 was claimed as balance, or in the alternative damages for breach of contract.— Mr. J. T. Sanderson, for plaintiff, stated that he was in a substantial way of business, and travelled with a company of twenty. His usual fee was £90 a week, and he paid salaries amounting' to £35 a week. The week before coming to Lancaster plaintiff was at Glasgow, and as the week beginning April 15 was vacant, and he was the week following at Runcorn, he wired to a theatrical agent in London asking if he had anything for that week, and as a result an agreement was made that plaintiff should perform at the Lancaster Hippodrome, and receive 60 per cent, of the gross takings ; and it was guaranteed that his share of the receipts, not the gross takings, should be not less than £40. The gross takings were '£90 5s. 9d., of which plaintiff's share was £54 3s. 4d. Out of that sum he had to pay £41 13s. 4d. to artists he had taken on, and only received £13.— Plaintiff said his turn was called The Dutch Corporal, and he appeared in it as a Dutch comedian. He had to pay the salaries of his company every week, and could not ac- cept engagements without a guarantee. If the guarantee had not been included in the agreement he would not have signed it.— Cross- examined by Mr. J. C. Jackson, plaintiff said he paid Barnard, the Liverpool agent, 5 per cent, commission. He understood that de- fendant had already engaged a number of artists for that week, and that he (plaintiff) was to take over the liabilities of £42 and re- ceive 60 per cent, of the gross takings. He re- plied that he must have £40 guarantee, and the point was incorporated in the agreement
Did you take over the liability of £42?— It is on the contract.
As a matter of fact, what you did get was 60 per cent., but you had to pay £41 odd out of it, so that you only got a balance of £13?— That is what I was paid.
What you suggest is that you should have had £42 for the other artists and £40 for yourself and company?— I did not suggest the £42 a* all. I said I wanted £40 to pay my own
After sending that telegram did you sign the contract?— Yes, because the guarantee is on the contract according to the telegram.
When you sent the telegram you did not in- tend to take over the £42 liability?— I did, because I was doing a speculation.
Mr Jackson contended that plaintiff had to pav the £42 liability which he assumed out of the 60 per cent, (his share) of the gross takings, amounting to £54, and that he had received £14 above the guarantee.
Mr. David Barnard, theatrical agent, Liver- pool, who had been subpoenaed in defendant's behalf said Mr. Porter asked what the £40 meant, and witness told him it was towards the liability of plaintiff's contract for artists already engaged. Plaintiff, witness added, had run shows on a similar contract at two towns since visiting Lancaster, and the matter had been settled without dispute. A similar guarantee was inserted in all " sharing terms contracts to cover the cost of artists taken
°Vlfter evidence had been given by defendant, and Mr. Sanderson had replied, his Honour found for defendant, remarking that he was sorry for plaintiff.
DArEE v BOGNOU URBAN DISTRICT COUNCIL.— UNFIT CHAIRS.
In the Court of Appeal btfcre Lords Justices Vauuhan Williams, Fletcher Moulton, 16 and "Buckley, the defendants in the case of Dars v. Bognor Urban District Coun- cil applied for judgment or a. new trial on
appeal from a verdict and judgment at trial before Mr. Justice Avory and a common jury.
In 1910 Mr. Dare entered into an agreement with the council to provide a band between June 2,7 and September 18, 1910, on the pro- menade at Bognor, the terms being that the defendants should suipply 500 chairs for a weekly rent of 46s. 8d. The chairs were of the folding canvas description, and the plaintiff complained that more than 200 of them were unfit for use, and in some cases broke down when salt upon. In his action plaintiff claimed damages for this alleged breach of the contract amd for shortage of chairs; also damages in respect of loss of profit caused by the de- fendants placing additional fixed seats in the enclosure for the use of visitors. The loss was put at £250. The defendants pleaded that the chairs were fit and sufficient in number, and that the plaintiff suffered no loss of profits, and counter-claimed for damages for alleged breach of agreement on the part of the plain- tiff by failing to keep the chairs in repair.
The- jury found that the chairs were not reasonably fit for use either when delivered or afterwards, and assessed damages on that count at £75. They also awarded £60 for loss of profits caused by the defendants placing additional seats in the enclosure. On the counter-claim they awarded the defendants £3 4s. for loss or non-repair of chairs.
Mr. Hohler, K.C., and Mr. C. M. Pitman were for the appellants, and the respondent was represented by Mr. Waugh, K.O., and Mr. H. M. Giveen.
Mr. Hohler submitted that there was no implied warranty that the chairs were fit for use
Lord Justdoe MouLton: If they were not reasonably fit for use they were not chairs under the contract.
Mr. Hoihler: The plaintiff undertook to "re- pair them.
Lord Justice Buckley: If you hand over proper chairs he has to keep them in repair, but he has not to keep improper chairs in repair. You say whether they were proper or Improper chairs does not matter. If a visitor asked an attendant for a chair, and the at- tendant said. "T ake this, No. 252," would that be a specific chair? And if the visitor sat down for better or worse, and it smashed under him, would he have no remedy?
Mr. Hohler : T!he plaintiff had an opportunity of inspecting the chairs.
Lord Justice Buckley: So, I suppose, would the customer have.
The hearing was continued on June 17, when judgment was delivered.
Lord Justice Vaughan Williams sadd, in re- spect of the claim in regard to the free seats provided by the council, the onily right granted to the plaintiff in his contract was the sole right to pilaoe chairs on hire. By the contract the plaintiff was entitled to make collections from the public, but was not allowed to solicit contributions from anyone who had paid for the use of a chair. Tlhe jury had found that the presence of the free benches amounted to a substantial interference with the plaintiff's receipts from the letting of the chairs, hut it was consistent with that finding that the taking's of the collections were quite as big as any loss arising from a number of the plain- tiff's chairs mot being occupied because the public were supplied with free seats. On the oLaim as to the unfit-Bees of the chairs, he thought they could not interfere with the finding of the jury.
Lord Justice Buckley said it was obviously to the interest of Mr. Dare to iget the largest audience he could, and to get as large ap audience from whom be could solicit contri- butions. By placing free seats in the enclosure the council were attempting to attract a larger
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THE STAGE YEAR BOOK.
267
audience from whom contributions could be solicited, and doing nothing in breach of their covenant. The £60 must be struck out of the judgment. The judgment for the £75 would stand, and the counter-claim -would not be interfered with.
lord Justice Fletcher Moulton delivered judgment to the same effect.
The Court allowed the appeal in respect of the £60, and dismissed the appeal relating to the £75, and did not interfere with the counter-claim. No order was made as to costs.
JOSEPH v. PRESTON.— BREACH OF CONTRACT.
At Arundel County Court before Judge
Markarness, Harry Joseph, manager,
18 of Littlehampton, sued Fred Preston for
£10 for damages for breach of contract.
Mr. Lemon appeared for Mr. Joseph, and the
defendant, who did not appear, was mot
represented.
The evidence of the plaintiff showed that he engaged Mr. Fred Preston during the run of his pantomime, and that defendant was play- ing the wolf. Mr. Joseph was paying him £2 5s. a week, whicfi was 15s. more than the amount stated in his contract, in which the clause providing a fortnight's notice on either side had been struck out. At Gloucester the defendant tendered a fortnight's notice, which plaintiff declined to accept, and when the company left for Belfast, although defendant was on the platform, he would not make the journey. Plaintiff was accordingly put to some expense and inconvenience in finding a substi- tute. Defendant left on April 27, and the tour did not end until June 1.
His Honour said there had clearly been a breach of contract and gave judgment for the plaintiff, with costs.
FOSTER v. MARINELLI.— AGENTS' DIS- PUTE
In the Westminster County Court before Judge Wpodfall, Foster's Variety 18 Agency, Limited, of New Coventry Street, W.C., claimed £40 from Mari- nelli's Variety Agency, Charing Cross Road, in respect of commission due o<n variety theatre engagements obtained for Mr. Sey- mour Hicks and his company.
Mr. G. C. Rankin was counsel for the plain- tiffs, and Mr. J. Davis, solicitor, represented the defendants.
Mr. Rankin said the plaintiffs' case was that through the instrumentality of Morris's Agency Mr. Seymour Hicks's company was booked for the Barrasford halls at Brighton and Southsea in 1909, an agreement being made between Messrs. Morris and the defendants, who were Mr. Hicks's sole agents, that trtie commission should be divided. This was in 1909, and the money claimed was in respect of commission for engagements at the same halls in 1911, the plaintiffs suing under a deed of assignment from Messrs. Morris, the American agents, who had transferred their London branch to Foster's Agency.
Mr. Murray, formerly in the employ of Wil- liam Morris, Incorporated, as European man- ager, said their business was the importation to America of English artists, and in 1909 he obtained an engagement for Mr. Seymour Hicks and Miss Zena Dare. He understood that the commission was to be divided with the defendants. Subsequently he arranged two other dates at the same theatres at Brighton and Southsea at similar salaries.
Mr. Walheim, formerly the defendant's man- ager in London, said he made the agreement
in 1909 with William Morris, Incorporated, in connection with Mr. Seymour Hick's company, and in August he paid the percentage on the 1909 contract. There was an arrangement for two more weeks without any change in ^the
Mr. 'Foster spoke to the transference of the branch business of William Morris, Incor- porated, and said he gave ilnstructions in regard to the deed of assignment.
Mr. Davis submitted that there was no proof of the execution of the deed. In an English company the seal could not be affixed without the direction of the board, and in this case there was no evidence of the seals being pro- perly affixed. This, he maintained, was not an assignment as required by the Judicature Act. Further, there was no written evidence in proof of the plaintiffs' case.
His Honour said he must assume that the requirements of the American law had been complied with, and ihe was of opinion that the execution of the deed had been proved. He found the defendants actually recognising for two years the contract between the parties. There would be judgment for the plaintiffs for the amount claimed, with costs.
STIPPS v. KANDT— DAMAGES FOR BREACH
OF CONTRACT.
In the West London County Court before his Honour Sir W. Lucius Selfe and a
19 jury, a case 'remitted from the High
Court was heard in which John William
Stipps, xylophone player and drummer, claimed
£48 10s. damages from Julian Kandt, band
director.
Mr. J. B. Melville, who appeared for the plaintiff, informed the Court that on Novem- ber 14, 1911, an agreement was made for a tour commencing on March 4, 1912, his salary being £4 5s. per week. In January, 1912, plaintiff was asked to play at Newport and Basimgetoke, but declined the former engage- ment, he having a private objection to that place. Defendant wrote him that if he could not accept both dates he must decline both, and this he did. Following this, defendant wrote him : " Under existing circumstances, I take it you will not care to fulfil the engage- ments under the contract for 1912; in fact, that you will be pleased if I release you from same. I am quite willing to do so. Further- more, I may say that it will be advisable for both of us, as no pleasant business relations can exist between us any more." When the tour should have commenced, in March, he ex- pected the customary card notice when and where to turn up, but no such card arrived, and plaintiff took it that another player had been engaged in 'his prace.
Plain tiff &aid that as he did not receive the usual card he considered that defendant had cancelled the contract for the tour, and he held himself open to take other engagemente. He had done so, and had earned £41 less than he would have had under the contract. Not being advised of the start of the tour, he kncAy that he was not wanted, and that if the musical director refu-ed to have a player, that player could not force himself into the band.
Defendant said that when a musician signed his contract with him he had the first call on the performer's services. When the plain- tiff declined to go to Newport, he returned the cards for other engagements, which he (defen- dant) understood to be that plaintiff had gone out of the contract.
The jury round for the plaintiff, and assessed the damages at £25.
Mr. Valletta asKed for a stay of execution.
"His Honour refused the application, and en- tered judgment for £25 and coats.
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WOOTTOX v. CLARKE.— CLAIM FOR SALARY.
At the Clerkenwell County Court a claim was made by Alfred Wool-ton, pro-
19 fessional vocalist, of St. Anne's Road, Ha rr in gay, against Lucy Clarke, pro- fessional vocalist, of Loraine Mansions, Hoiloway, for £5, as salary in lieu of notice.
Plaintiff said that in February he was en- gaged by defendant for a tour which was to commence on May 13. His salary was to be £2 per week. He attended two rehearsals in April and one on May 1. On May 2 he re- ceived a letter from defendant, in which she stated, " From what I have seen of you to-day I am inclined to think you will not suit me." He saw the defendant about the matter. She asked him to give up all idea of continuing the engagement, and said he was incompetent, in her estimation.
Plaintiff added that he was suffering from a very bad cold during the three days of the rehearsal. He mentioned that to the defen- dant. He was informed that someone else had been engaged to take his place.
In cross-examination plaintiff said he agreed to give two weeks' rehearsals free. There was a full-dress rehearsal on May 13. He did not attend that because he had to attend another rehearsal in the West End. He offered to take part in the performances during the first week.
The defendant, in evidence, said that after the plaintiff had attended two or three re- hearsals she felt quite sure he would not /uit her. But she was willing to give him a fort- night's trial if he had put in his rehearsals. Her intention in writing the letter of May 2 was that plaintiff should finish the rehearsals and that he should work for the first fort- night. He never came to any rehearsal after that.
Replying to her solicitor, defendant said that on the Monday of the performance they had a band rehearsal, which she asked plaintiff to attend. She received a reply that he was rehearsing elsewhere. By the terms of her contract she was to have nine performers on the stage at the same time.. She was placed in seme difficulty in getting another man to take plaintiff's place.
His Honour, in giving his decision, said there was no reflection on Mrs. Clark's good faith in the matter, but there was enough evidence to show that on May 2 she said something which justified plaintiff in assuming that his services were not required. Judgment would be for plaintiff for £5, and costs.
MILLER v. MELODRAMA PRODUCTIONS SYNDICATE.
At the Wandsworth County Court Mr. Frank Miller, who ; ppeared as one* of the 24 Anarchists in the play After Midnight when presented at the Shakespeare, Clapham, brought an action for compensation for injury to an eye caused by a gunshot wound. It was explained by Mr. G. A. Nichols that one of the scenes in the play was an Anarchists' flen. Plaintiff, who is a hotel painter in the day time, was one of the band of Anarchists, who liad to fall out among them- selves, their instructions being to fire as many shots as possible with their revolvers and to overturn chairs, one of the performers fired within close range of the plaintiff's eye, and some of the powder entered the eye, severely injuring it.
Mr. Nichols stated that the respondents, the Melodrama Productions Syndicate, had offered £35 compensation, which plaintiff was willing to accept. — His Honour accordingly made this award.
BAUGH v. BOLTON HIPPODROME.— BREACH OF CONTRACT.
Mr. Frederic Baugh claimed £50 on a con- tract in an action against the proprietors 2 6 of the Hippodrome, Bolton, before Judge Woodfall in the We^iniusltr County Court. The defendants courterclaimed for £70 in respect of alleged breach of contract.
Mr. F. H. Baber was counsel for the plain- tiff, and Mr. Beyfus represented the defend- ants.
Mr. Baber said the action arose out of the production of a drama called On the Frontier at the Bolton Hippodiome in April, 1912. The contract between the parties stipulated that plaintiff should receive £120, or fifty per cent, of the total takings whichever was the larger, but on the Saturday night when payment became due. only £70 was paid, leaving a balance of £50 due. Earlier in the year On the Frontier had been played at Sadler's Wells and other theatres around London, and the same company was sent to Bolton, and no complaint was made until the end of the week, when objection was taken to the num- ber of players and supers. On the Saturday when the £120 was due only £100 was taken, and £50 was then offered by the defendant's manager, but this was refused, and ultimately £70 was paid on account.
Mr. Car-nichael, stage-manager of the On the Frontier company, said the cast was the same when the piece was played in Bolton as when it was produced in London and neighbourhood. The business done ait Bolton was certainly bad. but the manager explained this by pay- ing that it was due to the coal strike, the tropical weather, and several opposing attrac tions.
Mr. Archibald Parnell, called for the de- fence, said when he arranged with the plain- tiff for On the Frontier to be sent to Bolton he was told that there would be twenty-six principals and thirty supers. Instead of that, only eleven principals, nine in a band, and fifteen supers appeared.
Mr. Arthur Harrison, manager of the Bolton Hippodrome, said the week in which On ths Frontier was played at that establishment proved to be the worst of the year. Fifty per cent, of the takings was offered the plain- tiff on the Saturday, and this was increased to £70 only in order that the theatrical company should not have to stay in Bolton.
Mr. Beyfus contended that there should have been fifty-six persons in the company, and further, that the company was ineffi- cient.
His Honour beld that the plaintiff produced the drain.* as he contracted to do, and gave judgment for plaintiff on both the claim and counterclaim, with costs.
LAURI v. PARR.— ARTISTS AND DISTRI- BUTING BILLS.
Before Sheriff Irvine at the Aberdeen Small Debt Court, Fred Parr, the proprietor 27 of the Beach Pierrots, was sued for £7 by Stanley Laud, baritone, and Ray Phillips, comedienne. They alleged that they were engaged by the defendant to appear and perform at the Beach Pierrots exclusively as baritone and comedienne at a salary of £3 10s. per week during the season 1912, subject to a fortnight's notice on each side, and that they were on or about June 10 dismissed because Lauri declined, as he was justified in doing, to distribute handbills to the audiences. Plaintiffs were, therefore, entitled to their wages for a fortnight.
Mr. John S. Yule, solicitor, represented the
JUNE-JULY
THE ST.\<
269
defendant, and Mr. G. A. Smith, solicitor, the plaintiffs.
Mr. Yule said the salary was not £3 10s., but £2 10s. Lauri was dismissed in consequence ol his refusal to distribute handbills, but Phillips was not dismissed. Defendant was justified in dismissing Lauri, because he would not dis- tribute the bills.
Mr. Lauri, answering Mr. Smith, paid the other plaintiff was his wife, and he entered into a joint agreement with Mr. Parr regard- ing his wife and himself. The agreement was that the salary should be £3 10s. On termina- tion of the agreement, each side had to give a fortnight's notice. Under the contract he j went to Mr. Parr as a baritone. When he went he was not asked to distribute bills. The first week he drew full wages, but the ; amount was reduced to £2 10s. the next week ! on condition that the engagement was for the whole season. He got a letter from Mr. Parr on June 9, intimating that he would have to go at the end of a fortnight in consequence of I bad business. The next day Mr. Parr asked him to deliver handbills, and plaintiff said he did not consider it his place to give them ! out. He never had done so before. Mr. Parr I then said they were finished, seeing he (wit- ness) had refused to hand out the bills. Wit- | ness then said that did not interfere with hi? contract. He would turn up and do his work : as usual. Mr. Parr told the stage manager i that he was not to be allowed on the stace ; or to enter the dressing-room. There was an attendant for handing out the bills. He con- sidered his wife was also dismissed, as the agreement applied to her as well as to him.
The Sheriff held that the dismissal was not justified, and awarded the plaintiffs £5, with expenses.
JULY,
WISBECH PUBLIC HALL CO., LTD., v. TAYLOR.— A DISHONOURED CHEQUE.
At the Wisbech County Court before his Honour Judge Mulligan, K.C., the 1 Wisbech Public Hall Company, Ltd., sued R. H. Taylor, otherwise Dunberry, manager of the A.B. Picture Company, Royal Theatre, East Dereham, for £7 12s. 6d., for hire of hall and cost of gas used. There was a counter-claim by defendant for £50 for damages by plaintiffs' manager interfering, otherwise tampering, with the engine belong- ing to the defendant, and used for the purpose of his business. Mr. J. H. Dennis appeared on behalf of the plaintiffs, but defendant did not appear, nor was he represented.
Mr. Dennis said the claim was for £7 12s. 6d., the amount of a cheque drawn by the de- fendant with Messrs. Barclay and Co., in favour of Mr. Fisher, the manager of the company, for two weeks' hire of hall and gas used. The cheque was returned marked " R.D."— refer to drawer. The defendant had now filed a counter-claim for £50 against the company for damages by reason of an alleged action of the company's manager. He did not •think the defendant would turn up. I> • iVndant did not appear.
His Honour, after hearing the evidence, said someone named Taylor, otherwise Dunberry, otherwise Macdon, engaged the hall for kine- matograph performances. The performances were given, and defendant, when he went away, expressed himself as satisfied and left a cheque for £7 12s. 6d. for the rent of the hall and- laanount of gas used. The cheque was returned, -and defendant now had the audacity to make a counter- claim for alleged damages for £50. Defendant
went away satisfied, and paid a cheque after the perinuii.uiees were concluded, and it
I IM him that there was no shadow of foundation for such a claim. There would be judgment for the plaintiffs, with costs, on
' am and on the counter-claim. There would be an order for immediate payment.
PAU.KER AND ANOTHER v. SOUTH OF
ENGLAND HIPPODROME. LIMITED.
In the King's Bench Divisional Court before Justices 'Ridley and Lush, the South of
2 England Hippodromes, Limited, ap- pealed agaiius-t a decision of Judge Woodfall at Westminster County Court, who had awarded the plaintiffs, " The Gotham Quartette," £40 as damages in their action for breach of contract.
The plaintiffs were engaged to perform at halls under the control of the defendants. A clause in their agreement provided that " the artist may be transferred during the whole or any part of the engagement, not less than one week, to any other theatre or hall under the control or associated with the manage- ment, with the consent of the artist, such consent not to be unreasonably withheld." In March the plaintiffs were directed to per- form at Boscombe for a week. Then they were directed to perform at Brighton and to play at Boscombe subsequently. They declined on the ground that in the previous week a troupe which imitated them had appeared at Brighton. Thereupon the defendants refused to allow the plaintiffs to appear at Boscombe.
The question to be decided was whether the plaintiffs had unreasonably withheld their con- sent to the change.
The county court judge held that they were within their rights.
Without calling upon the counsel for the plaintiffs the Court dismissed the defendants' appeal.
Mr. Justice Ridley said there was reason to believe that the reputation of artists might suffer if they were to appear at a hall a week after imitators had performed there. The reason given by the artists for refusing to be transferred was not frivolous.
[For report of case in County Court see May 15.]
DANN v. KUBELIK.— PRESS AGENT METHODS.
Thomas Lumley Dann was the plaintiff in an action of breach of contract against
8 Jan Kubelik, the violinist, which came before Mr. Justice Darling in the King's Bench Division.
Mr. Schiller, in opening the case, said that in 1911, Mr. Kubelik approached Mr. Dann by means of his agent, Mr. Powell, to ascer- tain whether some sort of advertisement could be got up with a view to stimulating public interest in him. Mr. Dann had seen an account in the newspapers of a little boy called David Paget, who had been playing the violin outside the theatres and in the streets in order to support his sick father and the whole of the family. The lad was about twelve years of age, and he had won the competition organised for street musicians by the Daily Mirror. Mr. Dann realised that the best thing was to appeal to the public sympathy in order to attain the desired result for Kubelik and for the boy. He suggested that Kubelik should take an interest in the lad, and Kubelik thought it a good idea that the matter should be written up. A meeting was arranged between Kubelik and the boy at Kubelik's flat at Linden Gardens, Kensington,
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THE STAGE YEAR BOOK.
JULY
after which they drove to the premises of Mr. Hill, the violin maker, in Bond Street, and Mr. Kubelik presented the boy with a violin in place of the old 7s. 6d. fiddle he had used at the street corners. Mr. Dunn took great care that the utmost publicity should be given to this incident. It was part of Mr. Dann's business. Proceeding, counsel said the result was that Kubelik got a tremendous boom in the Press. At that time he gave a concert in the Albert Hall, and the Press boom bad a very satisfactory result on a farewell concert he announced a few days later. That concert was a great success. The public, indeed, mani- fested their sympathy towards Kubelik to such an extent that he thought there was an ex- cellent opportunity to give a second farewell concert. So great was the success of that second farewell concert that Kubelik gave a third farewell concert. In the meantime Kubelik, said counsel, broke his contract with regard to giving the charity concert, and the consequence was the Press notices as to Kubelik's kin/d-neea and generosity, and the interest he was taking in the boy, David Paget, ceased. Kubelik paid Mr. Dann a remuneration for the boom. In connection with the larger scheme organised to assist the boy, David Paget, an arrangement was come to between Mr. Dann and Kubelik, and Mr. Dann enlisted the sympathy and support of the Daily Mirror to the scheme, by which money was- to be raised for the musical edu- cation of the boy and for the support of the family, who were dependent upon the lad's playing in the street. Mr. Dann also arranged that a souvenir should be sold, and he saw literary and artistic people, to see if they would support it. He received a poem and a picture, which were to be published in the souvenir. Kubelik was enthusiastic about the concert and the souvenir, and thought that it would bring in such a large sum that it would be possible to also found a fund for meritorious and necessitous musicians. Mr. Lionel Powell, a partner in the firm of Kubelik's agents, wrote to Mr. Dann on June 15, 1911:—
" Confirming arrangements with reference to the Mirror Kukelik charity concert, namely, that Mr. Dann should take 10 per cent, of all receipts, and that Mr. Powell's firm should give their services."
Mr. Dann wrote back to Kubelik agree- ing to this, and also wrote a letter to the Press, which he sent to Kubelik for signature. The letter was to have been sent with a letter from Mr. Dann and a sketch of the boy's career, but they were never sent, because Kubelik would not go on. Kubelik's letter started :—
Dear Sir,— On my arrival in London recently a headline in the newspaper, " Kaiser and Street Violinist," caught my eye, and I read in the article of a 13-year-old English boy who had for two years been playing in the streets, and had had the honour of playing before the German Emperor and Empress at Lady Londes- borough's garden party on May 25. ... He played the intermezzo from Cavalleria Rusti- cana, and although entirely without training he gave a wonderfully good rendering. . . . I shall be happy to subscribe 50 guineas, and subscriptions can be sent to me. . . .
Counsel said the fifty guineas had not been paid.
In reply to the judge, counsel said that although Kubelik did not write that letter, the statement that Kubelik first saw about the boy in the newspaper was entirely correct.
Mr. Justice Darling: Mr. Kubelik believed that the boy was an untrained genius, and
you say he knew that the boy had had some lessons ?
Counsel: Yes. I submit that 60 lessons Is a mere " drop in the bucket." He can honestly be described as untrained.
On June 28, 1911, counsel continued, Mr. Kubelik wrote to Mr. Dann: —
" Information has come to my knowledge which has decided me not to go on with the proposed charity concert, and I hereby formally withdraw the letter which I sent a short time ago."
Mr. Schiller said Mr. Dann estimated that the concert would have brought in from £7,500 to £10,000, and Mr. Dann had lost 10 per cent, on that sum. Mr. Dann was forced to bring the action on his- own account and for the boy.
Mr. Dann, examined by Mr. Schiller, said he first came in contact with Kukelik through his agent, Mr. Powell. Mr. Powell explained that in consequence of the Coronation tickets for Mr. Kubelik's concert on a Sunday were not going at all well, and asked if something could be done to boom it. At the suggestion of Mr. Powell, witness got in one newspaper a carica- ture of Kubelik done by himself, each line representing a note in music. He also made arrangements to have an article in the Daily Mail on advice to a young violinist. The article was to be signed by Kubelik, and there was also to appear a picture of the distin- guished artist and the caricature of his own design. Witness pointed out to Mr. Kubelik that, in order to get publicity while the Coro- nation festivities were proceeding, the best thing was to get up something sensational. He suggested that Mr. Kubelik should give a violin to the boy who had played before the Kaiser and the German Empress the week pre- viously, and that a photograph could be taken of the presentation of the violin. The witness also boomed a new " Strad " Mr. Kubelik was to play on at one of his concerts. Mr. Kubelik wanted it stated in the Press that he was to play on his new violin, that he had given 5,000 guineas for it, which was the highest amount ever given for a violin, and that he had re- fused 10,000 guineas for it. In the opinion of Mr. Kubelik, it was a splendid idea of witness that the lad Paget should be found, and t-has ho should be presented with a violin. The lad, who was then playing at a mufeic-hal' at &t. Helens, was brought to London, and had an interview with Kubelik at ten o'clock the following morn- ing. The boy was accompanied by his man- ager. Mr. Kubelik asked the boy what train- ing he had had, and the boy replied that he was- first taught by his father, that he after- wards received some lessons from a lady, and that he had lately won a scholarship at the London Academy of Music. Afterwards they drove to Mr. Hill's, in Bond Street, and the witness invited Press photographers and a Daily Mirror representative.
Kubelik expressed his wonder to everybody at the boy's talent. Someone suggested another picture— Kubelik at the piano accompanying the boy. They went to Hill's in Bond Street. A news agency was asked to send a photo- grapher, and a picture was taken.
Mr. Justice Darling: You arranged the per- formance, Mr. Dann?
The witness said he did, and added that Mr. Kubelik paid him 40 guineas and his expenses. The witness sent the story of the boy's life round to the Press. As to a concert given by Kubelik at the Albert Hall at that time, the witness said the crowd shouted, " Good old Kubelik ! " The witness added that Kubelik's opinion was that the boy had immense talent and possessed the soul of music. The question was discussed of getting up a fund to have the boy trained. They decided it would cost
JULY
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271
"> for the education of the bo>y and to keep the family. Kubelik said they would set more than £5,000, and the rest could go into a fund to assist young violinists. It was <it'<.ji<led to go to the Daily Mirror to ask them to boom it. It was decided he should have 10 per cent.
Cross-examined, the w>*iess said that both Kubt'lik and himself knew that the boy had received lessors.
The witness said Kubelik withdrew from the concert because he wished to get home to Bohemia, where he had bought the estate of a prince. He did not wish to stay here when he had got all the advertisement out of the boy.
The witness denied that he ever told Mr. Powell that the boy was absolutely untrained. He admitted that he was plaintiff in the action of " Dann v. Curzon," which related to the matinee hat incident at the Prince of Wales's Theatre. In his opinion that was not a fraud.
David Paget, giving evidence, said lie lived at Brixton. In May last, when he saw Mr. Kubelik, the latter was very pleased to see him. The witness told him, in reply to ques- tions, that his father taught him to play the violin and that he had twenty-five lessons from a lady. He also told Mr. Kubelik that he was then having lessons ,at the London Academy of Music, where he bad won a scholarship. Mr. Kubelik bought him an old French violin. The lessons at the lady's house only lasted about a quarter of an hour. At the time he had had about ten lessons of about half an hour at the Academy. " I think they did me a lot of .good, too,t% Tie added.
Mr. Charles (cross-examining): Did not you tell Miss Perkins at the Academy that you had no lessons except from your father? — My mother made a promise to Mme. Bloxham that 1 would not say I had had lessons from her as she was ashamed of my playing.
Mr. Charles, for the defence, said there was not a word of truth in the plaintiff's state- ment that Mr. Kubelik wanted to advertise himself; his name was very well known, and he had engagements booked until 1915. Mr. Kubelik, he was sorry to say, was now ful- filling engagements in the south of France, and was unable to break his contracts there to attend the court. "Mr. Kubelik's manager, Mr. Powell, would give evidence that Mr. Kubelik's impression was that Mr. Dann stated that the boy had never had a lesson. Counsel was un- able to say definitely, however, whether any- thing was said about previous training. Mme. Bloxham, seeing the statement that the boy was untrained, communicated with Mr. Kubelik, who acted rightly in stopping the concert, as any honest man would have done.
The hearing was continued on July 9.
Mr. Lionel Powell, a member of the firm of Messrs, Schultz, Curtis, and Powell, examined by Mr. Charles for the defendant, said his firm were sole agents, and had sole control of all concerts in which Kubelik was engaged in England and America. He personally attended to all Kubelik's business matters connected with the concerts. He had known Mr. Dann for two years, and had dealings with him in Press agency work. Mr. Dann had done a certain amount of Press agents' work for Kubelik, and had been paid for it. It was not true to say that the witness paid forty guineas to Mr. Dann in respect of work he did for the boy David Paget. The Coronation year in the matter of concerts was the most successful year they had had. It was not the case that Kubelik was feeling the want of interest in his concerts. • The witness further said he was quite cer-
tain that Mr. Dann told him that the boy Pagett was untrained.
iMr, A. Hill, a member of a firm of violin makers in Bond Street, said he wae present il the shop when Mr. Kubelik and Mr. Dana came to buy tlhe violin for the boy Da<vi4 Pagett.
Mr. Charles: Did Mr. Damn say anything about the boy's training?— There was a general eonvereataon about the boy. I recollect that Mr. Dann said the boy was eelf-taught. That was said in the presence of the boy, three .-n.r -alists, and two photographers.
Did the boy contradict it?-— The boy naturally -was modest and said very little.
His Lordship, in sum • ing up the case, said that when the jury considered whether Mr. Kubelik believed the boy to be trained or untrained, they must take into consideration the letter written by Mr. Dana and signed by Mr. KubeMk. That Utter said :—" After son:e c< nversatioa, Pagett played an intermezzo from Cavalleria Rusticana, and, although entirely without training, he played with remarkable expression, nnd prodKced a wonderful singing tone, which was irore surprising, as his vioi;n originally cost only 7s. 6d." If Mr. Dam: rea'ly told Mr. Kubelik from the first about the boy's lessons, how came he to write that letter? That letter would have been issued to the public in order to get money for the boy, had not Mr. Kubelik received this inti- mation: "Madame Theodore Bloxham begs to state that she gave David Paget eixty violin lessors between 1908 and 1910." Immediately upon that co-nmunicatton, Mr. KuB'elik wrote Mr. Dann intimating that he would not go on with the charity concert, and requesting that the letter should not be published. They had heard the Attack on Mr. Kubelik. He had had some litigation and judgment had been given against him. There had been disputes and the creditors bad issued bankruptcy pro- ceedings against hi a.
Mr. Charles: TJiia was only issued a week ago.
His Lordship, continuing, eaid Mr. Kubelik had further been attacked for not being pre- sent in court. The jury might attach what importance to that they thought right. What did the jury think of Mr. Dann? The matinee hat incident in Mr. Da-nn's career his Lordship considered reprehensible. Mr. Dann, Mr. Frank Curzon, and Miss Eardley arranged between them the most discreditable farce. Mr. Cur- zon was to catch hold of Miss Eardley and tell her to remove a large hat, and, on her refusal, to catch hold of her and remove her from the stalls. That was not an assault, as the person consented to it. When Miss Earrt ley swore before the magistrate that Mr. Cur- zon had committed an assault, she swore what she knew to be untrue and what Mr. Dann and Mr. Curzon knew to be untrue. What was Mr. Dann's excuse? He said, "I did not give evidence and did not commit perjury." He might not have committed perjury, added his Lordship, but there was another offence, and that was suborned perjury, and if Mr. Dann was in court it might be useful to him to know that that was a criminal offence. Therefore, people had better take care how they indulged in any more farces of that de- scription. It was not only, as Mr. Schiller seemed to think, treating courts of justices with disrespect. The reason why the public were interested in having courts of justice treated with respect was because courts of justice were where the public had to go to get their rights, and anybody who would extenuate deceiving a police magistrate might very well extenuate a man who would not hesitate to deceive a jury. The man who would do the
12*
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THE STAGE YEAR BOOK.
JULY
one would probably not scruple very much about doing the other.
At the close of the summing-up a juryman inquired if Mr. Hill might be recalled. His lordship assenting, the juryman asked: Could Mr. Kubelik recognise whether the boy had lessons or had not?
Mr. Hill : I think he could.
The jury's findings to the questions left them were as follows:—
1. Did the defendant contract and agree with the plaintiff as alleged?— Yes.
2. If so, was the agreement entered into under the mutual mistake of fact that both plaintiff and defendant believed the boy was untrained?— No. In our opinion they both knew that Pagett had had lessons.
3. Was it the basis of the agreement that David Pagett was then an untrained musi-
4. Was David Pagett an untrained musician? —In our opinion the lessons Pagett had re- ceived did not constitute a training.
5. What damages?— Damages, if agreement broken, £150.
His Lordship entered judgment in accor- dance with the findings of the jury.
WALLER AND ANOTHER v. LONDON THEATRE OF VARIETIES.
QUESTION OP " EXTRA " MUSICIANS.
Two violinists, members of the Musicians' Union, claimed damages from the Lon-
8 don Theatres of Varieties, Limited, in an action before Judge Woodfall in the Westminster County Court. The plaintiffs were Mr. Sims Waller and Mr. Terresfield, and the amount of the claim was £10 13s. in each case sued in respect of alleged wrongful dismissal.
Mr S. P. J. Merlin, counsel for the plaintiffs, said that in October, 1911, extra musicians were required at the Palladium to play the music in The Duchess of Dantzic, and the two plaintiffs were engaged at a weekly salary ol £2 lls. tor four week*. The plaintiffs attended three rehearsals on the Friday and Saturday prior to the production, and on the second day they were told to be at the hall at 3.30 on the following Monday afternoon. When, however, the plaintiffs and the other extra musicians went to the stage door at that hour they were told they could not be allowed inside, and the manager informed them that their ser- vices had been engaged vf or the whole of each performance, and not merely to assist in the rendering of the music of The Duchess of Dantzic.
The plaintiffs repudiated such an under- standing. They had previously played as extra musicians at the Hippodrome during the performance of Cavalleria Rusticana and else- where, and had never previously been expected to play more than in the special productions. The present claim was in each case for four weeks' salary, and 9s. in respect of the three rehearsals on the Friday and Saturday. •
The plaintiffs both gave evidence in support of counsel's statement, and denied that any understanding was come to with the Palla- dium management that they should play during the whole of each performance.
In reply to the judge, the plaintiffs said The Duchess of Dantzic was the only thing re- hearsed on the Friday, and all the members of the orchestra were present
Cross-examined by Mr. C. H. B. Ince, counsel for the defendants, the plaintiffs denied that the action was brought because the Musicians' Union considered the pay offered inadequate.
Several witnesses, including Mr. Jesson, L.C.C. (London Secretary of the Musicians'
Union), and Mr. Williams, General Secretary of the Union, gave evidence in support of the plaintiffs' 'case.
The defence was that there was a distinct agreement that the plaintiffs and others tem- porarily employed were to play not only In The Duchess of Dantzic, but throughout the programme.
Mr. Parspns, of the Palladium orchestra, said the plaintiffs were expected to turn up at rehearsal on the Mond'ay, but they failed to do so, and when he went to the offices of the Musicians' Union to ask for an explana- tion Waller said the money was not enough.
Cross-examined, witness said he did not tell the plaintiffs that they wanted extra musi- cians for The Duchess of Dantzic alone; what he said was that the management was aug- menting the orchestra.
Mr. Foster Marner, manager at the Pal- ladium, said The Duchess of Dantzic only took 37 minutes to play, whereas Cavalleria Rusti- cana at the Hippodrome (where the plaintiffs were engaged as extra musicians) played for one hour and ten minutes. The Mr. Ross, who it was said had told the plaintiffs and others to be at the Palladium at 3.30 on the Monday afternoon, was the musical director engaged by Mr. George Edwardes to superintend the production of The Duchess of Dantzic, and he had no authority to give any such order. Extra musicians when put on were supposed to give their services for the whole show.
Mr. Ince, on behalf of the defendants, sub- mitted that the action was simply an attempt on the part of the Musicians' Union to revoke the agreement come to in October last for the payment of £2 lls. to members of a London orchestra.
Mr. Merlin urged that the plaintiffs were employed as extras to play only during the presentation of The Duchess of Dantzic. Counsel repudiated the suggestion that the action was instigated by the Musicians' Union.
Judge Woodfall gave a reserved judgment on July 19. He said the fact of the plaintiffs being employed as "extras," was not, he thought, affected by the Askwith award, be- cause they were employed on the same terms as were fixed by that award. The point was whether the plaintiffs were engaged to play only during the production of The Duchess of Dantzic, or whether they were engaged in the sense that the orchestra required augmenting, and they were taken on as ordinary members of the orchestra to play during any " turn " that might be presented. It had been shown that plaintiffs had previously been engaged as " extras " to play during the production of one piece only, and it was urged that the fact that The Duchess of Dantzic was put on for one month only was strongly in favour of plain tiff's case. It was true that that might be held to cut both ways. It might be said that, although The Duchess of Dantzic was only being put on for a month, it was deemed ad- visable to augment the orchestra as a whole at an opportune moment. It seemed to him, however, that the more reasonable view was that the " extras " were engaged to play for The Duchess of Dantzic only during the month that that piece was produced. It was signifi- cant that tho plaintiffs were engaged for one month only, and he had come to the conclu- sion that they had proved their contention that they were engaged as " extras " to paly only 'luring the production of the one particu- lar piece. The question then arose as to what damages the plaintiffs had sustained. They had produced no evidence to show that they rright not have obtained other employment during th>> period they were not allowed to play at the Palladium, and under these cir- cumstances he should give judgment for plain-
JULY
T/IK STAGE YEAR BOOK.
273
tiffs for seven guineas each, with costs, on Scale B.
Counsel pointed out that the decision was of ronaiderable import-Tree to a number of other musicians who had been engaged as " extras," ;u.-d who wouli probably bring actions.
Hi- Honour: Then I will give costs on Scale A.
FOSTER v. BOGANNY.-CLAIM FOR COMMISSION.
In the Westminster County Court the
Boganny Troupe were defendants in an
11 action brought against them by Foster's
Theatrical Agency for commission
a lifted to be due to^ them.
Mr. Bolden, solicitor for the plaintiffs, said his clients obtained an engagement for the defendants at the Royal, Hanley. in 1909, and under the terms of the contract the defen- dants were liable to pay on "the next engage- use nt " at th^ theatre. This, it was said, took place in January, 1912, and it was in respect of this engagement that commission was now claimed.
Mr. J. S. Stooke-Vpughan, solicitor for the defendants, said thaf. during the 1909 engage- ment the sketch, The Lunatic Bakers-, was the only one produced, whereas when the defend- ant troupe went to Hanley in January of this year they played in a different sketch, Scenes in an Opium Den. In connection with this there was no agreement with the plaintiffs, and he submitted it could not, under the con- tract, be held to be a return engagement.
Mr. Joseph Boganny, the principal defendant, here out this statement, and said in 1909 the tioupe only had one sketch running— The Lunatic Bakers— and the sketch performed at Hanley in January, 1912, was of a distinctly different character. This ye<ar's engagement ' looked for him not by the plaintiffs but by another agency.
Deputy Judjze Lush gave judgment for the defendants, with ccsts.
KIARO v. ABRAHAMS.
At Bow County Court, Judge Smyly, E.G., decided, in a claim by an actor against 1 2 a theatrical manager for breach of con- tract, that the plaintiff, by the con- tract, was bound to go to arbitration first.
The action was brought by Jules Kiaro, an actor, of 162, Acre Lane, Oldham, against A. E. Abrahams, a manager, of 73, Romford Road, Stratford, and the claim was for £8, one week's wages, on the ground of breacn of contract,
Mr. Russell Davis, barrister, was for plain tiff, and Mr. A. A. Robinson, solicitor, was for defendant.
Plaintiff said he entered into a contract with Mr. Abrahams for an engagement at the King's, Kirkcaldy, at a salary of £8 a week. Subsequently he received a* letter cancelling the engagement on the ground that the theatre had changed management, and hud been turned into a picture palace. He did not consider sufficient notice had been given.
[Mr. Robinson, for his client, made the objection that by the terms of the contract plaintiff was bound, in the case of such a dis- pute as this, to go to arbitration before taking legal proceedings, according to the provisions of the Arbitration Act of 1889.
Mr. Russell Davis submitted that the. pro- vision referred to did not apply to euch a case as this.
His Honour having read the terms of the contract, and heard the legal arguments, said he had come to the conclusion that the ob- jection taken was good and must hold. He therefore non-suited the plaintiff.
HURST v. LONDON THEATRES OF VARIETIES, LTD.
Judge WoodfaU had before him, in the Westminster County Court, a case in 1 2 which Mr. Frank Hurst, a professional violinist, sued the London Theatre of Varieties, Ltd., for £6 9s. in respect of two week's salary and 9s. for extra services ren- dered.
Mr. Bennett Calvert was counsel for the plaintiff and Mr. C. H. B. Ince defended.
The plaintiff was engaged at the Palladium as leader of the orchestra, and temporarily acted as conductor. On Saturday, February 3, the manager informed him that a Mr. Sheldon would take up the position of con- ductor on the following Monday, but on the evening of that day, Mr. Sheldon being absent just as the performance was about to com- mence, the manager told the plaintiff to take his place. This the plaintiff refused to do, as he thought he was not being treated fairly, and the next day he was told that his services would no longer be required.
In evidence the plaintiff said that when Mr. Marner, the manager of the Palladium, told him on the Saturday that Mr. Sheldon would conduct on the Monday, witness asked, " What is the matter with me?" Mr. Marner re- plied, " Nothing is the matter, but Gibbons is a rather funny fellow, and you are not flowery enough with the stick." (Laughter.)
For the defence Mr. F. Marner, the Pal- ladium manager, said the plaintiff was dis- missed for disobeying orders. As leader of the orchestra, it was his duty, if requested by the management, to take the place of the conductor in the event of the latter's tem- porary absence.
Witness further said that when dismissing the plaintiff he offered him two weeks' salary, as there had been a lot of trouble with the members of the orchestra. The plaintiff, how- ever, refused the offer. When the plaintiff declined to take the conductor's seat, witness had to call on the next violinist, otherwise the performance could not have gone on.
His Honour : If a man in the position of first violinist is to dispute the order of the manager and refuse to let the performance go on. I don't know what is to become of things.
Mr. Calvert urged that the manager's order was not a reasonable one. The plaintiff had been acting as conductor for three weeks without any additional remuneration, and when resuming his place as leader in the orchestra he told the manager that he should refuse to act as conductor again, and this was tacitly acquiesced in.
Mr. Ince urged that the order given to the plaintiff to take the place of the conductor was a reasonable one, and in accordance with the custom of the profession.
His Honour said that after hearing the arguments of counsel he wa% bound to say that the opinion he had expressed earlier in the case was a rather hasty one. The case was of considerable importance to members of orchestras and also to managers of places of amusement, and but for the smallness of the claim he would have adjourned the hear- ing for further evidence, the plaintiff was engaged as leader of the orchestra, and there was nothing in the contract which placed any obligation on him to conduct. When he did take the conductor's place he did so to oblige the regular conductor up to that time, and who had been taken ill. Another conductor was then engaged by the defendants, and the question was, Had they a right to take his place? He thought not under the contract; and with regard to the custom of the profes- sion, the defendants, upon whom rested the onus of proof, had called no conclusive evi- dence to establish that point. Under these
274
THE STAGE YEAR BOOK.
JULY
circumstances there would be judgment for the plaintiff for the amount claimed, with costs.
An application for leave to appeal was refused.
PENMAN v. CLAYMORE.— APPLICATION FOR INJUNCTION.
Before Hon. Sheriff-Substitute Ross, in Dun- fermline Sheriff Court, a petition was
1 6 presented at the instance of George Penman, 'spirit merchant, Cowdenbeath. against Henry Claymore, Kitty Claymore, and Harry Claymore, singers, dancers, and jugglers, known as the Claymore Trio, Picture Palace, Canmore Street, Dunfermline, for the purpose of having them or any one of them inter- dicted from performing in the Olympia Pic- ture Palace during the week commencing July 15, 1912. Pursuer stated that defenders had entered into an agreement with him on Octo- ber 18, 1911, in which the defenders bound themselves to appear at the Empire, Cowden- beath, belonging to the pursuer, for the week commencing December 1, 1912. By Clause 5 of the agreement it was declared that the defenders should not at any time with'n fifteen months prior to the completion of their engagement with the pursuer perform at any place of amusement or public place within a Iradius of ten miles from the pursuer's theatre.
The interpretation of the agreement was de- bated before his Lordship by Mr. Macbain for pursuers -and Mr. D. M. Conn el for the de- fenders, and his Lordship decided not to grant the interdict.
COLLIER v. POOLE'S, LIMITED. At Ystrod, Rhondda, County Court, before Judge Bryn Roberts, John Collier, hotel
1 6 proprietor, sued Messrs. Poole's, Limi- ted, lor £53 in respect of damages
alleged to be the result of a fire in November, 1911, at the Tivoli, Pentre, Rhondda, which adjoins his premises.
Mr. Wilfred Lewis, Cardiff (instructed by Mr. Edgar Cule, Pentre), appeared for the claimant, and Mr. Ph. H. Meager, Swansea (instructed by Messrs. Champney, Fream, and Corke, Gloucester), defended.
The plaintiff alleged that as a result of a fire at the Tivoli on the night of November 5, 1911, the damage stated was shared owing to water percolating through a party wall and making it impossible for him to conduct his business. Five rooms were rendered unfit for occupation, and he had lost trade in conse- quence.
Deeds were produced for the defence, show- ing that the wall in question was the joint property of the parties, and judgment was given for defendants, with costs.
INTERNATIONAL COPYRIGHT BUREAU
v. BIOS.— CLAIM FOR COMMISSION. Before Judge Woodfall, in the Westminster County Court, the International Copy-
17 right Bureau, Ltd., of Dewar House, Haymarket, claimed commission from
Mr. Frank .Ros, described both as a merchant and playwright, in connection with a play, entitled Vesf.ed Interests, in which Sir Herbert Beerbc-hm Tree had acquired Ibotih the English and the American rights.
Mr. Giveen was counsel for the plaintiffs and Mr. Chute represented the defendant.
Mr. Giveen said the claim was brought for commission, alternatively for damages, in re-
spect of a play called Vested Interests. The plaintiffs were dramatic agents, and in 1910 they got into communication with the defend- ant, who had translated the play in question from the Spanish, and who told the plaintiffs that he had sent it to Sir Herbert Beerbohrri Tree, but had had no reply. The plaintiffs in- terviewed several people at His Majesty's, and subsequently entered into an agreement with the defendant, they being appointed his sole agents, with a commission of 15 per cent, on the business done in the United Kingdom, the British colonies, and the United States. Exception, however, was taken in the case of Sir Herbert Tree, in whose case the percen- tage was only to be 7£ per cent, for English and 10 per cent, for American receipts. The play was submitted to Mr. Gianville Barker, Mr. Martin Harvey, and others, but it was not taken up. In January, 1912, the Stage Society got hold of a French version of the play, and the plaintiffs approached the Society, with the result that the defendant's version was produced by the Society, after the defendant had taken on a collaborator. The play was received very favourably, and the plaintiffs got into communication with the management of the Haymarket. They got a satisfactory offer from the Haymarket, and sent word to the defendant, who telegraphed back request- ing the plaintiffs to hold the offer over. Two days later the plaintiffs heard that the de- fendant had concluded terms with Sir Herbert Tree. Apparently the defendant received £100 for the English rights and the like sum for the American rights, and on these amounts the plaintiffs claimed £19 10s. commission. They also asked for ,a declaration with respect to future royalties.
Evidence was given in support of counsel's statement, and witnesses stated that the agreement was strictly on the lines that the plaintiffs were to be the defendant's sole agents. In cross-examination it was denied that the collaboration referred to altered the play to any material extent.
Mr. Chute, for the defence, urged that the translation of the play in respect of which the plaintiffs claimed commission was translated by a lady from the Spanish, and was an altogether different \\ork, and consequently that the original agreement did not apply to its production.
The defendant, having been called and given evidence in up port of this contention,
His Honour held that the defendant con- tinued the services of the plaintiffs over the production of the new version of the play, and said he thought a sum of twenty guineas would cover the measure of the services ren- dered by the plaintiffs.
On Mr. Giveen, however, asking how such judgment would affect the question of royal- ties, his Honour .said that was a matter that might involve a much larger amount than twenty guineas, and under these circumstances he would leave open the question of what amount should be awarded for future argu- ment.
ZAMCO v. HAMMERSTFJN ^BREACH OF CONTRACT.
Before Judge Woodfall, in the Westminster
County Court, Mr. Serge Zamco, living
19 in Upper Woburn Place, claimed £100 in
respect of alleged breach of contract
and £40, representing two weeks' salary, from
Mr. Oscar Hammerstein, of the London Opera
House.
Mr. John O'Connor, M.P., was counsel for the plaintiff and Mr. Frank Dodd represented the defendant. Mr. O'Connor, in opening the case, said the
JULY
THE STAGE YEAR
275
action arose through the defendant not allow- in" the plaintiff, who presented himself at the London Opera House, to fulfil a certain con- tract to perform the part which he had been engaged to act after he had been billed and announced to appear. Zamco had achieved considerable fame in many parts of Europe by his rendering of the part of Man- rico in II Trovatore. It was for this part that he was engaged to appear at four per- formances at the London Opera House. The plaintiff entered into a contract to do this with an agent of Mr. Hammenstein's in Paris. This agent bad heard the plaintiff sin.g at an earlier date in the French capital, and he ex- piessed himself highly pleased with his voice. The plaintiff said he would not be satisfied with coming to London for four performances only, and a clause was inserted in the con- tract stipulating for further engagements. Counsel said some remarkable correspondence arose in connection with the case. After plaintiff had presented himself at the Opera House and appeared at rehearsals to the satisfaction of the conductor, Mr. Hammer- etein accused him of nervousness and not knowing his part. He refused to allow the plaintiff to appear in the part before the public, and subsequently, in a letter, alleged that the plaintiff sang out of tune and out of time and that his actions and gestures were ridiculous. Mr. Hammerstein also asserted that the plaintiff did not know hig entrances and exits, and th.at he was forced to engage one Del Tara as a substitute. Counsel main tained, however, that Del Tara had been engaged .at the London Opera House before Zamco's arrival, and that Mr Hammerstein simply wanted an excuse to get rid of the plaintiff.
The plaintiff, giving evidence, and speaking of the contract which was made with Mr. Hammerstein's agent in Paris, .said dt stipu- lated that he was to appear at two perform- ances a week, and that the salary would be a thousand francs weekly. The contract was signed on March 22, and witness arrived in London on March 29. He went to rehearsals at the Opera House, and no complaint was made either of his singing or his acting. A full rehearsal was fixed for May l, but on Wttaea going to the Opera House Mr. Ham- n.erfctein said his services would not be re- quired for the public performance. He accused witness of nervousness, and added : "You have received £20; I will give you another £20 and our contract is ended." Wit- ness refused these terms.
The plaintiff, in cross-examination, said he had been on the operatic stage for three years previous to that having been associated with the concert-room. Before coming to London ne had sung in II Trovatore at ten representa- tions. When he attended the first rehearsals at the London Opera House they were held in a room, not on the stage where there was a sta™ however, rehearsed once on the
Mr. Dodd read a deposition made by the stage manager of the London Opera House! who, referring to the plaintiff, said • " His general performance was highly nervous and conveyed the impression that he was not verv sure of himself. The rehearsal was not satis- factory to me."
The conductor of the orchestra at the Opera House, whose evidence had also been taken on commission, said the plaintiff was much more nervous when on the stage than he was at the rehearsal in a room. Witness added: "The stage often frightens artists who are .good in a room."
Mr. Oscar Hammerstein said he was present
at the rehearsal on the stage at which the plaintiff appeared, and it seemed to him that the plaintiff was suffering from aberration. Hi-; Honour: In regard to the words or music? a
Mr. Hammerstein said the next day he saw the plaintiff, and told him that he had acted as if he had never seen the part at all. The (plaintiff replied that his wife was in a pre- carious state of health, and that in conse- quence he did not feel as he ought— he was in bad condition. Witness then remarked that he could not let him go on at the public per- formance like that, as the critics would be there, and, besides injuring the plaintiff's reputation, it would make a fool of him (Mr. Hammerstein). This witness said in a kindly spirit, and he further said, " I tell you what I will do. Postpone it. Don't make any further efforts to appear now." The plaintiff then said there was a conspiracy against him. As a, matter of fact, witness was sorry for him. Cross-examined, Mr. Hammerstein ©aid it was true that there were four actions for breach of contract pending against him.
In giving judgment on July 22, Judge Wood- fall said he had come to the conclusion that the plaintiff must succeed. If the defendant was not satisfied with the view he took he hoped he would contest it in a higher court. He entirely accepted the evidence given by the defendant that the plaintiff gave a very bad rehearsal. No doubt the plaintiff was in considerable anxiety about hi.s wife's illness, but whatever the cause might be, he had no doubt that the rehearsal was very bad indeed. He was convinced that Mr. HammerstejLn honestly exercised his discretion. Mr. Hammer- stein was in a most difficult position. j On the eve of the performance in London ce, j a man of great experience, said to himself, " I cannot allow this artist to appear before the London public and throw out the whole company," and whether he was right or wrong that was his honest opinion at the time. Everyone knew the enterprise that Mr. Ham- merstein was trying to carry out in London, and it must be admitted that he was con- fronted with a very great difficulty. But the ! question was whether the plaintiff's rights J under the contract were affected by the exer- cise of Mr. Hammerstein's judgment. He did not think they were. The contract was for plaintiff to give four performances in two weeks in May, and that period could not be i extended. The plaintiff was given £40, and he (*iie judge) thought he was entitled to the clher £40 claimed. Then, again, was the plaintiff entitled to sue for more than the amount paid under the contract? That would depend upon whether the contract was one of service. At first he had thought io was, but he had come to the conclusion that it was not. He thought the plaintiff was en- titled to push his claim further because he was billed to appear in II Trovatore on the Thursday and Saturday, and without any ex- planation another artist appeared in his place. That must obviously be detrimental to the plaintiff, but it was impossible to assess such damages except on a nominal basis. They could not be for some advancement the plain- tiff might have made in his profession, but he thought he was entitled to some damages as constituting a certificate that he had been prevented from playing after he had been billed and advertised to appear. He thought such damages would be met by awarding 40s., and taking all the circumstances into con- i siderat'on, he gave judgment for the plaintiff I for £42 and costs.
On the application of Mr. Dodd, a stay of I execution was granted, pending the possibility of an appeal.
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TtiE STAGE VEAR BOOK.
JULY
LCC AND ALBERT HALL.-THE SUM- MONS DISMISSED.
A* Westmiineber Police Court Mr. Horace
Smith dealt with the summons taken
19 SS by the London . County Counca
.against the Corporation of the Hall
of ArteS Sciences (Royal Albert Hall) for
permitting the building to be used for the
performance of public music without a license.
Mr Bodkin conducted the case for the Lon-
don County Council, and Mr. Muir appeared 1
From< Commencement of the proceedings Mr. Muir had urged that the central .authority had no jurisdiction over the hall, which was exempt by its charters and letters Patent and that, therefore, the magistrate could not hear the case. Mr. Bodkin contended that charters gave certain powers to a corporation, but did Sot exempt them from the ordinary law of the
laMr. Horace Smith said that he had come to the conclusion that he had no jurisdiction to hear the case. It might be very desirable that the London County Council should be permitted to regulate the Albert Hall as they did other placet but with such considerations he had nothing to do. He had only to see whether he had jurisdiction, under Section 12 of the Act, to hear the summons. That section gave power to make regulations with respect to pla ces ol pubHc resort licensed for music under the authority of letters patent, which might be grwted for the first time after the .passing of the Act. The Act was passed m 1878, and be- fore that the Albert Hall was licensed by letters patent for the performance of music, etc The charter to that effect was produced before hto Therefore, the hall did not come within Section 12 of the Metropolitan Manage- ment Act. He was also of 9Pimon that the Albert Hall did not come within Section 11, which applied only to stage plays and to places of public resort under license of quarte
ro asked the magistrate to state a case for the Superior Court, and he said
W°Mrd'Muir, asking for costs, said that the de- fendants had been brought there by the County Council in a matter in which they themselves had decided they had no jurisdiction. Mr. Horace Smith allowed £10 10s.
ROYAL, BIRMINGHAM v. KING INSURANCE COMPANY-INSURING AGAINST NON- APPEARANCE OF AN ARTIST-WILKIE BARD'S ILLNESS.
At the Birmingham Assizes, -before Mr.
Justice Horridge, was heard an action
9fl brought by the Theatre Royal, Birming-
ham, against the King Assurance Com-
pany to recover £550 lor the absence of Mr.
Wilkie Bard from some performances oi tnei
PaThemp1l™adings for the defence were a denial of anv knowledge of the contract, and, while there was an admission that the policy was issued, the defendants stated that they were not liable by reason of the non-observance of conditions in the policy. .
Mr. Hugo Young, K.C., for the plaintiffs, said that for their pan to mime, Christmas 1911-12, they secured the services of Mr. Wilkie Bard, and as it happened that pantomime was written round some central figure, it was essential to its success that the principal per- former should appear regularly. Mr. Wilkie Bard's weekly salary was £225, and the sec^e- tary of the theatre arranged with an agent of the King Insurance Company to insure Mr. Bard for fifty performances for £2,500.
Mr. Bard, counsel added, was examined by
Dr. Trout, and the insurance company arranged to send a policy. Mr. Bard appeared in the pantomime, but on January 8 he was taken ill with quinsy, and was away for eleven days.
The theatre did not receive the policy until a week alter he came back, and then they found that it was very different from that which they had contracted for. It was not a policy insuring Mr. Bard for £50 for each per- formance. It was a policy of indemnity, like a fire policy, insuring for loss suffered by his non-appearance up to a maximum of £50.
When an application was made for the money the company suggested the Omission of important particulars, and pointed out that the plaintiffs had failed to disclose previous illnesses, and mentioned only an accident that kept Mr. Bard away from an engagement six years before.
Mr. Wilkie Bard was called, and said that during the seasons 1908-9 and 1909-10 he was engaged at Drury Lane, and was away ill on two occasions each season. It was a form of throat trouble, really nothing more than hoarseness due to overwork. His work in London at music halls was harder than in provincial pantomime. In 1911 he failed to keep engagements at the Palace, Hull, and the Coliseum, Glasgow.
Mr. Hugo Young, cross-examining : That i3 a good record?
The Witness : A splendid record.
Your history would be known pretty well by insurance people? Yes.
The Judge: Your non-appearance in panto- mime of late years amounted only to absences on two occasioas at each two Drury Lane pantomimes and the missing of one perform- ance at Liverpool? Yes.
Mr. Philip Rodway, manager of the theatre, said that the absence of Mr. Wilkie Bard would cost the theatre more than £50 a per- formance.
Cross-examined by Mr. Vachell, K.C., Mr. Rodway said he did not know of Mr. Bard's inability to keep music hall engagements at Hull, Glasgow, and Nottingham. The receipts of the fifth week were below the fourth week by over £500. The receipts did not recover until it was well known that Mr. Bard was back again.
Mr. Buckley, a director of the theatre, said £200 was paid in premiums in connection with Mr. Wilkie Bard and another artist.
As the result of a consultation between Mr. Young and Mr. Vachell at this point it was agreed that the amount of loss should be re- garded as £50 a night, and that the jury should be dismissed, the question of liability being decided by the judge.
His Lordship eventually held that had the plaintiffs known of previous indispositions and not disclosed them the return would have failed, but as he held they did not know he found for the plaintiffs for the amount claimed.
HAY WOOD v. CLIFFORD AND FIELDING.
At the Lambeth County Court, before his Honour Judgtf Parry, the case of 2O Haywood v. Clifford and Fielding was decided.
There were a claim and counterclaim.
In the first place, Mr. Tom Haywood, dramatic auchor, of St. James' Road, Croydon, entered a claiir* to recover from Mr. Royston Clifford, actor, o? Kuowle Road, Brixton, and the Hon. Everard Fielding, of 5, John Street, Mayfair, the sum oi £5 royalty in connection with an assignment for one week's working of the pantomime, The Teddy Bears.
In the second place, the Hon. Everard Field- ing counterclaimed against Mr. Haywood for £50 money lent.
JULY
THE STAGE YEAR BOOK.
Ill
Mr. Hay wood did not appear, and accordingly the Hon. Everard Fielding proceeded with his counterclaim. It was explained that lie took an interest in Mr. Clifford. He got into communication with Mr. Haywood, who had been represented as haying had considerable experience in the theatrical world, the inten- tion being to start The Teddy Bears panto- mime, which, however, turned out a fiasco. The £50 was lent upon Haywpod's urgent re- quest that the artists were waiting to be paid.
Judgment was entered for the amount claimed.
With regard to the claim by Haywood, it was asked that this should be dismissed, but his Honour said he could not do this in the absence of Haywood. All that he could do was to strike the case out. This was unsatis- factory—as he had ibeen urging for the last twenty years — for obviously the claim was in the circumstances one that ought to be dis-
ESME v. MEYER. BREACH OF CONTRACT.
"THE GLAD EYE."
In the King's Bench Division, before Mr.
Justice Bray and a special jury, the
2 3 hearing was begun of an action brought
by Miss Olga Esm6 against Mr. Louis
Meyer.
Miss Esme* claimed damages for breach of contract to play the part of Kiki in The Glad Eye. The defendant denied the breach, and stated that the plaintiff had herself com- mitted a breach of the contract
Sir Frederick Low, E.G., and Mr. tort- Williams (instructed by Messrs. Broxholm and Williams'! appeared for the plaintiff; Mr. Mar- shall Hall, K.C., and Mr. H. A. McCardie (in- structed by Messrs Bartlett and Gluckstein) appeared for the defendant.
Sir F. Low, in opening the ease for the plaintiff, said that about July, 1911, the de- fendant, Mr. Meyer, in concert with a gentle- man named Levy, was contemplating putting on the stage a farcical comedy entitled The Glad Eye. The idea was that the piece should be flrst produced at Brighton for a week, and that if it met with the approval of the public It should he brought to London. The piece w.as performed at Brighton and met with great success'. It was afterwards brought to Lon- don, and was then having a successful run at the Apollo. In Jiily, 1911, the plaintiff was performing in musical sketches in a company controlled by Mr. Lawrence Brough. On July 24 she received a letter from Mr. Levy asking her to call at the Garrick in connection with an engagement to appear in the piece. The plaintiff, continued Sir F. Low, went to the Garrick on the following day, and was introduced to the defendant. In the course of conversation the defendant suggested that there should be three weeks' rehearsals, but the plaintiff said that she could not give more than two weeks, as she was under contract with Mr. Brough. Ultimately it was agreed that the plaintiff should rehearse for two weeks. On August 1 the plaintiff received a letter from Mr. Levy, informing her that she was engaged to play the part of Kiki at a salary of £5 a week, and that she would have to play at Brighton during the week com- mencing September 4. Mr. Levy added:—
It will be a great chance for you, as it is the one woman's part which stands out, and was, in fact, pjayed by the star in America, and, so far as one can anticipate in theso matters, we are certain to put it on in town almost immediately afterwards unless it turns out to be a huge frost, which I do not think it possibly can be. Hawtrey and Wyndham were both after it, and Bourchier
in and planted the money down, and so secured it. I take it for granted that if it is a success and we take it to town, that you could get out of your music hall en- gagements and stay with us. I am afraid you will have to have three weeks' rehear- sals, as Dagnall insists on it. The plaintiff wrote to Mr. Levy that Mr. Brough had given her permission to play at Brighton, and would release her if the piece was brought to London, and asked for a formal contract. Mr. Meyer replied:—
My Dear Miss Esm<5,— I beg to confirm the arrangements made between us, viz., that you play the part of Kiki in The Glad Eye for one week at Brighton, at a salary of £5, on the understanding that should the play be put on in London that you continue to play the part at a salary of 7 guineas a week.
The rehearsals commenced at the Garrick on August 14, and during the week there was some discussion as to rehearsing the following week. The plaintiff said she was afraid that it would be impossible for her to attend, but she would endeavour to make arrangements to do so. Mr. Brough, however, refused to release her. On August 15 plaintiff again wrote to Mr. Levy, and in the course of the letter she said : — I arranged' when I saw Mr. Meyer to give two weeks' rehearsals only, and he told me that could easily be arranged with Mr. Dag- nall. I am very quick, and will become word- perfect, ready to take any business there in You will arrange this for me, won't you? I love the part of Kiki, but honestly, Jose, I fancy the lines Mr. Dagnall wants her played on are slightly wrong. Surely she ought to be a little demure in front of the ladies, otherwise what is the use of one of them saying, " An air of refinement about her," or words to that effect. I may be wrong, of course.
The plaintiff had to go to Douglas, Isle of Man, for a week, and on August 22 she re- ceived the following telegram from Mr. Meyer :—
Regret must cancel engagement. Impera- tive rehearsals complete company imme- diately. Had to engage another lady. This was followed by a letter confirming the wire, and saying that as Miss Esme" had not attended the rehearsals Mr. Meyer had no other alternative. Miss Esme" wired back : —
My agreement was two weeds' rehearsal only, so must hold you to contract, and attend rehearsal Monday next. If the piece was played in London the plain- tiff was to receive £7 7s. per week. The de- fendant, by his defence, said Sir F. Low, in con- clusion, denied that he had been guilty of a breach of contract; he also said that by a custom of the dramatic profession, even if there was a contract, he was entitled to ter- minate it by giving a fortnight's notice.
The plaintiff was called, and gave evidence in support of counsel's opening statement. She added that she received £5 a week from Mr. Brough, and out of that sum she had to find dresses and pay expenses.
Sir F. Low: Out of that £5 how much would you have to put in your pocket?— Some- times about £1.
The witness, continuing, said that she de- sired to obtain a London engagement at the time she saw Mr.' Levy and the defendant. The latter told her that the part of Kiki was not a big one, but rather " showy." The defendant wanted her to attend rehearsals for three weeks, but she pointed out that that was not possible. It was eventually arranged that she should attend rehearsals for a fortnight, and receive £5 for the Brighton
278
THE STAGE YEAR BOOK.
JULY
week. It was afterwards agreed that she should have £7 7s. per week if the play was brought to London. She attended rehearsals for a week, and was prepared to attend a second week in accordance with her contract. During the first week of rehearsals there were discussions with regard to the following week. She said that she could not rehearse in the following week, but afterwards said that she would try to get released. Afterwards she had to tell them that she could not get released for rehearsals the following week. Mr. Dagnall, the manager, thereupon said that unless she appeared at rehearsals the next week he would throw up the piece or find a fresh Kiki. She was very angry, and told him he had no right to do so, as she had a con- tract. She made several attempts to get free from her engagement for the following week eo as to rehearse, but did not succeed owing to the impossibility of getting a substitute. She then got the telegram repudiating the contract for The Glad Eye. Since November 11, when the play was produced in London, she had had 17 weeks' employment at £5 a week and no employment in 19 weeks. The arrangement was for two weeks' rehearsal for the performances at Brighton.
Mr. Lawrence B rough said that a London engagement was only terminable with the run of the piece. It was the custom of the pro- fession. Witness said he never released Miss Esme" from her engagement with him except for the two weeks' rehearsal, the one week at Brighton and the run in London if there were a run.
Miss Judith Kay, plaintiff's sister, gave evi- dence as to what occurred at the first inter- view with Mr. Levy and Mr. Meyer with regard to rehearsals.
Mr. Duncan Young, secretary of the Actors' Association, and Mr. James Welch, gave evi- dence that if a person was engaged to per- form in a play in London without any men- tion of the form of the engagement, the en- gagement was for the run of the piece. There was no custom providing for a fortnight's notice.
THE DEFENCE.
Mr. Marshall Hall, in opening the case for the defence, said he would withdraw any con- tention with regard to foitnightly notices and the custom of the profession because he wished a perfectly clear .'ssuo placed before the jury. The defence was that this young lady had broken her contract to give three weeks' re- hearsals. In this piece rehearsals were of vital importance. Here the written play was nothing What was important was " the busi- ness " with which it was played, and the girl who piayt'rt Kiki represented the pivot around which every situation in the piece turned.
Mr. Louis Meyer (the defendant) deposed that Mr. Levy introduced Miss Esme" to him t the Garrick. He liked her appearance, and hal <i conversation with her about the part of Kiki. She asked how many rehears.ils she was to attend, and he told her that Mr. Dagnall, as the producer, had 'entire discretion in that matter. Miss Esm<§ said that she had a con- tract with Mr. Brough, and it was arranged that after she had seen him that she should call again. At the second interview she an- nounced that she would take the engagement, and Mr. Dagnall, who was present, stated that It would be necessary for her to attend three weeks' rehearsals. To this she made no ob- jection, and she said nothing about only at- tending two weeks' rehearsals. She was then engaged for the week at Brighton.
The case was continued on July 24.
Mr. Meyei\ 4n cross-examination by Sir Frederick Low, said he never said anything to Mr. Dagnall about a two weeks' rehearsal
at all. Had he done so it would have been about two consecutive weeks.
Mr. Marshall Hall: Was there any mention of a two weeks' rehearsal by the plaintiff in the interview you had with her? — No.
Mr. Ells Dagnell in answer to counsel, said he undertook to produce the play. The part of Kiki was a very important one, and as it developed it became the most important part. As far as the lines went, it was a compara- tively small part. A part like that depended for its success on the business introduced at rehearsals, for the business only grew at re- hearsals. It would have been quite impossible to rehearse the rest of the company without the part of Kiki. It was as impossible as re- heafsing Hamlet without the part of Hamlet. He would not have undertaken the produc- tion without three weeks' rehearsals. It -had only been known once or twice for subsequent rehearsals to redeem a bad first night. The first interview took place at the theatre. He told miss Esme' that he would want at least three weeks' rehearsal, and nothing was said by her about her being a quick study. Ha would have entertained the idea if the part was going to have been played by a genius, but we had not the pleasure of knowing what Miss Esme"'s best work was, and so he re- quired a three weeks' rehearsal. At the second interview he told her that she should not have taken the engagement if she could not have attended the rehearsals.
In answer to Sir F. Low, witness said Miss Esme" did attend one rehearsal, and also on the day after. If she did not do one thing it was owing to the fact that for some reason the part in which she came was not reached. The lady who succeeded Miss Berne" first rehearsed on the Tuesday, and she was engaged on that day.
Mr. Arthur Bourchier was the next witness, and he said the play was formerly his' pro- perty. The part of Kiki was an important one. Asked if he thought two or three weeks' rehearsal was enough, he said he thought the play was under-rehearsed. Counsel asked him if he thought it would have been, possible to have one week's rehearsal and then stop for a week. He replied that if he had known of it he should have stopped the production at Brighton.
His Lordship, in summing up, said the action was brought because plaintiff thought that the defendant had broken the agreement with her. The questions for the jury to decide were : Was it a term in the agreement that the plaintiff should rehearse for two weeks inter- mittently or for three weeks.
The jury found that the plaintiff's agree- ment was for two weeks intermittently, and awarded her £300 damages.
A stay of execution was refused, and the judgment entered for plaintiff.
LLOYD v. HAWKINS.— ALLEGED BREACH OF CONTRACT.
At tlie Cambridge County Court, before his Honour Judge Wheeler. K.C., Mr. Lloyd, 23 pianist and vocalist, of the East Road Picture Palace, sued Mr. Hawkins, pro- prietor of that hall, for £4 wages in default of notice.
Plaintiff said that when he opened Mr. Hawkins told him that he should close the East Road Picture Palace for a month, but that he should want him to open a hall for him at Herne Bay. Mr. Hawkins did not give him written or verbal notice, and did not fill in the month as he had promised.
Mr. Hawkins said that when he decided to close the hall he called the staff, including Mr. Lloyd, together at the Empire, and gave them notice, saying, " I want you all to understand
////•; STAGE r/-.,iA' nooK.
JULY
that I close the Picture Palace a fortnight to- night." He told plaintiff he was satisfied with him, and should be pleased if he would open at the hall again on August Bank Holiday. > tried to fill in the month for plaintiff, but was unable to do so. His Honour gave judgment for defendant.
MARSHALL AND KING v. LONDON THEATRES OF VARIETIES, LTD.
Before Judge Woodfall, in the Westminster County Court, the Misses Marshall and 25 King, two lady vocalists and dancers, \
claimed £40, damages for breach of con- tract, from the London Theatre of Varieties, [
Mr E. F. Lever was counsel for the plain- j tiff, and Mr. C. E. Doughty represented the defendants.
Mr. Lever said the plaintiffs, as variety artists, entered into an agreement in January, 1912, to perform for two weeks at the Palla- dium, commencing on July 1. On that day they went to rehearsal, and they also gave their performance at the first house. Befo-e that performance was given some instructions were circulated to the effect that their turn must not be given at the usual length of eight minutes, and in consequence of that notice the plaintiffs cut out their dancing, which was a somewhat important part of their performance. After the first house, the plain- tiffs were informed by Mr. Marner, the man- ager of the Palladium, that their services would no longer be required, as they were considered incompetent. This was a serious matter for the plaintiffs, who had not since been able to obtain an engagement, though previously they had been playing at Liverpool and Finsbury Park with every satisfaction. Miss Annie King, one of the plaintiffs, said the other plaintiff was her sister, and their customary salary, which they received at Liverpool and Finsbury Park, was £20 a week. Cross-examined, witness said she and her sister came from America, where they had been performing for seven years with success. They were also well received in Liverpool and at Finsbury Park. She also regarded their re- ception at the Palladium as very favourable. Mr. Doughty : Did you not find the English so cold that they did not respond at all?— Oh, no; they did respond, and with applause.
Miss Louise Marshall, the second plaintiff, gave similar evidence, and said she considered that their performance was partially spoiled by being cut down to five minutes instead of eight.
Counsel: What part did you cut out?— The finale.
That was the flourfsh, I suppose?— Yes. My song was cut out, and so was the dance the two of us give. In spite of this, however, wit- ness considered that she and her sister were well received by the Palladium audience.
Mr. Marner, manager at the Palladium, giving evidence for the defence, said the plain- tiffs when they gave their performance were received practically with silence by the audi- ence. Their whole turn w^s, in his opinion, incomplete. At the Palladium the best West End talent was required, and it was neces- sary in order to expedite the programme to give instructions for certain items to be cut. If the plaintiffs cut out the most attractive parts of their turn that showed a lack of dis- crimination, and was no fault of the Palla- dium management. After their performance, witness remarked : " If that is the best these girls can do they can't go on any more."
Mr. H. Masters, former manager to the defendant company, expressed the opinion that
279
the plaint ill's' performance was decidedly un- suitable IVr a West End house like the Palla- dium.
Mr. Doughty submitted that the defendants honestly exercised their discretion under the contract. Mr. Lever contended that the con- tract gave the management no such right.
Judge Woodfall, in giving judgment, said it would be presumptuous on his part if he questioned the opinion of the management of the Palladium as to what artists were suitable for that establishment. He was not question- ing the right of the management to say that the plaintiffs were not competent. But that by no means exonerated the defendants. He had to take into consideration the terms of the contract and the regulations attaching to it. He thought the manager of the hall had power to prohibit an artist appearing if such artist violated the conditions as set forth in the regulations. But he would not be re- lieved from the responsibility of paying the salary agreed upon unless it could be proved that they were incompetent by reason of not keeping their promises. In this case the artists were billed to perform, and the onus rested with the defendants to prove that they were incompetent. It was said that the plaintiffs were engaged on the strength of representa- tions made to the management as to the'r ability and not from personal knowledge. That could not hold as a plea in justification of their instant dismissal. What was the evidence that the plaintiffs were incompetent? They were engaged to give a song and dancing act, and were suddenly called upon to do that which they had not done before, namely, to cut down their turn. It was said in defence that the plaintiffs' performance was incom- plete. Of course it was. The decision arrived at on the part of the defendants was not that the plaintiffs were incompetent, but that they were giving a performance that was un- suitable for the Palladium. The defendants had not proved that the plaintiffs gave a per- formance such as they had not been engaged to give, and though it proved a bad bargain
from the point of view of the Palladium, there must be judgment for the plaintiffs for
the amount claimed, with costs.
McEWEN v. LINGARD.
In the Marylebome County Court, Walter McEwen and Mrs. McEwen, his wife, 2 5 sought ito recover from Mr. Horace Lingard, touring manager, and Mrs. Beatrice Morreau, his partner, £6 for profes- sional services. Plaintiffs' case was that Mrs. ''McKwen and he .were engaged for a six weeks' tour of Fanny; or, the Servant Problem, which Mr. Linga,rd ran under the title of The New Lady Bantock, and when the third week had elapsed they were given a fortnight's notice. The tour, however, was ended after three and a-half weeks. Their joint salaries were £4 a week. The tour embraced Eastbourne. Hastings, Margate, and Preston, and it was at the las>t named place the notice was posted. Defendant said that in consequence of the coal strike he had been unable to arrange trains and had to close the tour. His Honour gave judgment for £4 and costs.
CARYLL AND M'LELLAN v. DAVIS.
lu the Chancery Division before Mr.
Justice Parker, J. M. Glover applied, 2 6 on behalf of Ivan Caryll and Charles
M'LelUin, owners of copyright in the music and libretto of The Pink Lady, to restrain Miss Josephine Davis from singing
286
THE STAGE YEAR BOOK.
JULY-AUGUST
the song, "My Beautiful Lady," without plaintiffs' consent.
Counsel for Miss Davis stated that the lady v/as t -'.ring the provinces, but she had telegraphed that she had not sung the song since plaintiffs objected to her doing so. From the very first she had been willing to give an undertaking not to sing the song at all.
It was agreed on this undertaking that the motion should stand over till the trial of the action without prejudice to any question be- tween the parties.
SOMEBS AM) WAiRiN'ER v. MOFiFATT.— AW
ACTION OViER ROYALTIES. In the King's Bench Division, before Mr. Justice Horridge, Jack Somers and 26 Emmanuel Warner, theatrical agents, brought an action against Graham Mofiat, of Elgin Avenue, Maida Vale, author of Bunty Pulls the Strings.
The plaintiffs' case was that under an agreement entered into between Mr. Ben Nathan and Mr. Moffat on May 10, 1911, they were entitled to 25 per cent. of. all sums re- ceived by Mr. Moffat as royalties upon any plays Mr. Moffat produced during the, three yeaS from the date of the agreement, me ud- ?n Bunty Pulls the Strings The plaints >aid that in consideration of Mr. Aatttan s arranging with Mr. Cyril Maude for the pro-
•
respect of these
M "Sickens K.C., and Mr. Henn Collins, aweared for the plkintiHs; Mr. G. Wai ace, appearea lor i, * defendant.
kMr mckens said that Mr. Nathan was m the plaintiffs' booking manager, and the
natively they asked for a quantum the rovalties derived up to the present from the Derformances of Bunty in this country and Amerfca Mr Moffat admitted signing the t, but denied that Mr. Nathan ar-
Mr. Shubert, who also owned the
rights, and that Mr. Nathan also acted by Mr.
Shubert, and received payment from him and
did not devote himself to his (Mr. Moffat s)
interests.
Counsel read extracts from Mr. Cyril Maude s evidence, which had been taken on commission, and was put in. Mr. Maude, who was then on a motor tour on the Continent, said he first heard of Mr. Moffat on May 2, 1911. Referring to his diary he found that on that date Mr. Nathan, whom he had met before, came running after him in Leicester Square whilst Mr. Maude was on his way to the Gar- rick Club. Coming up with him, Mr. Nathan said •— " I have discovered a wonderful little
author, a Scotchman, in a little music hall company. He has written two or three one-act plays, which are being performed by himself and his family in provincial music halls." Eventually the witness agreed to hear a three- act play by this author read to him, and having on May 6 heard it read, thought it an extremely clever and humorous piece. He did not think there was much chance for it in Lon- don, owing to the characters being entirely Scotch. He offered, however, to give an in- vitation performance at the Playhouse.
Mr. Ben Nathan gave evidence an support of counsel's opening. He said lie had had experi- ence as a theatrical agent for twenty years. As a result of a communication from Mr. Walter Hast he went to Glasgow and saw Mr. Moffat, with a view to getting engagements on the London music halls with several sketches. He also spoke about a tihree-act play he wanted to get produced. Witness in- troduced him to Mr. Maude, and made the arrangement with regard to tlhe payment of 25 per cent, commission. It h.ad previously been arranged that the firm of Somers and Warner should look after the music hall book- ings.
Cress-examined by Mr. Wallace, Mr. Nathan said after the audition of the three-act play he had tea with Mr. Maude. Witness sug- gested that Mr. Maude should take the part of Tammas, but Mr. Maude thought it would be better if it was played by a Scotchman,.
Mr. Emmanuel Warner, a member of the plaintiff firm, said the contract, as he under- stood it. referred to all plays, and was made in consequence of Mr. Nathan having intro- duced Bunty. Mr. Moffat had said so to wit- ness, and had already paid part of the royal- ties.
Mr. Wallace, in opening the defendant's cage, maintained that the agreement did not include payment of royalties with regard to Bunty.
His lordship suggested that the case should be settled, remarking that before the action was commenced Mr. Moffat made an offer to pay 10 per cent.
After a consultation, Mr. Dickens said that a settlement had been arrived at, and the record would be withdrawn on terms, with which his lordship need not be troubled.
AUGUST.
PIERROT PARTIES AND LICENSES.
At Southend, Mr. J. R. Brightwell in the
cha,ir, Thomas Frankland Vince, musician,
13 Southend, was summoned for using a
certain public place for public music
and singing without first obtaining a license.
Mr. G. H. Dunman Edwards defended.
Superintendent Mar den sa'id on Monday , August 5. he was patrolling in the Old Town, when he saw defendant in charge of a singing and music concert party performing in the gateway which divided the Minerva public- house from the Kursaal premises. There was a small stage erected, with footlights, and a oanvais roof. iSeats were arranged in front of the stage. Defendant fciad a troupe known as Vince's Dandy Boys performing there. Mii-vic and singing and a small amount of steip-dancing were going on.. One of the party was going round collecting money. Witness vteited the plaice twice ttoat day, and saw performances going on each time. Witness saw defendant the following day, after haying ascertained that there was no musiic and sing- ing license in existence for the place. De- fendant said he was in charge of the troupe, and tfoat he hired the place from Mr. Hilton, the representative of the Luna Park Company, at 50s. a week. He also said that until
AUG. -SEPT. -OCT.
THE STAGk I' EAR BOOK.
281
told him he had no idea there was no license for the place he occupied ; and he complained of the Luna Park Company per- mitting him to go there without telling him that the place was not licensed. Witness saw Mr. Hilton the same day and had a conver- sation with him. There was a license in existence for the large hall of the Kursaal.
•Mr. Edwards: As far as you know, de- fendant acted in a bonia-fid>e m annex?— Yes.
The Bench imposed a fine of £2 and costs 4s.
SEPTEMBER.
STAPLES v. PAGE,— ALLEGED
At the Blackburn County Court, Mrs. Stables claimed £30 from Mr. E. H. Page, pro-
21 prietor of the Prince's, Blackburn, as compensation for injuries caused through t,he defendant's alleged negligence.
Entering Prince's Theatre, Blackburn, when the lights were low, Mrs. Stables stumbled over some (Steps and rece.ived an 'injury to her ankle. The damages claimed were for medical attendance, loss of work, and wages for daugh- ter for nursing. Mr. Barry Backhouse ap- peared for claimant, and Mr. A. Read for de- fendant.
Mr. Read contended that there was no case in law against his client. There was no allega- tion that the premises were faulty in con- struction, or that they were not s.afe when used as they were intended to be— namely, ait the intervals between the acts. It was im- possible to have the lights up when the play was proceeding, and the proposition involved iu the oase of claimant was theatre proprie- tors should have at hand an attendant to conduct any persons from one seat to another at any time of the proceedings 'and without any request. That was impossible. Mr. Read quoted cases to show that theatre proprietors were not expected to provide either light or attendance when a splay was proceeding. The management did not expect people to walk about when the lights ware low, as there was .no greater nuisance.
Mr. Backhouse said the principal point in his case was that his client paid for admission when the lights were down, and though there was an attendant there, he never informed Stables of the steps, which in the circum- stances were dangerous, as the steps were narrower at one and than the other.
His Honour gave a verdict for defendant.
cert, and that her name was at the end of both parts, but she simply wrote and repu- diated it. After her debut she would have been entitled to hill herself as " having ap- peared at West End concerts."
His Honour : How did you come to charge five guineas?
Plaintiff: She was told that, her voice being satisfactory, I could guarantee her future en- gagements, and that my fee \vould be five guineas.
His Honour: What did she say to that?
Plaintiff: She agreed, but later wrote and repudiated the contract.
Defendant admitted that she had had her voice tested, and paid 2s. 6d. for this. When the five guineas was mentioned, she said she became suspicious, and made inquiries. The replies she received were not satisfactory. " I then wrote him that I would not go on with it. He did nothing further for me."
His Honour thought there was here what amounted to a contract, which the defendant had not complied with. The plaintiff should be paid something for what he had done, and there would be judgment for two guineas and costs.
OCTOBER.
INTRODUCTORY FEES— EDWARDS v. KNIGHT.
In the Mary le bone County Court, his Honour Sir W. Lucius Selfe had before him a
1 claim, maTie by Harrison Edwards, con- cert manager, of 81, Edgware Road, for £5 5s. fees, said .to be due for services rendered to Miss R6n6 Knight, " Wynstay," Beechwood Road; Sanderstead, Surrey.
Plaintiff's case was that, in answer to an advertisement for vocalists and performers at West End concerts, Miss Knight called upon him. He tried her voice, and, being satisfied with it, said he could find her engagements at concerts, and his fee for her debut would be £5 5s. Half a crown was charged for the preliminary test, and this was paid. Subse- quently, on July 4 last, he " billed " her for a baiiLad concert in the West End, but she repudiated the contract, and did not appear,
Mr. Percy Ray (for the defendant): What else did you do?
Plaintiff: I wrote and told her of the con-
ROCK v. METROPOLITAN THEATRE OF VARIETIES— ACCIDENT TO A SCENE- SHIFTER.
In the Marylebone County Count, before his Honour Sir W. Lucius Selfe and a jury, 15 John Rock, described as a scene shifter, sued the Metropolitan Theatre of Vari- eties Co., Limited, for damages for personal injuries. The facts stated by Mr. Martia O'Conmor, for the plaintiff, were that in 1911 plaintiff was taken/ on as a scene-shifter and to do odd jobs. On May 23 last he was told by Mr. Archer, the foreman, to do some distempering at the top of a stair in- side the building. He obtained a ladder, the longest he could find, but it did not reach high enough to bring him level with his work. The ladder rested on a smooth marble floor, and although he asked for an assistant to steady the bottom of the ladder he was told that the man who was available usually was not about the building at the time. He started work, however, and had not been long up the ladder when the bottom slipped, and he fell to the floor, breaking his right arm at the elbow. Dr. Walsh Owen said that the plaintiff's arm was broken in such a way that one part of the elbow joint would not go back into the socket, with the result that he could not now straighten the limb. Mr. Bailey, the manager, said that the plaintiff went to work without having asked for assistance, and the foreman gave evidence to the effect that the plaintiff selected the ladder on which he was from a number which were in use in the building. — The jury found a verdict for the plaintiff, and awarded him £50 damages. — Judgment was entered for this amount, with costs.
MISLEADING UNIFORMS. At Marlborough Street, five men employed at the Majestic Picturedrome, 36, Token- 's 5 ham Court Road, W., were summoned before Mr. Denman for, not being persons serving in His Majesty's naval forces, haying unlawfully, without His Majesty's permission, worn dresses having the appearance of naval uniforms under such circumstances as to bring contempt on them.
Walter Hyman, of Thomhiil Bridge Wharf, Caledonian Road, was summoned for employ- ing the men.
Mr. Kingsbury appeared for the defence. Mr. Denman said it was quite clear the men
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were wearing a uniform that had a strong nautiicai flavour about it. He thought that anyone seeing the men would come to the conclusion that they were wearing & dress in- tended to represent the uniform ol a, naval officer. The defendant Hym.an, who appeared to have employed the men, would .nave to pay 4os., with 2-s. costs, and tlie hve other men would have to pay a fine of La. and the usual costs.
PRESTON EMPIRE SUMMONED— CASE DIS- MISSED OiN A TECHNICAL OBJECTION.
At the Preston Police Court, Mr. Edwin Bush, licensee 01 t«ne Empire Theatre, Preston,
1 5 was summoned ,111 three instances, it beang alleged that he had committed breaches of tne terms upon wm.cn th>e Empire license was granted, viz. : (i; Obstruc- tion of approaches, etc.; (2) that all exits were not tnrown open at the conclusion of the performance ; and ('6) that he allowed a cur- tain to be over and covering a certain exit door.
Mr. Smith explained that the license held by Mr. Bush was granted by the magistrates under the powers conferred upon them by the Preston Improvement Act, and this Act also gave the magistrates power, under Section 129. Sub-Section 2, to grant a license upon such terms and conditions, and subject to such restrictions as may by the respective licenses be determined. The conditions attaching to the license showed, inter alia, that all the approaches, staircases, and passages in the building should be kept entirely free from obstruction, that no curtain should be allowed to cover any exits, and that all exits, whether ordinary or emergency, should be thrown open and used at the conclusion of each performance, and should always be avail- able for use dunng the time of each public performance.
Mr. Smith then went on to set out the alleged breaches.
Mr. Wingate Saul said he did not admit that any offence had been committed. He ascer- tained from Mr. Charnley, clerk to the magis- trates' clerk, that when the license was issued the conditions, a printed extract from the Preston Improvement Act, were annexed, the slip on which they were printed being secured by a fastener to the license.
Warrant Inspector Williamson said he delivered the license, with the conditions an- nexed, to Mr. Bush personally.
Mr. Wingate Saul, arguing that there was no case, pointed out that under the Act the magistrates could grant licenses " upon such terms and conditions, and subject to such re- strictions as they, by the respective licenses determined." The license had to be a license in writing under the hands of the majority of the justices assembled at a special sessions, and the terms, conditions, and restrictions referring to that particular license had to be determined. He (Mr. Winsate Saul) quite appreciated the wisdom of and the necessity for the rules, and he assumed, for the sake ol argument that they were attached to the license. But no offence had been committed under the terms of the license which did not refer to any of the matters upon which they were summoned, nor did they refer to or in- corporate any of the rules under the Preston Improvement Act, which they were alleged to have broken.
Mr. Smith, in reply, said he was under the impression the license went on to state that the holder must "observe the special condi- tions hereunto annexed," but on seeing the original copy in court he must admit that Mr.
Wingate Saul was correct in his contention, and that there was no connection between the two documents.
The Bench retired, and on returning into court, the Chairman (Mr. W. P. Park) said the justices had come to the conclusion, by reason of the omission of certain words in the licenso, that the rules which were annexed had not been properly incorporated in the license, and they had no option but to dismiss the sum- mons en the technical grounds raised.
KINEMATOGRAPH SHOWS.— IMPORT ANT CASE AT LEEDS.— DECIDED THAT MANUFACTURERS' SHOW-ROOMS MUST BE LICENSED.
At the Leeds Police Court, before Mr. H.
Marshall (stipendiary magistrate), the
1 7 hearing was resumed of the case in which
the Century Film Service Co., Ltd., were
summoned by the police for contravening the
Kinematograph Act, 1907.
Mr. V. B. Bateson (from the Town Clerk's office) appeared on behalf of the police, and Mr. A. Willey defended.
The offence alleged was that the defendants in the course of their business used unlicensed premises at Quebec Street, Leeds, for ex- hibiting films in order to give customers, 01 prospective customers, an opportunity of judg- ing the quality oi the films they had at their
The Police prosecution rested on the argu- ment that an exhibition of kinematograph pic tures ci whatever nature (provided that they were not " non-flam ") came within the pro visions of the Act. The case was originally before the court on September 25, when, after hearing arguments, the magistrate adjourned the case to see 'hether an arrangement could not be reached between the parties.
Mr Marshall, in giving judgment, said it was with very great regret he came to the conclusion that the performance came within the Act, and that "Mr. Bateson's construction was correct. " I am convinced, he saia, " that the Act of Parliament means that you must have a license whether you comply with the regulations or not, unless you put your- selves within the exceptions specifically men- tioned. I have no doubt at all, however, that the Act was not meant to apply to a c? o.f this sort. It was designed rather to meet a case where the public are admitted to a show in the o-rdinary way. But I have to construe the section as 1 find it. It is im- possible for me to say that this is not an ex- hibition when people come to see a show or films, although for trade purposes pure and
S1™PAs' I say, I come regretfully to this con- clusion, because one knows that it might b< a very great inconvenience to people carry- in^ on their trade. Unfortunately, this is the tendency of ^modern legislation, and I must
CaMr. Willey asked the magistrate to state a case on both points.
Mr. Marshall consented, and imposed a nominal penalty ol 5s.
BARWTCK v. THE NORTHAMPTON THEATRE SYNDICATE, LIMITEI).- THEATRE NOT READY TO OPEN.
At the Lambeth County Court, before his Honour Judge Parry, an action to je- 2 1 cover £18, being a week's salary under a contract, was brought by Edwin Richa-rd Barwick, character artist, of 49, Barry Road, Dulwich, against the Northamp- ton Theatre Syndicate, Limited. Mr. C. Doughty appeared for the plaintiff, and Mr. Ernest Le\ier for the defendants.
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THE STAGE YEAR BOOK.
283
According to the contract, the plaintiff was to appear in August, 1912, giving two performances nightly, at the New and Hippo- drome, which defendants were erecting in Abinsjdon Street, Northampton. The theatre did not open, and the managing director wrote that as two months' notice had been given that the theatre was not ready, the contract would be cancelled. Defendants relied on two clauses in the contract, one being that in cases the theatre should be closed for altera- tions, decorations, repairs, or any other cause which the management might consider ade- quate, thiy might determine the contract by two months' previous notice given to the artist. The otha- clause relied upon by the defen- dai ts was that no salary should be payable ir respect of days when the theatre was closed through strikes or disputes, etc.
Mr. Doughty, in presenting the plaintiff s cc:se, contended that the defendants could not get beyon'd the contract because they had been unable" to open the theatre. He quoted the case of Hardy v. Balmain (11 Times Law Re- IKHts), where -A theatre was not ready owing to the change of a license through require- ments of the County Council not being com- peted, and where the judges held that the defendant was liable for the npn-performaice of his contract. A similar decision was given in the case of Law v. Pepi, of which there \ as no law report, but he read a report given in THE STAGE.
Mr. Lever said his clients were entitled to cancel tho contract. The theatre was not Offered at the Vime cwins to the strikes in the coal -md transport trades, which prevented the buil'Jkrs getting mate-ial to finish the wors in time. He argued thab the clause in the contract regarding strikes was an answer to the plaintiff's claim, as the defendants had no control <ver those strikes.
His Honour: You must prove that.
Mr. Levi" added that apart from that he relied on the clause which stated that in case the theatre had to be closed for alterations or repairs the contract could be determined by ghmg the artist notice.
His Honour: Did you give him notice?
Mr. Lever: Yes, sdequate notice. The con- tract was made in December, and in May. as th.j correspondence will show, we gave him three months' notice- Mr. Walter Thomas Simmons, managing director of the defendant company, gave evi- dence that the theatre could not be got ready for opening owing to the coal and railway strikes. Thej cam^ the lightermen's strike, and it was impossible to get lighters with material cut of the Thames. As far as they could tee, the theatre would be opened early in December. The company had advertised in the theatrical papers that all artists could have fresh contracts. He gave plaintiff notice that he would complete all engagements en- tered into, and he did not wish to make any exceptions whatever.
Mr. Kingslee, the builder, gave evidence as to the delay caused by the strikes. Then they came across an oH disused part which had been filled up. and this necessitated going down to a greater depth vith the foundations. Through the strikes they could not get mate- rials, and, but for the delay so caused, they could have opened the theatre.
Mr. Lever then summed up hie case, con- tending that as the work of the theatre was delayed by the stiikes the defendants could not be held liable, in view of the clause in the contract.
His Honour: You need not trouble about the strikes. I am. against you on that point.
Mr. Lever said in that case he could rely on th^ other c'ause under which the defendant*
would be entitled to determine the contract upon the stipulated notice if the theatr closed for decorations or repairs. They had offend to give j lai.itiff Another date, as they were do'ng in the case of the other artists w.'th whom they originally made contracts.
Bis Hoiour said there would be judgment for the rlaint.ff with costs. His opinion of the clause relie'J on was that the management had to of-en if they could, but what happened was that the theatre did not open because ti;e builders could net finish it within the tii/ie of thtir contract. That being so, the defonlants were liable under their contract with the plaintiff.
POUNDS v. EDWARDES.— BREACH OF CONTRACT.
In the Westminster County Court, Mr. Cpur-
tioe Pounds, residing at Heybridge
22 Avenue, Streatham, sued Mr. George
Edwardes for £50 in respect of alleged
breach of contract.
Mr. C. Doughty and Mr. Tyfield were counsel for the plaintiff, and Mr. Horace Woodhouse represented the defendant.
Mr. Doughty, in outlining the plaintiff's case, said Mr. Courtice Pounds was playing in Orpheus in the Underground at His Majesty's in, the early part of 1912 when he was approached by Mr. Herbert Ralland, the representative of Mr. George Edwardes, who asked him if he would take the part he had previously played in The Duchess of Dantzic in a potted version of that piece which was about to be produced in London. It was very necessary that Mr. Edwardes should have for the part a man of standing like Mr. Pounds, and Mr. Ralland stated that Mr. Edwardes was desirous to engage him to appear for eight weeks in London at a salary of £50 a week. Mr. Courtice Pounds agreed to these terms, and he was to appear in his original part in The Duchess of Dantzic at the conclusion of his engagement at His Majesty's.
Subsequently, during the rehearsals of The Duchess of Dantzic, trouble arose between Mr. Edwardes and Air. Gibbons, of the Palladium, in connection with the contract to play the piece for eight weeks in London and four weeks in the provinces. The trouble, how- ever, was overcome, and it was decided that there should be six weeks' performance in London and two weeks in the provinces. The piece was played for three weeks in the West End, and then the company on Easter Mon- day went to Lewisham for a week, and then to Kilburn. While at the latter place Mr. Pounds was informed that there was not going to be a sixth week in London, but that arrangements had been made to perform the piece on the sixth week in Glasgow. Mr. Pounds pointed out that this was against the terms of the contract, and that it would be impossible for him to go to Glasgow. Mr. Ralland, counsel understood, then tried to get Mr. Gibbons to engage the plaintiff for one or two weeks to appear in one of his own sketches, so that Mr. Pounds should be occu- pied, and there should be no claim against Mr. Edwardes. This arrangement, however, came to nothing, and Mr. Pounds was left for a week with nothing to do, and when he wrote requesting a cheque for a week's salary the reply was that nothing was due to him.
His Honour, in giving judament, said It was unfortunate that the case had come into court. The parties seemed to be very good friends, and it was unfortunate that they should have this dispute. It was the more unfortunate because it was by reason of their being such
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THE STAGE YEAR BOOK.
OCT.-NOV.
good friends that the terms of the contract they actually made were not put into writing. He could not help thinking that it was entirely due to that that the dispute had arisen. What he had to do was to determine who had got the best memory as to what actually occurred. It was admitted that there was a contract made for London, and the arrangement arrived at (not mentioning the provincial engagements) was for six weekly performances. But later there was a variation to something indefinite. Mr. Pounds said his agreement was for six weeks in London, and the whole onus of proof was on the defendant to show a varia- tion of the contract. He (the Judge) thought the defendant had failed in this respect, and that the contract for six weekly performances in London could not be disproved. He thought the measure of damages was a week's salary, and he, therefore, gave judgment for the plain- tiff for the amount claimed, with costs.
HAYMAN v. L. and N. W. RAILWAY.— LOST LUGGAGE.
At the Bloomsbury County Court, Judge Bray, delivered judgment on the liability 2 4 of a railway company for luggage lost in transit. Mr. Irve Hayman, sketch ar- tist, sued the London and North- Western Rail- way Company for £12 for the loss of a piece of scenery delivered to the defendants' ser- vants at Warrington Station for carriage from that station to Bath. Evidence was given by Mrs. Hayman to the effect that the plaintiff despatched from Warrington thirteen packages in connection with the Christmas Eve com- pany for Bath. One package was lost. The company's servants were employed in taking the packages to the station. There were labels on the goods.
Mr. Tait, of the Solicitors' Department of the defendant company, represented the de- fendants, and Mr. R. C. Denby was for the plaintiff. Mr. Tait argued that the railway company was not liable inasmuch as the lug- gage was not personal luggage. It further had not been proved that the package had even been put in the van at Warrington.
His Honour said that it was not the plain- tiff's duty to see it put in the van.
Mr. Tait said that his further point was that, assuming it was put in the van, it wa» not proved that the package was lost on the London and North-Western Railway. It was perhaps lost at Bristol, on another railway. Dealing with the point that the luggage was not personal luggage, he contended that there had not. been notice to the .railway company. When the luggage was not personal luggage there was a different tariff. The company had not had sufficient notice of what the packages contained.
Mr. Denby contended that the company was liable. He instanced the fact that the Tail- way company sent men to despatch the goods to the station, and they knew what the con- tents would be.
Judge Bray said he was satisfied that the package was sent by the plaintiff. The only inference he could draw was that the pack- age was lost on the defendants' line. As to the question of personal luggage, his Honour said the company knew that theatrical goods were despatched, for they had men to assist in the despatch, and everything went to show that th'Mtrical properties vere being sent. He pave julgmeirt for the plaintiff for the amount claimei.
UNLICENSED AGENT HEAVILY FINED.
At the instance of the London County Council, Bob Graham, of Kemnington 2 9 Road, was summoned, before Mr. Hop- kins, at Lambeth Police Court, to answer
the complaint that during the month of August he unlawfully carried on an employment agency without a, license from the Council authorising him so to do.
Mr. Cecil Kemp, from 'the Solicitors' De- partment of the Council, said that the pro- ceedings were taken under the London County Council (General Powers) Act, 1910, which pro- vided that after January 1, 1911, no person should carry on an employment agency with- out a license from the Council. Section 25 provided that any person conducting such an agency without a license should be liable to a penalty not exceeding £50, and a daily penalty not exceeding £20. The defendant, with another, carried on the business of an academy of dancing at Kennangton Road,, and the allegation was that in August the defendant acted aa agent in regard to contracts under which it was proposed to engage three young girls to perform in Germany. The contracts were signed, but after consideration the parents refused to allow the children to go. A license to conduct an employment agency was not held by the defendant.
Addressing the Court, the defendant said that he introduced the girls to an agent be- cause they were worrying him for engage- ments which he could not give them himself. If he had been acting as an agent he would have received a commission. He was very sorry if he made a mistake, but he thought he was perfectly entitled to do what he did. He did it for . the benefit of the girls. He received no remuneration whaitever.
Mr. Kemp stated that in December, 1911, the Public Control Committee of the Council re- fused to renew the defendant's Jicense to carry on an employment agency.
Mr. Hopkins "ordered the defendant to pay a penalty of £25 and £2 2s. costs.
MORDECAI v. CROWN FILM HIRING CO.— CLOSING A KINEMATOGRAPH THEATRE.
In the Shorediteh County Court, before his Honour Judge Cluer. Joseph Mordecai, 29 of 195, Lower Clapton Road, N.E., ad- vertisement contractor, sued the Crown Film Hiring Co., of 52, Wardour Street, Shaftesbury Avenue, to recover £26 12s. damages sustained through the closifig of the Gem Electric Theatre, Berkhampstead. The plaintiff contracted for the curtain at the theatre from February 5, 1912 for fifty- two weeks for £10. He let the curtain to adver- tisers for £39 12s., of which he had received £3, and allowing the £10 he would have had to pay it left a loss of £26 12s., which was claimed. Mr. Louis Green was counsel for the plaintiff, and Mr. Zeffertt, barrister, ap- peared for the defence. Judge Cluer said he thought there was no answer to the claim. The defendants undertook to keep the theatre open for three hours daily, but of their own accord they shut it, thus breaking their contract. The plaintiff had a perfect right to enter into con- tracts for the curtain on his own contract, but was now debarred from sueing for money as his clients might claim damages. Plaintiff was entitled to the full amount he would have received had the defendants gone on with their contract less the amount he had re- ceived, making £24 6s. 9d. Judgment was entered for that amount, with costs.
NOVEMBER.
LEE V. BRAFF.— SLANDER.
In the King's Bench Division, before Mr.
Justice Darling and a special jury,
5 Miss Lola Lee brought an action for
damages for alleged slander against Mr.
Adolf Braff.
NOV.
THE STAGE YEAR BOOK.
285
Mr. Doughty and Mr. Tyfield (instructed by Messrs. Judge and Priestley) were for plaintiff, and Mr. Rose limes, K.C., and Mr. D. Hogg (instructed by Messrs. Harris) for defendant.
Mr. Tyfield said that bis client was a dancer. She was aged 16i years. Her agent, Mr. Seipt, got into communication with Mr. Tichy an agent on the Continent. The contract was practically complete for Miss Lee to perform at Mr. Tichy's Hall at Prague. Mr. Bran", the defendant, was in Berlin on Sept-ember 7, 1911, and was in the vestibule of the Central Hotel, Berlin, when Mr. Ticny asked Mr. Braff if he knew anything about Miss Lee. Mr. Braff, counsel said, then uttered the following state- ment in German of which complaint was made :—
Miss Lola Lee was the greatest trash that ever existed, and for many years she had been tramping about in England, but no one would acknowledge her. She would even pay money out of her own pocket if she could find an opportunity to appear on the stage. In short, it was a catastrophe and insult to offer something like that. The result was that the negotiations fell through.
Mr. Braff, in evidence, said he had acted as Mr. Tichy's agent for twelve years, and ad- vised him as to the capacity of English artists visiting the Continent. He had seen Miss Lee dance, and when Mr. Tichy asked him what he thought of her he replied that he did not think the act was suitable for his theatre. He further said that the lady might be very good, but not suitable for the particular house. He never said it was a "terrible show," worth nothing. He had no ill-feeling against the plaintiff.
Mr. Justice Darling: Why should not she do for Prague ?— Because she was imitating dan- cers known in this country, but not in Prague. Mr. Justice Darling: Who did she imitate? — Maud Allan and Sahary Djeli, who were well known here but not in Prague.
Mr. Justice Darling ruled that the occasion when the words were used was privileged.
The jury found the words were uttered mali- ciously, and assessed the damages at £30. Judgment was entered accordingly, with costs.
PERMANE AND ANOTHER v. BOLAM.
At the Gateshead County Court, Captain Permane, proprietor of a troupe of per-
5 forming bears, and Mr. Ellerslie Pyne, actor, sued Mr. F. W. Bolam, of the Queen's, Gateshead, for £15 and £7 10s. re- spectively for breach of contract. There were counter-claims entered.
Mr. Charles Doughty appeared for the plain- tiffs, and Mr. Wynn Parry defended.
The parties signed contracts for plaintiffs to appear at the Queen's for the week com- mencing September 30. In accordance with contract, Captain Permane sent in bill matter. Mr. Pyne did likewise.
On September 12, however, an advertisement was published in the Era announcing that the theatre would be closed. Captain Permane at once wired to Mr. Bolam, and he replied by telegram as follows: "Regret to say yes."
In the course of long correspondence which followed Mr. Bolam asked Captain Permane to secure another engagement, and not to haggle after his "pound of flesh." The Variety Artista' Federation wrote and made the claim for the fulfilment of the contract.
On September 28 the defendant wrote to Mr. W. H. Clemart, the chairman of the Federa- tion, to the effect that in order to prevent any further liability he had decided to run a variety performance. Mr. Clemart, however, did not receive the letter in London until the
Monday morning, when defendant expected the artists to appear at Gateshead. It was im- possible for the plaintiffs to be communicated with. The following day Mr. Bolam wrote and complained that the artists had not turned up.
A further letter was received by Mr. Clemart fiom the defendant, in which he stated that he waited for thrte hours for the plaintiffs to turn up, but they failed.
The letter proceeded: "I am going to send my compliments to the defaulting artists with summonses."
For the defence, Mr. Parry said that Mr. Bolam, in deference to their wishes, gave the plaintiffs an opportunity of fulfilling their en- gagement. He changed his mind about the closing of the theatre, and announced that it would be open, and billed the artists accord- ingly. Neither artist presented himself for rehearsal. They were bound to have done so.
"Why?" asked the judge. "It is con- trary to every principle of law. They were told • the theatre was closed, and how could they be expected to present themselves when there was no stage for them on which to dis- port themselves? "
Mr. Bolam gave evidence, and said that due notice was given to the artists in the Era.
"Yes, that advertisement signified your "breach of the contract."
" It is a custom of the profession to give svch notices," added witness.
" Have you any witnesses to establish that? " asked the judge.
" No," observed Mr. Parry.
Judgment was given for plaintiffs for the amount claimed, and the counter-claim was dismissed. Costs under Scale B were allowed.
DALLTMORE v. WILLIAMS AND JESSON— LIBEL ACTION-TRADE UNIONISTS- APPEAL.
Before the Master of the Rolls and Lords
Justices Farwell and Hamilton, in the
11 Court of Appeal, the case of Dallimore
v. Williams and Jesson was heard upon
the application of the defendants for judgment
! or new trial in the action which was tried before Mr. Justice Ridley and a special jury in the Ling's Bench Division.
The plaintiff, Mr. Alfred Holmes Dallimore, brought the action against Mr. Williams, the
! general secretary, and Mr. Jesson, the secre- tary of the London branch of the Amalga- mated Musicians' Union, claiming damages for inducing certain persons in his employment to
; break their contracts with him. He also claimed damages - for libel and slander, and for conspiracy to injure him by preventing him from obtaining fit persons to enter into his employment. An injunction was also claimed.
Mr. Dallimore had arranged to give a con- cert one Sunday in 1911 for the National Sun- day League, at the Alhambra, Leicester Square. He engaged fifty-eight performers for the occasion at agreed rates of remuneration, and plaintiff alleged that the defendants in- duced some of the musicians to refuse to perform at the agreed rates, notwithstanding that such rates were in excess of those recog-
i nised by the union. He alleged that this had
j been effected by means of a circular, by verbal statements and threats made to the musicians
I that they would be either expelled from or
i penalised by the union, and by telling them falsely that the rates were less than those
i fixed by the union, and by placing pickets round the entrances to the Alhambra, and
I causing a crowd to assemble and interfere with access to the entrances. It was only
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THE STAGE YEAR BOOK.
NOV.
after promising further payments if the men wished to take them that Mr. Dallimore, as he alleged, was able to carry out the contract.
At the trial Mr. Justice Ridley ruled that there was no case to go to the jury so far as the alleged slander was concerned, and the jury found that the defendants, without justifi- cation and with intent to iitfure the plaintiff, procured and induced the plaintiff's employees to break their contracts ; that they interfered with the plaintiff's business ; that they con- spired to commit the acts in question ; that Jeeson published libellous statements of the plaintiff which were untrue; that there was not a trade dispute; that the defendants' acts were not in contemplation or in furtherance of a trade dispute, and that they were done out of spite. For the conspiracy indictment to break contracts and interference w.ith the plaintiff's business the jury assessed the damages at £450 as against both defendants, and for the libels at £100 as against the defendant Jesson.
Judgment was entered accordingly for the plaintiff, with costs, but Mr. Justice Ridley directed that the defendant Williams should receive the costs of the issue of libeJ as against him. He also granted an injunction restraining the defendants from repeating the acts of inter- ference complained of " otherwise than in con- templation or furtherance of a trade dispute."
Mr. Langdon, K.C., and Mr. McCardie ap- peared for the appellants; 'Sir F. Low, K.C., and Mr. Harry Dobb for the respondent.
Mr. Langdon having stated the nature of the various heads of the claim, said that the defence to the plaintiff's action for damages against the defendants for their having induced employees to break their contracts was that the defendants were protected by the provisions of the Trades Disputes Act. So far as the al- leged libel and slander was concerned, the de- fendants said the statements complained of were not defamatory. The learned judge, at quite an early stage, ruled that the Act was limited in its application to cases in which there was a dispute between the employer and his immediate employees, or between the im- mediate employees and the employer, and that where the union interfered rightly o,r wrongly to increase the rates of pay without a dispute the Trades Disputes Act would afford no pro- tection.
Lord Justice Hamilton: Do you apply for a new trial or for judgment?
Counsel saM that Mr. Justice Ridley had ruled that there was a breach of contract in- duced by the defendants, but his (counsel's) contention was that there was no breach of contract induced on the evidence. If that was so, that particular cause of action would fail. If upon the heads of alleged slander and libel the statements were held not to be defama- tory, the defendants would be entitled to judg- ment on those issues only. The defendants also appealed on the ground that the learned judge had misdirected the jury. The effect of the union's intervention, added counsel, was that after the concert at the Alhambra Mr. Dalli- more paid nineteen members of his archestra a fee of half a guinea instead of 8s. 6d., which wars agreed.
Mr. Langdon, on, November 12, continuing his arguments, submitted that the learned judge had directed the jury in a way which conflicted witn the proper interpretation of what was a " trade dispute."
Replying to Lord Justice Farwell, counsel said his point was that the learned judge mis- directed the jury upon that point.
Lord Justice ffamilton said it could not be contended that the defendants had allowed
themselves to be interviewed bj a Press repre- sentative in furtherance of a trade dispute.
Mr. Langdon said he did not go so far as that, but contended th.at the two causes of action were so interdependent that the de- fendants had been unable to obtain a fair trial.
At the conclusion -of Mr. Langdon's address the Master of the Rolls, addressing Sir Frederick Low, said that the Court would not trouble him as to the libel part of the action. They -thought the appeal failed "so far as the verdict and judgment against Mr. Jesson for £100 was concerned. The Court wanted to hear Sir Frederick Low on the " trade dispute " point.
Sir F. Low said the case undoubtedly raised a very great point under the Act of 1906. He wished to put before their lordships the plaintiff's case as it was put in the court below. A great deal had been said about trade disputes, and about things done in furtherance of a trade dispute, but he submitted that in this case the onus was cast upon the defen- dants to satisfy the jury that the acts they d.d, which would otherwise have been unlaw- ful, were done in furtherance or in contempla- tion of a trade dispute. That might be met in two ways, and in the court below it was met m two ways. Firstly, plaintiff said there was no trade dispute at all, and, secondly, that, trade dispute or not, the defendants were not acting in furtherance or in contemplation of any trade dispute, but were acting purely and simply in furtherance of their own spite or malice, and that all of their acts were dic- tated by that evil nature. The parties were not merely in the position of trade union and employer, but of rival employers compeiing for the same contracts.
The Master of the Rolls, in giving judgment on November 13. held that, in face of the view which Mr. Justice Ridley had expressed to the jury as to what was a trade dis- pute witthin 'the definition of the Trade Disputes Act, the verdict could not be sup- ported so far as <tlhe plaintiff's cause of action related to conspiracy, inducement to break contracts, and interference with his business was concerned, and therefore with regard to these matters there must be a new trial. The verdict and judgment against the defendant Jesson for the £100 for alileged libel would stand. Respondent would, in the circum- stances, have half the costs of the appeaJ, and the other portion of the costs of the appeal would aibide the result of the second trial.
The Lord Justices concurred.
(For report of case in the Ring's Bench Division, see April 25.]
WOODWARD v. BERZAC.— AN INJUNCTION CLAIMED.
In the Chancery Division, before Mr. Justice Neville, Mr. Joseph George Woodward 1 3 and 'his cousin, Mr. Frederick Benjamin Woodward, sought an injunction to re- strain Mr. Cliffe Berzac, of Connecticut, United States of America, and Captain Walter Asheroft .and Mr. Frank Newbury, of Black's Theatre, Wallsend (trainer and' manager respectively for Berzac), from using the names " Captain Woodward," " Cap- Fred Woodward," or any other name calculated to lead the public (to believe that the defendants' performance was that of the plaintiffs'.
Mr. Jenkins, K.C., stated that Mr. J. G. Woodward went into the business in 1880. when his father, Mr. James Woodward, was superintendent of the fisheries department of the Royal Aquarium, London, and conceived the idea of training seals, in which Joseph
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assisted. This turned out to be a success, and in 1884 the performance was given on the Continent. In that year the first sea lion for performing purposes was purchased by the Woodwards. The first performance of juggling and balancing sea lions was given in 1899. Joseph bought up the shares of his father and brother in the troupe and carried on the business until 1906, in which year he was showing a very perfect troupe of seven sea lions and two seals, and had just completed a successful tour in America at something over £100 a week, which represented a net profit of £50 a week. He was introduced to Mr. Berzac, a circus proprietor, who purchased from him the seven sea lions and two seals, with the scenery and other paraphernalia, for £1,800.
Under the agreement, according to the pUin- tiff's case, Berzac was to have the right "O use the name " Woodward " in connection with the act and production during the lifetime of the animals only. The animals then purchased were now all dead, and the plaintiffs com- plained that the defendants were still using the name " Woodward " in association with animals subsequently purchased by them. The average life of a sea lion was four or five years, and of a seal not so much.
Mr. Citssel. K.G. (for the defence), claimed that under the agreement the defendants were entitled to use the name " Woodward " for all time in connection with sea lions and seals, and declared that one of the original seals was still alive. Its name was formerly Kitty, but it was now called Toby.
The hearing continued on the 14th.
Mr. Cassel contended that his clients were entitled under the agreement to produce the act sold by plaintiffs, whether the same ani- mals took part in it or not. It was essential that defendants should make engagements for a considerable period in advance. Plaintiffs had not established any exclusive title to the use of the word Woodward. From 1906 the only persons who were showing seals under the name of Woodward were defendants, and out of the seals shown four, at least, were not trained by the original Joseph Woodward.
Mr. Ward Coldridge, in behalf of defendants, also submitted that upon the true construc- tion of the agreement the defendant, Mr. Berzac, had purchased that which entitled him as long as he kept to the same act and production to use the name of Woodward, in accordance with the monetary payment made for the right.
His lordship, without calling on Mr. Jenkins, decided in favour of plaintiffs, and granted the injunction, with costs.
VINCENT v. MORRIS.— AN ABANDONED CONCERT TOUR.
Miss Ruth Vincent was the plaintiff in a case of breach of contract which came 1 3 before Deputy Under-Sheriff Stanley Hus- ton and a jury at Bren/tford. De- fendant was Mr. William Morris, who pre- viously had offices in New Coventry Street, W., and who is the proprietor of the " American " and other New York Halls. Judgment had gone to plaintiff by default, and the jury were only asked to assess damages.
Mr. G. C. Kingsbury appeared for the plain- tiff, and Mr. E. F. Lever represented the defendant.
At the outset Mr. Lever applied for an adjournment, stating that his client waa in America and had had no knowledge of the judgment until he received a notice of tms hearing. He had not had time to receive instructions from his client, and he would thereby be at a disadvantage.
The Deputy Under-Sheriff, however, thought there had been time, and the case would go on
Opening the case, Mr. Kingabury said that in May of 1912 defendant decided to organise a series of some half-a-dozen concert*. Vincent was engaged after negotiations be- tween her husband and the defendant to appear at these concerts at a fee of forty- five guineas for each concert, plaintiff paying her own travelling The programme
arranged was as follows :— June 10, Royal Albert Hall, London; June 12, Philharmonic Hall, Liverpool ; June 15, Free Trade Hall, Manchester ; June 19, Leeds Coliseum ; June 20, Birmingham Town Hall ; June 22, St. Andrew's Hall, Glasgow. Plaintiff appeared at the Albert Hall, and was paid the agreed sum, but subsequently the tour was abandoned, and no other concerts were given. Defendant; wrote a letter in which the reason given for the abandonment of the tour was that he had been advised that there might be great reli- gious riots in Manchester and Liverpool through the appearance of Sirota, one of the singers. Plaintiff had received no recompense for the loss of the engagement, and owing to the lack of time she had been unable to obtain other engagements during the period covered by the agreement.
The jury awarded plaintiff the full amount claimed, £198 15s.
GARRICK RENTERS v. LUGNE-POF.
At Brentford, before Deputy Under-Sheriff Huston, a Middlesex jury was asked to "1 3 assess damages in a case of breach of contract brought by the Garrick Renters, Limited, Charing Cross Road, against A. F. Lugne-Poe, Rue Ccndorcet, Paris, a producer of plays. Judgment had gone to the plaintiff by default, and defendant was unrepresented. Mr. Wertbeimer, for the plaintiffs, said that they had a long lease of the Garrick, for which they had to provide plays. In March they entered into a contract with the defendant to provide for a fortnight a full company of artiste, including his wife, who, under the stage name of S>uzanme Despres, was one of the best known actresses in Paris. The con- tract was not fulfilled, and the theatre had to be closed for the two we*ks. Mr. Arthur Bourchier had just before signed a contract for a provincial tour, and it was found im- possible to provide another company for the theatre.
Mr. Louis Meyer, managing director of the plaintiff company, said that the gross re- ceipts for the two weeks, if the theatre had been filled, would have been £4,000. In the claim £800 had been deducted for possible bad weather, etc., leaving £3,200. This had to be pooled between the company and the defendant, and the company's share would therefore have been £1,600. As a matter of fact, he considered that they would have had a full house at each performance, as Mme. Despres had played to big houses in London two or three years ago and they were antici- pating a Press boom. He thought they would have made £200 a performance at the least. Out of the £1,600 the plaintiff company would have had to pay half the advertising charges and provide lighting, scenery, and furniture. He estimated the total costs of that at £140 for the fortnight, leaving £1,460. In addi- tion to this damage, the company had lost £80 connected with the bar at the theatre, £21 3s. in connection with proprietary seats, and ten guineas in other expense», leaving the total estimated damage of £1,571 13s. With regard to special damage, the failure of the defendant to produce the play had had a bad effect on the theatre, because it had been advertised. The public might think all manner of reasons why it had not been
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produced, and it certainly made a very bad impression. He mentioned that the rent of tne theatre, whether closed, or open, was £215 a week, including rates and taxes. They had done their best to obtain another com- pany, but found it impossible. Mme. Dorziat, another very well-known French actress, had been named as a substitute for Mme. Despres, but the plaintiffs were informed that she also was unable to come to London.
The jury awarded plaintiffs the sum claimed (£1,571 13s.), with costs, but no special damages.
\VALLROCK AND CO. v. HOFFMANN.—
IRVING THEATRE NEG&TIATIONS. Im the King's Bench, before the Lord Chief Justice, an action was brought by Messrs. 13 Samual Wallrock and Co., estate agents and surveyors, of M.addox Street, WM against Mr. Paul Hoffmann, architect, to re- cover damages for false representations alleged ! to have been made by Mr. Hoffmann to plain- I tiff in connection with negotiations for the ac- j quisition of certain properties in St. Martin's Lane for the purpose of building a theatre, to be known as the Irving Theatre. The case j was before the Court on November 13 and 14. Plaintiff claimed £1,500 commission, his case being that Mr. Hoffmann instructed him to j endeavour to see if he could get into his hands the various properties owned by people | interested in a certain block of buildings. Plaintiff did so, and was assured that there | were people who would support the proposal, j The property was never taken over, and plain- j biff lost his commission, owung, as he alleged, to the representations made by Mr. Hoffmann as to the amount of money available not being true, and there not being, in fact, suffi- cient money behind him for the scheme to become a fait accompli. Mr. Hoffmann denied that he made any false representa- tions, or that he gave any warranties.
Defendant was cross-examined by Mr. Mon- tague Shearman, K.C. He said that the reason why the purchase did not go through I w.as that at that time Mr. H. B. Irviimg's ! Australian tour was spoiled by ihe very hot weather, although previous-] y and afterwards lit was a huge success. He dcd not agree that the failure of the syndicate to proceed was the Jack of money.
Mr. E. G. Hemmerde, K.C., M.P., chairman of directors of the syndicate (the Irving Theatre, Limited), said that the company was started three years ago to acquire certain rights in plays connected with the late Sir Henry Irving, and to in/terest itself in financ' ing the theatrical ventures of Mr. H. B. Irving, who was the managing director.
Dealing with the question of acquiring the St. Martin's Lane site, witness said that the idea was that the site should be purchased for £40,000 by some person and let to the Irving Theatre, Limited, at a ground rent of £2,000 a year. It was always understood that £15,000 in cash was all that was neces- sary, and that they had. A well-known firm of builders was prepared to advance £20,000 or £25,000 on a mortgage of the building itself at 5£ per cent, interest. Another suggestion was that the money should be raised from a bank on the security of the site and the builder's contract.
The scheme did not fall through for want of money The £15,000 was always available, but some of the directors thought the site was not a suitable one, and there were other reasons.
Sir William H. Dunn, surveyor, <wiid that he viewed the site, and told Mr. Hoffmann it
was worth £40,000, and if the syndicate had £15,000 the remainder could easily be raised by mortgage. The site was a valuable one, and admirably suited for a theatre.
Mr. H. B. Irving gave evidence that he saw the site with Mr. Hoffmann before leav- ing for Australia in May, 1911, and thought it a good one. He gave authority for the syndi- cate to proceed in his absence. «
The following quastions were ''eft tCr the jury, and answered as follows:
1. Was there fraud by the defendant?— No.
2. If there was a contract, what damages is plaintiff entitled to?— £350.
After hearing arguments on both sides, his lordship held that there was no contract on which plaintiff could recover
Judgment was accordingly entered for defendant with costs
DAVENPORT v. FARADAY.-^BREACH OF
CONTRACT.— QUESTION OF RECESS.
lu the King's Bench, before Mr. Justice Bankes, Mrs. Muriel Winifred Davenport, 14 professionally known as Miss Muriel George, brought an action for £180 damages for breach of contract against Mr. Philip Michael Faraday, in connection with the presentation of Nightbirds at the Lyric. Mr. Dodd (instructed by Mr. G. P. D. Pres- ton) appeared for plaintiff; and Mr. Lewis Thomas, K.C., and Mr. Percival Clarke (in- structed by Mr. A. Pyke) were for the defen- dant.
Mr. Dodd stated that Mrs. Davenport was engaged by defendant on October 25, 1911, to play the part of Ilka in Nightbirds at a salary of £20 a week for the run of the piece. The play was produced on December 31, and on February 16, while it was still running, Mr. Faraday dismissed hex from her part. Ac- cordingly she claimed nine weeks' salary at £20 a week. By the defence it was admitted the lady was engaged by defendant, but he denied that she had been dismissed". Further, defendant said he exercised what he said was a right given him under the contract of " re- tiring " the plaintiff for a period of eight weeks. He gave her notice on March 1, 1912, of his intention to do this, he said, and the run of the play came to an end on May 4.,
Continuing, counsel said that for some tnree and a-half years plaintiff was in Mr. P^Lissier's Follies, and was a lady of considerable musical and artistic stage experience and skill. She was approached bj Mr. Faraday in October, and was offered an engagement in Nightbirds, and so pleased was he with her performance on the opening night that he presented her with a bouquet, while the Press spoke highly of her performance. She con- tinued in her part, and, with the exception that there was a suggestion that the first act- might be made brighter, there was no hint that Mr. Faraday was not satisfied.
On February 16, without any notice what- ever, she received a letter from defendant, in which he said :—
" I am very sorry indeed to have to write this letter, but, unfortunately, sentiment cannot enter into business. Believe- me,' I am not acting only on my own initiative, but am compelled, because of the tastes of my patrons of my theatre, to make a change with regard to your part. I have arranged with Miss Margaret Paton to play at the matinee to-morrow and thereafter. Although I am entitled to make eight weeks' recess, I do not propose to put that in operation immediately, so that you shall suffer no financial loss."
That letter, counsel submitted, announced a deliberate intention to break the contract.
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289
Plaint.li.' xi id that when Mr. FanuLay .-pok<- about brightening the h'rst act sh-e told hiiii she would play a Cockney character servant if )iu liked, Ihey parted on friendly ; and the letter, which came as a tremendous shock, was the first intimation that anything was wrong. She had an interview with Mr. Gitt'ard, defendant's general manager, to whom she said that no money could compen- sate her lor the unhappiness and mental stress which had been caused her. She asked why Mr. Faraday had taken this action, and Mr. Giffard said he thought he had been influenced by people who were with him at the time, and that he had definitely dis- missed her. Mr. Giffard made her an offer of £80 as compensation, and said she could take the money with her and announce that she had resigned her part. He also said that if she did not accept this offer Mr. Faraday would ''retire" her for eight weeks and that during that time she would receive no salary, and would be unable to look for work anywhere else. Afterwards she could not get engagements.
Mr. William Burchill said he was acting manager to Mr. Arthur Bourchier. He bad only seen this " recessing " clause in contracts where the artist was engaged for a year. It was a power applying to the whole company only; a holiday for everybody.
In cross-examination by Mr. Thomas, the witness said that if a piece wras stopped for eight weeks that would be an end to the run. He did not know whether the recent stopping of one of the three plays by Shaw, Barrie, and Pinero stopped all three.
Mr. Thomas said it had been held that a manager, in the absence of agreement, was not only bound to pay the artist his salary, but also to give him a part to play. Clause 1 of this contract was inserted to meet that very fact, and provided that the plaintiff must act "at such times as the said manager may (require." Under that he submitted that she could be taken off at any time he chose, and a substitute provided to play her part. Under Clause 8 (supra) he had the right to " recess " her during the engagement — i.e., during the run of the play— for eight weeks. At the end of the eight weeks she would come back on to the salary list. The right to retire an artist could not apply only in the event of a recess, because eight weeks' closing of the theatre put- an end to the run according to the evidence. If he wished to preserve the " run " he would have to employ a duplicate company during the recessing of the others.
Mr. William Giffard, the defendant's man- ager, examined by Mr. Clarke, said that at the interview he told the plaintiff he was sure Mr. Fardaay had no personal feeling against her; and that he did not intend that she should immediately lose any salary.
Mr. Justice Bankes, in summing up, said that under the cor.tract Mr. Faraday had a right to some extent to prevent the plaintifi from acting on a particular night. And for the purpose of their verdict they must also assume (though he should hold otherwise) that he had the tower to " recess " her without salary for eight weeks.
His Lordship then dealt with the evidence as to whether the plaintiff was dismissed or not.
The jury returned a verdict for the plaintifi with £180 damages.
Mr. Justice Bankes said he ought to express his view as to Clause 8. He thought that " recess " applied to the whole company. There must be judment in, accordance with the verdict.
A stay of execution was granted on one- third of the damages being paid and the rest brought into Court.
F AIRLESS V. SOUTH SHIELDS PALACE CO. A FALL OF CEILING.
In tho South Shields County Court, Mra. Elizabeth I uied £50 from the
14 South Shield-, Palace 'theatre Co., Limi- ted, for injuries nm.-i.d by the fall of A portion oi' the roof of the theatre during a performance on Julie m;.
Mr. J. H. Edgar said that the plaint ill' re- ceived a severe shock by the fall of a piece of plaster from tne ceiling above her as she oat in the circle She had to go home in a cab, had been unable to <lo her housework, and had had to pay lor assistance.
Mr. H. S. Mundahl, lor the theatre company, submitted that there was no evidence oi negli- gence, but Mr. Edgar said this was not neces- sary, lor the pi aim/iff was entitled to expect when she paid lor 'admission that she would be able to witness the perlormance in safety.
A long argument on legal points ensued, and the judge reserved his decision.
Or. December 5, ins Honour observed that the claim .vas one for dan ages in respect of shock to her nervous eysiem sustained by uie- plaintiff through the fall of a l»ortion of the theatre ceiling during a per- iormane<; which she attended on June 26. The plaintiff had to establish a duty or obliga- tion on the part of the defendants, and a breach of the obligation belore it became necessary to consider the question ol damages. In this case the question was whether there was any evidence that proper care or skill had not been used in the construction of the build- ing, and he thought that there was some evidence of negligence, as the only explanation given of the falling of the roof was that the plaster had not been properly mixed. Plaintiff was, therefore, entitled to recover, but he thought the damages were greatly exaggerated, and he gave judgment for £10 10s. and costs.
BLUNDELL v. CHARING CROSS CINEMA, LTD.— CLAIM UNDER THE WORKMEN'S COMPENSATION ACT.
A case cam 3 oefore Judge WToodfall and a medical referee in the NVestminster 19 County Court, in which Cyril Blundell, of Brecknock Road, Tutnell Park, claimed compensation under the Workmen's Compen- sation Act from the proprietors of the Charing Cross (Cinema) Theatre.
Mr. Sort Williams, counsel for the appli- cant said Blundell was formerly employed as a doorkeeper at the Charing Cross Theatre, and it was part of his duty to shut the gates after he had finished his duty. On the night of October 7, 1911, a heavy iron bar that he had to put up fell upon one of his feet, severely injuring it. He went home and the next day saw a doctor, when it was found that a bone or bones of the foot had been fractured. The applicant attended Charing Cross Hospital from the 8th until the 30th October, when he was seized with a paralytic stroke, which affected his left side. He then became an in-patient at the hosp:tal until January 29 last, when he was sent to a convalescent home, where he re- mained until June 4. The applicant had re- ceived 17s. 6d. a week as wages at the Char- ing Cross Theatre, but he made from 20s. to 25s. weekly out of " tips " given to him for showing people info their seats and taking charge of walking sticks, umbrellas, cloaks, etc., while people were ;n the theatre. The claim now made was for compensation from the time of the accident up to the present time, the applicant still having to use crutches.
His Honour said he would allow something for tips. His wages, he thought, might be put down at 30s., and, calculating half that sum for thirteen weeks and deducting what
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the applicant had already received, there would be an award in his favour of £4 18s. 6d., the costs of the medical issue to be set off against his own costs.
VENTON v. MCDONALD— VIOLINISTS AND
DEPUTIES.
At the Shoredi>tch County Court, before
Judge amyiy, K.C., John William Venton,
19 a violinist, sought to recover £3 4s. 8d.
from Mr. McDonald, musical director
of the Empire, Shoreditch, being one week's
wages at 35s. a week and one week in lieu
of notice, less fees.
Plaintiff stated that in September, 1912, he was engaged as second violinist at the Shore- ditch Empire. Having played on September 16 and 17, he was taken queer on the 18th and sent a telegram to the defendant to that effect. Next day he received a telegram intimating that he had been discharged.
His Honour: What notice did you give?— I sent a telegram saying I was too ill to attend.
His Honour: Did you send a deputy?— I engaged one, but, to my surprise, he did not turn up.
His Honour read the telegram, timed 5.29 p.m. on September 18: "Cannot attend to- night; am sending deputy." Is there not, he asked, a custom that if a person stops away and does not send a deputy he may be discharged? Just imagine what it would be for a musical director if people stopped away without sending a deputy. (To defen- dant): What are your rights?
Defendant : If a deputy does not turn up an explanation is asked for, and if it is not satisfactory the man is discharged.
His Honour : If he takes upon himself to send a deputy and the man does not turn up, he can be dismissed?
Defendant : Yes. The performance com- menced at 6.30 p.m., and I could not get a third violinist until the second house.
His Honour (to plaintiff) : I do not think you have made out your case, and there will, therefore, be a verdict for the defendant.
GRAHAME v. FRITZ'S AGENCY.— CLAIM FOR ALLEGED BREACH OF CONTRACT.
At the Westminster County Court, before
Judge Woodfall, Miss Grade Grahame
2O claimed £15 damages from Fritz's
Agency, Cnanbourn Chambers, Charing
Cross Road, for alleged breach of contract.
Mr. C. E. Doughty was counsel for the plaintiffs, and Lord Tiverton represented the defendants.
Mr. Doughty, in opening the case, said Miss Grahame was introduced to Mr. Fritz in a train when she was coming up from Southampton. Mr. Fritz spoke to her in a way that led her to believe that he was running the Hippodrome at Nelson, Lancashire, and asked iher if she would take an engagement there. He men- tioned £15 a week as salary, .and although this was a much smaller eum than the plaintiff usually commanded, she agreed to the terms as it was the summer season. Plaintiff afterwards attended the defendant's offices and signed an agreement. Not getting confirmation of this, Miss Grahame telegraphed asking whether the engagement was off or on, and in reply on June 1 received in reply a wire which read : " Send bill matter in good time." On the strength of this the plaintiff refused engage- ments at Margate and Northampton. On look- ing up a well-known source, she found that she was not billed for Nelson, and when she tele-
graphed to the Hippodrome the reply came: " You are not billed here."
Miss Grahame gave evidence bearing out counsel's statement. When she was informed that she was not billed for Nelson, and that only picture shows were run at the Hippodrome during the summer months, Mr. Fritz pressed her to take another date, but she could not do so as she was booked to go to South Africa in December.
In cross-examination Miss Grahame said she certainly understood from Mr. Fritz's con- versation that he was running the Hippodrome at Nelson -at the time he offered her the en- gagement. She asked for confirmation of the agreement from Nelson because it was custo- mary in the profession.
Lord Tiverton: But the contract reads that the engagement was with Mr. J. F. Livesey.
Plaintiff: I did not read the contract. I should have read it, but Mr. Fritz was in a hurry to leave the office, having another lady to see, and I, therefore, left by the other door without reading it.
Did you th.ink the Nelson venture was a little affair of Mr. Fritz's own?— Certainly I did; why should I not believe him?
Lord Tiverton submitted that the plaintiff had no case. The agreement he produced stated that Mr. J. F. Livesey was the person she made the contract with. As a matter of fact the so-called contract was not a contract at all, it merely amounted to an offer.
The Judge : Supposing that is so, why is there no cause of action for breach of warranty or authority?
Lord Tiverton submitted that there was no case in law.
Mr. Doughty suggested that if his Honour so ruled there migM be fin ad.ioirr,nmen<t.
His Honour said it would be cheaper to non- suit, and he thought he should take that course, and make ho order as to costs.
Lord Tiverton: Although your Honour has absolute discretion, you must exercise it in a ;n M •->•;;! i manner, and to de.prive a man of costs because there is no case to answer, I submit with great respect, is not a judicial decision.
His Honour: The telegram sent her invites her to bring an action.
Mr. Dousrhty: Is it not primd facie evidence of a contract?
His Honour: No. Anything done in the train was superseded in the office. I shall not give costs.
LETTY v. GLASGOW PAVILION, LIMITED.
In the Glasgow Sheriff Court, Sheriff Thom- son issued his decision in an. action raised 2O by Miss Frances Letty against the Glas- gow Pavilion, Limited. She claimed pay- ment of £97 10s. as her salary for performing at the Pavilion Theatre from July 8 to 13.
Sheriff Thomson found that plaintiff bound herself not to appear at any place of enter- tainment within a radius of ten miles for fif- teen months prior to her appearance in defen- dant's theatre, nor for two weeks thereafter, without the written consent of defendant's management, and she agreed that upon a breach by her of this obligation she should pay to defendants as liquidated damages one week's salary for each breach. He further found that in breach of that obligation, and without obtaining in writing the consent of defendant's management, plaintiff appeared and performed in the Palace, Glasgow, during the whole week commencing January 8, 1912, and that in respect of this breach of her con- tract she became liable to defendants in the ^um of their counter-claim. He, therefore,
NOV.
THE STAGE YEAR BOOK.
291
assoilzied the defendants, and found them enti- tled to expenses.
The SherilF, in his note, stated he need no more than refer to the judgment of the late Sheriff Balfour in the case of the present defenders against Lady Mansel and juveniles, ventriloquists, dated April 8, 1909, which case raised a precisely similar question to the present, arising out of a contract in almost identical terms with the one which bound the present parties; in which judgment he entirely concurred. The plaintiff's agent frankly conceded that no written consent to plaintiff's appearance in the Palace Music Hall had been obtained from defendants, and he contended that it was the custom in theatrical circles to dispense with the written consent required by the contract and to accept a verbal consent from the manager. That con- tention seemed quite irrelevant.
Plaintiff contended further that defendants by accepting pursuer's services in their music hall had " homologated her previous breach of contract," but his lordship saw no force in that contention. Defendants could not be held to have waived their claim for the liquidated damages which had vested in them upon her breach of contract. They were not bound to terminate the contract upon the occurrence of the breach. They were entitled to let the con- tract run its course, the respective rights of parties under it falling to be adjusted upon its termination.
EMPLOYMENT AGENCIES.— THE LECTURE LEAGUE, LTD., FINED.
At Bow Street Police Court, Mr. F. E. Tillemont^Thomason, of the Lecture 2 2 League, Limited, was summoned, before Mr. Marsham, for carrying on an em- ployment agency at Trafalgar Buildings, Char- ing Cross, without a license.
Mr. Greenwood, who appeared on behalf of the London County Council, said he under- stood that the defendant admitted the facts of the case, but wished to raise a point of law. The proceedings were taken under the London County Council (General Powers) Act, 1910, and with certain exceptions, which did not apply in this case, every agency for the employment of persons, in any capacity, must be licensed. The league, of which the de- fendant was one of the directors, was regis- tered in 1908 under the Companies Consolida- tion Act. They had a list of persons who •were prepared to give lectures in all parts of the country, and the persons who were so employed through the agency of the league paid them a commission of 10 per cent, on the fees they received. The defendant was seen on the subject of ,a license by a County Council inspector, and then said that he would apply for a license, but he had not- done so, and it became necessary to take proceedings against him.
The defendant said the whole case turned upon the real meaning of the word ".employ- ment." The league were .applied to frcm time to time by literary societies, etc., to recommend them to .gentlemen willing and able to lecture, and they did so. The lec- turer perhaps received a fee of £10 10e. for an address -which took him an hour and a-toalf •to deliver, but the defendant contended that that did not make the lecturer a servant of the society for whom he lectured. There was, in fact, nothing in the relationship of master and servant between them.
Mr. Greenwood mentioned that there were 200 of these agencies in Westminster alone, and they were .all registered. An agency that obtained employment for a person to sing for an hour and a-half had to be licensed.
Tihe defendant was ordered (to pay a fine of £10, .and .LID ins. cu>ks. in default one month's imprisonment.
The defendant said that he would appeal against the magistrate's decision.
The Lecture League, Limited, who had also been summoned, were ordered to pay as. costs.
FORTESCUE AND ANOTHER v. GRIMES.— ACTION OVER DEAL IN SHARES OF THE EMPRESS, BR1XTON.
In the King's Bench Division, before Mr. Justice PhilLimore, sitting in a non-jury 2 8 court, an action was begun relating to '10,000 preference and 10,700 ordinary shares an the Brixton Empress Theatre, Limi- ted.
The plaintiffs in the case were Mr. James Fortescue and Mr. William Leonard Bridgman and the defendant Mr. James Grimes. The agreement alleged to have been made by the defendant to sell these shares at a price of £3,000 to the plaintiffs; failing that, they asked for damages and for an injunction re- straining the defendant from parting with the shares. Defendant denied liability.
Mr. Maurice Hill and Mr. McCardie ap- peared for the plaintiffs; Mr. Norman Craig. K.C., and Mr. J. B. Mathews for the de- fendant.
Mr. Maurice Hill, K.C., in opening the case for the plaintiffs, said the plaintiffs agreed with Mr. Grimes to buy these shares from him at the price of £3,000, the defendant agreeing to procure the transfer of such of the shares as did not stand in his own name.
The defence, said counsel, was that there never was anv such agreement ; that many of the shares enumerated in the claim were not the property of the defendant, and that it was either expressed or implied that the consent of the persons holding the shares should be ob- tained before any actual bargain was con- cluded.
Mr. Fortescue, the principal plaintiff, in his evidence, said he was a meat salesman, but was interested in these thinss, and wished to get control of the Brirton Empress Theatre. HP gave evidence as to the bargain made, and stated that he appeared at a time appointed with a cheque for £1.000, the binding original sum to be paid, but could not get completion of the verbal contract.
The hearing was continued on the ?9th.
Mr. W. J. Grimes (the defendant in the case), on examination by Mr. Craig, said he was still a director of the Empress Theatre of Varieties, Limited, but was no longer managing director. His version of the opening of negotia- tions between the parties was that the plain- tiffs asked him the lowest price he would take for his shares in the Empress. He replied that he would take £3.000, with £1.000 paid down, subject to the consent of members of his family, who held a large number of shares.
The remaining £2.000 of the price he said he would take in bills, payable in three, six. nine, and twelve months. That arrangement was made on May 23.
The witness, continuing, said that, so far as he personally was concerned, he would gladly have completed the contract, but he could not compel his daughter, Mrs. Smith, who refused to consent to the arrangement. In his own name, he said, there were only 1,588 ordinary and 500 preference shares.
Mrs. Smith (a daughter of Mr. Grimes, and holder of a considerable number of shares in the company) said she had declined to accept the Fortescue and Bridgman offer when her father told her of it.
His Lordship gave judgment for the plaintiffs for £500, with costs, but granted a stay of execution.
292
THE STAGE YEAR BOOK.
DEC.
DECEMBER.
KARNO V. BRUNO.— ACTION TO RESTRAIN.
In the King's Bench Division, before the Lord Chief Justice and a special jury, 5 Mr. Fred Karno sought to restrain Mr. Albert Brano from leaving his employ- ment and entering the service of another manager. Defendant admitted that by an agreement dated August 22, 1910, plaintiff had an option on his services for a certain number of years, but he alleged that the option had not been exercised, and further said it was verbally agreed that the option should not be exercised. He counterclaimed for damages. Counsel were: For plaintiff, Mr.- Clavett Salter, E.G., Mr. E. F. Lever, and Mr. Ronald Smith (instructed by Messrs. Roberts, Sey<? and Co.); for defendant, Sir F. Low. K.C.. and Mr. Henle (instructed by Mr. T. Lamar- tine Yates).
Mr. Clavell Salter, opening plaintiff's case, said defendant had been employed by Mr. Karno for a good many years at a progressive salary. On August 22, 1910, a contract was entered into under which Mr. Karno was en- titled to Mr. Bruno's services during 1911, with options for the years 1912, 1913, and 1914. In reliance on that contract Mr. Karno had made a large number of contracts with owners of music halls in many parts of the country for visits of the company, of which Mr. Bruno was the leading member. Defend- ant threatened to break his contract and transfer his services to Mr. Herbert Darnley. Plaintiff now sought to restrain defendant from committing a breach of his contract. Under that contract Mr. Bruno was engaged for the first year at a salary of £12 10s. a week in the provinces and £15 a week hi Lon- don, with certain extra money for extra per- formances. For the second year the salary was to be £15 a week, and during the period of the third option, from December, 1912, to December. 1914, the salary was to be £20 a week for 1913 and £25 a week for 1914. The first option was exercised immediately the contract was entered into. The time for exercising the second option expired on Sep- tember 12 last. On the llth Mr. Karno sent down his manager, Mr. Dawe, to see the de- fendant at Birmingham, and he then handed the defendant a written intimation that Mr. Karno exercised his option. It was clear that Mr. Bruno was at this time negotiating with Mr. Darnley for an engagement and knew his position as regards Mr. Karno, for he wrote to Mr. Darnley on the 10th saying he had written to Mr. Karno, but would not send it until the 12th, lest Mr. Karno should try to exercise his option.
Defendant had replied that Mr. Karno had told him in August that he would not exercise the option. What really happened in August was that there was some difficulty about the size of the letters in which defendant's name was billed, and also as to the defendant work- ing two halls a night. Mr. Karno told him that if he was dissatisfied, instead of paying him £20 and £25 a week for the next two years, he would give him three years' employ- ment at £20 a week "all in."_ Mr. Bruno wanted a guarantee of forty-eight weeks a year. Mr. Karno agreed to think it over, as also did Mr. Bruno, and there the matter rested until Mr. Karno exercised his option. The- counter-claim was in respect of salary for the week ending November 2 of this year, when Mr. Bruno was not employed. The answer to that was that it was not a breach of con- tract.
Plaintiff in the witness-box bore out his counsel's statements.
Mr. Dawe and Mr. Bell, plaintiff's manager and accountant respectively, gave evidence.
Sir F. Low, opening defendant's case, said Mr. Bruno, as the time for exercising the option approached, wished to know where he stood, and at the interview in August he asked plaintiff what he was going to do. Mr. Karno then told him he could have a renewal for three years on the terms of £20 a week, " all in." That meant that he would get nothing extra for extra work for three years. That was of no advantage to defendant, and he we uld not accept it.
Mr. Bruno, in giving evidence, said that from 1910 onwards there had been friction be- tween him and the plaintiff, due to his being asked to give four performances a night and the way he was billed. He wrote to Mr. Karno about two days before saying he would call on August 23. He saw him on that day in the general office. When he saw Mr. Karno he asked him what he intended to do about his contract. Karno said, " There, that is all I can offer you— £20 a week all in." The witness said that was no good to him. That was all which was said at that interview. The witness felt hurt, and wrote offering his services to Mr. Darnley. On September 12 a contract in fact was signed between them, by which Mr. Darnley was to pay the de- fendant £50 a week for three years, and guaranteed 40 weeks' work in the year.
On September 11, the letter purporting to exercise the option was handed to him, but he considered that Mr. Karno had refused to exercise the option on August 23, and he was at liberty to enter into another contract. He wrote to Mr. Karno on the 10th, telling him of his contract with Mr. Darnley, but had not posted the letter until the 12th, for fear Mr. Karno might try to exercise his option out of spite.
Mr. Herbert Da nley also gave evidence. He stated that there was not a clause in his con- tract with Mr. Bruno providing that it should not be enforced if Mr. Karno held him to his contract. He denied that he said to Mr. Karno that he was going Jo get Bruno away from him if he could.
The jury found for the plaintiff, and his Lordship granted the injunction asked for, giving costs against the defendant.
AT
" NON-FLAM " FILMS ACCEPTED WOOLWICH.
At the Woolwich Police Court, Mr. I. A.
iSymmons completed his hearing of a ca 1 2 under the Kinematograph Act, 1909. T defeadants were Harold Dickman, of ; Chandos Road, Stratford, and Thomas Moor of 26, Plumstead Road, Woolwich, and th were summoned for allowing the lat premises to be used for the purpose of ki matograph entertainments with inflammab films without a license.
Mr. J. Pawlyn appeared for the Lond County Council, and Mr. F. H. Braund fended.
The defence was that the films were of th class known as " non-flam," but Mr. Pawly contended that they were inflammable, a called an expert witness, who supported tl view. Mr. Braund also called an expert, w stated that he had tested all the films in qu< tion, and found them " non-flam." This co tradictory evidence led to a long discussion to the meaning of the word " inflammable, Mr. Pawlyn contending that the fact that films burned when ignited with a m; rendered them " inflammable " within t meaning of the Act, whilst Mr. Braund h that to be " inflammable " an article mi burn easily with a flame. Practically ever thing, he pointed out, could be burned, b that fact did not constitute inflammability.
DEC.
THE STAGE YEAR BOOK.
293
The magistrate himself experimented with of the " non-Hani " film UM-d. which iu'inted when a match was placed to the edge, but merely " frizzled " when the flame was applied to' the middle of the film (the part ex- posed to the concentrated rays of electric light i in the (cinematograph apparatus). Experiments j were then made with a piece of ordinary film, which burst into flame and burned furiously directly a light was applied to it, and with pieces of the " non-flam " film, which were i united with much more difficulty, and burned slowly and with a slight flame, which was easily blown out.
Mr. Symmons observed that all films, whether 'ordinary or " non-flam," were based on the same highly inflammable material, cel- luloid, and he was of opinion that they should all be regarded as inflammable. However, he was not the Legislature, and the Legislature had contemplated such a thing as non-in- flammable film. This film clearly came under that heading, and the summonses would be dismissed, with £2 2s. costs.
BROEMEL V. MKYER. SIMILAR TITLES. QUESTION OF COPYRIGHT.
In the Chancery Division, before Mr. Justice
Warrington', Mrs. Rose Broemel, pro-
13 fessionally known as Rose d'Evelyn, asked
for an injunction to restrain Mr. Louis
Meyer from contiruing to present Bernard
Parry's play. Where There's a Will at the
Criterion, which -she said infringed her copy- right in a play entitled Where There's a Will There's a Wen/.
It was agreed to treat the hearing of the motion as the trial of the action.
Mr. Wertheimer, who appeared for the plaintiff, said in 1911 the plaintiff wrote an original comedy with the title Where There's a Will, There's a Way. The point of that comedy was that '' will " was to be inter- preted not as being intention, but as testa- mentary disposition. The play depended on that title, and trie plaintiff invented that idea, j
His Lordship : What do you complain of— the use of the title, or the writing of the play with the same motive?
Counsel said the plaintiff simply complained of the title. The defendant was producing Where There's a Will at the Criterion, in which again " will " meant testamentary dis- position. It was a matter of considerable im- portance under the new Act to have his lord- ship's ruling on this question. The plaintiff in an affidavit said .she was a British subject and by profession an actress and dramatist. In June, 1911, she wrote the comedy Where There's a Will, There's a Way, and she was the owner of the copyright. It was produced in 1911. The plot turned upon the fortune of two lovers whose happiness depended upon a will. The word " will " in the title meant testamentary disposition. She was the inventor of the title, and to the best of her knowledge the words had never previously been used for the title of a play. The title of a play was one of the most' important elements conduc- ing to success. The artistic aim was to pro- duce a sense of surprise in the minds of the audience by enroling an unexpected denoue- ment, and at the same moment revealing an interpretation of the title of the comedy,, which had the audience but known, would have put them into possession of the secret from the beginning. The title of her comedy, with his double entendre, achieved that artistic aim. and was her invention and the creation of her intellect. On or about Novem-' ber 26, 1912, the defendant presented at the Criterion Theatre, and had been and still was presenting, a comedy entitled Where There's a Will. The plot of that comedy turned upon the fortunes of two lovers whose happiness de-
pended upon the will, and in the title of the play "will" meant testamentary disposition.
His Lordship: 'I he point ;s that the lady hi.-, not invented the words.
Mr. Wertheimer: She invented UH> w< combination with a certain plot, .so bringing home to the mind of the spectator when he. sees the end that he might have appreciated what it was going to be from the beginning if he had understood the title.
Mr. Neilson, for the defendant, submitted that there hud b-vn no infringement of copy- right. It had never been held that the title of a play could be the subject of copyright.
Mr. Justice Warrington dismissed the action with cosis. The plaintiff, he said, did not com- plain of the play itself. She claimed that hers was an original title, and said that the de- fendant's title having in regard to the plot th'- same double meaning as hers was an in- fringement. There was no satisfactory decision in favour of the contention that there was copyright in the title of a book as such. Could the plaintiff in this ease appropriate the words of the title to herself by giving to them a peculiar meaning which she said they bore in the play, and prevent anybody else using them in the title of a play the plot of which was such that the same peculiar meaning might be attached? In his lordship's opinion not only was there no production of any material part of the play regarded as the subject of copyright, but even if the title could be treated as the subject of copyright it could not be in this case. because the title itself consisted of a well- known proverb. The action would be dismissed with costs.
M.-3XCHEN V. ELITE SALES AGENCY, LIMITED, AND OTHERS. " THE
MIRACLE " FILMS.
In the Chancery Division, before Mr. Justice
Eve, Mr. Schiller applied, ex parte, for
1 4 an injunction to restrain a proposed kine-
matograph performance of The Miracle
at the London Pavilion.
Counsel said he appeared for Mr. Joseph Menchen, and that the defendants were the Elite Sales Agency, Limited, and others. Mr. Menchen acquired his right from the producer and author of the play, The Miracle, Dr. Max Reinhardt and Professor Volmoeller. Mr. Men- chen had gone to very considerable expense in preparing a film of the play, which he in- tended to produce with Mr. Walter Hyman at the Covent Garden Opera House on December 21. It had come to his knowledge that the defendants, or some of them, had advertised a " Miracle " film to be exhibited at the London Pavilion on December 17. This film, he alleged, was the same or a colourable imita- tion of his play, and it was to be shown under the title " The Miracle." This (said counsel) was calculated to do irretrievable damage to his performance at Covent Garden.
After hearing the evidence his lordship gave leave to serve notice of motion with the writ to come before Mr. Justice Neville on Decem- ber 17.
On December 17, Mr. Peterson, K.C., and Mr. Schiller appeared for the plaintiff, and Mr. M'Cardie for th« defendants.
An affidavit by Professor Karl Volmoeller was read, in which he said :— " I dramatised ii famous legends generally known as ' sister Beatrice ' into a wordless written play, introdueiii'.' lea hires and characters of my own creation. Then 1 gave to my creation the name of Th,' Miracle. I have seen the film of the photographs taken of my play as produced in London, and I find it corresponds in every detail with my original work, with
294
THE STAGE YEAR BOOK.
DEC.
the exception of a f<w Fcenes introduced with my consent. I have also seen the film of the Continental Kunstfilm Geschaft (defendants' film), which, in my opinion, is a base and degraded version of the famous ancient legend upon which my work was founded. The pro- cession of the Holy Image, the healing of the sick people, the introduction of the eloped Nun and the Evil Spirit, which are all my creation and not contained in any of the same famous legends, are imitated by the film of the defendants. If it is allowed to be shown, my representation will be seriously affected thereby."
Mr. M'Cardle (for the defendant) denied that they had taken the plaintiff's copyright. The substance of the legend was that a nun, whether the Madonna or not, was open to question, left the convent, went out into the world, and met with sin and wickedness, and after tiring of the tumult of that existence, returned to the convent. The legend varied a good deal, but was well known throughout Germany. Jt was so well known that it formed the subject of a play by Maeterlinck, also called The Miracle, and a poem by John Davidson, called The Ballad of the Nun. The Volmoeller play was not original in any true sense of the word. The legend was taken by him, but was no more his property than any- body else's.
His next contention was that the defen- dants' film was created by them in Germany prior to July of this year. The scenes were enacted in the Black Forest, ia the presence of photographers, who created the film from those actual incidents. The film w.as regis- tered in Germany in July. In September ap- plication was made in Germany for the regis- tration of plaintiff's film, but it was refused on the ground that defendants had a prior
His' lordship intimated that the point of copyright was of such difficulty that he would not undertake to decide it on an interlocutor* motion. Why, however, could not defendants call their film " Sister Beatrice," and get over the difficulty at once? They would have the original title instead of the somewhat ineffec- tive title of " The Miracle."
Mr. M'Cardle : " The Miracle " is the name registered in Germany.
Mr. Justice Neville : This is not Germany. I do not see any objection to your saying it is another version of " The Miracle."
Mr. M'Ma-rdie said he was willing to give an undertaking to the effect suggested by his lordship without prejudice to the trial of the action.
"NON-FLAM" REJECTED AT NORTH LONDON.
At the North London Police Court, the New Bioscope Trading Company, Limited, of
1 6 Cecil Court, Charing Cross Road, were summoned before Mr. Hedderwick, at the instance of the London County Council, for al- lowing Holloway Hall, Holloway Road, to be used on November 18 for an exhibition of kine- rratograph pictures with inflammable films without a license.
Mr. J. Hawkins Pawlyn appeared for the County Council; Mr. H. H. Lawless, was coun- sel for the defence.
The facts were admitted, and Mr. Lawless said the whole point was as to the inflam- mability of the films. He should show that only non-inflammable films were used at this hall.
Charles Warren, an inspector employed by the Fire Brigade Committee, said he visited Holloway Hall on November 18 last, and ob- tained samples of the films. He tested a few in the presence of the manager by applying the light of a match, and they burned, but they
did not ignite as readily as a celluloid film would do, nevertheless, there was a flame.
Mr. Hedderwick said that he would like to see what happened.
The witness then lit several pieces of non- infhimrnabl films, but although the flame was small the witness's fingers were. burnt. He then lit a piece of celluloid, and a large flame burst forth.
Mr. Hedderwick said that using common sense he could not say that any of the pieces used were non-inflammable.
Mr. Lawless said that corresponding pieces were produced in court at Woolwich last week, and the magistrate held that they were non- inflammable.
In giving his decision, Mr. Hedderwick said that the samples of films which he had seen burnt before his eyes were called non-inflam- mable, but he could not hold that, notwith- standing what the trade description might be. He had got to interpret the law by applying the ordinary meanings to the words of the Act. Still, he did not think that the company had any intention of wilfully defying the law. The penalty would be one of £2 2s., with £2 2s. costs.
Mr. Lawless : Would your worship state a case if I were to apply for one?
Mr. Hedderwick : Certainly.
PORTSMOUTH HIPPODROME v. FIELDS.—
ILLNESS AN'D A MEDICAL CERTIFICATE.
In the King's Bench Division, before Mr.
Justice Scrutton and a common jury,
1 7 the Portsmouth Hippodrome, Limited, sued Miss Fanny Fields, music-hall artist, for damages for failing to appear at the Ports- mouth Hippodrome for a week commencing May 8, 1911, at a salary of £52 10s. pdr week a.nd extra for matinees. The defendant was advertised on the bioscope and in the local Pivss to appear, but at the last moment, it was alfeged, without giving any intimation, she did not go to Portsmouth. The defendant pleaded that she was not liable, as she was too ill to fulfil tlhe engagement.
Mr. Tiudial Atkinson, K.C.. and Mr. R. W. Turner appeared for the plaintiffs, and Mr. Risrby Swift, K.C., and Mr. Suteliffe for the defendant.
Mr. Paul Murray, general manager of tli<» Variety Theatres Controlling Company, Ltd., said that in his position he was responsible for the turns at the Hippodrome. Miss Fields was to appear for the week beginning May 8, 1911, but she did noit appear. Previous to that she had not sent in any bill matter. •AHnut twelve days before he communicated with heir agen/ts., but they had no idea where she could be found. Before the bills weir® printed he had her name taken out and engaged another artc'st. Some time subsequently, when he was in the Cavoutr Restaurant, he saw Miss Fields there, and he had a conversation with her a.bout the Portsmouth contract. He said he thought it was incom&idenate of her not to have notified him she was ill. Her reply was. " All the world knew I was ill." He retplied that he was part of the -world which dr'd not know. She wanted to know why he was trying to " bluff " her, as there was no contract with her. On September 12 he received a letter enclcsi'mg a doctor's letter. " Th:s leibt'OT," she wrote, " Is as to my health during the time I w.as en/gaged at your hall, T5ut this letter is not necessary, as everyone knew of my illness." The enclosed letter stated tlhiat Mi?s Fields had suffered from a nervous breakdown, and the doctor had ad- vised her to cancel all engagements until ^September. In his optoion it would naive 'been injurious for her to appear.
Witness's complaint was that no medJoa-1 cer- tificate was sent at that tune,
DEC.
STAGE YEAR BOOK.
295
:,.med by .Mr. lligby Swift,
p did 1101 turn up
did not lead him to think anything Jiad hap-
peiu.'d to her. She was only following her
Miods. Before the writ was
, iu- hud never asked Mi.-^ Fields to give
Ui-evumiiied: They had to write to 70 per II artists in order to get their bill
.Mi. George Harris, the manager of the Portsmouth Hippodrome, said it would have made a great difference in the takings of the hall if Miss Fields had appeared. The re- ceipts went down that week.
Mr. lligby S \vift said that Miss Fields had a nervous breakdown early in 3911 and under- \\ent a.ri operation. Afterwards she went to Brighton. He submitted that the claim foi liquidated damages could not be maintained. It was an act of God which inflicted illness upon Miss Fields and prevented her from ap- ru.;iring, and, therefore, a definite sum meu- tioned in the contract as the penalty for a breach could not be recovered, but only such damage as could be shown to have been suf- fered by reason of the failure to send a medical certificate.
Miss Fields gave evidence. Asked if she did not have a contract with Moss's Empires, covering the period of her contract with the plaintiffs, for £100 per week, she said that was ! so, but explained that managers often obliged ! each other, and Mr. Stoll said she was not j to consider his contract as settled unless he • get her off the one with the plaintiffs. The | fact that she was ill appeared in the papers at the time. She had a nervous breakdown on M,arch 4 and 5, and for ten weeks was in the i doctor's house, and not allowed to transact ! business or receive anyone. Dr. A. H. Spicer, of Cleveland Terrace, saia .Miss Fields on March 9 at a hotel in Torrington Square. It was impossible for i
• attend to her business at that time, and he did not think she was capable of re- collecting what contracts she had.
Mr. Oswald Stoll gave evidence that he un- i dertook to get the defendant released from the Portsmouth contract so that she couJd play two weeks at the London Hippodrome. ;
geoerafly -known in the music hall world that she was ill in 1911.
The jury foiind that the defendant was pro- vented by illness from performing at the Portsmouth Hippodrome, but was not pre- i
by illness from sending personally or :ent a medical certificate. Judgment was given for the plaintiffs for j C52 10s. and costs.
PATHE FRERES PATHEPHONE LIMITED.— MONCKTON v. THE SAME.— GRAMOPHONE RECORDS AND ROYAL- ' TIES
111 Mr. Jnstic-t-
Phillimore had before him action?
19 ; Mr. Paul A. Rubens and
Mr. T. 'on. MIIIMI-:I: cmm
• the Path6 Prferes PatMnhone, Limited.
in respect of alleged infringement of cony right
in making an-l -oiling certain gramophone
•ut their consent. The claim of ! M-. Rubens had reference to th" records of four songs from The Sunrfiinr Girl-"< Move On," " Here's to Love," " Brighton," and " I've been to the Durbar "--of which he e was the composer and owner of t/he •i<i Mr. Mowkton allezed that the taiite bad infringed his oop\ right of " The Mommf- Waltz." The defendrintfi denied
1 infringements. M- Shearman. K.C., and Mr ITen-n Collins
K.C., amd Mr. .M'turdi'.' for the defend<aj*Uj.
.Mr. &h e.u.r man, in opening
piiaiLnititl's, said tluuit the eimm involved the eooMvucnaofi of the Cop. . 1911. rlh.-
Act was introduced on JuLy 1, lyiu, pa^ed on
..ter 10 ol tl.
on July 1 iadt. Prior to tin; pacing ol the Act thtM'e was no right in the author of a iii'iieioail work to prevent the multiplication ol his work by ineetaOKal contrivance. It was fe.lt that there was a moral wrong, and the matter was dealt 'with in the Act, " wiped up " the whole of the previous copy- right legislation. The Act Brain iy provided that royalties should be p'aid by the i who used gramophone records under - conditions, and there were different scales of royalties for musical works published before 1910, between July 1, 1910, and Juiy 1, 1912, aim after the passing of tlhe Aci.
Mr. Hub ens, being advised of the value of his rights, did not wish, aamtinued counsel, to pu'bliish any pairt of The Sunshine Girl until alter the Act came into force, but it was poiated out thiat theire would be a mutual advtantage to both author and reoard maker it the>y miade an aintangement thiat the music should be publasihed 'and supplied to the maker, so that they might geit the records ready by the time the Act came into force.
Messrs. Chia^ppell and Co., in 1911, sum- moned to their premises all the makefrs of mechanical irecords in London, and Mr. Boosey, who presided, pointed out that the Act would not come into force unttil July 1, 1912, and siaid that he did not propose to publish the music unless they undertook that the records slhould not be sodd until a£tex thiat date. The record makers .assented to Mr. Boosey'6 terms, and accordingly Mr. Boosey supplied them wiitih copies of the music.
His (Mr. Shearman's) case was that the aonnangement between them was that the pub- lication should be treated as between parties. Records were made in Belgium and France, and the deifendants began to publish them. The Board of Tnade drew up regulations pro- viding that the roya-lties of authors should be collected by means of adhesive stamps affixed to the records before sale. He did not know whether the de-fendiants adhered to their con- tention that these regu'jatiane were ultra vires.
Mr. M'Cardde said the defendants alleged thiat the regulations were ultra vires and ex- tremely unreasonable.
Mr. Shearman s.aiid the plaintiffs found that their records were being sold without any ad- hesive stamp. He believed thiat the defen- dants had purchased ceiltain stamps, but whether they used them or not he did not know. Bioth Mr. Rubens and Mr. Moncktor were members of the Copyright Protection Society, who supplied authors' stamps, and the defendants were members of the Universe Copyrights, Limited, a society for the prote^ tion of the rights of makers of records. A - officer of the Copyright Protection Society, ©• August 15 and 26 la&t, purchased records ou The Sunshine Girl, and found that they had no adhesive stamp upon them. There had been no arrangement with regard to the " Mousm6 Waltz," and in July und August last thirty records were purchased which had no - nps upon them.
Mr. iid that records made before
July 1, 1912, were not liable to royalties, but records made and sold after July I, 191 L liable. There was no liability to buy stamps from the authors and stick them on.
Mr. Justice Phillimore: You saiy you are to pay your tax in your own way.
Mr. M 'Cardie replied in the affirmative. f
296
THE STAGE YEAR BOOK.
DEC.
Mr. Shearman could not agree with the con- tention of his learned friend. It was impor- tant that authors should not allow peop.'e to soil as they liked, and make their own returns. He did not impute any dishonesty to anyone. Mir. Sankey said that his clients had actually bought stamps m. excess of the records sold.
Mr. Sheiarman contended tlhat the sole right conferred by the Act was the right to make records. To sell -them without the consent of the author was an infringement.
Mir. W. Boose y, managing director of Messrs. Ghappell and Co., music publishers, .gave evi- dence in support of counsel's statement tlhiat the record makers received the music of The Sunshine Girl on their undertaking not to sell records before the Act came into operation, lie added that there was also a discussion as to royiaLties
Mr. Sankey, for the defendants, submitted that the action had not been brought by the right persons. Mr. Wimperis, who was join* author of some of the songs, ought to have been added as a plaintiff. He further con- tended that the defendants committed " no wrong in selling after July 1 last records which, in fiaot, had been made before that date, that the .plaintiffs could not insist upon a record maker purchasing the author's stamps and affixing them to records, and thiait the regulations of the Board of Trade were ultra vires. The Board of Trade were not entitled to compel the defendants to purchase these stamps and affix them to the records.
Mr. Shearman, K.C., in the course of his reply to Mr. Sankey— who called no evidence- said that his grievance w<as that the defen- dants came into court, and in one breath said that they had paid enough, and in the next that they were under no Jiiiahildty to pay any- thing at all. The plaintiffs wanted to secure identification of the records, or there would be no protection to the author from the unprin- cipled dealer.
His Lords-hip thought that in both actions there must be judgment for the deferadiante, but he wished to make it clear that, in the case of Mr. Rubens, the defendants had got to pay for all records that they miake or sell of the four songs, jusit as if those four songs had been published after July 1. In the case of Mr. Monckton, though they had not pot to pa,y for any records they made before July 1, they had got to pay for the making of the records, or their reproduction after July 1. So far as the mode of payment was concerned, his Lorddhip thought that that must be in the future according to the Board of Trade regu- lations.
Some otUier points were raised in the case which he might shortly ,amd conveniently deal with 4 point was taken by the defendants that the action was not wall rounded because it was said with regiard to the songs com- posed by Mr. Rubens that the author of the ^-vord-s of the songs was .not joined as a plain- tiff. In has opinion the owner of the copyright in ths music was entitled to sue for an in- fringement in the copyright of the music no<n° the less because the owner of the copyright in the words might also sue in respect of an in- fringement.
Another point was that, supposing he was dealing with the case of records having been made since the passing of the Act, upon which royalties were payable, were the plaintiffs right in spying that they could insist on their royalties being paid in the mode laid down bv the Board of Trade in the regulations made by them under Section 19, Sub-section 6— viz.,
by adhesive labels purchased from the owner of the copyright and affixed to the records? It was eaid that this was a matter of great iimpontaoice to t*he parties, and he could quite understand that it was. It might, on the one band, be very inconvenient to fix a stamp OD each of these discs, and there was also the objection that the stomps might become de- tached. On the other hand, it might be ex- tremely difficult to ensure the collection of small royalties on a iarge number of these cheap instruments in any other waj.
The first objection taken was that the Board of Trade could not order that pay- ment should be made by stamps, and it was also said that they could not compel the purchaser of a stomp to fix it. There w>as some force in this last objection; but, at the same time, if they were entitled to say that the royalties were to be paid by pur- chasing adhesive stamps, then he thought it was competent to them to provide that the stamps .should not do double duty. He thought that the object of directing the use of a stamp was that it should be made to do duty for which -it was intended and pre- vented from doing that duty more than once. Upon this point, therefore, he thought the regulation made by the Board of Trade was within the scope of its (authority.
He LOW came to the last matter, which concerned Mr. Rubens's action alone. He thought it was established that the agree- ment made with the defendants by Mr. Rubens's agent was that he should supply them with the music of the songs from The Sunshine Girl before July 1, so that records could be made before that date on terms that the defendant company and others should pay the same royalties as they would have had to pay if the records had been made after July 1, 1912. In his opinion the defendants were bound to do this ; but, on his view of the correspondence, he did not thank it was proved that down to the date of the writ they had sold more records than they had bought stamps for.
He agreed that they had not affixed the stamps, and, therefore, had not complied with the Board of Trade regulations ; but he did not think that the contract between tht parties was not merely that the defendants should pay royalties, but that they should pay them in accordance with the Board of Trade regulations. When the agreement was made these regulations had not been issued and the parties were only thinking of the sub- stance of the matter. He was, therefore, of opinion that, for the purposes of the present action, the defendants had fulfilled the agree- ment.
Ae regarded the future dealings between the parties, however, his pronouncement might be of importance, and he would, there- fore, say that, although .in both actions he thought there must be judgment for the de- fendants, he desired to make .it quite clear that in the case of Mr. Rubens, the de- fendants in the future must pay for all records which they made or sold of his four songs, just 'as if those four songs had been published after July 1, 1912, and that in the case of Mr. Monckton, although they had not to pay for any records made before July 1, 1912, they must pay for any records made since that date, and the payment in both cases must be made in the form prescribed by the Board of Trade regulations. There would be judgment for the defendants with- out costs.
GEO. WADDEN
PN
2012
S7
86 1913
34(
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