Charles Hawtrey in Time is Money, London, 1905 and 1909

a scene from Time is Money, Criterion Theatre, London, 3 August 1905, with, left to right, Dorothy Hammond as Mrs Murray, Mona Harrison as Susan, and Charles Hawtrey as Charles Grahame
(photo: unknown for The Play Pictorial, London, 1905)

Time is Money, a comedietta by Mrs Hugh Bell and Arthur Cecil, was first produced at the Theatre Royal, Newcastle-on-Tyne, 5 September 1890,

‘By way of answer to the complaint that the curtain-raiser is neglected, the Criterion Theatre has given us a lever de rideau in which no less an actor than Mr. Charles Hawtrey takes a part. Time is Money, the work in question, shows a little too grimly how quickly the clock moves in the theatre. It does not seem a very long time since it was a lively, fresh comedietta, but the other night one felt a little grieved that the actor should be using his gifts, and using them very ably, upon such mechanical humours and trifling verbal quips. However, a good deal of it is amusing. The favourite was in excellent form, and well supported by Miss Mona Harrison and Miss Dora Hammond.’
(The Sketch, London, 16 August 1905, p.156)

Charles Hawtrey revived Time is Money at the reopening of the London Hippodrome, 2 August 1909
‘A very comical episode is the basis of the little play ”Time is Money,” in which Mr. Charles Hawtrey has been appearing at the London Hippodrome. It is all about a gentleman who comes to propose to a lady. He takes a cab to the lady’s house, and in the natural excitement of the moment rushes indoors without paying the cabman. Not unnaturally, the cabman sends a message after him to remind him of the little oversight. Mr. Hawtrey plunges his hand apologetically into his pocket in order to give the maid the fare, and finds to his disgust that he has come out without money. He, therefore, instructs the maid to tell the cabby to wait and take him back. Cabby, however, has another engagement and cannot wait, and meanwhile the fare, that was eighteenpence just now, has already gone up to half-a-crown, and is still growing. Mr. Hawtrey’s representation of his embarrassment is quite delightful (says ”M.A.P.” [i.e. Mostly About People, a contemporary London periodical]), because when you have come to propose to a lady you can hardly begin by asking the loan of half-a-crown. The spectacle of Mr. Hawtrey singing a sentimental song at the piano to the lady’s accompaniment, and trying all the time not to hear the cabman’s appeal through the window for his long-delayed fare, is one of the funniest scenes imaginable.’
(Kalgoorlie Miner, Kalgoorlie, Western Australia, Saturday, 25 September 1909, p. 1e)

Advertisement

Jenny Dawson (Mrs Clara Sharlach, d. 1936),
English actress and vocalist
(photo: London Stereoscopic Co, London, mid 1890s)

‘Dawson, Jenny. – Miss Jenny Dawson made her début at the Theatre Royal, Nottingham, in a minor part, and shortly afterwards gained her first success as Pousette in the pantomime of Cinderella at the Prince’s Theatre, Manchester. In 1886 she came to London, and appeared as Jeames in Oliver Grumble at the Novelty Theatre [25 March 1886], under the management of Mr. Willie Edouin. An Autumn tour with Mr. G.P. Hawtrey, to play in The Pickpocket, was followed by her charming impersonation of Allan-a-Dale in the successful pantomime of The Babes in the Wood at the Prince of Wales’ Theatre, Liverpool. She remained in the provinces for a year, undertaking juvenile and leading parts, and principal burlesque. In September, 1887, she accepted an offer to join the Drury Lane Company, where she played Mrs. Egerton in Pleasure, and made an adorable Cupid in the pantomime of Puss in Boots. Mr. George Edwardes next engaged Miss Dawson for his provincial tour of Miss Esmeralda, and she then crossed the Atlantic solely to understudy Miss Nelly Farren in America, which brought her but barren honours. Returning to England in June, 1888, she appeared in Faust up to Date at the Gaiety during Mr. Van Bienne’s short autumnal season, to the success of which she very materially conduced. A pantomime engagement took her to Edinburgh for the winter, and in the spring of 1890 she was cast for Millie in The Bungalow at Toole’s [7 October 1889]. When Carmen up to Data was produced [Shakespeare Theatre, Liverpool, 22 September 1890, transferred to the Gaiety, London, 4 October 1890], Miss Dawson created the rôle of Escamillo, but not liking the part, resigned it after the first week. Liverpool again claimed her for the winter pantomime, and in the spring of 1891 she was engaged by Mr. Thomas Thorne for Lady Franklin in the revival of Money, alternating the part with Miss Kate Phillips, after which she joined Mr. Charles Hawtrey’s Company at the Comedy, and besides creating the part of Rosabel in Houp La with unqualified success, filled the leading part in Husband and Wife with equal verve during Miss Lottie Venne’s absence.’
(Erskine Reid and Herbert Compton, The Dramatic Peerage, Raithby, Lawrence & Co Ltd, London, 1892, pp.67 and 68)

Jenny Dawson, whose husband was Robert E. Sharlach, was the mother of the actress, singer and mimic, Marie Dainton (1880-1938).