Posts Tagged ‘Godfrey Tearle’

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Sybil Hook

June 6, 2013

Sybil Hook (fl. 1912-1922), English actress and dancer, as the Second Twin in a United Kingdom touring production of J.M. Barrie’s Peter Pan, about 1913
(photo: Corn, Cardiff, circa 1913)

Sybil Hook appeared as the Second Twin in Peter Pan at the Duke of York’s Theatre, London, for the Christmas season of 1912/13, with Pauline Chase in the title role. She is next recorded as an extra in Seymour Hicks’s production of George Egerton’s comedy, Wild Thyme at the Comedy, London (19 April 1915), which subsequently toured England and Scotland. She reappeared in Peter Pan at the New Theatre, London (23 December 1916), when she played Tootles, with Unity More in the title role. Miss Hook played Tootles again in Peter Pan at the New at Christmas 1918/19, with Faith Celli in the title role, and again at the New at Christmas 1919/20, with Georgette Cohan as Peter. Sybil Hook’s next London engagement was as Ivy Routledge in the topical farce, Her Dancing Man (Garrick, 3 September 1920), with Jack Buchanan, Ronald Squire, Viola Tree, Auriol Lee and Empsie Bowman. Miss Hook is last mentioned as Fair Lady, Manon of Venice in Arlequin, a comedy fantasy by Maurice Magre (translated by Louis N. Parker), with music by Andre Gailhard, produced at the Empire, Leicester Square on 21 December 1922; other members of the cast included Dennis Neilson-Terry, Godfrey Tearle, Dorothy Green, Netta Westcott, Edith Kelly Gould, Rosina Philippi and Viola Tree. The piece was choreographed by Leonide Massine.

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‘MAKING A HIT
‘LONDON, Eng., Mar. 27 [1920]. – London has taken to its heart a new favorite in the person of Sybil Hook, who up to a month ago, was playing small parts in road shows. When Georgette Cohan, daughter of George M. Cohan, and Ethel Levey, now residing here, sailed for America to join her father, she [Sybil Hook] stepped into her part at the Garrick, where ”Mr. Pim Passes By” is playing and has been the pet of London ever since.’
(The New York Clipper, New York, Wednesday, 31 March 1920, p. 12c)

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Lily Brayton and Oscar Asche in Atilla

May 29, 2013

Lily Brayton (1876-1953) as Ildico and Oscar Asche (1871-1936) as Atilla in Laurence Binyon’s poetical tragedy Atilla, produced at His Majesty’s Theatre, London, on 4 September 1907
(photo: Daily Mirror Studios, London, 1907)

This real photograph postcard, no. 4030 O in the Rotary Photographic Series, issued in 1907 by The Rotary Photographic Co of London, shows Lily Brayton and Oscar Asche in the leading roles of Atilla, Laurence Binyon’s four act poetical tragedy, which was sumptuously produced at His Majesty’s Theatre, London, on 4 September 1907. Although Asche subsequently took Atilla on tour it was among the least successful of his productions, the original run having survived for only 32 performances. Other members of the cast included Godfrey Tearle, J. Fisher White, R. Ian Penny, Gordon Harker, Mary Rorke and Irene Rooke.

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a scene from To-night’s the Night

March 9, 2013

a scene from George Grossmith and Edward Laurillard’s production of To-Night’s The Night, first staged (after a trial at New Haven) at the Shubert Theatre, New York, 24 December 1914, with, left to right, James Blakely as Montagu Lovitt-Lovitt, George Grossmith as Dudley Mitten and Emmy Wehlen as June

the piece ran at the Shubert until March 1915 after which, with various cast changes, it toured the United States;
meanwhile, Blakely, Grossmith and others returned to London, where
To-Night’s the Night opened at the Gaiety Theatre on 28 April 1915,
when the part of June was played by Haidée de Rance (later replaced by Madge Saunders)
(photo: White, New York, 1914/15)

‘There has been, inevitably, an influx of English actors and English plays. Six entire theatrical companies are said to have arrived in their entirely in New York. Charles Frohman announced the past week that he intended to close his Duke of York’s Theater in London and transplant the company to Chicago. Marie Lohr, Irene Vanbrugh and Godfrey Tearle will head the Chicago all-star company.
‘George Grossmith, Jr., and Edward Laurillard intend bringing a company of 60 players, including a majority of the Gaiety favorites, to this country [a modernized version of] the old farce, ‘Pink Dominoes. In the cast are Emmy Wehlen, Iris Hooey [sic], Max Dearly, Robert Nainby and Mr. Grossmith himself. They will sail for New York November 28.’
(The Evening Public Ledger, Philadelphia, Pennsylvania, Saturday, 21 November 1914, p. 12a/b)

To-Night’s the Night, on tour in the United States, at the Lyric Theatre, Philadelphia
Tonight’s the Night is a drama from the English of Fred Thompson – as we Drama Leaguers put it about Ibsen. Anybody at the Lyric could tell it came from London by the flora, fauna and indehiscent polycarpellaries. When a stout gentleman, with a dreadnought wife says, ”What a pretty shape that house maid has. I mean what a pretty shape he has made the house”; when that fell remark is brazenly followed up by allusions to law cases and corkscrews; when a stony stare is described, with intent to kill, as a geological survey, then you may truly know that you are in the presence of English whit and ‘humour.
‘Those an ”med’cine” and ”ridic’lous” didn’t settle the question of pedigree or pleasure for the audience at the Lyric last night, for you can suffer that sort of thing in any Frohman importation. The present specimen was redeemed, redeemed completely and gloriously, by a real London company, doing the piece just as it would have done it if Tonight’s the Night had been produced at the Gaiety first instead of over here in America. The chorus proved it the minute it came on. It had a ladylike air about it. It breathed the refinement of duchesses in reduced circumstances. Probably that was because we are naturally too unused to the English girl to be able to detect subtle shadings. No doubt there are dozens of Englishmen who could say, ”That one isn’t a lady,” or ”This one will be some day.” But that doesn’t matter. There they were with their fresh complexions – fresh, but not from the rouge box – their softly curling flaxen hair, their gray-blue eyes, their gleaming teeth and their large, admirable noses. A languid chorus, maybe, that dawdled among while the music kicked up its heels and ran off. But a change for us! The second string wasn’t so good, but what can you expect in one show? ‘At any rate, you need not expect so many excellent principals. Lauri de Frece, a good-looking tenor-or-thereabouts with a sense of humor, capable of going punting on the sofa and flinging flowers to himself. Teddy Webb, playing the sort of fat uncle part James Blakely always does – and used to do in the present case. Wilfred Seagram, another of those good-looking young Englishmen, holding down, quite successfully, George Grossmith’s shoes. Edward Nainby, as a grotesque in the style of George Graves. Maurice Farkoa, cooing his songs with all the art of a chamber recital. Davy Burnaby, polite comedian, and added feature.
‘As for women – Ethel Baird, as an Iris Hoey: Allison Skipworth, as a matron of a decidedly subtle type, and Fay Compton, her delightful self, a beautiful women and also an artist in the subtleties that make ladies’ maids ladies’ maids, even if they are adored by sundry leading men.
‘And outside all the list of the Allies, Emmy Wehlen, the Von Hindenburg, the Von Kluck, of Tonight’s the Night, dashing from the eastern front to the west, sweeping down on Warsaw, plunging a new drive on Paris. Languid English girls are very nice, ever so much nicer than American tango fiends. But ‘way for the lady from Germany!
‘All of which forgets the plot and music. For the first, understand that Tonight’s the Night is supplied with the dramatic details of that veteran farce, The Pink Domino – perhaps a few too many for the amount of music. And as for the music, it may not be up to American tunes as ragtime, but its composer is aware of the existence of the bassoon. And that is a good deal.
Tonight’s the Night is fresh from England, fresh as an English daisy. So far it has acquired only three bad habits: allusions to B.V.D.’s, Fatimas and the inevitable Ford.’
(The Evening Public Ledger, Philadelphia, Pennsylvania, Tuesday, 4 May 1915, p. 7a)

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Hylda Lewis and Garnet Wilson in Tina

December 24, 2012

Hylda Lewis (fl. early 20th Century), English dancer, and Garnet Wilson (fl. early 20th Century), English actor and dancer, in a UK tour of Tina, 1916 (photo: unknown, UK, 1916)

Tina, the successful musical play by Paul Rubens and others, which had opened at the Adelphi Theatre, London, on 2 November 1915, was still running when a UK touring company was sent out on the road early in 1916. The title role was played in London by Phyllis Dare and on tour by Dorothy Waring; their understudy in both London and on tour was Gracie Sinclaire. Other members of the touring company were Vernon Davidson (Carlo, played at the Adelphi by Godfrey Tearle), Ellis Holland (Antonio Belloni, Adelphi: Ben Osborne), Clifford Seyler (Rinaldo, Adelphi: Rohan Clensy), Billy Stephens (Nico, Adelphi: George Gregory and Fred Wright), Madge White (Rita, Adelphi: Mabel Sealby), Maria Minetti (Carmen, Adelphi: Yvonne Reynolds), Aida Dawson (Freda, Adelphi: Luna Love and Florence Vaughan; and Garnet Wilson and Hylda Lewis stood in for the Adelphi dancers, Jan Oyra and Dorma Leigh.