EARLY DAYS OF THEATRE & REP AT THE MANOR PAVILION THEATRE
1920
The first half of the year at the Manor Hall appears to have been taken up with concerts, auctions, exhibitions, ‘entertainments’, lectures and sales of various items, play productions don’t seem to have featured until July when producers Herbert Jay and Frank Littler brought the play ‘A Temporary Gentleman’ to SIdmouth for just one night. The play was written by H F Maltby who had achieved great success with a previous play ‘The Rotters’, this show had already gathered plaudits since its premiere in 1919. Ticket prices started at 1/7.
Also visiting, again just for one night,in August, was the Martin Henry London Company production of ‘Mr Wu’ by Harry M Vernon and Harold Owen. The billing added ‘Production an exact replica of that used during ‘Mr Wu’s’ London run of two years. Music composed by Mr John Ansell, Chef d’Orchestra, Shaftesbury Theatre, London. The Original and genuine Chinese Costumes from the Strand Theatre’. The story centres around Wu Li Chang, a young Chinese boy of royal descent, and his unique experiences growing up under the care of his grandfather, the mandarin Wu Ching Yu, amidst the tensions between Eastern and Western cultures.
Later the same month came ‘Sleeping Partners’ by Seymour Hicks (the famous, actor-manager and star of the music hall. The production was presented by Leonard Willoughby and would run for two nights this time. The cast included Olga Lindo at just 21, she made her stage debut at the Theatre Royal Drury Lane when just 14 and would go on to further stage productions and films, most famous as Sybil Birling in the 1954 version of J B Priestley’s ‘An Inspector Calls’ which also starred Alistair Sim.
‘The Maid of the Mountains’, the musical play by Harold Fraser-Simson, Harry Graham and Frederick Lonsdale would also play two days in August and was billed as ‘The Musical Event of the Season’.
September saw Gerald Alexander’s Principal Company perform ‘The Man Who Stayed at Home’ by J E Harold Terry and Lechmere Worrall – First performed in 1914, the play is set during the First World War and tells the story of a group of German spies in South East England and the British agent who thwarts their undercover operation. This was followed the next night with a production, by the same Company, of ‘Raffles’ by E W Hornung, the popular fictional gentlemen thief.
The theatrical summer was brought to end with ‘Eliza Comes to Stay’, the farce in three acts by HV Esmond. The production arrived in Sidmouth on the back of “Great Success at the Criterion and Vaudeville Theatres London, where it recently concluded a run of 500 performances.” There was just one performance at the Manor Hall.
1933
In the early months of the year there were local amateur productions, ‘The Case of the Frightened Lady’ by Edgar Wallace and ‘Quality Street’ by J M Barrie – the former included an appearance by R W Sampson (see the section on the History of the Manor Pavilion Theatre) who would fully oversee a production of ‘Young England’ which included a full orchestra. Having only had its London premiere in 1931, the comedy ‘London Wall’ by John van Druten was performed in May.
Professional theatre appeared at the Manor Hall in June with a production of ‘Peg o’ My Heart’ by J Harley Manners. This production had been seen at the Theatre Royal, Exeter and was to move to the Barnfield Hall, before a visit to Sidmouth. The professional repertory company involved was lead by Miss Janet Morrison in the title role. The production was sponsored by Captain A Hardie Jackson who had produced plays in the West End as well as amateur productions in Sidmouth and Honiton; it was run on a commercial basis by members of the company, a rather different approach to the norm.
Later in the summer it was announced that the Oxford Repertory Company had been booked for a very short mid-August season of two plays; ‘On Approval’ by Frederick Lonsdale and ‘Rope’ by Patrick Hamilton – two very contrasting pieces. The report in the Sidmouth Herald announced, “An excellent company, all of whom have seen recent service in the West End includes Margaret Rutherford, Judy Renheath, Mary Daniel, Stringer Davis, Tom Macaulay, Terence Greenidge, Tom Gill and the business manager, Edward Wilkinson.” The name Margaret Rutherford obviously stands out, this being the very early stages of her career and Stringer Davis would become her husband in 1945 after a 15 year courtship.
1944
Dancing remained the main focus of the Manor Hall for this, the penultimate year of the War.
1945
As with 1944, there is little evidence of any play performances in Sidmouth throughout the year. As the Radway and the Grand continued to show films – with the occasional local event – the Manor Hall is barely mentioned – it may well have been closed.
From August that year, dancing seems to have made a return to the Manor Hall, but little else has been discovered.
1946
In the early months of 1946, theatrical entertainment in Sidmouth was still very limited. At the Manor Hall it was confined to dances and a certain amount of light entertainment; theatre companies producing plays appear to have still avoided the town, the Radway and the Grand confined themselves to showing films.
However, at the end of May, The West of England Theatre Company (under the auspices of the Arts Council – which was founded earlier the same year) arrived to perform the comedy ‘Lover’s Leap’ by Philip Johnson. Just two performances on the same day (30th) but at least it was something! Tickets were priced from 5 shillings down to just 1/6! The Company was to return three weeks later for three performances, this time, of ‘Arms and the Man’ by George Bernard Shaw. In August they presented Noel Coward’s ‘Blithe Spirit’, J B Priestley’s ‘Dangerous Corner’ in September and the A A Milne comedy ‘The Dover Road’ and John Coates’ ‘To-morrow’s Child’ in October.
The middle of November saw the same Company mount a production of ‘Macbeth’; of which the Herald reported; “Great credit is due…on all sides one hears real appreciation. There are so many true lovers of Shakespeare and little opportunity, if one lives in the country, of seeing it acted.” Praise was offered to director, Thomas Mercer and Alec Gunn who played the title role. Reviewer, FSD, didn’t offer unfettered praise, but offered words of support for Joyce Worsley (Lady Macbeth), Mavis Edwards (First Witch), Peter Burdon (Doctor), Peggy Batchelor (Gentlewoman), Reginald Dyson (Porter) and Helen Latham (Lady Macduff) – though her “habitual facial expressions” do come in for criticism. Thomas Mercer (Macduff) and Raymond Adamson (Malcolm) also fail to impress as do the remaining parts, described as being “only moderately well played.” However, Mercer and the Company Management are further praised for their enterprise and the reviewer ends wishing for further Shakespeare productions – “preferably in the school holidays.”
1947
It was the returning West of England Theatre Company who started the theatrical year at the Manor Hall with just two performances per show, opening 1947 with ‘Lady Audley’s Secret’. One matinee and one evening performance on the same day and that was it. The Sidmouth Herald heartily welcomed the Company back and offered a glowing review; “The entire Company excelled itself” Frederick Worsley, the director was singled, “(he) achieved great success in every particular. The following performers were also mentioned in the review; Joyce Worsley, Mavis Edwards, Peter Burdon and Antony Holland.
The year continued with ‘The Queen’s Husband’ by Robert Sherwood, ‘A Bill of Divorcement’ by Clemence Dane, ‘The Circle’ by W Somerset Maugham and ‘Good Friday’ by John Masefield, which had just a single performance. Maugham returned in May with ‘The Sacred Flame’ and three performances were now offered, this was followed by ‘While the Sun Shines’ by Terence Rattigan and ‘I Have Been Here Before’ by J B Priestley. In August a production of ‘Ten Minute Alibi’ by Anthony Armstrong also received a good review in the Sidmouth Herald, where there is a reference to the West of England Theatre Company as “our Repertory Company, as we now affectionately regard them.” Joyce Worsley directed, with the cast including, Alec Gunn, Mark Lawton, Reginald Dyson, Robert Ainsworth, Godfrey Bond and Bay White. Not a glowing review all round, but well above average.
Almost at the end of September, the the Company presented ‘Gaslight’ by Patrick Hamilton, which was swiftly followed by the introduction of a new company to the Manor Hall, namely, the Regent Theatre Group who delivered ‘Night Must Fall’ by Emlyn Williams and ‘I Lived With You’ by Ivor Novello featuring Gerald Hill.
Hill was back soon after with another Novello offering, this time, ‘The Rat’ set in the underground life of Paris. This was paired with ‘Painted Sparrows’ by Guy Paxton & Edward V Hoile. The plays were billed thus, ‘GERALD HILL and JILL HILL with their REPERTORY PLAYERS…’ In the midst of the week, the West of England Rep were back with a rare production of a Shakespeare play at the Manor Hall Theatre as it was now billed; ‘The Merchant of Venice’ played for just two performances on the same day before it moved on elsewhere. The Sidmouth Herald was particularly complimentary about Joyce Worsley’s ‘Portia’ and Frederick Worsley’s direction and portayal of Bassanio. Not an unalloyed success, but “one cannot expect perfection in every part, when the play has to be cast to the players and not vice versa.” – one of the features of repertory theatre.
The Hills continued the next week with ‘Spring Cleaning’ by Frederick Lonsdale and ‘Third Time Lucky’ by Arnold Ridley. And, no sooner had Gerald and Jill Hill with their Repertory Players arrived, and they were gone – not to return.
West of England Rep had not disappeared though and were back in November with ‘The Bells Ring’ by Joyce Dennys, ‘Victoria Regina’ by Laurence Housman and then into December they performed ‘Dear Brutus’ by J M Barrie; bringing the year to an end.
The West of England Theatre Company had brought 14 plays to Sidmouth but for only one or two days; even with the Repertory Players, it didn’t add up to a huge input of professional theatre at the Manor Hall. Most of the rest of the year at the venue was taken up with dances and music performances.
THE WEST OF ENGLAND THEATRE COMPANY – 1947 PRODUCTIONS
Performed January – December
LADY AUDLEY’S SECRET by Miss Braddon
THE QUEEN’S HUSBAND by Robert Sherwood
A BILL OF DIVORCEMENT by Clemence Dane
THE CIRCLE by W Somerset Maugham
GOOD FRIDAY by John Masefield
THE SACRED FLAME by W Somerset Maugham
WHILE THE SUN SHINES by Terence Rattigan
I HAVE BEEN HERE BEFORE by J B Priestley
TEN MINUTE ALIBI by Anthony Armstrong
GASLIGHT by Patrick Hamilton
THE MERCHANT OF VENICE by William Shakespeare
THE BELLS RING by Joyce Dennys
VICTORIA REGINA by Laurence Housman
DEAR BRUTUS by J M Barrie
1948
Having been claimed as “our Repertory Company” just the year before, it was a bitter blow to Manor Hall when the following news was reported in the Sidmouth Herald in February, “Owing to a change in policy, The West of England Theatre Company Limited will in future be staging their productions at the Radway Theatre.” No explanation offered in the article.
Little evidence of many theatre productions taking to the stage in the first few months of the year can be found. The emphasis continued on dance; indeed the building is now referred to as the Manor Theatre Ballroom.
At the end of May, enter stage left, ‘The Black Notes – An intimate Summer Show of West End Artistes’ performing, ‘Brightly at 8pm. For the Season’. Although little is known about this particular show, it was, at least providing some entertainment on the Manor Theatre stage, for a few weeks at least.
It was a relief to the theatre-going public that at the start of July there was the start of a Repertory Season of plays, courtesy of John Falconer and The Fortune Players. They kicked off their Season with ‘The Young Mrs Barrington’ by Cheetham Strode followed by ‘George and Margaret’ by Gerald Savory. The latter received a glowing review in the Herald which reported it was “worth the highest commendation” and praising performers, John Falconer and Jeanette Joyce in the leads. The paper went on to say “The management of the theatre are to be congratulated in procuring such a company with so outstanding theatrical ability, it is therefore sincerely hoped that their stay here will be more than successful for, at long last, such a company as this is a real credit to the theatre entertainment of Sidmouth.”
In light of this it is interesting to read a small article in the same newspaper at around the opening of The Fortune Players’ Season headlined, ‘A Theatre for Sidmouth’. The report detailed Frederic Worsley (of the West of England Theatre Company) laying out the need for every town to have their own multi-purpose arts centre; possibly a slightly strange narrative considering the existence of the Manor Theatre, but it could have been more of a request for the local populous to support theatre productions and embrace the de-centralisation of theatre; why should London have all the benefits? This was very much a part of the development of repertory theatre; making theatre accessible to everyone; away from the major cities which had been the main targets of enemy bombing in the War.
The Fortune Players continued their weekly rep season with ‘French for Love’ by Marguerite Steen and Derek Patmore which received another top notch review from the Herald; the cast included Jean Sheridan, John Falconer, Jeanette Joyce, Alistair Audsley, Sheila Grainger, Peter Aldersley and Noreen Richards. “John Falconer is to be given the real credit for affording each and everyone of his company the opportunity to act; unlike so many touring Repertory companies who allow individual principals to dominate the stage.”
‘Wishing Well’ by E Eynon Evans, ‘Eliza Comes to Stay’ by H V Esmond and Kenneth Horne’s ‘Fools Rush In’ followed. Interestingly enough, just four weeks after this the West of England Company produced the same play by Horne at the Radway. ‘The School for Husbands’ by Frederick Jackson, ‘The Wind and the Rain’ by Merton Hodge, ‘Jane Steps Out’ by Kenneth Horne all followed, as did ‘Flare Path’ by Terence Rattigan. The previous time the Company had performed this play was in Louth, Lincolnshire, very close to hotel and aerodrome depicted in the play itself. The Sidmouth production featured Peter Aldersley, Noreen Richards, Alistair Audsley, Jean Sheridan, Noel Campbell, Jeanette Joyce and John Falconer.
The Season came to an end with Ben Travers’ ‘Rookery Nook’ and ‘Fresh Fields’ by Ivor Novello.
Much admired, it seems, the Fortune Players were not destined to take to the Manor Theatre stage again; indeed, they moved their operation to the Radway in 1949.
1949
The Sidmouth Herald announced in January 1949 that The Haymarket Players whose productions in Southend and outlying areas had received great acclaim were now going to establish a permanent repertory company at the Manor Theatre in Sidmouth. Their first production, ‘The Light of Heart’ by Emlyn Williams would open on Monday 17th January. The Haymarket Players were run by Kenneth Vaughan and Michael Hervey who would oversee matters from their base in Southend. A specific mention was made of the hurdles the company often had to face at some venues, and that what they would have at their disposal in Sidmouth would be a welcome relief.
Adverts announced Haymarket Repertory Productions proudly present their ‘Season of West End plays’ and later as ‘Sidmouth’s Own Permanent Repertory’. Performances were at 8pm Monday – Saturday with matinees on the Thursday and Saturday afternoon at 2.30pm – ticket prices ranged from 2s up to 5s 6d with concessions for children.
The season continued as per the listing below.
A 17-week season which started in the depths of Winter (though January 1949 was relatively mild) and ended before Summer could really begin. Reviews in the local press were very welcoming of the new Company, but pointed out that it was a difficult time of year for a new repertory company to start a theatrical residence, but as the Company got better known it would be of benefit to all concerned. Competition from the West of England Theatre Company and The Fortune Players were certainly going to offer a challenge.
Members of the Company at the time were Ursula Mond, Inigo Vaughan, Richard Coleby, Jackie Dutton, Diana Connell, Mary Ryan, Haydn Andrews, John Mile, Dennis Reynolds (who undertook certain design functions in addition to performing), Norma Sandbach (who starred in ‘Rope’ aged only 17), Joyce Barnard and Thelma D’Aguar.
The local reviewer, ‘PWH” offered great praise to the productions, but several times ended with an appeal for the local populous to support the Haymarket Productions and the Theatre itself. A letter dated 14 March 1949 from a local resident speaks of being “disappointed at the very meagre attendance” and encourages those in Sidmouth and the surrounding villages to “support these very capable young players.”
Turmoil must have been taking place backstage as well, ‘The Stage’ newspaper 0f 10 March reported that the partnership of Michael Hervey and Kenneth Vaughan had been dissolved and the running of Haymarket Repertory Productions was now a partnership between Inigo Vaughan, Michael Hervey and Richard Coleby.
Concern about the perceived lack of support for the theatre in Sidmouth lead to the calling of an Open Meeting on 24 April “for the encouragement and support of the ‘living’ Theatre and the promotion of the Drama and kindred Arts throughout the District”. The meeting was well attended and chaired by Mr Hector McCullie, who outlined the issues facing the theatre, while praising the incumbent theatre company at The Manor Theatre. During the war years, McCullie held the position of Theatre and Cinema Controller for the whole of the British Isles, opening over 250 venues for the forces, the issue in Sidmouth was one of competition and funding as McCullie explained to those in attendance. The West of England Theatre Company, whose prolific output at The Radway was seen as a huge obstacle as was the fact that they received a state subsidy via the Arts Council, the Manor, on the other hand was seen as a private enterprise and subject to the government Entertainment Tax (later replaced with VAT); the playing field was not a level one – “the hard working people operating this Theatre are paying taxes which in part are being devoted to taking the bread and butter our of their mouths”, so McCullie concluded his overview. Concern was voiced by the lack of any members of the local Council at the meeting indicating an apparent lack of support for the theatre. Richard Coleby, manager of Haymarket Repertory Company, mentioned that the cost of royalties for plays sometimes determined whether productions could go ahead; plans to perform ‘The Linden Tree’ by J B Priestley were abandoned as the licensing fees were just too high. Coleby went on to offer his professional services free to local amateur companies and to give talks to schools. McCullie offered encouragement to those who wanted to support The Manor Theatre and offered to secure facilities for them and to look at the funding situation with the Arts Council.
To those who were there it was an illuminating meeting, few understood the financial situation and were encouraged by the outcomes of the meeting.
Despite the positivity of the meeting and the suggestion that Haymarket Productions would be the new ‘Permanent Repertory’ company at The Manor Theatre, matters sadly unravelled. The Company were not to return in 1950.
However this wasn’t the only repertory company to appear at The Manor Theatre in 1949 – The London-based Saga Repertory Group would present a summer season starting on 22 August with ‘Arsenic and Old Lace’ by Joseph Kesselring. Starting times were changed to 8.15pm with the same day and time of matinees and prices remained as before. There followed four more productions, as listed below.
‘Flare Path’ was specially presented to commemorate Battle of Britain Day and all the service roles were taken by members of the company who were themselves serving members of the RAF during the war.
As with Haymarket Productions, Saga were not to appear again in 1950.
THE HAYMARKET REPERTORY COMPANY – 1949 PRODUCTIONS
Performed January – May
THE LIGHT OF HEART by Emlyn Williams
MIRANDA by Peter Blackmore
LOVE FROM A STRANGER by Frank Vosper and Agatha Christie
THE POLTERGEIST by Frank Harvey
MAN ABOUT THE HOUSE by John Perry
PRESENT LAUGHTER by Noel Coward
CANARIES SOMETIMES SING by Frederick Lonsdale
SPRINGTIME FOR HENRY by Ben Levy
ROPE by Patrick Hamilton
THIRD TIME LUCKY by Arnold Ridley
JANE by S H Berman
GATHERING STORM by Gordon Glennon
ACACIA AVENUE by Mabel and Denis Constanduros
THE GIRL WHO COULDN’T QUITE by Leo Marks
TRESPASS by Emlyn Williams
WITHOUT THE PRINCE by Philip King
THE SHINING HOUR by Keith Winter
THE SAGA REPERTORY GROUP – 1949 SEASON
Performed August – September
22 August – ARSENIC AND OLD LACE by Joseph Kesslering
29 August – FRENCH FOR LOVE by Marguerite Steen & Derick Patmore
5 September – THE BLUE GOOSE by Peter Blackmore
12 September – FLARE PATH by Terence Rattigan
19 September – LOVE IN A MIST by Kenneth Horne
BLITHE SPIRIT by Noel Coward (date unknown)