Equity Letter 1947-1949

Equity Letter a bi-monthly report to members of the British Actor's Equity Association March 1947 – May 1949

President 1946 - records lost

March 1947

Beatrix Lehmann writes

“We are not unfamiliar with the phrase, "Actors are incapable of conducting their own business". Both people totally unconnected with the theatre, and such a beloved wit as Bernard Shaw, have been guilty of this gibe. (Actors themselves have been heard to repeat it; no doubt with the idea that it is a matter of pride for an artist to be removed from the realm of practical things). But are we incapable of conducting out own affairs? Are there not countless examples of the opposite?

During the war numbers of small companies doing special work were run, organised and maintained by actors on both the executive and artistic side. Nearly all successful large companies are run (if not by working actors) by men and women who have had wide stage experience. It is amongst the people who have not been actors that muddle and irresponsibility both to the audience and to the artist are found.

If it be said that administrative ability to individuals of our profession is rare (rare but by no means unknown) let it be remembered that Equity is administered through working artists on Council and Executive. We poor muddle-headed artists have built up a union that was the first in the land to have a Union Closed Shop.

At a time when there is so much talk of Nationalisation and of workers' control, it is as well to review our potential capabilities and see in them the positive factor.

With a healthy respect for our own capabilities in mind we should pay special attention to one particular branch of our organisation which is the ideal training ground for responsibility. The Equity Deputies must develop their knowledge and a stronger liaison be forged between them and the office of the Association. To be an Equity Deputy is not merely a dull business of collecting dues, it is a post of honour and responsibility which entails a little study, a little thought and a little confidence in yourself as an artist capable of running the affairs of the theatre."

(only letter which survives as her writing in the magazine at the BL)

Council held one ordinary and three special meetings during the two months, The special meeting was called to consider whether permission should be granted for the cast of Oklahoma to work in London

2 Long term policy in relation to the BBC

3 the effect of hte fuel crisis on theatre.

Decision was made on cuts to actors’ salaries, no salaries of ten pound a week or under were to be cut. Managers had to approach equity if they wished to make cuts, agreement for negotiations.

West End Theatre by Austin Trevor speaks of members being happy with the way equity has handled the fuel crisis, meeting of 500 members and managers wishes not given in to.

May 1947

Two council meetings

First dealt with problems of the fuel crisis and with the provincial contract.

2nd devoted to careful examination of the draft annual report

approved a decision to publish number of votes in elections (of if only I could see that!)

Conclusion of the new provisional theatre contract

July 1947

Annual elections were held prior to AGM on 9th May

At the first meeting of the new council on the 13th May a ballot was held and the following were elected officers of the association for the year 1947/48

President Beatrix Lehmann

Vice presidents Honor Blair, Lewis Casson.

The new council held two meetings during may and June

In connection with cuts in artists' salaries in theatres the council wishes to stress that all managers and artists proposals in respect of cuts in salaries must be referred immediately to the equity officer. In no circumstances can proposals to cut any salary below ten pounds be discussed.

September 1947

The council had two ordinary and three special meetings

One special meeting was devoted to considering and where necessary altering the proposed amendments to the standard chorus contract which were submitted by the subcommittee.

The other special meetings were devoted to serious situation which arose from the managers proposed insertion of an emergency clause in the standard contracts without the approval of the London Theatre council. Eventually a compromise was reached through the medium of the London theatre council by which an agreed emergency clause will be inserted in all contracts but only operate when, and for as long as, the Chairman of the LTC declares and emergency exists.

Nov 1947

The council met twice during September and October

a - discipline within Equity and suspension of a member

b - Publication of the names of individual managements in Equity Letter

c - approval of the Constitution and Standing Orders of Manchester District Committee

d - ratification of the Film contract

e - the winding-up of the Equity Demobilisation Service Bureau

f- the Carl Rosa Opera Company dispute.

General secretary notes the following things of importance

Film contract

BBC development  - minimum fees, rehearsal

Health and comfort in theatres -evidence given at home office committee of inquiry

British theatre conference

Article on cuts, members who accept cuts that weren't negotiated face disciplinary action

Jan 1948

Council held two ordinary meetings and one special meeting are only supposed to meet once a quarter. "Councillors are apparently not dismayed by the extra work".

The special meeting on the 26th of November was devoted to resolution of the British Theatre conference, which are given in full

Ordinary meetings discussed: BBC negotiations, negations on repertory contract, publication  names in equity letter, artists certificates of registration, negotiations of London contracts.

Set up two committees one to examine the position of agents, and the other to revise the rules with special reference for he AGM.

Resolutions from equity to the British Theatre Conference

The Arts Council

warmly commending the work of the arts council

That censorship be abolished

Civic theatres - that a bill to enable local authority to sponsor and finance its own civic theatre

Entertainment Tax is inequitable and should be stopped. If it can't be stopped then the tax should be used to fund theatre.

Theatre buildings - existing theatres buildings brought under centralised control,

theatre rents should be controlled

theatres should be put to their proper use

Working party

Musical theatre - recognises the importance of raising the standards of musical theatre!

Training, regulating entry to the theatrical profession by a recognised form of training or apprenticeship

Education

Britain does not provide adequate facilities for education

greater education

establishment of chairs of drama at unis

Childrens theatres

qualified teachers of drama in evening and vocational schools

grant of state aid to students

March 1948

The council held two ordinary and one special meeting.

first preliminary arrangements for Agm

Giving evidence before the Home Office committee, we were asked to put forward the precise standards of accommodation of artists which we suggest should be included in legislation to govern the building of all new theatres. Drafted said report. At the special meeting the chief item was election of the equity delegation to the British Theatre Conference, and a discussion of the procedure and agenda. lastly discussed was television.

General Secretary’s notes include wage freezing and election of council members.

Includes report of the conference (see photo)

May 1948

review of AGM - how civilised by Leslie Banks

Elections

Beatrix was on both the Executive Committee and the Council.

So now even though she is no longer president has twice as many meetings to attend. This is the last year that she appears on the Council in the notes of the newsletter. (Which albeit is sporadic)

Specialists meeting on films being held

This issue includes notes on the AGM for the fist time.

The AGM was held at Wyndham's Theatre on Sunday 9th May 1948, the President (Beatrix Lehmann) was in the chair. In attendance were 594 members.

Resolutions

Equity club

Rehearsal salaries

Conditions for understudies

Contract for tour or season - defeated

Pantomime contract

students in rep

Amateurs in rep

Arts council opera and ballet panel

non-members

television

Ratification of contracts

council - show how council members have voted throughout the year

Agents

lodgings list

clothing coupons

Also notice from secretary about how union should have NO political affiliations  (see photo)

July 1948

Busier time with six meetings of executive committee and two ordinary and one special meeting of council. (9 meetings in two months)

legal cases, labour permits by foreign artists, much of discussion at one meeting 15 legal cases were discussed.

Set up of Emergency Reserve Fund for artists

Council followed up on AGM, ordinary meetings on the film industry

September 1948

Executive committee had seven meetings with 80 items discussed

Disputes and legal cases taking the majority of the time

Council had Special meeting on amendment to the rules,

two ordinary meetings discussed the film campaign problems arising on national insurance and equity organisation in the provinces.

November 1948

Executive committee held six meetings with a total of 71 items discussed.

Council had two ordinary meetings and one special meeting,

Special meeting discussed the equity club and lease of 12 Moor St

Jan 1949

Executive committee had six meetings, A approved submission to the home office, the pantomime campaign was planned and steps taken to put into operation, other topics included discussion of use of films in television

Council had two ordinary meetings and one special meeting.

failure to have a discussion on the rules revision

foreign artists also discussed.

General secretary has six month leave for kidney disease

Two special meetings related to a sharp controversy which arose over payments to choristers in the production High button shoes,

Film production continues to be a problem as does the BBC and national insurance (see photos for details of these two)

VERY IMPORTANT!!!!

Special members meeting held at Whitehall Theatre on Sunday February 13th, 1949,

Discuss Trades Union Congress pamphlet entitled Defend Democracy (find that!) which deals with Communist activities within trade unions. This request, signed by 62 members in full benefit, was submitted to the Equity Officers on Jan 22nd 1949,

The theatre was filled to capacity.

Resolution read as follows

"That the Council accepts the recommendations contained in the Trades Union Congress Pamphlet "Defend Democracy" and invites this special general meeting to endorse this council decision.

following resolutions came before the meeting,

... endorses the Council's support for the recommendations ... as laid down in the pamphlet entitled Defend Democracy, dealing with communist influence with British Trade Unions. 387 votes in favour 192 against

"Equity shall forthwith implement the recommendations of the General Council of the Trades Union Congress that no communist or communist supporter shall be eligible under the rules to hold office or be elected to, or remain in any official position in the Associations

173 votes in favour 327 against - was lost! But was this why Bea was no longer on the committees after this year?

March 1949

Executive committee held four meetings 106 items discussed,

Salary and provincial negotiations

Council

One special and four ordinary meetings.

Television programmes, opera contract, film, London chorus,

The special council meeting was called to discuss whether or not a policy should be formulated on the matter contained in the TUC pamphlet entitled, Defend Democracy, This council resolution was reported in the Jan issue...

General Secretary’s notes on film crisis -which "deepens every day"

Discussion in parliament on abolition of censorship where it was heard that unions supported continuation of censorship, which they didn't!

Article on the abolition of the censorship

Managers strongly in favour of censorship and condemning of conference

May 1949

Gowers report on conditions in theatre for actors was published

Six executive committee meetings, legal cases, and reports

Council three ordinary meetings and three special meetings

attendance of councillors at meetings averaged 17 (would be nice to see minutes to see if Bea was in evidence)

Chorus, film distribution, Civic theatres for professional entertainment,

Annual report, "what equity is doing" possibly locate?

July 1949

has a report calling for tolerance, which speaks of recriminations for people who were founding members.

I get the feeling that there was a strong anti-communist feeling and I feel that poor Beatrix was at the brunt of it. From president, to committee member to nothing in the space of three years. I can guess this would be very demoralising for her. She was so active and interested in politics and saw the union as a way to do that, then the very union turned it's back on her and stood away from any communist ideals. It would explain why after this she turned her attention back to acting and away from activism as it must have seen a lost cause for her. It would be interesting to see what she wrote to her friends and family at this time, and what larger ramifications it had. It seemed to have stopped her writing and made her re-focus on her acting. From the enthusiasm she showed throughout the war period this must have been very disheartening for her.

But makes for a very interesting insight.

Youth review Number 8 1940

This issue is the only one that the British Library holds. It looks more like an amateurish zine than anything else. It is on cheap paper and typescript rather than properly printed. But I suppose that was largely due to war restrictions than anything else. Issue 8 is the Special Film and Theatre issue. It features writers such as Graham Green, Norman Flowers, Sean O’Casey and Aldus Huxley. The next issue has an article by HG Wells, among others.

Beatrix writes, “Blackout in the Theatre”, a piece which laments the lack of theatre during the war, and the philosophy behind theatre at the time.

“At the outbreak of War all theatres and places of entertainment were closed by order of the government. At the same time the lights, not only of theatre-land but of the whole country, were extinguished and thousands of actors and theatre technicians were unemployed. In a few days most of them were wondering how to pay the rent and where the next meal was coming from. Three months have passed and they are still wondering. Charity amongst actors used to mean working for nothing for some "good cause. For actors themselves there is little charity and they are not accustomed to cry out for help.

The theatres can now open in the afternoons and they may stagger along in the evenings as well. But the black-out remains. The streets are so dark that a potential theatre goer is as likely to end down a man-hole as in a theatre seat. Going home he is as likely to be run over as picked up by the transport he is seeking. The managers see little reason and no profit in opening the theatre. Rents are still high. The population is dispersed. The one-time stall-holder has either been called up or is striking theatre of his luxury item list in order to face the new taxation. In any case to the majority of these the theatre has never been much more than a place in which to digest a large dinner.

The matinee public were derived chiefly from the suburbs and people on day-tickets from the country. The famous elderly ladies who came regularly to matinees for the more daring kinds of plays were now deep in their bomb proof shelters or chivvying evacuees.

Theatre-centres have never been established in working-class districts and theatre seats have never been within the means of working men. The few instances of theatres of this kind (the Old Vic in the old days and Unity Theatre in present times) have been entirely successful, but for most managers the profits are too small and for many actors the wages too low.  In recent years the policy of the Old Vic has undergone many changes. The one-time equally balanced permanent companies have gone. The average production and average performance have given place to alternate fire-works and fiascos. The visiting star, preferably cinema trained, has taken the place of the actor who patiently built up career and experience within those walls. The enthusiasm of the working classes and of the real theatre lovers of all classes has been exchanged for the problematic support of a cinema-fed public.

In the Unity Theatre the membership audience is treated to propaganda, satire, and class-struggle performed with moving sincerity by an admirable band of amateurs whose performance in other branches of acting, such as the romantic or poetic, would bring a blush to the cheek of a really skilled, self-respecting professional.  What can be done to save the English theatre from extinction? The war with its black-out is not the only reason for this sudden demise. It was tottering already, and a change to staggering will not keep it upright. The policy of underestimating the good sense of the public has at last resulted in the armed forces saying that the entertainment offered them is an insult to their intelligence.

For years "they" have said that "the public “do not want good plays. "They" have said that Shakespeare doesn't pay. When enormous losses have taken the place of enormous profits "they “have always blamed "the public".  What do "they" mean by "the public"? Not the lovers of good literature and good speech. Not the children of all ages who like a story clearly told and clearly heard and who derive pleasure from seeing life condensed and illuminated. Neither the people who have left the theatre in despair not those who have never had the theatre brought within their means or understanding. If these do not ensure enormous profits they will never cause great losses. They will not have to be tickled and tempted into the theatre by promises that they will not be made to think or feel.  For them no money need be spent on publicity scarcely fit for chain stores or breweries. London is not empty. The provinces are teeming, waiting for something vital and new. The black-out is not impenetrable.  The theatre that tottered yesterday, staggers today and it will surely fall down flat tomorrow.

Actors lost control of the theatre during the last war. If they do not regain control during this one and make some effort to turn evil into good, the theatre as a cultural force and as entertainment for the intelligent will cease to exist. They must shake themselves clear of the debris that fell upon them when the bricks and mortar collapsed and all that was left of the English Theatre came tumbling down during one great black-out. A war is being fought to preserve culture, and that means more than putting sand-bags round a few old monuments."

There are several interesting points raised in this piece, first that it is the Actors who are to take control of the theatre and bring change in it. This fits with Beatrix's ideas as she becomes president of equity.  The idea that it is the actors, not the producers who can make the change is interesting. At the time rent was high and the producers were in full control of what was being shown. Theatres were subject to their decisions of plays, and then those plays were still further censored by the Lord Chamberlin. 

The "they" referred to are the theatre owners and producers who are only interested in high profit. It is interesting to see such an us versus them laid out between actors and people who run the theatres. It is interesting to see her counter their arguments that people aren't interested in meaningful plays but only want to be entertained. I think this is proved by the types of plays that Beatrix had done at this point that were the biggest successes. Neither Mourning becomes Electra or They walk alone (the two she is credited for at the back of the publication) could be dismissed as light entertainment. These are clearly plays for people who love literature and "derive pleasure from seeing life condensed and illuminated". 

I am also intrigued by what happened in the last war and how Beatrix thought actors had lost control of it then. Two types of articles I need to search for are clearly British theatre in world wars one and two. Hopefully there will be things on Jstor. 

Likewise I need to follow up on the Unity theatre as I've never come across it before. It seems to be a theatre for the left wing politics, Beatrix's comments seem to indicate that she thought it was a good cause but that the amateurish acting was a detriment. I would be interested in investigating further if she did work with this theatre. 

It is also worth mentioning that at the beginning she spoke of how actors and crew members were going hungry; nothing had been done by the government to help those whose lives were being disrupted by the war. As someone who grew up very rich seeing the people she worked with going hungry must have strengthen her feelings of social justice and wanting to fight the inequality of social class.

It is interesting to read the different opinions of people who were working in the theatre at the time and how many saw it as so negative. 

Propaganda in the cinema by George Noble Looks at how Hollywood and the British cinema are controlled and what they produce, it is quite condemning and reflects with Beatrix's comments about film actors a rather low opinion of the media when compared with theatre. "For wall street dictates to Hollywood and similarly the British film industry is dependent for its very life blood upon the good will of City businessmen. Like the newspapers controlled by a group of irresponsible millionaires, the screen is fast becoming as powerful as the Press in formulating opinion and outlook along the lines indicated by the ruling class. The mass of film output today is composed of trite tales, fantastic success stories and artificial concoctions calculated to appeal to the wish-fulfilment ideas embedded in the minds of filmgoers. The cinema has developed into a dream world of escape from reality; a glorified opium palace where audiences are drugged with trashy sentiment, forgetting their own continual struggle as they gaze entranced at the antics of actors and actresses in unreal situations, obeying like puppets every pull on their strings....

Towards a new people's theatre by Herbert Marshall (who produced plays at the Unity Theatre and worked in the USSR) Looks at the limits of professional theatre when the actors are only brought together to produce one play and then disperse. "The job of the new theatre is to express the interests of the millions and not the millionaires, and to tap this vast audience. These people do the vital jobs of the world, and only they can bring vitality into the theatre. For their lives comes the real stuff of which drama is made. The plays of our new theatre must be chose from a universal repertoire. We must search the archive of the worlds' drama to find plays which have been written and deliberately ignored by press and critics because they offend the tastes and desires of the minority. Not forgetting the playwrights who themselves were censored  and exiled, from Euripides to Ibsen and the modern German, Jewish, Czech Italian and other artists ‘exiled from their native countries.

Finally, however much we lose ourselves in our theatre work, however much we concentrate on it, we must not be cut off from the outside world of human activity. Our actors must not take the artificial world of theatres, night clubs fiction and bohemianism to be their social activity. They must be in constant touch with other workers in every sphere. [Something that was brought about with the people's congress and the women's parliament] They will do this in studying their parts, by touring by social and cultural organisations and by personal relationships. They must hold discussions with their audiences and learn the point of view of the audience. In this way the interrelationship of actors and  audience and audience and actors will be strengthened and maintained. And when playwrights audience and actors are in accord great art is created and the electricity of human emotion and human thought flashes like lightening illuminating the whole world as never before.

A National Theatre when? By Sean O’Casey (who wrote the silver Tassie)

"What is the state doing for the theatre? Damn all!" He talks about how the government is giving no money to the theatre, compared with Ireland that does support the theatre. How the amount of money required is quite small compared with other output.  “A national theatre in London would mean, I'm sure, the creation of one in Wales , of one in Scotland and maybe one in Ulster to vie in a friendly way with her sister theatre in Dublin" - oh how that so didn't happen.  “A national theatre may mean something greater to England than her army with banners or without them. ...Well England when is it going to be done? Never- sometime next year- this year? Come along England, say when."

The role of the Unity theatre today by Roger Woddis.  

War is being waged. Rocketing prices, profiteering, attack on wages and democratic rights -the offensive has opened on the British people. Unity theatre has a part to play in that war. "Judging from the packed houses (over a thousand seats were sold before the opening date) we are not alone in thinking that democracy in inverted commas is not good enough."  Unity theatre is set up to help local theatre groups with supplies of advice. songs and sketches, through the Left Book Club Theatre Guild. (something else to look up). They also bring their rep to local communities. our policy may thus be summed up as follows -

1 To strengthen the theatre as a vital force in the social struggle and to ensure its continual growth by rooting it in the lives of the common people

2 to develop Unity Theatre as an organising centre for a national theatre movement

3 to establish a strong and lasting contact with local amateur groups and to assist them in their work by every means at our disposal.

4 to encourage and foster the work of new authors wiring for the social theatre.

Únity writers are at present working on a living newspaper dealing with the second imperialistic war. In addition, we have under consideration with a new social drama by Sean O’Casey ... and other famous plays. These we hope to add to our repertory in the near future. Meanwhile, Unity Theatre is on its toes, helping to bring nearer the day when the curtain will go up on the epic of a new world. On theatre stage the wicked uncles will have no place.

 I can't help but wonder if the Uncles there are a reference to the uncle that Beatrix described in the Our Time article. I think this must have been a common way to describe these people.

Propaganda in war time by Aldous Huxley, "On the outset of war it is as necessary to inflame public opinion into a stage of indignation and hatred of the enemy as it is to supply the fighting forces with ammunition.  ... The case against the enemy must be stated with complete bias and a suitable amount of exaggeration. Any arguments in support of the enemy's case must be suppressed. ... Faked photographs are useful and studios for the photography of hideous mutilations can be set up. This is an absolutely gorgeous piece of writing, with truth and bitterness. 

Trade unions in wartime by George Eyland  Condemns trade unions for abandoning workers rights during the war  

It is worth noting that Beatrix is only one of two women writers in this issue, when there are 13 men who contribute!

The Sketch Christmas (Nov) 1927 – The Isles of Greece

I must admit this was a little less interesting than the others as the "transformation" just seemed a bit vague. There was a lot of insight into how vapid rich people are. All the complaints about bad tourists who travel and then hate the place they were in were spot on. It was an interesting story of a woman forced to serve horrible people who came into her own, but the reasons she did so felt weak and I think would have been more interesting if she'd gone into greater detail, or had more of an interesting event leading to the change. As it was I had to go back and re-read what led her to her decision. Perhaps it was overly censored? Quite an interesting idea though.

Research plan

Short stories and articles - Read all found so far.

Plays
Weavering's entries for each decade
then follow up on his reviews cited
Follow up in Theatre World magazine for those months
Reading plays performed in

Communism
Books on communism in the Britain
Finish reading Daily worker for articles
Women's parliament
Our time
(other periodical found at BL)

Equity
Annual reports, meetings etc

Arts Council
archives - reports etc

Central
Teaching info?

Cambridge
Personal letters

Other avenues?

Beatrix plays in the 1920s from Wearing's The London Stage 2nd edition

The way of the world by William Congreve

Lyric Hammersmith 7/2/24-28/6/24 158 performances

1st performed Lincoln's field 5/3/1700

Peggy Elsa Lanchester, Beatrix Lehmann

(Bea was 21) Listed after the servants

Reviews

Era 13/2/24, iil London news 16/2/24, 278-9, 292, nation and athenaeum 16/2/24 700

Observer 10/2/24 11; sat review 23/2/24 179-80 Spectator 16/2/24, 242,

stage 14/2/24, Sunday times 10/2/24, Times 8/2/24 8

Comment: Times called this a "rattling, jaunty, jigging almost jazzing revival" and singled out the performances of Edith Evans and Margaret Yarde. Nation thought that the production needed to dispose of even more of the traditional business.

The Duenna (musical) by Richard Brinsley Sheridan (lib) and Alfred Reynolds,

Lyric Hammersmith 23/10/24-21/2/25

145 performances

1st performed Covent garden 21/11/1775

Lewis Angela Baddeley/Beatrix Lehmann

Reviews: Era 29/10/24, ill London news 1/11/24 820-21, 8/11/24, 894,

Nation and athenaeum 1/11/24, 185, observer 26/10/ 24, 11; Sat review 8/11/24, 469, Spectator 1/11/24, 637

Stage 30/10/24, 18, Sunday times 26/10/24, 6 Times 24/10/24

Comment The following role was added during the run, Lay Brother Scott Russell. Nation declared that

the production was, "the best entertainment that Mr. Playfair has as yet

offered us at Hammersmith." The opening-night performance was received "With acclamation" by the audience (Stage).

The Green hat by Michael Arlen (Adapted from his novel)

Adelphi 2/9/25-7/11/25 transferred to Apollo 9/11/25-19/12/25

124 performances

1st performed Garrick, Detroit 29/3/25

Lady's Maid - Beatrix Lehmann (also understudy for Tallulah)

(programme seen at Bristol)

Era 12/9/25 iil London news 12/9/25, 506 508, nation and athenum 12/9/25, 705 observer 6/9/25, sat review 12/9/25, 284-85, stage 10/9/25, 16 Sunday times 6/9/25 times 3/9/25, 8

Comment Although the novel had proved somewhat shocking, the stage version did not shock, and was in fact an irritating disappointment (times)

Nation noted that the were "crudely yawning gaps in the dialogue" and that the characters had turned into "mere puppets@ the first new york production (Broadhurst 15/9/25) ran for 231 performances.

Scotch Mist by Patrick Hastings

St martin's 26/1/26-3/5/26 117 performances

Mary Talluhlual, Betty Beatrix Lehmann

Reviews Era 3/2/26, 1 ill London news 6/2/26, 246 nation and a 6/2/26, 645-46, observer 31/1/26, 11 sat review 30/1/26, 118-9, sunday times  31/1/26, 6 Times 27/1/26, 12

Comment Tallulah Bankhead played a scandalous wife at the centre of a

love triangle and was apparently responsible for the play's success in

the face of mediocre reviews. The first New York production (Klaw 20.9.24) ran for 16 performances.

They knew what they wanted by Sidney Howard

St Martin's 18/5/26-21/8/26

110 performances,

1st performed Garrick, New York 24/11/24

Amy Tallulah

Italian farm hands Beatrix Lehmann

Reviews Era 26/5/26, 1 ill London new 29/5/26, 956, nation and a 29/5/26, 207  observer 23/5/26, 13, sat review 29/5/26, 647-48, spectator, 5/6/26, 946,

stage 20/5/26, 18 Sunday times 23/5/26, 6 times 19/5/26, 14

Comment The London debut of American Glenn Anders who had created his role in the New York premier. Sat review said that Anders plays Joe "with a hoarse monotone and a subtle intensity that are devastatingly plausible" This Pulitzer prize winning play ran for 192 performances in new york.

It is expedient by Kathleen Curzon-Herrick

Royalty 14/1/26 1 performance

Miss Carter Beatrix Lehmann

Stage director Edit Martyn

Reviews Era 17/11/26, Observer 21/11/26, 15

Comment Lyceum Club Stage Society

An American tragedy by Patrick Kearney (adaption of Theodore Dreiser's novel)

Apollo 26/6/27 and 27/6/27 2 performances

1st performed Longacre New York, 11/10/26

Bella Griffiths Beatrix Lehmann

Plot Bes 26 399-400, Bordman/3 298, Bronner Hischack, Kabtachnik 2, Loney 141 Sobel

Reviews Era 29/6/27, observer 3/7/27, 15 stage 30/6/27, 14 sunday times

3/7/26, 6 times 27/6/27, 12

Comment Venturers Society Ltd. Times found the piece was too fragmentary

but nevertheless moving. Stage praised Tom Douglas 's "Sincere and affecting" performance. The New York production ran for 216 performances.

The Adding Machine by Elmer Rice

Court 9/1/28-4/2/28

32 performances (with thurs and sat matinee)

(Young man - Laurence Olivier) Judy O'Grady Beatrix Lehmann

Director Barry Jackson (who Bea later worked with for Shakespeare)

Reviews

Era 18/1/28, ill London news 21/1/28, 120, nation and a 21/1/28 598,

Observer 15/1/28, 11 Sat review 14/1/28 36-37 Spectator 14/1/28, 42 Stage 12.1.28, 16 Sunday times 15/1/28, 4 Times 10.1.28, 12

Comment The realistic acting clashed with the play's expressionism and Hugh Owen's designs (sat review) Stage described the piece as a "strange medly of fantasy and  banal realism, with its exasperating display of human puppets jabbering and guffawing in unison"

Thunder on the left by Richard Pryce (adapted from Christopher Morelye's novel 1925)

Arts Theatre 26/7/28-29/7/28 4 performances

Joyce Clyde Beatrix Lehmann

Reviews era 1/8/28, nation and a 4/8/28, 591, observer 29/7/28, 11

Stage 2/8/28, 14 Sunday times 29/7/28, 4 Times 27/7/28, 12

Comment a ten year old boy sees what his life will be like in 20 years time

Byron by Alicia Ramsey

Lyric 22/1/29-2/2/29 14 performances

1^st performed Theatre Royal, Portsmouth 14/1/29

Lady Caroline Lamb, Beatrix Lehmann

Reviews: Era 30/1/29, 1 Nation and Athenaeum 2/2/29, 618, Observer 27/1/29, 13 Stage 24/1/29, 18 Sunday Times 27/1/29, 6 Times 23/1/29, 14

Comment, This biographical play opened on Byron’s birthday. Nation called the piece “a very bad example of a particular brand of half-educated sentimental twaddle about real people”.

Ile by Eugene O’Neill

Palace Theatre 23/4/29

1 matinee performance

Mrs Keeney Beatrix Lehmann, produced by Peter Godfrey (with PG as Joe)

Reviews Stage 25/4/29, 18 Times 24/4/29, 14

Comment In aid of the Ellen Terry Memorial. Also performed were songs, dances and a scene from A midsummer night’s dream.

All God’s Chillun Got Wings by Eugene O’Neill

Court theatre
17/6/29-6/7/29 24 performances

1^st performed Provincetown Playhouse New York, 15/5/24, 1^st British performance Gate 8/11/26

Ella Downey Beatrix Lehmann (Lessor Barry Jackson) Producer Peter Godfrey

Reviews Era 19/6/29, 6, Nation and Athenaeum 29/6/29, 433 Observer 23/6/29, 15, Sat Review 22/6/29, 829-30, Stage 20/6/29, 16, Sunday Times, 23/6/29, 6 Times 18/6/29, 14

Comment Times said the piece succeeded as a “superbly handled melodrama” rather than as “a tragedy of racial differences.” The New York production ran for 43 performances.

The Silver Tassie by Sean O’Casey.

Apollo 11/10/29-7/12/29 66 performances

Susie Monican Beatrix Lehmann

Reviews Era 16/10/29, Illustrated London News 19/10/29, 696, Nation and Athenaeum, 26/10/29, 138-39, Observer 13/10/20, 15, Sat Review 19/10/20, 446-447, Spectator 19/10/29, 523, Stage 17/10/29, 18-19, Sunday times 13/10/29, 6 Times 12/10/29, 8

Comment Nation said the production was “superb” but noted the limitations of English actors playing Irish characters. “O’Casey’s uncouth but dynamic experimentalism… has genius and wants much else – order, logic, and so on” (Sat review). Barry Fitzgerald’s London debut. The first New York production (Irish 24/10/29) ran for 51 performances.

I have to say it was much more interesting copying these out this morning than I was expecting. I found several plays that I didn't know she'd done (and odd that a few I did know she'd done weren't included. But I think Wearing may not have covered the Gate). I thought it was interesting that she started as a small role in two old 18th century productions for the Lyric Hammersmith and then went to almost entirely new theatre. I can see her as someone who is more interested in the issues of the day, particularly around women's roles, than in the older plays which may have seemed a bit dated.

I was also interested in how many times she understudied for Tallulah Bankhead. There were several more than I realised. I think it would be worth finding a biography or two about her to fill in the details of those years, outside of Bea's own letters. I think it would also be worth reading both versions of the Green hat.

The gaps in the performances are quite telling, though they don't appear as many in the full list of her plays for the 20s. It is easy to see why she supplemented her acting with writing, and why she thought she was struggling as she didn't have any real major roles until 1929. It seems like she got bored understudying and went on to look at smaller more experimental theatre, there she met several of the producers and directors that she would work again with later in much bigger roles.  Barry Jackson was the director for the adding machine who she worked again with 20 years later for the Shakespeare festival.

Notes for finding theatre programmes at the BL

	[A miscellaneous collection of programmes from London theatres, 1898-1950, the majority of the period 1915-1930].
Author(s)
Item holdings	[View]
Notes	ZA.9.b.493: Programmes for other theatres, not represented in this collection will be found under the headings for each theatre [Show all...] Notes

London gardens The Sketch (Tales with a twist ) June 17 1925

First impressions: Beatrix does tend to write a lot of her short stories in the first person and they all seem so true to life that you can’t help wondering when reading them, is this really fiction or is this more of a journal? They seem so realistic that you feel they must be at least partially based in reality. Her style for this story, was the same as the “true” story that she wrote of her Christmas in Germany, first person narrative in an amusing and descriptive tone.  The “I” in this story seems the same “I” as in that one.

I’m also surprised she had a cat again! I guess as a young woman she was fond of cats, as well as dogs. (Though of course it might be fiction).

The story turned melancholy with a woman who had been abandoned and whose children had died. The narrator listened to the story and felt sorry for the woman. This was an interesting mix of Bea’s humour and depression.

Alan Ross

Information about Alan Ross who dedicated a book of his poetry Derelict Day poems in Germany to Beatrix in 1947, she was in correspondence with him about her ideas on the theatre.

http://en.wikipedia.org/wiki/Alan_Ross

http://www.theguardian.com/books/2009/nov/21/william-boyd-hero-alan-ross

http://www.theguardian.com/news/2001/feb/16/guardianobituaries.books

Departures - The Sketch July 1 1925

This was the 2nd of Beatrix's short stories published in the sketch in the space of a month. It was very short, only one page but it was heartbreaking. There were only a few scenes, a rich family with a butler and a brash young boy/man leaving home. A woman coming and picking up her two year old son from a cousin's who had been looking after him for a year. You get the feeling that the mother hadn't seen him at all during that time and was totally oblivious to the fact that the cousin may have grown attached to the boy. And a working class family on a train.

Knowing that Beatrix grew up with a Butler and servants it made that side of the story quite interesting. I also know that her mother left for large periods of time to go and live in America, particularly after Beatrix was born as she was depressed when Beatrix turned out not to be a boy and didn't have much to do with her. The oblivious mother and the separated child seemed especially poignant with that in mind. The fact that the mother seemed oblivious to the people who were actually taking care of her child was a little telling. Interesting story and nice to see that even at 22 Beatrix was still very much interested in class issues. Given that the Sketch is a nice periodical for posh/middle class women the fact that she deals more with these issues seems quite unusual. Further analysis will need to be made, but this was just my first impressions.

All one happy family, Our Time 1941

All one happy family appeared in the first issue of Our Time. The periodical Beatrix was editing in 1941. It came across as a fictional presentation of actual events. It was about the "Uncle" of the actors who was getting people jobs and basically ripping them off in the guise of "we are all family". Uncle Harry represented the producers of the day (I'm sure reading some more background reading I'd be able to figure out who he was representing). He took advantage of his actors, getting rich of their work. He was against them unionising, and against them becoming politically active. The scene where he told off the actress for wanting to be involved in politics was the most interesting to me. These were obviously arguments that Beatrix had heard and been told because of her growing political concern in the 30s and 40s. It was really interesting to have this inside perspective.

Paid in Full - March 24 1924

Beatrix was only only 20 when wrote this story for The Sketch. It started off as a fairly typical historical romance of yesteryear. A young French exile living poor with her father, falling in love with a sailor and then being pursued by an unwanted rich suitor. But it had some truly wonderful moments in it. When Beatrix gave the descriptions of how the woman had been betrayed by her father for money, how she'd been sold, there was a great feeling of feminist indignation.

"She looked at him She looked at him snivelling and pleading, thinking only of his wish come true, ready to sacrifice his daughter who had stood by him unquestioning and faithful, and her heart was filled with a cold pity that froze the first beating of fear that had struck her.

"Tina, you would be well off... he is rich. Tina, what do you say... speak."

Money-always money. He thought to dazzle her into consenting by a tale of the doctor's wealth. That man who withheld succour from the poor, who would work his wife like a servant; and his eyes...

Tina remembered now how he had looked at her and a wave of horror surged across her senses. She rose unsteadily and went to the window where the fresh evening air rippled in. Her nerves were so on edge that her thoughts were exaggerated and made twenty times more frightening. Her father had sold her, sold her body for a few paltry pounds so that a dream might be realised."

 After that it plunges into tragedy, a drunken orgy and a skeleton falling into the sea! Wonderful stuff!

Top Dogs from Our Time

This is part of an article that Beatrix wrote about the history and current state of the theatre for Our Time, the socialist/communist journal that she edited from 1941- I just loved how poetic and depressing this got...

"The faint stars gleam through the bomb-split roof of the stage. The old play-bills dissolve in dust down the green room walls. A mouse pops out of the hero’s wig and trickles away under the heroine’s empty hanging skirts. The rotted ribbon on the rapier breaks and down it falls, setting the whole armoury to jangling and tinkling. A fiddle-string parts with a muted twang. Away, up the sky, swings the beam of a searchlight, lengthening, searching, searching… bedding and shortening, till a huge arc splashes on the empty gallery benches, moves down past the grey dust of the circle, opening out in a silver flood, for one second, over the stalls. Row behind row, they sit, bones gleaming through shredded evening dresses, medals askew on arched ribs, feathers moulting and diamonds, still as clear as water, slithering from polished skulls. The empty eye-sockets are set upon nothingness, the grinning teeth laid bare. The light snaps off and throws back the night. The wind gives one last bang on the box-office window and the little mouse, scared, plops through a hole in the big drum".

Short stories and articles at the British Library

Yesterday I went to the BL to read the short stories of Beatrix that were in periodicals there. I only managed to read half of what I had ordered, and took photos of the rest but haven't read them yet.

This was my first impressions on reading the stories.

Liliput Dec 1943

London's cat communities

3 pages with sketches of cats

Different habits of wild cats on the streets of London. Odd as I always thought she was a dog person but very sweet. While a very light-hearted piece it highlights the economic differences between the different parts of London.

New Writings Spring 1938

The two thousand pound raspberry.

A short story about a days filming, very realistic and seems to be taken from real life. All about a car scene where they have to film it live and then with a backdrop but ended up being cut from the final film. It really created the idea of how much pressure and how many people are involved in a film production, and ultimately how it can be a total waste of time. It was the longest of the stories and I wasn't able to type it out.

Liliput July 38 also has a short story by Viertel in it, about a woman who shoots her husband cause he is having an affair, then realises how much her son looks like her husband, only one page

Dec 38 also has another short story by him entitle Hollywood marriage between two of the workers in a production.

Liliput Jan 42

Christmas in Germany by Beatrix was part of a series called, "The foulest Christmas I ever had".

Other writers in that section were; Arthur Koestler, Lord Berners, Dean of Canterbury, Beatrix Lehmann and Rex Harrison. I think it worth noting that Beatrix was once again the only woman, and was in some fairly illustrious company for the time.

The piece tells how she was stuck in a lodging alone in Germany and miserable on Christmas day. (It is worth noting that she was 30 at the time of the story). One can't help but wonder where Christopher Isherwood was at the time, especially as he reported that the two of them spent that New Year's Eve together and had such a wonderful time chatting that they missed the countdown for the new year! Which makes me think that the image of her totally friendless and poor in a foreign country on her own may be slightly exaggerated to make a better story. Definitely something that would be interesting to check with her letters home from that time. But my favourite part of the story was when she went to visit another actress only to discover that the actress had been dead drunk for two weeks and had attempted suicide the day before.

Lilliput November 38

The dog act 

Was another humorous story that undercut class assumptions. In this case a posh lady was horrified by the treatment of performing dogs that she saw in the music hall and decided to rescue the poor creatures and give them a home. She was totally oblivious to the fact that their owner cared for them deeply, and that they likewise cared for him and enjoyed the activities of their performance. It had a  great line about actors being different to all other types of humans. It was very cute and sweet. 

One thing that struck me while reading these stories was how light and humourous they were. Beatrix's novels were so full of depression and lonely people unable to connect with the world and the stories were very fluffy in comparison. I think it was good to be able to read the stories to get that balance between the two very different types of writing.

 

The other thing that I managed to read was the opening address for the Women's Parliament. The pamphlet had a great photo of Beatrix on the cover mid-oration and reproduced the speech in full. It was very interesting to read, and to see all the resolutions that the women wanted passed at the time, working conditions and child care and equal pay with men. Also the impact of the war on women's lives was very much in evidence.  I was pleased that Beatrix had been involved in the campaign and so interested in women's rights.

When copying out the stories I realised that they are still in copyright so can't be reproduced in full. But as her whole immediate family is dead, as is everyone mention in her will and her sister's children, who didn't leave any children of their own I have no idea who would be the copyright holders now.

Material at Princeton

This is a more detailed description of the material Princeton holds.

I went through the  Lehmann Family Papers (C0746) boxes requested for Melanie Strong, for materials related to Beatrix Lehmann.

 

Box 83, Folder 3: Family, Trusts, Lehmann, Beatrix, 1962-1979

              Folder 4: Family, Trusts, Lehmann, Beatrix, 1980-1982

              Folder 5: Family, Trusts, Lehmann, Beatrix, 1983-1991

           

These materials relate to Beatrix’s death, which includes copies of her will, insurance documents, documents related to her estate, taxes, and royalties. The documents and letters are addressed to her brother John Lehmann. These three folders consist of 50% of the box and are about 300 pages.

 

Box 94, Folder 4: Lehmann, Beatrix, dates not examined

             Folder 5: Lehmann, Beatrix, dates not examined

             Folder 6: Lehmann, Beatrix, dates not examined

             Folder 7: Lehmann, Beatrix – photos by Angus McBean, dates not examined

           

These four folders contain photographs of Beatrix, which include headshots and photos from productions. These photos account for 50% of the box and consist of about 150-200 photos.

 

Box 137, Folder 4: Lehmann, Beatrix, 1908-1920

               Folder 5: Lehmann, Beatrix, 1921

               Folder 6: Lehmann, Beatrix, 1924

               Folder 7: Lehmann, Beatrix, 1925-1927

               Folder 8: Lehmann, Beatrix, 1932-1953

           

These letters are written by Beatrix to her mother. The subjects of these letters include accounts of her days, certain productions, and her travels. These letters account for 70% of the box and are roughly 225-275 pages.

 

Box 92, Folder Document Lehmann, Beaxtrix:

Diploma, Royal Academy of Dramatic Art, London, 1932

 

Box 128, Folder 11:  Lehmann, Beatrix, dates not examined

            This folder consists to two letters written by Beatrix to her father.

 

Box 145, Folders 1-12

            The contents of this entire box are related to Beatrix. The documents include writings and drawings (both loose and bound), memorabilia play bills, a proposed biography by Trader Faulkner, newspaper articles, miscellaneous correspondence, and other documents, such as her baptism certificate.

 

1911 Census

It always amuses me how Beatrix's family is described in her sibling's biographies as being "middle class" with her father working as a writer.

The 1911 census shows 8 servants living at the house:
A governess, a butler, a cook, a footman, a nurse, two housemaids and a kitchen maid.

Now that is hardly what I would consider "middle class".

Name Age Rudolf Chambers Lehmann 55 Alice Marie Lehmann 38 Helen Chambers Lehmann 11 Rosamond Nina Lehmann 10 Beatrix Alice Lehmann 7 Rudolf John Frederick Lehmann 3 Maria Felicite Jacquemin 33 James Edmund Green 66 William Charles Eason 21 Julia Darville 33 Rhoda Annie Kempton 22 Edith Helen Miles 26 Winifred Gertrude Collyer 23 Mabel Edith Lane 22 Amelia Barey Pain 45

Name:	Rudolf Chambers Lehmann
Age in 1911:	55
Estimated birth year:	abt 1856
Relation to Head:	Head
Gender:	Male
Birth Place:	Sheffield, Yorkshire, England
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Married
Occupation:	Writer And Journalist

Name:	Alice Marie Lehmann
Age in 1911:	38
Estimated birth year:	abt 1873
Relation to Head:	Wife
Gender:	Female
Birth Place:	U S America, United States
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Married
Years Married:	12
Estimated Marriage Year:	1899

Name:	Helen Chambers Lehmann
Age in 1911:	11
Estimated birth year:	abt 1900
Relation to Head:	Daughter
Gender:	Female
Birth Place:	Wooburn, Buckinghamshire, England

Name:	Rosamond Nina Lehmann
Age in 1911:	10
Estimated birth year:	abt 1901
Relation to Head:	Daughter
Gender:	Female
Birth Place:	Wooburn, Buckinghamshire, England

Name:	Beatrix Alice Lehmann
Age in 1911:	7
Estimated birth year:	abt 1904
Relation to Head:	Daughter
Gender:	Female
Birth Place:	Wooburn, Buckinghamshire, England

Name:	Rudolf John Frederick Lehmann
Age in 1911:	3
Estimated birth year:	abt 1908
Relation to Head:	Son
Gender:	Male
Birth Place:	Wooburn, Buckinghamshire, England

Name:	Maria Felicite Jacquemin
Age in 1911:	33
Estimated birth year:	abt 1878
Relation to Head:	Childrens Government
Gender:	Female
Birth Place:	Belgium Resident, Belgium, Belgium
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Single
Occupation:	Teacher

Name:	James Edmund Green
Age in 1911:	66
Estimated birth year:	abt 1845
Relation to Head:	Servant
Birth Place:	Wolverhampton, Staffordshire, England
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Married
Occupation:	Butler

Name:	William Charles Eason
Age in 1911:	21
Estimated birth year:	abt 1890
Relation to Head:	Servant
Birth Place:	Halloway, London, England
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Single
Occupation:	Footman

Name:	Julia Darville
Age in 1911:	33
Estimated birth year:	abt 1878
Relation to Head:	Servant
Gender:	Female
Birth Place:	Kimble, Buckinghamshire, England
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Single
Occupation:	Nurse

Name:	Rhoda Annie Kempton
Age in 1911:	22
Estimated birth year:	abt 1889
Relation to Head:	Servant
Gender:	Female
Birth Place:	Basingstoke, Hampshire, England
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Single
Occupation:	Cook

Name:	Edith Helen Miles
Age in 1911:	26
Estimated birth year:	abt 1885
Relation to Head:	Servant
Gender:	Female
Birth Place:	Wantage, Berkshire, England
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Single
Occupation:	Housemaid

Name:	Winifred Gertrude Collyer
Age in 1911:	23
Estimated birth year:	abt 1888
Relation to Head:	Servant
Gender:	Female
Birth Place:	N K, Sussex, England
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Single
Occupation:	Kitchen Maid

Name:	Mabel Edith Lane
Age in 1911:	22
Estimated birth year:	abt 1889
Relation to Head:	Servant
Gender:	Female
Birth Place:	Maidenhead, Berkshire, England
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Single
Occupation:	Housemaid

Name:	Amelia Barey Pain [Amelia Barry Pain]
Age in 1911:	45
Estimated birth year:	abt 1866
Relation to Head:	Cousin Visitor (Cousin)
Gender:	Female
Birth Place:	Italy, Italy
Civil Parish:	Wooburn Hedsor
County/Island:	Buckinghamshire
Country:	England
Street address:	Fieldhead, Bourne End, Bucks
Marital Status:	Married