Guardian, Stage, Variety and Observer digitised records Jan 1946-July 1947

The Stage Jan 24 1946

British Equity Revised accident benefit

On Friday last week a special meeting of British Actor’s equity was held at the Waldorf Hotel, at which Honor Blair presided, in the absence of Beatrix Lehmann…

Anonymous1946, Mar 24. MIDLAND THEATRE. The Observer (1901- 2003), 2. ISSN 00297712.

Coventry (writes a correspondent) has mourned its repertory theatre blitzed in 1940. It was  a nursery for many West End stars, including a young producer, Gardner Davies, who, but for his early death, might have been in the front rank. Now, as a gesture from London, there comes Miss Beatrix Lehmann, as director and producer of the Arts Council Midland Theatre Company, which opened on Wednesday at the Coventry Technical College Theatre. From this base it will visit monthly Nuneaton, Redditch, Lemmington and other “theatre less” towns. In the first play, Lennox Robinson’s The round table, Miss Lehmann has most skilfully manipulated a young company into a balanced team of eager, able people, two or three whom showed the highest promise, especially Miss Yvonne Coulette.

May 23 1947 The Stage

British Equity

Annual General Meeting

Beatrix Lehmann will preside over the annual general meeting of British Equity tomorrow.

The new council which takes office immediately after the meeting consists of the following… Beatrix Lehmann… An agreement has been reached between Equity and the Agent’s Association whereby no commission will be charged in future on salaries of £7 10 s a week or less.

 

Anonymous1946, May 25. OUR LONDON CORRESPONDENCE. The Manchester Guardian (1901-1959), 4.

A trade union annual meeting at which the principal speaker is Beatrix Lehmann is a little out of the ordinary. The atmosphere at the Waldorf Hotel today for the general meeting of the British Actors’ Equity Association was not that of the routine union function, though the subjects discussed and the approach to them were mostly within the scope of any other trade union.

Miss Lehmann, in her presidential address, pointed out the difference between post-war conditions in the twenties and the conditions of to-day. The contrast must have seemed particularly violent to those who remembered the efforts of the Actors’ Association to do the sort of work now being so effectively carried out by Equity. Among the examples of improvement quoted were the advent of the Arts Council and the strong position of the Old Vic and the Sadlers’ Wells Ballet. The general secretary, Mr Llewellyn Rees, warned managers that by their activities in monopolising theatres they were creating a situation in which the only final solution might be nationalisation.

May 30 The Stage

British Equity Annual Meeting

A large assembly on Friday last attended the annual meeting of British Actors Equity… under the chairmanship of the president, Beatrix Lehmann. Welcoming the return of serving members from the forces and their professional rehabilitation, she noted that “Equity has widened its field of activity” consequent upon improved opportunity and conditions “under more direct government sponsorship” Equity could find satisfaction in knowing that their resolution “put forward at the Trade Unions Congress in 1944, for the maintenance and expansion of State-aided entertainment, and passed unanimously by representatives of over six million workers… did not occur merely from desire to provide a regular ration of entertainment, but was due to the dire necessity for permanent state recognition of the arts as the cultural right of civilised people.” “Your association,” said Miss Lehmann, “is founded on your collective strength. Together you have proved that actors are capable of organising their own affairs, both in their own and the communities interests”.

June 20 The stage

Equity and the BBC

The Council of the BAEA met on Tuesday to discuss television and broadcast performances. The council considered that some form of competitive organisation was desirable. Because of its monopoly the BBC was able to lay down cheap fees. A committee consisting of Beatrix Lehmann, Sir Lewis Casson, Emlyn Williams,… and Llewellyn Rees was appointed to inquire into the subject.

June 27, 1947

British Equity

At the first meeting of the new Council of Equity, Beatrix Lehmann was re-elected president for the year 1946-47 [Yay!] Sir Lewis Casson and Honour Blair were re-elected vice-presidents…. Today Equity is holding a special conference for stage mangers...

At a meeting of the council the following resolution was passed unanimously, “That this council strongly supports the demand that the renewal of the Charter of the BBC should be subject of the inquiry by an impartial committee before it comes into effect at the end of the year.”

 

J, C.T., 1946, July 21. THEATRE AND LIFE. The Observer (1901- 2003), 2. ISSN 00297712.

“You’ll find too much fun and games in hell…” And now the arts theatre has brought to us the hell of Vicious Circle, by Jean-Paul Satre, apostle of existentialism (the word is another of those buzzers that infect our ear). The scene of this play – an hour’s jabbing at an exposed nerve – is a small room, tarnished, airless, and windowless, and set in bleak discomfort with three second empire sofas,…

Presently three people are in the room together… The door is shut, and hell has closed about them. They are not in one of the circles … There is nothing at all portentous, yet as a shocker the play (in the English version of Miss Marjorie Gabam and Miss Joan Swinstead) has its merit, and it is now much helped by its acting and by the admirably precise production of Mr Peter Brook… Miss Beatrix Lehmann, with that edged quality of hers like a poisoned flint arrow…

July 24, 1946, p. 60 Variety,

Plays abroad Vicious Circle

London July 17,

Great Newport Theatre Committee (in association with Arts Council) present…

After running two years in Paris, this sex-ridden play by a former member of the French Resistance tries itself out at the only theatre in London which honoured Bernard Shaw’s 90^th birthday…

One is a man who tortured his wife mentally and was subsequently shot for cowardice as an alleged pacifist. Another is a woman who has corrupted a wife away from her husband. Third is a woman who killed her unwanted baby….

The author declares that they will all be involved with each other in a hopeless, triple love affair and exhibits them on the stage in continuous states of mental anguish..

But in the end all the play seems to say is that sinners will be punished and there is no escape.

The writing is on a high intellectual plane. But it is unlikely to draw an audience beyond the intellectual confines of the Arts Theatre Club. Hell, frankly, Is not good enough.

Aug 1 1946 the stage

Beatrix Lehmann will take the chair at the monthly members’ meeting of British Equity tomorrow…

August 8 the stage

British Equity fraternal greetings from the VAF

So much friendly co-operation has existed between BE and the VAF especially in connection with a standard contract applicable to both – that there was a kind of historic thought about the introduction of Lewis Lee, newly appointed general secretary of the VAF to Equity members at last Fridays’ monthly meeting. Beatrix Lehmann, in the chair, was supported by Rionald Frankau who, as he expressed it, has his foot in both camps.,

September 26

The stage

Vicious circle banned by the Lord Chamberlain for production in a theatre is to be broadcast in full on October 11, with Beatrix Lehmann, Alec Guinness and Betty Ann Davies, in the parts they recently played at the Arts.

J, C.T., 1946, Oct 13. "ON THE WAY". The Observer (1901- 2003), 2. ISSN 00297712.

On the way

Yes but from where to what. We travel hopelessly and never arrive. Although Helge Krog is a Norwegian dramatist of repute, this play fails to ride up on the sharp wind of the north. It falls soggily, like a tumble on wet moss by one of the darker fjords. There is much argle-bargle about a possessive young woman doctor who chooses to be an unmarried mother, and to keep the child to herself. Others in the cast storm at her, plead with her, argue with her, even propose to her; but she goes straight on (and so does the play) without any noticeably valid or dramatic explanation. Ibsen would probably have begun the piece where its author ended it as it is we can only thank Miss Beatrix Lehmann for her alert production and the Arts Theatre Company, in particular Miss Yvonne Coulette and Mr Derek Burch (who points the plays best lines) for so rarely faltering on the road.

Oct 17, 1947 The stage

Arts On the way

On Thursday last, The Great Newport Theatre Committee Ltd, in association with the Arts Council presented Herbert Yourelle’s translation of Helge Krog’s play, produced by Beatrix Lehmann, and entitled, On our way

Not only is this one of the best new plays done at the Arts, but also one of the best plays now in town, and one of the most brilliantly acted. Its immediately striking feature is that we have an adult mind dealing with a serious subject, and in addition extremely clever stagecraft. The subject is not new, but Helfe Krog treats it with freshness and examines it with a sharp intelligence and a deep sensibility. The conflict between the old and the new, between ideas and emotions, is presented in the form of a breaking away from her family of a Socialist thinking woman doctor. She has gone her own way for some time without gravely upsetting her ageing parents, but when she is going to have a child and is determined that it shall be her own entirely, and that there shall be no question of marriage, though she is very fond of the father, her parents begin their battle against her. Even her hitherto tolerant father turns on her for a time. The wider implications of the situation involve the girls two chief male friends, and her allegiance to the socialist society, that is part of her life.

The characters are drawn with rare insight and delicacy. Thee father flawlessly played by Frederick Richter, is the most completely successful. The girl, Ceila, is not quite so realised but is remarkably compelling all the same, and one could hardly wish for a better interpretation than that given by Yvonne Coulette….

J, C.T., 1946, Nov 10. Among Those Present.. The Observer (1901- 2003), 2. ISSN 00297712.

The arts theatre is reviving the Rising Sun by Dutch dramatist Herman Jeijermans, in the version of Christopher St. John. It was time that this piece came over the horizon again. It’s Dutch interior is sharply detailed, and for all its apparatus of bankruptcy and fire, senile grandfather and imbecile girl, the play has a strong and growing hold. At first one may tire a little of the Micawber-Tapley manner of the potential bankrupt, his daughter has a disconcerting hint of Pollyana. But the play thrusts upwards and Ibsen might have been the dynamo behind the unremitting power of the third act study in fortitude and terror.  Beatrix Lehmann’s production has the proper drive, and there are sound performances by Denis Carey and Dorothy Gordon (whose Sonia is actually emotional within a range at present limited).

Nov 14 1946 The stage

The Arts The rising sun

Herman Heijermans was a Dutch journalist who wrote several plays which never received their proper measure of appreciation in his lifetime and how died in dreadful poverty in the 1920s. The Rising Sun was first seen in this country as far back as 191, when it was presented at the Lyric Hammersmith, by the Pioneer players. Some of the details may seem a shade melodramatic. But the character drawing is so shrewd in integrity, that one leaves the theatre deeply impressed and even moved. The story is of a small Dutch shopkeeper who is being driven steadily into bankruptcy by the competition of a far bigger and more efficient firm. He and his daughter will not bow lightly before impending disaster. While their long-sustained buoyancy may irritate the serious minded their courage stimulates. But the girl, like Ibsen’s Nora, proves not very successful in her attempts to solve a financial problem. At last, desperate to help a much loved father, she allows the house to catch fire when she might have saved it. The insurance money, she things, will put her father again on his feet. Unhappily a mentally deficit girl in the flat above is burned to death. Realising what his daughter has done, the father refuses to touch the money./

The most striking performance in the present revival is that of Michael Gwynn as the girl’s faithful lover – a most attractive little sketch of fidelity under heavy stresses. Denis Carey and Dorothy Gordon, in the leading parts, scarcely rise to the dramatic peaks, but give good conscientious performances… Several supporting parts are well enough taken and Beatrix Lehmann’s production is admirably “atmospheric” though the fatal fire is rather tamely handled.

Nov 28 1946 Stage Arts

Fatal Curiosity

George Lillo’s one act melodrama, Fatal Curiosity played at the lane in 1797 with Kemble and Mrs Siddons, will be revived at the Arts on Thursday next, with Hugh Griffith, Michael Gwynn, Robert Cartland, Julian Randall, Susan Richmond, and Rachel Kempson. Production is by Beatrix Lehmann, setting by fanny Taylor…From Friday week Fatal Curiosity will go into a double bill with A phoenix too frequent when both plays will be seen at each performance.

Dec 5 the stage

British Equity

Llewelly Rees, secretary of British Equity since 1940 has been appointed drama director to the Arts Council, in succession to Michale MacOwan… A statement will be given at a special members meeting tomorrow with Beatrix Lehmann presiding.

J, C.T., 1946, Dec 08. "FATAL CURIOSITY". The Observer (1901- 2003), 2. ISSN 00297712.

Fatal curiosity

The arts theatre has tried to butcher Lillo to make a Christmas holiday, but, as another dramatist observed, purposes mistook have fallen on the inventors heads. One leaves the theatre with more regard for Lillo than for his persecutors. This domestic tragedy set “upon the coast of Cornwall”, derives from the notorious Penryn murder of 1618 which became a stock theatrical situation. In spite of its period high-alutin and blatant Macbeth parallels, the piece can only be strained into burlesque; we can still imagine how the Siddons summoned the thunders in the revival of 1796. Beatrix Lehmann’s present production, interesting as a curiosity, regrettable as a joke, has the benefit of some good plain speaking by Hugh Griffith – the starving father who for gold stabs his unknown son – and some legitimately ingenious sets by Fanny Taylor.

Dec 12 1947 stage

British Equity

A special meeting for Equity members engaged in opera will be held at the NTU club, the president (Beatrix Lehmann) will take the chair…

British Equity Llewellyn Rees and Arts Council

At the special general meeting of British Equity on Friday last, at the Waldorf hotel, Beatrix Lehmann from the chair, called attention to last weeks’ official notice that LR the general secretary, had been appointed the drama director of the arts council.
Miss Lehmann said that when the subject first arose, the general secretary found the position difficult. Equity, as everyone knew, was that which was nearest his heart. But at the their last general meeting, it would be remembered, reference had been made to the Arts Council and the great importance of the work of that body. Under all the circumstances, Mr Rees felt he must ask the Equity Council’s advice. They had carefully considered the matter, and had decided to let the Arts Council have the benefit of his services. They felt they could not replace one under whose efforts equity had made enormous advances – not only of progress but in standards as seen by the outside public (applause).

They had decided therefore, to give Mr Rees a year’s leave of absence, enabling him to go to the arts council as drama director and still remain in close touch with themselves. Mr Keet and the staff would remain in office. “And I should like to say here,” added Miss Lehmann, “with great sincerity, that I don’t believe anywhere in the trade union movement could a staff be found as good as ours”. Miss Lehmann mentioned that a sub-committee would be set up and an acting general secretary appointed, and they hoped to show Mr Rees that during his years leave of absence the Council might be found capable of conducting their own affairs…

Dec 19 the stage

British Equity
Opera standard contract

A special meeting of Equity with Beatrix Lehmann in the chair.. “The equity standard contract for opera having been approved by the council, the chairman said it was thought that discussion with operatic artists on relative matters would prove of value to the whole profession… It was unanimously decided that an opera advisory committee be setup…

 

Anonymous1946, Dec 30. POETRY READING. The Manchester Guardian (1901-1959), 3.

Poetry reading

Oldham will have an opportunity next Sunday of hearing a programme of poetry reading, a venture which is new to the town, but which is proving very popular in London. The Oldham Repertory Theatre Club has decided to make the experiment for a month. The readers next Sunday will be Beatrix Lehmann and Ropert Speaight, with Angus Morrison at the piano. They are all members of the Apollo Society, into which London poetry readers have organised themselves.

(BL has a sound recording of a silver jubilation in poems, prose and song, presented by the Apollo Society, that may have Bea reading poetry)

BROWN, I., 1947, Jan 12. Operation William. The Observer (1901- 2003), 2. ISSN 00297712.

Stratford, reopening on April 5 will nicely variety the unusual with the familiar. One ehe former side are Pericalise and Peter Brook’s reanimated production of Love labour’s lost plus Measure for Measure and Marlowe's Faustus. In all there are six producers, for nine plays. … Sir Barry Jackson catering lavishly for the new idea is amply born out.

On the acting side the established names are Beatrix Lehmann, Veronica Turleigh, Robert Harris and Walter Hudd.

Anonymous1947, Mar 23. Stratford Festival. The Observer (1901- 2003), 2. ISSN 00297712.
Demands for seats for the Shakespeare Festival, which opens at Stratford Upon Avon on April 5, have come from as far away as India, The United States, Canada and Mexico. Laurence Payne (Romeo) Daphne Slater (Juliet) and Beatrix Lehmann (Nurse) have leading parts in the first production, Peter Brook’s Romeo and Juliet. Twelfth night direct by Walter Hudd (Beatrix Lehmann as Viola) is the Birthday Play on April 23.

STRATFORD FESTIVAL. 1947. The Stage (Archive: 1880-1959), (3), pp. 6.

April 3, `947

Picture of Daphne Slater

Youth leads the way in new revivals.

The Shakespeare curtain goes up at SUA next Saturday. This year’s festival programme is packed with interest. The memorial theatre state will present nine plays… The British council has prepared an April to September list of attractive lectures… Twenty-one year old Peter Brook is producing the opening play, and great things are expected of the young producer whose Love’s labours lost was so enchanting last year…

Beatrix Lehmann, Stratford’s new leading lady, has never before in her 20 y ears experience played in Shakespeaer. After her début as the nurse in Romeo and Juliet, she will be seen as Viola in Twelfth night. Isabella in Measure for measure  the Duchess in Richard the second and Portia in merchant of Venice.

Sir Barry Jackson during last year- his first as festival director – visualised StraUA as a theatrical centre replete with workshops for scenery, costumes, properties its school of drama and facilities for instruction in stage direction and scene painting. This year finds Sir Barry as director also of the Memorial Theatre itself. And with his plan plainly taking shape. The festival company of 50 players is the  largest yet.

Anonymous1947, Apr 07. "ROMEO AND JULIET" AT STRATFORD. The Manchester Guardian (1901-1959), 3.

April was not in her mellowest mood on Saturday for the opening of Sir Barry Jackson's second season in charge of the SF… The still swollen Avon was the colour of café-au-lait, and event hat looked a warmer shade than grey streets under driven rain and a bleak wind. It was, indeed, pitiless weather, but it had not hindered a packed house for the first performance of Peter brook’s production of Romeo and Juliet….

The part also had the unmistakable rounded charm of experienced acting, seen again and instantly in the Nurse of Beatrix Lehmann. But Miss Lehmann’s nurse, immensely accomplished as it is, has also taken on more than a touch of the grotesque; without very much difficulty it would have fitted into the grim masque which Mr brook has devised for the Capulet ball. ..

The final impression is, in a word, of a rather harsh Romeo and Juliet, a version as pitiless as the April weather.

 
STRATFORD FESTIVAL. 1947. The Stage (Archive: 1880-1959), (3), pp. 4.

April 10, 1947

British equity on Ballet Negres – Bea missed the meeting.

Romeo and Juliet

Sir Barry gave the reins to youth for the first of the nine plays in this season’s repertory, and youth set off at an exhilarating pace. …the result is a colourful, spectacular, performance, often exiting, at moments very thrilling, and for one or two things not completely satisfying to the traditionalists.

The street scenes have a Technicolor richness and a cinematic animation and gusto..

The producer and youthful actors owe a great deal to the solid, artistic work of the more experience players in the cast, Beatrix Lehmann, leading lady in the company this year, is a dry, dominant, ?, motherly (to Romeo as well as Juliet) old nurse. Miss Lehmann might have been born for the part, yet this is her first appearance in any Shakespearean part. Alongside, the Lady Capulet of Veronica Turleigh emerges as a very gentle lady content to leave Capulet ( very neat performance by Walter Hudd) and the nurse work out their worries in their different but similar in fussiness, ways.

BROWN, I., 1947, Apr 13. On The Avon Again. The Observer (1901- 2003), 2. ISSN 00297712.

Avoinain Stratford, blamed or recent years for humdrummery, attempts fanfares and has already been no less blamed for their flourish. I salute this spirit of adventure, but cannot welcome the deed in the case of Romeo and Juliet which has just opened the season fixture lst. Peter Brook, the young producer, w… has made a gallant mess of things for once. He claimed (in an interview) to have studied the play exceeding long and hard, in the end he has entirely missed the point…

Beatrix Lehmann’s nurse was so industriously made “character” as to be nearly a cartoon.

Miscellany: 21-Year-0ld Peter Brook Debuts Stratford Fest. 1947. Variety (Archive: 1905-2000), 166(6), pp. 2.

April 16

The annual Shakespeare Festival at the Memorial Theatre opened here tonight – a rainy Easter Saturday – with a colour drenched, vigorous production of the Bard’s Romeo and Juliet directed by 21 year old prodigy Peter Brook. Thanks to a magnificent performance by Paul Schofield as Mercutio, and dazzling sets and costumes by Rolf Gerad, there was a feeling of southern heat and passion throughout the evening. Brook has a healthy lack of respect for Shakespearian tradition, and attacks the play from a new angle: Romeo and his lady are two children in love, caught in tragic external circumstance. Alas Laurence Payne is an undersized flyweight Romeo and Daphne Slater, 18, … is little more than a competent high school girl trying to play Juliet, and thus the two central characters of the great romantic drama dwindle into insignificance…

STRATFORD-ON-AVON FESTIVAL. 1947. The Stage (Archive: 1880-1959), (3), pp. 7.

April 17 –photo of Bea as the nurse with Juliet (no text)

STRATFORD FESTIVAL. 1947. The Stage (Archive: 1880-1959), (3), pp. 8.

Stage April 17

R&J “Lively topic among critics”

Measure for Measure now has BL as Isabella and is directed by Ronald Giffen.  An excellent production of this seldom performed play, it was put on late last season and deserves, for other reasons than that, to be given a longer run. Satisfying though it was, it is further enhanced as a result of the changes in the casting of leading parts because two of those changes have produced different readings. Beatrix Lehmann gives a compelling study of Isabella, whose appeal is in no way romantic. She concentrates strongly on just reasons why her brother should live. Robert Harri’s study of Angelo is in just the right key. All three actors rise to the dramatic beauty of the scenes which follow cold Angelo’s harsh decree.

OUR, S.C., 1947, Apr 24. SALUTE TO SHAKESPEARE IN THE RAIN. The Manchester Guardian (1901-1959), 3.

International flags but English weather…. It was raining hard and raining for most of the morning…Seven ambassadors were in the diplomatic bag – France Belgium, China, Chile, Poland, Mexico, and Iran. And ministers or other representatives of US, Ecuador, Bolivia, Guatamala, Syria, Saudi Arabia, Siam, Norway, Spain, Luxembourg, Turkey, Nepal, Yugoslavia, Colombia and the Dominican republic….

This evening as the birthday play we are to see the first performance of Walter Hudd’s production of Twelfth night with Beatrix Lehmann as Viola… His intention as producer, we have been told is to, “remove the barnacles of tradition which have grown around the play as the result of sentimentalists and low comedians” and to strike a nicer balance between the serious, the romantic, and the comic elements. But the performance will be over too late for a detailed appreciation of the result to be included in this message and the notice must be reserved for Friday’s paper.

Anonymous1947, Apr 25. "TWELFTH NIGHT" AT STRATFORD. The Manchester Guardian (1901-1959), 3.

“The new production will take its place as one of the most genuinely satisfying in the festival programme for this year.

There has never been any room for caricature with Viola – unless (and it has been often done) the production decides to overfool her duel with Sir Andrew. It was not so here; the Viola of Beatrix Lehmann very nearly set about Sir Andrew in Good earnest. One may say of Miss Lehmann that her Cesario is every inch a man and in appearance the very “marrow” of Laurence Payne’s Sebastian. The lower registers of her deep voice are entirely fitted to the masquerade, and yet the higher ones can hint at the disguised lady who never told her love. If you will put by any preference for the openly wistful Miss Lehmann seems here superlatively well cast and well spoken; hers may be the nearest thing to the Violas that Shakespeare saw since the part ceased to be played by boys of flesh and blood….

BROWN, I., 1947, May 04. STRATFORD NOTEBOOK. The Observer (1901- 2003), 5. ISSN 00297712.

Success of the year are… Beatrix Lehmann and Verionica Turleigh have strengthened the women’s wing and the former’s Isabella can even make one accept that lady’s curious scale of values….

BRITISH EQUITY. 1947. The Stage (Archive: 1880-1959), (3), pp. 4.

May 15, 1947

Beatrix Lehmann on raised standard.
On Friday last at the Waldorf hotel, British Actors Equity had a successful annual general meeting. A great welcome was accorded to the president (Beatrix Lehmann) who, after playing at Stratford on Avon, travelled by 3 am train to attend. To Llewellyn rees, present in his new capacity as honorary advisor, and to Gordon Sandison, now general secretary.
The president thought there was no over complacency in the council’s annual reports. One serious problem was still unsolved. It was contained in the tern “the regulated entry” there was much talk of raising the standard of the theatre, which meant audiences would not continue so undiscriminating. There must not be on the managed side any closed shop of monopoly or restriction, likely to jeopardise employment. State aided training school under managerial control seemed indicated, with scholarships for the less fortunate, so as not to check potential talent.

This had urged upon Equity a new outlook, with a widened entertainment field they must seek 100 per cent membership among all artists, whether working on the stage, in films or radio. A joint council of Equity and the British Film producers association was to be set up and would work on the lines of the London Theatre Council. The president’s appeal to safeguard standards was obligatory on all members, to fit themselves for a more constructive part in developing the theatre. …

Anonymous1947, Jun 16. STRATFORD FESTIVAL: "RICHARD II". The Manchester Guardian (1901-1959), 3.

“a very handsome, coherent and stimulating addition it makes. … Obviously it lacks women’s parts (very briefly indeed do we hear the harsh accents of relentless grief from Beatrix Lehmann’s Duchess of Gloucester) and it has long speeches which could be very trying for the rest of a crowded stage if the spectacle were not, as here, so securely stage managed…

LONDON THEATRES: STRATFORD FESTIVAL. 1947. The Stage (Archive: 1880-1959), (3), pp. 7.

June 19

The new production  of Richard II … is unfortunate in one respect in that it should have been put into the season’s repertory at the beginning. As it is , the thunder has been stolen elsewhere, and by lesser, but more blazoned presentations in Stratford itself. Now there is no gamble...

There is not much room in text or feeling for the women of this play, but Joy Parker as the Queen and Beatrix Lehmann as the Duchess of Glos are not baulked by their lack of opportunity. They make portraits out of Shakespeare’s sketches….

Anonymous1947, Jul 07. MISCELLANY. The Manchester Guardian (1901-1959), 3.

On Friday Micahel Benthall’s production of the Merchant of Venice will be added to the festival programme… with the dark-voiced Beatrix Lehmann as Portia,...

Anonymous1947, Jul 14. "THE MERCHANT OF VENICE" AT STRATFORD. The Manchester Guardian (1901-1959), 3.

And everywhere, of course, there was that curiously mannered and usually fascinating voice of Beatrix Lehmann (Portia) which can pass from a dusky baritone (or its feminine equivalent) to a silver tenor –r since these are cherry times from black hart to white hart. In the trial scene we had the dark fruit; in Miss Lehmann’s arch but entirely successful handing of the subsequent ring passages of the lighter flavour.