Guardian, Stage, Variety and Observer digitised records 1945

BL databases 1945-

CHIT CHAT. 1945. The Stage (Archive: 1880-1959), (3), pp. 4.

Beatrix Lehmann was taken ill over the weekend and is now in a nursing home, where she is reported “comfortable”. Her part in Uncle Harry at the Garrick has been taken by her understudy, Eve Mortimer.

CHIT CHAT. 1945. The Stage (Archive: 1880-1959), (3), pp. 4.

Beatrix Lehmann has now recovered sufficiently to leave the nursing home to which she went on leaving the cast of Uncle Harry. Jan 25

Anonymous1945, Apr 22. COMMENT. The Observer (1901- 2003), 4. ISSN 00297712.

Red roses for William

Tomorrow is St George’s Day and Shakespeare’s 381^st Birthday (assumed) in addition to the usual rites beside the Avon. Moscow, as well as Britain, is saluting the bard. The Communists in London also join the dance with a Shakespearean evening (tonight) at the Cambridge Theatre, with Miss Beatrix Lehmann as Frist Player. This salvo from the left shows an admirable fairness of mind and love of art for art’s sake. …
CHIT CHAT. 1945. The Stage (Archive: 1880-1959), (3), pp. 4.

CHIT CHAT. 1945. The Stage (Archive: 1880-1959), (3), pp. 4.

May 31 1945 British Equity

At the first meeting of the new council on Tuesday the following officers were elected for the year: President Beatrix Lehman, vice presidents Lewis Casson and Honour Blair.

BRITISH EQUITY. 1945. The Stage (Archive: 1880-1959), (3), pp. 4.

May 31 1945

Lively discussion at annual meeting

The annual meeting of British Equity, held at the Waldorf Hotel last Friday was well attended and revealed a vigorous and intelligent response on the part of all concerned to several questions of the time.
Lewis Casson, as president, welcomed members on what he described as a historic occasion. Apart from the improved international situation an enormous step theatrically had been taken in establishing a change, which he hoped, might be permanent. The government, in the creation of ENSA CEMA and kindred institutuions had given official recognition to what had been always assumed – that the theatre has a definite national importance. This had carried with it a certain mount of compulsion in having to do what national service authorities directed. Whether such compulsion would continue could not be known now, but the end of July might determine the position. If there was no such compulsion, opportunity remained for them as a profession see that like the government, they had an obligation to the community to give as much as they expected to get.

Llewelly Rees, the general secretary, declared that the prestige of Equity had never been higher. Ministers and managers alike consulted the Association on all matters affecting the profession. During the last five years membership had risen from 1,714 to 5197, A deficit of 630 was changed into a surplus of 850. Minimum salaries had increased by 33 and 1-3 percent. And those of choristers by 40 percent. A 50 percent increase in the minimum rehearsal payments for the west end had been established. Ballet and opera contracts had been adopted and film and stage managers contracts had been drafter and were in course of negotiation. The provision of entertainment to the forces during the war had received tribute from ministers.

Yet there would still be difficulties. Already a desire to worsen the conditions under which the chorus rehearse had been evinced. There was also the menace of Big Business. Already the opportunities for an independent producer to obtain a theatre in the west end were becoming “littler and littler”

Before long there would be two major issues to tackle – full employment for members, to include the reinstatement of ex service members, and the maintenance of standard West End conditions with drastic improvement of the provincial contract. In this equity was working in unison with the Variety Artists Federation, now an equal member of the Provincial Theatre Council. Thus a better and more stable theatre, of which advance signs were to be found in the Old Vic organisation, John Geilgud’s Company, and above all, CEMA – which last must be maintained expanded and placed on a permanent basis would be build for the benefit of themselves and fellow citizens.

…

There was a spirited debate on this view, the points being put up of discrimination between enemy aliens and refugees, and deprivation of Italian or German opera and poetic works which would occur if this reactionary amendment were pursued…

Some entertaining reminiscences were given by Edith Evans and Peter Bennett..

The method of council elections were discussed Robert Young asked why actual votes were not announced, why no list of attendances at council meetings was forthcoming and why the general body was not more often consulted.

Miss Evans suggested that a system of deputies in case of absence, should be considered, and this was agreed to.

Beatrix Lehmann reported on the labours of the sub-committee of post-war problems... The report and accounts were adopted unanimously.

CHIT CHAT. 1945. The Stage (Archive: 1880-1959), (3), pp. 4.

June 14

Arts Council The announcement made by Lord Keynes on Tuesday and endorsed by the Chancellor of the Exchequer, that CEMA will continue after the war under the new name of the Arts Council of Great Britain, is welcome forum every point of view except that the initials ACGB cannot be pronounced by any normal mouth. Policy will remain the same. Early next year is the date given for the reopening of Covent Garden for Arts Council opera. The council will now be financed by a treasury vote and the minister for education will act only in an advisory capacity. Lewis Casson has resigned the dramatic directorship, and will be succeeded by Major Michael MacOwan who is shortly to be released from the army with Charles Landstone as deputy.

Lord Keynes said that the Arts Council were interested in a national theatre. Their greatest obstacle was the lack of suitable buildings. They had concerned themselves with the rebuilding of the Crystal Palace, which he thought should become a centre of entertainment, and might be rendered capable of entertaining 100.000 a day. On the drama panel under the chairmanship of Dr B. Ivor Evans, will be Bronson Albery, J Hugh Beaumont, Tyrone Guthrie, Val Gielgud, Norman Higgins Wlater Hudd, Beatrix Lehmann, Miles Malleson, Athene Seyler (the only other woman) and Alistair Sim.

Chatter: London. 1945. Variety (Archive: 1905-2000), 159(3), pp. 55.

Beatrix Lehmann rehearsing Anna Christie for CEMA

OUR, R.C., 1945, Jul 18. BROADCASTING REVIEW. The Manchester Guardian (1901-1959), 6.

The trial of Lizzie Borden, which was broadcast on Monday as the Starred programme was a reconstruction of the famous trial at Massachusetts in 1892 of the woman who was accused of murdering her father and stepmother and was acquitted. … Sharply defined acting by Beatrix Lehmann as Lizzie and clear and precise production made this an arresting broadcast.”

W, E. Williams., 1945, Jul 22. Radio. The Observer (1901- 2003), 2. ISSN 00297712.

Five-star

Last week’s “starred programme” deserves a five star commendation. The Trial of Lizzie Borden was unadulterated radio in which the scene shifting and characterisation was mostly embodied in the dialogue….Beatrix Lehmann, in brilliant form, has that rare mastery of speech which needs no visual aid to make the blood run cold. Here was a once-in-a-lifetime wireless thriller.

NATIONAL THEATRE: THE EMPTY CHAIR. 1945. The Stage (Archive: 1880-1959), (3), pp. 7.

Amazing character sketch.
Bea and a bunch of men (and Sybil), for control over the National Theatre. Striking.

THEATRE COUNCILS' ANNUAL REPORTS LONDON AND PROVINCIAL. 1945. The Stage (Archive: 1880-1959), (3), pp. 5.

August 9, 1945

Some important decisions of the London Theatre Council now in its tenth year, and the Provincial Theatre Council, in its third, are noted in the annual reports of both bodies, adopted at the annual meetings held at Faraday House and issued last week. Viscount Esher was reappointed chairman for both councils for the present year. Walter Payne, OBE president of the Society of West End Theatre Managers, and Beatrix Lehmann, president of British Actors’ Equity were elected as vice-chairman of the London Theatre Council[!] and Percival M. Selby, president of the Theatrical managers’ Association and Beatrix Lehmann as vice-president of the Provincial Theatre Council[!]

As Trade Unions

Both reports emphasise the splendid service of all concerned in the living theatre – alike managers and artists – under the abnormal conditions of war time and in the provision of entertainment for troops and munitions workers through ENSA and the Theatre’s War Service Council…

Both councils adopt recommendations of their executive committees that they shall be registered as trade unions.

CHIT CHAT. 1945. The Stage (Archive: 1880-1959), (3), pp. 6.

Oct 4 1945
Beatrix Lehmann will take the chair at the monthly meeting of members of British Equity tomorrow (Friday) at 9. … Walter Hudd and Llewellyn Rees will report on the Trade Unions Congress, which they recently attended as delegates of the association.

V, J., 1945. BRITISH EQUITY. The Stage (Archive: 1880-1959), (3), pp. 5.

Oct 11 1945
VJ holiday discussed

On Friday last Beatrix Lehmann presided over an unusually large gathering of British Equity members, who discussed the government’s recommendation of a two days’ VJ holiday for workers, and double pay for those who kept on duty by reason of the difficulty of granting time off. It was contended that this should have applied to the theatre; but management thinks differently, and Equity’s claim for equal consideration, in the form of staggered holidays, met with refusal. The chorus especially complained. This led to an exhaustive debate, and a strike was suggested.

It was pointed out that whereas equity would never abandon “the right to strike” this weapon should be held in reserve except as a last resort. The theatre could not be said to be run on the same lines as industrial concerns, where particular skilled labour was imperative. Non-appearance might break up a show, and theatre managements would feel that other artists could be engaged. Legal action might involve damages against members, and equity could not be responsible for this without their full consent. Equity certainly instructed artists not to enter into engagements where unsatisfactory conditions existed. The Equity shop was enforced by this means, it was mentioned but where matters of principle were not involved as in the present instance, Equity’s policy was to attain its objects.

By negotiation

It was suggested that there was at present “a deadlock” and members were inclined to resent this. The position of stage-hands and other unions co-operation was debated. The general secretary (Llewellyn Rees) declared that equity have agreed not to interfere with the run of a show while manages engaged artists under the standard contract, it was impossible to depart from that and at the same time expect managements to keep their part of the contract. Members on two weeks notice contracts, could, however, hand in their notices if they wished. Finally a motion to defer any action until the managers replied to Equity’s latest suggestion of double pay for lower salaried artists and chorus was carried unanimously, with the rider that, If such reply continues negative, an emergency meeting be convened to decide whether and if any, what action should be taken by the members themselves to secure their individual rights.

Ruth Sendler suggest that Equity should publish as a pamphlet the history of what it had done. This was accepted. Mr Rees said he hoped to issue a reference book which would contain copies of the standard contracts and hints as to what steps artists could take to safeguard their rights.

… He had himself addressed the Congress, evincing satisfaction that Equity’s 1944 resolution had helped towards the official establishment of the Arts Council.

VARIETY GOSSIP. 1945. The Stage (Archive: 1880-1959), (3), pp. 3.

Meeting on the production contract, with the Federation and British Actors Equity. …

CHIT CHAT. 1945. The Stage (Archive: 1880-1959), (3), pp. 4.

The day of glory

When Beatrix Lehmann and Sir Kenneth Clark spoke at the first night of Salisbury’s new Arts Theatre both emphasised that the theatre is to be an experimental one and new plays encouraged. “I hope great controversial works will be put on here” said Sir Kenneth, “That you attack each other, divide into rival camps, throw oranges about, wave y our umbrellas and fight in the auditorium”. Controversy may not have raged quite so fiercely as Sir Kenneth wished over H.E. Bates’ new play, The day of glory. Which is now touring the near district..