Scotch Mist 1926

This was a new play in the 20s that Beatrix Lehmann was the understudy for Tallulah Bankhead. She had a few lines as one of the party girls, but most of the play was Tallulah and her husband and several would be lovers. The play was listed on the title page but to me it read like a melodrama. It was all about an unhappily married woman who was, and wasn't having affairs. The ending was very odd as it appeared she was raped by one of her pursuers. She was (rightly) upset by this the next morning and wanted to leave and live on her own, but somehow ended up with the guy who raped her! As I said not really a comedy. I've got several reviews of the play which I need to read. After the London performances it transferred to New York, so it must have been quite popular. It was very much a "new" play about liberated women, and probably a little scandalous at the time. But it just seemed quite sad looking back at it now.

Scotch Mist
The stage Jan 14 1926
Scotch Mist by Sir Patrick Hastings will be produced by Mr Basil Dean at the St Martins on Tuesday week, January 26. The action takes place in an old Scottish castle. Mr Godfrey Tearle, Miss Tallulah Bankhead, and Mr Edmund Broon are in the cast.


HASTINGS, P. and J, E., 1926, Jan 31. "SCOTCH MIST.". The Observer (1901- 2003), 11. ISSN 00297712.
Scotch mist
This is a play about a jazz woman who lived in a Jazz house. Her name is Mary Denvers and she was married to a cabinet minister whom she did not love. And no wonder, for such a person could not have drawn love from any human being, himself being more of a lobster than a man. Not that Mary was the misused and misunderstood and misloved person she imagined herself to be. She saw herself as a pilgrim in a quest of Real Love, but in fact, she was a baggage. Her husband, and one Henry and one David Campbell had been sworn friends until she appeared upon the scene. Each of them fell in love with her and out of friends with each other. Lawson got her. Harry went away and died somewhere and David, a strong silent Scotch caveman, took to pioneering in Africa.

In London, Mary lived in a house that would have given any sober person the creeps – even her telephone was kept in a box that appeared to have delirium tremens and associated with vamp women in hideous clothes and creepy-crawly men strongly resembling the things one sees under a large stone. One of them, a Freddie person, dropped in every afternoon to inquire whether there was any likelihood of Mary committing adultery with him that evening. Her husband made epigrams about him. Her uncle made more epigrams about him. He made eipgrams about himself. Nobody kicked him, a fact which worried and annoyed him. He felt he deserved to be kicked, that he was being robbed of his right to be kicked. So did we. We would have kicked him ourselves if we could have believed in his existence. However, he went un-kicked.

Then the strong Scotch caveman turned up and uttered monosyllables. Would Lawson come to Kinlochie Castle with him for the Fishing? Lawson would. So would Mary, although neither Lawson nor David desired her company. In Scotland, the vamp is up. Freddie incredibly arrives there too, and is sent off with Lawson to fish. Mary and David remain behind, and she proceeds to be vampish. This rouses the caveman in him, and before the young person knows what ho is about, he has locked all the doors, smashed the lamp, and set about her in a very brisk and hearty manner. I thought at first that he was about to kill her, but no suck luck! He ravished her instead, and we narrowly missed seeing him do it. This, seemingly was what Mary had been searching for all her life, and the next morning told everybody about it. Freddie said, Well I’m damned! Several times and departed. Lawson listened wile Mary and David talked the matter over at some length, and then, when they had settled to go off to Africa together and be as elemental as they knew how, he murmured a few cross words to his wife, telling her that she need not think he would receive her back when she was tired of being bashed about. And he, too, departed. The curtain descended on Mary and David assuring each other that this was a far better thing that they had ever done!...

Where DOES Sir Patrick Hastings live? He cannot be in court all day long, and even in police-courts human beings are encountered. I have seldom seen a play in which so little effort was made to present people in human form. The dialogue, especially that spoke by Freddie, might have been uttered by a derange gramophone. Characters were wastefully and wilfully employed. Five people appeared in the first act and were not seen again. This was a piece of kindness which was hardly deliberate. Another character, the only human one in the piece, was brought into the second act and then abolished. Acted by Miss Frances Ross-Campbell, she was a delight and we wished we could have seen her again. Mr Godfrey gave a capital performance as Capmbell, and Mr Edmond Breon and Mr Robert Horton strove hard to put some life into parts that were out of human reach.l Miss Tallulah Bankhead proved once more what an admirable actress she is by her performance of the vamp part. I will not go so far as Sir Patrick Hastings, who described her as the finest actress on the English stage, but undoubtedly she did more for Mary than he did. But she ought to put some variety into her voice. She speaks too much on one note, and that a low and monotonous one.

In my opinion, this play, it it were produced in the provinces, would ruin the Labour Party, whose attorney-general Sir Patrick was.

Billboard March 20, 1926
Scotch Mist coming
New York, March 13 Sir Patrick Hastings play, Scotch Mist, in which Godfrey Tearele and Tallulah Bankhead are now scoring at St Martin’s theatre, London, is to be produced here by the Dramatists’ Theatre…. The play is being much discussed in London and the Carpenter claims that it is the outstanding hit of the season there. The author is a celebrated English jurist and former attorney general.

Billboard, wed sept 29, 1926
“a highly touted comedy from London where tis said to have hurt a few folks’ feelings and to have offended the morals of others…
It’s run there has been called “fair” and if scotch mist goes here for more than two months (approximately) to any kind of business it will be a surprise.
Notwithstanding its reputation for being off colour, it is one of the tamest exhibits on Broadway,

Guardian, Stage, Variety and Observer digitised records July 1950-1951

July 6 1950 The stage
Pericles
On July 2 the Under Thirty Theatre Group presented at Rudolph Steiner Hall, the play by Shakespeare, …
Beatrix Lehmann, bawd
For all that playgoers should be profoundly grateful to the Under Thirties Theatre Group for giving them an opportunity to see this unfamiliar work with Paul Scofield in the leading part. It is the most noteworthy production in the annals of this group of enterprising youngsters and it good to hear that the performance is to be repeated Sunday next. … Beatrix Lehmann’s scarlet coiffured bawd is a colourful study in low-life.

J, C.T., 1950, Jul 09. Telling The Tale. The Observer (1901- 2003), 6. ISSN 00297712.
Pericles
Much in the production stay in the mind, Beatrix Lehmann’s flinty Bawd in the establishment …

The Stage Nov 30 1950
The fortune, School Drama matinees
Reginald Berkeley’s The lady of the lamp, was the play selected for presentation under the auspices of the LCC for London Secondary School children this season, and it proved an excellent choice. Six performances were given at the Fortune theatre starting November 16 and ending November 23 and admission was free to organised school parties. As far as could be judged by a single attendance, the age groups ranged from about 12 to 15 and the audience reaction was excellent. Beatrix Lehmann was excellently cast as Florence Nightingale, bringing to the part an upright integrity and well controlled intensity of feelings.

1951
OUR, R.C., 1951, Feb 05. BRITAIN AND THE FUTURE. The Manchester Guardian (1901-1959), 3.
A man of god, by Gabriel Marcel on the third programme with BL in the leading woman’s part…

March 8, 1951
The Embassy Thunder Rock
On March 6 Molly May, Ltd presented a revival of the play by Robert Ardrey, entitled, Thunder rock
Miss Kirby, Beatrix Lehmann
How difficult it is to recall the mood of 1939! Then it seemed to the generation involved that civilisation was about to meet its final test, to stand or to fall for 1000 years. There is something to be said, perhaps, for reviving at the present time Mr. Ardrey’s dramatic story of the disillusioned American newspaper man who immures himself on a lonely but ghost peopled lighthouse to get away from it all, and yet finds himself embroiled in the similar turmoils of another day and age. If the accuracy of the author’s vision needs endorsement, it is only necessary to glance at the morning paper. By now, what seemed a crisis then has become a chronic state, but civilisation goes on just the same.

A distinguished company has been gathered in Clifford Evan’s production, and the play is presented with a sense of the dramatic that is arresting if somewhat larger than life. IT takes a little time to make the adjustment to the theatricality of the characters and the situation, and for this reason the opening moments of the first act are not altogether comfortable and seem a little disconnected. But there are some fine characterisations among the spirits that spring from the mind… There is a disturbingly sharp-edged portrait of frustrated womanhood from Beatrix Lehmann as Miss Kirby…

May 31, 1951 The stage
Ghosts
For the first time in his acting career, Douglass Montgomery will not play either an American or a Canadian when he appears as Oswald in Ghosts, at the Embassy on June 12. With him will be Beatrix Lehmann…

June 14, 1951 The stage
Ghosts Front page
If Clement Scott saw it now! Douglass Montgomery on Ghosts (photo of Montgomery but no bea)
Strange that Douglass Montgomery had never played in Ibsen until he opened last Tuesday in the Robert Mitchell production of Ghosts. In which he is Oswald at the embassy. He has, in a sense, been in touch with the play from his earliest years, some of his most vivid recollections being of notable and other revivals…
(Discusses other women he has seen play Mrs Alving, starting with his own mother in amateur dramatics and his father as Oswald)
“Mr Montgomery is particularly pleased to have the opportunity to playing Oswald with Beatrix Lehmann as Mrs Alving. “This fine actress,” He said, “Has, of course, played the part with great success several times before. She has played both the Archer and the Norman Ginsbury translations or versions. I find it a stimulating challenge and privilege even to try to hack my way into the forest where she is already so secure and so serene. Her friendliness, patience and help with my efforts represent a kind of intellectual and co-operative kindness which I shall never forget.”
Speaking of Miss Lehmann’s work, Mr Montgomery said he would presume to describe her primarily as an intellectual actress, “Very few players in my experience,” he explained, “have what I would call authentic intellects, …I understand we had one in North America, Clare Eames, at the Theatre guild in New York where I received my first juvenile training. In my opinion Beatrix Lehmann is really able to think in dramatic terms. She really understands Ibsen – all of his work. This results in a performance of unusual calibre and character. For better or for worse I am not an intellectual actor. I feel things instinctively, working on the trial and error method. Miss Lehmann’s understanding and patience are an example of the way work in the theatre ought to be helped and so seldom is….
Unfortunately audiences, especially the critics approach new productions of great plays with old, preconceived ideas. In this production of ghosts working with Robert Mitchell and Miss Lehmann, I have tried, as it were, to approach my part from scratch and start afresh.

The stage June 14 1951
The embassy Ghosts
Excellent though this performance of Ibsen’s sombre play is, the stage is nevertheless peopled with more ghosts than those that haunt Mrs Alving’s tormented imagination alone. All these people, the pastor, the mother, the son and his half sister are ghosts, and between us and them is suspended a gauze curtain of time that robs them and the motives that activate them of all reality. They are of a different world, encumbered by a different scale of values, and not all the skill and persuasion of this very distinguished company can make them anything else, until that final, dreadful scene of revelation, the masterpiece of restraint, that suddenly brings home the quality of Ibsen’s genius in the theatre. Here the stature of Beatrix Lehmann’s restless performance as Mrs Alving is revealed in all its strength and so is the purpose of Douglass Montgomery’s quiet, forlorn portrayal of Oswald…

Anonymous1951, Jun 17. Up and Down. The Observer (1901- 2003), 6. ISSN 00297712
It is a strange production of ghosts when one comes from it thinking first about the pastor and Regina Midway through the evening at the Embassy, Frederick Valk (in a great huff and puff as Manders) and Siobhan McKenna (a direct and clear Regina) filled the mind. In the third act Beatrix Lehmann urged her small scale Mrs Alving to a final scene that was fully charged. Even if a too-healthy Oswald (Douglass Montgomery) found it hard to present a mind diseased, the last moments had a power that would have much astonished Isben’s foe Clement Scott. This may not be a major revival; it is, indeed, an up and down affair, but with we are on the top the prospect is – as always – magnificently worth the journey.

(Production toured check big file for locations)

G, P., 1951, Jul 03. "GHOSTS". The Manchester Guardian (1901-1959), 5.
Ghosts Manchester opera house
This does, however, throw up the delicacy of Beatrix Lehmann’s Mrs Alving: the range of Beatrix Lehmann’s remarkable voice, from real sweetness to a masculine depth, is always a fascination, and last night her face and eyes seemed a faithful mirror of the unhappy mother who had to pay so dearly for her entire adherence to the pastor’s creed of law and order. In the first act, really the most sensitive and evocative of the whole play, her treatment of the part was very distinguished. In the last act she had to let the horrors rip but without getting much more in the way of a deepened return.

July 5 1951 in the provinces the stage
Manchester – opera house ghosts Glasgow Unity Theatre Society sponsors a revivial… Beatrix Lehmann gives a distinguished performance…

October 11 1951
The days mischiefAlec L rea and E P Clift who presented Lesley Storm’s Black Chiffon have acquired the rights to her newest play. The day’s mischief which deals in dramatic form with an adolescent schoolgirl’s crush on her Latin master. A distinguished cast headed by Ian Hunter, Catherine Lacey, Walter Fitzgerald, Beatrix Lehmann and Muriel Pavlow will open a short tour at the Grand, Blackpool on October 22, the play, which is to be produced by Norman Marshall will be seen in London in mid-November.

Variety Oct 24 1951
The day’s mischief Play is set for Theatre Royal, Glasgow, Nov. 5

The Stage Dec 6 1951
The day’s mischief Brighton
Which comes before West End Production (so delayed from previous start time).

PHILLLIP HOPE-WALLACE, 1951, Dec 12. "THE DAY'S MISCHIEF". The Manchester Guardian (1901-1959), 5.
The Day’s Mischief Miss Storm’s people are more than plausible stage puppets ; their behaviour is interesting because true, and true more interesting, very often, than merely affecting. One may watch dry-eyed this tale of a small town scandal precipitated by a school girl’s disappearance. But one watches with belief, which is sometimes, though seldom, more valuable in the theatre than sympathy.
A schoolmaster is embarrassed and his wife is annoyed by the adolescent admiration of a young pupil. The wife feels that a sharp word is due to the girl, who then mysteriously disappears. Rape, suicide, and even murder are hinted at. The school master and his wife are irreparably damaged before the white-faced truant returns, and the girl’s parents too, though the painful episode is the occasion for them to part company with the girl’s aunt and overloaded psychopath whose particular form of interference is the immediate cause of the catastrophe.
Beatrix Lehmann puts a cutting edge on the portrait of this blissfully evil woman, but it is Catherine Lacey, as the wife, victim of a larger cruelty, who gives the play its real tension – a fine performance. She is splendidly supported by Walter Fitzgerald as the girl’s father…

Variety Dec 19 1951
‘Mischeif’ looms as hit in London but “indian” not given much chance
The day’s mischief Duke of York
It is an absorbing play of a girl’s infatuation for her married tutor and its tragic repercussions. It differs from her previous success, Black Chiffon, in that all characters are of equal importance with Ian… BL,,, all superb in their roles.
Norman Marshall directs, and show runs effortlessly after provincial tryout. Warm reception from audience and press indicate every likelihood of success.

Variety Dec 19 1951
Plays abroad
This domestic drama has much of the quality of the authoress’ previous success, Black Chiffon. … Interest mounts in a sequence of natural, not over melodramatic, events that have a ring of truth and poignancy. Play was warmly received and looks like another winner for Lesley Storm, and might make a bid for Broadway approbation….
Muriel Pavlow gives a sensitive, moving performance as the young girl involved in her first love encounter and Walter Fitzgeral is forthright and understanding as her father. Catherine Lacey as the sexually possessive wife, arouses a certain sympathy in spite of her unpleasant role. She is aptly cast. Ian Hunter, as her maligned husband, dignified and repentant for his culpability, it thoroughly at home in the character. Beatrix Lehmann conveys to a nicety the twisted mind of the aunt who seeks ghostly solace for her own unhappy love affair…

Stage, Variety, Guardian and Observer September 1948-June 1950 (Possibly some missing as BL wasn't sending articles properly)

 

September 11, 1947 The stage

Stratford to the West End

For the first time in its history the Shakespeare Memorial Theatre Company, directed by Sir Barry Jackson, will appear in the West End at His Majesty’s for a limitied season from Thursday, October 2, plays to be presented are King Richard II, on Oct 2, Twelfth Night on Oct 6, and Romeo and Juliet on Oct 8. Artists in the company of 50 include Robert Harris,  Beatrix Lehmann…

British actors equity The Stage

Members meeting with Joseph Macleod talking on the Soviet theatre, with greetings from Red Army theatre Moscow. Lots about commie theatre, but as led by Lewis Casson, and no mention of Bea!

October 9 1947 the Stage

His Majestys’ Richard II and Romeo and Juliet but no mention of Bea’s performance.

October 16 1947 The stage

Among the many theatre folk gathered at the Leichner Lunch at the Savoy hotel last week were … Beatrix Lehmann

Feb 3 1948

Anonymous1948, Feb 03. OLDHAM REPERTORY. The Manchester Guardian (1901-1959), 3.

Oldham Repertory Theatre Club this week presents at the Coliseum, Poison Pen by Richard Llewellyn, a play which has little subtlety or humour and a deal that is unsavoury. Altogether it seems a tawdry vehicle for the art of Beatrix Lehmann, the guest artist, who lifts the play from mediocrity as Phryne Rainrider. Compared with her poise and repressed passion the acting of the company inevitably seems muffled and groping, but it is remarkable what heights some of the players can reach in scenes with Miss Lehmann. This justifies the combination and recommends it. Technically the production is not faulty. Settings are good, the pace even to slow, except in the last act when passages between Miss Lehmann and Antony Oakley made Oldham’s rain and a missed train more than worth while. Mr Oakley started modestly but accumulated considerable distinction; and one was sorry Mollie Sugden (as Connie Fately) had to commit suicide in the first act, for she showed vigour and feeling of character. On February 9 the club will present this production at the Festival of Repertory at Stratford upon Avon.

April 8, 1948 The stage

British Equity

JB Preiestly on “the theatre”

Over 250 artists attended the members’ meeting of BAE on Friday last, at Victory House, when Beatrix Lehmann presided, and J. B. Priestly talked on “the theatre”. His first impression of the theatre still remained, he said, the appalling waste of human material in time, energy, hopes and, he would add, fears. As a writer of books as well as plays he sometimes compared the tow… He considered the theatre now had a far greater importance than at any previous point in history. Its secret lay in the audience, who, in these grim times, needed the sense of community. …
Gordon Sandison, The general secretary, gave details of the controversy with the BBC about televitions…

April 22, 1948 The Stage

British Equity

Resolutions for annual meeting

The AGM of British Equity is announced to be held at Wyndams on May 9. The chair will be taken by the president, Beatrix Lehmann. Among the resolutions that have been received for discussion are three from the London Deputies suggesting the institution of a club for equity members in the west end, the negotiation of a new contract for use of no 1 tours, and the compiling of a new lodgings list.

North 0 esher contract paid full salary from first rehearsal

Pantomime contract

Entry of students into the profession

Use of amateurs prohibitied

Agents

Old vic propose higher wages

[no mention of commies but next article underneath]

Equity elections

To the editor of The Stage

Dear Sir,

In view of the recent warnings issued by the Government as to the holding of Trade Union posts by Communists, and the proximity of the British Actors Equtiy Association Council elections, the most important question that arrieses is, “Who are we to vote for when we don’t know the qualifications of a new man or woman on the voting list”.

The only answer to that question is to find out for yourself – but let your inquires be thorough. In the words of the Prime Minister, the most honest Communists confess that their loyalty is lost to this country, and a divided loyalty takes its place.

In the face of that why vote for any such? I wouldn’t care what the political views of any candidate for the Council were, provided that he or she will leave a Moscow-insored ideology outside the Council chamber and get on with the domestic affairs of Equity. I doubt however, if they, of all, can separate themselves from their divided loyalties, and indeed as far as I can understand the communists’ ideology forbids them to do so.

Now sir, these small matters of Equity elections do not in themselves amount to very much, but the Government has warned us to be our guard – yours faithfully, Frank Cellier,

Stage – May 13 1948

British Equity

Annual general meeting

The annual GM of BAEA occupied a full day on Sunady last at Wyndham’s l… There were about 600 present with Beatrix Lehmann (president) in the chair supported by Sir Lewis Casson and Honor Blair (vice presiendt) Gordon Sandison and John Keet (secretaries) and a full attendance of the mmembers of the council.

Beatrix Lehmann claimed a remarkable growth in the organisation. “Equity’s work is never done,” she declared. “The problems cannot be frozen. Indeed, with the changed face of society they have grown more complex, brining increase responsibilities.” In conclusion she paid a tribute to the British Theatre Conference appreciatiave of its first result – the partial remission of the entertainment tax.

Gordon Sandison, general secretary.. (survived the purge).. Some confusion existing as to equity policies needed to be addressed. It had apparently arisen about Equity Council election-canvassing. Any political note was deprecated, the only test for candidates should be their willingness and capacity to work for equity and the theatre. He then explained that affiliation to the Trades Union Congress was only industrial, and had no political bias, and ended with thesse declarations, “Equity is independent of every employers organisation and is deremined to remain so. Equity has no affilation with any political party, and not one penny of members contributions is used for political puirposes.

May 20 1948 The Stage

British equity President and Council

Leslie Bands, who headed the ballot-return for the BEC election with 1,203 votes, is to be president fo the coming year in succession to Beatrix Lehmann. The vice-presidents will be Sir Lewis Casson (844) votes and Honor Blair, who with 771 votes heads the six elected represntatives of chorus-selection. Other elected members of the council are… Beatrix Lehmann 774,  (13^th highest level of votes) with 23 below her.

Variety May 26, 1948

Leslie Banks succeeds Beatrix Lehmann as president of British Equity Council with Sir Lewis Casson and Honor Blair elected vice presidents in the coming year.

The stage June 3 1948

Liverpool Premiers No trees in the street

On Monday at the playhouse, Liverpool, the British Theatre Group gave the first performance of a new play by Ted Willis.

The gangster [?] as such may be a little overdone – or even more so, according to the playgoes’s taste – but Ted Willis approaches his strong and forceful story from a rather different angle. No trees in the street gives us the “home” life background of the embryo young gunman, and tells in lanaguge which does not mince “bad” words the tale of slumdom-heredity as a breeding ground for vice and violence. Basil Dean’s production makes first-rate theatre, carrying the action through at a fast place towards inevitable retribution with an unexpected twist. Whether the play, with its at times almost overpowering moments, will be to everybody’s taste is another matter. But there is no doubt that it does make a valuable contribution to present day drama and mirrors a seamy side of post-war life with detailed clarity.

The British Theatre Group players give a tremendously virile example of teamwork at its very best. No Trees in the street, depends on speed in both action and dialogue and the cast kept both going at rapid fire. Beatrix Lehmann’s portrait of Jess is drawn with a Hogarthian touch – a monstrous caricature of motherhood, etched in masterly detail. This is the outstanding performance in a series of characterisations, all of which reach great hights…

 

The stage June 10, 1948

Liverpool playhouse – The British Theatre Group’s presentation of No trees in the street is in its final week, Beatrix Lehmann gives a dramatic portrayal of the whole who sells her daughter, and Charmian Eyre and John Stratton are also convincing.

July 15 1948 the stage

No trees in the street

Basil Dean’s next production for the British Theatre Group is to be No Trees in the street, the new play by Ted Willis which opens at the St James’s Theatre on Tuesday, July 27. This play has been touring the repertory theatres taking part in the Festival at the St James’s while their companies have been in London. It completes its tour on July 24 at the Royal, Britstol, whose residient company, the Bristol Old Vic, are now presenting their production of Hamlet at the St James’s.  Beatrix Lehmann and Bill Owen head the cast of No trees in the street, which tells a story , in simple gripping scenes of two young people, brother and sister, and their struggles against the crippling conditions of lifei n the slums…

July 29 1948 The stage

No trees in the street

On Tuesday last the British Theatre Group, in association with the Arts Council of Great Britain, presented the play…

… Is fast-moving, stark, and startling melodrama of the sordid school. One feels, however, that the author intended something more subtal than this in his story of the brief and murderous career of Tommy Gold, youthful producti of London’s East End slums. Mr Willis accentuates the squlor of young gold’s engironement and upbringing but in overstating the case the author fails to make his point of cause and effect.

As presented in the play, Tommy Gold and his mother Jess are creatures of hinherent vice, devoid of decency and undeserving of sympathy. We are, therefore, disinclined to look further for the roots of tragedy than in the vicious natures of these unworthy and on the whole, unrepresentative members of society. Nor is it easy to appreciate the fate of Hetty, Tommy’s sister, whose virtue is so cheaply sold by her own mother. In the light of previous behaviour, Hetty’s easy acceptance of this degredation does not ring true. Mr Willis, admirably served by the producer, Basil Dean, effectively employs the inelegnant manners and uncouth idiom of the East End to tell his lurid story.

Beatrix Lehmann gives a remarkably colourful performance as Jess. Miss Lehmann, however, resembles Mr willis in her tendancey towards exaggeration, and for the most part this Jess Gold is a gin soaked caricature of her real-life counterpart.

June 2 1949 The Stage

British Equity

Annual General Meeting

Wyndham’s was packed last Sunday for the AG meeting for equity, which went on all day with one break for lunch. Gordon Sandison returned from his lengthy illness, said at the opening of the conference that there had been “a rip-roaring Red scare” in Equity that had spread like a virus. It had affected the staff and membership and the council elections had been dominated by so called anti-communist ticket. Now they must regret, as a result of the Council elections, the loss of a number of the most valuable and experienced councillors simply because they did not have the anti-communist cachet. Mr Sandison urged, and get back to the proper business of the Association.

When the results of the election were announced they sould a clear victory for the “anti political” faction, from whose “white list” 17 new nominees will now join the council. Of the 23 Councillors re-elected 18 were included in the “white list” so that in the new council 35 out of the 40 names are those that were approved by the orgainsers of the “anti-plitical” camapaing. The council now consistes of the following …

Among those not re-elected to the Council are Martin Lawrence, William Fox, Beatrix Lehmann, Alec Guinness, Herbert Marshal, Emlyn Williams, Peggy Ashcroft, Frederick leister, Wilfred Babbage and Sir Lewis Casson.

When Wilfred Babbage rose to pay tribute to Sir Lewis Casson and spoke of his 45 years of service to the theatrical profession, applause and cheers that lasted for several minutes filled the theatre. Replying Sir Lewis said that he hoped that the election would serve as a lesson on the disgraceful apaty shown by members in the election of their council. “It is a serious blow” said Sir Lewis,”that out of 9000 members only 670 thought it worth while to keep me on the Council. It will take me a long time to get over it. In fact only 1,389 of the 9,135 ballot papers sent out were returned completed.

June 8 1949 – Variety

Top legiters wiped off Brit. Equity council in anti-leftist cleanout.
Election over the communist issue, which has been building up during the past few months in British Actors Equity Association was climaxed at the annual meeting Sunday (29) with the complete rout of the “red” element from the council.
Anti-Red campaign, wich culminated in a “white” list of candidates to support met with substantial response, 35 of the 40 suggested being returned to office and many oldtimers on the Equtiy council suffering severe defeat.

Among those axed were former Equity president Beatrix Lehmann, known leftist of many years standing and a member of the editorial board of the Communist Daily Worker. Herbert Marshall and Ivor Ingham, both of whom are known for their left views, were also wiped off the Council.

Biggest surprise was the defeat of Sir Lewis Casson, who although amdintting socialist views, was in recent years knitted for services to the theatre, and has been associatied with Equity from its beginning. His wife, Sybilt Thorndike, scraped by with a narrow majority.

Edith Evans, who was excluded from the “white” list apparently because she had once visited Soviet Russia under the auspices of thee Society for Cultural Relations kept her seat by a single vote. On the other hand, Clifford Mooison one of the prime movers on the right, who was asked to resign from the council a few months ago, was returned with a comfortable majority.

Dissident reds who have been knocked ou are now suggesting that their defeat marks the end of Equity as an active trade union and claim that many of the leaders are not only anti-communist and anti-socialist but also anti-trade union.

Big question marks is the future of general Secreatry Gordon Sandison, who is know to have left symp[ahies and was at one time a Labour Parliamentary candidate, at the equity meeting he voiced concern at the split in the oransiation and claimed that, as a result, Equity had lost a number of prominent members. He also blamed the political aspect as being responsible for the substantial drop in revenue and for the serious situation in which the organisation now found itself.

Solitary political resolution at the Equity meeting, which sought to ban all political discussion and action, with expulsion or suspension as the penalty for offenders, was washed out, after prexy Leslie Banks had declared “the ladies and gentlemen of Equity are not for burning”.

August 11, 1949

British Equity “try out” contract

At the British Equity monthly meeting at Victory House Leicester Square on Friday last Wilby Lunn gave an address…

To cover the club and “try out” theatres around London, said Mr Keet, a contract was now being drawn up. It must necessarily be elastic owing to great variety of conditions prevailing in this sort of work. The question of the numerous and very heavy union dues that must be paid by British Artists playing in America had for some time been the subject of negotiaoton. The ultimate aim of Equity was to establish reciprocotiy so that psoession of an Equity card would be effective in the US and obviate the paymnent of further union fees. Equtiy had so far failed to gain this agreement, and it was felt that under the circumstances it would be reasonable to expect that American artists should pay union fees while over here. …

The discussion which followed brought  up three poins, each of sufficient interest and importance to have occupied the whole two and a half hours devoted to the meeting. Unfortuantely barely half an hour remained and much was inevitably left unsaid.  Beatrix Lehmann spoke urgently on the need for professional advice to municipal authorise on civic entertainment and further education. Everyone had further great hopes of the Local Government Act empowering the expenditure by local authorites of the equivalent of 5d rate on entertainment. But the only result so far had been an increase in amateur activity after, in several cases, the financial failure of a professional production. And this at a time when unemployment was increasing seriously in the profession. It was essential that Equity should form a body that could guide the local authorites on the development of the civic theatre. Miss Lehmann’s resloultion to this effect was passed unanimously afters ome discussion.

February 23, 1950

Damascus Blade

John Mills returns to the stage to play the leading role in The Damascus Blade a play by Mary Boland, which Laurence Olivier prsentes at the Royal Newcalste on March 13. The other artists in a cast of six are Mary Maxkenzie, Beatrix Lehmann, Bary Jones, Peter Finch and Peter Cushing. Lawrence Oliver produces the play in which John Mills will be seen as a young Irish solider of fortune in search of a job.

April 6 1950

In the provinces

Glasgow

Kings- The Damascus Blade

Provides plenty of food for thought if one cares to exercise this privilege. John Mills expounds the theories of the playwright with considerable application, force and sincerity, and is aided in the practical demonstration of these theories by Beatrix Lehmann, Barry Jones and Mary Mackenzie.

April 13 1950

Damascus blade

Edinborough theatre goers are showing great interest in the visit of John Mills. Mr Mills gives an excellent performance in a difficult role, and also outstaningd are Mary Mackenzie, Beatrix Lehmann, Austin Treviour, Barry Jones and peter Finch.

June 19, 1950

Pericles The cast of John Harrison’s production of Pericles Prince of Tyre to be presented by the Under Thirty Theatre Group at the Rudolf Steiner on Sunday next and July 9 will include Paul Scofield as Pericles, Beatrix Lehmann as the Bawd, …