(1903-1979) was born at Bourne End, Buckinghamshire, the third child of R.C. Lehmann, and sister of Rosamond and John Lehmann. She was educated at home and then trained at RADA, making her professional debut in 1924 at the Lyric, Hammersmith, in The way of the world. In the following two years she twice understudied Tallulah Bankhead in long West End runs and went on to gain important experience in avant garde theatre with Peter Godfrey at the Gate. But it was in 1929 that Beatrix Lehmann first made her mark as the fanatical Susie in Sean O'Casey's The silver tassie. This led to noteable roles in the 1930s, including parts in J.B. Priestley's Eden End and They walk alone. During this period she spent some time in Berlin with her friend Christopher Isherwood, who dedicated Goodbye to Berlin to her.
In 1945 she was the President of Equity, which followed (in 1946) by a brief period as director-producer of the Arts Council Midland Theatre Company in Coventry. In 1947 she was invited to Stratford-upon-Avon where she played Portia and Viola, and the Nurse in Peter Brook's production of Romeo and Juliet. In a career spanning fifty years, Beatrix Lehmann became known as one of the most strangely individual actresses of her generation, renowned for her ability to create a sinister or brooding impression with little apparent effort. This particular also pervades her two novels, But wisdom lingers and Rumour of Heaven published in 1932 and 1934 respectively.
Whilst Beatrix Lehmann was ranked as a tragedienne, she could also turn herself to comedy and is remembered for her role as the landlady in Ben Travers' A cuckoo in the nest, which she played in 1964 after five years absence from stage. In later years she also acted in films and on television, working steadily through her seventies until failing health made it impossible. Beatrix Lehamnn became ill after opening in excellent reviews in T.S. Elliot's Family reunion and died in London at the age of seventy-six.
(a lot of this seems copied almost word for word from the Times obituary.)
Monday, 20 October 2014
Saturday, 18 October 2014
Times Obituary for Beatrix Lehmann, Friday, Nov 23, 1979;
Miss Beatrix Lehmann, the actress, who died on July 31 aged 76, was among the most strangely individual players of her generation.
Stage history will doubtless rank her as a tragedienne, spare and intense, she had a voice that reminded one critic of a taut violin-string. Totally uncompromising and with an extraordinary sense of the macabre, certain of her creations stay in the mind as frightening figures slightly out of drawing. Yet, when she wished, she could turn with relish to comedy, and her land-lady (“I am fully occupied”) in the 1964 revival of Ben Traver’s A cuckoo in the nest at the Royal Court remains as a collector’s piece.
Probably this will have to be in the background when her work is finally assessed, for she wore the tragic mask far more often – for example as Lavinia in O’Neill’s Mourning become Electra, Greek tragedy in a New England frame. (Curiously she appeared only once in Greek tragedy proper). She was Mrs Alving in Ghosts, and in her comparative youth an Emily Bronte (Wild Decembers) who overwhelmed all else in the play: she had too, the gift of striking terror, something few of her contemporaries achieved. Though she appeared three or four times in Shakespeare, her true place was elsewhere, on the haunted shadowy margins of the drama.
Stage history will doubtless rank her as a tragedienne, spare and intense, she had a voice that reminded one critic of a taut violin-string. Totally uncompromising and with an extraordinary sense of the macabre, certain of her creations stay in the mind as frightening figures slightly out of drawing. Yet, when she wished, she could turn with relish to comedy, and her land-lady (“I am fully occupied”) in the 1964 revival of Ben Traver’s A cuckoo in the nest at the Royal Court remains as a collector’s piece.
Probably this will have to be in the background when her work is finally assessed, for she wore the tragic mask far more often – for example as Lavinia in O’Neill’s Mourning become Electra, Greek tragedy in a New England frame. (Curiously she appeared only once in Greek tragedy proper). She was Mrs Alving in Ghosts, and in her comparative youth an Emily Bronte (Wild Decembers) who overwhelmed all else in the play: she had too, the gift of striking terror, something few of her contemporaries achieved. Though she appeared three or four times in Shakespeare, her true place was elsewhere, on the haunted shadowy margins of the drama.
Born on July 1 1903, she was the second daughter of Rudolph Lehmann and her elder sister of Roasmond and John Lehmann, the writers. Trained at RADA in her early years and on the stage she twice (and surprisingly) understudied Tallulah Bankhead: little affinity there. She had important experience with Peter Godfrey in days when the Gate Theatre was the centre of London’s avant-garde and she made her first strong mark with the critics as the fanatical Susie in O’Casey’s The Silver Tassie (Apollo 1929). During the early summer of 1933 she drove at Emily Bronte (Wild Decembers) like a wind across the moor, and though the play failed itself her reputation from that moment was sure; not unfortunately that there were parts enough to fortify it. Quietly and touchingly she played the actress at home again in Priestley’s Eden End (1934) and in 1937 (Westminister) she was the definitive Lavinia of her period in the tragic scheme of Mourning becomes Electra. Soon afterwards she had two other major successes: the crazed maidservant in the thriller called They walk alone (1939) and back at the Westminster (1940) Abbie in O’Neill’s cold comfort farm melodrama Desire under the elms.
She was Mrs Alving (Ghosts) for the first time at the Duke of York’s (1943): three years later she had a brief period as director producer of the Arts Council Midland Theatre Company at Coventry, and in London later that year she played with a chilling terror the lesbian in Vicious circle (Sartre’s Hui-clos). Peter Brook directed this; it was natural, no doubt – though the casting seemed to be odd – that she should go on to act an angular, gaunt Nurse in his production of Romeo and Juliet at Stratford in 1947; her other parts though as testing as Viola and Isabella, seemed to matter less. Through ensuing years we were never sure when Beatrix Lehmann would be acting again at her apogee: few plays could offer the chance, though she did find one at last in The waltz of the Toreadors (1956) when she appeared as the mad wife. The domestic drudge in Pinter’s mediocre, The birthday party (Lyric Hammersmith 1958) gave little opportunity; then she came back, grandly if briefly, to Shakespeare as a coldly ambitious Lady Macbeth at the Old Vic (also 1958). In the following summer she was the enigmatic old woman in The Aspern Papers (Queens).
Five years passed before she returned to the stage untypically in, A cuckoo in the nest. Later she had only a few parts of quality, though she was in the National Theatre production of The Storm (Old Vic 1966), governed The Trojan Wars (Mermaid 1967) as Hecuba, and reverted to the nurse in the RSC’s Romeo and Juliet (Stratford 1973). Her final part was the dowager in Eliot’s The family reunion at Manchester.
She acted in films and on television (where she was Volumnia in Coriolanus) and also wrote two novels. In 1945 she was President of the British Actors’ Equity Association.
She was Mrs Alving (Ghosts) for the first time at the Duke of York’s (1943): three years later she had a brief period as director producer of the Arts Council Midland Theatre Company at Coventry, and in London later that year she played with a chilling terror the lesbian in Vicious circle (Sartre’s Hui-clos). Peter Brook directed this; it was natural, no doubt – though the casting seemed to be odd – that she should go on to act an angular, gaunt Nurse in his production of Romeo and Juliet at Stratford in 1947; her other parts though as testing as Viola and Isabella, seemed to matter less. Through ensuing years we were never sure when Beatrix Lehmann would be acting again at her apogee: few plays could offer the chance, though she did find one at last in The waltz of the Toreadors (1956) when she appeared as the mad wife. The domestic drudge in Pinter’s mediocre, The birthday party (Lyric Hammersmith 1958) gave little opportunity; then she came back, grandly if briefly, to Shakespeare as a coldly ambitious Lady Macbeth at the Old Vic (also 1958). In the following summer she was the enigmatic old woman in The Aspern Papers (Queens).
Five years passed before she returned to the stage untypically in, A cuckoo in the nest. Later she had only a few parts of quality, though she was in the National Theatre production of The Storm (Old Vic 1966), governed The Trojan Wars (Mermaid 1967) as Hecuba, and reverted to the nurse in the RSC’s Romeo and Juliet (Stratford 1973). Her final part was the dowager in Eliot’s The family reunion at Manchester.
She acted in films and on television (where she was Volumnia in Coriolanus) and also wrote two novels. In 1945 she was President of the British Actors’ Equity Association.
Plays, television and films in the 1970s
All dates taken from the Times digital archive
Tuesday, Mar 24, 1970;
Mentioned in Peter Godfrey’s obituary as working with him in the 30s
Tuesday, Mar 24, 1970;
Mentioned in Peter Godfrey’s obituary as working with him in the 30s
Saturday, Apr 11, 1970;
Shakespeare and the golden age (lecture or performance?) at the Purcell rooms with John Justic and Eric hope
Saturday, May 02, 1970;
Chichester Theatre Festival (May 13-Sept 12) artists include.. Bl
Wednesday, Jul 01, 1970;
Birthday 67
Wednesday, Jul 29, 1970;
BBC new series of thrillers featuring Beatrix Lehmann (among others)
Tuesday, Oct 20, 1970
BBC2 Menace, Inhertiance with Gwen Watford, Beatrix Lehmann and Gerald Flood
Tuesday, Feb 02, 1971
Chichester Festival – Reunion in Vienna by Robert E Sherwood, Beatrix Lehmann (not one of the two leading parts)
Wednesday, Jun 09, 1971
Chichester Festival – Reunion in Vienna, opens July 21, Directed by Frith Banbury, BL as Frau Lucher
Played in rep until end of season on Sept 11
Thursday, Jul 01, 1971;
Birthday 68
Thursday, Jul 22, 1971;
Chichester Festival – Reunion in Vienna – review and photo of Very exuberant Beatrice
Set in 1930s Vienna
Tuesday, Oct 12, 1971;
York - Mother Adam – Charles Dyer – review
the third of his studies of loneliness, middle aged man and his paralysed mother.. possessive old woman, a former missionary to expotic parts and the son a dejected museum curator.
Two character piece played by Beatrix Lehmann and Roy Dotrice, the play is clearly being tried out for other stages,
The play is held on course by two questions, is the man a virgin and who was his father?
Under the author’s direction Mr Dotrice give a most uncurator-like performance, throwing himself vigorously into the manifold business with more determination to keep things lively than to create a character. The bedridden Miss Lehmann hooding her eyes and alternately playing a watchful lizard and bird of prey gets a good deal closer to some kind of reality. But the whole venture needs to move a good deal further in that direction.”
Monday, Dec 06, 1971; Wednesday, Dec 08, 1971;
Arts Theatre – Mother Adam – ad until dec 12
Wednesday, Jan 26, 1972; Wednesday, Feb 02, 1972; Thursday, Feb 03, 1972; Friday, Feb 04, 1972; Tuesday, Feb 08, 1972 Wednesday, Feb 09, 1972 Saturday, Feb 12, 1972 Tuesday, Feb 15, 1972 Wednesday, Feb 16, 1972; Friday, Feb 25, 1972 Thursday, Mar 02, 1972; Saturday, Mar 18, 1972; Saturday, Mar 25, 1972;
Picadilly Reunion in Vienna (4th) ad
Thursday, Nov 02, 1972;
RSC The Island of the Mighty by John Arden opens at Aldwych Dec 5
Beatrix Lehmann, joining the RSC for the first time as Morgan
Wednesday, Jan 24, 1973;
BBC2 play Is Nellie dead? With Beatrix Lehmann, Philip Latham, Robert Powell
Wednesday, Jan 31, 1973;
RSC Stratford Romeo and Juliet open March 28 with Estelle Kohler and Timothy Dalton in the Title parts, Beatrix Lehmann will be the nurse
Thursday, Mar 29, 1973;
RSC Stratford Romeo and Juliet – review "Abstract set that goes too far"
“other details defy explanation. Why all those washing lines for instance? Would a top Verona debutante like Juliet get to work beating a carpet while waiting for the nurse (Beatrix Lehmann) to return? And why should Juliet and her mother cave in with laughter at the nurse’s interminable retelling of the story of her childhood tumble? As written, the scne is funny precisely because they are trying to shut the nurse up and get down to business…”
Saturday, Jun 30, 1973
Birthday 70
Shakespeare and the golden age (lecture or performance?) at the Purcell rooms with John Justic and Eric hope
Saturday, May 02, 1970;
Chichester Theatre Festival (May 13-Sept 12) artists include.. Bl
Wednesday, Jul 01, 1970;
Birthday 67
Wednesday, Jul 29, 1970;
BBC new series of thrillers featuring Beatrix Lehmann (among others)
Tuesday, Oct 20, 1970
BBC2 Menace, Inhertiance with Gwen Watford, Beatrix Lehmann and Gerald Flood
Tuesday, Feb 02, 1971
Chichester Festival – Reunion in Vienna by Robert E Sherwood, Beatrix Lehmann (not one of the two leading parts)
Wednesday, Jun 09, 1971
Chichester Festival – Reunion in Vienna, opens July 21, Directed by Frith Banbury, BL as Frau Lucher
Played in rep until end of season on Sept 11
Thursday, Jul 01, 1971;
Birthday 68
Thursday, Jul 22, 1971;
Chichester Festival – Reunion in Vienna – review and photo of Very exuberant Beatrice
Set in 1930s Vienna
Tuesday, Oct 12, 1971;
York - Mother Adam – Charles Dyer – review
the third of his studies of loneliness, middle aged man and his paralysed mother.. possessive old woman, a former missionary to expotic parts and the son a dejected museum curator.
Two character piece played by Beatrix Lehmann and Roy Dotrice, the play is clearly being tried out for other stages,
The play is held on course by two questions, is the man a virgin and who was his father?
Under the author’s direction Mr Dotrice give a most uncurator-like performance, throwing himself vigorously into the manifold business with more determination to keep things lively than to create a character. The bedridden Miss Lehmann hooding her eyes and alternately playing a watchful lizard and bird of prey gets a good deal closer to some kind of reality. But the whole venture needs to move a good deal further in that direction.”
Monday, Dec 06, 1971; Wednesday, Dec 08, 1971;
Arts Theatre – Mother Adam – ad until dec 12
Wednesday, Jan 26, 1972; Wednesday, Feb 02, 1972; Thursday, Feb 03, 1972; Friday, Feb 04, 1972; Tuesday, Feb 08, 1972 Wednesday, Feb 09, 1972 Saturday, Feb 12, 1972 Tuesday, Feb 15, 1972 Wednesday, Feb 16, 1972; Friday, Feb 25, 1972 Thursday, Mar 02, 1972; Saturday, Mar 18, 1972; Saturday, Mar 25, 1972;
Picadilly Reunion in Vienna (4th) ad
Thursday, Nov 02, 1972;
RSC The Island of the Mighty by John Arden opens at Aldwych Dec 5
Beatrix Lehmann, joining the RSC for the first time as Morgan
Wednesday, Jan 24, 1973;
BBC2 play Is Nellie dead? With Beatrix Lehmann, Philip Latham, Robert Powell
Wednesday, Jan 31, 1973;
RSC Stratford Romeo and Juliet open March 28 with Estelle Kohler and Timothy Dalton in the Title parts, Beatrix Lehmann will be the nurse
Thursday, Mar 29, 1973;
RSC Stratford Romeo and Juliet – review "Abstract set that goes too far"
“other details defy explanation. Why all those washing lines for instance? Would a top Verona debutante like Juliet get to work beating a carpet while waiting for the nurse (Beatrix Lehmann) to return? And why should Juliet and her mother cave in with laughter at the nurse’s interminable retelling of the story of her childhood tumble? As written, the scne is funny precisely because they are trying to shut the nurse up and get down to business…”
Saturday, Jun 30, 1973
Birthday 70
Monday, Jul 01, 1974;
Birthday 71
Tuesday, Jul 01, 1975
Birthday 72
Thursday, Jul 01, 1976
Birthday 73
Thursday, Nov 04, 1976
Distinguished company London – Age action trust
Saturday, Nov 06, 1976;
Radio prize day – Beatrix Lehmann’s Hecuba was formidable.
Thursday, Nov 25, 1976;
Film – The cat and the canary – notice that BL has been cast, in the film now in production. ML and Mr Massey complete a cast that includes Honor Blackman… (released 1978 – clips only on youtube dvd available on amazon)
Thursday, Mar 31, 1977;
Mentioned in review of Christopher and his kind
Friday, Jul 01, 1977
Birthday 74
Saturday, Sep 03, 1977
Friday, Love for Lydia ITV 9pm
One of the outstanding series of the year. … set in the 1930s it is a tale of Lydia Asyen (Mel Martin) a young girl from a sheltered background who will one day inherint a large fortune, including a large, palce-like house held in trust by her aunts (Impressively played by Beatrix Lehmann and Rachel Kempson) clips on youtube on amazon for £10
Saturday, Oct 15, 1977
Itv Love for Lydia – review
(includes Peter Davison!) “and chaparenoned with vinegar affection by BL and Rachel Kempson.
Birthday 71
Tuesday, Jul 01, 1975
Birthday 72
Thursday, Jul 01, 1976
Birthday 73
Thursday, Nov 04, 1976
Distinguished company London – Age action trust
Saturday, Nov 06, 1976;
Radio prize day – Beatrix Lehmann’s Hecuba was formidable.
Thursday, Nov 25, 1976;
Film – The cat and the canary – notice that BL has been cast, in the film now in production. ML and Mr Massey complete a cast that includes Honor Blackman… (released 1978 – clips only on youtube dvd available on amazon)
Thursday, Mar 31, 1977;
Mentioned in review of Christopher and his kind
Friday, Jul 01, 1977
Birthday 74
Saturday, Sep 03, 1977
Friday, Love for Lydia ITV 9pm
One of the outstanding series of the year. … set in the 1930s it is a tale of Lydia Asyen (Mel Martin) a young girl from a sheltered background who will one day inherint a large fortune, including a large, palce-like house held in trust by her aunts (Impressively played by Beatrix Lehmann and Rachel Kempson) clips on youtube on amazon for £10
Saturday, Oct 15, 1977
Itv Love for Lydia – review
(includes Peter Davison!) “and chaparenoned with vinegar affection by BL and Rachel Kempson.
Thursday, 16 October 2014
Beatrix television, film and plays 1960s
All dates from The Times digital archive
Queen’s – Aspern Papers – ad (continuing run from 1959)
Monday, Mar 06, 1961
BBC third programme, St Joan of the stockyards, Beatrix Lehmann as Mrs Luckermiddle, a worker’s wife.
Wednesday, Jun 21, 1961
ATV Play of the week (broadcast television), The Paper Palace by Robert Harling. “a tangled tale well acted”
Miss Beartrix Lehmann as the dead man’s mother stole the play in her relatively brief appearances.
Tuesday, Sep 12, 1961
Bristol Mother Courage, which opens Nov 7 Miss Beatrix Lehmann will join the company to play Brecht’s heroine. (till 27)
Wednesday, Nov 08, 1961
ATV play of the week, The candidate, with James Glover. Other principle roles were less fully developed than Glover’s but Miss Brenda Bruce as his wife, MBL as his most cantankerous opponent … brought them vividly to life.
Saturday, Mar 17, 1962
Amazing photo of Beatrix as The Mummy
BBC The Ghost Sonata – “a battle of wills between the mummy and the demonic old man, the dramatic power of what was happening in front of the camera made up for a certain lack of interest in the way it was staged and recorded. This was largely the result of two finely extravagant performances, from Mr. Robert Helpmann, whose Old Man recalled irresistibly his satanic doll maker in The tales of Hoffman and MBL who grew in conviction as the Mummy she played took on strength and life again.
Saturday, May 04, 1963;
BBC television Shakespeare series – Coriolanus – Miss Beatrix Lehmann as Volumnia and Mr Roland Culver as Meneius are unlikely to arouse such division of opinion as they are both admirable.
Wednesday, Jul 01, 1964;
Birthdays - Beatrix Lehamnn is 61
Wednesday, Oct 07, 1964;
Royal Court Theatre – A cuckoo in the nest.
Miss Beatrix Lehmann returns to the stage after four years in films and television to play the redoubtable Mrs Poker
Friday, Oct 23, 1964;
Royal Court Theatre – A cuckoo in the nest – review and photo
Beatrix in a play with Miss Polly James
Though Beatrix Lehmann may have done more with the terrifying properties than merely hooding her eyes monotonously grating the lines…
Thursday, Oct 29, 1964
Film – Psyche 59
“sort of film which sets one seriously wondering whether one has gone quite mad. .. those caught in the web include … Miss Beatrix Lehmann"
Thursday, Jul 01, 1965;
Birthday – 62
Friday, Jul 01, 1966;
Birthday – 63
Wednesday, Oct 19, 1966
National Theatre – The Storm by Alexander Ostrovsky – review – photo
“naïve cliché studded melodrama”
But there is nothing exotic in Beatrix Lehmann’s performance as the mother in law, a bourgeois gorgon whom one can imagine in a Trollope parsonage, or Frank Finlay’s Dikoy, whose volcanic bursts of fury are scaled down to comic petulance.
Thursday, Mar 30, 1967;
Letter to dissociate bombing of Vietnam!
Thursday, May 18, 1967;
Mermaid Theatre Euripides double Bill – review and photo of Beatrix as Hecuba
"On its own melodramatic ground the evening packs some punches – notably the blinding scene in Hecuba with Beatrix Lehmann spreading her arms like a vampire bat as she ushers Polymestor’s brood into her den…. Besides Miss Lehmann admirable in anger but verging on parody in pathos…"
Saturday, Jul 01, 1967
Birthday 64
Saturday, Feb 03, 1968;
Purcell room BL (no other detail besides London engagements)
Thursday, Apr 25, 1968;
Letter signed for democracy in Greece and for women political prisoners on the Greek Islandof Yioudra to be freed by BL and 40 other British women
Wednesday, May 29, 1968;
BBC television (BBC2) – 30 minute theatre, Walk in the Dark by John Wiles, with BL
Monday, Jul 01, 1968;
Birthday 65
Monday, Jul 29, 1968;
A great part for Beatrix Lehmann – headline
But she isn’t actually appearing in the play!
Saturday, Jun 14, 1969;
Comedy Theatre, The night I chased the women with an eel by William Payne,
Friday, Jun 27, 1969 Friday, Jul 04, 1969;
Comedy Theatre, The night I chased the women with an eel – ad
Tuesday, Jul 01, 1969;
Birthday 66
Wednesday, Jul 09, 1969
Comedy Theatre - The night I chased the women with an eel by William Payne, - review
A young factory worker stifled equally by his job, his wife and his mother at home who makes a sad attempt to escape by taking a correspondence course and finally relapses into defeat.
His mother is a possessive monster who blackmails the family with bad health and the bible.
At one moment we are in the midst of modern black farce, and at the next engulfed in a melodramatic poisoning episode that might have been written in the 1920s (opportunities for this kind of thing are seized by Beatrix Lehmann with grotesque over emphasis) The play in short has taken a serious social theme and converted it into a cheap stage currency.
Saturday, Jul 12, 1969; Wednesday, Jul 16, 1969, Saturday, Jul 19, 1969 Friday, Jul 25, 1969; Monday, Jul 28, 1969
Comedy Theatre, The night I chased the women with an eel – ad
“whole hearted admiration” - Times “truly wonderful actress” – Telegraph top billing
A dazzling domestic uproar – news of the world, Brilliant excellent cast – standard Blazingly funny –mirror
Thursday, Dec 04, 1969
Letter about motorways signed by BL among others
Wednesday, 15 October 2014
Beatrix Leahmann plays, radio plays and voice over 1950s
All dates taken from the Time digital archive
Wednesday, Oct 18, 1950;
Fortune theatre, later Camberwell Palace, The Lady with the lamp, play for school children for the LCC Education committee
Monday, Mar 05, 1951;
Embassy Theatre – Thunder Rock (week of new plays)
Wednesday, Jun 13, 1951
Embassy Theatre – Ghosts by Ibsen
He [Walter Scott] works on a scale so big that Miss Beatrix Lehmann’s Mrs Alving shrinks to the size of a carving on a cherry stone.
Friday, Jun 15, 1951 Tuesday, Jun 19, 1951 Friday, Jun 22, 1951; (last week)
Embassy Theatre – Ghosts by Ibsen – ad
Monday, Oct 08, 1951
The day’s mischief by Miss Lesley Storm Miss Beatrix Lehmann included in cast list
Monday, Nov 26, 1951
Duke of York - The day’s mischief from Dec 11 Miss Beatrix Lehmann listed last among principal players
Monday, Dec 10, 195
Duke of York – The day’s mischief – opens tomorrow – Miss Beatrix Lehmann listed 2nd
Wednesday, Dec 12, 1951
Duke of York’s Theatre – The day’s mischief by Lesley Storm – review
Follow up to success of Black chiffon “with another rattling good specimen of modern melodrama… the dialogue runs so smoothly it is so neatly expressive …”
Schoolmaster and a pupil who has a crush on him
Miss Beatrix Lehmann is with extreme plausibility the worse “case” of the lot, having been driven by disappointment in love into a malevolent insanity”.
Monday, Nov 03, 1952
The devil is a woman – Mexian film MBL did the dubbing of the main character
Monday, Feb 23, 1953;
The Father – Strindber at the Arts Theatre (revival)
Miss Beatrix Lehmann will be the wife of Mr Lawson’s Captain.
Friday, Feb 27, 1953;
Arts Theatre – The Father by August Strindberg new version by Max Faber.- review with photo of Beatrix
Miss Lehmann makes a terrifying figure of the woman, but even her immearuable malice would take on a last glint of horror if it were not seen against a stronger light.
Monday, May 25, 1953
BBC third programme – Obey’s Lazarus
“Miss Beatrix Lehmann brings to Martha her own characteristic intelligence and warmth of feeling”.
Friday, Dec 04, 1953
Savory Theatre – No sign of the dove by Peter Ustinov– review with photo (Beatrix obscured behind a rail) Miss Beatrix Lehmann twitters energetically… bit it is largely a waste of talent.
Monday, Mar 01, 1954
Blood wedding at the Arts Theatre, include Miss Beatrix Lehmann
Thursday, Mar 04, 1954
Arts Theatre – Blood wedding by Frederico, Garcia Lorca, translated by Richard O’Connell and James Graham-Lujan
Beatrix Lehmann as “mother”
Miss Beatrix Lehmann completes a fine study of the mother whose cruel losses have turned her life to tragic bitterness.
Friday, Feb 11, 1955;
Mourning becomes Electra - revival mentions Beatrix's previous performance of 1937 “Arts theatre the only private theatre left to London of the kind that theatregoes knew before the war”.
Monday, Mar 07, 1955;
BBC third broadcast – Women beware women by Thomas Middleton
“what the play has to offer before that is a cleverly developed plot designed to exhibit a full length character study of Livia, who destroys the marriage of Leantio and Bianca and is finally caught in her own schemes. .. Livia takes the embittered Leantio as her lover. … Miss Beatrix Lehmann is the right actress to interpret Livia, a disquietingly human character and not merely a Jacobean fiend in human form.
Friday, Jun 10, 1955;
Reference to Miss Beatrix Lehmann’s 1938 “brilliant” performance in Mourning becomes electra
Saturday, Feb 25, 1956;
Arts Theatre – The Waltz of the toreadors by Jane Anoulith translated by Lucienne Hall
Beatrix Lehmann plays “his wife”
“this farce has a bitter, some will say a sour, flavour, but even those who resent its hard realism will be highly amused in spite of themselves.”
Miss Beatrix Lehmann is quite terrible as the aging wife whose lack of delicacy so shocks the easy going philanderer that he tries to strangle her.
Saturday, Feb 25, 1956
Arts Theatre – The waltz of the Toreadors – AD with Photo
Friday, Mar 09, 1956
Arts Theatre – The waltz of the Toreadors – review
Miss Beatrix Lehmann transferred to the Criterion on March 27 “hard realism and resourceful wit supported by a brilliant sense of theatre”
Thursday, May 31, 1956
BBC third programme – The Broken heart Beatrix Lehmann will be performing (17th century love and revenge)
Monday, Mar 25, 1957;
Criterion Watlz of the Toreadors Beatrix Lehmann will mark the completion of a year’s run of this comedy on the London stage!
Saturday, Apr 13, 1957
BBC Third programme Beatrix Lehmann and Maruice Denham in The Repair of heaven
Monday, May 19, 1958
Lyric theatre – The birthday Party “By a promising young playwright, Mr. Harold Pinter”
In the cast Beatrix Lehmann (play read)
Tuesday, May 20, 1958
Lyric theatre – The birthday Party – review
“puzzling surrealism of the birthday party”
Meg – Beatrix Lehmann
This essay in surrealistic drama at the Lyric…Miss Beatrix Lehmann Richard Pearson and John Slater struggle valiantly to give them dramatic life.
The first act sounds an off beat note of madness; in the second the note has risen to a sort of delirioum and the third act studiously refrains from the slightest hint of what the other two may have been about.
Monday, Aug 11, 1958;programme
Arts theatre – Garden district – Tennase Williams “our own Miss Beatrix Lehmann”
Wednesday, Sep 17, 1958;
Arts Theatre – Suddenly last summer (Garden district general title) and Something Unspoken
Mrs Venable in Suddenly Last Summer and Cornelia Scott - Something Unspoken
Miss Beatrix Lehmann is superb as the bitter old lady obsessed with her past grandeur and her present grievance and when she has had a glorious melodramatic fling she passes the ball over to Miss Patricia Neal.
“we are in no doubt however, about the wickness of Sebastian’s mother. This old lady has all the money in the world and no scruple as to what use she makes it. She sees her dead son as a great poet whose one poem every nine months completed a life which revived the glories of the great renaissance princes. … The old lady has accordingly had the girl immured in a lunatic asylum. …
Something unspoken which studies the relations of a dominating new Orleans woman and the secretary she dominates. Miss Lehmann is perhaps more of a grotesque than the quietly mocking secretary need be, but Beryl Measor makes a terrific battleaxe of the tyrant.
Friday, Oct 17, 1958;
Old Vic – “Miss Lehmann as Lady Macbeth : guest stars at Old vic” )Macbeth with Lady M as headliner!
Miss Beatrix Lehmann and Miss Flora Robson are to join the Old Vic Company as guest artists during the present season. .. Miss Lehmann is to play the part of Lady MacBeth. … this will be the first time that ML will have played a Shakespearian part with the Old Vic.
(mentions previous roles in Stratford)
Tuesday, Nov 04, 1958;
Old Vic – Macbeth – reahearls begin with Miss Beatrix Lehamnn and Mr Hordern at the head of the cast. The play will be brought in Dec 17
Monday, Dec 01, 1958;
Old Vic – Macbeth mention of opening Dec 17
Thursday, Dec 18, 1958
Old Vic – Macbeth – review, “noisy production … somewhat hollow and swaggering”
Miss Beatrix Lehmann and Michael Horden appear totally miscast… both brilliant exponents of the mock-heroic, they seem ill at easy and rely extensively on tricks of delivery and sonourous rhetoric as a substitute for expression. They have one good scene together – and significantly it is the desolately realist moment after the banquet.
Friday, Dec 19, 1958;
Old Vic Macbeth
Occasional moments of real quality (word for word copy of previous review)
Wednesday, Jan 07, 1959;
Old Vic Macbeth “and old vic record”
“For the first time in its history the Old Vic Theatre, according to the management, has been completely full at every performance for a whole week. The play which filled the house was Macbeth, in which MrMichael Horden has the name part and MBL that of Lady Macbeth. This record will no doubt come as a mild surprise to many a theatregoer who remembers the “full house” notices that sent him sadly away from the theatre when some other remarkable production or eminent actor or actress had drawn him to it”.
Saturday, Jan 10, 1959
BBC Third program, Beatrix Lehmann as the Landlady
Thursday, Jan 15, 1959;
A year of short runs
The birthday party at the Lyric Hammersmith disappeared very rapidly in spite of the presence of Miss Beatrix Lehmann and Mr John Slater in the cast
Friday, Jun 12, 1959; programme
The Aspern Papers by Henry James has been adapted for the stage,Mr Michael Redgrave will head the cast with Miss Flora Robson and Miss Beatrix Lehmann
Wednesday, Jun 17, 1959 programme
Aspern papers 0 Miss Beatrix Lehmann (intention of transferring to US)
Tuesday, Aug 04, 1959;
BBC Third programme The Landlady – review (first review of radio play)
The landlady is a disturbing study in terms, at times harshly comic of possessiveness. … All this provides MBL with a part that might well have been written for her mannered, idiosyncratic style. With no weapons other than her voice at her command she charms wheedles denounces suffers and triumphs.
Thursday, Aug 13, 1959;
Aspern Papers – review and photo
Miss Beatrix Lehmann supports him as the terrifying Miss Bordereau with her implacable power of retort and the green eye shade drawn like a death mask over the remains of her past beauty, an extraordinary old creature, who seeing clearly the intruder’s motives, counters his acquisitiveness with a cool, high-staking acquisitiveness of her own.
Saturday, Sep 12, 1959 Tuesday, Sep 15, 1959 Wednesday, Sep 16, 1959 Saturday, Dec 12, 1959; Monday, Dec 21, 1959
Queens Theatre Aspern papers – ad (third billing)
Tuesday, 7 October 2014
Beatrix Lehmann's plays in the 40s, actor, director and producer
All notifications taken from the Times digital archive.
Monday, Jan 22, 1940 Play text read
Westminster theatre – Desire under the Elms – Eugene O’Neill includes Beatrix Lehmann
Wednesday, Jan 24, 1940
Westminster theatre – Desire under the Elms
“Beatrix Lehmann In Eugene O’Neill’s” - ad
Thursday, Jan 25, 1940;
Westminister Theatre – Desire under the Elms by Eugene O’Neill
The dark and brutal story of New England peasants driving fiercely and ignorantly at the satisfaction of their desires spirtiualizes itself into something like a celebration of the primitive innocence underlying the passions of primitive people… The incident to which the Boston police objected is the murder of a baby by a mother whose perverted idealism sees in this action the only possible proof of her love for its father. This incident is not from any point of view entirely satisfactory. It is insufficiently explained and inadequately prepared for…Miss Beatrix Lehmann finds precisely the right formula for the stupidity of the woman who has married an old man for a home, and is drawn irresistibly to her stepson.
Thursday, Jan 25, 1940; Friday, Jan 26, 1940; Saturday, Jan 27, 1940 Tuesday, Jan 30, 1940; Thursday, Feb 01, 1940 Tuesday, Feb 06, 1940; Wednesday, Feb 07, 1940 Thursday, Feb 08, 1940 Friday, Feb 09, 1940; Monday, Feb 12, 1940; Thursday, Feb 15, 1940; Monday, Feb 19, 1940 Wednesday, Feb 21, 1940; Thursday, Feb 22, 1940; Friday, Feb 23, 1940; Tuesday, Feb 27, 1940; Thursday, Feb 29, 1940; Saturday, Mar 02, 1940 Tuesday, Mar 05, 1940 Wednesday, Mar 06, 1940 Thursday, Mar 07, 1940; Monday, Mar 11, 1940; Wednesday, Mar 13, 1940; Thursday, Mar 14, 1940; Friday, Mar 15, 1940; Saturday, Mar 16, 1940; Wednesday, Mar 20, 1940 Thursday, Mar 21, 1940; Saturday, Mar 23, 1940 Monday, Mar 25, 1940 Tuesday, Mar 26, 1940; Thursday, Mar 28, 1940; Monday, Apr 01, 1940; Tuesday, Apr 02, 1940; Wednesday, Apr 03, 1940 (with note of last 7 performances) Thursday, Apr 04, 1940; (with note last 5 performances) Friday, Apr 05, 1940; (last 3) Saturday, Apr 06, 1940 (last 2)
Westminster – Desire under the Elms – ad
Monday, Apr 07, 1940
St Martin’s theatre - Close quarters
On Saturday the two-character play opens for a limited season with Miss Beatrix Lehmann and Mr Carl Stepainek (no reviews or ads)
Monday, Jul 28, 1941 – BIG GAP (perhaps due to bombing?)
On Thursday evening the Apollo Theatre will reopen with Close Quarters a play by W.O. Somin which has only two characters. Miss Beatrix Lehmann of whom London does not see enough, will play one, and Karel C. Stepanek, who has never appeared in London before (so the initial run must not have happened), the other. Close quarters is produced by Mr Henry Cass
Thursday, Jul 31, 1941 Friday, Aug 01, 1941 Programme?
Apollo Theatre – Close quarters – ad (top Billing)
Saturday, Aug 02, 1941
Apollo Theatre – Close quarters – review
By W.O. Somin adapted by Gilbert Lennox
There are two characters in this play, the wife who commits murder and her husband who at one time through the fevered working of his own imagination, the accumulation of circumstantial evidence, and his wife’s own strange behaviour, comes almost to suspect himself, before he finds out the truth.
It is a tour de force an essay in intricate technique, manufactured and artificial but for all that it is an astonishing piece of stage craft. … yet the world hostile, vengeful and suspicious is all around them… However, close quarters remains a play which is almost entirely dependent upon the acting, and MKS who has not acted in London before, and Miss Beatrix Lehmann never look like failing it. … Miss Lehmann has the more difficult part, a part tossed about on changes of emotion on changes of mood, complicated by her relations with her husband and the dead man, and charged with an increasing nervous anxiety. ML makes Liesa throughout a woman of nerves and temperament yet there is a simplicity about her, too, and ML manages her sudden defenceless lapses into a normal domesticity as surely as she controls her tensity and her rare outbursts of hysteria.
Monday, Aug 04, 1941 Tuesday, Aug 05, 1941 Wednesday, Aug 06, 1941 Thursday, Aug 07, 1941; Saturday, Aug 09, 1941 Wednesday, Aug 13, 1941; Thursday, Aug 14, 1941; Monday, Aug 18, 1941; Tuesday, Aug 19, 1941 Wednesday, Aug 20, 1941; Friday, Aug 22, 1941; Saturday, Aug 23, 1941;
Apollo – Close Quarters – ad
Monday, Feb 09, 1942
On Feb 19 Miss Beatrix Lehmann will appear in a new comedy Jam to-day
Monday, Feb 09, 1942; Tuesday, Feb 10, 1942 Wednesday, Feb 11, 1942 Thursday, Feb 12, 1942 Friday, Feb 13, 1942; Saturday, Feb 14, 1942 Monday, Feb 16, 1942
St Martin’s Theatre – Jam To-day – ad (top billing) “a new comedy”
Tuesday, Feb 17, 1942;
St Martin’s Theatre – Jam To-day –
Miss Beatrix Lehmann who does not usually play in comedy (!) will take the leading part in Jam To-day, a light comedy by Denis Waldock and Roger Burford, which will be seen at the St. Martin’s Theatre on Thurs Evening.
Tuesday, Feb 17, 1942; Wednesday, Feb 18, 1942; Thursday, Feb 19, 1942;
St Martin’s Theatre – Jam To-day – ad (top billing) “a new comedy”
Saturday, Feb 21, 1942
St Martin’s Theatre – Jam To-day – review
Ilona benson is the kind of wife this particular theme may most conveniently bestow upon an amiably pompous archaeologist who is often absent from home. Reluctantly she yields to every temptation, knowing all the while that the authors have provider her with a tiny inexhaustible reserve … it is all her husband’s fault for making such a fuss…Miss Beatrix Lehmann who has hitherto seemed to specialize in the portrayal of queer tortured mentalities, brings her usual accomplishment to the comparatively simple technical problem of the frivolous suburban wife. The result is charm of an intensity much in excess of the requirements, but since such nicety of adjustment is not among the requirements, no great harm is done.
Monday, Feb 23, 1942; Tuesday, Feb 24, 1942; Wednesday, Feb 25, 1942 Thursday, Feb 26, 1942; Monday, Mar 02, 1942; Tuesday, Mar 03, 1942; Thursday, Mar 05, 1942; Friday, Mar 06, 1942; Saturday, Mar 07, 1942; Monday, Mar 09, 1942; Wednesday, Mar 11, 1942 Thursday, Mar 12, 1942; Friday, Mar 13, 1942; Saturday, Mar 14, 1942; Tuesday, Mar 17, 1942 Saturday, Mar 21, 1942; Tuesday, Mar 24, 1942; Wednesday, Mar 25, 1942 Friday, Mar 27, 1942; Monday, Mar 30, 1942; Wednesday, Apr 01, 1942; Saturday, Apr 04, 1942; Tuesday, Apr 07, 1942; Thursday, Apr 09, 1942; Friday, Apr 10, 1942; Saturday, Apr 11, 1942; Monday, Apr 13, 1942 Tuesday, Apr 14, 1942 Thursday, Apr 16, 1942; Friday, Apr 17, 1942 Saturday, Apr 18, 1942 Tuesday, Apr 21, 1942;
St Martin’s Theatre – Jam To-day – ad (top billing) “a new comedy”
Wednesday, Apr 22, 1942;
Provincial Theatre Council
The Provincial Theatre Council which is to secure cooperation between managers and artists for the safeguarding and development of the theatre, was inaugurated at a meeting of the Ministry of Labour and National Service yesterday. Provincial managers will engage only artists approved by the council, and artists will work only for approved managers. A minimum wage of £3 a week is guaranteed to all artists, as well as rehearsal pay and limitations in the number of “weeks out”. – Miss Beatrix Lehmann (and 6 others) for the artists.
Wednesday, Apr 22, 1942; Friday, Apr 24, 1942; Friday, Apr 24, 1942, Saturday, Apr 25, 1942; Tuesday, Apr 28, 1942; Wednesday, Apr 29, 1942; Friday, May 01, 1942; Monday, May 04, 1942; Tuesday, May 05, 1942; Wednesday, May 06, 1942; Friday, May 08, 1942;
St Martin’s Theatre – Jam To-day – ad (top billing) “a new comedy”
Thursday, Nov 26, 1942;
British Drama league – poetry reading by Miss Beatrix Lehmann in aid of Mrs. Churchill’s aid to Russia fun, 9 Fitzory Square.
Friday, Nov 27, 1942;
Sunday performances – to the editor of the times.
Owing to the persistent action taken by the Lord’s Day Observance Society in upholding the law passed in 1677 and never repealed or adjusted to modern requirements, we, the undersigned, which to state with regret that we are not allowed to give stage performances for any charity, or performance to which money is subscribed on any Sunday. – signed (including Miss Beatrix Lehmann)
Monday, Jun 21, 1943; Tuesday, Jun 22, 1943; Wednesday, Jun 23, 1943;
Duke of York’s – Ghosts
Beatrix Lehmann in an entirely new production of ghosts – ad
Saturday, Jun 26, 1943
Duke of York’s – Ghosts
Ibsen English version by Norman Ginsbury
Miss Beatrix Lehmann is poorly supported while she flashes the realities of the past before the Pastor’s shocked eyes. Mr Edward Byrne at no time suggests (actual bad review) ML’s performance suffers from this tame start and it is not until the final scene, which she and Mr John Carol play with excellent judgement that Mrs Alving comes to life. For the rest of the time her playing is colourlessly correct, and there is neither warmth in her regrets for the fatal slowness with which she has learned to think for herself nor passion in the apprehension with which she sees the past beginning to repeat itself. She is less a tragic heroine than the luckless heroine of a thriller, and the quality of the tension throughout the evening is that of a thriller which obstinately refuses to thrill. Mr Denis Arundell’s production is as commonplace as the lighting, which switches abruptly from the sunniness appropriate of a summer resort to claustrophobic gloom.
Monday, Jun 28, 1943; Thursday, Jul 01, 1943; Friday, Jul 02, 1943; Saturday, Jul 03, 1943; Wednesday, Jul 07, 1943; Tuesday, Jul 20, 1943; Monday, Jul 26, 1943; Tuesday, Aug 10, 1943; Saturday, Aug 14, 1943 Thursday, Aug 19, 1943
Duke of York’s – Ghosts
Beatrix Lehmann in an entirely new production of ghosts – ad “brilliant entertainment
5 October 1943, recording at BBC with Guy Burgess
Late rehearsal of Miss Lehmann & coming in to attend transmission at 11.55 pm. Dinner allowance entertaining Miss Lehmann made necessary by midnight broadcast and late rehearsal. (BBC archives http://www.bbc.co.uk/archive/burgess/7711.shtml)
Tuesday, Mar 28, 1944; Wednesday, Mar 29, 1944;
Garrick – Uncle Harry - ad programme
Builled 2nd after Michael Redgrave
Thursday, Mar 30, 1944
Garrick – Uncle Harry – review
By Thomas Job
The fashion set by Mr Patrick Hamilton in Gas Light of giving murder the glamour of period clothes and manners still holds sway… but Harry Quincey who poisoned one sister, fastened the crime on to another and begged her in vain to release him from the burden of guilt is both in and of the late Edwardian period… The murderer is like one of Mr HG Wells early heroes… The piece is a fine all-round opportunity for character acting, and the whole company is admirably equal to the opportunity.. Miss Beatrix Lehmann gives the utmost plausibility to a sister’s triumphantly possessive affections which is shocked into a cruel indifference…
Monday, Apr 03, 1944 Tuesday, Apr 04, 1944; Thursday, Apr 06, 1944; Saturday, Apr 08, 1944 Monday, Apr 10, 1944 Tuesday, Apr 11, 1944; Thursday, Apr 13, 1944; Saturday, Apr 15, 1944; Tuesday, Apr 18, 1944 Thursday, Apr 20, 1944; Friday, Apr 21, 1944; Monday, Apr 24, 1944; Tuesday, Apr 25, 1944; Tuesday, May 09, 1944; Wednesday, May 10, 1944; Monday, May 15, 1944; Tuesday, May 16, 1944; Thursday, May 18, 1944; Monday, May 22, 1944 Thursday, May 25, 1944; Friday, May 26, 1944; Monday, May 29, 1944; Tuesday, Jun 06, 1944; Monday, Jun 12, 1944 Tuesday, Jun 13, 1944; Saturday, Jun 17, 1944; Monday, Jun 19, 1944 Friday, Jun 23, 1944
Garrick – Uncle Harry - ad
Billed 2nd after Michael Redgrave
Saturday, Sep 09, 1944;
News in brief – Uncle Harry by Thomas Job resumed its run at the Garrick Theatre on Thursday evening after a break of several weeks cause by the flying bomb raids! Mr Michael Redgrave and Miss Beatrix Lehmann again play the leading parts.
St Martin’s Theatre – Jam To-day – review
Ilona benson is the kind of wife this particular theme may most conveniently bestow upon an amiably pompous archaeologist who is often absent from home. Reluctantly she yields to every temptation, knowing all the while that the authors have provider her with a tiny inexhaustible reserve … it is all her husband’s fault for making such a fuss…Miss Beatrix Lehmann who has hitherto seemed to specialize in the portrayal of queer tortured mentalities, brings her usual accomplishment to the comparatively simple technical problem of the frivolous suburban wife. The result is charm of an intensity much in excess of the requirements, but since such nicety of adjustment is not among the requirements, no great harm is done.
Monday, Feb 23, 1942; Tuesday, Feb 24, 1942; Wednesday, Feb 25, 1942 Thursday, Feb 26, 1942; Monday, Mar 02, 1942; Tuesday, Mar 03, 1942; Thursday, Mar 05, 1942; Friday, Mar 06, 1942; Saturday, Mar 07, 1942; Monday, Mar 09, 1942; Wednesday, Mar 11, 1942 Thursday, Mar 12, 1942; Friday, Mar 13, 1942; Saturday, Mar 14, 1942; Tuesday, Mar 17, 1942 Saturday, Mar 21, 1942; Tuesday, Mar 24, 1942; Wednesday, Mar 25, 1942 Friday, Mar 27, 1942; Monday, Mar 30, 1942; Wednesday, Apr 01, 1942; Saturday, Apr 04, 1942; Tuesday, Apr 07, 1942; Thursday, Apr 09, 1942; Friday, Apr 10, 1942; Saturday, Apr 11, 1942; Monday, Apr 13, 1942 Tuesday, Apr 14, 1942 Thursday, Apr 16, 1942; Friday, Apr 17, 1942 Saturday, Apr 18, 1942 Tuesday, Apr 21, 1942;
St Martin’s Theatre – Jam To-day – ad (top billing) “a new comedy”
Wednesday, Apr 22, 1942;
Provincial Theatre Council
The Provincial Theatre Council which is to secure cooperation between managers and artists for the safeguarding and development of the theatre, was inaugurated at a meeting of the Ministry of Labour and National Service yesterday. Provincial managers will engage only artists approved by the council, and artists will work only for approved managers. A minimum wage of £3 a week is guaranteed to all artists, as well as rehearsal pay and limitations in the number of “weeks out”. – Miss Beatrix Lehmann (and 6 others) for the artists.
Wednesday, Apr 22, 1942; Friday, Apr 24, 1942; Friday, Apr 24, 1942, Saturday, Apr 25, 1942; Tuesday, Apr 28, 1942; Wednesday, Apr 29, 1942; Friday, May 01, 1942; Monday, May 04, 1942; Tuesday, May 05, 1942; Wednesday, May 06, 1942; Friday, May 08, 1942;
St Martin’s Theatre – Jam To-day – ad (top billing) “a new comedy”
Thursday, Nov 26, 1942;
British Drama league – poetry reading by Miss Beatrix Lehmann in aid of Mrs. Churchill’s aid to Russia fun, 9 Fitzory Square.
Friday, Nov 27, 1942;
Sunday performances – to the editor of the times.
Owing to the persistent action taken by the Lord’s Day Observance Society in upholding the law passed in 1677 and never repealed or adjusted to modern requirements, we, the undersigned, which to state with regret that we are not allowed to give stage performances for any charity, or performance to which money is subscribed on any Sunday. – signed (including Miss Beatrix Lehmann)
Monday, Jun 21, 1943; Tuesday, Jun 22, 1943; Wednesday, Jun 23, 1943;
Duke of York’s – Ghosts
Beatrix Lehmann in an entirely new production of ghosts – ad
Saturday, Jun 26, 1943
Duke of York’s – Ghosts
Ibsen English version by Norman Ginsbury
Miss Beatrix Lehmann is poorly supported while she flashes the realities of the past before the Pastor’s shocked eyes. Mr Edward Byrne at no time suggests (actual bad review) ML’s performance suffers from this tame start and it is not until the final scene, which she and Mr John Carol play with excellent judgement that Mrs Alving comes to life. For the rest of the time her playing is colourlessly correct, and there is neither warmth in her regrets for the fatal slowness with which she has learned to think for herself nor passion in the apprehension with which she sees the past beginning to repeat itself. She is less a tragic heroine than the luckless heroine of a thriller, and the quality of the tension throughout the evening is that of a thriller which obstinately refuses to thrill. Mr Denis Arundell’s production is as commonplace as the lighting, which switches abruptly from the sunniness appropriate of a summer resort to claustrophobic gloom.
Monday, Jun 28, 1943; Thursday, Jul 01, 1943; Friday, Jul 02, 1943; Saturday, Jul 03, 1943; Wednesday, Jul 07, 1943; Tuesday, Jul 20, 1943; Monday, Jul 26, 1943; Tuesday, Aug 10, 1943; Saturday, Aug 14, 1943 Thursday, Aug 19, 1943
Duke of York’s – Ghosts
Beatrix Lehmann in an entirely new production of ghosts – ad “brilliant entertainment
5 October 1943, recording at BBC with Guy Burgess
Late rehearsal of Miss Lehmann & coming in to attend transmission at 11.55 pm. Dinner allowance entertaining Miss Lehmann made necessary by midnight broadcast and late rehearsal. (BBC archives http://www.bbc.co.uk/archive/burgess/7711.shtml)
Tuesday, Mar 28, 1944; Wednesday, Mar 29, 1944;
Garrick – Uncle Harry - ad programme
Builled 2nd after Michael Redgrave
Thursday, Mar 30, 1944
Garrick – Uncle Harry – review
By Thomas Job
The fashion set by Mr Patrick Hamilton in Gas Light of giving murder the glamour of period clothes and manners still holds sway… but Harry Quincey who poisoned one sister, fastened the crime on to another and begged her in vain to release him from the burden of guilt is both in and of the late Edwardian period… The murderer is like one of Mr HG Wells early heroes… The piece is a fine all-round opportunity for character acting, and the whole company is admirably equal to the opportunity.. Miss Beatrix Lehmann gives the utmost plausibility to a sister’s triumphantly possessive affections which is shocked into a cruel indifference…
Monday, Apr 03, 1944 Tuesday, Apr 04, 1944; Thursday, Apr 06, 1944; Saturday, Apr 08, 1944 Monday, Apr 10, 1944 Tuesday, Apr 11, 1944; Thursday, Apr 13, 1944; Saturday, Apr 15, 1944; Tuesday, Apr 18, 1944 Thursday, Apr 20, 1944; Friday, Apr 21, 1944; Monday, Apr 24, 1944; Tuesday, Apr 25, 1944; Tuesday, May 09, 1944; Wednesday, May 10, 1944; Monday, May 15, 1944; Tuesday, May 16, 1944; Thursday, May 18, 1944; Monday, May 22, 1944 Thursday, May 25, 1944; Friday, May 26, 1944; Monday, May 29, 1944; Tuesday, Jun 06, 1944; Monday, Jun 12, 1944 Tuesday, Jun 13, 1944; Saturday, Jun 17, 1944; Monday, Jun 19, 1944 Friday, Jun 23, 1944
Garrick – Uncle Harry - ad
Billed 2nd after Michael Redgrave
Saturday, Sep 09, 1944;
News in brief – Uncle Harry by Thomas Job resumed its run at the Garrick Theatre on Thursday evening after a break of several weeks cause by the flying bomb raids! Mr Michael Redgrave and Miss Beatrix Lehmann again play the leading parts.
Monday, Jan 01, 1945;
On January 11 … A theatre conference lasting till the end of the week will open at 1 Grosvenor place speakers include Miss Beatrix Lehmann (The ONLY woman listed!)
Friday, Apr 06, 1945;
Heart of Oak – Albert Hall pageant of the Royal Navy – Beatrix Lehmann one of the narrators.
Tuesday, Mar 19, 1946;
Taking the theatre to Midland towns,
Arts council Midland theatre company will give it’s fist performance (a permanent company based in Coventry), Miss Beatrix Lehmann is to be the director-producer and the first production will be Lennox Robinson’s the round table.
Wednesday, Jun 19, 1946
Equity and the BBC
The Council of the British Actors Equity Association met in London yesterday to discuss the employment of British actors and actresses for television and broadcast performances. … because of its monopoly the BBC was able to lay down cheap fees. A committee consisting of Miss Beatrix Lehmann, (and others, ALL men) was appointed to inquire into the subject and submit a report to the council.
Monday, Jul 08, 1946; Programme and audio online
Vicious Circle – a translation by Miss Marjorie Gabain and Miss Joan Swinstead of Huis Clos by Satre. Will open at the Arts Theatre after a two year run in Paris. The cast will include Miss Betty Ann Davies, Mr Alec Guiness and Miss Beatrix Lehmann (Check this for Alec guiness book too)
Wednesday, Jul 17, 1946;
Arts Theatre – Vicious Circle (Huis CLos)
Two women and one man in hell, French naturalistic drama (In her Times obituary it mentions that Beatrix is playing a lesbian character not mentioned in the review)
It would not seem to have touched the imagination of Mr Peter Brooke whose production is not particularly helpful to the test. Should not the few sticks of Second Empire furniture stand out in the ghastly glare of unshaded electric light? The dialogue is urbane and should hell be quite so cosy? Mr Alec Guiness, Miss Beatrix Lehmann and in a lesser degree, Miss Betty Ann Davies giver performances which admirable as they are, seem not quite to catch the passionately French delight in logic on which the ingenuity of the piece depends.
Monday, Oct 07, 1946;
Arts Theatre – On the way by Helge Krog (Norweigan play)
Produced by Miss Beatrix Lehmann
Monday, Dec 02, 1946;
Arts Theatre – George Lillo’s play Fatal Curiosity – revived under the direction of Miss Beatrix Lehmann
Friday, Dec 06, 1946;
Arts Theatre – The Fatal Curiosity – review
performed in 1736 originally The producer, Miss Beatrix Lehmann invited titters, yet only half heartedly … burlesque … It is somehow degrading to be asked to titter at writing which is manifestly good writing within an outworn convention.
Wednesday, Jan 08, 1947;
Stratford Festival for 1947 Sir Barry Jackson directing a company of 50 players headed by Miss Beatrix Lehmann, Mr Robert Harris and Mr Walter Hudd.
Monday, Mar 17, 1947;
Stratford Festival
Miss Beatrix Lehmann will be the nurse in Romeo and Juliet
Monday, Mar 31, 1947;
Stratford Festival – opening play Romeo and Juliet Miss Beatrix Lehmann who has been secured for the whole season will be seen as the nurse
Wednesday, Apr 02, 1947
Shakespeare Memorial Theatre 1947 festival
Poster style ad – Beatrix Lehmann top billing
Monday, Apr 07, 1947
Stratford festival – Romeo and Juliet review
It can scarcely be said that any of the actors come notably to the rescue of their produce. Miss Beatrix Lehmann’s nurse looking like a Tennial drawing, is a somewhat dry caricature…
Monday, Apr 14, 1947
Startford Festival – Measure for Measure review
Miss Beatrix Lehmann is betrayed by a quality of voice more attuned to Ibsen than to Shakespeare into making her seem one.
Monday, Apr 21, 1947
Stratford on Wednesday Miss Beatrix Lehmann as Viola in Twelfth night
Thursday, Apr 24, 1947
Stratford Festival – Twelfth night – Viola
She has a fixed and tragic mask, beautiful enough, even noble but tragical even in smiling, so that it is nothing like the face of a girl whose sadness comes from events, not temperament, and who can preen herself in the midst of what we should now call her depression, over some turn of phrase or verbal victory. Miss Lehmann’s Viola is not without its fascination – that “dark” voice enhances any hint of disillusion, in the spirit of one who knows Tchekov and Proust – but it is never the author’s.
Saturday, May 31, 1947
Poster add for Stratford Festival
On January 11 … A theatre conference lasting till the end of the week will open at 1 Grosvenor place speakers include Miss Beatrix Lehmann (The ONLY woman listed!)
Friday, Apr 06, 1945;
Heart of Oak – Albert Hall pageant of the Royal Navy – Beatrix Lehmann one of the narrators.
Tuesday, Mar 19, 1946;
Taking the theatre to Midland towns,
Arts council Midland theatre company will give it’s fist performance (a permanent company based in Coventry), Miss Beatrix Lehmann is to be the director-producer and the first production will be Lennox Robinson’s the round table.
Wednesday, Jun 19, 1946
Equity and the BBC
The Council of the British Actors Equity Association met in London yesterday to discuss the employment of British actors and actresses for television and broadcast performances. … because of its monopoly the BBC was able to lay down cheap fees. A committee consisting of Miss Beatrix Lehmann, (and others, ALL men) was appointed to inquire into the subject and submit a report to the council.
Monday, Jul 08, 1946; Programme and audio online
Vicious Circle – a translation by Miss Marjorie Gabain and Miss Joan Swinstead of Huis Clos by Satre. Will open at the Arts Theatre after a two year run in Paris. The cast will include Miss Betty Ann Davies, Mr Alec Guiness and Miss Beatrix Lehmann (Check this for Alec guiness book too)
Wednesday, Jul 17, 1946;
Arts Theatre – Vicious Circle (Huis CLos)
Two women and one man in hell, French naturalistic drama (In her Times obituary it mentions that Beatrix is playing a lesbian character not mentioned in the review)
It would not seem to have touched the imagination of Mr Peter Brooke whose production is not particularly helpful to the test. Should not the few sticks of Second Empire furniture stand out in the ghastly glare of unshaded electric light? The dialogue is urbane and should hell be quite so cosy? Mr Alec Guiness, Miss Beatrix Lehmann and in a lesser degree, Miss Betty Ann Davies giver performances which admirable as they are, seem not quite to catch the passionately French delight in logic on which the ingenuity of the piece depends.
Monday, Oct 07, 1946;
Arts Theatre – On the way by Helge Krog (Norweigan play)
Produced by Miss Beatrix Lehmann
Monday, Dec 02, 1946;
Arts Theatre – George Lillo’s play Fatal Curiosity – revived under the direction of Miss Beatrix Lehmann
Friday, Dec 06, 1946;
Arts Theatre – The Fatal Curiosity – review
performed in 1736 originally The producer, Miss Beatrix Lehmann invited titters, yet only half heartedly … burlesque … It is somehow degrading to be asked to titter at writing which is manifestly good writing within an outworn convention.
Wednesday, Jan 08, 1947;
Stratford Festival for 1947 Sir Barry Jackson directing a company of 50 players headed by Miss Beatrix Lehmann, Mr Robert Harris and Mr Walter Hudd.
Monday, Mar 17, 1947;
Stratford Festival
Miss Beatrix Lehmann will be the nurse in Romeo and Juliet
Monday, Mar 31, 1947;
Stratford Festival – opening play Romeo and Juliet Miss Beatrix Lehmann who has been secured for the whole season will be seen as the nurse
Wednesday, Apr 02, 1947
Shakespeare Memorial Theatre 1947 festival
Poster style ad – Beatrix Lehmann top billing
Monday, Apr 07, 1947
Stratford festival – Romeo and Juliet review
It can scarcely be said that any of the actors come notably to the rescue of their produce. Miss Beatrix Lehmann’s nurse looking like a Tennial drawing, is a somewhat dry caricature…
Monday, Apr 14, 1947
Startford Festival – Measure for Measure review
Miss Beatrix Lehmann is betrayed by a quality of voice more attuned to Ibsen than to Shakespeare into making her seem one.
Monday, Apr 21, 1947
Stratford on Wednesday Miss Beatrix Lehmann as Viola in Twelfth night
Thursday, Apr 24, 1947
Stratford Festival – Twelfth night – Viola
She has a fixed and tragic mask, beautiful enough, even noble but tragical even in smiling, so that it is nothing like the face of a girl whose sadness comes from events, not temperament, and who can preen herself in the midst of what we should now call her depression, over some turn of phrase or verbal victory. Miss Lehmann’s Viola is not without its fascination – that “dark” voice enhances any hint of disillusion, in the spirit of one who knows Tchekov and Proust – but it is never the author’s.
Saturday, May 31, 1947
Poster add for Stratford Festival
Monday, Jul 07, 1947
Stratford Festival – Merchant of Venice Miss Beatrix Lehmann as Portia.
Festival has already been attended by over 103,000 people.
Monday, Jul 14, 1947
Stratford Festival – Merchant of Venice – review
Miss Beatrix Lehmann gives us a Portia in silver point. It is beautifully done in its way but inevitably the warmth and golden gaiety of the Lady of Belmont are somewhat rarefied. She is most effective in the trial scene, playing the cards up her sleeve with an incisiveness that would have extorted the shocked admiration of the famous lawyer she is impersonating, but here alas her effectiveness blunts itself against the unyielding wood of Shylock.
Friday, Sep 05, 1947
Stratford company to act in London
Twelfth Night with Miss Beatrix Lehmann as Viola (doesn't say if will reprise other roles)
Attended by over 206,000 people in Stratford.
Thursday, Oct 09, 1947;
Her Majesty’s Theatre – Twelfth Night
The production now seems very much better than when it was first staged in Stratford in April. Miss Beatrix Lehmann is still not an ideal Viola, but she takes the part more lightly and is no longer so extraordinary in-apposite as she seemed then.
Wednesday, Jul 14, 1948;
St James Theatre - No Trees in the Street a new play by Mr Ted Wills on July 27 with Miss Beatrix Lehmann in the leading part.
Stratford Festival – Merchant of Venice Miss Beatrix Lehmann as Portia.
Festival has already been attended by over 103,000 people.
Monday, Jul 14, 1947
Stratford Festival – Merchant of Venice – review
Miss Beatrix Lehmann gives us a Portia in silver point. It is beautifully done in its way but inevitably the warmth and golden gaiety of the Lady of Belmont are somewhat rarefied. She is most effective in the trial scene, playing the cards up her sleeve with an incisiveness that would have extorted the shocked admiration of the famous lawyer she is impersonating, but here alas her effectiveness blunts itself against the unyielding wood of Shylock.
Friday, Sep 05, 1947
Stratford company to act in London
Twelfth Night with Miss Beatrix Lehmann as Viola (doesn't say if will reprise other roles)
Attended by over 206,000 people in Stratford.
Thursday, Oct 09, 1947;
Her Majesty’s Theatre – Twelfth Night
The production now seems very much better than when it was first staged in Stratford in April. Miss Beatrix Lehmann is still not an ideal Viola, but she takes the part more lightly and is no longer so extraordinary in-apposite as she seemed then.
Wednesday, Jul 14, 1948;
St James Theatre - No Trees in the Street a new play by Mr Ted Wills on July 27 with Miss Beatrix Lehmann in the leading part.
Tuesday, Jul 20, 1948
British Theatre Group production of No Trees in the Street, July 27 with Miss Beatrix Lehmann in the cast.
Saturday, Jul 24, 1948 Tuesday, Jul 27, 1948
St James Theatre – No Trees in the Street with Beatrix Lehmann – ad
Wednesday, Jul 28, 1948
St James Theatre – No Trees in the Street by Ted Willis – review
Professedly this piece is a social document written in the spirit of Love on the dole, but it has neither the veracity nor the emotional power of its prototype. … tenement life in the East London youthful ideals wither and golden lads and lasses become killers and prostitutes… Miss Beatrix Lehmann squaring up to the vile mother as though she were playing Long John Silver to children at Christmas, accepts all the invitations that come her way.
Monday, Aug 02, 1948;
St James Theatre – No Trees in the Street with Beatrix Lehmann – ad
(went on to be performed at the Bristol Old Vic)
Monday, Mar 21, 1949
Mention of They Walk alone revival and originally played by Miss Beatrix Lehmann
British Theatre Group production of No Trees in the Street, July 27 with Miss Beatrix Lehmann in the cast.
Saturday, Jul 24, 1948 Tuesday, Jul 27, 1948
St James Theatre – No Trees in the Street with Beatrix Lehmann – ad
Wednesday, Jul 28, 1948
St James Theatre – No Trees in the Street by Ted Willis – review
Professedly this piece is a social document written in the spirit of Love on the dole, but it has neither the veracity nor the emotional power of its prototype. … tenement life in the East London youthful ideals wither and golden lads and lasses become killers and prostitutes… Miss Beatrix Lehmann squaring up to the vile mother as though she were playing Long John Silver to children at Christmas, accepts all the invitations that come her way.
Monday, Aug 02, 1948;
St James Theatre – No Trees in the Street with Beatrix Lehmann – ad
(went on to be performed at the Bristol Old Vic)
Monday, Mar 21, 1949
Mention of They Walk alone revival and originally played by Miss Beatrix Lehmann
Thursday, 2 October 2014
Beatrix Lehmann's plays in the 1930s
Gone to Earth by Mary Webb, Players theatre, Beatrix as the heroine (Now that I would have LOVED to have seen) Swanage Rep company
Thursday, Jun 11, 1931
Late night final by Louis Wiezenkorn at the Phoenix Theatre
26 speaking parts
Late night final by Louis Wiezenkorn at the Phoenix Theatre
Luella Carmody (listed 11th)
Miss Beatrix Lehmann’s reporter was a hard, fierce sketch
Thursday, Apr 20, 1933;
Sutton Vane’s play Overture
Monday, May 22, 1933
Wild Decembers by Miss Clemence Dane (about the Bronte’s)
Beatrix as Emily (of course!)
Thursday, Aug 17, 1933, Wednesday, Aug 23, 1933 Saturday, Aug 26, 1933 Friday, Sep 01, 1933 Tuesday, Sep 05, 1933; Thursday, Sep 07, 1933 Wednesday, Sep 13, 1933 Friday, Sep 15, 1933; Saturday, Sep 16, 1933 Tuesday, Sep 19, 1933 Wednesday, Sep 20, 1933 Saturday, Sep 23, 1933; Tuesday, Sep 26, 1933 Saturday, Sep 30, 1933 Monday, Oct 02, 1933 Wednesday, Oct 04, 1933 Friday, Oct 06, 1933 Monday, Oct 16, 1933;
Miss Beatrix Lehmann’s reporter was a hard, fierce sketch
Sutton Vane’s play Overture
Wild Decembers by Miss Clemence Dane (about the Bronte’s)
Beatrix as Emily (of course!)
The Wandering Jew at the Princes theatre
Thursday, Oct 19, 1933;
The Tudor Wench – Embassy Theatre (Programme seen at Bristol)
Playing Elizabeth R (as a girl even though Peggy’s in her 30s!)
Monday, Oct 23, 1933 Tuesday, Oct 24, 1933;
Tuesday, Oct 24, 1933; (Includes cast photo which is GORGEOUS) Wednesday, Nov 01, 1933 Saturday, Nov 04, 1933 Wednesday, Nov 08, 1933 Saturday, Nov 11, 1933
Tudor Wench – Embassy Theatre
Thursday, Nov 16, 1933
Tudor wench – Embassy Theatre ad with reviews
Tonight, 8.30, mats weds sats
The Tudor Wench by Elswyth Thane
Miss Beatrix Lehmann’s mingling of hardness and tenderness of ambition and romanticism always seems perfectly right – the times (though review didn’t come up in search)
A play of high interest and a performance by Miss Beatrix Lehmann's of race perception and authentic power – the observer
It was a magnificent part for Beatrix Lehmann and magnificently she played it – evening standard
This interesting play should be transferred to the west End – Sunday express…
(and more saying it should transfer)
Friday, Nov 17, 1933;
Alhambra Theatre – The Tudor wench – Elizabeth
“This story of the girlhood of Queen Elizabeth presented a few weeks ago for a short season at the Embassy theatre clearly deserved to be given a fresh chance on a more central stage. If there had been no other reason Miss Beatrix Lehmann’s portrait of the Princess would have sufficed. In this vigorous and perceptive performance are suggestions of many of those qualities, male courage, female evasiveness, strength, cunning, grace and dignity – which even modern biographers can reconcile only with difficulty, so that watching ML we are persuaded no merely by the facial likeness, which is always striking, but by her general attitude to life that this is the kind of girl Elizabeth must have been. … at the end we are tempted to believe that ML has imposed her portrait on the text of the play itself. If indeed she has, it is a piece of great good fortune for the author. … Awkward thought the transition may be, it enable ML to show us Elizabeth turning from a romance that failed her and from the scatterbrained conspiracies of Seymour and his followers to grope for a vision of an England given greatness under her own rule.
All dates taken from articles in the Times that mention Beatrix Lehamann
Friday, Nov 17, 1933
Alhambra – The Tudor Wench -
Saturday, Nov 18, 1933;
The Tudor Wench – Embassy Theatre (Programme seen at Bristol)
Playing Elizabeth R (as a girl even though Peggy’s in her 30s!)
Tuesday, Oct 24, 1933; (Includes cast photo which is GORGEOUS) Wednesday, Nov 01, 1933 Saturday, Nov 04, 1933 Wednesday, Nov 08, 1933 Saturday, Nov 11, 1933
Tudor Wench – Embassy Theatre
Tudor wench – Embassy Theatre ad with reviews
Tonight, 8.30, mats weds sats
The Tudor Wench by Elswyth Thane
Miss Beatrix Lehmann’s mingling of hardness and tenderness of ambition and romanticism always seems perfectly right – the times (though review didn’t come up in search)
A play of high interest and a performance by Miss Beatrix Lehmann's of race perception and authentic power – the observer
It was a magnificent part for Beatrix Lehmann and magnificently she played it – evening standard
This interesting play should be transferred to the west End – Sunday express…
(and more saying it should transfer)
Alhambra Theatre – The Tudor wench – Elizabeth
“This story of the girlhood of Queen Elizabeth presented a few weeks ago for a short season at the Embassy theatre clearly deserved to be given a fresh chance on a more central stage. If there had been no other reason Miss Beatrix Lehmann’s portrait of the Princess would have sufficed. In this vigorous and perceptive performance are suggestions of many of those qualities, male courage, female evasiveness, strength, cunning, grace and dignity – which even modern biographers can reconcile only with difficulty, so that watching ML we are persuaded no merely by the facial likeness, which is always striking, but by her general attitude to life that this is the kind of girl Elizabeth must have been. … at the end we are tempted to believe that ML has imposed her portrait on the text of the play itself. If indeed she has, it is a piece of great good fortune for the author. … Awkward thought the transition may be, it enable ML to show us Elizabeth turning from a romance that failed her and from the scatterbrained conspiracies of Seymour and his followers to grope for a vision of an England given greatness under her own rule.
Friday, Nov 17, 1933
Alhambra – The Tudor Wench -
Saturday, Nov 18, 1933;
Alhambra – The Tudor Wench (ad with reviews)
" Watching Miss Lehmann we are persuaded not merely by the
facial likeness, whichi s always striking, but by her general attitude to life
that this is the kind of girl Elizabeth
must have been – the Times
Tuesday, Nov 21, 1933 Wednesday, Nov 22, 1933;
Thursday, Nov 23, 1933 Saturday, Nov 25, 1933 Monday, Nov 27, 1933; Thursday, Nov 30, 1933 Friday, Dec 01, 1933 Saturday, Dec 02, 1933 Monday, Dec 04, 1933 Tuesday, Dec 05, 1933; Wednesday, Dec 06, 1933 Thursday, Dec 07, 1933 Friday, Dec 08, 1933 Saturday, Dec 09, 1933
Monday, Dec 11, 1933
Alhambra – The Tudor Wench - ad
Tuesday, Jan 30, 1934
Wild Decembers a play about the Brontes (Emily) Broadcast on the radio
Monday, Feb 12, 1934;
Cambridge theatre present Success story by John Howard Lawson about American big business,
Is the sensitive performance of Beatrix Lehmann as the young Elizabeth which gives the production its
quality – daily telegraph
Miss Beatrix Lehmann repeats her brilliant performance as
Elizabeth, princess of England . – morning post
Beatrix Lehmann as Elizabeth
displays tenderness and romanticism a really thrilling duel adds to the
interest of the play – daily mirror
Miss Lehmann’s fine acting, the exciting due and Mr Derrick
de Marney’s graceful performance deserve as wide an audience as they can get –
evening news
Thursday, Nov 23, 1933 Saturday, Nov 25, 1933 Monday, Nov 27, 1933; Thursday, Nov 30, 1933 Friday, Dec 01, 1933 Saturday, Dec 02, 1933 Monday, Dec 04, 1933 Tuesday, Dec 05, 1933; Wednesday, Dec 06, 1933 Thursday, Dec 07, 1933 Friday, Dec 08, 1933 Saturday, Dec 09, 1933
Monday, Dec 11, 1933
Alhambra – The Tudor Wench - ad
Wild Decembers a play about the Brontes (Emily) Broadcast on the radio
Monday, Feb 12, 1934;
Cambridge theatre present Success story by John Howard Lawson about American big business,
Beatrix only new member in cast from Fulham Shilling Theatre
Tuesday, Feb 13, 1934 Wednesday, Feb 14, 1934 Thursday, Feb 15, 1934;
Success story – despite other article saying different actresses had the lead Beatrix is given 2nd billing showing her draw
Friday, Feb 16, 1934
Cambridge Theatre – Success story review
Sarah Glassman – top billing
Passion, Marxism and wall street
Miss Beatrix Lehmann the nice restraint proper to the least talkative and most human person in the piece
Friday, Feb 16, 1934 Thursday, Feb 22, 1934 Friday, Feb 23, 1934 Saturday, Feb 24, 1934 Wednesday, Feb 28, 1934; Friday, Mar 02, 1934
Cambridge Theatre – Success story
Thursday, Apr 26, 1934
Ibsen’s play The Master Builder transferred to the Embassy, Only newcomer to the cast will be MissBeatrix Lehmann who will succeed Miss Margaret Webster in the part of Hilde Wangel.
Monday, Apr 30, 1934 Monday, May 07, 1934 Tuesday, May 08, 1934 Friday, May 11, 1934 Saturday, May 12, 1934
Ibsen’s the Master Builder ad
Beatrix gets top billing! (again)
Monday, Jul 16, 1934
J.B. Priestly’s new play Eden End at the Duchess Theatre from September 13, Miss Beatrix Lehmann will be in the cast, The action of the piece takes place in 1912.
Monday, Sep 10, 1934
Duchess Theatre Eden End – Duchess ad
Tuesday, Feb 13, 1934 Wednesday, Feb 14, 1934 Thursday, Feb 15, 1934;
Success story – despite other article saying different actresses had the lead Beatrix is given 2nd billing showing her draw
Friday, Feb 16, 1934
Cambridge Theatre – Success story review
Sarah Glassman – top billing
Passion, Marxism and wall street
Miss Beatrix Lehmann the nice restraint proper to the least talkative and most human person in the piece
Friday, Feb 16, 1934 Thursday, Feb 22, 1934 Friday, Feb 23, 1934 Saturday, Feb 24, 1934 Wednesday, Feb 28, 1934; Friday, Mar 02, 1934
Cambridge Theatre – Success story
Ibsen’s play The Master Builder transferred to the Embassy, Only newcomer to the cast will be MissBeatrix Lehmann who will succeed Miss Margaret Webster in the part of Hilde Wangel.
Ibsen’s the Master Builder ad
Beatrix gets top billing! (again)
J.B. Priestly’s new play Eden End at the Duchess Theatre from September 13, Miss Beatrix Lehmann will be in the cast, The action of the piece takes place in 1912.
Duchess Theatre Eden End – Duchess ad
Friday, Sep 14, 1934
Duchess Theatre – Eden End – review
Beatrix 5th as Stella Kirby – a prodigal sister who ran away some years ago to be an actress and has failed, discussions, a little drunkenness ... her husband with a pale flicker of dead romance are on the road again.
Miss Beatrix Lehmann seems to be arguing her way towards a climax that does not come. (closest thing to criticism in any of her reviews)
Friday, Sep 14, 1934
Duchess Theatre Eden End ad (2nd billing)
Wednesday, Sep 19, 1934 Thursday, Sep 20, 1934 Friday, Sep 21, 1934 Monday, Sep 24, 1934
Duchess Theatre Eden End (with ads just all for author of play)
Monday, Sep 24, 1934
Daly’s Theatre – Green Room Rag (on 23)
12 series of these charitable entertainments, It’s shortcomings, however, which were mainly due to the understandable defect of under-rehearsal, were offset by some brilliancies. Among these first place must be given to E.F. Watling’s sketch French as she is learnt, the author has neatly adapted the demure language of the travellers phrasebook to the treatment of a scene of illicit passion. And Mr Edward Chapman, Miss Beatrix Lehmann, Mr Ralph Richardson and Miss Margaret Yarde have captured the precise shade of dress, gesture and intonation that may be supposed to be natural to the natives of phrasebook land.
Tuesday, Sep 25, 1934 Wednesday, Sep 26, 1934 Thursday, Sep 27, 1934; Friday, Sep 28, 1934 Saturday, Sep 29, 1934; Monday, Oct 01, 1934 Thursday, Oct 04, 1934 Saturday, Oct 06, 1934 Monday, Oct 08, 1934 Tuesday, Oct 09, 1934 Wednesday, Oct 10, 1934 Thursday, Oct 11, 1934 Friday, Oct 12, 1934 Saturday, Oct 13, 1934 Monday, Oct 15, 1934 Tuesday, Oct 16, 1934 Wednesday, Oct 17, 1934 Saturday, Oct 20, 1934 Monday, Oct 22, 1934 Tuesday, Oct 23, 1934 Wednesday, Oct 24, 1934; Friday, Oct 26, 1934 Saturday, Oct 27, 1934 Monday, Oct 29, 1934 Friday, Nov 02, 1934 Saturday, Nov 03, 1934 Monday, Nov 05, 1934 Tuesday, Nov 06, 1934 Thursday, Nov 08, 1934; Friday, Nov 09, 1934 Monday, Nov 12, 1934 Wednesday, Nov 14, 1934 Thursday, Nov 15, 1934 Friday, Nov 16, 1934 Saturday, Nov 17, 1934 Monday, Nov 19, 1934 Tuesday, Nov 20, 1934 Wednesday, Nov 21, 1934 Friday, Nov 23, 1934 Saturday, Nov 24, 1934 Monday, Nov 26, 1934 Wednesday, Nov 28, 1934 Thursday, Nov 29, 1934 Friday, Nov 30, 1934 Saturday, Dec 01, 1934 Friday, Dec 07, 1934 Saturday, Dec 08, 1934 Monday, Dec 10, 1934 Tuesday, Dec 11, 1934 Wednesday, Dec 12, 1934 Thursday, Dec 13, 1934 Monday, Dec 17, 1934 Tuesday, Dec 18, 1934 Wednesday, Dec 19, 1934 Thursday, Dec 20, 1934 Saturday, Dec 22, 1934 Monday, Dec 24, 1934 Thursday, Dec 27, 1934; Friday, Dec 28, 1934 Saturday, Dec 29, 1934 Tuesday, Jan 01, 1935 Thursday, Jan 03, 1935 Friday, Jan 04, 1935 Monday, Jan 07, 1935 Tuesday, Jan 08, 1935 Wednesday, Jan 09, 1935 (last notice) (ran Sept 1934-Jan 1935)
Duchess Theatre – Eden End
Friday, Aug 16, 1935;
On radio in Pleasant portion
Thursday, Feb 06, 1936
Various heavens a new play by Mr Hugh Ross Williamson at the Gate
Miss Beatrix Lehmann will return to the stage in .. Her part will be that of a woman in her 30s faced with the conflicting claims of a lover several years younger than herself, her religion and her work.
Monday, Feb 10, 1936
Gate – Various Heavens, Miss Beatrix Lehamnn will have the leading part in VH a new play by Mr Hugh Ross Williamson
Thursday, Feb 13, 1936
The Gate Theatre- Various Heavens – review
Beatrice plays Musgrave
Argues in the 3rd act that Beatrice should enter a religious community rather than re-accept her lover. His objection is that adultery is conter to her nature, Clearly an intelligently drawn, .. an attempt to present and discuss. A subject with which men and women outside the theatre are concerned.
The woman whose life is the key is no puppet, she is complex, persuasive and alive, and Miss Beatrix Lehmann’s portrayal of her, which most carefully and rightly avoids conventional display, is a genuinely revealing and progressive interpretation of her mind. … the play is enable to stand by its basic sincerity and by Miss Lehmann’s shrewd and subtle portraiture.
Thursday, Oct 22, 1936
Q Theatre Charlotte Corday in the French revolution,
Tuesday, Oct 27, 1936 - review
Q Theatre – Charlotte Corday
Role Charlotte Corday
The adventure of Charlotte Corday in assassinating Marat,
Miss Beatrix Lehmann with high intelligence and remarkable restraint gives life to Charlotte Corday within the limits that the dramatist has set. But the play leaves an impression of bareness and crudity, partly because Mr. Klein, in his treatment of the character, is more interested in labels than in analysis, but chiefly because the anecdote is less suited to naturalistic treatment…
Play of a witch and a devil and a man’s bigamous marriage
Monday, Dec 07, 1936 Tuesday, Dec 08, 1936
Old Vic – Witch of Edmonton ad (2nd Billing)
Wednesday, Dec 09, 1936 – review
Old Vic The witch of Edmonton by Thomas Dekker,
Winifred (2nd wife) – Beatrix Lehmann
It is stamped with sympathy for the outcast and suffering and is able to see always two sides of the human picture – even when the pictures is a villain or a witch… There are two stories connected by the most slender of links, one of Frank Thorney who marries two wives and murders the second; another of Mother Sawyer who sells her soul to the devil in retuf for power, as a witch, to be avenged on her enemies. The devil appears in the form of a gigantic water Spaniel. …
Miss Beatrix Lehmann plays an awkwardly confused part with a successful determination to give it a clear outline
Saturday, Dec 12, 1936; Wednesday, Dec 16, 1936; Thursday, Dec 17, 1936 Saturday, Dec 19, 1936 Tuesday, Dec 22, 1936; Wednesday, Dec 23, 1936; Tuesday, Dec 29, 1936
Old Vic Witch of Edmonton – ad
Thursday, Feb 18, 1937
Upcoming play First night with Beatrix Lehmann at the Arts Theatre
Friday, Mar 12, 1937
London Television, Alexandra Palace, Scenes from Twelfth night
Wednesday, Jul 07, 1937
Embassy theatre Up the garden path by Ireland Wood from a story by Richmal Crompton
Catherine Deveral, Beatrix Lehmann (listed last)
“old maids and odd women”… For the actor as well as the author there are more difficult and serious qualities to represent but both Miss Patricia Hiliard and MBL greatly assisted the author in keeping their characters well within their doll’s house and tactful polite or pleasing even in their criticism of it.”
Monday, Oct 18, 1937; Programme bought
Westminster theatre Mourning Becomes Electra by Eugene O’neill – Westminister theatre leading part to Beatrix Lehmann
Thursday, Nov 11, 1937
Westminster theatre Mourning becomes Electra – recently opened mention
Tuesday, Nov 16, 1937 Thursday, Nov 18, 1937
Westminster Theatre Mourning becomes Electra – ad (2nd billing)
Saturday, Nov 20, 1937 – review
Westminster Theatre Mourning becomes Electra by Eugene O’neill
Lavinia – Beatrix Lehmann
Tale of the Mannon family who live in New England in 1865…how the daughter Lavinia using her brother Orin as her instrument pursued Christine to her death and how at last Lavinia and Orin, haunted by their own guilt and possessed by the spirits of their dead mother and father, were driven into fearful loves and hates, Orin to die by his own hand, Lavinia to live on alone in the house of their doom…
Miss Beatrix Lehmann through Lavinia wear her mother’s dress, cannot grow into a resemblance of Miss Laura Vowie, but by her and by the whole Mannon tribe the difficulty is courageously faced. The perpetuation of an evil and pervasive spirit is communicated… MBL’s performance is a temptation to write an essay, so elaborate is it, so finished in detail, and yet so firmly simple in its outline. There are passages in which it is physically a trifle to rigid; the stiffness of body is intended and has reason behind it, but is carried too far. In all else ML’s study of the beating down of this determined girl by fate – a fate that dwells in her own blood – is of the highest rank. There is a terrible darkness behind its flame, and when the flame is quenced or hidden, it burns by its iciness.
Monday, Nov 22, 1937 Wednesday, Nov 24, 1937 Thursday, Nov 25, 1937; Saturday, Nov 27, 1937 Monday, Nov 29, 1937; Tuesday, Nov 30, 1937 Wednesday, Dec 01, 1937 Thursday, Dec 02, 1937; Friday, Dec 03, 1937 Saturday, Dec 04, 1937 Monday, Dec 06, 1937
Westminster Theatre Mourning becomes Electra – ad (2nd)
Saturday, Jan 01, 1938 –
The Theatre – summation of the previous theatrical year
“Several theatrical reputations have been greatly advanced… Miss Beatrix Lehmann gave a memorable performance with Mr Robert Harris in the O’Neill.
Thursday, Jan 20, 1938
New Theatre (transfer) Mourning becomes Electra - review
The central character, moreover, is not Aeschylus. Mr. O’Neill has concentrated the whole responsibility for the accumulated heritage of pelopid hate, not upon Orestes, but upon Electra, a terrible creation of ice and gall, superbly played by MBL. Where the torment of Orestes in the original proceeds from the pagan idea of pollution, here that of Electra, or Lavinia, derives from the sense of moral guilt and is intensified by the thought that the ineluctable punishment is perpetuation of the sin… In its English representation there is fine acting by Miss Laura Cowie and Mr Robert Harris, while that of Miss Lehmann is of the highest order of brilliance(!)
Monday, Jan 24, 1938
Photo from Mourning becomes Electra looking STUNNING
Saturday, Jan 29, 1938;
New Theatre - Mourning becomes Electra – ad 2nd billing
Thursday, Feb 17, 1938
Upcoming - Miss Rosamund Lehmann has dramatised her novel, no more music and the stage version will be presented at the London International Theatre Club at the Duke of York Theatre on Sunday week and two following Sundays. Miss Beatrix Lehmann who is at present appearing in Mr Eugene O’neills ... Miss Beatrix Lehmann will be seen in the leading part in her sister’s play,
Duchess Theatre – Eden End – review
Beatrix 5th as Stella Kirby – a prodigal sister who ran away some years ago to be an actress and has failed, discussions, a little drunkenness ... her husband with a pale flicker of dead romance are on the road again.
Miss Beatrix Lehmann seems to be arguing her way towards a climax that does not come. (closest thing to criticism in any of her reviews)
Friday, Sep 14, 1934
Duchess Theatre Eden End ad (2nd billing)
Wednesday, Sep 19, 1934 Thursday, Sep 20, 1934 Friday, Sep 21, 1934 Monday, Sep 24, 1934
Duchess Theatre Eden End (with ads just all for author of play)
Monday, Sep 24, 1934
Daly’s Theatre – Green Room Rag (on 23)
12 series of these charitable entertainments, It’s shortcomings, however, which were mainly due to the understandable defect of under-rehearsal, were offset by some brilliancies. Among these first place must be given to E.F. Watling’s sketch French as she is learnt, the author has neatly adapted the demure language of the travellers phrasebook to the treatment of a scene of illicit passion. And Mr Edward Chapman, Miss Beatrix Lehmann, Mr Ralph Richardson and Miss Margaret Yarde have captured the precise shade of dress, gesture and intonation that may be supposed to be natural to the natives of phrasebook land.
Tuesday, Sep 25, 1934 Wednesday, Sep 26, 1934 Thursday, Sep 27, 1934; Friday, Sep 28, 1934 Saturday, Sep 29, 1934; Monday, Oct 01, 1934 Thursday, Oct 04, 1934 Saturday, Oct 06, 1934 Monday, Oct 08, 1934 Tuesday, Oct 09, 1934 Wednesday, Oct 10, 1934 Thursday, Oct 11, 1934 Friday, Oct 12, 1934 Saturday, Oct 13, 1934 Monday, Oct 15, 1934 Tuesday, Oct 16, 1934 Wednesday, Oct 17, 1934 Saturday, Oct 20, 1934 Monday, Oct 22, 1934 Tuesday, Oct 23, 1934 Wednesday, Oct 24, 1934; Friday, Oct 26, 1934 Saturday, Oct 27, 1934 Monday, Oct 29, 1934 Friday, Nov 02, 1934 Saturday, Nov 03, 1934 Monday, Nov 05, 1934 Tuesday, Nov 06, 1934 Thursday, Nov 08, 1934; Friday, Nov 09, 1934 Monday, Nov 12, 1934 Wednesday, Nov 14, 1934 Thursday, Nov 15, 1934 Friday, Nov 16, 1934 Saturday, Nov 17, 1934 Monday, Nov 19, 1934 Tuesday, Nov 20, 1934 Wednesday, Nov 21, 1934 Friday, Nov 23, 1934 Saturday, Nov 24, 1934 Monday, Nov 26, 1934 Wednesday, Nov 28, 1934 Thursday, Nov 29, 1934 Friday, Nov 30, 1934 Saturday, Dec 01, 1934 Friday, Dec 07, 1934 Saturday, Dec 08, 1934 Monday, Dec 10, 1934 Tuesday, Dec 11, 1934 Wednesday, Dec 12, 1934 Thursday, Dec 13, 1934 Monday, Dec 17, 1934 Tuesday, Dec 18, 1934 Wednesday, Dec 19, 1934 Thursday, Dec 20, 1934 Saturday, Dec 22, 1934 Monday, Dec 24, 1934 Thursday, Dec 27, 1934; Friday, Dec 28, 1934 Saturday, Dec 29, 1934 Tuesday, Jan 01, 1935 Thursday, Jan 03, 1935 Friday, Jan 04, 1935 Monday, Jan 07, 1935 Tuesday, Jan 08, 1935 Wednesday, Jan 09, 1935 (last notice) (ran Sept 1934-Jan 1935)
Duchess Theatre – Eden End
Friday, Aug 16, 1935;
On radio in Pleasant portion
Thursday, Feb 06, 1936
Various heavens a new play by Mr Hugh Ross Williamson at the Gate
Miss Beatrix Lehmann will return to the stage in .. Her part will be that of a woman in her 30s faced with the conflicting claims of a lover several years younger than herself, her religion and her work.
Gate – Various Heavens, Miss Beatrix Lehamnn will have the leading part in VH a new play by Mr Hugh Ross Williamson
The Gate Theatre- Various Heavens – review
Beatrice plays Musgrave
Argues in the 3rd act that Beatrice should enter a religious community rather than re-accept her lover. His objection is that adultery is conter to her nature, Clearly an intelligently drawn, .. an attempt to present and discuss. A subject with which men and women outside the theatre are concerned.
The woman whose life is the key is no puppet, she is complex, persuasive and alive, and Miss Beatrix Lehmann’s portrayal of her, which most carefully and rightly avoids conventional display, is a genuinely revealing and progressive interpretation of her mind. … the play is enable to stand by its basic sincerity and by Miss Lehmann’s shrewd and subtle portraiture.
(oddly no ads- perhaps the theatre was too small to afford the times? Or did it close despite the good reviews?)
Thursday, Oct 22, 1936
Q Theatre Charlotte Corday in the French revolution,
Q Theatre – Charlotte Corday
Role Charlotte Corday
The adventure of Charlotte Corday in assassinating Marat,
Miss Beatrix Lehmann with high intelligence and remarkable restraint gives life to Charlotte Corday within the limits that the dramatist has set. But the play leaves an impression of bareness and crudity, partly because Mr. Klein, in his treatment of the character, is more interested in labels than in analysis, but chiefly because the anecdote is less suited to naturalistic treatment…
Thursday, Nov 26, 1936
The Witch of Edmonton – Old Vic (Play read)Play of a witch and a devil and a man’s bigamous marriage
Monday, Dec 07, 1936 Tuesday, Dec 08, 1936
Old Vic – Witch of Edmonton ad (2nd Billing)
Wednesday, Dec 09, 1936 – review
Old Vic The witch of Edmonton by Thomas Dekker,
Winifred (2nd wife) – Beatrix Lehmann
It is stamped with sympathy for the outcast and suffering and is able to see always two sides of the human picture – even when the pictures is a villain or a witch… There are two stories connected by the most slender of links, one of Frank Thorney who marries two wives and murders the second; another of Mother Sawyer who sells her soul to the devil in retuf for power, as a witch, to be avenged on her enemies. The devil appears in the form of a gigantic water Spaniel. …
Miss Beatrix Lehmann plays an awkwardly confused part with a successful determination to give it a clear outline
Saturday, Dec 12, 1936; Wednesday, Dec 16, 1936; Thursday, Dec 17, 1936 Saturday, Dec 19, 1936 Tuesday, Dec 22, 1936; Wednesday, Dec 23, 1936; Tuesday, Dec 29, 1936
Old Vic Witch of Edmonton – ad
Thursday, Feb 18, 1937
Upcoming play First night with Beatrix Lehmann at the Arts Theatre
Friday, Mar 12, 1937
London Television, Alexandra Palace, Scenes from Twelfth night
Wednesday, Jul 07, 1937
Embassy theatre Up the garden path by Ireland Wood from a story by Richmal Crompton
Catherine Deveral, Beatrix Lehmann (listed last)
“old maids and odd women”… For the actor as well as the author there are more difficult and serious qualities to represent but both Miss Patricia Hiliard and MBL greatly assisted the author in keeping their characters well within their doll’s house and tactful polite or pleasing even in their criticism of it.”
Monday, Oct 18, 1937; Programme bought
Westminster theatre Mourning Becomes Electra by Eugene O’neill – Westminister theatre leading part to Beatrix Lehmann
Thursday, Nov 11, 1937
Westminster theatre Mourning becomes Electra – recently opened mention
Westminster Theatre Mourning becomes Electra – ad (2nd billing)
Saturday, Nov 20, 1937 – review
Westminster Theatre Mourning becomes Electra by Eugene O’neill
Lavinia – Beatrix Lehmann
Tale of the Mannon family who live in New England in 1865…how the daughter Lavinia using her brother Orin as her instrument pursued Christine to her death and how at last Lavinia and Orin, haunted by their own guilt and possessed by the spirits of their dead mother and father, were driven into fearful loves and hates, Orin to die by his own hand, Lavinia to live on alone in the house of their doom…
Miss Beatrix Lehmann through Lavinia wear her mother’s dress, cannot grow into a resemblance of Miss Laura Vowie, but by her and by the whole Mannon tribe the difficulty is courageously faced. The perpetuation of an evil and pervasive spirit is communicated… MBL’s performance is a temptation to write an essay, so elaborate is it, so finished in detail, and yet so firmly simple in its outline. There are passages in which it is physically a trifle to rigid; the stiffness of body is intended and has reason behind it, but is carried too far. In all else ML’s study of the beating down of this determined girl by fate – a fate that dwells in her own blood – is of the highest rank. There is a terrible darkness behind its flame, and when the flame is quenced or hidden, it burns by its iciness.
Monday, Nov 22, 1937 Wednesday, Nov 24, 1937 Thursday, Nov 25, 1937; Saturday, Nov 27, 1937 Monday, Nov 29, 1937; Tuesday, Nov 30, 1937 Wednesday, Dec 01, 1937 Thursday, Dec 02, 1937; Friday, Dec 03, 1937 Saturday, Dec 04, 1937 Monday, Dec 06, 1937
Westminster Theatre Mourning becomes Electra – ad (2nd)
Saturday, Jan 01, 1938 –
The Theatre – summation of the previous theatrical year
“Several theatrical reputations have been greatly advanced… Miss Beatrix Lehmann gave a memorable performance with Mr Robert Harris in the O’Neill.
Thursday, Jan 20, 1938
New Theatre (transfer) Mourning becomes Electra - review
The central character, moreover, is not Aeschylus. Mr. O’Neill has concentrated the whole responsibility for the accumulated heritage of pelopid hate, not upon Orestes, but upon Electra, a terrible creation of ice and gall, superbly played by MBL. Where the torment of Orestes in the original proceeds from the pagan idea of pollution, here that of Electra, or Lavinia, derives from the sense of moral guilt and is intensified by the thought that the ineluctable punishment is perpetuation of the sin… In its English representation there is fine acting by Miss Laura Cowie and Mr Robert Harris, while that of Miss Lehmann is of the highest order of brilliance(!)
Monday, Jan 24, 1938
Photo from Mourning becomes Electra looking STUNNING
Saturday, Jan 29, 1938;
New Theatre - Mourning becomes Electra – ad 2nd billing
Upcoming - Miss Rosamund Lehmann has dramatised her novel, no more music and the stage version will be presented at the London International Theatre Club at the Duke of York Theatre on Sunday week and two following Sundays. Miss Beatrix Lehmann who is at present appearing in Mr Eugene O’neills ... Miss Beatrix Lehmann will be seen in the leading part in her sister’s play,
Thursday, Feb 24, 1938
Another announcement for “her sister’s” play
Another announcement for “her sister’s” play
Monday, Feb 28, 1938;
London International Theatre No more music by Rosamond Lehmann
Hilda Lazenby – Beatrix Lehmann
For Hilda there is no more music when the waves have swalled her up, but for Jan who cannot requite her passion the music can never end. … Since Hilda provoked his interest by her unhappiness he could not help presenting himself to her as the only man who has ever seemed to understand her. … All that is real and all that is faintly touched with absurdity are implicit in the portrait MBL draws,
Monday, Mar 21, 1938;
New Theatre - Mourning becomes Electra - ad
Monday, Apr 25, 1938
Television The shadowy waters by WB Yeats
Monday, Jul 11, 1938
Westminster theatre La Voix Humaine – The human voice
(Mentioned by Isherwood in Christopher and his kind)
Miss Beatrix Lehmann will play the only character,
Monday, Jul 18, 1938
Westminster theatre La Voix Humaine – The human voice – review
The study of a woman who still loves, but is no longer loved… it becomes an admirable vehicle for the art of Miss Beatrix Lehmann and her performance at the Westminster theatre last night triumphed over every difficult. There was no moment in its long and trying course when it failed to hold the state and the completed portrait was not spoiled by any touch of sentimentality.
Monday, Nov 14, 1938;
Miss Beatrix Lehmann who has not been seen on the London Stage since Her appearance in Mourning becomes Electra [not true] … will have the leading part in They walk alone, a new play by Mr. Max Catto,
Thursday, Nov 17, 1938; Programme and play text bought
Another notice for They walk alone Q theatre
Tuesday, Nov 22, 1938;
Q Theatre, They walk alone by Max Catto – review
Emmy Baudine – 6th billing (main character)
There is no need to pretend that this is anything else than melodrama and not to be ashamed for having enjoyed it. A girl Emmy (Beatrix Lehmann) comes to a Lincolnshire farm as a servant. She is stragely affected by the playing of organ music in the chapel near by and from that moment onward, is to be watched suspiciously. … soon afterwards young men are found horribly murdered. … Sometimes we see Emmy, breathless from the dog’s pursuit, rush in through the flapping door. She has a power over young men. She has the marks of a dog’s bite on her throat. She is small and frail but has hands and wrists like steel…the play almost continuously commands the stage… But what gives the evening its distincition – and its distinction is that it is exciting – is MBL’s performance. It would no doubt be possible to discover a thousand pathological subtleties in her treatment of Emmy and to claim for the piece an intellectual value within the melodrama, but to do so would be a waste of time. Here is melodramatic material played by an actress of rare imaginative power and played by her for its thrill. She uses her face as a tragic mask sprung to life. She does not hesitate before the uses of the grotesque, she draws fear into her on her fingertips, she employs, as first-rate acting in melodrama must emply, the forces of dramatic hypnosis. Analysis of the play cannot make much of it, but under ML’s spell it has astonishing impact.
Tuesday, Nov 22, 1938;
Q theatre They walk alone – ad top billing
Thursday, Dec 01, 1938
Beatrix Lehmann... Recently appeared at the Q theatre (not a long run)
Monday, Jan 16, 1939 Tuesday, Jan 17, 1939 Thursday, Jan 19, 1939
Shaftesbury (Transferred) They walk alone ad top billing
Friday, Jan 20, 1939;
Shaftesbury – They walk alone review
Mr Catto’s piece has earned it’s promotion.
Miss Beatrix Lehmann repeats her former achievement of playing melodrama straight from the shoulder and at the same time of making one continuously interested in a subject so unpromising as homicidal mania. In spire of her performance the play is not to be taken seriously…
Friday, Jan 20, 1939
Shaftesbury – They walk alone– ad
Saturday, Jan 21, 1939; Monday, Jan 23, 1939 Tuesday, Jan 24, 1939 Wednesday, Jan 25, 1939 Thursday, Jan 26, 1939; Friday, Jan 27, 1939;
Shaftesbury – They walk alone– ad with reviews
Grips with suspense and horror audience spellbound – star
Deserves success original and amazingly efficient – daily mail
Shivers went up and down the spine a tremendous tour de force – news chronicle
Horrific audience in a breathless and appalled hush – evening news
Brilliant Beatrix Lehmann electrified us with the most terrifying acting London has seen – daily herald
Beatrix Lehmann magnificent acting well matched by that of Carol Goodner – Evening standard.
Saturday, Jan 28, 1939 Monday, Jan 30, 1939 Wednesday, Feb 01, 1939 Thursday, Feb 02, 1939
Shaftesbury – They walk alone– ad with shorter review
Grips with suspense… audience spellbound … terrific – star (only)
Tuesday, Feb 07, 1939
Extracts from they walk alone (Not sure if radio or tv. I think radio)
Tuesday, Feb 07, 1939; Wednesday, Feb 08, 1939 Thursday, Feb 09, 1939; Monday, Feb 13, 1939 Tuesday, Feb 14, 1939 Thursday, Feb 16, 1939 Saturday, Feb 18, 1939 Monday, Feb 20, 1939; Tuesday, Feb 21, 1939; Wednesday, Feb 22, 1939 Thursday, Feb 23, 1939
Shaftesbury – They walk alone – shorter ad
Saturday, Feb 25, 1939
Royal Academy of Dramatic Art Beatrix Lehmann act as judge for awarding Bancroft gold medal and other medals and prices. At Apollo theatre
Saturday, Feb 25, 1939 Monday, Feb 27, 1939 Tuesday, Feb 28, 1939 Wednesday, Mar 01, 1939 Thursday, Mar 02, 1939 Friday, Mar 03, 1939 Saturday, Mar 04, 1939 Monday, Mar 06, 1939; Tuesday, Mar 07, 1939; Wednesday, Mar 08, 1939 Thursday, Mar 09, 1939 Saturday, Mar 11, 1939 Tuesday, Mar 14, 1939 Wednesday, Mar 15, 1939 Friday, Mar 17, 1939 Saturday, Mar 18, 1939; Monday, Mar 20, 1939 Tuesday, Mar 21, 1939 Wednesday, Mar 22, 1939 Thursday, Mar 23, 1939 Friday, Mar 24, 1939 Saturday, Mar 25, 1939 Monday, Mar 27, 1939 Tuesday, Mar 28, 1939 Wednesday, Mar 29, 1939 Thursday, Mar 30, 1939 Friday, Mar 31, 1939 Saturday, Apr 01, 1939 Monday, Apr 03, 1939 Wednesday, Apr 05, 1939 Saturday, Apr 08, 1939 Monday, Apr 10, 1939 Tuesday, Apr 11, 1939 Wednesday, Apr 12, 1939 Thursday, Apr 13, 1939 Friday, Apr 14, 1939; Saturday, Apr 15, 1939 Monday, Apr 17, 1939 Tuesday, Apr 18, 1939 Wednesday, Apr 19, 1939; Friday, Apr 21, 1939; Saturday, Apr 22, 1939 Tuesday, Apr 25, 1939; Wednesday, Apr 26, 1939 Thursday, Apr 27, 1939 Friday, Apr 28, 1939 Saturday, Apr 29, 1939 Monday, May 01, 1939; Tuesday, May 02, 1939; Wednesday, May 03, 1939; Thursday, May 04, 1939 Friday, May 05, 1939 Saturday, May 06, 1939; Monday, May 08, 1939 Wednesday, May 10, 1939 Saturday, May 13, 1939 Tuesday, May 16, 1939; Wednesday, May 17, 1939 Thursday, May 18, 1939 Friday, May 19, 1939 Saturday, May 20, 1939 Monday, May 22, 1939; Wednesday, May 24, 1939 Thursday, May 25, 1939 Saturday, May 27, 1939; Monday, May 29, 1939 Tuesday, May 30, 1939 Wednesday, May 31, 1939; Thursday, Jun 01, 1939 Friday, Jun 02, 1939 Saturday, Jun 03, 1939
Shaftesbury – They walk alone – shorter ad
Monday, Jul 31, 1939
Storm over Santa Cruz by Janina Morawska translated by Robert Kemp – radio play review
Two telephone girls and a negor employed by the Santa Cruz telephone exchange when a cyclone hits town… MBL in a performance of great restraint and emotional power, suggested the rising tension as the operator, telephones to the mayor, to the fire brigade to the police and to the cure only to find her message received either with incredulity or contempt…
Tuesday, Aug 01, 1939
They walk alone – transfereed to the coliseum with different woman (Marjorie Woodall) as Emmy
[reviewed not as kindly as Beatrix's performance]
London International Theatre No more music by Rosamond Lehmann
Hilda Lazenby – Beatrix Lehmann
For Hilda there is no more music when the waves have swalled her up, but for Jan who cannot requite her passion the music can never end. … Since Hilda provoked his interest by her unhappiness he could not help presenting himself to her as the only man who has ever seemed to understand her. … All that is real and all that is faintly touched with absurdity are implicit in the portrait MBL draws,
Monday, Mar 21, 1938;
New Theatre - Mourning becomes Electra - ad
Monday, Apr 25, 1938
Television The shadowy waters by WB Yeats
Monday, Jul 11, 1938
Westminster theatre La Voix Humaine – The human voice
(Mentioned by Isherwood in Christopher and his kind)
Miss Beatrix Lehmann will play the only character,
Monday, Jul 18, 1938
Westminster theatre La Voix Humaine – The human voice – review
The study of a woman who still loves, but is no longer loved… it becomes an admirable vehicle for the art of Miss Beatrix Lehmann and her performance at the Westminster theatre last night triumphed over every difficult. There was no moment in its long and trying course when it failed to hold the state and the completed portrait was not spoiled by any touch of sentimentality.
Monday, Nov 14, 1938;
Miss Beatrix Lehmann who has not been seen on the London Stage since Her appearance in Mourning becomes Electra [not true] … will have the leading part in They walk alone, a new play by Mr. Max Catto,
Thursday, Nov 17, 1938; Programme and play text bought
Another notice for They walk alone Q theatre
Tuesday, Nov 22, 1938;
Q Theatre, They walk alone by Max Catto – review
Emmy Baudine – 6th billing (main character)
There is no need to pretend that this is anything else than melodrama and not to be ashamed for having enjoyed it. A girl Emmy (Beatrix Lehmann) comes to a Lincolnshire farm as a servant. She is stragely affected by the playing of organ music in the chapel near by and from that moment onward, is to be watched suspiciously. … soon afterwards young men are found horribly murdered. … Sometimes we see Emmy, breathless from the dog’s pursuit, rush in through the flapping door. She has a power over young men. She has the marks of a dog’s bite on her throat. She is small and frail but has hands and wrists like steel…the play almost continuously commands the stage… But what gives the evening its distincition – and its distinction is that it is exciting – is MBL’s performance. It would no doubt be possible to discover a thousand pathological subtleties in her treatment of Emmy and to claim for the piece an intellectual value within the melodrama, but to do so would be a waste of time. Here is melodramatic material played by an actress of rare imaginative power and played by her for its thrill. She uses her face as a tragic mask sprung to life. She does not hesitate before the uses of the grotesque, she draws fear into her on her fingertips, she employs, as first-rate acting in melodrama must emply, the forces of dramatic hypnosis. Analysis of the play cannot make much of it, but under ML’s spell it has astonishing impact.
Tuesday, Nov 22, 1938;
Q theatre They walk alone – ad top billing
Thursday, Dec 01, 1938
Beatrix Lehmann... Recently appeared at the Q theatre (not a long run)
Monday, Jan 16, 1939 Tuesday, Jan 17, 1939 Thursday, Jan 19, 1939
Shaftesbury (Transferred) They walk alone ad top billing
Friday, Jan 20, 1939;
Shaftesbury – They walk alone review
Mr Catto’s piece has earned it’s promotion.
Miss Beatrix Lehmann repeats her former achievement of playing melodrama straight from the shoulder and at the same time of making one continuously interested in a subject so unpromising as homicidal mania. In spire of her performance the play is not to be taken seriously…
Friday, Jan 20, 1939
Shaftesbury – They walk alone– ad
Saturday, Jan 21, 1939; Monday, Jan 23, 1939 Tuesday, Jan 24, 1939 Wednesday, Jan 25, 1939 Thursday, Jan 26, 1939; Friday, Jan 27, 1939;
Shaftesbury – They walk alone– ad with reviews
Grips with suspense and horror audience spellbound – star
Deserves success original and amazingly efficient – daily mail
Shivers went up and down the spine a tremendous tour de force – news chronicle
Horrific audience in a breathless and appalled hush – evening news
Brilliant Beatrix Lehmann electrified us with the most terrifying acting London has seen – daily herald
Beatrix Lehmann magnificent acting well matched by that of Carol Goodner – Evening standard.
Saturday, Jan 28, 1939 Monday, Jan 30, 1939 Wednesday, Feb 01, 1939 Thursday, Feb 02, 1939
Shaftesbury – They walk alone– ad with shorter review
Grips with suspense… audience spellbound … terrific – star (only)
Tuesday, Feb 07, 1939
Extracts from they walk alone (Not sure if radio or tv. I think radio)
Tuesday, Feb 07, 1939; Wednesday, Feb 08, 1939 Thursday, Feb 09, 1939; Monday, Feb 13, 1939 Tuesday, Feb 14, 1939 Thursday, Feb 16, 1939 Saturday, Feb 18, 1939 Monday, Feb 20, 1939; Tuesday, Feb 21, 1939; Wednesday, Feb 22, 1939 Thursday, Feb 23, 1939
Shaftesbury – They walk alone – shorter ad
Saturday, Feb 25, 1939
Royal Academy of Dramatic Art Beatrix Lehmann act as judge for awarding Bancroft gold medal and other medals and prices. At Apollo theatre
Saturday, Feb 25, 1939 Monday, Feb 27, 1939 Tuesday, Feb 28, 1939 Wednesday, Mar 01, 1939 Thursday, Mar 02, 1939 Friday, Mar 03, 1939 Saturday, Mar 04, 1939 Monday, Mar 06, 1939; Tuesday, Mar 07, 1939; Wednesday, Mar 08, 1939 Thursday, Mar 09, 1939 Saturday, Mar 11, 1939 Tuesday, Mar 14, 1939 Wednesday, Mar 15, 1939 Friday, Mar 17, 1939 Saturday, Mar 18, 1939; Monday, Mar 20, 1939 Tuesday, Mar 21, 1939 Wednesday, Mar 22, 1939 Thursday, Mar 23, 1939 Friday, Mar 24, 1939 Saturday, Mar 25, 1939 Monday, Mar 27, 1939 Tuesday, Mar 28, 1939 Wednesday, Mar 29, 1939 Thursday, Mar 30, 1939 Friday, Mar 31, 1939 Saturday, Apr 01, 1939 Monday, Apr 03, 1939 Wednesday, Apr 05, 1939 Saturday, Apr 08, 1939 Monday, Apr 10, 1939 Tuesday, Apr 11, 1939 Wednesday, Apr 12, 1939 Thursday, Apr 13, 1939 Friday, Apr 14, 1939; Saturday, Apr 15, 1939 Monday, Apr 17, 1939 Tuesday, Apr 18, 1939 Wednesday, Apr 19, 1939; Friday, Apr 21, 1939; Saturday, Apr 22, 1939 Tuesday, Apr 25, 1939; Wednesday, Apr 26, 1939 Thursday, Apr 27, 1939 Friday, Apr 28, 1939 Saturday, Apr 29, 1939 Monday, May 01, 1939; Tuesday, May 02, 1939; Wednesday, May 03, 1939; Thursday, May 04, 1939 Friday, May 05, 1939 Saturday, May 06, 1939; Monday, May 08, 1939 Wednesday, May 10, 1939 Saturday, May 13, 1939 Tuesday, May 16, 1939; Wednesday, May 17, 1939 Thursday, May 18, 1939 Friday, May 19, 1939 Saturday, May 20, 1939 Monday, May 22, 1939; Wednesday, May 24, 1939 Thursday, May 25, 1939 Saturday, May 27, 1939; Monday, May 29, 1939 Tuesday, May 30, 1939 Wednesday, May 31, 1939; Thursday, Jun 01, 1939 Friday, Jun 02, 1939 Saturday, Jun 03, 1939
Shaftesbury – They walk alone – shorter ad
Monday, Jul 31, 1939
Storm over Santa Cruz by Janina Morawska translated by Robert Kemp – radio play review
Two telephone girls and a negor employed by the Santa Cruz telephone exchange when a cyclone hits town… MBL in a performance of great restraint and emotional power, suggested the rising tension as the operator, telephones to the mayor, to the fire brigade to the police and to the cure only to find her message received either with incredulity or contempt…
Tuesday, Aug 01, 1939
They walk alone – transfereed to the coliseum with different woman (Marjorie Woodall) as Emmy
[reviewed not as kindly as Beatrix's performance]
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