Merton & Morden News and Advertiser p3
November 3, 1939
JESSIE MATTHEWS and Sonnie Hale! Two great names to conjure with in the theatre and film worlds, for both are stars of the first magnitude. And every evening next week at 7, as well as Wednesday, Thursday and Saturday afternoons at 2.30, they, assisted by a wonderful company, will give their new dancing and musical show entitled "Come Out to Play," at Wimbledon Theatre.
"This is the greatest thing that ever happened to Wimbledon Theatre," was the remark of a patron when he was told of this visit of Jessie Matthews and Sonnie Hale.
We will not go so far as to agree with this particular patron. There should have been some sort of qualification, such as "One of the greatest things" or "The greatest for quite a long time." Anyhow, their visit at any time would be something to enthuse over, while in these days of black-out, it is an attraction which should fill the theatre at every performance.
For this new revue Jessie Matthews and Sonnie Hale have re-assembled practically the whole company of "I Can Take It," which had a highly successful tour through Britain, and was about to open in the West End, when, alas, war was declared. So on Monday next these two favourites will re-appear on the London stage (if we can call Wimbledon "London") after seven years in films.
"Come Out to Play" is an entertainment that hasn't a dull moment. Dance, music, comedy, magnificent dresses, splendour, glamour, all come along in turn to charm the audience. Jessie and Sonnie are not monopolising the entire programme. They will have the support of a grand team of artistes such as have never before visited Wimbledon.
Jessie gives full value throughout the show, singing, dancing in her own appealing graceful style, as well as appearing in the comedy sketches. Sonnie brings his famous brand of burlesque to the production, ably partnered by his father, Robert Hale, most famous revue star of his day and the comedian who introduced revue to London in 1912.
Dancing with Jessie is Hal Thompson from Broadway, former dance-partner of Ginger Rogers in New York musicals. Peggy Rawlings, attractive wife of Dickie Murdoch, of "Band-Waggon," features throughout the show, and others in the company include Eric Cole, Jean Black, and Eddie Matthews, brother of Jessie.
The early struggles of Jessie Matthews savour of the fairy story in which the kind-hearted child succeeds and eventually becomes a princess. Daughter of a Soho merchant, Jessie helped at her father's fruit stall, danced in the streets to the music of piano-organs, produced school ballet when she was eleven, and was a pantomime ballerina at fourteen. She became a Cochran chorus girl; later danced in Charlot's revues, and at 15½ went to America with Charlot's company, becoming a leading lady.
But this wonderful lady has not gone through life without a set-back. For instance, after starring in the film, "Waltzes from Vienna," and just before commencing on "Evergreen," she collapsed as a result of hard work. It was then that she retired to her home to await the coming of her first child.
Tragedy followed. The baby son died after a few hours, and poor Jessie stoically dismissed the sad episode from her life, and adopted a four-weeks-old girl, Catherine. After convalescing in Spain, she returned to London to recommence her film career.
Reams of good stories could be written about both Jessie and her clever husband, Sonnie, who is a great dancer, a fine vocalist, and a wonderful comedian. Needless to say they are both bothered by all sorts of people with extraordinary requests. Every day comes [sic] invitations to open bazaars, cinemas, fetes and charity shows; to kick-off at football matches; to inaugurate fire engines and zoos; to christen steamers; to dedicate hospital wards.
One of Jessie most treasured memories is when she unveiled a cot in the Golden Square Hospital, London, for as she performed the ceremony, dedicated to the care of children, Jessie remembered that it was outside the hospital's very door in the Soho quarter that she used to play as a child, swinging on the lamp-posts and dancing on the pavements to the barrel organ tunes.
Everybody knows Sonnie Hale, perhaps the most versatile artist in the world; not a surprising fact when it is remembered that he is the only son of Robert Hale, who was the originator of revue and was the personal friend of half the world's crowned heads.
By the way, Robert Hale will provide a goodly portion of the comedy in "Come Out to Play." During his extraordinary career he has had to play parts that necessitated learning to box like a champion, to do conjuring tricks, to master nearly every musical instrument, to act as a trapeze-artist, to "thought-read," and last, but not least, to take a course in pocket-picking from a real thief. Robert Hale does everything thoroughly.
"Come Out to Play" is bound to be a huge success, for some great brains have been at work on its composition. Eddie Pola, of radio fame, has collaborated with Sonnie Hale on the book and music; Ben Frankel, well-known West End musical director, has composed numbers for the show and will conduct, and one of Jessie's songs, forecast as a "hit", is "Lucky Me, Lucky You," by Harry Parr Davis, composer of Gracie Fields' latest success, "Wish Me Luck."
Readers are asked to remember that there will be three matinees next week—Wednesday, Thursday and Saturday.
Merton & Morden News and Advertiser p3
November 10, 1939
JESSIE MATTHEWS and Sonnie Hale, with a really fine company of artistes, in the new musical revue, "Come Out to Play," at Wimbledon Theatre this week, make high jinks in the black-out.
This must be the first war-time production on [sic] its kind, and it achieves the object in view, driving away the "blues" and providing a non-stop entertainment—something new and not too prim.
At the first performance on Monday evening, the show had a great send-off, and there were more laughs per person than has been provoked by any previous entertainment for a long time back.
Of course, Jessie, with her wonderful dancing and her rendering of some of the songs which made her famous on the films, had a wonderful reception, but she also achieves distinction as a vivacious player in many sketches; not least as the wife in "Let Sleeping Dogs lie," and the shop assistant in "The Fisherman," and her dancing as the half-caste girl in "Chinese White" was particularly appreciated.
And Sonnie Hale, with Robert Hale, keep the fun going. Then there is Peggy Rawlings, the exceedingly attractive wife of Dickie Murdock [sic], who gave a gem of a performance as "Kitty of the Chorus" and "I'll Never Let You Get Away," with Sonnie Hale.
There is also a very fine chorus, and the excellent singing of "The Radio Three."
Originality is the keynote, and there is plenty of it, notably in the item, "Home from Home," in which Jessie Matthews, Sonnie Hale and Robert Hale take the part of three evacuated babies—very cute and very sophisticated.
Altogether it is a very fine show, just what is needed to broaden long faces.
Letters to the Editor p6
AS a theatre-goer of many years standing, I should like to draw your attention to what I consider a very unjust increase in the price of admission to the Wimbledon Theatre this week. For some time now I have been paying 2s. in the upper circle for what I consider, mediocre plays. Of this I do not complain, as I would rather see a bad play well-acted than some of the rubbish shown at local and West End cinemas. But my grievance is, that when Jessie Matthews and Sonnie Hale come to Wimbledon in a new show—a first performance or try-out—I am told at the box office that my 2s. seat has been increased by 75 per cent., i.e. to 3s.6d.
By the way whatever the verdict given as to the merits of the show by a suburban audience, it is not considered christened until it has had a first night in Town. Why has the price of my seat been increased?
I and some of my friends refuse to pay this extra for a show which the management or even Jessie Matthews and Sonnie Hale have any reason [sic] to call a success—yet.
As well as 3s.6d. for my seat, I have to pay 3d. for three-pennyworth of local advertisements. Programmes should be free. It is like going into a restaurant and being asked to pay for the menu card.
I, and at least six of my theatre-going friends, will not go to the Wimbledon Theatre again until there are fixed prices.
THOMAS COLEMAN
Bushey-road, Raynes Park
[We are informed by the management that there has been no increase in the price of seats, but that since the war-time opening of the theatre there has been a re-arrangement of the sections. —Editor]
Merton & Morden News and Advertiser p6
November 19, 1939
LETTERS TO THE EDITOR
I SHALL be obliged if you will kindly grant me the privilege to replying to the letter last week under the heading "Theatre Prices."
The division of seats as arranged for Miss Jessie Matthews' visit to the theatre last week was what we regard as our normal seating, but owing to the keen competition we have had to meet from picture houses, dog racing, speedway racing, wireless, during the last few years, we have, as a concession to our patrons, made many more cheaper seats, except for outstanding attractions, and so that there should be no misunderstanding on this point, we advertise on all our booking tickets that the management reserve the right of varying the divisions.
I want to make our position clear regarding the holding capacity of the theatre at each performance. At what your correspondent terms "fixed rates" we should hold £200—i.e. £1,600 for eight performances. Now, I want to explain that first-class musical plays cannot be brought to Wimbledon on that figure, unless, of course, we are willing to undergo certain loss.
For instance, only last year I brought a big musical success to Wimbledon; the company has a certain percentage, with a guarantee that their share should not be less than £1,250. To get the production ready for Tuesday (we could not open on Monday), an army of men had to work from Sunday to Tuesday, with the result that our salary list exceeded £500, and in addition to this there were items for lighting, advertising, billposting, printing, etc., which exceeded £250. Not allowing anything for rent or overhead charges, we had to meet a liability of £2,000, and one night's receipts short. And yet, as is suggested by your correspondent, backed with a threat of withdrawing his patronage if we do not act as he desires, that we should commit ourselves to a fixed rate, which, to my knowledge, is not done in any theatre.
There is a big musical success now playing in the West End which I am eager to book for Wimbledon. I know that the management would ask £1,600 or £1,700, and this, added to our expenses of, say, £450, would make a heavy liability. What chance has the Wimbledon public of seeing the play if the seats are arranged to bring in £1,600?
I have only mentioned two cases, but they are just an example of the difficulties we have to face. Obviously, your correspondent has very little knowledge of bringing a big West End company to Wimbledon, otherwise I think he would have taken a fairer view of the matter.
There is a point I should like the public to know. Since 1916 the cost of running the theatre has gone up between 120 and 130 per cent., while the prices of admission (excluding the Government tax) have not been increased.
I don't think your correspondent is serious when he suggests programmes should be free. I have attended all kinds of sports meetings, theatres, concerts, and various forms of entertainment, but have never been presented with a free programme. Why should Wimbledon be an exception? The cloakrooms are free, which is not the case in many theatres.
I should like to say that we have no upper circle at Wimbledon, so I assume your correspondent means the dress circle, for which it seems he has been paying 1s.10d. and 2d. tax for plays which he describes as mediocre. The plays presented at Wimbledon since September are "Banana Ridge," "French Without Tears," "George and Margaret," "Goodness, How Sad" and "They Walk Alone"—all plays with a long West End run—and a new play, "A Star Comes Home," in which were several notable West End artistes.
Candidly, I should be pleased if your correspondent would see if he can make better arrangements at any other theatre, and if he can honestly inform me that he has been successful I shall be very surprised. —THOS.J.PIGOTT, General Manager
Merton & Morden News and Advertiser p6
November 24, 1939
LETTERS TO THE EDITOR
I FEEL I must make just one or two comments on the letter from Mr. Piggott [sic], of the Wimbledon Theatre.
In his imposing array of facts and figures, he does rather miss the point of my grievance, which is that I object to paying a 75 per cent. increase in the price of admission when Miss Jessie Matthews visits Wimbledon in a try-out of a new show. If he intends to increase the prices this should be advertised in advance, and not hurled as a bombshell at his patrons when they reach the box office. He may, or may not, realise it, but, for the week in question, the gallery seats were increased a hundred per cent.
I have no doubt there are many difficulties in running a theatre—but this is the case with any business, and I don't pretend to a knowledge of the multitudinous details which must beset the management when they embark on anything in the nature of a spectacular production.
I should be interested to know how the management intends to adjust the seating—and prices—for the production of "Cinderella" at Christmas.
THOMAS COLEMAN.
Bushey-road, Raynes Park.
[The management state the position is that, during slack times, seats which should be 3s.6d. are sold for 2s. There were seats at 2s., 3s., 3s.6d., 4s., 5s. and 6s. for Miss Matthews' show, but those who wanted the cheaper seats had to book early. The gallery seats are usually only sixpence, and at a shilling were cheaper than at almost any other theatre. There will be seats at all the usual prices for the pantomime.]
Merton & Morden News and Advertiser p6
[subsequent issue: Dec 1st?]
LETTERS TO THE EDITOR
CONGRATULATIONS to Mr. Pigott on his perfectly presented explanation of his method of adjusting prices to the attraction.
Theatregoers in general will not sympathise with Mr. Coleman's desire to see Jessie Matthews on the stage for no more than it costs to see her shadow on the screen.
MAT.C.BYRNE
(Thirty years a theatrical manager)
Taunton-avenue, West Wimbledon
LAST Saturday I went to my fruiterer to make certain purchases and found that as he had been compelled to pay more for his goods at the market I was also, of necessity, charged more. To me this seemed perfectly fair and I wasn't tempted to write to the Press and complain, nor was I eager to bring discredit upon the man's business. Yet unlike the theatre manager, he did not give me an opportunity to buy at the price I had paid only the week before provided I was satisfied with slightly smaller fruit.
M.M.WATSON.
The Broadway, Wimbledon
