Old friends

Monday, March 9th., Cadogan Square, London.

Ernest Thesiger

The embracing qualities of revue seem to be more and more in evidence. I saw Ernest Thesiger last night at Hubert Griffiths' war play "Tunnel Trench". I knew he was to play in a revue (of Cochran's, Noel Coward's etc.). What surprised me  was that he should pass about six weeks in the country playing it before London - he who never plays out of London. He has left the Dauphin in "St. Joan" to go and play in revue. At the "Tunnel Trench" party afterwards on the stage of Prince's Theatre I saw Margaret Halstan who was the original Emily in "What the Public Wants". Hadn't seen her for years. Next moment I was talking to Haidee Wright, said to be our greatest tragic actress, and the real star of "Milestones". She said she had been asked to play in revue. She had enquired what she would have to do in the revue and the reply was that she would have to be an old woman in rags and try to ride a bicycle and fall off it, and that was all. So she refused revue.



 

Royal relief

Wednesday, January 16th., Cadogan Square, London.

Lunched yesterday at Thesiger's to meet Princess Marie Louise (daughter of princess Christian). She married a Prince Albert of Anhalt, lived in Germany nine years, then got a separation. A woman of 51, dressed in mourning for her mother. Everyone called her 'ma'am' or 'madam' in every sentence, except me, and the women curtsied to her, and Thesiger said the only thing insisted on was that he should meet her at the door when she came.

Her lady-in-waiting, Miss Hawkes, was thee too. Marie Louise kissed her heartily when they met. Seemed a fairly sensible woman and pretty wise. Said nothing in particular but said it neatly, used of course to deference, which she received in plenty, though Thesiger teased her the whole time. Still, I was glad I had not been effusive when she wrote to me about the Queen's Doll's House twice, as I might have got dragged into St. James's Palace, which I should have hated, I know.

Princess Marie Louise (1872 – 1956) was a member of the British Royal Family, a granddaughter of Queen Victoria. On 6 July 1891, Princess Marie Louise married Prince Aribert of Anhalt at St. George's Chapel in Windsor Castle. The marriage, however, was unhappy and childless. (Years after the fact, it was debated that Aribert was homosexual and had been caught in bed with a servant, either by Marie Louise or his father.) In December 1900, her father-in-law used his prerogative as reigning Duke of Anhalt to annul the marriage. After the annulment, Princess Marie Louise devoted herself to charitable organizations and patronage of the arts. She inspired the creation of Queen Mary's Dolls' House to showcase the work of British craftsmen.

Also for Ernest Thesiger see 'Indecent exposure?', April 11th., -
http://earnoldbennett.blogspot.co.uk/2013/04/indecent-exposure.html

Additionally for January 16th., see 'Death and burial' -
http://earnoldbennett.blogspot.co.uk/2013/01/death-and-burial.html

Today I had lunch early in order to go to Hardy's funeral at Westminster Abbey. It was all done very smoothly and calmly. Music good. South transept not full. John Galsworthy as a pall-bearer made a magnificent figure. According to my information Hardy had a pretty good idea that he might have to be buried in the Abbey, even if he did not want to. As to the excision of the heart, I regard that as merely outrageous.

Indecent exposure?

Friday, April 11th., Comarques, Thorpe-le-Soken.

Richard, Marguerite and I went to Eastbourne last Saturday for the first production of "Judith" (Devonshire Park Theatre).

The genesis of this play was in December last when we had a weekend at Dr. Keeble's at Weybridge. Lillah McCarthy was there. In spite of my neuralgia we had a great weekend, full of good and not too serious conversation. I promised to write Lillah a play on the subject of Judith, if a firm contract was made at once. In fact I constructed the play on the spot, after having read 'Judith' myself and having heard it read by Keeble. I finished the play on January 28th. having written it in twenty-three days. I delivered the play in early February and when I met Lillah McCarthy a few days later she nearly fell on her neck in the street from enthusiasm about it. Eaton also wrote that he was "violently enthusiastic" about it. See also 'Busy in Brighton' - Feb. 17th. <http://earnoldbennett.blogspot.co.uk/2013/02/thursday-february-17th.html>


Lillah Mc Carthy behaved very well at Eastbourne, considering her double anxiety of manager and star, - both as it were making a fresh start in life. Lillah had there Dr. Keeble (her fiance), her mother, her sister, and a niece and nephew offspring of another sister (or brother). All these were all over the theatre all the time. She protested that all the creative producing work had been done by me, M. and her. I had to put this right. Ernest Thesiger, the Bagoas, grew sterner as the hour of performance came nearer. I don't think he smiled on Monday at all. He is really an artist. He gave a magnificent performance.

Ernest Frederic Graham Thesiger, CBE (1879 - 1961) was an English stage and film actor best known for his performance as Dr. Septimus Pretorius in James Whale's film Bride of Frankenstein (1935).

Esme Hubbard (Haggith) remained light and merry throughout, and gave a magnificent performance. Fredk. Volpe (Ingur) behaved rather like Thesiger and was very fine. Scenery & costumes were by Ricketts. Music by Bantock. Both good. Dance arranged by the ballet master of Russian ballet.

Evidently Lillah is used to authors who will stand no damned nonsense. She got rather excited after both 2nd. and 1st, performances because Bagoas's rushing forth and killing a spy woman detracted from her killing Holofernes, and she had to be soothed.

Lillah McCarthy as Judith

But the charm of the play is the nudity of Lillah McCarthy when she assassinated Holofernes (after kissing him) in the tent. Upwards, from a line drawn round the body one inch above the clitoris the lady is absolutely nude except for a black velvet band (4 inches wide) round the body hiding the breasts, & a ditto going down perpendicularly from between the breasts to the skirt & so hiding the navel. Two thin shoulder straps held this contrivance in position. Bracelets and rings of course. The skirt was slit everywhere and showed the legs up to the top of the thigh when she lay down there at Holofernes's feet. She looked a magnificent picture thus. The manager of the theatre had some fear of prosecution. I asked him if he had seen Chu Chin Chow. However, I think Lillah beats anything in Chu Chin Chow. Marguerite wanted the skirt a little higher - not for decency, but for beauty. But Ricketts did not agree with her. Lillah gave an exceedingly fine performance - as good as could be wished for.

The house was very full for the first night. (Capacity about 115-120). I refused the persistent calls for author, and sat with Lillah's maid in Lillah's dressing room until the calls had finished. Terribly silly mishaps occurred with the sack containing Holofernes's head in the 3rd. act, despite the most precise instructions to the crowd. Further instructions to the crowd, and similar mishaps on the 2nd night.
I took supper three nights running and survived it.

More on "Judith" at:
http://greatwarfiction.wordpress.com/2011/01/08/arnold-bennetts-judith/
http://www.gutenberg.org/files/12794/12794-h/12794-h.htm