Inventors both amateur and professional are being invited to submit their work to a distinguished panel of judges.
Lord Sempill is the Chairman, and his colleagues on the judging committee include
Col. W. C. Devereux, Managing Director of Almin,Ltd; Geoffrey Boumphrey, whose wartime inventions are in wide use today; and Dame Caroline Haslett, Director of the Electrical Association for Women.
The Press is invited to the conference table to hold a watching brief on behalf of the public.
Leslie Hardern is responsible for selecting the work to be exhibited, and all enquiries should be addressed to him, [address removed]
New inventions demonstrated before a distinguished panel of assessors.
Lord Sempill is the chairman and his colleagues on the judging committee include Dame Caroline Haslett, Director of the Electrical Association for Women, and John Bennett, a director of Plastic Research.
Geoffrey Boumphrey, himself a practical inventor, interviews the inventors and helps them to display their work.
The Press is invited to the studio to hold a watching brief on behalf of the public.
Leslie Hardern is responsible for selecting the work to be exhibited and all specifications should be addressed to him [address removed]
Visits to Lords to see the M.C.C. v. Australia will be interspersed with visits to Teddington where the Tamesis Club is holding its Spring Regatta.
Viewers will be able to follow the races from three separate points on the towpath
The sailing commentaries are given by Dr. A. B. Porteous, Howard V. Lobb, and John Shuter.
Visits to Lord's to see the M.C.C. v. New Zealand, interspersed with visits to Teddington where the Tamesis Club is holding its Spring Regatta.
Viewers can follow the races from three separate points on the towpath.
The sailing commentaries are given by Howard V. Lobb, John Shuter and Barrie Edgar.
This evening at the Empress Hall the National Skating Association of Great Britain is holding the first of its championship meetings of the winter season. This meeting comprises events in figure, speed, and dance skating on ice. During the first visit it is hoped to see the Free Dancing of the Open Professional Ice Dance Championship of Great Britain.
A play by A.A. Milne.
Second performance: Thurs. at 7.30
Lionel Hale writes...
There is no concealing the fact that Michael and Mary is a shocking, unconventional, eccentric, and possibly unfashionable play. It is all these things because our theatre is devoted to the theory that love between men and women is a joke, and very often a joke in bad taste. As for marriage, infidelity is the rule. That is why I call Michael and Mary 'shocking.' It reflectively regards this rule of the theatre, and then breaks it, with a startling crack, for all to see. Michael and Mary is, simply enough, the story of a man and woman who have loved each other, still love each other, and propose to go on loving each other till death do them part.
Wherefore, there will be those to call the play 'sentimental'! (The only other modern play of the same feeling, Monckton Hoffe's Many Waters, is often called so.) On reflection, I should call it 'realistic,' because it is a plain matter of fact that there are a great many more people who keep out of the Divorce Court than get into it. Look down any suburban road and you may be pretty sure that while there may be something of a marital argy-bargy going on behind the drawn curtains of 'Sans Souci,' contentment reigns between the husbands and wives in 'Myholme,' 'The Firs,' and even 'Dunroamin.'
The irony of Mr. Milne's study of fidelity is that his Michael and his Mary are not married at all. They meet by chance in the British Museum. He is a struggling young writer of twenty-three; she is no more than twenty, but already married, and already deserted. Michael becomes her protector, in a strictly platonic way, until the arrival of his father, the upright Rector, who rather inconveniently, and not knowing the facts, insists that his son Marry The Girl - which means a life of bigamy.
Consequently, a life of bigamy it is. Now all this flows very prettily, with a nice touch of humour. Yet I take it that Mr. Milne, under his cheerful surface, has a serious point to make. He stresses that his Michael, whether as a young man or as the successful novelist he becomes, is thoroughly decent, law-abiding, and truthful; indeed, he stresses it even to the point of priggishness. But his main serious point (which he never makes aloud) is that love and fidelity endure everything, even the absence of the severely practical tie of marriage. 'Sentimental,' I suppose?
This quasi-marriage has, to be sure, its difficulties. Inevitably, the missing husband is sure to turn up, blackmail-bent. You could no more expect any dramatist to resist that situation than you could hold any strong hopes of a small boy keeping out of the jam cupboard. And the story of Michael and Mary, with their son David, takes thereafter
some ingenious turns and twists. Yet its theme remains constant: married love.
So do not let us pass about too lightly the word 'sentimentality' - even though Mr. Milne is capable of forging weapons against himself, such as the appellations of 'Binks' and 'Bubbles' which he allows the son to use to Michael and Mary. At all events, television here welcomes for the first time Miss Jane Baxter. Here is an actress who has a quality - I daresay it is not her fault - of causing women to purr and men to suppress silent gulps. As Miss Baxter could achieve this if she were reading aloud from the Great Western Railway time-table, I call in unfair. Enchanting, but unfair!
On the Farm
W. A. Stewart holds a mock auction of cattle.
In the Garden
P. J. Thrower and H. J. Phillips discuss the early winter work and planting of fruit trees.
Denis Willison, a Northampton saddler, demonstrates his age-old craft.
Edited and introduced by Godfrey Baseley.
From the Northamptonshire Institute of Agriculture, Moulton.
by N. C. Hunter
Adapted for television by Nigel Kneale
[Starring] Robert Eddison, Hector Ross and Daphne Slater
It is 1938, and Mussolini is still more or less firmly in power in Italy. At the Ministry of the Interior it seems a normal enough evening; Colonel Passamonte, the military adviser, is making security arrangements for one of the Duce's speeches. Then the phone rings and the night is normal no longer.
It appears that the Minister of the Interior, being in a hurry, tried to drive through a holy procession in a small hill town, with the result that the irate locals overturned his car and even threw tomatoes at the Minister himself. The name of the offending place? Assino. The horrified Passamonte finally finds it on the map; clearly the town must be punished and its dangerous insurrectionists routed out. Accordingly, two lorry-loads of Fascist militia descend on sleepy little Assino, whose crime was to want to hold its procession in peace. It is a situation full of tragic possibilities, but Mr. Hunter brings out the comic results just as strongly as the dramatic.
[Starring] Raymond Huntley, Ursula Howells and Jack Watling
See columns 3 and 4
Second performance: Thursday at 7.30
The Passing Show presents Pat Kirkwood in Our Marie
The story of the great Marie Lloyd - Queen of Comedy
"It is strange that of all the women of the Victorian era, the most generally remembered are: Queen Victoria herself, and Florence Nightingale, and Marie..." (Max Beerbohm)
Viewers who saw The Passionate Pilgrim, the television play about Florence Nightingale, and the recent Happy and Glorious plays, can now meet the third of Sir Max's famous Victorians: the undisputed Queen of the British Music-Hall, Miss Marie Lloyd.
She was born Matilda Wood in Hoxton on February 12, 1870 (eighty-three years ago next Thursday), and though her family background was not in the least theatrical, her natural talent for the stage was so great that on May 9, 1885, when only fifteen, she made her first appearance at the Grecian Room, a music-hall in the City Road, under the stage name Bella Delmare. A year later she was appearing regularly in such West-End music-halls as the Oxford, Collins, the Bedford, and the Middlesex (the 'Old Mo') and during the next nine years worked her way steadily to the top of the bill. There she remained an unchallenged star for twenty-eight years, until her death in 1922.
For a few years she appeared in pantomime (from 1891 to 1893, she played Principal Girl at Drury Lane with Little Tich, Herbert Campbell, and Dan Leno), but pantomime never really attracted her, nor did musical comedy - at which she made one unsuccessful attempt. Too much of an individualist and too great a personality to subject herself to the limits of a script, she returned to her single act. There, alone on the stage, in direct communication with her audience she could hold and convulse them with a wink of the eye, a twitch of the body, a pause in the song.
Most people associate Marie Lloyd with such songs as 'The ruins that Cromwell knocked about a bit,' 'Don't dilly dally,' or 'A Little of what you fancy does you good,' but it was only in the last ten years of her life that she specialised in her comic Character impressions. Before that there had been 'the little girl' period when, dressed as a child, she sang such songs as 'Wink the other eye' or 'There they are - the two of them on their own': later, in the middle of her career, came the 'naughty' period when she sang songs that offended Mrs. Ormison Chant and her League of Purity.
She was married three times. Each of the three men reacted differently to becoming 'Marie Lloyd's husband' and it is these reactions that form our story - a story in which you will see Marie both as a performer and as a woman.
Pat Kirkwood plays Marie - and a formidable task it is. She has no fewer than fifty changes of costume, sings fifteen different songs, and appears in nearly every one of the hundred-odd scenes in the show. In addition, she has to age from sixteen to fifty-two years of age in 105 minutes.
Many people seem to think of Marie as a big woman with a loud voice and a brassy manner of delivery. She was actually petite, 5 ft. 2 in. tall, had fair hair and blue eyes, a small voice (which could, however, penetrate to the back of any gallery) and she achieved her effects on the stage without any boisterousness. Physically, therefore, and in her style of work, Pat resembles Marie considerably and I feel sure that her performance will be a sincere and accurate portrait of a great and warm-hearted artist. However, Pat herself says: ' I hope that no one will think me presumptuous enough to give an " impersonation" of Marie Lloyd. With the advice and coaching of Marie Lloyd Jnr. (her daughter) and Daisy Wood (her sister) I shall try to give as accurate a picture of Marie as I can - within my own limits. I would like people to look on it as my interpretation of Marie Lloyd and not an impersonation.'
A play by Gilbert Cesbron.
Translated from the French by Basil Bartlett and Lothian Small
Adapted for television and produced by Rudolph Cartier
[Starring] Andre Morell, Greta Gynt and Reginald Tate
The action takes place at night at Dr. Schweitzer's hospital at Lambarene, in Gabon, French Equatorial Africa. The time: August 2, 1914, the twenty-four hours before the outbreak of the first world war
The story of Dr. Schweitzer has caught the imagination of the world. At the age of seventy-eight, buried away in Lambarene, on the Ogowe river, in the heart of French Equatorial Africa, he is considered by many to be one of the greatest of living human beings. How has he come to achieve this tremendous reputation?
Albert Schweitzer was born in Upper Alsace, the son and grandson of Alsatian pastors. At that time Alsace was a German province, and Dr. Schweitzer was born a German subject. He is bilingual. His home letters are composed in French. He lectures and writes in German. He thinks and dreams in the Alsatian dialect.
While still in his twenties he proved himself a scholar of exceptional brilliance. Many and varied were his studies. Having great powers of work and of concentration he mastered a number of subjects: history, philosophy, theology, biblical criticism. His works on Christ and on St. Paul had a profound effect on theological thought. In addition, he was a fine organist and an authority on organ building, and wrote an important book on Bach. By the age of thirty he had already an international reputation. After studying in Paris and Berlin he had finally come to rest- in Strasbourg, for which city he has an abiding love, and there he held the post of principal of the College of St. Thomas. The worlds of music and of letters were at his feet.
Then came a change of heart. He had for some time been brooding on Western civilisation and on the seeds of decay which it contained. Seeing further ahead than most men, he saw also the possibility of ultimate redemption. He was happy in his work and felt that he must give something in exchange for this happiness. After deep reflection he came to the conclusion that his own personal contribution in life was 'to assume his share of the burden of the world's misery.' He decided to throw up everything and become a missionary.
There followed seven years of heart-breaking labour. During these years, in addition to preaching, teaching and lecturing, playing the organ and writing, he managed to achieve yet another doctorate, that of medicine.
Then and then only did he feel himself fully equipped for his self-appointed task. And, in 1913, to the consternation of his friends and colleagues, he left Europe with his wife for French Equatorial Africa to teach Christianity to the natives and to fight their diseases: malaria, sleeping sickness, elephantiasis and leprosy. And there, in Lambarene, with only minor breaks, he has remained ever since. In 1917 he was interned for a while by the French because he was a German subject and from time to time he visited Europe and the United States to raise money for his hospital by lecturing and by giving organ recitals. But the bulk of his life and the whole of his heart, soul, and genius have been dedicated to the primitive natives of the Gabon colony.
Great have been his labours and many his setbacks, but now, at the age of seventy-eight, he can rest contented. His hospital flourishes. He has at present forty buildings and five hundred beds, with two doctors, eight nurses and nineteen native helpers. A little deeper in the forest is his leper village, consisting of about two hundred men, women and children. The trees that he planted have grown to their full stature: oranges, guavas, mangoes, avocados, palm-oil trees, and bananas. And the hospital is self-supporting in manioc and rice, and in fresh vegetables. The animals, wild and domestic, are his friends. He is surrounded by children, whom he has cured and loves. He has his books and his music, and the affection of countless well-wishers all over the world. In his old age this great and humble man still holds aloft with firm hands the torch of humanity in a despairing age.
Gilbert Cesbron has not attempted to write the whole story of Schweitzer. In "It is midnight, Dr. Schweitzer" he has shown us instead twenty-four critical hours in his life. The period he has chosen is August 1914, and, with dramatic licence, he has asked us to assume that Dr. Schweitzer was arrested at the outbreak of the first world war, although he was not, in fact, interned until 1917. He has given Dr. Schweitzer two companions: Father Charles de Ferrier and Commandant Lieuvin, based on the great French Colonial administrator, Marechal Lyautey. Again, neither of these two was actually in the Gabon at the beginning of the first world war. As a foil to these three giants M. Cesbron has given us, as the fourth character in this five-handed play, Leblanc, governor of the Gabon, who is shown as an ordinary man, an honest, sensitive, perhaps unenterprising civil servant, to whom falls all the practical dirty work that the great ignore. 'It is thanks to people like me,' he says, 'that people like you are able to be great.' As a link between the giants and the ordinary man is Marie, a young French nurse. In the background hovers Joseph, a real native, incidentally, who was cured by Schweitzer and stayed on to serve him. This important play has the approval of Dr. Schweitzer himself.
It should be noted that the organ music played is taken from Dr. Schweitzer's own recordings.
with Humphrey Lestocq and Mr. Turnip.
Box of Tricks with Geoffrey Robinson and Barrie Edgar
Room for Music with Steve Race
The Highwayman's Bargain: 5: The Hold-Up
by Stuart Ready and Richard Baldwyn.
Hank Rides Again
with Francis Coudrill who writes the story speaks the voices draws and animates the pictures.
At the drums, Geoff Lofts
(Kenneth Bailey writes about 'Mr. Turnip's Team' in 'For the Children,' on page 39)
Craftsmen in the Potteries at Burslem make a loving-cup to commemorate a great occasion.
A comedy by R.C. Sherriff.
by Fritz Hochwaelder.
Adapted by Kitty Black.
See top of this page
Second performance: Thursday at 7.15
Hurrah for Halloween
A play by Dorothy Worsley.
On Hallowe'en, October 31, the witches hold their Annual Banquet and the air is filled with broomsticks bound for conferences round cauldrons. This was the date King Cole of Cornucopia chose to hold a christening party. He invited all the witches and the fairies in his kingdom. They all tried to outdo each other with their party tricks. The fun was fast - and just a bit furious. Then something went wrong. How disaster was averted by the timely arrival of an American fairy with a practical turn of mind is told in this unusual comedy.
See top of page and page 39
Second performance: Thursday at 7.30 p.m.
A play by Jacques Deval.
Adapted by Robert B Sherwood.
[Starring] Ann Todd and Peter Cushing
Her Imperial Highness the Grand Duchess Tatiana Petrovna and her husband, Prince Mikhail Alexandrovitch Ourartieff, living the hard life common among Russian exiles, are reduced to a little mild shoplifting in the Paris markets. The Prince has a fortune in the bank, but his promise to the late Tsar, for whom he holds it in trust, forbids him to spend it on the grocer's bills. Life, as he says, is very, very sad and very, very beautiful. When the Grand Duchess and when the Prince solemnly decide that, in their extremity, work is the only solution, life also becomes very, very amusing, and particularly so when the royal couple is played by the film star Ann Todd and Peter Cushing, a television star in his own right. As butler and parlour maid in the household of a French banker, these exalted servants have a remarkable impact on their unwitting employers and upon the two young members of the family. Many of their activities, like osculation and fencing for example, maybe outside the normal curriculum of domestic science, but they bring surprising quantities of sweetness and light into a conventional home. In the circumstances, nobody could be blamed for the results of the banker's momentous dinner party. Russians can be red or white, nice or nasty, but they are seldom predictable (Barney Keelan)
A musical setting of Eugene O'Neill's domestic tragedy 'Before Breakfast'.
See columns 3 and 4 and page 15
Murder is no novelty in grand opera. On the contrary very few popular operas would exist without it. Tosca, Rigoletto, Don Giovanni, and both Cav. and Pag. immediately come to mind. But Erik Chisholm, composer, conductor, and stormy petrel of the Scottish national movement in his younger days, always was original. He always enjoyed the grisly entertainment of Grand Guignol, and conceived the idea of a grand operatic evening of an unusual type-three independent 'acts', each complete in itself, each depicting a murder in unconventional style. Thus he goes one better-or rather two-than traditional opera by offering a 'threesome' or triptych of thrillers which have a good deal in common with The Medium of Menotti, whom Chisholm holds in high regard as a composer of the theatre.
The first of these is Simoon, based on Strindberg's story of an exhausted and frightened traveller, overcome by a desert sandstorm and hypnotised by
A Conventicle at Hampden Park, Glasgow, in the centenary year of the birth of Sir William Smith, the Founder of the Boys' Brigade; in the presence of the Brigade Council.
Praise led by a Massed Choir and a Brass Band of the Boys' Brigade
Conventicle conducted by the Rt. Rev. E. D. Jarvis, D.D. Moderator of the General Assembly of the Church of Scotland
Colour Party and Escort
The National Anthem
Psalm 100: All people that on earth do dwell (Tune, Old Hundredth)
Psalm 121: I to the hills will lift mine eyes (Tune, French)
Reading: Hebrews 11 (selected verses)
Boys' Brigade Hymn: Will your anchor hold?
Second Paraphrase: O God of Bethel (Tune, Salzburg)
Ceremonial described by the Rev. R. H. W. Falconer.
(See columns 1 and 2)
A thriller by Norman Edwards
Adapted for television by Philip Mackie
[Starring] Henry Oscar
Dr. Pole has worked out to the last detail the hold-up his gang is about to stage. Nothing, he says, can go wrong, but to relieve Mildred's mind the unfortunately named Aloysius can ring up to say that everything has gone according to plan. It is merely unfortunate that there is someone on the line...