Goody Two Shoes – Part 2

 

In my last post I wrote about Daisy Dormer and the pantomime, Goody Two Shoes, which had a 10-week season at the Prince’s Theatre, Park Row, Bristol in 1915-16. I mentioned the increasing influence of ‘moving pictures’ on the world of music hall as reflected in the pantomime dialogue and songs. Greater than the onset of picture houses and silent film stars was the ever-present fact of life – the war. It seems incredible that a visit to a pantomime was within contemplation during what we now know was a conflict of mass slaughter and misery, but theatrical life did go on. The Western Daily Press in their review of Goody Two Shoes commented:

‘…at this time, when the public is looking for clean, healthy fun to keep the balance with a very natural depression, this production provides a very proper antidote in the way of dramatic fare.’

Music hall artistes were keen to ‘do their bit’ towards the war effort and the theatrical press of the period is scattered with fundraising benefits for war funds; entertainments for the troops on the frontline and at home; and assisting with recruitment drives. The cast of Goody entertained wounded soldiers at the Bristol Constitutional Club in January 1916 and put on a special Red Cross matinee at the Prince’s in February:

‘The occasion was but another opportunity for the demonstrations of that generosity which characterises artists and public alike to do all that is possible for a cause which now particularly is so deserving.’
Western Daily Press, Wednesday 16 February 1916.

They also performed at the Beaufort War Hospital for veterans of France and Gallipoli. The former Bristol Lunatic Asylum had been hastily converted into a military hospital in April 1915 when other Bristol hospitals could not cope with the unprecedented number of war casualties. The local press reported on the event:

‘It was, indeed, good to see the whole-hearted enjoyment of the Colonial and home soldiers, and they deserved all the good there they had. In the front row there was a man who had been three times wounded. Perhaps there were others, because, alas! there has been all too much patching up…Of course, Miss Dormer and Miss Arundale found it far easier to get on the stage than to get off. “Shall we have another,” said the chairman, and the reply nearly took the roof off. Each of these delightful artistes sang three songs off the reel, and every bit of trouble of the audience was for the time, at any rate, safely packed up in the old kit bag.’
Western Daily Press, Friday 22 January 1916.

That review refers to the popular ‘hit’ of the day, ‘Pack Up Your Troubles in Your Old Kit Bag,’ which in August 1915 had won a competition by music publishers, Francis, Day & Hunter to compose a marching song. The song was rapidly gaining in popularity and by the end of the year many pantomimes featured it in their list of songs ‘secured by the management’ and advertised in the theatrical press for the panto season. It was sung in this production by the Principal Boy, Alan (Sybil Arundale), ‘a certain winner.’

Pack Up Your Troubles in Your Old Kit Bag

Song sheet courtesy of British Music Hall Society (www.britishmusichallsociety.com)

At this point in the panto plot, things were not going well for Goody and Alan; they quarrel under ‘The Trysting Tree’ and as an expression of their ‘troubles’, this is how the song was gently shoe-horned into the plot. A technique still used today to ease popular songs into a panto storyline however seemingly unconnected.

In the second scene of the panto, the Village of Blossomville, Daisy Dormer belted out ‘All the boys in khaki get the nice girls,’ a 1915 song by music hall songwriting stalwarts, Tom Mellor and Harry Gifford. It is a not very subtle recruitment song playing on the age-old sentiment that a woman cannot resist a man in uniform. The song is about ‘dandy’ Johnny Brown, whose refusal to join up leads to a lull in his romantic fortunes or in modern parlance, his ‘pulling power’. He is implored by a female recruiting sergeant:

John, John John put a bit of khaki on
And you’ll get the nice girls too!”
Maidens by the score,
Flappers galore!

The jaunty plea in the final verse:

When once they see you boy, shouldering up your gun
Twill be such fun, to use a gun
And your mother will be ever so proud of her great big son

feels very uncomfortable to a twenty-first century reader and the blithe spirit in which the words were sung.

When all the plot ends are tied up the whole company performed the rousing, ‘When We’ve Wound Up the Watch on the Rhine’, a song which had been successful in a 1915 revue at the London Hippodrome, ‘Business As Usual’, with the morale-raising chorus:

How we’ll sing, how we’ll sing Auld Lang Syne
You and I, ‘hurrah’ we’ll cry!
Everything will be fine
When we’ve wound up the watch on the Rhine.
We will toast new born Europe in wine
And the champagne of Rheims will be flowing in streams
When we’ve wound up the watch on the Rhine.

These songs portray a light-hearted view of the war far removed from the reality, suggesting that the horrors had not yet penetrated the consciousness of those at home. They were songs written in an earlier optimistic period which included Vesta Tilley’s ‘Your King and Country Want You’ with the refrain, ‘Oh! we don’t want to lose you but we think you ought to go’, brilliantly depicted in the Richard Attenborough/Joan Littlewood film, ‘Oh! What a Lovely War!’ . The sudden expansion of war hospitals such as that created at the Beaufort in Bristol and the increasing sight of wounded service personnel in towns and cities would soon alter that reality.

Romantic ballads of longing also featured aplenty in the panto including ‘You Were the First to Teach Me How to Love’ and ‘Underneath the Japanese Moon,’ mostly performed by the two female principals. Horace Mills as the Dame gave a hearty rendition of the Marie Lloyd favourite, ‘A Little Bit of What You Fancy Does You Good’ and ‘Sprinkle Me with Kisses’, a duet sang with Lupino Lane, was described as ‘lovely burlesque.’ Music hall and panto provided an escape from the grim realities of the day.

As for Daisy Dormer and the rest of the Goody Two Shoes cast, the end of the panto run on 4th March 1916 meant the end of a period of employment stability and the luxury of being in one place for a prolonged period of time. Then it was back on the road (or more properly, the railtracks). Daisy awarded herself a week off after completing in Bristol but for the week beginning 13th March, she was topping the bill at Moss Empire’s Grand, Birmingham. War or not, the show must go on.

Written with the support of a research award from the Society for Theatre Researchers – see here for details: http://www.str.org.uk

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Notes
The site of the Beaufort War Hospital is now occupied by the University of the West of England Faculty of Health and Social Care. The Glenside Hospital Museum is within the grounds where you can discover more about the Beaufort War Hospital www.glensidemuseum.org.uk.

‘Pack Up Your Troubles in Your Old Kit Bag’ was written by Welsh brothers George Henry Powell known as George Asaf (lyrics)and Felix Powell (music). It continues to be performed and was most recently popularised by Eliza Doolittle in her 2010 hit ‘Pack Up’.

You can listen to ‘All the boys in khaki get the nice girls’ here sung by FW Ramsey in 1915.

Thank you to the British Newspaper Archive and the University of Bristol Theatre Collection.

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7 thoughts on “Goody Two Shoes – Part 2

  1. Well-written and researched and timely with the anniversary of the 1918 armistice coming up. Plainly the spirit of Daisy D lives on in her relation……

    • Thank you for the message. I really love the design of the programme for the Ardwick Hippodrome production of ‘Goody Two Shoes’. Have you come across the programme for the 1914/15 production of ‘Goody Two Shoes’ at the Theatre Royal, Manchester? This was the same production that went to Bristol in Dec 1915? I would love to see that. I enjoy reading your blog – wonderful to see the old posters and programmes. Best wishes, Alison.

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