Ralph Kimpton - Revision history

Satj: /* Theatrical Credits (South Africa – as producer only) */

2019-09-25T15:02:10Z

Theatrical Credits (South Africa – as producer only)

Satj: /* Theatrical Credits (South Africa – as producer only) */

2019-09-25T04:35:26Z

Theatrical Credits (South Africa – as producer only)

Satj: /* Theatrical Credits (South Africa – as producer only) */

2019-09-25T04:32:32Z

Theatrical Credits (South Africa – as producer only)

Fogterop at 18:33, 24 September 2019

2019-09-24T18:33:54Z

Satj at 13:28, 20 May 2019

2019-05-20T13:28:43Z

Satj: /* Theatrical Credits (South Africa – as producer only) */

2019-05-20T13:23:16Z

Theatrical Credits (South Africa – as producer only)

Fogterop at 12:16, 20 May 2019

2019-05-20T12:16:02Z

Fogterop at 12:13, 20 May 2019

2019-05-20T12:13:14Z

Fogterop at 16:32, 4 July 2018

2018-07-04T16:32:26Z

Fogterop at 16:31, 4 July 2018

2018-07-04T16:31:57Z

@@ Line 17: / Line 17: @@
 == Theatrical Credits (South Africa – as producer only) ==
-– ''[[Quinney's]]'', 1916 – ''[[Peaches]]'', 1916 – ''[[The Soldier’s Daughters]]'' (sketch), 1916 – ''[[The Lady of Ostend]]'', 1916 – ''[[Jane]]'', 1916 – ''[[Saturday to Monday]]'', 1916 – ''[[The Passport]]'', 1916 – ''[[Kultur at Home]]'', 1916 – ''[[Tiger’s Cub]]'', 1916 – ''[[What Every Woman Knows]]'', 1916 – [[Caroline]], 1916 – ''[[The Duchess’s Diamonds]]''  (sketch), 1918 – ''[[The Blindness of Virtue]]'', 1918 – ''[[The Little Minister]]'', 1918 – ''[[The Morals of Marcus]]'', 1918 – ''[[The Professor’s Love Story]]'', 1918 – ''[[The Natural Law]]'', 1918 – ''[[Disraeli]]'', 1918 – ''[[Folly]]'', 1918 – ''[[Love]]'', 1918 – ''[[East Lynne]]'', 1919 – ''[[Peter Pan]]'', 1919 – ''[[Quality Street]]'', 1919 – ''[[A Broken Chain]]''.
+– ''[[Quinney's]]'', 1916 – ''[[Peaches]]'', 1916 – ''[[The Soldier’s Daughters]]'' (sketch), 1916 – ''[[The Lady of Ostend]]'', 1916 – ''[[Jane]]'', 1916 – ''[[Saturday to Monday]]'', 1916 – ''[[The Passport]]'', 1916 – ''[[Kultur at Home]]'', 1916 – ''[[Tiger’s Cub]]'', 1916 – ''[[What Every Woman Knows]]'', 1916 – ''[[Caroline]]'', 1916 – ''[[The Duchess’s Diamonds]]''  (sketch), 1918 – ''[[The Blindness of Virtue]]'', 1918 – ''[[The Little Minister]]'', 1918 – ''[[The Morals of Marcus]]'', 1918 – ''[[The Professor’s Love Story]]'', 1918 – ''[[The Natural Law]]'', 1918 – ''[[Disraeli]]'', 1918 – ''[[Folly]]'', 1918 – ''[[Love]]'', 1918 – ''[[East Lynne]]'', 1919 – ''[[Peter Pan]]'', 1919 – ''[[Quality Street]]'', 1919 – ''[[A Broken Chain]]''.
 == Sources ==

@@ Line 17: / Line 17: @@
 == Theatrical Credits (South Africa – as producer only) ==
-– ''[[Quinneys]]'', 1916 – ''[[Peaches]]'', 1916 – ''[[The Soldier’s Daughters]]'' (sketch), 1916 – ''[[The Lady of Ostend]]'', 1916 – ''[[Jane]]'', 1916 – ''[[Saturday to Monday]]'', 1916 – ''[[The Passport]]'', 1916 – ''[[Kultur at Home]]'', 1916 – ''[[Tiger’s Cub]]'', 1916 – ''[[What Every Woman Knows]]'', 1916 – [[Caroline]], 1916 – ''[[The Duchess’s Diamonds]]''  (sketch), 1918 – ''[[The Blindness of Virtue]]'', 1918 – ''[[The Little Minister]]'', 1918 – ''[[The Morals of Marcus]]'', 1918 – ''[[The Professor’s Love Story]]'', 1918 – ''[[The Natural Law]]'', 1918 – ''[[Disraeli]]'', 1918 – ''[[Folly]]'', 1918 – ''[[Love]]'', 1918 – ''[[East Lynne]]'', 1919 – ''[[Peter Pan]]'', 1919 – ''[[Quality Street]]'', 1919 – ''[[A Broken Chain]]''.
+– ''[[Quinney's]]'', 1916 – ''[[Peaches]]'', 1916 – ''[[The Soldier’s Daughters]]'' (sketch), 1916 – ''[[The Lady of Ostend]]'', 1916 – ''[[Jane]]'', 1916 – ''[[Saturday to Monday]]'', 1916 – ''[[The Passport]]'', 1916 – ''[[Kultur at Home]]'', 1916 – ''[[Tiger’s Cub]]'', 1916 – ''[[What Every Woman Knows]]'', 1916 – [[Caroline]], 1916 – ''[[The Duchess’s Diamonds]]''  (sketch), 1918 – ''[[The Blindness of Virtue]]'', 1918 – ''[[The Little Minister]]'', 1918 – ''[[The Morals of Marcus]]'', 1918 – ''[[The Professor’s Love Story]]'', 1918 – ''[[The Natural Law]]'', 1918 – ''[[Disraeli]]'', 1918 – ''[[Folly]]'', 1918 – ''[[Love]]'', 1918 – ''[[East Lynne]]'', 1919 – ''[[Peter Pan]]'', 1919 – ''[[Quality Street]]'', 1919 – ''[[A Broken Chain]]''.
 == Sources ==

@@ Line 17: / Line 17: @@
 == Theatrical Credits (South Africa – as producer only) ==
-– ''[[Quinney’s]]'', 1916 – ''[[Peaches]]'', 1916 – ''[[The Soldier’s Daughters]]'' (sketch), 1916 – ''[[The Lady of Ostend]]'', 1916 – ''[[Jane]]'', 1916 – ''[[Saturday to Monday]]'', 1916 – ''[[The Passport]]'', 1916 – ''[[Kultur at Home]]'', 1916 – ''[[Tiger’s Cub]]'', 1916 – ''[[What Every Woman Knows]]'', 1916 – [[Caroline]], 1916 – ''[[The Duchess’s Diamonds]]''  (sketch), 1918 – ''[[The Blindness of Virtue]]'', 1918 – ''[[The Little Minister]]'', 1918 – ''[[The Morals of Marcus]]'', 1918 – ''[[The Professor’s Love Story]]'', 1918 – ''[[The Natural Law]]'', 1918 – ''[[Disraeli]]'', 1918 – ''[[Folly]]'', 1918 – ''[[Love]]'', 1918 – ''[[East Lynne]]'', 1919 – ''[[Peter Pan]]'', 1919 – ''[[Quality Street]]'', 1919 – ''[[A Broken Chain]]''.
+– ''[[Quinneys]]'', 1916 – ''[[Peaches]]'', 1916 – ''[[The Soldier’s Daughters]]'' (sketch), 1916 – ''[[The Lady of Ostend]]'', 1916 – ''[[Jane]]'', 1916 – ''[[Saturday to Monday]]'', 1916 – ''[[The Passport]]'', 1916 – ''[[Kultur at Home]]'', 1916 – ''[[Tiger’s Cub]]'', 1916 – ''[[What Every Woman Knows]]'', 1916 – [[Caroline]], 1916 – ''[[The Duchess’s Diamonds]]''  (sketch), 1918 – ''[[The Blindness of Virtue]]'', 1918 – ''[[The Little Minister]]'', 1918 – ''[[The Morals of Marcus]]'', 1918 – ''[[The Professor’s Love Story]]'', 1918 – ''[[The Natural Law]]'', 1918 – ''[[Disraeli]]'', 1918 – ''[[Folly]]'', 1918 – ''[[Love]]'', 1918 – ''[[East Lynne]]'', 1919 – ''[[Peter Pan]]'', 1919 – ''[[Quality Street]]'', 1919 – ''[[A Broken Chain]]''.
 == Sources ==

@@ Line 4: / Line 4: @@
 == Biography ==
-According to the official records, Howard Ralph Kimpton’s father was an outfitter, but there is some uncertainty about his parentage.  The 1901 Census lists him as a commercial clerk, though he was already involved in the theatre.  In 1900 he played in a cricket match between London and provincial actors in order to raise money for the Actors’ Benevolent Fund and he remained involved in organising such charity matches for a number of years.  In 1902 he became an assistant stage manager for Sir George Alexander at the St. James’s Theatre in London and in 1906 took over the management of the company’s production of Pinero’s ''[[His House in Order]]''.  The following year he obtained the provincial rights for the play from Sir George and toured the smaller towns well into 1908.
+According to the official records, Howard Ralph Kimpton’s father was originally an outfitter, but when he died in 1897, Peter Kimpton’s profession was given as retired “coffee-house keeper”.  The 1901 Census lists Ralph as a commercial clerk, though he was already involved in the theatre.  In 1900 he played in a cricket match between London and provincial actors in order to raise money for the Actors’ Benevolent Fund and he remained involved in organising such charity matches for a number of years.  In 1902 he became an assistant stage manager for Sir George Alexander at the St. James’s Theatre in London and in 1906 he took over the management of the company’s production of Pinero’s ''[[His House in Order]]''.  The following year he obtained the provincial rights for the play from Sir George and toured the smaller towns well into 1908.
 In August 1909, he joined Alfred Wareing, the driving force behind the newly established Glasgow Repertory Theatre, where he and Wareing produced Anton Chekhov’s ''[[The Seagull]]'', the first time an English translation of the Russian playwrights works had been staged.  He was also responsible for the production of Oscar Wilde’s ''[[Lady Windermere’s Fan]]''.  Next he became stage manager for Lena Ashwell’s company and then joined Charles Kenyon at the Little Theatre.  When Kenyon took Cosmo Hamilton’s ''[[The Blindness of Virtue]]'' on a tour of the United States, Kimpton was the stage manager.
@@ Line 13: / Line 13: @@
 In December 1917, Kimpton had moved to Cape Town to join [[Harold Shaw Film Productions]] and actually had a small role in Shaw’s ''[[The Rose of Rhodesia]]'' (1918), but after Shaw returned to Great Britain, Kimpton went back to the theatre, re-joining [[Leonard Rayne]] at the [[Standard Theatre]] and staging a number of plays with [[Frank Cellier]], [[Freda Godfrey]], [[Florence Glossop-Harris]] and [[Dorothy Peters]].  These included favourites like ''[[The Blindness of Virtue]]'' and ''[[Disraeli]]'' (both 1918), as well as ''[[Peter Pan]]'' (1919), with [[Freda Godfrey]] in the title role.  In November 1919, he directed [[Alfred Holtzer]]'s play ''[[A Broken Chain]]'' at the [[Railway Institute]] for the [[Owl Club]].  There is circumstantial evidence that in 1923 he may have been in Port Elizabeth, but we have not been able to establish any further involvement in the theatre in South Africa.  At some stage he returned to England and in 1935 he produced ''[[For the Love of Mike]]'' for the Great Yarmouth Amateur Dramatic and Operatic Society.  According to the Register of 1939 he was living in Shelton Mallet, Somerset and he seems to have died in 1941 in Hendon, which is now part of Greater London.
-In 1903 or 1906 (both years are given) he married Welsh actress/singer Elizabeth Davies and in 1907 the couple had a son.  He also seems to have had a daughter with actress Eileen Draycott in 1919.  (FO)
+In 1906 he married Welsh actress/singer Elizabeth Davies and in 1907 the couple had a son.  He also had two children with actress Eileen Draycott, a son in 1917 and a daughter in 1919, both born in South Africa.  (FO)
 == Theatrical Credits (South Africa – as producer only) ==

@@ Line 17: / Line 17: @@
 == Theatrical Credits (South Africa – as producer only) ==
-– ''[[Quinney’s]]'', 1916 – ''[[Peaches]]'', 1916 – ''[[The Soldier’s Daughters]]'' (sketch), 1916 – ''[[The Lady of Ostend]]'', 1916 – ''[[Jane]]'', 1916 – ''[[Saturday to Monday]]'', 1916 – ''[[The Passport]]'', 1916 – [[Kul''tur at Home]]'', 1916 – ''[[Tiger’s Cub]]'', 1916 – ''[[What Every Woman Knows]]'', 1916 – [[Caroline]], 1916 – ''[[The Duchess’s Diamonds]]''  (sketch), 1918 – ''[[The Blindness of Virtue]]'', 1918 – ''[[The Little Minister]]'', 1918 – ''[[The Morals of Marcus]]'', 1918 – ''[[The Professor’s Love Story]]'', 1918 – ''[[The Natural Law]]'', 1918 – ''[[Disraeli]]'', 1918 – ''[[Folly]]'', 1918 – ''[[Love]]'', 1918 – ''[[East Lynne]]'', 1919 – ''[[Peter Pan]]'', 1919 – ''[[Quality Street]]'', 1919 – ''[[A Broken Chain]]''.
+– ''[[Quinney’s]]'', 1916 – ''[[Peaches]]'', 1916 – ''[[The Soldier’s Daughters]]'' (sketch), 1916 – ''[[The Lady of Ostend]]'', 1916 – ''[[Jane]]'', 1916 – ''[[Saturday to Monday]]'', 1916 – ''[[The Passport]]'', 1916 – ''[[Kultur at Home]]'', 1916 – ''[[Tiger’s Cub]]'', 1916 – ''[[What Every Woman Knows]]'', 1916 – [[Caroline]], 1916 – ''[[The Duchess’s Diamonds]]''  (sketch), 1918 – ''[[The Blindness of Virtue]]'', 1918 – ''[[The Little Minister]]'', 1918 – ''[[The Morals of Marcus]]'', 1918 – ''[[The Professor’s Love Story]]'', 1918 – ''[[The Natural Law]]'', 1918 – ''[[Disraeli]]'', 1918 – ''[[Folly]]'', 1918 – ''[[Love]]'', 1918 – ''[[East Lynne]]'', 1919 – ''[[Peter Pan]]'', 1919 – ''[[Quality Street]]'', 1919 – ''[[A Broken Chain]]''.
 == Sources ==

@@ Line 1: / Line 1: @@
-'''Ralph Kimpton''' (b. Bishopsgate, London, 25/03/1879 - d. **/**/****) was a British-born stage manager, producer and director.
+'''Ralph Kimpton''' (b. Bishopsgate, London, 25/03/1879 - d. **/**/1941) was a British-born stage manager, producer and occasional film director.
 == Biography ==
-Kimpton’s father was an outfitter and according to the census records for England and Wales, in 1901 Howard Ralph Kimpton was a commercial clerk.  However, soon afterwards he became an assistant stage manager for Sir George Alexander at the St. James Theatre in London.  He stayed there until August 1909, when he joined Alfred Wareing, the driving force behind the newly established Glasgow Repertory Theatre, where he staged plays like Chekhov’s ''The Seagull''.  Next he became the stage director of the Little Theatre in London and when, in 1912, the company took Cosmo Hamilton’s ''The Blindness of Virtue'' on a tour of the United States, Kimpton was the stage manager.  Except for a short break when he became ill and returned to England to recuperate, he stayed in America until July 1914.
+According to the official records, Howard Ralph Kimpton’s father was an outfitter, but there is some uncertainty about his parentage.  The 1901 Census lists him as a commercial clerk, though he was already involved in the theatre.  In 1900 he played in a cricket match between London and provincial actors in order to raise money for the Actors’ Benevolent Fund and he remained involved in organising such charity matches for a number of years.  In 1902 he became an assistant stage manager for Sir George Alexander at the St. James’s Theatre in London and in 1906 took over the management of the company’s production of Pinero’s ''[[His House in Order]]''.  The following year he obtained the provincial rights for the play from Sir George and toured the smaller towns well into 1908.
-In November of 1915 he came to South Africa, travelling on the same ship as [[Frank Cellier]], who was coming out with the [[Ethel Irving]] Company.  He staged ''[[The Merchant of Venice]]'' for presentation at the [[Palladium Theatre]] from 24 to 27 April 1916 on the occasion of the [[Johannesburg Shakespeare Tercentenary Celebration]] and directed [[Frank Cellier]] in ''[[Caroline]]'' at the [[Standard Theatre]] for [[Leonard Rayne]].  After that he was employed by [[African Film Productions]] and, according to [[Stage & Cinema]] of 1 September 1917, he was one of the company’s assistant producers, having worked as such on [[Harold M. Shaw]]'s ''[[De Voortrekkers]]''.  However, in April of that year the magazine had already reported that he was the co-producer (with [[Joseph Albrecht]]) of ''[[The Border Scourge]]'' (1917).  It was a first feature for both of them and it is likely that Albrecht took care of the technical side, while Kimpton directed the actors.  By the end of the year Kimpton was involved in an acrimonious libel case against his former employer, joining Shaw, who had also fallen out with [[I.W. Schlesinger]].   In April 1918 the case was settled out of court.  In that same month, he came back to ''[[The Blindness of Virtue]]'', staging it at the [[Standard Theatre]], with [[Freda Godfrey]] and [[Frank Cellier]] in the cast.
+In August 1909, he joined Alfred Wareing, the driving force behind the newly established Glasgow Repertory Theatre, where he and Wareing produced Anton Chekhov’s ''[[The Seagull]]'', the first time an English translation of the Russian playwrights works had been staged.  He was also responsible for the production of Oscar Wilde’s ''[[Lady Windermere’s Fan]]''.  Next he became stage manager for Lena Ashwell’s company and then joined Charles Kenyon at the Little Theatre.  When Kenyon took Cosmo Hamilton’s ''[[The Blindness of Virtue]]'' on a tour of the United States, Kimpton was the stage manager.
-In December 1917, he had moved to Cape Town to join [[Harold Shaw Film Productions]], but after Shaw returned to Great Britain, Kimpton switched back to the stage.  He worked primarily with [[Leonard Rayne]], staging such plays as, once again, ''[[The Blindness of Virtue]]'', ''[[The Morals of Marcus]]'', ''[[Disraeli]]'' and ''[[Peter Pan]]'', the latter starring [[Freda Godfrey]] in the title role.  In 1919 he worked with the [[New Comedy Company]] in Cape Town, putting on plays such as ''[[The Professor’s Love Story]]'', ''[[Quality Street]]'' and ''[[The Little Minister]]''.  In November 1919, he directed [[Alfred Holtzer]]'s play ''[[A Broken Chain]]'' at the [[Railway Institute]] for the [[Owl Club]].  After that we lose sight of him.  He may have returned to England for some time, but during the 1940’s he often worked with the [[Cape Town Repertory Theatre]], and staged at least one play at the [[Little Theatre]].  It is not known where and when he died.  (FO)
+In November of 1915 he came to South Africa, travelling on the same ship as [[Frank Cellier]], who was coming out with the [[Ethel Irving]] Company.  He joined [[Leonard Rayne]] at the [[Standard Theatre]] and produced a number of plays throughout 1916.  He also staged an amateur production of ''[[The Merchant of Venice]]'' for presentation at the [[Palladium Theatre]] from 24 to 27 April 1916 on the occasion of the Johannesburg [[Shakespeare Tercentenary Celebration]].  After that he was employed by [[African Film Productions]] and, according to the [[S.A. Pictorial]] of 1 September 1917, was one of the company’s assistant producers, having worked as such on [[Harold M. Shaw]]'s ''[[De Voortrekkers]]''.  However, in April of that year the magazine had already reported that he was the co-producer (with [[Joseph Albrecht]]) of ''[[The Border Scourge]]'' (1917).  It was a first feature for both of them and it is likely that Albrecht took care of the technical side, while Kimpton directed the actors.  By the end of the year Kimpton was involved in an acrimonious libel case against his former employer, joining Shaw, who had also fallen out with [[I.W. Schlesinger]].  In April 1918 the case was settled out of court.
 == Sources ==
@@ Line 19: / Line 28: @@
 Le Roux, André I. & Fourie, Lilla – Filmverlede: geskiedenis van die Suid-Afrikaanse speelfilm
 http://tlweb.latrobe.edu.au/humanities/screeningthepast/25/rose-of-rhodesia/parsons-1.html

← Older revision		Revision as of 16:32, 4 July 2018
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−	Ralph Kimpton (b. Bishopsgate, London, 25/03/1879 - d. //****) was a British-born stage manager, producer and director.	+	'''Ralph Kimpton''' (b. Bishopsgate, London, 25/03/1879 - d. //****) was a British-born stage manager, producer and director.

	== Biography ==		== Biography ==

← Older revision		Revision as of 16:31, 4 July 2018
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−	(b. Bishopsgate, London, //1879 - d. //****). British-born stage manager, producer, director. Kimpton’s father was an outfitter and according to the census records for England and Wales, in 1901 Howard Ralph Kimpton was a commercial clerk. However, soon afterwards he became an assistant stage manager for Sir George Alexander at the St. James Theatre in London. He stayed there until August 1909, when he joined Alfred Wareing, the driving force behind the newly established Glasgow Repertory Theatre, where he staged plays like Chekhov’s ''The Seagull''. Next he became the stage director of the Little Theatre in London and when, in 1912, the company took Cosmo Hamilton’s ''The Blindness of Virtue'' on a tour of the United States, Kimpton was the stage manager. Except for a short break when he became ill and returned to England to recuperate, he stayed in America until July 1914.	+	Ralph Kimpton (b. Bishopsgate, London, 25/03/1879 - d. //****) was a British-born stage manager, producer and director.
		+
		+	== Biography ==
		+
		+	Kimpton’s father was an outfitter and according to the census records for England and Wales, in 1901 Howard Ralph Kimpton was a commercial clerk. However, soon afterwards he became an assistant stage manager for Sir George Alexander at the St. James Theatre in London. He stayed there until August 1909, when he joined Alfred Wareing, the driving force behind the newly established Glasgow Repertory Theatre, where he staged plays like Chekhov’s ''The Seagull''. Next he became the stage director of the Little Theatre in London and when, in 1912, the company took Cosmo Hamilton’s ''The Blindness of Virtue'' on a tour of the United States, Kimpton was the stage manager. Except for a short break when he became ill and returned to England to recuperate, he stayed in America until July 1914.

	In November of 1915 he came to South Africa, travelling on the same ship as [[Frank Cellier]], who was coming out with the [[Ethel Irving]] Company. He staged ''[[The Merchant of Venice]]'' for presentation at the [[Palladium Theatre]] from 24 to 27 April 1916 on the occasion of the [[Johannesburg Shakespeare Tercentenary Celebration]] and directed [[Frank Cellier]] in ''[[Caroline]]'' at the [[Standard Theatre]] for [[Leonard Rayne]]. After that he was employed by [[African Film Productions]] and, according to [[Stage & Cinema]] of 1 September 1917, he was one of the company’s assistant producers, having worked as such on [[Harold M. Shaw]]'s ''[[De Voortrekkers]]''. However, in April of that year the magazine had already reported that he was the co-producer (with [[Joseph Albrecht]]) of ''[[The Border Scourge]]'' (1917). It was a first feature for both of them and it is likely that Albrecht took care of the technical side, while Kimpton directed the actors. By the end of the year Kimpton was involved in an acrimonious libel case against his former employer, joining Shaw, who had also fallen out with [[I.W. Schlesinger]]. In April 1918 the case was settled out of court. In that same month, he came back to ''[[The Blindness of Virtue]]'', staging it at the [[Standard Theatre]], with [[Freda Godfrey]] and [[Frank Cellier]] in the cast.		In November of 1915 he came to South Africa, travelling on the same ship as [[Frank Cellier]], who was coming out with the [[Ethel Irving]] Company. He staged ''[[The Merchant of Venice]]'' for presentation at the [[Palladium Theatre]] from 24 to 27 April 1916 on the occasion of the [[Johannesburg Shakespeare Tercentenary Celebration]] and directed [[Frank Cellier]] in ''[[Caroline]]'' at the [[Standard Theatre]] for [[Leonard Rayne]]. After that he was employed by [[African Film Productions]] and, according to [[Stage & Cinema]] of 1 September 1917, he was one of the company’s assistant producers, having worked as such on [[Harold M. Shaw]]'s ''[[De Voortrekkers]]''. However, in April of that year the magazine had already reported that he was the co-producer (with [[Joseph Albrecht]]) of ''[[The Border Scourge]]'' (1917). It was a first feature for both of them and it is likely that Albrecht took care of the technical side, while Kimpton directed the actors. By the end of the year Kimpton was involved in an acrimonious libel case against his former employer, joining Shaw, who had also fallen out with [[I.W. Schlesinger]]. In April 1918 the case was settled out of court. In that same month, he came back to ''[[The Blindness of Virtue]]'', staging it at the [[Standard Theatre]], with [[Freda Godfrey]] and [[Frank Cellier]] in the cast.