Leslie Lincoln Henson was an English comedian, producer for films and theatre, film director. He worked in silent films and Edwardian musical comedy and became a popular music hall comedian who enjoyed a long stage career, he was famous for his bulging eyes, malleable face and raspy voice and helped to form the Entertainments National Service Association during the Second World War. Born in Notting Hill, Henson became interested in the theatre from an early age and producing theatrical pieces while at school, he studied with "the Cairns–James School of Musical and Dramatic Art as a child, making his professional stage début at the age of 19. His first West End role was in Nicely, Thanks! and he starred in several hit West End Edwardian musical comedies, including To-Night's the Night and Yes, Uncle!. After serving with the Royal Flying Corps, he was released from active service by the British government to help run a concert party called "The Gaieties", which provided entertainment for the troops during World War I.
After the war, he returned to the West End, playing in Kissing Time and a series of musical comedies and farces throughout the 1920s and 1930s. At the start of World War II, together with Basil Dean, he helped to form ENSA, with which he entertained British troops abroad. Henson's postwar stage success continued in revues and plays, including a West End adaptation of The Diary of a Nobody in 1955. Henson's film career was intermittent, he made 14 films from 1916 to 1956; the most notable of these was Tons of Money in 1924, which introduced the popular Aldwych farces to British cinema audiences for the first time. In 1956, Henson's friend Bobby Hullett died in circumstances. Henson anonymously notified the police that John Bodkin Adams, should be investigated. Adams was subsequently acquitted. Leslie Henson was born in Notting Hill, the eldest child and only son of Joseph Lincoln Henson, a tallow chandler, his wife, Alice Mary, he was educated at the Emanuel School, at Cliftonville College. Interested in the theatre from an early age, Henson wrote and produced theatrical pieces while at school.
He worked in the family business but soon studied with "the Cairns–James School of Musical and Dramatic Art". Henson began his professional stage career at age 19 in the provinces with The Tatlers' concert party, soon appearing in London in the pantomime Sinbad at the Dalston Theatre at Christmas 1910. After concert appearances, he toured in The Quaker Girl in 1912 in the role of Jeremiah, his first West End role was that year in Nicely, Thanks! at the Royal Strand Theatre. Actor Stanley Holloway dedicated a chapter in his 1967 autobiography to Henson, describing how Henson helped establish his career by signing him to perform in Nicely Thanks! He performed with The Scamps' concerts and starred in the comic roles in hit West End Edwardian musical comedies such as To-Night's the Night, Theodore & Co, Yes, Uncle!. His malleable features, bulging eyes and raspy voice made him an audience favourite in his own comic sketches, he appeared in films beginning with Wanted: A Widow. Henson signed up with the Royal Flying Corps but was removed from active service in 1918 to run a concert party group called "The Gaieties" in the 5th Army, to give shows for the troops.
That autumn, he was stationed in Lille, evacuated by the Germans, was able to stage revues and a pantomime at the abandoned Opera House. He returned to the West End in Kissing Time, Sally and a string of musicals at the Winter Garden Theatre, including A Night Out, The Cabaret Girl and The Beauty Prize. In Tons of Money, he starred as Aubrey Allington, which led to the long-running series of Aldwych Farces, which he co-produced with Tom Walls. In 1924, he played Aubrey Allington again when he and Walls made his most notable film, Tons of Money, which introduced the Aldwych farces to British cinema audiences for the first time. In 1926, he starred in Kid Boots in London and toured the English provinces in Betty Lee in 1926. In 1927, he appeared in a musical, Lady Luck at the Carlton Theatre, followed by Funny Face, 1928. In 1930, Henson and his business partner Firth Shephard co-leased the Novello Theatre and presented a series of farces, It's a Boy!, It's a Girl!, Follow Through, Nice Goings On!, Lucky Break and Aren't Men Beasts!.
In 1935, he and Shephard took over the Gaiety Theatre and produced four successful shows, Seeing Stars, Swing Along, Going Greek and Running Riot. During the run of the last of these, the aged theatre was required to be closed. Henson returned to film work in the 1930s, appearing in A Warm Corner, The Sport of Kings, It's a Boy, The Girl from Maxim's and Oh, Daddy!. His films were The Demi-Paradise and Home and Away. In 1938, Leslie Henson was appointed president of the Royal Theatrical Fund. At the outbreak of World War II, he returned to the UK from a tour of South Africa and, together with Basil Dean, formed the Entertainments National Service Association, a government-sponsored organisation with which he entertained British troops in Europe, the Near East and the Far East, he was in London in 1940, for the revue Up and Doing and in 1942 for Fine and Dandy, both at the Saville Theat
Musical theatre is a form of theatrical performance that combines songs, spoken dialogue and dance. The story and emotional content of a musical – humor, love, anger – are communicated through the words, music and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue and other elements. Since the early 20th century, musical theatre stage works have been called musicals. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre emerged during the 19th century, with many structural elements established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America; these were followed by the numerous Edwardian musical comedies and the musical theatre works of American creators like George M. Cohan at the turn of the 20th century.
The Princess Theatre musicals and other smart shows like Of Thee I Sing were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to such groundbreaking works as Show Boat and Oklahoma!. Some of the most famous musicals through the decades that followed include West Side Story, The Fantasticks, Hair, A Chorus Line, Les Misérables, The Phantom of the Opera, The Producers and Hamilton. Musicals are performed around the world, they may be presented in large venues, such as big-budget Broadway or West End productions in New York City or London. Alternatively, musicals may be staged in smaller venues, such as fringe theatre, Off-Broadway, Off-Off-Broadway, regional theatre, or community theatre productions, or on tour. Musicals are presented by amateur and school groups in churches and other performance spaces. In addition to the United States and Britain, there are vibrant musical theatre scenes in continental Europe, Australasia and Latin America.
Since the 20th century, the "book musical" has been defined as a musical play where songs and dances are integrated into a well-made story with serious dramatic goals, able to evoke genuine emotions other than laughter. The three main components of a book musical are its music and book; the book or script of a musical refers to the story, character development and dramatic structure, including the spoken dialogue and stage directions, but it can refer to the dialogue and lyrics together, which are sometimes referred to as the libretto. The music and lyrics together form the score of a musical and include songs, incidental music and musical scenes, which are "theatrical sequence set to music combining song with spoken dialogue." The interpretation of a musical is the responsibility of its creative team, which includes a director, a musical director a choreographer and sometimes an orchestrator. A musical's production is creatively characterized by technical aspects, such as set design, stage properties and sound.
The creative team and interpretations change from the original production to succeeding productions. Some production elements, may be retained from the original production. There is no fixed length for a musical. While it can range from a short one-act entertainment to several acts and several hours in length, most musicals range from one and a half to three hours. Musicals are presented in two acts, with one short intermission, the first act is longer than the second; the first act introduces nearly all of the characters and most of the music and ends with the introduction of a dramatic conflict or plot complication while the second act may introduce a few new songs but contains reprises of important musical themes and resolves the conflict or complication. A book musical is built around four to six main theme tunes that are reprised in the show, although it sometimes consists of a series of songs not directly musically related. Spoken dialogue is interspersed between musical numbers, although "sung dialogue" or recitative may be used in so-called "sung-through" musicals such as Jesus Christ Superstar, Les Misérables and Hamilton.
Several shorter musicals on Broadway and in the West End have been presented in one act in recent decades. Moments of greatest dramatic intensity in a book musical are performed in song. Proverbially, "when the emotion becomes too strong for speech, you sing. In a book musical, a song is ideally crafted to suit the character and their situation within the story; as The New York Times critic Ben Brantley described the ideal of song in theatre when reviewing the 2008 revival of Gypsy: "There is no separation at all between song and character, what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be." Many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore, there is less time to develop drama in a musical than in a straight play of equivalent length, since a musical devotes more time to music than to dialogue. Within the compressed nature of a musical, the writers must develop the plot; the ma
The New York Times
The New York Times is an American newspaper based in New York City with worldwide influence and readership. Founded in 1851, the paper has won more than any other newspaper; the Times is ranked 17th in the world by circulation and 2nd in the U. S; the paper is owned by The New York Times Company, publicly traded and is controlled by the Sulzberger family through a dual-class share structure. It has been owned by the family since 1896. G. Sulzberger, the paper's publisher, his father, Arthur Ochs Sulzberger Jr. the company's chairman, are the fourth and fifth generation of the family to helm the paper. Nicknamed "The Gray Lady", the Times has long been regarded within the industry as a national "newspaper of record"; the paper's motto, "All the News That's Fit to Print", appears in the upper left-hand corner of the front page. Since the mid-1970s, The New York Times has expanded its layout and organization, adding special weekly sections on various topics supplementing the regular news, editorials and features.
Since 2008, the Times has been organized into the following sections: News, Editorials/Opinions-Columns/Op-Ed, New York, Sports of The Times, Science, Home and other features. On Sunday, the Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T: The New York Times Style Magazine; the Times stayed with the broadsheet full-page set-up and an eight-column format for several years after most papers switched to six, was one of the last newspapers to adopt color photography on the front page. The New York Times was founded as the New-York Daily Times on September 18, 1851. Founded by journalist and politician Henry Jarvis Raymond and former banker George Jones, the Times was published by Raymond, Jones & Company. Early investors in the company included Edwin B. Morgan, Christopher Morgan, Edward B. Wesley. Sold for a penny, the inaugural edition attempted to address various speculations on its purpose and positions that preceded its release: We shall be Conservative, in all cases where we think Conservatism essential to the public good.
We do not believe that everything in Society is either right or wrong. In 1852, the newspaper started a western division, The Times of California, which arrived whenever a mail boat from New York docked in California. However, the effort failed. On September 14, 1857, the newspaper shortened its name to The New-York Times. On April 21, 1861, The New York Times began publishing a Sunday edition to offer daily coverage of the Civil War. One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials in the Times alone; the main office of The New York Times was attacked during the New York City Draft Riots. The riots, sparked by the beginning of drafting for the Union Army, began on July 13, 1863. On "Newspaper Row", across from City Hall, Henry Raymond stopped the rioters with Gatling guns, early machine guns, one of which he manned himself; the mob diverted, instead attacking the headquarters of abolitionist publisher Horace Greeley's New York Tribune until being forced to flee by the Brooklyn City Police, who had crossed the East River to help the Manhattan authorities.
In 1869, Henry Raymond died, George Jones took over as publisher. The newspaper's influence grew in 1870 and 1871, when it published a series of exposés on William Tweed, leader of the city's Democratic Party—popularly known as "Tammany Hall" —that led to the end of the Tweed Ring's domination of New York's City Hall. Tweed had offered The New York Times five million dollars to not publish the story. In the 1880s, The New York Times transitioned from supporting Republican Party candidates in its editorials to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign. While this move cost The New York Times a portion of its readership among its more progressive and Republican readers, the paper regained most of its lost ground within a few years. After George Jones died in 1891, Charles Ransom Miller and other New York Times editors raised $1 million dollars to buy the Times, printing it under the New York Times Publishing Company.
However, the newspaper was financially crippled by the Panic of 1893, by 1896, the newspaper had a circulation of less than 9,000, was losing $1,000 a day. That year, Adolph Ochs, the publisher of the Chattanooga Times, gained a controlling interest in the company for $75,000. Shortly after assuming control of the paper, Ochs coined the paper's slogan, "All The News That's Fit To Print"; the slogan has appeared in the paper since September 1896, has been printed in a box in the upper left hand corner of the front page since early 1897. The slogan was a jab at competing papers, such as Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal, which were known for a lurid and inaccurate reporting of facts and opinions, described by the end of the century as "yellow journalism". Under Ochs' guidance, aided by Carr
Broadway theatre known as Broadway, refers to the theatrical performances presented in the 41 professional theatres, each with 500 or more seats located in the Theater District and Lincoln Center along Broadway, in Midtown Manhattan, New York City. Along with London's West End theatre, Broadway theatre is considered to represent the highest level of commercial theatre in the English-speaking world; the Theater District is a popular tourist attraction in New York City. According to The Broadway League, for the 2017–2018 season total attendance was 13,792,614 and Broadway shows had US$1,697,458,795 in grosses, with attendance up 3.9%, grosses up 17.1%, playing weeks up 2.8%. The majority of Broadway shows are musicals. Historian Martin Shefter argues that "'Broadway musicals', culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture" and contributed to making New York City the cultural capital of the Western Hemisphere.
New York did not have a significant theatre presence until about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 people. They presented Shakespeare ballad operas such as The Beggar's Opera. In 1752, William Hallam sent a company of twelve actors from Britain to the colonies with his brother Lewis as their manager, they established a theatre in Williamsburg and opened with The Merchant of Venice and The Anatomist. The company moved to New York in the summer of 1753, performing ballad operas and ballad-farces like Damon and Phillida; the Revolutionary War suspended theatre in New York, but thereafter theatre resumed in 1798, the year the 2,000-seat Park Theatre was built on Chatham Street. The Bowery Theatre opened followed by others. By the 1840s, P. T. Barnum was operating an entertainment complex in Lower Manhattan. In 1829, at Broadway and Prince Street, Niblo's Garden opened and soon became one of New York's premiere nightspots.
The 3,000-seat theatre presented all sorts of non-musical entertainments. In 1844, Palmo's Opera House opened and presented opera for only four seasons before bankruptcy led to its rebranding as a venue for plays under the name Burton's Theatre; the Astor Opera House opened in 1847. A riot broke out in 1849 when the lower-class patrons of the Bowery objected to what they perceived as snobbery by the upper class audiences at Astor Place: "After the Astor Place Riot of 1849, entertainment in New York City was divided along class lines: opera was chiefly for the upper middle and upper classes, minstrel shows and melodramas for the middle class, variety shows in concert saloons for men of the working class and the slumming middle class."The plays of William Shakespeare were performed on the Broadway stage during the period, most notably by American actor Edwin Booth, internationally known for his performance as Hamlet. Booth played the role for a famous 100 consecutive performances at the Winter Garden Theatre in 1865, would revive the role at his own Booth's Theatre.
Other renowned Shakespeareans who appeared in New York in this era were Henry Irving, Tommaso Salvini, Fanny Davenport, Charles Fechter. Theatre in New York moved from downtown to midtown beginning around 1850, seeking less expensive real estate. In the beginning of the 19th century, the area that now comprises the Theater District was owned by a handful of families and comprised a few farms. In 1836, Mayor Cornelius Lawrence opened 42nd Street and invited Manhattanites to "enjoy the pure clean air." Close to 60 years theatrical entrepreneur Oscar Hammerstein I built the iconic Victoria Theater on West 42nd Street. Broadway's first "long-run" musical was a 50-performance hit called The Elves in 1857. In 1870, the heart of Broadway was in Union Square, by the end of the century, many theatres were near Madison Square. Theatres did not arrive in the Times Square area until the early 1900s, the Broadway theatres did not consolidate there until a large number of theatres were built around the square in the 1920s and 1930s.
New York runs continued to lag far behind those in London, but Laura Keene's "musical burletta" The Seven Sisters shattered previous New York records with a run of 253 performances. It was at a performance by Keene's troupe of Our American Cousin in Washington, D. C. that Abraham Lincoln was shot. The first theatre piece that conforms to the modern conception of a musical, adding dance and original music that helped to tell the story, is considered to be The Black Crook, which premiered in New York on September 12, 1866; the production was five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a "musical comedy". Tony Pastor opened the first vaudeville theatre one block east of Union Square in 1881, where Lillian Russell performed. Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 and 1890, with book and lyrics by Harrigan and music by his father-in-law David Braham.
These musical comedies featured characters and situations taken from the everyday life of New York's lower classes and represented a significant step forward from vaudeville and burlesque, towards a more literate form. They starred high quality singers, instead of the women of questionable repute who had starred in earlier m
Jerome David Kern was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "The Song Is You", "All the Things You Are", "The Way You Look Tonight", "Long Ago" and "Who?". He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr. Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and E. Y. Harburg. A native New Yorker, Kern created dozens of Broadway musicals and Hollywood films in a career that lasted for more than four decades, his musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for musicals.
Although dozens of Kern's musicals and musical films were hits, only Show Boat is now revived. Songs from his other shows, are still performed and adapted. Many of Kern's songs have been adapted by jazz musicians to become standard tunes. Kern was born in New York City, on Sutton Place, in what was the city's brewery district, his parents were Henry Kern, a Jewish German immigrant, Fannie Kern née Kakeles, an American Jew of Bohemian parentage. At the time of Kern's birth, his father ran a stable. Kern grew up on East 56th Street in Manhattan, he showed an early aptitude for music and was taught to play the piano and organ by his mother, an accomplished player and teacher. In 1897, the family moved to New Jersey, where Kern attended Newark High School, he wrote songs for the school's first musical, a minstrel show, in 1901, for an amateur musical adaptation of Uncle Tom's Cabin put on at the Newark Yacht Club in January 1902. Kern left high school before graduation in the spring of his senior year in 1902.
In response, Kern's father insisted that his son work with him instead of composing. Kern, failed miserably in one of his earliest tasks: he was supposed to purchase two pianos for the store, but instead he ordered 200, his father relented, in 1902, Kern became a student at the New York College of Music, studying the piano under Alexander Lambert and Paolo Gallico, harmony under Dr. Austin Pierce, his first published composition, a piano piece, At the Casino, appeared in the same year. Between 1903 and 1905, he continued his musical training under private tutors in Heidelberg, returning to New York via London. For a time, Kern worked as a rehearsal pianist in Broadway theatres and as a song-plugger for Tin Pan Alley music publishers. While in London, he secured a contract from the American impresario Charles Frohman to provide songs for interpolation in Broadway versions of London shows, he began to provide these additions in 1904 to British scores for An English Daisy, by Seymour Hicks and Walter Slaughter, Mr. Wix of Wickham, for which he wrote most of the songs.
In 1905, Kern contributed the song "How'd you like to spoon with me?" to Ivan Caryll's hit musical The Earl and the Girl when the show transferred to Chicago and New York in 1905. He contributed to the New York production of The Catch of the Season, The Little Cherub and The Orchid, among other shows. From 1905 on, he spent long periods of time in London, contributing songs to West End shows like The Beauty of Bath and making valuable contacts, including George Grossmith Jr. and Seymour Hicks, who were the first to introduce Kern's songs to the London stage. In 1909 during one of his stays in England, Kern took a boat trip on the River Thames with some friends, when the boat stopped at Walton-on-Thames, they went to an inn called the Swan for a drink. Kern was much taken with the proprietor's daughter, Eva Leale, working behind the bar, he wooed her, they were married at the Anglican church of St. Mary's in Walton on October 25, 1910; the couple lived at the Swan when Kern was in England. Kern is believed to have composed music for silent films as early as 1912, but the earliest documented film music which he is known to have written was for a twenty-part serial, Gloria's Romance in 1916.
This was one of the first starring vehicles for Billie Burke, for whom Kern had earlier written the song "Mind the Paint", with lyrics by A. W. Pinero; the film is now considered lost. Another score for the silent movies, followed in 1919. Kern was one of the founding members of ASCAP. Kern's first complete score was Broadway's The Red Petticoat, one of the first musical-comedy Westerns; the libretto was by Rida Johnson Young. By World War I, more than a hundred of Kern's songs had been used in about thirty productions Broadway adaptations of West End and European shows. Kern contributed two songs to To-Night's another Rubens musical, it went on to become a hit in London. The best known of Kern's songs from this period is "They Didn't Believe Me", a hit in the New York version of the Paul Rubens and Sidney Jones musical, The Girl from Utah, for which Kern wrote five songs. Kern's song, with four beats to a bar, departed from the customary waltz-rhythms of E
Percy Greenbank was an English lyricist, best known for his contribution of lyrics to a number of successful Edwardian musical comedies in the early years of the 20th century. His older brother, lyricist Harry Greenbank, had a brilliant career in the 1890s, cut short by his death at the age of 33. Percy picked up where his brother had left off, writing lyrics for some of the most popular musicals from 1900 through World War I and afterwards. Greenbank was born in son of Richard and Mary Greenbank, he was Harry Greenbank's younger brother. Percy studied law, but instead decided to become a journalist, contributing to such journals as Punch, The Sketch and The Tatler, to write for the theatre. After Harry's death, George Edwardes asked the younger Greenbank to collaborate with Adrian Ross on the lyrics for The Messenger Boy and interpolated two of his lyrics into San Toy when that score was revised, he began to collaborate with composers Ivan Caryll and Lionel Monckton, as well as with Ross and the deviser of the Gaiety show plots and outlines, James T. Tanner.
For the remaining 14 years of the Edwardes era Greenbank worked at the Gaiety Theatre, Daly's Theatre and the Adelphi Theatre, contributing sometimes much and sometimes only a few lyrics to most of Edwardes's shows, including hits like The Toreador, A Country Girl, The Orchid, The Earl and the Girl, Lady Madcap, Véronique, The Cingalee, The Little Michus, The Spring Chicken, The Girl Behind the Counter, The New Aladdin, Our Miss Gibbs, The Quaker Girl, The Dancing Mistress and The Girl From Utah. During this time, he produced shows at other theatres, such as Three Little Maids, My Lady Molly, Lady Madcap, The Blue Moon, See-See, The Belle of Brittany, Princess Caprice and To-Night's the Night. After Edwardes' death in 1915, Greenbank continued for a further decade to supply lyrics and libretti to the musical stage, including such shows as Houp La! and the hit musical The Boy, only venturing into the world of revue. His last major work for the West End was the adaptation from the German of what was to become the book to the Jean Gilbert and Vernon Duke musical Yvonne.
He subsequently did occasional work as an adapter through the 1920s. He modernized San Toy with Percy Barrow for its 1931 revival, but slowed down into a long retirement. Greenbank died in Rickmansworth, north west of London, at the age of 90, as a result, the Edwardian musical comedies to which he contributed remain in copyright in the UK well into the 21st century. Gaye, Freda. Who's Who in the Theatre, fourteenth edition. London: Sir Isaac Pitman and Sons. Hyman, Alan. Sullivan and His Satellites. London: Chappell. Percy Greenbank at the Internet Broadway Database Links to many Greenbank shows including lyrics and other information Sheet music from The Girl from Utah
Edward Laurillard was a cinema and theatre producer in London and New York City during the first third of the 20th century. He is best remembered for promoting the cinema early in the 20th century and for Edwardian musical comedies produced in partnership with George Grossmith, Jr. including Tonight's the Night, Theodore & Co and Yes, Uncle!. Born in Rotterdam in The Netherlands, he was educated in Paris. Laurillard moved to England as a young man, he was divorced twice. In 1894, Laurillard became manager of Terry's Theatre, producing King Kodak, his first big success was The Gay Parisienne at the Duke of York's Theatre, which introduced the hit song "Sister Mary Jane's Top Note." Other early productions included My Old Dutch and Oh! Susannah, after which he toured the United States; the Savoy Theatre in London, closed in 1903 after the D'Oyly Carte Opera Company discontinued producing its Savoy operas there, was reopened under the management of Laurillard in February 1904 with The Love Birds, by Raymond Rôze and Percy Greenbank, starring George Grossmith, Jr. who would become Laurillard's producing partner.
During the First World War he became manager of the New Gallery Cinema in Regent Street and built a group of 25 cinemas. He screened Herbert Beerbohm Tree's film of Henry VIII, one of the first films of a big stage production. With Grossmith, he brought the ethnic comedy hit and Perlmutter by Montague Glass, to London in 1914 for a long run at the Queen's Theatre, he was the manager of the Comedy Theatre for the production of Peg O' My Heart by John Hartley Manners. Grossmith and Laurillard opened Tonight's the Night, based on the farce Pink Dominoes, at the Shubert Theatre in New York in 1914, the first Gaiety show to be produced in New York before opening in London, he moved to the Gaiety Theatre in London in 1915. At the Prince of Wales Theatre and Laurillard had successes with Mr Manhattan and Yes, Uncle!. At the Gaiety Theatre, Laurillard's biggest hit was Co.. At that theatre, he produced two shows in 1921: Faust on Toast, a burlesque starring Jack Buchanan, Maurice Maeterlinck's play The Betrothal, featuring Bobbie Andrews and Gladys Cooper, with incidental music by Cecil Armstrong Gibbs and costumes by Charles Ricketts.
Grossmith and Laurillard leased the Shaftesbury Theatre to produce several shows from 1917 to 1921. These included Arlette, Baby Bunting by Fred Thompson and Worton David, The Great Lover, by Leo Ditrichstein, Frederic Hatton, Fanny Hatton, Out to Win, by Roland Pertwee and Dion Clayton Calthrop. At the Alhambra Theatre, they produced Oscar Asche and Dornford Yates's conception of Eastward Ho! in 1919. The partners purchased the Winter Garden Theatre in 1919, where they produced Kissing Time and A Night Out. Grossmith and Laurillard became managers of the Apollo Theatre in 1920, producing the stage version of George Du Maurier’s novel Trilby and Such a Nice Young Man by H. F. Maltby, among others over the next three years. After this and Laurillard terminated their partnership. Other shows that Laurillard produced in the 1920s included The Naughty Princess, with a book by John Hastings Turner, lyrics by Adrian Ross, music by Charles Cuvillier at the Adelphi Theatre, Don'Q', with words by Hesketh Hesketh-Prichard with and music by Charles Essen, The Smith Family at the Empire Theatre in 1922 and The Butter and Egg Man at the Garrick Theatre in 1927.
The Piccadilly Theatre was built by Bertie Crewe and Edward A. Stone, for Laurillard's production company in 1928, opening with Blue Eyes, a romantic musical with music by Kern and book and lyrics by Bolton and Graham John. Laurillard brought to London Ralph Benatzky's My Sister and I in 1931. In his last years, he moved to New York and spent some time in Hollywood. "Edw. Laurillard, Producer, Is Dead. Staged American Plays – Partner of George Grossmith From 1914 to 1921 Presented'Potash and Perlmutter'"; the New York Times. 8 May 1936. Retrieved 2008-08-09. Information about several Laurillard plays and musicals from 1910 to 1919 Information about several Laurillard plays and musicals from 1920 to 1929