... To the Editor of THE STAGE Sir, I am writing a history of the London Coliseum, and wonder if I may appeal through your columns for help from your reader?. The book, which is to be published by Frederick Muller, is being written with the kind co operation of Lady Stoll and the per mission of Mr. Prince Littler. I am anxious to get in touch with anyone who can tell me interesting and hitherto ...

... To the Editor of The Staoe CIR, I was rather amazed at your article in last week's Stage about the proposed plan of Paul Raymond to put out eight shows, which will all include nudes. I should have thought that the num ber of years this paper has served the profession it should have been the last one to have given any space to his proposed plans. With theatres closing down ?I1 over the ...

... wik, Hurrah for Gordon Irving! At long last a critic has em phasised that panlomimc should be a seasonal pastime. Being a Glas gow reader, I readily understand Mr. Irving's views. For years now, pantomimes in Glasgow have been running far too long. So long, in tact, trtat Glasgow is deprived of seeing many prior-to-London shows. This is all the more ridiculous when one considers that Glasgow ...

... To the Editor of The Stage CIR, I was interested and de- lighted to read that we have a person in the business who has the courage to launch such an advcntuie in new shows 1 refer to Paul Ray mond. How true he is when be speaks of The Enemy. How often one finds this enemy, and not only do managements want cheaper shows, but what amenities do they offer the touring company? A dirty stage, ...

... To the Editor of The Staue. CIR,-- I was very interested to read Jimmy Lymon's Memories of the Panopticon, and would like to record my own experience at that most unusual music hall. It was formerly the Britannia, commonly known as the Old Brit, but Pick- hard changed the name when he took over. 1 had just finished a tour of My Irish Molly when 1 received a wire from Jimmy Anderson, the agent ...

... To the Editor of The Stage CIR,-- It is good news that the Douglas Fairbanks series of plays are to be seen on British TV, as those I saw in the United States were so excellent, but it seems most remiss that in the long and detailed announcement the name of onlv one playwright is given. The other authors are ignored. Such neglect is hardly an encouragement for playwrights to study and write ...

... To the Editor of The Stags CIR, I disagree with Paul Ray- mond's remarks that nude shown; don't close theatres. I am sure that he would not maintain that tatty third-rate revues boasting of an underfed teenage chorus girl in artistic poses is an asset to the profession. On the other hand, a well-pre- sented act is frequently quite a draw and I suggest that Mr. Ray mond's success is not due ...

... To the Editor of THE STAGE SIR. In your review of the Nuffield 1 Ccmrc on January 26, your critic state-s that it is a mistake for a ventrilo quist to attempt to Blind the audience i wkh technique. I beg to refute his statement by I pointing to the markedly successful career of that master ventriloquist Arthur Worslcy. Surely your critic's job is to comnent on what is presented, and not how ...

... . CIR, Replying to your corrcspon- dent Len Edwards, I would sug gest that it is definitely the critic's lob to comment on how anything is presented. Otherwise the word criticise is meaningless, as the pro gramme is for the purpose of telling us what is presented. Many of the younger critics of to day leave much to be desired in their mode of criticism, so much so Ihat few people take much ...

... Critic's Reply CIR, Is a critic permitted to answer criticism? If so, I would like to point out that Len Edwards has misinter- rreted my remarks of January 26. said that Harry Benet did not com mit the error of those ventriloquists who merely blind the audience with technique, forgetting that their prim ary purpose is to entertain. According to my dictionary, a critic is one who judges or ...

... To the Editor of THE STAGE CIR, I read in The Stage that Wee Georgie Wood says that his friend Gilbert Harding agrees I with him that performing animals must suffer and can't be trained without cruelty. I would just like to say that I come from a long line of perfor- f I mers, right from the Mumming Booths. I am the only one of many i of my relations to drift from the stage to the circus. ...

... To the Editor of The Stage CIR, If the living theatre were j excused tax. would the people in it become any less lazy or in competent 7 I saw Exotique at the Royalty, Chester, last week and noticed a good comedian flogging himself to death with ancient material and a feed who couldn't act. One artist in the Stalls bar at the interval letting everyone see that he was too lazy to apply any thing ...