Origins
The history of the Players' is a microcosm of British theatrical history, and many famous names have appeared on its stage. At its conception in 1936, the Players' was intended as a club, covering many aspects of theatrical entertainment. The founders, Leonard Sachs and Peter Ridgeway, acquired premises from Dorita Curtis Hayward, on the top floor of 43 Kings Street, Covent Garden, in what was once Evans Music-and-Supper Rooms, founded in the 1840s by W. G. Evans. As the latter had acquired the premises from a Mr. Joy it became known as 'Evans Late Joy's'. This renowned 'song and supper' room was an immediate predecessor of the later music halls. It closed in 1880.
Ridgeway and Sachs rapidly established the Players' as a notable 'little theatre'. In 1937, seeking a Christmas show, they were persuaded to present an evening of music hall entertainment recreating as far as possible a night at 'Evans's'. This was the very first programme of early Victorian delights, offered under the title 'Ridgeway's Late Joys'. The show was an instant success, the original cast including Patricia Hayes, Megs Jenkins, Richard Haydn and Harold Scott. The Late Joys was a play on the original premises name as the shows then began very late (around 11.00 p.m.) mainly because it allowed both members and performers, of whom many were on the stage, to get there for the start after their own performances.
Within a few months, subsequent editions had persuaded Ridgeway and Sachs that music hall was the club's future. Peter Ridgeway died shortly afterwards of TB, at the age of 34. Leonard Sachs continued on his own, his gift for discovering new talent being a major factor in his success. Among the new recruits came Robert Eddison, Bernard Miles, Alec Clunes, and Frith Banbury and Peter Ustinov (auditioning at 11 a.m., onstage by 11 p.m.) in his professional debut. Apart from attracting gifted artists and musicians as performers, two artists destined to become famous in their own right added their talents to the mix. Rex Whistler designed sets and scenery, whilst Felix Topolski did much to decorate the theatre with his wonderful draughtsmanship. A Rex Whistler backcloth was situated on the wall at the side of the stairs leading to the auditorium in the final Players' Theatre that was underneath the railway arches of Charing Cross.
The Players' was recognised by public and critics as 'The most original entertainment in London'. It was even endorsed as one of the clubs to which the subalterns of the Household Brigade were permitted to belong. The Churchill family were great supporters — Sarah Churchill helping as a programme seller. Sir Maurice and Lady Violet Bonham-Carter, together with their son, Mark, are to be found amongst the early membership, which included many leading members of London society. The club flourished, offering performances every night at 11.00 p.m. and at 2.00 a.m. on at least two evenings per week.
Leonard Sachs continued to recruit clever artistes. The scions of well-known Edwardian theatrical families (including Huntley Wright, Sterndale Bennett, and later J. N. Maskelyne), added an inherited touch of authenticity to the proceedings. Later still, some of the performers from that earlier age returned to the music-hall stage via The Players' — including Ada Reeve, Ruby Millar, Albert Whelan and Billy Merson, (who acted as Chairman).
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