Profile: Harold Matthews

Loft credits (click a play title to view details)

• Director, Every Man in His Humour (1936)
• Timothy Worple, The Failure (1936)
• Mr Burgess, Candida (1936)
• Baptista, The Taming of the Shrew (1936)
• Count Mario Grazia, The Mask and the Face (1936)
• Director, They Fed the Fire (1936)
• Napoleon Bonaparte, Man of Destiny (1936)
• Director, The Tragedy of Nan (1935)
• Pothinus, Caesar and Cleopatra (1935)
• George Travers, The Bachelor Tax (1935)
• Chorus, Doctor Faustus (1935)
• Louis Dubedat, The Doctor’s Dilemma (1935)
• Private Reed, And Then (1935)
• Peter, Romeo and Juliet (1935)
• Director, Liliom (1934)
• George Tesman, Hedda Gabler (1934)
• Director/Iago, Othello (1933)
• Count Francesco Cenci, The Cenci (1933)
• Stanislaus, The Waters of Forgetfulness (1933)
• Company, Four Japanese Plays (1933)
• Director, As It Was in the Beginning (1932)
• Director, Elizabeth Refuses (1932)
• Director, The Servant of Two Masters (1932)
• Director, The Cardinal (1932)
• Lord Porteous, The Circle (1931)
• George Harding, Passing Brompton Road (1931)
• Director, Much Ado About Nothing (1931)
• Sir Robert Arnwood, Bird in Hand (1930)
• Achille Innocent/Director, Innocent and Annabel (1930)
• Cotturnus, Aria da Capo (1930)
• Director, The Rumour (1930)
• David Bliss, Hay Fever (1929)
• Will Dearth, Dear Brutus (1929)
• Director, Mr Pim Passes By (1928)
• Asteryi/Director, The Little Stone House (1928)
• Major Paul Petkoff, Arms and the Man (1928)
• Director, The Merchant of Venice (1927)
• Director, Everybody’s Husband (1926)
• Migsworth, Thread o’ Scarlet (1926)
• Director, The Importance of Being Earnest (1926)
• Colonel Pickering, Pygmalion (1925)
• Relieving Officer, The Silver Box (1923)

Notes

Harold Matthews was a founder member of the Warwick and Leamington Dramatic Study Club and was instrumental in acquiring the club’s first permanent home – the stable loft in Bedford Street that became known as the Loft Theatre. He moved to London in 1936 and became director of the Midland Bank Dramatic Society, and later a critic for Theatre World magazine.

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