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Post by dem bones on Apr 29, 2008 10:50:29 GMT
Guy Preston Chrissie Demant - Guy Preston, The Inn, Grim Death (1932). Like many of us, I suspect, the first story of Guy Preston's I ever encountered was The Inn when Herbert Van Thal included it in the superlative 2nd Pan Book Of Horror Stories, and it floored me. Who was this wonderful author? Did he write any more brilliant stuff like this? So, eventually I discovered the Not At Night's and the Creeps and was delighted to learn that Preston was among the very few authors who contributed to both series, although the sum total, including The Inn was a disappointing four and no information on the author whatsoever. The Inn Grim Death (1932) Thirty Terrors (1933) A Lover Came to Sunnamees Monsters (1934) The Way He Died Keep On The Light (1937) The trail went cold until last year I found a copy of Peter Haining's The Frankenstein Collection (Artus, 1994: also Orion, 1994 as The Frankenstein Omnibus) in a charity shop over Ruislip way and, if I'm honest, more out of being a wannabe Haining completist than expecting to find anything much of interest in there. Then Sean mentioned Ramsey Campbell's novelisation of The Bride Of Frankenstein and, knowing Haining's way with attributions of authorship, I checked out The Bride Of Frankenstein (credited to the screenwriters John L. Balderstone & William Hurlbutt) in the Haining anthology and: Such was the interest in The Bride of Frankenstein when it was released, that a special adaptation was written for the English magazine, Pearson Weekly (a stable-mate of Pearson's Magazine) by a prolific British horror story writer named Guy Preston who was familiar to many readers for a pair of highly acclaimed blood-curdlers, The Inn (1932) and The Way He Died (1933). The publication coincided with the opening of the picture in London September on 28, 1935 and represented another new development in history of motion pictures - the use of the 'tie-in' novelisation to attract audiences - as well as one more landmark in the Frankenstein legend.Well, that cheered me up but was it really written by Preston or was the fiendish Mr. H. playing fast and loose with the 'facts' again? A consultation of the Locus site put my mind at rest as they also credit it to Preston and give the exact date of publication as Pearson’s Weekly, Sep 28-Oct 12 1935. Now, somebody please tell me that Preston didn't stop at a mere five tales of terror! Incidentally, as far as I've been able to ascertain: They swung both ways ...By my reckoning, Hester Holland (aka Hester Holland Gaskell, H. H. Gorst, Hester Gorst, 1887-?), Guy Preston, Oswell Blakeston, Harold Markham and Douglas Newton were the only five authors to contribute to both the Creeps and Not At Night series. L. A. Lewis (1899-1961) is maybe more of a borderline case in that his Tales Of The Grotesque collection is an official Creeps title although he never contributed to Birkin's anthologies. However, Lewis's The Author's Tale did make Terror By Night and was reprinted in the 'best of' Not At Night Omnibus.
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Post by Calenture on Apr 29, 2008 12:09:28 GMT
The trail went cold until last year I found a copy of Peter Haining's The Frankenstein Collection (Artus, 1994: also Orion, 1994 as The Frankenstein Omnibus) in a charity shop over Ruislip way and, if I'm honest, more out of being a wannabe Haining completist than expecting to find anything much of interest in there. Then Sean mentioned Ramsey Campbell's novelisation of The Bride Of Frankenstein and, knowing Haining's way with attributions of authorship, I checked out The Bride Of Frankenstein (credited to the screenwriters John L. Balderstone & William Hurlbutt) in the Haining anthology and: Such was the interest in The Bride of Frankenstein when it was released, that a special adaptation was written for the English magazine, Pearson Weekly (a stable-mate of Pearson's Magazine) by a prolific British horror story writer named Guy Preston who was familiar to many readers for a pair of highly acclaimed blood-curdlers, The Inn (1932) and The Way He Died (1933). The publication coincided with the opening of the picture in London September on 28, 1935 and represented another new development in history of motion pictures - the use of the 'tie-in' novelisation to attract audiences - as well as one more landmark in the Frankenstein legend.Well, that cheered me up but was it really written by Preston or was the fiendish Mr. H. playing fast and loose with the 'facts' again? A consultation of the Locus site put my mind at rest as they also credit it to Preston and give the exact date of publication as Pearson’s Weekly, Sep 28-Oct 12 1935. Peter Haining was right about Preston's Bride of Frankenstein film tie-in, but I don't think it was the first filmbook. The film this undated Readers Library book is based on is F W Murnau's 1926 silent version of Faust. The book is co-written by Hayter Preston and Henry Savage. Inside the dustwrapper, it reads: "The story of Faust's compact with the devil is here told for the first time in the form of prose fiction. Based on Goethe's immortal drama and the successful Ufa film..." By the way, I've found three of these little books in dustwrappers. Anyone else? |
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Post by theprobabilityofx on Jan 21, 2012 19:21:45 GMT
Thanks DEMONIK !! Interesting story.
This morning, I was google imaging the phrase NEVER AT NIGHT
and I discovered the NOT AT NIGHT anthology.
Immediately, my eyes were pulled in by the title THE WAY HE DIED.
Is there any way to read the story online?
IRA
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Post by dem bones on Jan 22, 2012 19:23:57 GMT
Thanks DEMONIK !! Interesting story. This morning, I was google imaging the phrase NEVER AT NIGHT and I discovered the NOT AT NIGHT anthology. Immediately, my eyes were pulled in by the title THE WAY HE DIED. Is there any way to read the story online? IRA Not that I'm aware of. Maybe when I next go back into scanning mode, but that won't be for a good few weeks yet. Have posted A Lover Came To Sunnamees if that's any use to you? |
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Post by helrunar on Mar 6, 2023 18:47:52 GMT
I started reading "Thirty" by Guy Preston in the US Paperback Library volume The Witch-Baiter, the American version of Charles Birkin's anthology The Tandem Book of Horror Stories. I really like Preston's way of telling the tale. Too bad he published so little. I definitely need to track down "The Inn" since it seems to have attained the status of a Vault classic back in the early years (I did read a story of a phantom inn, I think in one of the RCH 70s Terror Tale anthologies a few years back; don't know if it's the same story though).
cheers, Hel.
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Post by dem bones on Mar 6, 2023 19:23:19 GMT
I started reading "Thirty" by Guy Preston in the US Paperback Library volume The Witch-Baiter, the American version of Charles Birkin's anthology The Tandem Book of Horror Stories. I really like Preston's way of telling the tale. Too bad he published so little. I definitely need to track down "The Inn" since it seems to have attained the status of a Vault classic back in the early years (I did read a story of a phantom inn, I think in one of the RCH 70s Terror Tale anthologies a few years back; don't know if it's the same story though). Archive.org will see you alright: 2nd Pan Book of Horror Stories |
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Post by helrunar on Mar 6, 2023 20:25:32 GMT
Oh, wow! Thanks, Dem!
cheers, Hel.
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Post by dem bones on Sept 8, 2023 11:23:42 GMT
At the Theatre.
"THE RAT" COMING. The Theatre Royal is this week in the hands of the Worthing Amateur Operatic Society, a notice of whose opening performance of "Iolanthe" will be found in another column. Next week Mr. Bannister Howard's principal company are to appear in Ivor Novello's success, "The Rat," the story of an apache. The author of "The Rat" sets out to tell the great story of self-sacrificing love in perhaps the most unpromising setting in the world— the underworld of Paris. There is a grim sort of reality, but the grimness does not overwhelm. It is relieved by a humour natural to such surroundings and blended into a fascinating mixture. The story centres around the fortunes of an apache known as The Rat, and his learning of the great lesson of life through coming in contact with a world of which he had hitherto known nothing. The Rat is played by Mr. Guy Preston, who understudied Mr. Ivor Novello during the run of nine months in London. Miss Pauline Loring will play the part of Zelie de Chaumet, the beautiful Society woman who is the mistress of Herman Stetz (Mr. Val Norton); and Odile, the faithful worshipper of The Rat, who loves even to the extent of offering her life for his, will be played by Miss Eunice Mann. — Littlehampton Gazette, 26 November 1926 BRIGHTON-GRAND (P., Andrew Melville; Mus.D., Philip Franklin). Drama is a welcome change at this theatre, where J. Bannister Howard's company are presenting "The Rat," by arrangement with Ivor Novello, The title role is admirably portrayed by Guy Preston, a young actor who has made a careful study of the part, and reveals great talent. Eunice Mann is successful as Odile; her emotional portrayal of a difficult part is exceedingly clever. Carr Davenport ably impersonates the villainous Herman Stetz, and Charles Douglas is a good Detective-Inspector Caillard. Other parts are creditably undertaken by Felicity Carter (Zelie de Chaumet), Ursula Norris (Madeline Sorney), Elleen Ory (Therese), Yvonne Vaugon (America), Marjorie Cecil (Mére Colline). Evelyn Martin (Rose), Pearla Gardner (Mou Mou). Perey Roberta (Paul), and George 0. Edwards (Alphonse). — The Stage, 21 July 1927 THE EMPIRE. "THE RAT." The story of "The Rat," the great success at the Empire this week, will appeal strongly to those who have seen the film version, it is so admirably presented by J. Bannister Howard's well-balanced company. Guy Preston is always essentially the conceited vagabond with a queer attraction all his own, it is in these later thrilling moments— when almost yielding to Zelie's wiles, in his discovery of Stetz's plotting against Odile he rises to his greatest heights, Especially attractive, too, is the picture of Odile drawn to Eunice Mann, for she convinces with her quiet, genuine acting throughout. The Zelie de Chaumet of Felicity Carter is another effective portrayal, and Charles Douglas has an excellent conception of the part of Caillard, the detective, while Carr Davenport is sufficiently arrogant as Herman Stez. Also helping materially in the success are Marjorie Cecil (Mere Colline), Yvonne Faugun (America), and Pearla Gardner (Mou Mou).[/quote] — South Gloucester Gazette, 24. December 1927
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Post by humgoo on Sept 8, 2023 11:48:12 GMT
Guy Preston is a young man who as an actor specialised in bizarre character parts. He is now a member of the editorial staff of one of our most famous periodical publishing houses; he is also an Old Pauline and a Kensington resident. Thanks a lot for the research! So this is our guy! |
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Post by 𝘗rincess 𝘵uvstarr on Sept 8, 2023 12:28:13 GMT
Guy Preston appeared in the following stage productions:
'The Rat' by David L'Estrange (i.e. Ivor David Novello and Constance Collier l'Estrange)
1924-1929
'Rope' by Patrick Hamilton
1929-1930
'Dirty Work' by Ben Travers
1932
'Death Takes a Holiday' by Walter Ferris
1929-1933
'Tarnish' by Gilbert Emery
1923-1930
'Cheri' by Una Lady Troubridge.
1930
'Hell-For-Leather' by Barre Lyndon
1931-1937
'The Misdoings of Charley Peace' by Edward Percy
1929-1930
'Flotsam' by David Minlore
1927
'The Firebrand' by Edwin Justus Mayer
1924-1926
'The Mock Emperor' by Luigi Pirandello
1925-1929
'Grounds For Divorce' by Guy Bolton
1924-1925
'Gloriana' by Gwen John
1925
Hector (Major Domo), Cheri
26th – 27th October 1930, Prince of Wales Theatre, London.
The Misdoings of Charley Peace
1929 – 1930, Grand Theatre, Southampton.
A Priest et al, Gloriana
started 8th December 1925, Little Theatre, London.
The Return
1923 – 1924, Prince’s Theatre, Bristol.
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Post by 𝘗rincess 𝘵uvstarr on Sept 8, 2023 12:39:29 GMT
 The Balance: Souvenir Theatre Programme Performed at Strand Theatre, Aldwych, Strand, London [The Magazine Programme] Frank Dix and Leon M. Lion [Starring George Bealby, George Elton, Tristan Rawson, Ethel Craske, Edward Rigby, Lila Maravan, Ethel Coleridge, Guy Preston, Rothbury Evans, Frederick Castleman in] Performance Programme Dated October 39th 1922. 1922.
littlestourbooks.com/1catalogue.php?pageNum_Recordset1=16&totalRows_Recordset1=1045&category=THEATRE+PROGRAMMES%0D&letter= |
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Post by dem bones on Sept 8, 2023 13:53:14 GMT
Behind the Scenes
POPULARITY OF MELODRAMA
Guy Preston as 'The Rat' — Became Actor as Alternative to Monk — His First Audition
****
Special by 'Dex' Grimsby playgoers have a sneaking regard for melodrama— judging from the reception accorded to The Rat," which is paying a return visit to the Prince of Wales' Theatre this week. "The Rat" is frankly melodramatic, and is comparable with many of the successful Melville melodramas, except perhaps that that David L'Estrange's dialogue is better than that in the blood and thunder plays of old. There is undoubtedly still a public that likes strong fare at the theatre, for "Maria Marten," "Sweeney Todd," and other old-fashioned melodramas have all been revived with success. I am sure Grimsby would revel in the murder in the Red Barn.
Among the most highly coloured characters in "The Rat" is the Apache Pierre Boucheron and his counterpart can be found in several of the melodramas. This part is being played at the Prince of Wales Theatre this week by Guy Preston, who certainly knows as much about the character as anybody, for he was the first actor to play it on tour. He has not been with The Rat" continuously, however. The last time the play was presented in Grimsby Dino Galvani played the part.
When I called round to see Mr. Preston I found him engrossed in a number of photographic prints, and quickly learned that he is an enthusiastic amateur photographer. All his leisure is not occupied in dabbling in hypo and bromide baths though, for he has written a play. At the moment his adaptation of Lefanu's "Room in the Dragon Volant" is being read in America with a view to production. British producers would not put the play on. Mr. Preston need not be unduly perturbed on that score, however, if he remembers the successful plays that were hawked around the London managers before one far-seeing and enterprising soul first had the courage to produce them."
Although he comes of theatrical stock, Mr. Preston showed no keenness for the stage as a youth. He had a boyish ambition to become a soldier, but failing to get a regular commission he made up his mind to go into a monastery. Young Preston was evidently a lad of moods. But the monastic life did not come off. I think the Prior told him not to be silly or something of that sort. So he flung himself in a mood of despair into the wild life of the stage. And here he is.
His first effort to get a job on the stage was not a marked success. Without consulting his father, who has been concerned with theatrical management for many years, he attended an audition at The Adelphi, His father happened to be in the theatre at the time with George Grossmith and J. A. E. Malone. Preston Pere's amazement can be easily imagined when he glanced up and saw the apple of his eye attempting to recite a poem he had learned for the occasion. I say "attempting" advisedly, for the budding actor never got beyond the second line.
"If you are up against a bruiser,
"And you're getting knocked about—Er—er."
At this point George Grossmith chimed in. "I should go home and learn some Shakespeare," he said. Guy Preston made his exit.
Mr. Preston's next attempt to get on to the stage was made under the regis of his father, and it succeeded. Years ago, it seems, Mr. Preston, senr., gave Owen Nares his first job on the stage. When Guy wanted a start, Owen Nares returned the compliment and gave him his first part. He made the most of his opportunity. He understudied Ivor Novello, the creator of the part of the Apache in "The Rat," and played the heavy lead in "The Firebrand" at Wyndham's Theatre with Constance Collier and Hugh Wakefield.
Previous visits which Guy Preston have paid to Grimsby were in "The Cat and the Canary," and with Eille Norwood in "The Return of Sherlock Holmes." Preston confesses that he owes a great deal to Mr. Norwood, who taught him a lot and gave him plenty of encouragement. Norwood was a great favourite among Grimsby playgoers. He is now living in retirement in the Isle of Wight.Grimsby Daily Telegraph, 24 May 1928
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Post by 𝘗rincess 𝘵uvstarr on Sept 8, 2023 13:59:42 GMT
Victor Gollancz Limited Operations Dorothy L. Sayers (DLS): correspondence files Guy PRESTON (184-5), 1934 Reference number MSS.318/3/DLS/878-9I had Date 1934 Level Item Description Correspondence with Christine Campbell Thomson Ltd., agents, regarding 'Thirty'. I was wondering why she was in correspondence with agents about this story, but I discovered she edited anthologies. Particularly Great Short Stories of Detection, Mystery and Horror, Third Series (1934) and The Third Omnibus of Crime (1935) A later anthology was Great Short Stories of Detection: Part II, Mystery and Horror (1939). Guy Preston isnt listed in any of these according to isfdb. Edit: I had a blonde moment and didn't read the full description: This series contains correspondence relating to 'Great short stories of detection, mystery and horror' edited by Dorothy L. Sayers (publisher: London: V. Gollancz, 1928, 1931, 1934). The correspondence is between Sayers and various authors, agents and publishers whose stories she sought to include in the books. Sayers handled the correspondence for the first two volumes herself, with the assistance of her husband, Major Atherton Fleming, and Winifred Pearce who dealt with some correspondence in the absence of both of the above. However, the correspondence for volume III [MSS.318/3/DLS/704-939] was handled on Miss Sayers' behalf by John D. Millard. Mr Millard had worked for the 'Strand Magazine' and was also a writer, indeed Miss Sayers decided to include one of his stories in volume III. Whereas Miss Sayers had tended to use a more personal tone when writing her letters, Millard's style was usually more business-like and formal. The latter also seemed to prefer to ask agents to obtain the necessary permissions from publishers, rather than writing directly to them himself. Another difference in style between Sayers and Millard included the way in which letters were filed.
mrc-catalogue.warwick.ac.uk/records/GLL/2/2 |
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Post by 𝘗rincess 𝘵uvstarr on Sept 8, 2023 14:14:02 GMT
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Post by dem bones on Sept 9, 2023 8:49:49 GMT
You have done better than this man. Bravo! No, it was a joint effort. Thanks especially for listing the stage productions. Apache chic. Attachments:The Cheats.pdf (63.12 KB)
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