"The comedy triumph of the performance last night [Twelfth Night] was won, undoubtedly, by Mr. F. Randle Ayrton as that genial and jovial drunkard, Sir Toby Belch. Seldom, indeed, will any one have a chance to see this famous part better played with nicer discrimination or with finer characterization."  —The Indianapolis Star, December 3, 1913

"Never before in its theatrical story has Indianapolis seen the plays of Shakespeare more worthily presented than were the eight plays that made up the repertory of the Stratford-Upon-Avon players. ... And never has Indianapolis had a chance to see the plays of Shakespeare given with so much and so scholarly attention to detail. ... The greatest enjoyment to be derived from these Stratford-upon-Avon players was to be found in their exquisitely modulated voices, in the keen intelligence with which they interpreted the lines, lending Shakespeare's rhymeless iambic verses a human, natural quality that gave a sort of modern realism to all the scenes. ...I think there can be little difference of opinion as to the marked abilities of this visiting company that has come and gone, so let us concede that these Shakespearean presentations were all that I or any other admirer of them could claim." —Heaton Fuller, The Indianapolis Star, December 7, 1913

"The presentation of the second part of King Henry IV' brought out in full measure the strength and resources of the Stratford-Upon-Avon Players. The audience was larger in numbers than on the previous evenings and the efforts of the players met with applause and timely acknowledgement that the excellent acting and artistic presentation of the play deserved."  —The Detroit Times, December 19, 1913

The critic praised the principle characters in Richard II and also wrote, "Miss Marion Foreman was the lady-in-waiting and sang the song interpolated in the seventh scene in a manner that rendered it difficult for the audience to restrain the encore habit."  —St. Louis Globe-Democrat, December 24, 1913

"STRATFORD PLAYERS AGAIN SCORE SUCCESS
Richard II Is Presented by Clever Company in Royal Manner. Benson Is Excellent. The players' presentation of the play left nothing to be desired."  —The St. Louis Star and Times, December 24, 1913

"The role of King Henry is one of Shakespeare's few 'star' parts. The King occupies the center of the stage constantly and a number of long, flowery speeches fall to him. F. R. Benson, director of the players, took this part and rendered it excellently. He was often interrupted by applause."  —The St. Louis Star and Times, December 25, 1913

"HENRY V - ROMEO AND JULIET: Stratford Players' Splendid Effort in Two Most Ponderous Works
The putting on in one day of two great tragedies like The Life of King Henry V and Romeo and Juliet may, without flattery, be regarded as a considerable achievement. The playing of them in superexcellent fashion by the same players (barring a few exceptions) must call for praise freely bestowed. At no time during their present stay at the Olympic have the Stratford-on-Avon Players shown a finer mettle, a more thorough schooling, a completer self-effacement, and a more comprehensive knowledge of their art, to say nothing of a more finely infused enthusiasm, than in Wednesday's double essay." —St. Louis Globe-Democrat, December 25, 1913

"Olympic Audience Wildly Applauds Actors in Merry Wives of Windsor
Acting All Well Done; William Calvert as Falstaff Keeps House in Uproar of Laughter
The audience at The Merry Wives of Windsor, played by the Stratford-upon-Avon Players Christmas afternoon at the Olympic Theater, sat and applauded after the final curtain until the actors had been recalled four times. This was done in spite of the fact that the play ended at nearly 5:30. The rough old farce, given with tremendous vim and enthusiasm, rocked the audience with laughter from beginning to end. The final mocking of Sir John Falstaff in Windsor Park was so splendidly staged, with carefully arranged music and dances, it was often interrupted with outbursts of handclapping. ... The play is screamingly funny. ... Murray Carrington played Ford, the jealous husband, with great force. He is a fine tragic actor. ... Basil Rathbone and Miss Marion Foreman were the young lovers, Fenton and Annie Page. Both were good." —Ralph E. Mooney, The St. Louis Star and Times, December 26, 1913

"MUCH ADO WELL GIVEN BY STRATFORD PLAYERS
The even balance of the company again made the production go as smoothly as a modern comedy. ... Miss Ethel McDowall, who was to play Hero, was ill, and the part was taken by Miss Marion Foreman. She played it splendidly, considering she was thrust into it on short notice. ... The audience was intensely pleased with the production."  —The St. Louis Star and Times, December 27, 1913

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"King Henry the Fifth proved in the lyceum last evening little more of a test of the mettle of the Stratford-upon-Avon players that did The Taming of the Shrew on the evening before. They came off well, meeting most of the demands of this rarely presented historical play very satisfactorily. It was a well vitalized play. ... The work of the company was excellent, often delightful. ... Basil Rathbone was satisfactory as the dauphin."  —Rochester Democrat and Chronicle, January 24, 1914

Buffalo, New York, Star Theatre

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Baltimore, Maryland, New Academy of Music

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The British Ambassador and Lady Spring-Rice attended the Feb. 2 performance in Baltimore. The drama critic for The Evening Sun was only mildly complimentary of the Stratford-on-Avon Players, and a few readers took offense.

"After spending the afternoon and evening at the Academy yesterday one felt that here, indeed, was an excellent group of amateurs presenting Shakespeare in an unusually pleasing manner. But it is the kind of thing that one would expect to see on the campus of some college or in a pageant, not in a metropolitan playhouse, where such offerings certainly have no place whatever, and can scarcely be regarded seriously."  —J. O. L., The Evening Sun (Baltimore, MD), February 5, 1914

After reading the above review, one fan wrote the following letter to the Editor of the Evening Sun:
"May I, as a loyal reader of The Evening Sun, protest against the provincial and stupid criticisms of the Benson company, signed by J. O. L. in recent issues of The Evening Sun? It is quite unworthy of the Sun paper to have such dramatic news published, and such false guidance given the theatregoers of Baltimore. Fortunately there are many people here who understood in advance the privilege the Stratford Players were to give us; these have not been influenced by unappreciative critics; but there are many theatregoers who carefully read the papers before choosing their plays. For the last 40 years, both at home and in Europe, I have seen Shakespeare rendered by the most distinguished actors and actresses, from Edwin Booth and Ada Rehan down to Sir Beerbohm Tree, Sothern and Julia Marlowe, in various beautiful revivals. I have no recollection of ever having been more impressed by the beauty and human appeal of Shakespeare's lines than I have been this week by the Benson company's presentations. This company has eliminated the vicious system of "stars" and gives a wonderful all-round performance. May I urge Baltimoreans to prove themselves worthy citizens of a university town and to show the quality of their intelligence and taste by filling the Academy for the last three programs of the week."  —Old Stager, The Evening Sun, February 6, 1914

Another defender of the Stratford-upon-Avon Players wrote to the editor:
"I feel impelled to add my words of appreciation of Mr. Benson and the Stratford Players both because of my sincere interest in and admiration of their performances, and because of the apparently unreasonable censure of these players which has appeared elsewhere in your paper throughout the week. To condemn Mr. Benson's work upon the basis of a superficial comparison with that of Sothern and Marlower, and without any apparent attempt to learn what the English actor is trying to do, seems unfair. Sothern and Marlower stand for one kind of artistic principle, the Stratford Players for an entirely different kind; each is excellent in its way. That the American actors emphasize the spectacular in their performances, and delight the eye with a series of varied, complex and magnificent stage pictures, whereas the English players concentrate upon the acting and reduce the problem of scenes to its lowest terms, does not indicate in the latter company an amateurish lack of fineness. That Sothern and Marlowe show remarkable facility in refining their production, in mellowing rough farce like The Taming of the Shrew, and in stressing throughout the richly lyrical quality of Romeo and Juliet, does not necessarily mean that Mr. Benson's vigorous and spirited rendering represent a lower order of art. Mr. Benson and his company are playing neither to the galleries nor to the pit; they are absorbed in faithful interpretation of characters and of dramatic structure. Witness the rendering of the famous lines on 'the quality of mercy' by Miss Green as Portia last Wednesday afternoon. Instead of the usual impressive pause before the "declaiming" of this speech, the lines came without a moment's break after the preceding bit of dialogue, and never spoken, not to the audience, as in traditional fashion, but to Shylock, for whom they were written, the speaker turning her face meanwhile away from the spectators. This piece of interpretation was worth seeing, for itself, had the play offered nothing else of value. Of Mr. Benson himself it may be said that in his acting he is distinguished for a genuine love of Shakespeare, for a sensitive and deep comprehension of the roles he plays, and for a voice vibrant with a rhythm and music rarely to be met with on the Shakespearean stage today."   —S. B. H., The Evening Sun, February 9, 1914

"Because every part is well played the balance of character values is maintained. And because each actor is steeped in Shakespearean love and learning the poetry and power of the great bard are manifest in voice and gesture with moving intensity. Each production at the Academy, with its mellow-toned scenes, its charm of individual impersonation and its beautifully rendered verse, has been a fresh revelation of Shakespeare's genius." —The Baltimore Sun, February 6, 1914

"The performance of The Merchant of Venice given last night was most artistic and a better reading of the play has not been heard here for many years. It was a pleasure to see a piece produced in such a finished manner. The scenery was true to the period and locals; the costumes were in keeping with the different parts and the smoothness of the performance rendered its length unnoticeable. ... Especially excellent was the Shylock of Mr. F. R. Benson. His interpretation of the part was indeed remarkably fine."  —Virginian-Pilot and the Norfolk Landmark, February 10, 1914

"STRATFORD ACTORS GIVE MASTERFUL CLASSIC PLAY
Audience Delighted by Wit and Beauty of Merry Wives at Mason Opera House
The enthusiastic audience gave the players four curtain calls at the end of the play. ... The boisterous, rollicking farce went with a spirit and impulse that was a revelation to its admirers. The visitors put into it a tempo that amounted to a whirlwind, and as the whooping comicalities of Falstaff's troubles with the matrons were unreeled with swift succession, the audience rocked in its several seats over the athletic zest of the fun."  —Los Angeles Express, March 24, 1914

"BENSON OFFERS GREAT HENRY V"  —The Los Angeles Times, March 25, 1914

"HENRY IV PROVES ONE OF BEST BY AVON ACTORS
King Henry IV was perhaps the most brilliant of the week, the leading members of the company showing special ability in repressed acting, while the piece was illuminated with highly effective staging."  —Los Angeles Express, March 26, 1914

"The Stratford-upon-Avon players gave an excellent performance of Shakespeare's Richard II Thursday night at the Mason. The cast was well balanced throughout. ... Mr. Benson was frequently applauded for his clever interpretation of the role."  —Los Angeles Record, March 27, 1914

"The verbal beauties of Richard II call for the finest of elocution, and in this respect the English actors shine."  —Los Angeles Express, March 27, 1914

A review from a drama critic who fell in love with Murray Carrington:
"CARRINGTON A BLAZING STAR
The character of his Bassanio in The Merchant of Venice at the Mason yesterday afternoon, and the quality of his Prince of Wales in King Henry IV placed him as a blazing star in the firmament of the drama. There was in his Bassanio a loyalty of friendship and an ecstasy and devotion of love which deluged the audience with tenderness of sentiment, yet kept in all delicacy within the confines of exquisite taste. The man's excellence is crystalline. He has about him that rare persuasion of a personality at once luminous and intense. ... [two more paragraphs overflowing with praise for Carrington] God did much for Murray Carrington, and he has done well for himself. ... Marion Foreman gave us an intoxicating Jessica, with midnight hair and a splendid barbarity, lacking any taint of the artificial. Basil Rathbone gave us a romantic Lorenzo and Rupert L. Conrick a gratifying Antonio."  —Henry Christeen Warnack, The Los Angeles Times, March 26, 1914

San Francisco, California, Columbia Theatre

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The audiences in San Francisco were large and appreciative.

"On their opening night the Stratford people proved themselves to be accomplished farceurs, and set the Columbia ringing with laughter with their slap-stick Merry Wives of Windsor. Their success with that play was unbounded. ... What they did last night with King Richard the Second was a more notable triumph than their first. ... For King Richard the Second was a great play, an interesting play [in spite of its reputation for being barren of excitement]."  —Neill Wilson, The San Francisco Examiner, April 1, 1914

"BENSON MAKES KING RICHARD PATHETIC ROLE
Stratford Players give Admirable Presentation of Historical Drama. Mr. Benson's reading of the soliloquies was remarkably well done. ... His characterization of Richard deserves a place with the best of all time. ... There is no weak link in the cast." —The San Francisco Bulletin, April 1, 1914

SUPERB PLAYING AT THE COLUMBIA
Taming of the Shrew and Merchant of Venice Are Beautifully Done."  —San Francisco Chronicle, April 2, 1914

"It was delightful to watch these English players, in their graceful characterizations, and to listen to their prettily modulated speech, so much more appealing than our sharp and monotonous speaking. ... There has been no better production or series of productions of the works of the Bard of Avon given here than by the Stratford players." —The San Francisco Bulletin, April 2, 1914

"Second Part of Henry IV Given; Historical Play Is Well Done." —Neill Wilson, The San Francisco Examiner, April 3, 1914

"FALSTAFFIAN FROLIC DRAMA WELL PLAYED
English Company Gives Admirable Presentation of King Henry IV. Henry the Fourth mingles wit, humor and pathos with such skill that a human fabric is woven as sound today as it was when it first came from the master's hands. In this play Benson's great art as a director shows more truly than in any of his other productions. The production is the work of a master interpreted by a master." —The San Francisco Bulletin, April 3, 1914

"The performance of Much Ado About Nothing was delightful." —Neill Wilson, The San Francisco Examiner, April 11, 1914

Stanford, California, Stanford Assembly Hall

"Stratford-on-Avon Troup Present Twelfth Night Upon Assembly Hall Stage
Well-Satisfied Audience Sees Shakespeare Enacted with Unusual Faithfulness.
Twelfth Night has of course been presented many times in America by English players, but it would be hard to find a better satisfied audience than the one that the Stratford-on-Avon players turned away from Assembly Hall after yesterday's matinee. After giving a thoroughly well-balanced performance, the company left for San Jose with the good wishes and congratulations of their Stanford hearers ringing in their ears." —The Peninsula Times Tribune, April 14, 1914

San Jose, California, Jose Theatre

Marion Foreman

Basil Rathbone

Stockton, California,  Yosemite Theater

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Sacramento, California, Clunie Theatre

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Frank Benson

Basil Rathbone

Oakland, California, Macdonough Theater

"AVON PLAYERS FINE PRODUCTION
Shakespearean Comedy Is Superbly Interpreted by Excellent Company
A capacity audience greeted F. R. Benson in The Merry Wives of Windsor, and enthusiasm ran higher than it has at the presentation of any modern play of the season. The applause that greeted the efforts of the Avon players was a rousing answer to the producer's eternal query, "What do the people want?" They want excellence in play and player. ... The company is of such even excellence throughout that scarcely a frayed end may be found in the cloth of their acting." —Oakland Tribune, April 17, 1914

Portland, Oregon, Heilig Theatre

"Fun ran rampant throughout the performance of The Taming of the Shrew, and the many delightful laughs resulting from the full justice accorded each character were tribute to the sound basis on which the Stratford players build their performances. ... The Katharina of Miss Dorothy Green was a delight. The Bianca of Miss Marion Foreman was full of grace and charm. Mr. Benson's Petruchio was full of humor, rollicking antics and always the lurking feeling of tenderness for the shrewish Kate." —The Oregon Daily Journal (Portland), April 23, 1914

Seattle, Washington, Metropolitan Theater

Following the performances in Seattle, the Players crossed the border into Canada once again.

Victoria, British Columbia, Canada, Royal Victoria Theatre

"The Merry Wives of Windsor was put on at the Royal Victoria theatre last evening by the Stratford-upon-Avon players. ... The real force and success of the comedy lay in the fact that every member of the cast gave an excellent account of himself or herself. ... Miss Dorothy Green and Miss Marion Foreman played the two merry wives with a vividness and naturalness that can scarcely be overpraised. There was a good audience at last night's performance and repeated curtain calls at the close repaid the actors for their fine work." —The Victoria Daily Times, May 5, 1914

Vancouver, British Columbia, Canada, Avenue Theatre

"Much Ado About Nothing Pleases Audience at the Avenue Theatre. Especial praise is due to Miss Dorothy Green for her brilliant presentation of Beatrice, a heroine well equipped to tempt the most determined bachelor from his vows of celibacy. ... Miss Marion Foreman made an attractive Hero and all the parts were appropriately cast. The house was well filled by an audience which evidently enjoyed the performance. Curtain calls had to be responded to after each act." —Vancouver Daily World, May 9, 1914

"What a flood of happy memories have been awakened for many of us by the delightful and historically accurate presentation of some of Shakespeare's best masterpieces on the stage of the avenue Theatre during the past week! While it is true that 'the play's the thing,' it is equally true that, for the perfect enjoyment of the play, the company that bodies it forth must be, as these Bensonians are, animated by one spirit and splendidly trained. ... 'The play's the thing' and not the glorification of any individual actor or actress Indeed, where all exhibited such perfect training and such a conscious appreciation of the finest points made by the dramatist as these players exhibited last week, the most unimportant player has shared the honors with the most important. ... Vancouver has never been visited by a company of such all-round excellence as these Stratford-upon-Avon Players." —Noel Robinson, Daily News Advertiser (Vancouver), May 10, 1914

Calgary, Alberta, Canada, Sherman Grand Theatre

"STRATFORD-UPON-AVON PLAYERS GIVE MOST ARTISTIC PRODUCTION OF THE MERRY WIVES OF WINDSOR. The Stratford players, magnificently directed and carefully chosen, give a performance that is completely beautiful. These actors regard the classic plays, not as a medium for personal exploitation but chiefly as the entertainment which they were intended to be when they were written over 300 years ago. ... These players speak the lines with delightful ease, the rounded periods and the rhythmic prose falling as naturally as if that were their own manner of speech. There is nothing stilted and nothing declamatory. Every character from the jovial rotund Falstaff to the tiny page, shares the spotlight, and every characterization is as clearly and sharply lined as a cameo. ... That broad farce filled with rollicking jest, clownish buffoonery and whimsical, picturesque fantasy proved an entertainment as rare as it was delightful. So thoroughly satisfying was the presentation that one wondered why this play should have been so long neglected in favor of others less  jovial, genial and altogether amusing. The piece contains no characteristically Shakespearean passages; but it is full of action and the merry intrigue is deftly contrived."  —Morning Albertan (Calgary), May 12, 1914

"The fine restraint and discrimination of Mr. Benson's acting made the figure of King Richard II live before one's eyes in all its ineffectuality and its pathos. ... Miss Marion Foreman as Richard's queen imparted a spirit of sweet and womanly sadness to the parting with Richard that made the scene most affecting. All the other parts, even to the pages who had but a line or two to speak, were intelligently and artistically filled. As regards costumes and staging the play was a beautiful pageant of the color and pomp that marked the age of decaying chivalry. One of the most delightful features of the Stratford production is their entire faithfulness to period in this regard. ... In short it was one of the splendid series of historical plays presented in a way that one had longed to see, in a way to bring out the human and tragic side of England's kings in their triumph or their downfall." —Carl Quiller, Calgary Herald, May 13, 1914

"The players will carry away from Calgary the admiration and gratitude of those who love Shakespeare and have been so delighted by the interpretations of this charming company. ... The Romeo and Juliet of the players was one of the most exquisite interpretations that one has seen of the great tragedy. ... The play in which the wonderful ensemble and the special merits of the individual players was best shown here was The Merry Wives of Windsor."   —Carl Quiller, Calgary Herald, May 14, 1914

Edmonton, Alberta, Canada, Empire Theatre

The moon shines bright; in such a night as this.
When the sweet winds did gently kiss the trees
And they did make no noise, in such a night
Trolius methinks mounted the Troyan walls
And sighed his soul towards the Grecian tents
Where Cressid lay that night.

And so on to the more familiar:

How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep into our ears; soft stillness and the night
Become the touches of sweet harmony.

One of the chief delights of the Stratford productions was the constant succession of artistic bits of work in the minor roles. Mr. Rathbone was responsible for several of them."
—Edmonton Journal, May 18, 1914

Saskatoon, Saskatchewan, Canada, Empire Theatre

"Again Saskatoon warmly responded to the charm and wit of Shakespeare. Last night the Empire theatre was well filled with Saskatonians, who loudly applauded the actors who presented The Taming of the Shrew. At this performance F. R. Benson took the leading role, that of Petruchio and he filled the part to perfection, taming of Katharina, the shrew, so effectively that she was meek and submissive to his maddest wish. ... The whole cast was an exceedingly well balanced aggregation, and the action progressed with lightning-like rapidity. The last scene was a fitting climax to a splendidly staged production."
—Star Phoenix (Saskatoon), May 20, 1914 

Regina, Saskatchewan, Canada, Regina Theatre

Winnipeg, Manitoba, Canada, Walker Theatre

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"The series opened yesterday afternoon with Henry V. ... The Dauphin of France was capitally represented by Basil Rathbone. ... No finer Shakespearean performance has been seen in this city." —The Winnipeg Tribune, May 26, 1914

Fort William, Ontario, Canada, Orpheum Theatre

Frank Benson and his company sailed from Québec on the Empress of Britain on June 11, arriving in Liverpool on June 18, 1914. Benson expressed great satisfaction concerning the tour. "Our tour," he remarked, "has been extremely successful, and we shall all remember it with pleasure. We were well received wherever we went, and found that even in the Far West the plays of Shakespeare and all the highest things in art are as keenly appreciated as they are in our big cities at home. The love of Shakespeare, I am profoundly convinced, is one of the strongest links that bind the English-speaking people together." (The Stage, June 25, 1914) The tour being "extremely successful" must have been wishful thinking on Benson's part. J. C. Trewin writes that the tour earned no profit; in fact it lost more than £1000. "Most of the Canadian towns declared a profit; most of the American ones a loss. By far the heaviest loss (more than one-third of the total) was during the three weeks at Chicago, and by far the richest profit (again more than one-third of the total) was at Toronto." (quoted in Benson and the Bensonians)