Later, when the camp was asleep, I knew I should be able to hear the hammering of the barrage . . .
— Velona Pilcher, 1919
The blog on playwright, author, and screenwriter R. C. Sherriff (best known for his World War I play Journey’s End, 1928) discusses Sherriff’s acquaintance with Velona Bissell Pilcher (1894–1952), including a May 1929 letter from Pilcher to Sherriff that comments on Journey’s End and her play, The Searcher (1929), which has been described as a “female Journey’s End” in its depiction of a Red Cross worker assigned to track missing soldiers. The Searcher was produced at Yale University in March 1930 (with set design by future Tony winner Donald Oenslager) and at London’s Grafton Theatre in May 1930 (the Times of London reviewer called it “a pretentiously empty piece of expressionism”). Edmund Rubbra composed incidental music for the play, and Blair Hughes-Stanton created stark wood engravings for the published version of the play. In 2008 The Searcher was staged at London’s Greenwich Theatre.
Image of Julia Bissell from the San Francisco Call, 7 Feb. 1892
Pilcher’s mother, Julia Velona Bissell, was born in Ohio, and her lawyer father, William Pilcher, was British; the couple married in San Francisco in November 1892. After her parents died, Pilcher was raised in the United States by her aunt, Elise Robinson Townsend. Her great-uncle, George Ellis Pugh, was a lawyer and US senator from Ohio; her cousin, Ada Chalfant Robinson, was an artist. Pilcher seems to have been a writer of early promise, because this issue of St. Nicholas magazine records her winning a $5 first prize in a writing competition at age 16. During World War I Pilcher was a member of the Stanford Women’s Relief Unit, working at the AEF hospital facility at Bazeilles-sur-Meuse. Following initial studies at Mills College, she graduated from Stanford in 1919 with a degree in English.
Pilcher also wrote frequently about the theater, and this 1927 article reported that she was a co-manager of London’s Gate Theatre with Peter Godfrey. This chapter by Charlotte Purkis covers Pilcher’s relationship with famed actress Ellen Terry. The Theatres Trust notes Pilcher’s involvement in establishing an experimental theater club in London’s Watergate Theatre in 1949 that featured two Marc Chagall paintings on the walls (which he donated to the Tate in Pilcher’s memory in 1953).
Velona Pilcher, “A Regular Day at a Red Cross Hut,” Stanford Illustrated Review, Mar 1919
Velona Pilcher, “Men Worship Me” (poem about a pine tree), 1917
Charlotte Purkis, “The Mediation of Constructions of Pacifism in Journey’s End and The Searcher, two Contrasting Dramatic Memorials from the Late 1920s,” Journalism Studies 17 (2016), 502–16.