As soon as the train from Carlisle pulled into Newcastle Central Station, concerned travelling companions carried one of their number to a horse drawn cab which sped to his temporary accommodation less than a mile and a half away in Heaton.
The unfortunate man was George ‘Osmond’ Tearle, a very well known actor of the time. George was born in Plymouth on 8 March 1852, the son of Susan Tearle (née Treneman) and her husband, George, a Royal Marine. But he grew up in Liverpool, to where his father had retired and where, from childhood, young George developed an interest in the theatre and, particularly, Shakespeare.
Tearle’s professional debut was in 1869 at the Adelphi Theatre in his home city. He soon established himself on the London stage and in March 1878, made an acclaimed debut at Newcastle’s Tyne Theatre as Hamlet, a role he is said to have played an incredible 800 times.
In September 1880, now under the name ‘Osmond Tearle’, he performed in New York for the first time, as Jacques in ‘As You Like It’. He went on to tour America to critical acclaim.
Tearle’s return to Newcastle in 1885 was billed ‘first appearance in England, after his great American success, of the eminent tragedian’ and he was ‘supported by Miss Minnie Conway from the Union Square Theatre, New York’. ‘Minnie’, whose real name was Marianne Levy, was, by now, Tearle’s second wife. She was from a well-known American theatrical family, whose Shakespearian connections went back at least as far as her grandfather, Englishman, William Augustus Conway (1789-1828), who travelled to the United States in 1823 and appeared as Hamlet and in other tragic roles in New York and other American cities. Back in Britain, there were more rave reviews for Osmond on Tyneside.
Tearle further endeared himself to north easterners with his generosity. For example, he made a donation to a fund for the restoration of Blyth’s theatre after it had been destroyed by fire, along with an offer of his theatre company’s services to perform at the reopening at which he would forego his share of the receipts. And when touring, he often captained a company cricket team in charity matches including in Hebburn and Whitley Bay.
In 1888, Tearle established his own Shakespearean touring company and, in 1890 and 1891, he was honoured by being selected to direct the annual festival performances at Stratford-upon-Avon, producing in his first year Julius Caesar and Henry VI part 1 and in the second year King John and The Two Gentlemen of Verona. In between these two events, he played Newcastle’s Theatre Royal with productions of Hamlet, Othello, Richard III, King John, Macbeth and Merchant of Venice. In Hamlet, Minnie played Gertrude and Osmond, of course, Hamlet.
Tearle’s connections with the area were strengthened in August 1896 when Minnie died and was interred in St Paul’s churchyard, Whitley Bay to be with her sister who was already buried there. When he returned to the Tyne Theatre in July 1898 after an absence of two years, it was noted that he had been seriously ill that spring. Audiences flocked back to see him and the reviews were more glowing than ever. He appeared ‘reinvigorated’. Nevertheless, a few months later, it was reported that he had been ordered to rest by his doctors and that he would sail to South Africa to aid his recovery.
Although he had appeared on stage in Carlisle the week before, this was the context in which, on Sunday 1 September 1901, aged 49, Osmond Tearle arrived in Newcastle.
The cab took the sick actor to number 93, the end property on South View West. The house, like all the others on the street, faced the railway line. It stood at South View West’s junction with Newington Road but, along with all of the properties west of Stratford Road, has since been demolished.
Today there are trees where its front door would have been and its back yard would have been in what is now a corner of Hotspur Primary School’s playing fields. The boarding house was just a few hundred metres away via a still well used pedestrian tunnel under the railway, from Byker’s Grand Theatre, where Osmond Tearle’s company had been booked to perform the following week. The Grand had been opened just five years earlier with a Shakespeare festival.
Living at 93 South View West in 1901 were 39 year old Robert Bell, a wood carver, his wife, Bella, and their four children Herbert, Frederick, Robert and Harry. The Bells took in boarders, specifically those from the theatre. We are sure of this because, apart from Osmond, we know the identity of three actors who were there on census night earlier that year: Clifford Mohan, Walter Cranch and Hubert Clarke. And by 1911, the family had moved to the west end, where they lived even closer to the Tyne Theatre. On the night of that year’s census, they were hosting well known opera singers: Graham Marr, ‘America’s foremost operatic baritone’ whose house on Staten Island has been designated a New York City LGBT Historic Site, and Henry Brindle, a successful English performer.
The newspapers tell us that soon after Tearle’s arrival at 93 South View West, Dr Russell of Heaton was summoned to attend to him.
Dr Frank Russell, aged 28, ran a medical practice and lived with his wife, Annie, and young children William and Jessie at 41 Heaton Road. Even on foot, it would have taken under ten minutes to reach a patient on South View West. It was reported that Tearle insisted that he would be well enough to go on stage at the Grand that week, as billed, but Dr Russell insisted that he rest.
By Friday, a further doctor’s visit was deemed necessary. This time Dr Oliver (presumably Thomas Oliver of 7 Ellison Place) attended but could do no more. Osmond Tearle died at his lodgings the following morning. In keeping with theatrical tradition, the show went on. The company performed ‘Richard III’ at the Grand ‘ but it was obvious that the men and women on stage were labouring under the shadow of an irreparable loss, the influence of which also extended to the audience, as was evidenced by its sympathetic demeanour’. It was noted that ‘two members of Mr Tearle’s family are connected with the company and his youngest son, a youth of very tender years, after having spent the holidays with his father, returned to school at Bournemouth so recently as last Wednesday’.
News of Tearle’s death and extensive obituaries were carried not only by all the national and local papers in the UK but in many across the world, including the USA.
The following Wednesday, after a brief service at the Bells’ home, conducted by the Vicar of St Silas, Rev J H Ison, Tearle’s funeral cortège travelled to Whitley Bay. Along with family and friends and members of the company, Robert and Bella Bell, in whose home he died, travelled in one of the ‘mourning coaches’. At St Paul’s churchyard they were met by representatives of theatres from throughout the north east and further afield, including Weldon Watts of Newcastle’s Grand Theatre, where the company had been playing the previous week, F Sutcliffe of the Tyne Theatre and T D Rowe of the Palace Theatre.
On Osmond’s memorial stone there is an appropriate line from Shakespeare that the actor must have spoken many times: ‘After life’s fitful fever he sleeps well’ (‘Macbeth‘, Act 3 Scene 2).
And on Minnie’s ‘Flights of angels sing thee to thy rest’ (‘Hamlet’, Act 5 Scene 2).
It is fitting too that on the gable end of the final house on South View West in Heaton, a huge, brick mural of William Shakespeare now looks down on the spot, just a few metres away, where George Osmond Tearle breathed his last.
Out out, brief candle!
Life’s but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. ‘
‘Macbeth’, Act 5 Scene 5
But Osmond Tearle’s short life has not been forgotten. His entry in the Dictionary of National Biography states ‘As a Shakespearean actor, Tearle combined the incisive elocution of the old school and the naturalness of the new. A man of commanding physique and dignified presence, he was well equipped for heroic parts. In later life, he subdued his declamatory vigour and played Othello and King Lear with power and restraint’.
Tearle’s most important legacy was that all three of his sons became actors, the most well-known being Godfrey, 16 year old ‘youth of very tender years’ at the time of his father’s death. He too was predominantly a Shakespearean but he also appeared in some prominent screen roles including that of Professor Jordan in Hitchcock’s ’39 Steps’. Godfrey Tearle was knighted for services to drama in 1951.
And Osmond Tearle now takes his place in our growing Shakespeare Hall of Fame, which also includes:
If you know more about anyone mentioned in this article or have photographs to share, we’d love to hear from you. You can contact us either through this website by clicking on the link immediately below the article title or by emailing email@example.com
Rothbury Terrace is one of the oldest streets in Heaton, although on the First Ordnance Survey Map, surveyed in 1858, it boasted only a couple of buildings and no name. The groups of buildings either side are the farmhouses of two of Heaton’s farms.
Even by 1886, there were only 8 heads of household listed and the houses were not named or numbered. The residents were John Glover of Rothbury House; Thomas Hudson, a schoolmaster; Ralph Henry Probert, a grocer; Edward Fulton, a draper; Jordan Evens, a brewer’s traveller; William G Wodson, a brick manufacturer; John L Miller, a builder and contractor and Jacob Hume, whose occupation was not given.
Just four years later, half of these remained: Jacob Hume, now a carpet buyer, was at number 5; Ralph Probert, the grocer, at no 7; Thomas Hudson, still a schoolmaster, at no 9; William Wodson, the brick manufacturer was much further down at number 65.
But they now had many neighbours and it is on this newly developed residential street of the early 1890s that this article focuses.
The occupations of the 1891 ‘heads of households’ give us a flavour of the diverse social make up of the street as well as of the Tyneside economy at that time. Residents included Mrs Isabella Bunton, a fishmonger who had a shop on Shields Road; Christopher Harborn, an iron merchant, whose business was on Dispensary Lane; John Nichol Rowell, a master mariner, and Andrew Tilston Dudgeon, a naval architect with offices on The Side.
There was also, at number 25, Benjamin Moody, a primitive methodist minister. A former miner from County Durham who performed his ministry throughout the north east, we learn from a contemporary obituary that he was a ‘man of well-built physique, had a good voice and [was] musical’ and ‘behind his somewhat brusque exterior was a kindly heart.’ From his own diary, we know that during his short time living on Rothbury Terrace, Moody suffered ill health. On 1 January 1892, he wrote:
‘I am glad I am still alive and considerably improved in my physical frame; though seemingly not fully free from the effects of influenza I had in Heaton a year and nine months ago’. The Reverend Moody died just six month’s later.
George Blackie Sticks at number 67 was a painter. George was born in Newcastle in 1843 into a distinguished family of artists. His father, James, was one of the top designers at William Wailes’ stained glass studio. George also served an apprenticeship there, studying under William Bell Scott at the Government School of Design in Newcastle. But on qualification, perhaps inspired by Scott, he turned to painting, establishing his own studio.
Sticks was a landscape painter and, as well as finding inspiration close to home, for example on the Northumberland and Durham coast, he travelled extensively on sketching tours of Scotland and the Lake District. His work was exhibited by the Royal Academy and Royal Scottish Academy. Locally it can still be seen in the Laing, Shipley, Hatton and South Shields art galleries, as well as in Newcastle’s Mansion House.
In 1862, Sticks married Christine née Thorn and they had three children. Christina died in 1879. At the time of the 1891 census, George was living on Rothbury Terrace with his elder son, Christian, also an artist. George Blackie Sticks is reported to have died c 1900, though we haven’t yet located official records. Perhaps you can help.
Also living on the newly developed Rothbury Terrace next door to naval architect Andrew Tilston Dudgeon and artist George Blackie Sticks respectively were two men whose occupations did not define them but whose love of sport and business acumen led to the foundation of one of Newcastle’s greatest institutions.
Joseph Bell was born and bred in Newcastle. In 1891, aged 29, he lived, with his wife, Mary Alice, and three young children, along with a servant and a fourteen year old grocer’s assistant, at 43 Rothbury Terrace above the corner shop he ran.
We know that he had been there for at least a couple of years before that and probably since the houses were first built as, in 1889, he applied for a licence to sell alcohol, an application which was approved despite a petition signed by 119 people and reported concerns about Lord Armstrong”s views on the matter.
The family was still in Heaton in 1901 but, by this time, Joseph was no longer a grocer but a self-employed builder and they lived at 2 Cheltenham Terrace. Apparently Bell retired from business early but served on the Newcastle Board of Guardians. He was described as a courteous and kindly man and politically a Liberal.
Joseph Bell was, above all, a lover of football and, in 1890, one of the original shareholders and directors of East End FC.
It is especially noteworthy in terms of the history of Heaton, and Rothbury Terrace in particular, that it was at Joseph Bell’s upstairs flat that, in May 1892, a meeting was held between the directors of East End and those of the recently folded West End.
It was at this meeting that a decision was made for East End to move to St James’ Park. The North East Railway Company had just increased the rent on its Chillingham Road ground to £50 a year, a sum the directors believed the club couldn’t afford. The prospect of a more central location, along with the opportunity to attract some of West End’s fan base, was an attractive one.
The East End directors at that historic meeting all had strong Heaton connections and would have been been reluctant to move their beloved club away from their own neighbourhood but they had the vision to see that it was the way to secure its future. Most continued to be instrumental in the success of Newcastle United, as it soon became, right through its Edwardian hey-day. The East End representatives were: Joseph Bell, the host; Alex Turnbull, his neighbour; T Carmichael; John Cameron and James Neylon.
Bell became treasurer of Newcastle United in 1893. He was then vice chairman from about 1904-8 before becoming chairman of the club in 1908. During these very successful years, he was very close to the players, who called him ‘Uncle Joe’.
Bell died while still chairman of Newcastle United on 22 March 1909, aged only 47. Newcastle United directors, staff and players, local councillors, football men he’d known since East End days, Freemasons, friends and neighbours attended his funeral. The great Billy Hogg, who also lived in Heaton, represented Sunderland’s players. Joseph Bell is buried in All Saints cemetery.
First NUFC Chairman
Alexander (Alex) Turnbull was born in Scotland c 1858 but by 1881 had married Mary Ann Maun, a Geordie, and was working as a commercial clerk in the coal trade. In 1891, the couple lived at 69 Rothbury Terrace with their seven children, next door to George Blackie Sticks and up the road from Joseph Bell. In 1891, they were still there, now with nine children. Early on, he was was co-owner of the Byker and Heaton Coal Co until the partnership was dissolved. He was a property developer until, in 1901, his brick company at Byker Hill was declared bankrupt.
Turnbull served two spells as East End and Newcastle United chairman, during those formative years from 1891 until 1893 and and so, naturally, was at the May 1892 meeting at Joseph Bell’s at which the move to St James Park was approved. He also presided over the public meeting on 9 December of that that year at which another historic decision to change the club’s name to Newcastle United was made.
Turnbull served a second spell as chairman from May to August 1895 and was a director for 11 years in total, from 1890 to 1901.
Unlike Bell, Turnbull was an active Conservative. In fact, at one point he stood for the city council only to withdraw before the election took place. In 1895, he stood as a candidate for Newcastle School Board as ‘an advocate of sound education, close economy and generous recognition of the rights of private schools’.
Colin Veitch, in his autobiography, describes how he was approached at home just after Christmas 1898, when he was just seventeen years old. He was asked if he would like a game with Newcastle United and was told that two directors were available to meet him if he went immediately to the Conservative HQ at the corner of Wilfred Street and Shields Road ‘within a hundred yards of my home’. (It’s a little further than that!) The directors hadn’t had far to travel either. They were Joseph Bell and Alex Turnbull, both of Rothbury Terrace. Veitch played a number of friendlies for the club before signing permanently and becoming the captain and inspiration of its finest ever team.
The rest is history – and Rothbury Terrace’s place in the story of the city and in the birth and success of its football club secure!
Researched and written by Chris Jackson, Heaton History Group. With special thanks to John Allen, who always generously shared the results of his Heaton related football discoveries with HHG.
‘All with Smiling Faces: how Newcastle became United’ / Paul Brown; Goal-Post, 2014
‘The Artists of Northumbria’ / Marshall Hall; Marshall Hall Associates; 2nd ed, 1882
‘Newcastle United: the ultimate who’s who’ 1881-2014 / Paul Joannou; N Publishing, 2014
‘Newcastle United’s Colin Veitch: the man who was superman’ / Keith Colvin Smith, AFV Modeller Publications, 2020
‘Pioneers of the North: the birth of Newcastle United FC’ / Paul Joannou and Alan Candlish; D B Publishing, 2009
On 17 March 1911, Mary ‘Molly’ Wharton Parkinson of Heaton stood on the deck of RMS ‘Victorian’ in Princess Dock, Liverpool and waved at the cheering, flag-waving two thousand-strong crowd below. Moments earlier she had joined in a rousing chorus of ‘Auld Lang Syne’ and ‘God Save the King’ and, if she had shed a tear as the ship left the port, she would have been in good company.
Molly, aged 32, was a teacher, vocalist and music teacher. Born in Penshaw, Co Durham, she had lived in Heaton with her family for many years, first of all at 32 Kingsley Place and then 19 Holmside Place. She was the eldest of 16 children, nine of whom had survived beyond infancy. In later life, Molly recalled that at about the age of nine she could ‘simultaneously read a book propped on the mantle, knit a stocking and rock the baby’s cradle with my foot’.
Molly was better placed than most on the ship to have known that the ‘Victorian’ was the first large civilian ship to be powered by steam turbines and that those turbines had been made by the Parsons Marine Steam Turbine Company. Not only had marine steam turbines been developed by Sir Charles Parsons and his team less than a mile away from where she lived but she had recently got to know (and like very much) a young marine engineer, Fred Christian, who had lodged nearby while studying and working in Newcastle but who had recently returned home to New Zealand. Perhaps his absence and the possibility of a brief reunion had motivated her to put her name down for the trip.
When the crowds were no longer in view and Molly had retired to her cabin, she was joined by a familiar face: Florrie Hamilton was nine years younger than Molly but they had got to know each other. Not only did Florrie live in the next street at 27 Eversley Place but they also sang in the same choir, the Newcastle and Gateshead Choral Union, which rehearsed every Tuesday night at Newcastle’s Lit and Phil. Molly sang contralto and Florrie soprano.
And singing was what brought them together now. They were about to embark on a hugely ambitious and exciting six month long world tour with a 225 strong choir.
The idea for the tour had been that of Dr Charles Harriss, a London-born composer, choral conductor, organist of Ottawa Cathedral and founder of the McGill Conservatorium of Music. He was described as a ‘staunch British imperialist who sought to bring British cultural “standards” to the crown’s dominions abroad’ . He was certainly keen to build bridges, initially between Canada and ‘the motherland’. This led to the Sheffield Union Choir travelling to Canada in 1908 and, following the success of that visit, he was determined to foster similar ‘reciprocity’ between Britain and a British Empire recently bruised by events such as the Second Boer War – or at least with those regions where white settlers formed a majority of the population.
A very wealthy and well connected man, he garnered support for his ideas in the highest political echelons including the British government at home and the 4th Earl Grey, former MP for Tyneside and at that time both Governor General of Canada and a great patron of the arts.
He was also able to underwrite the tour financially to the tune of £60,000 (some £7,000,000 today). And crucially, he was a great organiser. In the 12 months before the tour began, he visited every country personally ensuring that the arrangements in place were ‘second to none’.
The conductor of the touring choir was Henry Coward, later to become Sir Henry. Coward was born in Liverpool in 1849, the son of a publican. Henry’s father had died when he was a small boy and his mother relocated to her home city of Sheffield, where the young boy could become an apprentice cutler to her brother, a pen-knife maker. Henry had shown an aptitude for music at an early age and had played the banjo but in Sheffield he taught himself how to read music and soon became a great advocate of the tonic sol-fah method of teaching others. He went on to achieve a first degree and doctorate in music from the University of Oxford.
Coward was a man of great energy and passion for singing, especially choral singing, not only from a musical point of view but also for its social, psychological and health benefits. He became a renown singing teacher and choral conductor, especially known for the huge choirs he could manage. He founded the Sheffield Tonic Sol-fa Association, later renamed the Sheffield Music Union and conducted over 50,000 voices in front of Queen Victoria at the opening of Sheffield Town Hall. Coward was a natural choice as lead conductor for Harriss’s tours.
Although based in Sheffield, Coward travelled hundreds of miles every week to conduct choirs in Leeds, Huddersfield, Southport, Glasgow and, of course, Newcastle at a time before motorways or even private cars. His Newcastle choir was the Newcastle and Gateshead Choral Union, of which Molly, Florrie and all the other Heaton singers were a part.
Coward selected the tourists, mostly from the choirs he regularly conducted, on the basis of their singing, sight reading and temperament.
The Newcastle Journal of 18 July 1910 published a list of ‘Local Singers who have passed the musical test and qualified to take part in the world tour of the Sheffield Musical Union next year’
Apart from Molly and Florrie, there were 5 other Heatonians:
Herbert Alderson. Born on 26 December 1877 in Bishop Auckland, so on tour Herbert, a joiner, was 33 years old. He lived with his parents and younger siblings at 147 Bolingbroke Street. He sang tenor.
Margaret Howson, born on 21 February 1888, and so aged 23 at the time of the tour, was living with her family at 8 Heaton Road, although by the time of the 1911 census, they had relocated to Stocksfield. She was a music teacher and sang contralto.
Jean Finlay Terry, born on 25 August 1865 in SE Northumberland, she was aged 45 at the start of the tour and, like Molly and Margaret, a teacher. She had lived at various addresses in Northumberland but, at the time of the test, was at 16 Stratford Grove. She was a contralto. On the ‘Victorian’, she shared a cabin with Margaret Howson. We also know that she kept a tour diary (but, alas, so far haven’t tracked it down).
John Charles Hamilton was aged 50 at the start of the tour and sang bass. Originally from Crook in Co Durham, he worked as a school board attendance officer and was Florrie’s father.
Miss M Atkinson of 64 Cartington Terrace is also listed as having passed the singing test but her name doesn’t appear on later lists of the tourists so presumably, she either withdrew or was on the tour’s reserve list.
The successful candidates would, in most cases, have needed permission from their employers to take six months unpaid leave and they would not be paid to participate, although their expenses would be covered and some ‘pocket money’ was distributed.
They also had to sign up to a gruelling programme of private study and rehearsals in order to learn and be able to sing no less than 160 different pieces, from composers such as Handel, Verdi, Bach, Berlioz and Elgar, as well as Harriss himself, along with arrangements of English folk music and ‘empire music’. Every month between July and March, the whole choir convened in Sheffield for five hours of rehearsal and ‘team bonding teas’.
On tour, the travelling was alternately gruelling and thrilling. Starting with a storm off the south coast of Ireland, there were numerous ‘weather events’ to contend with. Intense cold, a storm and icebergs slowed the progress of the ‘Victorian’ as it approached St Johns in Canada; in Montreal the singers had to walk through a narrow passage through snow piled ‘higher than our heads’; a train ride through the Rockies was described as ‘fifty Switzerlands rolled into one’; In the Pacific it was so hot that one of the crew went ‘insane with the heat’ and between Australia and New Zealand, the captain told the passengers to ‘put on a lifebelt and try to go to sleep’ before a ferocious cyclone flooded every cabin, the water so deep that everyone was trapped where they were. The boat deck and bridge deck were washed away, ‘ironwork twisted as though it were paper’. Many of the choir were injured, some of the crew badly hurt.
On the other hand, it’s difficult to imagine the excitement the choir members, very few of whom had travelled much if at all, felt when they saw their first icebergs, walked behind the Niagara Falls, saw the Northern Lights in all their glory, watched flying fish, albatrosses and whales and sailed through coral reefs, all before the days of television and Sir David Attenborough.
In Honolulu and Suva, they saw coconuts, dates, mangoes, ‘bananas growing in the streets’ and sampled many foods you’d be hard-pressed to buy in Heaton (even today!):
‘papaya … was like pink melon to look at but was soft and ripe and tasted of strawberries and cream’.
May Midgley, a singer from Bradford, was particularly impressed by the desserts in Canada:
‘..such ices! The ladies said “We make our own always!” They have a refrigerator in every house almost and they don’t make them in little slices like we do in England but like puddings and you can help yourself to as much as you like.’
Unlike many of the singers, Jesmond’s Eliza Vinycomb was well-travelled but even she was impressed by one of the American hotels ‘it has all the latest gadgets, two telephones in each bedroom, one to servants and one to the office, electric lights at the bedside…’
Activities put on for the party included a chance to speed round the Indianapolis motor racing track ‘at seventy or eighty miles an hour’;‘bathing in a steaming bath in a snowstorm’ in Banff; visits to diamond and gold mines in South Africa (‘Except that the dust was white instead of dark, it looked greatly like going by Middlesbro’’ – Jesmond’s Eliza Vinycomb).
There were large, enthusiastic crowds everywhere: in Canada, apparently ’an old native of Sheffield travelled two days by dog-sleigh and snowshoes and 400 miles by train’ and another music lover ‘two days and nights on horseback’; elsewhere ‘ a large crowd of cowboys [unable to gain admittance] climbed onto the [concert venue and] showed their appreciation by thumping on the roof and sides of the building’. The audiences frequently numbered in the thousands: in Sydney there were 5,000 inside and an ‘immense crowd’ outside for a performance of Handel’s ‘Messiah’ and, following that, the choir performed outdoors in front of almost 40,000 people for George V’s coronation celebrations and there were at least half that number at the tour’s farewell and thanksgiving service in Capetown.
In Toronto, Indianapolis, Cincinnati, St Paul and Chicago, the choir was conducted in ‘Dream of Gerontius’, a work then only ten years old, by Sir Edward Elgar himself. Elgar travelled with the party across North America, much to the excitement of some of the younger choir members.
In Cincinnati they were directed by a young Leopold Stokowski, best remembered now for his involvement (and appearance) in the Disney film ‘Fantasia’ some 30 years later.
In Ottawa, they met Earl Grey who expressed his pleasure at hearing the ‘north country burr’ again and in Chicago they met the brother and wife of President Taft. In Honolulu, they sang before Queen Liliuokalani, the last monarch of Hawaii before the overthrow of the Hawaiian Kingdom and its annexation by the USA, and in South Africa, they met the Governor General, Lord Gladstone, the former British Home Secretary and the son of William Gladstone.
The tour was well-documented. Many of the choir, including our own Jean Terry and Jesmond’s Eliza Vinycomb wrote diaries, others kept scrapbooks and Henry Coward later wrote a published account. Letters home have been preserved and ‘there were forty cameras in our party’. They were even filmed:
‘We were invited to the Bijou Theatre Co to see ourselves on the cinematograph and it was funny… what a laugh we had!’
Reading the first hand accounts now, we cannot help be struck by some of the attitudes expressed and language used.
The aim of the tour was certainly to foster good will and promote peace. This can be summed up by Henry Coward’s words on reaching South Africa less than ten years after the Second Boer War had ended:
‘two hundred and twenty invaders entered Pretoria, not in the panoply of hateful war but holding the olive leaf of peace, good will and reciprocity, by means of song’.
In Durban, Eliza Vinycomb showed an awareness of apartheid ‘The rickshas had on them “For Europeans only” and at the post office a place partitioned off “For Asiatics and Natives” and in the trains were separate carriages for blacks and whites’. ‘The people say the Boers will never rise again, they felt their beating so thoroughly but they think the blacks may rise sometime.’ But she didn’t comment on the rights and wrongs.
Elsewhere Coward expressed his distaste for slavery and reported that the party was shocked by the poverty and inequality in Chicago. The choir sang for the patients at a leper station ‘where we saw some sorrowful sights but felt we had done a little to cheer their hopeless lot.’
But reading his and other accounts through the prism of 2020, some of the language and assumptions are nevertheless shocking.
In Buffalo, USA, the choir had ‘the new experience of being waited upon by negro attendants’; train staff were complimented by being referred to as ‘our dusky friends’; In Suva, Coward thought ‘the natives showed a strong indisposition to work’. About being taken to the spot where Captain Cook first landed in Australia and ‘captured it for England’, he later wrote, ‘Well done, Whitby!’
Descriptions of visits to a Sioux encampment at Portage la Prairie in Manitoba where the ‘Indians were very shy’ and ‘the occupants declined to thaw from their reserve’ and a Sursee reservation in Calgary where ‘the moderns [tried] to coax the occupants to show themselves but they gave no sign of obliging us’ make uncomfortable reading in the 21st century. Coward wrote that he was sorry that the tribe was dying out because of ill health and what he saw as ‘the fixed inferiority complex in their minds’.
Coward also reported an incident in Honolulu when a man trying to board their ship was apprehended by police officers, apparently having reached for a gun. ‘One of the two detectives settled the argument by giving the “wanted man” a tremendous bang on the head with the butt of his revolver…I was pleased to see this bit of summary, wild west justice. It impressed me very much.’
Such an amazing experience, good and bad, must have affected the choir members for the rest of their lives. Coward reports that ‘about a score of happy marriages resulted from the tour’. Were many of the choir politicised and did they continue to make music and travel? We are lucky to know at least a little about the subsequent lives of our Heaton singers:
Herbert continued to sing. We have a record of him as a soloist in 1913 at a ‘Grand Evening Concert’ in aid of Gateshead Independent Labour Party, alongside another well-known Heatonian, Colin Veitch, who lived just five minutes walk away on Stratford Villas. The following year, he performed with Gerald Veitch in a Newcastle Operatic Society performance of ‘The Yeoman of the Guard’ and soon after Colin conducted Herbert in Newcastle Amateur Operatic Society’s ‘Merrie England’.
In 1916, Herbert married shorthand typist, Edith Jane Ord of 54 Rothbury Terrace. Edith was also a keen singer. The couple lived in Jesmond when they were first married but soon returned to Heaton to 22 Crompton Road, where they lived for almost 20 years. That is where they were living at the outbreak of WW2, when Herbert was still listed as a joiner. Later they spent time at 211 Benton Road and then 12 Ravenswood Road, where Herbert died in 1961, aged 83.
We know that, after the tour, Margaret spent some time in South Africa because on 12 October 1919, she set sail from Cape Town to Southampton and was listed as a recent resident of that country and a music teacher. She returned to the north east where in 1923 in Hexham, she married Sidney Wilfred Lewis, a travelling sales rep for concrete and quarry plant, who had two children from a previous marriage. The couple lived in Stocksfield where their daughter, Dorothy, was born two years later. But by the outbreak of WW2, Mary had separated from Sidney and was living in London, where she described herself as a retired violin tutor. She died in Northampton in 1971, aged 82.
Jean Finlay Terry
In 1913, a book‘Northumberland Yesterday and Today’ by Jean F Terry LLA (St Andrews) 1913 was published. LLA stands for ‘Lady Literate in Arts’ and was offered by the University of St Andrews from 1877, fifteen years before women were admitted to Scottish universities. It became popular as a kind of external degree for women who had studied through correspondence or by attendance at non-university classes and continued until the 1930s. You can still find Terry’s fascinating local history book online and in second hand shops. We haven’t yet been able to prove that it was written by our Jean but there don’t seem to be any other likely contenders. If more evidence is required, not only does the author mention Heaton and Armstrong Parks in the text, she also included many poems and, particularly, folk-songs.
In 1914, Jean was elected to the committee of the Newcastle branch of the Victoria League at its AGM held at Armstrong College. The Victoria League for Commonwealth Friendship was founded in 1901 to connect people from Commonwealth countries and promotes cooperation and peace. It was noteworthy in that, during the early years, it was predominantly a women’s organisation at a time when women still didn’t have the vote. At that time, ’through philanthropy to war victims, hospitality to colonial visitors, empire education and the promotion of social reform as an imperial issue, it aimed to promote imperial sentiment at home and promote colonial loyalty to the mother country’, all aims which Henry Coward and Charles Harriss would heartily endorse (in fact Coward pays tribute to the league in his account of the tour). It is still active today.
In 1926, there is a record of her travelling back from Marseilles to her home in Jesmond.
At the outbreak of WW2, Jean was described as a retired teacher, living with her younger brother Arthur, a retired civil servant, and their housekeeper in Stocksfield, where she lived until she died in 1951, aged 86.
Florrie continued to sing with the Newcastle and Gateshead Choral Union and in April 1912 was billed as ‘soprano of the famous Sheffield choir’ when she sang at two East Cramlington Primitive Methodist Church services. There is a record of her singing another solo the following year at the annual Wesley Guild and Christian Endeavour rally in Seaton Burn alongside Walter Gardner of Heaton Road Wesleyan Guild. Less than two and a half years later, she married Walter, a shipbrokers’ clerk, who in 1911 was living with his family in Falmouth Road, just three minutes walk away from Florrie and her family. The couple went on to live at 92 Cartington Terrace. In 1919, Florrie gave birth to their daughter, Muriel.
Florrie continued to perform. In 1923, she ‘acquitted [herself] with refinement and expression’ as an accompanist at a recital at Bainbridge Memorial Wesleyan Church.
Parenthood didn’t signal the end of travel for Florrie either. We know that in July 1926, she and young daughter, Muriel, were in the USA. They travelled back from New York to Southampton on the RMS ‘Homeric’. By this time, the family was living in Whitley Bay. Sadly, Florrie died in 1936, aged only 49.
John Charles Hamilton
John returned to Heaton where his wife, Rachel, and son, Walter, had been continuing to live while John and Florrie were on tour but the family was soon separated again when Walter joined the Northumberland Fusiliers to serve in WW1. In 1917, Rachel and John received the news that he had suffered slight gunshot wounds.
John died at Florrie’s home in Whitley Bay on 30 August 1925, aged 64.
As for Mary Wharton Parkinson, she and Fred continued to write to each other and, only two years after the world tour, she set sail once again, this time straight to New Zealand. The couple married on 11 December 1913 in Wellington.
By this time, Fred had set up an engineering and plumbing business in Tauranga in Bay of Plenty on North Island. Music played a big part in the couple’s life together. The month after their wedding, Molly and Fred performed in a local Methodist church concert: they played a piano duet together and both sang solo. We know that Molly also played the organ. And later in the year, Molly gave a talk about the world tour. If only we could know what she said!
But, important as it was, there was much more to Molly’s life than music. She and Frederick had four children. In 1916, she was elected president of the local Women’s Christian Temperance Movement and, when her children were older, she also became a ’leading light’ in the Country Women’s Institute, Maori Women’s Welfare League, the Girl Guides and other community organisations, often providing hospitality and accommodation to these groups in the extensive property, she and Fred had bought when they were first married. Fred died in 1957 age 73.
Mary Wharton Christian was awarded the MBE in 1975 and died one month short of her hundredth birthday in 1979.
Although it has only been possible to give a flavour of the tour and the lives of the Heaton singers who experienced it, none of it would have been possible without the help received on a virtual round the world journey reminiscent of that undertaken by Molly and our Heaton tourists 109 years ago, albeit this time online.
After reading about those who had passed the audition in the ‘Newcastle Journal’, just as for the successful singers, my first stop was Sheffield, where Chris Wiltshire, composer, choral conductor and the author of a book about the letters home of choir member, May Midgley, told me that he too used to do Henry Coward’s regular commute between Sheffield and Newcastle, as for many years he had conducted the Felling Male Voice Choir as well as the Sheffield Chamber Orchestra. Going the extra mile to help us find out more about our local singers, Chris put me in touch with Caroline Roberts of Durham University, who he said was also researching the north east representatives.
Meanwhile, via North America (well, Google) came the exciting discovery of an article on a local history website much like our own. This told the story of how Molly had got to know Fred Christian and their subsequent life together in Tauranga. It mentioned that one of Molly’s daughters had been a generous benefactor of the local history society. A couple of emails later and we had learnt that the piece had been written by Julie Green, the wife of Molly’s step grandson, and that all Molly and Fred’s photos, diaries and letters were in her loft!
And there was more! It turned out that not only had Caroline Roberts done a huge amount of research into the tour and, in particular, the Tyneside contingent, over many years and was very generously willing to share everything she knew about our Heaton singers – and more – but incredibly she was the daughter of Heaton History Group members, Joyce and Paul Craggs. Paul’s great grandfather, Fred Knowles, was a member of the touring choir and it was fellow HHG member Paul who, browsing in a Corbridge antique shop, had found the framed photograph from which the individual images of the singers you see above have been taken. All roads truly lead to Heaton!
Researched and written by Heaton History Group’s Chris Jackson with huge help from Julie Green, Caroline Roberts and Chris Wiltshire. A big thank you to all of them.
The Diary of Eliza Bustin Vinycomb (unpublished); Christchurch Archives, New Zealand
Round the World on Wings of Song: reciprocity / by Sir Henry Coward; Northend, 1933
12 Oak Avenue: the letters of Henrietta May Midgley 1911 / by Christopher Wiltshire; Wiltsmusic, 2018
To Walk Upon the Grass: the impact of the University of St Andrews’ Lady Literate in Arts, 1877-1892 / by Elisabeth Margaret Smith; University of St Andrews PhD Thesis, 2014
Women, Gender and the Promotion of Empire: the Victoria League 1901-1914 / by Eliza Riedi; The Historical Journal 45.3 (2002) pp 569-599
Ancestry, British Newspaper Archives and other online sources.
Can You Help?
If you know more about any of the Heaton singers or have photographs (or diaries!) to share, we’d love to hear from you. You can contact us either through this website by clicking on the link immediately below the article title or by emailing firstname.lastname@example.org
As you wonder whether to venture out in the pouring rain, stop for a moment instead to remember a son of Heaton living when even car rides in rain and snow would barely be tolerable. In fact, it was such a car journey back to Heaton from London that led to an invention we all take for granted. To make matters worse it followed yet another cup final defeat for Colin Veitch’s Newcastle United. (Yes, I know, it’s all relative.) But the subject of our research, one Gladstone Adams, was notable for much more than the inventor of windscreen wipers.
Gladstone was born on 16 May 1880 and baptised at All Saints Church in the east end of Newcastle upon Tyne on 6 June 1880, one of ten children born to John and Agnes Adams. For many years the Adams family lived in St Ann’s Row, Ouseburn. Although, John ran his own business, life was hard: at the age of 16, Gladstone contracted typhoid and almost died.
The family business of marine salvage seemed to offer little scope to an ambitious and bright young man and so, after school, Gladstone Adams became apprenticed to Matthew Auty, a well known photographer in Tynemouth. (Apparently many years later after the photography business had closed, renovation work revealed some writing on a beam that seemed to be a log of Auty’s employees over the years. It included the name of Gladstone Adams, suggesting that he started work there in 1896, aged 16 and left in March 1901.)
Young Gladstone lived at a number of addresses in Heaton. At the time of the 1901 census, he was living with his mother and father and older sister, Grace, at 29 Eversley Place, Heaton.
Eversley Place home of Gladstone Adams and his parents
Gladstone’s father died in 1902 and mother in 1909. They are buried together in All Saints Cemetery.
When Gladstone joined the Lord Collingwood Masonic Lodge in 1907, his address was given as 39 Lesbury Road (opposite pioneering Trade Union leader and MP Alexander Wilkie at number 36).
Adams’ 39 Lesbury Road residence
At this point, aged 28, he was described as an ‘art photographer‘. A later electoral role shows him in 1913 at 82 Heaton Road.
Although he lived in Heaton as a young man, the photography business Gladstone set up in 1904 was based in Whitley Bay. Adam’s reputation as a photographer was such that three years later, he was asked to take the official photographs of the newly launched ‘Mauretania’, leaving the Tyne. The image below apparently made him more than £1000 and has been acclaimed by ‘Photography’ magazine as a future ‘Old Master’.
Adam’s business expanded with several more studios opening. By the end of the 1920s he employed in the region of 90 people. His work was extremely varied and besides the usual family and wedding portraits, he produced postcards of local scenes, worked as a commercial photographer for newspapers, police records and industrial organisations, as well as being the official photographer for Newcastle United, hence that difficult journey back from the cup final.
Gladstone Adams’ photograph of Newcastle’s R W Thomas (who only played one game for the Magpies)
Adams (far left) at a meeting of Newcastle Photographic Society
Gladstone went on to be Chairman of the Professional Photographers Association. His business flourished for over 60 years until camera ownership became common and Whitley Bay had declined as a holiday destination.
And so it was in his capacity as successful businessman and official photographer to Newcastle United that, at the end of April 1908, Adams found himself driving back from Crystal Palace in his 1904, French made Darracq motor car. It was such an unusual sight that apparently the car was put on display while he was at the match.
A Darracq like that driven by Adams
As if watching the reigning champions unexpectedly lose to Wolverhampton Wanderers wasn’t bad enough, the weather conditions for the journey home were atrocious with unseasonal snow falling. The only way Gladstone could clear his windscreen was with his hands, necessitating many stops. But much good came out of what must have been a miserable weekend. For it was on this arduous drive that Gladsone Adams said he came up with his inspired idea for a windscreen wiper (although it has to be admitted that in the USA, a Mary Anderson had patented a windshield wiper blade a few years earlier. These things are rarely straightforward!)
Adams’ windscreen wiper at the Discovery Museum (courtesy of the ‘Evening Chronicle’)
The prototype of Adams’ mechanism is on display at The Discovery Museum in Newcastle. Three years of development later, in April 1911, a patent was registered by Sloan & Lloyd Barnes, patent agents of Liverpool for Gladstone Adams of Whitley Bay.
In 1901, aged 21 Adams joined the Northumberland Yeomanry, which was a locally raised cavalry force. This enabled him to improve his horse riding skills and he won several competitions. He was about to have been sent to the Boer War but fortunately the war ended. Gladstone remained in the Yeomanry until 1910, retiring with the rank of Corporal and a good conduct certificate.
In 1914, aged 34, he volunteered to serve in WWI. Because of his photographic skills, he joined the Royal Flying Corps as a reconnaissance photographer with the 15th Wing in France. In April 1918 he was stationed at the front, close to where the German flying ace, Baron Manfred von Richthofen, was shot down and killed. Adams was given the unenviable task of photographing the deceased pilot to prove that ‘The Red Baron’ had really been killed. He was then involved in the preparations for the pilot’s burial, with full military honours, at Bertangles Cemetery, near Amiens. After the war, Adams’s military service was recognised by the award of the permanent title of ‘Captain’ on his discharge papers.
By the outbreak of WWII Gladstone was approaching 60 but he nevertheless he served as Flight Lieutenant with the 1156 Air Training Corps in Whitley Bay.
In 1914 at the age of 34, Gladstone had married the talented artist, Laura Annie Clark. He had served in the Royal Flying Corps alongside Laura’s brother, Joseph, also, like their father, Joseph Dixon Clark senior, an artist.
Laura was a notable painter of miniatures whose work was exhibited at the Royal Academy and Paris Salon as well as provincial galleries, including the Laing. Her 1923 miniature on ivory depicting herself and her son, Dennis, entitled ‘The Green Necklace’ was given a place of honour at the 1923 Royal Academy exhibition between portraits of George V and Queen Mary. Laura was also a talented musician and composer. She worked as a colourist at Gladstone’s photographic studio. The Adams’ married life was mostly spent in Monkseaton. Dennis, born in 1920, was their only child.
in the 1950s, after hearing that a squad of Royal Marines were tragically run down by a lorry on a dark road, Adams developed a prototype fluorescent belt for pedestrians to wear at night. He and his brother also invented the ‘trafficator’, a forerunner of the car indicator, as well as the sliding rowing seat.
Adams was one of Whitley Bay’s longest serving councillors, holding St Mary’s Ward from 1937 to 1948. He also served in other wards in the 1950s and early 1960s, finally losing his seat in 1963. He was also a Northumberland County Councillor. Gladstone and his son, Dennis, were councillors together for a period of time.
Gladstone Adams died, after a very eventful life, aged 86, on 28 July, 1966,. A commemorative plaque is located on the west facing, gable end of the Ouseburn Mission building, very close to the house in which he was born.
Researched and written by Arthur Andrews, Heaton History Group.
Can you help?
If you know more Gladstone Adams, especially his early life in Ouseburn and Heaton, or have photos to share, we’d love to hear from you. Please get in touch either by clicking on the link immediately below the title of this article or by emailing email@example.com
North Shields Library – Local History Section
‘The Journal‘ 10 April 2008 Report by Tony Henderson that a significant amount of memorabilia belonging to Gladstone Adams was to be auctioned.
‘The Artists of Northumbria’ / Marshall Hall; 2nd ed, 1982.
‘The Toon: a complete history of Newcastle United’ / by Roger Hutchinson; Mainstream, 1997
This plate or plaque, made by the Maling company to commemorate the North East Coast Exhibition of 1929, depicts some of Tyneside’s most iconic bridges and industries. Unusually, it also bears the signature of the artist. Even more unusually the name is that of someone who, on the football field, scored one of the FA Cup’s biggest ever giantkilling goals. And he was a opera singer of some renown too. And, no, it’s not Colin Veitch!
Maling plaque with Boullemier artwork
But first the plaque. The North East Coast Exhibition, which took place in what is now known as Exhibition Park from May to October 1929, attracted over four million visitors. It succeeded beyond all expectations in its aim to be a showcase for NE industries. For the Maling company, in particular, it was a chance to finally shake off its old image as a mere producer of jam jars. And so the company produced a wide range of souvenirs to be sold at the event both on its own stand (shared with Townsend, a retail company) and for the famous Heaton tea company, Ringtons.
The plaque above is from a private collection but you can see one in the Laing Art Gallery. It was selected for inclusion in ‘A History of the North East in 100 Objects’, a project designed to show important examples of the ‘creativity and innovation which have changed the region and the world.’
Among the other souvenirs at the NE Coast Exhibition were a model of Newcastle’s castle keep and octagonal tea caddies depicting local bridges, cathedrals and castles.
Maling ware with Boullemier artwork
The artwork on all these items was by Lucien Emile Boullemier, who was living in High Heaton, having joined the company from the Soho Pottery in Staffordshire three years earlier.
Lucien’s father, Antonin, had been born in Metz, France, in 1840, himself the son of a prominent decorator at the Sevres National Porcelain Factory. Antonin studied ceramic painting in Paris at various decorating establishments. He was also apprenticed as a figure painter at Sevres where he worked until in 1870 but in 1871 he and his wife, Leonie, fled to England during the short-lived Paris Commune. Antonin went to work at Mintons in Staffordshire, where his work received many royal commissions and was exhibited all over the world.
Antonin Lucien Boullemier (1840-1900) painted on ceramic by Lucien E Boullemier
By 1881, Antonin and Leonie, now living in Stoke, had six children: Blanche (aged 9), George (8), Leon (6), Lucien (4), Henrietta (3) and Alice (10 months). They were later joined by Antonin junior, Henri, Leonie and Jeanne. Another three children died very young.
Self portrait by Lucien Emile Boullemier
Like his father and grandfather before him, Lucien was destined to be a ceramic artist but first he had a general art education, which was to serve him well. In 1895, while a student at Stoke School of Art, he won £2 second prize in the Duchess of Sutherland’s Prize for Design for a ‘design in silk for dress purposes’. His painting of George Howson, owner of a sanitary ware company, now in the Potteries Museum and Art Gallery, dates from 1897.
But art wasn’t Lucien’s only talent. Like his older brother Leon, who played in goal with some distinction, mainly for Lincoln City (for whom he played home and away against Newcastle United), Lucien was a talented footballer. He played seven games for Stoke and 153 for Burslem Port Vale, among them a famous cup tie.
In the first round of the 1898 FA Cup, Sheffield United, who were at the time five points clear at the top of England’s top division, were drawn at home to Burslem Port Vale of the Midland League. A comfortable victory for the champions elect was expected but an early goal and spirited display by Vale shocked the home fans and only a controversial penalty awarded by Durham referee, Mr Cooper, allowed the Sheffield side back in the game. For the last half hour, Vale’s defence, which included Lucien Boullemier, had its back to the wall but held firm.
On the day of the replay, a gale was blowing and, at kick off, the low winter sun dazzled the players and many of the 12,000 mainly home fans in the ground. Vale won the toss and sensibly elected to play the first half with the strong wind and sun behind them and when Sheffield United’s huge keeper William Foulke’s first goal kick was blown almost back into his own goal, United knew they were in for a torrid half. Only two minutes into the match, the underdogs went ahead and they were unlucky not to add to their tally.
The second half was bound to be a different story but such was the league leaders’ commitment to attack that a hoofed Vale clearance found 19 year old right half, artist Lucien Emile Boullemier, bearing down on goal with only Foulke to beat. The keeper raced forty yards out of his goal and body checked the oncoming Vale player preventing a certain goal. But mainly the Sheffield team continued to swarm forward and in the eightieth minute, with goalkeeper Foulke continuing to join the attack, they were rewarded with a scrappy equaliser. A groan was heard around the ground as the home fans’ dreams of a famous victory faded.
The winter gloom was starting to descend as the game headed into extra time and many of the supporters, having no choice but to leave to catch their buses, trams and trains home, sadly missed the great moment when, with Foulke once more stranded upfield, young Lucien Boullemier had his second chance of the game. This time, there was no reprieve for Sheffield United, as Boullemier netted the winning goal in one of the biggest cup upsets yet seen.
In fact over 120 years later, the match still appears on a website dedicated to the biggest Cup shocks of all time. Vale lost to Burnley in the next round but were rewarded by a place in an expanded Football League Division 2 the following season. Sheffield United went on to win Division 1 and the following year, with six of the players who had been humiliated by little Port Vale, they actually won the cup.
As for Lucien, in the 1901 census, he described himself as a self employed painter and sculptor but he went on to captain Port Vale until part way through the 1902-3 season, when, aged 25, he suddenly announced his retirement to concentrate on his art: the Eric Cantona of his day! The photograph below shows him during a brief comeback for Northampton Town.
Lucien Boullemier is back row, third from the left. Leon Boullemier is the goalkeeper in the middle of the back row.
A few months later, on 30 January 1903, Lucien set sail from Liverpool to New York aboard the ‘SS Ivernia’. His first destination was Washington DC, where he stayed with his sister in law. (In 1896, he had married Mary Emma Sandland, the dressmaker daughter of Staffordshire pottery owner, William Sandland.) Four months later, he was joined at the home he had found for the family in New Jersey, by his wife and two children, six year old Percy and four year old, Lucien George. The young English ceramic artist must have made an immediate impression or perhaps he had been hired because of his growing reputation because soon afterwards, not only had he found work, but he was responsible for painting four vases ‘considered by some to be the best and most important decorative porcelain pieces ever created in America’.
The Trenton Potteries Company was known for its production of bathroom fixtures, but when the invitation came to create something special for the 1904 Worlds Fair in St Louis, Trenton Potteries submitted four ornamental vases, each standing four feet seven inches tall. The four magnificent vases, all painted and signed by Lucien Emile Boullemier, announced to the 19.7 million people who attended and to the watching world that the American ceramics industry, and especially Trenton, had arrived and were among the best anywhere at making fine porcelain (albeit with the considerable input of a lad from Stoke better known at home for his prowess on the football field). The vases can now be seen in New Jersey State Museum, Newark Museum, Brooklyn Museum and Trenton Museum. (But beware the last link which attributes its vase to Antonin, Lucien’s father, who had died before the vase was made).
Having enhanced his reputation in America, Lucien returned to England on 23 November 1904 and he spent most of the next 20 years working in Staffordshire first for Minton’s, the firm which had employed his father, and then the SoHo Pottery in Cobridge. He returned to football briefly to play alongside his brother at Northampton Town and made one final nostalgic appearance for his beloved Port Vale. But Lucien had lots of other interests too, both sporting and artistic. He swam for Staffordshire and captained their water polo team as well as playing cricket for Trentham. He also had many poems published and appeared in operas at the Theatre Royal, Hanley and elsewhere.
Lucien Boullemier as Squire Weston in ‘Tom Jones’, appropriately holding a ceramic jug.
But then in 1926, aged 49, Lucien made another bold move. He joined C T Maling and Sons ‘to take charge of the decorations department at the Ford Potteries, Newcastle’. The Malings believed they had pulled off something of a coup by enticing Boullemier away from the Staffordshire heart of the UK porcelain industry and when, as we have seen, the commercial opportunities occasioned by the North East Coast Exhibition presented themselves three years later, how lucky were they to be able to turn to the man who had already dazzled the world at an even larger event in St Louis nearly a quarter of a century earlier.
Boullemier’s influence over the next decade was huge. He updated many of the firm’s designs and is said to have introduced a new glamour into its products by printing in gold and using rich, lustrous glazes. You can see the plaque below in a cabinet in the Laing Art Gallery cafeteria, along with other fine examples dating from Boullemier’s time at Maling. It was purchased in 1989 with grant aid from the Victoria and Albert Museum.
Maling ‘Oriental’ Dragon plaque, c 1929
The Boullemier designed plaques below are on display in the reception are at Hoults Yard, the former Maling Ford B works.
Boullemier plaques, Hoults Yard
Among the many other Maling products designed and executed by Lucien Emile Boullemier were large dinner services commisioned by both Prince Philip’s mother, Princess Victoria, and Sam Smith of Ringtons.
During his time in Newcastle, Lucien lived first in lodgings with John and Lily Williams at 54 Simonside Terrace and then moved to a newly built family house at 36 Denewell Avenue in High Heaton. In Newcastle, Boullemier was remembered by co-workers as a ’character’ and ‘nice chap’. He was a ‘large, flamboyant and occasionally eccentric man who often dressed in a trilby and sang operatic arias while he worked.’
Lucien Emile Boullemier
Lucien Boullemier eventually left Newcastle in 1936 to return to the Potteries to work for the New Hall Pottery Company, where he produced a range called ‘Boumier Ware’, each piece of which carried his facsimile signature. He died in the other Newcastle (under Lyme) on 9 January 1949, aged 72.
Lucien Emile’s son, Lucien George, was also a talented artist and sportsman. He won an art scholarship to Italy but was unable to take it up because of WW1. He joined his father at Malings in 1933 (The pair were known as Old Bull and Young Bull) and succeeded his father as art director, working for Maling until, in 1963, the factory finally closed after 200 years.
Lucien G Boullemier, extreme right, at work at Maling.
In 1939, Lucien G and his wife Edith were living at 18 Martello Gardens in Cochrane Park. Their son, Tony, attended Cragside School and RGS before training as a journalist on the ‘Journal’, before joining the ‘Daily Express’ on Fleet Street. In 1975, he and his wife founded their own newspaper, the ‘Northants Post’. He is now a writer living in Northamptonshire.
Researched and written by Arthur Andrews and Chris Jackson of Heaton History Group. Thank you to Tony Boullemier for additional information on and for photographs of the Boullemier family.
American Porcelain 1770-1920 / Alice Cooney Frelinghuysen; Metropolitan Museum Ney York, 1989
British Newspaper Archive
Maling: a Tyneside pottery; 2nd ed; Tyne and Wear County Council Museums, 1985
Maling: the Trademark of Excellence / Steven Moore and Catherine Ross; 3rd ed; Tyne and Wear Museums, 1997
Other online sources including Ancestry and Wikipedia
Can You Help?
If you know any more about Lucien Emile and Lucien George Boullemier, especially their time at Malings and in Heaton, or have photographs you’d like to share, we’d love to hear from you. You can contact us either through this website by clicking on the link immediately below the article title or by emailing firstname.lastname@example.org
You may have noticed that, in July, the People’s Theatre is putting on a play called ‘Heaton!’ It’s been written by Heaton History Group’s very own Peter Dillon and will feature some of the figures from Heaton’s history that you may have read about on this website, alongside some new characters you don’t yet know. Over the coming months, we’ll be inviting some of them to tell us more about themselves and the show.
‘Welcome one and all – For many years now I’ve petitioned Newcastle Council for a licence to run a theatre in this fine city, and with a persistence matching rain they’ve regularly turned me down. Well, the days of petitions, the pleading letters, chaining myself to the Town Hall railings are over. No more begging. Instead –
Now or never, I’ll be showcasing my ingenuity, my refusal to take no for an answer, my stagecraft, my indefatigable personality, my thespian artistry……..all of these virtues and more will be on show in July, yes JULY! July 17 – July 21st to be precise – and the Box Office is open!
I’ve teamed up with those very good folks from the People’s Theatre to put on an all dancing, all singing entertainment to delight and inform the burghers of Heaton, and indeed far beyond.
I’m entitling the said theatrical extravangza, HEATON!
The show will feature some of the finest citizens of the borough that have ever lived, walked, and breathed in the Tyne’s fresh air. Sir Charles Parsons himself and the Turbinia from the Heaton Works on the Fossway, the good Lady Parsons, an engineer in her own right, the redoubtable Florence Nightingale Harrison-Bell, Hotspur Street’s intrepid reformer, Ove Arup, born on Jesmond Vale Terrace, who built Sydney Opera House, a domestic servant, and Colin Veitch, Captain Supremo of Newcastle Utd and co-founder of the People’s Theatre.
They’ll all be there, so why not you…………..Oh, and not forgetting, someone who might be called the juvenile lead, name of Freddie. A dubious character, whose blog it’ll be my displeasure to introduce next time –
The dates of this not to be missed epic, once again, are Tuesday, JULY 17 – Saturday, JULY 21
And if this superior example of the performing arts fails to persuade the Council to grant me a theatre licence, I’ll have to settle for a One-Man Show at The Hoppings. Now we wouldn’t want that, would we…….
A must for all Heaton History Group members, family, neighbours, friends and hangers on, we’re sure you’ll agree. Find out more and book tickets here.
Not only that: the show will be accompanied by an exhibition called ‘Brains, Steam and Speed: 250 years of science, engineering and mathematics in Heaton’, brought to you by the schoolchildren of Chillingham Road, Cragside, Hotspur and Ravenswood Primary Schools and Sir Charles Parsons School, Heaton History Group’s research team and Shoe Tree Arts, who put on the ‘Under the Fields of Heaton’, mining heritage arts events a couple of years ago. This is thanks to another award from Heritage Lottery Fund. Oh, and there will be music and song in the foyer too!
Heaton, of course, has a long and rich football history.
East End, the club, which went on to incorporate West End and form Newcastle United in 1892, played on Chillingham Road from 1884.
Perhaps its greatest player, captain and later director, Alec White (1860-1940, lived in Heaton, including 27 Cardigan Terrace and 48 Mowbray Street – he once scored seven or maybe nine goals (reports vary – there was no ‘dubious goals panel’ then) in a 19-0 victory. Local football historian, John Allan, recently found a rare photograph of him, which was published in a Newcastle United programme.
Article by Paul Joannou in the Newcastle United programme
The Magpies’ most successful captain, the charismatic polymath, Colin Veitch (1881-1938), was also , of course, born locally and lived at 1 Stratford Villas:
The plaque was made possible by the support of Newcastle City Council, the PFA, Chris Goulding and Keith and Sam Smith.
One of Sunderland’s best loved players and winner of four championship medals (including three Scottish titles with Glasgow Rangers), Billy Hogg (1879-1937), grew up on Spencer Street; not even Colin Veitch could match that!
And there are footballers, fondly remembered by supporters of other more distant clubs, who were buried in Heaton Cemetery, including John ‘Jock’ Smith (1865-1911), who played for Liverpool in their inaugural season in the Football League (1892-3), who tragically committed suicide aged 45, while living in Byker – he is buried in an unmarked grave.
Also buried in an unmarked grave is Bob Roberts (1863-1929) who won the cup with West Brom in 1888 and played not only in West Bromwich Albion’s first Football League game in 1888 but also the first ever recorded game of West Bromwich Strollers ten years earlier. (They changed their name to Albion in 1880.) Bob started as an outfield player for Strollers but was a distinguished goalkeeper for the Baggies. He also played for Sunderland Albion and, like Jock Smith, lived in Byker on his retirement.
Bob Roberts of WBA and Sunderland Albion, buried in Heaton Cemetery (Thank you to Paul Bridges for this photograph)
Christine Liddell sent us the photograph above, which she believes to be of Heaton Stan post WW1. She says her father, Tom Liddell (front row, far right) played in goal. Can anybody tell us any more about the photo?
And this photograph shows Alan Sidney-Wilmot in goal for the Stan v Crook in 1951. Alan still lives in High Heaton. (Thank you to Heaton Stan historian, Kevin Mochrie, for the photo).
And it’s fantastic to unearth new football teams and stories and so thank you to Heaton History Group member, Ian Clough, for unearthing medals belonging to yet another goalkeeper Henner Hudspeth , more famous locally as a dance band leader. Henner’s son, Michael, remembers his father pointing at what we now call Grounsell Park and telling him that he used to play football there. However, no record of him playing for Heaton Stannington has been found. Recently rediscovered medals shows that he, in fact, played for another Heaton team, North Heaton in 1924-5.
Perhaps they also played at the old High Heaton quarry ground.
North Heaton c 1930? with Henner Hudspeth (back row, centre)
And, although it’s just outside our patch, we couldn’t resist publishing this photograph of the Maling Pottery football team, taken in the 1911-12 season, shown to us by Heaton History Group member, Paul Riding. His grandfather, Jimmy Gardner, was captain. We’re pretty sure that some of their players will have come from Heaton. Can you help us identify any? And how many will have fought – and died – in World War 1?
Can you help?
Ruth Baldasera, who works for Siemens, would like to make contact people who played for any Parsons football team. If you can help, please get in touch with Chris at Heaton History Group. See below.
And we’d love to find out more about the football history of Heaton. If you can help us identify players with a Heaton connection, tell us more about the history or share photographs of local teams or if you recognise anyone in or can add to what we know of the above photos, please get in touch either by clicking on the link immediately below the title of this article or by emailing email@example.com
We are always interested to receive information, memories and photos relevant to the history of Heaton.
Written by Chris Jackson, with lots of help as mentioned in the text.
What do the present queen and her 16th century namesake; Vivien Leigh (in the roles of Cleopatra and Blanche DuBois); scenes from Romeo and Juliet and these ‘builders’ have in common?
‘The Builders’ by A K Lawrence Copyright: The Governor and Company of the Bank of England
A clue – naturally, there’s a Heaton connection. No, nothing to do with The People’s Theatre but, yes, the answer is arts related. They were all depicted by a notable artist who spent part of his life in Heaton. Not Kingsley Place’s John Gilroy (though he too painted the Queen) nor John Wallace (landscapes were more his forte) but a painter still more lauded in fine art circles. You may not have heard of him but you may well have seen his work.
Alfred Kingsley Lawrence was born in Lewes, Sussex on 4 October 1893, the third son of Fanny Beatrice and Herbert Lawrence, a solicitor. His father, however, died, when Alfred was only around a year old and when the boy was just three years old, his mother remarried George Giffin, a customs officer.
By 1901, while Fanny continued to live in Lewes with the children (by now there was a younger half brother, George junior too), her husband seems to have relocated to Newcastle (We don’t know why.) and was living in Roxburgh Place in Heaton. The family eventually followed, although one of Alfred’s older brothers, Frederick, had died in 1906, aged 14 in Sussex. By 1911, they were living in Sandyford. Alfred, now 17, was a ‘civil engineer’s clerk and student’.
He was, in fact, a student at the King Edward VII School of Art, Armstrong College, where his teachers included Professor Richard Hatton, who was soon to found the Newcastle University gallery which still bears his name. A local newspaper article in 1925 said that ‘not since the[ school of art] was founded has a student displayed such conspicuous talent or worked so consistently and with such conspicuous talent as a student of painting’.
Alfred won the John Christie scholarship, aged 18, in 1912; the School Medal for the most brilliant student in his year in 1913 as well as Silver Medal s awarded by the Royal College of Art in both 1913 and 1914. In the latter year, he was also awarded a Royal Exhibition Scholarship tenable at the Royal College of Art in London.
But by now the country was at war.
It was apparently while at the King Edward VII School of Art that Alfred met his future wife, Margaret Crawford Younger, a Heaton lass. Margaret was the daughter of Robert Younger, a marine engineer, and his wife, Catherine, who lived at 42 Heaton Road. The family were very comfortably off: the 1901 census shows a governess lived with the family, presumably to home school the four daughters.
By 1911, Robert had retired: local trade directories now refer to him as a ‘Gentleman’ and no occupations are listed in the census for the daughters, now aged between 21 and 27. Alfred married Margaret on 26 June 1915 and joined his wife at his parents in law’s on Heaton Road (by now known as Elmire House), although mostly he was away from home.
In 1914, he had voluntarily joined the Northumberland Fusiliers’ 19th battalion (2nd Tyneside Pioneers), which was posted to France in 1916. Alfred, a Second Lieutenant, was mentioned in despatches in January 1917, most likely for his actions during the latter stages of the Battle of the Somme. Upon discharge in 1919, he resumed his scholarship at the Royal College of Art. He won a travelling scholarship to Italy in 1922 and in 1923 won the prestigious Prix de Rome, which allowed him to study in Rome for three years. Paintings by Lawrence during this period and during his military service can readily be found on line. Influenced by his time in Italy, he often painted classical themes.
From this point on, commissions came thick and fast and Alfred’s adopted city was among the first in the queue. The Hatton Gallery owns two works ‘Male Nude’ and ‘Female Nude’ painted in 1922 (hopefully they’ll be on display when the gallery reopens later this year) and his magnificent ‘The Building of Hadrian’s Bridge (Pons Aelii) over the Tyne, c122’ is in the Laing. (But not on display at the time of writing).
When next you’re in London, head to St Stephen’s Hall in the Houses of Parliament,where you’ll find his ‘Queen Elizabeth Commissions Sir Walter Raleigh to Discover Unknown Lands, 1584’ and to the Bank of England, which commissioned a group of large oil paintings, of which the above work is one.
In 1930, Lawrence was elected an Associate of the Royal Academy and in 1938 he became a Royal Academician, a huge honour for an artist. The photograph below shows the Academicians selecting works for the 1939 summer exhibition. AK Lawrence is nearest the camera on the right. The president, Sir Edwin Landseer Lutyens is holding a letter D, which stands for ‘doubtful’ (for inclusion in the exhibition).
Royal Academicians, 1939 Copyright: Royal Academy of Arts, London
Lawrence himself exhibited in the Royal Academy’s summer exhibition almost much every year from 1929 until his death, a period of almost 50 years.
His ‘Study for Leda’ was presented to the Queen as part of the institution’s coronation gift in 195 3 and is now in the Royal Collection. His painting ‘Elizabeth II at the State Opening of Parliament 1962’ is in the Parliamentary Art Collection.
In the 1920s, the young Alfred was described as ‘shy of temperament but studious and painstaking, with sound and erudite knowledge and the crowning gift of imagination. He has high ideals and his conception of art, particularly in the employment of the figure, is lofty and virile’.
Lawrence’s entry in the ‘Dictionary of National Biography’ refers to his great interest in the theatre and suggests that that he might have been a successful professional actor ‘particularly in heroic roles. He was a tall, dignified man with a resounding voice, a stalwart in debate, forthright in his adherence to traditions and rather grand in his renderings of Shakespeare (We wonder, did Lawrence, before he left Newcastle for London, see his Heaton neighbour, Colin Veitch, play Falstaff in the People’s first Shakespeare production in 1921?)… he was a stickler for the correct use of words…strongly against the use of photography or substitution for good draughtsmanship’.
The article also states that Margaret, with whom he had been married since their days on Heaton Road during WW1, died in 1960, after which ‘AK’, as he was known, became a rather solitary figure. Their son, Julius, had emigrated to New Zealand.
Alfred Kingsley Lawrence died suddenly on 5 April 1975 at his London home. His legacy is his art, however.
In addition to the works already mentioned, Lawrence paintings and drawings are in the collections of National Portrait Gallery; Victoria and Albert Museum; Imperial War Museum; Scottish National Portrait Gallery; National Trust; Queens College, Cambridge; Guildhall Art Gallery; Royal Society; Royal Air Force Museum and many other collections, both public and private. Digital copies of many of those in public collections can be seen here.
And now, at last, Heaton, where he found love, has paid tribute to him.
This article was written by Chris Jackson, Heaton History Group. Research was carried out by Joe Chipchase, Christopher Durrans and Chris Jackson.
Can you help?
If you know more about Alfred Kingsley Lawrence or have photos of him or works by him that you’re happy to share or if you know of any other eminent artist with a Heaton connection, we’d love to hear from you. Either click on the link below the article title to post direct to this website or email firstname.lastname@example.org.
On Monday 28 November Chillingham Road Primary School and Hotspur Primary School put on a wonderful performance for family and friends to commemorate the 400th anniversary of William Shakespeare’s death and to celebrate some of the many outstanding people who have lived in the Heaton streets named in Shakespeare’s honour – and who they have been learning about in class.
Hotspur pupils performed Richard II, in which many of the characters we are familiar with from our streetscape (such as Bolingbroke, Mowbray and Hotspur) feature; Chillingham Road performed a new play about the people of ‘Our Shakespeare Streets’. The play was based on research by Heaton History Group and friends and the project was funded by Historic England. Here are a few images taken on the night:
Chillingham Road pupils as historical figures of Heaton’s ‘Shakespeare Streets’
Florence Nightingale Harrison Bell
Hotspur’s pupils perform Richard II
To find out more
about some of the historical figures who lived on Heaton’s ‘Shakespeare Streets’ and how the streets came to be named, click on the links below:
On 20 June 2016 (with perfect, even poetic, symmetry, the very day on which this year’s midsummer solstice will fall), actors from the People’s Theatre, Heaton, will take to the stage at Stratford upon Avon for the first time, alongside the Royal Shakespeare Company, in a performance of ‘A Midsummer Night’s Dream’. They will perform an encore the following night.
The troupe has already played the parts of the ‘mechanicals’ (Nick Bottom, the weaver; Peter Quince, the carpenter; Snug, the joiner; Francis Flute, the bellows-mender; Tom Snout, the tinker and Robin Starveling, the tailor), the comic characters who perform a play within the play, to critical acclaim at our own Northern Stage. But The People’s connection with Shakespeare goes back almost 100 years and, although the theatre company wasn’t based on this side of the city then, Heaton was nevertheless already centre stage (if you can forgive the pun) and has remained deeply connected to both the theatre group and the bard.
Veitches of Heaton
The People’s was founded in 1911 by members of the Newcastle branch of the British Socialist Party to raise money to fund their political activities and enable them to pay the rent on their meeting rooms at the corner of Leazes Park Road and Percy Street. (Today you’ll find Tea Sutra Teahouse in what was to become the new company’s first home).
The first meeting of around half a dozen interested members was dominated by one family: 32 year old telephone engineer, Norman Kidd Veitch, and his wife, Edith, who lived at 19 Stratford Grove Terrace, Heaton and, Norman’s younger brother, Colin Campbell Mackenzie Veitch and his wife, Minnie, who lived just around the corner at 1 Stratford Villas. Fittingly both couples lived in what we now call Heaton’s ‘Shakespeare Streets’, a group of roads with connections to Shakespeare, the story of which goes back to the 1864 celebrations of the 300th anniversary of Shakespeare’s birth.
Colin was, of course, a professional footballer, still fondly remembered as Newcastle United’s most successful captain in the Edwardian era, during which the club won three Football League Championships and graced Wembley six times in seven years, at a time, of course, when FA Cup semi-finals weren’t played there, and the first League Cup was still fifty years away.
But there was much more to Colin Veitch than his football talent, immense though that was, as shown by his presence at that inaugural meeting of the Clarion Dramatic Society, as it was then called. Sometime between the initial meeting and the society’s first dramatic performance on 11 July 1911, Veitch captained Newcastle United, the holders, in the 1911 FA Cup Final (which they lost 1-0 to Bradford City after a replay at Old Trafford) but he was by now approaching 30 and in dispute with Newcastle United, and so although it was only the outbreak of WW1 which brought the final curtain down on his playing career, he was ready for new challenges.
The Veitches, as well as being keen socialists – Colin was a founder member and later chairman of the Association Football Players Union (now the PFA) and turned down the invitation to stand as a Labour MP – were all lovers of the arts. Minnie was a star of Newcastle Amateur Operatic Society, where Colin, Norman and Edith were members of the chorus; Colin wrote music and conducted; Edith and Norman both wrote plays, a number of which were performed by the Clarion and later The People’s, so what started as an income generator for the British Socialist Party soon took on a life of its own.
From the beginning, the Clarion were ambitious. They performed the works of George Bernard Shaw, the eminent contemporary – and socialist – playwright. They also performed Ibsen, Galsworthy, Chekhov and other great playwrights. As Norman Veitch said: ‘ If we are going to murder plays, let us murder the best’.
In 1920, the company invited George Bernard Shaw to see them perform. Shaw replied ‘I wouldn’t travel so far overnight in a railway train to meet Shakespeare himself’ but come he did on 25 April 1921 to see the company perform his play ‘Man and Superman’, with Colin Veitch playing the part of Old Malone.
The People’s Shakespeare
The next and final play of the landmark 1920-21 season was ‘The Merry Wives of Windsor’,the Clarion’s first Shakespearean production. Colin Veitch was Falstaff, Minnie and Edith merry wives. Norman Veitch later wrote that ‘it was a jolly and inspiring performance’.
That summer, the Clarion was renamed The People’s Theatre and Shakespeare became a staple: ‘Antony and Cleopatra’, ‘The Comedy of Errors’, ‘Coriolanus’, ‘Cymbeline’, ‘Hamlet’, ‘Henry IV Part 1’, ‘Julius Caesar’, ‘King Lear’, ‘Love’s Labour’s Lost’, ‘Measure for Measure’, ‘The Merchant of Venice’, ‘A Midsummer Night’s Dream’, ‘Much Ado About Nothing’, ‘Othello’, ‘Pericles’, ‘Richard II’, ‘Romeo and Juliet’, ‘The Taming of the Shrew’, ‘The Tempest’, ‘Troilus and Cressida’, ‘Twelfth Night’, ‘Two Gentlemen of Verona’ and T’he Winter’s Tale’, were all performed before the company moved to Heaton.
People’s in Heaton
The People’s Theatre was based in a disused chapel in Rye Hill from 1930 but by 1953 the company recognised it had outgrown the premises and they set their sights on their own arts centre. A public appeal was launched in 1955 at a luncheon attended by Sir John Gielgud and Peggy Ashcroft. Eventually by 1959 a suitable building was found and enough money was in the bank to start to convert it into a theatre.
The soon to be refurbished People’s Theatre
The building was the recently closed Lyric Cinema, next to the Corner House on Stephenson Road (the Coast Road). It reopened as a theatre on 24 September 1962, with Shaw’s ‘Man and Superman’ (of course!) and the season appropriately ended with the People’s first Shakespeare performance in Heaton, a Christmas production of ‘Twelfth Night’. The official opening by Princess Alexandra followed on 20 October 1964.
The RSC had made Newcastle its third home in 1977, bringing productions annually from Stratford to the Theatre Royal and the Gulbenkian, but in 1987 and 1988 they needed a third venue and so actors such as Jeremy Irons and Brian Cox trod the People’s boards.
The second season will always be remembered for a particularly gory production of ‘Titus Andronicus’, after which reports of fainting audience members even made the pages of ‘The Sun’!
The RSC returned to Heaton in 2004 when the Newcastle Playhouse (now Northern Stage) was undergoing refurbishment. It’s an honour for both the People’s and Heaton for our own theatre company to be able to accept a return invitation to Stratford twelve years later in this most special of seasons for both theatres. There’ll be a few charabancs of Heatonians heading down to the midlands in June. It would be lovely to welcome members of the RSC back to our own soon to be even more fantastic theatre before too long.
The main sources used in researching this article were:
where you will be able to read much more about The People’s Theatre and Colin Veitch respectively
Can you help?
If you have memories of the People’s or any performances or readings of Shakespeare in Heaton or can provide further information about anything mentioned in this piece, please contact us, either by clicking on the link immediately below the title of this article or by emailing email@example.com
This article was written and researched by Chris Jackson, as part of Heaton History Group’s project to commemorate the 400th anniversary of William Shakespeare’s death.
We are interested in connections between Heaton and Shakespeare through its theatres, past and present; writers, actors – and of course, the famous brick Shakespeare on South View West. See:
We are also researching and writing about some of the people who have lived in the ‘Shakespeare Streets’: initially, we are looking at Bolingbroke, Hotspur, Malcolm, Mowbray and Warwick Streets plus Heaton Park Road, Stratford Grove, Stratford Grove Terrace, Stratford Grove West, Stratford Road, and Stratford Villas. See:
If you would like to join our small friendly research group or have information, photos or memories to share, please contact us, either by clicking on the link immediately below the title of this article or by emailing firstname.lastname@example.org