Tag Archives: People’s Theatre

To Heaton for Love: an artist’s life

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?

 

lawrencebuildersbankofeng1087-a4web

‘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.

Early life

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.

Heaton wife

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.

War Service

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.

Success

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).

 

lawrenceakroyalacademypl008609

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.

Character

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.

Legacy

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.

As recently as April 2015, A K Lawrence’s classically inspired ‘Persephone’ (1938) was the Royal Academy’s ‘Object of the Month’ and in December of the same year, the ‘Daily Telegraph’ illustrated an article about the government owned works being hidden from public view with a Lawrence painting.

And now, at last, Heaton, where he found love, has paid tribute to him.

Acknowledgements

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 chris.jackson@heatonhistorygroup.org.

The People’s Shakespeare

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.

Colin Veitch

Colin Veitch

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.

Colin Veith's commemorative plaque

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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.

Lyric cinema 1936

Entrance to the Peoples 2013

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 company continued to bring new Shakespeare plays to Heaton audiences eg Henry IV Part 2 (1965), Richard III (1967), Henry V (1981) but soon there was an even more exciting development, which cemented the east Newcastle relationship with Stratford which had begun with Frank Benson’s company in 1895.

RSC at the People’s

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.

Sources

The main sources used in researching this article were:

Chris Goulding ‘The Story of the People’s’

Norman Veitch ‘The Peoples’

http://www.ptag.org.uk/about-us/history.html

http://www.colinveitch.co.uk/

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 chris.jackson@heatonhistorygroup.org

Shakespeare 400

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:

A Road By Any Other Name

The Grand Opening

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:

Colin Veitch’s Twelve Days of Christmas

George Waller: world champion cyclist

George Waller: life as a champion

More to follow!

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 chris.jackson@heatonhistorygroup.org

The Grand Opening

In our previous article about Heaton’s Shakespearean heritage, we showed that, in the late 1870s, Heaton was home to an important local theatrical figure at the time when a number of streets in the area were given names connected with the bard. But we also claimed that this part of Newcastle’s connections with the Royal Shakespeare Company itself go back much further than the 1970s when the RSC’s made Newcastle its third home and its actors began to stay in digs in the east of the city. Here’s why:

On Saturday 21 December 1895, it was announced in the ‘Newcastle Courant‘ that the ‘accomplished and popular Shakespearian actor, F R Benson‘, had laid the foundation stone of a new theatre in Heaton the previous Tuesday.

NPG x96407; Sir Francis Robert ('Frank') Benson as 'Romeo' in 'Romeo and Juliet' by Alexander Bassano

Frank Benson as Romeo by Alexander Bassano, half-plate glass negative, 1886, courtesy of National Portrait Gallery

Francis Robert Benson wasn’t local. He was born in Tunbridge Wells in 1858 and after studying at New College, Oxford, he immediately took to the stage. Benson’s first recorded appearance at the Theatre Royal was in 1881, before he had officially turned professional, when he performed with the company of Charles Bernard and Miss Alleyn. Soon afterwards, Benson started his own company. From the outset, he concentrated on Shakespeare.

Stratford remembers

Surprisingly it seems that until 1864 (the year in which, you may remember, George Stanley our ‘tragedian‘ had served on the Newcastle Shakespeare Tercentenary Committee, made an impassioned plea to be allowed to practice his own art in his own building and put on his own tribute to the bard) there was little interest in putting on Shakespeare’s plays in the town of his birth. Stratford did, however, put on a successful festival that year, promoted and bankrolled by Edward Flower of the brewing family, who happened to be mayor at the time. The success of the commemoration gave momentum to attempts to raise money to build a theatre in the town specifically to put on the plays of its famous son, an appeal that was scoffed at by influential commentators in London, but officially supported by many in Newcastle including the council itself.

The Shakespeare Memorial Theatre, Stratford upon Avon opened its doors and launched its first Shakespeare Festival on 23rd April 1879, the year, you may remember, in which the plans for Heaton’s own memorial to Shakespeare, our ‘Shakespeare streets’ were first submitted.

In 1886, Frank Benson became the director of the Stratford Festival, which was effectively the forerunner of the Royal Shakespeare Company. Nevertheless he continued with a gruelling touring schedule.

Early in 1893, Benson played Richard III at the Theatre Royal with a temperature of 104 and what turned out to be typhoid. After the show, he collapsed on the train back to Stratford and was seriously ill for several weeks, missing that year’s Stratford Festival.

Grand opening

The Grand Theatre, where Benson laid the foundation stone, was, by the time of its opening, recognised by the press as being in Byker, although, on the north side of Wilfred Street (just west of where Morrison’s is today), it was only a couple of hundred yards away from the boundary with Heaton. It was designed by William Hope of North Shields and built by the firm of Samuel Ferguson Davidson. Both men were Freemasons, who specialised in theatre work, often in partnership, not only in the north east but much further afield.

Samuel Ferguson Davidson was from Heaton. We know that, in 1895, he was living at 53 Falmouth Road. Samuel was a Temperance campaigner as well as a Freemason. He worked on theatres as far away as Birmingham and Margate and, locally, perhaps most notably on Spanish City in Whitley Bay. He died on 12 February 1964, aged 97.

image

The Grand Theatre, Byker, was described as a very fine building, which could seat 2,500 people. The principal entrance was surmounted by an imposing turret, which you can see above. Inside the main entrance was a spacious vestibule. There was a large handsome marble staircase to the circle. The tip-up chairs were upholstered in ‘terracotta plush’.

The stage was large and could accommodate the largest shows, hence its suitability for Benson’s Shakespearean productions. It also had ‘a commodious suite of dressing rooms on each side fitted with every convenience for the comfort of the artistes’ which would no doubt also appeal.

The Grand was established, owned and managed by Weldon Watts, an Irishman who had previously managed the Theatre Royal in Sheffield and the Queens Theatre in Gateshead

Seven months after laying the foundation stone of the Grand, Fred Benson, brought his production of ‘The Taming of the Shrew’ to its opening night, which took place on 27 July 1896. Below is a silk VIP programme for that performance for which we are indebted to John Moreels of Photo Memories Organisation.

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Programme from the Grand Theatre, Byker’s opening performance

Local critics were rather sniffy about the liberties Benson took with the text but conceded that the comedy had been well received by the audience, which must have comprised many people from Heaton, including from our Shakespeare streets, from which it was only a couple of hundred yards or so via the Elizabeth Street underpass below the railway.

The performance was just the first of Byker’s own Shakespearian festival that week. Benson’s company also put on ‘The Merchant of Venice’, ‘Hamlet’ and ‘As You Like It‘, with ‘Richard III‘ played al fresco at the Sandyford Park home of a Dr Gibb (See the Comments to this article for more on the interesting Dr Gibb).

Benson was back at the Grand in December 1899. His company had been at the Theatre Royal performing ‘Macbeth‘, the play famously considered by actors to be unlucky, when a disastrous fire destroyed the interior of the theatre and with it most of the company’s costumes, props and scenery as well as personal effects. They say in the theatre that the show must go on. So Frank Benson dashed to London to source replacements and the management of the Grand Theatre, Byker offered it as an alternative venue, not the last time Newcastle’s East End was to help out the Stratford company.

Services to Shakespeare

Benson’s contribution to the cause of Shakespeare can hardly be overestimated and was formally recognised a hundred years ago during the commemorations for the Tercentenary of Shakespeare’s death. He was playing Julius Caesar in front of an audience of nearly three thousand people, which included King George V and Queen Mary, when a telegram finally reached Benson informing him that he was to be honoured with a knighthood. A royal aid was informed that the message had just been received, a sword was sent for and Frank Benson was knighted on stage still wearing the blood-stained robes and ashen make-up of the dead Caesar.

Postscript

The Royal Shakespeare Company evolved out of the Shakespeare Festival that Benson ran in Stratford between 1888 and 1916. The debt that the company owes to him is acknowledged by a set of stained glass windows in the original Shakespeare Memorial Theatre.

The Grand, after struggling for many years to be profitable as either as a theatre or a cinema, finally closed its doors on August 1954. But Heaton got its own theatre in 1960, when The People’s moved here.

In 1961, the RSC itself was formed. The story of Shakespeare at the People’s and its ongoing links with the RSC is another story!

Can you help?

If you have memories of the Grand 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 chris.jackson@heatonhistorygroup.org

Shakespeare 400

This article was written by Chris Jackson and researched by Chris Jackson, and Peter Walker, 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.

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 Stratford Grove, Stratford Grove Terrace, Stratford Grove West, Stratford Road, and Stratford Villas.

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 chris.jackson@heatonhistorygroup.org

A Road by Any Other Name

On 20th June 2016 in Stratford upon Avon, amateur actors from The People’s Theatre, Heaton will appear in a production of ‘A Midsummer Night’s Dream’ alongside professionals from the Royal Shakespeare Company. That performance, a reprise the following night and five nights at Northern Stage in March, will form part of the national commemoration of the 400th anniversary of William Shakespeare’s death and is a great honour for our local and much loved theatre company.

The People’s Theatre has links with the RSC going back many years. The Stratford company made Newcastle its third home back in the 1970s and the People’s has come to the rescue three times (1987, 1988 and 2004) when an extra venue was needed for one reason or another. But these are far from Heaton’s earliest connections with the ‘immortal bard’ and we’ve decided to explore some of them as part of our own contribution to ‘Shakespeare 400’.

 The Name of the Roads

The most obvious references to Shakespeare in the locality are a group of streets in the extreme south and west of Heaton: Bolingbroke, Hotspur, Malcolm and Mowbray are all Shakespeare characters, as well as historical figures. And immediately north of them are Warwick Street and the Stratfords (Road, Grove, Grove Terrace, Grove West, Villas). But could the literary references be coincidental? Perhaps it was the real life, mainly northern, noblemen that were immortalised? Why would a housing estate, built from the early 1880s for Newcastle workers and their families, pay homage to a long-dead playwright. It’s fair to say our research team was surprised and delighted at what we found.

Two documents, one in Tyne and Wear Archives (V273) and one in the City Library, provided the key. Firstly, in the archives, we found a planning application from Alderman Addison Potter of Heaton Hall and his architect, F W Rich (who later designed St Gabriel’s Church). Their plans show Bolingbroke, Hotspur, Malcolm and Mowbray Streets, pretty much as they look now, but bordering them to the south is Shakespeare Road! No doubt now about the references. (Thank you to Tyne and Wear Archives for permission to use the images below.)

Shakespeareroadplan4ed

Plan of roads near Bolingbroke Street showing Shakespeare Road

Not only that but Lennox, Siward, and Umfreville Terraces also appear. You’d be forgiven for not immediately getting the Shakespearian references there but Siward is the leader of the English army in Macbeth; Lennox, a Scottish nobleman in the same play and Umfreville, we’ve discovered, has a line which appears only in the first edition of Henry IV Part II but, like many of the others, the real person on which he was based has strong north east connections. Clearly the inspiration for the street names came from one or more people who knew their literature and their history.

Shakespeareroadplan3ed

But two sets of plans were rejected by the council for reasons that aren’t clear and, within a year, Addison Potter seems to have sold at least the leasehold of the land to a builder and local councillor called William Temple. Temple submitted new, if broadly similar, proposals. Building work soon started on the side streets but the previous year, Lord Armstrong had gifted Heaton Park to the people of Newcastle and the road to the new public space took its name. And nobody lives on Lennox, Siward or Umfreville Terraces either: they became Heaton Park View, Wandsworth Terrace and Cardigan Terrace.

IMG_5817

Bricks stamped with Temple’s name can still be found in the area. This one is displayed in his former brickyard on the banks of the Ouseburn.

But why Shakespeare? Whose idea was it? A newspaper article, dated 21 May 1898, in Newcastle City Library provided our next clue. A former councillor, James Birkett, was interviewed: ‘Mr Birkett himself occupied a cottage on the land which is now known as South View. There were another cottage or two near his, but they had nearly the whole of the district to themselves’. It continues ‘In front of them was the railway line, and behind was the farmhouse of a Mr Robinson. This house stood on the site now forming the corner of Heaton Park Road and Bolingbroke Street, and one of its occupants was Mr Stanley, who for many years was the lessee of the Tyne Theatre’.

The Tragedian

Further research showed that George William Stanley had a deep love not only of drama but of William Shakespeare in particular.  He was born c 1824 in Marylebone, London. By 1851, Stanley described himself as a ‘tragedian‘ (ie an actor who specialised in tragic roles).

By 1860, he was in the north east. The first mention we have found of him dates from 28 July of that year, when he is reported to have obtained a licence to open a temporary theatre in East Street, Gateshead. A similar licence in South Shields soon followed. Later, we know that he opened theatres in Tynemouth and Blyth.

In 1861, he was staying in a ‘temperance hotel’ in Co Durham with his wife (Emily nee Bache) and four children: George S who is 8, Alfred W, 4, Emily F, 3, and Rose Edith Anderson, 1. He now called himself a ‘tragedian / theatre manager’.  And he had turned his attention to Newcastle, where attempts to obtain theatre licences were anything but straightforward.

In June 1861, Stanley applied for a six month licence for theatrical performances in the Circus in Neville Street. He argued that one theatre (the Theatre Royal) in Newcastle to serve 109,000 people was inadequate; he promised that the type of performances (‘operatic and amphitheatre’) he would put on would not directly compete with existing provision; he produced testimonials and support from local rate payers; he gave guarantees that alcohol would not be served or prostitutes be on the premises. But all to no avail. The Theatre Royal strongly objected; an editorial in the ‘Newcastle Guardian’ supported the refusal. Appeal after appeal was unsuccessful. Stanley continued to use the wooden building as a concert hall and appealed against the decision almost monthly.

In October 1863,  George Stanley made another impassioned speech, in which he begged to be allowed to practice his own art in his own building. He concluded: ‘I will not trouble your worships with any further remarks in support of my application, but trust that the year that witnesses the tercentenary of Shakespeare’s birth, will also witness the removal of any limitation against the performances of the plays of that greatest of Englishmen in Newcastle’.  The Bench retired for thirty five minutes but finally returned with the same verdict as before.

GeorgeStanley

George Stanley, tragedian and theatre manager

Tercentenary

Despite his latest setback, George Stanley started 1864 determined to mark Shakespeare’s big anniversary. In the first week of January, he played Iago alongside another actor’s Othello in his own concert hall. ‘Both gentlemen have nightly been called before the curtain’.

The following week, a preliminary public meeting was held to hear a dramatic oration ‘On the Tercentenary of Shakespeare’ by G Linnaeus Banks of London, Honorary Secretary to the National Shakespeare Committee, and to appoint a local committee to arrange the celebrations in Newcastle. Joseph Cowen took the chair and George Stanley was, of course, on the platform. And it was he who moved the vote of thanks to Mr Banks for his eloquent address.

Unfortunately the festivities were somewhat muted and overshadowed by Garibaldi’s visit to England. (He had been expected to visit Newcastle that week, although in the event he left the country somewhat abruptly just beforehand). There was a half day holiday in Newcastle on Monday 25 April ‘but the day was raw and cold and the holiday was not so much enjoyed as it might otherwise have been’ and  a celebration dinner in the Assembly Rooms, ‘attended by about 210 gentlemen’, was the main event. A toast ‘In Memory of Shakespeare’ was proposed, followed by one to ‘The Dramatic Profession’. George Stanley gave thanks on behalf of the acting profession.

Stanley continued to pay his own respects to the playwright. He engaged the ‘celebrated tragedian, Mr John Pritchard’ to perform some celebrated Shakespearian roles, with he himself playing Othello and Jago on alternate nights.

Tyne Theatre

In October 1865, Stanley’s wooden concert hall was damaged and narrowly escaped destruction in a huge fire that started in a neighbouring building. His determination to open a permanent theatre intensified and he had found powerful allies. On 19 January 1866, it was announced that an anonymous ‘party of capitalists’ had purchased land on ‘the Westgate’ for the erection of a ‘theatre on a very large scale’. They had gone to London to study the layout and facilities of theatres there. It was said that George Stanley would be the new manager.

In May of that year, in a sign that relations between Stanley and the Theatre Royal had at last thawed, Stanley performed there ‘for the first time in years’. And soon details of the new Tyne Theatre and Opera House began to emerge.  Joseph Cowen, with whom Stanley had served on the Shakespeare Tercentenary Committee, was among the ‘capitalists’.

Cowen was a great supporter of the arts and an advocate for opportunities for ordinary working people to access them. He was incensed at the council’s continued blocking of Stanley’s various theatrical ventures and offered to fund the building of a theatre in which Stanley’s ‘stock‘ ( ie repertory) company could be based.

The opening been set for September 1867 but a licence was still required. Stanley applied again on 31 August. The hearing was held on Friday 13 September before a panel of magistrates which included Alderman Addison Potter of Heaton Hall – and this time Stanley and his influential backers were in luck. Just as well as it was due to open ten days later. And it did, with an inaugural address by George Stanley himself.

Despite his earlier claims that the Tyne Theatre wouldn’t compete with the Theatre Royal, Shakespeare was very much part of the programme in the early years: ‘As you Like It’, ‘The Merchant of Venice’, ‘King Lear’… But it was soon acknowledged that there was room for two theatres in Newcastle. Stanley soon found the time and the good will to play the role of Petruchio  (‘The Taming of the Shrew’ ) at the Theatre Royal. He continued to manage the Tyne Theatre until 1881.

Heaton House

It was while still manager of the Tyne Theatre that Stanley moved to Heaton. His first wife had died in the early ’60s. He had remarried and with his second wife, Fanny, still had young children.

Heaton House, as we have heard, stood on what is now the corner of Heaton Park Road and Bolingbroke Street and the Stanley family were living there from about 1878.

The map below is from some years earlier (Sorry it’s such a low resolution. We will replace it with a better version asap) but gives a good impression of the rural character of Heaton at this time. In the top right hand corner of the map, is Heaton Hall, home of Alderman Addison Potter, one of Stanley’s few neighbours and the owner of the farmland on which Stanley’s house stood. Remember too that Potter had been a member of the panel that finally approved Stanley’s theatre in Newcastle.

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Memorial

Potter and Stanley would surely have discussed matters of mutual interest. So while we might not know exactly how the naming of the streets on the east bank of the Ouseburn came about, we can surely assume that George William Stanley, actor, tragedian, Shakespearean, passionate promoter of theatre and neighbour of Potter at the time, played a part. It might have taken almost another twenty years and the name ‘Shakespeare Road’ didn’t make the final cut but Newcastle finally had the long-lasting tribute that George Stanley had wanted for the Shakespeare’s tercentenary.

By the early 1880s the area looked very different. William Temple had developed the fields to the south and west of Heaton Hall;  Heaton House had been demolished and Bolingbroke Street and Heaton Park Road stood in its place; George Stanley had moved back to London.

Stanley would probably be surprised to know that his Tyne Theatre is about to celebrate its 150th anniversary; proud of the People’s Theatre‘s participation in the national commemorations a hundred and fifty two years after his own involvement and delighted that Shakespeare lives on in Heaton.

Can you help?

If you can provide further information about anything mentioned in this article please,contact us, either by clicking on the link immediately below the title of this article or by emailing chris.jackson@heatonhistorygroup.org

Shakespeare 400

This article was written by Chris Jackson and  researched by Chris Jackson, Caroline Stringer and Ruth Sutherland, 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.

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 Stratford Grove, Stratford Grove Terrace, Stratford Grove West, Stratford Road,  and Stratford Villas.

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 chris.jackson@heatonhistorygroup.org

 

The Night Bombs Rained on Heaton

On Friday 25 – Saturday 26 April 1941, Newcastle endured one of its worst nights of the Second World War, with terrible consequences in Heaton. The area had suffered bomb damage before and would again, as the Germans targeted railways, factories and shipyards – but this was a night like no other.

Earlier in the evening, incendiary bombs had fallen around the Heaton Secondary Schools in High Heaton and damaged properties on Stephenson Road, Horsley Road and Weldon Crescent. Two had fallen onto the eaves of the Corner House Hotel, where civilians scaled a drainpipe and threw them to the ground to be extinguished with sand.

The Lyric Cinema (now the People’s Theatre) was also hit. And on Jesmond Park East, two houses ‘Denehurst‘ and ‘Wyncote’ (which was occupied by the military at the time) suffered fire and water damage. There was other minor damage right across the east of Newcastle. But none of these episodes, as terrifying as they were to those in the vicinity, prepared the people of Heaton for what came next.

Devastation

At 10.20pm a high explosive device seriously damaged numbers 20 and 22 Cheltenham Terrace. Two people were seriously injured at number 20 and were taken to First Aid post Number 6. Another ten people were treated at the scene. Simultaneously, incendiary bombs  hit the nearby Heaton Electric cinema.

Ten minutes later, another high explosive completely demolished numbers 4 and 6 Cheltenham Terrace. Two bodies were recovered before rescuers had to give up for the night due to the threat of the gable end collapsing. There was considered to be no chance of any survivors.

And at the same time, a parachute mine fell on the adjoining Guildford Place, demolishing several houses and causing severe damage to many more. Although water was immediately sprayed over the area, a fractured gas main caught fire.

 

Bomb damage on Guildford Place

Bomb damage on Guildford Place

And still the raid continued. A high explosive device made a huge crater at the junction of Algernon and Shields Roads, with three men injured when another gas main exploded. And nearby a gents’ lavatory at the junction of Shields Road and Union Road was completely destroyed. Yet another bomb fell on the main walk of Heaton Park but here only greenhouse windows were broken.

This  detail from a German map of Tyneside, dating from 1941, illustrates how vulnerable Heaton and, in particular Guildford Place and Cheltenham Terrace were, squeezed as they were between key Nazi targets, marked in red, purple and black.

German map of Heaton, 1941

German map of Heaton, 1941

You can see the full map on the Library of Congress website.

Heaton History Group member, Ian Clough, remembers that his father, who even then kept the sweetshop that still bears the family name, was one of the many overstretched emergency workers and volunteers on duty. He was a volunteer fireman and had to pass his own bomb-damaged shop to help others.

When we asked Ian if he could find out more about that awful night, he interviewed three survivors of the Guildford Place / Cheltenham Terrace tragedy. Here are their accounts:

Muriel’s story

‘I was at home with my parents Arthur and Elizabeth and Uncle George Shaw, Dad’s younger brother, at number 14 Cheltenham Terrace, together with two friends. We were having supper when the air raid siren sounded at approximately 9pm.

Muriel Shaw

Muriel Shaw

For some strange reason this was usually a cue for my mother to see that everything was tidy and that the dishes were washed. Father declared ‘That’s close’ and, after donning his black greatcoat, went upstairs to see if he could get sight of anything from the landing window. There was a whoosh sound initially, then a silence accompanied by a tangible pressure and then the force struck home – literally; father was propelled down the stairs without a button remaining on his coat.

The back of our house had been completely blown off. This was in the direction of the explosion so it was mainly through a vacuum effect. Father had erected stout doors to cover our dining room windows to comply with the blackout regulations and they may have offered protection from any flying debris from outside. I first realised that I was a victim in all that was happening when a wavering door in its frame threatened to fall on me but just missed. It gave way to a shower of bricks falling from upstairs which left lasting scars on my legs. Mother and I were showered with plaster dust and it seemed to take many weeks of hair washes to finally remove all of its traces. Strange things had happened; a teapot that was on the table was now on the mantelshelf in one piece. The piano was no longer an upright one as it had somersaulted over the settee and was now upside down and resting on a completely unharmed china cabinet with contents intact.

Dad’s other brothers also lived with us but were out at the time. Thomas was an air raid warden and William was a lay preacher and had been sick visiting. It wasn’t until the next day that we were told that both of them had been killed. At 4 Cheltenham Terrace, the Robson family of four had perished.

Guildford Place, the one-sided street that was back to back with us and overlooked the railway had taken a direct hit. Most of the occupants of numbers 8 through to 15 were killed. The Luftwaffe was targeting the marshalling yards at Heaton Junction but released their payload prematurely while following the line of the railway.

Our house was now uninhabitable but because the resources of the Council were overstretched we had to find temporary accommodation in Osborne Road, Jesmond. This happened immediately and so, what with that and working, I had little chance to witness the horrors that the authorities had to endure in recovering and identifying bodies and demolishing what was left of the houses.

After a year we moved back into our house (which by now was renumbered as 18). A gas pipe had burst in the blast and we were greeted by a bill for all that had leaked. Initially there was still scaffolding inside the house and as compensation was so inadequate we had to clear the mess and clean everything out ourselves. When we asked for wallpaper, which was in short supply, we were given enough to cover one wall. Our property now had become the gable end of one row of surviving terrace houses as the line of neighbouring homes on either side of us were deemed irreparable and pulled down.

On the night of the air raid my brother, Albert ,was away serving in the Army and brother Arthur was on fire watch for his firm on the Quayside. The devastation and annihilation of his neighbours prompted Arthur to join the R.A.F. and become a pilot but that, as they say, is another story.’

Ian discovered that the two friends who were having supper with Muriel and her family were Nell and her mother.

Nell’s story

Mother and I were sitting at the table after being invited to supper by Muriel and her family when suddenly we found ourselves in this nightmare situation. Both of us were being propelled backwards by the blast of an enormous explosion and then the ceiling came down on top of us. There was nothing we could do but lie there until the wardens came and dug us out. It is funny how strange things stick in your mind but as we were assisted out of the house via the hallway a musical jug was happily giving us a rendition of ‘On Ilkley Moor Ba Tat’.

Nell and her mother

Nell and her mother

Skirting around all of the amassed rubble that was once people’s homes we were taken to an air raid shelter in the cellar of Charlie Young, the butcher, on Heaton Road. When the ‘all clear’ was sounded, we discovered, through her covering of ceiling plaster, that mother’s face was covered in blood. Firstly she was taken to a first aid post at Chillingham Road baths and put on a stretcher. Then we both got into an ambulance and were turned back from many a hospital until mother was eventually admitted to the Eye Infirmary.

We asked a local policeman if he would get a message to my Uncle Jack who was also in the police and lived in the west end. Uncle took me in and the following day I realised that our handbags and other belongings had been left behind at Cheltenham Terrace. Walking along Heaton Road to see if I could retrieve them, I cannot recall how many people approached me with the same words; ‘I thought you were dead!’ Mother had lost the use of her left eye and had to wear a patch for the rest of her life and we had suffered a most traumatic experience. Yet we were the fortunate ones as for 45 members of those neighbouring families that night was to be their last.

Footnote 1 I believe that what Mr Shaw, Muriel and Arthur’s father, saw from his vantage point was something that at first looked like a large balloon which, on reflection, was a land mine on a parachute, floating down.

Footnote 2 I went to Heaton High School in the 1930s and one of my subjects was German so we were invited to meet and socialise with a group of German schoolchildren who were on a school visit hosted by Newcastle Council. They were given a list of Newcastle’s favourite tourist attractions and maps of Newcastle and the transport system to help them to get about. Many of us took up the offer of being pen pals and one girl even went on a visit to the home of one of the students and came back full of what she had been told of how Adolf Hitler was going to be such a wonderful leader of the German nation. When my pen pal remarked that he had heard that Newcastle had a large and important railway station and asked to be sent details, my dad told me not to write to him anymore. It was not long after that that we were at war with Germany. We then wondered if there had been something sinister behind the visit and were the children and their school teachers, innocently or otherwise, sent over on more than just a cultural mission.

Arthur’s story

I was on fire watch for my firm of importers at No14 Wharf on the Quayside when the air raid sirens started wailing and we were on full alert. I heard the noise of bombs exploding, repeatedly exploding, and I thought to myself ‘Somebody’s got it.’ I had a rough idea of the direction of the hits but nothing prepared me for the spectacle of devastation I was to see.

It was 9am, and daylight, as I approached Guildford Place; the one-sided terraced street overlooking the railway. Little was left of the houses nearest to Heaton Road and my heart raced as I hurried up to the corner of my own street Cheltenham Terrace. The first thing that greeted me was a ribbon strung across the road at the entrance to my street with a policeman on duty to prevent any looting. He stopped me going any further and I explained that I lived here. Well, I had lived here!

I was in a state of shock – astounded at what was all around me. I’m still vague as to how I found my family but they certainly weren’t there anymore. Muriel worked as secretary to the manager of Bitulac Ltd and he offered us temporary accommodation in his home on Osborne Road. Dad found us a house to rent on Chillingham Road and he borrowed a van to collect some of what was left of our furniture. When loaded up I got in the cab and father said ‘Have you locked the front door, son?’ He had to smile when I said ‘What’s the use of that, man? We’ve got no wall on the back of our house!’ We lived in Chillingham Road until our house was repaired.

Muriel and I were young and felt that we had to fulfil our duty to the nation. Muriel trained as a nurse and, at one time, she worked in a hospital where wounded soldiers were coming back from France. I had made my mind up that I wanted to be a pilot and joined the RAF.

Arthur Shaw

Arthur Shaw

The initial training procedure would astound anyone now. We were introduced to a de Havilland Tiger Moth and, within eight hours, were flying solo. The instructor would watch us from the ground – take off, fly around and then land. If you couldn’t do it you were no longer a pilot.

Then it was off to Canada to gain our proficiency. Why Canada? Well, most of the British airfields were being used for war operations and could not be spared for pilot training. We were taught navigation and how to read approaching weather conditions and understand the various cloud formations. We would normally then fly twin engine planes – Airspeed Oxfords in particular. One of the most difficult things to master was flying in formation and then banking to left or right. The outer pilots had to increase their speed slightly just to keep in line. It was important to be taught ground recognition and the open spaces of Canada did not challenge us enough and we had to come back home over towns and cities to gain experience in that skill.

I served abroad for a while and was then privileged to be asked to train as a flying instructor and was sent just over the Northumbrian border into Scotland for that. It was then my job to pass on my knowledge to the new recruits – young lads who were then sent out on dangerous missions where the mortality rate was so high.

When the war was over we queued up for our civvies (civilian clothes) it was almost a case of one size fits all and it did feel strange to be out of uniform. But we had done our bit and were thankful that we were the lucky ones – lucky to still be alive.

(You can read about Arthur’s later contribution to Heaton’s history here )

Roll of Honour

Bodies were still being recovered five days later. The final death toll was reported to be 46 with several bodies still unidentified. Those which remained unidentified were buried in a common grave in Heaton Cemetery.

As you can see from the following list, the ages of the known victims ranged from 9 weeks to 77 years and in several houses whole families died together.

William Aiken aged 43

Ethel Mary Airey, aged 23

Amy Angus 17

Edna Jane Angus 28

Hannah Angus 49

Ian Angus 13

Maureen Angus 15

Robert Nixon Angus 29

Mary Elizabeth Glass Balmer 17

William Blenkinsop 38

John McKnight Erskine 20

James Falcus 45

Albert George Fuller 37

Gordon W T Gardner 25

Elizabeth Glass 53

Edith Rosina Hagon 8

Joan Thompson Hagon 30

Joyce Hagon 16

Raymond Hagon 7

Isabella Harrison 77

William Henry Hoggett 39

Mary Jane Moffit 62

Archibold Taylor Munro 29

Ethel Mary Park 60

Francis Park 58

Mavis Park 31

Alice Jane Reed 64

Joseph Dixon Reed 68

Joseph Lancelot Reed 9 weeks

Eliza Margaret Robson 70

Ella Mildred Robson 43

Evelyn Robson 38

James Kenneth Robson 19

William Robson 72

Thomas Shaw 48

William Atkinson Shaw 40

Robert Smith 27

Edwin Snowdon 17

Henry Snowdon 12

Nora Snowdon 46

Victor Snowdon 48

Charles Thomas Thompson 62

David Harkus Venus 27

Alexander Henry White 54

Blanche White 43

Thank you

Roy Ripley and Brian Pears, whose website is an amazing resource for anyone researching the WW2 home front in the north east;

Heaton History Group member, Julia McLaren, who drew our attention to the German map of Tyneside.

Can you help?

if you know more about the night of 25-26 April 1941 or have memories, family stories or photographs of Heaton during WW2 to share, we’d love to hear from you. Either write directly to this website, by clicking on the link immediately below the title of this article or email the secretary of Heaton History Group,  chris.Jackson@heatonhistorygroup.org

 

Writing Northumbria

The writer Michael Chaplin has many credits in TV, radio and the theatre but since he moved back to his native Newcastle in 2006, the North-East has featured in many new pieces of work in both drama and prose. On 30 March 2016 he will outline the results, and the challenges and rewards of writing about his home patch.
Michael Chaplin
The talk will take place at The Corner House, Heaton Road, NE6 5RP on Wednesday 30 March 2016  (Please note change from the originally advertised date) at 7.30pm and is FREE to Heaton History Group members. Non-members pay £2. The doors open at 7.00pm. You are advised to take your seat by 7.15pm. Please book your place by contacting maria@heatonhistorygroup.org /07443 594154. Until Wednesday 13 January, bookings will be accepted from Heaton History Group members only but after that will be open to all-comers.
About our speaker
Michael was born in County Durham but brought up in Newcastle and educated at Heaton Grammar. He followed his father, the renowned novelist Sid Chaplin, into newspaper journalism before a career in television as a current affairs and documentary maker. Since he became a full-time writer 20 years ago, he has written many series and films for the BBC and ITV and plays for Radio 4, as well as establishing a long relationship with Newcastle’s Live Theatre, producing most recently ‘A Walk-On Part’, a dramatisation of the acclaimed diaries of ex-MP Chris Mullin, and the musical play ‘Tyne’ based on his own book ‘Tyne View’. His connection with Heaton continues; he is President of the People’s theatre.

The People’s Theatre: Past, Present and Future

The People’s Theatre has been a thriving part of our community in Heaton for over 50 years, but its origins go back a further half century. Formed in Edwardian Newcastle, it owes its existence to an unlikely combination of socialist politics and bohemian cultural values, brought together and personified by Colin Veitch, the man who captained Newcastle United through their first golden age of league and FA Cup success. On Wednesday 24 June, we’ll hear the People’s story and find out about plans to refurbish the building for another 50 years.

Entrance to the Peoples 2013

Chris Goulding is an English teacher at the Royal Grammar School. He is the author of books and journalism on local history and literature, as well as the NE children’s bestseller Tinseltoon. A former professional actor, he has been an active member of the People’s Theatre for over 30 years.

The talk will take place at The Corner House, Heaton Road, NE6 5RP at 7.30pm (Doors open at 7.00pm. You are advised to take your seat by 7.15pm). Please book your place by contacting maria@heatonhistorygroup.org /07443 594154.