Category Archives: Fun Palaces: the history and architecture of the entertainment industry

Far from the madding Yorkshire crowds

The Crescent, Filey, North Yorkshire

The Crescent, Filey, North Yorkshire

Filey has unexpected charms. It’s a good place to reach by rail. The station is a particularly well-preserved example of the work of George Townsend Andrews (1804-1855), with an overall iron truss roof and a standard North Eastern Railway footbridge slotted into the train-shed walls.

The short walk to the sea is unremarkable, until you reach the cliff edge. Ahead is the North Sea, which in the nineteenth century was called the German Ocean. In each direction spectacular cliffs stretch to Filey Brigg in the north and southwards towards Muston, Hunmanby and Reighton.

Facing the coast, but separated from the cliff-edge by ornamental gardens, is the Crescent, an elegant ensemble of Regency terraces, constructed for an enterprising Birmingham solicitor, John Wilkes Unett (1770-1856), who commissioned plans for a resort to be called New Filey from the Birmingham architect and surveyor Charles Edge in 1835.

There is a subtle demarcation between the Crescent area and the Old Town. The two are interdependent, but Unett’s speculation was aimed at “those who possess a relish for the pure exhibitions of nature, and take with them a little society”.

Visitors came to Filey, as a quieter alternative to Scarborough, from the beginning of the nineteenth century, and initially they came by road. In the 1820s two stage-coaches operated, each on alternate days, six days a week. Local sailors and their wives recognised that catering for tourists was at least a supplement to the unpredictable fortunes of the fishing trade.

The Hull-Scarborough railway opened in 1846. It could have encouraged an invasion of excursionists, but they seem to have headed for Bridlington and Scarborough. Instead, Filey attracted a constant stream of visitors of high social standing and net worth. Charlotte Brontë visited in 1849 and 1852; Sir Titus Salt came in 1871, and Frederick Delius was a regular visitor from 1876, when he was fourteen, until 1901.

Filey was also the discreet resort of British and foreign royalty. Leopold II, King of the Belgians in 1873 made the first royal visit: he was Queen Victoria’s cousin, and he was followed by her son, Prince Alfred, Duke of Edinburgh (1880), her grandson Prince Albert Victor, Duke of Clarence & Avondale (1890) and her daughter, Princess Louise, later Duchess of Argyll (1899).

German relatives of the British royal family also visited – the Prince & Princess Louis of Battenberg (1900) and Ernest Ludwig, Grand Duke of Hesse, and his family (1910). Indeed, well into the 1930s Princess Mary, the Princess Royal, who was married to the Earl of Harewood, used to bring her young sons for holidays to Filey.

Ironically, Filey’s major claim to fame in the holiday industry was the Butlin camp, started in 1939 and completed as RAF Hunmanby Moor. After the war it flourished, to the extent that it had its own branch line and railway station. The camp’s maximum capacity was 11,000 holidaymakers, and it ran successfully into the 1970s:  http://www.butlinsmemories.com/filey/index.htm.

It’s a fair bet that most of the thousands of visitors to Butlins never went near Filey itself.

The Butlin’s branch line closed in 1977 and the camp lasted until 1983. It has completely disappeared under redevelopment.

For details of Mike Higginbottom’s lectures on seaside architecture, Away from it all:  the heritage of holiday resorts, Beside the Seaside:  the architecture of British coastal resorts, Blackpool’s Seaside Heritage and Yorkshire’s Seaside Heritage, please click here.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 including postage and packing.  To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Sheffield’s surviving cinemas 4: Manor Cinema

Former Manor Cinema, Manor Top, Sheffield

Former Manor Cinema, Manor Top, Sheffield

The most intriguing of all the surviving Sheffield picture-houses is the Manor Cinema (1927) at the top of Prince of Wales Road.

Like the Hillsborough Park Cinema this was until recently a supermarket, latterly operating as a Tesco. When you walked in off the street there was no hint that until 1969 it was an auditorium.

But the oddity about the Manor Cinema is that it was built into a steep hillside, and the street-level access led into a wide foyer and then into the circle. The stalls-area was downstairs.

Indeed, the Manor was unusual for having two balconies: the three tiers were described as saloon, first balcony and second balcony.

Below the first balcony, and behind the saloon, was a basement billiard hall, with three additional private billiard rooms which projected beyond the building line under the street pavement.

This was the work of Pascal Stienlet, who had previously worked in Sheffield at the Abbeydale Picture House (1920), which also stands on a sloping site and had a ballroom and billiard hall below the auditorium and stage.  He also designed the Majestic Cinema, Leeds (1922).

Before the Tesco store closed I was told that there was no access to the parts of the building that aren’t in practical use.  A Poundland store currently occupies an area equivalent to the original foyer.

Apparently, the last time the building was surveyed was when Tesco took it over in 2010.

It would be an interesting revelation to discover if, like the Hillsborough Park Cinema, anything of the auditorium remains.

Sheffield’s surviving cinemas 3: Hillsborough Park Cinema

Former Hillsborough Park Cinema, Middlewood Road, Sheffield

Former Hillsborough Park Cinema, Middlewood Road, Sheffield

Sheffield has two Grade II listed cinemas, the Adelphi and the Abbeydale. Of the others remaining, one of the best and most surprising survivals is the Hillsborough Park Cinema of 1921.

Its elegant brick and faience façade, vaguely classical but with mullion-and-transom windows, decorates the streetscape on the tram-route at Parkside Road.

An English Heritage inspector would no doubt turn up his or her nose at the place, because when you walk through the door you’re in a perfectly conventional Asda supermarket. There’s hardly any indication that this was once a picture palace.

But thirty-odd years ago, when the Sheffield journalist Steve McClarence and I went exploring for his ‘Sheffielder’ column, we were taken through a door back into the 1950s, climbed the staircase to the circle, and found ourselves on the balcony, devoid of seating but otherwise intact.

There was the proscenium, and the clock, and through the panels of the suspended ceiling that fills the void in front of the balcony, we could glimpse unsuspecting customers trundling their trolleys.

Back downstairs we tried to run a trolley by gravity towards the screen end, but the floor has been levelled.

We thought this rather a pity, though practical.

Sheffield’s surviving cinemas 2: Wincobank Picture Palace

Former Wincobank Picture Palace, Sheffield

Former Wincobank Picture Palace, Sheffield

Sometimes, when you explore old buildings, the least prepossessing places still produce surprises.

Wincobank, round the corner from the huge modern Meadowhall shopping centre, was very much a separate community from both Sheffield and Rotherham until well after the First World War. There were two railway stations, one called ‘Wincobank and Meadow Hall’, the other ‘Meadow Hall and Wincobank’, but electric trams never came near and the bus-service was sparse.

Wincobank people looked for their entertainment to the 550-seat Wincobank Picture Palace, opened in 1914 and operated at least from the 1920s by the Wadsworth family, who also owned the nearby, long-vanished Tinsley Picture Palace.

After the Wincobank Picture Palace closed in February 1959 it was used by a plumbers’ merchant, now operated by the Graham chain [http://www.grahamplumbersmerchant.co.uk/branch-locator/?location=Wincobank].

The outside of the building is in beautiful condition, but in the course of fifty-odd years of industrial use the interior has been heavily beaten up.

The manager, Mick Adams, encouraged me to take a good look round, mainly because the balcony front, installed in 1926 to add a hundred extra seats, is visible and largely intact.

Otherwise, the proscenium has disappeared and all the plasterwork from the walls has been stripped away, though the shallow barrel ceiling with its ventilators remains.

The floor has been levelled and an extra level has been built out from the balcony, but it’s clear that the original raked floor and balcony flooring remain.

I did my best to contrive a series of photographs to illustrate my forthcoming presentation at Sheffield City Libraries, and then Mick mentioned the staircase that his staff don’t use to get upstairs.

He opened a door by the front entrance, to reveal the original staircase to the balcony, now used only for storage, beautifully preserved and tiled in cream, brown and chocolate, with wooden handrails intact.

It was like stepping back into the 1920s.

Mick tells me that under the floor at the entrance there remains a mosaic design with the words ‘Wincobank Picture Palace’.

You never know what you’ll find…

Update:  The Wincobank Picture Palace was advertised for sale with a guide-price of £199,000 in May 2020:  https://colloco.co/find-a-property/properties/1006-5-merton-road-sheffield.  It’ll be interesting to see if a buyer makes any use of the remaining historic features of this much altered building.

Further update:  A planning application has been lodged to convert the Picture Palace into apartments, which would provide a practical opportunity to incorporate the remaining historic features but would necessitate windows in the existing outside walls.

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Sheffield’s surviving cinemas 1: Darnall Picture Palace

Former Darnall Picture Palace, Staniforth Road, Sheffield

Former Darnall Picture Palace, Staniforth Road, Sheffield

I first explored the surviving cinema buildings in Sheffield for the South Yorkshire Group of the Victorian Society circa 1983.

I’ve been asked to give a presentation at Sheffield City Library, so I decided to do a further survey of what is left of the fifty-odd auditoria that were built in the city up to the start of the Second World War.

One of the most attractive survivals – well cared-for though not intact – is the former Darnall Picture Palace, designed by Walter Gerald Buck and opened in 1913. Because the Darnall Picture Palace isn’t really in Darnall, and there was also a Darnall Cinema, locals called it the Balfour, because it was on the corner of Balfour Road, and by 1931 the proprietors were using that name in their advertising.

After it closed in 1959 the building was used by Clarks of Retford for their dry-cleaning business, and it’s now a quirky carpet showroom, run by a family firm as Balfour Carpets: http://www.balfourcarpets.com.

The mock-medieval castellated exterior is a landmark on the main road, and the barrel-ceiling interior has particularly fine fibrous plasterwork.

The sides of the proscenium arch remain, with faint traces of gilding, though the top of the arch has disappeared.

There was no overhanging balcony, though in 1920 the auditorium was extended to provide a raised rear section. It’s difficult to discern among the rolls of carpets exactly how this was done.

Ryan Jackson, one of the owners, who showed me round, took me upstairs to the staff room where there remains one of the hatches of the projection suite, still in situ.

Baby Grand

Grand Theatre Doncaster (1984)

Grand Theatre Doncaster (1984)

I’ve never been able to understand why the borough of Doncaster has ignored its dark, neglected but intact Grand Theatre.

Built in 1899 within sight of Doncaster railway station to the designs of John Priestley Briggs (1869–1944), a pupil of Frank Matcham’s, it’s bolted on to the overwhelming Frenchgate Centre (built as the Arndale Centre, 1967), with the dual-carriageway inner relief road clipping the corner of its stage tower.

Most sources credit as joint architect Mr J W Chapman, the owner and lessee of the Old Theatre on Doncaster Market Place, who according to The ERA of April 1st 1899 “designed the whole of the arrangements, and personally drew the plans, which were passed by the Doncaster Corporation”.

Chapman’s specification made the Grand a thoroughly modern theatre, electrically lit using its own generator, heated by a low-pressure hot water system, with a sprinkler system for firefighting. All eight dressing rooms were fitted with hot and cold running water.

The auditorium has three levels, originally the orchestra stalls and pit, the dress circle and above that a balcony and gallery. The two boxes face into the auditorium and are not practical.

The original terra-cotta, cream and gold decorative scheme was executed by Deans of Birmingham.

The 26-foot proscenium is squarely proportioned, with brackets in the upper corners. The stage itself is 70ft wide, 32ft deep and 50ft high.

The roll-call of performers at the Grand runs from Charlie Chaplin to Ken Dodd and Morecambe & Wise, and includes such Yorkshire favourites as Albert Modley, Sandy Powell and Frank Randle.

It was where Julie Andrews’ debut took place when Ted and Barbara Andrews played in the December 1935 pantomime and carried their two-month-old daughter Julie onstage.

The Doncaster Grand was one of the variety theatres featured in BBC broadcasts in 1930s. Live theatre timing was not as tight as broadcasting schedules, so the outside-broadcast unit had to carry whatever came on while they were live on air: at Doncaster they got Florrie Forde, a paper-tearing act – and a troupe of jugglers.

The Grand was taken over by the Essoldo cinema chain in 1944 and it eventually closed in 1958. It operated as a Mecca bingo club from 1961 to 1990. In 1994, while under threat of demolition, it was listed Grade II.

The Friends of the Doncaster Grand Theatre have campaigned ever since for the restoration of the building, which now belongs to Lambert Smith Hampton, the owner of the adjacent Frenchgate Shopping Centre.

Doncaster Borough Council, meanwhile, has opened Cast, its performance venue “where you can watch incredible shows, share creative ideas and be inspired” – “a key driver for the creative industries and evening economy”: http://castindoncaster.com.  It takes a moment to work out why it’s called Cast.

Faced with an intransigent owner and a council facing in a different direction, it must be difficult for the Friends to maintain momentum in their campaign to find the Grand a place in the town’s creative industries: http://friendsofthegrandtheatre.co.uk.

There are urban-explorer reports on the Grand at http://www.28dayslater.co.uk/forums/showthread.php/66786-The-Grand-Theatre-Doncaster-Nov-2011 and http://www.28dayslater.co.uk/forums/showthread.php/66941-Grand-Theatre-Doncaster-December-2011.

Update:   It’s a tribute to the persistence of the Friends of the Doncaster Grand Theatre that at long last practical steps are being taken to bring the building back to life:  Join the campaign to reopen Doncaster Grand Theatre (doncasterfreepress.co.uk).

Look, no hands

Violana, Musical Museum, Brentford (detail)

Violana, Musical Museum, Brentford (detail)

A couple of hundred yards down the road from the London Museum of Water & Steam (formerly Kew Bridge Steam Museum) stands the modernist home of the Musical Museum, Brentford: http://www.musicalmuseum.co.uk.

This rich collection of mechanical musical instruments deserves at least a couple of hours.

I was taken round by Ron, who’s been involved in collecting these intricate and temperamental machines for six decades. He’s a mine of information, and tells you more if you ask relevant questions.

The collection, which was started in 1963 by Frank Holland MBE (1910-89) as the British Piano Museum, extends from tiny clockwork musical boxes, through barrel organs and player pianos to vast orchestrions – pipe-organs that were designed to reproduce the effects of a full orchestra.

I learned a lot. A pianola, for example, was not an entire musical instrument but rather the interface between the player roll and the keyboard of a piano or organ.

Eventually the recording of performances became sufficiently sophisticated to reproduce the playing of great musicians. Ron allowed us to listen to Sergei Rachmaninoff (1873-1943) playing Rimsky-Korsakov’s ‘Flight of the Bumble Bee’ on a grand piano.

A particularly fascinating rarity on show is the violana (or violano), a mechanical violin-player which self-rosinates: http://www.jonroseweb.com/f_projects_violano.html.

The Brentford collection also covers sound recordings from the earliest phonographs onwards. I learned that the only way to quieten the sort of machine that Nipper the dog listened to was, literally, to put a sock in it.

The climax of this collection of mechanical music-making is a mighty Wurlitzer, formerly installed in the Regal Cinema, Kingston-on-Thames. Now it is installed in an upstairs theatre, where it can be hooked to a paper-roll player.

One of the participants in the visit I joined was an accomplished Wurlitzer player, who gave us a quick tour of the instrument.

The Wurlitzer is hired out for £30.00 an hour – an ideal Christmas present for an organist: http://www.musicalmuseum.co.uk/page/30-wurlitzer.

Going to Scarborough Fair

Scarborough Fair Collection, Lebberston, North Yorkshire

Scarborough Fair Collection, Lebberston, North Yorkshire

There is a pattern of successful entrepreneurs with a weakness for steam engines collecting historic artefacts as an adjunct to their main business.

George Cushing (1904-2003) at Thursford and Alan Bloom (1906-2005) at Bressingham are fellows in spirit with Graham Atkinson, whose Flower of May Caravan Site at Lebberston, near Scarborough, is the home of the Scarborough Fair Collection, an enjoyable assembly of fairground rides, steam engines, cars, motorbikes and commercial vehicles, embellished with a fine café and a dance hall with two mighty Wurtlitzer cinema organs: http://www.scarboroughfaircollection.com.

Unlike Thursford, which is dark and theatrical, the Scarborough Fair Collection is top lit in daylight. Its rides – including a set of gallopers (c1893), a Noah’s Ark, a set of dodgems and a ghost train – are spread around the building, with helpful notices indicating what time they run. The vehicles and other artefacts are thoroughly labelled, so that it’s possible to understand their significance – and in some cases, considerable rarity – even if you’re not an aficionado.

Among its treasures it boasts four showmen’s engines (one of them The Iron Maiden, star of the 1962 film of the same name), a Foden steam wagon, a magnificent 1937 Scammell showman’s tractor, The Moonraker, and a fully restored showman’s caravan.

There are several mechanical organs,–

  • a 72-key Verbeeck concert organ
  • the 89-key Marenghi organ of Irvins of Ashford, Middlesex
  • the 97-key Gavioli/Voigt Die Münchner Oktoberfest-Orgel
  • a 100-key ‘Condor’ organ (originally 97 keys) by the Hooghuys family

– as well as a small example of a calliope, originally a fearsome contraption that could be heard for miles made for riverboats from locomotive whistles.

Tea dances take place on Wednesday afternoons, using the two Wurlitzers. They are an interesting pair, respectively from the Granada cinemas at Mansfield, Nottinghamshire (1936) and Greenford, west London (1937).

Both are the same size – 3 manuals, 8 ranks – but with contrasting specifications. The voicing of the Mansfield instrument is close to the usual specification of a contemporary church organ (Style ‘D’ Trumpet, Diapason, Tibia Clausa, Clarinet, Violin, Violin Celeste, Vox Humana and Flute) while the Greenford organ is altogether more theatrical (English Horn, Tuba, Diapason, Tibia Clausa, Saxophone, Gamba, Gamba Celeste and Flute).

The Scarborough Fair Collection has much to fascinate enthusiasts for steam, motor vehicles, mechanical music, organs and all the fun of the fair, while at the same time entertaining those who enjoy wallowing in nostalgia over a cup of tea and a cake.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 including postage and packing.  To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Saltburn-by-the-Sea: the cliff lift

Saltburn-by-the-Sea, North Yorkshire:  the cliff-lift

Saltburn-by-the-Sea, North Yorkshire: the cliff-lift

The contours of Saltburn provided a major inconvenience from the start, simply because the streets are over a hundred feet higher than the beach. A writer in The Middlesbrough Weekly News and Cleveland Advertiser (November 1st 1867) remarked,–

One of the first objections to Saltburn as a seaside resort, especially by elderly people, or even by any whose tendency to embonpoint makes them averse to bodily exertion, is the fact that it is SUCH A HORRIBLY TIRING PLACE.  To go down to the beach involves a certain amount of unpleasant jarring of the system, and to come up again such a waste of muscular power…

John Anderson, the railway contractor who owned the Alexandra Hotel and designed Saltburn Pier, resolved this difficulty with a vertical hoist linking the Marine Terrace, just outside the Alexandra, with the pier.

This structure was built of timber, and powered by water-gravity: it opened in July 1870, and carried up to twenty passengers at a time in its cage for a halfpenny each way.

It was closed precipitately after an inspection in 1883, and replaced by the inclined cliff-lift (also water-gravity powered) which continues to operate on the same site.

The cliff lift was developed by George Croydon Marks (1858-1938, latterly Lord Marks), chief engineer of Tangye Ltd, the company that had devised the first cliff lifts in Scarborough from 1869 onwards.  It lifts passengers 120 feet from the promenade to the streets.

The two cars, connected by cable, carry water-tanks beneath their carriages: the uppermost tank is filled with water and the lower tank emptied, so that the weight-differential lifts the lighter car as the upper one descends.  Operation is controlled by the banksman in the upper cabin.

The Saltburn cliff lift is the oldest water-balanced funicular still in operation in Britain, and was upgraded for the first time in 1998 when a supplementary hydraulic braking system was added. Superficial modernisations have been reversed:  the 1979 passenger cars were restored in 2011 and the upper banksman’s cabin was refurbished in 2014.

For details of Mike Higginbottom’s lectures on seaside architecture, Away from it all:  the heritage of holiday resorts, Beside the Seaside:  the architecture of British coastal resorts, Blackpool’s Seaside Heritage and Yorkshire’s Seaside Heritage, please click here.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 including postage and packing.  To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Saltburn-by-the-Sea: the pier

Saltburn-by-the-Sea, North Yorkshire:  the pier

Saltburn-by-the-Sea, North Yorkshire: the pier

One of the first purchasers of Improvement Company land in Saltburn was John Anderson, a railway contractor who had worked for the Stockton &Darlington Railway and who also had ironworking interests locally.

He built the Alexandra Hotel, intended to be the centre-piece of Britannia Terrace, and invested funds and enormous energy in the resort.

He was the driving force behind Saltburn Pier, such that construction was well under way before the enabling Act was passed, and the structure was open to the public in May 1869, only eighteen months after the initial public meeting to propose the idea.

The original length was 1,500 feet, but after a storm on October 15th 1875 in which a section of Saltburn Pier collided with Redcar Pier, Saltburn Pier was shortened to 1,250 feet.

The Pier Company was wound up in 1879 and its assets transferred to the Improvement Company and then in 1883 to the Owners of the Middlesbrough Estate.   The pier head was widened, with new refreshment rooms and kiosks, a bandstand and gas lighting, in 1884, and subsequently with electric lighting in 1887.

A collision in 1924, when the china-clay carrier SS Ovenbeg punched a 210-foot gap in the pier, was repaired by 1929, and a theatre was added the following year.

The local council took over the pier in 1938, and at the start of the war it was breached as a precaution against invasion. The gap was not repaired until 1952, and gales in the following winter required repairs that took five years to complete.

Storms in 1971, 1973 and 1974 successively shortened its length to 1,100 feet, and after a demolition threat and a popular campaign to save the pier it was truncated to 681 feet and reopened in 1978.

Refurbished by a £1.2 million lottery grant in 2000 and listed Grade II*, Saltburn pier is now celebrated as the only surviving seaside pier on the Yorkshire coast.

For details of Mike Higginbottom’s lectures on seaside architecture, Away from it all:  the heritage of holiday resorts, Beside the Seaside:  the architecture of British coastal resorts, Blackpool’s Seaside Heritage and Yorkshire’s Seaside Heritage, please click here.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 including postage and packing.  To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.