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

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.

Saltburn-by-the-Sea: the Zetland Hotel

Saltburn-by-the-Sea, North Yorkshire:  Zetland Hotel, railway platform and rear entrance

Saltburn-by-the-Sea, North Yorkshire: Zetland Hotel, railway platform and rear entrance

The first public building in Saltburn was the Zetland Hotel, built by the Stockton & Darlington Railway to the designs of William Peachey, who also built the Methodist Church on Milton Street (1865) and later, as architect to the North Eastern Railway, built the gothic station at Middlesbrough.

The foundation-stone of the hotel was laid by Thomas Dundas, 2nd Earl of Zetland (1795-1873), from whom the land for the whole town was bought, on October 2nd 1861, and the hotel opened on July 27th 1863.

In its situation it’s strongly reminiscent of the Grand Hotel at Scarborough, but its Italianate styling is much lighter than Cuthbert Brodrick’s magnificent bombast.

The circular turret above the central bay of the Zetland was initially equipped as a telescope room.

So strong was the connection – through the Pease family – between the railway and the resort that the station platform was extended so that the buffer stops stood within feet of the back door of the hotel.

A covered train-shed protected passengers as they left the train and entered the hotel without discomfort whatever the weather.

The stable block, incorporating coach-houses and accommodation for livery servants, was designed with an imposing blind arcade facing Milton Street.

The hotel eventually closed in 1989 and was later converted into an apartment block. The Milton Street stables building is now adapted as housing also.

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 vision

Saltburn-by-the-Sea, North Yorkshire:  railway station

Saltburn-by-the-Sea, North Yorkshire: railway station

Saltburn-by-the-Sea is a classic example of a Victorian holiday resort built at the end of a railway line.

Its site was a bare cliff-top until Henry Pease, the Quaker son of the founder of the Stockton & Darlington Railway, came upon it in 1859 and – in his wife’s words – saw, “in a sort of prophetic vision, on the edge of the cliff before him, a town arise and the quiet unfrequented glen turned into a lovely garden”.

Henry Pease, with his brother, nephew and numerous other S&DR personalities and figures in the local iron industry, formed the Saltburn Improvement Company in 1860, in anticipation of the opening of the railway.

The foundation stone of the first building in the new town, a row of six railwaymen’s houses named Alpha Place, was laid on January 23rd 1861.

Passenger trains began to run on August 17th that year, at which time not even Alpha Place, apparently, was finished.

The Improvement Company held a competition to obtain a street-layout, and commissioned from the winner, George Dickenson of Darlington, a plan which is still the framework of the town centre.

Parallel to the railway which bisects Saltburn, to north and south, run Milton Street and Dundas Street, with the “jewel” streets (Amber, Pearl, Diamond, Emerald, Ruby and Garnet) grouped between Milton Street and the Marine Terrace, and the “river” streets (Eden, Leven, Tweed, Lune, Avon and Greta) running roughly at right-angles to Albion Terrace which overlooks the valley of Skelton Beck.

Alpha Place was demolished because it conflicted with Dickenson’s alignments.

The Saltburn Improvement Company kept strict control over building standards in the town, insisting on uniform rooflines, though allowing some freedom in architectural detail, and specifying for all frontages the use of a white firebrick which was, perhaps predictably, obtained from Peases West Brickworks in Co Durham.

The prices of plots were fixed on a scale which placed obvious value on sea and valley views, and on commercially valuable sites in the centre. Plots on the Jewel Streets cost around half as much as those on the sheltered sites looking across the valley (5s 6d as opposed to 10s 6d).

Economic depression in 1873-5 halved the price of Cleveland iron-ore, and effectively halted the planned development of Saltburn.

The Assembly Rooms, designed for the plot at the south end of Britannia, was never started. Britannia Terrace itself was never finished.

The Improvement Company was wound up in the early 1880s after passing its responsibilities to a local Board of Health and the Owners of the Middlesborough Estate.

No longer did buildings in Saltburn have to be faced in Peases West brick, and the distribution of this pale, unlovely material illustrates as clearly as a snapshot how far development had gone by about 1875.

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.

Wetherspoon’s historic buildings: Palladium Theatre, Llandudno

Palladium Theatre, Llandudno

Palladium Theatre, Llandudno

J D Wetherspoon is a pub-chain which specialises in cheap food and drink in warm but often cavernous surroundings.  Its pubs are open from early morning to late at night:  you can get breakfast, lunch and dinner there, and it won’t cost an arm and a leg.

The company was founded by a New Zealand-educated entrepreneur called Tim Martin, who named it after a teacher who said he’d never be a success.

This highly successful enterprise has a fine record in rescuing buildings in distress, one of which is the Palladium Theatre, Llandudno, a 1920 cine-variety theatre by Arthur Hewitt of Great Yarmouth.

According to the Theatres Trust it was probably designed before the First World War soon after Hewitt’s surviving Great Yarmouth buildings, the Gem Cinema (1908, latterly the Windmill Cinema) and the Empire Theatre (1911).

The Llandudno Palladium has an imposing classical façade with twin domed towers and an elaborate thousand-seat interior with two balconies, four boxes beside the proscenium and a further three at the rear of the dress circle.  The stage area covers a width of 55 feet and a depth of 32 feet behind a 31-foot-wide proscenium.  There were eight dressing rooms for artistes and a café with a 25-foot-diameter circular foyer for patrons.

Almost all of this survived conversion to cinema use, twinning to accommodate bingo in the stalls in 1972, several subsequent changes of ownership and eventual closure in 1999.

In 2001 J D Wetherspoon took it over and converted it into a sumptuous pub venue, restoring the auditorium and filling the commodious stage area with a viewing gallery, from where you can admire the theatricality of it all on your way to the loo.

Semi-detached theatre

Theatre Royal, Nottingham

Theatre Royal, Nottingham

The classical portico of Nottingham’s Theatre Royal has dominated the streetscape since it was built in 1865:  http://www.theatrestrust.org.uk/resources/theatres/show/514-theatre-royal-nottingham.

Originally designed by the prolific and prestigious Victorian theatre-architect Charles John Phipps (1835-1897), it was modernised in 1896-7 by the more famous Frank Matcham (1854-1920), who at the same time built the new Empire Palace Theatre for what shortly after became Moss Empires partly on what had been the site of the Theatre Royal dressing-rooms.

There are stories of artistes straying into the wrong backstage-area, particularly after Moss Empires took over the Theatre Royal in 1924.

The Empire was also the site of Ken Dodd’s stage debut, as Professor Yaffle Chucklebutty, “Operatic Tenor and Sausage Knotter”, in 1954.

The Empire closed in 1958 and was demolished eleven years later for road-widening.  At a time when Nottingham City Council were planning and building the ultra-modern Playhouse as a repertory theatre, there was talk of demolishing the Theatre Royal also and building a replacement touring house elsewhere.

In fact, the Theatre Royal lingered on, becoming so decrepit that eventually the D’Oyly Carte company refused to appear because of the state of the backstage areas.

In 1977 the City Council purchased the County Hotel, on the opposite side of the Theatre Royal building to the former Empire, and commissioned Renton Howard Wood Levin to restore Matcham’s design, except for the proscenium arch and adjacent boxes, within Phipps’ auditorium envelope.

Subsequently, in 1980, Renton Howard Wood Levin built from scratch the magnificent Royal Concert Hall behind the Theatre Royal.  The two auditoria work in tandem [http://www.trch.co.uk], with the Playhouse operating at the other side of the city centre:  http://www.nottinghamplayhouse.co.uk/whats-on.

Nottingham has a proud claim to have been at the forefront of the late twentieth-century revival of live performances in provincial towns and cities.