St Mary’s at the top of the steps

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St Mary's Church, Whitby, North Yorkshire

St Mary’s Church, Whitby, North Yorkshire

St Mary’s Parish Church on the clifftop above Whitby, North Yorkshire, near to the prominent Abbey ruins, is one of the great architectural surprises of the north of England.  Its exterior is an odd jumble, basically a twelfth-century Norman church with wooden outside staircases, Georgian sash windows and dormers in the roof.

Its interior is a precious survival – one of the very few English churches left virtually untouched by the Victorians – a preposterous clutter of galleries and box pews, with a three-decker pulpit and a no-doubt much-needed iron stove.  Most outrageous of all, the Cholmley family pew is a balcony, spanning the chancel arch where the rood screen would be:  the eighteenth-century Cholmleys sat with their backs to the altar in order to attend to the sermon in a place of worship that eschewed ritual and functioned instead as a preaching-box.

Sir Nikolaus Pevsner’s description is unusually breathless:  “…when one enters it, hard to believe and impossible not to love…one of the churches one is fondest of in the whole England.  Whom do we owe the infinite gratitude of never having gutted it?”

Just as Shakespeare’s Globe Theatre on the South Bank in London offers an experience of Elizabethan theatre unlike any other in Britain, so St Mary’s Whitby harks back to a form of worship which Parson Woodforde, celebrating communion three or four times a year, would easily recognise.

Pevsner also realised that the proper way to approach St Mary’s is up the 199 steps from the harbour.  There are ways of reaching the church and the Abbey on wheels, but the trek up the steps – reflecting on the way what it must have been like to carry a coffin up the unforgiving gradient – is a part of the unique experience.

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.

Exploring Australia 3: The Nullarbor Plain

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Nullarbor Plain, Australia

Nullarbor Plain, Australia

Sleeping in Gold Class on the Indian Pacific is possible, but not easy:  the compartment is extremely cramped and, as I found last time I slept on a train, lying down magnifies bumps and twists in the track that are innocuous when sitting or standing.

It was very satisfying, however, to wake up to the sight of the Nullarbor Plain at dawn.  (Nullarbor is from the Latin – literally, no trees.)  The train ambled down the dead-straight track, with various pauses, until late in the afternoon when the train-captain solemnly announced that there was a curve ahead.  The railway itself provides incidents – occasional sidings with loading-bays for sheep, a limestone quarry, various passing-loops in which the Indian Pacific waits for the interminable container freight-trains heading in the opposite direction.

The Nullabor Plain is not monotonous, though it could be hypnotic.  Glancing up from a book every few minutes, it’s a surprise to find the landscape constantly varying – more or less vegetation, different colours, different skies.  The only sign of animal life the whole day was a herd of feral camels.  We never once saw a house, except when we stopped for refuelling at Cook (population:  5), once a thriving rail centre housing loco drivers, track-maintenance crews and all the necessary support including a school and a hospital.  When the line was relaid with termite-proof concrete sleepers the need for the community vanished, virtually overnight, and most of the remaining buildings are derelict.

Passengers are encouraged to leave the train for half an hour or more while the water-tanks are replenished, and it’s a pity that Cook doesn’t have more to offer.  A visitor-centre could interpret the Nullabor, tell the story of the building and operation of the railway and illustrate the lives of the railway workers and the sudden demise of the working community in 1997, and there are all kinds of commercial opportunities for a place where a couple of hundred fairly affluent people drop by four times a week with nothing to do but spend money.

As it is, there’s a tiny souvenir shop, where postcards are A$1.50 [nearly £1] each, and a set of lavatories.  The “ghost town” consists of very few unspectacular buildings and an expanse of vacant plots.  There’s nowhere to sit and not much to do.  At present, Cook is a missed opportunity.  That’s the most remarkable thing about the place.

In fact, I was eager to get back on the train.  On the Indian Pacific there’s every possible comfort, the incredibly hard-working, multi-talented staff are friendly, and you get what you pay for.  Why should I spend money on a can of Coke in a dump that’s dedicated to ripping people off?

 

Exploring Australia 2: The Indian Pacific

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The Indian Pacific: lounge car (2009)

The Indian Pacific: lounge car (2009)

The Indian Pacific is a serious train [http://www.gsr.com.au/site/indian_pacific.jsp].  For me, it’s the only way to see how big Australia is.  Starting from Perth at midday Wednesday, it takes nearly two days – two lunches, two dinners, two nights’ sleep, and one-and-a-half breakfasts (the latter a doggy-bag before disembarking at Adelaide).  For the even more serious-minded, it continues via Broken Hill to Sydney.

The line from Perth to Adelaide, or more specifically the section from Kalgoorlie to Port Augusta, has major historical significance:  its construction clinched the deal by which Western Australia agreed to join the Commonwealth of Australia in 1900.  Without that deal Western Australia would have remained for the time being a British colony and would, very probably, have achieved independence like New Zealand.  (There was a point in the 1890s when New Zealand considered amalgamating with Australia, but the New Zealanders thought better of it.)

The statistics are awesome – 4,325 kilometres (2,687½ miles) for the full run from Perth to Sydney, crossing two time-zones, including the longest stretch of straight railway track (478 kilometres; 297 miles) in the world.

The train itself is awesome – 29 vehicles, including power cars, crew cars, baggage car and motor-rail vehicles, 771 metres (843 yards) long, 1,375 tonnes, drawn by one extremely powerful diesel locomotive – crawling its way across the endless landscape, much of the time on single track, pausing at passing places to make room for enormous freight trains.

It’s not cheap.  The basic version is Red Service – coach-style seating, by the look of it not dissimilar to basic Amtrak, in which people sit for days on end.  You see Red passengers boarding very sensibly carrying pillows.  There are also Red sleeper compartments.  The next version up is Gold Service – your own compartment, loos and showers at the end of the carriage, a comfortable bar car and a quite opulent dining car with all meals included.  There is something called Platinum Service, newly introduced with spare vehicles from the Ghan route:  apparently, the compartments are more roomy, with en-suite facilities.

On board Gold class, the single compartment is, rather like the interior of an airliner, a masterpiece of compact planning.  Even the wash-basin folds away.  The wardrobe, such as it is, is all of three inches wide;  the bed, of course, folds down;  the window-blinds sit within the double-glazed unit, controlled by an ingenious winding handle.  An odd consequence of the layout of the single compartments is that the central corridor is literally sinuous:  it curves from side to side.  Other coaches with double-bunk compartments have the customary layout with the corridor down one side.

There can be no better way to appreciate the vastness and emptiness of this great continent, without going to the lengths of driving for days on end, as Bill Bryson did in researching his excellent book, Down Under (2000).

I sat for the first hour or so, watching the route out through suburban Greater Perth, leaving behind the electric commuter trains, heading into the hills.  I chose to watch our way through an anonymous valley, with an accommodation road snaking alongside the track:  it was a good twenty minutes before I spotted any sign of life – a track-maintenance crew with their pick-up miles from anywhere.

Through a lunchtime glass of beer, an introductory presentation with a free glass of champagne, an interminable wait for second sitting and lunch itself, the landscape gradually opened out, became virtual desert, then became more verdant, hour after hour, mile upon mile.

As the first afternoon wore on, the train occasionally passed vast grain silos, then pastures with surprisingly purposeful-looking sheep, then monotonous low scrub, then patchy woodland.  For anyone used to watching rail journeys in Europe, this is indeed slow-motion travelling, despite the respectable speed of the train.  For hours on end there are no valleys, so no bridges or tunnels, hardly a cutting and never a viaduct.  Where there were cuttings, the rock varied in colour from pale grey to gunmetal to rust;  elsewhere the soil might be mustard or ochre.  That’s all there was to look at:  it was oddly restful.

Sometimes the trackside dirt road was punctuated by a gate, with the name of a ranch (which the Australians call a station) hidden beyond the horizon.  The lifestyle out here is a world away from the experience of most Europeans.  In all but the remotest corners of the British Isles, it’s a matter of choice not to go window-shopping, not to go the theatre or a big-league sporting event;  in populous regions education, health services, social life, variety is effectively on tap.  Living in rural Australia involves a direct reversal of these expectations.  These people must have particular qualities of self-reliance, initiative, stamina and determination.

The evening ended, after a convivial dinner, with a ludicrous but informative tour of the gold-mining twin towns of Kalgoorlie-Boulder in the middle of the night, peering at nineteenth-century hotels and public buildings, viewing the huge floodlit Superpit on the outskirts of town and examining the remaining, innocuous-looking brothels on Hay Street.  The coach-driver was straight from Central Casting – began each stage of the journey with the expression “Okey-doke”, and all of his sentences? Went up at the end? Like they do in Australia?  He knew what he was talking about, and went out of his way to make sure we saw as much as we could in the circumstances.

And so, as they say, to bed…

 

Exploring Australia 1: Perth & Fremantle

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St Mary's Roman Catholic Cathedral, Perth, Australia

St Mary’s Roman Catholic Cathedral, Perth, Australia

The first and most striking quality of life in Western Australia is the light.  I did see overcast skies for an hour or two, but for most of the daylight hours Perth glows with sunlight and the blueness of the sky.  It’s a place to be cheerful, full of cheerful people.

Perth is one of the remotest cities on earth:  it’s actually closer to Singapore than it is to Sydney.  Its population is 1.6 million, and it has the confident air of a community that looks after itself.  To arrive first in Australia, as I have, in this place feels a little like landing in the UK in Norwich, but without the crazy road system and all the people rushing about.  Perth people take their time without being lazy:  they’re comfortable and courteous and personable.  I sat in a coffee shop near two uniformed firefighters sitting by the open window taking their break:  in perhaps twenty minutes three passers-by greeted them and shook hands.

Getting acquainted with Perth is easy:  there are three free bus loops, called CATs [Central Area Transit].  After an hour or two of spinning around the streets I was dizzy and disorientated.  At one point I thought I’d seen two cathedrals, and only when I got off the bus did I realise that it was the same building – St Mary’s Roman Catholic Cathedral, initially built in straightforward Gothic in the 1860s, and brought up to date in a post-Modern variant design in 2006-9.  (I missed the Anglican cathedral, St George’s, which is more modest, tucked down a side-street near to the river-front.)

At the river front ferry-terminal there’s a strange sculptural building – a combination of sails and a spire – that turned out to be, of all things, a homage to clocks and bells in general, and English change-ringing in particular.  The Swan Bell Tower houses a peal of eighteen bells, twelve of which are a donation from St Martin-in-the-Fields, London, a 26-bell carillon and the Joyce of Whitchurch clock from Ascot Racecourse.  I learnt more about change-ringing from the explanatory video than I’d ever known in England.

Rather than pay a lot of money and spend a lot of time swanning down the Swan River to Fremantle on a ferry, I caught the train, which cost A$3.40 [slightly over £2] and took twenty minutes each way.  Fremantle, which the locals call ‘Freo’, is entertaining, full of bars and people shouting loudly in a genial manner – rather like Great Yarmouth.  Its main street is awash with fine nineteenth-century facades and feels like the set for a Gold Rush western, and there is a superlative maritime museum that clearly needs half a day at least.  The harbour cafés celebrate fish and chips.

Fremantle has its own CAT free bus-service.  The one I caught also had two Aboriginal guys, one entertaining the passengers with a digeridoo.  A digeridoo on a single-deck bus is impossible to ignore.

I must return to both places.  Between them, they deserve a week.  The only problem is, they’re so far away from everywhere.  Which is part of their charm.

Mike Higginbottom’s lecture Gothic Down Under:  English architecture in the Antipodes explores the influence of British architects, and British-trained architects, on the design of churches and other buildings in the emerging communities of Australia and New Zealand.  For details, please click here.

 

Tea at the Raffles Hotel

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Raffles Hotel, Singapore

Raffles Hotel, Singapore

It’s worth taking time to have afternoon tea at the Raffles Hotel [http://www.raffles.com/EN_RA/Property/RHS], Singapore’s most venerable pit-stop.

Afternoon tea here is not just a snack, or even a meal, but an occasion, with all that you might expect from a top-of-the-range internationally famous institution – elegant classical decor, white tablecloth, cake-stand, napkin carefully placed on your lap not once but every time you leave the table, and a harpist.  Lots of attentive waiters and waitresses, all of them clued in to the fact that I’d ordered Assam tea, which came in a dainty silver pot that poured slowly and with dignity.  Because I was on my own, someone brought me a magazine, unsolicited, in case I got bored.

The cake stand was, I was told, simply to start things off.  The buffet included hot dishes, of which the most remarkable was a savoury carrot cake with dried squid.  (I can remember being astonished, around 1985, to discover that carrots will make a sweet cake, to which I was introduced by a Canadian lady called Cathy;  here the concept goes full circle.)

It’s important in these circumstances to pace oneself:  the sandwiches (inevitably with the crusts cut off) are moreish;  the cakes even moreish, and a man comes round with a basket of scones at regular intervals.  I lost track of the number of small pots of Assam that came my way as I gazed at the elaborate cast-iron Victorian fountain outside the window.

It was one of the afternoon teas of a lifetime:  the Mount Nelson Hotel in Cape Town offers more variety;  in my limited experience the Old Swan Hotel in Harrogate comes nearest to the Raffles.

This is the sort of life-enhancing moment for which you simply don’t ask the price.  When the bill came it was S$57.65, which my credit-card company translated as £26.29.

A bargain.

 

Weekend in Singapore

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St Andrew's Cathedral, Singapore

St Andrew’s Cathedral, Singapore

There’s something reassuring for a Brit about landing in a former British colony like Singapore.  Somehow, the footprint remains almost half a century after the Union Flag came down.

Not only are there evocatively British street names (Clive, Kitchener, Mountbatten), but the traffic drives on the left, the car-registration plates are distinctly British in shape and dimensions (mostly with the white characters on a black background that died out in the UK in the 1970s) and – most useful and endearing of all – the power-sockets are British square-pin standard, so there’s no need to fiddle about with adaptors.

It’s fascinating to discover, patched in between the mainly undistinguished post-war buildings, vestiges of the colonial past.

St Andrew’s Cathedral, for example, is an immediately recognisable, rather blocky Commissioner’s-Gothic Anglican church with a squat English-cathedral spire, painted in brilliant white, designed by Colonel Ronald MacPherson, a military engineer who could clearly turn his hand to any constructional task, and built by Indian convict labourers.  Opened in 1862, it became a cathedral in 1870.  Its aisles are dotted with generous memorials to men, women and children who spent their lives in this sticky, remote and dangerous place:  some died here;  others died back in Britain but were memorialised by the colonial community.

Rather more surprising is the Armenian Apostolic Church of St Gregory the Illuminator, a compact cruciform classical design of 1835, its original onion dome replaced by a gothic spire that sits incongruously on top of a pediment.  Its churchyard is littered with modern statuary, and the church itself is a compact circular space, with doorways open to breezes on three sides.

Elsewhere, British eyes lock on to the 1930s central fire-station which would look entirely at home in Birmingham and a Masonic hall, bristling with compass-and-square symbols.  A half-day city tour showed me that there’s much more to see than can fit into a jet-lagged weekend – every possible kind of place of worship, a carefully conserved Chinatown and a thriving Little India, all reflecting the polyglot energy of the place.

Singapore is a very comfortable place to be, if you can cope with the climate.  The only delinquency I saw was economic – touts trying to lure people into shops.  The policemen smile and greet visitors:  the only time I saw a policeman act aggressively was when a woman tried to cross the road instead of using an underpass.  The police apparently hand out tickets for good driving, with rewards a bit like air miles.

Posters exhort Singapore citizens to promote “graciousness”, and there are notices at the top of escalators reminding people to use the escalator “correctly”.  The Straits Times has the language and attitudes of a 1960s grammar-school magazine.

When I walked into the headquarters of the Singapore Cricket Club at eight o’clock on Sunday morning and asked, as is my habit, for a restroom, I was treated promptly and courteously – and it was an exceptionally fine restroom.  I wonder if I’d get away with that at Lord’s or the Oval.  I hope so.

Singaporeans are notoriously picky about litter:  in the hotel, a magnificent lady reception greeter in a split skirt and full make-up picked up specks from the carpet and fetched a cloth to wipe smears from the marble floor;  I even saw two men in a small boat sweeping the harbour.

And, they disapprove of tipping.

 

Muddle and Get Nowhere

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Melton Constable, Norfolk bus shelter

Melton Constable, Norfolk bus shelter

The holidaymaker’s experience of the Norfolk seaside was, until the late 1950s, bound up with the eccentricities of travelling on the former Midland & Great Northern Joint Railway, one of the less likely networks to emerge from the idiosyncracies of Victorian railway competition.

The East Anglian “main line” network was the Great Eastern Railway, fanning out from London Liverpool Street station to the major towns and cities – King’s Lynn, Hunstanton, Cromer, Norwich, Great Yarmouth, Lowestoft, Ipswich and Southend.

Two of the Great Eastern’s competitors in the national network, the Midland and the Great Northern, recognised that by merging their interests in a string of cross-country lines into and across East Anglia they could reach ports and holiday resorts to capture freight and passenger flows into the Midlands and the North that the Great Eastern simply couldn’t deal with.  They could also provide competing services into London’s King’s Cross, though that route was never as fast as the Great Eastern’s more direct routes.

In 1893 the two companies set up a joint board, with equally shared rights and responsibilities, to manage their East Anglian operations.  Over the following sixty-odd years, the M&GNJR struggled against two particular difficulties – an excess of single-track mileage (over 60%) and heavy gradients across the grain of the landscape.  Normal services were laborious, and holiday specials spent much of their travelling time waiting in loops for approaching trains to clear the route – hence the popular nickname, “Muddle and Get Nowhere”.

The line was distinctive as well as eccentric, and came to be much loved by enthusiasts.  Its locomotives wore a golden ochre livery and its carriages were either built of teak or painted to look as if they were.  Almost the whole of the M&GNJR network, nearly 200 miles, closed down peremptorily in 1959, years before Beeching.

The line from Norwich to Cromer and Sheringham remains operational, and the North Norfolk Railway runs preserved steam and diesel trains between Sheringham and Holt [http://www.nnrailway.co.uk].  Otherwise, much of this extensive railway has completely disappeared – returned to farmland or woodland.

The track between Cromer and Holt is all that remains of the M&GNJR network:  https://www.youtube.com/watch?v=-WIYUJd4q80.

Melton Constable, hub of the system with a four-way junction, workshops and workers’ housing, is no longer recognisable as the “Crewe of North Norfolk”.

A couple of summers ago my friend Terry, who knows a thing or two about railways and lives near Holt, spent a baffling morning showing me what little remains of railway archaeology in Melton Constable.

The most impressive relic is the bus shelter – not up to Ukrainian standards [see http://www.brama.com/travel/busstop.html] – but very dignified, with monogrammed ironwork from the station awning, painted in golden ochre.

The monogram in the ironwork clearly has the letters CNR – Central Norfolk Railway – a company that never actually operated:  the spandrels were cast in anticipation and reused by its successor, the Eastern & Midland Railway, itself an amalgamation formed in 1883.

Book early for Christmas

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Thursford Collection, Norfolk

Thursford Collection, Norfolk

I wish I’d had the opportunity to meet George Cushing.  He was the man who made the Thursford Collection of showmen’s engines, fairground rides, mechanical organs and much else.

By all accounts, he had a magical touch that galvanised steam enthusiasts and beguiled ordinary visitors to Laurel Farm, where from the inter-war period onwards he rescued some 45 steam engines.  Numerous descriptions tell how he would buttonhole visitors on their way out, asking “Did yer loik it, then?”

He was the son of a farm labourer, born in 1904 in the village of Thursford, and left school at the age of 12 to work on the land.  In the early 1920s he began driving steamrollers, and eventually bought one of his own with savings of £225.

He clearly had a head for business:  by the end of the 1930s he had a fleet of fifteen steam rollers and a steam lorry – all in practical use – yet realised that steam was on the way out.  This appalled him:  to discard steam was like selling the crown jewels for scrap, so he began to collect redundant steam engines – road rollers, traction engines and showmen’s engines.

Steam enthusiasts made pilgrimages to Laurel Farm, and then ordinary tourists.  He laid a car park, and built a gift shop and café.  He had the combined flair of Fred Dibnah, a generation younger, and Harry Ramsden, a generation older.

After the death of his wife Minnie in 1976 he established the Thursford Trust, to safeguard his life’s work from death duties:  the Collection attracts something like 170,000 people a year, 100,000 of them for the Christmas Spectacular, devised by his son John, featuring a cast of over a hundred including dancing penguins and roller-skating milkmaids.  (There are two shows daily from early November until shortly before Christmas;  next year’s booking opens at the beginning of January – “we are very sorry we cannot accept bookings before this date”:  http://www.thursford.com/christmas-spectacular.aspx.)

There is nothing quite like the Thursford experience.  The crown jewel is the Wurlitzer from the former Paramount Cinema, Leeds (1932), which is played daily by the resident organist, Robert Wolfe.  Alongside the organ is George Cushing’s huge collection of engines, mechanical organs and a Gondola switchback.

His Daily Telegraph obituary [March 22nd 2003] describes him as “a millionaire [who] remained a Norfolk country boy at heart”.  The website http://www.girdwood.co.uk/britorg4.html pins down the greatness of his achievement precisely:

The shows are what theatre organ should be about – entertainment – and there are just as many children sitting spellbound and enchanted as there are senior citizens.  Thursford has got it right.

Thursford is unmissable:  http://www.thursford.com.

Circus maximus

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Great Yarmouth Hippodrome

Great Yarmouth Hippodrome

There are two places in Britain where you can experience circus performed in a purpose-built building with a mechanism to convert the ring into a tank for water displays.  One is, of course, the Blackpool Tower Circus [http://www.theblackpooltower.co.uk/index.php], which is famous for where it is and what it is;  the other, a little less well known, is the Great Yarmouth Hippodrome [http://www.hippodromecircus.co.uk], which is unique in the way it belongs to, and continues to reinterpret circus and show-business traditions in exciting new ways.

The owner of the Great Yarmouth Hippodrome, Peter Jay, is remembered by a certain generation as the leader of Peter Jay & the Jaywalkers, one-time support band to the Rolling Stones.  He is in fact the descendant of one of Great Yarmouth’s showman families, married to Christine, who belongs to the other Great Yarmouth showman family.  Peter told a Daily Telegraph reporter, “When we started going out, everyone thought we were just trying to find out each other’s family business secrets.” [December 6th 2008].

After Peter and his father first bought the Hippodrome building to forestall a rival bingo operator in 1983, they gradually realised the potential to develop creative, innovative circus entertainment within the old traditions of highly skilled, risky physical performance, using lighting, music and dancers alongside the acrobats, trapeze-artistes – and synchronised swimmers.

The swimmers are the most unusual part of the Hippodrome performance:  as the second half of the show winds towards its finale, four pairs of stagehands unlock the bolts that hold the circus ring in place and it gently sinks into the water tank beneath.  Once, you could see this in a number of places – the London Hippodrome on Leicester Square, the Olympia Theatre in the Liverpool suburb of Everton.  Now only Blackpool and Great Yarmouth operate in Britain, and two others – Moscow and Las Vegas – elsewhere.

Several of Peter and Christine’s sons have been directly involved in the present-day show – Ben as the lighting designer, Jack as co-producer and drummer;  Joe, a trained trapeze artist, prefers to work on oil-rigs and other high-building sites.  In fact, one of the joys of working in circus is the way the whole troupe forms a family for the duration of the run.

Watching live circus is an inimitably thrilling experience.  Some people are intimidated by the level of risk that the artistes take on;  for most audiences, that is the sheer wonder of circus.  There are no special effects, though there is certainly a dash of conjuring in the clowning.  The precision, precariousness, athleticism, grace and beauty of the acrobatic acts is unique to this form of entertainment.

Actually, I don’t miss the animals.

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.

Lost Empire

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Empire Theatre, Garston, Liverpool (2000)

Empire Theatre, Garston, Liverpool (2000)

The invaluable newsreel of the current Cinema Theatre Association Bulletin reports that the former Empire Theatre, Garston, in south Liverpool, is threatened with demolition – apparently to make way for a hospital car-park.

That would be a pity.

This modest suburban music hall, with a seating-capacity variously recorded as 876 or 1,040, was built, after several false starts, and opened in 1915.  It lasted as a theatre for barely three years, before becoming a full-time cinema, bravely advertised as “The Scala of the South”, with a local news Gazette and an augmented orchestra.

Ironically, for an enterprise with such shaky financial foundations, it prospered in the absence of any nearby super-cinema in the surrounding suburbs.

It eventually closed as a cinema, with a final double bill of Elvis Presley in Jailhouse Rock and Glenn Ford in The Fastest Guns Alive, on December 8th 1962.  After that it went over to bingo until 2009 – three years of theatre, forty-four years of cinema and forty-seven years of bingo.

When I photographed it in 2000 the auditorium was undivided;  by the following year a suspended ceiling had been inserted between the balcony and the proscenium, presumably to make the place easier to heat.  Nevertheless, the Theatres Trust website http://www.theatrestrust.org.uk/resources/theatres/show/1956-empire-garston
reports that the building is well-maintained and retains many original features.

The existing building, by an unrecorded architect, was designed as a full-scale theatre, with a thirty-foot proscenium, a stage fifteen feet deep and a tower of seven dressing rooms, and because neither cinema nor bingo required any substantial alteration, it survives as a virtually intact Edwardian music-hall/variety theatre.

It’s the classic setting for Mickey Rooney’s line, “Let’s do the show right here.”

It’s hard to estimate – because I’m not a Garston resident – whether there’s any community need for a compact auditorium with everything needed to return it to live performance.

It’s a shame if the car-park can’t go somewhere else.

The Cinema Theatre Association website is at http://www.cinema-theatre.org.uk.

For details of Mike Higginbottom’s ‘lectures’ Fun Palaces:  the history and architecture of the entertainment industry and Liverpool’s Heritage please click on the links.