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

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.

Abbeydale unveiled

Former Abbeydale Cinema, Sheffield

Former Abbeydale Cinema, Sheffield

Since Phil Robins took ownership of the former Abbeydale Cinema, Sheffield, he’s tidied up the interior so that at last it’s possible to see the entire auditorium from the back of the stalls or the back of the balcony.  The stage remains a forest of scaffolding until the stage-tower roof is made weather-tight.

When the Sheffield Antiques Quarter Christmas Market took place at the Abbeydale I was asked to show people the auditorium, a privilege that gave me opportunity to learn more about the building.

Insurance restrictions meant that visitors were not allowed on the stage or in the circle, so I provided a PowerPoint sequence showing the angles that weren’t accessible.

Talking to people who visited the cinema regularly from the 1950s to the 1970s suggested that there were at least four colour schemes over the years:

  • pale and deep cream and gold from the opening in 1920
  • pale green and gold sometime up to the early 1950s when Cinemascope was introduced
  • white or cream until at least the end of the 1960s
  • the current blue, claret and cream by the beginning of the 1970s

There may have been other colour schemes that only a paint analysis will reveal:  planning documents indicate, for instance, that a major refurbishment took place in 1928 and Clifford Shaw, in Sheffield Cinemas (Sheffield Cinema Society/Tempus 2001) p 101, shows a monochrome image of a decorative scheme that dates from August 1949.

I’m told I was introduced on the PA system as the Abbeydale’s “resident historian”, which led a friend to enquire if I had a flat in the projection room.

He’d no reason to know that in the late 1970s there was a flat in the projection suite after A & F Drake Ltd took it over as an office-equipment showroom.  Later in the day I met a lady who had lived in the flat for a couple of years.

She said that her dad and his mate had spent a night in the auditorium seeking ghostly presences.  The only presence that appeared was her cat.

Oddly, even later in the afternoon a lady asked me about the psychic history of the Abbeydale.  I had to say I didn’t know there was one, but I was able to point her towards the only accredited haunted cinema, the Don on West Bar, which still exists.

People were reassured to know that Phil’s plan to use the Abbeydale as a climbing centre won’t damage the listed interior:  all the climbing installations will be free-standing.  Indeed, one climber, a regular visitor to Phil’s existing centre, The Edge [http://www.sheffieldclimbing.com], said he was looking forward to sitting in the circle with a cup of coffee watching other climbers.

Update:  I read in the Sheffield Cinema Society June 2014 newsletter that Phil Robins has changed his plans:  the climbing-centre project at the Abbeydale isn’t going ahead – indeed, Phil has closed his other climbing centre, The Edge,– and the snooker club has moved out of the Abbeydale’s former ballroom in the basement.  For the first time in its history the entire building is empty.

Sham Castles

The Towers, Scarborough, North Yorkshire

The Towers, Scarborough, North Yorkshire

Castle-by-the-Sea, Scarborough, North Yorkshire

Castle-by-the-Sea, Scarborough, North Yorkshire

Scarborough has three castles – the genuine article which dates back to Roman times, and two Victorian shams which have their own unique appeal.

The Scarborough brewer Thomas Jarvis built The Towers, designed by William Baldwin Stewart in 1866, immediately below the gatehouse of the medieval castle on the promontory that divides Scarborough’s two bays.

He later added the Castle-by-the-Sea, which overlooks the North Bay, at the other end of the little street that became Mulgrave Place, and in 1876 leased it to the Leeds artist, Atkinson Grimshaw (1836-1893).

Atkinson Grimshaw was the son of a Leeds policeman, an ex-railway-clerk who without formal training executed canvases of dusk and moonlight scenes, mainly of coast and harbour settings, with considerable commercial success.

One of his first and finest Scarborough works is ‘Sic Transit Gloria Mundi, the Burning of the Spa Saloon’ (1876), which was probably commissioned by Jarvis and was painted in great haste for the sake of topicality but not publicly exhibited.  It is now in the Scarborough Art Gallery [http://www.scarboroughartgallery.co.uk], along with ‘Scarborough Lights’ (c1877), ‘Burning off a Fishing Boat at Scarborough’ ) and ‘Lights in the Harbour, Scarborough’ (1879).

Atkinson Grimshaw reputedly influenced Bram Stoker into setting Dracula in Whitby.

He’s also regarded as a possible influence on Frank Meadow Sutcliffe, the Whitby photographer.

He returned to Leeds in 1879 after getting into financial difficulties, and went on to paint numerous scenes in Hull, Liverpool, London and Glasgow Docks.

The Castle-by-the-Sea is a notably welcoming bed-and-breakfast hotel, one of the pleasantest places to stay in Scarborough:  http://www.thecastlebythesea.co.uk.

The Towers is a private residence and not open to the public.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.

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.

Glen’s finest

Forum Cinema, Lime Street, Liverpool

Forum Cinema, Lime Street, Liverpool

At the north end of Lime Street, on the opposite side to the Futurist Cinema, is the much more imposing former Forum Cinema, designed for the ABC circuit by William R Glen and Ernest A Shennan and opened in 1931, “one of W R Glen’s finest”, according to the Theatres Trust website:  http://www.theatrestrust.org.uk/resources/theatres/show/2102-forum-liverpool.

This splendid Portland stone building occupies a corner site corresponding to Lewis’s department store at the other end of Lime Street.

Its fine interior, described by some writers as “semi-Atmospheric”, was a celebration of the possibilities of indirect lighting using Holophane reflectors with a sunburst light-feature in the ceiling.  On each side of the proscenium are curious relief panels, supposedly Venetian though both include recognisable representations of the Chrysler Building.

The architects contrived to squeeze a big auditorium, originally 1,835 seats, into a constricted space 150 feet × 75 feet, by creating a huge balcony seating 750 and placing the projection ports high above the rear circle with a throw of 146 feet.

Such a narrow auditorium was less than ideal for wide-screen films, and when the Forum was tripled in 1982 a false ceiling was inserted from the balcony front so that the proportions of the proscenium were lost.

It finally closed in January 1998 with a showing of Casablanca at 50p per seat and has remained unused.  Although (or perhaps because) it’s listed Grade II, the various proposals for the building have so far come to nothing.

A recent urban explorer report shows that the division between stalls and circle has been removed, recovering the original auditorium space:  http://www.derelictplaces.co.uk/main/leisure-sites/32830-abc-cinema-liverpool-march-2016-a.html#.V0O15Y-cGUk.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

Another Futurist bites the dust

Futurist Cinema, Lime Street, Liverpool

Futurist Cinema, Lime Street, Liverpool

As Liverpool city-centre regenerates, the remaining patches of neglect stand out more clearly.

The east side of Lime Street has been neglected for years, and yet the stretch between the Crown and the Vines pubs includes a spectacular landmark building that still, somehow, remains in one piece.

The Futurist Cinema, originally the Lime Street Picture House, was the first purpose-built cinema in Liverpool, opened in 1912.  It was the first to show sound movies, in 1926, three years before The Jazz Singer at the Olympia, West Derby Road.  It converted to Cinemascope in 1954 without interrupting performances, and at the end of its long history it was the only place in Liverpool fitted with Sensurround for the film Earthquake (1975):  [http://www.in70mm.com/newsletter/2004/69/sensurround/about.htm].

It closed in July 1982 and has remained empty and untended ever since.  Kim Ryan’s film of the Merseyside film-maker Alex Cox revisiting the Futurist shows the interior in 2008:   http://www.youtube.com/watch?v=Y2_JRTwP4J0.  An April 2013 news article raises the question of whether the building is beyond saving:  http://www.clickliverpool.com/business/business-news/1218614-back-to-the-future-futurist-building-set-for-revamp.html.

The campaign to save at least the façade of the Futurist is at http://thefuturistcinema.wordpress.com.

A more recent Victorian Society alert to threats to the Lime Street streetscape is at http://www.victoriansociety.org.uk/news/damaging-lime-street-plans-could-further-endanger-liverpools-world-heritage.  This is supplemented by the SAVE Britain’s Heritage objection to demolition:  http://us8.campaign-archive2.com/?u=9ea03bb11e3ccc82634488e2b&id=63d3031744&e=68a86e2740.

Update:  After a protracted legal process, the campaign to save the Futurist failed in August 2016, and demolition followed immediately:  http://www.liverpoolecho.co.uk/news/liverpool-news/demolition-historic-futurist-cinema-begins-11697085.

Futurist Cinema, Lime Street, Liverpool (demolition 2016)                                                    Photo:  John Binns

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

Futurist bites the dust

Futurist Cinema, Scarborough, North Yorkshire (September 2013)

Futurist Cinema, Scarborough, North Yorkshire (September 2013)

Reputedly the largest remaining single-screen cinema auditorium in Britain, with 2,150 seats, the Futurist Cinema, Scarborough closed its doors on Sunday January 5th 2014:  http://www.yorkshirepost.co.uk/news/main-topics/general-news/scarborough-s-futurist-theatre-closes-as-saviour-is-sought-1-6354622.

It was built in 1921 to designs by Frank Tugwell. The stage was first extended for live performances in 1957 and two years later the proscenium was widened.

In 1968, when the stage-area was further enlarged by the impresario Robert Luff to accommodate The Black and White Minstrel Show, the elaborate classical white faience façade was hidden behind plain cladding which has not worn well.

The chartered surveyor Mark Rothery described the building as “past the point of saving for refurbishment” in 2010, and English Heritage has twice declined to list it.

The Borough Council’s report by Kate Wafer and Jennifer Hadley (March 2013) identified these practical disadvantages to the building:

* small stage in relation to the size of the auditorium
* small box-office and bar-areas in relation to the size of the auditorium
* inadequate wing-space
* limited backstage get-in
* small orchestra pit

The lessee since 2002, Barrie Stead, estimated that refurbishment would cost at least £5 million, and regeneration would need at least £250,000 pa revenue subsidy.

Its owners, Scarborough Borough Council, promised to mothball the building for three months to allow the Save Our Futurist campaign [https://www.facebook.com/savethefuturist and http://www.savethefuturist.co.uk/contact/4580371634] to present a £3 million business plan to regenerate the existing auditorium:  http://www.thestage.co.uk/news/2014/01/scarborough-council-close-futurist-theatre-operator-negotiations-fail.

Despite the submission of a 4,000-signature petition in November 2013, no-one could produce a practical plan for the site as an alternative to the Council’s plans for demolition and redevelopment.  An apparently separate e-petition shows 870 signatures:  http://www.yorkshirepost.co.uk/news/main-topics/general-news/scarborough-s-futurist-theatre-closes-as-saviour-is-sought-1-6354622.

Eventually, in 2018, the Futurist was demolished at a cost of £4.2 million.

Mr Vines’ hotel

Vines Hotel, Lime Street, Liverpool

Vines Hotel, Lime Street, Liverpool

The Vines Hotel, next door to the Adelphi, is a sister pub to the splendid Philharmonic Hotel on Hope Street, designed by the architect Walter Thomas.  It’s a little later than the Phil, opened in 1907, so its mahogany, copper, glass and plaster interior has a distinctly Art Nouveau feel.

Alcohol has been served here since 1823, and the present building takes its name from its late-Victorian licensee, Albert B Vines, who came to the site in 1867.

Because of its location at the end of Lime Street the Vines has traditionally been noisier than the Phil.  Indeed, one reviewer [http://www.yelp.co.uk/biz/the-vines-liverpool] comments,–

The Vines will usually give you a fairly rockin’ Friday, Saturday and indeed Sunday evening provided what rocks you are karaoke and somebody’s grandmother pinching your arse.

Architectural-history enthusiasts may choose to visit for breakfast.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.