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Fairfield Halls – Little Manhattan Audio Trail Transcript

The Fairfield Halls building is named after the plot of land it’s built on, which is where Croydon’s historic fairs were held for centuries. The fairs traditionally held there were brought to an end in the 1860s when work began to build Croydon Central Station, whose platforms were on the site of what is now Queen’s Gardens and the Town Hall. The station closed in 1890 because it was unprofitable, and after it was demolished a short section from the main line as far as Park Lane remained in use as Fairfield Yard. This engineer’s yard operated until the 1930s when it was bought by Croydon Council, who promoted a competition in 1935 to design a new Civic Centre for the future. Plans were delayed by the outbreak of war and resurrected in the mid-1950s.

After the completion of the Technical College in 1959, the priority for the redevelopment programme was entertainment and cultural facilities. The old Public Halls on the corner of George Street and Wellesley Road had been demolished in 1957, while on the High Street, the Davis Theatre and the Grand Theatre had both closed in 1959 and been replaced by Davis House and Grosvenor House office blocks.

To fulfil the need for a new cultural venue, Fairfield Halls was built between 1960 and 1962 by Robert Atkinson and Partners.  Using a very different style to their building of the Technical College, a large central concert hall with the auditorium at first-floor level was built between the smaller Ashcroft Theatre and the Arnhem Gallery.  The building’s appearance is very similar to a scaled-down version of London’s Royal Festival Hall, built a decade earlier.  Hope Bagenal was the acoustic consultant on both projects, and Fairfield Hall’s acoustics benefited greatly from what had been learnt on the Royal Festival Hall’s earlier build. Consequently, Fairfield Halls’ world-class 1,802-seat Concert Hall is famed for its acoustics, which are regarded as amongst the best in the UK, resulting in many classical recordings and rehearsals taking place in Croydon. 

Fairfield Halls was opened by Her Majesty the Queen Mother in November 1962. The inaugural performance in the concert hall was given by the BBC Symphony Orchestra led by Sir Malcolm Sergeant with soloist Yehudi Menuhin.  In the Ashcroft Theatre, Peggy Ashcroft delivered a monologue written especially by John Betjemin, followed by the play, Royal Gambit with Michael Denison and Dulcie Gray.

The following year, on the 25th of April 1963, the concert hall hosted two performances by a new band called the Beatles, as part of a Mersey Beat Tour just a month after their first album, Please Please Me was released.   A young man, Andy Wright, who was doing work experience at the halls, had a camera with him and captured some unique early images of the group on stage which were rediscovered nearly 50 years later.  

Control for the Fairfield Halls passed from the Council to a charitable trust in 1993. In 2016, the building closed for major refurbishment and re-opened in September 2019 managed by BH Live, a social interest company based in Bournemouth.  Many of the building’s 1960s features have been refurbished and remain to showcase the history of the building.

By |2023-09-01T15:35:42+00:001 September 2023||0 Comments

Terms & Conditions for FilmMerton Short Films

  1. The commission is delivered as part of FilmMerton
  2. The “applicant” is the named person making the application.  However, there is no limit to the amount of people who can be involved in making each film
  3. For the Established Filmmaker commissions, applicants must be resident or studying in the United Kingdom
  4. For Young Merton Filmmaker commissions, applicants must be aged 18-25 and living in the Borough of Merton on date of application
  5. The fee will be payable in three stages:

Established Filmmakers:

FIRST £3,000 (week of 25th February 2019) on approval of production plan

SECOND £3,000 after progress meeting (week of 17th June 2019)  

FINAL £1,000 on receipt of final edited film (week of 23rd September 2019)

Young Filmmakers (18-25):

FIRST £250 (week of 25th February 2019) on approval of production plan

SECOND £200 after progress meeting (week of 17th June 2019)  

FINAL £50 on receipt of final edited film (week of 23rd September 2019)

  1. No additional expenses will be paid for by FilmMerton
  2. The selection panel will comprise representatives from film industry and Merton Cultural Advisory Group
  3. Closing date for applications is 6th January 2019
  4. Films must be produced between March and September 2019
  5. Copyright (IP) of films will be held jointly with the filmmaker and FilmMerton
  6. Each film must include an end card (supplied by FilmMerton) displaying FilmMerton and funder/sponsor logos
  7. Established Filmmakers must commit to obtaining their own public liability insurance up to £1,000,000 and ensure that all equipment is adequately insured by the start of the project. Young Filmmakers will be assisted by FilmMerton with insurance requirements
  8. In submitting a film all filmmakers must declare that all music copyright is agreed and paid for
  9. All filmmakers must obtain signed release forms from all contributors and share these with FilmMerton
  10. FilmMerton reserves the right to make changes to these terms and conditions if necessary
  11. On selection successful applicants will be required to sign a letter of agreement containing full details of commitment and delivery of materials before the advance payment of the commission fee is paid.
  12. Commissioned Young Merton Filmmakers will be offered a maximum of 5 mentoring sessions with an industry expert
  13. 8 shortlisted Young Filmmakers will be offered a place on the BFI Future Film Festival on 21-24 February 2019

Privacy note: FilmMerton will not share your personal information

By |2018-11-07T10:21:28+00:007 November 2018||0 Comments

Fast Cast and Creatives

Caroline Lawrie

Theatre includes: FAST Digital Drama, Brighton Festival, Deeds Not Words, Digital Drama, The Swiss Church, Last Tango In Little Grimley, Grin & Tonic, World Cruise.  A Jolly Sinister Jape, Grin & Tonic, World Cruise. Emma, The Good Theatre Company, National Tour. Original Spin, Oddkast Theatre Company, The Criterion Theatre & The New End Theatre Hampstead.  An Ideal Husband, The Peter Hall Company, The Old Vic Theatre. The Master Builder, The Peter Hall Company Theatre Royal Haymarket. On Approval, The Peter Hall Company, The Playhouse Theatre. As You Like It, DP Productions, National Tour.  Blithe Spirit, One For The Road, Dry Rot, Habeus Corpus & The Secretary Bird, all for The Gaiety Theatre.

Television Work Includes: Hard Sun, Peaky Blinders, Doctors, The Bill, & Barbara 2.

Radio includes: Various productions for The English Speaking Theatre Company most recently playing The Life story of Amy Johnson.

This is Caroline’s 3rd production for Digital Drama and 2nd visit to The Edinburgh Fringe Festival having played Lady Capulet in Romeo And Juliet for Shakespeare 4 Kidz.

Stephanie James

Theatre credits include: Assisted Suicide: The Musical (The Royal Festival Hall & Melbourne International Comedy Festival), The Lonely Soldier Monologues (The Cockpit, London), BNWT (The Arts Theatre, London),Alleluiah (The Lost Theatre, London), Shot At Dawn (The Mumford Theatre, Cambridge), Henna Night (Edinburgh Festival Fringe), Cabaret (The Workshop Theatre, London), The Critic (Rondo Theatre, Bath) Playhouse Creatures (Stage at Leeds) Arcadia, Cyrano De Bergerac (Appletree Theatre, Oxford).

Film includes: Mile End (winner of Best Narrative Feature at the New York City Independent Film Festival 2016 & nominated for Best UK Feature Film at Raindance 2015) and Independence Day (winner of the BFI Shorts Competition).

Stephanie also performs with award winning theatre company Look Left Look Right most recently tap dancing at the UNICEF Halloween ball; in You Once Said Yes (The Nuffield Theatre, Southampton) and Last Night at the Caledonia Club (The Oval Space, London).

Stephanie is one of the founding members of The Gazebo Effect: a writing, performance and consultancy collective: www.thegazeboeffect.co.uk

Kate Barton

Kate Barton is a playwright and actor and has been nominated for awards in both areas. She has an MSt in Creative Writing from Cambridge University and was mentored by playwright Craig Baxter and screenwriter Stephen Bennett.  Her final-year play Fast received a Distinction and the Kate Bertram prize from Lucy Cavendish College and is now under contract to Digital Drama.  Kate enjoys writing unique pieces for radio and stage and has also worked on commissions for the International Youth Arts Festival and The Museum of London.  She is currently developing material for a verbatim piece of theatre.

As an actor, Kate trained at The Poor School and with Shakespeare’s Globe practitioner Emily Jenkins.  Recent credits include Ava in the animation Being Good (short listed for Best Animation the Paris Art and Movie Awards and the Los Angeles Independent Film Festival Awards) and classical roles including Kate in Taming of the Shrew and Richard in Richard II, both of which received Best Actor nominations.

www.katebarton.net

Stephen Critchlow

Theatre work includes;This House National tour for Headlong/RNT,Loyalty and Filthy Business at Hampstead Theatre, The Men From The Ministry Reloaded at The White Bear,The 39 Steps at The Criterion Theatre, Pygmalion at The Albery Theatre, Hamlet at The Gielgud Theatre, Cyrano De Bergerac at The Royal National Theatre. Seasons at Birmingham Rep, Theatre Royal Northampton and Salisbury Playhouse. Also a National tour of Round The Horne Revisited.

TV work includes; Downton Abbey, Little Lord Fauntleroy, The Prince And The Pauper, Cider With Rosie, Heartbeat, Red Dwarf 11, Miranda, Coronation Street, Casualty, Holby City, Doctors, Skins, Hattie, Fantabuloza, The Armando Iannucci show, The Railway Murder, The Thieving Headmistress, Guerrilla and Trial And Retribution.  

Film work includes;  A Way Through The Woods, Fogbound, The Calcium Kid and Churchill The Hollywood Years.

Many Radio Productions as a member of The BBC Radio Drama Company. Recordings include The Poems of William Blake, Classic Ghost Stories and A Christmas Carol as Audio Books.

Kate Valentine – Director

Kate is the founding director of Digital Drama and consequently has directed the immersive drama Deeds Not Words in Covent Garden, the audio drama Peace in Our Time, which won Gold at the New York Radio Festival and The Shakespeare Hut for which she won best multi-media producer at the Audio Awards.

As a child Kate attended  the Anna Scher drama school, acting in the theatre and TV before reading Drama at Hull University. As a director, she worked with Alan Ayckbourn at the Stephen Joseph Theatre in Scarborough, at the National Theatre, Royal Court and numerous fringe theatres. Kate trained as a drama producer in BBC Radio Drama, and directed numerous plays for Radio 4 and Radio 3.

Ben Bull – Lighting and Projection Designer

Ben is a student at RADA training in Lighting and Video design. Previous RADA credits: RADA Festival – Chief Electrician, Rotterdam – Lighting and Video Design, Women Beware Women – Lighting and Video Programmer, Assassins the Musical – Video Designer, Henry IV – Lighting Designer, Something Unspoken and Suddenly Last Summer – Production Electrician.

Professional credits: An Officer and a Gentleman – Automation Programmer (Directed by Nikolai Foster).He works regularly at the Curve Theatre, Leicester.

David Chilton – Sound Designer

David Chilton trained at the BBC Radiophonic Workshop and has been making radio programmes for over 30 years, winning many awards (including BBC Audio Awards, New York Festivals Awards and Sony Gold Drama Awards) for his sound design, editing and music composition on radio dramas and features.

Rachel Smith – Stage Manager

Theatre credits: What we left behind (Barbican Open Lab Showcase), Hansel and Gretel (Iris theatre), Macbeth (Iris theatre), Connections Festival (National Theatre), New views (National Theatre).

By |2019-11-27T15:36:10+00:0013 August 2018||0 Comments

‘Literary Caregiving’: Women, books and the First World War

Author: Sara Haslam

Since 2015, I’ve been working on the story of Helen Mary Gaskell’s War Library. This prime example of what I call ‘literary caregiving’ was begun in London in the same month war was declared in order to help wounded soldiers. Gaskell’s vision was of a library stocked with donated books, communicating care from those in the UK who sent books at the same time as delivering, by literary means, distraction, entertainment, information, comfort, and relaxation for traumatised bodies and minds.

The War Library was incredibly successful from the outset. It affiliated with the Red Cross in 1915, which helped raise its profile as well as meaning it could operate more successfully. Until that point, May Gaskell, as she was known, funded the library along with her brother, Beresford Melville, and a few wealthy and influential friends, including some politicians. Lady Battersea offered her Marble Arch mansion, then standing empty, to house the donated books. Viscount Samuel, the Postmaster General, wrote later of his pleasure at heading the department responsible for administering the War Library’s national collections and international deliveries. Affiliation with the Red Cross opened the way to accessing better funding for the project, and The Times newspaper was particularly friendly to the library, carrying many advertisements and letters to spread the word. I tell the story of this library in an article forthcoming in the Journal of Medical History.

I came across Digital Drama’s projects on Endell Street Military Hospital online during my research. Endell Street also had a library, and I was interested in the links between these two war-time book-related ventures. I dropped an enquiry to Digital Drama’s contact address, and was amazed on Alison Ramsey’s reply to learn that she also works part-time at the Open University in London. She invited me to the immersive drama the company produced about Endell Street (which was a huge treat to see), and introduced me to Dr Jennian Geddes. Jennian’s article on Endell Street, ‘Deeds and Words in the Suffrage Military Hospital in Endell Street’, published in Medical History (2007), is a must-read for anyone working this field.

Endell Street’s library was run by two prominent members of the Women Writers’ Suffrage League, founded in 1908 by Cicely Hamilton and Bessie Hatton. The aim of the WWSL was to obtain the franchise on the same terms as men, and it sought to do this through use of the pen. Elizabeth Robins, an American actress and writer, was one of the first members of the WWSL, and its first president. The British novelist Beatrice Harraden was another of the organisation’s first members and she served as librarian at Endell Street from 1915 until it closed, joined by Elizabeth Robins for the first year or so. The philosophy of this library, like Gaskell’s, was a reader-led one. In other words, these women made an operational decision to cater for the readers’ requests when it came to their reading matter, rather than to impose their idea of what might be termed ‘improving’ reading upon them. The wounded men’s fears of having their lack of education exposed, or of being made fun of for their tastes in more popular literature, for example, were eased in this way. The librarians’ seat at their bedside became an opportunity to enjoy conversation and experience care based on books and reading.

Books were part of the men’s cure, therefore, and their availability was part of what I see as care ‘in the round’ at this hospital. It is a pleasure to be working on this story as a literature specialist, experiencing during my research my own belief in the positive power of books becoming increasingly evidenced in this way. I’m writing up the results now in a co-authored piece on war-time bibliotherapy with my colleague Edmund King.

Digital Drama’s inspiring productions have proved to be a highlight of my research across this past year. Thanks to all involved!

Sara Haslam

Dept of English & Creative Writing

The Open University

www.open.edu/openlearn/history-the-arts/history/100-years-votes-some-women

Deeds Not Words Cast and Crew List

Deeds Not Words Cast & Crew:

Cast:

Col. Sir Horace Toole-Aken – Tim Woodward
Dr Flora Murray – Caroline Lawrie
Dr Vera Scantlebury- Claire See
Nina Last- Natasha Cowley
Gunner Hook- David Sargent

Ensemble:
Lokesh Anand
Natasa Antoniou
Jen Cornwell
Katya Creed
Elise Hill
Katie Hodgin
Diana Lockwood
Christopher Marimootoo
Sarah McClane
Katy Peakay
Caleb Rowan
Nikil Sharma
Jordan Whitby
Charlie Forman
Piers Wood

WRITER – Liz Rigbey
DIRECTOR- Kate Valentine
PRODUCER ARCHIVE ALIVE ENSEMBLE – Rebecca Tremain
MOVEMENT DIRECTOR- Joyce Henderson
PRODUCER – Alison Ramsey
DESIGN CONSULTANT- Kate Rigby
COSTUME SUPERVISOR – Penny Diamond
COSTUME ASSISTANT – Anielle Marimootoo
PHOTOGRAPHER – Anne Koerber
SOUND DESIGNER- David Chilton
TECHNICIAN- Patrick O’Sullivan
PRODUCTION ASSISTANT- Layla Gatens
PRESS CONSULTANT- James Barr
COMMUNITY ARTIST- Becci Kenning
STAGE MANAGEMENT- Sophie Stevens & Rebecca Hitchcox

Front of House:
Aneta Baniak
Maria Bell
Sonia Gomes
Mary Marimootoo
Carly Norton
Vilma Pikelyte
Anna Towlson

With thanks to:
The Women’s Library, LSE Library Collections
Cook-Dickerman Collection
The Mustard Club
Annie Fox and Family
Catherine Bassett and Family
Dr Jennian Geddes

Research:
Morgan Brewster
Katya Creed
Luke Danes
Adenike Ogunkoya

By |2017-10-04T15:24:37+00:004 October 2017||0 Comments
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