www.attic-

players.co.uk

Part 1:

Forward

After a long period of preparation I am delighted that the history of the Attic Players

 – a project originally initiated for the millennium – is to be published.

With so much of Skelmorlie disappearing fast, it is vital to have an account

of one of the activities that gives this village its vitality and unique character.

To those who have contributed in any way we are extremely grateful.

To those reading it, may you appreciate the community which this group has generated.

Dora Beeteson

Chairperson 2003

Background.

Act I: Pre-war Days.

Act II: Post-war: The Mir-a-Mar Years.

Act III. The Stroove years.

Act IV, Skelmorlie and Wemyss Bay Community Centre.

Membership

Financial Information

It has been suggested that, with the arrival of the new millennium, now would be an appropriate time to write a history of one of Skelmorlie and Wemyss Bay’s most enduring clubs, the Attic Players, only the Bowling and golf clubs are older. However, having some knowledge of the long tradition of clubs and entertainments in the village, since the beginning of the 1900’s, it occurred to me that some record should be made of their wide variety.

Concerts, with local talent, were a regular feature of village life. There was even at least one ceidlth early in the century. At that time there were quite a large number of people around whose first language was Gaelic. Early in the 1900’s football, badminton and the harriers were going strong. Most of these activities were centred on the recreation hall and football field, sited on what is now Annetyard housing estate. This was also the venue for fetes and the school sports.

About 1911, possibly in celebration of George V’s Coronation, the local school children, under the direction of two teachers, the misses Burns, gave a performance in song and story called ‘Britannia’s Reception’. The children (including Jean Pearson and Ruby McCaskie) were dressed in the various costumes of the Empire, and each sang a song or gave some story of the country they represented. About a year later they gave another presentation again in costume, called ‘Princess Ida’, which I understand was a Cantata. During the First World War the children of the village were invited to film shows in the Angus family’s private theatre at Mir-a-mar. Photographs of these three events were still in existence in the late 1980s. Sadly, no more!

In the 1920’s, in addition to all the other activities, such as whist drives and dances, to the local four-piece band, there was a flourishing debating society. They held their debates in the South Church hall, which, incidentally, was where the Masons held their meetings; they were mostly local men in those days! But I digress: In 1927 the members of the debating society put on a production of the three-act play ‘Bunty Pulls the Strings.’ As a small child one, now elderly lady, was taken to that performance. Her enduring memories of that night the profusion of toys for Bunty, the cold and scratchiness of her seat on the sloping window ledge, and of being passed overhead from person to person on her early retiral. The hall was absolutely packed. This then was the community that in 1932 spawned the Attic Players.

The club was formed by a small group of friends under the direction of Miss Helen Paterson. The founder members were Miss Paterson, Mrs. Hugh Montgomery, Mr Fletcher Montgomery, all local, and Miss Jane McLachlan and Mr Bruce McLachlan, two friends of the Montgomery’s who lived in Gourock. These five met in Miss Paterson house and decided to try to form a dramatic society. By invitation they were quickly joined by five others. Two from the by then defunct debating society, Mr Hugh Hutchison and Miss Elizabeth Finch, and three other young ladies the Misses Margaret and Patricia McFarlane and Miss Elizabeth Robb. The name of the club the Attic Players was decided on not, as some have thought, from any high flown ideas of ancient Greece, but simply because rehearsals were to be held in the Attic of Miss Paterson’s home, Belmar. In September 1932 rehearsals started, by December of that year the first production, three one act plays, ‘Coortin’ Christina’, ‘Over the Garden Wall’and ‘The Wooin’ O’t’ were staged in the Recreation Hall. The Largs and Millport Weekly News of 3rd December 1932 gave a full account of their performance. It also mentioned the boisterous weather. Boisterous! It blew a howling gale and poured. Nevertheless the hall was full on both nights. Those who could afford them rolled up in their Rolls Royces, Bentleys and Morris Cowleys. Those who could not, splashed their way through the torrent. The hall had no heating system, so paraffin stoves had been hastily assembled to provide some heat. The smell of the paraffin stoves and drying clothes was all pervading. But no one minded, people came to enjoy themselves, and it was for a good cause; ‘The Skelmorlie and Wemyss Bay Nursing and Benevolent Association’. By how much the ‘cause’ benefited I do not know, but it couldn’t have been a large sum because no tickets were issued, entry was by a silver collection. One nine year old’s contribution 6d.

Many features of that first performance were continued until the late 1960s. Proceedings always started with the National Anthem, and there was always a chairman who thanked the Players. The Earl of Eglinton was the first, followed by Mr Galbraith of Dalgarven, Lord Inverclyde, Mr McCartney of Ochiltree, Mr J Hally Brown and others, though these were the most regular. The first few productions were in ‘drapes’. In truth anyone’s old curtains that were long enough. The stage set, apart from anything that had to be sat on or tables, was freestanding painted cardboard. For windows and doors the Players had to use their imagination; so too did the audience. The one piece of equipment the club had were the ‘footlights’, which were made by one of the stage crew. These, with the addition of the switchboard and light battens were in use until 1975.

In 1933 the club’s second production was a three act play, ‘Fishpingle’. This was followed by ‘Auld Nick’ and ‘Crony O Mine’. All Scottish plays. The latter two were so successful that they were repeated within four years. In November 1936 ‘Crony O Mine’ was produced in the more salubrious venues of the residents lounge of Skelmorlie Hydro hotel, and in Barrfields Pavilion Largs on 8th. of January 1937.

Drapes were still in use, but a few free-standing pieces such as windows and doors had been made to give authenticity to the set. Though very comfortable for both audience and players, the Hydro lounge was too small to accommodate a large audience and tickets had to be issued to restrict numbers. Price of admission; one shilling and sixpence (or 15 new pence to the uninitiated). Obviously restricting audience numbers was not on, and new premises had to be found. The club was lucky! Mr and Mrs Bradley who by then owned Mira-a-Mar, which they ran as an hotel, offered the use of the theatre for productions, though rehearsals had to be held elsewhere. The contrast between the two could not be more stark. The autumn of 1937 was cold and very frosty. ‘Elsewhere’ was the attic over the electricity generating station beside the Hydro. Owned by the Skelmorlie and Wemyss Bay Gas and Electricity Supply Company Ltd. A company formed before the beginning of the century by local ship owners, mill owners, lawyers, brokers, and other well-heeled residents, and still in existence until nationalisation in the late 50’s. Their fine boast ‘that Wemyss Bay Station had electricity before Glasgow Central’ - is fact. That is local history but I make no apology for mentioning it.

Now - back to their attic. It was intended only for storage of cables and other bits and pieces and was in no way heated or comfortable. The door wasn’t a good fit, furniture was improvised with packing cases, the producer bought a couple of folding chairs and a stool for himself, someone provided an Aladdin paraffin heater, which wasn’t much use unless you were near it, so those not acting huddled together on a heap of straw near the draughty door cocooned in coats, hats, scarves, woolly stockings etc. and still shivered - but it was fun!!

Mir-a-mar theatre being purpose built, was lovely. The stage, though small, was properly raked, there was a fine, though not too ornate, proscenium arch, off left were dressing and make up rooms complete with mirrors, make up shelf, toilets, wash hand basins and good lighting. Off right, behind the arch, sufficient room for small props and anyone who had to exit that way. The club immediately built a portable extension to enlarge the stage and they also bought curtain material and had new curtains made. (Some of the ladies were very handy with a ‘Singer’).

The hall itself held about 120 and there was in addition a balcony which held about thirty. The balcony was reached by two narrow staircases on either side of double doors which led to the billiard room of the house. On occasions these stairs were also used as overflow seating especially in the late 40’s and 50’s. Most importantly of all, the acoustics in the hall were excellent. The club had landed in an amateur dramatic heaven. The first production there was another Scots comedy called ‘Apron Strings’, but the new producer Donald Napier, a man of immense talent and vitality, had other ideas, much more ambitious. To him we are owe the first written constitution, the first box set, and the first break with kitchen comedy, all his ideas, though the last of these did not materialise until 1938; a good set had first priority. His second production was a repeat of ‘Auld Nick’ then, having recruited Robert Clark as a joiner and his friend Terence Cook from Paisley as an electrical engineer and general factotum, he produced Barrie’s ‘What Every Woman Knows’. Box set with scene change, super lighting and memorable performances especially by Maud Davidson as La Comtesse de la Briere. Altogether a triumph! He’d even borrowed curtains from Lord Inverclyde to grace the stage. But what are friends for? Tickets by 1939 cost 1/-, 2/- and reserved seats 3/-. The Spring production in 1939 was the Lancashire comedy ‘None so Blind, another success and long remembered for the sensational, dazzling purple sequinned evening gown, worn by one of the ladies in one act. That dress, borrowed of course, had first seen the light of evening on the maiden voyage of the liner Queen Mary. Think of Marilyn Monroe and you’ve got it!!

The autumn production was to have been ‘Storm in a Tea Cup’. Sadly the great storm that was to engulf Britain and Europe made his dream impossible. As a territorial army officer Donnie was called up in August of that year and was killed in the battle for Singapore. Though most of the male members of the club served in the forces, Donnie was the only casualty. Having known him, I expect he was leading from the front as usual.

From 1939 until 1947 the club was more or less in abeyance. Though one production of three one act plays, written by a local lady, who wrote one acts under the pseudonym of Allan Drysdale, did take place in 1940, with all female casts. Though well attended, blackout, shortage of players, and the general upheaval of the war years made carrying on almost impossible. Though, like the Windmill, the club didn’t close down completely. Some of the older ladies rehearsed little sketches for the entertainment of the patients at Ardgowan House, Inverkip. Ardgowan was a Naval convalescent home during the war years.

I mentioned earlier that the club had been given a written constitution in 1938. And I think it worthwhile to repeat some of it here in shortened form:

1. Club name the Attic Players

2. Aims

a. To entertain audiences.

b. To encourage the public to take an interest in it, so that the club is in a financial position to make annual donations to deserving causes.

c. To encourages its members to take a serious interest in Dramatic art and the Theatre in all its aspects.

The next clauses refer to membership and the running of the club and would be of little interest to non- members. One original clause which may be of interest referred to the Mearns Taylor Memorial Fund. Dr John Mearns Taylor was the local doctor who served Skelmorlie, Wemyss Bay and Inverkip from the late 1890’s until his death about 1930. The fund was raised in appreciative memory of his long service and devotion to the three communities. Times have changed; three doctors now and a community that has quadrupled in size I’m sure. Three not too sleepy villages fast becoming three dormitory suburbs. Such is the march of time.

Now to the post-war years of the club which, save for its Renaissance, I propose to deal with in periods of approximately ten years. Why? Because in the early 1980’s the club’s post-war records were lost, and I must rely solely on my own and others memories and mementoes of the years until then. The records had passed through so many secretaries hands since 1947, that there was almost bound to come a time when a slip-up would happen and records would be lost. The blow to the club was, nonetheless, severe.

In the spring of 1947 a small paragraph appeared in the Skelmorlie notes of the Largs and Millport Weekly News inviting anyone interested in reviving the Attic Players to attend a meeting in the School at an early future date. The evening duly arrived. Attendance was, to say the least, disappointing. Seven in all, and apologies from one person, but pledging support. Those present were Miss Helen Paterson, Mrs. Hugh Montgomery, Mr Fletcher Montgomery, the about to be married Miss Dorothy Montgomery, all former members. Miss Laura McWhinnie, a former junior member, and two new faces, Miss Elizabeth Park and Miss Montgomery’s fiancee Mr Jack Morgan. Apologies were received from Mrs Alec Cairns with offer of support.

Further bad news was to come. Fletcher, who had been a founder member and pre-war Secretary, came, bearing the club’s books, to announce that, owing to the fact that he no longer lived in Skelmorlie and now had a young family, he had come to resign. Jack, still in uniform, was due to rejoin his regiment in two days, but did say that until his release from the forces all he could contribute was assistance if required during future leaves, and his undying love for Dorothy. It was a small but merry meeting. Fletcher was duly relieved of the books. Mrs Cairns who had been secretary before Fletcher was to be invited to take up office once more. All resolved to try to find new members, and a further meeting would be held when a few had been found. Hope springs eternal as the saying goes. The meeting ended. Not an auspicious start, but they had resolved to at least have a go.

By late September of that year a sufficient number of others have been cajoled into joining and rehearsals for the first post-war production started in November. The play chosen was ‘Square Pegs’, not I may say, a Scots comedy, but a straight play with a cast of six. It must have been deemed a success, for from that one production more volunteers started to join the club, giving more scope for larger casts.

The venue was Mir-a-Mar where the Bradley family had kindly stored the curtains, flats and lights for the club all through the war years. So, stagewise, the club got off to a flying start. The audiences too deserve mention. Despite the fact that few had cars and that Mir-a-Mar was quite a way from the village on the Shore Road, the club were faithfully supported. This healthy state of affairs continued unbroken during the Mir-a-Mar years. Attic Players productions were real social occasions in those days. Dinner jacketed gentlemen and dinner gowned ladies happily mingled with village people dressed in their best. Pre-war graciousness died hard in this area. Pre show dinner in the hotel could be booked, and during the interval drinks could be bought in the billiard room and teas with sandwiches and cakes in the dining room. A real evening out, though it did tend to make the main interval rather long.

The club continued its policy of a mixed variety of plays. ‘The Beannachie Bomb,’ ‘The Man in Dark Glasses,’ ‘Aunt Janet,’ ‘Beneath the Wee Red Lums,’ ‘The Late Christopher Beane,’ ‘Message for Margaret,’ ‘Laburnam Grove,’ ‘Green Liqueur' and ‘Blithe Spirit’ spring to mind. The club also continued to retain only expenses, and in the aftermath of the war, most donations were made to Erskine Hospital. Not a local charity, but you’ll agree a most deserving one. Sadly, by the mid 1950s Mir-a-Mar, having changed hands, the club was no longer allowed use of the theatre for productions. Ralstons hotels Ltd. had taken Mir-a-Mar and their insurance did not cover the letting of the theatre. Reluctantly we had to leave, lock, stock and barrel.

Stroove, the original community centre, then became the centre of the club’s activities. Rehearsals had been held there since 1947, but no productions. the stage was sectional, designed for the organ alcove, rather narrow with no ‘wings’ space and with no access other than by a trap door. Perfectly suitable for concerts or dances but, for plays where people have to go on and off, really rather useless. However, having sought and got permission to store our flats and acquired gear in the attic above the old laundry on the south side of the house, it was decided to ask permission to erect the stage against the main door of the building. Permission granted, but a sting in the tail. The stage couldn’t be erected till the evening prior to the show. This was accepted as being fair, others did use the centre, and we were gaining access to both the dining room and kitchen off left and the library off right.

This was a very good arrangement giving dressing room access and lots of room for props etc. But it had disadvantages too. Most of the club members worked during the day in Largs, Greenock, Paisley and Glasgow. Seven thirty was the earliest they could be expected to be home, fed and at the centre, and there was a lot to be done before the dress rehearsal could start.

The first priority was to bring the, by then, rather fragile flats, and other bits and pieces round from the laundry. The ladies job. No easy task, the wooden stairway was exposed to the elements, rather slippery, and unlit. Each slip or fall did more damage to the flats, the damage to the bearers was laughed off. Then came the heavy work. The stage sections were stored in what had been the boot room in the porch. This job was left to the men. When all this was assembled in the hall the main door could be closed and with much hammering, banging, quite a few expletives, and a lot of laughter and banter, the bones of the set were put up. By which time everyone was ready for a tea break. Two hours or more had passed all too quickly. There was still a lot to be done to the set but rehearsal had to start if we wanted to get home at all. Rehearsals would start while doors and windows were being hung and cracks and tears in the canvas flats patched up with paste and yards of toilet roll. Needless to say there was a lot of ‘Could you hold this level’ or ‘Hand me that’, ‘I want to move this ladder’ or ‘I’m going to hammer for a minute.’ Then out would come the emulsion and paint pots. All too often an exhausted band of players would wend their way home at one in the morning. How or why we did it and called it relaxation I’ll never know. Perhaps the friendship and general good spirit was the answer. For there were very few grumbles, or petty quarrels.

During this period a great variety of plays were again produced, ‘Suspect’, ‘The Wishing Well’, ‘The Late Edwina Black’, ‘the Man from Toronto’, ‘Community Centre, and ‘Strike Happy, are some remembered, but there were, of course, many more. Productions, as at Mir-a-Mar, took place twice a year, but for two nights only. Audiences continued to be very supportive, in fact on several occasions the hall, which was supposed to hold 100 people maximum held up to one third more. The local policeman paid his duty visit, gave a warning look, and would remark ‘You’ve a big crowd in tonight.’ But fortunately took no further action. We did, however have a letter from J. Hally Brown reminding us of the hall capacity.

In the 50’s and early 60’s the club, by invitation, also gave performances in Inverkip, Greenock and Paisley.

During the sixties there was a period when the club produced more Scottish plays than at almost any other time. ‘Johnny Jouk the Gibbet’, the Duncan MacRae classic, being one, ‘The Piper of Kinlourlie’, ‘Cobblers Luck’, and ‘Haul for the Shore’. Though the latter was set in Cornwall it translated reasonably well to a Scottish setting. However, by this time the club had exhausted the Brown Son and Ferguson catalogue of Scottish plays, so there was nothing for it but to revert to Samuel French or Kenyon Deane.

In the mid sixties Skelmorlie was expanding rapidly, and by ones and twos the new inhabitants came along to join the club, mostly from South of the border. What had been mild parochialism suddenly became nationalism and tensions began to be felt. This, combined with the fact that the club had run the gamut of Scottish plays, some staunch older members began to drift away. Had it not been for the ‘incomers’ the club would have surely died. Stroove was sold by 1970 and for the next three years the club gave only one public performance in the North Church Hall. To keep the club together and alive, visits were made to Red Cross House in Largs to entertain the residents there.

The new centre was opened in 1973. It stands on the site of the old workmens rest, a wooden building with corrugated iron roof which housed two billiard rooms, a reading room, the library and registrar (births, marriages and deaths) and a caretaker’s house. The book about the centre tells how it was financed so no more need be said on that, except how lucky the community was to be given such a beautiful building. Wemyss Bay now has a Centre of its own, sadly, though built with public money, not so aesthetically pleasing, comfortable or well appointed as that given to the original community by Mr. and Mrs. J Hally Brown.

The club’s first requirement was new flats, since the ceiling height above the platform was much greater than at any of the previous venues. These were more sturdy efforts of hardboard on wood frames. Fortunately these could be stored stage left behind the curtains, so less carrying. Storage for other bits and pieces was in what came to be known as the ‘howf’ upstairs under the slope of the roof. Another Attic! All very convenient with only one small niggle, acoustics. Sadly these are not as good as at any of the previous places and it is noted that microphones are now being used for some productions.

Plays during the Seventies? Only one Scottish one was produced, ‘Highland Gathering’. This was an unpublished play written by the Rev James L. Dow, a Greenock Minister. We were fortunate to be given a copy when we enquired about it, and we have permission to stage it at any time. No royalties to be paid; funny, and worth a re- run having mixed Scottish and English characters! Some of the others produced were ‘But Once a Year’, ‘Too Soon for Daisies’, ‘Your Obedient Servant’, ‘All Set for Murder’, ‘Thriller of the Year’ and of course, since two plays the year were still the norm, many more. Perhaps those missing records are really a blessing in disguise as what is supposed to be a history of the club would read more like a play catalogue.

By the early 1970s audiences, sadly, began to fall. Why? A combination of factors. Television had really arrived with the new relay station at Toward, previously most people could only receive Irish TV, more cars, more mobility, and saddest of all, the ‘them and us’ attitude over the village expansion. As it was put rather plaintively by one audience member ‘It was very good, but I didn’t know any of them’. Should that matter? ‘Very good’ would probably be a fair verdict on most of the productions. By the late 70s audience numbers had dropped so significantly that performances took place on two nights only instead of the heyday three, even so, sixty to eighty a night was considered a good audience.

The 1980s are rather better documented than previous decades, but it would be unfair to mention many more plays than in previous years. Club membership had changed a great deal and feelings of former members would undoubtedly be hurt if their particular plays hadn’t been mentioned and all those of the 1980s listed. So once more I will confine myself to a few. ‘Pools Paradise’, ‘Raising the Roof’, ‘The Paper Chain’, ‘Sailor Beware’, ‘Running Riot’ and ‘Pardon me Prime Minister’ were just some of the successes, though not all had the large audiences they deserved. There was one notable exception.

1982 was the club’s 50th. anniversary, and to mark the occasion it was decided to contact as many old members as possible to attend a dinner in Springfield hotel in Largs. The response was really excellent, In all seventy four people attended. One founder member, the former Margaret Macfarlane now Mrs John Struthers, and her husband, nephew of Miss Paterson the club’s prime mover, both by then in their eighties, came from Ayr to attend. Twelve of those present were in fact Pre-war members, and almost all travelled considerable distances to be present. Some who had gone overseas took the trouble to send their good wishes for the evening and the clubs continued success. It was a very enjoyable occasion; slightly marred by one sour note. When the chairman, who happened to be English, rose to welcome the company and to introduce Mr. and Mrs. Struthers, our two most important guests, there was a distinct sound of objection from small coterie in one corner of the dining room. It is hoped that they embarrassed themselves as much as they did some of the truly older member. Because their action certainly provoked comment from several.

It had been hoped that the dinner get together would revive enthusiasm in some former members still living in the area, either to rejoin the club or, at least, to attend shows. It was not to be. The club’s anniversary production was to be ‘Kind Cousin’, a drama. It also turned out to be the club’s nadir for audience attendance. Granted the Friday night was very wet and stormy, granted that Saturday had Miss World on TV, but to play to an audience of two, a former pre-war member and former chairman, and his wife who, despite the atrocious weather, had come from Largs, was humiliating. The Saturday performance wasn’t much better. Audience under thirty. Happily a succession of comedies and more interest from new villagers allowed the club to survive. I know only too well that my views on integration are not popular with quite a few, but The Attic Players has become something of an institution in the village, and survival is all.

It is interesting to note that since 1947 very few repeat performances of plays have been staged. Only three, ‘Blithe Spirit’, ‘Community Centre’ and ‘Strike Happy’. A fourth was rehearsed but it was obvious from poor attendances at rehearsals that the club had no heart for it so it was cancelled. No one was happy about it, but cancellation was thought preferable to a poor show. The club’s 60th anniversary in 1992, of the production ‘Play On’, brought out the largest audience for many years; full houses both nights. The Saturday night in particular found the backstage crew racing around putting out extra chairs. A most enjoyable evening with a good and enthusiastic audience and a delighted cast, who rose to the occasion.

Membership

Here would probably be an appropriate point to say a few words about membership and financial affairs, over the years. From very small beginnings in 1932, a mere half-dozen members, by 1939 membership had increased to fifteen. The number dropped, inevitably, for the first post-war production, down to nine, but soon increased, and by 1950 had increased to the pre-war peak. By the mid 1960s membership was about 25. There were no junior members until the 1970s and, even then, no more than three or four. To give a list of members would be an impossibility for, with population changes, there have been so many different people who, at one time or another, took part, that in total a reasonable guess would be about 180 - 200 over the years. I shall therefore confine myself to the fact that in the years until 1992 there were four main producers:

Helen Paterson

Laura McWhinnie/Herbert

Alistair Grant

Athene Morgan

all of whom produced for considerable periods. During this time also four main stage managers

Banks Wyllie

Alex Welsh

Eddie Scott

Ron Herbert

all of these I have put in the order in which they first did duty. There were, of course, occasionally others but these served the club for most years.

It was stated at the beginning and was, in fact, written into the constitution, that the club’s aim was to make ‘annual donations to deserving causes’, this the club’s faithfully carried out until the mid 1970s. Costs of putting on a production had soared beyond the Revenue. Just examples

Scripts Royalties Hall charges

 

1968 3/- to 25/- 3 nights £9 9s. to £10 10s. Stroove, 2 nights £13 15s

1978 £3 to £4 2 nights £45 to £53 Centre, 2 nights £15

1988 Centre, 2 nights £18

1998 £5 to £6 £60 per night Centre, 4 perf. £300+

Unfortunately, though membership fees and ticket prices also rose, by the late 1970s annual donations to anything ceased, and the club reluctantly began to seek sponsorship, and advertisers to break even. Happily, I understand the tradition of donations to good causes has now been revived.

In conclusion, it is hoped that the Attic Players will ‘Play On’ and on, well into the new millennium thus maintaining the long tradition of village entertainment.