Old Glasgow Club
Minutes of ordinary meeting of Club held at Adelaide’s, 209 Bath
Street on Thursday 9 December 2010 at 7.30pm
Attendance
23 intrepid members (excluding huskies)
Chair
Ms Sannachan (Vice-President)
Welcome
Ms Sannachan welcomed everyone who
had ventured out to the meeting in the extreme snowy weather; setting
aside the Met Offices severe weather warning and exhortations to stay at
home unless you really have to go out. Mr Ronnie Knox was seated in the
‘lucky chair’ and received two Annan photographs.
Apologies
There were apologies
from Sam Gordon, Stuart Little, Isabel Haddow, Petrina Cairns, Janette
Knox, Robert Pool, Eileen Campbell, G Campbell, Jane Collie, Margaret
McCormack, Jim Robertson, M McGuigan.
Minutes
The minutes of the
last ordinary meeting held on 11 November were approved, proposed by
Sharon Macys and seconded by Rosemary Sannachan. There were no matters
arising.
President’s report
Mr Gordon being absent there was no
President’s Report.
Secretary’s report
Owing to the adverse weather conditions Mrs McNae
decided to omit her report to allow everyone to return home early.
Speaker
Ms Sannachan introduced
Mr Roddy MacPherson, Senior Partner of Messrs. Rutherford and Macpherson,
Messengers at Arms, and also a leading light in the Nomads Club, who
would speak on the topic of The Citizens Theatre.
Mr MacPherson began his
talk by referring to the icy weather conditions; saying that in theatre
you do not say ‘break a leg’ but ‘the show must go on’ and that he was
glad to see that in contrast to many other events this week The Old
Glasgow Club “show” was going on. He was also delighted and relieved to
note that there were no reports of any members breaking a leg in the
snow and ice!
Cutting a dapper figure
in a 3 piece tweed and wellington boots Mr Macpherson added wryly that
at the time of his invitation to speak he was indeed Chair of the Board
of Governors of the Citizens Theatre but that since then certain matters
had come to a head and that he had retired at Michaelmas. He now felt
that the addition of an apostrophe held some merit; while the Citizens
Theatre did not use the punctuation mark, insertion of one either before
or after the s in citizens would shift the meaning sufficiently for him
to broaden his talk to include the history of the city’s theatres in the
generality.
Mr MacPherson said those
of the members who attended his earlier talk would remember that he
tended in any case to diversify from his actual subject so enabling the
actuality by a grammatical shift was simply a nicety. He hoped everyone
would bear with him and reported that he had brought his ‘usual bag of
tricks’ from which he produced a book, Dr Strang’s Book on Glasgow and
Its Clubs.
His first anecdote
culled from the book referred to the first “modern” performance in the
city – but not without first a peroration to offer some context.
The theatrical arts had
been the preserve of the clergy – each mass or service had been a
performance and other mummery had served to deliver some religious
message to a largely illiterate populace. Theatre and Acting therefore
were associated with Popery, or even worse Anglicanism, and as such
were, in the fundamentalist atmosphere of reformation Scotland, banned.
Sir David Lindsay of the
Mount was mentioned and claimed as Scotland’s greatest ever playwright
with specific reference made to his work “Ane
Satyr of the Three Estaitis” written in 1540. Whether this
was because the play had been revived in 1948 or that it had been the
last great work produced before the Presbyterians swept such Devil
worship away remains unclear. Sir David Lindsay of the Mount had also
been Lord Lyon King of Arms – the great office of state responsible for
creating Messengers at Arms and so, in deference to Mr Macpherson’s
profession we were treated to a demonstration of the six audible knocks
of the messenger’s wand required by the 1540 citations act. In turn this
was related to the “troi coups”, three knocks, required, in France, as
honours to the King, the Queen and the People, prior to the commencement
of any performance. In the light of this there remains little
possibility of discovering the rationale of the mention of the 1540 work
“Ane Satyr of
the Three Estaitis”.
We had almost arrived at
the first anecdote – however this was predated by the erection in 1757
of a lean to wooden building, little more than a hut really, which
leaned to against the Bishop’s Palace. This was to be the first venue
erected for continuous theatrical performances – although there had been
review performances the previous year held in Mr Burrell’s Dancing
School. Mr Macpherson regaled us with tales of the nobler patrons of the
city being escorted to the theatre by armed guards as they ran the
gauntlet of the godly. The small playhouse had not been there long
before it attracted George Whitefield to the city. Today we might call
Whitefield a Calvinist evangelist however his special power was the
incitement of his followers against theatre. They would, by violent
means, drive strolling players from country fairs and from city squares.
In Glasgow Whitefield so inflamed the bigots harassing the theatre goers
that the playhouse was torn down by the mob and the cast driven from the
city in order to preserve their lives.
We had almost arrived at
the first anecdote – however in order to appreciate it the more Mr
Macpherson felt that we should understand a little about a certain Mrs
Bellamy. Mrs Bellamy was the leading theatrical light of her age –
beautiful, vulnerable and always ready to accept the protection of a
gentleman.
Mrs Bellamy had been
arrested (no doubt by a Messenger at Arms although this fine point
eluded the minute taker) on account of debts unpaid to her creditors
before she left London. However the favours of her batting eyes seem to
have charmed the legal establishment who announced that the English writ
did not run in these matters north of the border and she was released.
Five Glasgow natives were present at her benefit performance in
Edinburgh and were so taken by her “femininity” that they promised that
they would build a theatre in Glasgow if only she would promise to grace
its stage.
They were taken at their
word and a theatre was indeed built just outside Glasgow in Grahamstown,
now the site of central station.
True to her side of the
bargain Mrs Bellamy was set to travel to Glasgow – however money for the
fare presented a bit of a problem. She sent her maid to sell or pawn a
silver watch give to her by the actor manager West Digges, to raise the
funds – unfortunately the intended buyer recognised it as one which he
had sold to Digges but had not been paid for. The maid was thrown into
the cells and it took a frenzy of eyelid batting on Mrs Bellamy’s part
to get her maid released and to raise loans for their conveyance to
Glasgow.
The audience felt that
the first anecdote must by now be drawing close – and they were right.
Mr Macpherson told that
Mrs Bellamy’s carriage was intercepted a couple miles short of Glasgow
by an actor who had taken it on himself to relay the bad news.
Bad news – the members’
collective intake of breath was audible.
In an astonishing
parallel of the events set in train by George Whitfield some 12 years
earlier – a mob had been gathered by a this time unidentified, but no
less fanatical Methodist preacher, who told them that he had “dreamed a
dream”. In that dream Lucifer himself had proposed a toast, “To Mr John
Miller of Westerton who has sold his land to build me a house on.” This
was enough for the mob and with little ceremony they set fire to the
theatre.
Mrs Bellamy was in a
fix; no money and no theatre in which to perform. Driven no doubt by
necessity she persuaded those she needed to, to make temporary provision
as “the show must go on.”
Just to square the
circle Mr Macpherson revealed to the audience that one of the pieces
performed that night was a short play by Arthur Murphy called “Citizen”.
Mr Macpherson also observed without comment either way that Arthur
Murphy’s pen name as a playright was Ranger.
Somewhere along the
course of the evening we feel there must have been a second anecdote
although it was approached via many and various byways which included no
doubt some detail of the establishment of the Citizens Theatre; the
involvement of James Bridie; the performance of many famous names.
Our notes must be
playing us false here since following directly from the jotting “ both
founded in Aetheneum – Old Glasgow Club 17 December 1900 and Citizens
Co. 11 October 1843.” We have, “First production ‘Holy Isle’ Nicholas
Parsons only surviving member of original cast.” If that were true it
would make Nicholas Parsons about 190 years old.
One fascinating insight
was that the Citz Christmas show always has a 13 letters in its title.
Little nuggets like this
led to a fascinating question and answer session.
Vote of thanks
Mrs Anna Forrest
proposed the vote of thanks on behalf of all present and not present.
Mrs Forrest thanked Mr McPherson for all his wonderful stories and
anecdotes saying that he is a fabulous raconteur.
The next directors’
meeting would be on 6 January and the next ordinary meeting on 13
January, where Stuart Nisbet would talk on the subject “Glasgow Sugar
Lords”
Close
Ms Sannachan wished
all a safe journey home and a good Festive Season.
M Thom, Acting Recording Secretary
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