Archive for the ‘West End’ Category

The Prince of Wales Theatre, Dickie Henderson and the Ross Sisters

Tuesday, September 19th, 2017
Comedian Dickie Henderson uses a stool as a prop while he waits for his plane at London Airport.

Comedian Dickie Henderson uses a stool as a prop while he waits for his plane at London Airport.

When the last chord of ‘Twist and Shout’ came to an end, the Beatles grouped together at the front of the Prince of Wales Theatre stage. The blue curtain swished closed behind them and, from the waist and in unison, they bowed  first to the ‘cheap seats’, then turned and bowed again to the ‘jewellery wearers’ in the Royal Box. With the orchestra playing and the audience still applauding they skipped and ran off  the stage with boyish energy.

It was the comedian Dickie Henderson, unenviably, who was next to perform, and after the applause had died down he said: ‘The Beatles … young … talented … frightening!’ The audience laughed, but it had been said with feeling. He, like most of the other acts on the bill of the Royal Variety Performance in November 1963, including Marlene Dietrich, who couldn’t understand why all the camera lenses had been pointing at the four young men from Liverpool, suddenly felt very old-fashioned.

The Beatles relax backstage at London's Prince of Wales Theatre, before the Royal Variety Performance, 4th November 1963. They are supporting Marlene Dietrich in the show. (Photo by Mark and Colleen Hayward)

The Beatles relax backstage at London’s Prince of Wales Theatre, before the Royal Variety Performance, 4th November 1963. They are supporting Marlene Dietrich in the show. (Photo by Mark and Colleen Hayward)

Henderson’s fame was at its peak that November, and it was on purpose and as a reassuringly safe pair of hands that Bernard Delfont had asked him to follow the Beatles that night. The theatre impresario had had too many bad experiences with pop groups dying in front of indifferent mink-wearing Royal Variety audiences,and when he had booked the Beatles earlier that year, on the advice of his daughter Susan, he had never heard of them. The primetime Dickie Henderson Show had recently finished on ITV (it was a staple on the channel between 1960 and 1968) and that summer Henderson had been top of the bill of a popular show called Light Up the Town at the Brighton Hippodrome.

Today you would almost have to be a pensioner to remember Henderson in his prime, but he was once described by Roy Hudd as ‘perhaps the most versatile and certainly the smoothest, most laid-back comedian it had been my pleasure to see’, adding that ‘he danced, sang and delivered one-liners wonderfully, and even his prat-falls were, somehow, classy … He was, without doubt, the best I ever saw.’

Dickie had come from a ‘showbiz’ family. Before the First World War his sisters, Triss and Winnie, were a pair of popular dancers and singers called the Henderson Twins, while his father, Dick Henderson, was a rotund, bowler-hatted comedian and singer known in the music halls, where he had made his name, as ‘The Yorkshire Nightingale’. His trademark was his breakneck banter, salty and censorious, and delivered in a strong Hull accent. Part of his act was to tell the audience that he didn’t want any applause because he was there ‘strictly for the money’. He is perhaps most famous for the first British recording of ‘Tiptoe Through the Tulips’, with which, accompanying himself on the ukulele, he usually entered and exited the stage.

Dick Senior, like his son, also performed at Royal Variety shows, the first of which was in 1926 when King George V laughed at: ‘I went to get married and asked the vicar how much it was. He said, “What do you think it’s worth?” I gave him a shilling. He took one look at the bride and gave me twopence back!’

Henderson was a fat man and he usually started his performance by standing sideways, showing o his large belly, saying: ‘I was standing outside a maternity hospital, minding my own business … ’ He died in 1958, just a few days before what would have been his third Royal Variety show. Dickie Henderson’s first job in show business was, as a ten-year-old, playing Master Marriott in the 1933 film of Noël Coward’s play Cavalcade, a movie made while his father was in California performing in vaudeville.

Henderson Senior, despite losing most of his life savings in the Wall Street Crash, was earning reasonably good money in the States where he was commanding top billing in the smaller houses, and was a much appreciated feature act in the bigger circuit halls. Even though the popularity of vaudeville was on the wane, Henderson Senior often earned an impressive $1,000 per week. Dickie tells a story in his half-finished autobiography that Hal Roach had once offered his father, a stout gentleman who never performed without his bowler hat, to ‘test’ with Stan Laurel, another Englishman from the north of England. His father turned him down, however, as the money was only half of what he was earning on stage. Henderson Senior always regretted this decision but later admitted that, compared with Oliver Hardy, ‘I would never have been as good.’

Henderson Senior did make a few films, however, including The Man from Blankley’s in 1930, which starred Loretta Young and John Barrymore, now unfortunately lost. It wasn’t necessarily an easy life in Hollywood at that time, despite the warm Californian sunshine. Noël Coward, unhappy that everyone seemed to ‘work too deuced hard’, once described a typical day while working on Cavalcade: ‘They get up at 6.30 … stand around all day under the red-hot lights … eat hurriedly at mid-day, and because they are too tired to sit up, late at night have their supper served on trays. That’s no way to live, and certainly no way to work.’

Calvacade 1933

Young Dickie on the left in a lobby card for Cavalcade released in 1933

The Henderson Twins and Dick copy

Dickie and the Henderson Twins, c1936

2. Dick Jnr with his father and Max Miller in Things are Looking Up 1934 copy

Dick Jnr with his father and Max Miller in Things are Looking Up, 1934

After the young Dickie had completed his part on Cavalcade, for which he earned $400 for the month’s work, the whole family returned to England on the liner RMS Lancastria. Ten years later, on 17 June 1940, the Lancastria, sank in twenty minutes after it was bombed by the Luftwaffe near the French port of Saint-Nazaire. The sinking of the Lancastria has almost been forgotten but it was the largest loss of life from a single engagement for British forces in the Second World War – about 4,000 men, women and children died. It was also the largest loss of life in British maritime history – greater than the Titanic and Lusitania combined.4 Dickie left school at fifteen, and became ‘prop boy’ with Jack Hylton’s Band, with whom his twin sisters, two years his senior, were singing.

Two years later, the twins had become ‘headliners’ throughout the country and Henderson was learning everything about stagecraft, which he would put to good use for the rest of the career. Looking back at this time he once wrote:

The time on the road, when not performing, we spent learning. Every morning jugglers, acrobats, dog acts and dancers rehearsed. Always rehearsing. In exchange for dance steps from dancers, the jugglers taught dancers how to twirl a cane. Acrobats put you in a harness and taught you back-somersaults. That is why performers, then, could do a bit of everything. I was fortunate to have been part of it, before ‘that school closed’, to quote the great Jacques Tati.

In September 1939, at the start of the Second World War, all the theatres were instructed to close. Dickie became a messenger boy with Air Raid Precautions (ARP), given a bicycle and told to await instructions. There never were any instructions, and when the theatres reopened, after just two weeks, he was back to his pre-war life and travelling around the country as a junior touring performer.

Lieutenant Henderson, 1942

Lieutenant Henderson, 1942

Just as he was about to appear, along with Naunton Wayne and the Hermiones Gingold and Baddeley, in A La Carte, his first West End show, Henderson was called up. It was 1942 and he was nineteen. In the next three years he had, in his own words, ‘an extremely cushy war’. He didn’t have to leave Britain and he saw no action.

Second Lieutenant Dickie Henderson wasn’t able to re-join civilian life until 1946. He was just one of over 4 million servicemen who were demobilised between June 1945 and January 1947. Like thousands and thousands of others, he made his way to Olympia to swap his service uniform for the ubiquitous ‘demob’ outfit. Most of the servicemen in the queues were grumbling about the length of time it had taken for them to get there. The first illustration in the book Call Me Mister! – A Guide to Civilian Life for the Newly Demobilised was a cartoon of an old and decrepit man holding his release book and saying, ‘To think I should really live to see myself demobbed.’

Call Me Mister! A Guide to Civilian Life For the Newly Demobilised published in 1945

Call Me Mister! A Guide to Civilian Life For the Newly Demobilised published in 1945

Demobilisation_of_British_Service_Personnel._H42442

Demobilisation_of_the_British_Army_BU8067

Demobilisation_of_the_British_Army_BU8063

By the end of 1945, 75,000 de-mob suits were being made every week and supplied by tailors such as Burtons, a company founded by Montague Burton and where, perhaps, the phrase the ‘full Monty’ came from – meaning the full set of demob clothes supplied by the firm. Anthony Powell, who served in the Welch Regiment and later the Intelligence Corps during the war, used a scene set in the demob centre at Olympia in the closing passages of his 1968 novel The Military Philosophers: ‘Rank on rank, as far as the eye could scan, hung flannel trousers and tweed coats, drab mackintoshes and grey suits with a white line running through the material’. He pondered whether the massed ranks of empty coats on their hangers somehow symbolised the dead.

The ‘full monty’, as it were, included socks, a shirt, a tie, a hat, cu links and collar studs and came in a ‘handsome box bound with green string’. The accompanying label featured the magic word – to men who had been in the services for six or more years anyway – ‘Mr’, followed by their name. The de-mob suit, often ill-fitting due to the lack of the right sizes available, was a subject to which literally millions of people could relate and became an important ingredient of much post-war comedy. The comedian Norman Wisdom, whose suits were always far too tight with ‘half-mast’ trousers, had been demobilised in 1946 and was once described by John Hall in the Guardian as ‘Pagliacci in a demob suit’.10 Frankie Howerd, yet another of the generation of British comedians who came to prominence in the years after demobilisation, performed in a badly fitting demob suit, probably because, like countless others, he had nothing else to wear.

Dickie himself described his new demob clothes as a ‘grey double- breasted three-piece pinstripe suit, snap trilby hat and a flannelette shirt a air, rather like pyjamas’. He also mentioned his ‘cumbersome shoes’, and it was often joked by the new civilians that the footwear provided by the government needed to be particularly stout and rugged to stand up to the constant wear and tear as they tramped around endless pavements in search of suitable employment.

After his visit to the Olympia De-Mob Centre, Dickie later wrote about how embarrassed he was of his new civilian clothes when, walking down Piccadilly on his way to see his sister Triss, he bumped into a snappily dressed Jack Hylton, who was wearing a suit from Hawes and Curtis in Jermyn Street, a Sulka shirt from the shop on Old Bond Street, and shoes by Walkers of Albermarle Street. Triss Henderson, who had sung with Hylton but was now dancing solo after her sister had met and married a GI during the war, was appearing in a revue called Piccadilly Hayride at the Prince of Wales Theatre. The same theatre, located on Coventry Street between Piccadilly Circus and Leicester Square, where Dickie would be compering the 1963 Royal Variety show seventeen years later.

Triss Henderson, Dickie's sister from the Piccadilly Hayride programme.

Triss Henderson, Dickie’s sister from the Piccadilly Hayride programme.

The Ross Sisters, from the Piccadilly Hayride programme

The Ross Sisters, from the Piccadilly Hayride programme

Sid Field performing as Slasher Green the spiv in Piccadilly Hayride.

Sid Field performing as Slasher Green the spiv in Piccadilly Hayride.

The Piccadilly Hayride revue at the Prince of Wales Theatre, where Dickie’s sister Triss Henderson was performing, was actually the comedian Sid Field’s triumphant return to the stage after the disappointment of the expensive technicolour film London Town released the previous year. Much to Field’s relief, the disastrous reception of the movie didn’t at all damage the mutual love affair he now had with the West End audiences and theatre critics and it cemented his reputation as perhaps one of the greatest comedians ever to appear on the West End stage.

Preceding Field’s first sketch of the show, entitled The Return of Slasher Green, Triss Henderson performed the opening song called ‘Let’s Have a Piccadilly Hayride’ with fellow performer Pauline Black, the daughter of the theatrical producer, George Black. At Al Burnett’s nightclub The Stork, just off Regent Street, Pauline introduced Dickie to a young woman called Dixie Ross, part of an extraordinary American singing, dancing and contortionist act called the Ross Sisters (‘Pretzels with Skin’ said some of their posters).

Dixie Jewell Ross was just sixteen and along with her two elder sisters, Veda Victoria Ross and Betsy Ann Ross, eighteen and twenty years old respectively, had travelled to Britain on the RMS Queen Mary, docking at Southampton on the 10 September 1946. Each sister, presumably so they could perform ‘legally’ in clubs in the US and subsequently the UK, had assumed the identity and birthday of the next older sister, and carried passports to this effect. The eldest of the trio, Eva, managed this by taking the name and birth date of Dorothy Jean Ross, the first-born sibling, who had died just a few months old of whooping cough in 1925. Informally the sisters continued to use their original given names, but formally their ‘legal’ names became Dorothy Jean, Eva V and Veda V. Confused? You will be, because the Ross Sisters often used the stage names of Aggie, Maggie and Elmira.

1th September 1946:  Actress sisters Betsy, Vicky and Dixie Ross at Waterloo Station, on arrival in London on the Queen Mary boat train. They are to appear in the new Sid Field show 'Piccadilly Hayride'.

1th September 1946: Actress sisters Betsy, Vicky and Dixie Ross at Waterloo Station, on arrival in London on the Queen Mary boat train. They are to appear in the new Sid Field show ‘Piccadilly Hayride’.

 

US Promotional photograph of the Ross Sisters c.1944

US Promotional photograph of the Ross Sisters c.1944

Dixie Ross

Dixie Ross, c.1944

Whatever they were called, just four years previously the girls and their parents were all living in a trailer near New York. The Ross Sisters’ parents were originally very poor dirt farmers from west Texas. When the dust storms drove them off the land,Mr Ross started working on the Texan and Mexican oil fields, while the girls’ amateur acrobatics were good enough to perform at county fairs and such like. Eventually they were good enough to appear in theatres around the country, and they pooled their money and bought a trailer.

In 1942 they got their big break, being asked to join the cast of Count Me In, a musical starring Charles Butterworth at the Ethel Barrymore Theatre on Broadway. In the evenings the girls were appearing in a Broadway show while living in a trailer parked at Ray Guy’s Trailer Park, Bergen Boulevard, which is about a mile across the George Washington Bridge in New Jersey. American syndicated newspapers reported that they were ‘thrilled about their first trip to New York. “But,” says Betsy, who is twenty and the eldest, “we certainly aren’t going to give up our trailer until we are sure of the future.”’

The Texan-born sisters had been invited to the West End by Val Parnell, the managing director of the Moss Empire theatres network, who thought they’d work really well in Piccadilly Hayride. Parnell had seen the Ross Sisters’ performance in a film called Broadway Rhythm, an MGM hodgepodge of a musical released in 1944. It starred Ginny Simms and George Murphy, who played a Broadway producer looking for big-name stars, while ignoring the talent around him from his family and friends. The film was essentially a pageant of various MGM speciality acts, including impressionists, nightclub singers and tap dancers.

The short New York Times review of the film included the line: ‘Three little girls, the Ross Sisters, do a grand acrobatic dance.’ The ‘grand acrobatic dance’ is pretty well all that’s remembered of the  lm these days, and seventy years or so after the  lm was released, their remarkable performance has been seen by millions on Youtube and certainly by many more people than on its original cinema release in 1944.

The extraordinary performance by the Ross Sisters in Broadway Rhythm

Snapshot of the Ross Sisters in the US, c.1944.

Snapshot of the Ross Sisters in the US, c.1944.

Dixie Ross doing what she did best, c.1944.

Dixie Ross doing what she did best, c.1944.

If Broadway Rhythm wasn’t particularly successful, Piccadilly Hayride, riding on Sid Field’s incredible popularity, certainly was, and it ran for an incredible 778 performances and took over £350,000 at the box office. The original songs for the revue were written by Sammy Cahn and Jule Styne, one of which, ‘Five Minutes More’, was sung by the Ross Sisters, and a version by Frank Sinatra became one of the most popular songs of the year.

Dickie fell in love with young Dixie, and although he was performing in a touring revue entitled Something to Shout About (a title it didn’t live up to, according to Dickie) when he was in London he took her to nightspots such as the Coconut Grove at 177 Regent Street – a club where the Latin American bandleader Edmundo Ros had performed during the war. Dickie would later appear in cabaret there, and describes it in his autobiography: ‘It was like all night-clubs at the time: a cellar where one could drink scotch or brandy after hours out of a cracked co ee cup in case of a police raid. It was never raided during the three months that I was there, and with Savile Row police station only one hundred yards away, I drew my own conclusions regarding the dogged efficiency of the police surveillance.’

When Piccadilly Hayride closed, Dixie and her sisters went to France to perform at the glamorous Bar Tabarin on rue Victor Massé with the likes of Edith Piaf and Maurice Chevalier. Meanwhile, Dickie went into pantomime in Brighton with the double-act Jewel and Warriss. After the six-week run, a broke Dickie used up his last £10 for a flight to Paris and immediately proposed to Dixie. He assumed that, if she accepted, he had time to save some money as she and her sisters had planned to tour Australia for six months.

The next morning they strolled down the Champs-Elysées and Dixie turned to Dickie and said, ‘Darling, I have some wonderful news… ’ The middle sister, Vicki, had fallen in love with the French ventriloquist Robert Lamouret (who performed with a Donald Duck-a-Like called Dudulle and was also part of Piccadilly Hayride). He had proposed to her but she didn’t want to break up the act. ‘But she can now, as we are getting married too!’ said Dixie. Henderson and Dixie Jewell Ross married in the summer of 1948 at Westminster Cathedral, with the comedian Jimmy Jewel as the best man.

Entertainment - Dickie Henderson - London Airport

Dickie leaping over Dixie at home in Kensington on his 37th birthday, 1959.

Dickie leaping over Dixie at home in Kensington on his 37th birthday, 1959.

Exactly fifteen years later, on 10 July 1963, a few weeks before he followed the ‘frightening’ Beatles on to the Royal Variety stage at the Prince of Wales Theatre, Dickie Henderson arrived at his home in Kensington, only to be told his wife had died on the way to hospital. Dixie Henderson, at the age of thirty-three, and according to the coroner, had taken fifteen or sixteen barbiturate sleeping pills. She had left a note for the ‘daily’ saying that she wasn’t to be disturbed. Whether it was suicide or a tragic cry for help, the coroner gave an open verdict and it was noted that it had been Dickie and Dixie’s fifteenth wedding anniversary.

In fact Dickie hadn’t seen his wife for two weeks, and would write in his unfinished autobiography that they were on a trial separation at the time, and that he was actually returning home to discuss a reconciliation. Dixie was buried in Gunnersbury Cemetery in Acton. On the gravestone it says ‘Dixie’, but the marriage and death certifcate both have her name as Veda Victoria – the name she borrowed from her older sister twenty years before and never officially relinquished.

Dixie Henderson's grave in Gunnersbury Cemetery in Acton.

Dixie Henderson’s grave in Gunnersbury Cemetery in Acton.

Invariably a safe pair of hands, the ‘classy’ Dickie Henderson went on to perform in eight Royal Variety shows. After making his television debut on Arthur Askey’s Before Your Very Eyes in 1953, he became a much-loved national star during the late 1950s and throughout the 1960s. Some forty-seven years after making his inauspicious stage debut as an ‘eccentric dancer’, the always neat and dapper Dickie succumbed to pancreatic cancer in 1985.

Dickie Henderson on the Ed Sullivan Show in 1959

This is an excerpt from my new book called High Buildings, Low Morals and due to be published on 15 October 2017. Contact me by email or twitter if you’d like a signed copy. More stuff from me, occasionally about London, can be found at flashbak.com.

High Buildings, Low Morals - Another Sideways Look at 20th Century London

High Buildings, Low Morals – Another Sideways Look at 20th Century London

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The GLC and how they Nearly Destroyed Covent Garden

Wednesday, May 2nd, 2012
Covent Garden in 1974. By Clive Boursnell

Covent Garden in 1974. By Clive Boursnell

The London premiere for the film of My Fair Lady took place at the Warner cinema in Leicester Square on 21 January 1965. It couldn’t have been anything less than a glamorous occasion – Audrey Hepburn, Cecil Beaton, Rex Harrison (who came with Vivien Leigh) and even Jack Warner himself attended the show. The cinema was only a few hundred yards from Covent Garden, a location featured in the film (albeit a Hollywood studio-version) and which in the mid-sixties was still a functioning wholesale fruit, vegetable and flower market. A market that had been trading officially for almost 300 years ever since the Duke of Bedford in 1670 acquired from Charles II a charter allowing a fruit and vegetable market to take place every day except Sundays and Christmas day.

The ‘greatest ever musical’, as Pathé described the film, and of course Shaw’s original Pygmalion from which it derived, purposely used an Edwardian Covent Garden to show the contrast of rich and poor Londoners rubbing shoulders in what was then a very poor area of inner-city London. Over half a century later in the sixties and seventies Covent Garden, as a place to live and work, was still a very run-down and shabby part of the West End, difficult as it is to imagine these days.

33 Neal Street in 1969. Ellen Keeley’s family emigrated from Ireland during the potato famine and had been making and renting out barrows for the Covent Garden traders since 1830. The firm also ran a florist and a boxing gym.

Covent Garden’s flower market from around 1970

Presumably most of the councillors of the recently-formed Greater London Council, which had replaced the smaller London County Council the previous year, went to see My Fair Lady – after all it was a very popular film. Just two months after the film’s premiere, however, the new Labour-run GLC published the Greater London Development Plan part of which proposed, astonishingly, but as was the wont in those days, that over two-thirds of the historic Covent Garden area should be razed to the ground.

Covent Garden in Edwardian times.

In his book The Changing Life of London, the late George Gardiner, a former journalist and Tory MP who with Norman Tebbit and Airey Neave would end up playing an important role in the election of Margaret Thatcher as Conservative Party leader (not that she could have thought much of Gardiner as he was offered not one ministerial or front-bench position while she was leader of the Conservative party), put across his view of the Covent Garden Development Scheme:

Any loss of nerve on this by the GLC in face of protest from a small section of London’s populace… when the opportunity has presented itself, will do down as a black day in London’s history. If the drift of population away from the centre is combined with a retreat from a policy of comprehensive redevelopment in favour of mere site development it is the next generation of Londoners who will be the losers and who will look back on our timid age with scorn.

Covent Garden market had essentially been nationalised in 1961 by the Conservative government when they created the Covent Garden Market Authority. Soon after there was a plan to move the overflowing market to Nine Elms in Battersea. In 1965/6, mindful that the fruit and vegetable market would soon be gone from the West End, three councils, the Labour-controlled GLC, the Tory-run City of Westminster and the Labour-run Borough of Camden, together with Bovis, the Prudential Assurance company and Taylor Woodrow worked together on the Covent Garden scheme. All of the parties were interested in just one thing – a totally comprehensive redevelopment of the 96 acres that made up the historic Covent Garden area.

Gardiner wrote that when the initial draft plans was presented to the public “more than 3,500 people attended, and in fact, most of their comments wore favourable”. The suggestions from the public that weren’t so favourable, however,  were taken on board and a revised plan was approved by the GLC in 1970. What had changed, however, was that the three London councils, the GLC, Westminster and even Camden were now all Tory-controlled.

An A to Z map of Covent Garden from the 1960s. The GLC plan would mean that two thirds of the area between Shaftesbury Avenue, Holborn, Kingsway and the Strand would be demolished.

The Covent Garden redevelopment plan in 1968.

Covent Garden in 1955

The Covent Garden redevelopment scheme covered 96 acres in an area bounded by the Strand, Aldwych, High Holborn, Shaftesbury Avenue and Charing Cross Road and it proposed the large-scale demolition of the great majority of the 18th and 19th century buildings around the historic old market.

Gardiner, after rather excitedly describing the Covent Garden scheme as Central London’s biggest and most exciting redevelopment project since the Great Fire, wrote of the first phase of the plans which were originally intended to be built by 1975:

There would be three new schools in place of the two old ones, open recreational spaces and new shopping facilities, new hotels, and something London at present does not possess at all – an international conference centre. It would also include a new covered road, running roughly along the line of Maiden Lane, parallel with the Strand, carrying eastbound traffic while the Strand is made one-way westwards.

Horrifically, the international conference centre was designed to completely enclose Covent Garden’s famous Piazza – the Italian-style arcaded square built by Inigo Jones in the 1630s and which was commissioned by the fourth Earl of Bedford to encourage wealthy Londoners to move, to what was then, a semi-rural area. It has been said that Inigo Jones’ new and exciting designs for Covent Garden made it, as far as London was concerned, the birthplace of modern town planning.

The Covent Garden redevelopment model. 1970.

North Spine of the redevelopment, circa 1970.

The solid line are new roads or widened roads. The dotted lines would have been major underground roads while the shaded area was planned to be an open space that would have waved goodbye to Long Acre. Just the road network planned for Covent Garden would have destroyed so much of the Covent Garden we know today.

Meanwhile the second phase, planned for completion by 1980, involved the areas from Maiden Lane down to the Strand. The main feature of which was a new upper level pedestrian street that would link Trafalgar Square and Leicester Square with the Conference Centre. Beneath the raised walkway a brand new main road would run from Charing Cross Road to the Aldwych.

The third phase involved the area north of the piazza, sorry I mean the International Conference Centre, and would consist mostly of new housing, much of it built above smaller offices, the new schools, and other community facilities. In the same area, and as was the fad in those days, another concrete upper-level pedestrian street would run from east to west beneath which an internal service road linked to car parks was planned. At Cambridge Circus there would be a new recreation centre, with a swimming pool and squash courts and an office building one and a half times the size of Centre Point (infamously empty at the time with the developer, Harry Hyams, reported to be happy making money from the rising value of the property rather than letting it out).

Covered pedestrian areas would lead to shops, existing theatres, restaurants and pubs, and over at the northern end of Drury Lane there would be a group of pedestrian squares at different levels, surrounded by shops and flats. This third phase of developments were were conceived to be completed by 1985.

Protest organised by the Covent Garden Community Association in 1972.

In April 1971 a Covent Garden Community Association was formed to provide a unified protest from the local residents and small businesses affected by the radical redevelopment plans. By the time of the local inquiry into the plan in July 1971, Camden Borough Council, which by now had changed from Conservative to Labour control also became formal objectors to the plan it had helped work up three and five years previously.

On the 26th June Anthony Crosland, MP for Grimsby, and the shadow Environment minister made a passionate and influential speech in the commons attacking the damage to London made by the post-war developers:

I believe with passion that it is now time to call a halt. It is time to stop this piecemeal hacking away at our city. It is time to say to the GLC, to Westminster City Council, to Land Securities Investment Trust, to Town and City Properties, to the lot of them, “Gentlemen, we’ve had enough. We, the people of London, now propose to decide for ourselves what sort of city we want to live in.

He added:

If the minister takes the opposite view and allows these plans to go ahead, a very dangerous mood will develop amongst Londoners. There already is a mood of helpless resentment at the inability to stop these damned developments, and this may develop into a mood of active resentment. People will not have London continuously mutilated in this way for the sake of property development and the private motorist. They will not have an endless number of Centre Points and an endless number of uniform, monolithic, comprehensive redevelopments which break up communities and destroy the historic character of the city.

1970. Lady Dartmouth, later Raine Spencer and step mother of Princess Diana, with her son Rupert Legge, at a polling station during the 1970 general election. She would later say about the Covent Garden plans: “I have felt  increasingly that our proposals are out of date and out of tune with public opinion.”

Desmond Plummer, the Conservative leader of the GLC, being shown the Covent Garden plans in 1972. The GLC would become Labour controlled the following year. It’s said because of their opposition to the new roads planned in the West End and all over London.

To the horror of many people who lived and worked in Covent Garden it initially looked like the GLC had won the redevelopment war when in July 1972 the plans were completely upheld by the inquiry inspector in his recommendation to the Conservative Secretary of State for the Environment Geoffrey Rippon.

Within a few weeks, however, the conservationist-minded Lady Dartmouth (who would later marry the Earl of Spencer and become the step-mother of Princess Diana) resigned from her post as chairwoman of the joint local authority committee who had been over-seeing the redevelopment plans. She had been affected by angry protesters who had at one point besieged her house and in her resignation letter she explained:

The theory of organising the sites so that offices, hotels and shops pay for housing, a park and a leisure centre is well-meaning; but no individual or bodies who represent the general public have supported us, and I have felt  increasingly that our proposals are out of date and out of tune with public opinion, which fears that the area will become a faceless, concrete jungle…I am unable to work for a project in which I no longer believe, and which could do unnecessary  and irreparable damage to an historic part of London.

The post-war consensus of modernising cities like London with the bull-dozer approach to redevelopment and traffic circulation was starting to fall apart. In January 1973, nearly eight years after the Covent Garden Redevelopment plan was originally made public and six months after the inquiry inspector had recommended the latest version, Geoffrey Rippon, while ostensibly approving the plan, effectively killed it. He had added 250 buildings to the list of those already protected because of historical and architectural merit which made comprehensive redevelopment in the Covent Garden area almost impossible.

A porter using his head to help carry flowers at Covent Garden market, London around 1970.

In 1961 number 23 Cecil Court was the scene of a murder when the body of part time shop assistant Mrs. Elsie May Batten was found in the rear of the antique shop. An eighteen-inch antique dagger was protruding from her chest.The shop’s owner, Louis Meier, remembered a young man who had shown an interest in a particular dress sword and some daggers in his shop the previous day. The sword was now missing.It turned up in a gun shop on the opposite side of the court, where the son of the owner told police that a man had brought it into his shop that morning. Using these witness’s descriptions the police complied England’s first Identikit picture and released it to the media.On 8th March 1961 PC Cole, who was on duty in Old Compton Street, recognised 21 year old Edwin Bush as being the face on the picture and arrested him. Bush was subsequently hanged for the murder.

Covent Garden in 1974. Photograph by Dave Flett.

Covent Garden in 1955.

Covent Garden in 1974. Photograph by Sean Hickin.

In 1973 the GLC was recaptured by Labour and the new council told the developers and planners that they had to completely start again. Eventually the Covent Garden Community Association would have most of its demands met and nine out of ten of the key sites marked for demolition were saved in the final plans published in 1976.

Anthony Crosland, formerly the shadow Environment secretary, with his wife Susan in 1977. Five days before he died.

Anthony Crosland MP who had made such a fine speech about London post-war development back in 1972 had written a book called ‘The Conservative Enemy’ ten years previously. In it he presciently summed up what had happened, and would happen, to so many city centres around the country:

Excited by speculative gain, the property developers furiously rebuild the urban centres with unplanned and æsthetically tawdry office blocks; so our cities become the just objects of world-wide pity and ridicule for their architectural mediocrity, commercial vulgarity, and lack of civic or historic pride.

In 1974 the Covent Garden fruit and vegetable market moved to Nine Elms in Battersea two years later than planned.

11th November 1974: The old Covent Garden fruit, vegetable and flower market lies deserted at its Covent Garden site

The 1938 version of Pygmalion

The Nags Head, Covent Garden in the early 70s

The picture above comes from a book called Old Covent Garden by Clive Boursnell. You can buy it here.

Brian Protheroe – Pinball

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