A Brief History of Portland’s Drama
Group
Established 1947
The Early years
The Royal Manor Theatre Company (RMTC) has come a
long way since its inception in 1947 as the Portland Dramatic Society (PDS). It
sprang from the desire of a dozen or so people wishing to bring live theatre
back to Portland after the war, and which would be independent of groups
attached to churches or private organisations. The PDS beginnings were small
and modest, contributing sketches and on-act plays as part of concerts whilst
building up its numbers. In 1949, it was sufficiently strong to present a three
act play by J B Priestly; ‘Mystery at Greenfingers’ at the Masonic Hall,
Victoria Square. As is often the case with amateur drama groups, it then
suffered a decline in numbers and was forced to return to the cycle of
presenting one-act plays and sketches at various venues on the island.
It was not until 1951 that
the society had recovered sufficiently to tackle three-act plays again. Between
then and 1957, twelve were performed (including Agatha Christie’s The Hollow)
together with one-acts and sketches. Venues ranged over Portland and Weymouth,
the Borstal Officers’ Club, The Jubilee Hall, Wyke Regis W I Hall and Weymouth
Hope Square United Reform Church hall. In early 1957 they were fortunate in
obtaining the use of the Masonic Hall on a yearly lease. Members immediately
started work on making improvements to the stage, stage lighting and décor. The
opening play was Noel Coward’s “Blithe Spirit”, followed by a further fifteen
plays over the ensuing seven years. Audience numbers were good, despite their
surroundings being far from comfortable, because of persistent draughts with
which the primitive heating system was unable to cope. In early 1964 the owners
of the hall wanted full use of the premises, so that the Society became
homeless.
It took about eighteen months to find new
accommodation at the Jubilee Hall Easton Square and during most of 1965 the
members again worked hard to make similar improvements to those at the Masonic
Hall, ready for their first production in November of that year which was “Cat
on the Fiddle”. They stayed there until the end of 1970, having presented
thirteen full-length plays during their sojourn, when once again they were
evicted because the owners wanted the hall for their own purposes. The Society
at once started a search for new premises, but for nearly two years this proved
fruitless. During these two years, the Society, together with other major drama
groups in the area were invited to take part in three festivals at the Pavilion
Theatre Weymouth. This they did with great success. They also presented a
number of one-act plays and a religious play ‘Shadow of the Eagle’, in St Johns
Church Portland.
By the end of 1971, things were looking grim for the
Society; storing scenery and equipment acquired over the years was a big
problem. There were no halls available on Portland for staging plays and it
looked as if then Society would soon be disbanded, having reached the end of
the road. Nevertheless, they felt that at least they had given Portland
twenty-four years of live theatre of a high standard, having presented
forty-six full length plays and numerous one-acts. So it was with great sadness
that arrangements were put in hand for the winding up meeting.
A New Beginning
However, by good fortune and article in a local paper
on the Society’s plight was seen be the late Captain Chibnall and Mrs Chibnall,
who were well known for their interest in and support of local community
projects. They contacted a committee member and arranged a meeting where
Captain Chibnall and Mrs Chibnall explained that they were thinking of buying
the disused Primitive Methodist Hall in Fortuneswell. Having satisfied themselves
that the members of the Society were enthusiastic, capable and determined, this
philanthropic couple offered to lease the upper floor to them at a rent of only
£25 a year. The Society would convert this floor (the chapel) into a theatre
while the Chibnalls retained the lower floor (the hall) for letting purposes.
The chance to acquire a theatre of their own must be the dream of every amateur
drama group, but is one which few realise, To make the dream a reality takes
far more than luck and generosity, so in the late summer of 1972 the hard work
of conversion began.
The Working Years
The first major task was to strip the chapel of its
furniture and fittings, leaving only the shell. The pulpit, pews and choir
stalls were sold to buyers who were keen to obtain some fine examples of
Victorian carving, or large quantities of seasoned timber in excellent
condition. The building, dating from 1869, is only 55 feet long by 31 feet
wide, with a raked gallery 15 feet deep, extending the whole width if the
building. In addition there is an annexe (the former vestry) 17 feet long by 14
feet wide. Into these spaces it was necessary to fit a stage, auditorium,
cloakroom, dressing room, workshop and scenery store, wardrobe space and
lighting control room. Fire regulations however, limited seating to 100.
Plans were prepared and submitted to the Local
Authority for approval. They were most co-operative and did everything they
could to help and advise, both then and during the whole life of the
project. A regular working party of about eight people was joined by
others who helped when they could. A retired master carpenter led the
construction team, which comprised engineering craftsmen and electrical and
mechanical engineers, whose professional expertise proved to be invaluable.
The stage and proscenium were built first. The
gallery was divided to accommodate the workshop, store and wardrobe on one
level, with lighting control room at the lower level. The building had to be
completely rewired and cabling for the stage lighting installed. A false
ceiling was constructed over the auditorium to conserve heat and to transform
the ‘Churchy’ atmosphere of the building into a more intimate feel. A catwalk
was incorporated alongside the ceiling to provide a direct route from the
scenery store to a point above the stage where the items of scenery could be
lowered into place. At a comparatively late stage in the construction period
new fire regulations came into force which required the erection of fire check
walls above the proscenium arch and the lighting control room, setting the work
back several months. Finally the seating was installed and the theatre
decorated, so ending six years of unremitting hard work, culminating in the
official opening of the new theatre in October 1978.
Built on a Shoestring
At the beginning of the project a fund-raising
committee was formed and during the construction period many fetes, jumble
sales, coffee mornings and other events kept the money coming in. Donations were
also received from supporters and well-wishers. The project had involved some
11,000-man hours of voluntary labour and cost £3,500 at the time, a figure
which would have been much higher but for the volunteers. Costs were also
minimized by being able to obtain good second-hand timber locally and by being
given the auditorium seating. During the six years of conversion, no outside
financial support at all was received either from local or national sources
such as Southwest Arts of the Local Authority.
Back in Business
With the opening of the new theatre imminent, it was
decided to change the name of the Portland Dramatic society and call it The
Royal manor Theatre Company. The members felt that this name would reflect the
fact that the theatre was part of the social life of the island and Royal Manor
of Portland. The first play in the new theatre ‘Wedding of the Year’ ran for
three nights, but because of the demand for seats. Performances were
successively increased to six at which they have remained ever since.
Owner Occupiers
When Captain Chibnall decided to sell the property in
1980, the Company approached the Borough Council to ask for their support in
obtaining a bank loan. The Council responded by proposing to purchase the building
and lease it to the Company at a yearly rental. Captain Chibnall agreed to sell
it for his original purchase price, plus the cost of improvements, which he had
made, a total of £8,500. The transfer of ownership was completed in May 1980.
The Council gave the Company the option to purchase from them at the same
figure within five years.
Immediately a Building Appeal Fund was launched. A
member generously offered a £5,000 interest-free loan repayable over ten years.
By 1982, two and a half years before the option expired, the total purchase
price had been raised and the building became the property of the Royal Manor
Theatre Company. The loan was repaid in full by 1985. Many improvements have
been made since that time. The front windows have been renewed, a new gas
central heating boiler has replaced the oil-fired one; wardrobes have been
enlarged and the annex has been re-roofed, fitted out and decorated as a ‘green
room’. An area has been equipped as a make-up room, new lighting equipment has
been purchased, a lighting control outfit has been designed and made by a
member, the ladies and gents toilets in the foyer have been refurbished and new
radiators installed in the auditorium. A sound absorbent ceiling has been
fitted over part of the lower hall and will be completed when finances permit.
A complete new set of drapes (stage curtains) and stage flooring had been
donated by Rotary International, following a request from Portland Rotary Club.
Since the theatre opened, more than £30,000 has been spent
on the foregoing major improvements and many other lesser ones. Professional
assistance has been kept to an absolute minimum to reduce costs, most of the
work being done by volunteers known as the ‘Wednesday Working Party’. Members
are kept fully occupied in acting, working backstage, building, erecting and
decorating sets and scenery. It says much for the dedication of the Company’s
comparatively few members, some of who spend many hours of their spare time in
activities connected with the theatre.
Keeping Live Theatre
The Royal Manor Theatre can be regarded as Portland’s
‘Little Theatre’. The Company’s first aim is to provide live theatrical
entertainment of a high standard for the local community within easy reach of
their homes. Another aim is to provide and improve education in all aspects of
drama. This has been recognised by the Charity Commissioners who have granted
the Company registered charitable status. The lower hall is available for let
to non-political and non-sectarian organisations, it is also used by the
Company for committee meetings, rehearsals etc.
The Young Ones
A junior group called the ‘Playmakers’, currently
about 20 strong, has been running since 1978. Children between the ages of 8 to18
years old are trained in all aspects of the theatre including acting,
improvisation, drama, games and other theatrical devises. They have given
performances of one-act plays, a Victorian music hall and have participated in
the senior group’s pantomimes to the delight of enthusiastic audiences.
Past and Future
2005 saw the 58th anniversary of the
founding of the Royal Manor Theatre Company. From it’s inception in 1947 to May
2005, 139 full-length plays had been performed, together with numerous one acts
and sketches. Of these productions, 90 (including two open air productions and
six pantomimes) have been presented under the aegis of the RMTC since 1978.
In 2002 for the first time, the Company entered a
British Drama Association annual festival with ‘Rattle of a Simple Man’ and
were awarded a certificate of merit.
In 2004 RMTC won the producer’s cup, the team cup and
the Betty Palmer Cup for the best play ‘After Magritte’ by Tom Stoppard and the
trophy for the best set. RMTC’s entry was then sent forward to the next round
and was awarded a certificate of merit.
In 2005, the RMTC was awarded the team cup and two
certificates of merit for ‘Trip of a Lifetime’ by Bill Cashmore and Andy
Powrie.
2007 saw the company enter its 60th
year. To celebrate the Diamond Jubilee,
members and friends of the company enjoyed a meal at the Weymouth and Portland
Sailing Academy, on the 3rd February 2007. Guests were entertained to the sounds of local musicians whilst
they talked about their experience with the company and the shows they had seen
over the years.
Members look forward in
the hope that the Company will grow in strength so that it can maintain live
theatre in the district, bearing in mind that the nearest regular professional
performances are in Yeovil.
Thank you very much indeed
for your support, long may it continue
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Written by Alan Palmer, Ann & Boots Coman.