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