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.