A Brief History of
Portland’s Drama Group
Established 1947
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.
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.
