Old Moreton 1589-1914

Other names

  • Old Moreton 1589-1914, For Remembrance
  • Old Moreton Pageant.

Pageant type


This pageant was said to have been initiated as a fundraiser by Katherine, Lady Baker Wilbraham. It is likely that it also involved local churches as it was in aid of parish schools. The pageant was held in the grounds at Old Moreton Hall an Elizabethan manor in the rural parish of Odd Rode in Cheshire. It was part of an 'Elizabethean Fayre' that ran throughout the afternoon and evening. In the programme it is stated that the Hall was made available by permission of the 'Bishop of Derby and Mrs Abraham'. At the time of the pageant, the Bishop did own the property having inherited it from the last surviving member of the Moreton family. He gifted the house and grounds to the National Trust in 1938. This organisation continues to manage the house as a heritage attraction now known as Little Moreton Hall.

Jump to Summary


Place: Old Moreton Hall (Congleton) (Congleton, Cheshire, England)

Year: 1914

Indoors/outdoors: Outdoors

Number of performances: 3


17–20 June 1914

The main parts of the pageant and fete were held outdoors; but some elements of the performance (a series of tableaux) were performed within Moreton Old Hall; admission to these was separate and cost 1 shilling in addition to the cost of admission to the fete.

The pageant was part of an 'Elizabethan Fayre', which commenced at 1.30 pm on each day or performance.4 There was an additional special performance for invited guests in Tuesday 16 June: this was named 'Patron's Day'. The pageants' patrons and/or committee members were the principal audience for this. It is clear the press were also invited and it was reported that a 'great many aristocratic visitors' were among the crowds.5

Name of pageant master and other named staff

  • Pageant Master: Lascelles, Frank
  • Dance instructor: Mr F. Wilmer
  • Children's singing instruction: Miss Griffith
  • Children's singing instruction: Mr Wilmer
  • Games arranger: Mr Gregory
  • Games arranger: Miss Moseley
  • Master of Music: Professor J. C. Bridges


Professor J.C. Bridges was musical director at Chester Cathedral and had been in charge of music for the civic pageant held in Chester in 1910. He was a keen antiquarian and said to have taken a great deal to do with organisation of the Old Moreton pageant.

Names of executive committee or equivalent

General Committee

  • Chairman: Rev. P. J. B. Ffoulkes
  • Secretary: Mr S. Saunders

Executive Committee

  • Chairman: Rev. P. J. B. Ffoulkes
  • Secretary: Mr H. Turner

Finance Committee

  • Chairman: Mr Ronald C. Campbell
  • Plus three other members, all male.

Press and Publicity Committee

  • Chairman: Mr Ronald C. Campbell
  • Plus five other members (4 men and 1 woman)

Transport Committee

  • Chairman: Mr J. C. Bowler
  • Secretary: J. Barlow
  • Plus 6 other members, all male.

Sports Committee

  • Chairman: Mr C. Russell Hall
  • Secretary: Mr C. Booth
  • Plus 6 other members (4 men and 2 women).

Booths Committee

  • Secretary: Mrs J. Heath
  • Plus 12 other members (11 women and 1 man).

Costumes-Designs Committee

  • 3 female members (no office holders)

Architectural Committee

  • Chairman: Mr C. Russell Hall
  • Secretary: Mr S. Saunders
  • Plus 5 other members (all men).

Music Committee

  • 4 members (3 women and 1 man, no office holders).

Ground Stewards Committee

  • Chairman: Mr J. Barlow
  • Secretary: Mr J. A. Harris
  • Plus 28 further named members (all men)


Names of script-writer(s) and other credited author(s)

  • Sharp, Rev. W.H.
  • Shakespeare, William


The Rev. W. H. Sharp wrote the pageant's script.7 Shakespearean drama was performed, though no details of this have been recovered.

Names of composers

  • Morley, Thomas
  • Henry VIII
  • Byrd, William
  • Farnaby, Giles

Much of the music performed within the pageant, and accompanying the dancing and singing that were part of the fete, was traditional. Where a known composer is specified in the programme this has been noted.

Numbers of performers


Based on cast lists included in the pageant programme, in all, around 370 performers were involved. There were approximately 100 adult actors in named roles; in addition, there were 46 boys and 70 girls in acting roles within crowd scenes. In respect of child dancers, 15 girls and 15 boys performed Morris dances. As well as performing singing and dancing, 62 madrigal singers (40 women and 22 men), 30 adult Morris dancers (all male) and 32 female country dancers also played the parts of villagers in some scenes.

Financial information

Object of any funds raised

The pageant was held in aid of the extension of 'national schools' in the rural parish of Odd Rode in Cheshire. It aimed to raise £1200.9

Linked occasion

The pageant commemorated a purported visit of Elizabeth I to Moreton Hall in 1589, though there is no firm evidence of this having happened.

Audience information

  • Grandstand: Yes
  • Grandstand capacity: n/a
  • Total audience: n/a


It was reported that there was an 'improvised grandstand', but no clear description of this structure or its capacity.10 Many newspaper reports in advance of the pageant predicted the arrival of thousands of spectators.11 However, no information has emerged about the numbers who did attend.

Prices of admission and seats: highest–lowest


Tickets for admittance to the 'Elizabethan Fayre and Pageant' cost 2s for the Wednesday and Thursday events, and 1s on Saturday; on all days, children were admitted at half price. Prices for admittance to parts of the pageant (those tableaux performed within Moreton Hall itself) appear to have been separate from those for admission to the fete and the outdoor parts of the pageant. Advertisements state that handbills were distributed giving details of 'Cheap Tickets'. An example of a handbill has not been recovered but cheaper tickets may have been available through discounts for block bookings or a conjoined entrance to all parts of the fayre and pageant.12 Separate admission to those parts of the pageant performed within the house was offered at a flat rate of 1s.13

Associated events

The pageant was performed as part of an 'Elizabethan Fayre'. The timetable of events for this was as follows:

  • 2pm: Gates opened. Band Plays.
  • 2.30pm: Maypole Songs and Dance.
  • 3.00pm: Pageant Scene: 'Queen Elizabeth at Old Moreton'.
  • 4.00 pm: Queen's refection in the Great Hall; Madrigal Singing in the Courtyard; Inspection of the House, with a view of the Queen and Court (admission 1/-), and teas served in the tent from 4.00pm onwards.
  • 4.15 pm: Children's Games on the Maypole Ground.
  • 4.45 pm: Band plays on Sports Ground.
  • 5.00 pm: Master Shakespeare and his Strolling Players in the Barn; Old English Sports in the Sports Ring.
  • 5.30 pm: Queen arrives by barge, and passes to the Dancing Ground; Morris Dances and Country Dances, etc.
  • 6.15 pm: Queen and Court go round the Fair.
  • 6.30 pm: The Queen's departure to Brereton. Chorus and Band.
  • 6.45 pm: Maypole Songs and Dance.
  • 7.00 pm: Old English Sports (Greasy Pole, etc.)
  • 7.30 pm: Pastoral Play by the Strolling Players.
  • 7.45 pm: Morris Dances and Country Dances.
  • 8.15 pm: Madrigal Singing before Grand Stand.
  • 8.45 pm: All the Performers gather in the Court Yard; Procession to the Gates; Singing of 'O God our Help in Ages Past'.
  • 9.00 pm: Gates Close.14

Pageant outline

Pageant Scene: 'Queen Elizabeth at Old Moreton'.

A trumpet sounds and children enter chattering and playing. While this is ongoing groups of villagers and hawkers enter: there is much chattering and laughter. The Steward of Moreton, the 'Catchpoll' and the 'Ale-taster of Congleton' enter; a crowd gather round them asking for information about the queen's visit. The Steward announces that the Squire has decreed that all 'honest folk' are welcome on his land that day and will 'bite and sup' at his expense. He reminds them that the Catchpole will be on the lookout for any 'foreigners and other knaves', and that the Ale-taster is there to make sure that 'victuallers look to it that they tamper not with honest bellies'. The Steward then calls on the children to sing. They are hesitant at first but soon group together and sing the mournful 'The Soulers' Song'. The Ale-taster and the Catchpoll agree the song is sweet but that summer is the wrong season for it, for it should be sung 'twixt All Hallows and St Thomas'; they call for another, merrier song and 'It Was a Lover and His Lass' is sung.

As the song ends, Squire Moreton, his wife and family enter. A man called Robin addresses the Squire and is rebuked by the Steward for being forward. However, the squire recognises Robin and greets him as a friend; his wife remarks that they are grateful to Robin for he once saved the life of their daughter. Her mother introduces the daughter to Robin who moves to kiss the young woman's hand. She offers him her cheek instead, but he declines saying 'Ay mistress but that's browsing for my betters nowadays. I am no poacher, and must leave the pleasures for its Lord'. Guests on horseback begin to arrive. Mistress Moreton bids them ride out to meet the queen. A party headed by the Rector of Astbury arrives, as does the Mayor of Congleton with his entourage. At this, the queen's procession enters; she is greeted by singing of a welcome which has the chorus 'God Guard the Queen'. Within the royal party are a great many well-known figures including Sir Francis Walsingham, Lord Howard of Effingham, Lord Burghley, Sir Christopher Hatton, Robert Cecil, Edmund Spenser and Francis Bacon.16 The Moretons welcome the queen to their home. The queen addresses Mistress Moreton saying: 'Mistress I envy you your spouse, your son/ And these fair maids. My single blessedness/Gives me no joys like yours'. The queen further remarks that 'she is scarce a women, since I am a Queen'. Walsingham defends her by stating that she is 'wedded to England'. Effingham also says that the many sailors under his command who fought against Spain willingly died for love of the queen. Walsingham then quotes a few lines of poetry ending with the phrase: 'Elizabeth was England then/ England Elizabeth!' All assembled call out 'God save Queen Elizabeth'. The queen's fool then speaks in verse stating that her majesty is foolish to be so downhearted on a summer's day. The queen agrees and calls for celebrations to begin. The Squire asks the Steward to read from his list of planned entertainments; the Steward fumbles with this, and is mocked by the fool. He begins to read from his list but the queen interrupts and calls for singing. The children sing 'A Lover and His Lass'. When the singing ends, the queen throws coins and the children scramble to gather then but a man, Tom Lee, runs among them to grab at the money. The crowd protests and the Catchpoll states that he had not long since ejected this 'poaching tinker'. Lee is captured and led to the stocks. The Squire introduces the Mayor to the queen and she responds by commending the loyalty of Congleton but makes a humorous remark that the town should 'mind the Scriptures... and bait the devil as ye bait your bears'; the crowd laughs at this and sings a verse:

Congleton rare, Congleton rare--
Sold the Church Bible to buy a new bear.17

Mistress Congleton announces the arrival of some players: William Shakespeare and his group then appear. Shakespeare speaks a flattering piece of verse to the queen but she calls for other entertainments to take place before a play is performed. A woman called Moll Clackit is then noticed among the crowd: she is wearing 'the Brank'. The queen enquires about this and is answered by the Catchpoll who states the Moll is a scolding wife and that this will cure her, but if it does not, she will be put to the ducking stool. He informs her majesty that though Moll was told to stay away 'she would fain see the woman whose tongue may wag as it liketh'. The queen responds with sympathy speaking in verse, and demands that the brank be removed, though she advises Moll that her tongue should in future be schooled 'to love and courtesy'. The queen then asks to hear the men singing. Mistress Moreton suggests that the queen take refreshments in the hall while the men sing for her in the courtyard; the queen agrees and is led off accompanied by the members of the court and guests. 'God Guard the Queen' is again sung.18

Scene II. Queen's refection in the Great Hall; Inspection of the House, with a view of the Queen and Court.

While madrigal singing took place in the courtyard, a tableau of the queen, her courtiers and guests taking refreshments in the Great Hall was available to see by those who purchased a ticket to enter the house.

Scene III. Master Shakespeare and his Strolling Players in the Barn

The pageant programme describes this element thus: ‘Within the barne, and eke in the Orcharde, my Lord Chamberlain's Servants shall play certain pleasunt and excellent conceited Comedies, writ by William Shakespeare; of the whiche ye shall be told more when the time shall come—’.19 No further details are revealed of the particular dramas performed.

Scene III. Queen arrives by barge, and passes to the Dancing Ground

Following the play(s) performed in the barn, and the presentation of children's games, the queen is seen alongside her bodyguard, sailing along the moat in a barge. The villagers cheered this sight.20

Scene IV. Queen and Court go round the Fair

The queen alights and takes a tour of the attractions where she witnesses the following booths, each in the charge of six or seven women attendants:

1. 'At the Signe of the Spindle. Here is Plain Work, Stichery, Hosen and the like'.

2. 'At the Signe of the Butterfly. Here are Fantasies, Cunning Broideries and Conceits'.

3. 'At the Signe of the Golden Galleon will be found Strange Wares brought by sea from the Indies, from Cathay, and Paynim Land.'

4.'At the Signe of the Potter's Wheel. Here are crockes of subtle Craftsmenship made in these parts.'

5. 'At the Signe of the Mullberrye Bushe shall be found sweet posies, with juicy Fruites from English Orchardes, and from Foreign Partes.'

6. At the Signe of the Cow and Chicken is Dairystuffe--wholesome and freshe.'

7. At the Signe of the Sugar Loafe. Licke thy lippes, youngling. Her be Confitures and Sweetstuffe.'

8. 'At the Signe of the Rosemary Bushe shall be found Keepsakes and Lovers' Tokens for Remebrance.'

9. 'At the Signe of the Kettle An Outlandish Herbe'.

10. 'At the Signe of the Negroe's Head. Strange matters indeede. The rare Indian Weede, brought hither by Sir Walter Raleigh.'

11. 'At the Signe of the Noah's Ark will be found Playe Thinges for the Goode Childe.'

12. 'At the Signe of the Sheafe and Sickle. Who knows not the Gingerbreade of Congleton? Lette hym redeeme the tyme.'21

Scene V. The Queen's Departure to Brereton

No details of this aspect of the performance are included in the programme but it is assumed that farewells are taken and the queen is borne off once more in her canopied litter to continue on her progress through the county; her next destination being Brereton Hall in the neighbouring parish of Brereton.

Scene VI. Singing of 'O God our Help in Ages Past'

At the end of the Fayre, all of the performers and Fayre attendants regrouped and joined with the audience to sing this hymn.

Key historical figures mentioned

  • Elizabeth I (1533–1603) queen of England and Ireland
  • Ralegh, Sir Walter (1554–1618) courtier, explorer, and author
  • Shakespeare, William (1564–1616) playwright and poet
  • Walsingham, Sir Francis (c.1532–1590) principal secretary
  • Howard, Charles, second Baron Howard of Effingham and first earl of Nottingham (1536–1624) naval commander
  • Cecil, William, first Baron Burghley (1520/21–1598) royal minister
  • Hatton, Sir Christopher (c.1540–1591) courtier and politician
  • Cecil, Robert, first earl of Salisbury (1563–1612) politician and courtier
  • Spenser, Edmund (1552?–1599) poet and administrator in Ireland
  • Bacon, Francis, Viscount St Alban (1561–1626) lord chancellor, politician, and philosopher

Musical production

Music was performed by a 'full orchestra' live.22 This was under the direction of Professor J. C. Bridges, assisted by Mr Arthur Bailey. There was a choir made up of 24 sopranos, 16 altos, 13 bass and 9 tenor voices.23 'Stephens' Military Band' also played.24

Madrigals and Glees performed in the courtyard:

  • ‘Come Lads and Lasses’ arr. J. C. Bridges
  • ‘Joan to the May Pole’, arr. J. C. Bridges
  • Thomas Morley. ‘My Bonnie Lass She Smileth’, arr. J. C. Bridges
  • Henry VIII. ‘Pastime with Good Company’, arr. J. C. Bridges
  • William Byrd. ‘This Sweet and Merry Month of May’
  • ‘Cheshire May Song’, arr. J. C. Bridges.25
  • Performed within the Pageant Scene: 'Queen Elizabeth at Old Moreton':
  • 'The Soulers' Song' [trad., arranger not stated]
  • 'It Was a Lover and his Lass' [traditional, arranger not stated]
  • Giles Farnaby. 'The Queen's Welcome' (from Lord Zouche's March), arr. J. C. Bridges.26
  • Sung at the close of the event:
  • O God Our Help in Ages Past.

Newspaper coverage of pageant

Chester Observer
Congleton Chronicle
Manchester Courier
Nantwich Guardian
Manchester Guardian

Book of words


Although the text of the pageant scene is contained within the programme, this is otherwise quite a flimsy and cheaply produced publication that contains few details of other elements of tableaux performed. Its main function was as a programme.

Other primary published materials

  • Old Moreton 1589-1914, For Remembrance. No publication details.

References in secondary literature


Archival holdings connected to pageant

  • Chester Archives and Local Studies holds one copy of the pageant programme, reference: 205678.
  • An image of the queen's barge can be seen at the Cheshire Image Bank: http://cheshireimagebank.org.uk/frontend.php?action=zoom&keywords=Ref_No_increment;MATCHES;(%5E%7C%20+)c04869($%7C%20+)&continueUrl=ZnJvbnRlbmQucGhwPyZhY3Rpb249c2VhcmNoJnBhZ2U9MzAy27

Sources used in preparation of pageant



In the early years of the twentieth century, Elizabethan revels held as added attractions during Merrie England-type fetes were ten a penny. However, that held in 1914 in the village of Odd Rode, Cheshire, distinguished itself in two ways. Firstly, this pageant truly was all about the historical authenticity of a particular place—that place being the famous Elizabethan manor house of Old Moreton. This house was originally built in the fifteenth century, but later acquired many sixteenth-century accretions. It is something of a fairy-tale building—being half-timbered, surrounded by a moat and also boasting a panelled long gallery. Although still in private ownership in 1914, it is clear that the house was widely looked upon as of important historic interest. The Manchester Courier described it as a 'jewel that in itself is worth a march of many days to see' and 'one of the finest examples of half-timbered work extant'. The pageant held there was said to be in the 'ideal setting' for it exploited the legend that Elizabeth I had visited the house in 1589 while she was on a royal progress of England.28 Secondly, while small pageants such as this were usually written and directed by local notables, none other than the famous Pageant Master Frank Lascelles directed this particular performance.

Given that this was a small affair, held as a fundraiser for local schools endowed to educate children from modest backgrounds, some other aspect of this pageant must have attracted Lascelles. This is not hard to identify, for the event was under the patronage of the cream of Cheshire and Staffordshire society. Lascelles likely enjoyed the company into which he was thrown, and it is probable he loaned his name and skills as a favour to one or more aristocrats. Heading the list of patrons of the pageant was none other than a member—albeit a somewhat estranged member—of the Russian royal family in the shape of Grand Duke Michael of Russia, who had a home in nearby Staffordshire. One can imagine the social-climbing Lascelles relished such fraternization. Yet though he may have had ulterior motives, Lascelles seems to have enjoyed managing this event for its own sake. It seems, indeed, that he found novelty in it, telling the local press that he had 'enjoyed it all immensely', and was surprised that in such a small place so many people had come forward to take part in the pageant. He commended them for doing so, saying that they must be 'very brave'. Lascelles further commented that:

Of course, it is rather different from anything else, because you have got the old house at the back populated for the time being by the people of the Elizabethan days. Perhaps the most striking scene I have witnessed was the Queen and her Court sitting in the old building, giving an exact portrayal of what must have been seen. Such pageantry as this helps one to realise history all the more, and it should be an inspiration to other small places to do likewise.29

Evidently, the level of authenticity that could be attained through pageantry at Moreton Hall impressed Lascelles, never mind the absence of any firm historical evidence that Elizabeth did alight here. His impression of the local people and his pointed comment about their bravery is less easy to understand, since pageants were extremely popular at the time, but perhaps he meant that in this very small community there was no place to hide once such a commitment had been made. Locally influential families certainly seem to have given the event their wholehearted support. Nevertheless, this pageant is a good example of one in which all ranks in society took part, from local schoolchildren to members of the aristocracy. As was typical, however, some of the plumb roles were filled by the local elite. Among those who took on principal roles were Sir Walter Shakerly and his wife, Lady Shakerley, who played the parts of Squire Moreton and his wife. The role of Queen Elizabeth was played by the playwright, the Hon. Mary Plakington.30 However, such highborn individuals by no means monopolized the stage. Reflecting the fact that the local church appear to have taken a lead in organizing this pageant was the fact that narrative content was written by a Odd Rode's chaplain, and the pageant scene had no fewer than four members of the local clergy in assorted parts.

The pageant was part of a larger entertainment in the form of an Elizabethan themed fete, and here a distinctly inventive approach was taken, the aim being to make the various attractions of the fete part of the drama of the pageant. So although there was quite a lengthy pageant scene containing dialogue, which was staged in front of the house and before a grandstand, rather than simply repeat this play throughout the day, the entire fete was dedicated to Elizabeth. The conceit used was that this was a festival of music, dancing and games provided to celebrate the visit of the queen; and all attendants and participants involved with the fete were also in costume. The pageant scene depicting the queen's arrival was then followed with several more choreographed appearances by Elizabeth at different times during the day. At one point she embarks on a barge and sails, pointlessly, it must be remarked, around the moat; she also inspects the various stalls and their goods. However, the most novel depiction, as Lascelles himself described in his conversation with the local press, was the opportunity to watch the queen and her court engaged in the very ordinary business of taking luncheon in the Hall. The genius of this was that it provided the opportunity to charge spectators an extra shilling for the privilege of entering the house! This technique exploited the notion of historical verisimilitude: temporality was maintained and the final part of the drama was the queen's departure in the evening on her way to visit another great hall. After the queen left, spectators were further entertained by displays of Morris dancing, sports and traditional children's games such as 'Nuts in May' and a fighting game called 'King of Barbaree'.31 Frustratingly, there was no reporting of the Shakespearean drama enacted; this was a short performance given in the afternoon and it is assumed the figure of Queen Elizabeth attended to see it. Later in the evening, following the queen's departure, strolling players also performed a pastoral play. Again, however, no details of this have come to light.

There is no evidence that Elizabeth visited Old Moreton, but as the Manchester Guardian stated, 'local tradition has it otherwise, and local tradition is quite good enough for a pageant'.32 And though the pageant was centred on the perennial favourite of this dramatic medium in the shape of Good Queen Bess, and on some characters stereotypically associated with the Elizabethan age, some local tradition and feeling was incorporated. The Mayor of Congleton, for example, was given his place in the drama, as was the Rector of the nearby parish of Astbury. We do not know if the target sum of £1200 was reached or indeed, what attendance was like. However, it may be assumed that success was achieved. The Manchester Guardian newspaper, which could sometimes be a little dismissive in its reviews of pageants, concluded that 'Odd Rode had shown a surprising aptitude for pageantry' and that Lascelles had taught the town well.

Involving skilled and well-known pageant organisers like Lascelles and the master of music, Dr Bridges, the pageant probably did draw a substantial audience. At any rate, the whole event seems to have found a significant place in local memory, for in 1953 the same pageant was resurrected. The event was held in honour of the coronation of Queen Elizabeth II, and featured the original pageant scene staged alongside new scenes specially devised for the occasion.33 A programme for this coronation event has not been recovered. However, pictorial evidence suggests that in addition to the pageant displays of medieval revels were once again put on.34 Like many owners of historic homes in the interwar years, the Bishop of Derby later gave the care of Old Moreton over to the National Trust and this organization have kept up something of the pageant tradition by holding regular Tudor festivals.


  1. ^ 'Moreton Old Hall: a Beautiful Pageant', Cheshire Observer, 20 June 1914, 9.
  2. ^ Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 1.
  3. ^ 'Looking Back at Moreton Hall', Manchester Guardian, 22 June 1953, 3.
  4. ^ Advertisement, Cheshire Observer 6 June 1914, 1.
  5. ^ 'Historical Pageant at Moreton Hall', Nantwich Guardian, 19 June 1914, 5.
  6. ^ Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 1-4. The Grand Duke was the grandson of Nicholas I of Russia; he became a prominent member of British upper class society having been effectively banished from his homeland following a morganatic marriage. He had a home in nearby Staffordshire. Countess Torby was his daughter.
  7. ^ Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 8.
  8. ^ For cast lists and lists of singers' and dancers' names see Old Moreton 1589-1914, For Remembrance, [pageant programme] (no publication details), 6-7, 17, 20.
  9. ^ 'Moreton Pageant', Manchester Courier 17 June 1914, 6; 'Moreton Old Hall: a Beautiful Pageant', Cheshire Observer 20 June 1914, 9.
  10. ^ 'Historical Pageant at Moreton Hall', Nantwich Guardian, 19 June 1914, 5.
  11. ^ See for example 'Cheshire Elizabethan Pageant', 6 June 1914, 10.
  12. ^ See for example advertisement, Cheshire Observer, 13 June 1914, 1.
  13. ^ Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 8.
  14. ^ Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 5.
  15. ^ This pageant was clearly performed as interludes within a general fete based on an Elizabethan theme; only those elements involving pageant-type performance are covered in the outline and synopses.
  16. ^ For cast list see Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 6-7.
  17. ^ This is derived from the local legend that unable to attract crowds to bear-baiting in the town, Congleton's local council had used money saved to buy a bible to instead buy a new and more aggressive bear, with the intention of later using the increased profits to purchase the bible. Congleton is thus often known as Beartown.
  18. ^ Old Moreton 1589-1914, For Remembrance, [pageant programme] (no publication details), 8-16.
  19. ^ Old Moreton 1589-1914, For Remembrance, [pageant programme] (no publication details), 24.
  20. ^ 'Historical Pageant at Moreton Hall', Nantwich Guardian 19 June 1914, 5.
  21. ^ Old Moreton 1589-1914, For Remembrance, [pageant programme] (no publication details), 23- 24.
  22. ^ 'Historical Pageant at Moreton Hall', Nantwich Guardian, 19 June 1914, 5.
  23. ^ Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 17.
  24. ^ It is assumed that the band played during the Fayre: see classified advertisement in the Manchetser Guardian, 12 June 1914, 1.
  25. ^ For details of Madrigals and Glees see Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 17.
  26. ^ For details of pageant music see Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 9-16.
  27. ^ Accessed 1 July 2016.
  28. ^ 'Moreton Pageant', Manchester Courier, 17 June 1914, 6.
  29. ^ 'Historical Pageant at Moreton Hall', Nantwich Guardian, 19 June 1914, 5.
  30. ^ For information about Plakington, see Colin Dolley and Rex Walford, The One-Act Play Companion: A Guide to Plays, Playwrights and Performance (London, 2006), 120.
  31. ^ 12 games were enacted; these were alleged to be traditional. For a list and description of the games, see Old Moreton 1589-1914, For Remembrance [pageant programme] (no publication details), 21-22.
  32. ^ 'A Cheshire Pageant', Manchester Guardian, 17 June 1914, 11.
  33. ^ In addition to the pageant scene performed in 1914, two scenes from the Merry Wives of Windsor, which had some extra dialogue added were enacted in 1953, see 'Looking back at Morton Hall' ,Guardian 22 June 1953, 3.
  34. ^ Photos with captions can be found in 'Elizabeathan Pageant, Little Moreton Hall, 20th-25th June 1953', Cheshire Life, Volume 19, No. 8 (August, 1953), 21.

How to cite this entry

Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, ‘Old Moreton 1589-1914’, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/1301/