Pageant of Poole

Pageant type

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Performances

Place: Poole Park (Poole) (Poole, Dorset, England)

Year: 1952

Indoors/outdoors: Outdoors

Number of performances: 14

Notes

4–16 August 1952

Performances held 4–9 August and 11–16 August: 7.30pm daily on these dates with matinees at 3pm on Saturday 9 August and Saturday 16 August.

Name of pageant master and other named staff

  • Pageant Master: Lally, Gwen
  • Mistress of the Robes: Mrs Edna Wilson
  • Mistress of the Dance: Elizabeth Gifford
  • Master of the Arena: Lt-Col. A.M. Ranson
  • Master of the Boats: Major D.D. Milne
  • Master of the Horse: Mr Bernard Brown
  • Master of the Properties: C. David Hillier
  • Master of Transport: Mr E. Silcox
  • Master of the Music: Mr T. Hodgkiss
  • Box Office Manager: Mr L.W. Duncombe
  • Personnel Officer: Mr W.E. Baskett
  • Press Officer: Mr P. Chamberlayne
  • Prompter: Mrs D.M. Thomas

Names of executive committee or equivalent

Officers:

  • President: The Rt Hon Earl of Shaftesbury
  • Chairman: Lt-Col. Sir Mervyn Wheatley, K.B.E., J.P., D.L.
  • Vice-Chairman: Mr W.W. Llewellin, O.B.E.
  • Vice-Chairman: Mr Robert Myers
  • Hon Organiser: The Hon Mrs Eustace Fitzgerald
  • Hon Business Manager: Mr Bernard G. Hillier
  • Hon Treasurer: Mr G.L. Walton
  • Joint Hon. Secretaries: Mrs D.M. Thomas and Miss B. Bellassis Savage

General Committee:

  • Chairman: Sir Mervyn Wheatley
  • 49 men, 5 women = 54 total

Executive Committee:

  • Chairman: Mr Stanley Carter, M.B.E.
  • Vice-Chairman: Mr H. Solomon
  • 11 men, 4 women = 15 total

Finance Committee:

  • Chairman: Mr G.L. Watson
  • 11 men, 1 woman = 12 total

Field Committee:

  • Chairman: Mr F.W. Dacombe
  • 12 men, 1 woman = 13 total

Publicity Committee:

  • Chairman: Mr W.W. Llewellin
  • 9 men, 2 women = 11 total

Box Office Committee:

  • Chairman: Mr L.W. Duncombe
  • 6 men = 6 total

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

  • Smith, Mr H.P.
  • Gifford, Elizabeth
  • Spenser, Edmund

Notes

  • H.P. Smith (B.A., FCP, JP) was a Poole Historian and Honorary Archivist to the Corporation of Poole
  • Elizabeth Gifford devised the Prologue
  • Excerpts from Edmund Spenser's Cymochles and Phaedria were used in Episode V.

Names of composers

  • Holst, Gustav
  • Mendelssohn, Felix
  • Chopin, Frédéric

Numbers of performers

1500

Financial information

A church collection realised £66. 1s. 5d. for the Disabled Sailors’ and Soldiers’ Workshops.

Object of any funds raised

  • Disabled Sailors’ and Soldiers’ Workshops at Winton.
  • Maintenance fund of 14th Century Town House in Poole—Scaplen’s Court.

Notes

‘The chief aim… is… to clear the debt on the Disabled Sailors’ and Soldiers’ Workshops at Winton. The second object of the Pageant is to assist the maintenance fund of the 14th Century Town House in Poole, known as Scaplen’s Court, which is sadly in need of renovation.’ (Pageant of Poole, 5.)

Linked occasion

n/a

Audience information

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

Notes

'Towards the end of its run, large crowds of spectators. There was a capacity crowd for the final performance on Saturday night.'(‘Poole Pageant ends in Blaze of Glory’, Dorset Daily Echo, 19 August 1952, 5.)

'About 5000 people attended the Pageant thanksgiving service.'(‘Poole Pageant ends in Blaze of Glory’, Dorset Daily Echo, 19 August 1952, 5.)

Prices of admission and seats: highest–lowest

n/a

Associated events

A pageant thanksgiving service, attended by 5000 people.

Pageant outline

National Anthem

Prologue

Fanfare by trumpeters. Old Harry [a famous chalk rock formation off the coast of Poole] tells of having seen wars ending in famine, plunder. Death. The Voice of Power from the other side of the arena calls ‘Wait!’ and reminds Harry that he has also seen peace, plenty, health and life. Old Harry bids Power to call forward the Spirit of Pageantry to ‘roll away the mists that hide the History of the past’. The Power ballet takes place, before the Spirit of Pageantry enters. The Spirit declares that he comes at Old Harry’s bidding to reveal the past. The Peace ballet now takes place, after which all exit.

Episode I. The Roman Occupation of Hamworthy, AD 44

The scene shows the settlement by the waterside, villagers working and cooking while their children play. In a grove Druids dressed in white are cutting and collecting mistletoe. Nearby is an altar of sacrifice, surrounded by Druids chanting. Two druids enter dragging a screaming maiden, followed by the girl’s terrified parents. Some villagers show anger but dare not intervene. The girl is forcibly placed on the altar as the Arch-druid raises his knife. At this moment the village chieftain, Bran, arrives on a shaggy pony at a swift gallop; ‘He is an enlightened leader, who has travelled in Gaul and has experienced the benefits of the Pax Romana.’ He threatens the Druids and tells them to release the girl, which they do. Trumpets are heard in the distance, and a messenger rushes in to inform the chieftain that Romans are advancing on the village. The Druids become frenzied with excitement and tell the villagers to arm themselves, who rush out, returning with weapons. Bran ignores the Druids and says he will ‘parley’ with the invaders. Enter Roman soldiers; Bran and the Tribune of the Romans talk, and reconcile. The Druids are angered, but the majority of the villagers support Bran; the altar is dismantled, the arch-druid is taken prisoner. The Romans reform their column and exit. The villagers gather around Bran and his wife, Blodwen, who declares: ‘Let no man chide the Chieftain because he has chosen the path of peace. I hate yonder Druids and their lust for human blood. Oh, would that I knew a god of love and peace!’ As she makes these words she makes an appealing gesture to the sky. The villagers follow Bran out chanting ‘Peace!’

Episode II. The Danes Attack Canford, AD 1015

A look-out enters and takes up his position at the sea-wall. A table is set up with chairs for Father Osric, the priest, accompanied by his deacon and sub-deacon. He accepts gifts from his parishioners, who arrive at intervals. A woman, Edyth, approaches the table with her young son who is leading a goat; she expresses her pleasure that the church is restored, as does the Father, remembering the destruction by the ‘cruel Danes’. A hunting party arrives, made up of Thane Ulwen, the Lord of Canford and Kinson, with friends and attendants. They are with hounds and carrying a dead stag, which he presents to the Father. The Lord Bishop of Sherborne then enters in a procession with the Abbess of the Wimborne Nunnery and a train of nuns. The churchmen meet the procession before Thane Ulwen goes forward to the Bishop and kneels to receive his blessing. Suddenly the look-out, who had been watching the processions, realises a Danish ship is nearing the shore. He raises the alarm leading to mass chaos and confusion. The Bishop calls on the power of the Lord as Ulwen calls for the men of Canford to defend themselves. A fight between the Danes and Ulwen’s men ensues. A number of women and children are killed. The Danes surrounding the Bishop and his retinue; other marauders emerge from the church dragging behind them several nuns. Smoke starts to rise from the settlement. The Danish leader, Guthred, confronts the Bishop demanding gold. When the Bishop says he has none, Guthred strikes him. There is a cry from the Danish boats, and the signal for departure is given. The Danes move away as the Saxon survivors carry off the dead and assist the wounded. The Bishop faces the arena and prays for strength from God.

Episode III. William Longespee, Lord of Canford Manor, grants a Charter to the Burgesses of La Pole, July, 1249

The Bailiff, Reeve and their manorial servants are arranging seating accommodation on a dais, with shields bearing the devices of the three lions of England and the six lioncels of the House of Salisbury. In the centre there are three thrones and a small table for writing. Everard, the steward, enters conversing with Thomas of Hyneton and Roger Leburne. Brother Thomas and Brother Valentine, two black-robed Augustinian monks, enter with parchment and ink, and sit at the writing table, putting the finishing touches to the Charter. A flourish of trumpets and William Longespee, Sir Robert De Vere, Sir Alexander Gifford, the Seigneur de Vitre and other Crusaders enter wearing armour. The Abbess with nuns and the Lady Idonea de Camville, Longespee’s mother and wife respectively, enter. They all embrace then are seated. The Bailiff now enters, ushering in twelve burgesses from La Pole [Poole], four carrying money bags. They all eventually kneel, before their spokesman, John of Baiter, deferentially rises and declares homage to the domain of Canford, before asking for the granting of added privileges which will bring increased prosperity to the port town. Longespee glady grants, in exchange for the money. Brother Valentine then reads out the summary of the charter, which gave courts to La Poole, a small government of six (Port Reeve), the ability of the Port Reeve to settle disputes, and the rights of burgesses to pasture their cattle on the heath of the manor. Longespee tells John of Baiter ‘Take this precious parchment back to La Pole, and guard it well, for ‘tis your title-deed to the privileges we grant today.’ The burgesses bow and leave; after conversing with his mother, Longespee exits to continue with the crusades after having received the money he needed to do so.

Episode IV. Harry Paye, the Poole Pirate, AD 1400

The scene is an open place near the quayside, where rejoicings are afoot to mark the return of Harry Paye from one of his buccaneering exploits. A banquet table is laid out in anticipation, being set by the Bailiff, Town Sergeant and other officials. Mummers enter, wearing animals’ heads, and caper around; the Mayor’s Fool enters and joins them. An Old Man declares that to Poole Harry Paye is a brave and gallant sailor, while to the French and Spaniards he is a buccaneering dog who should be hoisted to the yard-arm. A part of young men colourfully bedecked enter, playing music and dancing. The Mayor and his Brethren take their seats as the singers finish amid applause. Wild cheers and greetings meet the arrival of Harry Paye, who, before being conducted to his place of honour, presents the Mayoress with an ornate necklace. A troupe of men and maidens now enter to enact The Masque of Neptune. Harry Paye brings in a string of Spanish, French and Moorish prisoners, looking ragged, dirty and sullen-looking. The Mayoress pities them and bids them to be released and fed, which they are. They gradually smile and chatter, and begin to join in a dance The Mayor announces to the crowd his hopes that Paye will ‘never fail to return to this, your proud and grateful town of Poole.’ Paye thanks the Mayor, before dancing with the Mayoress. The day’s festivities are brought to a close by a Torch Dance. The party ends, and all disperse.

Episode V. The Year Before the Spanish Armada, AD 1587

The episode takes place in the context of the discussions of the defence of the town in view of a possible Spanish invasion, and the levying of a Powder Tax which some inhabitants regarded as an imposition. The scene opens on the Common Ground at West Butts where the apprentices are playing sport, watched by the Mayor (John Field), and three of his Brethren—Christopher Farewell, John Meryman, and Roger Mawedley. They discuss town business and the punishment of two men, Nicholas Curry and Richard Goby, who are to be punished for their refusal to pay the Powder Tax. The Stocks, Pillory and Ducking Stool are brought in and erected. The offenders are brought in and imprisoned, as the apprentices taunt the men and pelt them with eggs and apples. Then Lucy Bolt, ‘an inveterate schold’, is brought in and ducked to the delight of the crowd. A group of fishermen appear, talking to the Town Sergeant Harry Brown about the town defences. There is a flourish of trumpets as a civic procession enters the arena, consisting of the Marquis of Winchester; the Sheriff; the Town Sergeant; the Mayor and Sir Christopher Hatton; Sir Harry Ashley and Master Edmund Spenser; and other city fathers with their ladies. Spenser announces, in reply to Sir Harry Ashley, that he likes the Dorset Lake, before reciting some lines from Cymochles and Phaedria. The Marquis addresses the crowd, asking for their support of Poole men in defending Brownsea Castle against the Spaniards. The crowd cheers in assent. Wine is brought in as dancing and singing commences.

Episode VI. King Charles II and His Court Visit Poole, AD 1665

‘During the Great Civil War the town of Poole was the chief stronghold of the Roundhead forces in the County of Dorset, and it never once passed into Royalist hands. On the accession of Charles II the inhabitants found it good policy to welcome the change; and Charles II, for his part, bore the town no grudge for the sturdy opposition it had shown to his father.’ ‘The visit of Nell Gwynne is, of course, the purest fiction, introduced for the purpose of the Episode.’ The scene is set for celebration with a Maypole, table laden with wine, and townsfolk celebrating. As it ends the Rev. John Wesley leads in his soberly attired flock. After beginning a hymn, Wesley is moved on by two constables. Enter the Mayor Peter Hall, the Mayoress, the Sheriff, William Frampton, Col. William Skutt and other civic dignitaries, and a group of wounded soldiers. A hunting party enters, consisting of the Earls of Oxford, Suffolk and Lauderdale; the Lords Ashley, Arlington, Crofts and Gerrard; and other ladies and gentlemen. The Mayor is informed that the King is approaching. Enter Charles II and the young Duke of Monmouth. John Wesley is brought in by the constables; the King shrugs in disinterest and the mayor bids Wesley to be arrested and imprisoned. In the distance Nell Gwynn is heard singing, surprising the King. She approaches the startled King, and asks for a pardon for a friend as well as the wounded soldiers. The King assents to the former and gives money to the latter. The Colonel William Skutt addresses the King and assures him that, although the town took up arms against the crown during the war, they welcome him now with loyalty. Glasses are filled and passed round, and the King anoints Skutt the mayor of the town. To much fanfare the King and his royal party departs.

Episode VII. In the Days of William Knapp. The Battle of Quiberon Bay, AD 1759

A group of sailors are listening to a nautical yarn told by ‘an old salt’ as the business of the town takes place in the background. A number of merchants and sea captains enter, including the Mayor, William Wise; the Sheriff, Peter Jolliffe; merchants Isaac Lester, George Weston and William Joliffe; Sea-captains Francis Pinney and James Hunt. They discuss the victory of Admiral Hawke over the French at Quiberon Bay; this is good news for Poole, as there ships could now sail in freedom to and from Newfoundland. The Town Crier enters, followed by cheering boys and girls, and announces that the Mayor has declared the day a Public Holiday to celebrate the victory, further announcing that the day’s rejoicings will include special singing by William Knapp and his choir. At this point Knapp enters accompanied by the Rev. William Nairn, minister of St. James’s Church. The civic dignitaries assemble as Knapp’s choristers and instrumentalists arrange themselves. Ordinary townsfolk also begin to assemble. After a brief speech from the Mayor praising Hawke, Knapp directs his orchestra, followed by the singing of the favourite hymn-tune ‘Wareham.’ A stately minuet is danced bring the day’s rejoicings to a close.

Episode VIII. The Press Gang and Isaac Gulliver, the Smuggler, AD 1800

The scene is the Poole quayside, the water’s edge stacked with products of the Newfoundland Trade. The general business of the harbour goes on in the background. As a boat comes in sailors sing a sea shanty; a happy reunion between a young sailor and a girl takes place. Amidst these happy scenes a cry of ‘The Press Gang’ and ‘Run for it’ go up; a sailor is shot dead in the melee which sobers the rest of the sailors, who are finally overpowered and marched off, press-ganged into the Napoleonic wars. The wife of the dead sailor fills the air with her screams. The giant smuggler Isaac Gulliver appears, with his gang, and hides in a barrel the young sailor who had just been reacquainted with his girlfriend so the press-gang cannot find him. Gulliver mocks the Press-Gang until they leave, when he releases the young man—who dances a horn-pipe. Gulliver’s gang unloads cargoes of brandy kegs and bags of tea that appear on the scene. The Rev Peter William Jolliffe drives through and bows to everyone—popular with his flock. One of Gulliver’s gang places a brandy keg in his carriage, and ‘the parson evidently has no objection to the gift.’ A Preventive Offcer appears and argues with Gulliver—who finally claims that he is going to give up his life of smuggling to be a law-abiding citizen. All exit.

Episode IX. H.R.H. Edward, Prince of Wales, Opens Poole Park, AD 1890

The episode opens with a Grant Fete held in the park with various attractions such as stalls, tents, shooting-gallery, fortune-telling, bearded ladies, a wrestling match, etc. A band plays. A civic procession enters, consisting of the Sheriff, Christopher Hill, the Under-sheriff, sergeants-at-mace, the Mayor, Philip E Lionel Budge, the Town Clerk, Aldermen, and councillors. They take their places in the centre and the Mayor opens the fete, announcing the performance of a Ballet: Tribute to Taglione. Following the Ballet there is a flourish of trumpets as the Royal Party arrives: His Royal Highness, Edward, Prince of Wales accompanied by Prince George and Lord and Lady Wimborne. The Mayor addresses the King, thanking him for coming to open the park. The Prince replies, thanking the Mayor, stating ‘…I trust that the land, which is being generously presented to you by my noble friend Lord Wimborne, will prove to be the means of contributing in no small degree to the health and happiness of the people of Poole.’ The Royal Party exits in their carriage to cheers from the crowd. The Mayoral Party and distinguished visitors quietly disperse, the townspeople depart, and the ‘fun of the fair’ closes down.

Epilogue

Old Harry declares the end of the pageant, declaring he will return to the sea to watch over Poole.

Key historical figures mentioned

  • Longespée, Sir William (II) (c.1209–1250) magnate
  • Vere, Robert de, ninth earl of Oxford, marquess of Dublin, and duke of Ireland (1362–1392) courtier
  • Pay [Paye], Henry [called Arripay] (d. 1419) shipmaster
  • Hatton, Sir Christopher (c.1540–1591) courtier and politician
  • Spenser, Edmund (1552?–1599) poet and administrator in Ireland
  • Charles II (1630–1685) king of England, Scotland, and Ireland
  • Wesley [Westley], John (1703–1791) Church of England clergyman and a founder of Methodism
  • Scott [formerly Crofts], James, duke of Monmouth and first duke of Buccleuch (1649–1685) politician
  • Gwyn, Eleanor [Nell] (1651?–1687) actress and royal mistress
  • Knapp, William (1698–1768) composer
  • Edward VII (1841–1910) king of the United Kingdom of Great Britain and Ireland, and the British dominions beyond the seas, and emperor of India
  • George V (1865–1936) king of Great Britain, Ireland, and the British dominions beyond the seas, and emperor of India

Musical production

Performed pieces included:

  • Holst. Ballet of Power (Episode I).
  • Holst. Torch Dance (Episode IV).
  • Mendelssohn. The Masque of Neptune (Episode IV).
  • Chopin. Tribute to Taglioni (Episode IX).

Newspaper coverage of pageant

Dorset Echo
The Times

Book of words

Pageant of Poole. Poole, 1952.

Official Souvenir and book of the pageant; price: 1s.

Other primary published materials

n/a

References in secondary literature

  • Cullingford, Cecil N. A History of Poole and Neighbourhood. Chichester, 1988. At 207.

Archival holdings connected to pageant

  • Book of words is at the Dorset History Centre.—D/PPY/C1/3/9.

Sources used in preparation of pageant

  • Edmund Spenser. The Faerie Queene (unclear which edition).

Summary

Taking place in 1952 the Pageant of Poole was the last production of the theatrical performer and producer Gwen Lally, probably the most famous and prolific of the female pageant-masters. The author of the script was Mr H.P. Smith, a Poole schoolteacher, historian, and archivist to the Corporation of the town. Smith was an obvious choice; a progressive-thinking schoolteacher, active in directly introducing children to key historical sites, he stated in an authored textbook that ‘The perfect citizen, let us never forget, is he who sees Past, Present and Future as a continuous undivided whole.’ Prior to the pageant Smith was also known locally for reviving the tradition of the Beating of the Bounds, where large placards bearing the words ‘Poole Boundary’ would be erected at the locations recorded in the Winchelsea Charter of 1364, accompanied by historical re-enactment and entertainment.1 Unfortunately, by the time of the Pageant, he was in very poor health. Already too weak ‘to participate in the fruits of his labour’, he had to satisfy himself by observing the event from the window of a caravan.2

In terms of structure and style the pageant was an intriguing mix. While Lally did not eschew dialogue altogether, it was used to only a limited degree, and the pageant depended more solidly on drama and colour. As Lally had stated in 1937, her pageants were like a ‘silent super-film, but filled in with appropriate battle cries, songs and acclamations; the action must be swift, the scenario dramatic, and the music… atmospheric.’3 As Deborah Sugg Ryan has noted, Lally had more in common with ‘her lifelong friend Frank Lascelles rather than Louis Napoleon Parker’s more wordy and factual version of the historical pageant genre.’4 She also notably included several ballet scenes, used to represent abstract notions like Power and Peace; rather than presented as individual events, these were mixed into the narrative of the pageant. Perhaps most bizarrely, the pageant was narrated by the famous chalk rock formation, Old Harry, that jutted out of the sea off the coast of Poole.

Bearing in mind the activities of its author, the pageant, in both its actual episodes and the description given in the book of words, was also a potted history of the growth of municipal power in Poole. Episodes III and IX focused on charter history, demonstrating the independent privileges that the locality had within a wider national history. In the book of words preface to the IXth and final episode, the author discussed the amalgamation of the districts of Hamworthy, Longfleet and Parkstone into Poole through the Municipal Corporation Act, and the further adding of Branksome Urban District and the Parish of Canford in 1905 and 1933 respectively, noting that Poole ‘today occupies an area of nearly 25 square miles and has a population of over 83000’.5 This attention perhaps reflected the macro and micro changes taking place in the British governmental structure at this time. Firstly, as a general trend in the later part of the interwar period and intensifying during and post the Second World War, central government was encroaching on the autonomy of local authorities.6 Secondly, shortly after the Second World War there had been suggestions that the County Borough of Bournemouth, conferred in 1900, should be enlarged to incorporate Poole and Christchurch—‘a suggestion that was defeated by outraged objections from the two adjacent boroughs.’7 This focus on municipal individuality is perhaps unsurprising, considering that the pageant was supported to a large extent by the Mayor and Corporation of Poole, primarily, as well as the concurrent representatives from Bournemouth. A pageant that depicted the glory and governmental heritage of Poole, written by a civically-minded local historian, was a clear channel through which to assert the importance and independence of local authorities.

The pageant also reflected a preoccupation with togetherness, peace, and hope, enabled partly through a stoical strength derived from God, suggesting perhaps an evocation of the World War Two spirit. In the prologue the narrator, ‘Old Harry’, laments having seen wars ending in famine, plunder and death. The ‘Voice of Power’ however reminds Harry that history is full ‘peace, plenty, health and life’; it is ‘the Spirit of Pageantry’ that can ‘roll away the mists that hide the History of the past.’ This prologue finished with a ballet representing Peace. The first episode depicted the Roman control of Britain—a standard opener for historical pageants. Yet rather than showing the conquering of the country, the narrative focused on the English Chieftain’s negotiation with a Roman centurion to avert bloodshed—the war-mongering Chief Druid instead being arrested. The scene ends with the Chieftain’s wife declaring ‘Let no man chide the Chieftain because he has chosen the path of peace. I hate yonder Druids and their lust for human blood. Oh, would that I knew a god of love and peace!’ After the speech the villagers followed her out of the arena chanting ‘Peace!’ Similarly, in the second episode, the Bishop prays to God for strength following a vicious ransacking of Canford by the Danes. Episode VIII, in which a local folk hero saves a young love-struck sailor from being enlisted into the army during the Napoleonic Wars, could also indicate a comment on the enlistment of the Second World War. Episode V, in which the Marquis of Winchester convinces a cheering crowd at Poole of the necessity of taxes and loyalty in order to create sea-defences against the Spanish Armada in the sixteenth century, must also have had particular relevance to modern-day Poole; during World War Two the town was considered one of the four coastal areas at most risk of German invasion, the beaches consequently being placed under military control and obstructed with barbed wire.8 War, then, was present throughout the pageant, with the people of Poole portrayed as reluctantly loyal and enduring, yet also with a preference for peace.

If these themes of peace and municipal pride were the undercurrents of the narrative, however, the stated aims of the pageant were much more basic, eschewing much of the focus on civic cohesion and classless local pride that pre-Second World War pageants tended towards. As the Chairman clearly stated, ‘The chief aim of this Pageant is to clear the debt on the Disabled Sailors’ and Soldiers’ Workshops’—indeed, the pageant was the brainchild of Miss Eustace FitzGerald, the organiser of the Aid Society of the Workshops. The second object of the Pageant was ‘to assist the maintenance fund of the 14th Century Town House in Poole, known as Scaplen’s Court, which is sadly in need of renovation.’9 The discovery and renovation of Scaplen Court was a particular project of Smith’s.10 This latter aim fits with the analysis of Cecil Cullingford, historian of Poole, who saw the pageant as an example of a more general mood change in favour of conservation and pride in the town’s heritage.11 These priorities, however, should not be overstated; the Chairman did, at the end of his introductory note, still hope that ‘the younger members of the audience will find the story not only entertaining, but also both educational and instructive.’12 As well as raising funds for charitable causes, the pageant also represented an opportunity to advertise the wares and services of the town. While commercialism had always been a feature of pageantry, as Ayako Yoshino has argued in the case of Edwardian pageants, the extent to which the book of words of the Poole Pageant was dominated by advertisements is striking—often utilising the pageant narrative of history, heritage and progress to sell their goods.13

Following the pageant the Dorset Daily Echo gave positive praise to the ‘colourful display of history, imagination of fact and fancy, and… re-enaction of stirring deeds and stirring times.’14 At the end of the final ‘capacity crowd’ performance the originator of the pageant, Eustace Fitzgerald, escorted Gwen Lally to the centre of the pageant arena as the performers from the pageant sang ‘For she’s a jolly good fellow’—perhaps a nod to the masculine roles she had been famous for on the stage.15 The Chairman gave a speech, thanking the performers and behind-the-scenes organisers, and Lally, for making ‘the town’s history a living picture’, before presenting the pageant-master with a portrait of herself. Lally, in reply, stated that she had enjoyed producing the Pageant and had a wonderful time among the performers and organisers.16

The Pageant of Poole was essentially a very parochial event, aimed towards supporting local charities, the town economy, and the authority of the Corporation. While it did not avoid national themes such as war, or the visitations of royal figures, these events were always in the service of a particularly local narrative. It was popular, but not a sell-out event and, seemingly, did not elicit much response in the national or even regional press, despite its long run.17

Footnotes

  1. ^ Dorset Life Magazine, 7 June 2004. Archived online at http://www.zoominfo.com/p/H.P.-Smith/712683216
  2. ^ Ibid.
  3. ^ Deborah Sugg Ryan, ‘Lally, Gwen (1882–1963)’, Oxford Dictionary of National Biography (Oxford, 2013).
  4. ^ Ibid.
  5. ^ Pageant of Poole. Poole, 1952, 40.
  6. ^ D. Fraser, The Evolution of the British Welfare State: A History of Social Policy since the Industrial Revolution, 4th ed. (Basingstoke, 2009), 209-210; J. Davis, ‘Central Government and the Towns’, in The Cambridge Urban History of Britain, ed. Martin Daunton (Cambridge, 2003), 272; E.P. Hennock, ‘Central/Local Government Relations in England: An Outline 1800-1950’, Urban History Yearbook, vol. 9 (1982), 38-49.
  7. ^ Cecil N. Cullingford, A History of Poole and Neighbourhood (Chichester, 1988), 207.
  8. ^ Cullingford, History of Poole, 203.
  9. ^ Pageant of Poole, 5.
  10. ^ Dorset Life Magazine, 7 June 2004. Archived online at http://www.zoominfo.com/p/H.P.-Smith/712683216
  11. ^ Cullingford, History of Poole, 207.
  12. ^ Pageant of Poole, 5.
  13. ^ Ayako Yoshino, Pageant Fever: Local History and Consumerism in Edwardian England (Tokyo, 2011). See, for example, the Brights department store advert (Pageant of Poole, 12) which describes itself as ‘A pageant for shoppers’.
  14. ^ ‘History Comes to Life in Poole Pageant’, Dorset Daily Echo, 5 August 1952, 5.
  15. ^ ‘Poole Pageant ends in Blaze of Glory’, Dorset Daily Echo, 19 August 1952, 5. Ryan has described how ‘Lally's striking appearance was much remarked upon. She was tall and slim and was always photographed with short hair in men's or very masculine clothes’. See Deborah Sugg Ryan, ‘Lally, Gwen (1882–1963)’, Oxford Dictionary of National Biography (Oxford, 2013).
  16. ^ ‘Poole Pageant ends in Blaze of Glory’, 5.
  17. ^ In the Times, for example, it is merely listed as an event taking place, with no reportage given. Times, August 11 1952, 7. I also found little reference in the Dorset County Chronicle or Western Gazette.

How to cite this entry

Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, ‘Pageant of Poole’, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/1167/