A Pageant of the Brandanes, 1401–1951

Other names

  • Rothesay Pageant

Pageant type

Jump to Summary


Place: The Meadows (Rothesay) (Rothesay, Argyll And Bute, Scotland)

Year: 1951

Indoors/outdoors: Outdoors

Number of performances: 4


20–23 June 1951

Wednesday, Thursday, Friday and Saturday 20–23 June at 6.45pm on Wednesday and 7.00pm all other days.

The earlier commencement on Wednesday was to accommodate an opening ceremony, performed by the Duke of Montrose, KT, CB, CVO, Lord Lieutenant of the County of Bute.2

The pageant was probably less than two hours long, as the last sailing from the island was at 9.15pm.

Name of pageant master and other named staff

  • Director and Producer [Pageant Master]: Forsyth, Matthew

Names of executive committee or equivalent

Named Officials for the Event

  • Convenor: The Marquis of Bute, VL, CStJ
  • Vice-Convenor: Provost Sara Elbert, MA
  • Secretary: Peter M. Morris, MA, BL, Town Clerk

Executive Committee

  • Convener: Mr James Shedden
  • Other members:
  • Lord Bute
  • Provost Elbert
  • Treasurer Douglas W. McDonald
  • Ex-Provost K. McKay
  • Major Terris
  • Mr John Mackenzie
  • Ex-Provost C.S. Muir
  • Mrs MacIlravey


  • Convenor: Lord Bute
  • Other members:
  • Provost Elbert
  • Mr R.D. Whyte
  • Mrs Dickie
  • Miss Marshall
  • Mrs Stevenson
  • Ex-Bailie Dincan Dewar
  • Mr Stuart Black


  • Convenor: Mr John Mackenzie
  • Other members:
  • Lord Bute
  • Provost Elbert
  • Mr John Mackinnon
  • Councillor R.G. McKenzie
  • Mr H.S. Evans
  • Ex-Bailie William Meldrum
  • Mr I.B. Markwell
  • Mr J.W. Nelson


  • Convenor: Ex-Provost K. McKay
  • Other members:
  • Lord Bute
  • Provost Elbert
  • Mrs J.S. MacMillan
  • Mr John Mackinnon
  • Mrs Gilmour
  • Councillor A.B. Fisher
  • Mr T.L. Wilkinson
  • Mrs Doree
  • Mrs Hugh Johnstone
  • Major A.B. Terris, MC
  • Drum-Major McPhail
  • Mrs McPhail (Port Bannatyne)


  • Convenor: Alex. Stephen
  • Other members:
  • Messrs. D.C. Murray & Co. (Archd. Jenkins)
  • Duncan Jenkins
  • William Hunter
  • R.A. Milligan
  • George Flather
  • Duncan McKellar
  • John Paterson
  • W. Glen Aitken
  • Robert McFie
  • Robert Drennan.


  • Convenor: Mrs MacIlravey
  • Other members:
  • Lord Bute
  • Provost Elbert
  • Mr W. Glen Aitken
  • Miss Mary Nicholson
  • Mrs Gilmour
  • White Shrine (Mrs Stirling)
  • Eastern Star (Representative)
  • High Kirk Women's Guild (Mrs C.D.S. Swan)
  • West Church Social Club (Miss J. Murdoch)
  • Baptist Church Women's Assoc. (Miss Isobel G. Muir)
  • St Brendan's Women's Guild (Mrs Fulton)


In addition to the committees listed, members of the town council who were involved with the pageant are also listed (some of who sat on committees) as follows: Provost Sara L. Elbert; Bailies John Knox, John Shaw and A.B. Terris; Treasurer Douglas McDonald; Dean of Guild Alex. Bryce; Councillors: Duncan Dewar, John Currie Dyer, James Dobbie, Neil M. Dobbie, William Edgar, Alex B. Fisher, John C. McCollum, Kenneth McKay, Robert G. McKenzie, James S. McMillan, William Robertson and Joseph Smyth.5

The Provost of Bute at the time of the pageant was female.

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

  • Kemp, Robert


Robert Kemp (1908–1965) was then a well-known playwright and radio scriptwriter; he wrote several pageants over his career and collaborated on many occasions with the theatre director Mathew Forsyth.

Names of composers



Few details recovered.

Numbers of performers


Men, women and children. In addition, some sheep, a sheep dog, and some highland cattle also appeared.

Financial information

Object of any funds raised


Linked occasion

550th anniversary of the granting of the Burgh of Rothesay's Charter.

Audience information

  • Grandstand: Not Known
  • Grandstand capacity: n/a
  • Total audience: n/a


There is no note of a grandstand or of how seating was arranged.

Prices of admission and seats: highest–lowest

3s. 6d.–2s.

Reserved seats: 3s. 6d.
Enclosure seats: 2s. 6d.
Standing enclosure: 2s.8

Associated events


Pageant outline


This introduction to the pageant includes the principal characters of the Herald (played by Kenneth Mackintosh) and the Queen of the Pageant (Phyllis Auchincloss). In addition are a Mace Bearer (Leonard D. Cumming), 4 trumpeters, 8 pages and attendants and 12 men-at-arms. The scene involved men, women and children.

Scene I. The Druids' Sacrifice

This episode contained the classic pageant narrative of a proposed sacrifice of a maiden (played by J. Walker), orchestrated by the Arch-Druid (James T. Anderson). Other players included 9 druids, a crowd of people made up of 10 women and 6 men. It is presumed this ritual was interrupted by 'the Bishop' (played by William Skelton) who arrived accompanied by eight 'Culdees'—Christians who lived under monastic rules without taking formal religious vows during the early centuries of Christianity in Scotland and Ireland.

Scene II. The Birth of a Saint; Scene III. The Return of the Saint

In the pageant programme, these two scenes are part of a conjoined narrative; it is assumed that they included the same characters and that the narrative centred on the local patron saint, Cathan. The main roles were as follows:

St Cathan (played by J. C. G. MacMillan)
Ertha (May Howie)
Blaan (Rev. Robert Pollock)
Messenger (Archd. McFie)
Attendants (R. McMillan and L. Rae)

Also taking part were a variety of acolytes and priests (10 in all), as well as local men and women within an assembled crowd. This assembly included a further 15 women but it is not possible to assess the number of men as some names are missing from the cast list.9 The content of the episodes' narratives has not been recovered; it is assumed episode II recounts the arrival of Cathan on Bute and the conversion of locals to Christianity. Although Cathan is associated with many of the western isles of Scotland, local legend on Bute has it that Cathan died on the island and is buried there, so scene III may have been concerned with this.

Scene IV. The Pursuit of Peace; Scene V. The Viking Funeral

These two scenes are again part of a conjoined narrative; in this instance concerning the Vikings in the west of Scotland. Narrative details have not been recovered but it is presumed that Scene IV retold the time of peace before the arrival of the Vikings. Scene V may have simply enacted the spectacle of a Viking funeral, perhaps involving the ritual of setting fire to a Viking longboat following the defeat of the Vikings by Alexander III in 1263 at the Battle of Largs. 36 male players in roles of Vikings accompanied King Haakon (played by E. Wilson). Other characters included: 2 shepherds, 3 'cow-boys', 4 milkmaids, 6 'singing milkmaids', 6 'cloth-girls', 5 'young men' and 6 'waulking women'. 'Waulking' was a process of cloth finishing traditionally done by women which involved cleaning and fixing the cloth then beating this woven wool tweed against wooden boards. This process was ritualised in Gaelic culture and involved the singing of particular songs known as òrain luiadh. The work was done collectively to a specific rhythmic beat dictated by the tunes sung. Also taking part in these episodes was an 'unseen choir', a piper and a group of country dancers from Glasgow. Episode IV included sheep and cows.10 Overall, the cast likely included 100+ players.11

Scene VI. For Bannockburn

Within this scene, the raising of men for the Battle of Bannockburn was dramatically recreated. It included the following characters and groups: Walter the Steward (played by Rev. Robert Fulton) and a piper (Pipe Major Archie Martin); 'Mothers' (played by 4 women); 'Fathers' (3 men); 'Children' (5 girls, 4 boys); 'Recruits' (6 men) and 'Men-at-Arms (10 male players). Narrative details have not been recovered but it may be assumed that King Robert's representative, Walter the Steward, was seen recruiting men in Bute on the eve of battle with family members of the new recruits contributing. Walter was the founder of the Stuart dynasty in Scotland and married the daughter of Robert the Bruce.

Scene VII. The Charter

A re-enactment of the granting of Rothesay's burgh charter was the subject of this scene. Specific details of the drama have not been recovered but it included the following characters:

Sir John Stuart (played by Charles S. Muir Jnr.)
King Robert III (played by the Marquess of Bute [sic], understudy, ex-Provost K. McKay)
King's Herald (N.J. Bryan)
King's Page (Lady Fiona Crichton-Stuart, understudy Barbara Sutherland)
Sir John's Page (Ishbel Johnstone)
King's Clerk (A. McLellan)
Bishop of St Andrew's (W. Barr)
Bishop of Aberdeen (J. Blue)
David Duke of Rothesay (T. Donnachie)
Duke of Albany (R. Keating)
Earl Douglas (A. Campbell)
Lord Dalkeith (D. Cameron)
Thomas Erskine (W.A.K. Boath)

There were in addition, 14 male players in the roles of standard bearers, 11 women as 'Court Ladies', 4 male 'Attendants' and 8 'Pages' (probably boys).

Scene VIII. The Conventicle

The illegal gathering of Covenanters was enacted in this scene. Although no narrative details have been recovered, this type of drama in Scottish pageants generally included the discovery by the militia of a religious service involving those faithful to the Covenant. This usually involved the capture or death of one or more worshippers and was a highly dramatic performance. There may have been singing as well as prayer within the service enacted. The scene included the Minister conducting the service (played by the Rev. Robert Pollok), 6 elders, 6 'Male Faithfuls', 9 'Female Faithfuls', a 'Captain' and 10 soldiers.

Scene IX. The Penny Wedding

Following the high drama of the Covenanting scene, this episode was meant to provide light relief by re-enacting a traditional Penny Wedding. It likely contained music, singing and dancing. Following the marriage ceremony, drinking and merriment would have been part of the spectacle. The scene included the bride (played by Miss May Fletcher), the groom (Mr Noble), and the Minister (Rev. Dr N.H.G. Robinson). There was a party of guests of around twenty performers made up of men and women, and 8 male players in the roles of 'hinds'—this being the Scots' word for farm labourers. In addition, also taking part were 8 'dancing children and 4 male highland dancers, a fiddler, 2 pipers and a "tumbler" '.

Scene X. The Witch Hunt

This scene comprised a small cast of five characters as follows: Wallace (played by R. Keating), MacNeil (J. Campbell), Janet Montgomerie (Mrs Campbell), an elderly man (J. Campbell), a woman (J.S. Rose), two constables (J. Jones and W. MacFarlane) and six Elders of the Kirk (D. Kennedy, A. Buchanan, J. Neilson, E. McLellan, W. Barr and J. Blue). No details of the drama have been found but it is presumed that this was based on the burning of witches that took place on the island in 1662.

Scene XI. The Feeing Fair

A traditional Scottish feeing fair in which migrant labourers were hired for agricultural work was re-enacted in this scene. The scene was likely meant to be lively and allowed an event that was long established in this part of Scotland to be fitted within the pageant tradition of the inclusion of an episode which covered a local, traditional fair. The characters included were meant to be typical of the different social classes found in rural Scotland and of the archetypal types of entertainers who would turn out for such an event. It is assumed that the scene was meant to be colourful and fairly light-hearted despite the fact that this was a discredited method of employment which stretched in some places into the early twentieth century. The episode included the following main characters but probably had many crowd players:

The Captain (played by A. Glasgow)
A Drunken Piper (Hugh McCormack)
A Gypsy Woman (N. Strain)
Masters (T. Donnachie, Gilmour Young, A. Galbraith, J. Boyle, W. Hassall, Ian Stevenson)
Manservants (N. Cuthbert, J. Wilson, J. Robertson)
Men of Fashion (D. Cameron and W.A.K. Boath)
Stall Holders (Mrs Ross, Miss J. Ross and Miss J. Murdoch)
Housewives (Mrs Searil, Miss H. McGlashan, Mrs Cruilshanks, Mrs Thomson, Mrs Campbell, Mrs McEwan)
Female Servants (E. Galbraith, R. Taylor, C. Yeates, A. McNicol, I. McPhail, K. Strachan)
Women of Fashion (Misses Miller, H. Marshall, May Howie
Sergeant (J. Reynolds)
Soldiers (H. McKinnon, S. McEwan, T. Moore, R. Cunningham, R. Gow, W. Russell, J. Lyons).
Soldier Pipers (J. McCormack, D. Scott, T. McLean, W. Jardine).

Drummer Boys (A. McFie, H. McDonald and Weir [sic]).

Scene XII. The Comet

This scene enacted the arrival of the first paddle steamer to the firth of Clyde; this was SS Comet, designed by Henry Bell in 1812. In addition to Bell (played by Ex-Provost C.S. Muir), other characters included an engineer (A. Ferrier), the Comet's Skipper (D. Forsyth) and eight Royal Navy seamen playing the Comet's crew. Additional groups were made up of twelve fishermen and nine fisher wives. No further details of the drama have been recovered.

Scene XIII. The Discovery of Rothesay

This episode brought the history of Rothesay up to date and dramatised the arrival of tourism to the town. The scene included 31 children, three 'mothers' and two 'fathers', as well as six 'Landladies' and two 'Porters'. Other groups were 'Mashers' and 'Belles' and a troupe of 'Minstrels'. It is assumed that the spectacle included song and dance.

Scene XIV. The Finale

In this scene, the Queen of the Pageant handed on her crown to the Queen of the Present (played by J. Wilson) who had nine attendants accompanying her, and this concluded the show.

Key historical figures mentioned

  • King Haakon IV (1204-1263) King of Norway
  • Stewart, Sir Walter (c.1296–1327)
  • Robert III (d. 1406) king of Scots
  • Bell, Henry (1767–1830) hotelier and developer of steam navigation

Musical production

There was unaccompanied singing in most episodes. The Rothesay Male Voice Choir and a local women's choir provided all or some of this. There is no note of any other musical accompaniment. The traditional song 'Rothesay Bay' was sung at the close of the pageant as the players left the arena.

Newspaper coverage of pageant

The Glasgow Herald
The Glasgow Evening Times
The Motherwell Times.15

Book of words


There was no book of words.

Other primary published materials

  • A Pageant of the Brandanes to Mark the 550th Anniversary of the Granting of the Royal Charter to the Burgh of Rothesay, Souvenir Programme Price 1/-. Publication details not stated.

References in secondary literature


Archival holdings connected to pageant

  • The National Library of Scotland:
  • One copy of the souvenir programme. HP2.85.72.
  • The personal papers of the playwright Robert Kemp who wrote the pageants script. Acc. No.: 7622. These include the following items:
  • 'Untitled play for Rothesay and introductory notes'.
  • 'One folder containing miscellaneous material for the Rothesay and Ayr pageants'. (Box 38).

Sources used in preparation of pageant



'Brandanes' is the archaic name given to the people of Bute and this pageant took its title from this. Rothesay is the Isle of Bute's only town and has been a popular tourist destination in Scotland since the nineteenth century when steamers began to take holidaymakers 'doon the watter' from Clyde ports, especially from Glasgow. Rail and bus links further improved this traffic in the twentieth century, making Rothesay into one of the principal resorts throughout the summer months, especially for workers from the industrial heartlands of west central Scotland. Indeed, in 1951, it was described by its Provost as 'the lungs of Glasgow' which 'provided rest and refreshment' for its many holidaymakers and day-trippers.16 The island at this time had a small resident population of fewer than 10000 people, but this was swelled hugely in the holiday season; and a buoyant tourist trade was the area's economic mainstay. The trade was still lively in the post-war period and, from evidence of advertisements for guesthouses, it is likely that the pageant was intended to boost the island's attractions as a potential holiday destination.17 Unfortunately, in the post-war period its sedate charms may have been in slow decline. The Burgh's Provost had declared that she did 'not want Rothesay to become another modern Blackpool'.18 However, destinations such as this and the recently opened Butlin's Holiday Camp at Ayr provided many working-class people with new options.

The well-known Scottish theatre director Matthew Forsyth and the writer Robert Kemp were engaged on the project, as well as the highly praised professional actor, Kenneth Mackintosh (1919–2006), who provided narration as the 'Herald' within the pageant.19 Therefore, it is clear that a high quality production was planned that was expected to be a significant attraction. Special arrangements were even made for potential day-trippers to the pageant with late sailings from the Isle of Bute arranged that departed at 9.15 pm to connect with trains at Weymss Bay, which then travelled on to Glasgow.

Despite the premise of celebrating the town's charter centenary, this pageant was evidently not simply a matter of enjoining the islands' resident population in a show of civic pride; it was also a commercial venture and very likely was costly to produce. There was, of course, risk attached to this, since the event was held outdoors in a public park, and the west of Scotland is not unfamiliar with summer showers! Moreover, it is curious that the pageant was not held during July rather than June, since the main trade holidays, ‘the Glasgow Fair', occurred annually in July and this was undoubtedly Rothesay's busiest fortnight of the season. It is only possible to speculate on the reasons why this might have been; but since the Charter in question was endorsed in January 1401, faithful commemoration of the occasion was not the reason.20 A possibility is that Forsyth and Kemp were already committed in this Festival of Britain year; or it may have been an attempt to extend the holiday season in the resort by capitalising on the good weather that the west of Scotland sometimes experiences in June. The most likely justification, however, may have been a desire to accommodate locals. As this pageant included many schoolchildren from Rothesay Academy and from a variety of youth groups in the town, it may have been easier to hold it before the start of the school holidays at the end of June. It may also have been better timing for adults who were involved with the tourist trade to engage with the pageant before the season was in full swing. In the event, the weather for June proved inclement in 1951, and, unfortunately, the pageant was affected by rain, particularly at the opening performance when it was described as 'drenching' and 'responsible for many vacant seats'.21

The pageant was staged on a turf-covered raised stage which was meant to be reminiscent of a pier.22 It contained fourteen episodes beginning with a classic druidical scene in which a human sacrifice was disturbed 'by the timely Dick-Bartonish arrival of the Culdees'.23 This abrupt arrival of Christianity was followed-up in the next two episodes which provided a linked narrative concerned with the life of the local patron saint. Thereafter, it moved to cover local history in the shape of the Vikings – famous for having plagued this part of Scotland over several centuries. The Viking drama was again covered in two linking episodes. The first of these showed Bute at peace complete with a 'pastoral assembly of shepherds and milkmaids' accompanied by 'live sheep and cows'.24 The second included a spectacular enactment of a Viking funeral. The Scottish pageant staples of Robert the Bruce, the Covenanting movement and an episode of light relief (which in this case re-enacted a Penny Wedding), then unfolded, until Episode X somewhat unusually created a dramatic enactment of a Scottish 'feeing fair' in place of the usual annual town fair characteristic in pageants. This was doubtless in homage to local memories of this means of obtaining agricultural employment. The final two episodes brought the pageant into the modern age with the coming of the paddle steamer, SS Comet, to the Firth of Clyde and, in the penultimate episode, the arrival of holidaymakers to Rothesay! This scene was described in the press as an 'amusing pantomime with Maw, Paw and the weans arriving off the boat'.25 In the final episode, the pageant's story was brought right up to date and involved the Queen of the Pageant, who had appeared in the Prologue, handing over her crown to the 'Queen of the Present'.

Unfortunately, the programme provides no details of the storyline. However, it is likely to have included plenty of lively dialogue provided by the accomplished playwright Robert Kemp, and amplification was used in the form of concealed microphones. The Glasgow Herald's drama correspondent reported that every word was heard clearly and, indeed, he praised the production and Mathew Forsyth's direction of the players.26 Forsyth had by this time added television production to his repertoire of theatre work and it seems he imported some of its methods, using a control box to cue performers via a microphone link to the area where they were corralled before taking the pageant stage.27 Considering the small size of Bute and its population, the performers were drawn from a large number of civic organisations: these included youth groups such as the Girl Guides and Scouts as well as the local Young Farmers Club. Amateur dramatic associations were well represented by Bute Community Drama Club and also the Ardbeg Players. Industry played its part with local workers from the Hydro Electric Board and the Post Office taking part.28 Many local choirs were involved and live singing seems to have an integral part of most of the pageant, although few details of the music used have been recovered.

No records of pageant finances have been discovered; however, despite the weather, any potential loss may not have been as bad as might be imagined, for in 1953 Rothesay staged the pageant again as part of its contribution to the Queen's Coronation celebrations. This time it was held in Rothesay Castle, which was the hereditary home of the Marquis of Bute and then under the jurisdiction of the Ministry of Works. The Castle had been closed to visitors since 1939, so it may have been thought that the re-opening would also attract visitors.29 For this restaging, the pageant was performed in both June and August and produced by the actor Kenneth Mackintosh who had previously taken the role of herald in 1951; there was also some re-writing done by the author Robert Kemp. This time round, there was a smaller cast of 230.30

Aside from newspaper notices, no source material relating to the 1953 event has come to light. However, according to the Glasgow Herald, it took place over four nights in June in the week of the Coronation. Unfortunately, the weather was yet again bad and the Coronation itself may have kept visitors away; the pageant was described as an artistic success but attendance was poor.31 As planned, it was held again over four evenings in August. Sadly, the weather was once again rainy and the cast for this particular showing was much reduced with only 230 players. However, more visitors were in Bute at this time and audiences may have been fuller. Some script changes appear to have been made by Kemp in 1953, and there was an episode which included a ghostly figure who stood high on one of the towers and recited the story of the castle while a succession of 'Vikings, Roundheads, Cavaliers and Highlanders appeared in succession on the battlements'. 32 It is unclear which episode was dropped to accommodate this new piece of drama (the pageant again carried fourteen episodes), but it may have been the 'Feeing Fair' that was excised, given that this scene required a large cast. The ghost's recitation, however, is reminiscent of a similar dramatic element introduced into the Arbroath pageant of 1952, with which Kemp was undoubtedly familiar.

In both 1951 and 1953 bad luck with respect to weather conditions and, perhaps, bad judgement in respect to timing influenced the success of this event. The pageant undoubtedly had ambition and the advantage of local enthusiasm, but it seems to have lacked an audience. Despite having a high profile writer and producer, it attracted little attention.


  1. ^ The pageant was repeated in 1953 in honour of the queen's coronation when it ran for four performances in June and a further four in August, details of dates and times of the performances in 1953 have not been recovered.
  2. ^ A Pageant of the Brandanes to Mark the 550th Anniversary of the Granting of the Royal Charter to the Burgh of Rothesay, Souvenir Programme Price 1/- (no publication details), 1.
  3. ^ A Pageant of the Brandanes to Mark the 550th Anniversary of the Granting of the Royal Charter to the Burgh of Rothesay, Souvenir Programme Price 1/- (no publication details), 1.
  4. ^ All committees and their members listed in A Pageant of the Brandanes to Mark the 550th Anniversary of the Granting of the Royal Charter to the Burgh of Rothesay, Souvenir Programme Price 1/- (no publication details), 3.
  5. ^ A Pageant of the Brandanes to Mark the 550th Anniversary of the Granting of the Royal Charter to the Burgh of Rothesay, Souvenir Programme Price 1/- (no publication details), 3.
  6. ^ Advertisement, Motherwell Times, 8 June 1951, 2.
  7. ^ 'Rothesay Tells Her Story', Glasgow Herald, 21 June 1951, 4.
  8. ^ Motherwell Times, 8 June 1951, 2.
  9. ^ A Pageant of the Brandanes to Mark the 550th Anniversary of the Granting of the Royal Charter to the Burgh of Rothesay, Souvenir Programme Price 1/- (no publication details), 5.
  10. ^ See 'Rothesay Pageant', Evening Times (Glasgow), 14 June 1951, 5.
  11. ^ A Pageant of the Brandanes to Mark the 550th Anniversary of the Granting of the Royal Charter to the Burgh of Rothesay, Souvenir Programme Price 1/- (no publication details), 5.
  12. ^ Glasgow Herald, 21 June 1951, 4.
  13. ^ A Pageant of the Brandanes to Mark the 550th Anniversary of the Granting of the Royal Charter to the Burgh of Rothesay, Souvenir Programme Price 1/- (no publication details), 8.
  14. ^ 'Rothesay Stakes its Historical Claim', Glasgow Herald, 20 August 1953, 4.
  15. ^ The local newspaper was The Buteman; however, surviving copies for the relevant dates have not been recovered. It is likely that this pageant was advertised in a variety of local newspapers in west central Scotland given that Rothesay was a popular holiday and day-trip destination.
  16. ^ 'Rothesay Celebration', Evening Times, 20 June 1951, 5.
  17. ^ See, for example, an advertisement for the Craigmore Private Hotel, Dundee Courier, 22 March 1951, 1; this mentions the sailing regatta in July as well as the pageant in June.
  18. ^ Evening Times, 20 June 1951, 5.
  19. ^ See Mackintosh's obituary, Guardian, 13 November 2006, accessed 25 September 2015, http://www.theguardian.com/news/2006/nov/13/guardianobituaries.artsobituaries.
  20. ^ See: George S. Pryde, 'Two Burgh Charters Kirkintilloch, 1211–1214, and Rothesay, 1401', The Scottish Historical Review 29, No. 107, Part 1 (April, 1950): 64–69.
  21. ^ Glasgow Herald, 21 June 1951, 4.
  22. ^ Glasgow Herald, 21 June 1951, 4.
  23. ^ Evening Times, 14 June 1951, 5.
  24. ^ Glasgow Herald, 21 June 1951, 5.
  25. ^ 'Rothesay Stakes its Historical Claim', Glasgow Herald, 20 August 1953, 4.
  26. ^ Glasgow Herald, 21 June 1951, 4.
  27. ^ 'TV Methods Used', Evening Times, 15 June 1951, 2.
  28. ^ Organisations listed in Souvenir Programme, 8.
  29. ^ 'Rothesay Pageant', Glasgow Herald, 18 June 1953, 3.
  30. ^ 'Castle Setting for Rothesay Pageant', Glasgow Herald, 5 June 1953, 8.
  31. ^ 'Rothesay Stakes its Historical Claim', 4.
  32. ^ Glasgow Herald, 5 June 1953, 8.

How to cite this entry

Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, ‘A Pageant of the Brandanes, 1401–1951’, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/1176/