Chester Historical Pageant
Pageant type
Performances
Place: Eaton Park (Chester) (Chester, Cheshire, England)
Year: 1910
Indoors/outdoors: Outdoors
Number of performances: 6
Notes
18–23 July 1910, daily at 2.45pm.
In addition, several dress rehearsals were held before the pageant opened, on Saturday 9 July at 3pm, Wednesday 13 July at 6pm, Friday 15 July at 6pm, and Saturday 16 July at 3pm.2
It was reported that these performances were well attended.3 Chester's Crimean veterans were also invited to attend the final dress rehearsal.4
Eaton Park is a landed estate belonging to the Duke of Westminster. Pageant records have revealed that the site used was usually utilised as farmland. A contract existed between the Committee and a tenant farmer—Joseph Powell—for the use of the land to hold the pageant. The Duke of Westminster's permission had already been granted. The farmer was paid £50. This sum included: 'compensation for disturbance of tenancy damage to pasture and for any cost or expense incurred... in clearing up or restoring the said Field after the termination of the tenancy... and by way of compensation for any loss accident injury or damage which may be occasioned by or in connection with or arising out of the said Pageant to the said Field or to any stock animals or other property whatsoever'.
Name of pageant master and other named staff
- Pageant Master: Hawtrey, George P.
- Director: Edward Baring
- Master of the Music: J.C. Bridge, MA, MusDoc, FSA
- Conductor of the Band: Lieut. Geo. Miller, MVO, MusBac
- Master of the Horse: Lord Arthur Grosvenor
- Assistant Master of the Horse: Sergt.-Major Potter
- Master of Properties: Mr F. Randle Ayrton
- Master of Designs: Mr W.G. Schroeder
- Master of Grand Stand: Alderman R. Cecil Davies, JP
- Mistress of Costumes: Mrs F. Edwards
- Mistress of the Dances: Mrs E.M. McLellan
- Hon. Treasurer: J.R. Thomson, JP
- Official Costumiers: Messrs J. Burkinshaw & Sons
- Press Department: Miss Agnes Haynes5
- Bankers: Parrs Bank Ltd.
- Managers: Baring Bros (Cheltenham)
- Managers' Representative: G.F. Salas
- Official Photographers: Messrs Chidley6
- Introduction, Head: Hon. Mrs H.N. Gladstone
- Introduction, Deputy Head: D.E. Oliver, Esq.
- Episode I, Head: Rev. J.R. Fuller, MA
- Episode I, Deputy Head: S. Dring, Esq.
- Episode II, Head: Rev. C.A. Griffin
- Episode II, Deputy Head: W.H. Harker, Esq.
- Episode III, Head: Countess Grosvenor and the Hon. Mrs Parker
- Episode III, Deputy Head: J.G. Garnett, Esq. MA
- Episode IV, Head: Rev. F.S.M. Bennett
- Episode IV, Deputy Head: Mrs R. Ball Wright
- Episode V, Head: Hon. Mrs Marshall Brooks
- Episode V, Deputy Head: G.P. Gamon, Esq.
- Episode VI, Head: J.R. Thomson, Esq. JP
- Episode VI, Deputy Head: H.E. Crane, Esq.
- Episode VII, Head: A.E. Lovell, Esq.
- Episode VII, Deputy Head: F. Simpson, Esq.
- Episode VIII, Head: Mrs T. Gibbons Frost
- Episode VIII, Deputy Head: Rev. A.F. Giddings7
Notes
The Chester Archives hold a copy of the contract drawn up between the Pageant and Edward Baring, which appointed Baring as 'Director of the Pageant and Business Manager'. Baring was paid 'ten per cent of the gross receipts (other than from subscriptions and guarantees)... from all sources whether from the production of the said Pageant and from any Entertainments and other Functions held in connection therewith... also from the sale of effects after the Pageant when those sales have been made through the agency of the said Edward Baring'. In addition he received 'out-of-pocket expenses' and his staff were housed for all 'office-work' at 'Pageant-House' in the city.8
The Pageant Committee also hired the Master of Properties, Master of Music and the Pageant Master. The Master of Properties was paid £50 in three instalments.9 Dr Bridge who was in charge of the music received £100 in two instalments plus out-of-pocket expenses and 'five per cent on the first thousand pounds net profits... if such profit shall not exceed the sum of one thousand pounds'. His duties included organising the vocal score, securing any copyright permissions needed, and the training of the choir. He was required to attend at all dress rehearsals and all pageant performances. In respect of his own compositions for the pageant, he retained copyright, but the committee agreed exclusive use of these during Pageant Week. A further clause stipulated that if for any reason the Pageant was called off, he would receive a sum proportionate to the amount of work he had already completed.10
Pageant Master George Proctor Hawtrey was hired 'to write, plan and design the Dialogues Scenes and Tableaux of the said Pageant'. His contract specified that although he must include 'as much as possible and practicable of the work of the amateur authors whom the Committee have invited to write Episodes and give them credit by mentioning their names', the copyright of the work when finished would remain with the Committee. It was Hawtrey's job to make the script ready. He was also Stage Manager with responsibility for allocating parts, training the performers and personally conducting 'all necessary rehearsals and performances during Pageant Week'. His contract specified that he take up 'the office of Master of the Pageant... and when required interview leading persons in the Town and County whom it may be desirable to interest in the undertaking'. Further conditions were that he should visit Chester as often as was necessary until May, after which he was required to live in Chester. For the performance of these duties, he was to be paid £400 in four instalments of £100, the last of which being paid following pageant week. He was not paid out-of-pocket expenses, but he did receive an allowance of £52 10s. 'for the purpose of engaging two assistants to help with the stage management'. Poor Hawtrey was allowed to claim for 'third class railway fares' if he had to make a journey to interview anyone important, so this does not appear to have been an especially good deal for him.11
In addition, the Mistress of the Dance, Mrs McLellan, appears to have been imported from elsewhere to do this job. Although a contract with this dance teacher has not been recovered, an advertisement she placed in the Cheltenham local press states that she had taught at Cheltenham Ladies College and had been in charge of dance at several pageants including events in Gloucestershire and Wales; she taught from an address in Cheltenham.12
Names of executive committee or equivalent
Executive and Finance Committee:
- Chairman: The Hon. Cecil T. Parker
- Vice-Chairman: Alderman John Jones
- Joint Hon. Secretaries: J. H. Dickson (Town Clerk); Geoffrey P. Gamon
- Other members:
- The Mayor of Chester
- The Deputy Mayor of Chester
- The Sheriff of Chester
- The Lord Bishop of Chester
- The High Sheriff of Cheshire
- The Chairman of the County Council of Cheshire
- The Recorder of the City of Cheshire
- The Archdeacon Barber, MA, FSA
- The Hon. Mrs Marshall Brooks
- Col. Wilford N. Lloyd, MVO, JP
- H. Barnston, MP
- R.A. Yerburgh, MP
- J.C. Bridge, MA, MusDoc
- St John Charlton
- H.B. Dutton
- Edgar Dutton
- Mrs J.G. Frost
- H.N. Gladstone, JP
- J.T. Golder
- Rev. C.A. Griffin
- F.W. Longbottom
- D.E. Oliver
- J.R. Thomson, JP
- W.H. Verdin, JP
Ladies' Committee:
- President: Her Grace the Duchess of Westminster
- Vice-Presidents: The Marchioness of Cholmondeley; the Countess of Stamford
- Chairwoman: Mrs Jas. G. Frost
- Vice-Chairwoman: Mrs J.R. Thomson
- Hon. Sec.: Miss Jayne
Historical Committee:
- Chairman: Ven. Archdeacon Barber, MA, FSA
- Vice-Chairman: A.E. Lovell, MA
Publicity Committee:
- Chairman: The Sheriff (W.H. Denson, JP)
- Vice-Chairman: Ambrose O. Roberts
Performers Committee:
- Chairman: Col. Wilfred N. Lloyd MVO, JP
- Vice-Chairman: Rev. C.A. Griffin
- Hon. Sec.: Frank Simpson
Properties Committee:
- Chairman: H.B. Dutton
- Vice-Chairman: F.B. Mason
- Hon. Sec.: C. Tupling, BA
Grand Stand Committee:
- Chairman: Ald. R. Cecil Davies, JP
- Vice-Chairman: W.T. Lockwood, FRIBA
- Hon. Sec.: John Dodd
Horse Committee:
- Chairman: Lord Arthur Grosvenor
- Vice-Chairman: Col. Radcliffe
- Hon. Sec.: Frank Okell
Reception and Housing Committee:
- Chairman: The Mayor of Chester
- Vice-Chairman: Ald. J.M. Frost, JP
- Hon. Sec.: Cecil Oakes (Deputy Town Clerk)
Evening Entertainments Committee:
- Chairman: Ald. W.H. Churton
- Vice-Chairman: Walter Conway
- Hon. Sec.: J.T. Hughes
Fancy Dress Ball Committee:
- Chairman: F. Skipwith, JP
- Vice-Chairwoman: The Mayoress
- Hon. Sec.: C.W. Rogers
Head-Dress Committee:
- Chairwoman: Mrs Cullimore
- Vice-Chairwoman: Mrs Wickham
- Hon. Sec.: Miss Jessie Fraser
Stencilling and Painting Committee:
- Chairman: Mr W.G. Schroeder, ARCA
- Vice-Chairwoman: Hon. Mrs Parker
- Hon. Sec.: Miss Sidall
Lecture Committee:
- Chairman: Ven. Archdeacon Barber, MA, FSA
- Vice-Chairman: E.M. Sneyd-Kynnersley
- Hon. Sec.: J.A. Keell
Notes
There was a plethora of sub-committees. Overall, there seems to have been a lot of municipal involvement with the pageant.
In addition to heads of episodes, there were a great number of 'convenors of working parties'; all 78 of these named individuals were women. The group included Lady Forewood and the Hon. Mrs Parker but the remaining named women did not have noble titles.15 A separate women's executive existed; this had three titled women in honorary roles. The chair of this committee also sat on the general executive. The Official Souvenir Book of the pageant details that there were a further 23 members; of these, a further two had titles and four carried the prefix 'Honourable'. The majority of the committee were married women.16
The pageant also had royal patrons (Prince George and Princess Mary, later King and Queen following the death of Edward VIII in May 1910), as well as patronage by a number of aristocrats (including the Duke and Duchess of Westminster). The Duke of Westminster was also chair of the pageant's Grand Council, which had a non-executive role.
Names of script-writer(s) and other credited author(s)
- Hawtrey, George P.
- Milton, John
- Scott, Walter
- Morris, Rupert
- Clay, Beatrice
- Spurling, Claribel
- Lovell, A.E.
- Macdonald, S.F.
Notes
George P. Hawtrey wrote the Introduction, and acted as editor of the pageant scripts by other authors.17 These other authors were- Rev. Canon Rupert Morris, DD: Episode III.18
- Miss Beatrice Clay and Miss Claribel Spurling: Episodes IV and VI.19
- Mr A.E. Lovell: Episode VII.20
- The work of John Milton was heavily drawn on in Episode I.
- Sir Walter Scott’s lyrics to 'Waken Lords and Ladies Gay' was sung during Episode II.21
- Rev. S.F. Macdonald’s lyrics to the song, 'Ode to the City of Chester', were sung during the Finale.22
In the foreword to the book of words, Hawtrey acknowledged that 'the Introduction contains a good deal that was written by John Milton... I have even dared to edit him!'23 Hawtrey appears to have edited the original scripts heavily, and he did attract some criticism for this. It was alleged that many of the original scriptwriters threatened to remove their names from the work.24 This offence seems to have been smoothed over, with the exception of Episode I where authorship is not credited; it thus seems likely that Hawtrey was responsible for most of this scene.
Names of composers
- Hann, Lewis
- Flemming, F.
- Lawes, Henry
- Lawes, William
- Smart, Henry
- Bridge, Dr J.C.
- Sullivan, Arthur
- Bateson, Thomas
Numbers of performers
3790
The pageant was advertised as containing 3000 performers, but—including the chorus of 250 voices—there almost certainly was more than this number taking part. The Committee produced an information guide on the number of performers and this gives the breakdown of performers as follows: men, 1303; women, 1144; children, 1093; choir, 100 men and 150 women. 200 horses were used, many of which came from the Duke of Westminster's stables.
Financial information
A profit of £548 was made.28
Receipts to 26 July 1910
Tickets for performances sold at Box Office: £4665. 3s. 4d.
Tickets for performances sold at Gate: £2202. 13s. 2d.
Tickets for rehearsals sold at Box Office: £1320. 19s. 10d.
Tickets for rehearsals sold at Gate: £279. 8s. 1d.
Book of Words: £417. 17s.
Sale of various rights: £270
Costumes sale and hire: £298. 16s. 7d.
Evening Entertainments:
- Fancy Dress Ball: £113. 15s. 6d.
- Grosvenor Park: £825. 4s. 0d.
- Collins' Roundabouts: £50
Sundry late receipts: £62. 12s. 5d.
Advertisements: £81. 0s. 7d.
Lectures: £2. 0s. 10d.
Total: £10,579. 11s. 4d.
Bank interest: £17. 18s. 8d.
Subscriptions: £2193. 7s. 10d.
Sundries: £1. 16s. 5d.
Grand Total: £12792. 14s. 3d.29
Directly following the pageant, 1200 Books of Words remained unsold.
This and a number of other potential receipts and payments due held up
publication of the accounts. According to press reports, a profit of
just over £500 was eventually made.
Object of any funds raised
There was no advertised object of fundraising although profits did go to the Chester Infirmary (£400) and to the County Nursing Fund (£100).
Linked occasion
n/a
Audience information
- Grandstand: Yes
- Grandstand capacity: 4000
- Total audience: 80000
Notes
The pageant brochure states that there was seating for 4000 in a 'covered auditorium'. 30
The figure of 80000 included attendance at the dress rehearsals.31 A 'large audience' was recorded for the Tuesday performance.32 Despite bad weather, the performance on Wednesday was sold out and 2000 people were turned away.33 This higher demand may have been from people who had also travelled to see the illumination of the river Dee held later in the evening.
Prices of admission and seats: highest–lowest
21s.–2s.
Seats: 21s.; 10s. 6d.; 7s. 6d.; 5s.; 3s. 6d.
Standing enclosure: 2s.34
A publicity brochure advertised that cheap return railway tickets would be available for pageant ticket holders 'from all Towns within 150 miles' (minimum of 1s.).35 The brochure also stated where tickets could be purchased; this included the following: Phillipson and Golder, Haymarket; Londons, Chester; Rushworth and Dreaper, Liverpool; Forsyth Bros., Manchester; Tourist development and all Thomas Cook offices.36
Particular groups were admitted to the dress rehearsals as follows:
- Saturday 9 July at 3pm: tickets 6d. for children; 1s. for adults (elementary school children and teachers from surrounding three counties in parties of 25);
- Wednesday 13 July at 6pm and Friday 15 July at 6pm: tickets 5s. reserved seats; 3s. unreserved seats; 1s. standing (Citizens' days);
- Saturday 16 July at 3 pm: tickets 5s. and 3s. 6d. reserved seats; 2s. unreserved seats; 1s. standing (private schools and colleges in parties of 25).
Associated events
There were associated lectures, accompanied by lantern slides, which were delivered free to the public in a variety of locations. Beatrice Clay and Claribel Spurling (authors of Episodes IV and VI) gave a lecture entitled 'The Art Side of Pageantry' in several places. These included Manchester (Municipal School of Art, 1 June), Southport (Victoria Science and Art School, 4 June; Cooperative Hall, 8 June), Salford (Royal Technical Institute, 17 June), Stockport (Technical School, 20 June), and Chester (Town Hall, 24 June).
A Fun Fair was held in Grosvenor Park, Chester (18–23 July 1910, 7.30–10.30 pm). Other entertainment s were held in the park including:- Monday 18 July: a 'Great Firework Display and Promenade Concert by the Band of the Royal Marines’ at 8pm. Entrance cost 6d.
- Tuesday 19 July: 'Children's Fantastic Play' together with music by the band of the Royal Marines at 8 pm. Admission was 6d.
- Wednesday 20 July: the Band of the Royal Marines played at 8 pm; admission to this was 6d; and there was special illumination of the River Dee showing the spectacle of King Eadger and the Tributary Princes.
- Thursday 21 July: animated pictures of the Pageant and music by the Band of the Royal Marines; admission 6d.
- Friday 22 July: a Fancy Dress Ball was held at the Town Hall; cost 10s. 6d. (including supper). The Band of the Royal Marines and a show by Pierrots was held in Grosvenor Park at 8 pm; admission 6d.
- On the last night, Saturday 23 July: a Battle of Flowers and display of decorated motor cars, accompanied by music played by the Band of Royal Marines, took place in Grosvenor Park at 8 pm; admission was 1s.
Pageant outline
Introduction
This part of the pageant contained a number of allegorical characters intended to represent aspects of the city. These included: Chester (played by the Hon. Cecil T. Parker); The Gates (Hon. Sir Savage Lloyd Mostyn and three others); The Pinnacles (played by 10 women); The Walls (4 men); Attendants of Chester (6 men, 7 women); Deva, Goddess of the Dee; Nymphs; Tritons and Fairies of the Banks.41 In all, around 650 performers took part.42
The pageant begins with the entrance of the Band, followed by the Chorus: all take their places on the 'Stand'. The National Anthem is then played at the conclusion of which Chester, followed by 'his party', ride in from 'the further end of the ground'. Behind him 'in three rows' come the Gates, the Walls, and the Pinnacles, then all of the attendants.43
The character of Chester introduces the pageant in spoken verse with the Gates, Pinnacles and Walls acting as a rhetorical chorus. They afterwards notice the absence of the river Dee and disperse across the ground to look for her while the choir sang. Nymphs, followed by the goddess Dee and, at the end of this procession, the Tritons, all then enter followed by the fairies from different points of the arena. At the conclusion of the choir's song, Dee addresses Chester saying '...Chester dear, at thy request I am here'. A dialogue in verse then ensues between Chester and the Dee; this ends with Chester announcing the first episode and all dispersing from the ground. Music is played to conclude the introduction.
Episode I. Agricola Returns to Deva After Defeating the Ordovices, AD 78.
The Book of Words asserts that 'there is every reason to think' that Agricola 'selected Chester, or Deva as it was then called, for his winter quarters' during AD 78 and 79. This followed Agricola's defeat of the Ordovices in North Wales. The episode commences with a general town scene. Roman soldiers enter, and two of them, Felix (played by Mr A. Hodge) and Piso (Mr J. G. Frater) begin a game of dice.44 The game over, they encounter two young Britons: Carantus (Mr S. Dring), and Deuccas (Mr L. Bebbington). Piso challenges them, but Carantus claims that they have obtained 'a pass' for they sought 'justice' from Agricola in the matter of some theft of cattle. Carantus implies that the Romans committed the theft; this angers Piso. However, the Romans let the Britons proceed and then discuss how they love Agricola even though he is 'too soft with these insolent natives'. Carantus reveals to Deuccas that he plans to kill Agricola, not so much because of the theft of his cattle but because a Roman soldier (Aufidius) has insulted his 'promised wife' (Brica).
Agricola (Rev. J. R. Fuller) enters, and soldiers seize Carantus in the act of attempting to stab Agricola. Unfazed, Agricola invites him to explain himself. Carantus explains that Brica has been 'assailed by one of your officers, a centurion and but for her father's aid—'. To this, Agricola replies that he will try the centurion, Aufidius Rufus (Thomas G. McQuie). The prisoner is brought in and a trial proceeds. Agricola hears the evidence of Brica's father, Cunobarrus (George Cochrane), and one of the centurion's soldiers. He finds the centurion guilty and condemns him to death against the advice of his Tribune (Percy Smith) who views the whole incident as simply a petty crime. However, Agricola declares 'Rome is conqueror, but no tyrant. The goods of men, the virtue of women, shall be sacred to her soldiers.' Agricola then states that Carantus will have his cattle restored to him and that he can marry Brica. Before departing, he addresses Carantus: 'Thou art a lad of mettle, and such are the men I like'. The episode ends with the choir singing 'Invocation to Sabrina' (to music by Lawes).
Episode II. King Eadgar on his Imperial Progress With Queen Aelfthryth Receives the Homage of Tributary Princes, AD 973.
This episode had a very large cast of characters. One notable performer was the Mayor of Chester, Mr D.L. Hewitt, who played Eadgar, king of England. The Book of Words reminds the reader that before the channel silted up in the fifteenth century, Chester was a port. Eadgar is described as having 'sailed from the estuary of the Severn to Chester'. The scene opens with the return of the fairies who had appeared in the introduction; here they represent the banks of the river Dee. As they take position, a throne is placed on the banks of the Dee. Eadgar arrives in a boat rowed by eight Kings. All disembark and Eadgar mounts the throne and welcomes his 'Royal brothers'. There is little dialogue, with only Eadgar and Kenneth having speaking parts. The Bishop of Chester is bidden by the King to bring forth a reliquary—'memorial of our holy maid Werburga'—which he then places on a table beside the King. The Kings then position their hands on the reliquary and swear an oath of allegiance to Eadgar, who in turn swears an oath. There is a 'flourish of trumpets', after which Eadgar declares:
Thus we have plighted our troth: and now, my brothers,
Go we to God's house by the banks of the Dee.
Where to the honour of St John the Baptist
My pious ancestors have built a church.
There let us ask heaven's blessing on our troth.
The 'great folk' take their leave in a procession and the assembled crowd cheers. The scene ends with the 'fairies of the banks' following. The choir in conclusion of the episode sings 'Waken Lords and Ladies Gay'.
Episode III. Hugh Lupus, with St Anselm, Founds the Abbey of St Werburgh, AD 1093
The episode begins with the entry of Hugh Lupus, Earl of Chester (played by Mr A. H. Fyffe). He appears feeble and is using a walking stick as well as leaning on the arm of Robert Fitzhugh of Malpas (Mr E.R. Reynolds). His wife Ermentrude (Lady Arthur Grosvenor) and her ladies accompany them. In the train that follows are a group of nobles and the 'Chief Falconer' who have alongside them 'huntsmen, boys with hounds, servants, men at arms'. Also included in the procession are the clergy of St John's. At the centre of the arena, Hugh Lupus sits on a chair and proceeds to bemoan the continued absence of Anselm who is in Normandy, though he has 'sent for him three times'. Ermentrude tries to calm him. The arrival of Anselm (the Rev. W. Trott) is announced. Lupus asks him why he has taken so long in coming, stating, 'I grow old, Anselm, and near my term: and, alas, I have led but an ill life'. Anselm then replies:
Thou sayest truly, my son. Thou hast been a man of violence: of evil conversation... of gross appetite. Thou hast done evil mightily all the days of thy life: yet, peradventure—
Lupus claims that he can make amends and asks Anselm if he has brought the plans for the abbey he wishes to build: Anselm shows these and Hugh declares that he gift the land for the abbey to the 'Holy Church'. After this, in succession, Ermentrude and the nobles offer their own donations: Ermentrude gives 'a fair altar cloth', and others promise various churches and tithes. One noble, Robert Fiz-hugh, is encouraged to give a salt pit and a mill to the monks. Anselm responds saying:
These things are good. But they are not the best. The living temple is of the spirit. Is there none among you all who will give himself to God?
Lupus then claims that 'ere long' he will make amends as a monk 'at St Werbugh's Abbey'. Following this exchange, Anselm accepts Ermentrude's invitation to go to the site of the new monastery and the scene concludes with Anselm appointing 'Richard, my Chaplain' as the first Abbot of the Abbey of St Werburgh. A hymn, written by the pageant's musical director called the 'Founders' Hymn', is sung by the choir at the end of this drama.
Episode IV. Archbishop Baldwin Preaches the Crusade at Chester AD 1189.
A large cast appeared in this episode. This included groups of monks, ecclesiastics, barons, knights, ladies, spearmen, archers, citizens, countrymen, minstrels, pedlars and jesters. It contained more dialogue than previous episodes. The opening scene is set at the town cross on Holy Thursday; the stocks are seen nearby. Many people are milling around; a group of girls is 'playing at ball with coloured Easter eggs, and at qui fery (hot cockles)'. Two officers (played by F. G. Gill Houghton and Arthur Ford) enter 'in charge of a disorderly prisoner', who they place in the stocks. Lively discussion goes on between the three in which the prisoner states that the officers must have been left behind by the King 'lest thou should corrupt the infidel'. A young knight called Brereton (J. A. MacMichael) interrupts and teases the officers, taking a harp away from a minstrel close by and singing:
When a jolly old toper
His manners would mend,
Not to leave the stocks lonely,
He claps in a friend.
The officers take offence and put Brereton in the stocks; a crowd gathers to view the commotion. While this comic scene goes on, a procession of monks make their way to greet the Archbishop. The Earl and Countess of Chester (H.L. Greenhouse and Mrs Herbert Brassey) and their retinue then enter; while the monks sing, the Earl greets the Archbishop (Rev. F.S.M. Bennett) who proceeds to give his sermon which takes the form of several stanzas of verse encouraging the 'valiant English' to 'follow the Cross'. The crowd becomes excited and the Archbishop's attendants rush around giving out crosses. Brereton meantime is complaining loudly about being trapped in the stocks and attracts the attention of the Earl who recognises him. At this, the second officer states 'we took him for a vagabond'. The knight is released and the other prisoner escapes at the same time. Brereton begs the Earl not to punish the officer for:
His worst fault is, he cannot see a jest,
But took one of thy late created knights
For an unlicensed jongleur.
The Earl rebukes Brereton for playing the fool and encourages him to 'redeem his honour', at which the knight goes forward to the Archbishop and receives a cross. Other men also decide to go on crusade. At the end of the episode, the Earl and his party and the Archbishop and his entourage all take their leave; while this is going on, a young man (played by Bernard Lodge) is seen 'scraping up some of the earth on which the Archbishop stood'.45 When asked what he is doing he says he wishes to use it as a salve for the eyes of his blind mother. He further states that if his mother is cured he will go on crusade. As the arena empties, a little girl makes crosses out of 'fragments of material—white, green and red' which she gives to two little boys. The choir then sings 'O Gladsome Light'. Thirty-seven horses are involved in the scene.
Episode V. Prince Edward, First Royal Earl of Chester, and Princess Eleanor, Visit Chester, AD 1256.
This episode also featured a large cast. In addition to the named characters, there were a number of unnamed knights and ladies (around 35 men and 40 women) and 46 horses. The episode depicts the encounter between Edward and the Welsh leader, Llewellyn ap Gryffydd; it opens with Vernon and Lady Venables discussing recent events concerning the pacification of North Wales. Llywelyn and his Welsh knights ride onto the scene, cheered by some Welshmen (in national dress) who are also within the crowd. Llewelyn is required to swear fealty to the English, but Vernon doubts his sincerity. David, Gruffydd and Gwilym remark on the lack of respect shown to the Prince. Edward and his retinue of nobles then enter. The English within the crowd cheer wildly whilst the Welsh are silent. In the end, Llywelyn pledges his fealty to Edward, after which all exit.
Episode VI. Richard II is Brought A Prisoner to Chester by Henry Bolingbroke, AD 1399.
A smaller cast of named characters was involved in this episode, which concerned the imprisonment of Richard II at Chester by Bolingbroke. Richard arrives in Chester still dressed in the monk's robes in which he had attempted to escape capture; he is degraded by being forced to ride a nag. Northumberland and Salisbury escort the prisoner. Dissent regarding Bolingbroke's actions is heard within the crowd of townspeople, some of whom call him a traitor. The royal party arrives richly robed in contrast to the dishevelled Richard; there is further dissent within the crowd. A woman accuses Richard of being a murderer because her son has died fighting on his campaign in Ireland. The Archbishop of Canterbury then commends Bolingbroke. Two brothers, Robert and Peter Legh, declare themselves on opposite sides: one a supporter of the King and the other a supporter of Bolingbroke. Peter Legh refuses to disown Richard and is arrested for treason. Richard declares ‘Farewell, loyal heart! We shall meet anon!’ before bemoaning his fate. All then exit. Alongside a large cast, thirty horses took part in this scene.
Episode VII. (a) King James I visits Chester, AD 1617; (b) The Midsummer Revels [c. AD 1620].
This episode was presented in two separate scenes. In the first of these, James I arrives 'in pomp' with his retinue of family and noblemen at Chester on 23 August to be met by a guard of honour. He is depicted as a comic figure with a Scottish accent, fond of quoting Latin phrases and disposed to address asides to his baby son, Charles. The royal party is met by a procession led by the Mayor, Sheriffs and other prominent citizens. A large group of townspeople, including many apprentices, are also in attendance. The King listens impatiently to an address. Within the scene, some children accuse an old woman of being a witch whereupon she is dragged off; and, in conversation, the townspeople refer to James as 'the Scots King'. As the action develops, two prisoners are brought in and placed in the pillories, one being a Puritan preacher. The Mayor presents a gift of gold to the monarch and is offered a knighthood, which he turns down. The scene ends with the Puritan addressing the King at one point stating: 'King James, cast from your court the painted Jezebels'; to which James replies: 'haud your tongue, ye bletherin' deil'. As the King moves off, the witch appears again, and he is seen to turn his face away from 'the evil eye'; he shouts 'Awa wi' ye' at a Scot who suddenly breaks through to deliver a petition. Two men then remark on James's merits as a King and whether he might be described as 'a loving and learned King' or ‘the wisest fool in Christendom', after which all exit the arena at different points.
Pursuing a light-hearted feel to the drama, the episode’s second scene depicts revels that had been traditional in Chester since the fifteenth century. A large number of actors and dancers appear throughout. The activities include a succession of dances including performances at two maypoles and by Morris-dancers, dairymaids (performing a country-dance), elves and fairies. Music is played and the choir sings 'Joan to the Maypole'. There is prominent representation of the city's Guilds who carry their banners as well as a performance by the emblems of the Chester revels: these include giants and animals (a fish, camel, elephant and dragon). A wide collection of disparate characters traditionally associated with revels such as Jack o' the Green also take part. A crowd is depicted enjoying the sight of all these antics and the scene closes with a 'Charge of the Hobby Horses' accompanied by the singing of 'The Hobby-Horse Song'.
Episode VIII. Siege of Chester. Visit of King Charles, AD 1645.
This episode had a large numbers of onlookers, and a great many horses, but only a relatively small number of named characters. The part of King Charles I was taken by Arthur Mayhew, while Sir Geoffrey Shakerley was played by one his descendants, Major Geoffrey Shakerley. In the scene, a crowd, including townsfolk, is gathered looking in the direction of the Battle of Rowton Heath, some two miles away. At the front of the crowd Lord Byron, Alderman Cowper and Lord Gamul discuss good news from the battlefront. At this, Parliamentarian troops suddenly appear (making their way to the battle) causing alarm amongst the crowd. Shakerley returns from the fight and complains that cavalry reinforcements from the King’s army have not yet arrived. Charles and a party of ladies including Lady Gamul then enter, and the King at last grants reinforcements. Lady Gamul explains that the King has been watching the battle from the 'Phoenix Tower'. A wounded cavalier then appears stating that the battle is lost, the help coming too late; he then falls dead. Wounded men from the battle are seen. Charles tells Lord Byron that he is to hold out for eight days before surrendering Chester and then rides off. Byron asserts that Chester could withhold a longer siege. The scene includes a large number of horses.
Grand Tableau and March Past
All of the performers re-enter the arena while the choir sings 'Ode to the City of Chester'.
Key historical figures mentioned
- Julius Agricola, Gnaeus [known as Agricola] (AD 40–93) Roman governor of Britain
- Edgar [called Edgar Pacificus] (943/4–975) king of England [also known as Eadgar]
- Ælfthryth (d. 999x1001) queen of England, consort of King Edgar
- Edward [St Edward; called Edward the Martyr] (c.962–978) king of England
- Æthelred II [Ethelred; known as Ethelred the Unready] (c.966x8–1016) king of England
- Kenneth II [Cináed mac Maíl Choluim] (d. 995) king in Scotland
- Dunstan [St Dunstan] (d. 988) archbishop of Canterbury Dunstan
- Oswald [St Oswald] (d. 992) archbishop of York Oswald
- Avranches, Hugh d', first earl of Chester (d. 1101) magnate and founder of Chester Abbey
- Anselm [St Anselm] (c.1033–1109) abbot of Bec and archbishop of Canterbury
- Baldwin [Baldwin of Forde] (c.1125–1190) archbishop of Canterbury
- Gerald of Wales [Giraldus Cambrensis, Gerald de Barry] (c.1146–1220x23) author and ecclesiastic
- Edward I (1239–1307) king of England and lord of Ireland, and duke of Aquitaine
- Eleanor [Eleanor of Castile] (1241–1290) queen of England, consort of Edward I
- Richard II (1367–1400) king of England and lord of Ireland, and duke of Aquitaine
- Percy, Henry, first earl of Northumberland (1341–1408) magnate and rebel
- Henry IV [known as Henry Bolingbroke] (1367–1413) king of England and lord of Ireland, and duke of Aquitaine
- James VI and I (1566–1625) king of Scotland, England, and Ireland
- King James I
- Anne [Anna, Anne of Denmark] (1574–1619) queen of England, Scotland, and Ireland, consort of James VI and I
- Charles I (1600–1649) king of England, Scotland, and Ireland
- Byron, John, first Baron Byron (1598/9–1652) royalist army officer
- Grosvenor, Sir Richard, first baronet (1585–1645) magistrate and politician
Musical production
Instrumental interludes and musical accompaniment was performed by the Band of the Royal Marines, Portsmouth Division; the conductor was' Lieutenant George Miller, MVO, MusBac Cantab, Chevalier of the Order of Notre Dame de Conception'.Publicity stated there was a 'large chorus'.
There was choral music at the end of each episode.
The Master of Music, Joseph C. Bridge, was organist at Chester Cathedral. Bridge composed the music to the song sung during the Finale of the pageant. He also made the arrangements of traditional songs used at the end of episodes. He claimed that 'no attempt has been made to illustrate every episode of the pageant by music of the period... but local colour and interest are given by the use of old Cheshire and Welsh melodies'. He also commented that 'Chester possessed, at the beginning of the XVIIth century, two of the best madrigal writers of the day'.
- Lewis Hann. The 'Vocal Waltz': 'Invocation to Deva' (played as the pageant began and characters entered the arena).
- F. Flemming. Song, 'Integer Vitae' (sung at the conclusion of the pageant's Introduction).
- Henry Lawes. Chorus, 'Invocation to Sabrina' (from Milton's 'Comus'; sung at conclusion of Episode I).
- William Lawes. Music, 'Almain, Saraband, Jigg' (Episode II).
- Henry Smart. Part-Song, 'Waken Lords and Ladies Gay' (sung at conclusion of Episode II).
- Dr J.C. Bridge. Song, 'Founders' Hymn' (sung at conclusion of Episode III).
- Dr J.C. Bridge. Chorus, 'Chorus of Monks' (sung within Episode IV).
- Arthur Sullivan. Chorus, 'O Gladsome Light' (sung at conclusion of Episode IV).
- Thomas Bateson. Madrigal, 'Sister Awake!' (sung at conclusion of Episode VII).
Arrangements By Dr J. C. Bridge:
- National Anthem (played/sung at start of pageant).
- Ballad, 'The Miller of Dee' (sung at conclusion of Episode V).
- Song. 'The Cheshire Cheese' (sung at conclusion of Episode VI).
- 'Waits' Tunes' (played during Episode VII).
- Song, 'Come Lads and Lasses' (sung during Episode VII).
- Song, 'Joan to the Maypole' (sung during Episode VII).
- Song, 'Hobby Horse Song' (sung during Episode VII).
- Song, 'Ode to the City of Chester' (sung during finale).
Newspaper coverage of pageant
Aberdeen JournalBath Chronicle and Weekly Gazette
Cardiff Times
Cheltenham Looker-on
Chester Chronicle
Chester Courant
Cheshire Observer
Denbighshire Free Press
Gloucestershire Echo
Hull Mail
Illustrated London News
Lichfield Mercury
London Daily News
Manchester Courier and Lancashire General Advertiser
[Manchester] Guardian
North Wales Weekly News
Nottingham Evening Post
Prestatyn Weekly
Rhyl Journal
Sheffield Daily Telegraph
Sheffield Evening Telegraph
North Wales Weekly News
Observer
Stage
The Times
Welsh Coast Pioneer and Review for North Cambria
Western Gazette
Book of words
- Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words. Chester, 1910.
Price: 1s.
Other primary published materials
- Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music. London. Price: 1s.
- Chester Historical Pageant: Official Souvenir, Price 1/-. Chester, 1910.
- Chester Historical Pageant July 18th to 24th at 2.45 pm Daily. Brochure. Chester, 1910.
At least two different imprints of the pageant brochure with different cover images were produced. Although each of these small-sized publicity pamphlets carried a different cover image, they contained more or less the same information. This included concise details about the episodes, ticket prices, travel arrangements and so forth. They appear to have been distributed free at railway stations and to enquirers at Pageant House in Chester.65
References in secondary literature
- 'Chester Pageant 1910', Journal of the Chester Archaeological Society, New Series 17 (1910): 107–119.
- Yoshino, Ayako. Pageant Fever: Local History and Consumerism in Edwardian Britain. Tokyo, 2011.
Ayako Yoshino's monograph makes multiple brief references to the Chester pageant, particularly in respect of its treatment of the Romans and the Stuart monarchs.
Archival holdings connected to pageant
- Chester Archives and Record Office:
- Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/-. Chester, 1910. 205570.66
- Chester Historical Pageant: Official Souvenir, Price 1/-. Chester, 1910. 016607.
- Chester Historical Pageant July 18th to 24th at 2.45 pm Daily. Brochure. Chester, 1910. ZCR-88.
- Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music. London, 1910. 201547.
- Minutes of the Pageant Committee. ZCCF/41.
- Notes, Correspondence, Newspaper Cuttings and Printed Performers' Instructions. Scrapbook. Frank Simpson Manuscripts. ZCR-119.
- Chester Central Library local studies collection:
- Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/-. Chester, 1910.
- Chester Historical Pageant: Official Souvenir, Price 1/-. Chester, 1910.
- Chester Historical Pageant July 18th to 24th at 2.45 pm Daily. Brochure. Chester, 1910.
- Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music. London, 1910.
- The British Library:
- Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/-. Chester, 1910.
- Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music. London, 1910.
Sources used in preparation of pageant
- de Morlaix, Bernard. Urbs Syon Aurea [Jerusalem the Golden] [Episode IV].67
- Gerald. Itinerary through Wales [Episode IV].68
- Milton, John. 'Invocation to Sabrina', from the masque Comus first published as A Mask Presented at Ludlow Castle (1637) [episode I].
The pageant brochure held in Chester central Library is a different imprint from that held in Chester Archives and Record Office although much of the content is identical.
The manuscript collection held at Chester Archives and record Office includes printed instructions for performers and copies of the contracts drawn up with various contributors such as the pageant master.
The words of Urbs Sion Aurea were sung at the conclusion of Episode IV.
The sermon included in Episode IV was claimed by pageant authors to be 'modelled on an old French poem purporting to be the sermon preached by Pope Urban II in support of the first Crusade'.69
Summary
In the foreword to the Official Souvenir Book of the pageant, the Master of the Pageant, George Hawtrey, claimed that: ‘Of all the cities in England there is none that binds the life of to-day so closely to that of long ago as the city of Chester. There is none therefore that can so worthily produce a noble Pageant’.70 He added that the characters included in one notable episode—the medieval 'Midsummer Revels'—were 'not imaginary dummies' and that the activities represented were 'accurate reproductions of those carried annually in Chester'. Hawtrey remarked, in addition, that ‘the "Star Performer" in a Pageant is the Crowd'.71 He was rewarded for his optimism since this pageant did turn out to be a crowd pleaser. However, the fact that it had taken several years for Chester to catch pageant fever was often remarked upon. While it was claimed that Chester’s 'olde world' charms naturally gave the city 'the halo of romance of the middle ages' and so made it a place uniquely suitable for pageantry,72 the city had resisted holding a pageant for several years. In 1907, Chester’s Mayor had declared that he thought 'pageants were overdone at the present time'.73 Yet, only two years later, the Council changed its mind. That said, the pageant nearly did not happen: the death of Edward VII in May 1910 meant that postponing or even calling off the pageant was seriously considered. However, given the advanced state of preparation, it was decided to proceed on the dates originally planned. Happily, as the successor to the throne, Prince George, and his wife, Princess Mary, had already agreed to be royal patrons, their permission to continue in this role was sought and granted.74
Having waited and deliberated carefully on the issue of pageantry, Chester's council aimed high. The plan was to create a splendid spectacle and civic occasion from the outset, and local organisers were well aware of the 'immensity of the task of preparation' in order to achieve this.75 The first meetings to plan the pageant were held in 1909. In September of that year, the committee considered an application made by the well-known theatrical agents, 'Messrs Baring Brothers'.76 It also resolved to appeal for subscriptions and guarantees and to seek guidance from 'other towns in which Pageants have been held as to the names of their pageant managers, the terms of their employment, the duties performed, and whether the services rendered had been satisfactory'.77 Edward Baring had thus been recommended by other towns; although these were not specified, they likely included Cheltenham where this company had overseen the large Gloucestershire Pageant in 1908. Baring attended the Committee's meeting only three days later when he was appointed to the post of manager.
At this same meeting, the committee instructed Baring Bros to approach 'Messrs Louis N. Parker, Frank Lascelles, F.R. Benson and George P. Hawtrey as to the terms upon which they are prepared to undertake the work of the Mastership of the Pageant'.78 The appointment of sub-committees quickly followed. By November, the pageant had received guarantees worth a total of £2054 and subscriptions in the sum of £1598.79 Serendipitously, the Lord Lieutenant of Cheshire was the country's largest landowner, the Duke of Westminster, and he offered part of his estate—Eaton Park, situated within easy travelling distance of the city—as venue for the event. Much was made of the fact that this estate could be reached by tram, but little publicity was given to the fact that a tenant farmer had to be temporarily displaced to accommodate the pageant. The farmer received £50 for his trouble, a sum that was supposed to include the cost of rectifying any damage done to his tenancy and livestock over the course of the pageant. This does not seem like an over-generous amount. However, for an event that was all about the ready involvement of the entire community and all social classes, the unfortunate farmer, if he did have misgivings, was likely given little choice in the matter given the level of local pressure that must have existed. Indeed, a feature of Chester’s pageant was the zeal that it engendered: there does not seem to have been any difficulty in recruiting participants. Around 3500 performers took part and as many as 1500 individuals were involved in the organisation.80 Some took on both organisational and performing roles. Fully five years after Sherborne, it is clear that pageant fever was still very much in the air. Nevertheless, Parker turned Chester down and Lascelles stated that he was unable to take the position having agreed to another engagement in London.81 Hawtrey seems to have been next in line to get the job, and he began conducting rehearsals in May 1910.82
Sheer enthusiasm for the task was reflected in the performance—it was commented that Chester had entered 'heart and soul' into its pageant.83 Although this was a pageant very much designed along conventional Parkerian lines having eight episodes and a chronological span from Roman times to the beginning of the Stuart reign, there does seem to have been a real will to show that Chester's pageant was no mere provincial, northern pretender. Indeed, the consensus was that the pageant was not wanting for spectacle in any way and that it compared very favourably with others recently held. Successful spectacle was particularly reflected in the introduction where artistry in choreography and music were prominent. The show got off to a colourful and engaging start with an allegorical presentation in which the character of Chester proclaimed the city's many virtues and stated that the purpose of the pageant was to recall these. This display involved a large number of performers, notably 550 children who played the roles of fairies and were dressed as 'wild flowers... in every colour of the rainbow'.84 Dee and her nymphs, wearing outfits of silver and blue, were kept 'in constant motion', which was meant to represent the flowing river Dee.85 In all, at least 650 performers took part in this short introductory scene.86
Staying with tradition, the Romans featured in the first episode. Interestingly, despite Chester's noted Roman heritage, this was described in one pageant brochure as a Roman scene 'of a general character, applicable to any town in these islands at that time'. It was, in reality, a complex piece of literary allusion that aimed to illuminate the British national character.87 Ayako Yoshino has remarked that the treatment of the Romans and their relationship with the native Britons in the pageant was intended to underline the inherent nobility of the British, foreshadow Britain's later greatness, and demonstrate the assimilation of classical virtues within the indigenous culture.88 This theme was followed through by the script editor (the pageant master, George Hawtrey) when he incorporated Milton's 'Invocation to Sabrina' into the text at the end of the episode. According to Yoshino, this served both to remind people of pageantry's forerunner—the Elizabethan masque—and again hinted at the blending of indigenous and Roman cultures, given that Milton's verse contains many classical allusions.89 All this may well have been Hawtrey's intention. However, he may also have wanted to create narrative continuity by using the water nymph Sabrina to mirror the presence of the Goddess of the river Dee in the introduction. At any rate, this episode demonstrates that the text of pageants was often multi-layered. Some in the audience may have appreciated such intertextuality, although it is doubtful that the majority would have done so. Nonetheless, the dignity of the ancient Britons in this depiction held a clear message. The savagery of Druidical sacrifice and the primitiveness of such ritual was, in contrast to many other pageants, not a feature at Chester.
Episode II took the tale forward with the legend that King Eadgar—when visiting Chester in 973 in order to meet with his navy—was allegedly rowed up the river Dee by eight Kings of other parts of the British Isles (including Malcolm, the King of Scots)—all of whom afterwards swore allegiance to Eadgar. The storyline of this episode elaborated on the ascendancy of the Anglo-Saxon monarch as overlord of the British Isles. The concomitant notion that the English nation with its ancient pedigree was the cornerstone of modern British identity would not have been lost on the audience. In one speech delivered by Eadgar this point was rendered particularly obvious:
Eight Kings to do us honour! Eight crown'd kings!
'Twere safe to prophesy:—if any one of our successors
Should again preside
O'er such a Pageant in the years to come,
That mighty Prince with truth may call himself
King of all England.90
These words legitimising the diverse heritage of the English monarchy were apparently a late addition to the text, and it was claimed by Hawtrey, with blatant disingenuousness, that the script change could not be included in the Book of Words.91 The clear and deliberate contemporary allusion was, of course, to the patronage of Chester's pageant by the new monarch, George V. This patriotic theme would be further pursued in subsequent episodes, though it was not laboured throughout, and the dramatisation of this legend was clearly considered a pivotal episode. On the pageant field, stagecraft was required to represent the drama, with elves and fairies symbolizing the banks of the Dee and the monarchs seeming to row a barge that was actually on wheels and mechanically driven. On Wednesday evening of pageant week Chester Council decided to put on a more lifelike dramatisation by illuminating the river Dee itself. This caused a bit of a row over cost as neither the council nor the pageant were willing to pay for the illuminations, but in the end they went ahead, financed by a special 'Mayor's Fund', which gathered donations.92 During this display, the banks of the Dee were illuminated with thousands of coloured electric lights covering bridges and bankside buildings for a two-mile stretch, during which the episode's performers re-enacted the arrival of Eadgar. The pageant band and choir provided live music. The spectacle was free to the public and by most accounts was an impressive sight despite some wet weather93
Episode III told the story of Hugh Lupus, Earl of Chester (famous for building Chester Castle), and, specifically, how the Earl made amends for his dissolute life by enabling Chester to become an important ecclesiastical centre. The religious theme, coupled to a retelling of a local event, was also the central interest of Episode IV, which featured a classic medieval market fair scene and the visit of Archbishop Baldwin in 1189 on a recruitment mission for the Crusades. The arrival of royalty was revisited in Episode V. In this, Prince Edward—son of Henry III and first Earl of Chester—came to the city in order to accept the fealty of the Welsh Princes. In this particular retelling, loyalty was given with some reluctance on the part of the Welsh. This supposed visit underlined the historic associations of Cheshire with Wales and the fact that the Princedom of Wales had, since Edward's time, been coupled with the Chester Earldom. The episode's narrative anticipated the eventual quashing of the Welsh princedoms and, yet again, the dominance of England and its ruler.
The dispute over the throne was dealt with in Episode VI where the last Plantagenet, Richard II, appeared as the prisoner of his Lancastrian successor, Henry IV. This scene seems to imply that loyalties were divided in Chester but that Henry won the day and the support of the majority in the city at the time. For the final episodes, one newspaper commented that 'for once in the history of pageantry' Queen Elizabeth I was 'conspicuous by her absence'.94 Instead, the final two episodes alighted on the Stuarts—although not in this instance the Jacobite pretenders, as was often the case in northern pageants. Episode VII provided a perhaps uncharitable portrayal of James I when he was making a visit to Chester, although the drama once again emphasised the monarchy's role in uniting the disparate kingdoms of Britain. In this comic scene, James, who was given a pronounced Scottish accent, was shown as a pompous figure, fond of flaunting his erudition but unable to impress Chester's Mayor who turned down the reward of a knighthood from the King. The performance of the actor who played James was particularly commended by one Scottish newspaper and his acting seems to have gone down well with the crowd.95 This episode was presented in two parts, with the second merely a pretext for a depiction of early modern revels with a Puritan in the stocks, witch-baiting, Maypole dancing, and another sortie by the fairies that had appeared in the introduction and Episode II. Extravagant dance displays were a particular feature of this pageant and much in evidence in this tightly choreographed piece described by one newspaper as 'the merriest of the episodes'.96 In addition, it was reported that 'all the freaks of the revels' were on display, including 'four marvellous giants in fearsome attire, a huge dragon vomiting fire, a ship merchant's mount, a camel, an elephant and castle, and numerous other strange devices , guarded by guild boys with banners'.97
The last episode entered the era of the Civil Wars when Chester was loyal to the Royalist cause. In contrast to the slightly satirical treatment of James, his English-born son Charles was shown in a more serious light. Nonetheless, he was depicted as a ditherer whose inaction led to the siege of Chester by the Parliamentarians. The action featured messengers arriving to deliver the bad news that Royalists were set to be defeated at nearby Rowton Heath. In the Official Souvenir of the pageant, Hawtrey stated that it was impossible to represent a battle or a siege adequately in a pageant for necessary scenery could not be used effectively and carrying off the dead and wounded created all kinds of problems.98 Instead, he opted to have the battle going on in the background and concentrated instead on the tensions among those waiting to hear of its outcome. Few opinions were offered in the press on the performance of this episode, which seems to have been quite short and did not include actual fighting; however, The Guardian stated that in some ways it was the most interesting of all.99 It also included a performer—Major Shakersley—playing his ancestor, the Royalist supporter Sir Geoffrey Shakersley.100 The show ended with the customary march past. In this, symbols of Chester's Guilds which had been in evidence during the revels of Episode VII were carried once again, and it was remarked that this was a small recompense for the fact the no reference had been made in the pageant to the city's famous medieval Mystery Plays.101
Overall, fate was kind, and, apart from the Wednesday afternoon performance when there was heavy rain (which did not seem to reduce the audience), the sun mostly shone on Eaton Park. The final presentation on Saturday had glorious weather and helped this generally successful pageant end on a high note. Although there was no attendance by a member of the royal family, the Duke of Westminster was regularly seen, and on a couple of occasions he even rode in the procession in Episode VII, taking the part of the Earl of Surrey and wearing a crimson costume.102 Aristocratic figures from the Grosvenor family and several other well-known titled people took on many pageant roles.103
Publicity for this pageant involved an alleged 'three million leaflets, folders, circulars, booklets, etc.'; and it was reported that the organisers 'had advertised in 200 newspapers, and the railway companies had exhibited no fewer than 2000 of their posters'.104 These efforts paid dividends. Although exact figures have not been recovered, it is likely that capacity or near-capacity audiences attended the performances, and the pageant was a financial success. Hawtrey was acknowledged as a popular and able pageant master who was generally commended for doing a good job at Chester. He was enthusiastically cheered after the closing performance.105 The Observer stated that with this pageant 'he had excelled himself'.106 A sad codicil, however, is that this pageant master died suddenly only a few weeks later; reputedly his health had suffered during the pageant.107 He had completed three major pageants in three years (Cheltenham, 1908 and Cardiff, 1909) and his reputation had grown; the role of pageant master clearly took its toll. Chester held a further Pageant in 1937.
Footnotes
- ^ Copy of contract, in Chester Archives and Local Records Office: Chester City Council—Committee Files—Voluntary Committee Files, Minutes of the Pageant Committee (2 bundles). ZCCF/41.
- ^ 'Some Details of the Chester Historical Pageant', Rhyl Journal, 9 July 1910, 7.
- ^ 'Chester Historical Pageant', Rhos Herald, 16 July 1910, 8.
- ^ 'Chester Historical Pageant', Rhyl Journal, 16 July 1910, 2.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 8.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 9.
- ^ Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np.
- ^ Copy of contract, in Chester Archives and Local Records Office: Chester City Council—Committee Files—Voluntary Committee Files, Minutes of the Pageant Committee (2 bundles, pt. 1 of 2). ZCCF/41. The contracts included in this file were called 'Memorandums of Agreement'.
- ^ Copy of Contract with Frederick Randle Ayrton dated 29 March 1910, in Chester Archives and Local Records Office: Chester City Council—Committee Files—Voluntary Committee Files, Minutes of the Pageant Committee (2 bundles, pt. 1 of 2). ZCCF/41.
- ^ Copy of Contract with Joseph Cox Bridge dated 17 March 1910, in Chester Archives and Local Records Office: Chester City Council—Committee Files—Voluntary Committee Files, Minutes of the Pageant Committee (2 bundles, pt. 1 of 2). ZCCF/41.
- ^ Copy of Contract with George Proctor Hawtrey dated 22 December 1909 in Chester Archives and Local Records Office: Chester City Council—Committee Files—Voluntary Committee Files, Minutes of the Pageant Committee (1 of 2 bundles). ZCCF/41.
- ^ Advertisement, Cheltenham Looker-On, 4 March 1911, 2.
- ^ A scrapbook of pageant material complied by Frank Simpson is held in Chester Archives and Local Records Office. ZCR119. Material in this provides a comprehensive record of the pageant.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 8–9;
- ^ Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np.
- ^ Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 11.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 29.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 37.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 7
- ^ Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music (London), iii and 17–22.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 80.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 11.
- ^ 'The Chester Pageant', The Stage, 21 July 1910, 16.
- ^ Chester Historical Pageant July 18th to 24th at 2.45 pm Daily (Chester, 1910), 1. This item is a publicity brochure.
- ^ See document in the Frank Simpson Manuscripts held at Chester Archives and Records office. ZCR 119. The document was likely produced for the information of the executive committee.
- ^ 'The Chester Pageant', Yorkshire Post, 18 July 1910, 8.
- ^ 'Profits of Chester Pageant', Driffield Times, 25 March 1911, 6.
- ^ Meeting of Pageant Committee, 27 July 1910, in Chester Archives and Local Records Office: Chester City Council—Committee Files—Voluntary Committee Files, Minutes of the Pageant Committee (2 bundles, pt. 2 of 2). ZCCF/41.
- ^ Chester Historical Pageant July 18th to 24th at 2.45 pm Daily (Chester, 1910), 1.
- ^ 'Chester's Great Pageant Over', Cardiff Times, 30 July 1910, 4.
- ^ 'The Chester Pageant', Wells Journal, 21 July 1910, 8.
- ^ 'Chester Pageant' Manchester Guardian, 21 July 1910, 12; Abergavenny Chronicle, 29 July 1910, 6; and elsewhere.
- ^ Chester Historical Pageant July 18th to 24th at 2.45 pm Daily (Chester, 1910), 1.
- ^ Chester Historical Pageant July 18th to 24th at 2.45 pm Daily (Chester, 1910), 15.
- ^ Chester Historical Pageant July 18th to 24th at 2.45 pm Daily (Chester, 1910), 15.
- ^ 'Chester Historical Pageant Notes', Llandudno Advertiser, 4 June 1910, 4.
- ^ See contract between the Pageant Committee and Gondola Works Walsall, in Chester Archives and Local Records Office: Chester City Council—Committee Files—Voluntary Committee Files, Minutes of the Pageant Committee (2 bundles). ZCCF/41.
- ^ Chester Historical Pageant July 18th to 24th at 2.45 pm Daily (Chester, 1910), 15.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 10.
- ^ Names of players in Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np.
- ^ 'Chester Historical Pageant', North Wales Weekly News, 29 April 1910, 3.
- ^ Unless otherwise indicated, all quotations in synopses are taken from Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910).
- ^ All names of performers are included in Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np.
- ^ All performers’ names can be found in Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np.
- ^ Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music (London, 1910), xxii.
- ^ Chester Historical Pageant July 18th to 24th at 2.45 pm Daily (Chester, 1910), 3. A chorus of 250 was advertised.
- ^ 'Chester Pageant: Historical Spectacle', Denbighshire Free Press, 23 July 1910, 8.
- ^ Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np.
- ^ Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np. The text does not indicate who these two were.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 16.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 24.
- ^ Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music (London, 1910), iii and 14–16.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 28.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 36.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 46.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 72.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 52.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 58.
- ^ Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music (London, 1910), vii–viii and 42–44.
- ^ Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music (London, 1910.), 45–52.
- ^ Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music (London, 1910), 53–56.
- ^ Chester Historical Pageant July 18th to 23rd, 1910: Book of Music, Edited by Joseph C. Bridge, Master of the Music (London, 1910), 57–58.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 80.
- ^ Advertisement, Gloucestershire Echo, 16 July 1910, 2; and elsewhere.
- ^ The Book of Words is widely available in libraries in the north of England.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 39.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 39.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 39.
- ^ Chester Historical Pageant: Official Souvenir, Price 1/- (Chester, 1910), np.
- ^ Ibid.
- ^ 'Chester Historical Pageant', Prestatyn Weekly, 16 April 1910, 3.
- ^ 'No Chester Pageant', Manchester Guardian, 26 September 1907, 5.
- ^ See 'Chester Historical Pageant Not to Be Postponed', North Wales Weekly News, 20 April 1910, 12 and 'Chester Historical Pageant', North Wales Weekly News, 3 June 1910, 5.
- ^ 'Chester Pageant Notes', Rhyl Journal, 23 April 1910, 3.
- ^ Minutes of meeting held on 24 September 1909, in Chester Archives and Local Records Office: Chester City Council—Committee Files—Voluntary Committee Files, Minutes of the Pageant Committee (2 bundles, pt. 2 of 2). ZCCF/41.
- ^ Ibid.
- ^ Minutes of meeting held on 27 September 1909, Minutes of the Pageant Committee.
- ^ Minutes of meeting held on 8 November 1909, Minutes of the Pageant Committee.
- ^ 'Chester Pageant: Historical Spectacle', Denbighshire Free Press, 23 July 1910, 8; 'Chester Pageant', London Daily News, 23 July 1910, 5; and elsewhere.
- ^ Minutes of meetings held on 8 November and 22 November 1909, Minutes of the Pageant Committee.
- ^ 'Chester Pageant', The Welsh Coast Pioneer and Review For North Cambria, 26 May 1910, 6.
- ^ 'Chester Pageant, North Wales Weekly News, 22 July1910, 9.
- ^ 'Chester Pageant: Historical Spectacle', 8.
- ^ Ibid.
- ^ 'Chester Historical Pageant', North Wales Weekly News, 29 April 1910, 3.
- ^ At least two similar pageant brochures (with different cover images) were produced for the Chester pageant; the quotation is from one of these held in Chester Archives and Record Office; see Chester Historical Pageant July 18th to 24th at 2.45 pm Daily (Chester, 1910), 7.
- ^ Ayako Yoshino, Pageant Fever: Local History and Consumerism in Edwardian Britain (Tokyo, 2011), 120.
- ^ Chester Historical Pageant, July 18th to 23rd 1910, 2.45 p.m.: Book of Words 1/- (Chester, 1910), 24 and Yoshino, Pageant Fever, 120–121.
- ^ Chester Historical Pageant: Official Souvenir, np.
- ^ Ibid.
- ^ ‘The Chester Pageant: Opposition to Illumination', Manchester Guardian, 17 February 1910, 4; 'Chester Pageant', North Wales Weekly News, 15 July 1910, 9.
- ^ 'Chester Historical Pageant', Cheltenham Looker-On, 23 July 1910, 19; and elsewhere.
- ^ 'Chester Historical Pageant', Cheltenham Looker-On, 23 July 1910, 19.
- ^ 'Chester Pageant' Aberdeen Press and Journal, 26 July 1910, 4.
- ^ 'Chester Historical Pageant', North Wales Weekly News, 1 July 1910, 9.
- ^ 'The Chester Pageant', Yorkshire Post, 18 July 1910, 8.
- ^ Chester Historical Pageant: Official Souvenir, np.
- ^ 'The Chester Pageant', Manchester Guardian, 18 July 1910, 14.
- ^ 'The Chester Pageant', Manchester Guardian, 11 July 1910, 9.
- ^ 'The Chester Pageant', The Times, 18 July 1910, 12.
- ^ 'Duke's Part in Chester Pageant', Sheffield Evening Telegraph, 20 July 1910, 4; and elsewhere.
- ^ Lady Helen Grosvenor and Lord Hugh Grosvenor appeared in Episode III and Marchioness Cholmondeley in Episode V; see 'The Chester Pageant', Manchester Guardian, 11 July 1910, 9.
- ^ 'The Press Day', unlabelled newscutting in Frank Simpson's Scrapbook held at Chester Archives. ZCR 119.
- ^ 'Close of Chester Pageant', Manchester Guardian, 25 July 1910, 7.
- ^ 'Chester Pageant', The Observer, 17 July 1910, 6.
- ^ George Procter Hawtrey was a member of a family of thespians; his brother Charles Hawtrey was a famous actor manager in this period. See 'Death of Well-known Pageant Master', Manchester Guardian, 18 August 1910, 7; Obituary, The Times, 18 August 1910, 9.
How to cite this entry
Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, ‘Chester Historical Pageant’, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/1028/