A not so sticky situation: conserving press cutting albums from the Northcott Theatre

Halloween may be over but i’m in the middle of an Archivist’s nightmare. Along with the other treasures in the Northcott Theatre Archives are 13 wallpaper sample albums crammed full of press cuttings. These albums are not only unwieldy due to their size, but many of the volumes have also had the cuttings taped onto sheets of plain paper which have then been taped into the albums.

 

As many of you will know, any kind of adhesive tape is a poor choice for long term preservation. The adhesive from the tape has stained the cuttings leaving brown discolouration and over the years the tape has dried out and many of the cuttings have come loose from the albums. At it’s worst this degradation has left us with some albums where there is simply a pile of loose cuttings in the front and in other cases the movement of the cuttings has caused significant creasing and tearing.

Staining from old tape and adhesive

The majority of the albums are not in a fit condition to be handled as they are without causing more damage and so the decision has been made to remove the cuttings from the albums where they are already coming loose. Once removed the cuttings will be stored in the order they were in the album (if this is still discernible) and the albums will be retained separately. It sounds simple but it’s delicate work and rather time consuming. With five albums completed I have enough loose tape in my bin to remake several rolls.

Loose tape from one album

The cuttings are a fascinating read: containing reviews and general news relating to Northcott Theatre productions, arts funding and other west country theatres, particularly the Plymouth Theatre Royal. The albums themselves are also incredibly interesting, I feel like I have taken a journey through wallpaper history in the past weeks. I’ve even recognised wallpaper from my parents house – further proof, if any were needed, that it’s time for them to redecorate. The presence of the albums is still a little bit of a mystery though. Were they simply a useful receptacle for the cuttings that someone happened to have lying around (perhaps from a second job moonlighting as an interior designer), or were they perhaps used by the set designers? The range is vast; spanning William Morris designs to the bobble textured wallpaper of the 1980’s and the office has had great fun revisiting the wallpaper highs and lows of the past. Only 8 more to go….

 

Windows on Iraq: the Papers of Jonathan Crusoe

Jonathan Crusoe was born in Kuwait in 1953 and lived there with his parents until the age of eight when they moved to the village of Goudhurst in Kent. After completing a degree in Arabic and English at Leeds University, he began working as a journalist for the Middle East Economic Digest (MEED) in December 1976. Over the next fifteen years he closely monitored developments in Iraq and Kuwait, as well as Yemen, building up an international reputation as a specialist on the region. On 21 December 1991 he was killed in a car accident near Peterborough at the age of only 38. His working papers were deposited with the University of Exeter as part of a donation from MEED.

Some of Crusoe’s published work held in the Arab World Documentation Unit (AWDU) in the Old Library at Exeter University

Crusoe’s papers consist primarily of presscuttings, telex press reports, working notes and correspondence (often by fax or telex) on almost every aspect of life in Iraq between 1979 and 1991. There are over 170 folders with the contents arranged thematically in the categories originally assigned to them by Crusoe – topics include: Agriculture, Dams, Archaeology and Architecture, Education, Housing, Power – including Iraq’s nuclear programme – Foreign Relations (with some two dozen individual countries), the Petroleum Industry, Political Opposition groups, Saddam Hussein and his family, Sports, Tourism and Health.

Plans for the new University of Baghdad campus (top) and a 1981 brochure for the University of Basrah (below) – some of the ‘Higher Education’ material compiled by Crusoe. EUL MS 143/8/2

Although many of the presscuttings are from British and American newspapers, there is a wealth of original source material from Iraq, much of which is either unique or hard to find given subsequent events in the region. These include numerous articles extracted from the now-defunct state-run newspaper the Baghdad Observer reporting on everyday life in Iraq, original photographs of Iraqi dams being constructed, advertisements and prospectuses giving details of commercial contracts and building projects, as well as Crusoe’s own handwritten notes and annotations of other documents.

Material on the Kurdish peoples of Iraq, Turkey and Iran is found in dedicated folders as well as elsewhere in the collection, including press releases and booklets issued by different Kurdish groups during the 1980s.

This selection of publications gives some idea of the diverse groups operating (mostly in exile) to oppose the Ba’athist regime of Saddam Hussein. EUL MS 143/14/2/1

Crusoe’s death shortly after the war that followed Iraq’s invasion of Kuwait meant that he never saw the later conflict and US occupation of the region. There are six folders of material covering what he termed – following standard usage at the time – the First Gulf War, between Iran and Iraq (1980-88), and a much more extensive collection of over thirty folders covering the Second Gulf War (1990-91) which covers the conflict chronologically as well as under topics such as sanctions, conditions in Iraq during the war, the oil embargo, burning of oil wells, hostages, media reporting, food and medicine shortages, and postwar reconstruction.

A photograph – probably of Basra – taken during the First Gulf War (1980-88) between Iran and Iraq: note the sandbags on the right, a protection against air and missle strikes. EUL MS 143/19/7

Although Crusoe did much of his work from the offices of MEED in London he also visited Iraq and Kuwait – among the collection of hotel and restaurant brochures is his room card for the Hotel Meridien in Baghdad, where he stayed in 1982. Other material was obtained through his contacts with other journalists, contractors and personal sources in the region, and the archive contains a large amount of telex or fax correspondence through which he gained detailed information on business contracts, construction projects and economic statistics. All this was recorded in his meticulously neat and miniscule handwriting, and it was by carefully cross-referencing and filing this research that he was able to build up the encyclopaedic knowledge for which he was renowned.

Some of Crusoe’s notes on Iraq’s nuclear programme. EUL MS 143/13/2

Students and researchers interested in the history of the Middle East during the 20th century could find the Crusoe papers a valuable resource for learning about life in Iraq or understanding topics such as agricultural practices, the extent of foreign investment in Iraqi infrastructure under Saddam Hussein, or how information is compiled and presented by conflicting media interests. Despite its strong pro-government bias, the extensive illustrated coverage of everyday life in Iraq found in the Baghdad Observer could be helpful for those interested in understanding how local and international affairs (such as relations with Iran and Syria) were reported to and perceived by the Iraqi people, as well as opening a window on – for example – social conditions or agricultural practices that are often hidden, or the ways in which cultural and political agendas underpinned architectural design projects such as the hotel below.

A photograph of the Hotel Nineveh Oberoi, on the banks of the River Tigris in Mosul. EUL MS 143/19/6. It was later captured by Islamic State militants, who used it as a base from 2014 until its recapture by Iraqi forces in January 2017. Its present ruinous state contrasts sharply with the sense of luxury conveyed by material in the Crusoe papers.

The Hotel Nineveh Oberoi was opened in 1986 during celebrations marking the anniversary of the July Revolution that brought the Ba’athist party to power in 1968. Eleven storeys high and comprising almost 300 rooms and suites with additional bars, restaurants and leisure facilities, its unusual and striking design was intended to evoke the structure of ancient ziggurats such as the one preserved at Ur in southern Iraq. This was part of a wider campaign by Saddam Hussein to draw parallels between the glories of the ancient Babylonian past and his own regime – evidence for which can also be found in the archive materials relating to the ‘International Babylon Festival’ (EUL MS 143/5/2) and Saddam’s restoration of Nebuchadnezzar’s palace. There are other presscuttings about the new hotel during the 1980s and a letter from an Indian journalist to Crusoe, pointing out that the Indian construction company Oberoi had incorporated traditional features of Indian architecture into the design.

Designs produced by the Architects Collaborative for a community project ca. 1981. EUL MS 143/4/1

Crusoe collected information on such projects at every stage, amassing hundreds of adverts from the Baghdad Observer in which the Iraqi government sought contractors for infrastructure schemes and building works. He also compiled lists of foreign contractors, with contact details, notes on personnel, financial records, trade prospectuses, commercial bids, architectural plans and annual reports. Working within the Crusoe archive it is possible to study these items within a wider framework of material on the political, cultural and economic context; users of the archive could augment their research using the resources in AWDU, such as official reports, documentation, statistical records and presscuttings, as well as an extensive run of MEED and similar publications. Those interested in the history of journalism and media studies can trace the process by which raw material from original sources evolved into published reports by making a close comparison of Crusoe’s notes and correspondence with Reuters press messages, draft typescripts and the final text that appeared in MEED and other publications. There is also a 58-page typed document compiled by a senior staff writer at MEED, entitled ‘Sources of Construction Information and their Use in Construction Reporting by MEED Writers’, which examines in detail how different members of the journalists’ team obtained, used and verified their sources.

Anyone wishing to use the Jonathan Crusoe archive should contact Special Collections. The catalogue can be consulted here.

Further Reading

Obituaries of Crusoe were published in The Independent on 30 December 1991 (p.17) and the Middle East Economic Digest (MEED), 10 January 1992 (p.15).

Jonathan Crusoe’s published work includes

MEED Special Report: Iraq.
London: MEED, 1985

‘Economic outlook: guns and butter, phase two?’, in Frederick W. Axelgard (ed.),  Iraq in transition: a political, economic and strategic perspective.
Washington: Georgetown University, 1986.

MEED Profile: Iraq
London: MEED, 1989

MEED Quarterly Report: Iraq
London: MEED, 1990

Kuwait: rebuilding a country (with Peter Kemp)
London: MEED, 1989

Apples and Archives: Getting to the ‘core’ of Apple Day in the Common Ground archive

Warning: may contain puns

Every year on and around the 21 October, apples and orchards are celebrated in the UK as part of a custom known as Apple Day. Indeed, Apple Day has become so firmly entrenched in the British calendar that it could easily be believed to be an ancient tradition. However, Apple Day has only officially been celebrated on 21 October in the UK since 1990, when the arts and environmental charity, Common Ground, initiated its very first ‘fruitful’ – in all senses of the word – celebration of apples in the Plaza of Covent Garden in London.

The Common Ground archive, which has been in the care of Special Collections at the University of Exeter since 2013, contains a significant amount of material created and collected by Common Ground throughout the course of the Apple Day project. The richness of this material offers a tantalising opportunity to delve into the archive and explore the history behind the ‘fruits’ of Common Ground’s labour – and as I am currently in the process of surveying the archive before the cataloguing begins, that is exactly what I did.

Author’s own photograph of apple varieties on display, taken at Killerton Apple Festival in Exeter, 2018

In 1987, Sue Clifford and Angela King at Common Ground became aware of the sharp decline in traditional orchards in the British Isles since the 1950s whilst conducting research for the Trees, Woods and the Green Man project. They recognised that this decline not only had an ecological impact on the British landscape, but also signfied a loss of associated cultural practices. Not only would we lose regional fruit varieties, local distinctiveness, and richness of wildlife, but knowledge of recipes, stories, songs, and skills such as planting, grafting and pruning would also diminish. To raise awareness of this issue, the charity launched its Save Our Orchards and Community Orchards campaigns, which sought to encourage and ‘a-peel’ to people to protect traditional orchards, as well as create new community orchards.

Realising it was ‘crunch’ time for orchards, in 1990, Common Ground introduced a new initiative to further protect and promote the ecological and cultural importance of orchards – a calendar custom which it named Apple Day. The charity hoped that demonstration and celebration of the apple – with its thousands of varieties, and rich history and symbolism – could raise awareness of the orchards in danger of being lost, as well as inspire real positive change in the way that people source food and engage with their local environment. The first Apple Day celebration was organised by Common Ground with forty stalls in Covent Garden in 1990.

Apple Day promotional material and apple-related publications produced by Common Ground in the archive

Common Ground initiates and manages projects that inspire people to care for and forge meaningful connections with their local environment through the arts, and which – perhaps most importantly – are sustainable. In this vein, having piloted Apple Day in London with great success in 1990, in the following year the charity encouraged people nationwide to organise their own apple-related events on and around 21 October. The initiative soon ‘bore fruit’ and Common Ground took on an advisory and promotional role towards Apple Day, supporting the increasing number of local organisers in co-ordinating their own events. This continued until 2010 – the 21st Apple Day and year the custom officially ‘came of age’ – at which point Common Ground considered the day to have so firmly ‘taken root’ in the British calendar that it was capable of continuing without extra support from the charity. In addition to supporting local organisers, Common Ground published several books relating to apples, including: ‘The Apple Source Book’ (1991, 2007) and ‘Apple Games and Customs’ (1994) in the course of the project.

Apple Day events have been organised across the length and breadth of the country by villages, community groups, councils, historic houses, museums, arts centres, pubs, restaurants, agricultural colleges, hospitals, schools, wildlife trusts, tree nurseries, markets, farms, and commercial and community orchards – phew! – and from its inception has risen from one to hundreds of events nationwide every year. An Apple Day event can incorporate all kinds of different activities, such as displays, identification, and pressing of local varieties of apple; sampling and sale of orchard produce; tours of and talks about orchards; as well as music, crafts and games, including wassailing, apple bobbing, and the longest apple peel competition.

The Apple Day material in the archive is currently organised into clearly labelled folders

The recent survey I conducted of material in the archive relating to Apple Day provided me with a good overview of the contents and order of this section. The material in this section of the archive is generally well-organised (always ‘apple-easing’ sight for an archivist!) into files arranged by year and record type, and comprises correspondence, newsletters, promotional material, photographs, press clippings, reports, research material, and notes. The papers that I personally found most interesting were those sent between Common Ground and Apple Day organisers between 1991 and 2010, which include letters, event information forms, and feedback forms. When studied together, these papers provide fascinating insight into the development, success, and geographic distribution of Apple Day events across the British Isles. Other items that I found particularly delightful were examples of crafts made at Apple Day events, which include an apple crown made by schoolchildren and a felt finger puppet in the shape of an apple.

An apple finger puppet found in the Common Ground archive

Exploring the history of Apple Day in the Common Ground archive has been ‘apple-easure’, and I’m already looking forward to cataloguing this section and making it more accessible for researchers via our online catalogue.

In the meantime, I hope you have a very happy Apple Day this year and every year – may it continue ‘apple-y’ ever after!

By Annie Price, Project Archivist

 

Why not start your exploration of the Common Ground archive via our online catalogue today? Simply search ‘Common Ground’ or the reference number ‘EUL MS 416’.

You can also find out more about Common Ground and the archive in our first blog post about the cataloguing project: ‘Introducing the Common Ground archive’.

The Archives of Sir William Luce: Reframing the Personal and the Political

The personal face of diplomacy – Sir William Luce meeting Gulf leaders.                                    EUL MS 146/1/4/7

While at Exeter University Glencairn Balfour Paul, one of the founders of the Centre for Arab Gulf Studies (later the Institute of Arabic and Islamic Studies), wrote The End of Empire in the Middle East: Britain’s Relinquishment of Power in Her Last Three Arab Dependencies (Cambridge: Cambridge University Press, 1991) in which he paid the following tribute to Sir William Luce’s work as the Foreign Secretary’s Special Representative for Gulf Affairs:

Luce had to deal with the vain and arrogant Pahlavi government in Iran, with suspicious Saudis and anxious Gulf Rulers, not to mention his political bosses in London, some of whom were far from committed to the decision to terminate the British protective presence in the Gulf. He charmed everybody, he persuaded everybody, he was patient, good-humoured (with occasional explosions) and skilful. (xviii)

Some sense of Luce’s personality – and how important it was for his diplomatic work – can be gleaned from the collection of his working papers that are held in our Middle East Archives and have recently been catalogued. Material relating to his earlier career with the Sudan Political Service (1930-55) is held at the University of Durham, while the papers here in Exeter cover the period between his arrival in Aden in 1956 and his final visit to the Gulf States in 1977 shortly before his death.

Following posts as Governor and Commander-in-Chief of Aden (1956-60) and Political Resident in the Persian Gulf (1961-66), he was called back out of retirement in 1970 to act as Personal Representative of the Foreign and Commonwealth Secretary – Sir Alec Douglas-Home – overseeing the arrangements for British withdrawal from the Gulf. His task here was to ensure ongoing stability and the continuation of good relations with the various Arab leaders in the region – he played a vital role in the establishment of Kuwait, Bahrain and Qatar as independent states, as well as the foundation of the United Arab Emirates.

Text of Luce’s speech at the opening of the Queen Elizabeth Hospital, Aden, 28 April 1958. Luce had become a confident speaker of Arabic while in the Sudan, but when giving speeches in Arabic he wrote the text out in phonetic script which he evidently found easier to read.                            EUL MS 146/1/1/5

Luce’s success in these complex and delicate negotiations was due largely to the personal relationships he had forged over the years, earning the trust and affection of Gulf leaders during a time of great political tension and mutual suspicion. Although the papers held in our collections relate almost entirely to his official activities, they reveal the extent to which diplomatic relations between the Gulf states relied upon human contact between individuals and Luce’s own personal skills and charm. So what can do the archives reveal?

The Luce Papers: personal or political?

The papers held here are a diverse group and include handwritten and typed correspondence, political memoranda, official reports, notebooks and appointment diaries, speeches, presscuttings, offprints and printed works such as pamphlets and journals. Some of the papers were written by Luce for his own use, or to be shared privately with close friends or colleagues, and retain an intimate, informal tone. (It should also be noted here that a large collection of personal papers and correspondence remains in the family’s possession.)

Notes written on cigarette paper during his Gulf visit in January-February 1970 reveal the spontaneous and informal aspects of Luce’s work, as well as reminding us that the concept of ‘winning hearts and minds’ in the Middle East has a long tradition.                    EUL MS 146/1/3/5

Others were intended for much wider platforms, such as public meetings or print media, and are phrased and framed with this in mind. The fact that these items are in the archive itself indicates a personal choice – that at some point Luce made a decision to keep a particular paper or booklet in his possession. There is a need to be aware not only of the material that is not in the archive – i.e. that related papers might have been discarded, lost or simply rejected for preservation – but also that other material may exist elsewhere in other collections that may complement or contradict the picture presented here. Each of the parties that attended meetings with Luce may well have recorded their own version of events, so that even an official government report must be treated as offering only a subjective and partial view of the topic – something especially pertinent for anyone approaching the complex kaleidoscope of Middle Eastern politics.

Excerpt from Luce’s confidential report on a meeting he had in Dubai in 1970 with Sayyid Tariq, Prime Minister of Oman.                  EUL MS 146/1/3/7

The above typed report is from a document entitled Thoughts on Oman and reflects upon conversations Luce had with Sayyid Tariq, Prime Minister of Oman, following the very recent bloodless coup in which Said bin Taimur, the sultan of Muscat and Oman, was replaced by his son Qabus bin Said Al Said. It illustrates the extent to which the wielding of power in the region was part of a tapestry of political allegiances, personal relationships, family history and ancestral relations. Luce’s ability to navigate his way through these complexities relied upon the detailed knowledge he had acquired over the years. The document shows how Luce drew on private discussions in order to advice the Foreign Office on points of strategy.

Personal Representative

Luce had reached the Sudan Political Service’s voluntary retirement age of 48 in 1955 but made it clear to the Foreign Office that he had no intention of ceasing to work. Even after his retirement from the Gulf in 1966 he maintained an active interest in the Middle East, appearing regularly at conferences and discussion groups to make his views known, and writing articles for publications such as Round Table. We have many of these talks and articles in the archive (EUL MS 146/5) as well as related correspondence that reveals the high esteem in which he has regarded within both political and academic circles.

Meanwhile the economic pressures upon Harold Wilson’s Labour administration had forced a reconsideration of foreign policy. In July 1967 Defence Secretary Denis Healey announced that Britain would withdraw its forces from the Gulf within ten years. The following January Wilson announced that this would be carried out by the end of 1971.

Luce strongly opposed this decision, regarding the announcement of any timetables as detrimental to the government’s position for negotiating terms of withdrawal – a position he had made clear as early as 1966 (EUL MS 146/1/2/2). The Conservative Party opposed Labour’s move in principle and let it be known that they would reverse the policy if re-elected. Following the election of Edward Heath as Conservative Prime Minister in June 1970, Luce was appointed personal representative to the foreign secretary, Sir Alec Douglas-Home, on 27 July 1970.  Heath and Luce had almost met the previous year during a tour of the Middle East undertaken by Luce between February and April 1969 in his capacity as a non-executive director of shipping agents Gray Mackenzie & Co., while the then Conservative Party leader was also visiting the region. While Luce thought any attempt to reverse the withdrawal would be unwise, Heath chose to leave that option open, at least in public.

Letter from Edward Heath to Luce, responding to a communication sent to the Conservative Party leader while he was at Abadan in Iran.                    EUL MS 146/1/2/14

How Luce worked to steer Heath’s cabinet in the right direction is the subject of a large chunk of the archive, which relates to his activities as ‘Personal Representative for Gulf Affairs’ between July 1970 and 1971. He made five major tours of the Gulf during this time, holding meetings with (among many others) the Shah of Iran, King Faisal of Saudi Arabia, Mohammed Fayek, Minister of State for Foreign Affairs in the United Arab Republic, various parties at the Arab League Headquarters in Cairo, Abdul Hussein Jamali, Iraqi Minister of Foreign Affairs, the Prime Minister of Iran, Sayyid Mehdi Tajir (principal adviser to Shaikh Rashid of the UAR), the Amir of Kuwait, the Sultan of Muscat, the rulers of Umm al-Quwain, Ras-al-Khaimah, Ajman and Sharjah, Shaikh Ahmed bin Ali al Thani, Emir of Qatar, and his cousin Shaikh Khalifa bin Hamed al Thani, and the Emir of Bahrain, Shaikh Isa bin Sulman. Each trip is documented by a mass of papers, including draft itineraries, guest lists, arrangements for travel and accommodation, as well as detailed records of conversations, confidential reports based on these conversations, and official government papers showing how this material was then interpreted and communicated for parliamentary debate or cabinet-level discussions. These papers reveal how Luce shuttled from place to place, carefully observing matters of precedence and etiquette in the frequency and sequence of his visits to successive rulers to avoid offence, painstakingly building up agreements and negotiating points in every successive meeting. Early on he had realised that the future of the Gulf Region after the British had left depended upon solidarity between the various Arab leaders, and with that in mind he set about laying the ground for a federation of the nine sheikdoms around the Gulf peninsula. Although he was unable to unite all nine of them – Bahrain and Qatar declared themselves independent states in August and September 1971 – he managed to bring together Abu Dhabi, Dubai, Ajman, Sharjah, Umm Al Quwain and Fujairah to form the United Arab Emirates. The remaining state, Ras Al Khaimah joined the UAE the following year.

Headed letter from Brigadier F.M. De Butts of the United Arab Emirates Ministry of Defence, to Luce, dated 29 August 1972, and providing an update on various military and security issues.        EUL MS 146/1/4/1

Luce was strongly realistic and pragmatic in his approach to Britain’s involvement in the Persian Gulf and was under no illusions about the historic and political reasons for their presence. Writing in the Daily Telegraph he admitted: ‘It is important today to remember that these Gulf agreements were made on British initiative and primarily to serve British interests. We did not undertake the ‘policing’ of the Gulf for some vague, altruistic purpose; we went there, and remained there, because it has suited us to do so.’

William Luce, ‘Aden’s Shadow over the Gulf’, Daily Telegraph, 12 April 1967.         EUL MS 146/1/2/10

Although there is not space to discuss this here, studying the archival records of Luce’s career provide evidence of how his work in the Gulf was shaped by his earlier experiences in the Sudan and Aden. The range of documentation held in the Luce archive provides a fascinating resource with which to explore the wide range of factors that determine how political strategies are both formulated and implemented. While much attention continues to be given to famous and infamous figures in the early history of the British Empire, there is perhaps a need to start focussing more closely on those who played a prominent role in its final stages. The papers of Sir William Luce could provide a bridge for researchers between the contemporary political landscape in the Middle East and its historical roots in the imperial past, as well as illustrating just how much the personal and the political elements of diplomatic life connect and overlap.

Further Reading

Glen Balfour-Paul, The End of Empire in the Middle East: Britain’s Relinquishment of Power in Her Last Three Arab Dependencies.
Cambridge: Cambridge University Press, 1991

M.W. Daly, The last of the great proconsuls. The biography of Sir William Luce.
San Diego, CA : Nathan Berg, 2014

Luce, Margaret. From Aden to the Gulf: personal diaries, 1956-1966.
Salisbury : Michael Russell, 1987

There’s no archives like show archives: Introducing the Northcott Theatre Archive

EUL MS 348 – Programmes from the Northcott Theatre Archive

It’s new cataloguing project time here at Special Collections and I’m thrilled to say that I’ll be cataloguing the Northcott Theatre Archive as part of our 21st Century Libraries initiative. It’s a fascinating collection spanning from the theatre’s opening in 1967, to its threatened closure in 2010. Quite simply, everything about it is appealing (alright, I’ll stop with the show tunes now!).

Exeter has a long history of theatre; with evidence of a possible Roman amphitheatre on Dane’s Hill. In 1721 the first regular theatre venue in Exeter opened in the Seven Stars Inn and a series of theatres followed (often destroyed by fire) until the Theatre Royal opened in 1889. Many Exeter residents still remember this theatre, which was demolished in 1962, and a small amount of records survive in the Northcott Theatre Archive relating to its productions.

EUL MS 348 – Printing plate for Theatre Royal jubilee production of Mother Goose

After the demolition of the Theatre Royal, G.V. Northcott was offered a site at Exeter University and the Northcott Devon Theatre and Arts Centre, as it was originally known, was established. The theatre opened its first production on 2nd November 1967, presenting The Merchant of Venice, which starred the theatre’s first Artistic Director Tony Church. The abolition of the official censor in 1968 enabled a new artistic direction and early directors fostered new writing talent. Edward Bond’s controversial play ‘Bingo’ was performed in public for the first time at the Northcott under Artistic Director Jane Howell. The theatre also fostered acting talent and many famous actors performed there early in their careers: including Honor Blackman, Celia Imrie, Robert Lindsay, John Nettles, Diana Rigg, Imelda Staunton and David Suchet.

EUL MS 348 – Production photographs by year from the Northcott Theatre Archive

In recent years the theatre has faced the threat of closure twice, in 2008 and 2010, both sparking community campaigns to save the theatre. On 5 June 2010 a new company was set up as the Exeter Northcott Theatre Company, formed with the University of Exeter, and the immediate future of the theatre is now more secure, with its fiftieth anniversary celebrations taking place last year.

EUL MS 348 – Tree from a campaign to save the Northcott Theatre with leaves written by the public saying what the theatre means to them

The archive contains a wealth of records relating to the Northcott’s productions and administration. Show files, prompt books, administrative records, programmes, posters, photographs, press cuttings, and much more illustrate the work behind bringing a production to the stage and the changing trends in theatre going. The archive is a wonderful piece of South West theatre history and I look forward to sharing more gems with you as the project progresses.

Caroline Walter (Project Archivist)

Introducing the Common Ground Archive

An exciting new season of cataloguing is underway here at the University of Exeter Special Collections! Three archival collections are now in the preliminary stages of being catalogued as part of the ‘21st Century Library Project’, due to be completed by July 2020. These include the Middle East Collections, the Northcott Theatre Archive, and the Common Ground Archive. In this blog post, the Common Ground Archive cataloguing project is introduced by project archivist, Annie Price.

Promotional material in the archive relating to Common Ground projects

Having fondly waved goodbye to the Syon Abbey archive (now neatly organised into boxes and described in the online catalogue), in August I embarked on a new cataloguing project: to catalogue the archive of Common Ground, an arts and environmental charity (reference number EUL MS 416).

Common Ground is an arts and environmental charity that was founded in May 1983 with a mission to encourage people to emotionally engage with their local environment through the arts. For over three decades, Common Ground has been collaborating with local communities, artists, writers and composers to celebrate the ordinary – and not just the extraordinary – in our localities and, in doing so, encourage conservation at a grassroots level. Projects initiated and developed by Common Ground, and which have had a considerable impact on the cultural geography of Britain, include: the ‘Parish Maps Project’, the ‘Campaign for Local Distinctiveness’, and ‘Apple Day’. The output from the many projects has included artistic commissions, performances, exhibitions, conferences, and publications.

Common Ground publications in the archive

One of the aspects I most enjoy about being an archivist is the opportunity to learn something new and develop expertise in the most unexpected areas. Every archive offers new knowledge as well as new challenges, and I knew the Common Ground archive would be no exception. Over the past month I have been conducting a survey of the archive to gain an understanding of how it was used and organised by Common Ground, and to identify any potential issues. The archive comprises a range of material, from correspondence, notes, financial papers, reports, press clippings, and research material, to photographs, audio recordings, sheet music, publications, and promotional material (which even includes t-shirts and tote bags!). The archive also contains some different types of media such as cassette tapes, CD-ROMs, VHS tapes, and floppy disks. Dealing with these different formats and making them accessible for use now and in the future will be a new and very different kind of challenge to those I faced on my last project, but one that I am looking forward to tackling.

Box files in the Common Ground archive

The Common Ground archive has rich potential for interdisciplinary research on geography, literature, visual arts, sustainability, sense of place, the relationship between nature and culture, and the British landscape and culture. Although the archive is already roughly organised according to the various projects, over the next two years, considerable sorting, repackaging, and basic preservation will be required to ensure the records are in the best condition possible for long-term access. In addition, the archive will be described at least down to file level, and will be searchable via our online archive catalogue. And as with my last project, I look forward to sharing highlights from the archive and keeping you updated on my progress via this blog and our Twitter account.

I hope you’ll join me again soon!

By Annie Price, Project Archivist

 

A Tale of Two Questions: St Spiv, the musical

 

Hello Ronnie, how are ya? Ronnie, I want you to say hello to my son, here, this is Jeff
– Jeff, this is Ronnie Duncan.

Until recently, one of the more puzzling artefacts in the Ronald Duncan Collection was a recording of a set of musical theatre songs identified as ‘Music for Ezra Pound’s plays’. This identification did not ring true – the greeting and introduction recorded on the tape were very clearly addressed and it seemed almost as unlikely that Duncan should be involved in discussions about music for Ezra Pound’s plays as it did that Ezra Pound would be known as ‘Ronnie’. However, aside from the songs, the only significant pieces of evidence offered by the recording as to its origin were that one of its participants was named ‘Jeff’ and that he was the son of the other speaker. Here, then, was our first question: What was this recording? Without knowing all of Duncan’s work intimately, and with seemingly little else to go on, the recording joined a number of cryptic items that we hoped to understand better as the project unfolded.

The question was answered when Caroline Walter (project archivist) found a reference to a musical production of Duncan’s novel St Spiv in a letter from Jerry Wayne. With this information and some very helpful correspondence with Jeff Wayne’s assistant, Lindsey Key, Caroline was able to confirm that the recording is a demonstration tape of a musical theatre adaptation of St Spiv by none other than Jerry Wayne and his son Jeff Wayne, the creator of Jeff Wayne’s Musical Version of The War of the Worlds.

Ronald Duncan, proudly highbrow, seems an unlikely partner in the creation of a musical, but the collaboration came about through Eric Glass, agent to Ronald Duncan and London agent to Jerry Wayne. Glass, a recurrent figure in the collection, was himself a well-known character within literary and theatrical circles who had also worked briefly with MI5 during the Second World War in an operation to divert funding for Nazi spies in Britain away from its intended recipients. When informed that Jerry Wayne was interested in producing musicals for the London stage, Glass suggested a number of stories that might be suitable for adaptation, one of which was Duncan’s St Spiv. Arrangements were made, the script, lyrics, and music were written, and, after arriving in the UK to set things up, Jerry and Jeff went to stay with Duncan for a few days at Mead Farm, Welcombe, to work on the musical.

Jeff Wayne playing the piano at Mead Farm, c. 1966.

A farcical tale of a Cockney spiv who finds himself possessed of miraculous healing powers, St Spiv had existed in a number of formats before it came to the attention of Jerry Wayne in 1964 – as a short story (The Cockney Circus), as a play and, latterly, as a novel (first published in 1961). By mid-1965, its latest incarnation was being foreshadowed by the press and, on the 10th of June 1965, The Stage reported that Jerry Wayne was to present it in London in the September of that year, noting that the musical was based on Duncan’s novel and that ‘Mr. Wayne [had] adapted the book and [written] the lyrics to music composed by his 21-year-old son, Jeff Wayne.’ In May, a similar article from the Evening News, London, had reported that St Spiv would be presented in ‘the fall’, as well as a production of Two Cities (based on Charles Dickens’ A Tale of Two Cities), also adapted by Jerry and Jeff Wayne. Of these two musicals, only Two Cities was to appear before the public proper. Although it received a club performance and professional demonstration recording, St Spiv was never to make it to the open theatre. But why? This was our second question.

In a letter dating from the 10th of March (probably of 1966), Jerry Wayne asked Duncan to send him the reviews of St Spiv ‘… when it played at the new Arts Theatre’, and, in the same letter, he dealt with a number of script editions needed before setting a date for the show to appear. The tone of the letter was a positive one, and Wayne ended it by writing ‘I therefore feel it is absolutely imperative that no further time is lost in accomplishing this rewrite.’ Artistic differences, then, seem not to have been the cause of the show’s demise; likewise, and based on the lively and catchy numbers preserved by the informal demo-tape, it seems unlikely that quality was the problem. Instead, and as in many cases of musico-literary collaborations, it seems that a rift opened between the collaborators on the matters of rights and royalties. In a letter to Duncan dated the 6th of May 1966, Eric Glass suggested that negotiations had reached an impasse – the 30% required by Duncan was too distant from the 15% offered by the co-producer, Stanley Gordon. Taking the view that he could negotiate no further, he wrote

… I think in the circumstances all we can do is try and sell the film rights or find a musical author or lyric writer who may be prepared to start from scratch on your original novel.

It is very sad that after all this time the deal has come to nought…

As a coda to this post, here is the end of the last song from the show, which is both accidentally apt and rather enjoyable.

 

 

Written by Andrew Cusworth. We are very grateful for the assistance of Jeff Wayne and his assistant, Lindsey Key, and for Jeff Wayne’s permission to share parts of the demonstration tape and the photograph of Jeff Wayne at Mead Farm.

Newly Catalogued: the Modern Monastic Manuscripts of Syon Abbey

Following the completion of the Syon Abbey archive cataloguing project, I have been left with a little time before my next project to turn my attention to some enchanting and intriguing items in our collections: modern manuscripts in the Syon Abbey Medieval and Modern Manuscript Collection (reference number EUL MS 262).

In 2004, twelve medieval and early modern manuscripts were deposited with us for safekeeping, and these have remained some of the most popular items in our collections, both in the reading room and in teaching here at the University. Three subsequent additions to the manuscript collection since 2004 have increased the number of manuscripts to 191 bound volumes and 8 folders of unbound papers. These additional manuscripts have always been open to users, but they have only been accessible through scanned lists in PDF files, which provide limited detail and are not searchable. In an endeavour to improve their discoverability and accessibility, I was delighted to devote two magical weeks to cataloguing the manuscripts at item level.

As the manuscripts were accessioned or transferred to the manuscript collection as three separate additions, they have been catalogued as three distinct sections. I have renumbered these as EUL MS 262/add1, EUL MS 262/add2 and EUL MS 262/add3. But never fear! I have made a note of the previous reference numbers in the catalogue entry for each item, so if you have accessed one of the manuscripts before, you will still be able to find it on the catalogue by entering the old reference number in the search box.

The section numbered EUL MS 262/add1 comprises handwritten, typewritten, and a very small number of printed items that were kept by the community on a bookshelf at their last place of residence in South Brent, Devon. To improve access, these manuscripts have now been rearranged into an approximate chronological order, but a list of the items in their original order exists and is available on request. The section numbered EUL MS 262/add2 consists of 28 manuscripts that were previously listed as part of the Syon Abbey archive, and the majority were kept in a box marked ‘Box 28’; 24 of these manuscripts were numbered 1-24 by the community at Syon Abbey and entered into a notebook labelled ‘Register of Syon Manuscripts’. Finally, three early modern manuscripts that were previously kept in the safe by the community at Syon Abbey make up the third section, numbered EUL MS 262/add3.

The newly-catalogued manuscripts were created or collected by the community over the course of five centuries, with the earliest manuscript dating to 1526 (EUL MS 262/add3/1), and the most recent dating to the late twentieth century (EUL MS 262/add1/143). In addition to the theological, liturgical, and devotional manuscripts that one might expect to find in a monastery, the manuscripts also include several histories of Syon Abbey, personal accounts of the lives of sisters, and notes on the contents of the library. The majority of the manuscripts are in English; however, the collection also includes manuscripts partly or wholly written in Latin, Portuguese, French, Dutch, Spanish, Swedish, German and Italian. Intriguingly, many of the manuscripts include the names of the nuns or monks who transcribed or read them, providing fascinating insight into scribing and readership at Syon Abbey. I’ve included images of extracts from some of my favourite manuscripts (it was so hard to choose!) in the slideshow below.

 

The manuscripts are now fully-catalogued and available to browse in our online catalogue. To see all the catalogue entries for the manuscripts at once, simply enter EUL MS 262* into the ‘Ref No’ field on the ‘Advance Search’ page to view all the catalogued manuscripts. And don’t forget – we also look after the printed books from the Syon Abbey library and the recently catalogued Syon Abbey archive, as well as several other Syon Abbey related collections.

Happy browsing, reading and exploring!

By Annie Price, Project Archivist

Cataloguing the Syon Abbey Archive: Project Completed!

Annie with the archive

In November 2016, I began my new role as the project archivist working on the Syon Abbey archive, and immediately recognised that I faced a daunting but exciting task. The archive was large, complex, created over six centuries, and there was no discernible order into specific management groups. Nineteen months and 152 repackaged boxes (in addition to outsize material on shelves and in three plan chest drawers) later, the cataloguing project has been completed, allowing the archive to be more easily searched online and accessed in our reading room. You can view and browse the new archive catalogue here.

 

The archive has been arranged into 24 sections to reflect the different functions and activities of Syon Abbey, and to provide context for how the records were used. The sections are listed below with their reference numbers.

There have been many challenges throughout the course of this project, but there have been an equal number of (if not more) pleasures. With such a large archive, one would expect (as initially did I) that I would have a favourite section or one that I would particularly dislike, but this has simply not been the case. In each of the sections I have found records that have intrigued, moved, gripped or amused me; through each of them I have learnt what makes religious communities, and Syon Abbey in particular, unique, but also identified the many things we share in common; and while sorting through the material I’ve considered a multitude of different avenues of exciting research that could be – and I hope will be – pursued, now that the archive is more searchable and accessible. Nevertheless, I did want to share a very small selection of my favourite items with you, which you can view in the slideshow below.

 

As with all things, this project would have been much harder and less joyful if I had gone it alone. Fortunately, I am part of a wonderful team of colleagues who have supported me throughout, and I am very grateful for their kindness and expertise. A special thanks to Angela Mandrioli for her help in interpreting Latin documents and cataloguing papers relating to history and research; and to Sophie Morgan, our student volunteer, who did fantastic work in cataloguing 100 community diaries and 155 vows at item level.

Volunteer Sophie Morgan with eight boxes containing the 100 community diaries she catalogued

So that just leaves me to say goodbye for now! I have so enjoyed working on this project, which has been my very first cataloguing project as a newly-qualified archivist. The skills I have developed (for example, I can now proudly claim to be capable of making a four-flap folder), the new knowledge I have acquired, and the people I have met through it, have made this project very special to me and I will miss it greatly. However, I am pleased and excited to be continuing in my role as archivist at the University of Exeter’s Special Collections, where I will soon be embarking on a new project.

Photomontage of records in the Syon Abbey archive

If you’re interested in finding out more about the Syon Abbey archive (which I hope you are!), why not check out the new online catalogue, revisit previous blog posts about the Syon Abbey archive, or take a look at our tweets about the archive on Twitter. And don’t forget – in addition to the archive, we also look after the Syon Abbey manuscripts and printed books from the Syon Abbey library, as well as several other Syon Abbey related collections. For more information, please contact us at libspc@exeter.ac.uk.

I hope you enjoy your journey of discovery into Syon Abbey!

By Annie Price, Project Archivist

 

The Golden Horseshoe Fifty Mile Ride

 

This weekend will see endurance riders from across Britain descend on Exmoor for the challenging Golden Horseshoe Ride. The first ride took place on 4th September 1965 supported by the Sunday Telegraph, British Horse Society and writer Ronald Duncan. Now in its 53rd year, having survived a serious threat to its future in 2016, we delve into the archives of the Ronald Duncan Collection to find out more about how the ride came into being.

Two letters held in the archive from 19 January 1965 show Duncan’s early impetus for the race. A letter to Colonel Mike Ansell of the horse society thanks him for an article on long distance riding (sent 9 December 1964) which Duncan claims “quite convinces me that the long distance race which I envisage could be undertaken”. Duncan clearly wasted no time in getting to work on the event as a draft letter asking for sponsorship for “an open annual event run over a distance of 100 miles, terminating at Welcombe” was composed the same day. By 16 June 1965 the Sunday Telegraph is involved, and on 1 August 1965 Duncan drafted a letter to a Mr Etheridge of the Sunday Telegraph proposing various points on the route. A hand written list of points on the route also survives.

 

A number of drafts of material for publicity, entrance forms and programmes survive showing the evolution of the event; its name going through several iterations as The Welcombe Marathon Race, The Welcombe Long Distance Ride and The Golden Horseshoe Fifty Mile Ride. In addition, an Agenda for a meeting on 4 August 1965 concerning the ride also survives, complete with scribbled annotations. These documents show the decisions made on route, vet points, entrance fees and start dates, and all show the marked focus on horsemanship and animal welfare that continues in the ride today.

 

The first ride comprised on 120 riders with 80 reserves, mostly from the West Country, with some from Wales and the Midlands, nearly 2/3rds of whom were women, with a large number of the men coming from the armed forces. In 2018 there will be 260 riders taking part in more than 7 classes. A sight that I am sure Duncan would have been thrilled to see.

In a draft of Duncan’s introduction for the programme, he mentions the International Marathon Ride as one of the historical impetuses for starting the ride, and a typescript of an article by the Inspector of Calvary on The Grand International 1906 seems to bear this out. However, Duncan’s love of horses would also have been a large part of his motivation, particularly the Arab horses that he bred with his wife Rose Marie Duncan. This love of horses led to his connection with Colonel Sir Mike Ansell for whom he wrote ‘The Horse’ in 1964, which is still recited annually at the Horse of the Year Show. As with the Golden Horseshoe Ride, this poem still inspires horse lovers today and the Ronald Duncan Literary Foundation receives many requests to use it in books, magazines, conferences, calendars, artworks and funerals.

 

Duncan explains his deep love of horses best in his programme introduction, stating “People sometimes ask my why, I as a poet should be so fond of horses? My answer is: a horse is a poem on four legs.”

 

‘The Horse’ by Ronald Duncan

 

Where in this wide world can man find nobility without pride,

friendship without envy, or beauty without vanity?

Here where grace is laced with muscle and strength by gentleness confined.

 

He serves without servility; he has fought without enmity

There is nothing so powerful, nothing less violent;

there is nothing so quick, nothing more patient.

 

England’s past has been borne on his back.

All our history is in his industry.

We are his heirs;

He is our inheritance.

 

Best of luck to all the riders this weekend!

 

Ronald and Rose Marie Duncan with horse