Part 1
Lets start at the very beginning...
Newspaper articles in our local paper, the John O’ Groat Journal, or ‘the Groat’ as we know it, provides that a drama group had flourished in Wick in around 1833; Queen Victoria was on the throne and when her husband, Prince Albert died, all frivolity was discouraged, so drama and play-actors were frowned upon. It took a long time for people to get over this prejudice and it was Queen Mary of Teck who broke the ice when it became widely known that charades were regularly played in the royal drawing room, and it was at this time that music halls then became very popular.
Wick in the early 1930’s, was reliant on the herring fishing as the community’s main trade of work. Women worked as herring gutters and / or worked in service. There was poor wages and large families to feed- x10 of a family was not unusual. Some homes at this time still had no electricity and relied on gas lamps. Most had shared outside toilets and coal fires for cooking and warmth in crowded homes. Television had not been invented, nor all the modern gadgets we take for granted today. Life revolved around work and there was little time for leisure, although there would be women’s guilds, church and Salvation Army, and Sunday was a day of rest for both men and women, and no fishing boats left the harbour until 12am on a Monday morning. No work happened at all, except for the doctor and nurses. Only a few had jobs outside of the fishing industry, such as shop staff, tradesmen, teachers, post office workers, young men in banks, bakeries and of course the fish curers who bought the herring and built most of the large houses we see in our town today in the likes of Miller Avenue and Thurso Road. They had a better standard of living then and had time to enjoy life beyond work.
Most families had their clothes made; coats, dresses, skirts, and gentlemen’s suits. These were all made by an army of dress makers and tailors in the town. You provided the material bought by the yard in a shop on High Street and took it to your favourite dress maker who turned out lovely clothes for Sundays, special occasions and of course for everyday use.
In 1931, when the council in their wisdom appointed a young librarian, he thought he had come to a place that needed an injection of culture; Wick in his eyes had “no music, no theatre, no art”, but he was wrong. Visiting artists regularly performed in the local Breadalbane Hall. Teachers in schools would put on end of term soirées, when bright pupils would do their bit and Sunday school concerts were breeding grounds for young talent. In summertime, the ladies of the town would put on small pageants, occasionally complete with horses; all beautifully dressed in suitable costumes down at the riverside or in the grounds of Rosebank House, later to become the Henderson Memorial Nursing Home, and the site of our general hospital today.
Mr Kennedy Stewart (the Librarian) called a meeting, and a group was formed. Membership was 2/6 (which was a lot of money then), calling themselves “The Players”. They put on a show in the Breadalbane Hall in December 1932, three one act plays plus items filling in between the plays such as solos, and poems. Here, we quote an original player- the late Marley Robertson, whose son has served as a member of our backstage crew and a knowledgeable Stage Manager for many years:
Wick in the early 1930’s, was reliant on the herring fishing as the community’s main trade of work. Women worked as herring gutters and / or worked in service. There was poor wages and large families to feed- x10 of a family was not unusual. Some homes at this time still had no electricity and relied on gas lamps. Most had shared outside toilets and coal fires for cooking and warmth in crowded homes. Television had not been invented, nor all the modern gadgets we take for granted today. Life revolved around work and there was little time for leisure, although there would be women’s guilds, church and Salvation Army, and Sunday was a day of rest for both men and women, and no fishing boats left the harbour until 12am on a Monday morning. No work happened at all, except for the doctor and nurses. Only a few had jobs outside of the fishing industry, such as shop staff, tradesmen, teachers, post office workers, young men in banks, bakeries and of course the fish curers who bought the herring and built most of the large houses we see in our town today in the likes of Miller Avenue and Thurso Road. They had a better standard of living then and had time to enjoy life beyond work.
Most families had their clothes made; coats, dresses, skirts, and gentlemen’s suits. These were all made by an army of dress makers and tailors in the town. You provided the material bought by the yard in a shop on High Street and took it to your favourite dress maker who turned out lovely clothes for Sundays, special occasions and of course for everyday use.
In 1931, when the council in their wisdom appointed a young librarian, he thought he had come to a place that needed an injection of culture; Wick in his eyes had “no music, no theatre, no art”, but he was wrong. Visiting artists regularly performed in the local Breadalbane Hall. Teachers in schools would put on end of term soirées, when bright pupils would do their bit and Sunday school concerts were breeding grounds for young talent. In summertime, the ladies of the town would put on small pageants, occasionally complete with horses; all beautifully dressed in suitable costumes down at the riverside or in the grounds of Rosebank House, later to become the Henderson Memorial Nursing Home, and the site of our general hospital today.
Mr Kennedy Stewart (the Librarian) called a meeting, and a group was formed. Membership was 2/6 (which was a lot of money then), calling themselves “The Players”. They put on a show in the Breadalbane Hall in December 1932, three one act plays plus items filling in between the plays such as solos, and poems. Here, we quote an original player- the late Marley Robertson, whose son has served as a member of our backstage crew and a knowledgeable Stage Manager for many years:
We were overloaded, over ambitions, and overconfident. The curtain fell on the last item at about 1 o’ clock in the morning and the audience had gone home, it was a resounding failure, a shambles, and it left us in debt.
Our First Production
From that lesson Kennedy Stewart went on to produce the most challenging play, “The Ghost Train”. A three-act drama-thriller which was performed in the June of 1933. The star of the show was the train, devised and timed to a second by the talents of the maths and science departments of Wick High School. The play was a resounding success, with packed houses and at last the group were solvent and Wick Players were a recognised organisation by 1933.
At this point, we should mention some of the foke who were part of the founding group: Willie MacDonell (Local Post Master), David Sutherland (D. Sutherland and Son, Woodyard), Marley Robertson, Tottie Miller (John O’ Groat Journal), Wilma Oag, Bessie Leith (later Provost of Wick), Tom Matheson, Willie Miller (Local Insurance Office), Nita Rosie, Bunty Sutherland and Margaret Fraser. The scenic paintings were designed by James B. Simpson and Alex Johnston. Great credit was given to Kennedy Stewart for this production. He was a strict disciplinarian who insisted on prompt attendants and “books down”.
After their success with “The Ghost Train”, they bravely started rehearsals for a new play when disaster struck. Overnight, the Breadalbane Hall burnt to the ground. The hall was a proper theatre with curtains, footlights, electricity, great acoustics, a perfect stage, and dressing rooms as well as good seating often with visiting artists, soloists, musicians and dance groups. It was a disaster for the town and was a real blow to The Players.
At this point, we should mention some of the foke who were part of the founding group: Willie MacDonell (Local Post Master), David Sutherland (D. Sutherland and Son, Woodyard), Marley Robertson, Tottie Miller (John O’ Groat Journal), Wilma Oag, Bessie Leith (later Provost of Wick), Tom Matheson, Willie Miller (Local Insurance Office), Nita Rosie, Bunty Sutherland and Margaret Fraser. The scenic paintings were designed by James B. Simpson and Alex Johnston. Great credit was given to Kennedy Stewart for this production. He was a strict disciplinarian who insisted on prompt attendants and “books down”.
After their success with “The Ghost Train”, they bravely started rehearsals for a new play when disaster struck. Overnight, the Breadalbane Hall burnt to the ground. The hall was a proper theatre with curtains, footlights, electricity, great acoustics, a perfect stage, and dressing rooms as well as good seating often with visiting artists, soloists, musicians and dance groups. It was a disaster for the town and was a real blow to The Players.
Their War and their Future
After much discussion, they realised that the only suitable venue now was the Rifle Hall, which had downstairs rooms and outside stairs which led to the dressing rooms. However, this meant that they had to purchase curtains, lights, fine chairs, and storage, and it meant taking on debt again; but nothing daunted. They went into production with “The Middle Watch”, a naval play in 1934. And it too proved to be a great success. By this time Kennedy Stewart had left the town but the players produced several productions after his departure they were all well supported by the community. Among these productions “It Pays to Advertise”, “Mrs Grundy”, and last before the war began, “Lord Babs”, which was produced in December 1939. This play was performed to raise funds for the Red Cross and the local church hut for the troops. The cast of this play included Miss I.W. Miler, D. Sutherland, Marley Robertson, Bessie Leith, Jack Faint, E.C. Fowgies, Willie MacDonell, Alex Boyd, E.T. Willits. The Producer was W. Cruikshanks (West Banks Avenue) and the Stage Manager was Pat Miller.
With this all taking place during the war, The Rifle Hall was of course taken over by the army and The Players’ curtains and costumes were stored in the Groat Office (base of John O’ Groat Journal) with the lights and scenery flats being stored in the old scout hall which was located at Harrow Hill. There were no other available halls at this time as they had all been taken over for war purpose, even the Parish Church Hall (now Wick Pipe Band Hall), had become the food office.
The Breadalbane Hall had later been re-built in this era and it was now a very popular cinema and dance hall as there were lots of troops, RAF and soldiers based locally. Once the war was over in 1945, it took some time for The Players to revive themselves, but they did it in style. The first production following the war was “Pride and Prejudice”, followed by “And So to Bed”. Both costume plays, of course hired, with large casts and these were both performed in the Rifle Hall. All the curtains, even seats, had to be transported back to the hall again but that didn’t seem to worry them, they were finally back in action.
With this all taking place during the war, The Rifle Hall was of course taken over by the army and The Players’ curtains and costumes were stored in the Groat Office (base of John O’ Groat Journal) with the lights and scenery flats being stored in the old scout hall which was located at Harrow Hill. There were no other available halls at this time as they had all been taken over for war purpose, even the Parish Church Hall (now Wick Pipe Band Hall), had become the food office.
The Breadalbane Hall had later been re-built in this era and it was now a very popular cinema and dance hall as there were lots of troops, RAF and soldiers based locally. Once the war was over in 1945, it took some time for The Players to revive themselves, but they did it in style. The first production following the war was “Pride and Prejudice”, followed by “And So to Bed”. Both costume plays, of course hired, with large casts and these were both performed in the Rifle Hall. All the curtains, even seats, had to be transported back to the hall again but that didn’t seem to worry them, they were finally back in action.
The Post-War Era
John Black became keen of sitting in the director’s chair in the 1940’s and 50’s he held rehearsals in his home at “Westerlea” in Miller Avenue. They had a huge open attic complete with a stove and it was great space for rehearsals. When other producers came on board, rehearsals were held in school classrooms and other places where the acting area was small and inconvenient, making it difficult to adjust, particularly when it came to the stage in the Rifle or Boys’ Brigade Hall.
In 1948, John Black produced “Dear Octopus”, with a cast consisting of some well-known local faces: Bob Finlayson, Janet Black, Isobel Green, Nan Graham and Margaret Sinclair, Margaret Robertson, Margaret Brokenshaw (Later to become Lady Thurso), Mary MacAdam, David Sutherland, George Bain, John Adams (Photographer), Jenny Barnie, Jack Calcott, Cissie Tait, Ena Jack, Catherine Donaldson, Joyce Coldicott, Drew Hook and Jennifer Black. Nineteen of a cast. At this time, they were fortunate enough to now have a Business Manager, George Bannerman, who kept our books in order.
David Sutherland then went on to produce “Laburnum Grove” as a Christmas show in 1948, and with a similar large cast. These productions were remarkable considering the restricted facilities and equipment available.
In 1951, the Boys Brigade Hall became available again and a lavish production, “Arsenic and Old Lace” was staged by John Black. Although all the fittings, curtains, lights and gathered furniture had to be transported back to the hall and this was done with Alex Matheson’s horse and cart. The seating consisted of the old picture house type at the front, with wooden seating and benches towards the back.
After the untimely death of John Black, various producers, actors and stagehands came forward and this helped to widen the choice of plays and casts. Among them: Willie Wilson (County Architect), Jim Mitchell (Royal Insurance), Jimmy Morrison (Fred Shearer’s, Drapers), to name a few.
Wick had never been averse to absorbing newcomers and The Players casts lists soon showed that locals were being outnumbered by the post war influx of talented newcomers, who would eventually come to work in and around the town.
In 1948, John Black produced “Dear Octopus”, with a cast consisting of some well-known local faces: Bob Finlayson, Janet Black, Isobel Green, Nan Graham and Margaret Sinclair, Margaret Robertson, Margaret Brokenshaw (Later to become Lady Thurso), Mary MacAdam, David Sutherland, George Bain, John Adams (Photographer), Jenny Barnie, Jack Calcott, Cissie Tait, Ena Jack, Catherine Donaldson, Joyce Coldicott, Drew Hook and Jennifer Black. Nineteen of a cast. At this time, they were fortunate enough to now have a Business Manager, George Bannerman, who kept our books in order.
David Sutherland then went on to produce “Laburnum Grove” as a Christmas show in 1948, and with a similar large cast. These productions were remarkable considering the restricted facilities and equipment available.
In 1951, the Boys Brigade Hall became available again and a lavish production, “Arsenic and Old Lace” was staged by John Black. Although all the fittings, curtains, lights and gathered furniture had to be transported back to the hall and this was done with Alex Matheson’s horse and cart. The seating consisted of the old picture house type at the front, with wooden seating and benches towards the back.
After the untimely death of John Black, various producers, actors and stagehands came forward and this helped to widen the choice of plays and casts. Among them: Willie Wilson (County Architect), Jim Mitchell (Royal Insurance), Jimmy Morrison (Fred Shearer’s, Drapers), to name a few.
Wick had never been averse to absorbing newcomers and The Players casts lists soon showed that locals were being outnumbered by the post war influx of talented newcomers, who would eventually come to work in and around the town.
SCDA: Putting Communities Centre-Stage
In the 1920’s, the Scottish Community Drama Association (who we know as SCDA) organised a drama festival which would include all of Scotland. It quickly became popular with audiences and clubs, and Wick Players along with Thurso Players, and rural groups from Reay to John O’ Groats joined in too. The festival was competitive and did much to improve the standard of acting and presentation all round. It was in the 1950’s that Wick Players introduced themselves to SCDA and the club have aimed to enter ever since.
In 1956, ninety-six teams competed in the Highland Division in one year. The rural teams had to travel and were to be commended for their stamina in getting to either Wick or Thurso each year. John O’ Groats put forward a team each year and were particularly successful with great comedy plays, with local Jimmy Shearer appearing in everyone along with Alistair Mackenzie from the John O’ Groats Hotel. The Caithness District Festival, or as it was then “The Preliminary Festival” was held for three days each with three plays every night either in Wick or Thurso. On one occasion Wick Players had four plays competing. This was a particularly good period for amateur drama with encouragement from SCDA advisors available. Wick reached the Highland Division and Scottish Finals on several occasions doing credit to producers and casts, maintaining the high standard expected.
The first of Wick’s success was “Campbell of Kilmhor” in 1952, produced by George Booth (Manager of BI Calendar Company) who was one of our welcome newcomers. The team for this production included Nan Graham, Graham Dunnett, Jim Mitchell, Wilfred Weir, Alex Boyd, George Dunnet and Kathlyn Harper. These individuals took on the main roles of the twelve people cast. Not only did we the team have success in Caithness they won the Highland Divisional Final, held then in the Empire Theatre at Eden Court in Inverness. This round was staged for over three nights and Wick won several trophied, going forward to the Scottish Finals for the first time.
On that occasion, the club had quite an eventful time in Inverness when two of the cast, Wilfred Weir and George Dunnett, went missing! As the team were third to perform, they had a reasonable length of time to wait so the two characters headed out, and there was no second guessing as to where they might have been! But, by the time the second play was on stage they had still not returned. Someone went out and met them coming back by the scruff of the neck and in a hurry the cast all chipped in to help dress them as redcoat soldiers with white trousers, red jackets, belts, and full black boots. The tension must have helped for the team had won for the Highland area for the first time!
Modern scripts and writers were tried although period and comedy plays proved to be popular, particularly plays in Caithness dialect. These plays had been written by Headmaster, Donald Grant and Willie Wilson (Thurso) and were also entered into SCDA’s One-Act Play Festival.
One of our stalwarts, Kathlyn More (later Harper) first became involved with the club in 1948 when she assisted with John Black’s productions. Kathlyn was a keen supporter of the SCDA and was a keen advocate for getting Wick Players’ standard of drama “up there”. SCDA organised a summer school for two weeks each year in the buildings of St Andrew’s University, manned in classes of speech, movement, staging and makeup by the professional area advisors. This costly at the time, but with small help from the Caithness Education Department, Kathlyn attended for three years running during her two-week holiday from work. She oved it and made many great friends from all over. In Kathlyn’s own words:
In 1956, ninety-six teams competed in the Highland Division in one year. The rural teams had to travel and were to be commended for their stamina in getting to either Wick or Thurso each year. John O’ Groats put forward a team each year and were particularly successful with great comedy plays, with local Jimmy Shearer appearing in everyone along with Alistair Mackenzie from the John O’ Groats Hotel. The Caithness District Festival, or as it was then “The Preliminary Festival” was held for three days each with three plays every night either in Wick or Thurso. On one occasion Wick Players had four plays competing. This was a particularly good period for amateur drama with encouragement from SCDA advisors available. Wick reached the Highland Division and Scottish Finals on several occasions doing credit to producers and casts, maintaining the high standard expected.
The first of Wick’s success was “Campbell of Kilmhor” in 1952, produced by George Booth (Manager of BI Calendar Company) who was one of our welcome newcomers. The team for this production included Nan Graham, Graham Dunnett, Jim Mitchell, Wilfred Weir, Alex Boyd, George Dunnet and Kathlyn Harper. These individuals took on the main roles of the twelve people cast. Not only did we the team have success in Caithness they won the Highland Divisional Final, held then in the Empire Theatre at Eden Court in Inverness. This round was staged for over three nights and Wick won several trophied, going forward to the Scottish Finals for the first time.
On that occasion, the club had quite an eventful time in Inverness when two of the cast, Wilfred Weir and George Dunnett, went missing! As the team were third to perform, they had a reasonable length of time to wait so the two characters headed out, and there was no second guessing as to where they might have been! But, by the time the second play was on stage they had still not returned. Someone went out and met them coming back by the scruff of the neck and in a hurry the cast all chipped in to help dress them as redcoat soldiers with white trousers, red jackets, belts, and full black boots. The tension must have helped for the team had won for the Highland area for the first time!
Modern scripts and writers were tried although period and comedy plays proved to be popular, particularly plays in Caithness dialect. These plays had been written by Headmaster, Donald Grant and Willie Wilson (Thurso) and were also entered into SCDA’s One-Act Play Festival.
One of our stalwarts, Kathlyn More (later Harper) first became involved with the club in 1948 when she assisted with John Black’s productions. Kathlyn was a keen supporter of the SCDA and was a keen advocate for getting Wick Players’ standard of drama “up there”. SCDA organised a summer school for two weeks each year in the buildings of St Andrew’s University, manned in classes of speech, movement, staging and makeup by the professional area advisors. This costly at the time, but with small help from the Caithness Education Department, Kathlyn attended for three years running during her two-week holiday from work. She oved it and made many great friends from all over. In Kathlyn’s own words:
I became really hooked on drama.
A lovely little play called “Moonlight On the Willow Well” was a particular favourite of Kathlyn Harper’s. It was set in a Japanese garden; it needed a blossom tree and of course a water well. Kathlyn recalls attempting to paint a back cloth in the Scout Hall, however, Ian Mackenzie came into the hall, took one look at her efforts and with her brush in his hand he “tarted” it up and Kathlyn finally had a beautiful blossom tree along with a water well. From then on, Ian became Stage Manager for many of Kathlyn’s productions. From then, “The Happy Hypocrite”, another lovely set with trees, was produced by Mrs Harper and it was in this production that Marley Robertson made her last stage appearance, which in Kathlyn‘s word “she did so beautifully” and of course in costume with a great supporting cast. Kathlyn and her team won the District Festival that year and they went on to compete at the Highland Divisional Final in Inverness. It was at this stage, Kathlyn was deflated by the theatre’s Stage Manager in the theatre said “Are the trees meant to look like a hedge”, but Kathlyn was in no way put off.