Salford Historical Pageant

Other names

  • Salford Historical Pageant and Charter Celebrations, 700th Anniversary

Pageant type

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Performances

Place: Buile Hill Park (Salford) (Salford, Lancashire, England)

Year: 1930

Indoors/outdoors: Outdoors

Number of performances: 7

Notes

30 June 1930–7 July 1930

Monday 30 June 1930 to Saturday 5 July, daily at 2.45pm, and Monday 7 July in the evening (time unknown).

6 planned performances. An additional performance was added on Monday 7 July 1930. This was undertaken so that receipts for tickets exceeded fifty per cent of the production costs of the pageant: this was the rule that enabled the pageant to escape entertainments tax.1

The Mayor, Samuel Finburgh, opened the pageant on Monday 30 June; and on Tuesday 1 July Lord Derby performed this role.2 The opening ceremony on Wednesday 2 July was conducted by Lord Colwyn; and on Saturday 5 July by the local MP, J.R. Clynes.3

On Thursday 3 July, the Manchester Consul for Switzerland, Dr Schadler, opened the proceedings. 4 And on Friday 4 July, Major C.E. Radclyffe (a lineal descendant of Sir John Radclyffe) undertook this task.5

In addition to the regular performances, the public were admitted as follows to six full dress rehearsals:

Monday 23 June 1930 at 6.30pm: Schoolchildren from Salford and District in parties with teachers. Admission, 1s. each.

Tuesday 24 June1930 at 6.30pm: Schoolchildren from Salford and District in parties with teachers. Admission, 1s. each.

Wednesday 25 June1930 at 6.30pm: 'Boy Scouts, Girl Guides, Choir Boys, Friendly Societies, Works Clubs and other similar Organised Bodies in Parties'. Admission 1s. 6d. each.

Thursday 26 June 1930 at 3pm: 'Press Day'. County school children outside Salford and district in parties. Admission 1s. each.

Friday and Saturday 27 and 28 June 1930 at 7 pm: County and Citizens' days. 'Reserved but unnumbered seats' cost 2s. 4d.; unreserved seats were 1s.6

Name of pageant master and other named staff

  • Producer [Pageant Master]: Hoodless, Richard
  • Organising Director: Edward Baring
  • Assistant and Press: Mrs R. Hoodless
  • Master of Grandstand: Lt.-Col. E.B. Martin, DSO
  • Master of Horse and Equipment: Major C.V. Godfrey, OBE
  • Designs: H. Rhodes, ARCA
  • Dancing: Miss I. Bagshawe; Miss Cox; Miss Tuck
  • Master of Music: T. Wilson, Conductor Police Band
  • Press Agent: A.H. Eyre7

Officials of Episodes

Episode I: United Conservatives of North, South and West Salford
  • Chairman: Mrs S.L. Lees
  • Vice-Chairman: Mrs S. Cortis
  • Hon. Secretary: Mrs Stear
  • Producer: Rev. A.W. Vallance, MA
Episode II: The Catholic Guild
  • Chairman: Rev. Brother Columba
  • Vice-Chairman: T. Kay
  • Hon. Secretary: J. Gallacher
  • Marshall: W. Merrick
  • Props: T. Francis
  • Producer: F.E. Doran
  • Costumes: Mrs Corney
Episode III: Women Citizens Association
  • Chairman: Mrs J.G. Cran, JP
  • Hon. Secretary: Mrs A. Boardman
  • Costumes: Mrs N. Finburgh and Mrs H. Lefley
  • Props: Mrs H. Thompson and Mrs Hawken
  • 'Marshall Producer': Miss C.M. Canning, BA
Episode IV: The Women's Co-operative Guild
  • Chairman: Mrs E. Cuddleford
  • Vice-Chairman: Mrs E. Moulson
  • Hon. Secretary: Mrs Lydia Durst
  • Marshall: Mrs C. Markey
  • Deputy: Mrs Riley
  • Props: Mrs E. Byres
  • Producer: H. Marginson
  • Costumes: Mrs L. Brewster8
Episode V: National Union of Teachers
  • Chairman: P.S. Jones
  • Hon. Secretary: Miss A.T. Rawlinson
  • Marshall and Producer: B.A. Shearwood
  • Deputy: 'Harding'
  • Props: Mr F. Wade and Mr Halton
  • Costumes: Miss G. Livesley & Miss Baker
Episode VI
  • Chairman: W.J. Wells
  • Joint Hon. Secs: F.W. Crawford and E. Brown
  • Producer: A. Foster
  • Assistant: S. Crawford
  • Costumes: Miss C. Wroe
Episode VII
  • Chairman: H. McGrath
  • Hon. Secretary: A.B. Dixon
  • Treasurer: J.S.G. Clough
  • Marshall: A.G. Salter
  • Props: A.E. Hill
  • Producer: Norman Blackett
  • Costumes: L. Hollingworth9

Notes

Each of the episodes had its own organising committee, except episode VIII. There is no committee listed for this part of the pageant. In addition, some episodes were put together by specific organisations.

Names of executive committee or equivalent

Special Executive Committee:

  • Chairman: Councillor S. Finburgh
  • Vice-Chairman: Councillor A.H. Collins, JP, Deputy-Mayor
  • Hon. Secretary: H.H. Tomson, Town Clerk
Ordinary members:
  • Alderman George Barker, JP
  • Alderman George Billington, JP
  • E. Burgess
  • F.R. Collinge, JP
  • Rev. Brother Columba
  • J.E. Davis
  • Alderman S. Delves
  • Mrs Delves
  • Alderman E. Desquesnes
  • W.A. Faux, OBE
  • Councillor George R. Greatorex
  • Reverend Canon P. Green
  • Alderman F. Hampson, JP
  • C.P. Hampson
  • Mrs E. Hampson, JP
  • Capt. S.H. Hampson, MC
  • James Higson, JP
  • Alderman William Hughes, JP
  • Alderman S.H. Lees, JP
  • H.J.M. Maltby (Curator)
  • R. Martin (Secretary for Education)
  • H.D. Moorhouse, JP
  • T.H. Nightingale, MBE
  • Alderman F.S. Phillips, JP
  • Major E.F. Pilkington
  • H. Rhodes, ARCA
  • Councillor J.J. Richardson
  • J. Richardson (Parks Superintendent)
  • T.W. Richardson
  • Alderman W. Roberts, JP
  • Alderman John Rothwell, JP
  • The Very Reverend Cannon Sharrock
  • Alderman A. Williamson, JP
  • T. Wilson

Ladies and Fancy Dress Ball Committee:

  • Chairman: Mrs E.J. Delves
  • Vice-Chairman: Mrs J.G. Cran, JP
  • Hon. Secretary: Mrs J.B. McDougall
  • Plus 36 other ordinary members

Finance Committee:

  • Chairman: Alderman A. Williamson, JP
  • Hon. Treasurer: A. Bewley
Ordinary members:
  • Alderman S.H. Less, JP
  • Councillor G.R. Greatorex
  • Major Pilkington
  • Capt. S.H. Hampson, MC

Historical Committee:

  • Chairman: T.H. Nightingale, MBE
  • Vice-Chairman: J.G. Altham, MA
  • Hon. Secretary: C.P. Hampson
Ordinary members:
  • Miss C.M. Canning, MA
  • H. Crawford, BCom
  • C.E. Frost, MC
  • Major W. Peer Groves, JP
  • A. Hobson
  • H.J.M. Maltby

Stenciling and Design Committee:

  • Chairman: H. Rhodes, ARCA
  • Hon. Secretary: Leslie F.N. Reid, DA (Edin.)
  • Plus six ordinary members (4 women and 2 men)

Performers and Episodes Committee:

  • Chairman: Mrs E. Hampson, JP
  • Hon. Secretary: Will Marsh
  • Plus 50 other ordinary members (32 women and 18 men including 5 members of the clergy)

Lecture Committee:

  • Chairman: R. Martin
  • Hon. Secretary: T.H. Nightingale, MBE
  • Plus 18 ordinary members (6 women and 12 men including 2 members of the clergy)

Music Committee:

  • Chairman: T. Wilson
  • Vice-Chairman: Mrs J.B. McDougall
  • Hon. Secretary: Mrs Kenneth Lodge, LRAM
  • Plus 28 ordinary members (6 women and 22 men)

Publicity Committee:

  • Chairman: Capt. S. H. Hampson
  • Plus 11 other ordinary members (1 woman, 10 men)

Grandstands and Grounds Committee:

  • Chairman: Alderman S.H. Lees, JP
  • Hon. Secretary: J. Richardson, Parks Superintendent
  • Hon. Treasurer: A. Bewley
  • Plus 6 other ordinary members (all men)

Horse Committee:

  • Chairman: Major C.V. Godfrey (Chief Constable)
  • Plus 7 other ordinary members including 2 with military titles (all men)

Reception and Housing Committee:

  • Chairman: Councillor S. Finburgh, JP, Mayor
  • Vice-Chairman: Councillor A.H. Collins, JP, Deputy-Mayor
  • Hon. Secretary: H.H. Tomson, Town Clerk
  • Hon. Treasurer: A. Bewley
  • Plus 20 other ordinary members including, 4 with military titles and 4 aldermen (all men)

Evening Displays Committee:

  • Chairman: Alderman S.H. Lees, JP
  • Vice-Chairman: C.P. Hampson
  • Joint Hon. Secretary: C.E. Frost and R.H. Hawkins
  • Plus 52 other ordinary members (17 women and 35 men)

Display and Street Decorations Committee:

  • Chairman: Alderman W.S. Roberts, JP
  • Hon. Secretary: Capt. H. Bescoby
  • Plus 22 other ordinary members (3 women and 19 men)

Industrial Exhibition Committee:

  • Chairman: W.A. Faux, OBE
  • Hon. Secretary: W. Mellor
  • Plus 32 other ordinary members (all men)

Patrons of the Pageant:

  • His Grace the Duke of Atholl
  • The Most Honourable The Marquess of Northampton
  • The Right Honourable The Earl of Derby, KG, PC, GCB, GCVO
  • The Right Honourable The Earl of Nelson
  • The Right Honourable The Earl of Stamford
  • The Right Honourable Viscount Hampden, KCB, CMG
  • The Right Reverend The Lord Bishop of Winchester
  • The Right Reverend The Lord Bishop of Ripon
  • The Right Reverend The Lord Bishop of Sheffield
  • The Right Reverend The Lord Bishop of Worcester
  • The Right Reverend The Lord Bishop of Manchester
  • The Right Reverend The Lord Bishop of Salford
  • The Right Reverend Bishop Heywood
  • The Right Honourable Lord Egerton of Tatton
  • The Right Honourable Lord Berners
  • The Right Honourable Lord Colwyn, PC
  • The Right Honourable Lord Leigh
  • The Right Honourable Lord O'Hagan
  • The Right Honourable Lord Strathspey
  • Lady Strathspey
  • The Right Honourable J.R. Clynes, MP
  • The Right Honourable Arthur Henderson, MP
  • Sir John Sandeman Allen, MP
  • Sir Percival Heywood, Bart
  • Major Sir John Prestige
  • Captain L.A. Clowes
  • A.W. Haycock, Esq., MP
  • Ben Tillet, Esq., MP
  • J. Toole, Esq., MP

Notes

In comparison with other pageants in this period, women are well represented on committees, although there appear to be certain areas where very much fewer women were active, and occasionally there are no women, for example, on the industrial exhibition and the grandstands committees.

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

  • Gray, John
  • Hawkins, R.H.
  • Canning, C.M.
  • Frost, C.E.
  • Hampson, C.P.
  • Altham, J.G.
  • Crawford, Harold
  • Oliphant, Caroline

Notes

Different writers authored the pageant, but the principal among these was C.P. Hampson who took charge of four out the eight episodes. Hampson also wrote the summaries preceding the script of each episode within the Book of Words.26 Epiosde I was written by a woman, Miss C.M. Canning. Caroline Oliphant (Lady Nairn) wrote the lyrics to many of the Jacobite songs included in episode VII.

Names of composers

  • Gray, John
  • Wilson, Thomas
  • Pearson, William
  • Warburton, A.O.
  • Chamberlain, W.A.
  • Rev. W. Felton

Numbers of performers

6000

A large number of horses.Among the performers were 1000 'unemployed men'.

Financial information

Production costs: £4000.28

Profit: £1650.29

Object of any funds raised

Local hospitals

Notes

Profits were split between several local hospitals in the Greater Manchester area, including the Manchester Victoria Memorial Jewish Hospital which received £150.30

Linked occasion

700th anniversary of the granting of Salford’s charter.

Audience information

  • Grandstand: Yes
  • Grandstand capacity: 4000
  • Total audience: 50000

Notes

'Between 7000 and 8000' attended the performance on Saturday afternoon 5 July.31

Over 11000 attended the extra performance on Monday 7 July.32 It is likely that, due to the reduced ticket prices set for this, this was the largest single audience.

The estimate of 50,000 is based on likely attendances at these and the intervening performances, and does not take into account the extra spectators who attended dress rehearsals.

Prices of admission and seats: highest–lowest

10s. 6d.–1s. 2d.

Seats: 10s. 6d.; 7s. 6d.; 5s.; 2s. 6d.

Standing Enclosure: 1s. 2d.33

For the extra performance on Monday 7 July 1930, ticket prices were reduced to 2s. 4d. and 1s. 6d for seats in the grandstand; and 1s. for the standing enclosure.34

Parking charges:

Bus or charabanc: 2s. 6d.

Motor car: 2s.

Motor cycle with sidecar: 1s. 6d.

Motor cycle: 1s.

Bicycle: 3d.35

There was parking accommodation for 5000 vehicles over three sites; and special bus and train services 'at excursion rates' were run throughout the pageant from 'a sixty mile radius'.36

Associated events

Church services were held on Sunday 29 June 1930, preceding the pageant's official opening. The Mayor attended a service at Trinity Church, Salford. Further services were held at the Roman Catholic St John's Cathedral and at various local 'nonconformist churches'.

An industrial exhibition was held in the Cross Lane Drill Hall, Salford; daily Monday to Friday 10am to 10pm. Admission, 6d.
The exhibitors included:
  • Sir W.H. Bailey & Sons, Ltd.
  • Thos. Bradford & Co., Ltd.
  • Thos Briggs & Co. (M/cr) Ltd.
  • Co-operative Wholesale Society
  • Donovan & Co.
  • Foster & Seddon, Ltd.
  • Gresham & Craven, Ltd.
  • Groves & Whitnall, Ltd.
  • Manchester Ship Canal Co., Ltd.
  • J. Morris & Sons, Ltd.
  • Parkinson Bros., Ltd.
  • Pendleton Co-operative Society
  • Salford City Reporter
  • David Thom & Co., Ltd.
  • Salford Corporation Electricity Department
  • Salford Electrical Instruments, Ltd.
  • Salford Corporation Gas Department.
'Evening Displays' at Buile Hill Park, Salford, each evening from Monday 30 June to Saturday 5 July 1930 at 7.30pm. Prices 6d., 1s., 1s. 6d. Different activities were held each night as follows:

30 June:
  • 'Singing by 1500 School children
  • Organised Games Exhibitions
  • Wand Drill and Marching
  • Mr Lisbon, World's Champion and his Skaters
  • Lightening Drill
  • Pyramids and Tumbling
  • Bridge Building
  • Gymnastics'
1 July:
  • 'Massed Drill by 400 School Boys
  • The English Folk Dance Society
  • Gymnastics
  • Physical training
  • Exhibition of Boxing
  • Physical Drill and Games
  • First Aid and Gymnastics
  • Motor Cycle Stunting'
2 July:
  • 'Singing by 1500 School children
  • Physical training
  • National Dances
  • Massed Adult Choirs
  • Guard Mounting'
3 July:
  • 'Massed Drill by 400 School Boys
  • The English Folk Dance Society
  • Bridge Building
  • Gymnastics
  • Mr Lisbon, World's Champion and his Skaters
  • Guard Changing
  • Physical Drill and Games
  • First Aid and Gymnastics’
4 July:
  • Singing by 1500 School children
  • Organised Games
  • Gymnastics
  • Motor Cycle Stunting
  • Wand Drill and Marching
  • Massed Choirs
  • Showing of the Pageant Film
5 July
  • Massed Drill by 400 School Boys
  • National Dances
  • Mr Lisbon, World's Champion and his Skaters
  • Guard Mounting
  • Massed Choirs
  • The Pageant Film
These displays were followed by the following entertainments:
  • 'Community singing' at 9.45pm
  • 'The Genius of Lancashire, a grand spectacular scene by the Salford Central Mission' at 10pm.
  • A 'Torchlight-Tattoo by the City of Salford Boy Scouts' Association.
A Pageant Fancy Dress Ball and Cabaret took place on Wednesday 2 July 1930 in the Drill Hall, Great Clowes street, Broughton. Tickets (including buffet refreshments) 5s.
The 'Old Salford' exhibition was held in the Royal Museum & Art Galleries, Salford from 20 June to 'end of September, 1930. Open daily, 10am to 8pm; Sundays, 3pm to 6 pm.'

Pageant outline

Introduction. Opening Song and Chorus, ‘the Song of Salford’

This has three verses and a chorus; John Gray wrote it. The first verse and chorus are as follows:

Sing oh! sing the Song of Salford, sing the stirring days of old,

And the bright romantic glamour of our City grey unfold.

See the Roman eagles flashing, shining in the Irwell ford,

There, encamped amidst its shallows, lives the Ancient British horde.

There beginneth Salford's story, for no modern upstart she;

But, though aged, young in spirit, destined greater still to be.

Oh! sing the Song of Salford, the Song of Salford sing.

Her length of days to hail with praise,

And to her homage bring.

Whilst Irwell river floweth her children's prayer shall be

‘May fortune more her gifts out-pour,

Oh! City, love, for thee!’

Then sing the Song, Oh! sing the Song,

The Song of Salford sing.

With heart and voice let all rejoice,

The Song of Salford sing.

Prologue

Taking part in this were around 20 named characters and large numbers of schoolchildren as follows:

The Spirit of Salford (played by Miss Enid Blackwell and Miss Irene Harney)

The Spirit of Memory (played by Miss Lillian Finburgh)

The Spirit of Integrity (played by Mrs S. Lees)

The Spirit of Industry (played by Mrs Carr)

Father Time (played by the Rev. John Clayton)

The Children of To-day (played by the pupils of Pendleton High School and the Salford Secondary School)

A Child of To-day (played by Miss Freda Wadcock)

The Children of Yesterday (played by the pupils of Pendleton High School and the Salford Secondary School)

Four Spirits in attendance on ‘The Spirit of Memory’ (played by Misses May Lyons, Katie Lyons, Irene Jackson and Clara Wilde)

The Red Rose of Lancaster (played by Miss Pauline Clarke)

Heralds, Pages and Throne Bearers.

An empty arena is first viewed; then the orchestra plays 'some dance music of a light fantastic character'.45 Heralds arrive followed by 'a troop of young folk' dressed 'in various shades of green' and carrying red roses; they dance to 'light hearted music'. While this is going on, an old bent woman quietly makes her way onto the arena, unnoticed at first but smiling happily at the children; then one of the children sees her and, as she becomes generally noticed, the music fades. The old woman speaks stating that the children gladden her heart though she is now 'uncared for—scorned—neglected'. The children then want to know the identity of the old woman and at this, she throws 'back her cloak... revealing a beautiful girl clad in royal blue and gold', who declares herself 'the Spirit of your city Salford!'

The Spirit goes on speaking in verse:

And like this glorious city of your birth—
Decrepit, old and tott'ring to decay
I'll ever look to the cold, steely eyes
Of those uncaring hearts who pass me by.

The verse continues in this vein while the music increases in intensity until a crowd of children (of yesterday) burst onto the scene. They dance with the children of today, but finally the latter break away, crowding round the Spirit of Salford 'whilst the Children of Yesterday run to greet the Spirit of Memory who enters drawn in a floral gondola'. The two spirits greet one another, with all dialogue taking place in verse until 'a loud rumbling noise' heralds the entrance of Father Time. He addresses the children, lights his torch and announces the first episode. All then exit the arena with the Spirit of Salford and the Rose of Lancaster the last to leave.

Episode I. Britons on the Irguile (Irwell) Surrender to Agricola

The cast for this episode includes the Arch Druid and a further five Druids, Tan (Chief of the Irguile), his wife Ava and their small son, Merion, a group of warriors and people of the tribe. Also taking part are 'warriors of the Verlanni', the wife of their dead chieftain and Myfanwy (a beautiful maiden). The final group are the Romans including Julius Agricola, Lucius Valens (a Centurion), two military tribunes and Roman infantry. Altogether, the episode contains around 30 named players. Many of the main roles had understudies, and there was a large cast in non-speaking parts.46 The book of words states that in this drama the Romans bring 'not the conquest of arms but the forces of culture, law and civilisation'.

The first scene opens onto a representation of Buile Hill on 'the Festival of the Sun's Return'. The Druids process to an altar and, chanting, implore the gods for the tribe to be saved from the Romans. While a drum beats the Irguile people appear; this produces an 'atmosphere of suspense'. The Arch-Druid addresses the crowd and stirs up antagonism towards the Romans. Ava rushes forward, prostrating herself before the priest crying 'only the Gods can save us now'. She calls for a sacrifice to be made and other women in the crowd echo this sentiment. A 'beautiful girl' pushes forward and offers herself as the sacrifice; but the Druids proceed to examine all of the young women, then the children, in order to find a suitable sacrificial victim. They spot Ava attempting to hide her son. Ava is then forced to allow her son to go forward and the Druids chose him for sacrifice. Ava begs, but Tan and the people insist on the child as the offering.

A warrior on horseback then appears announcing that the Verlanni tribe have been vanquished before collapsing. The people, terrified, scatter, leaving Tan, Ava and the child alone in the arena when the Romans rush in; Tan attempts to hide himself and his family behind a standing stone, but the Romans find them. Agricola (alternately played by the Revs. A.W. Vallance and H. Noel Nowell) takes centre stage. He states that the Druids are 'the curse of Britain', while freeing the child from his bounds. Tan and Ava assume the Romans will slaughter their child and begin to beg for his life; but Agricola states that he does not 'murder babies' and is bemused that they have willingly offered their son to the Druids for sacrifice, yet call for mercy from the Romans. To the surprise of Tan, Agricola states that he comes to 'bring peace' and wants 'the trust and friendship' of the Irguile.

Tan orders the return of the people to hear what Agricola has to say. They listen to a speech by Agricola who declares that with the help of the Romans:

[Y]our corn shall gild the uplands. Your sheep and cattle shall wax fat. We will bring you trade to increase your wealth, civilisation to uplift your minds, and, above all, we will bring you the peace of Rome...

To the cheering of the people, Tan invites Agricola to stay with them and enjoy 'entertainments'. The scene ends with Agricola taking the child onto his horse; and a beautiful girl is seen chatting with a centurion as all process off the stage in an atmosphere of 'laughing, singing and dancing'.

Episode II:

Part I. Building of the Saxon Royal Hall, c. 614. Woden forsaken for Christianity.

Part II. Alfred the Great Confirms Salford as the Capital of Salfordshire.

In this episode, there are two scenes. In the first, the main characters are Aethelfrith, King of Bernica, Coifl, the head priest, and St Paulinus of York; also taking part are nobles, priests and northern people. Altogether, this part of the episode includes a cast of around 30 named players, mostly men, and a larger cast of men, women and children in non-speaking roles.47 The background to the scene is that the Saxon King, Aelthelfrith has conquered all of the territory north of the Humber and established his kingdom [of Northumbria]. He has come to the place established as 'his main defensive position on banks of the river Irwell in order to be present at 'the completion of the Royal Hall of Salford'.48 At the beginning of the scene, the King struts onto the arena while the choir sings. The assembled lords propose a toast to the King after which he appoints several to earldoms and apportions lands to others. General merriment ensues until the priest, Coifl, reminds the King that he must also give an offering to Woden, at which point a roll of thunder is heard and the jollity disperses. Coifl states that Woden is angry and a double sacrifice must be made. He suggests 'the youth without blemish', Ingild, and Rowena, daughter of the earl called Cuthred. At this, Paulinus and 'a body of knights' enter; there is a murmur from the assembled people, but Paulinus is 'unafraid'. Ingild asks Paulinus to 'save my bride from Woden' but Coifl intervenes, more thunder is heard and the assembled crowd becomes afraid. Paulinus calms the crowd proclaiming, 'stop in the name of the one true God'. The thunder ceases and Coifl concedes defeat. The scene ends with Paulinus blessing the Hall of Salford and the 'mighty race' that would later inhabit this and others like it.

In the second part of the episode, time has moved forward to the reign of King Alfred in the ninth century, two and a half centuries since Salford received its name from Aelthefrith. England is described as constantly harried by Danes at this time, but the settlement at Salford has held out against them. The scene is set at the 'feast of harvestide' with the main characters being Alfred, Earl Alchmund and his wife Olivia; others include peasants, thanes, and lords and ladies. Altogether, there are twenty-five named parts with a predominance of men in these. Peasants are seen carrying in sheaves creating a 'peaceful and happy' picture with all singing a harvest song 'lustily'. The Lady Olivia then offers 'a wassail' to King Alfred. This vista is disturbed by word delivered by a wounded youth that the Danes are about to attack; however, the day is saved by the arrival of Alfred and his troops who speedily see off the invaders. Alchmund at first does not recognise Alfred who is dressed as a monk. This is because the king has been in hiding in order to surprise the Danes at their points of arrival. All ends happily with King Alfred declaring that as reward for holding off the enemy 'Salfordshire shall be the King's land... and the men of Salford shall have no boon lord but only the King himself'. The scene concludes with a 'wild barbaric battlesong' and cheers for Alfred.

Episode III. Ranulph the Good, Earl of Chester and of Lincoln, confers the Charter Creating Salford a Free Borough

A large cast features in this episode including around 40 named characters with men and women in equal numbers. The characters of Ranulph of Chester, the Sergeant of Salford—Hugo Fitz-Robert, the 'reeve' (magistrate) of the town—Walter de Salford and his daughter Margaret, Richard the Leyester, Robin Hood and Earl Simon de Montfort take the lead roles.

Although the name of Simon de Montfort does appear among the signatories of Salford's charter, the drama of this episode depicting the granting of the city's charter by Ranulph owes more to legend than the historical record. Included is a 'damsel in distress' narrative line, seen in the figure of Margaret de Salford as she fights off the advances of the villain of the piece, Hugo Fitz-Robert, who has been appointed to oversee Salford while Ranulph was away on crusade. Also taking part is that most popular of fictional anti-heroes, Robin Hood. The episode opens on the day of the town's annual fair (said to have been granted by Henry III). This was held on the holy day of the feast of Our Lady's Nativity. A general atmosphere of gaiety is depicted; although some 'restraint' and nervousness among the people is also evident.49 Into this, monks arrive to bless the proceedings and the crowd sing 'Salve Regina'. Fitz-Robert appears and spoils the happy mood; while Margaret resists his advances, Richard de Leycester, quickly followed by Robin Hood and his men all arrive in town causing a stir which allows Margaret to escape. Thereafter, Robin takes Fitz-Robert as a prisoner.

A knight then rides onto the scene heralding the arrival of Sir Ranulph. Following fulsome greetings by Walter, Robin reveals to Ranulph the ill treatment that Fitz-Robert has delivered to the people during Ranulph's absence. Following this, as reward for loyalty, Ranulph bequeaths the charter granting 'to the ends of the world' that Salford would be a free borough. Following this, he proceeds to introduce de Montfort to the assembled crowd stating that this hero will lead the people 'through the fiery furnance [sic] till the cause of freedom is won for all this land'. The scene ends with the townspeople singing 'A Song of Welcome to Earl Ranulph'.

Episode IV. Queen Phillipa and John of Gaunt Welcome the Flemish Weavers whom Sir John Radclyffe has Brought to Settle

Set during the 'Salford Great Fair', this episode contains a large cast of supporting players in the roles of townspeople. Also featured within the drama are various troupes of entertainers such as jugglers, acrobats, sword dancers, wrestlers, Morris dancers 'girl musicians and dancers' as well as groups of 'gipsies', labourers, apprentices and foresters. Accompanying the royal party are servants and courtiers. Finally, various players represent the guildry of the town and a group of newly arrived Flemish craftsmen and their families. The main characters are:

Master Thomas Del Bothe, the Borough Reeve

His wife, Mistress Ellen Del Bothe

John De Hulme

Richard de Worseley

Sir John Radclyffe of Ordsall

His wife Lady Joan Radclyffe

Queen Philippa

Her son, John of Gaunt, Duke of Lancaster and Lord of Salford

His wife, Lady Blanche of Lancaster.

The scene opens onto the Fair in full swing on the town green. Burgesses are depicted leaving Mass to join the Fair. An 'air of prosperity' characterises the scene. The chapel bell tolls calling people to join the Chantry Priest (seen making his way to the church) to say the 'Office of Tierce'. The Borough Reeve, Thomas del Bothe, his wife and a number of their grandchildren exit a house; some onlookers sneer at them, but others clearly resent this bad behaviour. Del Bothe addresses two of his detractors (de Worseley and de Hulme) directly; they respond by accusing del Bothe of enticing labourers 'from our fields to thy pesky looms'. The Reeve defends his position but also tries to make friends with his critics, stating that they should not feud on the day that the royal party are to visit. This appeal is to no avail; the crowd clear the way for del Bothe who approaches a dais raised in front of the town cross.

Del Bothe mounts the dais to await the arrival of royalty. The first to arrive is Sir John Radclyffe, together with his wife Joan and their son Richard; alongside the family is a large group of knights and courtiers. The assembled crowd cheers for Sir John while the Reeve greets him. Radclyffe announces the arrival of artisans from Flanders stating that 'oft as I paced the streets of Ghent did I call up a vision of that same commerce gilding the chartered liberties' of Salford. Del Bothe responds saying that Sir John has 'opened a door to a golden age'. The Queen then appears on the horizon and a procession forms with the Reeve at the head followed by members of Salford's guilds and the Flemish weavers. A verse is chanted:

Say, what shall Radclyffe's guerdon be,
Caen! Creci! Calais!
Nor gold not honours claimeth he:
But Salford's good is Radclyffe's fee
For services in Flanders.
Caen! Creci! Calais!50

The Queen then enters, accompanied by her son, John of Gaunt and his wife, the Lady Blanche. An array of courtiers also arrives making 'a marvellous picture of glowing colour and living movement'. As the crowd cheers and the royal party welcome the Flemish craftsmen, a 'small scuffle' breaks out among those 'railing against the intrusion of the foreigners'. The Queen intervenes making a speech in which she hails the arrival of a time of 'prosperity for all' and implores the people to build 'a fair city of light and honest trade'. The crowd then call on John of Gaunt to speak and he declares that the bridge 'you have built to serve your town is naught to the bridge you have built this day for England, opening for futurity new passages of magic trade'. The scene ends with children dancing before the Queen, the crowd singing 'Come Lasses and Lads', and the performance of a Maypole Dance.

Episode V. Guy Faukes [sic] and Catesby Visit Salford in Connection with the Gunpowder Plot

In addition to Robert Catesby, Guy Fawkes and Ann Radclyffe (played at the performances on Monday and Tuesday by Lady Prestige who claimed to be a direct descendant) this drama has a small cast of nine further named characters, most of which are fictional and include the Protestant adherent Humphrey Chetham and the half-mad visionary, Bess Orton. These two had previously featured in a mid-nineteenth century gothic novel.51 A large cast was also involved playing the crowd and the troops sent to investigate clandestine Roman Catholic clergy in the area. The drama purports to be set in early July 1605 and involves the Radclyffe of Ordsall family who are described in the book of words as devout Catholics despite the ongoing persecution of the time.

The opening scene recreates Salford Green near to a chapel which has been converted to a gaol and with the river and a bridge in sight. Large crowds are gathered to witness the execution of two Jesuit priests. Soldiers are seen 'thrusting back the crowds with their pikes' when a young woman springs from the crowd and kneels at the feet of the two condemned men. One of the priests, Father Woodroofe, offers the woman a blessing and a small prayer book; but a soldier berates her and snatches the book away, at which Humphrey Chetham grabs the book back and gives it again to the woman. The crowd cheers and there are shouts of 'Good Master Chetham!' However, the soldiers respond by declaring him 'a recusant! a Papist!' Chetham denies this, but the uproar attracts a Captain who inquires about the woman and is informed that she is ' a crazed being called Bess Orton who dwells in a cave nigh Ordsall Hall'. At this, the Captain calls for the Hall to be searched for priests for 'they dwell like rats in holes' and for the arrest as a recusant of John Radclyffe, the owner of the Hall.

Most of the crowd then moves off to follow the execution procession across the bridge, and leaving Chetham and Bess central in the arena, until the arrival on horseback of Ann Radclyffe (sister of John) accompanied by Martin Heydocke and two 'waiting women'; Ann is approached by a man who it emerges is Catesby. He offers flattery to Ann and mentions that she 'hast read my letter to thy brother and require not to be further informed of the reason I have come hither'. Chetham interrupts and is greeted warmly by Ann: this annoys Catesby. Chetham then tells Ann to flee as a warrant for the arrest of both her and her brother, Sir John, has been issued on suspicion that they harbour Roman Catholic clergy.

Chetham declares his fear for Ann's fate and reveals his romantic attachment to her, pleading with Ann that she marry him in order that he might save her from persecution; she refuses because she could 'never wed a heretic'. At this, a youth rushes on telling all that soldiers are searching and looting the Hall. Guy Fawkes then arrives on the scene declaring, 'do not despair... The Lord will deliver us from these Amalkites'. The crowd and soldiers return to the scene in time to hear Bess prophesise that 'the avenger of blood is at hand' while pointing directly at Fawkes who is standing at the outskirts of the fray. Fawkes then vanishes.

The Captain of the troops, clearly suspicious, accuses Chetham of being 'a wolf in sheep's clothing' and 'a rank papist at heart'. He is defended by a character who emerges from the crowd by the name of Dame Sutcliffe; after this, soldiers make to seize Bess but she runs to the parapet of the bridge and throws herself off. Fawkes (who has been hiding on the opposite bank) rescues her; Bess further prophesises his execution and entreats Fawkes to state his name after which she dramatically 'expires'. Fawkes offers to take Ann to safety, and, at this, she asks Catesby to take her horse and ride to Holywell in order to warn her brother of events. More soldiers then return having discovered a priest in hiding at Ordsall Hall; instead of taking flight, Ann pleads for the life of the priest, during which affray Fawkes escapes yet again, but Ann is arrested.

The crowd then come to the support of Ann by creating a decoy, and a 'number of them cry out pointing towards Top Salford' and stating, ‘See Yonder! There go another nest of wasps. Hasten Master Pursuivant and take them ere they escape’. A state of confusion takes over as the soldiers make after 'the mythical escapers'; this distraction allows Chetham, accompanied by men carrying ropes and ladders, to make for the gaol. The crowd continue to fool the soldiers allowing Fawkes to reappear from 'under the bridge', rescue Ann, and spirit her away.

Episode VI. Battle of Salford Bridge, the First Clash in the Civil War

There are three principal characters in this episode:

The Reeve of Salford, Master Henry Wrigley

The Royalist commander, Lord Strange

and, the 'commander of the parliamentary forces in Manchester, Colonel John Rosworm'.

Other named supporting players include, a 'lecturer' called Richard Hollingsworth, the Warden' Richard Heyrick, the curate of Holy Trinity Church, William Meek and a puritan preacher by the name of William Rathbone. Seven women are also named including Lord Strange's wife, Charlotte, and three women from the Radclyffe family. A large cast of supporting players as townspeople (including children) and soldiers from both sides also take part in the episode.

The scene takes place on Sunday 25 September 1642 at Salford Cross with the church and the 'Bridge' visible; the background to the drama is described thus:

Lord Strange arrives from Ordsall to demand from the people of Manchester the King's arms which have been illegally seized. His request is refused, issue is joined between the two sides, two Salford men are slain upon the Bridge. Battle ensues in which the Royalist forces are driven back and retire leaving Salford in the hands of the Parliament.

In the opening scene, townspeople make their way to church. The Puritan Minister, Rathbone, appears leading a group of Puritans in hymn singing. Rathbone mounts 'the steps of the cross' to preach. The crowd respond with prayer and more singing but a 'group of rowdies' try to break the meeting up, and Rathbone is pulled off the steps. The Reeve then mounts the steps and tries to establish calm; the crowd respond and disperse except for three townsmen named as Rosworm, Seraton and Charlton. While they converse on recent events, the townspeople gradually re-emerge and a man enters 'in haste'; telling those assembled that there is 'a man at t'Bull's 'ead that has ridden hard from Eccles Cross. A' says that 4000 of King Charles' men are on the march and will be here anon'. Wrigley mounts the steps amid 'excited babble', calling for silence, and then entreats the townspeople to stay indoors and leave the fighting to the soldiers. The army headed by Lord Strange arrives, the soldiers singing a song:

God for King Charles! Pym and such carles
To the devil that prompts 'em their treasonous parles!

Strange addresses Wrigley and states that his men need 'to be provided for by you and your townsmen'. He then orders three of his captains to 'ride to the bridge. Tell the cursed rebels that I demand entrance and the surrender of all arms and ammunition'. The captains then advance across the bridge carrying white handkerchiefs on the point of their swords. The leader, Rosworm, and the rebels approach them from the other side and state that Strange and his followers would 'have not so much as a rusty dagger'. Battle ensues and the Royalists are defeated. The episode ends with the Parliamentarians singing the 117th Psalm.

Episode VII. Prince Charles Edward, the Young Chevalier, Publicly Blessed at Salford Cross

This episode contains nineteen named characters (male and female) as well as crowds of townsfolk, idlers, cockfighters, yokels, volunteers, recruits, boys, girls etc.' Most characters are fictional with the exception of Charles Edward Stuart and a local clergyman, Reverend Clayton, who is reputed to have blessed the Prince on his departure from Salford. The scene shows townsfolk returning from a cockfight and converging on Salford Cross wherein there is a lively and noisy atmosphere with music, clog dancing and some children from a nearby school dressed up as Highlanders. A young girl, Anne, berates some youths for throwing fruit at a man in the stocks. They respond saying that she is 'crazy with the new religion'. Anne goes off in the direction of a bridal party which approaches from the distance. A character named Thomas Deacon urges some youths to join forces with Prince Charlie. Many volunteer enthusiastically and Deacon gives them white cockades for their hats. Anne and several more women also encourage men to go to the Prince's aid, while others show disapproval. Children then march behind the new recruits while their mothers pull them back. Conversation between several characters, including Dr Byrom and Lady Dukinfield, then ensues in which the Lady states that 'Charlie is a hero', while Byrom claims that though the town may cheer for the Prince they will not fight for him in any numbers. Bagpipes are heard in the distance playing a variety of tunes including ‘Charlie Is My Darling'.

The Prince, 'tall and handsome with fair complexion and large blue eyes' then appears on horseback at the head of his army; this includes 'other tall Highlanders in a variety of tartans... among them being Lord George Murray, the Duke of Perth, Lord Balmerino, Lord Kilmarnock, Lord Elcho and the Earl of Strathmore'. The crowd cheers loudly and the bagpipes play ‘Cam Ye by Atholl’ while the troops sing the chorus:

Follow thee, follow thee, wha wouldna follow thee?
Long has thou loved an' trusted us fairly.
Charlie, Charlie wha wouldna follow thee?
King of the Highland hearts. Bonnie Prince Charlie.

A Highlander bows extravagantly to Lady Dukinfield; but this gesture is misinterpreted by a servant who fires off a gun at the soldier only to be admonished by his mistress and dragged off by another Highlander. The Minister, Rev. Clayton, arrives and bows before the Prince causing the crowd to cheer. Clayton blesses the Prince and 'his royal father James III of England, Lord of the Manor of Salford'. A drum is then heard in the distance and Clayton tells the Prince that the troops raised locally are approaching. All are now dressed in highland garb; some of the youths seen before have been made officers.

Prince Charles addresses all assembled stating: 'I trust in the justice of my cause, I rest confident in the valour of my troops'. Both sets of troops then march off to the tune of ‘Farewell Salford Town’, played by bagpipes; the crowd joins the procession and takes up the chorus for this, followed by that of ‘Will Ye No Comeback Again’. During this departure, a young woman gives out red roses to the local men who have volunteered as officers in the Prince's army. The otherwise jolly episode ends on a melancholy note with Anne in an 'attitude of prayer' kneeling on the steps of Salford Cross before walking offstage alone.

Episode VIII. The Industrial Revolution

The date for this episode is around 1800. The opening scene shows Salford Green where 'townsfolk in the picturesque attire of the period are discovered going about their business'; these are described as 'simple, happy-hearted, industrious folk'. A Punch and Judy show and several other travelling showmen are also depicted, and a locally famous seller of buns by the name of John Bagot makes an appearance. The town crier then mounts the steps of the cross and announces the news; this includes mention of 'Old Boney' (Napoleon) and that Sir Arthur Wellesley had arrived in 'Hindustan'. Also announced, is that at '12 o'clock this day the new Yorkshire Cloth Hall will open, when there will be exposed for sale by the real manufacturers a choice assortment of woollen cloths, pelisse cloths, blankets etc.'

While soldiers of the volunteer regiment walk past, townsmen state that Lancashire cloths are in demand across the world, but a woman responds by saying that the new factories 'don't give same chance as our looms'. At this, a character called 'Black Douglas' (James Douglas an early industrialist) appears on horseback carrying a whip and in the company of several overseers. The townsfolk 'shrink from his approach'. One of the women accuses him of treating his employees 'like poor little workhouse brats'. Douglas makes to strike the woman with his whip and declares that 'I've a hundred for every one of you that are willing to take my pay and here they come'.

The factory workers then come on accompanied by a number of overlookers; these workers are bedraggled in their appearance compared to the townsfolk, and a crowd of little children are seen 'fastened with irons'. A riot ensues during which the factory workers tear down Salford Cross. In the midst of this confusion, a girl suddenly emerges 'lifted up on the shoulders of some of the Burgesses'. She addresses the crowd stating, 'Hear me, people of Salford Town. We shall beat Black Douglas by better means. The factories are coming to stay. We have to move with the times, but not as slaves'. The crowd beat off Black Douglas and rescue the children while the girl mounts a rock at the rear of the arena accompanied by two others. A man asks her 'who art thou lass' and she reveals herself as 'the Spirit of Salford of the Prologue'. Her attendants are the Spirits of Integrity and Industry. The scene ends with the Spirit of Salford entreating the people:

Come citizens of all ages, labourers in the Vineyard of this Our Zion.
Come to our aid and help us build anew.
O, God of our Fathers, be with us still,
In all our ways, in all our days,
Strengthen us in Thy purpose that we may build True!

A 'shrill blast of trumpets' then heralds the Finale.

Grande Finale and March Past. The Spirit of Salford Enthroned, Receiving the Tributes of all who through the Ages have Laboured in her Service

In this, figures process from both sides of the arena and halt in front of the allegorical Spirits where they kneel in a semi-circular formation. The figures represent all 'those who have borne their labours in the service of Salford'. Included are:

An ancient British family (the first family in Salford)

A Roman centurion and party of Romans

Sir Lancelot and the Knights of the Round Table

King Alfred and Saxons

The Earl of Chester with Sir Ranulph and Simon de Montfort

The Radclyffes

The Byroms

The Booths

The workers (including Millgirls [sic], Pitmen, Transport workers, Engineers and 'other typical workers of today'.

The Salford Cotton Queen and attendants.

Representatives of the Towns of the Hundred of Salford: 'Ashton, Bolton, Bury, Eccles, Oldham. Manchester, Rochdale, Radclyffe, Swinton, Farnworth etc.' The conclusion of the procession is immediately followed by the epilogue.

Epilogue

Father Time holding the torch speaks in verse to all assembled:

This glorious Pageant which you now have witnessed
Has shown you what your fathers did of yore.
Has it not made your young blood all a-tingle?
Have not their mighty deeds made you feel proud?

Father Time ends by extinguishing the torch and the orchestra play the ‘Hymn of Salford’. This had four verses and a chorus. During mass singing of the hymn, all assembled then dispersed from the arena, ending with the exit of the Spirits and Father Time. The pageant concluded with singing of the national anthem.

Key historical figures mentioned

  • Julius Agricola, Gnaeus [known as Agricola] (AD 40–93) Roman governor of Britain
  • Æthelfrith (d. c.616) king of Northumbria
  • Paulinus [St Paulinus] (d. 644) bishop of York and of Rochester
  • Alfred [Ælfred] (848/9–899) king of the West Saxons and of the Anglo-Saxons
  • Ranulf (II) [Ranulf de Gernon], fourth earl of Chester (d. 1153) magnate [also known as Ranulph]
  • Hood, Robin (supp. fl. late 12th–13th cent.) legendary outlaw hero
  • Montfort, Simon de, eighth earl of Leicester (c.1208–1265) magnate and political reformer
  • John [John of Gaunt], duke of Aquitaine and duke of Lancaster, styled king of Castile and León (1340–1399) prince and steward of England
  • Philippa [Philippa of Hainault] (1310x15?–1369) queen of England, consort of Edward III
  • Fawkes, Guy (bap. 1570, d. 1606) conspirator
  • Catesby, Robert (b. in or after 1572, d. 1605) conspirator
  • Stanley, James, seventh earl of Derby (1607–1651) royalist army officer James
  • Charles Edward [Charles Edward Stuart; styled Charles III; known as the Young Pretender, Bonnie Prince Charlie] (1720–1788) Jacobite claimant to the English, Scottish, and Irish thrones
  • Murray, Lord George (1694–1760) Jacobite army officer
  • Drummond, James, styled sixth earl of Perth and Jacobite third duke of Perth (1713–1746) Jacobite army officer
  • Elphinstone, Arthur, sixth Lord Balmerino and fifth Lord Coupar (1688–1746) Jacobite army officer
  • Boyd, William, fourth earl of Kilmarnock (1705–1746) Jacobite army officer
  • Wemyss, David, styled sixth earl of Wemyss [known as Lord Elcho] (1721–1787) Jacobite army officer

Musical production

'Grand orchestra of 100'; 'Chorus of 500'.
Music was selected by T.H. Nightingale. T.H. Nightingale was also responsible for 'shaping the libretto into a Book of Words suitable for the use of performers and spectators'.

Original songs were published in a Book of Words and Music. Composers and musical items that were included are as follows:

  • John Gray. ‘The Song of Salford’ (Introduction).
  • Thomas Wilson. ‘Druid's Chant’ (Episode I).
  • C.E. Frost (words); William Pearson and Thomas Wilson (music). ‘Wassail Song’ (Episode II, Part II).
  • C.E. Frost (words); William Pearson and Thomas Wilson (music). ‘Song of the Reapers’ (Episode II, Part II).
  • C.E. Frost (words); Thomas Wilson (music). ‘Battle Song’ (Episode II, Part II).
  • H. Lister (words); A.O. Warburton (music). ‘A Pageant Song.
  • C.P. Hampson (words); William Pearson (music). ‘Song of Welcome to Earl Ranulph’ (Episode III).
  • C. Hoodless (words); William Pearson (music). ‘The Flemish Weavers’ (episode IV).
  • Arrangement by W. A. Chamberlain. ‘Come Lads and Lasses’ (traditional).
  • C. Hoodless (words); W.A. Chamberlain (music). ‘Puritans' War Hymn’ (episode VI).
  • Thomas Wilson. ‘Cavalier's Song’ (episode VI).
  • 'Richmond', 117th Psalm (episode VI).
  • James Hogg (words); Neil Gow Jnr (music). 'The Air' (episode VII).
  • J.A. Moonie (arrangement). ‘Cam' Ye by Athole’ (episode VII).
  • Rev. W. Felton. ‘Farewell Salford Town’ (episode VII) .

Newspaper coverage of pageant

Salford City Reporter

Manchester Guardian

Yorkshire Post

Burnley Express

Lancashire Evening Post

Nottingham Evening Post.57

Book of words

Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930. Salford, 1930.

Other primary published materials

  • Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme. Manchester, 1930.
  • Salford Historical Pageant and Industrial Exhibition June30th-July 5th 1930 Souvenir Brochure. Salford, 1930.
  • Salford Historical Pageant, 1930, Words & Music Price 1s. Salford. 1930.

References in secondary literature

n/a

Archival holdings connected to pageant

  • The British Library:
  • One copy of the Book of Words. 11781.i.37.
  • One copy of the official souvenir programme. 010360.dd.31.
  • One copy of the souvenir brochure. 010360.a.58.
  • One copy of the Book of Words and Music. G.760.BB. (5.).
  • Manchester Metropolitan University:
  • Copy of a film of the pageant. Film no. 27 in their collection.

Sources used in preparation of pageant

  • Ainsworth, William Harrison. Guy Faukes or The Gunpowder Treason: An Historical Romance. Several imprints but first published in entirety in London, 1841.

The narrative for Episode V seems to have been entirely inspired by the gothic romance, Guy Faukes or The Gunpowder Treason: An Historical Romance, written by the prolific author, William Harrison Ainsworth, and first published as a three-part novel in 1841 (although it had previously been serialised). Ainsworth was Manchester born and based most of his novels in Lancashire. In this particular example, the gunpowder plot is depicted as being hatched at Ordsall Hall, the historic seat of the Radclyffe family.

Summary

The pageant of Salford defied the dire times that existed in 1930 and exceeded all expectations of success. The economic downturn had affected industry badly in this part of the north of England and unemployment was growing, but 1930 happened to be the seven hundredth centenary of the granting of Salford's charter and the city fathers decided that this occasion called for celebration. Pageant parades held to raise money for Salford's infirmary were a regular feature of the summer months, but the occasion of the centenary demanded something more in order to commemorate the long history of the place, which by this point in time had passed its zenith as an economic hub of the north. In the context of the inter-war years, an historical pageant was an obvious event to hold; it was clearly hoped that it might invigorate the city and its people during hard times. Salford's civic leaders thought that such a flagship occasion might also be a selling point for an industrial centre that badly needed new opportunities. To this end, an Industrial and Trades Exhibition accompanied the pageant. This had the aim of showing that Salford, as 'the fourteenth city in the kingdom', still had 'manufactories' that could cater for 'the world's manifold needs'.58

The event that was planned and held was very much in the then established mode of inter-war pageantry. It was held outdoors, involved all classes of society and had a large cast of 6000; it also made use of live music, and over eight episodes it told the history of Salford from the earliest times. Evening displays were also held and these proved popular, with most involving large numbers of local schoolchildren and youth organisations within dance and gymnastic extravaganzas, all of which emphasized that Salford was a town with a healthy educational and artistic infrastructure. As with other pageants of the time, it veered away from the traditional path in that it did take the history of the city up to the dawn of the new industrial age in the nineteenth century. Although this meant departing from Parkerian rules of pageantry, the century of industrial transformation could hardly be ignored in this particular city, given that this development was what had really put Salford on the map nationally and internationally. Yet Salford's heyday as an industrial powerhouse was celebrated within an otherwise classic pageant narrative. Many conventional figures of pageant narratives, such as Romans, Druids, Saxons, Vikings and Plantagenets, made an appearance; and in the context of the North specifically, the further classic trope of the arrival of the Jacobites was also included. For like other parts of the North, Salford had been supportive of the Jacobite struggle.

The site chosen for the pageant was a large public park, a well-used, verdant amenity in a city better known for its 'dark satanic mills'. Buile Hill Park also had the virtue that its layout meant that much of the backstage labour of the pageant could be kept hidden from the audience. There was no 'visible clustering of helms and spears' waiting for their moment in the limelight; and 'the enemy' could 'appear with proper dramatic effect'.59 The park also had recent historical significance having been gifted by a nineteenth-century industrialist who had once run it as a country estate. It was conventional too in being a not-for-profit venture. Times may have been tough but this rule held firm and underlined the fact that the past was being celebrated as a means to uphold civic pride at a moment when this was under extreme pressure. Any sense of contemporary decline was finessed in the many speeches given as part of introductory ceremonies, the typical device used being reference to the downturn affecting countries worldwide. In one of these speeches, a representative of a locally important family, Major C.E. Radclyffe, opined that pageants such as Salford's could give something for people' to live up to, something that will bring them through ordeals such as we are now passing through'.60

Salford conformed to pageantry's traditions in other interesting ways, including its involvement of people from all sections of society in terms of social class and religious affiliation. For example, around 1000 performers were unemployed men.61 And in terms of religious denominations, the local Roman Catholic Church clearly supported the pageant and was closely involved with the pageant’s organisation, as well as holding a special service of celebration on the Sunday before the first performance. This took place alongside pageant services held in Anglican churches and many of the non-conformist Christian churches. At one point, even the local synagogue was involved when moves were made to obtain permission from the Chief Rabbi to hold a special pageant service.62 The Mayor of Salford, who appears to have taken a leading role in the pageant from its earliest conception, was Samuel Finburgh (1867–1935); he had been a cotton manufacturer and was a former Conservative MP for Salford. In addition to these roles, however, he was also a well-known civic leader within the large, local Jewish community as President of the Council of Manchester and Salford Jews.63 Thus, many members of the Jewish community took part in the pageant and other associated entertainments, with Finburgh's own daughter, Lillian, taking the part of the 'Spirit of Memory' in the pageant's prologue.64

The entire occasion seems to have been about putting the respectability of Salford and its workforce to the fore. Nonetheless, despite the overwhelmingly working-class composition of the city, it is difficult to assess how far this section of society was similarly represented within the pageant organisation or in taking leading roles within the drama. On the surface of things, the middle and upper classes appear to be more noticeable in this display of civic pride and patriotism, with the names of local politicians, professionals and church leaders appearing on committees. Overall, the essentially conservative nature of local society in the period appears to be mirrored in the pageant's organisation. This traditionalism extended to party politics as well: one episode was even produced by the local Conservative Association. However, this is not to suggest that it was only the middle classes that took charge, as Conservative politics in this period remained strong in many working-class communities, although this trend was certainly beginning to change.

A traditionalist agenda also extended to much of the history on display. For example, in Episode VI, the town's allegiance with the Royalist cause during the English Civil War was dramatized, with an underlying theme being the contrast between this allegiance and Manchester's support for the Parliamentarians. Such old enmity evidently died hard. Conflict between workers and factory owners was underplayed by recourse to allegory in the closing episode. This scene began with a fundamentally idyllic, pastoral vision of Salford on the eve of industrialisation. Into this, the Spirit of Salford and her allies of 'industry' and 'integrity' appeared with the aim of stemming the social unrest that factories might bring. The Spirit's reminder that change must be accepted as inevitable was intended to banish the prospect of any potential conflict that might emerge from the coming industrial transformation. Moreover, she did so by invoking the essential godliness of Salford's workers. In this, there was an implicit plea to see hard labour as a virtue and change as potentially benign rather that divisive or destructive. How this message might have been received by other, more left-wing sections of Salford society can only be guessed at. Yet over and above this conventional and careful approach to the past, in other parts of the pageant there was certainly an ambition to entertain.

The narrative of the pageant was written by a variety of local authors who were said to have examined 'books, documents and pictures at the Peel Park Library' in the town.65 Yet most of the storyline followed local legend in equal measure with the official evidence, despite Salford's claims to have a 'rich store of historical record to draw on'.66 Key figures from historical record included Earl Ranulph, Simon de Montfort and John of Gaunt whose stories were fitted predictably within the local setting. However, Robin Hood appeared in Episode III and fiction certainly took over in Episode V with a tale of Guy Fawkes [or Faukes as he was styled] and his entanglement with Ann, an alleged member of the locally important Radclyffe family. This particular storyline was derived from a popular Victorian novel by the Manchester-born author William Harrison Ainsworth, who located many of his historical fictions in Lancashire. The frenetic romance played out, which had some supernatural themes, also likely owed much to an earlier film adaptation made in 1923.67 High drama, colourful costumes, battle scenes and a heavy dose of 'ye Olde England' as the backdrop to most of the episodes were what carried the spectacle. This was necessary because, like the silent film about Fawkes, the pageant itself had no form of amplification although it took place in a large open space. Ahead of the event, the pageant master stated that 'there would be no need for the audience to closely follow the script'.68 He was likely correct; the pageant did seem to provide a good show and was generally welcomed, with a local magistrate even congratulating the town for the low rate of arrests for drunkenness during pageant week.69

In the industrial boom years of the nineteenth century, Salford had obtained a reputation for the meanness of its streets, overcrowded slum housing and generally poor living standards. These conditions were little better in the early decades of the twentieth century as industry declined, and they were undoubtedly heightened during the depression of the late 1920s and early 1930s. Yet the town made every effort to put on a good display for the pageant, over four miles of streets being festooned with decorations. (That said, some disgrace followed when it was discovered that in cash-strapped Salford no firm had been able to supply these decorations: a company from Hull had provided a tender of £460, while a Salford firm had quoted a sum of £2000.70)

Financial considerations must have been at the forefront of the pageant organisers' vision, given the context of the times. The entire cast took part in an extra performance of the pageant, the profits from which allowed the organisers to escape the payment of entertainment tax, since it brought total takings up to over fifty per cent of production costs.71 A huge turnout for this performance of over 11000 spectators indicated that the local population did support their pageant, and this last effort ensured that it turned in a profit.72 It is clear too that the centenary galvanised municipal will to try to do something to help the town overcome its problems. Yet however successful the pageant was as large-scale entertainment, the painful economic decline of Salford was, of course, largely unaffected by the event. Nonetheless, some bolstering of community spirit and civic pride did take place for a time. There were moves afterwards to install a replica of Salford Cross, which had been a backdrop to many of the pageant episodes, as a lasting memorial to the pageant, the original edifice having been demolished in 1824.73 There was also the establishment of a Salford Society a few months after the pageant. This aimed to 'sustain and direct the spirit of civic patriotism evoked by the recent pageant' and 'create a permanent feeling of unselfish friendship between all classes of citizens'.74 It does not appear to have been a very long-lived institution. The Manchester Guardian commented that the pageant had revealed from beneath the city's 'crushing industrialism' the beauty of Salford's 'more spacious days'.75 Undoubtedly, it was a sentimental version of Salford's history that was depicted in the pageant, and it is doubtful if this was a version of the past that deserved very much longevity as unemployment figures continued to rise and a different political climate began to emerge.

Footnotes

  1. ^ 'Salford Pageant: Financial Success', Manchester Guardian, 7 July 1930, 13.
  2. ^ 'Salford's Pageant: Arrangements for Opening Ceremonies', Manchester Guardian, 29 June 1930, 13.
  3. ^ 'Salford Pageant and Exhibition', Manchester Guardian, 28 June 1930, 17.
  4. ^ 'Salford Pageant: Proposal to Extend the “Run”', Manchester Guardian, 4 July 1930, 13.
  5. ^ 'Salford Pageant', Manchester Guardian, 5 July 1930, 21.
  6. ^ Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930), 101.
  7. ^ Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930), 7.
  8. ^ Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930), 9.
  9. ^ Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930), 11; see also, Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 39.
  10. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 23.
  11. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 25.
  12. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 25.
  13. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 25.
  14. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 25.
  15. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 27.
  16. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 27.
  17. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 29.
  18. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 29.
  19. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 29.
  20. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 29.
  21. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 31.
  22. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 31.
  23. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 33.
  24. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 33.
  25. ^ Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930), np.
  26. ^ See acknowledgements in Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930), 13.
  27. ^ 'Salford Pageant: Parts for Unemployed', Exeter and Plymouth Gazette, 9 June 1930, 5.
  28. ^ Manchester Guardian, 7 July 1930, 13.
  29. ^ 'Salford Pageant's Profits', Lancashire Evening Post, 8 January 1931, 2.
  30. ^ Lancashire Evening Post, 8 January 1931, 2.
  31. ^ 'Salford Pageant: Financial Success', Manchester Guardian, 7 July 1930, 13.
  32. ^ 'Salford Pageant: Memorable Closing Scene', Manchester Guardian, 8 July 1930, 6.
  33. ^ Salford Historical Pageant and Industrial Exhibition June 30th-July 5th 1930 Souvenir Brochure (Salford, 1930), 1.
  34. ^ 'An Extra Performance', Manchester Guardian, 8 July 1930, 21.
  35. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 107.
  36. ^ Salford's Gala Week', Manchester Guardian, 17 June 1930, 15.
  37. ^ 'Salford Pageant: Special Church Services', Manchester Guardian, 6 June 1930, 13.
  38. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 62.
  39. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 105.
  40. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 62.
  41. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 103.
  42. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 105.
  43. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 62.
  44. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 106.
  45. ^ Unless otherwise indicated, all quotations in synopses are taken from Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930).
  46. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), ii.
  47. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), iii.
  48. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 65.
  49. ^ Salford Historical Pageant, Industrial Exhibition and Charter Celebrations 700th Anniversary June 30th to July 5th 1930, Sole Official Souvenir & Programme (Manchester, 1930), 67.
  50. ^ The line 'Caen! Creci! Calais!' was said to be Radclyffe's motto from the family crest.
  51. ^ See William Harrison Ainsworth, Guy Faukes or The Gunpowder Treason: An Historical Romance (several imprints but first published in entirety in London, 1841).
  52. ^ Salford Historical Pageant and Industrial Exhibition June 30th-July 5th 1930 Souvenir Brochure (Salford, 1930), 1.
  53. ^ Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930), 13.
  54. ^ Salford Historical Pageant and Charter Celebrations, 700th Anniversary June 30th–July 5th, 1930 (Salford, 1930), 13.
  55. ^ Salford Historical Pageant, Words & Music (Salford, 1930).
  56. ^ In addition, John Birkby won a competition to write a song designed to be sung during 'festival week'. No details have been recovered but it was described as having 'a stirring march tune with a fine chorus'. There was a £10 prize awarded, see 'Salford Pageant Song', Manchester Guardian, 6 February 1930, 13.
  57. ^ The pageant was likely widely reported in other local newspapers in the north of England.
  58. ^ 'Charter Celebrations', Burnley Express, 7 June 1930, 13.
  59. ^ 'Archdruids and Others', Manchester Guardian, 3 July 1930, 14.
  60. ^ Salford Pageant: Opener a Descendant of Sir John Radclyffe’, Manchester Guardian, 5 July 1930, 21.
  61. ^ 'Salford Pageant: Parts for Unemployed', Exeter and Plymouth Gazette, 9 June 1930, 5; see also Yorkshire Post, 9 June 1930, 5 and Dundee Courier, 13 June 1930, 14.
  62. ^ See 'Special Church Services', Manchester Guardian, 6 June 1930, 13; no evidence has been recovered as to whether this service did take place.
  63. ^ See Todd M. Endelman, The Jews of Britain 1650–2000 (Berkeley, 2002), 210.
  64. ^ 'The Spirit of Salford', Yorkshire Post, 27 June 1930, 3.
  65. ^ 'Salford Pageant: 700th Anniversary of the Charter', Manchester Guardian, 30 April 1930, 15.
  66. ^ Manchester Guardian, 30 April 1930, 15.
  67. ^ This was a British made silent film first released in September of that year. See a summary of the film online at the Internet Movie Database: http://www.imdb.com/title/tt0297157/. Accessed 31 April 2016.
  68. ^ 'Salford Pageant: Final Touches at Rehearsals', Manchester Guardian, 18 June 1930, 13.
  69. ^ Note made in Lancashire Evening Post, 10 July 1930, 3.
  70. ^ 'Salford Pageant and Exhibition', Manchester Guardian, 28 June 1930, 17.
  71. ^ Manchester Guardian, 7 July 1930, 13.
  72. ^ Manchester Guardian, 7 July 1930, 13.
  73. ^ 'Salford Pageant and Surplus', Manchester Guardian, 24 July 1930, 13; no note has been recovered of this being built, however, and it is assumed the idea had to be abandoned.
  74. ^ 'Salford Society: Founders' Meeting', Manchester Guardian, 11 October 1930, 15.
  75. ^ 'Salford Pageant: Memorable Closing Scenes', Manchester Guardian, 8 July 1930, 6.

How to cite this entry

Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, ‘Salford Historical Pageant’, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/1181/