The Walthamstow Pageant 1930
Pageant type
Performances
Place: The Palace Theatre (Walthamstow) (Walthamstow, Essex, England)
Year: 1930
Indoors/outdoors: Indoors
Number of performances: 4
Notes
8–11 October 1930, 1.45pm
The precise number of performances is unknown; there were at least four.
Name of pageant master and other named staff
- Stage Director: W.E. Taylor
- Business Manager: A.M. Woolf
Names of executive committee or equivalent
Pageant Committee:
- Chairman: S.W. Burnell, LLB, BSc, Director of Education
- Mesdames:
- A.F. Clayden
- B.E. Cockrell
- G.V. Cook
- C. Demain Saunders, JP
- A. Elliott
- E.M. Kindell
- M. Norris, MA
- M. Norrish
- Messrs
- P. Astins, ECC
- G.F. Bosworth, FRGS
- G.A. Bubbers
- J.W. Cox
- G.T. Edwards
- H. Midgely, BA, BSc
- D. Morris, BA
- G.E. Roebuck
- E.M. Swinburne
- W.E. Taylor
- A.M. Woolf
Pageant Sub Committees:
Music:
- Chairman: J.W. Cox
- L.C. Bellchambers, BMus
- H.B. Weatherdon, MC, BMus, FRCO, FTGL
Costumes:
- Chairman: Miss M. Norris, MA
Publicity:
- Chairman: G.F. Bosworth, FRGS
- D. Morris, BA
- G.E. Roebuck, Borough Librarian
Names of script-writer(s) and other credited author(s)
- Shakespeare, William
Notes
Episode IV featured material from Shakespeare’s Henry VI Part III
Names of composers
- Weatherdon, H.R.
Numbers of performers
600All children
Financial information
Object of any funds raised
n/a
Linked occasion
To commemorate the gaining of the status of Borough by a Charter of Incorporation on 10 October 1929.Audience information
- Grandstand: Not Known
- Grandstand capacity: n/a
- Total audience: 16000
Notes
‘Over 6000 local school children watched the performance on its first three afternoons.’1
‘Such was the clamour to view the production that all seats were sold before the opening performance and unfortunately hundreds had to be turned away.’2 It seems likely, since it was a sell-out and the theatre held 3000, that at least 16000 saw the pageant.
Prices of admission and seats: highest–lowest
n/a
Associated events
n/a
Pageant outline
Episode I. The Tonis, From Saxon to Norman
Tableau I. Ralph de Toni, Lord of the Manor of Wilcumestou, Attends the Court of William I at Salisbury to Pay Homage for his Fief
The scene opens with King William I seated on his throne with the Barons on one side and ladies on the other. The King’s Chancellor is seated before a table, with two volumes of Domesday. In the centre facing the throne is Ralph de Toni. Ralph de Toni swears loyalty to William, presenting himself as Lord of the Manor through his marriage to Lady Judith, daughter of Countess Judith, and niece of the Saxon King. William is pleased that the land is now under the Norman, de Toni, who kneels and swears to be loyal in life and death.
Tableau II. Welcome Given to Ralph de Toni in the Manor Court of Wilcumestou upon his Return from Salisbury after the King had Confirmed his Claim to the Manor
Ralph de Toni and his wife Judith arrive on a dais. The steward of the manor welcomes Judith on behalf of every tenant, freeman and serf, and the ‘noble knight’ by her side. The tenants raise the chorus, ‘Long life to our noble knight and his fair lady’. Ralph de Toni replies and confirms his protection for all tenants, and his plans to build a church to perpetuate the name and glory of the Manor.
Episode II. John Ball and the Peasants [c. 1380]
Scene I. The Stillroom of the Manor House
Two maids chat in the stillroom, arguing about whether John Ball is a virtuous man or not. The Lady of the Manor enters and scolds them for being slow, and for their idle chatter. She ends by telling them that Brentwood has beaten and stoned the King’s men out of town and in Waltham men have burned the documents; she predicts ‘woe will surely follow when man riseth against his lord.’
Scene II. Before the Cross
One of the maids has slipped away to tell others about Brentwood and Waltham; the men discuss whether to also rebel. John Ball now enters with men of Kent, dressed in armour. John Ball greets the men, and acknowledges that they are oppressed by their masters. He riles the crowd up, declaring ‘By what right are your lords greater than ye if we all come of the same father and mother [Adam and Eve]?’ He declares they must go to London to confront the King. They march off, before the Lord and Lady enter. They watch the crowd; the Lord states that they will be stopped easily, but the Lady predicts: ‘Nay, my lord, ye may crush these men, but what of that? They rise again. Though the priest be mad, to common men he bringeth hope. What If that hope should triumph?’
Episode III. Richard de Beauchamp, the Great Earl of Warwick, and Lord of the Manor of Walthamstow
Scene I. An Apartment in the Royal Palace of France
Henry and Warwick talk, the King nervous about his impending wedding, with Warwick’s suavity and discreet amusement in contrast. Warwick tries to calm the King, as a choir sings French songs. Dance: the French Pavane.
Scene II. The High Altar in the Cathedral
Katharine enters with the King and Queen of France, and stands beside Henry, as the wedding takes place.
Episode IV. Richard Neville, the Last of the Barons and Lord of the Manor of Walthamstow Taken from Shakespeare’s Henry VI Part III. The scene is in the French palace. King Lewis [Louis XI], the French King, and Lady Bona, his sister-in-law, enter, followed by Queen Margaret, Prince Edward, and the Earl of Oxford. Finally the Earl of Warwick enters, having come to secure for Edward the hand Lady Bona, to ensure peace through marriage. Warwick finds that Margaret, Prince Edward and the Earl of Oxford have come to request Louis’s aid in the ongoing Wars of the Roses in England. Louis is about to agree to supply Margaret with troops, but Warwick intervenes, and convinces Louis that he should support Edward and approve the marriage. A messenger arrives, however, and advises the court that King Edward has instead married the recently widowed Lady Grey (Elizabeth Woodville). Warwick feels he has been made to look a fool despite service to the House of York, and denounces Edward, switching allegiance to the Lancastrians, promising his daughter Anne's hand in marriage to Prince Edward as a sign of his loyalty, and to invade England to depose Edward.
Episode V. George Monoux, the Founder of the Grammar School, 1540
A schoolroom. Schoolboys at first bicker, before the cultured master, Sir John Hogeson, arrives. Hogeson quickly rises to anger when one of the boys struggles to read out Latin, to humorous results. George Monoux now enters, and asks if any are diligently instructed in Latin. One of the boys says the Creed out loud in Latin; the boys compete with each other, speaking ever faster, most impressing Monoux. Monoux makes to leave—before whispering to Sir John that the next day shall be a regular holiday to remember the school’s founder. He exits, as the normal work of the school continues.
Episode VI. May Day Revels
Revels include: fool, hobby-horse, a dragon, May Queen crowning, dancing, and general frivolity.
Episode VII. Roger Ascham, Royal Tutor and Scholar
The scene is the library and music room of Princess Elizabeth adjoining the chapel royal. Thomas Tallis, Thomas Morley, and William Byrd are seated at a pile of music manuscripts. Two choir boys enter and try to sing Tallis’s Canon. King Henry VIII and Princess Elizabeth now enter, and Roger Ascham presents Tallis, Morley and Byrd to them. They all present gifts. A song is sung for Elizabeth, who is then invited by Roger Ascham to the revels at Salisbury Hall the following week. Elizabeth assents, before all leave in a stately march.
Episode VIII. George Gascoigne, Poet, Soldier and Courtier
Scene I. Stateroom, Greenwich Palace, New Year’s Day, 1576
Elizabeth is enthroned, surrounded by her courtiers, including Raleigh, Leicester, Bedford, Gilbert, and Frobisher. Raleigh is waxing lyrical to the Queen about the beauty of the Earth. Elizabeth is pleased, and compliments him. She asks Raleigh if he has heard of George Gascoigne, the poet of Walthamstowe—‘a fair village with loyal citizens and goodly pastures’. Gascogine enters, and addresses the Queen—presenting her a book, the ‘Tale of Hemetes the Heremyte’. The Queen graciously accepts, before bidding Gascoigne farewell. All then exit in stately procession.
Scene II. Gascoigne, Writing in ‘His Pore House at Walthamstowe’
Gascoigne composes poems, before being interrupted by his stepson, Nicholas Breton, singing ‘In the merry month of May’. They chat about Gascoigne’s writing and his fighting for the realm in the Lowlands. Raleigh, Gilbert, and Frobisher now enter and embrace Gascoigne. They compliment Gascoigne, before giving a toast to his health and family.
Episode IX. Samuel Pepys, Prince of Diarists, a Courtly Visitor
Samuel Pepys visits Mrs Brown in Walthamstow, apologising for his lateness. He presents her with a gift for Mrs Brown’s child—Mrs Shipman commenting that the child is safe by having godfather Pepys as well as Admiral Sir William Penn. With Shipman and Pepys, Penn then discusses the wayward squandering of money by Royal courtiers in the running of the navy. Pepys then brings up the plague, before being stopped by Mrs Brown—who declares it is no conversation for a merry feast. Pepys presents some rhymes, to the ladies’ pleasure, before declaring he will play his flageolet.
Episode X. Richard Turpin, Highwayman, and Other Cavaliers of the Road
A group of men and women, peasants and gentlemen, are on their way to Walthamstow. They discuss the highwaymen peril, before being actually held up by Dick Turpin. He takes all of their jewellery and money mercilessly, as a Lady declares: ‘You cowardly wretch; may it not be long before you swing at Tyburn.’
Episode X–Epilogue. Dick Turpin’s Cave at High Beach
Turpin and his band sing a happy song about the highwayman William Brennan from Ireland.
Episode XI. Benjamin Disraeli, Young England
Tableau I. The Courtyard of Essex Hall, Walthamstow
A narrator stands on the stage, and declares that he will tell the tale of Youth, and of one with ideas ‘so rare and spirit so strong as to destine their possessor to uplift men in a common tie of brotherhood and reverence for their land.’ He introduces the first tableau, the entrance of the new pupil Disraeli with his father. Disraeli is exceptionally well-dressed, impressing the other boys.
Tableau II. The Courtyard of Essex Hall, Walthamstow
The narrator explains how Disraeli the pupil is already showing glimpses of his future power as a leader of men, as well as a new world of romance through his verses and poems. On the stage, Disraeli is first admired by the boys, who then leave as he romantically sits and contemplates.
Tableau III. The Courtyard of Essex Hall, Walthamstow
Ten years later, as the narrator relates, Disraeli returns to Essex Hall to see the friends of his youth. Disraeli appears and kneels; the narrator describes that ‘as he prays for the suffering millions of his land, Young England is born before his eyes, like a beautiful dream.’ The lights brighten as the Narrator declares: ‘For a generation yet unborn, there shall be a land of hope, all glorious in its splendour, and peopled by a nation, prosperous and happy.’ All the characters stand bareheaded while Elgar’s ‘Land of Hope and Glory’ is sung.
Episode XII. William Morris, ‘Our Greatest Man’
Prologue
The Narrator enters with a bannerette, in present-day dress. He declares that the life of William Morris, ‘a worthy citizen of Walthamstow’, will now be presented.
Incident I. A Vision
William Morris, middle-aged, enters and sits at a table with books paper pens–and begins to see a vision.
Incident II. Boyhood
Morris is a young boy, carrying books. He sits and reads while his siblings go off to fish or embroider.
Incident III. Morris at Oxford
The mathematician Faulkner and the poet Canon Dixon discuss Morris; Edward Burne Jones enters and declares that Morris is a great poet. Morris produces a poem as all pass off the stage reading.
Incident IV. The Arts and Crafts of William Morris
Various characters enter carrying the arts and crafts of William Morris—furniture, stained glass, tiles and pottery, wallpaper, carving, tapestry, etc. They present the crafts to the audience. The Morris from the first incident surveys the scene and smiles.
Incident V. Tableau, ‘Fellowship is Life’
The narrator advances to the front of the stage and half turns to William Morris, who rises slowly and passes off stage.
Epilogue. The Coming of the Charter
Tableau I
Symbolic figures are in the centre of the stage: Religion, Education, Civic Pride, Justice, Fellowship, and Youth. They are stood with the historical characters of the pageant, such as Ralph de Toni, John Ball, Roger Ascham, and William Morris. They each address the audience, giving lessons, and affixing their family device to a Coat of Arms. Ralph de Toni declares that he and his family should be seen above all as church builders and champions. John Ball espouses justice. George Monoux represents civic pride, while Ascham represents the schoolmaster and the importance of gentleness over punishment. Henry Maynard stands for Christ and his flock. Elizier Cogan for education. William Morris appears as a dreamer of dreams, and a personification of the idea of progress. The symbolic figures now speak. Education declares: ‘The very spring and root of honesty and virtue lie in the felicity of lighting on good education.’ Justice declares: ‘Whoever fights, whoever falls, justice conquers evermore.’ Religion: ‘Religion stands on tip-toe in our land.’ Youth: ‘Youth with swift feet walks onward in the way; The land of joy lies all before his eyes.’ Fellowship ends by saying: ‘Write me as one who loves his fellow men.’
Tableau II
A group of children, each bearing a letter, arrange themselves to represent the words of the Walthamstow Charter. They address the audience and declare:
This notable landmark in Walthamstow’s progress.
Happy augury of the days that shall be.
Encouraging local patriotism.
Welcoming workers for Walthamstow’s welfare.
Advising: Act well your part; there all the honour lies.
Leaving each to decide what he can and will do.
Testifying to the public spirit of many citizens.
Holding up their example to others.
Ascribing honour to meritorious work.
Making the future depend upon us all.
Suggesting social service.
Teaching that there are many different ways of rendering it.
Offering opportunity to all willing to serve.
Warning us that: United we stand, divided we fall.
Coming after many days and patient strivings.
Heralding still greater days to come.
Assuming service, not Self, the rule of life.
Reminding us that Privilege and Responsibility go together.
Telling us to make the achievement of others the stepping-stone to personal effort.
Endeavouring to enlist the interest of all in their town.
Rewarding their labours by the pleasure that comes from well-doing.
The Audience stands while the Orchestra plays the Civic March.
Key historical figures mentioned
- Ball, John (d. 1381) chaplain and leader of the peasants' revolt
- Beauchamp, Richard, thirteenth earl of Warwick (1382–1439) magnate
- Henry V (1386–1422) king of England and lord of Ireland, and duke of Aquitaine
- Monoux, George (b. in or before 1465, d. 1544) merchant and local politician
- Gascoigne, George (1534/5?–1577) author and soldier
- Penn, Sir William (bap. 1621, d. 1670) naval officer
- Batten, Sir William (1600/01–1667) naval officer
- Pepys, Samuel (1633–1703) naval official and diarist
- Pepys [née de St Michel], Elizabeth (1640–1669) wife of Samuel Pepys
- D'Israeli, Isaac (1766–1848) writer
- Disraeli, Benjamin, earl of Beaconsfield (1804–1881) prime minister and novelist
- Maynard, Sir Henry (b. after 1547, d. 1610) administrator
- Morris, William (1834–1896) designer, author, and visionary socialist
- William I [known as William the Conqueror] (1027/8–1087) king of England and duke of Normandy
- Lanfranc (c.1010–1089) archbishop of Canterbury
- Neville, Richard, sixteenth earl of Warwick and sixth earl of Salisbury [called the Kingmaker] (1428–1471) magnate
- Margaret [Margaret of Anjou] (1430–1482) queen of England, consort of Henry VI
- Edward [Edward of Westminster] prince of Wales (1453–1471)
- Elizabeth I (1533–1603) queen of England and Ireland
- Grey [married name Dudley], Lady Jane (1537–1554) noblewoman and claimant to the English throne
- Ascham, Roger (1514/15–1568) author and royal tutor
- Tallis, Thomas (c.1505–1585) musician and composer
- Morley, Thomas (b. 1556/7, d. in or after 1602) composer
- Byrd, William (1539x43–1623) composer
- Henry VIII (1491–1547) king of England and Ireland
- Ralegh, Sir Walter (1554–1618) courtier, explorer, and author [also known as Raleigh, Sir Walter]
- Dudley, Robert, earl of Leicester (1532/3–1588) courtier and magnate
- Russell, Francis, second earl of Bedford (1526/7–1585) magnate
- Talbot, Gilbert, seventh earl of Shrewsbury (1552–1616) landowner
- Frobisher, Sir Martin (1535?–1594) privateer, explorer, and naval commander
- Frobisher
- Turpin, Richard [Dick] (bap. 1705, d. 1739) highwayman
- Dixon, Richard Watson (1833–1900) ecclesiastical historian and poet
- Faulkner, Charles Joseph (1833–1892) university teacher and associate of William Morris
- Jones, Sir Edward Coley Burne-, first baronet (1833–1898) painter
Musical production
- ‘Frere Jacques’ (Episode III).
- ‘Sur le Pont D’Avignon’ (Episode III).
- ‘Staines Morris’. Sixteenth-century traditional air, arranged by Percy Fletcher (Episode VI).
- ‘It was a Lover and his Lass’ (Episode VII).
- ‘May is the Month for Maying’ (Episode VII).
Newspaper coverage of pageant
Essex Newsman
Chelmsford Chronicle
Western Daily Press
Portsmouth Evening News
The Times
Book of words
- The Book of the Walthamstow Pageant, 1930. Walthamstow, 1930.
Copy in the BL.
Other primary published materials
n/a
References in secondary literature
- Nisbet, Sue. Walthamstow School Pageants. Walthamstow, 2002.
Archival holdings connected to pageant
n/a
Sources used in preparation of pageant
n/a
Summary
The Walthamstow Pageant of 1930 was staged to commemorate the granting of a Charter of Borough Incorporation the previous year. It took place indoors at the plush Palace Theatre, an impressive building of polished red brick and bath stone, decorated internally with gilt fittings, velvet hangings, polished floors, and a marble staircase.3 Its claimed novelty came from the fact that it was enacted entirely by children—something that the publicists for the pageant highlighted a lot, despite the fact that many other pageants were also performed by children (for example, the Salisbury Peace Pageant of 1919 and the Stepney Children’s Pageant of 1909). Playing to sell-out audiences over a short period of four days, it was a great success.
The pageant was first suggested by Constance Demain Saunders, a member of the Walthamstow Antiquarian Society (founded in 1914). Saunders believed that the re-enactment of Walthamstow’s history would both reinforce the new status of the Borough as well as instil a sense of pride among its youth.4 Indeed, the Society was vital in highlighting the importance of history to Walthamstow. The new design of the Official Coat of Arms was suggested by the Society, which made sure it encompassed the history and growth of Walthamstow through the Norman, Tudor, Stuart and Victorian years. The gift from Saunders of twelve illuminated panels depicting the town’s history in 1926 also formed the basis of the episodic narrative.5 When it came to creating the pageant, it was a shared endeavour. The chairman of the Society, G.F. Bosworth, made suggestions to the schools on what to perform, while the Borough Librarian, G.E. Roebuck, supplied relevant literature to help the research. The Director of Education for Walthamstow, Sidney Burrell, was elected chairman of the Pageant Committee, and then funds were sought through various committees—the Education Committee and the Higher Education Committee especially.6
Initially, however, support for the pageant in Essex was contested, as a meeting of the Essex Education Committee in August 1930 displayed. The Walthamstow District Sub-Committee recommended that a grant not exceeding £50 be made towards any deficiency incurred by the pageant. The Secondary Education Sub-Committee did ‘not feel justified in recommending a grant’, while the Higher Education Committee did. In the ensuing discussion, it became clear that the unstable condition of the economy and the prospect of favouritism towards Walthamstow would hinder the giving of the grant. A Mr Waters said that the Committee would be departing from a very good precedent if they spent the money of the county in this way. ‘After all, what good does a pageant do?’ he added. The Chairman replied: ‘We considered that it was a perfectly good and honest way of spending money.’ Mr W. Adams moved that the matter be referred back, and also objected to money being spent in this way. ‘We must exercise rigid economy,’ he reasoned. A Mr H.F. Pash supported the amendment, believing that ‘in view of the general unhappy conditions prevailing in the rural districts and in some towns… it would be unfair and inequitable that even such a comparative small sum of £50 should be spent for the purpose suggested’—a statement that brought cries of ‘hear hear’. Mr J. Elliot was even more forthright arguing: ‘This would be a disgraceful gambling undertaking, and I protest against it. It is a case of heads I win, tails you lose, as far as Walthamstow is concerned. It would be a misuse of public money.’ In the end, the grant was only just carried, 16 to 11.7
The time was right for Walthamstow to make a grand spectacle of its history and growth, and a claim to individuality from Essex. The borough had undergone rapid growth in the previous fifty years, due almost entirely to the arrival of the railway in 1870. Formerly a mostly rural retreat, prized due to its proximity to London, it gradually became more urban as the gentry sold their land for development. The population rapidly multiplied from 11092 in 1871 to 95131 in 1901, and peaked at 132972 in 1931.8 Discussions about incorporating Walthamstow into the County of London had begun in 1907; the popular belief was that Walthamstow got little value for the rates it paid to Essex Council and that joining London would decrease costs while improving services. After the delay brought about by the war, 84.4% supported the prospect of a municipal borough charter in 1919. More delays arose when the Privy Council postponed Walthamstow’s petition due to the failure of the Local Authority to supply electric current to factories during the General Strike of 1926. Finally, in 1929, the charter was granted, leading to local celebrations—fireworks, ceremonious ribbon cutting, bands, processions, bunting, speeches, and gifts to schoolchildren commemorating the event.9
As the Chairman of the Pageant Committee, George F Bosworth, declared:
It will serve to remind our Citizens of what we owe to past generations for the general development of the town from its early and crude state to what it is to-day… [it] will revive the memory of Great Men and Women, from the humblest to the highest… . It will serve to show that Walthamstow has not been isolated from the life of the outer world… The Pageant will make the historical associations of Walthamstow better known, especially the historical buildings that still remain in our town. The Pageant will worthily commemorate the Granting of the Charter in 1929, and should stimulate a real civic interest in the young people of Walthamstow. The Pageant is, lastly, an effort that will redound to the credit of Walthamstow, so that its people may love it more and more, and that visitors may come to appreciate the good government of the town, and realise that the future prosperity of Walthamstow is linked up with its historic past.10
The narrative and episodes of the pageant clearly built upon these aims, showing the famous figures associated with the town, such as Benjamin Disraeli and William Morris. In the final ‘Epilogue’ the lesson of the pageant was made explicit. Symbolic figures gathered in the centre of the stage: Religion, Education, Civic Pride, Justice, Fellowship, and Youth. Stood with them were the historical characters of the pageant, such as Ralph de Toni, John Ball, Roger Ascham, and William Morris. Each addressed the audience, giving lessons, from the importance of education to expressing civic pride, and then affixed their family device to a Coat of Arms. A group of children, each bearing a letter, then arranged themselves to represent the words of the Walthamstow Charter. They address the audience and declare:
This notable landmark in Walthamstow’s progress.
Happy augury of the days that shall be.
Encouraging local patriotism.
Welcoming workers for Walthamstow’s welfare.
Advising: Act well your part; there all the honour lies.
Leaving each to decide what he can and will do.
Testifying to the public spirit of many citizens.
Holding up their example to others.
Ascribing honour to meritorious work.
Making the future depend upon us all.
Suggesting social service.
Teaching that there are many different ways of rendering it.
Offering opportunity to all willing to serve.
Warning us that: United we stand, divided we fall.
Coming after many days and patient strivings.
Heralding still greater days to come.
Assuming service, not Self, the rule of life.
Reminding us that Privilege and Responsibility go together.
Telling us to make the achievement of others the stepping-stone to personal effort.
Endeavouring to enlist the interest of all in their town.
Rewarding their labours by the pleasure that comes from well-doing.
While this ending was serious in nature, throughout the pageant there were many moments of humour—often expressed in mildly sexist ‘banter’ between men and women. Overall, the pageant bore its moralising fairly lightly, with the pageant designed as an exercise in simple ‘community building’ and entertainment. The children that took part certainly greatly enjoyed the experience, remembering the colour and pleasure of dressing up, and the thrill and excitement of being on the stage.11 It also evoked ‘the highest praise’ in the press; it is unsurprising, then, that a mere four years later another Walthamstow School Pageant was held along very similar lines.12
Footnotes
- ^ Sue Nisbet, Walthamstow School Pageants (Walthamstow, 2002), 8.
- ^ Ibid.
- ^ Sue Nisbet, Walthamstow School Pageants (Walthamstow, 2002), 30.
- ^ Ibid., 3.
- ^ Ibid., 6.
- ^ Ibid., 6; The Book of the Walthamstow Pageant, 1930 (Walthamstow, 1930), 5.
- ^ ‘Essex Education Committee’, Chelmsford Chronicle, 1 August 1930, 9.
- ^ Nisbet, Walthamstow School Pageants, 3.
- ^ This analysis depends heavily on Nisbet, Walthamstow School Pageants, 3–4.
- ^ The Book of the Walthamstow Pageant, 6.
- ^ Nisbet, Walthamstow School Pageants, 18–19.
- ^ ‘Essex Education Committee’, 9.
How to cite this entry
Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, ‘The Walthamstow Pageant 1930’, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/1232/