1A Camden High Street : An Inchoate History 1900 - 2012

1A Camden High Street 1900 - 2012

Joseph H. Frame

University of Westminster Architecture and Built Environment Graduate Diploma in Architecture Dissertation 4ARC740

1A Camden High Street 1900 - 2012 Joseph H. Frame 12924260

Thank you to my brother for taking me out.

Thank you to my parents for letting me go.

Thank you to my tutors for reading about it.

“For sale: baby shoes, never worn” The Shortest Story Ever Written Ernest Hemingway

“Oh when my love, my darling, You’ve left me here alone, I’ll walk the streets of London Which once seemed all our own.

The vast suburban churches Together we have found: The ones which smelt of gaslight The ones in incense drown’d; I’ll use them now for praying in And not for looking round.

No more the Hackney Empire Shall find us in its stalls When on the lime lit crooner The thankful curtain falls, And soft electric lamplight Reveals the gilded walls.

I will not go to Finsbury Park The putting course to see Nor cross the crowded High Road To Williamsons’ to tea, For these and all the other things Were part of you and me.

I love you, oh my darling, And what I can’t make out Is why since you have left me I’m somehow still about.”

The Cockney Amorist Sir John Betjeman

1A Camden High Street

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contents documenting remembering narrating introducing beginning

7 11 13

the architect don

17

the camden theatre

19

the actress

25 27

the man monkey michael

31

the camden hippodrome

35 39

pearl white the bbc camden theatre

41

the space

45

the comics

47

dusan

49

1972 – 1977

51

matthew

53 57

the love palace the music machine

61

catherine & david

63 65

fire the camden palace

67

the host

71

the space

75 77

the adventure of the peach joseph

79

KOKO

83

the space

87

ending

89

concluding

91

endnotes

97

image credits

103

bibliography

106 1A Camden High Street

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introducing The beginnings of this text lie with the poem The Cockney Amorist by Sir John Betjeman. The skill with which he inscribes architecture and space with personal history inspired me to consider whether an academic text could be approached in a similar fashion. That his love affair is so associated with these briefly mentioned buildings gives an indication of the power of architecture as reference points in our own history, the history of others and that of the city.

The veracity of the events described is immaterial compared to this powerful blend of reality, memory and poetic licence. It is this combination that I will use to construct my own history of a building.

The chosen subject stands at 1 A Camden High Street and since its construction in 1900 has been a theatre, variety hall, cinema, BBC studio and nightclub. Its history provides a record of evolving popular entertainment throughout the 20th century, whilst also being important as one of the few surviving suburban theatres of late 19th century London. Taking my cue from the Hackney Empire in Betjeman’s poem I have selected a public building that would have engendered strong emotional meanings for many, in contrast to ‘objective’ and dispassionate historical recordings. Despite numerous changes in use there is a continuous thread of public entertainment and escapism running through its history, providing a fertile source of memories. This has been a building of landmark events, ranging from the small and personal to the global and cultural, the breadth and scale of which I intend to represent.

In keeping with Betjeman’s poem the building has a personal resonance as the beginning of my own teenage love affair, not with an individual, but with the nightlife of London. As the location for my first experience of clubbing it signifies that initial visceral experience of music, alcohol and people that many encounter at that point in their life. Memories of the nocturnal thrill of being in the city, testing the boundaries of acceptable behaviour and of attire have stayed with me long since my realisation that clubs were not going to transform my existence.

It is part of my history just as I am a part of its; just as the lives of buildings are the lives of people, their story not solely found in physical and documented evidence of times passed but also in the experiences and memories within that are vulnerable to be exaggerated, reinterpreted, misremembered or forgotten. Capturing this dichotomy will be a metalinguistic experiment that sets out to both inform the reader of the building’s history and transport the reader into differing aspects of its life and those of its users.

Mixing different forms of prose in seeking to convey hidden complexities it will draw on sources from the physical, the ephemeral, the personal, 1A Camden High Street

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the newsworthy, and the mundane. This written structure comprises of 4 components: Documenting the history forms the central spine of the dissertation providing a chronological overview of the events and changes in the building since its construction. Alongside, biographies of certain key characters will be used to underline its significance in popular culture.

Remembering is the oral history of some who used to frequent the building.

Their differing experiences give insights as to the actual experience of the interior over a recent time frame. Some memories are vivid, others not, reflecting the different place the building has taken in peoples lives.

Narrating shares my own imaginings of what could have happened in the building through original compositions. Whilst grounded in research these fictions will allow for the exploration of the building in ways beyond a traditional history, illustrating the vast number of possible narratives within.

Prompting is a hypertext giving the reader material from which to imagine background incidents and experiences. Whilst not intended to be read in its entirety, these samples of text are presented chronologically without context to be viewed as micro-narratives incorporating quotes, paper work, memoranda, song lyrics and books amongst other sources. Located on the left hand page in parallel to the main body of text it creates unexpected juxtapositions between times and events.

In short I intend to offer factual accounts, subjective accounts and re-imagined fictional accounts of the building’s history, along with contingent material that will provoke the reader’s own narrative accounts This exploration in representation does not endeavour to reach a conclusion. Rather it will crystallise my current thoughts on the overlapping roles of architecture and what can constitute a ‘true’ history of a building.

By focusing on one building I aim to demonstrate that it has played a role in contrasting narrative arcs of the city, the community and the life of individuals.

This work captures the building that stands today in a focused text, where the changing world outside is neither challenged nor analysed, simply observed through its windows whilst the fictional and personal stories unfold within. It may not be a complete history, but it will be an authentic representation of its life. …

1A Camden High Street

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1. 1A Camden High Street Exterior 2011

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2. 1A Camden High Street Map 2011

beginning The university library is deserted. Next to a window above the courtyard I search for inspiration in dissertations on sci-fi dystopias, Battersea Power Station, and London Underground. I am unsure what type of dissertation I will produce, but I do not expect the library to have anything useful on my chosen subject. I cross the courtyard and leave the building.

The bus to Camden takes 20 minutes, along the Marylebone Road turning north at Warren Street Station. Stepping off at Carreras Cigarette Factory I pass the black cats guarding its entrance and walk round the corner to 1A Camden High Street. At present it is called KOKO, yet I have always known it as The Camden Palace. Since that first night here at the age of 16 I have not given the building much thought, oblivious to its history, only conscious of its place in my own.

It lies at the southernmost end of Camden High Street. The corner site adjoining Crowndale Road opposite Mornington Crescent Underground Station, facing a busy traffic interchange, an arterial route to Zone 1 for this still slightly grubby part of London. It seems that Camden High Street has become even less salubrious since the Kings Cross development forced the junkies and prostitutes north, but perhaps it is the study of architecture making me more aware of my surroundings, or maybe I am just older.

During daytime the building is background, another part of the architectural collage that is London, outwardly denoting the era of its construction whilst giving little hint of the history within. Only at night is the theatricality of the building realised, its lighting producing the same effect as on its opening night over a century ago, a beacon to those searching for an evening’s entertainment. This is not a place of high culture, it is brash, exciting, but, as with most nocturnal enjoyments, daylight returns us to the dirt, the time and the cracks in the reality of life. The promise of escape that the building proffers is a hollow one to me now, almost 10 years since my original journey here. This building is part of my own narrative, and that of countless others who have passed through those doors on the other side of the street. Like the traffic island in front of it, it has been a static point around which the history of London and its inhabitants has surged, leaving their traces on the building.

This is the start of a journey into a section of my own past as I cross the road, approaching the quiet building to see what I can discover inside. ‌

1A Camden High Street 11

prompting 1899 COMPLY strictly with the regulations 250 feet 6 inches should front to these thoroughfares, but to compensate for the difference of a 30 feet a frontage of 75 feet is given to a cul-desac which is about 22 feet in width. We are of the opinion that the site is a good one and may be accepted. 1899 MR Horace appeared on behalf of Mr B. P. Lucas, of the New Bedford Palace of Varieties, in opposition to the recommendation of the Committee, and was heard. Mr Symons appeared on behalf of certain residents in Oakleysquare and the neighbourhood in opposition to the recommendation of the Committee, and was heard. Mr George Elliot appeared on behalf of the applicant in support of the recommendations of the Committee and was heard. At the conclusion of Mr Elliot’s speech, Mr Avory and Mr. Symons replied. Recommendation No. 347 moved. The Council deliberated on the case in private. After debate, Motion put, and declared to be lost. 1899 DEAR Sir, I herewith beg to lay before your The-

1. W. G. R. Sprague

the architect 1865 - 1933 documenting “Yes, everybody says it is a pretty structure, inside and out” W. G. R. Sprague on the Camden Theatre1 Alongside Frank Matchem and C. J. Phipps, William George Robert Sprague (fig. 1) is considered to be one of the great theatre builders active during the boom years of 1880 to 1910, yet remains a relatively unrecognised theatre architect of the Edwardian era.2 He was born in Australia in 1865 to W. A. Sprague and Dolores Drummond, an English actress who found fame on their return to London in 1874.3 Being the great-grandson of renowned Royal Academician Samuel Drummond led to his desire to become a painter, but on the advice of a family friend he was apprenticed at 16 to theatre architect Frank Matchem, alongside Bertie Crewe with whom he would have a productive professional relationship.

At the age of 20 he joined the offices of Walter Emden, an older architect more versed in the ‘correct’ usage of classical architecture, and within 3 years Sprague rose to become his chief assistant.4 It was this dual apprenticeship and his own design skill led to him becoming one of the finest and most successful theatre architects of the time.5 Leaving Emden he set up his own practice on the Strand at the age of 25.6 Early commissions were shared with Bertie Crewe: the Olympic Theatre, the Lincoln Theatre and Camberwell Metropole, all predominantly in the Louis XIV style.7 Incredibly prolific, drawing mainly at his home in Hampton, Sprague was engaged in designing 15 theatres around the country by 1897, with 7 opening all in the same year of 1899. 8 The rise in popularity of the suburban theatre at the time was not so much due to people’s desire for high art, but to be entertained in grand surroundings. It was this rather frivolous attitude that influenced the flamboyant theatre designs typical of the period.9 Working within audience expectations and the accepted traditions, Sprague managed to move away from the early influence of his previous employers to develop his own more restrained style that was considered to be more elegant and tasteful.10 Greatly concerned with exteriors, he felt that theatres should be prominent in the city, and have a specific ‘Free Classic’ character.11The chief characteristic of this style was the juxtaposition of classical elements unencumbered by the architectural grammar that he had mastered during his training:12 “I like the Italian renaissance for the frontages, but modify 1A Camden High Street 13

atre Committee, a tracing showing a light alteration to the Balcony Staircase at the above.

Trusting to receive your kind approval of the same. I am, dear sir, yours faithfully, W. G. R. Sprague. 1900 AS will be seen on the plans approved by the council, these doors are not for the purpose of exit (which is amply provided for elsewhere) the flight of steps being placed there solely for the means of getting scenery in and out. 1900 THAT Mr W. G. R. Sprague be informed that the Council has no objection, so far as its regulations under section 12 of 41 and 42 Vict., cap. 32, are concerned, to the arrangements shown on the plans, dated 18th September, 1900, submitted by him in regard to the slight deviation from the approved plans of the Camden-town Theatre, but that the Council has considered the plan merely for the purpose of such regulations, and that this intimation is given as a matter of courtesy, and must not be deemed to constitute any consent by the Council, nor as in any way derogating from the Council’s powers, under any Act of Parliament or other-

and take liberties that no architect would ever dare so as to get the best effects. I strive for the artistic and useful combined, ever remembering the London climate, which has so much destruction in its floating microbes. I like the classical style but tone down the severity.” 13 Through experience his style continually evolved, exhibiting influences from baroque, French Revolution, Louis XVI, Rococo, Italian, Oriental, Art Nouveau and Roman Classicism.14 His own interest in the Beaux Arts resulted in him travelling to the 1900 Paris Exhibition to study the classical buildings. From this he reaped the benefits of King Edward turning francophilia into a widespread fashion after his royal visit to Paris in 1903.15

Sprague was noted for his enthusiastic adoption of new technologies to improve the experience for both players and audience. He favoured a raked stage and a 2-tiered auditorium, claiming that he could accommodate the maximum number of people comfortably and separate the classes just as effectively as a 3 or 4-tiered theatre, whilst improvements in the engineering of cantilevers allowed him to improve the sighting of the house by removing columns.16 Whilst being incorrectly credited in his obituary as “the first architect to do away with columns supporting the circle”17, he was one of the earliest to make it a standard part of theatre design. His determination to make his buildings fireproof was to both preserve lives and reduce insurance premiums, and he was an early adopter of internal electric lighting.18 The Camden Theatre opened in 1900 and is considered to be one of Sprague’s finest buildings and a special moment in Edwardian theatre design.19 A contemporary report states “the theatre is decidedly a very handsome addition to the architectural beauty of Camden Town, where it will doubtless fill a long felt want.”20 Displaying all of his signature confidence and ingenuity The Camden secured his fame and the commissions for many London theatres in use today, such Wyndham’s, The Strand and The Aldwych. Despite his prodigious skill as a designer, in his declining years he began to consciously “adopt some of the clichés of contemporary cinema design”, most notably with the Penge Empire in 1914.21 The Edwardian construction boom saw 400 theatres being built in the UK over just 30 years, with Sprague designing 33 before his death from heart failure in 1933.22 He has been described as the “the most interesting and versatile theatre architect of the period”23 and that there are still a number of his surviving structures delighting audiences is testament to his architectural form and understanding for theatrical atmosphere.24 As the mood for entertainment influenced the original design, so changing public tastes in the past 100 years can be seen in the history of the Camden Theatre. …

1A Camden High Street 15

wise, or from the powers of the district surveyor, or the local authority, to deal with the buildings under any powers by statute or otherwise vested in them. 1900 IN the first act Mrs. Langtry wears a dress of peach-blossom brocaded with large Madonna lilies, with a belt of pearls and diamonds, and on the shoulder a spray of lilies. Her jewels consist of a diamond aigrette and a diamond chain, said to be the longest ever made in Paris. This costly jewel reaches below the wearer’s knee.

Mrs. Langtry’s dress in the second act is a lovely biscuit-coloured brocade, trimmed with spangled lace, with an epaulette of turquoise. She also wears this dress in the third act, but thrown over it is a flowering coat of pale blue velvet, embroidered in gold and silver, and cream lace, and lined with rose-pink chiffon and satin, with a stole-white collar of ermine. In the fourth act Mrs. Langtry is attired in a tea gown, the entire underskirt being made of silver tissue embroidered with pearls and diamonds, while the overdress s an accordion pleats of

don remembering I will have been working here for 7 years in a few months. I came here a few nights when it was the Camden Palace and loved the building. I have had a few good times here. The building from the outside which is very striking, very unusual, there is nothing else really like it in Camden.

My favourite bit of the building is the tunnel.

But because I hang around here all the time I kind of lose a sense of how great it is. You can see people when they come in for the first time, I have had friends come in for the first time and they always say “wow” when they go down the tunnel into the auditorium.

The terrace existed just as a roof when 2 years ago we began looking at planning permission for opening as a terrace. Obviously this came in with the smoking ban as well because it is an issue for us to have a 1,000 people outside on the street. It is a licensing issue. The council gave us permission last year and it went up. Now it is a lovely feature to the building, especially at night; you know if you are looking down from the high street and see a group of people on the roof all lit up.

You know I think definitely walking into this building as a youngster definitely changed my life.

I wouldn’t have applied for a job here if it had not been the case. I started as a glass collector here, all those years ago, so you know for me personally this building has had a massive, massive impact. I love this building as I well, I have spent so much time here, I know all the nooks and crannies.

It is scary; there are certain bits where I still get a bit scared when I am there alone. It doesn’t matter how long I have been here. It is always right at the top, where I feel a bit weird and I try and get out of there as soon as possible. …

1A Camden High Street 17

muslin-de-soie, with deep, bell-hanging sleeves, and attached to the waist by an orange sash – the sides of the overdress being hung pearls and diamond tassels.

1902 CINDERELLA’S slipper used in the production at the same establishment last year, that cost £100 and was composed of over one thousand Abyssinian diamonds.1902 FIRST Prize, £3, A lad knelt in a hut behind a bench with a candle and a Black and White Budget. An aunt and uncle had wanted the Budget that he had taken.

Each hunted the kitchen, and then taking a light glance in the hut, but didn’t detect the lad that knelt eating a huge cake, and laughed at the dialect tale. Another by the same competitor: - The king and knight went in a gabled cabin, and taking a Black and White Budget each began betting that he edited it. The Knight laughed, and in a twinkle chided the duke. Tableau! - N. DAWSON, 55, Chalsey Road, Brockley, S.E. 1902 HE hangs his head downwards, supported only by his legs; holds himself out at right angles , with one foot and one

1. The Camden Theatre Exterior 1900

the camden theatre 1900 - 1909 documenting “The Camden Theatre was formally opened on Friday by Miss Ellen Terry. The theatre stands at the bottom of the high street Camden Town, opposite the Cobden Statue, and has cost £50,000. The elevation is free renaissance in treatment, is in white stone and has fluted columns and arches, surmounted by a dome and cupola. The auditorium and anterooms are decorated in a scheme of cream and ruby red upholstery. The auditorium, which is constructed with 2 tiers, gives the accommodation of a three-tier theatre by the separation of the dress circle and the balcony, and altogether 3,000 spectators can be seated. By the employment of the cantilever system pillars as a support for the galleries have been avoided: and the construction is fireproof throughout. The lighting is electric; and over the main entrance is an open balcony and promenade.” 25 The Camden Theatre opened on Boxing Day 1900 as a response to the perceived need for ‘serious’ theatre to serve the area.26 Camden already had the Bedford Music Hall, which had been rebuilt only 3 years previously by Sprague’s colleague Bertie Crewe, but the Camden (fig.1) was to be a far more impressive building. Constructed of white stone faced brick, the fashionable and flamboyant ‘Free Classic’ façade was topped by a parapet lined with statues, with the copper dome finished with a gas flambeau, ensuring that it would be “conspicuous by night from a considerable distance.”27 The corner site was highly desirable both for advertising and to reduce the risk of fire and ensured that the new theatre struck “the visitor as a lofty and commanding edifice”28 and as such came to be regarded as the finest theatre in the northern suburbs.29 The Waring & Gillow interior was with moulded plasterworks in the Louis XIV style, yet it was the auditorium that commentators were most enamoured with, especially the cantilevered balconies and the still novel electric lighting. The sumptuous decorations of the auditorium were carried out by Arthur J. Black, the highlight being painted allegorical figures around the chandelier representing the 24 hours and the drop scene called A Tribute to the Dramatic Muse.30 The Standard gave this report: “The rectangular proscenium arch of breche violet marble 1A Camden High Street 19

hand touching the pole; suddenly slides right down the pole, bringing himself up with a jerk. 1902 THE cheapest house in the district for Goods and Repairs.

The GramophoneTalking Machine on Sale or Hire. Newest and Smartest Goods at Popular Prices. A First Class Ladies and Gents Toilet Saloon. Lamps of Newest Design.

1903 SANITATION, lighting, ventilation and exits are perfect. 1903 PROF. Munro’s unique tutor, self instructor, comprehensive, full music size, simple as A. B. C. enables anyone, even without previous knowledge of music, to learn in one week to play the piano or organ beautifully by ear, improvise, vamp and play accompaniments to songs in all keys splendidly, also dance music. 1907 LAUGHTER: “Why, Harry, how much you look like your father,” remarked a visitor to a four yearold. “Yes’m,” answered Harry with an air of resignation,” that’s what everybody says, but I cant help it.” 1907 THE theory of many theatrical cognoscenti, that melodrama was ‘dead in London’ has been signally disproved.

1907 FASHION and Fancies: I shall at all

2. The Camden Theatre The Scarlet Pimpernel Programme 1901

is surmounted by fine bold pediment with recumbent figures in strong relief, and in the middle a face surrounded by the sun’s rays. The architectural treatment of the boxes is particularly original. These form a series of four bays on each side, divided by Corinthian columns with heavily gilded columns and bases, the pedestals of which contain elaborate floral trophies in modelled plaster, and are supported by caryatids representing Pan and other mythological characters.”31 As the site was larger than that usually available in the West End, Sprague was able to arrange especially good sight lines so that from the whole auditorium the conductor and orchestra were in full view, whilst the larger than average stage had a full height for flying scenery.32 The internal planning in the rest of the building was generous: with the dressing rooms divided into compartments, each well lit and ventilated; in place of the normal bare gallery boards there were padded seats; and the corridors were spacious to increase speed of exit in case of fire.33 Claimed to have a capacity of 4,000, with the reality being closer to 3,000,34 the opening was attended by characters from the theatrical world, prominent figures of St Pancras, local councillors and the mayor. For the welcoming act the drop-scene was raised to reveal Ellen Terry on stage amongst a cast of ladies and gentleman as if acting out a scene.35 Following this the orchestra played the national anthem and the managing director, Mr Saunders, asked Terry to say a few words. In response she wished the promoters good luck with their undertaking, expressed her hopes to perform at the theatre and concluded “I now declare this building open”36. After unveiling the bronze medallion of her likeness in the foyer she went on to inspect the “handsomely designed and decorated building” commending the architect’s skill.37 The bronze sculptor was William Frith RA who commented that “it hadn’t quite captured her expressive features” in his depiction of Terry as Portia from The Merchant of Venice38, a role she would return to play in 1904.

Mr Saunders gave a speech thanking Miss Terry, stating that he hoped she would return to the Camden’s stage in the future, and praised Sprague as “most successful in designing theatres in London and the country.”39 Amidst cheers from the audience and orchestral accompaniment Terry left the theatre to its opening production of Cinderella.40 The pantomime ran for the whole of January and its accomplished scenery and mechanical effects meant there was “no better entertainment to be had in North London” according to The Standard41. The Camden Theatre enjoyed success as a location for the touring companies from the West End 1A Camden High Street 21

times be delighted to advise my friends on any matter that they may be in difficulty over. I shall be glad to offer advice on matters of love, courtship and marriage; to give advice on household affairs, dress, the toilet, and answer, I hope effectively.

1908 CHAIRMAN authorised the taking of shorthand notes of the proceedings against Mr. Robert Arthur and others for keeping the Camden Theatre open for music and dancing without a licence from the Council, and the solicitor was instructed to make necessary arrangements. 1908 MR. Wallace. – Is it not possible to have a double licence? Mr. Eliiot. – I have never heard of it; we sometimes hear of jealousy in high places, and whether the Lord Chamberlain would withdraw the licence if the London County Council conferred one I do not know.

1908 WHEN he visited the Camden Theatre of Varieties he saw a music-hall entertainment. One man gave imitations of animals and all sorts of things.1908 REPORT by solicitor stating that the Camden Theatre had recently reopened for entertain-

3. The Camden Theatre Exterior 1905

and established the Managing Director’s safe policy of performing known productions. The programme was varied, changing weekly with plays such as the temperance drama Drink, revivals of Dickens’ Oliver Twist, melodramas and musicals.42 The orchestra had a strong reputation and the dependable programme meant that the house was often full. A well-received performance from 1901 was The Geisha, a musical comedy set in Japan that had opened in 1896 in London and had become an international success, exploiting the public’s fascination with the orient in a similar fashion to the Mikado. The St Pancras Gazette endorsed the lack of experimentation with the programme: “The opera was presented at our beautiful local theatre on a scale of magnificence and completeness which would do credit to a West End Theatre, but this is nothing new at the Camden Theatre, being a continuation of the proprietors stated enterprise, viz. to offer nothing to their patrons but standard work, which has received the unmistakable approval of critics and public”43 The pantomime of that year was Dick Whittington, starring Lily Elsie in a production with “a plentiful supply of fun and lively dances, scenery that is tasteful and appetising, and dresses that are handsome and artistic.”44 The production was revived 5 years later, when the illuminated signage would prompt a visit from the London fire brigade.45 Part of the pantomime season of 1902 was a character called The Man-Monkey played by Mr James Dubois, who would entertain the audience with gymnastic feats imitating a monkey in a costume detailed down to a set of false teeth, with a contemporary account stating: “His assumption of the appearance and the antics of a monkey is one of the best things I have seen in animal impersonations.”46 In 1903 Ellen Terry returned to perform Much Ado about Nothing with her son Gordon Craig as producer and designer, with the production again praised by The Gazette: “he has contrived some beautiful stage pictures, and with one scene in particular has obtained the effects of height and distance of a vast cathedral.”47 At the end of 1903 Mr Saunders left the Camden in the hands of Frank Curzon to manage the Aldwych, another Sprague Theatre.48 In the years that followed the rising popularity of Variety led to a decline in the fortunes of the Camden Theatre. It was not unusual for music halls to be prosecuted for staging unlicensed ‘legitimate drama’, yet in 1908 in a case that was the first of its kind, the proprietors of the Bedford Music Hall initiated proceedings against the manager of The Camden for opening the theatre as a music hall with unlicensed music and dancing.49 Theatre was 1A Camden High Street 23

ments consisting of a cinematograph display accompanied by an electric piano. 1908 REPORT by Chief Officer of the Fire Brigade as to a cinematograph fire which occurred at the Camden Theatre on 14th November.

1908 PETITION from the mayor, alderman and councillors of the Metropolitan Borough of St. Pancras, praying the Council not to grant a music and dancing licence in respect of the Camden Theatre. 1908 THAT the sale of intoxicating drink is not necessary or desirable in a place of public entertainment, and the neighbourhood is well supplied with licences for the sale of intoxicating liquor, therefore the licence should only be granted on the condition that no intoxicating drink be sold or consumed on the premises. Mr George Elliot appeared on behalf of the applicant in support of the recommendation of the Committee, and was heard. 1910 AT one time, I myself was of the opinion that the theatre and the music-hall should be kept apart, but the public have shown that they would prefer it otherwise, and I am

1. Ellen Terry

licensed by the Lord Chamberlain and defined as; “every tragedy, comedy, farce, ballet, burletta, interlude, melodrama, pantomime or any other entertainment of the stage”50, whilst any other performance was to be licensed by the Theatres Sub-Committee of London County Council. The Camden’s manager, Robert Arthur, was fined £10, and the London County Council continued to investigate the Camden’s “cinematograph display combined with music, apparently from an electric piano.”51 Despite the manager’s protests that the electric piano was not creating music, it was found to require a separate music licence, resulting in a forty-shilling fine. Both these incidents were cited in a 1910 lecture given by Mr Henry Arthur Jones criticising the confusion of licensing regulations and calling for “one licence for all.”52 …

the actress 1847 - 1928 documenting “Look at me, 61 and still playing one night stands” 53 Ellen Terry Despite flouting the strict moral code of the era, Ellen Terry (fig. 1) was the most acclaimed, loved and highly paid actress of the late 19th Century.54 At the opening of the Camden Theatre in 1900 she was at the peak of her popularity as she approached the end of a 20-year partnership with Henry Irving at the Lyceum that had cemented her reputation as the finest Shakespearean actress of the time.55 Born in Coventry to actor parents Benjamin and Sarah, her early career in London was highly successful, with Lewis Carroll describing her ‘Puck’ as “the most perfectly graceful fairy I have ever seen.”56 Terry and her sister Kate, also a successful actress, were socially sought after, leading them to sit for the artist George Frederick Watts. The painter was seduced by Terry’s beauty, and she his elegant and artistic lifestyle where “all the women were graceful and all the men gifted.”57 She retired from the stage at 17 to marry Watts, but the union lasted only 10 months, due in part to the 30 year age difference. Watts’ portraits along with their brief marriage meant Terry “became a cult figure for poets and painters of the later Pre-Raphaelite and Aesthetic movements, including Oscar Wilde.”58 Returning to her parents’ house she received £300 annually from Watts “so long as she lead a chaste life”, and as a result she was free from a financial incentive to act, yet she returned to the stage in 1886. This ended the next year as she moved to the Hertfordshire countryside to embark 1A Camden High Street 25

now heartily in agreement with the recommendation of one licence. 1915 THE opportunity of seeing these pictures at practically ones own home is a great privilege and occurs once in a lifetime. 1927 A proposal has been received to keep 4 gallons of petroleum spirit in the tank of an internal combustion engine housed in a shelter constructed of incombustible material on the roof of the above-mentioned cinema. The tank is to be placed outside the shelter and the spirit conveyed to the carburettor through metal piping fitted with stopcocks. 1928 HE is a dynamic personality, and his only recreation is work 1930 DEFECTIVE ceiling to stalls exit staircase. Circle seats do not tip up automatically to maintain seat ways. Walls and ceiling of auditorium need wet cleaning.

Irregular fastenings on exit doors. Behind north block of seats 16. Behind south block of seats 7. From rear row of seats to central exit 8. 1940 ELECTRIC St. Pancras Borough Council, 440/220 volts D. C., 3-wire. F. O. H. intake adjoins men’s lavatory in put. R. O. H. intake in basement below

on a 6-year affair with progressive architect Edward William Goodwin, with whom she had 2 illegitimate children. 59 Her secretive disappearance and the scandalous domestic situation led to a break with her family and, as her relationship to Goodwin began to deteriorate, financial troubles forced Terry to return to the London stage in 1874.60 Her “undiminished brightness and buoyancy of style”61 led to Henry Irving offering her a contract in 1878 at the Lyceum theatre, where she remained for 24 widely successful years. During this time she had another brief marriage to actor Charles Wardell and an affair with Irving himself.62 After leaving the Lyceum her career continued and on June 12th 1906 a gala performance celebrating Ellen Terry and her work was staged at Theatre Royal Drury Lane where the cast of the Much Ado scene was entirely made up of members of the Terry acting family.63 She latterly toured America lecturing on Shakespeare’s heroines, starred in a number of films and performed at benefits during World War 1.64 In 1925 she was the second actress to made a Dame Grand Cross of the British Empire, before dying July 1928 from a cerebral hemorrhage.65 Acting until her final years she continued to enrapture audiences: “The vision of this fragile creature, far advanced in years, yet somehow not old, tremulously gliding accross the stage with loving arms outstretched, all earthiness purged away by time, the spirit of beauty, rather than beauty itself, filled the spectators with a strange awe.”66 …

the man monkey narrating The Man Monkey perches atop the copper dome, his blackened hands clasping the lantern for support on the icy surface. From this vantage point he commands a clear view of the city, with soft gaslight on the street contrasting harshly with the electric flickering below. His preferred company are the statues dispersed across the roof; their blank features demanded nothing and gave him nothing. He climbs down the stone parapet, hunching against the cold zephyrs flowing about his body that even the covering of fur could do little to repel. His small eyes peering between the suffocating snout and the thick fringe of hair focus on the statue positioned below.

The statue is the only stationary figure on the streets, save a pair of theatregoers who stand staring at the building on which he sits. He leaps back onto the freezing 1A Camden High Street 27

stage. F. O. H. and R. O. H. each balanced on 3 –wire service. 4 electric pendants, 2 eclectic brackets, 3 gas brackets, 4 exits signs. 1943 CINEMA is safe for the reception of the public.

1944 WE have noticed that one can hear the rumble of trains from the tube railway in the theatre, but we do not anticipate that this is sufficient to interfere with broadcasting. 1944 THESE buildings were suggested to us by the Commissioners of Crown Lands. 1945 NO knowledge whether the arrangements, which were considered safe at the time, are being maintained.

1944 I owe you an apology for being late, due to three telephone calls whilst i was dressing, two of them trunk calls, and then a long wait for a Mornington Crescent train at Camden Town. So sorry.

1945 CORPORATION is to pay for fire insurance. Corporation is to rewire theatre. Corporation is to install a woollen black cloth at the rear of the stage. Corporation is responsible for all interior fixtures and fittings. Landlords are responsible for the roof. Landlords have to clean the building. Theatre is

Matthew Frame 2012

dome and scrambles to the lantern where the flambeau burns fiercely. Contorting his body he manages to hoist himself close enough to glean some warmth from the flames. Picking flakes of rust from his toes he cares little that he could be easily sighted from the surrounding buildings. He has endured the elements enough for one night and slides back down to the parapet. Using a pediment for purchase he swings himself out into the centre bay of the main frontage and into the window from which he had left the building. So smooth was this manoeuvre that the couple inspecting the building would have barely noticed his hirsute form flitting across the stucco.

Safely ensconced in the interior he sits briefly to acclimatise. Manoeuvring along on all fours he navigates the corridors, his still frozen feet sinking into the carpet. Easing open the door to the gallery he is met by the stench of tobacco, topped up nightly by fresh billows of smoke from the audience. Leaping through the banks of padded benches, tail whipping behind him as he propels himself into air to land atop a private box, taking care not to slip from its shell-like roof, he clambers onward, scratching gold from the plasterwork as he nears the marble pediment high above the stage. Once again he rests amongst carved figures. Across the auditorium the sun burner chandelier hangs from the domed ceiling, tails of smoke curling about it Then he shuffles to the edge of the proscenium arch and drops down to alight once again on the stage. Standing to consider some of the crumbs of the bun he had consumed some hours previously, he gathers them up and swallows greedily.

He has yet to find any thing more substantial on his rounds of the building, there normally being leftover foodstuffs beneath the seats. He approaches one of the caryatids at the edge of the stalls and uses it to ascend to the confines of a box.

Through the double doors, out of the auditorium and in to the crush room, his cowed figure more out of place in this sumptuous environment than in the darkness of the corridors. Ambling over to the fireplace he straightens up to look in the circular mirror atop the marble mantelpiece. He removes his papier-mâché snout to reveal the long nose beneath and smears away the makeup form his brow.

The close-cropped hair glistens with sweat from the night’s physical exertions.

Smoothing the droopy moustache he turns away, his simian gait now slowly transforming into that of a man.

He crosses to the opposite side of the room and passes through the doors to the final destination of this habitual tour of the building. Wiping his greasepainted hands across the silk wall panels he makes his way to the bar and pours a glass of brandy. Reclining in a velvet chair he surveys the roof terrace and awaits the first glimmers of the grey sunrise. …

1A Camden High Street 29

not to be used a place of public entertainment to which they charge admission but only for broadcasting entertainment. No dancing is acceptable except on the stage. 1945 VENTILATION and heating: £7,000. Other building work: £5,000. Pant and Wiring: £6,000.

1945 REFERRING to your memo of 4th instant i have looked into the legal position and i am afraid that the Borough’s Treasurer is correct in his contentions that rates are payable.1947 COULD I be informed of just what has been approved? As I really do know what I want, and it would appear that the BBC is trying to arrange what I want, it seems a pity my expert advice is not called in when you get down to the final details. 1947 AS I said at the last meeting, the discussions on the Camden Hippodrome have continued long enough. This indecision is demoralising to the Theatre Orchestra and its conductor. 1951 ACT I Introduction BEGGAR: If poverty be a title to poetry, I am sure nobody can dispute mine. I own myself of the company of beggars; and I make one at

michael remembering It was different to the sort of club I’d been used to before, because the clubs we had been to were all basements in Dean Street or Holborn. It felt very luxurious, although it probably wasn’t, things were grim in those days. People were fantastic and they made a real fucking effort, but the places you went to clubs, they were crap.

It was the first time that I saw the segregation in clubs of the really trendy and the distinctly ordinary. I mean at Blitz you just didn’t get in the fucking door if you didn’t look right. But at this place they let more people in and kids got a view of what the fashion, aware suddenly that ‘where’ you were in the club meant something. The people who knew what was what were up high looking over balconies with the plebs below on the main floor being commented upon.

The building itself I have to say I can’t remember, it looked like a big Edwardian cinema but then it was just at the time when I was starting to take acid, so I it could have been the most dingy shit-hole in the world, but to me it was fairly spectacular. The complexity of the architecture is what I remember mostly; the first time I went my mates and I kept losing each other. You would arrange to meet a girl somewhere later and you would spend the rest of the evening unable to find her. There was one time I arranged to meet someone, couldn’t find her and went home with someone else, so it had its uses, as I didn’t much like the first girl I had arranged to meet. And then I had a perfectly reasonable excuse; people had seen me in the club looking for a while.

The corridors were the best places, being in the big space was not as thrilling as being in the nooks and crannies.

There was an over-arching sense of luxury and a kind of majesty compared to dirty little basements in Soho. The places that we had inherited before would 1A Camden High Street 31

their weekly festivals at St. Giles’s. I have a small yearly salary for my catches, and am welcome to a dinner there whenever I please, which is more than most poets can say.

PLAYER: As we live by the Muses, it is but gratitude in us to encourage poetical merit wherever we find it. The Muses, contrary to all other ladies, pay no distinction to dress, and never partially mistake the pertness of embroidery for wit, nor the modesty of want for dullness. Be the author who he will, we push his play as far as it will go. So, though you are in want, I wish you success heartily.

BEGGAR: This piece I own was originally writ for the celebrating the marriage of James Chanter and Moll Lay, two most excellent balladsingers. I have introduced a prisonscene, which the ladies always reckon charmingly pathetic.

As to the parts, I have observed such a nice impartiality to our two ladies that it is impossible for either of them to take offence. I hope I may be forgiven, that I have not made my opera throughout unnatural, like those in vogue; for I have no recitative; excepting this, it

have the tail end of new wave gigs, they were pretty shit, or strip clubs. With the Club for Heroes we used to go earlier and there would always be the girls finishing their stripping routines and they’d see, as far as they were concerned, a bunch of poofters wandering in. All strange looking boys with make up on, but they’d carry on with their routines because they couldn’t be arsed to stop. They were pretty ropey old boilers though, not much to look at. They never had that at Camden; it was a far more salubrious joint. There were always blokes in the girls’ toilets and always girls in the blokes’ toilets; there was a lot of transvestisms, and quite a lot of ambiguity between the sexes, so you’d often come into the blokes’ toilets and there would be half a dozen women, or apparently women, backcombing their hair and putting on makeup whilst you were trying to have a slash. But that was perfectly reasonable at the time I think. The whole point was to challenge the machismo of the arses who came from the suburbs, it freaked them out, scared them off.

There were strong door policies, then inside it was this sort of glistening world with guys walking around as 40s jazz musicians, people with peacock hats, people dressed as pirates, savages or something.

It was like a 1930’s carnival or fancy dress, fucking brilliant. Sometimes you could tell the wankers as they were wearing the wrong fucking shoes. Incredibly snotty, but it was designed to be so.

We were taking Purple Haze, a re-work of the 70s recipe apparently, it was good and powerful as it had a lot of speed, but also packed out with strychnine.

So you were up for 48 hours or something like that, and E was coming in just at the end of my time in clubs and I thought it was rubbish. Towards the end people started wearing Buffalo clothes and stuff, which was great at the time. A lot of people looked really good but gradually people just got into the habit of being comfortable because the drugs were more gruelling than the dancing. I think at the Blitz a lot of people were stony cold sober, or just fuelled with 1A Camden High Street 33

must be allowed an opera in all its forms. The piece indeed hath been heretofore frequently represented by ourselves, so that I cannot too often acknowledge your charity in bringing it now on the stage.

PLAYER: But I see it is time for us to withdraw; the actors are preparing to begin. Play away the Overture.

1951 THE total effect of the studio and entrance are quite sordid. 1952 ON making enquiries on my return I was told that the Camden, for which i had specifically asked, was unavailable. 1952 SECOMBE: There!

Scottish Inspector (Sellers): You fool, you’ve wiped all the dust and fingerprints off.Why? Sercombe: I’m just house-proud, that’s all. Ooh, [unintelligible] hmmm... Inspector, this is obviously the work of that sinister criminal, Lo-Hing Ding.

Secombe: Let’s try this door here.

FX: [Door opening] Secombe: Ah, hello sir... Excuse me. Lo-Hing Ding (Bentine): [Unintelligible Chinese rantings] Secombe: Inspector? Inspector: Yes? Secombe: This man is Chinese. Inspector:

1. The Camden Hippodrome Exterior

amphetamines to stay up late. The consumption of vast amounts of Class A drugs probably did for that club scene that I knew, really, because it was dancing and getting off your tits to a certain extent but dressing up as well.

And you know we did not have any fucking money.

It was quite dangerous getting home; you needed to be on the ball getting home and you would be jumped pretty much anywhere in London on your way back. I still have scars on the back of my head from taking a kicking from skinheads and stuff. Little ponce wandering around in pegged trousers and makeup; probably I deserved a kicking... …

the camden hippodrome 1909 - 1945 documenting The 1908 prosecution precipitated the Camden Theatre transforming into the Camden Hippodrome, Home To Variety (fig. 1) in December 1909, becoming part of the music-hall syndicate with regular performances from Charlie Chaplin.67 The licence application was opposed by the manager of the Bedford, Mr B. P. Lucas, on grounds ranging from the structural stability of the building to pointing out helpfully that the local area was already well provided for by music halls. Along with his protest, the minutes of the Theatre and Music Hall Sub-Committee note the opposition of local clergymen and residents to the undesirable nature of music halls and the sale of alcohol on the premises.68 An application for a licence for a cinematograph exhibition on the premises came as early as 1911, but it did not fully become a cinema until Bicolour Picture Theatre Ltd purchased it in January 1913.69 In 1915 the management procured the first public screening of Scott’s Adventures in the Antarctic following its Royal Premiere at the Regent’s Street Philharmonia Hall. The 4 daily showings were sold out and King George was quoted to say that “pictures like these foster the spirit of pluck and adventure.”70 To counter the expanding competition from the numerous cinemas in the area the 1920s saw up to 7 live acts supporting the film presentations, whilst radiators and an electric ‘clavochester’ organ were installed by 1923.71 In 1928 “one of the most romantic figures in the theatrical world” purchased a controlling interest in 9 London theatres, including the 1A Camden High Street 35

How do you know?

Secombe: You can tell by his eyes. Inspector: His eyes?

Secombe: Yes. Didn’t you hear the way he pronounced them? But don’t worry, Inspector, I speak the language.

[Babbles in Chinese] Lo-Hing: [Babbles back] Secombe: Alright, then, Friday.

And don’t forget to starch the collars.

Inspector: Wait a minute, Mr. Secombe, this man is a murderer, Lo-Hing, eh, Ding. Secombe: What!?

You’ll hing, for this, Lo-Hang. Now, you can’t get away with this! I’ll get you as sure as... aah! ooh!... as sure as... aah! ooh! ... as sure as aah! ooh! ooh!... as sure as I’m tied to this barrel of gunpowder. Oh, well, that’s show business for you. Inspector: Secombe, look out. He’s lighting a fuse. He’s going to blow us up. Secombe: What? LoHing, how long does this fuse take to burn? Tell me, man, quickly, howlong?

Lo-Hing: Slixty sleconds. Secombe: Sixty seconds? Thank heavens for that. Then I’ve just got time. Inspector: What for? Secombe: For one chorus of... [Sings “Longing for you”] FX: [Explo-

Hippodrome.72 The South African millionaire, Mr. Schlesinger, who had bought all the cinemas and theatres of note in that country, had expanded his ambitions globally.73 The new United Picture Theatres had their headquarters in the Hippodrome, but they fell foul of the fire regulations and in 1929 the unsafe offices on the second floor had to be removed.74 The building continued to be altered to accommodate technology: plans were presented in 1930 for the installation of talking pictures with changes to the ‘bio-box’ and rewinding rooms in the old gallery saloon75. Followed in 1931 by the reconstruction of the operating box, with windows on the south elevation “adapted to smaller openings” and the “battery room on the second floor enlarged.”76 Purchased by Gaumont British Pictures in 1933 the Hippodrome was re-wired for sound, and on January 6th played host to over 1,000 children with a free performance accompanied with bags of fruit and sweets. By March the LCC Education Department had begun to hire it for educational screenings, such as the The Life Story of a Swallow Tail Butterfly.77 Programmes would be shown continuously throughout the day, with the main feature being supported by serials and news reports, meaning that 4 hours could be easily passed within. Adverts for local business would be simple slides and during the interval the organ would play popular songs with the words projected for audience participation. Playing a vital role in the life of the locals, the cinema was a place to be taken out of yourself, whilst at the weekend queues would be snaking out of the door down Crowndale Road.78 After the final screening of the night there would once again be variety shows with up to 200 people crowding the back of the circle to watch the performances.

At the outbreak of World War 2 the grandeur of the building was fading and despite the alterations was considerably below modern standards when it closed on 14th September 1940.79 “I regret to inform you that my company were compelled by pressure of circumstances to close the theatre on Saturday the 14th instant. You will be notified when it is found possible to re-open.” 79.1 …

1A Camden High Street 37

sion] 1952 SHE was then only seventeen years of age. Her hit song was ‘You Alone’. 1953 “A TALE OF TWO CITIES” Madam Defarge – Patricia Neway. Mr Defarge – Norman Lumsden.

Lucie Manette – April Canelo. Dr. Manette – Jad van der Gueht. 1954 I am appreciative of Variety Department’s co-operation in this matter. 1955 CAMDEN Hippodrome. Pitt Bar – Music Library. Dress Circle Bar – No. 1 Rehersal Room.

Manager’s Office – (suitable office as for one person.)

Dressing Room No. 7 – 13 x 12.5 feet.

Dressing Room No. 10 8.5 x 10.5 feet.

1961 IN consideration of the rent hereinafter reserved and covenants and conditions hereinafter contained and on the part of the Tenant to be observed and performed the Landlord hereby DEMISES unto Tenant ALL THAT piece of land situate in and having a frontage to High Street and Crowndale Road Camden Town in the Parish of St. Pancras in the County of London edged red on the plan annexed hereto together with the buildings thereon known for some years past by

Matthew Frame 2012

pearl white narrating He hurried down the street behind the cinema in the gathering dark. Taking a few minutes to catch his breath he stood watching a group of boys in a huddle, obviously plotting something. He would have liked to witness the action had he not been in such a hurry. Turning the corner he was almost knocked down by the boy delivering sheet music bursting from the stage door in his rush to get to the next cinema. Joining the back to the queue he could feel the excitement welling inside him. He had been keeping his romance private, as he was also worried of people talking, she being so much younger than he, and an American at that. Their only assignations were in the cinema, her coming to join him at his seat once the main picture had begun. This clandestine arrangement was not completely to his liking but they enjoyed even this meagre time together.

He had considered going up to The Hampstead to meet the girl, their double seats for courting couples were tempting, but being too forward was not the done thing for man of his age. He was also inclined to think that the ornate surroundings of this cinema were a compliment to the girl’s delicate features. Pre occupied he had to be prompted by another to step forward to the ticket booth, where he purchased two of the more expensive seats in the circle and asked to leave one for his companion who had yet to arrive. When he gave the name the cashier looked at him askance, but duly noted the name on the ticket.

Worried that he was late for the programme he pushed through the crowd standing at the entrance, only to find that there was still a travelogue being shown in the auditorium. The series of slides depicting the journey to Victoria Falls had a rather feeble accompaniment from the violin and piano drowned out by the noisier occupants of the stalls. Trying to remain calm as his stomach started to knot in anticipation he bought some gum as the travelogue came to an. As the screen flickered back to life she appeared across the auditorium, her dark hair falling in curls about her face. The light emanating from her skin illuminated the deep lines of his own face, the white hair, slicked back in preparation for the evening, thinning to nothing as it reached his crown. Pearl White stood before him, as mute as always, her eyes searching the auditorium. His own eyes dimmed as he relaxed into the pleasure of her company; still amazed at his good fortune to have a girl such as this, yet it was almost unbearable to watch her perform such dangerous stunts. There he sat; protecting the next seat in case Ms. White decided to come from behind the screen sit with him, knowing that once the evening was over he would endure another week without her. ‌

1A Camden High Street 39

the name of The Hippodrome Camden Town TOGETHER with all the fixtures and fittings furniture plant equipment and effects now in or about belonging to the theatre which are briefly specified in an inventory.

1962 THE council’s decision upon your application will be duly communicated to you by the Superintending architect.

1963 TEMPORARY metal flue pipe.

Consent is hereby given for and on behalf of the council under section 30 of the London Building Acts 1930. 1965 INJURY to leg. Fell in theatre. 1965 RESEARCH department reverberation measurements show that there is a substantial drop in the reverberation time of the stage area and as this is in the immediate neighbourhood of the orchestra its effect is subjectively to them greater than the measurement might indicate in itself. 1965 I am most grateful for the time, trouble and thought which has been put into all this for us. 1966 IT was agreed that the Camden had the following principal characteristics, a combination evidently unique among BBC studios:

1. Planning application for illuminated signage Detail 1964

2. The Rolling Stones The Camden Theatre Album Cover 1964 Track Listing 01. Route 66 02. Cops And Robbers 03. You Better Move On 04. Mona (I Need You)

the bbc camden theatre 1945 - 1972 documenting Remaining empty and undamaged during World War 2 it was as early as 1944 that the BBC began to investigate the acquisition of the Camden Hippodrome for use as a studio. The building survives today because the Corporation occupied it in an era when cinemas and theatres were routinely demolished.80 Gaumont British Picture Corporation wanted to retain the freehold to ensure it could not open as a cinema to compete with their own operating nearby, whilst the council was unsure of the licences required or how they would be involved in the event of a “disaster in the building”81. In June of 1945 the council approved the lease and concluded that as the audience was invited the space was simply a recording studio, not requiring public performance licences. The BBC Architects Department completed an exhaustive schedule of condition within 2 years, for whilst it was structurally sound the years of neglect were evidenced throughout the building.82 Extensive alterations were carried out to adapt the building for sound broadcasting: seats were removed at stall and balcony level; a narrator’s room added; on the north façade windows were bricked for sound insulation from the traffic.83 New acoustic equipment, heating, hot water and ventilation systems are also installed and the scenery doors bricked up.84 Through its time as the BBC Camden Theatre the majority of programmes were musical, yet its versatility as a studio is reflected through its varied output over almost 3 decades. Between 1951 and 1960 The Goon Show was recorded there, with The Last Goon Show Ever airing in 1972. Their descendants Monty Python recorded the Monty Python’s Flying Circus Album in 1970. Many operas were produced during the 1950s: December 1952 alone saw The Beggars Opera, Bluebeards Castle, Le Docteur Miracle and the libretto A Tale of Two Cities performed.85 The lease was renewed in 1961 with rent at £9,500 and in 1964 a 26-foot ‘BBC Camden Theatre’ sign was erected86 (fig.

1). Throughout the 60s musical output continued with Light Up the Night and Friday Night is Music Night. Mike Raven hosted The Rhythm and Blues Show, a weekly popular music programme, with the Rolling Stones’ performance in 1964 recorded and released as the album The Rolling Stones at The Camden Theatre.87 (fig. 2) By 1966 it was home to Opera, Light Music, Popular Music and the orchestras, with the complex booking schedule giving precedence to the Opera Department.88 Attempting to adapt the structure presented the BBC with problems, whilst employee dissatisfaction at its location, size, acoustics and various other issues are well documented. The raking of the stage was deemed so unsuitable 1A Camden High Street 41

1. Stage area of about 3,000 sq. ft., suitable for large orchestral and choral forces. 2. Acoustic properties that are more adequate for opera and large light music productions than those of any BBC studio other than perhaps MV1. 3 Capacity for an audience of 550.

4. Extensive technical facilities for productions in the light and popular music fields, including 40 microphone points and a 36-channel Pye desk with frequency modulator on all channels.

1967 THANK you for your note of 17th January following that written by SSM PM/LE on 13th January. The point you are making is one of semantics, and I suggest that further study will show the minutes to be correct as they stand.

1967 THIS gives me no consolation.

1967 WE all agree that the Camden has unique qualities.1968 I should be grateful for any help that you may be able to extend in seeing that the appearance is not marred in any way.

This mainly happens through the careless disposal of cigarette ends on the floor itself and certain musicians; although this is not confined to the concert or-

The only such console in BBC Radio in the 1960’s.

main entrance

control room

3. Pye Mixing Console Control Room BBC Camden Theatre 1965

stage 4. BBC Camden Theatre Long section

for piano soloists as to make those “playing a nervous hazard”89 and was remedied by a wedge shaped rostrum. One of the most evocative concerns comes from 1951: “The staircase to the studio is of stone and very narrow. I cannot see a nervous cellist negotiating the stairs, cello in hand, in safety; nor can I visualise their effect on our outside Listening Panel. The effect of the studio is sordid. Audition nerves are quite bad enough without our doing everything possible to make the auditionee even more uncomfortable.” 90 The blurred distinction as to the required licences continued to be an issue: an ambulance report to the Theatres Section of the LCC describes attending to a man who had injured his leg after a fall and notes that “these premises are not licensed…for music and dancing as used by the BBC”91; whilst an internal memo from 1968 raises the issue of the prevalence of falls of those approaching to the stage. Despite these issues the uniqueness of the building made it a popular venue for both audiences and performers, hence the constant struggles over scheduling as each department felt the Camden was the only suitable staging for their productions. During plans to expand the number of sound recording studios in the late 1960s production and planning executives hoped to replicate elements of this character in other London venues.92 Unfortunately the popularity of the theatre could not counter local redevelopment as the freehold was purchased by Joe Levy’s company Stock Conversion Ltd in 1971.93 Stock Conversion Ltd had constructed the Euston Centre in the late 60’s, the result of 315 separate property deals consolidated into the new Euston Station and the surrounding tower blocks. Levy saw the rows of run down Georgian terraces as “a derelict bloody den of disease”, but their destruction along with the grade II listed station and the Euston Arch prompted protests from conservationists, including Sir John Betjeman, over the development of London.94 The success of the Euston Centre allowed the company to continue its practices of purchasing freeholds, increasing rents to force out inhabitants for subsequent redevelopment; with Levy becoming a controversial figure in the 1970s, accused of the “carve-up of Camden High Street.”95 This had been the intention for the valuable corner site of the Camden Theatre; for whilst there were negotiations over a new lease at an increased rent the Corporation could not justify the expense and was left with no option but to vacate the building in 1972. The Radio Orchestra moved to the BBC’s Maida Vale Studio whilst other programmes transferred to the Golders Green Hippodrome, another Edwardian theatre that had been converted to a recording studio in 1969.96 …

1A Camden High Street 43

chestra, appear to be reluctant to use plentiful supply of ash buckets which are provided. 1968 OFFICE requirements. 2 tables. 1 office chair. 1 typewriter chair. 1 typewriter. 2-drawer filing cabinet. Telephone. Hat stand.

1969 THANK you for informing me that an order has been placed to lay ‘Doricon’ lino on the floor area between the stage and existing carpet. 1969 I have received your memo concerning Alan Owen’s complaint and am sorry that it had not first come direct to you.

We have already spoken about this on the telephone when I agreed to let you have chapter and verse about occasions when we have been held up at rehearsals and recordings for want of an electrician in attendance. 1971 WAS it right to house all the archives together?

1972 THEATRE is safe 1972 WE have heard from an elderly reader, now living in Toronto, who writes to say that he has read with ‘some distress’ our recent column dealing with the Camden Theatre.1972 NOTICE is hereby given that it appears to the Greater London

north

manager’s office

void over stage

0. Ground Floor Plan Dress Circle Level

main entrance

stalls seating removed

control room

stage

-1. Basement Plan Stalls Level

the space 1972 documenting Plans of the theatre as used by the BBC

void over stage

2. Second Floor Plan Gallery Level

projection room

terrace

void over stage

restuarant

1. First Floor Plan Balcony Level

1A Camden High Street 45

Council that the building described in the schedule hereto is of special architectural or historic interest and that the Authority have requested the Secretary of State for the Environment to consider including the building in a list compiled or approved under Section 32 of the Town and Country Planning Act 1962. 1973 THIS building is structurally sound, other than the need for relatively minor repairs. However, to a very great extent the fittings, fixtures, and, in particular, the safety equipment, have either been allowed to deteriorate to the point where they will have to be totally replaced, or they have been removed by previous tenants; and even worse, the BBC has actually installed emergency lighting and ventilation that is quite inappropriate and unacceptable. Furniture, Fittings and equipment; ÂŁ1,500. I sincerely trust that if this project goes forward, with Camden Council involvement, that these companies will be invited to tender.

1973 BUT now the building and all its past glory has been bought. 1973 THERE are to be a

1. The Goons Original Lineup 1951

the comics 1951 - 1960 documenting “I must do something so they will put me in hospital. I will kill Peter Sellers.”97 Spike Milligan The Goon Show was a defining moment in the history of British comedy, its surreal humour and innovative use of special effects having a major global influence. Premiering in May 1951 from the BBC Camden Theatre, listener numbers grew from 400,000 to nearly two million by the seventeenth show.

Such was its popularity and pervasiveness that many invented words and phrases passed into everyday language, the most enduring being lurgi.98 The original Goons lineup of Spike Milligan, Harry Secombe, Eric Sykes and Michael Bentine (fig. 1) had all served during World War 2, where they had gained experience as part of the morale-boosting Central Pool of Artists.

Their war experience imbued them shared skepticism of the competence of authority99 and the desire to pursue careers in entertainment; Spike Milligan said “it seemed silly to go on being serious after 5 very serious years.”100 Milligan and Secombe became friends when both serving in the Royal Artillery, whilst they met Sellers at the Hackney Empire and Bentine at Grafton’s public house.

It was around Grafton’s, with its sympathetic landlord Jimmy Grafton, that the group first formed in the late 40s and took to recording their conversations.101 Despite each finding varying degrees of individual success at working within the BBC, it was not until 1950 that any attempts were made to get The Goon Show on the air. Grafton used his wartime contacts within the BBC to get a pilot show commissioned, which despite its initial rejection by planners was supported to a first series by producer Pat Dixon, know as a ‘radical’ within the corporation.102 Although there were continual disagreements with the BBC, where many employees did not understand the comedy, a second series was commissioned. Despite Bentine leaving the show during this second series and Milligan suffering a nervous breakdown, the popularity of the show increased greatly.

The format of the early broadcasts was in keeping with the variety requirements of the BBC’s “light entertainment” template, with the scripts structured in three acts, separated by musical interludes.103 This comedy-variety format endured into the later series with a reduction in the number of musical interludes. Plots were usually surreal journeys through old standbys such as spy drama, murder mystery and wartime heroics, whilst satirising contemporary life with titles like The Toothpaste Expedition, The International Christmas 1A Camden High Street 47

lot of changes. 1973 CAMDEN Theatre has a particularly beautiful and welldesigned auditorium especially when compared with recent modern theatres that have been built in London.

1973 ALSO The older citizens who will remember it as a successful music hall in direct opposition to its more famous ‘sister’; the Bedford Music Hall, just up the street demolished a few years ago despite some spirited efforts to save it 1973 IT is not ‘on the market’ but the current owners have let it be known that they are prepared to consider a suitable offer for a lease. 1973 WHEN it was erected 72 years ago Camden Town although the main shopping area for St. Pancras residents living to the west and south of Kentish Town was still very much suburbanised. 1975 IN the meantime we shall resist any attempts to close or pull down any existing theatre. 1975 A nightclub would be just the job. I don’t agree with all these people who say it wouldn’t be a good thing. It would liven this place up no end; I’d pop in there myself. I’m not interested in the theatre, and anyway, there

Pudding and The Dreaded Batter Pudding Hurler of Bexhill-on-Sea.104 The shows were repeated around the Commonwealth through the BBC’s transcription service, although edited to avoid any controversial subjects.

The 250 shows continue to be repeated in the UK and around the world, exerting a powerful influence on popular culture and during its heyday the recording sessions at the Camden Theatre were consistently oversubscribed. The Goons would frequent local pubs as they were forbidden from drinking during recording, although this rule was not always adhered to.105 The Last Goon Show was produced as part of the BBC’s 50th Anniversary celebrations and is commemorated with a blue plaque in the theatre foyer unveiled at a ceremony attended by Harry Secombe in April 2000.106 …

dusan remembering I remember it as disused performance space. So it was the standard arrangement I suppose. I don’t remember the front door. I can’t even remember the period of the outside. Obviously when you are in nocturnal mode you just want to go from one interior to the other, but the streets feel interior as well, a seamless terrain. I am telling you this from as a person who was half way between socialist Belgrade where the clubs were so different to someone fully conversant with the nightlife of London. For me the Camden Palace was a temporary and fairly amorphous place. I do remember the balconies, people milling around, very sociable. I don’t remember any edginess or aggression. Definitely pre-ecstasy, just beer for me. It was important what you wore, like any place.

The conversation between the interior and how people dressed was important. I don’t even know what I was wearing. Again when I was introduced to Portobello Road and the joys of second hand clothing, which to me was a complete anathema, just not something you did.

I don’t know whether we held on to our clothes but they were never second hand in socialism. It was not about the dancing, it was about the look. It was a big operatic foyer. …

1A Camden High Street 49

are theatres in the West End. 1975 I would prefer a theatre. I think a nightclub would attract the wrong sort of element and would cater for only a few people. If we had a theatre, they could put on something for everybody – light opera, musicals and something for the kids. 1976 ELLEN Terry was in at the start. 1977 WHO needs remote control, From the Civic Hall, Push a button, Activate, You gotta work an’ you’re late, It’s so grey in London town, With a panda car crawling around, Here it comes, Eleven o’clock, Where can we go now?, Can’t make a noise, Can’t get no gear, Can’t make no money, Can’t get outta here, Big business it don’t like you, It don’t like the things you do, You got no money, So you got no power, They think you’re useless, An’ so you are - puuuuuuunnnnnk!, They had a meeting in Mayfair, They got you down an’, They wanna keep you there, It makes them worried, Their bank accounts, That’s all that matters, And you don’t count, Can’t make no progress, Can’t get ahead, Can’t stop the regress, Don’t wanna be dead,

1. Auditorium Interior early 1970s

1972 - 1977 documenting As it was becoming apparent that the BBC would be ceasing its occupation, the Camden Theatre took centre stage for a community debate on its future. An early suggestion from the Camden History Society for a local museum never developed due to uncertainties as to the appropriateness of the building and the cost of refurbishment.107 Theatres were particularly susceptible to rising land prices and local residents were horrified at the prospect of demolition,108 a view shared by the council whose desire to return the building to live theatre stemmed from the recent destruction of 3 theatres in the borough, including the Bedford. In July 1972 permission to demolish the building was refused and it was listed by the Department of the Environment, one of 19 such London theatres at that time.109 Yet this was not enough to placate the concerns of local residents, many feeling that Joe Levy’s desire for redevelopment would find a way to circumvent the law. The 1973 book Goodbye London gave special attention to Camden, highlighting buildings that were under threat of development, with the theatre included alongside cinemas, private houses, pubs and shops.110 However that same year the council introduced an interim policy to withhold permission for any redevelopment that did not contain any provision for theatre in an attempt to reap the cultural benefits. It went on to propose the possibility of the council running the theatre itself as a mixed-use venue that would provide income once the initial expenditure had been recouped.

As the building was in relatively good condition (fig. 1) it resolved to conduct a feasibility study and to begin negotiations for a lease on “reasonable terms”.111 The subsequent report on returning it to theatrical use contained two proposals for raising the required funds, one demanded that the Arts Council cover more costs of the National Youth Theatre Company to free up budget, and the second was to utilise the “the public mood for conservation” after the recent destruction of the Bedford and approach local individuals or companies in a funding appeal to save the building.112

By November of that year an internal report stated it would cost the council £200,000 to return it to live theatre, and included plans to approach the Arts Council, Theatres Advisory Council, Save London’s Theatres Campaign and the Greater London Council to arrive at a viable scheme.113 However market forces overtook the proactivness of Camden Council at the end of 1973 when Hermarose Ltd. obtained building consent to refurbish the theatre for ‘music and dancing’.114 The transformation into a nightclub prompted more local debate, as whilst residents were pleased that life would be returning to The 1A Camden High Street 51

Look out’ those rules and regulations, Who needs the Parliament, Sitting making laws all day, They’re all fat and old, Queuing for the House of Lords, Repression - gonna start on Tuesday, Repression - gonna be a Dalek, Repression - I am a robot, Repression - I obey.

1978 ADRESSING the hearing in a lastminute appeal to get conditions placed on the licence. 1978 TIME HAS come today.

Third of four Music Machine gigs and — surprise! — the ritual bottling of Suicide appears to have been omitted for the once. Alan Vega is up by the mike, moving jerkily from pose to like a series of still-photo slides vaguely synch with the music — pose CLICK pose CLICK pose — while Marty Rev stands solid and immobile beside his control post and the drum machine gets louder and LOUDER and LOUDER and LOUDER AND LOUDER AND LOUDER AND ...

And very suddenly they’re off. Some of the audience consider the whole set to have been a bad dream and forget about it, others seem to have enjoyed it in a perverse sort of way (what

Cast memebers of a West End production of West Side Story joined local residents in a demonstration outside Camden Town Hall against the theatre becoming a nightclub.

2. Demonstration to save The Camden Theatre February 1975

Camden after 3 uncertain years, the consensus was still for a theatre rather than nightclub. 115 (fig. 2) It was a source of frustration that whilst listed theatres could not be demolished there was no legal mechanism to force them to be maintained as such.116 The London Theatre Campaign was heavily involved in attempts to restore the building and assured “lovers of The Camden that we would vigorously oppose any attempt to demolish or alter the character of this beautiful and elegant theatre, or any bid to remove it from the bona fide scene of live entertainment.”117 Yet on 17th July 1975 consent was granted to the new leaseholders, F & H Entertainment, for its conversion into a nightclub. The report notes Camden Council’s sympathy with “objections from local residents, the public and interested organisations, about the live entertainment future of the cinema (but) it doesn’t have the power to approve or disapprove as these activities fall within the same class of live theatre.”118 This disappointment to council members led to a recommendation for narrowing the “use classes order” and the creation of a separate one for theatres, yet they were satisfied that at the least the building was preserved for future use.119 F & H Entertainment oversaw the installation of a dance floor at stalls level, two bars, a kitchen at the rear of the stalls, a tented ceiling above stage and a retractable steel-framed dance floor. The venue opened briefly in 1976 as Nero’s Disco but was closed by the end of the year.120 …

matthew remembering There was always a queue and it was a weird crowd, a mixture of students and slacker people like me I guess, I was in college, but even before then we would go during school holidays.

Inside there was this archway with big doors and 5 gigantic men who would search your bag, then you went to the right to buy a ticket, then you had to get that ticket ripped by another gigantic man, then you would go off to the left or right to the cloakroom.

The entrance way in the middle was very well lit; orange floor, very yellow and orange, then this kind of portal into a long corridor where you would end up on the balcony over looking the main stage. Then there 1A Camden High Street 53

other way is there to enjoy these guys, anyway?) and the general impression is of one of those nightmares that, thankfully, fade after you’ve been awake a few minutes. . Suicide might well be creepy and chilling and all the other names ... and if their intention was not so patently to Lay Theatre Of Spookery (brrr) on the masses they might actually have achieved their desired effect. As it is, I’d take Throbbing Gristle’s “United” over anything Suicide have laid down, but anyway...As of right now (GMT), The Clash are one of the few bands who can not only make you feel that they’re the best rock band in the arena while you’re actually watching them, but leave you with that same feeling even after your ears have stopped ringing. While it’s ludicrous to assign such a heavy responsibility to any one band. The Clash are certainly one of the magic few who move you and shake you as well as just rocking and rolling you. I mean, I had a cold that night and felt well ! on the rough side of dreadful; didn’t think anything could make

were 2 staircases, I always went down the left one for some reason, you know how you form these patterns.

Down the left one to the main bar which was huge; it spanned the whole space at the back of the building with ladies’ toilet on the left and the men’s on the right.

Later in the evening everyone would hangout in the ladies’ toilets. They were huge, there was a space on the left where people would just sit drunkenly chatting or on drugs, and then the main bit that in my mind is bigger than it probably was. I remember 5 or 6 walls covered in mirrors and loads of cubicles with a huge trough sink, then more mirrors above that.

In contrast to the men’s toilets that were just one cubicle and 4 urinals, and a tiny mirror which was not sufficient as I needed to see myself from every angle.

I was wearing dresses and make up so I was never stopped going in the ladies, either people thought I was a girl or they were too embarrassed to say anything.

You would come out of the toilets and go down three steps on to the main dance floor. On the left hand side they would occasionally have this portal, which would open, and you could buy food. It was really odd. I went out with this girl briefly and we were dancing and then she went off and came back with a pie and chips and I said, “Where did you get that from?” and she just said “That place over there” and was like “what? You can by food here?” You could get loads of stuff, it was mental. You could get spaghetti! It was like a micro-city within one venue.

Again there was this dance floor and they would always have a band playing of varying degrees of shitiness. The band would be on around 11 o’clock, then after that you were allowed onto the stage, which was very exciting: “Who would be the first person on the stage?” On the main dance floor on each side there were 2 separate doors, which lead up; it was a very confusing building because it was a theatre, so there were these intertwining corridors. It was really good fun because you could be on the stage and go 1A Camden High Street 55

me want to dance that night. The Clash did, for which we are mostly truly thankful. 1978 PENSIONERS rock the Music Machine. 1979 HE said bouncers were on the scene within seconds of the fight breaking out.

1980 WHY NODDY FEARS GROUPIES Girl fans, groupies who follow pop stars everywhere, are part of the legend of rock and roll.

As Slade prepare for a British tour in spring, lead singer Noddy Holder hopes not to meet anyone like the 18-year-old Puerto Rican who put him through a nightmare on the band’s last tour of America. The girl, who had followed the band around America, broke into Noddy’s hotel room in New York, and locked herself in the bathroom. Noddy explained: “What I saw when I broke the door down was absolutely terrifying.

She had slashed her wrists with a knife, and blood was pouring to the floor. I really thought she was going to die. I called the hotel manager and we got a doctor right away.

I didn’t expect to see her ever again but after a couple of weeks there she was at all our concerts once again, nd

right or left and come back in a different place. I went backstage once, I was with this insane girl who knew the band and dragged me back there. Backstage was through a tiny door and you just went in and everything was maroon red, covered in graffiti, music equipment and scratched up furniture. It was more fun outside.

I had my first ever drug hallucination in one of the corridors leading off the main stage. I had never taken Ecstasy before, didn’t even know what it was. It was on a Friday at a night called Peach.

I remember just taking a pill then thinking “I feel like I am floating”. It was really weird, just sitting in the corridor with loads of people then this guy came in and he had a gigantic alien head with little snapping mouths and eyes with tentacles coming off it. I was so high I wasn’t freaked out by it at all; I just thought, “Oh, that guy has an alien head that is really weird.” Another time I remember seeing the stage covered in dwarfs in bondage gear on deck chairs. It was because there were motherfuckers on stilts in the crowd that were actually there, as they would always hire performers to interact with the crowd. I just remember seeing these men on stilts then seeing the dwarfs on the stage and thinking “wow they have really pulled all the stops out for this night... are there really dwarfs on deck chairs?” …

the love palace narrating The preparations had taken hours, standing in front of her mirror in a succession of dresses, all disappointing. She knew that her friends would arrive soon to escort her to the Palace; too scared to go alone. On the brink of giving up trying to decide, her godmother appeared with a new dress for the evening. Stephanie was overjoyed with her present and was dressed by the time her friends arrived eager to start their journey.

Taking a carriage to the Palace the girls talked excitedly about their 1A Camden High Street 57

there she would be in the hotel bar. It still gives me the shivers. The funny thing was she never spoke to me - either before or after the incident. 1982 DEPERIR a gris, deperir a gris, One man on a lonely platform, One case sitting by his side, Two eyes staring cold and silent, Shows fear as he turns to hide, Ah, we fade to gray, fade to gray, Ah, we fade to gray, fade to gray, Un homme dans une gare desolee, Une valise a ses cotes, Deux yeux fixes et froids, Montre de la peur lorsqu’il, Se tourne pour se cacher, Ah, we fade to gray, fade to gray, Ah, we fade to gray, fade to gray, Sent la pluie comme un ete anglais, Comme les notes d’une chanson lointaine, Sortant de derriere d’un poster esperant, Que la vie ne fut si longue, Ah, we fade to gray, fade to gray, Ah, we fade to gray, fade to gray, Feel the rain like an English summer, Hear the notes from a distant song, Stepping out from a back shop poster, Wishing life wouldn’t be so dull, Deperir a gris, Ah, we fade to gray, fade to gray, Ah, we fade to gray, fade to gray, Ah, we fade to gray, Deperir a gris, Ah, we fade to gray, fade to gray, Deperir

Matthew Frame 2012

prospects for that evening. Stepping into the fresh air they caught their first sight of the Palace and approached the entrance to join the queue of guests slowly entering through the gates. As Stephanie passed the guards she was frightened by their mordant expressions, but they let her pass without a word. Walking into the ballroom they stood on the balcony with guests parading their outfits around them, whilst below the dance floor was crowded with couples. Nervousness dissipating Stephanie set off to explore the Palace and before she had reached the other side of the balcony was offered a drink by a handsome gentleman. The more she drank the more relaxed she became and the less interested in the young man’s opinions.

Excusing herself she walked up the stairs passing heavily guarded doors until she reached the highest tier of balconies. Here she opened a door into a very dark and low-ceilinged room. The atmosphere was different, with the guests sitting on large cushions, heads nodding to the darker, rhythmical music played within. She was unnerved by the strange environment and left through an exit to descend, becoming aware that she did not know where her friends were and how to find them in the labyrinthine passageways of the Palace. Continuing down she found herself relieved to be back at the entrance to the ballroom. Expecting to see her friends, she peered over the balcony to the floor below, hoping that they had been asked to dance.

Descending through the flashing lights to the dance floor Stephanie noticed the most handsome man in the Palace. Moving forwards she catches his eye, and he takes her hand to whisk her from her feet. As she twirls through the other dancers she sees her friends who look ecstatic. She and her Prince spent the night dancing whilst talking of their lives and passions. Sharing the same drinks Stephanie got caught up in the evening until she could never imagine leaving. All too soon the clock struck midnight, the guests were instructed to leave, and amongst the exiting crowd Stephanie became lost to her Prince.

Years passed Stephanie stepped once more from the carriage. In the time since she had first been to the Palace often her thoughts had returned to the Prince she met that night. It was with a heart full of excitement that she was there to be married to him after a chance encounter had reunited them. She passed the smiling guards and the Dame of the Palace to the reception waiting in the ballroom.

Years passed.

Life with her Prince had become tiresome, so they parted to live happily ever after. ‌ 1A Camden High Street 59

a gris, Ah, we fade to gray, fade to gray, Ah, we fade to gray, Deperir a gris Ah, we fade to gray, fade to gray, Ah, we fade to gray 1981 THE Music Machine’s management say they probably will not be able to reopen until the end of the year.

1982 BOUNCERS will give punters the once-over on the door and anyone looking as if they’ve come to cause trouble will not be allowed in. 1982 WE feel that we will be adding a touch of glamour to their lives 1982 THIS poor rubber lady is in a very exposed position as if she is posed for the gynaecologist or Lucien Freud. She is a huge balloon of a fantasy dangling with an expression of agony above a dance palace that is devoted to fantasy.

1982 YOU can be a fantasy of yourself.

1983 DESPITE the finest of ingredients the recipe does not work. However there’s nothing that couldn’t be easily put right. 1983 DESPITE the fact it is only 5 o’clock I’ve realised already what makes a hot night is having Steve Strange’s hands on your shoulders and the prospect of visage playing live for the very first time

The Clash headline a gig to raise funds for Sid Vicious’ defence against charges of murdering Nancy Spungen in New York.

1. Sid Vicious Defence Fund Gig The Music Machine Flyer December 1978

2. Opening dance scene The Music Machine Film Still 1979

the music machine 1977 - 1981 documenting Opening on the 20th April 1977 the Music Machine was a venue for the flourishing punk scene with Siouxsie and the Banshees, Johnny Thunders and the Heartbreakers amongst the first acts.121 Subsequent performances included Adam and the Ants, Toyah, The Clash (fig. 1), Sex Pistols and The Police’s first gig. Further changes to the interior included the construction of an internal staircase, the building of a DJ enclosure, and decorative plaster cladding affixed to the walls around the dance floor.122 The Music Machine divided opinion amongst the locals and constant licence battles over claims that the club was a nuisance meant that the management began hosting community events in attempts to ingratiate itself.

Such a party in 1978 hosted 400 pensioners with variety hall music so that the pensioners could “whoop it up just like young punks, but [with] perms and walking sticks rather than pink streaks and black leather were.”123 Residents opposed the licence application in 1978 with a local Greater London Councillor stating that “since the Music Machine has arrived at Camden there has been an influx of squatters. Local residents have found people sleeping in their doorways and urinating outside their doors.”124 It was renewed despite further community protests about Alan Ray being sentenced to life imprisonment only days earlier for the murder of Peter Kennedy committed at the club.125 In 1979 the Music Machine was the primary location for shooting an eponymous feature film, directed by Ian Sharp. The Music Machine (fig. 2) is the English answer to Saturday Night Fever, depicting the club as London’s funkiest disco as it hosts a dance competition to find two new stars for a multimillion pound musical film and follows the rivalry between dance couples over potential stardom. However this late attempt to cash in on the success of Disco was not well received, not least for its deeply suspect dance scenes.126 The building was the final place that Bon Scott, lead singer of AC/ DC, was seen in public before his untimely death in 1980. Being in the UK for recording purposes, on February 19th he attended a concert by The Trendies and drank “huge amounts of liquor” before being later found dead in his car in Dulwich. 127 An arsonist attack in 1981 damaged the first and second floors and 2 columns resulting in the clubs closure. Whilst no motive was ever discovered for the attack it led to the building’s next incarnation as The Camden Palace.128 …

1A Camden High Street 61

ever on The Tube.

And are you nervous? 1984 YOUNG Americans come to London to see the Tower of London, Buckingham Palace and us.1984 IN the course of redecorating the landlords authorised the use of gold paint for the job. 1985 THE Judge disregarded the results of scientific tests of samples taken from the nightclub’s gold trim because they were ‘confusing’’. Each test yielded different results. 1985 SOME boys kiss me, some boys hug me I think they’re O.K. If they don’t give me proper credit I just walk away They can beg and they can plead But they can’t see the light, that’s right ‘Cause the boy with the cold hard cash Is always Mister Right, ‘cause we are Living in a material world And I am a material girl You know that we are living in a material world And I am a material girl Some boys romance, some boys slow dance That’s all right with me If they can’t raise my interest then I Have to let them be Some boys try and some boys lie but I don’t let them play Only boys who save their pennies Make my rainy day, ‘cause they are Living in a material

catherine & david remembering - It was 1977 I think. I went because I could get in for nothing, because I knew the road crew or the band, and I thought I would introduce Catherine to a little bit of rock and roll. I can’t remember who else was on but I remember that Motorhead were the main act, very loud and very distorted, with a lot of rocking rockers. Leather jackets and long greasy hair.

- I remember being up in a balcony. It was very loud and very smoky. It was real head banging stuff. You took me to quite a few things but that one I didn’t like at all.

- It was pretty dingy; people obviously hadn’t done any work on décor for a couple of decades, if that.

Of that time it all joins together so you can never remember what you saw or where you saw it. Things are a bit on the hazy side if you know what I mean.

- I have no real memory of the building, other than going up and looking down from the balcony. It has certainly changed now with all those awnings outside.

It was very convenient though as we lived up the road.

- The acoustics were great. Was it a music hall or a cinema? The décor that I remember was that of a music hall that had passed its sell by date.

- Well it was just black everywhere wasn’t it?

- You remember it being black because of the lighting.

- I just remember the whole thing being an assault on the senses, so loud and so black, so eurgh!

- Well the décor looked like it was from the 1920’s that someone had let gradually fall apart. So it had smoke stains, like old pubs did if they hadn’t been painted for years. Very much a mess. They obviously didn’t care, they just wanted people in and people out as quickly as possible - I don’t remember a bar - Oh there must have been a bar, but I also don’t remember one at all. There definitely wasn’t any food to be had. Do they record the gigs now? …

1A Camden High Street 63

world Living in a material world Boys may come and boys may go And that’s all right you see Experience has made me rich And now they’re after me, ‘cause everybody’s A material, a material, a material, a material world living in a material world Living in a material world. 1988 MUSIC IS OUR STATE. MUSIC IS OUR BUZZ. MUSIC IS THE DRUG. DELIVERED HOW IT SHOULD BE DELIVERED HOW IT WAS MEANT TO BE. HOW ONLY WE KNOW U WANT IT TO BE. TO THE BONE. IN YER FACE. OUT OF CONTROL AND FIRING. NO MESSING. NO FUSSING. NO ATTITUDE. JUST THE NEXT 2 SATURDAY NITES WELL AND TRULLY SORTED. NO WHAT I MEAN? U WANNA NO MORE? U GOT IT ALL IN FULL EFFECT. LASERS. ROBOS. DROPS. OUR OWN ROBOT. PROJECTIONS. F-2 SOUNDS. MOONS. STROBES. VIDEO WALL. HOT FOOD! VELCRO WALL. PLUS ALLWAYS A SURPRISE? NUFF SAID? JOB DONE. 1989 THE aim of this code is to safeguard, as far as possible the safety of club goers irrespective of the type of

Matthew Frame 2012

fire narrating I feel that I must write this down, to confess in some way to my past. It had been developing for two or three years, my fixation on the building, how I blamed it for my life falling apart. I know now that this was the beginning of the mental instability that persists today, but now controllable since I acknowledged it. It was the noise that I think was to blame; every night the people shouting, laughing in enjoyment seemed amplified in my head. I would sit for hours watching them from my window. The way they looked only increased my disgust towards them, my belief that they were no longer members of society if they dressed and behaved in such away, convincing myself that what I was going to do would be a community service rather than a crime, to rid the area of these animals. The personal troubles I was having were unrelated, but the lack of sleep no doubt exacerbated them. I longed for the past when I had been with my parents on Crowndale Road, but by then the solitary existence in the same house gave me ample time to watch the building, the undesirables who went there and the havoc they wrecked on the streets.

But these are no excuses for what I did in the belief that destroying the building would destroy all that was wrong with my world. I am no master criminal; my plan was very basic. The hardest part was enduring the couple of hours I had to spend inside the building, the noise and the people made me feel sick. I knew that what I was doing was for the best. Hiding in the bathrooms at closing time and after waiting for hours until I thought it impossible that anyone else would be still be there, I made my way to the dance floor. I had smuggled in petrol to set the fire, and I stood watching as the flames caught the stage with smoke rising to the ceiling, smiling at colours and smells. I was out of the exit and home within minutes, from where I watched hoping to see flickering light from the windows. However the fire engines appeared almost as quickly, I think that the fire had not spread as fast as I had assumed, so it was easily controlled. I did manage to get the club shut down, but only temporarily, before long it was back producing crowds of freaks on my street. By this point I had found help for my problems so luckily I didn’t allow myself to be driven to such extremes again.

Looking at the building now I am glad that it survived, reminding me of my parents’ stories of watching films when they first met, but I still don’t understand the people who go there. …

1A Camden High Street 65

event they attend.

This code of practice is not to be imposed rigidly on all dance clubs. For some clubs, in particular small venues, it will not be financially viable for them to implement the recommendations.

Drugs have been associated with music and youth culture for many decades.

The most consistent and abiding drug of choice for young people going out to enjoy themselves are alcohol and tobacco. Additionally, alcohol can be a major source of violence, intimidation and harassment in social settings such as dance events.

Illicit drugs and other stimulants change according fashions, fads and availability. What is different now, however is the sheer scale of illicit drug misuse and to the extent that has become enmeshed in dance and youth culture. It is estimated that up to 1 million ecstasy tablets are sold each week in Britain. Almost all of these will be taken in the context of dancing and entertainment.

Availability of Drinking Water. There must be free and unlimited drinking water available at all times. In connection it is recommended

1. The Camden Palace Flyer 1982

radium eyeshadow. lush black mascara. icosmic beauty spot. fallout nail varnish-lipstick to match. starbase foundation highlighted with cemet blusher.

2.The Camden Palace Look ‘How To’ Guide Newspaper illustration 1983

the camden palace 1982 - 2004 documenting The Camden Palace opened in April 1982 with the slogan: ‘A Club Made by the People, For the People’, its neon sign and metallic awnings (fig. 1) denoting the rechristening of the building. Taking inspiration from Studio 54 the interior was extensively remodelled with smoke machines, laser equipment, lighting rigs, 129 the gallery converted to a restaurant, removal of the stage from the dance floor, refurbishment of the bars and a thorough clean.130 The Camden New Journal likened the interior to “something from Cinderella’s Ball, with an incredible spiral staircase complete with lights under the steps coming down from the circle on to the dance floor. A huge video screen from above the stage comes down every now and then…and the only lasers in London shoot out amazingly intricate patterns on to the walls.”131 Amongst the 1,500 opening night guests were The Human League, Siousxie and the Banshees, Spandau Ballet, Jerry Hall, David Bailey, and the Palace hosts, Steve Strange and Rusty Egan. Having been engaged by the leaseholders to create “the most visually and aurally exciting club in London,”132 Strange and Egan were hoping to change the Music Machine’s reputation as being a hangout for punks and skinheads into a new type of club for London.

Within the year this rejuvenation had been a success, with the Palace hosting the earliest performances of The Eurhythmics, Duran Duran, Spandau Ballet and Madonna’s first UK gig, whilst becoming “the trendiest nightclub in London”133. A review in the Observer from April 1983 gives an accurate snapshot of the club outlining the variety of the patrons’ outfits, the size of the bouncers, the strict door policy, the deafening music and that the building is “oddly constructed with various layers of balconies and opera boxes on different levels above a dance floor that is always jammed with dancers.”134 The trend was to escape the drabness of London through embracing over the top, outlandish outfits and makeup (fig. 2), for according to Strange it was “better for many of these unemployed kids to spend Thursday night in a Cinderella world of illusion and magic where they can feel rich and beautiful, than to never get that feeling at all.”135 Along with the incredibly popular Night for Heroes on Thursdays, the Palace hosted a range of nights, such as the gay Tuesday party Slum It In Style (fig. 3) and Golden Oldies on Wednesdays. A review of Slum It In Style recommended a visit for the décor and the light show but dismissed the drag acts and the music; “Telegram Sam may have been wonderful to dance to 10 years ago, but this is 1983!”136 However after conflicts with the club’s financial backers Strange and Egan left the Palace by 1984, moving on to a new club named The Playground.137 1A Camden High Street 67

that drinking water taps or water fountains be installed.

Drinking water supplies should never be shut off. There must be easy access to chilled soft drinks and bottled water at the bar. 1989 BUT the allegations were hotly denied. He went on to tell the hearing that the police have ‘no complaint’ against the Palace. 1990 BUT residents are entitled to the quiet and peaceful enjoyment of their homes. And when they complain to us and a licensing authority about noise nuisance outside their club their views must be taken seriously. 1990 MR Chipping would welcome any comments about the Palace – positive or negative – from those living in the vicinity. 1990 MEDIA Contact for Camden Council: Aide Padden on 860 5716. 1991 WE are not a kill-joy authority 1991 THE case collapsed on Thursday when a neighbour of the club claimed that hers and her husbands names had been forged on a petition opposing the club’s license presented by the Mornington Area Action Group.1992 TOP cop proves that he’s still hip-hop! 1994 FEET FIRST Tuesday

3. Slum It In Stlye The Camden Palace Flyer 1984

4. Blitz Kids outside The Camden Palace 1983

5. Peach Club The Camden Palace 2001

An unusual lawsuit was concluded in 1985 where F & H Entertainment had claimed the owners, London Scottish Properties, had failed to refurbish the building correctly following the fire of 1981. They believed that gold leaf in the auditorium was replaced with gold paint and that the building was now missing half a million pounds worth of gold.138 The case had lasted over 2 years when in December Mr Justice Nicholl ruled that the gold leaf should have been replaced but, as this failure would not have harmed business, awarded F & H Entertainment damages of just £5.139 When the freehold was purchased by European Leisure Plc in 1988 the Palace had become a fixture of the nightclub scene and location for a US TV series Live from London broadcasting band performances. However a spokesman for the club stated that they wanted to lose its tourist trap status: “We don’t want to follow fashion, we want to lead it.”140 Once again the issue of licensing arose with a midnight curfew being placed on the Palace in August 1989 after claims from the Mornington Area Action Group that “the Palace attracts undesirables like moths to a flame.”141 Other locals were more supportive of the club, citing the continued community services of hosting parties and trips for pensioners and children, and fundraising for Great Ormond Street Hospital.142 A successful 2-year appeal by the manager David Chipping meant that in January 1991 late night openings were allowed to resume with Camden Council claiming a moral victory as the installation of £50,000 video surveillance and outside ‘watchers’ had cut down the nuisance.143 The outcome of the hearing was influenced by the numerous residents who came forward on behalf of the club with claims that the Mornington Area Action Group had forged signatures on the original petition.144 After having been granted Grade II listed status two years previously, drawings were submitted to the council in 1994 for a complete refurbishment of the interior. The detailed plans were to cover the auditorium in fibreglass constructions of faux rock faces and steelworks, complemented by reproductions of Jacob Epstein’s Rock Drill, but were rejected for their insensitivity to the building145. By the mid 1990s the Palace had become the centre of a new music trend as Britpop entered the public consciousness.

Camden was the epicentre of the London contingent with pubs such as the Dublin Castle and the Good Mixer being hangouts for bands such as Blur and Menswear. The increase in trend-hunting visitors to the area was beneficial to the Palace, where the indie club nights flourished and funded the installation of a new sound system.146 With the passing of this trend by the late 1990s, as with the demise of the Blitz Kids (fig. 4) a decade previously, the Camden Palace became known for its raves. Clubs such as Peach (fig. 5), Frantic and Mind Over Matter attracted large numbers of regular clubbers, whilst other nights continued to serve a diverse clientele. July 30th 1998 saw the first ever 1A Camden High Street 69

14th June 1994 9pm-late 071-3870428 DJ’s Jonathon & Eko. red hot chilli peppers. smashing pumpkins. the levellers. rage against the machine. nirvana. therapy? house of pain. cypress hill. pearl jam. sugar. suede. the breeders. elastica. lemonheads. blur. primal scream. transglobal underground. stereo mc’s. senser. credit to the nation. pop will eat itself. faith no more. l7. compulsion. s*m*a*s*h. sonic youth. nine inch nails. ministry. metallica. pantera. ice t. wonderstfuff. dodgy. radiohead. inspiral carpets & more. Larger £2 a pint all night. 1995 SO there you have it kids. You live in the most fashionable borough in Britain, nay the world at the moment. Get out, be young and enjoy it.1998 RESIDENTS woken by the noise watched in horror from behind their curtains. 1998 THEY were on the dance floor when they were rushed. 1998 THEY first met and fell in love there as youngsters in 1986, then, after drifting apart during their teen years, bumped into each other in May last year and Cupid struck again.

2000 DAPHNE & Celeste are to make

1.Steve Strange

wedding in the building take place at midnight during Peach. The couple’s first meeting and the proposal had taken place in the building, hence their decision that it should also be the ceremony venue, with even the bride’s dress being inspired by their taste for rave culture.147 In contrast to this the club was also becoming the scene of violent incidents, with stabbings in 1998, April 2000 and a shooting in September 2000.148 That same month a blue plaque was unveiled to honour the Palace as the location of the recording of The Goon Show. A range of comedians including Harry Secombe, attended the event whilst the new owners, Luminar Leisure Ltd, were pleased that the building had been recognised as a landmark in comedy history.149 …

the host 1982 - 1984 documenting “No, I’m sorry, you can’t come in. You’re not blonde enough” 150 Steve Strange Steve Strange (fig. 1) was a key figure in the New-Wave movement that grew up in London in the aftermath of Punk in the late 70s. With his DJ and band partner Rusty Egan he created both Blitz and subsequently Club for Heroes, their strict policy of looking good and looking different created a nightclub trend that “made the punks look normal” and launched the careers of bands such as Spandau Ballet and Depeche Mode.151 Born in Newbridge, Wales to a military family, Strange’s music career began organising punk concerts in Newport and befriending members of the Sex Pistols before moving to London in 1976 to work with Malcolm Maclaren.152 Joining numerous minor punk bands over the next few years but meeting with little success, Strange and Egan became increasingly disillusioned with punk and the London club scene, feeling that there must be a like-minded crowd that they could cater for.153 After opening in February 1979 Blitz in Covent Garden quickly established itself as the centre of the burgeoning new-wave movement, soon to be christened by the tabloids as New-Romantics. The artist and fashion crowd was drawn to where cloakroom attendant Boy George would be dressed as a Geisha and the club goers would masquerade as Marilyn Monroe or Queen Elizabeth I. A drunken Mick Jagger was once turned away at the door whilst David Bowie visited to recruit extras for his music videos.154 Transferring to a bigger venue on Baker Street named Club for Heroes 1A Camden High Street 71

an appearance at the 14th birthday bash for legendary London indie club Feet First at Camden Palace on September 26. The perky pop duo remain undaunted despite being bottled by rock fans at Reading and Leeds festivals last week.

Feet First is the capital’s longest-running indie club. 2000 AFTER the glitzy ceremony everyone departed for a bite to eat at the Grovesvenor Hotel in the West End where comedian Paul Merton auctioned memorabilia of the show for charity. 2000 A man was shot in the groin in the second mystery attack at a Camden Town nightclub within six months. 2000 NO loud noise, panic or evidence of injury was witnessed by any persons present and no concern was brought to the attention of the staff by any customer 2001 AND I don’t want you and I don’t need you, Don’t bother to resist, or I’ll beat you, It’s not your fault that you’re always wrong, The weak ones are there to justify the strong, The beautiful people, the beautiful people, It’s all relative to the size of your steeple, You can’t see the forest

the movement’s popularity grew and Strange and Egan’s band Visage had a number 2 hit in 1980 with Fade to Grey. The continuing success of the band, the clubs and his media celebrity convinced European Leisure to approach Strange with the offer to finance “any project he wanted to suggest.”155 This project was the refurbishment of the Camden Palace. Tickets to the opening night in 1982 were “like gold dust” and the streets were so crowded that the police had to shut the road and according to Strange it “was one of the best nights of [his] life.”156 For the 2 years that Strange was involved in the Palace it was incredibly successful. However as his music career began to diminish Strange became heavily involved in heroin, after having been introduced to it recreationally by Pete Townsend of the Who.157 Spending over £100,000 over the next 4 years this addiction would prove to be his financial and physical ruin, with his realisation he was an addict coming to him after a party in the Palace.158 Having cut all ties with the club, Strange’s career never again reached the height of his early New Romantics fame. He had made the Palace the most famous venue in London, and the regular attendance of major celebrities changed an area known for its homelessness and drunks into a mecca for youngsters all over the country..159 …

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for the trees, You can’t smell your own shit on your knees.

2003 TIMELESS. Those were the days!! Guest list on the left, plebs on the right. Lol Lawrence u are funny, remember having to give out those flyers in the pouring rain tho x. Lol, yeah and Matt has kept every single one of them!! remember the bouncer i swear he only one sentence “keys, mobile phone out ya pocket please, ladies on de left, gentleman on de right. step up step up! Lol damn i remember when those queues went round past the turtle and round the corner down the road ,Camden has never been the same since renaming it to Coco ,and Laurence depends what way you are standing ha ha ha best to be V.I.P or have that special membership where you just walked in loved that :-) I rem the massive queues n them separating us 2 do searches. what search ha ha ha. I always got searched wasnt a strict 1 tho haha.

Total road block as always..........Ramo all night each and every week =). 2004 IT is one of the largest venues in North London and we want it to be a real part of Camden

-1. The Camden Palace Elevation to Camden High Street Showing illuminated signage

the space 1982 documenting Plans and elevation of The Camden Palace

north

void over stage

bar

main entrance

1. First Floor Plan Balcony Level

restaurant seating

cloakroom

laser projection

void over stage

ticket booth

staircase to dancefloor

0. Ground Floor Plan Dress Circle Level

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again and complement the reputation for live music and a good night. 2004 DURING a sneak preview of the newly refurbished venue (now doing business as Koko), I was with Will Patterson, promoter of Frantic. We were in the Black & White bar, and I suggested that we go to the very top balcony to have a look at the view. He didn’t even know it existed!

That kind of sums up this labyrinth-like venue. 2006 THE club has plenty of peripheral attractions, although, including a confession booth with a priest and ‘redemptive’ shots of vodka.

There is also a cabaret-style entertainment. As we get the drinks in Kylie’s Cant Get You Out Of My Head starts up and Bearlesque takes to the stage. 2007 GUILTY Pleasures is an unashamedly glorious all-singing, all-dancing renouncement of pop music and an antidote to modern day clubbing fatigue. In six short years it has become one of the biggest events and movements of the music scene; “a putative global phenomenon” no less, as The Guardian described us. Pretty swanky, hey?

Created by broadcaster and music

Matthew Frame 2012

the adventure of the peach narrating Our hero stands at 6‘1�, his hair a faded shade of pink. His armour contains the insignia of a dog, the reflective plates on his chest and shoulders echoing his muscles beneath. The skin around his black-rimmed eyes is painted blue and pink.

He does not know how he came to be in this place, only that he needs to escape. He had come to the Palace for a celebration, but remembers nothing from the moment that first drink passed his lips. He had heard tales of the dark places of the Palace and the grotesque creatures they contained, now he feared he was amongst them.

From outside the earth coloured walls of his hiding place he can hear a language he cannot understand. There is a sudden bang on the door and the hero braces his feet against the damp stone floor and eases back the door, using it to shield his body. Those outside do not assault him as expected, they simply stand and stare. Strange beasts, for whilst they stood the height of a normal man, their legs rose up to below their arms. Their heads are also surprising; angular shards projecting from their skulls, expanding and contracting with their breathing. Our hero edges his way out into the bright light of the smoke filled room. The mirrored walls reflect the strange creatures before him as they watch him edge around the room. His foot crushes glass.

Stepping down into darkness, the rhythmic drumming that surrounds him shakes the walls as, becoming accustomed to the gloom, he steps back into shadow.

Hugging the wall and side stepping a lifeless figure on the ground he skirts across the threshold of an opening in the wall. Confronted by stairwells and no indication of where they may lead, his desperate desire for freedom sets him off upward taking the first few steps with trepidation, unsure of what may lurk within, and continues his ascent as the steps give way. Sliding back to the floor a shape forms in the corner of his eye. He picks himself up and turns to confront what lies behind him. To his horror it is a great winged lizard, clutching a golden sword in its claw, its large shoulders brushing the roof of the tunnel, the scaly skin a pale blue. Shadows move behind the lizard, colours flash between them and the drums still pound. Our hero knows he cannot fight this monster; his only option is to continue his bid for freedom. Forsaking the bewitched stairs that lead up, his only option is to plunge deeper into the earth.

As he throws himself down the stairs he can hear footsteps behind, panic rising in his chest he dare not look around. Through a tunnel he is brought up short by the edge of a great precipice. Vast carved columns containing mythical beasts 1A Camden High Street 77

fan Sean Rowley on his cult BBC London radio show, the weekly spot on his programme has evolved into a full blown pop show experience, if such a thing exists, with djs, dancers, performers and a riot of fun. All aspects of the colourful word of pop are in force; from soft rock to disco, forgotten one hit wonders to chart stompers - we love and celebrate them all. Every party is themed and dressing up is positively encouraged. There’s no such thing as too much at Guilty Pleasures; it’s all about indulgence after all, so dive in!

NEXT PARTY - Saturday 26th February - Bad Taste 2008 SHORT but oh so sweet Madonna. It was made clear that Madonna’s only UK show of the year would consist of just five songs. Yet still fans in 40 countries tried to win one of the 1,500 tickets.

2009 WHAT kind of KOKO fan are you? Crowd Surfer or Balcony Chiller?

2010 THE Buttoned Down Disco crew present this huge monthly indie dance party from residents Christian Laing and Pete Wheeler, with plenty of giant balloons, swirly visuals, face painting, free badges and ace

supporting a landscape of crowded ledges, the inhabitants all dance to the beat of the insistent drums. The fluctuating lights confuse and disorientate him, smoke gets in his eyes, and the screams of the cave dwellers fill his ears. A ceremony of some kind is taking place, a collection of stilted dwarves towering over the crowd who scream and shout to them. Weaving between their legs are more flying lizards, their skin now ribbed and brown. The sight is truly terrifying. The atmosphere beats down upon him, legs weakening, the temptation to succumb is overpowering. He will die here. He crawls to a hiding place. He does not know how to escape. He closes his eyes and wishes for the end. …

joseph remembering I was an unstable mixture of the terrified and excited, still only 15 and at secondary school. My brother had been going clubbing for a couple of years as I watched him leaving the house; glitter, fairy wings. I thought he looked amazing; I wanted to go out and do what he was doing. There was much hero worship Luckily for me he took me out that first time.

He let me hang out with his friends, so I thought I was having all these sophisticated conversations about music, when most likely I was the entertaining little brother, a bit chubby and eager to please.

Anyway, this night he was trying to tart me up with my limited wardrobe. I ended up wearing this dodgy ensemble of black baggy jeans, black shirt with flames up the side, a bicycle chain necklace and spiked hair. He wanted to put make up on me but I was caught between what I considered ‘cool’ and also scared about going out like that. He convinced me to wear red eye shadow, no doubt to compliment the flames, and eyeliner, there was always a lot of eyeliner involved.

I was so nervous that by the time we had reached the station I had rubbed half the eye shadow off, whilst he was reassuring me that he had gone out looking far stranger and had always been fine.

Walking down the high street towards the Palace 1A Camden High Street 79

drinks deals early on too! Expect a dancefloor kicking blend of indie electro poppin’ mayhem in the main room of this grandiose theatre, with more laid back sounds soundtracking The Gallery Bar courtesy of Richard Titchener. Please note that BDD is a very busy clubnight and the free entry (before 10pm) attracts large queues.

2010 FRESH from a string of dates with Ellie Goulding, BLBL are heading to KOKO to play Club NME. With a subtle nod to Depeche Mode, and a name inspired by Gremlins (maybe), BLBL are our new favourite band. 2011 KOKO is an over 18s venue unless otherwise specified for a particular event.

Ticket-holders will not be admitted to the event or receive a refund if unable to present valid identification indicating they are over the required age limit for the show they are attending. Only current passports, driving licences or PASS identification cards are accepted as valid forms of ID. Student cards are not accepted.

2011 IF the above power supplies are insufficient for your requirements please contact the KOKO production

was a grim experience, especially at night. I didn’t notice the exterior, as we approached it from the same side of the street, so it was not the best place to view it. I downed almost a whole bottle of wine before we entered. We went inside to queue and doors in all directions intrigued me. My brother led me down the tunnel into the main space which was really impressive; I had no idea of the scale of the building. I didn’t realise this was unusual for London clubs until I started going to more of them. My brother showed me the layout, checking out who else was in the place, a bit of peacocking on his part. I was pretty unnerved seeing just how fucked up people got on drugs or booze or whatever.

As we went up the balconies, it got darker and darker and sticky floored. There was a strange space up next to the toilets with this really dingy bar, and at the very top there was a separate bar called the Dark Room, which was jammed with people. The stairwells were all very well lit, it was odd going out of dark spaces into these stairwells, which you learnt how to get around but initially they were very confusing, especially if you didn’t want to lose someone.

Going down to the main dance floor we ended up talking to these girls for ages. There wasn’t a band; I danced with this girl to a Marilyn Manson song, once again copying my brother, as I had no idea how to dance. Then that was kind of it. I think I enjoyed most the walking around up and down and in and out of these doors. I only went back a few more times before it closed down to be refurbished. I quickly thought myself superior to the club, that it was just loads of underage people and these quite sad ageing rockers trying to take advantage of the girls. They all had dyed black hair that had that strange frizzy texture it gets when it has been dyed a thousand times. But the booze was cheap.

That was the start of my years going to as many clubs as possible as I thought it would be the answer to all my unspecific teenage desires for something more than the suburbs. For a while it was great. …

1A Camden High Street 81

manager to discuss other available power. The use of any non-house special effects and other technical equipment is conditional on the prior agreement of the KOKO Production Manager - pyrotechnics are not permitted under any circumstance 2011 ITS 2004 renovation from the Camden Palace into a modern multipurpose supervenue has seen a resurgence in popularity, evident in recent appearances by Madonna and Prince, as well as regular sessions from Club NME. One of our favourite gigspots in London for so many reasons, a show here is a treat even when the band is boring your face off, testament to the rare power of this glamorous, hedonistic and wonderful venue. 2011 MINT Group take a dynamic and forwardthinking approach to business. Adept at finding a gap in the market and servicing specific needs, the group has launched five successful venues - One of the Uk’s premier live music venues; KOKO in Camden, Infernos a fun party disco in Clapham, the decadent party bar Mary Janes in the City, the Elk

1. KOKO Exterior 2011

2. KOKO Interior view from balcony level 2009

KOKO 2004 - 2012 documenting The Camden Palace was acquired in 2004 by Mint Group whose aim was to restore what remained of the original building whilst returning to the ‘traditional’ ideas of clubbing. February saw a 6-month closure for a £1 million refurbishment as the name was changed to KOKO, (fig. 1) despite earlier plans for it to be The Koko Club.160 It was felt that the new venue would need a new identity, but General Manager Karl Lever admitted an appreciation for the dilapidated character of the building and conceded “it will probably always be known as the Camden Palace by those who remember it.” 161 The building now has a capacity for 1,410 (fig. 2) and contains 3 bars, 5 VIP areas, 4 dressing rooms and one Green Room. It is a versatile venue that is adaptable for multiple events – from small cabaret shows to international awards, from intimate gigs to headline rock concerts and from banquets to seminars. It is frequently used for photo shoots and from 2006 it has been the location of Channel 4’s Album Chart Show whilst a number of albums and gigs have been recorded there.162As one of the largest venues in north London it is often chosen by established artists for smaller scale performances and album launches in its grand surroundings. In the last 8 years there have been performances from Madonna, Coldplay, Roxy Music, Bloc Party, Radio Head, Paul Weller and many others. Continuing the tradition started by Steve Strange the club has a wide variety of music taste catered for across the week, such as electronic, house, rock and indie.163 The refurbishment was not a strict restoration, as the original cream accompaniment to the gold leaf has been replaced by deep red in the entire interior. (fig. 3) Yet the building retains most of its original Waring & Gillow decoration, with great efforts made to replace those missing. The bronze medallion of Ellen Terry remains behind a ticket booth (fig. 4) but the allegorical figures of Time that would have surrounded the vast disco ball in the auditorium have long since been painted over. The only public spaces that escaped refurbishment are the toilets, all still decorated with a dark brown tiling of unknown provenance. The terrace above the entrance has been restored to its original function to allow for smokers, whilst the notices of the strict drugs policy warn those who may indulge in other vices. The private interior is far less opulent, with the offices, kitchens, dressing rooms and VIP areas fitted for modern standards and adorned with images of performers past. Away from public view the cloakroom walls are a collage of graffiti, notes and ephemera produced by the employees, recording time spent in the confined space. The uninhabited stairwells now reserved for fire escapes provide a space separated 1A Camden High Street 83

Bar in Fulham and Bison&Bird Bar in Clapham . Several exciting projects are also currently in the pipeline. These include, the Mint Lodges luxury log cabin development, the acquisition of further bars and a series of outdoor music events. A good management structure has allowed the company to develop business in other areas, including festival promotion and urban property development. At the root of their success is a strong focus on customer service and a willingness to take calculated risks. 2011 WHAT we supply: 1. Two entrances into venue, one guestlist/ VIP, and one general admission 2. Two seperate queues, one guestlist/VIP, and one general admission 3. Optional press pit areas, one inside and one outside venue 4. Ticket checker on required point of entry for general admission customers 5. Search team on entry for general admission customers 6. A merchandise stand 7.

Optional routes for VIPs to either main venue or upstairs into VIP gallery or lounge 8. One doorstaff in cloakroom to assist customers 9. Guest list area /

3. KOKO Interior

3. KOKO Interior view of boxes 2011

Bronze Medallion of Dame Ellen Terry visible behind ticket booth

4. KOKO Interior view of ticket booth 2011

from the life of the building, unchanged since construction.

Since its reopening KOKO has managed to expand its place in the heart of London club land and continues to prosper. It is a building that is conscious of its history, preserving it whilst creating space for life to continue within. Whilst Sprague’s design remains broadly unchanged, his spirit endures, with the building responding to audience expectations and the embracing of new digital technologies as it continues to provide London’s evening entertainment. It has been a constant presence for over a century, with the somewhat tumultuous history roughly discernable the physical structure.

Yet comparing this current description from English heritage to those from its construction, it appears that the passage of time seems to have barely registered on the stone.

“Theatre, now a night-club. Some late C20 alterations.

Stucco front and 1 bay of return; red brick return.

Symmetrical facade in Baroque pastiche style.

EXTERIOR: 4 main storeys. 5 bays. Single storey entrance foyer with pilasters supporting entablature and blocking course. Centre bays of upper floors with tetrastyle in antis Ionic screen rising through 2nd and 3rd floors to support entablature with paired ogee pediments and parapet.

Behind this, a large copper dome. 1st floor round-arched windows, 2nd square-headed, 3rd keyed oculi. Ground floor return with 2 doorways having Ionic pilasters supporting entablatures with pediments. Originally with sculptured statues on parapets. INTERIOR: Cantilevered dress circle and balcony, now without seats and with steps to ground floor. Modelled plasterwork by Waring & Gillow in a mixture of baroque and rococo ornament. Marble proscenium arch surmounted by segmental pediment with recumbent figures and, within the tympanum, a mask surrounded by rays. 4 bays on either side of proscenium. Within 3 of the bays, 6 boxes in 2 tiers, the upper boxes with canopies; lower boxes supported by caryatids. Balconies with rococo motifs. Ceiling supported on brackets within the cove above entablature and with a large oval centrepiece.”164 …

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table 10. Optional route for general admission to enter through side corridoor onto main bar area or through cloakroom and into tunnel 2011 IF you are coming for a gig, KOKO has fantastic acoustics and there are many places to watch the stage. For club nights, you are free to roam all over and that makes your night a bit more fun.

There are plenty of places to sit and chill out which can be essential if you’re doing an all-nighter.

The booze on offer isn’t really inspiring, but hey you’re in a gig/club venue so what do you expect?

No draught pints unfortunately, but you can have a can of Becks or Red Stripe in an attractive plastic pint glass for £3.70, which isn’t too disastrous.

KOKO is a fantastic venue to watch a band, hit the dance floor or simply enjoy a social drink. It ticks all the boxes and is one of the best venues of its ilk in London At the quieter end of Camden, by Mornington Crescent tube, KOKO is an iconic music venue which attracts crowds of all ages. Originally a theatre, as soon as you enter its doors you get a feel for the venue, and the real fun begins.

1. KOKO Elevation to Camden High Street Showing illuminated signage 2011

2. KOKO Interior view at balcony level 2011

the space 2012 documenting Elevation and photographs of KOKO

3. KOKO Interior view from dance floor 2011

4. KOKO Interior view from balcony level 2001

1A Camden High Street 87

1. KOKO Interior view of cloakroom 2011

2. Author’s House Interior view of author’s bedroom 2011

ending The shouts of children echo in the V & A as I make my way through the galleries, tracking down the last sources on 1A Camden High Street I have uncovered. I am one of only two people in the RIBA reading room, a respite from the noise in the remainder of the museum at large. Sifting through research papers I discover a letter from Susie Barson, the author of the first article I found on the building. Dated 1988 on English Heritage notepaper she writes: “One source was a thesis by a student at the Central London Polytechnic. He was John Costen, who wrote The Edwardian Cinemas of W. G. R. Sprague. The library there should have a copy, but if not you might track him down at the BBC Architects Department.”

Back across London I return to the library, retracing my steps of 4 months ago to the dissertations. On the bottom shelf, with a faded black spine, I find the name Sprague. Finding an empty seat I open it at the only image of Sprague I have found.

Thus my research returns me to where I began. Standing at the photocopier the song Sheila by Jamie T. materialises on my iPod. The track samples Sir John Betjeman reading The Cockney Amorist and I consider that this song was released as I was starting my undergraduate studies, but at the time I took no interest in the provenance of the opening verse. I struggle to clarify my thoughts, only aware of the sequence of events up to this point, with the beginning of my self-education seeping into the final discourse, the distance to my teenage self now quite stark. As the song ends I return the volume to the shelf.

Again I cross the courtyard and leave university to journey home. I return to the room where I sat with my brother discussing what I would wear to my first club, the posters unchanged since I glued them to the walls a decade ago. This time capsule of a bedroom coincidentally represents what I am attempting to create for 1A Camden High Street; the posters, notes, photographs, ticket stubs, postcards combine into an inchoate history awaiting its reader, just as the present day cloakrooms at KOKO. I sit to begin writing. …

1A Camden High Street 89

concluding This experimental text has investigated my ideas on the overlapping roles of architecture. The built environment provides the most prominent physical records of the past whilst continuing to serve as a repository for memories and stories, all the while the contingent documentation builds to record and evidence the background of people’s lives. The distinctions between the types of prose metalinguistically represent these differing facets of the life of 1A Camden High Street and the contrasts between them.

In documenting I have found a previously uncharted history far more complex than anticipated, incorporating war, urbanism, class and social changes, murder, insanity, marriage, lawsuits, and even lost gold into the development of the building. I now appreciate the building as a thread linking many of my own cultural interests, ranging from punk to pre-Raphaelite painting, whilst containing particular recurring themes and patterns. I find, for example, that Cinderella appears throughout the history as a pantomime, a goon show, newspaper articles and even in the context of licensing hours; and that the author of the Sprague dissertation went on to work at the BBC Architects department. I do not ascribe such connections with importance of themselves, but they lend weight to the concept of architecture as nodes of communal history. Buildings harbour linkages between people that build over time and once investigated, however minute, can gain significance.

The remembering is limited to just a few oral histories that are but a fraction of what could be discovered. To even hint at the scale of personal connections associated with the building over the last century is an impossible task and questions any definitive conclusions. Each night traduces what has gone before with new events, new experiences, and new memories. Oral history is fascinating, but possibly because these records are so fragile they retain significance as a vitally important element of the building’s portrayal.

The more fanciful narrating expands the scope of the text to view the building from imagined perspectives. Grounded in reality and drawn from different sources of inspiration these fictions signify the myriad of roles the building had or could have taken over its life, whilst going beyond fact in my attempt to evoke a sense of mood and place.

However I feel that the prompting component is most successful in embodying the collage of the ‘true’ history within. The content of this disjointed narrative is not subsumed into cohesive prose, rather the vast array of source texts captures the background, mundane events that both distract and complement the main body of historical text. They stimulate the imagination whilst charting the use of language across time.

1A Camden High Street 91

The building today still entertains and excites its audience and, despite the dramatic events of its past, the architecture and use remain almost unaltered. The theatregoers of yesteryear are perhaps little different to those attending KOKO today, seeking popular diversions over high culture in its opulent environment. The nocturnal figures who smoke on the terrace echo their counterparts of 100 years previous, the world around them superficially similar whilst inherently different. The symbiotic relationship between the evolving histories of both the users and the building continues unabated. 1A Camden High Street continues to change and develop along with the life and culture that flows both around and within. My own nostalgic preference for the dilapidated Camden Palace over the corporate and self-aware KOKO is irrelevant to its continual survival, but very relevant to our shared history.

This dissertation is my own poem to the building, in recognition of its place in my history and in the hope that others may find some resonance of their own. ‌

1A Camden High Street 93

“To write; to try meticulously to retain something, to cause something to survive; to wrest a few precise scraps from the void as it grows, to leave somewhere a furrow, a trace, a mark or a few signs.�

The Species of Spaces Georges Perec 1974

1A Camden High Street 95

endnotes documenting the architect 1865 – 1933 1. A Chat With W. G. R. Sprague, The Era, 29.11.1902, p. 15 2. Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref 28.21, p. 1 3. Costen, John. ‘The Edwardian Cinemas of W. G. R. Sprague’ in Issue, No. 4, March 1984, p. 66 4. Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 5 5. Costen, John. ‘The Edwardian Theatres of W. G. R. Sprague’ in Issue, No. 4, March 1984, p.68 6. A Chat With W. G. R. Sprague, The Era, 29.11.1902, p. 15 7. Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 5 8. Costen, John. ‘The Edwardian Theatres of W. G. R. Sprague’ in Issue, No. 4, March 1984, p.67 9. Ibid.

10. Ibid., p. 68 11. Our Theatrical Architect, The Era, 30.101897 12. Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 2 13. A Chat With W. G. R. Sprague, The Era, 29.11.1902, p. 15 14. Costen, John. ‘The Edwardian Theatres of W. G. R. Sprague’ in Issue, No. 4, March 1984, p.68 15. Ibid., p. 67 16. Our Theatrical Architect, The Era, 30.101897 17. Obituary, Unknown Newspaper, 15.12.1933, Cresswell, John. W. G. R. Sprague, Research Papers, Ref. Spw/1 18. Our Theatrical Architect, The Era, 30.101897 19. Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 4 20. St. Pancras Gazette, quoted in Ellen Terry was in at the start, Camden Journal, 09.01.1976 21. Atwell, David. Cathedrals of the Movies, London: London Architectural Press, 1980, p 39 22. Costen, John. ‘The Edwardian Theatres of W. G. R. Sprague’ in Issue, No. 4, March 1984, p.66 23. Glasstone, Victor. Victorian and Edwardian Theatres, London: Thames Hudson Ltd., 1975, p. 100 24. Costen, John. ‘The Edwardian Theatres of W. G. R. Sprague’ in Issue, No. 4, March 1984, p.71

the camden theatre 1900 - 1909 25. Building Intelligence, The Building News, 28.12.1900, p. 932 26. Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 3 27. Ibid.

28. The Era, quoted in Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 3 29. Richardson, John. A History of Camden, Hampstead, Holborn and St Pancras, London: Historical Publications Ltd., 1999, p. 147 30. Denford, Steven and F Peter Woodford, Streets of Camden Town, London: Camden History Society, 2003, p.26 31. The Standard, quoted in Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 3 32. Alberry, Ian B. Feasibility study of the Camden Theatre for the London Borough of Camden, 1973, Camden Local History Library, Ref. 28.21, p. 5 33. Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 2 34. Ibid.

35. St Pancras Gazette, quoted in Ellen Terry was in at the start, Camden Journal, 09.01.1976 36. Ibid.

37. Ibid.

38. Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 4 39. Ibid., p. 2 40. Ibid., p.4 41. Ibid.

1A Camden High Street 97

42. Ibid.

43. Richardson, John. A History of Camden, Hampstead, Holborn and St Pancras, London: Historical Publications Ltd., 1999, p.

147 44. “Dick Whittington” at The Camden Theatre, St Pancras Journal, Vol. 6, No. 7, 12.1952, p. 126 45. Fire Service report, 1908, London Metropolitan Archive 46. The Black and White Gazette, Ephemera, 1902, Camden Local History Library 47. Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14, 1986, p. 4 48. Ibid.

49.County of London Sessions: The Camden Theatre, The Times, 20.06.1908 50. Ibid.

51. Internal Report. Theatres and Music-Halls and Sub-Committee, 1909, London Metropolitan Archive 52. One Licence for All: Changed Opinion of Theatre Managers, The Times, 28.02.1910

the actress 1847 - 1928 53. Melville, Joy. Ellen Terry, London: Haus Publishing Limited, 2006, p.1 54. Ibid., p. 7 55. http://en.wikipedia.org/wiki/Ellen_Terry. Accessed on 10.12.2011 56. Melville, Joy. Ellen Terry, London: Haus Publishing Limited, 2006, p.20 57. Ibid., p. 34 58. http://en.wikipedia.org/wiki/Ellen_Terry. Accessed on 10.12.2011 59. Ibid.

60. Melville, Joy. Ellen Terry, London: Haus Publishing Limited, 2006, p.69 61. Ibid.

62. http://en.wikipedia.org/wiki/Ellen_Terry. Accessed on 10.12.2011 63. http://www.gielgud.com/family%20site/ellen_terry_page.html. Accessed on 10.12.2011 64. http://en.wikipedia.org/wiki/Ellen_Terry. Accessed on 10.12.2011 65. Melville, Joy. Ellen Terry, London: Haus Publishing Limited, 2006, p.80 66. Ibid., p. 9

the camden hippodrome 1909 - 1945 67. Aston, Mark. The Cinemas of Camden, London: London Borough of Camden, 1997, p. 56 68. Camden Theatre and Music Hall Subcommittee Minutes, 1909, London Metropolitan Archive 69. Aston, Mark. The Cinemas of Camden, London: London Borough of Camden, 1997, p. 56 70. Captain Scott’s Antarctic Expedition Brought to Camden Hippodrome, St Pancras Gazette, 26.02.1915 71. Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, p. 2 72. Theatre Owner’s Romance, Unknown Newspaper Cutting, 17.01.1928 73. Ibid.

74. Report by Architect, Theatre and Music Hall Sub-Committee, 1929, London Metropolitan Archive 75. Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref. 28.21, p. 2 76. Ibid.

77. Aston, Mark. The Cinemas of Camden, London: London Borough of Camden, 1997, p. 56 78. Highgate Reminiscence Society, Transcript of, 1983, Oral History Archive, Museum of London, Ref 54.14 79. Architect’s Report on the Hippodrome to Camden Council, 1940, London Metropolitan Archive 79.1. Letter from United Picture Theatres Limited to the Clerk of the Council, 1940, London Metropolitan Archive

the bbc camden theatre 1945 - 1972

80. Richardson, John. A History of Camden, Hampstead, Holborn and St Pancras, London: Historical Publications Ltd., 1999, p.

147 81. Various Internal Camden Council Memoranda, 1944, London Metropolitan Archive 82. Schedule of Condition, BBC Architects Department, 1947, BBC Witten Archive 83. Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref. 28.21,

p.2 84. Ibid.

85. Internal Memorandum, 1952, BBC Written Archive 86. Lease, 1961, BBC Written Archive 87. http://www.rollingstonesnet.com/BBCStones.htm. Accessed 10.12.2011 88. Various Internal Memoranda, BBC Written Archive 89. Internal BBC Memorandum, 01.04.1965, BBC Written Archive 90. Letter from Music Booking Manager, 06.02.1951, BBC Written Archive 91. London Ambulance Service Report, 27.03.1965, London Metropolitan Archive 92. Various Internal Memoranda, BBC Written Archive 93. Internal Memorandum,1971, BBC Written Archive 94. Ibid.

95. http://www.steveplatt.net/squatting/realstory2.htm. Accessed on 09.12.2011 96. Various Internal Memoranda, BBC Written Archive

the comics 1951 - 1961

97. Faines, Norma. The Goons The Story, London: Virgin Publishing Ltd, 1997, p.116 98. http://en.wikipedia.org/wiki/The_Goons. Accessed on 10.12.2011 99. Faines, Norma. The Goons The Story, London: Virgin Publishing Ltd, 1997, p.9 100. Ibid., p.10 101. http://en.wikipedia.org/wiki/The_Goons. Accessed on 10.12.2011 102. Faines, Norma. The Goons The Story, London: Virgin Publishing Ltd, 1997, p. 16 103. http://en.wikipedia.org/wiki/The_Goons. Accessed on 10.12.2011 104. http://www.bbc.co.uk/comedy/thegoonshow/ Accessed on 10.12.2011 105. Unknown Newspaper Cutting, 21.09.2000 Camden Local History Library 106. Searching world for Goons, Camden New Journal, 21.09.2000, p.16

1972-1977 107. Fate of old Theatre: Turn it into a Museum, Hampstead Highgate Express, 28.05.1971, p. 4 108. Theatre and Music Hall Memories, St Pancras Chronicle, 12.05.1972, p.6 109. Theatre is Safe, Camden Journal, 07.07.1972 110. These buildings may soon go to Rubble, Camden Journal, 11.05.1973 111. Camden Council Agenda, Minutes, 18.07.1973, London Metropolitan Archive 112. Alberry, Ian B. Feasibility study of the Camden Theatre for the London Borough of Camden, 1973, Camden Local History Library, Ref. 28.21, p.29 113. Camden Theatre Report, Camden Council, 12.11.1973, London Metropolitan Archive, p. 1 114. Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref. 28.21, p.3 115. The Camden: Theatre or Nightclub?, Camden Journal, 14.02.1975 116. Camden Theatre Must Not Be Altered, St Pancras Chronicle, 14.02.1975 117. Ibid.

118. Camden Council Report, 17.07.1975, London Metropolitan Archive 119. Ibid.

120. Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref. 28.21, p.3

the music machine 1977 - 1981 121 . Bacon, Tony. London Live, London: Balafon Books, 1999, p. 143 122. Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref. 28.21, p.3 123. Pensioners Rock the Music Machine, Unknown Newspaper, 00.12.1978 124. Breen, Patrick. Music Machine’s licences renewed, Camden Journal, 27.07.1978 1A Camden High Street 99

125. Ibid.

126. http://www.film4.com/reviews/1979/music-machine-the. Accessed on 15.12.2011 127. Rock ‘n’ Roll History Walk, Time Out, 27.04.1994 128. Nightspot fire was arson, New Standard, 21.01.1981

the camden palace 1982 - 2004 129. Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref. 28.21, p.3 130. Strange, Steve. Blitzed! The Autobiography of Steve Strange, London: Orion Books Ltd., 2002, p. 88 131. Glitter at the Palace...with laser, Camden New Journal, 29.04.1982 132. Ibid.

133. Blackwood, Caroline. Palace Revolution, Observer, 27.03.1983 134. Ibid.

135. Ibid.

136. Nightclub Focus: Slum It In Style, Unknown Newspaper, 1983, Camden Local History Library 137. http://en.wikipedia.org/wiki/Steve_Strange. Accessed on 05.12.2011 138. Nightclub mystery of ‘lost’ gold, Camden New Journal, 19.11.1985 139. Gold trail ends in £5 award, Camden New Journal, 06.12.1985 140. Palace is up for auction, Hampstead Highgate Express, 04.07.1988 141. Midnight curfew slapped on Palace, Camden New Journal, 03.08.1989 142. Ibid.

143. Council Action gets video surveillance and club watchers, Camden Council Public Relations Memorandum, 15.01.1991, London Metropolitan Archives 144. Camden Palace gets old hours back, Camden New Journal 17.01.1991 145. Camden Duty Planner Archive, 1994 146. Richards, Brendan. Take a Musical Plunge, St Pancras Chronicle, 13.07.1995 147. Derbyshire, Janine. It’s the Love Palace, Camden Chronicle, 20.07.1998 148. Hayward, Stephen. Man shot at club in second attack, Hampstead Highgate Express, 08.09.2000, p.16 149. Searching world for Goons, Camden New Journal, 21.09.2000, p.16

the host 1982 - 1984 150. Strange, Steve. Blitzed! The Autobiography of Steve Strange, London: Orion Books Ltd., 2002, p. viii 151. Ibid.

152. http://en.wikipedia.org/wiki/Steve_Strange. Accessed on 05.12.2011 153. Strange, Steve. Blitzed! The Autobiography of Steve Strange, London: Orion Books Ltd., 2002, p. 44 154. Ibid., p. 66 155. Ibid., p. 88 156. Ibid., p. 89 157. Ibid., p. 109 158. Ibid., p. 110 159. Blackwood, Caroline. Palace Revolution, Observer, 27.03.1983

KOKO 2004 -2012 160. Marclano, Jonathan. Club prepares for big name relaunch, Hampstead Highgate Express, 17.08.2004, p.7 161. Ibid.

162. http://www.koko.uk.com/hire-koko. Accessed 10.12.2011 163. http://www.koko.uk.com/history-koko. Accessed 10.12.2011 164. http://mycamden.camden.gov.uk/gdw/T/ListedBuildingDetail?Id=181&xsl=nlLbDetail.xsl. Accessed on 31.12.2011

remembering don Interview with Don Ranasighe Assistant venue manager at KOKO discussing his early experience of the Camden Palace and his feelings now as a member of staff.

15.08.2011

michael Interview with Michael Howe.

Tutor at Brighton University of Architecture discussing his time as a Blitz Kid in the early 1980s.

28.08.2011

dusan Interview with Dusan Decermic.

Tutor at the University of Westminster School of Architecture discussing his time as a student visiting the Camden Palace in the mid 1980s.

12.10.2011

catherine & david Interview with Catherine King and David Smith.

Friends of the author’s parents discussing their visit to the Music Machine in the late 1970s.

24.10.2011

matthew Interview with Matthew Frame. the author’s elder brother discussing his visits to the Camden Palace in the year 2000.

14.04.2011

joseph Author’s own memories on his first visit to the Camden Palace in 2002.

21.05.2011

narrating all narrating chapters are original compostions by the author

1A Camden High Street 101

image credits

Those without dates are where the information was absent.

cover Alberry, Ian B. Feasibility study of the Camden Theatre for the London Borough of Camden, 1973, Camden Local History Library, Ref. 28.21, p.2

beginning 1. Exterior 1A Camden High Street, 2011. [Online] Available from: http://farm4.staticflickr.com/3607/3439239970_ d72b3c1e6b_z.jpg. Accessed 12.11.2011 2. 1A Camden High Street Map, 2011. [Online] Available from: http://maps.google.co.uk/. Accessed on 12.11.2011

documenting the architect 1865 – 1933 1. Costen, John. ‘Portrait of W. G. R. Sprague by Van der Weyde’ in Issue, No. 4, March 1984, p. 66

the camden theatre 1900 - 1909 1. Howard, Diana. ‘The Camden Theatre, 1900’ in London Theatres and Music Halls, London: The Library Association, 1970 p.

127 2. The Scarlet Pimpernel, Programme, The Camden Theatre, 1901, Ephemera, Camden Local History Library, Ref. 28.21 3. Barson, Susie. ‘The Camden Theatre, 1905’ in The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref. 28.21, p. 7

the actress 1847 - 1928 1. Melville, Joy. ‘Portrait of Ellen Terry’ in Ellen Terry, London: Haus Publishing Limited, 2006, p. 68

the camden hippodrome 1909 - 1945 1. Lang, Mike. ‘The Camden Hippodrome’ in Cine-Variety: Memories of a Forgotten Era. [Online] Available from: http:// mikelangcinevariety.wordpress.com/cine-variety-memories-of-a-forgotten-era/. Accessed 06.01.2012

the bbc camden theatre 1945 - 1972 1. BBC Building Department, Planning Application for New External Illuminated Sign, 27.04.1964, BBC Written Archive 2. The Rolling Stones, Live at The Camden Theatre, Album Cover, Recorded 19.03.1964, [Online] Available from: http:// vivalesbootlegs.blogspot.com/2010/03/rolling-stones-camden-theatre-1964.html. Accessed 06.01.2012 3. ‘Pye Recording Desk in Situ. 1965’ in Old BBC Radio Broadcasting Equipment and Memories: The Camden. [Online] Available from: http://www.btinternet.com/~roger.beckwith/bh/outsidestds/camden.htm. Accessed 06.01.2012 4. Section of Existing Structure, Planning Application for Internal Refurbishment, Camden Council Planning and Built Environment, 1974. [Online] Available from http://planningonline.camden.gov.uk/MULTIWAM/doc/Drawing-2350584. pdf?extension=.pdf&id=2350584&location=DTCamden080808&contentType=application/pdf&pageCount=9 Accessed 06.01.2012

1A Camden High Street 103

the space 1972 -1. Plan of Existing Structure, Planning Application for Internal Refurbishment, Camden Council Planning and Built Environment, 1974. [Online] Available from http://planningonline.camden.gov.uk/MULTIWAM/doc/Drawing-2350584. pdf?extension=.pdf&id=2350584&location=DTCamden080808&contentType=application/pdf&pageCount=9 Accessed 06.01.2012 0. Ibid.

1. Ibid.

2. Ibid.

the comics 1951 - 1960 1. ‘Portrait of original Goons lineup’ in The Goon Show. [Online] Available at: http://www.bbc.co.uk/comedy/thegoonshow/.

Accessed 06.01.2012

1972 - 1977 1. Barson, Susie. ‘Auditorium Interior. Early 1970s’ in Camden History Review, No.14 1986, p. 4 2. ‘Demonstration outside Camden Town Hall’ in These buildings may soon go to Rubble, Camden Journal, 11.05.1973

the music machine 1977 - 1981 1.‘One From The Archives: 12/19/78 Sid Vicious Defence Fund featuring The Clash/ The Slits/ Special Guest’ in This Aint The Summer of Love. [Online] Available at: http://thisaintthesummeroflove.blogspot.com/2011/12/one-from-archives-121978sid-vicious.html. Accessed 06.01.2012 2. Sharp, Ian. The Music Machine, Film Still, 1979. [Online] Available at: http://www.youtube.com/watch?v=HfpNqfeBUVM&fe ature=related. Accessed 06.01.2012

the camden palace 1982 - 2004 1. Promotional Flyer, The Camden Palace, 1982, Ephemera, Camden Local History Library, Ref. 28.21 2. Hulaniki, Barbara. ‘How To Guide’ in The Camden Palace Look, Daily Telegraph, 05.08.1983 3. ‘Slum It In Style’, 1984, Flyer, in Shapers of the 80s. [Online] Available at: http://shapersofthe80s.com/clubbing/1983posing-with-a-purpose-at-the-camden-palace/. Accessed. 06.01.2012 4. ‘Blitz Kids’, 1983 in Shapers of the 80s. [Online] Available at: http://shapersofthe80s.com/clubbing/1983-posing-with-apurpose-at-the-camden-palace/. Accessed. 06.01.2012 5. ‘Peach Club’ 2001 in 1999 - 2004 Camden Palace Ravers Reunited Facebook Group. [Online] Available at http://www. facebook.com/groups/19992003camdenpalaceraversreunited/photos/. Accessed 06.01.2012

the host 1982 - 1984 1. ’80s pop star Steve Strange, lead singer for Visage’ in fuckyeahqueerhistory. [Online] Available at: http:// fuckyeahqueerhistory.tumblr.com/post/2305650471/80s-pop-star-steve-strange-lead-singer-for. Accessed 06.01.2012

the space 1982 -1. Elevation of approved proposal, Planning Application for Refurbishment, Camden Council Planning and Built Environment, 1981. [Online] Available from http://planningonline.camden.gov.uk/MULTIWAM/doc/Drawing-2350595.pdf?extension=.pdf &id=2350595&location=DTCamden080808&contentType=application/pdf&pageCount=4. Accessed 06.01.2012 0. Ground Floor plan of approved prop0sal, Planning Application for Refurbishment, Camden Council Planning and Built Environment, 1981. [Online] Available from http://planningonline.camden.gov.uk/MULTIWAM/doc/Drawing-2350595. pdf?extension=.pdf&id=2350595&location=DTCamden080808&contentType=application/pdf&pageCount=4. Accessed 06.01.2012 1. First Floor plan of approved proposal, Planning Application for Refurbishment, Camden Council Planning and Built Environment, 1981. [Online] Available from http://planningonline.camden.gov.uk/MULTIWAM/doc/Drawing-2350595. pdf?extension=.pdf&id=2350595&location=DTCamden080808&contentType=application/pdf&pageCount=4. Accessed 06.01.2012

KOKO 2004 - 2012

1. KOKO, Exterior, 2011 in Hire KOKO [Online] Available at: http://www.koko.uk.com/hire-koko. Accessed 12.11.2011 2. KOKO Club, 2009 in KOKO Club [Online[ Available at: http://www.koko-club-events.co.uk/en/photogallery/ detail/?image=100#underlogo. Accessed 12.11.2011

the space 2012 1. Herem, Thibaud. KOKO, Elevation, 2010 [Online] Available at: http://www.thibaudherem.com/work-106-koko.html.

Accessed 06.01.2012 2. Interior view at balcony level, KOKO, provided by Don Ranasighe, Assistant Manager KOKO, 2011 3. Interior view from dance floor, KOKO, provided by Don Ranasighe, Assistant Manager KOKO, 2011 4. Interior view from balcony level, KOKO, provided by Don Ranasighe, Assistant Manager KOKO, 2011

ending 1. Interior view of cloakroom, KOKO, provided by Don Ranasighe, Assistant Manager KOKO, 2011 2. Interior view of author’s bedroom, Author’s House, 2011

narrating All narrating illustrations by Matthew Frame, 2012

1A Camden High Street 105

bibliography Books Aston, Mark. The Cinemas of Camden, London: London Borough of Camden, 1997 Atwell, David. Cathedrals of the Movies, London: London Architectural Press, 1980 Bacon, Tony. London Live, London: Balafon Books, 1999 Cain, John. The BBC: 70 Years of Broadcasting, Croydon: Colourset Litho Ltd, 1992 Denford, Steven and F Peter Woodford, Streets of Camden Town, London: Camden History Society, 2003 Faines, Norma. The Goons The Story, London: Virgin Publishing Ltd, 1997 Glasstone, Victor. Victorian and Edwardian Theatres, London: Thames Hudson Ltd., 1975 Howard, Diana. London Theatres and Music Halls, London: The Library Association, 1970 Melville, Joy. Ellen Terry, London: Haus Publishing Limited, 2006 Millington, A. F. Property Development, Finland: WS Bookwell Ltd, 2007 Richardson, John. A History of Camden, Hampstead, Holborn and St Pancras, London: Historical Publications Ltd., 1999 Strange, Steve. Blitzed! The Autobiography of Steve Strange, London: Orion Books Ltd., 2002 Whitehead, Jack. The Growth of Camden Town: AD1800-2000, London: Jack Whitehead, 1999

Articles Those without authors are where the information was absent from the article.

Those without page numbers are taken from microfiche where the information was absent.

A Chat with W. G. R. Sprague, The Era, 29.11.1902, p. 15 Barson, Susie. ‘The Camden Theatre’ in Camden History Review, No.14 1986, p. 2-5 Blackwood, Caroline. Palace Revolution, Observer, 27.03.1983 Breen, Patrick. Music Machine’s licenses renewed, Camden Journal, 27.07.1978 Building Intelligence, The Building News, 28.12.1900, p. 932 Camden Palace gets old hours back, Camden New Journal, 17.01.1991 Camden Theatre Must Not Be Altered, St Pancras Chronicle, 14.02.1975 Captain Scott’s Antarctic Expedition Brought to Camden Hippodrome, St Pancras Gazette, 26.02.1915 Costen, John. ‘The Edwardian Theatres of W. G. R. Sprague’ in Issue, No. 4, March 1984, p. 66-71 County of London Sessions: The Camden Theatre, The Times, 20.06.1908 Derbyshire, Janine. It’s the Love Palace, Camden Chronicle, 20.07.1998 “Dick Whittington” at The Camden Theatre, St Pancras Journal, Vol. 6, No. 7, 12.1952, p.126 Ellen Terry was in at the start, Camden Journal, 09.01.1976 Fate of old Theatre: Turn it into a Museum, Hampstead Highgate Express, 28.05.1971, p. 4 Glitter at the Palace...with laser, Camden New Journal, 29.04.1982 Gold trail ends in £5 award, Camden New Journal, 06.12.1985 Hayward, Stephen. Man shot at club in second attack, Hampstead Highgate Express, 08.09.2000, p.16 Marclano, Johnathan. Club prepares for big name relaunch, Hampstead Highgate Express, 17.08.2004, p.7 Midnight curfew slapped on Palace, Camden New Journal, 03.08.1989 Nightclub Focus: Slum It In Style, Unknown Newspaper, 1983 Nightclub mystery of ‘lost’ gold, Camden New Journal, 19.11.1985 Nightspot fire was arson, New Standard, 21.01.1981 One Licence for All: Changed Opinion of Theatre Managers, The Times, 28.02.1910 Our Theatrical Architect, The Era, 30.10.1897 Palace is up for auction, Hampstead Highgate Express, 04.07.1988 Pensioners Rock the Music Machine, Unknown Newspaper, 12.1978 Rock ‘n’ Roll History Walk, Time Out, 27.04.1994 Searching world for Goons, Camden New Journal, 21.09.2000, p.16 Richards, Brendan. Take a Musical Plunge, St Pancras Chronicle, 13.07.1995 The Camden: Theatre or Nightclub? Camden Journal, 14.02.1975

Theatre and Music Hall Memories, St Pancras Chronicle, 12.05.1972, p.6 Theatre and Music Hall Memories, St Pancras Chronicle, 29.06.1973, p.6 Theatre is Safe, Camden Journal, 07.07.1972 Theatre Owner’s Romance, Unknown Newspaper, 17.01.1928 These buildings may soon go to Rubble, Camden Journal, 11.05.1973

Unpublished Documents Alberry, Ian B. Feasibility study of the Camden Theatre for the London Borough of Camden, 1973, Camden Local History Library, Ref. 28.21 Barson, Susie. The Camden Theatre 1904 - 1985, Unpublished Typescript, 1985, Camden Local History Library, Ref. 28.21 Camden Theatre Report, Camden Council, 12.11.1973, London Metropolitan Archive, Ref. AR/AB/6237 Costen, John. The Edwardian Theatres of W. G. R. Sprague, March 1982, Dissertation, University of Westminster Cresswell, John. W. G. R. Sprague, Research Papers, RIBA Drawings and Archive Collection, Ref. Spw/1 Highgate Reminiscence Society, Transcript, 1983, Oral History Archive, Museum of London, Ref. 54.14

Archives BBC Written Archive Camden Local History Library Camden Duty Planner Archive London Metropolitan Archive Museum of London Oral History Department RIBA Drawings and Archive Collection

Online http://www.bbc.co.uk/comedy/thegoonshow/ Accessed 10.12.2011 http://www.film4.com/reviews/1979/music-machine-the. Accessed 15.12.2011 http://www.gielgud.com/family%20site/ellen_terry_page.html. Accessed 10.12.2011 http://www.koko.uk.com/hire-koko. Accessed 10.12.2011 http://www.koko.uk.com/history-koko, Accessed 10.11.2011 http://mycamden.camden.gov.uk/gdw/T/ListedBuildingDetail?Id=181&xsl=nlLbDetail.xsl. Accessed 31.12.2011 http://www.rollingstonesnet.com/BBCStones.htm. Accessed 11.12.2011 http://www.steveplatt.net/squatting/realstory2.htm. Accessed 09.12.2011 http://en.wikipedia.org/wiki/Ellen_Terry. Accessed 10.12.2011 http://en.wikipedia.org/wiki/Steve_Strange. Accessed 05.12.2011 http://en.wikipedia.org/wiki/The_Goons. Accessed 10.12.2011

1A Camden High Street 107

“Oh when my love, my darling, You’ve left me here alone, I’ll walk the streets of London Which once seemed all our own.

The vast suburban churches Together we have found: The ones which smelt of gaslight The ones in incense drown’d; I’ll use them now for praying in And not for looking round.

No more the Hackney Empire Shall find us in its stalls When on the lime lit crooner The thankful curtain falls, And soft electric lamplight Reveals the gilded walls.

I will not go to Finsbury Park The putting course to see Nor cross the crowded High Road To Williamsons’ to tea, For these and all the other things Were part of you and me.

I love you, oh my darling, And what I can’t make out Is why since you have left me I’m somehow still about.”

The Cockney Amorist Sir John Betjeman

University of Westminster Graduate Diploma in Architecture