You know how much I love serendipity? Well, yet again things have all somehow come together at the same time in the Merry Shrew Universe to illuminate yet another dusty corner of my theatrical research. Although what happens on stage is relatively easy to uncover, the workings of the Backstage World are a different matter entirely. Discovering information about set and costumes, lighting and special effects can be very difficult and so finding something about that realm is a joy.
This summer I spent a week in Galloway in Scotland and managed to con my fellow travellers into a trip to Wigtown. This is Scotland's 'Book town' - a bit like a Scots Hay-on-Wye - and amongst other delights I found a rarity in the wonderful
Old Bank Bookshop - a copy of Joseph Harker's memoirs
Studio and Stage published in 1924. In all my rummaging in bookshops over the years I'd never seen a copy. Naturally, I had to bring it home...
Joseph Harker was a famous scenic painter, best known for his work with Henry Irving and Beerbohm Tree. (Rumour has it that Bram Stoker actually named Jonathan Harker after him when he wrote
Dracula.) Harker also produced work for the Bensons, notably working on their production of
A Midsummer Night's Dream. I read his book in one sitting - with a wry smile at his comments about 'modern staging' - and then, once I was back at home, did a little light Googling. To my amazement I discovered that Harker's actual studio in Walworth is still in existence and still being used for painting scenery. Look
here to see some fabulous photographs of the interior, which is currently a theatrical chandler's shop. There is even a
Pathe newsreel showing Harker painting a forty-foot canvas in the studio.
Sadly, its fate seems very uncertain. Southwark Council have granted planning permission for the building to be 'redeveloped' (their word: mine would be much more emotive!) into 'luxury flats' when the current lease comes to an end in January 2018. The criminal and wanton destruction of this Grade 2 listed building is barbaric. It is a unique and living piece of heritage as well as being an unbroken link back to Edwardian Theatre.
However, it won't go down without a fight. There's an
online petition and pressure from all sorts of organisations and groups, including the Victorian Society, the Theatres Trust and
The Harker family themselves to try and make the council reconsider their decision. I really hope they do. Once destroyed, another link in the fragile chain between then and now will be broken.
