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Raphael Samuel’s Farewell To Spitalfields

June 15, 2021
by the gentle author

In 1988, the Bishopsgate Institute staged an exhibition entitled A Farewell to Spitalfields curated by John Shaw and Raphael Samuel, the distinguished historian of the East End. The purpose was to assess the history of Spitalfields in the light of the changes that were forthcoming, as a result of the closure of the Truman Brewery and the Fruit & Vegetable Market.

Below you can read excerpts from Raphael Samuel’s introductory essay accompanied by David Bateman’s photographs of the Spitalfields Market, commissioned as part of this exhibition.

More than thirty years later, it is sobering to recognise the prescience of Raphael Samuel’s words. He was a historian with strong opinions who, on the basis of this article alone, demonstrated an ability to write about the future as clearly as he wrote the past. The Spitalfields portrayed in these pictures has gone and now – for better or worse – we live in the Spitalfields that Raphael Samuel, who died in 1996, wrote of yet did not live to see.

Spitalfields is the oldest industrial suburb in London. It was already densely peopled and “almost entirely built over,” in 1701 when Lambeth was still a marsh, Fulham a market garden and Tottenham Court Rd a green. It owes its origins to those refugee traditions which, in defiance of the Elizabethan building regulations, and to escape the restrictions of the City Guilds, settled in Bishopsgate Without and the Liberty of Norton Folgate.

Spitalfields is a junction between, on the one hand, a settled, indigenous population, and on the other, wave upon wave of newcomer. Even when it was known as ‘The Weavers’ Parish,’ it was still hospitable to many others – poor artisans, street sellers, labourers among them. In the late nineteenth century Spitalfields was one of the great receiving points for Jewish immigration and the northern end of the parish provided a smilar point of entry for country labourers. There was a whole colony of them at Great Eastern Buildings in the eighteen eighties, working as draymen at the brewery, and another at the Bishopsgate Goods Station. This ‘mixed’ character of the neighbourhood is very much in evidence today.

Spitalfields Market – threatened with imminent destruction by a coalition of property developers and City Fathers – is almost as old as Spitalfields. It was already in existence when the area was still an artillery range. In John Stow’s ‘Survey of London’ (1601) it appears a trading point “for fruit, fowl and root.” A market sign was incorporated in the coat of arms for the Liberty of Norton Folgate in Restoration times, and the market’s Royal Charter dates from 1682. The market, in short, preceded the arrival of the Hugeunots and has some claim to being Spitalfields’ original core. The market continued as a collection of ramshackle sheds and stalls until it was transformed, in the 1870s, by Robert Horner, who bought the lease of the land from the Goldsmid family in 1875. Horner was a crow scarer from Essex who, according to market myth, walked to London, became a porter in the market and eventually got a share in a firm. Ambitiously, he set about both securing monopoly rights for the existing traders, and replacing the impromptu buildings with a purpose built market hall – the “Horner” buildings which today is the oldest part of the market complex.

The older, eastern portion of the market is the direct product of Robert Horner’s vision of his own situation. It is built in the manner of the English Arts & Crafts movement. On its own terms, the old market is a pleasing piece and a worthy addition to the diversity of Spitalfields. Its rusticated archways on the Commercial St facade and the repeated peaks of the roof with their smallish sash windows lend a clearly Victorian flavour to Commercial St, which was largely a Victorian venture anyway. Inside the market it is a vintagely Victorian hall of glass and iron of unassuming beauty, even more so when at work, then its true worth as a genuinely functioning piece of Victorian space is revealed. Like St. Pancras in a different way, it has an element of the museum and an aesthetic that overlays the original construction upon utilitarian principles. Most of all the old market appears as a peculiarly English space. An effect that is heightened by the lavish use of ‘Wimbledon’ green. It is that deep traditional green that characterises English municipal space and that, in this case helps to marry the market to the discordant additions of the late 1920’s and to give distinction to the territorial boundaries of the market that have been historically more fluid.

The old market is a celebration of trade, a great piece of Victorian working space, not only of great historical value itself, but contributing to the visual manifestation of the historical development of the whole of Spitalfields. It is a worthy layer in an area that grew by a sort of architectural sedimentation. Hawksmoor’s Christ Church, the Huguenot fronts of Artillery Passage, the Georgian elegance of Elder St and the smaller houses of Wilkes St and Princelet St, the mid-Victorian utility of the Peabody Buildings, the rustic character of the old market, the twentieth century neo-classicism of the Fruit Exchange and several examples of a more unspeakable modernity are some among many accretions which contribute to make Spitalfields what it is. The most perfect example of a palimpsest in which diversity rather than Georgiana or Victoriana represent the true nature of the area.

The character of a district is determined not by its buildings, but by the ensemble of different uses to which they are put, and, above all, by the character of the users. It should be obvious to all but the self-deceived, that to stick an international banking centre in the heart of an old artisan and market quarter, a huge complex with some six thousand executives and subalterns, is, to put it gently, a rupture from tradition. The whole industrial economy of Spitalfields rests on cheap work rooms: rentals in the new office complex are some eight times greater than they are in the purlieus of Brick Lane, and with the dizzy rise in property values which will follow the new development, accommodation of all kinds, whether for working space or home, will be beyond local people.  The market scheme will mean a social revolution, the inversion of what Spitalfields has stood for during four centuries of metropolitan development.

The fate of Spitalfields market illustrates in stark form some of the paradoxes of contemporary metropolitan development: on the one hand, the preservation of ‘historic’ houses; on the other, the wholesale destruction of London’s hereditary occupations and trades and the dispersal of its settled communities. The viewer is thus confronted with two versions of ‘enterprise’ culture: the one that of family business and small scale firms, the other that of international high finance with computer screens linking the City of London to the money markets of the world.

This set of photographs by David Bateman show something of the activity of the market today in what – if the Second Reading of the Market Bill continues its progress through Parliament – are likely to be its closing months.

Raphael Samuel  22nd July 1988

I am fascinated to read Raphael Samuel’s prescient words because – although the culture of small businesses and independent shops persists in Spitalfields against all the odds – it is evident that the proposed corporate redevelopment of the Truman Brewery would damage this culture still further.

Photographs copyright © David Bateman

Raphael Samuel

Portrait copyright © Lucinda Douglas-Menzies

The Save Brick Lane Protest

June 14, 2021
by the gentle author

(Photo by Sarah Ainslie)

Contributing Photographers Sarah Ainslie and David Hoffman were there to document the triumphant protest yesterday organised by Nijjor Manush, East End Preservation Society, Bengali East End Heritage Society, East End Trades Guild and London Renters’ Union to challenge the Truman Brewery’s plan for a shopping mall with four floors of corporate offices on top as the overture to the redevelopment of the entire brewery site.

The local community gathered in Altab Ali Park, before marching up Brick Lane to the Brewery gates where speeches were given by residents, councillors, curry house owners and Dan Cruickshank on behalf of Spitalfields Trust. I publish a transcript of Tasnima Uddin’s rousing speech on behalf of Nijjor Manush.

“Today we show the Truman Brewery and Tower Hamlets Council that we will not stop until this development is rejected.

The choice before us could not be starker, 98.9% of the public consultation oppose the development plan that the council is seeking to push through.

Truman Brewery shame on you!

Today we stand for the 7000 and more people who condemn the Truman Brewery proposal.

We stand for the local residents struggling against chronic indifference from Tower Hamlets Council and creeping displacement by the City of London.

We stand for the people of Tower Hamlets who have made it a hot bed of activism, radical heritage and resistance for generations.

We stand in the proudest traditions of the East End and we stand against all those who seek to condemn those traditions to distant history.

The challenge before is a class issue and therefore necessarily a race issue as well. Tower Hamlets has one of the longest housing waiting lists in the country.

This proposal that the council is gearing up to approve will only push up rents, push out the local community and deepen the housing crisis.

Truman Brewery shame on you!

During the pandemic office blocks became empty, while council housing lists are overflowing.

Tower Hamlets Council where are you?

Tower Hamlets has already been identified as one of the most gentrified boroughs in London in the past decade. If this development goes through, Brick Lane’s Bangladeshi community will find themselves priced out and exiled from the place they call home. 

We need a proper process of local decision making that is shaped by the needs of local communities, not the greed of large companies.

Truman Brewery shame on you!

This protest was planned for the eve of the council decision meeting, but they have delayed it. They will keep delaying it until public interest dies down, but we will be back again with another rally.

We will not let this development go through.

Truman Brewery shame on you!”

VISIT WWW.BATTLEFORBRICKLANE.COM

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by David Hoffman)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by Sarah Ainslie)

(Photo by David Hoffman)

(Photo by David Hoffman)

(Photo by David Hoffman)

(Photo by David Hoffman)

(Photo by David Hoffman)

(Photo by Sarah Ainslie)

(Photo by David Hoffman)

Photographs copyright © Sarah Ainslie © David Hoffman

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Dan Cruickshank’s Spitalfields Photographs

June 13, 2021
by the gentle author

Dan Cruickshank took these photographs – many of which are published here for the first time – between 1969 when he first came to Spitalfields and 1977 when he led the campaign to stop British Land destroying Elder St. “I did it to document the buildings that were here then,” he explained to me in regret, “but sometimes you’d go back the next Saturday and there’d be virtually nothing left.”

Barrowmakers in Wheler St

Baker in Quaker St

Quaker St and Railway Dwellings

Junction of Bethnal Green Rd & Redchurch St

Weaver’s House at the corner of Bacon St & Brick Lane

Weavers’ houses in Sclater St, now demolished

Weavers’ houses in Sclater St, only those in foreground remain

Weavers’ houses in Sclater St, now demolished

Corner of Sclater St & Brick Lane

Houses in Hanbury St, now demolished

Houses in Hanbury St, now demolished

Old House in Calvin St, now demolished

Elaborate doorcase in Wilkes St, now gone

Brushfield St

Brushfield St, buildings on the right now demolished

Brushfield St, buildings on the right now demolished

Buildings in Brushfield St, now demolished

Brushfield St, buildings on the left now demolished

Looking from Brushfield St towards Norton Folgate

Selling Christmas trees in Spital Sq

Spital Sq with St Botolph’s Hall

Folgate St with Dennis Severs’ House in the foreground, houses in the background now demolished

House in Folgate St, now demolished

5 & 7 Elder St during squat to prevent complete demolition by British Land

Partial demolition of 5 & 7 Elder St

Rear of 5 & 7 Elder St during partial demolition

Inside 7 Elder St

Douglas Blain of Spitalfields Trust reads a paper in the loft of 7 Elder St after the roof was removed

Alleyway off Folgate St

Photographs copyright © Dan Cruickshank

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The Pellicci Museum

June 12, 2021
by the gentle author

This is Lucinda Rogers‘ drawing of E.Pellicci in the Bethnal Green Rd, London’s most celebrated family-run cafe, into the third generation now and in business for over a century – and continuing to welcome East Enders who have been coming for generations to sit in the cosy marquetry-lined interior and enjoy the honest, keenly-priced meals prepared every day from fresh ingredients.

E.Pellicci is a marvel. It is so beautiful it is listed, the food is always exemplary and I every time I come here I leave heartened to have met someone new.

I found Lucinda Rogers’ drawing on the wall in one of the small upper rooms that now serves as an informal museum of the history of the cafe, curated by Maria Pellicci’s nephew – Toni, a bright-eyed Neapolitan, who has been working here since he left school in Lucca in Tuscany and came to London in 1970. He led me up the narrow staircase, opened the door of the low-ceilinged room and with a single shy gesture of his arm indicated the family museum. Toni has lined the walls with press cuttings, photographs and all kinds of memorabilia, which tell the story of the ascendancy of Pellicci’s, attended by a few statues of saints to give the pleasing aura of a shrine to this cherished collection.

Primo Pellici began working in the cafe in 1900 and it was here in these two rooms that his wife Elide brought up his seven children single-handedly, whilst running the cafe below to keep the family after her husband’s death in 1931. Elide is the E.Pellicci whose initial is still emblazoned in chrome upon the primrose-hued vitroglass fascia and her portrait remains, she and her husband counterbalance each other eternally on either side of the serving hatch in the cafe. In 1921, Nevio senior was born in the front room here. He ran the cafe until his death in 2008, superceded as head of the family business today by his wife Maria who possesses a natural authority and charisma that makes her a worthy successor to Elide.

As I sat alone in the quiet of the room, leafing through the albums, surrounded by the walls of press coverage, Maria came upstairs from the kitchen to join me. She pointed out the flat roof at the rear where her former husband Nevio played as a child. “He was very happy here,” she assured me with a tender smile, standing silently and casting her eyes between the two empty rooms – sensing the emotional presence of the crowded family life that once filled in this space that is now a modest store room and an office. Maria and Nevio brought up their children in a terraced house around the corner in Derbyshire St, and these days Toni goes round each morning early to pick her up from there, before they start work around six at the cafe she runs with her son Nevio and daughter Anna.

Pellicci’s collection tells a very particular history of the twentieth century and beyond – of immigration, of wars, of coronations and gangsters too. But, more than this, it is a history of wonderful meals, a history of very hard work, a history of great family pride, and a history of happiness and love.

Primo Pellicci still presides upon the cafe where he started work in 1900.

Primo’s children, Nevio and Mary Pellicci, 1930.

Pellicci’s wartime licence issued to Elide Pellicci in 1939 by the Ministry of Food.

Pellicci’s paper bag issued to celebrate the Coronation of Elizabeth II  in 1953 – note the phone number, Bishopsgate 1542.

Mary and Maria Pellicci, Trafalgar Sq, 1963.

Nevio junior, aged seven, skylarking outside the house in Derbyshire St with pals Claudio and Alfie.

Nevio senior and Toni, 1980.

Pellicci’s customers in 1980.

Nevio senior, 1980.

Nevio and Toni.

Christmas card from Charlie Kray, 1980.

Nevio junior and Nevio senior.

George Flay’s portrait of Nevio Junior, 2006. See more at www.artofflay.com

George Flay’s montage of the world of Pellicci’s.

Nevio Senior, 2005

 

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The Executions Of Old London

June 11, 2021
by the gentle author

In the days before the internet, television or cinema, public executions were a popular source of entertainment in London. Ed Maggs, fourth generation proprietor of Maggs Bros booksellers (now safely esconced in their new home at 48 Bedford Sq), sent me this fine selection of Execution Broadsides that he came across recently.

(Click on the image to enlarge and read the text)

Execution Broadside of Henry Horler for the murder of his wife Ann Horler on 17th November 1852, at Sun St, Bishopsgate.

Ann Horler’s mother, Ann Rogers, came to take her daughter away from her husband Henry Horler on the night before the murder was discovered. She had been told that her daughter had been abused by her husband. Henry Horler insisted his wife would not go with her mother that night, but Mrs Rogers should return in the morning for her. The next morning Ann Horler was found dead.

(Click on the image to enlarge and read the text)

Execution broadside of John Wiggins at Newgate, 15th October 1867, for the murder of Agnes Oakes on the morning of Wednesday 24th July at Limehouse. Printed with the trial and execution of Louis Bordier, a Frenchman charged with the murder of Mary Ann Snow on the 3rd September 1867 on Old Kent Rd.

Agnes Oakes lived with John Wiggins as his wife for about six months prior to the murder. Neighbours said they witnessed John beating Agnes and she had said she would leave him if he did not stop.

(Click on the image to enlarge and read the text)

Execution broadside of Michael Barrett, the Fenian, and last man to be hanged in public, on the 26th May 1868, Newgate. Barrett was arrested for the “Clerkenwell Explosion” on 13th December 1867 which killed twelve people and injured many others. Barrett was the only Irish Republican to be convicted of the crime, five others were acquitted.

This tragic event occurred during an attempt to release Richard O’Sullivan Burke from prison. The explosion was misjudged and not only did it blast a sixty foot hole in the prison wall, (O’Sullivan Burke is thought to have been killed in the blast), a number of tenements on Corporation Lane were also destroyed.

The conviction appeared largely to be based on the fact Michael Barrett was a Fenian and that several witnesses claimed he may have been in London at the time. Barrett stated he was in Glasgow on the day of the explosion and if ‘there were 10,000 armed Fenians in London, it was ridiculous to suppose they would send to Glasgow for a person of no higher abilities than himself.’

(Click on the image to enlarge and read the text)

Execution broadside of John Devine for the murder of Joseph Duck in the early morning of 11th March 1863, Little Chesterfield St, Marylebone.

The condemned pleaded not guilty to the crime which appeared to result from a robbery that went wrong. The jury was sympathetic to Devine and, although the verdict returned was guilty, there was a strong recommendation to mercy, as they were of the ‘opinion that the prisoner inflicted the injuries on the deceased while in the act of robbing him; but, at the same time they thought he did not intend to murder him.’ The scene of the execution was described thus: ’There was not a large concourse assembled to witness the sad spectacle, nor was there exhibited by those present any of that unseemly demonstrativeness which they are wont to indulge in.’

(Click on the image to enlarge and read the text)

Execution broadside of the nurse Catherine Wilson for the murder by poisoning with colchicine of her patient Maria Soames in Albert St, Bloomsbury, on the 18th October 1856. The last woman to be publicly hanged in London.

This was Catherine Wilson’s second indictment for poisoning a patient, having been acquitted the first time round to the astonishment of many. When the first trial took place, on 16th June 1862, in the documents the accused appeared as Constance Wilson and was also occasionally found under the alias Catherine Taylor/Turner. Immediately, she was taken back in to custody and charged with the murder of Maria Soames. During the initial trial, the police had been busy putting together evidence of further victims and even exhumed several bodies, including that of Ann Atkinson, Peter Mawer and James Dixon, who was one of Ms. Wilson’s former lovers. In seven of these exhumed bodies a variety of poisons were found.

The Judge presiding said he had ’never heard of a case in which it was more clearly proved that murder had been committed, and where the excruciating pain and agony of the victim were watched with so much deliberation by the murderer.”

(Click on the image to enlarge and read the text)

Execution broadside of Dr William Palmer, for the poisoning of John Parsons Cook at Stafford. Dr Palmer was described by Charles Dickens as ‘The greatest villain that ever stood at the Old Bailey’ in his article on ’The Demeanor of Murderers’. He is also referenced in several novels and an Alfred Hitchcock film.

He was also suspected, although never indicted, of the murder of his four children, all of whom died in infancy, his wife Ann Palmer, Brother Walter Palmer, a house guest Leonard Bladen, and his mother-in-law, Ann Mary Thornton. The doctor benefited financially from all of these deaths.

Dr Palmer was executed at Stafford Prison Saturday 14th June 1856. Although not mentioned in this broadside, the prisoner was said to have had an interesting exchange with the prison governor moments before his death. When Dr Palmer was asked to confess his crimes, the exchange went thus:

Dr Palmer – ’Cook did not die from strychnine.’

Prison Governor  -’There is not time for quibbling – Did you or did you not kill Cook?’

Dr Palmer – ’The Lord Chief Justice summed up for poisoning by strychnine.’

In the trial text, it is stated Dr Palmer reiterated he was: ‘innocent of poisoning Cook by strychnia.’

The Judge stated in his summation: ‘Whether it is the first and only offence of this sort which you have committed is certainly known only to God and your own conscience.’

Dr Palmer became notorious for his supposed crimes. It was said 20,000 people attended his execution and a wax figure of him was displayed at Madame Tussauds in the Chamber of Horrors from 1857 – 1979.

(Click on the image to enlarge and read the text)

Trial broadside of Thomas Cooper,‘would-be’ highwayman, for the murder of Timothy Daly, policeman, and also for shooting at and maiming, with intent to murder, Charles Mott (a baker), and Charles Moss (another police officer) on 5th May at Highbury.

The defence, Mr Hory, addressed the jury, saying ‘for the first time during the seven years that he had been at the bar, he was called upon to address a jury upon a charge, conviction upon which was certain death. He almost felt that his anxiety would defeat itself. He could not help referring to different published statements, most of them monstrous perversions of established fact, and all calculated to excite the prejudices of a jury. When he saw these he could hardly fancy they lived in an enlightened age’.

Mr Hory made the case that the prisoner was not of sound mind, citing attempts of suicide, and claims of being Dick Turpin and Richard III. But this defence was unsuccessful with the jury reached a verdict of guilty, and Thomas Cooper was sentenced to death and executed July 7th 1842.

(Click on the image to enlarge and read the text)

Execution broadside of Charles Peace the notorious Blackheath burglar, for the murder of Arthur Dyson at Banner Cross, on the 29th November 1876.

Charles Peace murdered Arthur Dyson after become obsessed with Mr Dyson’s wife. Then Peace went on the run for two years with a £100 reward on his head, until he was betrayed by his mistress, Mrs Sue Thompson, who revealed his whereabouts to the police. She never received her expected reward as the police claimed her information did not lead directly to Peace’s arrest. He was caught on 10th October 1878, by Constable Robinson, who Peace shot at five times.

Subsequently, a waxwork figure of Charles Peace featured at Madame Tussaud’s, and two films and several books were produced about his life and crimes.

Images courtesy of Maggs Bros

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Pamela Cilia, Truman’s Bottling Girl

June 10, 2021
by the gentle author

The Battle for Brick Lane exhibition curated by The Gentle Author at Annetta Pedretti’s House, 25 Princelet St, E1 6QH, is open from noon until 6pm this Saturday 12th & Sunday 13th June, and every weekend through July. If you would like to volunteer to invigilate, please email heloise@spitalfieldstrust.com

There will be a protest march to Stop The Truman Brewery Shopping Mall this Sunday, meeting in Altab Ali Park at 11:45am for speeches followed by a procession up Brick Lane with banners and music. Please come to show your support.

Pamela Cilia

The reputation of the Truman’s bottling girls has passed into legend in Spitalfields. In the course of my interviews so many people have regaled me with tales of this heroic tribe of independent spirited females. who wore dungarees and clogs which thundered upon the cobbles as made their way through the narrow streets en masse, that I have been seeking one of these glamorous and elusive creatures for years.

Consequently, I was more than happy to make a trip to Rainham to pay a call upon Pamela Cilia, who proved to be a fine specimen of a bottling girl, full of vitality, sharp intelligence and strong opinions to this day. Illuminated by sparkling charisma and filling with joyous emotion as she recounted her story, Pamela was no disappointment.

“I loved it, I loved it, really loved it. But when my husband discovered I was going to work at Truman’s, he said, ‘I don’t want you working in that *******.’ He called it a certain place. Yet he already worked there, so I said to him, ‘If you give the place such a bad name, why are you working there?’ My first job was at Charrington’s in Mile End Rd until that closed down, then I worked for Watney Mann’s for seven years in Sidney St before they sold it to Truman’s, and that’s how we all ended up in Truman’s.

In the bottling plant, you had the filler, then you had the discharger and the labelling. The boxes came down and we filled them up. If a vacancy appeared on a machine, they did it by seniority – I think there were about seven machines. They had one ‘Galloping Major’ that done pints and quarts, and all the others were little bottles. They also had the canning machine. I was mainly on the canning machine.

We never had all this ‘safety,’ like now.  We never wore glasses, we never had earpieces, so it was really dangerous, especially when the bottles went ‘bang’– especially when you had one in your hand and it exploded. You’d be getting them out of the pasteuriser, then all of a sudden ‘bang, bang bang, bang!’ because they hit against one another and they were hot from the pasteuriser.

I was forty-four and my children were all at school. In those days we lived in two rooms. Two pound a week, that’s what we paid.  And my friend Doris used to take the kids to school and she used to bring them home. I clocked in at half past seven and finished at five.

When we got paid on Thursday’s, we used to go over to the Clifton – Thursday was curry day. My friend Adele said ‘I’ll take you to an Indian restaurant.’ At first, she took me to a restaurant near Middlesex Street, near the old toilets. ‘I’ll take you there for a curry,’ she offered, so I said ‘All right’ but when we ate there, I told her, ‘Oh, I don’t like that, Adele.’ The food was too hot.

The following Thursday we went to the Clifton, and on the tables were peppers. Terry, the engineer – big bloke – he said ‘Pam …’ He was going out with Adele and had a row with her, they weren’t talking. He said, ‘Pam, it’s no good asking her for a roll …’ So I offered, ‘All right, I’ll get one for you.’ He said, ‘I want cheese and tomato.’ I got him two cheese and tomato rolls, but I took a pepper and took the pips out and put them in with the tomato pips.  Then I gave them to him and went home afterwards, because I knew what he would do. I was a bit of a joker. I didn’t worry about anything. Nobody got me down.

My sister was different. She was a worrier. I mean, I went there one day and she was crying her eyeballs out. And they all said to me. ‘Pam, Betty’s crying,’ and I said, ‘What are you crying for?’ So she told me that Yvonne, or whatever her name was, said, ‘We can’t go home in her car if we smoke.’ I said ‘Listen, you don’t need her car. You got a pair of legs. Walk on them. Or get a cab home. Don’t let them get you down.’ Well, all the girls in there, they said ‘Pam, how brave you are, you don’t care.’

I met my partner at Truman’s. He was a student of nineteen and I was forty-eight, they used to take students on at Truman’s at busy times. One day, I was out with Adele and she said,‘Pam, I’m not coming to dinner with you today’ and I went ‘You’re not? Why’s that?’ She said to me ‘A student has asked me to have a drink with him at dinner time.’ I replied, ‘Oh, I see, we’ll see about that’. I went straight over to Bernie and asked, ‘Excuse me, can I speak to you?’ And he said ‘Yes’ and I said ‘Are you taking my friend, Adele, for a drink at dinnertime?’ He said, ‘Yes’ and I said, ‘I don’t think so.’ He said, ‘What?’ and I said again ‘I don’t think so.’ He said, ‘Why’s that?’ and I said, ‘If you take her then you’ve got to take me too.’ He went, ‘Oh, alright then, you can come too,’ and I said, ‘Never mind about alright, I’m coming…’

Later, Adele met a student too. Bernie was only nineteen when I met him and I’ve been with him for thirty-eight years. I’ve got four children from my first marriage. My youngest one is sixty-one now. I got one at sixty-one, one at sixty-two, one at sixty-three and the eldest one’s three years older, she’s sixty-six. So I’ve not done bad, bringing up four kids in two rooms. I may be eighty-three but I’m still as lively as if I was twenty-one.

I was brought up in Malta because my father was Maltese. We used to come back and forth, he was a seaman. In the end, he gave up the sea because he had malaria and he was in Addenbrooke’s hospital in Cambridge, where they told him that he could get better treatment in London – so we all moved back to where my mother came from.

There were a lot of Maltese people in the East End then, but they had a very bad name. My husband was Maltese. He was a good husband but he used to hate me talking to bad girls and I’d ask him, ‘Why?’ In Stepney, you’d see the prostitutes, you had them all living in them houses next the hospital where they had furnished rooms. If they saw you with your kids, you don’t say to your child, ‘Don’t talk to her, she’s no good, she’s a so-and-so.’ That’s not me. For me, she’s a human being. Her life is her life. What happened was he said ‘Look Pam, say there’s a crowd of Maltese in Whitechapel’ – which there used to be years ago, they all gathered near the station. He said, ‘You’re not gonna talk to them. I’m being straightforward with you.’ He didn’t want me to get categorised like that or be labelled.

He didn’t want me to work at the bottling plant either, but I done it anyway. See, I’m stubborn. You had every creed, every race. I mean I’m gonna be fair because I have to, I got to swear. When I went in in the morning, I’d say ‘Good Morning, Sweary Mary,’ and she’d say to me ‘F*** off, you Maltese bastard!’

‘You Irish, you Welsh, you Scotch, you Black, you White’ – she’d have a name for every one of one of them. We had Lil, we used to call her ‘Barley-Wine Lil’ because, as soon as she came in, she’d grab a plastic cup. We’d all be thinking she was drinking tea – but she wasn’t! This was seven o’clock in the morning and she was drinking barley wine!

It was very, very good experience for me. I mean, if anything happens to me, I’ve had a good life. I loved the atmosphere, the fighting, and the swearing. And to me, they were straightforward people. Because they’d row with you today and speak to you tomorrow. They didn’t hold it against you. See, I’m a type of person can’t hold rows with people, I just want to be friends, you know.

Once, Me & Adele went down Brick Lane to the market and Sweary Mary was in front of us. We were in our welly boots and our overalls. They had these big stalls down Wentworth Street on a Friday or a Thursday, and we saw Mary – well I tell you what, I’ve never run from nobody. I said to Adele, ‘Look, Sweary Mary’s in front.’ Adele shouts out ‘Sweary Mary!’ Oh, she just turned round and shouted at us ‘F*** off, you Truman’s whores.’ Oh, did we laugh. I mean, it’s not nice really, but that was us. We couldn’t do it today. When you got home you were a different person because you were in your family.

If someone phoned me up and said ‘Pam, there is a permanent vacancy at Truman’s, would you do it?’ The answer’d be, ‘Yes.’ I’d probably go with one leg. You had your ups and downs but there was no violence and – the beer! It was nobody’s business.

Terry, the bloke I gave the peppers to, he was a comedian. It was so hot in the bottling plant that all we had on was our cross-over aprons and our bras and pants. I had a high chair, and I had to grab these cans and pull them forward. One day, he came behind my chair and – this is all because of the pepper in the cheese and tomato roll – I knew he’d get me back, but he didn’t get me straight away. He took my chair and tipped it upside down over a container for old cardboard boxes. He shook me, picking me up and throwing me off my chair into the big container.  I couldn’t get out, my friends had to pass me wooden boxes so I could make steps to get out. Well you know, it was dangerous.

Yes, we had a bad name. Like I told you, my husband didn’t want me to go there because of the bad name. But it doesn’t mean to say you’re all the same. Yes, I had a laugh and joke, I’m not saying I didn’t. As I said, that bloke Terry got hold of me, he turned me upside down, my boobs went over my shoulders, and I didn’t think nothing of it. But my husband – to this day – he never knew. I didn’t see harm in it. But no, it was good, I loved it. Honest, I loved it.  If it hadn’t closed down, I would still be there. I would probably be the sweeper-up!

My husband died after I left Truman’s but I had already met Bernie, and the marriage was already on the rocks. I left him in the end. I always said, ‘Once my children grow up, I’m off.’ And when my children got married, the last one, I was off. And that is how I met Bernie.

At first, they all thought that he was a policeman and I knew that thieving was going on, pinching beer. So he came in one morning and he had navy trousers on, and Adele said to me, ‘Pam, there’s a policeman in here.’ So I said, ‘What do you mean, a policeman?’ I went to him ‘Oi, are you a policeman?’ and he said, ‘No.’ Of course, when we saw him in the morning, we used to shout, ‘Morning, Officer!’ But it’s true, his father was a police sergeant at Chequers and he grew up there. We always said he was a bit of a snob.

I’m eighty-three and Bernie’ll be fifty-eight this year. We just hit it off, age didn’t make any difference. We clicked from that day we met. And he is good as gold. It was fate. I say to myself, ‘It’s fate you meeting Bernie, he wanted a bottling girl.’ He’s been in a lot of places, Bernie. He met Harold Wilson and –  who’s that other prime minister? But that’s another story…”

Pamela Cilia at home in Rainham – ” I’m eighty-three and still as lively as if I was twenty-one.”

 

Labels courtesy Stephen Killick

Transcript by Jennifer Winkler

You may also like to read these other Truman’s stories

First Brew at the New Truman’s Brewery

The Return of Truman’s Yeast

The New Truman’s Brewery

Truman’s Returns to Spitalfields

At Truman’s Brewery, 1931

Lyndie Wright, Puppeteer

June 9, 2021
by the gentle author

As a child, I was spellbound by the magic of puppets and it is an enchantment that has never lost its allure, so I was entranced to visit The Little Angel Theatre in Islington. All these years, I knew it was there –  sequestered in a hidden square beyond the Green and best approached through a narrow alley overgrown with creepers like a secret cave.

Contributing Photographer Sarah Ainslie & I were welcomed by Lyndie Wright who co-founded the theatre in 1961 with her husband John in the shell of an abandoned Temperance Chapel. “We bought the theatre for seven hundred and fifty pounds,” she admitted cheerfully, letting us in through the side door,“but we didn’t realise we had bought the workshop and cottage as well.”

More than half a century later, Lyndie still lives in the tiny cottage and we discovered her carving a marionette in the beautiful old workshop. “People travel for hours to get to work, but I just have to walk across the yard,” she exclaimed over her shoulder, absorbed in concentration upon the mysterious process of conjuring a puppet into life. “Carving a marionette is like making a sculpture,” she explained as she worked upon the leg of an indeterminate figure, “each piece has to be a sculpture in its own right and then it all adds up to a bigger sculpture.” In spite of its lack of features, the figure already possessed a presence of its own and as Lyndie turned and fondled it, scrutinising every part like puzzled doctor with a silent patient, there was a curious interaction taking place, as if she were waiting for it to speak.

“I made puppets as a child,” she revealed by way of explanation, when she noticed me observing her fascination. Growing up and going to art school in South Africa, Lyndie applied for a job with John Wright who was already an established puppet master, only to be disappointed that nothing was available. “But then I got a telegram,” she added, “and it was off on an eight month tour including Zimbabwe.”

After the tour, Lyndie came to Britain continue her studies at Central School of Art and John was seeking a location to create a puppet theatre in London. “The chapel had no roof on it and we had to approach the Temperance Society to buy it,” Lyndie recalled, “We did everything ourselves at the beginning, even laying the floorboards and scraping the walls.” Constructed upon a corner of a disused graveyard, they discovered human remains while excavating the chapel to create raked seating as part of the transformation into a theatre with a fly tower and bridge for operating the marionettes. Today, the dignified old frontage stands proudly and the auditorium retains a sense of a sacred space, with attentive children in rows replacing the holy teetotallers of a former age.

“I had intended to return to South Africa, but I had fallen in love with John so there was no going back,” Lyndie confided fondly, “in those days, we sold the tickets, worked the puppets, performed the shows, and then rushed round and made the coffee in the interval – there were just five of us.” At first it was called The Little Angel Marionette Theatre, emphasising the string puppets which were the focus of the repertoire but, as the medium has evolved and performers are now commonly visible to the audience, it became simply The Little Angel Theatre. Yet Lyndie retains a special affection for the marionettes, as the oldest, most-mysterious form of puppetry in which the operators are hidden and a certain magic prevails, lending itself naturally to the telling of stories from mythology and fairytales.

John Wright died in 1991 but the group of five that started with him in Islington in 1961 were collectively responsible for the growth and development in the art of puppetry that has flourished in this country in recent decades, centred upon The Little Angel Theatre. Generations of puppeteers started here and return constantly bringing new ideas, and generations of children who first discovered the wonder of the puppet theatre at The Little Angel come back to share it with their own children.

“The less you show the audience, the more they have to imagine and the more they get out of it,” Lyndie said to me, as we stood together upon the bridge where the puppeteers control the marionettes, high in the fly tower. The theatre was dark and the stage was empty and the flies were hung with scenery ready to descend and the puppets were waiting to spring into life. It was an exciting world of infinite imaginative possibility and I could understand how you might happily spend your life in thrall to it, as Lyndie has done.

Old cue scripts, still up in the flies from productions long ago

 

Larry, the theatrical cat

Lyndie Wright

Photographs copyright © Sarah Ainslie

Visit The Little Angel Theatre website for details of current productions