A busy new year

Posted on December 22, 2014 by Jane Gallagher

Another year comes to an end already…I’m not sure where 2014 went, but once again it’s been full of excitement and events for Special Collections & Archives.

Along with our regular lecture series, and the annual teaching of Victorian & Edwardian Theatre history, 2014 witnessed the publication of the first part of a biography of Sir Howard Kingsley Wood, by historian Hugh Gault, based heavily on the scrapbooks held in our collections. Alongside this, and our normal duties, we have been preparing to move all of our collections: next spring, we will be setting up the service in the new Templeman extension. This has really been taking shape over the last few weeks, and we have been lucky enough to pop over to see the new reading room, offices and stores. We can’t wait to be in there, but first there’s just the small matter of moving all of our collections from one end of the building through to the other, over 3 weeks, along one corridor. Look out for more news about this in the new year!

The so-called ‘zebra book’; or, an example of the difference a clean makes.

In preparation for the move, we have been working closely with a stalwart team of 15 volunteers who have been cleaning our rare and special book collections, packaging the fragile bindings and helping with collections care. This means that the books, which take up several hundred metres of shelving, can be carefully moved without risking any damage. On Wednesday 17 December, we had a special volunteers’ event to mark the end of this project, but I’d also like to take this opportunity to thank all of this term’s volunteers for their hard work, enthusiasm and commitment, which has enabled us to get over 150 metres of books clean and ready to move.

Also this term, we’ve delivered more than 20 taught sessions and workshops with members of the University community and beyond, including a hugely popular event at the Marlowe Theatre to mark the 100th anniversary of the outbreak of the First World War. As ever, it’s been great to see people getting so enthusiastic about archives – whether it’s a book signed by Alfred Russell Wallace, acting out the thrilling conclusion of the melodrama Maria Marten or discussing Shakespeare’s Welsh connections.

We’ve had several new members join us the team this year: our new archivist, Ann MacDonald, who is curating the University of Kent Archive, and Rachel Dickinson, Metadata and Special Collections Assistant, who has been cataloguing materials right across the broad spectrum of the collections. You can take a look at Rachel’s thoughts about her experiences getting started in the collections on the blog. Another exciting development has been the appointment of an archivist and a digitisation assistant to the nascent British Stand Up Comedy Archive for a year; again, more news to follow in 2015! Finally, stalwart member of the British Cartoon Archives Team Jane Newton has gone part time, so we now have Joy Thomas working as the other half of the post of Special Collections & Archives Curator.

So as we look forward into 2015, we know there will be some major changes and a considerable amount to organise. But we’re looking forward to settling into our new spaces and continuing to work with researchers to discover rare and exciting materials in the unique Special Collections & Archives here at the University of Kent.

Wishing you a very merry Christmas and a happy 2015!

Sir Gawain and the Green Knight

Posted on December 19, 2014 by Rachel Dickinson

The Gulbenkian Theatre opened on the Kent campus in 1969. In its forty five year history it has seen numerous productions, from Shakespeare to musical extravaganzas such as AC/DC and Steeleye Span. The tradition of Christmas performances, including productions aimed at children, runs strongly through the history of the theatre. A fine example of this genre is ‘Sir Gawain and the Green Knight,’ staged in 1979, ten years after the Gulbenkian first opened its doors to the public.

‘Sir Gawain and the Green Knight’ was put on by UKC Dramatics, adapted from the epic poem, and directed by Paul Hodson. Hodson is still hugely involved in theatre today, and is currently adapting ‘High Fidelity’ by Nick Hornby for a tour in 2015, having previously adapted works by Bill Bryson, and put on plays at the Edinburgh Fringe, (more information on Hodson’s work can be found at http://blakefriedmann.co.uk/paul-hodson).

A variety of documents and ephemera relating to the ‘Sir Gawain’ 1979 performance can be found in the Gulbenkian collection. This includes posters, a theatre programme, stickers, local newspaper cuttings and a teacher’s booklet, provided by UKC Dramatics for local schools to study the story before seeing the play. In every item, one can see evidence of how the UKC Dramatics society was involved in every aspect of production, from acting to outreach to the local community.

It is interesting how, in a time when school trips to the theatre were not as common as they may be now, the University of Kent was working hard to have a positive effect on theatre in the local community, and fantastic to see just how successful they were. One unidentified newspaper cutting, dated October 12^th 1979, is a small article concerning the production, informing the reader that ‘Paul [Hodson]…has contacted East Kent schools to encourage children to take part in his illustration scheme.’ An exhibition of local children’s artwork relating to the play was produced, and could be viewed in the Gulbenkian prior to each performance. Another cutting from the Kent Herald, dated December 11^th observes that ‘the play has captured the children’s imagination, for all seven performances have sold out.’ This shows not just how successful the play was in terms of acting and production, but also how keen the local schools and the University of Kent were to work together. In fact, the play and the involvement of the local schools worked so well that two extra matinees had to be scheduled to fulfil demand.

Article from the Kent Herald featuring a picture of cast members with school children’s artwork

The item that shows UKC Dramatics dedication to outreach to the local schools most is the teacher’s information booklet. Produced by the director, the booklet firstly provides an abridged version of the old poem, complete with illustrations, that teachers could read to their classes. Following this is information on the background of the poem, and then a section containing a series of suggestions of projects that could be employed in school in the run up to seeing the show. The idea of putting on a small in-class production of the play is proffered, using the provided story as the play text. Art projects are also suggested, along with comparisons of different areas of the story, and a more in-depth look at the themes running through it. This booklet must have taken a long time to produce, and the amount of work that has gone into it shows Hodson’s dedication to the production, education, and the wish to have the local community as involved as possible.

Two illustrations from the teaching booklet, featuring Gawain and the Green Knight themselves

Why are Christmas productions so popular? Obviously, as in this case, there is an element of people wanting to see a well-produced show, but be they Christmas plays such as this, winter themed ballets such as The Nutcracker, or a good old-fashioned panto, Christmas seems to be a time for special performances that everybody wants to see, including those who would not necessarily go to the theatre the whole year round. It seems a huge part of the appeal is that Christmas is generally recognised as a time to be with family, and productions such as this provide entertainment for all ages. As the Gazette, dated December 14^th, observed about ‘Sir Gawain’ ‘children (and adults) loved it,’ referring to the whole audience ‘roaring our approval,’ and all ages finding the jokes hilarious.

‘Sir Gawain and the Green Knight’ is just one of many student led productions that have graced the boards at the Gulbenkian Theatre. The items within all these collections show clearly the amount of effort students put in to produce such great shows, and are fascinating from the perspective of local and theatrical historians, or those wishing to put on such a production themselves. The Gulbenkian collection can be explored via the Special Collections and Archives website. It has yet to be completely catalogued, so look forward to more opportunities to learn about Kent’s past in the future.

To discover more in this collection go to the Gulbenkian Collection.

Rachel Dickinson.

Discover more from the Reading Rayner Theatre Collection

Posted on December 10, 2014 by Rachel Dickinson

We are delighted to announce that the full collection of printed materials from the Reading-Rayner Theatre Collection is now available to discover in Special Collections & Archives.

The Reading Rayner collection is an expansive selection of items, largely consisting of theatrical material. This includes books pertaining to the history of theatre and film, biographies and memoirs, and play texts, as well as a large number of theatre programs spanning the 1930s to the 1980s. Alongside this is the Play Pictorial, a series of early theatre magazines, bound together, containing reviews and photographs from popular productions of the time, spanning the years 1902 – 1939, when the magazine was merged with Theatre World due to the paper rationing of the Second World War.

The collection is named after Jack Reading and his partner Colin Rayner, who began donating their material to the University of Kent in the 1980s. They initially started their collections separately, but brought them together to form one super-collection. Jack was a founding member, and later Secretary General, of the International Federation for Theatre Research, and was awarded an Honorary Doctor of Letters by the University of Kent in 2000.

Personal ephemera often lay within the pages of many of the books themselves, undiscovered until we pulled back the pages to reveal personal hand written letters, travel documents and even a receipt for potato seeds!

New discovers in the Reading Rayner Theatre Collection.

Discovered by Josie

Having been a cataloguer of rare books and special collections at the University of Kent for around nineteen months, I have grown accustomed to handling books many centuries in age, with beautiful hand painted illustrations and delicate bindings that cover a diverse range of subjects. I was initially struck by “The Changing Room: Sex, Drag and Theatre” due to the visually compelling front cover. There are many books within the collection that offer an insight into all aspects of theatre and performance, many with generically designed book covers, but this screamed what it was all about from a distance. Written by Laurence Senelick, director of Graduate Studies, Fletcher Professor of Drama and Oratory at Tufts University in Massachusetts, “The Changing Room” explores the history of cross-dressing in theatre from ancient times to the modern day, offering to take “readers on a colourful, lavishly illustrated tour of the stages and dressing-rooms of history, from tribal rituals to sacred prostitution, to contemporary musical comedy and performance art.” I was impressed at this book’s ability to pull the attention of someone whose interest in theatre and performance is minimal and which has subsequently left me with a little bit of a thirst to find out more about the performing arts.

Our discoveries (clockwise from left): “Jesus Christ Superstar: the authorised version” ; The Changing Room: sex, drag and theatre” ; “Macbeth” ; “The Merchant of Venice.”

Discovered by Rachel

Of the items I catalogued, the oldest was from the first half of the 17^th century, the smallest was a 7cm tall copy of Shakespeare’s The Merchant of Venice, (published in Venice, with accompanying Italian inscription from the buyer), and the most aesthetic, (in my opinion), was a copy of Macbeth with a hand decorated cover, complete with gold leaf. In terms of subject matter, the books I encountered varied from the traditional theatre of Shakespeare to 19^th century burlesques (the precursor to pantomime rather than the exotic shows of today), to modern gay plays. One item that particularly stood out for me on a personal level was The Authorised Jesus Christ Superstar.

Musicals have been an interest of mine since I was about ten. I have seen Joseph, Evita, Cats and the Phantom of the Opera, and in 2012 I was at the O2 for the second performance of the Arena Tour of Jesus Christ Superstar. This book, never reprinted, records the development of the musical, from its conception by Andrew Lloyd Webber and Tim Rice, to the album and original Broadway production.

The book resembles an album of memories, following the first few years of Superstar’s life. Running continuously along the bottom of the pages are interviews with various people involved in the production, alongside a more in-depth interview with Lloyd Webber and Rice. There are plenty of photographs, predominantly black and white, but also several pages of colour plates of a higher quality, featuring images from the Broadway production, a facsimile of a highly decorative piece of sheet music for the title song and, bizarrely, a colour facsimile of “…And Through Him Save a World,” an issue of the Green Lantern magazine, featuring a modern messiah crucifixion scene. The book also contains facsimiles of posters and magazine covers, reviews and articles, letters from fans and cartoon strips. What I find hugely interesting however, is that it doesn’t just focus on the success of the production. It also considers the controversy that surrounded the show from the word go, featuring both positive and negative reactions from the religious community of the time, from the news that the Vatican was to broadcast the show in full, to letters informing the record company that they will have to pay for using the Lord’s name to make money. This is a hugely intriguing book for any musical lover, theatre historian or person with an interest in religious culture. The sheer variety of material this book contains is sure to enthral the reader.

7cm tall Merchant of Venice I catalogued from the Reading Rayner Collection

The cataloguing of the theatrical material is now complete, but the rest of the collection also contains fiction, poetry and rare books, yet to be discovered.

To explore all of this and more from the Reading Rayner Theatre Collection visit http://www.kent.ac.uk/library/specialcollections/ to search our catalogue or contact us for more information.

By Josie Caplehorne and Rachel Dickinson

Beyond the trenches

Posted on December 1, 2014 by Jane Gallagher

On 11 November 2014, Armistice Day, Special Collections & Archives was involved in an outreach event which explored the themes of the First World War through the theatre of the time, going beyond the trenches to discover how theatre can tell us more about the past. Starting off with the sources (as we always do), we then had a great opportunity to explore the theory and get to see some World War One plays of various kinds. This event was a new and exciting opportunity for us to talk to researchers, from school age to retirees, interested in all kinds of disciplines.

The event’s leader, Dr. Helen Brooks, tells us more:

“It is easy to get bogged down (excuse the pun) in the Battles of Trench Warfare, but now I see that plays of the time are an insight into the culture of the time, which to me is equally as important in understanding the reasoning behind the Great War. This new insight has opened up a whole new perspective”.

Lindsay Kennett, who wrote these words in an email to me last week, was just one of the 30 plus participants who took part in our public study day on First World War theatre, on Tuesday, 11 November at the Marlowe Theatre, Canterbury. The aim of the day was to raise public awareness about how looking at theatre can shed new light on ideas about, and responses to the war: for Lindsay and the many other participants who echoed her sentiments in their feedback, it was clearly a great success.

Over the course of the day we got stuck into a diverse range of activities, all of which were facilitated ably by a team of fantastic student, and ex-student helpers from the Drama Department in the School of Arts – Rebecca O’Brien, Rebecca Sharp, Kinga Krol, and Charlotte Merrikin. Beginning with a brilliant workshop run by Jane Gallagher, from Special Collections at the Templeman, participants had a chance to get ‘hands on’ with sources from Special Collection’s archives (including newspaper clippings, scripts, programs and playbills) and to interrogate them in order to answer questions such as ‘how did the theatre “do its bit” for the war effort?’, ‘what impact did the war have on the theatre industry?’, ‘in what different ways was the theme of war treated in performance?’, and ‘how did audiences change during the war?’. This last question then led us into Professor Viv Gardner’s (University of Manchester) stimulating talk about audiences during the war. Reminding us that audiences were made up of diverse groups and that their responses changed depending on the context of the performance, Viv also drew on some moving stories about individual spectators which brought to life the experience of theatre-going during the war.

After a delicious lunch, courtesy of the Marlowe, and an opportunity to chat to each other about our diverse interests and backgrounds (participants included students from the Langtons schools, members of the Western Front Association, and local historians, to name but a few) the afternoon began with rehearsed readings of three First World War one-act plays: The Devil’s Business by J. Fenner Brockway (1914); God’s Outcasts by J. Hartley Manners (1919); and A Well Remembered Voice by J.M. Barrie (1918). It was quite something to see these plays brought to life, the first two quite probably for the first time ever. The actors, including three current Drama students, Zach Wilson (PhD) , Alexander Sullivan, and Louise Hoare, all did an excellent job, especially as the plays were quite distinct in tone and style, and as the actors had only had two and a half days rehearsal in total. After a stimulating discussion about the plays, with some excellent insights from audience members, the day was then rounded off nicely with a thoughtful talk by Dr Andrew Maunder (Reader at University of Hertfordshire) about his own experience of staging ‘lost’ WW1 plays, and in particular A Well Remembered Voice.

This wasn’t the end though! After just a few hours break – during which it was exciting to see our pop-up exhibition on WW1 theatre in the Foyer attracting a lot of attention from audiences waiting to see the RSC – many of us were back at the Marlowe for the evening rehearsed readings. It was great to see an almost entirely new audience for this. As well as a number of Kent students people came from as far as Dover to join us for this exciting performance. Three of the one-act plays we shared were the same as in the afternoon (although the performances were quite different in energy, something the actors reflected on in the questions afterwards) and we also added an unpublished short play about the Belgian experience during the war entitled There was a King in Flanders (1915) by John G. Brandon. With these four pieces we therefore covered not only the chronological breadth of the war but also a number of different responses to this world event. From The Devil’s Business (1914), a biting satire on the arms trade and its place in fuelling conflict, which was banned in London during the war; to There was a King in Flanders (1915) with its focus on a dying Belgian soldier; and finally to God’s Outcasts (1919) and A Well Remembered Voice (1918) both of which offer sharply different responses towards grief, the plays as a whole offered new insights into the diverse ways in which theatre treated the war between 1914 and 1918. And with insightful comments and an enthusiastic response from the audience, it seems there’s certainly potential to hold similar events in the future.

If you’d like to find out more about Theatre of the First World War, contact Dr Helen Brooks at h.e.m.brooks@kent.ac.uk. Our pop-up exhibition on Theatre of the First World War is available for free loan to theatres, schools and other public institutions. If you would like to host this exhibition simply get in touch with gateways@kent.ac.uk. There is no charge for hosting or delivery.

This study day was one of a series of events being run by Gateways to the First World War, an Arts and Humanities Research Council funded centre for public engagement with the First World War. To find out more about Gateways and how we can help you with activities, advice and expertise, visit www.gatewaysfww.org.uk.

With thanks to Leila Sangtabi for provision of photographs.

Adventures of an Amateur Archivist

Posted on November 14, 2014 by Rachel Dickinson

Mmmmm. Cake. (Edsel Little – Flicka)

I didn’t grow up wanting to be an archivist. My one clear ambition, around the age of eight, was to be a baker in the morning and an author in the afternoon. When it came to choosing a degree I was fairly lost, after all who really knows what they want to do when they’re seventeen. I decided to do Classical and Archaeological studies, like most people simply because I liked the subject at school, and chose the University of Kent as I knew Canterbury well and found the course contained many uniquely interesting modules.

The idea of becoming an archivist came to me about halfway through my second year at Kent. I have always been fascinated by history, even as a young child, but struggled working out how to use it in my career. I couldn’t be a history teacher, neither could I see myself as a lecturer in history – I was terrified of speaking to groups of people. I couldn’t picture myself as a career historian. Despite archaeology being part of my degree title, I followed more of an Ancient History pathway, deciding archaeology was not the right fit for me.

Bizarrely I think a large influence was the BBC’s ‘Who Do You Think You Are?’ I have always primarily been more interested in social and religious history than any other sphere, and I think the initial idea I had was to become a genealogist, but WDYTYA showed me archives could hold a wealth of hugely interesting and varied material, and to be working with that material, and maybe even be in charge of what happens to it, is what pulled me towards the career. I also hold a firm belief that anything of historical value should be preserved and made available for anyone who wants to see it.

So, after a couple of years of job hunting, and a year stint as a casual and Saturday girl at my local council libraries, I managed to get a job as a Metadata Assistant at my old university. I hadn’t expected to return to Kent, but I was exceedingly happy to do so. I viewed this job as more or less perfect in terms of transitioning between libraries and archives, the wealth of experience I would gain, and the direction I wanted to be going in. Needless to say I could hardly believe my luck.

My co-workers of happiness (and me)

My first task was to conquer cataloguing. I had no previous experience and so have learnt everything from scratch. Initially I was focussed on regular academic books, and then I was introduced to Special Collections book cataloguing. Initially the experience was incredibly confusing. The empty catalogue record looked to me a little like a small Excel spreadsheet with a list of, (then meaningless), numbers at the side. Now it makes perfect sense to me, but at the time I found it challenging.

7cm tall Merchant of Venice I catalogued from the Reading Rayner Collection

Later I was moved on to cataloguing for the British Cartoon Archive (BCA), which doesn’t just involve books. My principle duty is cataloguing modern political cartoons from the daily newspapers. This uses a different program to book cataloguing, so, just as I was adjusting to the first program, I was given another, totally different, one to master. Cartoon cataloguing is definitely a skill that improves with practice. The point is to enter search terms in the record that describe the cartoon, but working out what is going on in any given cartoon isn’t always straightforward. What I struggled with most was approaching this with little diverse political knowledge. I had no idea who most of the people in the cartoons even were. Now I can recognise caricatures of people, despite not knowing what they look like in reality.

A hugely important collection within the BCA is that of Carl Giles, and as part of this we have stacks of blank Christmas cards, designed by him. My first non-cataloguing job was to count these, and put them in boxes. The novelty soon wore off. Unsurprising when you consider I counted over thirteen thousand of these. However I did eventually get through them, and the sense of triumph when they were done was palpable. My work at the BCA has become more diverse, although boxes continue to play a remarkably large part in my life.

Many many Giles annuals (without attendant boxes)

A few months into my work at Kent the BCA received a new and highly significant collection of the political cartoonist Leon Kuhn. He was an anti-war cartoonist, who campaigned alongside George Galloway’s party Respect in the 2005 general election. His work, I have learned, is unique, hard hitting, and often fairly disturbing. It is also large. I was given the task of unrolling and relocating his political posters, many of which were taller than my five feet two inches. I appreciate that for a human five foot two is not especially tall, but for rolls of paper it is pretty big, not to mention unwieldy. I also had to relocate the rest of the collection, including boxes of campaign leaflets, photos and books. I did enjoy this work, especially as it was my first real opportunity to see some of the collections, but I felt a little like a removals lady.

The work that I am proudest of taking on is of a more social nature. I have always struggled to talk to people, be they in groups, or just one person I don’t know particularly well. I often find my nerves get the better of me to the point of panic attacks. So when I was asked if I wanted to supervise volunteers in a rare book cleaning project and help out in seminars run for students using Special Collections and Archives material, my first response, both times, was panic and a distinct sense of ‘no way,’ after all I had only been in the job three months, surely there was no way I was prepared for this. I ignored my brain screaming wordlessly at me, and agreed to give both a go.

The volunteering was the easier of the two to deal with. Initially I only had one volunteer to supervise cleaning rare books in preparation for our move to the Templeman extension next year, and I was lucky that she was a happy, friendly and chatty sort of person. It went a lot better than I anticipated and I actually enjoyed doing it, which is what surprised me the most. This project has allowed my confidence to grow substantially.

Before and after – volunteer cleaning

The seminars were harder. There would be a group of students who would all be listening to, and for the most part looking at, me whilst I gave a run down on what Special Collections and Archives was, how to order items and how to use the material we had out in the seminar. I was shaking at the time, but I overcame my nerves, and found presenting became easier with each seminar. This came with a great sense of achievement, as I overcame my initial concerns.

I think it’s easy to say the most interesting thing that has occurred in my brief time here was the Reading Room leak. I came in on a Monday morning to be informed it was basically raining in the reading room. Over the course of the day tiles fell off the ceiling and the carpet was soaked through, however all staff pulled together to ensure there was no major damage to any collection items. Throughout the day, and over the course of the next couple of days, I helped various other staff members remove items from the room, such as reference books, old playbills from our theatre collections, and the Indonesian shaman’s staff. (You get some weird looks when you carry that through the library and into a lift). Basically the entire of that week was a little frantic. I regularly had to leave my usual work to go and help deal with the disaster. I spent a lot of time scurrying around the building, and found I was exhausted at the end of it. But oddly I almost enjoyed the experience. Especially after we managed to save everything.

My colleague Josie in the leaking reading room

My experience has been invaluable. I have huge variety in the work I do, with ample opportunity to push myself further. I have a much clearer idea of the work archivists do, and most importantly for me I have confirmed to myself that this is the area in which I want to work. I absolutely love the work I do, although that may not always come across. Even tasks that I didn’t necessarily find easy are an important experience, and I think it’s good for archivists to be involved in their collections with work at every level. My experience of working with a variety of collections, in a variety of functions has prepared me to commit to a postgraduate course in archive management. I work in the happy knowledge that I am incredibly lucky to be working here. It took me two years following graduation to get a full time job, but now I know that it was worth the wait, and I am unbelievably happy to be back at Kent.

Rachel Dickinson

Thou shall not leak!!

University of Kent Special Collections & Archives

News and views from the Special Collections & Archives team at the University of Kent.

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