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Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge Marshalsay, Karen Anne (1991) The Scottish National Players: in the nature of an experiment 1913-1934. PhD thesis. http://theses.gla.ac.uk/3488/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] THE SCOTIISH NATIONAL PLAYERS: IN THE NATURE OF AN EXPERIMENT 1913-1934 Two VOLUMES: VOLUME ONE © Karen Anne Marshalsay Thesis submitted for the degree of Doctor of Philosophy. Department of Theatre, Film and Television Studies. Faculty of Arts, University of Glasgow, October 1991. r-~' , +',-- ~ ..... - . -"-/ ! -, '--' ..... - . , I .... •.. l • ABSTRACT This thesis tries to provide a historical examination of the Scottish National Players, from the first proposals in 1913 until the disbandment of the Scottish National Theatre Society in 1934. The SNP aimed to produce plays of Scottish life and character; to encourage the public's taste for good drama of any kind; and to found a National Theatre. The golden years of the Players were the early and mid twenties, but by the end of the decade their ideals were crumbling away and they faced increasing dissatisfaction from the public and the press. They did not successfully fulfil any of their stated aims, but their attempts were far from being worthless. The influence of the Abbey Theatre, Dublin upon the SNP is detailed in the first chapter, along with the Players' own statements that they set out to create a similar venture in Glasgow. The Players' debt to the Glasgow Repertory Theatre is discussed. In chapters two to five a detailed history of· the Players has been given. This concentrates on the policies, organisation, achievements, people involved, and actual productions, rather than being a literary critique of the plays themselves. Chapter six discusses the main achievement of the Scottish National Players, that they provided a training for the theatre profession which could not at that time be obtained anywhere else in Scotland. The SNP's contribution to the setting up of the BBC in Scotland is also discussed. The appendices contain information on the Scottish National Players, detailing: the plays produced, the authors and number of performances given; the people involved with the stage productions and the parts they played; and the performances themselves, given in chronological order and noting venue and producer. CONTENTS VOLUME ONE Chapter one The Irish Influence 6 Chapter two 1920-1922 44 Chapter three 1922-1924 75 Chapter four 1925-1928 122 Chapter five 1928-1934 170 Chapter six A Training Ground 236 Chapter seven Conclusions 259 Epilogue The Scottish National Players after 1934 267 Bibliography 269 VOLUME Two Appendix one: Chronological List of Plays Produced by the 3 Scottish National Players and the Date of the First SNP Production Appendix tWQ: List of Plays Performed by the Scottish 9 National Players. Arranged Alphabetically by Author Appendix three: Performances of the Scottish National Players 20 1921-1947 Appendix four: List of People Who Only Acted Once with the 44 Scottish National Players 1921-1934 Appendix five: List of People Who Acted Between One and 48 Nine Times with the Scottish National Players 1921-1934 Appendix six: List of People Who Acted Between Ten and 51 Twenty Times with the Scottish National Players 1921-1934 Appendix seven: List of People Who Acted More Than Twenty 52 Times with the Scottish National Players 1921-1934. Appendix eight: People Involved with the Stage Productions of 53 the Scottish National Players 1921-1934. ILLUSTRATIONS (ALL VOLUME ONE) Frontispiece Logo of the Scottish National Players Facing page: Figure one Andrew P Wilson 56 Figure two A Valuable Rival 86 Figure three Poster for Clyde-Built 89 Figure four Poster for The Glen is Mine 103 Figure five The Glen is Mine 104 Figure six Gruach 108 Figure seven DeSign sketch for James the First of Scotland 127 Figure eight SNP on tour 151 Figure nine Britain's Daughter 153 Figure ten The Sunlight Sonata 171 Figure eleven The Ancient Fire 188 Figure twelve SNP broadcasting 248 Figure thirteen SNP tour bus 268 6 CHAPTER ONE: THE IRISH INFLUENCE " ... the creation of something in Glasgow which should be the counterpoint of the Abbey Theatre in Dublin.·1 The Scottish National Players were always willing to acknowledge the fact that they were modelling themselves on the Irish Players. They stated it in the letter which advertised their first productions, describing themselves as a "new scheme on the lines of the famous Irish National Players of the Abbey Theatre, Dublin".2 They expressed similar sentiments in 1953, when they wrote a brief history of their movement, The Scottish National Theatre Venture. Tyrone Guthrie, who was Producer to the SNP for two years, one of his earliest appointments, declares quite clearly in his introduction to the book that: The Scottish National Theatre Society aimed at the creation of something in Glasgow which should be the counterpoint of the Abbey Theatre in Dublin.3 The Irish influence was declared at the meeting of the St Andrew Society (Glasgow) in 1913, when the idea for such a group as the Scottish National Players was first proposed. W Ralph Purnell, a noted amateur actor, addressed the Society and it is made clear in The Scottish National Theatre Venture that the proposals were strongly influenced by the Irish movement: It is well to place on record here that the project to found a "School of National Drama" in Scotland, on the lines of the Irish Players of the Abbey Theatre, Dublin had been put before the Council of the St. Andrew Society by Mr W Ralph Purnell on the 17 November 1913, when he obtained the agreement of the Society to investigate the possibilities.4 1Tyrone Guthrie, "Introduction", The Scottish National Theatre Venture, (Glasgow: The Scottish National Players, 1953), p. 13. Hereafter referred to as~. 2Letter dated 16 September 1920, signed by David Glen MacKemmie on St Andrew Society headed notepaper, Scottish Theatre Archive, Glasgow University Library, hereafter referred to as STA. 3St:illl, p. 13. 4St:illl, p. 21. 7 The St Andrew Society was a patriotic organisation, founded in 1907; whose objects were "the guarding of the honour and dignity of Scotland, the vindication of Scottish rights in the British Union", and the "cultivation of the spirit of Scottish patriotism". This was to be done by, among other things, "the encouragement of Scottish Institutions, Arts, Letters and Music".S The St. Andrew Society set up various committees to look in detail at the possibilities of the Scottish National Players scheme. These were an Executive Committee with Purnell acting as Honorary Secretary, a Finance sub-Committee, and a Literary and Dramatic Committee. The latter was authorised to place adverts for suitable plays in the Glasgow Herald, the Scotsman, and The Times (London). The annual report of the Society for 1914 records a "very encouraging" response of "as many as 32 plays of Scottish life and character". These were to be assessed by a "committee of well-known literary men".6 The Finance sub-Committee set about raising a "Scottish Drama Guarantee Fund" of £400, a figure reached by July 1914. Guarantees were to be held for one year from 2 March 1914, or, if no plays were produced until the 1915-16 season, until 2 March 1916. This fund was set up in order to relieve the St Andrew Society and its members of any financial liability in connection with the Scottish National Players project. 5Extracted from the objects of the St Andrew Society as printed In The Scottish Flag, (1914) by C Cleland Harvey. The complete statement is important as it shows that the Society was not just a literary or artistic one, but was primarily a patriotic organisation: The objects of the Society are: 1. The guarding of the honour and dignity of Scotland, and the vindication of Scottish rights In the British Union by such means as: (a) The encouragement of the study of Scottish history and literature, and the promotion of the use of accurate textbooks of Scottish and British history in schools and colleges. (b)The encouragement of the correct use of the national names, and the opposing of the incorrect use of "England", "English", and "Anglo" for "Britain", "British", and "Brito", Also the encouragement of the use of "Celto­ Teutonic" as a more correct ethnological term than "Anglo-Saxon". (c) The ensuring that the young people of Scotland shall have equal facilities with the youth of England for entering any of the British Services. and equal opportunities for a successful career in these services. 2. The cultivation of the spirit of Scottish patriotism by such means as: (a) The celebration of National Anniversaries; (b) The visiting and preserving of historic monuments; (c) The erection of historic monuments; (d) The encouragement of Scottish institutions, Art. Letters and Music. In 1914 the annual subscription was five shillings, with a charge of five guineas for life membership. The Honorary Secretary was David Glen MacKemmie who was later to take a principal role in the first decade of the Scottish National Players. 6STA. 8 Details of the project were sent out to members of the Society in a letter dated 20 April 1914.
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