Let's Go to The Grand!: 100 Years of Entertainment at London's Grand Theatre

304 Pages·2001·31.31 MB·English

by  Sheila M.F. Johnston

Let's go to
The grand!
100 YEARS OF ENTERTAINMENT AT LONDON'S GRAND THEATRE
Sheila JMLF. Johnston
NATURAL HERITAGE BOOKS
Let's Go To The Grand! ILLUSTRATION CREDITS
100 Years of Entertainment at London's Grand Theatre
Sheila ME Johnston I wish to identify and acknowledge the various sources of the illustrations in
this book and to thank the many individuals and public institutions who gave
Natural Heritage/Natural History Inc. me permission to use them.
While every effort has been made to locate and contact copyright holders,
Copyright © 2001 Sheila M.E Johnston some errors and omissions may have occurred. Any such oversights are
regretted and the author would appreciate having them brought to her
All rights reserved. No portion of this book, with the exception of brief attention.
extracts for the purpose of literary review, may be reproduced in any form
without the permission of the publisher. Front cover: Interior of The Grand, courtesy of The Grand Theatre.
Published by Natural Heritage/Natural History Inc. Back cover: Top photo; Exterior of The Grand, courtesy of LRAHM,
(P.O. Box 95, Station O, Toronto, Ontario, M4A 2M8) London, ON. Bottom photo; Hume Cronyn and Jessica Tandy,
courtesy of The Grand Theatre.
Cover and text design: Sari Naworynski
Editor: Jane Gibson COPYRIGHT PERMISSIONS
Printed and bound in Canada by Hignell Printing Limited, Winnipeg,
Manitoba Excerpts from the London Free Press newspaper, The Stratford Beacon Herald,
The Toronto Star, Canadian Press, Scene Magazine, The Gazette and The Globe
National Library of Canada Cataloguing in Publication Data & Mail and selected books are reprinted by permission.
Johnston, Sheila M.E EQUITY PERMISSIONS
Let's go to the Grand! : 100 years of entertainment at London's Grand
Theatre Photographs of actors who are members of the Canadian Actors' Equity
Association (CAEA) are reprinted by permission from CAEA.
Includes bibliographical references and index.
ISBN 1-896219-75-6 A NOTE FROM THE AUTHOR
i. Grand Theatre (London, Ont.) — History. 2. Theatre — Ontario. I. Title. I do not claim to have listed every production produced by the Grand Theatre,
nor every production presented at the Grand Theatre. The lists of productions
02001-902762-1
FC3099.L65Z57 2001 97i-3'26 which follow each chapter/season are only meant to be representative of that
FiO59.5.L6j64 2001 season.
Any inadvertent oversights on the part of the author, with regard to
permissions, will be rectified in future editions.
Canada
Natural Heritage/Natural History Inc. acknowledges the support received for
its publishing program from the Canada Council Block Grant Program and the
assistance of the Association for the Export of Canadian Books, Ottawa.
Natural Heritage also acknowledges the support of The Ontario Council for
the Arts for its publishing program
DEDICATION
I dedicate this book to my grandparents:
On my mother's side
LILY GARDNER and GEORGE ROY GARDNER,
who, as young parents in the 19205, went to
the Grand Theatre to enjoy the Dumbells.
On my father's side
JESSIE FERGUSON,
who, in 1937, experienced both her debut and retirement from
a brief stage career at the Grand Theatre,
and
DUNCAN FERGUSON.
With Love
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TABLE OF CONTENTS
Acknowledgements vi
Author's Introduction viii
SECTIONS
I. Ambrose Small Era (1901 -1919) i
II. Trans-Canada Theatres Era (1920 -1924) 49
III. Famous Players Era (1925 -1933) 61
IV. London Little Theatre Era (1934 -1971) 85
V. Theatre London Era (1972 -1982) 171
VI. Grand Theatre Company Era (1983 -1986) 211
VII. Grand Theatre Era (1987 - 2001) 221
Appendix I - Just the Facts (1934 - 2001) 254
Appendix II - Frederick Challener, Proscenium Arch Muralist 259
Selected Bibliography 261
Index 264
About the Author 293
ACKNOWLEDGMENTS Greenfield; Dorinda Greenway, interview, use of photographs; Monda Halpern,
anecdote; Kelly Handerek, use of photograph; Tom Hammond; Stephen Harding
The preparation of a book of this scope is an impossible task for a single person. V. Tony Hauser, use of photograph; Martha Henry, interview, use of pho-
I have sought the help of many people, and my requests for assistance have been tographs; Bernard Hopkins, interview, use of photograph; Lesley Humphrey;
met with enthusiasm. Four people who make it their business to preserve the Janelle Hutchison, use of photograph; William Hutt, interview, use of pho-
history of the London and Middlesex area have been especially helpful. Thank tographs; Frances Hyland, use of photograph; Young In Turner, anecdote;
you: Mike Baker, Curator of Regional History, London Regional Art and Barbara Ivey, interview; Beryl Ivey, interview; J.J. Talman Regional Collection,
Historical Museums; Christopher Doty, documentary filmmaker; Anita The D.B. Weldon Library, The University of Western Ontario, permission; Eric
McCallum, Librarian, London Free Press; Theresa Regnier, Library Assistant, J.J. James, use of photograph; Col. Greg Johnson; Jackie Johnston; Simon Johnston,;
Talman Regional Collection, The University of Western Ontario. my husband, love and support; D. Jones, anecdote; John Judson; Cliff Kearns, use
I was fortunate in having three people on my team throughout the of drawing; Frank Kerner; Martin Kinch, use of photograph; David Allan King;
preparation of this book. It is my pleasure to say a heartfelt thank you to: Inez King; Robert King, use of photograph; David Kirby, anecdotes; Christine
Michele Ebel; Sonia Halpern; William Johnston. Kopal; Hilda Larke; Elizabeth Lawson, interview, use of photograph; Patricia
Thank you to everyone who took an interest in this project, and who assisted Leavens, anecdotes; Diana Leblanc, use of photograph; Loreta LeBlanc; Andrew
me: Phyllis Anderson; Don Allan; Jean Back, interview; Ashleigh Barney; The Lewis, use of drawing; Brock Liscumb; London Free Press, permission; London
Stratford Beacon Herald permission; Jack Beattie, anecdote; Rod Beattie, Room; Kip Longstaff, anecdotes; Grace Lydiatt Shaw, interview; Michelle
y
interview, use of photograph; Sonia Bilyea; Geoff Bingle, interview; Peggy Lundgren, use of photograph; John Lutman; Peter Lynch, interview, use of
Bingle, interview; Patricia Black, anecdotes; Craig Blackley; Laurie Blackley; programs; Flora MacKenzie, interview; Ann MacMillan, anecdotes; Martha
Maggie Blake, use of photograph; Heather Brandt, interviews; Jay Brazeau, use Mann, anecdotes; Sheila Martindale, anecdotes; Walter Massey, anecdotes, use of
of photograph; Charles Brown, interview; Chris Britton; CBC Radio, permission photograph; Brenda May, interview; Tom McCamus, anecdote, use of
Douglas Campbell, interview; Canadian Actors' Equity Association; Canadian photograph; Sheila McCarthy, anecdote, use of photograph; Arthur McClelland;
Press, permission; David Caron; Pat Carson; Garrison Chrisjohn, use of Doug McCullough, interview; John F. McGarry, interview; Don McKellar,
photograph; Diana Coatsworth, use of photograph; Rob Cole; Peter Colley, interview; Ted Minhinnick; Mark Mooney, anecdote; Stephanie Morgenstern,
anecdotes; John Cooper, interview; Sandra Coulson; Jonathan Crombie, use of use of photograph; Chris Mounteer, anecdote; Elizabeth Murray, interview;
photograph; Hume Cronyn, use of photographs; Corus Entertainment, Martha Murray, anecdote; Judy Nancekivell, interview; National Archives of
permission; Dicky Dean; Robin Dearing, interview, use of photograph; Aiden de Canada; John Neville, use of photograph; Miriam Newhouse; Ron Nichol; B.
Salaiz, anecdote, use of photograph; Hazel Desbarats, anecdotes, use of O'Donnell; Christine Overvelde, anecdote; Nancy Palk, use of photograph; Mari
photograph; Noreen de Shane, interview; Caroline Dolney-Guerin, anecdote; Parks; Kathleen Pasquini; Arthur Patterson, use of photograph; Dorothy Pearce;
Peter Donaldson, use of photograph; Doubleday, a division of Random House, Barry Penhale, publishing; Jane Penistan, interview; Shelley Peterson, use of
Inc., permission; John Douglas; Wally Duffield, interview; Russ Dufton photograph; Andrew Petrasiunas, use of photograph; Edward C.H. Phelps;
(deceased); Jennifer Duncan; Barbara Dunlop; James W. Dunlop; ; Paul Eck, Heinar Filler, interview, use of photographs; Melodic Pinches; Edwin Pincombe
interview; Jane Edmonds; Art Ender, interview, use of photograph; Eleanor Muriel Podmore; Nancy Poole; Edwin R. Procunier, anecdote; Linda Rae; Robert
Ender, interview; Eddie Escaf, interview, use of photographs; Pam Evans; Louise Ragsdale, use of photographs; Dr. James Reaney, interview; Dr. Peter Rechnitzer,
Pagan; Geoffrey Farrow, interviews, use of photographs; Eric D. Ferguson, my interview; Ric Reid, anecdote, use of photograph; Anni Rendl; Liisa Repo-
father, love and support; E. Madeline Ferguson, my mother, love and support; Martell, use of photograph; Alec Richmond, interviews, use of photograph;
Emmett Ferguson; David Ferry, anecdotes; Elisabeth Feryn, use of photographs; Harry Ronson, interview; David Rottman, interview (deceased); Ruth Rottman,
Art Fidler, anecdotes; Marilyn (Min) Fidler, anecdotes; Don Fleckser, interviews, interview; A. Frank Ruffo, anecdote; Shelley Rutherford, interview; Scene
use of photographs; Debbie Fox; Celia Franca, use of photograph; Irene Fretz; Magazine, permission; Jane Schmuck, use of house programs; Dave Semple, use
Patricia Gage, use of photograph; Victor Garber, use of photograph; Rita of photograph; Jim Shaefer, anecdotes; Joan Sherrin; Daryl Shuttleworth, use of
Gardiner; The Gazette, student newspaper, UWO, permission; John Gerry; Alice photograph; Ruth Slater; Mary Slemin; Florence Smith, interview (deceased);
Gibb, permission; Mary Ann Gibbons, interview; Michael Gibbons, interview; Peter Smith, interview, use of drawing; Nora Snelgrove, interview, use of pho-
Jane Gibson, publishing; The Globe & Mail, permission; Maurice Godin,; tographs; Jim Soper, anecdote; Lynda Spence, interview; The Toronto Star,
anecdotes, use of photograph; Maxine Graham, anecdotes; The Grand Theatre; permission; John Stephenson; David Storch, use of photograph; Diana Stott,
M. Lucille "Sam" Grant, anecdotes; Al Green, anecdotes, use of photograph; Deb interviews; Southpaw Design (William Johnson), design concept; Wendy Subity;
VI LET'S GO TO THE GRAND!
Colleen Thibideau, interview; Anne Tillman; Kate Trotter, anecdotes, use of
photograph; Jean Trudell; William Trudell, interviews; University of Guelph,
Theatre Archives; University of Toronto Press, permission; Tony Van Bridge, use
of photograph ; Mary Velaitis; Sheila Walker, anecdote; Lisa Walterson; Julia
Watts, interview, use of photograph; O. B. Watts, interview, use of photograph;
Rob Wellan, interview; Ric Wellwood, anecdotes; Dorothy Westhead, interviews;
Les Wheable; Pat Wheeler; Rick Whelan, anecdotes; Ron White, use of
photograph; Lascelle Wingate; Marion Woodman, anecdotes; Eric Woolfe, use of
photograph; Janet Wright, use of photograph; Louise Wyatt, interview
(deceased); Leslie Yeo, permission; William Ziegler, interviews, use of pho-
tographs; Janice Zolf, anecdotes
If I have been remiss in neglecting to mention and to thank anyone who assisted
me in this project please accept my sincere apology.
100 Years of Entertainment at London's Grand Theatre vii
AUTHOR'S INTRODUCTION handsome Christopher Walken was Romeo. On stage that day I
also saw Anne Anglin, Mervyn Blake, Joyce Campion, Leo Ciceri,
There are two kinds of theatre people: those who are stage-struck Patrick Crean, Neil Dainard, Amelia Hall, Max Helpmann, Neil
and those who are audience-struck. I belong in the latter category. Munro, Christopher Newton, Kenneth Pogue, Leon Pownall and
For me, nothing equals the experience of being in the audience Powys Thomas, all under the direction of Douglas Campbell. Is it
and watching a theatre performance. any surprise I was bewitched by the spell woven by theatre and by
My introduction to London's Grand Theatre came in
theatre people? My long-term love affair with theatre sprang to
November of 1978. The theatre's house manager, John Gerry, hired life that day as I watched from my seat in that wonderful theatre
me as an usher for the 1978/79 season. I was studying at the in my hometown of Stratford.
University of Western Ontario that year, but I still had time to I am grateful to Tom Patterson, founder of the Stratford
catch the bus and travel to The Grand Theatre, don my beige-and- Festival, and to all of those who helped him achieve his dream of
burgundy uniform, and usher patrons to their plush red seats. a theatre on the banks of Ontario's Avon River.
What I didn't realize was that The Grand Theatre had just
This book gives me the opportunity to share with readers my
undergone a multimillion dollar reconstruction. While the rest of
passion for theatre, my love for London's Grand Theatre, my
London was celebrating the rebirth of its beloved Grand Old Lady respect for theatre people, and my interest in the history of 2Oth
of Richmond Street, I took it for granted that the theatre had century entertainment. I hope that in its pages you will find
always been as beautiful as this, with its 1901 interior and its glass, pleasure.
brick and polished brass lobbies. What did I know then? Much I wish you many magical moments at the theatre.
less than I know now.
The Grand Theatre's magic became crystal clear when the
Sheila M. F. Johnston, Richmond, B. C.
orchestra launched into the opening musical number for Kiss Me
Kate and when the boundlessly energetic and high-kicking A.
Frank Ruffo burst from stage right and led the dancing chorus in
a joyful "Another Opening, Another Show." I thought "Wow!"
then, and I still think "Wow!" when I remember that theatre
moment. By the end of the production's run, I was in love with
London's Grand Theatre. I still am.
My introduction to theatre happened ten years earlier, when
my parents, Eric and Madeline Ferguson, took me to see a per-
formance of Shakespeare's Romeo and Juliet at the Stratford
Festival Theatre in the summer of 1968. I was 11 years old. The
stunningly beautiful Louise Marleau was Juliet, and the strikingly
Vlll LET'S GO TO THE GRAND!
AMBROSE J. SMALL ERA
I 9 O I ' I 9 I9