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International Women's Day 2021

Choosing to Challenge: Islington Women and Arts and Entertainment

International Women’s Day (IWD) on March 8 is a global day celebrating the social, economic, cultural, and political achievements of women. The day also marks a call to action for accelerating women’s equality.

The theme of IWD 2021 is ‘Choosing to Challenge’. We can all choose to challenge and call out gender bias and inequality, and can all choose to seek out and celebrate women’s achievements. From challenge comes change, so let’s all choose to challenge.

We pay tribute to and celebrate inspirational Islington Women who, over many centuries and across a variety of professions, have ‘Chosen to Challenge’. The contribution from Islington women in  Arts and Entertainment has been immense. From Kate Greenaway to Andrea Levy, each has accelerated women’s equality and helped towards creating a better and inclusive world.

[Part 1 of 5 of Choosing to Challenge: Islington’s Inspirational Women (1547-2021)]


Kate Greenaway (1846-1901)

Book illustrator

Kate GreenawayHoxton-born children’s illustrator Kate (Catherine) Greenaway and her family moved to 147 Upper Street in 1852, Islington where her mother opened a hat shop.  Kate lived here for 21 years. She later resided at Pemberton Gardens, Holloway. As a child, she attended her first art class at Finsbury School of Art in William Street, Clerkenwell. Kate was soon promoted from this evening class to the day class at the art school at Canonbury House. 

Kate Greenaway had a prolific career as an illustrator for children’s books, designer and verse writer. Her earliest work appeared in Little Folks (1873), a widely known and very popular children’s weekly magazine. The same year saw the first of her Christmas cards produced for Marcus Ward. Her best-known books include Under the Window (1879) and Kate Greenaway’s Birthday Book (1880). Kate’s last work, The April Baby’s Book of Tunes appeared in 1901.

In 1890 she became a member of the Royal Institute of Painters in Watercolours, and exhibited several times. She is still celebrated through the annual Kate Greenaway Medal for illustration of children’s literature.

  • An Islington Heritage plaque to Kate Greenaway can be seen outside her former Upper Street home.

Marie Lloyd (1870-1922)

Music-hall artist

Marie LloydMary Lloyd was known as the ‘Queen of the Music Hall’. Born Matilda Wood in Hoxton, London, her career spanned 40 years. As Bella Delamare, she made her debut at 15-years-old at the Eagle Tavern, off City Road. By 1885 she had become Marie Lloyd, with her hit song ‘The boy up in the gallery’; this was originally written for Islington music-hall star Nellie Power. Marie became a huge success and topped the bill at all the West End and major music halls.

Marie had many associations with Islington, both as resident and performer. As a girl she lived in Bath Place, Finsbury, and attended school in nearby Bath Street. She became a regular performer at Collins’ Music Hall on Islington Green (now Waterstones bookshop), the Grand Theatre at Angel (demolished) and the Finsbury Park Empire (now Vaudeville Court).

Marie was actively involved in the 1907 London and suburban music-hall strike organised by the Variety Artistes’ Federation. It campaigned against management contracts which stopped performers from working in any other local hall within a year of their current contract, irrespective of contract length. Well-paid stars such as Marie and ‘Little Tich’ stood alongside lesser names and refused to perform, often picketing outside theatres. Eventually the various managements were forced to give in and agreed to change the contracts.

Marie Lloyd continued performing until a few days before her death at the age of 52. More than 50,000 people turned out to pay their respects at her funeral at Hampstead Cemetery in 1922.


Lilian Baylis (1874-1937)

Theatrical producer and manager

Lilian BaylisThe eldest of six children, Lilian Baylis was born in Marylebone, London, and grew up surrounded by music and performance. Her mother was a successful singer and pianist, and Lilian’s education was grounded in the arts.

Lilian was the manager of The Old Vic theatre when she began a national campaign to save Sadler’s Wells, Rosebery Avenue, Islington in 1925..

The Sadler’s Wells site had been the home to theatre and entertainment since 1683 but, by 1925, and several buildings later, the playhouse was derelict. Lilian launched a public appeal for funds to rebuild the theatre for the nation. Building work finally began in 1930 and the fifth Sadler’s Wells Theatre opened in 6 January 1931 with a production of Shakespeare’s Twelfth Night.

After a long illness, Lilian died of a heart attack in November 1937, aged 63 in Lambeth, South London, the night before The Old Vic was to open a production of Macbeth starring Laurence Olivier and Judith Anderson.

A new Sadler’s Wells Theatre opened in 1998 and Lilian is commemorated in a performance space named the Lilian Baylis Studio.


Dame Gracie Fields (1898-1979)

Singer and actor

Gracie FieldsDame Gracie Fields (née Stansfield) was born in Rochdale, Lancashire. She was a highly successful singer, comedian and actress, becoming a towering star of both music hall and cinema. 

Gracie made her London stage debut at Collins’ Music Hall, Islington Green, on 25 June 1915 as a singer in a revue. She later made Islington her home. From 1926 until 1929 Gracie lived close to Collins’ at 72A Upper Street. She was most famous for her song Sally (1931) and the film Sally in our Alley (1931). She was the highest paid film star in the world in 1937.

Gracie played the Finsbury Park Empire on a number of occasions in the 1920s and early 1930s. In the 1930s, when her popularity was at its peak, she was given many honours: she became an Officer of the Venerable Order of St John (OStJ) for her charity work, and a Commander of the Order of the British Empire (CBE) for her services to entertainment in the 1938 New Year Honours. 

Gracie had to wait another 40 years until she was invested as a Dame Commander of the Order of the British Empire (DBE) by Queen Elizabeth II, just seven months before her death in Capri in 1979, aged 81 years.

  • An English Heritage blue plaque to Gracie Fields can be seen outside her former Upper Street home.

Nina Bawden (1925-2012)

Author and railway safety campaigner

Nina BawdenNina Bawden CBE was born and raised in Ilford, Essex. She lived at 22 Noel Road, Islington, from 1976 until her death in 2012.

She was the author of many books for adults and children, including Carrie’s War (1973) and The Peppermint Pig (1975). For the latter she won the 1976 Guardian Children’s Fiction Prize, a once-in-a-lifetime book award judged by a panel of British children’s writers. Some of her writing drew on her life in Islington.

Nina was seriously injured in the Potters Bar train crash in 2002 in which her husband, Austen Kark, and six other people were killed. With others she successfully campaigned to make the railways safer and to hold those responsible for the accident to account.

  • An Islington Heritage plaque to Nina Bawden can be seen outside her former Noel Road home.

Andrea Levy (1956-2019)

Novelist and chronicler of the British Caribbean experience

Andrea LevyNovelist and chronicler of the British Caribbean experience, Andrea Levy was born at the Whittington Hospital, Islington, on 7 March 1956. Her father Winston travelled to England on the HMT Empire Windrush in 1948, with his wife Amy following some months later. Both her parents were Jamaican-born of mixed descent, becoming part of the boom in immigration that shaped post-war Britain.

The family home was a council flat at 105 Twyford House, Elwood Street, close to Arsenal FC’s Highbury Stadium. Andrea was youngest of four children, growing up at a time when the idea of living in multi-cultural society had yet to be accepted. She passed the 11-plus examination and, in 1968, attended the prestigious Highbury Hill Grammar School (now Highbury Fields School). 

Andrea began writing novels and her first three works drew on her own experiences of growing up black in a majority white society. These were set largely in the north London of her early years and, although sales were modest, the books were critically well received. In 2004 she had her breakthrough with her fourth novel Small Island, which dealt with the post-Second World War immigration experience of her parents’ generation. That year the book won the Orange Prize for Fiction and the Whitbread Book of the Year and, in 2005, the Commonwealth Writers’ Prize.

Andrea’s final novel The Long Song took the British Caribbean experience back to its uncomfortable origins in the plantation slavery of the early-19th Century. The book was shortlisted for the Booker Prize 2010 and won the Walter Scott Prize for Historical Fiction 2011.

Andrea died on 14 February 2019, aged 62, after living with breast cancer for 15 years.

  • An Islington Heritage plaque to Andrea Levy can be seen outside her former childhood home in Elwood Street
  • Learn more about Andrea in our special Islington Histories Andrea Levy Learning Pack

Choosing to Challenge: Islington’s Inspirational Women (1547-2021) 

Back to Choosing to Challenge: Islington’s Inspirational Women (1547-2021) main page


Compiled by the Friends of Islington Museum / Islington Heritage Service (March 2021)

Categories
Blog Post Local History

The Clerkenwell King of Clowns: Joseph Grimaldi (1778-1837)

Joseph Grimaldi, the Clerkenwell king of clowns and the father of modern clowning, is remembered in an annual memorial service on the first Sunday in February at Holy Trinity Church (and, more recently, All Saints Church) in Hackney. The service, which has been held since 1946, attracts hundreds of clown performers from across the world. They attend the service in full clown costume, all paying their respects to this ‘King of clowns’. We too pay our tribute to Grimaldi, one of Islington’s most famous residents.

1 & 2 Grimaldi panel motif
Joseph Grimaldi (1778-1837)

Birth of the circus

In 1768, on land near London’s Waterloo, Philip Astley created a 42-ft diameter circle in the ground and filled it with astounding equestrian feats of entertainment. This spectacle was the world’s very first ‘circus’, a Latin word originating from the ancient Greek-word ‘kirkos’ meaning circular.

Astley went on to develop his shows to include jugglers, acrobats, trapeze artistes, strong men and clowns. A decade later Britain’s first modern and, perhaps, greatest clown was born.

Joseph ‘Joe’ Grimaldi

Actor, pantomimist and clown Joseph ‘Joe’ Grimaldi was born on 18 December 1778 in London, near to present-day Aldwych, into a family of dancers and clowns. His style of clowning had its origins in the Italian ‘commedia dell’arte’ of the 16th Century but, in the popular Harlequinades of the early-19th Century, he emerged as the founding father of modern-day clowns.

Grimaldi portrait lithograph (1800s)
Joseph Grimaldi by H Brown, early-1800s, lithograph. (Islington Local History Centre)

His Italian father, Giuseppe Grimaldi (d.1788), a ballet-master, dancer and pantaloon, first appeared in London at the King’s Theatre (now Her Majesty’s Theatre) in the Haymarket. Grimaldi’s mother, Rebecca Brooker, danced and played bit parts at the Theatre Royal, Drury Lane and at Sadler’s Wells theatre in Clerkenwell.

Debut at Sadler’s Wells

Joseph Grimaldi’s first appearance, as a child dancer at three-years-old, was in the pantomime Pandora’s Box at Sadler’s Wells with his father on 16 April 1781. Young Joe regularly performed at the Wells; in 1794 he played the dwarf in Valentine and Orson, as well as appearing in various French-revolutionary dramas then drawing large crowds to the theatre.

1 Grimaldi's first performance (1781)
George Cruikshank’s illustration  for Charles Dickens’s Memoirs of Grimaldi (1837). Young Joseph Grimaldi’s first performance aged three years as a ‘flying’ monkey in Pandora’s Box at Sadler’s Wells theatre in 1781. (Islington Local History Centre)

Guzzle the Drinking Clown

Grimaldi’s first performance as a clown took place at Sadler’s Wells in 1800. He played ‘Guzzle the Drinking Clown’ in an innovative pantomime called Peter Wilkins (or Harlequin in the Flying World) written by dramatist and theatre proprietor Charles Dibdin (the younger). Joseph or ‘Joey’ was dressed in an extravagant, multi-coloured costume and his make-up featured a white face, decorated by two red half-moons on each cheek rather than the traditional ruddy complexions of 18th-century clowns. Grimaldi became so popular in the harlequinade that the name ‘Joey’ has passed into the English language to mean clown.

Joseph 'Joey' Grimaldi as 'Clown' by 'Dyer'
Joseph ‘Joey’ Grimaldi as ‘Clown’, early-1800s. Published by Dyer, Finsbury. (Islington Local History Centre)

King of Clowns

Grimaldi rapidly began to be celebrated as the unchallenged king of clowns. In the years that followed he played assorted comic and tragi-comedic parts. These included more performances at Sadler’s Wells, including ‘Friday’ in Robinson Crusoe (1802) and, famously, the ‘Wild Man’ in Charles Dibdin’s aqua-drama The Wild Man (or Water Pageant, 1809), written especially for him.

Sadler's Wells Aquatic-theatre, 1809
Sadler’s Wells Aquatic-theatre, 1809, engraving. The same year, Grimaldi played the ‘Wild Man’ in Charles Dibdin’s aqua-drama The Wild Man. (Islington Local History Centre)

He was to transform the clown from a rustic fool into the star of metropolitan pantomime. To the delight of audiences, his clown possessed no respect for property, propriety or authority. He was high-spirited, mischievous and amoral, satirising contemporary British society and ridiculing the Regency period.

Sadler's Wells aquatic theatre, 1809. (Islington Local History Centre)
Sadler’s Wells aquatic theatre, 1809. (Islington Local History Centre)

Mother Goose

One of Joseph Grimaldi’s greatest successes was his performance in Harlequin and Mother Goose (or The Golden Egg) a Christmas pantomime written by Thomas Dibdin, brother of Charles Dibdin, and performed at the Theatre Royal (later Royal Opera House), Covent Garden, in 1806. The piece became the most successful pantomime ever staged at the theatre. In the years to follow, Grimaldi built on his success with further characterisations at both Covent Garden and Sadler’s Wells. Critics often remarked on the almost demonic quality of Grimaldi’s mime and the expressiveness of his face and gestures.

Grimaldi as Mother Goose
Joseph Grimaldi as Clown in the pantomime Mother Goose, published 1846. (Islington Local History Centre)

Exmouth Market

Joseph Grimaldi left Sadler’s Wells in 1816 and went on a very profitable tour of the provinces; he returned to the Wells in 1818 having bought a share in the theatre. The same year Grimaldi moved to nearby 8 Exmouth Street (now 56 Exmouth Market), Clerkenwell, and he lived there for ten years.

Grimaldi's residence at 56 Exmouth Street 2018
The residence of Joseph Grimaldi from 1818 until 1828 at 56 Exmouth Market, Clerkenwell, 2018. (Islington Local History Centre)

The clown’s health had been declining for some time and by the mid-1820s he had become almost completely disabled. By 1828 Grimaldi had become penniless and benefit performances for him were held at Sadler’s Wells and Covent Garden.

Plaque at Grimaldi's House 56 Exmouth Street April 2018
Plaque at Grimaldi’s House 56 Exmouth Street, April 2018. (Islington Local History Centre)

Joseph Grimaldi Park

Grimaldi’s only son, Joseph Samuel William Grimaldi (b.1802), who took over some of his father’s roles and had seemed to be full of promise, had become wild and uncontrollable and drank himself to an early death in December 1832. Grimaldi himself died on 31 May 1837 at 33 Southampton Street (later 22 Calshot Street), Islington, now demolished. He is buried in the nearby graveyard of St James’s Chapel, Pentonville Road.

Grimaldi's grave 2018
The headstone and grave chamber of Joseph Grimaldi, Joseph Grimaldi Park, Collier Street, Islington, 2018. His actual burial site is located several metres away and is unmarked. (Islington Local History Centre)

The burial ground located in Collier Street, in which the clown’s headstone can still be seen, is now called Joseph Grimaldi Park. In 2010 a coffin-shaped musical memorial dedicated to Grimaldi, made of bronze, musical floor tiles, was installed in the park; the tiles are tuned so that when danced upon it is possible to play his famous song Hot Codlins.

The Clowns’ Church, Hackney

Joseph Grimaldi continues to be remembered in an annual memorial service on the first Sunday in February at either Holy Trinity Church (the ‘Clown’s Church’) or All Saints Church in Hackney*. The service, which has been held since the 1940s, attracts hundreds of clown performers from across the world; the vestry of the church is also home to the Clowns Gallery-Museum, which includes the Clown Egg Register. Clowns attend the annual service in full clown costume, all paying their respects to Joseph Grimaldi, the Clerkenwell king of clowns and the father of modern clowning.

*Due to the Covid-19 Pandemic, this year’s service (2021) may be subject to special conditions or possible postponement, so please check with the churches for details.

Mark Aston
Islington Local History Centre | Islington Museum 2021


Further reading and online sources

Dennis Arundell The Story of Sadler’s Wells, 1683–1964 (Newton Abbott: David and Charles, 1978)

Julia Atkinson The Golden Age of Pantomime: Joseph Grimaldi to Dan Leno: from ‘The Era’ and other contemporary newspapers (Julia Diane Atkinson, 2019)

Charles Dickens Memoirs of Joseph Grimaldi (1837)

Richard Findlater Grimaldi King of Clowns (Magibbon & Kee, 1955)

Andrew McConnell Stott The Pantomime Life of Joseph Grimaldi: Laughter, Madness and the Story of Britain’s Greatest Comedian (Canongate Books, 2010)


Arthur Lloyd.co.uk (The Music Hall and Theatre History Site)

Italians in Islington (Islington Life / London Borough of Islington) 

Sadler’s Wells Theatre Archive (Islington Local History Centre)

The Story of circus (Victoria and Albert Museum)


Categories
Archive Blog Post Collections Local History

Pantos, Pageants and Puddings: Islington’s Christmas Past

Image 1 WW1 card
Embroidered card sent by Leonard Mansfield during World War I with the words ‘From Lenn, Wishing you a merry christmas + a prosperous new year’ [Islington Museum: 2003.2]


We’re all witnessing a different kind of Christmas in 2020. One without the usual carol services, Christmas fairs, pantomime outings and no spending ‘real time’ with family and friends. As a diversion, we thought we’d take a brief look at some of the Christmas ‘goings-on’ of Islington past.

Read on with a cup of spiced tea and a mince pie!

Have Yourself an Aggie Little Christmas!

Image 2 Royal Smithfield Show 1908
Cattle for Christmas at the Smithfield Club Show [The Sphere, 12 December 1908]


You can learn all about the Christmas fun fairs filled with pageants, fairground rides, music and wild animals at the Agricultural Hall or ‘Aggie’ in our presentation Meet Me at the Aggie. However, the Smithfield Club Show (first established in 1798) was the most enduring annual event at the Aggie. It took place between 1862 and 1938 and was usually held a week or two before Christmas. The first livestock fair held at the Aggie attracted almost 135,000 visitors. Members of the royal family frequently attended these showcases of Britain as a leading meat-producing nation. The Prince of Wales (the future Edward VII) took a particular interest and regularly entered specimens from the royal farms.

There was no better place to see all the finest varieties of cattle, as well as pigs and sheep. In 1864, the Islington Gazette commented that “We would not want to exaggerate the effect of the Smithfield Show but we do regard it as a triumph of principles that has almost infinite outgoings” and observed that livestock shows were a fitting event for the lead-up to Christmas, traditionally a season of abundance. Press coverage also indicates a habit of complaints about the most recent show not being as good as those in previous years!

The Pleasure of Pantomime and Performance

Babes in the Wood at the Grand Theatre, Islington
Babes in the Wood at the Grand Theatre, Islington High Street, 1904


Christmas really isn’t Christmas without theatre, and especially the tradition of pantomime. We can usually expect delightful and hilarious Christmas shows at Sadler’s Wells, the King’s Head, the Rosemary Branch, the Little Angel and others (do check out what’s available to watch online). Islingtonians of the past would have sought festive entertainments filled with uproarious dames, dashing principal boys and lines of dancing girls at venues including Collins Music Hall, the Finsbury Park Empire and the Grand Theatre, Islington High Street.

A notable figure in the world of Islington pantomime was Geoffrey Thorne, who by day was chief registrar of births and deaths (as Charles Townley) and a contributor to the Islington Gazette and other publications. Thorne was best known for his comic song Who Killed Cock Warren? (satirising the resignation of police chief Sir Charles Warren in 1888 when he failed to catch Jack the Ripper). He was also closely associated with pantomimes at the Grand Theatre (located where the Royal Bank of Scotland building now stands, adjacent to Angel Station). The 1904 production of The Babes in the Wood, penned by Thorne, was praised by the London Daily News for its “transformation scene in which no fewer than three tons of glass featured prominently […] a fitting climax to the performance, and praise is due to the management for its efforts in upholding the reputation for good pantomimes so long enjoyed by the ‘Adelphi of the Suburbs’”. Sounds spectacular indeed!

Christmas Day in Cornwallis Road Workhouse

Image 4 Christmas pudding recipe
Recipe for Christmas pudding, Cornwallis Road Workhouse, 1904 [Islington Museum: 2002.12]


The workhouse system was established in 1834 under the New Poor Law in order to centralise poverty relief, which was previously administered on a case-by-case basis by local parishes, in order to deter all but the most destitute from applying. The harrowing conditions featured in many works of Victorian art and fiction, most notably Charles Dickens’ Oliver Twist (1837-9). The campaigning journalist George Robert Sims’ impassioned ballad Christmas Day in the Workhouse was first published in 1877 and became hugely popular and was frequently parodied.

A version of the workhouse system continued into the twentieth century. Cornwallis Road Workhouse, Upper Holloway was established in 1864-5 by the West London Union and by 1882 was taken over by the Board of Guardians of St Mary’s, Islington. The quantities in this recipe for Christmas pudding for the inmates (over 900 of them) of 1904, handwritten by workhouse cook Clara Dyer, certainly are extraordinary. The Islington Gazette depicted the Cornwallis Road Workhouse Christmas as a jolly affair with copious amounts of food and a dining hall decorated with “a fairylike appearance with its embellishment of flowers, greenery, various coloured rosettes and Chinese lanterns”. However, it’s unlikely that the rosy treatment in the press reflected the reality.

A Twixmas* Read

Image 5 The Christmas Egg
The Christmas Egg by Mary Kelly (1958). A great Twixmas read!


If you are a fan of vintage crime fiction, it’s almost certain that you’ll enjoy The Christmas Egg by Mary Kelly (1958), recently reissued as part of the British Library Crime classics series: Shortly before Christmas, White Russian émigré Princess Olga Karukhina is found dead in suspicious circumstances in her seedy bedsit off Islington High Street and her priceless Fabergé egg has been stolen… will the mystery be solved by Christmas Day? Kelly was an amateur opera singer who knew Islington through her visits to Sadler’s Wells and she bestowed her love of music on her sleuth, the aptly named Inspector Nightingale.

The book contains evocative descriptions of Islington High Street in the aftermath of the Second World War:

“[Nightingale] had only seen it before in daylight; by night it appeared to be even more a survival from the past. Its narrow curving course and pavements sloping to a central runnel recalled the village long engulfed by the city. The high, flat-faced buildings crowded on either side, their ground floors of tiny shops bedizened at this time with dusty Christmas decorations, belonged unmistakably to London; but to the last century.”

Quite different to today but the sense of economic depression strikes a chord.

[* Twixmas is the word given to the ‘relaxed’ days (27-30 December) between Christmas and New Year’s Eve]

Walking Islington

Image 6 Canonbury House
Canonbury House, Canonbury Place, Islington (built 1795)


As well as curling up with a good book, such as The Christmas Egg, one activity that we can still indulge in is a good walk. Admittedly, there hasn’t been much else that we can do outside the home since March but Islington has so much handsome architecture and walking around in wintry sunshine is one of the best ways in which to enjoy it. I especially like Canonbury House (built 1795), which must be full of the ghosts of the most gloriously Dickensian Christmas memories. I wish I could have attended a Christmas party there in days gone by!

What do you enjoy most about Christmas in Islington? Do you have any special traditions and what are you doing differently this year?

All at Islington Museum and Local History Centre wish you a safe and peaceful festive season and a happy (and better) New Year!

Researched and written by Julia Rank
Islington Museum | Islington Local History Centre (December 2020)

Sources

Islington Museum and Islington Local History Centre Collections

British Newspaper Archive

Cornwallis Road Workhouse, Islington in Workhouses.org [acc. December 2020]

Workhouses in Islington in Workhouses.org [acc. December 2020]

The Christmas Egg by Mary Kelly (1958, reissued by British Library Publishing in 2019, with an introduction by Martin Edwards)

Categories
Barging Through Islington

Hollywood by the Canal: A brief history of Islington and Gainsborough Studios

One hundred years ago, in November 1920, Islington film studios trade-screened its first movie, The Great Day. While the film was not a critical success, it marked the beginning of a distinguished 30-year production run. For those three decades Islington Studios, and then as Gainsborough Studios, produced some of Britain’s best-known early films, such as The Lady Vanishes (1938), The Man in Grey (1943) and Fanny by Gaslight (1944), as well as launching the careers of the many of the country’s cinema stars. Above all, one of the world’s greatest film directors learned his trade at the studios, east London-born Alfred Hitchcock (1899-1980).  

‘Hollywood by the canal’. Islington Studios, Poole Street N1, 1920s.
Famous Players-Lasky

Islington Studios opened in 1919, converted from an old railway power station on Poole Street, a quiet road on the border between Islington and Shoreditch (now Hackney), on the south side of the Regent’s Canal. The building became the home of American film company the Famous Players-Lasky and was hailed as the biggest, most technically advanced film studios in the country. It boasted three stages, workshops and offices, as well as a sunken concrete tank with windows for water scenes. Poole Street was now rising from obscurity to become known as ‘Hollywood by the Canal’!

Architectural section of Islington / Gainsborough Film Studios, 1920s.

Most local people welcomed the opening of the studios and the accompanying glamour. They often looked out for the arrival of the film stars in their chauffeur-driven Rolls Royce’s and limousines. However, the young of the area missed the old power station. It poured hot water into the canal and had provided them with a free, heated swimming pool!

Gainsborough Pictures

Between 1920 and 1922 Famous Players made 11 films but none were judged a success by the critics or the public so, instead, studio space was hired to other production companies.  By January 1924 Players decided to call it a day and return home to the States. Some of the independent films made enjoyed some success, including Flames of Passion (1922) and Paddy-the Next-Big Thing (1923), both under the direction of Graham Cutts and producer Michael Balcon. The two film makers set up their own production company, whose name was to become synonymous with Islington Studios, namely Gainsborough Pictures with its well-known introductory sequence.

Studio no. 2 at Gainsborough Studios, 1920s.
The Rat

Gainsborough Pictures acquired Islington Studios for the much-reduced price of £14,000 and this to be paid in instalments. The first Gainsborough film was The Passionate Adventure (1924) but it was with its second film, The Rat (1925), that the company was to enjoy huge success. Written by and starring Ivor Novello, The Rat was a romance feature set in the Paris underworld. Gainsborough placed Novello under contract and he proved a key figure in establishing the its reputation with two more ‘Rats’ (Triumph and Return) and other various dramas and romances.

Alfred Hitchcock

In 1919 a young man who was passionate about films, replied to an advertisement placed by Famous Players to design and write subtitles for silent films. In 1924, when the studios changed hands, he stayed on to work for Gainsborough, keen to learn all aspects of the business. He was soon given the opportunity to work with Graham Cutts as assistant director. After working on a couple of ordinary pictures, the young man was allowed to direct a subject of his own choosing. The Lodger: A story of the London fog (1927), a disturbing adaptation of the Jack the Ripper story and starring Ivor Novello, was acclaimed by audiences and critics alike. The young Alfred Hitchcock had arrived!

Local residents and scenes

In the film’s final scene, the titular character is pursued by a violent mob of Poole Street residents, who each received half-a-crown (12.5p) for 30 minutes filming. In fact, local people made up most of the studio’s workforce of extras, carpenters, plasterers, labourers and secretaries. It took a lot of skill to transform a disused power station into a royal palace, an alpine village or a desert island! On occasion, films were made using the canal with, for example, ordinary rowing boats altered to look like gondolas. Unfortunately, in January 1930 while shooting a film called Balaclava, the studios caught fire. Some melted wax ignited the highly inflammable wooden studio walls, resulting in sixty-foot high flames engulfing the building. One person died in the fire, which also caused the closure of the studios for almost 12 months.

On set filming of Good Morning Boys (1937) starring Will Hay.
The Lady Vanishes

Now under the control of the Gaumont British Group, film production continued throughout the 1930s. Gainsborough Pictures was now concentrating on producing films for the home market rather than trying to break into America. A variety of film genres were tackled, including comedies, musicals and thrillers. Popular comedians such as Will Hay, Arthur Askey, and the Crazy Gang, and singers including Gracie Fields and Jessie Matthews all appeared in successful productions. However, the biggest success came with Alfred Hitchcock’s mystery thriller The Lady Vanishes in 1938. The story follows the disappearance of an elderly woman from a train – a passenger that everyone denies ever having seen. The plot thickens as the travellers speed their way across Europe, although in reality the whole film was shot at Gainsborough Studios.

The war years

The following year, when war broke out in September 1939, there was a fear that enemy air raids could halt production, with exploding bombs potentially causing the building’s chimney – the third tallest in London – to collapse and fall through the roof. The studios did close temporarily but, in the event, neither happened and production restarted. The Rank Organisation bought Gainsborough in 1941 and an output of period melodramas followed, bringing some welcome box-office success. Films such as The Man in Grey (1943), Fanny by Gaslight (1944) and Madonna of the Seven Moons (1945) all served to provide escapism from the rigours of life on the Home Front. Other notable releases, a mix of comedies and war films,  included Shipyard Sally (1939), They Came by Night (1940), It’s That Man Again (1943), We Dive at Dawn (1943),and Waterloo Road (1945). It had been assumed that The Wicked Lady (1945) was also produced ‘by the canal’ but it was, in fact, filmed at Gainsborough Picture’s Lime Grove Studios in Shepherd’s Bush.

Closure and rebirth

Despite the studio’s success in the 1940s, cinema audiences began to decline and film studios became expensive to run. After nearly 170 films, the final production at Gainsborough was Here Come the Huggetts (1948), a light-hearted drama centred around a family obtaining its first telephone. In January 1949 the closure of Islington Studios was announced. In October that year all the equipment and props were auctioned and the building put up for sale. It was bought in 1951 by James Buchanan and Co., Scotch whisky distillers for warehouse storage and, later, it was acquired by Kelaty Ltd as a store for oriental carpets, with no reminder that it was once the country’s biggest film studio.


This, however, was to change when the former power station and studios were to be incorporated and converted into waterside apartments, penthouses, workspaces and shops. Developed by Lincoln Holdings PLC, and designed by Munkenbeck and Marshall architects, the scheme was once more to be called Gainsborough Studios and, in April 2000, sales commenced. The new complex was completed in 2004.

Sales flyer for the ‘new’ Gainsborough Studios complex, 2000.

As a last homage to the location, two Shakespearean productions by the Almeida Theatre Company were presented in the Spring and Summer of 2000, directed by Jonathan Kent and starring Ralph Fiennes A final closing Hitchcock season took place in October 2003.

Hitchcock’s head

The chimney has now gone but the surviving redbrick frontage on Poole Street and adjoining Imber Street remains. Further reminders of its cinematic past are also present at the site in the forms of a sculpture and a plaque. The building’s courtyard features a large sculpture of Alfred Hitchcock’s head by Antony Donaldson, which was installed in 2003. And, a plaque commemorating Gainsborough Studios was unveiled a few years ago on the Poole Street façade by Hackney Council.

Celebrating the bi-centenary of its opening in 2020, Regent’s Canal has witnessed many and varied businesses and trades operate along is waterside. Perhaps, though, the most unique and historic of all these was the Islington/Gainsborough Studios and, although production has long since finished and the ‘lady now vanished’, the location will always be remembered as ‘Hollywood by the canal’!


Article title and source information taken, with grateful thanks, from Chris Draper’s Islington’s cinemas and film studios (1990)

Further reading
  • Chapman, Gary. London’s Hollywood: the Gainsborough Studios in the silent years. Edditt Publishing, 2014
  • Draper, Chris. Islington’s cinemas and film studios.  Islington Libraries / London Borough of Islington, 1990

Article by Mark Aston, from Barging Through Islington: 200 Years of the Regent’s Canal, an exhibition exploring the two century history of the Regent’s Canal.