If the title of this piece brings back memories of double denim, chunky knits, a cheeky welsh grin and a frankly ludicrous dance then I appologise, it’s wasn’t my intention to spoil your day.
As you’ll see as this unfolds I couldn’t really have come up with another title, and of course that conjures up images of Shakin’ Stevens, which once remembered are difficult to unsee.
I’ll tell you what, how about another image that might be appropriate and consign the first to the vault. It’s a photo of Robert Wadlow, in it’s own way just as memorable. Wadlow’s height was 8 ft 11.1 in (2.72 m) and is the tallest man ever recorded.
This tenuous preamble now complete, I can get onto the main event. The other day I was killing a bit of time before descending into Tottenham Court Road underground station and was just wandering through any lane or passageway that took my fancy in the hope that I’d come across something noteworthy. I’d drawn a blank as I’d already researched a couple of locations, but in one of those quirks you sometimes get I noticed a small thoroughfare just off the Charing Cross Road which I’d never explored called Flitcroft Street, which sits next to the Phoenix Theatre. It runs parallel to Denmark Street, once the home of the UK’s music publishing industry and possibly I’d overlooked it for that reason, too excited to go and press my nose against the windows of the street’s music shops and their shiny guitars.
Flitcroft Street is based on an old alleyway named Lloyd Court which linked Hog Lane (Charing Cross Road) to the end of Denmark Street and the church of St Giles in the fields.
Moving forward to the 1890s, in which this little informative nugget is set, the lane has been widened and leads into Little Denmark Street where it doglegs to the left, with a building that dates from around the same time.
The building sits on land that was once St Giles hospital. The was initially a leper hospital, founded in 1101 by Queen Matilda. It later became a parish church, expanding into one of London’s largest parishes. The hospital chapel, now St Giles-in-the-Fields Church, was built in the 12th century and served as the spiritual heart of a village that grew around it. St Giles was always a rather down at heel area with a lot of crime, drunkenness and debauchery going on. On the other side of of the Little Denmark Street from the building was the Eight Bells Tavern. Judging by records it’s not the sort of tavern you would have entered on a whim. Many nefarious enterprises used the tavern as a base, and with it having rooms upstairs it was a draw to any ladies of the night working locally.
I found a report, not so special in the events that happened, where a client or “Cull” as they were referred to at the time was robbed. It is just the rather flowery way it was reported.
‘It appeared that the Prosecutor and the Prisoner being both of a loving Disposition, had agreed to go together to a garret above the eight bell tavern and that the Prosecutor awaking at Three in the Morning, mist both the Watch and his Bedfellow; but the Watch he lost, which may learn him another Time to be a little more watchful.’
On the 22nd of February 1727 Sarah Crouch was found guilty of stealing a Silver Watch and Chain belonging to John Dring. Sarah’s statement gives some insight into what prostitutes may have experienced with clients or ‘cull’. Crouch claimed that John was a ‘rude fellow’ who did not respect her modesty or pay her fairly.
Anyway, back to the building. From a map dated 1876 used for insurance information, the building is shown as being the location of C Terry, Printer and Lithographer.
The firm occupied the building until around 1903 when it was bought by the firm of Elms Lester. They made some very significant changes to the building due to their rather specialised product. It opened in 1904 and was designed specifically to house the production of, and the storage of, stage scenery and the huge theatrical backdrops of London’s thriving theatreland.
Scenery and picture frames in excess of fifty five feet in height (17 meters) could be accommodated in the Painting Rooms, and a system of electric winches hauled these giant wood and canvass constructions up, down and around the building.
Now the question that may be occurring to you after noting the two small entrances in the alley is “How did they get these massive backdrops out?”
Well all is revealed if you take a few steps further to the end of the building.
A Green door, which you may agree would pique Shakey’s curiosity to find out what is actually behind it and it wouldn’t be a surprise if he found Robert Wadlow!
A LONDON MISCELLANY 