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1. All Saints Choir & Servers.
2, The Prince's Fountain.
3. Images of old Mumbles -
The Natural Arch.
This photograph of the choir, servers and clergy was taken at the beginning of the year by Barbara Richards.
We hope to launch a recruitment drive for choristers and servers this month, when we will be contacting local schools and colleges to offer organ and choral scholarships to young people in the area.
A number of our past organ and choral scholars have gone on to study music and singing at universities and conservatoires. So, for young people who enjoy singing, or who would like to learn the 'King of instruments', this is a wonderful opportunity. Our singers will be encouraged to work through the Royal School of Church Music's 'Voice for Life' course. It is a highly respected qualification, divided into bronze, silver and gold levels. Two choristers have gained their gold medal in the past.
If you know of any young people who would be interested please encourage them to come along to Church on a Sunday morning or to choir practice on Wednesday evenings [at 6.30pm].
We are also a little thin when it comes to altar servers these days. If you are interested in joining our team please have a word with Mark Smith [Head Server] or one of the clergy.
We start an occasional new feature this month which will look some of the landmarks in and around Mumbles. There are buildings, objects and memorials we pass almost every day and rarely notice them. We hope that you will find the articles we are planning for this summer interesting.
This month we look at the Prince's Fountain which stands at the junction of Myrtle Terrace and Mumbles Road.
It was erected in 1863 to provide fresh drinking water for the villagers of Oystermouth and Southend. It was built to mark the wedding of Queen Victoria's eldest son, the Prince of Wales.
The inscription reads; 'The Prince's Fountain, erected by voluntary subscription to commemorate the marriage of His Royal Highness Albert Edward, Prince of Wales, with the Princess Alexandra on 10th March AD 1863.'
The marriage took place at St. George's Chapel, Windsor. It was when Queen Victoria was in deep mourning for her husband, Prince Albert, who had died two years earlier. The Queen took no part in the ceremony and even declined to attend the wedding breakfast.
Thirty eight years later the Prince of Wales became King Edward VII. He reigned from 1901 to 1910. He is immortalised in other parts of Swansea. The Prince of Wales and King's Dock were named after him, so too was King Edward Road.
According to local tradition the memorial was maintained by the Parish of Oystermouth. This was until the disestablishment of the Church in Wales in 1920.
The Prince's Fountain looks a little sad these days and is in a rather poor state of repair. Water no longer flows from it and weeds grow out of the mortar. Yet the 156 year old memorial reminds us of the Mumbles of yesteryear.
This old photograph, taken in the early nineteen hundreds, shows the natural arch at Mumbles.
It stood on the eastern side of the middle island and was something of a tourist attraction in the late Victorian and Edwardian eras.
The Mumbles Railway brought day trippers and holidaymakers in their thousands to the pier, promenade and beaches. For the more adventurous no visit was complete without a walk out towards the arch at low tide. The photograph shows the arch, with the famous 18th century lighthouse in the background.
Natural arches, like the one at Mumbles, are geological features formed by the forces of erosion. They are usually made from narrow fins of sandstone rock. At Mumbles, the softer limestone rock beneath a harder layer began to erode, forming alcoves on either side. Over tens of thousands of years an arch was formed, with a capstone on top.
Natural arches cannot last forever, for the same forces that created them will eventually destroy them. The arch on the middle island collapsed during a violent storm in December 1910. All that remains of it is a pile of large stones beneath the cliff face and this old photograph taken just years before its collapse.
3. 'Nativity Play' A new Christmas Story by Grafton Maggs
4. The Parish Hall
5. the Bells of Santiago - The Musical
God bless your house this Holy Night.
And all within it;
God bless the candle that you light,
To midnight's minute;
The board at which you break your bread,
The cup you drink of;
And as you raise it, the unsaid
Name that you think of;
The warming fire, the bed of rest,
The ringing laughter;
These things and all things else be blest
From floor to rafter;
This Holy Night, from dark to light,
Even more than other;
And if you have no house tonight,
God bless you, my brother.
By Eleanor Farjeo
sent in by Jean Ricci
At Christmas we all find ourselves with a God who does not condemn, but a God we can hold in our arms; a God who is accessible to all and who brings those on the edge of society into the centre of his circle; a God crying in the world's dark, whose tears we must dry; a God who seems so small, so vulnerable, and yet is large enough to hold the universe in his embrace.
When there are so many fearful images of God going the rounds of our world and when the dark side of religion is so often turned towards us, there is an urgent need for us to find this God who lies in the manger. Let us then go to Bethlehem and see this thing that has taken place, which the Lord has made known to us.
Canon Trevor Dennis
[from 'The Christmas Stories']
Hesitantly, Miss Georgia Griffiths opened the door in response to the crisp, "Come!" that filtered through from the other side
"Oh! Hello, Georgia! Do sit down, dear - just a few quick words, before we lose you over the Easter!"
Georgia sat down, waited apprehensively whilst head teacher, Mrs.Trumble-Ferris, shuffled papers together on her desk. Glancing around, she took in quickly the pleasant room with its large window overlooking the play area, the diplomas on the wall and the vase of daffodils on the sill. A warm, light, comfortable ambience, indeed, but the filing cabinets and the piled desk banished any thoughts that this was other than a place of work.
Mrs.Trumble-Ferris looked up over her glasses and smiled. Though approaching retirement age she was still a handsome woman, always dressing with a quiet flair. She was a good head teacher, and she knew it, having managed throughout her time at the top to command respect and affection from both staff and pupils.
"Well, Georgia! You've survived! Come to the end of your first term without much going wrong! In fact, you have done really well, and I am so very pleased with you.
"Now then, so much for the candy floss. To business! This might seem rather early for you to take on, but, what with staff shortage and things, I have no alternative other than to burden you a little more.
"I want you to take on the production of this year's Nativity Play in the Christmas concert. As always, it will take up the second half of the evening's entertainment; the first part being the contribution by children demonstrating to doting parents their individual talents - singing, reciting and the like. You know the sort of thing; you did it yourself enough times. But the highlight every year is the play. Do you think you could handle it? Look good on your CV!"
Georgia, relieved to know that the summons to the presence wasn't for instant dismissal, exhaled with relief,
"Oh! I'd love to, Mrs. Trumble-Ferris! I'd be thrilled!"
"I knew you'd say that! Right then! You've got plenty of time to sort it all out. Write a simple script and don't stray into the world of modern theatre - be traditional! Mustn't upset Father Keith. Then, next term, liaise with Mrs. Gammon in the Arts Room - she'll work with you on scenery and props. Mrs. Collier will take on costumes and Mr. Webborn is never happier unless he's fiddling with wires and lights and speakers - he'll sort out the microphone thingies.
"Remember! One golden rule! Every child in your class must be on the stage at some time or another - in some shape or form. They love it! Parents love it! And I shall not be bludgeoned to death if anyone is left out.
"When you're back, show me what you've planned and, apart from that, it's all your baby. At times your patience will be sorely tried and if you're anything like our late dear Miss Roberts; by the time the night arrives you'll be a gibbering wreck - even so - you'll love it!"
"Wow! Do you think I'm up to it, Mrs. Trumble-Ferris?"
"I wouldn't ask you if I thought otherwise, Georgia. By the way, tread carefully, don't be pushy - remember you're the new girl on the block. Right then, off you go, dear! Enjoy your holiday; do an Alan Bennett and I'll see you early next term, OK?"
Prudence Trumble-Ferris MBE, pushed back her chair, rose to her towering five foot ten and proceeded to dispatch Georgia from her presence with the unctuous dexterity of a bishop after a service.
Once in the corridor, Georgia flopped on to the bench by the fire extinguisher and exhaled forcefully,
"Whew! In at the deep end - roll on the hols. Let's get cracking!"
Summer term had been under way for a week when Georgia placed her holiday work on Mrs. Trumble- Ferris' desk.
"My goodness, Georgia! These drawings are really beautiful. Your work? Well...
Georgia described the short scenes, each of which would be introduced by an appropriate carol; first verse sung solo and the remainder by the supporting cast - with the audience joining in. Casting would be carried out after half term.
Mrs.Trumble-Ferris smiled at the enthusiasm,
"Looks good, Georgia. Keep me informed - especially at the first signs of a nervous breakdown!"
Mid term, Georgia began to work on the casting and, by now, knowing the make up of her charges, she had a good idea as to who could handle the various roles.
There wasn't much difficulty in picking the Three Kings: Reggie Walters, Derek Jones and Gwyn Evans - these three boisterous Norton lads were always kicking a ball and fancied themselves as kings of the turf.
No difficulty choosing the Innkeeper, his role fell to Duggie Stainton, his father ran the Beaufort, he was a natural. And again it wasn't too hard to choose the Three Shepherds - Jeff Woolacott and his two Newton pals, Les and Bert Harris - all dyed-in-the wool, rural lads.
As for Joseph, someone of stature was needed; the tallest boy in the class was the obvious choice - Dai Cope, big in body and big in mind.
As in the beautiful Reredos over the high altar in All Saints Church, the rest of the class would make up the host of peoples coming to worship the infant Jesus, in the last scene (". . . drawing all men unto me...'). They, too, would supply the choral background throughout the play.
So far, pretty straight forward. But! Now the dilemma! Who was to be the solo singer and who was to play Mary, the Infant's Mother? Two key roles, of which, the solo singer's was, undoubtedly, the plum part.
Neck and neck, two lovely girls lead the field:
Hazel Hopkins and Pat Fenwick.
Dark haired Hazel, who was a Saturday regular at Stagecoach School, had a good singing voice, a sweet personality and confidence.
Fair Pat had the far better voice but sorely lacked self assurance; a trait which manifested itself in most of the things that she did, and which, sadly, held her back in so many activities. To choose her was a gamble, but lurking in Georgia's mind was the thought of what success could do for this little girl's ego (and the play). In the end, Georgia went to the Head for advice.
The Head didn't mince words,
"It has to be Hazel, Georgia! She's stage wise and confident. I'm aware of Pat's problems, and I'm sympathetic, but what if she dries up? Think of the harm done to her - in front of an audience! It would undo all the good progress that you have made with her over the past year.
"Definitely, Hazel for the solos and Pat as Mary! Pat will surely get her chance another
Georgia withdrew, not 100% happy, but, a decision had been made.
During the last week of the summer term, Georgia got things moving. She liaised with her fellow organisers and then informed the class of the choices made for the parts in the play. She noticed the disappointed look on Pat's face and felt a few reassuring words wouldn't go amiss. She called her aside before the playbreak.
"Don't be disappointed, Pat! You are going to be Mary, a very important part and maybe next year you'll be ready for the leading part. You've got a super voice. Just be patient!"
Pat shrugged her shoulders,
"That's alright, Miss. Hazel's brilliant at acting and things. She's much better than me! I'd only make a mess of it".
She smiled but Georgia could see how much she had been affected by the decision and she felt for the little girl but there was little she could do about it.
The school broke up for the summer holidays and Georgia, after her first two terms of full time teaching, felt surprisingly tired. Though young and healthy, the demands of her profession had drained her and she surrendered to the attractions of sun and surf in glorious Gower. Even so, she found time to polish up the script of her play for which she
could see now as becoming a big boost if it were a success. A flying start to her career!
On return to school in September, early preparations were soon underway for the Christmas concert. The organising of costumes, scenery, lighting, and all that is needed for the making of the school play was set in motion and within a few weeks, rehearsals started.
Georgia's Nativity Play began to take shape.
Over the weeks, the children responded magnificently and, as the end of term approached, they were playing their parts with confidence and increasing excitement. All[ this in spite of the inevitable scuffles between the Newton Shepherds and the Norton Kings; one incident leading to a visit to Morriston Hospital for the traumatic removal (with the help of WD40) of the crown from Reggie Walters head (rammed down by Les Harris). For all that, much was achieved and Hazel, as expected, played the leading role effortlessly, blossoming in the part and relishing every moment.
The concert was to be held on the last Friday of the term and a full dress rehearsal was held on the preceding Thursday afternoon. It went smoothly (the Norton Kings being kept well away from the corralled Newton Shepherds). Hazel, however, seemed to be a little below par and complained of a "bit of a headache" and Georgia did notice that she was rather flushed, putting it down to the last minute excitement. Otherwise, stage logistics, lighting, costumes, musical backing were well up to par and Georgia began to relax. Things were looking really good for "her Friday night" (as she was beginning to look at it) and she smiled to herself - no signs of a nervous breakdown, yet!
However as Mumbles sage, Tony Cottle, has frequently said:
"There's many a slip 'twixt cup and lip!"
After school, Georgia arrived home and had barely sat down to sip a life saving cup of tea, when the 'phone rang. Her mother answered.
Georgia could overhear,
"Oh! Hello Mrs. Hopkins. How are you? WHAT! WHAT! ON My goodness! Here, have a word with Georgia!"
Georgia came to the phone,
"Hallo! Mrs Hopkins. What? Oh, NO! Only this evening!.., rash.. .the doctor....! Well, she did say earlier that she was feeling a bit poorly. I'm so very sorry for her! Please pass on our love
and wishes to get better quickly.....
"No! No! Not to worry! We'll sort it all out... somehow!"
She put the phone down, slumped back into the armchair,
"Oh! Mum ....Hazel's got chicken pox!!
"Crikey! Now what am I going to do? What a time to get it! It's ruined everything! It'll be a
flop without Hazel!"
Georgia's mother tried to console her,
"Surely there's someone who can fill the bill, Georgia? What about that other little lass you
spoke so highly of. I can't remember her name...?"
"Oh, Pat Fenwick! She has the talent alright but just falls apart. She's a lovely girl but so shy
and lacking in confidence. Oh, I just don't know, Mum' I'm so tired. This is a disaster for me.
Early night, bath, bed. Pray for help. Sleep on it. .... "I just knew things were going too well.........
She did just that, and, before jumping into bed, knelt and prayed as she had never prayed before,
"Please, dear God make this, my first school play, a success. Don't let it be a disaster! What away for me to start my career- with a terrible failure! Please help me!"
She jumped into bed and, fitfully, slept.
Next morning she broke the tragic news to the class and there were gasps all round. Pleas came from one and all, not to cancel the play (especially from the Norton boys, they had a few scores to settle). Georgia reassured them that, in true tradition, the show would go on.... somehow...
When play time came, she asked Pat to stay back,
"Pat! You probably know what I'm going to ask you. Do you think you can save the day and step into Hazel's part? I'll be backstage in the wings near you and will help you all I can. What do you think?"
Pat gasped and put her hand over her mouth,
"Oh, gosh, Miss! I know all the songs and things, Miss. But am I good enough? I'm rubbish in front of of people!"
"No Pat! Let me remind you - you have a marvellous voice! The choir can start to sing with you, if you feel you want to be carried through the part. Please! Give it a go!"
"OK Miss! But I really wish I didn't have to".
Georgia patted her on the arm,
"Bless you! This afternoon we'll run through the part. I'm sure you'll cope!"
That evening, playing to a full house, the first half of the concert went well. Children, so anxious to please equally anxious parents, gave their all. Violins were sawed. Pianos thumped. Poems monotoned and songs sung. Justly the bowing, young entertainers were rewarded with a standing ovation as the curtain came down. And, who knows what early sparks were being fanned to produce, one day, a blazing Bryn Terfel, a Callas or a Kennedy?
The lights came up and proud parents, garrulous grandmas and adoring aunts shuffled off through grating chairs to the foyer, for cartons of Joe's, or tepid tea in crumply cups and KitKats. Raised voices and laughter rent the air as tension lessened its way to relief.
Meanwhile, on stage behind the curtains, there was frantic activity preparing the lovely set for the main event of the night - The Nativity Play. Excited children were marshalled into position and last minute, hasty visits made to the toilets - some, alas, a little too late.
Pat, looking so lovely with her hair brushed up under a turban, wore a multi-coloured robe and a sash, but Georgia's heart sank as she saw the whiteness of the child's face and the trembling hands.
The bell rang in the foyer and the audience threaded its way back to coat and scarf adorned chairs. Expectantly, they settled down as the lights dimmed and the curtain rose on the softly lit inn and manger scene. Pat was standing to one side of the stage and as the music came through the speakers, so she began to sing the first carol.
"Away in a manger. No, crib .........
At first she could barely be heard.. Then as her voice grew louder she quavered, to sing off
key and out of time with the music. Georgia, in the wings, quickly reacted to this and waved to the choir behind the backdrop who joined in the singing hastily, to drown Pat's plaintive attempt. The audience, slow at first, joined in for the last two verses. And then attention was diverted completely from Pat as the lights dimmed on her and brightened on to Joseph and Mary approaching to seek room at the inn. Pat withdrew to the wings where Georgia was waiting,
"I'm sorry Miss! I'm so sorry."
She started to cry and Georgia knelt to hold the distressed child. She was overwhelmed with guilt. She quietly prayed,
"0 dear Lord! This is my fault! Please comfort and help this lovely little girl, for her sake, Lord - not mine - I am so very sorry!"
And something very strange happened.
Faintly heard was the sound of distant thunder. Lights flickered and, alarmingly, the stage and auditorium was plunged into darkness. A total blackness accompanied by more muted, distant thunder.
Fuses blown, or something, thought Georgia. Perhaps the answer to my prayer! Electrical failure meaning the cancellation of the whole thing! Anxious murmurs were beginning to be heard coming from the auditorium and, on the stage, some of the children started to panic and whimper.
Georgia protectively put her arms around the child and spoke comforting words. Again the faint
distant roll of thunder could be heard.
But it was short lived.
Flickering at first, the lights came full on again and Georgia looked up to see, off stage in the wings, a thumbs up from Mr.Webborn and a hoarse whisper, "Don't know what on earth happened there, Georgia! Must have been a power cut. Anyway, everything's fine now. One of those things - a mystery!"
Georgia turned back to Pat,
"Well, Pat. I think, you've had enough, pet. You can call it a day if you wish. Up to you! What would you like to do? 'We Three Kings...' is next. But the choir can do it on its own, if you wish.. .no one will be cross!"
Pat still looked shaken but had stopped crying and, to Georgia's surprise, spoke up quite decisively,
"I'll try, Miss. I don't feel quite so bad now"
She went back on stage and the music started. Pat started to sing with the choir and, half way through the first line, turned to look across to the manger. Then turning back, she faced the audience to raise her head and sing confidently. That lovely voice, hidden until now, came out clearly over the choir,
.............. Bringing gifts we come from afar..."
Georgia gasped at the incredible change and waved down the contribution from the choir. The audience sat up, astonished at the quality of singing from such a young child, her voice carrying
with bell like clarity to the four corners of the hall. Then, as planned for the last few verses, the
choir joined in, soon to be joined by the audience who now began to sing with the joy of celebration in their hearts.
And so it continued, through the rest of the play.
Pat sang. The choir sang. The audience sang:
"Whilst Shepherds watched their Flocks... "Silent Night.. .HoIy Night...
"Hark the Herald Angels sing....... " "Come All Ye Faithful...."
Pat sang her heart out as did everyone there that night, (even Mr. Webborn amongst his switches and plugs) filling the auditorium with the most joyous of Christmas music. The show came to its end, and the audience stood to applaud a stage full of bowing children. Pat was pushed to the front by her fellow performers to centre stage and shyly dipped her head in response to a special clap. Then there was one more final bow from the whole group of tired but triumphant children before the final curtain drop.
Pat ran off stage to put her arms around Georgia's waist; she looked up and the look of gratitude in her face, said it all but Georgia could see something else there too - a look of new found confidence - sorely lacking before.
"Oh thank you, Miss! I couldn't have done it without you being there".
Georgia smiled and held Pat's hands,
"It wasn't me, Pat. You had the talent all along and you had some special help tonight to produce it - when you needed it most!"
And that is how the concert ended. The auditorium emptied and proud parents came backstage to pick up weary, but happy children and take them home for Christmas.
The Head came backstage to speak to Georgia and found her, sitting on her own in the corner of the dressing room. Her tired head was bowed in her hands and there were tears in her eyes.
"I'm giving you a lift home young lady. You must be exhausted!"
Once in the car and underway the Head spoke,
"A remarkable evening, Georgia. Disaster loomed and then something extraordinary happened amongst us tonight. Something that not only saved the play but, far more importantly, something that changed the course of a little girl's life for the better. Perhaps for others of us, too. Quite a wonderful Christmas present for us all - we were blessed tonight - don't you think so, Georgia?"
"Indeed I do, Mrs. Trumble-Ferris".
2018 should not be allowed to pass without recording that the new Parish Hall at Castle Avenue was opened on 14 December 1928, ninety years ago.
It was a fantastic achievement after ten years of austerity following the end of the First World War and was driven by the then Vicar and Archdeacon of Gower the Venerable Harold Williams. Despite the outbreak of war in 1914 Harold Williams was determined to push ahead with the Church Building extension. The Foundation Stone was laid in June 1915 and the Church completed before the end of the year as far as the clearly defined join mark which is still visible at the top of the Drangway. The west end was temporarily walled up to allow the unfinished Church to be consecrated on 7 September 1916.
The Church was not completed until 1937, as the Parish Hall was given priority because of the depressed state of the economy, and the need to give the secular village a focal point, but it was built and paid for, at some personal cost, by the parishioners. The Ninth Duke of Beaufort had granted the Parish a Lease on favourable terms in April 1924, and amongst the Parish worthies of the time had received financial support from Lord Glantawe of the Grange. It was for that reason his daughter Lady Bleddisloe performed the opening ceremony.
The Hall was used by the Parish for Easter Vestries, Parish Breakfasts and Suppers, Christmas Fayres, for plays by the 'All Saints Players' and all of the parish social events as there were no other facilities near the Church. Over the years it was also used by many outside organisations, including as two overspill classrooms for the Church School during the post Second World War 'bulge' in the nineteen fifties, and for the School and Sunday School Concerts and Christmas Productions.
By 1978 the maintenance of the Hall had become a drain on the Parish and when the Trustees of the Ostreme Community Association approached the Parish with proposals to alter and extend the building for use as a Community Centre, the then Vicar, Canon JEC ('Eddie') Hughes was delighted to lend his support. Although the project was led by Ostreme with its access to Grants, the venture was very much a joint one because of the concessionary terms given by the Church for the 35 year Lease granted to Ostreme.
The building now known as the Ostreme Centre has thus given fifty years of life to the Village as a Parish Hall, and forty as a very well used Community Centre, something to be celebrated.
Although the arrangements with Ostreme have been in limbo since the Lease expired the future use of the building as a Community Centre has now been secured as the Parish has accepted an offer from the Mumbles Community Council to take a Lease themselves, subject to and with the benefit of its occupation by Ostreme. As the Community Council has the power to provide community centres, and Ostreme exists for that purpose the Parochial Church Council at its November Meeting was pleased to endorse these new arrangements.
All that we as a Parish can do now is to wish the new arrangement every success and look forward to celebrating a Centenary in ten years' time.
The Bells of Santiago musical, was researched, devised and lyrics written by Malcolm Phillips, between 1971 and 1973. The music was arranged by Terry Minty.
Malcolm had been researching the history of Oystermouth and discussed the idea of a Pageant of Mumbles History with Mr Maurice Edwards, a Manager at BP Baglan Bay where Malcolm worked,. Maurice thought it was a good idea, and if Malcolm could get a team together, he, Maurice would support him.
It was during his history research that Malcolm discussed the idea with a local lady, She said then you must include The Bells. "What Bells" he asked. She explained that there were article in the Cambrian News. So Malcolm set about researching the news articles. He came across the stories of the Bells of Santiago and the Oystermouth connection, in The Cambrian News and The Times. A peal of Bells were shipped on Copper Barques sailing from Swansea to Valparaiso in Chile, and then overland to Santiago where they were hung in the Church de la Campagna, which would hold about 3,000 people.. During a Festival of Light, on December 8th 1863, the church caught fire and 2,500 people, mostly women and children died in the fire. It remains the World's worst fire tragedy.
Malcolm is enthusiastic, persuasive, and charismatic, He persuaded friends and neighbours to join with him creating an enthusiastic strong team.
Malcolm's narrative, his Lyrics and Terry Minty's music arrangements developed the story of the Bells into an extravaganza musical. His plan was to record the musical in sound and then to play it back as a show, in the grounds of Oystermouth Castle with the cast of hundreds miming as there was not possible to perform it live The recordings took place in All Saints Church and peoples homes. The artists included the Narrator Tim Perkins, the combined choirs of the Mumbles WI, The Brian Morris Singers and the Aeolian Singers.
Between 1971 and 1973 the team raised enough funds to put on a nine day Pageant of The History of Oystermouth, The Pageant included an amazing 47 events. The main show was The Bells of Santiago, Hundreds of people were in the cast of all ages.
The stage presentation in front of Oystermouth Castle, was devised by Graham 011iffe. As there were no 'stage wings' to bring the cast on and off the stage, Graham arranged five stage areas in front of the Castle, and to stage the show at night. The cast moved onto and off the stages in the dark, some, like the Nuns moved around the back of the Castle in the dark to appear on the Swansea side of the Castle.
To stage the musical The bells of Santiago involved a great many people behind the scenes. For example, Cables were laid in the grounds for lighting the five stages and for the loudspeakers. Hundreds of Costumes were made by a team of ladies and stored in various houses, Props were made, such as papier-mâché bells and the cart to carry them. People operated the sound system and controlled the lights. Also the gates had to be manned.
The climax of the Bells of Santiago musical was the portrayal of the fire. Using smoke and red flares in the Castle Chapel, complete with the sound of burning crackling timbers, it was an amazing, breathtaking experience.
The Bells of Santiago musical ran for over 10 years attracting audiences of up to 3000 for a performance. People even arranged their summer holidays to attend the show, or to take part in its presentation. it was wonderful to be even a small part of the show. A great Mumbles together event.
1. Remembrance 1914-1918 by Kate Jones
2. "Goodbye!" by Grafton Maggs
3. Thankyou from Barbara Richards
1. REMEMBRANCE 1914-1918
The villagers of Blackpill made their own memorial to twelve local men. At the unveiling in May 1922 Rev. Canon Williams, vicar of Oystermouth, described it as 'simple but grand'. A beautifully coloured Roll of Service, 1914-1918, was hung in Mumbles Baptist church. In Norton, a newly completed terrace of houses was re-named 'Mons Terrace' in memory of several of its wartime tenants who had fought at the Battle of Mons. Along with rolls of honour in schools and workplaces, these were permanent memorials to a war idealistically meant to be the 'war to end all wars'.
The last Mumbles memorial to the Great War was erected on the site of the wooden shrine in Southend Gardens. It was unveiled on 30 July 1939 by Mrs Ann Hixson of Newton, whose youngest son David had been killed in 1918. The monument was rededicated on 11 November 2006 - with the names of those killed in both wars inscribed on additional side plinths. In 2017 fifteen names were added to the All Saints' rood screen. The brass plaque in the Methodist church has been renewed and the monument at Clyne restored in 2018. The men of Mumbles are not forgotten.
One hundred years on: Although thousands of British men never returned, thousands more did. They came home to a country that had changed in their absence, sometimes to families who could not possibly comprehend their experiences. Often they suffered from life-changing injuries and psychological scars. Their names may not be on any war memorial, but we remember them with pride as well.
Kate Jones, November 2018
Acknowledgements: A History of Mumbles website, edited by John and Carol Powell; The Mumbles Press, 1914 & 1915; World War I records on Ancestry.co.uk. Photographs: Soldiers leaving Mumbles, 1914, M.A. Clare; The Mumbles Shrine in Parade Gardens, 14 September 1918, M.A. Clare; The Great War rood screen memorial in All Saints' Church, Tony Roberts; Mrs Ann Hixson unveiling the Great War memorial, July 1939, OHA archive; the restored memorial at Clyne Chapel in 2018, John Powell; Bill Barrington and the war memorial in 2006, John Powell.
2. Goodbye!" - by Grafton Maqqs
1. We did it! The All Saints Restoration Project
2. Undertaker Paul Murray Retires
3. Farewell to shopkeeper - Ian Boyd!
4. 'I Shall Never Forget the Time When'
5. Morfydd Owen Centenary
We Did It!
The All Saints' Restoration Project
By the end of this month the ambitious campaign and project to restore our ancient and modern Parish Church should be completed.
The last two outstanding tasks will be to paint the south aisle and clean the magnificent rood screen. This should be completed in time for the Service of Thanksgiving for the Restoration at our Patronal Festival Eucharist at 10.30am on Sunday 28th October.
This special article celebrates our remarkable achievement, from its shaky start to successful conclusion!
The Early Years
In 2004 the Church building was surveyed by local architect, Dewi Evans, as part of a programme of five yearly inspections of Churches across the diocese.
The report highlighted what many of us had feared, that the building was in urgent need of major repair. The nave, chancel and tower roofs were leaking badly. Many of the slates had slipped and the nails holding them in place had virtually perished. There was significant structural movement in the north wall around the Lifeboat window. The porch was in a very dilapidated state, with chunks of the Bath coping stones falling onto the ground below. The electrical and lighting systems were at the point of being condemned. There was water ingress around the Lady Chapel arch and in the valley between the nave and south aisle and the central heating system was on its last legs!.
Things were so bad that we came perilously close to having to shut the building on health and safety grounds. Urgent remedial work during 2005 bought us some extra time. We patched up the roof as best we could. Loose coping stones were removed from the porch and we did some upgrading to the electrical system. Though this made the building safe for a while it was very clear that the Church needed a major restoration.
In response to this very real challenge the Parochial Church Council [FCC] appointed Dewi Evans as the architect for a possible major restoration project.
Dewi Evans is a much respected and award winning local heritage architect. He was asked, in particular, to design a light and welcoming new porch [including much needed toilet and kitchen facilities] and to draw up a schedule of work for the complete restoration of the building.
The architect presented his plans for the new porch to the Parochial Church Council in 2006. As well as detailed drawings his company provided a computer generated image [below] of what the porch would look like. It included a pyramidal roof, clerestory windows and incorporated the original and medieval features of the original Church entrance.
The PCC unanimously accepted the design and the proposed schedule of restoration work, and the decision was made to apply for a faculty from the Diocesan Advisory Committee [DAC] for approval of the project.
Because we proposed to rebuild the porch the DAC asked us to make a separate planning application to Swansea City Council.
It was during this planning process that we encountered a major setback. A few heritage groups objected to our proposal to demolish the dilapidated Victorian stair turret. The application was rejected by the city and, with the backing of our architect, we went to appeal. This process took three years to be resolved and was eventually unsuccessful and costly to us.
It was only in 2012 that a new design, retaining the old stairwell, was accepted by the PCC and faculty permission was eventually obtained. The estimated cost of the restoration work was £750,000
It was very obvious to us, from the beginning, that raising in excess of three quarters of a million pounds to restore All Saints' would be a huge undertaking for the Church community.
However, the FCC had set aside £150,000 from reserves for the project. Another boost came through a successful 'Landfill' grant application, which brought in just over £75,000. We also were able to cash in an old 'Chancel Repair Fund', which brought the total at our disposal to £235,000. This gave us a third of what we actually needed and would help to kick-start the appeal.
The FCC also realised that raising such a sum of money would need professional help. That help came in the appointment of two campaign managers, Dean Michael Bunker and Nigel Morgan [photos top right].
Michael had raised in excess of 11 million pounds for the restoration of Peterborough Cathedral, during his time as Dean there. Nigel's background was in finance. After initial meetings with the Vicar they came to make a campaign plan presentation to the FCC in the early summer of 2012.
They suggested that the money would be raised during a 'Campaign phase' and by a number of different teams working together. We would appeal to Church members for help. We would also ask people in the wider community for support. Nigel would oversee applications to grant making bodies and trusts. Their presentation was enthusiastically received by the FCC and it was decided that an official 'Appeal Launch' would be held towards the end of 2012. The campaign would be divided into three phases; planning, asking and delivery. Lord Oystermouth agreed to be Patron of the Appeal; a Campaign Executive was formed, chaired by Tyrone O'Sullivan [both are pictured below]. The fundraising teams were led by Alan Evans [Church members], Les Harris [Church leaders], John Isaac [community], Nigel Morgan would oversee trusts and grant applications, Roger Beynon would be project manager and Murray Donald was appointed treasurer. Some of the leaders recruited their own team of helpers.
Dean Michael's campaign plan divided the asking phase into five areas, each given a target to achieve. He also suggested raising money from individual donations through a three year pledge. Each team was tasked with raising the following amounts.
Restoration Campaign Flan
With the planning phase completed it was decided to officially launch our major appeal. A large number of parishioners, friends and invited guests attended a launch reception and presentation on Thursday 29th November 2012 at All Saints'. The ambitious plan to restore our ancient and modern Church had at last begun!
In the early part of 2013 money began to flow into Nigel Morgan's Appeal Office in the Upper Churchrooms. Over two thirds of our regular worshippers signed up for the pledge scheme, eventually raising not just £60,000 but over £170,000. The clergy and FCC also contributed over £5,000 more than their £40,000 target.
All the individual donations were treated with the utmost confidence. Only Nigel Morgan [Campaign Manager] knew what each person had given or pledged. The anonymous gifts ranged from £10 from a university student to a cheque for £10,000 brought into the Appeal Office by a generous Church member.
The community team went out to local businesses and their hard work brought in just over half of the £70,000 they were asked to find. The biggest disappointment was that the rich and famous of Mumbles didn't contribute a penny!
Much was expected of our Campaign Managers, who were busily applying for grants to make up the shortfall. This was painstaking work, involving the completion of complicated application forms and thousands of emails and phone calls. While Nigel Morgan did this in the office Dean Michael met with several trustees of major grant making bodies to sell our appeal to them.
Their hard work eventually paid off. We were successful in obtaining major grants from the Heritage Lottery Fund [125,000], Cadw [47,250] and the Garfield Weston Foundation [25,000].
Mumbles Community Council gave grant Of £8,000 for the new upholstered Chairs and a further £3,000 for the Church clock. Other grants came in from the Church in Wales, Gower Society, All churches Trust, Welsh Church Act Trust, Kenneth Hufton Charity, Rank Foundation, Freemasons, Gower Society, Diocese of Swansea & Brecon, Peter Stormonth Darling Trust and the James Pantyfedwen Foundation.
There were weekly meeting between the Vicar and Nigel, monthly meetings of the Campaign Executive and regular meetings of the various teams. There was a lot of coming and going within the office and Church.
Though we had initially hoped to raise a million pounds, which would have given us a pot of over £200,000 for future maintenance, we realised that raising such a vast amount of money during a global economic downturn would be almost impossible. Many of the grant making bodies would only help to fund the work that we really needed to do. But we did raise over £800,000 which enabled us to do what we set out to do.
Church members and grant making bodies had made a very generous response to our appeal for help - which we are so grateful for.
The Delivery Phase - The Restoration Work
The first phase of the actual restoration project was to stabilise the north wall around the Mumbles Lifeboat memorial window. The outer and inner skins of the wall had been moving apart and structural engineers began the painstaking task of drilling into the wall and securing it with dozens of pins. Scaffolding went up [which helped to give an impetus to our fundraising campaign] and the building was out of bounds, except for the daily services [when the contractors went off for their morning coffee break]. The phase was completed within four weeks at a cost of just over £50,000. A new system of wall pinning meant that the stabilisers were not visible at all. The restoration of the Church had begun.
The second phase was by far the major part of the project and involved the re-roofing of the nave and tower, repairs to some of the masonry and the renewal of all the rainwater goods. [the above photograph shows contractor Jason Irvine and Project Manager, Roger Beynon, inspecting the work]. The re-roofing was initially planned to begin in October 2014 but was delayed until April 2015. This was because we had not received a response from our grant application to Cadw. They had indicated that they would only fund a project that had not yet started. So the contractors moved in after Easter, in April 2015. The Church was clad with scaffolding and closed, except for Sunday services and for baptisms, weddings and funerals. Our faithful midweek worshippers decamped to the 'Upper Room', which had been turned into a temporary Chapel.
The work was eventually completed by October 2015 costing in excess of E300,000. The Church was
watertight for the first time in many years!
Work on Phase Three began immediately after we had finished the roof in October 2015. The contractors began the painstaking task of demolishing the old Victorian porch and storing a number of its original features - the door surround, medieval stone heads and the nineteenth century stained glass window. The work also required an archaeological watching brief.
All this was done at one of the busiest times of the Church's year. The temporary main entrance into the building was the north door [by the pulpit] and worshippersand visitors had to negotiate their way around the cordoned off building site. We had to cope with the Remembrance Sunday Service and the hugely popular Advent, Christmas and Schools services, ushering up to five hundred worshippers at a time through the much narrower side door.
Atrocious weather at the beginning of 2016 delayed the work, so did the unearthing of human remains [including some intact skeletons], thought to date from the fifteenth century to the early Victorian era. Though we had budgeted for an archaeological watch the find proved very costly to the project.
The porch was eventually completed by September 2016, just in time for the Music Festival, and at a cost of over a quarter of a million pounds. It now houses toilet and kitchen facilities and is a much more light and welcoming entrance to the Church.
The next phase of the restoration saw the installation of a new state of the art lighting system. The work began in late September 2016 and took eight weeks to complete. It was carried out by Church and Cathedral lighting specialists, Smith's of Gloucester at a cost of £80,000. The system gave us twenty different scene settings for services and concerts and can be controlled by an 'i-pad'.
It was at this time that we had two further setbacks. The central heating boiler died on us and we had to find a further £18,000 to replace it. The village clock in the tower also decided to stop permanently and would cost over £10,000 to repair. Thanks to a very generous response to a special gift day and a grant towards the clock from Mumbles Community Council we were able to install a much more energy efficient boiler and the old clock was sent off to Smith's of Derby to be restored. It is now back telling the time, as it has done for over a hundred and forty years.
With just enough money left we have been able to replace the leaking coping stones above the Lady Chapel arch and renew some of the clerestory windows on the north side of the nave. Contractors are painting the south aisle this month and the magnificent rood screen should be professional cleaned and restored in time for Remembrance Sunday.
So, with the appeal wound up and with a job well done, we can reflect on what has been quite a journey for us. We have completed a once in a generation major restoration of our iconic Church building. It is now watertight, flexible for an even greater variety of community use and remains a wonderful place to gather for Christian worship.
From everyone involved in the appeal; the PCC, Appeal executive, campaign managers, architect, project manager and so many others, we say a huge thank you to all who have shared our vision to restore All Saints' and helped to make it all possible. Diolch o galon - heartfelt thanks!
Undertaker Paul Murray Retires
Paul Murray hung up his morning suit and top hat at the end of last month as he retired after over thirty years of service to the community as undertaker at the village's only Funeral Directors, Pressdee's of Mumbles. Paul is known to countless local families and has been a good friend to us at All Saints' through the years. He has been a familiar figure, walking through the village in front of the funeral cortege and ministering to people in their time of grief. He has brought professionalism, compassion, dignity and care to thousands of bereaved families for well over three decades.
Paul has been one of the busiest and most respected undertakers in the Swansea area. His many years of experience have helped grieving relatives to arrange dignified and appropriate funerals for their loved ones. He has the reputation for going more than the extra mile, above and beyond his job description and has been truly selfless in his care of the bereaved. Many people in the Mumbles area are so very grateful for his help at their time of need.
As a committed churchgoer himself, Paul has been especially helpful to us at All Saints'. He recently oversaw the re-burial of the medieval remains unearthed during the excavation and construction of the new porch. He did this at no cost to the Church, even getting his sons, James and Edward, to dig the grave free of charge! As a long serving member of the Governing Body of the Church in Wales he has campaigned for the Church to have a more open and pragmatic response to funerals and the bereaved.
He hopes, in his retirement, to devote more time to his role at Ty Olwen Hospice, work which he shares with his wife, Helen. He plans to be more involved at St Mary's, Swansea, where he and the family are regular worshippers. He is also looking forward to visits to Mumbles and to joining us occasionally for the Wednesday morning Holy Eucharist at All Saints.
I, in particular, will miss Paul. It has been a privilege to work with him through the years and to come to know him as a good and trusted friend. I too, like so many others, have cause to be grateful for his support at times of personal bereavement.
I also look forward to working with his son, James, who will take over the helm at Pressdee's. He is already well established in the role as 'a chip off the old block!'.
Every blessing to you Paul, may you have a long, fruitful and happy retirement.
3. Farewell to shopkeeper - Ian Boyd!
Ian Boyd has decided to call it a day! After a long, long time in the retail newspaper I tobacconist I confectionery I grocery business, Ian has felt that it is time to hand over the reins and take a well earned retirement, whilst young enough to enjoy his senior years.
Ian's business was the classical village corner shop but defied all contemporary trends in that not only did it survive the opposition of the cut price giants, it thrived! The success of his business was, without any doubt, largely due to the type of man that Ian is. In all the years that I patronised his shop, on a daily basis, I never saw him in an ugly mood. Most customers, like myself, would always loiter for a chat, the latest gossip, a joke and invariably a laugh. Ever ready to do a favour - cash a cheque, help a charity, display free any village notices in his window [and leave them there for a decade or two], he was kindness itself.
How often the shop would be left unmanned, as he "nipped over to Hanover flats because old Mrs. Jones was out of sugar". How often have I looked down from my bedroom window at 7am on a freezing, wet winter's morning to see Ian darting out of his car to deliver a few newspapers in Trinity Close - the newspaper lad having failed to materialise that morning.
Then there was the time, long ago, when my late wife was very ill and I couldn't leave the house. Miraculously all that I needed in groceries, and the like, would be waiting on the doorstep every morning. Ian Boyd's doing.
He was the dedicated professional, his casual attitude betrayed by his consummate professionalism. Years of experience in the retail trade had made him what he was - a fine businessman but one who had a heart of gold with concern for the welfare of those who dealt with him [a rare, rare combination in this day and age!].
In a 'corner shop' which buzzed with activity, he never seemed to run out of the necessities and he never seemed to have a backlog of goods. He always remembered to keep that 'wholemeal loaf' or that 'Telegraph' for his regular customers.
I could go, on and on, as could those many hundreds of customers who have dealt with Ian over the decades. It was a joy to go into his shop every day for the sheer pleasure of having his company for a few minutes.
Thank you so very much Ian Boyd, for all that you have done for us over the years. I know that I speak not only for those of us in Norton but also for the many hundreds of others who came from afar to your 'Corner' shop. You enriched all our lives You will be sorely missed..
So, 'Goodbye! Ian Boyd - Shopkeeper'
But, 'Welcome! Ian Boyd - Private Resident in Norton!'
From all of us, in our hundreds, may you have a long and happy retirement in our midst, here in Norton!
3. 'I Shall Never Forget the Time When'.
The Clinic at Victoria Hall
by Mary Hague [formerly of Mumbles]
I still can't look at the Victoria Hall in Dunns without a frisson of fear, for that was where the schools dental clinic was located when I was a child in the 1940's, and where I had my teeth out. I remember the smelt of the red rubber mask as it was put on your
face... .then afterwards when you went home with a scarf round
your face to preyent 'blast' [whatever that was]. These memories have stayed with me for all these years, but at least I still have my teeth!
When my son, aged 2, came to Blackpill with us, to see my mother, his favourite treat was to go on the bus to Mumbles. He wore his best top, a striped T-shirt from Kemp's, and therefore called his Mumbles jumper when we went. Sadly, no Mumbles Train of course, but the bus was acceptable, and we got off at the square in Oystermouth. As we did so, he would bend down and pat the ground [I drew the line at the Papal Kiss] saying,
'Darling Mumbles!'... before we'd trot off to Lewis News [another favourite destination].
50 years later, he still loves Mumbles and visits every year - without the ritual! Favourite
destinations are now: The Park Inn, the Mumbles Ale House and the Pilot............
The preferences may change, but the love of Mumbles remains constant for us all.
Mary Hague [Hornchurch, Essex, 20181
5. MORFYDD OWEN CENTENARY
The sun was shining on Friday 7 September 2018, but there was a hint of autumn in the wind that rustled the fallen leaves on Plunch Lane, Thistleboon. Passing cars slowed down and their occupants stared at the group of people who had gathered on the roadside to witness a very moving ceremony. At 11am a Gower Society plaque was unveiled on the stone wall outside Craig-y-mOr, commemorating the young musician Morfydd Owen who died in the house 100 years before, on 7 September 1918. Morfydd was only twenty-six years old; a gifted soprano and pianist and a composer of some 250 scores. Her obituary in Y Gorlan [journal of the Welsh Presbyterian chapel] commented: 'Oh, Death! We knew that thou wert blind, but in striking Morfydd thou hast taught us that thou art also deaf'.
Morfydd Owen was born in Treforest, Glamorgan on 1 October 1891 the youngest of four children. Her parents, William and Sarah Owen, were amateur musicians and their daughter's musical abilities were obvious from an early age. She began playing the piano at the age of four and by six was composing her own music. Throughout her childhood and adolescence she performed in chapels and at eisteddfodau and at eighteen won a scholarship to study at University College, Cardiff. Many of her compositions were performed whilst she was there and when she graduated in 1912 she moved to London to study further at the Royal College of Music. That summer she was admitted to the Gorsedd of Bards at the Wrexham Eisteddfod.
In her first year at the Royal College Morfydd won every available prize as well as first prize for singing at the Swansea Eisteddfod. The premiere of her music at London's Queen's Hall in 1913 was followed by other public performances. A great musical future was anticipated.
In London Morfydd's social life centred around two separate and very different groups. At the Welsh Presbyterian chapel in Charing Cross Road - a gathering point for many Welsh people living in London - she formed a close friendship with Lady Ruth Lewis, wife of the Liberal MP for Flintshire. Her career was helped by many concert invitations and commissions. Morfydd's other influential social circle was the London literary intelligentsia which included Ezra Pound, D.H. Lawrence and many Russian emigres. Through friendships with the latter and her work with Lady Lewis for the Welsh Folk-Song Society of London Morfydd developed a great interest in Russian folk song. Sadly, her chance to study the folk music of Russia, Norway and Finland in St Petersburg [for which she received a grant from the University of Wales in 1915] was denied her by the First World War.
Morfydd continued to compose and perform, with concerts in Bath and Oxford, and made her professional debut at London's Aeolian Hall in January 1917. Then, a month later, Morfydd unexpectedly married. Her husband was the Freudian psychoanalyst Ernest Jones (born in Gowerton) - an atheist with a flamboyant lifestyle and thirteen years her senior. The wedding at Marylebone Register Office after only a six week courtship was so sudden that none of her family and friends attended.
Marriage curtailed Morfydd's music; in 1917 she published just two songs. Ernest did not wish his wife to perform in public; expecting her to support his busy professional career at the expense of her own. So that year she only performed at the Eisteddfod and one concert. In addition there were religious tensions arising from her Christian faith and Ernest's atheism. In September, six months after their civil marriage, the couple married again - at the Charing Cross chapel in the presence of her parents.
By 1918 Morfydd's twin brothers were serving in France and on 6 April her mother, Sarah, died suddenly. In August Ernest took Morfydd on holiday to Gower (a place she had not visited) where his father was living at Craig-y-môr, in Plunch Lane, Thistleboon. The couple visited Caswell and Langland and lunched at the Kardomah in Swansea. On 30 August the family (Ernest's sister and her husband lived in Mumbles) gathered at Craig-y-mOr and listened to Morfydd singing. The next day Morfydd was taken ill with pain and a high fever. She had acute appendicitis and needed an immediate operation. Instead of taking her to Swansea Infirmary, Ernest arranged for her to be operated on at the house by a local surgeon with himself acting as anaesthetist. Morfydd went into a coma and a few days later, on 7 September, she died - of delayed chloroform poisoning.
In his autobiography, Ernest Jones said that neither he nor the local doctor had known of a recent discovery that chloroform poisoning was a likelihood with a young patient, with a suppurating wound, and deprived of sugar (due to wartime rationing). Had the anaesthetic been ether the tragedy might not have happened. There was no postmortem. Morfydd was buried four days later in Oystermouth Cemetery - before a death certificate was issued. You can find her grave [a red sandstone column] by following the main cemetery path right to the top and turning left.
Morfydd Owen's death at such a young age was a tragic loss to her family and friends. It also deprived the world of one the most supremely talented and gifted musicians Wales had yet produced. The centenary of her death has been marked by several events including performances of her work at the Gower Festival and the BBC Proms, a lecture by Dr Rhian Davies at Swansea University and the unveiling of two plaques- one at her Treforest birthplace and the other at Craig-y-mOr in Plunch Lane, Thistleboon.
Kate Jones, September 2018
/ thank Gary Gregor of the Gower Society for helping me with this article. Photograph of Blue Plaque, Kate Jones; engraving of the Welsh Presbyterian Church in London, dated 1888; Morfydd Owen in 1915, private collection.
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