Carmen Dillon's Robin Hood

Scathelock is put in the stocks

Neil has been a regular contributor to this blog for many years and shown above is a still that he recently sent to me. It is of course from Walt Disney's Story of Robin Hood and his Merrie Men (1952). I love seeing these images from my favourite movie. When concentrating on the film's

action, it is easy to miss some of this detail. Look at the elaborate hinges on the door for example.

It was Carmen Dillon (1908-2000) who was given the job of art director on Robin Hood by Walt Disney. She had a fine reputation on both sides of the Atlantic for imagination and artistic flair allied to a practical approach to set design and construction, which had been evident in her art direction of some of the biggest and most highly praised period films made in Britain at that time, including Henry V and Hamlet, for which she won her Oscar. 

Carmen Dillon discusses the design of Nottingham Square

Catherine O'Brien in her article, Carmen Over Came Prejudice
 ..........And Put On Her Slacks, gives a detailed account of this remarkable woman and her work on Robin Hood:

"Small and neat of figure, with greying hair and light blue eyes, Carmen Dillon was born in Ireland. After she had qualified as an architect, she became greatly attracted by the artistic possibilities of film set design and set out to get a job which would train her in this field. It is strange to reflect that this happened only fifteen years ago and yet at this time no one in film studios would take the idea of a woman art director seriously.

Carmen discussing a castle interior

Anyone knowing Carmen Dillon, however, would realise that such an attitude would only serve to strengthen her determination to attain her objective. Eventually, she obtained toe-hold in a studio at Wembley, as an assistant in the art department. Even then petty restrictions beset her at every turn. She was not permitted to go on a set in slacks and was forbidden to discuss her work with the men in the studio workshops and stages. After a few weeks of making the best of this difficult situation, Carmen was asked to take over the work of an art director who had fallen ill on the eve of a production. By proving her undoubted talent and aptitude for production design she was able to overcome the prejudice which had hitherto hampered her career.

The townsfolk turn on the Sheriff

On Walt Disney’s Robin Hood, Carmen was in control of a staff of over two hundred men, who accepted her advice and judgement with the same respect and deference as they would accord to any male art director. Among the technicians, she has earned, through her skill and tact, a reputation for knowing exactly what she wants, without fuss or muddle. She carries all the details of planning and building the sets in her head and has a remarkable knack of foreseeing and thus forestalling building problems.
Before the stage is set for the actors, the lighting cameraman and the director, Carmen plans the work, step by step, with fastidious detail. In the case of Robin Hood, the first step was research, to ensure that the pictorial effect should have a truly authentic 12th-century keynote.

Collecting for the King's ransom in Nottingham Square

Two of the twenty-five interior sets designed by Carmen Dillon for Walt Disney’s Robin Hood serve to illustrate the immense research and artistry with which she conjured up the background and atmosphere of 12th-century England. One of- Nottingham Square, in the reign of Richard Lionheart-was, constructed both on Denham lot and on one of the studio stages-to cater for both units.

Three sides of an irregular square were surrounded by houses, some half-timbered and all pre-fabricated in the plasterer's shop under the direction of Master Plasterer Arthur Banks. The houses and shops made of plaster and wattle (which was, in fact, the building material of that period) had every appearance of solid antiquity in despite of their backing of tubular steel scaffolding. Most imposing was the Sheriff’s house, with its carved arches and steep outside staircase. Thatching was carried out by one of Britain’s oldest surviving craftsmen in this line Mr A. Gilder of Stoke Poges.

The centre of the square was filled with wattle hurdles and pens in which were enclosed game and produce of every type. By the time the stars, featured players and extras-numbering up to two hundred-had taken their place in the square it was hard to imagine a more convincing reproduction of life in 12th century England. It is in this setting that Robin Hood and his men ride in from the forest to rescue a poacher and a farmer who are suffering at the hands of the Sheriff of Nottingham and succeed in turning the tables on their hated persecutor.

The Outlaws receive a signal

One of the most important sets in the film is the Sherwood Forest camp where Robin Hood and his Merry Men live in outlawry, in their woodland hideout. Some weeks before the film, Carmen accompanied a research party including producer Perce Pearce, scriptwriter Larry Watkin, and film star Richard Todd to Nottingham and returned laden with photographs of every relic of Robin Hood days, which would help her construct the original setting at Denham Studios.

In what little remains of the original Sherwood Forest, Carmen studied the Queen Oak, where Robin Hood and Maid Marian are said to have their trysting-place; Robin Hood’s Larder, another giant oak, where legend has it, the outlaws stored their game and the vast labyrinth of caves at the foot of Creswell Crags, where Robin Hood and his men are said to have hidden their horses when the Sheriff of Nottingham was on their tracks. 

Back in the studio, Carmen incorporated many of these features of the Robin Hood country into her set design, which then became the subject of a conference between producer Perce Pearce, scriptwriter Larry Warkin and herself before passing it into the hands of the draughtsmen and model makers in her art department. From their blueprints and scale models the construction manager, Gus Walker, was then able to allocate to the various departments concerned the work required to bring the sketch into concrete existence".

Carmen plans Nottingham Square

Carmen Dillon was without a doubt one of the main reasons Disney's Story of Robin Hood oozed quality. I believe her remarkable talent needs to be highlighted a lot more. 

In an interview, Ken Annakin, the director of Robin Hood said of her:

"Carmen was one of the great art directors on the European scene. Not only was she an accomplished painter, but she was able to supervise big set construction and set-dressing, down to the last nail. So much so, that sometimes when I was lining up a shot, I found her a bit of a pain in the ass because she would insist that her designs and her visual conception of a scene must be adhered to, whereas I regarded the sets only as a background for the actors".

Carmen Dillon plans another set

Annakin went on:

"He [Walt] didn’t stay very long on Robin Hood. He had great trust in Carmen Dillon, who was responsible for the historical correctness. Everything, from costumes to sets to props and he - I’m not so sure why he was so certain - but he was dead right at having chosen her. And she did that picture and Sword and The Rose too. And his reliance was 100%. A director can’t go into every historical detail and so I would check with her also, pretty well on most things. And she would quietly be on the set and if we used a prop wrongly, she would have her say. Mine was the final say, as director, but one couldn’t have done without her ".

Elton Hayes Interview

John Nelson has recently sent me a link to a fascinating interview with Elton Hayes. I have posted about this video clip before, but its worth mentioning again.

Elton Hayes in 1984

Back in 2012, Neil also made me aware of this, but unfortunately, due to the strict copyright laws by the owners, East Anglian Film Archive, I can not post the interview on here. But, for fans and admirers of the talented Elton Hayes, this is a must-see. Not only does he describe his work for Walt Disney on Treasure Island and Robin Hood, but Elton also sings a verse from the song ‘Wanderin' Star’, from the movie Paint Your Wagon.


Here is the link:  Elton Hayes Interview


The video clip is referenced as ‘Spectrun-Out of Town-Squeezbox: Elton Hayes’ and was filmed at Elton's farm in Suffolk in 1984.

Elton Hayes as Allan-a-Dale

In my opinion, Elton Hayes’s portrayal of Alan-a-Dale in Walt Disney’s Story of Robin Hood (1952), has never been surpassed. He was ‘made for the part’ and as the wandering minstrel, he carried the story uniquely from scene to scene, imitating the link the legend has with the balladeers that first spread the legend in medieval England.


There are over 34 pages on this blog, dedicated to Elton Hayes.  Much of the information has come to us via Geoff Waite, who has not only researched the life of Elton, but recently written a short bio in a CD compilation of his work. This is now available on the Retrospective label, from Amazon UK. 

The 64 recordings display a unique mix of various traditional English ballads performed by Elton. But, unfortunately his songs from Walt Disney's Story of Robin Hood and His Merrie Men (1952) are not featured. 

Whistle My Love by Elton Hayes

But a CD  produced on the Windyridge label as part of their ‘Variety’  series (WINDYVAR90) does include ‘ Whistle My Love ' and ‘ Riddle Dee Diddle Dee Day,’ and is available here.

Robin Hood Airport

Sean Bean and Brian Blessed

As regular readers of this blog will know, Robin Hood not only has links with Nottinghamshire but also Yorkshire - both counties continuing to claim him as their own.

In April 2005, when the Peel Group opened their £80 million airport on the former site of RAF Finningley in the borough of Doncaster, South Yorkshire, they provocatively re-named it 'Robin Hood Airport.'

This former long range nuclear bomber base is situated less than 18 miles from the legendary haunts described in one of the oldest tales about the outlaw, A Gest of Robyn Hode printed between 1492-1534.

   Robyn stode in Bernesdale,
  And lenyd hym to a tre;
  And bi hym stode Litell Johnn,
  A gode yeman was he.

The 'Barnsdale' referred to in the early ballad - the base for the outlaw's activities - is often identified with a relatively small area in South Yorkshire near The Great North Road, just north of Doncaster. Wentbridge and Saylis also appear in the stories of Robin Hood and the Potter and the Gest respectively. Legend states that his remains are buried at Kirklees Priory near Brighouse, West Yorkshire.

So two years after the airport's official opening a10-foot bronze statue of Robin Hood, sculpted by Neale Andrew was unveiled by actors Sean Bean and Brian Blessed on the first floor of the airport. Both actors are Yorkshire born and bred and proud of their roots.

During a press interview after the ceremony Sean Bean confessed that he would, "love to play Robin Hood on the big screen," he said. "It's 16 years [2007] since Kevin Costner did it - now it's my turn." 

Sean Bean with the statue of Robin Hood

Sean Bean continued:

"And we all know Robin Hood was definitely a Yorkshireman who was chased into Nottingham. They say he could be from Loxley in Sheffield - thats near where I come from. In fact Robin Hood is possibly my great, great, great, great, great, grandfather." 

Brian Blessed, who played Robin Hood's father in the Costner movie Robin Hood: Prince of Thieves, joked that the reason they were both invited was because, " Sean is very talented, but I have the sex appeal."

Sean Bean and Brian Blessed

Blessed said:

"I was born just eight miles away in Mexborough and I lived in Goldthorpe, my dad died about a year ago - he was the oldest surviving coal miner, he was 99 - and he was thrilled to bits with this airport. It's marvellous the way it's revitalised the area. I'm very proud to be part of this."

After the airport was re-named in 2005, Nottingham  council accused Doncaster of 'jumping on the band-wagon'!

To read about Robin Hood's death at Kirklees please click here. Information about the medieval ballads Robin Hood and the Potter and the Gest of Robyn Hode can be seen here and there are many more links and in the sidebars.

Elton Hayes-The Forgotten Minstrel

Elton Hayes (1915-2001)

As the minstrel Allan-a-Dale, Elton Hayes led us magically through Walt Disney's live-action  movie The Story of Robin Hood in 1952. His role in the film gave him global popularity, but today he is sadly forgotten. With the help of Geoff Waite I have tried to keep Elton's memory alive and on this blog there are now many posts about his life and recording career. Below is a snippet from a magazine article I recently found from 1954 which gives us another rare snapshot of his life:

Elton Hayes has been singing to a small guitar ever since he bought a sixpenny ukulele as a school boy. The smooth easy manner in which he sings those old English ballads and folk songs has come with many years of training in the theatre.

Elton was born in Bletchley, Buckinghamshire, but spent most of his school days in Leicester. His parents were both in the entertainment business - his father was in the circus and his mother was a singer.

It was natural that Elton should want to follow in his parents footsteps. He toured the country with them, and while they performed on stage, he would sit in the wings watching, and learning how show business worked.

He soon mastered the sixpenny ukulele which he bought with his pocket money, and by the time he was ten years old he could play nearly every stringed instrument.

But Elton wanted to be a straight actor. However fate turned his career in other directions. He became interested in old English folk songs and ballads.

When the war started in 1939 Elton joined the army and became a gunner in the Royal Artillery. He was posted overseas in India and decided to take his guitar with him. He was also given a commission.

While in India he became seriously ill with rheumatic fever. This was a tragedy for Elton. for his fingers began to stiffen.

One day he remembered his guitar. He took it from its case and began strumming it. And soon, after  many hours of painful effort his fingers grew more supple. He could play again. His courage had brought him through.

In 1946 Elton returned to Britain and appeared on In Town Tonight. This was a beginning. For, like thousands of other ex-serviceman, he found that he had to begin building a career again.

Just how successful he has been can be judged from the number of programmes he has appeared in on radio and television.

He has had a record spot on nearly every major radio station on the Continent and the BBC. He has appeared in his own show on television and was a permanent member of Eric Barker's Just Fancy. And of course he makes gramophone records.

When the film Robin Hood  was made in this country, the producers did not have to search far for the man to play the strolling minstrel - Elton Hayes was a  natural choice.

Elton fishing during a break from filming Robin Hood

Elton's collection of folk songs and ballads is one of the largest in Britain. How does he collect them? By listening, wherever he goes. If he hears someone humming, singing, or whistling a tune which he cannot place, he records it.

One day his agent was talking to him on the phone about a contract. Elton said:  'just a minute, I'll call you back in half-an-hour.'

When he called back he explained: 'I heard someone in the street, calling- a vendor selling fruit. I'd never heard the call he used before, so I asked him to come in, and we recorded it on my tape recorder.

Elton will play back the recording, and adapt it to his style, with words and music. The finished work will be a catchy little song with which he will charm us when he next appears on radio or television.

Because his work is connected with history, and the past, it is probably natural that his hobbies should follow a similar path. They are horse mastership, and the old English sport of fishing.

Elton is married, and lives in a luxury flat in London. But at the weekends he goes to his 350-year-old cottage in Essex, which he restored from a ruin. It is there he works on the songs he sings to a small guitar.

 

Elton Hayes

Elton was a  fascinating person and one of many people involved in The Story of Robin Hood that I would have loved to have met. One person that did meet him was Sallie Walrond and in her book, Trot on: Sixty Years of Horses she says:

When Elton Hayes came to live at Thorne Lodge I was delighted to meet him. He was a gentleman in every sense of the word, incredibly wise and with a kind but quick sense of humour and bright as a button right up until his death. I remember as a child listening to him on the radio singing The Owl and the Pussycat and seeing him as the minstrel Allan-a-Dale in a favourite Robin Hood starring Richard Todd. p.323

Trot On: Sixty Years of Horses by Sallie Walrond and Anne Grimshaw, Kenilworth Press, 2004 

There is a great deal more on this site about Elton Hayes. Please click here to see an interview with him, his discography, various articles about his life and his obituary.

Fight Training

Richard Todd as Robin Hood and James Robertson Justice as Little John

Down the years Neil has contributed a vast amount of information to this blog and also has his own wonderful website dedicated to the Films of the Fifties.  He has recently discovered a fascinating article about the making of Walt Disney's Story of Robin Hood (1952). It includes this very rare image (above) and an article about the training given by Rupert Evans for the fight scenes in the movie.

Neil says:

There is a new photograph [above] there of Richard Todd and James Robertson Justice rehearsing for the quarter staff fight - it is not much of a picture BUT it is yet another find ... If you look at the cart to the left - that appears in a scene where Little John  trots across with the horse that Peter Finch is going to be placed on. That was quite a set of Robin Hood s camp - I remember Ken Annakin saying that it was at least 200 ft. wide which is massive.

Look closely at the picture though and it underlines - something I have said so often - how good the set is. It looks like real woodland.

This certainly is an interesting insight into the preparation that went on behind-the-scenes at Denham Studios during the making of that wonderful film. Being behind-the-scenes at Denham in 1951 is an experience many of us fans could only dream of.

The picture above also reminded me of another image we  have seen of Richard Todd and James Robertson Justice preparing for the quarter-staff fight scene.

Richard Todd, James Robertson Justice and Ken Annakin

Neil describes the magazine article in which the picture appeared:

This article appears in an American Publication of August 1952 called 'Boys Life' and this is towards the back of the magazine which would come out just after the July 1952 release of The Story of Robin Hood in America. We had it in Feb or March of 1952 as you know..

This is what the article says:

When you see the new Walt Disney RKO live-action film, THE STORY OF ROBIN HOOD - and don't miss it- you'll see hand-to-hand combats in which the actors used no doubles. Robin Hood, legendary fighter of freedom, is most famous as an archer, and the film does have some eye-popping shots with bows and arrows. But Robin and his men could also bloody the heads of tyrants with their fists, knives, swords cudgels or six foot long  quarter-staves, a speciality of the period (for the movie about 1190 A.D.)

That was the time when the good King Richard the Lionhearted, left England for the Holy Land, and his weak, greedy brother, Prince John, oppressed the people. For resisting, Robin Hood and his followers were outlawed, but they hid in Sherwood Forest, raiding and  making fools of Prince John's men. For the numerous action scenes the actors were trained by a former coach of the British Royal Marines. Richard Todd, as Robin Hood, mastered all the weapons. Todd would be a tough man to tangle with now, even if he didn't have a quarter staff along.

Back in 2010 I posted about the Tough Guy Agency. This was the organisation that supplied stunt men and fight-training for films like The Story of Robin Hood and other action films of that period. I found the article in the Super Cinema Annual 1954. It featured a piece on Mickey Wood (1897-1963) the self-defence and physical training expert who was manager of the agency Tough Guys Limited which provided stunt people for films, including Disney’s Story of Robin Hood (1952). Perhaps Rupert Evans was connected to this company. This is the piece from the annual:

"Through the leafy green thicket of Sherwood Forest came a wiry little man on a shaggy forest pony. Without pausing, the rider galloped the pony straight into a wide and deep stream which cut its meandering way through the trees. The spray shot up around them, hiding them from view for an instant. Then came the deep twang of a bow string. A long slender arrow sped through the air. With a sickening thud, it caught the rider full in the chest, even as he reached mid-stream.

He threw up his arms and fell from the pony, to land with a splash in the water. The frightened animal was left alone to struggle to the other side. The body of the man floated downstream, face upwards, arms outstretched, with the deadly arrow sticking up from his chest for all the world like a sail-less mast of some stricken ship-

Recognise this scene?

Well it was taken from ‘Robin Hood,’ that wonderful R.K.O. film which so faithfully portrayed the adventures of England’s ever-green hero of Sherwood Forest.We went to interview Mickey Wood and found him in his office in Wardour Street, the centre of all the world’s film companies in England. He is a quiet, unassuming man in his early fifties and his office walls are filled with pictures of the many hair-raising stunts which his own tough experts have performed, or have taught well known film stars to do.

Yes we can hear you saying, “I suppose that was a dummy which a good marksman shot off the pony. It was jolly well done though.”

It certainly was well done! But that dramatic scene was no fake-the man on the pony was alive and surprisingly enough, has lived to perform many other daring stunts. For the rider was none other than Mickey Wood, principal of the ‘Tough Guys Stage and Screen Agency.’

Rupert Evans with James Hayter as Friar Tuck

 

And yet Mickey had an operation when he was a boy which would have been enough to kill many people, if not make them permanently disabled. He was trepanned and to this day [1954] he carries in his head a silver plate as a grim relic of this operation.


But Mickey Wood refused to let this put him off. At school he became the schoolboy boxing champion, took up wrestling and self defence and later on became the light-weight champion of Great Britain. Besides self-defence, he became an expert in swimming, diving, swordsmanship and riding.

During the last War, Mickey taught the Commando troops all he knew about self-defence and many of them must have found that knowledge invaluable when they came to grips with the enemy.

Peter Finch the Sheriff with Rupert Evans

 

Today, his ‘Tough Guys Agency’ has about three hundred and fifty people on its books, all of them experts in their various ways-ranging through boxers, wrestlers, high-divers, fencers, archers, car-crashers, circus acrobats and many other “tough guys.” But not only men-for Mickey has a number of extremely able young ladies who are willing to risk life and limb in the cause of stunting.

Micky’s first film-fight came in a film of George Formbey’s called ‘George in Civvy Street,’ when he worked with Kid Lewis, the famous boxer. Recent films in which Mickey has taken part are ‘Robin Hood,' already mentioned, ‘High Treason,’ ‘The Wooden Horse,’ and ‘Ivanhoe.’ The latter being the most spectacular and the one in which a big team of Mick’s people were engaged.

They had to leap from the castle battlements. Take part in fierce fights with swords, maces and all amidst clouds of arrows. But don’t run away with the idea that the fights such as you see here are haphazard affairs-not a bit of it!

These stunt men and women are tough, but they have no wish to throw their lives away just for the sake of a good picture. Every fight is carefully rehearsed and, very often, when two men are engaged in combat, practically every blow is planned beforehand. This is absolutely necessary; otherwise it could easily lead to serious injury or perhaps the death of one of the combatants."

 James Robertson Justice and Richard Todd in The Story of Robin Hood

Thanks to Neil for sending in the Boys Life article.

               

Elspeth Gill (1936-2012)

Elspeth Gill with Richard Todd in 1951

I was saddened this week to learn that Elspeth Gill passed away two years ago. Her father Alex Bryce (1905-1961) was the celebrated director, producer and writer who had worked on Walt Disney's live-action movies The Story of Robin Hood and his Merrie Men (1952), Sword and the Rose (1953) and Rob Roy (1953).  

In July 2012 I had the great pleasure of talking to Elspeth about her visit to the set of Robin Hood with her father and was struck by her warmth and kindness (I have re-posted the interview). Since then, I have learnt a great deal more about her incredible life.

Elspeth Gill

Below is her obituary sent to me by Neil Vessey:

Elspeth Gill

(1936-2012) 

Dare To Be Different

These are the words used by Elspeth Gill who used them to describe why she should be considered for the Hackney Performance Horse of the Year Award, She was right, she was different and yes she won that award! Elspeth was a remarkable woman who led an extraordinary life, this is her story..

Elspeth Mary Macgregor Gill was born in North London in 1936 where she spent much of her childhood growing up in Scotland. Her father was a celebrated film director who worked for Walt Disney. The youngest of 4 children, Elspeth spent many of her formative years on set with her father where her love of acting was born. She adored the glamour and showmanship of acting, developing a talent that would furnish her with essential skills for her future. In contrast to the glamorous lifestyle, another one was brewing, a keen interest in the harness horse inspired by the horsedrawn delivery tradesmen such as milkmen, bakers and coalmen around the suburbs of Rickmansworth.

In 1954 she won a scholarship to RADA, THE Royal Academy of Dramatic Art in London, where her natural gift for acting was honed. She studied alongside contemporaries such as the Oscar winning Glenda Jackson and Leonard Rossiter. On graduation, she went on to spend many years in repertory theatre performing in theatres around the country. The ability to travel around independently and adapt to the ever changing face of theatre demands set the scene for a remarkably strong woman who faced adversity and extraordinary challenges in her personal life

After meeting her first husband whilst starring as GiGi in the Wolverhampton Grand, she settled into in the rural idyll of Shropshire, They went on to have three girls, Lesley, Emily and Abbie. Elspeth married a second time and their son Daniel was born. With the children fast outgrowing their Welsh Ponies, Elspeth decided to be resourceful and break the ponies to harness, drawing on her skills learnt as a girl with the milkround! The rest they say is history!

Elspeth’s original driving pony was Tilliepronie Emperor Tilly a versatile children’s riding. With the fuel crisis in 1973 she drove her ponies to town with the kids in a governess cart to do the shopping, a feature broadcast on local television. She was then approached by the Bromsgrove driving group, joined up and opened up a whole new world of showing.

Elspeth’s passion for drama was now being put to good use in carriage driving, Her illustrious career in competitive Private Driving had just begun. With the combined smell of greaspaint…and horses, her achievements in the show ring culminated with her attaining a third place at the Horse of the year show in 1976. Third place was not good enough for Elspeth and realized that to be better, and to win, she would need to be different; to be outstanding and to be noticed, and so she turned to the aristocrat of the showring, the Hackney.

Her lifelong association with the hackneys had started. She became impassioned about of the breed and became a respected lifelong advocate of the Hackney Horse Society. Her first horse was Blue Cap John, a stunning Hackney which she had many a success with. With her constant quest for craving perfection and success in the show ring, she acquired the indomitable hackney stallion Finesse from Holland, Nessie was the love of her life, the greatest hackney of them all. To achieve her supreme goal, she called on the services of master coach-builder Philip Holder of the Wellington Carriage Company to design and build a new type of vehicle, her famous Cane Whiskey which is now on show the Redhouse Museum in Darbydale. The combination of a stunning lightweight carriage, outstanding hackney and impeccable turnout provided the desired effect, they were virtually unbeatable in the show ring and went on to win the supreme accolade, the Concours d'Elegance at HOYS in 1982. This single solitary rosette will adorn her wicker coffin to her funeral.

With a move to Cheshire, Elspeth worked her horses as commercial weddings and tourist rides. Her proximity to Manchester and the Granada television studios opened up new opportunities and returned to acting, this time with the horses and carriages in tow. She supplied carriage turnouts and horses for film, she appeared once again on screen in ITV productions such as Handel and Sherlock Homes. She commissioned John Willets from West Wales to build a hansom cab for film work for the Sherlock Homes and held a Hackney Cab license for rides around Chester. She famously performed a display for the Liverpool Taxi Cab association in a hansom cab, reversing a serpentine down a street to the astonishment of watching taxi drivers!

Elspeth’s attention to detail was revered across the country and became a well loved doyenne of the showring. The previous successful working relationship with Phillip Holder on the Cane Whisky was rekindled when she commissioned another stunning carriage, a pony Spider Phaeton to her exacting designs, which she excelled in many shows, and was often seen with her children perched precariously on the back dicky seat, usually it was her son Danny looking resplendent as the tiger boy Their glory came when they won at the British Driving Society National show and were presented to the Queen. So confident that their turnout was a show winner, Elspeth had already prepared a posy for a young Danny to present to her Majesty.

Whilst living in Dorset, Elspeth added Sunbeam Fantasia (Billy) to her yard, a stunning black Hackney Stallion who proved to be her soul mate seeing her through many a triumph and tradgedy. On return to Shropshire where she ‘retired from the show ring’, Elspeth moved to Bromdon Stables where she was able to look out from her window to see Billy staring back at her from his stable. The lure of the show ring was compelling. She made a call to Gary Docking to find a vehicle, and off to Reading she went and bought the vehicle of her dreams, the iconic Studebaker Princess Basket Phaeton. Great successes followed up and down the country. 

Undeterred by the onset of old age, Elspeth decided to travel to France and take part in the Concours d’Elegance d’Attelage de tradition at Cuts. For a 70 year old woman, a 21 year old horse a 100 year old carriage and a 30 year old battered old transit box, the team set off on an epic journey of a lifetime and yes she won again. Later that year she went on to win the Concours class at the National Carriage Driving Championships at Windsor too! 

Elspeth enjoyed all aspects of carriage driving, both Billy and her would travel all over the country taking part in various events. They even starred together in a couple of theatre productions with Equilibre with their magical performances. At the end of the 2006, their combined carriage driving exploits accrued them enough points to win the highly prestigious Hackney Performance Horse of the Year award. 

In recent years, the stresses of travel, failing health and Billy’s prolonged lameness took it’s toll, so Elspeth drew her competitive driving days to a close. Her final swansong came in 2010 when she fulfilled a lifelong dream to retrace the steps of the Reverend Henry Philpott from his journal of 1835 called "From Worcestershire to North Wales in a gig" chronicling his 11 day 260 mile adventure driving his little black mare. Her youngest daughter Abbie took time out with Elspeth to explore the route by car and when possible would bring Billy along to recreate the journey with a pony and trap. 

Elspeth was very close to her family and hugely proud of their achievements, She was especially thrilled to travel to see the Equestrian Olympics at Hong Kong in 2008 with her daughters Lesley and Emily and grandchildren. 

It was ironic that the hackney horse should offer one last page to the story of her life , sadly on the 5th June, whilst tending to her beloved Billy, she took an unfortunate fall and was taken to the Royal Shrewsbury Hospital where she passed away peacefully in her sleep. Elspeth Gill was an exceptional woman, a formidable character and wonderful person, so as a fitting epilogue to one of life’s great actresses…as they say in the theatre land “Stage…Exit…Left”

Elspeth Gill on the set of Robin Hood

A few years ago both Neil and myself contacted Elspeth and she graciously shared with us some of  her memories of those days with her father while he was filming Robin Hood.

Elspeth’s father was in charge of the Second Unit, which specialised in all the action shots and fight scenes of this wonderful Disney movie. These included the ambush of the royal coach, the rescue of Scathelok in the market square and Robin’s various battles with the Sheriff. She was about sixteen years old at the time and remembers the filming very well. Below is a copy of the blog post I did after our conversation:

"At the age of sixteen, Elspeth had the enviable experience of watching the filming of Robin Hood at not only Burnham Beeches but also the huge sound stages at Denham Studios. During that period she was living in a house approximately four miles from the legendary studios. When Elspeth entered a fancy dress costume at that time, she was lucky enough to be allowed to borrow one of Richard Todd’s Robin Hood costumes. She won the contest-of course! And afterwards rode her horse all the way to the Denham Studios. The security men on the gate were apparently pre-warned of her arrival!

Although it was over sixty years ago, she could vaguely remember meeting Walt Disney and described the Art Director, Carmen Dillon, as a formidable woman. Richard Todd she said “was such a lovely, lovely, man.” He became a friend of the family and Elspeth had fond memories of Scottish dancing with him during the making of the later movie, Rob Roy. Her father, she explained, loved making those live-action Disney movies."

Alex Bryce with Richard Todd (Robin Hood)

"During the filming of the scene in which Robin Hood meets Friar Tuck (James Hayter), Richard Todd asked Elspeth to keep hold of Barron, his Great Dane. Unfortunately Baron was a great deal stronger than Elspeth and she was dragged by the huge dog downwards towards the river!"

Peter Finch as the Sheriff

"Elspeth could also remember being somewhere high up during the filming of a scene in Nottingham Town Square. But she kept feeling something hitting her body and when she looked around, she realised it was Peter Finch (Sheriff of Nottingham) throwing pebbles at her!"

It was a memorable experience for me to be able to talk to Elspeth about her fond memories of those golden days. She was a charming and remarkable woman.

An Interview with Elton Hayes

Over the last few weeks we have had a great response to information on the late Elton Hayes. This week Neil has kindly sent me a link to a fascinating television interview with the folk-singer,which includes him describing working on Treasure Island and Robin Hood for Walt Disney. He also explains how he first learnt to play his legendary small guitar.

I am sure you will be impressed by the warmth and modesty of this sadly forgotten entertainer-and look out for the moment he listens to Whistle My Love on his cassette player.

Click here to see the interview... http://www.eafa.org.uk/catalogue/5155

Film of the Month

These two YouTube clips from the Walt Disney Family Museum in San Francisco were kindly sent in by Neil.   The first one advertises the fact that the Story of Robin Hood and his Merrie Men (1952) was going to be the film of the month for May. I would have loved to have been there and would be interested to know if the museum had an exhibition dedicated to the movie!

The second clip is part of a fascinating interview with the late Ken Annakin (1914-2009), describing his work for Walt Disney. In this small section we hear him explain about Disney’s choice of CarmanDillon as Art Director on Robin Hood and the technique of sketching out each and every scene.


To read a longer interview with Ken Annakin on the making of Robin Hood, please click here.

Andrew de Wyntoun

St. Andrews, Fife in Scotland

Robin Hood’s activities were never recorded by a contemporary chronicler. There is no surviving evidence that suggests that anybody knew him, his family or why he was outlawed. But some chroniclers seem to have believed he existed and the earliest of these was Andrew de Wyntoun (c.1350-c.1423). Andrew was an Augustinian prior of St. Serf’s (Kinross, Scotland), a religious house set on an island in Loch Leven on Serf's Inch, and later a canon-regular of St. Andrews Augustinian priory in Fife Scotland.

Very little is known of de Wyntoun’s education or early career, but he wrote ‘The Orgynale Cronykil of Scotland' at the request of his patron Sir John of Wemyss. The subject of the 'Chronicle,' is the history of Scotland from the mythical period (including the history of angels) to the accession of James I in 1406. In his manuscript he also tells the most famous of all his stories—Macbeth and the weird sisters, and the interview between Malcolm and Macduff.

Although very few critics, down the centuries have found any poetic merit in Wyntoun’s work, it does shed very important light on material about Scotland’s history that is not found anywhere else.

Written at the age of seventy, his chronicle is a long (preserved in nine manuscripts) and prosaic vernacular compendium in octosyllabic couplets, that traces the history from a very pro-Scottish viewpoint. He is especially severe on the malpractices and war crimes of Edward I who is described as a ‘tyrand’ and the ‘curseyd’ one, in his war against the Scots. Wyntoun particularly points to the massacre at Berwick and his treatment of the national hero William Wallace.

 

                                   St. Serf's Inch, Loch Leven

 
Wyntoun’s chronicle was probably completed before 1420. He puts briefly between the years 1283 and 1285:

Litil Iohun and Robert Hude
Waythmen war commendit gud;
In Ingilwode and Bernnysdaile
Thai oyssit al this tyme thar trawale

This translates from the medieval Scots as ‘little John and Robert Hood were well praised (as) forest outlaws (waythmen, i.e., men who lie in wait/ ambushers); in this period they did their deeds in Ingilwood and Barnsdale”

The ‘tyme’ in which Wyntoun places Robin’s activities in the ‘Chronicle’ was 1283. There are two striking points in this entry. The mention of Little John at the beginning of the first line might indicate that Robin may not have been the automatic choice as leader. Or it could be that his name placed first in the line simply provided a convenient rhyme of ‘Hude’ and ‘gude.’

Also surprising is the fact that there is no mention of Nottingham or Sherwood. This may show the Scottish viewpoint, with Inglewood (English wood) a forest just south of the Scottish border in Cumberland and Barnsdale in Yorkshire on the old Roman road between London and Edinburgh. The famous hunting ground of Inglewood, stretching from Penrith to Carlisle was the location of another medieval ballad hero and outlaw, Adam Bell. It was also used as the scene for several of King Arthur’s legendary adventures, which may have influenced Wyntoun.

But Wyntoun does not seem to question that Robin Hood and Little John existed, he indicates that they were real historical outlaws, living in the decade before Wallace’s rebellion, who were widely praised. Unfortunately he supplies no indication as to what evidence he based his date on.

To read more about historical evidence behind the legend of Robin Hood, please click on the label 'Robin Hood History.'

At Home with James Hayter

This fascinating interview with James Hayter and his young family was kindly sent to me a while ago by Geoff Waite. It was published in the October 3rd 1953/4? edition of TV Mirror Magazine and gives an interesting insight into his family life at that time. As Geoff said, it seems that the argument over how much television children should be allowed to view was prevalent even back then! And they only had the one BBC channel in those days!

"The Twentieth- Century Mr Pickwick is a TV fan-both as an Actor and as a Viewer.

By Ian Purvis

“I wonder, old boy, if you’d mind bringing down with you a gin bottle full of petrol? With what we’ve got, that should see us through the evening fairly happy.”

The voice at the end of the telephone was that of actor James Hayter. He had invited me to tea and dinner at ‘Tall Trees,’ the house he has recently purchased just outside Hemel Hempstead, in Hertfordshire.

What could be the meaning of his extraordinary request? Was it his intention to serve Molotov Cocktails before dinner? Anyhow, on my arrival, Jimmy greeted me warmly and thanked me for remembering the petrol-which he proceeded to pour into the bowels of a small light generator housed in a shed at the bottom of his garden.

Only way to see father!

“You see,” explained this twentieth century Pickwick, “if you hadn’t brought the petrol we just might have run short in the middle of the TV play this evening-which would have been a pity, as it promises to be a good one.”

The Electricity Board have not yet braved the steep ascent to the hilltop upon which the Hayters’ house is built; and gas operated TV being still a development of the future, a special generator has been installed to provide the current for the sets.

They have two: one in the living room and the other in the nursery. Wisecracks Jimmy: “Actually, it was to keep the kids happy that we bought our first model. I was doing so much television acting at that time that my wife assured me that if I didn’t give our children the opportunity of seeing me on the screen occasionally; they would soon forget what their old dad looked like!”

Here, indeed, is a family who are unanimous in their approval of TV entertainment-particularly the children. I noticed that five year old Timothy was proudly sporting a new pullover on which were prominently displayed woven images of “Hank.” Plucking at my sleeve he urged me into the playroom, explaining, bright-eyed, that Children’s Hour was just about to begin.

With all the withering scorn at the command of a twelve-year -old, brother Michael countered this suggestion with the words: “You don’t want to see that kids’ stuff, I’m sure. I like grown-up programmes such as What’s My Line?” Later, he confided to me that his own favourite TV personality is Cafe Continental’s Helene Cordet : “She’s smashing, isn’t she ?”

Sister Elizabeth, rising six-and-a-half, tells me that Muffin, formerly number one on her hit parade, has of late lost much of his former appeal because “he’s a bit too young for me now”- something of a Peter Pan that Mule! Principal heart throb of Caroline, aged four, is Humpty-Dumpty”- “’Cos he tells us stories.”


Paid for not looking


Despite the provision of an extra TV set for the benefit of their children, it would be wrong to suppose that the Hayter’s believe in allowing them to indulge in indiscriminate viewing. They argue that many programmes are quite unsuitable for youngsters, and that in every home where there is television, parents have a moral duty to act as ‘Lord Chamberlains’ to their children.

Naturally, Children’s Hour is un-censored at “Tall Trees,” but in order to teach the youngsters to be selective in their viewing, even of this highly suitable programme, Jimmy has devised an ingenious system whereby each may claim from him a penny for every day on which he or she does not watch television.

As a busy mother, Mary Hayter is fulsome in her praises of TV. “It keeps the children happy and off my hands for at least part of the day and it is especially helpful in winter when they can’t go outside to play.” As a housewife, too, she finds the hints given on her screen to be of constant value, and admits that she would be a very disappointed woman if Philip Harben’s programmes were ever to be discontinued.

Sincerity wins

The TV Chef has extensively increased her repertoire of dishes – and incidentally influenced her to purchase a gas cooker of the type used for his demonstrations.

Just how much credit should be allowed Philip Harben-or his cooker, and how much to Mary herself for the dinner served that evening at her table, I cannot judge. For even as I was about to enquire the recipe of the delectable sweet, Jimmy insisted that we carry our coffee into the drawing room so that we should not miss the beginning of the play.

When it was over we naturally talked about it as a production, and I was anxious to hear an actor’s views.

Hayter thought that the best moments had been those in close-up when the players had been able to convey real sincerity. He thought that long-shots in TV drama should be kept down to a minimum.

Hayter maintains that it is well-nigh impossible for the artiste, when shot at long-range; to make the character portrayed convincing to the audience because subtleties of expression became lost on the tiny screen.

In common with most others of his profession, he feels that whilst embodying all the difficulties experienced in both stage and screen acting, the new medium offers but little in compensation.

“One feels,” he says, “None of the encouragement known to the stage actor resulting from the tangible response of his audience, nor the reassurance that filming provides when he is aware that if at any given ‘take’ anything goes wrong, that scene may be shot again and again until it is perfect.”

Nevertheless he admits that he finds TV acting fascinating for the very reason that it does present a bigger challenge to the actor. He claims that the years spent workings in repertory before he became established are now standing him in good stead.

How the “Reps” help

“In rep,” he says, “You have to learn that despite limited rehearsals-more limited by far than those given to a TV production-you must somehow be able to give of your best at the first performance. That experience is of great assistance when first you face the television cameras.”

At that point Michael, whose seniority to the other children allowed him still to be up, wearied of our theorising and requested that the set be switched on for the last half hour of Music Hall. Jimmy agreed. But alas, after only five minutes the screen flickered and went blank. It was evident that my host had under estimated the thirst of his petrol engine and should have insisted that I bring with me an extra half-bottle!"

Ian Purvis (TV Mirror)

(Special thanks to Geoff Waite)

                       James Hayter as Friar Tuck in the 'Story of Robin Hood'