This was taken by Ian Meyrick in September 2009 at the CTA Archives. Ian describes Mervyn as being very engrossed in items from the Tony Moss Collection. This is possibly the last known photo of Mervyn before his unfortunate demise the following month.

The following appeared in The Stage last week.

Mervyn Gould

Former stage manager and writer of books on cinema history, Mervyn Gould has died at the age of 62.

Mervyn Stockbridge Gould was born on December 14, 1946 and, having been fascinated with technical theatre from his early teens, Mervyn landed his first paid backstage job aged 17 in 1963 as ASM (and props) for a two-week run of Babes in the Wood at Boston Regal, touring into Crewe, Buxton and Leek. He remained a casual showman at the venue (and number two lime boy) until moving to London in 1965 to study history at Marjons in Chelsea.

Having had the foresight to join the National Association of Theatrical Television and Kine Employees, he was able to get work in numerous West End theatres, although it impacted on his degree, as he just scraped through the finals.

After several years of touring, residences and even walking Schnorbitz – a period he described as “the painful death throes of variety” – he spent three seasons at Sunderland Empire as CD operator, then a year as deputy chief engineer at the Palace Theatre during the run of Jesus Christ Superstar.

He joined Loughborough University English and Drama Department in 1979 as a technical tutor, which gave him the opportunity to gain an MA and still work occasional summer seasons or pantos. He remained there for 17 years before taking early retirement due to ill health.

As an author, he wrote four books on cinema history as well as numerous articles for the theatrical press, including The Stage, Tabs, Cue and Cueline.

In 2007, he was interviewed for the Theatre Archive Project and his colourful memories can be found online at www.bl.uk/projects/theatrearchive/gouldm.html

He died peacefully at home in Loughborough on October 29.

(This is currently online on their website here).

MERCIA CINEMA SOCIETY

MINUTES of the EXTRAORDINARY GENERAL MEETING

held at the Cottage Road Cinema, Headingley, Leeds on Saturday 16 January 2010 at

11.30 a.m.

1. Apologies, quorum and proxies: Present: Kate Taylor (in the chair), Derek Atkins,

Dave Biscombe, Johnnie Cliff, Victor Alan Edwards, Gerry Glover, Ian Grey, Martin Hall,

Ian Houseman, Colin Jeffrey, Ian Meyrick, Charles Morris, Shaun Richardson, Harry Rigby, Edwin Robinson, Jim Schultz, Paul Smith, Colin Sutton, Derek Todd, Kathy Todd,

David Williams. (21)

Apologies/proxies: 75 proxy forms had been received from those apologising for absence.

The total of those present and proxies (96) was more than the 10% of the 210-strong membership required for the meeting to be quorate.

2. Introduction: Kate Taylor welcomed members to what was a sad, but – because of the attendance – also rather a gala occasion. She thanked members for coming and expressed particular gratitude to Charles Morris for hosting the venue.

3. Minutes of the Annual General Meeting held on 12 December 2010 were circulated. One typo was corrected to confirm there was NO immediate need to relocate the archive or stock. Subject to this amendment, the minutes were approved.

4. Matters arising from the minutes:

4a Odeon Putney: Kate Taylor had written to the Odeon management and to the projectionist thanking them for hosting the AGM and showing us the projection facilities.

4b Archives and Stock: It was confirmed that the archives remained at Mervyn Gould’s home and that the bulk stock was stored securely in Doncaster. Some stock was held by the Chairman and Sales Officer at their homes.

5. Motion to Wind Up the Society

Kate Taylor, from the Chair, proposed the motion That the Society be wound up in accordance with the details set out in the Constitution.

She said that she was not happy to present the motion, but knew it was necessary.  It was a momentous and sad day; the Society had existed for 30 years and had many notable achievements to its name. Amongst these were persuading the Charity Commission to accept that MCS was performing a public service and was not just a private club, and obtaining a £5000 grant from the Foundation for Sport and the Arts.

Our publications stand as our great achievement.  Through Rosemary and Chris Clegg, then Brian Hornsey and herself, and for the last 15 years with design, typesetting and editing by Mervyn Gould, over 40 books had been produced. Mervyn’s voluntary work had enabled MCS to continue to produce books at a viable rate which would not otherwise have been possible.

We had been unable to find people with the combination of skills, time, the technology and the will to continue with our book and Bioscope publication programme; without these, we had nothing to offer our members.

Our membership of 210 was the highest we had been able to achieve, despite good publicity and excellent press coverage for our books, especially Coventry Picture Palaces, which had already sold out.  Comments on proxy forms had also underlined the aging profile of our membership.

In an email received from the Cleggs, Chris had written that it was sad, but we had to be realistic.  Looking at the past 30 years, he said that we could be proud that so much information had been published and so much achieved.

The Chairman concluded by saying we should close on a high note of success, rather than gradually fade away and on this basis she placed the motion before the meeting for consideration.

In discussion, it was suggested that we try and find a way in which we could get people to move over to the CTA (if not already members) in order to ensure continuity and to keep the name of Mercia CS alive in some way.  Kate Taylor said that this was one of the issues which would be discussed with the CTA Committee in due course; offering to give Mercia members a year’s CTA membership and perhaps ring-fencing some money for publications, with acknowledgment to Mercia, were two ideas we may put forward.

The Treasurer confirmed that Life Members would have any ‘unexpired’ portion of their subscription returned, and that there were sufficient funds available to meet all MCS debts.

The motion was put to the vote:

*including 2 votes left to the decision of the Chair

The motion was therefore carried with the necessary two-thirds majority required by the Constitution.

6. Any other Business

6a Charles Morris, a former Treasurer, expressed thanks to Kate Taylor for holding the Society together for so many years, which had included some very difficult times.  Members present warmly applauded his words.

6b At the AGM, members had appointed a Committee to take the necessary actions to wind up the Society subject to the outcome of the EGM; and to engage in discussions with the CTA over transfer of assets.  Kate Taylor asked if this were still the will of the members, and whether anyone wished to put forward other suggestions for potential recipients of funds, which would have to be disposed of in due course in line with the constitution.

No other suggestions were made, and the committee membership was ratified unanimously as below:

Chairman:                     Kate Taylor

Vice-Chairman:              Ian Meyrick

Treasurer:                      Ian Grey

Sales Officer:                Martin Hall

Committee members:    Johnny Cliff, Gerry Glover, Frank Manders, Paul Smith.

6c The Chairman closed the meeting by thanking all those past and present who had served the Society in so many ways over its 30-year life. She also thanked Charles Morris for allowing us to meet in his cinema.

The meeting was followed by the opportunity for members to visit the projection facilities of the Cottage Road Cinema.

The following article was unearthed by Member Ian Van Ryne and distributed as a scan. It was published in a Christmas edition of Focus, the ALD (Association of Lighting Designers) Newsletter, circa 2005. Our thanks to Jim Laws for tracking down the original softcopy.

Shadows of the Evening Steal Across the Sky

Mervyn Gould

“Yes, I’ve been around a bit,” said the faded old pro, hitching the bar stool closer to the bar, settling in the corner. “In fact, I nearly made it. For a time I was nearly up there with your Roger Friths, your Francis Reids, and your Jim Lawses. Before your time, of course, before you were born, in fact.” The eager young student interjected a question. “Of course, a pint, though, not a half.”

“More than thirty-five years ago, now. In one week I had my lighting at both dates in a city, No. 1 tour date and major rep. – I thought they’d beat a path to my door. Still here, waiting, dear boy.” The student asked another question.

“Well, we didn’t have all these courses and qualifications then. We just did it. No ‘hashes’ – real Pattern numbers. Of course, we weren’t an Industry then, we were just in ‘the Business’. I didn’t actually carry stuff from the railway station, but all the rest, lad. Hand-fed carbon arc limes, resistance dimmers on shafts, using a foot, both arms, and nose if necessary, lad. Counting to 5, or 7, or whatever the fade was. All good stuff, you know, with F.o.H. lanterns in metal housings so that bits wouldn’t drop onto the stalls, and some places even had the new Strand stuff with pre-focus lamps in. None of this multi-lantern complexity we used to read about in Fred. Bentham’s editions of Tabs, though, for us.”

“By the way, I’m ready for another. Yes a great thirst, dear heart. Well, it was the heat, you know, standing in a badly-ventilated lime box with two d.c. arcs going, using last week’s box-office card for a fade or strobe effect. Or on the board with 70-odd resistances therming away behind the metal front. Scratching around for odd scraps of gel. – and back then some theatres still had a box of real gelatine colour sheet. Digging around in the LX store to find a rusty old tin box still with a lens to rig as a special for the walk-down. Having the manager on the house ’phone about the Maximum Demand Meter at a Full-Up Finish. Changing the gas mantles on the secondary lighting. And twice nightly, sometimes. It drove you to it, really it did. And it was useful to fill the liquid dimmers when they boiled nearly dry.”

“Weekly rep. took it out of you (only once did I do twice-nightly), but then so did touring. What a way to earn a living. All those hours on the A1 in the scenery wagon because the trains wouldn’t get you to the next date in time for the get-in. Doing the get-out up the ramp at Aberdeen H.M.’s in a snow-storm. The cloth battens bouncing over the icy cobbles after coming down the cloth chute at Leeds Grand. Arguing the contra. At least the pro. pubs had lock-ins in the afternoons, so you were all right when there wasn’t a matinée. Whilst Stage Management were re-setting or propping, LX would be replacing the body fluids.”

“Summer seasons were your holiday, if you fixed for good digs. Get the four programmes on and you were away. No matinées, if you were lucky. Except Butlins, of course, where it was a sod getting lamps and spares, and you were forced to maintain the Hawaiian Bar Mount Vesusvius LX with fork lightning and water ripple effect. All that water around certainly made you wary of the lash-up behind the set.”

“Well, how kind, certainly another one.”

“I think it was panto that was your mainstay. A solid three or even four months work, then. At places like Nottingham, Birmingham, and Sunderland we ran till the end of February or into March. A bugger at the beginning, with two shows a day and three on Saturday, and on Christmas Day as well in Scotland, but after the New Year pro party with other companies, when old enmities flared and new alliances were made, you settled in to find a shop for your spring tour and summer season. Bit short-handed on matinées, of course, when your local firemen or dockers or ambulancemen were on shift, so no limes, and LX even had to muck in with the hairy lads of the stage department, but, like all pros., you gritted your teeth, swore lustily, and said to yourself it was all part of the glamorous side of show-biz. “

“Another? I don’t mind if I do.”

“Well, once it all died – by 1980 it was virtually all gone, the bottom had dropped out of it – what could one do? I’m empty, dear heart, isn’t it time you got your wallet out?  I thought, be clever about this, and went on to tell youngsters about the all the skills one needs to get a show in, up and on – tipping the resident staff, arguing with the M.D., thumping the mercury arc rectifier to get the striker to bounce, twitching relay contacts on motor-driven dimmer banks, trimming your arc gap, throwing and tying-off a cleat line, putting PAR38s in your battens – then along came steel-framed sets, par-cans and moving lights, and knocked the bottom out of the business. Not to mention Health & Safety fussing around. Tour dates rebuilding with the lottery, not the same world.”

He settled more comfortably in the corner; a snore came. The student crept away, possibly gladder in the heart, but certainly lighter in the wallet, as the late Tony Mulvihill once said of the subject.

The rest is silence….                                                                                                                                           ENDS 922 words.

Our Coventry book has now sold out and there are no copies available.

At present there are no current plans to reprint it due to uncertainty over the future of the Society and the possible dissolution being discussed at the AGM on December 12th