Shaftesbury Avenue, London

Hats off, here they come…

London’s Shaftesbury Avenue is one of the best known streets in the capital – the part between Piccadilly Circus and Cambridge Circus, which is full of theatres, is in the heart of tourist London. But the northern part, north of Cambridge Circus and bordering the Covent Garden area is less well known. If you’re around there, I’d suggest wandering towards the northern end, and having a look at the Covent Garden Odeon, a large Art Deco building that started life as the Saville Theatre in 1931.  

The reason I think this building is particularly worth a look is the long frieze that stretches across the facade. It’s the work of the sculptor Gilbert Bayes* and depicts theatre through the ages, with the ancient Greeks and Romans at one end and the twentieth century at the other. ‘Theatre’ is interpreted loosely (spectacle might be a better term), with Roman gladiators and Greek Bacchantes included and the very English sight of Punch and Judy also putting in an appearance.

I’ve chosen two sections of the panel.§ The first shows some wonderful horses from the Roman section and a group of fetching Bacchantes (plus, presumably, one of Bacchus’ pards) on the right. The naked Bacchantes have a period, Art Deco look, with their short hair and slim bodies. One can feel Bayes having fun with all these subjects, relishing the chance to depict the naked female form and the opportunity to include animals.

The second panel includes another group of women: the Bacchantes have become tamed, as it were, as 1920s dancers, with clingy dresses and feathered headdresses – one can imagine them coming down the staircase behind Imelda Staunton in the wonderful current National Theatre production of Stephen Sondheim’s Follies. To their left are a bunch of ‘Romantics’ from the 19th century including a variety of actors in period costumes. Further left still is a Punch and Judy booth in which Punch looks down at a lifeless puppet – presumably the unfortunate Judy – while the dog Toby sits on the ground beneath; Punch and Judy were famously ‘born’ a few hundred yards southwest of here, in the heart of Covent Garden.†

There’s much to admire in these fine panels, and in some roundels by Bayes set further up on the building. I’d encourage anyone walking along the northern part of Shaftesbury Avenue to look up at the relief and take it in. Although the frieze is very large, many passers-by miss it when looking to see what films are playing, rather as people quite understandably miss the details above shop fronts when looking in shop windows. It’s another example of the use of sculpture to give interest to an otherwise rather large and lumpish 1930s theatre facade – something I’ve noticed on early Odeons and other cinemas several times before. More modern corporations should consider giving space to the visual arts in this way. ¶

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* Bayes also did the panels showing ‘merfiremen’ adorning the London Fire Brigade Building on Albert Embankment. 

§ More detail in each photograph will be revealed if you click on the image.

† The first written account of a Punch and Judy show was a record of a performance in Covent Garden. Punch’s ‘birthday’ is regularly celebrated in May in St Paul’s churchyard, when the massed ranked of the ‘professors’’ booths fill the greensward and the walls echo to the sound of beswazzled voices.

¶ There are more pictures of the frieze on the Ornamental Passions blog, here.

Somers Town, London

 

Thereby hang tales...

Here, as hinted in the previous post, are a few examples of the decorative Doulton panels from the blocks of flats in the Sidney Street estate in Somers Town, north of St Pancras. The ceramic panels, made in about 1937 by the artist Gilbert Bayes, seem to depict scenes from fairy tales. There's a very obvious Little Mermaid rescuing her prince (above), a young woman with swans (is it The Swan Princess, or some other tale featuring swans?) and another young woman, this time with an elaborate headdress, about to kiss a young man, this time with pigs on either side (The Princess and the Swineherd, presumably). The stylised medieval dress, flat colours, and faces in profile give quite a 1930s feel to the panels, and the decorations are in keeping with the spacious courtyard and careful architectural details, all of which help to raise these blocks above the norm for social housing. It feels right, somehow, that these buildings should have decoration that's diverting and engaging and that adds a splash of colour to an area that would have been grey, sooty, and smoky in the 1930s when the flats were built.

The Swan Princess

The Princess and the Swineherd

Albert Embankment, London

Before I leave my exploration of friezes, decorations, and reliefs, features that seem to have been preoccupying me on my recent walks around London, here’s one more example. The headquarters building of the London Fire Brigade on Albert Embankment was built in 1937 to designs by architects of the London County Council. It’s a rather monolithic building, characteristic of the strong, silent phase of English building in the 1930s, and not everyone likes it. But it has a saving grace – a dazzling set of relief sculptures by Gilbert Bayes.

This one, part way up the Embankment façade, is a dramatic scene featuring firefighters, but not as we know them. These firefighters have fishy tails. Yes, they’re merfiremen, the perfect mythological creatures for a Fire Brigade HQ by the River Thames. Other reliefs depict galleys (the riverside theme again), and Phoebus with the rays of the risen sun. It’s not just the gilding that makes me think of the interwar period as something of a golden age of architectural. sculpture in London.

Thanks to Zoe, who blogs with such flair about her adventures in the Czech Republic here, for telling me to look at this building.