Little of What You Fancy, A

Mark Eden pushes open the door to an empty Wilton's Music Hall and enters to find the foundation stone, laid by Ellen, wife of John Wilton on 9th December 1858. Looking out from Wilton's Music Hall onto Grace's Alley in London E1.

As the echoes of past performances fade, Mark narrates "This is Wilton's. One of the oldest music halls still standing. There aren't many music halls left nowadays and today I've come to where it all started . . . " Grace's Alley is also featured in 'The Great McGonagall', 'A Prize of Gold', 'The Adventures of Dusty Bates' and 'The Stateless Man'.

" . . . a stones throw from Big Ben, next to the Waterloo railway arches." Facing west, looking over St. Thomas' Hospital towards the Houses of Parliament on the far side of the Thames in SW1.

"Centuries ago, right here in the heart of London, pilgrims on their way from Westminster to Canterbury Cathedral made their first stopping place . . . a tavern built on Lambeth Marshes called the Canterbury Arms." The shot cuts to a view east towards the spire of the ruined Christ Church at the junction of Westminster Bridge Road and Kennington Road SE1.

John Harwood found the same mass of railway lines with a red brick building to the centre recognisable from left of the screen capture.

"Around the middle of the last century, Charles Morton became the landlord and started Saturday night entertainment in the parlour." The camera tilts down to find the railway arches beneath the South Western Main Line running out of Waterloo station with Carlisle Lane disappearing off to the right.

In John Harwood's view, more lines have been added since filming.

"This Saturday night lark became so popular that Morton extended it to Thursdays as well. Before you could say 'Up the apples and pears' the place became so popular that Morton built a special hall at the back of the pub." Facing north towards the back of a ruined building on Upper Marsh, a location obliterated by the construction of a new railway line into Waterloo for the Eurostar services that ran into the terminus between 1994 and 2007.

The nearest possible comparison taken by John Harwood.

"Many of the stars of the staid Victorian wore real mod gear and they became known as "swells" or "mashers". They knew how to mix their colours, try out new styles and weren't afraid to let their hair grow long. The "mashers" of today have only a small back alley for their stage known the world over as Carnaby Street." The mural on the wall of Lord John at the corner of Ganton Street and Carnaby Street W1.

Not quite as colourful. PW

Carnaby Street with the corner of Marlborough Court to the centre.

No cars allowed now. PW

Views of the "Swinging Sixties" continue. Male West One stood at number 38 Carnaby Street.

There's no number 38 at street level now. PW

A Union Jack is placed on the sign of "I Was Lord Kitchener's Valet" at 15 Foubert's Place.

Signless and flagless. PW

After straightening his tie, checking his cuffs and smoothing back his hair, Mark turns from his reflection to make his towards Carnaby Street. He is in fact already in Carnaby Street, 'Doni's' seen in Capture 8, is also reflected in a window, so he is walking south towards Beak Street with the premises of the former 'St. James's and Pall Mall Electric Light Company Ltd' apparent on the left hand side. See LPA 128422. (RL)

Taken from a similar position with a matching office block on Beak Street in the left distance.

The junction of Little Marlborough Street and Great Marlborough Street, which also crosses the background.

I smiled for my picture to be taken. PW

Passing All Woollens Ltd at 32 Great Marlborough Street in W1.

A new design of shopfront. PW

The Narrator checks over a jacket hanging outside the Tom Cat boutique. To the left, Lady Jane traded at number 29 Carnaby Street.

The door to the upper floor premises and the pavement lights confirm the location. PW

Wearing his new threads, Mark continues his walk along Carnaby Street. Looking into Marlborough Court with Newburgh Street in the right background.

With almost no change to the skyline. PW

Having acquired a Companion, Mark straightens his tie as the couple head south. Facing northward on Carnaby Street W1.

Sunday morning crowds start to swell as the shops open. PW

Walking around the camera, the pair put their arms around each other as they disappear from view. Looking southward on Carnaby Street in Soho.

It's already busy to the south of the street. PW

"A hundred years ago the Strand was one of the main theatrical centres in London. At the Fleet Street end, the Gaiety was built. Simpson's Tavern . . . moved to its present position in 1904." Simpson's at 100 Strand in WC2.

Taken from the traffic island in the middle of Strand. SJ

Facing north-east on Strand with St. Mary-le-Strand church in the distance.

Taken from the corner of Exeter Street. PW

"The Savoy welcomes thousands of celebrities to London each season including a host of stage stars." The entrance to the Savoy Hotel on Savoy Court off Strand WC2 which also appears in 'Life at the Top', 'Lunch Hour' and 'The Long Good Friday'.

Scaffolding encroaches on the right. PW

"As we've seen, the origins of music hall started as singing concerts in the pubs during the early 19th century . . . " Facing the Savoy Taylors Guild on Strand.

Scaffolding delayed a comparison but all is well now. SJ

" . . . and the Coal Hole was a typical tavern of the day." Where are they now? The only sign that remains from this capture is that of Simpson's.

I rather miss the lamppost. SJ

"Though with rather a dubious reputation for some of its career, Thackery immortalised it as the black kitchen in his novel Pendennis." Facing north-east on Strand with the Coal Hole at the top of the steps down to Carting Lane on the right. The rear of the Coal Hole can be seen in 'The London Nobody Knows' and 'The Big Sleep'.

The Coal Hole is obscured by the scaffolding that stretches along the road from the Savoy. PW

"Champagne was drunk out of many a dainty slipper at that famous romantic restaurant in the Strand, Romano." The restaurant stood at numbers 399 and 400. Converted into a shoe shop, the premises are also highlighted in 'The London Nobody Knows'.

Little remains of the past. PW

"Nearby, where a busy department store stands today, there was, until not so very long ago, one of the most lively music halls. The Tivoli." Strand at the junction with Duncannon Street and Adelaide Street with Villiers Street to the top right.

"Here, every great star appeared and many ghosts must walk the spot today." Looking along Strand from the corner of Duncannon Street WC2.

"Next to the Tivoli is Villiers Street and tucked away under another railway arch is music hall reincarnated every night. Where the old Gatti's music hall one stood we have the Players Theatre." Facing Villiers Street from Strand with Charing Cross station on the right.

On the day this shot was taken, the traffic became gridlocked due to roadworks on Charing Cross Road! PW

After being treated to a performance at the theatre by Sheila Bernette introduced by Barry Cryer, the film moves on. "Around the corner . . . is Trafalgar Square with Nelson keeping his good eye on millions of visitors every year."

"They come from far and wide to feed the pigeons, have photographs taken, admire the fountains and gaze at the statues." Trafalgar Square WC2 with the National Gallery, the tower of the Coliseum theatre and St. Martin-in-the-Fields church crossing the background.

More trees, fewer people on this winter's day. SJ

"Being one of London's greatest landmarks, Trafalgar Square has inspired several music hall songs." Looking across Trafalgar Square towards Canada House.

A dusk, as opposed to dawn, comparison over Trafalgar Square. SJ

"The most famous, sung now by Stanley Holloway, who had a long run in music hall and revue before finding international fame as the Cockney father in 'My Fair Lady'." Facing the junction of Trafalgar Square and Cockspur Street with the corner of Spring Gardens to the centre.

I waited in vain for a clear shot. SJ

A Tramp (Sidney Bromley) walks into frame as Stanley Holloway sings 'I live in Trafalgar Square'. Trafalgar Square WC2 with Admiralty Arch on The Mall SW1 just visible on the left.

Admiralty Arch remains shrouded. SJ

Placing his belongings on the ground, the Tramp rubs his hands. Trafalgar Square with buildings at the corner of Whitehall SW1 and Charing Cross WC2 to the top left.

This Lutyen lion faces north-east. SJ

The Tramp rummages through a litter bin and finds a discarded magazine. Trafalgar Square with the National Gallery as the background.

Far busier at advent with stalls and annual Norwegian tree gift to the left. SJ

Following footage of Gus Elen singing 'It's a great Big Shame", a song about the loss of a pal after his marriage, a sepia toned sequence has a modern day Jim (Pat Halpin) being pushed along by his Wife (Christine Ozanne).

The henpecked Husband and his Wife walk away from the camera as she continues to nag at him. Looking west on Myrtle Street N1 with St. John the Baptist's church visible through the distant trees.

Myrtle Walk looks very different now. SJ

"I don't suppose this market has changed much since the days when Hoxton was well known for its local music halls." Facing numbers 169 and 171 Hoxton Street N1.

Looking west at the corner of Homefield Street towards Regan Way out of shot to the left. SJ

Looking north on Hoxton Street with the clock above Hayes & English Funeral Directors to the top, left of centre, just beyond Woolworth's and the premises at the corner of Wilks Place.

The clock remains above the funeral directors, renamed W. English and Son in 2025, and Poundland has replaced Peacocks which replaced the Woolworth's. SJ

"Today, there are only traces of one of them left . . . " Hoxton Street with the corner of Myrtle Street to the left of centre.

Looking north in this heavily rebuilt view. SJ

" . . . the Britannia, once especially popular for its spectacular pantomimes. All that remain are these columns." Panning left, the shot finds the site of the Britannia Theatre at 117 Hoxton Street

Panning left brings this view. SJ

"Marie Lloyd was born and raised among the market stalls of Hoxton. Her many songs had a saucy flavour, to which her even saucier wink added an innuendo often not apparent in the work."

Many alterations are apparent here but the street's curve in the right background looks true. SJ

# My old man said follow the van and don't dilly-dally on the way. Off went the van with the home packed in it, I followed on with me old cock linnet. Purcell Street, looking across Hoxton Street to what was at the time Dormer Mews and in the background 'Cordelia House' on Stanway Street. E1. (RL)

# And I dillied and dallied, dallied and I dillied. Lost me way and don't know where to roam. Well you can't trust a special like the old time coppers when you can't find your way home. Hoxton Street in N1.

The Marie Lloyd song ends before the Narrator pays a visit to McDonald's, the oldest Hoxton music hall which opened in 1866, over 100 years ago at the time of filming. Hoxton Street with The Bacchus public house at the corner of Bacchus Walk. The pub was dressed as The Blind Beggar for its appearance in 'The Krays'.

The Bacchus pub, at 177 Hoxton Street on the west side, closed in the late 2000s and has seen several transformations, currently housing vintage clothing. SJ

Prior to this shot of the Palladium, the Narrator explains that The Royal Command Performance in front of His Majesty King George V in 1912 was perhaps the peak of music hall and variety. "After that, the decline seems to have set in. First music halls then variety theatres began to close." The Palladium on Argyle Street W1.

A bit of scaffolding to mar the scene on the right. SJ

"But one stronghold, the world renowned Palladium, held up. Virtually every great name has trod its boards and had butterflies in their stomach as the house lights dimmed and the curtains parted." Argyle Street where the revue 'London Laughs' is has been playing at the Palladium since 1966.

More scaffolding to greet the tourists. PW

"One part of London that was a music hall fortress is Leicester Square. The plush Empire, with its notorious promenade patronised by ladies of the town, has become a cinema and ballroom." The Empire cinema in Leicester Square W1.

Pedestrianised since the 1980s. SJ

"And of course the Alhambra, today, one of London's most modern cinemas." Facing the Odeon on Leicester Square.

Taken from the west side looking east over the square. The tree on the right is a comfortable match. SJ

"Another old music hall which keeps going very successfully is the Victoria Palace, originally the Royal Standard." The Victoria Palace theatre on Victoria Street SW1.

Much has changed in this area but the theatre and the exterior of its next door pub The Duke of York survive. SJ

"In recent years its become the home of the Black & White Minstrels." The camera tilts down to find the billboards and entrance of the Victoria Palace theatre, a theatre that also appears in 'Top of the Bill'.

Hamilton continues its run of 7 years and counting. SJ

"Little is left to remind one of the splendours of these Victoria days." Facing south on Islington High Street in N1 with White Lion Street just out of shot to the right.

The building with the tower on the right has survived. SJ

"Most of its stages are already gone. The Empire Islington . . . " Panning left brings the Empire Islington into view. In 1932 the theatre was converted into a cinema which closed in 1962. The auditorium was torn down and the space served as a car park with the facade being demolished in 1981.

I feel I should have panned a little further left where the entrance to The Empire was, but it's all change anyway. The block here on the right was raised as recently as the early 2020s. SJ

" . . . and the Camden Town Bedford are ready for demolition." The Bedford theatre at 93 to 95 Camden High Street in NW1.

Not quite as elegant. SJ

"But the tradition still lives on." The spirit of music hall carries on today in restaurants, theatres and pubs. Closed in 1959 and demolished ten years later, the Bedford theatre can also be seen in 'Cathy Come Home' and 'The London Nobody Knows'.

The tilt reveals an architectural match to the right. SJ