A Brief History of The Empire Cinema, Blackburn
By Peter R. Worden © December 1999
Beginnings
The Blackburn Times of Saturday, 26th February 1910 reported that at the Blackburn Licensing Sessions on 23rd February "another application was made by Mr. Backhouse on behalf of Messrs Christopher Hope and Frederick Caton. In this case, said Mr. Backhouse, it was intended to erect a building, costing £1,400 in Aqueduct Road, Ewood, with accommodation for 660 people on the ground floor and 222 in the gallery". This application was granted along with consent for the building of the Star Cinema on Plane Street, Little Harwood and The Peoples' Hall on King Street. This triple permission was also reported in the Northern Daily Telegraph on Wednesday, February 23rd.
Building had begun prematurely, with the putting down of "footings", in 1908. A few months after planning consent had been given, and proper work begun in 1910, financial problems arose. Harry Duckworth, who had the contract for the flagging and slating, was approached to join the enterprise, and become a shareholder in lieu of payment. It was his son, "young" Harry – then aged 10 or 11 years – who persuaded his father to 'go in Pictures'. Duckworth traded as 'H. Duckworth & Son' in nearby St. Aiden's Avenue, Mill Hill. He persuaded a neighbour, Ben Hall, to join the Company as well; at one time he was a local councillor, and worked as part-time doorman at the Empire. (When Harry became Managing Director of the Empire, his brother Jack – who was also an Empire director – took over the running of the building firm; his son subsequently ran it, until it closed in the early 70s Fred Caton was a clogger on nearby Havelock Street. These two men should not be confused with the modern-day Blackburn building firm of Caton and Duckworth; the similarity is coincidental.
Although the building is described on the original Contractors' Board, which still exists, and which was erected on the scaffolding, as the 'New Cinematograph Hall, Ewood' it was soon officially called the Empire Electric Theatre; its patrons however preferred to call it 'The Barn!'
Open for Business!
When it opened, in October 1910, the main entrance was, and remained so until closure, on Aqueduct Road. This was because there was another cobbler 'squatting' in a wooden hut on the triangle of ground abutting the river bridge – so preventing a 'front' entrance. Making 'virtue of necessity', the Projection Box was installed at ground level, at the back of the Stalls.
The downstairs seating was on wooden benches, and there was a small shop at the back, beneath the projection windows, selling sweets and bottle of 'pop'; there was another one on the Balcony corridor. Later, as bigger and brighter pictures became the norm, and before the arrival of sound films, a new Projection Box was constructed at the back of the Balcony. Another reason was that the underside of the front of the Balcony chopped off the top of the picture when projected from the downstairs box!
In the early days, prices were 2d at the front, 4d at the back, and 6d in the Balcony. Children's matinees were priced at 1d downstairs and 2d upstairs; all the children upstairs got a free orange as well!
The Empire was built as a Cine-Variety Theatre, and had a shallow stage, about eight feet deep. During the silent days, in addition to a pianist in front of the stage, backstage there would be a table loaded with a cornucopia of 'effects' implements: coconut shells, motor horn. a tin can filled with nails, rough sandpaper, a wheel-drum with stones in it, thunder-sheet, a pistol for firing blanks etc. which 'young' Harry Duckworth, the son of the MD, would be expected to manipulate in synchrony with the film action. The female pianist, who lived in Anvil Street, would nip out to the nearby Aqueduct public house during the interval; and she used to keep a bottle tucked down her blouse. The result was that whereas 'chase' and 'activity' music was suitably provided for the first half of the show, it was seldom appropriate, but was nevertheless what was provided, for the second half which often featured 'hearts and flowers' dramas!
Turns
During the evening shows, there would frequently be a Variety 'turn'. There was a comedian, Billy Bullen, who also had a predilection for the pub across the road; a clog-dancer who performed on a plate; and a duo of singing sisters. There was Jimmy Ainsworth, a baritone who wrote and performed songs such as 'The Whitehaven Pit Disaster' and 'The Ribble Valley', the management astutely sold copies of these songs at 6d each – good money in those days. Like all good theatres, the Empire had its own chucker-out; in this case his name was Bob Caton. He was the brother of Fred Caton.
'Young' Harry Duckworth recalled that at one time they quite illegally used to share programmes with the Albert Hall in Darwen. The two cinemas would run their programmes sufficiently out-of-sync, to enable this to be done. He would catch the Darwen tram on Bolton Road to do a swap-over of reels, and would be paid 9d every Saturday night for doing two 'round trips'.
The Empire Electric Theatre Ltd. company accounts for the year ending December 31st 1916 gave the building a 'book' value of £2,138 and its equipment was valued at £180; a year later, at the end of 1917, the values were put at £2,076 and £158.
A Near Disaster
By 1932 Jack Duckworth had taken on the job of caretaker at the Empire. One day he noted that the eight-foot wide gate at the rear had 'shrunk'; the boundary wall was collapsing into the river. Historically, the Blackburn Council had between 1882 and 1883 built a new bridge over the River Darwen to replace the former narrow one, which used to lie directly in line with the Empire. The new cast-iron bridge, with splendid balustrades celebrating the Town's chief officials, had been constructed on dry ground on the Infirmary side of the old one, and a new watercourse channel excavated, with retaining walls on either side; the river had then been diverted into the new passage. In 1908 Caton and Hope had - as previously noted- constructed the 'footings' for the new, as yet unapproved, building on the site of the old riverbed. They had done this by creating a box of concrete walls, at least six feet deep (as discovered by the Theatre Trust's excavations in 1981) which they had back-filled with steam engine ash, either from a local cotton mill or, more likely, from the nearby railway coaling yard behind Ewood Park football ground.
So, in 1933 or 1934, Blackburn Corporation was taken to court at Manchester by the Empire Electric Theatre Ltd., to demand action in rebuilding the river wall. The visible distortion of this wall caused Malam Brothers, the Clerk to the Blackburn Magistrates, to close the Balcony. (Malam Brothers was the fifth, and youngest, son of Orlando Brothers who came from Middlesex and in 1845 had been installed Engineer to Blackburn Gasworks. By the time of Malam's birth the family had moved from Strawberry Bank to Meadowhead House in Mill Hill; the family gave its name to Brothers Street. Malam had been a pupil at Blackburn Grammar School, then at college in Sheffield, before becoming a lawyer. In 1891 he had become the Magistrates' Clerk. A significant 'character', he accompanied the Magistrates on their tour of every inn and alehouse in the Borough; even though he "enjoyed a drink" as much as anyone, he had many down-and-out pubs closed.
The judge hearing the case was Mr. Justice Talbot, who was a qualified Civil Engineer. Blackburn Corporation was represented as its Counsel by Sir Harold Derbyshire; who had been brought up in his parents shop on the opposite side of the river, facing the Aqueduct Inn! At one time he had stood as a prospective Parliamentary candidate in the town.
The Town Clerk at the time was Sir Louis Beard, but he was indisposed; his Deputy was Briggs Marsden, whose sister ran the Moorgate Post Office. The wife of Harry Duckworth used to shop there, and was told: "Your husband's throwing good money away, trying to fight the Corporation. He hasn't got the ghost of a chance". But events were to prove otherwise.
Vindication
During the course of the hearing the judge, together with a representative of both parties, put on waders and went into the riverbed to inspect the damage. The fabric of the river wall was so eroded that a stick could be inserted up to 20 inches between stones, where a solid mortar should have been; to prevent further erosion the local building firm of Woof Cronshaw had been on site to erect a coffee-dam two or three feet away from the bulging wall. Justice Talbot found in favour of the Empire's owners, and ordered immediate restoration of the river wall by the Corporation, and imposed costs against the Corporation, and compensation for loss of earnings.
After the hearing was over, the Empire's solicitor, Mr. Haworth – of Carter and Haworth (until recently Carters) – said "Let's go to the Midland for lunch". So about ten of them did so; and got the bill made out to Blackburn Corporation!
When later asked for his estimate of the cost to the Corporation of all of this, Luke Bates of Heys Lane - who was Secretary of the Weaver's Association and had been the town's Mayor in the previous year- conjectured that restoration of the watercourse from the 'new' road bridge to the canal aqueduct was cost £24,000 and costs and restitution of earnings, some £6,000. £30,000 was a great deal of money in those days! (In the late 1980s the same fate befell the Ewood Conservative Club, on the opposite side of the river to the Empire. It too, started to collapse into the river, and had to be demolished.)
The veranda was put up in 1938. A 'lean-to' was put up at the canal end of the building, and about 200 people could be sheltered there, waiting for the Second House. The veranda and 'lean-to' were demolished as being unsafe in 1980.
In 1942 'young' Harry, now in his early 40's, took over the management of the Empire. He said that this was a forced decision of the Kinematograph Renters Society; either he took over, or the cinema would have gone on the 'barred' list. But, as he later recalled, "I'd enough on without that. There I was running Kanox Dog Foods, buying and selling cars, and I'd had an agency for Acdo since Uncle Norman died the previous year. Some days, travelling for Kanox and Acdo, I'd be passing Livesey Branch Road at 4.45 in the morning to go to Whitehaven, Carlisle, and 3.30 at Cleator Moor – and be back to open the Empire at 6.45. My weekend began at 8.00 pm on Sunday night".
Sale
So, in 1946 he decided that the time had come to sell. The 10th May 1946 edition of the Northern Daily Telegraph reported that the Empire had been 'acquired by the Northern Theatre Company Ltd., owners of the Cinema Royal, Blackburn. Mr Joseph Tomlinson of Thornton Cleveleys had been appointed manager, under supervision of Mr. J H Pilkington, manager of the Cinema Royal. The purchasers, whose headquarters is at Halifax, own nine cinemas in the area".
The sale was prescient. With the start-up of the Holme Moss television transmitter in Yorkshire, in good time for the Queen's Coronation in June 1953, the 'writing was on the wall' for the up-to-now vital 'neighbourhood' family-run cinema: well and truly! As time went by, Northern Theatres' properties were absorbed into Harry Buxton's Essoldo Circuit of cinemas. On 29th March 1972 the Lancashire Evening Telegraph reported the sale of the Empire (in tandem with the town-centre Majestic – soon to be re-named the Classic) to Classic Cinemas Ltd. Within eighteen months or so it was closed, but subsequently had two short periods of use as an Asian cinema.
Enter the Theatre Trust
Around Easter 1978 the Community Theatre on Troy Street finally closed its doors as a venue for the larger amateur- mainly musical- productions and occasional professional company visits such as 'Opera For All'. Realising that only 'sell-help' would find a way forward for the future; a group of enthusiasts came together to seek to acquire a suitable building. On 26th January 1979 the Blackburn Theatre Trust received its Certificate of Incorporation as a Company Limited by Guarantee; it was then registered by the Charity Commissioners as a Charity established to provide a theatrical facility, - both amateur and professional- for the people of Blackburn and Darwen. Negotiations with Classic Cinemas' head office at Liverpool had been proceeding throughout 1978, since an initial inspection visit in February. In May 1979, four months after Incorporation of the Theatre Trust, and having been derelict for two and a half years, the Empire was purchased for the sum of £12,000. Before buying, the Trust retained the services of Building Design Partnership of Preston, who provided a comprehensive structural survey and report. This indicated that the building was essentially sound and in remarkably good basic order.
During 1979, possibly catalysed by the Theatre Trusts' purchase of the Empire, The Blackburn Council commissioned an overview of theatrical provision and potential by Ian Mackintosh of Theatre Project Consultants. This was published in March 1980, and recommended that:
a) The Trust be invited to firm up its plans for the building with a budget target of £140,000 at March 1980 prices.
b) The Council offer the Trust a grant on a £1 basis up to a limit of £125,000 against money raised from sources other than the Council.
c) The Council explore the viability of the Empire as a venue for visiting professional productions, both with the Trust and with all interested parties (e.g. North-West Arts).
Within three years, in the region of £60,000 was raised (either as promissory Covenants or as cash) by the initial Directors of the Trust, under the Chairmanship of Peter Worden. However, in spite of the Mackintosh Report, which was supported by the Conservative group, and some Ratepayers' councillors, much antagonism was displayed by the Labour and Liberal Parties (who, when combined, and supported by the 'anti' Ratepayers, held the balance of power on Blackburn Council), and from the Director of Recreation, Mr. Paul Sykes. This, notwithstanding the fact that the whole enterprise had been undertaken only after consultation with the Chief Executive of the Council, especially in light of the recent closure of Community Theatre.
Stalemate
Consequently, it is a matter of regret that, despite rumours perpetrated by the contrary, Blackburn Council never 'took on board' the suggestions made by the consultant Ian Mackintosh, no £1 for £1 grant matching ever took place. Whilst in recent years the Council has demonstrated a more tolerant, indeed benevolent, attitude towards the Trust's aspirations, it has to be clearly stated - for the avoidance of any future misconstruction- that the only 'public' monies which ever flowed in the Trust's direction in those early years was a repayment of £5,173.55 on 23rd August 1980. This was to cover the cost of work done externally on the Building by the Trust as owners, at the Council's behest, as part of the Environmental Clean-Up Programme in the Ewood area - nothing to do with "Theatre"!
Dispirited, over the next couple of years several of the original Directors left the Company. Eventually, having taken much personal animosity from the very people whose agent had encouraged uptake of the enterprise in the first instance, Peter Worden resigned as Chairman in 1982; he was succeeded by Miss Constance Kay, the former Vice-Chair.
The foundation Board left, as its legacy, fully worker-out and costed plans to create a theatre with a single-rake auditorium, retaining the existing balcony sideslips, which would have accommodated approximately 470 comfortably spaced seats. The original, highly decorative, proscenium arch had been carefully dismantled, and would have been re-erected, to join up with the sideslips, to reveal a new stage, 23 feet deep and 30 feet wide, with dressing rooms in a dug out cellar below, and to the side of the building. A new foyer was to have been created in the former rear stalls, and a bar was planned for the space upstairs beneath the auditorium rake.
Now after the passage of twenty years, the Borough Council no longer looks upon the Empire as a rival. As was always emphasised way back in 1979/1980, it will provide a facility complementary to the Borough's own civic entertainment provision. Let us hope that the soon to be re-named Thwaites Theatre will be successful, and a credit to the indomitable perseverance which finally achieves its opening!
Editor's Postscript
To add a little on the very recent years at the Empire, it was briefly renamed 'Red Brick Theatre' and subsequently, following a large injection of cash by Daniel Thwaites brewery, as 'Thwaites Theatre'. It opened for its first performance in October 2004 with its name finally settled as Thwaites Empire Theatre.
Additional fund raising has permitted the construction and opening of a new Balcony (affectionately known as 'the Rogues Gallery'). The first contribution to this was made by Ken Dodd from his taxed income? The balcony was opened to the public at the end of 2005 substantially increasing its seating capacity.
Sources
Taped interview with 'young' Harry Duckworth on 5th November 1981, when aged 81 he was living with Jack Duckworth, his son, who then resided at, and ran, the off-licence at the corner of Granville Road and Harcourt Road. 'Phone call 24th January 1982.
Mrs. Marjorie Brothers, widow of John Brothers (the man who met Charlie Chaplin in the White Bull in November 1931 (see Northern Daily Telegraph 17th November). 'Phone January 1982.
Mrs. Freda Wilcox, Librarian at Lancashire Evening Telegraph. January 1982.
Blackburn Local History Society: Newsletter 35, September 1997 (Report on visit to Mill Hill led by Christine Moore in August 1997.)
And my own files on our activities between February 1978 and my 'departure' in the Summer of 1982. There is much more that could be recounted about the early fund raising with the firm of Richard Maurice, and by Mary Paul; and of the support we received from our patrons...but enough, is enough, for the present.
see also
Transcribed by Shazia Kasim
Article from Blackburn Local History Society Journal 6 2006-2007. Pages 21-25
Published August 2024
The story of John Jenkinson has never been told. He was a true pioneer who, like so many others in this industry in its early days, found himself involved by accident. His son Stanley - who was eventually to run a firm of Chartered Surveyors in Preston, and who built the wartime ASTRA cinema for the RAF at Warton (Freckleton)- was my father's best friend and was godfather to my two sisters. Stanley died in the middle 1980s; his elder brother - whose narrative forms the greater part of this piece - died in the early 1990's; and their younger sister Joanne continued to live in St. Annes until her death in 2000.
"Johnny Jenks" was born on 5th September 1882, the son of Christopher Jenkinson, the Sales Manager for Wades, Manufacturing Chemists whose offices were in Blackburn Boulevard alongside the Adelphi Hotel. On leaving school he started work at Daisyfield Co-operative and became manager at an early age. In those days he lived in Higher Audley Street, Blackburn, having married Mary Culshaw of Culshaw Street. Two boys, Hubert and Stanley were born to them while they lived in Blackburn. By around 1912- when he was aged 30- he achieved a "divi" of 5/-in the £. He asked for a "rise", was refused, so left and bought a grocer's shop at 5 Copy Nook which was later exchanged with the National Provincial Bank at 29 Copy Nook. Another similar business was purchased at 123 Penny Street. When his father died in the 'Flu epidemic of 1914 he also took over as Sales Manager at Wades, as well as running two groceries. Two more grocery businesses in Darwen were soon added, as well as the Queen's Park Cafe (at 7 Queen's Road) in Blackburn. Then came a major expansion in the purchase of the Borough Bakery in Burnley.
John Jenkinson
Soon a planned move to a house in Clarendon Road, St. Annes-on-Sea followed (for the benefit of the health of his elder son Hubert), coupled with the taking over of the Model Bakery in Clifton Street, St. Annes. This bakery was worked up by his wife, Mary, and her brother; John Jenkinson travelled by train to Burnley each day to manage the Burnley one (to which he added yet another at Clayton-le-Moors). The retail businesses, meanwhile, were all managed. By 1923 the family had moved to The Warren, 95 St. Annes Road East, and here their daughter Joanne was born.
At this point we can join the narrative of his elder son, Hubert Jenkinson: - "The year 1923 saw our family's advent into the cinema world.
My father was travelling each day from St. Annes to Burnley to supervise and control Borough Bakeries. On one of his journeys he met a Mr. J. Bradley, who owned two cinemas, namely the Central Hall, Blackburn and the Albert Hall, Darwen. Bradley [who had a predilection for gambling on horse-racing PW] had an immediate need for finance, and submitted a deal to my father, and impressed on him the urgency. The result was that father purchased the cinemas.
The bakeries were doing well at that time and everything appeared to be progressing favourably. The odd weekend break had been taken and there was even talk of holidays being arranged. Father was reluctant to disclose the purchase of the cinemas to mother, but did mention the matter to me. He stated that the purchase would prove to be a good proposition, although a lot of work in reorganising and subsequent refurbishing would be necessary. Mother was eventually told and given details of plans regarding future trading. Her reaction was not too favourable, but the cinemas were now our property.
Uncle Chris would be called upon to supervise the Borough Bakeries, assisted by Uncle Gus, to relieve father to concentrate on organising the cinemas. The Albert Hall, Darwen was leased to father's friend Bert Sharrock without any refurbishment or alterations being carried out.The Central Hall cinema was to be the main interest. The family had a conducted tour of the Central during our half term holiday. Our first impression was not too favourable. It appeared to be very dark and dingy and the picture projected was only fair when compared to the Palace, Blackpool. There was a seven-piece orchestra in the pit; this was in keeping with the general atmosphere of the place. Apparently the cinema had been a circus originally and had been adapted to a cinema when the silent films were becoming more popular.
During the first few weeks business was reasonably good but father could not delay implementing his plan of campaign and all hands were called upon during the weekends to clean the place thoroughly. My uncles, staff from the bakeries, relatives, friends, in fact anyone who could use a brush, mop, duster or tools for reseating and securing any loose ends: all were recruited. The cleaning up proceeded non-stop every weekend for five or six weeks until father was satisfied with the improvement. The original staff were called together and given new terms of employment. Any who did not approve were paid off and new staff recruited. I think there were only two who chose to leave.
The projection room was completely overhauled and new projectors installed. Harold Eccles was appointed the chief projectionist with two assistants. Father arranged for Harold to inspect the projection room at the Palace, Blackpool, which was recognised as being one of the most up-to date in the country. This proved to be a valuable move, as it inspired Harold to emulate the procedure adopted at the Palace and gave him personal satisfaction.
Father's philosophy was that it did not matter what business you controlled: if it was bought at the right price and gave quality and personal satisfaction, you could not fail. This procedure was followed at the Central. The best films were hired followed by selective advertising in the local press and periodically character displays in costumes; for example, a Sheikh on horseback parading round the town centre. This type of advertising had not been done before and the public responded very favourably. It was not long before the Central became known as a cinema in town, which had the best entertainment and most comfortable seating. The staff were rewarded for their efforts by additional cash bonus and other benefits. It was evident that the other cinemas in town were feeling the pinch.
John Jenkinson in Doorway on Mill Lane
The decision was made to increase the accommodation, but this would necessitate rebuilding. Plans were drawn and submitted to increase seating capacity to 1,500 by including a balcony. These were approved and building started in 1925. [The adjoining office block - Mill Lane Chambers- was purchased to be incorporated as the new box office and foyer. PW]. Progress was slow, so my father became clerk of works and personally supervised the construction work, installing flood lights at night to minimise any delay: the building had to be completed by a given date.
Work proceeded without interruption and everyone made a great effort to ensure the completion date was met. Traffic was stopped at a weekend to enable the installation of the main beam to support the balcony. This was the biggest beam to be intalled in any project in the town. Special lifting facilities had to be arranged and the beam manhandled by guy ropes to negotiate placing on the piers. Fortunately, everything worked perfectly and the beam was in position after five hours concerted effort. Once the main beam had been settled, the smaller auxiliary beams were installed without any problems. The main brickwork had been completed and the roof trusses were positioned in readiness for the roofing contractors. The roof was completed in record time and the internal trades followed according to plan. The local press was in evidence daily, recording progress and reporting in the local Northern Daily Telegraph. This proved to be a good advert and caused considerable public interest.
The new interior, including the ceiling, was finished in a new metal cladding. This was a new innovation, which proved to be quite a success. Consideration had been given to this installation for acoustic reasons, for although the Talkies had not yet become established, experiments were proceeding in America, and it was obvious that within a short period sufficient progress would be made to ensure popular interest.
The opening of the cinema was brought forward due to the exceptional progress. The film booked for the opening was The Sign of The Cross. This was a first release outside London and had received marvellous reports. All the town dignitaries were invited to the opening, including all the clergy from every denomination. There were to be three shows each day: matinee and two evening shows. The response was fantastic. The police had to be called to control the crowds. Every show, including matinees, was full to capacity. The film was booked for two weeks but the interest was such that an additional week had to be booked. Glowing reports on the decor and internal furnishings and the quality of the picture were circulated far and wide and considerable interest was shown by other cinema managements, who sent representatives to inspect.
My father continued his policy of quality and personal service and booked "first release" films as a priority. The orchestra had been re-organised and additional instrumentalists employed; no section of staff had to be under par. Business continued to progress and it soon became evident that the policy adopted was proving successful once again.
Within months of the opening of the New Central Hall, the directors of the Exchange Cinema decided to convert their cinema into a Super Cinema. The external structure, which was stone, would be retained but the interior would be completely reconstructed to seat 2,000. Plans were drawn up and passed and work commenced.
We still had our family connections with the confectionary trade, and one of these confectionary shops and cafes was located at 66 King William Street, across from the Exchange Cinema. The shop was trading under the name Iredales, and was managed in conjunction with one in Accrington by Mrs. Iredale, one of the original founders of the business. My father had his lunch at the cafe each day, where a number of the local Bank Managers and Solicitors were also daily customers.
Naturally, the progress of rebuilding the Exchange was a daily topic of interest and conversation at lunch times, particularly as father had recently proved such a success in the New Central Hall venture. A number of the Exchange directors indicated, over lunch, that the success of the New Central Hall would be seriously affected once the Exchange was opened after reconstruction. An all-out effort would be made to establish the Exchange as the Super Cinema of the County.
Unfortunately, the finances for the reconstruction of the Exchange proved to be inadequate to complete the project; with the conversion only half achieved, work came to a standstill. Additional finance had to be found immediately to ensure continuity. Father was approached, and negotiations with the directors resulted in him taking over as Managing Director of an enlarged group. The New Central Hall became part of the group, which also comprised the Majestic (renamed from Exchange on completion of rebuilding), the Olympia, the Regent (later to be called Roxy) and the Palladium at Mill Hill.
Father considered the plan for the rebuilding of the Exchange Cinema had been too extravagant and uneconomic. Immediately on taking over the management, he proceeded with alterations to increase the revenue. His first project was to partition the Town Hall Street entrance hall to include reception and offices. This hall was let to Whalley Brothers for use as a car showroom. An additional passage was constructed adjoining the showroom, for patrons to the centre and front stalls. An out -building was converted to house a diesel generator, with a backup auxiliary, to provide lighting for the whole of the cinema complex. The main town electricity supply was only used in an emergency. The basement of the cinema was converted into a confectionary shop, also under the supervision of Miss Williams. The main foyer was partitioned and became "The Palm Court" where afternoon teas were served during the day and coffee etc, in the evenings. A store room was equipped with a desk, chairs and filing cabinet, for the use of my uncle and myself as an office in which to maintain the accounts and financial records. The Tower room over the main entrance was let to the Chess Club.
The Olympia cinema was maintained in its original condition, apart from repainting and the installation of new projection equipment. The orchestra was re-organised and increased in instrumentalists. The management was well established under Geo. Rawcliffe. The accommodation appealed to certain elements of the public, as there were individual boxes all round the ground floor, with seats for four people; these boxes were elevated from the front and centre stalls and provided an excellent view of the screen. There was a good cafe at the rear of the screen with a separate entrance from Mincing Lane. [Mill Lane PW]. The cafe was refurbished completely, including new kitchen equipment. The cafe proved to be a well-known venue for the younger element, even if they were not attending the cinema.
The Regent and the Palladium were not structurally altered, but were re-equipped with modern projection equipment and renovated and painted prior to the installation of Talkies systems.
In the late 20's the New Prince's Theatre was also taken into the Group, and renamed the Grand [John Jenkinson's younger son Stanley claimed that the name Grand had been his idea, suggested by the theatre of similar name at Blackpool PW] This was acquired from the Price family, who had owned the theatre for many years. This theatre was refurbished immediately after acquisition, in accordance with father's policy. The theatre continued with live shows, including repertory companies. The first show at the Grand to mark the re-opening after refurbishment was the "Dollar Princess", with full symphony orchestra. This was a huge success with full houses. Banks of fresh flowers were placed on the stage and adjoining boxes, and in the theatre foyer. It was like a special opening night attended by Royalty.
The Imperial Cinema, Preston and the Hippodrome, Leyland were acquired at a later date but these were personal acquisitions and not part of the group. The management of the Imperial, Preston was entrusted to the previous owner's wife, a Mrs. Clarkson. This acquisition proved to be very unsatisfactory, due to the inability to supervise the running of the cinema adequately. After a period of about two years this cinema was sold. The Hippodrome, Leyland was managed by my aunt Eleanor but again, although a number of live shows were introduced, business proved unsatisfactory and this was also disposed of.
My father concentrated on the management of the group and based his office at the New Central Hall, visiting the other cinemas each day to ensure everything was being done according to plan. Directors met each Monday evening at the Olympia. [There was ample dressing-room accommodation behind stage at the Olympia; so this was used as the film storage and distribution base for the group prior to the development of Snig Brook [of which, more later. PW]
The advent of the Talkies had now been established in the provinces with Al Jolson's film 'The Singing Fool'. This was first shown at the Hippodrome, Blackpool, and although many thought the Talkies would be a passing novelty, this proved to be a fallacy; the Talkies were the entertainment of the future. Wherever a talking picture was shown the crowds flocked to see it. More and more cinemas were being converted to show talking pictures, by public demand. The installation of the special equipment to show talking pictures was a costly business and the film companies had a monopoly and could dictate which system had to be installed to show their films. The Western Electric system was recognised by the film makers as the best in the business and was the only system acceptable to the main distributors. The Western Electric Company would only lease its system, and one of the conditions was for an additional percentage of the takings.
The directors of the group had no option but to proceed with the installation of sound-on-film 'talking' equipment, and the first cinema to be considered was the Majestic, which was already equipped with a now obsolete A.W.H disc synchroniser, [made by the firm A.W. Harris whose manufacturing premises were next to the canal warehouse at Church, near Accrington. He was well known for wearing a frockcoat and top hat, and for thus personally supervising installations. PW]. The Western Electric engineers descended one Monday morning to undertake a survey and submit an estimate of the cost of preparatory installation of acoustic materials etc. The survey lasted almost a fortnight, and the cost and conditions were very expensive but as future business depended on the talking pictures, something had to be done- and quickly.
The general depression of the cotton trade was seriously affecting the economic structure of the town and county. Money was becoming more and more difficult to obtain. The present situation was deteriorating; and to face additional expense, by being called upon to invest in expensive equipment, was indeed a burden. An alternative system should be considered. The B.T.H system was eventually installed at a considerable saving over the Western Electric. More films were being produced and continuity of programmes could be ensured. The only problem was the film rental people who insisted on high lease charges, and a percentage of the takings. Profits were very lean, compared to the old days of the silent films. The reason given - for the percentage charges and additional costs, was the very expensive cost of making the films. It was evident that all the cinemas in the group would have to be converted to talkies in the immediate future.
The next theatre to be converted was the Grand. Here, also, the system of sound at the time was by record synchronised to the film. There was a turntable, connected by Bowden cable to the projector, which had to be carefully synchronised with the film. There was panic when the film broke and had to be re-spliced. In the past you could omit a number of frames, but this was a different proposition as the sound on the record could not be omitted and therefore careful attention had to be given to splicing. It was common to have the film showing on screen with the talking or singing out of synchrony. Although this was in many cases avoidable by careful attention during the rewinding of the films, after many uses the films deteriorated and had to be carefully re-synchronised before each showing.
The system installed in the Grand was again the B.T.H after trying a number of less well-known systems, which had proved unsuitable. The Grand opened as a temporary cinema in 1930 with the film Broadway Melody, which proved a huge success. The acoustics at the Grand were superior to the Majestic, the reason being that it was a theatre and had been built with acoustics in mind. Live shows were still staged at the Grand from time to time, interspersed with good films.
The general trend at this period appeared to be the opening by the film companies of Super Cinemas controlled by themselves, to the detriment of the private managements. The Super Cinemas had priority on the films to be shown and could dictate the terms of hire to the trade, with the result that the private cinemas were relegated to secondary status. A new cinema had been erected in Penny Street, Blackburn, known as the Rialto, by a consortium of film producers. [Not strictly accurate. The Rialto was built by a Mr, Bryning of Edwards and Bryning, printers of Rochdale, who already owned the Rialto Cinema in Rochdale. He was financed by a Manchester Jewish car dealership family, related to Oscar Deutch, who eventually took over the ownership and changed the name to Odeon. PW]. This did not unduly affect the trade in general, but this competition together with the deteriorating economy proved the start of the decline of the group.
The recession in industry generally, but particularly in the cotton industry, which was the mainstay of the people of East Lancashire, was seriously curtailing cash flow, and finance for additional expansion was difficult to obtain. Most directors and executives had their money tied up in the mills, where continual calls were being made for additional financial support to avoid closure.
Trouble in India due to Gandhi's efforts against so-called Capitalism, was causing considerable loss of trade for the mills serving this area. The run down of the trade necessitated the closure of many spinning sections to reduce costs, in order to try to continue production in the weaving sections. Competition was very keen and mills were being run, in many cases, at cost or at a loss, in the hope that conditions would improve. Unemployment was increasing weekly and very few new industries were being introduced to absorb the surplus labour from the mills.
Money was becoming restricted and all leisure activities were affected accordingly, including the cinemas and theatres. Increased costs due to the advent of the Talkies and the necessity to equip cinemas with suitable machinery to show these films were proving a serious burden in the Directorate. The Banks were over-committed with the cotton industry and were reluctant to advance further sums for the development of the new entertainment.
One can imagine the depression at the Board meetings when urgent finance facilities were the main topic. A possible sell-out of the group, or merger, may have been discussed, but the time was not opportune due to the general depression throughout the country. I am not conversant with what finally occurred, but my father left the Directorate in late 1933.
John Jenkinson with Sir Harry Lauder at the opening of the Wilpshire Chocolate Works in July 1926
The Directors of the Group were: -
John Jenkinson Managing Director
John L. Redmayne of Redmayne and Isherwood
John Wilding Solicitor of Richmond Terrace
William Mellor of Mellor Brothers, Gents Outfitters, King William Street, who also owned Cash & Co (Hatters) of King William Street.
Managers and Projectionists of the Cinemas were: -
Manager Projectionist
Central Hall J. Jenkinson H. Eccles
Olympia G. Rawcliffe J. Goldsmith
Palladium E. Haworth ?
Regent J. Jenkinson ?
Grand J. Jenkinson H. Eccles
Majestic J. Jenkinson T. Wildeman
As a consequence of becoming heavily involved in the cinema life of Blackburn during the latter half of the 1920s and early 1930s, John Jenkinson and his family had moved from St. Annes to the Pines (now the Hotel) at Clayton Green, near Chorley, in November 1928. But Blackpool had been established, and after the break with the Blackburn cinemas, he moved back to St. Annes, buying a house at 67 Clifton Drive South (now renumbered 275), near Kings Road and the College of Further Education. [The truth is that the Blackburn Cinemas including the Grand Theatre went into liquidation circa 1934 and they were forced out of the Pines. PW].
By this time he had already become involved (since about 1929) in the management of the South Pier and the Royal Pavilion; had become the owner of the Palace Cinema, Fleetwood (which served as a refuge for families forced out of their homes in the Fleetwood Flood, he had also provided food from his bakeries); and along with Frank Burton (of Burton's Biscuits), in the Savoy Cafe on the promenade (between what is now Lewis's store and Talbot Square). He also had a slight interest in Jenkinson's cafe in Talbot Square, which was owned by relatives.
But his main activity, after leaving Blackburn, centred on running Parkinson's Biscuit Bakery at Preston, which he acquired after the split. Additionally, having inherited a villa with four acres of land at Penwortham, he decided to develop this site, but this enterprise was not a success, and he lost money on it.
Indeed, he was a man of many parts! Tragically, for the world has need of such burning spirits, he died of diabetes in 1938 at the relatively early age of 55.
Two final anecdotes from his son Hubert are worth recording: -
"When the Grand Theatre was under the management of John Jenkinson, the Safety Curtain carried at its centre the Blackburn Coat-of-Arms, flanked on one side by "Worden for Watches" and on the other by "Charles for Chocolates". Two of the best friends of his sons Hubert and Stan were Albert Worden, jeweller (my father), and Bob Charles, confectioner, who had adjoining business in a single storey 'infill' building at 21 and 23 Lord Street on the site of the former Smith's Salesroom, at which it is said, the fist-ever film shows in Blackburn had been given during the Easter fair of 1896.
Hubert 'Jenks' also told that he clearly remembered George Formby Junior sitting on a wooded crate in the projection room at the New Central - while his father was on stage at the nearby Palace, attempting to show the projectionist, Harold Eccles, and himself how to play the ukelele!"
JJ sStanding on Stage Behind Singing Group in aFrame Still from the Film "Happy Days at Blackpool"
Made by Parkstone Films in 1926
JJ on Left Talking to a Woman in a Boat at the
Pleasure Beach. Another Still from the same Film
Postscript
Snig Brook Brewery was acquired in 1927 and converted into industrial units. The first unit was let to Whalley Brothers for car workshops and maintenance. A further unit was let to a haulage company as a distribution base. The Peoples' Dispensary for Sick Animals occupied a further unit. A small film unit was established in the central unit with the object of making cartoon films. This unit was managed by Dave Aylott who was a good cartoonist and produced a number of single-reel films. A more ambitious film, "The Charge of the Light Brigade" was on the drawing board but was never completed. A poster and stills unit was also attached to the studio. This was the main source of income, distributing film posters and stills throughout the region, and also doing commercial advertising via poster display.
A base was established at Snig Brook for the collection and distribution of films to cinemas throughout the county. This originated, due to a train strike, when alternative arrangements had to be made for collection of films. Hubert Jenkinson's car, a Studebaker, was commandeered for the initial collection from the distributors in Manchester and remained permanently as a distribution vehicle. Additional vans were subsequently employed as the need arose. A sheet metal company also established its business at Snig Brook. The whole of the conversion was not completed, but additional facilities could have been made available had the demand warranted it.
The Parkstone Film Co., Lytham had been formed by Capt. T. H. Parkhouse and Mr. C. P. Stone in the early 1920s to produce full length films. The studio buildings had been erected during the First World War as a seaplane base complete with slipways to the Ribble estuary. They were ideal for use as film studios, having adequate space to erect a number of sets, so enabling films to be produced with the minimum of dismantling and re-erection.
A number of films were produced, but the returns proved inadequate for the production outlay. Lack of finance again proved to be the burden, and John Jenkinson was approached by Stone. He conducted a survey and decided that the production of full-length films would be too costly, but the facilities could be used for the making of local topical films. He arranged for the necessary finance and took a personal interest in the company, embarking immediately on the production of films depicting local events of interest. (A two-reeler, which survives, in my own archive collection is "Happy Days at Blackpool" filmed in 1926. In this film, Jenkinson is seen organising the departure of the water-cave boats at the Pleasure Beach!)
Filming was not confined to one area but covered the whole county. Once the interest had been established business progressed favourably. The senior cameraman was J. Ramsden. Originally he worked on a part time basis but progress was fairly rapid and he became fully employed with a full supporting staff. Advertising was introduced to local manufacturers and distributors. This proved of great interest and was probably the origin of modern-day film advertising.
Everything appeared to be progressing favourably until the advent of the Talkies; the advertisers were now demanding sound. Business deteriorated and eventually the studios closed. J. Ramsden returned to the family business in Blackpool but was on call at any time should his services be required. The studios were eventually sold to Cooksons of Preston for use as a bakery. Hubert Jenkinson was of the opinion that, after to closure of Parkstone Films of Lytham, John Jenkinson became involved together with L. Stone in forming Bushey Films with studios at Bushey in Hertfordshire; additionally, Hubert stated that his father had had some interest in the Leicester Square Theatre, London, with John Buchanan.
Transcribed by Shazia Kasim.
Article published in Blackburn Local History Society Journal 6, 2006-2007. Pages 37-44.
Published June 2025
