Daily worker and Communist party archvies

Another place I will need to visit http://www.phm.org.uk/archive-study-centre/online-catalogue/

They don't have their collection online just through access to archives but they hold the editorial board minutes for Daily Worker, so I'd be able to tell how involved Bea was. As well as the Communist Party of Great Britain archives, which would be very useful. Though I think I need to figure out some dates from letters first.

Democracy Defended

 Democracy Defended is a pamphlet that equity had to vote on that was issued by the TUC.  This pamphlet was basically responsible for outlining the new Trade Union policy that Communists would not be allowed to hold positions in the unions. It was pretty much the end of Bea's political activism. It was incredibly sad I think that the unions turned on them, as the entire reason Bea became involved in the Unions in the first place was because of her communist beliefs in wanting to have the workers (or actors) govern themselves and have the working classes be treated more equably. I found a copy of the pamphlet at the British library, what it seemed to come down to was the Communists didn't want the Marshall Plan and the help of America as they didn't believe this would help the economy or the working classes, and the Trade Union Congress was in favour. 

The pamphlet is full of propaganda and inflammatory statements. Oddly though even when it quotes the Communists, to show how wrong they are, it still seems like they are trying to help the working classes.

The pamphlet contains, "Two statements by the General Council of the Trade Unions Congress, both deal the Communist menace to British Trade Union Democracy."

The first  was "issued October 27, 1948 warning to the Trade union movement to be on its guard against Communist attempt to use Cominform tactics to override the democratically determined policy of the movement and to wreck Britain’s prospects of economic recovery.  The second, issued on November 24^th 1948 (look up both these dates in the Daily worker) exposes these attempts in greater detail."

"A wide range of policy was determined at Congress in September last. The Communist Party have now openly declared their intention to undermine, and if possible, make ineffective those democratically determined policies" (check what their response was, though later it seems like its the US assistance they object to).

"The Trade Union movement has always been tolerant to minority viewpoints formulated and fought for inside the movement (their emphasis), but in the light of the renewed open challenge of the Communist Party the decision has been taken by the GC of TUC that the democratic basis, function and practice of our movement must be defended against this outside interference…"

Warning to trade unionists

Statement issued by the General Council of the TUC on October 27, 1948

The attitude of the British Communists is in full conformity with that of the Communist organisations in other countries, notably in France. The industrial conflict now raging there clearly demonstrates the outcome of this policy.

(their bold. In other words because France’s situation isn’t working the commies are wrong. Not that England’s financial situation was any better and the problems in France could have been cause by, oh say the war!)

Decisions made by the body calling itself the Cominform, set up in autumn 1947 (again check the daily worker on these details)

The communist parties oppose the Marshall plan.

To bring about stoppages in industry

“It is clear that the communist Parties are doing their utmost to wreck the entire recovery efforts of Britain and of the European countries which have accepted the offer of American co-operation and financial aid. (Or they just don’t like US taking advantage)

“malignant character of communist agitation and organisation, They urge the Executives of all affiliated unions, their District and Branch Committees, and responsible officers and loyal members to counteract every manifestation of communist influences within their unions; and to open the eyes of all work people to the dangerous subversive activities…”a later paragraph refers to their “evil machinations”

Communist activities examined issued Nov 24 1948

 How communists intrigue. (!)

“Craftily planned” “The successful working of these arrangements is secured only by the co-operation of individual trade unionists, not a few whom hold official positions in their unions" (like Bea)

The Communists in Britain

The Communist party of GB in August 1947 published a booklet entitled Looking ahead (check for this in daily worker and at BL) Dealing with the need for increased production.

“In short the communists have declared that not only will the recommend their supporters to reject the decision democratically reached at Congress, but that Communist Party members intend to do everything in their power to undermine those policies and create disaffection among the loyal membership by subversive tactics within the various unions affiliated to Congress.”

(Communist journal – world news and views – check for at BL)

“falsely stigmatised as people who have thrown aside trade union principles”

“Mr Palme Dutt, member of the Political Committee of the Communist Party… asserted that the overwhelming majority of delegates stood for, “the sanctity of profits, the foregoing of wage demands, co-operation with the master class, war on militant trade unionists, disruption of international unity and dependence on the American Colossus of Big Business” (which I think he’s probably right about.)

“The Communist Party’s General Secretary has also declared that the decisions of the Margate Congress will bring increase misery and poverty to millions of British working people”.

"It is a matter for consideration by the unions whether it is consistent with the obligations of loyalty to the policy of the union and to the Movement as a whole that any member should serve on these Communist Party industrial sub-committess or on the national committees of the Communist Party whilst holding executive or delegate office in the union".

This is the bit that was particularly relevant to Bea. The pamphlet let it sound like these people had no interest or experience in their profession, but were just their to cause trouble, subvert the good Americans, and should be gotten rid of because of their “evil” influence.

"When Trades Councils were again permitted in 1943 to accept delegates from TU branches who were members of Communist and Fascist organisations, it was in the nature of an experiment… "

This is interesting as it points out that within a year of being allowed to join the union in the first place Bea became president, which I think goes to show her unprecedented popularity, despite being a communist, and the sympathetic leanings of the general actors in Equity. Indeed when the vote came to get rid of any actors who had communist sympathies from positions the motion was not carried by Equity members in contradiction of what was recommended by the TUC.

So the upshot of this is that in just over a year of being allowed to join the Union, she became the first woman president, was president 3 years, then served on both committees, then was kicked out for being a communist and all reports of her political activism and writing disappeared. Personally I think this is a great tragedy, and am looking forward to finding some letters that will go into why this happened and her own thoughts on the matter.  It seems that from this point on she threw herself just into her acting, but I would like to find out what else is going on as presumably those thoughts had to then take action elsewhere, unless she was so disillusioned she thought any action at all would be pointless. However, the impression I have of her later is that she didn't seem that bitter.

Bibliography

History Books read
Aldgate, Anthony and James Crighton Robertson (2005) Censorship in Theatre and Cinema
American Heritage Dictionary, (2005) Riverside Dictionary of Biography
Baker, William (2008) Harold Pinter
Bartholomeusz, Dennis (1978) Macbeth and the players
Billington, Michael (2007) Harold Pinter
Billington, Michael (2009) Stage of the nation: British Theatre since 1945
Birkett, Jennifer (2009) Margaret Storm Jameson : A Life
Carpenter, Humphrey (2014) W. H. Auden : a biography
Croft, Andy (2003) Comrade heart a life of Randall Swingler
Elsom, John (1981) Post-War British Theatre Criticism
Field, Geoffrey G (2013) Blood Sweat and Toil: Remaking the British working class 1939-1945
Gay, Penny (1994) As she likes it Shakespeare’s unruly women
Greig, Cicely (1972) Ivy Compton-Burnett: a memoir
Hastings, Selina (2002) Rosamond Lehmann
Ibsen, Henrik (2014) Plays 1 Ghosts, the wild duck, the master builder by Henrik Ibsen Pub A&C Black From introduction to the Master Builder by Michael Meyer
Jansem, Irene (1992) Berthold Viertel: Leben und künstlerische Arbeit im Exil
Jongh, Nicholas (1992) Not in front of the audience: Homosexuality on stage
Kabatchnik, Amnon (2011) Blood on the Stage, 1950-1975: Milestone Plays of Crime, Mystery, and Detection
Kolin, Philip C. (1998) Tennessee Williams: A Guide to Research and Performance
Kynaston, David (2013) Modernity Britain
Kustow, Michael (2005) Peter Brook: A Biography
Leggatt, Alexander (2001) The Cambridge Companion to Shakespearean Comedy
Lehmann, John (1987) Christopher Isherwood: a personal memoir
Mahon, John W. and Macleod Mahon, Ellen (2006) The Merchant of Venice: Critical Essays
Marshall, Norman (1948) The other theatre
Murray, Christopher (2004) Seán O'Casey, Writer at Work: a biography
Parker, Peter (2005) Isherwood
Pearson, John (2011) Facades: Edith, Osbert, and Sacheverell Sitwell
Pizzichini, Lilian (2009) The Blue Hour: A Portrait of Jean Rhys (Bloomsbury Lives of Women)
Poole, Roger (1995) England’s only existential philosopher. In Powers of Being: David Holbrook and His Work edited by Edwin Webb
Shafer, Stephen (1997) British Popular Films 1929-1939: The Cinema of Reassurance
Shearer, Stephen (2006) Patricia Neal an unquiet life
Shellard, Dominic (2000) British Theatre since the war
Smith, James (2012) British writers and MI5 surveillance 1930-1960
Tindall, Gillian (1986) Rosamond Lehmann: an appreciation
Trewin, Wendy and Trewin John C. (1986) The Arts Theatre, London 1927-1981
Wearing, J. P. (2014) The London stage, 1920-1929 : a calendar of productions, performers, and personnel (2nd ed)
Wearing, J. P. (2014) The London stage 1930-1939 : a calendar of productions, performers, and personnel (2nd ed)
Wearing, J. P. (2014) The London Stage 1940-1949: A Calendar of Productions, Performers, and Personnel (2nd ed)
Williams, Harcourt (1949) The Old Vic Saga
Wild, Oscar (1995) The Importance of Being Earnest and Other Plays: Lady Windermere's Fan ...
Wyllie, Andrew (2000) Sex on stage: gender and sexuality in post-war British theatre.


Stage plays read
Anouilh, Jean, Hill, Lucienne (Translation) (1953) The waltz of the Toreadors
Catto, Max (1939) The walk alone
Dane, Clemance, (1937) Wild Decembers a ply in three acts
Job, Thomas (1942) Uncle Harry a play in three acts
Nichols, Robert and Tully, Jim (1927) Twenty below: being a drama of the road.
O'Neill, Eugene (1932) Mourning becomes Electra: A trilogy
O'Neill, Eugene (1972) All God's Chillun Got Wings and Desire under the Elms
Pinter, Harold (1976) Pinter plays one (The Birthday party)
Priestly, J. B. (1934) Eden End
Rowley, William, Dekker, Thomas and Ford, John (1999) The witch of Edmonton
Somin, W.O. Lennox, Gilbert (adapted) (1935) Close quarters: a play
Williams, Tennessee (1959) Garden District: two plays

Novels read
Arlen, Michael (1924) The Green hat
Lehmann, Beatrix (1932) But wisdom lingers
Lehmann, Beatrix (1934) Rumour of heaven
Lehmann, Rosamond (1929) Dusty answer
Lehmann, Rosamond (1953) The echoing Grove

Short stories read
Lehmann, Beatrix Johnny Jones, The Magpie December 1923
Lehmann, Beatrix Paid in Full, The Sketch Mar 26 1924
Lehmann, Beatrix London gardens The Sketch June 17 1925
Lehmann, Beatrix Departures The Sketch Jul 1 1925
Lehmann, Beatrix The Isles of Greece The Sketch Christmas (Nov) 1927
Lehmann, Beatrix The two thousand pound raspberry, New Writing no. 5 Spring 1938
Lehmann, Beatrix The Dog Act, Lilliput Nov 1938
Lehmann, Beatrix All one happy family, Our Time Feb 1941

Articles read
Eyland, George Trade unions in wartime Youth review Number 8 1940
Huxley, Aldous Propaganda in war time Youth review Number 8 1940
Lehmann, Beatrix The Life of an Actress, (ar) Lilliput Jul 1939
Lehmann, Beatrix Christmas in Germany Liliput Jan 1942
Lehmann, Beatrix Blackout in the Theatre Youth review Number 8 1940
Lehmann, Beatrix Top Dogs, Our time May 1941
Lehamnn, Beatrix Christmas in Germany, Liliput Jan 1942
Marshall , Herbert Towards a new people's theatre Youth review Number 8 1940
Noble, George Propaganda in the cinema Youth review Number 8 1940
O’Casey, Sean A National Theatre when? Youth review Number 8 1940
Woddis, Roger The role of the Unity theatre today Youth review Number 8 1940

Pamphlets
The People's Convention (1941) The people Speak, The People's Convention official report.
Defend Democracy (1948) Trades Union Congress 

Newspapers and periodicals
Aberdeen Journal
Bath Chronicle and Weekly Gazette
Bedfordshire Times and Independent
Bucks Herald
Burnley Express
Cheltenham Chronicle
Church Times
Daily Mirror
Daily Express
Daily Worker
Derby Daily Telegraph
Derbyshire Times and Chesterfield Herald
Dundee Courier
Dundee Evening Telegraph
Edinburgh Evening News
Equity Letters
Exeter and Plymouth Gazette
Gloucestershire Echo
Gloucester Citizen
Hartlepool Mail
Hastings and St Leonards Observer
Hull Daily Mail
The Illustrated London News
Independent
Kent & Sussex Courier
Lancashire Evening Post
Leamington Spa Courier
Liliput
Lincolnshire Echo
Morpeth Herald
Motherwell Times
New Writing
Northampton Mercury
Nottingham Evening Post
North Devon Journal
Our time
Picture post
Portsmouth Evening News
Radio times
Sunday Express
Sunderland Daily Echo and Shipping Gazette
Sussex Agricultural Express
Tamworth Herald
Taunton Courier, and Western Advertiser
Theatre world
Times
Western Gazette
Western Morning News
Western Times
Whitstable Times and Herne Bay Herald
Yorkshire Evening Post
Yorkshire Post and Leeds Intelligencer
Youth review 

To look up:
Theatre Arts MAY 1936; Vol. XX, No. 5
Grantham Journal - Saturday 09 February 1935
Good housekeeping Feb 1935
The Book Review Digest, Volume 30 1935
Photo of Beatrix published in the Sketch 29 Dec 1937
Stratford scene (1946) [though must be 1947]
For Bea’s Shakespeare scenes 15 references no preview
The Stratford festival: a history of the Shakespeare Memorial Theatre 3 mentions
Drama: The Quarterly Theatre Review, (1947) for Shakesperare festival
The Illustrated London News, Volume 233, Issue 1; Volume 233, Issues 6213-6225 1958
Theatre World, Volume 54 (1958) for garden district review

The Human Voice (La Voix Humaine)

I first came across this play in Christopher Isherwood's book as he mentioned them coming back to London to see Beatrix performed it. She only did one production of it and it was produced by the man she'd been having an affair with (Bertold Viertel).

The play is definitely one that would rely on the voice of the actress and as such I think Beatrix would have been perfect for it. In the introduction the author says that the woman isn't particularly spectacular in any way, just ordinary and in love. It's quite nice that an ordinary woman is the focus. Even if it is just as a love object.

One of the things that strikes me the most about the play is how different the medium of telephone conversations is. They are constantly being disconnected, they have to go through the exchange, they have random people in on their conversation and have to fight off wrong numbers. Different in every way to phones today. In a way it reminded me of the people I see on skype in the coffee shops who are all, Hello, Hello, no I can't see you, hello, try again. It is very much that kind of conversation, which in a way kind of distracts from the human drama and in another way just adds to the frustration of the woman.

Over the course of her side of the conversation it becomes clear that her lover has broken it off with her, that he has found another woman (which she had seen in the papers), that she is sending him back his love letters. She also talks about the dog that she thinks he should take because it doesn't like her but prefers him. She initially pretends to be brave about it but then admits that she tried to kill herself the night before by taking too many sleeping pills, but then phoned her friend at the last minute as she didn't want to die alone.
It comes out she's going to marry the girl, and she promises that she won't attempt suicide again. Though it ends with the cord of the phone wrapped around her neck.

This translation also includes the French original which is very good. I know that this translation isn't considered as good as the later one, but as this is the one Beatrix performed it was this version I wanted to read. One of the things that surprised me the most about this play was that it wasn't just a big monologue (Nothing like the Whoppi Goldberg film the telephone). This was just one person actually having a conversation. There were as many pauses for her to listen to his words as there were parts where she was speaking.

Johnny Jones The Magpie December 1923

Yesterday at the BL I read Johnny Jones which is the earliest of Beatrix's short stories I've found so far. It was published in the December 1923 issue of the Magpie. The Magpie seemed like a really nice literary and art magazine, it was published on lovely gorgeous paper with ads for companies like Harvey Nicks, and beautiful full colour art pictures. The stories were by authors such as Aldous Huxley, Agatha Christie and (my favourite later Gothic writer) Marjorie Bowen. Pretty good company for a first story. The story itself was a simple fairly short love story, with a lot of smoking, and a twist at the end which destroyed the happy ending. Beatrix would have written it when she was 19 or 20.

The people speak - The People's Convention official report

The People's Convention was something I hadn't heard of till I started to do my research into Beatrix Lehmann. I came across it as she was one of the early supporters, and her and Michael Redgrave were banned from working at the BBC becuase of their support for the convention. This is the official report of the convention. It has copies of the main speeches outlying the points of the convention, points from the delegates speeches, as well as resloutions and elections to the national committee (which included electing Beatrix as one of only two women on a committee of 25).

The convention's main resoultions called for the raise of living standards for the people (including those in the armed services), adequate ARP bomb proof shelters and provision for air raid victims, resoration, safeguarding and extension of Trade Union rights, emergency powers to affect bansk, land and transport, National independence for India, Friendship with the USSR, A people's government to represent the working classes, a people's peace.

It was the anti-war emphasis that drew the most criticism of the convention from those outside it. The pamphlet strongly condemned the rich, and the government who served the rich, and called upon the working classes to rule themselves. One of the most moving parts were the testimonies of the different delegates. Often how much people suffered during the war is forgotten. There were thousands of miners who were out of work, while people had fuel shortages, there was a call from Coventary about how they were left without any aid, utlities or homes for weeks after they were attacked in the air raid, there was a call from a young woman representing the communist youth, it was little slices of history from the people who are usually forgotten or ignored in the grand scheme of things. Truly fascinating reading.

What was interesting from a Beatrix perspective was that she didn't come from a working class background but from a privildeged one (11 servants on the census!) But here she was counting herself amongst them as she was working for herself and representing those around her.

Hecuba a working for radio by David Rudkin

Broadcast at the BBC on 6th March 1977 6.15-9 pm (Two hours 45 minutes)
For this production Beatrix won the Imperial Tabacco Award for the best radio performance by an actress 1976. First broadcast 14 Dec 1975

Copy to listen to at the British Library - notes made while listening.

Parts 1 and 2 (first two hours)
More than a radio drama, this is mostly a series of monologues, there are a few discussions, but mostly each character takes turns giving speeches.

Begins with a monologue that's an introduction with discussion of the main characters, and the main events of the Trojan wars. There's a lot of background talking, (sounds like walkie talkies or people on radio communications, the stage version had everyone in WWI uniforms) I can't tell if it's intentional or not. I'm guessing it must be, but it is a bit distracting. Hecuba, in a woman's prison haunted by the ghost of her dead son (who is doing the talking)

"Queen that was, she thinks I am only a dream. Here she is now awake and stumbling...

Now gazes out through a slaves eyes. "

(Crying and wailing in the background)

Wonderful wonderful moving and frightening monologue, just powerful
Her throat sacrificially slashed... All dark powers I call upon, here Hecuba beg....

Princess Polyxena required to be sacrificed to still Hercules ghost.

Hecuba - another fabulous monologue then a talk with her daughter about her sacrifice "some news for a mother to break to a daughter..."

Hecuba pleading for her daughter's life to Uylesses.

Ulysesses Reponse

Polyxena talks in reposne to her death

Hecuba insists she be put to death too,

"Poor mother, these are the new masters of the earth you have to accept that... Queen Hecuba dragged in the dust ... that my last sight of you. Mother for my sake, NO. ... Put her hand into mine, her head lean quitely against my shoulder... For the last time ever, and your daughter speak to you her last words ever... Mother from whose womb I came into the light..."

King Agammenon's herald to take Hecuba with him to the tomb.
Hecuba is a bit mad with grief, "how did it feel dismantaling her? or were you men of valour performing an act of war? Tell me..."

The herald tells the story of her sacrifice, which was very good,

Hecuba responds, "but at least we can say that. Isn't it a wonder...or do we acquire it..." Talks of burying daughter. To deck her like a bride.

The chorus are really great. Here's hecuba now... oh lady of sorrows and now more ....
Ghost already of her dead self...

Drive a new knife in my heart surprise me...

Women have been responsible for slaughter before... and by sunset not one husband left alive...
Queen Hecuba that was requires an audience... Hecuba has something for his children too..

Pleading before the statue of the goddess... a queen of stone...

Arriving "Think back to Troy and where the temple of the goddess used to be..."
(Bribing of the men)

Judgement of Polynestra by the chorus

(First two tapes listened to)

Part 3 (last 45 minutes)
starts with a great massive scream and wailing from Bea
You have seen your sons for the last time...

We are not without compassion...

Polynestra is rather broken. Agamemon sees what has been done to him. Asks for the account of how the violence came to be done so he could judge if it was warranted.

I killed him and his mother found out and tricked me into coming here...

There can be no defence.. I've never heard anything so craven.  ... that'll be the day. ... Kill polydorus to save your crops?... naked greed! Otherwise how is it you didn't kill the boy before?...

I found that not at all persuasive. It's a convient post-facto defense. Your motive can only be greed...

I had a son too, he is gone...

And now the black hag dances on teh living grave...
oh let her dance...
A cemetery bitch to howl at the moon...
To be remembered as woman, queen or bitch is still to be remembered..


Thoughts:
I like the idea that you could put classic Greek drama on radio for almost three hours and expect people to sit and listen to the whole thing in one go. So different to nowadays where everything is so serialised and short. Also there was so many less dialogues and only little special effects. It really was just radio drama with the language and the voice of the actors that made it powerful.  Some of the speeches were so strong that I almost got lost in the emotion and the language itself disappeared. It felt almost musical, probably because of they lyrical quality of the dialogue. Bea's monologues are so fabulous, such range and emotion and such delightful pronunciation. I sit and listen to them not quite believing I can actually be hearing the performance. It is wonderful that such a thing exists and that you can go and listen to it at the British Library.


Beatrix appeared on Stage as Hecuba at the Mermaid Theatre In Four by Euripedes, The Trojan Wars, Directed by Bernard Miles,  16 May 1967

Review and character sketch by Quentin Blake of Bea in Hecuba in Punch 31/5/67 "A voice that rends the air and the drawn haggard face is an Edward Much nightmare come to life. It is a Hecuba well on the way to becoming Hecate."

Photo archive

Some fantastic photos here, including dates and production photos from Hecuba amazing, but check at BL for images in papers and magazines.

http://www.arenapal.com/imageflows2/?st=X&s=Beatrix+Lehmann