Thrown out of a library

When she was about two years old, our daughter dressed in a unisex romper outfit, rushed into the Men’s Bar at the Bangalore Club. An elderly gentleman conducted her back to the entrance of the bar, saying: “You can’t come in here yet, young man. You’ll have to wait until you’re twenty one.”

My wife explained that our child is a girl. The gentleman replied: “In that case, my dear, you will never be able to enter the Men’s Bar.”

The Bangalore Club was founded by British officers in 1868 at the time when Mahatma Gandhi was born in faraway Gujarat. Until after about 1945, women were not allowed into the main Club House. There was a separate annexe reserved for women. And until 1947, with the exception of servants and a very few high ranking military officers, no Indians were permitted to enter any part of the Club.

The Bangalore Club and many other similar still existing colonial era clubs in India maintain many of the old-fashioned rules that applied in elite clubs in the UK. For many years, men could only enter the Club House at the Bangalore Club wearing ‘proper’ shoes, not sports shoes or sandals. Now, sandals are allowed providing they have a back strap around the ankle.

Once, I stayed at the Kodaikanal Club deep in the southern Indian state of Tamil Nadu. Dress code seemed to be non-existent there until I stepped into the club’s small library. Within a few seconds, a member of the library staff escorted me out of the library. I was wearing sandals. I was told that one could only enter the library if formal leather shoes were being worn.

Well, if you join a club, you should respect its rules however idiotic they might seem. Vide the UK and the EU.

As time moves on, rules change. A couple of years ago , for reasons best not explored here and they were nothing to do with gender equality, women were permitted to enter and use the Men’s Bar at the Bangalore Club. Since that date, the formerly masculine sanctuary has been renamed “The Bar”.

The old gentlemen who evicted our daughter from the Men’s Bar is probably no longer alive. I wonder what he would have thought when his prediction proved to be wrong. Let’s finish by raising a glass to his memory.

A theatre resurrected…

Early in November 2018, I saw the opening performance of a new production of “Love Lies Bleeding” by Don de Lillo, which was premiered in 2005, at the Print Room in London’s Notting Hill Gate. The play deals with the question of euthanasia in a situation of a person with persistent vegetative state. The playwright deals with moral and other questions relating to this in a sensitive way. As with most Print Room productions I have seen, the acting was superb, at times gripping.

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The Print Room theatre began its life in 2010 in a converted printers’ warehouse in Hereford Road, close to Westbourne Grove. We attended several excellent performances there, seated on not very comfortable chairs. In summer the warehouse, which was poorly ventilated, could become very hot. I remember watching “The Kingdom of the Earth” by Tennessee Williams one hot May evening. The heat in the theatre complimented the seediness of the characters. A year or two ago, the Print Room shifted to the Coronet in Notting Hill Gate.

When I began living near this place, the Coronet was a cinema. It was the last cinema in London to permit smoking in the auditorium. Smokers had to sit in the balcony seats, not in the stalls below them. The cinema had two screens, the larger of which was in what looked like an Edwardian theatre. Indeed, the Coronet started life as a theatre when it was opened in late 1898 (see: http://www.arthurlloyd.co.uk/CoronetTheatreNottingHillGate.htm).    It was designed by a theatre architect WGR Sprague (1863-1933). Eighteen years later, the theatre began to be used as a cinema. Many of its original features were retained. By 1923 it became a full-time cinema.

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In 1972, the Coronet was threatened with demolition. It was saved and made subject to conservation regulations following local residents’ successful protests. In 1993, when I first came to live close to the Coronet, the cinema looked run down but romantically picturesque. The local Kensington Temple Church bought the Coronet in 2004, planning to use it as a place of worship (as has happened with so many former cinemas in London). As a digression, it is interesting to note that cinemas in London have been converted to churches, whereas in Communist Albania the reverse was true during its period of official atheism.

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The Kensington Temple spruced up and restored the Coronet, but kept it running as a cinema. They used it occasionally as a place where their congregation could listen to preachers. Once on a Sunday morning I passed the Coronet, whose doors were open, and looked into the auditorium where a very enthusiastic clergyman was rousing his lively audience.

The Coronet cinema closed in 2014. It had been bought by the Print Room, which had shifted from Hereford Road. Thus, the Coronet became a theatre once more. The Print room have preserved many of the decorative features of the original theatre but have made some major internal modifications. A new stage has been built to cover the space where the original lower level stalls were once. This stage extends to the lower level of the raked seating that had formerly been the original theatre’s Dress Circle. The seats in this Circle have become the new auditorium. Although much has been done to preserve original features, the theatre has been decorated to give its walls a fashionable distressed appearance. The place reminds me a little of what I remember of the Theatre des Bouffes du Nord in Paris when I saw it in the 1970s soon after the British director Peter Brook re-opened it.

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Although the theatre and its productions are wonderful, the bar must not be missed. It is located beneath the new stage in the space where once the stalls were located. Its concave floor reflects the raking of the seats that were once affixed to it. A grand piano serves as the bar where drinks are sold. The dimly lit bar is decorated quirkily with all manner of bric-a-brac, largely chosen by the staff and, no doubt, sourced from the nearby Portobello and Golborne markets. The bar is open an hour before and an hour after a performance. It is closed during performances because its ceiling is the theatre stage. Even if you cannot manage a play, a visit to the Coronet’s bar is a treat.