The first episode of a new ten-part series produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy about the building that people have constructed over the centuries to help themselves work, live and enjoy themselves. In this first episode John travels from Holy Island in the north of our region to Scarborough in the south to explains Britain’s complex relationship with the seaside. Over a montage of John Grundy wearing various...

The first episode of a new ten-part series produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy about the building that people have constructed over the centuries to help themselves work, live and enjoy themselves. In this first episode John travels from Holy Island in the north of our region to Scarborough in the south to explains Britain’s complex relationship with the seaside. Over a montage of John Grundy wearing various costumes and maps of the region the opening credits. Title: Grundy Goes… To the Seaside As a pipe organ plays ‘Oh I Do Like to Be Beside the Seaside’ a montage of people enjoying the regions beaches on a sunny day. Eating winkles from a small pot presenter John Grundy walks past several stalls explaining why he love the architecture of the seaside. A second montage featuring not only the grand castles and abbeys built along the regions coast, but the ordinary buildings such as boarding houses, beach huts and ice cream stalls that people still use today. Standing on the promenade at Scarborough with a Ferris wheel turning in the background, John provides details on what this series of ten programmes will be about. Now sitting on a sandy beach behind a windbreak and with a picnic laid out in front of him John asking why do people like the seaside, when did we start coming, have people always enjoyed it and what did our ancestors think of the seaside? As John follows the poles marking The Pilgrims Way path between the mainland and Holy Island, he talks about the monks who made the decision to come ‘live beside the seaside’ in 635AD to establish a monastery. As visitors look around the ruins of Lindisfarne Priory with the Parish Church of St Mary next door, John talks about some architectural details not only to what can be seen today, but also what it replaced. With Bamburgh Castle in the misty distance John explains why the monks chose this location so they could be nearer the King of Northumbria, King Oswald. Standing with Lindisfarne Priory in the background John explains that those early monks didn’t come to Holy Island for an easy life, rather they came because the island was wild and dangerous. As waves crash onto the rocks on the far side of the island John provide details on its most famous resident St Cuthbert. As he talks about Cuthbert living on the nearby Farne Islands, birds are seen resting on one of the many rocky outcrops that forms part of the Farnes followed by a stained-glass window of the saint inside a church. Swimming in a sea pool John explains that St Cuthbert needed to be a ‘tough lad’. He tells a story of how Cuthbert would wade out into the North Sea each night in order to ‘mortify his flesh’ from unclean thoughts. Not able to take the cold any longer, concerned that he was ‘mortifying his own flesh’ John steps out of the water. A montage of both seals swimming under water and sea birds paddling on the surface are used to show that to those monks living on the island they liked nature and were aware if its beauty. An aerial of Lindisfarne Priory changes to the Parish Church of St Hilda at Hartlepool, Whitby Abbey and finally a second aerial this time of Tynemouth Priory with all four structures being described by John as examples of ‘super-monasteries’ build after the Norman Conquest in the 13th century. Walking through the ruins of Tynemouth Priory John explains why monks came to this location and over a montage of the site provides details on the Early English or Gothic style of architecture that was used in building it during the 12th century. Dressed as a ‘Disgruntled Monk’ and with fog moving in over the priory, John reads a letter written by said monk complaining about the cold sea air around of the Northeast coastline ending with him requesting his friend never comes to this ‘comfortless a place’. Over a montage of waves crashing over rocks John explains that to our ancient ancestors the sea was a ‘comfortless place’, somewhere to be avoided if at all possible. Over views of Seaton Delaval Hall in Northumberland and its ornate garden John explains that during the 18th century nature was re-discovered, and an admiration of rural beauty developed. However, the sea was still a place to be avoided. John talks about his admiration of both the ‘romantic’ architecture of the hall and its architect Sir John Vanbrugh. He goes onto explain that while the sea is only a mile away, the owners ignored it with the hall being built facing away from it. A montage of views alongside archival images of Scarborough on the North Yorkshire coast with John providing a history of its development as a spa town. With holidaymakers enjoying the sandy beach and bracing sea, John walks past providing examples of what can be done with sea water, bathe in it or drink it. Within a historical context he does both to humorous effect as he attempts to drink the water for its medicinal effects and strips off behind a beach-blanket to participate in ‘mixed nude bathing’ which was popular on Britain’s beaches during the 18th century. With ‘Oh I Do Like to Be Beside the Seaside’ playing in the background again John rushes into the sea apparently naked. Title: End of Part One Part Two Dressed in a costume of the period John walks along the balcony of a Regency house at South Cliff in Scarborough reading a letter written in 1820 by a Beau Grundy about visiting the seaside ‘to see and be seen by polite society’. Over a montage of large, elegant houses with painted stucco, elaborate ironwork and bay windows John talks about the development of the town as a resort destination. Still in costume he walks through a nearby park with decorative flowerbeds as it was a place to watch the ‘fashionable strolling by’. Moving on to talk about the development of the Esplanade, the film changes to views of said location at Weymouth along the Dorset coast before returning to Scarborough and John continuing to walk through the park where he advises ‘the lower orders never came’. Crowds on Scarborough beach changes to show a montage of views around Saltburn-by-the-Sea along the Cleveland coast with John explaining how the development of railways allowed the town to develop as a resort destination for the ‘Victorian masses.’ Standing outside the towns railway station John provides details on its construction in 1861 as part of the Stockton and Darlington Railway and what people in Victorian times expected from places like Saltburn. Over views of terrace housing along the cliffs he provides details on the similarities and differences in architectural styles to properties at Scarborough. Over views of The Zetland Hotel with its own private railway station, John explains why this is an excellent example of ‘high Victorian design.’ The film changes to feature both the pier and pier-end pavilion as well as the nearby funicular Saltburn Cliff Tramway which John describes as examples of seaside pleasure buildings that reveals the change in mood towards the seaside. Standing at the bottom of the cliff railway John provides details on its opening in 1884 before purchasing a ticket and taking a ride. As the car travels up the cliff face John describes this tramway as a perfect example of Victorian engineering combining with prettiness. Over a montage of various buildings around Saltburn including the Queens Hotel John explains how resort towns became fancier and fancier. Returning to Scarborough examples of similar here including the Grand Hotel with bathing huts and chalets intercut with similar structures at Saltburn. The sequence ends on a group of small girls playing on the beach. An older couple sits along the promenade changes to Whitley Bay on Tyneside where crowds enjoy the beach with St Mary’s Lighthouse visible in the distance. John provides details on how and why by the early 20th century Whitley Bay and the Northumberland coast had become hugely popular. Over a montage of Spanish City and its dome John talks about the history of the building as well as its architectural design and construction and why it is a revolutionary as a ‘fun-filled building’. Buying a ticket John takes a ride on the Spanish City roller-coaster, a montage follows of him and others on the coaster as well as other rides at the fair. John moves on to The Bathing House at Howick near the village of Craster in Northumberland built for the wealthy local Grey family. He takes a walk down a rock-cut path to a rock pool created for the family to enjoy the seaside. John believes this proves that at last the British had discovered that they loved the seaside. Along the coast between Newton and Embleton also in Northumberland a series of wooden clapboard huts built along the foreshore that provide peace and solitude for their owners. However, John asks do they spoil the natural grandeur of the landscape, and should they be removed? Built on land leased by the National Trust John is delighted to learn a decision has been made to keep them. He explains why he likes them so much as they are part of a small but important social movement and are as much part of the social history as the great coastal castles. Over a final montage of people enjoying the long sandy Northumberland beaches and at other locations featured in the programme John says that while it has taken us 1500 years, we have learned to love the seaside. However, the problem is how do we keep it as beautiful as we want it to be while at the same time letting us all enjoy it? He is concerned about the peaceful places and how to keep them that way. Over traffic crossing the Holy Island Causeway and crowds of visitors wondering around the village, John asks when will we stop destroying the things we’ve finally learned to love? Credit: Written and Presented by John Grundy Camera Mike Parker Sound Paul Graham Dubbing Mixer John Cook Electrician George Bush Costume Tom Robson Graphics Alan Davidson Title Music John Cook Production Assistant Eileen Brown On-line Editor Howard Beebe Director / Producer Roger Burgess End title: Tyne Tees Television © 1996