The fifth episode of a second series of ‘Grundy Goes’ 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 episode John travels across the Northeast not only to sample the local beers, but to showcase the many varied buildings and often unique architectural features that make up the public house, inn,...

The fifth episode of a second series of ‘Grundy Goes’ 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 episode John travels across the Northeast not only to sample the local beers, but to showcase the many varied buildings and often unique architectural features that make up the public house, inn, taverns and hostelries of the region. Over a montage of John Grundy wearing various costumes and maps of the region the opening credits. Title: Grundy Goes… For a Swift Half Sitting beside a roaring fire inside The Black Bull public house at Matfen in Northumberland, presenter John Grundy takes a sip from his pint of beer. As a man behind the bar begins to pull a pint of Old Speckled Hen, John tells a story of his three aunts who were ‘chapel ladies’ and members of the Temperance Movement and would have disapproved vigorously of John taking up the ‘demon drink’. Next door to The Black Bull was The Temperance Hotel built by the local landowner to prevent his agricultural works from becoming drunkards. Returning to John beside the fire he talks about the 1872 Licencing Act and the work of the Temperance Movement and its battle for the soul of the nation before returning outside again where John performs as both a Victorian lady from the Temperance Movement extoling the horrors of alcohol and a local drunkard wishing to have more. The sequence ends with John explaining while the Temperance Hotel has long gone becoming a domestic establishment, The Black Bull has gone from strength-to-strength. Over a montage of regional pubs John explains that during the early to mid-19th centuries many pubs were small such as the Railway Tavern on Hilton Road in Sunderland which is a typical mid-Victorian pub converted from a house. However, by the end of the century there was an explosion of new pubs as the big brewers battled it out for customers. Again, a montage of said public houses ending with the Mountain Daisy just down the road from the Railway Tavern in Sunderland. John goes into detail about some of its architectural features which were deliberately created to entire drinkers inside including a prominent corner tower and an enriched facade of marble and terracotta. Standing across the road from both the Empire Theatre and The Dun Cow aka Rosie’s Bar on High Street West in Sunderland, John explains that this rival pub done in the Edwardian baroque style was even posher with lusher in detail and with a fancier corner tower. As John explains that the look of The Dun Cow was considered a national style of a country that was the centre of a great empire, John the Drunkard comes along the street and heads inside. A montage of other early Edwardian pubs follows including the Ship and Royal and The Britannia both at South Shields with The Britannia having a ‘mega lamp’ outside to attract customers. Over a montage of various pubs signs and names John explains that an entire programme could be dedicated to this art form. Next to Tyne Tees Television studios on City Road in Newcastle is the Egypt Cottage, where those at Tyne Tees sneak off for a swift half. Another montage of pubs with John pointing out the beautifully decorative entrances the most original of which is the Auld Brewers Arms, formerly Brewers Arms on Marygate at Berwick-Upon-Tweed in Northumberland. Coming out of the door to stand under its glass domed entrance way John explains that while this is only a small pub in a small town, it is unique, and it is our responsibility to make sure it doesn’t get lost. Standing outside the Cyprus Hotel on Chichester Road in South Shields John comes to talk about the importance of faience, a form of glazed and coloured terracotta that is best used on pubs. Over a montage of faience on the Cyprus Hotel and on The Garrick’s Head on Saville Street in North Shields John explains it is one of the great pleasures of ‘swift halfery’ to admire such designs and embellishments, often found on establishments that were near working waterfronts or near the shipyards on the River Tyne. Heading into The Dun Cow at Sunderland John asks the question what would the average Victorian drinker find inside these ‘palaces?’ Heading to the bar area he points out the rare original features including its back-bar as well as the delicate fretwork along with wood and plasterwork that is, according to John, somewhere between gothic and art nouveau. Walking over to a decorative glass screen that divides the bar he sees Drunk John sitting at a table with his pint who explains to the viewer that pubs like these were ‘palaces for the working man’. Returning to John he explains how brewers attempted but failed to attract the middle-class drinkers, but pubs were for the working man, a fantasy to draw the ordinary man away from home into a dream factory. Standing at the bar of the Mountain Daisy in Sunderland John talks about it all tiled interior which includes the bar itself. Over a montage of the decorative painted tiles John talks about the late Victorian delight in new materials that are also practical and easy to clean. Again, standing at the bar is Drunk John calls the place a ‘palace’. Standing outside The Free Trade on Castlegate at Berwick-upon-Tweed John explains that while places like the Mountain Daisy are palaces, they aren’t cosy or snug. Heading inside John attempt to explain why this establishment is both cosy and snug. Is it the warm stained-glass windows, is it Brenda the landlady behind the bar pulling pints for her regulars, is it the woman playing darts or is it the beer which John is drinking? In part says John all these things, but it is also its architecture. John walks along a passageway which divides the bar into compartments, originally created for those who were unwelcome in pub such as women. However, today it creates the loveliest sense of enclosure and is, according to John the only surviving examples in the Northeast. Taking the programme into a commercial break John orders another pint from Brenda, and a swift half for John the Drunkard. Title: End of Part One Grudy Goes… Part Two Still inside The Free Trade at Berwick-upon-Tweed Brenda the Landlady pulls a pint of beer placing it on the bar as John explains that drinking places in Britain have existed for as long as there have been people. Over a montage of The Black Bull on Bridge Street in Morpeth and The Collingwood Arms at Cornhill-on-Tweed in Northumberland, John explains that inns such as these have lined the major roads of Britain and graces the centres of old towns and villages. In the County Durham village of Blanchland John heads into The Lord Crewe Arms built on part of an old monetary. Inside John talks about some of the pubs architectural features that are both Medieval and Georgian and gorgeously picturesque. As John makes his way inside the Morritt Arms at Greta Bridge just off the A66 in County Durham, he explains that establishments like these have been around so long they are almost posh and respectable with an aura of cosy tradition. Inside at the bar he points out some of it features including a stuffed bear and 50-year-old paintings on the wall painted by James Gilroy the famed creator of the Guinness adverts. Sitting at the bar with other patrons around him John explains that better-class inns such as these were able to turn themselves into hotels and hostelries, separating themselves from the other form of inn known as taverns or later in the 19th century public houses. A montage of pubs from across the region with John explaining how these simple and unpretentious buildings found in almost every town, village or suburb are usually the most significant architectural building after the church and the essence of England. Standing at the bar inside the Foresters Arms at Coatham Mundaeville near Darlington John order drinks and explains he likes it here as it has been decorated to the taste of the landlord. Taking his drinks back to his table he passes people playing darts and photographs of locals on the wall. He tells a story of visiting a pub near where he lives at Gosforth in Newcastle that had been entirely made over by designers and being ‘told off’ for reading a book which was there purely for aesthetics reasons. Behind the bar at the Foresters Arms five members of the O’Neill family who run the pub pull pints for the camera, as they go about serving their customers John explains that it is its individuality and distinctiveness that he likes so much. Sitting at a table with John is the film crew all enjoying a pub lunch with John going around the table giving details on what each person is eating. Pub food, explains John, is the greatest revolutions of the last couple of decades. John asks his colleagues to mark their food out of ten. In his bathroom at home John gets ready for a night on the town. As he puts product into his hair, he explains that Northeast has the finest nightlife in the universe. As he comes downstairs, he provides details on what he expects to see. As he walks around the Bigg Market in Newcastle he passes groups of young men and women out for a good time. The next morning, he awakens on a bench. Sitting up he explains why he doesn’t like going out to places like this at night, mainly because of his age. However, he points out some of the areas architectural features including the Half Moon Inn with its art nouveau designs, The Bee Hive and The Old George which is a former coaching inn along an old cobbled yard. As men and women make their way inside the Wesley Nightclub on Victoria Street in Hartlepool, John speaks in voiceover about filming in this former Methodist chapel in 1987 when it was derelict and empty, to him it is a revolution to see it transformed both sensitively and beautifully into this nightclub. Inside young men and women dancing on the dancefloor watched by John with a sly smile. Sitting in the steps outside he compares it to ‘Nero’s brothel’ in its decadence and excess but getting up and heading back inside saying he says he loves it. As people continue to enjoy themselves John speaks in voiceover about The Wesley being typical of many modern pubs pointing out it contemporary architectural features. Standing outside dressed as the woman from the Temperance Movement she is shocked that this chapel has been turned into a pub. Walking along the Newcastle Quayside John talks about a recently introduced CAMRA (Campaign for Real Ale) pub building award and their disappointment at not finding a modern pub to give an award to. Heading into the Pitcher and Piano John explains that if it were up to him then this would get an award. Over a montage of people enjoying food and drinks John explains why this establishment is a good piece of late-20th century design which is both modern and exciting with an interior that is both sophisticated and welcoming. Laying and relaxing on one of the bar’s sofa’s John the Drinker once again comments on how this place is a ‘palace.’ Credit: Written and Presented by John Grundy Photography Mike Parker Sound Paul Graham Electrician Ken Hird Costume Tom Robson Graphics Alan Davidson Dubbing Mixer Charles Heath Editor Benard Helm Director / Producer Roger Burgess Title: © Tyne Tees Television 1998 End title: A Tyne Tees Television Production. © Tyne Tees Television MCMXVIII