End of an era as Homburgs calls it a day

Call for societies to help out

 

There is a huge void in amateur theatre with the closure, after more than 60 years, of Homburgs, the Leeds costumier with a stock of 30,000 costumes. PETER MULLOY, artistic director of Carl Rosa Opera, laments its passing, revives some memories and hopes that all is not yet lost.

 

I AM writing this because I have been contacted by several amateur theatre groups, who are at a loss as to know how they may continue without now being able to hire costumes from Homburgs, the supplier in Leeds.

The company has been sold off piecemeal, with sets of jackets going to one buyer and the trousers and/or hats to others. Carl Rosa owns its own professional wardrobes for all the G and S Operas, and as we do not hire these out this situation has nothing to do with what we do. However, as someone who cares about this, I think a strategy could be drawn up to exchange information.

 My first memory of Homburgs was as a six-year-old boy in the local operatic society waiting for the wicker baskets to arrive on Thursday evening at rehearsals, and being given a small bundle with a label on it. One side was your own name, hand-written and making you feel very special; on the other a W A Homburgs stamp, from a far away and mythical kingdom called Leeds!

OLD USED HANKIE

 I do remember that some sets of costumes might be new and stunning, made for your society, but sometimes the costumes were often not in the greatest of order.  If it was a period show for the gentlemen's chorus, you would often find an old used hankie, or a good-luck card from a completely different show, or boiled sweets or a cough drop in any, or all, of the pockets of your freshly-dispatched costume. The ladies from the society would have their work cut out to add trimmings, spray starch and try to freshen up and breathe some new life into these relics of shows from decades gone by.

 So why would I bemoan its loss! Well, there is now nowhere left to get all the costumes for a big society show for the same price. I remember years ago when I was only 15 years old, I was buying whole set of G & S costumes for £5 each and hiring these out to societies for £5.50 – result, happiness! At that time – the last recession! – fantastic costumiers like William Mutrie and Sons in Edinburgh, C.W. May, Charles Fox and Simmons in London, and the equally wondrous Watts in Manchester, were closing,. All were excellent, but it was Homburgs which lasted until now!

 So I hastily looked through the catalogue for Homburgs online for something to bid for. I was horrified to see some of the same sets of costumes I had seen as a child, still there and being offered for shows like The Mikado – though perhaps it just proved that they were well made to last, which is no bad thing in this modern throwaway world.

CHEAP AS CHIPS

 I remember the local G & S group in Middlesbrough doing Patience, so Homburgs dispatched a set of Grecian-styled ladies' costumes, and the next show was Orpheus and then La Belle Helene – with nobody seeming to mind that these were the same costumes, as they were cheap as chips to hire, and sort of did the job of covering bodies. And let's face it, with ladies' dress sizes from 8 to 32, they sure did have to cover some bodies, as we would well know if the costumes could talk, let alone hum. Oops! Sorry!

 All that said, I still feel a terrible, sad and nostalgic loss about a whole side of the amateur theatre that is now no more, where have all the costumes gone? Have some societies bought them up? Can they make them available to other societies?  Let's face it, without good costumes you cannot do a period show. For my part, I placed blind bids, so when a truck-load of boxes arrived, I honestly had no idea what there would be within each lot. I find myself with some real treasures, and things I have no use for.

 Within these were two boxes of ladies' chorus original period Princess's Ida breast armour, and three sets of principal men's armour, all made by Robert White for the original London 1880s production! These had been languishing in boxes for decades as they were too small for most societies' ladies to be able to wear, and are in many ways priceless.

PERIOD MANDOLINS

 As an avid collector of all things G & S and D'Oyly Carte-related, I have found a box set of two D'Oyly Carte period mandolins from The Gondoliers. There are a box of period Yeomen hats and many other great things saved from being split up, but spookily all bought by accident.

 Within these lots there are other really fine costumes that sadly I have no use for, so I would like to pass these on to another hire firm or for a society to own and use. We hire only to film companies – sadly never to amateur companies, so I think that selling them off cheaply is the best route.

 There is a new and very good set of men's uniforms and hats from Titanic. Within 21 shelves of assorted boots and shoes, there are 50 pairs of beautiful period brown leather boots, possibly from the French Foreign Legion or First World War, a set of matching military hats that must be from Desert Song, a set of black show

 

FOLLOWING the closure of Homburgs, Bromileys of Crewe has now taken over all Homburgs wigs and parasols, in addition to a large selection of Japanese fans for hire for The Mikado and Hot or Mikado. More information is available by telephone at 01270 255726.

 

top hats and a set of deep red satin show top hats with matching lamé waistcoats.

 There is a set of silver metal Dragoon Guards helmets with white leather gauntlets and black leather period men's boots, all from Patience. There are Iolanthe coronets, a set of men's Mikado hats, assorted bits of costumes, waistcoats and hats, all needing new homes.

 I hope the National Operatic & Dramatic Association (NODA) can offer societies the opportunity to seek out the good sets of costumes that Homburgs had, and I suggest that if someone with some spare time and an interest in costume is out there, it might help all the societies up and down the land to continue to perform and dress all their forthcoming period shows and musicals, if this information in collated and made available.

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Recipe for fun – but proceed with caution

 

PERRY COSTELLO, technical director Hands On Production Services, looks at the light and serious side of stage weaponry.

IT'S a damp and grey Friday afternoon. Our entry buzzer goes.  We look up. Two shady-looking characters are at the door.  “We've got guns” says a gravelly voice at the end of the intercom.  It's fastest finger first, as we all rush. . . to buzz them in! 

After all, we are without fear. All is well. They are returning some of our weapons after another successful production.

Ania, our newest recruit, has learned to expect the unexpected. “It's crazy!  Gun clicks accompany your typing, and test firings go off as you answer the phone. But I've stopped flinching now.  Nothing shocks me any more.” Well, we'll see!

Producers across the country call Hands On Production Services in Glasgow to solve their problems. We never know what the next call will bring – a witch's broom that bursts into flames for The Wizard of Oz, cut-throat razors that exude blood for Sweeney Todd, smoking pants for burlesque dancers, ‘live' jelly fish for Harvey Keitel, a drenching of Miss World for a Bollywood movie or hanging three teenage boys for a commercial. This is the stuff of life at Hands On.

We have 25 years' experience in armoury.  Despite having a huge stock in our arsenal, we relish finding the unusual or making something special. We really can provide your weapon of choice! 

Authenticity is everything in the use of weapons for stage and screen.  From medieval to modern, civil war to the second world war, Hands On has the chain mail, the swords, muskets, spears,  axes,  grenades, rifles, pistols,  tridents, riot gear or Saturday night specials to add that authenticity to any production. Our weapons are hired nationwide and have appeared onstage and on film, from Shetland to Cornwall.

And now, the serious bit.  The full Firearms Acts publication is a massive tome, of more than 350 pages, and is very difficult to interpret. .However, provided one is a bone fide user of weapons, there is nothing to worry about.  The Violent Crime Reduction Act 2006 allows for anyone to have such a weapon for rehearsal and production purposes. It is important that the weapons concerned are NOT genuine firearms or otherwise prohibited (within the meaning of the various acts).  For this reason, it is important to know and trust your supplier.

De-commissioned or replica firearms are not toys and need to be handled properly. Always hire your weapons from a bone fide supplier who can demonstrate that they are fully insured to supply such items. 

  • Treat all firearms as if they were real weapons. No horseplay.

  • Ensure all weapons are securely locked away when not in use.

  • Always ensure that the theatre management is aware of the requirement for weapons in your show

  • Inform local police that you are using weapons

  • Ensure that anyone operating the weapon is trained in its use

  • Do not allow any weapons outside, eg for photo shoots,  or even near to a window, since this could alarm the public

  • When blank rounds are fired, hot gasses will still be produced at the vent at the top or sides of the barrel, so don't fire it too close to anyone and keep at arm's length to protect the firer. BLANKS CAN KILL AND MAIM.

  • Designate ONE individual to take charge of the weapon(s) at all times

  • Warn your audience to expect loud bangs.

Remember that if anyone calls the police to report seeing these weapons, then they are duty-bound to investigate – armed with real weapons, ready to deal with a genuine firearms incident.  Should such an incident occur, comply immediately with all police instructions.

Finally, Hands On is always at the end of the phone to offer advice at 0141 440 2005 and www.hands-on-uk.com

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