| Main Performers | Student performers from:
Chelsea Polytechnic,
Royal Academy Schools,
Central School of Arts and Crafts,
Westminster School of Art,
Clapham School of Art,
St. Martin's School of Art,
Sir John Cass Institute,
University College, Slade School,
Royal College of Art, South Kensington,
South London Technical School,
Portsmouth Municipal School of Art,
Architectural Association
Sheikh Iftekhar Rasool - performer,
Sandy MacPherson - organ |
| Orchestra or Band | The Georgians,
The Clabon-West Band,
The Rovers,
1st Battalion The Argyll and Sutherland Highlanders Pipers,
Glasgow Shepherds Drums and Pipers |
| Set List | Foxtrot: 'Through',
Foxtrot: 'Dream Mother',
Foxtrot: 'My Dream Memory',
Foxtrot: 'My Wife Is On A Diet',
Foxtrot: 'Dancing Goblin',
Foxtrot: 'Am I Blue?',
Waltz: 'That's All',
Waltz: 'I've Found The Whole World In You',
Foxtrot: 'I've Never Seen a Smile Like Yours',
Foxtrot: 'Singin' In The Rain',
Slow Foxtrot: 'If I Had A Talking Picture of You',
Slow Foxtrot: 'She's Such A Comfort To Me',
Foxtrot: 'Rio Rita',
Foxtrot: 'I Want To Be Bad',
Six-Eight: 'Medley of Nursery Songs No.1',
Six-Eight: 'Moscow',
Waltz: 'Pagan Love Song',
Waltz: 'My Song Of The Nile',
Foxtrot: 'Fairy On The Clock',
Foxtrot: 'I'm in Love With You',
Foxtrot: 'I May Be Wrong',
Foxtrot: 'Lovable and Sweet',
Slow Foxtrot: 'Love Me or Leave Me',
Slow Foxtrot: 'Piccolo Pete',
Foxtrot: 'The Love Song',
Foxtrot: 'You're Always in My Arms',
Foxtrot: 'Medley of Nursery Songs No.2',
Foxtrot: 'Smiling Irish Eyes',
Waltz: 'Russian Moon',
Waltz: 'Shadow of A Rose',
Foxtrot: 'It Wasn't Meant To Be',
Foxtrot: 'Painting The Clouds With Sunshine',
Foxtrot: 'Dear Old Pals',
Foxtrot: 'Lonesome Little Doll',
Foxtrot: 'I've Got a Feeling I'm Falling',
Foxtrot: 'Excuse Me Lady',
Slow Foxtrot: 'Ain't Misbehavin',
Slow Foxtrot: 'That's When I Learn To Love You',
Waltz: 'Lady Divine',
Waltz: 'Let Me Dream in Your Arms Again',
Foxtrot: 'Louise',
Foxtrot: 'Honey',
Foxtrot: 'Button Up Your Overcoat',
Foxtrot: 'I'm Feathering a Nest',
Foxtrot: 'Some Sweet Day S'Posin',
'God Save the King' (The National Anthem) |
| Performance Notes | "I was much pressed on the occasion of the Chelsea Arts Club Ball to allow of an Elephant appearing in one of the processions. I calculated that the weight of the elephant's foot would approximate to the breaking weight of the floor structure, and had therefore reluctantly but firmly to veto the proposal, of which I learned only the merest chance."
(Royal Albert Hall Architect, Council Minutes, 19 February 1929)
A fifteen foot, blue and red Noah's ark and lots of prop animals designed by artist Augustus John, as well a 112 feet of waves on the front of the stage decorated the Hall's auditorium.
"...All the scenery, including the huge red and blue ark, has been painted on the floor of the students' common-room, which is sixty feet long, at the Royal College of Art, under the direction of M. Vladmimir Polunim, who has designed a great deal for the Russian ballet."
(The Daily Telegraph, 30 December 1929)
Founded in 1891 The Chelsea Arts Club is a members club for artists, which for 50 years from 1908 held an annual costumed New Year's Eve ball, which was an infamous part of London's social calendar. After two years at the Royal Opera House the extravagant ball proved so popular it moved to the Royal Albert Hall where it stayed until 1958. The balls attracted media attention with their lavish theatrical sets, multiple orchestras, raucous midnight carnivals and balloon drops and crowds of up to 10,000 socialites, bohemian artists, actors, and ordinary Londoners in elaborate and often scandalous fancy dress dancing until 5am.
Each year a theme was chosen such as Egyptian, Dazzle, Noah's Ark, Prehistoric and Sun Worship around which guests could create flamboyant costumes. London art schools participated by decorating huge carnival floats, which were driven around the auditorium floor and which, at the stroke of midnight, would be destroyed by revellers. The balls were well-known for reports of public nudity, drunken displays of affection, fighting and unadulterated fun. In the vastness of the Hall with its gas lit corridors, curtained boxes and dark staircases naughtiness was the order of the day.
Similarly to the annual Lady Malcolm's Servant's balls (1930-1938) these events were a safe space for the queer community to meet and express themselves with unbridled creativity and little inhibition. There were no scrutineers denying entry or undercover police. LGBTQ+ party goers could feel (relatively) free to be themselves without the scrutiny and surveillance they underwent in their daily lives. For many men especially they could wear drag, dress outrageously, and socialise unashamedly while never appearing to be anything out of the ordinary.
It was New Year's Eve 1958 that was to be the final Chelsea Arts Ball at the Royal Albert Hall. As well as minor damage to the building fabric, a partygoer dispatched a smoke bomb that exploded on the dance floor and ultimately became the straw that broke the camel's back. The Chelsea Arts Ball was asked to take out insurance indemnity against further damage to the Hall and they didn't return. The Ball has returned three times since - in 1984, 1985 and 1992 - although the elaborate costumes and floats didn't make the return trip. The extravagant, eccentric originals remain part of the history of the Capital's social calendar. |
| Related Archival Material | Programme (RAHE/1/1929/81) |