| Main Performers | Student performers from:
Croydon School of Art,
Royal Academy Schools,
St. Martin's School of Art,
Architectural Association,
Hammersmith School of Art,
Kingston School of Art,
Regent Street Polytechnic School of Architecture |
| Orchestra or Band | Ronnie Aldrich with the Squadronaires,
Ken Mackintosh and His Orchestra,
Sid Phillips and His Band,
Eric Winstone and His Orchestra |
| Conductors | Ronnie Aldrich,
Ken Mackintosh,
Sid Phillips,
Eric Winstone |
| Set List | Theme Tune - 'Maybe It's Because I'm a Londoner'
Massed Bands,
Ronnie Aldricj with the Squadronaires and Ken Mackintosh alternating,
Students' Stunts:
Mediaeval Mayor - 'All The King's Horses' (Croydon School of Art)
Sid Phillips and His Band,
Midnight Ballon Drop,
Massed Bands
Students' Stunts:
Fetch The Engine - 'We Don't Want To Set The World On Fire' (Royal Academy Schools),
Oranges and Lemons - 'Oranges and Lemons' (St. Martin's School of Art),
City Market - 'Cockles and Mussels' (Architectural Association)
Sid Phillips and Hi Band
Ronnie Alrich with the Squadonaires
Students' Stunts:
The Plague - 'St.James Infirmary Blues' and 'Young and Healthy' (Hammersmith School of Art),
Lions and Pigeons - 'All The Nice Girls Love a Sailor' (Kingston School of Art)
Eric WInstone and His Orchestra
Students' Stunts:
River Steamer - 'Old Father Thames' (Regent Street Polytechnic School of Architecture)
Sid Phillips and His Band,
Ken MacKintosh and His Orchestra,
Massed Bands
'God Save the Queen' (National Anthem) |
| Performance Notes | Decor designed by Leonard Rosoman, back-cloth by Alexander Bilibin and centre-piece modeller by Peter Krumins.
Front cover of Programme designed by Francis John Minton (25 December 1917-20 January 1957).
The Royal Academy students created a float pulled by a pantomime horse and carrying two giant firemen.
"BOW BELLS TO RING NEXT YEAR.
LORD MAYOR'S HOPE AT THE ARTS BALL.
Ald. Ackroyd, Lord Mayor of London, said last night: "It is my intention during the coming year to make Bow Bells ring again. It will cost a lot of money, and I shall need your help."
He was speaking at the Chelsea Arts Ball at the Albert Hall, which had "Bow Bells" as its theme. Bow Bells have not rung since 1941 when they were destroyed by enemy action..
The Lord Mayoral party, including the Lady Mayoress, arrived to the recorded chimes of the bells. In the centre of the 20,000-sq, ft floor, laid over the arena seats, was a 30ft model designed by Mr A R Thomson, ARA, giving his impression of Bow Bells.
They were "rung" by four "spirits" symbolising London's re-emergence from war-time destruction.
Mr Loris Rey, who has organised the 10 balls since the war, said he wanted to emphasise the spirit of London, which enambled it to rise repeatedly from setbacks. The centre piece was modelled by Mr Peter Frumins.
BARREL ORGAN JANGLE.
Behind the rostrum, on which four bands played for seven hours, until 5am this morning, was a back cloth 11ft by 50ft depicting a typical old London scene, Prominently placed was a public house. "The Cock's Egg."
Outside a Pearly King and Queen listened to the merry jangle of a barrel organ as children played. Several hundredweight of paint was used by Mr Alexander Bilibin to achieve he kaleidoscopic effect, from a design by Mr Leonard Rosoman.
Seven London art schools contributed tableaux. That of the Croydon School of Art. "Mediaeval Mayor," gave an impression of an old mayoral procession, with those taking part caricatured by huge papier-mache masks.
STUDENTS' FIRE ENGINE.
An old-fashioned fire engine built by students of the Royal Academy Schools of Art, was the main piece of theircontribution, recalling the Great Fire of London.
At intervals during the evening thousands of balloons floated down from the roof on to the dancers. Within a few minutes, the balloons which took several men hours to bow up, were ruined fragments of rubber.
Over 100 stalwart members of the Old Blues Rugby Football Club were on hand to "control" the crowd. They were clad in striped jerseys, because in the past they were too busy protecting their costumes to worry about anything else. Mr R A Jones, chief steward for the ninth time, said he had had to cope with bottles and knives.""
(The Daily Telegraph, 31 December 1955)
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/1/1955/166),
Digital Photographs |