| Orchestra or Band | Victor Silvester and His Orchestra,
Oscar Rabin and His Band with Harry Davis,
Cyril Stapleton and His Orchestra,
Edmundo Ros and His Band,
The Dagenham Girl Pipers |
| Conductors | Harry Davis,
Victor Silvester,
Cyril Stapleton |
| Set List | Theme Tunes - 'Let's All Go Down the Strand',
'All the World is Coming to London',
Massed Bands (Davis),
Victor Silvester and Cyril Stapleton (alternating),
Edmundo Ros,
Oscar Rabin,
March and Dance (Dagenham Girl Dancers),
Crystal Dome,
Tavern,
Global Visitors,
Massed Bands (Silvester),
Cyril Stapleton,
Vice Versa,
Festival Flyer,
Carriage and Monsters,
Victor Silvester,
Eightsome - (Dagenham Girl Pipers),
Oscar Rabin,
Crystalised Art,
Grand Pier 1815,
Edmundo Ros,
Massed Bands (Stapleton),
'Auld Lang Syne' |
| Performance Notes | Associated Press Archives holds B&W British Movietone footage of the event (BM54785).
The decorations included a reproduction of the interior of the Crystal Palace (Great Exhibition) on its closing day in Hyde Park in 1851, which was designed by Mr A R Thomson RA. From the roof hung a 20ft chandalier with larger0than-life figures instead of candles.
The event was held on the 29th as New Year's Eve fell on a Sunday and Saturday was ruled out because the fun carried on well after midnight.
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/1/1950/292),
b&w Photographs (RAHE/3/1950/4) |