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For Victorian Britons, | 0:00:05 | 0:00:07 | |
George Bradshaw was a household name. | 0:00:07 | 0:00:09 | |
At a time when railways were new, Bradshaw's guidebook | 0:00:09 | 0:00:13 | |
inspired them to take to the tracks. | 0:00:13 | 0:00:16 | |
I'm using a Bradshaw's Guide, to understand | 0:00:16 | 0:00:19 | |
how trains transformed Britain - its landscape, | 0:00:19 | 0:00:22 | |
its industries, | 0:00:22 | 0:00:23 | |
society and leisure time. | 0:00:23 | 0:00:25 | |
As I crisscross the country 150 years later, | 0:00:25 | 0:00:30 | |
it helps me to discover the Britain of today. | 0:00:30 | 0:00:33 | |
I'm beginning a journey that will carry me the length | 0:00:56 | 0:00:59 | |
of England's south coast. By the time of my guide book, | 0:00:59 | 0:01:03 | |
railways had opened up its ancient forts and beaches | 0:01:03 | 0:01:06 | |
to travellers of every class. | 0:01:06 | 0:01:09 | |
But the English Channel remained our national moat - | 0:01:09 | 0:01:12 | |
a broad defence against invasion - | 0:01:12 | 0:01:14 | |
and throughout most of the 19th century, | 0:01:14 | 0:01:18 | |
it was assumed that any advancing enemy would be French. | 0:01:18 | 0:01:22 | |
Following my Bradshaw's Guide, | 0:01:29 | 0:01:30 | |
this week, I'll be travelling the south coast from east to west. | 0:01:30 | 0:01:34 | |
Starting at the closest crossing point to France, | 0:01:34 | 0:01:37 | |
I'll pass through coastal defences and seaside resorts, | 0:01:37 | 0:01:41 | |
wind through Thomas Hardy country, | 0:01:41 | 0:01:44 | |
before ending up at the first, and last, place in England. | 0:01:44 | 0:01:48 | |
Today, I'm starting in the cross-Channel port of Dover. | 0:01:48 | 0:01:51 | |
From there, I travel to Hythe, visiting its mainline in miniature, | 0:01:51 | 0:01:56 | |
before heading to elegant Eastbourne. | 0:01:56 | 0:01:59 | |
My journey finishes in Lewes, | 0:01:59 | 0:02:01 | |
at a country house famed for its opera performances. | 0:02:01 | 0:02:05 | |
On this journey, | 0:02:07 | 0:02:09 | |
'inspired by a brave Victorian, I take the plunge...' | 0:02:09 | 0:02:12 | |
I can't believe I'm doing this. | 0:02:12 | 0:02:14 | |
..enjoy the exhilaration of steam... | 0:02:19 | 0:02:22 | |
At the moment, we are doing 18mph. | 0:02:22 | 0:02:25 | |
It's, basically, the equivalent of doing 75 on the mainline, | 0:02:25 | 0:02:28 | |
-cos we're nearer to the ground. -Yeah, it absolutely creates | 0:02:28 | 0:02:32 | |
the illusion of great speed. It's very exciting! | 0:02:32 | 0:02:34 | |
..and scale the heights of the operatic world. | 0:02:34 | 0:02:37 | |
HE SINGS AN ERRATIC SCALE | 0:02:37 | 0:02:41 | |
-But you skipped the highest note! -Oh, did I? | 0:02:41 | 0:02:45 | |
My first stop will be Dover. Bradshaw's says, | 0:02:58 | 0:03:01 | |
"It is divided from the French coast by a passage of only 20 miles. | 0:03:01 | 0:03:05 | |
"Advantageously situated on the margin of a picturesque bay, | 0:03:05 | 0:03:09 | |
"screened by its lofty cliffs from the piercing northerly winds." | 0:03:09 | 0:03:14 | |
Those famous white cliffs, another formidable natural defence, | 0:03:14 | 0:03:19 | |
would also have been a welcome sight to travellers completing | 0:03:19 | 0:03:23 | |
the Channel crossing, having survived its notorious tides and currents. | 0:03:23 | 0:03:28 | |
The South Eastern Railway Company opened a line | 0:03:29 | 0:03:32 | |
from London to Dover in 1844, | 0:03:32 | 0:03:34 | |
connecting Victorian travellers with the ferries steaming for France. | 0:03:34 | 0:03:38 | |
The town once had a number of stations, | 0:03:43 | 0:03:45 | |
but only Dover Priory remains. | 0:03:45 | 0:03:48 | |
The port of Dover, as the closest crossing point to the Continent, | 0:03:53 | 0:03:56 | |
gives access to Britain's nearest European neighbour | 0:03:56 | 0:04:00 | |
and, equally, represented the first point of defence. | 0:04:00 | 0:04:04 | |
The English Channel is one of the busiest shipping lanes in the world. | 0:04:04 | 0:04:08 | |
On a glorious day like today, you can see why Bradshaw's would talk about | 0:04:12 | 0:04:16 | |
"The weather-beaten features of the cliffs of Albion, | 0:04:16 | 0:04:19 | |
"illuminated with sunny smiles of welcome". | 0:04:19 | 0:04:23 | |
And in 1875, Dover gave a welcome to a man who, by his endurance | 0:04:23 | 0:04:28 | |
and bravery, could be regarded only as a hero. | 0:04:28 | 0:04:33 | |
As the trains made seaside resorts like Dover accessible, | 0:04:38 | 0:04:41 | |
swimming, very slowly, became more popular. | 0:04:41 | 0:04:45 | |
The epic achievement at Dover of one very determined man | 0:04:45 | 0:04:49 | |
transformed Victorian attitudes. | 0:04:49 | 0:04:52 | |
I am meeting local historian Jon Iveson, | 0:04:56 | 0:04:59 | |
to find out about Captain Matthew Webb. | 0:04:59 | 0:05:02 | |
What was it that Captain Matthew Webb had done, that made him a hero? | 0:05:03 | 0:05:07 | |
He was the first person to swim the Channel. | 0:05:07 | 0:05:09 | |
And how long had that taken him, in those days? | 0:05:09 | 0:05:12 | |
It was just under 22 hours. 21 and three-quarter hours. | 0:05:12 | 0:05:14 | |
-An extraordinary achievement of endurance. -Absolutely, yes. | 0:05:14 | 0:05:18 | |
He believed, when he started, that he was going to do it in 14, | 0:05:18 | 0:05:21 | |
but the tides were against him. | 0:05:21 | 0:05:23 | |
Born in Dawley, Shropshire, Captain Webb had been a merchant seaman | 0:05:24 | 0:05:28 | |
since the age of 12. At the time of his heroic swim, | 0:05:28 | 0:05:32 | |
he was 27 and already had a history of courageous watery endeavours. | 0:05:32 | 0:05:38 | |
In 1873, he was second mate on the steamship The Russia. | 0:05:38 | 0:05:43 | |
A man fell overboard | 0:05:43 | 0:05:45 | |
and he jumped off the ship, to try and rescue him. | 0:05:45 | 0:05:47 | |
As a result, he was the first winner of the Royal Humane Society | 0:05:47 | 0:05:51 | |
gold medal for rescuing people. | 0:05:51 | 0:05:53 | |
That, Webb says, was the luckiest thing that ever happened to him, | 0:05:53 | 0:05:57 | |
because it allowed him to consider something he had been thinking about | 0:05:57 | 0:06:01 | |
for a while, which was trying to swim the Channel. | 0:06:01 | 0:06:03 | |
On 24 August, 1875, greased with porpoise oil, | 0:06:04 | 0:06:07 | |
Captain Webb got under way from Dover, | 0:06:07 | 0:06:11 | |
with a steady breaststroke of 20 to the minute. | 0:06:11 | 0:06:14 | |
Because of the strong tides, he ended up swimming a course | 0:06:15 | 0:06:18 | |
of 39 miles. | 0:06:18 | 0:06:20 | |
After 21 hours and 45 minutes in the cold water, | 0:06:20 | 0:06:24 | |
he arrived in Calais, to an ecstatic welcome. | 0:06:24 | 0:06:27 | |
His fame spread very rapidly and souvenirs and pictures of him | 0:06:29 | 0:06:33 | |
appeared everywhere and he wrote a book. | 0:06:33 | 0:06:36 | |
This is the book he wrote - a first edition of The Art Of Swimming. | 0:06:36 | 0:06:39 | |
Oh, what a beautiful thing. | 0:06:39 | 0:06:41 | |
"By Captain Webb, the Channel swimmer." | 0:06:41 | 0:06:45 | |
And here he is with his medals, as well. That's a fantastic piece. | 0:06:45 | 0:06:49 | |
Did all this - the Channel swim and the book - | 0:06:49 | 0:06:51 | |
-have an effect on the popularity of swimming? -Yes, it did. | 0:06:51 | 0:06:55 | |
English swimming moved on in leaps and bounds after this. | 0:06:55 | 0:06:58 | |
His remarkable feat popularised swimming, but his achievement | 0:06:59 | 0:07:04 | |
wasn't matched for another 36 years | 0:07:04 | 0:07:07 | |
and, even today, fewer than 2,000 have succeeded. | 0:07:07 | 0:07:11 | |
More people have climbed Mount Everest. | 0:07:11 | 0:07:14 | |
All that talk of the heroism of Captain Matthew Webb | 0:07:17 | 0:07:21 | |
has stimulated me to have a go. | 0:07:21 | 0:07:23 | |
Whilst I'm not about to swim to France, I can receive | 0:07:23 | 0:07:27 | |
a few pointers from Chloe McCardel, | 0:07:27 | 0:07:30 | |
an Australian who is very familiar | 0:07:30 | 0:07:32 | |
with this infamous stretch of water. | 0:07:32 | 0:07:34 | |
-How often have you swum the Channel? -Ten times now. -Absolutely amazing. | 0:07:36 | 0:07:40 | |
-How long does it take you? -Usually in the low nine hours. | 0:07:40 | 0:07:43 | |
It took Captain Matthew Webb nearly 22 hours. | 0:07:44 | 0:07:47 | |
Any idea what the change has been? Are you just better swimmers? | 0:07:47 | 0:07:50 | |
He swam it breaststroke, for example. | 0:07:50 | 0:07:53 | |
I swim it front crawl, or freestyle, which is a much faster stroke, | 0:07:53 | 0:07:56 | |
and the food that we eat, the nutrition, is much more developed | 0:07:56 | 0:08:00 | |
these days. He drank whisky, of all things, while crossing the Channel. | 0:08:00 | 0:08:03 | |
So, what makes a person like you want to do this? | 0:08:03 | 0:08:06 | |
Captain Matthew Webb himself coined the term "nothing great is easy" | 0:08:06 | 0:08:09 | |
and it's got that mystique, the history and it's just probably | 0:08:09 | 0:08:12 | |
the hardest marathon swim one could challenge oneself to do. | 0:08:12 | 0:08:15 | |
With Webb's mantra ringing in my ears | 0:08:18 | 0:08:20 | |
and facing a water temperature of just 16 degrees, | 0:08:20 | 0:08:24 | |
I can't put it off any longer. | 0:08:24 | 0:08:26 | |
I'm going to have to go in. | 0:08:26 | 0:08:28 | |
I can't believe I'm doing this. | 0:08:30 | 0:08:32 | |
-How do you feel? -HIGH-PITCHED: Cold! | 0:08:39 | 0:08:42 | |
Very cold. | 0:08:45 | 0:08:46 | |
You're doing well, though. Keep going. | 0:08:46 | 0:08:49 | |
-Show me your crawl. -OK. I'm going to put my head down, though. -Yeah. | 0:08:49 | 0:08:53 | |
Chloe, what's it like when you get cold, | 0:09:03 | 0:09:05 | |
when you've been swimming for a long time? | 0:09:05 | 0:09:07 | |
Your core temperature drops, so your organs start getting cold, | 0:09:07 | 0:09:11 | |
your arms might start doing funny things, | 0:09:11 | 0:09:13 | |
you might say strange things, you may even refuse | 0:09:13 | 0:09:16 | |
to get out of the water if you're very hypothermic. | 0:09:16 | 0:09:19 | |
I don't think I'd refuse to get out of the water. | 0:09:19 | 0:09:21 | |
-You OK? -Yup. -Do you want a hand? -Yup. | 0:09:21 | 0:09:24 | |
Wow, I'm glad to be back on board. | 0:09:25 | 0:09:29 | |
It's one of the most beautiful places you can have imagine to have a swim, | 0:09:29 | 0:09:32 | |
by the white cliffs, but I found it incredibly cold. | 0:09:32 | 0:09:35 | |
-I'm very overwhelmed. -Yes, it takes many months to get used to that cold | 0:09:35 | 0:09:39 | |
so you did very well for your first time. | 0:09:39 | 0:09:41 | |
-Thank you, Chloe. Good luck to you. -Thanks. | 0:09:41 | 0:09:44 | |
Very thankful to be back on firm ground, and warm on the train, | 0:09:50 | 0:09:54 | |
as I leave Dover heading west, I'm reminded by my guidebook | 0:09:54 | 0:09:58 | |
"to pay attention to the shrill shriek of the whistle" | 0:09:58 | 0:10:01 | |
as we plunge into the chalky tunnels | 0:10:01 | 0:10:04 | |
connecting Dover to Folkestone and beyond. | 0:10:04 | 0:10:07 | |
I shall be leaving this train at Westenhanger for Hythe. | 0:10:14 | 0:10:17 | |
Bradshaw's says, "The town of Hythe is small but clean and healthy, | 0:10:17 | 0:10:22 | |
"and prettily situated at the foot of a hill extending down to the sea." | 0:10:22 | 0:10:27 | |
It sounds divine. | 0:10:27 | 0:10:29 | |
From Westenhanger I make my way to Hythe, | 0:10:38 | 0:10:41 | |
still a small market town as pretty as Bradshaw's described it. | 0:10:41 | 0:10:46 | |
Before going to my next destination | 0:10:46 | 0:10:48 | |
I'm visiting a church that has piqued my interest. | 0:10:48 | 0:10:52 | |
Bradshaw's tells me that | 0:10:52 | 0:10:54 | |
"the church on the hill has a light tower ornamented by four turrets" | 0:10:54 | 0:10:59 | |
and I've been attracted up the slope towards it, as to a beacon. | 0:10:59 | 0:11:03 | |
This is the most macabre sight. | 0:11:15 | 0:11:18 | |
Everywhere I look there are skulls, | 0:11:18 | 0:11:21 | |
thigh bones, leg bones, arm bones, jaws - | 0:11:21 | 0:11:24 | |
it's as though I've stumbled upon the site of an appalling massacre. | 0:11:24 | 0:11:28 | |
A shock because nothing in Bradshaw's prepared me for it. | 0:11:28 | 0:11:33 | |
I hope that local researcher Mike Pearson can shed more light. | 0:11:33 | 0:11:38 | |
-Mike, hello. -Hi, Michael. | 0:11:38 | 0:11:39 | |
Welcome to the crypt of St Leonard's Church, Hythe. | 0:11:39 | 0:11:42 | |
It looks like a charnel house or something. | 0:11:42 | 0:11:44 | |
-Is it actually the result of a slaughter? -No, it's not, actually. | 0:11:44 | 0:11:49 | |
There were various theories on... | 0:11:49 | 0:11:51 | |
Danes killed in battle, even Battle of Hastings people, | 0:11:51 | 0:11:55 | |
but we've done some research - it's actually a normal population. | 0:11:55 | 0:11:59 | |
There are more females in this collection than there are males | 0:11:59 | 0:12:03 | |
and there are just under 10% young people | 0:12:03 | 0:12:08 | |
so it's actually a cross section of the population dying, | 0:12:08 | 0:12:11 | |
-we think, normally. -How many heads do you have here? | 0:12:11 | 0:12:14 | |
We've got 1,200 skulls but it's said that there are 8,000 long bones | 0:12:14 | 0:12:19 | |
and that amounts to 4,000 individuals. | 0:12:19 | 0:12:23 | |
-Are you adding to the collection? LAUGHING: -No, not at all! | 0:12:23 | 0:12:27 | |
But we do have visitors from time to time who say, | 0:12:27 | 0:12:29 | |
"Can I reserve a place for when I go?" | 0:12:29 | 0:12:32 | |
THEY LAUGH | 0:12:32 | 0:12:34 | |
Keeping my head when all around have lost theirs, | 0:12:42 | 0:12:46 | |
my next stop is curiouser and curiouser. | 0:12:46 | 0:12:49 | |
I often enthuse about stations, | 0:12:54 | 0:12:56 | |
and this one is absolutely beautiful | 0:12:56 | 0:12:59 | |
but somehow it's shrunk, it's not at the right size! | 0:12:59 | 0:13:03 | |
As though entering a wonderland, | 0:13:03 | 0:13:06 | |
I've arrived at the Romney, Hythe and Dymchurch Railway. | 0:13:06 | 0:13:10 | |
Opened in 1927, it's a fully working steam railway one third of full size. | 0:13:11 | 0:13:18 | |
Today it's owned by Danny Martin. | 0:13:18 | 0:13:21 | |
-Danny, hello. -Hello. Nice to see you. | 0:13:25 | 0:13:27 | |
How did it come to be, then, that the Romney, Hythe and Dymchurch railway | 0:13:27 | 0:13:31 | |
was built miniature? | 0:13:31 | 0:13:33 | |
Well, the guys that built it had a passion for model engineering | 0:13:33 | 0:13:37 | |
which, you might say, trains of this sort of size | 0:13:37 | 0:13:40 | |
and then they wanted to outdo everyone else so they wanted | 0:13:40 | 0:13:42 | |
the biggest model engineered railway that money could buy. | 0:13:42 | 0:13:46 | |
This railway wasn't open in Bradshaw's day | 0:13:47 | 0:13:50 | |
but the locomotives here hark back to the age of steam. | 0:13:50 | 0:13:54 | |
Has it ever had a serious purpose? | 0:13:56 | 0:13:58 | |
Yes, it has. During the war years, | 0:13:58 | 0:14:01 | |
the Royal Engineers commandeered the railway, they ran an armoured train | 0:14:01 | 0:14:04 | |
and, most importantly of all, | 0:14:04 | 0:14:06 | |
they were constructing PLUTO - Pipeline Under The Ocean - | 0:14:06 | 0:14:09 | |
and that was used to feed the D-Day landings | 0:14:09 | 0:14:12 | |
and it was dragged out nightly, having been wound up on our railway. | 0:14:12 | 0:14:16 | |
-Fantastic story. So is there a train I can take? -There is, certainly, | 0:14:16 | 0:14:21 | |
this one we've got just here. | 0:14:21 | 0:14:23 | |
Super. Thank you very much. | 0:14:23 | 0:14:25 | |
Taking me on my journey is professional train driver | 0:14:25 | 0:14:28 | |
Mick Knight. | 0:14:28 | 0:14:30 | |
-Hello, Mick. -Hello. -Permission to come aboard? -Oh, permission granted. | 0:14:30 | 0:14:34 | |
Thank you very much indeed. | 0:14:34 | 0:14:37 | |
Nice tight fit, isn't it? | 0:14:37 | 0:14:40 | |
Just slip the latch down and that's it. | 0:14:40 | 0:14:42 | |
-But unlike most locomotives you get to sit down. -You do. | 0:14:42 | 0:14:45 | |
WHISTLE BLOWS | 0:14:45 | 0:14:48 | |
The line runs 13.5 miles from Hythe to Dungeness. | 0:14:55 | 0:15:01 | |
WHISTLE BLOWS | 0:15:01 | 0:15:03 | |
This locomotive, though very small, must be very powerful. | 0:15:05 | 0:15:09 | |
-How many people can you carry? -Each train holds about 200-250 people. | 0:15:09 | 0:15:14 | |
It's the equivalent of about 40-45 tonnes. | 0:15:14 | 0:15:18 | |
At the moment we're doing 18mph. | 0:15:25 | 0:15:27 | |
It's basically the equivalent of doing 75 on the main line | 0:15:27 | 0:15:31 | |
because were nearer to the ground. | 0:15:31 | 0:15:33 | |
It absolutely creates the illusion of great speed. It's very exciting. | 0:15:33 | 0:15:38 | |
With half the journey completed, Mick thinks it's time for me to have a go, | 0:15:47 | 0:15:51 | |
so from Romney Marsh station I'll take over the controls | 0:15:51 | 0:15:55 | |
to complete the journey to Dungeness. | 0:15:55 | 0:15:58 | |
-That feels good, doesn't it? -There we go. -That feels good. | 0:16:03 | 0:16:07 | |
Amazing to me that a little pull on that lever | 0:16:13 | 0:16:17 | |
brings all this power into play. | 0:16:17 | 0:16:19 | |
So, on your left-hand side shortly you'll see a W sign. | 0:16:21 | 0:16:25 | |
-Yes, and then I whistle. -Yep, give a toot for them. | 0:16:25 | 0:16:28 | |
I see a whistle board. | 0:16:30 | 0:16:31 | |
WHISTLE BLOWS | 0:16:31 | 0:16:33 | |
And we pass a level crossing. | 0:16:35 | 0:16:37 | |
What a wonderful experience. What a feeling of speed and of power | 0:16:53 | 0:16:58 | |
and responsibility. | 0:16:58 | 0:17:00 | |
-Thank you very much, Mick. -That's OK. Well done. | 0:17:00 | 0:17:03 | |
Well done, we'll make a driver out of you yet. | 0:17:03 | 0:17:05 | |
My journey continues from Appledore | 0:17:09 | 0:17:11 | |
where I'm re-joining the main line crossing from Kent into Sussex. | 0:17:11 | 0:17:16 | |
I'm going to spend the night in Rye. | 0:17:20 | 0:17:22 | |
Bradshaw's tells me that, | 0:17:22 | 0:17:24 | |
"In the reign of King Edward III, | 0:17:24 | 0:17:26 | |
"Rye sent nine armed vessels to the royal fleet | 0:17:26 | 0:17:29 | |
"when that Monarch invaded France." | 0:17:29 | 0:17:31 | |
It was one of the so-called Cinque Ports | 0:17:31 | 0:17:34 | |
that supplied ships to the king. | 0:17:34 | 0:17:36 | |
And in return they received many privileges and a lot of autonomy. | 0:17:36 | 0:17:40 | |
I bet the people of Rye still feel very proud of that royal history. | 0:17:40 | 0:17:45 | |
Between the 11th and 16th centuries Rye was a port surrounded by sea | 0:17:48 | 0:17:54 | |
but after centuries of storms and silting, | 0:17:54 | 0:17:56 | |
the coastline is now three miles away. | 0:17:56 | 0:17:59 | |
One of Rye's most charming buildings survives from its Tudor heyday, | 0:17:59 | 0:18:04 | |
The Mermaid Inn. | 0:18:04 | 0:18:06 | |
Built in the 15th century it was the infamous haunt of smuggling gangs | 0:18:06 | 0:18:11 | |
but today it offers my bed for the night. | 0:18:11 | 0:18:14 | |
Ship-shape and ready to go, I'm heading out of Rye. | 0:18:28 | 0:18:32 | |
The next leg of my travels is a 45-minute journey | 0:18:32 | 0:18:35 | |
along the coastline to an important resort in East Sussex. | 0:18:35 | 0:18:39 | |
My next stop will be Eastbourne. | 0:18:41 | 0:18:43 | |
My guidebook tells me that, "It has within a very few years | 0:18:43 | 0:18:46 | |
"become fashionable as a watering place | 0:18:46 | 0:18:49 | |
"and offers the beauty of country scenery | 0:18:49 | 0:18:51 | |
"and stately trees close to the sea." | 0:18:51 | 0:18:54 | |
At the time of my Bradshaw's guide | 0:18:54 | 0:18:57 | |
there was a corner of the county of Sussex | 0:18:57 | 0:19:00 | |
that became forever Devonshire. | 0:19:00 | 0:19:03 | |
The 7th Duke of Devonshire owned much of the land | 0:19:05 | 0:19:09 | |
on which the small town of Eastbourne stood. | 0:19:09 | 0:19:12 | |
The Victorian vogue for seaside holidays offered him an opportunity. | 0:19:13 | 0:19:17 | |
He campaigned for a railway to Eastbourne | 0:19:19 | 0:19:22 | |
and after it opened in 1849 he developed a high-class resort. | 0:19:22 | 0:19:27 | |
He employed architect Henry Currey to fulfil his grand designs. | 0:19:29 | 0:19:35 | |
I'm meeting an architect and local historian, Richard Crook, | 0:19:36 | 0:19:40 | |
by Currey's Winter Garden. | 0:19:40 | 0:19:43 | |
-Richard. -Good morning. -Very good to see you. | 0:19:43 | 0:19:46 | |
What was the character of the Eastbourne that he wanted? | 0:19:46 | 0:19:49 | |
Well, Henry Currey had been on the grand tour of Europe as a student. | 0:19:49 | 0:19:53 | |
He loved Italian architecture | 0:19:53 | 0:19:55 | |
and in particular the architecture of Venice. | 0:19:55 | 0:19:57 | |
So we get this wonderful Italianate feel to the town centre. | 0:19:57 | 0:20:02 | |
And he wanted it to be a very high-class resort. | 0:20:02 | 0:20:04 | |
A town built by a gentleman for gentlemen. | 0:20:04 | 0:20:07 | |
But presumably the town did have a working class population? | 0:20:07 | 0:20:11 | |
Oh, yes, it did. Eastbourne was quite fortunately placed | 0:20:11 | 0:20:14 | |
for a zoning of the resort. | 0:20:14 | 0:20:16 | |
And there's a nice phrase that came down that's been quoted - | 0:20:16 | 0:20:20 | |
"Don't go east of the pier, my dear." | 0:20:20 | 0:20:22 | |
And the idea was that the pier was the cut-off point | 0:20:22 | 0:20:25 | |
from the high-class hotels from the boarding houses and the laundries | 0:20:25 | 0:20:29 | |
and the service industries, | 0:20:29 | 0:20:30 | |
which were in the east end of town on the lower lying marshy areas. | 0:20:30 | 0:20:35 | |
Currey's Queen's Hotel is set forward as a visual and geographical barrier | 0:20:36 | 0:20:42 | |
between the two zones, building the class divide into the town's fabric. | 0:20:42 | 0:20:48 | |
Henry Currey also designed a three-tiered promenade | 0:20:52 | 0:20:56 | |
running the length of the bay, | 0:20:56 | 0:20:57 | |
which perpetuated the resort's class consciousness. | 0:20:57 | 0:21:02 | |
The local paper of the day pointed out the fact that it took on | 0:21:02 | 0:21:05 | |
an unwritten social status about which level you were walking on, | 0:21:05 | 0:21:09 | |
and it actually quoted that the promenaders on the upper level | 0:21:09 | 0:21:13 | |
would look down like true born hidalgos on the motley crowd | 0:21:13 | 0:21:17 | |
of nondescripts sauntering along the lower parade. | 0:21:17 | 0:21:22 | |
Extraordinary Victorian snobbery. | 0:21:22 | 0:21:24 | |
One thing that Currey omitted from his town plan was an opera house | 0:21:29 | 0:21:34 | |
because opera was mainly confined to a short season in the capital. | 0:21:34 | 0:21:39 | |
All the more remarkable that in the 1930s a highly successful opera house | 0:21:40 | 0:21:46 | |
opened remote from any metropolitan population. | 0:21:46 | 0:21:50 | |
Bradshaw's tells me that the station at Glynde is just half a mile | 0:21:50 | 0:21:55 | |
from the village of Glyndebourne. | 0:21:55 | 0:21:57 | |
But I've decided to leave this train at Lewes and I'm dressing | 0:21:57 | 0:22:03 | |
because I believe I may be able to blend in with the crowd scene there. | 0:22:03 | 0:22:09 | |
OPERA MUSIC PLAYS | 0:22:09 | 0:22:13 | |
Lewes is the rail gateway to the Glyndebourne Opera Festival. | 0:22:13 | 0:22:18 | |
As an opera lover I'm a frequent visitor | 0:22:18 | 0:22:21 | |
and coming by train is part of the experience. | 0:22:21 | 0:22:25 | |
From the station a complimentary bus service whisks us to the theatre. | 0:22:27 | 0:22:32 | |
-Do you feel excited to be going to Glyndebourne? -Very much so. -Yeah? | 0:22:37 | 0:22:41 | |
-Yeah. -Absolutely. I've never done something like that before | 0:22:41 | 0:22:43 | |
and it sounds like a lot of fun. | 0:22:43 | 0:22:45 | |
-Where are you guys from? -I'm from the Czech republic. | 0:22:45 | 0:22:48 | |
-I'm from Belarus. -Oh, I hope you have a wonderful time. | 0:22:48 | 0:22:50 | |
-Enjoy the show. -Thank you. | 0:22:50 | 0:22:51 | |
OPERA MUSIC PLAYS | 0:22:51 | 0:22:56 | |
This really is the most British scene - | 0:22:58 | 0:23:01 | |
people dressed up to the nines in the heat of the summer, | 0:23:01 | 0:23:05 | |
bearing great burdens, their picnics, | 0:23:05 | 0:23:08 | |
but they're going to have a really British experience - | 0:23:08 | 0:23:12 | |
opera and picnic and champagne. | 0:23:12 | 0:23:16 | |
Hello, everybody. How are you enjoying your picnic, may I ask? | 0:23:16 | 0:23:18 | |
-We're just about to start. -You look as if you're very well prepared. | 0:23:18 | 0:23:22 | |
How many courses are you serving today? | 0:23:22 | 0:23:24 | |
Well, we're going to have lunch now | 0:23:24 | 0:23:26 | |
and then we'll have our three courses in the long interval. | 0:23:26 | 0:23:30 | |
Have a wonderful day. By the way, there's an opera as well. | 0:23:30 | 0:23:32 | |
THEY LAUGH | 0:23:32 | 0:23:34 | |
-Now, how important is the opera to you? -It's extremely important. | 0:23:34 | 0:23:37 | |
-Far more than the picnic. -Oh, I don't know! | 0:23:37 | 0:23:39 | |
THEY LAUGH | 0:23:39 | 0:23:41 | |
I suppose it would go opera, champagne, picnic. | 0:23:41 | 0:23:44 | |
I hope you all enjoy a wonderful performance | 0:23:44 | 0:23:47 | |
and that your picnic will be extremely successful. | 0:23:47 | 0:23:50 | |
-ALL: -Cheers! | 0:23:50 | 0:23:52 | |
The Glyndebourne opera season | 0:23:52 | 0:23:55 | |
dominates the house all through the summer | 0:23:55 | 0:23:57 | |
and yet it remains the family home of Gus Christie. | 0:23:57 | 0:24:01 | |
-Gus, lovely to see you. -Very nice to see you, Michael. | 0:24:01 | 0:24:05 | |
My Bradshaw's refers to Glynde Place which is a different house, I think, | 0:24:05 | 0:24:10 | |
belonging to J Langham. Is there any connection with you? | 0:24:10 | 0:24:13 | |
Yes, they were cousins of ours. | 0:24:13 | 0:24:16 | |
Glyndebourne came into our family around the 1830s. | 0:24:16 | 0:24:20 | |
And whose idea was it to attach to this lovely house an opera house? | 0:24:20 | 0:24:24 | |
My grandfather was mad about opera, so he actually built this room, | 0:24:24 | 0:24:29 | |
initially, in the '20s, | 0:24:29 | 0:24:31 | |
and they would stage scenes from operas and a few professionals | 0:24:31 | 0:24:35 | |
he'd get in, one of whom was my grandmother. | 0:24:35 | 0:24:37 | |
And then he wanted to extend this room make it bigger but she said, | 0:24:37 | 0:24:42 | |
"If you're going to spend all that money, | 0:24:42 | 0:24:44 | |
"for God's sake do the thing properly." | 0:24:44 | 0:24:46 | |
So he built her an opera house in the garden. Right from the beginning | 0:24:46 | 0:24:49 | |
my grandfather set the quality bar extremely high. | 0:24:49 | 0:24:52 | |
His motto was not the best that we can do | 0:24:52 | 0:24:55 | |
but the best that can be done anywhere. | 0:24:55 | 0:24:57 | |
Which is a very high bar to set | 0:24:57 | 0:25:00 | |
and we still aspire to that same level nowadays. | 0:25:00 | 0:25:03 | |
I'm lucky enough to be invited behind the scenes | 0:25:04 | 0:25:07 | |
to meet one of tonight's stars, Edgaras Montvidas. | 0:25:07 | 0:25:11 | |
Edgaras. | 0:25:12 | 0:25:14 | |
-Hello, Michael. -Good to see you. | 0:25:14 | 0:25:16 | |
I spotted you on the train. | 0:25:16 | 0:25:18 | |
Not many people would think of a great opera star | 0:25:18 | 0:25:21 | |
coming down to the opera house by train, is that a regular thing? | 0:25:21 | 0:25:24 | |
-Absolutely, yes. -Now, you have to perform this afternoon. | 0:25:24 | 0:25:27 | |
You were doing your warm-up, do you mind if I stay for a second | 0:25:27 | 0:25:30 | |
-while you continue? -Not at all. -What were you doing? | 0:25:30 | 0:25:33 | |
I would normally sing a couple of exercises. | 0:25:33 | 0:25:37 | |
You must be baritone and so I'll do it a bit lower. | 0:25:37 | 0:25:40 | |
HE SINGS SCALES | 0:25:41 | 0:25:47 | |
Michael? | 0:25:47 | 0:25:48 | |
HE SINGS SCALES | 0:25:48 | 0:25:52 | |
-But you skipped the highest note! -Oh, did I? | 0:25:52 | 0:25:55 | |
HE SINGS SCALES | 0:25:55 | 0:26:00 | |
HE SINGS SCALES | 0:26:00 | 0:26:02 | |
HE SQUEAKS AT HIGH NOTES | 0:26:02 | 0:26:04 | |
That's why I skipped the high ones. | 0:26:04 | 0:26:06 | |
-Well, a few lessons wouldn't harm! -THEY LAUGH | 0:26:06 | 0:26:09 | |
-Let's hear a piece from the opera. -OK. | 0:26:09 | 0:26:11 | |
HE SINGS OPERATICALLY | 0:26:13 | 0:26:17 | |
-That's higher than... -Beautiful. | 0:26:35 | 0:26:38 | |
I just want to wish you a fantastic performance | 0:26:38 | 0:26:40 | |
and many happy years at Glyndebourne. | 0:26:40 | 0:26:42 | |
-Thank you very much. -Thank you very much. | 0:26:42 | 0:26:45 | |
The production is Mozart's Die Entfuhrung Aus Dem Serail, | 0:26:45 | 0:26:49 | |
in a performance which demonstrates | 0:26:49 | 0:26:51 | |
that the highest standards are being maintained. | 0:26:51 | 0:26:54 | |
And it brings today's journey to a close. | 0:26:54 | 0:26:56 | |
OPERA MUSIC PLAYS | 0:26:56 | 0:27:01 | |
MUSIC AND SINGING ENDS | 0:27:05 | 0:27:07 | |
APPLAUSE | 0:27:07 | 0:27:12 | |
The Duke of Devonshire created in Eastbourne | 0:27:12 | 0:27:15 | |
the ideal of a high-class seaside resort. | 0:27:15 | 0:27:19 | |
Similar attention to detail went into the ultimate model railway | 0:27:19 | 0:27:23 | |
running between Romney, Hythe and Dymchurch. | 0:27:23 | 0:27:26 | |
The opera at Glyndebourne has prospered against the odds | 0:27:26 | 0:27:30 | |
because of an uncompromising commitment to excellence | 0:27:30 | 0:27:34 | |
and I want to pay tribute to Captain Matthew Webb, | 0:27:34 | 0:27:37 | |
a Victorian hero whose motto was "nothing great is easy" | 0:27:37 | 0:27:41 | |
and who endured 22 hours in the English Channel. | 0:27:41 | 0:27:44 | |
Whereas I found it difficult to survive for ten minutes. | 0:27:44 | 0:27:48 | |
Next time, I marvel at exquisite railway engineering... | 0:27:50 | 0:27:54 | |
That is an extraordinary view, | 0:27:54 | 0:27:55 | |
almost as though we were in a gothic cathedral or something. | 0:27:55 | 0:27:58 | |
..take my pick in a temple of red fruit... | 0:27:58 | 0:28:01 | |
All aboard for the Tomato Express! | 0:28:01 | 0:28:04 | |
-Another go? -Yeah. | 0:28:06 | 0:28:07 | |
..and test my patience against the southerly wind. | 0:28:07 | 0:28:11 | |
If at first you don't succeed... | 0:28:11 | 0:28:13 | |
-try, try again. -That's the mantra of kite flying if ever there was one. | 0:28:13 | 0:28:18 |