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With its jagged shore and sheltered inlets, Cornwall is England's most coastal county. | 0:00:30 | 0:00:36 | |
We're heading to Falmouth, | 0:00:41 | 0:00:43 | |
one of the deepest natural harbours in Europe. | 0:00:43 | 0:00:46 | |
Early in the Second World War, Falmouth was a frequent target for German bombers, | 0:00:49 | 0:00:55 | |
but by 1943, the tables were turning. | 0:00:55 | 0:00:58 | |
The port played its part in a key moment of Anglo-American history - | 0:01:01 | 0:01:04 | |
the liberation of Europe. | 0:01:04 | 0:01:07 | |
Prior to D-Day, the south coast was transformed into a vast military base. | 0:01:12 | 0:01:17 | |
Nearly three million Allies assembled to fight a common enemy. | 0:01:19 | 0:01:24 | |
But the American military was far from united. | 0:01:26 | 0:01:29 | |
Between their white and black troops, | 0:01:29 | 0:01:31 | |
there were deep racial divisions. | 0:01:31 | 0:01:33 | |
'John Stockley's father was one of those black GIs, | 0:01:36 | 0:01:39 | |
'over here making ready for D-Day.' | 0:01:39 | 0:01:43 | |
How much DO you know about your dad? | 0:01:45 | 0:01:48 | |
Well, very little really, I'd.. | 0:01:48 | 0:01:51 | |
I believe his name was Brian, | 0:01:51 | 0:01:53 | |
I believe he was very tall, but actually... | 0:01:53 | 0:01:57 | |
that's about it, not much else. | 0:01:57 | 0:02:00 | |
My mother never spoke to me about him at all, | 0:02:00 | 0:02:03 | |
it must have been quite a thing for her to... | 0:02:03 | 0:02:08 | |
to have me, | 0:02:08 | 0:02:11 | |
but it's as if there's this wall of silence. | 0:02:11 | 0:02:14 | |
'All John knows is his dad was here preparing for D-Day, | 0:02:14 | 0:02:19 | |
'but what did that entail? | 0:02:19 | 0:02:21 | |
'We're following in his father's tracks to discover what life was like for him. | 0:02:21 | 0:02:28 | |
'Tony Warner has researched the experience of black GIs in Britain.' | 0:02:33 | 0:02:37 | |
Tony, could you start by just giving us an idea of what | 0:02:40 | 0:02:43 | |
the black GIs in particular were here to do in 1943/44. | 0:02:43 | 0:02:49 | |
Well, there were 130,000 GIs who came from America, and they... | 0:02:49 | 0:02:54 | |
mostly they were involved in quartermastering, building things, engineering battalions, | 0:02:54 | 0:02:59 | |
because, even though Americans were employing black soldiers, | 0:02:59 | 0:03:02 | |
they weren't that keen on training them to fight. | 0:03:02 | 0:03:05 | |
In 1943, black GIs in Northern Europe weren't allowed in combat units, | 0:03:05 | 0:03:11 | |
they were assigned exclusively to support work. | 0:03:11 | 0:03:15 | |
Black troops widened Cornwall's narrow lanes to take trucks and tanks | 0:03:17 | 0:03:22 | |
and they built new roads like this one down to Trebah Beach. | 0:03:22 | 0:03:27 | |
So this is the limit, then? | 0:03:36 | 0:03:38 | |
Yes, this beach here was the most westerly embarkation point | 0:03:38 | 0:03:42 | |
for the troops that were going to land on Omaha Beach as part of D-Day, June 6th, 1944. All this. | 0:03:42 | 0:03:49 | |
And this concrete we're standing on, would have been laid by black American GIs, like your dad, | 0:03:49 | 0:03:54 | |
to enable the D-Day landings to take place at all. | 0:03:54 | 0:03:58 | |
And I wonder how many holidaymakers even stop to wonder why there's concrete here. | 0:03:58 | 0:04:04 | |
'Concrete like this dots the south coast. | 0:04:04 | 0:04:07 | |
'It's one of the enduring reminders of the black Americans' war effort.' | 0:04:07 | 0:04:12 | |
Just like American society, the US Army was segregated, men separated by skin colour. | 0:04:14 | 0:04:22 | |
The Black GIs were used to racism at home, | 0:04:24 | 0:04:26 | |
but now they found themselves in a new culture. | 0:04:26 | 0:04:30 | |
Tony, what was the treatment like to the black soldiers in this area from the locals? | 0:04:31 | 0:04:37 | |
On the whole, it was much better than they got in America. | 0:04:37 | 0:04:40 | |
They could talk to people, have a meal in a restaurant, | 0:04:40 | 0:04:44 | |
they could walk down the street, they could go dancing, | 0:04:44 | 0:04:47 | |
and they found that England was much better | 0:04:47 | 0:04:49 | |
when it came to the racist behaviour of white people, than America was. | 0:04:49 | 0:04:53 | |
The US Army made training films to prepare their troops for the shock of British attitudes. | 0:04:56 | 0:05:02 | |
Now let's be frank about it, there are coloured soldiers as well as white here, | 0:05:02 | 0:05:06 | |
and there are less social restrictions in this country. | 0:05:06 | 0:05:09 | |
Freed from rigid segregation, the way was open | 0:05:13 | 0:05:16 | |
for relationships between the black Americans and the locals. | 0:05:16 | 0:05:20 | |
But John's white mother refused to tell him about her mixed-race romance with his GI father. | 0:05:20 | 0:05:27 | |
I don't know if he went into Europe in the theatre of war, | 0:05:27 | 0:05:30 | |
I don't know where he went to, or whether he went back to the States, | 0:05:30 | 0:05:33 | |
posted back to America. | 0:05:33 | 0:05:35 | |
Em, I don't know, so... | 0:05:35 | 0:05:38 | |
we lost track of him then. | 0:05:38 | 0:05:40 | |
If he got killed in the Second World War, I'd like to go and see his resting place. | 0:05:40 | 0:05:46 | |
If he went back, | 0:05:46 | 0:05:48 | |
I'd certainly like to go and meet his family. | 0:05:48 | 0:05:51 | |
John's a living legacy of a time when, against all the odds, | 0:05:55 | 0:05:59 | |
people on this coast were able to find love in a world at war. | 0:05:59 | 0:06:04 | |
The Lizard Peninsula. | 0:06:15 | 0:06:17 | |
We've reached the most southerly point on the mainland. | 0:06:17 | 0:06:20 | |
Living on the edge, coastal folk must turn their hands to anything. | 0:06:23 | 0:06:28 | |
For millennia, the Cornish mined tin. | 0:06:28 | 0:06:31 | |
That metallic thread stretches along this coast to here at Mount's Bay, dominated by an iconic island. | 0:06:31 | 0:06:39 | |
This is St Michael's Mount. | 0:06:39 | 0:06:41 | |
In classical times, traders took tin from here, | 0:06:41 | 0:06:45 | |
mixed it with copper from Cyprus and fuelled the bronze-age arms race. | 0:06:45 | 0:06:50 | |
My last stop approaches. | 0:06:54 | 0:06:56 | |
One of Britain's most remote artistic attractions - | 0:06:56 | 0:07:00 | |
the Minack Theatre. | 0:07:00 | 0:07:02 | |
One of the great seaside traditions is taking in a show. | 0:07:05 | 0:07:09 | |
I'm not going to take in a show. Heaven help us all, I'm going to be IN one! | 0:07:09 | 0:07:13 | |
On this windswept headland, stands the Minack, | 0:07:20 | 0:07:24 | |
a unique temple to the performing arts. | 0:07:24 | 0:07:27 | |
Less theatre of dreams, more place of my nightmares. | 0:07:28 | 0:07:33 | |
Well, would you look at that? You'd expect to find that in ancient Rome. | 0:07:38 | 0:07:42 | |
Maybe it's the scene of a Greek tragedy. | 0:07:42 | 0:07:45 | |
'My co-star in this personal drama is local thespian, Sarah Lincoln.' | 0:07:47 | 0:07:52 | |
-Hi, Sarah. -Hi, welcome to the Minack. | 0:07:52 | 0:07:54 | |
They tell me I'm going to perform here. | 0:07:54 | 0:07:57 | |
You are, yes. Tonight, on this very stage. | 0:07:57 | 0:08:00 | |
Ohh... Show me what I'm going to do. | 0:08:00 | 0:08:03 | |
The very first performance that was given here on this stage, | 0:08:03 | 0:08:06 | |
was a production of The Tempest in 1932, | 0:08:06 | 0:08:10 | |
so we thought it was really apt that YOU would play Prospero, and I will be your Ariel. | 0:08:10 | 0:08:15 | |
-And here are your lines. -Shakespeare, what a nightmare! | 0:08:15 | 0:08:18 | |
No, Shakespeare's easy, he tells you exactly what to do, | 0:08:18 | 0:08:21 | |
and he's great at commanding the elements, just like Prospero. | 0:08:21 | 0:08:25 | |
You've got the real sea and the real wind, and potentially even the real rain tonight. | 0:08:25 | 0:08:30 | |
-Right, let's go. -Shall we start rehearsing? -Let's go. | 0:08:30 | 0:08:33 | |
-Let's go hence to another place. -SHE LAUGHS | 0:08:33 | 0:08:36 | |
'This extraordinary amphitheatre exists thanks to The Tempest, | 0:08:38 | 0:08:42 | |
'Shakespeare's play set on a small island. | 0:08:42 | 0:08:45 | |
'In 1932, Rowena Cade wanted somewhere suitable for her friends to perform it. | 0:08:47 | 0:08:54 | |
'She chose this spot, at the end of her garden. | 0:08:54 | 0:08:57 | |
'The play's lead part, Prospero, has starred all the greats - | 0:09:00 | 0:09:04 | |
'Redgrave, Gielgud, McKellen, | 0:09:04 | 0:09:08 | |
'and now me!' | 0:09:08 | 0:09:10 | |
-And our little life is rounded with a sleep. -Brilliant. | 0:09:11 | 0:09:16 | |
So what does the venue bring that isn't there in another kind of theatre? | 0:09:16 | 0:09:20 | |
I think the first thing it brings is scale. | 0:09:20 | 0:09:23 | |
I think the fact that the theatre is surrounded by nature, | 0:09:23 | 0:09:26 | |
surrounded by the sea, the elements, the cliffs, | 0:09:26 | 0:09:29 | |
and the fact that you've got a real horizon. | 0:09:29 | 0:09:31 | |
When you stand on stage, as an actor, | 0:09:31 | 0:09:33 | |
often you have to create a horizon, and there it is, looking at you, | 0:09:33 | 0:09:37 | |
and the audience are looking at you with that fantastic backdrop. | 0:09:37 | 0:09:40 | |
The early performances of The Tempest were such a great success, | 0:09:44 | 0:09:48 | |
it was repeated down the years. | 0:09:48 | 0:09:50 | |
Rowena Cade - and her long-suffering gardener - | 0:09:50 | 0:09:54 | |
spent the next 40-odd years building a unique theatre. | 0:09:54 | 0:09:59 | |
-Here we are. -OK. -Oh, the gorgeous white shirt... -Nice blouse(!) | 0:10:00 | 0:10:06 | |
-Pair of britches for you. -I'll look like little Jimmy Krankie! | 0:10:06 | 0:10:09 | |
I feel sick to my stomach. | 0:10:09 | 0:10:11 | |
-Slight problem, there! -SHE LAUGHS | 0:10:14 | 0:10:16 | |
I offer you...Prospero. | 0:10:19 | 0:10:22 | |
Outside, suitably ominous weather, | 0:10:23 | 0:10:28 | |
and a frankly certifiable audience are rolling in. | 0:10:28 | 0:10:32 | |
-We're English, we do this all the time. -It's all part of the fun. | 0:10:32 | 0:10:38 | |
Absolutely bonkers! | 0:10:38 | 0:10:40 | |
There must be something strange about the fact that behind you, | 0:10:40 | 0:10:44 | |
rather than a painted backdrop or a set, | 0:10:44 | 0:10:46 | |
there is uncontrollable...nature. | 0:10:46 | 0:10:50 | |
No actor on this planet can compete with a pod of 20 dolphins | 0:10:50 | 0:10:53 | |
doing a sort of, you know, moon-walking across the top of the water which they seem to... | 0:10:53 | 0:10:58 | |
It's like they rehearse round the corner and go, "We'll show them!" | 0:10:58 | 0:11:01 | |
and they come and do this fantastic display. | 0:11:01 | 0:11:04 | |
And do the audience..? | 0:11:04 | 0:11:05 | |
-Yeah, you haven't got a hope in hell. -They just turn to the...? | 0:11:05 | 0:11:08 | |
To the dolphins. You can stand there stark naked, chop your own head off | 0:11:08 | 0:11:12 | |
and "Oh, look at the dolphins!" | 0:11:12 | 0:11:14 | |
This season, I had a performance I was directing | 0:11:14 | 0:11:16 | |
and we had to stop the show because there was an air-sea rescue. | 0:11:16 | 0:11:20 | |
This is not the easiest theatre in which to make one's debut, is it? | 0:11:20 | 0:11:23 | |
If the elements are raging, people really, really remember if you get through it, and they love it. | 0:11:23 | 0:11:29 | |
Well, the elements are certainly raging. | 0:11:29 | 0:11:32 | |
We've only a short scene, but I've never been on stage before. | 0:11:32 | 0:11:36 | |
Ladies and gentlemen, good evening. Welcome to the Minack. | 0:11:36 | 0:11:38 | |
I've never felt so ill in my entire life, I think I'll break my own leg. | 0:11:38 | 0:11:42 | |
There's something we want you to share with us this evening. | 0:11:42 | 0:11:45 | |
CHEERING AND APPLAUSE | 0:11:45 | 0:11:48 | |
Our revels now are ended. | 0:11:54 | 0:11:57 | |
These, our actors, as I foretold you, were all spirits and are melted into air, into thin air. | 0:11:57 | 0:12:04 | |
We are such stuff as dreams are made on, and our little life is rounded with a sleep. | 0:12:04 | 0:12:12 | |
Come with a thought, I thank thee, Ariel, come. | 0:12:12 | 0:12:15 | |
Thy thoughts I cleave to. What is thy pleasure? | 0:12:15 | 0:12:19 | |
Spirit, we must prepare to meet with Caliban. | 0:12:19 | 0:12:22 | |
Say again, where didst thou leave those varlets? | 0:12:22 | 0:12:26 | |
I told you, they were red-hot with drinking. | 0:12:26 | 0:12:32 | |
So full of valour that they smote the air. | 0:12:32 | 0:12:36 | |
The trumpery in my house, go bring it hither, for stale to catch these thieves. | 0:12:36 | 0:12:41 | |
I go, I go. | 0:12:41 | 0:12:43 | |
APPLAUSE | 0:12:47 | 0:12:49 | |
Land's End and journey's end. | 0:13:01 | 0:13:04 | |
Hollywood will never find me out here. | 0:13:04 | 0:13:07 | |
Well, the bard said all the world is a stage. It turns out that's even true of the coast. | 0:13:08 | 0:13:13 | |
Subtitles by Red Bee Media Ltd | 0:13:13 | 0:13:15 | |
E-mail [email protected] | 0:13:15 | 0:13:17 |