Bill Mitchell recalls operatic interludes in North Craven and the woman who was known as the Voice of the Dales

WHEN long years ago, Yorkshire Television compiled a half-hour documentary about Annice Holmes and her long association with shows at the Victoria Hall at Settle, I was asked to introduce it and, at the outset, was filmed clambering over a drystone wall, then standing on the limestone knoll known as Castleberg, a splendid viewpoint for the greystone town.

The subject of amateur operatics had been broached, years before, when I sat on a northbound Pennine bus with Victor Pitts. He was a keen member of the operatic society. I took charge of properties for the next production. Subsequently, each autumn, when the annual show was being staged, I decked the stage with bits and pieces, making subtle adjustments between scenes.

Alan Bennett, who wrote a piece about the hall for a booklet that I had compiled, described the place as “familiar, adaptable, friendly, hallowed by all its umpteen uses and love and remembered by generations of Settle people…It is our dream palace. Long may it continue.”

Annice, who had an 80-year association with the place, enchanted me with tales from the past. It was in 1914 that Annice, one of three daughters of William and Ellen Sidwells, watched her first stage show, this being a performance of HMS Pinafore by an opera society that had evolved from a drama group. As a girl at Settle’s primary school during the 1914-18 war, Annice had heard the lively strains of a brass band leading a contingent of Army recruits to the railway station.

Annice’s voice was trained by Miss Mary Benson, a Londoner who had moved to Settle, where she produced Gilbert and Sullivan for the opera society. The awesome Miss Benson was a teacher of singing and elocution. Annice was taught in the Italia Conte style, a technique having no break in the voice. Her stance was important. At Miss Benson’s home she was advised to keep her eyes on a picture hanging high on a wall. She must sing to the picture!

Annice took part in The Mikado in 1920. Muriel Aked, a principal singer in this production, was to become a film star in London. Annice had a spell in the big city, then returned to Settle to marry Matthew Haygarth, whose family had a long association with musical life. They had corresponded regularly.

Matthew obtained her parents' permission to marry their daughter and promptly travelled to London, taking her to a Bond Street jewellers where he bought a diamond and sapphire ring. This was slipped on to her finger as they stood in Poet’s Corner at Westminster Abbey.

Matthew died tragically, aged 52. He was taken ill while playing in the orchestra during a performance of Pirates of Penzance. When Annice returned home after the performance, her husband was no better. He died shortly afterwards.

In the documentary filmed by Yorkshire Television the age of Annice was 87. She had been described as “Voice of the Dales”. Alan Bennett provided the narration for this romantic story of the daleswoman who rejected a career as a professional singer because of love. Annice was content to know for the rest of her long life that the Victoria Hall at Settle remained a place where dreams are made.

My first appearance was in Shakespeare. I was a member of an Austwick drama group mustered by a gentlewoman called Miss Ingilby. I will never forget the evening when we appeared on the stage of Victoria Hall. I played the part of Banquo in Macbeth. I had to say, if I remember rightly, “no jutty, frieze or buttress”. Instead, I mumbled “no butty, cheese of futress.” There was a gasp of surprise and dismay from Miss Ingilby, who was standing in the wings. The audience laughed.

Victoria Hall still throbs with life, with special events and a range of varied and well-produced entertainment.