History

‘There is nothing “ye olde” about the Rutherglen Repertory Theatre’: An Early History of Rutherglen Rep

 

On the evening of Tuesday 2nd May 1939 MSU Repertory Theatre performed the opening night of its first production, Merton Hodge’s The Wind and the Rain.  This was the starting point of the theatre group that would, within a few years, evolve into Rutherglen Repertory Theatre.  However, the founding of the theatre, its location in Rutherglen, and its development in these early years were far from straightforward.

The MSU Repertory Theatre was named after its founder Molly Urquhart, but Rutherglen was not in fact her first choice of location; she had previously attempted to open a theatre in the Gorbals, this failed when her husband’s employers, the Glasgow Police Force, objected to the wife of one of their number setting up a business in the city.  The Royal Burgh of Rutherglen presented an opportunity to get around this obstacle (Murdoch, 1981, p.57).  In particular, a disused congregational church (The Scotsman, 1950) offered an ideal setting:

 

‘…the church in East Main Street was an exceedingly fine building in which the exigencies of ecclesiastical architecture met those required for a theatre amazingly closely.  It had a fine, square-set area without transepts.  Rows of pews afforded spartan but adequate accommodation for, at most, about two hundred and fifty people… …the aisles led towards two doors that opened on to a staircase which led down to the vestibule, now to be the foyer.  There was a room on “stage” level that would make the women’s dressing room, and another below that would accommodate the men.’ (Murdoch, 1981, p.58).

1939: From top left - Charles Howie, Donald Ross, Tom Sayers, Tom Masson, Robert Gaston, Andrew Crawfoed, Molly Urquhart, Amy Malcom, Matthew Swanson, Betty Smith, Joan Scott, Eileen Herlie.

The MSU therefore started with the advantage of suitable and centrally located premises in which to perform.  These had the added benefit that they were not expensive to rent, the owner John Paterson demanding only a nominal sum, an advantage given that Molly Urquhart was starting the theatre with £300 of her own money (p.59).

The first night was quite successful; although the theatre was not full, the audience was well over one hundred.  However this was not always so; during the first year: ‘…the audience were often outnumbered by the cast on stage…’ (p.66).  Present members of Rutherglen Rep might sympathise with this predicament.  Indeed, the MSU’s second play, The Lady With the Lamp, was performed to only 24 people on the opening night.  These difficulties clearly did not dampen the enthusiasm of the participants as over the four years of the MSU 97 plays were performed at a rate, during the season, of a play every second week (p.90).  See here for a list of some of the plays performed by the M.S.U.  Not all the details are known but it gives a sense of what was being performed.

One cannot contemplate the challenge that this presented without considering the circumstances in which the theatre was attempting to operate.  It had opened just months before the outbreak of the Second World War and Murdoch notes that: ‘The blackout conditions had made people wary of going out at night…’ (p.79).  The impact is stark when examining programmes from the period.  In the programme for Wee Macgreegor in September 1941 the following message is printed:

 

‘Air-Raid Precaution

If an air raid warning be received during the performance the audience will be informed from the stage.  The warning will not necessarily mean that a raid will take place, and in any case it is not likely to occur for at least five minutes.  Those desiring to leave the theatre may do so, though they are advised in their own interests to remain in the building.

The performance will continue.’

(MSU Repertory Theatre, 1941).

 

It is perhaps testament to the efforts of the theatre, and of the determination of the audience to preserve a degree of normality, that they managed to continue in such circumstances.  Murdoch (1981) describes this scenario: ‘…the audiences who decided to stay in the theatre got the performance in toto, despite the extraneous noises-off of the world conflict through which they were living.  Raids usually began about nine o’clock, after dark.  Sometimes the long level note of the “all-clear” signal did not sound till well after midnight.  On some of these occasions the audience were entertained by the company in an impromptu entertainment of songs, recitations, jokes, till it was safe to make their way home.’ (p.93).  Not only did the company have to perform through the air raids but they also had to remain until it ended and provide further entertainment in the meantime. 

 

The external situation is reflected further in the programme for Wee Macgreegor.  On a separate page there is a large ‘V’, and beneath this the message:

 

‘How difficult is the outlook to-day compared with a year ago.  There is no excuse for-light-hearted optimism, but there is reason for gratitude.  The bravery and endurance of our British peoples in the Forces and in civil life justify proud thanksgiving.  We can be profoundly grateful for the rallying of the great American nation to our aid, and the heroic Russian resistance.  We shall pray for victory and the coming – speedy if it-may be, delayed if it must be, but yet-sure – of a righteous and lasting peace.’ (MSU Repertory Theatre, 1941).

 

Such a passage would seem incongruous if found in a programme today, but is symptomatic of the enormous effect that the war was having on people, and therefore by extension on the MSU.

 

An added problem came in the form of members of the company being called-up for war service.  In the programme for Green Cars Go East in November 1940 there is a long tribute to ‘Mr Douglas Swanson’ which notes that: ‘On Friday last Mr Douglas Swanson left to join the Royal Air Force and thus the M.S.U. feels the absence of another faithful member.’ (M.S.U. Repertory Theatre, 1940).  Murdoch (1981) also describes this as affecting the theatre (p.94).  This further demonstrates how difficult it must have been to sustain a theatre company in Rutherglen at that time.

 

The war also impinged upon the choice of plays.  In 1942 the company intended to perform Dawn by Joe Corrie, however the Lord Chamberlain’s Office withheld the licence due to the play’s war related subject matter.  More generally, new Scottish writing was favoured by the M.S.U. in addition to some more established plays (p.110).  Joe Corrie was one of several writers whose work was frequently performed.  In addition, there was T.M. Watson, a Glasgow journalist, whose plays included Beneath the Wee Red Lums which was set in Rutherglen and premiered by the M.S.U. (the M.S.U. premièred 15 plays over four years).  Also notable was the Irish writer Paul Vincent Carroll; among his plays performed in Rutherglen was The Strings, My Lord, are False, which was given its British première by the M.S.U.  Another of his plays, Green Cars Go East, was one of the most successful that the company presented.  They did so on at least three occasions, the first of these being the third play that they put on in 1939.  On its second production a total of 890 people came to see the play (p.91).  In the programme for this production its says:

 

‘In response to many requests we are presenting for the second time Mr Paul Vincent Carroll’s “Green Cars Go East.”  This play reflects the humour and pathos of the folks in the poorer parts of the City, amongst whom Mr Carroll lived when he was teaching in the Glasgow Schools, and the people are interpreted with great sympathy and tenderness.

Mr Paul Vincent Carroll, who is a regular Patron of this Theatre, lives in Carmyle, and is also the author of “Shadow and Substance” and “The White Steed,” which plays gained the highest award in the United States in their respective years.’ (M.S.U. Repertory Theatre, 1940).

 

This demonstrates the close connection between the writer and the theatre particularly given that he lived relatively locally.

 

At this time the theatre was essentially amateur, although its actors included, on occasions, professionals as well as some who would go on to be professionals: ‘During the war years its actors had been amateurs who were given a token payment and included, besides Molly Urquhart herself, Duncan Macrae and Archie Duncan (who both appeared in the second play), Gordon Jackson and Eileen Herlie.’ (Hutchison, 1977, p.100).  Murdoch (1981) adds: ‘Nicholas Parsons and Gordon Jackson were two extremely talented aspiring actors, who were finding the best possible way of obtaining a basic training for their subsequent careers that were to take them to the West End Stage.  Elsie Russell, who became well known both as a radio actress and as a journalist, later held a key position as announcer for Woman’s Hour from B.B.C. Scotland.’ (p.119).  Therefore, while the M.S.U. may not have been able to operate as a fully professional theatre, it did contain a range of talented actors.

 

By 1944 the family of the buildings owner, who had died in 1941, decided to sell it.  It was available for £2000, a sum far too great for Molly Urquhart to contemplate given the limited success, financially, of the theatre (p.128).  Approaching the Council for the use of the Town Hall proved unsuccessful (p.131) and when the opportunity came to move to the new Citizen’s Theatre in Glasgow she took it (p.131).  That was the end of the M.S.U. Repertory Theatre; it was not however the end of the theatre in Rutherglen.

Reincarnation – Rutherglen Repertory Theatre is Born

The company was reformed, and for the first time adopted the name Rutherglen Repertory.  Hutchison (1977) explains: ‘A few months later, however, a fund was started and the Rutherglen Repertory Company was registered with the aim of founding “a theatre for the development of the drama and the dramatic art in Scotland and to encourage a national drama through the production of plays of Scottish life and character”’ (p.100).  An initial £160 was raised from the sale of season tickets before the theatre was even in existence.  However, the price set for the old church building was £1750 (Crichton, 1950a, p.16) (less than stated by Murdoch above).  In order to make it available to the Theatre, the building was purchased by a group of local people who established the Stonelaw Property Company for the purpose, and asked for a nominal rent (Falconer, 1975, p.26).  The theatre re-opened and in time was able to engage some full-time professional staff and on occasion to hire professional actors or, more often, pay its part-timers a wage of some sort.’ (Hutchison, 1977, p.100).  The first production was Night Must Fall by Emlyn Williams on the 6th of January 1945, and in these early days the Theatre faced difficulties both from the limitations of the building and resources – their only set of flats was borrowed from Kirkintilloch Players (Crichton, 1950a, p.17).

The disruption of the closure of the M.S.U. and the revival under the new name raises an intriguing possibility; that Rutherglen had never entirely taken to this theatre while it was known as the M.S.U.  Murdoch notes that: ‘…early support from Glasgow dwindled while Ruglonians had not yet entirely taken the venture to their hearts.  Rutherglen did not like to be considered a second choice, and while the theatre was intent on becoming integrated with the community, the community proceeded to “gang warily”.’ (p.79).  This is not to say that support was lacking completely as clearly there were productions that were very successful, so perhaps the effect can be over-emphasised.  Nevertheless, a short article published on 20th May 1946 is worth quoting in full:

 

 

‘There is nothing “ye olde” about the Rutherglen Repertory Theatre.  It is in an ex-church hall, and it is a typical example of how Rutherglen will rally round a native enterprise.  When this theatre was started it was known as the M.S.U. after Mary S. Urquhart (now of the Citizen’s Theatre) who founded it.  But it didn’t do really well until Rutherglen men took it over.  Now it puts on world-premieres when it feels like it.’ (Unknown, 1946).

1939: The Campaign Committee to found RRT - Archie Pearson, Mary McGuinness, George Nimmo, Rosina McCulloch, Gavin Muir, Jean Ross and Bert Ross.

It emphasises that it is now a ‘native enterprise’ as distinct from its earlier incarnation run by an outsider; furthermore it is only successful now that ‘Rutherglen men’ are running it.  There may be two sentiments underlying this: one is a gendered position that it should not have been run by a woman and the other is the resentment over the fact that it was not the first choice for Molly Urquhart, and possibly that she had now left to return to Glasgow with the Citizen’s.

Whatever the motivations, efforts continued to develop the Theatre and improve the facilities: ‘The autumn season was a little late that year, 1946, for once again the whole company had to turn to the manual task of removing the old seating and installing the new’ (Crichton, 1950a, p.18).  Further improvements included a rehearsal room in 1947 and an extension with a paint room and board room in 1949 (p.33).  Subsequently, a green room, costume storeroom, and scenery store (provided by the acquisition of a building at the back of theatre) were among the additions (Rutherglen Repertory Theatre, 1956b, p.29).  Thus, by the mid-1950s it could be stated that: ‘From the facade on Main Street with its new electric sign, through the freshly painted foyer, to the upholstered warmth of the auditorium with its mural paintings gifted by the Arts Council, audiences are bidden welcome.’ (p.29).

On the side walls of the auditorium were mural paintings presented by the Arts Council - this one, by Irene Bruges, represents the various processes of dramatic art.

Indeed, there is evidence that the theatre was quite successful in its first few years under its new name.  An article in the Scotsman on February 18th 1950 reports that a 48 page brochure has been published to mark the first five years, and that: ‘…the new regime was so successful that 23 plays were staged in the first year.  In the first five years, 93 productions have been given.’ (The Scotsman, 1950).  This is not as many as the 97 plays produced in four years by the M.S.U. but is still very impressive.  Also, the programme for Bachelors are Bold in 1954 provides a reminder for the audience: ‘Don’t forget our season in Troon, during July and August.’ (Rutherglen Repertory Theatre, 1954a).  The company was clearly prolific, operating beyond its own theatre.  This was not a new departure for the company who had embarked on their first tour in 1949, visiting Hamilton, Lanark, Dumbarton, Kirkintilloch, the Glasgow Empire, Greenock and Paisley as they attempted to increase audiences and income (Crichton, 1950a, p.19), a constant pressure particularly for a company trying to improve its home:

 

‘Rutherglen’s council do not feel disposed to give financial aid to the theatre.  Donations do not come easily either.

Three weeks ago a touring company went around the West of Scotland with Matthew Service’s “Common Property.”

It was hoped they would come home showing a profit.  But the tour only helped the theatre’s reputation, did not make any difference to the bank book.

But hope springs eternal in this reportorial breast.  They will go out again to the towns they have already visited, and hope that by then more people will know more about Rutherglen’s Rep.’ (Evening Citizen, 1949).

 

Clearly the tour was not as successful as hoped, financially at least.  Nonetheless, we find further evidence of developments in the building:

 

‘Community cooperation, as well as the enthusiasm of individuals, has been the secret of success.  The old building has been readapted and reseated.  With a seating capacity of 240, it is still on the small side, but the directors aim at building a circle above the auditorium which will add about 100 more seats.’ (The Scotsman, 1950).

The other, by Thomas H. Sharks, is a comprehensive picture of the historic industrial and cultural activities of the Royal Burgh of Rutherglen.

Therefore, there is an indication that the theatre was successful in drawing audiences at this time with a demand for more seats, a fact confirmed by the Provost of Rutherglen: ‘...it is becoming evident that the success of the theatre is creating another problem, the need for further accommodation to meet the demands of additional patrons.’ (Sinclair, 1950, p.13).  However, as the lack of financial success of the tour showed, the attempted expansion would appear to have been difficult to enact.  A slightly earlier article from the Evening Citizen on May 4th 1949 is headed ‘Wanted £7000’:

‘I have come from a theatre that is looking for £7000 and does not know where to find it.

Rutherglen’s Rep company are at the end of their first year’s tenancy of the theatre they took over from Molly Urquhart.  They have made it a comfortable theatre.  But it holds only 236 people.  They say some of their productions could draw in another 150 theatre goers.  They could seat the extra if they build a circle.’ (Evening Citizen, 1949).

 

The numbers here also seem to vary slightly from those in the Scotsman article the following year, perhaps by this time they have reassessed what is technically or financially possible and reduced the ambition for the circle from 150 to 100 seats.

 

In 1952 reconstruction of the auditoriam saw a new circle added.

Company - Circa 1949-1950

It would, however, seem that the company were eventually successful in raising the funds.  The programme for The Snarling Beggar in September 1951 includes a message with the title ‘Welcome Home’:

 

‘It is with great pleasure and a certain amount of humility that we welcome you back to our theatre.  Much thought and careful deliberation has been given to the reconstruction, and we hope that you will agree that we now have, not only an intimate and comfortable Theatre but a home better fitted for the presentation of Drama in all its phases.  We realise that such a home would not be possible but for the generosity of our patrons and friends too numerous to mention in detail, but to whom we now say, “Thank you,” in all sincerity.  It is only fitting that a special word of thanks must be expressed to the Member of Parliament, Provost, Council, and citizens of the Royal Burgh of Rutherglen for the inspiring and generous help they gave in this venture.’ (Rutherglen Repertory Theatre, 1951b, p.7).

We can conclude from this rather convoluted passage that, not only was the work completed, but also that the council must eventually have relented and offered some sort of contribution.

 

There are some further indications of the relationship the theatre had with the community around this time.  For example, in the programme for Glaikit Fair, the source of tickets is identified as ‘Morrison’s Travel Service, Cambuslang’ (Rutherglen Repertory Theatre, 1951a), in addition to the theatre box office.  Also, for the 1954 production of Common property the programme states: ‘Furs kindly loaned by the Fur 

Salon, Main Street.’ (Rutherglen Repertory Theatre, 1954b).  In addition, in the programme for The Chiltern Hundreds Gilbert McAllister Esq. MP is listed as one of the honorary vice presidents (Rutherglen Repertory Theatre, 1950).  These are small pieces of evidence that are essentially anecdotal, but they give a suggestion of a company with good connections to the community, and perhaps more deeply rooted than in the days of the M.S.U.

The only sign of trouble is a passage in the 1955 programme for The Open: ‘This is the last play of the present season.  May we thank our patrons for the loyal support they have given us in difficult times.’ (Rutherglen Repertory Theatre, 1955).  There is no indication of what the cause of these ‘difficult times’ was.  Another source, however, reveals that ‘...our profit of £1024 in 1953 had become a loss of £179 6s. 5d. In 1954 and of £42 5s. in 1955.’ (Service, 1956, p.25).  So evidently money had become a problem in this period.  Circumstances did improve in 1956: 

The ladies dressing room.

‘...with the welcome aid of an Arts Council grant of £500 our profit for the year was £960 9s. 1d.  Out of this we have been able to pay a part of the large debt incurred in the reconstruction of the theatre.’ (p.25)

 

It is therefore revealed that paying for the renovation work had required a loan, and no doubt this weighed heavily on the Theatre’s finances until alleviated by the grant and better performance in 1956.

 

Another challenge for the Theatre at this time was the growing competition for the attention of audiences from television.  It was a challenge that those involved were aware of, but one which with hindsight we might conclude that they underestimated:

 

‘...vast repertory audiences have dispersed to their firesides and the wonders of television.  But I would go so far as to say that this is a passing phase and eventually a healthy one for the theatre.

The novelty of TV certainly dealt a body-blow to the living theatre.  But it also introduced plays and play-acting to countless thousands who had never in their lives been in what is usually called a legitimate theatre.’ (Bell, 1956, p.27)

 

Trying to draw people out of their houses to watch live theatre is a problem that is arguably far greater today with television and other technological and social developments heavily responsible.  It is a challenge all too familiar for the Rep. today.  However, at this time the company also derived a limited benefit from the new medium in a pioneering role; 1955 saw the theatre become the first to house a regular series of televised shows (though not performed by the Rep.):

 

‘Four “Highland Fling” shows, with Andy Stewart, Chic Murry and Maidie and Kathy Kay as its regular entertainers, were sent out at monthly intervals from Rutherglen.  Two of Jimmy Logan’s “Loganberry Pie” shows for Children’s TV were also based in the theatre.’ (Rutherglen Repertory Theatre, 1956c, p.24)

At the German Ambassadors Reception, following 'A Quiet Corner'.

Ambassador's reception following 'A Quiet Corner' - German Ambassador left, Ulric Simson centre, Charles Baptiste right.

Whatever the difficulties off-stage Rutherglen Repertory Theatre had delivered much success on-stage.  For example in 1958 they travelled for the first (and presumably last) time to the Edinburgh International Festival to perform a translation of the German play A Quiet Corner.  The German Ambassador, Hans von Herwarth, was the guest of honour at the opening performance (Rutherglen Repertory Theatre, 1958, p.5).  This is testament to how highly regarded the company was at this time

 

However, the following year, 1959, the theatre closed (Hutchison, 1977, p.112).  It seems that the reason was a decision by the owners of the building, The Stonelaw Property Group, to sell.  ‘...The closure came so suddenly, there was no time to organise and players, producer (sic) all faded away.  The Theatre sat empty, desolate’ (Falconer, 1975, p.26). Subsequently the building ‘...became in succession, a gas board showroom, a carpet shop and finally the club premises for supporters of Clyde Football team.’ (Murdoch, 1981, p.131).  Therefore, 1959 marked the end of this phase of Rutherglen Repertory theatre as a semi-professional company with its own theatre in the town.

Through the fragments of material that exist it is possible to reconstruct a picture of a theatre company, sometimes struggling, sometimes succeeding, as it attempted to establish itself in a community, initially in wartime, and then in the post-war period of the 1940s and 1950s.  The choice of Rutherglen was almost accidental, and this may have impacted to a degree upon its success, but equally it seems that the town was, for a number of years at least, a fertile location for such a theatre. The picture we have is at once vague and incomplete, and yet at the same time vivid and alive when we reflect on the many plays that were produced and the struggles that the members must have gone through to do this in the circumstances that they found themselves in.

A Theatre Reborn

In 1975 Rutherglen Repertory Theatre was revived as a purely amateur company.  With its theatre long gone it took up residence in the original Cathkin High School theatre in Cambuslang, a building which had opened just a few years earlier.  In this new guise it drew substantial audiences through the 1980s and into the 1990s with its offering of plays and pantomimes.  As well as performing at its home in the school, the Theatre also travelled to participate in amateur drama festivals such as the Scottish Community Drama Association (SCDA) festival in the Mitchell Theatre in Glasgow and East Kilbride Rep’s festival at East Kilbride Village Theatre.

 

Times became harder in the 1990s as audiences and membership of the Theatre started to decline.  It was time for the Rep to set out to look for audiences rather than waiting for them to come.  Recognising that Cathkin High School theatre was no longer an attractive venue the company began to tour local halls with its plays and pantomimes in the late 1990s, establishing itself very much as a community drama group delivering performances across communities in Rutherglen, Cambuslng and beyond. 

 

By 2005 it was becoming clear that the school building would be replaced, and therefore the theatre would no longer be available for rehearsals and the limited performances that the Rep still gave there.  At this point the company returned to Rutherglen itself, moving into premises in Hamilton Road as a base for rehearsals and storage.  Within a year the cost of these premises became unsustainable so the Rep. moved again, this time just across the road to a smaller unit, formally a post office.  This remains the home of Rutherglen Repertory Theatre today. 

 

The Rep has continued to tour local venues and enter amateur drama festivals.  However in 2005 the opening of the newly refurbished Rutherglen Town Hall saw Rutherglen Rep. making the first dramatic performance there (Mooncalf Road by Gerry McCartan).  This led to an arrangement with the Town Hall where the company performs a full-length play every September, and a number of lunchtime theatre shows have also been given at the venue.  Thus, 60 years after its predecessor incarnation was denied the use of the Town Hall, Rutherglen Rep finally made it a regular venue for its full-length productions.

 

 

References

Bell, Robert (1956), The Passing Scene.  In Rutherglen Repertory Theatre (ed.), Rutherglen Repertory Theatre: 6 More Years, Rutherglen Repertory Theatre., Rutherglen.

Crichton, Mamie (1950a), R.R.T. Productions, 1945-1950.  In Crichton, Mamie (ed.), The First Five Years: Rutherglen Repertory Theatre, Rutherglen Repertory Theatre, Rutherglen.

Crichton, Mamie (1950b), The Storey of the Theatre: A Drama in Two Acts.  In Crichton, Mamie (ed.), The First Five Years: Rutherglen Repertory Theatre, Rutherglen Repertory Theatre, Rutherglen.

Evening citizen (1949), Wanted £7000, Evening Citizen, Glasgow.

Falconer, J. S. (1975), Rutherglen Rep. Theatre.  In Landemer Day Committee (ed.), Landemer Day 1975, Rutherglen.

Hutchison, David (1977), The Modern Scottish Theatre, The Molendinar Press, Glasgow.

M.S.U. Repertory Theatre (1940), ‘Green Cars Go East’ – Programme, M.S.U. Repertory Theatre, Rutherglen.

M.S.U. Repertory Theatre (1941), ‘Wee Macgreegor’ – Programme, M.S.U. Repertory Theatre, Rutherglen.

Murdoch, Helen (1981), Travelling hopefully: the Storey of Molly Urquhart, Paul Harris Publishing, Edinburgh.

Rutherglen Repertory Theatre (1949/1955?), ‘“Whigmaleeries” or “Capers Beneath the Wee Rid Lums”’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1950), ‘The Chiltern Hundreds’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1951a), ‘Glaikit Fair’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1951b), ‘The Snarling Beggar’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1951c), Rutherglen Repertory Theatre LTD.  Season 1951-2, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1953), ‘Pick-Up Girl’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1954a), ‘Bachelors are Bold’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1954b), ‘Common Property’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1955), ‘The Open’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1956a), ‘Come on In – A New Summer Musical Revue’ – Programme, Rutherglen Repertory Theatre, Rutherglen.

Rutherglen Repertory Theatre (1956b), Equipment Up-To-Date.  In Rutherglen Repertory Theatre (ed.), Rutherglen Repertory Theatre: 6 More Years, Rutherglen Repertory Theatre., Rutherglen.

Rutherglen Repertory Theatre (1956c), Host to Television.  In Rutherglen Repertory Theatre (ed.), Rutherglen Repertory Theatre: 6 More Years, Rutherglen Repertory Theatre., Rutherglen.

Rutherglen Repertory Theatre (1956d), R.R.T. Productions, 1951-56.  In Rutherglen Repertory Theatre (ed.), Rutherglen Repertory Theatre: 6 More Years, Rutherglen Repertory Theatre., Rutherglen.

Rutherglen Repertory Theatre (1958), A Quiet Corner – Programme, Rutherglen Repertory Theatre, Rutherglen.

Service, Matthew (1956), The Anxious Years.  In Rutherglen Repertory Theatre (ed.), Rutherglen Repertory Theatre: 6 More Years, Rutherglen Repertory Theatre., Rutherglen.

Sinclair, J. C. (1950), On Behalf of the Burgh.  In Crichton, Mamie (ed.), The First Five Years: Rutherglen Repertory Theatre, Rutherglen Repertory Theatre, Rutherglen.

The Scotsman (1950), Community Effort, The Scotsman, Edinburgh.

Unknown (1946), Newspaper article of unknown source.

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