The workshops had a particular emphasis on the story of Walter Calverley and the murders that took place in 1605. However, the project aimed to explore not just the tragic events themselves but the wider themes surrounding them, including challenging subjects such as mental health, addiction, and gambling.
Below, workshop participant and local resident Janet Sladdin shares her thoughts on the project, with reflections from community artist Tom Bailey.
Janet: Initially there were a series of 'Whydunnit' sessions, held to investigate some of the possible reasons behind this sad event. Rooms in Calverley Old Hall set the scene and appropriate historical props provided clues. The workshops, led by Sarah and Tom, were interactive, thought-provoking and stimulated lively discussion, often linking issues in the past to the present. The groups worked as detectives, trying to find reasons for events that could have led up to the tragedy. Local community groups were invited to become involved, and people of a variety of ages, ethnicities and skills took part. Groups were able to come to their own conclusions about what happened.
Tom: It was clear that some people were aware of the Walter Calverley story, but not necessarily all of the details. They might know the basics – that Walter killed his two young sons – but had no idea of the circumstances. Other people hadn’t heard the story at all and we needed to fill them in. We called the workshop a “Whydunnit” because we know who had committed the crimes, but most people didn’t know why. We had invaluable support from Landmark’s historian Caroline Stanford, who helped us separate fact from fiction. The workshop covered topics such as alcoholism, gambling, debt, mental health, power, money, betrayal and even the 17th century equivalent of fake news. It was amazing to see so many different children and adults grapple with such weighty issues in a sensitive and meaningful way. We were particularly pleased when people responded creatively, drawings pictures of the emotions involved, writing collective poems and using their bodies to express the themes.
Janet: After the initial 'Whydunnit' workshops, a smaller core group was formed to take the findings further. Two more workshops took place. The first involved creative writing and aimed to bring some of the characters (both historical and fictional) to life. It concentrated on Lady Phillippa, her mother, the priest and servants from Calverley Old Hall. There is not a lot of information about these characters, so we were able to use our imagination. We worked round actual historical facts to weave our own interpretations. We chose to focus on three significant dates: Phillippa's wedding day, her son William's fourth birthday and a date one year on from the murders. Another workshop featured textile skills and the group produced embroideries reflecting the time, characters from the monologues and findings at the Hall.
Tom: We were so lucky to find an enthusiastic and creative bunch of local residents who were keen to explore the story with a bit more depth. The group seized the idea of the dramatic monologues and took it in their own direction. It was lovely that we could explore the “unheard” characters in the story, particularly the servants and staff who may have worked for the Calverleys. How might such a tragic event in the household affect them? Sarah and I were pleased to see the group invent back stories for the characters. We even had a love story smuggled in, between Tom the stable-lad and Nell, the wet-nurse! These very human stories were a way of reminding people that the story of the Calverley murders isn’t just a folktale; the events happened to real people with real lives and loves. We may not know all the facts but we can imagine the impact. A lot of the core group had excellent textiles skills so we brought in artist Kate Woodfield to collaborate on this element of the project. Some of the embroideries were exquisite and showed just how talented members of the core group are.
Janet: The culmination of the project was an open evening at the Calverley Old Hall, showcasing and celebrating the results of the creative work we all took part in. Our embroideries were displayed in an installation created by Kate in the Great Hall. The monologues were recorded, with some sound effects, and played in the Chapel, and a video showing some of the work produced as part of the initial workshops was displayed in the Solar.
Tom: We felt it was important to show off the results of the creative workshops at a special event for the public. As well as our pieces, other artworks were on show: the stone sculpture carved by Pat Walls; the weaving coordinated by Agnis Smallwood and created by members of the local community; and the curtains designed and printed by Duncan Tattersall and members of the local community. It was a great event and we all valued seeing so many visitors appreciate the artworks. Overall, we found that it was a really tricky balance to address the Calverley Murders in a respectful and sensitive way; and to allow people to explore the issue in depth. Hopefully this project showed that any story, no matter how tragic or difficult, can be tackled and explored through creativity, sensitivity and imagination.
Janet: Calverley Old Hall has been saved and given a new lease of life by the Landmark Trust – it is contemporary but sympathetic refurbishment. It is thanks to Landmark that the local community has been given the opportunity and privilege to be part of such a significant moment in Calverley's history and its hidden gem of a building. Tom and Sarah were excellent leaders, giving support and encouragement, which brought out the best in everyone and inspired them to surprise themselves with their achievements. The members of the core group worked well together, with enthusiasm and commitment. Everyone involved in the project is very proud to have been a part of it. If possible, more events like this would be welcomed in the future.
Read about more events, activities and workshops that have taken place at Calverley Old Hall here.