Another tribute to Mervyn
TRIBUTE TO MERVYN STOCKBRIDGE GOULD from Gerrie Williams. (stage name Gerrie Raymond in younger days and Leonie Wilde in later ones)
There are very few truly Renaissance Men left in the world, and even fewer genuinely ‘larger than life’ characters. Mervyn was both of these, in spades.
He worked of course in many branches of the theatrical profession….as electrician at The West End’s Palace Theatre; Stage Manager and Lighting Designer at major provincial theatres such as Sunderland Empire…..and at virtually all of the minor theatres too. He was Road Manager for Mike and Bernie Winters, and he even once essayed the role of actor in summer repertory. As Llewellyn and myself were working in some theatre somewhere else at the time, we never saw him play Winston Churchill. However, in his inimitable fashion, he assured us that, “worthy sources” had considered him “not f…ing bad!”
I met him in 1970, (and Llewellyn sort of acquired him as a fixture in our lives when Llew and I married a year later…..the duo of friendship moving seamlessly into a trio). In 1970 I was leading lady in the big Revue Show at the Butlins Theatre in Skegness, where Mervyn happened to be theatre ’sparks’…..quite literally in that theatre, as the lighting board was a deathtrap and should have been condemned long since. I do not think that Health and Safety would permit the flying sparks these days, particularly since the poor electrician stood habitually in a half inch of water due to a leak in the roof! Mervyn took it all in his stride as he struggled with the antique board, and the 30 ish people onstage grew used to hearing the colourful epithets emanating from the box set high above the O.P wings as the hapless Mervyn thought he was about to turn into a catherine wheel.
The 40 year friendship spiced with shared black Scorpio humour, the same academic interests, and the same intense theatricality of the 3 of us afford a million memories of Merve. It would take an entire book to catalogue even the most magical moments. I remember him once turning up to visit us at some stage door or other, and imperiously demanding entrance , as he was, “Miss Raymond’s personal lighting designer”. This caused some puzzlement for the staff as the lighting choices at this particular gaffe were twofold…..ON or OFF……and oh, that I could have afforded a personal lighting designer!
Having said that, I did actually employ him once in that capacity for a pantomime which I was Directing at the time, (not to mention Choreographing and playing Principal Boy…..smaller Managements liked to get their monies worth in the 1970’s). The Management were stunned by the brilliance of his work, pronouncing him “uniquely gifted”, and then adding, “if a trifle high-handed dear”.
Well, we know that the old lad could be irascible, bombastic and mercurial at times, but he was generous to a fault, consumed by guilt if he had offended, immensely proud of the achievements of his friends and supportive of them at times of crisis in their lives. In short, he was the loyalest of loyal friends, gaining a raft of friends from the theatrical profession, and indeed from all other areas of his life as witness the large number of people who attended his funeral and bombarded websites various with messages and tributes to his memory. In fact, had he been in the congregation at his funeral, he would have said, “not a bad house for a Friday matinee”.
At the funerals of each of my parents, one of my Drama pupils from my sideline teaching practice spoke a poem by Thomas Hardy. After the second of these occasions, Merve……who was loyally in attendance, even though he was suffering from a vicious attack of gout, which he described in torrents of colourful language……said, “the girl who did it at your father’s funeral did it better….nice unadorned speech and splendid sensitivity”. He was right of course. He had an excellent knowledge of, and a fine ear for poetry. One of his running jokes over all those years was to convince me that he was years younger than myself. I totally believed it for a lot of years until he betrayed himself and then screamed with gleeful laughter about the amount of time that he had managed to foster the deception We kept up the joke then, just to amuse him. We would be watching some programme about the Second World War on television and he would opine that the shortage of potatoes must have been difficult for me when arranging meals. I would counter with something like the fact that it didn’t matter too much anyway since it was quite difficult for my mother to force potatoes into my feeding bottle. He would shake and chortle with delight. So even after he had made the observation about the speaking of the poem at my mother’s funeral, and had then said in that wonderfully mocking way of his, “I like that poem, you can do it at mine”…..he still had to add, “if you havn’t long since snuffed it yourself, aged old bat that you are!”
Well, I was quite certain that he would find SOME way to send me notes if he disapproved of my rendition of it at his funeral, but I took a deep breath and said, “darling Merve, this is for you”.
THE GOING
Why did you give no hint that night
That quickly after the morrow’s dawn,
And calmly, as if indifferent quite,
You would close your term here and be gone
Where we could not follow, with wing of swallow
To gain one glimpse of you ever anon.
Never to bid goodbye or lip the softest call
Or utter a wish for a word, while we
Saw morning harden upon the wall,
Unmoved, unknowing, that your great going
Had place that moment, and altered all.
Why then latterly did we not speak,
Did we not think of those days long dead,
And ‘ere your vanishing strive to seek
That time’s renewal?
Well! All’s past amend,
Unchangeable. It must go.
And you could not know
That such swift fleeing, no soul forseeing
Would undo us so.
Addendum: It was our tradition that Merve came to stay for a week with us at my birthday or his birthday, at Llew’s birthday, and for Xmas/New Year, (as well as once or twice in other parts of the year )once we had semi and then fully retired.
He had apologised for not feeling well enough to come for my birthday this year but would come for his own. In the event, he passed away on my birthday, but not before he had posted off a card and one of his justly famous fruit cakes The fact that he had managed to do that when he was so obviously terribly ill speaks volumes about the worth of the man, and his love of his friends. That gesture more than anything else made me weep inconsolably. Our festive occasions will be unbelievably poorer without the presence of this unique and glorious aforementioned ‘Renaissance Man’.
A tribute to Mervyn
FROM SIMON BLACK
For those who know me, my profound apologies for not being here in person, since family commitments make it impossible for me to get away from Cardiff for this sad day.
It was with great regret that I heard about the passing away of Mervyn Stockbridge Gould. A great leading light of the theatrical scene has gone out for good and remains forever dark. Of course, if he were here, he would be telling me off for using the word ‘light’. “It’s a lamp or a lantern you stupid boy” would be the cry, for which misdemeanour I will almost certainly have to pay the price of the next round.
I had the delightful experience of learning the technical workings of the stage under Mervyn’s tutelage at the Department of Anguish and Trauma at Loughborough University in the late 1080s and early 1990s. I also have it on good authority that it was Mervyn himself who coined the very term, which is still in use today. I also believe he was responsible for the term ‘shabby-gentile’.
There are a couple of us who steered clear of the bitchiness and backstabbing that came with the actual performance of drama and tended to take on all the technical and backstage work on a regular basis. Mervyn was always delighted when a student came forward in this way, since it freed his time up and gave him an opportunity to check on the flow levels of the hand pumps in the EHB bar. Incidentally the EHB at the university did have a small technical and lighting capability, which fell under Mervyn’s due care and diligence. It was on just such a mercy errand for a ‘special bulb’ with Mervyn that I discovered that the EHB was the only bar on campus which still served beer from old fashioned jug handled glasses. These special bulbs required much diligent care and attention.
After university, I spent several years working as a stage lighting technician
for a number of theatres, including Nottingham Playhouse, which Mervyn lauded, and for a number of touring rock bands, which Mervyn derided as “new-fangled skiffle”. I would not have done this were it not for his support and guidance, and the all important three-fold rule of theatrical timing:
“Never forger, Black, that there are three vitally important times in this business: Opening Time; Closing Time and with appropriate brevity in-between ‘Show Time’”.
Mervyn remains forever in our memory – a lighthouse in a sea of mediocrities,
and one who sadly must remain bright only in our memories. Please raise your special bulbs to the last and finest example of the old school.
Kind regards
Simon Black.
Mervyn's Funeral
There were three Eulogies given at Mervyn’s funeral last Friday.
The one below was given by Kate Taylor, Chairman of the Society as the third reading, covering his involvement with Mercia. The others will be uploaded when available.
Mervyn Gould
Mervyn burst into Mercia Cinema Society at a committee meeting on 13 March 1993. It was a time of some difficulty for the Society as we were without a Secretary. Mervyn wrote to me offering to take on the role. The Committee met swiftly co-opted him, and gratefully accepted his offer. I see from the Minutes – which Mervyn wrote – that he thanked the meeting for its confidence in him and hoped it would not be misplaced. Of course his own confidence was such that he had arranged the meeting himself at the department of English and Drama here at Loughborough University and was full of plans for the Society’s future.
But our confidence was not misplaced. Mervyn swiftly became synonymous with the Society. He had huge ambitions for it. You were never sure, as he bounced and flounced his way through our work for the next sixteen years, whether he was more a thespian or an academic. But he was a stickler for quality both in research and in presentation. He took over the design and preparation of our then rather cheap and cheerful quarterly Bioscopes, and turned them into excellent journals, well designed, rich in quality. He stopped us producing photocopied, comb-bound books, and set the trend for well-written, well-illustrated and well printed works. He wrote some himself. Just a few days before his death, he was delighted to receive a belated but laudatory review of his book on Boston, Spalding, and the Aspland Howdens. He cajoled others to extend and write up their research, and took the greatest care and delight in typesetting their work.
Without a grumble – or at least an audible one – he undertook the tedious donkey-work of arranging meetings, sending out agendas, and, of course, four times a year stuffing envelopes and mailing out the Bioscopes. He also – and far more reflective of his calibre – arranged a number of conferences on picture house history in the Society’s name. And he loved indexing. He was, simply, tireless in his dedication to the Society. Practically, he was the Society.
Such was his contribution that he had no difficulty in persuading an annual meeting to change his title from that of Secretary, to Administrator.
He did not suffer gladly those whose standards of research or literacy were inadequate for the status he demanded of the Society. He could be vituperative , volatile and dogmatic; he was meticulous and talented; he could also be wonderfully kind and generous. He made the Society a beacon in the field of picture-house research and publishing.
Alas those delicious Christmas puddings which he made each year for his friends have been eaten, but his brilliant books remain. We are proud that they bear the imprint of the Society.
We shall not see his like again.
More about Mervyn
Various society newsletter editorss have been contacting us asking about Mervyn’s career in order to write obituaries. There is a very succinct biography penned by Mervyn himself on this website, reproduced below.
Mervyn Gould didn’t quite run away with the circus, but did do his first show whilst still a VIth-former. When the Regal Boston had a stage, fly tower, and dressing rooms built on in 1963, to replace the demolished New Theatre, he got a job as A.S.M. in the opening show, Babes in the Wood. After the Boston run he got leave from the new term, and toured with it to Crewe, Buxton, and Leake. In 1965 he went up to Marjons, King’s Road Chelsea, to read History and join the swinging 60s scene (not convincingly as he wore corduroy twills, suede shoes, hacking jacket and cravats – but a hell of a change from the Fenlands), and worked as a Showman in the West End. After scraping through Finals, he did summer seasons, pantos, and tours, interspersed with residencies at both provincial and West End theatres. These included a season at Bury S. Edmunds Theatre Royal – the only theatre not only surrounded by a brewery but owned by it – three seasons at the historic music hall Sunderland Empire, and a year as Deputy Chief Engineer at the Palace on Jesus Christ Superstar. For 17 years he was Technical Tutor and House & Stage Manager at Loughborough University Theatre, and then took early retirement to research and write on theatre and cinema architectural and technical history. He started writing in the early 70s, and since then has been published by Tabs, Cue: Stage Lighting International, The Stage, Focus, the Mercia Bioscope, and other journals. He has produced two books – Loughborough’s Stage and Screen and, most recently, Boston and Spalding Entertainment. Four exhibitions on entertainment history have been arranged and designed by him. At present he is working on booklets on the stage and screen history of York, Crewe, Burton-on-Trent. He hopes to resume work this year on his projected Ph.D. thesis on Richard Thornton and the birth of Moss’ Empires. He became secretary of Mercia in 1992, and some years later assumed the Administrator title. The society has honoured him by electing him an honorary life member.
Since he wrote the above back in 2006, he had also written two further books (York Cinemas and Basingstoke entertained) as well as completing Gil Robottom’s unfinished manuscript for Coventry Picture Palaces. In 2007, he agreed to take part in an interview for the Theatre Archive project, an oral history of people working in (& visiting) theatres between 1945 and 1968. A transcript of his contribution can be found online here which is well worth reading as it provides further enlightenment of his background and temperament.
Mervyn Stockbridge Gould
14/11/1946 – 29/10/2009
Mervyn Stockbridge Gould
The President and Committee of Mercia Cinema Society announce with the greatest regret the death of the Society’s much-esteemed and loved Administrator, Mervyn Stockbridge Gould.
Further details and funeral arrangements will be given when known.
*UPDATE*
From Ian Houseman, who is Mervyn’s Executor:
The funeral service will be held at Loughborough Crematorium next Friday (13th November) at 3.30 p.m.
You can visit Mervyn to pay your last respects on Thursday between 10 a.m. and 4 p.m. and on Friday between 10 a.m. and 12 noon. He is at Swanns of 4, Bridge Street, Loughborough, just across the road from the Swan In The Rushes. Telephone number 01509 210656.
Refreshments will be available after the service. The location is yet to be fixed but will probably be at Mervyn’s favourite watering hole The Swan In The Rushes, Loughborough.
No flowers by request, although donations to the cost of the funeral service are welcomed.
In: News · Tagged with: News
September Gallery- Gerry Crane recollections
From Bioscope 91 – May 04
A personal recollection by Gerry Crane
I was working as a Laboratory Assistant at Ship Carbon, the firm who manufactured carbons for industrial arc lamps and, of course, for cinema projectors before these were replaced by xenon lamps, when in 1952 I saw an advert for Trainee Cinema Managers in the Ilford Recorder.
My interview took place at the offices of Circuits Management Association in Albion House, New Oxford Street (C.M.A. was the management company for the various groups of cinemas owned by the Rank Organisation, whose names were later all changed to Odeon). Mr. Simpson, the Personnel Manager, chaired the interview panel and remarked that working for Ship Carbon meant I was nearly in the business already.
This fact seemed to be in my favour and I was appointed Trainee Manager at the Odeon Whalebone Lane under the benevolent eye of Ted Carter. I remember on my first day I was wearing a pullover and Ted told me that if I must wear one then to wear it under my shirt as the District Manager, Charlie Attrill, would be visiting that day and he wouldn’t approve; in the event when I was introduced to him later that day he was wearing a scruffy old khaki-coloured cardigan!
After a few months I was transferred to the Odeon Romford where the manager was George Sewell and his house manager Geoff Davis, who had previously been at the Ritz Southend. (Gordon Nimse who had succeeded Geoff at the Ritz went on to become head of the Rank Publicity Department and upon retirement went on to write novels using his wartime army experiences in Burma.) George Sewell ran a tight ship at what was one of the area’s busiest cinemas. His nearest colleague, Les Martin, ran the Plaza (later the Gaumont) just across the road where he had an ex-organist as an assistant manager. On one occasion this ex-organist, whose name escapes me, was on relief at the Odeon when it was found that due to a time sheet error there was a thirty minute gap before the last house was to start, where upon he delighted the audience with an impromptu organ recital.
From Romford I moved to the Gaumont Leytonstone as assistant manager to Alf Stokes. I had a convenient arrangement whilst there whereby I had a late lunch on Saturdays after which I used to watch football: Leyton Orient one week, the local amateur side the alternate weeks. The not-so-pleasant side of being at Leyton was the day and a half relief I had to do at the Foresters or the Museum, Bethnal Green. To a young assistant manager the East End of London was something of an eye opener, especially the audience reaction when the projectionist put the wrong reel on! I recall George Baker and Alan Harris-Quelch at the Gaumont Heathway, Dagenham and their conversations Monday mornings on how much trouble they had had over the weekend from the local youths who were particularly rampant at the time, particularly on Sundays. No security firms in those days.
My next move was to the Odeon, Forest Gate with manager Les Pinder, with relief duties at the Cinema, Canning Town. From there I went to the Odeon Beacontree; Bill Smith was the manager and that included relief work at the Grange, Dagenham.
I then moved to what I thought was the big time at the Odeon, Gants Hill with Bill Brooker and no relief duty! However, the cinema was the base for the district office so I was sometimes sent out to cover for sick leave with virtually no notice. One of these SOS jobs was at the Trocette Bermondsey, a barn of a place that had seen better days, part of the auditorium being roped off due to the risk of falling plaster. Another hurried relief found me at the Picture House on the Old Kent Road and again a place of some notoriety.
When I unwittingly reprimanded the manager’s favourite member of staff on his day off, my days at Gants Hill were numbered. I was moved to the Odeon Barking under George Bernard, ostensibly to gain live show experience, although by that time Sunday concerts were nearing their end. I do remember however full houses for Ted Heath’s band and a show starring Ruby Murray with Frankie Vaughan and the Kirchen Band.
1954 was the year I got married and we shared accommodation with my sister-in-law who lived in Norwich. Fortuitously I was able to transfer to the Gaumont Norwich, where under the skills of the well-known showman Alf Crisp I learnt my publicity skills which were to serve me well in the coming years and gain me a few honours. At that time Alf went to London each week to mark the showmanship competition folders for the year. However the Norwich Gaumont was to be an early victim of closure, because the Burton’s shop next door wanted to expand. Alf transferred to the Odeon Southend, where he was to stay until retirement. I remained at the Gaumont in charge until they closed the doors for the last time.
It was then that I got my first full management appointment, conveniently at the Odeon Norwich. I recall it was about this time that the infamous ‘flavour of the month’ ice cream was introduced, exotic flavours many of which melted before the salesgirls even reached the floor!
The Odeon, St. Botolph Street, Norwich c.1962. Judging by the canopy edge revamp and the new entrance doors, the Theatre had undergone the notorious Rank ‘Zing!’ treatment. © Eastern Daily Press Norwich.
When Bryan Quilter, who had come to Rank from Beecham’s, was made Assistant Managing Director of Odeon Cinemas he spent some time as my assistant manager getting to know how everything was done, except that is, getting a queue in, as it was during a scorching hot summer! It was during this period that ‘BQ’ whilst standing at the front of house suggested, “I think you chaps could manage two theatres in towns where they are reasonably closely situated.” And so Town Management, later to be called Multiple Unit Management, was born.
In 1966 I applied for and was appointed to the Odeon Portsmouth in succession to Peter Baker. David Carey, an excellent house manager, was still in position, which was a great help in the early days. It was in Portsmouth that I began to put to good use the showmanship skills learnt from Alf Crisp, which resulted in me winning the area competition in 1974 and 1975.
Gerry, in trademark Library-frames and the last ‘Viva Zapata’ moustache in captivity, receives the Champion Showman man-with-a-gong plaque and cheque from John Bell, managing director
Following on from Bryan Quilter’s perception of Multiple Unit Management I was given control of the Gaumont just across the road on the retirement of the manager Douglas Beale.
The Odeon Portsmouth was to be one of the early conversions to three screens by the inclusion of two small auditoria under the circle. These soon proved to be too small and so were extended forward to allow for more seats. The conversion work entailed regular visits from the team in engineering, Les Butler, projection, Derek Hughes, heating and ventilation, Bert Jones, furnishings; all co-ordinated by Roy Summerhayes the zone engineer and a gentleman of the first order.
When Ken Russell was filming Tommy using many locations in the Portsmouth area I managed to get a part as an extra in the film. Needless to say I was highly chuffed to be appearing on the screen of the Odeon whilst I was standing in the foyer of the cinema!
Another highlight of my career was when Laurie Clarke, who had been my area controller and later went on to become managing director of Odeon Cinemas, arranged for me to be on duty to support John Thompson, manager of the Odeon Leicester Square for the Royal Command Performance of Anne of the Thousand Days. What a night to remember with the film industry top executives twitching like nervous children as they waited to greet Her Majesty the Queen.
I must have been doing something right at Portsmouth as I was short-listed for the Dominion / Astoria, Charing Cross Road, Multiple Unit, though losing out to Alan Harris-Quelch who later became manager of the Leicester Square Odeon. Eventually I was chosen for an executive development course, and worked in the Entertaining & Catering Department before going back to Portsmouth for a time.
I was then seconded to a unit lead by Chris Davis, son of Sir John Davis, who had been with Odeon from the late 1930s and had become head of Rank. I found myself in Dubai to operate with other Rank staff an entertainment complex including an ice rink, ten-pin bowling, restaurants, squash courts etc. The contract ended early and I returned home redundant after 28 years with the Rank Organisation.
I returned to Dubai for a year to help in the construction of a three court tennis stadium and putting on what was then the world’s richest tennis tournament. On returning home I worked for periods in local government ending up working for Fareham Borough Council installing a full-scale cinema in the Ferneham Hall whilst raising the live show presentation and operating standards: finally retiring in 1995 after managing a £2 million capital programme – a job which gave me great satisfaction.
August Gallery- entertainment buildings in York
Our Administrator recently visited York on July 6th with a new (to him) Fuji s7000 camera. The buildings shown are extensively covered in our Publication, York Cinemas.
Bioscope 112 now despatched
Bioscope 112 Contents:
Pictures in the Sand / Ian Meyrick mystery photo / Cinema in Buckingham /
Reel Enthusiasm – 6 / York re-opening / 50 years on / ABC Preston /
Wolverton Electric Palace / Wetherby’s Cinema / Review – North Tyneside /
Letters / Notes & Queries
Our three new Committee Members
taking on the tasks of raising Mercia’s profile and increasing our moribund book sales are three new committee members, appointed at a meeting in March
Lifting the threat of having to frame a closure motion for the next AGM to consider, the three offered their services, not only as way of averting close-down, but in a belief that Mercia and our publications are worth promoting.
Press & Public Relations
Johnny Cliff and Gerry Glover are going to act as a team to raise our profile nationally, increase our membership, and show our books to a wider audience, thus aiding sales. We’ll let Gerry introduce the two of them –
I co-founded the British Music Hall Society with the late Ray Mackender in September 1963, and Johnnie was the inaugural Hon. Treasurer. Johnnie was box office manager of the Garrick Theatre, London for twenty-odd years and then No.2 at the St. Martin’s Theatre – The Mousetrap. He is terrific with money (my life!), orderly (he always knows where everything is) and loyal. I am untidy, open-minded, humorous and handsome!
I have been manager of the Fortune Theatre – The Woman in Black; briefly ran a theatrical agency – City Management; was co-lessee of the Westminster Theatre; and ended up as Corporate Affairs Officer at City & Guilds. I emigrated to Perth, Western Australia in 1966 and returned to UK in 1985 to look after my mother who was 85.
In Australia (Perth, Sydney, Melbourne) I was the first Administrator (CEO) of the West Australian Ballet Company, and first Tours & Promotions Officer of the West Australian Arts Council. In Sydney I was Public Relations Officer at the Arts Council of New South Wales and, for eighteen months, lessee of the Mayfair Theatre, Castlereagh Street. In Melbourne I was Tour Manager for Clifford Hocking Enterprises – Ravi Shankar, Cleo Laine & John Dankworth, Barry Humphries’ ‘At Least You Can Say That You’ve Seen It’ amongst others.
We are both retired, in our early 70s with plenty of spare time. Both of us are members of the British Music Hall Society, CTA, the Theatres Trust, and the CAA (Concert Artistes Association), as well as the Mercia Cinema Society. At our Malpas Road base we have an office with storage space, desktop computer & printer, sound & vision gear, etc.
Johnny Cliff (left) examines the proof copy of Frank Manders’ North Tyneside, while Gerry Glover (right above) and Martin Hall (below) listen at the meeting
Book sales
martin hall has taken over Sales with enthusiasm; on a mission to get our sales graph to take a dramatic upward turn. Originally from Essex, now he is a school-teacher living and working in the Bradford area. Married with two young children, he is going somehow to find time in a busy life, not only to dispatch orders, but travel to find outlets, and possibly attend rallies and fairs with a Mercia book-stall. He can deal with e-mail orders and enquiries, and he and the web-master will work on a re-vamped home page for the web-site. There is a possibility of an on-line shop, and already he has established a dispatch point for the expected future bulk orders via our DHL account !
Postage and packing…and Paypal
The Committee have recently taken the decision to introduce postage and packing charges on all new publications, commencing with Cinemas of North Tyneside.
Publishing high quality research into Cinema history is the prime charitable aim of the Mercia Cinema Society. The society needs to strike a careful balance between the size of print run and the cover price charged (which also needs to reflect Member and bookshop discounts) so that sales continue to ensure an adequate cashflow surplus to be able to fund future publications. Separating the P&P costs from the actual book price helps us to be able to keep the cover price lower within the all important book trade.
Our somewhat Victorian method ordering of books via letters and cheques is increasingly recognised as a rather old fashioned method in the Internet age, especially as the cheque payment method is no longer accepted in the High Street. Dragging ourselves belatedly into the 21st Century, we are now in a position to accept online payments via the Paypal system.
It is initially offered for UK sales of our latest book Cinemas of North Tyneside. however we intend to introduce it for all our available titles in due course.
CINEMAS OF NORTH TYNESIDE
Members price £10.95 plus £1.20 UK Postage and packing (Enter membership number to qualify)
Non-member’s price £12.95 + £1.20 P&P