Common Lodging Houses

"As often as not the beds are verminous, and the kitchens invariably swarm with cockroaches or black beetles."

Common lodging houses, of which there are several hundred in London, are night-shelters specially licensed by the LCC. They are intended for people who cannot afford regular lodgings, and in effect they are extremely cheap hotels. It is hard to estimate the lodging house population, which varies continually, but it always runs into tens of thousands, and in the winter months probably approaches fifty thousand. Considering that they house so many people and that most of them are in an extraordinarily bad state common lodging houses do not get the attention they deserve.

To judge the value of the LCC legislation on this subject, one must realise what life in a common lodging house is like. The average lodging house (“doss-house,” it used to be called) consists of a number of dormitories, and a kitchen, always subterranean, which also serves as a sitting-room. The conditions in these places, especially in southern quarters such as Southwark or Bermondsey, are disgusting. The dormitories are horrible fetid dens, packing with anything up to a hundred men, and furnished with beds a good deal inferior to those in a London casual ward. Normally these beds are about 5ft 6in long by 2ft 6in wide, with a hard convex mattress and a cylindrical pillow like a block of wood; sometimes, in the cheaper houses, not even a pillow. The bed-clothes consist of two raw umber-coloured sheets, supposed to be changed once a week, but actually, in many cases, left on for a month, and a cotton counterpane; in winter there may be blankets, but never enough. As often as not the beds are verminous, and the kitchens invariably swarm with cockroaches or black beetles. There are no baths, of course, and no room where any privacy is attainable. These are the normal and accepted conditions in all ordinary lodging houses. The charges paid for this kind of accommodation vary between 7d and 1s 1d a night. It should be added that, low as these charges sound, the average common lodging houses brings in something like £40 net profit a week to its owner.

Besides the ordinary dirty lodging houses, there are a few score, such as the Rowton Houses and the Salvation Army hostels, that are clean and decent. Unfortunately, all of these places set off their advantages by a discipline so rigid and tiresome that to stay in them is rather like being in jail. In London (curiously enough it is better in some other towns) the common lodging house where one gets both liberty and a decent bed does not exist.

The curious thing about the squalor and discomfort of the ordinary lodging house is that these exist in places subject to constant inspection by the LCC. When one first sees the murky, troglodytic cave of a common lodging house kitchen, one takes it for a corner of the early nineteenth century which has somehow been missed by the reformers; it is a surprise to find that common lodging houses are governed by a set of minute and (in intention) exceedingly tyrannical rules. According to the LCC regulations, practically everything is against the law in a common lodging house. Gambling, drunkenness, or even the introduction of liquor, swearing, spitting on the floor, keeping tame animals, fighting – in short, the whole social life of these places – are all forbidden. Of course, the law is habitually broken, but some of the rules are enforceable, and they illustrate the dismal uselessness of this kind of legislation. To take an instance: some time ago the LCC became concerned about the closeness together of beds in common lodging houses, and enacted that these must be at least 3ft apart. This is the kind of law that is enforceable, and the beds were duly moved. Now, to a lodger in an already overcrowded dormitory it hardly matters whether the beds are 3ft apart or 1ft; but it does matter to the proprietor, whose income depends upon his floor space. The sole real result of this law, therefore, was a general rise in the price of beds. Please notice that though the space between the beds is strictly regulated, nothing is about the beds themselves – nothing, for instance, about their being fit to sleep in. The lodging house keepers can, and do, charge 1s for a bed less restful than a heap of straw, and there is no law to prevent them.

Another example of LCC regulations. From nearly all common lodging houses women are strictly excluded; there are a few houses specially for women, and a very small number – too small to affect the general question – to which both men and women are admitted. It follows that any homeless man who lives regularly in a lodging house is entirely cut off from female society – indeed, cases even happen of man and wife being separated owing to the impossibility of getting accommodation in the same house. Again, some of the cheaper lodging houses are habitually raided by slumming parties, who march into the kitchen uninvited and hold lengthy religious services. The lodgers dislike these slimming parties intensely, but they have no power to eject them. Can anyone imagine such things being tolerated in a hotel? And yet a common lodging house is only a hotel at which one pays 8d a night instead of 10s 6d. This kind of petty tyranny can, in fact, only be defended on the theory that a man poor enough to live in a common lodging house thereby forfeits some of his rights as a citizen.

One cannot help feeling that this theory lies behind the LCC rules for common lodging houses. All these rules are in the nature of interference-legislation – that is, they interfere, but not for the benefit of the lodgers. Their emphasis is on hygiene and morals, and the question of comfort is left to the lodging house proprietor, who, of course, either shirks it or solves it in the spirit of organised charity. It is worth pointing out the improvements that could actually be made in common lodging houses by legislation. As to cleanliness, no law will ever enforce that, and in any case it is a minor point. But the sleeping accommodation, which is the important thing, could easily be brought up to a decent standard. Common lodging houses are places in which one pays to sleep, and most of them fail in their essential purpose, for no one can sleep well in a packet dormitory on a bed as hard as bricks. The LCC would be doing an immense service if they compelled lodging house keepers to divide their dormitories into cubicles and, above all, to provide comfortable beds; for instance, beds as good as those in the London casual wards. And there seems no sense in the principle of licensing all houses for “men only” or “women only,” as though men and women were sodium and water and must be kept apart for fear of an explosion; the houses should be licensed for both sexes alike, as they are in some provincial towns. And the lodgers should be protected by law against various swindles which the proprietors and managers are now able to practice on them. Given these conditions, common lodging houses would serve their purpose, which is an important one, far better than they do now. After all, tens of thousands of unemployed and partially employed men have literally no other place in which they can live. It is absurd that they should be compelled to choose, as they are at present, between an easy-going pigsty and a hygienic prison.

3 September 1932

A child in Whitechapel. Photo: Getty Images.

Eric Blair, more commonly known by his pseudonym George Orwell, was a contributor of the New Statesman in the Thirties and Forties.

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.