The Strand Cinema, 1937 designed by the architectural practice of Vallance and Westwick.

The Strand Cinema, of 1938, Market Warsop is not recommended for designation for the following principal reasons:

* Architectural Interest: The exterior treatment is functional and undistinguished and lacks the design quality necessary to hold special interest.

* Interior: Although some interior features of note survive, the decorative scheme is understated and lacks aesthetic distinction.

* Alterations: The loss of windows at the façade, and the majority of the interior seating, the projector fittings and the screen along with significant alterations, all diminish and compromise the architectural and historic interest of the building.

The former Strand Cinema was designed by Vallance and Westwick of Mansfield for the Warsop Theatre Co. Ltd. of High Street, Warsop. It is understood that this company also ran the much smaller and earlier Picture House in the High Street, Warsop which was demolished in 1980 following a fire. Designs for a proposed classical style cinema in Warsop date from November 1927 but by summer 1936 drastically revised designs were resubmitted to the local council. While the plan was very much the same, the main elevation was now completely different – streamlined Art Deco. Although the design is credited to the Vallance and Westwick architectural practice the plans and construction post-date both of the principal partners; Robert Vallance died 1908 and Louis Westwick in 1923. The Strand opened on 21 April 1937 and continued in use as a cinema until the late 1950s or early 1960s when it was used for a variety of purposes before becoming a bingo hall.

The former Strand Cinema was built in 1937, designed by the firm of architects Vallance and Westwick of Mansfield.

MATERIALS AND EXTERIOR
The building is streamlined and is distinctive in its design. The symmetrical front elevation is built in Ibstock hand-made 'Golden Brown' brick, although to the rear a plain red brick has been used. The former cinema is of three bays with the central entrance bay recessed between two square towers; the towers are defined by graded plastered curves and each with a single, vertically-proportioned window of four panes, both of which are replacements. The central bay is dominated by three central fins sweeping up from the canopy to over-sail the roof parapet. The vertical concrete fins are counter-balanced by the relatively subtle horizontal banding across this section of the façade, and on the first floor a single range of horizontally-proportioned windows run the width of the central bay with metal glazing bars continuing the pattern of the brick banding. The windows are punctuated by the concrete fins. The vertical dimension of the building is further enhanced by the dentiled decoration around the parapet.

On the ground floor of the central bay are three pairs of doors with fixed, glazed, vertical panels dividing the functioning doors. The doors are original; each subdivided by three vertical and four horizontal glazing bars, with the majority of leaded glass surviving in situ. Above the doors is a continual overlight, again with horizontal glazing bars punctuated by vertical bars. The simple stem and branch leaded glass design continues through from the doors into the overlight, giving a neat continuity in the design. The cantilevered canopy over the doors is a dominant feature and extends beyond the main building with a C20 facia. The original lettering believed to have sat above the canopy no longer survives.

The roof steps down from the front elevation in a series of four steps each defined on the side elevation by protruding square columns. Between the columns the brick banding, characteristic of the front elevation continues around both sides. Central to each stepped block is a rain hopper and down pipe, the majority of the rain hoppers are original and display dentiled decoration.

INTERIOR
Inside the building the concept of symmetry and streamlining is evident throughout; the entrance foyer is streamlined with recessed cove lighting and matching curved stairwells on each side leading to the upper foyer. The original light fittings have been replaced with fluorescent strip lighting, but the recesses survive. The central pay desk is framed by a contoured and streamlined arch; a smaller version of the proscenium arch, with doors to the stalls and toilets set back, mirrored on each side. All the doors and the majority of door furniture are original. The pay desk has been altered to facilitate modern use but retains the original central position.

In the auditorium a series of concave coves characterise the ceiling and progressively step down towards a round-cornered proscenium. This is canted to the front, with fire exits to either side and a shallow stage. Narrow horizontal banding in fibrous plaster work on the splayed walls of the proscenium and ante-proscenium incorporate air ventilation grilles and together emphasise the streamlining concept. The cinema seating on the ground floor has been replaced with seating and tables for bingo, shallow steps have replaced the more gradual slopes of the original auditorium floor, and a small bar was inserted between the two entrance doors in the 1970s. The screen does not survive but the curtains do.

On the first floor the upper foyer is again streamlined and symmetrical. The promenade corridor follows the curves of the auditorium and runs between the two stairwells giving access to the balcony area of the auditorium on both sides. Along this corridor and between the two doors to the auditorium are two settee recesses, both of which replicate the shape of the proscenium and ground floor foyer arch, but with a simpler curved contouring. Opposite the recesses are a series of offices and toilets lit by the range of first floor windows evident on the front elevation. The door cases in the upper foyer are also streamlined, and again the doors and the majority of the door furniture are original. Within the auditorium the balcony survives intact with original seating and streamlining continuing through to the balcony vomitories and railings.

At one end of the promenade corridor a door opens to stairs leading to the roof top, where a narrow passage sitting behind the parapet of the building provides access to a series of brick-built storage rooms and the projection room. Although the projectors do not survive, a series of metal shutters, originally operated by a single handle, survive in situ and would have been activated in case of fire. The Cinematograph Act of 1910 stipulated that the projection equipment had to be physically separated from the auditorium and located in a fireproof room of its own in order to protect the audience from the risk of fire. Because of the flammability of the nitrate film, in combination with the heat generated by the light of the projection equipment, fires in cinemas had become a frequent occurrence. The projection room at The Strand is a very basic brick shell, the apertures into the auditorium are closed but still visible from both sides. (1)

Historic England, 2021, National Record of Historic Environment (Digital archive). SNT5271.

<1> Designation Adviser, 2011, UDS Non-Designation Case, Caroline Skinner (Unpublished document). SNT6259.