Maybury Casino History
The boundaries of what I think of as Woking Town Centre, the Walton Road area and Sheerwater may not be the same as your interpretation, and any local authority or ecclesiastical boundaries may well have changed over time, so if you cannot find what you are looking for in this section, it may be in a neighbouring area or perhaps one of the more general sections.
- Maybury Casino History Website
- Maybury Casino History Pictures
- Maybury Casino History Wikipedia
- Maybury Casino History Photos
Grosvenor Casino Edinburgh: Dinner and drinks - See 62 traveller reviews, 18 candid photos, and great deals for Edinburgh, UK, at Tripadvisor. The Friends of Maybury State Park spearheaded the development of the History Trail, a self-guided history tour to commemorate Maybury Sanatorium.To help combat the spread of tuberculosis, often referred to as the white plague in the early 20th century, the city of Detroit purchased eight farms in Northville that totaled of 850 acres and in 1921 opened the sanatorium. The Maybury family name was found in the USA, the UK, Canada, and Scotland between 1840 and 1920. The most Maybury families were found in the UK in 1891. In 1911 there were 28 Maybury families living in Ontario. This was about 65% of all the recorded Maybury's in Canada. Ontario had the highest population of Maybury families in 1911.
For Instance I have included all the area between the railway and canal from Sheerwater Road to Victoria Way, but some may view the shops of Goldsworth Road & Guildford Road as being part of Woking Town Centre rather than 'Goldsworth' or 'Heathside'. Items on Wolsey Place and The Peacocks can be found here, together with items on the New Victoria (Ambassadors) Theatre (& Peacock's Cinema).
I have tried to divide the archive into logical sections to make finding things easier, but this is not a comprehensive list of items in my archive, just an indication of some of the pre-2000 items I hold, so if you cannot find what you are looking for please ask.
Not everything has been scanned, but those that have are highlighted in blue on the list, so if you find something listed in white that you are interested in please let me know and I will try to get it up on this site as soon as possible.
Deeds, Sales Brochures Etc.
I have been lent or given various deeds, sales brochures, etc., for properties all over the Woking area, some of which I have scanned an put on this site. The following relate to this area.
Chertsey Road
Maybury Road
1884 Mortgage
1897 Mortgage
1913 Abstract of Title
1913 Mortgage
1914 Lease
1937 Abstract of Title
1946 Conveyance
1946 Mortgage
1966 Lease
Monument Road & Pollard Road
Walton Road
1946 Conveyance
1959 Mortgage
Items Relating to Local Businesses
A number of items relate to local businesses, such as brochures, magazines, invoices etc. They are listed here.
1936 Catalogue (No 50) Skeet & Jeffes Ltd
Woking Ford News Extra (Jan 86)
Performance Focus on Woking (Phillips Petroleum) (Sep 1987)
Items Relating to Local Organisations
Some items relate to local charities and organisations and such as political parties, uniformed organisations, societies, and religious groups.
1904 (Nov) Woking Amateur Dramatic Club Programme (at the Woking Public Hall)
1916 (Jan) Christ Church Parish Magazine
1922 Woking & Horsell War Memorial Official Opening
1925 Woking Operatic Society Programme (Merrie England at The Place, Duke Street)
1926 Woking Operatic Society Programme (The Gondoliers at The Palace, Duke Street)
1928 Woking Operatic Society Programme (Yeoman of the Guard at Woking Central Hall)
1933 Woking & District Chamber of Trade (Dinner at The Albion Hotel)
1939 Harold Fielding's Wartime Entertainment Programme (at The Atalanta)
1941 Weyside Singers Programme in Aid of the Polish Relief Fund (at The Atalanta)
1942 Warship Week Boxing Tournament (at The Grand Theatre)
1955 (Dec) Liberty - Organ of the Woodham & Sheerwater Ward (Woking Labour Party)
1956 (Apr) Liberty - Organ of the Woodham & Sheerwater Ward (Woking Labour Party)
1978 Proteus (Nov & Dec) Programme for Rock Me Gently at the Rhoda McGaw Theatre
1995 (Feb) Maybury Centre Review
4th-Rite
The 4th Woking Scout Group Newsletter
(1968-69) (1970) (1971) (1972)
Sheerwater Pylon & Post
When the Sheerwater Estate was first built, the local residents’ association produced a monthly magazine known as the Sheerwater Pylon. I was lent copies of some of the magazines, as well as one called the Sheerwater Post that was produced in October 1953. There are some missing editions, so if you have one that is not here, please get in touch.
(Dec 1952) (Apr 1953) (Jun 1953) (Jul 1953) (Dec 1953) (Jan 1954) (Feb 1954) (Mar 1954) (April 1954) (May 1954) (June 1954) (July 1954) (Aug 1954) (Sep 1954) (Oct 1954) (Feb 1955) (Jun 1956) (Oct 1956) (Dec 1956) (Jan 1957) (Feb 1957) (Mar 1957) (Apr 1957) (May 1957) (May-Jun 1958) (Nov 1958) (Apr 1959) (Dec 1959) (Feb 1960) (Jul 1965)
Woking New Town Centre & The Peacocks
Maybury Casino History Website
A number of documents relate to the building of Woking New Town Centre – The Centre Halls, Centre Pool, Library and what became Wolsey Place – as well as The Peacocks. I have grouped them together here for ease of reference.
1970s Woking Library - A New Look
1991 Woking Town Centre Vision & Reality
1992 Peacocks Family Funday
1996 (Mar-May) Rhoda McGaw Theatre Programme
1996 (Sep-Dec) Rhoda McGaw Theatre Programme
New Victoria Theatre
(Feb/Mar 1993) (May/Jun 1993) (Jun/Jul 1994) (Summer 1996) (Winter 1996/1997) (Winter 1998/1999)
New Victoria Theatre Programmes
1993 Scrooge; 1996 Show Stoppers; 1994-1995 Goldilocks & the Three Bears; 1995-1996 Dick Whittington; 1996-1997 Cinderella; 1997-1998 Snow White
Warren Beatty’s first movie in 15 years, Rules Don’t Apply, begins with a quote from its subject, Howard Hughes, whom Beatty plays: “Never check an interesting fact.” The film, out Nov. 23, spins a fictional yarn, and one which Beatty—who had been chewing on the idea for decades and also wrote, directed and produced it—has repeatedly insisted is not a biopic of the eccentric aviator, entrepreneur and filmmaker. But for all the insistence that audiences accept it as a fantasy, Beatty’s depiction of an aging, outlandishly idiosyncratic Hughes all but begs a revisiting of the subject’s behavior during his later years—which was often so strange it sounds fictional itself.
Rules Don’t Apply is less about Hughes than it is about two young people in his employ: a naive starlet named Marla Mabrey (Lily Collins), newly arrived in Los Angeles following a chaste Baptist upbringing in Virginia, and Frank Forbes (Alden Ehrenreich), a driver with entrepreneurial aspirations and a similarly uncorrupted youth. This being the sexually repressed Hollywood of the 1950s, their boss forbids romantic relationships among his employees. This being a Hollywood movie, they immediately fall in love.
As Marla and Frank’s forbidden affair percolates, Hughes is at once an unwelcome obstruction and the gatekeeper of their professional aspirations, a fairy godfather with the power to bless or bankrupt their dreams. At times, his concerns—such as Congressional hearings related to his aeronautical innovations—seem a distraction from the central narrative, but they paint a picture, and by all accounts a fairly meticulous one, of a man who continues to fascinate 40 years after his death.
As far as Hughes’ life story, Rules Don’t Apply picks up roughly where The Aviator, Martin Scorsese’s 2004 drama starring Leonardo DiCaprio, leaves off, though it fudges the timeline a bit (lest we forget, this is a work of fiction). When Beatty’s Hughes enters, he’s a man in his 50s, decades removed from inheriting his family’s fortune, earned in the oil tool business, at age 18. He has already produced many successful movies, set air-speed records with his ever more advanced aircraft and developed a reputation as a Casanova with such famous paramours as Katharine Hepburn, Ava Gardner and Ginger Rogers.
But Beatty’s Hughes is somewhere in the early stages of a long decline, the more advanced degrees of which we see in flash-forwards set in the 1960s. The billionaire spent the final decades of his life as an increasingly agoraphobic recluse, fueled in large part by obsessive compulsive disorder and chronic pain caused by a near-fatal airplane wreck in the mid-40s (the movie pushes this event back by a decade). When he appears, in the film’s opening and closing moments, bedridden and disheveled in an Acapulco hotel, his appearance is indeed drawn from the real Hughes’ regular refusal to trim his hair or fingernails.
Many of the peculiarities the movie’s Hughes exhibits are borrowed from real-life anecdotes. He did once halt production on a movie because he disliked the shape of an actress’ brassiere (Jane Russell, The Outlaw, 1943). He did, despite his wealth and access, prefer TV dinners over posh restaurants. He did send his staff into a frenzy, demanding that they procure banana nut ice cream despite the fact that Baskin Robbins had discontinued the flavor and would only sell the remaining barrels in bulk—only to find that their boss’ capricious cravings had already moved on to a new flavor.
Hughes also did, as in the film, hole up in the movie theater of a Las Vegas hotel he bought (he had a penchant for buying up hotels, restaurants and airports for his exclusive use) on a continuous loop for days, never leaving to eat or relieve himself. A dependence on painkillers often left him incoherent as his OCD left him almost paralyzingly germophobic. His body wasted away in accordance with his mind.
When Hughes died in 1976—on an airplane, as befits a word-class aviator—he left no will designating his wishes for a multibillion-dollar estate. A protracted legal battle would ensue over the decade to follow, and a yearlong posthumous psychological autopsy commissioned by the estate would find that his health issues, as well as his tendency to withdraw during times of anxiety, stemmed from an isolated childhood under the care of a mother who feared intensely that her son would contract polio.
As these tangled matters began to surface, late in 1976 TIME correctly predicted an ongoing fascination with the recently deceased tycoon, the mysterious nature of whom would no doubt lend itself to many artistic interpretations:
Fancy that—it took four decades, but Beatty’s Hughes has finally landed.