The Scala Theatre was a theatre in Charlotte Street, off Tottenham Court Road. The first theatre on the site opened in 1772, the theatre was demolished in 1969, after being destroyed by fire. From 1865–82, the theatre was known as the Prince of Wales's Theatre; the theatre began on this site as The New Rooms where concerts were performed, in Charlotte Street, in 1772, under the management of Francis Pasquali. Popularity, royal patronage led to the building's enlargement by James Wyatt, its renaming as the King's Concert Rooms, it became Rooms for Concerts of Ancient Music and Hyde's Rooms. In 1802, a private theatre club, managed by Captain Caulfield, the "Pic-Nics" occupied the building and named it the Cognoscenti Theatre, it became the New Theatre and was extended and fitted out as a public theatre with a portico entrance, on Tottenham Street. It continued under a succession of managers as the unsuccessful Regency Theatre, falling into decline; the theatre reopened as the West London Theatre, Queen's Theatre, Fitzroy Theatre.
The lessee of the theatre from 1843 to 1869 was a scenic artist, Charles James James, the theatre became the home of lurid melodrama, being nicknamed The Dusthole. In 1865, the theatre was renovated and named the Prince of Wales's Royal Theatre and this continued until it went dark in 1882, it was demolished in 1903. In 1865, in partnership with Henry Byron, Effie Marie Wilton assumed the management of the theatre, having secured as a leading actor Squire Bancroft, he starred among other works. Wilton provided the capital, Byron wrote a number of plays, his first was a burlesque of La sonnambula. However, Wilton wanted to present more sophisticated pieces, she agreed to produce three more burlesques by Byron, while he agreed to write his first prose comedies, War to the Knife and A Hundred Thousand Pounds. By 1867, Byron left the partnership; the house soon became noted for the successful domestic drama-comedies by Thomas William Robertson, including his series of groundbreaking realist plays, Ours, Play, M.
P.. In 1867, Miss Wilton became Mrs. Bancroft and took the principal female parts in these pieces opposite her husband. Other plays were W. S. Gilbert's Allow Me To Explain and Sweethearts, as well as Tame Cats, Lytton's Money, The School for Scandal, a revival of Boucicault's London Assurance, Diplomacy. A number of prominent actors played at the theatre during this period, among them Hare, the Kendals, Ellen Terry. A big success in 1881 was F. C. Burnand's The Colonel, which went on to run for 550 performances, transferring to the Imperial Theatre. In 1882, the theatre went dark, from 1886 the theatre buildings were used as a Salvation Army Hostel, until it was demolished in 1903. A different London theatre began to use the name Prince of Wales Theatre in 1886. In 1903, Dr. Edmund Distin Maddick bought the property, adjoining properties, enlarged the site; the main entrance was now situate on Charlotte Street, the old portico, on Tottenham Street became the stage door. The new theatre, designed by Frank Verity, opened in 1905, as The Scala Theatre, seating 1,139 and boasting a large stage.
The new venture was not successful and became a cinema from 1911–1918, run by Charles Urban. In 1918, F. J. Nettlefold ran the premises as a theatre again, it became known as the New Scala in 1923, with D. A. Abrahams as licensee for both staging plays and showing films, becoming owner in 1925. Amateur productions and pantomime were performed, for a while the theatre became home to the Gang Show. During World War II, it again housed professional theatre. After the war, under the management of Prince Littler, amateur productions returned, with Peter Pan being the annual pantomime; this continued until 1969 when, after a fire, it was demolished for the building of offices, known as Scala House. In 1964, the theatre was used by The Beatles for the concert sequences in the film A Hard Day's Night. Today it is the site of an apartment block. Baker, Henry Barton. History of the London stage and its famous players. London: Routledge, 1904. Howard, Diana. London Theatres and Music Halls 1850-1950. London: The Library Association, 1970.
Leacroft, Richard. The Development of the English Playhouse. Ithica: Cornell University Press, 1976. Mander, Raymond & Mitchenson, Joe; the Lost Theatres of London. New York: Taplinger Publishing Company: 1968. Mander, Raymond & Mitchenson, Joe; the Theatres of London. London: Harvest, 1963 University of Kent, History of Scala Theatre accessed 12 Mar 2007 Photos and historical information about the theatre accessed 12 Mar 2007 University of Kent, Theatre Collection accessed 12 Mar 2007 University of Massachusetts, Theatre chronology accessed 12 Mar 2007
Scouting or the Scout Movement is a movement that aims to support young people in their physical and spiritual development, that they may play constructive roles in society, with a strong focus on the outdoors and survival skills. During the first half of the twentieth century, the movement grew to encompass three major age groups for boys and, in 1910, a new organization, Girl Guides, was created for girls, it is one of several worldwide youth organizations. In 1906 and 1907 Robert Baden-Powell, a lieutenant general in the British Army, wrote a book for boys about reconnaissance and scouting. Baden-Powell wrote Scouting for Boys, based on his earlier books about military scouting, with influence and support of Frederick Russell Burnham, Ernest Thompson Seton of the Woodcraft Indians, William Alexander Smith of the Boys' Brigade, his publisher Pearson. In the summer of 1907 Baden-Powell held a camp on Brownsea Island in England to test ideas for his book; this camp and the publication of Scouting for Boys are regarded as the start of the Scout movement.
The movement employs the Scout method, a programme of informal education with an emphasis on practical outdoor activities, including camping, aquatics, hiking and sports. Another recognized movement characteristic is the Scout uniform, by intent hiding all differences of social standing in a country and making for equality, with neckerchief and campaign hat or comparable headwear. Distinctive uniform insignia include the fleur-de-lis and the trefoil, as well as badges and other patches; the two largest umbrella organizations are the World Organization of the Scout Movement, for boys-only and co-educational organizations, the World Association of Girl Guides and Girl Scouts for girls-only organizations but accepting co-educational organizations. The year 2007 marked the centenary of Scouting worldwide, member organizations planned events to celebrate the occasion. Scouting started itself, but the trigger that set it going was the 1908 publication of Scouting for Boys written by Robert Baden-Powell.
At Charterhouse, one of England's most famous public schools, Baden-Powell had an interest in the outdoors. As a military officer, Baden-Powell was stationed in British India in the 1880s where he took an interest in military scouting and in 1884 he published Reconnaissance and Scouting. In 1896, Baden-Powell was assigned to the Matabeleland region in Southern Rhodesia as Chief of Staff to Gen. Frederick Carrington during the Second Matabele War. In June 1896 he met here and began a lifelong friendship with Frederick Russell Burnham, the American-born Chief of Scouts for the British Army in Africa; this was a formative experience for Baden-Powell not only because he had the time of his life commanding reconnaissance missions into enemy territory, but because many of his Boy Scout ideas originated here. During their joint scouting patrols into the Matobo Hills, Burnham augmented Baden-Powell's woodcraft skills, inspiring him and sowing seeds for both the programme and for the code of honour published in Scouting for Boys.
Practised by frontiersmen of the American Old West and indigenous peoples of the Americas, woodcraft was little known to the British Army but well-known to the American scout Burnham. These skills formed the basis of what is now called scoutcraft, the fundamentals of Scouting. Both men recognised that wars in Africa were the British Army needed to adapt. During this time in the Matobo Hills Baden-Powell first started to wear his signature campaign hat like the one worn by Burnham, acquired his kudu horn, the Ndebele war instrument he used every morning at Brownsea Island to wake the first Boy Scouts and to call them together in training courses. Three years in South Africa during the Second Boer War, Baden-Powell was besieged in the small town of Mafikeng by a much larger Boer army; the Mafeking Cadet Corps was a group of youths that supported the troops by carrying messages, which freed the men for military duties and kept the boys occupied during the long siege. The Cadet Corps performed well, helping in the defence of the town, were one of the many factors that inspired Baden-Powell to form the Scouting movement.
Each member received a badge that illustrated spearhead. The badge's logo was similar to the fleur-de-lis shaped arrowhead that Scouting adopted as its international symbol; the Siege of Mafeking was the first time since his own childhood that Baden-Powell, a regular serving soldier, had come into the same orbit as "civilians"—women and children—and discovered for himself the usefulness of well-trained boys. In the United Kingdom, the public, through newspapers, followed Baden-Powell's struggle to hold Mafeking, when the siege was broken he had become a national hero; this rise to fame fuelled the sales of the small instruction book he had written in 1899 about military scouting and wilderness survival, Aids to Scouting, that owed much to what he had learned from discussions with Burnham. On his return to England, Baden-Powell noticed that boys showed considerable interest in Aids to Scouting, unexpectedly used by teachers and youth organizations as their first Scouting handbook, he was urged to rewrite this book for boys during an inspection of the Boys' Brigade, a large youth movement drille
Lyceum Theatre, London
The Lyceum Theatre is a 2,100-seat West End theatre located in the City of Westminster, on Wellington Street, just off the Strand. The origins of the theatre date to 1765. Managed by Samuel Arnold, from 1794 to 1809 the building hosted a variety of entertainments including a circus produced by Philip Astley, a chapel, the first London exhibition of waxworks displayed by Madame Tussaud. From 1816 to 1830, it served as The English Opera House. After a fire, the house was reopened on 14 July 1834 to a design by Samuel Beazley; the building was unique in. It was built by the partnership of Grissell; the theatre played opera, adaptations of Charles Dickens novels and James Planché's "fairy extravaganzas", among other works. From 1871 to 1902, Henry Irving appeared at the theatre in Shakespeare starring opposite Ellen Terry. In 1904 the theatre was completely rebuilt and richly ornamented in Rococo style by Bertie Crewe, but it retained Beazley's façade and grand portico, it played melodrama over the ensuing decades.
The building closed in 1939 and was set to be demolished, but it was saved and converted into a Mecca Ballroom in 1951, styled the Lyceum Ballroom, where many well-known bands played. The Lyceum was restored to theatrical use in 1996 by Holohan Architects. Since 1999, the theatre has hosted The Lion King. In 1765, a building was erected on an adjacent site by the architect James Payne for the exhibitions of The Society of Artists, which disbanded three years when the Royal Academy of Arts succeeded it; the building was leased out for dances and other entertainments, including musical entertainments by Charles Dibdin. Famed actor David Garrick performed there. In 1794, the composer Samuel Arnold Sr rebuilt the interior of the building, making it into a proper theatre, but through the opposition of the existing patent theatres, he was not granted a patent. Therefore, he leased it to other entertainments again, including Philip Astley, who brought his circus there when his amphitheatre was burned down at Westminster.
It was used as a chapel, a concert room, for the first London exhibition of waxworks displayed by Madame Tussauds in 1802. The theatre became a licensed house in 1809, until 1812 it was used for dramatic performances by the Drury Lane Company after the burning of their own theatre, until the erection of the new edifice, it staged one of the earliest tableaux vivants, as part of William Dimond's The Peasant Boy in 1811. In 1816, Samuel Arnold rebuilt the house to a design by Beazley and opened it as The English Opera House, but it was destroyed by fire in 1830; the house was famous for hosting the London première of Mozart's opera Così fan tutte and as the first theatre in Britain to have its stage lit by gas. During this period, the "Sublime Society of Beef Steaks,", founded in 1735 by theatre manager Henry Rich, had its home at the theatre for over 50 years until 1867; the members, who never exceeded twenty-four in number, met every Saturday night to eat beefsteaks and drink port wine. In 1834, the present house opened to the west, with a frontage on Wellington Street, under the name Theatre Royal Lyceum and English Opera House.
The theatre was again designed by Beazley and cost £40,000. The new house championed English opera rather than the Italian operas that had played earlier in the century. Composer John Barnett produced a number of works in the first few years of the theatre, including The Mountain Sylph, credited as the first modern English opera, it was followed by Fair Rosamund in 1837 and Farinelli in 1839, Blanche of Jersey here in 1840. In 1841–43, composer Michael William Balfe managed the theatre and produced National Opera here, but the venture was unsuccessful. From 1844 to 1847 the theatre was managed by husband and wife team Robert Keeley and Mary Anne Keeley, during which period the house became associated with adaptations of Charles Dickens's novels and Christmas books. For instance, an adaptation of Dickens' Martin Chuzzlewit ran for over 100 performances from 1844–45 here, a long run for the time; the Lyceum was managed by Madame Lucia Elizabeth Vestris and Charles James Mathews from 1847–55, who produced James Planché's " extravaganzas" featuring spectacular stage effects.
Their first big success was Cox. Tom Taylor's adaptation of A Tale of Two Cities, with Dickens himself as consultant, played in 1860, shortly after end of its serialisation and volume publication. Charles Fechter, who managed the theatre from 1863–67 favored spectacular productions. In 1866, Dion Boucicault's The Long Strike was produced here. Ethel Lavenu, the mother and grandmother of actors Tyrone Power, Sr. and Tyrone Power performed in a number pieces at the theatre in the 1860s. W. S. Gilbert produced three plays here. In 1863, his first professional play, Uncle Baby, premièred. In 1867, he presented his Christmas pantomime, called Harlequin Cock Robin and Jenny Wren, in 1884, he produced the drama Comedy and Tragedy. In 1889, the world's finest Italian dramatic tenor, Francesco Tamagno, appeared at the Lyceum, singing the leading role in the first London production of Giuseppe Verdi's opera Otello. Beginning in 1871, under manager Hezekiah Linthicum Bateman and his wife, Henry Irving appeared at the theatre in, among other things, many Shakespeare works.
Irving began with the French melodrama The Bells, an instant hit in which he played the ghost-haunted burgomaster. The piece ran to sell-out crowds for 150 nights, which was
Royal Command Performance
A Royal Command Performance in the United Kingdom is any performance by actors or musicians that occurs at the direction or request of a reigning monarch. Although English monarchs have long sponsored their own theatrical companies and commissioned theatrical performances, the first Royal Command Performance to bear that name was staged at Windsor Castle in 1848 by order of Queen Victoria. From on, command performances were staged calling upon the leading actors from the London theatres, until the death of Prince Albert in 1861. There were no further command performances until they recommenced in 1881; these included plays, comic operas and other musical theatre. King Edward VII called for several performances per year. In 1911 a Great'Gala' performance was given by the theatrical profession at His Majesty's Theatre in London in celebration of the coronation of King George V. In 1912, King George V and Queen Mary attended an all-star Royal Command Performance at London's Palace Theatre in aid of the Variety Artistes' Benevolent Fund, now the Royal Variety Charity.
This was followed in 1919 by the first to be named the Royal Variety Performance. The reason for the name change followed desire from Buckingham Palace that the show should'clearly reflect all areas of show business popular amongst the masses of the time'. Hence, a variety of entertainment, including music, dance, music-hall and speciality acts - rather than for it be incorrectly perceived as one reflecting the Royal Family's own specific choice of artistes. King George V became patron of the Royal Variety Charity in 1921 and decreed that the monarch or a senior member of the British Royal family would attend an annual event in aid of the Royal Variety Charity and its care home for elderly entertainers, Brinsworth House, once a year thereafter; this tradition and fundraising event for the Royal Variety Charity, continues to the present day, with the Royal Variety Performance now attracting over 150 million worldwide television viewers, making it the longest running and most successful entertainment show in the world.
As long as there has been a monarchy and queens have maintained minstrels and jesters to entertain their courts, these performances could be called "command performances". The history of the command performance as we recognise it today dates back at least to the time of Queen Elizabeth I, during whose reign the first permanent theatre was built. In addition, Elizabeth built her own theatre where she could watch plays performed by her own company of players; this was formed in 1583 by Edmund Tilney, the Master of the Revels, was known as Queen Elizabeth's Men. British monarchs continued the tradition of sponsoring their own theatrical companies until the dissolution of the monarchy, with its subsequent abolition of the theatre, during the Protectorship of Oliver Cromwell; the restoration of the monarchy following the death of Cromwell resulted in the restoration of the relationship between the monarch and theatre. At the beginning of Queen Victoria's reign in 1837 the command performance was an established part of Britain’s theatrical life.
The first Royal Command Performance as we know it today is accepted to have been that staged at Windsor Castle on 28 December 1848 by order of Queen Victoria. The play was The Merchant of Venice, the cast included Mr and Mrs Charles Kean, Mr and Mrs Keeley, Henry Lowe, Leigh Murray and Alfred Wigan. From on, command performances were staged calling upon the leading actors from the London theatres and their supporting casts, until the death of Prince Albert in December 1861. There were no further command performances until they recommenced on 4 October 1881 with a production of Burnand's The Colonel. Queen Victoria called for a command performance of W. S. Gilbert's play Sweethearts on 1 February 1887, starring Mr and Mrs Kendal; the great Shakespearean actors Henry Irving and Ellen Terry performed for the Queen in 1889 and 1893. In 1891, the Queen enjoyed two performances by the D'Oyly Carte Opera Company of Gilbert and Sullivan operas, namely The Gondoliers on 6 March 1891 at Windsor Castle and The Mikado on 4 September 1891 at Balmoral.
Performances of operas by the Royal Opera Company and the Carl Rosa Opera Company were given on several occasions in the 1890s for Victoria. On 21 July 1896 the first Royal Command Film Performance was held at Marlborough House; the film showed the Prince of Princess Alexandra visiting the Cardiff Exhibition. When Birt Acres, the cinematographer, requested permission to show the film to the general public the Prince asked to see it himself before agreeing; the film was screened before forty royal guests in a specially erected marquee along with a collection of other short films. King Edward VII called for several performances per year; these included Quality Street by the company of husband and wife stars Ellaline Terriss and Seymour Hicks and plays by Sir Charles Wyndham's company and Arthur Bourchier's company. Sir Herbert Beerbohm Tree's company played for both Victoria and Edward during their respective reigns. On 27 June 1911 a Great'Gala' performance was given by the theatrical profession at His Majesty's Theatre in London in celebration of the coronation of King George V.
The proceeds from this event were used to found the'King George's Pension Fund for Actors and Actresses'. From 1913, it was decided to make this a regular annual'all-star' event to continue contributing to the fund; the 1913 show was a production of the Dion Boucicault comedy London Assurance at St James's Theatre on 27 June 1913 and raised £1,093. These events are now called Royal Variety Performances. Royal Variety Performance First Royal Command Performance First "Royal Command" Performance Befor
Girl Guiding and Girl Scouting
A Girl Guide or Girl Scout is a member of a section of some Guiding organisations, between the ages of 10 and 14. Age limits are different in each organisation; the term Girl Scout is used in several East Asian countries. The two terms are used synonymously within this article. Girl Guides are organised into units/troops averaging 15-30 girls under guidance of a team of leaders. Units subdivide into patrols of about six Guides and engage in outdoor and special interest activities. Units may affiliate with international organisations; some units in Europe, have been co-educational since the 1970s, allowing boys and girls to work together as Scouts. There are other programme sections for younger girls. Following the origin of the Boy Scouts in 1907 many girls took up Scouting. A group of Girl Scouts were prominent at the Crystal Palace Rally in 1909. After Robert Baden-Powell formed The Boy Scouts Association in 1910 he formed the Girl Guides and asked his sister Agnes to look after the Girl Guides organisation.
A few years Baden-Powell's new wife Olave St. Claire Baden-Powell became involved and, in 1918, was appointed Chief Guide. Most activities are similar to those of the Scouts, but two central themes have been present from the earliest days of the movement: domestic skills and "a kind of practical feminism which embodies physical fitness, survival skills, citizenship training, career preparation". Local groups, called variously units, companies or troops are the fundamental unit of the Girl Guides; these are run by an adult a woman, between 18 and 65 years of age. She has responsibility for the girls in her group and plans out activities for the girls as well as leading the meetings; these leaders are supported by assistants. Meetings are held anywhere from weekly to monthly depending on the commitments of the participants and the activities in progress
A Scout troop is a term adopted into use with Boy Scouts, Girl Scouts and the Scout Movement to describe their basic units. The term troop echoes a group of mounted scouts in the military or an expedition and follows the terms cavalry, mounted infantry and mounted police use for organizational units. In the Scout Movement, a Scout troop is an organizational unit consisting of a number of patrols of Scouts, Boy Scouts, Girl Scouts or Girl Guides. Girl Guides use the terms unit instead of patrol and company instead of troop; the initial organization unit in the Scout Movement was a patrol of about 6 to 8 Scouts. Where there were a number of patrols, they could form a Scout troop. Scout troops are composed of boys and/or girls aged 10 to 18 years; some Scout organizations have senior Scout patrols within Scout troops or senior Scout troops for the older youths. The size of a Scout troop can vary from as few as six Scouts to several dozen. Scout troops may meet at a meeting place. In addition, some Scout troops are active in the organization of additional activities.
In some Scout organizations a Scout troop can be part of a Scout Group that combines the Scout troop with programs for different age groups such as Beavers, Explorers or Venturers and Rovers, while in other Scout organizations the different age groups are independent of each other though they may be sponsored or chartered by the same community organization, such as a business, service organization, labor group veteran's group, or religious institution. A key component of the Scout method is that Scout troops are run by the Scouts under the advice and guidance of adult leaders. Scout Troops operate on the patrol method; each Scout patrol is led by a Scout called the patrol leader. The patrol leaders within a Scout Troop form a Court of Honour or council under of the adult leader of the Scout Troop; some Scout Organizations allow a Scout to be appointed as a senior patrol leader or troop leader who heads the Scout troop and Court of Honour. The Court of Honour is responsible for the management and activities of the troop.
The leadership role of the adult and Scout members of the Court of Honour vary, in some troops it is the norm for the adult leader to play a mentorship role, teaching the youth responsibility in their own leadership roles
Scouting and Guiding in Queensland
Scouting and Guiding in Queensland is predominantly represented by Scouts Queensland, a branch of Scouts Australia in the State of Queensland and Girl Guides Queensland, a member of Girl Guides Australia. There is a small representation of the Australian Baden-Powell Scouts' Association. CHUMS Scout Patrols started forming in Australia in 1908 due to the circulation of CHUMS publication there. R. C. Packer in 1908 supported the formation of the League of Boy Scouts. St. Enoch's Presbyterian Church, Mount Morgan, Queensland formed its unit on 23 November 1908. In 1909, the Australian League of Boy Scouts Queensland formed. Other groups could have been formed in Queensland by the Boy's Brigade Scouts, British Boy Scouts, Imperial Boy Scouts, Anglican Church Lads' Brigade's Church Scout Patrols, Girl Peace Scouts and YMCA Scouts. In 1910 the CHUMS Scout Patrols merged with the BBS. In July 1910, the Australian League of Boy Scouts Queensland affiliated to the United Kingdom's Boy Scouts Association and changed names to League of Baden-Powell Boy Scouts, Queensland Section.
St. Enoch's affiliated their company with the Boy's Brigade Scouts in 1910. Started in 1910, the Australian Boy Scouts had merged with the Imperial Boy Scouts to become Australian Imperial Boy Scouts by 1912; the Church Scout Patrols ceased activities by 1912 while the League of Boy Scouts had stopped operating around 1914. A part of the Girl Peace Scouts joined the Voluntary Aid Detachments during World War I. Baden-Powell's scouting organisation extended itself to Australia five years after founding, known as the'Baden-Powell Boy Scouts' in 1914 rename to the Boy Scout's Association; the League of Baden-Powell Boy Scouts, Queensland Section changes names again to Boy Scout's Association, Queensland Section. The Salvation Army's Life Saving Scouts start up in 1921. Boy Scout's Association, Queensland Section merges with the rest of the BSA; the Boys' Brigade Scouts program ended in 1927 while the Catholic Boy Scouts' Association is formed the same year by the Society of St. Vincent de Paul in New South Wales and Queensland.
With the end of the BB Scouts, St. Enoch's unit becomes a BSA unit. Before 1939, the Boy Scouts’ Association in the United Kingdom sponsored juvenile immigration to Queensland; the Boy Scout Association wanted their branches to receive monopoly status from the governments so as to control the scouting movement. The BSA sent Overseas Commissioners in the 1920s and 1930s along with Baden-Powell in 1931 and 1934 to Australia in support of this effort. In 1934, the BSA began a move to centralise control over Scout Groups by insisting on property being registered in the BSA's name instead of the local Scout Group; that year, the BSA's Queensland branch constitution was changed to remove State Council's elected local representatives. Scout Groups resisted but the BSA used World War II to further the centralisation. In 1939, St. Enoch's BSA unit became independent as the Blue Boy Scouts. During World War II, the Australian I. B. S. Disbanded. In 1942, Sir Leslie Orme Wilson, The Governor of Queensland, resigned as Chief Scout of The Boy Scouts Association, Queensland Branch due to the failure of the BSA to respond to his call for reforms to its centralisation effort that led to the severance of the Blue Boy Scouts' tie to the BSA.
Several scouts-in-exile groups started in the 1940s for eastern European scouts, including the "Plast Ukrainian Youth Association in Brisbane, Queensland."The Australian Boy Scouts Association was formed in 1958 and incorporated On 23 August 1967, as a branch of The Boy Scouts Association of the United Kingdom. The Queensland Branch of The Boy Scouts Association was declared a first Branch of The Australian Boy Scouts Association. In 1971 The Scout Association of Australia changed its name to The Scout Association of Australia. On 15 August 1974, The Scout Association of Australia, Queensland Branch, was incorporated by Letters Patent issued by the Queensland government under the Religious Education Charitable Institutions Act 1861–1967. Only the members of the state council were members of this body corporate; the Scout Association of Australia Queensland Branch Inc. is now incorporated under Associations Incorporation Act 1981. The Scout Association of Australia, Queensland Branch Act 1975 made provisions for the vesting of property and related purposes in the Corporation styled "The Scout Association of Australia, Queensland Branch".
The'Mount Morgan Scouts','Blue Boy Scouts', or'1st Mount Morgan Company', was a multiple-affiliated Boys Scout company affiliated with the Boys' Brigade, independent from 1939 to 1957. They received the name as the "Blue Boy Scouts" by retaining their B. B. heritage by wearing blue uniforms and using a modified Scout Promise using "Sure and Steadfast", the B. B. motto. St. Enoch's Presbyterian Church, Mount Morgan, Queensland formed its unit on 23 November 1908, under Benjamin Gilmore Patterson. Patterson was in the militia from 1900 to 1904 in the Sydney University Scouts with Sir Leslie Orme Wilson; the unit was registered with the Boys' Brigade Scouts as the 1st Mount Morgan Company in 1910. The Company that year affiliated itself with the Australian League of Boy Scouts Queensland. In July 1910, the Australian League of Boy Scouts Queensland affiliated with the United Kingdom's Boy Scouts Association/Baden-Powell Boy Scouts and changes names to League of Baden-Powell Boy Scouts, Queensland Section.
The in effect triple affiliation existed until the merger of Queensland into the Boy Scout Association in 1926 and the dual affiliation in 1927 with end of the BB Scouts. In 1921, Patterson received the Silver Wolf Award as Queensland's second awardee. Patterson had served as a district commissioner of the BSA; the Commonwea