The Adventures of an Australian in London A double life in music Part 3 3 clown monty opera house

The Adventures of an Australian in London: A double life in music (Part 3)

In the final volume of his autobiographical series on the highlights of his musical career, Tony Locantoro offers brief profiles of many of the EMI artists and collaborators he worked with in Australia and the UK.

Appendix

In the previous volumes of this memoir, I wrote about many of the people I was connected with during my two musical lives at EMI and in the music hall and theatre worlds, but there are many very talented people I did not mention. In this appendix, I would like to say a few words about some people in both categories. I apologize if I have missed some important names, if I have not said enough about them, or if I have got certain details wrong.

Musician, producer, administrator: Peter Andree graduated from Melbourne University. After working for the ABC in Australia and playing flute with the Melbourne Symphony Orchestra, he went to England in 1953 to study with conductor Sir Adrian Boult and composer William Lloyd Webber (Andrew and Julian's father). After a brief stint as a flutist and conductor, he joined Decca in 1954 as a producer of classical recordings. In 1956, together with fellow producer Victor Olof, he moved to EMI, where he worked under David Bicknell in charge of the classical division of the famous label HMV. He later succeeded Bicknell as head of EMI's international classical records business and was my boss for most of my time at EMI. Peter was a great colleague, with an urbane sense of humour and easy communication with the artists he sometimes had to deal with. During his 30 years at EMI, he achieved great commercial success and later established Warner Classics as a major international group. He also worked with several charities, including the music therapy charity the Lynn Foundation and the Australian Music Foundation, which supports young Australian musicians starting out in their international careers. He was made an Officer of the Order of Australia in 1997 and awarded an OBE by Her Majesty the Queen in 2004. In 2008, I helped Peter write his memoir, Inside the Recording Studio: Working with Callas, Rostropovich, Domingo and the Classical Elite (Scarecrow Press), in collaboration with journalist Robin Stringer.

Photo: Peter Andrei, private collection.

Peter Andry with the Australian soprano Dame Joan Sutherland and HRH Prince Charles at an Australian Music Foundation Gala

Robin Archer I never worked with the Australian singer, writer and film director Robin Archer, but our musical lives crossed paths. In 1981, while working at EMI Classics, I received a letter from EMI Australia inviting me to organize sessions for Abbey Road Records for an Australian artist called Robin Archer to make an LP of Brecht's music. Ms. Archer came to my office, and we went through the process of organizing the record in a very formal, businesslike manner. For this project, I appointed a leading classical producer from EMI, who found a date for the sessions at Abbey Road and engaged the London Sinfonietta and conductor Dominic Muldowni. At the time, I was also playing at Aba Daba in Wakefield's Pindar, but a few nights later, Robin Archer was tearing up the stars to at least get an idea of the traditional music hall, to perform a parody of Marie Lloyd in the show of the same name. Needless to say, she was shocked to discover that a key EMI leader (I) was sitting behind a piano in a fashionable cardigan and hat knife, humming "Daisy, Daisy"! The record with Brecht was a huge success, and she recorded a second part.

Peter Andry presenting to the German soprano Dame Elisabeth Schwarzkopf an award from the Hugo Wolf Society honouring her late husband, the EMI producer Walter Legge in 1981. (left to right) Keith Hardwick (EMI transfer engineer), Hugh Graham (EMI booklet editor), Shirley, Lady Beecham (widow of the conductor Sir Thomas Beecham), Dame Elisabeth Schwarzkopf and Peter Andry.

The next thing that happened was in May 1982, Robin appeared on the Star of the Bourne, the Star of the Bourne, which appeared on the Star of the Royal Theater's stage. It was what I played. It also included Janis Joplin, Pazzi Klein, Judy Garland, Bessie Smith and Marie Lloyd. Robin once again found me, the important leader of the recording company, playing for entertainment at the Stratoford Isist bar. I always have too many performers in musi c-only music shows that are "many stars", and the audience listens to some of the music, and in the intermission, I hear more music in the bar. I thought it would be. However, Philip Hedley, who was running the theater at the time, thought that singing at the bar was a Royal Theater's tradition, and asked me to keep talking every night as much as possible. Two pianists (Grant Kosak and Jeremy Wesrie) were accompanied by Stratoford Asta Asta Star Robban, but I agree that the manager Robin will move to the Windsum Theater in the West End. When he did, Robin asked me if he wanted to play the second piano in Wyndams. However, I still worked in the EMI office in full style, so it seemed that the burden was too large, especially if the performance was deducted for more than a few weeks. It's a pity that we had to refuse the contract at West End's famous theater, but that was great.

Robin returned to Australia, and continued his writing and performances, mainly in the art festival held in cities such as Camberra and Adelaide. Later, he became a proposal for lectures and public art in Australia. Robin has won many awards and awards in the arts field, including the Australian Order Officer and the Lord of the French Arts Literature. The next thing happened was in May 1982, and Robin appeared on the Star of the Bourne, the Star of the Bourne of the Stratford Osa Royal Theater. It was a brilliant star. It also included Janis Joplin, Pazzi Klein, Judy Garland, Bessie Smith and Marie Lloyd. Robin once again found me, the important leader of the recording company, playing for entertainment at the Stratoford Isist bar. I always have too many performers in musi c-only music shows that are "many stars", and the audience listens to some of the music, and in the intermission, I hear more music in the bar. I thought it would be. However, Philip Hedley, who was running the theater at the time, thought that singing at the bar was a Royal Theater's tradition, and asked me to keep talking every night as much as possible. Two pianists (Grant Kosak and Jeremy Wesrie) were accompanied by Stratoford Asta Asta Star Robban, but I agree that the manager Robin will move to the Windsum Theater in the West End. When he did, Robin asked me if he wanted to play the second piano in Wyndams. However, I still worked in the EMI office in full style, so it seemed that the burden was too large, especially if the performance was deducted for more than a few weeks. It's a pity that we had to refuse the contract at West End's famous theater, but that was great.

Robin returned to Australia, and continued his writing and performances, mainly in the art festival held in cities such as Camberra and Adelaide. Later, he became a proposal for lectures and public art in Australia. Robin has won many awards and awards in the arts field, including the Australian Order Officer and the Lord of the French Arts Literature. The next thing that happened was in May 1982, Robin appeared on the Star of the Bourne, the Star of the Bourne, which appeared on the Star of the Royal Theater's stage. It was what I played. It also included Janis Joplin, Pazzi Klein, Judy Garland, Bessie Smith and Marie Lloyd. Robin once again found me, the important leader of the recording company, playing for entertainment at the Stratoford Isist bar. I always have too many performers in musi c-only music shows that are "many stars", and the audience listens to some of the music, and in the intermission, I hear more music in the bar. I thought it would be. However, Philip Hedley, who was running the theater at the time, thought that singing at the bar was a Royal Theater's tradition, and asked me to keep talking every night as much as possible. Two pianists (Grant Kosak and Jeremy Wesrie) were accompanied by Stratoford Asta Asta Star Robban, but I agree that the manager Robin will move to the Windsum Theater in the West End. When he did, Robin asked me if he wanted to play the second piano in Wyndams. However, I still worked in the EMI office in full style, so it seemed that the burden was too large, especially if the performance was deducted for more than a few weeks. It's a pity that we had to refuse the contract at West End's famous theater, but that was great.

(Left) Me with Robyn Archer signing LPs at Collets record store in London. (Right) Flyer for A Star is Torn in the West End.

Robin returned to Australia, and continued his writing and performances, mainly the art festival held in cities such as Canberra and Adelaide. Later, he became a proposal for lectures and public art in Australia. Robin has won many awards and awards in the arts field, including the Australian Medal Officer and the Lord of the French Arts and Literature.

Kent Baker (left) as Widow Twanky in Peter John’s adult panto Aladdin at the Pindar (picture © Tony Locantro) and (right) singing ‘I love to go swimmin’ with women’

Kent Baker was a very pleasant artist and singer from northern England, participating in the Joan Little Wood show. He was a member of the Ken Hill of Strutford Aild and appeared in Ken's adventure activity. Long sang a stunning duet of him and Tony Palmer at the break, before the start, and then at the bar. When he heard the end of the break time, he declared to the bar guest, "Don't enjoy it and return to the show right away!" Kent is a pretty competent chairman in the music hall, and his friendly and interesting habit is clearly different from the great character played by Leonard Sachs on the TV program "Old Good Nature Days". Ta. Kent still has a stage song repertoire, with a song in a Dixy style entitled "South of Mason Dixon". The other song I wrote in honor of Lisa Mineri was "Kent with the Bean E", but it was somewhat unhealthy! He liked the number "A Real Pianist" played by Jimmy Durant. In addition to Stratoford Int, Kent played a large number of Wakefield's pinders as chairs and solo artists, as well as chat pages and other stores.

Larry Burns is Perr i-Perl i-Color Soonton Kata, and his Perr i-Color is Maggie Stables, and she sometimes appears in the "Hissa and Boo" show and is a maid when she doesn't sing songs on stage. Ta. The rally had two main numbers. As Harry Guodini did in the past, it escaped from a set of real handcuffs in various times and came out of the real show hut. He invited a volunteer from the venue, checked his handcuffs, gave his wrist, and told me how to get out of handcuffs before that. And while I was playing the Dambusters March, I began to roll and twist my body in an instant to get out of the shirt. As the rally grew older like a rally, I used my physical strength, and I had to keep up with the new music. Kent Baker was a very pleasant artist and singer from northern England, participating in the Joan Little Wood show. He was a member of the Ken Hill of Strutford Aild and appeared in Ken's adventure activity. Long sang a stunning duet of him and Tony Palmer at the break, before the start, and then at the bar. When he heard the end of the break time, he declared to the bar guest, "Don't enjoy it and return to the show right away!" Kent is a pretty competent chairman in the music hall, and his friendly and interesting habit is clearly different from the great character played by Leonard Sachs on the TV program "Old Good Nature Days". Ta. Kent still has a stage song repertoire, with a song in a Dixy style entitled "South of Mason Dixon". The other song I wrote in honor of Lisa Mineri was "Kent with the Bean E", but it was somewhat unhealthy! He liked the number "A Real Pianist" played by Jimmy Durant. In addition to Stratoford Int, Kent played a large number of Wakefield's pinders as chairs and solo artists, as well as chat pages and other stores.

Larry Burns is Perr i-Perl i-Color Soonton Kata, and his Perr i-Color is Maggie Stables, and she sometimes appears in the "Hissa and Boo" show and is a maid when she doesn't sing songs on stage. Ta. The rally had two main numbers. As Harry Guodini did in the past, it escaped from a set of real handcuffs in various times and came out of the real show hut. He invited a volunteer from the venue, checked his handcuffs, gave his wrist, and told me how to get out of handcuffs before that. And while I was playing the Dambusters March, I began to roll and twist my body in an instant to get out of the shirt. As the rally grew older like a rally, I used my physical strength, and I had to keep up with the new music. Kent Baker was a very pleasant artist and singer from northern England, participating in the Joan Little Wood show. He was a member of the Ken Hill of Strutford Aild and appeared in Ken's adventure activity. Long sang a stunning duet of him and Tony Palmer at the break, before the start, and then at the bar. When he heard the end of the break time, he declared to the bar guest, "Don't enjoy it and return to the show right away!" Kent is a pretty competent chairman in the music hall, and his friendly and interesting habit is clearly different from the great character played by Leonard Sachs on the TV program "Old Good Nature Days". Ta. Kent still has a stage song repertoire, with a song in a Dixy style entitled "South of Mason Dixon". The other song I wrote in honor of Lisa Mineri was "Kent with the Bean E", but it was somewhat unhealthy! He liked the number "A Real Pianist" played by Jimmy Durant. In addition to Stratoford Int, Kent played a large number of Wakefield's pinders as chairs and solo artists, as well as chat pages and other stores.

(Left) Maggie Beckitt in pantomime ( Dick Whittington ) and (Right) John Larsen with June Bronhill in The Merry Widow

Another number he had was "Tearing Paper", which he did perfectly. He came on stage with several rolls of printed matter and began to tear them methodically, singing the musical song "If there was no 'house' between". As he turned each reel, he relaxed as if demonstrating all kinds of luggage. At the beginning of the song, he sang "With stairs and glasses you can see the pimple swamp", and here the pieces of paper transformed into stairs. The moment Larry stretched the stairs up, into the sky, the audience reacted with choking, giggling, applause, each time. When he opened the last roll of paper, he saw various houses hanging side by side. It was a glossy number, a real historical theater. Larry still played with magic numbers, much better than his "escape tricks", but as a rule, when he had an account, he liked to play only with the last one. Every day he smoked a stinky tube, and every time Larry was in the buzz of the tube, he could admit, but this was also part of Larry. He's got gypsy blood, but I don't know much more than that.

Gwen Mathias and David Bicknell on the occasion of their joint retirement from EMI in 1971

Maggie Beckett was a professional performer with all the looks of musical theatre, but also a quality in musical halls. She and her husband, opera tenor John Larsen, participated in many musical halls, and I played in spaces like Pindar in Wakefield and Tram Sarajczyk at the Vruwig Arsenal, and the Italian restaurant Luantino in Fleet Street, where I suddenly found myself stuck and exposed to the musical cold within the direction and scope of the year, were always together. Maggie excelled in comical songs like "Goodbye, A Small Yellish Bird," and John brought a note-taking manner to numbers like "Girls are made to adore and kiss" and "Where is the life I led until late?" "John was a member of the Sadler's Wells Opera Group and when they visited Australia he sang Visage June Bronkhill in The Merry Widow and became a matinee sensation. He continues to appear in many musicals in Australia, including The Prince and Song of the Desert.

David Bicknell was very important to my work at EMI. When I moved from the pop division of EMI Records (the UK operating company EMI) to its parent company, EMI Limited, in the mid-1960s, David Bicknell was appointed head of EMI's International Contracts Department, which David Bicknell ran and which became EMI's major traditional record sales division worldwide. David began working for the Gramophone Company (more commonly known as HMV) in 1927 as an assistant to the well-known recording producer Fred Gaisberg in their International Artists Department. He worked as a junior producer until Fred retired in the late 1930s, when the war broke out and David joined the army. After the war, Bicknell became a producer for the traditional HMV label, recording Spanish soprano Victoria de Los Angeles, Italian tenor Beniamino Ghiglia, South American violinist Jehudi Menuhin, and Italian conductor Guido Cantelli. A few years later, he was appointed manager of the international performers department, where he remained until he prepared for his own retirement in 1969. During his own work for the company, he benefited from the suggestions of Gwen Mathias as secretary and assistant, who had started working for Fred Gaisberg in 1914 as a young man and continued to work for Bicknell until retirement. Between them was the crucial context of the traditional part of the HMV catalogue, and I recognised, for example, the context of EMI from their numerous poems as traditional recording commercials. I first met Stuart Brown when I was still working in the classical department at EMI, and he came to me to ask permission to release some historical records he had been hunting down as a hobby on the Testament label from EMI. He was a professional clarinetist who played in the orchestra of the Royal Opera House, Covent Garden, and freelanced with the major British symphony orchestras, but later left the clarinet for a paid estate business receiving founder's fees. I then began my exit from EMI by writing, editing and proofreading for Wills, enjoying the triumph of Wills licensing recordings from EMI, Decca, Pathé Marconi, RCA Victor, the BBC, and the huge radio stations in Germany and Austria, and continuing the Halter Goht Halter.

The release of the two testments that brought me the greatest satisfaction and joy was a concert recording of Wagner's "Dusk of the Gods" at the 1951 Bayreuth Music Festival, conducted by Hans Knappert Bush, and conducted by Joseph Kailbelt. This is the first stereo recording of Wagner's "Ring" all songs in Bayroit in 1955 by Peter Andrai. These two very important recordings were involved in the contract problem with the role of Wolfgang Wagner, who presented the instructions of the decka, EMI, and the Bayreuth Music Festival, and was effectively hindering the release, but Stewart. Thanks to his business skills, charm, and action, he solved all difficulties, released records from Testament, and received many acclaim.

What I enjoyed in the release from Testament was a disc dedicated to the 80th birthday of Joan Hammond, a great Soprano in Australian, and her 1 million records "O My Belved Father" and others. It was a famous song. I was very happy to meet a diva who was collecting 7 8-rotation records in Sydney. She had dinner at the Stewart's house, and later met Monica Sync Synchria, an opera singer who sang Suzuki of Mrs. John, Mrs. John, was a mothe r-i n-law of Stewart many years later.

Stewart Brown in New York

Stuart is not only a chosen of the fabric of the Testament album with absolute accuracy, but also known as an elegant food and drink, and the best vintage French wine I have ever drunk is Stuart. It was on the dining table.

Me with Dame Joan Hammond (left) and Monica Sinclair (right) at Stewart Brown’s house

Photo © Tony Locantro The release of the two testements that brought me the greatest satisfaction and joy was a concert recording of Wagner's "God's Twilight" at the 1951 Bayitil Music Festival, conducted by Hans Knapporh Bush. This is the first stereo recording of Wagner's "Ring" songs in Bayroit in 1955 by Joseph Kailbelt, producer Peter Andrai. These two very important recordings were involved in the contract problem with the role of Wolfgang Wagner, who presented the instructions of the decka, EMI, and the Bayreuth Music Festival, and was effectively hindering the release, but Stewart. Thanks to his business skills, charm, and action, he solved all difficulties, released records from Testament, and received many acclaim.

Publicity shot for Song and Supper with Christopher Owen and Peter Spraggon on either side of me at the back, Michelle Summers in front of Christopher and a singer whose name I have forgotten in front of Peter, then Deirdre Dee in the centre

(Left) Here is Dockyard Doris at large on the streets of Hackney with Brian Walker (far left), Larry Barnes in Pearlies, Doris and me. (Right) Dockyard Doris with me at the Sebright Arms pub in Bethnal Green.

Photo © Tony Locantro

Photo © Tony Locantro The release of the two testations that brought me the greatest satisfaction and joy was the concert recording of Wagner's "Dusk of the Gods" at the 1951 Bayreuth Music Festival under Hans Knappor parts bush, and Joseph. This is the first stereo recording of Wagner's Wagner's "Ring" all songs in 1955 by Kailbelt, producer Peter Andrai in 1955. These two very important recordings were involved in the contract problem with the role of Wolfgang Wagner, who presented the instructions of the decka, EMI, and the Bayreuth Music Festival, and was effectively hindering the release, but Stewart. Thanks to his business skills, charm, and action, he solved all difficulties, released records from Testament, and received many acclaim.

Brian Hall in Fawlty Towers

This picture shows the band in its original form playing for a dance at our old school Marist Brothers College (MBC) Randwick in about 1954

Photo © Tony Locantro

(left) Here is a photo of John Harris and me in Sydney some time in the late 1950s (right) John O’Grady with Mary Helen McMahon in The Boy Friend

Diadre Dee starred in West Ende's innovative musical "Hair", and was familiar with how to play musicals and variety, and attracted male customers. Another performance of Diadora was a on e-Lady show on the Mary Lloyd of Majestic Star Musical Hall, and she sometimes c o-starring at many concert venues. When Diadora and Michel Summers made songs and dinner music holes, they invited me to freeze with one of the uncensored pianists. Once, Deadra and Michelle planned a trip to Norway for the promotion of the song and the banquet, and took the chairman Jeffrey Robinson as an accompaniment. In the bottomless winter, we went to a huge hotel in Tronheim. With the help of a hotel orchestra drummer, I had a small show to some extent and actually checked the living situation, but it was a disgusting job, and this visit increased the audience of OUR LONDON. It doesn't take into account how effective it was. After that, with the closing of the song and dinner, Diadora was an entertainment event for companies, such as the "Buffet of Night", "South America Avings by Hodown", "French Kang", and other cheerful events. We started a business that is flourishing with organizing. Diadora has a business that planning entertainment events for companies, such as "Night Buffet", "South American Avings by Whoe Down", "French Kang", and other cheerful events. I started. Diadre Dee starred in West Ende's innovative musical Hair, and was familiar with how to play musicals and variety, and attracted male customers. Another performance of Diadora was a on e-Lady show on the Mary Lloyd of Majestic Star Musical Hall, and she sometimes c o-starring at many concert venues. When Diadora and Michel Summers made songs and dinner music holes, they invited me to freeze with one of the uncensored pianists. Once, Deadra and Michelle planned a trip to Norway for the promotion of the song and the banquet, and took the chairman Jeffrey Robinson as an accompaniment. In the bottomless winter, we went to a huge hotel in Tronheim. With the help of a hotel orchestra drummer, I had a small show to some extent and actually checked the living situation, but it was a disgusting job, and this visit increased the audience of OUR LONDON. It doesn't take into account how effective it was. After that, with the closing of the song and dinner, Diadora was an entertainment event for companies, such as the "Buffet of Night", "South America Avings by Hodown", "French Kang", and other cheerful events. We started a business that is flourishing with organizing. Diadora has a business that planning entertainment events for companies, such as "Night Buffet", "South American Avings by Whoe Down", "French Kang", and other cheerful events. I started. Diadre Dee starred in West Ende's innovative musical "Hair", and was familiar with how to play musicals and variety, and attracted male customers. Another performance of Diadora was a on e-Lady show on the Mary Lloyd of Majestic Star Musical Hall, and she sometimes c o-starring at many concert venues. When Diadora and Michel Summers made songs and dinner music holes, they invited me to freeze with one of the uncensored pianists. Once, Deadra and Michelle planned a trip to Norway for the promotion of the song and the banquet, and took the chairman Jeffrey Robinson as an accompaniment. In the bottomless winter, we went to a huge hotel in Tronheim. With the help of a hotel orchestra drummer, I had a small show to some extent and actually checked the living situation, but it was a disgusting job, and this visit increased the audience of OUR LONDON. It doesn't take into account how effective it was. After that, with the closing of the song and dinner, Diadora was an entertainment event for companies, such as the "Buffet of Night", "South America Avings by Hodown", "French Kang", and other cheerful events. We started a business that is flourishing with organizing. Diadora has a business that planning entertainment events for companies, such as "Night Buffet", "South American Avings by Whoe Down", "French Kang", and other cheerful events. I started.

The sad wreck of the Lord Hood pub in Bethnal Green following a fire soon after it closed

I've seen and worked with most drag queens, but Doris is the one who made the biggest impression on me. Sadly, Colin Devereux died of cancer at the young age of 50, but it was Doris who everyone mourned. Brian Walker shares his memories of Colin and Doris in his book Tales of the Old Steel Pot.

This is the opening night of the original Brick Lane Music Hall in 1992 with Vincent Hayes in the centre. On his right are Brian Walker in white and Dockyard Doris and on his left are Judith Hibbert dressed as a nurse and Peter John in pearlies. Behind the principals are the Brick Lane Dancers who were soon dropped from the regular programmes.

Photo © Tony Locantro

A montage of some of the actors who performed at the Theatre Royal, Stratford East, with Murray Melvin (top right), Anne Beach (centre left) and me just behind Anne at one of Philip’s memorial celebrations for a Theatre Workshop actor who had recently died

Brian Hall was a professional performer and singer. I first met him when he came to see a variety show at Chat's Palace, and then Brian Walker invited me back to do the real thing. I knew him from his role as a chef in Fawlty Towers and other ruthless men in film and TV, but I was very surprised to find that he had a very warm, gentle and endearing face both on and off stage. He was beloved by audiences for his humorous songs such as "Swim, Swim, Sam" and "If I Could See Her Through My Eyes" (dressed as Fanny the Pig). His death from cancer at the age of 59 was a devastating one.

Here is Graham performing ‘The Galloping Major’ at the Brick Lane Music Hall

John Harris studied at the Marist Brothers College Institute in Randwick for a year before I came to Sydney, and he was actually a cadet and knew the whole secondary institution well, as he played "The Last Post" on his pipes on Anzac Day and other ceremonies. Under cover of studying, I joined a dance group with John and another young man named John O'Grady, who was called "Tony Jones" after our names! Although the pipes, piano, and drums were not a perfect combination, our rhythm was strong and the sound we played carried perfectly through the corridors and other rooms. As mentioned in the text, the group was quite successful and did not find fault with the assignment. In the first year, it was because John's founder, Reg, joined the group and we needed his suggestion as a driver to deliver us to performances. However, when John was quite mature to get his driver's license at 17, when John had the opportunity to use a car without an owner playing the banjo, we proved to be inconspicuous without the suggestion of our founder! Our drummer, John O'Grady, was an avid cricket player, and we always had to take him out of shouting matches at the District Stadium to attend his engagements on Saturday evening performances. Our repertoire included "Old Days" dances such as "Pride of Erina," "La Bomb," "Canadian Three-Step," and "Progressive Barn Dance," as well as many standard quicksteps, foxtrots, and waltzes, which our guests and others enjoyed as much as our dancers. We had a certain number of fans of our cover of the Harlem Nocturne, in the mood for Glenn Miller and Golden Wedding Woody Herman, and we were at the apex of rock when Bill Haley of Rock Around the Clock began playing it from the 1955 film Jungle on the Darkboard, the starting point of the rock era.

Bob Hornery singing ‘The Man on the Flying Trapeze’ at the Pindar of Wakefield

Then John Harris introduced me to The Waves of Parsius, the conductor of the New York University Department of Sociology Symphony Orchestra. John was in the orchestra on pipes, his sister Patricia on flute, and founder Regi on cello. The orchestra needed a pianist to play the Continuo Family, leading the bass section in the wounded rehearsals, but as the performance approached, the number of other instruments, winds, bass, cello, and contrabands covering the bass section for example, increased, making it practically unnecessary. For my part, there was a great deal of arrogance in pushing myself into this role, since I had no understanding of traditional music at all, and actually even less understanding what these unusual Italian lyrics written on the notes, such as allegro, adagio, piano, fortissimo, sforzando, sforzando, etc., meant. But thanks to Mr. Parsius's perseverance, I was able to accelerate my direction in reading music scores and gain a lot of fresh knowledge about traditional music. I remember being arrogant and playing the Polonaza Chopin La and Waltz in a minor on piano solo at a public speech at the New South Wales Conservatorium. But then, around 1956, I participated in an amateur production of "The Boyfriend" at the Randwick Symphony Orchestra (Catholic Youth Organization) under the direction of Maureen Walsh, where John Harris suddenly gave up his pipes to act as conductor, controlling the circle of artists, a small orchestra, and a piano. During one performance, he also played the role of the elderly Lord Brocquyst brilliantly and enjoyed his own composition, "It's Never Too Late to Fall In Love." The group knew perfectly well how to play without a conductor until late, and I controlled the performance on the piano. John was only a hobbyist in music, and arranged a long and successful career as an engineer in the field of telecommunications.

Vincent Hayes, who had appeared in Gorea in Ireland, began his career as an artist in London, where he toured with the Royal Shakespeare Company. He then developed his skills as a cabaret performer, appearing in variety shows, pantomimes, and musical halls. He also ran a pub in Kings Cross, near Pindar in Wakefield, where Alan Roberts, a Manchester diplomat, met him. In the 1980s, Alan Roberts, who often came to Pindar from Mancun to see Peter John's concerts as part of the Abbah Dabba Music Hall troupe, bought the Food Road Food Pub in Vietna le Gulin. It was a rundown, dingy suburban pub, which at the time was located on a small plot of social land, as all the nearby houses had been demolished. Alan called Vincent, the owner of the establishment, and asked Peter John to hold a music hall there. The concert building was quite small, like the bar into which the show flowed, and the group had the opportunity to enjoy such a minimal space, actually a space called a dressing room. The stage was, as usual, a beer crate turned upside down, and the actors had to watch to avoid falling. Due to the lack of stage space, there were only a few performers, and one of the men had to play the role of the leader. At Alan's suggestion, Peter John offered Vincent to perform in the show and lead the group, and in his communication with the audience, it became clear that this role suited him very well. Peter was a regular pianist at "Lord Hood", and Roy Kin also often appeared as a host and performer. However, the pub was small and only had one serious bar, so it was not possible to collect admission fees for the music hall, and financial problems had forced the pub to cut back on its operations about a year ago, and it quickly fell into crisis. Photo © Tony Lokantro

A few years later, in 1992, Vincent's Brick Lane Music Hall opened in the former Truman's Brewery workers' canteen on Brick Lane in East London. It was a spacious and beautiful building, decorated to match Brian Walker's, with spacious dressing rooms in what was formerly a shooting range in another building. Vincent was always invited to play shows at Brick Lane, and I was a regular there in the early days. Over time, the space gained a reputation as a first-class entertainment venue, with equally good food and drink. In 2002, Brick Lane Music Hall moved to a new space in Silvertown, where it continues to operate in real time today.

Philip Hadley has been mentioned many times in the main story, but I'd like to include him here, rather haphazardly, to gather information about him. Philip arrived in Manchester in 1938 and moved to Australia in the early 1950s with his English mother and stepfather (Lois and Leslie Gould), who became director of the Australian subsidiary of Philips Records. I first met him in 1957 when he was appearing in a revue called Lower Education for the Sydney Institute Dramatic Society (SUDS). He then appeared in two more Institute revues, UNIK and Dead Centre, in 1958 and 1959, and in the 1959 Sydney production of Victoriana. As I have already mentioned, all this and almost everything else about that time is well documented in Robin Dalton and Laura Ginters' book Spitting Before the Fresh Wave. At the end of 1959, Leslie was appointed general manager of the UK branch of Philips Records, so Philip followed his protégé back to London for the first time in a year. He continued his involvement with theatre, enrolling in his first year at the E15 School of Acting, and then taking weekly acting classes at the Joan Littlewood Drama Workshop in Stratford East. He worked as an ASM (assistant stage manager) for several repertory companies, and was manager of Lincoln Rep from 1968 to 1970.

Peter John appears in several group pictures in this piece (see Vincent Hayes and Dame Hilda Bracket) and here he is performing ‘Don’t Dilly Dally’ as an elderly Cockney woman who failed to follow the van to her new residence on moving day because she stopped on the way to have the old half quartern and now she can’t find her way home

Graham Hodry is a very versatile performer who has appeared in countless stage works such as theater, musicals, and pantomime. In the Music Hall, he was the chair of the major British troupe, and played wonderful numbers such as The Galloping Major, Sweeney toDd THE BARBER, and BRANAGH'S BOOTS. In the photo of Hiss & Boo, it is shown with Ms. Hilda Bracket.

Bob Honerie was a few years older than I attended a school in Sydney, and was quite impressed to see him playing an interesting role in Our Miss Gibbs and The Country Girl. I remember what I did. Later, he produced the second review, Stepping Out, starring Sydney, but his relationship with him faded. Around 1965, I went to "A Dream in A JUNE TO AUGUST NIGHT", which was staged at an outdoor arena in Lijenz Park. There is no place to hide even if it rains. I arrived late, so I didn't have time to get close to the program, but I was shocked by the cheerful performance of an artist who plays one of the Hillbilly who sleeps while rehearsing every day while rehearsing. In the intermission, I immediately learned that it was Bob Hornel, who came to London to try luck in theater and movies. He made a living, but returned to Australia, not a solid position, and was the biggest success in Neighbours and drama works. The strange events that occurred on the way to the forums were awarded two major theater awards, including the Actors Equity Lifetime Award. The end of the career (about 60 years, Glaham Hodry is a very versatile performer who has appeared in countless stage works such as theater, musicals, and pantomime. In Music Hall, the major Britain He was the chairman of the theater company, and played a wonderful number such as "The Galloping Major", "Sweeney toDd the barber", and "BRANAGH'S BOOTS". I am.

This is the dance session at the Comfort Inn at Osterley with Ian playing his white Fender and Dan Simmons on the drums. I like to think we sounded more lively than we look!

Photo © Tony Locantro

Peter John is a wel l-known Old Music Hall Artist, who seems to have literally participated in the music hall show where I have appeared so far. "The Chimney Sweeper", which he wrote, is a perfect example of the Victorian or Edward Morning Music Hall Comedy Number, and the tradition of Marie Lloyd's famous song "Don't Dilly" He skillfully plays the songs in the drama, including the interpretation. Dali ", etc., also performed a standap talk that skillfully pointed out the human character, and did not stop all the members of the show.

Started his career as an entertainer, and from 1964 to 1965, he appeared in three exciting works at the State Theater Company under the conductor of Sir Lawrence Olivier at Old Vick and Chichester Festival Theater. : The three works are "Much Ado ABOUT NOTHING", "THE KING'S SUNFISHING", and "OTHELLO". Later, he was interested in the famous work, A Patriot for me, played by John Osbourne at the Royal Court Theater, Maximilian Shell, who is active in the Austrian film and drama world. The play is based on a true story that Russia was threatened by Russia in the 1890s and betrayed in the 1890s and betrayed, in the 1890s. The movie has a sensational scene in which people in the Vienn a-u p-class society wear dragon costumes at a ball. At that time, Samurai, who was a censor at the theater performance, was unpleasant, and refused to give the theater a public performance permission. I often remember this production and the great promotion caused by this production.

A few years later, Peter challenged a music hole for the first time in the Abadaba group and gained a great success. The complex mix of the pantomime and the music hole, the chair, silently uttered the situation of the pantomime (other characters, if necessary), and the other actors compatible with the image of the puntmime. It's about playing. As mentioned in this article, I have appeared several times in such a wonderful adult pantomime, but it was always sold out with regular audiences.

Right is a picture of a group of distinguished guests who attended the launch of Killy’s book Back Stages enjoying an amusing speech being made by fellow thespian Johnny Dennis in June 2010 at the Groucho Club. From left to right: me, Johnny Dennis, Andrew Sachs (Manuel in Fawlty Towers ) Peter Baldwin (Derek Wilton in Coronation Street ) and Sir Donald Sinden.

I am grateful to Peter John for contributing to this article and providing the information I found elsewhere.

Ian Jones was hired as a royalty clerk when I was working for EMI Classics. Ian studied as a classic musician at the Royal Music Academy and played guitars and cello, but did not want a professional musician. When I was working in songs and survivors, I ended up with the music that customers could dance. In Nativyia (as described in the text), it was usually just a short performance by me on the piano and drums, but sometimes a longer dance session was needed, and Chets Palace bassist (spike Morris) and Ian. I called Jones. Ian Jones is the one I discovered. He had the talent to play popular music with electric guitars, as well as classical acoustic guitars.

After Song and Sala moved to Ostalie Comfort Inn, the trio with white fender electric guitar Ian and drummer Dan Simmons became established. Ian also played with a fla t-made Tim and guitar duo at the underground in London to play with an acoustic guitar and played as Ever Lady Brothers at the Chets Palace bar. Later, Ian moved to the EMI's Abbey Road Studio, became an experienced remastering engineer, and was mainly involved in classical recording, and in his private studio at home, the pseudonym "From Melba to Sutherland-Australian Singers on Record". Remastered. After that, he left Abbey Road, started a bed and breakfast business in Wales, and continued to repair and remastered audio recording, and played Wales folk songs as a hobby and banjo.

Photo © Tony Locantro I am grateful to Peter John for contributing to this article and providing information found elsewhere.

Photo © Tony Locantro I am grateful to Peter John for contributing to this article and providing information found elsewhere.

Here is Annabelle Lee in one of her typical glamorous costumes, this one specifically for ‘I was a good little girl till I met you’

Here is Ian Liston pictured as Chairman on a typical flyer for one of his Hiss and Boo music hall shows

Photo © Tony Locantro

Joan Littlewood

(Left) Statue of Joan Littlewood outside the Theatre Royal, Stratford East (Right) A personalised "thank-you" note from Joan

Roy Kin, Royston Henry, and Tesha Devere Kin appeared when he was the chair of the musical hall, but made his costumes for all kinds of songs in his repertoire. It was. When singing muffins and knapsacks, they have a huge prosthesis to freeze like a fairy, and the suits of "Sharing Macbeth" are more than when they served as the top of "Shakespeare's play". It was intelligent and esoteric. And when he sang "Riding on a good boat and baked duer", he wore a long Chung Silver clothes, puts a parrot on his shoulders, a wooden leg on his knees, and his real legs. I was wearing it on my thighs. And he brought all these suits into social means of transportation. Roy suffered for art!

He was on the hill when I was running a musical hole in the immovable pianist, Vietna l-Glin's pub, Road Hood. (The pub is in a very dysfunctional area, and Roy's chairman was probably not a macho). In fact, in one of his own replicas, he read as "Happy like a flash in chiffon", but the "Lord Hood" audience loved him honestly and Roy continued to play. He rushed to the Spital Fields music hole, Brick Lane, his star owner, Vincent Hayes, but he did not worship and he gained a profit from Road Hood. And in the adjacent WhiteChepel, the crowd, who could see the rooms of all murder cases, was interested in all data, so he began to investigate the situation in London. His performance, who entered the guide for the London Big Bus Tour, was needed to revive his own sentence. Royston's photo is Christine Pilgrim. Roy Kin, or Reiston Henry and Tesha Devere Kin appeared when the chair of the musical hall, but for all kinds of songs in their own repertoire, made a lot of costumes. It was a performer. When singing muffins and knapsacks, they have a huge prosthesis to freeze like a fairy, and the suits of "Sharing Macbeth" are more than when they served as the top of "Shakespeare's play". It was intelligent and esoteric. And when he sang "Riding on a good boat and baked duer", he wore a long Chung Silver clothes, puts a parrot on his shoulders, a wooden leg on his knees, and his real legs. I was wearing it on my thighs. And he brought all these suits into social means of transportation. Roy suffered for art!

He was on the hill when I was running a musical hole in the immovable pianist, Vietna l-Glin's pub, Road Hood. (The pub is in a very dysfunctional area, and Roy's chairman was probably not a macho). In fact, in one of his own replicas, he read as "Happy like a flash in chiffon", but the "Lord Hood" audience loved him honestly and Roy continued to play. He rushed to the Spital Fields music hall, Brick Lane, with his star owner, Vincent Hayes, but he did not worship, and he made a profit from Road Hood. And in the adjacent WhiteChepel, the crowd, who could see the rooms of all murder cases, was interested in all data, so he began to investigate the situation in London. His performance, who entered the guide for the London Big Bus Tour, was needed to revive his own sentence. Royston's photo is Christine Pilgrim. Roy Kin, Royston Henry, and Tesha Devere Kin appeared when he was the chair of the musical hall, but made his costumes for all kinds of songs in his repertoire. It was. When singing muffins and knapsacks, they have a huge prosthesis to freeze like a fairy, and the suits of "Sharing Macbeth" are more than when they served as the front session of "Shakespeare's play". It was intelligent and esoteric. And when he sang "Riding on a good boat and baked duer", he wore a long Chung Silver clothes, puts a parrot on his shoulders, a wooden leg on his knees, and his real legs. I was wearing it on my thighs. And he brought all these suits into social means of transportation. Roy suffered for art!

(Left) Ruth Madoc (Picture © Tony Locantro) (Right) Hillie Marshall

Michael Kilgariff (Killy) is, as we all know, a leading musical hall theatre director and master creator. He has also published Sing to Us 1 of Old Songs, an exhaustive guide to musical hall actors and famous songs from 1860 to 1920, and a huge collection of jokes. In 2010, he published Backstages, a theatrical memoir covering the years 1967 to 1979, which divided his own friends and colleagues.

Syd Marx

Apart from his work in music hall, Killly has also had a major career on stage (playing the Giant in a pantomime at the Palladium), made repeated television appearances (notably Doctor Who), and received numerous film and marketing video commissions. As a result, he is still considered a quality pianist, and has in fact been known to accompany musical hall shows that he directs!

Photo © Michael Kilgarriff, used with permission

Cover of Divas: Mathilde Marchesi and her Pupils , NewSouth Publishing, 2016

Annabel Lee, her real name, was one of the bassists in Pindar's Abba Daba when I first joined the company. Her husband, Richard Kip Carpenter, was a children's TV writer, writing such shows as Catweazle and Robin of Sherwood. Among the songs were "Every Time in the Saddle on Sunday," "Always follow my mother's advice," and "I was a good girl, until I met you," with Kip writing new lyrics that are much sexier than the originals. For example:

Toni Palmer and Kent Baker singing in the bar at the Theatre Royal, Stratford East

"Once we practiced love on the table.

Drank a lot of champagne.

At the Café "Piano"

Christine Pilgrim with her son Tommy on a lorry touring the streets of Hackney publicising Chats Palace with me on the piano. Behind Christine is Roy Kean and on the left in full Pearlie gear is Larry Barnes. I have no idea who the little girl is – she just seems to have come along for the ride. The sign-writing at the bottom is by Brian Walker

At the Café "Piano"!

Sandy Powell with ventriloquist dummy

For each song Annabel wore a different outfit, one more glamorous than the previous one. When she sat behind the piano on stage singing, my first thought was, am I playing so loud, and it seems like that, but I'm her quiet voice. Don't worry. Only once, on a night when another pianist was playing, I was standing at the end of the hall, and Annabelle's voice was flying towards me like an arrow, and every lyric was catchy and clear. I didn't realize that, as a seasoned stage performer, she always had a technique of "projection" that the younger generation of TV artists did not have.

This is Geoffrey Robinson chairing the Song and Supper show on board the ‘showboat’ Naticia on the river Thames. I am seen at the worst piano it was ever my misfortune to have to play on. Its touch was heavy and unresponsive and I had to do battle with it three nights a week for several years during the summer months.

The Naticia on the River Thames alongside the London Eye at Westminster

In 1977, he established Music Hall Hiss and Boo Company, and performed many popular stars on a nationwide tour, including Barbara Windsor, Leslie Cruter, Mrs. Hilda Bret, and Roy Had. He also participated in the tour of "Cloud" and "Mr. Men". There is one photo in this material.

This picture above is of Tommy Shand playing the clarinet at Stratford East in one of the Sunday Night Variety Shows. It shows the regular set up of the stage with tables and chairs where the performers could sit during the show and come and go as they pleased. I can be seen at my piano on the left at the far side of the stage. The man in the red jacket is actor Michael Elphick then to the right Terry Duggan and Anna Karen with Christine Pilgrim downstage.

John Little Wood is one of the most prestigious directors in the British drama world in the mi d-20th century and is called the "advanced drama mother." Since the 1930s, she has been touring with her own troupe "Troupe Theate r-Workshop", establishing excellent production and gaining popularity. In 1953, her and her troupe were formed at the Royal Theater in Stratford Illtra, where she performed some plays and musicals, and some of them were moved to the waist end and involved in Brendan Bahan. Fings, Fings, "Fings" (1958), "Lionel Bart" (1959), and probably her most successful show "Owat a Lovely War" (1963). 。 Later, his partner, Jerry Ruffles, died early in 1975, and left France without being absorbed in directing. I often touch John with a lead text and write about her performances in Stratford Osa, where I took the role. Ian Liston is an artist who has appeared in numerous series such as "Cross Road", "Coronations Street", "Brookside", "Doctor Foo", and "Rhine of Onedin". He has also appeared in masterpiece movies such as "STAR Wars / State Responds", "Too far from the bridge", and "Bucks". At the West End, he produced numerous theater and musicals, such as Nunsense and GROUCHO.

(Left) Trevor T. Smith (Right) Jeff Goldblum

In 1977, the Music Hall Jiss and Boo Company was established, and many popular stars such as Barbara Windsor, Leslie Clutter, Mrs. Hilda Brett, and Roy Had were performed nationwide tours. He also participated in the tour of "Cloud" and "Mr. Men". There is one photo in this material.

John Little Wood is one of the most prestigious directors in the British drama world in the mi d-20th century and is called the "advanced drama mother." Since the 1930s, she has been touring with her own troupe "Troupe Theate r-Workshop", establishing excellent production and gaining popularity. In 1953, her and her troupe were formed at the Royal Theater in Stratford Illtra, where she performed some plays and musicals, and some of them were moved to the waist end and involved in Brendan Bahan. Fings, Fings, "Fings" (1958), "Lionel Bart" (1959), and probably her most successful show "Owat a Lovely War" (1963). 。 Later, his partner, Jerry Ruffles, died early in 1975, and left France without being absorbed in directing. I often touch John with a lead text and write about her performances in Stratford Osa, where I took the role. Ian Liston is an artist who has appeared in many series, including Cross Road, Coronations Street, Brookside, Bill, Doctor Foo, and Rhine of Onedin. He has also appeared in masterpieces such as "STAR Wars / State Responds", "Too far from the bridge", and "Bucks". At the West End, he produced numerous theater and musicals, such as Nunsense and GROUCHO.

(Left) Peter Spraggon as music hall chairman in 1980 at the Production Village in Cricklewood, West London. (Right) This is a publicity shot for Song and Supper with Christopher Owen and Peter Spraggon alongside a singer whose name I have forgotten at the back, me at the piano with Michelle Summers in the Pearly outfit and Deirdre Dee bottom left.

Jim McManas is the first artist I met in Pinda. He worked in the BBC's radio series "The Diary of Mrs. dale" where he met Arena Waits, and she was one of the regular performers of "ABA DABA", for example, as a performer. 。 Between his solo, "Sister Sarah (Sitting in The Shoe-SHINE SHOP)", which was shown as a pantomime number, "Broken Hearted" in the 1920s, and "MR TANNER" with background information. There was a delicate Harry Chapin monologue entitled. music. However, as a chairman and entertainer of the variety show, the gym showed his best success, and in Chuts Palace, he revived his skillful show almost every night as the main event. Brian Walker is a chapter of the "Everything Has The Potential to Be Great on Any Given Night!" The record is posted. Jim plays a number of roles in television series such as Doctor Foo and Heartbeat, and has appeared as Digidelius Dumbledore in films such as Harry Potter and the Knights of the Phoenix. During the concerts on many stages, it reproduced the cabaret artist Tony Hancock and gained a great success. See "Violetta" section for the photo.

Poster

In 1979, she told me she was going to star in a new comedy series written by Jimmy Perry and David Croft. She had a very successful series called Hi-de-Hi, about the staff of an entertainment camp, while retaining her role as Gladys Camp's Welsh owner, I-D-It. Then next, Ruth told me that she had actually filmed a scene where she was singing on the piano, but the pianist was hopeless. She basically told the producers that she had a chance to find a pianist who really understood acting for singing, but unfortunately, for example, my phone didn't ring. Another pity! Ruth had a good career in television and theater. I saw her recently in the UK round of SINGER AT THE WEDDING. Hilly Marshall is a classically trained soprano who organized a musical evening of all kinds, including Gilbert and Sullivan, Musical Musicals, Varietals, and Old Music Hall, under the title Edwardians Unlimited. I performed in many of these musical call-bar shows, sometimes with Hilly and her colleague Julie Neubert. Hilly started out as a radiologist in the NHS, but then found a place performing in musicals and pantomimes, and had a successful career in clubs for lonely dinner dates for over 20 years. Recently, she has begun writing a book about her love life, becoming a "sick aunt" in print publications, magazines, radio, TV and online.

(Left) Tivoli programme, 1952 (Rob Morrison collection) (Right) Tommy Trinder

Sid Marx is one of Valiet's skilled performers who were glad to work together. Like Tommy Shan, he was a mult i-music instrument player, but he was dressed in clothes every time, and in contrast to Tommy, who seemed to be quite confused, Sid was wel l-dressed and showed the best performance. He played the melody in various things, but not all of them were instruments, but covered sawmills and pumps for bleeding. He still played with an unusual wind instrument entitled " E-mail Rogg", and in the performance of "Gallo p-on the Postal Horn", he was involved in the excitement of exclamation. At the end of his concert, in 1948, Danny Kay forced the visitors to answer the old song, Minnie the Muture, who won the same victory at Paladium. According to Sid, he was very pleased to find me as an accompaniment. At that time, many jobs I received were playing Boys Bend using three or four guitars and shock equipment, but I had the opportunity to play an old classic work on the piano. So, I couldn't actually play in simple mode.

(Left) Violetta (Right) Dressing Room picture of the cast of one of Peter John’s Aba Daba pantomimes at the Pindar of Wakefield (probably D ick Whittington which I think was called Dick and Pussy or it might have been Jack and the Beanstalk) . Back row (left to right) Robert Lister, Jim McManus, Paddy Glynn as Principal Boy and Kent Baker as Dame. Front row (left to right) Martin Wimbush, Violetta and Pauline Menear). (Picture © Tony Locantro)

It will be delivered by the British Musical Hall Association. Sid Marx is one of Valiet's skilled performers who were glad to work together. Like Tommy Shan, he was a mult i-music instrument player, but he was dressed in clothes every time, and in contrast to Tommy, who seemed to be quite confused, Sid was wel l-dressed and showed the best performance. He played the melody in various things, but not all of them were instruments, but covered sawmills and pumps for bleeding. He still played with an unusual wind instrument entitled " E-mail Rogg", and in the performance of "Gallo p-on the Postal Horn", he was involved in the excitement of exclamation. At the end of his concert, in 1948, Danny Kay was forced to answer the old song "Minnie the Muture", which had a similar victory at Paladium. According to Sid, he was very pleased to find me as an accompaniment. At that time, many jobs I received were playing Boys Bend using three or four guitars and shock equipment, but I had the opportunity to play an old classic work on the piano. So, I couldn't actually play in simple mode.

It will be delivered by the British Musical Hall Association. Sid Marx is one of Valiet's skilled performers who were glad to work together. Like Tommy Shan, he was a mult i-music instrument player, but he was dressed in clothes every time, and in contrast to Tommy, who seemed to be quite confused, Sid was wel l-dressed and showed the best performance. He played the melody in various things, but not all of them were instruments, but covered sawmills and pumps for bleeding. He still played with an unusual wind instrument entitled " E-mail Rogg", and in the performance of "Gallo p-on the Postal Horn", he was involved in the excitement of exclamation. At the end of his concert, in 1948, Danny Kay forced the visitors to answer the old song, Minnie the Muture, who won the same victory at Paladium. According to Sid, he was very pleased to find me as an accompaniment. At that time, many jobs I received were playing Boys Bend using three or four guitars and shock equipment, but I had the opportunity to play an old classic work on the piano. So, I couldn't actually play in simple mode.

(Left) Here is Aline Waites with David Ryder Futcher in one of the Aba Daba Anniversary Shows at the Pindar of Wakefield. (Right) The Pindar of Wakefield theatre pub at King’s Cross, London, after it was refurbished as The Water Rats.

It will be delivered by the British Musical Hall Association.

Roger Neil first contacted me was the recommendation of Australian film director, critic, and showers, Leo Skofield. Roger started his career in a rock band and worked in the US advertising agency search and search for a 1 0-year advertising industry. In the 1980s, he lived in Sydney, served as chairman of the advertising agency Lintus, and returned to the UK. He studied an Australian who succeeded in Europe in the late 19th century, such as sculptor Bartram Mcennal and Opera Dam Nelly Melva, but one of the Australians Henry, a photographer. ・ It was Walter Barnet. Rogger plans to release the musicians who appeared in the exhibition as a CD when the Burnet exhibition was curated for the National Portrait Gallery (Sydney and Melbourne) in Canberra, Australia It was set, but as the number of exhibitions decreased, the CD project was no longer possible. However, Roger had already contacted me in EMI and arranged for the release. Roger suggested that when I attended the "Australian singer Records" presentation in Australian House in 2003, Roger will release the record series "From Melba to Suterland" on this theme 2016. It was produced together a year. Roger recently published a book. Roger Neil first contacted me was the recommendation of Australian film directors, critics, and showers, Leo Scofield. Roger started his career in a rock band and worked in the US advertising agency search and search for a 1 0-year advertising industry. In the 1980s, he lived in Sydney, served as chairman of the advertising agency Lintus, and returned to the UK. He studied an Australian who succeeded in Europe in the late 19th century, such as sculptor Bartram Mcennal and Opera Dam Nelly Melva, but one of the Australians Henry, a photographer. ・ It was Walter Barnet. Roger is planning to release the musicians who appeared in the exhibition when curating Burnet exhibitions for the National Portrait Gallery in Canberra, Australia (Sydney and Melbourne). It was set, but as the number of exhibitions decreased, the CD project was no longer possible. However, Roger had already contacted me in EMI and arranged for the release. Roger suggested that when I attended the "Australian singer Records" presentation in Australian House in 2003, Roger will release the record series "From Melba to Suterland" on this theme 2016. It was produced together a year. Roger recently published a book. Roger Neil first contacted me was the recommendation of Australian film director, critic, and showers, Leo Skofield. Roger started his career in a rock band and worked in the US advertising agency search and search for a 1 0-year advertising industry. In the 1980s, he lived in Sydney, served as chairman of the advertising agency Lintus, and returned to the UK. He studied an Australian who succeeded in Europe in the late 19th century, such as sculptor Bartram Mcennal and Opera Dam Nelly Melva, but one of the Australians Henry, a photographer. ・ It was Walter Barnet. Rogger plans to release the musicians who appeared in the exhibition as a CD when the Burnet exhibition was curated for the National Portrait Gallery (Sydney and Melbourne) in Canberra, Australia It was set, but as the number of exhibitions decreased, the CD project was no longer possible. However, Roger had already contacted me in EMI and arranged for the release. Roger suggested that when I attended the "Australian singer Records" presentation in Australian House in 2003, Roger will release the record series "From Melba to Suterland" on this theme 2016. It was produced together a year. Roger recently published a book.

Here is Brian on the cover of his wonderful book Tales of the Old Iron Pot (left) and as one of the Plastic Pearlies (right)

Toni Palmer played one of the two prostitutes with Barbara Windsor in the musical "Fings Ain'T Wot They USED T'be", which was staged in the West End in 1960, and later Lionel Bart's musical. I played an important role in blitz! In the 1950s, Toni appeared as a dancer in the West End musical, such as Joey Fel and Guys & Dolls. He also worked in British clubs such as Winstons and Danny La Lou Lou Club, and appeared in TV dramas and masterpieces. Toni was good at exercise and enjoyed participating in the entertainment event to sing a song with Kent Baker at the Stratford East bar, but it was her partner and her husband at the time. However, it was also a theater in this area.

Here she is in a montage of her solo numbers

One day in 1978, Toni asked me to accompany the audition for West End's new musical "Bar Mitzvah Boy". In the audition, I would sing a specially written song for her, and I think it was a song called "FLASHLIGHT FANNY", which covers George Formbee's bes t-selling "Fanlight Fanny", but she is between auditions. I didn't trust who would show it in the theater. For example, one afternoon we arrived at the Queen's arena. A piano is placed on one side of the naked stage, one on the other side, there is a creative team, including Jack Rosenthal, Don Black, Jules Stein, and the director and doctor Alexander Faris. I think it was. I was familiar with Stein and Falis, but I didn't feel any attractive to others. For example, Toni prepared his songs in other ways and answered the questions issued by the creators. When I asked her about what happened later, she was offered a role, but I didn't care about that, and in fact, she had a song, in fact, a very short role, sitting in a dressing room overnight in the theater. He didn't want to spend, so he refused. The performance ended in only 78 times, but she played this role and had a chance to add her background. Toni Palmer plays one of the two prostitutes with Barbara Windsor in the musical "Fings Ain't Wot They USED T'be" performed at the West End in 1960, and then Lionel Bat. Played an important role in the musical "BLITZ"! In the 1950s, Toni appeared as a dancer in the West End musical, such as Joey Fel and Guys & Dolls. He also worked in British clubs such as Winstons and Danny La Lou Lou Club, and appeared in TV dramas and masterpieces. Toni was good at exercise and enjoyed participating in an entertainment event to sing a song with Kent Baker at the Stratford East bar, but it was her partner and her husband at the time. However, it was also a theater in this area.

One day in 1978, Toni asked me to accompany the audition for West End's new musical "Bar Mitzvah Boy". In the audition, I would sing a specially written song for her, and I think it was a song called "FLASHLIGHT FANNY", which covers George Formbee's bes t-selling "Fanlight Fanny", but she is between auditions. I didn't trust who would show it in the theater. For example, one afternoon we arrived at the Queen's arena. A piano is placed on one side of the naked stage, one on the other side, there is a creative team, including Jack Rosenthal, Don Black, Jules Stein, and the director and doctor Alexander Faris. I think it was. I was familiar with Stein and Falis, but I didn't feel any attractive to others. For example, Toni prepared his songs in other ways and answered the questions issued by the creators. When I asked her about what happened later, she was offered a role, but I didn't care about that, and in fact, she had a song, in fact, a very short role, sitting in a dressing room overnight in the theater. He didn't want to spend, so he refused. The performance ended in only 78 times, but she played this role and had a chance to add her background. Toni Palmer played one of the two prostitutes with Barbara Windsor in the musical "Fings Ain'T Wot They USED T'be", which was staged in the West End in 1960, and later Lionel Bart's musical. I played an important role in blitz! In the 1950s, Toni appeared as a dancer in the West End musical, such as Joey Fel and Guys & Dolls. He also worked in British clubs such as Winstons and Danny La Lou Lou Club, and appeared in TV dramas and masterpieces. Toni was good at exercise and enjoyed participating in the entertainment event to sing a song with Kent Baker at the Stratford East bar, but it was her partner and her husband at the time. However, it was also a theater in this area.

(Left) is me with Barbara Windsor backstage during an extensive Music Hall tour for Hiss and Boo around the UK (Right) Barbara Windsor and Toni Palmer in Fings Aint Wot They Used t’Be (1960)

Finale

Paul Peters was an elegant young man who had his own music hall company in London, in which I would occasionally perform. Paul and his actors hugged me, climbed into a small car with all their costumes and props, and set off merrily to the concert. Paul loved to do all sorts of comical acts, and you can see some of his characters in the montage below. Paul died young, but I have a lot of fondness for him.

Christine Pilgrim is an Australian actress whom I first met as part of the Abadabba troupe at Pindar in Wakefield. She excelled in humorous songs, covering a wide range of material from authentic Victorian music hall numbers like "It's the same the whole world over" to Stephen Sondheim's "I never do everything two." She also performed stand-up, which was unusual for a woman at the time. I occasionally paired her with me when she performed solo in pubs and clubs, but this was rather difficult due to the fact that almost all the customers were very disinterested and preferred to perform at bingo instead of working while listening to the woman perform. From stand-up comedy. I also performed in a Sunday night variety show at Stratford East.

List of books referred to in the text

Sandy Powell is one of the veterans of variety and I have only worked with him once, but it was a pleasure to work with this sophisticated singer. He has been honing his concerto for many years, which was also reflected in his comic skill. He became a big star as a stand-up comedian during the radio era of the 1930s and appeared in several films, but his television era did not bring him the same fame as his early career. One of his stage routines involved a ventriloquist dummy that would fall apart when he tried to perform it, and that's exactly what he showed us at the tram shed at Woolwich Arsenal.

Jeffrey Robinson, with the looks and bearing of an army major or captain, regularly hosted Abadabba and Song and Supper. Jeffrey was a member of the Magic Circle and performed as a magician on children's television shows. He also played a singing saw, and his dry but witty hosting remarks always added a touch of sophistication to the show. For example, a particularly quirky number by one of the company's most reckless comedians, Terry Baylor, who performed with Monty Python, was usually followed by the words, "Thanks, Mr. Baylor, for actually doing that!"

Tommy Shan was an extraordinary and interesting performance, a mixed mixed mult i-instrumentalist and a sad clown. In fact, I ignored his biography, learned that even Brian Walker worked in the army, and to speak in all kinds of instruments, it became the ground of his concert. I haven't counted things. Tommy, dressed in wor n-out clothes and a chopped hat knife, played one after another, with unusual luggage, and played in his own strange instruments one after another. As a general rule, he plays "Smoke in the Eye" with a pipe with the keyboard, starts with something like smoke (gunpowder) comes out from the horn of the pipe in the first blow, and is an attached message with a complaint. "Jin" ended on the bell attached to the pipe, and a reckless trick that a piece of paper dropped in the air appeared here. The concert was continued with other strange songs with the same strange musical instruments and ended with the Saxophone solo "I'm in the Mood for Love". From there, a long elegant, weightless ball rose slowly with a growing volume, especially among female editors. Tommy was a member of his family, and did not break the joy and party in all participating shows. I was able to borrow again to Brian Walker.

Trevor T. Smith was a hig h-quality mult i-artist and a pianist who participated in many Philip Hedry works. One of them was "happy like a sand bag," he performed on the stage piano on the stage. I was afraid that he was cleverly "backward", that is, playing back to visitors, but every time he was in fact, but sometimes I thought it was a fancy, but "Smart". I didn't notice Jeff Goldbum of PRISONER 2 Avenue. In both works, Gold Bum has a good example of "bac k-t o-back game" and has succeeded in conveying all the impressions to the visitors, and basically I judged the talent that Trevor really has! Tommy Sand was an extraordinary and interesting performance, a mixed mixed between a talented mult i-instrumentalist and a sad clown. In fact, I ignored his biography, learned that even Brian Walker worked in the army, and to speak in all kinds of instruments, it became the ground of his concert. I haven't counted things. Tommy, dressed in wor n-out clothes and a chopped hat knife, played one after another, with unusual luggage, and played in his own strange instruments one after another. As a general rule, he plays "Smoke in the Eye" with a pipe with the keyboard, starts with something like smoke (gunpowder) comes out from the horn of the pipe in the first blow, and is an attached message with a complaint. "Jin" ended on the bell attached to the pipe, and a reckless trick that a piece of paper dropped in the air appeared here. The concert was continued with other strange songs with the same strange musical instruments and ended with the Saxophone solo "I'm in the Mood for Love". From there, a long elegant, weightless ball rose slowly with a growing volume, especially among female editors. Tommy was a member of his family, and did not break the joy and party in all participating shows. I was able to borrow again to Brian Walker.

Trevor T. Smith was a hig h-quality mult i-artist and a pianist who participated in many Philip Hedry works. One of them was "happy like a sand bag," he performed on the stage piano on the stage. I was afraid that he was cleverly "backward", that is, playing back to visitors, but every time he was in fact, but sometimes I thought it was a fancy, but "Smart". I didn't notice Jeff Goldbum of PRISONER 2 Avenue. In both works, Gold Bum has a good example of "bac k-t o-back game" and has succeeded in conveying all the impressions to the visitors, and basically I judged the talent that Trevor really has! Tommy Shan was an extraordinary and interesting performance, a mixed mixed mult i-instrumentalist and a sad clown. In fact, I ignored his biography, learned that even Brian Walker worked in the army, and to speak in all kinds of instruments, it became the ground of his concert. I haven't counted things. Tommy, dressed in wor n-out clothes and a chopped hat knife, played one after another, with unusual luggage, and played in his own strange instruments one after another. As a general rule, he plays "Smoke in the Eye" with a pipe with the keyboard, starts with something like smoke (gunpowder) comes out from the horn of the pipe in the first blow, and is an attached message with a complaint. "Jin" ended on the bell attached to the pipe, and a reckless trick that a piece of paper dropped in the air appeared here. The concert was continued with other strange songs with the same strange musical instruments and ended with the Saxophone solo "I'm in the Mood for Love". From there, a long elegant, weightless ball rose slowly with a growing volume, especially among female editors. Tommy was a member of his family, and did not break the joy and party in all participating shows. I was able to borrow again to Brian Walker.

Peter Spring departed as a police officer, but was an impressive figure of a man who decided to freeze artists. As a result, he was not surprising, but in fact he was played by police officers and criminals in movies and television dramas. He played these songs, such as "Goodbye Dolly Gray", as a solo artist, and brought a thorough performance as a chair, for example, as a chairman. 。 For example, he reported that he was actually hanging on the street with a box of donations with a donation collection box stating "Doctor Bernard's House", "Today is hot fried, Excellent Enny Day." Then, I always liked his joke, saying, "I didn't know he was there!" And sometimes he knew that and that. "Who came up with a belt for panties?" He answered personal questions. "This suspender is Alfred Hitchcock!"

Picture credits

Peter has collaborated with all major musicals and shaver companies, including Abba Dava, Hiss and Boo, and Song and Sapar, and in general, as the chairman, each time at its own special originality. It was possible to enter the account.

Michel Summer s-Soprano singer. Started his career as an artist on a black-and-white bard's television program, sang regularly on the BBC radio program "Friday Evening-Music Evening", and plays a major role in West End's "Shelbuli Rain Umbrella". He often c o-starred on the state tour of Jana Liston's group "Hiss and Boo". Michelle has been a standard in Valiet and Music Hall since the age of Jenny Lind (Nightingale in Sweden), which appeared on the Circus of Burnham and Bailey, and the same performers in the UK and other states. He performed a song of a ballad and a light opera, taking advantage of her own characteristics. 2 Her Main Part-Johann Strauss II's "Foledel Mouse" is "My Marquis's Small Power" ("Laughing Song") and Franz Legger's "Mary Widow". I tried other songs for her concert, but there was no song that would function perfectly, for example, these two songs.

Michelle and Deirdre Dee founded the Song & Supper Music Hall Company and I worked a lot for them. I have already written about the shows we did at the Natishia Show Lodge, up and down the Thames, and at the Empire Rooms, but here I will mention another one, the former Comfort Inn in Obtur. After the Music Hall show we arranged a more thorough dance session than we had at Nitney. For this I switched piano to a Seiko, a rather cheesy and interesting electronic keyboard, and played a white electric guitar, a splashboard, belonging to Emi's colleague Jan Jones, alongside our regular drummer Dan Simmons, who often played with Stratford Aste and Natishia. We played music that tourists used to listen to on holidays to Spain, for example "The Birdie Song", "Strangers in the Night" and "By the time I go to Phoenix". For me it was a big change from my usual style of playing in musical halls and varietals, and I really enjoyed it. As a young actress, Rita Trisman began performing in the music hall "Old Time" at the Unity London Theatre before the Second World War. Later she founded her own music hall group at the salon-style historic Hotiston Hall, one of the last preserved Victorian music halls in London. Because of the Unity Theatre's association with the Communist Party, Rita decided to call her new group the "Karl Marx Music Hall Company", but to my knowledge she never continued to communicate with Communism or Socialism. Although Rita was no longer in the prime of her youth by the time I performed with this group, I always found her to create a very enjoyable atmosphere and it was always fun to join in with her own repertoire of comic songs such as "Hold the Bell, Nelly" and "Our House".
Courtesy of the British Music Hall Association
Tommy Trinder is an artist I performed with only once, in a pop program organized by Brian Walker for Chat's Palace at Stoke Newington Town Hall. He showed all the kindness and warmth that I remember him for in his movies and records. I think he said "You're lucky" but I don't actually remember! He made a little joke about my account when I didn't catch his comment!
I first met Violet (Violet Fardy) when I appeared on my adult pantomime at the Wake Field Pinder Theater. Peter John's scriptwriter was very popular. However, Violetta appeared in London, and his nickname spoke French in French, raised in France. She started playing theater in a Music Hall in the United Kingdom and played the role of French maid alternation in the players theater "Boy Friend". She spoke fluent English, but liked a caricature French accent at the concert. She also appeared in movies and television, but she continued to play an active part through her long life. She has a solo number repertoire such as Le Fiakuru, and I played for her in everywhere, such as the Vox Hall Crispin and Pindal. The job with her was always fun, especially when she scolded her personally in French.
Align Wates is a British actress, appearing every day in the BBC radio series "MRS DALE'S DIARY" and played her daughter Gwen. Successful on the stage and television at the rep theater. In 1969, he c o-starred with the Abba Dava Music Hall Group with Barimore Brown, Australian Entertainer, David Rider Fatcher, and Janet Browning at Camden Town's pub "Mother Red Cup". In less than a year, she moved to Pinder of Wake Field, a pub in Kings Cross's Gray's i n-Road, where he was a huge success, and played in a crowded hall three nights a week. Align produced all the shows that change every two weeks, and appeared in the annual anniversary show. In addition, we created the "scene", which is an ensemble number of the entire group with specific themes, such as the "train scene", "Ranch scene", and "Mother's Day scene". The arena has the talent to make up the scene like this, skillfully applied the materials, and did something more important than just a collection of songs.
In 1980, he planned a political operator called "Kennedy's Downstears" at a theater in Kings Road, Chelsea, and with his partner Robin Hunter and others, "Road to Casablanca", "Road to Casablanca". He wrote a comedy musical show such as Fanny's Revenge and a series of political pantomime. During the heyday of the 1970s, Abba Dava performed three summer performances in Copenhagen, which also succeeded in tours to other Scandinavian countries, France, Germany, Canada and the United States.
Brian Walker, according to his personal lyrics, was from the East End, but was a very professional person who suddenly became very successful. When I first met him, he was part of a duo called "The Plastic Pearls" with another John Scott, singing songs like "The Sheikh of Araby"! At that time, Brian was working as a van driver, but he was also writing signs for shops and businesses in Hakni, where he lived, in the most shocking way ever. He was still working under the title Chats Palace at a social centre in Homerton, where he needed a talent to make sets and layouts for plays.
Brian was not an artist or a performer, but he loved to play, and his role in the pop show at Chats Palace was always praised by visitors to the district. Soon Brian was organizing shows in other rooms around Hakni, as well as at Chats Palace, and he often asked me as a pianist. When Vincent Hayes opened the Brick Lane Music Hall in the old Truman Brewers building on Brick Lane in Spitalfields, Brian was the only one who set up the venue and also regularly performed there. Later, Vincent got Brian interested in arranging visiting performances at local venues, especially social centres and nursing homes, on behalf of the Brick Lane Music Hall. Brian managed to make what was a small but rather enjoyable full-length show that seemed much, much more than enough for its small part, with only one invited star in front of him and his professional accompanist Michael Topping, singing and sitting behind an electric keyboard. In 2016, Brian showed another sudden talent and released a book entitled Tales of a Long Steel Pot, which consists of circumstances about his life and time at Hackney, told in the East End's most delightful and humorous style.
Maureen Walsh - Australian artist, member of the Randwick Seao Club (Catholic Youth Organisation) and director of Boy Diffrug, which I starred in in Sydney in 1956. I also performed for Maureen when she was asked to be a solo artist at the RSL Sydney Club (Returned Children and Workers' League) and other venues. The repertoire was characteristic numbers from stage musicals such as "You Can Get a Man with a Gun" from Annie Get Your Gun and Adelaide's Lament from Boys and Dolls. It was hard work, as I found out a few years later when I worked on the same stage as Christine Pilgrim in London, and audiences were often not interested in hearing a solo artist perform in a cabaret, preferring bingo games and poker machine gun work. Maureen, however, did not give up like Christine and occasionally found audiences responding to the entertainment. Like many of my theatre colleagues in Sydney, I lost contact with Maureen when I came to London in 1960.
Photo by Maureen Walsh
Lady Barbara Windsor is, needless to say, the most famous woman in Britain after Elizabeth Windsor (better known as Queen Elizabeth II). She rose to fame thanks to her bold looks in many of the Carry On films, and also played Peggy Mitchell, the landlady of the Queen Victoria pub, in the EastEnders series. She appeared on stage at Fings, but also performed many shows in permanent clubs, including T'be, pantomimes, and comedies such as Swim With Me with Danny La Rue. Before joining the ISTENERS, she says in her autobiography, her career was at a low level, but afterwards she began appearing mainly in music halls as the legendary artist Marie Lloyd. I did several shows for her, where she was always a live personality and was much loved by the audience.
The end of a typical ABA Dhaba show at Pindar, Wakefield (below). The troupe and artists have just finished Farm Scenes (from left) - Bronvyn Williams, Robert Lister, Annabel Lee, Bob Hornery, Maggie Beckitt and chairman Kent Baker.
Among this memoir about my double life in music, I have been working together in the recording industry for over 50 years, and more than that, in various forms of venues throughout the UK. I would like to pay tribute to the unimaginable professional actors who have been very honored to appear on the concert on the piano. It is correct that Irving Berlin wrote that there is no business like a show business.
Tony Locantro, London, October 2020
David Conzville "Park: Status of no n-closed theaters in strict parks" Oberon Books, 2007.
Robin Dalton, Laura Gints "Splash for A New Wave: Tragedy at the Sydney Institute 1957-63" Currency Press, 2018
Doug Holden "Lost Tenol in Australia-From orphans to International Star: Albert Lance (Lance Ingram) Autumn" 2015
Michael Kilgarif "Backstage": Contractor 1967-79 Message and Diary, Caglio Viva, 2010
Michael KilgaRriff, The CompLETE VADE MECUM FOR TIME CHAIRMAN OF THE MUSIC HALL Nearly 600 Patterte r-Entries, Samuel French, 1972
Michael KilgaRriff, Giving Me Further PLEASURE: subsequent discussions on the art of Music Hall Chair, and the introduction of over 600 songs, Samuel French, 1996
Michael Kilgarif "Sing to US 1 of Old Songs: Guide to the Famous Song, 1860-1920, Oxford UNIVERSITY PRESS, 1998
Brian Walker "Story of Long Nabe" 2016
If there is no rule, from the creator's collection to the presenter.
Tony participated in Martin Duncan, Darlin Johnson and Stratford Atterist Theater at Berkeley Square.
Roger Nil
Tommy Trinder
Peter Andley
Robin Archer
Kent Baker
Rally Burns
Maggie Bakit
John Larsen
David Biknel
Stuart Brown
Diadre Dee
Dokuyard Doris
Brian Hall
John Harris
Vincent Hayes
Philip Hedry
Graham Foodle
Bob Honeri
Peter John
Jean Jones

Elim Rim - Journalist, creative writer

Last modified 30.07.2025

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