Stepping off the train at Woking from Dover was a phenomenal relief, as I had decided that nothing would entice me back to Dover College for my final term, a school which I might say provided all the reasons for scrapping the Public School system. Old boys include the choreographer Sir Frederick Ashton and film director J Lee Thompson but for heaven's sake, Jeffrey Archer has claimed to have taught there, that just might be true, I haven’t checked. I loathed it, except for when the lights went out! The Dramatic Society kept me sane as I was cast as Miranda in The Tempest and Third Witch in The Scottish Play, was someone trying to tell me something? What the hell! It was a start!
Leaving the station on foot I suddenly stopped dead in my tracks.
'I've got to get a job' the thought might soften the blow to my parents. So rather bravely (I was only sixteen) I made my way down the road to the local flea-pit, The Plaza, very similar to the cinema depicted in the movie The Smallest Show On Earth, I half expected to see Margaret Rutherford in the box office, in fact the lady was even older and deaf as a post. I found myself a job as assistant to the projectionist who wasn't exactly like Peter Sellers but as near as damn it. During my first few days, I found myself having to clear various empty bottles from behind the dilapidated projectors, it never occurred to me that I was working with a 'soak', not that I knew what one was – then!
Normally we showed six films a week, Sunday, Monday to Wednesday, Thursday to Saturday, two films showing three times a day. Not long after my arrival Rock Around The Clock was booked for the full week, the manager was so excited, especially as neither the Odeon nor the Ritz would show it! I thought it rather odd at the time, we normally showed second runs of a movie. The great day arrived, queues round the block, it was very apparent half-way through Sunday’s last showing that something was wrong in the auditorium, the intercom rang and a rather excited usherette was sobbing 'the screen's ruined!' indeed, as I looked through the projection hole, I witnessed one of many ice cream cartons hitting the screen. Fights ensued while Bill
Haley was murdering yet another song, my boss who by now had already demolished three quarters of a bottle of scotch, shouted at me to get the fire hose out, I suggested that it might be better if we locked ourselves in. Police were called and cleared the cinema, after a number of phone calls we were informed that the screen would be replaced the next morning and a double bill of Genevieve and Doctor In The House would play for the rest of the week.
Hi-jinx at the Odeon round the corner, they were going hi-tech by installing a system by which the projectors controlled the interval music, their swish new curtains and their house-lights, evidently by inserting various dots on the actual film all would miraculously happen!
Came the great day, even the mayor attended. The house-lights and music faded, the certificate appeared, the curtains opened, then closed, the house-lights came back up again then faded, this entertainment continued to raucous laughter for the next few minutes, red faces all round and the idea was dropped.
After a couple of months Cinemascope was installed, for the Plaza it simply meant masking the screen in at the top and widening it by about two or three inches. By now of course, the sixteen year old knew everything there was to know about running a projection room! Soon after, my boss was more than under the weather and disappeared, I was informed that I had to hold the fort for the rest of the day.
'No problem' I cockily assured the manager.
On showing the Gaumont British News, a copy of which we shared with the Odeon down the road, I had forgotten to remove the Cinemascope lens and consequently I remember Winston Churchill being depicted as an enormously rotund midget.
During the first interval, the aforementioned usherette rushed into the box and said she had seen the film before and seemed to remember some other memorable scenes in the movie but not at this showing, she also pointed out to me that we were running a good fifteen minutes early! The penny dropped as I noticed a full reel sitting on the table unshown.
She continued 'Don't worry, no-one seems to be any the wiser'.
As there were only seven patrons and two of those were asleep, we didn't!
ACT 1 Sc 2
Odd that theatre not being in my family's blood, should draw me so strongly. Whilst learning how to present movies and to avoid liquor I managed to visit the most fabulous actress with the stunning voice, Barbara Couper, well known radio star and later to become a sensation in Sandy Wilson’s Valmouth. She happened to live down the road in the most beautiful cottage and God bless her, gave me many pieces of advice whilst serving wondrous tea and cakes.
I immediately did as suggested, writing to all the best Repertory theatres in the country, these being at the time, Liverpool, Birmingham, Sheffield, Salisbury and Guildford, the latter taking me on as a student assistant stage manager working for the princely sum of £1:10 shillings per week.
England's first repertory theatre was the Gaiety Theatre, Manchester in 1908, this changed the face of theatrical production and was to be imitated by groups springing up around the country.
Guildford was run by the adored genius Bryan Bailey, with his guidance and encouragement I stayed for two years. During that time I 'walked on' had a line or two, hammered nails into the set, rigged the lighting, washed the stage and had three affairs, so it did go on outside Dover! Oh! and worked on 102 productions!
How many you might ask? this was weekly rep, except for the pantomime which ran for two weeks.
Preparation for a new play would begin on the Tuesday morning with notes on the previous night’s performance followed by a ‘read through’. Actor’s moves (blocking) would follow for Act I. Evening’s performance followed by learning lines back at the digs. Wednesday would see a run of Act I followed by blocking Act II this would be interrupted by the Wednesday matinee. Thursday finished blocking Act II then a run of Act II and blocking Act III. Friday ran Act III with a full run-through of the complete play, stage management would be present making notes of the technical requirements. Saturday saw a complete run-through followed by 2 performances. On curtain down the set would be taken down by the stage manager, assistant stage managers possibly with the free help of the odd student or two or anyone else some of us might have ‘picked up’ during the week!!
Sunday for actors was spent swatting up on their lines while us lot put up the new set which sometimes simply meant turning a certain piece of scenery around and repainting it while lights and sound were organised. Monday morning was spent running through the play and the afternoon a full Dress Rehearsal, 7:30pm and curtain up. Happily most of us would pop into the local (I was actually allowed in) followed by a party of some sort in an actor’s digs to recover from the past week only for Tuesday to reappear and we’d start the whole rigmarole over again. And I survived two years of that caper and can honestly say, some of the happiest times of my life.
It amuses me today when actors are interviewed, especially so called 'soap stars' always saying how heavy their schedule is, if only they knew about real work. Try performing an Agatha Christie while learning and rehearsing a Shakespeare with an eye on the next but one production, probably by Terence Rattigan or Becket.
Noel Coward's 'don't bump into the furniture' certainly applied.
The company consisted of among others, Alfred Lynch, Daniel Thorndike, Gwen Watford, Edward Woodward, Frank Finlay, Wilfred Brambell and a certain lady, one of those I cheerfully avoid even to this day, but unfortunately our paths met again with Romeo And Juliet atBirmingham Rep, sad to say she's still the same old obnoxious bitch! I won't mention her name and make her famous! which, sadly, she assumes she is! Second thoughts why should she get away with it? Think Black Adder
Happily we suffered very few unpleasant actors, one comes to mind and for his last night we decided to copy A.E Matthew's experience and play a trick, unfortunately it backfired. We placed a telephone on the desk and so as to annoy him we rang it during an important speech he was uttering.
With astonished faces our target eventually crossed to the desk, picked up said telephone, listened for a moment then turned to the rather popular actor and said "It's for you!"
We had two dreadful shocks both concerning Bryan, the first was that he was to leave, taking over the reins and opening the new Belgrade Theatre Coventry, the first civic theatre to be built since the war. The second, being a workaholic he was in the habit of driving back and forth daily and on one horrendous occasion fell asleep at the wheel and hit a tree - we were devastated, so sadly missed, oh what might have been! His name and the National Theatre had been linked.
Sad to say, Guildford Theatre burnt down in 1963 but plans were already being drawn up for the new Yvonne Arnaud Theatre, which eventually opened in June 1965. From the start, this theatre had a strong West-End bias and is the largest and sole remaining producing theatre in Surrey. Guildford Theatre Company began in 1946 and during the 1950s Bryan widened the GTC repertoire to include new works by playwrights such as Arthur Miller, Eugene Ionesco, Peter Schaffer, Sean O'Casey and Samuel Becket, Guildford being the first to stage his Waiting For Godot.
ACT 1 Sc 3
After my two years, I was eighteen and through the post box arrived a brown envelope, couldn't be tax surely, even though now I was earning £5 per week. The armed forces beckoned, the dreaded National Service.
The years of National Service covered almost two decades - from World War Two to the birth of the Beatles. In all, between 1945 and 1963, 2.5 million young men were compelled to do their time in National Service - with 6,000 being called up every fortnight. Some went willingly, while others were reluctant but resigned. A few were downright bloody-minded, seeing little difference between their call up and the press gangs of Britain's distant past. The easiest way to avoid conscription was to ignore the summons to register for National Service. As a result of a shortage of people to enforce attendance, this method of avoiding the joining of the armed forces was highly effective. Another method was to hire a man who had already failed his medical, to impersonate you in front of the medical board. Jack Brack was rejected as unfit for service because of an enlarged heart. A few months later he was arrested and charged with impersonating eight different men at military medical boards. It was discovered in court that one man, a master tailor, had paid Brack £200 (£8,000 in today's money) for this work.
I was to report three weeks later for a medical, which of course I attended. The bastards passed me A1 and to insult me further put me forward for the Royal Army Ordinance Corps! (The lowest of the low).
Why didn't I copy my friend, he borrowed a white poodle dyed it's hair pink, wore pink from top to toe and minced into the army office, two minutes later was forcibly removed, returning to civilisation. I would like to point out that at this stage of my life, although eighteen, I looked nearer fifteen, I even had problems being admitted to see adult movies at the local cinema! My estranged Godfather who owned a thriving estate agency Mann & Co in Woking, became used to the telephone ringing, asking if it was really true that I was 16?
I arrived at Portsmouth Barracks shaking somewhat. The sergeant screamed at all of us, didn't help that I fancied the guy rotten!
The following day having been issued with our revolting uniforms, (for pity sake the trousers weren't even hipsters!) we had our first taste of 'square bashing', No! it is spelt 'square', another medical followed, then an interview with the Colonel.
'How old are you?' he immediately asked.
'Eighteen Sir'
'I find that very hard to believe, do you have any physical problems at all?'
I informed him that I had a rather bad ingrowing toe-nail.
'Perfect' was his response and began filling in forms.
'Tell me, do you have a girl friend?'
'No Sir'
'Have you ever had a girl friend'
'No Sir'
'Might I ask if you are ho-mo-sex-u-al?'
'Yes Sir'
I was warned never to reveal this fact, too late now I thought.
He continued, 'Many of my friends are ho-mo-sex-u-al, there is nothing to be ashamed of '.
The following day I was informed that I would be discharged in three weeks time and I would be excused all duties. I then spent most of my time ironing my colleague's clothes, earning tuppence an article, came the evening I would land up buying them all drinks in the NAFFI with my hard earned income. (five shirts = tenpence = a pint!)
Strange to tell, a couple of years later I bumped into the Colonel again, he was with a rather dapper young man, he informed me that they were looking for a house in Chelsea!
The opening night seemed to go rather well and the first night party was held in the Imperial Hotel's
turkish baths in Russell Square, Miss Lillie's idea of course!
The stars were out in force, Burt Lancaster, Kirk Douglas, Robert Mitcham, John Osborne, Cary Grant,
Jack Palance (weird) Gracie Fields, Noel Coward, all were there including the odd Duke and various
strange royalty, Miss Lillie was the 'Toast Of The Town'.
I felt my arm clutched and turned to find that it was The Great Lady.
'I want to introduce you to someone rather special' she tugged me over to where the most sensational, stunning looking guy stood.
'I'd like to introduce you, this is Douglas Fairbanks Junior'.
I think speechless is the word I'm looking for, Mr Fairbanks (Sir Douglas as he eventually became - an honorary title) actually conversed with me for five minutes, as if he'd known me for years, charm was unreal and his manners were impeccable, no wonder women fell at his feet, let alone men!
It was at this point I was asked if I minded getting Dora Bryan and friends a drink, a lady who I worshipped at the time and still do and arguably the very best revue artist ever. I was over the moon, collected a tray of drinks and hurriedly brought them back only to trip with the entire tray drenching Miss Bryan from head to toe, if looks could kill, she promptly disappeared.
A group of us poured out into the morning air to find the first editions of the papers and repaired to the management's Mayfair office, only to discover that the majority of the critics had not been kind. Extraordinarily, the management used some of the bad reviews to advertise the show, it seemed to pay off!
'Right' said the producer,
'A party here Friday night, I want everyone to attend'.
We all duly arrived after a very successful performance, we wined and buffeted then we were all given hundreds of sticky-back leaflets.
'Go paste the town' the Producer proclaimed, we did indeed paste the town, there were thirty of us and most paired up for the night, the evening papers were full of it, the box office went from strength to strength.
Now, I'm not one to gossipbut there was no love-loss between Miss Lillie and Miss Desmond, indeed Miss Desmond had understudied Miss Lillie many times, never to go on as Miss Lillie never missed performances no matter what, I remember one particular night Miss Lillie arriving up to her eyes in flu, really ill but went on! (so-called stars of today, please note!) I read for Miss Desmond on numerous occasions during understudy calls and if truth were told, I suspect that Florence Desmond would probably have been the very best Auntie Mame ever, stage or screen.
We had been told that there would be a live BBC transmitted excerpt of the show, this was general practice
in those days, shame no longer possible. Came the day, we arrived at the normal time to discover BBC
minions running round like mad. One of my jobs was to check all the props were in the correct position
before curtain up, I opened the drawer of the desk to discover a red book, not one of our props, I was about
to remove it when a BBC gent slammed the drawer shut.
'Leave it please, do not touch' I reported the matter to the Company Manager, who simply said 'Forget it'.
'CAMP'
I think that at this juncture, I should point out that 'Camp' does not necessarily mean 'Gay'! in case anyone gets upset!
Bruce Forsyth Definitely is!
Jack Benny Was and how!
Elaine Stritch Is Thank God!
Jim Davidson Isn't thank God!
Arthur Askey Was and screaming!
Cary Grant* Could be at times!
Beatrice Lillie Invented it!
Beatrice Arthur Couldn't have been anything else!
Rudolf Nureyev Not really, believe me!
Ronnie Corbett Is and we love him!
Robbie Williams Isn't but he can be anything!
Michael Portillo** Is whether he likes it or not
Sammy Davis Jnr Often was!
Lionel Blair Who's he kidding?
Michael Parkinson Would love to be!
Dale Winton Is the Pope?
Danny La Rue Oddly enough, not quite!
Me! Evidentally sometimes!
Elaine Stritch on her way to the studios for a live Russell Harty Show.
She asks the driver to stop outside Harrods.
She goes to the bridal department, asks for a wedding dress and a pair of scissors, she proceeds to cut the dress from head to toe.
She arrives at the studio wearing said dress looking a million dollars!
Now that's Camp!
Popeye's Camp!
Charles Hawtrey's mother arrived one day on the set of a Carry On and during the break, all were sitting
having coffee, she as per usual was chain smoking. While rabbiting on, her cigarette falls into her open
hand-bag, moments later the bag is ablaze, without hesitation Charlie pours a cup of coffee into the bag
and snaps it shut, mother notices nothing!
That's Camp!
Sylvia Miles walking down the street with Tennessee Williams,
'Sylvia, look at that girl, she's so very thin'
'Oh Tennessee, that’s anorexia nervosa'
'Oh Sylvia, you know everyone!'
That is definitely Camp!
While appearing in the smash-hit production Side By Side By Sondheim on
Broadway, Ned Sherrin was leaving the stage door one night, when he tripped and fell into the gutter.
Passing by, were what he could only describe as 'Two vicious queens' one said to the other: 'Well!! Much funnier than anything she did in the show’.
How camp can you get?
Ned should have been but wasn’t!
Now you know!
* Witness the clothed Shower Scene in Charade.
** Watch those hands!
Some More!
Back to Bea Lillie again, she related the story of when she and Noel Coward were in a Paris hotel. Adjoining rooms, of course. 'One night, I felt mischievous, so I knocked on Noel's door, and he asked, 'Who is it?' I lowered my voice and said 'Hotel detective'. 'Have you got a gentleman in your room?' He answered, 'Just a minute, I'll ask him.'
Returning to Guildford Rep for a few more weeks, applied for assistant electrician at Golders Green Hippodrome and actually got the job. A stunning theatre, used later by the BBC for radio broadcasting and recently purchased by the El Shaddai International Christian Group who have now had permission for a Change Of Use.
It received either, productions immediately prior to the West-End or first week of a tour, the majority of West-End productions automatically toured. Stars came and went, high quality productions and on the odd occasion some appalling ones.
One that comes to mind was the Carl Rosa Opera Company, then run by Sir Donald Wolfit, a legend in his own lunch-break. For that week as the lighting plot was so simple, my main job was to join the rest of the stage crew in holding flats in position for the entire performance as the company did not have enough stage braces!
And Wolfit? It has been said that when he made an entrance, other actors on stage were asked to turn their backs on the audience to look at him. One actor, dismissed shortly before playing Seton to Wolfit’s Macbeth, extracted his revenge. Instead of the line ‘The Queen, my lord is dead’ he greeted Wolfit with ‘The Queen is very much alive’. The late producer, Sir Peter Saunders who worked with him stated ‘He didn’t always surround himself with the best people, some claimed he wanted to look better himself – he was an egomaniac but the theatre wasn’t any the worse for it’
As for a class act? My idol of the day Margaret Leighton appeared in Terence Rattigan's Variation On A Theme immediately before moving into the West-End, directed by Sir John Gielgud, she was stunning.
One afternoon, a rather unpleasant well known juvenile actor, was called for rehearsals by Sir John,
at a certain point, we were aware of raised voices verging on a screaming match, the next thing we
knew, the marvelous Jeremy Brett was brought in to play the part.
It was during this week, that we were aware of regular visits to Miss Leighton's dressing room by the
totally vile Laurence Harvey, there were rumours but we thought as it was well known that Harvey
was a screaming queen, there couldn't be any truth in a possible marriage. How wrong we were, amazing
the lengths some actors (and I use that term loosely) will go to further their career, marriage followed.
Mentioning Sir John, reminds me of when he was directing a Mozart Opera at Covent Garden. During the
rather fraught dress rehearsal, he shouted 'Stop, stop, stop! Oh do stop that dreadful music!'
On another occasion,
"Do you see that man just coming in?" Gielgud asked his dinner companion in a restaurant one day.
"He's the biggest bore in London - second only to Edward Knoblock." Unfortunately, Gielgud had momentarily forgotten the identity of his dinner companion - Edward Knoblock. “Not you of course, he awkwardly added, I mean the other Edward Knoblock".
On going backstage at the Old Vic to take Richard Burton to dinner after seeing and loathing his Hamlet,
Sir John called and told him: ‘I'll go ahead, Richard. Come when you're better, I mean, when you're ready’.
And, on the set of Becket. It was early in the morning and Gielgud, fully made up, was patiently filling in his crossword (popular report was that he just filled it in, ignoring the clues). Peter O'Toole and Richard Burton arrived somewhat hung over, probably still slightly pissed. They were mucking about and hitting each other and at one point rolled around on the ground. Sir John finally looked up from his crossword and said impatiently.
'Oh, why don't they get on with it and fuck'
I began at this point to discover the wonders of the actor's pub, namely, The Salisbury in St Martin's Lane, here everybody famous and infamous ate and drank, once when asked what I'd like to drink,
'A gin and tonic' I replied.
'You'll have a bleedin' pint like everyone else' was the reply, my, how times have changed.
When standing at the bar I happened to look to my right, my neighbours were regulars Richard Burton and Elizabeth Taylor, left to their own devices unlike today I suspect.
The Salisbury was regularly frequented by the brilliant actor Wilfred Lawson, well-known for having a tipple or two or three. On one occasion he had spent the entire morning in the pub with a new found friend, both were worse for wear, his friend no doubt, being much the poorer. Wilfred suggested that they take in a matinee and why not pop in next door to the New theatre (changed to the Albery now the Coward). They fell into their seats and ten minutes into the play, Wilfred whispered to his friend:
'You'll love this bit, it's where I come on!'
He later appeared at the Royal Court in Kelly's Eye with Nicol Williamson and during a rehearsal, vanished. Nicol was not well pleased and screamed abuse concerning Wilfred's behaviour, when suddenly Wilfred's voice boomed from the back of the auditorium,
'I thought that speech had been cut!’
ACT I Sc 4
On my most important visit to the pub, I overheard someone saying that they had an interview for stage management that afternoon. I heard the Producer's name mentioned, so quickly went downstairs and
phoned the office. Summoned immediately and actually found myself as an ASM for Auntie Mame starring
the fantastic Beatrice Lillie aka Lady Peel and often referred to as Queen Bea of Broadway. Co-starring was the very clever Florence Desmond (the most amazing impressionist you have ever heard) she had previously topped the bill at the London Palladium. The production cost £25.000 to launch with thirty-five backers. As there was not much money about, the producer David Pelham broke the money into £400 units. We played the Palace Manchester followed by the New Oxford, to favourable audiences. Immediately prior to our opening at the Adelphi Theatre, the show had become the most talked about production since My Fair Lady.
Mentioning My Fair Lady reminds me of a rather nice story. Towards the end of her life the actress Margaret Halston was virtually blind and destitute. When she was 80 the management, HM Tennents, gave her the one-line part of Queen of Carpathia. They provided a taxi each night to take her home. On one particular occasion the taxi never turned up. Another member of the cast gave her a lift home.
She politely asked:
'And what do you play, dear?'
'I play Eliza Dolittle' said Julie Andrews.
OVERTURE
How does one go about writing a book?
The obvious is to begin with a 'reader grabbing' opening line, maybe 'Last Night I dreamt I went to Manderley again' or how about 'It was the best of times, it was the worst of times' both have been used I think, so how about: 'If you're in this - tough!'
If you are still alive at seventy-two like me, check the obituary column of the Stage Newspaper each week, if you are not in it, carry on.
Why am I bothering to do this at all, you may well ask?
After a couple of years hosting a reasonably successful entertainment web-site, consisting of information, life in the theatre and anecdotes, a number of people have suggested that I sit down one day and put pen to paper.
Well, it's Winter 2010, today the sun's tried its best and failed miserably, I'm overlooking a very tacky Blackpool Tower, a job has just fallen through and there's a guy urinating against the wall opposite, all must be well with the world!
So dear reader, what wondrous things will you discover?
Certainly life in the theatre, anecdotes and hopefully some interesting facts, all will be true concerning those alive, dead or in-between.
You'll find I'm name dropping everywhere and why not? I have worked with them, happily got to know some and desperately avoided others hoping never to work with them again.
I'll admit to rising to the state of very successful Lighting Designer then to take a dive, more of that later.
I won't bore you to death with my childhood, except to say, my first words were not 'Mummy’ or ‘Daddy' but 'Or Care', took days to discover that I was actually trying to say 'All Clear' referring to the siren at the end of yet another air raid on Portsmouth, World War 2 I hasten to add!
Maybe I should also mention that I was always warned not to enter journalism or the theatrical
profession, the first being full of untrustworthy hacks, the second full of queers, happily I chose the second.
If you are still here? read on.
NOT ONE TO GOSSIP BUT.............
(An Exercise In Name Dropping)
On this particular night, it was my turn to run the corner and as per usual I took the curtain up to reveal the
front cloth followed by a dissolve into the party scene, everything normal so far, Florence Desmond began her scene when to my amazement, various stars of the day kept making entrances, then Miss Lillie, on cue descended the staircase to thunderous applause. The show continued with more star guests arriving, me with half an eye on the script and half on the stage, thinking that I was dreaming.
I was suddenly aware of Eamonn Andrews appearing, remember this was in the days of live transmission. He goes to the desk and pulls out the 'Red Book'. We, all assuming that it was Miss Lillie's life, discover Mr Andrews saying Florence Desmond, This Is Your Life.
To say that she did not look too happy is, I assure you dear reader, an understatement.
One of the first things Miss Lillie said to Miss Desmond:
'Flo, tell us about the days when your mother was barmaid at suchandsuch pub'. There was a deathly
silence, Miss Desmond had married into real wealth and was not too happy for the general public to
know about her background. Confusion followed then Miss Lillie began her cabaret act taking up most
of the programme.
Cut to the following night's performance, friends of Miss Desmond would either cough loudly or make some noise or other on all of Miss Lillie's tag lines. The next night, a similar thing happened but this time it was Miss Lillie's manager in a box, muffling Miss Desmond's lines with the help of a full tea tray. The following evening, no Miss Desmond, next heard of in the Bahamas. Miss Desmond died in 1993.
During the run, one evening I was invited by cast member Patrick Holt to a party given by Miss Diana Dors, how can anyone refer to the lovely Star as anything other than Miss. Besides being a smashing lady, she also
had a wonderful sense of humour and related the following true story.
She was asked to open a fete in her home-town of Swindon. She immediately agreed and met the local
vicar for lunch. Over the main course she let slip that her real name was in fact, Diana Fluck. The vicar
flinched somewhat and began re-thinking his opening speech. Came the time for the ceremony, the
extremely nervous vicar uttered these immortal words.
‘Ladies and Gentlemen, it is with great pleasure that I introduce you to our star guest. We all know and love
her as our local lass, so I feel that I should introduce her by her real name. It is with great pleasure that I give you Miss Diana Clunt’. What a Lady!
While with Mame, we were invited along with all other west-end shows to the final Dress Rehearsal
of West SideStory the audience included Princess Margaret, jumping up and down excitedly in the
royal box I might add.
Unlike today, it was illegal to have a copy of the stage recording until the show had actually opened
here, some of us were lucky to have already heard the sensational score having friends either visiting
the States or american allies and were unbelievably excited at the prospect of actually witnessing this
production. We were not disappointed, the performance over-ran by half an hour as we quite rightly demanded encores for everything.
The original London run exceeded Broadway's run of 732 performances by playing 1039. To create the right atmosphere, the director Jerome Robbins forbade contractually, the actors playing The Sharks and The Jets to mix socially offstage or in their private lives, fines were imposed on anyone caught and it was quite well known in London that there was considerable hatred between them, the on-stage fights were utterly convincing. Getting to know one of the Jets rather well, I remember attending a number of parties, noticing that no Sharks attended. The show is, quite rightly considered the greatest stage musical of all time, with a staggering score sounding as fresh today as it did then, at the first band call of the opening Broadway show, the orchestra walked out because it was so horrendously difficult, amazingly the production only made a minimal profit.
It is also the first show to employ a fully fledged Lighting Designer.
Auntie Mame enjoyed a nine month run, during which time I spent four glorious weeks playing the tiny part of the stage manager, just Miss Lillie and I, she used to ad-lib most dreadfully but never made me look a fool, sheer magic! I left two weeks before the end to go into another show, on my last night as I was leaving the stage door I was summoned to Miss Lillie's dressing room.
She said that she was most upset that I had not come to say goodbye, I truly didn't think it my place to presume.
She poured me a glass of champagne and then while I sat entranced, performed some monologues, I will
never forget it as long as I live, I was so privileged. She then asked me to join her for dinner at Rules
restaurant opposite the stage door, a date that I had to decline and one that I have regretted all my life.
It was months later that I discovered why she had been so very kind to me, evidently I reminded her of her
adored son who was killed during the war.
Early in 1920 she married Robert Peel, the extravagant heir of Lord Peel, and by the year’s end, their only
son, Robert Jr, was born. Bea continued on stage, partly to keep her husband financially sound. She often left her
son much of the time with her mother over the next four years while appearing in revues and vaudeville. Her New York debut in a Charlot revue won her instant recognition from the New York Times in January 1924. 'There is no one in New York quite comparable to Beatrice Lillie'. The show, originally booked for six weeks, lasted for nine months and went on tour for another six. She was in Chicago when, on the death of her father-in-law, she and Robert became Lord and Lady Peel. In 1934 when her husband died of peritonitis, he left behind large debts. Bea had no choice but to continue her stage career.
She performed in England, the Mediterranean and the Middle East until illness forced her to quit in 1944. By then she had learned that her son, reported missing in action in 1942, had been killed while serving in the Royal Navy.
In 1964, at the age of 70, Miss Lillie played the part of Madame Arcati in High Spirits in New York. This musical adaptation of Noel Coward's 1941 comedy Blithe Spirit was directed by Coward himself. She was nominated for a Tony Award for her performance. With her memory failing, and showing signs of alzheimer's disease, Miss Lillie’s last on-screen performance was as Mrs. Meers in Thoroughly Modern Millie in 1967. She was also able to complete her autobiography Every Other Inch a Lady in 1972 before suffering strokes in 1974 and again in 1975. After six decades as an entertainer, Miss Lillie died on January 29 1989 of natural causes at her home in Henley-on-Thames. Within 31 hours, her longtime companion and manager John Philip Huck, (he of the tea tray) also died, of a heart attack. On March 14, 1989 in the Parkdale neighbourhood of her childhood, the public health office at 1115 Queen Street West in downtown Toronto was named the Beatrice Lillie Building, dedicated by H.R.H. Prince Philip, Duke of Edinburgh.
She invented 'Camp' she was the absolute essence of 'High Camp'.
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