NOTONETOGOSSIP2

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One night I was invited to the Spartan Club in Tachbrook Street Victoria located in a basement with a beautiful garden area tented in the winter months, my first experience of a gay club. Until 1967, the gay world of course was totally illegal. It was simply a 'magical atmosphere' frequented by the stars of stage, screen and labour exchange. Regulars were Kenneth Williams, Hugh Paddick, Stanley Baxter, MPs by

the dozen, et al. Three bars and a piano with many a famous hand playing including Russ Conway's

trying out his own compositions, including his smash-hit Side Saddle and the score for the Frankie

Howerd musical Mister Venus surviving three weeks at the Prince Of Wales Theatre. The club was run by the charismatic Patric Walker, later to become the astrologer for the Evening Standard and syndicated. After three more visits I moved into Patric's splendid house which he shared with the PR for Skoll lager, round the corner in Pimlico.

Knowing Patric as I did, it always amazed me that his new-found career flourished while proving to me that astrology was a load of rubbish. After a while, it was suggested that I ran the club’s garden bar on Sundays during the summer, my first customer being an up and coming young photographer Anthony Armstrong – Jones with young friend in tow. At this time he had an antique shop down the road and was 'wooing' a certain Princess Margaret (more of her later) in the flat above his shop, the rest is history.

Mentioning Kenneth Williams reminds me of his saying he was about to begin rehearsals with Dame Edith Evans in Gentle Jack.

He had heard that Dame Edith had remarked that she found his casting somewhat extraordinary as she thought his voice was 'somewhat peculiar' retorted: 'Bit much coming from Er!'

On his numerous visits, an evening’s entertainment was assured and whilst flirting across the bar, hilarious stories and anecdotes would be guaranteed.

Kenneth Williams was born 1926 in London’s King’s Cross, his father was a hairdresser whom he loathed (dying in 1962 through suicide after drinking a bottle of disinfectant) he did though, adore his mother Lou. He became an apprentice draughtsman to a mapmaker and joined the army’s Royal Engineers serving in Bombay, aged 18. He made his stage debut out there with the Combined Services Entertainment, alongside Stanley Baxter and Peter Nichols. While playing the Dauphin in George Bernard Shaw’s St Joan in 1954 he was cast in Hancock's Half Hour, where we first heard his famous catchphrase 'stop messing about'. He joined Kenneth Horne in the series Beyond Our Ken (1958–1964) followed by Round the Horne (1965–1968). In the latter, besides his Rambling Syd Rumpo character among his many others, he with Hugh Paddick created the outrageously over the top camp duo Julian and Sandy, besides their numerous double entendres they introduced the underground gay slang, Polari. He enjoyed enormous success with the West End Revues Share My Lettuce with Maggie Smith and Pieces of Eight with Fenella Fielding followed by his last, One over the Eight, with Sheila Hancock. Starred in the 1972 smash hit My Fat Friend. He also appeared with Ingrid Bergman in a very successful stage production of George Bernard Shaw's Captain Brassbound's Conversion in 1971.

Television and films followed, notably 26 Carry Ons and 8 Parkinsons, on occasions standing in for Wogan. Radio’s Just A Minute from 1968 until his death. From 1966 until 1974 he compered TV’s hugely popular International Cabaret after signing the contract he suggested to the BBC’s Bill Cotton that his fees should be reduced saying that he thought he was being grossly overpaid. His "Infamy, infamy, they've all got it in for me", was voted the greatest one-liner in movie history by a poll of a thousand comedy writers, actors, impressarios and members of the public. Elaine Stritch famously described Kenneth Williams as being able to make "one word into a three-act play".

Ill health dogged him in the later years, he died 15 April 1988 of an overdose of barbiturates, with the inquest declaring an open verdict.

The worst memories of Spartan days were after eventually moving into the flat above the club with my friend the singer Roy Tierney, whenever there was any bother and we had to call the police, the fastest they ever arrived was thirty minutes, strange that it actually only took two minutes to walk to the police station. Not too sure that things have changed that much!

In 1960 Roy and I paid our first visit to see Judy Garland At The London Palladium prior to a 48 city concert tour ending with her historic 23 April 1961 appearance at New York's Carnegie Hall, and producing simply the best live recording ever. She was sensational including one magical moment which had Dirk Bogarde sitting on the floor gazing adoringly up at her while she sang The Man That Got Away. Her Somewhere Over The Rainbow is a number I have always hated, even sung by the great Garland but during August ’07 television showed Rufus Wainwright’s splendid recreation of that concert and his version of Rainbow was phenomenal, more than happy to listen to his version repeatedly.

Four years later we saw her return visit, again at the Palladium joined by a wafer thin, gawky but unbelievably talented 18 year old, Liza Minelli. The evening, other than Liza was a disaster, Judy fell a number of times, was either high or paralytic or probably both, not withstanding boos and catcalls, she then proceeded to forget the words to Rainbow asking the audience to sing it, at this point we joined the many others who left, Roy sobbing his heart out and I certainly with tears in my eyes, it was without doubt a most dreadful experience.

Judy was born Frances Ethel Gumm on June 10, 1922 at Itasca Hospital, Grand Rapids, Minnesota. She gave her first public performance at the Itasca Mercantile at the age of two and performed throughout northeast and north central Minnesota before moving to California.

She signed a film contract with MGM at the age of 13 in 1935 worth $100 per week, rising to international fame when she performed the song Dear Mr. Gable, You Made Me Love You at the age of 15. Made 32 feature films and appeared with Mickey Rooney in three Andy Hardy films - there were 16 Hardy films in all. The series won a special Academy Award in 1942 for "furthering the American Way of Life."

She received a special Acadamy Award Oscar for the best juvenile performance of 1939 in recognition of her work in The Wizard of Oz. Nominated for two other Academy Awards A Star Is Born and Judgment At Nuremburg. She starred in 30 Judy Garland television shows winning a total of 10 Emmy Award nominations.

Appeared as a television guest on nearly 30 other shows and played more than 1,100 theatre, nightclub and concert performances in 18 years from 1951 until 1969.

Judy received a special Antoinette Perry Tony Award for record-breaking Broadway engagements at the Palace and recorded nearly 100 singles, and over 24 record albums, commenting on the Palace "I've played the State, the Capitol, but people say don't stop unless you've played the Palace, you haven't played the top!"

She scored a sensation with her appearance at Carnegie Hall, the album Judy at Carnegie Hall received an unprecendented 5 Grammy Awards in 1962, including Album of the Year. At the end of this concert, Judy standing alone facing a barrage of applause and shouts for yet another encore, waved desperately for silence and when at last it came said 'We don't have much more'. A cry came from one of the boxes 'Just stand there then!'. Her radio work encompassed several hundred broadcasts.

She sang at countless benefits for the military during WWII.

Judy was four feet, eleven inches tall, her favourite colour was red and her favourite dinner was steak and kidney pie.

Judy was married five times to David Rose, Vincente Minnelli, Sid Luft, Mark Herron, and Mickey Deans most were gay. She had three children, Liza Minnelli, Lorna Luft, and Joseph Wiley Luft.

1964 saw her giving three concerts in Australia, accompanied by actor Mark Herron. She had a very successful first Press conference in Sydney. She is quoted as saying in reply to whether this was a come-back “Some people regard it as a come-back when I return from the bathroom!”

She was not well but both Sydney concerts were a huge success. At the end of the second concert after she thought she had taken more than enough calls, the producer told her: “Only a jerk like you could get a response like that.” A stunned Garland slapped his face. The episode shattered her.

On arrival in Melbourne she was in a very fraught state, deprived of sleep and not in good voice. She arrived an hour late for the concert, her songs were in the wrong order with the orchestra not knowing what was coming next.

She forgot the lyrics to songs, slurred the lines she remembered, and it soon became obvious that she was either ill or under the influence of medication, slow handclapping and boos followed and ended after only twenty minutes, she began to cry and ran from the stage.

The concert was a fiasco with the local press enjoying every minute.

Judy with Herron escaped to Hong Kong where she attempted suicide from an large overdose of seconal from which she never really recovered, coincidentally, her sister Susie took her own life in Las Vegas with an overdose a few days earlier.

On reaching London she attended the midnight charity show Night of a Hundred Stars held at the Palladium. Against all doctor’s orders and after the audience had screamed for her to sing, she gave them Somewhere Over the Rainbow, followed by Swanee, the audience went mental while Judy was visibly overcome. She married Mark Herron this same year divorcing in 1967.

By early 1969 Garland's health had deteriorated rapidly. She performed at London's Talk of the Town nightclub for a five-week run, and made her last concert appearance in Copenhagen during March 1969, marrying Mickey Deans the same month. She died in London on June 22 1969 at the age of 47 of an accidental overdose of prescription medication.

Buried at Ferncliff Cemetery, Hartsdale, NY.

'The rest of us will be forgotten, never Judy." - Frank Sinatra.

I have to add here that yes Judy will never be forgotten neither will Ella or Frank!

With regard to the London Palladium, equity members accompanied by their Equity Union card could, if there were seats available, see the Saturday matinee performance for free hence I was privileged to see the 'greats'. Jack Benny who simply only had to stroll on from the wings to the microphone and have the audience in the palm of his hand, he was quite simply the best and please forgive Noel but he was the 'Master'. George Burns, a staggering bill of Guy Mitchell, Johnnie Ray and Rosemary Clooney, the wondrous Dolores Gray with Winifred Atwell and the Deep River Boys and at one point I was physically dragged, against my wishes I might add, to see Liberace. By the end of his performance I joined the rest of the audience in giving him a standing ovation, I discovered that not only could he make the piano sing but his showmanship was without equal. Hoping not to be too patronising, he over the years 'brought classical music to the masses' – so very sadly missed. And having been extremely lucky to have spent some time with him, discovered he was without doubt, the most charming, kind and genuine guy ever.

IN THE WINGS

Liberace during his stage act, on leaving his beloved piano and doing a tap routine, ‘I may not be good but I’ve got guts!’

Zsa Zsa Gabor was once asked 'How many husbands have you had Miss Gabor?'

replied: 'You mean besides my own?'

She also claimed to be a good housekeeper, ‘After a divorce I always the keep the house!’

On leaving a party one evening Groucho Marx turned to his hostess and said 'I've had a wonderful evening but this wasn't it' and on leaving a Broadway first night said 'I saw the play in unfortunate circumstances, the curtain was up!'

Coral Browne being shown round the National Theatre, in particular the set for Oedipus Rex which mainly consisted of an 18 foot golden phallus, commented

‘Well dear, it’s no-one I know!’

Coral Again:

Gent not noticing Coral already seated in a hailed taxi, slides into the rear seat.

Driver: "Sorry Guv, this cab's taken".

Gent: "What do you mean, it's taken? You stopped".

Driver: "I stopped for the lady".

Gent: "What lady?"

Coral (leaning forward): "This fucking lady!"

Bette Davis on seeing a starlet leaving a restaurant, remarked ‘There goes the good time had by all!’

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The French Mistress was next, produced by a certain Jack Hylton the well known band leader and without doubt one of the most unpleasant people I have yet to meet, we opened out of town starring Sonnie Hale and Hugh Wakefield.

Sonnie was born John Robert Hale - Monro in 1902. Binnie Hale’s younger brother, made his West End debut in the chorus of Fun of the Fayre (1921). After his divorce from operetta star Evelyn Laye, married musical comedy star Jessie Matthews, who he co-starred with in six London productions. Together, the popular duo introduced Noel Coward's A Room With A View in This Year of Grace (1928) and Richard Rodgers and Lorenz Hart's Dancing On The Ceiling in Evergreen (1930). He directed several productions in the 1940s, and appeared in and directed a number of British musical films.

Sad to say that Mr Hale throughout rehearsals had to attend hospital for umpteen blood transfusions and as the weeks progressed looked decidedly ill. We played three weeks on the road, before following Auntie Mame into the Adelphi Theatre. On arrival the morning of our opening night, we were given the shattering news of Mr Hale's death, he was 58. The opening night was delayed for three days while Richard (Dickie) Bird took over. It was very apparent from the outset that Dickie found lines very difficult to remember, indeed he was forever stumbling over them and everybody elses. After eight weeks, we transferred to the Princes now The Shaftesbury, where we stayed for four more months. Throughout this time part of my job was to come in early each and every night and sit with Dickie going through his lines. He always looked to me to be a very heavy drinker, but not once ever during the entire run did I ever see him drink one drop! On one particular night, he managed to cut the last two pages of Act 1. On curtain down some poor sod had to go out front and explain the ending as without Dickie's dialogue, basically the entire plot of the play simply made no sense whatsoever.

A Majority Of One followed at the Phoenix with the marvelous Robert Morley who although had somewhat of an ego was quite simply adorable, kind and a joy to work with, he used to say "Anyone who works is a fool. I don't work - I merely inflict myself upon the public" and "It is a great help for a man to be in love with himself. For an actor, however, it is absolutely essential” (How true!)

Born Robert Adolph Wilton Morley in 1908, attended Wellington College and RADA and made his West End stage debut in 1929 and his Broadway debut in 1938 but was soon won over to the big screen. He received an Academy Award Nomination as Best Supporting Actor in Marie Antoinette (1938) and in The African Queen (1951) and Best Actor for Oscar Wilde (1960). He personified the conservative Englishman in many comedy and caper films, often in supporting roles, and was usually cast as a pompous English gent representing the Establishment, renowned for repartee and generally being an eloquent conversationalist, he gained the reputation of being a "wit". His son, now sadly the late Sheridan Morley, was the well-known writer and critic.

The play also starred Broadway actress Molly Picon. In the early 1920s her career took off. At 4’11’’ and weighing less than 7 stone she created a unique presence on the Yiddish stage. In the midst of the Great Depression her husband bought the Folks Theatre at 12th Street and 2nd Avenue and grandly named it the Molly Picon Theatre. The opening marked a dramatic comeback from the serious losses he and Miss Picon suffered in the 1929 stock market crash.

Upon returning to the United States after a respectable 6 month run in A Majority Of One she was cast as an Italian mother opposite Frank Sinatra in Neil Simon’s screen adaption of Come Blow Your Horn. Receiving an academy award nomination for her performance in her first Hollywood film, she then went on to star in her first Broadway hit, Milk and Honey. She died on April 6, 1992 from alzheimer’s disease at 94 years of age.

In the first act I got to wear a white dinner jacket as a tourist on board an ocean liner, while in the last, after a quick face-lift, became a Japanese Chauffeur with four lines in Japanese, not easy! During the run we enjoyed being given a fabulous dinner in Robert’s dressing room between the Saturday shows also Robert was involved in a race to see who could produce a film based on Oscar Wilde first. He won the race but I have to say that the Peter Finch version which also starred the splendid John Fraser was, in certain ways better.

Robert related the story of the fatality of trying to redeem a dropped brick. Interviewing the New York model Ginx Filkender, a TV reporter asked:

'Tell me, now that your husband is a tennis professional, do you watch him play?'

'Too nervous' she replied.

'But before a match I always kiss his balls'

'We are speaking of course, of his tennis balls', remarked the urbane and unfortunate network employee.

Robert Morley died in 1992 aged 84.

Summer season as Company Manager on the Bournemouth Pier was next, The Joe (Mr Piano) Henderson Show running for 6 months twice nightly to capacity houses, he was great to work with. In support were the extremely talented singing group The Raindrops, whose members included a certain Vince Hill, each week they would make their way to the BBC in London to perform the latest chart songs live, then to bring me back the original 45s.

This was where I learnt to read every word of one's contract. Harold Fielding was the producer and I was more than happy to sign the two page document. One month into our season, I was informed that Sunday shows would be added to the schedule, a sort of musical miscellany. Naturally I rang the office to find out who would be running the show, only to be told 'Moi'. I very politely pointed out that my contract did not include Sunday shows.

'Look at the bottom of the first page' I complied.

'Sorry, but I cannot see the clause'.

'Look at the very bottom'.

Sure enough under the name of the printers of the contract was the elusive clause. I reported the matter to Equity, they, though disapproving, could not see their way to help, lesson learnt, well almost!

It was during this season, that I was privileged to see many times the incomparable Dickie Henderson in action at the Winter Gardens, now there was a class act. Whenever possible I would pop over the road to the Pavilion in order to catch the amazing Alma Cogan, a real star, also one of the kindest and sincerest ladies in the business. I was also lucky enough later when on tour with a play and playing Leeds, the company surprised me with a birthday party held at the local night club. Alma was starring and the actors had asked her to sing me a special number, which she did face to face. A couple of years later we met again and to my astonishment remembered my name!

Topping the bill was the hysterically funny genius Ken Dodd, who had his partner in the wings each and every night with a clip board and stop watch at the ready. Each joke's laugh was timed to the second, if the laugh was too short, he'd cut the gag, naturally adding another, no one could ever accuse Mr Dodd of running short!

On numerous occasions, he was running so late that the orchestra waiting to play the 'finale walk down' had to be sent packing to avoid overtime.

Seeing these marvelous Stars in action reminds me of the story of Lew Grade.

When he was an agent and went to the old Metropolitan Edgeware Road he once saw an act called Winters and Fielding, which he thought was great. He rushed backstage to tell them how he would make them stars, get them big salaries, much better than their present agents.

On finishing, he added 'By the way, who are your agents?'

They replied, 'Lew and Leslie Grade'.

Some more quotes might not go amiss, me thinks.

W.C. Fields:

'Some weasel has taken the cork out of my lunch!'

'Start every day off with a smile and get it over with'.

Groucho Marx (again!)

'I never forget a face, but in your case I'll make an exception'.

'Please accept my resignation as I do not want to be a member of any club who accepts me as a member'.

'From the moment I picked up your book until I laid it down, I was convulsed with laughter. Someday I'm gonna read it'.

'She got her looks from her father. He's a plastic surgeon'.

Talullah Bankhead:

'I'm as pure as the driven slush'.

'Cocaine, habit forming? 'Course not, I should know, I've been using it for years'.

'They used to photograph Shirley Temple through gauze, they should photograph me through linoleum'.

Samuel Goldwyn:

'I don't want any yes-men around me, I want everyone to tell me the truth, even if it costs them their job'.

'I read part of it, all the way through'.

Returning to London and the Fortune Theatre with the revue And Another Thing starring Bernard Cribbins, Anton Rodgers, Joyce and Lionel Blair. It had been running awhile, when they needed a new stage manager. I applied but was rather shocked to discover that I needed to audition as the job required understudying.

I was asked to bring a 'piece' with me, I assumed they meant music and arrived very nervously having driven a close friend round the twist while she tried to teach me the song I'd Do Anything from Oliver. Firstly, I cannot sing a note, secondly, rhythm I ain't got. Asked by the ace musical director Chuck Mallet what key I wanted (to a dressing room? I mused) he found it for me and I just managed to get through it when Lionel Blair's voice bellowed from the back of the stalls:

'Richard do it again and look as if you are enjoying it!'

I could have strangled him, miraculously I was taken on and it was explained to me that the actor I was understudying had never been off in his life nor ever likely to be, so not to worry.

A month in, our phone rang at 7:00am

Lionel: 'You got a tux?'

'Nope' I yawned,

'Get your arse over to Lionel Bart's and borrow his, (he was very slim in those days!) you're on tonight!'

It turned out that the actor was definitely off having been in a motorcycle collision and would be in hospital for months to come. I got my arse round and whilst at Mr Bart's thought I had better not tell him that I recently murdered one of his great songs. The day was spent almost successfully, putting me into sketches, with the last two hours of the day spent teaching me the opening and closing numbers, so I was only partnering Joyce Blair! How that fabulous lady put up with me I'll never know, but she did. My partner, the up and coming singer Roy Tierney came to see the show, over dinner proclaimed,

'Rich, pack it in, you're embarrassing, go back stage' - I did!

He was right, I was replaced after 3 weeks!

Having mentioned Lionel Bart, I feel compelled to relate that the composer and Musical Director Eric Rogers prior to the Carry On movies had produced a number of incidental jazz and dance cues for British films. Rogers also assisted and transcribed songs for Lionel Bart (who, like Irving Berlin, was unable to read or write music, preferring to hum into a tape recorder). Rogers had nearly worked with the Film Producer Peter Rogers back in 1958 on an original screen musical version of Oliver Twist starring Tommy Steele as the Artful Dodger with music and lyrics by Bart. However, having made two films with the difficult star, Peter Rogers refused to work with him again under any circumstances and recommended they try the project as a stage musical instead.

So we do have Mr Steele to thank for something after all!

‘Fraid to say that Tommy Steele was not the most popular boy around to say the least, and during the run of Singing In The Rain at the London Palladium, various members of the stage crew were to be found urinating into the water tanks that were to rain down during the title song.

When Carry On Nurse became as big a hit as Carry On Sergeant, Peter Rogers announced that the next four films would be Carry On’s. He then decided to offer the team (Kenneth Williams, Kenneth Connor, Leslie Philips Hattie Jacques, Terence Longden, Joan Sims, Charles Hawtrey and Bill Owen) a percentage of the takings, as opposed to a fee - they declined this however. Years later, when the team would complain about the money, Peter would remind them of their own agreement!

In 1965, Lionel Bart conceived the musical Twang, so bad was this epic, that when the line 'I don't know what's going on here' was uttered, some bright spark in the audience shouted 'Neither do we!'. As

backers pulled out prior to London, against all advice including Noel Coward's, Lionel poured money

into the project, adding to his financial downfall. At one point the re-writes were so many and so immediate to performances, the new scripts were pasted onto the scenery! To add insult to injury, the

calls were booed and Arthur Thirkell reported in the Daily Mirror, 'A load of old rubbish was thrown out after the Northern fiasco (Manchester). It has been replaced with a lot of brand new rubbish. The only memorable song up to the interval was the National Anthem'. The show limped along for four weeks.

During his downfall, Bart sold the music publishing rights of Oliver to Max Bygraves and Jock Jacobson for £1000, eventually reselling them for around $1m.

After the first night of Lionel's 1962 musical BLITZ Noel Coward was heard to comment 'Twice as long and twice as noisy as the real thing'.

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My first of three disasters at the beautiful Lyric Hammersmith was the revue Out Of My Mind with a virtually unknown cast consisting of John Wood, Patricia Routledge, Jill Ireland and dancer Gillian Lynne (before turning to choreography) directed by the smashing Robin Ray, avante garde was how it was described. It always struck me that John Wood was taking it all rather too seriously but then, sadly there was absolutely nothing in the revue to amuse.

Then a sort of revue Oom Pah Pah with John Bluthal, Joe Melia, Al Mancini and Harry Towb adapted from the french by Caryl Brahms and Ned Sherrin and members of the cast, directed by Braham Murray. Throughout performances of this revue the sound of seats tipping up echoed round the building, the problem being was simple, no-one understood one word including the cast, it was seriously suggested for the last performance, that we perform the piece in reverse order, no point, who would know?

My last experience, before the theatre was literally moved 'brick by brick' to its present home was a new play. A friend of mine 'wot wrote plays' (none performed I might add) sang in the Royal Opera House chorus for a living, sadly an aunt of his died but left him a certain amount of money. He immediately staged one of his epics, towards the final curtain I called the company down for calls, one of the actors enthused,

'It's going frightfully well, you can hear a pin drop'.

I brought the curtain in and indeed heard that pin, ushered the cast into position - no applause, I raised the curtain to absolute silence then to my amazement heard the leading lady say

'Where is everyone?'

'Gone to the pub if they have any sense' muttered the cleaner.

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Scapa the all male musical (I kid you not!) followed, written and based on his 'smash-hit' play Seagulls Over Sorrento by Hugh Hastings. The play very nearly never saw the light of day, having been turned down by virtually everyone but was eventually performed for a single performance at the Comedy in 1949 where it was seen by a friend of Hugh ‘Binkie’ Beaumont’s who insisted that he present it, which he did the following year. Opening at the Apollo Theatre in 1950 with a cast of Ronald Shiner, William Hartnell and virtual newcomers Bernard Lee, Nigel Stock, John Gregson and David Langton it ran for 1,551 performances. Filmed in 1954 with Gene Kelly no less starring, it became staple fare for repertory companies throughout the world. Evidentially, John Osbourne wrote Look Back In Anger ‘on scraps of paper while appearing on Morecambe Pier in the play in 1955’ and the Broadway production starred Rod Steiger and Leslie Nielson and ran for a glorious 12 performances, casting wise, we were not quite so lucky!

The musical version starred the DJ actor Peter (Pete) Murray, a genuinely lovely man, arguably the nicest guy with whom I ever worked. On one particular occasion, a party was organized at one of the dancer’s homes, Pete wasn’t invited, simply because being teetotal we stupidly assumed he wouldn’t want to attend. I was called to his dressing room and asked why he was omitted from the guest list, I explained and said that we would adore him to come. He arrived with a car-boot loaded with booze – what a gent!

Others in the cast included David Hughes, later to die on stage during an opera performance and Edward Woodward. In the chorus, was a certain young man who bored us all with tales of his writing “a little play” which eventually became Terence Frisby’s There’s A Girl In My Soup.

The whole mess was directed by George Carden whose major work had been his enormous success with television's Sunday Night At The London Palladium. George could at times have a vicious tongue, on one occasion a dancer he reprimanded came back with the comment “But Mr Carden I’m not queer,” whereupon George advanced on him from the stalls with the pronouncement, “Never mind: no-one will know from the front.”

We opened in Liverpool and as everyone saw disaster coming our way, spent the nights in the Adelphi Hotel rewriting, well, I actually served the drinks and managed not to spill any this time. On our last night there, even Noel Coward was brought in to help! We inflicted the show on Manchester and left Dubliners speechless.

The Adelphi again was home, we opened to some of the worst notices ever, how must the arts critic Bernard Levin have enjoyed writing his, I quote: 'On Wednesday night we saw a fine new play. Thursday night we saw this. You go up ladders, you go down snakes. (hur hur hur hur)', his classic review now I come to think of it was when he attended a production at the Arts theatre and while not understanding one word, wrote his review inverted so that you had to use a mirror in order to read it! On seeing a Shaftesbury Avenue epic, hated the evening so much that his review consisted of nothing but a description of his time in the bar and the restaurant afterwards, not mentioning the play once! What a clever guy Not! His reviews were cutting to say the least and along with Robert Muller of the Daily Mail was known as 'the kosher butcher'. His brutal review of the musical Belle led it's author, Wolf Mankowitz, to bring a coffin to the Daily Express office in Fleet Street and Levin was thrown out of a Blackpool hotel for likening the town to an 'elephant's anus.' Most famously, Levin was attacked on the live television programme That Was The Week That Was following his destructive review of a play starring Agnes Bernelle, her husband arrived at the TV studios and during the live broadcast, walked onto the set and punched Levin in front of 11 million viewers.

In their wisdom, it was decided to show an excerpt on ITV's live Palladium Show, even I was roped in to hold the letter M for the show's finale going round on the revolve. It was pointed out to me by all in sundry, that the sole reason for my appearance was as George Carden fancied me somewhat, he was determined to see me in a sailor's outfit. The following morning saw not a soul at the box office, by the afternoon the odious Jack Hylton suggested that he took over and put girls into it, happily the offer was declined and we closed three weeks later.

Author, Hugh Hastings was to be seen regularly in the TV hit sit-com Dad’s Army and died in 2004.

This 'epic' reminds me of Ned Sherrin's classic story of the somewhat fraught final rehearsal of a new Broadway musical, when one of the actor's yelled

'Who do I have to fuck to get out of this?'

The Director shouted back 'The same person you fucked to get in!'.

As for critics, it is reported that the loathed and feared American impresario, David Merrick once employed seven bald-headed gentlemen, painted their heads with various letters, sat them in a row immediately below the critics, the letters read F.U.C.K.O.F.F.

Merrick was known for his love of publicity stunts. One of his most famous promoted the poorly-reviewed 1961 musical Subways Are For Sleeping. Merrick found seven New Yorkers who had the same names as the city's seven leading theatre critics: Howard Taubman, Walter Kerr, John Chapman, John McClain, Richard Watts, Jr., Norman Nadel, and Robert Coleman. Merrick invited the seven namesakes to the musical and secured their permission to use their names and pictures in an advertisement alongside quotes such as "One of the few great musical comedies of the last thirty years" and "A fabulous musical. I love it."

SCENE CHANGE

A short and happy stint with Scottish Opera’s second season followed, then Two For The See-Saw at Windsor with Billie Whitelaw and Robert Beatty, they were a joy.

Production Manager for Hampstead Theatre Cub was next for 4 months, the theatre being run by the brilliant team of James Roose Evans and Richard Cotterell.

Memories include the live chicken used in the Christmas Show, having as a joke, been given some form of alcohol to drink, promptly found its way to the top of the theatre and then committed suicide by jumping off the top of the building without flapping its wings. After yet another all-nighter we all collapsed to sleep on the set of a play which consisted of 3 different flats with beds and front doors. Came the morning we all awoke to discover that the local milkman had left a pint at each front door. Once at the last minute I had to step in and control the sound for a play which included a scene where the actress had to play the piano, sound being provided by recorded tape, unfortunately there was some sort of emergency which I had to sort out, getting back to the tape machine, only to discover the actress concerned saying ‘perhaps I won’t bother to play you the song after all’

Not long after, my partner Roy Tierney's career began to flourish and with work pouring in, it was agreed that I act as his manager. My first engagement for Roy was to record a number for Michael Codron to be used in his short lived A Lily In Little India originating at Hampstead with Jill Bennett and Ian McKellan at the St. Martin's Theatre.

Soon I was able to book him for a week at the El Sombrero Restaurant Niterie in Kensington, where he stayed on and off for more than 2 years, during this period I was roped into being the MC for the cabaret. On one particular occasion, it was rumoured that Marlon Brando was in, surely not we thought, indeed he was, sitting in one of the many alcoves being very 'close' with a lady we thought must have at least been his grandmother - each to their own!

One night, into the room appeared six gentlemen all in dark suits and looking decidedly menacing. They sat and evidently thoroughly enjoyed the cabaret. I was invited to their table offered a drink and was introduced to Ronnie and Reggie Kray, one of the two brothers, namely Ronnie asked if Roy might join us. We were offered a two week engagement at their Soho El Morocco club. Ronnie suggested that we stage a floor-show to include drag, we agreed and were booked. We contacted the great drag star Tommy Osbourne and four fabulous girls with whom I had worked previously, called up pianist, bass and drums and we were away. The room was packed on our opening night with noticeably mainly rough looking villains! I entered, introduced the show and on came the girls performing brilliantly, towards the end of their act, soda-water syphons were being used to spray the girls, they persevered and left the stage drenched in soda water and tears. Both Tommy and Roy stormed the place.

We paid off the girls for their own safety and completed the first week, there seemed to be no money forthcoming, so we, rather courageously I thought, went along with Tommy and agreed not to play the

second week, returning to the El Sombrero.

A week later, Ronnie with minder in tow returned, watched the show and called us over, paid us in full for the two weeks and left a bottle of champagne. Luckily for all of us, one of the most vile, vicious and mentally deranged crooks of all time was gay and fancied Roy desperately, happily we were never to see him or his frightening brother again.

The pop world beckoned and Roy recorded a cover version of Sam Cook's Cupid selling rather respectably, numerous TV appearances followed including the Sid James Show (brother, did he have problems!) The Montreaux Jazz Festival and various gigs followed, his next single never really saw the light of day and he was dropped immediately by Philips Records. Kids of today be warned, have a flop with a disc and 'bye bye' recording career, so it was with Roy, an exceptionally talented performer, sadly recently died.

Rock journalism is people who can't write, interviewing people who can't talk for people who can't read. (Frank Zappa)

Well-known pop singer in recording studio.

Producer: 'You have the musical ear of Van Gogh'

Singer: 'Oh! Gee Thanks'

ACT llI

Larry Parnes (Mr Parnes, Shillings and Pence) was manager for virtually every successful UK pop star.

Evidentially, it was in the early ‘50s that one evening a friend took him to La Caverne, a bar in Romilly Street in the West End frequented by theatrical agents and producers. At the end of the evening Larry intervened in a heated argument between the two owners of the bar and discovered that the two could not work together. He offered to buy one of them out. In fact he had no money but one of the owners was so keen to get out of the business that he sold his share for £500 to be paid in instalments.

He had always been teetotal but began to drink whisky. After a whisky-drinking contest he discovered that he had been persuaded to invest in a play entitled The House of Shame. The play toured during 1955 and was making a loss until he recruited John Kennedy as publicist, who immediately changed the name to Women of the Streets and two actresses were persuaded to stand outside the theatre dressed as prostitutes during the interval. They were arrested, and after the papers picked up the story, the play took off and eventually broke even. Larry met up with John Kennedy in The Sabrina, a coffee bar in Soho and was persuaded to go to see the singer Tommy Hicks perform in the Stork Room in Regent's Street. After the performance Tommy Hicks asked if he and John Kennedy would be his managers and a contract was signed in September 1956. Tommy Hicks used the stage name Tommy Steele and became Britain's first rock and roll star and went on to become an all-round entertainer. Lionel Bart co-wrote several of Tommy Steele's hits. Larry searched coffee bars and dance halls for another star, Lionel suggested Reg Smith, who was performing at the Condor Club above The Sabrina coffee bar. In actual fact Larry missed his performance but went round to Lionel’s house and signed him up on Lionel’s recommendation. He was given the name Marty Wilde and had a string of UK hits. At one point he managed to turn down Cliff Richard after an audition! In September 1958 Ron Wycherly walked into Marty Wilde's dressing room at the Essoldo Cinema, Birkenhead, and asked to play a few songs. Larry was impressed and immediately signed him up. He was given the stage name Billy Fury and he became one of the most important figures in the British rock and roll scene.

Summer of 1963 saw me as Company Manager for Larry’s The Big Star Show at the Rainbow Theatre, South Pier Blackpool. Stars included the Karl Denver Trio, Eden Kane (The man in white) and close brother of Peter and Robin Sarstedt and the fabulous Marty Wilde with his Wildecats, the first thing I noticed about Marty were his hands, they were simply the most beautiful I had ever seen and I was soon to discover just how kind he could be.

Included on the bill was a seventeen year old, extremely good looking rocker brought over from Canada, Daryl Quist. One night, I knocked on his door and entered, to find him inserting a plastic tube into the front of his trousers, if only those girls knew! We ran twice nightly for six months, with various guest stars appearing in the Sunday shows.

These days in Blackpool, good productions are somewhat scarce and when one occurs, the theatre concerned will be very lucky indeed to have fifty per cent capacity, due, I believe in the fact that

publicity is virtually non exisiant particularly concerning the Opera House which is gradually being driven into the ground. There is talk of demolition within 2 years, mistakenly I suspect, confirmed in a letter I received from our 'dubious council'. In 1963 there were at least twelve major venues, today there are two, happily one of them is still the Grand Theatre recently renovated, a dream example of Matcham’s design talent and arguably the most beautiful in the country.

The headliners this particular year were, Morecambe And Wise, Cliff Richard and the Shadows, Des O'Connor, David Whitfield, Jimmy Edwards and many more, all twice nightly and should you not have booked in advance forget the second house, let alone the first. Interestingly, Britain's first mobile phone call was made across the Vodafone network on 1 January 1985 by the late veteran comedian Ernie Wise.

I have to mention one of Cliff's supporting acts, a true star in his own right, the incredible Arthur Worsley, with charm in ladles full, a sexy guy in a strange way, achingly funny and quite simply the greatest ventriloquist to tread any boards, no one ever heard Arthur speak not even allowing interviews and not once did you ever see any sign of lip movement, his dummy Charlie Brown spent the entire act insulting Arthur, he caused a sensation wherever he appeared throughout the world. Eric Morecambe fully

admitted nicking one of Arthur's or should I say Charlie's catch phrases 'Look at me when I'm talking to

you son!' praise indeed and he invented 'a gottle of gear' mind you Charlie was actually able to say

'bottle of beer' with the ‘bs’ perfected, while Arthur downed a pint, top that if you can!

Back to the plot, again, Larry had said to me during my interview that I should refrain from announcing my sexual preference as indeed he had always tried to do, probably best as for the first night after rehearsals I found myself sharing a bed with two of the Wildecats as digs had not been sorted, this was somewhat difficult as I landed up next to Marty's sensational looking drummer!

During the season, I fell hook line and sinker for an ice skater playing over the road at the Pleasure Gardens now a very successful illusionist in South Africa. One afternoon, we were spied upon in the local record store by one of our band The Fleerekkers, they were as bad as their name. On my arrival at the theatre that evening, physical threats against my person ensued by members of said band. At curtain down I was summoned to Marty's dressing room, I entered, Marty and his group were all sitting in a circle.

'Close the door Rich' Marty said, I began to tremble

'Is it true that you are being threatened?'

'Yup'

'From now on wait until we are ready and we'll see you to the end of the pier', the meeting place with my fab skater.

I was speechless and they, God love them, were true to their word, and all threats against me were dropped.

During the season it was customary to hold The Mayor's Midnight Charity Show at the ABC theatre, now sadly a ghastly massive triple disco causing even more drunks to frequent the town. All the shows participated, ending around four o'clock in the morning!

David Whitfield who had suffered some rather bad publicity concerning girls of a dubious age, against all advice insisted on closing the first half. David opened his set with Seventy-Six Trombones from The Music Man and by the time he had circled the stage in a somewhat tatty costume, the majority of the eighteen hundred seater were in the bars!

Today, Blackpool is no longer the beloved town, mid-week matinees have always included concessions, interesting to note that instead, it is now Saturday night performances that have those concessions, no one in their right mind will now venture into the centre at the week-end, particularly on their own. It is sad to relate that Blackpool thanks to a notoriously ‘doubtful’ local council has died a gradual death and is in the throes of trying to become the Las Vegas of the UK. As I write this, news has come in that a super-casino will not be built in Blackpool – ‘hurrah’ I say.

Towards the end of our run, Larry phoned me to ask what I was doing after the season, he suggested that I ring a certain gentleman as he was looking for a road manager for a new pop group. Larry pointed out that he had turned them down thinking that they really were not up to scratch. I duly telephoned, the voice explained the job to me and described each of the group, warning me concerning two of them who sounded totally obnoxious, the more he went on, the less interested I became and turned the offer down.

A matter of weeks later I heard the group's first recording on the radio, 'Love Me Do' by the Beatles! The voice on the phone? Brian Epstein.

In 1967 Larry announced that he had enough of the world of pop and would be spending his time in the theatre. In 1968 he put on Fortune and Men's Eyes, a play about homosexuality in a Canadian prison but he lost £5000 on the venture. In 1972 he bought a 12-year lease on the Cambridge Theatre and during the 1970s he became business manager for the ice-skater John Currie. Larry contracted meningitis and retired in 1981. It was said that he renamed some of his stars for their sexual potential, but though he definitely loved the company of young men he was careful about mixing business with pleasure. The greatest loves of his life were two Alsatian dogs, Prince and Duke, whose cremated remains were prominently displayed in his South Kensington penthouse. He won a substantial out-of-court settlement from the BBC for an alleged libel by Paul McCartney on the radio programme Desert Island Discs, Larry died in 1985 ‘A Legend’.

Late night cabaret beckoned as stage manager at Winston’s Night Club off Bond Street.

Two shows nightly, at 11:30pm there would be a stripper of sorts, singer and dancers, one particular stripper was a lovely lady called Miss Fluffles (I kid you not again!) Part of my routine was to introduce the acts over the off stage mike. On her arrival I asked her how she would like to be announced, instructed me to say “Direct from her sensational season in wherever” some nights it would be Berlin some nights, Amsterdam and so on, I think the furthest she had actually travelled was probably Luton. Her gimmick was that she had 5 tassels in the appropriate places managing to make them twirl in the same way and for her finale made them move in all different directions - barnstorming stuff!

At 1:00am on a tiny postage stamp sized stage, a miracle would take place in the form of Danny La Rue, various artists would be with Dan, including Ronnie Corbett, Barry Cryer, Barbara Windsor to name but a few. The shows were just 'sensational', over the months that I stayed, I don't think I ever saw an empty seat, if you were anyone, you went to Winston’s to see La Rue, the 'Toast of London's Night Life'. It was a joy to work there and if I played my cards right Dan would more often than not hand me a glass of champagne after his exhausting and quite brilliant performance.

Danny La Rue was born Daniel Patrick Carroll in Cork, Ireland, on 26th July 1927, the youngest in a family of 5. At 9 years old came to London. During the Blitz he was evacuated and spent the next few years in the tiny Devon village of Kennford.

He left school at 15 and worked in a fashion store in Exeter. He first appeared in a tiny revue at the Irving Theatre, breaking into cabaret at Churchill's, then Winston’s Club continuing without a break for ten years and annually performing in pantomime for Tom Arnold. This would entail Dan having to commute for miles after 2 pantomime performances enabling his appearance for the 1 o'clock morning show!

He opened his own, now legendary, nightclub in Hanover Square in 1964, attracting well over 13,000 members and celebrities such as Judy Garland, Warren Beatty, Shirley MacLean, Dorothy Squires, Shirley Bassey, Noel Coward, Zsa Zsa Gabor and Dame Elizabeth Taylor were all regulars, including Princess Margaret and Lord Snowdon.

He starred in one of the longest running pantomimes ever known Queen Passionella And The Sleeping Beauty at the old Saville Theatre. At The Palace ran for two years. twice the intended run, until April 1972. Played Dolly Levi in Hello Dolly in Birmingham in 1982 for a season before transferring to the Prince of Wales Theatre.

Success in Canada, New Zealand and Australia and successful seasons in Hong Kong, Singapore and the Middle East. Royal Variety Performances in ’69 ‘72 and 1978. Showbiz Personality of the Year Award in 1969 from the Variety Club of Great Britain, who also feted his then 25 years in show business with a tribute luncheon in his honour in 1976, Theatre Personality of the Year in 1970. Entertainer of the Decade in 1979. Although he made a lot of money, he reportedly lost £1m when his partners in a hotel venture in Stratford upon Avon were arrested and his company went into liquidation

Most recently, he suffered a mild stroke and thus all planned UK performances for 2006 were cancelled. He intends to tour in 2008. He was made an OBE in the 2002 Queen's Birthday Honours List.

Dan opened his own Niterie in Hanover Square, which became the 'place to go' it was a phenominal success. I was lucky enough to attend a great number of evenings there, looking round the room as one did, there were always stage and film stars present, falling about in hysterics.

Two mega stars of the day were Dame Margot Fonteyn and Rudolf Nureyev, both of whom I was to work with much later. In one production Dan and Ronnie Corbett sent the two of them up rotten, Dame Margot portrayed as an aging nympho and Nureyev as a petulant queen (neither term fitted by the way) Dame Margot came to see the show and arranged with Dan a private party with guests, herself and Nureyev with the entire Australian Ballet Company with whom they were guesting.

I think Dan was a little worried to say the least as his show wasn't exactly, shall we say, the cleanest! Both Margot and Rudi fell about, Rudi being somewhat late in his reactions as then he spoke very little English and had someone translating the gags. The room erupted and they were a total success.

Come Spy With Me followed, a sort of musical written as a vehicle for the brilliant Danny La Rue by Bryan Blackburn. Dan was known to the 'Late Night Brigade' at Winston’s Night Club but unknown to the general public. The piece starred Danny, Barbara Windsor, the clever Richard Wattis known through his phenominally successful film career and the truly genuine and smashing singer Gary Miller. The show was directed by the up and coming Ned Sherrin. We played a number of dates out of town to try and 'get the thing right', most nights it seemed to go down reasonably well but hardly a sensation. Immediately prior to coming into town, we played dear old Golder’s Green Hippodrome.

During that week, I was designated to accompany Barbara Windsor to Wig Creations and on our way back in the taxi, Barbara was telling me stories of her time in Oh! What A Lovely War on Broadway, in particular about an actress also in the cast, namely Fanny Carby. The lady had quite an interest in the, shall we say, occult and by all accounts had used her ‘so-called powers’ to cause many problems for fellow artists.

As Barbara was telling me one particular incident, a car slowly passed us and the lady at the wheel, Miss Carby, began to wave, Barbara went white and our taxi came to a grinding halt. The taxi driver apologised, got out and looked under the bonnet, found nothing, started the taxi again and off we went, muttering 'Doesn't make sense, never had any trouble before'.

Gary Miller was a successful singer and cabaret artist, he was also hugely underrated, a genuine family man and extremely kind. He received tickets for the public dress rehearsal of Funny Girl at the Prince Of Wales Theatre, obviously he was unable to attend and kindly offered them to me. Somehow or other I was able to accept them, saw Barbra Streisand, amazingly we discovered that she actually had a very small voice, miked to the hilt which didn't help, her dialogue was difficult to hear, while the moment she went into a number the speakers became overpowering and distorted. Technology ruining an already disappointing evening.

Arriving at the Whitehall Theatre we opened to disastrous reviews, advance was lousy and we were correct in assuming that the notice would 'go up', within days. Eamonn Andrews appears again, cleverly this time, someone had arranged Danny La Rue, This Is Your Life. The next morning, queues stretched down Whitehall, the phone never stopped and the show was saved and Danny became an overnight public sensation, the power of television! Soon after our opening Gary collapsed during his late night appearance at the Pigalle Night Club and died from a heart attack.

It was while I was with Come Spy that I and the love of my life had the opportunity to see Liza Minelli at the Empire Finsbury Park for a one night stand performing her Liza With A Z album with the most brilliant group of dancers I have yet to see. We were incredibly lucky to land up with third row seats, to our left

was Cary Grant and to our right Burt Bacharach, and behind? Sammy Davis Jnr, the theatre was heaving with real stars. As for Miss Minelli, she caused an uproar, her calls went on forever, the audience wouldn't go, the orchestra left the stage, the fire curtain was dropped and the theatre's cleaning lights were switched on, no-one moved.

Eventually the fire curtain was raised on an empty stage, Miss Minelli having changed out of her costume probably having had a shower, she would certainly have had time, returned to say 'Go Home!' again no-one moved, she then brought her pianist back on and began to give yet another encore. Her drummer and bassist joined and they continued with various numbers. Then the unbelievable happened, members of the orchestra returned to their seats, not to play but to join the audience in total rapture. We all eventually left the theatre well after midnight in a daze, never to be forgotten.

While with Come Spy, to add to my income, I became one of the follow spot operators for the world famous Cabaret Room at the Savoy Hotel, working late into the night.

Artists usually played for two weeks and the first for me was the relatively unknown Dave Allen, who was quite brilliant. We in our little lighting box often wondered why the stage manager insisted on placing Mr Allen's bottle of scotch by his beloved stool with the label facing the audience, it was later explained to us that by doing so, a number of bottles were supplied free on a regular basis! As I am writing this, the news of his death has been announced, a gigantic comic talent who will always be missed.

Petula Clark (Peculiar to her friends) followed and at the end of her stint 10 shillings was given to the Stage Manager thanking him for our support (there were three of us!) he immediately sent it back, saying that he thought that she might need it more than us!

There followed the French singing star Francoise Hardy, most of whose numbers were about death, destruction and suicide, the longest fortnight of my life!

Then the fabulous Follies Bergere Legend Joesephine Baker with no airs and graces whatsoever, bringing the audience to their feet at every possible moment, two weeks to treasure, a real gigantic star.

Working the follow spots there reminds me of my work colleague who during the day was running the prompt corner for a very long running and hugely successful thriller. Well into the run, to pass the time, he took it upon himself to read yet another Agatha Christie. Came the end of Act I, while still engrossed in his book, he gave the House Curtain warning followed by what he thought to be the ‘Go’. After a few moments he automatically switched on the working-light.

The leading lady playing a blind character and who ends up on the floor behind the settee, noticing the working-light, immediately stood up and removed her wig. On turning out front, discovered to her horror, 800 pairs of eyes staring in amazement!

It was at this time that the cooks Fanny and Johnny Craddock were at the height of their television fame and Fanny decided to investigate a number of establishments including the Savoy Hotel, concerning monkfish being used in place of scampi. Monkfish was incredibly cheap, indeed hardly anyone had ever heard of it. The outcome being that overnight everyone tried the stunning fish and as we know today, is unbelievably expensive.

The clever comedian Duncan Norvelle was recently asked why he was not seen on television these days, replied ‘I can’t cook!’.

IN THE WINGS

A few 'home truths' now! And to continue with the name dropping game.

Over my years of touring, during coffee and drink breaks we naturally discussed artists who had appeared at various venues. I decided to take a survey concerning popularity. The outcome was the following:

The most popular artists without hesitation, Johnny Mathis, Howard Keel, Liberace, Bette Davis, Arthur Askey and Dickie Henderson. Both Liberace and Bette Davis discovered every member of the stage staffs’ christian names before they actually met them, naturally making them feel a million dollars.

Interestingly the most unpopular, again without hesitation, Tommy Steele, Lauren Bacall, Cannon and Ball and believe it or not Moira Anderson.

I have a small handful, but maybe I should keep quiet!

With regard to Miss Bacall, I do remember seeing her in Applause based on All About Eve at Her Majesty's, the production was fabulous. A dancer friend who was in the show managed to get us seats to see it a third time, we grabbed them!

Over dinner, he asked us if we had noticed anything odd? We had indeed, but could not put our fingers on it - he explained that none of the cast would look Miss Bacall in the eye always either looking to her right or left! She was so well-loved that on her departure, the management held a gathering where all of her costumes were ceremoniously - burnt!

Incidentally, one of the performers who took over the lead as Margo on tour in America was the actress who created the role of Eve in the original film - Anne Baxter.

I have always been somewhat suspicious when discussing ‘difficult artists’, the word ‘perfectionist’ always crops up, absolute rubbish of course, the simple answer is that they are, more often than not, conceited, selfish sons or daughters of bitches!

Rather like this quote from Jack Carson: ‘A fan club is a group of people who tell an actor he’s not alone in the way he feels about himself’.

Gawd! Does that apply.