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JEAN BUCKLEY (26 May 1930 – 20 July 2017)

In 1943, Jean Buckley (née Newman) was thirteen years of age, living in wartime Manchester. Jean, an only child, was originally from London and the family had lived in Brighton for a time. When the war came her father decided that they might be safer living in Manchester. This did not prove to be the case. Jean spent many nights in a damp air raid shelter as German bombs fell on the city.

Jean had always loved Anne Ziegler and Webster Booth’s singing. She had a clear memory of hearing Webster singing Phil, the Fluter’s Ball with Fred Hartley and his quintet on the radio when she was a young child. As light relief from the sleepless nights in the damp air raid shelter, she and her mother attended many of their concerts and broadcasts in the city. They went backstage to see the couple and Jean saved her pocket money and collected coupons so that she could buy gifts to present to Anne when they went backstage. Anne and Webster saw Jean so often that they sent them complimentary tickets for broadcasts of Variety Bandbox and Variety Fanfare. She remembers Webster coming into the dressing room and greeting them with, “How are my two lovelies this evening?”

When Jean left school she went to work for Singer’s Sewing Machines and became a top sales woman with the company. Unknown to Anne and Webster she began to take singing lessons on a part time basis at the Northern School of Music and managed to obtain a few engagements. She told me that she did not mention this to the Booths in case they felt obliged to use their influence to advance her singing career.

Jean married Maurice Buckley in 1956 but was very upset when Anne and Webster decided to move to South Africa in the same year. They kept in touch with the Booths and she sent them copies of The Stage and other British newspapers while they were living there.

Maurice and Jean Buckley (1956)

When they returned to the UK in 1978 they lived near Jean and Maurice, and spent a lot of time with them. Jean said that Webster always enjoyed watching cricket on TV with Maurice. Jean baked a cake for Anne and Webster’s fortieth wedding anniversary in 1978.

Jean and her poodle, Trixie

A few years later, Jean and Maurice celebrated their Silver wedding anniversary. Here is a lovely photograph of Anne and Webster on that happy occasion. I used this photo as a front cover to my book, Sweethearts of Song: A Personal Memoir of Anne Ziegler and Webster Booth

Anne and Webster (1981)

When Webster became ill and was admitted to a nursing home, Jean visited him regularly and took him out for a drive or for tea occasionally to give him a break from the nursing home. She put a tape recording of his records on the car radio. He disliked the nursing home and never wanted to return after his outing with Jean.

After his death, Jean did a great deal for Anne in one way and another. Jean was very hurt when Anne’s friend, Babs Wilson Hill introduced her to someone as “Anne’s greatest fan.” Jean replied, “I think I might be considered Anne’s greatest friend by now.”

The first time I heard of plans to establish a scholarship in Webster Booth’s name at the Royal Northern College of Music was in a letter from Anne Ziegler, dated 20 November 1985, just over a year after Webster Booth’s death on 21 June 1984.

Anne mentioned that a coffee morning had been held in the local church hall in aid of the Webster Booth Memorial Fund. Jean had proposed the idea of providing a scholarship in Webster’s name for a tenor to attend the RNCM for a year’s post-graduate study. Jean and her husband, Maurice worked hard to raise money for the Fund and by the time Anne wrote to me £1,600 had been raised towards the initial goal of £3,500. Anne’s letter continued:

November 20 1985 Anne to me

I wondered why the scholarship was to be awarded at the RNCM as Webster had studied singing with Dr Richard Wassall at the Midland Institute in Birmingham, fitting in lessons after he finished work at a firm of accountants. I knew that conductor Sir Charles Groves was chairman of the RNCM council at that time and Webster had often referred to him affectionately as “Charlie Groves” who had often conducted him in radio broadcasts, so I though that perhaps this was why Jean had chosen the RNCM for the Award.

Many years later, Jean told me why she had chosen the RNCM. In her late teens, she had studied singing part-time at the Northern School of Music, Manchester. This school and the Royal Manchester College of Music amalgamated in 1975 to form the Royal Northern College of Music, which was producing singing graduates of a very high calibre. Manchester was not too far from North Wales where Anne, Jean and Maurice lived. The trip to the College for the annual competition would not be too onerous for Anne as she grew older and it would not be necessary to stay overnight in the city after the Award had been presented.

Jean’s friend, journalist and broadcaster Natalie Anglesey, interviewed her on the BBC about the Webster Booth Memorial Fund, bringing news of it to a wider radio audience. Jean’s interview with Natalie

 Jean continued to raise funds by making things to sell, doing clothing alterations for a small fee, organising raffles, and collecting donations to the Fund from friends, fans, relatives of Webster and Anne, and local neighbours. Donations were often as little as £1 or £2, but occasionally bigger donations were made by societies such as the Sir Arthur Sullivan Society. Webster’s older brother, Edwin Norman Booth, his wife Annie and daughter Margaret took great interest in the progress of the Fund and helped Jean with fund-raising. Annie made beautiful rag dolls to sell, and each member of the family made regular substantial donations. Jean’s early singing training at the Northern College also benefited the Fund in a round-about way. She and her accompanist, Maureen, began entertaining at hotels around Llandudno and all the money Jean earned in this way went towards the fund. To publicise the Award she gave talks to various societies and clubs about Anne and Webster’s career.

Anne and Jean in Penrhyn Bay before going to the Royal Northern College, Manchester for the prize winners’ concert for the Webster Booth prize.

I did not meet Jean when I visited Anne in Penrhyn Bay in 1990, although Anne told me a great deal about her while I was there. Jean had even made a cake for our tea! Jean and I began our correspondence in 2007 and we often said how sorry we were that we had not met each other in 1990 as we could have become good friends.

After Webster’s death, Anne went on holiday with the Buckleys every year. They usually took self-catering accommodation and Jean did all the cooking.

Maurice and Jean on holiday with Anne and Bonnie in the 1990s.

Jean did a great deal to help Anne as she got older. She and Maurice created an en suite room in their home and would have been happy to have Anne to live there if ever she felt unable to continue living in her own home. Even when Maurice became ill, Jean still took Anne shopping, to doctor’s appointments and to the annual prize winners’ concert at the RNCM. When Anne’s gardener could not continue working Jean even helped Anne with the gardening!

Sadly, Anne and Jean fell out over a trivial matter several years before Anne’s death and they were never reconciled. I corresponded regularly with Jean for over ten years and I was sad when she lost her sight and had to move to a frail care home. She developed Alzheimer’s disease and I cannot imagine how difficult it must have been to be in strange surroundings, unable to see and not remembering very much. She was an only child and had no children of her own. I was sad to hear that she died on 20 July 2017 at the age of eighty-seven. I hope she is now at peace. I will treasure the letters and emails she wrote to me, and the photos and memorabilia she sent to me. She will be sadly missed, but fondly remembered by me and friends who loved her.

Jean Collen ©

23 July 2017

 

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ORATORIO

Webster Booth and oratorio

Although Webster Booth is remembered today as a romantic duettist in partnership with his third wife, Anne Ziegler, he told me that oratorio had given him the greatest satisfaction in his singing career. He was certainly a renowned oratorio singer in his day but this has been forgotten by most people who know more about him singing We’ll Gather Lilacs than tenor solos in various oratorios.

Two of my most cherished possessions are Webster’s Messiah and Elijah scores. The Messiah score had belonged to his father, Edwin Booth, whose name is written in the score, followed by Webster’s own name.

Webster’s Messiah score

In the two front pages, he listed some of his Messiah dates from 1928 when he sang at the Birmingham Town Hall on 3 November 1928 with the Choral and Orchestral Union, to performances of various oratorios in Port Elizabeth, Eastern Cape, South Africa with Robert Selley at the Oratorio Festivals there in 1961. The list includes a performance at the Royal Lodge Chapel on 15 February 1948 in the presence of King George VI, Queen Elizabeth and Princess Margaret, performances with the Huddersfield Choral Society, the Royal Choral Society and the Hallé Concert Society. Several Good Friday Messiahs at the Albert Hall where the entire work is performed without any cuts are listed. His first Good Friday Messiah was on the 10 April 1936 when he was 34 years of age. The Royal Choral Society concerts were usually with his champion, Malcolm Sargent as conductor, but he also sang with Sir Thomas Beecham at the Queens Hall on 17 December 1938.

21 December 1938 Messiah

He sang in many performances of Elijah, The Creation, Joshua, Judas Maccabeus, The Creation and Elgar’s Dream of Gerontius. It was after an afternoon performance of this last work at the Queen’s Hall on 10 May 1941 that this beautiful hall, Webster’s favourite concert hall, was destroyed by an incendiary bomb that night. Webster preferred Handel to Bach, but I see that he did sing in a performance of the latter’s Christmas Oratorio in South Africa in 1960.

December 1938 Messiah

Another Good Friday Messiah in April 1943

I think it is sad that he did not make a recording of the Dream of Gerontius as he was renowned for his performance in this work. Neither did he take part in complete recordings of Messiah or Elijah. When I was studying with him and Anne Ziegler I learnt the part of the Angel in The Dream of Gerontius and he sang the tenor part with me – how I wish I had a recording of it now! He sang in the first performance in South Africa of the work with the young Keith Jewell, Cape Town’s city organist (then aged 27) in 1957, the year after the Booths arrived in South Africa.

People in South Africa were inclined to think that the Booths had been out of favour in the UK and that was the reason why they moved to South Africa in 1956. This was far from the case. Admittedly their recording contract with HMV had been cancelled in 1951 and I have never been able to work out why the contract was cancelled as they were both in excellent voice at the time. But they had plenty of theatre, television, radio and concert engagements in the 1950s. Webster sang his last Messiahs with the Huddersfield Choral Society in December 1955 and January 1956. They moved to South Africa because of increasing problems with the Inland Revenue rather than because they were not as popular as before.

Anne Ziegler sang in exactly one first class performance of Messiah in Blackpool in January of 1944. Doctor Malcolm Sargent (as he was at that time) conducted the performance with the Huddersfield Choral Society.

1944 Blackpool Messiah

As a thirteen-year-old girl, I heard Webster and Anne sing in a performance of Messiah at St James’ Presbyterian Church which was then situated in Mars Street Malvern. Even at that young age, I was aware that it must have been a come-down for Webster to be singing this work in a suburban church in South Africa after he had been singing at the Albert Hall not very long before. While Anne sang in the performance at St James under the musical director of the main Presbyterian Church in Johannesburg, Drummond Bell, she was not asked to sing in more important oratorio performances, such as the one at the Johannesburg City Hall a month later, or with Robert Selley at the Port Elizabeth Oratorio Festival.

Webster’s oratorio recordings include the arias from Handel’s Messiah, Judas Maccabeus, Samson, and Acis and Galatea, Mendelssohn’s Elijah and St Paul, and Haydn’s Creation.

Jean Collen

12 July 2017.

 

 

FANS

Webster as a young man.

Webster Booth and Anne Ziegler were very popular and attracted a legion of fans who followed them for a variety of reasons.

Before he began working with Anne, Webster attracted many female fans who admired him, not only for his beautiful voice, but for his smouldering good looks. He told me that he often singled out the most attractive girl in the audience and sang for her alone. Invariably she would be waiting at the stage door after the show, either to ask shyly for his autograph, hoping for a few kind words from her hero, or hoping, better still, that he would ask her out for a drink! He had attractive photos made to hand out to his fans, such as this one, signed at Shanklin in 1931, and the same photo later signed to Elaine in 1933.

Autographed photos

His practised seduction technique led directly to his second marriage with soubrette, Paddy Prior. He had been singing at a Monday evening concert at the Concert Artistes Association when he noticed an attractive young woman sitting in the audience obviously enjoying his singing. When he sang One Alone he directed his attention to her alone. After the concert, he was introduced to her and they were married after his divorce from his first wife, Winifred Keey, was finalised. Sadly, his marriage to Paddy did not last very long after he met Anne Ziegler during the filming of the Faust Fantasy at the end of 1934.

In July 1934, Madeleine wrote a note to her friends, Lily and Phil, from Shanklin on the Isle of Wight where Webster was appearing in the Sunshine summer show there.

From Shanklin

He valued his fans and treated them with kindness and consideration.He answered fan mail himself, such as in these letters, dated September and December 1936:

1936 letters

During the 1990s Anne wrote to me and told me that her very first fan had visited her recently in Penrhyn Bay. The girl had been fifteen years of age in 1935 and saw Anne in a summer show in Ryde when Anne herself was only twenty-five years of age. She had been a fan of Anne’s ever since and kept in touch with her over the years.

Even before Webster’s divorce to Paddy Prior was finalised, he and Anne began singing together on the concert platform. They were an instant success. Both were very attractive with charming personalities. He wore an evening suit with a gardenia in his lapel; Anne was beautifully dressed. As their popularity grew, she had crinoline gowns designed for her, some by the Queen Mother’s dress-designer, Norman Hartnell.

They attracted a legion of adoring fans. Many followed them ardently from one engagement to another and listened to all their broadcasts on the radio. One of their fans was Gladys Reed, seen below with Anne at the stage door of the London Palladium in 1942. You can see how delighted she was to have her photo taken with her idol! Anne wrote a letter to Gladys telling her to give their regards to the “gang” – probably referring to the devoted fans who followed them around from one engagement to the other.

Letter to Gladys 1943
North British Station Hotel

Imagine how Anne and Webster’s fairytale act must have lightened the lives of their fans during the difficult war years. No wonder they attracted so many people at that time.

In 1943, Jean Buckley (née Newman) was thirteen years of age, living in wartime Manchester and she and her mother spending many nights in an air raid shelter with bombs dropping around them, keeping them from sleep. She and her mother attended many of their concerts and broadcasts in the city for Jean was enchanted by their act. She and her mother always went backstage to see the couple and Jean saved her pocket money and collected coupons so that she could buy gifts to present to Anne whenever they went backstage after a show. Anne and Webster saw Jean so often that they often sent her complimentary tickets for their shows.

Jean was very upset when they decided to move to South Africa in 1956 but they kept in touch and she sent them copies of The Stage while they were living there. When they returned to the UK in 1978 they lived near Jean and her husband Maurice and spent a lot of time with them. Jean said that Webster enjoyed watching cricket on TV with Maurice.

When Webster became ill and was admitted to a nursing home, Jean visited him in the afternoon when she finished work and took him out occasionally to give him a break from the dull routine of the nursing home. After his death, Jean did a great deal for Anne in one way and another. She and Maurice raised money to inaugurate a prize in Webster’s name at the Royal Northern College of Music in Manchester. Jean was very hurt when Anne’s friend, Babs Wilson Hill condescendingly introduced her as “Anne’s greatest fan.” Jean replied, “I think I might be considered Anne’s greatest friend.” Sadly, Anne and Jean fell out over a trivial matter several years before Anne’s death and they were never reconciled. I corresponded with Jean for over ten years and I am sad that she has lost her sight and is now living in a frail care home at the age of eighty-seven.

Anne and Jean in Penrhyn Bay before going to the Royal Northern College, Manchester for prize winners’ concert for the Webster Booth prize.

Before attending  the RNCM concert (1990s)

Another fan was Pamela Davies (née James). She mentioned in her book Do You Remember Anne Ziegler and Webster Booth? that she and her fellow teaching students gathered round the radio to listen to the Victory Royal Command Performance in November 1945 to hear Anne and Webster singing. She made extensive notes of all their radio appearances.

 

 

 

When Anne and Webster returned to the UK in 1978 she wrote to them to say how pleased she was that they had returned to the country. Thus began a regular correspondence which resulted in Pam and her husband Walter taking Anne out to lunch whenever they went to North Wales.

Anne and Webster went on an extensive concert tour of New Zealand and Australia in 1948. Anne wrote in Duet: “I had an admirer in Christchurch who brought me flowers every day we were there. They were freesias, of the beautiful big New Zealand variety. Her name was Margaret Richardson, and she has since come over to England and obtained a job in New Zealand House.”

Margaret Richardson returned to New Zealand and she and Anne kept in touch over the years. Unfortunately, Margaret died shortly before Anne, so she did not receive the photos Anne had allocated to her in her will.

John Bull 1952

I wonder where these children are now and what they thought of their mother’s choice of names for them!

When they returned to the UK in 1978, aged 68 and 76, they expected to lead a quiet life in semi-retirement. They had been doing very little work in South Africa for years so it came as a surprise to them to find that they were in great demand in the UK. Many of their fans from the good old days were still alive. Soon they were travelling around the country, singing in concerts, giving talks, appearing on TV and presenting radio programmes. In 1975 they had given a farewell concert in Somerset West and they had not intended to sing again, but they gave in to public demand when they went back to the UK. Anne was still in fairly good voice but Webster’s voice had deteriorated and I thought it was very sad that he should have had to sing in public again when he was past his best. But they needed the money and their performances continued longer than they should have done. I don’t think their elderly fans were very critical – they were only too happy to see their favourites on stage once again.

On TV 1980

Joan Tapper, a piano teacher, had been a life-long fan of the couple and when they sang in Mold, North Wales, she presented them with a gift after the concert. This led to a friendship which lasted until Anne’s death in 2003.

Anne and her fan and friend, the late Joan Tapper.

Webster’s health deteriorated and after a disastrous performance in Bridlington when he forgot the words of one of their most popular duets, Anne realised that this had been their swansong and they would never be able to sing together again.

Webster died in 1984, and Anne lived alone in the bungalow in Penrhyn Bay, North Wales for another nineteen years. The bungalow was owned by Babs Wilson Hill, who had been Anne’s friend and admirer since they appeared in pantomime together in Liverpool in 1935, although by the end of their lives they were not as close as they had been in earlier times. They died within a few weeks of one another.

Happier times – Jean, Anne and Babs

Jean Collen © 22 June 2017

WEBSTER BOOTH/ANNE ZIEGLER AWARDS AT ROYAL NORTHERN COLLEGE OF MUSIC, MANCHESTER

 










Webster Booth (1957)

The first time I heard of plans to establish a scholarship in Webster Booth’s name at the Royal Northern College of Music was in a letter from Anne Ziegler, dated 20 November 1985, just over a year after Webster Booth’s death on 21 June 1984.
In a letter, Anne mentioned that a coffee morning had been held in the local church hall in aid of the Webster Booth Memorial Fund. Jean Buckley, Anne and Webster’s friend and fan of 42 years standing had proposed the idea of providing a scholarship in Webster’s name for a tenor to attend the RNCM for a year’s post-graduate study. Jean worked hard to raise money for the Fund and by the time Anne wrote to me £1,600 had been raised towards the initial goal of £3,500. Anne’s letter continued, “The place was packed – which delighted us. Everyone local turned up and it was a great success and we raised £400 towards the Fund.”
I wondered why the scholarship was to be awarded at the RNCM as Webster had studied singing with Dr Richard Wassall at the Midland Institute in Birmingham, fitting in lessons after he finished work at a firm of accountants. I knew that conductor Sir Charles Groves was chairman of the RNCM council at that time and Webster had often referred to him affectionately as “Charlie Groves” who had often conducted him in radio broadcasts, so I though that perhaps this was why Jean had chosen the RNCM for the Award.
Many years later, Jean Buckley told me why she had chosen the RNCM. In her late teens she had studied singing part-time at the Northern School of Music, Manchester. This school and the Royal Manchester College of Music amalgamated in 1975 to form the Royal Northern College of Music, which was producing singing graduates of a very high calibre. Manchester was not too far from North Wales where Anne, Jean and her husband, Maurice lived. The trip to the College for the annual competition would not be too onerous for Anne and it would not be necessary to stay overnight in the city after the Award had been presented.







 


 

Anne and Bonnie with Jean and Maurice Buckley on holiday in the nineties.

 

 

In 1985 Jean wrote to The Stage, as follows:

“Close friends and relations of the late Webster Booth are anxious to provide a yearly scholarship for a tenor student at the Royal Northern College of Music in Manchester. Any admirers of Webster Booth and the contribution he made to music world, who wish to join in this tribute, can send cheques or money orders to the Webster Booth Memorial Fund….Llandudno, Gwynedd.”
There was little response to her letter, but, undaunted, she continued to raise funds by making things to sell, doing clothing alterations for a small fee, organising raffles, and collecting donations to the Fund from friends, fans, relatives of Webster and Anne, and local neighbours. Donations were often as little as £1 or £2, but occasionally bigger donations were made by societies such as the Sir Arthur Sullivan Society. Webster’s older brother, Edwin Norman Booth, his wife Annie and daughter Margaret took great interest in the progress of the Fund and helped Jean with fund-raising. Annie made beautiful rag dolls to sell, and each member of the family made regular substantial donations. Jean’s early singing training at the Northern College also benefited the Fund in a round-about way. She and her accompanist, Maureen, began entertaining at hotels around Llandudno and all the money Jean earned in this way went towards the fund. To publicise the Award she gave talks to various societies and clubs about Anne and Webster’s career.
South Africa’s prime minister, P. W. Botha’s disappointing “Rubicon” speech saw the South African Rand rapidly lose value, but my husband and I were determined to make a donation although Anne discouraged me from doing so. Our R100 realised nearly £30 in 1986. At the time we thought the Rand was worthless but now, in 2017, R100 would exchange at less than £6!
Sir David Scott had been the British Ambassador to South Africa in the 1970s and Anne and Webster had been invited to the Embassy in Cape Town with the Kings’ Singers after one of their concerts. Brian Kay had persuaded them to sing The Keys of Heaven to his accompaniment at the gathering.
In the meantime, a friend of the Buckleys, music critic, John Robert Blunn suggested that they should contact the Palace Theatre, Manchester, managed by Bob Scott – later Sir Bob Scott – the son of Sir David. In turn, Sir Bob sent Mrs Buckley’s letter on to his father. Not only did Sir David make a generous personal donation but the New Moorgate Trust, a charitable fund based in London, which he managed, made a donation of £5000.00, giving a welcome boost to the Fund. Sir Bob also suggested that Jean should contact the Granada Trust and this Trust made a donation of £1000.00. Companies and deceased estates made substantial donations, including Lloyds Bank, N Smith Charitable Settlement, Tom Chandley Limited, and the Estate of Mary Paine. The Bramley Trust gave a generous donation to the Fund and Mrs Bramley made a personal donation to Jean to thank her for all her hard work. Needless to say, Jean added this amount to the Fund.
Jean’s friend, journalist and broadcaster Natalie Anglesey, interviewed her on the BBC about the Webster Booth Memorial Fund, bringing news of it to a wider radio audience. Jean’s interview with Natalie
On 6 June 1986 Jean was able to take a cheque for £3250.00 to the RNCM. The first Webster Booth Award was finally presented on 10 December 1986. Jean and Maurice had donated £500 for the prize rather than deplete the £3250.00 which Jean had given to the RNCM earlier that year.
The Duchess of Kent had presented diplomas to RNCM students at a graduation ceremony earlier that day so Jean and Anne were presented to her before she left the college. Later that evening Anne gave the cheque for £500.00 to tenor, Geraint Dodd, the first winner of the Webster Booth Award. There had been no time to hold a competition but the RNCM named Geraint Dodd as the most promising tenor of that year. In turn Geraint Dodd handed Anne a rose as he sang Only a Rose to her. Anne joined him in the singing and the audience, which included Joseph Ward (then head of Vocal Studies) and important guests who had attended the earlier graduation ceremony were touched and delighted. Anne was a STAR on that memorable night. Geraint Dodd joined the Welsh National Opera immediately after his graduation.
The following year, the prize money was increased to £750.00. The adjudicators of the competition were Alexander Young, Sylvia Jacobs and Caroline Crawshaw. Stephen Rooke, a Welsh tenor won the award and received his prize from Anne. It was hoped that the prize money the following year would increase further to £1000.00.
Maurice Buckley typed hundreds of letters to big business and in 1988 Esso plc became a sponsor for the Webster Booth Award. The RNCM also found an additional anonymous sponsor. With this sponsorship the award became much bigger in scope. Esso agreed to sponsor public concerts for the fund the following year. There would be three finalists competing for the award. In 1988 Anne was one of the three judges and presented the prize to New Zealander, Paul Whelan, then a bass baritone. Later Paul Whelan became a baritone and won the Song Prize in the Cardiff Singer of the World competition in 1993.
The prize was not awarded in 1989 but in 1990 the competition for the Webster Booth/Esso Award was held once again and this time the prize money was £5000.00. It had been decided that the competition would no longer be limited to tenors and that all male singers could enter the competition. In 1990 the panel of judges for the final were Ryland Davies (chairman), Anne Ziegler and Ava June.
At the end of 1990, at the suggestion of Joseph Ward, head of Vocal and Opera Studies, the College and Esso decided that a similar award should be made in Anne Ziegler’s name and the first Anne Ziegler/Esso Award for outstanding merit was made to Scottish soprano Rosalind Sutherland in 1991. This Award of £1000.00 was to be used towards the winner’s postgraduate studies at the RNCM. Prospective candidates were asked to perform works, including a duet, which reflected “the wide-ranging repertoire of the legendary tenor Webster Booth and his widow Anne Ziegler, whose remarkable partnership is commemorated in these awards”. By 1992 the competition was open to all suitably qualified singers regardless of gender.
The winner of the Webster Booth/Esso Award would receive £5000.00 for one year’s postgraduate study at the college, a stage audition at the Royal Opera House, Covent Garden, and have engagements with the Hallé orchestra and the Camerata Orchestra. Under Esso sponsorship, the two prizes were awarded each year. Anne no longer judged the competition but continued to present the prizes and address the audience. Although she was over eighty and not in the best of health she continued to delight audiences with her charming speech at the finalists’ concerts. Anne was no longer performing so attending these concerts and presenting prizes to the winners gave her many more years of direct involvement with music than she would otherwise have enjoyed. She always said that on these wonderful occasions she and Jean were “treated like royalty” by everyone associated with the presentation at the RNCM.
Because of changes in company policy Esso terminated its sponsorship of the Webster Booth/Anne Ziegler awards in 1996. Esso gave a year’s notice about this change in order to give the Buckleys a chance to find new sponsors for the awards. In the interim period it was decided that the College would find £1000.00 for the Webster Booth Award while the original money raised by the Buckleys would yield £1000.00 for the Anne Ziegler Award.
 
Once again, the Buckleys began writing to various institutions hoping to find new sponsorship, including Arts for Everyone and the National Lottery, but unfortunately their appeal was turned down by both these institutions. The College in 2001 and 2002 found a generous sponsor in Chartered Accountants Lloyd Piggott.
 
In 2000, the year of Anne’s ninetieth birthday, the RNCM hosted a luncheon party for Anne at Bodysgallen Hall Hotel, Llanrhos. The RNCM was represented by Christopher Yates and Eileen Henry. Jean and Maurice Buckley and the winners of the Webster Booth and Anne Ziegler awards for that year, Sarah Cox (soprano) and Tom Raskin (tenor) were guests at the lunch. In 2001 the judges were Adele Leigh, John Savident and Caroline Crawshaw. Unfortunately Anne was unable to attend the competition. Her health was failing and she died two years later on 13 October 2003.
 
Sadly, the Webster Booth Award was discontinued after 2002 when soprano Lee Bissett from Helensburgh, Dunbartonshire, won £2000.00. She went on to represent Scotland in the Cardiff Singer of the World Competition in 2005.
 
Earlier winners of the Webster Booth and Anne Ziegler Awards who also represented their countries in the Cardiff Singer of the World Competition, included:
 
Paul Whelan WB Award 1988 (baritone): New Zealand, 1993, Song Prize winner
Ashley Holland WB Award 1994 (baritone) England 1995
Rosalind Sutherland AZ Award 1991 (soprano) Scotland 1995 Finalist
Roland Wood WB Award 1998 (baritone) England 2003
 
The College continues to present the Anne Ziegler Award each year. When asked by the late Eileen Henry, Development Manager of the RNCM in 2002, Jean agreed that the Anne Ziegler Award should continue, funded by the remaining money she and her husband Maurice had helped to raise. I am not sure if Anne’s award continues as I have lost contact with the RNCM and Jean Buckley is no longer in good health. The winner in 2009 was tenor Sipho Fubesi from Centane, Eastern Cape, South Africa, which would have pleased Anne since she and Webster had lived and worked in South Africa for 22 years.
The names of Webster Booth and Anne Ziegler might have been forgotten historical musical figures today, but thanks to the efforts of Jean and the late Maurice Buckley, and the generosity of the RNCM in creating and staging the awards, Anne and Webster’s names and voices are known to many professional singers of the present generation. It would be wonderful if a new sponsor could be found to restore the Webster Booth Award so that the names of Webster Booth and Anne Ziegler, so closely associated in their professional and personal lives, could be re-united at the RNCM in the form of the two awards.

 WEBSTER BOOTH AWARD WINNERS 

 1986 Geraint Dodd, tenor 

1987 Stephen Rooke, tenor, Wales

1988 Paul Whelan, Bass baritone. (Represented New Zealand in Cardiff Singer of the World Competition and won the Song Prize 1993) 
1989 No prize awarded
1994 Ashley Holland –baritone (Represented England in Cardiff Singer of the World Competition 1995)
1995 Darrell Babidge – baritone (shared)
1996 Mari-Kjersti Tennfjord – soprano
1997 Antonia Sotgiu – mezzo soprano
1998 Roland Wood –bass-baritone (changed to baritone) (Represented England in Cardiff Singer of the World Competition 2003)
1999 Toby Stafford-Allen – baritone
Lee Bissett–soprano. (Represented Scotland in Cardiff Singer of the World Competition 2005) 

 ANNE ZIEGLER AWARD WINNERS 

 1991 Rosalind Sutherland –Soprano (Represented Scotland in Cardiff Singer of the World Competition 1995 and was a finalist in the competition)
1997 Daniel Broad baritone
2002 Stephen Pascoe – baritone
2005 Simon Buttle – tenor England  Simon Buttle was the last singer to win the Anne Ziegler Award by competition.
After 2005 the concert was no longer held and the award was made to a promising singer by the Head of Vocal and Operatic Studies in consultation with departmental staff.
2006 Sarah Lawson
2007 Cressida van Gordon – soprano

Jean Collen
© December 2009
Updated January 2017.
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GRAND OPERA AND SAMUEL COLERIDGE-TAYLOR

Webster Booth had always hoped to sing in Grand Opera despite Malcolm Sargent’s advice that unless he had a private income it would be best to leave opera alone. In 1938 he was asked by Sir Thomas Beecham to go to Covent Garden and sing for him. By that time he was already an established singer on the radio, on record,  in oratorio and lighter forms of entertainment and was rather affronted that he should have to audition at all. Sir Thomas and Lady Emerald Cunard were seated in the middle of the empty auditorium and chatted to one another while he sang Your Tiny Hand is Frozen from La Bohème and The Flower Song from Carmen. To add insult to injury Sir Thomas offered him two very small parts – one in The Magic Flute, the other as the tenor singer in Rosenkavalier at the princely sum of £10 per performance and nothing for rehearsals.

Unlike Sir Thomas’s disdainful attitude towards Webster, Erich Kleiber, who was conducting Der Rosenkavalier was most impressed with his voice and congratulated him on his performance of the aria before the whole company. It was during the first performance of Rosenkavalier that the famous soprano, Lotte Lehmann, who was playing the role of the Marschallein, stopped singing in the middle of the performance and walked off the stage. She had been informed before the performance that her husband had been arrested by the Nazis.



Early in 1939, Webster appeared in Rosenkavalier at Sadler’s Wells and accepted no fee. Miss Lilian Baylis could only afford to pay him £4 per performance. Webster wrote in his autobiography, Duet: “I laughed and replied, “Don’t bother with the £4. I’ll sing four performances for you anyway!”

 

Although Webster was offered the part of Lohengrin and other roles at Covent Garden in 1951 during the Festival of Britain, he turned it down.  People often question why he “wasted so much time” singing duets in Variety, but one of the reasons he did this was because Variety paid a great deal more than Opera and required far less hard work. 
 
September 1 2012 is the
centenary of the death of the composer Samuel Coleridge-Taylor, who died
at the early age of 37 on September 1 1912. Despite his early death he
left a legacy of fine music behind him. I have many of his piano solos
in my possession and get much pleasure in playing them.


Webster Booth was associated with Samuel Coleridge-Taylor because of his many appearances in Hiawatha,
Coleridge-Taylor’s best known and most popular work. He made his first appearance in this work at the Royal Albert Hall in May 1936 with Harold Williams and others
and made another appearance in Hiawatha in June 1937, shortly before he sailed for New York the following month.


Before the war, the work was presented in full native-American costume and
here is Webster in his costume below. Dr Malcolm Sargent (as he was
then) conducted the work and continued to present it with the Royal
Choral Society and Royal Philharmonic Orchestra many times.


Webster appeared in many other performances of Hiawatha, including one presented at Kenilworth Castle in  1952. I have included a few of the advertisements below:

Hiawatha at Kenilworth Castle 1952

Webster Booth appeared in the Jubilee concert of  Hiawatha to commemorate the fiftieth anniversary of the concert which was first presented in March 1900. 

 
May 1951. Croydon, Davis Theatre.
As part of the Festival of Britain celebrations a concert mainly devoted to the works of local composer, Samuel Coleridge-Taylor was held in the Davis Theatre on 31 May 1951, part of a series of concerts sponsored by Croydon Corporation for the Festival. Parts One and Two of Hiawatha were presented by the Croydon Philharmonic Society, conducted by Alan J. Kirby. Gwen Catley, Webster Booth and Dennis Noble were the soloists. 
.
14 Ju

 

 
 
Although
the planned presentation of Hiawatha in 1954 was called off at the last
minute because of poor ticket sales, Sir Malcolm Sargent asked that
Webster should be the soloist in the work at his sixtieth birthday
concert on 29 April 1955 at the Royal Festival Hall, where his fellow
soloists were Jennifer Vyvian and Australian baritone John Cameron.
Perhaps because the performance was associated with Sir Malcolm’s
birthday, tickets were in great demand.
 
Here is a photograph from the defunct magazine, Music and Musicians where Webster and Anne are speaking to John Cameron after the performance.
 
His last performance in the work was at the Promenade Concert in August 1955, where he also sang the song cycle To Julia by Roger Quilter.
 

In July 1956 he and Anne Ziegler moved to Johannesburg South Africa. He never sang in another performance of this work.

Webster Booth recorded several songs by Samuel Coleridge-Taylor  below:

Onaway, Awake, Beloved!

Eleanore

Unmindful of the Roses/Life and Death

Jean Collen 2012 Updated May 2017

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ENTERTAINING IN CAFES, RESTAURANTS, HOTELS AND AT MASONIC CONCERTS.

 

Webster Booth and Anne Ziegler spent a large part of their early careers singing in restaurants, hotels and cafés. Many of these establishments were owned by J. Lyons and Company, forebears of the attractive food fundi, Nigella Lawson.  Neither enjoyed singing in these establishments because they were obliged to sing over the conversation of diners, the bustle of waiters and nippies, the clatter of dishes, and in an atmosphere pervaded with the mingling smells of food, drink and tobacco. If you think that these places were the intimate cabaret venues one might find today, think again. Many of these restaurants and cafés were capable of seating 2000 people, most of whom were not paying close attention to the musical entertainment on offer, regarding it as mere background music.
Lyon’s Corner House, Piccadilly

Not only did Webster sing in Lyon’s Restaurants and Cafés, but he was often called upon to sing at Masonic, staff and livery dinners. Webster himself was a Mason and there were Masonic Lodges attached to the Savage Club and the Concert Artistes’ Association. He was an active member of both and in the 1950s he and Anne were joint presidents of the CAA for several years. I thought that  entertainers at Masonic dinners would be limited to men, but women also entertained there. Webster particularly remembered Betsy de la Porte, the South African singer, as a fellow soloist. She  took her knitting with her to keep herself busy as she waited to perform. There were close connections between particular restaurants and hotels and various Masonic Lodges. The Skelmersdale Lodge held their meetings at Verrey’s Hotel, Hanover Street from 1926 to January 1928, after which they moved to another hotel.
Webster’s second wife, Paddy Prior, a comedienne, soubrette and mezzo soprano, whom he married in October 1932, began entertaining at such dinners when she was not otherwise occupied in seaside summer shows, musical comedies, early television or pantomimes. Early in 1927 she appeared at the Skelmersdale Lodge Masonic Ladies’ night at their meeting place at Verrey’s Hotel, Hanover Street, apparently evoking much laughter amongst the guests with her turn. In 1928 she appeared at Anderton’s Hotel, Fleet Street, the hotel where the Magic Circle  held their meetings and which had close associations with the printing profession. The inaugural dinner of the London Press Club had been held there in 1882. She entertained at a Printers’ Charity Concert with other performers, and in 1929 she performed for the Electrotypers & Stereotypers’ Managers’ and Overseers’ Association at Frascati’s Restaurant, Oxford Street.
In January 1928 there was a dinner of the Gallery First Nighters’ Club at the Comedy Restaurant, Panton Street, Haymarket, with Miles Malleson as  guest of honour, where a number of well-known artistes provided the entertainment, including George Metaxa, Webster Booth and Tom Howell (the leader of the Opieros, with whom Webster was working at the time) and a similarly lavish dinner for the Daily Mirror and Sunday Pictorial staffs at the Holborn Restaurant, Kingsway also featured Webster Booth. 
Paddy Prior entertains the Masons.

 A photo of Paddy Prior taken some years after her divorce from Webster Booth.

Paddy Prior entertained at Beale’s Masonic Hall, Holloway, while Webster, who was still calling himself by his full name, Leslie Webster Booth, appeared at a variety of Lyons Cafes, such as the Popular Café in Piccadilly, which seated 2000 diners, the Empress Rooms, and the Corner House in the Strand. The Lyons restaurants catered for different social classes. The Trocadero was luxurious and expensive, while other restaurants were more economical. Within the same venue there were often multiple restaurants, some more expensive than others.
The Trocadero
Even in the 1930s when Webster was making a name for himself on record, radio, in the West End, Oratorio, and on film, he was still entertaining at dinners and at benefit concerts, such as one at the Finsbury Town Hall on 6 March 1930 for the Clerkenwell Benevolent Society, where South African soprano, Garda Hall was one of the other entertainers. Charles Forwood was the accompanist at this concert. Ten years later, Charles Forwood would become the regular accompanist for Anne and Webster in their variety act. In February 1931 Webster and Gladys Ripley (contralto) sang at a dinner for the Hardware and Metal Trades Musical Society at the Cannon Street Hotel. A month later he sang at the Holborn Restaurant for the Entre Nous Club, with comedienne, Suzette Tarri and comedian, Arthur Askey as fellow artists.
I would imagine that entertaining at dinners was more congenial than singing above the general hub-bub in a public restaurant or café, as those attending the arranged dinner would have a specific time set aside to enjoy the entertainment, and this would not have been while waiters were collecting dirty crockery or serving the next course.
The first time that Webster and Paddy Prior appeared together was at a concert for the Bellingham Club on 30 April,1932. They were married on 10 October of the same year. In January 1933 Webster sang at a meeting of the Henley Lodge, held at the Connaught rooms, which had been the headquarters of the Freemasons since 1717.  After a long summer season with Paddy at Scarborough with the Piccadilly Revels later that year, Webster was entertaining the Railway men at the North End Hall, Croydon and for St Dunstan’s at the Regal Kinema, Beckenham. The Lea Valley Growers Association held their annual dinner at the Abercorn Rooms on 1 November with Webster, Bertha Wilmott, Mario de Pietro and other entertainers, and Webster entertained the Masons of the Welcome Lodge at the Adelaide Galleries on November 15th. On 21 December The Old Friends Society held their ladies festival at the Hotel Victoria. Once again Webster was one of the performers. In the early 1930s he was the guest artist at the New Year’s Annual Gathering of the Luton Industrial Co-operative Society, situated at 3-5 Hastings Street, Luton. 

THE JOY OF LIFE

Irené Frances Eastwood had changed her name to Anne Ziegler in 1934 when she arrived in London from Liverpool in 1934 to sing the top voice of the octet in the musical play, By Appointment, which starred the famous soprano, Maggie Teyte. The show was not a success and closed after three weeks. Her father had lost his money in the collapse of the cotton shares so Anne decided to stay on in London to try to forge a career there rather than return to Liverpool and add to her father’s financial woes. She found work singing in Joseph Lyons’ venues, and continued this work, on and off, for two years. She sang at the Regent Palace Hotel, Glass House Street, the Popular Cafe in Piccadilly, The Strand Corner House, the Trocadero, the Café de la Paix, the Café Monico, Piccadilly Circus, the Piccadilly, and the Cumberland Hotel, Marble Arch. She often worked on the same bill as Leslie Hutchinson, “Hutch” at the Cumberland and with tenor Harry Welchman.
On 20 February 1936 Webster and Paddy Prior contributed to the musical programme at the ladies’ festival of the Hendon Lodge, held at the Piccadilly Hotel and the pair entertained again in April when the Lyric Lodge of Instruction met at Gatti’s Restaurant. Later that month he sang for the annual dinner of the London Meat Trades’ and Drovers’ Benevolent Association at the Connaught Rooms. It demonstrates Webster Booth’s versatility that, on 10 April 1936, he was the tenor soloist in the Good Friday Messiah at the Albert Hall.
On 29 April Webster entertained at the annual dinner of the London Commercial Chess League at the Northumberland Rooms, Trafalgar Square, along with Leonard Henry. The last engagement Webster and Paddy worked together was at the 84th Annual Dinner of the City Musical Union at the Holborn Restaurant on April 30 1936, attended by 500 people. He had met Anne Ziegler during the filming of The Faust Fantasy at the end of 1934, and this meeting brought Webster’s short marriage with Paddy to an end in 1938.
 At the end of May 1936 he and Paddy went to the wedding of their friends, Violet Stevens and Bryan Courage and attended the reception at Frascati’s, the last time they were out together as a married couple. I presume that they made an effort to avoid appearing at joint engagements in future. They both continued to perform at dinners, many connected with the Masons, although, by this time Webster was a regular broadcaster, oratorio soloist and film actor. In January 1937 he sang at the annual dinner of the Ham and Beef National Trade Association at the Holborn Restaurant and at the City Musical Union, this time at the Cannon Street Hotel, and at the Charrilock Social Club dinner at the Trocadero in March. 

TAKE THE SUN

Webster started singing with Anne in 1937 and literally burnt his boats as far as Paddy was concerned, when he went with Anne to New York where she had been booked to appear in the musical, Virginia at the Center Theater there. They were married on 5 November 1938.
Paddy joined ENSA at the outbreak of war. In 1947 war she immigrated to Australia. Ironically, while Paddy was entertaining the troops in various theatres of war, Anne and Webster rose to great fame as romantic duettists on the variety stages of the UK, but eventually immigrated to South Africa in 1956.
The Booths returned to the UK in 1978 and in December 1979, were invited to present a Sunday afternoon concert at the Cumberland and were given a week’s luxury accommodation there to commemorate their appearances there early on in their careers.
Jean Collen 2010 ©
Updated in May 2017.

 

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HAROLD FIELDING CONCERTS

HAROLD FIELDING CONCERTS

Impresario, Harold Fielding.

In the summer of 1941, when many London theatres were closed, Jack Hylton, the popular dance band leader put on a week’s series of orchestral concerts at the London Coliseum, with the London Philharmonic Orchestra, conducted by Malcolm Sargent. Despite constant bombing raids 20,000 people attended these concerts. Top ranking musicians of the day were soloists with the orchestra, including pianists Eileen Joyce, Moura Lympany, Clifford Curzon, violinist Albert Sammons, violist Lionel Tertis, and singers Isobel Baillie, Eva Turner and Webster Booth himself. Interestingly he sang The Prize Song from The Mastersingers and Lohengrin’s Narration in a Wagner programme. During the First World War German music had been shunned in Britain, but apparently this was not the case in the Second World War. Jack Hylton’s concert manager was the young former child-prodigy violinist, Harold Fielding. Harold Fielding’s career as a concert violinist was cut short in his early twenties because he began suffering memory lapses and stage fright. It was at  this Wagner concert where Webster met Harold Fielding for the first time.

Pianist Sir Clifford Curzon (My favourite pianist)

Isobel Baillie (soprano)

Albert Sammons (violin)

Maryon Rawicz and Walter Landauer (duo pianists)
Mark Hambourg (pianist)
 














After this series of concerts ended Harold (aged 25) formed the National Philharmonic Orchestra, with Julian Clifford as conductor. The orchestra toured the country for several years. Although this venture did not make any money  Harold was persistent in his endeavours to present good music to the British public. Because of Anne Ziegler and Webster Booth’s great popularity at that time, he signed them up as guest artistes with the orchestra, along with pianist Mark Hambourg for a four-week tour of Britain in November and December of 1943. They performed in large concert halls and theatres, such as the Belle Vue, Manchester, The Usher Hall in Edinburgh, and the Alhambra, Glasgow. With Mark Hambourg,  Anne and Webster as guest artistes, the houses were always full. With this change in format Harold Fielding’s fortunes took a turn for the better. He decided to abandon orchestral concert tours in favour of vocal and instrumental ones. Anne and Webster, the duo pianists, Rawicz and Landauer who had been interned as enemy aliens on the Isle of Man earlier in the war, and violinist Albert Sandler, son of a poor Russian immigrant,  often took part in these concert tours. 
 
 
 
 
 
 
 
 
Albert Sandler (violin)
 
The following year, on 20 May 1944 Harold Fielding presented a concert at the Royal Albert Hall:
 
 
Anne and Webster  were booked for another tour by Harold Fielding at the beginning of 1946, but Webster was taken ill during a concert in the Town Hall, Sheffield. Despite losing his voice he journeyed on to Edinburgh where the next concert was to take place, but still had no voice and felt worse than ever. A doctor diagnosed bad ‘flu and ordered him to bed immediately. Rather than stay in bed in an Edinburgh hotel by himself he decided to return to London, while Anne continued with the tour on her own. In their joint autobiography, Duet, Anne mentioned that nobody in Dundee or Glasgow asked for their money back because of Webster’s absence, but a minority of people in Newcastle demanded a refund.
 Anne and Webster embarked on another concert tour for Harold Fielding from August to November of 1946, and this time Dublin was included in the concert itinerary. On Sunday, 13th October they sang in a celebrity concert at the Palace Theatre, Shaftesbury Avenue in aid of the General Jewish Hospital, Shaarezedek, The Ever-Open Door, Jerusalem, under the patronage of the Lady Louis Mountbatten. This concert had a large number of acts, ranging from Cheerful Charlie Chester, Issy Bonn and Anne Shelton to pianist Harriet Cohen and Anne and Webster. Tickets ranged in price from £3.3s to 5s. 

From 10 – 22 June 1946, Harold Fielding presented a series of six festival concerts at the Pavilion, Bournemouth and the Davis Theatre, Croydon. These concerts included conductors Dr Malcolm Sargent, Andre Kostelanetz with the Liverpool Philharmonic Orchestra. Soloists were Webster Booth and Anne Ziegler, Moura Lympany, Richard Tauber and the Russian pianist Poulshnoff.
Richard Tauber (Tenor)
 
 
This tour culminated in another concert at the Royal Albert Hall on 1 December.


 After a short break over Christmas the tour continued in 1947. This was the contract which Webster signed for dates in February 1947. Julius Darewski was their agent at the time:

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 






In this contract, Webster Booth and Anne Ziegler agreed to appear for Harold Fielding’s management at :
 
Usher Hall, Edinburgh, Wednesday,  February 4 at 7.30pm
Caird Hall, Dundee, Thursday, February 5 at 7.30pm
Kelvingrove Hall, Glasgow, Friday, February 6 evening
City Hall, Newcastle, Saturday, February 7 evening
City Hall, Sheffield, Wednesday February 18 evening
Town Hall, Huddersfield, Wednesday February 25 evening
 
The Management agrees to pay and the Artists agree to accept a fee for the above engagements of £90.0.0 per concert plus expenses of £120.0.0 for the three Scotch dates and £20.0.0 per concert for the other three dates.
 
The Artists agree to perform the group of not less than thirty minutes at each concert. Programme items to be mutually agreed with the Management.
 
It is understood and agreed that the Artists will not appear in these locations before the dates of the concerts herein contracted or in any adjoining town(s) within a radius of ten miles, or allow their names to be advertised for any subsequent appearance(s) in the towns concerned until they have performed the above concerts.
 
The Artists undertake to provide the services of their accompanist, Charles Forwood, without extra charge.
 
The Management undertakes to forward a copy of the running order in connection with these concerts for the approval of the Artists. If the Artists wish to request any alteration thereto, they undertake to do so within twenty-four hours after receipt of the said running order.
 
It is understood and agreed that the Management will provide three first-class tickets from London, or nearest point, to Dundee and return covering the three Scotch dates and Newcastle, together with three first-class tickets from London, or nearest point, to Sheffield and return, and three first-class tickets from London, or nearest point, to Huddersfield and return.
 
The fees for these engagements will be paid on the Friday following each concert.
 
Webster Booth (signed)
 
Apart from radio and variety work, it seemed as though the majority of engagements undertaken by Anne and Webster were for Harold Fielding at that time. They were due to go on an extended tour to New Zealand, Australia and South Africa, but they managed to fit in a final Fielding concert at the Usher Hall, Edinburgh with the South African pianist Lionel Bowman and Australian bass baritone, Peter Dawson, who had returned to Britain from Australia after the war. 
They returned from their successful tour on their tenth wedding anniversary, 5 November 1948, and in December they were once again singing for Harold Fielding in Sandown on the Isle of Wight.
 
In 1950 Anne and Webster appeared at various places in a series of Sunday concerts for Harold Fielding. Towards the end of the year Reginald Tate Bickerstaffe, who had been Harold Fielding’s manager and was fondly known as Bicky, died. The funeral was held at Golders Green. Many artistes who had sung in many of Harold Fielding’s concerts attended the funeral, including Rawicz and Landauer, Anne and Webster, Julius Darewski (Anne and Webster’s agent), BC Hilliam (Flotsam, the surviving partner of the duo, Flotsam and Jetsam), Percy Kahn, a composer who had been accompanist to Richard Tauber who had sadly died of lung cancer early in 1948, soprano Gwen Catley and pianist, Lionel Bowman.
 
 
 
1951 was Festival of Britain year during which time Harold Fielding presented a series of celebrity concerts, called Music for the Millions. These concerts were held all over the country and were broadcast from July to September. On the bill for the first concert from Eastbourne were the Kordites, Max Wall and Anne Ziegler and Webster Booth. By the fifties Harold was extending the artistes he used from musical performers to comedians and variety turns and many of his concerts were broadcast and in 1952 he presented Harold Fielding’s Festival of 
British Radio, starring Anne and Webster and others. Harold Fielding speaks about association

While Anne and Webster still appeared occasionally for Harold Fielding in the fifties, they were no longer constantly working for him. Harold Fielding, in turn, employed many more artists in the fifties than he had done in the forties. Richard Tauber and Albert Sandler had died. Webster was singing in a number of more serious concerts, often with Sir Malcolm Sargent as conductor, and he and Anne went on an extended tour of Vivian Ellis’s musical play And So to Bed with Leslie Henson. They became joint presidents of the Concert Artistes Association in 1953 and remained in this position for several years. Anne returned to playing principal boys in Cinderella at Streatham Hill in 1953 and as Dick Whittington at the King’s Hammersmith in 1954.


Bibliography
Booth, W, Ziegler, A, Duet, Stanley Paul, London, 1951
Collen, J, A Scattered Garland: Gleanings from the Lives of Webster Booth & Anne ZieglerDUETTIST’S STORE FRONT ON LULU, 2008



Jean Collen

June 2011
Updated May 2017
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