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PAMELA DAVIES (née JAMES) (1926 – December 2019)

I “met” Pam when she contacted me after Anne’s death in 2003 as she had read one of my articles on the internet. At the time I was writing my book, Sweethearts of Song: A Personal Memoir of Anne Ziegler and Webster Booth. She too had hoped to write a book about her association with them. We decided to collaborate and her book Do You Remember Anne Ziegler and Webster Booth? was published at the same time as mine in 2006.

Pamela Davies (née James)

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Pamela Davies was born Pamela James in London in 1926. She studied at London University and at Reading’s Graduate School of European Studies. After completing her degrees she taught French and German and visited the USA and Germany in connection with her teaching career. She met her future husband, Walter Davies, at a German evening class and they were married in 1969.

Pamela studied singing as a hobby and did some solo work as well as singing in various choirs. Coincidentally, her singing teacher was the mother of a young woman who appeared in And So to Bed with Anne and Webster in the early 1950s. Pamela and Walter retired to a 300-year old cottage in Worcestershire, the heart of Elgar Country. Walter died in the early 2000s.

Church House, Great Comberton.

Pamela was particularly interested in the music of Edward Elgar. Her other interests were antiques, historic houses, and reading French and German. She was a guide at a historic house in the Great Comberton area and visited China, Russia and New Zealand and Australia later this year. She was a cat lover and owned two rescued cats.

Pamela, as a teenage evacuee from London, first heard Anne Ziegler and Webster Booth singing on the radio in 1944. She took an immediate liking to their voices and became their firm fan, listening to their singing on the radio and attending many of their concerts, films, and the musical play in which they starred in 1945, entitled Sweet Yesterday. She obtained their autographs at one of these concerts and had a brief conversation with Webster.

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 and the concerts in which they had appeared and which she had managed to attend.

In 1956 Anne and Webster moved to South Africa for twenty-two years, but Pamela never forgot them. When she heard that they had returned to the UK in 1978 she wrote a letter of appreciation to them. This was the beginning of her correspondence with Anne. Pamela and Walter attended Webster Booth’s Memorial Service at St Paul’s Church, Covent Garden, which led to them taking Anne out to lunch whenever they were in the North Wales area, and the growth of their friendship with Anne.

I “met” Pam when she contacted me after Anne’s death in 2003 as she had read one of my articles on the internet. At the time I was writing my book, Sweethearts of Song: A Personal Memoir of Anne Ziegler and Webster Booth. She too had hoped to write a book about her association with them. We decided to collaborate and her book Do You Remember Anne Ziegler and Webster Booth? was published at the same time as mine in 2006.

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Do You Remember Anne Ziegler and Webster Booth? by Pamela Davies

We kept in touch with each other after the books were published and corresponded with Jean Buckley at the same time. Unfortunately, the postal system in South Africa was failing and Pam was not computer-literate so our correspondence faltered slightly until she obtained a tablet and gradually learnt to use it. 

Pam became increasingly deaf which was very sad indeed as the music she loved was distorted by her deafness. Recently she left her beautiful cottage in Great Comberton and moved into a frail care home. She had a very bad fall and died a few days ago, at the age of 93. I will treasure all the beautiful letters she wrote to me when the postal system in South Africa was more reliable than it is today. I will always remember her with love.

Jean Collen – 13 December 2013.

SWEETHEARTS OF SONG: A PERSONAL MEMOIR OF ANNE ZIEGLER AND WEBSTER BOOTH (Second Edition)

Anne and Webster looked particularly glamorous for the occasion. Anne was wearing a beautiful evening gown, her fair hair in a chignon, while Webster was in full evening dress, to act as compère for the evening and to sing some drawing room ballads into the bargain. The accompanist for the series was Anna Bender, the official accompanist for the SABC. Anne and Webster received their guests graciously. Anne told Ruth and me to save her a seat in the front row, where she sat between us and played her full part in chatting to us between the items on the programme to evoke the atmosphere of a drawing room at the beginning of the twentieth century.
Over forty years later I still remember Miss Rita Roberts (soprano) singing Christina’s Lament to the tune of Dvorak’s Humoresque, Mr Walter Mony (violin), Miss Anna Bender (accompanist) and finally Webster himself, aged sixty, but still in fine voice singing The Kashmiri Song, The Sweetest flower that blows, Parted, O Dry Those Tears and finally Had you but known with violin obbligato by the excellent Mr Mony, a French Canadian, who became a professor and head of the music department at the University of the Witwatersrand.

I published the first edition of this book in 2006 and have recently published the second edition 13 years later. I have included excerpts from my contemporary diaries, and have drawn on the many letters written to me by Anne and Webster over a forty year period. This edition contains more information about my relationship with Anne and Webster and also includes many extra photographs collected over the years. The book is available as a paperback and as a PDF e-book.

Sweethearts of Song: A Personal Memoir of Anne Ziegler and Webster Booth (Second Edition)

ACCOMPANYING FOR WEBSTER BOOTH

When he was about to go home and was standing on our balcony which was enclosed with a purple bougainvillaea creeper, my mother said, “Thank you for looking after Jean,” he replied, “I think it’s Jean who’s looking after me.”

Although I can remember that day as though it were yesterday it saddens me to think that Dawson’s is no longer the plush hotel it was then, while Shandy, my mother, father and dear Webster himself are all long dead and gone.

The bulk of the material is from a chapter in my book:

Sweethearts of Song: A Personal Memoir of Anne Ziegler and Webster Booth 

Sweethearts of Song: A Personal Memoir of Anne Ziegler and Webster Booth.
A Personal Memoir

ACCOMPANYING FOR WEBSTER

On April 22nd 2013  it will be 56 years since I first started accompanying for Webster Booth in the studio where he and Anne Ziegler taught singing and stagecraft. It sounds like a long time ago but I can remember a great deal of that remarkable period of my life as though it were yesterday. 1963 was certainly one of the happiest years of my life when I had few worries and every day was an exciting carefree adventure. In 1964 my life was touched with sadness and tragedy and was never as perfect as it had been in the shining year that was 1963.

At the beginning of that year, I was just nineteen, with the promise of a happy future ahead of me. I had been learning singing with Anne and Webster for two years and I was planning to do my teaching diplomas in singing, although I was hoping that if I worked hard enough I would not have to depend entirely on teaching to make my living in music.

Webster and Anne at the time I was studying with them.

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 January 1962. Anne and Webster attend a gathering to meet the All Blacks Rugby team

Me at about the time I was accompanying for Webster.

Jean Campbell Collen (1965)
Jean Campbell Collen (1965)

 

 

 

 

 

 

Not only did Anne teach singing with Webster, but she also acted as studio accompanist, so it was usually Webster who answered the door to new arrivals and made frequent cups of tea for everyone.

Webster, Leslie, or Boo as Anne called him, was always even-tempered, with his cheerful, “Hello dear. Would you like some tea?” when I arrived for my lesson at their eighth floor studio in Polliack’s Corner at the corner of Pritchard and Eloff Streets in the city of Johannesburg.

Polliack's Corner. Studio was on eighth floor of building with balconies to the right of the photo.
Polliack’s Corner. Studio was on eighth floor of building with balconies to the right of the photo.

Of course he was perfectly aware that he had an outstanding voice, but he was devoid of the conceit one might have expected from a legendary tenor. I still have a vision of him in his shirt sleeves, peering through his horn-rimmed bifocals at one score or another, perspiring in the Johannesburg summer heat to which he was unaccustomed. He sight-read songs better than most of us could ever dream of singing them.

Early in 1963 my father heard a recording I had made of myself singing Father of Heav’n from Judas Maccabeus on my recently-acquired reel-to-reel tape recorder. He had passed several disparaging remarks about the quality of my singing and I was feeling extremely despondent. Anne and Webster were kind and sympathetic when I told them what he had said about my voice.

“My family never praised me for my singing either,” Webster growled. “If it had been up to them I would never have become a singer. Bring the recording along next time and let’s see what it’s like.” 

They listened in silence the following week – perhaps my father had been right and my singing was awful – but afterwards Anne asked rather sharply as to who my accompanist had been. They were very surprised when I admitted to accompanying myself. Nothing more was said at the time. In the fullness of time I recovered from the hurt my father’s criticism had caused me and I plodded on regardless.

A few weeks later Webster phoned my mother to ask whether I’d like to play for him in the studio for a few weeks in April as Anne was going on a tour round the country with Leslie Green, the broadcaster, best known for his programme on Springbok Radio of Tea With Mr Green, who was a great friend of theirs.

Anne at a concert with Leslie Green (1961)

Anne at the first night of The Amorous Prawn with Leslie Green (1961)

I was out when he phoned so I phoned back that evening and spoke to Anne. Naturally, I wanted to do it. What a chance!

“Don’t worry about a thing, Jean,” Anne told me. ’If you can manage into the studio each day, Leslie will give you a lift home in the evenings. He’ll look after you. It will do you good to play for him.”

I was thrilled but apprehensive about the prospect of accompanying for Webster. Playing for the man who had been accompanied by the great Gerald Moore on most of his recordings was rather daunting.

The great accompanist Gerald Moore
The great accompanist Gerald Moore

 

 

 

 

 

 

I realise now that they were probably sorry that I had been so hurt by my father’s comments about my singing and wanted to build up my self-confidence again by giving me this chance to help Webster in the studio. I was petrified that I would not live up to their expectations of me. On the other hand, accompanying for Webster for two weeks would be exciting and challenging. When I play Father of Heav’n for one of my young students today, I remember how significant this song was in changing the direction of my life in those heady days so long ago.

-O-

As it was only January and I didn’t have to play until April so I decided to improve my sight-reading as much as possible in the following two months. I was working for Grade 7 piano and Grade 8 singing exams and April seemed a lifetime away.

Webster made a list of the students’ current repertoire and lent me some of his own scores so that I could practise the more difficult songs and arias beforehand. On the front page of each score he had listed all his concert dates for the work in question, usually for this or that oratorio. Apart from his variety act with Anne, he had been one of Britain’s greatest oratorio tenors.

In his score of Haydn’s Creation was the following list:

Lawson Memorial Hall, Selkirk 31/3/1937

Drill Hall, Derby Choral Union 6/11/1937

Broadcast, Town Hall, B’ham 9/11/1938

BBC Home 3/12/1952

BBC Third 4/12/52

Albert Hall, Royal Choral 29/4/1953 (Sir Malcolm’s birthday)

When he gave me his oratorio scores for Acis and Galatea and Jephtha, Anne asked, “Won’t you be needing them soon, darling?”

“I’ll never sing them again in this life,” he replied dryly. “Maybe in the next!”

One Friday afternoon in February my mother and I went shopping in Anstey’s, one of the big department stores in the city. We had afternoon tea in the pleasant tearoom where we sat at a table covered with a starched white tablecloth and chose fancy fattening cream cakes from the tiered plate in front of us.

Anstey’s Building. A department store with apartments and a penthouse above the store.

Anstey's Building, Johannesburg.
Anstey’s Building, Johannesburg.

Shortly after arriving home from that agreeable outing, the phone rang. It was Webster.

“Hello, Jeannie. Anne isn’t feeling too well today,” he said. “Would you like to come into the studio tomorrow morning and play for me?”

I felt elated and terrified at the same time.

“You’ll be fine,” he assured me, but I continued to tremble, as though I were about to make my debut at the Festival Hall.

I arrived at the studio in time for the first pupil, Graham. After he had sung some scales to warm his voice, Webster turned his attention to Sylvia by Oley Speaks. Although I was still feeling exceedingly nervous I managed to sight-read the accompaniment without mishap. I even began to enjoy accompanying Graham and listening to what Webster had to say to him about his singing.

But when the lesson was over and Graham had gone, Webster said quite gently, “You were quite petrified, weren’t you?”

I nodded dumbly, blushing at the same time. I wondered whether he was going to tell me I was no good to him and should go home straight away.

“You were fine,” he said reassuringly, making me feel more confident as we started on the next lesson.

Ruth Ormond, my great friend, had her lesson after me that day and was very surprised to see me at the piano instead of Anne. We had fun during her lesson, although I don’t think we did much work.

The last pupil for the morning was a blonde Afrikaans girl called Lucille Ackerman. She was a year older than me and had an exceptional soprano voice. I felt absolutely jealous when he sang proper duets like Only A Rose with her and put his arm round her waist.

Apart from this dull thud, the morning had passed well. Far from writing me off as hopeless, Webster asked me to play for him again on Monday. I hoped that Lucille would not have another lesson that morning!

That afternoon I went with friends to see My Fair Lady at the Empire Theatre in town with the delightful Diane Todd as the eponymous heroine and a largely Australian cast.

I played for Webster again on Monday and enjoyed it, not feeling as uncertain as I had done the first time. Mary Harrison, a glamorous Australian redhead, who was appearing in My Fair Lady was amusing and made the aria from Samson and Delilah sound like a tongue-in-the-cheek comedy act. She told Webster solemnly that she was doing her best to make her voice sound like a ‘cello, as he had suggested to her the week before. She stayed on in South Africa after the run of My Fair Lady ended and had success as an actress here, eventually settling in Durban and marrying. Sadly, she died of cancer some years ago.

A large arrogant tenor, who shall remain nameless, bellowed forth uncompromisingly, taking no advice from Webster. I wondered why he was bothering to have lessons if he was so full of himself that he did not think it necessary to take any direction.

After we finished for the day, Webster assured me that I had no need to worry. The standard of my sight-reading would easily carry me through when I began playing for him officially on 22 April 1963. In hindsight, perhaps this had been a test to see whether I could really fulfil the role as his accompanist. I don’t know what I would have done if I had failed that test and they made an excuse for withdrawing their offer. It was actually quite a let down to go into the studio the following week as a mere pupil once again. Anne told me that my singing had greatly improved since last she had seen me.

“Perhaps I had better leave you alone with Webster more often,” she added jokingly.

-O-

I was impatient for April to arrive, and continued working through all Webster’s scores. I also spent much time in a ferment of last minute practice for my forthcoming singing and piano exams: Prepare Thyself Zion from the Christmas Oratorio (Bach), Father of Heav’n from Judas Maccabeus (Handel), Ein Schwan (Grieg) sung by Kirsten Flagstad. and other songs, studies and exercises for my singing exam, and countless scales and pieces for my piano exam. The week of our exam duly arrived and Ruth, Lucille and I sat in the waiting room of the studios of my piano teacher, Sylvia Sullivan, where the Trinity College exams were held at the time.

 My dear friend and fellow student Ruth Ormond. The photograph was taken at the end of 1963 before she left for the University of Cape Town. Sadly she died in Cape Town on 1 May 1964 of a cerebral haemorrhage. She had just celebrated her nineteenth birthday during the previous month.

Ruth Ormond.
Ruth Ormond.

 

 

 

 

 

 

 

Lucille looked about sixteen, although she was older than me. Anne was wearing a camel -coloured fly-away cape coat and was doing her best to calm us down. Only years later when I was accompanying my own students in exams did I learn that the accompanist has the most harrowing job of the lot, having to play for several nervous pupils at a time.

I was introduced to the examiner, Mr Guy McGrath, who looked too old and benign to have the fate of all the poor candidates in his hands. However, after a nervous start, all went fairly well and the ordeal was finally over, apart from having to worry whether or not I had passed. I had not done well in sight-singing in my first singing exam, but I had worked particularly hard to master the skill: at least I knew I had managed that properly. I thought Ruth sang well, and I’m sure Lucille did also – she always sounded great. The four of us walked up Von Brandis Street with Anne, feeling better and more relaxed now that our ordeal was over.

Ruth and I left Anne outside the studio in Pritchard Street and went off to enjoy a slap-up meal in Anstey’s and have a lengthy post mortem about the exam. We both had frightful complexes about our singing, so much so that others must have wondered why we took lessons in the first place.

“I’d like to put you and Ruth in a bag together,” Webster remarked exasperatedly one day when we were bemoaning our vocal shortcomings.

On Friday, the day before Anne left on her trip with Leslie Green, I went apprehensively up to the studio, wondering whether the results might have arrived. Webster answered the door and said heartily:

“I believe you sang very well on Tuesday, my gel!”

I looked at him intensely and said, “No, it was absolutely awful.”

“How do you think you did?”

“I’ve failed,” I replied with conviction.

He gave a little chuckle and marched back into the studio, leaving me to wait in the kitchen until Lucille finished her lesson. He called me in and handed me my card – 78 per cent (with merit) for Grade 8. I could hardly believe it. Lucille with her brilliant voice had managed only 72 per cent for Grade 5. Ruth had passed Grade 6 with 72 per cent also.

Anne and Webster seemed delighted with my result. For most of that lesson we drank tea and made firm plans for my forthcoming singing diploma. Anne was wearing a black Derby type hat and looked particularly striking. We all got on so well together that day as she wished me good luck with my accompanying and I wished her a happy holiday with Leslie Green. Webster informed me that he would take me home from the studio every day and my parents worked out a map for him to get to Buckingham Avenue in Craighall Park from Juno Street, Kensington.

I still had to do my piano exam. Mr McGrath was very complimentary and told me I would make an excellent teacher and that I had been silly to doubt for a moment that I wouldn’t pass my singing exam. I played well, due perhaps to an exuberance for life with everything to look forward to. I passed the piano exam with 85 percent (honours).

As usual, Webster had taken shilling wagers with me on the outcome of all my exams, so I had to pay several shillings to honour the pleasing outcome of the bets. I was glad that I had managed to complete these exams creditably. Now I could look forward unhindered to two weeks working with Webster.

-O-

When I arrived on Monday morning, Webster handed me the keys to the studio.

“These are for you, darling. Come in and practise whenever you like. I hang the keys for Chatsworth in the office.”

It took me some time to work out that Chatsworth was his name for the communal toilet on the eighth floor where the studio was situated.

The ancient electric kettle was soon steaming to boil water for tea. But at that time I was not exactly domesticated.

“You must use two tea bags, dear, otherwise the tea is awful,” he scolded. “Good heavens! Don’t you know that you have to wait until the water boils properly before you pour it into the teapot?”

I had played on a Monday before, so it was good to see Mary Harrison again. The unmentionable tenor told me condescendingly that my sight-reading had improved vastly since February. He had not improved however and continued to do his own thing, unwilling to take any criticism or try out any suggestion Webster made.

On the second day, I met Dudley Holmes for the first time, then aged about twenty-one. He was quite taken aback to see me at the piano instead of Anne. He told me later that he was petrified for he had never sung to another living soul apart from Anne and Webster. I enjoyed playing Without a Song, and various songs from the Bass album for him.  Come to the Fair by Easthope Martin sung by Dudley and David Hales. I got to know him quite well over the years, and often spoke to him on the phone in Kimberley, where he lived for many years. He returned to Johannesburg about 10 years ago.

Dudley Holmes (Bass)
Dudley Holmes (Bass)

 

If not in a dream, I certainly was in seventh heaven during those two weeks. I tried to lock the experience in my mind so that I could relive every moment of it at will. I played for a few singers, whom Webster warned I might find amusing, but there were also excellent singers like Doris Bolton, a soprano from the Staffordshire potteries district, whose husband was working in the potteries in Olifantsfontein near Irené, where they lived at the time. She had a beautiful lyrical voice and was singing Richard Strauss’s Serenade in an impossible key. The accompaniment is very fast and florid and my sight-reading of it certainly did not do it or her justice. I remember Mary Harrison and Norma Dennis, Australians in the production of My Fair Lady, Lucille Ackerman of course, Dudley Holmes, Colleen McMenamin, my dear friend Ruth, and many others whom I got to know during my first accompaniment stint.

-O-

There was a fairly long break  at lunchtime. My mother had told me to go out for lunch to give Webster a chance to put his feet up. For the first few days I trailed through the lunchtime crowds to the library, where I passed the time studying music books in the reference library. It was a long walk from the studio and the time between sessions dragged.

“What do you do at lunchtime?” Webster asked curiously on the third day.

He was horrified when I told him.

“You can’t possibly wander around town and sit in the library for all that time. Bring in some sandwiches and stay in the studio with me.”

I mumbled something about not wanting to disturb him.

“Of course you won’t disturb me.”

So after that I remained in the studio and we ate our packed lunches together. His lunch was always a good deal more exotic than my own, with delicacies purchased from Thrupps, the nearby upmarket grocery shop. After lunch he would put his feet up on the table opposite the studio couch and sleep for half an hour or so.

One lunchtime I went on to the studio veranda where the tame pigeons, always in search of breadcrumbs, were congregated. I viewed the buildings down Eloff Street. I could see the crowns on top of His Majesty’s Theatre in Commissioner Street, three blocks down the road, and the elegant old Carlton Hotel. Outside the OK Bazaars, just across from the studio, three youngsters were playing Kwela music with penny whistle, guitar and an improvised bass constructed from a tea chest. There were coins jangling in the tin at their feet. Business people and elegant ladies from the northern suburbs, on their way to lunch with friends in one of the big city department stores, enjoyed the cheerful music. My toes tapped to its catchy rhythms, but I feared it might be competition for the singers at their lessons.

 Looking down Eloff Street from the studio balcony.

Eloff Street, looking south.
Eloff Street, looking south.

I closed the door of the balcony quietly and surveyed the spacious studio with its elegant Chappell grand piano on the far side. On the wall above the couch was a glass panel behind which were dozens of fascinating pictures from the Booths’ days of fame and glory in the UK. My mother had recognised a number of their illustrious friends and colleagues in the photographs when she had taken me to the studio for the first time. I particularly remember one of Anne and Webster in a boat with Douglas Fairbanks Junior when they had starred in Merrie England at Luton Hoo in Coronation year, 1953.

-O-

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.Merrie England (June 1953) at Luton Hoo with Douglas Fairbanks Junior.

Before the next session started, I would make tea. I had learnt how to make it properly by this time!

I invited Webster to dinner during those two weeks. As we sat in the car in front of my house after he had driven me home one evening, I asked him, rather diffidently, whether he would like to come to dinner one night the following week. To my great surprise, he was delighted at the idea and readily agreed to dine with us the following Tuesday as we finished fairly early at the studio.

The time fairly flew and it seemed as though I had always been playing for him, walking with him to the garage each night, and following him up the narrow steps to where the car was parked.

When he drove me home on Saturday morning he said, “Perhaps we could go out to lunch some time next week. Would you like that, dear?”

I was quite taken aback at the suggestion, but, as always, I was delighted, and said, “Yes, that would be lovely.”

He said he was thinking of taking me to Dawson’s Hotel, where they had lived when they first arrived in Johannesburg and were flat hunting.

“Perhaps we won’t have time to have a really good meal there in such a short time, but we’ll see.”

I spent Sunday without seeing him for the first time all week, but still with the following week ahead to look forward to, not to mention the planned lunch at Dawson’s and the dinner at home.

On Monday we spent a lovely lunchtime, chatting about Webster’s life in the theatre in Britain, the tours of Australia, fabulous ski-ing holidays in Switzerland, nights of triumph at the London Palladium. I got to know him better than ever. He epitomised security, good humour, kindness and complete lack of side, and I thought the world of him.

Tuesday was a red-letter day.

After Dudley’s lesson, Webster announced, “Jean and I are going to blow the family savings today. I’m taking her to Dawson’s.”

Dudley said, “I wish I was coming with you. I have to go back to the office on an apple.”

Webster and I walked round the corner to Dawson’s, which was still one of the top hotels in those days, with only the Carlton and the Langham ahead of it. He seemed oblivious of the curious glances from some of the lunchtime throng as they did double takes when they recognised his famous face. We were ushered into the dining room on the first floor as though we were royalty. The head waiter hovered around Webster and we were shown to the best table at the window.

Dawson’s in 1972. The Edwardian restaurant where we had lunch that day was on the first floor.

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Webster was quite at home in this setting after the grand hotels of Europe, the Antipodes and the UK. I, on the other hand, in a bottle-green velvet dress I felt gauche and young in comparison, as indeed I was. He ordered grilled trout and I had a fish dish also. He had a gin beforehand and was disappointed when I refused anything alcoholic. The only time I ever had anything to drink in those days was if my father poured me a thimbleful of sherry for me on special occasions. I was very unsophisticated and innocent in comparison with teenagers today.

During our meal, he told me how he and Anne had lived at Dawson’s for three months on arriving in Johannesburg. Somehow, things had gone wrong and several people in the hotel management, who had theatrical connections, had turned against them. Over coffee, we had petits fours and he insisted I should eat as many as I wanted. I found out later that they were soaked in brandy, so inadvertently I did not go without alcohol that day.

We sauntered back to the studio. There was only one pupil due that afternoon, so Webster fell asleep on the couch, while I sat in a chair a fair distance away reading their autobiography Duet, which he had lent me the week before.

When he woke up, he put on one of the reel-to-reel tapes of his sacred and oratorio recordings: How Lovely are Thy Dwellings (Webster Booth),

Sullivan’s The Lost Chord  (Webster Booth)

Abide With Me (Liddle) (Webster Booth)

Why does the God of Israel Sleep? Sound an Alarm (Webster Booth) and others.

I listened entranced and sometimes near to tears. He told me that when Lost Chord was recorded in the Kingsway Hall during the war, the All Clear sounded just as he was singing the last phrase “The Grand Amen”. They had to record it again so that the sirens could not be heard on the recording.

After Winnie, the only pupil for the afternoon, he drove me home to Juno Street in Kensington and stayed to dinner with my parents.

Our house is Juno Street as it is today.

Our house is Juno Street as it is today.

He took a fancy to our dog, Shandy, whom he christened “my girlfriend” and kept her on his knee for the rest of the evening.

My father offered him a whisky, and Webster informed us that it had never done him any harm so far. He teased me because I had refused a drink at lunchtime in Dawson’s. My father looked alarmed at the thought of his innocent teenage daughter drinking alcohol.

Webster talked to my parents about Britain, and all the artistes they had known during the war, like Max Miller and Tommy Handley. He looked so at home in our sitting room, smoking and drinking whisky, with Shandy on his lap.

Shandy – Webster christened her “my girlfriend”.

Shandy

Shandy

 When he was about to go home and was standing on our balcony which was enclosed with a purple bougainvillaea creeper, my mother said, “Thank you for looking after Jean,” he replied, “I think it’s Jean who’s looking after me.”

Although I can remember that day as though it were yesterday it saddens me to think that Dawson’s is no longer the plush hotel it was then, while Shandy, my mother, father and dear Webster himself are all long dead and gone.

The next few days passed all too quickly and soon Anne was phoning to say she was back from her trip with Leslie Green. She had sent me a card and Webster had pretended to be cross because she had not yet written to him at that juncture.

On the last night, Webster drove me home, and said quite pensively, “I shall miss my Sylvia Pass next week,” referring to the route he took to his home in Craighall Park.

“I have enjoyed having you play for me, darling,” he added.

“So have I,” I replied fervently.

“We’ll see you on Tuesday, dear,” he said.

The following day Ruth phoned to tell me that Webster had raved about me at her lesson, and said how much he had enjoyed having dinner at my home. I phoned Anne to welcome her home and we chatted for an hour about her trip and how they had always dreamed of owning a smallholding in England, but would never be able to afford one now. And so ended the two wonderful weeks. I had enjoyed playing for the pupils, had acquitted myself creditably, and had got to know Webster very well. As time passed I would get to know him even better.

Jean Collen (first published in 2005)

Updated 5 November 2019.

©

Sylvia by Oley Speaks, sung by Webster Booth.

LIGHT CONCERTS IN SOUTH AFRICA (1956 -1975)

Anne Ziegler and Webster Booth sang to fellow passengers while flying to South Africa. Their duet was We’ll Gather Lilacs, sung at 18,000 feet as they crossed the Zambezi.

CONCERTS AND VARIETY SHOWS IN SOUTH AFRICA


I have compiled the following information from newspapers, personal recollections and programmes. The list is far from complete. Please contact me if you can fill in the gaps.

November heading for Johannesburg.

6 November 1955 – Quick Work. Anne Ziegler and Webster Booth, with their accompanist, Arthur Tatler, fly to South Africa on November 6 to fulfill a concert tour in South Africa, Southern and Northern Rhodesia and Kenya. This will indeed be a flying visit for they will fly everywhere in order to fulfill so many engagements in so short a time, as they return to England on December 11, when Webster Booth is due to broadcast for the BBC on December 14, after which he leaves the following day for Huddersfield to sing in the Messiah.

Anne Ziegler and Webster Booth sang to fellow passengers while flying to South Africa. Their duet was We’ll Gather Lilacs, sung at 18,000 feet as they crossed the Zambezi.

ANNE ZIEGLER AND WEBSTER BOOTH, 8 November 1955

Webster and Anne arrived at Jan Smuts airport on 8 November. They had been booked to appear in concerts with the Cape Town Symphony Orchestra in Cape Town, Port Elizabeth and East London, also in Durban and Salisbury, Rhodesia. Webster gave a rather bitter interview about the changing times in music with the growth of music that appealed more to teenagers and the rise of television.


ANNE ZIEGLER AND WEBSTER BOOTH, 23 November 1955, City Hall, East London. Recital presented by East London Association of the Arts.

After their concert tour they returned to the UK where Webster had several Messiah engagements to fulfil. Despite his bitter comments on his arrival in Johannesburg, 1955 had been a very busy year for the Booths.


ANNE ZIEGLER AND WEBSTER BOOTH, with Arthur Tatler (piano), City Hall, Johannesburg Tuesday, 31 January 16th and 21 February 1956

City Hall, Benoni, Saturday, (opening Benoni’s Golden Jubilee celebrations) 4th February 1956

City Hall, Pretoria, Wednesday, 8 February 1956

B tour to Bethal, Bloemfontein, Parys (concert on an island on the Vaal River), Kimberley, Port Elizabeth, East London, Durban and Pietermaritzburg.

Having tea during the interval of a concert in Bethal during their country tour – their accompanist, Arthur Tatler, Webster and Anne.

10 May 1957, Hobbies Exhibition, East London. The Round Table has engaged Anne Ziegler and Webster Booth to sing (Rand Daily Mail)


THE NIGHT OF A THOUSAND STARS 29 May 1957, Johannesburg. Anne and Webster sang at this concert produced by Cedric Messina and Monte Doyle in aid of the Jimmy Elliott Appeal.


STARLIGHT 13 to 16 November 1957, Prosperity Park, Zoo Lake. All funds in aid of the United Party, Anne, Webster, Maria Pavlou, Eva Tamassy, Gordon Mulholland, Jack Kruger, Charles Castle.


VARIETY UNDER THE STARS 7 March 1958, Joubert Park Open Air Theatre, Anne and Webster and a host of other performers.

1958 snippets


VARIETY PROGRAMME June 1958, Kangalani, home of Eva Harvey (by invitation only!) Anne and Webster, Sini van der Brom, Francois Bouguenon, Eva Harvey.

Variety in the Home – Eva Harvey


GRAND VARIETY SHOW, 27, 28 May 1960, Methodist Church Hall, Roberts Avenue, Kensington, Anne and Webster and other artistes. I (aged 16) attended this show and got their autographs at the interval.


CHRISTMAS CAPERS December 1, 2, 3 1960, Civic Theatre, Bloemfontein, Anne and Webster and local artistes presented by Rotary Club.


CONCERT 30 April 1961, Anne and Webster sang at the Wanderers Club, Johannesburg.


OVER 6OS OLD FOLKS VARIETY SHOW 2 May 1961, City Hall, Durban, Anne and Webster, with Cyril Sugden, Graham Rich.

City Hall, Durban

5 July 1961. Festival Concert, Allen Wilson Beit Hall, Salisbury. Anne and Webster appeared after Webster had adjudicated at Vocal Festival for the Rhodesia Institute of Allied Arts.


SATURDAY NIGHT VARIETY SHOW 1961, Amphitheatre, North Beach, Durban, Anne and Webster and top line variety stars.


GALA BENEFIT SHOW February 1962, Ciros Club, Johannesburg, Anne and Webster appeared in benefit show for the actor, David Beattie, who was suffering from cancer.


CONCERT Mid August 1963, Ficksburg, Anne and Webster, accompanied by Desmond Wright. Webster said that he would have taken me as the accompanist but he didn’t like two women on the stage as it would draw the audience’s attention away from Anne.

1964 Concert tour with SABC Orchestra. Anne and Webster were soloists on this tour.

1965 Concert tour with SABC Orchestra. Anne and Webster were soloists on this tour.

POPULAR CONCERT, 2 October 1966, Johannesburg’s eightieth birthday concert at the City Hall.


GRAND VARIETY CONCERT 15 September 1967, 8.15 pm


POPULAR CONCERTS, December 1967/1968


THE ANNE ZIEGLER AND WEBSTER BOOTH SHOW 26, 27, 28 August 1972, Durban Jewish Club, Anne and Webster accompanied by Jack Dowle, with top supporting artistes.


FAREWELL CONCERT, late 1975, Somerset West

Farewell performance, October 1975.

Anne and Webster had planned to retire from the stage at the end of 1975, but when they returned to England in early 1978 they were in great demand so came out of retirement until Webster’s health broke down in 1983.

Jean Collen 19 December 2019.

THEATRE IN SOUTH AFRICA (1956 – 1973)

I have included musicals, operas and plays in which Anne and Webster appeared in South Africa, as well as amateur shows in which they appeared or which were directed by them – either separately or together.

I have included musicals, operas and plays in which Anne and Webster appeared, as well as amateur shows directed by them – either together or separately. The list is not complete so I would be glad to hear from anyone who can add to it or enlarge on the information presented below.

SPRING QUARTET September 1956, Cape Town. Anne and Webster. Before Anne and Webster went to Johannesburg to settle, they played in Spring Quartet, straight after their trip to Cape Town on the Pretoria Castle. Leonard Schach directed the play for the Cockpit Players, at the Hofmeyr Theatre. Others in the cast were  Joyce Bradley, Cynthia Coller, Jane Fenn, Gavin Houghton and Sydney Welch. Decor by David Crichton, costumes by Doreen Graves. At the piano were Keith Jewell and Geoffrey Miller.

In Cape Town for “Spring Quartet”. September 1956

JOHANNESBURG 1956-1967

NIGHT IN VENICE Wednesday 14 November to Saturday 1 December 1956, Reps Theatre, Braamfontein, Johannesburg, Johannesburg Operatic Society, Anne Ziegler, Webster Booth, June Hern, Tom Reid, Harold Lake, Stella Beder, Director: Arnold Dover, Music: Drummond Bell.

Night in Venice.
Night in Venice November 1956

ANGELS IN LOVE 29 July 1957, Reps Theatre, Anne played the part of Dearest, with Rory McDermot, Joan Blake, Michael Turner, Arthur Hall, and Edwin Quail (Fauntleroy), directed by Minna Schneier.

31 July 1957 Anne’s first non-singing role

WALTZ TIME 31 May 1958, Springs Civic Theatre, Anne and Webster, produced by Bert Dobson for Springs Operatic Society.

MERRIE ENGLAND 16 to 21 June 1958, City Hall, East London, The Dramatic Society of East London. Anne and Webster, Mabel Fenney, Pamela Emslie, Hilary Adams, Cawood Meaker, Jimmy Nicholas, produced by Doreen Egan, conducted by Jean Fowler.

16 June 1958 Merrie England, East London.
16 June 1958, Merrie England, East London

THE VAGABOND KING 1 August 1958, Durban. Anne and Webster starred in the show. Produced by Isobel McLaren (wife of singing teacher Arnold Fulton.

MERRIE ENGLAND 12 to 29 November 1958, Reps Theatre, Johannesburg, JODS. Anne and Webster starred and produced and starred in the show, with Marian Saunders, June Bass, Nohline Mitchell, Kenneth Anderson, Len Rosen, and Dudley Cock, conducted by Drummond Bell.

November 1958. Merrie England at the Reps Theatre, Johannesburg.
November 1958. Anne and Webster produced and starred in Merrie England at the Reps Theatre in Braamfontein for JODs.

JACK AND THE BEANSTALK Christmas 1958, City Hall, East London, Anne appeared as principal boy. Anne told me that she had also appeared in DICK WHITTINGTON in East London.

WALTZ TIME 1959, City Hall, East London, The Dramatic Society of East London, Anne and Webster and East London cast.

Waltz Time East London.

THE GLASS SLIPPER December 1959, Reps Theatre, Johannesburg Repertory Players, National Theatre and Childrens Theatre, Anne Ziegler, Yvonne Theron, Siegfried Mynhardt, David Beattie, Hilda Kriseman, Olive King, Bruce Anderson, directed by Hugh Goldie. Music: Joyce Goldie (Piano conductor) Band: Leader Walter Mony, Bassoon: Richard Cherry, Clarinet: P Reinders, Percussion: A Johnson, Violin: Erica Anderson, Viola: Lance Lange, Cello: Phyllis Chaplin

The Glass Slipper, December 1959. Children’s Theatre
Anne as the Fairy Godmother pointing the way for Cinderella’s coach to go to the ball. I ushered at the Reps Theatre for one of the performances.

MIKADO 1960, Bloemfontein, Webster. I know very little about this show. I am not sure whether Webster sang in it, directed it or did both.

A COUNTRY GIRL October 1960, Produced by Anne and Webster at Little Theatre, Springs. Leads were played by Corinne van Wyk and John Wilcox.

LOCK UP YOUR DAUGHTERS 19 December 1960 to January 1961, Playhouse, Johannesburg, Anne, Valerie Miller, Leon Eagles, John Boulter, Robert Haber and Ivor Berold, directed by Leonard Schach.

Anne, Dame Flora Robson, Ivan Berold
Anne and Valerie Miller

THE AMOROUS PRAWN September to October 30 1961, Alexander Theatre (previously the Reps Theatre), National Theatre, Pretoria, 31 October to November 12, Alhambra Theatre, Durban, November 15?

Webster was the Prawn, with Simon Swindell, Gabriel Bayman, Diane Wilson, Joe Stewardson, Ronald Wallace and Joan Blake, directed by Victor Melleney.

Amorous Prawn rehearsal with Joan Blake, Simon Swindell, Ronald Wallace, producer: Victor Melleney. Webster with a monocle was the Prawn.

THE DESERT SONG October to November 1961 at Springs Theatre, Anne directed this show for the Springs Operatic Society. Sylvia Watson (nee Reilly), who kindly wrote to me to tell me more about these shows was in the chorus.

THE ANDERSONVILLE TRIAL February 1962, Alexander Theatre, Webster took a small non-singing part with Simon Swindell, Michael McGovern, Gordon Mulholland, Joe Stewardson, directed by Albert Ninio. My piano teacher, Sylvia Sullivan, saw the play and remarked about Websters role, “Such a small part for such a great man.”

THE VAGABOND KING October 1962, Springs Little Theatre
Anne and Webster directed this production for the Springs Operatic Society.

THE PIRATES OF PENZANCE October 1962, Bloemfontein. Webster directed this production. As a gimmick he had a chimpanzee going on to the stage with the pirates. The chimpanzee idea was not without problems. She disgraced himself during Websters opening night speech. With a quick wit he quipped, You naughty girl. I wont take you out again in a hurry.

THE MERRY WIDOW November 1962, Springs Little Theatre. Anne directed this production for the Springs Operatic Society.

GOODNIGHT MRS PUFFIN January 1963, Alexander Theatre, Anne and Webster with Jane Fenn, George Moore, Deborah Francis, Leonne Carnot, Clive Pownall, Paddy Canavan, Anthony James and Michael Newell, directed by John Hayter.

The Amorous Prawn. Anne is Mrs Fordyce, with Leonne Carnot, Jane Fenn
Anne and Webster with their stage family.

THE NEW MOON, 10 April 1964, Springs Little Theatre, Anne directed this production for the Springs Operatic Society.

THE YEOMEN OF THE GUARD May 1963, Alexander Theatre, JODS, Webster took the part of Colonel Fairfax at short notice with Denise Allen, June Hern, Lilian Gartside, Len Rosen, Lyle Matthews, Ethlynne Cohen and Peter Lynsky, directed by Keith Stammers-Bloxham, conducted by Desmond Wright.

Yeomen of the Guard 6 June 1963.
6 June 1963. Yeomen of the Guard.

TONIGHT AT 8.30 8 July 1964, Hofmeyr Theatre, Cape Town, Port Elizabeth, CAPE PERFORMING ARTS COUNCIL (CAPAB) Anne and Webster appeared in Family Album with Yvonne Bryceland, Michael Drin, Nanette Rennie and Flora McKenna, directed by Margaret Inglis, conducted by Keith Jewell.

THE MERRY WIDOW October 1965, Bloemfontein. Anne directed this production in Bloemfontein.

The Merry Widow in Anne’s production in Bloemfontein. I don’t know her name. Do you?

THE LOVE POTION November 1966, Intimate Theatre, Johannesburg, PERFORMING ARTS COUNCIL OF THE TRANSVAAL (PACT), Anne, with Alec Bell, Fiona Fraser and Arthur Hall, directed by Ricky Arden. This show was not a success and came off early.

THE BARTERED BRIDE November (Pretoria) 14, 17, 20, 22 December 1966, (Johannesburg), Aula Theatre, Pretoria, Civic Theatre, Johannesburg, PERFORMING ARTS COUNCIL OF THE TRANSVAAL (PACT), Webster played non-singing role of Circus Master, with Gé Korsten, Nellie du Toit, Gert Potgieter and Oysten Liltveld, directed by Victor Melleney, conducted by Leo Quayle

The Bartered Bride?

COUNTESS MARITZA 1967, Pretoria. Anne and Webster either directed or appeared in this production or perhaps they did both.

KNYSNA 1967-1974

MERRIE ENGLAND 11  July 1968, Knysna and District Choral Society, Webster, Anne, Dorothy Davies, James Squier and Ena van der Vijver

CINDERELLA December 1968, Knysna. Anne played principal boy and wrote the script. Del le Roux, Ena van der Vijver, Dorothy Davies and Sadie Hamilton Cox were also in the cast.

Ena van der Vyver and Anne as principal boys.

PANTOMIME December 1969, Knysna, Anne played principal boy and wrote the script but I do not know the name of the pantomime.

COX AND BOX/TRIAL BY JURY ( Date?), Knysna, George, Oudtshoorn and Ladismith (Cape)

LADY AUDLEYS SECRET December 1971, Port Elizabeth Opera House, Port Elizabeth Musical and Dramatic Society. Anne produced this show.

Alys Tayler and Ted Mayhew in Lady Audley’s Secret, PE, 1971.

DICK WHITTINGTON December 1972, Port Elizabeth Opera House, PEMADS. Webster produced and conducted for this pantomime, while Anne played Principal Boy.

Rehearsing Dick Whittington in PE>

THE MIKADO 4 to 14 April 1973, Guild Theatre, East London, The East London Light Operatic Society, Pam Emslie, Colin Carney, Bernie Lee, Leigh Evans, Irene McCarthy, Jim Hagerty and Jimmy Nicholas. Webster produced this show.

Webster at rehearsal.
Rehearsal
Me and June Evans
Me, June Evans and Neil Evans.
Me in The Mikado.
Me – back left with June Evans and other members of the chorus.

Updated 16 December 2019.

BROADCASTING IN SOUTH AFRICA

Anne and Webster settled in South Africa in mid-July 1956. I compiled the following lis of radio programmes from newspapers, magazines and personal diaries. Contact me if you can add more information to this list.


Anne and Webster settled in South Africa in mid-July 1956. I compiled the following lis of radio programmes from newspapers, magazines and personal diaries. Contact me if you can add more information to this list.


MOBILGAS MELODY WORLD 16 February 1956/57? Springbok Radio,

16 February 1956

Anne Ziegler and Webster Booth in a programme compèred by Michael Drinn.


LIGHT UP AND LAUGH – ITMA, December 1956

December 1956

Thirteen-week series on Springbok Radio, recorded at the Brooke Theatre. Webster (rather incongruously!) took Tommy Handley’s part in South African presentation of ITMA scripts.


ELDORADO, (Ralph Trewhela) 1957

Anne and Webster took the leading roles in this musical, directed by Frank Douglass, SABC Theatre Orchestra, conducted by Jeremy Schulman. Work commissioned by SABC for 21st anniversary programme.


AT HOME WITH ANNE, commenced on 21 January 1958. Anne presented this series on Springbok Radio. The programme was still running in July 1959.


DO YOU REMEMBER? 1959 to 24 April 1960, Anne and Webster presented weekly music programme on Springbok Radio on Sunday afternoon. They spoke about their illustrious careers and the people with whom they had worked.

Anne in a recording of a broadcast at SABC, 1963

CONCERT HOUR 1960 – English service of the SABC. SABC Concert Orchestra, Rita Roberts, Webster Booth, Asaf and Philharmonic Choirs, conducted by Anton Hartman.


DOUGLAS LAWS Record show, 4 October 1960. Anne and Webster appeared as guest artistes.


MESSIAH 8 December 1960 Webster sang tenor solos in the Port Elizabeth Oratorio Festival, conducted by Robert Selley.


TEST YOURSELF 1960. Anne and Webster presented this quiz show together on Springbok Radio.


OPERA, ORATORIO AND OPERETTA (ON WINGS OF SONG) Wednesdays at

On Wings of Song. 1961

8.30 pm, later Thursday, 9.20 pm, 1961

Webster presented a weekly programme of recordings (including some of their own) on the English Service.


DREAM OF GERONTIUS, MESSIAH, 27 November 1961. Port Elizabeth Oratorio Festival broadcast Monday and Wednesday at 8pm. Webster, with Emelie Hooke, Joyce Scotcher, Harold Hart, Port Elizabeth Orchestra, directed by Robert Selley.

27 November 1961 from Port Elizabeth.


GILBERT AND SULLIVAN 1962, 1963. When the copyright on Gilbert’s words ended, Webster presented a weekly programme on the Gilbert and Sullivan operettas on the English Service. During his illness in 1962, Paddy O’Byrne read the scripts of this programme.

Webster presents the Gilbert and Sullivan Radio programme January 1962.


DRAWING ROOM, April 1962

Webster presented a short series of drawing room concerts before a studio audience on the English Service. He and Anne sang in this series, and a number of guest artistes took part. He also sang duets with the bass, Graham Burns. The guest artistes were Doris Brasch, Rita Roberts, Gert Potgieter, Gé Korsten, Graham Burns, Jean Gluckman, Kathleen Allister and Walter Mony The accompanist was Anna Bender.


MUSIC FOR ROMANCE, August 1962. Anne presented a series of programmes in which she presented recordings and reminisced about her life and career in England.


PORT ELIZABETH ORATORIO FESTIVAL, November 1962

Elijah and Messiah from Port Elizabeth.

Webster, Monica Hunter, Joyce Scotcher, and Graham Burns, conducted by Robert Selley. The complete oratorios were broadcast locally in the Eastern Cape. Excerpts were broadcast nationally later, but strangely none of Webster’s recordings were used in the national broadcast.


SUNDAY AT HOME, January 1963. English Service. Paddy O’Byrne conducted a fifteen minute interview with Anne and Webster at their home in Craighall Park.


GREAT VOICES, January 1963-1964. Webster presented this series on the English Service. He was criticised by the critic Jon Sylvester of The Star for including some of his own recordings, yet most people expected to hear Webster Booth the singer as well as Webster Booth, lately-turned broadcaster.

RECITAL WITH ORCHESTRA 8 April 1963. Anne and Webster sang a programme of duets, with orchestra conducted by Edgar Cree, on the English service.

I was Pooh Bah!


BALLADS OLD AND NEW, July 1963. Webster presented this short series on the English Service towards the end of 1963.


CHILDREN’S PROGRAMME 1963/64 Anne and Webster presented a series of children’s programmes, directed by Kathleen Davydd.

Nursery School Sing-Along.


SATURDAY NIGHT AT THE PALACE, November 1963. A short series, which attempted to recreate the atmosphere of the Music Hall on the English Service. Anne and Webster were guest artistes on this programme. 

Webster, Anne, Jeanette James and Bruce Anderson sing a quartet in the programme


OPERA AND OPERETTA, July 1964, Monday, 7.35 pm Webster returned to the English Service with this series.


IF THE SHOE FITS, Christmas 1964. Webster and Anne starred in this Christmas pantomime on the English Service.


TEN OCLOCK AND ALL’S WELL, September 1966. Webster was guest presenter for a week in this short series on the English Service.


2 October 1966, CITY HALL, JOHANNESBURG. ORCHESTRAL CONCERT (FOR JOHANNESBURG EIGHTIETH BIRTHDAY)

Anne and Webster were soloists, with the SABC Symphony Orchestra conducted by Edgar Cree. Webster told Edgar Cree that he was not pleased with his voice and thought it was time for him to stop singing.

O lovely night (Anne and Webster)

Drink to me only with thine eyes (Anne)

Lehar medley (Anne and Webster)

The Holy City (Webster)

Love’s old sweet song (Anne and Webster)

We’ll gather lilacs (Anne and Webster)

Selection from Bitter Sweet (Anne and Webster)


MELODY MARKET, May 1967. Webster presented this programme in the early morning on the English Service.  “A sort of housewife’s choice,” was how he described it in a letter to me. It was the last programme for the SABC before leaving Johannesburg for Knysna a month or so later.

19 September 1966


SOUTH AFRICA A TOUCH OF THE BRITISH, 29 May 1973. BBC TV. Documentary. Anne and Webster appeared in this BBC TV documentary. Anne said that she had had enough of South Africa and wanted to go home to die. The programme ended with Anne and Webster singing We’ll gather lilacs.


PETER BROOMFIELD’S OPEN HOUSE, 20 March 1975. English Service. Anne and Webster were guests of Peter Broomfield on his morning programme, broadcast from Cape Town, on the English Service. Anne’s friend, Babs Wilson-Hill (Marie Thompson) who was on a visit from the UK, and Anne and Webster’s singing dog, Silva were also present in the studio. Silva sang along to a Harry Lauder record!


A MUSICIAN REMEMBERS, 19 and 26 October 1975. English Service. Webster reminisced about his career in the theatre.


A MUSICIAN REMEMBERS, 2 and 9 November 1975. English Service. Anne reminisced about her career in the theatre.


WOMENS’ WORLD, English Service, 1975 – Pamela Deal, who had conducted the first interview with Anne and Webster when they stopped off briefly on their way to Australia in 1948, interviewed them again when they decided to stop singing in public. They had given a farewell concert in Somerset West towards the end of 1975. This decision was rescinded when they moved back to the UK in early 1978 and found that people remembered them and wanted to see and hear them once again.


RADIO TODAY 1485 When Anne and Webster left South Africa their voices were rarely heard on South African radio. Ronald Charles, the broadcaster and musician who had been the musical director at Michaelhouse in the sixties, played several of Webster’s oratorio recordings from his personal collection on his classical request programme. As far as I know most of the 78s in the SABC record library were discarded, but as time passed, a number of their recordings were released on CD. Occasionally a recording was played on Uit Vergange se Dae on Radio Pretoria.


Paddy O’Byrne was always happy to play a recording when he was with the SABC and later at Radio Today, although his access to their recordings was extremely limited. Clare Marshall, on her Sunday morning programme, Morning Star on Radio Today 1485, is about the only broadcaster in South Africa to feature their recordings regularly. Sadly, Radio Today does not feature her excellent programme Morning Star any more.


Compiled by Jean Collen. Updated in 2019. 

MY TEENAGE DIARIES

I have removed the posts about my teenage diaries from this website as I have published a PDF file entitled Extracts from my Teenage Diaries, available at http://www.lulu.com/shop/jean-collen/extracts-from-my-teenage-diaries/ebook/product-24359810.html

I have removed the posts about my teenage diaries from this website as I have published a PDF file entitled Extracts from my Teenage Diaries, available at http://www.lulu.com/shop/jean-collen/extracts-from-my-teenage-diaries/ebook/product-24359810.html

Extracts from my Teenage Diaries (1960 – August 1963) by Jean Collen.

Jean Collen 15 December 2019

MY WEBSTER BOOTH-ANNE ZIEGLER COLLECTION

I do not think I could consider including the records any longer as they are far too heavy to be shipped anywhere. Most of them have been digitised by Mike Taylor of The Webster Booth-Anne Ziegler Appreciation Group on Facebook, but surely photos, letters from Anne and Webster, cuttings, my diaries and books I have written should be of interest to someone?

I have collected records, cuttings, photos and letters in connection with Webster Booth and Anne Ziegler since I first met them nearly sixty years ago. Originally, I hoped to be able to pass my collection on to a British theatrical museum but then I realised that it would be extremely expensive to ship it to the UK from South Africa. Later, I was told about the National English Literary Museum in Grahamstown, now known as  Makhanda, (NELMS). I wrote to Mr Malcolm Hacksley who was in charge of NELMS at that time, and received an enthusiastic reply to my letter:

From: Jean Collen 
Sent: 05 April 2009 10:06 PM
To: m.hacksley@ru.ac.za
Subject: Anne Ziegler-Webster Booth collection

Dear Mr Hacksley,

Johan Geldenhuys suggested that I should contact you in connection with my collection of letters, photographs, records (78s, LPs, CDs, tapes), press
cuttings and programmes connected with the British duettists, Anne Ziegler
and Webster Booth.

After I left school at the end of 1960 I studied singing with them at their
studio in Johannesburg, was Webster’s studio accompanist for several years
and remained friends with them until Webster’s death in 1984 and Anne’s in
2003. During that time I accumulated a considerable collection of
memorabilia related to them, including about 250 letters. I published a book
called “Sweethearts of Song: a Personal Memoir of Anne Ziegler and Webster Booth” on https://www.lulu.com/duettists in 2006. They had written their autobiography, “Duet” before they left the UK in 1951. My book concentrates mainly on the 22 years they spent in South Africa,
and after they returned to the UK in 1978. Since that time I have written other books about the couple. You can see more information about them at the links below. 

I contacted the Theatre Museum in London about donating this collection
there after my death, and the curator expressed interest in it, but it would
cost a great deal to have it sent to the UK, and since they spent 22 years
here, Johan suggested that HELMS might be interested in having it after my
death. While I know you are concerned with English literature in South
Africa, I have noticed in your magazine that you have accepted various other theatrical archives, so I wonder whether you would be interested in this one after my death?

I look forward to hearing from you.

Kind regards

Jean Collen (Mrs)

The London Theatre Museum, Covent Garden This museum closed down permanently and material was transferred to the Victoria and Albert Museum after the museum at Covent Garden closed in 2007

Mr Hacksley replied as follows:

  Dear Mrs Collen

Johan is absolutely right – we most definitely WOULD want your collection of the Ziegler-Booth memorabilia! I remember their radio broadcasts with great pleasure. (We must be of much the same vintage: I left school at the end of 1961.) We have an immense amount of SA theatre material – mainly unpublished playscripts, programmes, press-cuttings, etc stretching way, way back. Yours would be a very welcome addition.

I am rather glad you have had second thoughts about the theatre museum in London. It seems to have fallen on very hard times – I’m told they had to
vacate their Covent Garden premises because they had lost their national
grant. And this was before the world-wide economic crisis, so the chances of a realistic rescue package for them are remote in the extreme. One doesn’t wish to rejoice in another’s misfortune, but we would be very glad to be able to keep your collection in SA. We accepted Moira Lister’s whole
personal archive just weeks before she died.  

  If you should decide to part with it before the Grim Reaper comes calling,
please do let us know and we will fetch it from you. Whatever you do, please
do NOT consider entrusting it to the tender or other mercies of the postal
services OR to the courier companies. Bitter experience has taught us that
we have to retrieve precious materials in person. (An instance: a set of
documents sent to us from Cape Town last month by “overnight courier” took SEVENTEEN days to reach us – despite being perfectly correctly addressed…)

With warm regards

Malcolm Hacksley  

Mr Hacksley retired from his position not long after this correspondence took place. I heard recently that the museum had changed its name so I decided to contact them to see whether they were still interested in my collection.

I received the following email a few days ago. I will not mention the name of the writer but I would be interested to know what you think I should do with my collection now.

Received on 27 November 2019

Dear Mrs Collen

Thank you for contacting Amazwi about your collection. My apologies for the delay in responding. I took it to the selection committee meeting and then had to attend meetings in Pretoria before I could reply.

I was asked to request a bit more information about Anne Ziegler and Webster Booth. From your email it seems that they were primarily musicians. Is this correct?

Amazwi is a museum of literature. We do collect material relating to theatre and plays, but not really music or dance. The focus is on productions of plays with South African scripts, and material relating to the playwrights.

As you have noted, this year the museum’s name was changed from the National English Literary Museum to Amazwi South African Museum of Literature. This will enable us to collect material in other South African languages as well as English. The collection policies remain the same, just broadened in terms of language. Our concerns about your collection, important as it is, have to do with the museum’s focus on literature as opposed to music.

If your collection is more theatre based, then please do let me know.

Best wishes…

From the tone of the email, I do not think that this is a suitable place for my collection any more. I am far nearer to meeting the Grim Reaper today than I was when I first wrote to Mr Hacksley ten years ago. If anyone can suggest what I should do with my collection now I would be interested to hear from you. I do not think I could consider including the records any longer as they are far too heavy to be shipped anywhere. Most of them have been digitised by Mike Taylor of The Webster Booth-Anne Ziegler Appreciation Group on Facebook, but surely photos, letters from Anne and Webster, cuttings, my diaries and books I have written should be of interest to someone?

I received two or three comments to this post here and on other places – two had some good suggestions which I will follow up. I replied to the email as follows:

Dear Ms W,

Thank you for your email. It is just as well that I contacted you with regard to my Anne Ziegler-Webster Booth collection for I can see that your view of it is very different to the one so enthusiastically expressed to me ten years ago by Mr Hacksley. 
Anne Ziegler and Webster Booth were world famous British duettists, active in theatre, film, recording and radio. They came to South Africa in 1956 and remained here for 22 years before returning to the UK. I have consulted with various people and have decided to contact the Victoria and Albert Museum or the British Library in the UK as these might be more suitable places for my collection. 
Kind regards,
Jean Collen (Mrs)

I recently published the second edition of my first book: Sweethearts of Song: A Personal Memoir of Anne Ziegler and Webster Booth (Second Edition)

Jean Collen.