They fell in love, although at the time he was married to his second wife, Paddy Prior and had a son, Keith, by his first marriage. Four years later, after his divorce from Paddy in times when divorce was not as common or acceptable as it is today, Anne and Webster were married on Bonfire Night in 1938.

Anne Ziegler and Webster Booth first met during the filming of The Faust Fantasy in 1934/35

Anne Ziegler, the widow and singing partner of Webster Booth, died in Llandudno, North Wales, on 13 October 2003, at the age of 93. Her death brought an end to an era in British entertainment before and after the Second World War. Her death brings an end to an era for me also.

I was seventeen when I first met them at the end of 1960. They were already middle-aged, in the same age group as my parents, their top-flight stage career in Britain behind them. I was too young to have seen them at the height of their fame, but even then I thought them a shining couple, as I still do over fifty-nine years later.

Although I was too young to have seen them on stage in the days of their great success in the forties and early fifties, I believe their success was due to the wonderful blend of the voices, creating a special, instantly recognisable sound, and their contrasting good looks, she beautifully gowned, he in full evening dress. Above all, they were instantly likeable with charming personalities, and possessed an elusive ability to make people adore them.

In their day, in the thirties, forties and fifties, Anne Ziegler and Webster Booth were stars of stage, screen, radio, concert halls and variety theatres, and made over a thousand 78 rpms, either as duets or solos. Webster was also in demand as tenor soloist in oratorio: Handel’s Messiah, Jephtha, Samson, Acis and Galatea, Judas Maccabbeus, and  Elgar’s Dream of Gerontius, to mention but a few. Before the Second World War, he had sung Coleridge Taylor’s Hiawatha’s Wedding Feast in full Native American costume, and in 1955 on the occasion of Sir Malcolm Sargent’s birthday concert, Sir Malcolm requested particularly that he should be the tenor soloist in the same work.

Webster became a Mason, and was a proud member of the Savage Club, where he often sang at their legendary Saturday night entertainments. These entertainments were arranged by Joe Batten, the eminent sound recordist and producer at Columbia Records. When Webster had something important to do he always wore his distinctive striped Savage Club tie to bring him luck. While still in his early thirties, Webster was made a Life Governor of the Royal Free Hospital in Hampstead.

Webster was also in demand as tenor soloist in oratorio: Handel’s Messiah, Jephtha, Samson, Acis and Galatea, Judas Maccabbeus, and  Elgar’s Dream of Gerontius, to mention but a few. Before the Second World War, he had sung Coleridge Taylor’s Hiawatha’s Wedding Feast in full Native American costume, and in 1955 on the occasion of Sir Malcolm Sargent’s birthday concert, Sir Malcolm requested particularly that he should be the tenor soloist in the same work.

By the time he met Anne Ziegler during the filming of the colour film Faust in 1934, he was married to his second wife, Paddy Prior. He had divorced his first wife, Winifred Keey in 1931 after she had deserted him and their small son, and married Paddy Prior, a talented dancer, comedienne and soubrette in October 1932. The couple’s marriage was  happy in the beginning and they appeared together in several concert parties, the Piccadilly Revels, Scarboroough in 1933 and Sunshine at Shanklin in 1934.

Shortly after he met Anne Ziegler he took the lead in an ill-fated production of Kurt Weill’s A Kingdom for a Cow at the Savoy Theatre. His leading lady was the well-known French singer Jacqueline Francel. In Anne and Webster’s joint autobiography, Duet, he said that the play was probably ahead of its time in its handling of complex social issues, which made it too heavy for audiences of the day, who expected lighter fare in musicals. Apart from the unusual subject matter, rehearsals were stormy and the direction contradictory, so despite Weill’s pleasing music and a strong cast, the play closed after just three weeks. The London Dramatic Critic from The Scotsman gave the piece a good review, and mentioned that “Mr Webster Booth as the hero also deserves praise for his fine singing”.

Webster and Paddy Prior, his second wife.

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Sadly, his marriage did not last after he met Anne. Paddy divorced him, naming Anne as co-respondent. He and Anne were married on Bonfire Night in 1938. Webster Booth soon formed a duet partnership with his wife in addition to his extensive recording, film, oratorio and concert work.


Webster was contracted to HMV for over twenty years and recorded more than a thousand solos, duets, trios and quartets. His lighter recordings include selections from Ivor Novello musicals with Helen Hill, Olive Gilbert and Stuart Robertson; Theatreland at Coronation Time with South African soprano Garda Hall, and Sam Costa; excerpts from Snow White with Nora Savage, conducted by George Scott-Wood, the composer of Shy Serenade. He made many anonymous recordings as a member of the HMV Light Opera Company. He was the “with vocal refrain” on a series of records made with Carlos Santana and his Accordion Band on the Brunswick label, and on a record of Chappell Ballads with Jack Hylton’s band. Carlos Santana was one of the many aliases used by Harry Bidgood. His better known alias was Primo Scala, the leader of another accordion band, but he did many other things like conducting film music and arranging music and while he was still at school he had written the music for his school song.

His recordings of the late nineteen-thirties and nineteen-forties encompassed oratorio, opera and ballads, as well as duets with Anne. Webster’s more serious recordings were often under the baton of Malcolm Sargent, Lawrance Collingwood, Basil Cameron or rwick Braithwaite with the Hallé, the Liverpool Philharmonic or the Royal Philharmonic Orchestras. His recordings with piano accompaniment were nearly always with the eminent accompanist Gerald Moore.

Webster enjoyed telling the story of a particular recording session with Gerald Moore. They had one more song to record before the session ended. The song was Phil, the Fluter’s Ball, and Gerald Moore suggested that they should see how fast he could play it and how fast Webster could sing it with clear diction. This was no problem for the finest accompanist in the world and for a singer who had spent four years performing Gilbert and Sullivan with the D’Oyly Carte Company. His oratorio recordings are particularly fine. The solos in Samson from the moving recitative O loss of sight and the following aria,Total Eclipse, to the fiery Why does the God of Israel sleep?, with its unrelenting Handelian runs, demonstrate how easily he moved from one mood to another, always singing with flawless technique and clear diction.

He made recordings with other distinguished singers of the day in operatic ensembles, such as the quartet from Rigoletto, with Noel Edie, Arnold Matters and Edith Coates, to the trio from Faust with Joan Cross and Norman Walker. He sang duets with soprano Joan Cross and baritone Dennis Noble from La Bohème and the Miserere from Il Trovatore with Joan Cross. He recorded duets with the baritone Dennis Noble from the Victorian and Edwardian Excelsior and Watchman, what of the night? to the brilliant extended scene in Rossini’s The Barber of Seville. He recorded the duet in Madame Butterfly with Australian soprano Joan Hammond.

When Joan Hammond first arrived in England from Australia, she had a sweet lyrical soprano voice. She sang her first Messiah in England with Webster as tenor soloist under the baton of Sir Thomas Beecham. But by the time they recorded the Madame Butterfly duet, several years later, Joan Hammond had become a dramatic soprano and her voice was very much bigger than it had been when she first arrived in England. Joan had to stand much further away from the microphone than Webster in order for the sound engineer to get the balance for the duet right. Webster also sang excerpts from Carmen with the Sadler’s Wells chorus and orchestra, with Dennis Noble, and with Nancy Evans, Anne’s old friend from Liverpool, as Carmen.

At the beginning of the Second World War, he recorded The Lost Chord at the Kingsway Hall in London, accompanied by the organist Herbert Dawson. As they were reaching the end of the song, the All Clear siren sounded, which meant they had to redo the recording to cut out the sound of the siren. There had been no air raids at that early stage of the war so presumably the sirens were being given a trial run. The blitz was yet to come and would destroy Webster’s beloved Queen’s Hall.

ANNE ZIEGLER (1910 – 2003)

Anne was born Irené Frances Eastwood in Liverpool on 22 June 1910. 
From over two hundred other hopefuls she was chosen for the part of Marguerite for the film, the Faust Fantasy: no doubt her blonde good looks and charming personality counted for nearly as much as her attractive lyric soprano voice. It was in the making of this film, which commenced shooting in December 1934, that she met Webster Booth, playing opposite her as Faust.

During the making of the film they fell in love , although at the time he was married to his second wife, Paddy Prior, and had a son, Keith, by his first marriage to Winifred Keey. Four years later, after his divorce from Paddy in times when divorce was not as common or acceptable as it is today, Anne and Webster were married on Bonfire Night in 1938.

During those intervening four years, Anne was an overnight success on radio in The Chocolate Soldier, sang in a concert party in 1935 called  Summer Smiles during the summer season at Ryde, an engagement she did not really enjoy much. There she acquired her first devoted fan, a girl aged 15, who kept in close touch with her for the rest of her life. 

 She played principal boy in her first pantomime, Mother Goose, at the Empire Theatre, Liverpool, which starred George Formby. In this pantomime she met Babs Wilson-Hill, the principal dancer in the show, who was to remain her closest friend for most of her life. During the 1936 pantomime season she and Babs appeared in another highly successful pantomime, Cinderella, in Edinburgh, this time with the Scottish comedian Will Fyffe as the star attraction.

Anne and Webster were both extremely popular and prolific broadcasters on the BBC, as well as the various European commercial broadcasting stations geared to the British market, such as Radio Lyons, Radio Luxembourg, Radio Normandy and Radio Eireann. Glancing through copies of The Radio Pictorial, commercial radio’s equivalent of The Radio Times, one sees frequent articles about them. Radio stars in the thirties obviously held the equivalent status of pop stars today.

Despite Anne’s success on stage and radio, recording companies had not shown any interest in putting her voice on record. She made a test recording of the Waltz Song from Merrie England in 1935, a recording which Webster managed to obtain from HMV. Eventually she did make a few solo recordings and sang in a Noel Coward medley with Joyce Grenfell and Graham Payn, but the bulk of her recordings were duets with Webster. My favourite solo recording of Anne’s is Raymond Loughborough’s A Song in the Night, which she sang on a Pathé film short in 1936.

Webster went to New York with her, hoping to find some stage work of his own, but, despite his great voice, he did not make any impact on the cut-throat American musical world. He attended various auditions in New York as an unknown, while in England he was already an established performer in oratorio, recording, films, and the West End stage. He returned to England, crestfallen at his lack of success, and resumed his numerous engagements. Anne, in the meantime, was hailed as a Broadway star and offered a film contract in Hollywood, with the idea that she would be the successor to Jeanette McDonald. The offer was tempting, but she turned it down to return to England and marry Webster Booth when his divorce from Paddy Prior was made final.

For most of her life Anne maintained that marriage to Webster meant more to her than any Hollywood contract, although in later years she sometimes reflected on what her life would have been like had she accepted the contract and become a Hollywood star.

Even before Webster’s divorce was made final they formed a duet partnership on stage, in addition to their solo work. From April 1938 they were singing together for Clarkson Rose. This is an advert from September of 1938, the month before Webster’s divorce was finalised.This image has an empty alt attribute; its file name is 7-september-1938-with-twinkle.jpgThis image has an empty alt attribute; its file name is 7-september-1938-azwb-pier-music-pavilion..png

Their first duet recording was made in the year after their marriage in 1939 –  If You were the Only Girl in the World, with A Paradise for Two on the flip side. Before this official recording she had sung with him as an anonymous soprano voice in a radio series in 1937 called The Voice of Romance. In this series he too was anonymous, but by this time, most people would have recognised his distinctive voice.

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In 1940 they accepted an offer from agent Julius Darewski to join the variety circuit. The money was good and they were well received on the variety halls, always doing their act without the aid of a microphone. If Webster Booth’s voice filled the Albert Hall when he sang the tenor part in Coleridge-Taylor’s Hiawatha in Native American dress under the baton of Malcolm Sargent, the same voice, in harmony with his wife’s, filled the variety theatres from the London Palladium to all points of the United Kingdom.

They were the epitomé of glamour and romance. He was tall, dark and handsome. He was always in immaculate evening attire, she in a range of crinoline gowns, some designed by Norman Hartnell. Their act was interspersed with what seemed like off-the-cuff banter, but every word and move was meticulously planned, and the lighting plot carefully worked out for the most telling impact.

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Apart from the usual operatic arias and musical comedy duets, Anne and Webster sang and recorded a number of ballads, arranged as duets, and an interesting and difficult arrangement of Chopin’s famous Nocturne in C sharp minor, arranged by Maurice Besley. As often as not Webster would arrange the duet part himself if none had been written.


Jean Collen  COPYRIGHT 2005

Updated April 2019.

Join: The Webster Booth-Anne Ziegler Appreciation Group on Facebook.

Paddy Prior and Webster
Anne and Webster (1957)

JANET LIND Née REITA NUGENT (Dancer, singer and actress)

Janet Lind in 1937

I was interested to hear an interview with Janet Lind done in Australia in 1979 on YouTube recently. It may be heard at the following link: 

She started her career in Australia as an acrobatic dancer under her birth name of Reita Nugent. I heard from Stephen Langley who uploaded the youtube video and he gave me a link to a British Pathé video of Reita Nugent doing some amazing dancing in 1928. Indian Rubber Muscles (1928)

Stephen commented as follows:

Thanks for your most informative account of her life – your blog really does her justice and the clippings are most interesting. I believe she was an extraordinary artist, and I agree that her recordings with Webster Booth reveal a great artist and natural talent. It was I who supplied the 1978 interview sourced from a deceased estate and put it on my YouTube site.

I I remember her well as I used to purchase 78s off her in the early 1980s. By then she ran a small second hand shop ( op-shop) and was not in the best of health. Years of chain smoking and I suspect alcohol consumption had aged her considerably although she maintained her poise.

She arrived in England via a long-running show in Berlin in the 1930s. Without any vocal training and unable to read a note of music, almost by chance she began singing, and changed her name to Janet Lind. She did numerous broadcasts on the BBC, not only as a singer with the big band of Louis Levy, but also as an actress in a number of straight plays.

An early broadcast in October of 1935.

The songs featured in the YouTube broadcast are with Louis Levy’s brassy big band and she is remembered today primarily as a regular vocalist with this band.

Louis Levy







1936. A letter in one of the Australian papers.

She also made several recordings with Webster Booth for HMV in 1936 and 1937, and these are very much more pleasing to my ear than the songs she sang with Louis Levy’s band. Despite her lack of musical and vocal training she had an excellent natural voice. Click on the link to listen:

This Year of Theatreland (1936)

Home and Beauty (1937)

She flourished as a performer in England in the last half of the 1930s, often singing songs made popular by Jessie Matthews. She was billed as “the girl with a smile in her voice”.

Music from the Movies with Louis Levy and his Symphony Orchestra, Janet Lind and Robert Ashley.

21 January 1937



25 July 1939

She returned to Australia in 1940 with her husband, Mr Hall.

10 October 1940

8 April 1941

I am not sure how long she continued her theatrical career in Australia, but by the 1970s she was living in Melbourne and running an op- shop – some people called it an antique shop; others were less complimentary about it. In her 1979 interview she had no trace of an Australian accent. Presumably that is why she took part in a number of straight plays on the BBC in the 1930s.

Stephen added: A friend of mine recalls buying a pile of 78s  from her in the late 70s and she sheepishly said…’I am on some of those’…   He didn’t believe her at the time and only realised later that she had been a star. I also recall sitting in the studio at 3CR ( as an observer)  a few days after she died and there was a big tribute to her from those who knew her better than I . I have this on a cassette somewhere so may try and upload it too.

Despite her theatrical and vocal success in earlier decades, in old age she was casual and deprecating about her achievements. Many other singers who studied singing earnestly would have given a lot to have had such a successful career!

Jean Collen

16 February 2018/updated 28 February 2018.



Collage7Shortly after Anne Ziegler’s death in October 2003, I started work on my first book, Sweethearts of Song: a Personal Memoir of Anne Ziegler and Webster Booth. I published this book in 2006 and resolved to try to keep their names and voices before the public. I started a Yahoo Group which did not attract many members so after a few years I closed it and started The Golden Age of Webster Booth-Anne Ziegler and Friends on Facebook in October of 2014. Some members from the original Yahoo group joined the present one and the group grew in size as Facebook users joined it. I have since changed the name of the group to The Webster Booth-Anne Ziegler Appreciation Group.

We were very lucky indeed when Mike Taylor joined the group. He has a vast collection of 78rpms and had recently developed an interest in Webster’s voice and began to collect his recordings. Not only did he share these recordings with us but he also restored them to pristine condition. He has found many rare recordings which he was kind enough to share with us over the years the group has been running. Here is an example of one of the recordings:Saturday nigh revue14

For You Alone

He also introduced us to other singers of the same period. My favourite singer from that period is Maurice Elwin (née Norman Blair). Under the pseudonym of Donald O’Keefe he also  wrote some charming ballads – Webster recorded three of them.

Maurice Elwin2

Play to me Gypsy (Maurice Elwin)

At the End of the Day (Webster Booth)

Between  Mike and me we have managed to find all the duet recordings by Webster and Anne and are just short of 20 solo recordings by Webster out of the many hundreds he recorded. Whether these missing recordings, made in the thirties, forties and fifties of the twentieth century, will ever be found remains to be seen but Mike assures me that he is still on the look-out for them.

The late John Henderson often shared recordings and information with us, and a few other members have played an active role in the group even if it is just by liking or commenting on the various posts. It certainly makes a difference to me to have some kind of reaction to what is posted to the group.  I am grateful that John Marwood has become our third administrator and I hope he and Mike will carry on the group if I anything should happen to me.

I have been looking through the Radio Times from the 1920s and1930s. The complete magazines from those decades are available online on the BBC Genome site. Webster started broadcasting in 1927 and after he introduced Anne to the powers-that-be at the BBC at the beginning of 1935 she was in great demand on the radio too. In these early editions of the Radio Times, I have seen names of many artistes I recognise, but there are also many more artistes who must have been equally popular in their day but whose names are completely unknown to me.

Webster and Anne were extremely popular in those far-off days but not many people remember them today. In comparison to other groups on Facebook, our membership is small but I prefer to have a small group of enthusiasts rather than a large group of people who have no idea who Anne and Webster were.

If you would like to join the group, have a look at the following link:

The Webster Booth-Anne Ziegler Appreciation Group


Jean Collen –  27 December 2017



Broadcasts by Webster Booth (1927 – 1935)


Webster Booth took part in many BBC broadcasts from 1927 onwards. If he appeared in an extended series I have not listed every broadcast, for example, he appeared in many programmes with Fred Hartley and his Novelty Quintet and with Charles Ernesco and his Quintet so only a few of those broadcasts are recorded here. I will post the broadcasts in several sections, as follows: 1927 – 1935, 1936 to 1939, 1940-1956. Broadcasts with Anne Ziegler appear in my Ziegler-Booth blog. If you can add any additional information please contact me.

For some reason, he was banned from broadcasting on the BBC from 1932 – 1934 – possibly because of his divorce from Winifred Booth (née Keey) although he was not the guilty party! It was Fred Hartley who brought him back to the BBC in 1934.

Webster in an early broadcast. Posted by Hello


24th November 1927
Daventry -5 XX – 12.00 The Daventry Quartet; Margaret Minor (Contralto); Webster Booth (Tenor)

LIGHT MUSIC5GB Daventry (Experimental), 7 December 1927 18.45


LIGHT MUSIC5GB Daventry (Experimental), 18 February 1928 18.50



THE VICTOR OLOF SEXTET5GB Daventry (Experimental), 6 April 1928 21.10



A STUDIO CONCERT5XX Daventry, 5 November 1928 15.25

 THE OPIEROS2ZY Manchester, 6 April 1929 19.50 TOM HOWELL’S CONCERT PARTY Relayed from the Central Pier, Blackpool


A BALLAD CONCERT5XX Daventry, 6 November 1929 12.00


A CONCERT – National Programme Daventry, 13 March 1930 15.45


ORGAN RECITAL – National Programme Daventry, 7 November 1930 12.30 by RUSSELL W. K. TAYLOR , F.R.C.O. Sub-Organist, SOUTHWARK CATHEDRAL Relayed from ST. MARY-LE-BOW. WEBSTER BOOTH (Tenor)



30th December 1930 Television Programme (Sound 261.3 M) (Vision 356.3 M)

11.0-11.30 am – Pauline and Diane Instrumental Entertainers; Webster Booth, (Tenor)

A BALLAD CONCERT  – Regional Programme London, 20 October 1931 12.00 EDITH DELANEY (Soprano), GWLADYS GAUSIDE (Contralto), WEBSTER BOOTH (Tenor), EDERN JONES (Baritone), MAY JARDINE (Pianoforte)

FRED HARTLEY and his NOVELTY QUINTETRegional Programme London, 10 March 1934 21.10 with WEBSTER BOOTH (Tenor) and MARIO DE PIETRO (Banjo)
FRED HARTLEY AND HIS NOVELTY QUINTETRegional Programme London, 24 March 1934 18.30 with WEBSTER BOOTH (tenor) and PHYLLIS EVENS (soprano), Hugo Rignold (Violin)
   Webster Booth sings Roses of Picardy with Fred Hartley and his Quintet.

A BALLAD CONCERT – 29 March 1934 15.50 Regional Programme London, Margaret Bissett (contralto), Webster Booth (tenor) (National Programme)

4th April 1934 –Scottish Regional listeners will, at 8.30 tonight, be entertained by a broadcasting version of the operetta THE LILAC DOMINO arranged and produced by Gordon McConnel. The cast includes Harry Welchman, Webster Booth and Barbara Couper.

8.30 THE LILAC DOMINO, an operetta; broadcasting version founded upon the libretto by Harry B Smith and Robert B Smith; music by Charles Cuvillièr; adapted and produced by Gordon McConnel; with Harry Welchman, Natalie Hall, Frederick W Lloyd, Betty Huntley Wright, Webster Booth, Alfred Wellesley, Claude MacConnell, Sydney Keith, Abraham Sofaer, Barbara Couper, the Eight Step Sisters; the Wireless Chorus (Section C) and the BBC Theatre Orchestra, conducted by Stanford Robinson. (London Regional Programme)HARRY WELCHMAN and NATALIE HALL2BE Belfast, 6 April 1934 21.20 in THE LILAC DOMINO – An Operetta. Broadcasting Version founded upon the Libretto by HARRY B. SMITH and ROBERT B. SMITH, Music by CHARLES CUVILLIER. THE EIGHT STEP SISTERS, THE WIRELESS CHORUS (Section C) and THE B.B.C. THEATRE ORCHESTRA, Conducted by STANFORD ROBINSON
Act I: A Casino on the Riviera
Act II: Garden of the Count’s Villa, overlooking the Mediterranean
Act III, Scene I : Georgine’s Room.
Act III, Scene 2 : The Casino Terrace on a Carnival Night
Adapted and Produced by GORDON MCCONNEL

Conductor: Stanford Robinson, Producer: Gordon McConnel
Le Comte de Sorize, a multi-millionaire: Frederick W. Lloyd
Leonie d’Andorget (Georgine’s Friend): Betty Huntley Wright
Elliston, the Count’s Nephew: Webster Booth
Prosper Woodhouse, a gambler: Alfred Wellesley
Maximilian, a Waiter: Claude MacConnell
Norman Cahnain, another Gambler: Sydney Keith
The Honourable Andre d’Aubigny, a Young Englishman: Harry Welchman
Carabana,Conductor of a Spanish Gypsy Orchestra: Abraham Sofaer
La Baronne de Villiers, Georgine’s Chaperone: May Agate
Georgine, the Count’s Daughter: Natalie Hall


7th April 1934 –Scottish Regional Sunday 3.0 Fred Hartley and his Novelty Quintet, with Webster Booth; George Melachrino (Solo Saxophone) National Programme

22nd May 1934 -Regional Programme Northern, 21.15 A New Operetta by the Authors of Love Needs a Waltz –  NATALIE HALL in PURITAN LULLABY  Book and Lyrics by JAMES DYRENFORTH, Music by KENNETH LESLIE –SMITH THE B.B.C. THEATRE ORCHESTRA and THE REVUE CHORUS. Conducted by STANFORD ROBINSON
The Story of Miles Standish, John Alden, and Priscilla is told by Mrs. Fane (VIVIENNE CHATTERTON), to her son Tommy (PETER PENROSE) (By permission of Sydney Carroll)
Miles Standish: George Baker
John Alden: Webster Booth
Priscilla: Natalie Hall
Mistress Willett: Renée de Vaux
Mistress Culpepper: Arabella Tulloch
Mistress Snodgrass: Phoebe Hodgson
Hobomok: Charles Barrett
Wattawamat: Dennis Hoey
Goofe Gitch: Renée de Vaux
Bushy Beaver: Leslie Bradley
Another Melodious Operetta by the Composer of The Circus Princess, AUTUMN MANOUEVRESRegional Programme London, 9 October 1934 21.00
A Romantic Episode, freely adapted from the Hungarian original Music by EMMERICH KÁLLMÁN. The action of the story takes place in early October, at Magda’s country house on the great plain of Hungary.
Colonel von Lohonay: Gordon McLeod
Stefan: Raymond Newell
Viktor: Webster Booth
Magda: Hermione Gingold
Treska: Lily Birawer
Baroness Lizzi: Mabelle George
Wallenstein: Harold Clemence
The Orderly: George Ide
Hussar Officers: Pascoe Thornton: John Miller
Friends of Magda: Frances Clare, Beatrice Gilbert
FRED HARTLEYNational Programme Daventry, 10 October 1934 20.45
presents  THE MUSIC BOX –OLIVE GROVES (soprano), WEBSTER BOOTH (tenor), ALFREDO CAMPOLI (violin) , LILY PHILLIPS (violoncello), FRED HARTLEY (pianoforte)

11th October 1934 –National Programme –8.00 AUTUMN MANOUEVRES freely adapted from the Hungarian original; Music by Emmerich Kallman, with Gordon McLeod, Raymond Newell, Webster Booth, Hermione Gingold, Lily Birawer, Mabelle George, Harold Clemence, George Ide, Pascoe Thornton, John Miller, Frances Clare, Beatrice Gilbert: the Revue Chorus, the BBC Theatre Orchestra conducted by Stanford Robinson.


THE B.B.C. THEATRE ORCHESTRA – Regional Programme Northern, 4 November 1934 18.30 (Leader, MONTAGUE BREARLEY ) Conductor, STANFORD ROBINSON. WEBSTER BOOTH (tenor)
(London Regional Programme)

 FRED HARTLEY and his NOVELTY QUINTET (SERIES)Regional Programme London, 12 November 1934 18.30 with WEBSTER BOOTH (All items arranged Fred Hartley )
13th December 1934 -6.30 – SONGS FROM THE RADIO SHOWS – NO 2 , a Selection of Music that has been specially written for Broadcast Shows: the BBC Variety Orchestra and the Chorus, conducted by Stanford Robinson: Reginald Purdell, Anona Winn, Wynne Ajello, Raymond Newell, Webster Booth: the Dancing Daughters (trained by Rosalind Wade): the New Harmony Trio: compered by John Watt. (The London Regional Programme)
THE LIFE OF OFFENBACHRegional Programme Northern Ireland and Scotland, 7 January 1935 21.00. The first performance of a Potpourri by Dr. Artur Kulka and Dr. Julius Burger Produced and conducted by STANFORD ROBINSON, SUZANNE BERTIN (soprano), GLADYS PALMER (contralto), WEBSTER BOOTH (tenor), STEARN SCOTT (bass), and a small cast of players. THE WIRELESS CHORUS, THE B.B.C. THEATRE ORCHESTRA. Leader, Montague Brearley (From Regional)


8th January 1935 -8.0 THE LIFE OF OFFENBACH (Repeat) 

January 17 1935 ROYAL PHILHARMONIC CONCERT (Felix Weingartner) Choral Symphony (Beethoven) Janet Hamilton-Smith, Margaret McArthur, Webster Booth, William Parsons and the BBC Chorus at Queen’s Hall.
William Parsons (bass)William Parsons (Bass)

24th January 1935 -8.0 OUR TOWN; written by L du Garde Peach, composed by Ernest Longstaffe, produced by Ernest Longstaffe, with Lawrence Baskcomb, Miriam Ferris, Alma Vane, Webster Booth, Ernest Sefton, Philip Wade, J Hubert Leslie, The Revue Chorus and The Orchestra, conducted by Ernest Longstaffe.

Regional Programme London, 21 February 1935 21.15  THE MUSIC OF KENNETH LESLIE-SMITHto lyrics by James Dyrenforth
Meet the Prince: Eight Hours for Working, When your Ship comes in,
Love Needs a Waltz: Dear little Diary, Love will right the wrong
Puritan Lullaby: Canterbury Fair, Always, A Hymn to Her
Old Words to New Music: I couldn’t tell you why, Low Down Spirit Blues
Inquest on Columbine:The Ball Scene, When I Saw You
Regional Programme London, 17 April 1935 20.45 INQUEST ON COLUMBINE 
A Love Story in Music founded on COMPTON MACKENZIE ‘S novel: Carnival.
 Inquest on Columbine will be repeated in the National programme tomorrow night.
The Coroner: Andrew Churchman
Maudie: Hermione Gingold
Maurice Avery: Webster Booth
Castleton (Fuzz): Frank Drew
Zachary Trewhella (a Cornish farmer): Robert Easton
Jenny Pearl: Tessa Deane
Maudie: Linda Parker
Irene: Marie Cohen
Florrie: Leila Boxill
Madge: Elsie Hay
Betty: Janet Powell
Doris: Irene Brightman
Josie: Gwendoline CatleyGwen Catley 01A
Agnes: Jean Roper

Regional Programme London, 27 May 1935 20.30 WINNIE’S HOUR 

A Variety Entertainment devised by HARRY HEMSLEY, Produced by ERNEST LONGSTAFFE and sponsored by Harry Hemsley ‘s Famous Radio Children: Winnie, aged 41 years, Elsie, aged 7 years, Horace.

29 May 1935 From Daventry: A Musical Comedy Potpourri with Webster Booth, Paddy Prior, Harry Bidgood and Sydney Jerome.Paddy Webster


REGINALD KING AND HIS ORCHESTRANational Programme Daventry, 21 September 1935 16.15 WEBSTER BOOTH (tenor)

24th September 1935 -In the Scottish National programme at 8.40 PURITAN LULLABY an operetta by James Dyrenforth and Kenneth Leslie-Smith, will be presented, a month those taking part being George Baker, Webster Booth, Natalie Hall and Stuart Robinson.
8.40 THE PURITAN LULLABY, An operetta, Book and Lyrics by Leslie Dyrenforth, Music by Kenneth Leslie-Smith, with George Baker, Webster Booth, Natalie Hall, Renée de Vaux, Arabella Tulloch, Phoebe Hodgson, Walter Horsbrugh, Stuart Robertson, Ethel Lodge, Malcolm Graeme, Mary Hinton, Jack Clayton; the BBC Theatre Orchestra and the Revue Chorus, conducted by Stanford Robinson.Production by PETER CRESWELL

Regional Programme Northern Ireland, 25 September 1935 19.45 repeat of The Puritan Lullaby

 The Story of Miles Standish , John Alden and Priscilla, is told by Mrs. Fane (Mary Hinton), to her son Tommy (Peter Penrose )
Mrs Fane: Mary Hinton
Tommy: Peter Penrose
Miles Standish: George Baker
John Alden: Webster Booth
Priscilla: Natalie Hall
Mistress Willett: Renée de Vaux
Mistress Culpepper: Arabella Tulloch
Mistress Snodgrass: Phoebe Hodgson
Hobomok: Walter Horsbrugh
Wattawamat: Stuart Robertson
Goofe Gitche: Ethel Lodge
Bushy Beaver: Malcolm Graeme
RECITAL BY WEBSTER BOOTHRegional Programme Midland, 5 October 1935 19.30


THE BBC THEATRE ORCHESTRARegional Programme London, 18 October 1935 21.00 Leader, MONTAGUE BREARLEY, Conductor, STANFORD ROBINSON, WEBSTER BOOTH (tenor) 

 THE OXFORD NEW THEATRE ORCHESTRARegional Programme Midland, 3 November 1935 16.30, Conducted by WILLIAM BRIGHTWELL. WEBSTER BOOTH (tenor) 


MARIA ELSNER in THE COUNTESS MARITZARegional Programme Scotland, 6 November 1935 20.45 A Broadcasting Version of the Operetta by JULIUS BRAMMER and ALFRED GRÜNWALD. Music by EMMERICH KÁLLMÁN THE B B C CHORUS AND THE B B C THEATRE ORCHESTRA, Conducted by STANFORD ROBINSON, The Operetta arranged for broadcasting by MARK H. LUBBOCK , DAPHNE LIMMER, English libretto and production by GORDON MCCONNEL (From Regional) This operetta will be broadcast in the National programme at 8.0 on Friday.

Countess Maritza: Maria Elsner
Prince Moritz Dragomir Populescu: Bobbie Comber
Baron Kaloman Zsupan: Leslie French
Count Tassilo Endrody-Wittemburg: Webster Booth
Lisa, his sister: Betty Huntley Wright
Karl Stephan Liebenberg: Jack Minster
Princess Bozena Cuddenstein zu Chlumetz: Gladys Young
Ilka von Dambassy: Heather Boys
Tschekko (an old servant of Maritza): Gordon McLeod
Manja (a young gypsy girl): Margaret Lauder
 8th November 1935 -8.0 THE COUNTESS MARITZA (Repeat) 


DANCING THROUGHNational Programme Daventry, 14 December 1935 20.30 with OLIVE GROVES, BETTY WARREN, ESTHER COLEMAN, WEBSTER BOOTH, and GERALDO AND HIS GAUCHO TANGO ORCHESTRA. One hour of music, highly concentrated; eighteen years of melody telescoped into sixty minutes! In this programme Geraldo and his Orchestra hope to play non-stop 170 tunes that have been popular between 1918 and 1936. As usual, the titles will not be announced. 




Jean Collen copyright 2005

Updated 2017.