I am including this article by Brian Martin which appeared in Evergreen in 1994. There are several errors of fact in it and I have marked these in bold. This article is not intended for public consumption but is protected by a password which will be made available to a select few who are interested in the Booths and wish to read it.

I am including this article by Brian Martin which appeared in Evergreen in 1994. There are several errors of fact in it and I have marked these in bold. Do not copy any part of the article.

Evergreen Melodies – Winter 1994

Shared affection… a fine photographic portrait of Anne Ziegler and Webster Booth at the peak of their career.

They met while filming Faust in 1934.

Anne Ziegler and Webster Booth were singers in love… off stage and on. For almost 50 years, wherever they appeared all over the world, they sang to wildly appreciative audiences – their hands entwined in a gentle caress. Anne, who wore delightful gowns (which were often designed by Norman Hartnell, the Queen’s dressmaker) sang like a dream. Webster, tall and handsome, possessed a tenor voice that soared, effortlessly to the heights.

Anne and Webster were married for 45 years, each basking in the warm glow of their shared happiness. Yet there was often sadness behind the smiles. Hard times and personal grief occasionally tarnished those gold years. As Anne Ziegler (now 84 and living in North Wales) admits, the stairway to the stars had many pitfalls.

Webster, hailed as one of the finest lyric tenors of our time, died in June 1984, but Anne’s small house within sight of the sea is still filled with memories of him and the star-studded life they shared. Photographs of Webster show him cloaked dashingly as The Vagabond King or wearing a full Red Indian head-dress for a performance of Samuel Coleridge Taylor’s mighty choral extravaganza Hiawatha. But the photographs that really catch the eye are those of Webster, immaculate in evening dress, with Anne, charming in crinoline— two lives forever intertwined.

Anne remains a spry survivor. Her back is as straight as ever (a tribute to correct posture) and those lively eyes still sparkle. It’s easy to imagine the young Irené Frances Eastwood (as she was born) playing in the garden of the family home in the leafy Liverpool suburb of Sefton Park and dreaming of being a star. “When I was about nine my mother took me to the theatre to see a performance of Faust and I whispered: ‘I’m going to be Marguerite when I’m grown-up!’ And I did sing Marguerite 15 years later – with Webster as Faust!”

Webster was nine years older. His full name was Leslie Webster Booth (he was known by his first name to family and friends), the youngest of three brothers in a family of six. He was born in Handsworth, Birmingham where his father was a hairdresser, and one of his brothers, Norman, who recently celebrated his 95th birthday, recalled how all the Booth youngsters helped out in the barber shop, including taking the money from customers!

Cheery tunes played on a street organ (complete with monkey!) fired Webster’s enthusiasm for music, and at the age of nine he won a scholarship to Lincoln Cathedral choir school where he was taught by the dreaded Dr Bennett who would ram a broken baton into a pupil’s mouth and bellow, “Get that tongue down!” to encourage good singing. Yet Webster never required this shock treatment; his remarkable technique seems to have been innate.

“His tone was coming straight out of the throat,” said Anne. “There was no obstruction. It was a pure flow of air. That was probably why his voice lasted so long.” His only danger was that he might strain it shouting for his favourite team at Aston Villa home matches. Throughout his life he was a keen football supporter..

Webster trained as an accountant but his singing voice had developed into a glorious ringing tenor. He faced a major dilemma; should he continue in accountancy (dull but lucrative) or make singing his profession? Fate took a hand. He was asked to attend an interview in London. (he had already auditioned in Birmingham) with the D’Oyly Carte Opera Company – on the same day that he was due to carry out an audit in Merthyr Tydfil. Which should he choose? He opted for London – and soon he was singing with the D’Oyly Carte chorus in The Yeomen of the Guard at Brighton, the first of many touring productions. His career was also on course for a meeting with Anne.

Elocution coaching by renowned Shakespearian actor Robert Atkins helped Webster lose his Birmingham accent and his voice eventually became famous for its tone quality, pitch and diction – “He was rightly in love with his voice and used to tape all his records,” Anne recalls. “It was a light voice with an exceptionally high range, ideal for opera.”

Fred Hartley

Incredibly, he was once told by a technician at Edison Records that his voice “would not record”, yet he was eventually asked to make a test recording for the Columbia Gramophone Company, which was heard at a party by the great Australian bass-baritione Peter Dawson. Dawson was so impressed that he used his influence at HMV to get the young singer a contract and Webster’s first record was that delightful ballad A Brown Bird Singing, made in 1929 with Ray Noble’s orchestra and accompanied by suitable bird effects! There was some confusion because Cavan O’Connor brought out a similar record (also with Ray Noble) at the same time, but soon Webster was making more recordings for HMV than any other singer apart from Bing Crosby!

His first important London engagement was in The Three Musketeers at Drury Lane in March 1930. He also broadcast with Fred Hartley’s Sextet and made a film, called The Invader, with Buster Keaton (the movie was a talkie, but Keaton didn’t say a word!). It was when he was asked to sing in a performance of Handel’s Messiah, conducted by the great Sir Malcolm Sargent (at that time still Doctor Malcolm Sargent), that he knew his talents had been fully recognized. This was musical appreciation of the highest order. He would phone friends excitedly: “I’m on the radio tonight… in a classical concert!”

Throughout his career he mainly chose to sing in English, recording duets with such well-known opera stars as Joan Cross and Joan Hammond. Many admirers were sorry that Webster did not pursue an operatic career, but he always said that he much preferred recording and broadcasting.

Meanwhile Anne was making her own way to the top. The daughter of a cotton merchant, she trained in music and dance and starred in several shows before heading south: “My mother was mad on music, and music was also my life. I had no time for sport or anything else.”

Offered a leading part (the top part in an octet!) in a London show, she was advised by her music teacher to change her name to something more attractive for the bill-boards. One day she was scanning the Liverpool telephone directory in the hope of finding a suitable replacement surname when, on the very last page , she noticed the name of Ziegler. There was a family connection… Mr Ziegler was a distant relative of her father’s who owned Landicane Farm, then an extensive property on the Wirral peninsula in Cheshire. The sound of the name had the required romantic ring and it merely took the addition of a single shorter first name to complete the task. From now on she would be Anne Ziegler; it was a name destined to beam brightly from the finest theatres in the land.

By 1934 she was a rising star, tipped for Hollywood, and the Press had dubbed her The Radio Nightingale. Webster was called The Voice of Romance and the two met during the filming of Faust in December 1934. When Evergreen visited her this autumn, Anne was excited because an admirer in Ireland had recently obtained a copy of the original film, which was made in Spectracolour. “It will be the first time I have seen it since the 1930s,” she added.

When the two met on the set of Faust, Anne admitted she liked Webster straight away. “He had marvellous, compelling brown eyes and a youthful face. But he was married and we weren’t supposed to be showing a lot of interest in each other… though he tried to attract my attention by balancing a small ivory pig on the top of a piano lid. It kept falling over, which gave him the excuse to ask me if I could make the pig stand up. Of course, I couldn’t either, but it started a conversation! I think our affection grew from that. It was only six months later, when he was in a musical comedy at London’s Savoy Theatre that I was watching that I found myself getting rather jealous because he had a French leading lady!”

Anne was an attractive 23-year-old – Webster was 32, a divorcee who was already on his second marriage. His career was blooming but his personal life was in tatters. His first marriage had been to Winifred Key (Keey), daughter of the principal of the college in Birmingham where he had studied accountancy. They had a son, Keith (now a retired farmer (flower grower), living in the North of England) but one day Winifred walked out, leaving Webster to bring up the baby boy (aged six) alone. He combed the country trying to find her, often using the journey to a concert venue as a chance to find out where she was. Yet the two were never reunited.

In their autobiography Duet which he wrote with Anne in 1951, Webster remembered those days as a giggle. Anne recalls: “Much of the money we earned then had to be used to support my parents. My father had failed in business and needed help. Later there was alimony to pay from the break-up of Webster’s second marriage and money was required for Keith’s education.” (Webster stopped paying alimony to Paddy a few years after the divorce in 1938).

By the time Anne met Webster he had divorced Winifred and married again, this time to comedienne Paddy Prior – but that marriage was also crumbling. With Anne he sensed a last chance for happiness. She had already appeared in pantomime with George Formby at Liverpool in 1935 and had also become something of a household word herself through her success in the operetta Love Needs a Waltz.

Anne and Webster recorded their first duet in 1937 (1939!) (fittingly it was If You Were the Only Girl in the World) and sang together in a memorable performance of Messiah with the mighty Huddersfield Choral Society and Liverpool Philharmonic under Sir Malcolm Sargent. (This performance took place in 1944!) In 1938 Anne – described by Radio Pictorial magazine as “The young Liverpool girl who made good in musical comedy” – took a leading role, as played on stage by Anna Neagle, for a BBC broadcast of the musical comedy Princess Charming; Webster (“an excellent actor”) played the romantic Ruritanian sea captain who seeks the princess’s hand in marriage.

Then Anne was invited to America by composer Arthur Schwartz to appear in his new musical, Virginia. This was her big break, and there was talk of her being the new Jeanette MacDonald. Webster also came over but, says Anne, was treated disgracefully” by some Americans who found his voice too refined. “If you got no piano player, buddy, stand in line!” he was told at one audition. He promptly walked out.

Webster returned to Britain, to face the problems of his second marriage and also his health. Anne (now singing as Anne Booth) swiftly cut short a possible Hollywood career to be with him. “When Virginia closed in October 1937 I returned home to be with the man I loved,” she now explains. “I often wonder what might have happened if I had stayed in America but I don’t think I could have stood some of the things that were going on.”

When Webster was taken violently ill with blood-poisoning, she was by his side. In desperation, doctors tried an experimental drug… (M and B) and it saved his life. “I’m convinced he would have died without it,” she says. After Webster’s second divorce was finalised, he married Anne at Harrow Road register office, Paddington, on 5 November, 1938, with the blessing held at the ancient church of St Ethelburga’s (recently wrecked by an IRA bomb) in the City of London. Ahead of them lay scores of personal appearances, studio broadcasts, concert performances, records, films and shows.

Radio Pictorial. September 1938. Two months before their marriage.

During the war, while based in Bristol, they also performed in hangars, warehouses and half-darkened halls, with top musicians like Albert Sandler and Moura Lympany, and there was rapturous applause from adoring wartime audiences. They appeared at the Palladium in 1941 with Bebe Daniels and Ben Lyon, were selected for the first post-war Royal Command Performance and appeared before the Royal Family at their own chapel in the grounds of the Royal Lodge, Windsor. On stage they starred in a very successful revival of The Vagabond King (1943) and Sweet Yesterday (1945) and their films together included Waltz Time (1945 – not 1942), Demobbed (1944) and a costume favourite, The Laughing Lady (1946). For years they starred in summer season at Blackpool, proving even more popular than the legendary Joseph Locke. As one showbiz writer put it: “They were now as much a double act as Marks and Spencer or Crosse and Blackwell.”

Their life was a whirl: a wild romantic blend of Johann Strauss, Rudolf Friml, Ivor Novello and Sigmund Romberg. They serenaded each other on stage and in recording studios with everlasting classics – Deep in My Heart, Dear, Love’s Old Sweet Song, Only a Rose, We’ll Gather Lilacs, and many others. It was a world of gentle colours, sweet nothings and telling glances.

Their main accompanist was the faithful (and ever polite) Charles Forwood. “If, at the end of a concert, he smiled and said, ‘Well done’, that was praise indeed,” Webster once recalled. “But if he just put the music away quietly, and didn’t say a word, we knew we hadn’t gone too well.” Together they were ideal ambassadors, transporting the flavour and refinement of more graceful, cherished times from the Arctic chill of Canada to the heavy heat of Aden and Egypt. Always they were immaculate.

Anne made her final solo appearance in pantomime at the King’s Theatre Hammersmith in 1954 and two years later she and Webster moved to Johannesburg, South Africa, where they quickly settled, relishing the warmer climate. They continued to sing, recording many of their songs in the Afrikaans language, and Webster played the part of Tommy Handley in an hilarious radio version of ITMA. Together they taught singing and stagecraft, helping many talented pupils on the path to success. It was a two-way process: “It was amazing how much more I learned about singing technique by teaching,” says Anne. “My pupils actually taught me something. Now I can look at an opera or hear a record, and pick out certain faults almost instinctively.”

The Golden Years.

In June 1978 they returned to Britain, setting up home in North Wales. They continued to teach and were still as much in demand as ever for concerts, but Webster had a debilitating illness and was growing more forgetful. The end came slowly and he died the day before Anne’s seventy-fourth birthday.

Webster has his memorial in the form of a bursary for young singers called the Esso Webster Booth/Anne Ziegler Awards which are presented annually at the Royal Northern College of Music in Manchester “to keep alive the memory of a golden voice of the past while encouraging another generation in the best traditions of English singing”. Each year Anne travels to Manchester to present the prizes with Mrs Jean Buckley who originally started the bursary.

Still remarkably sprightly and attractive – her appearance belies her age – Anne enjoys the company of her wide circle of friends, corresponds regularly with her many admirers, and walks her beloved 11-year-old Yorkshire terrier Bonnie each morning, as well as doing a little gardening “before I stiffen up completely!” She still has her memories, and her regrets. “Of all the songs we sang I have no particular favourites. They were all beautiful, but I would have loved to have sung more Gilbert and Sullivan… and much more Mozart!”

Then she thinks of Webster and smiles. “You know, he really had the most beautiful voice. I was just another soprano, six a penny,” she jokes endearingly, “but his voice was exceptional. To me he will remain one of the finest British singers of this century… and the love of my life.”

Anne with Bonnie (aged 84)

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Tom Howell was then running a concert party called the Opieros – because they sang excerpts from operas on piers, as well as giving a fine selection of the usual song-and-dance turns. I decided to follow Henry’s advice. Then, during our four weeks’ leave from the D’Oyly Carte Company, Tom Howell’s tenor went down with shingles and, knowing I was ready to move, Tom wired me from Glasgow, where his Company were playing the park pavilions. I took the first train North, got an engagement, and wired D’Oyly Carte asking for my release. This was granted, and I signed on with Tom at the substantially increased salary of £6.10s a week.

tom-howell-back-wearing-boater-and-family-membersAn early photo of Tom Howell (wearing a boater) and family members.


Tom (left) in back row, his wife Hilda with baby daughter Myfanwy and other family members


Tom Howell and his wife Hilda September 1911.

In the nineteen-twenties there were Pierrot shows and concert parties at nearly every British seaside resort during the summer season from May to September. These shows had started in the late nineteenth century when a small troupe of male minstrels took up a pitch on the beach front, and the only payment they received after entertaining the gathered crowd was the money collected by a bottler, who went round the crowd to make a collection. These early minstrels were usually “blacked up” men in the style of the famous George Eliot, but by the turn of the century entertainers abandoned the practice of blacking up, were clad in Pierrot costumes and there were women included in some of the troupes of Pierrots.

By the twenties, the Pierrots had given way to the seaside concert party, and some of these performers even wore evening dress rather than traditional Pierrot costume. Some entertained the holiday crowds on a pitch on the beach, while others frequented pier pavilions and theatres. Bigger seaside resorts, like Blackpool, offered a variety of entertainment with top performers from the Music Hall circuit and by the thirties, this line-up included popular radio and screen personalities. At smaller resorts entertainment was more modest.

A concert party, usually run by a performing manager, would consist of a pianist, a comedian, a dancer, a soubrette and several straight singers. These performers were competent professionals who spent the colder months of the year at company, livery and Masonic dinners, in cabaret at large restaurants to the accompaniment of clattering plates and loud conversation, and, as Christmas approached, in provincial pantomimes. Most of them were unknown to the wider UK public, but became firm local favourites with holiday-makers who spent their week or fortnight’s annual holiday at the same resort, year after year. Straight singers would sing popular ballads and songs of the day and sometimes take part in skits with the comedian and other members of their party.


Professor Kenneth Morgan of Swansea contacted me recently to let me know that he had photographs of the Opieros Concert Party and individual photographs of Anita Edwards, the daughter of his great-grandmother’s sister, who had been a member of the Opieros in the nineteen-twenties. I was delighted to receive copies of these photographs, unfortunately, taken before Webster Booth joined the party in 1927, but Anita is featured in each one. It seems that she joined the Opieros in 1925 and remained with them until 1927.


Anita Edwards

Opieros with Anita Edwards. May, June 1925.

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Tom Howell’s Opieros was different from the majority of concert parties for although he employed light entertainers, he combined his strong baritone voice with a good tenor, contralto and soprano to present scenes from the opera, hence the name of his group – Opieros – a hitherto unlikely combination of opera and pier. The group also appeared in municipal parks providing entertainment for those who had not ventured to the coast.

Like the leader of the Opieros, Tom Howell from Swansea, and tenor Lucas Bassett from Pontypridd, Anita Edwards was also Welsh, born in Llanelli on 14 November 1900. Anita Edwards was a soprano, who trained at the Royal Academy of Music with Dr Charles Phillips. While she was a student she won many prizes, including the Rutson Memorial Prize and the Westmoreland Prize. While at the Academy she sang the principal roles of Manon in Massenet’s Manon opposite Welsh tenor, Manuel Jones and Nedda in Leoncavallo’s Pagliacci.


Opieros – Tom is in the centre, Anita Edwards(top right). Peggy Rhodes (later Vernon), contralto is bottom right.

 In 1924 she sang at a concert on Mumbles Pier, which also featured Frank Mullings, one of the foremost tenors of the day, and Idris Daniels of Pencader,  a popular baritone. Critics praised Anita particularly for her fine singing of One Fine Day from Madame Butterfly by Puccini. On Christmas night 1925, while on holiday from her tour with the Opieros, she sang in a concert at the Llewellyn Hall, Swansea. This concert comprised selections from various oratorios and featured Frank Mullings and the distinguished Australian baritone, Harold Williams, who was considered to be one of the greatest exponents of Elijah in Mendelssohn’s oratorio, Elijah.

During her time with the Opieros Concert Party, she sang soprano solos and featured in the various operatic ensembles presented by the Opieros.  So far we have not found out what Anita Edwards did after she left the Opieros. She married Lionel Beaumont in Wandsworth, Surrey in 1949, and died in Carmarthen in mid-1986.


I was very pleased to hear from Nessie Poston of Little Bardfield, Essex recently. Peggy Rhodes had married a gentleman by the name of Vernon (Christian name unknown) who had worked at the London Palladium. Many years after she had sung in the Opieros, Peggy came to Essex as a widow to be a live-in companion to an elderly woman on a local farm. Eventually this lady died and her family found Peggy accommodation in an almshouse in Little Bardfield. She lived there until she died in Papworth Hospital and was buried in St Katherine’s Church, Little Bardfield where she had been a regular attender. Sadly, there is no memorial stone for her in the churchyard. This image has an empty alt attribute; its file name is st._katherines_church_little_bardfield_essex_-_geograph.org_.uk_-_130558-where-peggy-rhodes-is-buried..jpg

St Katherine’s Church, Little Bardfield.

Nessie was a good friend to Peggy, visiting her nearly every day and inviting her to Sunday lunch with her family.  Peggy was very fond of Nessie’s two children. This made up for the fact that her stepdaughter rarely visited her while she was alive although she lost no time in stripping the house of furniture after her death, claiming that the furniture had belonged to her father. She offered Nessie a memento because of her friendship with Peggy and Nessie chose the sauce boat which had been presented to Peggy by Tom Howells in 1926 when she was a member of the Opieros. 

Although she was no longer a member of the theatrical profession, she was always immaculately dressed, madeup, and very vivacious. It would be interesting to know what had happened to Peggy’s promising career. From the BBC Genome site I discovered that she had given exactly one recital in 1931 and appeared in several Variety programmes with Madge Stephens. There is no further mention of her appearing on the radio after 1935.  This image has an empty alt attribute; its file name is peggy-rhodes-22-may-1931.jpg 1931.This image has an empty alt attribute; its file name is peggy-rhodes-4-may-1934.jpg May 1934. Webster had remarked in Duet, written in 1951: ” One of the best singers we had, for whom we all expected a great career, was Peggy Rhodes.” Thanks once again to Nessie Poston for shedding some light on Peggy Rhodes Vernon’s later life. 

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Peggy Rhodes is bottom right in the photo. Webster mentioned that she had a fine contralto voice and everyone expected her to make a great name for herself. 

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Sauce boat presented to Peggy Rhodes by Tom Howells in 1926. This image has an empty alt attribute; its file name is gift-from-tom-howells-to-peggy-rhodes-1926-a.jpg


Webster Booth

Webster Booth had worked with Tom Howell’s brother, Henry (stage name, Henry Blain) in the D’Oyly Carte company from 1923 – 1927. When Henry heard that Webster was planning to leave D’Oyly Carte, fearing that he might remain in the chorus forever, waiting vainly to fill “dead men’s shoes”, he suggested that Webster should contact Tom, whose tenor had been taken ill. Tom employed Webster as a replacement and he remained with the Opieros until 1930, and also appeared in two Brixton pantomimes with Tom in 1927 and 1928.

Webster’s first appearance with the Opieros was in the Glasgow park pavilions where his salary in 1927 was £6.10s a week. Judging by notices in The Stage the party was very popular and the performers and their excellent accompanist, H Baynton-Power always received good notices. Peggy Rhodes, a promising contralto, was a member of the party for some time, as well as Walter Badham the humorist and Doris Godfrey, a child mimic.

Tom Howell died in the early nineteen-fifties. If anyone can tell me more about any members of the Opieros, please contact me.

Recently I heard from Tom Howell’s great-niece, Sarah Tongue, who was kind enough to send me family photos of the Howell family and give me some information about the family. Their surname was originally Howells, but the “s” was dropped later on. The siblings of Tom Howell were Henry Howell, born in 1895. He was a bass-baritone and sang with the D’Oyly Carte Company under the name of Henry Blain, David,  who died from wounds at the end of World War One, Arthur who served in the navy in World War One, Emlyn, the youngest brother emigrated to Australia, Jack, and their only sister Maud, and William Howell who was her grandfather. They had moved from Wales to Bournville in Birmingham where some members of the family worked at the Cadbury factory before World War One.

I am including a selection of the photos sent to me by Sarah, including some “mystery” ones which are, nevertheless, most interesting.

Sarah as a baby with her mother who was the daughter of William Howell, Tom’s youngest brother.


Among the photos in this collection is one of the Asaf and Powell’s Harlequinaders (below). Felix Powell, a Welshman, was the composer of the World War One hit, Pack Up Your Troubles in Your Old Kitbag. 


Another photo in the Howells’ collection is this charming one of Ernest Lord’s Excelsior Concert party dating from the early years of the twentieth century Agnes Singleton appeared with this group:

A contralto and elocutionist in Ernest Lord’s Excelsior Concert party in the early years of the twentieth century

Alice Singleton appeared with the Excelsiors as a contralto and an elocutionist in the early years of the twentieth century.


Tom and sister Maud and others while they were working for Cadbury’s, Bournville.

Tom served in the Navy during the First World War. Unlike David, he survived the war and was able to continue his theatrical career when the war ended.


An autographed photo of handsome David Howell who died from wounds sustained at the end of World War One.


Tom Howell in the navy during World War 1


Arthur Howell served in the Royal Navy during World War 1 and after the war became a painter and decorator. He was married to Maggie and died in the 1970s, some time after Tom, who died in 1952.

17 May 1918 Warlingham For the YMCA Hut Fund

Tom Howell’s sister, Sarah married the singer, Alf Jones. Sadly, she died of Spanish ‘flu at the early age of 34. Sarah was the great aunt of Sarah Tongue who kindly sent me these photographs. She was named after her great aunt Sarah.

Sarah Howell with brother Tom and unknown man
Alf Jones, husband of Sarah Howell. He too was a singer and signed this photo in 1917.
Sarah Jones with her baby, Reg. Sarah must have died in 1918 or 1919 after contracting the Spanish ‘flu.
               Palace Theatre, Reading. 27 October 1918.                                                                                 1919 Fundraising concert for the Middlesex Hospital with George Robey, The Gresham Singers, Edmund Gwenn, Tom Howell, Lily Langtry… 

 Tom was associated with the Redios before he started the Opieros. This party was under the direction of Wilby Lunn who did an interesting double act in the show with Connie Hart. The tenor Leonard Lovesey was in the party and no doubt he and Tom sang duets together, as Tom did later with Webster in the Opieros.  

The Redios (1924)

In 1922, the Opieros presented Tom Howell with a beautiful silver cigarette case with the names of the company engraved around the side of the case. I’m afraid only the names on the left side are visible: Chas Bailey, Billy Hunn? A.A. Cash…cigarette-case-from-cast-to-tom-img211


Tom Howell in Pierrot costume
Tom Howell, leader of the Opieros in Pierrot costume.

Leas Pavilion – 19th and 26th October 1925.

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Tom Howell's Opieros

8 May 1924 – The Opieros. A capital entertainment is given this week at the Penarth Pier Pavilion by The Opieros; the vocal talent being remarkably good. A leading item of a fine programme is the Prison Scene from Faust, which is given with considerable ability by Agnes Hirst as Marguerite, Lucas Bassett as Faust and Tom Howell as Mephistopheles… Peggy Rhodes and Hylda Romney add to the evening’s enjoyment.


Alice Singleton (second from left) and Anita Edwards (right). I do not know the names of the other two women. The one in costume on the left performed with Tom in the Opieros. Alice Singleton was a contralto and elocutionist and was a member of Ernest Lord’s concert party, the Excelsiors.

Webster Booth joined D’Oyly Carte Company in 1923, aged 21. He and Henry Blain are listed in this programme for the London season at the Princes Theatre in 1924.


myffanwyTom and Hilda’s daughter, Myfanwy.

Below: Hilda, Tom’s wife.hilda2

Extract from Duet by Webster Booth and Anne Ziegler (1951)

Webster Booth wrote as follows:

One of my friends in the D’Oyly Carte Company was a baritone, Henry Blain, a Welshman, whose real name was Henry Howell. When I was looking round for a new opening in the spring of 1927, after returning from Canada, Henry said: “Why don’t you go and see my brother Tom? He wants a new tenor, I think.”


Henry Blain (Howell) Henry Blain was born in 1895 in Wales as Henry Howell.Henry was a bass-baritone chorister with the D’Oyly Carte Opera Company from May 1920 until June 1931. He went on the first D’Oyly Carte tour to the United States in 1929.



 During this time he played the smaller roles of Second Yeoman in The Yeomen of the Guard, Guron in Princess Ida, Samuel in The Pirates of Penzance, and Luiz in The Gondoliers. He was married to Clarice, the D’Oyly Carte wardrobe mistress.henry-and-clarice-wedding-img177

Henry and Clarice’s wedding photo


Henry and his wife, Clarice

 He died in November 1955 at the early age of 60 and was buried in the Family Grave at Yardley Cemetery, Birmingham.


Grand Smoking concert, 21 October 1926, the year before Webster joined the Opieros.



Cannon Street Hotel. The Communist party was founded there in 1920. It was destroyed during the London blitz in World War Two.

Webster continued:


Tom Howell.

Tom Howell was then running a concert party called the Opieros – because they sang excerpts from operas on piers, as well as giving a fine selection of the usual song-and-dance turns. I decided to follow Henry’s advice. Then, during our four weeks’ leave from the D’Oyly Carte Company, Tom Howell’s tenor went down with shingles and, knowing I was ready to move, Tom wired me from Glasgow, where his Company were playing the park pavilions. I took the first train North, got an engagement, and wired D’Oyly Carte asking for my release. This was granted, and I signed on with Tom at the substantially increased salary of £6.10s a week.

It was grand experience, and taught me a very great deal. Singing extracts from operas, and travelling each Sunday to seaside places, I learned how to hang stage curtains, make stages, work out intricate journeys by train, boat and lorry in some cases, how to pack unwielding stage props and curtains, and above all how to check the money in a “house” without counting the tickets! It matters, believe me! I very soon knew by glancing through the curtain peephole whether a “house” was below £20 or above £50. I was swept into the extraordinary camaraderie of the concert party, which is one of the nicest states on earth – but only if the troupe is well managed! I learned how to avoid causing professional jealousies, how to make the most of my turn without giving offence, how to hold a restive audience of casual holidaymakers worrying about the next boarding-house meal or whether little Tommy (left in charge of someone else) has yet met with a fatal accident.

That was a happy summer, a summer of sunshine and laughter, boy-and-girl light heartedness, a lot of swimming and strolling and fun. When it was over we came to London. I had most of my last week’s salary in my pockets, and nothing else in them except my hands! I had never heard then, of such things as Masonic banquets and Sunday League Concerts, and I was suddenly awfully worried about what to do next. Tom knew this, and took me to his home. Each evening he had such a booking he would take me along with him. Often, when he had sung his first group of songs, he would introduce “a new young singer who will sing a duet with me”.After a time, this resulted in my obtaining some winter bookings of my own, and so I was able to pay back what I owed and make my financial way. I don’t know what I should have done without Tom Howell’s kindness and generosity at that time.

1927-1930 – Tom Howell’s Opieros concert party. The concert party presented operatic excerpts at park pavilions and piers. Webster’s first appearance with them was in Glasgow in the summer of 1927.

By this time Webster Booth was living in Tom Howell’s former apartment, at 103A Streatham Hills, SW2, Streatham 7989. Tom Howell’s new address was: 1 Daysbrook Road, SW2. Telephone: Streatham 1380 .

That winter he introduced me to Fred Melville, the famous “pantomime king” of the period, and somehow persuaded him to book the two of us in his pantomime at the Brixton Theatre, St George and the Dragon. I was to be King Arthur and Tom was Sir Mordred de Killingsbury, the villain of the piece. It was my first venture into the strange world of pantomime, and I loved it! The whole secret is that the players make a sort of party of it, in which the children (and their parents!) are guests who join in all the songs and play a great part in everything themselves. The show was a great success. I remember a banquet scene when, after a few very fiery words between us, Tom and I stepped out and sang (for no reason at all) the famous old duet Love and War. This always gained enormous applause, and is still remembered by a lot of Brixtonians.


30 December 1927 – The Stage. Saint George and the Dragon, The Brixton. On Monday, December 26 1927, Mr Frederick Melville presented here his twentieth annual pantomime, written and produced by him, the music composed and arranged by F. Gilmour Smith.

St George of England: Miss Vera Wright,

St Patrick of Ireland: Miss Eileen O’Brian,

St Andréw of Scotland: Miss Maggie Wallace,

St David of Wales: Mr Lloyd Morgan,

St Denis of France: Miss Marie Fontaine,

St Anthony of Italy: Miss Lily Wood,

St Michael of Russia: Miss Agnes Moon,

King Arthur of England: Mr Webster Booth,

Sir Mordred de Killingsbury: Mr Tom Howell,

Stephen Stuffingley: Mr C Harcourt Brooke,

Tricky Dicky: Mr Willie Atom,

Princess Guinevere: Miss Doris Ashton,

Fairy Starlight: Miss Hilda Goodman,

Mary Fairly: Miss Marjorie Holmes,

Demon Ignorance: Mr Fred Moule,

Dame Agatha Lumpkin: Mr Leslie Paget,

Jerry Lumpkin: Mr Larry Kemble.

There is a fine patriotic flavour, to say nothing of sundry allusions to the need for keeping old England healthy, both bodily and mentally, by sweeping out the germs of disease and distrust, all worked in the usual deft Melvillean fashion in this year’s Brixton pantomime. Choosing the unusual subject of St George and the Dragon, Mr Melville has written a story at once original and arresting.

Mr Webster Booth adds stateliness and a pleasing tenor voice, heard in England, Mighty England and Tired Hands, and with Sir Mordred, Tenor and Baritone, to the part of the King. Mr Tom Howell’s Sir Mordred is a sound piece of character work, though he finds small scope in the part for his powerful baritone.

Pantomime and Tom Howell’s kindness saw me through that winter, and then came another summer of concerts on the piers. We had a clever humourist in Walter Badham and a fine child mimic in Doris Godfrey. One of the best singers we had, for whom we all expected a great career, was Peggy Rhodes. St Anne’s, Sheerness, Lowestoft, Yarmouth, Paignton, Broadstairs, Whitley Bay – I can shut my eyes today and see the sun on the rippling water, smell the dust in a dozen pier pavilions, hear the shuffle and chatter of the audience die away as the curtain swings up for our opening chorus, and recapture all the excitement, triumph and heartbreak, and taste for just a moment once again the lost elixir of youth.

19 January 1928 – Gallery First Nighters’ Club. Dinner to Mr Miles Malleson. The seating and eating capacity of the Comedy Restaurant was strained to its uttermost on Sunday evening, when that happy band of playgoers, the Gallery First-Nighters’ Club, had Mr Miles Malleson as their guest of honour at dinner… Mr Major, responding, paid a tribute to the artistes for the wonderful concert they had given them.

It was indeed a wonderful concert. The artistes included Miss Betty Chester, Miss Dora Maughan, Mr George Metaxa, Miss Dorrie Dene, Mr Ashmoor Burch, Misses Grace Ivell and Vivian Worth, Messrs Webster Booth and Tom Howell, Miss Winifred Howie, and Mr Algernon Moore, and Miss Elsa May, Miss Nora Drake was at the piano.

24 May 1928 – Cardiff – At Roath Park Pavilion Tom Howell presents his Opieros. The programme ranges from opera to modern burlesque. Webster Booth’s tenor numbers are very well rendered, and Doris Francis (soprano), Olive Turner, Dorothy Denny, Harry Williams, Tom Howell, and H Baynton-Power give enjoyable performances.

7 June 1928 – Tom Howell’s Opieros meet with their usual welcome at the Olympian Gardens, Rock Ferry, where their popularity increases with every visit. Doris Francis is a delightful singer of soprano songs, and Webster Booth’s tenor solos meet with appreciation. Harry Williams is a mirth-maker who never fails to keep his audience in merry mood. Olive Turner and Dorothy Denny are favourites, and their participation in the concerted sketches adds to the enjoyment. Tom Howell directs the programme with his usual skill.

30 August 1928 – The Opieros Tom Howell’s Opieros are at the Adelphi Gardens, Paignton. Good singing plays an unusually prominent part in the entertainment, and it is provided mainly by Tom Howell, a robust baritone, Doris Francis a soprano with a pure voice, and Webster Booth, a rich tenor. They score in excerpts from grand opera. Olive Turner gives some clever imitations and smart soubrette songs. Dorothy Denny wins much favour with her low comedy songs. Admirable phonofiddle playing and humorous contributions make Harry Williams popular. The Opieros owe a deal of their success to the talent of their pianist, H. Baynton-Power.


William, Hilda and family. 

27 September 1928 – At the Summer Pavilion, Sheerness, Tom Howell is presenting his Opieros. This talented company attract large audiences and the show is well produced. The programmes include an excellent mixture of straight and comedy numbers, ranging from burlesque to grand opera. The high class vocal contributions by Tom Howell, Doris Francis and Webster Booth, all of whom are cultured singers, make a decided appeal to a delighted house. By way of contrast, Olive Turner entertains in several clever impersonations and sings a catchy song. Dorothy Denny is a comedienne of no mean ability, and has a style of her own. Harry Williams is the chief fun-maker of the party, and besides keeping everyone in a good humour with his patter and gags, he pleases the house as an instrumentalist, and coaxes melody from unlikely objects. H. Baynton-Power is a composer-pianist and artistically accompanies the performers and musically brightens the entertainment.

.20 December 1928 – Pantomime forecasts The Brixton. The Babes in the Wood, written by Frederick Melville. Principal boy, Vera Wright; principal girl, Teresa Watson; principal comedians, Tom Gumble and Jimmy Young; Fairy Queen, Gwen Stella, baritone Tom Howell; tenor Webster Booth. Specialities by Euphan Maclaren’s Operatic Dancers, Babette, Grar and Grar. Principal scenes: The Village, The Schoolroom, Ballet, Children’s Bedroom, Sherwood Forest, and Palace. Stage manager, Fred Moule. Produced by Frederick Melville on December 26, at 2pm, for run of about 7 weeks.

Webster continues:

The following Christmas we were booked again for Brixton, this time in Babes in the Wood. I was Will Scarlett and Tom was Little John. My big moment was in the wood scene when I entered in a blackout with a red glowing fire, and sang with heartrending passion Chloe. This always stopped the show, and an encore was demanded.

Broadcast – The Opieros

2ZY Manchester, 6 April 1929 19.50


TOM HOWELL’S CONCERT PARTY Relayed from the Central Pier, Blackpool

WALTER BADHAM (The popular Comedian)

H. BAYNTON-POWER (Pianist and accompanist)

Doris GODFREY (Comedienne)

OLIVE TURNER (Entertainer)


Doris FRANCIS (Soprano)

Tom HOWELL (Bass-Baritone)tom-hilda-miffanwy-and-grandchildren-2

Tom and Hilda with Myfanwy and grandchildren.

 27 June 1929 – The Opieros At the Pergola Pavilion, Bexhill, are Tom Howell’s Opieros. Their entertainment is of high quality, and the programmes contain a series of operatic scenes, all well sung. Tom Howell is a melodious baritone, Webster Booth is a tenor of rare ability, and Doris Francis is a delightful soprano, and the work of these vocalists sets the high standard of the company’s serious work. Walter Badham is well known to Bexhill audiences, having formerly played a resident season there, and his Lancashire humour is more welcome than ever. Dorothy Denny is a piquant comedienne, and Doris Godfrey presents some kid numbers well. Jack Upson is at the piano. Will Tissington and Katharine Craig are the directors of the Pergola, and next week they will present their own Poppies for their seventeenth season.

5 September 1929 – The Opieros Tom Howell and his Opieros are fulfilling an engagement at the Adelphi Gardens, Paignton, this week. The company includes several artistes who have appeared with Mr Howell in previous years, and established themselves warm favourites. These are Doris Francis, a fine soprano; Webster Booth, who has a strong tenor of good quality; and Dorothy Denny, an excellent comedienne. Doris Godfrey gives clever child impressions and Walter Badham is a talented humorist. The piano is in charge of Jack Upson, who excels in syncopated music. Features of the programme include excerpts from grand opera, and duets by Webster Booth and Tom Howell, baritone.

19 September 1929 – The Opieros Tom Howell’s concert party, the Opieros, are playing to good houses this week at the Sheerness Pavilion. Webster Booth and Tom Howell combine pleasingly in tenor and baritone duets, and also score individually in vocal items. Doris Francis’ soprano solos are rendered with good effect and Doris Godfrey is a clever impersonator. In Dorothy Denny the party has a bright and popular comedienne. Jack Upson is the skilful accompanist. Walter Badham causes much amusement with his quaint and mirth-provoking numbers. The party also score in excerpts from opera, which make a strong appeal to the audiences.

I spent three summers with the Opieros, and enjoyed them enormously. I learned a good deal about stagecraft, touring and management. I was getting known to some extent in London and the provinces, and by this time I was making a fair amount of money from gramophone records.I had always had a great ambition to make them – somehow, in my early days, they seemed to me to be the mark of Fame with a capital letter.

Tom Howell introduced me to a director of Edison Bell Records, who arranged for me to make a test at their City Road studios. I was to ask for Mr Harry Hudson. Off I went, walking on air, met Mr Hudson and sang The English Rose from Merrie England. Out came Mr Hudson from the inside room. I wonder if he remembers what he told me!“I’m afraid your voice won’t record!” he said.

Now I had been inside a recording studio before, and I knew that through a small glass window was a room where the engineers put small round waxes on a turntable, and when a needle was lowered onto the wax it reproduced what went on in the studio. I felt sure no wax had been put on. I was young in the profession then. I do not know what anyone had against me, or had been told. I only knew that my voice had apparently not been tested.I walked out of the studio into the sordid squalor and noise of City Road, wondering furiously and miserable what it was all about. I had gone in such a short time before with such high and eager hope.

Shortly afterwards, Lawrence Wright (Horatio Nichols) wrote a song called My Inspiration is You. He told Tom that if I would sing it at the coming Sunday League Concert, he would come along and perhaps arrange a test session for me with the Columbia Graphophone Company. Chastened and uneasy this time, I awaited his arrival, and saw him drive up in an enormous white Rolls-Royce to the Empire Theatre, Croydon, where the concert was taking place. He stepped out, noticed me, and patted the car. He was wearing a magnificent fur coat.“All out of one song, me boy!” he said cheerfully.It was true – it had come from his Toy Town Parade. It sold over a million copies!

After three summers I left the Opieros and signed a contract to join Muriel George and Ernest Butcher in their concert party at the Central Pier, Blackpool. It was a change that cost me a pang, for Tom Howell had been very kind to me, and I had made some good friends in his Company. Tom is a Welshman from near Llanelli. He spent his early days in Cadbury’s at Bournville. He excelled in oratorio and Grand Opera, and had he stayed in Grand Opera he must have become a star. But, like me, he had to live by his voice, and Grand Opera needs some sort of independent income at first.

Tom became a Blackpool concert-party idol, and sang concerts in London and the provinces in the winter. He founded his Opieros Company in 1924, and it presented famous scenes from Faust, Bohème, Butterfly and the rest. Tom was a tough personality, and his voice was like steel. He was too generous to spot his enemies, who flocked round him when he had money or drink to dispense. He kept me in his home when I was more or less on my uppers, and he never begrudged a young singer advancement – indeed, he helped with absolute unselfishness in every way he could. I owe him a lot.I signed up with a fresh concert party because I was offered more money and a better place on the bill. Tom wished me the best of luck when I said good-bye. Webster Booth

Tom and unknown singer in the Opieros.tom-and-unknown-performer


Tom and a Dalmatian in a rustic show.

In 1936 Tom spent a considerable time in hospital.

6 November 1936 – Tom Howell. Friends of Tom Howell, who was well known in concert and concert party circles, and has recently been appearing in musical plays in the West End, will be sorry to hear of his illness. He is a patient in Guy’s Hospital.

He was still in hospital at Christmas in 1937 when Hilda sent this charming Christmas card with a photograph of her and Tom with their lovely wire-haired fox terrier.


 24 April 1952 – Tribute to Tom Howell. Our Great Yarmouth correspondent writes: The late Tom Howell was well remembered in Great Yarmouth, for it was at the Wellington Pavilion that he first presented his Opieros. They made their debut in June, 1922, playing a resident season, followed by a return in 1923. In the first company were Harold Wilde, Yarmouth-born Evelyn Ray, Lilian Rickard, Eric Howard, Violet Field, Donald Hatton, Charles Hayes and Tom Howell himself. The 1923 company had but two changes in its personnel, Peggy Rhodes and Kathleen Burchell replacing Miss Rickard and Miss Field… In subsequent seasons the Opieros were regular visitors to the Britannia Pavilion, which in those days was a popular venue for the leading touring concert parties.

Compiled by Jean Collen 20 February 2017

Updated 24 August 2019.

With thanks to Professor Kenneth Morgan and Sarah Tongue for sharing their photographs with me. I would love to be able to find a photo of Tom and Webster together.

Extract from Duet by Webster Booth and Anne Ziegler published in 1951, Stanley Paul.

My digitised copy of the book is available as a paperback and E-book at: Duet by Webster Booth and Anne Zieglerduet-cover2

Yesterday Obr Godridge of The Golden Age of British Dance Bands published a list of his extensive record collection and I discovered two recordings there by Thomas Howell. I did not know that Tom had made an recordings but I feel sure that these recordings (sung by baritone) are recordings he made: Thomas Howell (baritone): Trumpeter/The Bandolero. As far as I know this is the same Tom Howell who ran the Opieros Concert Party in the 1920s. The records come from Obr Godridge’s extensive record collection. They are Trumpeter and The Bandolero

20 April 2020:  I received a note from Tom Howell’s relative, Sarah Tongue, this morning: “Pleased to report that Mum heard the recordings yesterday and confirms that it’s got to be Uncle Tom. She can remember her Dad and half brother Trevor singing The Trumpeter and Bandolero.

Was wonderful to hear his Baritone voice through the crackles. What a strong voice he had. Lovely to be able to keep these memories alive.”

Very good news at a difficult time for everyone!