My mother says, as he is leaving, “Thank you for looking after Jean,” and he gives me a fond glance and replies, “I think it’s Jean who’s looking after me.” He gives a short hoot of farewell as he drives over the Juno Street hill on his way home. What a heavenly day.
1 April – Work. Go to SABC at night. Ruth is there and we have a chat. She is coming to visit me next Monday. Mr Tyler takes us through the Creation.
2 April – Work. Go to singing with a touch of laryngitis. When I arrive I hear Webster and Anne practising the duets for the SABC concert and their voices blend gloriously. They are most sympathetic about my laryngitis. I sing a little, but not much. Webster gives me a lecture on all my inhibitions. He tells me that I am most musicianly and will do well in the exam for I have improved so much.
3 April – Work and lunch in Ansteys with Mum. Go to SS studios for my piano lesson and talk to Elaine and Gill. Ruth phones and tells me she’ll be here at about 11.45am on Monday.
4 April – Have yet another ghastly day feeling ill. Listen to Leslie Green. Only a few weeks to go before he and Anne tour the country and I work with Webster – Hurrah!
5 April – Go to singing. Webster is trying to teach Lucille the bass clef. My throat is still a bit odd. Webster tells me it’s my imagination and microphone nerves! I manage to sing everything softly. He says that Ruth and I imagine a lot. I phone Betty to arrange to go to the Cinerama.
6 April – Go with Dad and book at Piccadilly as Cinerama is crowded out. We take Betty to see Cloak and Dagger with Gary Cooper and Lili Palmer. Webster plays all South Africans in his Great Voices and includes a record by himself, saying, “Seeing I’m South African too!” which is by far the greatest voice of the evening!
7 April – Go to Sunday school and play the piano. Dad fetches me and we go to town to look at the Presbyterian church. Phone Ruth and she says she had a lovely birthday. Webster kissed her and they gave her a card and a scarf. They managed to get into the Cinerama and saw How the West was Won. She says Anne was most concerned about my throat.
8 April – Ruth comes to the house and has lunch and we work at all our exam pieces together. Evidently Webster got sloshed on Saturday night but sang the Resurrection at the Presbyterian Church beautifully. After supper Dad takes Ruth and me to choir where we hear a recording of TheCreation (in German). Webster and Anne sing with Edgar Cree and orchestra on the radio.
9 April – Go to singing and Ruth is there before me. When I go in Webster says he likes my hair. Ruth mentions how much she enjoyed their recording so I say that it was lovely. He says, “Not too bad for a couple of old fogies!” Ruth goes and I sing very well indeed for a change and they both like it. Anne tries on my glasses and I try on hers and Webster’s. He has a new pair with black frames – looks most distinguished!
10 April – Go to town and buy some clothes. I meet Mary Harrison in John Orrs. Have lunch in Ansteys with Mum and then go up to Mrs S. She tells me to tell the Booths how much she enjoyed their performance on Monday evening. She says they are very great people and she remembers how excited she was at seeing them at Broadcast House in 1948. Such a good looking young couple. I go to the library with Dad at night and meet Liz Moir there.
11 April 1963 – Work and go to singing in the afternoon. Ruth has her lesson before me. I sing everything very well and tell Anne and Webster what Mrs S said about their broadcast. Webster says that I should write to the SABC and tell them how much I enjoyed their performance and perhaps they’ll ask them to do another broadcast. I promise to do so. He gives me a list of music for accompanying and says he’ll run me home after we finish at the studio each evening.
13 April 1963 – Easter Friday. Have restful morning and we go for a run in the afternoon. I sing and play exam pieces to parents and they are impressed, contrary to the last time they listened to me. I hope all goes well.
14 April 1963 – Go into Mrs and work with Margaret and Mrs du P. Sing in the SS choir and then come home with Margaret. We see Elvis in Kid Galahad. In Great Voices Webster plays the voice of actor, John Barrymore. They went to the same tailor, and George Formby.
15 April 1963 – I work hard but am so strung up about the exam the following day that I don’t sleep all night!
16 April – Singing Exam. I meet Anne on the lift in Edinburgh Court and we go into the SS studio together. Lucille is quite nervous and makes a few mistakes. Guy Magrath is terribly sweet and apart from shaky studies my singing isn’t too bad. The questions and ear tests are a cake walk as Webster would say! Ruth sings nicely and Anne is very pleased with us. Let’s hope we do well. Afterwards Ruth and I go and have lunch together and see a silly film to relax after our ordeal.
17 April – I work at the piano and go into Mrs Sullivan’s studio where I see Svea, Margaret and Gill. We do musicianship and ear tests.
18 April – Work. Have lunch with Mum and then go to SS studio and practise hard. We see Guy McGrath leaving the studio wearing a navy bowler!
19 April – Go to Mrs S and work with Margaret. Afterwards I go to singing and Webster makes tea while Lucille sings gorgeously. I get my results after much teasing on part of Anne – 78% for Higher Local singing (with merit) which is jolly good, considering that I skipped a grade. I sing Father of Heav’n beautifully due to the elation of doing quite well and make arrangements for Monday. Ruth phones at night – she got 72% for Senior exam and Lucille got 72% for Grade 5.
20 April – Piano exam. Mr Magrath remembers me from the singing exam and is a honeybunch. He tries his best to put me at my ease. I think I will pass. He says I sang well in my singing exam and he is sure I will make a good teacher. Mum phones Anne to congratulate her on my result. Anne is thrilled and says that while she’s away, “Webster will look after her.” (ie ME!) See We Joined the Navy.
21 April – Have a fairly quiet day to recover from yesterday’s excitement. We go for a run in the afternoon to find Webster’s best route home from our house via Sylvia Pass.
22 April – Go into the studio to work for Webster at last. He gives me the key to the studio and tells me I can come in at any time to practise. He also shows me where the key to Chatsworth – his name for the outside toilet – is kept! and makes me coffee. Mary H, John S, Piet van Zyl and others come and I have a glorious time playing for them and listening to Webster’s advice to them.
My mother had told me to go out at lunchtime to give Webster a chance to have a rest, so I do so and return in time for the afternoon session. He takes me home in his car and before he leaves Juno Street I ask if he would like to come to dinner with us one night and he is touched.
23 April – Go into the studio early and practise on the lovely Chappell piano before Webster arrives. During the course of the day he tells me that they wrote an autobiography called Duet and he will lend it to me to read. Doris Bolton (a fabulous singer), Lucille, and Dudley Holmes come for lessons during the morning. When I return from lunch, Webster asks what I was doing when I was out and says that I mustn’t dream of going out for lunch again but must have lunch with him in the studio. We have a long talk in the afternoon and he tells me all about holidays in Switzerland and Monte Carlo. Norma Dennis (Diane Todd’s understudy) has a lesson in the afternoon. Webster takes me home and tells me all about Lincoln and promises to bring their autobiography in on Thursday. Heavenly day!
24 April – Have lunch in Ansteys with mum. Phone Webster to ask if I may practise in the studio when he’s not there and he says, “But of course, darling. That’s what I meant when I gave you the keys. Take some tea and biscuits if you want some.” He says he got home easily last night and then, “Goodbye, darling.” I practise singing and it goes well. I go to Mrs S for a lesson. Elaine is back from her holiday and Gill is in a grumpy mood.
25 April – Work in studio. Webster arrives, complete with his autobiography, Duet. I am delighted. Colleen McMennamin is the first pupil and she sings well. The other three are pretty hopeless and Webster says it should be a boost to my ego to see how frightful they are! Takes me home in the Hillman and tells me all about how they continued writing their autobiography after the ghostwriter began putting in his own pacifist views and they had to get rid of him. He also gives me a lecture on Bel Canto singing, which merely means beautiful song. I start reading their book when I get home – sheer heaven!
26 April – I get honours for all three piano exams! I read the autobiography at the studio and am quite fascinated with it. What an eventful time they had. Webster arrives with Lucille and we have tea. Other pupils prove rather uneventful. He warns me not to laugh at one particular one. He brings me home in the car and we talk about Ruth and her depressions. He is coming to dinner on Tuesday evening – what fun. Life is heaven at the moment.
27 April – Webster is there when I arrive and makes coffee for us. Ruth phones to say she is sick and can’t manage in today. Quite a few people don’t come so we finish early. “The devil looks after his own,” says he! He takes me home and says that he might take me out to dinner on Monday. We have a jolly, inconsequential conversation – fun. I listen to his Great Voices at night.
28 April – Quiet Sunday. Go for a drive and listen to the villain of the piece – Leslie Green! I miss seeing my darling Webster today.
29 April – Go to studio and Webster is there and makes us coffee. We get through the morning and have lunch together. He puts his feet up after lunch and goes to sleep and snores gently. His cheeks grow pink and looks very dear, sweet and vulnerable.
Anne sends me a postcard but hasn’t written to him so he is cross. One of the pupils asks what Anne is doing while she’s away and he says, “That’s what I’d like to know!” We have pupils in the afternoon and he tells me on the way home that he intends taking me out to lunch tomorrow. He had been thinking of going to the café opposite Show Service in Jeppe Street, but if there is enough time maybe we could go to Dawson’s Hotel instead. All is heaven.
30 April – Go to the studio. Webster is there already and then Lucille, Mrs Smith and Dudley. Dudley is the last pupil before lunch. Webster tells Dudley that he is blowing the family savings and taking me out to lunch. Dudley says wistfully, “And I have to go back to the office on an apple!”
Webster takes me to lunch at Dawson’s Hotel and we have a heavenly sophisticated time there. He and Anne stayed at Dawson’s for several months when they first arrived in Johannesburg. He is rather disappointed that I refuse a drink!
In the afternoon he goes to sleep for a while and then plays a tape of his religious songs for me and makes me cry – they are so beautiful. We have one last pupil and then he comes home to dinner with us. He has two drinks and is so sweet to me and my parents. He keeps Shandy on his knee and calls her, “my girlfriend.” He tells us lots of theatrical stories and is absolutely charming.
My mother says, as he is leaving, “Thank you for looking after Jean,” and he gives me a fond glance and replies, “I think it’s Jean who’s looking after me.” He gives a short hoot of farewell as he drives over the Juno Street hill on his way home. What a heavenly day.
2 February – Work hard at the library – the hours are unbearable so I may be going to business college instead.
3 February – Am definitely going to business college! Have lunch in town with Mum and Dad and then wander around and look in the Belfast – I meet Inge Alexander there and we talk for a while. Practise my piece at night.
4 February – I go for my lesson today. First, I miss the tram and then the lift in Polliacks Building leaves without me and I have to wait for ages for it to return to the ground floor. I imagine I shall be frightfully late, but when I arrive at the studio Webster answers the door with their little Maltese poodle (Lemon) in his arms and he asks me to have a seat. I pet Lemon, and Webster warns me that he goes for ankles. I sit in the kitchen and play with Lemon and listen to them teaching a girl to sing. They all sing together and this make me giggle with Lemon.
Girl – all these other girls seem elusive and nondescript – goes and Anne calls me in and we discuss Lemon. She says that he’s the loveliest pet she’s ever had – she’s crackers over him.
Webster goes out for a while and Anne says to Lemon, “Now come and sit down at my feet and be obedient.” For a moment I forget that Lemon is there and then I realise who she was talking to! I tell her my mistake and we have a good laugh.
Anne says that my diction in the poem is now perfect, but everything must be a hundred percent, “So use yer face and yer eyes!” I endeavour to do this to the best of my ability – impossible! Anne says, “A smile lifts the voice and gives it light and shade.” Webster comes back and she calls to him, “Oh, Boo, this is much better!” and he replies, “Yes, I could hear she was smiling.”
We start on the movement again. 1) Move from waist down. 2) Move knees (flexibility) and 3) Know every move. She asks, “Did you see Lock Up Your Daughters, Jean?”
Feel grim at this and have to lie, “No, I would have loved to of course but we just didn’t seem to find the time.” What a whopper! How could I have told her, “My father didn’t approve of this risque play!” She talks and demonstrates different movements such as the “Cor blimey cockney movement” (as she calls it), the burlesque movement and others. She says, “Come with me towards the mirror, Jean, dear!” Talks about the way Indians and Africans walk. “You must enter a room, stage, anywhere without apologising for living. Even if old Dr Verwoerd comes in, still feel that you are just as good as him!” Yay for Anne’s attitude. Wish I could do all this.
Says I must work out every move beforehand because for two minutes everybody’s attention will be focused on me and the adjudicator will be waiting for me to make a mistake. Says that dozens of people have said to them, “But you and Webster are so natural on stage.” She takes me by the hand and we stand in some corny position in front of it (like foxtrotting at the rink) and she says that they might appear natural but every move is planned and they even know exactly where they will put their feet.
They are going on holiday soon and will be back about the 5 March and she will phone me on the Monday after they get back to make an arrangement for lessons. However, I’m still going to her on Monday afternoon. Shall have to work hard tomorrow.
Anne says she gets rheumatism in her neck – that must be grim. She is wearing exactly the same shoes I bought the other day – I shall never be able to wear them to the studio. Webster says goodbye to me and Anne comes with me to the door, and Lemon is in the offing. Webster says, “The whole family is here today.” They give me practically a whole hour today. They are honeys. Webster looks rather grim in a light white sports jacket.
Meet Mummy and buy a briefcase for college – Harvard Commercial College in Pritchard Street under the direction of Mr Pelkowitz, then we have lunch with Dad and see Make Mine Mink with Terry Thomas and Hattie Jacques which is good!
6 February – I start my commercial course at Harvard Commercial College in President Street, near the library today. I find Jill Harry from school there, so there is a known Jeppe face amongst the other girls who are mainly from the northern suburbs, putting in time until they find a suitable husband. When we come out of college in the afternoon I moon around for an hour, walking round and round the block between John Orrs and Polliacks. I get tired of doing this so I go up to the Booths – terribly early but desperate.
Webster answers the door and takes me into the waiting room cum kitchenette while he dries the dishes. He asks me about college and the brief job in the library and is hang of a sweet. He tells me that he has been walking around town for hours this afternoon in sweltering heat. I ask whether I can help him dry the dishes, but he says resignedly, “No, I’m used to it.” He offers me a cup of tea but I refuse – I’m too tired to live, far less drink tea. While sitting there I think how sweet they are and how horrible everyone else is to be so nasty about them.
I go in at Anne’s bidding – I feel at times as though she’s the Queen granting an audience to a very lowly subject, and she says, “How are you?” I say, “Tired,” which makes a change from “Fine”.
She gets me to do Shall I Compare Thee? and tells me that it is absolutely perfect and she wouldn’t interfere with it in any way. Praise indeed. She spends ages going through the book to find some new ones for me to do while she is away on holiday. Eventually, after a long search – in which time I realise that the photo on the table is of Leslie Green – she chooses three poems – one Scots one – To a Field Mouse, and she makes me read them, sits next to me and listens, then criticises, reads them over herself and says my Scots accent is so cute.
Gets Webster to put the poems on tape – they sound ghastly and she had said, while tape was still running, “Oh, darling, I’ll read this poem too!” We practically kill ourselves when it is played back. Anne says I pitch my voice too high when I start. She says it’s like some of their early speeches where they sounded quite burlesque because of the high pitch of their voices. Webster calls through asking for something. She looks at me in such a puzzled fashion and asks what he said. I say, “Something about ink.” and she calls, “Oh, Boo, we haven’t any.” Poor old Boo!
Anne makes arrangements for my next lesson. I am in credit and she owes me a lesson – 10 March, a whole month away – boo-hoo (no pun intended) and she makes me write down the times. Webster hands me a pen. He checks my phone number and asks what suburb the number stands for – I say Kensington, and he looks enlightened and says, “Oh, of course, Kensington!”
I wish them a lovely holiday and they are pleased. I hope they do have a lovely holiday. They deserve it.
8 February – Listen to Leslie Green and Marjorie Gordon and do homework. Play piano and sing (seriously in both cases) at night. Have worked out three poems starting on Friday thus giving me a week each for two short ones and two weeks for long one. All during this time must keep up Shall I Compare Thee.
9 February – Webster and Anne leave on holiday. Very miserable and rainy but dare say they would leave anyway.
Spend lunchtime on the college veranda with Jill H, Audrey and Lynnette and we consider whether it would be a good idea to spend our lunchtime in the bar across street – decide against it!
Learn Fair Daffodils We Weep to See on tram in about ten minutes – good, eh?
10 February – Meet Doreen Craig on the bus and we discuss the guild outing at the old age home. I am to play a selection of songs. Perhaps I can wangle We’ll Gather Lilacs (Webster and Anne’s song!)
At guild at night we go to Rosettenville church and have mock Olympics which is quite fun. Doreen and I go and return with Mr Russell, the minister. We talk – or gabble would be a better name for our conversation!
18 February – I go to the rink and I’m delighted to see Kay Tilley there after a long absence. Kay is still at college in her second year. She says she thinks Anne is not as good as Webster – the first approving opinion of him I have heard for a long time…
20 February – College once more. Jill tells me that Colleen O’Donaghue has got into varsity. We sit on library steps at lunch. Listen to Leslie Green in the afternoon. He’s sweet.
22 February – I am absent from college today because I still feel ill. It’s worth it thought because I hear Sweethearts sung in Afrikaans (very well) by Webster and Anne. I feel really proud of them. They have wonderful voices no matter what people say.
I was thinking yesterday that the present generation of performers don’t really have much talent – Elvis Presley, Tommy Steele, Cliff Richard etc. earn much more money than Mr MacMillan (British PM) yet they’re positively amateurish compared with the Booths. Even now, in middle age, they are wonderful. Britain doesn’t know what they’re missing not to have them living there any more. It is sad that they should have had to come to South Africa to make a living – and even here they are constantly criticised by ignorant people.
23 February – I practise for our concert at the Old Folks Home. Doreen phones to talk about this and I feel as though I’m preparing for a first night at the London Palladium.
24 February – College goes well as always. At home I read the autobiography of Noel Coward which doesn’t cheer me up any owing to talk of bad performances of his which took place in London theatres, and don’t really apply to playing at old folks’ home!
Go up to guild at night feeling vaguely theatrical. I am first, with Doreen a close second. We speak to Peter Casteling and he agrees to lead the singing and is very affable. Doreen organises lifts for us – Peter, me, and Doreen go with Mr Russell. At OPH we hear great hilarity – old people are already singing to the accompaniment of an old lady who plays extremely well. Peter C leads the singing. When singing Roamin’ in the Gloamin’ he says, “Now lets give it big licks for the benefit of our Scottish pianist!” Dave shows slides; Kippy gives a talk, and I play hymns. Then, while we are having tea, the old lady plays again – a bit loudly, but still very well indeed. Peter asks me to play again. I do so because of vague recollections that an artist must never play hard to get, and also because I want to shove all the songs the Booths sing down their ears! Play We’ll Gather Lilacs, Operette, and Only a Rose (Webster and Anne’s signature tune).
Joan and Doreen tell me with great surprise, “You played so well tonight.” Obviously a good piano and a lively imagination contributed to that. Peter says, when he introduces me for a second time, “I don’t think I’ve introduced you properly to our Scottish pianist, born at the bottom of the banks of Loch Lomond – Miss Jean Campbell!” All very nice in a terribly small way I know, but how I’d love to revel in things like that often. I wouldn’t be a pianist of course, but an actress – professional at that! But these are dreams that will probably never come true. In the meantime, I shall have to make do with giving speeches at guild, playing at old folks’ homes, spouting poetry at eisteddfods (if I don’t go dry-mouthed) and doing speech with Anne. Webster and Anne are the luckiest people I know. They have had world-fame and respect, and now they are still great celebrities over here.
March Ann, Brian and Mr and Mrs Stratton come at night. Mr S goes back home to fetch music and comes back with it to sing for us while I play. He has a lovely baritone voice. When Ann is in my room she sees picture of Anne and says, “What a lovely picture of Anne Ziegler!” She has never mentioned Anne before – except with derision!
3 March – I get Gill McDade home on the tram. We talk theatre. I am put off when she tells me that Lock Up Your Daughters was wonderful except for Anne who gave her the shivers because she yelled far too much. I tell her that I expect the play was terrible and that Anne is sweet and a real darling. I should like to know how they achieved such fame and popularity when everybody I know seems to have terrible vindictive downs against them.
4 March – Go to the ice rink today and Susan comes. I skate for a time and then get the shock of my life when I see Gwyn Jones arriving, complete with Springbok colours blazer – whew! I go in and tell Sue about his arrival and we both talk to him for ages. He was allowed into the rink again on Tuesday. I’m glad to see him back. Says he had a gorgeous time in Scotland and at the Olympics and didn’t need any oxygen. He shows us various routines – very good, considering how long he’s been away from skating. We talk about the Goon Show and Peter Sellers. I mimic his Scottish accent in recent film – terrific fun. Gwyn carries on madly on ice.
5 March Booths are back from their holiday today!
7 March – George Formby dies.
8 March – Sir Thomas Beecham dies. Wendy phones at night about Cliff Richard and so does Peter (hymns – 4!).
9 March – Cliff Richard arrives today – mobbing outside Carlton in evidence from the morning.
10 March – After college I come home in terrible rain and then – the time I have looked forward to for a month arrives – I go for my lesson with the Booths. When I arrive I bang on the door and nobody answers. I begin to think vile thoughts, thinking they have forgotten me again, and decide to wait until five past five and then leave. A number of prospective models arrive for Madge Wallace’s modelling school next door and they eye me and I eye them with mutual disdain. Madge Wallace comes out and asks whether I’m waiting for her.
I say, “No, actually I’m waiting for the Booths, but as it’s five I doubt whether they’ll come now.”
She says, “Yes, they will, but they’re always late. Why not take a seat in my studio until they arrive and watch the models.” I do this – models are still extremely disdainful, but the seat is very welcome. Eventually I see Anne at the door of her studio and forget all social graces and go out to Anne who was looking a bit worried. Maybe she thought I had changed studios and was going to take up modelling instead!
Anyway, she is a honey as always – quite brown after holiday and wearing sunglasses. She says their holiday was gorgeous. I go into the studio and sit on studio couch and look at these infernal pictures. I say infernal because they all reflect their fame which I shall never achieve! I hear someone clearing their throat at the door – Webster Booth!
Never in all my living experience can I describe what a shock I receive when I see him – he has grown a beard! I ask you – a beard! A horrible bristly beard, very grey which clashes with the colour of his hair, and moustache. I hope I didn’t let my feeling of horror show. I ask him how he enjoyed his holiday and he talks through his teeth with ecstasy, “It was wonderful,” he says.
Anne and I start on Shall I? and she says it is good but I must have no inhibitions, shyness, or embarrassment of any kind. (Q. Am I showing all those negatives?) We do the other Shakespearean sonnet, Being Your Slave and suddenly she decides that I do that far better than the other. She says, “I’m almost tempted… What do you think Boo, don’t you think Jean could do this better for the eisteddfod?”
He says, “Is it a sonnet?”
“Yes, it’s got fourteen lines.”
“But Anne, are you sure it hasn’t got fourteen lines by accident?”
She asks me what I think – I don’t really mind. She says, “It’s much less hackneyed, but I must smile when I do it. She makes me walk into the room smiling and makes me look at myself in the mirror – I always look vile in their mirrors! She says, “Walk on your toes, head up, shoulders down, and a slight movement of hips wouldn’t go amiss!”
Begins to wax eloquent and continues, “There’s nothing so attractive as seeing a beautiful girl walking on to a stage with a lovely smile. Even if the adjudicator doesn’t smile back, don’t worry – he won’t be in the Profession. A person in the Profession would always smile back at you. In Springs when I was adjudicating I smiled at every contestant just to cheer them up!”
At the end of my lesson she says to me, “You have a lovely face, so smile!” Gives me a big grin which I reciprocate in practised manner and feel quite touched at her good acting. During the whole session Webster chipped in once to say I must clip off “world-without-end-hour”. She says that my diction is good but I can afford to be less pedantic now. Both come with me to the door. A rather nice chap is waiting for his lesson – gives me a grin – sweet! Say bye-bye about a dozen times. (Must remember to say cheerio) and then get lift and come down.
See their car with its GB plate – after five years one would think they might remove it. It’s a green Zephyr – that is, it isn’t a Jag, Rolls or a Mercedes like Daphne Darras’s father, but still, its theirs!
11 March Go to rink. Sue comes and while she, I and Carol Ann (little American) are sitting in cloakroom Mrs Nicholls (Denise’s mother) comes in and tells us that Lennie and Glenda have won British junior pairs championships. She is nearly crying with excitement and I must say that a lump comes to my throat too. Sue and I are utterly thrilled and say so. Good show!
We go out and talk to Gwyn about it, and I must say, that he takes it all in good heart and says how terrific it is. Go on ice and talk to Neill about it too and we are all thrilled. Menina Klein comes and we talk – I tell her about Webster and Anne and she nearly does her nut over them, telling me how lucky I am and how famous they are.
Gwyn is as mad as usual and carries on on the ice wonderfully. Sue has (at least her dad has) a new car and she wants a name for it. Gwyn says in disgustingly – or should I say – deliciously rude manner – why not a chemical formula: ShoneT! My goodness! Says he saw Cliff last night – he thought him good but too screamy. Sue skates gorgeously as usual and so does Gwyn. We fool about and make spectacles of ourselves – everyone watches us – wonderful fun! Neill buys me a cold drink and is sweet but a terrible bragger. Still, he is cute. Afterwards I walk down the road with him and catch a bus on the other side of the road. Lovely morning and am thrilled about Lennie and Glenda.
14 March College – fine. Come into town again and wait outside the Carlton for Wendy to go to see Cliff Richard. Girls and boys are waiting for Cliff to come out of the hotel – all in vain. Wendy comes and we have supper in the Capinero and talk to Carol Balfour afterwards.
Go to Coliseum and feel the atmosphere! Show is very good and so are supporting turns, especially young comedian, Norman Vaughan – amusing and can play the guitar, tap and sing. Cliff and Shadows are lovely and we all clap to the beat. I really enjoyed it, although, on reflection, I prefer Tommy Steele but Cliff is good fun.
17 March. College. We are all thankful for the weekend ahead. I come home with Ann and Colleen O’Donaghue. Talk is centred around college and all the projects Ann has to do for Teacher’s Training College. I come back to town in rather a strange frame of mind and feel rather a failure theatrically speaking. Go up on the lift and think they probably won’t be there yet, so I knock. I am shocked when I realise that somebody is singing and I’ve interrupted them.
Webster answers door – still with beard – and is affable. Takes me into the kitchen and asks me if I want a cup of black tea. I decide to accept so he tells me to help myself. I do so and he disappears. I drink tea and then wash and dry spoon, cup and saucer.
Girl – her name is Roselle – sings Someday My Heart will Awake really gloriously and touches high A with great ease – the sort of singing that touches the heart. Anne says, “Very cheap, very common, but lovely.” After lesson, Roselle tells Webster and Anne she loves singing far more than the piano and could give her whole life to it. She is very eloquent about the whole thing – something I could never be. I am very surprised when I see that Roselle is only a girl of about fourteen – very plain and a bit stodgy, but my goodness, her voice will be her fortune.
I go in next – an anti-climax for all – and say that Roselle’s voice is too gorgeous for words. They are both enthusiastic about it too and enlarge on her. She could only sing to the A above middle C when she first came but can now reach high A. Has a great future if she’ll work. She loves singing and is very musical. Webster says, “The day she came, I knew she was going to be good. She has a voice like an adult.” (He places the accent on the ULT)
Webster gives me a long lecture. “When I was young, the famous character actor, Bransby Williams gave me a tip. He said, “When you walk onto the stage, feel proud of yourself as if you’re just as good – if not better – than anybody else. It’s something I have never forgotten.” He gives a demonstration of Bransby Williams walking onto the stage.
Anne says, “He wouldn’t have been so arrogant, Boo.”
“He wasn’t arrogant, but he was self-assured.”
I tell them that I don’t feel nervous on the stage in a play, only when I’m doing something by myself. They say that is understandable, but one must be able to be a soloist as well as an actor. Anne says that she has to accompany some of the singers and she feels nervous. How unusual! On leaving, Webster says I shall have to get onto some plays – very good idea. I’m sick of spouting poetry…
18 March Copy music, play piano and listen to radio in morning. Go to lunch with Mum and Dad in and then we go to see Midnight Lace with Doris Day and Rex Harrison. It is a really good thriller – Doris Day excels herself in this dramatic role. Rex Harrison is excellent too with beautiful diction.
When we come home I see Jeppe girls coming from the swimming gala. I talk to Dawn Vivian and she tells me that Jeppe came seventh out of nine! Parktown came first – watch out for bragging at college on Monday! Girls are far more demure than usual – Miss Reid and Miss Allen are following them in their car to keep order!
21 March College. Mr Pelkowitz says it’s OK for tomorrow – prize-giving at school so shall have a holiday. Wendy phones this evening and we discuss the prize giving. I am meeting her tomorrow at 9.45. It will be funny going back to school again.
Play the piano and then listen to the radio. I am barely seated at the radio when the phone rings again. I wonder if it is Wendy phoning again and wonder what on earth she wants.
Voice, which isn’t Wendy’s says, “Hello, is that Jean speaking?” I reply “Yes,” and wonder if it is Mrs Watt or Mrs Corrigan. Then mysterious voice says, “Oh, Jean this is Anne Ziegler speaking.” I nearly die on the spot. My heart jumps into my throat and I say in surprised voice, “Oh, good evening.”
“I just phoned about your lesson, Jean. Do you think you could possibly make it Thursday instead of Friday?”
“Yes, Mrs Booth – that would be fine – what time?”
“Four o’clock – would that suit you?”
“Yes, that’ll be perfect.” I reply in slightly dazed tone.
“Well, goodbye, Jean. We’ll see you then. Don’t forget – Thursday 4 o’clock.”
“Goodbye,” I reply in cheerful yet distraught fashion.
I go through to the lounge feeling a great shock, but it’s rather a nice feeling really. Can I forget, “This is Anne Ziegler,” – To have a name so famous and to use it so carelessly. I don’t know what or why it is, but when I speak to them I forget their fame and their singing, but this incident gives me a gentle reminder of who they are – not Webster and Anne as they have become to me, but Anne Ziegler and Webster Booth, the famous singers.
22 March. We have prize-giving today. It is very strange returning to school – seeing the girls again. Winnie, Gay and Hazel J are nurses. Sit next to Claire J and Audrey D. Miss Reid’s report on last year’s events is cold and impartial – take a deep breath at mention of Miss Scott (who taught us English so brilliantly for a term). We get our prizes (matric certificate!) and talk. Gill Clarke is there – gushing and facetious as usual – utterly charming all the same.
Go into town and Mum buys a tangerine jacket for me in the Belfast – lovely.
While dad is twiddling with the radio he comes across a well-known voice on the English programme – Webster presenting a new programme – Webster Booth presents opera, oratorio and operetta. It is lovely to hear his voice on the radio unexpectedly and to know that I know him. He reminisces about his youth – born in Birmingham then advised to go for audition at Lincoln Cathedral school which would give him a free education. He was accepted and became a boy chorister, trained by Piggy (nicknamed because he snorted while he was conducting). Life at Lincoln gave him a rigorous musical training for four years until he was thirteen when his voice broke. He was told, “Don’t sing for two years and then you’ll be a tenor.” He followed the advice, but he hoped to be a bass rather than a tenor. He says in typical Webster manner, “I have made 350 solo recordings and many duets with Anne Ziegler.”
He fills this talk in with record he has made – religious aria, aria from Carmen and several others – oh, yes – How Lovely are Thy Dwellings. He plays some Gilbert and Sullivan overtures too. It is a gorgeous programme – not only because it’s him but because he’s so interesting and presents himself so well, and because his singing is beautiful and cannot be surpassed. Please let me have the courage to tell him that his programme was wonderful when I see him tomorrow. No one who has good taste can deny that!
23 March Go to college again and work hard and feel dead by the end of it all. I kill time for an hour in Anstey’s and then meander slowly up to the studio, feeling quite strange in the lift as I usually do.
Anne arrives after me and is charming as usual. She admires my tangerine jersey acquired yesterday. We go in and I sit down for a minute and look at the photos. She sits down and I do poem – swallow “per chance” for some reason – perhaps because Webster opens the door at that very moment. Webster stampedes – that’s the word for it – in, and it takes him a few seconds to realise that I’m there! He says, “Oh, hello Jean. I didn’t realise you were there!” I ask you!
He says that six weeks ago he wrote to hire a wig and it didn’t arrive, and now he has had a letter to say would he please return it. He is furious and goes into the office to phone up about it.
Anne tells me that they haven’t had any tickets for the eisteddfod. How can people make arrangements for Easter with this infernal eisteddfod looming? Their maid is going into hospital for a tonsillitis operation so she won’t have any help in the house. She has to come into town for eisteddfod about nine times, so doesn’t know what to do.
She says that if I’m nervous I should take deep breaths as this is very calming. Swears, using hell in one of its forms – can’t remember what exactly she says! She says it’s time I started on plays now. She pores over innumerable scripts and brings out Spring Quartet – they were in it in Cape Town when they first arrived in the country in 1956. She explains the plot to me and I do the part of a Scottish girl in Austria while she reads all the other parts. It is gorgeous acting with her. She says that Scottish comes very naturally to me so she’d like me to try something else. She finds And So to Bed when the phone rings and Webster looks up the part – Mistress Pepys – and hands it to me after much searching. They played Mistress Knight and King Charles II in the touring production in the UK in 1953/54. She comes back from the phone and tells me that I should take the script home and study Mistress Pepys which should be done with a slight French accent.
She’ll phone me if she gets any news of the eisteddfod. I say goodbye and shout goodbye to Webster who is in the office. He is affable in a dazed fashion and shouts, “Oh, goodbye, Jean.”
Armed with the script which they had used at the height of their fame – I walk down Eloff Street feeling spontaneous and happy. I glance through the script on the bus and laugh at some remarks Anne had written in the back of it.
Betty phones at night – Peter, 1 o’clock on Saturday – coming here. And now, as Pepys would say, “Goodnight, sweet dreams and so to bed!”
25 March Go to visit Mr and Mrs Jones who have stand at Hartebeespoort Dam with rest of teachers. We have a really gorgeous time. I go with Fred Shaw, Joan Spargo, Wendy Price-Williams and Dorothy Shaw – houseboat in wilderness of shrubs adjoining the dam – really beautiful. Ann, Peter, Leona are already there when we arrive. Mr Jones is a local preacher who preached once at our church.
Go home eventually with Fred. Peter comes too and we sing on the way home. Peter has a good voice – should have it trained with Webster! We discuss them. Wendy says how wonderful it was when they sang Wunderbar at church concert, and she loved it when Anne said to Webster, “Just wait till I get you home!”
We all sing this and other songs and Wendy tells me I have a wonderful voice – I should join the choir – says this so sincerely it fairly bucks me up. I adore singing. I put my heart and soul into it – I love it!
29 March Webster with his gorgeous programme again – it has been renamed On Wings of Song and it is introduced with the Booths’ recording of the song. Webster sounds familiar and yet a complete stranger.
He tells of applying for the post of tenor soloist at a certain cathedral, but turned it down for the salary of £200 a year was too low. He started his singing training with Dr Richard Wassall and started to sing tenor solos in the choir.
While working in an accountant’s office, he gets offers from oratorio agents and began singing all over the country – including in Wales and Scotland – and so became reasonably well-known in oratorio circles.
He is proud that he sang with Harold Williams, whom he considers to be the baritone of his generation. He plays some of his own recordings, all conducted by “my old friend, Sir Malcolm Sargent”. He also plays the overture to Merrie England, in which he took the tenor lead with Dr Wassall.
He makes all this so interesting and his records are beautiful – plays arias from Messiah and Elijah and other songs. What a man, what a voice and how nice he really is. To think I’ll see him tomorrow and he will once more become that rather vague person, dominated by Anne.
30 March Go for lesson. Arrive early and hear snuffles of Lemon at the door. Man who has come up on the lift with me comes into the studio too. I go in and Webster holds Lemon in his arms and asks customary question, “Are you wearing stockings?” I say, “Yes, but please put Lemon down.” I play with him – what a sweetie. Anne comes into kitchen looking too beautiful for words in red and white sheath dress and she tells me she is dead tired because of all the work she had to do at home without the maid who has gone into hospital for her tonsil operation. Between the worry of the eisteddfod and the heat, she’s dead beat. She takes me into the studio and Webster introduces me to the man called André van der Merwe. He says, “We’re sorry we haven’t been able to spend more time with you while you were here,” and A vd M departs – saddened, me thinks.
Anne gives me tickets for the eisteddfod and says she doesn’t know if she’ll manage to be there to hear me. Webster disappears to make tea. She says that she’ll have to accompany a singer in the Duncan Hall, so she isn’t quite sure… I say, “Anne, please don’t come. I shan’t feel so badly if you’re not there.” She laughs and says that she’s sure I shan’t do anything badly. Now I come to think of it, I don’t suppose she has any intention of coming to hear me recite the silly poem at the eisteddfod!
Webster returns and Anne searches for her And So to Bed script. I realise that this is the moment, so I say, “I thought your programme was terrific last night, Webster.” He turns around and says, “Oh, thank you, but I wasn’t too happy with it last night. I could hardly hear it either with the crowd around the radio. I was better pleased with the first one, but next week is a nice one.” I assure him that I enjoyed both of them and he is obviously pleased, but tries to appear nonchalant.
Anne takes me over and shows me pictures of And So to Bed. Mistress Pepys with Charles and Pepys (played by Leslie Henson) with Anne looking as gorgeous as anything. I make appropriate remarks and then we start. Webster promises to do Charles, but we don’t get that far. I really enjoy doing the play with Anne. She’s terribly vulgar in explaining character – be bitchy and wish the other woman to hell. She seems pleased with my acting and French accent. She says that I pick up my cues well and I obviously have been taught to do this. Webster turns around and says that I do it very well and could do the part anywhere – rather a compliment coming from him when he usually tries to criticise me.
In the middle of this there is a knock at the door and a stodgy little girl of about nine enters the room. Anne’s expression changes to ice and she says in a horribly cold voice, “Oh, it’s you Sally. You had better sit in the kitchen for a while.”
Anne tells me that this kid hasn’t turned up for her lesson for six weeks and yesterday her mother phoned up for a lesson for her today. Anne was flaming mad, but said, “OK, 3.30.” She didn’t turn up then and has turned up now and they are expecting someone else after me. Webster comes in and Anne says flatly that Sally can’t have a lesson today. We continue with our play without further disturbance and all is convivial.
During tea a discussion arises about different teas. Anne says that in Britain they used to drink Indian tea and she loathes Ceylon tea. She has discovered an imported blend in Thrupps, and compared to it, this tea tastes like DDT. Webster says, “What nonsense,” and I am inclined to agree with him but more politely. When I leave they both wish me luck. I say goodbye to Webster and Lemon. and Anne comes with me to the door and wishes me luck yet again and see I win a prize! I shan’t! What pets they are. Anne tells me how she loved Daddy’s Scots accent.
Irené Frances Eastwood (Anne Ziegler) was born on 22 June 1910, the youngest child of Ernest and Eliza Frances Eastwood (née Doyle) of 13 Marmion Road, Sefton Park, Liverpool. Her father was a cotton broker, and her mother, born in Bootle, was the daughter of James and Elizabeth Doyle. James was an architect, who had designed the Grand Hotel, Llandudno and other well-known buildings. Her sister, Phyllis, and brother, Cyril, were some years older than her, so Irené was almost an only child. At the time of her birth, her father was in Houston, Texas, buying cotton, so he did not see her until she was three months old.
Her father did not want her to risk the might of the Zeppelins, so she had a Scottish nursery governess to teach her reading, writing and basic arithmetic. Later she attended Belvedere School. Her sister, Phyll, had done well there, but Anne was only interested in music and dancing, so the staff at Belvedere often compared her unfavourably to her studious elder sister, who had become a pharmacist when she left school.
Anne left school at the age of sixteen and continued playing the piano up to Grade VIII of the Associated Board of the Royal Schools of Music and began to study singing with the eminent teacher, John Tobin. In the nineteen-twenties a girl of her class had no need to work for a living. She was beautiful: tall and slim with emerald green eyes, fair hair and a fine bone structure. She became engaged – several times – to suitable young men, including a curate!
She sang in John Tobin’s female choir of twenty-four voices and took the part of the May Queen in an amateur production of Merrie England.
She won the gold medal at the Liverpool eisteddfod and sang at concerts in and around Liverpool. At this stage singing was a pleasant way of passing the time rather than a means of earning her living for a girl of her class had no need to work and earn money. Her father financed a vocal recital in Liverpool and a further recital at the Wigmore Hall under John Tobin’s tutelage. At the Wigmore Hall she sang everything from Handel’s He’ll say that for my love from Xerses to Roger Quilter’s Love’s Philosophy and Scheherzade, but neither of these recitals brought forth any professional singing engagements.
Her family’s fortune took a downturn in the early thirties with the depression and the collapse of the cotton shares. For the first time in her life, she had to think seriously about earning a living to relieve her family’s finances. She was not trained to do anything as mundane as serving in a shop or typing, but she was attractive and she could sing. She and her friend, the mezzo-soprano, Nancy Evans, went to London to audition. Nancy didn’t find any work on that occasion, but Anne got the part of top voice in the octet of a musical play, By Appointment, starring the famous singer, Maggie Teyte, changed her name to the more glamorous Anne Ziegler, was accepted on the books of the theatrical agent Robert Layton, and was determined to establish herself on the stage and not become a financial burden to her father.
By Appointment was not a success and lasted only three weeks but she found another job singing for Mr Joe Lyon’s organisation amidst the clatter of the restaurants of the Regent Palace and Cumberland Hotels, and the Trocadero. She auditioned for the part of Marguerite in a colour film version of Gounod’s Faust Fantasy. She had seen the opera as a child and was so enchanted with it that she determined she would play the role of Marguerite when she grew up.
From over two hundred other hopefuls she was chosen for the part: 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.
They fell in love almost at first sight, 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 eventually married on Bonfire Night in 1938.
In the intervening four years from the time Anne and Webster met and when they were free to marry, Anne was principal boy in her first pantomime, was an overnight success on radio in The Chocolate Soldier, sang in the early days of British television in 1936, and starred, under the name of Anne Booth, in the musical Virginia in New York.
Anne had made a test recording for HMV in 1935 but she made very few solo recordings for the company. It was only when she began singing duets with Webster that her recording career as a duettist was established in 1939. Here is her test recording from 1935: The Waltz Song from Merrie England
At the end of 1935, she was principal boy in Mother Goose, her first pantomime, at the Empire Theatre, Liverpoolwith George Formby and George Lacey. The following year she was principal boy in Cinderella in Scotland with the popular Scottish comedian, Will Fyffe.
July 1937. Anne was invited to go to the States to appear in the musical Virginia by Schwartz. She decided to take the name of Anne Booth for her appearance there and made up a fictional life storyto go with her new name! The show was presented at the Center Theater, New York, but it was not a great success, and Anne did not receive very good notices. She returned to the UK after the show ended although a film company in Hollywood had been interested in employing her.
Anne and Webster were married on 5 November 1938 and from then on their lives and careers were intertwined and in the 1940s they were to reach the top of the entertainment tree as duettists.
Babs was born in Manchester on 12 September 1908, the second child of Gertrude and Harold Wilson. As a young child, she lost her father during the First World War. She missed her father dearly as she had been very fond of him.
When Babs was in her early years she was living in Chandos Road, Chorlton-cum-Hardy and went to Loreto Convent School. By this time she had been having piano lessons and had also become a very able dancer.
Babs remembers her Aunt May, only eight years older than herself, teaching her a few dances. This sparked off an interest which was later to become her career. She decided to take the subject more seriously and began lessons with the Haines School of Dancing, Whalley Range and later at Sheila Elliot’s School of Dancing, Liverpool. Some of her early performances were in the theatre at the rear of Manchester’s Midland Hotel.
During her dancing years, Babs had been coached by Anna Ivanova who was with the Pavlova Company. Babs was later to become the Principal Ballerina in pantomime with Tom Arnold who produced performances throughout the country. She was in eight pantomimes altogether and was Principal Girl, Fairy, Witch, and Principal Dancer. She performed with and became a friend of Anne Ziegler and Webster Booth and knew George Formby and his wife Beryl well.
George Formby was later to be responsible for Babs being sent to the Isle of Man during the Second World War. He saw her dressed in her WAAF’s uniform and was most amused! He wanted Babs to be part of a team in Jurby, Isle of Man, where a theatre had been set up at the RAF base there. Babs asked that this was to be secondary to her work as an MT driver. She had been advised not to be part of ENSA and so this was a good compromise. When she arrived at the Isle of Man she had her own personal transport waiting to take her to Jurby and was treated as a VIP, much to her surprise! A trunk of her costumes was shipped over to the island. Babs always made her own costumes.
One of the shows she was involved with went to London for one night where she was introduced to a member of the Royal Family.
Later in the war, she was transferred to Ireland, Scotland and finally Stanmore, where at one time she was driving a 15cwt lorry and, as a Corporal, she was also driving a Staff Car. After coming out of the Services Babs went to live in Cobham Surrey. She had a very short, unsuccessful marriage and later moved back to Colwyn Bay.
Babs looks upon her move to Colwyn Bay as a successful one. She has had the advantage of both the sea, in which she was a regular swimmer for many years and the beautiful surrounding countryside. She is also surrounded by many very good friends. Over the years she has been very involved with The Guide Dogs for the Blind Association.
Her friendship with Anne Ziegler and Webster Booth enabled her to spend many months with them in South Africa. When Anne and Webster were thinking that they would never be able to return to the UK, Babs bought a bungalow for them to live in which was near to her in North Wales. They remained in this home until they died.
Babs died on 28 September 2003* (only a few weeks before Anne died on 13 October 2003).
Babs in her beautiful garden in Colwyn Bay (photo: Linda Anderson)
*only a few weeks before Anne’s death on 13 October 2003.
Anne had met Babs when she appeared in her first pantomime in Liverpool. Anne was the principal boy, Babs the principal dancer.
Anne (right) in Liverpool pantomime (1935/36)
When the broadcaster, Leslie Green went to the UK in 1962 he met Babs and interviewed her for his programme Tea With Mr Green on Springbok Radio. Anne and I listened to the programme together. Here is an extract from my diary on 4 September:
4 September Go to the studio in the afternoon. Anne is there by herself and she tells me that Webster has had to do his two extra programmes before he goes (to Rhodesia) today. She told him to go home and have a rest after them if he’s tired so I might not see him. She asks if I’d like to listen to Tea with Mr Green because her girlfriend is going to be on today.
We do scales and exercises. The chemist phones and she arranges to have a silver Wellaton (hair rinse) sent up! She says her hair is a dull mousy grey and she has to do something to liven it up and stop her from looking old!
We listen to Leslie G and she tells me that Babs Wilson-Hill is her very best friend in Britain. She and Babs were in panto together in 1934 and she is very fond of her. They write to one another every week and tell each other all their worries and troubles. She is very well off – she has a lovely home and garden. She shows me a picture of her (which is on the wall). She says she misses her more than anyone else in Britain.
Leslie G introduces his programme by saying that it was due to Anne Ziegler that he is there because she had told him about Babs. He talks about the lovely garden – laburnum, willows, larkspurs, snapdragons… Babs sounds very like Anne, only more so – same laugh, the same intonation of words, very pleasant and slightly “county”. She has a house near Guildford in Surrey. Anne says that Babs wrote and said she made a terrible botch of the whole thing but she sounds terribly self-possessed to me. After it is over, Anne says that one can only have a friend like that once in a lifetime and she thinks everyone needs someone to confide in and tell their troubles to.
1934. North Regional -Sunday -7.0-7.45 STABAT MATER, by Pergolesi (for Female Voices, string orchestra and Continuo); the Liverpool Ladies’ Choir (by permission of the Liverpool Music Society); the Northern String Orchestra (leader, John Bridge), Conductor, John Tobin; Tilly Connely (Harpsichord)’ Emily Evans (Soprano); Doris Walker (Soprano); Nancy Evans (Contralto); Irené Eastwood (Soprano). Irené changed her name to Anne Ziegler when she moved to London to go on the stage.
29th January 1935 -Following a reading of Scottish poetry by CRM Brookes, a modern fairy tale, by James Dyrenforth, with music by Kenneth Leslie-Smith, entitled LOVE NEEDS A WALTZ, will be relayed. Among those taking part in this are Bruce Carfax, Ernest Sefton, Gordon Bailey, Sam Browne, Ben Welden, and Anne Ziegler.
Anne was hailed as a ‘Radio Nightingale Discovery’.
19th February 1935 -Scottish National – 8.0 THE CHOCOLATE SOLDIER, a Comic Opera, adapted for Broadcasting from Stanislaus Stange’s English Version of the Libretto by Adolf Bernauer and Leopold Jacobson; Music by Oscar Strauss; adapted and produced by Gordon McConnel, with Anne Ziegler, Amy Augarde, Betty Huntley-Wright, Horace Percival, Franklyn Kelsey, Percy Heming, Jan van der Gucht, the Wireless Chorus and the BBC Theatre Orchestra (leader, Montague Brearley), Conductor Stanford Robinson.
RADIO THEATRE February 1935 -Prince Edward Theatre. Anne Ziegler, with Stannelli, Richard Murdoch, Claude Dampier, Billie Carlyle and Elsie Sterndale.
RADIO MUSIC HALL 1935 –Anne Ziegler, with Claude Hulbert, Muriel George and Ernest Butcher and Mario Lorenzo.
15th May 1935 -Scottish National – 10.00 THE MAY REVUE; music by Jack Strachey; produced by C. Denis Freeman, with Nelson Keys, Sylvia Leslie, Patrick Waddington, Hermione Gingold, C Denier Warren, Max Kirby, Anne Ziegler; the Radio Three; the BBC Variety Orchestra, directed by Mark H. Lubbock.
1st June 1935 -Scottish National Saturday 8.30 BITTER SWEET, a Romantic opera by Noel Coward, adapted for the microphone by Henrik Ege, with Evelyn Laye, Serge Abranovic, Betty Huntley-Wright, Patricia Burke, Patrick Waddington, Tessa Deane, Rose Hignell, Anne Ziegler, Phillip Cunningham, Norah Howard, Effie Atherton, Hermione Gingold, Gerald Nodin, Leslie Perrins, John Cheatle, Elaine Inescort, Winifred Davies, Billy Milton, Philip Desborough, Dimitri Vetter, Hector Abbas, Dorothy Tetley, Stanley Vine, Gwen Williams; the BBC Theatre Orchestra; Mantovani and his Orchestra; the BBC Revue Chorus, conducted by Stanford Robinson; Assistant Conductor Arthur Wood. 9.30 Time, Weather, and News Summary; 9.45 BITTER SWEET (Act 2)
20th June 1935 -The radio version of Owen Hall’s THE GEISHA, with Huntley Wright in his original part and Anne Ziegler as O Mimosa San, will be reintroduced by Marie Tempest in the Scottish National programme tonight at 8.0.
8.0 Marie Tempest introduces THE GEISHA, a broadcasting version of Owen Hall’s story of a Tea House; Lyrics by Harry Greenbank; Music by Sidney Jones; Pidgin English by Clifford W. Collinson; adapted and produced by Gordon McConnel with William Stephens, Lawrence Baskcomb, Colleen Clifford, Huntley Wright, Ewart Scott, Arnold Matters, Gladys Young, Anne Ziegler, Ian Glennie, Betty Huntley-Wright; the BBC Chorus, the BBC Theatre Orchestra, conducted by Stanford Robinson.
The Scotsman, 29th June 1935, page 20 -Sunday 6.30 – 7.45 The BBC Theatre orchestra conducted by Stanford Robinson; Anne Ziegler (Soprano)
12th November 1935 -Scottish 3.00 The Torquay Municipal Orchestra, Conductor Ernest W Goss; Anne Ziegler (Soprano)
—————————————————————————————————————————————– 1936 – 1940 This was one of the most prolific broadcasting periods for Anne Ziegler and Webster Booth. They appeared in separate broadcasts until January 1938 when they began singing together. They were married on 5 November 1938.
Excerpts from Mother Goose – Regional Programme Northern, 1 January 1936 19.00 –presented by TOM ARNOLD (for Julian Wylie Productions, Ltd.) Relayed from The Empire Theatre, Liverpool Book by J. Hickory Wood and Dan Leno , Jnr. Music composed, selected and arranged by James W. Tate and E. W. Eyre
Ballets, Musical Number and Ensembles staged by John Roker, J. W. JACKSON ‘S SIXTEEN ENGLISH DANCERS, TWENTY-FOUR EILEEN ROGAN CHILDREN, Chorus and Ballet, Produced by TOM ARNOLD
George Lacy is one of the finest dames of modern times and a great artist. His change of appearance from his comedy make-up of the early scenes to the beauty that invests Mother Goose after she has bathed in the Magic Pool is as wonderful as the pathos of his acting when beauty leaves her.
George Formby , brilliant son of a brilliant father, needs no introduction to Liverpool audiences. Like his father, he is Lancashire’s own comedian Anne Ziegler is Liverpool born and bred, and sang in concerts there under her own name of Irene Eastwood. She decided that musically her own name would not get her anywhere; changed it to Anne Ziegler, and won fame on the air. She is slim, blonde, and beautiful. Anne as principal boy in her first pantomime.
Last, but not least, of a brilliant cast is George Queen, who plays the goose. Priscilla with an amazing fidelity to life.
Sunday – 6.0 Up North for Pantomime: Anne Ziegler, Principal Boy in Tom Arnold’s Pantomime, MOTHER GOOSE at the Empire Theatre, Liverpool.
29th February 1936 – 10.0 The BBC Theatre Orchestra; Conductor, Stanford Robinson; Anne Ziegler (Soprano)
Anne sang A Song in the Night by Loughborough on Pathé. Unfortunately, this excerpt is missing its soundtrack, but click on the link to hear the recording: https://clyp.it/dk0yxd2i
Comic Opera-5 – National Programme Daventry, 26 March 1936 20.30. A Programme of Songs and Scenes from LA POUPÉE, English lyrics by ARTHUR STURGESS; Music by EDMOND AUDRAN.THE ROSE OF PERSIA English lyrics by BASIL HOOD; Music by ARTHUR SULLIVAN and THE POLICEMAN’S SERENADE – A Grand Little Opera Words by A. P. HERBERT; Music by ALFRED REYNOLDS
Artists: GEORGE BAKER (Baritone) ANNE ZIEGLER (Soprano) APPLETON MOORE (Baritone) BERNARD ANSELL, IAN GLENNIE, IVAN GOLDING, IRENE BRIGHTMAN, JOHN DUNCAN, THE B B C REVUE CHORUS and THE B B C THEATRE ORCHESTRA, Conducted by STANFORD ROBINSON, The Programme arranged by GORDON MCCONNEL (the Producer) and MARK H. LUBBOCK. This was broadcast in the Regional programme last night.
6th June 1936 – Aberdeen Sunday 9.0 UP NORTH THIS WEEK: Anne Ziegler, accompanied by the Buxton Spa Orchestra: Conductor: Maurice Mies from the Pavilion Gardens, Buxton.
HARRY GORDON OF INVERSNECKY AND HIS COMPANY – Regional Programme Scotland, 13 July 1936 21.30 – from the Beach Pavilion, Aberdeen.
This year Harry attains his majority in the Beach Pavilion, having begun there twenty-one years ago at a salary of £2 a week. Eight years later he became lessee of the Pavilion, since when he has managed and produced a long succession of amusing shows, in addition to undertaking the work of principal comedian. Assisting him tonight are Murray Stewart and his Orchestra Mascotte, Joan Coleridge , Anne Ziegler, Fred Yule, Jack Holden, Jack Key, Four Paramount Tiller Girls, and Alice Stephenson.
6th August 1936 LOTS OF LOVE 10.5, An Improper Story of Four Centuries (very properly cut to an Hour) by HOLT MARVELL. Music by JACK STRACHEY, ANNE ZIEGLER (Soprano), CAVAN O’CONNOR (Tenor) and THE RADIO THREE, GORDON LITTLE (Baritone), THE B B C VARIETY ORCHESTRA, Conductor, STANFORD ROBINSON, ORCHESTRA: Hungarian Souvenir, GORDON LITTLE: Can This Be Love? ANNE ZIEGLER AND CAVAN O’CONNOR: Two Songs from Lots of Love 1. Vienna in the Spring; 2. Moon of Romance.
GORDON LITTLE: A Night in November. ANNE ZIEGLER AND GORDON LITTLE: Ghosts of My Lovers.
ORCHESTRA: Suite, Three Cameos 1. The Little Waltz; 2. Polka, Grand-mamma Goes Gay; 3. Ascot Parade. ANNE ZIEGLER AND GORDON LITTLE: Holiday Abroad.
ORCHESTRA – Selection from the Monthly Revues.
Of those who are to sing some of his numbers tonight, Anne Ziegler first broadcast in Love Needs a Waltz, Cavan O’Connor won fame as the Vagabond Lover, and Gordon Little, another well-known broadcaster, played in Stop Press at the Vaudeville last year.
Lots of Love (Repeat) – National Programme Daventry, 13 October 1936 20.00 Radio broadcast. Anne Ziegler and Cavan O’Connor, with Adele Dixon, Greer Carson, Bruce Winston, Eric Portman.
Radio Pie – Regional Programme London, 5 November 1936 19.30. Written, composed, and concocted by THE TWO LESLIES: (LESLIE SARONY and LESLIE HOLMES).
Ingredients: TOMMY HANDLEY, TESSIE O’SHEA (By permission of George Black ), THE SINGING PORTER, MARIO DE PIETRO, ANNE ZIEGLER, HUGO STEFFANI AND HIS TWENTY-ONE SILVER SONGSTERS.
TV BROADCAST 1 December 1936, 9.45 10.00 pm. BBC TV Anne appeared with Gilbert Webster (xylophone).
9th December 1936 Scottish National Regional 9.0 The BBC Theatre Orchestra conducted by Harold Lowe; Anne Ziegler (Soprano); Michael Collins (Violoncello)
Round the Pantomimes—2 – Regional Programme Scotland, 29 December 1936 21.00 Cinderella with WILL FYFFE, JOAN COLE, ANNE ZIEGLER, WINNIE COLLINS etc. from the Empire Theatre, Edinburgh (By permission of George Black ) Continuity by P. I. KEITH MURRAY and R. E. KINGSLEY
HUNTLEY WRIGHT as Wun-Hi in THE GEISHA – National Programme Daventry, 4 January 1937 19.45
This was one of the first broadcasts in which Webster Booth and Anne Ziegler appeared together. Webster was still married to Paddy Prior, but a divorce was pending.
A broadcasting version of Owen Hall ‘s Story of a Tea House – with some additional pidgin English by Clifford W. Collinson , F.R.G.S; Lyrics by Harry Greenbank, Music by Sidney Jones – Composer of A Greek Slave, An Artist’s Model, A Gaiety Girl. The BBC Revue Chorus and The BBC Theatre Orchestra, Conducted by Harold Lowe, Adaptation and production by Gordon McConnel with technical assistance of Rex Haworth. The Geisha will be repeated in the Regional programme on Thursday at 8.45
Police-Sergeant Takemini (attendant on the Marquis): Franklyn Kelsey
Marquis Imari (Chief of Police and Governor of the Province): Lawrence Baskcomb
Juliette (A French Tea Girl): Colleen Clifford
Wun-Hi (Chinese Proprietor of the Tea House): Huntley Wright
Officers of H M S Turtle: Lieutenant Cunning: Ewart Scott
Lieutenant Reginald Fairfax: Arnold Matters
Lady Constance Wynne (a Wealthy Englishwoman): Gladys Young
O Mimosa San (A Geisha): Anne Ziegler
Lieutenant Katana (of the Imperial Japanese Artillery): Webster Booth
Molly Seamore: Billie Baker
THE CHOCOLATE SOLDIER – Regional Programme Scotland, 30 March 1937 20.45 A Comic Opera adapted for broadcasting by Gordon McConnel from Stanislaus Stange’s English version of the libretto by Adolph Bernauer and Leopold Jackson. Music by Oscar Straus, The BBC Revue Chorus and The BBC Theatre Orchestra, Conducted by Mark H. Lubbock. Production by Gordon McConnel and Rex Haworth. (From Regional).
Nadina Popoff, Daughter of Colonel Popoff: Anne Ziegler
Aurelia, Wife of Colonel Popoff: Gladys Parr
Mascha, Her Cousin: Betty Huntley Wright
Bumerli, Lieutenant in the Servian Army: .Horace Percival
Massakroff, Captain in the Bulgarian Army:.Franklyn . Kelsey
Kasimir Popoff, Colonel in the Bulgarian Army: Dick Francis
Alexius Sparidoff, Major in the Bulgarian Army: . Jan Van Der Gucht.
DANCING THROUGH – National Programme Daventry, 14 May 1937 20.00 Geraldo won fame for his non-stop music when he broadcast his first programme of ‘ Non-Stop Dance Music ‘ in 1934. In this fifth edition of Dancing Through he is trying to beat his record of 152 tunes which he played in the last (in December, 1935), and he will probably succeed. The vocalists are all well-known broadcasters.
Monte Rey , who has broadcast so often with Geraldo himself, Lily Morris of Music-Hall fame, Anne Ziegler, associated with radio musical comedy and operetta, and Wilfrid Thomas and Eve Becke , who were both so often with the Air-do-Wells. At the organ is the brilliant organist who succeeded Reginald Foort at the Paramount, Tottenham Court Road, Al Bollington, who gave a broadcast on the BBC Theatre Organ on Christmas Eve.
PADDLE STEAMER – BBC Television, 17 June 1937 15.35 Down River in 1850 with Sebastian Shaw and Anne Ziegler, Dances arranged by Wendy Toye, To Music by John Gardner, Produced by Dallas Bower. In this unusual production a leading rôle will be taken by an actor who, though he has been on the stage since 1914, when he was nine years old, has made a number of exceptionally notable hits in the last year in the film world, one of his latest parts being the leading male role in Farewell Again. His stage appearances include The Constant Nymph, The Sacred Flame, Precious Bane, Double Door, and repertory work at Stratford-on-Avon, and in Liverpool and Hull. Anne Ziegler is, of course, one of the most constant favourites in television programmes. Her numerous visits to Alexandra Palace include an appearance as a solo artist on June 2.
Wendy Toye, the brilliant twenty-year-old actress and dancer, who has arranged the dances in this programme, produced a ballet at the Palladium when she was only ten years of age. She studied dancing almost from infancy, and has appeared with the Camargo Society and toured with Anton Dolin and Alicia Markova.
AMERICA CABARET AND BROADCASTS 1937. While Anne starred in Virginia at the Center Theater, New York, Webster did a few broadcasts with Will Rogers and sang at the Rainbow Room, New York.
6th January 1938 – Scottish 8.45 THE GEISHA, a broadcasting version of Owen Hall’s story of a Tea House, with some additional pidgin English by Clifford W Collinson: lyrics by Harry Greenbank; music by Sidney Jones; Adapted and produced by Gordon McConnel, assisted by Rex Haworth, with Huntley Wright, Fred Yule, Lawrence Baskcomb, Colleen Clifford, Ewart Scott, Arnold Matters, Gladys Young, Anne Ziegler, Webster Booth, Billie Baker; The BBC Revue Chorus and the BBC Theatre Orchestra; Conductor, Harold Lowe.
VARIETY – National Programme Daventry, 26 January 1938 19.15. Clarkson Rose: Comedian, Webster Booth and Anne Ziegler : Musical Comedy Duets, A Motoring Episode by Charles Hayes and George Barker, Leonard Henry :Comedian, The BBC Variety Orchestra conducted by Charles Shadwell, Compere, Charles Hayes.
MONDAY AT SEVEN – National Programme Daventry, 14 February 1938 19.00, Presented by – Harry S. Pepper and Douglas Moodie. Singing Commere, Judy Shirley, Ernest Butcher and Muriel George, The Odyssey of a Valentine written and told by Valentine Dunn. Inspector Hornleigh Investigates, S. J. Warmington as Inspector Hornleigh)
No. 28, The Javanese Goddess by Hans W. Priwin, Anne Ziegler and Webster Booth with the BBC Revue Chorus, The BBC Variety Orchestra conducted by Charles Shadwell.
CABARET– BBC Television, 22 February 1938 15.20 -with Anne Ziegler, Jane Carr, Edna Squire Brown, the Cafe Anglais Glamour Girls. Ian Grant as compere. The BBC Television Orchestra, leader Boris Pecker , conductor Hyam Greenbaum. Presentation by D. H. Munro.
7th April 1938 Scottish National 8.0 MILESTONES OF MELODY, Geraldo and his Concert Orchestra (by permission of the Savoy Hotel Ltd), presented by John Burnaby with Anne Ziegler, Monte Rey, Patrick Waddington, Eve Becke, Cyril Grantham, The Top Hattes and the Geraldettes, The BBC Male Revue Chorus, Al Bollington at the Theatre Organ.
DANCE CABARET – Regional Programme Western, 21 April 1938 21.15
from the Royal Bath Hotel Ballroom, Bournemouth
Douglas Byng the stage and cabaret star
Jane Carr stage, screen, and radio favourite Webster Booth the romantic tenor Anne Ziegler the lyric soprano
Arthur Askey comedian, and compere, and dance to Billy Bissett and his Canadians with THE CANADIAN CAPERS and ALICE MANN. MILESTONES OF MELODY – Regional Programme London, 18 April 1938 20.20 Geraldo and his Concert Orchestra (By permission of the Savoy Hotel, Ltd.) with Romance and Rhythm: Anne Ziegler, Eve Becke, Monte Rey, Cyril Grantham, Patrick Waddington, The Top Hatters, The Geraldettes,The BBC Male Revue Chorus.
21st April 1938 At 9.15 there will be a DANCE CABARET with Douglas Byng, Jane Carr, Anne Ziegler, Webster Booth, and others.
9.15 Dance Cabaret; Douglas Byng (stage and cabaret artist), Jane Carr (stage, screen and radio artist), Webster Booth (tenor), Anne Ziegler (soprano), Arthur Askey (comedian and compère); Billy Bissett and his Canadians with the Canadian Capers, and Alice Mann from the Royal Bath Hotel Ballroom, Bournemouth
MILESTONES OF MELODY – Regional Programme London, 6 May 1938 20.00 Geraldo and his Concert Orchestra (By permission of the Savoy Hotel, Ltd.) with Romance and Rhythm: Anne Ziegler, Eve Becke, Monte Rey, Cyril Grantham, Patrick Waddington, The Top Hatters, The Geraldettes,The BBC Male Revue Chorus.
THEATRE COMPOSERS National Programme Daventry, 29 May 1938 21.05 LIONEL MONCKTON – The Man and his Music. A programme arranged by M. Willson Disher. Music selected by Mark H. Lubbock. Production by Gordon McConnel. The compere, Bertram Wallis.Dennis Noble, Betty Huntley-Wright, Anne Ziegler, The BBC Theatre Chorus and the BBC Theatre Orchestra (leader, Tate Gilder ), conductor, Stanford Robinson. MILESTONES OF MELODY (Series) – National Programme Daventry, 1 June 1938 20.00 Geraldo and his Concert Orchestra (by permission of the Savoy Hotel, Ltd.) with Romance and Rhythm. Anne Ziegler, Eve Becke, Monte Rey, Cyril Grantham, Jack Melford, The Top Hatters, The Geraldettes. Section of the BBC Male Chorus, Al Bollington at the BBC Theatre Organ. Presented by John Burnaby. GEORGE EDWARDES – Regional Programme London, 15 June 1938 18.00 Part 1 – The Guv’nor of the Gaiety. An illustrated biography compiled and written by S. R. Littlewood. Produced by Gordon McConnel in collaboration with Mark H. Lubbock. The cast will include Sir Seymour and Lady Hicks (Ellaline Terriss), Robert Nainby, Willie Warde, Horace Percival, Betty Huntley-Wright, Stuart Robertson, Anne Ziegler, Bertha Willmott, Denis O’Neil. The BBC Theatre Chorus and The BBC Theatre Orchestra. Leader, Tate Gilder. Conductor, Stanford Robinson. The Compere, S. R. Littlewood . Should circumstances prevent Sir Seymour and Lady Hicks from taking part in the actual broadcast, their contributions to the programme will be recorded.
THE BBC THEATRE ORCHESTRA – National Programme Daventry, 18 October 1938 13.15 Leader, Tate Gilder, Conducted by Mark H. Lubbock, Anne Ziegler (soprano).
Anne Ziegler on the cover of Radio Pictorial (1938) She is wearing a diamond solitaire engagement ring a month or so before Webster’s divorce was finalised.
Scottish National – 8.00 MILESTONES OF MELODY, Geraldo and his Concert Orchestra (by permission of the Savoy Hotel Ltd), presented by John Burnaby with Anne Ziegler, Monte Rey, Patrick Waddington, Eve Becke, Cyril Grantham, The Top Hattes and the Geraldettes, The BBC Male Revue Chorus, Al Bollington at the Theatre Organ.
PRINCESS CHARMING – National Programme Daventry, 24 August 1938 19.30
A romance with music adapted from the Hungarian by Arthur Wimperis and Laun Wylie. Lyrics by Arthur Wimperis music by Albert Sirmay and Jack Waller. Adapted for the microphone by Reginald Burston and Martyn C. Webster
The Midland Revue Chorus, The Midland Revue Orchestra, leader Norris Stanley , conductor Reginald Burston. Production by Martyn C. Webster. (From Midland) Naval Officer (attached to the Svlvanian Embassy): Cedric Johnson, Baron Sigman (Sylvanian Ambassador): Lester Mudditt, Marie (stenographer at the Embassy): Dorothy Leake, Albert Chuff (Continental Manager of the Colossal Assurance Co ): Hal Bryant, Captain Torelli (of the Cruiser Fire Eater): Webster Booth, Princess Elaine (of Novia): Anne Ziegler, A young Lieutenant (of the Fire Eater): John Morley, Wandu Navarro: Yvette Darnac, Ivanoff (leader of the rebellion): Godfrey Baseley, The Lord Chamberlain (of Sylvania): Godfrey Baseley, King Christian 11 of Sylvania: Leslie Bowmar, The King’s Aide-de-Camp: John Morley, The Attorney General: Cedric Johnson, The Story Teller: Stuart Vinden.
FOORT-ISSIMO -National Programme Daventry, 17 September 1938 19.30, A Light-Hearted half-hour in which the audience will join with Reginald Foort at the BBC Theatre Organ with Anne Ziegler and Webster Booth. Production by Max Kester.
THE BBC THEATRE ORCHESTRA – National Programme Daventry, 18 October 1938 13.15 Leader, Tate Gilder, Conducted by Mark H. Lubbock, Anne Ziegler (soprano).
19th October 1938 – 10.30 DANCE CABARET: Douglas Byng (Cabaret Artist); Webster Booth (Tenor); Oliver Wakefield (The Voice of Inexperience); Anne Ziegler (Lyric Soprano); Cliff Cooke (Compere); Dance music played by Billy Thorburn and his Music, with Eddie Guery and The Royal Bath Hotel Singers, from the Royal Bath Hotel Ballroom, Bournemouth.
A month after Webster’s divorce from Paddy Prior was finalised, Webster and Anne were married on 5 November 1938.
ALL DOWN FOR THE FINALE! – Regional Programme Midland, 3 December 1938 21.10 Bill White, call-boy of the Theatre Royal recalls memories of The Belle of New York, Florodora, The Merry Widow,The Lilac Domino. Anne Ziegler, Webster Booth, George Gibbs, Fred Forgham, Denis Folwell, The Midland Revue Chorus, The Midland Revue Orchestra, Leader, Norris Stanley, Conductor, Reginald Burston. Presentation by Martyn C. Webster.
The call-boy’s cry ‘All down for the finale!’, familiar to those who have taken part in big musical-comedy productions, gives the title of this programme. The finales from famous musical comedies will be preceded by a dramatised section, beginning with reminiscences and then going on to unfold the plot of the show up to the finale chosen.
CHARLES ERNESCO AND HIS QUlNTET – National Programme Daventry, 11 December 1938 18.30 with Anne Ziegler
9th February 1939 – Scottish National 6.0 SCRAPBOOK FOR 1909, presented by Leslie Baily and Charles Brewer; Compere Patric Curwen, Producer: Charles Brewer. A programme in the Scrapbook series. Arthur Wimperis, ex-Inspector JH Jarvis, Miss Muriel Matters, Captain GP Philips; cast also includes Dorothy Holmes-Gore, Anne Ziegler, Ivan Samson, Horace Percival, Ernest Shannon, Eric Lugg, Bryan Powley, Johnnie Singer, and the recorded voices of Christabel Pankhurst and George Graves; Louis Bleriot (BBC disc); Cmdr Robert E Peary; Rt. Hon. HH Asquipth MP; Prime Minister in 1909 (all commercial discs). the BBC Revue Chorus and the BBC Variety Orchestra, conducted by Louis Levy.
IVOR NOVELLO LOOKS BACK! – Regional Programme London, 17 February 1939 20.15 A biography of his life in words and music, introducing some of the people who have been associated with him: Ivor Novello, Mary Ellis, Dorothy Dickson in a scene from Henry V. Madame Clara Novello-Davies, Peter Scott, Anne Ziegler, Gordon Little, Frank Bird and supporting cast. The programme will also include a short glimpse of the new Ivor Novello musical play The Dancing Years, now in rehearsal. The recorded voices of Fay Compton, Jack Buchanan, and Jack Hulbert with The Welsh Ladies’ Choir, under the direction of Madame Clara Novello Davies.
A Party of Welsh Miners. The BBC Revue Chorus and the Augmented BEC Variety Orchestra conducted by Charles Shadwell. Orchestrations by Jack Beaver. Interviewer, F. H. Grisewood. The programme devised and written by Howard Thomas. Production by Archie Campbell. This programme will be broadcast again tomorrow (National, 5.0)
DANCE CABARET – National Programme Daventry, 1 March 1939 22.35 from the Grand Hotel, Torquay. Norman Long – A song, a joke, and a piano, Bennett and Young – Comedians, Anne Ziegler – The lyric soprano, Webster Booth – The romantic tenor, Raymond Bennett – Compere, and dance to Harry Evans and his Band.
18th March 1939 Among those appearing in MUSIC HALL at 8.0 are Anne Ziegler, Webster Booth and Leonard Henry. Scottish National 8.0 MUSIC HALL, presented by John Sharman, with Anne Ziegler and Webster Booth in musical comedy selections; Yorky and Scotty, Al and Bob Harvey (Canadian comedians), Leonard Henry (comedian), Ted Ray (Fiddling and Fooling); Pat Hyde (Radios sweetheart); The BBC Variety Orchestra, conducted by Charles Shadwell.
MELODIES FROM THE COMEDIES – Regional Programme Midland, 23 March 1939 21.05, A contrast in styles with Gordon Little, Anne Ziegler, John Bentley, The Rhythmettes, The Midland Revue Orchestra, Leader, Norris Stanley, Conductor, Reginald Burston, Compere, Martyn C. Webster.
THEATRE COMPOSERS – No. 6 National Programme Daventry, 9 April 1939 21.05 Jerome Kern – The Man and his Music. A programme arranged by M. Willson Disher. The music selected and the programme produced by .Mark H. Lubbock Anne Ziegler, Patricia Burke, Gordon Little, Ronnie Hill. ompere, Charles B. Cochran. The BBC Theatre Chorus and The BBC Theatre Orchestra, Leader, Tate Gilder. Conducted by Mark H. Lubbock.
Here is a programme in narration and music, surveying the work of one of the most versatile jazz composers ever born. It is perhaps surprising to reflect that as long ago as 1905 Jerome Kern was writing song hits, and that he has kept up a steady output ever since. Who does not remember such numbers as She didn’t say Yes, Who? Silver Lining, Dancing Time, and, more recently Smoke gets in your eyes? C. B. Cochran was responsible for putting on two shows that between them contained some of Kern’s finest works, namely The Cat and the Fiddle and Music in the Air.
DANCE CABARET – Regional Programme Western, 6 May 1939 21.00 from the Polygon Hotel, Southampton. Anne Ziegler the lyric soprano, Leonard Henry comedian and compere, Suzette Tarri in comedy cameos, Jack Train in character comedy and dance to Fred Ballerini and his Dance Band.
The first broadcast of cabaret from the Polygon Hotel was made last December. Programmes have been broadcast on several occasions since then, and each time the artists have included Fred Ballerini and his dance band, the combination that is appearing this evening.
Dorothy Dickson in FAREWELL TO JUAN – National Programme Daventry, 23 May 1939 20.00 or Lots of Love – An Improper Story of Four Centuries (very properly cut down to one hour) Written by Eric Maschwitz , to music by Jack Strachey. The Storyteller, Edwin Styles, Gibb McLaughlin as The Barman, Elizabeth Maude as Laura Vanelli, Dorothy Dickson as Iris Flame, Richard Ainley as Don Juan, Ruth Maitland as Minnie, Singers: Heddle Nash, Anne Ziegler, The Cavendish Three, The BBC Theatre Orchestra, (Leader, Tate Gilder ) Conducted by Mark H. Lubbock , Rae Jenkins and his Schrammel Quartet, At the piano, Alan Paul, Orchestrations by Julius Buerger, Wally Wallond , and Jack Beaver. Trio arrangements by Kay Cavendish. Production by Archie Campbell.
RADIO NORMANDIE 18 June, 1939. Anne Ziegler and Webster Booth, with George Formby, Tommy Handley, Jack Warner, Vic Oliver, Bebe Daniels, Leonard Henry, Olive Groves, Donald Peers, Phyllis Robins and Reginald Foort. SATURDAY AT NINE-FORTY-FIVE – National Programme Daventry, 22 July 1939 21.45 Music for Films sung and played by Anne Ziegler, Heddle Nash and The BBC Theatre Orchestra. Leader, Tate Gilder, Conducted by Mark H. Lubbock . With a descriptive commentary by C. A. Lejeune.
30th August 1939 10.20 DANCE CABARET, with Warden and West; Fanny and Biddy (the Two Dames); Anne Ziegler (Lyric Soprano); Webster Booth (Tenor); Suzette Tarry (Comedy Cameos), and Harry Evans and his Dance Band, from the Grand Hotel, Torquay.
Webster joined the staff of the variety section of the BBC in Bristol at the outbreak of war. Not long afterwards, Anne was allowed to join him and they rented a flat in Bristol while they were working there.
5th October 1939 – 6.45 MUSIC FOR FILMS sung and played by Anne Ziegler, Heddle Nash, John Nash, John Stevens, and the BBC Theatre Orchestra, conducted by Reginald Burston; descriptive commentary written by CA Lejeune, spoken by Cathleen Cordell.
Sunday 22 October, 1939. 18.35 THE BBC VARIETY ORCHESTRA. Leader, Frank Cantell. Conductor, Charles Shadwell with Webster Booth and Anne Ziegler, (Solo trumpets, Alf Lewis and Leslie Uzzell ), Charles Woodforde (solo Cello), Arthur Sandford (solo piano).
Tuesday, 24 October 1939, 12.15 MUSIC IN THE MORNING A programme of light music with Anne Ziegler, Webster Booth, and Dorothy Carless. All arrangements by Alan Paul, Presented by John Burnaby and Alan Paul. This programme is notable for the fact that two of the broadcasters are the wives of radio celebrities. Anne Ziegler is the wife of Webster Booth, and Dorothy Carless the wife of Eugene Pini , whom she married on the eve of the outbreak of war.
Tuesday, 7 November 1939. 12.00 MUSIC IN THE MORNING. A programme of light music, with Anne Ziegler , Webster Booth, Dorothy Carless , and the strings of the Television Orchestra, All arrangements by Alan Paul,Presentation by John Burnaby and Alan Paul.
21st November 1939 12.30 MUSIC IN THE MORNING, with Anne Ziegler, Webster Booth, Dorothy Carless, and the strings of the Revue Orchestra.