LIGHT CONCERTS IN SOUTH AFRICA (1956 -1975)

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

CONCERTS AND VARIETY SHOWS IN SOUTH AFRICA


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

November heading for Johannesburg.

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

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

ANNE ZIEGLER AND WEBSTER BOOTH, 8 November 1955

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


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

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


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

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

City Hall, Pretoria, Wednesday, 8 February 1956

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

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

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


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


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


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

1958 snippets


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

Variety in the Home – Eva Harvey


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


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


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


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

City Hall, Durban

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


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


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


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

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

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

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


GRAND VARIETY CONCERT 15 September 1967, 8.15 pm


POPULAR CONCERTS, December 1967/1968


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


FAREWELL CONCERT, late 1975, Somerset West

Farewell performance, October 1975.

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

Jean Collen 19 December 2019.

THEATRE IN SOUTH AFRICA (1956 – 1973)

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

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

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

In Cape Town for “Spring Quartet”. September 1956

JOHANNESBURG 1956-1967

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

Night in Venice.
Night in Venice November 1956

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

31 July 1957 Anne’s first non-singing role

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

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

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

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

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

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

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

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

Waltz Time East London.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Bartered Bride?

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

KNYSNA 1967-1974

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

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

Ena van der Vyver and Anne as principal boys.

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

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

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

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

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

Rehearsing Dick Whittington in PE>

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

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

Updated 16 December 2019.

BOOTHS IN SOUTH AFRICA (1970 – 1976)

I found Webster and Squillie waiting for me at Plett airport. We had to go into the airport office to confirm my return flight. The woman on duty there recognised Webster and regarded us with keen interest.
We drove “home” in his blue Vauxhall Viva station wagon through the Knysna Forest to the settler cottage in Graham Street which they were so keen to sell. The countryside around Knysna was beautiful and I was lucky enough to see a steam train crossing the bridge over the water as we entered Knysna. I also remember seeing the Cottage Hospital, which reminded me of my TV favourite, Dr Findlay’s Casebook.
As we entered the house, Webster said, “You can do what you like in this house, darling.”

22 February 1970 Letter from Webster to Mabel Perkin in the UK.

6 May 1970 Anne and Webster appear on BBC2 in an interview with Sue MacGregor on Women’s Hour.

April 1970
27 April 1970
27 April 1970 (cintinued)
Poor photo accompanying the interview.

26 June 1970 I get married to Errol Collen at St James’ Presbyterian Church, Mars Street Malvern.

Jean and Errol with the Rev Nicol Binnie
24 August 1972 – Durban.
24 August 1972 – Durban.
24 August 1972 – Durban.
Birthday dinner for Fred Cropper (He and his daughter Freda lived on the top floor of the Booth’s house in Knysna, 1972)
Imperial Hotel, Knysna
Rent receipt book R75 per month for top flat at 18 Graham Street.
Dick Whittington for the Port Elizabeth Musical and Dramatic Society in Port Elizabeth 7 December 1972
Port Elizabeth 5 November 1972 – Thirty-fourth wedding anniversary.
March 1973. Mikado in East London. Shirley Smith interviews Webster.
4 to 14 April 1973. The Mikado at Guild Theatre, East London.
Webster directing the Mikado; Jean Fowler conducting. March, April 1973.
Webster in the wings.
Webster – close-up
Webster stayed at the King’s Hotel. I wrote the letter (right) to the Daily Dispatch under the pseudonym of J. McIntyre.
Scene from the Mikado – Bernie Lee, Jimmy Nicholas, Colin Carney, Pamela Emslie
I visit Webster in Knysna in May 1973.
Postcard from Anne to Freda Boyce and Fred Cropper, 2 May 1973.
Anne visits Jean Buckley during her holiday in the UK.
Webster and I go to the Lookout Steak House in Plett while I am in Knysna.
Beacon Island, Plett.
18 Graham Street, Knysna.
From Webster to me.
Christmas card from the Booths. We returned from East London to Johannesburg. My baby, Michael was born on 12 March 1974.
Anne in the garden of the house in Somerset West (photo: Dudley Holmes)
October 1975 – Farewell Performance in Somerset West.
Anne and Webster sing “We’ll Gather Lilacs” at the British Ambassador’s residence to the accompaniment of Brian Kay after the King’s Singers’ Concert in Cape Town – 1976 or 1977 – shortly before they returned to the UK.

BOOTHS IN SOUTH AFRICA (1956 – 1957)

My most enduring memory of the occasion was the tea break when Anne, her hair recently cut in a rather startling Italian Boy hairstyle, drank tea and chatted animatedly with the star-struck tea ladies a few feet away from where we were seated. Little did I know then what a great influence they would exert on the rest of my life. JEAN COLLEN.

Signing autographs in South Africa – 1956.
16 August 1956 Anne and Webster appeared in Spring Quartet in Cape Town shortly after they arrived in South Africa.

17 September 1956 Hofmeyr Theatre, Cape Town. Cockpit Players present Spring Quartet with Anne and Webster, Joyce Bradley, Cynthia Coller, Jane Fenn, Gavin Houghton, Sydney Welch, directed by Leonard Schach.

17 October 1956 – Beethoven Ninth Symphony. City Hall, Johannesburg. Webster, Betsy de la Porte, Mimi Coertse, Frederick Dalberg, SABC Orchestra, Festival Choir, conducted by Sir Malcolm Sargent.


A very poor newspaper cutting (taken by microfiche) showing Webster, Betsy de la Porte, Sir Malcolm Sargent, Mimi Coertse and Frederick Dalberg,
12 November 1956 – Night in Venice for JODS
14 November 1956 – Night in Venice for JODs.

NIGHT IN VENICE

15 November 1956 – Star “crit” by Oliver Walker.

Booths in convertible Hillman Minx outside their flat at Waverley, Highlands North.
December 1956

16 April 1957. Webster has cartoon drawn at Rand Easter Show by Roy Sumner.

21 April 1957 – Easter Sunday morning, The Crucifixion. St George’s Presbyterian Church, Noord Street, Webster, Wilfred Hutchings, Choir augmented with Johannesburg Operatic Society chorus, conducted by Drummond Bell.

Polliack’s Corner – eighth floor balcony Booth studio Singing and Stagecraft. (Photo: Gail Wilson)
Anne’s new hairstyle – July 1957.

July 1957 – Keith Jewell and The Dream of Gerontius

At Cape Town – and this is almost unbelievable (but it is true) – young organist, Keith Jewell (only 27) put on the St Matthew Passion in the City Hall. But more than that he has another three oratorios scheduled before the end of the year, one of which is Elgar’s gigantic work The Dream of Gerontius, which has never before been performed in South Africa. Webster Booth, who has sung in a number of Dreams under Malcolm Sargent at the Albert Hall will be taking a leading role.

I know for a fact – he told me a day or two ago – that Edgar Cree is itching to put it on here. While we have the orchestra, the choirs and singers like Booth right on our doorstep, my reaction is an exasperated: WHY NOT?

1 August 1957 – Anne in her first straight play in South Africa as Dearest in Angels in Love.
September 1957. The Reps did not take up the option on this play.
Advert for Adrenaline!

20 November 1957 – Scots Eisteddfod.

Anne Hamblin was awarded 95% in the Scots Eisteddfod. Webster Booth was the adjudicator.

23 November 1957 – Messiah, St George’s Presbyterian Church and St James’ Presbyterian Church, Malvern. Anne, Webster, Joy Hillier and Wilfred Hutchings, conducted by Drummond Bell.

My parents and I (aged 13) attended the performance at St James’ Presbyterian Church, Mars Street, Malvern. It was the first time I had seen Anne and Webster, although I had already heard many of their recordings on the radio.

We arrived in Johannesburg in October of 1957. My father had been offered a job in the same firm as a former Scottish colleague from ISCOR in Vanderbijl Park and we were living in the Valmeidere Hotel in Roberts Avenue, Kensington until we found a suitable flat. We witnessed the lights of Sputnik flying over our heads at night and wondered whether this was a sign that we had made the right move to the big city.

  The boarding house proprietors were fellow Scots, Mr and Mrs Jimmy Murdoch. They were friendly with a couple called Mr and Mrs McDonald-Rouse. Mrs McDonald-Rouse ran a flourishing amateur concert party and was the accompanist to all the singers in the group. Her daughter Heather, a theatrical costumier, had recently married and sometimes dined with her parents and her new husband at the Valmeidere. In due course we were introduced to the McDonald-Rouses, Heather and her husband.

Through her work, Heather had met Anne Ziegler and Webster Booth shortly after their arrival in South Africa the year before and had become very friendly with them. Through the grapevine, we heard that Webster had sung the aria from Mendelssohn’s oratorio, St Paul at Heather’s wedding, entitled Be Thou Faithful unto Death. Later I learnt that this aria was one of his favourite choices when requested to sing a solo at a wedding. Another of his wedding favourites was the ballad, My Prayer.

John Corrigan, my father’s colleague, was an elder at St James’ Presbyterian Church, then situated in Mars Street, Malvern. He invited us to a performance of Messiah to be held in the Church Hall, conducted by Drummond Bell, organist and choirmaster at the Central Presbyterian Church, St George’s. Coincidentally, the tenor and soprano soloists were to be Anne Ziegler and Webster Booth. This was the first time I ever attended a performance of Messiah, and the first time I ever saw Anne and Webster. I did not know then that Webster had been one of the foremost oratorio tenors in Britain, but I had heard a number of their duet recordings, which were often played on the radio. It now seems rather incongruous that they should be singing Messiah in a suburban Church Hall when only two years before Webster’s oratorio stamping ground had been the Royal Albert Hall, with the Royal Choral Society, with Sir Malcolm Sargent as conductor and other foremost oratorio soloists.

Since their arrival in South Africa, Anne and Webster had received a great deal of publicity on the radio and in the newspapers. As I have mentioned, their records were featured on South African radio a number of times each day. South Africans could not quite believe that such an illustrious theatrical couple had willingly chosen to exchange their successful careers and lives in the UK as the best-known duettists in Britain – possibly the world – to become immigrants in the colonial backwater of Johannesburg. My parents remembered them fondly from their frequent broadcasts in the UK, and seeing them in Variety and in the musical play, Sweet Yesterday at Glasgow theatres.

We sat fairly near the front of the hall on the right-hand side. I wish I could say that I remember every moment of that performance nearly sixty years ago. But sadly. I only remember snatches of it. Webster looked rather stern during the whole proceeding and I am sorry to admit that I was not immediately struck with the exquisite beauty of his voice. I did not know every aria from the Messiah then as I do now. In fact, the only piece I had heard before was the Halleluiah Chorus.

My most enduring memory of the occasion was the tea break when Anne, her hair recently cut in a rather startling Italian Boy hairstyle, drank tea and chatted animatedly with the star-struck tea ladies a few feet away from where we were seated. Little did I know then what a great influence they would exert on the rest of my life. JEAN COLLEN.

25 November 1957 – Messiah, Johannesburg Town Hall, Webster Booth(tenor)

December 1957 – The Dream of Gerontius, City Hall, Cape Town. Webster, conducted by Keith Jewell, aged 27. This was the first performance of Gerontius in South Africa.

WEBSTER BOOTH IN ORATORIO

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

Webster Booth and oratorio

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

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

Webster’s Messiah score

Elijah cover

In the two front pages, he listed some of his Messiah dates from 1928 when he sang at the Birmingham Town Hall on 3 November 1928 with the Choral and Orchestral Union, to performances of various oratorios in Port Elizabeth, Eastern Cape, South Africa with Robert Selley at the Oratorio Festivals there in 1961. The list includes a performance at the Royal Lodge Chapel on 15 February 1948 with Anne Ziegler in the presence of King George VI, Queen Elizabeth and Princess Margaret, performances with the Huddersfield Choral Society, the Royal Choral Society and the Hallé Concert Society. Several Good Friday Messiahs at the Albert Hall are listed, where the entire work is performed without any cuts.

His first Good Friday Messiah was on the 10 April 1936 when he was 34 years of age. The Royal Choral Society concerts were usually with his champion, Malcolm Sargent as conductor, but he also sang with Sir Thomas Beecham at the Queens Hall on 17 December 1938.

21 December 1938 Messiah

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

December 1938 Messiah

Another Good Friday Messiah in April 1943

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

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

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

1944 Blackpool Messiah

As a thirteen-year-old girl, I heard Webster and Anne sing in a performance of Messiah at St James’ Presbyterian Church which was then situated in Mars Street Malvern. The advertisement below (from 1956)  shows the same soloists and choir at St George’s Presbyterian Church (the main Presbyterian Church in Johannesburg) which appeared a year later  at St James. Even at that young age, I was aware that it must have been a come-down for Webster to be singing this work in a suburban church in South Africa after he had been singing at the Albert Hall not very long before. While Anne sang in the performance at St James under the musical director of the main Presbyterian Church in Johannesburg, Drummond Bell, she was not asked to sing in more important oratorio performances, such as the one at the Johannesburg City Hall a month later, or with Robert Selley at the Port Elizabeth Oratorio Festival.

In 1957 the first South African performance of The Dream of Gerontius (Elgar) was presented at the City Hall in Cape Town with Webster in the main role, conducted by Keith Jewell (aged 27).

The Dream of Gerontius was also presented in Port Elizabeth at the Oratorio Festival conducted by Robert Selley, where Webster was a soloist from 1957 to 1962.

27 November 1961 – SABC bulletin.

In 1963 Webster was invited to sing in a performance of Elijah with the combined choirs of Michaelhouse and St Anne’s in Natal, conducted by the young Barry Smith who was musical director at Michaelhouse at the time.

The following year he sang in a performance of Creation with the same singers. This time Ronald Charles was the musical director at Michaelhouse.

By that time Webster was 64 years of age. When he moved to Knysna he presented excerpts of various oratorios with the Knysna Choral Society and (in his late sixties) sang several bass solos in Elijah in 1968, something he had always wanted to do as he had a very wide range and a resonant lower register.

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

Jean Collen

12 July 2017.

Revised and enlarged on 13 March 2019.

 

TWENTY-TWO YEARS IN SOUTH AFRICA (1956 – 1978) A brief summary.

In 1976 there was civil unrest in South Africa, particularly in Johannesburg and Cape Town. Babs realised that Anne and Webster were keen to return to the UK, but could not afford to buy or rent accommodation there. She kindly offered to buy a property for them where they could live rent-free for the rest of their lives. The offer was too good to refuse. At the beginning of 1978 they returned to the UK and, to their surprise, soon embarked on their “third” career.

Sailing to South Africa on board the Pretoria Castle (July 1956)

Anne and Webster had never taught singing before. They had been far too busy performing in the UK to have had the time or even the inclination to teach, although an advert had appeared in the Musical Times in the middle of 1955 indicating that Webster was considering accepting a few selected pupils. As far as I know, he did not teach anyone in the UK as they decided to settle in South Africa shortly afterwards.

Musical Times 24 February 1955 Singing lessons.

Neither had formal music teaching qualifications but Anne was a competent pianist, and they adopted common sense methods of teaching singing. Above all, they had far more experience of singing professionally at the highest level than anyone else in South Africa who boasted teaching diplomas.

Anne always said that singing was merely an advanced form of speech. They concentrated on good breathing habits and on using correct vowel sounds. The basis of “straight” singing was that one sang through the vowels and tacked consonants to the beginning and end of the vowels to create good diction. There were five vowels: ah, eh, ee, oo and oh and from these vowels all words could be sung. Diphthongs in words such as “I”, were created by a combination of two basic vowels – in this case – ah and ee.

They were very particular about dropping the jaw as notes went higher in pitch. One of their exercises to master this technique was based on the sounds “rah, fah, lah, fah”. It was also essential to keep the tongue flat in the floor of the mouth just behind the teeth, and an exercise on a repeated “cah” sound was good for training the tongue to remain flat and not rise in the mouth to bottle up the vocal sound. The “mee” sound was produced as one would sing “moo”, so that the vowel was covered and focussed. The jaw had to be dropped on all the vowels in the upper register, including the “ee” and “oo” vowels, which one is inclined to sing with a closed mouth. They also emphasized that words like “near” and “dear” should be sung on a pure “ee” vowel, rather than rounding off the word so that it sounded like “nee-ahr” or “dee-ahr”.

The voice had to be placed in a forward position, “in the mask” as Anne always said, so that it resonated in the sinus cavities. They did not dwell on the different vocal registers unless they detected a distinctive “change of gear” from one register to the other.

Webster continued his oratorio singing in South Africa. Drummond Bell, who had conducted the JODS’ production of A Night in Venice the year before, was the organist and choirmaster at St George’s Presbyterian Church in Noord Street. Anne and Webster sang in Messiah at various Presbyterian Churches for Drummond Bell in November 1956 and 1957. It was at the 1957 performance of Messiah at St James Presbyterian Church, then in Mars Street, Malvern, when I, as a thirteen-year-old, heard them sing for the first time. Webster had sung in The Crucifixion at Easter 1957 for Drummond Bell. He also sang in The Dream of Gerontius in Cape Town later that year. The conductor was the young organist Keith Jewell (then aged 27). It was the first time that the work was performed in South Africa. Webster always held Keith Jewell in very high regard, and he was to appear as guest artiste in Anne and Webster’s “farewell” concert in Somerset West in 1975.  

Webster adjudicated at the Scottish eisteddfod in November 1957. Astutely, he awarded the young Anne Hamblin 95 percent for her singing. She was to do well in her singing career in Johannesburg and is still remembered for her part in Jacques Brel is Alive and Well and Living in Paris in the nineteen-seventies. Webster sang regularly in various oratorios at the annual Port Elizabeth Oratorio Festival, conducted by Robert Selley, and did Elijah at Pietermaritzburg for Barry Smith, director of music at Michaelhouse School in 1963 and The Creation for Ronald Charles, who took the position of  director of music for Michaelhouse in 1964.

Anne and Webster appeared frequently in various advertisements on screen and in the newspapers. Early in Anne’s career she had modelled for an advertisement for Craven A cigarettes. She had learnt a valuable lesson at this assignment when the photographer told her that the photograph would mean nothing unless she smiled at the camera with complete sincerity, despite her never having smoked a cigarette in her life. They had also endorsed Ronson cigarette lighters in the late nineteen-forties.

In late 1957 they were in an advert for Lloyd’s Adrenaline cream. According to the advertisement, this cream had given Webster relief to excruciating sciatic pain he had suffered on their fleeting visit to Calgary to appear in Merrie England. Apparently, Anne used the cream whenever she had an attack of fibrositis. Anne also endorsed Stork margarine, a hair preparation for middle-aged women and a floor polish. Webster appeared on film as a French boulevard roué in an ad for a product I have now forgotten, and they were featured in advertisements listening avidly to Lourenco Marques radio, and celebrating a special occasion with a glass of Skol beer. For this last ad Webster was obliged to grow a beard!

1961 Advertising Skol beer
Listening to LM Radio

1957 and 1958 were very busy years for the Booths in South Africa. In 1958, for example, they went from one production to another in as many months: Waltz Time in Springs; Merrie England in East London; Vagabond King in Durban; and Merrie England again in Johannesburg. Anne was also principal boy in pantomime in East London at the end of that year.

But 1959 was not quite as busy. They were asked to appear in East London again, this time in Waltz Time, and Anne was the Fairy Godmother in The Glass Slipper for Children’s Theatre towards the end of the year.

From then on they built up their teaching practice and began directing musicals for amateur societies in various parts of the country. In 1959 they did an interesting Sunday afternoon programme on Springbok Radio entitled Do You Remember? in which they told the story of their lives, based on their autobiography, Duet.

By the nineteen-sixties, they were no longer appearing regularly in musicals although Anne took the part of Mrs Squeezum in Lock Up Your Daughters, a restoration musical by Lionel Bart at the end of 1960. Her big song in the show was entitled When Does the Ravishing Begin? A very far cry from We’ll Gather Lilacs. In 1963, aged 61, Webster took over the role of Colonel Fairfax – the juvenile lead – in The Yeomen of the Guard for the Johannesburg Operatic Society at short notice. He had not been JODS’ original choice, but was asked to take over the part when the society decided that the singer in the role could not cope with it. In 1964 Webster and Anne appeared in a Cape Performing Art’s Board (CAPAB) production of Noel Coward’s Family Album, a one-act play in Tonight at 8.30. It could hardly be called a musical although there was some singing in it.

They appeared in a number of straight plays in the nineteen-sixties. Webster was the Prawn in The Amorous Prawn and took the small part of the Doctor in a very long and serious play called The Andersonville Trial in 1962. They played Mr and Mrs Fordyce in the comedy, Goodnight Mrs Puffin at the beginning of 1963 and, just before they left Johannesburg for Knysna, Webster was the Circus Barker in the Performing Art’s Company of the Transvaal’s (PACT’s) production of The Bartered Bride, while Anne played the wife of a circus performer in The Love Potion for the same company at the same time.

They remained in Johannesburg until the middle of 1967. Anne was suffering from hay fever, which grew acuter the longer she remained in Johannesburg. There were times, especially at night, when she could hardly breathe. Anne had a number of allergy tests done, but these did not pinpoint the exact cause of her hay fever. They decided to move to the coast in the hope that Anne’s hay fever would ease, and in the hope of a more peaceful life as they grew older.

At the beginning of 1967, they went on a coastal holiday. They thought Port St Johns in the (then) Transkei was very attractive but slightly too remote for them. The village of Knysna on the Garden Route was more to their taste. They bought a house in Paradise, Knysna and returned to Johannesburg to put their affairs in order and plan their move to the coast.

3 Knysna and Somerset West

It must have given them a sense of déjá vu to receive such a great welcome in Knysna. Anne’s hay fever vanished within a few weeks and she concluded that the dust from the mine dumps in Johannesburg had been the cause of it.

They were soon as busy as ever, with concerts, ranging from oratorio with the Knysna and District Choral Society, to variety concerts with local artistes, and pantomimes, in which Anne not only played the principal boy once again but wrote the scripts into the bargain. They started teaching in Knysna and trained several talented singers, in particular the soprano, Ena van der Vyver, who sang in many performances with them.

Anne was asked to produce several shows for the Port Elizabeth Musical and Dramatic Society, and Webster produced The Mikado in East London in 1973. 

Mikado rehearsal East London 1973 Photo Pearl Harris

Anne’s life-long friend Babs Wilson-Hill (Marie Thompson) visited them in Knysna from the UK, and Anne went to Portugal and the UK to spend a holiday with her and to appear in a British TV show at the same time. Anne and Webster were getting older and Anne, in particular, longed to return home to the UK.

In 1975 they moved to Somerset West, believing that the cost of living there was lower than in upmarket Knysna. They bought a cottage in Picardy Avenue with a beautiful view of the mountain, but despite being nearer to Cape Town they were not offered much radio work and did not find many singing students. Webster ran the Somerset West and District Choral Society and presented several oratorios, but he was not even paid for his work with this society.

In 1976 there was civil unrest in South Africa, particularly in Johannesburg and Cape Town. Babs realised that Anne and Webster were keen to return to the UK, but could not afford to buy or rent accommodation there. She kindly offered to buy a property for them where they could live rent-free for the rest of their lives. The offer was too good to refuse. At the beginning of 1978 they returned to the UK and, to their surprise, soon embarked on their “third” career.

Jean Collen 9 July 2018.

WEBSTER BOOTH’S ASSOCIATION WITH THE QUEEN’S HALL, LANGHAM PLACE

QUEENS HALL, LANGHAM PLACE
 
 
 
The Queen’s Hall had seventeen entrances to the building in Langham Place, Riding House Street and Great Portland Street and originally seated 3000 people, although, after alterations in 1919, housed only 2,400. It was considered to have excellent acoustics. There was also the Queen’s Small Hall, seating 500 people. This hall opened in November 1893.
 
While Webster Booth always considered this hall to be his favourite as a singer, he was associated with it as early as 1935 when the unusual film written and composed by Friedrich Feher in which he appeared as a troubadour, was first shown in the Queen’s Hall. The film was called The Robber Symphony. Not only was Webster required to pull a piano through the snow in the Alps during the making of this film, but he also sang several songs written by Mr Feher, one in creditable Italian.
 
 
Webster Booth in The Robber Symphony with Magda Sonja
 
 
Webster sang many oratorio performances in the Queen’s Hall, including a Messiah, conducted by Sir Thomas Beecham on 17 December 1938. It was at this performance that Australian, Joan Hammond sang the soprano solos in one of her first engagements in England. At that time Joan Hammond had a beautiful lyrical soprano voice, but after further training Webster was surprised to discover that her voice had become very much heavier when he recorded the duet from Madame Butterfly with her in 1943. In order to balance the duet, Miss Hammond had to stand quite a distance behind Webster during the recording, conducted by the (then) Dr Malcolm
Sargent. 

Australian Soprano, Joan Hammond.
Australian Soprano, Joan Hammond.

 
 
By the time this recording was made, the Queen’s Hall had been destroyed by an incendiary bomb. On the afternoon of 10 May 1941 Webster had sung the part of the Soul in Elgar’s Dream of Gerontius at the Queen’s Hall. The other soloists were contralto, Muriel Brunskill (the Angel)  and baritone, Ronald Stear (The Priest and Angel of Agony). The soloists, the London Philharmonic Orchestra and the Royal Choral Society were conducted by Malcolm Sargent. 

Contralto, Muriel Brunskill
Contralto, Muriel Brunskill

 

Interior of Queen’s Hall
I have always regretted that no recording was ever made of Webster singing Gerontius, as he was notable in this role. When he immigrated to South Africa he sang in the first South African performance of The Dream of Gerontius in 1957, conducted by a very young Keith Jewell, who became the Cape Town City Organist. Keith Jewell accompanied Anne and Webster in (what was meant to be) their farewell concert in Somerset West, Cape Province in 1975..  
 

 

The day in 1941 had been pleasant and sunny, but only a few hours after this performance of  The Dream of Gerontius, the Queen’s Hall was destroyed by a German incendiary bomb. Webster Booth always considered the hall to be the finest concert hall in the
world for a singer. The Promenade Concerts had been held there, but after the destruction of this beautiful hall they transferred to the Royal Albert Hall. Webster Booth said in his joint autobiography with Anne Ziegler, Duet (1951), that many singers were terrified to sing in the Albert Hall after the warm acoustic of the Queen’s Hall, but although he adored the Albert Hall, the Queen’s Hall would always remain his favourite London Concert Hall.
 
Jean Collen Revised 23 April 2016 ©
 
Share/Bookmark