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.
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.
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.
VARIETY PROGRAMME June 1958, Kangalani, home of Eva Harvey (by invitation only!) Anne and Webster, Sini van der Brom, Francois Bouguenon, 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.
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
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.
Someone asked me recently whether I went to study with Anne and Webster because of their duet singing, but it had nothing to do with that at all. It was entirely due to Mabel Fenney that decided me to study singing with Anne and Webster and to make music my career.
When I was in my
final year at Jeppe High
School for Girls in
1960, the permanent music mistress, Miss Diane Heller, went on long
leave, and Mrs Mabel Fenney took her place for a term. Mabel was born
Mabel Greenwood on Shakespeare’s birthday in Lytham St Anne’s,
Lancashire in 1919. Her mother was a true contralto and had sung in
several professional productions. The Greenwoods moved to East London
in the Eastern Cape when Mabel was quite young.
singing talent from an early age and did her initial singing diplomas
in East London, trained by a gentleman she referred to as “Pop
Lee”, and sang and acted in many local musicals, plays and
recitals. Her favourite role was as Elsie Maynard in The
Yeomen of the Guard. She
married fellow Lancastrian, Eric Fenney, and instead of pursuing a
singing career, she helped him run his plumbing business in East
Dramatic Society of East London invited Webster Booth and Anne
Ziegler to star in the 1958 production of Merrie
she and Eric stood surety for their salaries. It was
in this production where she first met them, playing their roles of
Bessie Throckmorton and Sir Walter Raleigh. She played the part of
Jill-All-Alone in the production. The following year the society put
again with Anne and Webster in the leading roles, but, for some
reason, she did not take part in this production. Instead she went to
Johannesburg to have lessons with Anne and Webster in preparation for
several advanced diploma singing examinations. By the time she
arrived at Jeppe High School for Girls she had already won the
University of South Africa’s overseas teaching bursary and was due
to leave for Berlin to study at the Hochschule there
for two years.
We schoolgirls looked
on Mabel as a very glamorous figure in comparison with some of our
staid academic teachers. She was lively and enthusiastic and took us
on various outings to the opera.
Towards the end of her term at Jeppe, Mabel gave a memorable recital in the school hall one afternoon. The event had not been widely publicised, so there were not many people present, but I was there with singing school friends, Margaret Plevin (née Masterton) and Valerie Vogt (née Figgins). We were impressed by her performance. The Booths had decided that she was a mezzo soprano rather than soprano, so she had sung a mezzo repertoire for her diploma exams. I will always remember her singing of the Habanera and Seguidilla from Carmen.
At the end of one of the arias she threw a rose coquettishly to her schoolgirl audience. We were completely captivated. Someone asked me recently whether I went to study with Anne and Webster because of their duet singing, but it had nothing to do with that at all. It was entirely due to Mabel Fenney that decided me to study singing with Anne and Webster and to make music my career.
27, 28 May 1960 –
Church Hall, Roberts Avenue, Kensington. Anne and Webster and other
artistes. Anne and Webster sang just before the interval.
I (aged sixteen)
asked them for their autographs before they left, the only one to do
24 November 1960 – A Country Girl. Springs Civic Theatre. Anne produced this show for the Springs Operatic Society.
1960 – Mikado,
I am not sure whether Webster sang in it, directed it, or both.
1, 2, December 3
Theatre, Bloemfontein. Anne and Webster and local artistes in a
variety show presented by Rotary Club.
December, 1960 –
Kimberley. Webster sang the tenor solos, although he was not as fond
of Bach as he was of Handel.
8 December 1960 – I had an interview with Anne Ziegler at the studio on the eighth floor of Polliack’s Corner, Pritchard Street and started lessons with Anne and Webster two weeks later. Webster was singing at the Port Elizabeth Oratorio when I had my audition. Anne was being interviewed by a newspaper reporter when I went for my first lesson. Here is the photo taken at that interview.
April 1961 SABC
Bulletin – Wednesday at 8.30 pm. Webster
Booth, who presents a programme of Opera, Operetta and Oratorio at
8.30 on Wednesday nights, began singing at the age of seven. That
makes his career 52 years “and I hope it goes on a little further,
but not too long,” he told announcer Robert Kirby in an interview.
This is how the
If you started singing when you were seven, how did you manage to fit in your education? – Well, I began in Lincoln Cathedral as a choir boy and was educated at the cathedral school. This was run by the Dean and Chapter. That took me up to the Oxford and Cambridge junior examination which was roughly equivalent to our Junior Certificate. After that I had to stop musical training as my voice was breaking and completed my schooling at a commercial school studying accountancy.
I know your fields
of endeavour have been in Opera, Oratorio and Operetta. Do you have
any preferences among these three?
– Oratorio, definitely!
– I suppose it was my first love and I certainly get much more
satisfaction from singing in Oratorio, musically that is; I am trying
to say that to do it properly and to do it well you have to work at
it so hard that the feeling of achievement is that much greater. With
Opera and Operetta one has stage clothing, and scenery and movement
to register to an audience, whereas in Oratorio one has nothing
except one’s own interpretation as a medium of reaching the
Do you prefer
working “live” with an audience, recording or broadcasting?
– I certainly prefer working without an audience. In front of one
that is. Usually in a broadcast one has a much larger audience but
because they are unseen one can concentrate much more, also because
of their quantity it makes me want to give much more than I would on
a stage. If it would be possible to sing before an audience of
perhaps fifty thousand people it would be much more awe-inspiring
than singing to them via a microphone. I can always have a broadcast
recorded and that is invaluable to me as I am my own greatest critic.
One can always learn from one’s mistakes.
Do you suffer from
– Yes. The older I get the worse I get. I think the reason being
that one always wants to be that one per cent better than the last
time. The suffering comes from the fear of being one per cent worse.
Stage fright should only happen before a performance. To go on being
frightened during the performance is fatal.
Do you find that
one person alone in an audience can affect you?
– Very much so. Someone who is restive will invariably catch your
eye and distract you. None of us are perfect and if one knows the
position in the audience of a somewhat severe critic one is apt to
wonder what he or she may be thinking and this can be most
How do you react
to severe criticism? –
If you mean destructive criticism I am like anyone else. I react very
unfavourably. But if it is constructive criticism then I try to
swallow my pride and read into the criticism something from which I
What was the worst critique you ever had? – I deliberately forget the bad ones.
– The finest write up I ever received, from my point of view, was
for a show that only ran for two and a half weeks. “Here is the
answer to a producer’s prayer.’
Which would you
call the most fulfilling moment of your career?
– The first night of the 1938 Covent Garden Festival of Opera. I
sang the tenor role in Rosenkavelier
with Erich Kleiber conducting and Lotte Lehmann as the soprano lead.
To see a pre-war full house at Covent Garden from the stage with
evening dress and tiaras is a sight one could never forget.
Which role was your favourite? – Definitely Francois Villon in The Vagabond King. It has everything an artist could wish for. Comedy, romance, glorious costumes, pathos and good solid music to sing.
Are you satisfied with what you have achieved? – Yes. If I had my life over again I doubt whether I would change much of it. I have been very lucky. I was given a voice, a figure, and my marriage with Anne Ziegler – something which has been successful and happy, and I have adopted what I think to be about the finest country in the world.
June 1961. Webster
adjudicated at the Salisbury eisteddfod.
5 July 1961 – Concert.8.15 pm Allan Wilson School, Beit Hall, Salisbury, Rhodesia – Anne and Webster appeared in a concert after Webster had adjudicated at the Vocal Festival for the Rhodesia Institute of Allied Arts.
17 July 1961 –
Advert for pupils.
5 September to
October 30 1961 –The
Theatre (previously the Reps Theatre); National Theatre, Pretoria, 31
October to November 12; Alhambra Theatre, Durban, November.
Webster was the
with Simon Swindell, Gabriel Bayman, Diane Wilson, Joe Stewardson,
Ronald Wallace and Joan Blake, directed by Victor Melleney.
November 1961 – The Stage.
Johannesburg Theatre by Evelyn Leveson. The evening attraction at the
Alexander – acclaimed with delight by both critics and public – was
The Amorous Prawn,
directed by Victor Melleney and starring Joan Blake, one of our most
versatile actresses, who, for the past two years, has been touring
the country in Adam Leslie’s witty intimate revue Two’s
Excellent notices were also received by
Webster Booth who, with his wife Anne Ziegler, has been living here
for the past five years. As the Prawn,
Mr Booth is appearing on the South African stage in his first
They fell in love, although at the time he was married to his second wife, Paddy Prior and had a son, Keith, by his first marriage. Four years later, after his divorce from Paddy in times when divorce was not as common or acceptable as it is today, Anne and Webster were married on Bonfire Night in 1938.
Anne Ziegler and Webster Booth first met during the filming of TheFaust Fantasy in 1934/35
Anne Ziegler, the widow and singing partner of Webster Booth, died in Llandudno, North Wales, on 13 October 2003, at the age of 93. Her death brought an end to an era in British entertainment before and after the Second World War. Her death brings an end to an era for me also.
I was seventeen when I first met them at the end of 1960. They were already middle-aged, in the same age group as my parents, their top-flight stage career in Britain behind them. I was too young to have seen them at the height of their fame, but even then I thought them a shining couple, as I still do over fifty-nine years later.
Although I was too young to have seen them on stage in the days of their great success in the forties and early fifties, I believe their success was due to the wonderful blend of the voices, creating a special, instantly recognisable sound, and their contrasting good looks, she beautifully gowned, he in full evening dress. Above all, they were instantly likeable with charming personalities, and possessed an elusive ability to make people adore them.
In their day, in the thirties, forties and fifties, Anne Ziegler and Webster Booth were stars of stage, screen, radio, concert halls and variety theatres, and made over a thousand 78 rpms, either as duets or solos. Webster was also in demand as tenor soloist in oratorio: Handel’s Messiah, Jephtha, Samson, Acis and Galatea, Judas Maccabbeus, and Elgar’s Dream of Gerontius, to mention but a few. Before the Second World War, he had sung Coleridge Taylor’s Hiawatha’s Wedding Feast in full Native American costume, and in 1955 on the occasion of Sir Malcolm Sargent’s birthday concert, Sir Malcolm requested particularly that he should be the tenor soloist in the same work.
Webster became a Mason, and was a proud member of the Savage Club, where he often sang at their legendary Saturday night entertainments. These entertainments were arranged by Joe Batten, the eminent sound recordist and producer at Columbia Records. When Webster had something important to do he always wore his distinctive striped Savage Club tie to bring him luck. While still in his early thirties, Webster was made a Life Governor of the Royal Free Hospital in Hampstead.
Webster was also in demand as tenor soloist in oratorio: Handel’s Messiah, Jephtha, Samson, Acis and Galatea, Judas Maccabbeus, and Elgar’s Dream of Gerontius, to mention but a few. Before the Second World War, he had sung Coleridge Taylor’s Hiawatha’s Wedding Feast in full Native American costume, and in 1955 on the occasion of Sir Malcolm Sargent’s birthday concert, Sir Malcolm requested particularly that he should be the tenor soloist in the same work.
By the time he met Anne Ziegler during the filming of the colour film Faust in 1934, he was married to his second wife, Paddy Prior. He had divorced his first wife, Winifred Keey in 1931 after she had deserted him and their small son, and married Paddy Prior, a talented dancer, comedienne and soubrette in October 1932. The couple’s marriage was happy in the beginning and they appeared together in several concert parties, the Piccadilly Revels, Scarboroough in 1933 and Sunshine at Shanklin in 1934.
Shortly after he met Anne Ziegler he took the lead in an ill-fated production of Kurt Weill’s A Kingdom for a Cow at the Savoy Theatre. His leading lady was the well-known French singer Jacqueline Francel. In Anne and Webster’s joint autobiography, Duet, he said that the play was probably ahead of its time in its handling of complex social issues, which made it too heavy for audiences of the day, who expected lighter fare in musicals. Apart from the unusual subject matter, rehearsals were stormy and the direction contradictory, so despite Weill’s pleasing music and a strong cast, the play closed after just three weeks. The London Dramatic Critic from The Scotsman gave the piece a good review, and mentioned that “Mr Webster Booth as the hero also deserves praise for his fine singing”.
Webster and Paddy Prior, his second wife.
Sadly, his marriage did not last after he met Anne. Paddy divorced him, naming Anne as co-respondent. He and Anne were married on Bonfire Night in 1938. Webster Booth soon formed a duet partnership with his wife in addition to his extensive recording, film, oratorio and concert work.
Webster was contracted to HMV for over twenty years and recorded more than a thousand solos, duets, trios and quartets. His lighter recordings include selections from Ivor Novello musicals with Helen Hill, Olive Gilbert and Stuart Robertson; Theatreland at Coronation Time with South African soprano Garda Hall, and Sam Costa; excerpts from Snow White with Nora Savage, conducted by George Scott-Wood, the composer of Shy Serenade. He made many anonymous recordings as a member of the HMV Light Opera Company. He was the “with vocal refrain” on a series of records made with Carlos Santana and his Accordion Band on the Brunswick label, and on a record of Chappell Balladswith Jack Hylton’s band. Carlos Santana was one of the many aliases used by Harry Bidgood. His better known alias was Primo Scala, the leader of another accordion band, but he did many other things like conducting film music and arranging music and while he was still at school he had written the music for his school song.
His recordings of the late nineteen-thirties and nineteen-forties encompassed oratorio, opera and ballads, as well as duets with Anne. Webster’s more serious recordings were often under the baton of Malcolm Sargent, Lawrance Collingwood, Basil Cameron or rwick Braithwaite with the Hallé, the Liverpool Philharmonic or the Royal Philharmonic Orchestras. His recordings with piano accompaniment were nearly always with the eminent accompanist Gerald Moore.
Webster enjoyed telling the story of a particular recording session with Gerald Moore. They had one more song to record before the session ended. The song was Phil, the Fluter’s Ball, and Gerald Moore suggested that they should see how fast he could play it and how fast Webster could sing it with clear diction. This was no problem for the finest accompanist in the world and for a singer who had spent four years performing Gilbert and Sullivan with the D’Oyly Carte Company. His oratorio recordings are particularly fine. The solos in Samson from the moving recitative O loss of sight and the following aria,Total Eclipse, to the fiery Why does the God of Israel sleep?, with its unrelenting Handelian runs, demonstrate how easily he moved from one mood to another, always singing with flawless technique and clear diction.
He made recordings with other distinguished singers of the day in operatic ensembles, such as the quartet from Rigoletto, with Noel Edie, Arnold Matters and Edith Coates, to the trio from Faustwith Joan Cross and Norman Walker. He sang duets with soprano Joan Cross and baritone Dennis Noble from La Bohème and the Miserere from Il Trovatore with Joan Cross. He recorded duets with the baritone Dennis Noble from the Victorian and Edwardian Excelsior and Watchman, what of the night? to the brilliant extended scene in Rossini’s The Barber of Seville. He recorded the duet in Madame Butterfly with Australian soprano Joan Hammond.
When Joan Hammond first arrived in England from Australia, she had a sweet lyrical soprano voice. She sang her first Messiahin England with Webster as tenor soloist under the baton of Sir Thomas Beecham. But by the time they recorded the Madame Butterfly duet, several years later, Joan Hammond had become a dramatic soprano and her voice was very much bigger than it had been when she first arrived in England. Joan had to stand much further away from the microphone than Webster in order for the sound engineer to get the balance for the duet right. Webster also sang excerpts from Carmen with the Sadler’s Wells chorus and orchestra, with Dennis Noble, and with Nancy Evans, Anne’s old friend from Liverpool, as Carmen.
At the beginning of the Second World War, he recorded The Lost Chordat the Kingsway Hall in London, accompanied by the organist Herbert Dawson. As they were reaching the end of the song, the All Clear siren sounded, which meant they had to redo the recording to cut out the sound of the siren. There had been no air raids at that early stage of the war so presumably the sirens were being given a trial run. The blitz was yet to come and would destroy Webster’s beloved Queen’s Hall.
ANNE ZIEGLER (1910 – 2003)
Anne was born Irené Frances Eastwood in Liverpool on 22 June 1910. From over two hundred other hopefuls she was chosen for the part of Marguerite for the film, the Faust Fantasy: no doubt her blonde good looks and charming personality counted for nearly as much as her attractive lyric soprano voice. It was in the making of this film, which commenced shooting in December 1934, that she met Webster Booth, playing opposite her as Faust.
During the making of the film they fell in love , although at the time he was married to his second wife, Paddy Prior, and had a son, Keith, by his first marriage to Winifred Keey. Four years later, after his divorce from Paddy in times when divorce was not as common or acceptable as it is today, Anne and Webster were married on Bonfire Night in 1938.
During those intervening four years, Anne was an overnight success on radio in The Chocolate Soldier, sang in a concert party in 1935 called Summer Smiles during the summer season at Ryde, an engagement she did not really enjoy much. There she acquired her first devoted fan, a girl aged 15, who kept in close touch with her for the rest of her life.
She played principal boy in her first pantomime, Mother Goose, at the Empire Theatre, Liverpool, which starred George Formby. In this pantomime she met Babs Wilson-Hill, the principal dancer in the show, who was to remain her closest friend for most of her life. During the 1936 pantomime season she and Babs appeared in another highly successful pantomime, Cinderella, in Edinburgh, this time with the Scottish comedian Will Fyffe as the star attraction.
Anne and Webster were both extremely popular and prolific broadcasters on the BBC, as well as the various European commercial broadcasting stations geared to the British market, such as Radio Lyons, Radio Luxembourg, Radio Normandy and Radio Eireann. Glancing through copies of The Radio Pictorial, commercial radio’s equivalent of The Radio Times, one sees frequent articles about them. Radio stars in the thirties obviously held the equivalent status of pop stars today.
Despite Anne’s success on stage and radio, recording companies had not shown any interest in putting her voice on record. She made a test recording of the Waltz Songfrom Merrie England in 1935, a recording which Webster managed to obtain from HMV. Eventually she did make a few solo recordings and sang in a Noel Coward medley with Joyce Grenfell and Graham Payn, but the bulk of her recordings were duets with Webster. My favourite solo recording of Anne’s is Raymond Loughborough’s ASong in the Night, which she sang on a Pathé film short in 1936.
Webster went to New York with her, hoping to find some stage work of his own, but, despite his great voice, he did not make any impact on the cut-throat American musical world. He attended various auditions in New York as an unknown, while in England he was already an established performer in oratorio, recording, films, and the West End stage. He returned to England, crestfallen at his lack of success, and resumed his numerous engagements. Anne, in the meantime, was hailed as a Broadway star and offered a film contract in Hollywood, with the idea that she would be the successor to Jeanette McDonald. The offer was tempting, but she turned it down to return to England and marry Webster Booth when his divorce from Paddy Prior was made final.
For most of her life Anne maintained that marriage to Webster meant more to her than any Hollywood contract, although in later years she sometimes reflected on what her life would have been like had she accepted the contract and become a Hollywood star.
Even before Webster’s divorce was made final they formed a duet partnership on stage, in addition to their solo work. From April 1938 they were singing together for Clarkson Rose. This is an advert from September of 1938, the month before Webster’s divorce was finalised.
Their first duet recording was made in the year after their marriage in 1939 – If You were the Only Girl in the World, with A Paradise for Two on the flip side. Before this official recording she had sung with him as an anonymous soprano voice in a radio series in 1937 called The Voice of Romance. In this series he too was anonymous, but by this time, most people would have recognised his distinctive voice.
In 1940 they accepted an offer from agent Julius Darewski to join the variety circuit. The money was good and they were well received on the variety halls, always doing their act without the aid of a microphone. If Webster Booth’s voice filled the Albert Hall when he sang the tenor part in Coleridge-Taylor’s Hiawatha in Native American dress under the baton of Malcolm Sargent, the same voice, in harmony with his wife’s, filled the variety theatres from the London Palladium to all points of the United Kingdom.
They were the epitomé of glamour and romance. He was tall, dark and handsome. He was always in immaculate evening attire, she in a range of crinoline gowns, some designed by Norman Hartnell. Their act was interspersed with what seemed like off-the-cuff banter, but every word and move was meticulously planned, and the lighting plot carefully worked out for the most telling impact.
Apart from the usual operatic arias and musical comedy duets, Anne and Webster sang and recorded a number of ballads, arranged as duets, and an interesting and difficult arrangement of Chopin’s famous Nocturne in C sharp minor, arranged by Maurice Besley. As often as not Webster would arrange the duet part himself if none had been written.
Leslie Webster Booth was born on 21 January 1902 in a three storey home above his father’s ladies hairdressing business at 157 Soho Road, Handsworth, Birmingham. He was the youngest son of Edwin Booth and his wife Sarah (née Webster) in a family of three sons and three daughters. Edwin was a hairdresser, who had served in the Royal Staffordshire Regiment as a Barber Surgeon. Sarah was from Chilvers Coton, Nuneaton, where her parents and later she and her sister, Hannah, had been handloom silk weavers. Her brother, William Thomas Webster was a partner in Foster and Webster, a successful gentlemen’s outfitters with branches throughout the Midlands. Sarah’s brother eventually left the firm, but it continues to this day under the name of Foster Brothers.
Leslie was the youngest of six children and his eldest sister, Doris, (known as Nellie), played as big a part in his upbringing as his mother. All three sisters doted on their young brother, who, from an early age, possessed a singing voice of outstanding quality. The family held musical evenings at home and delighted in their father’s robust rendition of The Veteran’s Song, while his mother and sisters were moved to tears when young Leslie sang the mournful ballad, Valé in his beautiful treble voice.
At nine years of age Leslie’s voice elevated him from St James’ Church choir in Edwardian Handsworth to the choir stalls of Lincoln Cathedral as a chorister under the direction of Dr George Bennett. Dr Bennett was a fine musician, but a stern taskmaster, who insisted that choristers sang with flat tongues: he was not averse to flattening an errant tongue with his ever-ready broken baton. Just as today’s Cathedral choristers are disciplined hard-working musicians of the highest order, so they were in the first decades of the twentieth century also. Christmas holidays for the choristers commenced only after they had completed the Christmas Eve services to Dr Bennett’s satisfaction.
Lincoln was a good training ground for young Leslie Booth. Although he did not make great progress on the piano and thus did not advance to learning the organ, an instrument he longed to play. The Willis organ at Lincoln Cathedral had been opened in 1898, eleven years before Leslie went to Lincoln, and is still considered as one of the finest organs in England. Leslie did, however, learn to sight-read vocal lines with ease. This ability stood him in good stead as a professional singer, especially at recording sessions.
When he went to HMV studios for a recording session he would be given six to eight songs to record at a time. These he would sight-read and record in one or two takes. After the session the songs would soon be forgotten: a different approach to recording from today’s pop singers who seem to spend months recording their new “album”! Years later, people often appeared before him clutching one of his old records, assuring him of their great attachment to the particular song, but he often had no recollection of making it in the first place.
After his voice broke at the age of thirteen, he returned to the family home in Birmingham to study accountancy at Aston Commercial School. He was set for the steady job of accountant like Uncle Jim, his father’s brother, but at fifteen, when his voice had settled, he began his vocal studies as a tenor with Dr Richard Wassall, the musical director at the Midland Institute in Birmingham. Leslie was an avid supporter of West Bromwich Albion football team and was goalie in the Aston Commercial School team. He was a promising enough goalie to be offered a place with the Aston Villa Colts, but this idea did not meet with his headmaster’s approval. Despite his accountancy studies, he secretly dreamed of the more glamorous callings of football and singing. Luckily for the world, singing eventually won.
With his great natural vocal gifts, his striking good looks and winning personality, performing came easily to him. He sang duets with Uncle Jim’s daughter, his cousin Lily Booth, a promising mezzo-soprano, and soon he was also singing at concerts and oratorio performances all over the Midlands and Wales. By this time he was a tall, imposing young man, who realised that appearance and stage presence were nearly as important to a professional singer as an exceptional voice. Although he had perfect diction in song, he felt it necessary to take elocution lessons with the Shakespearian actor Sir Robert Atkins, the founder of the Open Air Theatre at Regents Park, to smooth the Brummy intonation from his speech.
His adult voice was a distinctive lyric tenor, with an exceptionally wide range and a baritonal quality on the lower notes. His diction was clear and lacked the idiosyncratic pronunciation and bleating quality of many of his contemporaries, which marked them as refined English singers, not quite able to compete with their more virile Italian and German counterparts. In my opinion, Heddle Nash and David Lloyd were the only two British tenors of Webster Booth’s generation who had comparable voices.
At twenty-one, Leslie auditioned for the D’Oyly Carte Opera Company and was immediately accepted after a London audition. Although he had been doing well in accountancy, he abandoned his job with little regret to become a professional singer, making his debut with the company in The Yeomen of the Guard at the Theatre Royal, Brighton on 9 September 1923. He stayed with the company for four years, but made no great advancement from the chorus and small parts. In Duet, his joint autobiography, with Anne Ziegler, he complained that the only way one could advance in the company was to wait to fill “dead men’s shoes”. Despite this observation, he was one of the few singers allowed to record individual songs from the Gilbert and Sullivan repertoire without the prior approval of the D’Oyly Carte family.
His recordings of Take a pair of sparkling eyes and A Wand’ring Minstrel under the baton of the gifted conductor Leslie Heward, who died tragically young, remain unsurpassed and are now available on CD. He went with the D’Oyly Carte Company on a memorable and successful tour of Canada. Winifred Lawson, the principal soprano, heard him singing Your Tiny Hand is Frozen from La Bohème at the ship’s concert and was deeply impressed with the beauty of his voice. She was not surprised when he left the company soon after its return to England, to eventually become a deserved success in his own right.
In 1924 he had married Winifred Keey, the daughter of Edgar Keey, his headmaster at Aston Commercial School. Winifred borrowed £100 from a relative, with no intention of repaying it, and used the money to follow Leslie to London against her parents’ wishes, or possibly without their knowledge. They might have approved of the match had Leslie remained a respectable accountant like his elder brother, Norman, but they were against her taking up with a chorus boy in the D’Oyly Carte. Her family would have no more to do with her, annoyed at her, partly because of her defiance of their wishes and partly because she had borrowed such a large sum of money under false pretences from a member of the family. Because they disowned her they never knew that she and Leslie had married or that she gave birth to a son and imagined that she and Leslie were living together in sin.
Winifred and Leslie’s son, Keith was born the year after their marriage on 12 June 1925, and his birth was registered in Birmingham North. Leslie was on tour for fifty weeks of the year and Winifred, left alone with her small son, was estranged from her parents although living in the suburb of Moseley in the same city. After several years she suddenly deserted Leslie and his son. He had suspicions that all was not well at home when he came home from a tour with D’Oyly Carte to find Keith sitting by himself on the doorstep. Winifred had left her small son to his own devices while she went dancing.
Leslie searched for Winifred in every town where he was singing, but despite his desperate attempts to trace her, he never found her, and eventually divorced her in 1931, citing Trevor Davey as co-respondent. Leslie was granted custody of Keith, who never saw his mother again after his sixth birthday.
After the stability of a regular – if small – salary from D’Oyly Carte, he was now a freelance performer with a small son to support and no regular money to his name. In the D’Oyly Carte Company he was known as Leslie W. Booth, but now he adopted his middle name, and became Webster Booth on stage, although his family and close friends continued to call him Leslie for the rest of his life. One of his boyhood nicknames was Jammy and he once signed a photograph “Yours sincerely, Kingy“!
During this precarious period of his life before he achieved fame and stability in the profession, Webster joined Tom Howell’s Opieros, a concert party with a difference, as some of its members sang operatic excerpts while others were comedians and light entertainers found in the usual concert party. Tom Howell was a baritone from Swansea and he and Webster often sang duets together in the shows. For several years Webster toured all over the country with the Opieros during the summer season, performing on piers and in municipal parks. H Baynton-Power was the Opieros’ excellent accompanist.
In winter Webster sang in cabaret at various large Lyons’ restaurants and cafés, at many Masonic concerts and staff dinners, often with the pianist Gladys Vernon as his accompanist. Gladys Vernon was to marry another well-known tenor, Walter Midgeley.
During the winter seasons of 1927 and 1928, he and Tom Howell appeared in Fred Melville pantomimes at Brixton. The first pantomime in 1927 was St George and the Dragon. St George was played by principal boy, Vera Wright, while Webster played King Arthur. 1928’s pantomime at the Brixton Theatre was a freely adapted version of Babes in the Wood. Once again Vera Wright played principal boy, this time in the role of Robin Hood.
Webster made his West End debut as the Duke of Buckingham in Rudolph Friml’s The Three Musketeers at the Theatre Royal, Drury Lane in 1930. The leading role of D’Artagnan was taken by Dennis King, an actor and singer Webster greatly admired for his great energy. Other distinguished cast members were Lilian Davies, Marie Ney, Adrienne Brune and Raymond Newell. Unfortunately, Webster could only appear in this show for three months as he had already signed a contract for a Blackpool summer show for Ernest Butcher. Despite Sir Alfred Butt’s best efforts to get him released from this contract, Ernest Butcher would not budge. Webster’s part was taken over by the well-known Yorkshire tenor, Robert Naylor. When Webster set off sadly and reluctantly to fulfill his engagement on the Central Pier, Blackpool, his one consolation was that he could continue singing Queen of My Heart, one of the hits from The Three Musketeers with which he had scored such a success on the West End.
Webster met his second wife, Dorothy Annie Alice Prior (stage name Paddy Prior) in the early nineteen-thirties. He was singing One Alone at a Concert Artistes Association concert and happened to notice her sitting in the audience. Paddy Prior was born in Fulham in 1905, the daughter of Hubert Prior, an ironmonger, and his wife, Annie Jane (née Henderson). Paddy went on the professional stage while still in her teens. She was a light comedienne, dancer, and a soubrette with a charming mezzo-soprano voice and appeared on television in its early days in The Ridgeway Revue with Philip Ridgeway and Hermione Gingold. By the time she met Webster she was a veteran of many concert parties, musicals and pantomimes, and always received good reviews for her work. Despite her talent she had periods of unemployment and placed occasional advertisements in The Stage, such as this one in April 1926, which read as follows:
In 1931 Webster divorced Winifred, citing her affair with Trevor Davey and on 10 October 1932, he married Paddy at Fulham Registry Office, where he had married Winifred Keey in 1924. Around the same time, Winifred married James L. Haig at the Lambeth Registry Office. Webster and Paddy went to Newquay for their honeymoon.
Webster sang for several seasons in Papa Pinder’s Sunshine concert party at the Sunshine Theatre, Shanklin on the Isle of Wight.
In 1933 he and Paddy appeared together for the summer season in The Piccadilly Revels Concert Party at Scarborough. The following year, Webster managed to arrange for Paddy to obtain an engagement with him in the Sunshine show. Appearing on the same bill with them was Arthur Askey, and he and Webster became great friends. After hearing Webster sing To Anthea by J L Hatton at one of the shows, the Askeys decided to name their baby daughter Anthea…