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.

WHY THE BOOTHS MOVED TO SOUTH AFRICA IN 1956.

From the moment Webster and Anne started singing together regularly, they were very popular with the public. Few remembered Webster’s acrimonious divorce from Paddy Prior in 1938 when Anne had been named as the co-respondent. The public was happy to accept the glamorous couple who sang beautiful songs and duets together so melodiously and with such feeling as glamorous sweethearts in song. Unlike ordinary couples whose marriages settled down after a year or two, Anne and Webster’s marriage was seen as one filled with the constant romance and passion of a permanent honeymoon.

Anne and Webster 1938

Anne and Webster before their marriage. (1938)

When they took their act to the Variety circuit in 1940 Webster still managed to carry on singing at more serious concerts and in oratorio, but it was probably at this time that people began to regard him as a “romantic duettist” instead of one of the “elect” and one of the finest British tenors of the century as he had been regarded in the thirties. During this time they made their name on the stage in productions of The Vagabond King, Sweet Yesterday and And So to Bed, and in several films.

Webster as Francois Villon in The Vagabond King (1943)

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The Laughing Lady film in 1946 with music by Hans May was a starring vehicle for them both as singers and actors although it was not generally liked by critics. They did many concerts for the impresario, Harold Fielding and must have known every place in Britain like the back of their hands as they went from place to place to fulfill engagements.

Their concert tour of New Zealand and Australia in 1948 was very successful indeed, although some of the Australian critics did not always give them good reviews. I sometimes wonder whether their glamorous stage act, complete with crinolines, sparkling jewellery, and gardenias in the buttonhole of Webster’s immaculate evening dress did not become slightly tedious to them after a while. They had a limited repertoire – possibly a repertoire demanded by their many fans who did not want to hear any new or innovative material. 

In 1952 their recording contract with HMV was cancelled and although they made several recordings for Decca this did not result in a steady stream of recording dates. By the fifties Harold Fielding was enlarging the number of performers he employed for his concerts; post-war audience preferred American performers on the stage of the London Palladium, and as the fifties progressed rock ‘n roll was appealing to younger audiences.

Through no fault of their own, they received a very large tax demand for unpaid American recording royalties which Webster could not afford to pay at that time. He told me that he had been foolish and should have offered to pay the tax off gradually, but because he had flatly refused to pay, there was talk of the Inland Revenue seizing their property. The satirical revue Airs on a Shoestring made a mockery of their act, and of Hiawatha, the work with which Webster was closely associated. Perhaps that was the last straw for them.

30 April 1953 Airs on a shoestring

They had made a successful short tour of the Cape Province of South Africa in November of 1955 and although they were not short of work in the UK they decided to move to that country in July of 1956.

JEAN COLLEN –  13 OCTOBER 2018.

 

SWEET YESTERDAY – 1945

 

15 August 19451While Sweet Yesterday by Kenneth Leslie-Smith was a popular show and would have run for a much longer time had Webster Booth and Anne Ziegler agreed to transfer to a new theatre in December of 1945, it was not a very happy experience for them. In fact, Anne nicknamed it Dreadful Yesterday and was only too happy when it came to an end. From the beginning, they were dissatisfied with the way the show was directed and annoyed that the actor, Hugh Morton, whom they considered to be excellent in his role, was peremptorily dismissed by producer, Lee Ephraim.

1945 Sweet Yesterday programme-03.jpg

Possibly the best part of the run was when Germany surrendered and Webster, as the leading man, made this joyful announcement to their Glasgow audience and told them that a Bank Holiday had been declared for the following day.

They were invited to appear in the Victory Royal Command performance on their seventh wedding anniversary, 5 November 1945. It was usual for the theatre where they were performing to close on that occasion but Ephraim refused to close the Adelphi and expected them to do the first act before going on to the Coliseum for the Command performance. Naturally, they refused to do so.

1945 Royal Variety 1945

On the last night of the production, 8 December 1945 there was a rowdy crowd in one of the boxes. Webster stopped the show and addressed the audience: ‘“Ladies and gentlemen, I am sorry, but we cannot continue until the occupants of that box have retired.”
‘I then sat on a table and, I fear, left Anne standing and looking terrified. I was very much upset.
‘Loud shouts came from all over the house: “Put them out!”… “Carry on!”… “Stop that noise there!”…
…’We finished the show in deathly silence from the box and amidst tremendous applause from the audience… I ordered that the curtain should not be raised as I had reason to believe that a demonstration was to be made by certain people.’ (Duet p. 174)

References to Sweet Yesterday in my book: A Scattered Garland. At the top of the tree. MY BOOKSTORE

26 January 1941 – BBC A new historical romance entitled Sweet Yesterday, by Philip Leaver, with music by Kenneth Leslie-Smith, will be produced in the Home Service programme on January 26. The threatened invasion of Britain by Napoleon inspires the theme of the play. The part of Napoleon will be taken by Philip Leaver. In 1945 this radio musical was turned into a musical play with Anne and Webster as its stars.

29 March 1945 – Scotsman. Edinburgh. Sweet Yesterday premiere: This romantic play of espionage in Napoleonic days is set in London, Calais, and Paris in June, 1805, with elaborate staging and magnificent costumes, the colourful splendour of which is sheer delight.

The plot concerns Louise Vareenes, her fiancé, Captain Edouard Labouchère, and Sir John Manders, an English diplomat, who had been sent from London to Paris on a secret mission in the guise of a Dutch diamond merchant. Louise recognises Sir John, whom she had known in London when she was living there as a refugee during the Revolution; but she does not give him away in a scene at a gay party in Sans-Gêne’s residence in Paris. Edouard, slightly tipsy, gives away information regarding a plan of Napoleon’s against England, and his indiscretion leads to his arrest. Sir John, who also loves Louise, plans for her sake Edouard’s escape from prison. After a great deal of plotting, court intrigue, and swordplay, he finally manages to get the young couple safely away from France, making Louise promise to deliver his message to the Prime Minister in London, revealing Napoleon’s plan. He himself does not manage to escape and is shot while waving to them from the window.

The music of the show is delightful, and the cast could not be better. Webster Booth and Anne Ziegler as Edouard and Louise, are the romantic couple, and their superb singing is a joy. They received a warm welcome on opening night. Solos and duets were heartily applauded and encored. Hugh Morton’s polished acting as Sir John Manders calls for special praise. Doris Hare’s supreme artistry as Sans-Gène makes her performance an outstanding triumph. Mark Daly as Cabouchon, a policeman, appears in many amusing disguises and sings several numbers with characteristic skill. Philip Leaver plays Monsieur de Vigny, prefect of police, cleverly.

A large chorus and attractive ballets are arranged by Frank Staff, with décor by Clifford Pember, and costumes designed by Alec Shanks. Esmé Church is to be congratulated on her production. The orchestra is under the direction of Herbert Lodge.

Sweet Yesterday 06

27 April 1945 Sweet Yesterday at Alhambra, Glasgow – To the Alhambra comes a new musical play, Sweet Yesterday. In Sweet Yesterday, which will run for a fortnight are those popular singers, Anne Ziegler and Webster Booth, which alone would ensure any play’s success…

May 1945 – Sweet Yesterday. Lee Ephraim has arranged to present the musical play, Sweet Yesterday, by Phillip Leaver, with music by Kenneth Leslie Smith, and lyrics by James Dyrenforth, and Max Kester, at the Adelphi, on Thursday, June 21. This play, which is finishing a short tour, was originally produced at the Empire, Edinburgh on March 27. Anne Ziegler and Webster Booth will reappear as the romantic couple in the principal parts of Louise and Edouard. Other members of the cast are Doris Hare, Hugh Morton, Mark Daly, Gwen Lewis and Philip Leaver.

14 June 1945 – Sweet Yesterday. Next Thursday has now been decided on for the re-opening of the Adelphi with Lee Ephraim’s presenting of Sweet Yesterday, Phillip Leaver’s musical play of the days of Trafalgar, which has been on a very successful tour since its production at Edinburgh in March. Anne Ziegler plays the French heroine with Webster Booth as a captain who gives away Napoleon’s plan for the invasion of England. Reginald Tate, just returned to the stage from the RAF, is the British ambassador, who helps the young lovers to escape, at the cost of his own life. Hugh Miller is De Vigny; Doris Hare plays Madame Sans-Gêne of merry memory. It is at a party in her house that the trouble happens. Kenneth Leslie-Smith’s music is said to be delightful.

TOMORROW

Thursday 21 June 1945 – Ego 8, James Agate, pp 139-140. Why are the moderns afraid of standing up to the ancients, since we are always being told that they are better? People get furious when I compare today’s writers of operettas with yesterday’s. Why do they funk reference to Offenbach, Strauss, and Sullivan, or even Planquette, Messagér, and German, since they hold the theatre of the present to be better than that of the past? I will tell them. Even they would recognise, say, as Sullivan and nobody except Sullivan, if they heard it thrummed on bazookas in the Fiji Islands.

But would they recognise as indubitable Leslie-Smith any extract from Sweet Yesterday, tonight’s affair at the Adelphi, if they heard it poured out by, say, Frankie Schubert’s Otiose Tahitians in some Tyneside Palais de Danse? I doubt it. I suggest they would vaguely attribute it to the school of composers which, between the two wars, supplied the pseudo-Viennese drama with its sound-equivalent. I note that the programme attributes the orchestration to a Mr Ben Frankel, who has certainly seen to it that the score is lush to saturation-point. What harps and tumbrels! What wild ecstasy!

And for the bored critic what struggles to escape! I suppose it would be naughty to ask our modern panegyrists who did the orchestration for Offenbach and those others? The essence of grand opera being to fill a void with teeming nonsense, I didn’t expect this grand operette – all about spying under Napoleon – to do more sensibly.

Webster Booth and Anne Ziegler in good, and oh so frequent voice, Reginald Tate and Hugh Miller exuding nobility and acumen. Doris Hare as a Sans-Gêne born within the sound of the Bow Bells. Wherefore in the Sunday Times on Sunday I shall suggest deletion of the line: “Does France move against England?” The answer could only be: “If it does, it will be civil war!” No, I shall invite these Mossoos and Madarms to toast each other at the boofy at Booloyne without insisting on their nationality.

22 June 1945 – Times: Adelphi Theatre, Sweet Yesterday, Book by Philip Leaver. Music by Kenneth Leslie-Smith. The costumes are gaily Napoleonic; the music, if derivative, is gaily derivative. and there is the pretty cape-and-sword romance of Sir John’s hazardous journey to France in search of a lady who is, unfortunately, betrothed to another. The final scene of the gallant Englishman helping the Royalist pair of lovers to escape while he himself stays to die may seem to contain an intolerable deal of noble behaviour, yet it is tempered perhaps by the willingness of the heroine, a Frenchwoman, to convey to Pitt the fateful tidings that Villeneuve has sailed from Cadiz and will shortly reach Trafalgar. She at first demurs; but the gratitude of a heroine is quickly found to outweigh dull patriotic scruples. These are trifling matters.

The French woman is Miss Anne Ziegler, and she sings delightfully; and her lover, though something of a romantic stick, is Mr. Webster Booth, who also sings delightfully. The dashing Sir John is Mr. Reginald Tate. and though he does not sing at all, he wears his cape and carries his sword with grace and dash. Neither does Mr. Hugh Miller sing, but he is a darkly handsome, well-mannered. and quickwitted policeman, oddly enough assisted in his spy hunting by the blandly amiable Mr. Mark Daly, who sings a number of songs in mellow traditional style. The entertainment seems in the beginning to be nothing in itself, but merely to reflect other things of the kind; yet it grows under the practiced guidance of Mr. Jack Hulbert in glitter and grace.

24 June 1945 – James Agate, Sunday Times: “Mr Webster Booth and Miss Anne Ziegler sing delightfully and very, very often.”

Sweet yesterday 1945

28 June 1945 – Stage. Sweet Yesterday, Adelphi: On Thursday of last week Lee Ephraim presented here the musical play by Phillip Leaver, with music by Kenneth Leslie-Smith, and lyrics by James Dyrenforth, Max Kestler and Phillip Leaver, entitled Sweet Yesterday. It is far too long, but it offers the attractions of good singing, good acting, and good dancing. Some of his more conventional melodies are very easy on the ear. There is a march-time song and chorus, entitled Morning Glory, with an irresistible lilt; and the theme song Sweet Yesterday, the love duet Tomorrow, and other numbers are sure to be widely popular. Click on the link below to listen:

MORNING GLORY

On the whole, the music is far superior to the lyrics. Before considering individual performances it has to be said that Jack Hulbert’s production is masterly. On a not excessively big stage, he achieves some brilliant ensembles. Webster Booth and Anne Ziegler act with any amount of dash and zest as the French lovers, and their singing is always delightful. Yet it is a peculiarity of this production that the best parts are not those of the principals.

Reginald Tate as the self-sacrificing Englishman, and Hugh Miller as his policeman opponent, have nothing to sing but something to act, and they act very well. Doris Hare plays Sans-Gêne on broad – sometimes almost too broad – comedy lines, and Mark Daly brings to the part of a rather vaguely defined assistant police-chief a ripe sense of comedy, a remarkable clarity of enunciation as comic singer, and considerable agility as dancer.

The programme is not very helpful to those anxious to identify all the cast; but some of those who appear to deserve special praise are Marjorie Baker, Franklin Bennett, Rupert White, Paula Grey, and Sheila Reynolds. Frank Staff and Cleo Nordi must be praised for a singularly pretty ballet. The costumes and décor of Alec Shanks and Clifford Pember have been already praise; and Herbert Lodge conducts with judgement. (Stage)

29 June 1945 – Spectator Sweet Yesterday is the best musical play London has seen for a long time. It has an excellent plot and can boast of some real acting on the part of Doris Hare, Reginald Tate, Hugh Miller and of Webster Booth as the romantic hero. Its patriotic sentiment is genuinely moving, and the singing of both Anne Ziegler and Webster Booth is distinctly above the average. When I add that, in addition to these merits, the music by Kenneth Leslie-Smith has style and distinction and is well orchestrated by Ben Frankel, I hope my readers will understand that nobody with a taste for musical plays should miss this quite exceptional one. It is

July 1945 – Spectator Extracts from musical plays rarely survive isolation as gramophone recordings since they depend so much upon the visual glamour of their stage settings: Tomorrow and Life Begins Anew from Sweet Yesterday, sung by Anne Ziegler and Webster Booth, are no exception; but in any case these make a bad choice, the number that deserved recording was Morning Glory, sung by Webster Booth and chorus. It is characteristic both of impresarios and recording companies that they rarely know when they have a good thing or the opposite.

LIFE BEGINS ANEW

31 July 1945 – Robbery. During the run of Sweet Yesterday on July 31 Anne and Webster had their home burgled. The following day details of the burglary appeared in the newspapers. This was not the first burglary at their home. They had been burgled in early 1944, and some time later Webster’s Talbot car was stolen from the garage and was later found abandoned and damaged.

3 August 1945 – Nottingham Evening Post Thieves broke into the home of Anne Ziegler and Webster Booth, the musical comedy singers, at Barnet, and got away with jewellery valued at about £500.

September 1945 – Sweet Yesterday special matinee. A special matinee performance of Lee Ephraim’s musical play Sweet Yesterday, starring Webster Booth and Anne Ziegler, is to be given at the Adelphi Theatre on Tuesday, September 4, at 2.15pm to benefit the Institute of Journalists’ Pensions Fund, which provides pensions for journalists who through age and incapacity are no longer able to follow their profession. Tickets, which can be obtained from the usual agencies or the Adelphi Theatre, are the ordinary theatre prices.

1945 Sweet Yesterday (2)

Stage Door records have just released a double CD featuring two songs from Sweet YesterdayLOST WEST END VINTAGE 2 – LONDON’S FORGOTTEN MUSICALS

Jean Collen  2 August 2018.

 

 

SHEET MUSIC FEATURING SONGS SUNG BY WEBSTER BOOTH AND ANNE ZIEGLER

Sheet Music featuring (or associated with) Anne Ziegler and Webster Booth

Webster Booth sang Chalita (Victor Schertzinger) in the late twenties at various Lyons Cafés.

Tango project (1981)

Webster Booth took the role of the Duke of Buckingham in The Three Musketeers (1930) at the Theatre Royal, Drury Lane. He made his West End Debut in the production.

Front cover of Webster’s score of Elijah (Mendelssohn) listing a few of his performances in the oratorio.
 The front pages of Webster’s score of Messiah (Handel) given to him by his father Edwin Booth. Many of Webster’s performances are listed here.

 Comfort Ye/Ev’ry Valley


 

 

 

 

 

 

 

 

My Star (Bassett Silver) sung, recorded and broadcast by Webster in the 1930s.

 

 

 

 

 

 

 

 

 

Faust (Gounod)

Webster and Anne in The Faust Fantasy (1935)

Webster appeared in the film The Robber Symphony in 1935

 

Anne appeared in the musical Virginia by Arthur Schwartz at the Center Theater, New York in 1937.

 

Say That You Care from Me (Joseph White) was a song featured by Anne Ziegler in 1935.

Lilac of Louvaine was sung by Anne and Webster in the Blackpool show On With the Show produced by Lawrence Wright/Horatio Nicholls in the summer of 1940.
In 1941 Anne and Webster appeared at the London Palladium in George Black’s Show . Below are two songs the sang in the show. My Paradise (Harry Parr Davies)

Anne and Webster starred in a revival of The Vagabond King (Friml) at the Winter Garden Theatre, London in 1943. Their theme song Only a Rose is from the show.

Anne and Webster played strolling players in the film Waltz Time (Hans May) (1945)
They starred in the musical play Sweet Yesterday (Kenneth Leslie-Smith) at the Adelphi Theatre, Strand in 1945.
They starred in the film The Laughing Lady (Hans May). (1946)
They made a recording of Throw Open Wide Your Window with music by Hans May.

They recorded Dearest of All (Vernon Lathom Sharp) in the late 1940s. Vernon Lathom Sharp lived in East London, South Africa until his death in the 1990s.

Here is Richard Tauber singing Dearest of All
They discovered Blue Smoke when they were touring New Zealand in 1948 and made a recording of it as a duet.

Blue Smoke (recorded in 1948)

When they returned to the UK in 1978 and began singing again (although they had given their farewell concert in Somerset West, Cape in 1975), they often sang Ah yes, I remember it well from Gigi, the song made famous by Hermione Gingold and Maurice Chevalier in the film.

Hermione Gingold and Maurice Chevalier singing the song from the film.

Jeannie C August 2012
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