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 (1962 – 1963)

I have told about this wonderful period of my life in my book, Sweethearts of Song. Indeed, the whole pattern of my life changed from that time on. Webster has been dead for many years now but he will always remain one of the strongest influences of my life and I will always remember him with love.

Anne and Webster 29 January 1962 in Lower Houghton.
Gilbert and Sullivan programme 7 January 1962 SABC Bulletin
The Andersonville Trial February 1962.
February 1962. The Andersonville Trial. Webster played a very small part indeed!
9 March 1962
Hymn competition winners. March 1962
17 March 1962 Drawing Room on the English Service of the SABC.

17 March 1962 Drawing Room on the English Service of the SABC. Article by Webster in the SABC Bulletin.

17 March 1962 Drawing Room on the English Service of the SABC.
Gary Allighan, March 1962
Showing some antiques to the press. 1962.
Anne choosing wallpaper – 1962.
April 1962 Olivet to Calvary, St George’s Presbyterian Church, Noord Street.
4 May 1962 The Vagabond King
June 1962. Music for Romance.
Arriving in Bulawayo, July 1962. He was ill.
July 1962 Bulawayo Eisteddfod
21 July 1962 Bulawayo
July 1962 Bulawayo

July 1962 – Leslie Green broadcasts from the UK.

Leslie Green was in the UK on holiday and Anne and I listened to Tea with Mr Green (broadcast from the UK) when she was in the studio on her own and Webster was very ill. By this time Paddy O’Byrne was reading Webster’s scripts on the Gilbert and Sullivan programme as he was too ill and weak to record the programmes. He visited Anne’s great friend, Babs Wilson Hill and did a broadcast from her home. He said she had the most beautiful garden in England.

Webster was very ill indeed when he returned from Rhodesia and had to spend some time in the Fever Hospital in Johannesburg.

Fever Hospital.

August 1962 – Music for Romance. Anne presented a series of programmes of recordings and reminisces about her life and career in England. It received adverse criticism from various radio critics and only ran until December.

August 1962 – Anne Ziegler
28 August 1962 Round the Christian Year, St Mark’s, Yeoville.
28 August 1962 St Mark’s Yeoville, Round the Christian Year.
At the wedding of Margaret Inglis and Robert Langford in the garden of Petrina Fry (pictured) and her husband, Brian Brooke. October 1962

October 1962 –The Pirates of Penzance. Bloemfontein. Webster directed this production. As a gimmick, he had a chimpanzee to accompany the pirates on stage, but the chimpanzee was not without problems. She disgraced herself during Webster’s opening night speech. He quipped, “You naughty girl. I won’t take you out in a hurry again.”

August 1962 – Webster Booth
Lord Oom Piet. Guest artists, eventually furious to have their singing disrupted by the antics of Jamie Uys. I always thought that was a terrible film and couldn’t understand why Anne and Webster had any part of it.
November 1962 Lord Oom Piet.
November 1962. Elijah.

November 1962 – Port Elizabeth Oratorio Festival. Elijah and Messiah, Webster, Monica Hunter, Joyce Scotcher, and Graham Burns, conducted by Robert Selley. The complete oratorios were broadcast locally in the Eastern Cape as usual. Later, excerpts were broadcast nationally but, for some unexplained reason, none of Webster’s solos were used in the national broadcast. Two older members of the SABC choir (Gill and Iris) took delight in cattily telling Ruth and me that it was because Webster’s singing was not up to standard and that was why he was not included in the broadcast. That was the last year that Webster sang at the PE Oratorio Festival.

1963

Great Voices – January 1963.
15 January 1963 At Alexander Theatre, Braamfontein
Mr and Mrs Fordyce and their stage family 15 January 1963.
Mrs Puffin (Jane Fenn) and Mr Fordyce (Webster) January 1963
Anne holds a tea party in Goodnight Mrs Puffin.
Photo in the programme of Goodnight Mrs Puffin.
Lewis Sowden crit.
Oliver Walker crit.
Dora Sowden’s crit?
7 January 1963 Great Voices

Accompanying for Webster. Shortly after Goodnight Mrs Puffin ended its run at the Alexander Theatre my father heard a recording I had made of myself singing Father of Heav’n from Judas Maccabeus on my recently-acquired reel-to-reel tape recorder. He passed several disparaging remarks about the quality of my singing and I was feeling extremely despondent when I went for my lesson. Anne and Webster were kind and sympathetic when I told them what he had said.

“My family never praised me for my singing either,” Webster growled. “If it had been up to them I would never have become a singer. Bring the recording along next time and let’s see what it’s like.”

They listened in silence the following week – perhaps my father had been right and it was awful – but afterwards, Anne asked rather sharply as to who my accompanist had been. They were surprised when I admitted to accompanying myself.

Nothing more was said. In the fullness of time, I recovered from the hurt my father’s criticism had caused me and I plodded on regardless. A few weeks later Anne phoned my mother to ask whether I’d like to play for Webster in the studio for a few weeks in April as she was going on a tour round the country with Leslie Green, the broadcaster of Tea With Mr Green fame on Springbok Radio, a great friend of theirs.

I have told about this wonderful period of my life in my book, Sweethearts of Song. Indeed, the whole pattern of my life changed from that time on. Webster has been dead for many years now but he will always remain one of the strongest influences of my life and I will always remember him with love.

Accompanying for Webster (April 1963)
Anne sent me a postcard when I was playing for Webster and she was away on holiday with Leslie Green.
Anne advertising a facial cream for “mature” women! I’m sure most mature women would have been delighted to look as perfect as Anne did at the age of 53!
Colonel Fairfax in The Yeomen of the Guard. 6 June 1963.
The Yeomen of the Guard.
6 June 1963 various cuttings including crits for The Yeomen of the Guard at the Alexander.
Kimberley Jim. Webster plays a bit part – the Inn Keeper – in that silly film. 1963,
9 August 1963 for the opening night of The Sound of Music.
September 1963 Jon Sylvester, radio critic The Star
A nasty comment – probably from “Jon Sylvester” (the pseudonym for the Star’s radio critic, about Webster’s programme.
I was Pooh Bah in this instance. I met Webster in the street one day and he asked me if I had written this note to beastly “Jon Sylvester”. I asked him how he knew that, and he said I was the only person in Johannesburg who could have done so!
They presented a children’s programme on the SABC, produced by Kathleen Davydd. At the same time they made an LP called The Nursery School Sing-along with the children from Nazareth House, conducted by my piano teacher, Sylvia Sullivan, and Heinz Alexander accompanying them.
21 September 1963 at Pietermaritzburg City Hall.
Michaelhouse, Balgowan.
Pietermaritzburg City Hall.
October 1963 – Ballads Old and New.
November 1963. Fauré Requiem.
Saturday Night at the Palace on the radio in November 1963, Anne, Webster, Jeanette James and Bruce Anderson.

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.