a successful decade a - noelcoward.netnoelcoward.net/members/feb2009.pdf · a noël coward gala...
TRANSCRIPT
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PRIVATE LIVES at�the�Hampstead�Theatre�isthe�undoubted�Coward�hit�of�the�season!�A�lively
young�cast�breathe
freshness�into�a�classic
comedy.�The�main
characters�are�truly
magnificent�in�this
revival�that�explores
the�more�sensual
undertones�of�modern
relationships�whilst
retaining�the�timeless
classic�qualities�of�this
Coward�masterpiece
on�love.�Catch�it�while�you�can!�
“Noël Coward's greatest play has been
reinterpreted with raw emotion by director Lucy
Bailey, delivering a dramatic punch!”
BO:�020-77229301�Web:�hampsteadtheatre.com
SHUBERT THEATRE - BLITHE SPIRITThe�casting�is�complete�and�tickets�are�now�on
sale�for�the�Broadway�revival�of�Blithe Spirit
that�previews�on�February�26th.�
BO:�(212)�239-6200�Web:�telecharge.com or
eventticketscenter.com
STAR QUALITY: The World of Noël Coward
April 17, 2009 - August 29, 2009
“Star Quality: I don’t know what it is, but I’ve got it!”
So�said�Noël�Coward�and�this�exhibition�at
The�Museum�of�Performance�and�Design�in�San
Francisco�demonstrates�to�what�extent�he�had�it
and�through�his�work,�still�does!�
The�exhibition�will�be�on�public�view�at
MPD,�April�17�-�August�29,�2009.�Admission�is
free.�Gallery�hours�are�Wednesday-Saturday,
12:00-5:00�pm.�Kathy�Williams�in�her�role�as
our�new�‘US�West�Coast�Liaison’�points�out�the
flurry�of�Coward�productions�and�events�that
mirror�the�very�title�of�the�MPD�Coward
Exhibition.��See�noëlcoward.com for�more
information�on�what�is�happening�in�the�San
Francisco�area!
PRESENT LAUGHTERThe�return�of�the�Roundabout�Theater�Company
revival�of��Present Laughter is�imminent�with
Victor�Garber�as�the�put-upon�matinee�idol
Garry�Essendine.�Nicholas�Martin,�who�directed
the�comedy�for�the�Huntington�Theater
Company�in�2007�will�direct�the�new�show.�The
Roundabout�Theater�Company�is�at:�231�West
39th�Street.�BO:�(212)�7191300�
Web:�roundabouttheatre.org
DAVID BENSON Sings Noël CowardAward-winning
solo�performer
David�Benson
takes�on
Coward’s
masterful
songbook�in�this
delightful
evening�of
sparkling�wit�and
humour.�He�is
accompanied�on
the�piano�by
NCS member
Stewart�Nicholls.
See�David’s�new�website�for�tour�dates�
Web:�davidbenson.webs.com
COMING UP . . .Following�the�Society's
successful�reception�in
Cambridge�University�last�November,�led�by
Denys�Robinson,�Dominic�Vlasto�and�Salvador
Lloret�Farina,�a�group�of�students�met�Denys�on
25�January�to�discuss�a�programme�of�events�for
a�new�Cambridge�University�Noël�Coward
Society.�Led�by�Elizabeth�Donnelly,�who�played
Judith�in�a�recent�Cambridge�production�of�Hay
Fever,�and�Alex�Winterbotham,�they�have
already�booked�theatre�space�at�Trinity�College
for�a�Coward�production�during�the�summer
Term.�The�aim�is�then�to�have�a�stall�at�Freshers'
Fair�in�October,�followed�by�a�Cocktails�and
Cabaret�evening�in�the�Autumn�Term."
Home Chat is�the�newsletter
of�The�Noël�Coward�Society
wholly�owned�by�
Noël�Coward�Ltd.�which�is
part�of�the�charitable�trust:
The�Noël�Coward�Foundation.
Officers�of�the�Society�are:
Chairman:�Barbara�Longford
Secretary:��Denys�Robinson
Treasurer:�Stephen�Greenman
North�American�Director:
Ken�Starrett
US�West�Coast�Liaison:
Kathy�Williams
Representative�for�Australia:�
Robert�Wickham�
Representative�for�France:
Hélène�Catsiapis
Unless�otherwise�stated�all�
images�and�text�are�copyright
to�NC�Aventales�AG�
All�correspondence�to:�
The�Editor,�
29�Waldemar�Avenue,�
Hellesdon,�Norwich,�
NR6�6TB,�UK�
Tel:�+44�(0)1603�486�188
Editors:�
John�Knowles�and�Ken�Starrett
Design�and�Production:
John�Knowles
Publication�and�Distribution:
Stephen�Greenman�(UK)
Ken�Starrett�(US)
Music�Correspondent:�
Dominic�Vlasto
Contributions�are�invited�from
members�of�the�Society.�
The�editor�reserves�the�right�
to�edit�all�copy,�images�and�
decide�on�inclusion�of�items.�
Details�included�in�
‘What’s�On?’�are�as�received,
with�our�thanks,�from:
Samuel�French�UK�and
Canada�(Play�Publishers�and
Author’s�Representatives),�
Ken�Starrett�(US),�
Alan�Brodie�Representation
(Professional�Productions),
NCS�members�and�
theatre�companies.
For details of rights for
professional productions:
www.alanbrodie.com
For amateur productions
www.samuelfrench.com or
www.samuelfrench-
london.co.uk
For publishing rights:
www.methuen.co.uk
For music rights:
www.warnerchappell.co.uk
Details of some recent and future productions and events see www.noëlcoward.net and www.noëlcoward.com for more. .WHAT’S ON?
JOIN US IN 2009 - TO CELEBRATE THE SOCIETY’S TENTH BIRTHDAY!
President: HRH The Duke of Kent, KG, GCMG, GCVO, ADCVice Presidents: Tammy Grimes • Penelope Keith CBE • Barry Day OBE • Stephen Fry
THE NEWSLETTER OF THE NOËL COWARD SOCIETY - DECEMBER 2009
A SUCCESSFUL DECADE Our anniversaryyear begins . . .
Pictures from recent Noël Coward events in
New York and London
significant�role�in�financing�a�wide�range
of�ventures�that�sustain�Noël’s�name�and
work�for�young�students�and�adults�with
scholarships,�productions,�concerts,
exhibitions,�websites,�archives�and
published�information.�
The�Society�should�also�take�credit
for�its�part�in�providing�a�natural�home
for�those�who�wish�to�share�their�passion
for�Coward’s�life�and�work.�In�the�past
decade�it�has�carried�the�Coward�name
across�the�globe�through�its�commitment
to�providing�information�on�current
events,�productions,�exhibitions�and
activity�and�offering�a�window�into�a
wide�range�of�resources�-�and�lets�not
forget�the�sheer�fun�of�all�the�events�we
have�enjoyed!�We�have�developed�a
significant�archive�of�reference�material,
provided�the�first�step�in�what�is�now�a
family�of�Coward�websites�and
consistently�published�a�newsletter�that
has�wide�international�support.
So�as�well�as�joining�in�with�the�range
of�planned�events�offered�by�Barbara
Longford,�Ken�Starrett�and�the�NCS
committee�for�2009,�let’s�take�a�minute
or�two�to�congratulate�our�colleagues�and
ourselves.�To�thank�the�late�Graham,
Payn�and�Sheridan�Morley,�Dany�Dasto,
Barry�Day�and�Geoffrey�Johnson,�Alan
Brodie�and�his�staff,�as�well�as�all�the
Coward�Foundation�trustees.��
For�the�Society�-�to�thank�Michael
Imison�and�Gareth�Pike�for�our
beginnings,�all�our�past�and�present
chairmen,�officers,�committee�members
and��representatives�-�in�particular�the
tireless�Ken�Starrett�in�the�US.
Who�knows�what�the�next�decade
holds�for�any�of�us�and�for�the�Society
but�let�us�ignore�the�financial�gloom�that
threatens�and�join�in�the�Society�activities
planned�for�the�year.�
As�Barry�Day�often�asks�of�us:�“Help us keep the Coward flame alive!”
John Knowles
s�the�credit�crunch�credo
dominates�the�world�scene,
2009�looks�like�being�a�year
when�we�will�chart
unknown�territory�as�far�as
all�our�finances�are�concerned.�For
Coward�lovers�the�year�marks�the�end�of
an�unassailable�decade�as�far�as�interest
in�‘The�Master’�is�concerned.�Since�the
inception�of�the�Society�in�Coward’s
Centenary�Year�of�1999�there�have�been
more�major�revivals,�publications,
releases�of�archive�audio�recordings,�film
and�video,�exhibitions,�amateur
productions�and�general�interest�in�Sir
Noël�Coward�than�we�could�ever�have
imagined.�Credit�of�course�goes�to�all
those�who�work�for�and�manage�the
Coward�Estate,�producers�and�directors
who�take�the�financial�risk�(nay�I�hear
you�cry�‘financial�certainty’)�of�staging
revivals�in�the�demanding�worlds�of
Broadway�and�the�West�End.�
The�Coward�Foundation�plays�a
A
Marion Seldes
Sir Donald
Sinden
Ken Starrett, Barbara Longford,
Stephen Greenman Richard Holbrook PH
OT
O:
Rose
Bil
lin
gs
PH
OT
O:
Rose
Bil
lin
gs
Douglas Gordon and Roger Rees
Donald Smith, Marion Seldes and Barry Day
ASCAP AWARDfor Barry Day
In�New�York,�on
December�9,�2008.
The�41st�Annual
ASCAP�Deems�Taylor
Awards�for
outstanding�print,
broadcast�and�new
media�coverage�of
music�took�place.�The�award�to�Barry�was�as
‘Pop�Music�Books�Honoree’�and�the�plaque
says�-�“The ASCAP Deems Taylor Award to
Barry Day in recognition of the excellence of
his book ‘The Letters of Noël Coward.
Published by Alfred A. Knopf.”
Knopf�publisher,�Vicky�Wilson�said...
“Noël Coward prevails! This just shows the
power of Coward. And this book has
disproved one of the major tenets of
publishing law - that books of letters don't
sell. This book has been a triumph, with
many printings.”
Free to members
of the Society
Price £2 ($4)
Page 2 Page 11
Sunday 10th May, 2009
The Noël Coward Treasure Hunt“London Pride means our own dear town to us,
And our pride it for ever will be…”
o�join�other�Noël�Coward�Society�members�to
discover�the�delights�of�Noël�Coward’s�London,
and�pit�your�wits�against�them�as�you�battle�to�win
the�Noël�Coward�Society’s�Treasure�Hunt.�There
will�be�a�prize�for�the�winning�team.
Members�and�their�guests�will�set�off�in�groups�of�no�more
than�five�in�their�quest�to�become�the�Treasure�Hunt�champions.
You’ll�stand�in�good�stead�if�you�have�some�prior�knowledge�of
Coward’s�life�and�work,�but�there’ll�be�plenty�for�everyone�to
get�involved�with,�however�great�or�small�your�knowledge,
from�clues�scattered�round�London,�quizzes,�word�searches�and
games.�Members�are�welcome�to�put�together�their�own�teams,
or�alternatively,�we’d�be�happy�to�put�together�teams�for
members,�but�please�do�let�us�know�what�suits�you�best�in
plenty�of�time,�so�that�we�can�make�sure�the�teams�are�all�as
balanced�as�possible.
Please�arrive�promptly�outside�the�Noël�Coward�Theatre�at
12pm�on�Sunday�10th�May,�armed�with�a�Travelcard.
Refreshments�will�be�provided�at�the�end�of�the�day,�but
members�will�need�to�purchase�their�own�refreshments,�if
required,�along�the�way.�We�aim�to�finish�in�a�central�London
location�at�approximately�4pm.��The�cost�is�£5�per�person,
payable�on�the�day.
Would�interested�members�please�contact�Lisa�Foster,�
by�e-mail�to:�[email protected] or�tel:�020�7079�7990,��to
confirm�their�place. Lisa Foster
Sunday 5th July, 2009
A Noël Coward Gala performance of ‘Relative Values’
at the Hampton Hill Playhouse.
elative Values opened�at�London’s�Savoy�Theatre�in
November,�1951,�a�few�days�after�Noël�Coward’s
cabaret�premiere�at�the�Café�de�Paris,�and�was�his
first�successful�comedy�in�almost�a�decade.�His
diary�entry�for�Good�Friday,�March�23rd�1951�reads
“Very good Friday, really. Suddenly evolved a comedy called
Moxie. It feels the sort of play I want to write - worked it out
with Joyce. (Carey).”�26th�March:�“Eight pages done of Moxie
and rather good. The flow is beginning, and oh, the bliss of
writing dialogue after prose”.�1st�April:�“Finished the first act.
I have decided to change the title from Moxie to Relative
Values.”�16th�May:�“In the evening read Relative Values (Noël
was staying at Genessee Depot) to Lynn and Alfred, who were
genuinely crazy about it - no criticism at all - I was very
thrilled and pleased”.�7th�June:�“Three hours with Binkie
talking about Relative Values - everything he said was sensible
and, I think, right. He wants it in three acts instead of two and
strengthened here and there. Left him finally to go to a cocktail
party at Annie Rothermere’s for the Duke of Windsor - did not
stay long. Then went to Gladys and told her, as I had discussed
with Binkie, the news that I would be having a new set-up for
Relative Values.”�(Noël�was�using�a�different�set�designer�for
the�first�time�since�The Vortex in�1924).�30th�June:�“Worked all
morning and finished the job (the script of ‘Relative Values’)
and think there is a great improvement.”
Relative Values was�first�presented�by�H.M.�Tennent�Ltd
and�John�C.�Wilson�at�the�Theatre�Royal,�Newcastle,�October
15th�1951�and�had�a�six�weeks’�tour�in�Glasgow,�Oxford,
Brighton,�Bournemouth�and�Leeds.�Its�first�night�in�London
was�on�28th�November�with�Angela�Baddeley�as�Moxie,
Gladys�Cooper�as�the�Countess,�Judy�Campbell�as�Miranda
Frayle�and�Richard�Leech�as�Crestwell,�a�part�played�most
successfully�in�the�2005�Salisbury�Playhouse�production�by
member�and�cabaret�star,�Simon�Green.�Noël’s�diary�entry�for
that�day�is�as�follows:-
“�Rested most of the day in preparation for the strenuous
evening. Received the Duchess of Kent and Princess Margaret
at the theatre. First act started like ice and warmed up. The
royal ladies came up in each entr’acte for drinks and were very
sweet. The play went triumphantly. There was a terrific ovation
at the end but mercifully no speeches. Then on to Annie
(Rothermere)’s party. Then the Café - jammed full and wildly
enthusiastic. Dicky and Edwina were there. Then back to the
party - sang three songs and left not too late.”
This�Gala�performance�at�the�Hampton�Hill�Playhouse
celebrates�the�Teddington�Theatre�Club’s�10th�anniversary�at
the�theatre�and�the�10th�anniversary�of�our�Society.
Subject�to�other�professional�commitments,�Penelope�Keith
will�be�our�Guest�of�Honour�on�this�occasion,�when�she�will�be
formally�inaugurated�as�our�Vice�President.�‘The�Welcome
Champagne�Gala�Reception’�will�begin�at�4.30�p.m.�and�the
performance�will�be�at�6.p.m.
(Please�note�the�date�in�your�diary.�Booking�forms�will�be
sent�with�the�June�edition�of�Home�Chat)
Barbara Longford
The Noël Coward Diaries, edited by Graham Payn &
Sheridan Morley were dedicated to the memory of Cole Lesley
and first published by Weidenfeld & Nicolson in 1982.
ISBN 297 78142 1
Saturday 10th October, 2009
‘Don’t Put Your Daughter on the Stage’at London’s Hurlingham Club
he�evening�will�begin�at�6.p.m.�with�a�reception�in
Hurlingham’s�beautiful�Palm�Court,�complete�with�a
large�palm�tree�beneath�a�glass�dome.�Drinks�and
canapés�will�be�served�and�the�dress�code�on�this
occasion�will�be�black�tie.�Members�will�be�able�to�buy
the�then�newly�published�latest�book�by�our�Vice�President,
Barry�Day,�The Essential Noël Coward and�Barry�hopes�to�join
us�on�this�occasion�and�to�sign�copies.�At�6.45�p.m.�we�repair�to
the�Musgrave�Theatre,�which�is�adjacent�to�the�Palm�Court,�for
the�evening’s�events.�John�Knowles�will�present�a�newly
compiled�film�about�Coward.�This�will�be�followed�by�our
members’�Cabaret,�arranged�by�Musical�Supervisors,�Celia
Cologne�and�Dominic�Vlasto.�There�will�be�a�special
professional�Guest�Appearance,�during�the�cabaret,�the�identity
He�claimed�to�be�disinterested�in�records�but�on�another
occasion�he�pointed�out�that�“Shakespeare never wrote anything
so quickly. Not even ‘Twelfth Night’ or ‘Macbeth’.” (Both�plays
were�supposed�to�have�taken�ten�days�from�writing�to�first
performance.)
After�an�out-of-town�opening�in�Manchester,�Blithe Spirit
opened�on�June�1st�at
the�Piccadilly�Theatre,
finally�closing�on
March�9th�1946.
It�is�often�assumed
that�Noël�created�the
part�of�Charles
Condomine,�in�fact�it
was�Cecil�Parker.�Fay
Compton�played�his
current�wife,�Ruth�and
Kay�Hammond�was�a
‘luminous’�Elvira.�In�many�ways,�though,�the�show�was�stolen
by�Margaret�Rutherford�as�Madame�Arcati�-�a�character�based
on�his�friend,�writer�Clemence�Dane.
There�was�a�minor�drama�to�her�casting.�Miss�Rutherford
was�a�keen�supporter�of�spiritualism�and�felt�the�play�made�fun
of�mediums.�She�would�not�play�the�part.�It�took�a�lavish�lunch
and�all�of�the�producer�Binkie�Beaumont’s�oleaginous�charm�to
talk�her�round.
The�piece,�he�argued,�was�an�attack�on�fraudulent�mediums.
In�that�case,�the�lady�persisted,�how�did�Madame�Arcati�manage
to�raise�two�ghosts?�“Ah,”�replied�Binkie,�thinking�feverishly,
“that was a stroke of luck that can happen to even fraudulent
mediums.”�A�pause,�then�Miss�Rutherford�nodded�her�several
chins�in�agreement.�“Very well, but I must warn you that I
regard this as a very serious play, almost a tragedy. I don’t see
it as a comedy at all.”�Which�is�precisely�the�way�that�she�-�and
several�subsequent�Arcartis�-�have�played�the�part�and�which�is
what�makes�it�so�funny.
Incidentally,�when�Harold�Pinter�came�to�direct�a�revival�at
the�National�Theatre�in�1976,�he�went�to�pains�to�tell�the�cast
that�he,�too,�saw�the�play�as�dark.
“Noël Coward calls this play an improbable farce. Well I
just wish to make one thing
clear - I do not regard it as
improbable and I do not
regard it as a farce.”
The�Broadway
production�was�also�staged
in�1941�at�the�Morosco
Theatre�on�November�and
went�on�the�rack�up�657
performances�with�Noël’s
old�friend�Clifton�Webb�as
Charles,�Peggy�Wood�-�the
original�Sari�from�the
London�production�of�Bitter
Sweet -�as�Ruth,�Leonora
Corbett�as�Elvira�and
Mildred�Natwick�as
Madame�Arcati.�
The�play�won�the�Best�Play�from�the�Drama�Critics’�Circle.
The story continues in the next edition of Home Chat
lithe�spirit�was�started�on�May�2nd�1941.�It�was
finished�six�days�later�and�opened�in�Manchester�on
June�16th.�Despite�Graham�Greene’s�initial�review
that�described�it�as�‘a�weary�exhibition�of�bad�taste,’
it�ran�for�1,997�performances�-�longer�than�the�war
in�which�it�was�born.
Noël�and�his�best�friend,�actress�Joyce�Carey�took�a�brief
wartime�break�at�the�Welsh�resort�of�Portmeirion�-�later�to�be
the�surrealistic�setting�for�the�successful�TV�series�The
Prisoner.�(Perhaps�the�setting�had�some�influence�on�the
eventual�subject�matter.)
Joyce�had�written�a�moderately�successful�play�Sweet Aloes
in�1937�and�was�hoping�that�the�peace�and�quiet,�away�from�the
London�air�raids,�would�inspire�her�to�write�a�play�she�had�in
mind�about�Keats.�But�while�Joyce�was�‘wrestling with Keats
and Fanny Brawne’�-�a�battle�she�was�not�destined�to�win�-
Noël�decided�to�occupy�himself�.�.�.
“For some time past an idea for a light comedy had been
rattling at the door of my mind and I thought the time had come
to let it in and show it a little courtesy.”
“We settled ourselves into a pink guest house. The next
morning we sat on the beach with our backs against the sea
wall and discussed my idea exclusively for several hours . . . By
lunch time the title had emerged . . . (from Shelley’s ‘Hail to the,
Blithe Spirit! / Bird thou never wert . . .’) together with the
names of the characters and a rough, very rough outline of the
plot. At seven-thirty the next morning I sat, with the usual
nervous palpitations, at my typewriter . . . There was a pile of
virgin paper on my left and a box of carbons on my right. The
table wobbled and I put a wedge under one of the legs. I
smoked several cigarettes in rapid succession, staring gloomily
out of the window at the tide running out. I fixed the paper into
the machine and started - ‘Blithe Spirit, A light Comedy in
Three Acts.’ ”
When�the�play�was�finished�on�the�following�Friday
evening,�“disdaining archness and false modesty, I will admit
that I knew it was witty. I knew it was well constructed and I
also knew it would be a
success . . . Beyond a few
typographical errors, I made
no corrections and only two
lines of the original script
were ultimately cut.”
“I was not attempting to
break any records, to prove
how quickly I could write and
how clever I was. I was fully
prepared to revise and rewrite
the whole play, had I thought
it necessary, but I did not
think it necessary.”
Noël�did,�however,
incidentally�confirm�another
kind�of�record�-�his�own.
Many�of�his�best�and�most�lasting�plays�-�even�if�he�had�been
mulling�over�the�concept�for�some�time�-�tended�to�have�a�short
gestation�period.
Private Lives took�him�four�days�to�write,�Present Laughter
six�and�“good old ‘Hay Fever’ - written and conceived in about
three days in that little cottage in Dockenfield in 1924. What a
profitable weekend that was.”
10th Anniversary CelebrationsEvents to look forward to in 2009
D
RT
BLITHE SPIRIT as a brand new revival of Noël’s most popular comedy opens on
Broadway, Barry Day looks at the history of this ‘improbable farce.’
Part One: Portmeirion to Drama Critics Award
B
Judy Campbell and Noël Coward in a
promotional photograph for the tour
of Blithe Spirit 1942/43
Margaret Rutherford in the 1945 film
version of Blithe Spirit
Page 10 Page 3
and�NCS�member�Michael�Thornton,�who�was�a�longtime
friend�of�Kirkwood.�The�double-CD�is�available�for�£7.99
including�postage�within�the�UK�from�01923�281281�or�online
at�www.avidgroup.co.uk.
The�highlight�of�the�Coward�birthday�celebrations�in
London�this�year�was�our�annual�lunch�at�the�Garrick�Club,
where�we�were�entertained�not�only�by�our�urbane�host�Donald
Sinden�but�also,�in�his�UK�debut�prior�to�a�month’s�run�at�the
New�End�Theatre�Hampstead,�by�John�Michael�Swinbank
accompanied�by�Tim�Cunniffe.��John�Michael�is�based�in�Perth,
Western�Australia,�and�has�been�described�as�“Australia’s
foremost�Coward�exponent.”��His�special�affinity�for�Coward’s
material�has�resulted�in�20�overseas�tours,�blazing�a�trail�across
the�Far�East,�Middle�East�and
India�and�on�board�the�QE2.
With�him�to�London�came�a
few�copies�of�his�new�CD,�Bitter
Sweet & Twisted (MM�2501),
which�along�with�numbers�by
Sondheim,�Gershwin,�Hart�and
Porter�features�8�Coward�tracks.
The�majority�of�these�are�comedy
numbers,�and�the�CD�kicks�off
with�three�in�a�row,�‘There�Are�Bad�Times�Just�Around�the
Corner,’�‘A�Bar�on�the�Piccola�Marina’�and�‘Uncle�Harry,’�all�of
which�are�delivered�with�considerable�aplomb�and�expertise,�as
is�‘Mad�Dogs�and�Englishmen’�towards�the�end,�and�his�‘Mrs
Worthington’�gives�a�very�nicely-judged�progression�from
suave�politeness�at�the�start�to�“tearing�bloody�rage”�by�the�end.
One�could�quibble�about�moments�of�lyric�unclarity,�but�this
would�be�churlish�when�the�overall�effect�is�so�accomplished.
John�Michael�is�ably�supported�by�his�long-time
accompanist,�Tim�Cunniffe,�a�well-trained�musician�who�does
an�admirable�job�of�not�over-accompanying�the�comedy
numbers.��They,�too�(as�well�as�Messrs�Green�and�Shrubsole),
have�done�their�Coward�homework,�for�here�they�also�give�us�a
recording�of�‘Alice�is�At�It�Again’�which�includes�the�extra
verses�given�by�Barry�Day.��I�don’t�want�to�make�any�sort�of
comparison�between�the�vocal�styles�and�mannerisms�of�the
two�performers,�which�would�be�invidious,�but�I�do�think�that,
as�an�overall�construction�for�a�cabaret�song�performance,
Swinbank�and�Cunniffe’s�reconstruction�has�the�edge�here,�and
I’d�recommend�hearing�the�CD�if�only�for�this�track.���
My�greatest�delight,�however,�both�in�live�performance�at
the�Garrick�and�on�this�CD,�was/is�his�rendition�of�‘Matelot’,
which�I�have�seldom�heard�better-sung.��There’s�something�of�a
hint�of�vulnerability�that�John�Michael�brings�to�the�music,
which�is�perhaps�even�reminiscent�of�the�vocal�quality�and�style
of�Graham�Payn�himself,�which�seems�absolutely�apposite,�and
the�song’s�pitch�range�is�exactly�right�for�John�Michael’s�vocal
range.��I�found�myself�wishing,�therefore,�that�John�Michael
had�recorded�more�of�the�melodic,�lyrical�numbers,�and�fewer
of�the�comedy�numbers�–�but�that�is�a�fairly�lame�criticism�and
it’s�the�only�one�I�have.��The�CD�is�available�to�purchase�online
(AUD$25)�from�www.miragecorporation.com (click�on
“Online�Shop”).
Finally,�I�am�indebted�to�our�US�member�Dr�James�Griffith,
for�helping�to�drag�me�into�the�twenty-first�century�by�drawing
my�attention�to�various��Coward�music�tracks�which�are
available�on�the�Apple�iTunes�Store�(http://store.apple.com/us)
–�but�you�will�need�the�iTunes�facility�on�your�computer�in
order�to�get�the�whole�interactive�display�to�operate.��This�store
of�downloadable�music�tracks�is�very�wide-ranging�indeed,�and
leads�to�many�fascinating�discoveries�of�hitherto�unknown
covers�of�Coward’s�music,�including�several�historical
recordings�reissued�during�recent�years�on�CD.
The�resource�is�dead�easy�to�use�and�navigate,�allowing
searches�to�be�made�under�‘track�title”,�“title�of�Album”,�“name
of�performer”,�etc,�and�then�allowing�the�user�to�hear�short
audio�clips�of�each�item�brought�up�by�the�search�(you�have�to
pay�to�be�able�to�download�the�entire�track).��A�search,�for
example,�of�the�title�‘Zigeuner’�throws�up�148�tracks,�and�an
astonishing�eleven�of�these�proved�to�be�covers�of�Coward’s
song�which�I�had�not�come�across�before,�including�by�Hinge
and�Bracket,�Zoltan�and�His�Gypsy�Ensemble,�jazz�pianist
Eddie�Higgins,�Daryl�Sherman,�Meredith�d’Ambrosio,�Art
Tatum�(live),�Frankie�Carle�and�his�Orchestra,�Eddie�South’s
Orchestra,�Tony�Marlin,�and�no�fewer�than�seven�archival
“takes”�by�the�Artie�Shaw�Orchestra,�all�of�which�were
recorded�at�a�later�date�than�the�well-known�(and�wonderful)
1939�Artie�Shaw�Orchestra�cover�of�‘Zigeuner’�(which�was
fairly�recently�re-released�on�the�Past�Perfect�label).
The�iTunes�Store�also�helped�identify�at�least�two�album
releases�featuring�multiple�Coward�numbers�which�had
somehow�dropped�below�our�radar.��A�2006�release�by�Arbors
Records�entitled�Jubilee features�Daryl�Sherman�(female
vocalist)�and�Dave�McKenna,�with�six�Coward�tracks
(including�a�rather�good�‘Zigeuner’),�and�there�are�three
Coward�tracks�(‘Alice�Is�At�It�Again,’�‘A�Bar�on�the�Piccola
Marina’�and�the�rare�‘Spinning�Song’)�on�the�2005�release
Fallen Women and Virtuous Wives featuring�Dame�Felicity�Lott
accompanied�by�Graham�Johnson�in�live�performance�at�the
Wigmore�Hall,�which�are�amazingly�good�(as�you�would�expect
in�the�hands�of�such�extremely�accomplished�exponents�of�the
Lieder�repertoire).
My�only�criticism�of�the�iTunes�tracks�is�that�the�amount�of
information�given�means�that�one�can�rarely�if�ever�identify�the
recording�date�or�label�of�the�original�release�of�historical
recordings,�nor�even�always�all�the�performers.��I�should�like�to
do�so,�if�only�for�the�completeness�and�accuracy�of�the�new
NCMI,�into�which�all�this�information�about�notable�recordings
of�Coward’s�music�will�soon�have�to�be�added.��I�can�see�I�may
have�to�put�out�an�appeal�for�information�before�too�long,�so
continue�to�watch�this�Noël�Coward�musical�space.Dominic Vlasto
arly�in�December�2008,�UK�members�Stephen
Greenman,�Douglas�Gordon�and�Barbara�Longford
travelled�to�New�York�to�enjoy�the�events�arranged�in
Manhattan�by�our�North�American�Director,�Ken
Starrett.�Each�year�members�gather�at�Noël�Coward’s
statues�in�the�Theatre�Royal,�Drury�Lane�and�also�at�the
Gershwin�Theatre�on�Broadway�for�a�celebrity�flower-laying
ceremony.�This�year,�the�honours�were�performed�at�the
Gershwin�by�Ms.�Marian�Seldes,�whose�own�name�appears�in
that�theatre’s�Hall�of�Fame.�Although�possibly�not�well-known
to�British�members,�Marian�Seldes�is�an�American�Tony�award-
winning�stage,�film,�radio�and�television�actress�who�made�her
Broadway�debut�in�Medea,�in�1947.�For�many�years�she�taught
in�the�drama�division�at�the�Juillard�School�whilst�performing
on�Broadway�in�Deathtrap for�four�years�and�three�years�in
Equus opposite�Anthony�Hopkins,�then�Tony�Perkins�and
Richard�Burton.�Ken�Starrett�told�us�that�as�well�as�being�a
hugely�respected�figure�in�the�American�theatre,�Ms�Seldes�is
also�a�well-liked�personality�in�New�York,�who�regularly
appears�in�one-act�matinees�at�the�Players�Club�and�gives�a
great�deal�of�her�time�helping�aspiring�young�actors.�As�she
approached�Noël’s�statue,�Ms�Seldes�seemed�to�scatter�some
stardust�towards�us�through�the�elegance�and�pitch�of�her
delivery�and�her�beauty�and�warmth.�She�began�her�tribute�by
saying�that�the�first�two�words�she�associated�with�Noël
Coward�were�“love”�and�“work”.�This�was�a�true�and�astute
summing�up�of�the�man�and�very�moving.�Afterwards,�at�the
Luncheon�at�the�Palm�West�Restaurant,�Ms�Seldes�told�us�she
regretted�leaving�something�out�of�her�speech�and�that�was�that
all�the�great�American�playwrights,�Eugene�O’Neill�and�Edward
Albee,�for�example,�respected�and�loved�Coward’s�work.
At�the�luncheon�we�were�joined�by�Douglas�Gordon’s
special�guest�-�actor,�Mr�Roger�Rees.�Born�in�England,�Roger
created�the�title�role�in�the�Royal�Shakespeare�Company’s
production�of�The Life and Adventures of Nicholas Nickleby and
won�both�an�Olivier�Award�and�a�Tony�Award�for�Best�Actor�in
a�Play,�in�1982.�Douglas�and�Roger�are�friends�of�long-
standing,�having�met�in�their�youth,�when�they�were�both�in
Ralph Reader’s Band Shows.�Ralph�Reader�had�success�in�the
1920’s�and�early�30’s�as�a�choreographer�and�producer�on
Broadway,�but�returned�to�England�in�1932�and�started�the
Band�Shows,�whose�signature�tune�was�“Riding�along�on�the
Crest�of�a�Wave”.�Roger�now�lives�in�New�York.
After�lunch,�we�were�entertained�to�a�Coward�cabaret,�by
Mr�Eric�Comstock�and�Ms�Barbara�Fasano,�a�celebrated�team�in
the�New�York�nightclub�world,�equally�respected�in�jazz�and
cabaret�circles.�Barbara�began�by�singing�one�of�her�favourite
Coward�songs,�‘Something�Very�Strange’,�from�Sail Away,�to
which�she�had�been�introduced�by�NCS�Vice�President,�Barry
Day.�They�also�performed�‘A�Room�with�a�View’,�‘If�Love
were�All’�and�a�very�entertaining�version�of�‘Home�Sweet
Heaven’�mentioning�“Graham�and�Coley�and�Naughty�Noëlly”.
We�Brits�were�most�appreciative�of�this�excellent�cabaret�and
hope�that�one�of�these�days�we�shall�have�the�pleasure�of�seeing
Eric�and�Barbara�performing�in�London.
During�lunch,�members�were�given�a�special�advance�copy�of
the�CD�‘A�Talent�to�Amuse’,�an�archive�recording�of�extracts�from
a�show�celebrating�the�70th�birthday�of�Noël�Coward,�which�took
place�at�the�Phoenix�Theatre,�London,�on�16th�December,�1969.
This�unique�and�priceless�recording�has�been�edited�by�John
Knowles,�who�has�additionally�spent�countless�hours�tracking
down�copyright�holders.�The�recording�will�be�made�available�to
all�members�as�soon�as�possible�and�further�details�will�appear�in
a�future�copy�of�this�magazine.�We�were�also�given�a�special�Noël
Coward�diary�decorated�with�a�red�carnation,�Noël’s�favourite
flower.�Another�treat�was�a�copy�of�the�December�edition�of�the
magazine�‘Cabaret�Scenes‘,�which�contained�a�full�length,
illustrated�article�about�the�Society,�by�Peter�Haas.
Congratulations�are�due�to�Ken�Starrett�for�arranging�such
excellent�and�rare�publicity�for�our�Society.
On�Saturday�6th�December,�members�gathered�at�The�Paley
Center�for�Media,�which�houses�a�permanent�collection�of
television�and�radio�programmes�in�West�52nd�Street,�next�to�the
21�Club,�just�off�Fifth�Avenue.�Ken�and�Richard�Holbrook�had
arranged�a�special�Society�screening,�which�consisted�of�a
recently�discovered�copy�of�an�edition�from�The Mike Wallace
Profiles with�Noël�Coward�as�the�subject.�This�biographical�series
of�specials�was�hosted�by�the�prominent�CBS-TV�newscaster
known�for�co-hosting�the�long�running�news�magazine�60
Minutes.�This�episode�originally�aired�on�Christmas�night,�1981
and�had�not�been�seen�publicly�for�27�years.�It�contained�the
interview�made�late�in�Coward’s�life,�when�he�is�asked�what�he
considers�to�be�the�most�important�thing�in�life�and�his�answer�is
“love”.
We�saw�the�film�I Like America compiled�by�John�Knowles
and�containing�previously�unseen�footage,�filmed�by�Noël�Coward
himself,�when�he�visited�New�York�in�the�1930’s.�Some�UK
members�saw�the�film�at�the�Burgh�Island�Hotel�event�in
September�2008�and�future�screenings�will�be�arranged.�We�were
presented�with�a�Special�Edition�of�Home�Chat,�to�accompany�the
film.
There�was�Tessie�O'�Shea�and�the�cast�of�The Girl Who Came
To Supper,�an�extract�from�The Ed Sullivan Show originally�aired
on�December�22,�1963,�which�featured�Ms.�O'�Shea�and�the
ensemble�performing�‘The�London�Medley.’�In�our�audience,
accompanied�by�Geoffrey�Johnson,�was�one�of�the�dancers�from
the�show,�Ms.�Mary�Zahn.
‘Noël�Coward�with�Andre�Kostelanetz.’�This�segment�from
The Ed Sullivan Show originally�aired�on�April�8,�1956�and
featured�Coward�performing�Camille�Saint-Saens’�‘Carnival�of
‘Later than Spring’…..three Brits in New York
E
of�whom�will�remain�a�secret�until�the�evening.�There�may�also
be�the�opportunity�of�some�dancing,�led�by�Judy�Shakespear
and�Stephen�Greenman�and�there�are�other�surprises�in�store.�
The�first�part�of�the�evening,�which�will�cost�approximately�£60
per�head,�will�end�at�8.45�p.m.�Members�may�stay�on�for�dinner
at�the�club,�at�an�additional�cost,�to�be�advised.
(Please note the date in your diary. Booking forms will be sent
with the August edition of Home Chat)
Saturday 12th December, 2009
A.G.M. and Coward BirthdayCelebrations
10.a.m. TheA.G.M. at�the�Noël�Coward�Theatre,�London�
12 noon. The�Annual Flower-Laying Ceremony at�the�
Theatre�Royal�Drury�Lane,�followed�by�lunch�at�The�Garrick
Club�(courtesy�of�Mr�Stephen�Thorne)
(Please note the date in your diary. Booking forms will be sent
with the October edition of Home Chat)
Sad Loss of Angela Morley - Composer 1924 - 2009
Angela�Morley,�who�died�on�14�January,�aged�84,�was�best�known�for
creating�the�music�for�classic�radio�comedies�in�the�1950s�and�prestigious�film�scores�in�the�decades�that
followed.�She�was�a�transsexual�woman�who,�before�1972,�was�known�as�Wally�Stott,�the�name�under
which�she�wrote�the�theme�tune�and�incidental�music�for�Hancock's Half Hour (1957-61)�and�was�the
musical�director�of�The Goon Show (1952-60).�In�the�1960s�Mr�Stott�went�on�to�work�with�such�diverse
musicians�as�Shirley�Bassey,�Dusty�Springfield�and�Scott�Walker.�She�wrote�film�score�for�some�of�the�most
popular�of�films�and�recorded�with�Noël�Coward�in�an�album�he�made�before�going�off�to�cabaret�in�Las
Vegas.�See�www.angelamorley.com for�a�detailed�biography�of�her�life.
Composer for the Goons, Hancock
and prestigious Hollywood films
Page 4 Page 9
Animals’�with�Kostelanetz�and�The�New�York�Philharmonic,�as
well�as�singing�‘Mad�Dogs�and�Englishmen.’�Finally,�we�saw
‘Noel�Coward�with�Metropolitan�Opera�singer�Jean�Madeira,’
another�segment�from�The Ed Sullivan Show originally�aired�on
December�8,�1957�and�featuring�Coward�performing�‘What's
Going�To�Happen�To�The�Tots?;’�Jean�Madeira�singing
‘Zigeuner;’�and�Coward�singing�a�medley�of�his�hit�songs.
As�well�as�Mary�Zahn,�members�welcomed�other�special
guests,�including�Stephen�Boockvor�who�appeared�with�Noël
Coward�in�the�television�version�of�Androcles and The Lion.�Mr
Boockvor�had�played�the�lioness.�Joe�Franklin,�the�famous
broadcasting�legend�attended�and�we�were�pleased�to�renew�our
acquaintance�with�Jimmy�Roberts�and�Richard�Barclay.
On�Monday�8th�December,�Stephen�and�Barbara�were
taken,�by�Ken,�to�the�Players�Club�at�Gramercy�Park.�Modelled
on�London’s�Garrick�Club,�the�Players�was�founded�in�1888�by
Edwin�Booth,�America’s�pre-eminent�Shakespearean�actor�and
was�the�first�American�“gentleman’s�club”�of�its�kind.�Booth
purchased�an�1847�Greek�Revival�townhouse�at�16�Gramercy
Park�and�reserved�an�upper�floor�for�his�home,�turning�the�rest
of�the�building�into�the�clubhouse.�Designed�by�Stanford�White,
the�club�was�named�a�‘National�Historic�Landmark’�in�1962.�
One�of�the�reasons�for�the�founding�of�the�club�may�have
been�that�on�April�14th�1865�Edwin’s�younger�brother,�John
Wilkes,�a�popular�actor,�assassinated�President�Abraham
Lincoln,�after�which�the�life�of�his�family�and�all�actors,
changed.�Booth�established�a�social�club�intended�to�bring
actors�into�contact�with�men�of�different�professions�and�in�the
official�title�papers,�it�states�that�he�should�retain�a�furnished
apartment�for�his�own�use�where�he�could�be�left�undisturbed�as
he�wished.�He�died�in�there�1893,�aged�59.�The�room�is�still
preserved,�just�as�he�left�it�and�we�were�allowed�to�visit�it
during�our�special�guided�tour�by�Mr�Dennis�Davies.
Interestingly,�in�the�new�Michael�Holroyd�biography�of�Ellen
Terry�and�Henry�Irving,�there’s�a�description�of�Booth’s�return
to�the�UK�in�1880,�when�he�played�in�Othello,�with�Ellen�Terry
as�Desdemona�and�Booth�and�Irving�alternating�each�week�in
the�roles�of�Iago�and�Othello.�Holroyd�says,�“Though only four
years older than Irving, he was then very much more the
seasoned actor, coming as he did from a powerful theatre
family in the US (his father, Junius Brutus Booth, had been the
American counterpart and bitter rival of Britain’s Edmund
Kean).”
The�visit�to�the�Players�was�one�of�the�highlights�of�the�trip;
such�an�elegant�and�atmospheric�place�steeped�in�theatre
history.�There�was�a�portrait�of�Noël�in�the�club,�but�alas�it�was
placed�in�the�Gentlemen’s�room.�However,�our�guide�kindly
brought�it�out�for�a�photograph�to�be�taken.�The�main�reason�for
our�visit�was�to�attend�a�reading�of�Fumed Oak which�was�put
on�by�an�organisation�called�‘Food�For�Thought’,�whereby
well-known�actors�are�invited�to�perform�play�readings�after�a
club�lunch.�Ken�had�been�invited�to�answer�questions�about
Coward’s�work�.�Directed�by�Antony�Marsellis,�the�reading�was
most�enjoyable�and�the�cast�was�as�follows:-�Doris�(Lizbeth
MacKay),�Mrs�Rockett�(Julia�McLaughlin)�Henry�(John�Shea)
and�Elsie�(Miriam�Silverman).�Our�thanks�to�Susan�Charlotte
and�the�Players’�staff�for�their�warm�welcome.
Another�highlight�of�the�trip,�although�not�directly�Coward-
related,�was�a�visit�to�‘The�Little�Church�Around�the�Corner’�at
number�1,�East�29th�Street.�It�was�such�a�shock�to�turn�a�corner
and�see�what�looked�like�an�English�country�church,�set�amidst
all�the�skyscrapers�and�with�the�Empire�State�Building�so�close
by.�The�church�was�so-called,�because�in�1870�Joseph�Jefferson
was�rebuffed�in�arranging�for�the�funeral�of�his�friend,�the�actor
George�Holland�and�told�that�there�was�a�little�church�around
the�corner�where�“they�do�that�sort�of�thing”.�Jefferson�said
“God�bless�the�little�church�around�the�corner”�and�a�close
relationship�with�theatre�people�has�continued�to�this�day.�It
also�brought�about�the�founding,�in�1923,�of�the�Episcopal
Actors’�Guild,�who�were�presenting�an�annual�Christmas
Lessons�and�Carols�Service,�when�we�visited.�Ken�told�us�that
many�NCS�members�are�members�of�the�Guild,�including�its
President,�Ms�Elowyn�Castle.�The�church�commemorates�many
actors�and�theatre�people,�such�as�Rex�Harrison,�Otis�Skinner,
George�Arlis�and�P.G.�Wodehouse.
A�visit�to�New�York�would�be�incomplete�without�attending
some�cabaret;�indeed�that�is�one�of�the�main�attractions�for�us
British�as�the�cabaret�scene�has�all�but�died�out�over�here.
Simon�Green�is�our�most�respected�singer�of�Coward’s�music
but�as�I�write�I�understand�he�is�having�a�great�success�over�in
New�York�with�his�show�A Cabaret for Noël.�So�we�eagerly
await�visits�from�stars�such�as�Steve�Ross�and�K�T�Sullivan�to
cheer�us.�This�year�we�saw�a�superb�cabaret�show�performed�by
one�of�our�active�Society�members�-�Richard�Holbrook,
performing�his�Yuletide Magic at�‘Don’t�Tell�Mama.’�Richard
entertained�us�with�a�splendid�selection�of�Christmas�songs,
accompanied�by�the�Tom�Nelson�Trio,�and�it�was�good�to�be
introduced�to�a�splendid�new�song�‘Confessions�of�a�New
Yorker�(Hate-Love�New�York),’�Music�and�Lyrics�by�Portia
Nelson.�We�were�joined�at�this,�and�other�events�by�Kathy
Williams,�a�member�from�San�Francisco�who�has�travelled�to
New�York�with�her�husband�Dan,�for�the�celebrations.
Afterwards�a�group�of�us,�including�the�show’s�director,
Richard�Barclay,�dined�at�Joe�Allen’s.�Joe�Allen’s,�Covent
Garden,�London,�is�one�of�the�UK�members’�favourite�venues.
On�our�last�evening,�we�saw�the�performance�of�another
Society�member,�Andrea�Marcovicci,�in�her�Andrea Sings
Movies show�in�the�Oak�Room�at�The�Algonquin.�Andrea�was
in�sparkling�form�and�we�look�forward�to�seeing�her�back�in
London�next�year.�Our�thanks�to�Barbara�McGurn�for�her
kindness�at�The�Algonquin.
On�behalf�of�Society�members�worldwide,�a�particular
thanks�to�Ken�Starrett�for�all�his�tireless�and�professional�work
for�the�Society�in�New�York.�His�contribution�to�our�success�is
enormous.
From�Stephen,�Douglas�and�I,�a�special�thank�you�to�all�our
friends,�old�and�new,�in�the�US,�who�helped�to�make�our�stay�so
wonderful�-�Richard�Barclay,�Bob�Briggs,�Patricia�Button,
Arlene�Cohen,�Barry�and�Lynne�Day,�Richard�Holbrook,
Geoffrey�Johnson,�Melinda�Lissauer,�Corinne�Orr,�Roger�Rees,
The�Rev.�Gerardo�Ramirez-Miller,�Jimmy�Roberts,�Donald
Smith,�Rene�Suarez-Barrio�and�Kathy�Williams�and�Dan
Putman, Barbara Longford
Michael Holroyd’s ‘A Strange Eventful History’, is published by
Chatto & Windus, London.
hen�the�‘Noël�Coward�Music�Index’�was�first
finalized�for�NCS,�around�the�time�of�the
Centenary,�Alan�Farley�and�I�made�efforts�to
assemble�as�comprehensive�and�accurate
listings�as�we�could�of�all�historical�releases
and�new�recordings�of�Coward’s�music.��Now,�with�the
imminent�move�of�the�NCMI�to�a�new�music-dedicated�website
run�by�the�Estate�(watch�this�space�for�further�details�as�work
progresses),�again�there�is�a�bit�of�a�push�to�re-finalize�the
information�contained�in�the�NCMI�Discographies.��Perhaps,
therefore,�our�antennae�are�particularly�well-tuned�at�the
moment;�but�genuinely�there�is�also�suddenly�much�“new”
material�which�pops�into�the�frame�which�is�worthy�of
comment.
Alan�Farley�produced,�as�always,�a�fascinating�Coward
Birthday Special broadcast�on�KALW�San�Francisco�just�before
Christmas.��This�year�the�music�he�included�featured�NCS
Member�Simon�Green,�who�was�at�the�time�presenting�his
Cabaret for Noël to�considerable�acclaim�at�the�59�E59�Theatre
in�New�York.���The�particular�item�Alan�featured�was�‘Alice�Is
At�It�Again,’�taken�from�Simon�Green’s�2004�CD�release�Take
Me To The World,�whose�production,�from�a�live�studio
performance,�was�generously�sponsored�by�Robert�and�Pirjo
Gardiner.��This�show�was�filled�with�neat,�stylish�renditions�of�a
wide�variety�of�show�songs�from
Rogers�and�Hart�to�Sondheim�via
Coward�and�Flanders�and�Swann.
Apart�from�‘Alice,’�the
Coward�numbers�featured�by
Simon�in�this�performance�come
in�medleys,�and�include�‘Try�To
Learn�To�Love,’�‘Where�Are�the
Songs�We�Sung,’�‘A�Room�With�a
View’�and�‘I’ll�Follow�My�Secret
Heart.’��For�a�live�recording,�the�balance�achieved�between�the
solo�voice,�the�accompaniment�and�the�audience�is�very�good
indeed,�and�the�accompaniment�itself�(piano�by�David
Shrubsole)�is�mostly�supportively�discreet�and�intelligent.
Simon�brings�a�delightfully�positive,�clear,�actorly�delivery�to
all�he�does,�with�a�vocal�quality�rather�reminiscent�of�cabaret
singer�Kit�Hesketh�Harvey.��This�can�mean�that�sometimes�the
more�romantic�numbers�come�across�as�a�touch�frantic�-
perhaps�not�quite�melodically�lyrical�enough�-�but�just�for�the
‘Alice’�track�alone�the�CD�is�worth�a�punt.��What�makes�this
‘Alice’�special�is�that�he�did�his�homework�in�the�wake�of�Barry
Day’s�issue�of�The Complete Lyrics,�and�put�together�a�“new”
version�which�includes�both�“extra”�lyric�verses�noted�by�Barry.
I�am�unconvinced�that�it�actually�adds�up�to�a�better�cabaret
song�in�this�longer�version,�nor�that�Green�&�Shrubsole’s
rhythmic�delivery�throughout�the�song�is�necessarily�the�best
way�of�doing�things,�but�it’s�certainly�a�“first”�and�the�complete
lyrics�are�very�delightful�to�hear,�and�beautifully�delivered.
For�some�reason�I�failed�to�pick�up�this�recording’s
existence�until�quite�recently,�perhaps�because�it�is�only
available�for�purchase�(£13.99)�at�Dress�Circle,�though�I’ve
also�found�it�available�on�ebay.��Go�to��www.dresscircle.co.uk
and�use�the�“search”�function�at�top�left�or�find�it�in�the�CD’s
folder�under�“Male�Vocal”.
It�is�not�often�nowadays�that�you�can�hear�Coward’s�music
played�by�a�string�trio�(Palm�Court�or�otherwise),�but�Alan
Farley’s�previous�Christmas�broadcasts�have�featured�some
most�interesting�new�arrangements�of�Coward’s�music�for
string�trio�by�Mark�Volkert,�Assistant�Concertmaster�of�the�San
Francisco�Symphony.�These�are�now�available�on�CD,�and�all
lovers�of�Coward’s�music�would�do�well�to�have�a�copy�of�this
on�their�shelves,�if�only�to�remind�themselves�of�the
outstanding�lyricism�throughout
the�score�of�Bitter Sweet.
I�grant�I�may�be�biased�here,
due�to�being�myself�a�lifelong
player�of�strings�chamber�music,
but�will�nonetheless�say�that
Volkert’s�‘Suite�from�Bitter
Sweet’�is�a�most�felicitous
adaptation�of�some�fine�Coward
tunes,�and�it�all�works�well,�the
melodies�sounding�not�in�the�least�“forced”�into�such�a�different
musical�medium,�and�Volkert’s�craftsmanship�in�writing�well
for�the�technical�capabilities�of�the�instruments�is�above
criticism.��If�you�don’t�already�know�the�tunes�‘Life�in�the
Morning,’�‘Evermore�and�a�Day,’�‘Green�Carnation,’�‘Kiss�Me’
(and�the�suite�also�features�‘I’ll�See�You�Again’�and�‘Zigeuner’)
then�this�would�be�a�very�good�way�for�you�to�get�to�know
them.
The�disc�includes�other�lovely�arrangements�of�music�by
Fritz�Kreisler,�Francis�Lopez�and�Ivor�Novello,�and�closes�with
a�further�suite�of�Coward�music�called�Sail Away – a Tribute to
Graham Payn,�which�was�commissioned�by�Alan�Farley.�This
suite�includes�the�tunes�‘I�Like�America,’�‘Sail�Away,’
‘Matelot,’�‘Sigh�No�More’�and�‘Wait�a�Bit,�Joe,’�and�anyone
who�would�treasure�a�lasting,�appropriate�and�noble�tribute�to
Graham�is�urged�to�add�this�to�their
collection.�The�disc�may�be
purchased�only�from�the�San
Francisco�Online�Store�at
www.shopsfsymphony.org (click
on�“CDs”,�click�on�“orchestra”).
Also�memorializing�Graham
Payn,�as�an�adjunct�to�its�main
purpose,�is�a�new�double�CD
marking�the�first�anniversary�of�the
death�of�Pat�Kirkwood,�star�of�Ace of Clubs.�[Avid�Easy�AMSC
966]���The�compilation�features�66�songs,�29�of�which�have
their�first�CD�issue.��These�“first�issues”�include�a�continuous
11-minute�track�–�a�sort�of�extended�medley�-�of�seven�Coward
numbers�from�Ace of Clubs:�‘Why�Does�Love�Get�in�the�Way?,’
‘This�Could�Be�True’�(with�Graham�Payn),�‘My�Kind�of�Man,’
‘I’d�Never,�Never�Know,’�‘In�a�Boat�On�a�Lake�With�My
Darling’�(with�Graham�Payn),�‘Josephine’�and�‘Chase�Me
Charlie,’�together�with�a�couple�of�other�titles�in�musical�intros
and�interludes.��A�rarity,�certainly,�which�I�for�one�have�never
previously�encountered.
Also�on�this�CD�and�new�to�our�discography�are�two�tracks
of�Kirkwood�singing�Coward�material�–�‘If�Love�Were�All’
from�a�1968�television�broadcast,�beautifully�accompanied�by
the�Will�Fyffe�Jr.�Trio,�and�‘London�Pride’�recorded�in�live
performance�on�stage�at�the�Wimbledon�Theatre�in�1993.��And
she�was�still�then�in�stunning�voice!
The�liner�listings�are�extremely�thorough,�and�the�well-
illustrated,�expertly-written�notes�are�by�Daily�Mail�columnist
A NEW YEAR OF MUSIC MATTERSby Dominic Vlasto
W
Barbara Longford and Matilda the Algonquin Cat
Page 8 Page 5
he�Flower-laying�Ceremony�at�the�Gershwin�Theatre,
the�NCS�Annual�Luncheon,�and�the�screening�at�the
Paley�Center�for�Media�were�events�held�to�celebrate
Noël�Coward's�109th�birthday.��But�there�was�much
more.��During�the�month�of�December�all�over�New
York,�NCS�members�and�their�guests�had�a�chance�to�sample�a
veritable�feast�of�Coward's�plays�and�music.��At�the�Players
Club�on�December�8th,�the�organization,�‘Food�for�Thought,’
presented�professional�actors�in�a�staged�reading�of�Fumed
Oak.�
For�three�weeks�beginning�December�14th,�the�holiday
season�was�made
all�the�more
festive�at�the�59
East�59th�Street
Cafe�when�Mr.
Simon�Green�and
his�accompanist,
Mr.�David
Shrubsole
presented
Coward at
Christmas.
Many�NCS�members�who�attended�his�performances�were
thoroughly�entertained�by�a�blend�of�Coward�classics,�lesser-
known�songs�and�some�re-discovered�gems.�With�charm�and
wit,�Mr.�Green�gave�a�fresh�interpretation�to�such�songs�as
‘Alice�Is�At�It�Again,’�and�‘What's�Going�To�Happen�To�The
Tots?’��It�was�a�delight�to�hear�‘Why�Must�The�Show�Go�On?’
interspersed�with�anecdotes�from�Coward’s�diaries.��‘Couldn't
We�Keep�on�Dancing,’�unearthed�from�The�British�Library,�is�a
lovely�song�written�for�On With the Dance in�1925.��Mr.
Green’s�polished�performance�of�more�than�20�songs�was�the
perfect�holiday�package�for�any�Coward�fan.��Much�praise�from
the�critics�prompted�a�complete�sellout.��
On�December
16th�the�National
Arts�Club
celebrated
Coward's�birthday
with�a�unique
presentation.
Conceived�and
directed�by�Mr.
Jeffrey�Stocker,
head�of�the
American�Readers
Theatre�Program,�the�audience�was�given�a�delicious�treat
called�The Noël Coward Song Book.��This�evening�was�the�final
result�of�an�intensive�10-week�Arts-in-Education�Program,
funded�by�a�grant�from�the�Noël�Coward�Foundation.��It�was
the�first�such�grant�in�the�United�States.��High�school�students
in�Milford,�Pennsylvania�auditioned�and�twelve�were�selected
to�be�a�part�of�this�program.��Working�with�Mr.�Stocker�and
their�music�teacher,�the�students,�who�knew�nothing�of�Coward,
became�immersed�in�learning�about�his�life�and�music.��They
performed�many�of�Coward's�popular�songs,��either�as�solos�or
with�carefully�done�choral�arrangements.��The�excitement�of
their�discovery�was�a�wonderful�experience�for�the�audience
who�gave�them�a�standing�ovation.�The�students�and�their
teacher�were�clearly�thrilled�by�the�enthusiastic�response�to
what�for�everyone�was�a�memorable�evening.
In�2002�the�York�Theatre�Company�in�New�York�City
presented,�for�the�first�time�in�the�United�States,�Mr.�Barry
Day's�adaptation�of�Noël�Coward's�Pacific 1860.�This�past
November,�as�part�of�a�developmental�reading�series,�audiences
at�the�York�were�delighted�by�a�group�of�talented�performers�in
another�Coward�work,�Conversation Piece.��This�was�a
condensed�version�fashioned�by�Mr.�Day�and�designer/director
Mr.�Tony�Walton.��The�last�time�New�York�saw�this�lovely
operetta�was�an�off-Broadway�production�in�1957,�supervised
by�Coward�himself.��It�was�Tony�Walton's�first�designing�job�in
the�United�States.����
In�December,�also�seen�in�the�York�series�was�The Happy
Hypocrite,�based�on�an�1896�novella�by�Max�Beerbohm.��For
their�adaptation,�Tony�Walton�and�Barry�Day�used�music�by
Noël�Coward.��One�of�the�songs�was�a�re-discovered�treasure
written�in�1917�-�‘Isn't�There�Any�Little�Thing�That�I�Can�Do
For�You.’��The�lyrics�were�written�by�Coward�while�still�a
teenager,�to�music�by�Ivor�Novello,�then�in�his�twenties.��A
completely�different�version�of�this�novella�was�presented�in
London�in�1936�starring�Ivor�Novello�and�a�young�Vivien
Leigh.��It�was�written�by�Coward's�close�friend�Clemence�Dane
with�a�score�by�Richard�Addinsell.�
Using�many�of�the�same�actors�and�singers�for�the�two
plays,�Tony�Walton�directed�with�the�thought�of�possibly
presenting�both�in�a�single�evening.��Theatregoers�who�saw
these�presentations�were�served�a�rich�helping�of�Noël
Coward’s�music.
On�January�15th,�as�part�of�the�Metropolitan�Museum
Concert�and�Lecture�Series,�Mr.�David�Garrard�Lowe,�noted
lecturer�and�author�known�for�his�many�books�on�architecture,
period�styles,�and�art�history,�presented�an�evening�devoted�to
Noël�Coward.��Slides�of�rare�photos�and�his�carefully
researched�text�containing�many�Coward�witticisms�delighted
the�full�house.�Joining�him�for�the�evening�to�offer�selections�of
Coward's�music�was�NCS�member,�popular�singer,�Ms.�KT
Sullivan.�Pianist,�Mr.�Dennis�Buck�performed�patter�songs,
while�Ms.�Sullivan�gave�us�a�wide�variety�of�Coward's�waltzes
and�ballads.��Special�highlights�were�‘Mad�About�the�Boy,’�‘Bar
on�the�Picola�Marina’�and�‘World�Weary.’
Ms.�Sullivan�along,�with�NCS�member�Mr.�Craig�Rubano
and�Mr.�Mark�Nadler,�can�be�heard�on�a�sparkling�new�CD
called�The Night They Invented Champagne.��(amazon.com)
This�recording�pays�tribute�to�wonderful�treasures�from�the
world�of�operetta,�which�includes�music�by�Noël�Coward.��
NCS�members�in�Florida�who�live�near,�or�might�happen�to
be�in�Naples,�on�February�13�and�14th�will�have�a�chance�to�see
Miss�Tammy�Grimes�in�her�highly�acclaimed�cabaret�act.��She
will�be�appearing�at�the�Daniels�Center�at�the�Philharmonic
Center�for�the�Arts.��For�ticket�information�call�(800)�597-1900.�
It�is�always�gratifying�to�realize�that�our�Society�continues
to�grow.��A�few�weeks�ago�Ken�Starrett�was�at�the�Paley�Center
for�Media�and,�by�coincidence,�met�two�gentlemen�in�the
library�who�were�watching�Noël�Coward's�Blithe Spirit.��It
turned�out�that�Mr.�Eric�Sanniez�and�Mr.�Franck�Pelabon�were
NCS�members�from�Paris�and�are�good�friends�of�our�Paris
representative�Ms.�Hélène�Catsiapis.��What�followed�was�a
lively�discussion�of�their�interest�in�Coward�and�French
productions�of�his�plays.�We�are�truly�becoming�an
international�family.���
Ken Starrett
NOTES FROM NEW YORK
T
Dame�Celia�Johnson,�star�of�Brief Encounter,�In Which We Serve and�This
Happy Breed, would�have�been�100�on�18th�December�2008.�Her�centenary
was�marked�by�the�unveiling�of�a�London�blue�plaque�by�English�Heritage
on�the�house�on�Richmond�Hill�where�she�was�born.
Professor�Sir�David�Cannadine,�chairman�of�English�Heritage,�gave�the
introduction,�the�actor�Simon�Williams,�Dame�Celia’s�son-in-law,�spoke�about�her�from�both�a
professional�and�personl�point�of�view,�and�Sir�Tom�Courtenay�gave�a�tribute�and�then�pulled
the�cord�unveiling�the�blue�plaque.
The�event�was�attended�by�friends�and�family,�including�Dame�Celia’s�daughters.�Lucy
Fleming�(Williams)�and�Kate�Grimond.
Dame�Celia�was�on�the�London�stage�for�more�than�fifty�years.�One�of�her�most�memorable
last�performances�was�as�Judith�Bliss�in�Hay Fever.�She�died�in�April�1972.�
Celia�Johnson's�daughters,�Lucy�and�Kate,�said:�“We are thrilled an English Heritage Blue
Plaque has been erected on the house where our mother was born - we are sure she would have
been delighted. She loved England and, in a way, portrayed a particular kind of English
woman on stage and television and, of course, in her films, notably ‘Brief Encounter.’ ”
Left to right: Actor Sir Tom Courtenay,
who unveiled the plaque; actor Simon
Williams (Johnson's son-in-law), who
gave a speech; Johnson's daughter Kate
Grimond; Chair of the English Heritage
Blue Plaques Panel, Professor David
Cannadine; Johnson’s daughter Lucy
Fleming.
The Centenary of Dame Celia JohnsonThe unveiling of a ‘Blue Plaque’ marked both the centenary and the birthplace of Dame Celia
Ken Starrett, Jeffrey Stocker and the High school
students at the National Arts Club
Simon Green and Ken Starrett
Photographs taken during the Coward Birthday Celebrations in the UK at Drury
Lane and the Garrick Club - with thanks to Hélène Catsiapis, Leslie Radfiord
and Barbara Longford for providing these captured moments!
Barbara Longford and Hélène Catsiapis
The Garrick Club
Barbara Longford and Sir Donald Sinden
Sir Donald Sinden
Sir Donald Sinden and Leslie Radford Sir Donald Sinden and Robert Gardiner
Dominic Vlasto,
John Michael Swinbank
and Ruth Leon
with�thanks�to
Barry�Day
sending�us�this.
The�summer�holiday�was�approaching�and�the
boys�could�either�go�to�scout�camp�or�to�a
camp�on�Long�Island�which�was�owned�by�the
Foundation.�I�chose�Long�Island�and�stayed
there�for�the�whole�summer,�helping�as�a
junior�counsellor.�The�camp�was�sited�on�a�small�estuary�near
the�open�sea.�The�unpolluted�water�was�as�clear�as�glass�and�full
of�fish,�helmet�crabs�and�eels.�Often�we�would�load�up�small
boats�with�blankets�and�food�and�set�off�for�a�sandy�beach
where�we�would�sleep�out�under�the�stars.
First�we�would�build�a�camp�fire�with�driftwood�and�then
row�out�to�sea�a�little�way�and�dive�for�clams.�Someone�in�our
party�knew�how�to�make�clam�chowder�-�wonderful.�At�camp
we�slept�in�army-type�tents,�on�proper�beds,�but�care�had�to�be
taken�to�avoid�two�natural�hazards:�poison�ivy�would,�if
touched,�raise�very�itchy�blisters�which�would�rapidly�spread�if
scratched.�There�were�also�plenty�of�snapping�turtles�whose
powerful�jaws�could�easily�sever�a�finger.�Living�near�our�camp
was�Bill�Cerney,�a�retired�seaman�who�was�completely�self-
contained�in�a�wooden�hut�which�was�filled�with�mementoes.
He�supplemented�his�pension�by�catching�and�smoking�eels.�I
would�often�go�with�him�to�a�point�in�the�estuary�and�help�him
catch�them.�Looking�over�the�side�of�the�boat�to�watch�the�sea
bed�writhing�with�adult�eels�and�to�throw�a�special�three-
pronged�spear,�catching�three�at�a�time,�was�a�real�experience.
When�we�had�caught�enough�it�was�back�to�the�hut�for�gutting
and�cleaning�before�hanging�them�in�a�high�metal�oven.�The
smoke�from�the�hickory�wood�permeated�the�eels�for�24�hours
and�then,�each�one�stiff�as�a�pole,�they�would�be�packed�in
boxes�and�sent�to�a�New�York�wholesaler.�Smoked�eel�with
fresh�baked�bread�and�butter�was�the�most�delicious�food�I�had
ever�tasted.�
Back�at�high�school�for�the�Autumn�term�I�tried�to�rearrange
my�curriculum�but�it�was�difficult�.�.�.
.�.�.�The�warm�September�evenings�were�pleasant,�we�would
sit�on�the�steps�to�our�building�and�wait�for�the�‘Good�Humour’
ice�cream�van�to�arrive�with�his�tuneful�horn.�We�could�buy�a
big�ice�cream�on�a�stick�for�a�dime,�and�with�patience�it�could
be�made�to�last�for�quite�some�time�.�.�.
.�.�.�There�was�.�.�.�an�American�girl�living�nearby�who�would
often�come�along�to�buy�an�ice�cream�when�she�heard�the�horn.
Her�name�was�Jane.�I�took�no�notice�of�her�at�first�thinking�she
was�a�lot�older�and�not�really�my�type,�but�something�was
slowly�happening�nevertheless.
News�came�that�my�brother�would�visit�us�in�early�October.
It�was�marvellous�to�see�him�again�and�I�was�delighted�that�he
had�won�his�wings�and�was�now�an�RAF Pilot�Officer.�It�was
sheer�bad�luck�that�Carol�was�staying�with�friends�in�Florida;
Paul�was�very�disappointed�at�having�only�a�few�days’�leave�-
not�enough�to�be�able�to�travel�to�see�her.�It�was�all�too�soon
when�he�had�to�return�to�Canada,�leaving�for�England�shortly
after�that.
Mr.�Griffin,�the�Principal�of�the�Foundation�had�heard�that�a
British�Warship�was�under�repair�in�Brooklyn�naval�dockyard
and�he�made�a�kindly�gesture�to�the�English�children.�He
contacted�the�ship’s�captain�who�immediately�invited�all�54
orphanage�kids�on�board�his�ship�-�the�cruiser,�Phoebe�-�for�a
real�English�tea.�It�was�a�welcome�taste�of�home�to�hear�the
English�voices�of�the�crew�as�they�told�their�stories,�entertaining
us�and�making�us�feel�welcome.�Many�years�later�when�we�were
Page 6Page 7
the story continues with edited extracts from the memories of Granville Bantock who attended the
Actor’s Orphanage at Langley Hall and Silverlands and during its evacuation to America in World War II.
WLUCKY ORPHAN
surprised�that�so�many�stage�and
film�stars�came�to�visit�and�they
must�have�thought�there�was
something�special�about�us.�Noël
Coward�and�Dame�May�Whitty
certainly�used�considerable
influence�in�Hollywood�to
persuade�stars�to�visit�us�in�New
York,�especially�as�we�were�way
out�in�The�Bronx.�We�enjoyed�it,�of
course,�and�I�trust�it�was�never
taken�for�granted.
One�day�in�mid-November,
Mick�did�not�show�up�for�class,
strange�because�he�never�usually
missed�a�lesson.�Several�days
passed�and�he�still�did�not�appear�-
the�teacher�assumed�he�was�ill.�The
it�happened�-�the�Japanese�bombed
Pearl�Harbour�on�the�7th
December.�Mick’s�parents�might
have�guessed�that�something�was
in�the�wind,�disappearing�to�return
home,�most�probably.�Germany
declared�war�on�the�USA�a�few
days�later�so�there�was�no�turning
back�for�America�now.�
President�Roosevelt�spoke�to
the�nation�and�the�Union�Jack�and
the�Stars�and�Stripes�flew�side�by
side.�No�longer�were�we�just
‘Limeys’�but�fully�fledged�allies;
the�patriotic�fervour�was�almost
unbelievable.�Britain�was�no�longer
alone;�Winston�Churchill�and
Franklin�Roosevelt�were�the�closest
of�friends�and�it�was�certain�we
would�win�the�war,�but�how�long�would�it�take?
With�Mary�Ann�and�Mick�gone,�high�school�became�an
effort,�and�with�the�new�year�coming�all�was�looking�very
gloomy.�The�Christmas�presents�from�my�mother,�Dame�May
Whitty�and�Margaret�Webster�were�a�pleasant�consolation,
however,�even�though�I�was�unable�to�cash�my�mother’s�postal
order.�Once�again,�a�lucky�orphan�had�not�been�forgotten.�The
winter�was�very�cold�and�the�tennis�court�had�been�flooded,
anticipating�it�would�freeze�into�a�skating�arena.�It�did�freeze,
but�not�all�over;�when�skating�one�day�I�failed�to�notice�an�ice
free�patch,�falling�headlong�and�doing�a�lot�of�damage�to�my
right�wrist.�My�writing�has�not�been�the�same�since.�Just�before
Christmas�a�long�letter�from�my�mother�arrived�telling�me�that
Paul�was�undergoing�special�flying�training.�There�was�also�sad
news�that�Mrs.�Kennedy�had�died.
It�was�now�New�Year�1942�and�I�was�sixteen;�the�girls�were
growing�up�quickly�as�well,�Maggie�and�Jenny�were�both
seventeen�but�showing�little�interest�in�me.�There�was�Jane,�of
course,�but�she�did�not�appear�very�often�in�winter.�Besides�I
was�only�mildly�interested�in�her�anyway.�There�were�no
concerts�and�very�little�classical�music�on�the�radio,�it�seemed�as
though�it�was�all�marches,�more�marches�and�patriotic�songs.
The�war�in�the�Pacific�was�going�badly;�Singapore�had�fallen
Part 5Camp on Long Island
Camp Gould East - Long Island 1941 - The children of the Actors’ Orphange at play on Long Island
walking�the�hills�in�a�quite�part�of�Dorset,�my�wife�and�I�came
across�a�solitary�Telecoms�van�and�we�started�talking�to�the
engineer.�It�turned�out�he�was�serving�on�the�Phoebe�when�we
were�children�on�board,�having�tea�in�1941.�It�was�a�nostalgic
encounter�for�us�all.�Another�time�I�remember�Mr.�Griffin
coming�into�the�playground�and�asking�if�anyone�would�like�to
ride�in�his�big�Buick�car�-�I�think�about�ten�of�us�squeezed�inside
it.�He�drove�us�to�Pelham�Sound�and�there,�anchored�a�short
way�off,�was�a�large�merchant�ship�flying�the�Red�Ensign�“I
thought�you’d�like�to�see�the�flag’”�he�said.�I�had�nothing�but
fond�memories�of�him.
A�year�had�passed�since�arriving�at�the�Gould�Foundation:�I
was�very�disappointed�with�my�school�work�and�my�curriculum
was�a�mess.�I�did�not�know�what�to�do.�Things�at�Silverlands
had�really�seemed�to�be�coming�together�for�me�but�I�was�not
faced�with�this�-�I�began�to�wonder�about�the�wisdom�of
evacuating�me�at�the�age�of�fourteen�and�a�half.
The�English�mistress�who�had�travelled�with�us�during�the
evacuation�had�now�returned�home�leaving�American�staff�to
take�over�duties�as�‘House�Parents.’�I�think�-�I�hope�-�we�were
all�well�behaved�but�wonder�what�the�Foundation�staff�thought
about�us�after�being�in�the�charge�for�a�year.�They�were�certainly
and�the�Japanese�armies�were�sweeping�all�opposition
aside.�The�Germans�were�hundreds�of�miles�into�Russia
and�when�it�seemed�as�if�things�could�become�no�worse,�I
received�news�that�my�brother�had�been�killed�on�special
flying�operations.�I�fell�into�a�black�depression�which
seemed�to�last�forever.�He�was�serving�in�the�Royal�Navy
on�board�the�cruiser�‘Manchester’�which�had�put�into
Philadelphia�for�repairs.�He�had�made�friends�with�an
American�family�who�brought�him�to�New�York�to�see�me�-
a�real�gesture�of�friendship.
Mr.�Griffin,�knowing�I�was�depressed,�asked�me�if�I
would�like�to�spend�the�Easter�weekend�in�Washington�DC
as�the�guest�of�Colonel�Henry�Breckenridge.�I�jumped�at
the�invitation.�Colonel�Breckenridge�was�a�very�senior�and
respected�politician�and�a�close�friend�of�President
Roosevelt.�He�wax�involved�with�the�President’s�special
committee�for�the�care�of�evacuated�European�children,
and�also�a�close�friend�of�Miss�Smith�an�English�lady�who
was�‘Housemother’�to�our�girls�at�the�Gould�Foundation.
This�was�unbelievable;�he�called�for�me�in�his�big�Buick
car�and�the�two�of�us�set�out�for�Washington.�We�journeyed
through�New�Jersey�across�Chesapeake�Bay�into�Maryland,
making�many�stops�for�coffee�and�doughnuts�and�a
sumptuous�seafood�lunch.�I�felt�very�fortunate�to�be�his
guest.�He�told�me�that�we�were�going�to�stay�two�nights
with�very�oid�friends�of�his,�the�Vances,�who�lived�in
Washington.
He�would�take�me�sightseeing�the�following�day�and
then�there�would�be�a�dinner�party�at�the�Vance’s�home�in
the�evening.�We�arrived�quite�late�and�after�introductions
and�a�light�supper,�I�went�to�bed.�The�next�day�dawned
clear�and�bright�and�unusually�for�April,�there�had�been�a
snowfall�overnight.�The�two�of�us�set�off�after�breakfast�for
a�visit�to�all�the�historic�places.�Washington�was�fantastic�-
the�Capitol�building,�the�Washington�Monument,�and�the
Lincoln�Memorial�and�many�other�sights�were�snapped�by
my�camera.�We�went�into�the�city�for�a�light�lunch
anticipating�a�real�feast�at�the�dinner�party�in�the�evening.
Just�after�leaving�the�restaurant,�whilst�walking�back�to�the
car,�Colonel�Breckenridge�spotted�someone�walking
towards�us,�a�lady�he�said�I�should�meet.�He�introduced�the
lady�as�Eleanor�Roosevelt,�the�President’s�wife.�It�was�to
be�an�incredible�day.
Back�at�the�Vance’s�house,�the�afternoon�before�the
dinner�party�was�quiet.�In�the�evening�the�party�started;
seated�around�the�table�were�Mr�&�Mrs�Vance�and�their
two�sons;�there�was�Colonel�Breckenridge�and�three�senior
politicians�and�of�course,�me.�The�conversation�was�about
the�war�and�other�matters�of�grave�concern,�but�I�was�not
left�out�of�the�discussions.�It�was�a�great�privilege�to�be
seated�with�such�respected�Americans,�and�having�spoken
to�Mrs�Roosevelt�earlier,�it�made�a�day�not�to�be�forgotten.
I�sat�next�to�Mrs�Vance�who,�towards�the�end�of�the�dinner,
asked�me�if�I�would�like�to�spend�the�summer�holiday�on�a
farm�near�Washington.�I�could�not�say�‘yes�please’�quickly
enough.�The�Colonel�said�he�would�make�the�arrangements
with�the�Gould�Foundation�and�take�me�to�the�farm�at�the
end�of�July.�Next time the children perform at the Imperial Theatre,
New York and Jane becomes a significant friend!