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ON THE TWENTIETH CENTURY London run: Her Majesty’s Theatre, March 19th (165 Performances) Music: Cy Coleman Book & Lyrics: Betty Comden & Adolph Green Director: Peter Coe Choreographer: Larry Fuller, re-created by Gerald Teijelo Musical Director: Ray Cook Producer: Harold Fielding

Cast: Keith Michell (Oscar Jaffee), Julia McKenzie (Lily Garland), Mark Wynter (Bruce Granit), Ann Beach (Letitia Primrose), Jeff Wayne, Fred Evans, David Healy, Peter Johnston

Songs: I Rise Again, I Have Written a Play, The Indian Maiden’s Lament, Veronique, Together, Our Private World, Five Zeros, Sign Lily, She’s a Nut

Story: Producer Oscar Jaffee’s latest play is another flop, forcing him to abandon his cast in Chicago and flee to New York on the Twentieth Century, the luxury Pullman train . On board is his ex-lover and now top movie-star, Lily Garland with her boyfriend, Bruce Granit. If Lilly will agree to appear in Oscar’s next shows she would solve all his problems. But Lilly says she would rather die. Also on board is Mrs Letitia Primrose, a religious and wealthy do-gooder. Since Oscar’s next play is to be called “The Passion of Mary Magdalen”, she is happy to finance it, and gives Oscar a cheque for $200,000. When Mrs Primrose offers to finance a movie version to follow the stage play, Lilly is hooked – a chance to play the woman who "has kept

the whole world weeping for centuries." But it turns out Mrs Primrose is a fraud – an escapee from the lunatic asylum. Oscar is shattered and Lily furious she’s been tricked. Despairing, Oscar decides to shoot himself – but he can’t even do that properly – so he pretends to be near death, and as his "last request," asks Lilly to sign the contract. Lily signs, but, when Oscar reveals that he is very much alive, Lily reveals that she signed the contract with the name "Peter Rabbit." Clearly made for each other, Lily and Oscar embrace.

Notes: Comden and Green based the musical on three works: the 1932 play “Twentieth Century” by Ben Hecht and Charles MacArthur, the 1934 film version by Howard Hawks, and the play “Napoleon on Broadway” by Charles Bruce Milholland. Dora Bryan was originally cast as Mrs. Primrose, but was replaced by Ann Beach a week before previews due to a difference of opinion with the American producers about her performance.

ONLY IN AMERICA London run: Roundhouse, April 9th (20 Performances) Music: Leiber & Stoller Book: Susan Crawford & David Yakir Director: Ned Sherrin & David Yakir Choreographer: Douglas Norwick Cast: Timothy Whitnall (Jimmy Dante), John Christie (Jose), Donald Waugh (Charlie Brown), Bertice Reading (Mrs Brown), Val Pringle, Kim Goody, Clark Peters, Miquel Brown, Deena Payne

Songs: Included: Hound Dog, I Ain’t Here, Juan y Juanita, Three Cool Cats, You’re So Square Story: This show had hardly any plot and the action was just a way of linking from one song to another – using the catalogue of songs by Lieber & Stoller,

1980

Julia McKenzie & Keith Michell

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UMBRELLAS OF CHERBOURG London run: Phoenix Theatre, April 10th (12 Performances) Music: Michel Legrand Lyrics: Sheldon Harnick Director: Andrei Serban

Cast: Susan Gene (Genevieve), Martin Smith (Guy)

Songs: I Will Wait for You

Story: It is 1957, and 17-year-old Genevieve , who works in her mother’s umbrella shop in Cherbourg, falls in love with Guy, a young local car mechanic. Unfortunately, he is called up to fight in Algeria, and after a single night of passion , he departs for active service only for Genevieve to discover she is pregnant. Should she wait for him to return or marry a rich, older jeweller who is deeply in love with her and prepared to raise her child as his own?

Notes: Adapted from the Jacques Demy film “Les parapluies de Cherbourg”, this stage production had been a big success off-Broadway. It was a kind of “bookless” musical, performed in a whole series of scenes with no dialogue. Thanks to some extraordinarily bold stage effects from designer Michael Yeargan and the lighting designer David Hersey, the show was presented as if seen “through a window running with a continuous drizzle and misted from inside with the breath of spectators, all reminded of their own first loves”. This was a kind of living Impressionism, “shimmering like a Renoir”. This was all much too arty and too unconventional for the usual West End audience. The show came off very quickly.

BARNARDO London run: Royalty Theatre, May 21st (43 Performances) Music: Ernest Maxim Director: Ernest Maxim Choreographer: Alain de Hay Musical Director: Barry Westcott Producer: Gold Star Productions

Cast: James Smillie (Dr Barnardo), Fiona Fullerton (Syrie Elmslie), and a cast including 20 Children

Songs: London’s East End, Cor, Lovely ‘Ot Pies, What Children Will Do, You’re the Man, Tosh, Welcome to Dreamland, Am I Running Out of Time?

Story: A squelchingly sentimental re-telling of the life of Thomas Barnardo, founder of the orphans’ home, set in a world of East End Cockney knees-ups

Notes: This was one of the great disasters of musical theatre. It contained embarrassing moments like Mrs Barnardo thrusting her dead baby into the arms of her husband for him to sing about “My Son”, a dreadful duet for two poor urchins singing a song called “Cor”, and reviews which said things like “This is a case for the NSPCC” . The show was in financial trouble very early on, with a receiver called in, and the receiver quarrelling with the show’s publicists – they refused to place any more adverts or posters unless they were paid – and then furiously criticising the reviewers for their bad notices, claiming this was a show which the audiences loved.

1980

Tracy Hall as Ada—one of Barnardo’s orphans

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TOMFOOLERY London run: Criterion Theatre, June 5th Music & Lyrics: Tom Lehrer Director: Gillian Lynne Musical Director: Chris Walker Producer: Cameron Mackintosh

Cast: Robin Ray, Jonathan Adams, Martin Connor, Tricia George

Songs: Be Prepared, Poisoning Pigeons in the Park, When You Are Old and Grey, I Got it From Agnes, The Hunting Song, Wienerschnitzel Waltz, The Old Dope Pedlar, The Varican Rag, We Will All Go Together Notes: A collection of songs by Tom Lehrer performed in revue style with great success.

SWEENEY TODD London run: Drury Lane, July 2nd (157 Performances) Music & Lyrics: Stephen Sondheim Book: Hugh Wheeler Director: Harold Prince Choreographer: Larry Fuller Musical Director: Ray Cook Producer: Robert Stigwood with David Land

Cast: Denis Quilley (Sweeney Todd), Sheila Hancock (Mrs Lovett), Andrew C. Wadsworth (Anthony), Many More (Johanna), Michael Staniforth (Tobias), Austin Kent (Judge Turpin), John Aron (Pirelli), Dilys Watling (Beggar Woman)

Songs: The Worst Pies in London, Green Finch and Linnett Bird, Johanna, Pirelli’s Miracle Elixir, Pretty Women, A Little Priest, By the Sea, Not While I’m Around

Story: Benjamin Barker returns from a 15 year enforced exile to discover his wife has been driven to her death and his daughter, Johanna, made a ward of the court by the man who sentenced him – the evil Judge Turpin. He rents a room above Mrs Lovett’s pie-shop and resumes his trade as a Barber, using the false name “Sweeney Todd” and awaiting his chance for revenge on the Judge. Encouraged by Mrs Lovett, he lures suitable victims to his barber’s chair, slits their throats and then passes them over to Mrs Lovett and her meat-grinder. Although he gets the Judge in the end, justice is seen to be done when the crazed Tobias cuts Sweeney Todd’s throat with one of his own razors after Sweeney has disposed of Mrs Lovett and his own wife (who wasn’t dead after all).

Notes: Based on the play by Christopher Bond. This Grand-Guignol semi-operatic piece is generally held to be a masterpiece and has gone on to have world-wide success. Yet this first London production failed. It was an exact copy of the Broadway version which won 8 Tony Awards and ran for 558 performances – but the London critics were scathing. They claimed the production was over-blown, swamped with heavy scenery and pretentious. (A la t er much s imp ler “chamber” version at the Cottesloe Theatre was an enormous success.)

1980

Sheila Hancock & Denis Quilley

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PAL JOEY (1st Revival) London run: Half Moon Theatre, August 4th Transferred to Albery Theatre September 26th (415 Performances) Music: Richard Rodgers Lyrics: Lorenz Hart Book: John O’Hara Director: Robert Walker Choreographer: Stuart Hopps Musical Director: John Fiske Producer: Ian B. Albery

Cast: Sian Phillips (Vera), Denis Lawson (Joey), Buster Skeggs (Gladys), Danielle Carson (Linda), Darlene Johnson (Melba)

Notes: See Original London Production: Princes Theatre, March 31st 1954

BEGGAR’S OPERA, The (2nd Revival) London run: Lyric Hammersmith, August 19th Cast: Brian Protheroe, Fiona Fullerton, Margaret Courtenay, Jane Hardy Notes: This opened the new season at the Lyric Hammersmith, and was chosen to mark the 60th anniversary of the famous Nigel Playfair production of 1920 – the legendary “Beggar’s Opera” which ran for over three years and made a large profit at a time when the Lyric was facing severe financial problems. Unfortunately this revival did not achieve anything like the same public appeal and according to Ned Sherrin in “Plays & Players” was “much spat upon” by the critics and was “a great embarrassment”.

See: Aldwych Theatre, July 1963 Apollo Theatre, September, 1968

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OKLAHOMA (1st Revival) London run: Palace Theatre, September 17th – September 19th 1981

Music: Richard Rodgers Book & Lyrics: Oscar Hammerstein II Director: James Hammerstein Choreographer: Agnes de Mille – restaged and adapted by Gemze de Lappe Musical Director: John Owen Edwards Producer: Cameron Mackintosh Cast: Madge Ryan (Aunt Eller), John Diedrich (Curly), Rosamund Shelley (Laurey), Mark White (Will Parker), Jillian Mack (Ado Annie), Alfred Molina (Jud Fry) Songs: Oh What a Beautiful

Mornin’, The Surrey With the Fringe on Top, People Will Say We’re in Love, I Cain’t Say No, Many a New Day, All Er Nuthin’, Kansas City

Notes: Based on the play “Green Grow the Lilacs” by Lynn Riggs. The original London production was at the Theatre Royal, Drury Lane on April 29th 1947 and ran for 1,548 performances. With its cornfields and cattle ranches, farmers and cowboys, it was a glorified and vivid depiction of rural America, borrowing from country music, vaudeville and the language of the frontier. It was a folk-musical, and revolutionary in many respects. Along with “Showboat” in 1927, “Oklahoma” is regarded as a turning point in the history of musical theatre. Original London Production: Drury Lane, April 29th 1947

1980

Alfred Molina & John Diedrich

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COLETTE London run: Comedy Theatre, September 24th (47 Performances) Music Book & Lyrics: John Dankworth Director: Wendy Toye Musical Director: Richard Holmes Producer: H.M.Tennent Ltd

Cast: John Moffatt (Narrator), Cleo Laine (Colette), Kenneth Nelson Story: This was a biography of Colette ( the French author of “Gigi” and “Chéri”) told in a series of songs from Cleo Laine and linked with a narrator and one actor playing several different parts. Notes: It was originally staged at the Dankworth’s converted stable theatre at their

home in Wavendon to an audience of their friends, but it did not make a good transition to a West End theatre. The Daily Mail critic said : “…as an entertainment it has not strayed far from the village hall which, come to think of it, is where it began.”

THEY’RE PLAYING OUR SONG London run: Shaftesbury Theatre, October 1st (667 Performances) Music: Marvin Hamlisch Lyrics: Carole Bayer Sager Book: Neil Simon Director: David Taylor Choreographer: Patricia Birch, reproduced by Lani Sundsten Musical Director: Grant Hossack Producer: Ray Cooney

Cast: Martin Shaw (Vernon Gersch), Gemma Craven (Sonia Walsk), Thom Booker, Philip Day, Mark Jefferis (Voices of Vernon), Dawn Hope, Beverley Kay, Deena Payne (Voices of Sonia) Songs: Fallin’, If He Really Knew Me, Just for Tonight, When You’re in My Arms, I Still Believe in Love, Fill in the Words

Story: Vernon, a highly successful Oscar-winning song-writer, is looking for a new lyric writer. He could also do with a new girl-friend as well. Then along comes Sonia – neurotic, scatter-brained, late for everything – and in a screwed-up relationship with (the unseen) Leon. They start a writing partnership on a particular project, frequently interrupted through mishaps and misunderstandings and then they part. However, this is a musical comedy, and inevitably they get back together again as a writing team and as lovers.

Notes: Only two people appear in the show, although there is a chorus to reveal their innermost thoughts. It is based very closely on the real-life relationship between Marvin Hamlisch and Carole Bayer Sager. The show is claimed to have saved the Shaftesbury Theatre by providing it with its first profitable hit since “Hair” closed in 1973.

1980

Tom Conti & Gemma Craven

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THE STREETS OF LONDON London run: Her Majesty’s Theatre, October 21st (122 Performances) Music & Lyrics: Gary Carpenter & Ian Barnett Director: Diane Cilento Choreographer: Noel Tovey Musical Director: Roger Moffatt Producer: Archie Stirling Ltd

Cast: William Squire (Gideon Bloodgood), Michael Carter (Badger), Helen Cherry (Mrs Fairweather), Susannah Fellows (Lucy Fairweather), Richard Walsh (Paul Fairweather), Royce Mills (Edwards), Jane Wymark (Alida Bloodgood), Mark Livingstone (Frank Grimes), Shaun Curry

Story: The poor are at the mercy of the villainous speculator and merchant banker Gideon Bloodgood, who with conscienceless avarice, defrauds the widowed Mrs Fairweather and her children, and then, deferring to the social and marital aspirations of his vicious daughter, Alida Bloodgood, attempts first to ruin and thereafter to buy the affections of a well-born gentleman, Frank Grimes. Bloodgood’s villainy is initially aided by Badger, who later turns against him and rescues an incriminating document from a burning tenement and reunites estranged lovers.

Notes: Dion Boucicault’s play of dastardly doings and retributions was adapted from the French “Les pauvres de Paris” and was first presented in New York in 1857 under the title “The Streets of New York”. When Boucicault returned to England it was performed as “The Streets of Liverpool” and then changed its title according to whichever town it was performed in on its way to London. The play mixed melodramatic spectacle and social observation to become a Christian sermon in which the audience was encouraged to give to the poor on their way out of the theatre. Even in its earliest form it was accompanied by music-hall type songs This new musical version originated at the Theatre Royal, Stratford East for a three week season in March, and then was much re-written and enlarged for its West End run. In its original 1864 London production the sensation was the scene of a burning house with a real fire-engine and real horses on stage. This scene worked well on the small East London stage, but seemed rather feeble on the vast expanses of Her Majesty’s Theatre. The show was praised by the critics but failed to run very long.

THE BIOGRAPH GIRL London run: Phoenix Theatre, November 19th (57 Performances) Music: David Heneker Lyrics: David Heneker & Warner Brown Book: Warner Brown Director: Victor Spinetti Choreographer: Irving Davies Musical Director: Michael Reed Producer: Harold Fielding.

Cast: Kate Revill (Lillian Gish), Sally Brelsford (Mary Pickford), Bruce Barry (D.W.Griffith), Richard Kates (J.C.Epping), Ron Berglas (Adolphe Zukor), Guy Siner (Mack Sennett)

Songs: The Moving Picture Show, Working in Flickers, The Moment I Close My Eyes, I Just Wanted to Make Him Laugh, Beyond Babel, Gentle Fade, One of the Pioneers, Put it in Tissue Paper

Story: A salute to the world of silent movies, this is a portrait of the gods and goddesses of the Silver Screen – Mary Pickford, D.W. Griffith, Lillian Gish and Mack Sennett – dealing with the contrast between the artistic dreams and ambitions of Griffith and Gish, and the commercial instincts and even greed of Pickford and Zukor.

Notes: This opened at the Gardner Centre, Brighton and was devised as a small-scale show, inspired by Warner Brown’s rejected play “Flickers”. The opening night was attended by Lillian Gish herself and attracted enormous publicity. The critics felt the show hovered uneasily between parody and reverential salute, and in spite of a lot of praise for Heneker’s score, the show came off rather quickly.

1980

Kate Revill & Guy Siner

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JOSEPH & THE AMAZING

TECHNICOLOR DREAMCOAT

(3rd Revival) London run: Vaudeville Theatre, December 15th – March 7th 1981 Music: Andrew Lloyd Webber Lyrics: Tim Rice Director: Bill Kenwright Choreographer: Henry Metcalfe Musical Director: Keith Hayman Producer: Bill Kenwright

Cast: Jess Conrad (Joseph), Peter Lawrence (Jacob/Potiphar), John Melvin (Benjamin), Mandy Demetriou (Potiphar’s Wife), Dave Mayberry (Pharaoh), Leo Andrew (Narrator), Roy Miles, Hugh Janes Notes: See original London Production, Albery Theatre, February 1973 First revival: Westminster Theatre, November 27th 1978 Second revival: Westminster Theatre, November 1st 1979

1980

Dave Mayberry as Pharoah

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