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Page 12

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�

[email protected]

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

([email protected])

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!