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THE PUBLAND SHOW No.6
Lewisham Concert Hall
Wednesday 3rd November 1971
Produced & Directed by Ray Donn
Associate
Producer Joe Roberts
Musical Director Graham Todd & His Orchestra.
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THE MAGIC OF PUBLAND by FRANK
DURHAM
Tonight you will see something that can never happen
any other time, any other place. For a bouncing,
beaming Jewish part-time impresario called Ray Donn
has waved a magic microphone and transformed the
spell of publand to the conventional stage. It's all
there ... the jokes tinged with a subtle blue as
delicate as the cigarette smoke in the public bar.
There's life, lusty, lively, heady as a pint of
best. The result, a genuine, rip-roaring,
down-to-earth entertainment that brings coach
parties racing in from the far corners of London.
 This
is how it all began—music hall that is. In the 19th
century, some be whiskered Ray Donn of the time
decided to mix a little music and humour with his
beer. Soon the bubbling combination went to London's
head. In time, the acts moved out of the pubs and
into the halls. And it was in those very halls that
it all faded and died when the television monster
strode upon the show-business scene.
Now the thing has gone the whole cycle.
Entertainment is finding new life in the pubs.
Tonight, you can see how the publand scene has, once
again, grown up. There is proper lighting, posh
music, professional expertise. The old Max Miller
touch complete with saucy twinkle and risque aside
is back. When Billy Noyes strides the stage tonight,
the old music hall fans will again get a whiff of
the old Met in the Edgware Road. "Mary from the
Dairy"? Remember?
The humour is as broad as the Thames at Greenwich.
Just take a gander at Alvis and Odell. In the old
days they would be labelled "female impersonators".
Today, they're a drag, in the most hilarious way.
Over lording the whole junket tonight is Jimmy
Jones. Jimmy is to the Montague Arms, New Cross, as
Sinatra is to Vegas. In the audience will be many
Jimmy fans . . . they follow him everywhere on the
strict understanding that his jokes are funny.
Jimmy in action is a pulverising joke machine.
Before you can laugh at one, another one hits you
over the head. He sings a nice song, too. It all
adds up to a good pub compere.
And, right from the heart of the East End, comes
Charlie Scott. Charlie takes the old songs and turns
them into gold.
When you turn to the whole list of publanders on the
programme, it is like looking at a menu full of meat
and sweet.
So, sit back and . . . welcome to publand.
Picture: Compere Jimmy Jones |
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Artistes
that appeared on the 6th Publand
Show
Betty Lunn Dancers, Jimmy Jones,
The Saddle Tramps, Billy Noyes, Jo Peters,
Terry Rogers & Bobby,
Alvis & Odell, Mike &
Sonja,
Mike Brown, Charlie Scott.
Graham Todd & His Orchestra. |
Review by Tommy Kane
"The Stage"
In their way the pubs reflect current tastes in
entertainment, at least in the London area, better
than theatres and clubs, and it would be true to say
that if a
 foreign
journalist had been told by his paper to investigate
what Londoners liked he could not have done better
than visit RAY DONN'S sixth "Publand Show" at
Lewisham Concert Hall on November 3rd.
He would have found that Cockneys preferred their
humour broad and strong as typified here by
compere-vocalist JIMMY JONES, comedian-impressionist
MIKE BROWN drag duo ALVIS AND ODELL and
ventriloquist,
TERRI ROGERS, all of whom required
very little time to gauge the feeling of their
audience.
Of these, only Jimmy Jones, resident at the Montague
Arms. Peckham, is permanently ensconced in publand,
for Terri Rogers has recently been in Gar-many,
Alvis and Odell do a good deal of cabaret work and
Mike Brown has been developing a second string to
his bow as a straight actor.
BILLY NOYES, the fifth comedy act on show,
represents what is still a strong nostalgic interest
in music hall, for although he is as broad as the
others
 his
humour is devised as a loving tribute to the late
MAX MILLER, whom he resembles in every respect, from
the flowered silk suit to the slow turn on the ball
of the foot that Max always kidded his audiences was
ballet.
On the vocal front, our visitor would have come to
the conclusion that sentiment embellished with a
jazz or Country and Western touch was favourite,
only MIKE and SONYA really steeping themselves in
the pop idiom with big emotional versions of "
You've Lost That Loving Feeling" and " It's Over."
Both JOE PETERS and CHARLIE SCOTT take their
inspiration from what one might call the swinging
Las Vegas school of singers — and vary nice too —
while the spiritual home of the SADDLE TRAMPS is
obviously in Nashville, their spot convincing me
that here is one type of music in which the British
are every bit as good as the Americans.
The BETTY LUNN DANCERS opened each half and there
was a great thick accompanying sound from the
seven-piece band led by pianist GRAHAM TODD.
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****** |
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THE PUBLAND SHOW No.7
(No Show 1972-1973)
Victoria Palace Theatre SW1
Sunday 29th September 1974
Produced & Directed by Ray Donn
Associate
Producer Joe Roberts
Musical Director Barry Goynes
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"THE PUBLAND SHOW STORY" by Tommy Kane
As many a Gentleman (and indeed, as many a Lady) has
observed from experience, there are far more
pleasures to be found in a pub than are to be found
in the glass . . .
Twas ever thus, of course. And never more so, during
the early 'sixties, than at a North London pub, "The
Pegasus". Therein, a young landlord named Ray Donn
presented artistry and musical entertainment seven
days a week and to such extent that he and his
activities were featured on several occasions in
both the British and American press.
Like many of his predecessors in Ale-House
entertainment history, Ray Donn proved to be a true
enthusiast of live variety. And during his stay at
the house he conceived the idea of a stage show that
would both serve, and be seen, as an appreciation of
the talented but unknown performers on the publand
platforms.
On June 7th, 1966, his trembling idea became a solid
reality when THE PUBLAND SHOW made its debut at the
now bygone Scala Theatre. A mammoth production, the
show featured sixteen acts during a period of four
hours, and drew a capacity audience comprised of
enthusiastic supporters from publand and interested
show business personalities. Although intended as a
once only show, its success was such that its
pioneer bowed to the pressure of demand to present
the show as an annual event.
Thus, eight years ago, was born THE PUBLAND SHOW.
Since which, we remember, publand has evolved as an
acceptable field of showbiz employment, with star
names and top groups to help swell the vast number
of performers to be found on the scene.
Despite the changes in publand entertainment since
1966, however, even though most artists from publand
can also be seen in clubs, summer seasons, pantos,
cabaret, THE PUBLAND SHOW continues to retain as its
main theme the original intent—a practical gesture
of appreciation of artists who play to, and please,
the pub customers . . .
Past venues for the show have also included the
massive Fairfield Hall, Croydon, and the Lewisham
Concert Hall. Tonight, and to the delight of Ray
Donn, the artists are able to step up into the kind
of limelight that only a first-class variety theatre
such as The Victoria Palace can offer. And, as the
name of the game remains, quite simply,
"entertainment", so it follows that the simple wish
of all connected with the event is that YOU, the
welcome and vital audience, find yourselves able to
sit back, to relax, and to enjoy this, "THE 1974
PUBLAND SHOW".
Ladies and Gentlemen
your Very Good Health! |
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Artistes
that appeared on the 7th Publand
Show
The Gaytimers Dancers, Dale Warren ,
The Moonshine Six, Terry Seabrook, Pat & Kay,
Gay Brielle, Bob Curtiss, Brian Royal.
The Bryan Williamson
Band. |
THE STAGE aqd TELEVISION TODAY, October 3rd 1974
At the Victoria Palace theatre on September 29, RAY
DONN presented his annual "Publand Show'' evening
before a remarkable audience comprised
 of showbiz
personalities and representatives, critics, regular
theatre-goers, the curious, and coachloads of
enthusiastic supporters from pub-land.
A night of variety in aid of the Entertainment
Artistes Benevolent Fund & The Independent Adoption
Society in which the performers represented those to
be found in the locals and elsewhere a night which
demonstrated, once again, the ability of the show to
generate an atmosphere of magic and fascination
almost akin to that of a command performance.
The last-minute confrontation by an ancient law
prohibiting public dancing in GLC area halls on
Sundays produced a frustration for Ray, who — and
determined that 'the show must go on — was forced to
cancel THE GAYTIM.ERS" dance troupe from the line-up
and to insert an apology slip into his fine souvenir
programme.
But, in the best traditions, the show opened . . .
with THE MOONSHINE SIX," a jazz ensemble typical of
pub-land. Fine musicians (three wind, two string,
one percussion), the boys may well have appeared to
the casual critic to have been rather static and
short on showmanship when-ever a solo cut in. But
with jazz, of course, the music is ALL. And whether
it was a stomp in "I'm confessing that I love you,"
or a blockbusting "Tiger Rag, which came as a
tremendous opener for the show, they remained
consistent throughout.
A credit to the jazz scene, the boys finally bowed
out to loud, warm-hearted applause.
Act two, magician TERRY SEA-BROOKE, billed "for
amazement only,'' but whose comedy was everyone s
glass of cheer. His was a performance frothing with
class and quality; and so slick was his aud. part,
routine at his unwitting victim invited from the
audience became
Publand Storms The Palace
almost a comedy partner in it. Withal, a top-flight
comedy magician, and vastly enjoyed from start to
finish, was Terry.
 Followed PAT & KAY, who (to quote myself) were "a
very popular twosome who mixed together a tinkling
piano, a well-sung song, and a large chunk of
personality, to produce the happy-go-lucky kind o?
entertainment that never fails to please." On song
this night, Pat produced flair and showmanship to
heighten his rendering of "She" (you could have
heard a pin drop) and other vocal delights. And with
Kay-giving with "The Sting" in a piano solo, the
pleasant duo truly justified their billing and share
of the applause.
Opening the second half with his , own spot came the
well-dressed compere for the show, DALE WARREN. His
superb quick-change impressions routine saw a
veritable parade of personalities chasing each other
in and out of laugh-a-second gags and one-liners in
what was altogether, a feat of entertaining well
worth anyone's money.
In the absence of "The Gaytimers," it was left very
much to the sweet and lovely young
 GAY BRIELLE to
provide the feminine interest. Dressed in a vivid
blue trouser costume, the songstress used the big
stage well in her opening swayer "Oh Babe, what
would you say?" and for an answer immediately
captured the hearts and affections of the audience.
Delightful throughout, her somewhat femme fatale
finale "Until it's time for you to go" amply
demonstrated what a bright future awaits this
youngster who can do no wrong in my eyes.
Accompanying Gay this night,
and in addition to the band, were two fine musicians
in GWEN LEE (piano) and MARTYN LEE (Guitar).
Next on, comedian BOB CURTISS, who displayed
throughout his uproarious (if slightly earthy)
stand-up spot a nice sense of timing. Still
something of a newcomer to the game in actual years
on the stage perhaps, is Bob. But he commanded the
stage with great authority and ease, and came across
as a distinctive personality well worth the
spotlight and the great applause.
 And then, as the final artist entranced, the
well-known Gremlins of Publand struck as if dead on
cue! For from the moment singer BRIAN "BUTCH" ROYAL
launched into "Beautiful Day" the hand microphone
crackled, died, blurted, hummed, and did all in its
electrical power to thwart what the singer had set
his heart on, the performance of his life.
To the great relief of the willing audience,
however, the artist remained unperturbed switched
mikes offered "C'Mon over to my house," and followed
up with three absolute showstoppers in "Solitaire"
"Danny Boy," and (a nice false tab here) "Somewhere
over the Rainbow."
At the close of his performance the audience simply
erupted, with "Butch'' so deeply touched by the
response that he was nearly in tears! But oh yes,
they are beautiful songs; and they were beautifully
sung!
The accompanists for the entire show were the very
competent musicians of THE BRYAN WILLIAMSON BAND.
And with a happy Ray Donn joining the cast for the
final curtain, so came to an end the 1974 "Publand
"Show" . . .Tommy Kane
Pictures Above: Dale Warren, Pat & Kay, Brian
Williamson Band.
The Moonshine Six, Gay Brielle. |
Brian "Butch" Royal |
Bob Curtiss |
Terry Seabrook |
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****** |
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THE PUBLAND SHOW No.8
Victoria Palace Theatre SW1
Sunday 16th November 1975
Produced & Directed by Ray Donn
Musical Director Barry Goynes |
RAY DONN has announced the artists who will be
appearing in the "1975 PUBLAND SHOW". The full list
is: RON TWIST (compere), "THE WELTONS" (young
musical entertainers), TONY STANLEY
(comedian-impressionist), CANDY DU BARRY (female
impersonator), ROGER DE COURCY (comedy entertainer),
DAVID GOLD (male singer, representing the Ken Scott
Pub Circuit), "ELLIE" (three-girl singing group,
representing the Wheatley Taverns circuit), and the
as-yet-to-be-declared winner of the St. George's
Taverns Nationwide 1975 Talent Contest (the final
takes place on October 22).The BRIAN WILLIAMSON BAND
again accompany the show, which takes place at the
VICTORIA PALACE on November 16th.
Proceeds from the show are to be donated to two
charitable organisations. |
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Artistes
that appeared on the 8th Publand
Show
Ronnie Twist ,
The Weltons, Tony Stanley, Candy Du Barry,
Dave Gold, Roger De Courcey, Ellie, Larry
Stone.
The Bryan Williamson
Band. |
THE 1975 PUBLAND SHOW
On the night television presented a recording of the
Royal Variety Command Performance, Ray Donn
presented publand's equivalent (less Royalty!) live
at the Victoria Palace with his "1975 PUBLAND SHOW."
And not even the wet. wild, and windy weather could
prevent the publand enthusiasts from turning up in
force, with the coach parties creating traffic jams
and the large queue outside the theatre to publicise
the fact that live pub variety had hit town in a big
 way! Indeed, "enthusiastic" must be the word to
describe the packed audience, for each act received
loud and lasting applause whatever their standing.
First on. four entertaining youngsters in "The Weltons." a family vocal/musical act ranging in
years from thirteen down to eight - Steve. Paul.
Julie and Mark ("the mighty maggot!"!, all
well-dressed and swinging away merrily in songs such
as "Tweedle-Lee-Dee" and others. Certainly their
opening spot was too long for any purist: but
certainly, too. their performance was both good and
novel enough to earn them the applause it did. Yes.
four talented children are The Weltons.
No artist ever likes to follow children on a show,
but follow Tony Stanley did - and how. with vocals,
singing impressions, superb audience participation
comedy vent spot, and displaying a fine
accomplishment in bridging the notorious "gap"
between theatre stage and audience. A notable comedy
act in all from an experienced performer ever
increasing in stature: his impression of Donald Duck
singing "My Way" was enough to touch the
heartstrings.
A change of style, spectacle, and costumes, was had
with mime artist and female impersonator Candy Du
Barry, whose act was not entirely suited to the
setting unfortunately in that his costume changes
meant total disappearances from the stage for vital
seconds, for in one dancing sketch with assistant
Fred Latimer dressed in a gorilla's costume, the
poor gorilla tripped over the footlights and fell
backwards out of sight down into the orchestra pit!
An alarming, nasty, moment was this. But thankfully,
Fred the gorilla was not seriously hurt and Candy
and the show went on in the best traditions, with a
fascinating finale spectacle by way of strobe
lighting and Candy in flourishing theatrical
movements
 for his "Jesus Christ, Superstar."
Representing the Ken Scott pub circuit and the male
singers in publand entered Dave Gold, with a big and
powerful voice and who followed in great part the
style of presentation set by the one and only Tom
Jones. Dave first built up his army of fans as a
member of clublands popular "Eden Brothers" act. and
as the response evidenced this night he is still
adding to those fans in his being a solo turn.
Well-built, and good-looking, the singer also scored
with change of tempo numbers such as "We love each
other" and "You've got a friend" - and here, he
found time to introduce top musician Gil Lucas
(co-founder of publands famed "Migil Five" in the
sixties) as one such friend sitting in the audience.
From song to laughter, with Roger De Courcy and his
vent act featuring "Pooh" the Teddy Bear. Area!
beauty of an act was this, with material aimed at
both midriff and mind - indeed, the bear nearly
stole the show, for the laughter and giggles which
rang out non-stop during the act started from the
moment Roger asked in all innocence "Why do they
call you Pooh...?" and the bear answered defiantly
"-'cos I stink!" What a terror was Teddy, and what
an artist was Roger!
The second family act on the bill came with "Ellie."
the singing trio of sisters whose career has been in
the ascendant since first they were hailed in THE
STAGE as the young Hope Sisters. Dressed in super
backless gowns of that colour once taboo with so
many artists in the theatre - green - the sisters
Kathy. Chris and Elaine, opened with a beat
presentation perhaps more for group audiences than
for variety audiences (an indication this of their
recent work with top record groups "Mud" and "Paper
Lace") and moved on to an excelled understanding
with
this audience in "I Understand" entwined with "Auld
Acquaintance."
 Beautiful to look at. with a nice casual
choreography, and easy to listen to. "Ellie"
represented the Wheatley Taverns circuit and
justified their applause.
So to the final act on the bill, pianist-entertainer
Larry Stone, the television winner of the "Pub
Entertainer of the Year" talent show and alas doomed
from the start, because of a promise kept, to be
something of an anti-climax.
The promise, made by Ray Donn. had been to feature
the "Pub Entertainer" contest winner, whoever it
was. as top of the bill. But Larry, with the kind of
act that scores in clubs, was in the wrong place on
this theatre show, and the sound effects, echo
gimmicks, and falsetto singing, were all matters
which nibbled away the atmosphere built up during
the night. This is not to imply criticism of an
artist, of course, for the act contained a deal of
entertainment interest. Certainly the artist would
have featured better earlier in the show - but ,
that's showbiz, and all sympathies to Larry!
Spot on throughout were the accompanying musicians,
the seven strong Bryan Williamson Band. And in
comedian Ronnie Twist, as compere, was a personality
whose quick and cheerful style of comedy and intros
suited the show like a glove. In this respect Ronnie
Twist contributed an enormous amount to both the
continuity and goodly success of the event, which,
if it is to be judged soberly and from the critic's
viewpoint, was somewhat lightweight for a variety
show. Certainly room must be made for one or two
truly dominant variety personalities if it is to
continue on its merry way as publand's premier
theatrical event - and I've no doubt that it will!
Review by Tommy Kane
Pictures Above: The
Weltons, Candy Du Barry, Ellie.
Tony Stanley, Dave Gold. |
Ronnie Twist |
Roger De Courcey |
Larry Stone |
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****** |
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THE PUBLAND SHOW No.9
Victoria Palace Theatre SW1
Sunday 14th November 1976
Produced & Directed by Ray Donn
Musical Director Barry Goynes |
THE 10th ANNIVERSARY SHOW
 Publand's
very own show will be staged at
the Victoria Palace, Victoria
Street, SW1 on Sunday, November
14th. If you have not been to
see one of these shows that have
been an annual event for the
past 9 years, you still just
have time to get a ticket . . .
but hurry, they are going like
hot cakes. Prices range from a
£1 to £2.50, and are available
from 858 1495 or 834 1317.
MUSICIANS, SONGS AND COMEDY
The whole show is presented by
Ray Donn, and this year being
its 10th anniversary, he has
returned acts who have appeared
before in his pub-land shows.
Hosts for the evening are
Charlie Smithers and Jimmy
Jones. They will introduce the
following top line acts: Yuri
and Tonya, Roger De Courcey and
Nookie, the Mardell Brothers,
Brian "Butch" Royal, Carol Lee
Scott and Wayne Pritchett. Music
for the show provided by the
Bryan Williamson Band. The show
starts at 7.30 p.m., all monies
will be going to combined
charities, as in previous years.
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The Bryan Williamson Band |
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10th Year PUBLAND SHOW TRIUMPHS
The best laid schemes o' mice an' men Gang aft
a-gley ..." And on the morning of the tenth
anniversary of THE PUBLAND SHOW it looked very much
as if a king-sized flop was in store for a capacity
audience at the VICTORIA PALACE. The show's first
half compere, comedian-singer JIMMY JONES, unable to
appear and both songstress-comedienne CAROL LEE
SCOTT and singer BRIAN "BUTCH" ROYAL were down with
'flu and laryngitis.
But such are friendships and loyalties that producer
Ray Donn found himself able to stroll around singing
"I'll get by with a little help from my friends".
The second half compere, star comedy personality
CHARLIE SMITHERS, took over as host for the entire
show and also filled the vacant Jones spot . . .
gorgeous super-singer THERESA (TERRI) STEVENS stood
in for Carol at a minute's notice ... and the ever
loyal Royal, "Butch", staggered along to perform,
hep to the eyebrows with anti-biotics.
Also joining the audience to lend a personal
encouragement were three hits from previous shows in
star LENNIE PETERS, singer DAVE GOLD, and singer
GARY PETERS - the latter being the very first act to
step out in the show. And when the curtain finally
rose at 7.30 pm before the packed audience (perhaps
wrongly summed up by one cheerful Cockney lass as
"we must be the biggest collection of boozers in
London!") it revealed a triumph over adversity and
some outstanding performances . . .Beginning with YURI & TONYA, a speciality act
supreme in its field of juggling, balancing, and
trick cycling. Both colourful and visual, this
long-established act glued all eyes on stage with a
superb display of the arts and the applause from the Publand "Command" audience suggested that Yuri &
Tonya really ought also to have been featured in the
Royal Variety Command Show twenty-four hours later.
Followed Brian Royal, who forty-eight hours earlier
had been speechless and yet who warbled his way
through some tonsil-taxing favourites such as
"Sixteen" and "Red Red Wine". His was a personal
double triumph—one over illness, and one in his
performance, and for this the sweat-drenched singer
received a dose of the best medicine of all, a
resounding applause.
 Closing the first-half were the MAR-DELL BROTHERS
TERRY & WALLY, and who for the benefit of all who've
ever pedalled from London to South-end included
their famed spot with "the bike". Complete with a
backing trio of three harmony singers in an act of
song and comedy, The Mardell boys came across as a
brash, bright, and breezy act with some slick
touches and in the chuckles "n smiles dept also
demonstrated at its very best the difficult art of
crosstalk.
Making an unusual entrance was the unusual act.
Master of Mime WAYNE PRITCHETT, who galloped in via
the centre aisle to tackle the nigh-impossible of a
silent solo mime on a theatre stage devoid of props.
That Wayne managed to convey both the art and
stories across the gap was an achievement, and while
the belly-laughs of his old pub act were missing his
performance was both interesting and educational -
an offering of quality no less, from an artist now
deeply involved in tutoring and direction.
Entrancing Theresa Stevens, the singer-impressionist
making her debut in the show and who, in standing in
at the last minute for the sick Carol, revealed
vocally a talent "River Deep, Mountain High". Why
this artist is not better-known to the public is one
of the usual frustrating mysteries of showbiz, for
be it in looks, presentation, vocals, or class,
Theresa stands head and shoulders above the crowd.
Dressed in a beautiful yellow gown, the attractive
songstress added a great and feminine impact to the
show.
The final hit on this night of all-stars was ROGER
de COURCEY with NOOKIE THE BEAR, experienced the
first part of a showbiz fairy-tale of two "Commands
in 24 hours, with an appearance to follow in the
ROYAL VARIETY SHOW at the Palladium. An immaculate,
experienced artist, Roger has produced a truly
magnetic puppet personality in his rascal of a bear,
and it is to his great credit as a performer that he
never draws the attention away from his prop. One
glorious, classic, moment to illustrate this came
when the spotlight narrowed, centred on the prop,
and completely obliterated the artist. "What d'you
think I am - a blinking moth!" cried out the prop!
Linking each act and performing a spot in each half,
was star comedy personality Charlie Smithers, for
whom the night had a special meaning. It was
Charlie, we remember, who hosted the first and early
"Publand Shows" as an unknown, and it was no doubt
this thought which prompted producer Ray Donn to
write in the programme " . . .the fact that I have a
deeper sense of personal pleasure than usual in
their presence here with us this evening is due to
the sober and sentimental reflection that among them
are friends who encouraged me in my publand show
thinking in 1966". It is not unfair to say that
while Charlie tried to tone down his act on the
night he still could not avoid being hailed by the
audience as the star of the bill.
Accompanying the show for the third consecutive year
were twelve smartly-dressed musicians in THE BRYAN
WILLIAMSON Band. As they again proved throughout the
night, they are a true asset and top performers in
their own right — JOHN ELDRED, ROY CARMAN, LES
MORRIS (trumpets), KEN GRAY (trombone), COLIN
HICKMAN, LES SIMMONS, STAN BATHURST (saxes), BARRY
GOYNS (orqan), MICK WALTER (bass guitar), DAVE WHITE
(Rhythm Guitar), KEVIN TOWNEND (percussion), and
BRYAN WILLIAMSON (drums).
Comment: Publand's premier theatrical event, with
each act a pub entertainer of the year and able to
appear in a setting which affords dignity. A success
supported for ten years by the people; a credit to
light entertainment.
Review by TOMMY KANE "The
Stage" |
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****** |
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THE PUBLAND SHOW No.10
SILVER
JUBILEE PERFORMANCE
Victoria Palace Theatre SW1
Sunday 14th November 1977
Produced & Directed by Ray Donn
Musical Director Barry Goynes |
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AN IDEA 11 YEARS AGO - NOW IT'S AN
INSTITUTION
It was on December 10, 1963, that I first
met RAY DONN, and if you're wondering how I
am so certain about the date it is because I
am looking at a programme headed "Pegasus Music Hall Lounge. Ray Donn presents a Grand
Charity Show in aid of the National
Childrens Home and Orphanage."
That description contains some key words -
"music hall," "charity," "children" — which
are very important in summing up the
outlook, interests and character of a man
who has done more than anybody else to put
pub entertainment on the map.
That 1963 event - the bill included, by the
way, JULIE DE MARCO, SALLY KELLY, BENNY
NIGHTINGALE, ALAN BEALE and CANDY MAYE -
probably gave Ray the initial idea for "THE
PUBLAND SHOW."
At that time he and his wife Pat had not
been in the licensed trade long, but it did
not take a great deal of time for him to
realise that pubs and entertainment made a
natural partnership. In the months that
followed that show I found myself often
popping into the Pegasus on my way to the
West
 End clubs, for there was always a new
act or two and a lively, friendly
atmosphere.
Then one night at the beginning of 1966 Ray
took me into a corner and said he wanted to
put on a show in a theatre, preferably in
Central London, so that pub artists could
have a chance of GOOD CHOICE His choice of
compere, for instance, fell upon a comedian
of whom I had barely heard and certainly
never seen, CHARLIE SMITHERS, who at that
time was resident mainly at the FARLEIGH
ARMS in Stoke Newington. Those who joined
Charlie on that first Scala show were RICKY
STEVENS, MARY (later MARILYN) KING, SIMBA
AND HER SNAKES. BILLY KENDAL, PAT CURTIS and
TERRY LONG, TEX WITHERS, CHARLIE SCOTT (who
now has a pub of his own), SALLY-KELLY,
TERRY DAY, LOUISE HAMILTON, MARCELLE DALE,
THE RONNIE REYNOLDS COMBO, GARY PETERS and a
line of dancers supplied by STEVE CLARK of
the CLARK BROTHERS.
Because it was presented on a Tuesday, a
traditional night off in the licensed trade,
the support from Ray's colleagues in the
business was immense, and there were
encouraging murmurs from the entertainment
world as well, definitely enough to have Ray
went on, again at the Scala on April 11 and
gave an early opportunity to LENNIE PETERS,
more of a star in the Northern clubs in
those days, and also to BENNY YORKE [who had
just changed
his name from BENNY WARD) and CAROL LEE
SCOTT. A novelty in that I show was the
all-male pantomime "CINDERELLA" from the
UNION
TAVERN, Camberwell, presented by LEE SUTTON
and starring AtVIS AND O'DELL. The Scala was
demolished, Hay himself, after a spell of
illness, left the Pegasus and moved to the
GOAT.Shirley, near Croydon, but "The Publand
Show," as it then came to be called,
continued. One year it was at the
FAIRFIELD HALL, Croydon, for three years it
was at LEWISHAM CONCERT HALL, and for two
years, because Ray and Pat were bringing up
their family and establishing themselves at
the VALLEY CLUB, Charlton, it was not staged
at all. But it came back in a big way in
1974 at its present home, the VICTORIA
PALACE, the perfect theatre. with its warm
music hall atmosphere, and where it will be
presented next Sunday, the bill comprising
CHARLIE SMITHERS. who has appeared in nearly
performing in front of a larger audience and
bookers could see for themselves the quality
of publand talent. Did I know of a suitable
theatre? Had I got any suggestions for
suitable acts? "What about the SCALA?" I
replied. "It's big, it's in the West End,
and apart from 'Peter Pan' it's used mainly
by amateur operatic companies."
Only a couple of days later Ray was on the
phone. "I've booked the Scala," he said.
"Look in when you're next passing and we'll
talk about the show."
 And so the first "Publand Show" -except that
in those days it was called "The Best of
Publand" - took the stage on June 7,1966. In
the planning stages it was obvious that Ray
knew far more about pub acts than I did, for
not only was he keeping an eagle eye on the
artists who appeared at his own pub but he
was spending two or three nights a week at
practically all the other pubs in North
London.
every show and is proud of his links with
Publand, GARY WILMOT and JUDY, COLIN
ANTHONY, LEWIS and PAYNE, ANNETTE MASON,
NIKKI DU-CANE, COLIN STEVENS and SOUNDS
AROUND and the BRYAN WILLIAMSON BAND.
The strange thing about "The Publand Show is
that it retains its personal touch, being
very much RAY DONN'S show. But this is no
ego trip on Ray's part. He loves show
business but harbours no great ambitions to
be a top impresario, because he loves people
more, and helping those less fortunate than
himself. The show has always been angled
towards charity, particularly the
Independent Adoption Society, in which he
has a close personal interest, and
This year the show also assists the
ENTERTAINMENT ARTISTES BENEVOLENT FUND and
the Queen's SILVER JUBILEE APPEAL, and the
proceeds will be further boosted by the
sales of a LIVE LP.
Though he obviously takes advice and
recommendations about the artists he books,
his selections are a real personal choice
for the most part and if it is something of
a command performance, everybody seems to be
happy to obey Ray's command.
His record as a talent spotter is by no
means negligible, as a glance at past
programmes will prove — JIMMY JONES, CHUBBY
DATES, THE MARDELL BROTHERS, ALI BONGO,
TERRI ROGERS, JO PETERS, BOB CURTISS, TERRY
SEABROOK, DALE WARREN, BRIAN ROYAL, WAYNE
PRITCHETT, CAROL LEE SCOTT, and. perhaps
most notably, ROGER DE COURCEY.
All these, and many more, are now
established performers partly as a result of
Ray's interest and encouragement.
Above all, he has certainly proved the
point, which we both agreed on back in the
early Sixties, that the pubs are a natural
training ground for show business talent.
PETER HEPPLE The Stage |
1977 PUBLAND SHOW Review by Tommy Kane
So to the VICTORIA PALACE on November 13th for the
eleventh presentation of "THE PUBLAND SHOW"; a show
long since recognised as publand's premier
theatrical event, and as such, one of publand's
great entertainment success stories. (Indeed, as
success breeds success, so each year the show has
attracted a growth following while gaining in
stature as a publand "Command"; and both producer
RAY DONN and the show's supporters continue to be
swept along on the crest of a roller coaster once a
small ripple created on the surface of the showbiz
dea by the casting of a publican's pebble.)
This year, to mark the occasion of the QUEEN'S
SILVER JUBILEE, Ray Donn produced a souvenir
programme of superb 32-page proportions, included in
which was the letter from Her Majesty's Private
Secretary quoted in part because
 its
wish proved so true — "Her Majesty . . . sends her
best wishes for a successful and enjoyable show." I
addition, Ray had arranged for the show to be
recorded live in .order that sales of a souvenir LP
could help swell the contribution to the combined
charities — and with 56 microphones hidden on stage
it presented the engineers with quite a few
technical problems!
The big, colourful, brassy sounds of the red-shirted
BRYAN WILLIAMSON BAND heralded the opening of the
show, and a packed, enthusiastic house .gave a warm
reception to compere CHARLIE SMITHERS and the first
artist to be introduced,
rising young lady of song ANNETTE MASON. Very sweet
and attractive, the fifteen-year-old Annette
demonstrated a clear, strong, and pleasant-sounding
voice, coupled to a confident approach and an
awareness of the theatre stage; numbers such as "I
Love to Love," "Feelings," and Jolson sing-along
made for an applause that will obviously have her
father, tenor LEO MASON, looking to his laurels ere
long!
Following Annette, another young act almost as new
to the game in GARY WILMOT & JUDY - a delightful and
refreshingboy/girl partnership which fairly bubbled
with happiness, enthusiasm, and energy throughout a
routine of impressions, songs,, comedy, dancing, and
a spot of tap. An all-round act with fun to the
fore, Gary and Judy put across the real secret of
the show's continued success in being artists
actually seen to be enjoying the entertainment they
served up. The response they sought was assured long
before they closed, back in the old routine.
As a direct opposite to the above two acts, to close
the first half came the experienced COLIN STEVENS &
SOUNDS AROUND, a six-strong vocal/musical group
dressed to kill in white suits and yellow ruffles
and who immediately delivered the reason for their
reputation as a big draw at their residency "THE
CIRCUS TAVERN/' Beautiful in sounds, very tight
vocally and musically and with lead guitar DEV
 DOUGLAS
also featuring, Colin Stevens & Sounds Around became
the smash-hit of the evening, climaxing with a
tremendous "Music" and to roars of more and almost
hysterical pleas from female fans.
Although no emotion showed on the face of WHEATLEY
TAVERNS boss BOB WHEA-TLEY, seated in a box, he must
have been inwardly delighted at the humdinger
performance by his resident attraction . . . they
demonstrated that television did not "Meet and
Greet" publand's stars by a
long chalk in the recent TV transmission!
Opening the second half came a cool, slinky,
sophisticated songstress in NIKKI DU-CANE, offering
an act perhaps better suited for the cabaret floor —
three times did the lass lay an egg with this
theatre audience for comments a la cabaret!
Nevertheless, Nikki came across as a very
accomplished performer, a good mover who scored in
such as "What I did for love, ''Leroy Brown,'' and
closing
"Birth of the Blues" — the song which first started
her (I quote) ". . . on the road to madness."
 As
the penultimate act. on bounced LEWIS & PAYNE with
one of variety's good old back-in-the-old-routine
type of acts comprised of songs, comedy, cross-talk
and impressions. Very slick and very professional,
the boys were nevertheless, alas, tied down somewhat
by the production timing to the bare bones of their
usual performance, and while the laughs and applause
were there the lads no doubt knew the key something
was missing . . the time to work the audience
totally their way into being their own. The final
artist introduced was singer/songwriter COLIN
ANTHONY and who, had it not been for the previous
hit, would undoubtedly have made the night his own.
Moody and commanding, Colin strode the stage in song
and displayed an almost majestic disdain for
pandering to his audience as he worked through a
superior
selection which, to sum it all up song-wise, was "A
Beautiful Noise."
His was the performance that declared "This is me,
this is what I do, and how does it grab you?' And
how they loved him!
Throughout the show its resident star Charlie
Smithers had ambled around like an amiable bear,
using his uncanny ability to open the doors in
people's minds to their private sense of humour,
leaving them to gurgle away merrily to themselves.
For this reviewer, it was the fact that during
Charlie's "drunk" story and routine, the drunk
suddenly developed a wooden leg . and oh, in what
was essentially a variety show, how I also secretly
regretted the production timing and schedule, for
the star was thus forced to largely ignore both
front and "ash-trays" — the material to be had in
both areas would have kept Charlie {and us) there
all night! So ended the 1977 Publand Show,
successful and enjoyable despite its inability (due
to GLC Regulations) to be more complete on a Sunday.
As a reflection, it can be said that it was
impossible for- any act to fail, for once again the
show's supporters killed 'em with kindness; but then
again, all criticism is invalidated by the knowledge
that you just cannot argue with success! So —
Cheers! |
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***** |
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