THE PUBLAND VARIETY SHOW No.11
Theatre Royal, Drury Lane.
London. WC2
Sunday 5th November 1978 Produced & Directed by Ray Donn
Musical Director Barry Goynes & The Bryan
Williamson Band
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Artistes
that appeared on the 11th Publand
Show
Host & Compere Charlie Smithers
Charlie has become
synonymous
with the Publand Show over the years, having
appeared in virtually every production since
the shows inception in 1966. Born and bred
in London's East End, Charlie has developed
a keen eye for the real life humour that is
so prominent a part of London life. Charlie
pioneered organised Pub entertainment during
the mid-sixties and, in doing so, managed to
establish himself as one of Britain's most
respected comedians. |
Cheryl St. Clair Dancers
Julie Collins, Elana Gilbert, Bobby Kingley,
Valerie Neethan, Jane Robbins, Karen Sirett & Rosita Yarboy upturn Michael
Barrymore |
Cheryl St. Clair
Tonight's choreographer, who was Royal
Ballet trained, started her career with Young Generation. She left in order to commence a solo career as a cabaret and recording artiste and was, in fact, the first cabaret vocalist to appear on the Q.E.2.
Cheryl has numerous hit records in Germany under the name of'Alison Wonder' and after a spell back with the Second Generation as featured vocalist, Cheryl appeared in Showboat in the Strand where she met comedy entertainer Michael Barrymore to whom she is now married. |
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Tommy Kane reviews
THE 1978 PUBLAND SHOW
THE 1978 Publand Variety Show, presented by Ray Donn
at the Theatre Royal, Drury Lane, on November 5, was
attended by many leading personalities from the
world of entertainment and a capacity audience,
which, in making its way to the theatre, brought
West End traffic in the vicinity to a brief halt.
There was no need for the critics to look beyond the
audience to appreciate why the show is now beginning
to be talked about as the number two theatrical
event behind the Royal Variety Show, with leading
lights such as Louis Benjamin, Reg Swinson, Terry
Cantor in attendance, Water Rat personalities out in
force, Lady Ratlings engaged in selling the
book-sized souvenir programme (with its feature by
Lord Delfont), and the show's loyal supporters
further augmented by press and TV representatives
and West End Sunday nighters.
For producer and motivator Ray Donn, whose
enthusiasm has carried the show forward from its
first publand get-together in 1966 to its present
status, the gathering must have been something to
savour indeed.
But — alas! — for this battle-hardened Publand Show
reviewer the brilliant display of entertainment
fireworks anticipated on this Guy Fawkes night just
did not happen, as for the first time in its history
the show never truly set 'em all alight.
It was all rather strange even, for throughout the
whole of the first half only one performer managed
to get anywhere near crossing "the gap," and
throughout the night none managed to assert their
personality or to play to the crowd enough to be
able to steal the show.
Six. lovely Cheryl St Clair Dancers (Julie Collins,
Elana Gilbert, Bobbie Kingley, Valerie Neethan, Jane
Rob-bins, Karen Sirett) opened the show — and
excelled in setting the scene for fifteen-year-old
songstress Carla Donnelly.
HIDDEN
An attractive girl and one who kept her obvious
nerves well hidden, Carla sang sweetly enough
throughout her spot but, one felt, no more than
adequately — perhaps we expect too much from today's
young.
Tempo and atmosphere lifted but briefly with the
second singing act, Vernon & Maya. After a lively
opening number they too lapsed into a performance
pleasant to listen to but not strong enough to make
the audience come alive.
It was not until the appearance of the third artist,
comedian/ impressionist/singer Tony Barton, that the
audience began to sit up and respond. Hilarious in
parts, earthy in places, but good all round, this
bouncy artist attacked from the off, causing
laughter and applause.
The final" act of the first half, the delightful and
talented Julie Royce, tended to slightly overdo the
niceties and to perform the kind of production
material so painfully out of step with live publand
variety that it showed, and the atmosphere and
response slumped accordingly. Julie deserved much
better than she received and would doubtless have
received such in a different setting like a musical
or TV spot.
The second half opened with the dancers supporting a
truly spectacular lead dancer in Rosita Yarboy
before their second dance — a rather apt "Send in
the Clowns" — heralded the return of half the
audience unaware that the show had restarted!
It was at this point (and why he hadn't done so much
earlier remains a mystery) that star comedy
personality and compere Charlie Smithers at long
last departed from his low profile to display the
qualities which have made him so well-known.
And having introduced "The In-Crowd" (John Harley,
Mick Balder-ton, Art Willis, Mick Griffiths) as a
group musically and vocally very pleasant to listen
to but no more, Charlie turned the night into a
revivalists' spiritual meeting, saving souls here,
preaching the good word there, and leading the
entire audience in "John Brown's Body" and "Glory,
Glory, Hallelujah."
It was all good stuff and Earlene Bentley, the
London-based sweet soul singer from Harlem, then
took up the theme with some truly fine singing in
"Where Peaceful Waters Flow" and. "Midnight Train To
Georgia.". Her warm personality and stage presence
greatly enhanced the show.
Comedy personality Michael Barrymore struck an
unusual stance by standing on his head and then
performing some energetic leg expressions to match
his "Down Under" interview. A talented artist,
Michael also used a mournful-looking pianist and a
female member from the audience for his laughable
sketch of "The Dying Swan," and came across overall
as a refreshing and unusual comedy performer who
could well become a household name in the future.
CAPTIVATED
The final artist, singer/pianist Mark Adam, also
kept the applause going as he captivated with
favourites such as "Unchained Melody" and "You Light
Up My Life," and in his performance gave the reason
why he had previously earned the vote as a "Pub
Entertainer Of The Year."
At the close, with the entire cast lined up for
their finale bow, on came Ray Donn to pay tribute to
perhaps the greatest stage success of the night in
the Bryan Williamson Orchestra — they were faultless
throughout, in this their fourth appearance in the
show.
To sum up the 1978 Publand Variety Show — the event
proved a far bigger success than the show.
Certainly, if the show suggested that the Theatre
Royal does not generate the same magical live
variety atmosphere as the Victoria Palace, then the
event also indicated that Ray Donn has now reached
the point where he will need to think about the
show's format and selections very carefully indeed,
if the Publand Variety Show with its inherent
qualities is to continue its progress. And there is
no doubt in my mind that it will! |
***** |
THE PUBLAND VARIETY SHOW No.12 (No Show 1979)
The London Palladium, Argyle
St. W1
Sunday 9th November 1980 Produced & Directed by Ray Donn
Musical Director Barry Goynes & The Bryan
Williamson Band |
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THE FINAL CURTAIN
As this year's show draws to a close, so the curtain
will fall for the last time on "The Publand Show"
and what has been publand's very own theatrical
Command
Show for several years will fade away into showbiz
history. It's rather a sad thought, and while the
show's Producer/Director Ray Donn may have good
reason to call "Time, Gentlemen Please!", many
enthusiasts and supporters will still mourn its
passing. No doubt the critics with ice in their
veins will sympathise by observing that the show had
outlived its usefulness; and future historians may,
when scrutinising the written word, ponder over its
true contribution and worth to the world of
entertainment during New Elizabethan Times.
To each his own, of course, and it has to be
admitted that the critics could well be right. But
my own observation for posterity is that the Publand
Show story — beginning as it did in the early
'sixties when Ray Donn featured as Mine Host at a
small variety pub in North London called "The
Pegasus" — is a remarkable story about a show
business success which sprang primarily from the
producer's own enthusiasm, drive and his
determination to bring publand's talented unknowns
to the notice of the outside world. (And this final
programme provides an opportune moment to mention
the assistance given to this great cause by two
distinguished journalists and judges of talent in
Peter Hepple and Sidney Vauncez who, as editors of
the newspaper of the Showbiz world "The Stage", have
seen fit each year to publish the Publand Show feats
within its pages.)
And for this scribe in particular there has been a
fifteen years period of enjoyment and satisfaction,
in having been able to record the grass roots
entertainment history as it was being writ by the
people. There is, too, a warm comfort in the
knowledge and remembrance that during the first half
of its life The Publand Show unlocked many doors for
unknown artists, and that in so doing it brought the
showbiz establishment face to face with a vital and
artistic variety reality; while in its later years
many of the artists featured — to say nothing of its
pioneer producer Ray Donn — have earned the respect
of the showbiz establishment, to become a valued
part of it. Among such artists that spring to mind
are Charlie Smithers, Lennie Peters, Roger de
Courcey, Carol Lee Scott and Terri Rogers. This is
to name a mere few from the many, and a full
appreciation of the artists and musicians who have
appeared in the show is given elsewhere in the
programme. Alas, because life itself is a passing
parade, some of those fine entertainers are no
longer with us and are remembered with a special
fondness.
This year, then, we take our seats to witness the
last calls, the end of an exciting era and a-moment
in history. But while The Publand Show itself will
bow out of the spotlight and fade away into the
shadows of Good Times Past, the spirit of friendship
it engendered among so many people in the early
'sixties lives on into the 'eighties, as if to
underline that in a world full of change, nothing
changes.
And so it is, that when Ray Donn steps on to the
stage for the final curtain; to tender his
appreciations; to fluff his lines again(!); and to
utter that familiar call of "Time, Gentlemen
Please!", this enthusiast and supporter will
mentally raise a glass in a Toast, to wish Ray, his
entire company and each and every one present for
the occasion —
"Ladies & Gentlemen, Your Very Good Health!"
Tommy Kane. |
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PUBLAND SHOW FINALE
By Tommy Kane
And so to the London Palladium on November 9th 1980,
to witness the final production of "The Publand
Variety
Show", an outstanding variety command event borne of
the swinging 'sixties. It had to happen, of course,
for the times they keep a'changing and none can stop
the tick of the clock. But in my being one of those
big softies who lent a hand to ensure a successful
birth of the show at The Scala Theatre, 'way
back in 1966 — and what a mammoth birth it was too,
with sixteen artists being presented during some
four and a half hours! — I could not help but feel a
twinge of sadness in being present at its passing.
However, if the show had to expire then where better
to bow out than at the greatest variety theatre in
the world?
And who better to be present than two of its
greatest sons, Charlie Smithers and Lennie Peters?
... The show commenced with the appearance of top TV
and Record personality David Hamilton, who recalled
in his narration publand's role as the birth-place
of the music hall artistes; and to help develop both
the atmosphere and personalities of those times
there was a mock pub frontage within which
per-formers Len Howe, Audrey Maye, Bet and Les
Webber gave vent to some glorious renderings such as
"Isn't it a pity that the likes of 'er should be
married to the likes of 'im", "Only a beautiful
picture in a beautiful golden frame, "Burlington
Bertie", and "My old man said follow the van, and
don't dilly dally on the way".
Then — whoosh! — and on came five eighteen year old
lasses dressed to kill in shiny, -colourful trouser
costumes, to make with the music and song in "Don't
take away the music", "Knights in white satin", and
a truly rousing rock 'n roll medley. Known
collectively as "Sphinx" the girls (Jane, Tee,
Janet, Deb, Tonia) of the vocal/musical group
injected modern-day pace, glamour, sight and sound,
which made everyone sit up, take notice and applaud.
The thoroughly modern misses were followed by a
personality who has become one of the most exciting
"finds" of the year, Bobby Davro. A good-looking
young impressionist, Bobby displayed all the
confidence in the world during his spot which
involved a staggering amount of first-rate
impressions — and among these his Jim Davidson,
Johnny Mathis, and Dame Edna, have to be seen and
heard to be believed and laughed at.
Man about song Dave Gold then took over the big
stage with his big voice, to sing a cheerful opening
"I'll go where the music takes me". It took him, in
fact, to "Me and Mrs Jones", and it was during this
number that one suddenly became aware of the superb
accompaniment being given by the Bryan
Williamson Orchestra under the direction of Barry
Goynes. Here is as good a point as any to say that
the boys of the band remained in top-sounding form
throughout the show, a splendid sound. But back to
singer Dave, who, having told his audience that he
had just signed a twelve months contract with
Granada TV then had the cheek to wait for the polite
applause before remarking that he'd been told he
could keep the set if he paid the full twelve months
instalments — the rascal! Always a very popular
artist, Dave signed off his happy spot with a
rousing "Copa-cabana".
Closing the first-half were "Nuts and Bolts", a
quartet of zany but quiet brilliant musicians who
have, over the years, been laughed at and loved by
audiences of all ages throughout the world. Any
antique dealer worth his salt would have given his
right arm for the array of old junk and paraphenalia
the boys of the band obtained music from, and as a
true knock about variety act they nutted and bolted
the audience to their seats, despite the latters
knowledge that the rush to the bar was only seconds
away.
The second half continued with the same kind of zany
entertainment, this time from comedy magician Clive
Webb, assisted by the fearsome Brenda. A staring,
wild-eyed performer, Clive demonstrated the knack of
making his audience think of calling for the men in
white coats before clobbering them with laughter,
and certainly by the time he had finished his act
this night the audience was feeling somewhat
shattered — perhaps he should bill himself as the
close encounter of the third kind! And then it was
the turn of all the men in the audience to stare
with wide, glazed eyes ... for on came "Valentine",
three
glamorous gals in Marsha, Sue & Cathy to perform
with a splendid freshness and professionalism far
beyond their time together as an act. I was reminded
at times in their singing of the famed Andrews
Sisters, but those girls of yester-year would not
have matched the well-choreographed routines
displayed by Valentine during what was a sparkling
performance. "Give 'em the old razzle dazzle 'em"
sang the girls with big twinkles in their eyes — and
they did
indeed! Gorgeous stuff, well applauded.
From three girls to one fella . . . and perhaps
David Hamilton could have made more of the intro for
comedy/musical/cartoonist entertainer Tony Crosse,
for it was almost a non-intro event. Unfortunately Tony's opening routine was such that he had to
struggle to raise the atmosphere, and despite this
easy style, quiet humour, and talent, he never quiet
managed to grab them until his now classic cartoon
sketch of "Send in the Clowns". A fine artist not
really seen at his best, me thought. There came a
far better intro from David for Charlie Smithers,
the former king of the bars who went on to earn just
as great a reputation in showbiz circles of the
highest level. In good form on the night was
Charlie, telling his tales in his own inimitable
way.
So finally to Lennie and Di — Peters & Lee —
introduced by Charlie and which made the finale show
complete' for Chas, Lennie, and Producer Director
Ray Donn were old pals who first united together as
publand unknowns, with both Lennie and Di dressed in
light blue the artists sailed easily through their
hits such as "Welcome Home", "Don't Stay Away Too
Long", "Smile", "Hey Mr Music Man", "When I Need
You", plus a new number bound to be a hit with all
their fans called "Ocean and Blue Skies". A word of
praise here, too, for their pianist/MD Mike
Alexander, not only efficient but a person who can
truly tinkle the ivories. As a final extra, Len Howe
emerged from the pub frontage as a well-supped
customer intent on proceeding homewards, to display
an absolutely hilarious drunk routine which had 'em
rolling in the aisles. It was life itself magnified
to the full, and as a sketch it was a classic.
Pictures Above Left: Compere Charlie Smithers,
Spinx, Bobby Davro, Nuts & Bolts
Right: Clive Webb, Valentine, Peters & Lee
Charlie Smithers |
David Hamilton |
Len Howe |
Audrey Maye |
Les & Betty Webber |
Sphinx |
Bobby Davro |
Dave Gold
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Nuts & Bolts |
Valentine |
Tony Crosse |
Peters & Lee |
Clive Webb & Brenda |
THE BRYAN WILLIAMSON ORCHESTRA
Trumpets. John Eldred , Cecil Moss, Ron Montgomery.
Trombone. Ken Gray.
Saxes. Colin Hickman, Alan Austin,
Mick Boynton, Gerry Broadley.
Keyboard. Peter Lavender. Guitar Bass. Mick Walter. Rhythm Guitar. Dave White.
Drums Bryan Williamson. Musical Director Barry Goynes |
And then, the last hurrahs, with the entire cast on
stage to be cheered and to cheer in turn the intro
for Ray Donn. Perhaps Ray had a lump in his throat;
certainly he denied himself his usual speech,
instead to utter brief and sincere words of
appreciation and thanks to everyone. And as the
curtain fell, the Publand Show passed on into
history . . . the end of one era, and for Ray, no
doubt, the start of another. |
Publand Variety Show - The
Final Curtain 1966-1980 |
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Epilogue
by Ray Donn My intention with the show
had always been to present a selection of talented
and mostly unknown artists from the publand stages,
and since 1966 1 was
deeply gratified by the
continuing interest and support
both by the general public and show business
press. It has to be acknowledged however,
that in the late 70s some marked changes had taken
place inside show business and in publand, so that
then the talented artists were longer to be found
on the pub platforms, but on TV programmes and in
theatres, and in the clubs. Because of the changing
scene, I feet it would be misleading for me to
continue to present artists to the general public under the title
of The Publand Show, and it was with a sense of
sadness therefore that I felt bound to announce
the 1980 show as being the final performance of The Publand Show.
Since the first show in 1966 1 have met and made
many friends with many people on both sides of the
footlights, and I owe so much to these friends for
their encouragement and support. The show over
the years has donated over £14000 to charity namely The Independant Adoption Society & Entertainment
Artistes Benevolent Fund. I
sincerely thank all the
Publand Show Artistes, Musicians, MDs & Arrangers,
Chorus, Members of the Press & Photographers, many
of them unfortunately no longer with us, therefore
with that in mind I dedicate this website to dear
friends departed. I would like to take this final opportunity
to thank dear friend Tommy Kane (aka Thomas
Steadman) for his support encouragement, and always
unbiased words and show reviews over the years.
I have experienced many pleasures since the first
show, but without doubt my greatest pleasure has
been in the fact that over the years an audience
containing so very many familiar faces has remained
loyal to the show and to the performers. For this
reason, I have reserved until last my Very Special
Thanks to all Publand Show patrons for their support given over the years.
Here's to the next time .... Cheers!
I dedicate this website to dear
"Publand Show" friends departed.
August 2009 |
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