Most often remembered on TV as part of the London Palladium shows in the fifties and sixties, the Tiller Girls are the longest established precision-dancing troupe in the world. Starting in the 1890s, John Tiller’s requirement for precision and elegance found lasting favour with audiences around the world and inspired the creation of the famous Radio City Rockettes in New York.
On Tuesday 5 July at 7.30pmThe British Music Hall Society presents A Tribute To The Tiller Girls, an evening of interviews and archive imagery and footage with some special guests. Mark Fox highlights the full history of the world’s most famous and longest established dance troupe, from humble beginnings in Manchester mills to worldwide fame and television stardom, and last year’s guest appearance in the London Palladium pantomime.
The event takes place at The Water Rats Venue, Grays Inn Road, London WC1X 8BZ
Following on from my earlier articles about Music Hall, to celebrate Music Hall and Variety Day on May 16th, here are some further thoughts about how music halls attracted their audiences. In terms of communication, images and design became very important to audiences’ understanding and appreciation of the stars, shows and theatres of music hall and variety.
Visual recognition in a pre-cinema and TV world was almost non-existent, which is why the sheet music of the most famous songs of the time featured large illustrations of the stars who sang them. Here are a few examples:
Programmes
Alhambra, Leicester Square Programme cover from May 1898 1900191119121950s
Songsheets
Playbills
Posters had a lot to convey in a short timeframe. They more often than not used a contrasting red and blue colour pallette (which helped to keep the costs of their manufacture down). The grand masthead of the theatre would be consistent, whilst the acts on that week’s bill were different every week, except at venues like the Palladium where a show may be scheduled for more than a week, but variety shows were very rarely (if ever) extended past their agreed run- this was due to the artists’ next bookings usually being immediately following.
The name of the act would dominate, whilst a few catchy or intriguing words describing the act (musical, comedy, dancing, animal act, contortionist, acrobatic, etc) were added in smaller type underneath – this was referred to as the artist’s “bill matter”. Smartly written bill matter sometimes stemmed from- or became- an artist’s catch-phrase or calling card. Bill matter helped audiences identify the performer; for established acts that usually meant one of their catch-phrases, or for a lesser-known acts it gave some indication of what the act was about. Examples include Max Miller – The Cheeky Chappie, Ted Ray – Fiddling and Fooling; Sandy Powell used his catchphrase – Can You Hear Me, Mother?, and for lesser-known acts the bill matter either gave a taste of the act or was used as a teaser ; one example of which is Rene Strange – The Unusual Girl*.
There were somewhere between seven and ten acts for an average variety bill and getting them all on the poster took some clever typographical design. You can see some examples in the posters I have selected from The London Palladium, Manchester Palace, Shepherds Bush Empire and Glasgow Empire.
Interesting to see this example from the early fifties with Morecambe and Wise (who had not yet broken through on television) supporting Peter Sellers (who had broken through on radio). Also intriguing to see that the Theatre was broadcasting the Tuesday First House- I think I am right in assuming on radio and not TV. Not many years after this, the BBC bought the theatre to use as a TV studio from where many TV shows were broadcast for the next 25 years.
* For anyone nonplussed by Rene Strange’s bill matter, may I put you out of your confusion by sharing with you that her act started as singing whilst drawing caricatures, and over the years developed into puppetry with various cleverly-designed bespoke marionettes, combined with singing. She was even invited onto the bill for the 1946 Royal Variety Performance!
Anyone fascinated by the rich entertainment history of our oldest and most venerable theatres will be intrigued by this talk presented by Mark Fox to celebrate Music Hall & Variety Day 2021 covering the history of The London Palladium – take a virtual tour of The London Palladium and walk in the steps of the many great entertainers that have performed at this legendary theatre.
The talk will be presented online via Zoom on 3.00pm on Sunday 16th May 2021. Tickets are £3 for BMHS members and £5 for non-members. A joining link will be sent the day before the talk for all ticket purchasers. You can buy tickets here
The world-famous home of variety, The London Palladium, has had a long and colourful history since its opening on Boxing Day, 26th December 1910.
Always signifying the biggest stars, the finest productions and the most memorable entertainment, the theatre has had the good fortune to have some theatre greats at its helm – producer George Black who first promoted high-speed variety here in the late twenties with huge success. In the thirties he first brought the Royal Variety Shows here, as well as creating the Crazy Gang, who made audiences laugh for the next three decades. From the forties on, international stars became more and more in favour by the UK audiences and the world’s biggest starts appeared for a week or two, in between their other commitments to radio, movies or TV. In the fifties, Val Parnell was at the helm for Sunday Night at the London Palladium, TV’s legendary variety show which aired on the theatre’s one day off from its regular show commitments, drawing huge viewing figures for the new commercial TV network and cementing the theatre’s international status as the home of variety. Val’s son Jack Parnell conducted the Palladium orchestra for many years of the show and was a very in-demand conductor for TV and stage.
Also legendary at the Palladium were the pantomimes- always lavish, with big sets, gorgeous costumes, top talent and guaranteed full houses from opening night to closing night. Back in the day, panto season could last as long as from Boxing Day to Easter!
But what of the fabulous building itself? It was designed by the legendary Frank Matcham with his signature long, low balconies which hugged the stage and gave a genuine feeling of intimacy, despite the theatre being one of London’s largest – currently seating just under 2300. What also helped was Matcham’s style of construction which did away with the need for supporting pillars which gave unobstructed views from all three levels- Stalls, Dress Circle and Upper Circle.
Built on the site of a previous circus and wine cellars, the new theatre was an instant hit with performers and audiences alike.
For those of you interested to know what the place looked like upon opening, here is a report from THE ERA newspaper from 24th December 1910, two days before opening.
‘Brilliant in white and gold, with seating in warm red, the house sounds the last word in luxury and appointment, and the magnificent sweep of the dress circle presents a remarkable appearance from the stage.
In the great Palm Court at the back of the stalls, one thousand persons can be comfortably served with tea. This is a very striking feature of the Palladium and the Palm Court is of all Norwegian Rose granite which, especially, looks extremely attractive.
The decorations are very beautiful, Rose du Barri hangings adorn the boxes, and upholstery of the same colour has been employed in the stalls, while the orchestra is enclosed by a marble balustrade, Generally speaking, the colour scheme of the walls is pink, white and gold, with coloured marbles, and certainly there is not a dull note anywhere.
The walls of the main vestibule are painted silver. Perhaps the most unique feature is the box to box telephone that has been installed. It will therefore be possible for the occupants of one box, recognising friends in another box, to enter into conversation with them.’
Topping the bill at the Palladium was seen as the apex of the entertainment world for decades, and rightly so. The Palladium always stood for the best and that’s what audiences understood- and appreciated.
Some Palladium seasons of the stars have become legendary – from Danny Kaye’s several appearances in the late 40s and early 50s, to Judy Garland’s unforgettable seasons at a place she felt so much at home (there is a bust of Judy to remind us of the superlative talent that has graced that extraordinary stage).
After World War Two the theatre changed ownership to Moss Empires, where it stayed until the merger with Stoll to become Stoll Moss Theatres. As a Stoll Moss manager in the 1980s I was privileged to be part of the management team at the Palladium from time to time. My favourite time there was during the year-long run of Allan Carr’s flamboyant and fabulous LA CAGE AUX FOLLES starring George Hearn and Denis Quilley. It was a gloriously risque farce, but its Jerry Herman music made its charms accessible to the widest audience- and showed off its heart of gold at its centre. There was some tension with such a daring show being at the home of family entertainment, and perhaps the theatre’s huge capacity along with the AIDS crisis then unfolding so mercilessly, all contributed to the show not running for many more years. There was definitely a tension between the show and the theatre which made it susceptible to variances in public perceptions. However, a year at the Palladium is pretty amazing going!
During my time at Stoll Moss, the General Manager was a wonderful man called John Avery who had steered the Palladium through the sixties and seventies. It was very much his home, and everyone spoke very affectionately about him – rightly so, for although being fastidious for details, he was a very kind man who loved theatre and theatre people and the audiences who came. I never met anyone who had less than a kind word for John
One thing I must mention about the Palladium -which has now gone -was the enormous ticket office, which sat as a separate unit to the left of the theatre’s facade as you stand outside. It was absolutely vast! With huge wooden carousels of books of printed tickets (all this is pre-computers of course), banks of desk and telephones, it felt as large as a football field, with many windows open for different types of booking – same day, advance and special concerts, reflecting the incredible busy-ness of this incredible building.
I felt very lucky to have been part of the management at this iconic building, and for all the people that I met, including impresario Harold Fielding, showman supreme Robert Nesbit and many others – all of whom were unfailingly kind, modest and generous. Fielding’s glorious SINGIN’ IN THE RAIN with Tommy Steele ran at the Palladium for five straight years in the early 1980s, a glamorous (and ambitious) scene-for-scene rerun of the classic movie which took audiences’ breath away – and made a heck of a lot of money in the process!
For anyone interested in finding out more about this jewel in the crown of variety, in my opinion the best book you can get is The London Palladium – The Story of the Theatre and its Stars by Chris Woodward, which you can find on Amazon here
I’m raising a glass to you and thanking you for the memories, Palladium!
The awards ceremony staged at the London Palladium on Sunday October 25th was a very different affair to its predecessors. Stripped of an audience, the interplay reminded us of what we – and every theatre up and down the country – were missing; the excitement of being there in the room, together.
Awards-wise musicals DEAR EVAN HANSEN and & JULIET scored three awards each, with HANSEN picking up Best Actor for Sam Tutty, Best Musical and Best Original Score, while & JULIET scooped for Miriam Teak-Lee as Best Actress, Cassidy Janson as Best Supporting Actress and David Bedella as Best Supporting Actor. MARY POPPINS took two awards (for Stephen Mear and Sir Matthew Bourne as Best Choreographers, and for Bob Crowley winning Best Set Design).
PRESENT LAUGHTER won Best Actor for Andrew Scott and Best Supporting Actress for Indira Varma, and DEATH OF A SALESMAN interestingly won Best Actress for Sharon D Clarke (who is the first person to be nominated in all four performing categories and won in three of them) and Best Director for Marianne Elliott and Miranda Cromwell.
In a further significant tribute to female creative talent, EMILIA’s all female team scored three wins Best Entertainment for writer Morgan Lloyd Malcolm, with Joanna Scotcher winning Best Costume Design and Emma Laxton winning for Best Sound Design. Paule Constable won her fifth Olivier for the lighting design for National Theatre’s production of THE OCEAN AT THE END OF THE LANE, and Emma Reeves and Theresa Heskins collected the new award for Best Family Show for The Worst Witch. Outstanding Achievement in Dance was won (from an all-female shortlist) by Sara Baras for her choreography and performance in BALLET FLAMENCO – SOMBRAS at Sadlers Wells.
Personally I was disappointed to see that the wonderful AMELIE did not win any of its three nominated categories (Best Actress for Audrey Brisson, Best Original Score and Best Musical).
It was heartwarming, though, to see Sir Ian McKellen receive his seventh Olivier Award, this time for his 80th birthday tour of UK theatres which also raised substantial funds for the theatres themselves. Can you imagine how much MORE desperate theatres’ plights would have been without this cash injection just before the pandemic!!! We all have a lot for which to be grateful to Sir Ian. From him came the most memorable line of the evening, “A country which cares about its live theatre is a healthy country”.
Yet again the IN MEMORIAM section was badly flawed, notable omissions from this most important roll call (four seconds each on screen, not much for a complete life, eh? Reduced from six seconds a couple of years ago. (In another decade they’ll just send out an email…..)) this year are Bob West and David Grant, two of this country’s most successful and important Company Managers who have kept many a show sailing smoothly over the decades, and allowed producers to sleep easily in their beds at night.
Anyone with insomnia wishing to see the ceremony can do so when it is (seemingly grudgingly) broadcast on ITV on Tuesday 27th October at 11.15pm. Alternatively, you can watch the programme (according to availability in countries outside the UK) on ITVHub on the link below.
So, another awards ceremony over. It seems unlikely we shall see the Olivier Awards again until 2022, which may mean that the competition is even fiercer than usual. Only time will tell. For now, let’s send our congratulations to the winners and all the nominees!
YOU CAN FIND A FULL LIST OF 2020 OLIVIER AWARD NOMINEES AND WINNERS HERE
YOU CAN WATCH THE ITV BROADCAST ON THE ITV HUB HERE
