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Virgil Finlay - The Secret People
(Famous Fantastic Mysteries - April 1950)
#virgil finlay#the secret people#john beynon#famous fantastic mysteries#pulp art#horror art#fantasy art#story illustration#art#illustration
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Chris Foss cover for John Wyndham's Wanderers of Time
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Bibliography for FAQ
Non-Anarchist Works
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Funnell, Warrick, Jupe, Robert and Andrew, Jane, In Government we Trust:Market Failure and the delusionsof privatisation, Pluto Press, London,2009.
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Coloproctology: A Practical Guide 1st Edition by John Beynon, ISBN-13: 978-3319559551 [PDF eBook eTextbook] Publisher: Springer; 1st ed. 2017 edition (June 15, 2017) Language: English 332 pages ISBN-10: 3319559559 ISBN-13: 978-3319559551 The topics covered in this book have been specifically chosen to give guidance to surgeons established in practice and those embarking on their careers. Examples include the changing management in the treatment of the catastrophic abdominal wall, perianal Crohn’s disease in the biological era, decision making in rectal cancer that responds to radiotherapy, and the assessment of outcomes in colorectal cancer surgery. Recent years have seen the introduction of technical advances with respect to robotics in colorectal surgery and trans-anal total meso-rectal excision, and which are rapidly becoming established in clinical practice. Chapters also cover those aspects of colorectal practice, which are common to all, and provide guidance on management of topics including complications of radiotherapy, management of pouch dysfunction and iatrogenic complications in pelvic cancer surgery. John Beynon is currently Consultant General & Colorectal Surgeon at Singleton Hospital and honorary professor at Swansea University’s School of Medicine. Professor Beynon trained at St. Bartholomew’s Hospital Medical College qualifying in 1980 and subsequently undertook surgical training in Cardiff, Bristol and St Mark’s Hospital London. He is currently Consultant General and Colorectal Surgeon in Singleton Hospital Swansea & Honorary Professor Swansea University, School of Medicine. He was awarded his Certificate of Accreditation in General Surgery RCS in 1992 and is an accredited colonoscopist/colonoscopist assessor for Bowel Screening Wales. Professor Beynon is also a former Hunterian Professor of the Royal College of Surgeons of England & recipient of the John of Arderne Medal Royal Society of Medicine. What makes us different? • Instant Download • Always Competitive Pricing • 100% Privacy • FREE Sample Available • 24-7 LIVE Customer Support
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2023 In Memoriam Part 26
(William) Lee Rauch, 58
Betta St. John, 93
Dahrran Diedrick, 44
(Finis) Dean Smith, 91
2Lt. Raymond Cassignol, 102
Rowena Heath, 96
Wilhelm Büsing, 102
James Crown, 70
Prof. John B. Goodenough, 100
Leo Insam, 48
Bishop François Thibodeau, 83
Tony Bouza, 94
Prof. R.B. Bernstein, 67
Tom Beynon, 81
Nicolas Coster, 89
Rob Palmer, 66
Scott Pelleur, 64
Vladimir Sedov; Jr., 35
Mike Spivey, 69
Ryan Mallett, 35
María García aka Carmen Sevilla, 92
Joana Brito, 76
P. Chitran Namboodirippad, 103
Bobby Osborne, 91
Lowell Weicker; Jr., 92
(Willie) Christine Farris, 95
Marvin Kitman, 93
Alan Arkin, 89
Tassanee Bunyagupta, 100
Mohammad Ali, 29
Berendina Ballintijn, 100
#Religion#Tributes#Celebrities#Music#Ohio#Movies#U.K.#Sports#Football#Jamaica#Canada#Ontario#Races#Texas#Planes#Haiti#Florida#TV Shows#Washington#Animals#Germany#Money#Illinois#Colorado#Hockey#Italy#Spain#Minnesota#New York#New York City
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Coloproctology: A Practical Guide 1st Edition by John Beynon, ISBN-13: 978-3319559551 [PDF eBook eTextbook] Publisher: Springer; 1st ed. 2017 edition (June 15, 2017) Language: English 332 pages ISBN-10: 3319559559 ISBN-13: 978-3319559551 The topics covered in this book have been specifically chosen to give guidance to surgeons established in practice and those embarking on their careers. Examples include the changing management in the treatment of the catastrophic abdominal wall, perianal Crohn’s disease in the biological era, decision making in rectal cancer that responds to radiotherapy, and the assessment of outcomes in colorectal cancer surgery. Recent years have seen the introduction of technical advances with respect to robotics in colorectal surgery and trans-anal total meso-rectal excision, and which are rapidly becoming established in clinical practice. Chapters also cover those aspects of colorectal practice, which are common to all, and provide guidance on management of topics including complications of radiotherapy, management of pouch dysfunction and iatrogenic complications in pelvic cancer surgery. John Beynon is currently Consultant General & Colorectal Surgeon at Singleton Hospital and honorary professor at Swansea University’s School of Medicine. Professor Beynon trained at St. Bartholomew’s Hospital Medical College qualifying in 1980 and subsequently undertook surgical training in Cardiff, Bristol and St Mark’s Hospital London. He is currently Consultant General and Colorectal Surgeon in Singleton Hospital Swansea & Honorary Professor Swansea University, School of Medicine. He was awarded his Certificate of Accreditation in General Surgery RCS in 1992 and is an accredited colonoscopist/colonoscopist assessor for Bowel Screening Wales. Professor Beynon is also a former Hunterian Professor of the Royal College of Surgeons of England & recipient of the John of Arderne Medal Royal Society of Medicine. What makes us different? • Instant Download • Always Competitive Pricing • 100% Privacy • FREE Sample Available • 24-7 LIVE Customer Support
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Coloproctology: A Practical Guide 1st Edition by John Beynon, ISBN-13: 978-3319559551 [PDF eBook eTextbook] Publisher: Springer; 1st ed. 2017 edition (June 15, 2017) Language: English 332 pages ISBN-10: 3319559559 ISBN-13: 978-3319559551 The topics covered in this book have been specifically chosen to give guidance to surgeons established in practice and those embarking on their careers. Examples include the changing management in the treatment of the catastrophic abdominal wall, perianal Crohn’s disease in the biological era, decision making in rectal cancer that responds to radiotherapy, and the assessment of outcomes in colorectal cancer surgery. Recent years have seen the introduction of technical advances with respect to robotics in colorectal surgery and trans-anal total meso-rectal excision, and which are rapidly becoming established in clinical practice. Chapters also cover those aspects of colorectal practice, which are common to all, and provide guidance on management of topics including complications of radiotherapy, management of pouch dysfunction and iatrogenic complications in pelvic cancer surgery. John Beynon is currently Consultant General & Colorectal Surgeon at Singleton Hospital and honorary professor at Swansea University’s School of Medicine. Professor Beynon trained at St. Bartholomew’s Hospital Medical College qualifying in 1980 and subsequently undertook surgical training in Cardiff, Bristol and St Mark’s Hospital London. He is currently Consultant General and Colorectal Surgeon in Singleton Hospital Swansea & Honorary Professor Swansea University, School of Medicine. He was awarded his Certificate of Accreditation in General Surgery RCS in 1992 and is an accredited colonoscopist/colonoscopist assessor for Bowel Screening Wales. Professor Beynon is also a former Hunterian Professor of the Royal College of Surgeons of England & recipient of the John of Arderne Medal Royal Society of Medicine. What makes us different? • Instant Download • Always Competitive Pricing • 100% Privacy • FREE Sample Available • 24-7 LIVE Customer Support
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Coloproctology: A Practical Guide 1st Edition by John Beynon, ISBN-13: 978-3319559551 [PDF eBook eTextbook] Publisher: Springer; 1st ed. 2017 edition (June 15, 2017) Language: English 332 pages ISBN-10: 3319559559 ISBN-13: 978-3319559551 The topics covered in this book have been specifically chosen to give guidance to surgeons established in practice and those embarking on their careers. Examples include the changing management in the treatment of the catastrophic abdominal wall, perianal Crohn’s disease in the biological era, decision making in rectal cancer that responds to radiotherapy, and the assessment of outcomes in colorectal cancer surgery. Recent years have seen the introduction of technical advances with respect to robotics in colorectal surgery and trans-anal total meso-rectal excision, and which are rapidly becoming established in clinical practice. Chapters also cover those aspects of colorectal practice, which are common to all, and provide guidance on management of topics including complications of radiotherapy, management of pouch dysfunction and iatrogenic complications in pelvic cancer surgery. John Beynon is currently Consultant General & Colorectal Surgeon at Singleton Hospital and honorary professor at Swansea University’s School of Medicine. Professor Beynon trained at St. Bartholomew’s Hospital Medical College qualifying in 1980 and subsequently undertook surgical training in Cardiff, Bristol and St Mark’s Hospital London. He is currently Consultant General and Colorectal Surgeon in Singleton Hospital Swansea & Honorary Professor Swansea University, School of Medicine. He was awarded his Certificate of Accreditation in General Surgery RCS in 1992 and is an accredited colonoscopist/colonoscopist assessor for Bowel Screening Wales. Professor Beynon is also a former Hunterian Professor of the Royal College of Surgeons of England & recipient of the John of Arderne Medal Royal Society of Medicine. What makes us different? • Instant Download • Always Competitive Pricing • 100% Privacy • FREE Sample Available • 24-7 LIVE Customer Support
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Virgil Finlay (1914-1971), ''Famous Fantastic Mysteries'', Vol. 11, #4, 1950 Source
#virgil finlay#american artists#illustrators#illustration#illustrations#famous fantastic mysteries#pulp magazines#pulp science fiction#weird fiction#the secret people#john beynon#scifi art
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Vol 1 No. 2, again only dated 1946. Carnell’s own cover design, and from this distance it really isn’t all that much of an improvement on the first issue. The contents aren’t all that much of an improvement, either, sadly.
Kicking things off is ‘The Living Lies’ from one John Beynon. Beynon went on to fame, success and immortality as John Wyndham (he gloried in the full name of John Wyndham Parkes Lucas Beynon Harris, all of which he used in various combinations), but on the strength of his offering here you’d have to have been exceptionally prescient to put your money on him. ‘The Living Lies’ is a stinker. While it’s not badly written, the plot is so preposterous that it stretches the reader’s willingness to suspend disbelief past breaking point. It’s a pity, because Beynon was clearly trying to tackle some interesting issues (race, capitalism, the relationship between the two), but his central conceit that Venusian settlers from Earth manufactured their own racial problem by turning a proportion of their new-born whites either green, red or black via the application of a certain marinade and a slow bake at gas mark 3 is just too absurd.
Having said which, ‘The Living Lies’ shines in comparison to Patrick S. Selby‘s ‘Space Ship 13′ (inexplicably, the cover story), which is so poor it defies summary. It’s difficult to imagine that Carnell was so short of material that he felt the need to print this. Even the half-a-million words John Russell Fearn submitted weren’t this poor.
As proven by the next story, ‘Vicious Circle’ by Polton Cross. Cross was, of course, John Russell Fearn, and considering this, ‘Vicious Circle’ isn’t that bad. Silly, yes; undeveloped, yes; dashed off before the idea had had chance to germinate properly, probably. But for all that it’s far more interesting than any of Fearn’s contributions to No. 1. In this one, a poor chap’s timeline takes a spiral path, continually throwing him further into the future and (alternately) the past. It’s an interesting notion that could have made a pretty enjoyable novel in the hands of - say - Brian W. Aldiss.
Between these two stories is a short editorial, in which Carnell pronounces himself dissatisfied with No. 1, and states that each successive issue will see some improvement. After a little flannel about upcoming issues he notes the positive effects of the Bikini atom bomb test and the bombing of Hiroshima and Nagasaki on sales of science fiction magazines. Good-oh.
L. J. Johnson’s short article ‘Ahead of Reality’ has a similar preoccupation, tempered with a kind of told-you-so fatalism. “But now,” he says, “...enthusiasts are returning from a scientific War... they find themselves living in a world of science fiction instead of reading about it.” He concludes that “Man is fast catching up his own imagination.”
If ‘Vicious Circle’ had engendered any vague notion that John Russell Fearn had a decent story in him, it’s pretty soon trampled into extinction by Thornton Ayre’s ‘Lunar Concession’. Thornton Ayre is - again - Fearn, and one wonders if it were he or Carnell who came up with all the pseudonymns. ‘Lunar Concession’ is as dismal as all the others, and must have stunk even by the standards of 1946. The characters are the merest cut-outs, walking talking stereotypes clothed in the barest threads of a plot which is only science fiction by virtue of being set on the moon and involving some guff about a super fuel. It could just as easily be a Western, or a poor entry in the Sexton Blake Library, or something of Ian Fleming’s.
Forrest J. Ackerman’s account of ‘Pacificon’ is of little interest, but at least it cleanses the palate after the second helping of Fearn.
Sadly, there are seventeen exclamation marks on the first page of John Brody’s ‘Foreign Body’. Seventeen! And the text only takes up half the page! So it’s a pretty peppery dish. Other than that, the story is only notable for sharing the same central conceit (and insect aliens) as ‘Quatermass and the Pit’, which it predates by a good twelve years. One wonders if Nigel Kneale read it.
Alden Lorraine’s ‘The Micro Man’ is a dreadful mish-mash. Lorraine was Forrest J. Ackerman, and his story is just nonsense. It’s about a tiny man who somehow ends up on earth and is accidentally crushed by the ‘big’ man who finds him on the window-sill of a street car. Tosh, from start to finish.
W. P. Cockcroft’s ‘Green Spheres’ brings no. 2 to a close and - while it’s nothing special, being a sort of Wellsian tale of an invading species being defeated by something commonplace after all sorts of other tactics have failed - it’s (along with Vicious Circle) undoubtedly the best of the bunch. Again, one wonders if Nigel Kneale read it, or (even) John Wyndham.
#new worlds#John Beynon#John Wyndham#Patrick S. Selby#E. J. Carnell#science fiction#Polton Cross#john russell fearn#thornton ayre#forrest j. ackerman#john brody#Alden Lorraine#W. P. Cockcroft
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TV REVIEW: THE MIDWICH CUCKOOS (2022), some spoilers
TV REVIEW: THE MIDWICH CUCKOOS (2022), some spoilers
Figure 1 – Midwich Cuckoos First Edition (British) Before I begin, let me congratulate our R. Graeme Cameron, who has won the Canadian Aurora Award for Fan Writing! Well done, Graeme! Back in the late 1950s, when I was a wee lad, I read everything in the library that was even vaguely science-fictional. That’s the reason I read Moonraker, by Ian Fleming, years before anyone ever heard of James…
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#“brood parasitism”#“Nope”#1957#alien invasion by pregnancy#black and white#Bob Ball#Children of the Damned (1964)#Column 345#Damon Knight review#Day of the Triffids#Dolores Reed#Edward G. Robinson impression#Frankie Ray Penelli#Ian Fleming#Invasion of the Star Creatures#James Bond#Jimmy Cagney impression#Joanne Arnold#John Wyndham#John Wyndham Parkes Lucas Beynon Harris#Jordan Peele#Keely Hawes#Lewis and Martin#Mark Ferris#Max Beesley#Moonraker#Out of the Deeps#pad out the movie#Panama City Florida#Peter Lorre impression
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What was “Atlantropa?”
If you read any science fiction from the early 1900s, you get weird, veiled references over and over to the idea of merging Europe and Africa together into a single continent by manmade means, by draining and damming up the entire Mediterranean Sea, raising sea levels, and flooding the Sahara Desert to make it arable. The first person to come up with the idea of flooding the Sahara was a Scottish geologist, Donald Mackenzie, in 1877, but the best known and elaborate plan on how to do this was proposed in the 1920s by the German utopian architect Heinrich Sorgel during the Weimar Republic, who called the new continent “Atlantropa.”
And it isn’t as farfetched as it sounds, as the Mediterranean is an uncommonly shallow sea that can be dammed up at key points. It was a utopian, multi-nation Pan-European project that took for granted European colonial ownership of North Africa. The idea always seemed more feasible at moments of early pan-European sentiment, like the age of good feeling (however illusory) between the world wars, and further away during ugly European national conflicts like World War I.
A lot of science fiction from the early 20th Century mentions some version of damming the Mediterranean and flooding the Sahara as an inevitable part of the future and progress. It was taken for granted as a part of what the future would be like, which is why references to it are often opaque to modern readers - they didn’t feel the need to explain it as it was common knowledge. A good example would be Jules Verne’s last novel, Invasion of the Sea, in 1905. The book was about Berber and Tuareg tribes displaced from their homes by “progress,” victims of the technological age, who go on the warpath against Europeans in irregular guerilla warfare. It is fascinating to read later Jules Verne if you’re only familiar with his early “gee-gosh-wow” boyish adventure yarns that thrilled at gadgets, because Verne, at the end of life in his later novels, was tremendously skeptical of technology, hated colonial exploitation of native people, did not view all progress as “good,” and was concerned with modernism’s dehumanizing effects.
Another book to have frequent references to the Sahara Sea idea was the Secret People by John Wyndham (John Beynon), best known for Day of the Triffids. His book, the Secret People, is about how the damming of the Mediterranean reveals a race of European pygmies who live in caves, who survive on fungi and who capture surface people as slaves.
There’s even a great little reference to damming the Mediterranean in H. Rider Haggard’s The Yellow God from 1908, which is what prompted me to write this, because it assumed a common knowledge on his 1900s reader that a modern person wouldn’t have.
Amazingly, there are even some modern references to the Sahara Sea idea. If you ever got your mitts on the Star Trek: the Motion Picture novelization, in the early chapters set on Earth (assuming of course, that you didn’t immediately skip ahead for the rumored Kirk/Spock slash content, you naughty kids, you), you’d see references to damming and draining the Mediterranean. And I almost fell out of my chair when watching the recent “Man in the High Castle” television series where they say, out loud, the Atlantropa Project.
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Coloproctology: A Practical Guide 1st Edition by John Beynon, ISBN-13: 978-3319559551 [PDF eBook eTextbook] Publisher: Springer; 1st ed. 2017 edition (June 15, 2017) Language: English 332 pages ISBN-10: 3319559559 ISBN-13: 978-3319559551 The topics covered in this book have been specifically chosen to give guidance to surgeons established in practice and those embarking on their careers. Examples include the changing management in the treatment of the catastrophic abdominal wall, perianal Crohn’s disease in the biological era, decision making in rectal cancer that responds to radiotherapy, and the assessment of outcomes in colorectal cancer surgery. Recent years have seen the introduction of technical advances with respect to robotics in colorectal surgery and trans-anal total meso-rectal excision, and which are rapidly becoming established in clinical practice. Chapters also cover those aspects of colorectal practice, which are common to all, and provide guidance on management of topics including complications of radiotherapy, management of pouch dysfunction and iatrogenic complications in pelvic cancer surgery. John Beynon is currently Consultant General & Colorectal Surgeon at Singleton Hospital and honorary professor at Swansea University’s School of Medicine. Professor Beynon trained at St. Bartholomew’s Hospital Medical College qualifying in 1980 and subsequently undertook surgical training in Cardiff, Bristol and St Mark’s Hospital London. He is currently Consultant General and Colorectal Surgeon in Singleton Hospital Swansea & Honorary Professor Swansea University, School of Medicine. He was awarded his Certificate of Accreditation in General Surgery RCS in 1992 and is an accredited colonoscopist/colonoscopist assessor for Bowel Screening Wales. Professor Beynon is also a former Hunterian Professor of the Royal College of Surgeons of England & recipient of the John of Arderne Medal Royal Society of Medicine. What makes us different? • Instant Download • Always Competitive Pricing • 100% Privacy • FREE Sample Available • 24-7 LIVE Customer Support
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Re-Birth. John Wyndham (pseudonym of John Beynon Harris). New York: Ballantine Books, [1955]. First edition. Original dust jacket.
Post-nuclear war religious dystopia. "An excellent story of an emerging race with ESP, hunted by 'normals' trying to hang on to traditional values, ruthlessly exterminating all deviation."
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70th anniversary of Red Riding Hood Theatre Royal, Nottingham, 154 performances (23 December 1950 - 10 March 1951)
This week marks the 70th anniversary of another milestone event in the early career of Julie Andrews when the young fifteen-year old star opened in the title role of Tom Arnold’s lavish Christmas pantomime, Red Riding Hood at Nottingham’s Theatre Royal.
Red Riding Hood would be Julie’s second professional pantomime, following her earlier run in Humpty Dumpty at the London Casino in 1948/49. On paper, a stint at a provincial theatre might seem a downward career step after the West End, but Nottingham’s Theatre Royal was no backwater playhouse. One of the most luxurious venues of its day, the Theatre Royal opened in 1865 as a cultural monument to the booming prosperity of the East Midlands and, with convenient railway links to London, it soon became one of Britain’s preeminent touring houses, hosting repeated visits from major stars, both national and international, including Lillie Langtry, Sarah Bernhardt, Henry Irving and Anna Pavlova (Beynon, 11-13).
Moreover, Red Riding Hood wasn’t your run-of-the-mill small-town panto. It was a theatrical extravaganza produced by Tom Arnold, the foremost impresario of the British provinces. Specialising in prestigious family entertainments and theatre spectaculars, Arnold was reported to have staged over 400 pantomimes during his long career, earning him the nickname of Britain’s “New King of Pantomime” (”Personalia” 105; “King”, 11; “Obituary”, 15). The words “A Tom Arnold Production” on a pantomime poster or programme was a guarantee of first-rate entertainment with top-drawer talent and state-of-the-art production values.
The 1950 Christmas season would be one of Arnold’s most ambitious with a roster of big pantos in simultaneous production up and down the length of the British Isles including, Dick Whittington On Ice at the Empire Pool, Wembley; Queen of Hearts at the Wimbledon Theatre; Puss in Boots on Ice at the Brighton Sports Stadium; Dick Whittington at the Grand Theatre, Leeds; Humpty Dumpty at the Liverpool Empire; and Cinderella at the Alhambra Theatre, Glasgow (“Xmas Holiday Shows”, 12-21). Red Riding Hood at the Theatre Royal was the jewel in the crown with a generous budget, lavish set design, and A-list casting.
Charged with overseeing the Nottingham production of Red Riding Hood was Frank P. Adey, an enterprising young producer who had managed several earlier Arnold productions -- as well as big shows for other impresarios such as Emile Littler and Bernard Delfont -- and who would a few years later go on to helm the legendary Ocean Theatre in Clacton (Howlett, 5). Unlike today’s producers who are principally concerned with behind-the-scenes business, Adey was “a producer from the days when the title meant someone who put the whole show together from choosing the artistes, constructing the programme and lighting the scenery to directing the performers” (Hudd, 6). In the case of Red Riding Hood, he even co-wrote the script.
Just one year earlier, during the 1949 pantomime season, Adey had produced another version of Red Riding Hood for John Beaumont at the Lyceum Theatre in Sheffield, which is possibly why he was tapped to helm the even bigger Tom Arnold production at Nottingham (“Xmas Holiday Shows,” 1949, 15). When deciding on the cast for the 1950 show, Adey called on several of the performing talents who had worked with him in Sheffield (“Nottm.,” 6). Announced in early September, casting for the Nottingham show included:
Cherry Lind as Prince Valiant of Alluria (principal boy): A popular singer and radio personality of the post-war years, Lind had performed the “pants” role of Prince Valiant in the 1949 Sheffield production. She had also appeared previously at the Theatre Royal Nottingham in the title role of Rose Marie in 1945 (“Cherry Lind”, 5). Lind enjoyed a solid career on radio and TV into the early-60s before retiring to Brighton where she passed away in 2005 (Steel, 114-15).
Albert and Les Ward as Billy Blue and Jimmy Green (double act): This comedy brother duo were popular performers on radio variety shows of the era such as Welsh Rarebit, Variety Bandbox and Petticoat Lane. Known for their riotous “skiffle” musical performances using unconventional instruments such as washboards, bicycle pumps and spoons, the pair was cast as the comic “villainous sidekicks”, the Baron’s Henchmen, a role they had previously performed in Sheffield (“Cherry Lind”, 5; “Kings”, 24). The two brothers continued to live together in their family home in Cardiff till their deaths in 2001 and 2004 respectively (Baker, 131).
Tony Heaton as Mother Hubbard (dame): A stalwart of the British variety circuit, Heaton specialised in playing “dame” roles in pantomimes (“Dames,” 3). He had also performed this part of Mother Hubbard in the earlier Sheffield show (“Cherry Lind”, 5; “Tony Heaton”, 3). Sadly, Heaton took his own life in the sea off Blackpool in 1965 (“Drowned”, 12).
Laurie Main as Baron Pie Face of Merryvale Hall (comic): Also returning from the Sheffield production was this young character comedian from Australia who plied his trade in British variety and pantomimes throughout the 50s, before moving to the US in 1959 where he carved a solid career in theatre, film and TV till his death in 2012. As a tidbit for fans of Julie-related trivia, Main would re-team with Julie many years later when he had a brief cameo as a French general in Darling Lili (1970) (Raleigh, 5; “Laurie Main,” 11).
John Bernell as King Wolf (villain): Not a lot of information is available on Bernell, though newspaper reports indicate he made regular appearances in regional theatre productions and pantomimes throughout the 30s-50s. He had played this same role in Sheffield where he was praised as a fine stage villain with thrilling swordsmanship skills. In one of his on-stage duels with Cherry Lind, Bernell fell and fractured his wrist but, in true show-must-go-on spirit, he finished the performance before going to hospital (“Variety Gossip”, 4).
Doreen Brebner as Fairy Silverleaf (good fairy): 22-year old Brebner was a talented young ballerina from South Africa who had come to the UK under a bursary scheme. Placed under contract by dance teacher and choreographer, Izna Roselli, she did honours as the lead dancer in the Sheffield production of Red Riding Hood, supported by the Izna Roselli Girls and Kirby’s Flying Ballet. For the Nottingham show, she was ‘promoted’ to the role of the protecting fairy (”6,000 Miles”, 5).
Tony Hancock as Jolly Jenkins (comic): Last but certainly not least, the other major principal role announced in early casting was Tony Hancock in the comic part of “the silly billy, well-meaning page to the Baron” (Fisher, 102). Hancock was one of the few new additions to the Nottingham line-up, taking over a role that had been played in Sheffield by Gene Durham. Today, he is one of the most famous names in the Nottingham cast, but, at the time, Hancock was still relatively unknown. His celebrity would increase markedly the following year when he was contracted to take over the lead role of the tutor in the 1951 season of Educating Archie, before eventually proceeding to secure his own radio show and lasting fame (Fisher, 102-3).*
The one glaring omission from the early casting announcements was the title role of Red Riding Hood herself. In Sheffield, this “principal girl” role had been performed by Valerie Ashton, a young singer-dancer and stage beauty who, by all accounts, acquitted herself well enough -- “a typical and pleasing Red Riding Hood” was the verdict of one reviewer (“Spotlight”, 5) -- but a bigger marquee name was needed to helm the more expensive Nottingham production and serve as a box office draw.
It’s not known when or how the idea to cast Julie Andrews in the title role of Red Riding Hood first emerged but, by 1950, she was a young star firmly on the ascendant. Her celebrated debut run in Starlight Roof and subsequent appearance as the youngest ever performer at a Royal Command Performance in 1948 had earned her widespread publicity as “Britain’s youngest prima donna”. While her increasing presence on radio, especially her regular stint on the hit BBC programme, Educating Archie, boosted her celebrity and helped make her a nationwide name. Julie had also worked on a previous Tom Arnold production with her 1949 summer run in Coconut Grove at the Blackpool Hippodrome, so she would have been on the company’s radar.
Either way, negotiations to secure Julie for Red Riding Hood commenced at some point in 1950. They were protracted and, one suspects, intense. Whereas casting for all the other principals was announced in September, Julie’s participation wasn’t officially confirmed till much later in November (“Julie Andrews”, 1; “More”, 5). Throughout this period, there were persistent rumours of her involvement, with one over-eager newspaper having to issue a front-page retraction after it had published a premature report in early October that the young star had been signed. “Nothing definite has yet been arranged. No contract has been signed,” it clarified, “but it is hoped that Miss Andrews will play Red Riding Hood” (“Red Riding Hood: Premature Report,” 1). In the end, a contract was signed and formally announced in mid-November, giving Julie co-star billing with Cherry Lind and, reportedly, a £200 weekly fee -- “big money then for a 15-year old entertainer in Britain” (Cottrell 57 ).
Rehearsals for the pantomime commenced on Monday 11 December with all the company and principals congregating for a script read-through, save Cherry Lind whose arrival was delayed due to a broadcasting commitment in Bristol (“Nottm. Panto. Rehearsals,” 6). Such was the level of public interest in the show that the 'table read’ was covered widely in the local and regional press. For the first week, the cast rehearsed at the Orchestra Club in Nottingham, before moving into the Theatre Royal the following Monday 18 December for on-stage rehearsals. In her memoirs, Julie recounts how her mother and aunt motored up with her to Nottingham in the family caravan where they all stayed for the two weeks of rehearsals to help Julie settle in; after which the two women returned home and Julie moved in to the Country Hotel with Cherry Lind and the other principals for the run of the show (Andrews, 129).
As was customary with pantomime, Red Riding Hood hewed to the time-honoured formula of a well-known fairy tale told with a colourful mix of music, comedy, spectacle and audience participation. By the mid-twentieth century, the received industry wisdom for mounting a pantomime was to offer something for everyone in the audience: “broad but not coarse comedy for the kids...lots of song and dance for the grown-ups, and the whole thing mov[ing] quickly from scene to scene so that no one has time to get bored” (Robertshaw, 15). This variety showcase of “events and comedy routines” was typically keyed into “the skills of the performers booked” with pantos of the era often playing “like spectacular variety shows” (Taylor, 34-35).
Producer Frank Adey, however, was of the conviction that a good pantomime needed to adhere to a well-crafted story without too many extraneous elaborations. “Everyone who comes to panto gets in to the spirit of things,” he said, “and that spirit is the story. You must not deviate and make it a revue. It must be first a pantomime and last a pantomime” (“Nottm. Panto. Rehearsals,” 6). Thus, whatever schtick individual performers were allowed was for the most part integrated into the book and showcase moments were largely played “in character”.**
With Julie in the title role -- and the equally popular singing personality, Cherry Lind as co-star -- the Nottingham production placed a premium on music and song. Indeed, Adey revised the script so that Red Riding Hood would burst into song whenever she was afraid, thereby “giving Julie ample opportunity to show her stuff” (Arntz and Wilson, 17). In classic panto style, popular songs of the day were interpolated into the score so that audiences could sing along. Thus, at one point in proceedings, Julie and Cherry Lind led the house in a rousing rendition of the newly minted Christmas hit, “Rudolph, the Red-Nosed Reindeer” (Stevenson, 3). Other popular standards featured in the show included: ‘If You Feel Like Singing” and the Flanagan and Allen hit, “Hey, Neighbour”(Stevenson, 3). However, Adey also revived the ��earlier pantomime tradition” of featuring classical music by “composers such as Tschaikovsky...Offenbach, Edward German and others” (ibid.). In this way, Julie got to air her classical training by singing “amongst other things the 'Waltz Song' from Tom Jones with its many trills” and ‘The Gypsy and the Bird' by Sir Julius Benedict (Stevenson, 3; see also Andrews: 130).
The final dress rehearsal for Red Riding Hood took place on 22 December in front of a charity audience of over 550 children from local care homes and hospitals (“Night of their Lives,” 2). Newspaper reports described that the excited children “oohed and aahed” and “gurgled with glee” and “gasped at their first view of Fairlyland,” noting that:
“A special cheer was reserved for the first entrance of Red Riding Hood. Miss Andrews, only a few months older than the oldest of the children, showed her gratitude by singing to them..with a voice like silver” (“Night of their Lives,” 2).
Once the show had officially opened on 23 December, press reviews were similarly appreciative:
The Nottingham Journal: “Cherry Lind and Julie Andrews...are the best principal boy and girl whom Nottingham has had for many a long year. Both have delightful voices -- Julie’s being phenomenal” (Stevenson, “Showpiece,” 4).
The Nottingham Guardian: “Principal Boy Cherry Lind and Principal Girl Julie Andrews have youth and lovely voices to help them make their parts everything they should be. Julie Andrews’s voice especially is astonishingly good -- good for a singer of any age, astonishing because she is only 15...We can’t all sing like Julie Andrews, but the next best thing when mid-twentieth century conditions become a little too fearsome is to go and hear her and escape for three hours to the world of pantomime” (“Emphasis on Tradition”, 5).
The Nottingham Evening Post: “Red Riding Hood is everything it should be...Principal Boy Cherry Lind and Principal Girl Julie Andrews make the most charming pair...They, with Archie Stanton conducting the theatre orchestra, attend to the music and the heroics” (“Nottm. Panto. Sticks,” 1).
The Nottingham Evening News: “It would be necessary to go back many years to find a principal boy and girl equal to Cherry Lind and Julie Andrews. Both have lovely voices but, because of her age, Julie’s is phenomenal. Who would expect to hear the soaring notes and the trills of a coloratura soprano coming from the throat of a fifteen-year-old who looks ‘that nice youngster from next door’. Their duet ‘Your heart and My Heart’ is one of the the most delightful things imaginable” (WBS, 1).
The Football Post: “This year’s show is firmly based on tradition and is packed with action, colour, spectacle, song and dance. Cherry Lind as the Prince and Julie Andrews as Red Riding Hood make an admirable couple, and they are supported by a strong comedy team (“Pantomime Keeps,” 11)
The Stage: “Frank P. Adey is this year giving Nottingham the most lavish pantomime it has seen for a good many years...Red Riding Hood has all colour, melody, melodrama and well-known jokes and situations that have always delighted children -- and their parents -- but a little more emphasis is laid on the melody and song than is perhaps usual. And it is natural that this should be so, for Cherry Lind and the young Julie Andrews, in addition to making a very charming Prince and Red Riding Hood, show that they have two of the sweetest voices heard in Nottingham for a long time” (“Xmas Holiday Shows,” 1950, 15).
The glowing reception of Red Riding Hood extended equally to audiences. Ticket sales were excellent and the show played to capacity houses. Coach and rail tours brought a steady flow of group bookings from near and far. Red Riding Hood “continues its triumphant course at the Theatre Royal, Nottingham,” noted one newspaper report in mid-January, “with a seemingly inexhaustible supply of patrons queueing to see Cherry Lind...and Julie Andrews” ( “New Revue,” 11). Audience demand was so strong that the show was extended several times beyond its original closing date of early February (“Panto. Extended.” 11). The run was initially extended till 3 March, after which it was extended a further week, finally closing on 10 March after 154 performances.
Notes:
* Quite a few commentators suggest erroneously that Julie and Tony Hancock already knew each other prior to Red Riding Hood due to the fact they had worked together on Educating Archie (Stirling, 38). Even Julie makes the claim in her memoirs: “Since he [Hancock] had performed in Educating Archie, I knew him a little and liked him, although we hadn’t had much connection on the radio show” (Andrews, 131). However, Tony Hancock didn’t start performing in Educating Archie till the second series in August 1951, many months after the end of Red Riding Hood.
** I say “for the most part” because Red Riding Hood did include an extended "interval” where the popular local specialty act, the Musical Elliotts, did a comic virtuoso turn playing miniature concertinas, followed by another family troupe, Walton’s Marionettes, who put on a puppet show, but this interlude was designed largely as a self-contained “show within a show” that gave the main cast -- and the audience -- a breather between acts (Stevenson, 3).
Sources:
“6,000 Miles From Home.” Sheffield Daily Telegraph. 14 January 1950: 5.
Andrews, Julie. Home: A Memoir of My Early Years. London: Weidenfeld & Nicolson, 2008.
Arntz, James and Wilson, Tom. Julie Andrews. Chicago, IL.: Contemporary Books, 1995.
Baker, Richard A. Old Time Variety: An Illustrated History. Barnsley: Remember When, 2011.
“Beware Something is Cooking.” The Nottingham Journal. 22 December 1950: 5.
Beynon, Robin, ed. The Theatre Royal Nottingham, 1875-1978: A Theatrical and Architectural History. Nottingham: Nottingham City Council Theatre Royal Sub-committee, 1978.
“Cherry Lind Stars in Nottingham Pantomime.” The Nottingham Journal. 12 September 1950: 5.
Cottrell, John. Julie Andrews: The Story of a Star. London: Arthur Barker, 1968.
“‘Dames’ Win Praise.” The Star Green 'Un. 7 January 1950: 3.
“Drowned Comedian Faced Arrest.” The Guardian. 28 August 1965: 12.
“Entertainments: Lyceum Theatre Sheffield.” Derbyshire Times. 22 December 1949: 10.
“Emphasis on Tradition in ‘Red Riding Hood.” The Nottingham Guardian. 27 December 1950: 5.
Fisher, John. Tony Hancock: The Definitive Biography. London: HarperCollins, 2008.
Howlett, Sue. “Frank of the Ocean Calls It a Day.” Clacton Gazette. 6 May 1977: 5.
Hudd, Roy. Roy Hudd's Book of Music-hall, Variety and Showbiz Anecdotes. London: Robson Books, 1994.
“Ilkeston Firm’s Event.” The Nottingham Evening Post. 16 December 1950: 1.
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“Variety Gossip: John Bernell.” The Stage. 16 March 1950: 4.
“The Jones Family Goes to Fairyland.” The Nottingham Journal. 23 December 1950: 3.
“King of Pantomime Dies”. The Illustrated London News. 8 February 1969: 11.
“Kings of the Washboard: Albert and Les Ward.” The Hampshire Telegraph. 6 December 1957: 24.
“Laurie Main, Narrator on TV’s ‘Welcome to Pooh Corner,’ Dies at 89.” Hollywood Reporter. 16 February 2012: 11.
“More about Theatre Royal Panto.” The Nottingham Evening Post. 20 November 1950: 5.
“New Revue for the Nottm. Empire.” The Football Post, 13 January 1951: 11.
“Night of their Lives: Children at Panto. Dress Rehearsal.” The Nottingham Evening Post. 23 December 1950: 2.
“Nottingham Bill of Christmas Entertainment.” The Football Post. 23 December 1950: 11.
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“Panto King, Tom Arnold, is Dead.” Daily Mirror. 3 February 1969: 5.
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“Pantomime Keeps Christmas Spirit Going.” The Football Post. 30 December 1950: 11.
“Personalia: The New King of Pantomime.” The Sphere. 20 April 1935: 105.
Raleigh, H.M. “The Repertory Theatre: Talented Players at Sheffield.” Yorkshire Post and Leeds Mercury. 24 June 1950: 5.
“Red Riding Hood: Premature Report.” The Nottingham Evening Post. 3 October 1950: 1.
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Robertshaw, Ursula. “Bo-Peep in Bath.” The Illustrated London News. 6 January 1968: 14-15.
“Spotlight on Entertainment.” The Derbyshire Times. 13 January 1950: 5.
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Steel, Tracey. “Whatever Happened to...?” Evergreen: A Miscellany of This & That & Things Gone By, Summer 2019: 114-15.
Stevenson, Bernard. “Stage and Screen: Panto in Full Swing in Nottm and District.” Nottingham Evening News. 30 December 1950: 3.
Stevenson, W.B. “Showpiece: First Red Riding Hood since 1919.” The Nottingham Journal. 12 September 1950: 4.
Stevenson, W.B.“‘Red Riding Hood’ in Tradition.” The Nottingham Journal. 23 December 1950: 3.
Stevenson, W.B.“Showpiece: Hot Music or ‘H.P.’” The Nottingham Journal. 27 December 1950: 4.
Stirling, Richard. Julie Andrews: An Intimate Biography. London: Portrait, 2007.
Taylor, Millie. British Pantomime Performance. Bristol: Intellect Books, 2007.
“Tony Heaton.” The Stage. 2 September 1965: 3.
W.B.S. “A Grand Panto: Red Riding Hood opens in Nottm.” The Nottingham Evening News, 26 December 1950: 1.
“Xmas Holiday Shows.” The Stage. 30 December 1949: 12-21.
“Xmas Holiday Shows.” The Stage. 29 December 1950: 12-21.
Copyright © Brett Farmer 2020
#julie andrews#red riding hood#pantomime#christmas#theatre royal#nottingham#british theatre#1950#theatre history#70th Anniversary#panto#the parallel julieverse
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