#palladium role-playing

[legionofmyth]

Palladium Books Presents: The Rifter #1 - Rifts: City Creation

Ready to build your own city in Rifts? 🏙️ Discover innovative city-building rules in "The Rifter #1" by Palladium Books. Transform your gameplay with our detailed video overview. Click here! #RiftsRPG #CityBuilder #TheRifter

The Rifter #1 As a wise master unveils ancient city-building secrets, so too does our latest video guide you through the new urban landscape rules introduced in “The Rifter #1” for Rifts. Understand the foundations that make a strong city and the strategies that protect its people. Let your journey to becoming a master city planner begin here, where knowledge becomes power and creation shapes…

[sci-fi-fantasy-art-collection]

Clyde Caldwell painting for Palladium

“Island at the Edge of the World”

That warrior has some Sam Neill vibes!

[v3suvia]

On Diomedes of Argos.

Typically, when people think about their favorite heroes of the Trojan siege, they think of the likes of Achilles, or Odysseus, or even Agamemnon (or if you’re based, Hector.) And while these are all valid to whatever extent— because let’s be real, no one is choosing favorites based on who has the purest moral standpoint— they’re not exactly remembered for the noblest of reasons.

Achilles spends half of the Iliad inside his tent as a sulky burrito, and the other half slaughtering Trojans and crying over the consequences of his own actions. Odysseus is a chronic liar, and Agamemnon is Agamemnon. But at the end of the day, they’re still remembered (for better or for worse, really.)

Though, on the topic of Homeric heroes, I feel there is one who is often overlooked despite achieving great feats over the course of the epic; Diomedes of Argos. (Note: arguably the most metal of the Achaean heroes at Troy.) So, let’s rant talk about him!

Diomedes was one of the key players in Homer’s Iliad— a recount of the last year of the Trojan siege. Being summoned to fight under oath, Diomedes headed his fleet of 80 ships to Ilium. As well as having a whole chapter dedicated to how kickass he was [read more about that whole thing here], the king of Argos was also a master strategist, and extremely noble— not just in his war efforts.

For example, there are multiple points in the Iliad where he checks the leader of the Trojan expedition, Agamemnon, calling him out on his cowardice or for otherwise being an inadequate leader, [Book 9; ‘Agamemnon, I will begin by taking issue with you over your proposal… do you really believe the Greeks are the cowards and weaklings you say they are? If you for one, have set your heart on getting away, then go.’] [‘Zeus has granted you many things… He gave you the sceptre of power and the honour that comes with it, but he did not give you courage— and courage is the secret of authority.]

And one instance where he truces with the Trojan hero, Glaucus— both of them exchanging armors (on an active battlefield, btw) to honor the fact that their grandfathers had been allies, [Book 6; ‘So let us avoid each other’s spears... And let us exchange our armor so that everyone will know our grandfather’s friendship has made friends of us.’]

He is also one of the only soldiers in the war who avoids committing hubris in the entire epic, which is probably the most telling of all his virtuous traits.

Diomedes also has a proverb named after him! ‘Diomedean Necessity/Diomedean Compulsion', which basically means when someone does something for the greater good (despite the reluctance of the person in question.)

This is taken from the myth of Odysseus and Diomedes taking the wooden statue of Athena— dubbed the Palladium— from Ilium. During this heist, Odysseus tries to stab Diomedes in the back to steal the acclaim of taking the Palladium for himself.

Rather than punishing Odysseus on account of betraying his ally for personal gain, Diomedes ties him up and drags him back to camp instead, because he knew the Greeks couldn’t win the war without Odysseus’ wisdom.

Anyway, why the rant? Sure, I could sit here and convince you that he’s the coolest Greek hero, but what would I be trying to accomplish in doing so? Well, it’s simply because while every other Homeric hero is recognized and represented in modern media, Diomedes isn’t.

He wasn’t even mentioned once in Troy (2004), the film adaptation of the Iliad! Despite him being the focus of multiple chapters in the book, as well as playing a big role in the Achaean army’s over-all victory.

I’m sick of everyone (and by that, I mean most modern media) depicting him as though he was just some dude™ in the Iliad when he was actually (from a mildly biased standpoint) one of the best of the Achaeans at Troy.

TLDR; Diomedes of Argos = Based. He solos ur favs (probably. He almost killed Ajax the greater at Patroclus’ funeral games ���)Put him in more movies/shows/games so me and the other two Diomedes fans can be happy.

[jedineedlove]

Weapons of the Monkie Crew

Khakkhara

The basic design of a khakkhara is of a central staff, normally in wood, topped by a finial in metal, with a looped design, from which smaller metal rings hang on each side (similar to the stringing of traditional Chinese cash). Various numbers of loops and rings are employed, with each number being assigned symbolic significance on the basis of a variety of Buddhist numerical formulas. Historical examples from the Famen Temple include staffs with one, two, or four loops and four, six, or twelve rings on each loop.

Several versions of the staff's origin are given in the Sarvastivadavinaya, but in all of them the staff is recommended to monks by the Buddha in order to ward off animals- either for protection from dangerous predatory animals like tigers and lions, or for scaring off small creatures like spiders and snakes that might be trod upon by wandering monks. The ringing of the staff can also alert donors within earshot of the monk's presence, as monks traditionally remain silent while collecting alms.

The number of loops and rings featured on the staff was also assigned symbolic significance, according to a variety of Buddhist numerical formulas- four loops symbolizing the Four Noble Truths, six rings representing the Six Perfections, or twelve rings representing the twelvefold chain of cause and effect

Tripitakas / Tangs staff has four rings and with the added LMK universe flare magic.

Yue Ya Chan (Crescent Moon Spade)

Also known as the monk spade, the yue ya chan (月牙铲) is a typical weapon associated with the Shaolin warriors. It features a crescent-moon-shaped blade mounted on a wooden shaft and a flat wedge-shaped blade on one end.

In ancient China, the Shaolin monks carried spades when traveling to bury corpses they might find on their journey as part of their religious obligation. Eventually, it turned into a self-defense weapon with the addition of the crescent blade, which allowed hooking and sweeping techniques.

Chinese Bronze Swords

Of course, Meis is made of Jade but the Bronze sword I think bests fits her TYPE of sword. Chinese Bronze swords first appeared during the notable Xia and Shang Dynasties in China. They were an advancement from the prior Chinese Dagger, boasting a considerably bigger blade. These weapons stood out because of their wide and robust blades. Initially, people used these swords in ceremonies and rituals. As time passed, these swords played a pivotal role on the battlefield, which significantly altered the course of China's history. Along wth this I put a video of some people showing of Chinese Swords including the one I mentioned.

Nine-Toothed rake/ Baoqin Gold Palladium

This weapon is hard to find much of in the real-world use besides as a gardening tool but in the JTTW the Nine-toothed rake is a polearm with nine teeth. Pigsy’s weapon more closely resembles agricultural tools that were traditionally used by farmers since the Yuan Dynasty. It is said to have been handcrafted by Laozi from divine ice steel and etched with arcane symbols. I may not have been able to find much in words but I did find two videos of some guys showing off how it can be used in a fight.

Staff

Both MK and Macaque currently use a staff. The Chinese staff is considered the grandfather of all weapons. The long staff is the most common, usually about 7ft long, and constructed from hardwoods like oak or white wax. It originated from the long spears used by classical warriors. The Shaolin monks removed the spearheads and trained with only the shafts suited for their peaceful monastic environment.

NOW heres the BIG Question with just about everyone in the Monkie Kid Crew welding a weapon what about...... WUKONG!!

Look his hand-to-hand is awesome and has crazy powers but seriously after his staff has been passed down and this new chaos coming it might be time for Wukong to wield another weapon.

While looking up the other's weapons I found others on theme with other old Chinese weapons.

San Jie Gun (Three-Sectional Staff)

The san jie gun (三節棍) consisted of three short staves connected by chains. It functioned as a self-defense weapon, suited for either short-range or long-range combat. Unlike a long staff, it can be easily concealed and carried. It also allows various methods of attack and defense. Versatile and hard to learn, it is among the weapons of choice for many advanced martial artists.

To stay in the staff family like the other monkeys but still change things up.

or

Chui (Hammer)

A type of mace, the chui (​​锤) was a round hammer, usually used in pairs. It had a heavy head on the end of the handle for delivering powerful strikes. This ancient Chinese weapon was most popular in the Shang and Zhou dynasties.

The chui was known as the copper hammer because it was often made from copper, though other materials were later used. Since they are typically heavy and require great strength to wield, these weapons are not popular among kung fu practitioners.

I picked this for its blunt and powerful hit. Similar to the Monkey King's own fists.

or

Tie Jian (Iron Rod)

The term jian (鐧), written in a different character from the sword (劍), is also used to describe a heavy bar mace with a smooth rod. They were typically made from iron and called tie jian (鐵鐧) or “iron rod,” but there were also tong jian (bronze rod). The name iron rod is a reference to its plain metal rod.

In the West, the tie jian is regarded as a type of Chinese sword breaker—a heavy weapon capable of breaking swords and other weapons. During the Ming dynasty, the military used large two-handed versions of tie jian. By the Qing dynasty, single-handed versions were more common.

This weapon has the blunt power similar to a staff and having the reputation of a sword destroyer it seemed to fit the powerful hit from the Monkey King.

or

Hu Die Dao (Butterfly Saber)

Widely referred to as butterfly swords, the hu die dao (蝴蝶刀) is a type of double saber. These weapons developed due to merging typical Chinese fighting knife blades with Western-inspired hilts. They featured distinctive D-shaped guards, though their blades came in various forms.

The narrow types were efficient for heavy cuts and were likely to be used by the Chinese military units and the local militia. On the other hand, the broader types were efficient for disabling opponents without killing them and remain popular today among martial artists.

I picked these ones because they would be the only dule weapon. Giving some variety.

Each one of these I found could fit Wukong in one way or another. But if you have any other ideas for the Monkey King leave them in the comments

:) Thank you for reading.

[nevertem]

Something about being stuffed into a role you're not supposed to be in.

Something about Ryou Bakura being Yuugi's friend and not his enemy, even if the Ring demands that role.

Something about Jounouchi being obsessed with proving himself to be an adult and a man when he's just a kid who wants to play card games with his friends. Even if his mom saw too much of his dad in him.

Something about Priest Seto being in the afterlife, so Kaiba was never his reincarnation to begin with.

Something about Kaiba taking on that legacy of blood and destruction when it was never his, he just wanted to be safe and protected and secure. Something about Malik Ishtar being associated with the sun when his history demanded he be underground. Something about Palladium Oracle's magic being piercing against Darkness when he took on the role of Dark Magician for three millennia.

Something about Yuugi Mutou being deemed a vessel when he's the King of Games. Something about Yuugi's ultimate dragon being the perfect counterpart to Blue Eyes. A dragon of destruction made of darkness to the ultimate engine of destruction of light. Something about Yuugi's story being about believing he wished for friends when Jounouchi told him that the only time he ever loved himself was when he was with Yuugi. Something about Yuugi being forced to a role he never wanted just because he was kind enough to believe in the good in people when faced with every reason not to.

Something about Pharaoh Atem being put in a face and body and life that was never his. Something about taking on being a literal shadow. Something about believing himself to be darkness. Something about everyone else believing he's darkness. When he was described by Shada and Dark Bakura both as light. When to this day people still call him darkness.

Something about Duelist beginning and ending with a TTRPG.

Something about the two souls of light and darkness being switched from the beginning.

Yuugi's ultimate monster is the dragon of destruction.

Atem's is the creator of light.

[legendaryfugitives]

Athena’s Exes

So, I recently noticed people agreeing that Goddess Athena is Asexual, but from mythological sources like the stories about Pallas, there are hints that she was not aromantic. During a long research spree and reading other people's opinions, I've noticed she'll be considered a Biromantic Sapiosexual Asexual. AKA, not into the, how do I say this in PG language, bedroom stuff due to being a Parthenos, but shows romantic interest to anyone with brains. These are just notes I made while researching this topic. I encourage you all to do your own research. I'm willing to make a part two post of links if anyone needs them. Warning! Greek Mythology is known for incest included in their stories. You've been warned! Please let me know if there is anyone else I missed so I can update this post. Hephestus will not be included since Athena was not in love with him in any way. Now, let's move on to my notes of a few examples.

Pallas, The Lost BFF

When Athena first burst out of her father's head, Zeus, she was taken in by Triton, her cousin and son of Poseidon. Triton also had a Nymph daughter named Pallas. The sources are borderline on how Athena and Pallas viewed each other. Some say they were sisterly best friends, and some say they were more than friends. What the sources have in common is that the two girls practice sparring and compete together.

Fate: During a sparring contest or a friendly sparring practice match Zeus attended or happened to be watching, Athena and Pallas’s fight got heated. Scared for Athena's life, he used his aegis to distract Pallas. Unfortunately, this caused Athena to accidentally impale and kill her best friend. To make it up to Athena, Zeus gave her his aegis, which we see Athena wear to this day. Athena later created the palladium, a statue that looked like Pallas, and Athena took the name Pallas as her epithet.

Prometheus, Thief God of Fire and Hearts

There are a few theories about these two. Especially since Athena helped Prometheus steal the fire. There was one story in which Prometheus had a crush on Athena, which is why he was punished. And believe me, Prometheus and Athena were not on my Bingo Card this year. However, it makes sense since the two have a lot in common, they have worked together many times, and both played a role in creating a new version of humans. Another variation of Athena's birth myth is Prometheus freeing Athena instead of Hephaestus, or he does help out in the process of freeing Athena from Zeus's head. Yes, you may say, “But didn’t accident resources say Prometheus was married and had a son?” Remember, these stories have changed and merged over time with different variants. Some sadly lost to time. Ultimately, we are left with our imaginations when approaching these stories as long as the original culture is respected. But it does make things complicated. Prometheus and his wife, Pronoea or Hesione, never got married or divorced. Be free to come up with theories, everyone.

Fate: After getting caught afterward, Prometheus was punished by getting chained to a rock, and his liver was eaten by an eagle. Then, Prometheus's liver regrows overnight, but his torcher continues each day until he is finally freed. But unfortunately for the rebel titan, it ended his relationship with Athena. To make things worse, Athena was part of making Pandora, so Athena was punished at the end of the day, too.

Myrmex, Maiden Heartbreaker

In an insect origin story, Myrmex was a young Attican maiden who became the goddess' favorite. She was known for her cleverness and her chastity, a significant reason why Athena had a love for the maiden. Athena showed humans how to sow their fields when she created the plow. However, Myrmex was greedy on the inside. Myrmex went behind Athena’s back, stole some sheaves, and claimed she invented the plow to the public in conman fashion.

Fate: Heartbroken, Athena turned Myrmex into an ant, cursing her for stealing other's grain forever. So, talk about the worst breakup of the year there. The lesson is don't break the heart of someone who cares for you, romantically or platonically, because the betrayed will get petty revenge.

Phereclus (or Phereclos), the Shipbuilder of Tragic Dreams

Although one line mentions this, the Illiad mentions a Trojan shipbuilder, Phereclus (or Phereclos), who once made well-balanced ships. According to the different translations of Book V, Athena had “a special love for him,” “for Pallas Athene loved him above all men,” or “Pallas Minerva had dearly loved him.” Either he was her protégé, there was something more, or both.

Fate: According to Book V of the Illiad, Phereclus was killed by Meriones since it was one of Phereclus’s ships that Paris used to kidnap Helen. And if you read it, it’s pretty graphic. People can form their theories on the subject despite just that one line.

Hercle (aka Etruscan version of Heracles/Hercules), A Lover in Question

Disclaimer! This is from the Etruscan sources. I do not ship Hercle/Heracles/Hercules with Menrva/Athena/Minerva. Please do not attack me, people! In the Etruscan religion, Athena was not viewed as a Parthenos. Some sources hint at the two being romantically involved despite being siblings or half-siblings. Even having a blood or adopted kid together named Epiur??? But the two Gods were probably Epiur's protectors instead. Hercle and Menrva were Gods of protecting children back then to the Etruscans. Epiur is still a big mystery, so people, please do your research!

Fate: If we go with Hercle's Greek Version, Heracles had a crazy death, but he became a God, and then he ended up marrying his other half-sister, Hebe, the daughter of the Goddess who was out for revenge on Heracles, Hera. Yeah, this family tree is messed up for the wrong reasons, and I don't want to elaborate further.

That's it for now! Criticism is welcome if I get something wrong and need to fix it. I'm willing to post the links if anyone is curious about these details. Studying Athena's past friends or possible past lovers was an interesting rabbit hole to explore. If I inspired you in any way, please use these ideas as long as you respect original sources and know Athena is a Parthenos. Thanks for coming to my TedTalk of Athena's Exes for now!

Edit: To Epic the Musical fans, be free to use this for any of your theories because these losses may have affected Athena.

[thydungeongal]

tumblr adds get more intriguing every day

I mean that is just an ad for After the Bomb, Palladium Games' post-apocalyptic RPG based on their officially licensed TMNT RPG, Teenage Mutant Ninja Turtles and Other Strangeness (which is getting a new edition because they were able to renegotiate the license with the license holder!). So like, it's actually normal.

Anyway based on everything I've heard Palladium kinda sucks so I recommend Mutants in the Now:

[cognitivejustice]

To build all of the solar panels, wind turbines, electric vehicle batteries, and other technologies necessary to fight climate change, we’re going to need a lot more metals. Mining those metals from the Earth creates damage and pollution that threaten ecosystems and communities. But there’s another potential source of the copper, nickel, aluminum, and rare-earth minerals needed to stabilize the climate: the mountain of electronic waste humanity discards each year. 

Exactly how much of each clean energy metal is there in the laptops, printers, and smart fridges the world discards? Until recently, no one really knew. Data on more obscure metals like neodymium and palladium, which play small but critical roles in established and emerging green energy technologies, has been especially hard to come by.

Now, the United Nations has taken a first step toward filling in these data gaps with the latest installment of its periodic report on e-waste around the world. Released last month, the new Global E-Waste Monitor shows the staggering scale of the e-waste crisis, which reached a new record in 2022 when the world threw out 62 million metric tons of electronics. And for the first time, the report includes a detailed breakdown of the metals present in our electronic garbage, and how often they are being recycled.

“There is very little reporting on the recovery of metals [from e-waste] globally,” lead report author Kees Baldé told Grist. “We felt it was our duty to get more facts on the table.”

[legionofmyth]

Palladium Books Presents: The Rifter #1 - Nightbane: New Morphus Tables

Transform your Nightbane character with the new morphus tables in "The Rifter #1" by Palladium Books. 🌑 Explore how these changes can revolutionize your gameplay in our latest video. Watch here! #NightbaneRPG #TheRifter #RPGGaming

The Rifter #1 Like an ancient scroll revealing transformative powers, our video unveils the new morphus tables for Nightbane in “The Rifter #1.” This arcane knowledge grants you the ability to reshape your Nightbane character’s destiny with unprecedented depth. Let not this wisdom pass you by, for those who wield it will command the shadows and light. Click the image to claim your guide to the…

[tonysbirthdaygala]

REVEALS PART 2!!

I meant to have two reveals today, but life got in the way.

Anyways, here's a mega-reveal of works! Tomorrow you will know the authors. Until then...can you guess?

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Workaholic (M) 683w

Tags: No Archive Warnings Apply, James "Bucky" Barnes/Tony Stark/Sam Wilson, Tony Stark, James "Bucky" Barnes, Sam Wilson (Marvel), Alternate Universe, Husbands, Workaholic Tony Stark, Domestic Fluff, Birthday, How Do I Tag, Not Beta Read, Implied Sexual Content

Tony’s been busy with work lately, so much to the point that he’s forgotten his own birthday! Lucky him, his partner(s)/friend(s) have been preparing something special for him.

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The Masseur (E) 1.1k

Tags: No Archive Warnings Apply, James "Bucky" Barnes/Tony Stark, Pepper Potts, Tony Stark, James "Bucky" Barnes, Alpine the Cat (Marvel), Steve Rogers, Alternate Universe - Different First Meeting, love at first touch, Fingerfucking, Masseur Bucky Barnes, Soft Bucky Barnes, Not Beta Read, Flirting, Attempt at Humor

Tony is convinced by Pepper to get a massage after weeks of hard work in his lab. He didn't expect his massage therapist to be this handsome.

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I Would Do Anything for Love...  (E) 5.3k

Tags: No Archive Warnings ApplySteve Rogers/Tony StarkSteve RogersTony StarkBruce BannerBDSMSimon Eriksson's Love Language is Words of AffirmationNon-Sexual SubmissionBody WorshipPet NamesDaddy KinkSafewordsHurt/ComfortDom Tony StarkSub Steve RogersOral SexAnal SexFirst TimeLoss of VirginitySpankingImpact PlayDrinkingImplied/Referenced Alcohol Abuse/AlcoholismTony Stark is a TeaseBondageLight PettingRimmingWhippingPraise KinkEjaculationAnal FingeringHe Used how Many Dildos?!So Many Super Soldier OrgasmsKneelingSubspaceBarebackingOnline RomanceBanner Banter

Tony Stark had a lot to be happy about. Today, this week, the month- hell, the past year had been going remarkably well. Construction had been finished for Banner’s own personal Research & Development, he and Bruce had been making headway with Hulk Buster Veronica, Stark Tower had been successfully renovated into Avengers Tower, Pepper had firmly established her role as CEO of Stark Industries, and last but certainly not least, this weekend would mark the anniversary of the attack on New York- a full year since Tony had come face to face with death yet again, remembering life is indeed short and promised himself he would rekindle his most passionate life style… he would get back into the scene.. the play scene, the BDSM scene.

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the only bad you’ve ever done is see the good in me (T) 2.7k

Tags: No Archive Warnings ApplyTony Stark/Sam WilsonSteve Rogers/Tony Stark (mentioned)Steve Rogers/Sam Wilson (mentioned)Steve Rogers/Tony Stark/Sam WilsonTony StarkSam Wilson (Marvel)Post-Movie: Captain America: Civil War (2016)Fix-It of SortsNot Canon Compliant with Movie: Avengers: Infinity War (2018)BirthdayCostume Parties & MasqueradesLove ConfessionsMutual PiningLight Angsteveryone is sorryHappy EndingNomad Steve RogersPolyamory

The script for a missing scene in which fugitive Sam Wilson risks it all to deliver a birthday gift to Tony Stark.

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Balancing the Scales (E) 4.1k

Tags: No Archive Warnings ApplyJames "Bucky" Barnes/Steve RogersJames "Bucky" Barnes/Steve Rogers/Tony StarkTony StarkJames "Bucky" BarnesSteve RogersAlternate Universe - FantasyAlternate Universe - RoyaltyPrince Tony StarkDragon Bucky BarnesDragon Steve RogersLoss of VirginityAnal SexMale Homosexuality

Prince Tony has about a million questions. He could never imagine the answers he's about to get.

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Fragments of Another Life (T) 8k

Tags: No Archive Warnings ApplyLoki/Tony StarkTony Stark & Stephen StrangePepper Potts & Tony StarkTony StarkLoki (Marvel)Pepper PottsStephen StrangeVillain Tony StarkAvenger Loki (Marvel)Emotional Hurt/ComfortTony Stark Has Palladium PoisoningGetting TogetherAngstBanterSupportive Loki (Marvel)Tony Stark Needs a HugMultiversal travelPost-Avengers: Endgame (Movie)roughlyTony Stark Still Has Arc Reactorand it's killing himTony Stark-centricComic Book Science

Palladium poisoning was not how Tony was going to go out. Not after everything he had survived until now. But while trying to find the cure, Loki and him are forced to make a decision.

Tony's life or that of a universe.

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The Unexpected Choice (G) 7.4k

Tags: No Archive Warnings ApplyPepper Potts & Tony StarkPepper PottsTony StarkTime TravelTony Stark Has Palladium PoisoningPepper Time TravelsPepper Potts Saves The DayPast Pepper Potts/Tony StarkGrief/MourningBeginnings

There were certain expectations of the type of person who would travel back in time. Pepper was well aware that she didn’t fit those expectations.

There were very few things in life that she’d truly failed at. No, Pepper had made a habit of success. This was a venture on a scale like none other she’d ever embarked on, but Pepper was hardly going to let that stop her.

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For An Unspoken Vow (G) 1.1k

Tags: No Archive Warnings ApplyTony Stark/Stephen StrangeBackground Christine Palmer/Pepper PottsTony StarkStephen Strange5+1 ThingsTime TravelEstablished RelationshipPre-Movie: Iron Man (2008)Canon Divergence - Iron Man 1Afghanistan KidnappingPanic AttacksHurt/ComfortFluffAngst and FeelsPOV Tony StarkBAMF Stephen StrangeStephen Strange Needs a HugNo beta we die like Obadiah Stane

Of all the things Tony had theorized, he could have never guessed that his fiance is actually a very powerful Wizard who came here from the future. To save Tony.

Or

5 times Stephen acts a little strange, + the 1 time he acts badass.

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My Savior (T) 5.6k

Tags: No Archive Warnings ApplyTony Stark/Stephen StrangeLoki & Tony StarkPepper Potts/Tony StarkChristine Palmer/Stephen StrangeTony StarkStephen StrangeLoki (Marvel)Pepper PottsChristine PalmerFix-ItCanon Divergence - Avengers: Infinity War Part 1 (Movie)No SnapAlternate Universe - Everyone Lives/Nobody Diesstuck togetherDeveloping FriendshipAngst and FeelsIronStrangePolyamoryPre-RelationshipPOV Tony StarkCanon-Typical ViolenceTony Stark Needs a HugStephen Strange Needs a HugSick Stephen Strangemagical feverCaring Tony StarkStubborn IdiotsStephen is an Idiot in LoveNo beta we die like Stephen Strangeas in revived only to die over and over again

Tony has limited options to choose from: either stay put in Titan with his unconscious Wizard and risk permanent damage from radiation while they wait for rescue, or take the Guardians’ damaged ship out for a spin and risk being stranded in space.

He makes his choice.

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A Stroll in the Woods (G) 3.3k

Tags: No Archive Warnings ApplyTony StarkAlternate Universe - Canon Divergence

Tony wakes up alone, in a forest. His memory is foggy. He doesn’t know how he got here. He doesn’t know where “here” is. Sure, there may be people looking for him, but he isn’t going to play the part of a damsel in distress; he’s going to figure out a way home.

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Darkness (T) 710w

Tags: No Archive Warnings ApplyTony StarkKarl MordoDormammu (Marvel)Alternate UniverseMovie: Doctor Strange (2016)Sorcerer Supreme Tony StarkMagic User Tony StarkAlternate Universe - Canon DivergenceCanon-Typical Violenceno beta we die like tony stark

Sorcerer Tony Stark defeats Dormammu in his own way. (AU where Tony Stark went to Kamar-Taj.)

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[brightlotusmoon]

[vintagerpg]

Monsters and Animals (1985) is the bestiary for the Palladium Role-Playing Game, consisting of about 100 pages for the former, 60 for the latter.

Let’s talk about the animals first. It is a weirdly exhaustive list. I am not sure I need stats for the goldfinch, despite it being the state bird New Jersey, but they’re in there. And lots of other birds, and other animals too, nearly none of which seem like good opponents for players. But I guess it is nice to know there is a small region in the southern portion of the continent where koalas live. Love a koala.

That’s another idiosyncratic thing for this book. Nearly all the creatures are accompanied by a small map of the continent with their range shaded in. I certainly don’t mind this sort of information, but I do kind of wonder if anyone was ever so in sync with a setting as to worry about whether monsters were in their proper geographic region. I can’t imagine playing a game where that would be a factor.

The monsters are a good mix of classics from folklore (a proper manticore!) and weird creations (Horse people with peacock tails? Sure, why not.) I think the Owl Thing is maybe my favorite. I have to say, the pencil work here is pretty outstanding and all by Kevin Siembieda. I’m not used to him delivering in this style, and at this level of realism. Not so into his cover for the first edition, though. The revised second printing cover is a strong improvement, and I love that manticore (the critter on the first printing isn’t a mistakenly winged manticore — rather, it matches Siembieda’s basic design for the sphinx).

[the-cat-at-the-theatre-door]

I know that at least two Jellylorums were also Christines in "Phantom" (Marni Raab and Sara Jean Ford)--would you happen to know who some of the others were?

Are you looking specifically for Jellylorums that were previously Christines, or more like the general Phantom - CATS or CATS - Phantom pipeline? I can give you a decent list of both, since we'd be atom smashing two hyperfixations together.

Format: NAME OF PERFORMER - Role in Phantom (Role in Cats)

Sorted by part played in PotO - I won't be naming all locations of productions these individuals were in for the sake of some kind of brevity. Since you asked mainly for Jellylorums who have been Christine, I have taken the liberty to BOLD them for easy reference.

(Note that this is not an extensive list - just a bulky one - I was already getting too long in the tooth haha)

MAIN TRIO

Sarah Brightman - Christine Daaé (Jemima - OLC)

Nikki Ankara - Christine Daaé (UK 1st Tour) (Jellylorum - London)

Celia Graham - Christine Daaé (Jellylorum - RCCL, Palladium, UK Tour 2016 etc)

Theresa Borg - Christine Daaé (Jellylorum - Circus Tour 1999)

Maree Johnson - Christine Daaé (Guest Grizabella - Circus Tour 2000)

Myrra Malmberg - Christine Daaé (Young Grizabella - Gothenburg 1989 non-replica)

Katie Knight-Adams - Christine Daaé (Swing - UK Tour 1993, Jemima - London)

Mia van den Eykel - Christine Daaé (Jellylorum - Aus/Asia Tour 1995)

Iren Bartok - Christine Daaé (Jellylorum - London)

Zoe Curlett - Christine Daaé (Jellylorum - UK Tour 2003 - 2009)

Debra Stables - Christine Daaé (Jellylorum - London)

Josie Walker - Christine Daaé (Grizabella - London and UK Tour 1993)

Renée Knapp - Christine Daaé (Jennyanydots/Griddlebone - Amsterdam)

Lydia Gerrard - Cover Christine (Cover Jellylorum and Grizabella - Asia Tour 2022)

Marti Webb - Christine Daaé (Grizabella - London)

Colleen Besett - Christine Daaé (Jennyanydots - Berlin and Dusseldorf)

Els Bongers - Christine Daaé (Booth Singer - Amsterdam)

Teresa de Zarn - Christine Daaé (Sillabub - Broadway)

Diane Fratantoni - Christine Daaé (Swing - Broadway, cover Cassandra, Etcetera, Grizabella, Jellylorum / Griddlebone, Rumpleteazer, Sillabub)

Marina Prior - Christine Daaé (Jellylorum - Sydney 1985)

Steve Barton - Raoul/The Phantom - (Munkustrap Original Vienna)

Richard Todd Adams - Raoul/The Phantom (Cats Chorus)

Jeremy Hays - Raoul (The Rum Tum Tugger)

Bronson Norris Murphy - Raoul/Others - (Asparagus/Gus/Bustopher)

Brad Little - The Phantom (Old Deuteronomy)

Mark McKerracher - The Phantom (Old Deuteronomy)

Pierre-Yves Duchesne - The Phantom (Old Deuteronomy)

Ian Jon Bourg - The Phantom (Asparagus/Gus/Bustopher)

Ethan Freeman - The Phantom (Asparagus/Gus/Bustopher)

Peter Polycarpou - The Phantom (Asparagus/Gus/Bustopher)

Scott Davies - The Phantom (Asparagus/Gus/Bustopher)

Phyllida Crowley Smith - Meg Giry (Victoria)

Emma Harris - Meg Giry (Victoria)

Emmanuelle Guélin - Meg Giry (Victoria)

 Karin Seyfried - Meg Giry (Jennyanydots)

Julie Carlton - Meg Giry (Electra)

Sharyn Winney - Meg Giry Understudy/Ballet Corps (Tantomile, Sillabub, Swing)

Kathleen Mullin - Meg Giry (Rumpleteazer, Swing)

Kimberley Partridge - Meg Giry (Jemima)

Jeehyun Noh - Meg Giry (Jemima)

Claire Lander - Meg Giry (Jemima)

OTHER PARTS

Peter Kevoian - Monsieur Reyer (Asparagus/Gus/Bustopher)

Greg Castiglioni - Ubaldo Piangi (Asparagus/Gus/Bustopher)

Tony McGill - Assistant Conductor (Asparagus/Gus/Bustopher)

Andrew Keelan - Passarino (Walking Cover/Asparagus/Gus/Bustopher)

Wim Van Den Driessche - Monsieur Firmin (Asparagus/Gus/Bustopher)

Gareth Snook - Monsieur Andre (Asparagus/Gus/Bustopher)

John Dewar - Swing (Asparagus/Gus/Growltiger)

John Ellis - Ubaldo Piangi (Old Deuteronomy)

Nathan Patrick Morgan - Jeweler/Ubaldo Piangi Cover (Swing, Chorus, Asparagus/Gus/Bustopher, Old Deuteronomy, etc)

Saverio Pescucci - Dancer/Ensemble (Alonzo)

Sharon Wheatley - Replacement Page/Swing (Jennyanydots)

Katharine Heaton - Swing and Understudy (Swing/Jellylorum)

Karl Morgan - Dancer in the 2004 Film (Pouncival 1998)

Chrissy Brooke - Ballet Girl (Chorus Cat in 2019 Film)

Marisa Paull Gorst - Dancer/Ballet Girl (Swing)

Marise Dusheiko - Ballet Girl (Victoria)

Harriet Ho Yin Chung - Ballet Girl (Swing)

Myrthes Monteiro - Ensemble (Jemima)

Lucius Wolter - Ensemble (Walking Cover)

Matt McFarlane - Understudy Phantom/Raoul in Love Never Dies (Munkustrap)

Bradley Delarosbel - Unknown (Likely Ensemble) (Admetus/Macavity)

Stephen Morgante - Unknown - likely ensemble (Skimbleshanks/Swing)

Anton Luitingh - Resident Director/Possibly Played Raoul (Munkustrap)

And technically, Jack Rebaldi was supposed to play Monsieur André in the Theatre Mogador production of PotO, but that was tragically cut short and never came to fruition (justice for that cast).

[paralleljulieverse]

70th anniversary of Cinderella London Palladium, 122 performances (24 December 1953 - 6 March 1954)

This month marks the 70th anniversary of a milestone in the early career of Julie Andrews: the opening of Val Parnell's lavish Christmas pantomime, Cinderella, at the London Palladium on 24 December 1953. Cinderella would be Julie’s fifth and final UK pantomime, following earlier runs in Humpty Dumpty (1948), Red Riding Hood (1950) Aladdin (1951), and Jack and the Beanstalk (1952). It was the biggest theatrical production Julie had yet undertaken and it would prove a turning point in the young star's career.

'No Pigtails for Julie'

By 1953, Julie was turning 18 and fast outgrowing the "infant prodigy" label of her early career. Efforts had been made for some time to update Julie's star image with a more mature look and an expanded musical repertoire. Much was made in the press about the new "[g]rown up now (or almost) Julie Andrews" (Bendle 1953: 2). "The tiny pigtailed schoolgirl who at age 13 sang in a Royal Command Performance," remarked one newspaper commentator, "is now a long-limbed attractive young lady who is wearing her first strapless dresses" (Pearce 1954: 6). As an archetypal tale of girl-to-woman metamorphosis, Cinderella was an ideal vehicle with which to advance these transformative ambitions. It not only gave Julie titular 'principal girl' status, but called on her to assume a role of emotional nuance and adult sophistication.

Even Julie's mother, Barbara, is reported to have exclaimed:

“Julie, this is the perfect part for you at the perfect age. It couldn’t have come at a better time in your career" (Andrews 2008: 156-57).

Val Parnell presents...

Underscoring the significance of Cinderella was the fact it was a Val Parnell production. Dubbed 'Britain's Mr. Show Business', Parnell was a hugely influential impresario who dominated the British entertainment scene for many decades. He had started in provincial variety management before progressively rising up the ranks to assume control of the prestigious Moss Empires theatre chain (Bullar & Evans 1950: 219). Later, Parnell would go on to play a significant role in the expansion of the British television industry as General Manager of ATV, the first commercial television network in the United Kingdom (Sendall 1982: 250). Renowned for his astute promotion of new talent, Parnell had been instrumental in launching Julie's career when he cast her in her first professional show at just 12 years of age: the now legendary  Starlight Roof at the London Hippodrome in 1947/48 (Alldridge 1954: 1). Cinderella would bring the two together again for the first time in six years. To hear Parnell tell the story, it was a reunion long in the making.

"From the moment [I] first heard her sing," he declared, I "made a mental note that one day [I] was going to present Julie Andrews as Cinderella." As he explained:

"So many child performers are inclined to be precocious...But Julie was not. She had that appealing simplicity which she still retains. It struck me at the time that she had all the qualities of an ideal Cinderella -- youth. freshness, charm" (Lanchbery 1954: 1).

At the London Palladium

Of all the theatres managed by Parnell, none was more celebrated than the London Palladium, a 2200 seat theatre noted for its opulent architecture and state-of-the-art stage facilities (Woodward 2009). Parnell's adept leadership propelled the Palladium to international acclaim as the most famous variety theatre in the world and a top drawcard for international stars. "To appear at the Palladium is the goal to which every artist strives," noted a 1957 newspaper commentary, "to appear at the Palladium is to have achieved star status!" (Hoddinott 1957: 4). The Palladium was also an important venue for Christmas pantomimes. Under Parnell, the Palladium "became the home of spectacular pantomime" with audiences eagerly anticipating each year's offering (Baker 2014: 219). Parnell applied the same triumphant formula to the humble British panto that he used in his variety revues: a blend of star power, spectacle, and money.

Writing in 1952, Ian Beven chronicled Parnell's studied approach to his annual pantomime at the Palladium:

"Each year...Parnell has tried to produce something bigger and better than the year before...He starts in midsummer, with a bare stage. By the third week in December, he has spent about £25,000 on scenery, costumes, musical arrangements, script, and rehearsals...Running costs of the show are high, as Parnell is prodigal with talent and fills his stage with people, and there are only about 140 performances on which to make a profit; but there is no disguising the fact that pantomime in this manner is a highly remunerative proposition, for there is rarely an empty seat throughout the run" (Seven 1952: 223).

Val Parnell's Magnificent 'Cinderella'

Cinderella would be Parnell's sixth pantomime at the Palladium. It would also be the only fully-staged panto in the West End for the 1953 Christmas season. In a sign of the rapidly changing post-war theatre scene, most of the other major London houses were tied up with long-running musicals and plays, largely imported from America. In addition, arena-style ice spectaculars were increasingly in vogue with a slew of new-fangled pantos "on ice" scheduled for suburban venues, leading some wags to quip that Parnell should call his show "Cinderella on Wood" ('Old fashioned Val' 1953: 6).  While many lamented it as a sign of "the decline and fall of the honoured institution" of the traditional panto, the absence of competition gave Parnell a distinct commercial advantage ('At the Pantomime', 1954: 4). When pre-sales for Cinderella opened in the autumn of 1953, the booking office was inundated and the show would become the theatre's most successful pantomime to date (Alldridge 1954: 4).

It also spoke to Parnell's innate sense of theatrical traditionalism. Though he was certainly not averse to innovation and was quick to adopt state-of-the-art technologies, Parnell was a producer of the old school. He believed in sticking to the tried-and-true and giving audiences what they expected. "Audiences haven't changed at all," he opined, "Certainly not the Palladium audiences. It's the same as it ever was. People go the the theatre to enjoy themselves...My job is to give it to them in bigger and better shows" (Hoddinott, 1957: 4)

True to this crowd-pleasing philosophy, Parnell determined to make Cinderella his most spectacular panto yet. Planning for the show started early in 1953. "I always start pantomime with a bare stage," he declared, "Everything must be new" (Fagence 1958: 4). Heading the production team were two influential figures who were something of righthand men to Parnell: Charles Henry and Charles Reading. Henry was Chief of Production at the Moss Empire chain for over thirty years. During his tenure, he would produce over 200 revues and pantomimes, as well as fourteen Royal Command Performances (Born & Frame 1960: 4; 'Charles Henry' 1959: 1). Known as a canny talent-spotter with an encyclopaedic memory -- Bud Flanagan famously called him "a blinking card index of comedy" -- Henry was fondly remembered by Parnell at his passing in 1968 as "one of the theatre's greatest backroom boys" and "my closest associate" (Evening Standard Reporter 1968: 17).

Reading was an equally trusted majordomo for Parnell. A true theatre polymath, Reading trained as an actor before expanding into production, direction, writing, and design. It was the latter talent that brought Reading initial fame with a series of innovative opera and ballet designs for Sadler's Wells and the Old Vic. He subsequently moved into designing more commercial fare in the West End and, in 1947, was contracted by Parnell as resident designer and production assistant at the Palladium (Barker 199: 20; Vallance 199: 36).

Together Parnell, Henry, and Reading set about staging Cinderella as an unparalleled spectacular. Set and costume design alone was budgeted at over £20,000, which equates to almost £700,000 in today's money (Webster 2013). Reading designed an intricate series of progressively spectacular sets, including a palatial Ballroom, a Cave of Crystal Lustres, and a Palace of Porcelain for the grand finale (V&A 2015).

Famed stage couturier, Robert St John-Roper, designed a complementary suite of costumes including a dazzling ballgown and bejewelled wedding dress for Julie. In her 2008 memoir, Julie recalled the breathtaking splendour of it all:

"Everything about that 1953/1954 production of Cinderella had a certain elegance...The production values on the show were terrific; there were revolving stages, and real white ponies pulling the spectacularly gilded coach...In the grand finale wedding sequence, my crinoline was so huge that I had to arrive backstage dressed in my bodice, sleeves, and petticoat, and walk into the crinoline skirt, which was braced on a stand because it was so bejewelled and cumbersome. The company, Prince Charming, and I were brought up from below stage on a hydraulic elevator, to be revealed in a sparkling white set and costumes for the final tableau" (Andrews 2008: 155-57).

Spectacle, Humour, and Charm

Careful attention was equally paid to the other production elements of Cinderella to ensure a well-wrought work of quality theatrical entertainment. To write the script, Parnell commissioned a trio of talented young writers who were only then beginning to make a name for themselves but who would go on to become giants of British comedy: Eric Sykes, Spike Milligan, and Mike Bishop. Their original treatment hewed closely to the core elements of the well-known fairy story but embroidered with innovations and, true to panto style, comic flourishes.

In the Sykes et al script, the story opens with Baron Pastry of Stoneybroke Hall lamenting that he has fallen on hard times (Stoneybroke...get it?!). He lives with his beloved daughter, Cinderella, and their faithful but hopeless retainer, Buttons who carries an unrequited flame for Cinderella. The Baron announces he has just married a wealthy widow in the vain hope of restoring his fortune. She comes to the Hall with her two unloved and unlovable daughters -- the Ugly Stepsisters, of course -- and they set about making Cinderella's life a misery. The requisite Royal Ball, benevolent Fairy Godmother, and Glass Slipper hunt all ensue before the inevitable happily-ever-after ending (Sykes et al. 1953).

Woven around these well-worn plot points were a series of comic interludes designed to accomodate the pantomime conventions of audience participation and novelty acts. These ran the gamut from a demonic door and a bomb-toting spaceman ("it's behind you") to jive singing footmen and a giant electric washing machine that tumbled a hapless Baron Pastry along with an assortment of oversized clothes (Sykes et al. 1953).

Song and Dance

No pantomime would be complete without music and dance and Cinderella served both in abundance. Overseeing the musical side of things were another pair of Palladium panto stalwarts: Phil Park and Bobby Howell. 

Park had been a star cinema organist during the picture palace era but, following the war, he turned his attention to composing and arranging. It was in this capacity that Park worked frequently for Parnell on his Palladium pantos which he "tailored to the stars appearing in the shows but always preserved the time-honoured tradition" ('Obituary: Phil Park' 1978: 6).

Bobby (aka Bobbie) Howell was a prominent band leader of the inter-war years, touring the cinema and dance circuits. After the Second World War, he became a musical director in the West End, working on a string of successful shows such as Strike a New Note, The Lisbon Story, and Piccadilly Hayride. He also worked as musical director and conductor on many of Parnell's pantomimes, including Cinderella ('Bobby Howell' 1962: 3).

In crafting the musical score for Cinderella, Park and Howell followed typical pantomime form of mixing existing well-known tunes with bespoke compositions. Many of the latter were written by Park including a humorous duet between Cinderella and Buttons (played by Max Bygraves). In this duet, Cinderella fantasises about a romantic future with the Prince, while Buttons humorously interjects with sardonic quips:

Cinders: There's a lady -- and she curtseys, Who she is, I cannot guess. She might be me, except that she Has such a pretty dress. And there's her handsome partner, Who is he, do you suppose? Buttons: All I see's a turkey, With a whopping parson's nose! Cinders: Now I see him very clearly, With a smile upon his face; I'm certain he's a Prince, Because he bows with royal grace. See now he takes her hand, And lifts it gently to his lips! Buttons: He looks like George Dawson, With a plate of fish and chips!

In addition to the duets, Julie had two showcase solos in Cinderella: "Chasing Shadows", a 1935 torch song by Silver and Davis, and "Is it Any Wonder," a lilting pop ballad by Bob Hayes and Roy Rodde which had been a recent chart hit for Joni James. 

Interestingly, both solos were modern pop standards and, thus, a marked departure from the light classical repertoire that had been Julie's stock-in-trade. She did get to do some limited coloratura trilling in the extended Transformation Scene at the climax of Act 1 where Strauss waltzes formed the musical accompaniment, but the strong emphasis on popular tunes was indicative of the strategic shift in Julie's image mentioned earlier.

A number of reviewers remarked that Julie didn't seem to do as much singing in Cinderella as they were expecting. She did, however, compensate with quite a bit of dancing -- more dancing in fact than she'd ever done in a professional context. 

Not only was there the mandatory waltz with the Prince, but Julie had a solo dance early in Act 1. She was also a key part of the pre-intermission ballet sequence. Choreography for Cinderella was provided by Pauline Grant with whom Julie had worked so happily the previous year in Jack and the Beanstalk. Pre-show publicity photos showcased Julie's dance rehearsals with Grant, underscoring her now mature lithe figure and womanly style. 

A Who’s Who of Cinderella

Alongside Julie, the cast of Cinderella was a roster of star names and variety notables:

Max Bygraves as Buttons: Born in 1922 in London, Bygraves was a versatile entertainer known for his Cockney persona, humorous storytelling, and sentimental singing. His endearing catchphrases and relaxed chummy style made him a beloved figure in British entertainment. Growing up in a modest family, he showed early signs of showmanship, encouraged by his prizefighter father. Bygraves left school at 14 and served in the RAF during WWII, where he began entertaining troops. His career took off post-war with various stage and radio appearances, including Educating Archie where he first performed alongside Julie. He made several films in the 1950s and his recordings, often nostalgic or comedic, were hugely popular. He continued performing internationally for many years, eventually settling in Australia. Recognised for his contribution to entertainment, he was awarded an OBE in 1982. He passed away in 2012 (Leigh 2012: 37).

Richard Hearne as Baron Pastry: Born in Norwich in 1909, Hearne came from a family with deep roots in music hall and circus arts, and he started performing on stage as a child. Hearne's career in variety and revue culminated in the creation of the beloved Mr. Pastry, a bowler-hatted, walrus-moustached character that brought him success in West End shows, pantomime, and TV, both in the UK and internationally. His role in Cinderella was effectively an adaptation of Mr Pastry complete with his signature comic dance, "The Lancers". A dedicated philanthropist, Hearne was a very active supporter of handicapped children and was honoured with an OBE in 1970 for his charity work. He passed away in 1979 ('Obituary: Richard Hearne', 1979: 27).

Adele Dixon as Prince Charming: Born in South London in 1908, Adele Dixon was a versatile performer known for her roles in London and Broadway musicals, Palladium pantomimes, and Shakespearean plays. After training at the Italia Conti Academy and the Royal Academy of Dramatic Art, she joined the Old Vic company. There, she shone in roles like Juliet and Ophelia. Dixon's transition to musical comedy in the 1930s made her a celebrated figure in the West End, admired for her red-gold hair, expressive brown eyes, and clear soprano voice. Her noteworthy performances included leading roles in Lucky Break, Anything Goes, and Over She Goes. Additionally, she appeared in the film Calling the Tune and became the first female performer on BBC Television in 1936. Dixon continued her success in post-war years with major hits like The Fleet's Lit Up and All Clear. She was also highly acclaimed as a Principal Boy in pantomimes, performing in these trouser roles 14 times throughout her career. Her portrayal of Prince Charming in the 1953 production of Cinderella marked her last appearance on the West End stage. While she continued to perform in provincial roles, health issues forced her into early retirement in the late 1950s. Dixon passed away in 1992 (Thornton, 1992: 29).

Joan Mann as Dandini: Welsh-born Mann trained as a dancer and started touring the variety circuit in her teens where she appeared on bills with stars including Max Miller and Tommy Trinder. A tall attractive brunette with a pleasant voice and shapely dancer’s legs, Mann was a perfect pantomime boy. She played opposite Julie in Jack and the Beanstalk (1952) and also toured with her as part of the musical revue, ‘Cap and Belles’ in 1953 (Andrews 2008: 146). Though she wasn't Principal Boy in Cinderella, Mann played the other leading pants role of Dandini, the Prince's Squire. Mann’s greatest fame came later as part of the celebrated Fols-de-Rols variety troupe with whom she performed for almost two decades. She also starred opposite Dame Anna Neagle in the hit West End musical, Charlie Girl in the late-1960s. Mann died in 2007 aged 87 (P.N., 2007: 53).

Jon Pertwee as Buttercup: Born in 1919, Pertwee was a versatile actor who left a significant mark in television, radio, theatre, and film. Educated at Sherborne, he belonged to a family of distinguished artists and made his acting debut in 1939 in Brighton. His notable wartime service on the HMS Hood led to a fruitful collaboration with Eric Barker in comedy writing and radio. Pertwee became a household name with his long-running role in the BBC radio series, The Navy Lark. He gained even greater international fame on television as the third Doctor Who from 1970 to 1975, and as Worzel Gummidge. Pertwee's career spanned over 100 films, including two Carry On movies, and numerous stage productions. In Cinderella, Pertwee took on the comic drag role of Buttercup, one of the Ugly Sisters. Pertwee passed away in 1996, leaving a legacy as a unique and memorable actor (Newley, 1996: 38).

Tony Sympson as Dandelion: Born in East London in 1907, Tony Sympson had a dynamic career in music and theatre. Initially trained as a choral scholar at St Clement Danes Church Strand, he made his stage debut as a specialty dancer in Dear Love. A mainstay character actor in West End theatre, he appeared in plays, musicals, revues, pantomimes, and operas. Sympson also featured in television ads where he earned a reputation for well-conceived characterisations. A pantomime regular, Sympson played the second of the Ugly Sisters, Dandelion, in Cinderella, a role he would repeat in subsequent productions. Sympson died in 1983 at the age of seventy-six (Marriott, 1983: 7).

Cyril Wells as Baroness Pastry: Born in Belfast in 1907, Wells' entry into acting was fortuitous. Initially a bank clerk, his passion for dancing led him to become a rehearsal partner for actress Jessie Matthews. This collaboration resulted in Wells being cast as her dance partner in the 1936 film It's Love Again, his only appearance on screen but a stepping stone into show business. He then featured in West End musical comedies like Order to View (1938), Here's Looking at Them (1939), and The Charcoal-Burner's Son (1939). Post-war, Wells shifted to comic roles in theatre and variety, notably in pantomime. In Cinderella, he played the Dame role of the blue-wigged Baroness. Wells passed away in 1958 in Southport, Lancashire ('Obituary: Cyril Wells', 1958: 9).

Ted and George Durante as the Broker's Men: One of several novelty acts to appear in Cinderella, the Durantes were a popular acrobat comic duo who found popularity on the post-war variety circuit. Contrary to their billing as brothers, the duo actually comprised two unrelated individuals, Ted Aston and George Mooney. They met in 1946 while performing as part of an acrobatic troupe and decided to branch out as partners, adopting the Durante surname at random. Their act ran for nine years till the late-1950s when Ted married and formed a new double act with his wife, becoming 'Ted and Hilda Durante'. This husband-and-wife team continued for many decades, becaming regulars on TV variety shows in the sixties and seventies (Wilmut, 1985: 182).

Elaine Garreau as the Godmother: Anglo-French actor Garreau, born in 1903, had an extensive and diverse career in British theatre, film, and television. She trained as a dancer, starting on the London stage at age 11 with a company of child artists. At 16, she was principal dancer at the Théâtre des Ambassadeurs in Paris and, at 20, understudy to the legendary Mistinguett. Returning to the UK, Garreau transitioned to acting and performed for many years in various London and provincial troupes across drama, comedy and musicals. Throughout the 40s and 50s, Garreau appeared frequently in pantomimes. In Cinderella, she took on the role of the magical Fairy Godmother. A few years later in 1958, Garreau would play again opposite Julie as part of the original London production of My Fair Lady, in the role of Lady Boxington. Garreau would remain with the show for over 10 years in both the Drury Lane and touring productions, racking up over 3,000 performances which was a world record. In her later career, Garreau increasingly appeared as a character actor in film and television. Garreau died in 2000 at the grand age of 97.

Silvia Ashmole as the Fairy Queen: Born in 1926, Ashmole enjoyed an idyllic childhood, travelling through Europe with her affluent parents and attending Cheltenham Ladies College. A trip with her mother to the ballet in London inspired Ashmole to take dancing lessons and, at age 16, she enrolled in the Cone-Ripman School of Dance, where she quickly excelled. Soon thereafter she secured a place in the coveted Royal Ballet (Sadler's Wells) and toured with them for several years. During a season at Glyndebourne, she met and eventually married the renowned Anglo-German opera director Peter Ebert. Ashmole continued her career as a dancer, often performing in operas at Glyndebourne and Edinburgh. She also worked frequently with choreographer Pauline Grant who contracted her to appear as the Fairy Queen in Cinderella (Wigglesworth 2018).

The Casavecchia Troupe as the Clowns: Billed as the "World's Greatest Comedy Tumblers," the Casavecchia Troupe was a team of acrobats who had worked individually in circus and variety before combining their talents. They toured widely in the UK variety circuit during the late-40s and early-50s. In Cinderella, they appeared as part of the Harlequinade sequence where their slapstick routine offered well-received comic relief.

William Barrett and Edna Busse as Harlequin and Columbine: Barrett and Busse were a pair of classically trained ballet dancers who danced the classic roles of Harlequin and Columbine in the Act 1 Harlequinade. Barrett was born in 1919 in Staffordshire and joined the Sadler's Wells Ballet company in the late-40s, touring with them to the US ('From Farm' 1954: 11). In the 60s and 70s, he performed in theatre and TV as a resident member of the Black and White Minstrel Show. He later retrained as a drama teacher and passed in 1995 (Jevons 1995: 29). Edna Busse was born in Melbourne in 1918. A protégé of Edouard Borovansky, she later honed her skills in London with Mathilde Kschessinska. Returning to Australia, she continued to perform, before transitioning into a revered ballet teacher. She passed in 2019, aged 100 (Yeo 2019).

The Aida Foster Babes: One of many companies of dancing juveniles popular in the era, the Aida Foster Babes were students of the Aida Foster Academy in Golders Green, London. Established in 1929, the Academy trained several generations of young hopefuls till ists closure in 1970, including several famous alumni such as Jean Simmons and Barbara Windsor ('End' 1970: 43). For Cinderella, Foster provided a group of 12 ‘babes’ who performed in several of the show’s lavish dance sequences.

Critical and Popular Reception

Cinderella was very well received by audiences and critics alike. The following excerpts give a sense of the uniformly glowing notices earned by the show, with particular mention of Julie:

Daily News: "Mr. Val Parnell has really done us proud. There can hardly be two more endearing comics than Max Bygraves and Richard Hearne. Julie Andrews, less operatic than I would have expected, is just the girl for Cinders, and she dances gracefully...a most spiffing pantomime" (E.F. 1953: 4).

The Tatler: "Cinderella has taste, beauty and elegance...But if there is more spectacle than of other good things who will complain, since the result...is so giddily splendiferous. The lighting and the costumes and the scenery could not better done...The principals are worthy of their splendiferous surroundings. Miss Adele Dixon has the right princely strut and Miss Julie Andrews, though she is less vocal than she was expected to be, makes Cinderella a young lady of character and charm" (Cookman 1954: 10).

Daily Mail: "Star names may shine all over the programme -- Max Bygraves and Richard Hearne here; Adele Dixon and Julie Andrews there -- but spectacle is the real star of Val Parnell's typically sumptuous pantomime. Instead of scuffling through the usual sleight-of-stagehand transformation scene Cinderella escapes from the kitchen by way of magic force, fairy spinning wheel, and luminous flying ballet to the cave of crystal lustres: a silvery-white vision as glittering as a wedding cake brush to life" (Wilson 1953: 4).

The Guardian: "Pantomime, though represented only by a single Cinderella in Central London, still flourishes...Cinders (Julie Andrews) croons before the dying kitchen fire...Max Bygraves and Richard Hearne use routine 'biz' to good effect...But what is really remarkable and characteristic of Pantomime 1953 is the standard of the ballet: the scene before Cinders goes off in her glittering coach is as smart, fast, extravagant and excitingly danced as a finale at the Moscow Opera" (F.B. 1953: 3).

The Observer: "The new Palladium Cinderella is magnificent to the eve and its Transformation Scene has fine taste as well as sumptuosity...Julie Andrews is a most attractive Cinderella but not so vocal as I expected" (Brown 1953: 6).

Daily Telegraph: "Cinderella...is up to the best Palladium standard. Elaborate spectacle and attractive dancing combine to delight one's eye. Adele Dixon is an admirable Prince Charming -- she has always been able to fill a big stage with her personality -- and Julie Andrews, kept oddly short of chances to sing, makes Cinderella a young lady of character and charm" (Darlington 1953: 7).

The People: "This is a grand and glamorous show with Julie Andrews as Cinderella. But it would have been grander still had they let her sing more. Adele Dixon constantly charms as the Prince. Max Bygraves and Richard Hearne provide a crescendo of laughs" (Shepherd 1953: 5).

The Times: "It is a hard fact for traditionalists to swallow that there is only one pantomime on the grand scale in the West End...yet if the dismayed traditionalists go the Palladium..., they will soon be cheered up....Here, it seems to say with complete confidence, is one of the few things in a changing world that have remained constant...The humour...is received with every sign of enjoyment and the romantic side of the show is from the first in good trim...Miss Adele Dixon and Miss Julie Andrews belong to the order of unobtrusively pleasant principles. They are an appealing pair, and they have in Mr. Max Bygraves an affable Buttons" ('The Palladium' 1953: 8).

The Stage: "Mr. Parnell has thrown everything into a demonstration of faith, assembling a director's dream of a cast and applying it to all the skill, experience and efficiency that have set the Palladium high in the world of entertainment. He lavishes talent and creative art, he employs every device of lighting, mechanical contrivance and novel effect that the theatre possesses, underlines it all with a defiant and traditional Harlequinade, and the result is the pantomime of pantomimes...Julie Andrews's fragile charm graces Cinderella's rags and raiments alike, and Adele Dixon's slim figure and are of intelligent humour are a delight" ('Christmas Shows' 1953: 5).

The Sketch: "It is the happiest panto-subject, and this is as happy a version as I remember. Richard Hearne in the bowels of a washing-machine, Adele Dixon and Julie Andrews to end rightly as Prince and Princess, Max Bygraves to chant 'Bighead!' -- here they all are, and Val Parnell has never had a spectacle more satisfying than the magical creation of coach and gown." (Trewin 1954: 18).

A Real-Life Cinderella

In many ways, Cinderella signalled something of a pinnacle for Julie's early British career. She was now a young woman in a starring role on the West End stage and, in professional terms, could scarcely go much further. Julie herself writes that "I felt that with Cinderella, my career had peaked" and whatever future she may have would be a continued cycle of "radio, vaudeville and pantomime" (Andrews 2008: 157). 

But the theatre gods had other plans and a real-life Fairy Godmother materialised to change the course of Julie's life forever. Midway through the run of Cinderella, Julie was paid a backstage visit by Vida Hope, the producer of the smash hit London musical, The Boy Friend. There were plans to take the show to New York with a new company, but the producers were struggling to cast the lead role of Polly Browne. At the suggestion of Hattie Jacques, Julie's former co-star in Educating Archie, Hope went to see Julie in Cinderella and offered her the role. 

It is part of theatrical lore that Julie was initially reluctant to accept the offer, but she was eventually persuaded to seize the opportunity (Andrews 2008: 157-58). Five months after the close of Cinderella, Julie flew off to New York and the rest, as they say, is history...

References:

Alldridge, John (1954). 'Oh, for another Gracie! says Mr Show Business.' Manchester Evening News. 12 October 1954: 1.

Andrews, Julie (2008). Home: A memoir of my early years. London: Weidenfeld and Nicolson.

'At the Pantomime.' (1953). Belfast Telegraph. 30 December: 4.

Baker, Richard Anthony (2005). British Music Hall : An Illustrated History. Stroud: Sutton.

Barker, Dennis. (1999). 'Obituary: Charles Reaaing.' The Guardian. 19 May: 20.

Bendle, Alan (1953). 'Keeping a Straight Bat on a Sticky Wicket.' Manchester Evening News. 15 August: 2.

Bevan, Ian (1952). Top of the Bill: The Story of the London Palladium. London: Frederick Muller Ltd.

'Bobby Howell.' (1962) The Stage and Television Today. 8 February: 3.

Brown, Ivor (1953). "At the Theatre: Not on Ice." The Observer. 27 December: 6.

Bullar, Guy R. & Evans, Len (1950). The Performer: Who's Who in Variety. London: The Performer Ltd.

Cameron, Don (1958). 'The Val Parnell Story Parts 1-4'. The :

Chanticleer (1953). 'People: Old Fashioned Val.' Daily Herald. 3 November: 6.

'Charles Henry Resigning.' (1959). The Stage. 2 April: 1.

'Christmas Shows: The Palladium "Cinderella'".' (1953). The Stage. 31 December: 5.

Cookman, Anthony (1954). 'At the Theatre: Cinderella (London Palladium).' The Tatler and Bystander. 6 January: 10.

Cottrell, John (1968). Julie Andrews: The Story of a Star. London: Arthur Barker.

Darlington, W.A. (1953). "Christmas Shows: Modern Twist to Cinderella, Elaborate Show at Palladium." Daily Telegraph. 28 December: 7.

Double, Oliver (2012). Britain Had Talent: A History of Variety Theatre. London: Palgrave MacMillan.

E.F. (1953). 'A Most Spiffing Pantomime." Daily News. 28 December: 4.

Even Standard Reporter. (1968). 'Ex-Palladium Showman Dies.' Evening Standard. 28 February: 17.

Fagence, Maurice (1958). 'Curtain Up on Mr. Palladium'. Daily Herald. 17 February: 4.

F.B. (1953). "From a Nose in Egypt to Abandon in the Outer Suburbs." The Guardian. 28 December: 3.

Frame, Colin & Boorn, Bill. (1960). 'Palladium Nights.' The Birmingham Evening Mail. 9 November: 6.

Hoddinott, Derek (1957). 'Val Parnell Speaks". The Stage. 29 August: 4.

Lanchbery, Edward (1954). 'Teen-age Cinderella task to the CN: Julie Andrews' dream comes true.' Children's Newspaper. 16 January: 1.

Leigh, Spencer (2012). 'Obituary: Max Bygraves.' The Independent. 3 September: 37

Marriott, R.B. (1983). 'Obituary: Tony Sympson'. The Stage and Television Today. 21 April: 7.

Newley, Patrick. (1996). 'Obituary: Jon Pertwee'. The Stage. 23 May: 38.

'Obituary: Cyril Wells' (1958). The Stage. 17 April: 9.

'Obituary: Phil Park' (1978). The Stage and Television Today. 23 November: 6.

'Obituary: Richard Hearne' (1979). The Stage and Television Today. 30 August: 27.

Pearce, Emery (1954). “No Pigtails for Julie.” Daily Herald. 11 January: 6.

P.N. (2007). ‘Obituary: Joan Mann’. The Stage. 6 December: 53.

Ray, Ted (1956). 'Palladium Nights.' The Liverpool Echo. 27 October: 3.

Sean, Neil (2014). Live from the London Palladium: The World's Most Famous Theatre in the Words of the Stars Who Have Played There. London: Amberley Publishing.

Shepherd, Ross (1953). "London Holiday Shows." The People. 28 December: 5.

Sykes, Eric; Milligan, Spike; Bishop, Michael; and, Park, Phil. (1953). Val Parnell's Cinderella: For production at the London Palladium Xmas 1953. Moss Empires Ltd. [Manuscript held in the Lord Chamberlain's Plays Collection, British Library].

"The Palladium: Cinderella." (1953). The Times. 28 December: 8.

Thornton, Michael. (1992). 'Obituary: Adele Dixon.' The Stage. 4 June: 29.

Trewin, C.W (1954). "At the Theatre: Cinderella (Palladium)." The Sketch. 13 January: 18.

V&A (2015). 'Charles Reading.' V&A Theatre and Performance Collection. https://collections.vam.ac.uk.

Vallance, Tom. (1999). 'Obituary: Charles Reading.' The Independent. 17 June: 36.

'Variety Stage: Palladium Plans' (1953). The Stage. 17 September: 3.

Webster, Ian (2013). 'U.K. Inflation Calculator.' In2013dollars.com. https://www.in2013dollars.com/UK-inflation.

Wilmut, Roger (1985). Kindly leave the stage! : the story of variety, 1919-1960. London: Methuen.

Wilson, Cecil (1953). "Spectacle gets the star role." Daily Mail. 28 December: 4.

Woodward, Chris (2009). The London Palladium: The Story of the Theatre and its Stars. Huddersfield: Northern Heritage Pub.

©2023, Brett Farmer. All rights reserved.

[behindthemirrorofmusic]

For #womenshistorymonth a look at some of the most important women in the history of The Phantom of the Opera.

Number 15. Claire Moore

Claire Moore was cast as the alternate Christine Daaé in the original cast of The Phantom of the Opera. She played three shows each week. When Sarah Brightman left the production after a year, Claire took on the role full-time.

In 1989 she left the role to play Ellen in the original London production of Miss Saigon.

A while later Claire returned to the role of Christine, most famously with Ethan Freeman.

Claire and Ethan were voted "favourite Christine and Phantom" by the Phantom Appreciation Society. This win led to a contract at Jay Records for a highlights album featuring them both.

She was due to return to in September 2013, this time to play Carlotta Guidicelli, but her run was cancelled due to injury.

Claire's early work includes appearing alongside Richard Harris in the 1982 London production of Camelot and playing the lead role of Audrey in the 1983–85 Comedy Theatre production of Little Shop of Horrors.

From 2000 to 2001, Claire played Mrs Anna (as alternate for Elaine Paige) in the London Palladium production of The King and I. She has also starred as Fantine and Madame Thenardier in Les Misérables.

In the 2019 National Theatre production of Follies, she played former Follie girl Hattie Walker and sang one of the shows most popular songs, ‘Broadway Baby’.

[scotianostra]

Happy 80th Birthday Billy Connolly.

The comedian and actor Billy Connolly was born on November 24th 1942 in Glasgow, into a poor and not altogether stable family; he left school at age 15 and served as (among other jobs) a shipyard worker, a paratrooper in the Territorial Army, and a welder, the latter including a stint building an oil rig in Nigeria. Shortly after his return, Connolly quit working and, supporting himself with the money he’d saved, concentrated on learning to play folk music on the banjo and guitar. He became a regular on the Glasgow folk scene, instantly recognisable with his wild hair and beard; he drifted in and out of several bands before forming the Humblebums with guitarist Tam Harvey in 1965. Gerry Rafferty (later of Stealers Wheel and “Baker Street” fame) joined sometime later, and the group built a following with their live performances, which spotlighted Connolly’s humorous between-song bits.

As Rafferty’s songs became the Humblebums’ primary musical focus, tensions among the members escalated; Harvey departed, and Connolly and Rafferty recorded two albums in 1969 and 1970 before disagreements over Connolly’s concert comedy split them up in 1971.

Connolly soon began performing around Scotland and northern England, concentrating more on comedy but still mixing occasional folk songs into his act. 1972 saw the release of Connolly’s first album, Live, and also the debut of The Great Northern Welly Boot Show, a musical play Connolly co-authored with poet Tom Buchan based on his experiences in the shipyards of Glasgow. The show was a hit in Edinburgh and London, and Polydor signed Connolly to a recording contract. In 1974, his Solo Concert album sparked protests from the Christian community over a rowdy routine in which Connolly described the Last Supper as if it had taken place in Glasgow; all the publicity only helped his career, and he was quickly becoming one of Scotland’s favourite entertainers.

His 1974 follow-up album, Cop Yer Whack for This, became his biggest hit yet, going gold in the U.K., and the comic take on Tammy Wynette’s “D.I.V.O.R.C.E.” became a surprise number one hit single in 1975. That same year also saw Connolly put in star-making appearances on Michael Parkinson’s chat show and at the London Palladium. He consolidated his success with a rigorous touring schedule over the next few years (including the massive Extravaganza tour of the U.K. in 1977), and continued to release comedy recordings on a regular basis into the ‘80s.

During the late ‘70s, Connolly began taking on acting roles in television and film productions, and tried his hand at playwriting, with somewhat less success. His first marriage dissolved in 1981 amidst an affair with comedienne Pamela Stephenson (whom he would later marry in 1989, the same year he shaved off his trademark shaggy beard). Taking up residence in London with Stephenson, Connolly continued his comedy career while taking on more theatrical and television roles.

Toward the late '80s, his appearances on American television became more frequent, which – along with an unsold pilot for a Dead Poets Society series – helped Connolly land a gig replacing Howard Hesseman on the high school honour-student comedy Head of the Class in 1990. His highest-profile American exposure was short-lived, however, as the series was cancelled after just one season; however, Connolly was back on American airwaves in early 1992, starring in the sitcom Billy. It too was cancelled after a short run, and after appearing in the film Indecent Proposal, Connolly returned to the U.K. (though he still officially resided in the Hollywood Hills).

In 1994, he hosted the acclaimed series World Tour of Scotland, which explored the flavor of contemporary Scottish culture. It proved so successful that Connolly hosted two further exploration-themed BBC series: 1995’s A Scot in the Arctic, in which he spent a week on a remote northern Canadian island, and 1996’s World Tour of Australia. Lent a new respectability, Connolly appeared in BBC Scotland’s historical dramas Deacon Brodie and Mrs. Brown, the latter of which also featured Judi Dench and was released worldwide to much acclaim.

In 2012, Connolly provided the voice of King Fergus in Pixar’s Scotland-set animated film Brave, alongside fellow Scottish actors Kelly Macdonald, Craig Ferguson, Robbie Coltrane, Emma Thompson, and Kevin McKidd. Connolly appeared as Wilf in Quartet, a 2012 British comedy-drama film based on the play Quartet by Ronald Harwood, directed by Dustin Hoffman. In 2014, Connolly appeared in The Hobbit: The Battle of the Five Armies as Dáin II Ironfoot, a great dwarf warrior and cousin of Thorin II Oakenshield. Sir Peter Jackson stated that “We could not think of a more fitting actor to play Dain Ironfoot, the staunchest and toughest of dwarves, than Billy Connolly, the Big Yin himself. With Billy stepping into this role, the cast of The Hobbit is now complete. We can’t wait to see him on the battlefield.”

In September 2013, Connolly underwent minor surgery for early-stage prostate cancer. The announcement also stated that he was being treated for the initial symptoms of Parkinson’s disease.

Connolly had acknowledged earlier in 2013 that he had started to forget his lines during performances, adding later he was finding it hard to remember how to play his banjo.

In 2017 for his 75th birthday Glasgow bestowed upon Billy three 50 foot murals , to add to the many murals in the city, in 2007 and again in 2010, he was voted the greatest stand-up comic on Channel 4’s 100 Greatest Stand-Ups. He once again topped the list on Channel 5’s Greatest Stand-Up Comedians, broadcast on New Year’s Eve 2013.

Recently Billy has spoken about his Parkinson’s saying that  he now walks “unsteadily” and that his “hearing is going”. He admits he would love to go back on stage but that “I don’t know if I can do it with the state my mind is in.” he appeared on Radio 2’s Chris Evans show and told him “I don’t think the way I used to,” he went on…“….and steadily more symptoms come and it’s incurable. It’s not going to end. As a matter of fact, I had a Russian doctor in New York who said, 'You realise this is an incurable disease?’"And I said, 'You got to get a grip of yourself, stop calling it an incurable disease, say we have yet to find the cure. Give the guy a light in the tunnel.’”

Billy retired from his stage shows officially IN 2018, but he has kept himself busy, he hit our screens with another series of his Great American Trail, which will follow him as he replicates the route taken by Scottish immigrants who came to America in the early 18th century. He also brought out a new book, called Tall Tales and Wee Stories, to launch it Billy’s face was projected on to buildings in Glasgow and Edinburgh.

In November 2019, The Glasgow Evening Times named Connolly as The Greatest Glaswegian as determined by a public poll. Connolly has been a patron of the National Association for Bikers with a Disability.  His first sculpture, which is inspired by his past as a welder, was released in March 2020.

Last year when asked on BBC’s The One Show, what is it like living with Parkinson’s, he said: 

“It has its moments. It’s like just now, my left hand is shaking. I used to be able to stop it by staring at it, but it doesn’t work so much anymore. It’s not a frightened of me as what it used to be."

However, during the BBC documentary Made in Scotland, viewers became worried about the star’s health after he said: 

"My life, it’s slipping away and I can feel it and I should."I’m a damn sight nearer the end than I am the beginning. But it doesn’t frighten me, it’s an adventure and it is quite interesting to see myself slipping away.”

However, Billy made it clear following the documentary that he was not close to death, and posted a video online to address viewers’ worries.

The big yin has been hane recently and a few pics have cropped up of him on social media, he was seen having mince and tatties at a “Loch Lomond Pub” the pub in questions is a favourite of my Sister, Sandra, The Oak Tree at Balmaha, he also in Jessie Biscuit in Milngavie in the past couple of weeks.

Today, to mark his 80th  National Theatre of Scotland announced a ply about our national treasure, Dear Billy  will tour in theatres and community centres across Scotland next year.

Featuring stories from the general public about The Big Yin, the show has been created by Gary McNair, who wrote and performed the acclaimed 2014 play Donald Robertson Is Not A Stand-Up Comedian.

Connolly has given his blessing to the production and a seat will be saved for him at every show in case he wants to drop by. And McNair plans to collect even more stories about the Glaswegian stand-up while on the road to make every show different.

Radio 4 Xtra is also currently repeating comedian Janey Godley's 2015 series about Connolly, The Big Yin..

Happy Birthday Billy.