Ships that passed in the night circa 1968/75.
This is simply meant as an information source regarding the whereabouts of the ex-D'Oyly Carters I know from my time with the company and a few others I have worked with since. I will try and indicate, where I can, the follow-up information of each person after they left the Carte but this will be, at best, patchy and sometimes hearsay.
Those D'Oyly Carters who achieved success elsewhere will need no mention here though of course I will try and give some information regarding this where I can.
I would also like to thank David Stone for his kind words of encouragement and for the use of his own splendid website, Who Was Who In The D'Oyly Carte, for information and pictures some of which I have nicked. Many thanks, JC
Donald Adams (1951-69) Donald was simply a giant of Gilbert and Sullivan in the annals of the D'Oyly Carte. I can only surmise that if the other men who espoused the roles Donald performed with such energy and character were half as good as he was then D'Oyly Carte audiences through the years have been extraordinarily well served. He continued in G&S when he left the Carte in The Magic of Gilbert and Sullivan, a company he founded with Tom Round and Norman Meadmore to great success, and when this came to an end he reinvented himself in Grand Opera playing roles, mainly in the Buffo comic tradition, with Covent Garden and the Welsh National Opera. Sadly Donald passed away in harness as it were having sung in Don Pasquale at the ENO and while preparing A Midsummer Night's Dream which he would have performed at the Metropolitan Opera, New York in 1996.
Glyn Adams (1956-73) Glyn was one of the first people to make me feel at home when I joined the company. He was always a humorous and generous man who’s suave good looks made him a favourite with the ladies. When he married Elizabeth Mynett he settled down to a very happy marriage. Glyn played a few of the small parts and variously covered others until he departed the company in 1973 and joined the chorus of the English National Opera where he stayed until his untimely death in 1977. Glyn was always committed to everything he did and was particularly skilled in his pastimes which included playing cards, particularly cribbage and poker, darts, billiards and snooker and his passion, golf. Like many of us in the dressing room Glyn would often pass away the free time playing cards with other interested persons such as myself, Mike Buchan and Mike Tuckey. It is a well-known fact that the room could tell when I lost a game as the air suddenly turned blue!!! Although light stakes were always played for, whenever Glyn played Mike Tuckey he would always take his winnings in real steaks, which Mike would bring back from his visits home to his father’s Butcher’s Shop. Glyn delighted in his afternoons on the golf course and was a very proficient player with a handicap of, I believe, eight. Therefore, when he departed this world, though terribly sad, it was of some slight satisfaction to know that he died on his favourite golf course walking up a hill to the last green. He was a great guy and is missed.
Brenda Atherton (1968-71) Brenda joined the company at the same time as myself and I remember her great delight when we were told we had been accepted into the company. She always seemed to have a smile on her face and was a very good member of the chorus. She played several small parts and understudied several of the mezzo soprano roles. She married Peter Fielding, a clarinettist in the orchestra, and left the Company in August 1971 presumably to settle into married life.
John Ayldon (1967-82) At the time of writing this John Ayldon is still performing G&S concerts sometimes with me but invariably with Patricia Leonard. John left the Carte in 1982 and went into a succession of West End Musicals. He played The Pope in the very short-lived “Which Witch” much to the delight of all who know him. He spent several seasons in Phantom Of The Opera then concentrated on his very busy concert schedule both here and in the USA. He is still a master of the stage and a delight to work with. He is the only baritone I know who can make the Policeman’s Lot last over half an hour with his audience participation. A very funny performer.
Caroline Baker (1973-77) A chorus member and mezzo cover Caroline’s rich operatic voice was better served when on leaving the Carte she went into the Welsh National Opera where her potential began to make it’s mark. She was noted for a particularly fine Carmen. However, luck was not to follow her and a major career eluded her, though she made a very fine contribution to the chorus while there. Of her whereabouts and circumstances these days I am totally ignorant
John Banks (1953-62, 1966-67)John went into Covent Garden chorus after he left. Of course I did not know him in the Carte but our paths crossed on many occasions in extra chorus work and recordings. John was a tall handsome man with a military bearing. In fact he is well remembered for one remark he made in the dressing room when emotions were running high and the air was tending towards a deep shade of indigo. He shouted, "Gentlemen! This is not a Barrack Room!" It caused a cessation to the noise and this was always a remark Elli would use when circumstance warranted it. John must have retired by now.
Roger Barber (1972-74)
Pamela Baxter (1979-82) Although Pam was not in the Carte while I was there I have worked with her from time to time in various concerts. She covered several mezzo roles and when the company closed in 1982 she joined Kent Opera while continuing her work in G&S with other companies, notably in The Ratepayers’ Iolanthe in the West End and once again in the New D’Oyly Carte Company and New Sadler’s Wells Opera where she played the part of Chloe in La Belle Hélène. She recently married again to a friend and colleague of mine Ralph Meanley and lives in Walthamstow I think.
Suzanna Beaumont (1973-75) A very well-spoken and pretty girl as I remember her. She covered a few of the mezzo small parts and her earlier dance training stood her in good stead when she and Alan Spencer danced as the king’s dancers in the centenary season’s production of Utopia Ltd at the Savoy. I lost touch with her after she left the company, as I did with so many of the old Carters and think she became a mother and housewife. She still does the odd concert however so I hope I have not undervalued her musical career.
Patricia Anne Bennett (1974-79) Jackie, as I knew her, was a lovely girl and a lot of fun. She changed her stage name from Jackie Burnett to Patricia Anne Bennett and covered and played many of the mezzo roles until she left the company in 1979. She married Patrick Wilkes who became a Probation Officer after leaving the company. They had children and Jackie still continued to sing in concert though she is now divorced I believe and has discontinued singing.
Clive Birch (1979-82) Another who was not in the company at the same time as myself though I have worked with him in concert. He covered some of the Baritone roles and a few of the Patter parts too which would have suited his humorous personality as he is another of the very-funny-people brigade and a joy to work with. What he is doing now I don’t know. Perhaps someone would care to let me know.
Hugh Bishop (1970-73) Robert, as he was known to us at first, came to the company from a teaching post at a Public School. His was a light, very English Choral Tradition tenor voice with a sweet tone. He was married to Kaya, a Danish girl so he was in his element when we went to Denmark. I think he returned to the teaching profession when he left. ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff
Keith Bonnington (1963-65) Keith had just left the company when I joined, though I did get to know him in the English National Opera later. He was a mainstay chorus baritone and was active in Equity politics. He married Anne Egglestone who had been in the Covent Garden Opera chorus but who joined ENO to be with Keith. They are both retired now and living in Yorkshire. (??) LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL
Derek Booth (1967-72) Derek was principal tenor understudy when I joined. He was a hard worker and had a lot of talent as pianist as well as singer. He could also play the church organ, which he did at the memorial service held for John Webley, a very moving experience for all of us involved. He is one of the few men I know who always had a ready wit, a genuinely funny one who often had the dressing room in hysterics with the well-aimed quip. He is married with two children and he also went into the English National Opera chorus and remained there until his recent retirement.
Margaret Bourgein (1973-75) Maggie Evans had to change her stage name as it conflicted with Equity’s requirements so she adopted the name of her then boyfriend becoming Margaret Bourgeine. She was a very good chorus member though she was never encumbered by understudy duties. After she left the company she went into ‘Oh Calcutta’ a very risqué show at the time, extremely funny and sexually explicit - by the standards of the day! She told me the name of the show was a corruption of the French ‘Oh! Quel cou tu as!’ which translates as ‘Oh what an arse you have!’. Very appropriate. I last saw Maggie doing a concert with G&S A La Carte and she looked no different from thirty years ago.
Richard Braebrook (1976-80) Richard has a very fine tenor voice and still sings in concert now. He took on several of the understudies I had done in the Carte and was in residence when I was called upon to do Hilarion in the 1977 London Season. Richard had only been given the cover a short time and had not had time to learn it fully when I got the call. After leaving the Carte he went into the ENO chorus. I ran into Richard when he was singing at Spaghetti Opera, an Italian Restaurant in Fleet Street. He was partnering a good friend of mine, whom I have since partnered too at the same place, sadly now closed!!! He caused one of the tables of Italians to howl with laughter when, in the La Boheme duet, O Soave Fanciulla Richard sang, "Dam' il baccio mia piscina" instead of, "Dam'il braccio mia piccina". He should have asked the lady, "Give me your arm, my darling," but it came out as, "Give me a kiss my little swimming pool". Richard went into Phantom Of The Opera, first as the cover to Piangi, the operatic tenor, then he sang the role for one six month season. I have lost sight of him in recent years though I believe he is still an active concert tenor.
Janet Brandreth (1971-75) One of the super-pretty girls in my time in the Carte. She had a slow-lidded smile reminiscent of Marylin Monroe and was always a good laugh. She had two Siamese cats on tour with her in her caravan which, on one memorable occasion were allowed to get out by a lady guest who was a bit worse for wear after a party. We all had to scour the caravan park as one of the cats was ill. Eventually we got them back and the offending guest was put in a taxi and sent home. Janet married Lee ? a trombonist and had two children. I last saw her at the Players Theatre where we were attending a performance of Monarchs of All They Savoy, a musical play written by Barry Clark. Her hair was now white and at first I didn’t recognise her as I remembered her having long blonde hair. It was when she smiled, there was the Janet I knew. I later learned she was fighting Oesophageal Cancer, from which she died shortly thereafter.
John Broad (1969-75, 1980) Broady was the ‘intellectual’ of the company having come to us from the teaching profession. His was a very fine and fruity Bass voice, though schooled in the English Choral Tradition rather than the Italian Bel Canto. He was a fine actor and made a dashing impression as the Lieutenant of the Tower and a truly decrepit Notary in The Sorcerer such was his talent at make up. He is married to Rosalind Griffiths and they have twin boys. John returned to the teaching profession where his management skills flourished gaining him a headship. They live in South Petherton, Somerset.
Alan Broom (1971-72) I barely remember Alan, though he was a good strong member of the chorus and had a good sense of humour. More than that I do not know. Foxy was also a terror on the golf course, though recently he has had to forego the game because of a problem with his hands. He and Pat became landlords of a pub in Stoke on Trent for a time until they decided enough was enough and retired to Shropshire. He still takes part in
Michael Buchan (1972-82) Foxy, as he was known in the dressing room since his name was Michael Fox when he joined, became Buchan because of Equity regulation. He took over many of the covers vacated by John Broad and later Jon Ellison and was the main Bass cover for a while. He is married to Patricia Leonard and they have two sons. Foxy was also a terror on the golf course, though recently he has had to forego the game because of a problem with his hands. He and Pat became landlords of a pub in Stoke on Trent for a time until they decided enough was enough and retired to Shropshire. He still takes part in concerts and still has the rather deliberate wit which used to convulse us from time to time.
Christine Bull (1968-71) Christine stands out in memory as a very hardy country girl who was never cold. She came from a farming community I believe and I was amazed to see her wearing a mini skirt and blouse, with only a scarf as a nod towards the temperature as the rest of us, dressed in heavy overcoats and fur hats braved the sub-zero temperatures of New York. She didn’t seem to feel it at all. What happened to her after she left I never knew.
Gillian Burrows (1974-76) Gillian was a pretty girl who came to the company having been a teacher at Rodean School. She covered some of the mezzo roles and made several appearances at various times. She married Glyn Hale, the then associate Musical Director and returned to teaching after leaving the company. She can be found on her own website, halefamily.net/Gill which has more details of her performing career to date.
Paul Burrows (1975-76) I seem to have missed Paul entirely as he joined as I left both the D’Oyly Carte and ENO companies. We have performed together in concerts of G&S but I regret to say, more than this I do not know.
Clicking on the blue links above and below will open pages in one of several G&S sites (listed below) which you can browse at leisure.
Memories Of The D'Oyly Carte
They are
Who Was Who In The D'Oyly Carte
The G & S Archive
Savoynet