agree and even today the overture from Gigi is something I relish hearing.
Curiously it was Granny Molly who banged on about West Side Story and it was she who took me to it. The American cast’s dancing was like nothing I’d seen before. That two stage musicals could be so different yet equally spellbinding had me in a tailspin. Granny bought me the Broadway cast album for Christmas and pretty soon it was my favourite of the two. I related to Bernstein’s score much as I did to Prokofiev’s Love for Three Oranges.
However what completely pulverized me was the film of South Pacific. I went with Mum and Dad and I remember the afternoon I saw it as vividly as the legendary colour filters that would have clobbered a lesser score. I had to wait until my birthday the following March for the soundtrack album. I still treasure my battered worn copy – incidentally it is the only album to have been No. 1 in the UK charts for a whole calendar year. By Christmas 1961 I knew the scores of Carousel, The King and I and Oklahoma! and had seen the South Pacific movie four times. But there was one other movie. It only had a few songs but it grabbed me nonetheless. Elvis in Jailhouse Rock. The “Jailhouse Rock” sequence had me standing on my seat. I still have the worn-out 45 rpm single that drove my parents to distraction.
Musicals were soon the staple diet of the Harrington Pavilion. I wrote tons of dreadful ones. An audience of bored parents and friends, relatives and anyone I could find would gather for the latest offering with Julian and me on vocals, and me alternating as pianist and scene-shifter. At its zenith the theatre’s stage, were it to have been built lifesize, would have dwarfed that of the new Paris opera house at the Bastille. Subjects included everything from The Importance of Being Earnest to The Queen of Sheba. A whole fantasy town developed around the theatre. Everyone in this town was somehow dependent upon the theatre’s well-being. The Harrington Pavilion had a box office through which the townspeople booked tickets. Hits or turkeys were assessed by the reaction of the audience of bored parents and friends.
I developed with Julian a complete world in which I could hide and where I was truly happy, a make-believe world with one common denominator, musical theatre. There were stars who came and went, made comebacks or passed into oblivion with billing to match. There were pretend directors, designers and programmes, even souvenir brochures, for I was very impressed by the stiff-covered job that went with My Fair Lady. There were special train services that ferried audiences from the fantasy town to the theatre on show nights and, when I was given my first tape recorder, original cast albums were quick to follow.
Praise be to the good Lord that the tape recorder in question was incompatible with any other. For some reason it had its own peculiar tape speed. Thus my prepubescent warblings, along with the gismo that recorded them, are mercifully lost to posterity. However I own up that two of the tunes survive in other guises. From Ernest! billed modestly as “A Musical of Gigantic Importance,” one became “Chained and Bound” in Joseph. The main melody of “Chanson d’Enfance,” appropriately titled under the circumstances, in Aspects of Love also came from this show. Quite how the latter could possibly have made sense dramatically in a musical based on Wilde’s timeless comedy eludes me.
However my burgeoning love of medieval cathedrals, ruins and churches affected me equally as deeply. I built a vast play-brick Gothic cathedral (dedicated to St Elvis) at the other end of the nursery to cope with the Harrington Pavilion theatregoers’ spiritual needs. St Elvis’s Cathedral fell victim to the wrecker’s ball and chain, i.e. Julian in a fit of rage knocked it down. But for many years the Harrington Pavilion, being glued together, survived unscathed. In the Sixties when I left home, my toy theatre was carefully dismantled and stored. But sadly it went missing when I moved house in 1974. All I have now are a very few photographs.
WITH THE TOY THEATRE shows came an increasing interest in me from Auntie Vi. Mum, frankly, whilst not disapproving of my puerile jingles, didn’t exactly approve either. She had transferred her ambition for a classical musician of a son onto three-year- old Julian, for whom she had bought a baby-sized cello. Dad, however, was starting to show an interest in what I was up to. When I was ten he took some of my tunes, arranged them very simply for the piano, and had them published under my name in a magazine called The Music Teacher with the title “The Toy Theatre.” Every now and again when I was experimenting away at the piano he’d come in and ask me how I had discovered some chord or another. I suppose that wasn’t surprising: my father, for all his grand title of Professor of Composition at the Royal College of Music, truly loved melody. In fact he was the most open bloke about melody there could be.
Thus in addition to hearing all the current musicals, specially when I went to visit Auntie Vi, my father would play me music of all sorts, albeit with a heavy leaning towards Rachmaninov. Dad’s taste in “serious” music did not embrace the modernists. He did, however, admire Benjamin Britten’s orchestrations, though he would wave his cocktail-shaker in anger that Britten left for America in the Second World War as a conscientious objector. Dad repeatedly moaned that Britten thus gained a massive unfair advantage over composers like himself who stayed in bomb blitzed London and did their bit for the war effort.
In 1958 Dad decided to hit the organ keyboards again. He had given up his post at All Saints Margaret Street after the war to teach composition at the Royal College of Music. Now, a decade later, he was appointed musical director of the Methodist Central Hall in Westminster. The Central Hall services were polar opposite to the High Church trappings of All Saints. I gather his move caused quite a stir in circles where incense is a key conduit to God. But Mum was delighted. She distrusted Catholics. Catholics believe animals have no souls. The truth was that the Central Hall had one of the finest organs in Britain, and Dad was itching to play publicly again. My cellist brother Julian tells me that performing was where Dad showed a steely side. Early in his career Julian asked Dad how he could overcome his pre-performance nerves. Dad rounded on him, saying if he had prepared himself properly he wouldn’t be nervous.
Apart from the occasional blood and thunder sermon or rousing free-church hymn, the ray of sunshine in the colourless services that Julian and I were now dragged to every Sunday was the moment Dad goosed up proceedings with one of his organ improvisations. Of course Methodists are teetotallers so I hope nobody examined the mineral water bottle Dad had beside him in his organ console and which, after a swig, miraculously transported him to ever greater inspirational freedom.
2014 saw the centenary of my father’s birth and there has been a welcome flurry of interest in him as a composer. This has been much encouraged by Julian’s discovery of many pieces he wrote but kept under wraps because he openly felt his music was out of step with the contemporary serious music world. It was. But, rather as late Victorian painters continued in sub Pre-Raphaelite style long after the advent of Impressionism, Cubism and the like, today we see these artists still had something to offer even if it was out of its time. I feel the same way about Dad’s music. He could have been a fantastic film composer. His work is crammed with wonderful big melodies, quite alien of course to anything in contemporary classical music, but of a scale and dramatic breadth equal to many of the famous twentieth-century film composers. I believe he knew it but couldn’t bring himself to consider going down that road.
First, in the 1930s it would have seemed like a heinous case of letting the side down for a working-class boy who had won every sort of academic gong to demean himself in the world of “commercial” music.
Secondly, he loved a fixed routine. He could never have coped with overnight rewrites demanded by a temperamental director who wanted a musical rethink like yesterday. But listen to Dad’s orchestral tone poem Aurora. I played it once for the movie director Ken Russell, who pronounced it an erotic, supercharged mini-masterpiece. The director of Women in Love should know.
I have one very vivid memory of Dad. Before we went to the movie of South Pacific he played me the Mario Lanza recording of “Some Enchanted Evening.” Three times he played it, tears streaming from his
