Comments on: Ivor Novello: “Composer of the Week” On BBC3

By: Dann Chamberlin

Dann Chamberlin — Thu, 02 Feb 2017 19:35:32 +0000

I saw Novello’s “The Dancing Years” at the Ohio Light Opera last summer – my first exposure to his music after many years of being an “operetta nut.” Nicely set for voices, expertly orchestrated – and utterly unmemorable. “Warmed-over Romberg” was my gut reaction.

By: Jim

Jim — Mon, 26 Dec 2016 11:59:49 +0000

The major problem any stage show from that aged faced, and will face again again if someone looks to revive it, is the cold dead clammy hand of the Lord Chamberlain. It’s easy to snigger when you read “Lord Chamberlain wishes to be informed of the manner in which the plank is in future to be carried”, but back in the thirties no-one was allowed to mock the Nazis (although it was apparently fine for the Queen Mother to teach her children to goosestep), the papers gave no hint at the then King’s affair and impending abdication, there was serious talk about banning Chaplin’s “Great Dictator”, and Jean Metcalfe was only allowed to work at the BBC after she’d shown that her father was employed in a suitable profession. Is it any wonder that what got through the establishment net was such witles drivel. And who would watch Willi Fritsch romancing Lilian Harvey so charmingly and think “Let’s give the part to Jack Hulpert”

By: David Wheeler

David Wheeler — Sun, 25 Dec 2016 12:44:43 +0000

Well said John Groves and more fascinating information from DSC. I was lucky to see the new adaptation of Glamorous Night at Buxton.

I love Novello’s music and recently played and sang What a Duke Should Be in a concert as part of a tribute to the Somme. I’d never have known about this song without Gosford Park. I congratulate Ross Leadbeater for his work reviving Novello and feel Novello’s legacy will best live on in high-quality concert performances demonstrating his fabulous music.

By: John Groves

John Groves — Sat, 24 Dec 2016 12:53:08 +0000

Gay’s The Word was revived at Jermyn Street Theatre, London recently and proved to be great fun – even without a Cicely Courtneidge! BUT the main problem with all the previous shows, with the possible exception of Perchance To Dream, is that the book(i e dialogue) is SO dated, rather than period! Also, most of the oeuvre needs grand, spectacular staging such as was common in the 1930′s (sic White Horse Inn at London Coliseum) and without that they can appear to be very ‘thin’.