His experiences with London Variety houses helped him to deal with these. Now, in his advanced years, he finds himself one of a select band who actually saw Max Miller on stage, and Billy Bennett, Jimmy James, Max Wall, Sid Field, and a good many others, and remembers the Aldwych farces, with the repertory company of Ralph Lynn, Tom Walls, Robertson Hare, Alfred Drayton, Winnifred Shotter, Mary Brough.
He also saw the Katherine Dunham dance company and La Plume de ma Tante and the Folies-Bergère (in England). His formula for reviewing was ‘find the premise’ (every show, however lightweight, has a premise). Then, what is this production telling me? Is it succeeding? Am I convinced? Through reviewing he has managed to see all of Brecht, most of Molière, most of Shaw, too much Shakespeare, all of Coward (except Calvacade).
He is up to date with Ayckbourn. He has seen enough standard musicals to enable him to lecture on the subject to university students.
In the 70s and 80s he managed to get a foothold in radio drama. This was a simple process then. You submitted an outline on one side of paper to the producer. If he liked the idea he booted it upstairs and you were commissioned within the month. He had plays produced in London and Bristol. >>
