Yes, we saw it before it opened. Yes, it was very good.
Press night was early the following week.
I was always partial to a bit of Poliakoff, so this will have felt like a bit of a birthday treat, opening at that time of year.
In fact, we had been due to go to the Proms on my actual birthday that year, but “Proms 7:30” is scribbled out in my diary for the preceding Wednesday. Not sure what went wrong there – probably we simply failed to get tickets (Claudio Abbado & The Berlin Phil doing Brahms – very popular).
But I digress.
Stellar cast for this one – as was the way back then with Poliakoff at the National or the RSC: Douglas Hodge and Frances de la Tour the biggest names; Graham Crowden & Hermione Norris also standout performers. Here is the Theatricalia entry for this production.
Was Alexander Lebed that big news in 1996? Clearly I thought so.
I really like this lyric.
ALEXANDER LEBED’S NAME
(To the Tune of “Alexander’s Ragtime Band”)
CHORUS 1
Come on and hear, come on and hear,
Alexander Lyebed’s name;
Come on and hear, come on and hear,
Why oh why his name has changed.
MIDDLE EIGHT
ITN still say “Lebed”,
On the Beeb they say “Lyebed”,
Sky News just has the Smurfs and octuplets instead;
This man’s a tough guy who can’t stand,
That Chechen land.
CHORUS 2
Come on along, come on along,
Watch him take the military;
Back to the land, back to the land,
Where the capital’s Grozny.
OUTRO
And if you want to read that War and Peace book,
In a blood bath;
Come on and see, come on and see,
Alexander Lyebed
(Betcha Yeltsin’s long dead)
Alexander Lyebed’s ta-a-ank (bom bom)
Yes, we said tank (bom).
Here’s a YouTube of Louis Armstrong singing Alexander’s Ragtime Band:
I seem to recall this one doing well in NewsRevue. Royal family material tended to do well. Reading it again (June 2019) for the first time in 20+ years, it has made me smile or even laugh a couple of times.
THIS OLD HISE (To the Tune of “This Old House”)
VERSE 1 – CHUCK WINDSOR
This old hise once had some princes, This old hise once knew a wife; This old hise is called Balmoral, And I ought to get a life. This old hise belongs to Mater, But it’s no economy; This old hise could raise a few bob, To help one pay one’s alimony.
CHORUS 1 – THE WINDSORS
Ain’t-a gonna need this hise no longer, aint-a gonna need this hise no more, Ain’t got time to shoot the grise and ain’t got time to beat the moor; Ain’t got time to go to Scotland and Balmoral’s such a bore, Ain’t-a gonna need this hise no longer once the Monarchy’s reformed.
VERSE 2 – CHUCK WINDSOR
This old hise is known as Windsor, This old hise has civil lists; This old hise has Princess Margaret, Who is always stoned or pissed. This old hise has countless liggers, This old hise has mavericks; But a girlie can’t precede one, And one can’t marry a Catholic.
CHORUS 2 – THE WINDSORS
Ain’t-a gonna need this hise no longer, aint-a gonna need this hise no more, Ain’t got funds to pay the servants, that cow Di has left one poor; Ain’t got cash to pay for polo or to run one’s fleet of Rolls, Ain’t-a gonna need a horse and cart if one weds Camilla Parker-Bowles.
CHORUS 3 – CHUCK AND CAMILLA
Ain’t-a gonna need this hise no longer, aint-a gonna need this hise no more; Ain’t got cash to pay one’s taxes, don’t like primogeniture; Just allow us to draw income from those tiny Crown Estates, For a-hundred-million annual we’ll live in exile in the States!!
Janie and I were very keen on The Orange Tree at that time and on the whole the plays and the productions were excellent. James Saunders is not the easiest playwright, though.
We saw a revival of the piece, which had been an early effort at the Orange Tree back in the 1970s. Sam Walters had directed the original version; Dominic Hill directed our revival – no doubt mentored by Sam at that time. Here is a link to the Theatricalia entry for the version we saw.
I think there were a lot of strikes and other forms of transportation problem that summer. Like most summers really. Anyway, I chose to write this for NewsRevue:
LONDON TRANSPORT (To the Tune of “Paint Your Wagon”)
INTRO
Tubes, tubes, tubes, tubes; TUBES, TUBES; Got a Game Boy, got a book, London Transport is deep in shtook.
VERSE 1
Where am I going, I don’t know, Where am I headin’, I ain’t certain, All that I know is I’m NOT on my way; When will I be there, I don’t know, When will I get there, I ain’t certain, All that I know is I’m NOT on my way.
Got a Game Boy, got a song, But the tube trains don’t come along.
VERSE 2
Ou est le Metro, ne sais quoi? Wann fahrt der Zug ab, Ich wusste nicht dass, Nil desperandum, vis inertiae; Why do I sing in mock Chinese? Why am chanting in mock Swedish? Passes the time while tubes do not arrive.
Once the tourists have gone away, Then the drivers might get more pay.
OUTRO
Where are they going, I don’t know, When will they be there I ain’t certain, What will they get I ain’t equiped to say; But who gives a damn, who gives a damn, let’s holiday!!
Below is a video with the Paint Your Wagon theme song playing. I had never previously noted the “even worse than Dick Van Dyke cockerney” line early in this movie version of the song – listen out for it:
Submission…Amipro tables don’t convert…you get the picture:
Chris Alderton
News Revue
LIST OF SONGS SUBMITTED AND TAPE TRACK LISTING
AUGUST – SEPTEMBER 1996 RUN
Dear Chris
Welcome to News Revue!! This starter pack consists of my latest songs plus some older ones which have longevity or are still topical. Please call me and let me know if you are short of any subjects or styles and I shall try to oblige. If any of the enclosed need a bit of rewrite then I am happy to change them on request.
Good luck and I look forward to meeting you soon.
Song Title / Original Title/ Artist on Tape
Approx.. No. of weeks performed 7+ 4-6 1-3 New
side 1
eight babies / two ladies / caberet: New
the netanyahu chorus / hallelujah chorus / handel: 4-6
paisley and adams / father and son / cat stevens: 4-6
john major just cares for / my baby just cares for me / nina simone: New
tony blair / gloria / vivaldi: New
solicitors are doing it for their fees / solicitors are doing it / eurythmics & aretha: New
when i see an orangeman smile / when i see an elephant fly / dumbo: New
I think this one did well in the show, but only briefly. The publicity-seeking, octuplet-carrying mother sadly lost all the babies, which rather put a dampener on the story as a source of comedy.
EIGHT BABIES
(To the Tune of “Two Ladies”)
A song for pregnant woman (PW), other woman (OW) and rogue father (RF). Brummy accents would be nice but aren’t compulsory
VERSE 1 – PREGNANT WOMAN AND (ROGUE FATHER)
Biddly-diddly-de, biddly-diddley-de, biddly biddly biddly biddly de;
Diddly-di-de-de (eight babies),
Diddly-di-de-de (eight babies),
Diddly-di-de-de (and I’m the only man here);
Diddly-di-de-de (she crackers),
Diddly-di-de-de (I’m knackered),
Diddly-di-de-de (there’s eight for one).
VERSE 2 – ROGUE FATHER AND (PREGNANT WOMAN)
Diddly-di-de-de (eight papers),
Diddly-di-de-de (eight papers),
Diddly-di-de-de (but only one exclusive);
Diddly-di-de-de (Max Clifford),
Diddly-di-de-de (fat cheques for),
Diddly-di-de-de (News of the World).
MIDDLE EIGHT – ALL
PW: I’m Mandy Allwood,
OW: I’m the one he’ll wed,
RF: I’m taking hormones to serve them both in bed;
ALL: We’ve one thing in common with publicity;
PW: The fee, OW: The fee, RF: The fee.
VERSE 3 – ALL
Diddly-di-de-de (OW: two ladies),
Diddly-di-de-de (PW: two ladies),
Diddly-di-de-de (RF: and I get all the bad press);
Diddly-di-de-de (OW: two timer),
Diddly-di-de-de (PW: eight timer),
Diddly-di-de-de (RF: they’re up the duff).
OUTRO
PW: Are you going to help me to change all those nappies then, Paul.
RF: I thought Max Clifford said he’d do that for me.
OW: He never, he just said he could take all the shit off your hands.
BLACKOUT
Yet, for more than two decades, I spent an inordinate amount of time on Michael Mainelli’s sailing barge, Lady Daphne. Most of that time was spent on the River Thames, sailing back and forth from London Bridge City Pier, via a Tower Bridge lifting or two…
…to the Dome or sometimes as far as the Thames Barrier, “edutaining” clients and prospects. Occasionally we’d use the boat as a static venue for a business workshop or a dinner.
Our business, Z/Yen, even had the old tub corporately branded at the topsail level, as evidenced here:
Back in 1996, the boat was a bit of a novelty in the Mainelli and Z/Yen world. I cannot remember exactly the date Michael bought Lady Daphne, but I do remember Michael dragging me from our office to St Katherine’s Dock, where he wanted me to act as his “legal advisor” on the purchase contract.
But I don’t know anything about maritime law and am really not qualified to review a procurement contract for a substantial asset…
…I said. But Michael demurred…
I know that. But the vendor has been messing around for weeks. I figure if I turn up with my “advisor” we can insist on closing the deal. Just look at the document for a few minutes, spot a couple of spelling mistakes or grammatical errors – there are bound to be some – then state that we can sign as long as those small changes are made in manuscript…
A few weeks later, I found myself on the high seas (OK, The Solent) with Michael & Elisabeth, along with some of their close friends, boaty friends and close boaty friends.
We weren’t there for racing purposes – we were there in one of the more “corporate sail around” slots. It probably looked a bit like the following image from 1990:
In truth I remember little about the day, other than my general feeling of unease whenever I find myself on a boat.
I vaguely recall a decent lunch in a suitable hostelry in Cowes.
I recall the skipper – at that time Adrian I’m pretty sure – asking me if I wanted to take the helm for a while; an honour which, for everyone’s sake, I chose to decline.
I never did take the helm, but just occasionally I did need to “lead” on a Z/Yen boat trip in Michael’s absence. Naturally, I deferred to the skipper on all important matters, but I did the general introductions and safety announcements, while asserting that everything I know about boats could be written on the back of a postage stamp.
Below is the image from the back of that 2p stamp, which I always had with me when aboard the boat. If anyone asked me a question after my announcements, I’d show them the stamp and refer them to someone more knowledgeable.
The notes are a little faded and tarnished now, but I can still read the notes and expand on them accordingly:
90 foot barge out of Rochester 1923;
Known as “Lucky Lady Daphne” due to a few narrow escapes;
Daphne mostly schlepped Portland Stone;
In the unlikely event that you hear seven short blasts of the horn followed by a long blast, that’s an emergency;
Life jackets are stored fore and aft – the crew will be handing them out – if you are below deck, the exits are in the places I indicate fore and aft;
Take your jacket up, don it when above and await the skipper’s instructions. The safest place is almost always to stay on the boat;
Even without a full blown emergency there are hazards – glass can be a hazard so hand your used glasses in, ropes are generally doing something so be careful not to hold onto one as it might get pulled through a pully along with your hand, stairways and decks can become slippery…
Then I’d explain where we are going, the rough timescales of the voyage and the edutainment game we were going to play.
Not bad for a land-lubber.
Actually my scariest boat moments have been overseas, e.g.
…not the 1996 “high seas” Solent adventure aboard Lady Daphne described in this post.
Postscript
Elisabeth has been in touch to remind me that she was there at that strange purchase meeting and that she can confirm the exact…and I mean EXACT…time and date of the purchase:
…signed at 16.10 hrs on 10 May 1996…
That means that Michael and Elisabeth bought Lady Daphne a week after Michael’s stag do…