100 Years of the Palladium


100 Years of the Palladium

Cliff Richard, Bruce Forsyth, Michael Crawford and Andrew Lloyd Webber celebrate the 100th birthday of the world's most famous theatre.


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Transcript


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The Palladium is the temple of showbusiness.

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It's every entertainer's dream to be on the stage at the Palladium.

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It is every performer's dream to one day perhaps be

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at the top of the bill.

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It's a great honour, a great privilege, very exciting,

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and frightening!

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I think the Palladium gives the audience a buzz before they go there.

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The atmosphere gives them the feeling of loving the show they're going to see.

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It's the very fabulous Dior dancers!

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It's kind of the mothership, isn't it, of all theatres.

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It's a legend, this place.

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You stand on the stage and think,

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"Well, just about everyone has been on this. Don't cock it up!"

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Oh, it's the one place everyone wanted to perform at,

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and considered all over the world, "The London Palladium, ooh!"

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The great Palladium, theatre where showbusiness was born,

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and typical of showbusiness, nobody knows who the father was.

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You always set yourself goals and ambitions and have dreams,

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and one of them is to play the Palladium.

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In your own heart, you know, I have achieved something,

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I'm doing something I've always wanted to do.

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Truly one of the greatest experiences of my life was playing on this stage.

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If you stand on that stage and you're any sort of performer,

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you get the message that it wants to love you.

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It's like playing at Wembley or Lord's, riding in the Derby -

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you come here, you're at the top of the First Division.

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You think, "This will do."

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I got a new television set specially for watching BBC Three.

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It has a chain on the side for flushing after the programme is over.

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There's a wonderful saying, that it's always half full.

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There's a saying about several theatres that

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they're always half empty,

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but I love it that the Palladium is always half full.

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It's the people's theatre, somewhere where everybody can feel at home.

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It's not stuck-up, grand, it's not the Royal Opera House.

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It's a wonderful, wonderful theatre.

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You couldn't study the history of variety

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without having the Palladium on every page, really.

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It's right there in the forefront.

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It would be like trying to do the history of pop music without the Beatles.

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It's there at the centre, the core of everything.

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Marie Lloyd, Dan Leno,

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George Robey, Little Tich,

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they would have all appeared at the Palladium

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in that very early period.

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All the great stars played here,

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so it was a true variety theatre.

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Variety mattered enormously

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to British culture in those days, and I think still does, really.

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Everybody from opera singers to comedians, you know, bands,

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dancing groups, there were no holds barred, there were no boundaries.

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A special something that appeals to me about the Palladium,

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it's got a variety element to it,

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and my background is in a lot of variety

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and comedy and stuff like that.

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LIGHT JAZZ MUSIC PLAYS

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'I do love that side of the business

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'and I do venerate those sort of stars, I really do.

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'Those people that stand up on the stage on their own

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'and do a show, I find breathtaking.'

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There aren't many theatres in London

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that are really so associated with that kind of ability.

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DRUMROLL

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APPLAUSE

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I remember booking Jimi Hendrix on a variety bill when he was up-and-coming.

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He was top of the bill, and we had a variety bill of jugglers,

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and a bicycle act. We had no idea what we were booking.

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# 'Scuse me while I kiss the sky... #

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People always thought that speciality acts were rather dull,

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but the ones they had on the Palladium,

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variety bills, and indeed on the Royal Variety performances,

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were things that did make you gasp and think how wonderful, how brilliant they were.

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I got my nose knocked sideways,

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and probably is still slightly crooked, actually.

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Broken ribs...

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It's an occupational hazard, I was told, so...!

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They absolutely knew that they were going to catch her.

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It was remarkable.

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Used as a football throughout the act

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and a skipping rope towards the end.

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-I bet you couldn't do it with a man.

-How about it, chaps? Come on.

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LAUGHTER

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Artists could go around doing variety theatres all around

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the provinces and the suburbs for years and years,

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and never get the chance to appear at the London Palladium.

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So when you do get that opportunity, it's "Oh, I've reached it!"

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You can't go any higher.

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There was one fella, had some dancing ducks.

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I was fascinated how they did the can-can.

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HE QUACKS THE CAN-CAN

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And he had little frocks on them, you know.

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HE CONTINUES QUACKING THE CAN-CAN

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I thought, how does he do that?

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He had a hot plate, the hot plate was under a thing,

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and the ducks were going "Phew!"

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Wouldn't be allowed today.

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Oh dear God Almighty, yes.

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The Palladium is a star in its own right, no matter who's on the bill.

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No matter who's top, the Palladium is the star.

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I did go and stand in the middle of the stage

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and look at the auditorium, and I thought, my goodness.

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I'm standing where some of the greatest names in the history of entertainment have stood,

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and I had this building, and I must say I did have a bit of a tear.

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I thought, well, this is the building of all buildings that has got to be loved.

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I adore the place.

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It's not like a Royal Opera House, which is a little bit intimidating.

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There's a great feeling that it's giving you a cuddle,

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do you know what I mean? It's nice.

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It's spiritually uplifting, it's really good for your head and soul.

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To perform on the stage, I mean, even if you were feeling dead,

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you got on and this house just went "Come on, girl."

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Do know what I like to do?

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Go and stand on the stage when it's empty and look around.

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You can actually hear the laughter in your ears.

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You can hear the applause.

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It sends a shudder through you.

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You walk on that stage when you're working, and all the ghosts are with you.

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You name them, they've been on here.

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# Today the ship is sailing

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# And every jolly heart

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# Is wishing he could chuck the sea

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# And stay just where we are... #

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'Every performer worth anything stood on the stage at the Palladium,'

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from Tommy Trinder, the Crazy Gang, to all of those great, great stars.

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# The ta's are going t'eather

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# So kiss him for his heart

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# Byesie byesie, toodle-oo

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# Ta-ta, ta-ta, ta-ta. #

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The Crazy Gang were the biggest thing, comedy-wise,

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especially at the Palladium.

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THEY SING OPERATICALLY

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'They were so successful,'

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really, they spent eight years

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at the Palladium, more or less one revue following another.

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'They were hugely popular, and quite rightly so

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'because they were anarchists.'

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They got in there and caused chaos at the theatre.

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The stories of things that they did to other performers.

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Monsewer Eddie Grey would go out to do his juggling and find the clubs covered with Vaseline

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so he couldn't even pick them up, never mind juggle.

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I think they broke up, it was mostly because of the war.

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AIR-RAID SIREN WAILS

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# We'll meet again

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# Don't know where

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# Don't know when

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# But I know we'll meet again some sunny day... #

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The manager used to come on the stage during the performance and say

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"The air raid warning has just gone,

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"so if anybody wishes to leave the theatre and go into the underground,

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"would they please do so now."

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And some people used to get up and go out and leave, but the show just carried on.

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# Will you please say hello to the folks that I know

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# Tell them I won't be long... #

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'Lots of people would actually stay over

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'and rough it within the buildings,'

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doing things, whether they were chorus boys and girls,

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right up to the biggest stars.

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# We'll meet again

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# Don't know where, don't know when

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# But I know we'll meet again some sunny day. #

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I used to stay in there at night with the firemen

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until the all clear, then I would drive home in my little Austin 10!

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We kept each other company at the stage door,

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because through the stage door, it led on straight on to the stage

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and then in between there was this very thick wall,

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you know, to obscure the noise.

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I used to sit on the floor and lean against this wall,

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kidding myself I was safe.

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# My British buddy We're as different as can be... #

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'There were patriotic shows as well, and Irving Berlin came over'

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and did his show, This Is The Army.

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# When the job is done

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# And the war is won... #

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It was all about making people feel good and better about what was going on,

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and that there were going to be better times around the corner.

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-REPORTER:

-Straight from Cuckoo Land came Stan Laurel

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and tagging along behind, 21 stones' worth of Oliver Hardy.

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First time I ever came to the Palladium, must have been 1947,

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I'd got a job in the theatrical agency as the office boy

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and the boss gave me two tickets to come here and see, erm...

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I think it was Laurel and Hardy.

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-Anything you especially want to do over here, Oliver?

-Nothing,

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but try and make the people happy... Will you keep quiet a minute?

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I couldn't believe they had walked on the stage.

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HE HUMS

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There they were, and I just started laughing.

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After a couple of weeks we might...

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-What is it?

-You're standing on my foot.

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Oh, I'm sorry!

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The so-called big variety season started the year after in 1948

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when Val Parnell had taken over control

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of booking the Palladium.

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Val Parnell was in the business of filling the Palladium

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with a different bill every week, 52 weeks a year.

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Val had come up with this idea of bringing a whole season,

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virtually, of American artists.

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Lights up in London too, behind the scenes at the Palladium,

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where the stage is all set for a visit from a famous star.

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Even the chorus crowds to the wings to see the show.

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The opening act was Mickey Rooney.

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He left early because the British audiences

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just weren't actually getting his humour.

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So, you know, people started to say, "It's not going to work."

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Val Parnell had already booked Danny Kaye,

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and Danny Kaye wasn't that well known over here

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so he didn't know how his act was going to go down,

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and when he saw a consummate professional like Mickey Rooney

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going down the drain, he was so scared.

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But he opened, and within 24 hours, he was the toast of the town.

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MUSIC: "You're Nobody Till Somebody Loves You" by Dean Martin

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Swaying backwards and forwards, the crowd bulges ominously

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as a sleek black car brings along the star of the night,

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the man thousands have waited six hours to see, Danny Kaye.

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His overgrown curls hidden below a large sun hat,

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Danny hurries away and the crowd surges forward

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to acclaim the King and Queen, arriving with Princess Margaret and the Duke of Edinburgh.

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Danny Kaye came and just ripped this place apart,

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and you just couldn't get in. You couldn't buy a ticket.

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It wasn't a royal command, the King and Queen and the young princesses,

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as they were then, came to see him.

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Acknowledged as the star of the evening is the carroty-headed comedian from Brooklyn.

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Even the King and Queen couldn't get tickets, so they just turned up on spec

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one night, and the managers had to ask a family in the front row

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if they'd mind giving up their seats,

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because the King and Queen had come with Elizabeth and Margaret.

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Now Danny's got a visitor, a little man who's always busy as a bee

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and just as helpful, Arthur Askey.

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Backstage was full of everybody you could think of.

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Attlee, who was the prime minister at the time, and Churchill.

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Good evening, ladies and gentlemen, welcome to the casino.

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-LAUGHTER

-We do hope... What?

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I was madly in love with Danny Kaye,

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and I queued up overnight to see him.

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When I was a child, I came here to see Danny Kaye.

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And it was quite, quite the most wonderful experience.

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CYMBAL CRASH

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It's never left me. It's one of the things that's been

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a lasting memory my life, when Danny Kaye became a great. He was my hero.

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# I shake with fright

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# Because my Dinah might

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# Change her mind about me

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# Hey, hey, you didn't make me love Dinah... #

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'Many times, he'd look round and say, "Peter, what are you doing?"'

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And I'd say, "I'm going to go home, sir."

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"No, you're not, you're coming out with me." And remember, I was only just over 16.

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HE SCATS

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# Hey

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# Hey

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# Hey

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# Oh

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# Ba hey-oh-eh

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# Hey-oh-eh, hey-oh-eh

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# Baaaaa! #

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It helped my education.

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Hello, how nice to see you again.

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Well, it's been a big week of close-ups on the stars.

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Here's your first view of Britain from Plymouth Sound. What do you think?

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It's a beautiful thing. Just think, this whole thing is surrounded by tea,

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I think it's a beautiful thing.

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And I can't wait to have my first cup of tea,

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because from now on I'm on a solid tea diet, I will be sloshing around.

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In a week or so, I'll be half-man, half-teabag, and I'm thrilled about it.

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# When I fall in love

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# It will be forever... #

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What meant more to the American performers was playing the Palladium.

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If you came over here, then the next day in Variety, their magazine,

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"Appeared at the London Palladium", it was a big thing to all Americans.

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First of all, Miss Garland, welcome back to London.

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Thank you very much. It's nice to be here.

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Everybody around the world wanted to play at the Palladium.

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It was an international theatre,

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and probably still is the only truly international theatre that we have.

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It's always nice to come back to the Palladium.

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They were glamorous, and they had their craft, you know,

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absolutely down to a tee,

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and they were quite wonderful moments to see them performing.

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# As I walked out

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# In the streets of Loredo

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# As I walked out

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# In Loredo

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# One day

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# I spied a young cowboy

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# Wrapped up in white linen... #

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APPLAUSE

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Shucks, I wouldn't put it on unless I was good at it.

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I wouldn't like anyone to think

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that the American recording stars had it all their own way.

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We produced a whole string of...

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hit recording artists in this country

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who would pack the Palladium as much as any of the Americans.

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# I'm putting on my top hat

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# Tying up my white tie

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# Brushing off my tails

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# I'm

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# Doing up my shirt front

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# Putting in my shirt studs

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# Polishing my nails... #

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'The biggest of them all was Dickie Valentine,

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'who became absolutely a heart-throb,

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'a huge record seller,'

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and a major, major recording star,

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to rival Nat King Cole, Johnnie Ray, Frankie Laine -

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all those big American stars.

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'Dickie Valentine was up there.'

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# Typing up my white tie

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# Dancing in my tails. #

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'I think it was around 1945, 1946, he was a page boy in the Palladium,

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'and they used to just do the odd jobs, they were like the runners of today.'

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And he was off having a cup of tea somewhere at a cafe, I think,

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and one of his colleagues came and said,

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"The head guy wants to see you," and my dad cheekily turned round and told him, "Tell him to wait."

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Jokingly, of course. But this guy went back

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and told the head guy and when my dad got back, he got the sack.

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# Look at those stars above you... #

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And then in 1955 he topped the bill at the Palladium for two weeks,

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amongst the Americans and everybody else that was being booked.

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# You too can be a dreamer... #

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What a fairy tale to go from the Palladium, sacked,

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ten years later, topping the bill.

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# Mr Sandman

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# Bring me a dream... #

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I want to introduce to you a star of many opera stages

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and a great star of Hollywood - Mario Lanza.

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CHEERING AND APPLAUSE

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Well, I had some very difficult clients, especially Mario Lanza.

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# When you are in love

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# It's the loveliest night

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# Of the year... #

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'We were at the Dorchester Hotel, I was living in the same suite as Mario.'

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We had very big problems with him.

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It was touch-and-go whether he was going to perform.

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# Touch them from here... #

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'He had been horrific to me personally, and to everybody around.

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'And the door opened,

0:22:090:22:11

'and a photographer came in with his camera and said, "Now?"'

0:22:110:22:15

Mario said, "I told you, no photographers!" And he struck me.

0:22:150:22:19

He hit me right in the face and actually knocked me out.

0:22:190:22:22

I'm not talking to the press now

0:22:220:22:25

or to Leslie Grade who represents me in Europe,

0:22:250:22:29

or Mr Val Parnell or just anyone at all. HE SIGHS

0:22:290:22:32

It took a long time, but I just want to talk to you, the English people.

0:22:320:22:36

It took so much time, and may I say, hello. That's all.

0:22:360:22:40

CHEERING AND APPLAUSE

0:22:400:22:42

'I came to, he was reviving me.

0:22:420:22:45

'He was all,'

0:22:450:22:46

"Peter, I'm so sorry.

0:22:460:22:48

"You know I'm nervous, I'm so tense."

0:22:480:22:50

I said, "That's it. I've had enough."

0:22:500:22:52

'So I walked out, slammed the door and I said to Leslie Grade,

0:22:540:22:59

'who was actually my boss,'

0:22:590:23:02

and he said, "What's that? You're bleeding!"

0:23:020:23:05

And I said, "Yes, my nose and my mouth are bleeding.

0:23:050:23:09

"That bloody man's knocked me out again."

0:23:090:23:11

And Leslie came back to me and said, "Peter, now what we're going to do is this.

0:23:110:23:16

"You let Mario go on and do a good performance tonight.

0:23:160:23:20

"When he walks off the stage, you hit him."

0:23:200:23:23

Well, of course, everybody laughed.

0:23:230:23:25

# It's the loveliest night

0:23:250:23:31

# Of the year. #

0:23:310:23:38

That is what makes this place so special,

0:23:380:23:40

the people behind the scenes

0:23:400:23:42

and the amount of work that goes on there,

0:23:420:23:45

because it really is a family.

0:23:450:23:47

I don't think I've ever felt so much part of a family.

0:23:550:23:58

# Hello, Liza... #

0:23:580:24:03

-APPLAUSE

-# Well, hello, Liza

0:24:030:24:08

# It's so nice to have you here

0:24:080:24:11

# Where you belong

0:24:110:24:15

# You're looking swell, Mother

0:24:150:24:19

# I can tell, Mother

0:24:190:24:23

# You're still glowing You're still crowing

0:24:230:24:27

# You're still going... #

0:24:270:24:30

SINGING FADES OUT

0:24:300:24:32

Aside from the performers on the stage, the people behind the scenes,

0:24:370:24:41

if you like, were the best in class.

0:24:410:24:44

The London Palladium...

0:24:540:24:56

is my second home, and I love this place so much.

0:24:560:25:00

My lamp becomes a part of me.

0:25:030:25:06

It's part of me.

0:25:060:25:08

And all the worries I have is gone.

0:25:080:25:11

The show come first.

0:25:110:25:12

Oh, I mean, Linford has been there since the Palladium was built.

0:25:150:25:19

He's incredible. I think he's just part of the works there.

0:25:190:25:24

Whoever has come and gone, Linford has been there through them all.

0:25:240:25:29

Linford, doing his follow spot, honing right down on to her face.

0:25:320:25:37

Linford's proudest moment.

0:25:420:25:44

I've worked at the Palladium for 47 years,

0:25:440:25:48

and I don't have one day of regret of being here.

0:25:480:25:52

# Somewhere

0:25:520:25:56

# Over the rainbow... #

0:25:560:25:59

Sing it with me.

0:25:590:26:00

# Way up high... #

0:26:000:26:03

You can sing it better than I can, come on, sing along.

0:26:030:26:06

Come on!

0:26:060:26:07

'Like everybody else, she was incredibly nervous.'

0:26:070:26:10

You know, the Palladium, big British audience,

0:26:100:26:14

and she had had a few bad experiences already.

0:26:140:26:18

# Somewhere

0:26:180:26:22

# Over the rainbow... #

0:26:220:26:25

'A guy called Bill Ward'

0:26:250:26:27

went up to the dressing room and he came in that side there and said, "The bitch won't go on."

0:26:270:26:32

I said, "Well, neither would I if you spoke to me like that," and I was a kid.

0:26:320:26:35

And I got all the guys, Little Roy and Big Roy, stagehands,

0:26:350:26:39

Jack, and I said, "Line up when I bring her out."

0:26:390:26:41

I went up and said, "Hi, how are you?"

0:26:410:26:43

She said, "Hi, how are you?" I said, "I'm fine.

0:26:430:26:46

"You fancy going down to have a look? They are dying to see you out there.

0:26:460:26:50

"If you don't want to go on, don't worry, I can go on.

0:26:500:26:53

"But I think you'll love it if you do."

0:26:530:26:55

And she said to me, which I'm very proud of, "You've got a lot of class, little man."

0:26:550:26:59

And I took her by the arm and all the stagehands were waiting, and they went,

0:26:590:27:03

"Welcome back, Miss Garland. Welcome back, Miss Garland."

0:27:030:27:06

Well, I got the choke there. And on she walked and killed them.

0:27:060:27:11

# If happy little bluebirds fly

0:27:110:27:17

# Beyond the rainbow

0:27:170:27:22

# Why... #

0:27:220:27:24

You're marvellous!

0:27:240:27:26

# Oh, why can't I? #

0:27:260:27:34

CHEERING AND APPLAUSE

0:27:340:27:36

'Those performers that have got it

0:27:480:27:50

'and can play an audience and work an audience, this is the place for them.'

0:27:500:27:55

And standing down there and watching it,

0:27:550:27:57

I can remember all the time watching

0:27:570:28:00

and just admiring... watching the stagecraft

0:28:000:28:02

and learning how some of these performers, the tricks of the trade...

0:28:020:28:06

I'd come in night after night, and watch them.

0:28:060:28:09

I hope you're having a nice time. I had my Easter holiday just over a week ago.

0:28:090:28:13

A lot of people noticed how brown I looked. I looked very dark on the screen, you know. That was all tan.

0:28:130:28:18

I've got to tell you, I just...

0:28:180:28:20

It wasn't boot polish, it was tan, madam.

0:28:210:28:23

And you'd be waiting for it.

0:28:230:28:25

"I know the gag that's coming up." And you'd look at the audience,

0:28:250:28:29

and they don't know how funny this is going to be, and you'd watch the place rock with laughter,

0:28:290:28:35

whoever the great comedian was.

0:28:350:28:37

Oh, there's nowhere like it. Nowhere like it.

0:28:370:28:40

Before Sunday Night At The London Palladium,

0:28:440:28:47

everything was black and white -

0:28:470:28:49

even though there was no colour television at that time, but it was like that.

0:28:490:28:53

That moment, variety, or entertainment, changed direction.

0:28:530:28:58

To see the best that there was

0:28:580:29:00

on the Palladium stage, it was almost the perfect storm.

0:29:000:29:04

You had the best entertainers on the best stage

0:29:040:29:07

and the best spot on television, Sunday night at that time.

0:29:070:29:10

Every Sunday night at 8 o'clock, the house lights dim,

0:29:100:29:14

the conductor raises his baton

0:29:140:29:17

and Val Parnell's Sunday Night At The London Palladium is on the screen.

0:29:170:29:21

This is what millions of people all over the country settle down to watch.

0:29:210:29:26

'The country, as I remember, revolved around it.

0:29:260:29:29

We'd never seen, on our TV screens,'

0:29:290:29:31

a show that was as big.

0:29:310:29:34

'Sunday Night At The London Palladium closed pubs and things.'

0:29:390:29:42

I used to go into my local pub and they'd say, "Who's on on Sunday?"

0:29:420:29:47

And I'd tell them and they'd go, "Oh, my God!"

0:29:470:29:49

# I got myself a crying, talking... # CHEERING

0:29:490:29:53

# Sleeping, walking, living doll

0:29:530:29:57

# Got to do my best to please her

0:29:570:29:59

# Just cos she's a living doll... #

0:29:590:30:03

For us, it was a matter of how to get the biggest,

0:30:030:30:05

widest audience possible. And has it paid off for me?

0:30:050:30:08

Yes, it has.

0:30:080:30:09

# My one and only walking, talking, living doll. #

0:30:090:30:14

For artists selling records, it was the best plug.

0:30:140:30:17

You didn't need to do any more television.

0:30:170:30:19

You did Sunday Night At The Palladium and you reached 90% of the population.

0:30:190:30:23

# I'm going to get there somehow Ringing up to see

0:30:230:30:27

# That I'm going to get there somehow

0:30:270:30:29

# I'm leaving right away... #

0:30:290:30:31

'I was working at a little club in Soho and a message came through

0:30:310:30:36

to my dressing room -

0:30:360:30:38

"Val Parnell was in tonight while you were on stage."

0:30:380:30:41

And he said, "He wants to know if you'd like to come and have a drink with him."

0:30:410:30:45

# Hop into the taxi, but I haven't got the fare.

0:30:450:30:49

# If I hitchhike on a lorry Well, it might'nt go past there... #

0:30:490:30:53

'He said to me,'

0:30:530:30:55

"How would you feel about doing Sunday Night At The London Palladium?"

0:30:550:30:59

I really...I nearly fainted.

0:30:590:31:02

# If I don't get back tomorrow

0:31:020:31:04

# Come looking for me, please. #

0:31:040:31:09

'Up to then, I just could not

0:31:090:31:11

'get anybody interested in making records. They didn't want to know.

0:31:110:31:15

'The next day, three record companies wanted to sign me up,'

0:31:150:31:18

and I think they wanted to sign me up not because they thought I was brilliant,

0:31:180:31:22

but they thought I was going to be popular.

0:31:220:31:25

Good evening!

0:31:250:31:26

# Ladies and gentlemen

0:31:260:31:29

# Welcome to Sunday Night At The London Palladium... #

0:31:290:31:33

It was the plum job,

0:31:330:31:34

the biggest job on television

0:31:340:31:36

was to be the host of Sunday Night At The Palladium.

0:31:360:31:39

# Hip-hip-hooray... #

0:31:390:31:41

'I was working in this terrible theatre at Eastbourne.

0:31:410:31:44

'A cast of ten, an orchestra'

0:31:440:31:47

of two pianos and drums,

0:31:470:31:49

and I came to that -

0:31:490:31:50

'the 30-piece orchestra going as I arrived,

0:31:500:31:53

'and then looking out at that vast...you know,

0:31:530:31:57

this empty theatre,

0:31:570:31:58

wondering what it would be like with 2,500 people in there.

0:31:580:32:02

# I used to hold you, baby

0:32:020:32:05

-# So tight... #

-LAUGHTER

0:32:050:32:06

# Each night, that's right

0:32:060:32:08

# I kind of hoped that maybe you might

0:32:080:32:11

# Fall for me

0:32:110:32:14

# Why, oh, why, do voices say to me

0:32:140:32:18

# Sit and cry, that this was meant to be?

0:32:180:32:20

# Love's unkind and love's untrue

0:32:200:32:22

# Oh, why did love pick out you for me?

0:32:220:32:26

-# Poor me

-Poor me

0:32:260:32:27

-# Poor me

-Oh, oh

0:32:270:32:29

-# Oh, oh

-Poor me

0:32:290:32:30

-# Poor me

-BOTH: Poor me. #

0:32:300:32:33

'The bills changed, the top of the bill changed, the acts changed -

0:32:330:32:37

'the host was the glue that held it together'

0:32:370:32:39

from week to week to week.

0:32:390:32:41

And getting that job made you a star.

0:32:410:32:45

-Oh?

-HE CHUCKLES

0:32:450:32:47

LAUGHTER

0:32:470:32:49

I love you too.

0:32:500:32:51

Within two or three months, I was one of the biggest names in the country.

0:32:530:32:57

Are you really?

0:32:570:32:59

Yeah?

0:32:590:33:01

-Well, we're going out tonight, aren't we?

-LAUGHTER

0:33:010:33:04

I hope we are.

0:33:040:33:07

I'd go into restaurants and they'd give me a meal on the house.

0:33:070:33:11

Before, when I was starving for a meal,

0:33:110:33:14

no-one even gave me a loaf of bread and some water.

0:33:140:33:17

But that's...that's so-called stardom for you.

0:33:170:33:20

It will be wonderful tonight, it really will.

0:33:200:33:24

We'll go to the same old place.

0:33:240:33:26

October the 27th, 1963. That one appearance

0:33:330:33:37

totally changed my life.

0:33:370:33:39

Totally, and that's this theatre that does that,

0:33:390:33:42

because it is the most famous theatre in the world.

0:33:420:33:44

Between you and me, don't you think marriage is wonderful?

0:33:440:33:47

Between you and me marriage would be ridiculous.

0:33:470:33:51

I'd had George Raft on the show, who was a very famous gangster film star,

0:33:510:33:55

and he'd gone back, he was a pal of Sinatra's and said,

0:33:550:33:58

"There's a kid in England who looked after me great, Jimmy Tarbuck."

0:33:580:34:02

And I was in Florida and a guy said, "The man wants to meet you."

0:34:020:34:06

I said, "The man?" He said, "Frank."

0:34:060:34:08

I said, "Frank who? Are you kidding?" And there I was,

0:34:080:34:11

I was sat with him. And it was like a film set. He stood up and said, "How are you, Jimmy?"

0:34:110:34:16

I said, "Hi, Mr Sinatra." He said, "Frank."

0:34:160:34:19

He said, "I believe you're at that beloved Palladium."

0:34:190:34:22

You just knew that you are witnessing something that was live.

0:34:220:34:25

It wasn't pre-recorded or edited afterwards as shows are now.

0:34:250:34:28

And that frightened a lot of your favourite performers,

0:34:280:34:32

your mum and dad's favourites.

0:34:320:34:35

Just that one word. They couldn't say, "Stop that, I'll do it again."

0:34:360:34:40

The energy that that generated, well, it was... You could almost taste it.

0:34:430:34:49

It was fabulously exciting.

0:34:490:34:51

What would happen, at five minutes to eight, "Ready, sir?"

0:34:530:34:57

You could hear it out there, the buzz. The warm-up comic would be on.

0:34:590:35:03

And then they'd say, "You've got 30 seconds, sir.

0:35:030:35:07

"We're approximating tonight we're going to have 17 million viewers."

0:35:070:35:10

You had to hear that just before you went on and then you'd hear this...

0:35:100:35:14

It was most wonderful. There was one chord, it went whoosh,

0:35:140:35:17

# Da-da-da-da-da! #

0:35:170:35:18

And you think, "Here you go, you can't go home now."

0:35:180:35:21

# Pretty woman Walking down the street

0:35:260:35:28

# Pretty woman The kind I'd like to meet

0:35:280:35:32

-# Pretty woman... #

-Ha-ha!

0:35:320:35:36

Should've seen your faces. "There's Roy!"

0:35:360:35:38

# Pretty woman, won't you pardon me?

0:35:380:35:42

# Pretty woman

0:35:420:35:43

# I couldn't help but see Pretty woman... #

0:35:430:35:46

Your battle is won before you start

0:35:460:35:49

because the theatre gives you everything you need.

0:35:490:35:52

It gives you the guts, shall we say, to go out there and do your act.

0:35:520:35:56

MUSIC: "Oh, Pretty Woman" by Roy Orbison

0:35:560:35:58

HE GROWLS

0:35:580:36:00

'Because it had been so successful for me,

0:36:000:36:02

they then put me into the pantomime.

0:36:020:36:07

Our pantomimes, of course, were very famous.

0:36:140:36:17

Doors on the left.

0:36:190:36:20

Doors...

0:36:200:36:22

Oh, they were enormous. They were musicals, really,

0:36:240:36:27

they were mega-musicals.

0:36:270:36:28

We always opened on Christmas Eve

0:36:320:36:35

and we played twice daily right through to Easter Saturday.

0:36:350:36:40

We're used to one, two stars, maybe, playing in pantomime.

0:36:440:36:48

The Palladium would have maybe six, seven stars, who in their own right could top a bill.

0:36:480:36:53

Cliff Richard and the Shadows, Frank Ifield,

0:36:530:36:56

Tommy Steele did pantomime.

0:36:560:36:58

Engelbert Humperdinck did Robinson Crusoe and as the ship went down

0:36:580:37:02

at the close of the first half, he stood on the stage and sang There Goes My Everything,

0:37:020:37:07

which got a round of applause and a good laugh.

0:37:070:37:10

Somebody at the Grade office had been in Las Vegas

0:37:260:37:29

and seen this act, Tanya the Adorable Elephant,

0:37:290:37:33

and it was a baby elephant with its trainer, Jenda Smaha -

0:37:330:37:37

the name is engraved on my heart.

0:37:370:37:39

'She'd have to pass my dressing room'

0:37:450:37:47

so her trainer brought her by, and very often he'd say,

0:37:470:37:50

"Can we come in?" And I'd go, "Yeah."

0:37:500:37:53

And she'd come in, and there was a little round-backed chair with red velvet

0:37:530:37:57

and he'd say, "Sit, Tanya, sit." And Tanya would just lean on it like this.

0:37:570:38:01

And it was just...just fantastic.

0:38:020:38:04

Tanya was pretty cunning. I have no idea why she took a dislike to the wardrobe mistress.

0:38:100:38:15

After she'd left the stage, she walked past my dressing room

0:38:220:38:24

'and then she had to go outside the stage door

0:38:240:38:27

'and there was a ramp leading up, and the wardrobe mistress leaned back towards the wall'

0:38:270:38:32

and she stopped beside her and slowly learnt on her like that

0:38:320:38:36

and the woman was going, "Oh, oh!"

0:38:360:38:38

This cunning way of just standing there almost just...

0:38:430:38:47

not really looking but squashing this lady.

0:38:470:38:50

Oh! Thank heavens nothing happened!

0:38:500:38:53

Great days, those were. Classy theatre.

0:38:530:38:56

# God save our gracious Queen... #

0:38:560:39:02

Last Monday, I had the honour of appearing in a show

0:39:020:39:05

which the business rightly regards as the highlight of the year.

0:39:050:39:08

The Royal Variety Show is at its best and at its most natural

0:39:080:39:12

when it's at the Palladium.

0:39:120:39:14

# Send him victorious... #

0:39:140:39:18

There is an emotional relationship between the Royal Family, there's an emotional relationship

0:39:180:39:24

between the audience and the stars that are on that stage and the combination of being at the Palladium

0:39:240:39:31

for a performer and doing a Royal Variety Show is a double whammy.

0:39:310:39:36

Welcome to the one part of tonight's Royal Variety Show

0:39:390:39:41

that the audience here at the London Palladium won't see.

0:39:410:39:44

It's those few moments of excitement and tension that build up backstage.

0:39:440:39:49

And on tonight's show, the ice-breaker is Des O'Connor who's just over here.

0:40:100:40:14

I've just found out, by the way,

0:40:140:40:15

that it's a bit nearer than we thought and I'm going to have to hurry this, I'm sorry.

0:40:150:40:19

Oh, really?

0:40:190:40:22

-I've just had a signal, the Royal Car has arrived.

-Oh, I'm off! I'll see you later.

-Good luck, Des.

0:40:220:40:26

-Bye-bye,

-Don't forget, enjoy yourselves.

0:40:260:40:28

Good evening, it's a fast show, I'll advise you to fasten your seat belts.

0:40:280:40:33

I told my mum and dad I'm doing the Royal Show

0:40:330:40:35

and I'll try and get you tickets for that.

0:40:350:40:36

"Oh, we don't want to see that." I said, "Well you always do."

0:40:360:40:39

"No, we want to come and see YOU in your show."

0:40:390:40:41

# If you want to get a thrill, if you want to see the sights

0:40:410:40:44

# Jump right in

0:40:440:40:47

#I got an unidentified flying object

0:40:470:40:50

# Let's go for a spin... #

0:40:500:40:52

So I booked them seats for the next night, the Monday night, which was the straight show.

0:40:520:40:56

The red carpet was left there.

0:40:560:40:57

They were put in the Royal Box.

0:40:570:40:59

# Nobody will believe their eyes. #

0:40:590:41:02

They'd seen me working in the working men's clubs and here we were at the Palladium.

0:41:020:41:06

It was just a magic moment.

0:41:060:41:07

And then when she came through she was all excited, she said it was fantastic.

0:41:070:41:12

I said "What, the show?" "No, I got to use the Queen's loo!"

0:41:120:41:15

# You don't have to say you love me

0:41:170:41:20

# Just be close at hand

0:41:200:41:22

# You don't have to stay forever, I will understand. #

0:41:220:41:28

Oh, can you imagine doing a Royal Variety Show

0:41:280:41:30

in the London Palladium?

0:41:300:41:33

It's those showbiz little dreams, and I'm a sucker for it.

0:41:330:41:38

# Close at hand

0:41:380:41:40

# You don't have to stay forever, I will understand. #

0:41:400:41:45

You know, you're in your best bib and tucker, you come out and perform and you meet the Queen.

0:41:450:41:51

Those are kind of the highlights of a career.

0:41:510:41:54

# Don't you wish your girlfriend was hot like me?

0:42:000:42:03

# Don't you wish your girlfriend was a freak like me? #

0:42:030:42:08

The Pussycat Dolls there, singing to Prince Charles, don't you wish your girlfriend was hot like me.

0:42:080:42:14

Brave choice, girls.

0:42:170:42:19

See you in the Tower.

0:42:190:42:22

The rules that you had about the Royal Family were that you never

0:42:220:42:26

looked up to the box to see what their reaction was.

0:42:260:42:31

If you've got any sense, you don't want to look, no!

0:42:310:42:33

You do glance, of course you do, yeah.

0:42:330:42:36

Now and again you might sneak a little glance, see if they're laughing.

0:42:360:42:39

You never addressed anything to them.

0:42:390:42:41

I mean, they wouldn't allow me, I had a great opening gag.

0:42:410:42:44

And you never referred to them directly.

0:42:440:42:48

I came on with a crown on, walked in and went, snap.

0:42:480:42:51

Under no circumstances, they said, can you do that.

0:42:510:42:54

You went on stage and you did your act and at the end of the act,

0:42:540:42:58

you bowed once to the front, once to the Royal Box, once to the front and then you went off.

0:42:580:43:05

You're told desperately not to overrun.

0:43:050:43:08

And that was absolutely adhered to and people were rehearsed and that was what they were supposed to do.

0:43:080:43:13

"We've overrun", they said. "Cut."

0:43:130:43:16

I said, "No." "You will."

0:43:160:43:18

I said, "Don't tell me what I'll do.

0:43:180:43:20

"All those Yankee comics had been on here and overrun, no."

0:43:200:43:23

So I went on and had a go and scored heavily but it had overrun.

0:43:230:43:27

And our blessed lady was not pleased.

0:43:270:43:30

And she's come down the line and it would be my, I don't know,

0:43:300:43:34

sixth, seventh, eighth, whatever I've done and she said, "You've done a lot of these now, Mr Tarbuck.

0:43:340:43:39

"How many of them have you done?"

0:43:390:43:41

I said, "Four more than you, Your Majesty," laughing and she went,

0:43:410:43:45

"It certainly seemed like it tonight."

0:43:450:43:48

So Tom Jones had his hand out and he got, good evening, and off.

0:43:480:43:51

And he went, "Well thank you very much," he said.

0:43:510:43:53

"You got me, I never got a chat, all down to you," he said.

0:43:530:43:57

So I was put in my place, quite rightly so, I suppose.

0:43:570:43:59

Ladies and gentlemen, may I present Mr Larry Hagman. Would you please.

0:43:590:44:04

I was backstage there for some reason,

0:44:060:44:08

probably just being nosey, you know.

0:44:080:44:10

But we're looking along there and it was the year that Larry Hagman was a surprise guest.

0:44:100:44:15

And I'm standing in the wings there, waiting for this

0:44:170:44:20

next to Larry Hagman's mother who was the great musical comedy star, Mary Martin.

0:44:200:44:26

# Cheating at poker to win me some dollars

0:44:260:44:30

# Twisting the ear of a kid till he hollers

0:44:300:44:34

# Scaring young girls with lascivious grins

0:44:340:44:38

# These are just some of my favourite sins.

0:44:380:44:43

They went into a parody that they'd written and he blew the line.

0:44:430:44:48

# My garden's a pasture for greenhorns and suckers

0:44:480:44:53

# I rear 'em and shear 'em and skin 'em alive

0:44:530:44:57

# Er la la la, and I forgot that particular lyric

0:44:570:45:00

# Rum tee ti ti day day di di di di

0:45:000:45:04

And she said, " My God, he's blown it." So he tried again.

0:45:040:45:10

Can we start again on the "one pound of given", or can't we do that sort of thing?

0:45:100:45:14

I knew we would panic. My daughter's in the audience, you know how this happens.

0:45:140:45:18

Start off anywhere you want to.

0:45:180:45:20

He blew it again and she said, "I'll do this." And she ran out.

0:45:230:45:27

And afterwards they said to Larry Hagman, "Don't worry, we'll cut out that."

0:45:320:45:36

He said, "No fear. The old girl saved my bacon. Keep it in." And they did.

0:45:360:45:40

# A hundred and one hands of fun, that's my little honey bun. #

0:45:400:45:48

# Get a load of honey bun, la-la. #

0:45:480:45:53

Mesdames et Messieurs, Miss Josephine Baker.

0:45:540:45:58

Josephine Baker made an appearance like you've never seen in your life.

0:46:000:46:04

Hi, everybody, hi.

0:46:040:46:06

Come on, say hi to me, make me feel at home.

0:46:060:46:09

AUDIENCE: Hi.

0:46:090:46:10

I feel at home, thank you very much.

0:46:100:46:13

There was this lady in a turquoise diamante suit

0:46:130:46:18

and a 5 ft plumed headdress.

0:46:180:46:21

# Quand il me prend dans ses bras

0:46:210:46:29

# Il me parle tout bas

0:46:290:46:31

# Vie en rose. #

0:46:310:46:35

She went out and stayed outside for well over an hour, signing autographs and speaking to people.

0:46:350:46:42

# ...Ca me fait quelque chose. #

0:46:420:46:47

I always remember a vivid memory of this elderly couple and this young boy.

0:46:470:46:53

And she said to this boy,

0:46:530:46:55

"You shouldn't be here tonight.

0:46:550:46:58

# It's very late, you should be at home in bed.

0:46:580:47:02

# Does your mummy know you're out late?"

0:47:020:47:06

And he said, "I think so."

0:47:060:47:09

And I presume it was the grandmother spoke to her and said, "No, we've brought him out.

0:47:090:47:15

# Sadly, his mother's in a hospice

0:47:150:47:18

# and we're looking after him."

0:47:180:47:20

And she immediately turned round, went back into the theatre

0:47:200:47:25

and came back with a stage hand holding this huge basket of roses.

0:47:250:47:31

And she said to this little boy, "You take those to your mummy tomorrow

0:47:330:47:37

# and tell her they're from Josephine."

0:47:370:47:39

Just amazing.

0:47:410:47:43

# ...mon coeur qui bat. #

0:47:460:47:53

Voila!

0:47:580:47:59

A good night out is to go to a ravishingly beautiful theatre,

0:48:010:48:06

which the Palladium is, and then feast your eyes on something wonderful happening on stage.

0:48:060:48:12

GONG

0:48:120:48:16

There's only certain shows that can be put into the Palladium.

0:48:160:48:21

When producers think of the Palladium, they think of

0:48:210:48:24

big production values.

0:48:240:48:26

Royal Princes and Princesses...

0:48:260:48:29

The modern tradition of the Palladium hosting big family musicals

0:48:360:48:41

started in 1979 when Louis Benjamin persuaded Yul Brynner to come over and appear in the King and I.

0:48:410:48:48

Come!

0:48:480:48:49

This was the first opportunity for British people to see

0:48:590:49:04

the huge sort of megastar that Yul Brynner was.

0:49:040:49:08

# Getting to know you, getting to know all about you. #

0:49:080:49:14

Oh dear, oh dear.

0:49:140:49:16

# Getting to like you, getting to hope you'll like me. #

0:49:160:49:20

I don't want to swear in this programme, and I would have to.

0:49:200:49:24

But it was not a happy time.

0:49:270:49:29

Out of 20 years, that was the only time that I felt really down.

0:49:310:49:39

I did everything possible, but you couldn't please Mr Brynner.

0:49:390:49:43

Anybody else would appreciate whatever you did, not him.

0:49:430:49:47

I am in the business, I am a manager, I am relatively successful.

0:49:470:49:52

I could no more have called him Yul than fly to the Moon.

0:49:520:49:56

He was Mr Brynner.

0:49:560:49:57

And he had that aura about him.

0:49:570:50:00

He WAS the King of Siam.

0:50:000:50:02

# I close my eyes, drew back the curtain

0:50:020:50:09

# To see for certain

0:50:090:50:13

# What I thought I knew. #

0:50:130:50:16

Nobody thought of the Palladium still as the great place where

0:50:160:50:19

you occasionally had musicals but not really

0:50:190:50:22

as a first run West End musical house.

0:50:220:50:24

So putting Joseph in there was a bit of a gamble.

0:50:240:50:27

# Any dream will do. #

0:50:270:50:32

When I first heard of Andrew Lloyd Webber I thought he made barbecues,

0:50:320:50:37

so it took a long time for me to realise the true currency of the Palladium.

0:50:370:50:44

It's not just a brush of pop, the Palladium.

0:50:440:50:49

It's not just about the one-hit wonder.

0:50:490:50:52

The first night was astonishing.

0:50:520:50:57

I've never in my life been more terrified.

0:50:570:51:00

You're in the number one dressing room of the Palladium where just about everybody has been.

0:51:000:51:07

I felt like an impostor, like some sort of pretender.

0:51:070:51:11

And as we got closer and closer to the show and the flowers were

0:51:110:51:15

arriving, I was getting good luck messages from other West End shows.

0:51:150:51:19

And all this was so alien to me as a TV person.

0:51:190:51:22

Joseph starts in front of the black screen and you're behind in the dark,

0:51:230:51:28

and you're on a little hydraulic platform and they lift you up through the dry ice in the dark.

0:51:280:51:34

And I can hear the show starting in front, thinking, "What am I doing here?

0:51:340:51:39

"This is the worst mistake I've ever made in my whole life or the best move I've ever made."

0:51:390:51:44

And I could hear the show and I lifted up in the dark

0:51:440:51:47

about 10 feet off the stage, so there's no hope of running away.

0:51:470:51:50

And I looked up and there was a lamp, dimmed right down, and I was on my own.

0:51:500:51:57

And as I looked up, about to make my West End debut,

0:51:570:52:01

a little hand came round the front of this lamp

0:52:010:52:04

and did the thumbs-up sign.

0:52:040:52:06

And that was my only connection with any humanity at all.

0:52:060:52:09

And then the curtain went up and there it was,

0:52:090:52:12

there was the audience, there was the Palladium,

0:52:120:52:15

there was the band and that was it.

0:52:150:52:17

It was "Get this right or they'll remember this for a long time."

0:52:170:52:20

The day the circus came to London Town, the Big Top was pitched not on our Broadway equivalent,

0:52:200:52:25

Shaftesbury Avenue, or even down Drury Lane,

0:52:250:52:27

but perhaps more suitably at the London Palladium, which must, over the years,

0:52:270:52:31

have balanced its books with a greater variety of

0:52:310:52:34

jugglers, tumblers and high-wire acts than any other theatre.

0:52:340:52:37

I was walking past Liberty's and I looked up the street and I could see

0:52:370:52:41

"Michael Crawford in Barnum", and my face, I was just glowing.

0:52:410:52:47

And then the fear factor set in of what it meant, the responsibility.

0:52:470:52:52

The opening night was

0:52:540:52:57

unbelievable, to see and hear this crowd.

0:52:570:53:01

And so truly one of the greatest experiences of my life was playing on this stage.

0:53:010:53:07

The Palladium created a sort of, I don't like the word credibility,

0:53:120:53:16

but it sort of made people look at me a little differently.

0:53:160:53:21

My grandmother suddenly started to say, "Oh, he's such a good boy, you know."

0:53:210:53:27

Suddenly I'd sort of arrived in a lot of people's minds.

0:53:270:53:32

You do think about

0:53:340:53:36

other people who've been through that door.

0:53:360:53:40

When you're in Number One dressing room, you think,

0:53:400:53:42

"Who else has sat in this chair and looked in this mirror to do their make-up?"

0:53:420:53:46

And there's something about that.

0:53:460:53:48

It's a sort of spiritual quality, really, that you, as a singer, you

0:53:480:53:53

kind of absorb the fact that you're in this historic place.

0:53:530:53:57

And it makes you perform better.

0:53:570:53:58

It makes you sing out of your socks.

0:53:580:54:00

You don't dream of those things happening in your lifetime.

0:54:000:54:03

I shouldn't think there are many performers that dream.

0:54:030:54:08

You want to act, you love to act,

0:54:080:54:10

but you never dream that you'll see yourself in that position.

0:54:100:54:15

And then, when you get to the point I'm at now, you're just terrified of being in any position like that.

0:54:150:54:23

When I'd finished the show,

0:54:230:54:25

we had a big after-show party at the Langham Hotel.

0:54:250:54:28

And Mike Smith and Sarah Greene,

0:54:280:54:30

who had recently had the terrible helicopter crash that they had, said, "We'll run you up to the hotel."

0:54:300:54:37

So I said, " OK, fine." So we came out of the

0:54:370:54:40

street and turned left.

0:54:400:54:42

I said, "You're going the wrong way. It's right."

0:54:420:54:44

They said, "No, no, we've got something we need to do first.

0:54:440:54:47

"This night has been so amazing we've got something we need to do first."

0:54:470:54:50

And we drove down to Westminster Bridge. You're |not allowed to stop.

0:54:500:54:54

And they said, "When we had our helicopter crash, we were so pleased to be alive we stopped

0:54:540:54:59

"on Westminster Bridge, we looked at London and we shouted, just shouted.

0:54:590:55:03

"The sheer exuberance of being alive.

0:55:030:55:06

"And tonight you've got to do it because it was such an incredible moment."

0:55:060:55:10

So we stopped on Westminster Bridge and we opened the car door, and we stood and looked out.

0:55:100:55:13

It was dark and there was St Paul's and it was a beautiful night, shouting.

0:55:130:55:17

And within a second a police car arrived and the copper got out and walked up to us.

0:55:170:55:22

And he looked at me and went, "How did it go?"

0:55:220:55:25

And I thought, "Now that really is, there's a moment for you."

0:55:250:55:29

It was a special time, you know.

0:55:290:55:31

It was a special time for me.

0:55:310:55:33

I'm sure in the Palladium's history it's probably seen many Jason Donovans in its time,

0:55:330:55:40

but it felt very special to me at the time.

0:55:400:55:44

One of the best nights was the very first preview

0:55:460:55:50

because they were still trying out the sound system.

0:55:500:55:54

Andrew Lloyd Webber decided after the first few moments

0:55:570:56:01

that he wanted to mix the sound himself.

0:56:010:56:03

I do enjoy interfering.

0:56:030:56:05

So by the time it got to Climb Every Mountain he was well on his way.

0:56:050:56:11

I think it was like a demented Tommy, you know,

0:56:110:56:15

on his pinball machine.

0:56:150:56:17

And he was sliding things up and down, and there was this maniacal light in his eye.

0:56:170:56:21

And the "climb every mountain till you find your dream,"

0:56:210:56:27

when I heard that big top A at the end, I, honestly, fillings were dropping out in front of me.

0:56:270:56:33

I could see there were teeth bouncing all over the place.

0:56:330:56:35

In the Palladium you can do things that you can't in other theatres.

0:56:350:56:40

And the chandeliers, the chandeliers I remember, they were rattling.

0:56:400:56:43

I remember thinking, "Turn me down, for God's sake!

0:56:430:56:47

"What are you doing, Andrew, you mad fool?"

0:56:470:56:52

She knew what I was up to, and it is quite fun. Look, I mean,

0:56:520:56:57

when you go into the Palladium, you smile.

0:56:570:56:59

# Till you find

0:56:590:57:05

# Your dream. #

0:57:050:57:11

The Palladium is part of my childhood,

0:57:270:57:31

it's part of my career, it's part of my heritage.

0:57:310:57:34

It's just a shrine for me,

0:57:340:57:36

and I still get the same feeling walking in the theatre that I did the first time.

0:57:360:57:41

Just coming here to do this interview, you know, it's the Palladium.

0:57:410:57:46

The Palladium to me is everything that ever made me want to be in showbusiness.

0:57:480:57:53

Everything anybody really ever wants out of this business

0:57:530:57:56

is wrapped round, one way and another, with the Palladium.

0:57:560:58:00

It just enabled me to do things I would never have been able to do,

0:58:020:58:06

so I am grateful to this place more than anything.

0:58:060:58:10

If I was down to my very, very last absolute everything,

0:58:110:58:15

I think the one thing, even, in a way, above my copyrights of my music,

0:58:150:58:20

I think I'd want to keep the Palladium.

0:58:200:58:22

That's how special it is.

0:58:220:58:24

Anybody who was anybody has performed here and done well.

0:58:240:58:31

And to have been part of that just for a few months,

0:58:330:58:36

it really was heart-stopping.

0:58:370:58:40

# The guy who was waving the flag

0:58:460:58:49

# That began with the mystical hand

0:58:490:58:53

# Hip hooray! The American way

0:58:530:58:57

# The world is a stage

0:58:570:58:59

# The stage is a world of entertainment. #

0:58:590:59:06

Subtitles by Red Bee Media Ltd

0:59:060:59:09

E-mail [email protected]

0:59:090:59:12

Cliff Richard, Bruce Forsyth, Michael Crawford and Andrew Lloyd Webber are among the stars sharing the gossip, glamour and behind-the-scenes shenanigans of the world's most famous theatre as it celebrates its 100th birthday.


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