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The Palladium is the temple of showbusiness. | 0:00:15 | 0:00:19 | |
It's every entertainer's dream to be on the stage at the Palladium. | 0:00:23 | 0:00:30 | |
It is every performer's dream to one day perhaps be | 0:00:32 | 0:00:35 | |
at the top of the bill. | 0:00:35 | 0:00:37 | |
It's a great honour, a great privilege, very exciting, | 0:00:37 | 0:00:42 | |
and frightening! | 0:00:42 | 0:00:44 | |
I think the Palladium gives the audience a buzz before they go there. | 0:00:47 | 0:00:53 | |
The atmosphere gives them the feeling of loving the show they're going to see. | 0:00:53 | 0:01:00 | |
It's the very fabulous Dior dancers! | 0:01:00 | 0:01:02 | |
It's kind of the mothership, isn't it, of all theatres. | 0:01:05 | 0:01:08 | |
It's a legend, this place. | 0:01:08 | 0:01:10 | |
You stand on the stage and think, | 0:01:10 | 0:01:12 | |
"Well, just about everyone has been on this. Don't cock it up!" | 0:01:12 | 0:01:15 | |
Oh, it's the one place everyone wanted to perform at, | 0:01:21 | 0:01:26 | |
and considered all over the world, "The London Palladium, ooh!" | 0:01:26 | 0:01:31 | |
The great Palladium, theatre where showbusiness was born, | 0:01:31 | 0:01:35 | |
and typical of showbusiness, nobody knows who the father was. | 0:01:35 | 0:01:39 | |
You always set yourself goals and ambitions and have dreams, | 0:01:39 | 0:01:43 | |
and one of them is to play the Palladium. | 0:01:43 | 0:01:45 | |
In your own heart, you know, I have achieved something, | 0:01:45 | 0:01:49 | |
I'm doing something I've always wanted to do. | 0:01:49 | 0:01:52 | |
Truly one of the greatest experiences of my life was playing on this stage. | 0:01:52 | 0:01:56 | |
If you stand on that stage and you're any sort of performer, | 0:01:56 | 0:02:01 | |
you get the message that it wants to love you. | 0:02:01 | 0:02:04 | |
It's like playing at Wembley or Lord's, riding in the Derby - | 0:02:06 | 0:02:10 | |
you come here, you're at the top of the First Division. | 0:02:10 | 0:02:13 | |
You think, "This will do." | 0:02:13 | 0:02:14 | |
I got a new television set specially for watching BBC Three. | 0:02:14 | 0:02:18 | |
It has a chain on the side for flushing after the programme is over. | 0:02:18 | 0:02:22 | |
There's a wonderful saying, that it's always half full. | 0:02:22 | 0:02:25 | |
There's a saying about several theatres that | 0:02:25 | 0:02:27 | |
they're always half empty, | 0:02:27 | 0:02:29 | |
but I love it that the Palladium is always half full. | 0:02:29 | 0:02:31 | |
It's the people's theatre, somewhere where everybody can feel at home. | 0:02:31 | 0:02:35 | |
It's not stuck-up, grand, it's not the Royal Opera House. | 0:02:35 | 0:02:38 | |
It's a wonderful, wonderful theatre. | 0:02:38 | 0:02:40 | |
You couldn't study the history of variety | 0:02:40 | 0:02:45 | |
without having the Palladium on every page, really. | 0:02:45 | 0:02:48 | |
It's right there in the forefront. | 0:02:48 | 0:02:51 | |
It would be like trying to do the history of pop music without the Beatles. | 0:02:51 | 0:02:55 | |
It's there at the centre, the core of everything. | 0:02:55 | 0:02:57 | |
Marie Lloyd, Dan Leno, | 0:03:02 | 0:03:05 | |
George Robey, Little Tich, | 0:03:05 | 0:03:06 | |
they would have all appeared at the Palladium | 0:03:06 | 0:03:09 | |
in that very early period. | 0:03:09 | 0:03:12 | |
All the great stars played here, | 0:03:12 | 0:03:14 | |
so it was a true variety theatre. | 0:03:14 | 0:03:18 | |
Variety mattered enormously | 0:03:19 | 0:03:21 | |
to British culture in those days, and I think still does, really. | 0:03:21 | 0:03:25 | |
Everybody from opera singers to comedians, you know, bands, | 0:03:32 | 0:03:36 | |
dancing groups, there were no holds barred, there were no boundaries. | 0:03:36 | 0:03:40 | |
A special something that appeals to me about the Palladium, | 0:03:43 | 0:03:46 | |
it's got a variety element to it, | 0:03:46 | 0:03:48 | |
and my background is in a lot of variety | 0:03:48 | 0:03:50 | |
and comedy and stuff like that. | 0:03:50 | 0:03:52 | |
LIGHT JAZZ MUSIC PLAYS | 0:03:52 | 0:03:54 | |
'I do love that side of the business | 0:04:04 | 0:04:06 | |
'and I do venerate those sort of stars, I really do. | 0:04:06 | 0:04:10 | |
'Those people that stand up on the stage on their own | 0:04:10 | 0:04:13 | |
'and do a show, I find breathtaking.' | 0:04:13 | 0:04:17 | |
There aren't many theatres in London | 0:04:17 | 0:04:19 | |
that are really so associated with that kind of ability. | 0:04:19 | 0:04:24 | |
DRUMROLL | 0:04:24 | 0:04:26 | |
APPLAUSE | 0:04:35 | 0:04:37 | |
I remember booking Jimi Hendrix on a variety bill when he was up-and-coming. | 0:04:39 | 0:04:43 | |
He was top of the bill, and we had a variety bill of jugglers, | 0:04:43 | 0:04:46 | |
and a bicycle act. We had no idea what we were booking. | 0:04:46 | 0:04:49 | |
# 'Scuse me while I kiss the sky... # | 0:04:49 | 0:04:53 | |
People always thought that speciality acts were rather dull, | 0:04:53 | 0:04:57 | |
but the ones they had on the Palladium, | 0:04:57 | 0:04:59 | |
variety bills, and indeed on the Royal Variety performances, | 0:04:59 | 0:05:03 | |
were things that did make you gasp and think how wonderful, how brilliant they were. | 0:05:03 | 0:05:08 | |
I got my nose knocked sideways, | 0:05:13 | 0:05:14 | |
and probably is still slightly crooked, actually. | 0:05:14 | 0:05:17 | |
Broken ribs... | 0:05:26 | 0:05:27 | |
It's an occupational hazard, I was told, so...! | 0:05:29 | 0:05:33 | |
They absolutely knew that they were going to catch her. | 0:05:36 | 0:05:40 | |
It was remarkable. | 0:05:40 | 0:05:42 | |
Used as a football throughout the act | 0:05:47 | 0:05:49 | |
and a skipping rope towards the end. | 0:05:49 | 0:05:51 | |
-I bet you couldn't do it with a man. -How about it, chaps? Come on. | 0:05:51 | 0:05:55 | |
LAUGHTER | 0:05:55 | 0:05:58 | |
Artists could go around doing variety theatres all around | 0:05:59 | 0:06:03 | |
the provinces and the suburbs for years and years, | 0:06:03 | 0:06:06 | |
and never get the chance to appear at the London Palladium. | 0:06:06 | 0:06:10 | |
So when you do get that opportunity, it's "Oh, I've reached it!" | 0:06:10 | 0:06:16 | |
You can't go any higher. | 0:06:16 | 0:06:18 | |
There was one fella, had some dancing ducks. | 0:06:18 | 0:06:21 | |
I was fascinated how they did the can-can. | 0:06:21 | 0:06:25 | |
HE QUACKS THE CAN-CAN | 0:06:25 | 0:06:27 | |
And he had little frocks on them, you know. | 0:06:27 | 0:06:30 | |
HE CONTINUES QUACKING THE CAN-CAN | 0:06:30 | 0:06:33 | |
I thought, how does he do that? | 0:06:33 | 0:06:35 | |
He had a hot plate, the hot plate was under a thing, | 0:06:35 | 0:06:37 | |
and the ducks were going "Phew!" | 0:06:37 | 0:06:41 | |
Wouldn't be allowed today. | 0:06:41 | 0:06:43 | |
Oh dear God Almighty, yes. | 0:06:43 | 0:06:45 | |
The Palladium is a star in its own right, no matter who's on the bill. | 0:06:45 | 0:06:50 | |
No matter who's top, the Palladium is the star. | 0:06:50 | 0:06:54 | |
I did go and stand in the middle of the stage | 0:06:57 | 0:07:00 | |
and look at the auditorium, and I thought, my goodness. | 0:07:00 | 0:07:03 | |
I'm standing where some of the greatest names in the history of entertainment have stood, | 0:07:03 | 0:07:08 | |
and I had this building, and I must say I did have a bit of a tear. | 0:07:08 | 0:07:13 | |
I thought, well, this is the building of all buildings that has got to be loved. | 0:07:13 | 0:07:17 | |
I adore the place. | 0:07:17 | 0:07:20 | |
It's not like a Royal Opera House, which is a little bit intimidating. | 0:07:26 | 0:07:30 | |
There's a great feeling that it's giving you a cuddle, | 0:07:30 | 0:07:34 | |
do you know what I mean? It's nice. | 0:07:34 | 0:07:35 | |
It's spiritually uplifting, it's really good for your head and soul. | 0:07:35 | 0:07:41 | |
To perform on the stage, I mean, even if you were feeling dead, | 0:07:44 | 0:07:47 | |
you got on and this house just went "Come on, girl." | 0:07:47 | 0:07:50 | |
Do know what I like to do? | 0:07:52 | 0:07:53 | |
Go and stand on the stage when it's empty and look around. | 0:07:53 | 0:07:57 | |
You can actually hear the laughter in your ears. | 0:07:57 | 0:08:00 | |
You can hear the applause. | 0:08:00 | 0:08:02 | |
It sends a shudder through you. | 0:08:02 | 0:08:04 | |
You walk on that stage when you're working, and all the ghosts are with you. | 0:08:08 | 0:08:13 | |
You name them, they've been on here. | 0:08:13 | 0:08:15 | |
# Today the ship is sailing | 0:08:15 | 0:08:17 | |
# And every jolly heart | 0:08:17 | 0:08:19 | |
# Is wishing he could chuck the sea | 0:08:19 | 0:08:22 | |
# And stay just where we are... # | 0:08:22 | 0:08:23 | |
'Every performer worth anything stood on the stage at the Palladium,' | 0:08:23 | 0:08:28 | |
from Tommy Trinder, the Crazy Gang, to all of those great, great stars. | 0:08:28 | 0:08:32 | |
# The ta's are going t'eather | 0:08:32 | 0:08:34 | |
# So kiss him for his heart | 0:08:34 | 0:08:36 | |
# Byesie byesie, toodle-oo | 0:08:36 | 0:08:38 | |
# Ta-ta, ta-ta, ta-ta. # | 0:08:38 | 0:08:40 | |
The Crazy Gang were the biggest thing, comedy-wise, | 0:08:40 | 0:08:44 | |
especially at the Palladium. | 0:08:44 | 0:08:46 | |
THEY SING OPERATICALLY | 0:08:46 | 0:08:50 | |
'They were so successful,' | 0:09:01 | 0:09:03 | |
really, they spent eight years | 0:09:03 | 0:09:06 | |
at the Palladium, more or less one revue following another. | 0:09:06 | 0:09:09 | |
'They were hugely popular, and quite rightly so | 0:09:16 | 0:09:19 | |
'because they were anarchists.' | 0:09:19 | 0:09:21 | |
They got in there and caused chaos at the theatre. | 0:09:21 | 0:09:25 | |
The stories of things that they did to other performers. | 0:09:27 | 0:09:30 | |
Monsewer Eddie Grey would go out to do his juggling and find the clubs covered with Vaseline | 0:09:30 | 0:09:35 | |
so he couldn't even pick them up, never mind juggle. | 0:09:35 | 0:09:38 | |
I think they broke up, it was mostly because of the war. | 0:09:41 | 0:09:45 | |
AIR-RAID SIREN WAILS | 0:09:47 | 0:09:50 | |
# We'll meet again | 0:09:50 | 0:09:54 | |
# Don't know where | 0:09:54 | 0:09:56 | |
# Don't know when | 0:09:56 | 0:09:59 | |
# But I know we'll meet again some sunny day... # | 0:09:59 | 0:10:06 | |
The manager used to come on the stage during the performance and say | 0:10:06 | 0:10:11 | |
"The air raid warning has just gone, | 0:10:11 | 0:10:14 | |
"so if anybody wishes to leave the theatre and go into the underground, | 0:10:14 | 0:10:19 | |
"would they please do so now." | 0:10:19 | 0:10:21 | |
And some people used to get up and go out and leave, but the show just carried on. | 0:10:21 | 0:10:26 | |
# Will you please say hello to the folks that I know | 0:10:26 | 0:10:30 | |
# Tell them I won't be long... # | 0:10:30 | 0:10:33 | |
'Lots of people would actually stay over | 0:10:33 | 0:10:35 | |
'and rough it within the buildings,' | 0:10:35 | 0:10:37 | |
doing things, whether they were chorus boys and girls, | 0:10:37 | 0:10:42 | |
right up to the biggest stars. | 0:10:42 | 0:10:44 | |
# We'll meet again | 0:10:44 | 0:10:47 | |
# Don't know where, don't know when | 0:10:47 | 0:10:52 | |
# But I know we'll meet again some sunny day. # | 0:10:52 | 0:11:00 | |
I used to stay in there at night with the firemen | 0:11:00 | 0:11:03 | |
until the all clear, then I would drive home in my little Austin 10! | 0:11:03 | 0:11:09 | |
We kept each other company at the stage door, | 0:11:09 | 0:11:12 | |
because through the stage door, it led on straight on to the stage | 0:11:12 | 0:11:18 | |
and then in between there was this very thick wall, | 0:11:18 | 0:11:22 | |
you know, to obscure the noise. | 0:11:22 | 0:11:25 | |
I used to sit on the floor and lean against this wall, | 0:11:25 | 0:11:29 | |
kidding myself I was safe. | 0:11:29 | 0:11:32 | |
# My British buddy We're as different as can be... # | 0:11:32 | 0:11:38 | |
'There were patriotic shows as well, and Irving Berlin came over' | 0:11:38 | 0:11:42 | |
and did his show, This Is The Army. | 0:11:43 | 0:11:45 | |
# When the job is done | 0:11:45 | 0:11:48 | |
# And the war is won... # | 0:11:48 | 0:11:52 | |
It was all about making people feel good and better about what was going on, | 0:11:52 | 0:11:57 | |
and that there were going to be better times around the corner. | 0:11:57 | 0:12:00 | |
-REPORTER: -Straight from Cuckoo Land came Stan Laurel | 0:12:03 | 0:12:05 | |
and tagging along behind, 21 stones' worth of Oliver Hardy. | 0:12:05 | 0:12:10 | |
First time I ever came to the Palladium, must have been 1947, | 0:12:10 | 0:12:14 | |
I'd got a job in the theatrical agency as the office boy | 0:12:14 | 0:12:18 | |
and the boss gave me two tickets to come here and see, erm... | 0:12:18 | 0:12:22 | |
I think it was Laurel and Hardy. | 0:12:22 | 0:12:24 | |
-Anything you especially want to do over here, Oliver? -Nothing, | 0:12:24 | 0:12:27 | |
but try and make the people happy... Will you keep quiet a minute? | 0:12:27 | 0:12:31 | |
I couldn't believe they had walked on the stage. | 0:12:31 | 0:12:33 | |
HE HUMS | 0:12:33 | 0:12:35 | |
There they were, and I just started laughing. | 0:12:35 | 0:12:37 | |
After a couple of weeks we might... | 0:12:37 | 0:12:39 | |
-What is it? -You're standing on my foot. | 0:12:39 | 0:12:42 | |
Oh, I'm sorry! | 0:12:42 | 0:12:43 | |
The so-called big variety season started the year after in 1948 | 0:12:45 | 0:12:50 | |
when Val Parnell had taken over control | 0:12:50 | 0:12:54 | |
of booking the Palladium. | 0:12:54 | 0:12:58 | |
Val Parnell was in the business of filling the Palladium | 0:12:58 | 0:13:02 | |
with a different bill every week, 52 weeks a year. | 0:13:02 | 0:13:05 | |
Val had come up with this idea of bringing a whole season, | 0:13:05 | 0:13:10 | |
virtually, of American artists. | 0:13:10 | 0:13:13 | |
Lights up in London too, behind the scenes at the Palladium, | 0:13:13 | 0:13:17 | |
where the stage is all set for a visit from a famous star. | 0:13:17 | 0:13:20 | |
Even the chorus crowds to the wings to see the show. | 0:13:22 | 0:13:26 | |
The opening act was Mickey Rooney. | 0:13:26 | 0:13:29 | |
He left early because the British audiences | 0:13:33 | 0:13:36 | |
just weren't actually getting his humour. | 0:13:36 | 0:13:38 | |
So, you know, people started to say, "It's not going to work." | 0:13:40 | 0:13:45 | |
Val Parnell had already booked Danny Kaye, | 0:13:45 | 0:13:48 | |
and Danny Kaye wasn't that well known over here | 0:13:48 | 0:13:51 | |
so he didn't know how his act was going to go down, | 0:13:51 | 0:13:54 | |
and when he saw a consummate professional like Mickey Rooney | 0:13:54 | 0:13:58 | |
going down the drain, he was so scared. | 0:13:58 | 0:14:01 | |
But he opened, and within 24 hours, he was the toast of the town. | 0:14:06 | 0:14:12 | |
MUSIC: "You're Nobody Till Somebody Loves You" by Dean Martin | 0:14:12 | 0:14:16 | |
Swaying backwards and forwards, the crowd bulges ominously | 0:14:25 | 0:14:29 | |
as a sleek black car brings along the star of the night, | 0:14:29 | 0:14:32 | |
the man thousands have waited six hours to see, Danny Kaye. | 0:14:32 | 0:14:35 | |
His overgrown curls hidden below a large sun hat, | 0:14:38 | 0:14:41 | |
Danny hurries away and the crowd surges forward | 0:14:41 | 0:14:44 | |
to acclaim the King and Queen, arriving with Princess Margaret and the Duke of Edinburgh. | 0:14:44 | 0:14:49 | |
Danny Kaye came and just ripped this place apart, | 0:14:49 | 0:14:54 | |
and you just couldn't get in. You couldn't buy a ticket. | 0:14:54 | 0:14:57 | |
It wasn't a royal command, the King and Queen and the young princesses, | 0:14:57 | 0:15:02 | |
as they were then, came to see him. | 0:15:02 | 0:15:04 | |
Acknowledged as the star of the evening is the carroty-headed comedian from Brooklyn. | 0:15:06 | 0:15:10 | |
Even the King and Queen couldn't get tickets, so they just turned up on spec | 0:15:10 | 0:15:15 | |
one night, and the managers had to ask a family in the front row | 0:15:15 | 0:15:18 | |
if they'd mind giving up their seats, | 0:15:18 | 0:15:20 | |
because the King and Queen had come with Elizabeth and Margaret. | 0:15:20 | 0:15:24 | |
Now Danny's got a visitor, a little man who's always busy as a bee | 0:15:24 | 0:15:28 | |
and just as helpful, Arthur Askey. | 0:15:28 | 0:15:30 | |
Backstage was full of everybody you could think of. | 0:15:30 | 0:15:34 | |
Attlee, who was the prime minister at the time, and Churchill. | 0:15:38 | 0:15:42 | |
Good evening, ladies and gentlemen, welcome to the casino. | 0:15:48 | 0:15:51 | |
-LAUGHTER -We do hope... What? | 0:15:51 | 0:15:54 | |
I was madly in love with Danny Kaye, | 0:15:54 | 0:15:56 | |
and I queued up overnight to see him. | 0:15:56 | 0:15:59 | |
When I was a child, I came here to see Danny Kaye. | 0:15:59 | 0:16:03 | |
And it was quite, quite the most wonderful experience. | 0:16:03 | 0:16:09 | |
CYMBAL CRASH | 0:16:22 | 0:16:23 | |
It's never left me. It's one of the things that's been | 0:16:23 | 0:16:26 | |
a lasting memory my life, when Danny Kaye became a great. He was my hero. | 0:16:26 | 0:16:33 | |
# I shake with fright | 0:16:33 | 0:16:35 | |
# Because my Dinah might | 0:16:35 | 0:16:38 | |
# Change her mind about me | 0:16:38 | 0:16:40 | |
# Hey, hey, you didn't make me love Dinah... # | 0:16:40 | 0:16:44 | |
'Many times, he'd look round and say, "Peter, what are you doing?"' | 0:16:44 | 0:16:47 | |
And I'd say, "I'm going to go home, sir." | 0:16:47 | 0:16:50 | |
"No, you're not, you're coming out with me." And remember, I was only just over 16. | 0:16:50 | 0:16:54 | |
HE SCATS | 0:16:54 | 0:16:58 | |
# Hey | 0:17:04 | 0:17:05 | |
# Hey | 0:17:05 | 0:17:07 | |
# Hey | 0:17:07 | 0:17:08 | |
# Oh | 0:17:08 | 0:17:09 | |
# Ba hey-oh-eh | 0:17:09 | 0:17:11 | |
# Hey-oh-eh, hey-oh-eh | 0:17:11 | 0:17:13 | |
# Baaaaa! # | 0:17:13 | 0:17:16 | |
It helped my education. | 0:17:16 | 0:17:18 | |
Hello, how nice to see you again. | 0:17:18 | 0:17:20 | |
Well, it's been a big week of close-ups on the stars. | 0:17:20 | 0:17:23 | |
Here's your first view of Britain from Plymouth Sound. What do you think? | 0:17:37 | 0:17:40 | |
It's a beautiful thing. Just think, this whole thing is surrounded by tea, | 0:17:40 | 0:17:44 | |
I think it's a beautiful thing. | 0:17:44 | 0:17:46 | |
And I can't wait to have my first cup of tea, | 0:17:46 | 0:17:49 | |
because from now on I'm on a solid tea diet, I will be sloshing around. | 0:17:49 | 0:17:52 | |
In a week or so, I'll be half-man, half-teabag, and I'm thrilled about it. | 0:17:52 | 0:17:56 | |
# When I fall in love | 0:17:56 | 0:18:01 | |
# It will be forever... # | 0:18:04 | 0:18:07 | |
What meant more to the American performers was playing the Palladium. | 0:18:07 | 0:18:13 | |
If you came over here, then the next day in Variety, their magazine, | 0:18:13 | 0:18:19 | |
"Appeared at the London Palladium", it was a big thing to all Americans. | 0:18:19 | 0:18:23 | |
First of all, Miss Garland, welcome back to London. | 0:18:23 | 0:18:26 | |
Thank you very much. It's nice to be here. | 0:18:26 | 0:18:28 | |
Everybody around the world wanted to play at the Palladium. | 0:18:28 | 0:18:33 | |
It was an international theatre, | 0:18:33 | 0:18:34 | |
and probably still is the only truly international theatre that we have. | 0:18:34 | 0:18:39 | |
It's always nice to come back to the Palladium. | 0:18:39 | 0:18:42 | |
They were glamorous, and they had their craft, you know, | 0:18:42 | 0:18:48 | |
absolutely down to a tee, | 0:18:48 | 0:18:49 | |
and they were quite wonderful moments to see them performing. | 0:18:49 | 0:18:53 | |
# As I walked out | 0:18:53 | 0:18:55 | |
# In the streets of Loredo | 0:18:55 | 0:18:59 | |
# As I walked out | 0:18:59 | 0:19:02 | |
# In Loredo | 0:19:02 | 0:19:04 | |
# One day | 0:19:04 | 0:19:06 | |
# I spied a young cowboy | 0:19:06 | 0:19:10 | |
# Wrapped up in white linen... # | 0:19:10 | 0:19:13 | |
APPLAUSE | 0:19:13 | 0:19:16 | |
Shucks, I wouldn't put it on unless I was good at it. | 0:19:19 | 0:19:22 | |
I wouldn't like anyone to think | 0:19:24 | 0:19:26 | |
that the American recording stars had it all their own way. | 0:19:26 | 0:19:31 | |
We produced a whole string of... | 0:19:31 | 0:19:35 | |
hit recording artists in this country | 0:19:35 | 0:19:38 | |
who would pack the Palladium as much as any of the Americans. | 0:19:38 | 0:19:42 | |
# I'm putting on my top hat | 0:19:42 | 0:19:44 | |
# Tying up my white tie | 0:19:45 | 0:19:47 | |
# Brushing off my tails | 0:19:48 | 0:19:50 | |
# I'm | 0:19:51 | 0:19:53 | |
# Doing up my shirt front | 0:19:53 | 0:19:55 | |
# Putting in my shirt studs | 0:19:56 | 0:19:58 | |
# Polishing my nails... # | 0:19:58 | 0:20:00 | |
'The biggest of them all was Dickie Valentine, | 0:20:00 | 0:20:04 | |
'who became absolutely a heart-throb, | 0:20:04 | 0:20:07 | |
'a huge record seller,' | 0:20:07 | 0:20:09 | |
and a major, major recording star, | 0:20:09 | 0:20:12 | |
to rival Nat King Cole, Johnnie Ray, Frankie Laine - | 0:20:12 | 0:20:15 | |
all those big American stars. | 0:20:15 | 0:20:18 | |
'Dickie Valentine was up there.' | 0:20:18 | 0:20:19 | |
# Typing up my white tie | 0:20:19 | 0:20:22 | |
# Dancing in my tails. # | 0:20:22 | 0:20:25 | |
'I think it was around 1945, 1946, he was a page boy in the Palladium, | 0:20:25 | 0:20:28 | |
'and they used to just do the odd jobs, they were like the runners of today.' | 0:20:28 | 0:20:32 | |
And he was off having a cup of tea somewhere at a cafe, I think, | 0:20:32 | 0:20:35 | |
and one of his colleagues came and said, | 0:20:35 | 0:20:37 | |
"The head guy wants to see you," and my dad cheekily turned round and told him, "Tell him to wait." | 0:20:37 | 0:20:43 | |
Jokingly, of course. But this guy went back | 0:20:43 | 0:20:46 | |
and told the head guy and when my dad got back, he got the sack. | 0:20:46 | 0:20:49 | |
# Look at those stars above you... # | 0:20:49 | 0:20:55 | |
And then in 1955 he topped the bill at the Palladium for two weeks, | 0:20:55 | 0:20:59 | |
amongst the Americans and everybody else that was being booked. | 0:20:59 | 0:21:02 | |
# You too can be a dreamer... # | 0:21:02 | 0:21:07 | |
What a fairy tale to go from the Palladium, sacked, | 0:21:07 | 0:21:10 | |
ten years later, topping the bill. | 0:21:10 | 0:21:12 | |
# Mr Sandman | 0:21:12 | 0:21:15 | |
# Bring me a dream... # | 0:21:15 | 0:21:17 | |
I want to introduce to you a star of many opera stages | 0:21:17 | 0:21:21 | |
and a great star of Hollywood - Mario Lanza. | 0:21:21 | 0:21:25 | |
CHEERING AND APPLAUSE | 0:21:25 | 0:21:27 | |
Well, I had some very difficult clients, especially Mario Lanza. | 0:21:33 | 0:21:37 | |
# When you are in love | 0:21:37 | 0:21:43 | |
# It's the loveliest night | 0:21:43 | 0:21:47 | |
# Of the year... # | 0:21:47 | 0:21:48 | |
'We were at the Dorchester Hotel, I was living in the same suite as Mario.' | 0:21:48 | 0:21:53 | |
We had very big problems with him. | 0:21:53 | 0:21:56 | |
It was touch-and-go whether he was going to perform. | 0:21:56 | 0:21:59 | |
# Touch them from here... # | 0:21:59 | 0:22:01 | |
'He had been horrific to me personally, and to everybody around. | 0:22:01 | 0:22:07 | |
'And the door opened, | 0:22:09 | 0:22:11 | |
'and a photographer came in with his camera and said, "Now?"' | 0:22:11 | 0:22:15 | |
Mario said, "I told you, no photographers!" And he struck me. | 0:22:15 | 0:22:19 | |
He hit me right in the face and actually knocked me out. | 0:22:19 | 0:22:22 | |
I'm not talking to the press now | 0:22:22 | 0:22:25 | |
or to Leslie Grade who represents me in Europe, | 0:22:25 | 0:22:29 | |
or Mr Val Parnell or just anyone at all. HE SIGHS | 0:22:29 | 0:22:32 | |
It took a long time, but I just want to talk to you, the English people. | 0:22:32 | 0:22:36 | |
It took so much time, and may I say, hello. That's all. | 0:22:36 | 0:22:40 | |
CHEERING AND APPLAUSE | 0:22:40 | 0:22:42 | |
'I came to, he was reviving me. | 0:22:42 | 0:22:45 | |
'He was all,' | 0:22:45 | 0:22:46 | |
"Peter, I'm so sorry. | 0:22:46 | 0:22:48 | |
"You know I'm nervous, I'm so tense." | 0:22:48 | 0:22:50 | |
I said, "That's it. I've had enough." | 0:22:50 | 0:22:52 | |
'So I walked out, slammed the door and I said to Leslie Grade, | 0:22:54 | 0:22:59 | |
'who was actually my boss,' | 0:22:59 | 0:23:02 | |
and he said, "What's that? You're bleeding!" | 0:23:02 | 0:23:05 | |
And I said, "Yes, my nose and my mouth are bleeding. | 0:23:05 | 0:23:09 | |
"That bloody man's knocked me out again." | 0:23:09 | 0:23:11 | |
And Leslie came back to me and said, "Peter, now what we're going to do is this. | 0:23:11 | 0:23:16 | |
"You let Mario go on and do a good performance tonight. | 0:23:16 | 0:23:20 | |
"When he walks off the stage, you hit him." | 0:23:20 | 0:23:23 | |
Well, of course, everybody laughed. | 0:23:23 | 0:23:25 | |
# It's the loveliest night | 0:23:25 | 0:23:31 | |
# Of the year. # | 0:23:31 | 0:23:38 | |
That is what makes this place so special, | 0:23:38 | 0:23:40 | |
the people behind the scenes | 0:23:40 | 0:23:42 | |
and the amount of work that goes on there, | 0:23:42 | 0:23:45 | |
because it really is a family. | 0:23:45 | 0:23:47 | |
I don't think I've ever felt so much part of a family. | 0:23:55 | 0:23:58 | |
# Hello, Liza... # | 0:23:58 | 0:24:03 | |
-APPLAUSE -# Well, hello, Liza | 0:24:03 | 0:24:08 | |
# It's so nice to have you here | 0:24:08 | 0:24:11 | |
# Where you belong | 0:24:11 | 0:24:15 | |
# You're looking swell, Mother | 0:24:15 | 0:24:19 | |
# I can tell, Mother | 0:24:19 | 0:24:23 | |
# You're still glowing You're still crowing | 0:24:23 | 0:24:27 | |
# You're still going... # | 0:24:27 | 0:24:30 | |
SINGING FADES OUT | 0:24:30 | 0:24:32 | |
Aside from the performers on the stage, the people behind the scenes, | 0:24:37 | 0:24:41 | |
if you like, were the best in class. | 0:24:41 | 0:24:44 | |
The London Palladium... | 0:24:54 | 0:24:56 | |
is my second home, and I love this place so much. | 0:24:56 | 0:25:00 | |
My lamp becomes a part of me. | 0:25:03 | 0:25:06 | |
It's part of me. | 0:25:06 | 0:25:08 | |
And all the worries I have is gone. | 0:25:08 | 0:25:11 | |
The show come first. | 0:25:11 | 0:25:12 | |
Oh, I mean, Linford has been there since the Palladium was built. | 0:25:15 | 0:25:19 | |
He's incredible. I think he's just part of the works there. | 0:25:19 | 0:25:24 | |
Whoever has come and gone, Linford has been there through them all. | 0:25:24 | 0:25:29 | |
Linford, doing his follow spot, honing right down on to her face. | 0:25:32 | 0:25:37 | |
Linford's proudest moment. | 0:25:42 | 0:25:44 | |
I've worked at the Palladium for 47 years, | 0:25:44 | 0:25:48 | |
and I don't have one day of regret of being here. | 0:25:48 | 0:25:52 | |
# Somewhere | 0:25:52 | 0:25:56 | |
# Over the rainbow... # | 0:25:56 | 0:25:59 | |
Sing it with me. | 0:25:59 | 0:26:00 | |
# Way up high... # | 0:26:00 | 0:26:03 | |
You can sing it better than I can, come on, sing along. | 0:26:03 | 0:26:06 | |
Come on! | 0:26:06 | 0:26:07 | |
'Like everybody else, she was incredibly nervous.' | 0:26:07 | 0:26:10 | |
You know, the Palladium, big British audience, | 0:26:10 | 0:26:14 | |
and she had had a few bad experiences already. | 0:26:14 | 0:26:18 | |
# Somewhere | 0:26:18 | 0:26:22 | |
# Over the rainbow... # | 0:26:22 | 0:26:25 | |
'A guy called Bill Ward' | 0:26:25 | 0:26:27 | |
went up to the dressing room and he came in that side there and said, "The bitch won't go on." | 0:26:27 | 0:26:32 | |
I said, "Well, neither would I if you spoke to me like that," and I was a kid. | 0:26:32 | 0:26:35 | |
And I got all the guys, Little Roy and Big Roy, stagehands, | 0:26:35 | 0:26:39 | |
Jack, and I said, "Line up when I bring her out." | 0:26:39 | 0:26:41 | |
I went up and said, "Hi, how are you?" | 0:26:41 | 0:26:43 | |
She said, "Hi, how are you?" I said, "I'm fine. | 0:26:43 | 0:26:46 | |
"You fancy going down to have a look? They are dying to see you out there. | 0:26:46 | 0:26:50 | |
"If you don't want to go on, don't worry, I can go on. | 0:26:50 | 0:26:53 | |
"But I think you'll love it if you do." | 0:26:53 | 0:26:55 | |
And she said to me, which I'm very proud of, "You've got a lot of class, little man." | 0:26:55 | 0:26:59 | |
And I took her by the arm and all the stagehands were waiting, and they went, | 0:26:59 | 0:27:03 | |
"Welcome back, Miss Garland. Welcome back, Miss Garland." | 0:27:03 | 0:27:06 | |
Well, I got the choke there. And on she walked and killed them. | 0:27:06 | 0:27:11 | |
# If happy little bluebirds fly | 0:27:11 | 0:27:17 | |
# Beyond the rainbow | 0:27:17 | 0:27:22 | |
# Why... # | 0:27:22 | 0:27:24 | |
You're marvellous! | 0:27:24 | 0:27:26 | |
# Oh, why can't I? # | 0:27:26 | 0:27:34 | |
CHEERING AND APPLAUSE | 0:27:34 | 0:27:36 | |
'Those performers that have got it | 0:27:48 | 0:27:50 | |
'and can play an audience and work an audience, this is the place for them.' | 0:27:50 | 0:27:55 | |
And standing down there and watching it, | 0:27:55 | 0:27:57 | |
I can remember all the time watching | 0:27:57 | 0:28:00 | |
and just admiring... watching the stagecraft | 0:28:00 | 0:28:02 | |
and learning how some of these performers, the tricks of the trade... | 0:28:02 | 0:28:06 | |
I'd come in night after night, and watch them. | 0:28:06 | 0:28:09 | |
I hope you're having a nice time. I had my Easter holiday just over a week ago. | 0:28:09 | 0:28:13 | |
A lot of people noticed how brown I looked. I looked very dark on the screen, you know. That was all tan. | 0:28:13 | 0:28:18 | |
I've got to tell you, I just... | 0:28:18 | 0:28:20 | |
It wasn't boot polish, it was tan, madam. | 0:28:21 | 0:28:23 | |
And you'd be waiting for it. | 0:28:23 | 0:28:25 | |
"I know the gag that's coming up." And you'd look at the audience, | 0:28:25 | 0:28:29 | |
and they don't know how funny this is going to be, and you'd watch the place rock with laughter, | 0:28:29 | 0:28:35 | |
whoever the great comedian was. | 0:28:35 | 0:28:37 | |
Oh, there's nowhere like it. Nowhere like it. | 0:28:37 | 0:28:40 | |
Before Sunday Night At The London Palladium, | 0:28:44 | 0:28:47 | |
everything was black and white - | 0:28:47 | 0:28:49 | |
even though there was no colour television at that time, but it was like that. | 0:28:49 | 0:28:53 | |
That moment, variety, or entertainment, changed direction. | 0:28:53 | 0:28:58 | |
To see the best that there was | 0:28:58 | 0:29:00 | |
on the Palladium stage, it was almost the perfect storm. | 0:29:00 | 0:29:04 | |
You had the best entertainers on the best stage | 0:29:04 | 0:29:07 | |
and the best spot on television, Sunday night at that time. | 0:29:07 | 0:29:10 | |
Every Sunday night at 8 o'clock, the house lights dim, | 0:29:10 | 0:29:14 | |
the conductor raises his baton | 0:29:14 | 0:29:17 | |
and Val Parnell's Sunday Night At The London Palladium is on the screen. | 0:29:17 | 0:29:21 | |
This is what millions of people all over the country settle down to watch. | 0:29:21 | 0:29:26 | |
'The country, as I remember, revolved around it. | 0:29:26 | 0:29:29 | |
We'd never seen, on our TV screens,' | 0:29:29 | 0:29:31 | |
a show that was as big. | 0:29:31 | 0:29:34 | |
'Sunday Night At The London Palladium closed pubs and things.' | 0:29:39 | 0:29:42 | |
I used to go into my local pub and they'd say, "Who's on on Sunday?" | 0:29:42 | 0:29:47 | |
And I'd tell them and they'd go, "Oh, my God!" | 0:29:47 | 0:29:49 | |
# I got myself a crying, talking... # CHEERING | 0:29:49 | 0:29:53 | |
# Sleeping, walking, living doll | 0:29:53 | 0:29:57 | |
# Got to do my best to please her | 0:29:57 | 0:29:59 | |
# Just cos she's a living doll... # | 0:29:59 | 0:30:03 | |
For us, it was a matter of how to get the biggest, | 0:30:03 | 0:30:05 | |
widest audience possible. And has it paid off for me? | 0:30:05 | 0:30:08 | |
Yes, it has. | 0:30:08 | 0:30:09 | |
# My one and only walking, talking, living doll. # | 0:30:09 | 0:30:14 | |
For artists selling records, it was the best plug. | 0:30:14 | 0:30:17 | |
You didn't need to do any more television. | 0:30:17 | 0:30:19 | |
You did Sunday Night At The Palladium and you reached 90% of the population. | 0:30:19 | 0:30:23 | |
# I'm going to get there somehow Ringing up to see | 0:30:23 | 0:30:27 | |
# That I'm going to get there somehow | 0:30:27 | 0:30:29 | |
# I'm leaving right away... # | 0:30:29 | 0:30:31 | |
'I was working at a little club in Soho and a message came through | 0:30:31 | 0:30:36 | |
to my dressing room - | 0:30:36 | 0:30:38 | |
"Val Parnell was in tonight while you were on stage." | 0:30:38 | 0:30:41 | |
And he said, "He wants to know if you'd like to come and have a drink with him." | 0:30:41 | 0:30:45 | |
# Hop into the taxi, but I haven't got the fare. | 0:30:45 | 0:30:49 | |
# If I hitchhike on a lorry Well, it might'nt go past there... # | 0:30:49 | 0:30:53 | |
'He said to me,' | 0:30:53 | 0:30:55 | |
"How would you feel about doing Sunday Night At The London Palladium?" | 0:30:55 | 0:30:59 | |
I really...I nearly fainted. | 0:30:59 | 0:31:02 | |
# If I don't get back tomorrow | 0:31:02 | 0:31:04 | |
# Come looking for me, please. # | 0:31:04 | 0:31:09 | |
'Up to then, I just could not | 0:31:09 | 0:31:11 | |
'get anybody interested in making records. They didn't want to know. | 0:31:11 | 0:31:15 | |
'The next day, three record companies wanted to sign me up,' | 0:31:15 | 0:31:18 | |
and I think they wanted to sign me up not because they thought I was brilliant, | 0:31:18 | 0:31:22 | |
but they thought I was going to be popular. | 0:31:22 | 0:31:25 | |
Good evening! | 0:31:25 | 0:31:26 | |
# Ladies and gentlemen | 0:31:26 | 0:31:29 | |
# Welcome to Sunday Night At The London Palladium... # | 0:31:29 | 0:31:33 | |
It was the plum job, | 0:31:33 | 0:31:34 | |
the biggest job on television | 0:31:34 | 0:31:36 | |
was to be the host of Sunday Night At The Palladium. | 0:31:36 | 0:31:39 | |
# Hip-hip-hooray... # | 0:31:39 | 0:31:41 | |
'I was working in this terrible theatre at Eastbourne. | 0:31:41 | 0:31:44 | |
'A cast of ten, an orchestra' | 0:31:44 | 0:31:47 | |
of two pianos and drums, | 0:31:47 | 0:31:49 | |
and I came to that - | 0:31:49 | 0:31:50 | |
'the 30-piece orchestra going as I arrived, | 0:31:50 | 0:31:53 | |
'and then looking out at that vast...you know, | 0:31:53 | 0:31:57 | |
this empty theatre, | 0:31:57 | 0:31:58 | |
wondering what it would be like with 2,500 people in there. | 0:31:58 | 0:32:02 | |
# I used to hold you, baby | 0:32:02 | 0:32:05 | |
-# So tight... # -LAUGHTER | 0:32:05 | 0:32:06 | |
# Each night, that's right | 0:32:06 | 0:32:08 | |
# I kind of hoped that maybe you might | 0:32:08 | 0:32:11 | |
# Fall for me | 0:32:11 | 0:32:14 | |
# Why, oh, why, do voices say to me | 0:32:14 | 0:32:18 | |
# Sit and cry, that this was meant to be? | 0:32:18 | 0:32:20 | |
# Love's unkind and love's untrue | 0:32:20 | 0:32:22 | |
# Oh, why did love pick out you for me? | 0:32:22 | 0:32:26 | |
-# Poor me -Poor me | 0:32:26 | 0:32:27 | |
-# Poor me -Oh, oh | 0:32:27 | 0:32:29 | |
-# Oh, oh -Poor me | 0:32:29 | 0:32:30 | |
-# Poor me -BOTH: Poor me. # | 0:32:30 | 0:32:33 | |
'The bills changed, the top of the bill changed, the acts changed - | 0:32:33 | 0:32:37 | |
'the host was the glue that held it together' | 0:32:37 | 0:32:39 | |
from week to week to week. | 0:32:39 | 0:32:41 | |
And getting that job made you a star. | 0:32:41 | 0:32:45 | |
-Oh? -HE CHUCKLES | 0:32:45 | 0:32:47 | |
LAUGHTER | 0:32:47 | 0:32:49 | |
I love you too. | 0:32:50 | 0:32:51 | |
Within two or three months, I was one of the biggest names in the country. | 0:32:53 | 0:32:57 | |
Are you really? | 0:32:57 | 0:32:59 | |
Yeah? | 0:32:59 | 0:33:01 | |
-Well, we're going out tonight, aren't we? -LAUGHTER | 0:33:01 | 0:33:04 | |
I hope we are. | 0:33:04 | 0:33:07 | |
I'd go into restaurants and they'd give me a meal on the house. | 0:33:07 | 0:33:11 | |
Before, when I was starving for a meal, | 0:33:11 | 0:33:14 | |
no-one even gave me a loaf of bread and some water. | 0:33:14 | 0:33:17 | |
But that's...that's so-called stardom for you. | 0:33:17 | 0:33:20 | |
It will be wonderful tonight, it really will. | 0:33:20 | 0:33:24 | |
We'll go to the same old place. | 0:33:24 | 0:33:26 | |
October the 27th, 1963. That one appearance | 0:33:33 | 0:33:37 | |
totally changed my life. | 0:33:37 | 0:33:39 | |
Totally, and that's this theatre that does that, | 0:33:39 | 0:33:42 | |
because it is the most famous theatre in the world. | 0:33:42 | 0:33:44 | |
Between you and me, don't you think marriage is wonderful? | 0:33:44 | 0:33:47 | |
Between you and me marriage would be ridiculous. | 0:33:47 | 0:33:51 | |
I'd had George Raft on the show, who was a very famous gangster film star, | 0:33:51 | 0:33:55 | |
and he'd gone back, he was a pal of Sinatra's and said, | 0:33:55 | 0:33:58 | |
"There's a kid in England who looked after me great, Jimmy Tarbuck." | 0:33:58 | 0:34:02 | |
And I was in Florida and a guy said, "The man wants to meet you." | 0:34:02 | 0:34:06 | |
I said, "The man?" He said, "Frank." | 0:34:06 | 0:34:08 | |
I said, "Frank who? Are you kidding?" And there I was, | 0:34:08 | 0:34:11 | |
I was sat with him. And it was like a film set. He stood up and said, "How are you, Jimmy?" | 0:34:11 | 0:34:16 | |
I said, "Hi, Mr Sinatra." He said, "Frank." | 0:34:16 | 0:34:19 | |
He said, "I believe you're at that beloved Palladium." | 0:34:19 | 0:34:22 | |
You just knew that you are witnessing something that was live. | 0:34:22 | 0:34:25 | |
It wasn't pre-recorded or edited afterwards as shows are now. | 0:34:25 | 0:34:28 | |
And that frightened a lot of your favourite performers, | 0:34:28 | 0:34:32 | |
your mum and dad's favourites. | 0:34:32 | 0:34:35 | |
Just that one word. They couldn't say, "Stop that, I'll do it again." | 0:34:36 | 0:34:40 | |
The energy that that generated, well, it was... You could almost taste it. | 0:34:43 | 0:34:49 | |
It was fabulously exciting. | 0:34:49 | 0:34:51 | |
What would happen, at five minutes to eight, "Ready, sir?" | 0:34:53 | 0:34:57 | |
You could hear it out there, the buzz. The warm-up comic would be on. | 0:34:59 | 0:35:03 | |
And then they'd say, "You've got 30 seconds, sir. | 0:35:03 | 0:35:07 | |
"We're approximating tonight we're going to have 17 million viewers." | 0:35:07 | 0:35:10 | |
You had to hear that just before you went on and then you'd hear this... | 0:35:10 | 0:35:14 | |
It was most wonderful. There was one chord, it went whoosh, | 0:35:14 | 0:35:17 | |
# Da-da-da-da-da! # | 0:35:17 | 0:35:18 | |
And you think, "Here you go, you can't go home now." | 0:35:18 | 0:35:21 | |
# Pretty woman Walking down the street | 0:35:26 | 0:35:28 | |
# Pretty woman The kind I'd like to meet | 0:35:28 | 0:35:32 | |
-# Pretty woman... # -Ha-ha! | 0:35:32 | 0:35:36 | |
Should've seen your faces. "There's Roy!" | 0:35:36 | 0:35:38 | |
# Pretty woman, won't you pardon me? | 0:35:38 | 0:35:42 | |
# Pretty woman | 0:35:42 | 0:35:43 | |
# I couldn't help but see Pretty woman... # | 0:35:43 | 0:35:46 | |
Your battle is won before you start | 0:35:46 | 0:35:49 | |
because the theatre gives you everything you need. | 0:35:49 | 0:35:52 | |
It gives you the guts, shall we say, to go out there and do your act. | 0:35:52 | 0:35:56 | |
MUSIC: "Oh, Pretty Woman" by Roy Orbison | 0:35:56 | 0:35:58 | |
HE GROWLS | 0:35:58 | 0:36:00 | |
'Because it had been so successful for me, | 0:36:00 | 0:36:02 | |
they then put me into the pantomime. | 0:36:02 | 0:36:07 | |
Our pantomimes, of course, were very famous. | 0:36:14 | 0:36:17 | |
Doors on the left. | 0:36:19 | 0:36:20 | |
Doors... | 0:36:20 | 0:36:22 | |
Oh, they were enormous. They were musicals, really, | 0:36:24 | 0:36:27 | |
they were mega-musicals. | 0:36:27 | 0:36:28 | |
We always opened on Christmas Eve | 0:36:32 | 0:36:35 | |
and we played twice daily right through to Easter Saturday. | 0:36:35 | 0:36:40 | |
We're used to one, two stars, maybe, playing in pantomime. | 0:36:44 | 0:36:48 | |
The Palladium would have maybe six, seven stars, who in their own right could top a bill. | 0:36:48 | 0:36:53 | |
Cliff Richard and the Shadows, Frank Ifield, | 0:36:53 | 0:36:56 | |
Tommy Steele did pantomime. | 0:36:56 | 0:36:58 | |
Engelbert Humperdinck did Robinson Crusoe and as the ship went down | 0:36:58 | 0:37:02 | |
at the close of the first half, he stood on the stage and sang There Goes My Everything, | 0:37:02 | 0:37:07 | |
which got a round of applause and a good laugh. | 0:37:07 | 0:37:10 | |
Somebody at the Grade office had been in Las Vegas | 0:37:26 | 0:37:29 | |
and seen this act, Tanya the Adorable Elephant, | 0:37:29 | 0:37:33 | |
and it was a baby elephant with its trainer, Jenda Smaha - | 0:37:33 | 0:37:37 | |
the name is engraved on my heart. | 0:37:37 | 0:37:39 | |
'She'd have to pass my dressing room' | 0:37:45 | 0:37:47 | |
so her trainer brought her by, and very often he'd say, | 0:37:47 | 0:37:50 | |
"Can we come in?" And I'd go, "Yeah." | 0:37:50 | 0:37:53 | |
And she'd come in, and there was a little round-backed chair with red velvet | 0:37:53 | 0:37:57 | |
and he'd say, "Sit, Tanya, sit." And Tanya would just lean on it like this. | 0:37:57 | 0:38:01 | |
And it was just...just fantastic. | 0:38:02 | 0:38:04 | |
Tanya was pretty cunning. I have no idea why she took a dislike to the wardrobe mistress. | 0:38:10 | 0:38:15 | |
After she'd left the stage, she walked past my dressing room | 0:38:22 | 0:38:24 | |
'and then she had to go outside the stage door | 0:38:24 | 0:38:27 | |
'and there was a ramp leading up, and the wardrobe mistress leaned back towards the wall' | 0:38:27 | 0:38:32 | |
and she stopped beside her and slowly learnt on her like that | 0:38:32 | 0:38:36 | |
and the woman was going, "Oh, oh!" | 0:38:36 | 0:38:38 | |
This cunning way of just standing there almost just... | 0:38:43 | 0:38:47 | |
not really looking but squashing this lady. | 0:38:47 | 0:38:50 | |
Oh! Thank heavens nothing happened! | 0:38:50 | 0:38:53 | |
Great days, those were. Classy theatre. | 0:38:53 | 0:38:56 | |
# God save our gracious Queen... # | 0:38:56 | 0:39:02 | |
Last Monday, I had the honour of appearing in a show | 0:39:02 | 0:39:05 | |
which the business rightly regards as the highlight of the year. | 0:39:05 | 0:39:08 | |
The Royal Variety Show is at its best and at its most natural | 0:39:08 | 0:39:12 | |
when it's at the Palladium. | 0:39:12 | 0:39:14 | |
# Send him victorious... # | 0:39:14 | 0:39:18 | |
There is an emotional relationship between the Royal Family, there's an emotional relationship | 0:39:18 | 0:39:24 | |
between the audience and the stars that are on that stage and the combination of being at the Palladium | 0:39:24 | 0:39:31 | |
for a performer and doing a Royal Variety Show is a double whammy. | 0:39:31 | 0:39:36 | |
Welcome to the one part of tonight's Royal Variety Show | 0:39:39 | 0:39:41 | |
that the audience here at the London Palladium won't see. | 0:39:41 | 0:39:44 | |
It's those few moments of excitement and tension that build up backstage. | 0:39:44 | 0:39:49 | |
And on tonight's show, the ice-breaker is Des O'Connor who's just over here. | 0:40:10 | 0:40:14 | |
I've just found out, by the way, | 0:40:14 | 0:40:15 | |
that it's a bit nearer than we thought and I'm going to have to hurry this, I'm sorry. | 0:40:15 | 0:40:19 | |
Oh, really? | 0:40:19 | 0:40:22 | |
-I've just had a signal, the Royal Car has arrived. -Oh, I'm off! I'll see you later. -Good luck, Des. | 0:40:22 | 0:40:26 | |
-Bye-bye, -Don't forget, enjoy yourselves. | 0:40:26 | 0:40:28 | |
Good evening, it's a fast show, I'll advise you to fasten your seat belts. | 0:40:28 | 0:40:33 | |
I told my mum and dad I'm doing the Royal Show | 0:40:33 | 0:40:35 | |
and I'll try and get you tickets for that. | 0:40:35 | 0:40:36 | |
"Oh, we don't want to see that." I said, "Well you always do." | 0:40:36 | 0:40:39 | |
"No, we want to come and see YOU in your show." | 0:40:39 | 0:40:41 | |
# If you want to get a thrill, if you want to see the sights | 0:40:41 | 0:40:44 | |
# Jump right in | 0:40:44 | 0:40:47 | |
#I got an unidentified flying object | 0:40:47 | 0:40:50 | |
# Let's go for a spin... # | 0:40:50 | 0:40:52 | |
So I booked them seats for the next night, the Monday night, which was the straight show. | 0:40:52 | 0:40:56 | |
The red carpet was left there. | 0:40:56 | 0:40:57 | |
They were put in the Royal Box. | 0:40:57 | 0:40:59 | |
# Nobody will believe their eyes. # | 0:40:59 | 0:41:02 | |
They'd seen me working in the working men's clubs and here we were at the Palladium. | 0:41:02 | 0:41:06 | |
It was just a magic moment. | 0:41:06 | 0:41:07 | |
And then when she came through she was all excited, she said it was fantastic. | 0:41:07 | 0:41:12 | |
I said "What, the show?" "No, I got to use the Queen's loo!" | 0:41:12 | 0:41:15 | |
# You don't have to say you love me | 0:41:17 | 0:41:20 | |
# Just be close at hand | 0:41:20 | 0:41:22 | |
# You don't have to stay forever, I will understand. # | 0:41:22 | 0:41:28 | |
Oh, can you imagine doing a Royal Variety Show | 0:41:28 | 0:41:30 | |
in the London Palladium? | 0:41:30 | 0:41:33 | |
It's those showbiz little dreams, and I'm a sucker for it. | 0:41:33 | 0:41:38 | |
# Close at hand | 0:41:38 | 0:41:40 | |
# You don't have to stay forever, I will understand. # | 0:41:40 | 0:41:45 | |
You know, you're in your best bib and tucker, you come out and perform and you meet the Queen. | 0:41:45 | 0:41:51 | |
Those are kind of the highlights of a career. | 0:41:51 | 0:41:54 | |
# Don't you wish your girlfriend was hot like me? | 0:42:00 | 0:42:03 | |
# Don't you wish your girlfriend was a freak like me? # | 0:42:03 | 0:42:08 | |
The Pussycat Dolls there, singing to Prince Charles, don't you wish your girlfriend was hot like me. | 0:42:08 | 0:42:14 | |
Brave choice, girls. | 0:42:17 | 0:42:19 | |
See you in the Tower. | 0:42:19 | 0:42:22 | |
The rules that you had about the Royal Family were that you never | 0:42:22 | 0:42:26 | |
looked up to the box to see what their reaction was. | 0:42:26 | 0:42:31 | |
If you've got any sense, you don't want to look, no! | 0:42:31 | 0:42:33 | |
You do glance, of course you do, yeah. | 0:42:33 | 0:42:36 | |
Now and again you might sneak a little glance, see if they're laughing. | 0:42:36 | 0:42:39 | |
You never addressed anything to them. | 0:42:39 | 0:42:41 | |
I mean, they wouldn't allow me, I had a great opening gag. | 0:42:41 | 0:42:44 | |
And you never referred to them directly. | 0:42:44 | 0:42:48 | |
I came on with a crown on, walked in and went, snap. | 0:42:48 | 0:42:51 | |
Under no circumstances, they said, can you do that. | 0:42:51 | 0:42:54 | |
You went on stage and you did your act and at the end of the act, | 0:42:54 | 0:42:58 | |
you bowed once to the front, once to the Royal Box, once to the front and then you went off. | 0:42:58 | 0:43:05 | |
You're told desperately not to overrun. | 0:43:05 | 0:43:08 | |
And that was absolutely adhered to and people were rehearsed and that was what they were supposed to do. | 0:43:08 | 0:43:13 | |
"We've overrun", they said. "Cut." | 0:43:13 | 0:43:16 | |
I said, "No." "You will." | 0:43:16 | 0:43:18 | |
I said, "Don't tell me what I'll do. | 0:43:18 | 0:43:20 | |
"All those Yankee comics had been on here and overrun, no." | 0:43:20 | 0:43:23 | |
So I went on and had a go and scored heavily but it had overrun. | 0:43:23 | 0:43:27 | |
And our blessed lady was not pleased. | 0:43:27 | 0:43:30 | |
And she's come down the line and it would be my, I don't know, | 0:43:30 | 0:43:34 | |
sixth, seventh, eighth, whatever I've done and she said, "You've done a lot of these now, Mr Tarbuck. | 0:43:34 | 0:43:39 | |
"How many of them have you done?" | 0:43:39 | 0:43:41 | |
I said, "Four more than you, Your Majesty," laughing and she went, | 0:43:41 | 0:43:45 | |
"It certainly seemed like it tonight." | 0:43:45 | 0:43:48 | |
So Tom Jones had his hand out and he got, good evening, and off. | 0:43:48 | 0:43:51 | |
And he went, "Well thank you very much," he said. | 0:43:51 | 0:43:53 | |
"You got me, I never got a chat, all down to you," he said. | 0:43:53 | 0:43:57 | |
So I was put in my place, quite rightly so, I suppose. | 0:43:57 | 0:43:59 | |
Ladies and gentlemen, may I present Mr Larry Hagman. Would you please. | 0:43:59 | 0:44:04 | |
I was backstage there for some reason, | 0:44:06 | 0:44:08 | |
probably just being nosey, you know. | 0:44:08 | 0:44:10 | |
But we're looking along there and it was the year that Larry Hagman was a surprise guest. | 0:44:10 | 0:44:15 | |
And I'm standing in the wings there, waiting for this | 0:44:17 | 0:44:20 | |
next to Larry Hagman's mother who was the great musical comedy star, Mary Martin. | 0:44:20 | 0:44:26 | |
# Cheating at poker to win me some dollars | 0:44:26 | 0:44:30 | |
# Twisting the ear of a kid till he hollers | 0:44:30 | 0:44:34 | |
# Scaring young girls with lascivious grins | 0:44:34 | 0:44:38 | |
# These are just some of my favourite sins. | 0:44:38 | 0:44:43 | |
They went into a parody that they'd written and he blew the line. | 0:44:43 | 0:44:48 | |
# My garden's a pasture for greenhorns and suckers | 0:44:48 | 0:44:53 | |
# I rear 'em and shear 'em and skin 'em alive | 0:44:53 | 0:44:57 | |
# Er la la la, and I forgot that particular lyric | 0:44:57 | 0:45:00 | |
# Rum tee ti ti day day di di di di | 0:45:00 | 0:45:04 | |
And she said, " My God, he's blown it." So he tried again. | 0:45:04 | 0:45:10 | |
Can we start again on the "one pound of given", or can't we do that sort of thing? | 0:45:10 | 0:45:14 | |
I knew we would panic. My daughter's in the audience, you know how this happens. | 0:45:14 | 0:45:18 | |
Start off anywhere you want to. | 0:45:18 | 0:45:20 | |
He blew it again and she said, "I'll do this." And she ran out. | 0:45:23 | 0:45:27 | |
And afterwards they said to Larry Hagman, "Don't worry, we'll cut out that." | 0:45:32 | 0:45:36 | |
He said, "No fear. The old girl saved my bacon. Keep it in." And they did. | 0:45:36 | 0:45:40 | |
# A hundred and one hands of fun, that's my little honey bun. # | 0:45:40 | 0:45:48 | |
# Get a load of honey bun, la-la. # | 0:45:48 | 0:45:53 | |
Mesdames et Messieurs, Miss Josephine Baker. | 0:45:54 | 0:45:58 | |
Josephine Baker made an appearance like you've never seen in your life. | 0:46:00 | 0:46:04 | |
Hi, everybody, hi. | 0:46:04 | 0:46:06 | |
Come on, say hi to me, make me feel at home. | 0:46:06 | 0:46:09 | |
AUDIENCE: Hi. | 0:46:09 | 0:46:10 | |
I feel at home, thank you very much. | 0:46:10 | 0:46:13 | |
There was this lady in a turquoise diamante suit | 0:46:13 | 0:46:18 | |
and a 5 ft plumed headdress. | 0:46:18 | 0:46:21 | |
# Quand il me prend dans ses bras | 0:46:21 | 0:46:29 | |
# Il me parle tout bas | 0:46:29 | 0:46:31 | |
# Vie en rose. # | 0:46:31 | 0:46:35 | |
She went out and stayed outside for well over an hour, signing autographs and speaking to people. | 0:46:35 | 0:46:42 | |
# ...Ca me fait quelque chose. # | 0:46:42 | 0:46:47 | |
I always remember a vivid memory of this elderly couple and this young boy. | 0:46:47 | 0:46:53 | |
And she said to this boy, | 0:46:53 | 0:46:55 | |
"You shouldn't be here tonight. | 0:46:55 | 0:46:58 | |
# It's very late, you should be at home in bed. | 0:46:58 | 0:47:02 | |
# Does your mummy know you're out late?" | 0:47:02 | 0:47:06 | |
And he said, "I think so." | 0:47:06 | 0:47:09 | |
And I presume it was the grandmother spoke to her and said, "No, we've brought him out. | 0:47:09 | 0:47:15 | |
# Sadly, his mother's in a hospice | 0:47:15 | 0:47:18 | |
# and we're looking after him." | 0:47:18 | 0:47:20 | |
And she immediately turned round, went back into the theatre | 0:47:20 | 0:47:25 | |
and came back with a stage hand holding this huge basket of roses. | 0:47:25 | 0:47:31 | |
And she said to this little boy, "You take those to your mummy tomorrow | 0:47:33 | 0:47:37 | |
# and tell her they're from Josephine." | 0:47:37 | 0:47:39 | |
Just amazing. | 0:47:41 | 0:47:43 | |
# ...mon coeur qui bat. # | 0:47:46 | 0:47:53 | |
Voila! | 0:47:58 | 0:47:59 | |
A good night out is to go to a ravishingly beautiful theatre, | 0:48:01 | 0:48:06 | |
which the Palladium is, and then feast your eyes on something wonderful happening on stage. | 0:48:06 | 0:48:12 | |
GONG | 0:48:12 | 0:48:16 | |
There's only certain shows that can be put into the Palladium. | 0:48:16 | 0:48:21 | |
When producers think of the Palladium, they think of | 0:48:21 | 0:48:24 | |
big production values. | 0:48:24 | 0:48:26 | |
Royal Princes and Princesses... | 0:48:26 | 0:48:29 | |
The modern tradition of the Palladium hosting big family musicals | 0:48:36 | 0:48:41 | |
started in 1979 when Louis Benjamin persuaded Yul Brynner to come over and appear in the King and I. | 0:48:41 | 0:48:48 | |
Come! | 0:48:48 | 0:48:49 | |
This was the first opportunity for British people to see | 0:48:59 | 0:49:04 | |
the huge sort of megastar that Yul Brynner was. | 0:49:04 | 0:49:08 | |
# Getting to know you, getting to know all about you. # | 0:49:08 | 0:49:14 | |
Oh dear, oh dear. | 0:49:14 | 0:49:16 | |
# Getting to like you, getting to hope you'll like me. # | 0:49:16 | 0:49:20 | |
I don't want to swear in this programme, and I would have to. | 0:49:20 | 0:49:24 | |
But it was not a happy time. | 0:49:27 | 0:49:29 | |
Out of 20 years, that was the only time that I felt really down. | 0:49:31 | 0:49:39 | |
I did everything possible, but you couldn't please Mr Brynner. | 0:49:39 | 0:49:43 | |
Anybody else would appreciate whatever you did, not him. | 0:49:43 | 0:49:47 | |
I am in the business, I am a manager, I am relatively successful. | 0:49:47 | 0:49:52 | |
I could no more have called him Yul than fly to the Moon. | 0:49:52 | 0:49:56 | |
He was Mr Brynner. | 0:49:56 | 0:49:57 | |
And he had that aura about him. | 0:49:57 | 0:50:00 | |
He WAS the King of Siam. | 0:50:00 | 0:50:02 | |
# I close my eyes, drew back the curtain | 0:50:02 | 0:50:09 | |
# To see for certain | 0:50:09 | 0:50:13 | |
# What I thought I knew. # | 0:50:13 | 0:50:16 | |
Nobody thought of the Palladium still as the great place where | 0:50:16 | 0:50:19 | |
you occasionally had musicals but not really | 0:50:19 | 0:50:22 | |
as a first run West End musical house. | 0:50:22 | 0:50:24 | |
So putting Joseph in there was a bit of a gamble. | 0:50:24 | 0:50:27 | |
# Any dream will do. # | 0:50:27 | 0:50:32 | |
When I first heard of Andrew Lloyd Webber I thought he made barbecues, | 0:50:32 | 0:50:37 | |
so it took a long time for me to realise the true currency of the Palladium. | 0:50:37 | 0:50:44 | |
It's not just a brush of pop, the Palladium. | 0:50:44 | 0:50:49 | |
It's not just about the one-hit wonder. | 0:50:49 | 0:50:52 | |
The first night was astonishing. | 0:50:52 | 0:50:57 | |
I've never in my life been more terrified. | 0:50:57 | 0:51:00 | |
You're in the number one dressing room of the Palladium where just about everybody has been. | 0:51:00 | 0:51:07 | |
I felt like an impostor, like some sort of pretender. | 0:51:07 | 0:51:11 | |
And as we got closer and closer to the show and the flowers were | 0:51:11 | 0:51:15 | |
arriving, I was getting good luck messages from other West End shows. | 0:51:15 | 0:51:19 | |
And all this was so alien to me as a TV person. | 0:51:19 | 0:51:22 | |
Joseph starts in front of the black screen and you're behind in the dark, | 0:51:23 | 0:51:28 | |
and you're on a little hydraulic platform and they lift you up through the dry ice in the dark. | 0:51:28 | 0:51:34 | |
And I can hear the show starting in front, thinking, "What am I doing here? | 0:51:34 | 0:51:39 | |
"This is the worst mistake I've ever made in my whole life or the best move I've ever made." | 0:51:39 | 0:51:44 | |
And I could hear the show and I lifted up in the dark | 0:51:44 | 0:51:47 | |
about 10 feet off the stage, so there's no hope of running away. | 0:51:47 | 0:51:50 | |
And I looked up and there was a lamp, dimmed right down, and I was on my own. | 0:51:50 | 0:51:57 | |
And as I looked up, about to make my West End debut, | 0:51:57 | 0:52:01 | |
a little hand came round the front of this lamp | 0:52:01 | 0:52:04 | |
and did the thumbs-up sign. | 0:52:04 | 0:52:06 | |
And that was my only connection with any humanity at all. | 0:52:06 | 0:52:09 | |
And then the curtain went up and there it was, | 0:52:09 | 0:52:12 | |
there was the audience, there was the Palladium, | 0:52:12 | 0:52:15 | |
there was the band and that was it. | 0:52:15 | 0:52:17 | |
It was "Get this right or they'll remember this for a long time." | 0:52:17 | 0:52:20 | |
The day the circus came to London Town, the Big Top was pitched not on our Broadway equivalent, | 0:52:20 | 0:52:25 | |
Shaftesbury Avenue, or even down Drury Lane, | 0:52:25 | 0:52:27 | |
but perhaps more suitably at the London Palladium, which must, over the years, | 0:52:27 | 0:52:31 | |
have balanced its books with a greater variety of | 0:52:31 | 0:52:34 | |
jugglers, tumblers and high-wire acts than any other theatre. | 0:52:34 | 0:52:37 | |
I was walking past Liberty's and I looked up the street and I could see | 0:52:37 | 0:52:41 | |
"Michael Crawford in Barnum", and my face, I was just glowing. | 0:52:41 | 0:52:47 | |
And then the fear factor set in of what it meant, the responsibility. | 0:52:47 | 0:52:52 | |
The opening night was | 0:52:54 | 0:52:57 | |
unbelievable, to see and hear this crowd. | 0:52:57 | 0:53:01 | |
And so truly one of the greatest experiences of my life was playing on this stage. | 0:53:01 | 0:53:07 | |
The Palladium created a sort of, I don't like the word credibility, | 0:53:12 | 0:53:16 | |
but it sort of made people look at me a little differently. | 0:53:16 | 0:53:21 | |
My grandmother suddenly started to say, "Oh, he's such a good boy, you know." | 0:53:21 | 0:53:27 | |
Suddenly I'd sort of arrived in a lot of people's minds. | 0:53:27 | 0:53:32 | |
You do think about | 0:53:34 | 0:53:36 | |
other people who've been through that door. | 0:53:36 | 0:53:40 | |
When you're in Number One dressing room, you think, | 0:53:40 | 0:53:42 | |
"Who else has sat in this chair and looked in this mirror to do their make-up?" | 0:53:42 | 0:53:46 | |
And there's something about that. | 0:53:46 | 0:53:48 | |
It's a sort of spiritual quality, really, that you, as a singer, you | 0:53:48 | 0:53:53 | |
kind of absorb the fact that you're in this historic place. | 0:53:53 | 0:53:57 | |
And it makes you perform better. | 0:53:57 | 0:53:58 | |
It makes you sing out of your socks. | 0:53:58 | 0:54:00 | |
You don't dream of those things happening in your lifetime. | 0:54:00 | 0:54:03 | |
I shouldn't think there are many performers that dream. | 0:54:03 | 0:54:08 | |
You want to act, you love to act, | 0:54:08 | 0:54:10 | |
but you never dream that you'll see yourself in that position. | 0:54:10 | 0:54:15 | |
And then, when you get to the point I'm at now, you're just terrified of being in any position like that. | 0:54:15 | 0:54:23 | |
When I'd finished the show, | 0:54:23 | 0:54:25 | |
we had a big after-show party at the Langham Hotel. | 0:54:25 | 0:54:28 | |
And Mike Smith and Sarah Greene, | 0:54:28 | 0:54:30 | |
who had recently had the terrible helicopter crash that they had, said, "We'll run you up to the hotel." | 0:54:30 | 0:54:37 | |
So I said, " OK, fine." So we came out of the | 0:54:37 | 0:54:40 | |
street and turned left. | 0:54:40 | 0:54:42 | |
I said, "You're going the wrong way. It's right." | 0:54:42 | 0:54:44 | |
They said, "No, no, we've got something we need to do first. | 0:54:44 | 0:54:47 | |
"This night has been so amazing we've got something we need to do first." | 0:54:47 | 0:54:50 | |
And we drove down to Westminster Bridge. You're |not allowed to stop. | 0:54:50 | 0:54:54 | |
And they said, "When we had our helicopter crash, we were so pleased to be alive we stopped | 0:54:54 | 0:54:59 | |
"on Westminster Bridge, we looked at London and we shouted, just shouted. | 0:54:59 | 0:55:03 | |
"The sheer exuberance of being alive. | 0:55:03 | 0:55:06 | |
"And tonight you've got to do it because it was such an incredible moment." | 0:55:06 | 0:55:10 | |
So we stopped on Westminster Bridge and we opened the car door, and we stood and looked out. | 0:55:10 | 0:55:13 | |
It was dark and there was St Paul's and it was a beautiful night, shouting. | 0:55:13 | 0:55:17 | |
And within a second a police car arrived and the copper got out and walked up to us. | 0:55:17 | 0:55:22 | |
And he looked at me and went, "How did it go?" | 0:55:22 | 0:55:25 | |
And I thought, "Now that really is, there's a moment for you." | 0:55:25 | 0:55:29 | |
It was a special time, you know. | 0:55:29 | 0:55:31 | |
It was a special time for me. | 0:55:31 | 0:55:33 | |
I'm sure in the Palladium's history it's probably seen many Jason Donovans in its time, | 0:55:33 | 0:55:40 | |
but it felt very special to me at the time. | 0:55:40 | 0:55:44 | |
One of the best nights was the very first preview | 0:55:46 | 0:55:50 | |
because they were still trying out the sound system. | 0:55:50 | 0:55:54 | |
Andrew Lloyd Webber decided after the first few moments | 0:55:57 | 0:56:01 | |
that he wanted to mix the sound himself. | 0:56:01 | 0:56:03 | |
I do enjoy interfering. | 0:56:03 | 0:56:05 | |
So by the time it got to Climb Every Mountain he was well on his way. | 0:56:05 | 0:56:11 | |
I think it was like a demented Tommy, you know, | 0:56:11 | 0:56:15 | |
on his pinball machine. | 0:56:15 | 0:56:17 | |
And he was sliding things up and down, and there was this maniacal light in his eye. | 0:56:17 | 0:56:21 | |
And the "climb every mountain till you find your dream," | 0:56:21 | 0:56:27 | |
when I heard that big top A at the end, I, honestly, fillings were dropping out in front of me. | 0:56:27 | 0:56:33 | |
I could see there were teeth bouncing all over the place. | 0:56:33 | 0:56:35 | |
In the Palladium you can do things that you can't in other theatres. | 0:56:35 | 0:56:40 | |
And the chandeliers, the chandeliers I remember, they were rattling. | 0:56:40 | 0:56:43 | |
I remember thinking, "Turn me down, for God's sake! | 0:56:43 | 0:56:47 | |
"What are you doing, Andrew, you mad fool?" | 0:56:47 | 0:56:52 | |
She knew what I was up to, and it is quite fun. Look, I mean, | 0:56:52 | 0:56:57 | |
when you go into the Palladium, you smile. | 0:56:57 | 0:56:59 | |
# Till you find | 0:56:59 | 0:57:05 | |
# Your dream. # | 0:57:05 | 0:57:11 | |
The Palladium is part of my childhood, | 0:57:27 | 0:57:31 | |
it's part of my career, it's part of my heritage. | 0:57:31 | 0:57:34 | |
It's just a shrine for me, | 0:57:34 | 0:57:36 | |
and I still get the same feeling walking in the theatre that I did the first time. | 0:57:36 | 0:57:41 | |
Just coming here to do this interview, you know, it's the Palladium. | 0:57:41 | 0:57:46 | |
The Palladium to me is everything that ever made me want to be in showbusiness. | 0:57:48 | 0:57:53 | |
Everything anybody really ever wants out of this business | 0:57:53 | 0:57:56 | |
is wrapped round, one way and another, with the Palladium. | 0:57:56 | 0:58:00 | |
It just enabled me to do things I would never have been able to do, | 0:58:02 | 0:58:06 | |
so I am grateful to this place more than anything. | 0:58:06 | 0:58:10 | |
If I was down to my very, very last absolute everything, | 0:58:11 | 0:58:15 | |
I think the one thing, even, in a way, above my copyrights of my music, | 0:58:15 | 0:58:20 | |
I think I'd want to keep the Palladium. | 0:58:20 | 0:58:22 | |
That's how special it is. | 0:58:22 | 0:58:24 | |
Anybody who was anybody has performed here and done well. | 0:58:24 | 0:58:31 | |
And to have been part of that just for a few months, | 0:58:33 | 0:58:36 | |
it really was heart-stopping. | 0:58:37 | 0:58:40 | |
# The guy who was waving the flag | 0:58:46 | 0:58:49 | |
# That began with the mystical hand | 0:58:49 | 0:58:53 | |
# Hip hooray! The American way | 0:58:53 | 0:58:57 | |
# The world is a stage | 0:58:57 | 0:58:59 | |
# The stage is a world of entertainment. # | 0:58:59 | 0:59:06 | |
Subtitles by Red Bee Media Ltd | 0:59:06 | 0:59:09 | |
E-mail [email protected] | 0:59:09 | 0:59:12 |