:00:11. > :00:17.Wynne Evans, a familiar voice on our stages, stadiums and airwaves.
:00:17. > :00:23.A very familiar face on our TV screens. And recently voted the
:00:23. > :00:29.second most annoying man in Britain. When you say the name, it already
:00:29. > :00:34.brings a smile to one's face. Most probably one of the best tennis of
:00:34. > :00:40.our generation. He never complains. He is always an impeccable
:00:40. > :00:44.performer. And on top of that, he is so nice. For the people in the
:00:44. > :00:48.20 pound seats, I want to let you know it is raining in the 80 quid
:00:48. > :00:55.seats as well. He is warm and his eyes are warm when he enters the
:00:55. > :01:00.stage. Then he'd get them. I love it. He has a very natural comedic
:01:00. > :01:03.sense of what to do with the text. One thing I want out of this is a
:01:03. > :01:13.promise that he will do some musicals because he is bloody good
:01:13. > :01:20.
:01:20. > :01:24.Be Go Compare! Man is today regarded as the most recognised 10
:01:24. > :01:30.are in Britain. His story begins in a small market town in at West
:01:30. > :01:35.Wales. I was born in Carmarthen. My dad was a builder, my mum was a
:01:35. > :01:39.hairdresser. My dad was -- my parents were keen amateur dramatic
:01:39. > :01:44.people. Whenever we went to see a show, we had to bide two sets of
:01:44. > :01:49.tickets, two in the front for my brother and dad and two in the back
:01:49. > :01:56.for me and my mum. I was so scared that they were going to call the
:01:56. > :01:59.children up on stage and I did not want to be that child, even if you
:01:59. > :02:04.were rewarded with a lollipop. If ever a building changed my life, it
:02:04. > :02:08.is this building. This of the Further Education Centre in
:02:08. > :02:11.Carmarthen. My father used to be a woodwork teacher in that room over
:02:11. > :02:17.there. They were short of youth leader so my father persuaded my
:02:17. > :02:21.mother to come along. Such happy memories here. Much smaller now
:02:21. > :02:24.than it was at the time. Or I am obviously much bigger. My mum had
:02:24. > :02:29.not been there long before she decided these children need
:02:29. > :02:33.something more and the only thing she knew to get them involved in
:02:33. > :02:38.was amateur dramatics. And so she started a company called for
:02:38. > :02:43.Carmarthen Youth Opera which was initially drawn from children who
:02:43. > :02:48.were disadvantaged in Carmarthen, who really did not fit in anywhere,
:02:48. > :02:53.having trouble in school, that kind of thing. There was a crowd there,
:02:53. > :02:56.could not do a thing with her. You stand with your hand on the counter
:02:56. > :03:01.and the next thing you know, somebody would put a cigarette out
:03:02. > :03:06.on your hand. She persuaded the youth club to let them put on a
:03:06. > :03:09.production of Snow White. She dragged my older brother in to play
:03:09. > :03:14.the pantomime dame and some Labour's children were in it as
:03:14. > :03:18.well. There was a real next match of children but it was a tremendous
:03:18. > :03:27.success. The secret of the success is everyone is doing it for the
:03:27. > :03:32.same purpose, to help young people. My mother now or spending more and
:03:32. > :03:36.more time at the youth club get involved, along with my father.
:03:36. > :03:39.There was nowhere for me to go so they had to take us with them. We
:03:39. > :03:45.might be watching rehearsals and the next thing we were members of
:03:45. > :03:51.the Youth Opera as well. Never looked back. But come are the new
:03:51. > :03:55.foppery needed a better home. So Elizabeth Evans decided to squat in
:03:55. > :04:01.the then derelict theatre -- come are the new Youth Opera needed a
:04:01. > :04:08.better home. She rang people up and said I know you have sold it to be
:04:08. > :04:12.a shopping centre but is it OK if we put on one farewell performance
:04:12. > :04:18.to say thank you very much. We literally moved in there and we
:04:18. > :04:22.never left. We patched the seats, we repaired the ceiling. At one
:04:22. > :04:28.stage we had 50 buckets in the loft to hold the water because of the
:04:28. > :04:35.roof leaks. To keep the theatre doors open, the Evans family were
:04:35. > :04:39.required to find many ways to raise vital funds to pay the rent.
:04:39. > :04:42.brother and I formed a little band and we entertained the children
:04:43. > :04:47.while their parents were of shopping or whatever. It could not
:04:47. > :04:54.happen now because of health and safety. I cannot believe people
:04:54. > :04:58.trusted us to look after their children!
:04:58. > :05:04.Russ Abbott, one of the most underrated performers of our time.
:05:04. > :05:09.Every Saturday morning we used to start a show with a song, Junior
:05:09. > :05:13.Show time. I have to say, of learning experiences, I have to say
:05:13. > :05:17.it is one of the best learning experience of my life. When
:05:17. > :05:23.children are bored, they say they are bored. They did not say it is
:05:23. > :05:27.wonderful, they say, shut up, get off, that kind of thing. It was the
:05:27. > :05:32.start of the process of listening to audience and understanding how
:05:32. > :05:38.to entertain an audience. I think it is something which has stood me
:05:38. > :05:41.in very good stead to this day really. It is thanks to them and a
:05:41. > :05:51.lot of people do not realise that if it had not been for them coming
:05:51. > :05:56.in and doing a junior show time, to take �50 at the door every Saturday,
:05:56. > :06:01.I cannot forget the way he behaved on stage then. I think he said one
:06:01. > :06:09.Christmas, Christmas is cancelled, Father Christmas died last night.
:06:09. > :06:14.The poor kids were in tears and him laughing! We were in the theatre
:06:14. > :06:18.six days a week. A couple of nights a week we had to stay home and do
:06:18. > :06:22.our homework but most of the time we would be in their learning the
:06:22. > :06:26.ropes and learning what the theatre was about. That gave me a love of
:06:26. > :06:33.music and different styles of music. Even when I was at the piano, I
:06:33. > :06:37.would not pay -- play Bach or share pan, it was more about playing the
:06:37. > :06:47.pop songs Of the Day. I think being in the church choir gave me another
:06:47. > :07:06.
:07:06. > :07:12.style of music which was not # This Is My Prayer, my humble plea,
:07:12. > :07:17.will the Lord be ever with me? This was my seat here, this is
:07:18. > :07:24.where I used to sit. My best mate Peter used to sit next to me. We
:07:24. > :07:34.used to mess around. Especially in Midnight Mass, that was the one we
:07:34. > :07:37.
:07:37. > :07:47.were most naughty in! # I pray each day to him and he'll
:07:47. > :07:52.
:07:52. > :08:02.hear the words I say... His hands will guide my a throne and I'll
:08:02. > :08:07.
:08:07. > :08:13.Never Walk alone while I walk with My last performance in this church
:08:14. > :08:18.was a ceremony for carols in around 1984. We had to walk down here
:08:18. > :08:28.singing Once In Royal David's City. I had the sono and my voice started
:08:28. > :08:35.to break, bizarrely, talk about bad timing. That was my last
:08:35. > :08:40.performance for the church choir. The walk of shame it became.
:08:40. > :08:46.the experience did not deter the teenage Wynne from continuing with
:08:46. > :08:50.his interest in music. I had a new teacher, a lady called Ann
:08:50. > :08:53.Griffiths and she lit my interest in classical music. I had an
:08:53. > :08:56.unconditional place to go to the Royal College of Music. She said,
:08:56. > :09:02.remember, you want to be going through the front door with your
:09:02. > :09:06.head held high, knowing you have done as well as you have in school.
:09:06. > :09:12.So sometimes, I'm not sure whether she was even allowed to do it, she
:09:12. > :09:16.would lock me in the store cupboard to make me do my homework. She has
:09:16. > :09:20.retired now so she cannot get sacked. That is how I would have to
:09:20. > :09:25.do my homework because I was rubbish at focusing.
:09:25. > :09:30.It became time to leave the familiarity of Carmarthen to steady
:09:30. > :09:34.at London's Royal College of Music. My gut said, this is not the right
:09:34. > :09:38.place for you. The people were totally different to anything I had
:09:38. > :09:42.experienced before. I was surrounded by people who were ex
:09:43. > :09:46.Oxbridge. I felt very inadequate. The chip was firmly on my shoulder,
:09:46. > :09:50.it was nothing to do with those people who were very nice people. I
:09:50. > :09:55.decided I wanted to move with the Guild Hall to be with other people
:09:55. > :09:59.I could relate to a bit better. I never looked back really. I had six
:09:59. > :10:03.totally happy years at the Guildhall. I felt totally equipped
:10:03. > :10:07.to be there. Maybe more equipped than my colleagues because they had
:10:07. > :10:11.come through different ranks or had not had that opportunity to watch
:10:11. > :10:15.as much theatre as we had watched. We had literally watch thousands
:10:15. > :10:20.and thousands of hours. In the next six years, I tried to develop the
:10:20. > :10:24.voice. I had a number of teachers and I was sponsored by Welsh
:10:24. > :10:28.National Opera. But still never really mastering my voice. It was
:10:28. > :10:38.always, that will be a good voice one-day but you're not quite there
:10:38. > :10:53.
:10:53. > :10:57.at the moment, but we can see the After seven years of study, it was
:10:57. > :11:05.time to audition for leading roles, which included a visit to Scottish
:11:05. > :11:12.Opera, for part in the Magic Flute and the role of an Italian tenor.
:11:12. > :11:17.When I went up for the audition, I was tired and I had never learnt
:11:17. > :11:22.the part for the Spanish -- Italian tenor. I said I have got a problem,
:11:22. > :11:31.the Magic Flute is fine, I know I can sing back but I have got a cold
:11:31. > :11:37.so I cannot sing the Cavalier theme today. It was too high for me, I
:11:37. > :11:41.just could not do it. They said, fine, you can have the jobs. I
:11:41. > :11:46.thought, oh no, what am are going to do now, because I'm going to
:11:46. > :11:50.have to sing these roles in six or seven months time. I did not really
:11:50. > :11:54.do anything about it, I thought, it will be OK, seven months away, I
:11:54. > :11:58.will learn to sing it by then. I remember sitting in my dressing
:11:58. > :12:03.room on the first night of the Magic Flute thinking, I am singing
:12:03. > :12:08.the main part in one of the UK's major opera houses and I have not
:12:08. > :12:13.got a clue what I am doing. I did not know what I was going to do. I
:12:13. > :12:18.was practically in tears. I felt, hero was, singing a big role and it
:12:18. > :12:24.was totally beyond me. To tackle the role of the Italian tenor,
:12:24. > :12:29.Wynne realised he needed help which he sought from the world renowned
:12:29. > :12:33.Welsh tenor Dennis O'Neill. He said, you have got a great voice but you
:12:33. > :12:38.do not know what you're doing. You need a new teacher to help you. He
:12:38. > :12:43.gave me the score back and I said, thank you very much and I left.
:12:43. > :12:48.After I left, I thought, I am not accepting that. There is nobody to
:12:48. > :12:52.teach me. This man has to help me. After I handed him for a week on
:12:52. > :12:57.the phone and by e-mail, he said, OK, I will help you.
:12:57. > :13:07.He transformed my voice and helped me to get this technique which put
:13:07. > :13:16.
:13:16. > :13:20.It was the best time of my life. But it was also the most depressing
:13:20. > :13:25.because what you have got to remember is I had spent seven years
:13:25. > :13:30.training by this point. I was already working as a principal in
:13:31. > :13:36.major opera houses which -- but I did not have a clue what I was
:13:36. > :13:40.doing. I don't know what that says about the people in casting.
:13:40. > :13:45.But the opera theatre was not the only stage for the confident young
:13:45. > :13:50.tenor. Wynne received an unusual request, to respond to the hacker
:13:50. > :13:55.before the Wales-All Blacks match. I rocked up to the Millennium
:13:55. > :14:01.Stadium in my suit and they said, that will not do, you will have to
:14:01. > :14:08.wear a rugby shirt. The dulcet tones of Wynne Evans from the Welsh
:14:08. > :14:12.National Opera. This body is not made for lycra. I poured myself
:14:12. > :14:22.into it. The next day, the newspaper said, they gave us the
:14:22. > :14:26.
:14:26. > :14:30.hacker, we gave them a fat bloke Despite the fame that followed the
:14:30. > :14:37.experience, and a number of successful roles at the Welsh
:14:37. > :14:41.National Opera, not all was upbeat in the Evans household. My father
:14:41. > :14:45.was ill with cancer in his spine. We had a new baby in the house. It
:14:45. > :14:51.was really hard on a personal level as well as on a professional level.
:14:51. > :14:57.And, it just knock med for six. It knocked me for six much I didn't
:14:57. > :15:02.want to go on stage any more. As my father became better in hospital,
:15:02. > :15:07.my mother died. She had been such a huge influence on my life, it
:15:07. > :15:12.knocked me sideways. I decided I couldn't go on stage any more. Iep
:15:12. > :15:16.I started to cancel performances. It was the hardest six months of my
:15:16. > :15:20.professional life. I really needed the money. I needed to be out there
:15:20. > :15:28.singing. People were losing confidence in me turning up to work.
:15:28. > :15:33.I had lost my mother. So, in the end, my GP rang me at home. He said,
:15:33. > :15:39.I went to see you last night, you cancelled again. Is this part of
:15:39. > :15:46.the probably, are you scared to go on stage? I said, yes I am, I'm
:15:46. > :15:50.petrified to go on stage. Who can I talk to? He said said he had met a
:15:50. > :15:56.woman in Malta who is a hypnotherapist. He said that I
:15:57. > :16:03.should go and see her. I said to him, I'm not into that stuff. I'm
:16:03. > :16:11.not into the alternative stuff. I don't want to do it. He told me to
:16:11. > :16:16.give it a go. She said obvious things to me. 99% of the people who
:16:16. > :16:21.go to see you want you to be brilliant. When you turn up for an
:16:21. > :16:25.odd dition, those on the panel want to give you the job as it will
:16:25. > :16:29.solve their problem as to who is going to do the job. I decided I
:16:29. > :16:33.didn't want to sing the romantic roles any more, because of the
:16:33. > :16:37.pressure they bring with them. It's a lifestyle, not a life. You need
:16:37. > :16:41.enough rest, so that the voice is constantly fresh. When have you two
:16:41. > :16:50.small children that is not always possible. I decided that the love
:16:50. > :16:58.of my life was making people laugh. I decided why don't I become a
:16:58. > :17:08.comic opera singer. It was like a no brainer for people. I started
:17:08. > :17:12.
:17:12. > :17:18.working all the time. It was Wynne was back again on the opera
:17:18. > :17:23.boards playing more character roles than romantic roles. One day he
:17:23. > :17:31.received an unusual request that would change his life for ever.
:17:31. > :17:37.got a phone call, they asked me if I do a lot of comic opera. They
:17:37. > :17:41.said they had an advert that they needed a comic tenor to do the
:17:41. > :17:49.voice. They asked me if I would be interested in doing. It I said "of
:17:49. > :17:53.course". They gave me the music. It was a song I knew, is it was a song
:17:53. > :17:57.called Over There # Over there, over there
:17:57. > :18:01.# Go compare # When in doubt
:18:01. > :18:06.# Check them out... # Listening to Wynne were two legends
:18:06. > :18:10.from the advertising industry. had a number of tenors coming in
:18:10. > :18:15.one day. Wynne popped in. Read through the script. Immediately
:18:15. > :18:20.understood it. That is rare. People take a long time and criticise what
:18:20. > :18:25.you have written. He got the witty rhythms. It was early in the
:18:25. > :18:31.morning in a small basement studio in East London. He then sang it in
:18:31. > :18:36.full voice in this tiny little room. We were forced back against the
:18:36. > :18:41.wall. The sheer power of this extraordinary tenor voice.
:18:41. > :18:46.Essentially, Wynne built the character. He left and we still had
:18:46. > :18:52.four or five people to see. director, Graham Rose, turned round
:18:52. > :18:57.to us, it was 9.30 am and he said, "I think we can all go to lunch."
:18:57. > :19:00.They said, "Would you like to be in the advert as well as provide the
:19:00. > :19:03.voice?" I looked at the story boards and I looked at the script
:19:03. > :19:07.oond aI thought, on a purely professional level, forget about
:19:07. > :19:12.the money for a minute. I know everybody watching this will be
:19:12. > :19:17.thinking, we know why you did that advert! On a professional level I
:19:17. > :19:23.thought, this is a 30 second comic opera where I can do what I always
:19:23. > :19:26.do. I remember when the campaign came out and I was so excited about
:19:27. > :19:34.it. It was brilliant. You are on telly all the time. What is not to
:19:34. > :19:39.love about that. More to the point, you can hide behind the moustache.
:19:39. > :19:43.We made the the advert and this woman who was an extra and said, "I
:19:43. > :19:48.have been looking at your adverts on YouTube, I think they are
:19:48. > :19:52.terrible." I was like - did you say that to me on a film set? I don't
:19:52. > :19:58.think. So I said - thank you very much. That is what I say to people
:19:58. > :20:03.now - yeah, thanks, great. It doesn't matter. She said, "My
:20:03. > :20:09.sister lives in Oxford. If she ever sees you she is going to hit new
:20:09. > :20:13.the face." I was like, "OK, I think you made your point there." We were
:20:13. > :20:23.wobbling our heads. With that, we are face-to-face, we are singing,
:20:23. > :20:29.she head butts me in the face. I'm like "cut, cut, cut" said, "What
:20:29. > :20:39.are you doing?" She said, "I thought it would be funny" I was
:20:39. > :20:40.
:20:40. > :20:50.like "funny for who." I remember going on to the internet and seeing
:20:50. > :20:53.
:20:53. > :20:57.these sites that were like "we hate the Go Compare man." It wasy
:20:57. > :21:04.hardcore. Full on, very personal. Stuff that I couldn't even repeat
:21:04. > :21:10.because it was too rude or too nasty. It does take you into a very
:21:10. > :21:17.funny place. It takes you into a place where you start to think,
:21:17. > :21:21."What I have I done?" Anything which is sufficiently powerful will
:21:21. > :21:28.polarise people to a certain extent. What has happened is there has been
:21:28. > :21:32.a very strong group who can't bear it. It's largely because they don't
:21:33. > :21:40.like opera. There is a huge fan base. I think that is just
:21:40. > :21:46.something you have to live with. You cannot, as aibbree Hamelin con
:21:46. > :21:53.said, "Please all of the people all of the time." Annoy something
:21:53. > :21:59.another word for effective. What does your dad do for a living? He
:21:59. > :22:05.is Gio Compario off the telly. That is not a normal answer. My son said,
:22:05. > :22:15."I know you are Gio Compario, which is great, now and again could you
:22:15. > :22:15.
:22:15. > :22:18.be be GokWan?" I was like "are you sure." One day the moustache went
:22:18. > :22:22.missing, we hadn't made loads because we didn't know how many
:22:22. > :22:29.adverts we were going going to make. I had one at home for some reason.
:22:29. > :22:37.It went missing. I was running around the house "where is the
:22:37. > :22:45.moustache, it's really expensive, has anyone seen it?" My daughter
:22:45. > :22:55.said "yeah, it's in school. I took it in for Show & Tell." I said
:22:55. > :22:55.
:22:55. > :23:01."what did you take it in?" She said "in an old crisp pact. It's in my
:23:01. > :23:08.desk. Everyone has been trying it on." Gio Compario notoriety
:23:08. > :23:13.attracted interest from the major record companies and Wynne went to
:23:13. > :23:21.Prague to record a CD. I didn't know about Wynne Evans, but I knew
:23:21. > :23:25.about the Gocompare ads. I said, no I'm not interested. Someone sent me
:23:25. > :23:34.a recording. The voice was so unique and special. His musical
:23:34. > :23:41.line was fantastic. I don't know what Warners wanted. Whether they
:23:41. > :23:46.wanted Gio Compario is is -- who is known in every house in the country.
:23:46. > :23:56.Wynne Evans isn't. Wynne Evans works in opera houses. Gio Compario
:23:56. > :24:06.
:24:06. > :24:09.is on everyone's TV thousands of # If you will be my love... #
:24:09. > :24:19.Despite topping the clag classical charts on it is release, the
:24:19. > :24:24.process of releasing a CD was not all plain sailing. Was it an
:24:24. > :24:28.enjoying experience promoting the record? Probably not. Making the
:24:28. > :24:38.record, I would do it all day. Someone said to me, anyone can make
:24:38. > :24:46.
:24:46. > :24:51.a record, but it takes a genius to # One kiss is all I need to seal my
:24:51. > :24:56.fate # And hand in hand, we'll find
:24:56. > :25:06.love's promised land # There will be no-one but you for
:25:06. > :25:15.
:25:15. > :25:20.# Eternaly, if you will be my love!! #
:25:20. > :25:29.Wynne's stage performances were attracting growing interest in the
:25:29. > :25:33.op ree attic world including the opera House in Covent Garden.
:25:33. > :25:42.turned up there on the first day. There was a Welsh girl behind the
:25:42. > :25:51.desk. She said "hello" I said "I am a new guest artist." She said
:25:51. > :25:59."opera or ballet, sir?" I said "what do you think?" His first role
:25:59. > :26:07.was in an opera on the line of Anna Nicole-Smith. We like someone who
:26:07. > :26:12.gets on with each other and crack jokes and professional. We get his
:26:12. > :26:19.terrific tenor voice, he stands at the front of the stage. We get one
:26:19. > :26:27.of his trademark high notes, you know.
:26:27. > :26:31.# There are many good things about... #
:26:31. > :26:35.People are saying, is it controversial? It's not
:26:35. > :26:41.controversial. It's the same thing going on in opera for 200 years. It
:26:41. > :26:46.has sex, drugs and death. It's the perfect plot really. Wynne soon
:26:46. > :26:50.realised that his comic skill on the opera stage had its use on the
:26:50. > :26:54.concert platform too. I thought I would introduce you to some
:26:54. > :27:01.instruments, perhaps. We have the leader, Karl, getting rained on. I
:27:01. > :27:06.know he is a drip, this is ridiculous. We have Viola. Show us
:27:06. > :27:12.it there. The only difference between viola and an onion is you
:27:12. > :27:17.don't cry when you shop up viola. There is one more, the flute. On a
:27:17. > :27:21.windy day like today, if you hold it out, it will play itself. If you
:27:21. > :27:29.can't play any of these instruments if you are a bit "dull" then they
:27:29. > :27:33.give you two sticks and make you percussionist at the back there. Of
:27:33. > :27:43.course, if you can't do that, they take one stick away and bring you
:27:43. > :27:45.
:27:45. > :27:52.right down the front! Wynne Evans was becoming a familiar name on the
:27:52. > :27:58.billboards at the Royal Albert Hall, starring alongside Shirley Bassey
:27:58. > :28:04.and in a concert to be broadcast in China to celebrate the Chinese New
:28:04. > :28:14.Year. The anticipated TV AUDIENCE:Ience was over 500 million.
:28:14. > :28:14.
:28:14. > :28:19.Hey, how are you? The concert was hosted by legend Robert Wells.
:28:19. > :28:24.Robert last year said, I want to come to London with a big star from
:28:24. > :28:30.China who had sang at the Beijing Olympics. We would like you to be
:28:30. > :28:34.in the show with us. I said, "That would be fantastic". I went. I got
:28:34. > :28:44.to sing with Glenn Hughes. That was another great experience. You are
:28:44. > :28:49.
:28:49. > :28:53.working with people who were in When you go on stage, you are there
:28:53. > :28:58.to entertain. That is the absolute No 1. That is why I like to work
:28:58. > :29:08.with Wynne. He is warm and his eyes are warm when he enters the stage.
:29:08. > :29:08.
:29:08. > :29:13.He gets them. I love that. In Sweden we have a famous tenor. No-
:29:13. > :29:19.one can compare with him. Wynne has the warmth sense that he had. I saw
:29:19. > :29:23.his ads, love. It that is crazy. He could do such thing and not only
:29:23. > :29:33.think what other people should think about it. I guess he's crying
:29:33. > :29:56.
:29:56. > :30:01.Mr Evans! The Royal Albert Hall was also the venue for another very
:30:01. > :30:07.special celebration and another unusual request. Andrew Lloyd
:30:07. > :30:12.Webber rang me one day and he said, I would like to meet you. I was so
:30:12. > :30:17.nervous. I drove down there and my stomach was in bits. I got to the
:30:17. > :30:22.front gate and buzzed and drove down the drive which was miles long.
:30:22. > :30:27.It elongated that agony of anticipation. When I arrived there
:30:27. > :30:33.was someone waiting at the door. I went into this room thinking, this
:30:33. > :30:36.would be a holding room that Andrew Lloyd Webber would walk in and say
:30:36. > :30:42.no or yes and that would be the end of it. I walked into this room and
:30:42. > :30:48.there is Andrew Lloyd Webber cooking bacon sandwiches saying,
:30:48. > :30:52.would you like a bacon sandwich and a coffee? If a mother was alive she
:30:52. > :30:59.would have said, that is Andrew Lloyd Webber! When it came to leave,
:30:59. > :31:06.he said, where has your driver gun? I said, that is my car over there.
:31:06. > :31:09.He said, you driver has gone for a walk, has he? I said, no, I am
:31:09. > :31:14.driving myself. He looked at me is if I had said I
:31:14. > :31:18.hit little children. He said, oh dear. I do not know where Fry was a
:31:18. > :31:23.great disappointment to him that day or not. I got the job. I turned
:31:23. > :31:29.up for the first rehearsal of the Phantom Of The Opera and this man
:31:29. > :31:39.said, Wynne. I said, Oh, my word, that is Cameron Mackintosh. He said,
:31:39. > :31:56.
:31:56. > :32:06.I'm so delighted you have come to What Wynne does on that marvellous
:32:06. > :32:06.
:32:06. > :32:11.series of TV adverts is fantastic. He has a terrific voice but he also
:32:11. > :32:16.has a very natural comedic sense of what to do with the text. You would
:32:16. > :32:26.never know that he has not done this show but he completely got
:32:26. > :32:32.
:32:32. > :32:39.Vicky thing about Phantom Of The Opera is, if you sit in Las Vegas,
:32:39. > :32:47.Broadway, London or Tokyo, it is always the same -- the key thing
:32:47. > :32:54.about Phantom Of The Opera. There was a line, those who tangle
:32:54. > :33:02.with Don one, and I wanted to change it to, those who have not
:33:02. > :33:07.been tangling. As soon as I did it, Liz Robinson
:33:07. > :33:14.he had done the vol all over the world started laughing. She said,
:33:14. > :33:19.that is funny. I thought I had to fight to keep it in. One day I came
:33:19. > :33:26.unstuck in rehearsal because I kept messing up this one line by
:33:26. > :33:30.accident. I used to do this in opera all the time, I ate is to say
:33:30. > :33:36.it, I have been talking to Pacini it all the time. I said, I have
:33:36. > :33:40.been talking to Andrew and he said it was all right. And I heard a
:33:40. > :33:44.voice behind me saying, no I did not. Oh no!
:33:44. > :33:49.It was a brilliant experience. That opportunity would never have come
:33:49. > :33:53.to me if it had not been for that day that I went to that basement in
:33:53. > :33:59.east London to audition for that part. You never know what will
:33:59. > :34:05.happen from one day to the next. I am of a mixed opinion about things
:34:05. > :34:09.like X Factor and reality TV shows. At his instant success. Most people
:34:09. > :34:13.think my success was instant but I did seven years of training and I
:34:14. > :34:19.was an opera for many years. I think that is what stood me in good
:34:19. > :34:25.stead. Everybody in life gets a little bit of luck at some point.
:34:25. > :34:29.It is where you have put the work in to run with that lack.
:34:29. > :34:38.Back at his old school in Carmarthen, Wynne was always keen
:34:38. > :34:46.to pass on his experience to the next generation of performers.
:34:46. > :34:53.note that you are failing on, I took it up a tone then to trip you.
:34:53. > :34:58.So you can do it but it is up here now that you are failing at.
:34:58. > :35:03.When my mother died in 2004, because she had had such an impact
:35:03. > :35:08.on people's lives and helping people, my brother Hugh, Mark and
:35:08. > :35:14.myself, decided we would set up a trust in her name. The trust helps
:35:14. > :35:23.young Welsh people who want to go into the art between the ages of 16
:35:23. > :35:27.and 26. So far, we have sponsored instrumentalists, actors, ballet
:35:27. > :35:36.dancers, opera singers, musical theatre singers, stage managers
:35:36. > :35:41.which is important to us because my dad was a stage manager.
:35:41. > :35:47.In this time of great austerity, the arts are the first thing to be
:35:47. > :35:54.cut. If we are not careful, we will lose a generation of performers
:35:54. > :36:04.because we are underfunding the art's now.
:36:04. > :36:05.
:36:05. > :36:10.One of the saddest things which has happened in the last year's is I
:36:10. > :36:15.lost my dad. But has a profound effect on me, really, because my
:36:15. > :36:19.dad was the silent, driving force behind my mother and father's
:36:19. > :36:24.partnership. Without my father, my mother would not have achieved half
:36:24. > :36:29.the things she has achieved. I feel that about my wife. She is quiet
:36:29. > :36:34.but she holds everything together. I say I am going singing here and
:36:34. > :36:39.there and she keeps our unit together. I wish he had been with
:36:39. > :36:44.us longer to seek, not what we are achieving professionally, but our
:36:44. > :36:47.children. My dad came to the Albert Hall to see Phantom Of The Opera
:36:47. > :36:52.and he brought my daughter with him. That was a lovely thing. Cameron
:36:53. > :36:57.said how lovely it was that I could be in the show. That was a real,
:36:57. > :37:02.special moment for me with my dad. I did not know at the time that a
:37:02. > :37:08.month later he would die. It has been a terrible loss for us.
:37:08. > :37:15.Professionally, that makes you think about life as well. DY12 work
:37:15. > :37:21.every day of the year-do I want to work every day of the year to have
:37:21. > :37:26.success? Success is something more rounded, surely success is being
:37:26. > :37:30.happy in your family, you have to sustain a living but without being
:37:30. > :37:34.morbid, we could be gone tomorrow and we have not had that time doing
:37:34. > :37:38.the really important things that I feel we really need to, which is
:37:38. > :37:45.spending time with your family, getting a good balance between your