02/07/1980 The Good Old Days


02/07/1980

Leonard Sachs presents the old-time music hall programme, from 1980. Featuring Moira Anderson, Jack Douglas, Robert White, Audrey Jeans, Jenny Till, Omar Pasha and Marc Metral.


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Transcript


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ORCHESTRA TUNES INSTRUMENTS

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# Daddy wouldn't buy me a bow-wow Bow-wow

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# Daddy wouldn't buy me a bow-wow Bow-wow

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# I've got a little cat and I'm very fond of that

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# But I'd rather have a bow-wow-wow. #

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SINGERS ON STAGE WHOOP

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# We're the toast of merry Monaco

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# Known to all the visitors who go

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# To the old casino every night

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# We enjoy a Pinot, gay and bright

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# Gamblers from Chicago to Berlin

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# Chance their fortunes, hoping for a win

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# Hearts beat fast with every single bet

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# And share me your advice on what to bet

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# Jack, queen or king The cards are so inviting

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# Gambling's the thing We find it so exciting

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# Quaffing champagne We put on such a show

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# We'll break the bank or lose our francs before we go

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# We'll break the bank or lose our francs before we go. #

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# When a bad, bad boy like me

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# Meets a good, good girl like you

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# Well, a good little maid is a bit afraid

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# And wonders what on earth to do

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# If the bad, bad boy should speak

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# Will the good, good girl reply?

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# Well, it rather depends if the good girl's friends

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# Are anywhere at all close by

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# Such a bad, bad boy

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# Such a good, good girl

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# Oh, they do make a curious pair

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# Though the good girl may turn her head away

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# Still she knows that the bad boy's there

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# If the bad boy walks by her side and talks

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# Will she snub him as a maiden should?

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# Well, I think he's a lad who is not so very bad

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# And I'm not a bit too good

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# No, we're not a bit too good. #

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# As I walk along the Bois de Boulogne

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# With an independent air

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# You can hear the girls declare

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# He must be a millionaire

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# You can hear them sigh and wish to die

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# You can see them wink the other eye

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# At the man who broke the bank at Monte Carlo

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# As I walk along the Bois de Boulogne

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# With an independent air

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# You can hear the girls declare

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# He must be a millionaire

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# You can hear them sigh and wish to die

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# You can see them wink the other eye

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# At the man who broke the bank at Monte Carlo. #

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# Jack, queen or king The cards are so inviting

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# Gambling's a thing We find it so exciting

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# Quaffing champagne We'll put on such a show

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# We'll break the bank or lose our francs before we go

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# We'll break the bank or lose our francs before we go. #

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APPLAUSE

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CHEERING AND APPLAUSE

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-AUDIENCE:

-Whoo!

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Once again,

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good evening, ladies and gentlemen.

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-AUDIENCE:

-Good evening!

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From France, hilarious in vertiginous

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vocal virtuosity, Monsieur Marc Metral.

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APPLAUSE

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HE CLEARS HIS THROAT

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Gentlemen...

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GIGGLING ON STAGE

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INDISTINCT MUMBLING ON STAGE

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I'm sorry. Brigitte?

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-Yes.

-Where are you? Where are you, please?

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BRIGITTE WARBLES

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-Here?

-Oi!

-BRIGITTE LAUGHS

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-OK, come with me.

-Ow!

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LAUGHTER

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-But what are you doing inside? MARC AS BRIGITTE:

-I want to see.

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-You want to see the concert?

-Yes.

-But I have to work.

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-I don't care.

-Oh, right, now. OK, come now.

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Ladies and gentlemen,

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-I am very pleased to present the extraordinary...

-Ha-ha.

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-..wonderful, fantastic Miss Brigitte.

-Oh, yeah.

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-It's me.

-Oh, you are really beautiful tonight.

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Ha-ha-ha. Uh?

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I said, "Vous etes tres jolie."

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Ha-ha-ha. Uh?

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-Oui. Du bist schon.

-Danke schon.

-Bitte schon.

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-Danke schon.

-Bitte schon.

-Danke schon.

-Bitte schon.

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-Danke schon.

-Bitte schon.

-That's enough!

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-You must sing a song now.

-No, no, no.

-But why not?

-My costume!

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-But you are beautiful. You can sing like that.

-No, no, no, no.

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-Oh, I know, I know.

-What?

-You are a star, eh? Excuse me, Brigitte.

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Oh, excuse me. I forgot. I am stupid.

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Everybody knows that!

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Right, now, just close your eyes.

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Yeah...

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Very nice. All right.

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All right now, hurry up, hurry up.

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# On dit que j'aime les aigrettes

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# Les plumes et les toilettes

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# C'est vrai

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# On dit que j'ai la voix qui traine

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# En chantant mes rengaines

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# C'est vrai

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# Lorsque ca monte trop haut Moi je m'arrete

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-# Et d'ailleurs on n'est pas

-Ici a l'Opera

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-# On dit

-Que j'ai l'nez en trompette

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# Mais j'serais pas Mistinguett si j'etais pas comme ca. #

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Yeah!

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Thank you very much, ladies and gentlemen.

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Do you want to know now how to be a ventriloquist, yes?

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-AUDIENCE:

-Yes.

-OK, wonderful, marvellous.

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I'm going to choose now somebody to help me on the stage.

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I need a gentleman to help me on the stage.

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Maybe, sir, will you come to help me?

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Oh, thank you. A big hand, a big hand.

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APPLAUSE

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Thank you. Come by this way.

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Thank you, can you wait for me on the stage? Thank you.

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Thank you very much, sir, good evening. But I need a lady too.

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Here we have a beautiful lady. Will you come to help me, please? Oui?

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Ah!

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Tres bien.

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Give me your hand.

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Thank you very much. Come onto the stage, please.

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You are going to help me. Sir, you come here, all right?

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On my right, thank you. You come here, on my left.

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Thank you very much.

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It's very easy, don't worry. Keep smiling. Thank you very much.

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One of the things I have to ask you, ladies and gentlemen.

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You have to open and close your mouth without speaking, only that.

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It's possible? Yes? OK. Look at me, look at me.

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It's possible we try? Oh, very good, very good.

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Give me your hand. It will be easier.

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When I squeeze one time your hand, you open one time your mouth.

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We try.

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OK. If I squeeze twice, you open twice.

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You understand? Very good, very good!

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Sir, the same thing. One time.

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OK, more big. Oh, very good. Two times.

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OK, and so on.

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Look at the audience, please. Thank you very much.

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-So, sir, are you ready? AS GENTLEMAN:

-Yeah!

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-That's very good, eh?

-Yeah!

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-Oh, you are a ventriloquist?

-Yes!

-Good, good.

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Ladies and gentlemen, we have, tonight here, a beautiful lady.

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-AS LADY:

-Yeah!

-LAUGHTER

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-Ca va?

-Ah, oui.

-You have a beautiful voice, eh?

-Oui!

-Very nice, OK.

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-You are a good artist too.

-Yes.

-Yes, you are not too shy, yeah?

-No!

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No, no. LAUGHTER

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OK, we'll sing a song now.

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Please, maestro, we are going to sing a song now. Alegria, vamos.

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# Alouette, gentille alouette

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# Alouette, je te plumerai

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# Je te plumerai la tete

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# Je te plumerai la tete

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-# Et la tete

-Et la tete

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-# Et la tete

-Et la tete... #

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-Very good.

-# Et la tete

-Et la tete

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-# Et la tete

-Et la tete

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-# Et la tete

-Et la tete

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# Alouette, alouette... #

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-All right now. # Alouette

-Alouette

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-# Alouette

-Alouette

-Alouette

-Alouette

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-# Alouette

-Alouette

-Alouette...

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# Alouette! #

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APPLAUSE

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Ineluctably melodious,

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deliquescent in dithyrambic descant.

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-AUDIENCE:

-Oh!

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-S...

-LAUGHTER

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Singing.

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Your own, your very own, Miss Moira Anderson!

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APPLAUSE

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SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN

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SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN

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SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN

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SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN

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SHE SINGS FOR TONIGHT FROM TOM JONES BY EDWARD GERMAN

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APPLAUSE

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# One day when we were young

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# One wonderful morning in May

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# You told me you loved me

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# When we were young one day

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# Sweet songs of spring were sung

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# And music was never so gay

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# You told me you loved me

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# When we were young one day

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# You told me you loved me

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# You held me close to your heart

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# We laughed then, we cried then

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# Then came the time to part

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# When songs of spring were sung

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# Remember that morning in May

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# Remember you loved me

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# When we were young one day

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# Remember you loved me

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# When we were young one day

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# You told me you loved me

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# You held me close to your heart

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# We laughed then, we cried then

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# Then came the time to part

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# When songs of spring were sung

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# Remember that morning in May

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# Remember you loved me

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# When we were young

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# One day. #

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CHEERING AND APPLAUSE

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Unequivocally uplifting

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in dignified imperial dedication,

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the high priestess of culture,

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Miss Audrey Jeans.

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ORCHESTRA PLAYS LAND OF HOPE AND GLORY

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APPLAUSE

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Ladies and gentlemen, tonight, I have written a monologue

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and dedicated it to our dear Queen Victoria.

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SHE COUGHS Thank you.

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Victoria...

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COMMOTION IN THE AUDIENCE AND LAUGHTER

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Welcome and may we wish you...

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827. What number seat are you?

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-LAUGHTER

-Can you stand up a minute? 827.

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I'm trying to find 827. Well, I don't know where it is.

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-Excuse me!

-Pardon?

0:16:440:16:46

I said excuse me.

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Why, what have you done?

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LAUGHTER

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How do you do? Can I just get past here? Sorry.

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-Excuse me!

-Yes.

-Have you a seat?

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Aye, but nowhere to put it.

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LAUGHTER Who is this man?

0:17:010:17:04

-How do you do?

-Excuse me, I can't talk to you from there.

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-Would you come up here?

-What, on the planks?

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-On the platform.

-Oh, yes... Get off.

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LAUGHTER

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Steady.

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LAUGHTER

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Yes, leave it.

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Yes, yes... How... Hey...

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Do you know you've ruined my performance?

0:17:430:17:46

I never touched you.

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I am trying to do a dramatic monologue.

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I...I...I was... Huh. Wey!

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I was just trying to...

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I was just trying to find my seat, you see, and then you said...

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You have no seat here, you know.

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Neither have I, that's what I'm telling you.

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I am doing a monologue to Her Majesty Queen Victoria.

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-Oh, I didn't see her in.

-She isn't here, dear.

-Oh, I'm sorry.

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No, no. This is a very dramatic thing. Would you please go away?

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Yes. No. Well, I can't now I'm here, can I? I mean, maybe... I...

0:18:170:18:21

-Huh. I...I...can...

-HE SNEEZES

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-Sir, as you are here...

-Yes.

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-Have you ever performed on a stage before?

-Ha-ha.

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-Um, I do do a bit of singing at clubs.

-Oh, you sing.

-So do I, yes.

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-Have you a group?

-No, I get the wind a lot.

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LAUGHTER

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-Yes, such a shame, you know, before the show.

-Excuse me.

-Yes.

0:18:460:18:50

-Do you do anything else but sing?

-Ah, yes.

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-Funnily enough, I do monologues.

-Monologues?

-Yes, sir, yes.

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-No, I'm madam.

-Oh, yes, I tumbled that, mmm.

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Would you perform one for us this evening?

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-Well, in front of these people?

-Yes, of course.

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Well, I'd love to, if I could. Oh... I'd like to...

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-Why do you keep doing that?

-Doing what?

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Oh... I... Wa-hey! LAUGHTER

0:19:130:19:16

-Hey, there's something up with you.

-How dare you!

-You...

0:19:160:19:21

APPLAUSE

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-Yeah.

-Would you like to do the monologue now?

0:19:240:19:26

-Well, if it's all right, yeah.

-Please do.

-Well, I'll put that down.

0:19:260:19:30

-Cos I work hard, you see.

-Do you really?

-Yes...

0:19:300:19:32

The Green Eye Of The Little Yellow God.

0:19:320:19:34

HE MUTTERS THE MONOLOGUE

0:19:340:19:37

-Can you hear it? AUDIENCE:

-No.

0:19:390:19:42

Excuse me, nobody can hear you?

0:19:420:19:44

-Can't they?

-No, of course they can't.

-Oh, I didn't know that.

0:19:440:19:47

No, you are not... Where is your articulation?

0:19:470:19:50

LAUGHTER

0:19:500:19:53

I think she knows down there. Hey-hey, hey-hey.

0:19:530:19:56

No, when you do monologues, you must absolutely sell it. Sell it!

0:19:560:20:01

-Sell it.

-Yes.

-The Green Eye Of The Little Yellow God. 30 bob.

0:20:010:20:04

LAUGHTER

0:20:040:20:06

-Not that sort of selling.

-Sorry.

-Now, I want you...

-Yes.

0:20:060:20:11

-..to use your hands.

-I don't understand. Can you show me?

0:20:110:20:13

-Watch my hands, watch them closely.

-Right.

-Watch them.

-Yes.

-Watch them.

0:20:130:20:17

HE LAUGHS

0:20:170:20:19

There's no lens in those glasses!

0:20:240:20:27

I know. They hurt my eyes, so I took them out.

0:20:280:20:30

LAUGHTER

0:20:300:20:32

-Get off.

-Are you ready?

-So am I.

0:20:390:20:42

There's a green-eyed yellow idol to the north of Kathmandu.

0:20:420:20:44

There's a little marble cross beneath the town.

0:20:440:20:47

-Did you see it?

-No, did it come on?

0:20:470:20:49

See, I can't do all them hand movements like that.

0:20:490:20:52

-I can do the monologue but...

-Just a moment.

-What?

-Look.

0:20:520:20:56

These are your hands.

0:20:560:20:59

They're a damn sight cleaner than mine!

0:20:590:21:02

-Come here. Stand there.

-Yes.

-I'll show you what I mean.

0:21:020:21:05

-Oh, you'll do the actions for me and they'll think it's me.

-Correct.

0:21:050:21:08

Oh, right, yes. Thank you. Recitation.

0:21:080:21:12

HE CLEARS HIS THROAT

0:21:120:21:14

Hey. Hey...

0:21:150:21:18

I see. The green eye of...

0:21:180:21:21

The green eye of...

0:21:230:21:25

The green eye of the... Hey!

0:21:260:21:29

LAUGHTER

0:21:290:21:31

The green eye of... Oh!

0:21:370:21:39

-HE LAUGHS

-No, don't. I'm ticklish.

0:21:390:21:42

Seriously now.

0:21:420:21:44

There's a green-eyed yellow idol to the north of...

0:21:440:21:47

LAUGHTER

0:21:470:21:50

..to the north of Kathmandu. There's a little marble cross below the...

0:21:510:21:56

..below the town.

0:22:020:22:04

There's a broken-hearted woman tends the grave of Mad Car... Ooh!

0:22:040:22:10

..while the yellow god forever gazes down. Down!

0:22:100:22:14

He was known as Mad Car... Ooh! ..by the subs at Kathmandu.

0:22:150:22:20

He was hotter than they felt inclined to tell. But...

0:22:200:22:24

..for all his foolish pranks, he...

0:22:270:22:29

..he... Shut up!

0:22:330:22:35

..he was worshipped in the ranks

0:22:350:22:37

and the colonel's daughter smiled on him as well.

0:22:370:22:40

INDISTINCT

0:22:400:22:43

He had loved her all along with a passion that was strong...

0:22:430:22:47

That she loved him was plain to see for all.

0:22:490:22:52

She was nearly 21 and arrangements had begun

0:22:520:22:55

to celebrate her birthday with a ball.

0:22:550:22:57

LAUGHTER

0:22:570:23:00

On the... On the...

0:23:000:23:03

Could we have our ball back, please?

0:23:030:23:05

Butterfingers.

0:23:060:23:08

On the night before the dance, Mad Carew stood in a trance,

0:23:080:23:11

and the...

0:23:110:23:13

Seems like a nice boy.

0:23:150:23:17

And they chaffed him as they puffed at their cigars.

0:23:180:23:21

But for once he failed to smile, as he sat - ooh! - alone awhile,

0:23:210:23:26

then went out into the night among the stars.

0:23:260:23:29

He returned at break of dawn with his coat and tunic torn and...

0:23:290:23:33

Wait... Get...

0:23:330:23:36

Eh...

0:23:380:23:40

LAUGHTER

0:23:430:23:44

What are you playing at?

0:23:460:23:48

Hey, that's my best shirt!

0:23:500:23:52

Oh, oh, look. You've torn a button off.

0:23:520:23:56

LAUGHTER

0:23:560:23:58

No, I don't reckon that. No, that's vandalism, that is.

0:23:580:24:02

I don't reckon that at all. No, no, I...

0:24:020:24:05

LAUGHTER

0:24:050:24:08

-With a gash...

-LAUGHTER

0:24:120:24:15

I thought she was going to let them go for a minute.

0:24:160:24:18

Ow! Ha!

0:24:180:24:21

With a gash above his temple dripping red.

0:24:210:24:25

In...

0:24:250:24:27

LAUGHTER

0:24:270:24:29

Hey-hey.

0:24:290:24:31

Do you know, without my glasses, I'd swear that was a chookie egg.

0:24:310:24:35

-It IS a chookie egg.

-Get off! Really?

-Yes.

0:24:350:24:39

-What the hell am

-I

-laughing at?

0:24:390:24:41

With a gash above his temple dripping red... Oh, please don't.

0:24:410:24:47

Oh. In the... Argh!

0:24:480:24:52

Argh! That's it! I'm not having that! No!

0:24:520:24:56

APPLAUSE

0:24:560:24:59

That, of course, was Mr Jack Douglas.

0:25:110:25:15

Esoteric oriental occultism,

0:25:160:25:20

non-parial necromancy...

0:25:200:25:25

Black magic.

0:25:250:25:28

The amazing Omar Pasha!

0:25:280:25:32

APPLAUSE

0:25:320:25:35

APPLAUSE

0:26:040:26:06

APPLAUSE

0:27:340:27:37

LAUGHTER

0:28:060:28:08

-AUDIENCE:

-Ooh!

0:28:120:28:14

APPLAUSE

0:28:140:28:17

APPLAUSE

0:28:340:28:37

APPLAUSE

0:29:140:29:17

APPLAUSE

0:30:040:30:07

APPLAUSE

0:30:370:30:40

Magisterial masculinity...

0:31:180:31:23

..miraculously mellifluous,

0:31:240:31:26

from America, Mr Robert White!

0:31:260:31:31

APPLAUSE

0:31:310:31:33

# Near to Banbridge town in the County Down

0:31:390:31:43

# One morning in July

0:31:430:31:45

# Down a boreen green came a sweet colleen

0:31:450:31:49

# And she smiled as she passed me by

0:31:490:31:51

# Oh, she looked so sweet from her snow-white feet

0:31:510:31:55

# To the sheen of her nut-brown hair

0:31:550:31:58

# Such a coaxing elf I had to shake myself

0:31:580:32:01

# To make sure I was really there

0:32:010:32:04

# Oh, from Bantry Bay up to Derry Quay

0:32:040:32:07

# And from Galway to Dublin town

0:32:070:32:10

# No maid I've seen like the brown colleen

0:32:100:32:13

# That I met in the County Down

0:32:130:32:18

# As she onward sped sure I scratched my head

0:32:230:32:26

# And I gazed with a feeling rare

0:32:260:32:29

# And I said, says I, to a passer-by

0:32:290:32:32

# "Who's the maid with the nut-brown hair?"

0:32:320:32:35

# Oh, he smiled at me and, with pride, says he

0:32:350:32:38

# "That's the gem of Ireland's crown

0:32:380:32:41

# "Young Rosie McCann from the banks of the Bann

0:32:410:32:45

# "She's the star of the County Down"

0:32:450:32:48

# At the harvest fair, she'll be surely there

0:32:530:32:57

# So I'll dress in my Sunday clothes

0:32:570:32:59

# And I'll try sheep's eyes and deludering lies

0:32:590:33:02

# On the heart of the nut-brown Rose

0:33:020:33:05

# No pipe I'll smoke and no horse I'll yoke

0:33:050:33:09

# Though my plough turn a rust-coloured brown

0:33:090:33:11

# Till a smiling bride at my own fireside

0:33:110:33:15

# Sits the star of the County Down

0:33:150:33:19

# From Bantry Bay up to Derry Quay

0:33:190:33:22

# And from Galway to Dublin town

0:33:220:33:25

# No maid I've seen like the brown colleen

0:33:250:33:30

# That I met in the County Down. #

0:33:300:33:34

# When I was a little lad

0:33:460:33:51

# With folly on my lips

0:33:510:33:54

# Fain was I for journeying

0:33:540:33:58

# All the seas in ships

0:33:580:34:02

# But now across the southern swell

0:34:020:34:06

# Every dawn I hear

0:34:060:34:10

# The little streams of Duna

0:34:100:34:14

# Running clear

0:34:140:34:22

# The little streams of Duna

0:34:220:34:26

# Running clear

0:34:260:34:32

# When I was a young man

0:34:380:34:41

# Before my beard was grey

0:34:410:34:44

# All to ships and sailoring

0:34:440:34:48

# I gave my heart away

0:34:480:34:52

# But I'm weary of the sea wind

0:34:520:34:56

# I'm weary of the foam

0:34:560:35:01

# And the little stars of Duna

0:35:010:35:05

# Call me home

0:35:050:35:14

# The little stars of Duna

0:35:140:35:17

# Call me home

0:35:170:35:25

# The little stars of Duna

0:35:250:35:30

# Call me home. #

0:35:300:35:45

APPLAUSE

0:35:500:35:53

# I hear you calling me

0:36:070:36:15

# You called me

0:36:190:36:22

# When the moon had veiled her light

0:36:220:36:27

# Before I went from you

0:36:270:36:31

# Into the night

0:36:310:36:35

# I came

0:36:350:36:38

# Do you remember

0:36:380:36:42

# Back to you

0:36:420:36:47

# For one last kiss

0:36:470:36:52

# Beneath the kind stars' light

0:36:520:37:02

# I hear you calling me

0:37:070:37:15

# And, oh, the ringing gladness

0:37:150:37:20

# Of your voice

0:37:200:37:23

# The words that made

0:37:230:37:26

# My longing heart rejoice

0:37:260:37:30

# You spoke

0:37:300:37:34

# Do you remember

0:37:340:37:37

# And my heart

0:37:370:37:42

# Still hears the distant music

0:37:420:37:49

# Of your voice

0:37:490:37:58

# I hear you calling me

0:38:020:38:11

# Though years have stretched

0:38:110:38:17

# Their weary length between

0:38:170:38:22

# And on your grave

0:38:220:38:28

# The mossy grass is green

0:38:280:38:33

# I stand

0:38:330:38:36

# Do you behold me

0:38:360:38:40

# Listening here?

0:38:400:38:45

# Hearing your voice

0:38:470:38:50

# Through all the years between

0:38:500:38:55

# I hear you

0:39:040:39:08

# Calling me. #

0:39:080:39:25

APPLAUSE

0:39:310:39:34

Transcendent in tribute to Miss Vesta Tilley,

0:39:480:39:54

once again, the Players Theatre

0:39:540:39:56

plus Miss Jenny Till!

0:39:560:40:00

APPLAUSE

0:40:000:40:03

# Jolly good luck to the girl who loves a soldier

0:40:070:40:10

# Girls, have you been there?

0:40:100:40:14

# You know we military men

0:40:140:40:17

# Always do our duty everywhere

0:40:170:40:21

# Jolly good luck to the girl who loves a soldier

0:40:210:40:24

# Real good boys are we

0:40:240:40:28

# Girls, if you'd like to love a soldier

0:40:280:40:31

# You can all love me. #

0:40:310:40:34

Find the military man who's really worthy of the name

0:40:340:40:38

He's never behind hand when duty's to be done

0:40:380:40:41

He's the fellow that you can trust to try and win the game

0:40:410:40:45

Whatever the prize waiting to be won

0:40:450:40:47

By jingo, don't the girls know that as well as I do?

0:40:470:40:51

Isn't the fact made plain every day?

0:40:510:40:55

When you see them strolling by a soldier's side

0:40:550:40:58

Who could ever be more proud than they?

0:40:580:41:02

# Jolly good luck to the girl who loves a soldier

0:41:020:41:06

# Girls, have you been there?

0:41:060:41:09

# You know we military men

0:41:090:41:13

# Always do our duty everywhere

0:41:130:41:16

# Jolly good luck to the girl who loves a soldier

0:41:160:41:20

# Real good boys are we

0:41:200:41:23

# Girls, if you'd like to love a soldier

0:41:230:41:27

# You can all love me. #

0:41:270:41:30

Every Christmas time we went

0:41:350:41:37

To Uncle Ned's, on pleasure bent

0:41:370:41:40

As sure as e'er the time came round

0:41:400:41:43

A jolly party could be found

0:41:430:41:46

Eating cakes, drinking wine

0:41:460:41:49

All the ladies looked divine

0:41:490:41:52

All the tables cleared away

0:41:520:41:54

And then the band began to play

0:41:540:41:59

And some danced the lancers

0:41:590:42:02

Some the gay quadrille

0:42:020:42:05

Others danced the polka

0:42:050:42:06

And danced it with a will

0:42:060:42:09

Uncle Ned was nearly dead

0:42:090:42:11

And Aunty lost her wig

0:42:110:42:13

They got into a corner

0:42:130:42:15

And they danced the Irish jig.

0:42:150:42:18

# Some danced the lancers

0:42:180:42:20

# And some the gay quadrille

0:42:200:42:22

# Others danced the polka

0:42:220:42:24

# And danced it with a will

0:42:240:42:26

# Uncle Ned was nearly dead

0:42:260:42:28

# And Aunty lost her wig

0:42:280:42:30

# They got into a corner

0:42:300:42:31

# And they danced the Irish jig

0:42:310:42:33

# They got into a corner

0:42:330:42:35

# And they danced the Irish jig. #

0:42:350:42:39

# Sweetheart May

0:42:420:42:46

# When you grow up one day

0:42:460:42:51

# You may marry another

0:42:510:42:55

# And my heart betray

0:42:550:42:59

# But I'll wait for you

0:42:590:43:03

# And then we shall see

0:43:030:43:08

# What you will do when I ask you to marry me. #

0:43:080:43:16

But I'll wait for you

0:43:180:43:20

And then, then we shall see.

0:43:210:43:24

# What you will do when I ask you to marry me. #

0:43:250:43:34

He's very well-known is Algy

0:43:380:43:41

To the ladies on the stage

0:43:410:43:44

Such a jolly fine chap is Algy

0:43:440:43:47

Just now he's all the rage

0:43:470:43:50

And a jolly big favourite, Algy

0:43:500:43:53

With the barmaids at the Cri

0:43:530:43:56

He's very well-known is Algy

0:43:560:43:59

As the Piccadilly Johnny with the little glass eye.

0:43:590:44:03

# I'm following in Father's footsteps

0:44:040:44:09

# Following the dear old dad

0:44:090:44:12

# He's travelling now for his firm, you see

0:44:120:44:15

# In fancy goods, it seems to me

0:44:150:44:17

# I don't know where he's going

0:44:170:44:20

# But when he gets there I'll be glad

0:44:200:44:23

# I'm following in Father's footsteps

0:44:230:44:26

# Yes, I'm following the dear old dad. #

0:44:260:44:30

For I know the Prince of Monaco

0:44:300:44:34

He's a bosom friend of mine

0:44:340:44:37

I've had cigars and ginger ales

0:44:380:44:41

With the Duke of Baden-Baden and the Prince of Wales

0:44:410:44:45

I know the Emperor of Japan

0:44:450:44:48

I've met the King of Spain, I do declare

0:44:480:44:51

In fact, I know every public house

0:44:510:44:55

From Marble Arch to Leicester Square.

0:44:550:44:58

# I know the Prince of Monaco

0:44:580:45:02

# He's a bosom friend of mine

0:45:020:45:06

# I've had cigars and ginger ales

0:45:060:45:09

# With the Duke of Baden-Baden and the Prince of Wales

0:45:090:45:13

# I know the Emperor of Japan

0:45:130:45:16

# I've met the King of Spain, I do declare

0:45:160:45:20

# In fact, I know every public house

0:45:200:45:23

# From Marble Arch to Leicester Square

0:45:230:45:26

# From Marble Arch to Leicester Square. #

0:45:260:45:32

APPLAUSE

0:45:320:45:34

After the ball is over

0:45:470:45:50

After the break of dawn

0:45:520:45:54

After the dancer's leaving

0:45:570:45:59

After the stars are gone

0:46:020:46:04

Many a heart is aching

0:46:060:46:09

If you could read them all

0:46:100:46:13

Many the hopes that have vanished

0:46:140:46:18

After the ball.

0:46:200:46:23

# After the ball is over

0:46:240:46:28

# After the break of dawn

0:46:280:46:33

# After the dancer's leaving

0:46:330:46:37

# After the stars are gone

0:46:370:46:42

# Many a heart is aching

0:46:420:46:46

# If you could read them all

0:46:460:46:51

# Many the hopes that have vanished

0:46:510:46:56

# After the ball. #

0:46:560:47:05

APPLAUSE

0:47:050:47:08

And now, there's just time to ask Miss Moira Anderson

0:47:220:47:26

to lead the company and yourselves in the last chorus for tonight,

0:47:260:47:30

Down At The Old Bull And Bush.

0:47:300:47:32

Ladies and gentlemen, Miss Moira Anderson, the entire company,

0:47:320:47:35

Mr Bernard Herrmann, the entire and indefatigable orchestra.

0:47:350:47:40

APPLAUSE

0:47:400:47:44

But this time, chiefly yourselves.

0:47:440:47:49

# Come, come, come and make eyes at me

0:47:520:47:56

# Down at the Old Bull And Bush La-la-la-la-la

0:47:560:48:00

# Come, come, drink some port wine with me

0:48:000:48:04

# Down at the Old Bull And Bush

0:48:040:48:06

# Hear the little German band Da-da-da-da-da-da-da

0:48:080:48:11

# Just let me hold your hand, dear

0:48:110:48:15

# Come, come, come and have a drink or two

0:48:150:48:19

# Down at the Old Bull And Bush Bush, Bush. #

0:48:190:48:24

Leonard Sachs presents the old-time music hall programme, first broadcast on 2 July 1980. Featuring Moira Anderson, Jack Douglas, Robert White, Audrey Jeans, Jenny Till, Omar Pasha, Marc Metral and members of the Players' Theatre, London.


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