Palace Theatre Programme Cover, "King's Rhapsody"

15/09/1949

King's Rhapsody (Musical Romance)

 

Ann Carson - Maid

Anne Pinder - Olga Varsov

Arnott Mader - Albanian Groom

Denis Martin - Count Egon Stanieff, Serenader

Douglas Orr - Manservant

Edgar Elmes - Serenader

Eric Sutherland - Major Domo

Gawn Grainger - Boy King

Gordon Duttson - Tormas

Harry Fergusson - Manservant

Irene Claire - Albanian Bride

Jack Buchanan - Nikki

Jacqueline Le Geyt - Madame Koska

John Palmer - Mr. Trotzen

Joyce Hartwell - Gypsy Queen

Larry Mandon - 3rd Revolutionary, Serenader

Leon Biedrycki - Tartar Chief

Melville Denham - Serenader

Michael Anthony - Jules, Volkoff, 1st Revolutionary, Archbishop

Micheal Stoller -Serenader

Olive Gilbert - Countess Vera Lemainken

Pamela Harrington - Princess Kirsten

Penny Jones - 3rd Revolutionary

Phyllis Dare - Marta Karillos

Robert Andrews - Vanescu

Tom Gillis - 2nd Revolutionary

Trisha Colbourne - Georgian Girl

Vanessa Lee - Princess Cristaine

Victor Boggetti - King Peter of Norseland

Wendy Warren - Princess Hulda

Zena Dare - Queen Elana of Murania

 

 

Ivor Novello

 

Ivor was born January 14th 1893 to accountant David Davies and Welsh singer Madame Novello Davies. The child was named David Ivor after his father, though was known as Ivor from an early age.

 

When Ivor was five months old his mother was to travel to America for the World’s Fair to represent Wales with her Ladies Choir. Her group won first prize and much acclaim in America, soon finding much demand for them to tour. She was then asked to give a command performance for the Queen, which further enhanced her reputation. Ivor grew up in an environment filled with music and many celebrities associated in the field such as the great singer Clara Butt.

 

The first time Ivor sang in public was when his mother prompted him unwillingly forward before a host of friends at a party before another tour of America.

 

His mother became widely recognised as an accomplished teacher and travelled to London to instruct classes on a regular basis. On one particular trip Ivor accompanied her and saw his first West End play entitled “English Nell”. He was inspired by this new entertainment and he was further inspired to complete his studies and start his own puppet theatre to entertain friends.

 

In 1903 Ivor went to the National Eisteddfod at Aberystwyth, a competition for Welsh Opera. His mother entered him under the name Ivor Cardiff so as not to risk prejudice in the judging procedure. The ten-year-old boy won first prize. His identity revealed, Madame Clara was once again congratulated upon producing another successful student. Ivor was never short of company as he was constantly surrounded by all manner of people from the art world as well as having an adopted sister, whom his mother called Marie Novello.

 

Ivor was schooled at a private academy in Cardiff, where he made his first appearance, in the pantomime “Aladdin”. Interested in all things musical, Ivor obtained his first gramophone at the age of twelve and along with his piano, it became a favourite as he listened to the great singers of the day.

 

He then left for Gloucester where he studied for a period under one of his mother’s friends Mrs Arthur Sly. At this point Ivor was enamoured with a girl named Dorothy Jones, who lived at Longford House, Gloucester. The house had a private theatre attached and it was here that Ivor played his first real acting part as Sir Peter Teazle in Sheridan’s “The School for Scandal”. The experience was so enjoyable that Ivor decided there and then that one day he would become an actor.

 

Initially it was Ivor’s voice which sent him to Magdalen College on a Scholarship in 1903. Ivor sang solo in the choir there for five years. At the age of 16 and a half his voice broke and a career in singing was left behind with his childhood.

 

Ivor had been busy composing and after many attempts Arthur Boosey, a London music producer, accepted a song entitled “Spring of the Year”, a waltz. The piece, published under the name Ivor Novello, was not a great success but convinced Ivor that it was a path he wished to pursue. With much practise, Ivor improved and further pieces became well recognised, such as “Little Damozel”. Upon leaving school he went to live at his mother’s London home.

 

As he matured, Ivor became strikingly handsome with his dark hair, brown eyes complimented by a pale complexion. At one time he was described as “the handsomest man in Britain”.

 

The thought of acting had never left his mind and Ivor yearned to take to the stage, spending his money on attending as many shows as possible at Daly's and the Gaiety Theatre. This was in spite of his mother who was firmly opposed to the idea and only wished him progress further with composing.

 

Ivor produced his first musical comedy called “The Fickle Jade”, which was not very successful, but he was able to meet many other young composers and gain valuable experience. In 1910 Ivor heard his first piece of music to be performed by an orchestra at the Crystal Palace, which gave him a huge thrill.

 

The following year Ivor visited America for the first time and after recent successes, Ivor was charged with writing the music for a pageant with which to tour Canada, but the project fell through financially. Ivor had written many pieces of music but was able to visit New York and the Metropolitan Opera House not to mention the many theatres.

 

Before leaving New York, Ivor acquired a small dog named Wudge. When he was about to leave for England on the "Empress of Ireland", Ivor could not find the dog anywhere; being a sensitive soul he missed his voyage so that he may find the dog, which he found back at his apartment. Meanwhile the ship was rammed and sunk in thick fog, with the loss of 950 lives.

 

When he returned later to England, Ivor was determined to recreate the successes he had seen in New York. By 1914 Novello had produced some fairly successful musical pieces and they were being regularly performed by some of Madame Clara's pupils, including his adopted sister Marie.

 

In August of 1914 war broke out and Ivor composed work with a patriotic flavour. With Lena Ford, an American poet who wrote the words (with exception of the new piece’s title) he wrote "Keep the Home Fires Burning". It was a song that changed Ivor’s life overnight as its success spanned the length and breadth of the Britain and America. Ivor was still only 21 years old.

 

Ivor soon attained a commission in the Royal Naval Air Service as Flight Sub-Lieutenant. Song-writing had to take a back seat. “Keep the Home Fires Burning” meanwhile was going from strength to strength, widely published and Novello became a celebrity. It became a call to arms and fed patriotism, inspiring people to take up arms against German Imperialism.

 

Novello was a great entertainer as well and held many gatherings at his flat on the Strand, meeting regularly with many creative talents such as a young Noel Coward. As the war continued and the Americans entered the conflict, Ivor’s romantic notions of being a pilot were dashed when he had two crashes in 1916. He took an office job, which he disliked, but it did enable him to work upon his composing more. He enjoyed some success during this period and saw several pieces reach the West End.

 

During the climax of the war Ivor was sent to Sweden to help suppress the popularity of German cabaret in Stockholm. He was a great success but whilst there, Armistice was declared and he missed the fevered celebrations at home. When he did finally return home he found that a dear friend Billie Carleton had died. Hence, even though Ivor was a financial success, he felt somewhat hollow.

 

His mother suggested a visit to New York to get over the war as she had taken an apartment there. With a newfound lease of life Ivor jumped at the chance and set sail with his mother and close friends. Ivor was thoroughly enchanted by the city and Broadway in particular. On the return voyage, Ivor was unexpectedly sent a cable from his agent, asking if he would like to act in his first film. Ivor had not acted since his school days but he went to Paris and met with Louis Mercanton a French director.

 

He was to co-star in the picture “The Call of the Blood” with Phyllis Neilson-Terry. Ivor turned out to be a natural and the film was a success, though Ivor himself was not wholly impressed with his own performance. Despite this newspapers reported him as being the new rising star. The film acting did not vastly interrupt his composing work and he saw it as a welcome distraction.

 

Novello also hankered after a theatrical role as many of his idols had been on the stage. On November 3rd 1921 Ivor played Armand Duval in HM Harwood’s stage production of “Debram”. It was hardly as well paid as the film work but it was an opening into the theatrical world. Further stage roles followed and soon found hoards of admiring fans at each performance. Novello soon had a contract in Hollywood at MGM.

 

Ivor took a part in “The Bohemian Girl” alongside Gladys Cooper and Constance Collier, but more importantly for him, Ellen Terry the great stage tragedian. In 1923 Novello was called to Hollywood to star in DW Griffith’s new film “The White Rose”, a huge honour, as Griffiths was one of the most renowned directors of the period.

 

The film turned out to be very successful and this was reflected in glowing reviews in the New York press. This certainly helped with his profile in England and he starred in “Bonnie Prince Charlie”. Ivor had also produced his own screenplay called “The Rat”, which he had written some time before but had not been able to stimulate interest in. His sudden rise to fame and new acquaintances enabled him to adapt the piece for the stage. It was a venture, which Ivor approached whole-heartedly, and “The Rat” opened in Brighton on January 15th Ivor's Birthday. Much interest arose and the house was packed for the first night.

 

It was not a masterpiece of writing, but was entertaining and Ivor in the lead role was as engaging as ever. Contrary to his friend Noel Coward’s advice, he took the play to the stages of London. It turned out to be a good move and the play ran for well over 600 performances.

 

Ivor acted in the play but concealed the fact that he had written it through the pseudonym “David Lestrange”. When the public discovered the truth they were even more impressed with the new stage manager and playwright.

 

Whilst the play was still running, Ivor starred in a film version of directed by Graham Cutts in 1924. The film followed on from the success of the play and Ivor's previous film roles. Unfortunately the newfound confidence Ivor felt led him to make some horrendous theatrical decisions and he was part of several stage failures, including Noel Coward's disastrous “Sirocco”. Novello only seemed suited at the time to roles which he himself cast, and as he had not written any new material he decided to work in films again.

 

Ivor was soon signed to star in a series of films at Islington Studies, this time in British films, firstly with a sequel to “The Rat”, entitled “"The Triumph of the Rat”. The next film was Alfred Hitchcock’s “The Lodger”, loosely based upon the Jack the Ripper story. “The Bioscope” reported the film as being “possibly the finest British production ever made”.

 

Following this Ivor starred in Hitchcock’s “Downhill” and Noel Coward’s film version of “The Vortex” which fled to Ivor starring in “A South Sea Bubble”, Ivor's last silent movie.

 

Novello’s mind was never far from the stage, and he knew that was where his creative talents lay. Cautiously he embarked upon writing “The Truth Game” and toiled over the whole process. The production rehearsals were troubled by a lack of faith from producer Gerald du Maurier and certain cast members. Novello was determined though and the show opened to huge audiences and proved the sceptics wrong, giving Ivor much needed confidence in his own writing.

 

Ivor followed up this success with “Symphony in two flats” and he was acknowledged as a stage writer. The success of this new play allowed Ivor to adapt it as a talking film and also for Broadway.

 

The advent of “talkies” put paid to many a silent film star’s career, whose voice simply did not suit the new medium, but Ivor was well suited to the talking picture as his training with Madame Clara had given him a prominent voice.

 

Upon arrival in Hollywood, Ivor was welcomed by Joan Crawford and taken to MGM studios. His script for “The Truth Game” was radically changed and little appeared on film that actually occurred on the stage; even the title was changed to “But the Flesh is Weak”. MGM had their books full with actors and much to Ivor's disappointment he was only engaged as a screenwriter. Novello was employed on such pictured as “Tarzan the Ape Man” and similarly tedious works, leaving him feeling his talents were being squandered.

 

He asked to be released from his contract and headed for England in the Spring of 1932. During his time in Hollywood he had completed writing two plays. He immediately opened with one, “I Lived with You” at the Prince of Wales Theatre. Novello played the part of Prince Felix and was a huge success, dispelling any fears he had after his experience in America. He followed this play up with “Party”, which he had written for his own amusement, then “Fresh Fields” which only took 10 days to write.

 

Novello was rapidly becoming known as a prolific and witty playwright, as his plays were published by Metheun in 1932. His confidence at an all time high, Novello thought once more of returning to film. Novello starred in a remake of “The Lodger” this time in a talking role for Twickenham Films. He also signed for Gaumont British to make “Sleeping Car”, whilst also acting on the stage.

 

Ivor soon found though that he was stretching himself too far and decided to concentrate on theatre and perhaps musicals with which he had his first real break. Novello had talks with HM Tennent, director at Drury Lane, about producing a large-scale musical production and soon he staged the ambitious “Glamorous Night” opening May 2nd 1935. The play revived Drury Lane and astounded critics, leaving fond memories for all concerned and songs sung down the years. It was particularly satisfying for Ivor who had closely followed the fortunes of the Drury Lane theatre and had seen every production there since 1902.

 

King George V, Queen Mary, the Duke and Duchess of Kent and Princess Alice all attended Drury Lane to see “Glamorous Night”. To further challenge himself Ivor took a demanding role in “The Happy Hypocrite” a dramatised version of Max Beerbohm's original story. The part demanded Ivor being heavily disguised and focus was therefore centred upon his acting ability and not his appearance. He played the role opposite Vivian Leigh and it was a triumph of his acting abilities, receiving praise across the board in the part of Lord George Hell.

 

Ivor was recalled to Drury Lane to produce his next show “Careless Rapture” in September of 1936. Novello was almost single-handedly responsible for the rising popularity of the large-scale musical, a market which had been previously dominated by American imports. He then followed up this effort with “Crest of a Wave” in September of 1937, retaining the same cast who were more than happy to appear in another Novello show.

 

Novello was beginning to make Drury Lane his own and he was devising, writing, composing and starring in each production. Then, much to everyone's amazement, Ivor announced he would stage Shakespeare and produced “Henry V” at Drury Lane. It was a radical departure from his light comedy roles but proved once again his versatility. Critics who expected him to fail were amazed.

 

Unfortunately for Ivor, war broke out again and audiences were not keen to watch a play with so much conflict depicted. Not disheartened, Novello wrote, “The Dancing Years”, which proved to be his greatest success and ran for 10 years. Ivor also gave several troop concerts with Olive Gilbert playing pieces from his favourite shows.

 

Whilst reviving “I Lived with You” at the King’s Theatre, Hammersmith on August 26th 1940, London was subjected to one of the worst air raids of the period. Ivor encouraged audiences to stay at the theatre and the cast of the play entertained them until 6 am.

 

As London closed for the war, Novello took “The Dancing Years” on a tour of the provinces. He did not anticipate the huge demand to see his grand musical, which was very topical, being about a half-Jewish composer who becomes a victim of Nazi persecution in Austria. It turned out to be a long and arduous tour as transport was reduced to essential services and accommodation took the form of school and church halls.

 

“The Dancing Years” then returned to London before the capital was targeted again in June of 1944. Novello also took a touring company to Normandy and entertained with “Love from a Stranger”. It was not long before Ivor had a new production underway and “Perchance to Dream” opened in London in April of 1945. It was a Regency musical production and was a tremendous success, with hit songs including “We’ll Gather Lilacs”. The play only ended its run because Ivor decided to take his company on a tour of South Africa with African Consolidated Theatres, opening in Johannesburg on December 23rd 1947.

 

Ivor thoroughly enjoyed the experience and followed up with performances in Cape Town. The tour also gave Ivor the opportunity to work upon his next show “King's Rhapsody”. This new work was one, which Ivor felt was his best piece yet and it opened on September 15th 1949.

 

The play is set in mythical Muriana with Novello playing a sympathetic King trying to rule against the will of an Old Guard Cabinet. It was one of Novello’s finest pieces of acting, at the age of 58, and critics claimed the play to be an utter triumph.

 

Ivor Novello played in King’s Rhapsody on March 5th 1951, completing the show and his usual curtain speech, but was then taken ill, dying at his home only hours afterwards. Palace Theatre programme cover for Ivor Novello's "King's Rhapsody".

 

 

 

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