Musicals & Theatre

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I and Albert logo 1973

Cats logo  1981

Masquerade Logo  1982

Nightingale logo  1982 / 1983

Pirates Logo   1983

SongandDanceLogo  1984

Merry Widow Logo  1985

Phantombrochure_small1 1986

aspects brochure cover 1990













Albert and I

1972 – London West End – The love story of Queen Victoria and Prince Albert, I AND ALBERT played at London’s Piccadilly Theatre. Lyrics: Lee Adams; book by Jay Presson Allen, playwright (THE PRIME OF MISS JEAN BRODIE – also film version).    Although Strouse and Adams researched I AND ALBERT for nearly 5 years, London audiences and critics did not take kindly to their efforts. A cast album didn’t appear until 1981, when the performers were re-assembled for the last time.    Direction: John Schlesinger, award-winning theatre and film director (SUNDAY BLOODY SUNDAY, MIDNIGHT COWBOY, DARLING, et al).   Info taken from

Sarah Played a Royal Child


Masquerade Poster 01

The strangest British flop musical of 1982 was “Masquerade”, based on Kit Williams’ cult book which contained clues to a gold treasure hidden somewhere in the UK. Sadly this was discovered by chance a few days before the show opened, by someone who hadn’t even read the book – which was rather bad for the box office!   Still, the show which opened on March 5th 1982 did have Sarah Brightman as Tara Treetops, Sinitta Renet in the chorus (who would ultimately drop her last name to become just Sinitta) and Roger Rees as Jack Hare. The two girls were both members of the pop group Hot Gossip, which may be more than mere coincidence?  The show closed on 3rd April after just 31 performances. The programme for the show, with cast details and other credits on the back, also doubled as a 10” x 16” poster. 

Book Description from

In paperback, the book that touched off the treasure hunt of the century-with a full explanation of the Masquerade Riddle.   For three years, treasure-seekers from both sides of the Atlantic sought a fabulous golden hare buried by artist Kit Williams. Williams had devised an unusual guide to the hare’s whereabouts: a multilayered riddle that he told in a fairy tale of his own imagining, and presented in dazzling, cryptic, paintings.   When the hare was finally unearthed by a British engineer, many were left wanting to know exactly how the clues worked out. In this paperback reprint of Masquerade, the author supplies an illustrated preface that pulls the strings, finds the goal, and points to what’s important: the village chemist’s daughter, the atomic weight of the elements, the shadows of the equinox, Henry VIII’s first wife. Williams explains how numbers and colours correspond to the intricate ballet, and how the eyes really do see th e answer. And of course, here are the magical pages that tell the tale of Jack the hare, and his journey to the sun. They are still there to discover, ponder, rediscover. And understand at last.





Sarah Brightman made her West End debut in the musical / and Albert as Princess Victoria. She has trained in all types of dance technique and in 1976 joined ‘Pan’s People’ and appeared on Top of the Pops each week and various other television and cabaret shows. More recently she has been a member of the group ‘Hot Gossip’ appearing on The Kenny Everett Video Show. Her record ‘I Lost My Heart to a Starship Trooper‘ reached No.6 in the charts and she also now writes and produces records.



Info on Sarah from programme  Sarah Brightman was a member of the dance groups Pan’s People appearing on Top Of The Pops and Hot Gossip appearing on The Kenny Everett Show on television and many live appearances. In 1978 her single I Lost My Heart To A Starship Trooper was a great success both in Britain and internationally. On stage:-she played Princess Victoria in John Schlesinger’s I And Albert in the West End; Cats as Jemima and Young Grizabella; Masquerade (Young Vic); Nightingale, title role, in the production seen at the 1982 Buxton Festival. Sarah is frequently seen on television, and as a fashion model, and devotes considerable time to record production.]


Narrator – Andrew Shore

Emperor – Gordon Sandison

Nightingale – Sarah Brightman

Maid – Susannah Fellows

Aides – Bruce Ogston & Grant Smith

Peacocks – Dinah Harris & Jill Pert

Death – Michael Heath

Mechanical Nightingale – Carole Brooke

Doctors & Scientists – Michael Heath & Roy Skelton

Court Choreographer – Debbie Goodman


Grandpa LP front

Released 1989 7″, 12″, CD single Worldwide  099765477771 Music & Lyrics: Howard Blake Released in 1989 (CBS Records)

7″ Single  Side A. Sarah Brightman – Make Believe Side B. Howard Blake – Make Believe Instrumental

12″ Single 1. Sarah Brightman – Make Believe 2. Howard Blake (Solo Piano) – Make Believe 3. The Sinfonia Of London (Conducted by Howard Blake) – Nursery Rhyme Overture

CD Single   1. Sarah Brightman – Make Believe 2. Howard Blake (Solo Piano) – Make Believe 3. The Sinfonia Of London (Conducted by Howard Blake) – Nursery Rhyme Overture

Grandpa Soundtrack


1. Make Believe Instrumental

2. Tiny As A Flower

3. Butterflies With Silver Wings

4. Little Girls Song

5. Skipping Song

6. I Remember All The Games

7. Rain

8. Sing Little One

9. Waltz

10. Going To The Seaside Including Spitfire

11. The Little Girl’s Song – Instrumental

12. Whale Song

13. Bedtime Story

14. Sledging In The Winter Snow

15. Jungle

16. Sing Little One Instrumental

17. Make Believe – Song – Sarah Brightman

18. Nursery Rhyme Overture

19. The Conquest Of Space

GRANPA first appeared as a picture book by John Burningham, winning the Kurt Maschler

Award. In 1988, following their great success with THE SNOWMAN, TVC commenced production on the film of GRANPA, with the same creative team – Director Dianne Jackson, Producer John Coates, and Composer Howard Blake.

The NURSERY RHYME OVERTURE is a guessing game. It contains 18 well-known nursery rhyme tunes; one of these appears in two different places and two other tunes are played simultaneously, one against the other. Look for a list of the tunes in the correct order, hidden on this album. The overture is dedicated to Howard’s daughter Catherine.

THE CONQUEST OF SPACE. Commissioned by Astra, Europe’s first 16-channel television satellite, this large-scale concert piece graphically portrays the launching of the rocket, the ascent into space and an astral ‘song for universal peace’, starting quietly but building to a mighty conclusion in which all themes unite.

Recorded & Mixed by Mike Ross-Trevor • Assistant Engineer: Gary Sloman Digitally recorded on Mitsubishi X850 • Mixed to Sony 1630 Recorder Illustration: Dianne Jackson • Artwork: The Artifex Studio

Make Believe (Featured on the 1988 UK PAL video for the ‘Grandpa’ animated film based on the award winning book by John Burningham, features the voice of Peter Ustinov as Grandpa and produced by the makers of ‘The Snowman’ animated movie. Running time approximately 30 minutes, picture sleeve. With no DVD release available for this title this is a video exclusive! PVC-4036A). Taken from the back of the video cover

GRANPA lives happily alone in his house and garden full of memories. Alone, that is, except for visits from Emily, his small granddaughter.

Emily and GRANPA together create their own fantasy world in which they turn the house into a Noah’s Ark, fly a Spitfire, ride their chargers, swing from creepers in a mad chase through the jungle, meet a giant caterpillar and even catch a whale!

This endearing and moving animated story from the creators of “The Snowman” under the direction of Dianne Jackson will surely enchant children and adults of all ages.


Song & Dance LP

Music by Andrew Lloyd Webber & Lyrics by Don Black, Recorded Live at the Palace Theatre on Saturday 28th April 1984 on LP and VIDEO.

Released 1984 on LP Cassette & VHS Worldwide 035627048012

Take That Look Off Your Face
Let Me Finish
It’s Not The End Of The World
First Letter Home
Sheldon Bloom
Capped Teeth And Caesar Salad
You Made Me Think You Were In Love
Reprise: Capped Teeth And Caesar Salad
It’s Not The End Of The World If He’s Younger
Second Letter Home
Unexpected Song
Come Back With The Same Look In Your Eyes
Let’s Talk About You
Reprise: Take That Look Off Your Face
Tell Me On A Sunday
It’s Not The End Of The World If He’s Married
Married Man
Third Letter Home
Nothing Like You’ve Ever Known

When You Want To Fall In Love


Requiem CD

Released 1985 CD, LP  Worldwide  7777471462

The British Premiere of  Andrew Lloyd Webbers REQUIEM. Westminster  Abbey   Sunday 21st April 1985

Starring Placido Domingo Sarah Brightman Paul Miles-Kingston English  Chamber Orchestra Conducted by Lorin Maaze

1. & Kyrie 2. Dies Irae … Rex Tremendae 3. Recordare 4. Ingemisco … Lacrymosa 5.  Offertorium 6. Hosanna 7. Pie Jesu 8. Lux Aeterna & Libera Me

Requiem  – Taken from Album sleeve notes.

A Requiem from the composer of Cats, Evita, Starlight Express? The change of direction is less abrupt than appears at first sight. In many ways this Requiem marks for Andrew Lloyd Webber a return to the musical surroundings in which he grew up.  His school, Westminster, was traditionally closely linked to Westminster Abbey and, in Lloyd Webber’s day, attendance at certain church services was obligatory.  He recalls also going to the impressive memorial service held for Ralph Vaughan Williams and, as a thirteen-year-old, crossing the Abbey yard through a thick fog for the first London performance of Benjamin Britten’s War Requiem, probably the last major, popular piece in the oratorio tradition to have been composed in England.  Lloyd Webber Snr. was an organist at All Saints, Margaret Street, and at the Central Hall, Westminster, as well as being a composer of sacred music. Some young people might have rebelled, but Andrew, on his own admission, preferred to absorb. He still enjoys ‘popping into evensong’ and his main interest outside music is architecture, especially church architecture.  It was the death of Andrew Lloyd Webber’s father in 1982 that first set the Requiem in motion. Lloyd Webber scored the Requiem for a boy, a girl and a man: in other words, treble, high soprano and tenor. He toyed with including a bass, but soon rejected the concept. The choral writing is strictly along cathedral lines, but Lloyd Webber, with an impish grin, admits that it might not always be academically correct — ‘My father insisted that I should not be over-trained musically.’  How ‘theatrical’ does Andrew Lloyd Webber consider his Requiem to be? It is the commonest criticism of the world’s most famous Requiem, Verdi’s, which was also inspired by a death (Alessandro Manzoni, Italian poet and patriot).  ‘Let’s say there is an imprecise theatrical structure concerning the boy and the tenor, and the girl, who is the bridge between them’.    The presence of Placido Domingo as the tenor does suggest that the Requiem will also be described as operatic.  ‘Maybe. But as far as I’m concerned it’s the most austere piece I have written so far. What excites me is writing for the operatic voice, whether Placido’s or Sarah’s, because you have almost another octave to play with and all the attendant melodic possibilities.’  The first draft of the Requiem was heard during the 1984 Sydmonton Festival, the Berkshire site where Andrew Lloyd Webber tries out most of his major works before taking them away and polishing them. That polishing took a further half-year, probably the most concentrated and lengthy period of work Lloyd Webber has given to any of his compositions to date. Nothing has been allowed to distract from the Requiem.  Now that it is complete, what is his own verdict? ‘I don’t know what place it will find in the music of today, but to me it is the most personal of all my compositions’.

© John Higgins 1985

Requiem will be performed by The American Ballet Theatre in a choreographed version by Kenneth MacMillan which will be presented at the Metropolitan Opera House, New York in 1986.


phantom of the opera

1. Prologue
2. Overture
3. Think Of Me
4. Angel Of Music
5. Little Lotte…/ The Mirror… (Angel Music)
6. The Phantom Of The Opera
7. The Music Of The Night
8. I Remember…/ Stranger Than You Dream It…
9. Magical Lasso
10. Notes…/ Prima Donna
11. Poor Fool, He Makes Me Laugh
12. Why Have You Brought Me Here
13. All I Ask Of You
14. All I Ask Of You (Reprise)

1. Entr’acte (Act Two – Six Months Later)

2. Masquerade / Why So Silent

3. Notes …/ Twisted Every Way

4. Wishing You Were Somehow Here Again

5. Wandering Child …/ Bravo, Monsieur

6. The Point Of No Return

7. Down Once More …/ Track Down This Murderer

The Phantom of the Opera


Raoul, Vicomte de Chagny

Monsieur Firmin

Monsieur André

Carlotta Giudicelli.

Madame Giry

Ubaldo Piangi.

Monsieur Reyer


Porter/Marksman/Fop (in Il Muto)

Meg Giry

Monsieur Lefevre

Joseph Buquet

Don Attilio (in Il Muto)/Passarino

Slave Master (in Hannibal



Page (in Don Juan Triumphant)


Page (in Don Juan Triumphant)

Wardrobe Mistress Confidante(in Il Muto)

Princess (in Hannibal)

Madame Firmin

Innkeepers Wife (in Don Juan Triumphant

The Ballet Chorus of the Opera Populaire


Michael Crawford

Sarah Brightman

Steve Barton

John Savident

David Firth

Rosemary Ashe

Mary Millar

John Aron

Paul Arden Griffith

Barry Clark

David De Van

Janet Devenish

David Jackson

Janos Kurucz

James Patterson

Peter Bishop

Justin Church

Mostyn Evans

Sue Flannery

Andrew Golder

Janet Howd

Peggy Ann Jones

Maria Kesselman

Patricia Richards

Jill Washington

Sally Ashfield




Aspects of Love Souvenier Brochure

ROSE VIBERT a French actress

ALEX DILLINGHAM a young Englishman

GEORGE DILLINGHAM Alex’s uncle, an English painter

GIULIETTA TRAPANI an Italian sculptress

MARCEL RICHARD an actor-manage

JENNY DILLINGHAM daughter of Rose and George age 12

JENNY DILLINGHAM daughter of Rose and George age 14

ELIZABETH George’s housekeeper

HUGO Le MIUENIER Rose’s friend












The Garden at Pau, 1964: Love Changes Everything (Alex)

France, 1974

A Small Theatre In Montpellier (Rose, Marcel, Ensemble)

A Café In Montpellier: Parlez-vous Français? (Rose, Alex, Ensemble)

The Railway Station (Rose, Alex)

In A Train Compartment: Seeing Is Believing (Rose, Alex)

The House At Pau (1) (Rose, Alex)

A Scupture Exhibition in Paris A Memory Of A Happy Moment (George, Giulietta)

In Many Rooms In The House At Pau (2) (Rose, Alex)

On The Terrace (Rose, Alex, George)

Outside The Bedroom (Rose, Alex, George)

Up In The Pyrenees: Chanson D’Enfance

The House At Pau (3) (Rose, Alex)

The Railway Station (Rose, Marcel)

Two years pass…

A Fairground In Paris: Everybody Loves A Hero (Ensemble – Fairground Barkers, Elisabeth, Alex, Rose)

George’s Flat In Paris She’d Be Far Better Off You (Alex, George, Rose, Elisabeth)

First Orchestral Interlude – She’d Be Far Better Off With You

Second Orchestral Interlude – Giulietta’s Studio In Venice: Stop, Wait, Please (Giulietta, George)

A Registry Office (Registrar, Giulietta)

A Military Camp In Malaya (Alex)


Thirteen years later…

Orchestral Introduction To Act Two

A Theatre in Paris – Leading Lady (Marcel, Ensemble)

At The Stage Door (Rose, Alex)

George’s House At Pau Other Pleasures (George)

A Café In Venice / There Is More To Love (Rose, Giulietta)

The House At Pau

The Garden At Pau (George, Rose, Alex)

Alex’s Reflections – Mermaid Song (Jenny, Alex)

The Countryside Around The House (Jenny, Alex)

Two years pass…

The (Third Orchestral Interlude)

The Garden At Pau (George, Rose, alex)

On The Terrace The First Man You Remember (George, Jenny)

In The Vineyard At Pau (Company)

George’s Study At Pau – Up In The Pyrenees – Jenny Declares Her Love – The Kiss (Jenny, Alex)

A Circus In Paris: Journey Of A Lifetime (Chanteuse, Ensemble, Rose, Marcel, Hugo)

Outside The Circus: Falling (George, Rose, Alex)

Jenny’s Bedroom In Paris – Georges Death (Alex, Jenny)

The Vineyards At Pau: Hand Me The Wine And The Dice (Giulietta, Ensemble, Rose, Marcel, Hugo)

A Hay Loft (Alex, Giulietta)

The Garden at Pau – Anything But Lonely – Finale (Rose)


Pirates brochure

The Pirate King

Samuel, His Lieutenant


Ruth, A Pirate Maid

Major-General Stanley

The Sergeant

Oliver Tobias

Kevin A. J. Ranson

Peter Noone

Annie Ross

Ronald Fraser

Paul Leonard


Major-General Stanley’s Daughters

Norma Atallah

Carol Duffy

Elaine Hallam

Nelly Morrison

Edith – Carolyn Alien

Kate -Sarah Brightman

Isabel – Anita Pashley

Mabel – Karen Lancaster


Pirates and Police –

 Peppi Borza, Peter Bruce, Ken Caswell,  Mark Davis,  Kevin Feighery,  Alan Forrester,  Andrew Colder, Raymond Hatfield,  Simon Howe,  Carry Huddlestone, Peter Leeper, James Meek, Clive Packham, Richie Pitts, Brent Verdon

I notice that Ritchie Pitts played Pirates / Police – I believe he is then the same person who dueted with Sarah on the album The Songs That Got Away – with the song –  “Lud’s Wedding”


The Merry Widow

The Merry Widow Sponsored by Prudential A co-production with Opera North

 Operetta in Three Acts  Music: Franz Lehár Book by Victor Leon and Leo Stein New English Translation by Nigel Douglas by arrangement with  Glocken Verlag Limited    Premiered at the Theater an der Wein on December 30th 1905

First performance of this production by New Sadler’s Wells Opera at Sadler’s Wells Theatre on October 17th 1985

Hanna Glawari, a wealthy widow.

Valencienne, Baron Zeta’s wife

Praskowia Pritschitsch, Colonel Pritschitsch’s Russian Wife

Kromow, wife of Kromow

Sylviane Bogdanowitch

Camille de Rossillon, a French poet.

Count Danilo Danilowitsch

Kromow, Head of Chancery at the Pontevedrian Embassy

Raoul St Brioche, French aristocrat

Viscount Cascada, French aristocrat

Baron Mirko Zeta, Pontevedrian ambassador in Paris

Njegus, Chancery Clerk at the Pontevedrian Embassy in Paris

Colonel Pritschitsch, Military Attaché at the Pontevedrian Embassy

Bogdanowitch, Consul at the Pontevedrian Embassy


Lob , DodoJoujouFroufrou GrisettesClocloMargotServantWaiterChorus of French and Pontevedrian Guests  

Eiddwen Harrhy

Sarah Brightman

Joan Davies

Janine Roebuck

Una Buchanan

Glenn Winslade

Alan Oke

Leon Berger

Mark Curtis

Paul Parfitt

Julian Moyle

Peter Jones

Ian Comboy

Stefan-Paul Sanchez



 The Company




Released 1987 CD, LP Worldwide  7673262092

Recorded at Air Studios, London; March 9 through 13 in 1987 & at CBS Studios, London; May 1,1987 Recording Engineer: Keith Grant Digital Systems: Sony 3324 & 3202  Digitally edited and mixed at Master Sound, Astoria, N.Y. Engineer: Ben Rizzi Direct Metal Mastering at Precision Lacquer, Hollywood, Ca. Project Coordinator: Alexandra Smyth Art Director: Vito Fiorenza Cover art: monoprint & pastel by Irene Clars Notes by Stanley Green  Royal Philharmonic Orchestra Paul Gemignani: Conductor I  Orchestrations by Colin Appleton, Antony Fones, John Gregory, Peter Hope & Roland Shaw, Music Preparation by Colin Appleton Music Services,  Session photos by Clive Barda, Reg Wilson & Steve Sherman, Special thanks to Joe Abend, Joyce Arbib, Paula Forrest, Merle Hubbard, Dean Kay, Jerry Kravat, lan Maclay, Steve Marcus, Barry Reiss, Myron Roth, Maxine Schrein & Robert Sugarman  MCA RECORDS

CAST (in order of appearance)







Carrie Pipperidge

Julie Jordan

Billy Bigelow

Nettie Fowler

Enoch Snow

Jigger Craigin

  Musical Numbers

1. THE CAROUSEL WALTZ – (Orchestra)

2. “MISTER SNOW” – Sarah Brightman & Barbara Cook

3. “IF I LOVED YOU” – Samuel Ramey & Barbara Cook

4. “JUNE IS BUSTIN’ OUT ALL OVER” Chorus, Sarah Brightman solo: Maureen Forrester

5. MISTER SNOW” reprise’ Girls’ Chorus & Sarah Brightman David Rendall

6. “WHEN THE CHILDREN ARE ASLEEP” David Rendall & Sarah Brightman

1. “BLOW HIGH, BLOW LOW” Men’s Chorus, John Parry & Samuel Ramey

2. SOLILOQUY Samuel Ramey

3. “A REAL NICE CLAMBAKE” Chorus, Maureen Forrester, Barbara Cook, David Rendall & Sarah Brightman


5. “STONECUTTERS CUT IT ON STONE” John Parry David Rendall & Chorus

6. “WHAT’S THE USE OF WOND’RIN’ Barbara Cook

7. NEVER WALK ALONE” Barbara Cook/solo: Maureen Forrester


9. reprise . .Samuel Ramey

10. “YOU’LL NEVER WALK ALONE” Chorus, Samuel Ramey & Barbara Cook

SARAH BRIGHTMAN as Carrie Pipperidge

English-born Sarah Brightman (Carrie) made her West End debut at the age of 13 in the Charles; Strouse-Lee Adams musical I and Albert. She was a; member of the original London cast of the Andrew; Lloyd Webber / T.S. Eliot Cats, then appeared in Gilbert and Sullivan’s The Pirates of Penzance at Drury Lane and sang the role of Valencienne in the New Sadler’s Wells Opera production of Franz Lehar’s The Merry Widow. Miss Brightman was also” a soloist in Lloyd Webber’s Requiem, both in New York and London, and she won raves for her; performance as Christine in Lloyd Webber’s London hit, The Phantom of the Opera.

Surprise – Sarah Brightman may actually be the best Carrie on record. No other Carrie is so precise in musical values, with the manner confidently deployed, the characterization snappy, alert and fresh. Her tone is suitably tangy, bright and open. For once she is entirely within her realm as a character actress instead of the leading lady she feinted to be. Also, most remarkably, British Brightman impersonates a perfect American accent. Brightman really boosts the energy level throughout the recording: listen to her sassy, lightning-quick contribution at the beginning of “June,” where she is bitingly brisk and edgy. This is a Carrie with spunk and personality – no twit, she. Reviewer: Niel Rishoi (Ann Arbor, MI USA  – from



Rose Trewlawny…………………………..Sarah Brightman

Mrs Mossop…………………………………………..Gaye Brown

Mr Ablett…………………………………………………Joe Melia

Tom Wrench………………………………………. Oliver Parker

Imogen Parrot…………………………..Helena Bonham Carter

James Telfer ………………………………………..Peter Bayliss

Ferdinand Gadd …………………………………… Edward Duke

Agustus Colpoys………………………………….Ronnie Stevens

Mrs Telfer……………………………………Margaret Courtenay

Avonia Bunn………………………………………… Kelly Hunter

Arther Gower………………………………………Jason Connery

Sarah ………………………………………………Dorcas Morgan

Clara De Foenix…………………………….. Sonia Forbes Adam

Captain De Foenix ……………………………… Stuart Harrison

Sir Wiliam Gower……………………………….Michael Hordern

 Miss Trafalgar Gowar…………………………….. Janet Henfrey

Charles………………………………………..Maurice Kaufmann

O’Dwyer………………………………………………….Joe Melia

Stage Doorkeeper……………………………Maurice Kaufmann


Trelawny of the ‘Wells’ tells the story of Rose Trelawny, a popular star of melodrama plays at the Barridge Wells Theatre (a thinly disguised Sadler’s Wells Theatre). Rose gives up the stage when she decides to marry her sweetheart, Arthur Gower, in order to please his conservative family. She finds life with Arthur’s grandfather and great-aunt, Sir William and Lady Tralfagar, unbearably dull and they detest her loud and unrestrained personality. Rose runs back to the theatre, abandoning Arthur. But her experience of the ‘real world’ has killed her talent for melodrama, and she cannot recapture the liveliness that had made her a star. Meanwhile, Arthur has secretly run away to become an actor at the Bristol Old Vic.

The problem is solved when Rose encounters Sir William again, and she reawakens his memory of admiring the great actor Edmund Kean as a young man. Sir William offers to help Rose’s friend Tom Wrench, an aspiring playwright who dreams of staging plays in a more realist style than the melodramas that dominate the stage. Tom stages the play with Rose as the star, and her newfound seriousness fits his style perfectly. Tom secretly arranges for Arthur to play the leading male role, and the lovers are reunited on stage.


Relative Values Theatre Programme

Synopsis, Cast & Acts

When the Earl of Marshwood brings his new fiancée from Hollywood into the ancestral home, there are hilarious convulsions in the worlds of Upstairs and  Downstairs alike. Noel Coward’s stylish light comedy was a triumph when he directed his own play during the time of the Festival of Britain. It opened at the Savoy, according to Coward, “to rave notices. All, with the exception of the dear little Daily Mirror, enthusiastic, and wonderful box office”. It ran for over a year, and remains one of Noel Coward’s classic comedies of English manners.   SUSAN HAMPSHIRE plays the Countess of Marshwood, with ALISON FISKE as Moxie, and ANTHONY BATE as the butler Crestwell, EDWARD DUKE as Peter, and, in the role of the inflammatory film-star Miranda SARAH BRIGHTMAN. Directed by Tim Luscombe

—— Cast ——

in order of appearance



Mrs Dora Moxton

Felicity Countess of Marshwood

The Hon Peter Ingleton

Lady Hayling

Nigel Earl of Marshwood

Miranda Frayle

Don Lucas

Anthony Bates

Candida Rundle

Alison Fiske

Susan Hampshire

Crispin Redman

Margaret Courtenay

Paul Rattigan

Sarah Brightman

John Elmes




A famous thriller full of breath-catching moments and nail-biting suspense, Dangerous Obsession leaves a mangled trail of exposé in its wake before the final nerve-jangling denouement.
A man arrives at the front door of an apparently happily married couple – and suddenly their lives are changed as they find themselves at the mercy of a ‘dangerously obsessed’ man…leaving behind couple with shattered faith, broken trust and a marriage that will never heal.

In a Georgian conservatory, Sally Driscoll, waters the plants unaware that a man, John Barrett, is watching her intently through the glass. The man makes his presence known to her. He is not a total stranger, although perhaps her husband has more cause to remember him. He appears to be dangerously obsessed with blaming someone for his wife’s fatal accident. He holds Sally and her husband Mark, captive. As the couple live in fear of being killed, Barrett reveals secrets and conflicting facets of their lives, shattering their marriage by destroying the faith and trust they once had in each other.


SALLY DRISCOLL – Sarah Brightman

MARK DRISCOLL – Richard Heffer

JOHN BARRETT – Peter Birch


The Innocents01


Miss Giddens



Mrs Grose

Peter Quint

Miss Jessel

Sarah Brightman

Catherine Holman

Edward James Crangle

Joyce Fenby

Saul-Justin Wynne

Sally Mortemore

The Innocents is a ghost story set in old country house in the late 19th century in England. The story tells of an impressionable and unworldly young lady, Miss Giddens, who accepts a position as governess to a pair of young orphan children, Flora and Miles, whose closest relative, an uncle, cannot be bothered with them. Miss Giddens becomes convinced that the children are possessed by the perverse spirits of former governess Miss Jessel and her Heathcliff like lover Quint, and realizes that she must fight to save “The Innocents” from the evil within. The play is clever and the ending ambiguous, leaving the audience to contemplate whether the house is really haunted or whether they are only the hallucinations of the tormented mind of the sheltered and sexually repressed Miss Giddens


  The action takes place at Bly, a country house in the England of 1880.

Act One

Scene (i)    An early autumn afternoon

Scene (ii)   Three hours later

Scene (iii)  The Following morning

Scene (iv)  Twilight, the same day.

Scene (v)   The following morning

Act Two

Scene (i)    Evening of the same day

Scene (ii)   The next morning.

Scene (iii)  The same day twilight.



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