Toymakers, Vagabonds and Venice: the life and music of Dudley Glass

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Dudley Glass was an Australian composer who built a career in London with frequent forays back to his homeland. Better known as a pianist and purveyor of light music, he was also a journalist and author and had considerable success writing for children, as PETER PINNE discovers.

Dudley GlassDudley Glass, c.1940. J.K. Moir Collection, State Libary of Victoria, Melbourne, LTAF 1250/150

Dudley jack glass was born on 24 September 1899 in North Adelaide, the only child of Philip Joseph Glass, waterproof garment manufacturer, and his wife Jeannie Glass, née Golda. He was the grandson of Barnett Glass, founder of the Barnett Glass Rubber Company.

Glass attended the Melbourne Church of England Grammar School, and studied composition with Fritz Hart at the Albert Street Conservatorium, East Melbourne, for two terms in 1918. He graduated Melbourne University with a Bachelor of Arts in 1920.

A prolific composer and lyricist since his teens, on 23 May 1925 soprano Elsa Stralia performed his anthem ‘Australia, Land of Ours’ at the Sydney Town Hall which received a standing ovation. Glass was present and he accompanied the soprano on piano when they encored the last verse of the song. It had premiered a few weeks before in Melbourne and was dedicated ‘To the Children—The Builders of Australia.’

In July 1925 he secured the performance of ‘Australia, Land of Ours’ in a pageant marking the visit to Australia of the United States Pacific Fleet. The song was published by the Victorian Education Department as a supplement to their School Paper for use in schools, and many years later on 28 March 1934 was adopted by the NSW Educational Authorities for the same purpose. In 1927 Vocalion released a 78 rpm recording of the anthem recorded at the Aeolian Hall, London, sung by a massed choir with pipe organ.

Later in 1925 Glass traveled to London, via New York, as the Herald and Weekly Times’ musical and dramatic correspondent. His reviews of London theatre and the arts were also carried by the Adelaide Advertiser, and later in the sixties by Everybody’s Weekly and the Irish Times.

Two years later, in 1927 at age 28, Glass joined forces with esteemed book and lyric writer Adrian Ross to compose a musical version of W.J. Locke’s 1906 novel The Beloved Vagabond. The book had previously been adapted for the stage by the author for Herbert Beerbohm Tree and had successfully played Her Majesty’s Theatre, London in 1908, with him opposite Evelyn Millard. Ross’s long list of London and Broadway credits included the English Adaptations of the Viennese operettas, The Merry Widow, Lilac Time, and The Count of Luxembourg, as well as the British musicals, Our Miss Gibbs, The Quaker Girl, and Theodore & Co.

Locke’s romantic tale is set in Paris in the late 1880s and follows Gaston Paragot and his love for his ‘English Princess’, Joanna. When she marries another, he returns to his roving Bohemian ways until he gets a second chance at pursuing her when she is widowed. He romances her again and is drawn back into polite Parisian society but realizes he has lost his zeal for this type of life. When he also realizes his thirst for a Bohemian lifestyle has passed, he decides to settle down to a domestic farm life in Normandy with Blanquette.

Produced by Charlton Mann (Parabond Ltd), it opened at the Duke of York’s Theatre, London, 1 September 1927 (56 performances), with direction by Dion Boucicault, choreography by Carlotta Mossetti, and musical direction by Philip Lewis. The cast featured Frederick Ranolow (Paragot), Lilian Davies (Joanna), Mabel Russell (Blanquette), Norman Macowan (Comte de Vernet), Frank Harvey (Denis Walters), Vera Robson (Marie), Leslie French (Asticot) and W.E. Stephens (Bringuet).

The Illustrated London News said ‘a composer with a neat turn for waltz refrains has been found in Mr Dudley Glass’, whilst The Times thought the music ‘characterless’, The Stage claimed it had ‘well-shaped and rounded melodies’. But The Times did acknowledge that Lilian Davies’ songs ‘appeared to give great pleasure’. The Aberdeen Press and Journal said the book and lyrics are ‘specially captivating’, and ‘all the songs and chorus items are tuneful and gay’. An excerpt from the second-act was broadcast live from the Duke of York’s Theatre on the BBC on 18 October 1927.

Glass and Ross’s score was in the fairly traditional light opera vein with a virile ‘song of the open road’ for the leading man, ‘The Vagabond Way’, a pretty ballad ‘The Lonely Princess’ for Joanna, with ‘You Again’ fulfilling the lovers’ love duet. A comic interlude saw Paragot and chorus render, ‘The Faithful Pig’, whilst ‘A Joyous Band of Brothers’ was a chorus for the Art Students, and ‘We Are The Charming Creatures’ a similar confection for the Models. There was also a Normandy Peasant Dance, Gypsy Dance, Can-Can, and ‘Boheme’ a salute to the Bohemian lifestyle. Ascherberg, Hopwood & Crew Ltd., published a ‘Vocal Score’ and two single sheets, ‘The Vagabond Way’, and ‘The Lonely Princess’.

After 56 performances at the Duke of York’s the production moved to the New Theatre but could only manage another 48 performances for a total run of 104 performances, despite the popularity of Ranalow and Davies. The musical fared much better when it was produced in Australia in 1934.

Entrepreneur and producer F.W. Thring thought The Beloved Vagabond would be an ideal vehicle for Gladys Moncrieff and Robert Chisholm following their acclaim in Collits’ Inn, his first venture into live theatre which had been an unqualified success. Opening at Melbourne’s Princess Theatre, 21 April 1934, The Beloved Vagabond proved to be a worthy successor to Collits’ Inn playing to larger audiences and running longer than it did in London.  

Glass had originally written the role of Joanna with Moncrieff in mind and in fact she was in London when the production was mounted but unable to participate because of her commitments to The Blue Mazurka which she was appearing in at the time.

With Moncrieff as Joanna, Chisholm as Paragot, and George Wallace as Asticott, the cast also including, Byrl Walkley, and Marshall Crosby, with Claude Flemming in the director’s chair, Jennie Brennan as choreographer, and Fred Quintrell as musical director. It was beginning to look like the cast of Collits’ Inn had become Thring’s musical repertory company. The score underwent changes for the Australian production with ‘The Faithful Pig’, ‘Have the Band In’, and ‘We Are Charming Creatures’, dropped, and ‘What Altogether Beautiful Weather’ added. Wallace’s songs, ‘Parley Voo’, and ‘Napolean’ had lyrics by Glass and Jack Mcleod.

Table Talk called it ‘Pleasant, sentimental and tuneful music’, praising Moncrieff as Joanna, ‘a part that suits her far better that others she has had of late’, whilst Chisholm was called ‘first rate’ and ‘imparts to his role that romantic fervour calculated to set female hearts aflutter’. The production played 8 weeks (69 performances) in Melbourne, before moving to Sydney’s Tivoli Theatre, 24 August 1934, where it played another 7 weeks (55 performances). Critical reaction was just as good with the Sydney Morning Herald claiming ‘Miss Moncrieff’s voice has never sounded lovelier’, and ‘Mr. George Wallace has never been funnier’.

The Beloved Vagabond had an afterlife on radio. On the opening night of 21 April 1934 the first act of the musical was broadcast from the Princess Theatre on Melbourne radio 3KZ preceded by a description from the foyer by Norman Banks and also relayed interstate on the National Broadcasting Stations 5DN in Adelaide and 2GB in Sydney. During the Sydney season on the 12 September 1934, Glass accompanied Gwladys Evans and Cyril James on piano in a ‘pot-pourri of melodies’ from The Beloved Vagabond, on 2GB.

On 3 and 5 November 1936 the BBC broadcast a radio production of the musical during their Empire Radio Programme. It was produced by Walter MacLurg, adapted by Glass, with the BBC Chorus and BBC Empire Orchestra (leader Daniel Melsa) conducted by Eric Fogg. Later in 1952 the ABC in Australia produced their own radio version of the musical with Kathleen Goodall and Frank Taylor. It was broadcast on 3AR on 25 May.

In 1936 a British musical film version of W.J. Locke’s novel was released with Maurice Chevalier, Margaret Lockwood and Betty Stockfeld. The musical score was by Darius Milhaud. Although the film does feature some songs by Arthur Wimperis and Richard Heymann there are none from the Glass stage version.

Glass’ next London stage credit after The Beloved Vagabond, was for the revue This and That which opened at the Regent Theatre, King’s Cross, 23 December 1929 (10 performances). Produced by the London Repertory Company, it featured Harry Hemsley, Horace Custins, Bernard Lee, William Dewhurst, Harry Brunning, Jacqueline, and the Victoria Girls amongst others. Music and Lyrics were by Glass, direction by Ellis J. Preston, with musical direction by Neville Ravel. The Times thought it is ‘good enough to justify the short journey to King’s Cross, for any one in search of two hours of concentrated amusement’. They liked the comic Harry Brunning and said he had ‘an individual sense of fun’, Jacqueline, played the piano ‘pleasantly’, and Harry Hemsley, a comedian noted for his vocal impressions of children, for his ‘versatility’. ‘This and That may be classed as a venture which does not aim too high, but never falls into the slough of mediocrity.’

One year later Glass again had a musical treading the boards in London. Working with Adrian Ross on book and lyrics, they produced a musical treatment of Austin Strong’s 1907 play The Toymaker of Nuremburg. Opening at the Kingsway Theatre, 20 December 1930, the musical played twice daily until 24 January 1931 (54 performances).

Strong’s straight version had originally played the Garrick Theatre, New York, in 1907, and later London in 1910.

The comical plot concerns the Toymaker’s eldest son, Adolf, who returns from America just in time to stop his father from emigrating, from David and Greta from being separated, and the family dachshund from being forced to round-up cattle in the US to replenish the family fortunes.

Produced by Denis Heslam and Kenneth Hyde, with direction by Stephen Thomas, and choreography by Leslie French, the set and costume designs were by the renowned designer George Sheringham, whose commissions included redesigning the costumes for the 1929 season of the Gilbert and Sullivan operas staged by the D’Oyly Carte Opera Company.

Frederick Ranalow, who’d starred as Paragot in Glass’ The Beloved Vagabond, was back again to play the Toymaker in this latest trifle. His son Adolf was played by Alan Durai, with Leslie Holland (Handyman), Dewey Gibson (Sentry/Lamplighter), Lawrence Bascombe (Poet), Lewis Shaw (David), Anne Bolt (Greta), Roy Byford (Employer), and Alex Frizell (Wife), amongst a large cast of dancers and children.

The reviews were glowing with Glass and Sheringham’s contribution praised. James Agate in the Sunday Times said it was ‘an attractive entertainment in which the music of Dudley Glass and the scenery of George Sheringham compete for admiration’. He then went on to say it was ‘The Best English light opera for many a long year’. The Observer claimed it was ‘an enchanting tuneful masquerade upon a gaily-painted stage’, whilst The Stage noted that ‘this musical version of an old favourite was received cordially on opening night’.

Five songs: ‘The Toymaker’s Song’, ‘Gingerbread Man’, ‘The Road To Fairyland’, ‘Tick Tock’, and ‘Is It Love?’ were published as an Album of Songs, plus a Piano Selection, by Ascherberg, Hopwood & Crew Ltd.

The Toymaker of Nuremburg was not produced on stage in Australia, but in June 1947 the ABC broadcast a one-hour radio adaptation by Glass on Melbourne radio 3LO. The cast featured Maxwell Cohen (Toymaker), David Allen (Adolf), Bernard Manning (Employer), William Crougey (Friend), Charles Skase (Sergeant), and Katheen Goodall (Greta). Principal acting roles were taken by Walter Pym, Keith Hudson, John D’Arcy, Syd Hollister, Ruby May, and Helen Jacoby. The program was repeated on ABC regional stations 2 September 1947. Later the ‘Overture’ from the musical opened Hector Crawford’s ‘Music For The People’ programme on Sunday, 24 February 1952.

Eldorado was a project that had been kicking around the West End for a couple years in the late twenties and in that time going through eight writers. It was finally produced at Daly’s Theatre, 3 September 1930, starring Desiree Ellinger, Donald Mather, and Oscar Ashe who also handled direction. A Romeo and Juliet story set in Mexico amongst rival feuding families, the musical was spectacularly staged. Several songs by Glass were interpolated into the score after it opened (titles unknown). It played 93 performances in London before touring regionally in 1931.

Frederick Ranalow was back again to star in a third Glass musical in the West End. It was called Colour Blind and it opened at the Duke of York’s Theatre, 15 October 1930, (122 performances). Working with Fredrick Jackson who wrote the libretto, Glass provided a musical score that ran less than one-hour and featured Ranalow as Prospero, David Leslie (Dr. Nichols), Douglas [L.] Webster (Dobson), Margery Gordon (Pamela), and Erica Leslie (Marion), with Moray MacKay as musical director. The plot had a man’s colour blindness resulting in him attempting to kidnap the wrong woman. The Era said ‘Glass gives us a miniature musical score which contains a ballad, a waltz song of Viennese extraction, and a dance number in the brisk modern vein’. They also said ‘Mr. Frederick Ranalow sings magnificently and acts with a sense of comedy’.

In early 1934 just prior to the opening of The Beloved Vagabond, Glass was asked by producer F.W. Thring to write two songs for Gladys Moncrieff to strengthen her role in his recent London acquisition, the operetta, Jolly Roger which was about to open at Sydney’s Criterion Theatre, 23 February 1934. The songs were ‘Love is Calling’, and Ballad of the Western Sea’. Further interpolations into the score included an ‘Opening Ballet’ and a third act ‘Blue Ballet’ both composed by Glass and a second act ‘Pirate Ballet’, for which Glass arranged the music.

The show which was themed around pirates and their derring-do, was set in Jamaica, had book and lyrics by Scobie Mackenzie and V.C. Clinton-Badderley, and music by Walter Leigh, and had played the Savoy Theatre, London, from 1 March 1933 (199 performances). The cast included Gavin Gordon (Sir Roderick Vernon), Victor Orsini (Jolly Roger), George Robey (Bold Ben Blister), and Muriel Angelus (Amelia).

In Australia Gladys Moncrieff (Amelia) headed the cast which also featured Claude Flemming (Sir Roderick Vernon), Allan Priora (Jolly Roger), and George Wallace (Bold Ben Blister). The critics enthused saying Moncrieff’s role ‘gives her ample opportunity for the display of the strength and delicious purity of her voice … She was at her best last night—which is saying something—in ‘Ballad of the Western Sea’, one of Glass’s numbers. The musical played the Princess Theatre, Melbourne, from 3 November 1934 where the Glass numbers were noticed once again, ‘Miss Moncrieff’s songs are effective, notably those which Mr. Glass wrote for her’ (The Argus).

During a subsequent return season at the Criterion Theatre in Sydney, Jolly Roger was broadcast ‘live’ by radio 2FC on the evening of 8 March 1935, and on relay to other National Broadcasting Stations around Australia, including 2NC (Newcastle), 2CO (Canberra), 3LO (Melbourne), 5CL (Adelaide), 5CK (Crystal Brook, S.A.), 4QC (Brisbane), 4RK (Rockhampton) and 6WF (Perth). George Wallace was no longer with the show and his role (Bold Ben Blister) was taken by Alfred Frith.

A Night In Venice opened at the Cambridge Theatre, London, 24 May 1944. Although the work had been popular on the continent since 1883, this production was its British premiere. The music was by Johann Strauss ll, the libretto by F. Zell and Richard Genee, and the English adaptation by Lesley Storm, with lyrics by Glass. Directed by Leontine Sagan, with choreography by Freddie Carpenter, it starred Henry Wendon, Dennis Noble, Daria Bayan, Josephine Yorke, and Jerry Verno, in a farcical, romantic story that involved several cases of mistaken identity. The Times thought the ‘cheerfulness and sentiment’ in the plot only need a ‘little more stirring to come up as light as a soufflé’. Because of wartime air raids the production was withdrawn on 8 July. It was revived later in the year at the Phoenix Theatre, where it opened 28 November 1944. The BBC broadcast a live excerpt from the operetta on 15 December 1944.

The last musical that Glass wrote was the operetta, Drake of England, produced by the ABC in 1953 as part of the festivities to celebrate the coronation of Queen Elizabeth II. The world premiere took place on 3 June 1953. A dramatization of Louis N. Parker’s Elizabethan pageant play Drake, it recalled some of the inspiring events of the reign of the first Elizabeth and recreated some of the figures of the period—Queen Elizabeth, Sir Francis Drake, and Lord Burghley. As a romantic background to the days of the Armada and its defeat under Drake, there was a tender love story between Drake and Lady Elizabeth Sydneham.

The cast was headed by Alan Coad (Drake), Sybil Stroud (Queen Elizabeth I), Violet Harper (Lady Elizabeth Sydenham), Colin Crane (Tom Moone, Devon seaman and the right-hand man of Drake), Joy Youlden (Mother Moone (wife of Tom Moone, nurse to Lady Elizabeth), plus Mary Disney, Kenrick Hudson, Bettine Kauffman, and Douglas Kelly. Adaptation for radio was by Phil Darbyshire, direction was by Norman Shepherd, with musical direction by Frank Thorne conducting the ABC augmented singers and dance band.

Songs included: ‘Spinning Chorus’, ‘Drake’s Hymn’, ‘Thank You, Mr. Drake’, ‘Drake’s Drum’, ‘Sailorman’, ‘Heart Of England’, ‘Northern Star’, ‘Rise Sir Francis’, and ‘Devon O’Mine’.

Drake of England was repeated regionally on 17 January 1954, the same year that the BBC broadcast the ABC recording in its general overseas service, 21 April 1954.

‘This opera is naturally a national institution in Denmark but there is no reason to suppose that it will not travel now than an excellent English translation has been made’ said Robert Simpson reviewing the BBC’s production of Masquerade on Radio 3, Sunday 19 March 1972. Glass had provided an English version of the libretto for the comic opera by Carl Nielsen originally written in 1906.

Based on a comedy by Ludvig Holberg, the original libretto was by Vilhelm Andersen.

Set in spring 1723 in Copenhagen, the plot revolves around Leander and Leonora, two young people who meet fortuitously at a masquerade ball, and swear undying love for each other and exchange rings. Complications ensue when Leander is reminded he is betrothed to another until all is resolved in the last act to everyone’s satisfaction.

The BBC radio production featured, Norman Lumsden as the Professor, with a chorus of students, officers and young girls. Ernest Warburton was the producer, Bryden Thomson conducted the BBC Northern Symphony, with Stephen Wilkenson as chorus-master of the BBC Northern Singers.

Named one of Denmark’s twelve greatest musical works, it had enjoyed lasting success in that country, attributable to its many verse-repeating songs, its dances and its underlying ‘old Copenhagen’ atmosphere. Its first United States performance was by the St. Paul Opera in Minnesota, and its first New York performance by the Bronx Opera Company in 1983, both with Glass’s libretto.

On 29 March 1979 Glass was staying at the Stefan Hotel, Oslo, Norway, when he wrote to his cousin Nancy and told her of a possible production in Oslo of his opera Gerda: An Opera of the North, based on a poem by Madeline Mason. After working on it for fifty years it was finally finished, orchestration and all. The following year he received a letter from the Oslo Music Society with a program enclosed of a concert where excerpts of his opera had been presented. The first time an excerpt from the opera had been heard was at a recital in the Melbourne Town Hall, 4 June 1949, when dramatic soprano Marjorie Lawrence had sung ‘The Viking’s Bride’ (Huldra’s Aria). The opera has never been staged in its entirety.

In 1932 and 1933 Glass wrote music for two favourite children’s books, Songs From the Bad Child’s Book of Beasts by Hilaire Belloc, and Nonsense Songs by Edward Lear. Anona Winn performed them during the BBCs ‘The Children’s Hour’, 18 November 1932 and 17 August 1934, with Glass accompanying her on piano. In the same period he also wrote two children’s books, Round The World With the Red Head Twins, about the adventures that befell a brother and sister who began by meeting the Regent in Regents Park, which was illustrated by George Sheringham, who had designed The Toymaker of Nuremburg, and The Spanish Goldfish, in which a boy (Lorel) and a girl (Schrimp) have a holiday at Land’s End that includes a voyage round the world and a visit to Father Neptune and Davy Jones.

On 26 January 1937 Glass was master of ceremonies for a special BBC radio broadcast by four Australian celebrities, opera singer Evelyn Scotney, musical comedy star Dorothy Brunton, vaudevillian Albert Whelan, singer Albert McEachern. Scotney sang ‘Little House of Dreams’ from The Beloved Vagabond, and also sang with McEachern Glass’s anthem ‘Australia, Land of Ours’ which ended the programme. A recording of McEachern’s performance on the program was privately recorded and later released by EMI on a 3 LP box-set compilation album ‘Malcom McEachern—Basso Supreme’ in 1983.

Working with the renowned lyricist Clifford Grey, Glass composed the popular wartime song ‘The Empire Is Marching’ (1940), but his most recognizable tune is the jaunty ‘Will-O’The-Wisp’ which was used by BBC radio as a theme during ‘In Town Tonight’ for four years in the 1940s. The piece was originally written in 1928 and included on music publisher Chappell’s series of ‘Mood Music’ discs recorded by the Queens Hall Light Orchestra in 1943.

Glass also wrote The Songs of Peter Rabbit based on Beatrix Potter’s The Tale of Peter Rabbit, and a play version Peter Rabbit: A Musical Play For Children. Both were published separately. They were composed in 1951 and later recorded for the Canadian Broadcasting Company by Tracey Dahl in 2002.

Glass wrote and scored two documentary films during his career. The first was called Song of Australia which was produced by the Commonwealth Government Cinema and Photographic Branch in 1936. It looked at the early days of the gold rush and pastoral pioneering to the then present day. The second was a film of Tasmania, which embraced Hobart in 1952.

In 1937 Glass published two books about his extensive travel, The Book About the British Empire—With Two Hundred and Sixteen Illustrations (currently selling on ebay for US$850.00), and Australian Fantasy, a photographic essay capturing the essence of Australia.

Broadcasting and lecturing commitments became an integral part of his career, as did piano recitals. During the Second World War he gave more than 1000 performances in Britain as a pianist and speaker for the Army Education Corps. After the war he continually devoted his time to similar activities, making lecture tours of the United States and of Britain for the London County Council, the Imperial Institute, the Royal Empire Society, the Royal Academy of Music, and the Royal Society of Arts. He also regularly appeared on BBC and ABC radio.

Glass never married. He died at Lambeth, London, 29 November 1981 after being struck by a bus near the British Library, which he visited almost daily.

Fiercely Australian, he was an unofficial cultural ambassador throughout his life. This passion did not translate into his theatre work which had a distinctive European base. He did however write one Australian work, a musical version of Rolf Boldrewood’s classic bushranger novel Robbery Under Arms. Working with Frank Harvey, who wrote the libretto, in 1934 F.W. Thring expressed interest in producing it but died before the project could come to fruition. It remains un-produced.

Today Dudley Glass is barely remembered, if at all, not helped by the fact that very few of his compositions were recorded. The most recent reissue of his music was of his most popular and most remembered tune, ‘Will-O’-The Wisp’. It can be found on BBC Radio & TV Themes released in 2015. It gives a good indication of Glass’s style of music, a style that favoured the whimsical, the cheeky and the impudent. Although he wrote opera, he was more at home in the world of operetta and writing ditties for children as his canon of work reveals.

 

 Listen to ‘Will-O’-The-Wisp’ - Dudley Glass on YouTube:

 

 

Dudley Glass Discography

Australia, Land of Ours:

*Massed Choir with Pipe Organ, recorded Aeolian Hall, London, Vocalion K05264 (78rpm)

*Malcolm McEachern – Vocal Quartet & Orchestra MSS Recording Company, London, at their receiving station, Richmond, from a BBC Australia Day Broadcast 26/1/1937 EMI MM-3 (1982)

Empire is Marching, The:

*Ivan Rixon Singers Regal G24370 (78rpm)

*Dennis Noble with Male Quartet and the Band of the Coldstream Guards conducted by Captain J.C. Windram Recorded Abbey Road 21 August 1940 HMV B9080

Will-O’-The-Wisp:

*Charles Williams and his Concert Orchestra Columbia DB2764 (78rpm) released 1950/CD EMI 80133 Released 1993

*Queen’s Hall Light Orchestra conducted by Sidney Torch Chappell Records (1943)/BBC Radio & TV Themes 1940s and 50s UPPM Records (2015)/Archive Music Revisited AMR054

Songs of Peter Rabbit:

*Rhymes, Reveries, Rimes – Tracey Dahl, Shannon Hiebert, Erica Goodman CBD1163 (2002)

Dudley Glass Publication—Music:

Ascherberg, Hopwood & Crew/Chappell & Co Ltd (1927) The Beloved Vagabond Vocal Score, The Vagabond Way’, ‘The Lonely Princess’

Ascherberg, Hopwood & Crew (1930) The Toymaker of Nuremburg ‘Album of Songs’ (‘The Toymaker’s Song’, ‘Gingerbread Man’, ‘The Road To Fairyland’, ‘Tick Tock’, ‘Is It Love?’), ‘Pianoforte Selection’

Duckworth, Ascherberg, Hopwood & Crew (1932) ‘Songs from the Bad Child’s Book of Beasts’ Verses by Hillaire Belloc, Pictures by BTB

Frederick Warne & Co Ltd (1982) ‘Songs of Peter Rabbit’

Frederick Warne & Co Ltd (1933) ‘Edward Lear’s Nonsense Songs’ 

Chappell & Co. Ltd ‘Australia, Land of Ours’ (1925), ‘Will-O’-The-Wisp’ (Danse Humoresque) (1928), ‘The Empire Is Marching’ (1940), ‘Will-O’-The-Wisp’ (1943)

Murdoch, Murdoch & Co (UK) ‘An Empire Cruise’ (1928), ‘In A Golden Boat’ (1925)

Shott & Co Ltd (UK) ‘From A Gipsy Caravan’ (1925), ‘In Realms Of Dance’ (1925)

Enoch & Sons (UK) ‘A Little Ghost Of Summertime’ (1927)

Elkin & Co (UK) ‘Little House Of Dreams’ (1936)

J.B. Cramer (UK) ‘My Country Love’ (1925)

Allan & Co ‘Over Here’ (From ‘Over There’)

Published in the UK but Publisher unknown:

‘A Carol of Bethlehem’ (1925), ‘The Land of Gold’ (1925), ‘Melody of Memories’ (1925), ‘Pan In Piccadilly’ (1937), ‘The Twilight People’ (1924), ‘Nocturne’, ‘Churches’, ‘Wicked Chinaman & Other Tales’

Dudley Glass Publication – Books:

Methuen Round The World With The Red Head Twins (1933)

Frederick Warne The Spanish Goldfish (1934), The Book About The British Empire (1937)

Hutchinson & Co Australian Fantasy (1937)

 Webb & Vary (1915) Writing For the Press

 

Special thanks to Rob Morrison for his contribution to this article.

Acknowledgements: Australian Dictionary of Biography, Volume 17, (MUP), 2007 (Peter Campbell), Australian Musicals—From The Beginning (Allen & Unwin) Peter Pinne & Peter Wyllie Johnston, www.overthefoolights.co.uk, The ABC Weekly, Aberdeen Press and Journal, The Argus, The Era, Illustrated London News, The Observer, The Radio Times, The Stage, Sydney Morning Herald, Sunday Times, Table Talk, The Times, Trove, Wikipedia, The Wireless Weekly, and Frank Van Straten

Read 275 times Last modified on Thursday, 17 September 2020 11:38
Peter Pinne

Peter Pinne's musical theatre career reached a peak in 1995 when his and his longtime collaborator, Don Battye's musical Prisoner – Cell Block H The Musical opened a season at the Queen's Theatre, London and became a cult hit subsequently touring the UK in '96 and '97.

Prior to that he and Battye had written many musicals produced in Australia that included CarolineA Bunch of Ratbags, Red White & Boogie, and Sweet Fanny Adams. Their musicals for children, The Emperor's New Clothes, The Little Tin Soldier, The Shoemaker & The Elves, Jack & The Beanstalk, Beauty & The Beast, Rumpelstiltskin and Billabong Bill have become a staple of the children's theatre scene since they were originally produced at the Alexander Theatre, Melbourne.

Peter Pinne's other musical collaborations include; A Bit O' Petticoat with Ray Kolle, Pyjamas In Paradise with John-Michael Howson, and Mavis Bramston – Reloaded and Suddenly Single with Paul Dellit.

He has also had a high profile career in television where he worked for the Grundy Organization on such iconic shows as Neighbours, Prisoner, Sons and Daughters, The Restless Years, The Young Doctors, and Secret Valley amongst others. He has also worked in the U.S., Latin America and Indonesia producing television drama, game shows and sitcoms for Pearson Television and Fremantlemedia.

From 1999 until the end of 2007 Mr Pinne was the owner and president of Bayview Recording Company, Los Angeles, USA, a boutique label who newly recorded and reissued CDs aimed at the show music market. These included over twenty recordings from New York Town Hall's concert series Broadway By The Year.

Apart from scripting television drama, he also wrote, with Battye, the theme song for the series Sons and Daughters. Other music credits include the score for the award winning movie A City's Child. He is the author of the discography Australian Performers, Australian Performances, and currently writes for On Stage and Stage Whispers.

In late 2019 he released The Australian Musical: from the beginning, a definitive history of Australian musical theatre, co-authored with Peter Wyllie Johnston, and published by Allen & Unwin in association with the Queensland Performing Arts Centre.