ROBERT WILLIAMS BUCHANAN (1841 - 1901)

Tulip Time (1935)

Tulip Time
by Worton David, Alfred Parker, Colin Wark and Bruce Sievier (based on The Strange Adventures of Miss Brown by Robert Buchanan and Charles Marlowe (Harriett Jay)).
London: Alhambra Theatre. 14 August, 1935. (425 performances).

The musical score of Tulip Time was published by Francis, Day & Hunter Ltd. in 1938 (124 pp.) and the libretto was also published by Samuel French in 1939 (79pp).

An earlier version of Tulip Time had been tried out at several venues on the south coast (including Brighton, Eastbourne and Folkestone) in August, 1933 under the title, Sweet Seventeen.

[From the Sussex Express (28 July, 1933 - p.8).]

[From The Dover Express and East Kent News (4 August, 1933 - p.6).]

[From the Hastings and St. Leonards Observer (5 August, 1933 - p.8).]

Hastings and St. Leonards Observer (5 August, 1933 - p.9)

     DEVONSHIRE PARK THEATRE.—The delightful musical play, “Sweet Seventeen,” will be presented at Devonshire Park Theatre, Eastbourne, on Monday, Tuesday and Wednesday, by a strong cast, including Jean Colin, Muriel Aked, Basil Howes, and Roy Byford. The attraction during the latter half of the week will be the famous musical comedy, “No, No, Nanette,” the show that sent London wild with delight. Patrons are asked to note that the evening performances at this theatre, in response to many requests, now begin at 8.15, and there are matinees on Wednesday and Saturday at the usual hour of 2.30.

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Folkestone Herald (5 August, 1933 - p.4)

. . .

“Sweet Seventeen.”

     From Thursday next, Pleasure Gardens Theatre audiences will have an opportunity of seeing the prior-to-London production of a musical extravaganza presented by Miss Anne Croft, the well-known musical comedy actress.
     Apart from her stage activities, her flair for casting is recognised all over the theatrical world, and her selection of Jean Colin for the leading part in this musical play of schoolgirl life has been unanimously approved in Brighton where the premiere took place.
     Jean Colin is ably supported by Jenny Dean, and both these young actresses have made tremendous “hits” in revivals of old-time favourites, such as “The Belle of New York,” “San Toy,” and “Miss Hook of Holland” at Daly’s Theatre, London. Muriel Aked, the well-known screen and stage star, needs no introduction to discerning playgoers, and in “Sweet Seventeen” she takes the part of a schoolmarm with technique and point. The masculine side of the cast is upheld by Basil Howes, Leslie Laurier (son of Jay Laurier), and Roy Byford. Most of the lyrics have been written by Bruce Sievier of “Blase” fame.
     Performances will be nightly at 8 o’clock, with a matinee on Saturday at 2.30 p.m.

(p.7)

“Sweet Seventeen.”
     Folkestone will have a special interest in “Sweet Seventeen,” when the play comes to the Pleasure Gardens Theatre next week.
     Bruce Sievier, who wrote the lyrics of the play, was before the War a resident of Folkestone for many years.
     Many people in the West End will recall his mother, Lady Mabel Sievier, who was also well known to pre-war Folkestone. Mr. Sievier was a prominent figure in amateur theatricals in the town in those days.
     Since then he has gone on to higher things, and in addition to the lyrics for “Sweet Seventeen,” he has also written lyrics for “Bow Bells” and other London productions.

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Folkestone Herald (12 August, 1933 - p.11)

Pleasure Gardens Theatre

“Sweet Seventeen.”
     “Sweet Seventeen,” a new musical extravaganza, opened a three days’ engagement at the Pleasure Gardens Theatre on Thursday evening.
     “Sweet Seventeen” has been chosen for London presentation shortly, and its future should be a happy one for those sponsoring the show, Anne Croft, Ltd., a name which immediately recalls Miss Croft’s own triumphs in musical productions.
     Collectively and individually, it is a delightful piece of stagecraft, for there is a very satisfying blend of lilting music, catchy songs and fun.
     Miss Croft has chosen a company which includes many well-known names in the theatre world. There are, for instance, Miss Jean Colin, one of the West End’s most charming and delightful players; Miss Muriel Aked, an actress with a distinguished stage and screen career; Miss Jenny Dean, a clever comedienne; Mr. Basil Howes; Mr. Leslie Laurier, a son of the Jay Laurier, and Mr. Roy Byford.
     The story is set in Holland, and the chief events happen in a young ladies’ finishing school, into which two young men in love “gate crash” in order to see their loved ones. Here is a situation not new but nearly always a great laughter provoker.
     “Sweet Seventeen” will be played again to-day (Saturday), at 2.30 and 8 o’clock, and a visit to the Theatre will assure you of three happy hours.

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The Sunderland Echo and Shipping Gazette (12 August, 1933 - p.7)

     Among the work that is going on in British studios at the moment, I notice that Muriel Aked has a gem of a character part in “Friday the 13th,” which is being completed at the Gainsborough Studios. Emlyn Williams and Belle Chrystall are also playing in it.
     There is no one quite like Miss Aked, whose clipped, cut and concise speech is a treat to hear.
     She is one of the few actresses who divide their allegiance between the stage and the screen and never deserts one or the other for a great length of time.
     After her latest film is finished, she will rehearse her part in “Sweet Seventeen,” which is to go on at the Winter Garden Theatre after a short provincial tour.
     In this play Miss Aked has the part of a stern school mistress.
     It is well known that she carefully considers every role that she is asked to play before accepting it, and has never appeared in a film or a play—no matter how remunerative—if she does not feel that it is suitable for her particular style.
     At the very start of her career, when as a young, ambitious actress she received her first chance to appear in London, she rejected the leading part that was offered her, asking instead for a microscopic part, which she considered offered greater possibilities for her.

[Note: If the 1933 version of Friday the 13th has piqued your interest the film is available on Free-Classic-Movies.com.]

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The Hull Daily Mail (24 August, 1933 - p.7)

Anne Croft
Making Progress

OUR fellow townswoman, Anne Croft, evidently sees a future in the sage. The elder of her two sons, age 16—gracious how time passes—has been appointed her manager. She herself is playing the lead in her own company at twice-nightly performances of “The Chocolate Soldier” and in her “leisure” moments attending rehearsals of her new play which was to have been called “Sweet Seventeen” but is now named “The Girls of Vanderloo.”
     This hard work, she says she is doing for the sake of her two sons and “because she believes in the theatre business and wants to give her boys a chance.” She also wants to give as much employment to the profession as possible.
     As it is she is paying 90 people each week, including both her companies. She believes in good clean entertainment at reasonable prices. So do all of us. She will receive the same warm welcome she always inspires when she comes to her home town. Let it be soon.

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The Yorkshire Evening Post (2 September, 1933 - p.5)

Anne Croft Gets Busy.
     Anne Croft, who now appears well established as a theatrical proprietress, tells me she will be very busy shortly with the production of a new piece, to be called “The Girls of Vanderloo.” Jean Colin, lately touring in “La Poupee,” will be the leading lady. The show has recently had a successful preliminary trial but under the title, “Sweet Seventeen.”

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The Stage (3 January, 1935 - p.9)

PROVINCIAL PRODUCTION

“TULIP TIME.”

     On December 26, 1934, at the Alexandra, Hull, Anne Croft, in conjunction with Ray Turner-Marshall, Ltd., produced a musical comedy, in three acts and six scenes, founded on “The Strange Adventures of Miss Brown,” by Robert Buchanan and Charles Marlowe, entitled:—

“Tulip Time.”

Angela Brightwell              . . . . . . . . . . . . Jean Copra
Hazel Pears                        . . . . . . . . . . . . Betty Bascombe
Miss Snaps                         . . . . . . . . . . . . Kate Bean
Jepson                                 . . . . . . . . . . . . Max Adrian
Ft.-Lieut. Carl Vincent        . . . . . . . . . . . . Peter Croft
Vernon Sackville Buckfastleigh Bellair     Leslie Laurier
Hope                                     . . . . . . . . . . . . Patricia Denny
Miss Gaudersluis               . . . . . . . . . . . . Joan Fred emney
Mr, Hibbertson                   . . . . . . . . . . . . Pilton Wilson
Postman                              . . . . . . . . . . . . Jack Leopold
Merceline                            . . . . . . . . . . . . Dorothy Bowman
Millicent                            . . . . . . . . . . . .  Suzanne Dodsworth
Clara                                  . . . . . . . . . . . . Joy Fayre
Violet                                 . . . . . . . . . . . . Marjorie Thompson
Midge                                . . . . . . . . . . . . Marjorie Bordon
Julie                                    . . . . . . . . . . . . Marylyn Waite
Policeman                          . . . . . . . . . . . . Patrick Ross
Naryskinsky                      . . . . . . . . . . . . V. Suteroff
Varel Naryskinsky            . . . . . . . . . . . . Marylyn Waite

     In producing “Tulip Time” in her home city, Miss Croft has realised one of her ambitions, and has, incidentally, been able to introduce to local theatregoers her son Peter Croft, who is yet in his teens.
     The story of “Tulip Time” concerns a young airman’s love affair with a ward in chancery, who is still a student at the Vanderleur Academy. After running away from the school, Angela Brightwell and her friend, Hazel Pears, are traced to the home of Ft.-Lieut.Carl Vincent by the Principal of the Academy just as the young couple are about to leave for the marriage ceremony. Being confronted, Carl’s friend, the Hon. Vernon Sackville Buckfastleigh Bellair (popularly known as Piggy), endeavours to come to the rescue, with the assistance of the butler, Jepson, and the maid, Hope. But although the young couple succeed in escaping and getting married, Angela and Hazel are promptly taken back to school by the Principal on the instructions of Angela’s guardian, who reports that under her father’s will she is not to be allowed to get married under the age of twenty-one. Otherwise she forfeits some £8,000, and the young man will be proceeded against at law. This awkward position at first proves a difficult proposition to Carl, but, in conjunction with Piggy and Jepson, they scheme to get into the school, where Jepson, disguised as the “mother,” takes “her” two “daughters,” Carl and Piggy, and successfully gets them admitted to the Academy as new girls. In this way Carl is again brought into touch with his young bride, and Piggy, who has by now fallen in love with her friend Hazel, plans the escape. The subsequent difficulties encountered are many, and lead to some amusing situations, particularly when the principal refuses to allow the two new girls, being sisters, to share sleeping quarters. In the meantime Angela’s guardian has been informed about the whole business by the maid, Hope, and in the middle of the night goes to the Academy and gets the Principal out of bed just as Angela and Carl succeed in escaping in a waiting aeroplane.
     The principal parts are cleverly undertaken. Peter Croft as Flt.-Lieut. Carl Vincent displays skill, and possesses a pleasing voice, whilst Jean Copra is a charming and graceful Angela. Her singing and dancing are a pleasing feature. Leslie Laurier as Piggy is amusing throughout, and Betty Bascombe does fine work as Hazel. Max Adrian is a jovial butler, whose style is well fitted to the part, while Joan Fred Emney is a droll principal of the Academy. Kate Bean does well as the Mistress, Miss Snaps. Patricia Denny is a capable Maid, and Pilton Wilson is successful as the guardian, Mr. Hibbertson.
     The dancing of the students, drawn from local artists, is particularly effective, and reflects great credit on Freddie Carpenter, who has produced the ensembles. The music is tuneful, and contains several excellent numbers, of which the “Song of the Vanderleur School,” “I like you,” “All girls together,” “Drink to love,” “Two of everything” are the most popular. Percival Mackey’s orchestra, under the direction of John Borelli, a to the success achieved.
     The general manager for the company is William Evans. “Tulip Time” is to run about three weeks at Hull, and may be taken to London.

[Programme for Tulip Time at the Alhambra Theatre, London, 12th October, 1935.]

The Stage (18 July, 1935 - p.8)

“Tulip Time.”
     During the first week of August Anne Croft will present at the Alhambra, by arrangement with Sir Oswald Stoll, a musical comedy entitled, “Tulip Time,” which she originally produced in the provinces. The play is based on the old farce entitled “The Strange Adventures of Miss Brown,” by Robert Buchanan and Charles Marlowe (Harriett Jay). This was originally produced at the Vaudeville in 1895 and revived in 1901 at the Court. For musical purposes it has been adapted by Worton David and Alfred Parker, with a score by Colin Wark. The lyrics are by Bruce Sievier and additional music and lyrics by Hubert W. David. Miss Croft will not be appearing in it herself, but is jointly producing the play with Stephen Thomas. In the cast, which is practically completed, will be Jean Colin, Bernard Clifton, Betty Huntley Wright, Wendy Toye, Steve Geray, George Gee, Eva Grossmith, and Joan Fred Emney. The dances will be arranged under the direction of Buddy Bradley. “Tulip Time” is to be produced twice each evening at the Alhambra, at 6.15 and 9 o’clock, and there will also be two matinées during the week.

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The Times (15 August, 1935 - p.8)

THE ALHAMBRA.

“TULIP TIME”

     An adaptation by WORTON DAVID and ALFRED PARKER of a play by ROBERT BUCHANAN and CHARLES MARLOWE. Music by COLIN WARK.

     The State of Vanderleue, in which the scene is laid, has, though itself imaginary, a certain variable affinity with Holland—a canal, for example, that enables those who are in maritime mood to enter by barge, an abundance of windmills chiefly poised on mountains that rise in abundant purple from the dykes, and, of course, tulips. Not natural tulips, alas, but female and choral tulips, lavishly limelit, and so fussy, so mixed, so messy in their imitation of that sculptural flower that the ballet in which they are engaged is more like an ice-cream vendor’s dream of a mixed drink than any bed of tulips within our fevered recollection.
     In this décor the humour rages and an assembly of tap-dancing policemen beat their agile feet. Two men (Mr. Bernard Clifton and Mr. Steve Geray) dress up as young girls, and make their way into a girls’ school, conducting themselves there with a propriety assured to nervous devotees of Byron by a marriage in the first act. Miss Jean Colin prettily decorates the heroine’s romance; Mr. George Gee sings songs and tells nursery stories with what spirit a man may in affliction; Miss Ena Grossmith, Miss Joan Fred Emney, and Miss Sydney Fairbrother do their best, and the brass in the band is brazen. That the entertainment may please those for whom it is intended is suggested by the applause, and must be recorded; but this is no consolation to those of us who, as each joke thuds upon us, are tempted to cry out: “But surely this is very bad, even in its own kind!”

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The Observer (18 August, 1935 - p.11)

The Week’s Theatres.
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Alhambra.

“TULIP TIME.”

An adaptation by Worton David and Alfred Parker of a play by
Robert Buchanan and Charles Marlowe. Music by Colin Wark.
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     The head-mistress of the academy for young ladies, in whose dormitories the heart of this hullaballoo raged, confessed that she hardly knew whether her establishment was a girls’ school or a night club. We shared her uncertainty. But when tulip time is delayed until August, anything may happen in such a school, from flying pigs to strange bedfellows. They happened here.
     The tulip fields on which the curtain joyfully rose were certainly florid. Hills peeped o’er hills, with windmills dutifully thick upon them; and the middle distance of this imaginary State of Vanderleue was as unlike sober Holland as musical comedy scene-painters could make it. But in such entertainment, only pedants would desire topographical, ethnological and other local niceties.
     Picturesquely speaking, the prettiest notes, I thought, were those struck by the little scarlet jacket in which Miss Sydney Fairbrother so tactfully concealed the fact that her part was a thin one, and the poses of Miss Wendy Toye and her cavalier, Mr. Frederic Franklin, in a ballet scena that defies kind description. These rare gestures to beauty acknowledged, one may approach the major issues of an entertainment that was out above all to amuse, and at moments heartily succeeded.
     The plot achieved its most shattering stroke when Messrs. George Gee, Bernard Clifton, and Steve Geray—three ill- assorted members of a flying mess—sought escape from a matrimonial mess via the petticoats and mature and nubile simpers of a matron and her two daughters. Their arrival at the academy, the enrolment of the “girls,” and the havoc they caused there may be taken for granted. It is difficult to say which was the more absurd, Mr. Gee’s sophisticated chic, as the mother, or Mr. Geray’s cleverly assumed Fifth Form gaucherie. More certain were the uproar that ensued when the two new “girls” were bedded down for the night, and the valiant efforts of the entourage to skate over the thin ice of thawing farce without falling in.
     A tap-dancing, ditty-abetting chorus of schoolgirl-cooks and aeronaut-policemen punctuated the narrative disorder with dutiful vigour, or ran about among us, up and down the Alhambra aisles, band-provoked and spot-light conducted. Miss Jean Colin steadied the heroine’s solos, and Miss Ena Grossmith reminded us of what a good clown she can be in happier circumstances.
     The show has noise vigour, too much colour, and the rough kind of seasonable fun this large popular house enjoys. It makes no advance in over-explored territory, but marks time there with dust-raising confidence. The music seemed reminiscent, the dialogue subservient to the patter, and the patter at the mercy of the experienced comedians who did it justice. A full house enjoyed it all thoroughly.

                                                                                                                                                             H.H.

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The Stage (22 August, 1935 - p.10)

LONDON THEATRES.

THE ALHAMBRA.

“TULIP TIME.”

     On Wednesday evening, August 14, 1935, was produced here, for the first time in London, a comedy with music in two acts and eight scenes, re-adapted by Worton David and Alfred Parker from the play “The Strange Adventures of Miss Brown,” by Robert Buchanan and Charles Marlowe, with lyrics by Bruce Sievier, music by Colin Wark, additional music and lyrics by Hubert W. David, and dances and ensembles by Buddy Bradley, entitled:—

“Tulip Time.”

Angela Brightwell                . . . . . . . . . . . . . . . . . . Jean Colin
Hazel Pears                          . . . . . . . . . . . . . . . . . . Betty Baskcomb
Miss Schnapps                      . . . . . . . . . . . . . . . . . . Sydney Fairbrother
Jepson                                   . . . . . . . . . . . . . . . . . . George Gee
Eric                                       . . . . . . . . . . . . . . . . . . John Fitzroyd
Geoffrey                               . . . . . . . . . . . . . . . . . . Richard Rogers
Carl Vincent                         . . . . . . . . . . . . . . . . . . Bernard Clifton
Baron Tsctscree Tsctscree Edomaire (“Piggy”)     Steve Geray
Hope                                     . . . . . . . . . . . . . . . . . . Ena Grossmith
Miss Gandersluis                 . . . . . . . . . . . . . . . . . . Joan Fred Emney
Mr. Hibbertson                     . . . . . . . . . . . . . . . . . . Pilton Wilson
Midge                                    . . . . . . . . . . . . . . . . . . Miki Gordon
Mirabelle                              . . . . . . . . . . . . . . . . . . Marion Gerth
Sally                                      . . . . . . . . . . . . . . . . . . Sally Stewart
Anne                                     . . . . . . . . . . . . . . . . . . Anne Bolt
Ruby                                     . . . . . . . . . . . . . . . . . . Ruby Mouloe
Daphne                                 . . . . . . . . . . . . . . . . . . Daphne Raglan
Jean                                       . . . . . . . . . . . . . . . . . . Jean Capra
Rita                                       . . . . . . . . . . . . . . . . . . Rita Helsham
Doris                                      . . . . . . . . . . . . . . . . . . Doris Long
Lilian                                     . . . . . . . . . . . . . . . . . . Lilian Frances
Postman                                . . . . . . . . . . . . . . . . . . Edgar Driver
Naryshkinsky                       . . . . . . . . . . . . . . . . . . Frederic Franklin
Varel Naryshkinsky             . . . . . . . . . . . . . . . . . . Wendy Toye
Humperdinck                        . . . . . . . . . . . . . . . . . . George Hayes
Winckle                                . . . . . . . . . . . . . . . . . . Michael Cadogan
     The production under the personal direction of Anne Croft.
Presented by Sir Oswald Stoll.

     One’s first duty in dealing with this picturesque and tuneful comedy with music—which had an enthusiastic reception at the Alhambra—is to congratulate Anne Croft on the artistic success of her first stage production. The scene is laid in and about a girls’ school in the imaginary State of Vanderleue—which is not a thousand miles from Holland—and the result is a series of charming stage pictures of tulip fields, windmills, and old gardens delightfully restful to the view. Now and gain the performers and chorus descend into the auditorium by re-brick steps built up on one side, the other side of the well being occupied by the orchestra, who are in uniform. All of the scenery has been designed by Henry Burton, A.R.I.B.A.
     Miss Croft’s skill as a producer is, of course, most evident in the slick working of the whole and in the stage arrangement of the various scenes. The opening scene, the Tulip Fields, has three working windmills, the central big one being ingeniously practicable; and in another scene, in the second act, there is a smart mechanical change into a representation of a huge Noah’s Ark, with the chorus wearing the headpieces of various animals. The work of the ladies and gentlemen of the chorus, by the way, is particularly attractive, both in regard to dancing and singing—in which connection Buddy Bradley deserves sincere praise for his skilful arrangement of the dances and ensembles.
     “Tulip Time” was first seen at the Alexandra, Hull, last Boxing Day, on which occasion Anne Croft realised one of her ambitions in producing a play in her native city. Local theatregoers were also introduced to her son Peter Croft, who then took the part of Carl Vincent, and who is still in his teens. Since the Hull production, however, great changes have been made both in the play itself and in the cast, although several of the original performers remain. The old forty-years-old farcical comedy, “The Strange Adventures of Miss Brown,” provides an admirable framework, and has been cleverly re-adapted by the present authors to the purposes not of a musical comedy—which would have weakened the story—but of a comedy with music. The distinction is important.
     The main story may be told in as few words as possible. Carl Vincent, a young flying officer, marries Angela Brightwell, who is a ward in chancery and still a student at the Vanderleue girls’ school; and, of course, he is likely to get into serious trouble in consequence. Nothing more serious happens, however, than that Angela and her schoolgirl friend, Hazel Pears, are packed off to school again, Hazel in the meanwhile having fallen in love with Carl’s friend, “Piggy.”
     Henceforth Carl and Piggy have one object in view—the one to see his wife and the other his sweetheart. As the school is closely guarded from male intruders by a force of police, they hit on the farcical idea of disguising themselves as girl pupils, and are accepted as such on the introduction of their “mother,” otherwise Jepson, Carl’s batman. What happens when sleeping arrangements have to be made may well be imagined; but it is all discreetly done. There are some very droll scenes in the dormitory and in the corridor before the men and the girls (who, of course, had quickly recognised their lovers) escape to love and freedom by air.
     “Tulip Time” at present suffers from the fact that more than one of the principal parts is altogether too thin. Twice-nightly requirements may account for this defect to a certain extent, but the parts should be filled out as time goes on. That of the fine comedienne, Sydney Fairbrother, as Miss Schnapps, for instance, certainly calls for strengthening. Miss Fairbrother, as it is, is very funny as an assistant head mistress.
     George Gee, for his part, is very laughable when the batman, Jepson, gets into feminine attire as a pseudo-aristocratic mamma; and the Hungarian actor, Steve Geray, is also most amusing as a ringletted schoolgirl with a foreign accent. Bernard Clifton, who makes a more demure kind of schoolgirl, sings and acts cleverly as the young hero, while Jean Colin is delightful in her acting and singing as the heroine. Betty Baskcomb is very entertaining as the schoolgirl friend, and Ena Grossmith scores emphatically in a soubrette part. Other principal parts well done are the headmistress of Joan Fred Emney, the Postman of Edgar Driver, the Sergeant of Police of George Hayes, the Eric of John Fitzroyd, the Geoffrey of Richard Rogers, and the two leading schoolgirls of Miki Gordon and Marion Gerth. Wendy Toye and Frederic Franklin dance delightfully in a miniature “Tulip Time Carnival” ballet in the first act.
     A generally bright and tuneful score has many attractive and catchy musical numbers. The best from a humorous point of view is “Noah Had Two of Everything” (Jepson and Schoolgirls), which is sung by Mr. Gee in the Noah’s Ark scene already mentioned. “All Girls Together” (Jepson, Carl, and Piggy) is a capital trio, with words and music by Hubert W. David; while “Sailing with the Breeze” is a delightful foxtrot number for Angela, who has another good song in “Sweet Seventeen.” Other numbers that stand out are the schoolgirls’ choruses “Shoulder to Shoulder” and “Now the Day is Over,” the last-named suggesting the hymn tune; “Aces of the Air” (Carl), “I Like You” (Jepson and Hope), and “The Man in Blue” (Postman). John Borelli and his orchestra render excellent service throughout. The orchestra is sometimes on the loud side.
     Louis Casson is the manager for Anne Croft, Haddon Mason the stage director, Henry Burton the stage manager, and William Finch the assistant stage manager. George F. Reynolds is the general manager of the Alhambra. There are matinées on Wednesdays and Saturdays.

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The following page is taken from the Over The Footlights site.

And the Keeping Score site has a list of recordings from Tulip Time:

Aces Of The Air
1. 78/HMV C-2774 (Brian Lawrence with the New Mayfair Orchestra conducted by George Scott Wood)

I Like You
1. 78/HMV C-2774 (New Mayfair Orchestra conducted by George Scott Wood)

Noah Had Two Of Everything
1. 78/HMV C-2774 (Brian Lawrence with the New Mayfair Orchestra conducted by George Scott Wood)
2. Vintage British Comedy Vol. 10, CD/Fast Forward Records 2679 (unknown performer) (unverified)

Sailing With The Breeze
1. 78/HMV C-2774 (New Mayfair Orchestra conducted by George Scott Wood)

When You’re Only Seventeen (aka “Sweet Seventeen”)
1. 78/HMV C-2774 (Brian Lawrence with the New Mayfair Orchestra conducted by George Scott Wood)

This is a medley on one side of a 78”, coupled with selections from Please Teacher. There’s actually a copy of this for sale at £9.99 on the discogs site, but, still having nightmares about the time I sat on my sister’s 78” copy of ‘Rip It Up’ by Bill Haley and the Comets when I was five, I daren’t risk it in the post, and a picture of the label will have to suffice:

Programme for Tulip Time at the Alhambra Theatre, London, October 12, 1935.

On youtube you’ll find ‘Tulip Time musical comedy selections (Colin Wark) 1934’ for the ‘Steinway Model K 65/88 Note Pianola Player Piano Piano’ (!) And here are the Two Leslies performing ‘Noah Had Two Of Everything’:

Here are the covers of the sheet music for two of the songs from the show:

Finally, on the British Pathé site there is a 1935 clip of George Gee “the famous West End Comedian from ‘Tulip Time’” talking about shirts.

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Back to The Strange Adventures of Miss Brown

The Strange Adventures of Miss Brown - continued (ii)

Bibliography or Buchanan’s Music