Joyce Phipps

1910 - 1979  (68 years)    Has more than 100 ancestors but no descendants in this family tree.

• Name	Joyce Phipps
  Birth	10 Feb 1910	Montpelier Square, London
  Gender	Female
  Prominent People	USA
  actress
  Death	1979
  Siblings	1 Sibling
  1. Joyce Phipps,   b. 10 Feb 1910, Montpelier Square, London d. 1979  (Age 68 years) ▻ Reggie Grenfell   2. Thomas Wilton Phipps ▻ Joan Brooke Reeves
  Person ID	I364221	Geneagraphie
  Links To	This person is also Joyce Grenfell at Wikipedia
  Links To	This person is also Joyce Grenfell at IMBd
  Last Modified	23 May 2018

  
  

  Father	Paul Phipps   d. Yes, date unknown
  Mother	Nora Langhorne   d. Yes, date unknown
  Family ID	F144380	Group Sheet  |  Family Chart

  
  

  Family	Reggie Grenfell   d. 1993, Kensington and Chelsea, London, Middlesex, England
  Family ID	F320021	Group Sheet  |  Family Chart
  Last Modified	23 May 2018

  
  

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• Notes

  She was educated at the Francis Holland School, London, and the Christian Science School, Clairview, in South Norwood, and then she was "finished off" in Paris where she attended Mlle. Ozanne's finishing school at the age of 17. Click here for a caricature of Joyce she drew herself. From an early age she invented characters and pretended to be other people. Being funny and imaginative came easily to her. She left school at 17, the same year she met Reggie Grenfell; they were married two years later, in 1929 at St. Margaret's Westminster; they remained married for 50 years until her death. All throughout her childhood, she sang songs with her American mother, who was self taught on the guitar. In the pre-TV days when people amused themselves, she performed in amateur theatricals in her own home and those of friends. Joyce and her mother used to play at "Ladies" and talk to each other in various voices. She had quite a knack for imitating people. Joyce had weekly elocution lessons with a lady she characterized as deaf, and a cockney with adenoids. She joined RADA in1927 and lasted one term, finding plays too restrictive with no room for spontaneous invention. Her first job from 1937-39 was reviewing BBC radio programs for the Observer, a London newspaper, for £10 a week. The editor, J.L. Garvin, gave her these invaluable rules to write by: "Avoid 'which' and 'and'. Stop and start again. Facts first - feelings later. Indicate, don't elaborate. Short sentences are more telling." In 1938 she gave an impromptu imitation of a Women's Institute speaker at a dinner party attended by Stephen Potter, who worked for the BBC. This talent for dramatic monologue on the topic of "useful and acceptable gifts" so impressed Potter, he had her do it for Herbert Farjeon, the author of the successful revue NINE SHARP. Equally impressed, Farjeon put her monologue and her into his next revue, THE LITTLE REVUE, along with a second sketch he asked her to write, which turned out to be about three mothers, one of whom has a daughter who wishes to marry a conjurer. These were later recorded on a gramophone record. Eventually she added another sketch called HEAD GIRL about a gushing, ungrammatical Sixth Form school girl. For her appearance in THE LITTLE REVUE she was paid £12.10s a week after impressing the critics on opening night. Farjeon included her in his next two revues as well. USEFUL AND ACCEPTABLE GIFTS is included on the LP REVUE 1930-1940 ORIGINAL ARTISTS (PMC 7154). In the first volume of her autobiography, she described her readiness to perform as a feeling of wanting to share something she found funny or sad. She was inspired to do monologues by Ruth Draper, a friend of the Phipps family, but Ruth did "dramas", while Joyce characterized her monologues as "light-hearted, shorthand sketches of character, suggested rather than detailed". When writing monologues, voice and accent came first to Joyce. She writes, "it was the voice that brought the character into focus and with it instinctively came mannerisms and movement." Generally, it took her two days to a month to produce a monologue, improvising out loud (in the days before tape recorders), noting down key words and phrases before she wrote it out in long hand. Her favorite character was the Vice-Chancellor's Wife in ENG. LIT. Her favorite story was LALLY TULLET. The one that was most popular with audiences was THE NURSERY SCHOOL TEACHER, which developed out of HOW TO TALK TO CHILDREN [1944] on the "How" radio series. The first one was called WHAT FLOWER ARE YOU? In THE TIME OF MY LIFE, Joyce writes: "It is the most wonderful sight and sensation in the world to watch an audience relax and abandon themselves to listening and enjoying it." Later in the book she describes what it is like on those special performances when everything goes well: "It's an awe-inspiring feeling and intoxicating. But not to be trusted. You can't count on it for an instant. Next time will be different. It always is. I do feel so light and neat-minded sometimes and then it works. It comes through unimpeded by me and I feel remote as a leaf on a tree while it goes on. It only works when I can get to the side of it and let it happen." About her first professional appearance on stage, her friend Virginia Graham writes: She had no image to preserve, no axe to grind, no future management to impress. This total lack of "angst" came across the footlights and engendered an atmosphere of extraordinary trust and love, so that audiences under her spell felt safe and cozy and somehow cherished. She was active during the war helping out at hospitals and canteens and entertaining the troops, principally on ENSA tours to 14 countries, including North Africa, Malta, Sicily, Italy and India in 1944 and 1945. (ENSA stands for Entertainments National Service Association which was set up to provide drama, cinema and musical entertainment to the troops at home and abroad during WWII. It was the brainchild of Basil Dean and because the War Office was not interested, he went to NAAFI [Navy and Army and Air Force Institutes] in 1939 who agreed to sponsor it. It was parodied in Peter Nichols' PRIVATES ON PARADE as S.A.D.U.S.E.E.) Joyce was accompanied on these tours by Viola Tunnard, her pianist. Joyce credits this experience as the time she grew "working muscles and learned techniques that allowed [her] to be spontaneous and ready to improvise." She was awarded the O.B.E. for this wartime service in 1946. Around 1941 Joyce was introduced to Richard Addinsell by Clemence Dane; they hit it off at a party, he playing music and Joyce singing the lyrics. Later they collaborated on a song called NOTHING NEW TO TELL YOU, a letter to a parted love, very topical during World War II. They went on to collaborate on many other songs. For ballads, he wrote the music first and Joyce fitted the lyrics to his tunes; for "idea" songs with stories, the process was reversed. A followup number, I'M GOING TO SEE YOU TODAY (1942), became Joyce's signature tune; she recorded it with NOTHING NEW on the reverse side. Another song they wrote together was STATELY AS A GALLEON . In 1943 Joyce began writing with Stephen Potter a series of radio programmes called "How". These began as legitimate documentaries, but by the time Potter invited her to participate, the shows had developed a satirical bent and Joyce herself subsequently likened them to the improvs of Nichols and May (which they predated by a number of years). This material was improvised by Potter and Joyce, and only later written down for the cast. Among the characters she created for this series are Mrs. Treubel, a refugee living in Golders Green (played by Gladys Young) and Fern Brixton, vegetarian lover of Beauty and weaver of her own clothes (played by Joyce). Over 19 years, she and Potter developed 29 scripts until the programme ended in 1962. Topics included how to talk to children; argue; give a party; keep a diary; learn to speak French; woo; blow your own trumpet; be good at music; make friends; deal with Christmas; deal with the New Year; move house; be good at games; travel; cross the Atlantic First Class; know America really well; and lead really full lives. She also wrote and performed on a weekly BBC radio series called A NOTE WITH MUSIC and appeared on a 1949 radio series called WE BEG TO DIFFER where a panel of four women (including Joyce) discussed with two male panelists subjects that divided the sexes. After the war she wrote scripts for a radio series called HERE'S WISHING YOU WELL AGAIN. Starting in 1956 she appeared on the radio show CALL THE TUNE, a general knowledge quiz about music that eventually became the TV show FACE THE MUSIC. Joyce appeared on this 1971-1975. In 1945 she appeared in a revue written and directed by Noel Coward called SIGH NO MORE. Click here for details of SIGH NO MORE. In addition to the material Joyce wrote for herself, Coward gave her a song he had previously written for himself called THAT'S THE END OF THE NEWS, which celebrated the greeting of bad news with Pollyanna glee. Joyce sang this wearing a gym slip, pigtails and school hat. Here are the lyrics kindly provided by John Groushko: THAT IS THE END OF THE NEWS We are told very loudly and often To lift up our hearts, We are told that good humour will soften Fate's cruelest darts So however had our domestic troubles may be We just shake with amusement and sing with glee. Heigho, Mum's had those pains again, Granny's in bed with her varicose veins again, Everyone's gay because dear cousin Florrie Was run down on Saturday night by a lorry, We're so thrilled, Elsie's in trouble, That hernia she had has turned out to be double, When Albert fell down all The steps of the Town Hall He got three bad cuts and a bruise. We're delighted To be able to say We're unable to pay Off our debts, We're excited Because Percy's got mange And we've run up a bill at the vet's. Three cheers! Ernie's got boils again, Everything's covered in ointment and oils again, Now he's had seven So God's in His heaven And that is the end of the news. We are told that it's dismal and dreary To air our despairs, We are told to be gallant and cheery And banish our cares So when fortune gives us a cup of hemlock to quaff We just give a slight hiccup and laugh laugh laugh. Heigho, everything's fearful, We do wish that Vi was a little more cheerful, The only result of her last operation Has been gales of wind at the least provocation. Now don't laugh, poor Mrs Mason Was washing some smalls in the lavatory basin When that old corroded Gas-heater exploded And blew her smack into the news. We're in clover, Uncle George is in clink For refusing to work for the war, Now it's over Auntie Maud seems to think He'll be far better placed than before. What fun -- dear little Sidney. Produced a spectacular stone in his kidney, He's had eleven So God's in His heaven And that is the end of the news. Heigho, what a catastrophe, Grandfather's brain is beginning to atrophy, Last Sunday night after eating an apple He made a rude noise in the Methodist chapel. Good egg! Dear little Doris Has just been expelled for assaulting Miss Morris. Both of her sisters Are covered in blisters From standing about in the queues. We've been done in By that mortgage foreclosure And Father went out on a blind, He got run in For indecent exposure And ever so heavily fined. Heigho hi-diddle-diddle, Aunt Isabel's shingles have met in the middle, She's buried in Devon So God's in His heaven And that is the end of the news. In 1947 she starred with Max Adrian in a new revue, TUPPENCE COLOURED, named for the cut-out cardboard toy theatres of Regency days. She wrote the monologues ODYSSEY, about a visiting American looking at the austerity days of England just after the war; and ARTIST'S ROOM, depicting the behavior of differently priced ticketholders coming backstage to see a pianist after his recital. She collaborated with Addinsell on three songs, NICE SONG, THE COUNTESS OF COTELEY, and one more or less embodying her own personal philosophy, I LIKE LIFE. She also devised an ECHO song and dance to the music BY THE WATERS OF MINNETONKA in which she dressed as an Indian and was unable to locate exactly where off-stage yoo-hoos were originating; she enjoyed "galumphing" across the stage to the wings, searching vainly for her caller in this audience pleasing bit. In 1954 she wrote and starred in a revue entitled JOYCE GRENFELL REQUESTS THE PLEASURE . This was, essentially, a one-woman show, but with the assistance of three dancers to engage the audience's attention while she made quick-changes offstage of 13 costumes. The show consisted of 8 monologues and 16 songs, including PALAIS DANCER, in which she danced; among the other numbers were SONGS MY MOTHER TAUGHT ME, THE MUSIC'S MESSAGE and THREE BROTHERS. She opened an American version of JOYCE GRENFELL REQUESTS THE PLEASURE in 1954 on Broadway where it ran for 8 weeks. During that time, she began a series of appearances on THE ED SULLIVAN SHOW, a popular Sunday evening variety show. One of the numbers she performed on the show was THE COUNTESS OF COTELEY, for which she rewrote some of the lyrics to make them comprehensible to American audiences. This was the end of her time in revue and thereafter she appeared solely in one-woman shows or at charity events. In 1956 she toured the US and Canada in a 2-hour solo show. As part of the tour, she was often interviewed by local U.S. newspapers and radio shows, and it was this which inspired the monologue TIME TO WASTE, a sketch about a visiting Englishwoman trying to get a word in edgeways on a commercial radio show, somewhere in the Southern United States. Her next solo show was JOYCE GRENFELL AT HOME. She played Sydney in 1959 for 13 1/2 weeks and made three subsequent tours of Australia (Adelaide, Brisbane, Canberra, Hobart, Launceton, Melbourne, Perth and Sydney) and New Zealand (Auckland, Christchuch and Wellington) in 1963, 1966 and 1969. Joyce appeared in 24 films, most notably the St. Trinian's Ealing comedies inspired by the cartoons of the genius Ronald Searle. She described her role as Ruby Gates in the St. Trin's films and Miss Gossage in THE HAPPIEST DAYS OF YOUR LIFE as "gawky overgrown schoolgirl types". In the second volume of her autobiography Joyce writes "I am afraid I looked on [movies] as a side-line to what I thought of as my real job -- writing and performing my own material on stage, radio and television." She did appreciate the broad audience films gave her, but she often had to rewrite her lines, as speaking dialogue written by others did not come naturally to her. She admitted to enjoying the communal aspect of films. 1941 A Letter from Home American Mother A wartime propaganda documentary 'short'. Joyce was an American woman who had adopted the British children of Celia Johnson evacuated from England 1943 The Lamp Still Burns Dr. Barrett Another propaganda story "faintly disguised as a romance" intended to persuade girls to become nurses. Joyce played a lecturer telling the nursing recruits about blood transfusions. 1943 The Demi-Paradise aka Adventure for Two Sybil Paulson Another propaganda film designed to show how Anglo-USSR co-operation was working. Joyce played "a sort of ex-deb ninny" 1947 While the Sun Shines Daphne Joyce played a silly twittering woman in this film version of a Terrence Rattigan play. 1949 Poet's Pub Miss Horsefell-Hughes Joyce enjoyed "parting her hair in the middle and winding up [her] pigtails into 'ear-phones' for the Liberty-cotton-print frocked, arty-crafty, folk-dance enthusiast." She calls this role the "first of the galumphers" and compares it to the Fern Brixton character she created for the Stephen Potter radio show HOW. 1949 A Run for Your Money Mrs Pargiter Joyce played an eager saleslady in a dress shop. 1950 Alice in Wonderland Ugly Duchess/ Doormouse 1950 The Happiest Days of Your Life Miss Gossage Joyce calls this the"plummiest of all the parts" she was ever offered, the "queen of all the galumphers; repressed and upright." See http://www.britishpictures.com/photos2/photo110.htm Writing to Virginia Graham, her best friend, on July 5, 1972, after seeing it on TV, she says, "I looked like a stick of rhubarb." 1950 Stage Fright Shooting Gallery Attendant Joyce played another gawky enthusiastic woman who shouts "lovely ducks" to entice attendees at a theatrical garden party to shoot at moving duck shaped targets in order to win a doll; her short scene is with Alastair Sim 1951 The Magic Box Mrs. Claire This was an earnest biography of William Friese-Greene, one of the pioneers of cinema, who had the first patent in the UK on moving pictures. Joyce was one of many star cameos. She played a member of the Bath chorale who is a atwitter because the guest conductor is Arthur Sullivan (of Gilbert & Sullivan fame). 1951 Laughter in Paradise Elizabeth Robson Joyce plays the fiance of Alastair Sim, whose eccentric uncle (Hugh Griffith) dies leaving a will in which his beneficiaries have to perform odd tasks. Sim is sworn to secrecy and can't tell "Fluffy" that he has to spend 28 days in jail. Similar to the ST. TRIN's films, Joyce's character has been engaged for 10 years and is also in uniform, although this time the military. A small role in a quietly amusing film. 1951 The Galloping Major Maggie Joyce played a Cockney milk-bar maid. 1952 The Pickwick Papers Mrs. Leo Hunter Joyce played a guest of the Pickwick Club who throws a literary fancy dress breakfast for Mr. Pickwick at which she comes dressed as Boadicea and recites an Ode on an Expiring Frog. 1953 Million Pound Note, The aka Man with a Million Duchess of Cromarty Her one glamorous role, Joyce played a duchess. 1953 Genevieve Hotel proprietress Joyce enjoyed her cameo as the "wooly-brained but amicable receptionist". She spoke with her jaw jutting out more than it does when she was being natural. 1954 Forbidden Cargo Lady Flavin Queensway Joyce played a birdwatcher, one of her real life hobbies. 1954 The Belles of St. Trinian's Policewoman Ruby Gates 1957 Happy Is the Bride Aunt Florence Joyce had to play by ear Lohengrin's WEDDING MARCH on the organ for the arrival of the bride. 1957 Blue Murder at St. Trinian's Sergeant Gates 1957 The Good Companions Lady Parlitt 1961 The Pure Hell of St. Trinian's Sergeant Ruby Gates 1963 The Old Dark House Agatha Femm This was a remake of the classic 1932 horror film based on J.B. Priestly's novel Benighted. Directed by William Castle. In an August 9, 1963 letter Joyce wrote to her best friend Virginia Graham: "It is beyond words awful! Boring, bad and of incredible slowness . . . it is vulgar, dull and unforgivable. I was deeply ashamed at being seen it it." 1964 The Americanization of Emily Mrs. Barham The only film Joyce made in America; she played Julie Andrew's "crazy, tweedy mother" who is so numbed by the loss of her son and son-in-law in World War II, she refuses to accept the reality of death and instead pretends with euphoric Pollyanna cheerfulness that her son has not been killed. Joyce says the scene where James Garner makes her face reality, reducing her to tears, was the first dramatic scene she ever played. 1965 The Yellow Rolls-Royce Hortense Astor Joyce played in the last of three episodes as Ingrid Bergman's Virginian lady travelling-companion. She called the role "yet another ninny with only one line of note." After she retired from the stage, she continued to appear on TV, becoming a regular on the musical TV quiz programme FACE THE MUSIC from 1966 where she once identified Debussy's "La Fille au Cheveux de Lin" by a single note. She also contributed to the BBC early morning programme THOUGHT FOR THE DAY. Her stage appearances were all in revues (or later one women shows) and included: 1939 LITTLE REVUE opened at the Little Theatre on April 21, 1939 and ran for 415 performances. This was Joyce's professional stage debut; heading the cast were Hermione Baddeley and Cyril Ritchard. Click here for a rundown of the songs and sketches from this revue. 1940 DIVERSION opened October, 1940 at the Wyndham's Theatre. This was the first show to open after the blitz and was produced especially to provide light entertainment at 2:15 daily during the blitz raids on London. Joyce co-starred with Edith Evans and Peter Ustinov, with Dirk Bogarde playing a few small parts. I am indebted to Richard Mangan, Administrator of the Raymond Mander and Joe Mitchenson Theatre Collection, who kindly Xeroxed a copy of this programme for me. Joyce wrote a new sketch called CANTEEN, based on her experience helping out making sandwiches at a wartime canteen and did her MOTHERS monologue from THE LITTLE REVUE. This show went to a second edition in 1941, when Joyce added a sketch called LOCAL LIBRARY. Another number Joyce performed was WITH A PIANO with words and music by Virginia Graham. Peter Ustinov wrote and performed a monologue entitled MADAME LIZELOTTE BEETHOVEN-FINCK with music by Sidney Young.. 1942 LIGHT AND SHADE Opened August, 1942 at the Ambassadors Theatre. A third Farjeon revue, written with assistance from Eleanor Farjeon, music by Clifton Parker with additional music by Alfred Reynolds and Geoffrey Wright, which Joyce joined after it opened and which lasted only another 3 weeks. I am indebted to Richard Mangan, Administrator of the Raymond Mander and Joe Mitchenson Theatre Collection, who kindly Xeroxed a copy of this programme for me. Joyce participated in the opening and the finale which was called PUTTING UP THE HOUSE. She performed a monologue called SITUATION VACANT in the first act; and another called CARDBOARD FIGURES in the second act. According to her autobiography, she sang some songs written by her friend Virginia Thesiger with words by Virginia's father, Harry Graham but I can see no listing of these. 1945 SIGH NO MORE Opened August, 1945 at the Piccadilly Theatre and ran for 213 performances. A Noel Coward revue starring Cyril Ritchard, Madge Elliott, Joyce, Graham Payn and Mantovani. Joyce wrote an ENSA-inspired monologue called TRAVEL BROADENS THE MIND, and with Addinsell wrote the song of which she was proudest called OH, MR. DU MAURIER about a model who is pursued by famous painters when all she really cares about is being noticed by the Punch cartoonist George DuMaurier. She sang THIS IS THE END OF THE NEWS written by Coward and played Lady Primrose Fairfield in a skit called PAGEANT which involved the entire company. She sang THE BURCHELLS OF BATTERSEA RISE with Cyril Ritchard, Madge Elliott and Graham Payn, and along with the entire company participated in the finale. 1947 TUPPENCE COLOURED opened at the Globe Theatre on October 15, 1947 and ran for 274 performances. This is the first revue for which Joyce starred. She was first billed over Elisabeth Welch and Max Adrian. [The titles TUPPENCE COLOURED and PENNY PLAIN referred to portraits of once popular actors which were sold to the public to be elaborately decorated at home by the addition of silk, satin and stamped out of pieces of tinsel. The price was tuppence for colored portraits or a penny for "plain" or uncolored ones.] In this revue, Joyce appeared in the opening number, TUPPENCE COLOURED, she sang THE COUNTESS OF COTELEY, NICE, THREE WISHES (as the Second Wish), I LIKE LIFE, SEEING RED and the FINALE, and performed in sketches called ODYSSEY, SONG--AND--DANCE and ARTIST'S ROOM. She wrote all her own material, except for THREE WISHES (written by Arthur Macrae) and the title song, SEEING RED and the finale, which were written by her cousin Nicholas Phipps. In addition, she wrote the lyrics for SING, SWEET NIGHTINGALE sung by Denis Martin. TUPPENCE COLOURED Devised and Directed by Laurier Lister Title Authors Roles Performers Tuppence Coloured Lyric by Nicholas Phipps; music by Geoffrey Wright The Company Black-Eyed Susan Lyric by John Gay; music arr. by Lionel Salter after an air by Leveridge Susan Elizabeth Cooper William Denis Martin Susan's Attendants Daphne Oxenford, Charlotte Mitchell Stage Hand John Heawood Mayflower Clipper Lyrics by Sagittarius; music by Geoffrey Wright Lynnette Rae, Franklin Bennett, Angus Menzies Sartre Resartus Lyric by Nicholas Phipps; music by Geoffrey Wright Elisabeth Welch Post War Irish Song Lyric by David Yates Mason; music by Geoffrey Wright Max Adrian, Denis Martin The Countess of Coteley Lyric by Joyce Grenfell; music by Richard Addinsell Joyce Grenfell Breakfast at Eight-and-Sixpence H.F. Ellis Commentator Max Adrian Felicity Felicity Gray Travis Angus Menzies "Still the Lark Finds Repose" Thomas Linley Elizabeth Cooper Beasts of Prey Lyric by Herbert Farjeon; music by Geoffrey Wright Elisabeth Welch Nice Lyric by Joyce Grenfell; music by Geoffrey Wright Joyce Grenfell, Daphne Oxenford Tennis Hurford Janes Franklin Bennett, Lynnette Rae Sweet Polly Oliver arr. by Benjamin Britten Singer Angus Menzies Dancers Silvia Ashmole, Andre Du Guay, Julia Falls, John Heawood Without the War Lyric & Music by Arthur Macrae Max Adrian Odyssey Joyce Grenfell Joyce Grenfell A Jabberwocky Song Lyric by Leonard Gershe; music by Richard Addinsell Elisabeth Welch Seeing Red Lyric by Nicholas Phipps; music by Geoffrey Wright The Company Interval Fiasco Lyric by David Yates Mason; music by Geoffrey Wright Lynnette Rae, Franklin Bennett and the Company Song--and--Dance Joyce Grenfell Super Time Irving Berlin Elisabeth Welch Three Wishes Lyric by Arthur Macrae; music by Richard Addinsell Fairy Godmother Daphne Oxenford First Wish Lynnette Rae Second Wish Joyce Grenfell Third Wish Max Adrian Tapestry Music by Richard Addinsell Felicity Gray, Andre Du Guay, Silvia Ashmole, Julia Falls, Patricia Page I Like Life Lyric by Joyce Grenfell; music by Richard Addinsell Joyce Grenfell The Poodle's Lament Lyric by Arthur Macrae; music by Richard Addinsell Max Adrian La Vie En Rose Lyric by Edith Piaf; music by Louiguy Elisabeth Welch Weather Vane Music by Debussy Felicity Gray Matinee Arthur Macrae Pasti Max Adrian Olivia Lynnette Rae Attendant Daphne Oxenford Carabelli Dennis Martin Spumanti Franklin Bennett Maria Elisabeth Welch Artists' Room Joyce Grenfell Joyce Grenfell Sweet, Sweet Nightingale Lyric by Joyce Grenfell; music by Richard Addinsell Denis Martin Between the Lines Lyric by Nicholas Phipps; music by Geoffrey Wright Max Adrian Sing, Child, Sing Lyric by Leonard Gershe; music by Richard Addinsell Elisabeth Welch Finale Lyric by Nicholas Phipps; music by Geoffrey Wright The Company 1951 PENNY PLAIN opened at the St. Martin's Theatre on June 28, 1951 and ran for 443 performances. Joyce wrote and performed THOUGHT FOR TO-DAY and LIFE AND LITERATURE; she sang RUNNING COMMENTARY and KEEPSAKE for which she wrote the lyrics and Addinsell the music; additionally, she and Addinsell wrote the title number, the finale and FESTIVAL CALYPSO performed by Elisabeth Welch; Joyce sang A MOMENT WITH TENNYSON (MAUD) to lyrics by Nicholas Phipps and music by Addinsell; Flanders and Swann contributed material as well including IN THE D'OYLY CART, A WORD IN MY EAR, EISTEDDFOD, BALLAD FOR THE RICH and SURLY GIRLS (based on the St. Trinian's cartoons of Ronald Searle). Donald Swann wrote the music and Joyce the lyrics for JOYFUL NOISE in which Joyce, Rose Hill and Moyra Fraser sang at the echo-y Albert Hall. PENNY PLAIN Devised and Directed by Laurier Lister Title Authors Performers Overture Complaint Alan Melville Max Adrian Penny Plan Lyric by Joyce Grenfell; music by Richard Addinsell The Company Holidays Abroad Lyric by Geoffrey Wethered; music by Donald Swann Rose Hill, Patrick Brawn, Daphne Peretz, Jimmy Thompson Off Beat Godfrey Harrison Desmond Walter-Ellis, Max Adrian, Patrick Brawn, Julian Orchard Festival Calypso Lyric by Virginia Graham and Joyce Grenfell Elisabeth Welch Joyful Noise Lyric by Joyce Grenfell; music by Donald Swann Joyce Grenfell, Rose Hill, Moyra Fraser Ancient and Modern Simon Phipps Max Adrian, Desmond Walter-Ellis, Moyra Fraser, Elisabeth Welch, Daphne Peretz, Patrick Brawn, Julian Orchard Good Day for Godiva Lyric by Michael Flanders; music by Charles Zwar Elisabeth Welch No Reward Lyric by Richard Waring; music by Francis Essex Max Adrian Thought for Today Joyce Grenfell Joyce Grenfell Dance Moyra Fraser "We Beg to Differ" Patrick Brawn The Question Master...Patrick Brawn The Team................Marjorie Dunkels A Moment With Tennyson Lyric by Nicholas Phipps; music by Richard Addinsell Joyce Grenfell, Julian Orchard Feet Across the Sea Paul Dehn The Company Interval Quite Still, Please H. F. Ellis Desmond Walter-Ellis In the D'Oyly Cart Lyric by Michael Flanders; music by Donald Swann Moyra Fraser, Max Adrian, Rose Hill Running Commentary Lyric by Joyce Grenfell; music by Richard Addinsell Joyce Grenfell Talking Shoppe Patrick Brawn Daphne Peretz, Jimmy Thompson, Marjorie Dunkels Ballad for the Rich Lyric by Michael Flanders; music by Donald Swann Rose Hill, Max Adrian, Moyra Fraser, Desmond Walter-Ellis Elsie Smith Words & music by Sandy Wilson Elisabeth Welch, Moyra Fraser, Patrick Brawn, Julian Orchard Major Pippin Lyric by Kenneth Dear; music by John Pritchett Desmond Walter-Ellis Keepsake Lyric by Joyce Grenfell; music by Richard Addinsell Joyce Grenfell Problems of the Male Dancer Patrick Brawn Patrick Brawn, Jimmy Thompson The Family Plan Charlotte Mitchell Elisabeth Welch, Desmond Walter-Ellis, Delia Williams, Daphne Peretz, Marjorie Dunkels, Patrick Brawn, Jimmy Thompson, Moyra Fraser, Rose Hill Cold Comfort Lyric by Virginia Graham; music by John Pritchett Max Adrian A Word On My Ear Lyric by Michael Flanders; music by Donald Swann Rose Hill Wide Open Spaces Godfrey Harrison & Desmond Walter-Ellis Desmond Walter-Ellis, Patrick Brawn, Max Adrian Eisteddfod Lyric by Michael Flanders; music by Donald Swann Delia Williams, Julian Orchard Life and Literature Joyce Grenfell Joyce Grenfell Surly Girls Lyric by Michael Flanders; music by Donald Swann Max Adrian, Desmond Walter-Ellis, Jimmy Thompson, Julian Orchard The Patisserie Lyric by Jack Gray & Hugh Martin; music by Hugh Martin Elisabeth Welch Finale Lyric by Joyce Grenfell; music by Richard Addinsell The Company 1954 JOYCE GRENFELL REQUESTS THE PLEASURE (her one-woman London stage show. The August 1954 THEATRE WORLD describes this as follows: Miss Grenfell appears as a dozen or more different women--the routine writer of children's books, the arch antique dealer, the fiendish football fan, the demure palais dancer, the nerve-wracked concert pianist and the excessively bright foreign visitor, making one faux pas after another at an English cocktail party. They follow in rapid succession, each one a highly individualistic character-study, not in the least resembling any other figure in the cavalcade. They present a series of perfect miniatures, etched in exquisite detail. No one who sees her at the Fortune will ever forget her automatic handshake before and after each dance with a flashy Teddy Boy at the palais de danse.) Directed by Laurier Lister, this included Welcome, Slow and Easy, The Music's Message, Edinburgh Rock, Women at Work (Curiosity Shop, Behind the Counter, Lady Writer), Blue Mood, Basquette, Mrs. Mendlicote; Right Side, Wrong Side; The Understanding Mother; Nothing to Do, Songs of Many Lands, Favour, Three Brothers, Palais Dancers, Slap Happy, Three Young People (Daughter, Musician, Shirley's Girl Friend), Mañana, Folk Song (by Flanders and Swan), Ordinary Morning, Paddy's Nightmare, Songs My Mother Taught Me, Ethel, Hostess, Perfidia, Visitor, Rhythm, Envoi, Farewell 1955 JOYCE GRENFELL REQUESTS THE PLEASURE Broadway version which ran for 8 weeks. In the second volume of her autobiography, Joyce recounts how she felt free to select from her 15 years of material as none of it had ever been performed in the U.S. and also how the producers kept cutting the dance interludes to include more of her songs and monologues and changing the running order. Below are listed only the items performed by Joyce; I have omitted all the items done by the dancers which were usually interspersed between each number in order to give Joyce an opportunity to change her costume: Welcome, the Music's Message, Women at Work (Curiosity Shop and Nursery School), The Countess of Coteley, The Understanding Mother, Thought for Today, Three Brothers, Palais Dancers, Two Young People and a Visitor (Visitor, Shirley's Girlfriend and Musician), Running Commentary, Songs My Mother Taught Me, Life and Literature, Farewell. 1957 JOYCE GRENFELL - A MISCELLANY included Opening Numbers, Wibberly, A Nice Song (from TUPPENCE COLOURED), Counter-wise, Ballad, Rhythm and Romance, Artist's Room (from TUPPENCE COLOURED), Oh! Mr. duMaurier (from SIGH NO MORE), Boat Train, Joyful Noise (from PENNY PLAIN), The Woman on the Bus, Friend to Tea, Songs My Mother Taught Me, Committee, London-Scottish, Mulberry Roundabout, Nursery School: Free Activity Period, Time, Shirley's Girl Friend: The Giant Wheel and It's Almost Tomorrow. 1958 MONOLOGUES AND SONGS This had a limited run on Broadway from April 7, 1958 through April 26, 1958 and included Opening Numbers, Wibberly, Songs of Many Lands, Writer of Children's Books, Piano Interlude, Artist's Room, Picture Postcard, Boat Train, Joyful Noise, the Woman on the Bus, Friend to Tea, Songs My Mother Taught Me, Committee, Three Brothers, Shirl's Girl Friend, the Giant Wheel, Piano Interlude, a Thought for Today, Time, Nursery School: Free Activity Period, It's Almost Tomorrow. Music by Richard Addinsell with George Bauer at the piano. 1960 SEVEN GOOD REASONS. This was a one-week show Joyce performed at the Scala Theatre beginning September 26, 1960 with all profits going to seven different charities. 1963 Solo show London at Theatre Royal, Haymarket. 1965 MONOLOGUES AND SONGS At the Queen's Theatre, London with this running order: I'm Going to See You Today, Eng. Lit., I Wouldn't Go Back to The World I Knew, It's Made All the Difference, Bring Back The Silence, Speeches, Learn to Loosen, Music Festival, Hymn, Lally Tullet, Wrong Songs for the Wrong Singers, Opera Interval, Picture Postcard, Fan, Boat Train, Old Tyme, Nursery School: Going Home Time, Final Song. I am indebted to Richard Mangan, Administrator of the Raymond Mander and Joe Mitchenson Theatre Collection, who kindly Xeroxed a copy of this programme for me. 1966 Solo show London at Queen's Theatre. She recorded the following comedy albums (most of these are out of general release; please don't contact me about where to purchase them): OLD TYME DANCING (E.M.I. 7EG 8936) PRESENTING JOYCE GRENFELL (Elektra EKL184) Hello Song I Like Life Life and Literature Time to Waste Thought for Today Three Brothers Two Songs My Mother Taught Me Artist's Room Nursery School Mediocre Waltz Life Story Committee 1954 JOYCE GRENFELL REQUESTS THE PLEASURE (Philips BBL7004) (original cast recording of the British version of her show which opened at the Fortune Theatre on June 2, 1954; this was later released in the U.S. as the original cast recording of the Broadway version which opened at the Bijou Theatre on October 18, 1955) (DRG 5LS186). Welcome Songs My Mother Taught Me: The Music's Message Hand Down My Bonnet Mrs. Mendlicote The Yellow Rose of Texas Understanding Mother Since Bacon Has Gone Up Three Brothers All Night Palais Dancers Sit Down, Sister Ordinary Morning Hostess Shirley's Girl Friend Farewell Folk Song (Flanders and Swan) 1957 JOYCE GRENFELL "AT HOME" (HMV CLP1155) (original cast recording of the show which toured the UK and opened at the Lyric Hammersmith in London on October 8, 1957 as JOYCE GRENFELL - A MISCELLANY) Opening Number Old Joe Clark Ballad Step Light Lady Nursery School All the Pretty Little Horses London-Scottish The Woman on the Bus Introduction to Boat Train Introduction to Songs My Mother Taught Me Boat Train Shirley's Girl Friend Introduction to Joyful Noise Time Joyful Noise It's Almost Tomorrow 1964 JOYCE GRENFELL (HMV CLP1810) Encores Songs My Mother Taught Me: Nursery School--'Flowers' I Heard a Voice Picture Postcard Snowball What Shall I Wear? All the Pretty Little Horses Visitor Writer of Children's Books Dear Francois Oh! Mr. Du Maurier I'm Going to See You Today Telephone Call Shirley's Girl Friend--'Picnic' Old Tyme Dancing 1969 JOYCE (Columbia CS9952; also EMI SCX 6362) ) Bring Back the Silence The Wedding is on Saturday Old Girls' School Reunion Fan Three Brothers I Wouldn't Go Back Nicodemus Thursdays Hostess Duet Lally Tullett Nursery School (Going Home) Hymn Slow Down Wrong Songs for Wrong Singers (or Songs to Make You Sick) 1977 GEORGE, DON'T DO THAT (Starline) Story Time Nativity Play Flowers Sing-Song Time Free Activity Period Going Home Time 1978 THE NEW JOYCE GRENFELL COLLECTION (Double UP Duo 128) There's Nothing New to Tell You Not in the Mood for News Ethel A Terrible Worrier Opera Interval Gipsy Learn to Loosen Time to Waste Mulgarth Street Unsuitable I Like Life Visitor Life Story Drifting Eng. Lit Two Songs My Mother Taught Me Green Summer Artists' Room First Flight Leonie Irish Folk Song Security Song Life and Literature Ferryboats of Sydney I'm Gwine Away Committee One is One and All Alone Come Catch Me 1992 REQUESTS THE PLEASURE - THE BEST OF JOYCE GRENFELL (EMI 0777-80552) (a three CD compilation of earlier recordings, containing 61 selections) I'm Going to See You Today (1964) Shirley's Girl Friend "Picnic" (1964) Nursery School--Flowers (1964) Ethel Learn to Loosen (The Music's Message) Opera Interval Visitor Three Brothers Old Tyme Dancing (Stately as a Galleon) (1964) Nursery School--Story Time I Wouldn't Go Back Slow Down Committee Two Character Studies: Different Kinds of Mothers Green Summer (In the Green Time of Moon Daisies) a) The American Mother The Wedding is on Saturday b) The Village Mother Narcissus (with Norman Wisdom) Unsuitable The Old Girls' School Reunion One Is One And All Alone Wrong Songs for Wrong Singers (or Songs To Make You Sick) It's Almost Tomorrow Shirley's Girlfriend "Fun Fair" Encores (1964) Dear Francois (1964) Nursery School--Nativity Play Nicodemus The Woman on the Bus Drifting Fan Nursery School--Sing-Song Time Time Ballad First Flight Hostess There's Nothing New to Tell You Artist's Room Shirley's Girlfriend "Foreign Fella" Lullaby I Don't 'Arf Love You (with Norman Wisdom) Opening Numbers Telephone Call (1964) Oh! Mr. DuMaurier (1964) Bring Back the Silence Nursery School--Free Activity Period Life and Literature I Like Life Maud (from PENNY PLAIN) A Terrible Worrier Eng. Lt. I Hymn Joyful Noise (music Donald Swan) Writer of Children's Books (1964) Life Story Picture Postcard (Keep Sake - from PENNY PLAIN) (1964) Ferry Boats of Sydney Boat Train Nursery School--Going Home Time Duet London Scottish Useful and Acceptable Gifts (An Institute Lecture Demonstration) JOYFUL JOYCE (ECC18) 1997 ESSENTIAL JOYCE (Mr. Bongo) MORE JOYFUL JOYCE Encores Unsuitable Nursery School--Nativity Play Life Story The Woman on the Bus Gipsy Time Time to Waste First Flight Two Songs My Mother Taught Me: There's Nothing New to Tell You I'll Lend You My Horse Shirley's Girlfriend "Fun Fair" Hand Me Down My Bonnet Learn to Loosen (The Music's Message) Opera Interval Narcissus (with Norman Wisdom) Lullaby Nursery School--Sing-Song Time I Don't 'Arf Love You (with Norman Wisdom) I Life Life Mulgarth Street It's Almost Tomorrow Ethel Boat Train Life and Literature Ballad Green Summer (In the Green Time of Moon Daisies) London Scottish Shirley's Girlfriend "Foreign Fella" Artist's Room Leonie If Love Were All (from BITTER SWEET) Drifting Not in the Mood for News One is One and All Alone Nursery School--Story Time The Party's Over Now (from WORDS AND MUSIC) THE JOYCE GRENFELL COLLECTION (EMI/One-Up OU-2149) I'm Going to See You Today Three Brothers Encores Shirley's Girl Friend Picture Postcard Oh! Mr. DuMaurier Dear Francois Boat Train Old Girl's School Re-Union I Wouldn't Go Back Joyful Noise Songs My Mother Taught Me Nursery School Nursery School Time Old Tyme Dancing 2000 JOYCE GRENFELL This CD is currently available from cdnow.com and contains: Opening Numbers Nursery School (Flowers) Nursery School I'm Going to See You Today Joyful Noise Shirley's Girl Friend "Picnic" Picture Postcard Oh! Mr. DuMaurier What Shall I Wear Writer of Children's Books Visitor Old Tyme Dancing Dear Francois Telephone Call Joyce was a prodigious letter writer and, additionally, wrote the following books: 1972 NANNY SAYS (Dennis Dobson) edited by Diana, Lady Avebury with illustrations by Sir Hugh Casson. Joyce wrote the introduction to this charming collection of mottos and sayings beloved by nannies. 1976 JOYCE GRENFELL REQUESTS THE PLEASURE (the first volume of her autobiography) (St. Martin's Press) 1977 GEORGE, DON???T DO THAT (Macmillan) The Nursery School Sketches: Nativity Play, Flowers, Free Activity Period, Story Time, Sing-Song Time, Going Home Time; and Writer of Children's Books 1977 STATELY AS A GALLEON AND OTHER SONGS AND SKETCHES (Macmillan) Containing the following lyrics and monologues: Useful and Acceptable Gifts, Oh, Mr. DuMaurier!, Mothers, Dear Francois, Thought for Today, The Countess of Coteley, Life and Literature, Stately as a Galleon, Shirley's Girl Friend, Learn to Loosen, Visitor, At the Laundrette, Committee, Three Brothers, Lally Tullett, Rainbow Nights, Eng. Lit., A Terrible Worrier, Picture-Postcard, In the Train, Any Messages Mrs. Bolster?, Time, First Flight, I'm Going to See You Today. (Interestingly, there is a