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Jeremy Brett on TV
Twiggy
15 October 1975, BBC
Special Guest
Jeremy sings three songs during his guest appearance on the TV variety show featuring model, actress and all-around 1960s icon,
Twiggy.
The first is "She Moves Through the Fair," a haunting and widely recorded tune based on a traditional Irish folk song.
The second is a rendition of "Love Unspoken," which Jeremy performed in The Merry Widow. Jeremy cuts a striking figure while crooning and waltzing with Twiggy.
The pair wrap up the show with a cute duet of "Two Sleepy People," a song written by Frank Loesser and Hoagy Carmichael and used in the 1938 movie, Thanks For The Memory. (Lyrics here)
Twiggy
15 October 1975, BBC
Special Guest
Jeremy sings three songs during his guest appearance on the TV variety show featuring model, actress and all-around 1960s icon,
Twiggy.
The first is "She Moves Through the Fair," a haunting and widely recorded tune based on a traditional Irish folk song.
The second is a rendition of "Love Unspoken," which Jeremy performed in The Merry Widow. Jeremy cuts a striking figure while crooning and waltzing with Twiggy.
The pair wrap up the show with a cute duet of "Two Sleepy People," a song written by Frank Loesser and Hoagy Carmichael and used in the 1938 movie, Thanks For The Memory. (Lyrics here)
Marigold（1959）
Book and Lyrics by Alan Melville
Savoy Theatre, London, May 1959
77 performances
Role: Archie Forsyth
Liner notes by Pauline Grant
from the Marigold Original Cast Album
Marigold is a gentle, tartan pastiche, as emotive as a valentine, designed expressly for the fugitives from the dynamic impact of contemporary American musicals. Its objective: nostalgia.
Act 1
On a summer afternoon in 1842, in Paradykes, Peebleshire, Mrs. Pringle, The Minister’s wife, and the Ladies Guild prepare for the annual Sale of Work. The gossip revolves endless round the proposed visit of Queen Victoria and Prince Albert to Edinburgh Castle.
For a young lady of that leisurely era, Marigold, Mrs. Pringle’s ward, spends an extraordinarily busy afternoon. In strategical deference to the “Handbook for Young Ladies” she accepts the suit of Mr. James Payton, a local turnip farmer. ... She then receives the celebrated French actress, Mme Marly, who impetuously presents her with an expensive Paris gown. Our astonishment is only less than Marigold’s because we have already learned that Mme Marly is Marigold’s mother – separated for fifteen adventurous years, from Marigold’s father, Colonel Sellars.
On top of this, a crowd of Officers, from Colonel Sellars’ regiment, arrives – and long before the last heel has clicked we suspect that handsome Mr. Archie Forsyth has his own ideas on the pattern or Marigold’s future life.
... The Act ends ... with Marigold stealing from the Manse towards the high life of Edinburgh.
Book and Lyrics by Alan Melville
Savoy Theatre, London, May 1959
77 performances
Role: Archie Forsyth
Liner notes by Pauline Grant
from the Marigold Original Cast Album
Marigold is a gentle, tartan pastiche, as emotive as a valentine, designed expressly for the fugitives from the dynamic impact of contemporary American musicals. Its objective: nostalgia.
Act 1
On a summer afternoon in 1842, in Paradykes, Peebleshire, Mrs. Pringle, The Minister’s wife, and the Ladies Guild prepare for the annual Sale of Work. The gossip revolves endless round the proposed visit of Queen Victoria and Prince Albert to Edinburgh Castle.
For a young lady of that leisurely era, Marigold, Mrs. Pringle’s ward, spends an extraordinarily busy afternoon. In strategical deference to the “Handbook for Young Ladies” she accepts the suit of Mr. James Payton, a local turnip farmer. ... She then receives the celebrated French actress, Mme Marly, who impetuously presents her with an expensive Paris gown. Our astonishment is only less than Marigold’s because we have already learned that Mme Marly is Marigold’s mother – separated for fifteen adventurous years, from Marigold’s father, Colonel Sellars.
On top of this, a crowd of Officers, from Colonel Sellars’ regiment, arrives – and long before the last heel has clicked we suspect that handsome Mr. Archie Forsyth has his own ideas on the pattern or Marigold’s future life.
... The Act ends ... with Marigold stealing from the Manse towards the high life of Edinburgh.
Act II
Her loyal officers are drinking Her Majesty’s health with patriotic ardour outside Archie’s quarters in Edinburgh Castle. Marigold arrives and sets about organizing, with military competence, a “Sixteensome” Reel for Officers and their Ladies. Before Archie completely regains his breath from this fascinating manoeuvre, he is deprived of it again by learning Marigold’s fixed intention to spend the night in his quarters.
Colonel Sellars finds his daughter hiding behind Archie’s curtains, and only Mrs. Pringle’s arrival as chaperone and ally prevents a court-martial casting its shadow over these innocent proceedings.
Just as everything seems to be straightening out, Archie’s Aunts arrive and, hearing that he intends to save Marigold from the turnips by marrying her himself, promptly cut him off without a penny. Mme Marly proves more than a match for Scottish obstinacy by settling an enormous dowry on Marigold. One is left with the impression that, with Marigold in charge, life for Archie and his fellow officers is going to be one long reel.
... Sally Smith is an enchanting 女演员[as Marigold]. Her daisy- fresh singing ... captivates us as effortlessly as it did the handsome, dashing Archie Forsyth of Jeremy Brett.
From Flops of the 1950: Marigold
"Could there have been a more handsome leading man than Jeremy Brett, fine of voice and confident in song? He brings a welcome dash of masculinity to proceedings that are dominated by the female stars. "
Her loyal officers are drinking Her Majesty’s health with patriotic ardour outside Archie’s quarters in Edinburgh Castle. Marigold arrives and sets about organizing, with military competence, a “Sixteensome” Reel for Officers and their Ladies. Before Archie completely regains his breath from this fascinating manoeuvre, he is deprived of it again by learning Marigold’s fixed intention to spend the night in his quarters.
Colonel Sellars finds his daughter hiding behind Archie’s curtains, and only Mrs. Pringle’s arrival as chaperone and ally prevents a court-martial casting its shadow over these innocent proceedings.
Just as everything seems to be straightening out, Archie’s Aunts arrive and, hearing that he intends to save Marigold from the turnips by marrying her himself, promptly cut him off without a penny. Mme Marly proves more than a match for Scottish obstinacy by settling an enormous dowry on Marigold. One is left with the impression that, with Marigold in charge, life for Archie and his fellow officers is going to be one long reel.
... Sally Smith is an enchanting 女演员[as Marigold]. Her daisy- fresh singing ... captivates us as effortlessly as it did the handsome, dashing Archie Forsyth of Jeremy Brett.
From Flops of the 1950: Marigold
"Could there have been a more handsome leading man than Jeremy Brett, fine of voice and confident in song? He brings a welcome dash of masculinity to proceedings that are dominated by the female stars. "
Johnny the Priest（1960）
(now the Shaftesbury Theatre)
Premiered 19 April 1960. Ran for 14 performances
Role: The Rev. Richard Highfield
Summary and analysis from British Musicals In Depth:
In London's dockland, a young priest, the Revd. Richard Highfield (Jeremy Brett), does his best to put the youth of the district on the straight and narrow. The amount of energy he uses in his crusade concerns the church council, but his wife Mary (Stephanie Voss) supports him in his endeavours. A young delinquent, Johnny (Bunny May), is one of the vicar's successes. Highfield gets Johnny into the Navy, but then the boy steals a telescope. He asks Highfield to give the police a false alibi, but Highfield cannot find it in his conscience to do so, and Johnny is thus put back to an uncertain future.
Johnny the Priest was Jeremy Brett's last musical in London. He had already played in Meet Me by Moonlight and ... Marigold, neither of which had been substantial hits. Perhaps when Johnny the Priest collapsed after its first full week he thought straight plays might be a better bet. But he was a real loss to the British musical theatre, one of the most handsome, confidently voiced, masculine and attractive actor-singers.
(now the Shaftesbury Theatre)
Premiered 19 April 1960. Ran for 14 performances
Role: The Rev. Richard Highfield
Summary and analysis from British Musicals In Depth:
In London's dockland, a young priest, the Revd. Richard Highfield (Jeremy Brett), does his best to put the youth of the district on the straight and narrow. The amount of energy he uses in his crusade concerns the church council, but his wife Mary (Stephanie Voss) supports him in his endeavours. A young delinquent, Johnny (Bunny May), is one of the vicar's successes. Highfield gets Johnny into the Navy, but then the boy steals a telescope. He asks Highfield to give the police a false alibi, but Highfield cannot find it in his conscience to do so, and Johnny is thus put back to an uncertain future.
Johnny the Priest was Jeremy Brett's last musical in London. He had already played in Meet Me by Moonlight and ... Marigold, neither of which had been substantial hits. Perhaps when Johnny the Priest collapsed after its first full week he thought straight plays might be a better bet. But he was a real loss to the British musical theatre, one of the most handsome, confidently voiced, masculine and attractive actor-singers.
From Theatre World, May 1960:
The adaptation and lyrics are by Peter Powell, and though some of the lyrics are in themselves good, one does wish that he could have refrained from making the Rev. Richard Highfield sermonise so often in song. One couldn't help feeling sorry for Jeremy Brett and Stephanie Voss for being made to sing such maudlin stuff.
... Jeremy Brett is to be congratulated on his performance as the noble clean-limbed young Vicar who tries to fight boredom in the young with old volumes of Punch, ping-pong and boxing gloves. One shudders to think what the part would have been like in less capable hands. As it is he managed to retain sympathy and was even touching in his final dilemma and defeat.
The adaptation and lyrics are by Peter Powell, and though some of the lyrics are in themselves good, one does wish that he could have refrained from making the Rev. Richard Highfield sermonise so often in song. One couldn't help feeling sorry for Jeremy Brett and Stephanie Voss for being made to sing such maudlin stuff.
... Jeremy Brett is to be congratulated on his performance as the noble clean-limbed young Vicar who tries to fight boredom in the young with old volumes of Punch, ping-pong and boxing gloves. One shudders to think what the part would have been like in less capable hands. As it is he managed to retain sympathy and was even touching in his final dilemma and defeat.
