Home > Work > Unmasked: A Memoir
1 " Should you want to listen to Variations, try hearing it from a good-condition original 1978 vinyl pressing. Because the sides are relatively short, the sound quality is amazing. "
― Andrew Lloyd Webber , Unmasked: A Memoir
2 " You are lucky if you know what you want to do in life. You are incredibly lucky if you are able to have a career in it. "
3 " She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat. "
4 " She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat. And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the "
5 " She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat. And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the bar of an East End pub. There was the saga of a Yorkshire terrier called Little Tom Pollicle which was apparently Eliot’s nickname, and a long poem about a man in white spats who meets a casual diner in a pub called the Princess Louise and starts talking about “this’s and thats and Pollicle Dogs and Jellicle Cats.” I asked Valerie what the words “Pollicle” and “Jellicle” meant. She explained it was Eliot’s private joke about how the British upper class slurred the words “poor little dogs” and “dear little cats.” She also revealed that Eliot intended the “Princess Louise” poem, as we came to call it, to be the preface of a book about dogs and cats, but in the end cats prevailed. “The Awefull Battle of the "
6 " And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the bar of an East End pub. There was the saga of a Yorkshire terrier called Little Tom Pollicle which was apparently Eliot’s nickname, and a long poem about a man in white spats who meets a casual diner in a pub called the Princess Louise and starts talking about “this’s and thats and Pollicle Dogs and Jellicle Cats.” I asked Valerie what the words “Pollicle” and “Jellicle” meant. She explained it was Eliot’s private joke about how the British upper class slurred the words “poor little dogs” and “dear little cats.” She also revealed that Eliot intended the “Princess Louise” poem, as we came to call it, to be the preface of a book about dogs and cats, but in the end cats prevailed. “The Awefull Battle of the "
7 " Pekes and the Pollicles” was the sole survivor of his original scheme. Eliot’s letter to Geoffrey Faber suggested another building block, an event that brought the cats together. “The Song of the Jellicles” is about a Jellicle Ball. Could this have been the event that Eliot was proposing? If so “Practical Cats” would have dance at its centre. Dance was now sweeping Britain, albeit about six decades behind America. Brian Brolly reluctantly accepted that Cameron would co-produce with the Really Useful Company. “Practical Cats,” the musical, was born. "
8 " Cameron began wooing Trevor. It wasn’t easy. It was a big deal for Trevor to plunge from the Royal Shakespeare Company into the wicked world of commercial theatre, especially with such a bonkers-sounding project. Musicals were not accepted by the subsidized sector like they are today when no National Theatre season seems complete without one. Another big issue was moonlighting from the RSC. Today the prospect of a bumper box office would have the RSC jumping through hoops to develop a project like “Practical Cats,” but in 1980 it was unthinkable. It took Cats to be a smash before the RSC governors considered that a musical of Les Misérables was the sort of enterprise to nurture under their roof. "
9 " I remember being struck that, as with the Old Possum poems, Eliot had written “Billy McCaw” with a defined verse and chorus almost as if he were writing lyrics. Here Eliot betrays that he was American. I don’t believe any British poet wrote at the time like this. Years later Valerie told me that Eliot invariably had a hit tune of the time in his head when he wrote what she called his “off-duty” poems. "
10 " Although the material Valerie gave me changed the direction of “Practical Cats,” Cameron and I soon realized that to make a musical out of such a potpourri a writer would have to come on board. Faber boss Matthew Evans was extremely nervous and thought Valerie would find the idea difficult. It was now blindingly obvious that without a director with a pedigree like Trevor Nunn’s she could veto “Practical Cats,” at least as a musical. "
