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Vivienne Martin
Vivienne Martin with Gerard
Hely in The Match Girls wondering what to do with This
Life Of Mine |
An outstanding leading lady of the British musical theatre,
Vivienne Martin was born in Kartaia, New Zealand, in1936, educated
at New Zealands Wellington College and came to England
to train at RADA. In 1953 at the Lyric, Hammersmith, she was
in the cast of the Alan Melville-Charles Zwar-Donald Swann revue
At the Lyric, transferring to the St. Martins in 1954 when
the show was renamed Going to Town.
Her first appearance in a musical was as Moonbeam in Vivian
Elliss musical for children, Listen to the Wind, at the
Oxford Playhouse in December 1954. The next year at the Winter
Garden she was cast in a supporting role as Daisy Fig in the
A. P. Herbert and Vivian Ellis romantic excursion into canal
life, The Water Gipsies. When its star, Dora Bryan, had to miss
performances because of a suspected pregnancy, Martin took over
her role with tremendous success. Her mark was made, but when
Bryan announced that she was leaving the show the closing notice
was put up.
Martin played in the revue For Amusement Only at the Apollo
in 1956, and subsequently took over one of the major roles in
its tour. There was to be much more revue work, beginning with
Fine Fettle, a Benny Hill vehicle at the Palace in 1959. In 1963
she played Lady Viola in the Ned Sherrin-Caryl Brahms -Malcolm
Williamson musical No Bed for Bacon at Croydon, but a greater
opportunity came when she took over the role of Nancy from Georgia
Brown in Oliver! at the New, playing for a year. Another revue,
Chaganog, had originally been seen in London with its one leading
lady played by Patsy Rowlands, but when the show reappeared briefly
at the St. Martins in April 1965, Martin took over.
It seemed to be a career dominated by take-overs, but now
three British musicals offered her leading parts. Martin did
sterling work in them, but all three flopped. She played Kate,
the captain of the striking factory girls who rebelled against
atrocious working conditions in Bryant and Mays match-factory,
in the unusual, interesting and innovative The Match Girls at
the Globe in March 1966. It was a towering performance that showed
she was a considerable talent, but the writers (Bill Owen and
the composer Tony Russell) perhaps didnt quite come up
with strong enough material. The grittiness of the piece didnt
help. Nevertheless, the show brought her excellent notices, but
only a short run. |
Vivienne Martin as Mary Grimaldi
in Joey, Joey |
Mary Holland in Plays and Players wrote that:
the most tangible asset of all is Vivienne Martin. A
thin, perky girl with straggling red hair and a pale urchins
face she sings, dances and - most of all - acts the part of Kate
with reckless, unreasoning spunk and tenderness, a Joan of Arc
ready to fight like an alley-cat or croon with love. She has
cut through the surplus fat of sentimentality in the book and
gone to the bare bones of the character. Her portrayal of Kate
remains when the inadequacies of the musical fade. She makes
The Match Girls an evening worth weeping through.
Patrons had to be quick to see her next two leads. A few months
later she was back at the Saville starring as Mary Grimaldi opposite
Ron Moody in his show about the great Regency clown Joey, Joey.
Again, she was splendid and had a clutch of good numbers including
the delightful Flowers but the box-office did no
business, the press sneered at Moodys effort, and the show
collapsed in disarray. |
- Vivienne Martin at the time
of
- The Match Girls
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Equally short-lived was Queenie which turned up at the Comedy
the following year with Martin in the title role supported by
Bill Owen, Paul Eddington and Simon Oates as wooing suitors.
Ted Willis hampered the company with a script in rhyming couplets,
which - whatever the score was like (it was not recorded) - has
ensured Queenie a place in history. The show was no sooner opened
than it closed. In 1967 she played Becky Sharp in a scaled down
version of Julian Slade's adaptation of Thackeray's Vanity Fair
at the Everyman, Cheltenham. Fortunately, there was more success
in straight theatre, including leading roles at Nottingham Playhouse
opposite John Neville in the opening season. |
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Troubled Musicals
- Her subsequent musicals were mostly troubled. It didnt
seem the time for another take-over, but she stepped into Gloria
de Havens dressing room when she left the cast of the American
musical Golden Boy at the Palladium. On her first night in the
leading role, the company manager suggested to Martin that she
might like to introduce herself to her leading man, Sammy Davis
Jnr. Martin replied that if he wanted to meet her, she would
be very pleased to see him. In the event, they met on stage in
her first scene. In 1970, she played Golde in a touring production
of Fiddler on the Roof, and the next year Ron Moody used her
again, casting her as Dru Brown in his musical Saturnalia which
played for a season at the Belgrade, Coventry. Throughout her
career, she had also turned up in various provincial productions,
including an Ipswich staging of The Boy Friend in which she proved
herself one of the finest Madame Dubbonets, and in Jane Eyre
at Windsor.
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- Vivienne Martin with George
Ogilvie as
- La Dame au Caramel
in the revue Chaganog
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For an inferior Jule Styne musical, Bar Mitzvah Boy, she was
cast as the hairdresser Sylvia. At the beginning of the pre-London
tour she had two scenes and a song, but by the time the show
arrived at Her Majestys Theatre in October 1978 the role
had been reduced, leaving little to justify her third-star billing.
Bar Mitzvah Boy was soon finished with. There was a supporting
role in the revival of Little Me at the Prince of Wales in 1984,
and she played in the revival of Once Upon a Mattress at the
Watermill, Newbury. She was a gallant Fr¬ulein Schneider
for Gillian Lynne (who had directed her in The Match Girls) in
the revival of Cabaret with Wayne Sleep as the MC at the Strand
in 1986, but the production was blighted with various difficulties
(including the orchestras relationship with the leading
man) and played its final performances without the benefit of
musicians. She played in Sunday in the Park with George at the
National Theatre. A great deal of television work included the
musical of The Good Companions in which Martin played Elsie Longstaff.
But it was difficult for her to find parts in musicals that showed
her many-sided talents to their best advantage. Perhaps audiences,
or even managements, were confused as to what she was: a singing
actress, a leading lady or a comedienne, for - after revues died
out - her marvellous comedic talents were mostly used on radio
or television. Vivienne Martin showed she could range from the
charged tragedy of The Match Girls to the most expert comedy
playing, and the versatility perhaps clouded the issue.
Discography: Vivienne Martin
The Water Gipsies Original London cast (chorus only)
The Match Girls Original London cast
Bar Mitzvah Boy Original London cast
The Good Companions Yorkshire Television cast
Annie Get Your Gun Cover version (as Annie)
No, No, Nanette Cover version (as Nanette) |
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