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To begin with, here are a few more mentions of composers for the musical stage in the 1960s and 1970s: Alan Haines, for Pretty as Paint, produced in Leicester in 1960 (he also conducted it); David Anderson, also a conductor, for His Masterís Voice (1977, revived 1983); Annette Battam for The Little Giant (words by John Pudney: Greenwich Theatre, 1972); Max Boylett, For the Tigers Are Coming (also dating from 1972, words by Alan Plater); Stephen Boxer, whose Francis was produced at the Grand Theatre, Wolverhampton in 1974; and Peter Uppard, a Piano Professor at the Royal Academy of Music, who wrote the book, lyrics and music for the musical play Katerina, produced in Exeter in 1984.

Our present day composer for film/TV is David Mitchem, most recently (2001) for the enjoyable BBC2 documentary What The Victorians Did For Us. And in this paragraph we can also mention Terry Davies who composed incidental music and especially for the Royal Shakespeare Company and most recently (2001) and jointly with Stephen Warbeck, previously discussed, for Adrian Mitchellís adaptation of Lewis Carrollís classic Alice in Wonderland and Through the Looking Glass.

The Doncaster teacher and pianist Allan Laughton is still active in the concert-hall at 80 years plus; in his younger days he tried his hand at composition, his Waltz and Minuet for piano duet being played in concert in 1947.

Harold Rawlinson I discussed in an early Garland. I am not sure whether Bertha Rawlinson was related to him but some of her songs, published in the 1960s, e.g. Chimes (words Alice Meynell), Poem of the Air (Longfellow) and Tarantella (Belloc) are lightish in character.

Philip L Scowcroft

September 2001

Enquiries to Philip at

8 Rowan Mount



Philip's book 'British Light Music Composers' (ISBN 0903413 88 4) is currently out of print.

E-mail enquiries (but NOT orders) can be directed to Rob Barnett at

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