It just wouldn’t be Christmas in the U.K. 
          if, over the holiday break which now extends 
          to the New Year, ‘The Sound of Music’ or ‘Mary 
          Poppins’ didn’t feature on the terrestrial 
          TV schedule, usually on Christmas Day itself. 
          In 2003 there was a minor shake up and we 
          got George Cukor’s 1964 film version of Lerner 
          and Loewe’s musical ‘My Fair Lady’. The leads 
          were taken by Rex Harrison as Proff. Higgins 
          (the part James Cagney took on Broadway), 
          with the eponymous lady herself being the 
          delectable Audrey Hepburn, admirably showing 
          off Cecil Beaton’s couture, but with her singing 
          dubbed to the voice of Marnie Nixon. The part 
          of her father was acted and sung by Stanley 
          Hollway and included the memorable song ‘Get 
          me to the Church on time’. The film got 7 
          ‘Oscars’ and Holloway found himself re-discovered 
          in the U.K., where he had been largely known 
          for his work on the variety stage, particularly 
          for his monologues, many of the most famous 
          and memorable of which are found on this disc. 
          Born in 1890 Holloway could well be described 
          as a polymath entertainer. He appeared alongside 
          Sir Laurence Olivier in ‘Hamlet’ (1948) before 
          creating dustman Doolittle on Broadway at 
          the age of 65 and where his daughter was Julie 
          Andrews, who did sing her own words! In his 
          early twenties Holloway had fancied himself 
          as a budding operatic baritone and went to 
          Milan, at his own expense to study. However, 
          World War 1 saw him conscripted into the army 
          and he returned to the stage to co-write and 
          star in the ‘Co-optimists’, a revue that ran 
          for six years at the end of which he returned 
          to the variety theatre performing rhyming 
          monologues including ‘Sam. Pick Oop Tha’ Musket’, 
          which he wrote himself (tr.2). Hearing him 
          one night, George Marriot Edgar, a writer 
          and fellow performer in the ‘Co-optimists’, 
          provided Holloway with the script of ‘The 
          Lion and Albert’ (tr.1), which became one 
          of his most popular monologues. 
          Holloway’s style was to present the monologues, 
          with piano accompaniment, in a Lancashire 
          dialect, one not so broad as to be incomprehensible 
          in Cheshire and points south, but inflected 
          and intonated with his innately musical baritone 
          and enunciated with perfect diction. As the 
          monologue evolves the characters come vividly 
          to life as one listens, particularly as they 
          convey so much of the social mores of the 
          time. The wife is always mother (trs.1. 4. 
          12) the army officer is very public school 
          whist soldier Albert is a down to earth working 
          class with perhaps a touch of revolutionary 
          Marxism in his non-conformist soul (tr.2 and 
          13). Even Noah speaks better than another 
          Sam as he tries to negotiate the price of 
          Maple, to furnish ‘The Ark’, down from ‘three’apence 
          a foot’ (one and a half pre-decimalisation 
          pennies) Trs. 3. 9. The humour of the situations 
          was not so much in the remote possibility 
          of the happenings being true, but the identification 
          of the audience with the situation and the 
          reaction of the characters that they had come 
          to know so well. Not all the follow up monologues 
          are of the quality of what might be called 
          the first in the series. This is particularly 
          true, I felt, in respect of Noah and Sam Oglethwaite, 
          whilst Albert in particular, but also Sam 
          Small, the soldier, fare better. 
          The recordings include here date from ‘Old 
          Sam’ of 27th October 1930 to ‘Yorkshire 
          Pudding’ (tr.10) and ‘Brown Boots (or as Holloway 
          says it’ Brahn Boots’) tr.14, set down on 
          29th October 1940.The later recordings 
          have more presence than the earlier, all are 
          clear and an excellent representation of the 
          Holloway my minds ear carries from performances 
          I heard from him in the theatre and on the 
          radio over fifty odd years ago. This collection 
          of Holloway, and his famous monologues, is 
          but one facet of the artistry and creative 
          imagination of one of the 20th 
          centuries greatest entertainers. However, 
          it should provide happy recollection to many 
          oldies and enjoyment to a younger generation 
          who perhaps pass the credit list of ‘My Fair 
          Lady’ without realizing the name and the important 
          part Holloway played in keeping British spirits 
          alive and kicking in the dark days of World 
          War 2 and the years preceding and following. 
          Highly recommended. 
        
          Robert J Farr