Jonathan Cecil

How often, when listening to announcers or weather forecasters or politicians on the radio, do I think, ‘That’s an ugly voice’! This seldom applies to speakers with educated regional accents, such as Scottish, Irish or Yorkshire, but all too often to those from London or the Midlands where good standard English is becoming a rarity. This is not a matter of class; ‘Sloane’ voices are as unappealing as ‘Estuary’ ones; indeed the two sometimes hideously cross-fertilise. Good speech is a matter of clarity and the unselfconscious enjoyment of the spoken language. It was an unexpected and nostalgic pleasure to listen to old recordings of or about the Bloomsbury Group.

‘When you reach your seventies,’ mused a once successful actor, ‘you either don’t work anymore or you’re Leslie Phillips.’ Indeed Phillips’ career has been, and still is, something of a phenomenon, and not only his career in the theatre. His great secret from childhood onwards has been continual self- reinvention. Starting life in extreme poverty in Tottenham, he was quite a success at school, especially in plays; he joined Miss Italia Conti’s celebrated acting academy, became a boy actor and then worked in a menial capacity for the top West End management H. M. Tennent’s. The war intervened.

Listing page content here On the face of it the actress Anna Massey’s life would seem to have been a charmed one. The child of distinguished theatrical parents — Raymond Massey, the powerful Canadian actor, and Adrienne Allen, the original Sybil in Private Lives — Miss Massey was steeped in the world of the stage and made her first professional appearance in a West End starring role. Hers was the title part in The Reluctant Debutante, working with the greatest light comedienne of her time, Celia Johnson, and a fine supporting cast. Anna Massey more than held her own in their company.

In the delightful correspondence (1944) between the late actress Athene Seyler and the actor Stephen Haggard, she inquires of a potential professional performer: Does he aspire to be a power in the theatre, a leader or more vulgarly a star? Then let him be prepared to devote his entire energies, thoughts and interest to his job. He must breathe, eat and dream the theatre: I have never known a successful actor do less. This will limit him as a person and as a citizen. He must of necessity be an egoist and will probably become a bore. He must give up a wider life and concentrate on his job. This masterly description of a star player — though I’ve seldom heard him called a bore — fits Laurence Olivier perfectly.

Actors’ biographies, once a comparative rarity and usually ghosted and bowdlerised, spring forth every season. They are often pruriently, dubiously, sensational: we are told that Olivier had an affair with Danny Kaye, that Peggy Ashcroft was a near-nymphomaniac and Alec Guinness a covert gay cruiser, all with scant evidence and with little relation to their art. What a relief to read a sober biography of a distinguished player, Michael Redgrave, largely concentrating on his acting although not shirking the fact that he was a promiscuous, often guilt-ridden bisexual with a one-time flirtation with Stalinism.

Asked who was the greatest French poet AndrZ Gide famously replied, 'Victor Hugo, hZlas!' I confess to having had similar feelings about King Lear. Of Shakespeare's four great tragedies I find it the bleakest and least sympathetic, with the most exasperating protagonist and the most preposterous sub-plot. The naivety and perverse behaviour of young Edgar are hard to credit. Wrongfully estranged from his father Gloucester through a blatant trick played by his bastard brother - something a moment's explanation could have put right - he hastily flees and takes on the disguise of a garrulous, mud-caked lunatic. Gloucester's later on-stage blinding often cited by defenders of video nasties - 'Shakespeare got there first, you know!' - is for me artistically ill-judged.

As Hamlet said, 'Look here upon this picture and on this.' Early this year Garry O'Connor produced a book about Paul Scofield. The actor's personal life being famously uneventful, there is little there for lovers of theatre gossip. It is, despite a few pretentious notions about Scofield's psyche, an admirably thoughtful book on the player's art, combining a thorough knowledge of Scofield's roles with a generous admiration for the man. Now O'Connor has written Alec Guinness's biography, and a much less respectful piece of work it turns out to be.

Whenever, searching through the television channels for something worth watching, I come across a Dad's Army repeat I invariably stay with it. The series has not dated, partly perhaps because it was dated when it started. Few of us who were young in the 1960s had clear memories of the Home Guard and many of the plots could have come straight from an old Will Hay film. Yet the interplay between the characters has remained unsurpassed. And the lynchpin is the great Arthur Lowe. Captain Mainwaring remains a superb comic creation. A pompous, narrow-minded petty tyrant, he is not an obviously attractive character.