By Sears Eldredge
The “New Windmill Theatre’s” revue, Gentlemen Only (the company now billed as “The 18th Divisional Concert Party”) opened The Palladium Theatre on 21 December.[i]
In a wry take on the show’s title, Desmond Bettany’s cover for the program shows one of the checkpoints many POWs would have to pass through to get to the Palladium Theatre in the Roberts Hospital Area. (This program was done for the revival of the show in January, ‘43.)
With the New Windmill Theatre now in the hands of the Japanese, and the 18th Division’s new theatre still under construction, Greenwood and his “Nitwits” Orchestra left the Windmill company and moved over to The Palladium. They weren’t the only ones to do so: the actors Derek Cooper, Hugh Eliot, Rich Goodman, and Jon Mackwood soon followed suit. And so did Chris Buckingham, Milburn Foster, and Aubrey King, who became respectively, The Palladium’s Stage Manager, Lighting Designer, and Costumer. (Besides performing as a female impersonator, Cooper would also design sets.) The American seaman 1st Mus, J. J. Porter (who had arrived with one of the new Java Parties), started work at The Palladium as Musical Arranger for Jack Greenwood, but would eventually take over as Band Leader.
[i] David, 43.
Note that all the documents in this series of blogs reside in Sears A. Eldredge Archive in the De Witt Wallace Library at Macalester College, 1600 Grand Avenue, St. Paul, Minnesota, 55105
Sear’s book, Captive Audiences/Captive Performers: Music and Theatre as Strategies for Survival on the Thailand-Burma Railway 1942-1945, was published by Macalester College in St. Paul, Minnesota in 2014, as an open-access e-book and is available here: http://digitalcommons.macalester.edu/thdabooks/22