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Theatre Archive Project: Interview with Patricia Noble

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Theatre Archive Project: Interview with Patricia Noble THEATRE ARCHIVE PROJECT http://sounds.bl.uk Patricia Noble – interview transcript Interviewer: Kate Harris 18 December 2006 Script Reader for H.M Tennent. Enid Bagnold; Hugh 'Binkie' Beaumont; finance; first nights; John Gielgud; H.M Tennent's; homosexuality; The Last Joke; The Lyric Hammersmith; My Fair Lady; David Noble; parties; John Perry; Terence Rattigan; Ralph Richardson; Ross; Royal Court Theatre; Daphne Rye; Separate Tables; television; Emlyn Williams. KH: Today is the 18th December and it’s an interview with Patricia Noble conducted by Kate Harris. Can I just confirm that the British Library has your permission to hold copyright over the interview transcripts and the recording? PN: Yes, certainly. KH: That’s great, thanks very much. Can I begin by asking about how your husband first became associated with H.M. Tennent’s? PN: Yes, it goes back actually to the war: he was a prisoner of war of the Japanese and became friendly with a stage designer called David Folkes, and at the end of the war my husband went into the City and he and David continued to be friends - and tennis partners actually - and one of the… two of the friends of David Folkes were Ralph Richardson and John Perry, who was a director of H.M. Tennent and they made a tennis foursome and this continued for some time and it was just purely a friendship thing. I can’t exactly remember the dates - you can probably check this - in the late 1950s, H.M. Tennent took out shares in the newly formed ITV company or ATV company, which didn’t do at all well to begin with but then suddenly took off and made a huge amount of money. And so H.M. Tennent was saddled with a lot of money and Binkie Beaumont - the director of H.M. Tennent’s - said to John Perry, ‘Do you know anybody? We need somebody to come into the company who is going to look after the finances’ and John said, ‘Well my tennis partner, James Noble, is a stockbroker, why don’t we invite him in?’. So that was really how my husband became involved actually with H.M. Tennent, and this was just before we got married and so he was… it may have been just before or just after, but very much in that sort of time and he remained as the Financial Director - he had nothing to do with the productions or anything like that - but the Financial Director of H.M. Tennent until Binkie Beaumont died… in 1991 I think. I think it was 1991. And after that actually my husband had a number of shares - in fact controlling shares - in H.M. Tennent and tried to carry on the company, but he didn’t… and the name was bought up by an American called Arthur Cantor, and I think it still exists as a http://sounds.bl.uk Page 1 of 18 Theatre Archive Project name - as a production company obviously. So I was involved I suppose from the late fifties right the way through until Binkie’s death. KH: Can I just go back to when you first became connected, through your husband. What were your husband’s first impressions of the company when he first started? PN: Well he was very excited - if you are working in the City to suddenly be working in the theatre is hugely exciting, it means a lot of the glamour and a lot of the fun and a lot of meeting interesting people; and he was pleased, because he was able to bring his expertise into a company that had never had this sort of money to deal with, so it was a very exciting time for him. KH: I mean, because in that period in the fifties H.M. Tennent was hugely glamorous with the people associated with it. PN: It was indeed glamorous. We went… I remember one of the first things I went to was the first night of My Fair Lady. KH: Oh goodness! PN: And to the first night party afterwards and anybody who was anybody was there. I was scared silly I can tell you! Scared silly, but it was the start of a period of time - I suppose the late fifties and sixties - when it was all glamour, it really was: it was amazing, and we knew all the people and it was a very exciting time for us. KH: Who were the people you particularly got to know through your husband and the company? PN: Well, Emlyn Williams - Emlyn and Molly Williams… Molly Williams became a godmother to one of our children. Ralph Richardson became a very good friend - lovely man. I suppose those two really were very good friends. Some actors were actual clients of my husband, but on the whole not. We became very… I particularly became very fond of John Perry, who was the co-director with Binkie - fascinating Irishman - but we met either at parties at Lord North Street or at their country house. I suppose, you name it, we met them. Not always - I have to admit - not always as friends, but as part of the inner circle of this very glamorous production company. KH: What were your first impressions on meeting Binkie Beaumont? PN: Very interesting really. The first time I ever met him was actually going racing and my husband, who was very much in awe of Binkie Beaumont - I mean, he was a fascinating, very interesting man - he kept saying to me, ‘you must remember he is very important, you must remember this, that and the other’. And I remember I was collected http://sounds.bl.uk Page 2 of 18 Theatre Archive Project in the Rolls, driven by the chauffeur called Jack, and we went off to Newmarket racing - just Binkie and I - and he was the nicest, friendliest man you could possibly meet. And I think if you crossed him he could be quite difficult, but to me he was always hugely friendly, hugely supportive, very eager always to find out what was going on. If we were away he wanted to know where we’d been and what we’d done, and he was actually godfather to one of my children, as was John Perry. I found him very, very interesting, he was self educated, so that he always wanted to find out… always wanted to find out more. KH: He kept his background quite a mystery from people didn’t he? Was that something that you had an impression of? PN: Oh very definitely. He had this amazing old mother who turned up at everything - I still see her actually - but no, he never talked about his past. The story was that he was the illegitimate son of the box office manager at Cardiff, and it could well have been true. It wasn’t important to him - it was what happened thereafter I think… And he was hugely clever at picking plays and picking stars. You had to follow what he wanted - I mean, there were certain stars who crossed his path and never worked again so…! But it wasn’t a question of keeping on the right side of him, I don't think… I admired him hugely and was actually very fond of him. We all used to go on holiday together - it was like a big family in a way. KH: When you were saying before about how you had to gain a sense of what he wanted in terms of plays and performers, could you maybe say a little bit more about that, your impressions on maybe how he decided on this. PN: He had an old friend called Dickie Klaus who actually was the play reader and I actually used to say to Binkie, ‘You know, you really want somebody younger to… because there is some young new stuff coming on.’, but he had very definite views about what women should be doing and I was the attractive wife of one of his partners and that was as far as it went - he wouldn’t let me work at all. But he… so Dickie Klaus on the whole did the sort of initial thing. I don't know where that ability to pick plays comes from, I don't know. I mean he took… for example Peter Shaffer’s first play, Five Finger Exercise, was found by Binkie, so he didn’t always go with the Terence Rattigan! I don't know where that comes from… it’s an innate ability to see things on stage. Mind you, he made mistakes: his production of What the Butler Saw -the Joe Orton play - was not right. The play was right, but it was cast by a lot of stars and it didn’t work. KH: Which is a shame really, because he went on to be… Joe Orton was hugely successful after. PN: A huge success, and was hugely successful actually with What the Butler Saw,but that production didn’t work. So he wasn’t totally successful, but mostly he just had… and I think it’s a talent - you can’t sit and learn it, you can’t go to university and learn it, you have it or you don’t have it. http://sounds.bl.uk Page 3 of 18 Theatre Archive Project KH: What was your husband’s impression of John Perry’s role in the company? Often that is quite marginalised. PN: It was in a way. John Perry was the business side of it, but he was not the financial side.
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