BFI Screenonline: Good Old Days, The (1953-83).

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Ah, The Good Old Days; Ah, The Good Old Days. User Deleted This profile has been archived. the 'master of ceremonies' material that Leonard Sachs used to introduce the acts would have either been written for that edition of the programme, or perhaps ad-libbed during the recording session. The acts were, however, deliberately impersonating.

Yes, I would suspect Leonard's introductions are scripted. But then so are Doddy's. He often did those garrelous innuendos in his introductions. I should admit to spelling 'Sax' wrong above by the.

But that same year (20 July) it changed its title and got a new host: Don Gemmell, who after only three shows handed over to Leonard Sachs. Sachs was on familiar territory hosting The Good Old Days. In 1936 along with Peter Ridgeway he had acquired premises on the top floor of 43 Kings Street, Covent Garden and rapidly established the Players.

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Leonard Sachs' introductions were brilliant. Bernard Cribbens and Mike Reid were good on that clip. Eartha Kitt seemed totally ill at ease and how lovely to see Edward Woodward singing when he became far better known for his tough guy acting roles. 18-04-2012. sf1378. Re: The Good Old Days.

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He delivered his speech in a style which evoked memories of Leonard Sachs announcing acts on the long-running TV show The Good Old Days. Sachs specialised in elaborate introductions using long and.

For your delectation and delight, chairman Leonard Sachs introduces Ken Dodd, Anita Harris The Simmons Brothers, Frank Patterson, Elly O'Grady, Pearl Fawcett, The Tornados, The Goodsons With MEMBERS OF THE PLAYERS' THEATRE, LONDON Choreography DOREEN HERMITAGE Musical director BERNARD HERRMANN Produced and directed by BARNEY COLEHAN.

Balakirev, besides guiding and inspiring the Russian nationalist musicians (including Mussorgsky, Borodin, and Rimsky-Korsakov), was an important composer in his own right. His Symphony in C was produced in 1898. It opens with an introduction marked Largo based on the main theme of the Allegro vivo that follows.