The Val Parnell Story: When Judy Garland had to be pushed on…

• Last time we told how Val Parnell brought modern quick-fire variety to the London Palladium for the first time and then, after the war, started a season of international variety . . .

FIRST American to top the bill under the new regime at the London Palladium was Mickey Rooney. But Mr Rooney failed to please either the public or the critics. Yet, if he had heeded “The Guv’nor’s” advice the story might have been very different.

At the Monday morning run through, showman Val sat in the empty stalls and watched Rooney run through his act. He crammed in everything—singing, dancing, playing drums and a few impressions.

“You’re doing too much”, Val Parnell told him. “Your act lacks cohesion. It’s too scrappy, much better to slow it down”.

But the star from Hollywood thought he knew better . . .

Another American artist who didn’t do too well was the comedian Jack Carson. His opening night was hardly a success. This was largely due to his insistence on including comedy material which Mr Parnell told him would have little appeal to London audiences. Afterwards he changed it and had a much better reception.

CHARLES HENRY’S PUSH

After congratulating Danny the Marquis said he thought his cousins would also like to see the show. Danny, not realising who they were, said “Sure, bring them along”.

And they came, too — Princess Elizabeth and Princess Margaret. They brought their parents along as well — the King and Queen. Val Parnell was there to welcome them, the first time a reigning monarch had ever been to an ordinary music-hall performance and the first time Royalty had sat in the stalls with the paying public.

But Val Parnell not only brought vaudeville back to London, but according to Jack Benny he did the same for New York too.

Writing about Val Parnell in “The Hollywood Reporter”, Mr Benny has pointed out that the fabulous success of the variety seasons at the London Palladium were also responsible for the reopening of the Palace Theatre, New York, as a vaudeville house with Judy Garland topping the bill and Max Bygraves in support.

MAX’S CHANCE

Judy Garland was the most nervous star. She was so frightened on her opening night that Charles Henry, Val Parnell’s production manager who still assists him in our “Sunday Night at the London Palladium” series, had to push her on the stage from the wings.

Another nervous performer — Danny Kaye.

“A great worrier beforehand”, says Mr Parnell, “and until he got started, a bundle of nerves. But from that moment on he was terrific”.

Danny Kaye was Val Parnell’s biggest success. He followed Mickey Rooney into the London Palladium in the summer of 1948 and certainly did more than any other performer to establish the London Palladium as the great Mecca of international vaudeville.

On the second night of his opening, Vai Parnell took the Marquis of Milford Haven back stage to meet the American star. The theatre had been packed and the Marquis had seen the show standing at the back of the circle.

It was “V.P.” who gave Max his first big chance too, putting him into the Palladium to deputise for Ted Ray. And he found Ted Ray at the Palace, Luton, giving him a free pass for the Palladium so that he could watch other performers, improve his style.

Peggy Mount came down from Wolverhampton Rep. to audition for the role of the witch in a Palladium pantomine. She was so good that Vai Parnell gave her the job on the spot—after the dress rehearsal increased her salary. It was her first West End part.

LAS VEGAS

The fame of the Palladium bills even reached Las Vegas. The year before ITV started “The Guv’nor” took a party of British performers for a six weeks season at the Desert Inn. They were billed as “Palladium Varieties” and offered a typical London Palladium show — slick and fast moving with twelve acts on the bill.

On opening night, the manager of the Desert Inn took Mr Parnell aside.

“You’ve too many acts, you’ll run overtime” he told him.

“How much do you bet?” Val Parnell replied.

“I bet you 200 bucks [$2,300 in today’s money, allowing for inflation – Ed] you don’t get through the show under ninety minutes”, said the manager.

WITH A SMILE

The two men shook hands and when Val’s “Palladium Varieties” closed in seventy-five minutes the American paid up with a smile. He didn’t want his customers kept away too long from those gaming tables.

This, then, is something of the show business background to ATV’s Val Parnell.

In the world of British entertainment, his position is unique.

And it was only natural that when Lew Grade — then a variety agent — foresaw the possibilities of commercial television he should seek the help of the man for whom he had supplied so many of the star acts for the London Palladium and the Moss circuit.

“Val” he told him over the phone “You’re in commercial television”.

“But — what’s all this Lew?” asked Val.

“Don’t argue” said Lew “Leslie (his brother) and I are forming a company to apply for a TV licence … and we want you in with us”.

Val Parnell asked for more details — and agreed. But a few minutes later he was back on the phone … to Lew.

“Lew, there’s a snag in this” he told him “I’ve an exclusive contract with Moss Empires and I’ll have to get an okay from that Board”.

This was obtained and it followed that when Moss Empires finally entered the commercial television field in 1953 through its shareholding in ATV, Val Parnell was put on the TV Board. A few months later he was asked by the Board to take over the managing directorship of the company with Lew Grade as his deputy. Things remained this way until last year when he resigned as Managing Director.

But, as he has already indicated, Val Parnell will still be with us … as executive producer of his “Sunday Night at the London Palladium” series and he also retains his seat on ATV’s Board.

Writing in the Daily Mirror at the time his resignation was announced, Clifford Davis called Mr Parnell “The Last of the Great Showmen”.

I can’t think of a better description … or a finer tribute.