After a sold out stage tour in 2024 Cramlington Train Wreckers is back. The inspiring story of working class solidarity will be staged at Newcastle Theatre Royal on Sunday 12th July 2026to commemorate the 100th anniversary of the national strike in 1926.
The strike was the biggest rupture in society since the English civil war. Miners were asked to take a pay cut to ‘improve productivity’ – really just to maintain the profits of the bosses. North East actor Micky Cochrane played one of the main roles on the tour and is revisiting the play at Theatre Royal.
“The audiences were really good in ‘24. Lots of bums on seats and a great response. A lot of people come with high expectations for Ed’s plays and love what he does.”
Written by Ed Waugh (Wor Bella, Carrying David, Hadaway Harry) the story of the striking miners who accidently derailed the famous Flying Scotsman train in Northumberland is told by former actor and director Russell Floyd (The Bill, Eastenders), and after a very successful Carrying David and Billy Elliott the musical, the afore mentioned Micky Cochrane.
“I had worked with Russell on Carrying David and The Great Joe Wilson. I know how he works and what he brings out of actors. We work really well together.“
“I also won the North-East Culture Awards Performing Artist of the Year. It was a great reward for the fantastic plays and big roles I played last year” said Micky.
Also starring is Alex Tahnee who was in Romeo & Juliet and Alice in Wonderland “I knew Alex. She was great. The play has lots of information so we had to be on it. We had to help each other out”
“I had heard of the Cramlington Train Wreckers but I didn’t know the full story and main players so it was another chance to learn more about the history of the area.” explained Micky.
Tickets for Cramlington Train Wreckers at Newcastle Theatre Royal on Sunday 12th July 2026 available from >>>
As requested, readers of this site have contributed stories featuring supernatural phenomena. Actor and theatre producer Alison Stanley talked of her experiences. Featured in this story is a medieval castle in Chillingham, Northumberland which is reported to be one of the UK’s most haunted castles.
In the past I’ve been a celebrant at funerals and enjoy doing it. I’ve always been interested in spiritualism. I believe in a next life. We’ve talked about what happens when you die and we’ve mentioned ghosts, spirituality and the like people believe different things explained Alison.
Some say when you die you just die and there is no afterlife. But how do they know for sure? And by the laws of science we are a ball of energy and by those laws it doesn’t die so where does that energy go? The physical body dies and is buried or cremated but what happens to the energy? It’s an interesting subject.
A few years ago we went to Chillingham Castle on a day trip. There was me, my mother, my youngest son and my step dad. It was a grey dark day lashing down with rain. We were driving along the country roads getting near the castle. We turned a corner and saw an old woman in a red coat standing at the side of the road. She wasn’t old as somebody from the 1800s but there was something about her that didn’t look right. We all remarked about this woman who was in the middle of nowhere really.
I looked in my rear view mirror and she was standing looking at the car. Where did she come from as there were no houses around maybe she has dementia? I just wasn’t sure I couldn’t put my finger on it. What really was wrong was she didn’t look wet she was bone dry. But it was lashing down?
We get in to Chillingham Castle and looked at all the artefacts and stuff it’s quite cluttered. On one of the clothes dummies was a lady with a red coat and she had a hat on. It was from one of the women who had worked there as a housekeeper. I swear it was the same coat we had seen.
Another time was 10 years ago. We were sitting in a bar called the Pig & Whistle in Hollywood which is a very theatrical, grand sort of place. I went through a red velvet curtain to the toilet downstairs and after four steps I couldn’t go any further, I stopped because I froze and the hairs on the back of my neck stood up. There was no way I could go any further down the stairs.
I came straight back up and told my husband we’re going to another bar for a drink because there is no way on God’s earth I’m going to the toilet here. Later we found out there had been a fire there and there was strong spiritual activity in the pub.
I think if someone is in the next life and they visit you I think it’s a bit of an honour really. They might have plenty to do and they have taken time out of their day to see you – so yes, it’s an honour.
More revelations of supernatural phenomena will feature on this site. If you want to share your experience don’t hesitate to get in touch.
We’re sitting in the Centurion bar at Newcastle’s Central Station where I first met Leah back in 2021 where she talked about learning her craft in North East workingmen’s clubs from the age of 15, working with Bobby Thompson, touring with Ken Dodd in the ‘70s and appearing in panto with David Jason.
Now, after nearly 60 years in the business I was interested to find out just how did you survive in the arts?
This industry has always been tough for working class. I do promotion and acting, I’ve been writing with Alison (Stanley who featured in previous post) I’m busy all the time. When you’ve asked me is there weeks when I have nothing on, well no, I’m always busy.
Like when I started a production company in Jersey about 30 year ago. We would do plays or musicals but if we went on tour I would always play a role in it keeping an eye on things making sure there were no issues. You take on a couple of roles. That’s how I survive.
You can never say I’ll be working 52 weeks a year. But there was a time you’d wonder where you’ll be for summer season. I remember going to Jersey in March and not coming back till October. Whereas now it’s I wonder if I’ll get a summer season.
Some people take shows out to Europe. My niece Hariet has her own production company and she does a lot of work abroad. Although you’ve got to be careful who you work for.
In the 1970s I took a contract for South Africa when apartheid was in full flight. When I look back, I didn’t understand what apartheid was all about then. You couldn’t pick your phone up and read about it.
It was a total culture shock at 19 year old – like wow here we are in Durban. Then I ended up working in Rhodesia – it’s not called that now. The agent asked me to drive from Rhodesia to Cape Town – a very long way and I did it by myself. My mother didn’t know. I look back and think how did I do that and why!
Comedy and singing musical theatre was what I was doing on the Crazy Horse saloon circuit. It was quite unique for a female to be performing on stage, plus there were plenty other English acts going out. I think some British guys had bought into the Crazy Horse clubs and subsequently tapped into the UK club market.
Back then there were hundreds of entertainers plus it was a real show it wasn’t just a few singers getting up we had all the costumes and gear for a proper show.But as I’ve said back then you couldn’t pick your phone up and read about apartheid. I mean, I lived in Benwell all me life.
I remember flying back home and me ma’ and da’ met me at Newcastle airport. ‘I’m home at last’ I said as I flung myself at them ‘You must be the only lass who’s happy to be in Benwell’ said me Da.
I travelled a fair bit. I went to Australia twice a year for six years in the 80s. I just loved their lifestyle. I also performed at the American military bases in Germany. I remember the agent John Rae from Spennymoor here in the North East organised one tour. There were a few of us and he drove us around in a mini bus. He had all the responsibility and the things we done he must have wanted to kill us sometimes.
All this experience of understanding an audience has helped when I’m putting a show together. You see the show differently from actors who only see it from their point of view.
I remember doing Catherine Cookson’s ‘The Cinder Path’. I had Nicky Cochrane in it who played Steve McDonalds brother in Coronation Street. He was playing Ginger Slater, essentially the baddie. I gave myself a character called the fishwife who kept the story going and throwing a few laughs in as it was heavy going.
One show we were doing a matinee at Billingham Forum. I was waiting with Nicky to go on stage for our scene when he turned to me ‘Leah, this is a tough crowd’. I replied ‘Farringdon Social Club was a tough crowd this is a walk over’. A bunch of pensioners on the front row who might nod off would not present a problem.
Club audiences had a reputation for being tough but that was only because they weren’t there prepared to put up with anything. You had to be good. You had to know your stuff. That’s been a great backbone for work that I do now. How to read an audience. They’ve paid their money and tickets can be pricey for a whole family so you have a responsibility. That crowd need to be entertained.
I was brought up in variety but now I only do one variety show a year that’s the Silver Bells Christmas variety show for three nights at the Phoenix Theatre in Blyth. Looking around there were a lot of young people coming up but their take on variety was different from mine. I was old school. I’m not saying it was better in my day just different. So, I thought to keep working I’d just change what I’m doing. I’m going to step up. I went and done panto as well that led me to acting which I really enjoyed.
For the Blyth variety show we do sketches and a few gags a typical show I really enjoy it. I use the pantomime cast so there’s a lot of us on stage and this year it’s with Tommy Cannon who is a good friend. The poster said Cannon & Bell but when it was done large the Bell looked like Ball!
Tommy and his wife were up recently and we got watching some of the old TV shows like Wheeltappers and Shunters Club and yes it was a laugh but we were saying we wouldn’t dare say that type of joke now. Time has moved on. And so it should.
What am I doing now? ‘Dirty Dusting’ written by Ed Waugh is on tour in October. We’ve got my good friend Chrissy Rock (Benidorm) in it with Vanessa Karon and Paul Dunn. Can you believe the show still sells out. It was originally performed over 20 years ago. First time I did it was 12 years ago and it’s been on tour at least twice a year every year.
From late November through December, we have ‘Sleeping Beauty’ panto at Consett Empire with Marcus Collins from X Factor then next year Alison Stanley and I have ‘Tit’s Up’ going out on tour. That play is about the relationship between three ladies as they wait in the Oncology department in hospital.
It’s sharp, it’s funny, we wrote it together. Some of the shows funnier bits are added on the spur of the moment and Alison tells me to write them down for the next show cos ‘you might forget it’. My character is nosey she wants to know everybody’s business, she thinks she’s gone for a day out.
We’ve just done a short tour and it’s done well at the box office. On the first performance me and Alison were nervous because some ladies from the Cancer Society were in the audience.
Mentally and physicaly I feel better now than when I was 40. I’m 72 now but I’ve always been energetic and kept busy and turn up early for work. I’m happy to have made the move from variety to acting. The world has moved on and so it should. Would I ever retire? No chance.
Have you ever wondered how working class people survive in the arts and creative industry? From my own experience I can tell you it’s hard. Very hard.
In the early days of the 1990s I had a weekly diet of baked tatties. I’d go to me ma’s for me Sunda’ dinna. I got by.
It’s surprisingly full for a Tuesday morning in Newcastle’s Central Station bar The Centurion when I spot Alison. Looking resplendent in her beret while finishing off a bacon sarnie we find a quieter place to talk. She throws back her head and laugh’s out loud when I ask her have you ever had a proper job?
Yes, I was at the Inland Revenue for years. When I was there, I thought of myself as a resting writer, a resting actor but really found it soul destroying.
Sometimes you have to take jobs that you wouldn’t choose to do to survive in the creative industry. You have to get by. I’ve been lucky that my husband who doesn’t work in the arts, has a full time job and supports me fully as do all my family.
An opportunity to work as a library assistant in North Tyneside Council came up. I love the smell of books so the idea of being surrounded by them was great. I loved being involved when schools came in, I would read stories for the kids and put on various events.
The job was part time so it gave me more time to focus on what I should be doing – writing. I became busier in my creative work and was being offered jobs that I couldn’t turn down so had to decide if I was working in a library or an actor. You have to take the leap, you have to believe in what you are.
I’ve been acting now for about ten years. A freelance creative has always been my career choice that’s in all of my disciplines that I’ve worked in from actor to writer to theatre producer now film making.
I decided years ago to go out and make my own work rather than wait for someone to knock on the door and offer something – that doesn’t happen. You’ve got to get your name out there to increase your network. That would be my advice to anyone starting in this business. You’ve got to take chances. This is what I do. It’s a mind set.
I consider myself as a socio-economic playwrite. I write about subjects that are relatable to people, quite pertinent and pushing boundaries seeing how far you can go. If it makes people laugh, cry or squirm I’ve done my job. It’s important to me to be challenging and turn a spotlight on real issues.
I’ve got a few projects that I’m working on now. Lately we’ve been touring ‘Living the Life of Riley’ around the North East which was great and that is going out again in February 2026. ‘Life of Riley’ has been in the works since 2016.
And another short North East tour for ‘Tits Up’ co-written with Leah Bell. That’s planned for another tour next year. Really pleased with that as it’s sold out now.
That’s a play about three women who meet when they are diagnosed with cancer and how it impacts on them and how they deal with it. Unfortunately, we live through a time where if it’s not breast cancer it’s some form of cancer that lives are touched by. The play is both heartwarming and heartbreaking.
In ‘Tits Up’ there is someone who is diagnosed with cancer and there is the carer who she couldn’t manage without. That is real stress. You’re worried about the situation and the endgame that might be coming.
Of course, we all fall off our seats laughing with the actor Leah Bell but there is a serious side which comes through. There is a balance we have to get right.
My ambition is to produce more plays outside the North East and tour nationally, which ‘Living the Life of Riley’ is already doing and we are working towards that with ‘Tits Up’. We have taken ‘Hard’ to London and it’s definitely something we want to pursue more.
Screenwriting is something else that I’m starting to do. I filmed a scene from ‘Hard’ over two days on a shoestring budget and I loved it plus it has been awarded three times in UK film festivals so that spurs you on.
I’m interested in using latest phone technology for film making and being creative with it, keeping it fresh. I roped in Leah Bell and Tony Hodge (Byker Grove) to be involved. Really looking forward to more. I’m excited about it.
Have I got time for anything else? Me mother Rose was a talented writer but didn’t have anything published. When she passed away last year, I started a writing competition for Working Class Women Over 35. The first winner is announced in October this year and next year the play is produced at Laurels in Whitley Bay.
Also, it’s early stages at the minute but I’m writing a few fictional stories about events that happen in a town. That’s maybe for a book. I’m really enjoying it there is no deadline so it’s sort of like a hobby but we’ll see where it goes. Owt really that stops me getting a proper job!
Jamie in ‘Hadaway Harry’. Photo credit Von Fox Promotions
Meeting up with contributors I’ve asked the usual questions of who, where, what, why and when. For a band you might not listen to their music, but we still want to know if they were signed? What venues did they play? Did they release any records? And yes, some did appear on Top of the Pops and the legendary live music show The Tube broadcast from Newcastle.
However, occasionally I throw in a question that is relevant for working class people in a creative business. How many times do you hear working class voices on stage or TV?
Wisecrack Productions, a North East based theatre company, have produced a number of plays documenting working class history – helping in their own little way. Earlier this year I met up with actor Jamie Brown who has starred in some of the plays and asked him – how do you survive in the arts?
I work with two theatre companies. I’m company director for Theatre Space North East based in Sunderland. It’s about cultivating creativity within the community. We do theatre tours and plays in the parks through summer seasons.
Also work with 1623 Theatre Company. 1623 was the year the Shakespeare plays were published. The work centres around taking inspiration from Shakespeare and people’s everyday lives and making new work from it.
When I came back to the North East as a professional actor I was cast in The Machine Gunners at The Customs House, South Shields with an actor called Donald McBride who was a few decades my senior. He said with a twinkle in his eye and a wink ”You’ll be around a long time you will, just keep your head down and be nae botha”.
There is something in just doing your job, doing it well and knowing your role within that room. As a younger actor there is a lot to be said for that.
As I’ve plied my trade in the area for the best part of 20 years one of the things I tell students when I go to do talks at project days is there are two types of people in the world. There are those that plant seeds and there are those that just go around picking flowers.
There are two types of actor, some pick flowers while others like to get their hands dirty and plant seeds. I think you need to be doing both. But you’ve got no insurance that anything is gonna grow if you’re not the person starting it off. So, you’ve got to rely on yourself to put things in place and bring things to life.
There are some actors who want to travel the country or travel the world but for me it was about having a sense of place, a sense of community, bringing stories to life about that place, for the people from that place.
There’s a lot to be said about shared experience and shared history and values you have around you. Also, you can’t just wait for people to knock on your door, you’ve got to be doing stuff in the meantime.
There is or was a perception that when I came out of drama school someone would put out a casting call, you’d apply, go for an audition but it wouldn’t always happen. There’s a lot of in house casting, a lot of casting people who they know because it’s a high risk business and they want to take as few as risks as possible. They would prefer employing people who they can work with and who will do a good job. As a young up and coming artist sometimes that’s not you because you haven’t had the opportunity to work.
Being on the other side of the table I completely understand it but as a young actor seeing the same people get cast in the same sort of things it is frustrating and you think if that was only my chance. But don’t give up, chances do come and you’ve got to be ready to take them and not kicking up a fuss or overstepping your role.
An actor who has a creative brain has aspirations to direct, but are you the right director in that room and in that moment? Overstepping can be a bit fractious as well. You have to know your role within the room and its boundaries.
You might want to be an established theatre director in the future but if you are being employed as an actor by all means contribute your ideas when it is appropriate or when they are asked for, they are welcomed, but if you overstep you are going to realise very quickly you are not somebody who understands that particular hat you need to wear in that room. It can rub people up the wrong way.
What projects have I been working on? Well last year we done As You LikeIt outside Durham Cathedral on the green then St Peters Church, Sunderland and the Anglo Saxon farm at Bede’s World in Jarrow. This year we are planning more inside and out doors shows at places relevant to the story we are doing. We’re really excited about it.
Jeff Brown & Ian Payne appearing at North Shields Exchange 29 April 2025.
Two of the region’s most loved television icons will be appearing in North Shields this month on their regional tour. Jeff Brown and Ian Payne who between them presented award-winning local news on the BBC and Tyne Tees Television for more than 30 years will be sharing the stage at the Exchange Theatre.
People will get the chance to learn about the interests and lives of these TV personalities who have been welcome guests in our living rooms for decades.
Jeff, 62, joined the BBC over 20 years ago, co-presented Look North with Carol Malia until he left in May last year. Ian, 56, joined Tyne Tees in 1992 from Nova International where he worked with Brendan Foster on the Great North Run. Ian has presented with Mike Neville and the much-loved Pam Royle. He now shares news anchor duties with Amy Lea.
Despite once being on rival stations they are good mates – having worked together at Tyne Tees for six and a half years in the 1990s.
The compere for the evening will be South Shields playwright Ed Waugh (Wor Bella, Hadaway Harry, The Cramlington Train Wreckers) whose play Carrying David transfers to Newcastle Theatre Royal in June. Ed explained “I’ve worked with Jeff and Ian at various times, especially at Sunday for Sammy. They’re both really entertaining and interesting lads. Whenever we get together it’s one long laugh.”
He continued “We put them together a year ago at the Lit & Phil in Newcastle and the Customs House in South Shields where it sold out twice at both venues. It went down a storm.They are both cultural icons of the region, that’s why we are touring to The Exchange in North Shields, Gala Theatre Durham, Bishop Auckland Town Hall and Gosforth Civic theatre.”
Ed continued “Ian was a top trampolinist in his youth and appeared on the children’s television show Blockbusters! He’s also a creative writer, a budding artist and loves music. Likewise, Jeff is a creative writer. His excellent play – The Bench – is touring the region in June. He’s also a canny chanter. I’ve seen him sing live with a band and he rocked”
“It’s a cracking show their stories are captivating and hilarious. It’s a fantastic opportunity to get to know Jeff and Ian better.”
An Evening with Jeff Brown and Ian Payne will be at: Durham Gala April 24, North Shields Exchange April 29, Bishop Auckland Town Hall May 12, Gosforth Civic Theatre May 16. Contact the venues for details.
‘I was born in 1932 and been in the business since I was 14 years old. When I was 18 I had to do National Service for a couple of year, you had to do that after the Second World War’.
London born Ray remembers his roots and where his life on stage began…
‘Originally the family were Irish and came over to Jarrow in the North East where my Dad was born, then he hitch hiked down to London to get work.
After I completed my National Service I went up north and joined a repertory company in Blackburn for a couple of year, before auditioning for Brian Rix at London’s Whitehall Theatre where I ended up staying for seven years’.
Comedy and farce are the backbone of Ray’s work but a rock n roll swerve in 1977 saw a musical celebrating the life of Elvis Presley.
The show opened at London’s Astoria Theatre with pop stars Shakin’ Stevens and PJ Proby playing the Elvis role in different stages of his life. Europe, Australia, Canada and Japan tours quickly followed.
‘I enjoyed the Elvis show so much. We got in touch with his agent and asked to put a show on about his life and he said sure go for it. So we went ahead and here we are over 40 years later talking about it’.
‘Having previously written with Tony Hilton and John Chapman, I then started to write my first solo play which was ‘Run For Your Wife’, that ended up running for nine years in London.
We also had a six week run in New York and that went well, really delightful’.
Various TV and film stars appeared in the 1982 and 83 productions of ‘Run For Your Wife’ including Richard Briers (The Good Life, Ever Decreasing Circles), Bernard Cribbins (Carry On, Tales of the Unexpected) Bill Pertwee (Dad’s Army) and Carol Gill (Robin’s Nest, Carry On).
The show was first performed at the Windsor then promoted to the Shaftsbury Theatre, London.
‘My process is I write the play, then have a rehearsed reading which we do in my house or garden, I always play in it, and that’s where I get a real good feel for it. I do a re-write then we go to Guildford or Windsor Theatre and do a three week production’.
‘After that I do a re-write then a short six week tour and another re-write. By the time we come to do it in the West End it’s really, really polished and the play is then set in stone’.
‘The premise is basically simple and that’s why they play so well, in fact my plays are played all around the world, and in Poland ‘Run For Your Wife’ has been playing for over 27 years and is still running’.
‘Also in Russia my plays, play for months and months and they love them – because the basic premise is so easy to understand’.
‘The well-known actors who I’ve worked with in the past, like Richard Briers and Donald Sindon, know what I’ve done with the play so respect it and rehearsals are really fun. Plus any producer who does them knows what would have gone in to them’.
With a skill set of actor, writer and director, Ray added producer, with west end credits including Chicago, Andy Capp, Elvis, Jack the Ripper and Birds of Paradise.Is he thinking of slowing down ?
‘I’m not writing anymore, I don’t have the feeling to write, but there is a lovely little dinner theatre near Reading called The Mill at Sonning Theatre. They love doing my plays there and I always go down to see them’.
‘I’ve directed a couple there and even though they were written years ago they still play wonderfully well. They do dinner before the show and it’s around £60 a ticket – it’s always packed out’.
‘Looking back I’ve been very fortunate over the years because my plays are done all over the world. I’ve been really, really lucky – you betcha’.
For more info on Ray check his official website, Facebook and Twitter accounts:
The poem ‘Mask of Anarchy’ by Percy Shelly inspired Writer and Theatre producer Ed Waugh to write lyrics for a new song ‘For the Many, Not the Few’.
Ed recently got in touch… ‘We are delighted to launch our new song and you can watch it on You Tube, it can also be downloaded from various platforms – Facebook, Spotify and Amazon (link below)’.
‘The song is to launch Boris Out! A show of socialist comedy and entertainment – comedy sketches, satire, stand up, songs and poetry written and performed by some of the region’s top writers and actors.
It is also a precursor to the political earthquake that is about to engulf the world’.
‘If you like it please share the song and the Boris Out!leaflet on social media.
If you don’t like it, still share it but say it’s by Duran Duran……
See you all at Boris Out! at the Tyneside Irish Centre on November 14’.
Due to demand, only tickets for the 3pm show are available.
The 7pm show is sold out (returns only) – only 50 remain for the 3pm show.
Buy your tickets for only £10 from:borisout.eventbrite.com
The last 17 months have been surreal, I don’t want to live my life behind a glass window and frightened – I’m double jabbed and ready to rock n roll said Leah as we sat down in The Centurion bar in Newcastle Central Station.
‘Dirty Dusting’ full cast – Andrew Green, Vicky Entwistle (Coronation Street), Vicki Michelle (Allo, Allo) & Leah Bell.
I got a call from Ed Waugh ‘Would you be interested in putting on Dirty Dusting at Whitley Bay Playhouse for a week ? I saw it around 20 years ago when it opened so was interested in picking it up. He sent me the script and I thought I’m not learning all this for one week.
So I asked Ed and Trevor Wood (Writers) if I could make a few alterations to make it more current. Well Ed had been to review our pantomime at Consett Empire and had seen me do other variety shows so he knew I was comedy based. They said ‘You know what’s working when you’re doing it – go ahead’.
So I pushed it along and here we are with 31 dates on our ninth tour. It’s a sign of a good play when it can last as long as it has. I hope to start touring at the end of September, I love getting up and setting off to the next venue.
WE ARE FAMILY
The meeting of the cast for the photo call and press launch was in my niece’s dance studio in Bedlington where I live, so very handy to pop in to my house, the restaurant and the pub. It’s very important that everybody gets on and gels – they did and we had a great time.
Dirt Dusting starts in Blyth Phoenix and for all the dates the cast go into a theatre family. We have Vicki Michelle (Yvette Carte-Blanche in Allo, Allo) still a very glamorous lady, and Vicky Entwistle (Janice Battersby in Coronation Street) just so funny.
In the past young people have told me they brought their gran to the show because they thought they would like it. But it’s the young people who like it, one girl said to me ‘I never went on my phone once’. What an accolade (laughs).
I just hope people are not frightened to come back to theatre because at some point we have to make a decision how we are going to live the rest of our life. If people want to come into the theatre and keep a mask on fine, it might be mandatory anyway.
Promo pic for Beverley Artists Agency, South Shields.
THE CLUBS
When I was 12 year old I was putting play’s on in the backyard roping in my school friends and hanging my mother’s sheet up as the backcloth. Nobody in our family had any connection to the entertainment industry so I don’t know where it came from, my mother couldn’t understand it.
I didn’t go to stage school, I was more academic and looking at being a teacher or a lawyer, but somewhere, somehow, I wanted to be on stage.
I was born in Benwell on the banks of the river Tyne, I didn’t come up through Jesmond when everything is there for you. I came up where you learned to survive and work.
My brothers and sisters were the same – cut from the same cloth. From my experience I think North East women are strong.
At 15 I started for Beverly’s Agency in the North East. The working men’s clubs is where I learnt my craft. And I’m eternally grateful. The clubs were different back then they were always a discerning audience.
The men didn’t go in the concert room if they didn’t have a suit and tie on.
I think that background stood me in good stead for working in showbusiness. Especially when I moved out of the North East into more of a national market, you realise it’s a tough industry. You can’t be easily knocked down.
DODDY TIME
I was very happy going into places doing what I felt I have to do – entertain. I started off singing but because the audience in clubs are close to you, and some aren’t adverse to talking to you, I learnt how to speak to them on a personal level.
I didn’t realise at first, but it translated into comedy, and from that I won club and stage awards.
I went on a summer season in Jersey and from there Ken Dodd put me on his UK tour in the early ‘70s. He used to stand in the wings which is very disconcerting.
When I came off stage he would say ‘You’re timing that gag wrong, this is how you time it’. So I had for free, one of the best teachers of comedy. If I’m writing a gag or a comedy sketch his words on timing echo in my ear.
Ken Dodd put me on with him at the Victoria Palace, London when I was young and I’m glad because when you’re young you’re brave.
I never thought if the London people would understand me. Will my approach be acceptable in the West End ? I just went on and did my act and spoke to people.
Leah with David Jason. Promo pic by Newcastle Chronicle for Cinderella at Newcastle Theatre Royal 1980.
OH YES HE IS
I worked with Bobby Thompson a lot, he was a nice man. His act was of its time, the poverty, the war – very funny. We done a panto in Newcastle Theatre Royal with David Jason (Only Fools and Horses).
Being in the North East was like being sent to the Antarctic for him ‘Blaady ‘ell’ he’d say in his Cockney accent (laughs).
David didn’t know Bobby Thompson at all, Bobby never rehearsed with us, there was no interaction. So Bobby done his Cabaret piece at the start of act two, and afterwards backstage would shuffle around saying hello to people.
David used to say to me ‘What a shame for that old fella, fancy having to work at his age, I’ve just given him some money for a cup of tea’. I said ‘What! he gets dropped off in a limousine (laughs)’.
One night David said, ‘He’s never in the finale, it’s nice of the theatre to let him go early he must be tired’. Really Bobby was doubling up and playing the late spot at Newcastle Mayfair.
Bobby had great delivery, clear, distinctive and not draggy. It can sound like he’s just talking along but it’s not, it’s very precise. He was a one off.
SHOW MUST GO ON
But there has been low times like when I was doing final rehearsals for a touring show that was just stopped completely because of what happened in New York on 9/11 – the show just didn’t go ahead. But if the theatre permits it I’ve always gone on after terrible events.
When Princess Diana died I was in Jersey, and you could tell the mood of the island and all the holidaymakers, the whole world was watching news 24/7. It was decided that nothing would proceed that actual night, but from the next day it would carry on.
We were doing a fabulous ‘50s and swinging ‘60s show, I would do the opening and make a remark about it and say we need to carry on. The audience applauded that and relaxed into the show. It was like people were waiting for it and wanting us to acknowledge what had happened.
When I used to work on the cruise lines I was on the Canberra and we would be doing the rota, and none of us wanted to go on stage after we had stopped in Jerusalem.
When the tourists got back on board, they were very sombre and serious because they had been on a religious tour. We felt we would be far too flippant for them after they had spent the day there.
TURN BACK TIME
If I could go back and change anything I would like to have in my thirties the frame of mind I’ve got now.
When you go through showbusiness you really have your heart on your sleeve all the time, you are trying to please everybody and doing what you think they want you to do.
I worried about performances when working for people when really I should have just enjoyed it more. I should have made more of the opportunities rather than worry about them.
As I say to all the cast before they go out to do any show ‘Remember above all, try not to be shite’ (laughs).
LIGHTS UP
An old lady stopped me on Bedlington Front Street the other day and said ‘Leah are you gaan on at the Blyth, cos we’ve had our tickets cancelled from the Christmas show.
I said ‘yesI’m going on’. ‘Good’ she said ‘we’re glad to be gaan oot cos we’re sick of stopping in’.
I walked off saying ‘If the theatre is shut, I’ll do it in the car park behind ASDA’.
ALIKIVI : NORTH EAST UK CULTURE 