In the intimacy of the Minerva Theatre, Patricia Routledge managed to shake off the persona of Hyacinth Bucket and share memories of her long, but little known, association with musical theatre.

She was guided by the gentle prompting of broadcaster and musicologist Edward Seckerson. Banter between them was soon established, with Routledge mischievously debunking his earnestness from time to time.

Music, having played an important part of her childhood, where the family would sing round the piano, eventually led to the abandonment of a teaching career. Instead, she moved into the theatrical world.

Appearing in the early works of Julian Slade, she attracted the attention of the D’Oyly Carte Opera Company. She found favour in America after performing in Central Park, New York, which led to parts in several shows. While garnering personal praise, the shows were not well received.

She worked with Bernstein, Julie Styne and even Richard Rogers wanted to write a musical for her, but a suitable vehicle was never found.

Interspersed with the anecdotes, various recorded examples of her singing were played and it was interesting to note the development of her voice. The recording of I’ve Been To A Marvellous Party from Cowardy Custard brought the house down. 

Routledge became quite vociferous on the subject of today’s trend for amplification of orchestra and singing as well as the use of alternates for artistes not prepared to play all performances.

The evening revealed that Hyacinth Bucket fan-clubs in the US regularly invite her to candlelight suppers.