Neil Anthony - Formative Years
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The 'prequel' - training in dance, singing and in stage management 'down-under'. My aim was to continue building a career in Australia with no need to return to the UK even with dual-citizenship. Life was wonderful and for a period it seemed as if the Sydney Opera House was almost like a second home. With friends who worked there not only did we get the behind-the-scenes "goss", we got to see most shows in both the Opera Theatre and the Concert Hall, including the anniversary performance of the legendary ‘La Stupenda’ - Joan Sutherland and with all my friends involved in the business in some way these were 'my people' - who could ask for more?
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The 'prequel' - training in dance, singing and in stage management 'down-under'. My aim was to continue building a career in Australia with no need to return to the UK even with dual-citizenship. Life was wonderful and for a period it seemed as if the Sydney Opera House was almost like a second home. With friends who worked there not only did we get the behind-the-scenes "goss", we got to see most shows in both the Opera Theatre and the Concert Hall, including the anniversary performance of the legendary ‘La Stupenda’ - Joan Sutherland and with all my friends involved in the business in some way these were 'my people' - who could ask for more?
In 1977 I attended a symposium held in Sydney and was privileged to meet some outstanding people from the London/UK scene who were to be presenting at the conference. As the event wasn’t properly marketed it was poorly attended and we therefore had exclusive access to these fantastic people and were able to hang-out with them, not only learn all about their professional careers but to also socialise and to some degree start to build friendships. Stephen Oliver (composer), Norman Newall (record producer and writer of many Shirley Bassey hits), Tim Rice (lyricist), Wendy Toye (choreographer) among other big names within the industry.
Stephen and Norman convinced me that I needed to perform on a West End stage in order to be taken seriously on any stage anywhere in the world, even if I later decided to come back to Oz. We became such good friends that Stephen provided me with a room in his London flat for the first few months 'til I got 'established'. I also had some great, fun meet-ups with Norman perhaps to see a show or at his country home. Stephen and I remained good friends for the rest of Stephen's unbelievably short, tragic, and yet prolific life.
The rest is history, ... as they say!
In 1977 I attended a symposium held in Sydney and was privileged to meet some outstanding people from the London/UK scene who were to be presenting at the conference. As the event wasn’t properly marketed it was poorly attended and we therefore had exclusive access to these fantastic people and were able to hang-out with them, not only learn all about their professional careers but to also socialise and to some degree start to build friendships. Stephen Oliver (composer), Norman Newall (record producer and writer of many Shirley Bassey hits), Tim Rice (lyricist), Wendy Toye (choreographer) among other big names within the industry.
Stephen and Norman convinced me that I needed to perform on a West End stage in order to be taken seriously on any stage anywhere in the world, even if I later decided to come back to Oz. We became such good friends that Stephen provided me with a room in his London flat for the first few months 'til I got 'established'. I also had some great, fun meet-ups with Norman perhaps to see a show or at his country home. Stephen and I remained good friends for the rest of Stephen's unbelievably short, tragic, and yet prolific life.
The rest is history, ... as they say!
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