Gallery 286
Was there really much difference between Fenella onstage and offstage?
ONSTAGE
EXHIBIT A is a list of 800 of Fenella's credits that, over the last 14 years, I have compiled from various sources. To read click
Hedda Gabler
In 1969, John Hall wrote in The Times: “Fenella Fielding as Hedda Gabler must be counted among the theatrical experiences of a lifetime… It would be silly to try for metaphors to describe it. It would involve tigresses, hyenas and rattlesnakes: satanic laughter and demonic possession could not be omitted… At least six times too magnificent for any man’s imagination.”
Let’s Get a Divorce​
In June 1966, Fenella opened in Victorien Sardou’s Let’s Get a Divorce at the Mermaid Theatre and, at last, she was universally accepted as a serious actress. “A transformed Fenella Fielding,” writes J.W. Lambert in his review for the Sunday Times. The play later transferred to the Comedy Theatre and, in total, ran for almost a year. Fenella said: “I regard it as the moment when I really got my acting badge (like girl guides get). On the whole I got remarkable reviews that weren’t patronising at all, and some people who hadn’t liked me before suddenly did like me.”
The Fenella Shop, also online
Mary Quant blue polka dot blouse
Sometimes Fenella said the costumes she was offered, particularly for television, were ‘hopeless’. But often she found the producers would agree to her wearing her own clothes. She was pleased. She got to wear something she thought was smashing, something that suited her, and of course, it was already hers to keep. This is probably the blouse worn when she appeared with Patrick Macnee in Love Story (1964).
Costume Designs
The larger images are by Anthony Holland for Birds of Paradise (1973) and the smaller ones are by Peter Rice for An Italian Straw Hat (1967).
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Pieces of Eight (1959) and Look After Lulu (1978) end of run commemorative ashtrays, gifts from the producer Michael Codron.
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Fenella's OBE - she knew she had been awarded it, but sadly died a couple of months before she could collect the actual insignia
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Unknown handbag, but riding boots are from the film Drop Dead Darling that also starred Tony Curtis.
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Programmes: Valmouth (1958) made Fenella a star. Cockles and Champagne (1954) was her first West End Show
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Eye patch from The Rivals (1961) Two days before the show opened, Turpentine splashed into Fenella’s eye and burned it. The only way doctors would allow her to perform was if she wore this patch. Designer Michael Young covered a generic Boots eye patch with black satin and a trimming of tiny lace. Fenella recalled: “I wore this black eye patch with elastic in my hair and it looked wonderful. Absolutely marvellous!”
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Unknown shoes and handbag, although the bag can be seen on the back cover of the new biography Dear Fenella... 90 Years, 90 Letters.
Carry On Screaming ring displayed on a disembodied hand (1966)
In her 2017 memoirs, Fenella said: “The wardrobe mistress took me to Paris House, a costume jewellery shop in South Molton Street, and she said, ‘Well darling, I want you to have the cube earrings. You can buy the ring if you want, but you’ll have to pay for it yourself.’ So, I did. I paid nine quid. That was quite a lot for a piece of rubbish in 1966. I’ve still got it, though.”
Portraits by Donovan and Beaton
Terence Donovan (1961), original prints from his studio.
Cecil Beaton (1972), original prints from his studio.
OFFSTAGE
At home (1981) Dress, no label, possibly by Raymonde Ray.
Cumbernauld Hit (1977) Fenella wearing clothes from her own wardrobe - this suit by Sara Perceval.
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Biba sequinned jacket
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Tachi Castillio dresses
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Wallpaper Orchids by Michael Clarke: In 1966, Fenella decorated the bedroom walls of her Marble Arch penthouse with this.
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Inspired by a 1980s Sunday magazine article, Fenella bought this room divider from an auction intending to use it to display photos of people she loved. She didn't have the space though and it didn't happen. I used it for Offstage. Click to see a pdf key to people on the board, also you can magnify photo of the board.
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Lamp from Aram, Kings Road (1966)
Telephone – Makeup Stained (1960s)
Fenella had an answering machine that used regular size cassettes, which made it possible to record up to one hour of conversation without cutting out. She listened to the caller leave a message and, if she wanted to speak to them, she would pick up. By then, the tape was recording and she let it continue. You can hear a selection of calls from 1993 recorded in this way.
Fenella: Hello? Hello? Pieter!
Pieter: Good morning. Am I disturbing you?
Fenella: I’ve just come in, so you’re hardly disturbing me. In other words, I haven’t had to put down my sewing to answer the phone; nor to wipe my hands clean of flour from baking bread to answer the phone, therefore I think you’re not disturbing me…
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Lingerie catalogues
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Orange yoga cards
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Cold remedies
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Note for a boyfriend promising good food when he got home and that they must watch Department S at 10:45pm.
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Mary Quant eyelashes
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Two programmes for Shakespeare in Stratford on Avon. When Fenella was 18, with a friend, she cycled there from Edgware. It was 107 miles. They slept in a tent and cycled back the next day. Astonishing.
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Childhood medals for recitations
Fenella’s Final Packet of Cigarettes (1980)
In 1980, Fenella went to see an acupuncturist called Robert Graham because she found it painful to lift one of her arms. He couldn’t help and she decided he was hopeless, but as she had already paid her fiver, she said, “Well, while I’m here, what about my smoking?” His face lit up. It was obviously the one thing he could do. She recalled how he put a little needle into a particular part of her ear and explained, “This connects with the hypothalamus, which is the centre of all addictive cravings.” He gave her instructions, “When you feel you can’t manage without a cigarette, just press that. Be careful when you’re washing your hair, and if it falls out come back and I’ll put it back in for you.” To Fenella’s absolute amazement, it worked and she didn’t finish this last packet of cigarettes.
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Fenella's dressing table, slightly tidied
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Peignoir from Harrods (1965)
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Junior hairdryer (1959)
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The tin with Fenella Fielding written on it in nail varnish was for Fenella's makeup. She told me, "I took this everywhere with me in the early days." It now contains fuse wire and some tools.
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Lots of different makeup from across different decades, some of it might be past its best but is somehow fascinating.
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The story of Fenella's life so far in Judy (1961).
Goblin teasmade, probably 1970s.
Tiddlywinks c1930
Fenella: “This stuffed dog; I used to have to sing to it when I was small. Its name is Tiddlywinks. Oh, isn’t it ghastly? I hate it when people bring out their childhood treasures.” Despite this damning statement, Fenella kept Tiddlywinks displayed on a shelf in her living room.
Fenella was a voracious reader. This is a photo of one of her bookshelves, so large that you can read the titles and feel that you can lift one from the shelf.
Fenella would have sung: "You bring out the animal in me. Woof! Woof!"