Shut Up and Sign, Ginger!

May bank holiday weekend is traditionally when Birmingham city centre becomes one big party celebrating Pride, but this year organisers have made the wise decision to reschedule the festivities to September.

Under normal circumstances: drag queens would be donning teased wigs and sequins; Sonia would be ironing a frock in preparation for her annual trip out of the care home; pubs and bars would be stocked up, marquees and stages erected, rainbow bunting hung and banners unfurled outside each venue, promoting their line-up of entertainment.

Several years back, one such banner, hanging across the front of Eden, caught my attention, as it advertised actress/singer/dancer Bonnie Langford as headlining Saturday night.

I have got to know Bonnie a little from working with her on various personal appearances, so popped into the pub to find out details.

Eden’s matriarch, Maura, was behind the bar.

I inquired, “What time is Bonnie Langford appearing on stage?”

“Around eleven, I t’ink,” she told me.

“In the morning?”

Maura gave me that look Dorothy from The Golden Girls reserves for Rose when she says something particularly dumb, while I performed a mental facepalm.

“I’m sorry, of course she’s not going to be performing at eleven am,” I apologised, shamefully. They were hardly going to book her for breakfast cabaret.

I turned and headed for the door, feeling Maura’s pitying stare on the back of my neck as I skulked out.


Bonnie Langford, a veteran performer in her mid-50s, has suffered from the enduring stigma of all-singing/all-dancing stage-school starlet, an image seared on the nation’s consciousness by her childhood role in Just William, as precocious Violet Elizabeth Bott and her exuberant ‘teeth, tap and curls’ appearances on countless light entertainment productions in the 70s and 80s, but this is far removed from the grounded professional I have encountered.

Once, on stage with a colleague of mine, she modestly described herself as, “Just… an old turn.”

Deciding to conclude Bonnie’s appearance using her own words, but having misheard, this colleague announced, “Please put your hands together for ‘an old tart’…”

His face was a picture when, after waiting for the applause to subside, she politely explained that wasn’t actually what she had said.

In recent years, the public perception of Bonnie Langford has undergone a transformation, due to her portrayal of Carmel Kazemi on, BBC soap opera, EastEnders. A central storyline saw her character lose a son to knife crime, earning Bonnie the Best Newcomer gong at the British Soap Awards in 2016, an ironic victory for an ‘old pro’ of stage and screen who has been performing since the age of three. It only took fifty year to become an overnight success.


Back at Eden’s Canopied cabaret, Bonnie burst onto stage to an enthusiastic welcome from the crowd of inebriated Pride revellers and belted out a medley of show tunes and camp pop classics, closing with a remix of I Lost My Heart to a Starship Trooper, including soundbites from her time on Doctor Who, much to the delight of, the surprisingly numerous, sci-fi fans in the crowd.

I got to catch up with Bonnie afterwards.

As we chatted, several people approached for selfies and autographs, which prompted me to ask, “After your appearance on The Catherine Tate Show (where closet case, Derek Faye, inevitably gives her one of his infamous rants after she casually mentioned that she has many “gay fans”) has anyone at the stage door had the audacity to tell you to ‘Shut up and sign, Ginger!’ (A quote from the conclusion of the sketch)?”

“No, not that,” she laughed, “but there was this one young man at a train station…”

Bonnie went on to tell me how, when she had asked the booking clerk for a ticket, he responded, “Who, dear? Me, dear? Gay, dear?”

She didn’t pick up on the reference to Catherine Tate’s character and went into a panic, spluttering, “B…b…but, I didn’t say you were gay.”

“He just kept it going,” Bonnie told me. “It was awful. I felt myself go all hot and cold at the same time. All I could think was, How has this happened, I only asked for a return to Nottingham?!

She explained, “You film these things so far in advance and never know when they are going to be shown. It wasn’t until he said, “How very daaaaare you?”, that the penny finally dropped, and I felt a wave of relief. Apparently, the episode had been broadcast the night before.”


Several months later, I was working with Bonnie again in a church hall in West London (The glamour of showbiz!). She walked into the kitchen where I was washing mugs, so I cheekily nodded at the tea towel and suggested, “I’ll wash, you dry.”

“I don’t do dishes at home,” she replied, “I’m not starting here.”

I mentioned her appearance at Birmingham Pride.

“What an insane night that was,” she recalled. “I finished a show in the West End, jumped in the car, drove up to Birmingham, where I practically stepped straight onto stage, performed this gig for a fabulous crowd that had been drinking all day, caught my breath, then got back in the car and drove home. I just sat behind the wheel, driving down the M1, thinking, Did that really just happen?”     

Well, yes it did… and a ‘bonnie’ wee night was had by all.

Come back to Brum soon. X


I am looking forward to learning what old turns will be performing at this year’s Birmingham Pride… and old tarts for that matter. I am sure there will be plenty of both.

God Save The Queen

The Victoria is a beautiful 19th Century pub which stands proudly on the corner of John Bright Street, beneath the mezzanine that connects the two halves, old and new, of The Alexandra Theatre.

There are so many reasons to love this pub, from its elegant exterior, curving around the bend of the road, to the funky murals that adorn the walls the back bar. A bust of Queen Victoria sits on the internal canopy above the now superfluous central door (It should really be on the corner of the bar, like the one in its fictitious namesake on the BBC soap opera EastEnders), keeping an imperious eye on events. 

I experience a daft thrill every time I arrange to meet friends at The Victoria, because in my mind I have the raspy East End tones of Phil Mitchell, when I say, “See yer daaaaan the Vic.”


The place had a far more shabby feel when I first visited, but a great collection of signed photos, from the multitude of stars that had frequented the bar while performing at the theatre next-door, framed and displayed up the stairs leading to the function room. I was always enamoured with the one of the marvellous Yootha Joyce, best known for 70’s sitcom George and Mildred.

A decade or so ago, The Vic underwent a thankfully sympathetic makeover, which gave the gaff a much-needed spruce up, while retaining all its original character and charm, which is more than can be said for the poor Prince of Wales, the theatre pub situated behind the Birmingham REP.


The Prince of Wales was a gem, complete with separate bar, lounge and snug, but I received a shock, over twenty years ago, when I went in and found that the partitions had gone and all the original Victorian features had been ripped out and replaced with mock Victorian facsimiles. I had been half distracted by the book I was reading as I entered (I used to be able to read and walk. Nowadays, I can’t even text while on the move without mishap) and actually thought for a moment that I had wandered into the wrong pub, going as far as stepping back outside to check the sign.

I positioned myself on a seat by the door to await my friend’s imminent arrival and see her response to the changes. She didn’t disappoint, stopping sharp on the threshold and giving a flutter of flummoxed blinks, as though she had just received a slap to the face.

“Yes,” I said, “that was my reaction when I walked in too.”

A few days later, I was telling a colleague about the fate of the Prince of Wales, when she started bobbing about excitedly and interjected, “Oh my God, I agree! My dad owns a print company and while it was closed for refurbishment, he and I went on a stealth mission one night and bill posted the windows with sarcastic posters saying, ‘A little bit of Disney in the heart of Birmingham.’ The contractors left them there for ages as they thought that the brewery had put them up.”


The Victoria was the site of my first tantalising encounter with the Birmingham gay scene (Wondering when this was going to go gay weren’t you? A mention of Yootha Joyce not enough?!).

To expand our understanding of modern art, my A-level art class had been instructed to buddy up with a partner and visit the Ikon Gallery, which at the time was located just down he street from The Victoria.

So, one weekend, we obediently made our way to the gallery, under our own steam, where we made notes on any work that caught our attention.

As we headed back toward New Street Station, we passed The Victoria.

The pub has always attracted a mix of gay and straight clientele and on this summer’s afternoon a group of lads were gathered outside on the pavement, enjoying a drink and cigarettes in the sun.

At the sight of two fresh-faced chickens, the boys began to wolf whistle and call out lude comments, much to my friend’s discomfort and my barely concealed delight.

This was my first encounter with anyone that was gay, and I couldn’t let the moment pass without somehow letting them know that I was secretly one of the family.

I used to wear my keys on a long chain attached to one of the beltloops on my trousers. I had been warned by my sister to always keep the keys in my front pocket, because having the chain lead to your rear pocket meant you were queer, in a secret signal akin to the handkerchief code or which side you had your ear pierced.

As we continued down the road, I discreetly took my keys from their ingrained front pocket and slipped them pointedly into the back, then stole a quick glance to see the response.

The catcalling immediately halted and one guy nudged his friend to draw attention to my symbolic gesture. I remember briefly seeing their smiles of understanding and one boy gave me a subtle nod of solidarity. For the first time, I was not alone.


Some evenings, you might see the odd famous face in The Victoria, if the cast of whatever show is on at The Alex goes to the pub for a post-performance drink.

I was told by the lesbian couple that ran the place, prior to its makeover, about the night TV Timelord, Sylvester McCoy (7th incarnation of Doctor Who), strolled into the bar, slammed his walking cane on the wooden floor, and declared, “THE DOCTOR IS IN!”

Both women looked at each other and simultaneously asked, “Who?”


On another occasion, I was lucky enough to sit two tables from a childhood crush, when Todd Carty (Grange Hill’s Tucker Jenkins) called in after a performance of Spamalot.

When he headed toward the gent’s toilets, my mate nodded in his direction and suggested, “Now’s your chance.”

It had been many years since Todd Carty had been the lanky heartthrob of my youth (having moved on to EastEnders, The Bill and hilariously lost control and crashed off the rink and out of Dancing on Ice… through the emergency exit), but some bits never change, so I followed him in for a peek.

That was Tucker’s cock ticked off the bucket list.


I clearly remember the first time I had a drink in The Victoria.

I was away at university but visiting my home city to see a production of Martin Sherman’s Bent with some friends.

We were puzzled by the eclectic mix of characters in the bar, which included a group of old chaps in flat caps, scene queens and a crowd that appeared to be work colleagues.

Curious to determine the demographic, I approached the matronly barmaid.

“Excuse me,” I asked, “but what type of pub is this? I can’t work out if it is gay or straight.”

“Oh luv, it’s a mix of everyone,” she told me. “We ‘av gays, residents from Stephenson Tower (now demolished) and postal workers from the Royal Mail building (now the The Mailbox). We all muddle along together.”


Here’s to The Victoria, the reigning Regina of Birmingham pubs… then, now and forever.