The Boy Friend, Salad Days
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British Theatre in the 1950s was a strange harmony of contrasts. Writers of the calibre of John Osborne and Harold Pinter were bringing a new era of realism to the stage with such plays as Osborne's Look Back in Anger and Pinter's The Birthday Party, while at the same time the very different but equally noteworthy talents of newcomers Sandy Wilson and Julian Slade were providing a welcome continuation of the long-established tradition of light English frothy musical comedies, à la Novello and Coward, which concentrated on entertainment without any attempt at enlightenment.
Wilson and Slade were more or less contemporaries, Wilson having been born in 1924 and Slade in 1930. Wilson attended Harrow and Oxford, while Slade followed the light blue path to Eton and Cambridge. Each got his first experience of writing and acting at university, Wilson writing for and appearing in revues, and Slade writing undergraduate musicals and acting in Shakespeare. Thereafter, their respective careers took divergent directions, but in each case, their growth as writers eventually resulted in their names being in lights in the West End as authors of the hit musicals that are featured in these recordings.