UPDATED: Alan Doggett, first conductor of Joseph and Jesus Christ Superstar, and the Paedophile Information Exchange
Posted: March 28, 2014 Filed under: Abuse, Alan Doggett, Musical Education, PIE, Public Schools | Tags: abuse in music, alan doggett, andrew lloyd webber, andrew norfolk, colet court, colin ward, culford school, dominic grieve, evita, jason and the golden fleece, jesus christ superstar, joseph and his amazing technicolour dreamcoat, julian lloyd webber, london boy singers, magpie, michael ingram, music school abuse, paedophile information exchange, paul andrews, st paul's school, tim rice, westminster underschool 14 Comments[A full collection of Andrew Norfolk’s articles on Colet Court, St Paul’s, and Alan Doggett can be read here]
An article was published in the Daily Mail in December (Guy Adams, ‘Apologists for Paedophiles: How Labour Deputy Harriet Harman, her shadow minister husband and former Health Secretary Patricia Hewitt were all linked to a group lobbying for the right to have sex with children’, Daily Mail, 14/12/13, updated 20/12/13 ), which pre-empted the rush of media coverage which has emerged in the last two weeks. This concerned the connection between the Paedophile Information Exchange (PIE), Deputy Leader of the Labour Party Harriet Harman, her husband Jack Dromey, Shadow Minister for Policing and former union official, and former cabinet minister Patricia Hewitt, all involved with the National Council for Civil Liberties in the 1970s and 1980s, which was affiliated to PIE (and took out an ad in their journal Magpie in 1979). I have blogged at length reproducing documents relating to NCCL and PIE (see here, here, here, here, here, here and here), and also on the Whitehall senior civil servant (formerly a church minister and teacher of theology in India, later a musicologist and classical scholar) Clifford Hindley, who has been identified as the individual who secured government funding for PIE.
But another name appeared in the December article, which has not really been investigated further prior to this article: that of boys’ choir conductor and teacher Alan Doggett (1936-1978), who had an extended and important relationship with Andrew Lloyd Webber and Tim Rice. A letter about the suicide of Doggett in 1978 appeared in Issue 10 of Magpie (Letters, Magpie, Issue No. 10 (no date), p. 4) and a notice of his memorial service in the subsequent issue (‘Alan Doggett – Memorial Service’, Magpie, Issue No. 11 (May 1978), p. 2 – both this and the letter can be read in the fourth of my PIE blog posts linked to above), to both of which I will return presently. The Mail article named Doggett as a member of PIE; a source close to the heart of current police investigations has confirmed to me that this was definitely the case.
Doggett is listed in the second Magpie article as having worked as conductor of the London Boys’ Choir (erroneously titled here – this was the London Boy Singers), and was to be remembered for his ‘friendliness, integrity and loyalty’. But his claim to fame is stronger than this; as has been chronicled in various books and articles about or by Lloyd Webber and Rice, he was responsible for commissioning and conducting Joseph and his Amazing Technicolour Dreamcoat, conducting the recording of Jesus Christ Superstar, and sharing the conducting for Evita, as well as writing his own musical, Jason and the Golden Fleece, inspired by these earlier examples. A scholarly article argues for Doggett’s close involvement with Lloyd Webber and Rice, saying that ‘he was effectively a third member of the team prior to the international success of Jesus Christ Superstar’ (David Chandler, ‘’Everyone should have the opportunity’: Alan Doggett and the modern British Music’, Studies in Musical Theatre, Vol. 6, No. 3 (2012), pp. 275-289 (quotation from p. 275) – this article mentions nothing about the more troubling aspects of Doggett’s life, other than mentioning in passing that he committed suicide), whilst Andrew Lloyd Webber paid fulsome tribute to Doggett in an article published in the Mail in 2012 (‘’I owe my success to an abseiling vicar’ says Andrew Lloyd Webber as he opens up about the highs and lows of his career’, Daily Mail, September 24th, 2012).
In this article, I give an overview of Doggett’s life and work, and appeal to those who may have known or worked with him in (especially those who studied at Westminster Under School, Colet Court School, or who sung in the London Boy Singers or in the larger massed boy choirs he assembled) to come forward if they have any relevant information.
Alan Doggett was born on November 29th, 1936, in Epsom, Surrey. His father was Kenneth Raymond Doggett, who edited the shipping journal Dock and Harbour Authority. Alan grew up in Iver, Buckinghamshire, where he took piano lessons from an early age, and attended Colet Court, before going on to read history at Selwyn College, Cambridge (Chandler, ‘Alan Doggett’, p. 277 – all other information not sourced elsewhere comes from here. Some of Chandler’s information on Doggett’s early life comes from correspondence with Doggett’s sister Jennifer Acornley, Ian Hunter, Doggett’s successor at Colet Court, and Julian Lloyd Webber). One account describes him as ‘a discreet homosexual’ who ‘ was enthusiastic about music but only modestly gifted’ (Michael Walsh, Andrew Lloyd Webber: His Life and Works (Harmondsworth: Viking, 1989), p. 37). His first job was as a history teacher at Westminster Under School, where he doubled as a music teacher and led the school choir (ibid). In this capacity he taught the young Julian Lloyd Webber (b. 1951), who attended the school between 1961 and 1963 and was a member of the choir (Tim Rice, Oh, What a Circus: The Autobiography (Coronet Books, 1999), p. 131). Through Julian, Alan Doggett came to meet his father William Lloyd Webber, and began to take an interest in the compositions of Julian’s brother Andrew Lloyd Webber (b. 1948), helping him with notational matters (Walsh, Lloyd Webber, p. 37). At some point during this period, Doggett also served as a vicar-choral at St Paul’s Cathedral, alongside Ian Hunter, who would become his assistant at Colet Court and later his successor (Jonathan Mantle, Fanfare: The Unauthorised Biography of Andrew Lloyd Webber (M. Joseph, 1989), pp. 30, 41).
In 1963, Doggett was appointed as Director of Music at Colet Court, an independent boys’ preparatory school established in 1881 which is linked to St Paul’s School, and whose headmaster from 1957 to 1973 was Henry J.G. Collis (1913-1994). Some prominent alumni of Colet Court include Greville Ewan Janner, Baron Janner of Braunstone (1928-), Sir Paul Lever (1944-), Paul Anthony Cartledge (1947-), John Cody Fidler Simpson (1944-), Sir Nicholas Felix Stadlen (1950-), Lloyd Marshal Dorfman (1952-), Jonathan Simon Speelman (1956-), the Conservative MP Dominic Grieve MP (1956-), Oliver Tom Parker (1960-) and Barnaby David Waterhouse Thompson (1961-) (David Bussey, John Colet’s Children: The Boys of St Paul’s School in later life (1509-2009) (Oxford: Gresham Books, 2009), pp. 157, 169, 172, 174-175, 182, 185, 188, 193, 196-197; parliamentary profile of Dominic Grieve).
At Colet Court, Doggett he brought in a system of vocal training based upon that of the Vienna Boys’ Choir (most distinct from traditional English methods), as well as finding external performance opportunities for the choir (Gerald McKnight, Andrew Lloyd Webber (London, Toronto, Sydney & New York: Granada Publishing, 1984), p. 85; Chandler, ‘Alan Doggett’, p. 277). He also worked as organist at the school, at least by December 1964 (At least by December 1964. See advert in The Musical Times, Vol. 105, No. 1462 (December 1964), p. 936. Doggett had a letter published in The Musical Times in August 1966, entitled ‘Let the Children Sing’, just talking about the nature of school choirs; he was then listed as belonging to St Paul’s Junior School (the same thing as Colet Court). See The Musical Times, Vol. 107, No. 1482 (August 1966), pp. 687-688).
In 1964, Doggett also set up a choir at Emmanuel Parish Church, West Hampstead; his address at the time was given as SW1 2580 (see advert in The Musical Times, Vol. 105, No. 1451 (Jan 1964), p. 64). The vicar at the church during this period was The Reverend Jack Dover Wellman (The Rev Dr Peter Galloway, ‘A short history and guide to Emmanuel Church West Hampstead’) , who appears to have been an eccentric figure who wrote two books entitled A Priest’s Psychic Diary, with introduction by Richard Baker (London: SPCK, 1977) and A Priest and the Paranormal (Worthing: Churchman, 1988). Wellman also appeared on an edition of the late night Channel 4 programme After Dark, on April 30th, 1988, to discuss the subject ‘Bewitched, Bothered, or Bewildered?’, chaired by Anthony Wilson (see ‘After Dark 2’).
In 1965, Doggett already became more closely associated with Andrew Lloyd Webber and Tim Rice, helping out with some of the demonstration recordings of their musical The Likes of Us, written that year, about the life of Thomas Barnardo. Already on these recordings the Colet Court choir featured as the homeless children who Barnardo was helping, in stage cockney accents (Rice, Oh, What a Circus, p. 131; Chandler, ‘Alan Doggett’, p. 277, Mantle, Fanfare, p. 30). Rice described him as an ‘extremely camp teacher, who was some ten years older than I was’, and ‘a talented music master, though a less talented composer, always on the lookout for a new way of instilling enthusiasm for music into his young charges (aged eight to thirteen)’ (ibid).
But at some point whilst working at Colet Court, Doggett began to systematically abuse young boys there; since the appearance of the first version of this article, and the important subsequent articles by Andrew Norfolk in The Times (Andrew Norfolk, ‘Teachers ‘abused boys at Osborne’s old school”, ”The teacher sat us on his lap until his face went very red”, and ‘Friends to stars had easy access to boys’, all The Times, March 25th, 2014; Norfolk, ‘Boys punished for telling of abuse by teacher’, The Times, March 28th, 2014), numerous former pupils have come forward to testify about their abuse at the hands of Doggett (and other teachers at Colet Court and St Paul’s). One pupil, ‘Luke Redmond’ (not his real name), was sexually assaulted by three different men at Colet Court by the time he reached the age of 12. These were Doggett, the dorm monitor Paul Topham, who went on to become an Anglican priest, and was questioned under caution by police in 2000, though no charges were brought before his death in 2012, and a housemaster known as ‘Alex’ Alexander, who took pleasure in punishing boys in a sexualised fashion before taking them on his lap and giving them sweets and physical affection. On Doggett, the final printed version of the article says the following (not all included in the link above):
Luke’s abuse by Alan Doggett, Colet Court’s director of music, was a once-only indecent assault during the boy’s compulsory audition for the choir. [From earlier version of article: Doggett’s auditions of boarders were always when pupils were dressed for bed. Luke stood by the piano. As he sang, Doggett’s hand explored beneath the waistband of his pyjamas.]
A far worse fate awaited another boy in his dormitory, a year younger than Luke, who was angelic in both voice and looks. He was Doggett’s chosen one, summoned far too often from their dormitory to spend long hours at night in the choirmaster’s bedroom. (Norfolk, ”The teacher sat us on his lap until his face went very red”).
Another account by ‘Stephen’, one of the boys who eventually reported Doggett, leading to the latter’s leaving the school, spoke of what amounts to child prostitution, which boys receiving money from Doggett for allowing him to sexually abuse them:
“He had one particular favourite who received regular visits in the dormitory at night. He’d abuse the poor boy without seeming to care that we could all see and watch what was happening.”
Other ex-pupils spoke this week of open gossip among the boys that “half a crown” was the “going rate for a session with Doggett”. One said that his year group even coined a new verb: to be “Doggoed” was to be groped and fondled. (Norfolk, ‘Boys punished for telling of abuse by teacher’)
In late 1967, Doggett contacted Andrew Lloyd Webber and Tim Rice, to request a cantata for the school’s annual spring concert. The headmaster of Colet Court, Henry Collis, had been quickly won over by Doggett’s proposal, despite some conservative doubts about setting a biblical story to popular music (McKnight, Lloyd Webber, pp. 85-86). To Lloyd Webber and Rice, Doggett made clear that he wanted something short and sharp, ideally a cantata on a religious theme, a story through song, though giving them carte blanche over the subject matter (Michael Coveney, The Andrew Lloyd Webber Story (London: Arrow Books, 2000), p. 53; Rice, Oh, What a Circus, p. 131; Mantle, Fanfare, pp. 41-42). Doggett nonetheless suggested a biblical subject, thinking of what Michael Coveney refers to as that sort of unbuttoned Christian sing-along represented by such pieces as Herbert Chappell’s The Daniel Jazz (which he had produced the year before), Michael Flanders and Joseph Horovitz’s Captain Noah and His Floating Zoo and indeed Benjamin Britten’s exemplary Noye’s Fludde (Coveney, The Lloyd Webber Story, p. 53). Rice found the story of Jacob’s son, Joseph, who was landed in trouble by his dreams and coat of many colours, leading his brothers to sell him into slavery in Egypt, where he becomes a prophetic guru to the Pharaoh, in The Wonder Book of Bible Stories (ibid; Rice, Oh, What a Circus, p. 132). This would become Joseph and the Amazing Technicolour Dreamcoat. Lloyd Webber and Doggett worked together at the music room of Colet Court whilst the work was being composed, and Lloyd Webber was prepared to accept suggestions from the choir (Mantle, Fanfare, p. 42; Rice, Oh, What a Circus, pp. 133, 135).
The world premiere of Joseph took place on Friday March 1st, 1968, at 2:30 pm, in the Assembly Hall of Colet Court, conducted by Doggett himself, an ad hoc pop group called The Mixed Bag, including Rice (who took the part of Elvis/Pharaoh) and singer David Daltrey, a cousin of Roger’s (from The Who), who led the principal solo numbers for Joseph himself (see Rice, Oh, What a Circus, pp. 136-142, for a detailed account; also McKnight, Lloyd Webber, pp. 87-88, for Ian Hunter’s account). The school was itself about to move from its 1890 premises in Hammersmith to new buildings across the river in Barnes, and this performance would be the last in the old Assembly Hall (Walsh, Lloyd Webber, p. 37). The first half of the concert consisted of performances by the pianist John Lill, and both Julian and William Lloyd Webber; for Joseph, Ian Hunter played the piano and Julian played the cello (Stephen Citron, Stephen Sondheim and Andrew Lloyd Webber: The New Musical (London: Chatto & Windus, 2001), p. 117). Several hundred parents were present and clapped politely (Walsh, Lloyd Webber, p. 37), but also on that day, a representative of the music publisher Novello’s, who had been invited to the premiere by Doggett and had given it an advance listing in what was then their flagship periodical, The Musical Times (Chandler, ‘Alan Doggett’, pp. 279-280 – Chandler is sceptical about the account offered later in Rice, Oh, What a Circus, p. 148), offered to take on the piece, and pay £100 for it, as an educational work for schools (Lloyd Webber, ‘I owe my success to an abseiling vicar’).
The next performance took place at Westminster Central Hall, on May 12th, 1968, and involved 300 boys from Colet Court, conducted by Doggett (advert in The Musical Times, Vol. 109, No. 1503 (May 1968) p. 464. It had been organised by William Lloyd Webber, who was organist and musical director at Central Hall, and who played the organ in the performance (Hunter played the harpsichord) (Mantle, Fanfare, p. 45). The first half of the concert, attended by around two thousand people, including many parents, consisted of performances by the pianist John Lill, and both Julian and William (Citron, Sondheim and Lloyd Webber, p. 117; Lloyd Webber, ‘I owe my success to an abseiling vicar’). One boy in the choir was Nicholas Jewell, who had persuaded his father Derek Jewell, pop critic for the Sunday Times, to attend the performance (McKnight, Lloyd Webber, pp. 88-89). Jewell published an extremely positive review, which recognised the importance of Doggett’s role, the following weekend in the Sunday Times, on May 19th, 1968 (see Mantle, Fanfare, pp. 46-47, for the review; see also McKnight, Lloyd Webber, pp. 91-93, Chandler, ‘Alan Doggett’, p. 282), which caused jubilation amongst all involved with the production.
Eight weeks later, a recording was being made for Decca at the studios at Abbey Road of an expanded version for augmented ensemble with solo voices (a cast consisting of Terry Saunders, David Daltrey, Malcolm Parry, Tim Rice, John Cook, Bryan Watson) and rock musicians. The twelve or so Colet Court choirboys served as a backing group, with Doggett conducting and a ‘Joseph Consortium’ with William Lloyd Webber helping out on organ, and Martin Wilcox on harpsichord; some vocal backing was provided by Andrew and Tim Rice (Mantle, Fanfare, p. 47; Citron, Sondheim and Lloyd Webber, p. 148; the recording was Scepter/Capital (S) SMAS 93738. See Jerry Osborne, Movie/TV Soundtracks and Original Cast Recordings Price and Reference Guide (Jerry Osborne: Jerry Osborne Enterprises, 2002), p. 1982; see Chandler, ‘Alan Doggett’, pp. 281-282 for Rice and other’s attempts to marginalise the importance of Doggett and Novello’s in this process). Jonathan Mantle points out that ‘Half the boys of Colet Court were bussed over to sit at the sides of the grand Victorian hall and make up the choruses’ (Mantle, Fanfare, p. 45), but it is not clear whether these amounted to the twelve singers he mentions, or constituted others as well. Whichever, a large percentage of boys at Colet Court in 1968 would have been involved in this performance. A further performance was given in St Paul’s Cathedral on November 9th, 1968, again with Doggett conducting, William Lloyd Webber on organ, and received a positive review by Ray Connolly in the Evening Standard (Mantle, Fanfare, p. 51; McKnight, Lloyd Webber, pp. 98-99).
But at some point between the Westminster performance in May 1968 and the recording in November 1968, Doggett left Colet Court; the exact date is unclear. The following accounts have been provided by former pupils:
Stephen (his surname is withheld), the pupil who ended Doggett’s Colet Court career, said that he and a friend decided to speak to the school’s headmaster, Henry Collis, after Doggett indecently assaulted both 11-year-olds as they sat on each side of him during a televised football match in May 1968.
“It was the Manchester United v Benfica European Cup Final. We were sitting on the floor and Doggett’s hands were groping inside our pyjama bottoms.
“He wouldn’t leave us alone. He’d already had a go at me in the dormitory on quite a few occasions,” Stephen said. After the match, the two pupils decided that “he’s got to be stopped”. They informed Mr Collis, who was headmaster of Colet Court from 1957 to 1973 and served as chairman of the Independent Preparatory Schools Association.
Stephen said: “When I next went home on exeat that weekend, the school had telephoned my father to complain that I’d made up terrible stories about Doggett. Dad asked me what had been going on. When I told him, he said he believed me and I’d done the right thing in speaking out, but when I got back to the school the two of us were summoned to Mr Collis’s study.
“I can still see us standing in front of his desk on the Monday morning.He was furious. He said we were wicked for making up such awful lies. Mr Doggett was so appalled and embarrassed by the disgraceful things we’d said that he’d decided to leave the school. We should be thoroughly ashamed of ourselves. He gave us detention.”
Stephen said that another boy in their year suffered far worse crimes at Doggett’s hands: (Norfolk, ‘Boys punished for telling of abuse by teacher’)
The Manchester United/Benfica match in question was the 1968 European Cup Final, at Wembley Stadium, which took place on May 29th, 1968, thus just two-and-a-half weeks after the second performance of Joseph in Westminster Central Hall. This is consistent with Gerald McKnight’s assertion that ‘Doggett’s remarkable vision was barely completed when he left the school’ (McKnight, Lloyd Webber, p. 86).
Other accounts differ as to the reasons of veracity thereof of his departure; Michael Walsh writes of his having ‘been let go at Colet Court, with rumors of his homosexual predilections swirling about him’ (Walsh, Lloyd Webber, p. 67), whilst Stephen Citron claims Doggett was ‘let go at Colet Court because he had sexually molested one of the choirboys’, causing his career to go into a tailspin (Citron, Sondheim and Lloyd Webber, p. 151 n. 5); whereas Mantle just says that Doggett ‘left his job at Colet Court’, though later that ‘he had left his post with the choir of Colet Court, but he had been unable to leave them alone’, leaving little doubt who ‘them’ were (Mantle, Fanfare, pp. 91, 130). The account by ‘Stephen’ suggests that Doggett left of his own volition, though it is very possible that some pressure was brought upon him to take this decision. Tim Rice writes in his biography, looking back at this incident from the vantage point of Doggett’s suicide in 1978, that:
The only previous time in ten years that Andrew and I had come across such rumours concerning Alan, the allegations were proven to be exactly that, as the time and place of the supposed transgression clashed precisely with a recording date at which all three of us were continually present. It has been known for young boys, and more commonly their parents, to manufacture or exaggerate incidents when they know and (understandably) disapprove of a teacher’s inclinations. (Rice, Oh, What a Circus, p. 401)
However, Rice did not discount the possibility that the allegations which would surface ten years later were true, making clear that he was not claiming ‘that Alan was squeaky clean throughout his musical dealings with his singers’ (ibid). His successor in the position was his former assistant at the school, Ian Hunter (ibid), who would go on to present Joseph again various times at the school (McKnight, Lloyd Webber, pp. 99-100); Hunter would also go on to become Deputy Headmaster of Colet Court at some time around 1973-74 (my thanks to another former Colet Court pupil for confirming this to me).
Rice’s inclination not to believe the 1968 allegations needs to be revisited (and perhaps his autobiography rewritten) in light of the latest information. Furthermore, there are questions to be asked about what Hunter and others knew about Doggett’s activities at the school, which could hardly have been very secret if carried out with many boys and in open view of others.
Doggett’s subsequent teaching positions after leaving Colet Court have become clearer due to information supplied by various people since the initial version of this article. Michael Walsh and Michael Coveney both mention Doggett’s teaching at the City of London School at the time when Lloyd Webber and Rice wrote their short-lived musical Come Back Richard in November 1969 (from which just one title single was released by RCA that month), which Doggett conducted at the school (Walsh, Lloyd Webber, p. 59; Coveney, The Lloyd Webber Story, p. 58; see also John Snelson, Andrew Lloyd Webber, with foreword by Geoffrey Block (New Haven, CT: Yale University Press, 2004), p. 222 n. 9), but Chandler claims that his only connection was through being invited to adjudicate the school’s Junior Music Competition in 1969 (Chandler, ‘Alan Doggett’, p. 282, n. 4). Walsh also writes that Doggett ‘had caught on at another London school and then abruptly left to lead a choir called the London Boy Singers [see below]’ (Walsh, Lloyd Webber, p. 67), but without clarifying if he is again referring to the City of London School here.
Since the first appearance of this blog article and the subsequent articles on Doggett in The Times, two individuals have come forward to confirm that Doggett did indeed work at City of London School on a more permanent basis after leaving Colet Court (thus contradicting the account given in Chandler, ‘Alan Doggett’, p. 282 n. 4, based upon information provided to him by Terry Heard, archivist at City of London School), teaching rowing as well as music (the latter probably only at the junior school).
Furthermore, one woman has contacted me to confirm that Doggett was also Head music teacher at St Mary’s School for Girls in Wiltshire Lane, Norwood, Middlesex (now part of Haydon School) in West London for several years in the 1970s (approximately 1972-75). In 1974, both Lloyd Webber and Rice came to give a talk and share their experiences (see comment from ‘louise’ here). This visit is also confirmed by a comment by Geraldine Maidment (née Stanley) on Friends Reunited boards. Doggett was the first male teacher allowed to teach at St. Mary’s, a school with around 600 girls (it is possible he had been excluded from teaching boys, but not girls, though this at present is just speculation); the girls apparently gave him something of a difficult time, but he gladly allowed them to bring pop records to class and regularly sing numbers from Joseph.
Furthermore, a comment posted below this by Tim Waygood indicates that Doggett taught music at Culford School for just around two terms in 1976-77, where he was resident teacher at Cadogan House, one of three live-in teachers . Waygood recalls Doggett taking boys to his room and beating their bare backsides, and describes him as a ‘terrifying man with a penchant for punishing boys’. In one case, he beat an 11-year old so badly with a hairbrush that he bled; Doggett left the school under hushed circumstances soon afterwards. Waygood was 12 when he heard he had killed himself. Apparently every boy knew how dodgy Doggett was, and there were suspicions about other teachers at the school.
Doggett also taught from August 26th to September 2nd 1969 at one of the Adult Summer Schools with concurrent Choirboys’ Courses for the Royal School of Church Music; this took place at Dean Close School, Cheltenham; fellow teachers included Geoffrey Barber, Michael English, Allen Ferns, Geoffrey Fletcher, W. J. Goodey, Richard Greening. (The Musical Times, Vol. 110, No. 1516 (June 1969), p. 561).
Doggett’s evangelism for popular music with religious themes was undiminished after his departure from Colet Court, and he published an article to that effect in 1969 (Doggett, ‘Pop here, my Lord?’, English Church Music 1969, pp. 37-40, cited in Chandler, ‘Alan Doggett’, p. 278). Feeling a great pride in Joseph, Doggett advertised for ‘recruits’ in spring 1969 for a ‘mammoth school performance’ of the work, to be held in St. Paul’s, but it appears that this never took place (Chandler, ‘Alan Doggett’, p. 284; this includes a reproduction of the advert).
Doggett continued to make recordings with Lloyd Webber and Rice following that of Joseph; dates here are unclear, so that it is also unclear whether what Rice refers to as ‘Alan Doggett’s boy choir’, which he dubbed ‘the Wonderschool’, was the Colet Court choir or the London Boy Singers. Recordings were made of ‘Bike’, a Syd Barrett number which had appeared on the first Pink Floyd album, The Piper at the Gates of Dawn (1967), and also of the Everly Brothers’ ‘Problems’, as well as some songs with the Mixed Bag and David Daltrey, but none of these were ever released by Decca. One which was a single featuring a solo choirboy who worked with Doggett; at present I am unclear as to the title of this song, but the B-side was a version of ‘Any Dream Will Do’, with changed lyrics, recorded in 1969 (Rice, Oh, What a Circus, p. 166).
Around Christmas of 1969, Doggett had heard what would become the theme tune for Jesus Christ Superstar, and suggested to Lloyd Webber and Rice that they might use this for a musical based upon the Daily Mail Air Race; the composers decided instead upon the theme of Christ on the cross (McKnight, Lloyd Webber, p. 109). The recording of the new work (an album which preceded stage performances) was made in 1970. Doggett once again conducted the orchestra and a children’s choir (who are unidentified on the recording), together with singers Murray Head, Ian Gillan, Yvonne Elliman, Victor Brox, Brian Keith, Johnny Gustafson, Barry Dennen and Mike D’Abo, some of whom recorded their contributions after the orchestra and choir had finished in the studio. The part of the priest was played by Paul Raven, then the name of Gary Glitter, who of course was later convicted of multiple child sexual abuse and pornography charges. The orchestra featured strings from Malcolm Henderson’s City of London Ensemble, with Alan O’Duffy as engineer (Walsh, Lloyd Webber, p. 67; Rice, Oh, What a Circus, pp. 198-199). Doggett also conducted Lloyd Webber’s first film score in 1971, for Stephen Frears’ film Gumshoe (Chandler, ‘Alan Doggett’, p. 283).
But Lloyd Webber and Rice noticed that Doggett’s conducting was not really up to professional standards, and he seemed out of his depth with the more hard-rock sections of the Superstar recording, and so he was replaced first by Ian Hunter, then for the 1973 film version by André Previn (Walsh, Lloyd Webber, p. 67; Citron, Sondheim and Lloyd Webber, p. 151 n. 5; Mantle, Fanfare, p. 91).
This would not however signify the end of Doggett’s collaborations with Lloyd Webber and Rice; there was a new surge of interest in Joseph at late 1972, for which Doggett was brought back to act as musical director for a production at the Edinburgh Festival, directed by Frank Dunlop, together with some medieval mystery plays. With some changes to the lyrics, the performance of Joseph was nonetheless relatively faithful to the original Doggett production (Rice, Oh, What a Circus, p. 286). This production was then taken to the Roundhouse in London and to the Albery Theatre in the West End, and also televised and broadcast on the ITV network on December 24th, 1972, then again on December 23rd, 1973. The Albery performance was paired with a new Lloyd-Webber and Rice work, Jacob’s Journey, thus yet another premiere for Doggett (Mantle, Fanfare, pp. 95-96; Chandler, ‘Alan Doggett’, p. 285).
In 1970, Doggett became Director of the St Barnabas Singers (in Holland Park), who met on the first Sunday of each month. An advert for the choir indicated that the term’s programme would begin on October 4, including new setting of canticles written for the choir by Betty Roe. The address given was 23 Addison Road, W14. (The Musical Times, Vol. 111, No. 1532 (October 1970), p. 1050). He also served as organist at St Barnabas Anglican and Methodist Chuch, from some point around this time; the vicar of this church at the time of his death in 1978 was the Rev. Pat Kirwin (‘Sex case choirmaster killed on railway line’, Evening News, February 8th, 1978).
Then, by December 1971 at the latest, Doggett was working for the London Boy Singers (LBS) (sometimes mistakenly referred to as as the London Boys’ Choir). This was a group founded first in 1961 in order to supply a concert boys’ choir in England, and through the enthusiasm of Benjamin Britten, who served as President. It was initially known as the Finchley Boys’ Choir, formed from the Finchley Children’s Music Group. At first the LBS was run by a Board of Governors, with Eric Walter White as chairman; during this time they performed the premieres of Britten’s King Herod and the Cock and the Twelve Apostles, both dedicated to the choir, in June 1962 in Aldeburgh. The first artistic director was John Andrewes, followed by Jonathan Steele, who was conductor from the outset. However, Steele, broke with Britten and the Governors in 1966. The choir would continue through into the 1970s, and an archive is maintained by the London Boy Singers Association (see ‘London Boy Singers Association’ for more details).
According to one account written after Doggett’s death by a writer who appeared to know Doggett and his work well, Doggett became director of the LBS as early as 1964 (Colin Ward, ‘The saving grace of worldliness’, New Society, July 9th, 1981, p. 72). This is certainly not the account given by the official pages listed above, nor does it concur with the page of archived concert programme of the Finchley Children’s Music Group, which does not mention Doggett once (but mentions Steele twice). A major concert in March 1970 was conducted by Steele (Ronald Crichton, ‘London Boys Singers. St Anne’s and St. Agnes’, Financial Times, March 23rd, 1970, p. 3).I have found no evidence of an earlier involvement of Doggett’s with the choir, so conclude that his work with them probably post-dated Britten’s involvement with them. In December 1971, he was working together with David Rose, and both of their names were given for audition forms (see The Musical Times, Vol. 112, No. 1546 (December 1971), p. 1226). Tim Rice inaccurately refers to the LBS as having been ‘the choir he [Doggett] had formed since leaving regular school employment’ (Rice, Oh, What a Circus, pp. 351-352), but it had a longer history than that. In 1973, Doggett who had at some point earlier become Associate Director, was appointed Director of the LBS in succession to Steele (Musical Opinion, Vol. 97 (1973), p. 428). In this capacity, one commentator argues that he brought the choir to international fame (Citron, Sondheim and Lloyd Webber, p. 151 n. 5). By 1975, a Paul Terry was writing to the Daily Mirror in gushing terms about the LBS, pointing out that they ‘have sung more than 210 part-songs in their concerts over the past six years – all from memory and in nine languages, including Russian, Hebrew and Welsh!’, their average age was 13½, and they were ‘just ordinary lads from schools all over London who love singing’, who had performed in as different locations as the West Country and Rome (where they had been the previous Easter, this was probably a trip to the Vatican referred to in a later article) and elsewhere in Europe (Letter from Paul Terry, Caithness Road, London, ‘Songsters’, Daily Mirror, August 26th, 1975, p. 16; Anthony Holden, ‘Tragic end for the music man’, The Sunday Times, February 19th, 1978).
Amongst the concerts of which there is documentary record of his conducting with the choir are one with Timothy Bond on the organ, at St. Vedast, Foster Lane, EC2, on July 11th, 1974 (The Times, June 6th, 1974, p. 7), one at the Exmouth Pavilion on August 3rd, 1975 (The Musical Times, Vol. 116, No. 1590 (Aug., 1975), p. 732), and one at St. Edmundsbury Cathedral on July 30th 1976 (The Musical Times, Vol. 117, No. 1598 (April 1976), p. 295).
Doggett also conducted a recording of Prokofiev’s Peter and the Wolf, with the City of London Ensemble, and Frankie Howerd as narrator, Polydor Carnival 2928 201 (1-25), which was reviewed in an issue of Gramophone from 1972 (p. 110). This version had been prepared by Rice, and Rice and Lloyd Webber were credited as producers on the recording (Chandler, ‘Alan Doggett’, p. 283). This was not the only art music he conducted during these years; he would also conduct the UK premiere of Schoenberg’s Sonata Fragment (1941) in 1974 (Chandler, ‘Alan Doggett’, p. 276, n. 1).
Doggett turned to trying to create a cantata/musical of his own along the lines of those of Lloyd Webber and Rice (perhaps, as Chandler suggests (‘Alan Doggett’, p. 284) as a way of realising his vision of a ‘mammoth school performance’ of Joseph); this would be Jason and the Golden Fleece, for which he wrote the music, and co-wrote the lyrics with the Hampstead poet Rita Ford (1931-1985); it was described as ‘A New Musical for Schools’ (Chandler, ‘Alan Doggett’, pp. 285-286). The work received its first concert performance at St Barnabas Church, Addison Road, London W14 (where he worked with the St Barnabas Singers mentioned above) on Wednesday June 27th, 1973, hosted by City of London Productions (Advert in The Musical Times, Vol. 114, No. 1564 (June 1973), p. 589). A choir of 250 children were involved, a combination of the LBS, the Islington Green school choir, and also a selection of ‘largely untrained children’ from St. Barnabas and St Philip’s schools, and St Peter’s school in Hammersmith (Chandler, ‘Alan Doggett’, p. 286). The familial resemblances of this work to Joseph, not least in terms of both works’ use of a narrator, have been commented upon by various people, though also its weaknesses compared to the work of Lloyd Webber and Rice, both by critics at the time and later writers (see Chandler, ‘Alan Doggett’, pp. 285-287; Chandler is concerned to defend this work against the idea it might simply be a poor man’s Joseph). At the outset it received positive reviews from Hilary Finch and Barbara Denny, reviewing for the South Kensington News and Chelsea Post and Kensington News and Post (cited in Chandler, ‘Alan Doggett’, p. 285).
The work would receive a further performance in a revised version on March 9th, 1977 at Westminster Central Hall, with large forces drawn from many London schools (Chandler, ‘Alan Doggett’, p. 287). This performance, however, received a markedly downbeat review from Merion Bowen, who wrote that the work ‘was not at all edifying’ and that Doggett’s music displays little of the flair shown by Andrew Lloyd Webber and others in the same vein, and Ford’s lyrics aren’t exactly inspired’ (Merion Bowen, ‘Jason and the Golden Fleece’, The Guardian, March 10th, 1977).
Despite having been replaced for the film version of Superstar, Doggett was involved in part in the conducting duties for Lloyd Webber’s score for the 1974 film of The Odessa File (Chandler, ‘Alan Doggett’, p. 283). Also, at some time in the mid-1970s, whilst Lloyd Webber and Rice were working on Evita, Rice also wrote some lyrics for a children’s album, Barbapapa, which was a spin-off from a Dutch TV series, and included Ed Stewart on the recording; Rice brought in Doggett and the LBS for the sessions (Rice, Oh, What a Circus, p. 325).
When it came to the recording of Evita in 1976 (the first production would not come until two years later, after Doggett’s death), Doggett was credited as ‘Children’s Choirmaster, Musical Coordinator (names of all the main performers can be found here); the main conductor and choir director was Anthony Bowles. Rice would later write that Doggett ‘was gently relegated to directing the London Boy Singers’ (Rice, Oh, What a Circus, pp. 351-352), though he appears to have been quite happy in his allotted role (Mantle, Fanfare, p. 116).
The end came for Doggett in early 1978. As with his leaving Colet Court, accounts differ of the actual events. Michael Walsh writes that ‘When one of the boys [of the LBS] accused Doggett of molestation – apparently the accusation was false – the conductor was arrested and, as a condition of his bail, was forbidden to have any contact with his chorus’ (Walsh, Lloyd Webber, p. 67). Stephen Citron, who as mentioned earlier reports the molestation at Colet Court as an established fact, says that on this occasion Doggett was again ‘accused of molestation – this time presumably falsely – he was forbidden to have any contact with his chorus’ (Citron, Sondheim and Lloyd Webber, p. 151 n. 5). Michael Coveney writes that Doggett ‘was still teaching and running his boys’ choirs but he was threatened with allegations about his private life and preferred not to risk public disgrace’ and that:
The tragedy is that it later emerged there was nothing on the files that was ever going to make any kind of case against him in court. Lloyd Webber remains convinced that Doggett would never have been guilty of taking advantage of any young person in his charge: ‘His main talent was in helping children to make music. He was convinced that every young person had music in him or her, and that it was never too late to stop learning. (Coveney, The Lloyd Webber Story, p. 112).
All three such writers assume either that Doggett was innocent or that the case against him would not stand up in court; Mantle on the other hand writes about ‘forbidden love’ which ‘took other, sadder forms’ and reports the ‘allegation of indecency’ right after arguing that ‘he [Doggett] had been unable to leave them alone [after leaving his post at Colet Court]’, presumably a reference to a proclivity for boys (Mantle, Fanfare, pp. 130-131). McKnight does not even seem to have registered the event, claiming that Doggett died in 1973 (McKnight, Lloyd Webber, p. 99), whereas Rice hedges from committing himself to a view of Doggett’s guilt or innocence in 1978 (unlike in 1968) (see below). Another book on Lloyd Webber by John Snelson (Snelson, Lloyd Webber) only mentions Doggett once in passing in the main text, and briefly in two endnotes, so does not consider his death at all. But in most cases the defence or denial seems beset by doubt on the parts of the authors, suggesting their verdicts may reflect what they wish to have been the case rather than necessarily what did transpire.
Doggett was due to conduct a further performance of Jason and the Golden Fleece at the Royal Albert Hall on February 23rd 1978, with a choir of a thousand singers, entitled ‘The London Boy Singers And a Massed Choir of 1000’ who he had selected and coached, as well as many other children playing recorders and percussion, all from around 34 different schools; the performance was to be on behalf of Help the Aged. A few adult celebrities were also involved, including Ed Stewart, Ian Lavender, and Barney the Clown (‘Concert’s lost conductor’, The Guardian, 24/2/78; Chandler, ‘Alan Doggett’, p. 287). An article from three years after his death (to which I will return below) mentioned that according to some press reports, police had intended to interview every one of these thousand boys (Ward, ‘The saving grace of worldliness’, p. 72).
What is clear is that, following an investigation by detectives in Hammersmith, Doggett was charged on February 8th, 1978 in West London Magistrate’s Court and remanded on bail of £1000 (on condition that he made no contact with any member of the choir or their parents), hours after which, in a depressed state, he travelled back to his birthplace of Iver, and lay down on a railroad track so as to be run over by a train (Walsh, Lloyd Webber, p. 67; Citron, Sondheim and Lloyd Webber, p. 151 n. 5; ‘Sex case choirmaster killed on railway line’, Evening News, February 8th, 1978; ‘Sex-case death’, Daily Mirror, February 9th, 1978, p. 3; ‘Sex case man killed’, Daily Mail, February 9th, 1978, p. 9; ‘Concert’s lost conductor’, The Guardian, February 24th, 1978). Immediately after Doggett’s death, one unnamed friend was quoted as saying that he did not think Doggett ‘could face the shame of having the whole issue dragged through the courts’, whilst the Rev Kirwin, vicar at St Barnabas, described Doggett as ‘a friend for ten years’ who ‘was one of the kindest and most helpful persons I have known’ (‘Sex case choirmaster killed on railway line’)
Doggett had sent handwritten suicide notes to a few friends (one article claims there were four, including one to his father, one to an unnamed clergyman, one to Salisbury – ‘Sex case choirmaster killed on railway line’, Evening News, February 8th, 1978; another that there were two, to his sister and a clergyman – ‘Concert’s lost conductor’, The Guardian, February 24th, 1978), which were delivered a few days later (Walsh, Lloyd Webber, p. 67). One of these was to Rice, who received two envelopes, dated a week apart, upon returning from a trip to Australia, both from Doggett. The first was a plea for an opportunity to earn some royalties from work he continued to do with his boys’ choirs on Joseph; the second was the suicide note. Rice quotes part of it in his autobiography, and other sections were quoted in an article published eleven days after Doggett’s death:
I am sorry if any of you have been hurt or will be hurt by the events of the past few days. Do not grieve, do not feel remorse, do not feel ‘We should have done more’. (Anthony Holden, ‘Tragic end for the music man’, The Sunday Times, February 19th, 1978).
We all have to sail our own ship through life and this ship has capsized. No one could have helped, it was my destiny. Pray for me, my parents, family and friends. The way I have chosen, the way of the Greeks, though hard, is best. I am sorry I have not completely lived up to it. (Rice, Oh, What a Circus, p. 400; section from ‘We all..’ to ‘…my destiny’, in Holden, ‘Tragic end’, above).
But remember me, please, for the good things, the happy times. The meals, the drink, the conversation, the good companionship. Remember the best bits in my character; there were, i hope, more pluses than minuses in the mixture. (Holden, ‘Tragic end’).
Rice, writing about the ‘Allegations of impropriety with young boys’ which ‘had apparently surfaced (not for the first time)’, whereupon ‘Alan had been arrested and charged’, leading to his suicide (ibid), wrote the following in his autobiography:
I say ‘not for the first time’ but I cannot believe that Alan was truly a danger, or even a minor menace, to the many boys he had worked with over the years. The only previous time in ten years that Andrew and I had come across such rumours concerning Alan, the allegations were proven to be exactly that, as the time and place of the supposed transgression clashed precisely with a recording date at which all three of us were continually present. It has been known for young boys, and more commonly their parents, to manufacture or exaggerate incidents when they know and (understandably) disapprove of a teacher’s inclinations. I am certainly not saying that this was the case with the circumstances that led to Alan’s awful end, or that Alan was squeaky clean throughout his musical dealings with his singers. However I suspect that there was a lot less to the cause of his tragedy than met the eye – just enough to render him incapable of facing the humiliation and shame that he knew he had brought upon himself. It was hard for me to believe that Alan, working with boys so closely for so many years, could have got away with any such behaviour for so long without being caught and hard to speak about him at his funeral, which I readily agreed to do. He played a crucial part in Andrew’s and my success, was an excellent choirmaster, and was never less than a highly amusing and generous companion. (Rice, Oh, What a Circus, p. 401)
Lloyd Webber and Rice themselves published a ‘Tribute’ in the Evening Standard a week after Doggett’s death (February 15th, 1978, p. 25), saying that ‘[w]e ourselves owe him a great deal’ (cited in Chandler, ‘Alan Doggett’, p. 277).
In the next issue of Magpie, the following text appeared:
Dear Sir,
‘Letters’ is a most acceptable way for members to express their opinions. Usually I don’t, but this time I am so shocked and distressed as a paedophile, and lover of music, that I will sound off.
On February 9th the Director of the ‘London Boys Singers’ was a troubled man. He attended the Magistrate’s Court, accused of ‘Indecency’ with a 10 year old boy.
I know none of the facts of his story, but can well imagine the innocence with which this act of love and affection had taken place.
No doubt Mr. Doggett, considering his social position, found his contact with the law enforcement people to be unacceptable to him. He was bailed, pending trial. He went to a pub and talked a while, wrote some letters to friends and relatives and then threw himself under a train.
If this man chose death as a means of protecting his beliefs towards Paedophilia, I wonder how many of those, who consider the bloody futile laws of this land to be correct and proper, would be willing to support their theories with their life?
It is of the utmost importance that Paedophiles be permitted to express themselves without oppression. It is the ONLY way to be sure that tragedies of this nature will be averted in the future.
My most sincere condolences to the members of the London Boy Singers.
Your loss is total.
Paul Andrews. (Letters, Magpie, Issue No. 10 (no date), p. 4)
Andrews was a treasurer of the Paedophile Information Exchange, at least in September 1978, when his house was raided, together with those of chairman Tom O’Carroll, secretary David Grove, and a Mr Ralph Alden (Gerard Kemp, ‘Child sex leaders raided’, Sunday Express, June 18th, 1978); Andrews had retired from this position by November 1979. He appeared in court with O’Carroll and Grove on July 26th, 1979 at Bow Street Magistrate’s Court on a charge of ‘Conspiracy to Corrupt Public Morals’ (at least as reported in Pan: A Magazine of Boy Love, Vol. 1, No. 3 (November 1979), p. 6). It is not clear from the letter whether Andrews knew Doggett personally, but the tone of the letter suggests some familiarity with the case.
The February 23rd performance of Jason and the Golden Fleece at the Royal Albert Hall became a memorial concert for Doggett, also in aid of the organisation Help the Aged (‘The show that must go on’, News of the World, February 13th, 1978). Michael Stuckey, who had worked alongside Doggett for the 1972 productions of Joseph, took over the conducting (Walsh, Lloyd Webber, p. 67; Citron, Sondheim and Lloyd Webber, p. 151 n. 5; ‘Concert’s lost conductor’, The Guardian, February 24th, 1978; Chandler, ‘Alan Doggett’, p. 285). The concert was reviewed enthusiastically and with some poignance by none other than Derek Jewell, who had been so important in bringing Joseph to the attention of a wider audience ten years previously (Derek Jewell, ‘Joy fills the Albert Hall’, The Sunday Times, February 26th, 1978). The work would also receive a further performance in 1979 at the Connaught Theatre, Worthing, with an adult cast of around 25, and with Hugh Janes, who would later obtain the rights to the work, as narrator (Chandler, ‘Alan Doggett’, p. 285).
Another article appeared in Magpie in the following issue, this time from an anonymous contributor:
A letter in Magpie 10 reported and commented on the recent suicide of Alan Doggett three weeks before he was to conduct the London Boys Choir, together with massed choirs of other children at the Albert Hall. On the night of that concert the programme contained an insert describing Alan Doggett’s years of dedicated service and paying tribute to his friendliness, integrity and loyalty.
Shortly after this date a requiem mass was said for him at the Holy Cross Priory in Leicester by the Reverend Father Michael Ingram.
On Saturday 20th May a memorial service will be held to commemorate Alan’s life and work. It will start at 3 p.m. and will be held at St. Barnabas Church, Addison Road, London, W14, taking the form of a choral evensong, performed by the London Boys Choir.
These religious functions, one Roman, the other Anglican must be seen not only as ceremonies of intercession and remembrance, but also as containing an element of protest. It would seem to be true that in today’s society religious organisations provide almost the only vehicle whereby such a protest can be made. (‘Alan Doggett – Memorial Service’, Magpie, Issue No. 11, May 1978).
Father Michael Ingram, a Dominican priest, was himself a contributor to multiple issues of Magpie (see my other blogs for some examples of this), writing amongst other things about his supposed counselling of young boys over their sexual hang-ups and difficulties with their parents. He was found guilty in August 2000 of sexual offences, including one serious sexual offence, one offence of gross indecency, and four of indecent assault, against six boys committed between 1971 and 1978 (‘Former priest guilty of sex abuse’, The Tablet, August 19th, 2000, p. 26). A series of reports from the trial in the Leicester Mercury (from July 31st to August 15th, 2000, covering the course of the trial) detailed the awful events and traumatic experiences of Ingram’s victims as revealed in court, and how Ingram preyed upon those from under-privileged families and broken homes, some of them referred to him by social services. Ingram would also encourage boys to compete for his attentions and affection, especially on holiday trips. A letter to The Tablet in 2012 (Ingram had died in 2000) spoke of Ingram’s involvement with PIE, and also contribution to the book The Betrayal of Youth; Radical perspectives on childhood sexuality, intergenerational sex, and the social oppression of children and young people, edited Warren Middleton (London: CL Publications, 1986) (Middleton was a PIE Executive Committee member and former editor of Understanding Paedophilia – see my blog post here for samples from this publication), which featured many essays from individuals connected to PIE (and by feminist writer Beatrice Faust and gay rights campaigner Peter Tatchell – see here for a list of contents and quotes). Nurse was surprised that despite the openness with which Ingram expressed his views on the desirability of sexual relationships between adults and children, he was still ‘remained in active ministry and was permitted to work with vulnerable and disadvantaged children’ (Richard Scorer, ‘Turning a blind eye’, The Tablet, November 10th, 2012, pp. 18-19).
Over three years after Doggett’s death, an article in New Society looking back at his plight also bears consideration, and suggests the author knew Doggett and more about the situation than he is revealing. This author was Colin Ward (1924-2010), a writer for anarchist publications, noted for an important book The Child in the City (London: The Architectural Place, 1977) (for more details on Ward, see Ken Worpole, ‘Colin Ward obituary’, The Guardian, February 22nd, 2010). Ward’s article is worth quoting from in detail, and is quite shocking by contemporary standards:
Chaps in pubs and clubs nod sagely at the mention of schoolmasters, scoutmaster and choirmasters. We all know what motivates them. It’s a bit embarrassing, to say the least, for all those people in these occupations whose devoted service is untinged by sexual attraction, but the stereotype exists and is quite often true.
Every now and then someone breaks ranks and points out (as the therapist Dr Richard Hauser did, to the accompaniment of a chorus of parliamentary questions) that if there were some machine for screening out those with a sexual attraction towards children, the caring professions would lose their most valuable people).
But publicly we brush aside ordinary wordly truths taken for granted by the chaps in pubs and clubs, or, worse, treat them as sudden terrible revelations. The recent moral crusade against paedophiles in the United States has led to all sorts of worthy people abandoning their voluntary activities in the boy scouts or in the Big Brother organisation (of adult males befriending boys from fatherless families) for fear of being identified with them.
It is interesting to see that the homosexual lobby there is sufficiently self-assured to fight back and to defend in the courts the right of its own paedophile minority to be scout leaders or Big Brothers, just as it is encouraging to read that the city authorities in Amsterdam have allowed a known paedophile – with a prison sentence behind him – to adopt a troublesome 13 year old boy from a children’s home. To harness people’s wayward and personal predilections to a socially desirable end is a mark, not of irresponsibility, but of civilisation. (Paeophilia, it is worth repeating, means the attraction of men towards boys. It’s pederasty when it turns into sexual activity.)
[……..]If Lewis Carroll had been born 100 years later, he, with his delight in taking nude photographs of his little girl friends, would find himself in the dock at the Old Bailey, charged under the Protection of Children Act, 1978.
Consider the cases of two choirmasters. Years ago, a celebrated college director of music (now dead) appeared before a private university court following charges that he had molested a choirboy. He was reprimanded and went back to his honoured place at High Table and to his work with the choir he had made world-famous. Contrast his experience with that of Alan Doggett. If you know Doggett’s name it is because you saw it on the record sleeve of Evita, where he is described as musical coordinator, though he did not live to see the stage production. He was found dead on a railway line three years ago.
On the very day that the coroner pronounced a verdict of suicide, he was to have conducted at the Albert Hall, a charity performance of his “pop extravaganza,” Jason and the Golden Fleece, with a thousand schoolboy singers and instrumentalists. He was a music teacher who had commissioned from Andrew Lloyd Webber and Tim Rice, then in their teens, Joseph and the Amazing Technicolor Dreamcoat as a school opera. Later he was their musical director for Jesus Christ, Superstar. In 1964 [probably an erroneous date] he had become the director of the London Boy Singers, an ensemble founded at the instigation of Benjamin Britten in 1961. Everyone in the musical world paid tribute to his immense energy and his inspired teaching.
The day after his death, friends received through the post a note from him which said, “We all have to sail our own ship through life, and this ship has now capsized. No one could have helped. It was my destiny.” On the day of his death, he had been committed for trial on a charge of committing an act of indecency with a minor. According to the press, the police had intended to interview each of the thousand boys in the Albert Hall production.
I know young men who were members of that choir and who remember Alan Doggett with immense gratitude and respect. I have myself a family of young musicians, who, if any unexpected extra-musical experiences came their way, were sensible enough to handle them in their own way and keep quiet about them.
What is absolutely appalling is the degree of retribution exacted by the community for minor indiscretions which have been going on, as we all know, since the days of the ancient Greeks. In common, I imagine, with many readers of this journal (though only Tailgunner Parkinson, who is always ready to stick his neck out, spoke up for him), I reacted with horror and unbelief at the two-year sentence passed on Tom O’Carroll, after a re-trial.
He was found guilty, you will recall, under one of those obsolete statues which have to be dug up on these occasions, of “corrupting public morals” by publishing the information bulletin of the Paedophile Information Exchange. There was no evidence that he had committed any offence against any child. (The only charge of this nature against him was withdrawn last month and he was awarded costs).
[….More on O’Carroll and Paedophilia: the radical case…. – this awful publication can be found complete online here]
Another court case, involving incest, followed by the murder of a father by his daughter, which was reported on the same day as the result of the PIE trial, presents the other side of the argument. Statistically, the commonest known form of child-adult sexual activity is father-daughter incest. The enormous publicity given to cases of the sexual murder of children shouldn’t blind us to the fact that such instances are no more typical of the paedophiliac scene than rape-and-murder is characteristic of ordinary sex.
Of the millions of grams of sexual fluids ejaculated every night, most are expended in socially harmless ways, and, in spite of Roman Catholic teaching, not many of them are involved in the reproduction of our race: something for which we should all be thankful. But are we really so worried if some boy in the summer camp is masturbating with the youth club leader, instead of by himself? Don’t we all know that the investigation of the offence is ten times as traumatic as the actual experience itself?
[….More on O’Carroll….]
What really touched me about his [O’Carroll’s] book was the way he quoted his glowing testimonials as a teacher. I am sure that he is a marvellous teacher and that this is a by-product of his sexual inclinations. But this has not saved him, or hundreds of other men like him, from the horrors of a jail sentence on this kind of charge. The Department of Education has a blacklist, which we aren’t entitled to see, on which his name must be underlined.
Yet if we delve into personal memories, we find that innumerable experiences with people like him, far from involving any kind of violence or painful physical penetration, have simply been an aspect of growing up. I can remember the fumbling fondlings of a PE teacher as flattering, rather than terrifying. My wife remembers the attentions of a beloved teacher as yet another initiation into the joys of sex.
Here, as in so many other aspects of social life, there is a fantastic gap between what we all know to be true and our accepted public attitudes. Something we can learn from those old gents in pubs and clubs is the saving grace of worldliness.
This is common of the type of language, rhetoric and ideological assumptions which permeate pro-paedophile discourse. It portrays paedophilia as natural amongst those in the teaching or caring professions, makes any other view out as being akin to a witch-hunt, advocates ‘keeping quiet’ as the only ‘sensible’ response on the part of children, attempts to legitimise the practice by reference to historical figures (and the ancient Greeks), appropriates gay liberation towards its own ends, evokes the cultured (in this case musical) aspects of paedophiles, justifies masturbation of minors, claims that to investigate such offences is worse than the offences themselves, and betrays a type of Stockholm syndrome when speaking of one’s own experiences of sexual abuse. And it is most telling that the only two names who Ward discusses in detail are Doggett and O’Carroll.
Various accounts of Doggett’s character help to complete the picture. Jonathan Mantle shows the awkwardness of ‘the prematurely balding Doggett with his thick black spectacles and his vulnerability to mockery’ which contrasted strongly with the ‘mop-haired, feminine looking youth whose facial hair seemed to be concentrated in a pair of thick, black eyebrows which rose and fell incessantly’ of Lloyd Webber (Mantle, Fanfare, p. 42). Mantle also writes:
Doggett was a split personality: outwardly a charming, witty man, a competent keyboard player and arranger and a highly successful architect of the Colet Court choir, but inwardly a nervy, intense homosexual of unhappy inclinations which would eventually destroy him. He had taken a shine to Andrew at an early age and became his self-appointed musical minder, making sure the young composer’s phenomenal aptitude for tunes was translated into music whose time signature always worked and bars added up correctly. (Mantle, Fanfare, pp. 30-31)
He further suggests that Ian Hunter, whilst appreciating deeply what Doggett was able to do for the Colet Court choir, had ‘few illusions about the more volatile aspects of his personality’ (Mantle, Fanfare, pp. 42-43); McKnight quotes Hunter as saying that Doggett ‘was not very brilliant musically’, but had a great ‘ability to communicate with kids’ (McKnight, Lloyd Webber, p. 86).
Gerald McKnight refers to Doggett as ‘a sad, pathetically mixed-up man in private life’, though ‘his passion for music endeared him to Dr and Mrs Lloyd Webber’, who the composers regularly ragged, using instructions such as ‘With un-Doggett-like expression!’ and ‘Doggett Mobbed!’ (McKnight, Lloyd Webber, pp. 85, 99).
Mantle points out however how central a part of Lloyd Webber’s social circle was Doggett (together with David Crewe-Read, Gray Watson, Bridget (Biddy) Hayward and Jamie Muir), whilst implying that Doggett’s place in this circle depended upon ‘past glories’; in his later work with Lloyd Webber, according to Mantle, he came to ‘ look more and more like a man who had been left behind’ (Mantle, Fanfare, pp. 117-118, 131).
The second Magpie article, with its reference to the two religious services ‘containing an element of protest’ and how ‘religious organisations provide almost the only vehicle whereby such a protest can be made’, is ominous, and suggests a deeper knowledge of Doggett and his activities. The inquest found that Doggett had only written two letters, which he had posted from Paddington Station on the evening he died – one to his sitter and the other to a clergyman (‘Concert’s lost conductor’, The Guardian, February 24th, 1978; this article dates the inquest as taking place three weeks previously, but this is impossible because of the date of Doggett’s death) (there was no mention of the letter to Rice). Who was the clergyman in question?
Otherwise, the article by Colin Ward, the fact of their having been two different pieces on Doggett in Magpie, and the fact that in all of these cases the language is quite typical of paedophile parlance (especially in PIE publications), combined with the various accounts of Doggett’s abuse of children in both 1968 and 1978, certainly indicate that more information is needed to establish the truth. Doggett was indeed a fully paid-up member of PIE; as many such members have been implicated in international child abuse and pornography networks, as well as rings of abusers, the implications are extremely disturbing for one who worked with such a range of children (I would estimate around 1500-2000 just for the period 1968-78, after Doggett left Colet Court).
Doggett’s story is tragic, and he undoubtedly needed help and support such as might have avoided involvement with the dark world of PIE instead. But the potential tragedy for many who worked with him, and how this all might supply further important information about the workings of PIE and its involvement with abuse networks, remains the important question today. At the time of David Chandler’s article in 2012, Ian Hunter was certainly still alive; others interviewed included Roger Ford (husband of the late Rita), and Julian Lloyd Webber. There were literally thousands of boys who studied with Doggett (who would be in their 50s and 60s at the time of writing), so many who could shed further light onto what exactly went on, not to mention the many other musicians who worked with him, and others mentioned in this article. I appeal to those who knew Doggett to help to establish further the truth about and extent of his activities once and for all.
Anyone wishing to speak under conditions of complete confidentiality is welcome to e-mail me at ian@ianpace.com , and I can give advice regarding what to do with any information.
Further on Alan Doggett – child prostitution and blaming victims at Colet Court School
Posted: March 28, 2014 Filed under: Abuse, Alan Doggett, PIE, Public Schools | Tags: alan doggett, andrew lloyd webber, colet court, dominic grieve, george osborne, ian hunter, jesus christ superstar, joseph and his amazing technicolour dreamcoat, julian lloyd webber, music school abuse, st paul's school, tim rice 3 CommentsFollowing the reports by Andrew Norfolk in The Times this Tuesday on abuse at Colet Court and St Paul’s School, including by director of music Alan Doggett (see my blog post from earlier this week for details and links to the text of the Times articles) a new article (Andrew Norfolk, ‘Boys punished for telling of abuse by teacher’, The Times, March 28th, 2014 – behind a paywall – full text can be read here) reports many former pupils of the schools having contacted the paper after reading the first article. In particular, several have helped to provide further information about the activities of Doggett, as follows:
Several ex-pupils described Doggett’s routine “fondling” of boys in their beds. Three said they were abused by the choirmaster, who was conductor on the first recordings of Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita. Doggett resigned after his abuse was exposed in 1968, but it is understood that St Paul’s did not report the allegations to police or to education officials, which was required by law.
He went on to teach at City of London School and became director of an acclaimed choir before killing himself in 1978.
Stephen (his surname is withheld), the pupil who ended Doggett’s Colet Court career, said that he and a friend decided to speak to the school’s headmaster, Henry Collis, after Doggett indecently assaulted both 11-year-olds as they sat on each side of him during a televised football match in May 1968.
“It was the Manchester United v Benfica European Cup Final. We were sitting on the floor and Doggett’s hands were groping inside our pyjama bottoms.
“He wouldn’t leave us alone. He’d already had a go at me in the dormitory on quite a few occasions,” Stephen said. After the match, the two pupils decided that “he’s got to be stopped”. They informed Mr Collis, who was headmaster of Colet Court from 1957 to 1973 and served as chairman of the Independent Preparatory Schools Association.
Stephen said: “When I next went home on exeat that weekend, the school had telephoned my father to complain that I’d made up terrible stories about Doggett. Dad asked me what had been going on. When I told him, he said he believed me and I’d done the right thing in speaking out, but when I got back to the school the two of us were summoned to Mr Collis’s study.
“I can still see us standing in front of his desk on the Monday morning.He was furious. He said we were wicked for making up such awful lies. Mr Doggett was so appalled and embarrassed by the disgraceful things we’d said that he’d decided to leave the school. We should be thoroughly ashamed of ourselves. He gave us detention.”
Stephen said that another boy in their year suffered far worse crimes at Doggett’s hands: “He had one particular favourite who received regular visits in the dormitory at night. He’d abuse the poor boy without seeming to care that we could all see and watch what was happening.”
Other ex-pupils spoke this week of open gossip among the boys that “half a crown” was the “going rate for a session with Doggett”. One said that his year group even coined a new verb: to be “Doggoed” was to be groped and fondled.
Doggett’s resignation was one of several occasions when St Paul’s allegedly failed to inform police after concerns were raised about sexual misconduct by teachers. (Norfolk, ‘Boys punished for telling of abuse by teacher’)
In Norfolk’s article from earlier this week, the testimony of another boy, ‘Luke’, who had been abused by three teachers at the school before the age of 12, recalled how:
A far worse fate awaited another boy in his dormitory, a year younger than Luke, who was angelic in both voice and looks. He was Doggett’s chosen one, summoned far too often from their dormitory to spend long hours at night in the choirmaster’s bedroom. (Norfolk, ”The teacher sat us on his lap until his face went very red”).
The Manchester United/Benfica match in question was the 1968 European Cup Final, at Wembley Stadium, which took place on May 29th, 1968, thus just two-and-a-half weeks after the second performance of Joseph in Westminster Central Hall (detailed in my earlier account of Doggett’s life and activities – a revised version of this in light of the new information can also be read here). Eight weeks after this performance (thus in mid-July 1968), Doggett made the recording of Joseph for Decca at Abbey Road Studios, and in November of that year gave a further performance at St Paul’s Cathedral. Assuming that ‘Stephen’ made the complaint soon after the abuse during the cup final, this means that Doggett was continuing to conduct a choir of boys for recordings and performances after he had left Colet Court. More widely, this opens up the disturbing possibility, if not likelihood, that the choirs singing on the first recording of Joseph (and quite likely Jesus Christ Superstar as well) were being systematically abused at the time by their conductor.
Furthermore, if ‘half a crown’ was ‘the going rate for a session with Doggett’, then child prostitution of boys of ages around 10-12 was going on flagrantly at the school. And for Doggett would come into a dormitory and abuse a boy in front of the others is itself a form of abuse of all the boys in that dormitory.
There seems no little doubt to my mind that, if these allegations are true, that Colet Court and St Paul’s School were during this period a haven for serial abuse of boys below the puberty, sadistic punishment for sexual gratification of teachers, child prostitution, and intimidation and blaming of victims by the shameful headmaster, Henry Collis. This is a shameful history for any school, but alas it would seem as if Colet Court/St Paul’s were far from alone in many of these respects.
That these sorts of unspeakable things have remained hidden for so long is itself an outrage, but I hope that some can take consolation from the fact that the truth is finally able to come out, and their experiences be recognised.
Others who studied at these schools and now hold prominent positions – such as the Chancellor of the Exchequer George Osborne (who was after Doggett’s time, but may have known some of the other abusive teachers) and Attorney General Dominic Grieve QC (who studied at the school when Doggett was a teacher) – should themselves be demanding action and proper investigation into how such abuse could be allowed to happen. Tim Rice wrote the following in his autobiography:
The only previous time in ten years that Andrew and I had come across such rumours concerning Alan, the allegations were proven to be exactly that, as the time and place of the supposed transgression clashed precisely with a recording date at which all three of us were continually present. It has been known for young boys, and more commonly their parents, to manufacture or exaggerate incidents when they know and (understandably) disapprove of a teacher’s inclinations. (Tim Rice, Oh, What a Circus: The Autobiography (Coronet Books, 1999), p. 401).
It would be informative to hear what Rice’s thoughts are on these new allegations, also those of both Julian and Andrew Lloyd Webber, and of Ian Hunter, Doggett’s colleague and successor as Director of Music at the school (who later became Head himself). How much did anyone know about this abuse at the time?
I will update my long article on Doggett later to take account of this new information, and will continue to update it with any subsequent information which comes to light.
One thing is for sure: Colet Court and St Paul’s School need to do everything in their power to help and support the boys who suffered as a direct result of the school’s negligence and complicity, as does every other school where similar things occurred. If these means some must close, so be it.
Peter Tatchell and Dares to Speak
Posted: March 27, 2014 Filed under: Abuse 1 CommentThe controversy surrounding a letter that Peter Tatchell wrote to the Guardian in June 1997 has never gone away. Here is the original book review of Dares to Speak (edited by Joseph Geraci, who also edited the European paedophile magazine Paidika), followed by Peter Tatchell’s letter to the Guardian, Guardian readers’ responses, and finally Tatchell’s response to his critics. Tatchell now claims his original letter was edited by the Guardian, but for some reason he didn’t complain about this in his second letter to the Guardian.
The book review
The Observer, 22nd June 1997
Why Dares to Speak says nothing useful, by Ros Coward
Twenty years ago, paedophile groups caused a real problem for gay liberation politics. The majority of gay men didn’t think paedophilia had anything to do with combating discrimination against homosexual adults. But a small minority tried to use the movement to free “boy-love” from its social…
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New revelations on Alan Doggett, and Colin Ward’s 1981 article on Doggett and Tom O’Carroll
Posted: March 25, 2014 Filed under: Abuse, Alan Doggett, PIE, Public Schools | Tags: alan doggett, Ampleforth, andrew lloyd webber, andrew norfolk, charles napier, colet court, colin ward, Downside School, eton, Haderdashers’ Aske’s, harrow, King Edward’s School Birmingham, london boy singers, Marlborough College, michael ingram, Millfield School, Oundle School, paedophile information exchange, paul andrews, peter righton, public schools, st paul's school, The Oratory School Reading, the times, tim rice, tom o'carroll, Tonbridge School, Wellington College, westminster underschool 4 CommentsFollowing my article from earlier this month on conductor, Colet Court director of music, director of London Boy Singers, Andrew Lloyd Webber/Tim Rice collaborator and Paedophile Information Exchange member Alan Doggett (1936-1978) three articles appeared in today’s Times by Andrew Norfolk, giving testimonies and details of how Doggett abused boys as well as information on five or six other abusers at Colet Court and St Paul’s School (for which Colet Court was the prep school). These are Andrew Norfolk, ‘Teachers ‘abused boys at Osborne’s old school”, ”The teacher sat us on his lap until his face went very red”, and ‘Friends to stars had easy access to boys’, all The Times, March 25th, 2014; and can be accessed via the links given at the excellent Spotlight blog.
Norfolk’s report adds to my own blog post through the testimony of ‘Luke Redmond’ (not his real name) who had been sexually assaulted by three different men at Colet Court School by the time he reached the age of 12. These are Doggett, the dorm monitor Paul Topham, who went on to become an Anglican priest, and was questioned under caution by police in 2000, though no charges were brought before his death in 2012, and a housemaster known as ‘Alex’ Alexander, who took pleasure in punishing boys in a sexualised fashion before taking them on his lap and giving them sweets and physical affection. On Doggett, the final printed version of the article says the following (not all included in the link above):
Luke’s abuse by Alan Doggett, Colet Court’s director of music, was a once-only indecent assault during the boy’s compulsory audition for the choir. [From earlier version of article: Doggett’s auditions of boarders were always when pupils were dressed for bed. Luke stood by the piano. As he sang, Doggett’s hand explored beneath the waistband of his pyjamas.]
A far worse fate awaited another boy in his dormitory, a year younger than Luke, who was angelic in both voice and looks. He was Doggett’s chosen one, summoned far too often from their dormitory to spend long hours at night in the choirmaster’s bedroom.
A year later, another boy cried foul and Doggett was forced to resign, though his crimes are understood to have gone unreported by St Paul’s. As a result, it was a decade before he finally appeared in court, charged with offences against a 10-year-old choirboy, born in the year the teacher left Colet Court. (Norfolk, ”The teacher sat us on his lap until his face went very red”).
It has been suggested that Doggett’s treatment of Luke was common with many boys who he auditioned. Norfolk also details in concise form the information contained on my earlier blog post: Doggett’s teaching first at Westminster School (where he taught Julian Lloyd Webber) then Colet Court from 1963 to 1968, his commissioning of Joseph and the Amazing Technicolor Dreamcoat from Andrew Lloyd Webber and Tim Rice, which was first performed at Colet Court during Doggett’s final months there, his dismissal from the school, then work at City of London School, continued association with Lloyd Webber and Rice, conducting the first recording of Jesus Christ Superstar, then directorship of the London Boy Singers, with whom he worked for the album of Evita, as well as Doggett’s suicide in 1978, just before being about to conduct a massed choir of 1000 school boys, after he was charged with the offences against a 10-year-old choirboy. He also mentions the tributes to Doggett by leading Paedophile Information Exchange figures Paul Andrews and Michael Ingram, and Doggett’s own PIE membership.
That Doggett worked with over 1000 young boys after his dismissal from Colet Court, not to mention his PIE membership and links to other major abusers, raises sinister possibilities – that there could have been widespread abuse of Savile-like proportions. Once again, I would ask anyone with further information to come forward if they feel able to.
As well as the three teachers mentioned by Luke, Norfolk lists three other alleged abusive teachers at Colet Court/St Paul’s; two of them unnamed, the other geography teacher and rowing coach Patrick Marshall, who was questioned as part of a police inquiry into abuse of a 15-year-old boy in 1979-1980. Elsewhere, Norfolk’s scrupulous investigations have drawn attention to how teachers at 130 independent schools in the UK have been implicated in sexual crimes against hundreds of boys, including 64 where at least one male teacher has been convicted of sexually abusing boys, and a further 30 where a member of staff has been sentenced for possession of images of child abuse. These include the likes of Eton, Marlborough, Millfield, Oundle, Tonbridge, Downside School, Somerset, Haderdashers’ Aske’s, Ampleforth, Wellington College, King Edward’s School Birmingham and The Oratory School, Reading. A comment by the Independent Schools Council referred just to the ‘abuse of trust by a small number of predatory individuals’ and wanting to point out that ‘these cases are largely historic’ (Andrew Norfolk, ‘130 private schools in child abuse scandal’, The Times, January 20th, 2014). A report from 1996 in the Sunday Times spoke of Scotland Yard investigating a possible paedophile ring involving public schools, in which context the names of leading PIE members Peter Righton and Charles Napier were mentioned (Stephen Grey, ‘Police investigate public school paedophile ring’, The Sunday Times, August 25th, 1996), leading to a range of raids the following month, including at Harrow School (Eileen Fairweather, ‘Paedophile ring alleged at top public schools’, Evening Standard, September 19th, 1996). A range of public schools were raided in 1997 as part of an investigation into a suspected child pornography ring (Jason Benetto, ‘Public schools raided in child porn inquiry’, The Independent, November 22nd, 1997). The enquiry, named Operation Fledgling, was later revealed to have targetted in particular Eton College, as well as various of the other schools listed above (‘Eton targeted in paedophile inquiry at top public schools’, The Sunday Times, August 6th, 2000). Furthermore, the suicide in 1997 of Adrian Stark, director of music at Leatherhead School, Surrey alerted police to activities at other schools, with raids on independent schools in Durham and Sedbergh in Cumbria, at the same time as a report by Sir William Utling drew attention to the particular dangers faced by children living away from home (Peter Hetherington, Duncan Campbell, Rebecca Smithers and David Brindle, ‘Suicide pointed police to top schools’, The Guardian, November 22nd, 1997).
Whilst Operation Fledgling was abandoned in 1998, there is clearly much more remaining to investigate about vast numbers of allegations into widespread abuse as a common occurrence at Britain’s most prestigious public schools, and more widely about the brutalising and exploitative hierarchical culture of such institutions, by which the values of dog-eat-dog and survival of the fittest may have been passed down from generation to generation.
In my last post, I quoted extensively from the article by Colin Ward, author of The Child and the City (London: Architectural Press, 1978), in New Society which linked Doggett and Tom O’Carroll (Ward, ‘The saving grace of worldiness’, New Society, July 9th, 1981), and served as an apologia for paedophilia. I reproduce the article below, together with a response which appeared a few weeks later (Ken Smith, ‘Paedophiles’, New Society, July 23rd, 1981).
PIE – Documentary Evidence 6 – Chairperson’s Report 1975/76
Posted: March 16, 2014 Filed under: Abuse, NCCL, PIE | Tags: campaign for homosexual equality, mind, national association for mental health, nccl, paedophile information exchange 3 CommentsThe following is the complete text of the PIE Chairperson’s Report from 1975/76, authored by Keith Hose, the first chair of PIE after the organisation had moved from Scotland to London. It contains important information relating to NCCL, the Campaign for Homosexual Equality (CHE), and the National Association for Mental Health, MIND. Some of the writing referred to in The Guardian can be read here. See also this and this.
PIE CHAIRPERSON’S REPORT 1975/76.
PIE c/o/ Release, 1 Elgin Avenue, London W9
BL Cup 351/61
The year that has passed since our inaugural meeting in 1975 has been an extremely important one for PIE and Paedophiles. We have seen our membership shoot up from 43 to 171, a successful London group which meets regularly has been formed, the contact page is now sent out once a month, and the Newsletter which is already greatly improved is to be turned into a magazine. On the campaigning side PIE will go down in the pages of history as contributing to changing social attitudes to sexuality. We have spoken in support of paedophilia to many groups, numerous letters have been written to newspapers and various other bodies, and articles have appeared in several journals. Hundreds of letters from paedophiles all over Britain, and abroad, have been answered.
Among our major achievements are the following:
The passing of a motion at the Campaign for Homosexual Equality’s conference in Sheffield, August 1975, in which the delegates held that paedophilia was an important subject. The result of which was the first positive publicity ever achieved on the paedophile issue in a British national daily newspaper in which the guilt free paedophiles viewpoint was expressed. Positive articles appeared in the Guardian, the Times Educational Supplement, Time Out and Gay News. This achievement, although slightly marred by an attack by John Torode a few days later, was magnified by the resulting discussion of the issues in both CHE and which appeared in the national press as a consequence of the motion.
Another conference causing quite a stir was the ‘Sexual Minorities Workshop’ held by MIND, the National Association of Mental Health, in September last year. At that I spoke about my own personal experiences as a paedophile. Not as an adult, but as a child growing ujp with an awareness of sexual feelings and of the social taboos. This awareness gradually formed from my earliest memories of them at 7 and 8 to the extreme guilt and isolation I felt when I became conscious of the unacceptability of first my homosexuality and then my paedophilia at 16 and 23. The candid nature of my speech shocked some conference delegates and touched others, and the lively and electric workshop group that followed effected many there. MIND-OUT the magazine of the institute ran a precis of my speech and published PIE’s address. However, not everyone likes to be told the truth, and News of the World reporters visited the offices of Tony Smythe the director of MIND after the conference to ask, in what I was told was rather an impertinent manner, why he was giving support to paedophiles. A female social worker who attended the conference also complained to Tony Smythe, and it was when criticising evidence supplied to the Criminal Law Revision Committee, in an article in the TIMES that Ronald Butt quoted part of the speech I gave at MIND.
The evidence that we supplied to the Home Office Criminal Law revision Committee in November 1975, proposing the abolition of ‘ages of consent’, and the removal of consensual sexual activity at all ages from the criminal law, was our most ambitious achievement so far, and I have been told by researchers and people involved in other pressure groups that it is the best evidence on the ‘age of consent’ issue they have seen to date. However, despite sending out a well prepared press release together with the report, to a comprehensive list of newspapers, radio and television companies and press agencies, the media coverage was sparse. Peace News, Gay News, Time Out and a little later Ronald butt in the Times carried mentions of the report, and I had unreported interviews with the Scotsman and the Daily Mirror, but there seemed to be a deliberate editorial silence. In fact the more I see printed about paedophilia and the more newspapers who refuse to publish letters of reply and journalists refuse to publish letters of reply and journalists refuse even to speak to me on the telephone, the more I feel that except for a few newspaper and magazines there is a policy to write only the negative arguments about adults who are sexually interested in children.
But despite the low level of press coverage of our PIE report it has affected many people who have read it. At a meeting of the Gay Rights sub-committee of the NCCL that I attended, changes were proposed to the draft NCCL evidence, including an incorporation of a few of the ideas and a couple of research quotes from our evidence. Copies of our evidence were sent to the executive of NCCL before their decision on their policy in this area was reached, and some of the proposals of the gay rights sub-committee were adopted. The section on paedophilia in the report would undoubtedly not have been as positive had it not been for our lobbying. Our report therefore had some effect on the NCCL evidence, which because of the sensational press coverage, has done more to raise the issue of the ‘age of consent’ than any other document. As a source of positive ideas and arguments towards paedophilia our report will continue to influence researchers, pressure groups and paedophiles who read it for a long time.
Presently we are near to the completion of the first stage in two other areas of work. We are compiling evidence on the ‘treatment’ of paedophiles with anti-libidinal drugs, that is chemical castration. We are particularly interested in those who are or were sex-offenders and who were treated with drugs such as Androcur, Benperidol, Oestrogen, etc. However, any information on this particular ‘treatment’ or any other maltreatment (including aversion therapy, physical violence etc) of paedophiles in or out of prison, is useful. We have started a campaign against this chemical castration, and we attempted to pass a motion calling on the NCCL AGM to condemn the practise [sic] on sex-offenders, but a move to refer the motion to the Executive Committee of NCCL was passed marginally. It is important therefore that we collect enough evidence to force this committee to use their organisation to campaign against chemical castration in the coming year. I spoke for the motion openly as a paedophile and this and another paedophile proposal certainly went a long way to educating NCCL members attending the meeting about paedophilia.
Data obtained from the PIE survey has been collated, and a report written, which will be published shortly. This contains some interesting results. PIE is no longer an exclusively male homosexual paedophile organisation. More and more male heterosexual and male bisexual paedophiles are joining. Another interesting fact is that the majority of our membership also relate sexually to adults as well as children. We must realise that we are a pan-sexual organisation and may have to work on all sexual liberation issues, while concentrating on paedophilia and children’s sexuality. In our survey, to help explain our results, it has been postulated that the definition of sexuality plays an important part in who is defined or who defines themselves as paedophile. An act which is objectively or subjectively defined by one person as sexual may not be by another person. This definition varies from culture to culture, sex to sex and from person to person. Females are treated differently from males and many acts which are regarded as being sexual in men are not regarded to be so in women. For instance, two men embracing is considered more a sexual relationship than two women embracing which is considered to be more of an emotional relationship. This could effect the definition of a woman as a paedophile, and explain why PIE has such few women members. Paedophilia is used to describe a sexual relationship with a child. Men are seen more in terms of sex than women and therefore would be more likely to define themselves as such. But this should not be used as an excuse nor the sole reason why we have such few women, and considering the nature of women’s oppression as woman, we should accept that a group in which the vast majority of members are men is not likely to attract women. PIE should as soon as we have enough women to do it, try to set up a separate group for women. We should allow them to use separate advertising and campaigning if necessary to attract more women paedophiles to join the fight with us.
As with a group for some areas of the UK, a group for those male paedophiles interested in little girls is already a viable proposition. A group can be formed on, a letter writing basis if someone co-ordinates this. How about volunteer co-ordinators for this, or any regional groups contacting the PIE executive committee as soon as possible?
Despite all this progress and activity, any achievements have been made under difficult circumstances. The press and police harrassment [sic] of PAL, the Playland Trial and the ‘Johnny Go Home’ programme have all contributed to make sure paedophiles remain oppressed. The ‘expose’ of PAL caused panick [sic] among some of the then serving E.C. members of PIE. Michael Hanson had planned to resign many months before the Sunday People article because of a move to live in Greece. Other E.C. members however, caught fright and it was left to me and co-opted E.C. member Warren Middleton to keep PIE alive. We did this believing that the only way for PIE to survive was to seek out as much publicity for the organisation as possible and that if we got bad publicity we would not run into a corner but stand and fight. We felt that the only way to get more paedophiles joining PIE, particularly more male heterosexual paedophiles and female paedophiles in general was to seek out and try to get all kinds of publications to print our organisations name and address and to make paedophilia a real public issue. But PIE has not come out of all this without receiving all kinds of attacks. John Torode in the Guardian wrote three articles condemning us and our ‘Sheffield motion to CHE’. The hysteria in this article showed that even some of those who are regarded as serious and liberal journalists cannot even discuss paedophilia rationally. Ronald Butt, not the most egalitarian of people, wrote an attack on our aims and my speech to the MIND conference and this was printed as the Times newspapers somewhat pathetic contribution to the discussion on sexual law reform. The NCCL evidence was received with a kind of paranoia by editors and journalists. The Daily Telegraph was still twitching with snide editorials about it weeks after it had been released. Some members may see these attacks as nothing but harmful and I would agree they are biased against us, but even some of the worst attacks have quoted some of what we say, and some of the quotes are even in context. The Ronald Butt article is an example in question, although he attacks Lord Beaumont savagely he obviously believes that we will be condemned by our own words. What I say is let them continue – we will win in the end!
More serious a handicap for PIE was the loss of our British Monomark address. This was as a result of the News of the World (they seem fond of us) harrasment [sic] of the staff of this mailing service. The directors reused to handle our mail from then on, despite our obvious victim role in the whole affair. As a consequence we had no address for a period of 2 or 3 weeks. Through very hard work a new address was found. Many commercial firms refused to handle our mail after they heard about British Monomark and some were too expensive, and because we felt the same thing might happen again, we tried alternative and left wing organisations. We knew that it was more likely that they would accept we had a right not to be molested and help us. RELEASE did, and we are truly grateful to them. They have assured us that visiting News of the World reporters would not get a comfortable ride. Since we used to pay for the BM address, I move that we give release the same amount each year in donations. At the moment we pay them nothing. The loss of our address meant that many letters sent to us have had to be destroyed and that many people despite being informed of our new address may refer people to our old address by mistake. It is a mammoth task contacting again all those organisations informed of our existence and let me apologise publicly to any we may have overlooked.
We have had an extremely rough ride due to outside attacks but this has not been the only cause of hardship. With inflation and the rise in membership we have been running at a very substantial loss. Approaching a 50% loss! If it had not been for donations generously given in the past, particularly by Warren Middleton and past Newsletter editors, there would be no PIE. Despite this we have improved the Newsletter size and content, we have now started to run the contact page once a month, meetings in London are meeting more regularly and a series of campaigns and special projects are under way. We do this not because we are mad, but because we believe we are still only doing the minimum to achieve our aims. We want to see many more improvements to the services to our members, but to do this we have been forced to raise the membership to four pounds for U.K. and Ireland (Two pounds for non-earners) and seven pounds in other countries. Yet to achieve all that is necessary we need more money still. We have a number of ideas for making money for PIE, and need others, and help, to bring our ideas into practise [sic]. If you think you can help lease make contact with the E.C.
Keith Hose
8th May 1976
Back cover says ‘This report was adopted at the Annual General Meeting 8th May 1976.’
PIE – Documentary Evidence 5 – Contact Ads
Posted: March 9, 2014 Filed under: Abuse, PIE | Tags: Brian taylor, ken plummer, morris fraser, paedophile information exchange, peter righton, tim tate, tom o'carroll, warren middleton 3 Comments[NOTE OF WARNING: In absolutely no sense whatsoever does the printing of the below material constitute any type of endorsement; in fact the very reverse]
In Tom O’Carroll’s Paedophilia: The Radical Case (London: Owen, 1980), the most comprehensive and sustained statement of PIE propaganda available by the then-chair of the group, O’Carroll wrote:
The emphasis in PIE, during most of its short history, has been on campaigning, on producing what we have intended to be thought-provoking and controversial documents, such as our Evidence on the Age of Consent, and on seeking publicity for them. But, as already pointed out, our formally defined aims were much wider than this: they included giving ‘advice and counsel’, and/or legal help, to paedophiles who ask for it, and providing a means for paedophiles to get in touch with each other.
In other words we have always intended to be a ‘self-help’ group. In this respect we have something in common with a slimmers’ club, or Alcoholics Anonymous, though of course our philosophy of self-help has been vastly different to either. The point of paedophiles helping each other, as we have seen it, has not been to help each other to reform himself, to try and modify his sexual identity to fit in with the demands of society. The point has been one of learning how to cope with the fact of living in a hostile society. How to be paedophile without being suicidal about it, without feeling guilty just because other people expect you to. Guilt-ridden, anxious paedophiles are almost bound to become more relaxed, more happy as individuals, if for the first time in their lives they find themselves amongst other paedophiles who have learnt not to be depressed by their oppression.
How have we fared in this aim? What have we done to help paedophiles themselves?
Like PAL [Paedophile Action for Liberation], we have in the past had regular London meetings to which members could come along and chat about their problems and experiences, but beyond a doubt our most consistently successful service to members has been the Contact Page. As the name implies, this is a bulletin in which members who want to be put in touch with others place an advertisement, and wait for replies. The advertisers simply give their membership number, general location, and brief details of their sexual and other interests. Replies are sent to PIE, as with a box number system, so that until a measure of trust is built up between the correspondents neither is informed of the other’s address.
Obviously, we have always had to be very careful in the kind of ads we have accepted. The purpose has always been to put paedophiles in touch with each other, not with children, and once in a while we have had to turn down ads which could have implied the latter. Likewise we have been careful not to allow ads for the sale or purchase of erotica. Not surprisingly, the News of the World eventually turned its attention to our ads. These are some that caught their eye:
O’Carroll included several examples of ads which I will return to below. The Contact Page was separate from the rest of Magpie, but sent out to PIE members with copies of the journal (see ‘notes & news’, Magpie, Issue No. 2 (April 1977), p. 2). One individual named just as ‘D.B.’ was said to have been an editor of these contact pages (John Parratt (Warren Middleton), ‘As Much A Martyr as Wilde: An Account of the PIE Re-Trial and the Imprisonment of Tom O’Carroll’, Magpie, Issue No. 16 (Autumn 1981), pp. 6-8).
The copies of Magpie storied in the British Library, where I researched them, do not include the contact pages. Here I give a sample of ads from three different sources: O’Carroll’s book, Ken Plummer’s ‘The paedophile’s progress: a view from below’, in Brian Taylor (ed), Perspectives on Paedophilia (London: Batsford Academic and Educational Ltd, 1981), p. 117 (Plummer was a long-term sociology academic at the University of Essex, now an Emeritus Professor, who was closely associated with PIE, and may have disseminated its ideas through various of his students – I will return to this subject at a later date, but see this post on the invaluable Spotlight blog for more details; Taylor’s book was mostly a collection of PIE propaganda, including essays by Peter Righton (see above all this 1994 film about Righton and the series of posts here and Morris Fraser (see these posts and also the Righton documentary linked to before – Fraser had been tried on sexual offences against children even before the founding of PIE); the third source is the one ‘genuine’ piece of writing, Tim Tate, Child Pornography: An Investigation (London: Methuen, 1990), pp. 134-135. which features Nos. 273, 373, 379 and 390 from O’Carroll.
I leave others to assess the seriousness of an organisation featuring contact ads like this.
No. 273 Energetic middle-aged male sincere and discreet Iks boys 8-15 yrs and the various ways in which they dress. Int swimming. Wld lk to hear from others with similar ints.
No. 390 Male. Interested public school type boys, 12-16, either in football shorts or corduroy trousers, wd like to meet young male, 20-30, with similar interests. (S W London/Surrey).
No. 379 Male Int girls 6-13 wd lk to correspond/meet others with similar interests; music, sports, fashion, Hi-Fi, photography, dance, reading, films. (Blackpool).
No. 373 Doctor, male. Poet and author, interested photos little girls in white pants and little boys out of white pants. Wd like to hear from male or female with similar interests. All letters answered. Perfect discretion. (Reading, Berks).
No. 401 Anglican priest, south London, anxious to meet other paeds for friendship and help. (all O’Carroll/Tate)
Graduate schoolteacher (36) seeks mental – and spiritual companionship. Interest: languages, poetry, maths, current affairs, writing and chess. Keen to meet someone of about my age, or below, for friendship, specially someone who would like to accompany me (paying own expenses) for holiday over Christmas/New Year. Above all would like to share love and interest in small boys 8-14. Do write. I shall answer all letters.
Boys’ Brigade Officer would like to hear other boy lovers’ experiences. Interested in playing sport, choral music and drinking, but mostly in boys who have reached puberty 13-16. (Plummer)
Alan Doggett, first conductor of Joseph and Jesus Christ Superstar, and the Paedophile Information Exchange
Posted: March 7, 2014 Filed under: Abuse, Alan Doggett, Musical Education, PIE, Public Schools | Tags: abuse in music, alan doggett, andrew lloyd webber, colet court, colin ward, evita, jason and the golden fleece, jesus christ superstar, joseph and his amazing technicolour dreamcoat, london boy singers, magpie, michael ingram, paedophile information exchange, paul andrews, tim rice, westminster underschool 12 Comments[Since this article first appeared, a lot of new information has surfaced in terms of Doggett’s activities at Colet Court School. With this in mind, I have produced a revised version, which can be read here. I will however keep this original version online as well]
An article was published in the Daily Mail in December (Guy Adams, ‘Apologists for Paedophiles: How Labour Deputy Harriet Harman, her shadow minister husband and former Health Secretary Patricia Hewitt were all linked to a group lobbying for the right to have sex with children’, Daily Mail, 14/12/13, updated 20/12/13 ), which pre-empted the rush of media coverage which has emerged in the last two weeks. This concerned the connection between the Paedophile Information Exchange (PIE), Deputy Leader of the Labour Party Harriet Harman, her husband Jack Dromey, Shadow Minister for Policing and former union official, and former cabinet minister Patricia Hewitt, all involved with the National Council for Civil Liberties in the 1970s and 1980s, and was affiliated to PIE (and took out an ad in their journal Magpie in 1979). I have blogged at length reproducing documents relating to NCCL and PIE (see here, here, here, here, here, here and here), and also on the Whitehall senior civil servant (formerly a church minister and teacher of theology in India, later a musicologist and classical scholar) Clifford Hindley, who has been identified as the individual who secured government funding for PIE.
But another name appeared in the December article, which has not really been investigated further prior to this article: that of boys’ choir conductor and teacher Alan Doggett (1936-1978), who had an extended and important relationship with Andrew Lloyd Webber and Tim Rice. A letter about the suicide of Doggett in 1978 appeared in Issue 10 of Magpie (Letters, Magpie, Issue No. 10 (no date), p. 4) and a notice of his memorial service in the subsequent issue (‘Alan Doggett – Memorial Service’, Magpie, Issue No. 11 (May 1978), p. 2 – both this and the letter can be read in the fourth of my PIE blog posts linked to above), to both of which I will return presently. The Mail article named Doggett as a member of PIE; a source close to the heart of current police investigations has confirmed to me that this was definitely the case.
Doggett is listed in the second Magpie article as having worked as conductor of the London Boys’ Choir (erroneously titled here – this was the London Boy Singers), and was to be remembered for his ‘friendliness, integrity and loyalty’. But his claim to fame is stronger than this; as has been chronicled in various books and articles about or by Andrew Lloyd Webber and Tim Rice, he was responsible for commissioning and conducting Joseph and his Amazing Technicolour Dreamcoat, conducting the recording of Jesus Christ Superstar, and sharing that for Evita, as well as writing his own musical, Jason and the Golden Fleece, inspired by these earlier examples. A scholarly article argues for Doggett’s close involvement with Lloyd Webber and Rice, saying that ‘he was effectively a third member of the team prior to the international success of Jesus Christ Superstar’ (David Chandler, ‘’Everyone should have the opportunity’: Alan Doggett and the modern British Music’, Studies in Musical Theatre, Vol. 6, No. 3 (2012), pp. 275-289 (quotation from p. 275) – this article mentions nothing about the more troubling aspects of Doggett’s life, other than mentioning in passing that he committed suicide), whilst Andrew Lloyd Webber paid fulsome tribute to Doggett in an article published in the Mail in 2012 (‘’I owe my success to an abseiling vicar’ says Andrew Lloyd Webber as he opens up about the highs and lows of his career’, Daily Mail, September 24th, 2012).
In this article, I give an overview of Doggett’s life and work, and appeal to those who may have known or worked with him in (especially those who studied at Westminster Under School, Colet Court School, or who sung in the London Boy Singers or in the larger massed boy choirs he assembled) to come forward if they have any relevant information.
Alan Doggett was born on November 29th, 1936, in Epsom, Surrey. His father was Kenneth Raymond Doggett, who edited the shipping journal Dock and Harbour Authority. Alan grew up in Iver, Buckinghamshire, where he took piano lessons from an early age, and attended Colet Court school, before going on to read history at Selwyn College, Cambridge. One account describes him as ‘a discreet homosexual’ who ‘ was enthusiastic about music but only modestly gifted’ (Michael Walsh, Andrew Lloyd Webber: His Life and Works (Harmondsworth: Viking, 1989), p. 37). His first job was as a history teacher at Westminster Under School, where he doubled as a music teacher and led the school choir (ibid). In this capacity he taught the young Julian Lloyd Webber (b. 1951), who attended the school between 1961 and 1963 and was a member of the choir (Tim Rice, Oh, What a Circus: The Autobiography (Coronet Books, 1999), p. 131). Through Julian, Alan Doggett came to meet his father William Lloyd Webber, and began to take an interest in the compositions of Julian’s brother Andrew Lloyd Webber (b. 1948), helping him with notational matters (Walsh, Lloyd Webber, p. 37). At some point during this period, Doggett also served as a vicar-choral at St Paul’s Cathedral, alongside Ian Hunter, who would become his assistant at Colet Court and later his successor (Jonathan Mantle, Fanfare: The Unauthorised Biography of Andrew Lloyd Webber (M. Joseph, 1989), pp. 30, 41).
In 1963, Doggett was appointed as Director of Music at Colet Court, an independent boys’ preparatory school established in 1881 which is linked to St Paul’s School, and whose headmaster from 1957 to 1973 was Henry J.G. Collis (1913-1994). Some prominent alumni of Colet Court include Greville Ewan Janner, Baron Janner of Braunstone (1928-), Sir Paul Lever (1944-), Paul Anthony Cartledge (1947-), John Cody Fidler Simpson (1944-), Sir Nicholas Felix Stadlen (1950-), Lloyd Marshal Dorfman (1952-), Jonathan Simon Speelman (1956-), the Conservative MP Dominic Grieve MP (1956-), Oliver Tom Parker (1960-) and Barnaby David Waterhouse Thompson (1961-) (David Bussey, John Colet’s Children: The Boys of St Paul’s School in later life (1509-2009) (Oxford: Gresham Books, 2009), pp. 157, 169, 172, 174-175, 182, 185, 188, 193, 196-197; parliamentary profile of Dominic Grieve).
At Colet Court, Doggett he brought in a system of vocal training based upon that of the Vienna Boys’ Choir (most distinct from traditional English methods), as well as finding external performance opportunities for the choir (Gerald McKnight, Andrew Lloyd Webber (London, Toronto, Sydney & New York: Granada Publishing, 1984), p. 85; Chandler, ‘Alan Doggett’, p. 277 – all other information not sourced elsewhere comes from here. Some of Chandler’s information on Doggett’s early life comes from correspondence with Doggett’s sister Jennifer Acornley, Ian Hunter, Doggett’s successor at Colet Court, and Julian Lloyd Webber). He also worked as organist at the school, at least by December 1964 (At least by December 1964. See advert in The Musical Times, Vol. 105, No. 1462 (December 1964), p. 936. Doggett had a letter published in The Musical Times in August 1966, entitled ‘Let the Children Sing’, just talking about the nature of school choirs; he was then listed as belonging to St Paul’s Junior School (the same thing as Colet Court). See The Musical Times, Vol. 107, No. 1482 (August 1966), pp. 687-688).
In 1964, Doggett set up a choir at Emmanuel Parish Church, West Hampstead; his address at the time was given as SW1 2580 (see advert in The Musical Times, Vol. 105, No. 1451 (Jan 1964), p. 64). The vicar at the church during this period was The Reverend Jack Dover Wellman (The Rev Dr Peter Galloway, ‘A short history and guide to Emmanuel Church West Hampstead’) , who appears to have been an eccentric figure who wrote two books entitled A Priest’s Psychic Diary, with introduction by Richard Baker (London: SPCK, 1977) and A Priest and the Paranormal (Worthing: Churchman, 1988). Wellman also appeared on an edition of the late night Channel 4 programme After Dark, on April 30th, 1988, to discuss the subject ‘Bewitched, Bothered, or Bewildered?’, chaired by Anthony Wilson (see ‘After Dark 2’).
In 1965, Doggett already became more closely associated with Andrew Lloyd Webber and Tim Rice, helping out with some of the demonstration recordings of their musical The Likes of Us, written that year, about the life of Thomas Barnardo. Already on these recordings the Colet Court choir featured as the homeless children who Barnardo was helping, in stage cockney accents (Rice, Oh, What a Circus, p. 131; Chandler, ‘Alan Doggett’, p. 277, Mantle, Fanfare, p. 30). Rice described him as an ‘extremely camp teacher, who was some ten years older than I was’, and ‘a talented music master, though a less talented composer, always on the lookout for a new way of instilling enthusiasm for music into his young charges (aged eight to thirteen)’ (ibid).
In late 1967, Doggett contacted Andrew Lloyd Webber and Tim Rice, to request a cantata for the school’s annual spring concert. The headmaster of Colet Court, Henry Collis, had been quickly won over by Doggett’s proposal, despite some conservative doubts about setting a biblical story to popular music (McKnight, Lloyd Webber, pp. 85-86). To Lloyd Webber and Rice, Doggett made clear that he wanted something short and sharp, ideally a cantata on a religious theme, a story through song, though giving them carte blanche over the subject matter (Michael Coveney, The Andrew Lloyd Webber Story (London: Arrow Books, 2000), p. 53; Rice, Oh, What a Circus, p. 131; Mantle, Fanfare, pp. 41-42). Doggett nonetheless suggested a biblical subject, thinking of what Michael Coveney refers to as that sort of unbuttoned Christian sing-along represented by such pieces as Herbert Chappell’s The Daniel Jazz (which he had produced the year before), Michael Flanders and Joseph Horovitz’s Captain Noah and His Floating Zoo and indeed Benjamin Britten’s exemplary Noye’s Fludde (Coveney, The Lloyd Webber Story, p. 53). Rice found the story of Jacob’s son, Joseph, who was landed in trouble by his dreams and coat of many colours, leading his brothers to sell him into slavery in Egypt, where he becomes a prophetic guru to the Pharaoh, in The Wonder Book of Bible Stories (ibid; Rice, Oh, What a Circus, p. 132). This would become Joseph and the Amazing Technicolour Dreamcoat. Lloyd Webber and Doggett worked together at the music room of Colet Court whilst the work was being composed, and Lloyd Webber was prepared to accept suggestions from the choir (Mantle, Fanfare, p. 42; Rice, Oh, What a Circus, pp. 133, 135).
The world premiere of Joseph took place on Friday March 1st, 1968, at 2:30 pm, in the Assembly Hall of Colet Court School, conducted by Doggett himself, an ad hoc pop group called The Mixed Bag, including Rice (who took the part of Elvis/Pharaoh) and singer David Daltrey, a cousin of Roger’s (from The Who), who led the principal solo numbers for Joseph himself (see Rice, Oh, What a Circus, pp. 136-142, for a detailed account; also McKnight, Lloyd Webber, pp. 87-88, for Ian Hunter’s account). The school was itself about to move from its 1890 premises in Hammersmith to new buildings across the river in Barnes, and this performance would be the last in the old Assembly Hall (Walsh, Lloyd Webber, p. 37). The first half of the concert consisted of performances by the pianist John Lill, and both Julian and William Lloyd Webber; for Joseph, Ian Hunter played the piano and Julian played the cello (Stephen Citron, Stephen Sondheim and Andrew Lloyd Webber: The New Musical (London: Chatto & Windus, 2001), p. 117). Several hundred parents were present and clapped politely (Walsh, Lloyd Webber, p. 37), but also on that day, a representative of the music publisher Novello’s, who had been invited to the premiere by Doggett and had given it an advance listing in what was then their flagship periodical, The Musical Times (Chandler, ‘Alan Doggett’, pp. 279-280 – Chandler is sceptical about the account offered later in Rice, Oh, What a Circus, p. 148), offered to take on the piece, and pay £100 for it, as an educational work for schools (Lloyd Webber, ‘I owe my success to an abseiling vicar’).
The next performance took place at Westminster Central Hall, on May 12th, 1968, and involved 300 boys from Colet Court, conducted by Doggett (advert in The Musical Times, Vol. 109, No. 1503 (May 1968) p. 464. It had been organised by William Lloyd Webber, who was organist and musical director at Central Hall, and who played the organ in the performance (Hunter played the harpsichord) (Mantle, Fanfare, p. 45). The first half of the concert, attended by around two thousand people, including many parents, consisted of performances by the pianist John Lill, and both Julian and William (Citron, Sondheim and Lloyd Webber, p. 117; Lloyd Webber, ‘I owe my success to an abseiling vicar’). One boy in the choir was Nicholas Jewell, who had persuaded his father Derek Jewell, pop critic for the Sunday Times, to attend the performance (McKnight, Lloyd Webber, pp. 88-89). Jewell published an extremely positive review, which recognised the importance of Doggett’s role, the following weekend in the Sunday Times, on May 19th, 1968 (see Mantle, Fanfare, pp. 46-47, for the review; see also McKnight, Lloyd Webber, pp. 91-93, Chandler, ‘Alan Doggett’, p. 282), which caused jubilation amongst all involved with the production.
Eight weeks later, a recording was being made for Decca at the studios at Abbey Road of an expanded version for augmented ensemble with solo voices (a cast consisting of Terry Saunders, David Daltrey, Malcolm Parry, Tim Rice, John Cook, Bryan Watson) and rock musicians. The twelve or so Colet Court choirboys served as a backing group, with Doggett conducting and a ‘Joseph Consortium’ with William Lloyd Webber helping out on organ, and Martin Wilcox on harpsichord; some vocal backing was provided by Andrew and Tim Rice (Mantle, Fanfare, p. 47; Citron, Sondheim and Lloyd Webber, p. 148; the recording was Scepter/Capital (S) SMAS 93738. See Jerry Osborne, Movie/TV Soundtracks and Original Cast Recordings Price and Reference Guide (Jerry Osborne: Jerry Osborne Enterprises, 2002), p. 1982; see Chandler, ‘Alan Doggett’, pp. 281-282 for Rice and other’s attempts to marginalise the importance of Doggett and Novello’s in this process). Jonathan Mantle points out that ‘Half the boys of Colet Court were bussed over to sit at the sides of the grand Victorian hall and make up the choruses’ (Mantle, Fanfare, p. 45), but it is not clear whether these amounted to the twelve singers he mentions, or constituted others as well. Whichever, a large percentage of boys at Colet Court in 1968 would have been involved in this performance. A further performance was given in St Paul’s Cathedral on November 9th, 1968, again with Doggett conducting, William Lloyd Webber on organ, and received a positive review by Ray Connolly in the Evening Standard (Mantle, Fanfare, p. 51; McKnight, Lloyd Webber, pp. 98-99).
But at some point in 1968, Doggett left Colet Court; the exact date is unclear but would have been soon after one of the performances of Joseph, if Gerald McKnight’s assertion that ‘Doggett’s remarkable vision was barely completed when he left the school’ (McKnight, Lloyd Webber, p. 86) is correct. Accounts differ as to the reasons of veracity thereof of his departure; Michael Walsh writes of his having ‘been let go at Colet Court, with rumors of his homosexual predilections swirling about him’ (Walsh, Lloyd Webber, p. 67), whilst Stephen Citron claims Doggett was ‘let go at Colet Court because he had sexually molested one of the choirboys’, causing his career to go into a tailspin (Citron, Sondheim and Lloyd Webber, p. 151 n. 5); whereas Mantle just says that Doggett ‘left his job at Colet Court’, though later that ‘he had left his post with the choir of Colet Court, but he had been unable to leave them alone’, leaving little doubt who ‘them’ were (Mantle, Fanfare, pp. 91, 130). Tim Rice writes in his biography, looking back at this incident from the vantage point of Doggett’s suicide in 1978, that:
The only previous time in ten years that Andrew and I had come across such rumours concerning Alan, the allegations were proven to be exactly that, as the time and place of the supposed transgression clashed precisely with a recording date at which all three of us were continually present. It has been known for young boys, and more commonly their parents, to manufacture or exaggerate incidents when they know and (understandably) disapprove of a teacher’s inclinations. (Rice, Oh, What a Circus, p. 401)
However, Rice, did not discount the possibility that the allegations which would surface ten years later were true, making clear that he was not claiming ‘that Alan was squeaky clean throughout his musical dealings with his singers’ (ibid). His successor in the position was his former assistant at the school, Ian Hunter (ibid), who would go on to present Joseph again various times at the school (McKnight, Lloyd Webber, pp. 99-100).
Doggett appears never to have had another permanent teaching position after leaving Colet Court; Michael Walsh and Michael Coveney both mention Doggett’s teaching at the City of London School at the time when Lloyd Webber and Rice wrote their short-lived musical Come Back Richard in November 1969 (from which just one title single was released by RCA that month), which Doggett conducted at the school (Walsh, Lloyd Webber, p. 59; Coveney, The Lloyd Webber Story, p. 58; see also John Snelson, Andrew Lloyd Webber, with foreword by Geoffrey Block (New Haven, CT: Yale University Press, 2004), p. 222 n. 9), but his only connection was through being invited to adjudicate the school’s Junior Music Competition in 1969 (Chandler, ‘Alan Doggett’, p. 282, n. 4). Walsh also writes that Doggett ‘had caught on at another London school and then abruptly left to lead a choir called the London Boy Singers [see below]’ (Walsh, Lloyd Webber, p. 67), but without clarifying if he is again referring to the City of London School here. Doggett did however teach from August 26th to September 2nd 1969 at one of the Adult Summer Schools with concurrent Choirboys’ Courses for the Royal School of Church Music; this took place at Dean Close School, Cheltenham; fellow teachers included Geoffrey Barber, Michael English, Allen Ferns, Geoffrey Fletcher, W. J. Goodey, Richard Greening. (The Musical Times, Vol. 110, No. 1516 (June 1969), p. 561).
Doggett’s evangelism for popular music with religious themes was undiminished, however, and he published an article to that effect in 1969 (Doggett, ‘Pop here, my Lord?’, English Church Music 1969, pp. 37-40, cited in Chandler, ‘Alan Doggett’, p. 278). Feeling a great pride in Joseph, Doggett advertised for ‘recruits’ in spring 1969 for a ‘mammoth school performance’ of the work, to be held in St. Paul’s, but it appears that this never took place (Chandler, ‘Alan Doggett’, p. 284; this includes a reproduction of the advert).
Doggett continued to make recordings with Lloyd Webber and Rice following that of Joseph; dates here are unclear, so that it is also unclear whether what Rice refers to as ‘Alan Doggett’s boy choir’, which he dubbed ‘the Wonderschool’, was the Colet Court choir or the London Boy Singers. Recordings were made of ‘Bike’, a Syd Barrett number which had appeared on the first Pink Floyd album, The Piper at the Gates of Dawn (1967), and also of the Everly Brothers’ ‘Problems’, as well as some songs with the Mixed Bag and David Daltrey, but none of these were ever released by Decca. One which was a single featuring a solo choirboy who worked with Doggett; at present I am unclear as to the title of this song, but the B-side was a version of ‘Any Dream Will Do’, with changed lyrics, recorded in 1969 (Rice, Oh, What a Circus, p. 166).
Around Christmas of 1969, Doggett had heard what would become the theme tune for Jesus Christ Superstar, and suggested to Lloyd Webber and Rice that they might use this for a musical based upon the Daily Mail Air Race; the composers decided instead upon the theme of Christ on the cross (McKnight, Lloyd Webber, p. 109). The recording of the new work (an album which preceded stage performances) was made in 1970. Doggett once again conducted the orchestra and a children’s choir (who are unidentified on the recording), together with singers Murray Head, Ian Gillan, Yvonne Elliman, Victor Brox, Brian Keith, Johnny Gustafson, Barry Dennen and Mike D’Abo, some of whom recorded their contributions after the orchestra and choir had finished in the studio. The part of the priest was played by Paul Raven, then the name of Gary Glitter, who of course was later convicted of multiple child sexual abuse and pornography charges. The orchestra featured strings from Malcolm Henderson’s City of London Ensemble, with Alan O’Duffy as engineer (Walsh, Lloyd Webber, p. 67; Rice, Oh, What a Circus, pp. 198-199). Doggett also conducted Lloyd Webber’s first film score in 1971, for Stephen Frears’ film Gumshoe (Chandler, ‘Alan Doggett’, p. 283).
But Lloyd Webber and Rice noticed that Doggett’s conducting was not really up to professional standards, and he seemed out of his depth with the more hard-rock sections of the Superstar recording, and so he was replaced first by Ian Hunter, then for the 1973 film version by André Previn (Walsh, Lloyd Webber, p. 67; Citron, Sondheim and Lloyd Webber, p. 151 n. 5; Mantle, Fanfare, p. 91).
This would not however signify the end of Doggett’s collaborations with Lloyd Webber and Rice; there was a new surge of interest in Joseph at late 1972, for which Doggett was brought back to act as musical director for a production at the Edinburgh Festival, directed by Frank Dunlop, together with some medieval mystery plays. With some changes to the lyrics, the performance of Joseph was nonetheless relatively faithful to the original Doggett production (Rice, Oh, What a Circus, p. 286). This production was then taken to the Roundhouse in London and to the Albery Theatre in the West End, and also televised and broadcast on the ITV network on December 24th, 1972, then again on December 23rd, 1973. The Albery performance was paired with a new Lloyd-Webber and Rice work, Jacob’s Journey, thus yet another premiere for Doggett (Mantle, Fanfare, pp. 95-96; Chandler, ‘Alan Doggett’, p. 285).
In 1970, Doggett became Director of the St Barnabas Singers, who met on the first Sunday of each month. An advert for the choir indicated that the term’s programme would begin on October 4, including new setting of canticles written for the choir by Betty Roe. The address given was 23 Addison Road, W14. (The Musical Times, Vol. 111, No. 1532 (October 1970), p. 1050). Then, by December 1971 at the latest, Doggett was working for the London Boy Singers (LBS). This was a group founded first in 1961 in order to supply a concert boys’ choir in England, and through the enthusiasm of Benjamin Britten, who served as President. It was initially known as the Finchley Boys’ Choir, formed from the Finchley Children’s Music Group. At first the LBS was run by a Board of Governors, with Eric Walter White as chairman; during this time they performed the premieres of Britten’s King Herod and the Cock and the Twelve Apostles, both dedicated to the choir, in June 1962 in Aldeburgh. The first artistic director was John Andrewes, followed by Jonathan Steele, who was conductor from the outset. However, Steele, broke with Britten and the Governors in 1966. The choir would continue through into the 1970s, and an archive is maintained by the London Boy Singers Association (see ‘London Boy Singers Association’ for more details).
According to one account written after Doggett’s death by a writer who appeared to know Doggett and his work well, Doggett became director of the LBS as early as 1964 (Colin Ward, ‘The saving grace of worldliness’, New Society, July 9th, 1981, p. 72). This is certainly not the account given by the official pages listed above, nor does it concur with the page of archived concert programme of the Finchley Children’s Music Group, which does not mention Doggett once (but mentions Steele twice). A major concert in March 1970 was conducted by Steele (Ronald Crichton, ‘London Boys Singers. St Anne’s and St. Agnes’, Financial Times, March 23rd, 1970, p. 3).I have found no evidence of an earlier involvement of Doggett’s with the choir, so conclude that his work with them probably post-dated Britten’s involvement with them. In December 1971, he was working together with David Rose, and both of their names were given for audition forms (see The Musical Times, Vol. 112, No. 1546 (December 1971), p. 1226). Tim Rice inaccurately refers to the LBS as having been ‘the choir he [Doggett] had formed since leaving regular school employment’ (Rice, Oh, What a Circus, pp. 351-352), but it had a longer history than that. In 1973, Doggett who had at some point earlier become Associate Director, was appointed Director of the LBS in succession to Steele (Musical Opinion, Vol. 97 (1973), p. 428). In this capacity, one commentator argues that he brought the choir to international fame (Citron, Sondheim and Lloyd Webber, p. 151 n. 5). By 1975, a Paul Terry was writing to the Daily Mirror in gushing terms about the LBS, pointing out that they ‘have sung more than 210 part-songs in their concerts over the past six years – all from memory and in nine languages, including Russian, Hebrew and Welsh!’, their average age was 13½, and they were ‘just ordinary lads from schools all over London who love singing’, who had performed in as different locations as the West Country and Rome (where they had been the previous Easter) (Letter from Paul Terry, Caithness Road, London, ‘Songsters’, Daily Mirror, August 26th, 1975, p. 16).
Amongst the concerts of which there is documentary record of his conducting with the choir are one with Timothy Bond on the organ, at St. Vedast, Foster Lane, EC2, on July 11th, 1974 (The Times, June 6th, 1974, p. 7), one at the Exmouth Pavilion on August 3rd, 1975 (The Musical Times, Vol. 116, No. 1590 (Aug., 1975), p. 732), and one at St. Edmundsbury Cathedral on July 30th 1976 (The Musical Times, Vol. 117, No. 1598 (April 1976), p. 295).
Doggett also conducted a recording of Prokofiev’s Peter and the Wolf, with the City of London Ensemble, and Frankie Howerd as narrator, Polydor Carnival 2928 201 (1-25), which was reviewed in an issue of Gramophone from 1972 (p. 110). This version had been prepared by Rice, and Rice and Lloyd Webber were credited as producers on the recording (Chandler, ‘Alan Doggett’, p. 283). This was not the only art music he conducted during these years; he would also conduct the UK premiere of Schoenberg’s Sonata Fragment (1941) in 1974 (Chandler, ‘Alan Doggett’, p. 276, n. 1).
Doggett turned to trying to create a cantata/musical of his own along the lines of those of Lloyd Webber and Rice (perhaps, as Chandler suggests (‘Alan Doggett’, p. 284) as a way of realising his vision of a ‘mammoth school performance’ of Joseph); this would be Jason and the Golden Fleece, for which he wrote the music, and co-wrote the lyrics with the Hampstead poet Rita Ford (1931-1985); it was described as ‘A New Musical for Schools’ (Chandler, ‘Alan Doggett’, pp. 285-286). The work received its first concert performance at St Barnabas Church, Addison Road, London W14 (where he worked with the St Barnabas Singers mentioned above) on Wednesday June 27th, 1973, hosted by City of London Productions (Advert in The Musical Times, Vol. 114, No. 1564 (June 1973), p. 589). A choir of 250 children were involved, a combination of the LBS, the Islington Green school choir, and also a selection of ‘largely untrained children’ from St. Barnabas and St Philip’s schools, and St Peter’s school in Hammersmith (Chandler, ‘Alan Doggett’, p. 286). The familial resemblances of this work to Joseph, not least in terms of both works’ use of a narrator, have been commented upon by various people, though also its weaknesses compared to the work of Lloyd Webber and Rice, both by critics at the time and later writers (see Chandler, ‘Alan Doggett’, pp. 285-287; Chandler is concerned to defend this work against the idea it might simply be a poor man’s Joseph). At the outset it received positive reviews from Hilary Finch and Barbara Denny, reviewing for the South Kensington News and Chelsea Post and Kensington News and Post (cited in Chandler, ‘Alan Doggett’, p. 285).
The work would receive a further performance in a revised version on March 9th, 1977 at Westminster Central Hall, with large forces drawn from many London schools (Chandler, ‘Alan Doggett’, p. 287). This performance, however, received a markedly downbeat review from Merion Bowen, who wrote that the work ‘was not at all edifying’ and that Doggett’s music displays little of the flair shown by Andrew Lloyd Webber and others in the same vein, and Ford’s lyrics aren’t exactly inspired’ (Merion Bowen, ‘Jason and the Golden Fleece’, The Guardian, March 10th, 1977).
Despite having been replaced for the film version of Superstar, Doggett was involved in part in the conducting duties for Lloyd Webber’s score for the 1974 film of The Odessa File (Chandler, ‘Alan Doggett’, p. 283). Also, at some time in the mid-1970s, whilst Lloyd Webber and Rice were working on Evita, Rice also wrote some lyrics for a children’s album, Barbapapa, which was a spin-off from a Dutch TV series, and included Ed Stewart on the recording; Rice brought in Doggett and the LBS for the sessions (Rice, Oh, What a Circus, p. 325).
When it came to the recording of Evita in 1976 (the first production would not come until two years later, after Doggett’s death), Doggett was credited as ‘Children’s Choirmaster, Musical Coordinator (names of all the main performers can be found here); the main conductor and choir director was Anthony Bowles. Rice would later write that Doggett ‘was gently relegated to directing the London Boy Singers’ (Rice, Oh, What a Circus, pp. 351-352), though he appears to have been quite happy in his allotted role (Mantle, Fanfare, p. 116).
The end came for Doggett in early 1978. As with his leaving Colet Court, accounts differ of the actual events. Michael Walsh writes that ‘When one of the boys [of the LBS] accused Doggett of molestation – apparently the accusation was false – the conductor was arrested and, as a condition of his bail, was forbidden to have any contact with his chorus’ (Walsh, Lloyd Webber, p. 67). Stephen Citron, who as mentioned earlier reports the molestation at Colet Court as an established fact, says that on this occasion Doggett was again ‘accused of molestation – this time presumably falsely – he was forbidden to have any contact with his chorus’ (Citron, Sondheim and Lloyd Webber, p. 151 n. 5). Michael Coveney writes that Doggett ‘was still teaching and running his boys’ choirs but he was threatened with allegations about his private life and preferred not to risk public disgrace’ and that:
The tragedy is that it later emerged there was nothing on the files that was ever going to make any kind of case against him in court. Lloyd Webber remains convinced that Doggett would never have been guilty of taking advantage of any young person in his charge: ‘His main talent was in helping children to make music. He was convinced that every young person had music in him or her, and that it was never too late to stop learning. (Coveney, The Lloyd Webber Story, p. 112).
All three such writers assume either that Doggett was innocent or that the case against him would not stand up in court; Mantle on the other hand writes about ‘forbidden love’ which ‘took other, sadder forms’ and reports the ‘allegation of indecency’ right after arguing that ‘he [Doggett] had been unable to leave them alone [after leaving his post at Colet Court]’, presumably a reference to a proclivity for boys (Mantle, Fanfare, pp. 130-131). McKnight does not even seem to have registered the event, claiming that Doggett died in 1973 (McKnight, Lloyd Webber, p. 99), whereas Rice hedges from committing himself to a view of Doggett’s guilt or innocence in 1978 (unlike in 1968) (see below). Another book on Lloyd Webber by John Snelson (Snelson, Lloyd Webber) only mentions Doggett once in passing in the main text, and briefly in two endnotes, so does not consider his death at all. But in most cases the defence or denial seems beset by doubt on the parts of the authors, suggesting their verdicts may reflect what they wish to have been the case rather than necessarily what did transpire.
Doggett was due to conduct a further performance of Jason and the Golden Fleece at the Royal Albert Hall on February 23rd, with a choir of a thousand singers, entitled ‘The London Boy Singers And a Massed Choir of 1000’ who he had selected and coached, as well as many other children playing recorders and percussion, all from around 34 different schools; the performance was to be on behalf of Help the Aged. A few adult celebrities were also involved, including Ed Stewart, Ian Lavender, and Barney the Clown (‘Concert’s lost conductor’, The Guardian, 24/2/78; Chandler, ‘Alan Doggett’, p. 287). An article from three years after his death (to which I will return below) mentioned that according to some press reports, police had intended to interview every one of these thousand boys (Ward, ‘The saving grace of worldliness’, p. 72).
What is clear is that after Doggett was charged on February 8th, 1978 in West London and remanded on bail of £1000, hours after which, in a depressed state, he travelled back to his birthplace of Iver, and lay down on a railroad track so as to be run over by a train (Walsh, Lloyd Webber, p. 67; Citron, Sondheim and Lloyd Webber, p. 151 n. 5; ‘Sex-case death’, Daily Mirror, February 9th, 1978, p. 3; ‘Sex case man killed’, Daily Mail, February 9th, 1978, p. 9; ‘Concert’s lost conductor’, The Guardian, February 24th, 1978). Doggett had sent handwritten suicide notes to a few friends, which were delivered a few days later (Walsh, Lloyd Webber, p. 67). One of these was to Rice, who received two envelopes, dated a week apart, upon returning from a trip to Australia, both from Doggett. The first was a plea for an opportunity to earn some royalties from work he continued to do with his boys’ choirs on Joseph; the second was the suicide note. Rice quotes part of it in his autobiography:
We all have to sail our own ship through life and this ship has capsized. No one could have helped, it was my destiny. Pray for me, my parents, family and friends. The way I have chosen, the way of the Greeks, though hard, is best. I am sorry I have not completely lived up to it. (Rice, Oh, What a Circus, p. 400).
Rice, writing about the ‘Allegations of impropriety with young boys’ which ‘had apparently surfaced (not for the first time)’, whereupon ‘Alan had been arrested and charged’, leading to his suicide (ibid), wrote the following in his autobiography:
I say ‘not for the first time’ but I cannot believe that Alan was truly a danger, or even a minor menace, to the many boys he had worked with over the years. The only previous time in ten years that Andrew and I had come across such rumours concerning Alan, the allegations were proven to be exactly that, as the time and place of the supposed transgression clashed precisely with a recording date at which all three of us were continually present. It has been known for young boys, and more commonly their parents, to manufacture or exaggerate incidents when they know and (understandably) disapprove of a teacher’s inclinations. I am certainly not saying that this was the case with the circumstances that led to Alan’s awful end, or that Alan was squeaky clean throughout his musical dealings with his singers. However I suspect that there was a lot less to the cause of his tragedy than met the eye – just enough to render him incapable of facing the humiliation and shame that he knew he had brought upon himself. It was hard for me to believe that Alan, working with boys so closely for so many years, could have got away with any such behaviour for so long without being caught and hard to speak about him at his funeral, which I readily agreed to do. He played a crucial part in Andrew’s and my success, was an excellent choirmaster, and was never less than a highly amusing and generous companion. (Rice, Oh, What a Circus, p. 401)
Lloyd Webber and Rice themselves published a ‘Tribute’ in the Evening Standard a week after Doggett’s death (February 15th, 1978, p. 25), saying that ‘[w]e ourselves owe him a great deal’ (cited in Chandler, ‘Alan Doggett’, p. 277).
In the next issue of Magpie, the following text appeared:
Dear Sir,
‘Letters’ is a most acceptable way for members to express their opinions. Usually I don’t, but this time I am so shocked and distressed as a paedophile, and lover of music, that I will sound off.
On February 9th the Director of the ‘London Boys Singers’ was a troubled man. He attended the Magistrate’s Court, accused of ‘Indecency’ with a 10 year old boy.
I know none of the facts of his story, but can well imagine the innocence with which this act of love and affection had taken place.
No doubt Mr. Doggett, considering his social position, found his contact with the law enforcement people to be unacceptable to him. He was bailed, pending trial. He went to a pub and talked a while, wrote some letters to friends and relatives and then threw himself under a train.
If this man chose death as a means of protecting his beliefs towards Paedophilia, I wonder how many of those, who consider the bloody futile laws of this land to be correct and proper, would be willing to support their theories with their life?
It is of the utmost importance that Paedophiles be permitted to express themselves without oppression. It is the ONLY way to be sure that tragedies of this nature will be averted in the future.
My most sincere condolences to the members of the London Boy Singers.
Your loss is total.
Paul Andrews. (Letters, Magpie, Issue No. 10 (no date), p. 4)
Andrews was a treasurer of the Paedophile Information Exchange, at least in September 1978, when his house was raided, together with those of chairman Tom O’Carroll, secretary David Grove, and a Mr Ralph Alden (Gerard Kemp, ‘Child sex leaders raided’, Sunday Express, June 18th, 1978); Andrews had retired from this position by November 1979. He appeared in court with O’Carroll and Grove on July 26th, 1979 at Bow Street Magistrate’s Court on a charge of ‘Conspiracy to Corrupt Public Morals’ (at least as reported in Pan: A Magazine of Boy Love, Vol. 1, No. 3 (November 1979), p. 6). It is not clear from the letter whether Andrews knew Doggett personally, but the tone of the letter suggests some familiarity with the case.
The February 23rd performance of Jason and the Golden Fleece at the Royal Albert Hall became a memorial concert for Doggett. Michael Stuckey, who had worked alongside Doggett for the 1972 productions of Joseph, took over the conducting (Walsh, Lloyd Webber, p. 67; Citron, Sondheim and Lloyd Webber, p. 151 n. 5; ‘Concert’s lost conductor’, The Guardian, February 24th, 1978; Chandler, ‘Alan Doggett’, p. 285). The work would also receive a further performance in 1979 at the Connaught Theatre, Worthing, with an adult cast of around 25, and with Hugh Janes, who would later obtain the rights to the work, as narrator (Chandler, ‘Alan Doggett’, p. 285).
Another article appeared in Magpie in the following issue, this time from an anonymous contributor:
A letter in Magpie 10 reported and commented on the recent suicide of Alan Doggett three weeks before he was to conduct the London Boys Choir, together with massed choirs of other children at the Albert Hall. On the night of that concert the programme contained an insert describing Alan Doggett’s years of dedicated service and paying tribute to his friendliness, integrity and loyalty.
Shortly after this date a requiem mass was said for him at the Holy Cross Priory in Leicester by the Reverend Father Michael Ingram.
On Saturday 20th May a memorial service will be held to commemorate Alan’s life and work. It will start at 3 p.m. and will be held at St. Barnabas Church, Addison Road, London, W14, taking the form of a choral evensong, performed by the London Boys Choir.
These religious functions, one Roman, the other Anglican must be seen not only as ceremonies of intercession and remembrance, but also as containing an element of protest. It would seem to be true that in today’s society religious organisations provide almost the only vehicle whereby such a protest can be made. (‘Alan Doggett – Memorial Service’, Magpie, Issue No. 11, May 1978).
Father Michael Ingram, a Dominican priest, was himself a contributor to multiple issues of Magpie (see my other blogs for some examples of this), writing amongst other things about his supposed counselling of young boys over their sexual hang-ups and difficulties with their parents. He was found guilty in August 2000 of sexual offences, including one serious sexual offence, one offence of gross indecency, and four of indecent assault, against six boys committed between 1971 and 1978 (‘Former priest guilty of sex abuse’, The Tablet, August 19th, 2000, p. 26). A series of reports from the trial in the Leicester Mercury (from July 31st to August 15th, 2000, covering the course of the trial) detailed the awful events and traumatic experiences of Ingram’s victims as revealed in court, and how Ingram preyed upon those from under-privileged families and broken homes, some of them referred to him by social services. Ingram would also encourage boys to compete for his attentions and affection, especially on holiday trips. A letter to The Tablet in 2012 (Ingram had died in 2000) spoke of Ingram’s involvement with PIE, and also contribution to the book The Betrayal of Youth; Radical perspectives on childhood sexuality, intergenerational sex, and the social oppression of children and young people, edited Warren Middleton (London: CL Publications, 1986) (Middleton was a PIE Executive Committee member and former editor of Understanding Paedophilia – see my blog post here for samples from this publication), which featured many essays from individuals connected to PIE (and by feminist writer Beatrice Faust and gay rights campaigner Peter Tatchell – see here for a list of contents and quotes). Nurse was surprised that despite the openness with which Ingram expressed his views on the desirability of sexual relationships between adults and children, he was still ‘remained in active ministry and was permitted to work with vulnerable and disadvantaged children’ (Richard Scorer, ‘Turning a blind eye’, The Tablet, November 10th, 2012, pp. 18-19).
Over three years after Doggett’s death, an article in New Society looking back at his plight also bears consideration, and suggests the author knew Doggett and more about the situation than he is revealing. This author was Colin Ward (1924-2010), a writer for anarchist publications, noted for an important book The Child in the City (London: The Architectural Place, 1977) (for more details on Ward, see Ken Worpole, ‘Colin Ward obituary’, The Guardian, February 22nd, 2010). Ward’s article is worth quoting from in detail, and is quite shocking by contemporary standards:
Chaps in pubs and clubs nod sagely at the mention of schoolmasters, scoutmaster and choirmasters. We all know what motivates them. It’s a bit embarrassing, to say the least, for all those people in these occupations whose devoted service is untinged by sexual attraction, but the stereotype exists and is quite often true.
Every now and then someone breaks ranks and points out (as the therapist Dr Richard Hauser did, to the accompaniment of a chorus of parliamentary questions) that if there were some machine for screening out those with a sexual attraction towards children, the caring professions would lose their most valuable people).
But publicly we brush aside ordinary wordly truths taken for granted by the chaps in pubs and clubs, or, worse, treat them as sudden terrible revelations. The recent moral crusade against paedophiles in the United States has led to all sorts of worthy people abandoning their voluntary activities in the boy scouts or in the Big Brother organisation (of adult males befriending boys from fatherless families) for fear of being identified with them.
It is interesting to see that the homosexual lobby there is sufficiently self-assured to fight back and to defend in the courts the right of its own paedophile minority to be scout leaders or Big Brothers, just as it is encouraging to read that the city authorities in Amsterdam have allowed a known paedophile – with a prison sentence behind him – to adopt a troublesome 13 year old boy from a children’s home. To harness people’s wayward and personal predilections to a socially desirable end is a mark, not of irresponsibility, but of civilisation. (Paeophilia, it is worth repeating, means the attraction of men towards boys. It’s pederasty when it turns into sexual activity.)
[……..]If Lewis Carroll had been born 100 years later, he, with his delight in taking nude photographs of his little girl friends, would find himself in the dock at the Old Bailey, charged under the Protection of Children Act, 1978.
Consider the cases of two choirmasters. Years ago, a celebrated college director of music (now dead) appeared before a private university court following charges that he had molested a choirboy. He was reprimanded and went back to his honoured place at High Table and to his work with the choir he had made world-famous. Contrast his experience with that of Alan Doggett. If you know Doggett’s name it is because you saw it on the record sleeve of Evita, where he is described as musical coordinator, though he did not live to see the stage production. He was found dead on a railway line three years ago.
On the very day that the coroner pronounced a verdict of suicide, he was to have conducted at the Albert Hall, a charity performance of his “pop extravaganza,” Jason and the Golden Fleece, with a thousand schoolboy singers and instrumentalists. He was a music teacher who had commissioned from Andrew Lloyd Webber and Tim Rice, then in their teens, Joseph and the Amazing Technicolor Dreamcoat as a school opera. Later he was their musical director for Jesus Christ, Superstar. In 1964 [probably an erroneous date] he had become the director of the London Boy Singers, an ensemble founded at the instigation of Benjamin Britten in 1961. Everyone in the musical world paid tribute to his immense energy and his inspired teaching.
The day after his death, friends received through the post a note from him which said, “We all have to sail our own ship through life, and this ship has now capsized. No one could have helped. It was my destiny.” On the day of his death, he had been committed for trial on a charge of committing an act of indecency with a minor. According to the press, the police had intended to interview each of the thousand boys in the Albert Hall production.
I know young men who were members of that choir and who remember Alan Doggett with immense gratitude and respect. I have myself a family of young musicians, who, if any unexpected extra-musical experiences came their way, were sensible enough to handle them in their own way and keep quiet about them.
What is absolutely appalling is the degree of retribution exacted by the community for minor indiscretions which have been going on, as we all know, since the days of the ancient Greeks. In common, I imagine, with many readers of this journal (though only Tailgunner Parkinson, who is always ready to stick his neck out, spoke up for him), I reacted with horror and unbelief at the two-year sentence passed on Tom O’Carroll, after a re-trial.
He was found guilty, you will recall, under one of those obsolete statues which have to be dug up on these occasions, of “corrupting public morals” by publishing the information bulletin of the Paedophile Information Exchange. There was no evidence that he had committed any offence against any child. (The only charge of this nature against him was withdrawn last month and he was awarded costs).
[….More on O’Carroll and Paedophilia: the radical case…. – this awful publication can be found complete online here]
Another court case, involving incest, followed by the murder of a father by his daughter, which was reported on the same day as the result of the PIE trial, presents the other side of the argument. Statistically, the commonest known form of child-adult sexual activity is father-daughter incest. The enormous publicity given to cases of the sexual murder of children shouldn’t blind us to the fact that such instances are no more typical of the paedophiliac scene than rape-and-murder is characteristic of ordinary sex.
Of the millions of grams of sexual fluids ejaculated every night, most are expended in socially harmless ways, and, in spite of Roman Catholic teaching, not many of them are involved in the reproduction of our race: something for which we should all be thankful. But are we really so worried if some boy in the summer camp is masturbating with the youth club leader, instead of by himself? Don’t we all know that the investigation of the offence is ten times as traumatic as the actual experience itself?
[….More on O’Carroll….]
What really touched me about his [O’Carroll’s] book was the way he quoted his glowing testimonials as a teacher. I am sure that he is a marvellous teacher and that this is a by-product of his sexual inclinations. But this has not saved him, or hundreds of other men like him, from the horrors of a jail sentence on this kind of charge. The Department of Education has a blacklist, which we aren’t entitled to see, on which his name must be underlined.
Yet if we delve into personal memories, we find that innumerable experiences with people like him, far from involving any kind of violence or painful physical penetration, have simply been an aspect of growing up. I can remember the fumbling fondlings of a PE teacher as flattering, rather than terrifying. My wife remembers the attentions of a beloved teacher as yet another initiation into the joys of sex.
Here, as in so many other aspects of social life, there is a fantastic gap between what we all know to be true and our accepted public attitudes. Something we can learn from those old gents in pubs and clubs is the saving grace of worldliness.
This is common of the type of language, rhetoric and ideological assumptions which permeate pro-paedophile discourse. It portrays paedophilia as natural amongst those in the teaching or caring professions, makes any other view out as being akin to a witch-hunt, advocates ‘keeping quiet’ as the only ‘sensible’ response on the part of children, attempts to legitimise the practice by reference to historical figures (and the ancient Greeks), appropriates gay liberation towards its own ends, evokes the cultured (in this case musical) aspects of paedophiles, justifies masturbation of minors, claims that to investigate such offences is worse than the offences themselves, and betrays a type of Stockholm syndrome when speaking of one’s own experiences of sexual abuse. And it is most telling that the only two names who Ward discusses in detail are Doggett and O’Carroll.
Various accounts of Doggett’s character help to complete the picture. Jonathan Mantle shows the awkwardness of ‘the prematurely balding Doggett with his thick black spectacles and his vulnerability to mockery’ which contrasted strongly with the ‘mop-haired, feminine looking youth whose facial hair seemed to be concentrated in a pair of thick, black eyebrows which rose and fell incessantly’ of Lloyd Webber (Mantle, Fanfare, p. 42). Mantle also writes:
Doggett was a split personality: outwardly a charming, witty man, a competent keyboard player and arranger and a highly successful architect of the Colet Court choir, but inwardly a nervy, intense homosexual of unhappy inclinations which would eventually destroy him. He had taken a shine to Andrew at an early age and became his self-appointed musical minder, making sure the young composer’s phenomenal aptitude for tunes was translated into music whose time signature always worked and bars added up correctly. (Mantle, Fanfare, pp. 30-31)
He further suggests that Ian Hunter, whilst appreciating deeply what Doggett was able to do for the Colet Court choir, had ‘few illusions about the more volatile aspects of his personality’ (Mantle, Fanfare, pp. 42-43); McKnight quotes Hunter as saying that Doggett ‘was not very brilliant musically’, but had a great ‘ability to communicate with kids’ (McKnight, Lloyd Webber, p. 86).
Gerald McKnight refers to Doggett as ‘a sad, pathetically mixed-up man in private life’, though ‘his passion for music endeared him to Dr and Mrs Lloyd Webber’, who the composers regularly ragged, using instructions such as ‘With un-Doggett-like expression!’ and ‘Doggett Mobbed!’ (McKnight, Lloyd Webber, pp. 85, 99).
Mantle points out however how central a part of Lloyd Webber’s social circle was Doggett (together with David Crewe-Read, Gray Watson, Bridget (Biddy) Hayward and Jamie Muir), whilst implying that Doggett’s place in this circle depended upon ‘past glories’; in his later work with Lloyd Webber, according to Mantle, he came to ‘ look more and more like a man who had been left behind’ (Mantle, Fanfare, pp. 117-118, 131).
The second Magpie article, with its reference to the two religious services ‘containing an element of protest’ and how ‘religious organisations provide almost the only vehicle whereby such a protest can be made’, is ominous, and suggests a deeper knowledge of Doggett and his activities. The inquest found that Doggett had only written two letters, which he had posted from Paddington Station on the evening he died – one to his sitter and the other to a clergyman (‘Concert’s lost conductor’, The Guardian, February 24th, 1978; this article dates the inquest as taking place three weeks previously, but this is impossible because of the date of Doggett’s death) (there was no mention of the letter to Rice). Who was the clergyman in question?
Otherwise, the article by Colin Ward, the fact of their having been two different pieces on Doggett in Magpie, and the fact that in all of these cases the language is quite typical of paedophile parlance (especially in PIE publications), combined with the varying accounts of Doggett’s having been caught or at least accused of molestation in both 1968 and 1978, certainly indicate that more information is needed to establish the truth. It is possible that these writers simply wish to appropriate Doggett for their own ideological purposes, without implying that he had any direct connection with their activities, and possible that the accusations against Doggett were indeed unfounded – I would be wholly opposed to ruling out this option on principle. However, one must also consider the fact that Doggett was indeed a fully paid-up member of PIE. As many members of PIE have been implicated in international child abuse and pornography networks, as well as rings of abusers, the implications are extremely disturbing for one who worked with such a range of children. It is time to find out the truth about this.
Doggett’s story is tragic, and he undoubtedly needed help and support such as might have avoided involvement with the dark world of PIE instead. But the potential tragedy for many who worked with him, and how this all might supply further important information about the workings of PIE and its involvement with abuse networks, remains the important question today. At the time of David Chandler’s article in 2012, Ian Hunter was certainly still alive; others interviewed included Roger Ford (husband of the late Rita), and Julian Lloyd Webber. There were literally thousands of boys who worked with Doggett (who would be in their 50s and 60s at the time of writing), so many who could shed further light onto what exactly went on, not to mention the many other musicians who worked with him, and others mentioned in this article. I appeal to those who knew Doggett to help to establish the truth about his activities (which may be wholly or mostly innocent) once and for all.
Anyone wishing to speak under conditions of complete confidentiality is welcome to e-mail me at ian@ianpace.com , and I can give advice regarding what to do with any information.
Two Obituaries of Peter Hayman, Senior Diplomat, MI6 Officer and PIE Member
Posted: March 6, 2014 Filed under: Abuse, PIE, Westminster | Tags: Geoffrey Dickens, michael havers, paedophile information exchange, peter hayman 11 CommentsBelow are two obituaries of Sir Peter Hayman (1914-1992), the diplomat who was named by Geoffrey Dickens named using Parliamentary Privilege in 1981 as a contributing member of PIE. Hayman left 45 volumes of diaries detailing his sexual experiences. The Attorney General who failed to prosecute Hayman on grounds of his PIE involvement, Sir Michael Havers, died just five days before Hayman himself.
The Times
April 9, 1992, Thursday
Sir Peter Hayman
Sir Peter (Telford) Hayman, KCMG, CVO, MBE, High Commissioner in Canada, 1970-74, died on April 6 aged 77. He was born on June 14, 1914.
DURING a distinguished diplomatic career Peter Hayman held a series of sensitive senior posts culminating in his appointment as High Commissioner to Ottawa. The lustre of his achievements was sadly tarnished in 1981, however, seven years after his retirement, when he was named in the House of Commons, under the cloak of parliamentary privilege, as a member of a child pornography ring. Geoffrey Dickens, the Conservative MP alleged that Haymen’s involvement in the case had been the subject of a serious cover-up and argued that because of his work at the Foreign Office and defence ministry, his involvement had laid him open to blackmail and thus made him a security risk.
Mr Dickens’s question brought accusations from Sir Michael Havers, the Attorney-General, among others, that Mr Dickens had misused the protection of parliamentary privilege. Although there was criticism of the authorities for allowing Hayman the protection of a pseudonym during the prosecution of other members of the ring, there was also sympathy for the disgrace he suffered.
High points in his diplomatic service had included acting as political adviser in 1958 to the Governor of Malta, Sir Robert Laycock, during the state of emergency following anti-British strikes and rioting on the island; serving as deputy commandant and minister in the British sector of West Berlin from 1964 to 1966; and appointment, for three years from 1961, to the post of director-general of the British Information Services in New York with the task of explaining British policies to the American media.
For two years from 1968 he was deputy under-secretary at the Foreign Office with responsibility for the departments dealing with the United Nations and Eastern Europe. He was appointed High Commissioner to Ottawa during the high state of tension following the kidnapping, by Quebec separatists, of James Cross, the British Trade Commissioner. His appointment at such a time was seen to reflect the high regard with which he was held. He was knighted in 1971.
Hayman was educated at Stowe and Worcester College, Oxford. In November 1937 he joined the Home Office as an assistant principal. From 1942 until 1945 he served with the Rifle Brigade, ending with the rank of major. After the war he had a further spell at the Home Office, but became an assistant secretary in the Ministry of Defence in November 1950. He was then seconded, in May 1952, for service with the British delegation to Nato in Paris, after which in April 1954 he was appointed a member of the Foreign Service.
After a year at the Foreign Office, he was transferred to Belgrade for three years, becoming counsellor and acting as charge d’affaires during this posting, after which he was given the special task of acting as information advisor to the Governor of Malta, Sir Robert Laycock. This appointment was made immediately after anti-British riots and strikes in Malta in April 1958, during a state of emergency.
He carried out his exacting task with characteristic good humour and efficiency, and was then transferred as counsellor and head of chancery to Baghdad in June 1959, where he again acted at times as charge d’affaires.
By this time his genial and sanguine approach to the problems with which he was confronted, had earned him the reputation of being particularly effective in the public relations field, and in September 1961 he was appointed director-general of the British Information Services in New York. He was made a CMG in 1963 and in 1966 was given increased responsibility as deputy commandant of the British sector of West Berlin. Hayman was serving in West Berlin during the Queen’s visit to Germany in 1965 and was awarded the CVO after it.
Hayman then returned in 1968 to the Foreign Office as deputy under-secretary with responsibility for the Departments dealing with the United Nations and Eastern Europe until he was appointed in 1970 to be High Commissioner in Canada. In Ottawa Hayman was fully extended in the face of the idiosyncrasies and difficulties of the government of Pierre Trudeau, the Canadian prime minister, and his period as High Commissioner included the Commonwealth summit conference in Ottawa in 1973.
His retirement, taken in 1974, was damagingly disrupted when it became known that a quantity of pornographic literature had been discovered in the flat which he had rented in Linden Gardens, Notting Hill. The discovery took place during a police raid in connexion with enquiries into the Paedophile Information Exchange of which he had been a corresponding member. At subsequent hearings Hayman’s name was not disclosed, but amid accusations of a cover-up he was later named in Parliament. He had meanwhile resigned from his various appointments.
The group published a contact magazine carrying advertisements from men seeking sex with children. Hayman’s secret life was discovered when a packet addressed to ”Mr Henderson” at his Notting Hill flat was found on a London bus and given to the police. The flat was raided in November 1978 and police found a mass of pornographic material including photographs of prostitutes and letters from other members of the paedophile group. There were also 45 volumes of diaries kept by Hayman including entries relating sexual experiences or fantasies. Police interviewd him and others identified with the material but it was decided not to prosecute because there was no evidence of any offence other than possibly one of sending indecent material through the post. Hayman escaped with a caution until three years later when the magazine Private Eye drew attention to the involvement in the ring of ”a senior civil servant”.
Three years after his exposure in the Commons, Hayman suffered further disgrace when he was fined Pounds 100 for an act of gross indecency with a lorry-driver in a public lavatory in Reading.
Hayman is survived by Lady Hayman, formerly Miss Rosemary Eardley Blomefield, whom he had married in 1942, and their son and daughter.
The Independent (London)
April 11, 1992, Saturday
Obituary: Sir Peter Hayman
BYLINE: By DENIS GREENHILL
Peter (Telford) Hayman, diplomat, born 14 June 1914, Assistant Principal Home Office 1937-39, Ministry of Home Security 1939-41, Assistant Private Secretary to Home Secretary 1941-42, Principal Home Office 1942, 1945-49, Personal Assistant to Chief Staff Officer to the Minister MOD 1949-52, Assistant Secretary MOD 1950, UK Delegation to Nato 1952-54, Foreign Office 1954, Counsellor Belgrade 1955-58, temporary assignment to Malta 1958, Counsellor Baghdad 1959-61, Director General of British Information Services New York 1961-64, CMG 1963, CVO 1965, Minister and Deputy Commandant British Military Government in Berlin 1964-66, Assistant Undersecretary FO 1966-69, Deputy Under Secretary of State FCO 1969-70, High Commissioner in Canada 1970-74, KCMG 1971, married 1942 Rosemary Blomefield (one son, one daughter), died 6 April 1992.
FEW THINGS are sadder than the spectacle of an active and distinguished public career ruined by self-inflicted disgrace. This was the case with the diplomat Sir Peter Hayman. Enough publicity has been given to his involvement in a Paedophile Information exchange, revealed by documents left on a bus. A subsequent offence of gross indecency added to the shame.
Hayman was educated at Stowe and Worcester College, Oxford. Many of his contemporaries became notable public men and Hayman’s abilities gave an assurance of an equally distinguished career. In the Second World War he served with the Rifle Brigade, ending with the rank of major.
After the war he returned to the Home Office where he had started his civil service career. Later he moved to the Ministry of Defence and the British delegation to Nato then being established in Paris. In 1954 he transferred to the Foreign Service. These moves suited better his strong personality and his authoritative manner. He served first in Belgrade and then, unusually, as information adviser to Sir Robert Laycock, the Governor of Malta at a time of some unrest on the island. His success and self-assurance made him a highly suitable choice for Director-General of the British Information Service in New York. He was awarded the CMG in 1963 and transferred to West Berlin as Deputy Commandant of the British Sector.
In 1968 he was back in London as a Deputy Under-Secretary in the Foreign Office, dealing with the United Nations and Eastern Europe. He was soon ready for his own Mission abroad but was working well with George Brown and Michael Stewart who both, as Foreign Secretaries, appreciated his readiness to take initiatives and plead his case with vigour.
In 1970 he was appointed High Commissioner in Ottawa. He made many friends and had some critics there, and sometimes the Canadian government found him somewhat intrusive. But his merits outweighed his faults and it was appropriate to have a Head of Mission whose presence was felt by the Trudeau Government.
After his retirement in 1974 he started out on a commercial career, but this came abruptly to a halt with the offences referred to above. This fatal setback ruined his role in local politics, no doubt to his great disappointment. He was unable to re-establish himself but some felt he showed insensitivity. Later he was dogged by ill health. His wife strongly supported him in his diplomatic career and stood by him in his dark days.