Holiday centres, Butlins being the biggest, loved the show as it was perfect holiday entertainment for their customers and was completely self-contained enabling all the 'Red Coats' to have a night off! That'll Be The Day was touring twice a year and the Butlins shows bridged the gap between spring and autumn tours. In 1991 'Fizzical', namely Trevor, Kate, Gary, Karen Rodrigues and Josie, went to work on the largest car ferry in the world, the 'Mariella'. The ship sailed between Stockholm and Helsinki every night and the audiences were always inebriated and were a challenge (mostly to keep them from coming on to the stage!). Fizzical and That'll Be The Day performed in the summer of '91 and the combination of both shows performed for 15 weeks, seven days a week. A total of 107 consecutive shows!
In the autumn big changes were made to That'll Be The Day. Mark continued on drums, Iain Hawkins came in to play guitar, Phil Hollender joined on keyboards and Tom Williams played bass. He arrived for rehearsals in a 'Blues Mobile' and impressed everyone with that! He also had a pet crow, which didn't impress anyone! Sean Mc Bride came in to play saxophone, clarinet and flute, and had a great personality, which is best described as 'zany'. A complete extrovert and very unpredictable. Paul Da Vinci (the voice on 'Sugar Baby Love', the Rubettes no. 1) was lead vocalist and Joanna James joined the show. Kate left to have her second boy 'Max' and was replaced by Julia Greenham, who was an original 'Fizzical' member. Two productions were made that year, one featuring the 50's and 60's, and the other the 70's and 80's, a huge undertaking but both were successful. Add in the Christmas show which still used a South-Devon based band, 'Nite Flight', and 1991 was the busiest year to date.
In 1992 the same cast collected the 'Show Act of the Year' at the Lakeside Country Club, the same evening Roy Chubby Brown collected 'Best New Comedian'. Trevor wrote and directed a 'sister' show, 'Oh Boy', which was to play the famous 'Michaels' club in Portugal. While rehearsing Trevor met Cliff Richard for the first time. He didn't let on to Cliff that That'll Be The Day had been booked to perform a special tribute show for Cliff at the NEC Metropole Hotel on October 11th. It turned out to be one of the most memorable performances and Cliff loved it, sending a letter to thank the cast. Many Cliff fans who were there that day became That'll Be The Day converts and still regularly come to the shows. In 1993 Lorayne left to be replaced by Lorraine Brown, Glyn Evans replaced Tom (crow man) Williams and That'll Be The Day performed for the first time in theatres. Audiences raved about the show, it was fresh, it was new and it was the way to go. There was no turning back! This was the direction in which to go and by the end of 1993, many more theatres had been won over to the cause!
Towards the end of the year a new singer, Morgan Turner was auditioned. 1994 arrived and Mark Street left to form his own act and work abroad. Paul Tye was his replacement. Glyn left and was replaced on bass by Robin Hames from Cardiff. Iain was on guitar, Phil on keyboards, Sean on sax, vocals Karen/Julia (job sharing), Lorraine Brown, Morgan Turner, Gary and Trevor. Morgan Turner became very popular and Lorraine won the TV talent show 'Pot of Gold' hosted by Des O'Connor. 1994 was to be the last year of Butlins work, as the show was moving more and more toward theatre and helped by a growing army of fans was fast establishing itself as an attraction in its own right. The show ended the year with a weeks engagement at the 'Lakeside' Country Club in Frimley Green in Surrey, known by all as the venue for the annual World Darts Championships.
In 1995 Lorraine Brown left to have a child and Josie Cain returned. The transition from club to theatre was speeding up and That'll Be The Day made its first appearance in Blackpool at the North Pier. The highlight of the year was the debut at the world famous London Palladium. Many shows never experience the unique atmosphere of this most famous of theatres. It was a complete sell-out and the buzz was extraordinary and even a little emotional. In a few short years That'll Be The Day had transformed itself from successful club show into a bonafide theatre attraction, able to fill the mecca of theatres. In 1996 the line-up stayed the same and another charity show with 'Cliff' was performed at the Lakeside.
Now established in the seaside resort theatres, That'll Be The Day enjoyed another good summer and a memorable gig at Lloyd's Amphitheatre in Bristol to many thousands of people. A return to the Palladium followed in the autumn. In the autumn Trevor Payne teamed up with Colin Rozee, a marketeer and photographer, to acquire the rights and title of the show from John Mills and the booking and promotion became the responsibility of Derek Block. Derek had promoted and managed many major artistes from his beginnings in the industry in the 60's. The list is endless and includes acts such as The Walker Brothers, Status Quo, Rod Stewart, Diana Ross, Mike Yarwood, The Nolans, Bing Crosby, Bob Hope, Neil Diamond, and The Bolshoi Ballet.
In 1997 Mark Street returned but otherwise the cast remained the same with the addition of Nick Brown on bass and Andy Hodge deputising on a regular basis. The show played Bournemouth for the first time during that summer, regularly selling out. The annual re-write had produced a hugely popular version and it was a case of onwards and upwards. The Christmas shows had by now become an institution with fans and theatres. 1998, and the same cast enjoyed continuing success. The productions were becoming ever more lavish, with a new set, lighting, PA system and costumes all improved. The task was now to stay as polished and slick on a consistent high level for every show. Over 200 performances and 50,000 miles on the road was the norm and each show had to appear as fresh as the next. No one has ever questioned the value for money That'll Be The Day gives and that's a great testament to the whole company.
In 1999 Andy Hodge joined the show on a full time arrangement and the production was setting new box office records. Nick Brown and Joanna James had left and Raya North joined the company for a while. Sean had departed and the band became a four-piece. That'll Be The Day was now playing well over 200 shows annually. At the end of 1999 Trevor, Julia and Gary went to Kenya to appear in a Millennium Special at the Hemingway's Resort near Mombasa.
Show History - 1990s
Now Gary Anderson was in the show, That'll Be The Day was able to expand on its comic front. It's very difficult to find comedians who are willing to adapt, try new material and share laughs in sketches. Trevor and Gary struck up an instant rapport and became in many respects a 'double act' within the show, which was to prove hugely significant. In 1990 the band backing the show was called 'Ritz'. They had previously been backing Jim Davidson and 'Fizzical' and so were well known to Trevor. Mark Street was the drummer, Alan Cutler on bass guitar, Richard Snow on keyboards, Simon on guitar and Lorayne Robinson on vocals.
The band benefited from Mark's solid drums and flair for vocals. Lorayne was a powerful vocalist and dynamic performer. Josie Cain was still with the show and Kate Gray job-shared with Karen Rodrigues. Paul Da Vinci completed what was a very strong line-up.
The show was a club act and was able to deal with audiences who were still being bowled over by the style and quality of the production. The crowds were demanding but the show was always up for it!