Bart was born Lionel Begleiter the youngest of seven surviving children in … Read Full Bio ↴Bart was born Lionel Begleiter the youngest of seven surviving children in East London to Galician Jews, and grew up in Stepney. His father worked as a tailor in a garden shed in London E1. The family had escaped the pogroms in Galicia which was then part of the Austrian Empire.
Lionel later changed his name to Bart derived from the name of the silk screen printing firm he and John Gorman[1] created ("G & B Arts", for Gorman and Begleiter) after he had completed his National Service with the Royal Air Force.
As a young man he was quite an accomplished painter. When Lionel Bart was six years old a teacher told his parents that he was a musical genius. His parents gave him an old violin, but he did not apply himself and the lessons stopped.
At the age of 16 he obtained a scholarship to St Martin's School of Art but he was expelled for "mischievousness", and he gave up his ambition to be a painter. However, he took jobs in silk-screen printing works and commercial art studios. He never learned to read or write musical notation; this did not stop him from becoming a highly significant personality in the development of British rock and pop music.
[edit] Songwriting
He started his songwriting career in amateur theatre. first at The International Youth Centre in 1952 where he and a friend wrote a revue together called IYC Revue 52. The following year the pair auditioned for a production of the Leonard Irwin play The Wages Of Eve at Unity Theatre, London. Shortly after Bart began composing songs for Unity Theatre, contributing material (including the title song) to their 1953 revue Turn It Up, and songs for their 1953 pantomime, an agit prop version of Cinderella. While at Unity he was talent spotted by Joan Littlewood and so joined Theatre Workshop. [2]
He first gained widespread recognition through his songwriting, which includes the hits Livin' Doll (written for Cliff Richard) and Rock with the Cavemen, Handful of Songs, Butterfingers and Little White Bull (for Tommy Steele). During this period, Mike Pratt as well as Steele were his songwriting partners. In 1957, he won three Ivor Novello Awards, a further four in 1958, and two in 1960.
He wrote the theme song for the 1963 James Bond film From Russia With Love.
His other hits include: Do You Mind? (by Anthony Newley and Andy Williams), Easy Going Me (Adam Faith) and Always You And Me (with Russ Conway)
[edit] Musical theatre
His first professional musical was the 1959 Lock Up Your Daughters, based on an 18th century play by Henry Fielding. Following that, Fings Ain't Wot They Used T'Be produced by Joan Littlewood's Theatre Workshop, was notable for encouraging the use of authentic Cockney accents on the London stage. Oliver! (1960), based on Dickens' Oliver Twist was a huge hit from the very beginning, and has sustained its popularity to the present day. The original stage musical which starred Ron Moody and Georgia Brown spawned such song hits as As Long As He Needs Me and Consider Yourself. In 1968 it was made into a film starring Ron Moody, Oliver Reed and Shani Wallis which won several Oscars, including best film. Subject to belief, Lionel actually wrote the part of Nancy for singing star Alma Cogan and not his childhood friend Georgia Brown. Alma was unable to commit to Oliver! at Wimbledon Theatre. It is estimated that around this time Bart was earning 16 pounds a minute from Oliver!.
Bart's next two musicals, Blitz! (1962) (the song Far Away produced another hit for Shirley Bassey) and Maggie May (1964), had respectable West End runs (Blitz!, at the time London's most expensive musical ever, had a run of 568 performances[3]); but Twang! (1965) was a notorious flop and La Strada (1969), which opened on Broadway in New York City, closed after only one performance. Bart used his personal finances to try to rescue them, selling his rights to others of his works, including Oliver!, in order to generate capital. By 1972, Bart was bankrupt, with debts of £73,0000. He turned to drink, and a twenty-year period of depression ensued, from which he ultimately recovered, attending Alcoholics Anonymous[4].
He continued writing songs and themes for films, but his only real success in his later years was "Happy Endings", a 1989 advertising jingle for Abbey National.
In 1986 Bart received a special Ivor Novello Award for his life's achievement. Cameron Mackintosh, who owned half the rights to Oliver!, revived the musical at the London Palladium in 1994 in a version rewritten by Lionel Bart. Mackintosh gave Lionel a share of the production royalties. Lionel Bart was often publicly and romantically linked with Judy Garland or Alma Cogan.
Bart died in 1999 after a long hard struggle with cancer[4] and his funeral took place at Golders Green Crematorium.
A musical play based on Bart's life and using his songs, It's a Fine Life was staged at the Queen's Theatre, Hornchurch in 2006[5].
[edit] West End theatrical credits
Lock Up Your Daughters (1959) - lyricist
Fings Ain't Wot They Used T'Be (1959) - composer, lyricist
Oliver! (1960) - composer, lyricist, writer
Blitz! (1962) - composer, lyricist, writer
Maggie May (1964) - composer, lyricist
Twang! (1965) - composer, lyricist
La Strada (1969) - co-composer, co-lyricist
[edit] Work on Broadway
Oliver! (1963) - musical - composer, lyricist, and bookwriter - Tony Award for Best Composer and Lyricist, Tony Nominations for Best Musical and Best Author of a Musical
A return engagement of the original production played in 1965, and a revival in 1984.
La Strada (1969) - musical - composer and lyricis
Lionel later changed his name to Bart derived from the name of the silk screen printing firm he and John Gorman[1] created ("G & B Arts", for Gorman and Begleiter) after he had completed his National Service with the Royal Air Force.
As a young man he was quite an accomplished painter. When Lionel Bart was six years old a teacher told his parents that he was a musical genius. His parents gave him an old violin, but he did not apply himself and the lessons stopped.
At the age of 16 he obtained a scholarship to St Martin's School of Art but he was expelled for "mischievousness", and he gave up his ambition to be a painter. However, he took jobs in silk-screen printing works and commercial art studios. He never learned to read or write musical notation; this did not stop him from becoming a highly significant personality in the development of British rock and pop music.
[edit] Songwriting
He started his songwriting career in amateur theatre. first at The International Youth Centre in 1952 where he and a friend wrote a revue together called IYC Revue 52. The following year the pair auditioned for a production of the Leonard Irwin play The Wages Of Eve at Unity Theatre, London. Shortly after Bart began composing songs for Unity Theatre, contributing material (including the title song) to their 1953 revue Turn It Up, and songs for their 1953 pantomime, an agit prop version of Cinderella. While at Unity he was talent spotted by Joan Littlewood and so joined Theatre Workshop. [2]
He first gained widespread recognition through his songwriting, which includes the hits Livin' Doll (written for Cliff Richard) and Rock with the Cavemen, Handful of Songs, Butterfingers and Little White Bull (for Tommy Steele). During this period, Mike Pratt as well as Steele were his songwriting partners. In 1957, he won three Ivor Novello Awards, a further four in 1958, and two in 1960.
He wrote the theme song for the 1963 James Bond film From Russia With Love.
His other hits include: Do You Mind? (by Anthony Newley and Andy Williams), Easy Going Me (Adam Faith) and Always You And Me (with Russ Conway)
[edit] Musical theatre
His first professional musical was the 1959 Lock Up Your Daughters, based on an 18th century play by Henry Fielding. Following that, Fings Ain't Wot They Used T'Be produced by Joan Littlewood's Theatre Workshop, was notable for encouraging the use of authentic Cockney accents on the London stage. Oliver! (1960), based on Dickens' Oliver Twist was a huge hit from the very beginning, and has sustained its popularity to the present day. The original stage musical which starred Ron Moody and Georgia Brown spawned such song hits as As Long As He Needs Me and Consider Yourself. In 1968 it was made into a film starring Ron Moody, Oliver Reed and Shani Wallis which won several Oscars, including best film. Subject to belief, Lionel actually wrote the part of Nancy for singing star Alma Cogan and not his childhood friend Georgia Brown. Alma was unable to commit to Oliver! at Wimbledon Theatre. It is estimated that around this time Bart was earning 16 pounds a minute from Oliver!.
Bart's next two musicals, Blitz! (1962) (the song Far Away produced another hit for Shirley Bassey) and Maggie May (1964), had respectable West End runs (Blitz!, at the time London's most expensive musical ever, had a run of 568 performances[3]); but Twang! (1965) was a notorious flop and La Strada (1969), which opened on Broadway in New York City, closed after only one performance. Bart used his personal finances to try to rescue them, selling his rights to others of his works, including Oliver!, in order to generate capital. By 1972, Bart was bankrupt, with debts of £73,0000. He turned to drink, and a twenty-year period of depression ensued, from which he ultimately recovered, attending Alcoholics Anonymous[4].
He continued writing songs and themes for films, but his only real success in his later years was "Happy Endings", a 1989 advertising jingle for Abbey National.
In 1986 Bart received a special Ivor Novello Award for his life's achievement. Cameron Mackintosh, who owned half the rights to Oliver!, revived the musical at the London Palladium in 1994 in a version rewritten by Lionel Bart. Mackintosh gave Lionel a share of the production royalties. Lionel Bart was often publicly and romantically linked with Judy Garland or Alma Cogan.
Bart died in 1999 after a long hard struggle with cancer[4] and his funeral took place at Golders Green Crematorium.
A musical play based on Bart's life and using his songs, It's a Fine Life was staged at the Queen's Theatre, Hornchurch in 2006[5].
[edit] West End theatrical credits
Lock Up Your Daughters (1959) - lyricist
Fings Ain't Wot They Used T'Be (1959) - composer, lyricist
Oliver! (1960) - composer, lyricist, writer
Blitz! (1962) - composer, lyricist, writer
Maggie May (1964) - composer, lyricist
Twang! (1965) - composer, lyricist
La Strada (1969) - co-composer, co-lyricist
[edit] Work on Broadway
Oliver! (1963) - musical - composer, lyricist, and bookwriter - Tony Award for Best Composer and Lyricist, Tony Nominations for Best Musical and Best Author of a Musical
A return engagement of the original production played in 1965, and a revival in 1984.
La Strada (1969) - musical - composer and lyricis
Food Glorious Food / Oliver!
Lionel Bart Lyrics
We have lyrics for these tracks by Lionel Bart:
As Long As He Needs Me As long as he needs me... Oh, yes, he does need…
Be Back Soon Line up! Line up! Single file! Single file! Slope arms Le…
Boy for Sale One boy, Boy for sale. He's going cheap. Only seven guineas.…
Consider Yourself DODGER(spoken) So, Oliver Twist, you're coming with me. …
Food Glorious Food [BOYS] Is it worth the waiting for? If we live 'til eighty…
From Russia With Love From Russia with love, I fly to you Much wiser since…
I'd Do Anything I'd do anything for you dear anything for you mean everyth…
It's a Fine Life Small pleasures, small pleasures Who would deny us these? No…
Oliver! [MR. BUMBLE] For what you are about to receive May the lor…
Reviewing the Situation A man's got a heart - hasn't he? Joking apart…
Where Is Love? Where is love? Does it fall from skies above? Is it undern…
Who Will Buy ROSE-SELLER Who will buy my sweet red roses? Two blooms…
Who Will Buy? ROSE-SELLER Who will buy my sweet red roses? Two blooms…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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C1RCU1TBOARD
Is it worth the waiting for,
If we live till eighty-four
All we ever get is gruel,
Every day we say our prayers
Will they change the bill of fair?
Still we get the same old gruel
There's not a crust not a crumb
Can we find can we beg can we borrow or cadge,
But there's nothing to stop us from getting a thrill,
When we all close our eyes and imagine,
Food glorious food
Hot sausage and mustard
While we're in the mood cold jelly and custard
Pease pudding and saveloys
What next is the question?
Rich gentlemen have it boys
IN-DI-GESTION
Food glorious food
What is there more handsome
Gulped swallowed or chewed
Still worth a kings ransom
What is it we dream about?
What brings on a sigh?
Piled peaches and cream about six feet high
Food glorious food
Were anxious to try it
3 banquets a day
Our favorite diet
Just picture a great big steak fried, roasted or chewed
For food marvelous food wonderful food magical food fabulous food beautiful food
GLORIOUS FOOD
Žonatan Rivera
Starved as sh*t but still energetic enough to dance in unparalleled synchronisation for 2 minutes.
Lamuel Dagon
@Randy Moore Lol
Randy Moore
Relax. It’s a movie made for entertainment. It’s not actually happening.
david thomas
get an imagination
KingGuyDan
I was thinking the same thing. Granted in a different perspective but still, tomato tomato
Matthew Hogg
Jacob Rees Mogg would find this ‘heartwarming…’
valkyrie_pilot
I do not envy, and have infinite respect for the director of this film.
Corralling this many small children in such perfect sync would have been nearly impossible.
Mad respect.
valkyrie_pilot
@Kaileena this goes beyond just behaving imo
Kaileena
You'd be surprised, I was in a theatre group at age 10 and most of the children behaved because we wanted to be there and enjoyed it for the most part
Lasty Hopper
@valkyrie_pilot there's a bagged-eyed editor in the studio basement just editing and synchronizing each kid movement