...as in anything we can vaguely remember about the product... Kit and The Widow met in 1427 at the Cambridge University Footlights and immediately went their separate ways. Kit made documentaries for the BBC whilst The Widow worked as a silver service waiter at Claridges until they reconvened at the Comedy Store during the dark days of the Falklands crisis. Ten years later they were playing the Royal Lyceum Theatre as part of the official Edinburgh Festival. They were the first cabaret artists since Dietrich to do so. Twenty years in the saddle, man and boy, the journey has been extravagant and varied. Although much of it is too exotic to relate here are some of the staging posts. You may be surprised to learn that Kit & The Widow, in a long and distinguished career, have appeared in the following venues. St Moritz; Estepona; Southwark Cathedral; Lloyds building; Spencer House; Bridgewater Hall, Manchester; South Bank (oh all right then, only The Purcell Room); Snape Maltings; Barbican; Royal College of Music; Hopetoun House; Post Office Tower; Victoria and Albert Museum; Embassy Club; St James' Palace; Wigmore Hall; Mansion House; Holders' Festival, Barbados; Banqueting Hall; No 1, London; Natural History Museum. You may not be surprised to learn that Kit & The Widow, in a long and sometimes undistinguished career, have appeared in the following venues. Madame Jojo's; Madame Tussaud's; Paul Raymond's La Vie en Rose; Isle of Man; Leeds Castle (which would be much nicer if it were nearer Leeds); Lord Archer's garden; Royal Military Academy, Sandhurst; a boathouse on the Thames; Transport Museum, Brussels; Mount Etna; Canberra; Royal Variety Show; Jackson's Lane Community Centre; Chelsea Barracks; a health club in Golders Green; Cadbury's chocolate factory; a campful of copper miners in The Gulf of Oman; Norfolk. For some of our really posh concerts in proper concert halls we offer the following guide to our inner loveliness. Kit Hesketh-Harvey (Baritone!) is a singer for whom words such as technique, intonation and accuracy are simply not appropriate. His art transcends such earthbound detail and it is no exaggeration to say he transports the public to the very terminus of Western Art. He has been well described as 'an animal of song' who lives out his legendary melismata in the greatest concert halls and opera houses of the world. He has mastered an astonishingly international repertoire and it is safe to say that there hardly remains a tongue unexplored in his ceasless quest for new artistic adventure. As a musicologist he follows in the great English folk-song tradition of the likes of Vaughan-Williams, celebrating the fine oral legacies of the working man by taking them down in the field.     - The Widow The Widow (Pianist!) studied with Nadia Boulanger. When she was promoted to Milk Monitor over his head he pulled her plaits and they have never spoken to this day. His birthday was in June a long time ago. It is interesting to note that he may well be a re-incarnation of Gerald Finzi who spookily died exactly nine months before the actual birthing date of The Widow (allowing 28 days for postage and packing). The Widow lists among his musical influences the work of "He'ar's'ay", the English Hymnal and the musics of Javanese ritual. At one point he pretended to like Harrison Birtwhistle but I think he was just showing off.     - Kit Hesketh-Harvey Our London profile includes the following glorious episodes: Bizarre 1984 - produced by Paul Raymond, directed by Gerard Simi. 12 minute solo spot and ensemble numbers. 15 months at Windmill Theatre renamed 'La Vie en Rose' for the occasion! Y 1985 - produced by Caroline Roboh, directed by Arturo Brachetti. (And others!) 6 minute solo spot and compere. Also company numbers. 4 months in the middle of the run at Piccadilly Theatre. Figgy Pudding 1989 - produced by Lyric Hammersmith, directed by Peter James. Solo Christmas show. 3 weeks at Lyric Hammersmith. Lavishly Mounted 1991 - produced by Mark Goucher, directed by Bill Pryde. Solo show. 6 weeks at Vaudeville Theatre. Transferred for further 8 weeks to Ambassadors. January Sale 1994 - produced by Julius Green and Hywel Davies. Solo show. 8 weeks at Vaudeville Theatre. Salad Days 1996 - produced by Edward Snape, directed by Ned Sherrin. 40th anniversary production of Julian Slade's evergreen musical. 4 months at Vaudeville Theatre. Meat on the Bone 1998 - produced by Edward Snape, directed by Ian Brown and Lindsay Dolan. 70 minute solo show starting at 9.15pm. 4 weeks at Vaudeville Theatre in tandem with 'The Right Size'. Joan Rivers 2002 - produced by Robert Silman 30 minute solo spot 6 performances at Theatre Royal, Haymarket Other London theatres we have graced on an occasional basis include: Albery, Ambassadors, Apollo, Arts, Barbican Concert Hall, Bloomsbury, Britten, Cambridge, Comedy, Criterion, Dominion, Donmar, Drury Lane, Duchess, Duke of York, Greenwich, Jackson's Lane, Jermyn Street, King's Head, Lyric, Lyric Hammersmith, Mermaid, Old Vic, Palace, Palladium, Phoenix, Playhouse, Piccadilly, Players', Prince of Wales, Purcell Room, Regent's Park Open Air, Royal Albert Hall, Shaftesbury, Waterman's Arts Centre, Whitehall, Wigmore Hall, Wilton's Music Hall, Wimbledon, Windmill, Wyndhams, Young Vic. And of course there hardly remains a hotel in the entire capital that we have not troubled at on time or another...