This year's entrants for the competition had some other treats to wrte home about. Unlike previous years when the parts were played by students at The Guildhall School of Music and Drama, the five playlets were performed by professionals from a wide range of musical disciplines. Dave Willetts was more at home than most having played the Phantom so successfully on this very stage.

|In the invited and paying audience were family and close supporters - intermingled with singing stars, like Elaine Paige (Evita, Cats, and Sunset Boulevard), Helen Hobson (Passion and Heathcliffe) - writers, like Herbie Kretzmer (Les Miserables), Barry Mason (Delilah and The Last Waltz) and Mitch Murray (Bonnie and Clyde and Even The Bad Times Are Good).

Yet it was the illustrious judging panel which drew admiration for it's reputation and it's freely expressed sympathy and encouragement for the tortured writers and performers. Don Black apart from having written so many good works like Aspects Of Love and Sunset Boulevard, could earn a very large crust as a Chairman of any prestigious gathering. He introduced stars of equal quality. The benign, all-encompassing, book, lyric and music writer Lionel Bart (Oliver and Fings Ain't Wot They Used To Be). Sheridan Morley - one of the most experienced theatre critics in the world today. Dan Crawford - patron of The King's Head, Islington, where so many good shows have seen their first spotlight, and a close friend of Vivian Ellis before he died last year aged 91.

Add to them Jeremy Sams, a Sondheim disciple and Musical Director of Sunday In The Park With George and Assassins, amongst many others. Jonathan Simon, a one time managing director of Chappell Music and until recently head of The Really Useful Company's Music Division. Arlene Phillips, choreographer par excellence, currently working on next year's West End production of Saturday Night Fever.

Two of the most influential and respected members of the London theatre hierarchy completed the judging panel. Janet Holmes A'Court major shareholding director of the Stoll Moss Theatre Group, owners of ten West End Theatres including Her Majesty's, The London Palladium and The Theatre Royal, Drury Lane. And, finally, Sir Tim Rice who moves quietly and modestly through life - respected everywhere for Joseph, Jesus Christ Superstar, Evita, Blondel, Chess - as well as - more recently, for his work with Elton John and the Walt Disney Organisation with Beauty And The Beast, Aladdin and The Lion King. In his spare time as the world's leading cricket nut, he runs his own team - The Heartaches and supports many sports and arts charities.

The contenders for Glory?

SWANK by Michael Gyngell. Perhaps disadvantaged by being first on stage and having such a stunning choreographic presentation, that his writing talents may have been eclipsed. I've seen many West End Musicals with a less effective appeal. Many.

IN NOMINE AMORIS by Dina and Rosabella Gregory. Indecently talented 21 year old twin sisters, bringing a fresh as a new grave idea to Her Majesty's Theatre. In her non theatrical time, Dina the lyricist, is at Oxford studying Neurophysiology and Psychology enabling her composer sister to concentrate on her music at the Royal Academy of Music.

A RHYMER SANG by Mark Robertson. A specialist play in a politically appropriate Free Scottish idiom. Difficult for a new audience to follow but adventurous enough to win plaudits for daring to tread the path once trodden by Brigadoon and Whisky Galore.

SNAKES AND LADDERS by Richard Kates. The story of a man who says he's living with Aids, not dying of it. Clearly difficult to portray in a short exerpt, but respected for it's originality and courage - and for winning through to the finals in a field of 88 plays.

MAE I ? by Richard Kates. Yes, two plays in the final five. I liked this attempt to portray the quirks of Mae West and W. C. Fields, but it is very difficult indeed to characterise such original, one off people and match the original one liners. We all know the old ones are best - WC Fields as he leaves the stage "Are you coming?". Mae West "No it' s just the way I walk".

Before announcing the results Don Black stressed the diversity of opinion amongst the panel. The originality of the idea behind IN NOMINE AMORIS won the day. The erudite twins have many more ideas and enjoy a wide range of creative activity. Remember Dina and Rosabella Gregory.

I believe that The Vivian Ellis Prize, jointly supported by PRS, Stoll Moss Theatres, Warner - Chappell, Rose - Morris Publishers and The King's Head Theatre, Islington, have taken a quantum leap forward in encouraging our new writers and composers - to mingle with the spirits of greatness in a theatre like Her Majesty's.

Regal - that's what it is.

(John Timperley)