foundation of a partnership which over the next twenty-eight years produced seven books, many radio and television scripts, and several plays and musicals for the theatre." In 1962 they published a novel, Cindy-Ella – or, I Gotta Shoe, described in the TLS as "a charming, sophisticated fairy-tale … retelling the Cinderella story rather as a coloured New Orleans mother might tell it to her (precocious) daughter". It was based on a radio play that Brahms and Sherrin had written in 1957. At the end of 1962 they adapted it again, as a stage musical, starring Cleo Laine, Elisabeth Welch and Cy Grant. In 1963, Brahms published her second solo novel, No Castanets, a gently humorous work about the Braganza empire in Brazil. When Sherrin became a television producer in the 1960s, he and Brahms always wrote the weekly topical opening number for the ground-breaking satirical show That Was The Week That Was and its successors. Their collaboration won them the Ivor Novello award for the best screen song. By the 1960s, Brahms's enthusiasm for ballet was waning. She later commented, "Really I've left the ballet behind me because I became very bored with watching the girl in the third row moving forward to be in the second row; and when you have lost that feeling, you are no longer the person to write about ballet." Her professional focus, both as a critic and as an author, was increasingly the theatre. Privately, her enthusiasm for ballet transferred itself to show-jumping, of which she became a devotee. With Sherrin, Brahms wrote and adapted prolifically for the theatre and television. Their collaborations included Benbow Was His Name, televised in 1964, staged in 1969; The Spoils (adapted from Henry James's The Spoils of Poynton), 1968; Sing a Rude Song, a musical biography of Marie Lloyd, 1969; adaptations of farces by Georges Feydeau, Fish Out of Water, 1971, and Paying the Piper (1972); a Charles Dickens play, Nickleby and Me, 1975; Beecham, 1980, a celebration of the great conductor; and The Mitford Girls, 1981. For BBC television, they adapted a long sequence of Feydeau farces between 1968 and 1973 under the series title Ooh! La-la! She was a member of the board of the National Theatre from 1974 until her death. As a critic and columnist, Brahms wrote for many publications, principally the Evening Standard. She included an account of her theatrical experiences in a