PART THREE …THE FINALE!
The story of music hall is best told I think through one performer. She was born in Hoxton just off the City Road in 1870. At the age of fifteen she gave her first public performance under the name of Belle Dellamere at the Eagle Public House on the City Road. She did not keep that name for long. She changed it soon after to Marie Lloyd. Then and now she is known as the Queen of the Music Hall. Before outlining her career back to the Eagle Public House.
It is the only pub to feature in a nursery rhyme. Any ideas…………………..”Up and down the City road in and out of the Eagle, that’s the way the money goes pop goes the weasel!” No nursery rhyme has been more analysed than this one. Mainly in regard to the word weasel. Well take my word for it the phrase pop goes the weasel is based on cockney rhyming slang. Which is always truncated. Thus weasel is weasel and stoat, coat. Pop was the expression used to pawn something. So you pawn your coat to be able to buy some food. And of course rhyming slang in the nineteenth century was much in use. It had originally been devised so that criminals could hold conversations if they ever found themselves together in police custody, as if there were such criminals in the East End! And of course you could go into an East End pub fifty years ago and the publican might say to you, “Ere mate take your bacon up the apples and tell the trouble she is wanted on the dog.” The translation? Could you take your bacon…and eggs, legs up the apples and pears, stairs and tell the trouble and strife, wife that she is wanted on the dog and bone, phone. Simple really! As a language it is long gone but a few of the phrases remain in use, “Lets have a butchers” is slang for butchers hook, look. Most of you will be familiar with Brahms and Liszt. Use your loaf? Of bread, head. Got any bread mate does not mean the questioner is hungry. Bread and honey, money. And unless you like hospital food never call anyone from the East End a “berk.” The full expression is Berkley Hunt and I will leave you to work out the rhyme! Quite so! That said I think we all may remember of one or two berks we have met along the way!
Back to Miss Marie Lloyd. After her performance in the Eagle word spread and within the year she was taking more bookings than she could manage. It would not be unusual for her and other music hall stars to be booked at four theatres in one evening. So 7 30 at one, 8 20 at another, 9 15 at the next and 10 at the last one. They would usually be within walking distance of each other but stars like Marie Lloyd would be able to afford a pony and trap and would travel further afield. However once she became top of the bill she would stay contracted to one theatre for a week or maybe two. She was without doubt a hard worker. After initial success in London she would tour the provinces and maintain a punishing schedule, Lincoln one night, Plymouth the next then Birmingham, Newcastle and back to Bristol. Must have had a sadist for a manager! Although I guess in the 1890’s the trains ran on time! Once she had made enough money she looked after her family and gave regularly to children’s charities in the Hoxton area, paying the bills for clothes, lighting and heating. She was also very helpful to her fellow artistes. In one particular case she heard of a young impersonator who was including Marie Lloyd in his performance. The young lad was summoned to the presence, no doubt thinking his career was about to end! But no. Marie listened to his impersonation and then pointed out where he was going wrong! If you are going to impersonate me sonny get it right! But surely this paragon of virtue must have had some faults? Well yes. Her private life was a shambles. Her choice of husbands one and three were an unmitigated disaster. She married Percy Courtney when she was seventeen. He was a man without any visible means of support who lived always on credit and gambling. Always seen in the best restaurants and always the best seats in the theatre. He saw Marie Lloyd as his own private bank. The marriage lasted long enough to see the birth of a daughter but after seven years of never ending argument they separated. This did not please Mr Courtney who suddenly found himself in serious debt. They divorced in 1905.
In the meantime Marie was going from strength to strength on the stage and had made a reputation for her saucy songs and her repartee with the audience. There were many stars by now performing at hundreds of halls and theatres. There were Empires, Hippodromes, Alhambras, Royals all across the country. One of the biggest music halls in London was the Oxford. If you were in London around twenty years ago you may have seen the Virgin Megastore on the corner of Piccadilly? That is the site of the Oxford Music Hall. Another big theatre was the Holborn Empire. If you turn right out of Holborn Underground and walk up Kingsway there is a road off to the left. Only about two hundred yards long it looks like an Italian architect has been let loose. That is where the Empire was.
Marie Lloyd was undoubtedly the star attraction but Dan Leno and Harry Relph, better known as Little Tich ran her close. Little Tich was famous for his over size boots which extended out in front of him and he achieved an amazing balance on the tips of the boots. He was four foot six in height. Had five fingers and a thumb on each hand and six toes on each foot! Dan Leno started working in the halls on an almost daily basis from the age of eight. At the age of forty -four he suffered a nervous breakdown and died. He was hailed as the greatest comedian of the music hall in the latter half of the nineteenth century. In 1891 the three stars performed at the Theatre Royal Drury Lane in the pantomime “Humpty Dumpty.” Tickets were like gold dust because it was not often that all three would perform at the same theatre.
If there is one song that Marie Lloyd was famous for it was this one, “My Old Man Said Follow The Van!”
Fifty odd years ago you could go into a pub and there would likely be a piano in it and at least one person in the place who could play it. Feel free to sing it to yourself!
The song is about a moonlight flit. The rent they couldn’t pay so off they went loading all their worldly goods into a cart, the van in the song. He tells his wife not to hang about otherwise she will not find her way to the lodgings. It is generally supposed that the cock linnet is a bird in a cage being carried by the wife. However cock linnet is rhyming slang for a minute. So did she say she would follow on in a minute and get lost as a consequence? It was one song she never recorded on the old wax cylinders. Other songs from Marie Lloyd included the “The Boy I Love Is Up in Gallery.” Oh Mr Porter, A Little Bit of What You Fancy Does you good. And of course the less than subtle “She Never Had Her Ticket Punched Before!”
Marie Lloyd performed in America, South Africa and Australia. By 1907 music hall was at its zenith and there was money to be made. The managers decided that there would be extra performances but the supporting players would not be paid any extra for this. The supporting players went on strike. This did not worry the managers as they knew there were always out of work actors and performers looking for work and they reckoned they would break the strike within a matter of days if not weeks. They reckoned without Marie Lloyd. By this time Marie had married husband number two, Alec Hurley. One of life’s gentlemen, in every sense. A cockney barrow-boy made good. They offered their home as a meeting place for the strikers and contributed to the strike fund. This encouraged other major stars to boycott the theatres. The theatres were now closing at a rapid rate of knots and the management capitulated. But they would not forget Marie Lloyd’s involvement and they would have their revenge.
Sadly Marie did not realise when she was on to a good thing and her relationship with Alec deteriorated and by 1910 they had separated and Marie was living with one Bernard Dillon. Dillon’s claim to fame was that as a jockey he had won the 1910 Derby in record time on a horse called Lemburg. For those of you who like to know this sort of thing….it came in at 11 to 4!!! His racing days were short lived as he spent most of his time drunk or gambling and physically abusing Marie Lloyd.
In 1912 it was proposed that there would be the first ever Royal Command performance to celebrate the history of Music Hall. Who else would you expect to top the bill? Well not Marie Lloyd. This was the theatre managers revenge. She was not invited. The excuse was put about that she was too vulgar for the Royal ears. Which is a bit rich when you consider that the previous King Edward the seventh was a regular member of the audience at any given performance! Marie answered back by hiring a theatre for the same evening and performing to a sell-out audience. The posters at the front of house proclaimed “Every Performance from Marie Lloyd is a Command Performance.”
In 1913 Marie arrived in New York accompanied by Dillon. They were refused entry on the grounds of “moral turpitude.” Only in America! Apparently our American cousins did not take kindly to the fact that they had shared a cabin on the way over. Despite the fact that a British ship is not within American jurisdiction. Marie argued the case and after spending the night at the Immigration House on Ellis Island they were allowed to stay on the understanding that they lived apart. Amazing! Marie was very popular in America but not as popular as her sister Alice. In Britain the reverse was true,
While on this tour of the US Marie heard that Alec Hurley had died of pleurisy at the age of 42. It is an expression of the esteem in which he was held that the whole of Marie’s family turned out for the funeral. Marie lost a few friends that year as within a short time after the funeral she married Dillon in Portland, Oregon.
1914 saw the outbreak of the First World War and with many stars of the music hall Marie raised money for various charities and performed for the troops home on leave all for free. Here she put in a prodigious amount of charity work while at the same time continuing her performances around the country. Her husband Dillon did his best to avoid conscription but was eventually signed up and then did his best to desert. Nice chap!
Marie Lloyd paid the price for her hard work and the constant abuse by Dillon. Things finally came to a head when he was arrested for assaulting her father who must have been in his seventies by then. So a separation was finally granted but it was too little too late. Not surprisingly she had consoled herself with alcohol to the further detriment of her health. She still had a sense of humour though and introduced a song entitled “I’m a bit of a ruin that Cromwell Knocked About a Bit.!” Everyone knew that Cromwell had had very little to do with it! In early October 1922 she was on the stage of Edmonton Empire singing that song and as she came to the last line she started to fall and as the curtain came down she collapsed in the wings. Three days later she died at home surrounded by her family. Over fifty thousand people lined the route from Hoxton to the cemetery in Hampstead where she is buried. Her brother commented after the funeral that during her life she had earned more than a quarter of million pounds and given most of it away. Known to her close family as “Tilly” her real name was……… Matilda Alice Victoria Wood.
While Marie Lloyd was a good choice of name; for a lady singing funny songs and cracking the odd joke or two “Victoria Wood” might have worked?
Many theatre historians see the year 1922 as the point at which musical hall started to decline. It was all ready coming under pressure from the silent movies and Marconi’s invention of the wireless was about to bear fruit. Strangely enough the theatre managers did not see the movies as a major threat and indeed the films were shown at the interval or the end of a performance. The first acknowledged movie was shot by DW Griffith in 1910. For the next seventeen years the output from film studios around the world was tremendous but none more so then in the sleepy little town of Hollywood. A place more used to tending the lime groves than anything else. The Keystone Cops, Buster Keaton, Harold Lloyd, Charlie Chaplin are all names of the silent era. And you will hear various claims as to who was the best. We will concentrate on Chaplin because he was born in this country and did his apprenticeship in music hall. He appeared on the same bill as Marie Lloyd in 1900 aged eleven as a member of a Lancashire clog-dancing troupe! He then joined Fred Karno and his ensemble. Dear old Fred tends to be used as a derogatory term these days but he was instrumental in giving talented youngsters their start in show business.
Chaplin did a number of tours in this country with Karno as did one Stanley Jefferson who was born in Ulverston in Cumbria. Fred then decided it was time to conquer America which he truly did. So popular was the troupe that Chaplin was poached by Mack Sennett for his Hollywood studio. Stanley Jefferson had been understudy to Chaplin for most of the tour and decided that he too would remain in America. At this time he changed his surname to Laurel. He then met up with a certain Oliver Hardy. Meanwhile Chaplin went from strength to strength with some of the most iconic silent movies ever made. The Marx brothers were emerging onto film at this time having evolved from the American equivalent of Music hall known as Vaudville. Chaplin was to see his old colleague Stan Laurel in competition with him as Laurel and Hardy produced a series of films that matched Chaplin and the Marx Brothers. The silent movies were mainly slapstick routines that many of them would have perfected on stage. Then someone said to the studios. I think I can put sound on your film!!!! More of that later…..
If the Music Hall managers accepted silent movies wireless would be different. Suddenly you could have millions of people listening to one song, at home!! A month after the death of Marie Lloyd the British Broadcasting Company as they were then known was granted a licence to operate. By the following year wireless transmitting stations were opening up in all parts of the country.
A few years later the BBC would be granted its full licence and radio broadcasting would be in full swing. In the early years the theatre managers managed to broker a deal that allowed them compensation for the use of their stars but it did not last long. Music Hall had become variety and was to be found mainly at seaside resorts. There would still be shows in London but Music Hall had seen its best days. In 1958 playwright John Osborne would bemoan the passing of Music Hall but really he was talking about variety.
Through the 1930’s radio broadcasting was matched in expansion by the talkies. If the death knell for Music Hall had been sounded in 1922 then the coming of sound to movie theatres heard the funeral rites for a form of entertainment that had served the British public well. Its stars would find success on radio and film. Strangely enough Chaplin never took to sound and became more involved with production and composing. He was by this time a very rich man. For Laurel and Hardy it just helped their careers move onwards and upwards. They had been a success on stage and then the silent movies. The talkies seemed to be made for them. Unlike some of their colleagues from the silent era in all its forms who were found wanting when they had to speak. Many of them fell by the wayside. And as if that wasn’t enough serious actors started to appear in comedy roles in the movies
And yet for all that you could still see live performances. The theatre was still going strong and the arrival on the scene of playwrights such as Oscar Wilde and George Bernard Shaw over the past thirty years had encouraged other writers to try their luck. There may not have been as many theatres but there were still some good performers out there. One such performer in the thirties was Max Miller. The Cheeky Chappie. He had a very successful career but I can’t help feeling he was born twenty years too late. He was made for Music Hall.
His patter went something like this. I’m not suggesting he used this rhyme but it serves to illustrate his act:
Mary had a little lamb
She also had a bear
I’ve often seen her little lamb
But hey have you heard the one about?
Max had that habit of missing off the last line and leaving it to the audience to imagine it. Thus when challenged about his dodgy jokes he would blame the audience for imagining the worst. For Max Miller there was no such thing as bad publicity. In 1934 he went too far on the BBC and was banned for what would be the first of many times from broadcasting. Result? Mr Miller was never out of work again! And indeed that would be the case until he died in 1963. He worked on radio, the stage and television. And he made about fourteen of films. Whenever he worked in London his contract would always stipulate that the show must finish in time for him to catch the last train home to Brighton the place where he was born, lived all his life and the place where he died.
Another star to match that of Miller in the thirties and forties was Gracie Fields. Many theatrical historians place her higher than Marie Lloyd as the greatest female star this country has ever produced. She appeared on the stage, in films and television and was most certainly a star of the radio. Both of these stars used the Holborn Empire as their “home” theatre when in London. That is until the Luftwaffe rearranged it in 1941! Radio programmes originating in this country were always through the BBC up until the mid sixties. Radio in the 1930’s was still finding its way but it gave many up and coming comedians their first chance at performing.
But it would be the Second World War that would be the making of the BBC. At first they approached it with mainly classical programmes and very sombre discussions. Someone somewhere advised them that there was enough depression around without them adding to it and that they should lighten up! ITMA! This was one of the programmes that did it, along with Much-Binding –In-The- Marsh and yes that man again Max Miller, although he did manage to get himself banned in 1944! The comedy output combined with their news reporting from far and wide served to place the BBC at the head of the world’s broadcasting organisations in the 1940’s. Workers Playtime, Music while you Work would continue to be broadcast well into the sixties. But comedians would still be appearing on the stage and in films. Television which had been invented some ten years before would not come to production until after the war had ended. This time it would be the film -makers turn to be worried as they would see television as a direct challenge to their productions. Before we leave the Second World War we must mention the Windmill Theatre. Famous for its ladies in various states of undress or no dress at all it was also the proving ground for many a would be comedian. Among those off its production line would be Bruce Forsyth, Harry Secombe, Jimmy Edwards, Tony Hancock and Peter Sellers. The comedians who would be on first had a difficult job because the all male audience had not come to listen to jokes! Incidentally it is not strictly true that the Windmill never closed during the war. For the first fourteen days in September 1939 all public meeting places were closed.
Radio would continue to foster the careers of comedians after the war and in certain cases combine with the theatre to produce variety shows. This is a bill that illustrates the point. And of course shows that Peter Sellers was starting to progress his career.
There at the bottom of the bill are two names which would become equally famous in this country. For a moment I wondered if the above gentleman could be Jose’ Dad!!!
If I had to pick the work of one comedian to take with me to the proverbial Desert Island it would probably be this man. His films and radio work alone in the 1950’s were outstanding. Along with Woody Allen, Shelley Berman and Bob Newhart he produced comedy records in the late fifties and early sixties. Woody Allen started out in his working life as a stand up comedian as did all the others mentioned. I would not have wanted to be part of Peter Sellers shambolic private life but he has made an outstanding contribution to British comedy. Peter Sellers would join up with Harry Secombe and Spike Milligan to produce The Goon Show. Without doubt the most innovative radio programme in the history of comedy. Michael Bentine was along for the first two series but script arguments with Milligan saw him leave the production. A quote from Milligan to Secombe on the question of who would die first. “I hope you go first I don’t want you singing at my funeral!” Plus of course the epitaph on his gravestone; “I told you I was ill!!!” It was anarchic, bizarre but most of all funny! It ran until 1960 as by then the careers of all of them were involving more and more work.
Also around the time of The Goons a programme started on the radio called “Educating Archie.” As a child I quite enjoyed it. But years later looking back you think; “A ventriloquist………on the radio!?” You might as well have had a trapeze artist! And of course when Peter Brough took his act on to television it became apparent why the show belonged to radio!!!! However this is another programme that advanced the careers of a number of comedians, Bruce Forsyth, Tony Hancock, Alfred Marks, Beryl Reid to name but a few. By now comedy was becoming a staple of radio. The 1950’s would see Rays A Laugh, The Navy Lark and the lad himself in Hancocks Half Hour. Beyond our Ken and Round the Horne became essential listening. Not least for Kenneth Williams and his Julian and Sandy routine with Hugh Paddick!
But stage performances were still to be seen and enjoyed.
Laurel and Hardy were still around. If you have to judge an act by its CV then Laurel and Hardy figure as the most outstanding comedy act in history. Music Hall and then variety performances. Films and television. They conquered them all. They did radio work but their approach was always a visual one and they I think realised that. Their last performance in this country was here in Plymouth at the Palace in May 1954. Sadly they only did the first night as Hardy all ready ill could not go on and the last show of the tour in Swansea was taken over by another performer as was the one in Plymouth. The duo stayed at the Grand Hotel for a few days until Hardy had recovered enough to make the journey home. Three years later he would die back home in America. They were unusual in show business in that by all accounts they were two of the nicest people you could ever meet. They never had a bad word to say about anyone. Oliver Hardy kept a guest book from his earliest days. All the acts they ever shared a stage with were asked to sign the book. Wherever the book is now it must be worth a small fortune.
Here in this country variety was proving itself to be still going strong and on radio the Billy Cotton Band Show provided a outlet for upcoming comedians. BBC television was now well established and settled into its nice cosy ways. Then in 1955 came the wake up call. Independent Television was introduced and was soon challenging the BBC for a share of the market. Tapping in to the enthusiasm of the times ITV introduced Sunday Night at the London Palladium.
Somewhere among that lot are Morecambe and Wise! No guesses as to this chap with the long chin is!? It made him a star along with Jimmy Tarbuck who took over as compere a few years later. The show ran until 1967 and despite the odd special never featured again on the TV schedules.
The BBC looked to its laurels and transferred the lad himself from the radio to television. It was an instant hit. A couple of years ago one of the questions on Millionaire was “Who lived at 23 Railway Cuttings?” Yer man. His most famous sketch is probably the ‘Blood Donor.’ Hancock arrives expecting just a pinprick in his finger but is informed that he will be required to provide a pint. Hence the reply…”A pint? That is very nearly an armful!”
And now to the one and only. There have been many comedians who inspire laughter just by walking on the stage but none more so than Tommy Cooper. That look of terror on his face as if he had forgotten what was supposed to happen. It was of course a craft perfected over many years. He was a member of the Magic Circle and an excellent magician but he chose to make his tricks appear to go wrong. I remember seeing him in Robinson Crusoe with Arthur Askey at the London Palladium sixty years ago. He was doing his solo spot. Right; now I ‘ll do a tap dance he says. Out of his pocket he brings an ordinary domestic tap attached to a piece of string and bounces it on the table! I’m still smiling at it now. Why is it funny? I guess you had to be there. He then did the disappearing rabbit trick. Shows rabbit in the hat, abra cadabra. Turns hat upside down and shows inside of hat. No rabbit. He then accidentally pulls the cloth off the small table and there beneath is the rabbit! Groan. But of course if the rabbit was there all the time where was the rabbit from the hat? Tommy Cooper had made appearances on various TV programmes during the fifties and on the radio. By the end of the decade he had his own TV show and he never looked back from that time as his stage and TV performances became ever more popular. It was fitting that he died live on television performing on the stage of Her Majestys Theatre in 1984. There are so many Cooper jokes and stories but here are a couple. Tommy was in the line up at the Royal Command Performance when the Queen stopped in front of him and exchanged the usual pleasantries. “Excuse me ma’am,” said Tommy, “Do you mind if I ask you a question?” “No,” replies a brave lady, “Well,” said Tommy,” Do you like football?” “No,” replies the Queen. “Well in that case can I have your Cup Final tickets!” Another one I like happened in Egypt. Tommy had spent his wartime there in the Army and he liked to revisit with his wife the place where they had met. They were looking round a market in downtown Cairo when they came upon a stall that among other things was selling the Fez. Tommy put one on and looked in the mirror and turned round to show his wife whereupon the stallholder said “Just like that!” Tommy was amazed. “How do you know my catchphrase?” The stallholder shrugged, “I don’t know catchphrase but English people come here put on fez turn round and say “Just like that!” Much missed but still remembered. And it comes as no surprise to learn that his favourite comedians were Laurel and Hardy.
While Tommy was finding his way in the early sixties the political scene was about to face a revolution. If you ever see a newsreel of a political interview in the fifties it is always very deferential, “And how was your trip Minister “ sort of thing…Well this programme changed all that! That Was The Week That Was! It revolutionised political interviewing. It pulled no punches and went after its targets with a vengeance. Indeed it is hard to believe that the man who lead that revolution is the same David Frost who became very much part of the establishment. It only lasted two series for reasons never fully explained until a few years ago. Apparently the oh so brave BBC caved into government pressure. Much good it did because ITV came up with a number of similar programs and since then politicians more often than not do not get an easy ride. The main thing about TW3 was that it was very funny and had a host of comedians such as Willie Rushton on the team.
Undaunted David Frost moved on to other things including the “Frost Report “ This was the show that gave John Cleese, Ronnie Barker and Ronnie Corbett their break into the big time. Again it was not afraid to take the mickey out of the great and the good. The class sketch is brilliant: Cleese looks to his left and says “I look down on him because he is middle class. Barker looks to his right and says “I look up to him because he is upper class.” He then looks to his left and says “I look down on him because he is working class.” Corbett looks straight ahead and says “I know my place!” The show featured some of the best writers around and gave a start to others. It is considered along with TW3 to be one of the ground breaking programmes of television comedy.
There was still room for the single comedian to make his mark and no one did it better than this man. Dave Allen was an Irish comedian who started his career in Australia. His ideas on religion saw him banned by one Australian network. He then had the dubious honour of being banned by the Irish television station RTE. His shows always featured him sitting on a stool and going through his monologue before introducing the film clips.
One of his jokes went like this: “Man goes to heaven and meets St Peter who agrees to show him around. They come to the first door and St Peter says the Methodists are in there.” At the second door he says, “In there are the Anglicans.” He then asks the man to be very quiet as they walk past the third door. “Why did we have to be quiet,” asks the man. “Ah well,” says St Peter, “In there are the Catholics and they think they are the only ones up here!”
Sadly Dave Allen died a good few years ago at the age of 68. I was fortunate enough to see him at the Palace Theatre here in Plymouth back in 1980 just before the place changed to a disco or whatever it was! Another quote I like from him, “I’m an atheist thank God!”
We have mentioned a few comedians along the way each in their own particular way responsible for advancing the cause of comedy. There are some of course who seem to think their act should include the audience as the butt of their humour. One such was Bernard Manning. Even his worst enemies would admit that as a stand up comedian his technique was perfect. But he had this habit of picking on people in the audience. In one famous incident when he was the cabaret at a private dinner he started picking on the waiters and waitresses who of course were in no position to answer back. A cheap way of getting laughs as was his use of racist jokes. That said he did have some good jokes like the one he told about his Uncle who was having sex at 74 which was good for him as he lived at number 73! But he and others found their own little niche in the comedy market. Any stand up comedian these days derives from all those who have gone before. Those with the minimum of talent tend to resort to constant obscene language. And then of course there were the so -called Alternative Comedians who came along in the 1980’s. Never my cup of tea and I found the perfect description of them on one particular website. “The alternative comedians seemed to think they were the first ones to have discovered comedy.” Perfect!
The one staple of television comedy is the sitcom. It is estimated there have been at least 800 shown on TV since 1945. And no I have not watched them all. They started to come to prominence in the 1960’s with programmes such as “Til Death Do Us Part and Steptoe and Son and The Likely Lads.” Til Death was written by Johnny Speight a noted left wing writer. His declared aim in writing the series was to show up the bigoted racists for what they were. A worthy objective you would think? Unfortunately Alf Garnett the main character became something of a cult figure. There was much discussion at the BBC about the programme and there was a four year gap between the second and third series. In my view the series was based on one joke which was wearing a bit thin by the end of series one!
I was living in Malta when Monty Python was first shown and by the time I returned it was well into its second series. I had read all the fuss and looked forward to watching it. I have to say I was not impressed. Yes there are some good gags across the series. And so there should have been as the whole cast had been part of the writing team on the Frost Report. But all those proclaiming it as ground breaking and innovative had obviously never listened to the Goon Show. But of course Cleese and Palin in particular went on to fame and fortune.
Morecambe and Wise became an institution and I think probably went on a series too far on ITV. Hard to pick a best moment but the piano sketch with Andre Previn must be up there. And of course it often featured two grown men in bed together and no one batted an eyelid. I remember one scene with Eric puffing on his pipe, looking out of the window as an ambulance goes by with its siren screaming. Says Eric, “ He’ll never sell any ice creams going at that speed!”
Faulty Towers. Based apparently on a dodgy hotel in Torquay. So many good lines. Well remembered of course and there were only ever 12 episodes. If there is an example of perfect casting this series was on a par with any of the others shown here.
The “Two Ronnies” developed out of the Frost Report and had a host of writers. I remember talking to someone in Lincoln, some forty years ago now. He was a Greek Classics scholar and knew almost as much about Roman history. Turned out that in his spare time he wrote for the Two Ronnies. His name appears on the credits, Ken McLeish. He was my OU tutor during my first semester! Stick his name into Google and you will see the extent of his scholarship. Sadly he is no longer with us. And of course the fork handles joke was one of the best.
The caped crusaders. Hard to think that the BBC considered dropping Only Fools and Horses after the first series so poor was the audience response. That was back in 1981. Fortunately they decided to do another series. And another and another!
Del Boy’s favourite saying “This time next year we will all be millionaires” came true in the 1998 series. That is really where they should have left the plot. But no, back they came Del and Rodney five years later to less than critical acclaim having lost all their money. The strain was showing not least because two of the actors in the previous series had died! Still there are great moments to remember. My favourite is the one with the chandeliers. “OK, let it go!”
I’m not a fan of Ben Elton’s stand up routine but I have to admire his writing. The Blackadder series was surreal, satirical and superb. None more so than the last ever episode. I think the final scene was a perfect ending to the series.
Well we have come to the end of the trail I guess. Most of the good ideas have been and gone and just about any sitcom or stand up routine in modern times will trace its ancestry through the timeline I have described in this missive.
Everyone reading this will have different favourites to me and to each other. Comedy has many facets but in reading this part of my blog you have found out what I like. Feel free to comment and please share this blog with your friends. Thankyou for reading!
One more time!
This is more of a quote from Tommy Cooper:
“I was complimented on my driving the other day. I went up to the car and someone had stuck a note on saying “Parking Fine.” I thought that was very nice!”