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Journey's end at long, long last. But not quite the end of the Half Hour. The week in deepest Giggleswick is hardly a roaring success. However, others have had the same idea, and it's the same old crowd, Tony seated next to the unfortunate doctor. He's frozen in silence even when Tony starts another sing song Hancock Menu. The Cruise Film of a cruise with idyllic music before we join a miserable Hancock wrapped in warm clothing, Sid in shorts.
After a fine exchange between the contrasting two, the overdressed Tony has a brush with a couple in swimming trunks.
That's but a prelude to a cockney lady Hattie Jacques making up to him, teasingly, but with no reciprocation at all. But she still makes a date with him, later. Hancock retreats into a book about the Ruritania, but when he overhears a steward talking about leeks, he thinks there's a leak on board.
Sid attempts to pacify his fears, no icebergs in the Med he insists, but Tony won't be deflected, and soon he's instilled some panic among his fellow passengers. Worse, he learns the captain John le Mesurier is in bed, it's just like the Caine Mutiny, "I'm not going to drown," so he demands he take command. There's a great scene on the bridge as Tony goes bonkers ending with his Long John Silver impression, afore the patient doctor Brian Oulton humours him and carries him away, wooden leg and all, to be locked in his cabin.
Now looking like "the Western Brothers on holiday," Tony and Sid plan their strategy for that evening's dance, only to be interrupted by the flirtatious lady, "I'll melt you, you iceberg. Someone recognises the man who had gone beserk. As Long John Silver, exit Tony once again, only too glad to be free of her. On the flight home, Tony starts another panic on his plane, exit in the arms of two stewards.
Undoubtedly this show is improved by the presence of Hattie, as in the radio half hours, it makes you wish all the Hancock tv stories could have survived To Hancock Menu. The Big Night Eager anticipation for Saturday night! The expectation is all built up so well, the birds Sid's supplying will be perfect for these two playboys.
But after the rose tinted spectacles, come the difficulties. First their clothes are at the cleaners. They are retrieved but then their shirts need washing. The classic scene at the launderette is a masterpiece of writing and performing, Tony grappling with modern science, "isn't that marvellous?
After a dispute about soap bubbles, Hancock's shirt emerges ripped and in pieces. It was a very cheap shirt. Film of Tony handwashing by the river, but it's a hopeless task. He opts on wearing a polo neck, he'll be a beatnik. After a shave, Tony gathers outside the cinema, now sporting one beard to hide the bandages on his face. Arrival of the two girls, and a quick cheerio. Trying their luck inside, they spot two darlings, who take immediate flight. It was bound to end with them both being turfed out, "is this living?
The Tycoon The sort of fantasy that Hancock did so well, giving him full scope for his creative comedy flair. It's all over again. Tony is preparing to jump as he's skint. Sid tries to reason with him, but he is blamed by Tony for his financial woes for all his shares "have plummeted mate" in value However he does emerge for his window sill to go over the crisis with Sid.
All those shares Sid sold him are worthless, the Atlantic Tunnel Company etc were lost causes surely! Down and out, Tony returns to the window ledge, an exasperated Sid now urging him to get on with it. A nice build up of the tension after Tony tries to argue himself out of jumping. Finally he responds to Sid's idea of putting on the kettle. The East Cheam Building Society may go bankrupt. Hancock owns two shares.
He decides to jump. A nice touch, it's only a couple of feet to the ground. To the meeting of the society, a stormy affair. Hanock falls into a reverie. Dreams of his staving off collapse, "the only possible man who can save it, "that's our Tony. With him handed complete control, now they've never had it so good.
We move on to his being Lord Cheam, very busy buying and selling, dictating several letters simultaneously, while phoning USA "hello Ike" when enter his erstwhile mate Sid, on hard times, just as another debtor jumps. The lovely fantasy develops further with his encoutner with the man who owns the other half of the world, Anatole. A la Napoleon, Tony sips a giant brandy as "the two giants collide.
A card game to decide it, Chinaman's Whist the servant Sid suggests. Another window jump to end Hancock Page. The Cold Every remedy under the sun, our lad is swigging the stave off a cold. Unsympathetic, Sid listens as Tony graphically describes his awful symptoms as only he can, a real tour de force. Tony prepares another sneeze, slowly and with feeling. Sid rejects the hypochondriac's cures, dons a mask and sprays the room each time Hancock coughs. Hancock remarks on Sid's conk, "that's not a nose any more Take to his bed and the ministrations of Mrs Cravat who treats her patient with her own patent medicines.
Not quite Harley Street, and not quite the good scene it could have been. With her magic fingers she draws the fever out, "cold cold go away, come again another day. But as he coughs, she produces her own spray, and the spell has gone. Dr Callaghan is the next hope, though his waiting room is full of germs. With patient Hugh Lloyd, Tony proudly exhanges coughs. But on being called to the doctor, he finds the doc has a cold too, and moreover he has surrounded himself by those same quack cures.
Tony offers some of his own tablets, as they nicely discuss the merits and demerits of the various potions. Frustrated, the doctor suggests Tony tries Mrs Cravat. When the doc coughs, all Tony can do is spray him and depart in disgust. Back home, Tony mourns the lack of taste in his food as Sid eats as hygienically as he can. Sid explains why he's so healthy, all about keeping fit, and he now takes Hancock on a crash course, running. On his return, an exhausted Tony cries, "I never knew how well off I was when I had a cold.
As a "man of culture," Tony asks for some little used tomes, but only to step on, to reach the top shelf, to pick Lady Don't Fall Backwards by Darcy Sarto. A nice mime of the plot to Sid is overdone.
Back home that night, Hancock devours his "redhot" novel. Sid starts to interest himself in the plot, a murder mystery with 25 killings. The solution as ever is on the final page. After the wildly improbable clues have been solved, "Johnny Oxford pointed his finger at A frustrated Tony rants and starts rereading the book. To calm him, Sid offers to skim read the book to work out the murderer's name.
By next morning both are equally baffled. They mull over the plot together, pacing up and down. But then the realisation, he had been killed too. To the library, where the librarian puts them in touch with the last borrower of the book, improbably that was nine years ago. Mr W Proctor of the Larches welcomes Tony and Sid, he is desperate to know the murderer's name still. Six years he'd spent in a vain attempt to discover the answer.
Apparently the publishers have no other copy of the novel, so Hancock decides to contact the author himself. Sid points to a plaque on the wall, commemorating Darcy Sarto's death. One last effort, at the British Museum. Here is the book. Hancock grabs it and turns to the last page A publisher's note reveals all.
Sarto had died before completing his book. Tony adopts a new hobby, the gramophone. Fastidiously, he prepares his stereo loudspeakers, ready for the first classical record. Sid has bought him one, very predictable indeed Hancock Page. The Reunion Tiresome characters, too stock in trade, spoil this story.
Not every Galton and Simpson script was a masterpiece. The bar, where Tony is returning his empties, mostly worthless, is manned by your friendly barman Harry, who is most pleased to take Tony's giant order for his forthcoming reunion with his old army pals, first time he'll have met up with them in 15 years.
Sid casts his eager eyes over all the booze as Tony anticipates a revival of his great memories of wartime camaraderie, "one for all, and all for me. We have to bear it and listen also. After that great build up, time for the reunion of the Four Musketeers.
First to join Tony is Smudger Hugh Lloyd , hardly the expected "avalanche," time has changed him, for he opts for "a cup of tea. Sid adds his own pointed comment. No longer does he wish the nickname Smudger, his name is Clarence. The joke about the ATS girl is just too obvious.
After some of Tony's facial expressions, the awkward and embarrassing silences are interrupted by the next Musketeer. Ginger Clive Dunn , once "a million laughs," now cuts a pathetic figure, with a nice refrain with Tony, "it's been a long time. He finishes in despair. Finally Chalky Cardew Robinson drops in, he was "the real live wire.
Here endeth the awful evening. Guests depart, let's be thankful. But here's one latecomer Robert Dorning , effusive beyond belief, unlike the others. Hancock slams the door on him with a great punchline Hancock Page. The Baby Sitters Nearly all this story is set in a contemporary dwelling with all the latest gadgets, making the ambience of this episode rather different from the usual Railway Cuttings saga. Tony and Sid are two unlikely babysitters, the married couple look more than a little doubtful when they turn up at their doorstep.
Tony strides round their avant garde home, and breezily justifies their occupation, "did Rembrandt look like a musician? Of course she didn't! True, Tony has to concede that the "dog basket" of a chair is Finding the telly is a worry, until Sid spots the control panel, and a tv emerges from a wall panel as if by magic. Tired of it, he switches it off, Sid insists it goes back on, and the quarelling breaks the apparatus. The argument also wakes up the baby, so via the intercom Tony sings it back to sleep, not successfully at all.
Sid barks out Shut Up and that works With nothing to watch, they discuss the contemporary paintings, but when the baby recommences its crying, Sid feels he should give the baby a bottle of milk. While he's away Tony gives us his impressions, Churchill and the like. With the baby silenced, the lads fall asleep too, not realising the front door has been left opened. The couple return to a shell of a house. Nothing left, not even the telly. After a dispute, Sid promises to refurnish the house.
He uses the contents of Railway Cuttings. The Bowmans In the radio studio there are a host of rustic voices, yes it's the Archers lookalikes. After the usual rural woffle, old Joshua Tony interupts proceedings to everyone's annoyance a lot of adlibbing in a fruity burr. Once off air, the cast complain loudly to producer Ronnie Patrick Cargill who calls Tony on the carpet before handing out the next scripts.
In this Joshua falls into a threshing machine. Tony can see it offers the opportunity for pathos, but no, they are actually having the effrontery to write him out of the script, "we're killing you off on Tuesday night.
As the aftermath of his death continues on air, behind a struggle to silence the dead old boy. Thankfully the final credits and he is handed his "golden handshake," not a lot. Trying for a new job, auditioning Hamlet, a rather tedious sequence until he offers Hamlet in his Joshua accent. Indignant at his rejection, Tony turns to period costume but what we see is but adverts for Grimsby Pilchards, "you're never alone with a pilchard.
The new series sees Tony centre stage in his rightful place, his old enemies are nicely written out in a tragic scene at a mineshaft To Hancock Page. The Radio Ham An eager Tony is fitting new valves to his mammoth radio, full of anticipation at being able to call up old friends around the world.
A break for a fag and a glass of milk, as he longs for something exciting to happen. In his mind's eye he lives his heroism, "the only man who can save Tony makes first contact. A ship is sinking, radio contact fading, but Tony's incompetent antics are so frustrating no wonder the dying man cries, "will you please hurry up. You really feel for the poor unseen sufferer.
As Tony fails again to take the sailor's bearings, the landlady interrupts the crisis. Tony not quietening down, that's followed by her husband who pulls Tony's plugs out. Contact re-established, but only briefly. Tony needs to put another shilling in the meter.
The radio packs up. Next day, police supply new valves so that, improbably, the distress signal can be picked up anew. But in the morning paper is the news of a dramatic rescue thanks to Tokyio.
Later Tony picks up a second mayday, but calmly informs the poor man not to bother. The Lift A fine motley collection of character actors gather on the eighth floor of Broadcasting House. They include Crichton Jack Watling ace producer, now more interested in chatting up a secretary. Tony Hancock is there too as the passengers await the delayed lift. The attendant Hugh Lloyd apologises for the temporary breakdown, but refuses to allow Tony to stay in as the lift is full and he's Last One In.
Tony refuses to get out. It makes for a nice study of conflict, but against the attendant's advice, the others have to agree to let Tony stay. Of course the lift conks out, half way between floors 4 and 3. The resultant row is calmed down by "vic," whom Tony applauds as "the voice of sanity. Everyone cries in unison Help, but it's no use. As it's past midnight, everyone else has gone home. The Air Marshall is nominated, against Tony's advice, to take charge.
His only idea is to hack a hole in the roof and exit that way. His proposal is to jump up and down- this has some effect, for the lift makes downwards progress, getting firmly stuck now between floors 2 and 1. Only resort is sleep. Conversation turns to an imaginative fantasy on the lack of air, and how the growing world population might require one to carry one's own air supply.
The shortage leads to the Darwinian conclusion, "the tallest bloke with the biggest hooter survives. Charades, but this sequence is a little too long. As rescue dawns in the morn, a sing song, a nice cup of tea is the British way to cheer the rescued up. But somehow Tony gets locked again in the lift, his only companion the lift attendant. It's a fine finish, "much better just the two of us!
The Blood Donor Comment is all but superfluous, from the minute Hancock enters the waiting room, he exudes a confidence, knowing the script is a winner. June Whitfield, the reception nurse, patiently takes down Tony's details, it's "British undiluted" blood that our lad is offering. When shown a list of illnesses, his expressions are classic.
Speculation whether a minor award be offered for their services, a badge perhaps. The lady he regales with several veiled references as to her large size. Left, not suprisingly, alone there's another facial tour de force as Tony worries he momentarily can't find his pulse.
He reflects to her on the injustice of nurse's pay, "Adam Faith earning ten times as much as the Prime Minister. The Scottish doctor, Patrick Cargill, is an understatement of dry wit. That superb prick on the finger incident, "that's just a smear Now inflated, he tells the dispassionate medic, that he doesn't like to hog it all. From now on it's a superior Hancock. When he comes round, there's Hugh Lloyd to chat at. Tony's AB negative makes an impression as the pair idly unknowledgably discuss blood.
Medical speculation which borders on a nice fantasy, a swapping of proverbs maybe for just a shade too long as their talk runs out of steam. But a nice punchline to end the scene. As we know the ending, it seems now predictable, but was it at the time? Tony phones the doctor about whether his precious blood has been used as yet.
Angrily, he slices his loaf of bread. In hospital he's admitted with a knife wound. A teddy boy, suggests someone unkindly. AB negative, yes there's just one pint here. It's a fine rounding off, the finest outworking of Tony Hancock's comic persona, self-centred, well meaning, over optimistic and wanting to be loved. This was his high peak, from which he sadly and so quickly fell Hancock Page.
Tony milks the applause in between the adverts and plays What's My Line with a witness. Other sketches feature Tony replying to his fan mail, all two letters, and "Chez Hancock", a distinctly unsuccessful nightclub, with Tony playing the doorman, waiter, chef and Apache dancer.
To the Hancock Page. He starts to grapple with the dummy, but that's the end of this bright idea. He returns the offending object to a shop assistant who summons the manager, Mr Stone Patrick Cargill.
Her tale of woe is the first slowing down of the story, unnecessary and now the plot grinds to a halt as Tony recalls the good old days of this store, before Mr Stone reminds him his account is outstanding. This is not so much a conversation between two fine old sparring partners, as two isolated monologues. A deal is struck. Tony's account will be paid off, if he can successfully work here for a week without ever being rude to customers.
However the plot then moves in another direction, as on his first day of work, Tony is assigned to the packing department. Here he is to work with Owen Kenneth Griffith , a Welsh bigot in danger of breaking every parcel in his charge. Again the plot fails to develop, as Owen trots out most of the Welsh cliches you can think of, relating to unemployment. Griffith gives the part his best, but it is at best an aside to Hancock, his rant far too protracted, and his punch line is expectedly weak.
Then some slapstick, as Tony gets enveloped with sellotape. Owen and Tony try working as a team, but only smash every vase they are supposed to pack, the whole scene never with much coherence. Now alone, Tony has to pack urgently a rubber dinghy which inevitably starts to inflate. Mr Stone is unimpressed with Tony's efforts, nor were viewers.
So he is moved to the toy department, dressed as a rabbit to "have fun with the kiddies. End of that joke. Now he has to sell games. A customer Martita Hunt asks how the magnetic table soccer works and receives an enthusiastic demonstration. It's the best scene by far as she and Tony compete on the soccer table, a crowd gathering. Yes, there are possibilities here that could and ought to have been exploited.
Tony has the support of three fine actors, but the script needed much more flow, much more concentration on Tony Hancock To Hancock Menu. Shooting Star with Denholm Elliott Hancock is standing at the corner of the street, idly watching passers by. But then one stares back. Hancock feigns indifference, turning his back on the stranger.
There's a long silent mime interlude that never raises more than a few titters, the stranger is sizing up Tony's facial features, clearly a film director Denhom Elliott. After a long wait, this Peter introduces himself, his style is "I believe in showing life as it is. Or maybe deadpan as she hasn't any laughs, and knows Hancock hasn't much to bite on either. She's jaundiced against amateurs.
Take 1, "no acting please," cries Peter, as Tony hams it up. But then our lad forgets his lines, not at all amusing as he misses his cues in a husband and wife argument. He muddles his props in a reminder of amateur comedy night, it's painful. This test drags on and on, Hancock on the end of slaps not only from his screen wife but also his young daughter Lucille.
The Sins of the Father is this film, and somehow Tony gets the role, and in a reminiscence of the old lad, encourages himself in the mirror as day one on location looms. It's a scene with Diane and Lucille, the wrong lines, a repeat of the previous disaster. However an unscripted char Hilda Barry livens it up, telling Hancock off for his treatment of his daughter.
Peter decides the char makes "for a wonderful touch of realism," indeed she outacts the others, but of course they're supposed to be only acting, I think. After getting slapped by wife and daughter once too often, the star quits. Maybe this was a parable of this show, what Hancock should have done.
As it is, outside the local cinema is a poster of the star Diana, who is making a personal appearance. When the pair meet, Hancock receives another slap, his only resort is to draw a beard on her picture, in a scene cribbed from The Big Night Hancock's Half Hour 5: Childish, yes, but it sums up the script volumes To Hancock Menu. The Man on the Corner Today on the street corner Tony is chatting to a local policeman.
He blames the H bomb for all the bad weather. When challenged as to what exactly he is doing, Tony explains he's watching people. Then he exchanges words with a bearded gent Wilfred Lawson , another who blames the bomb. Now Tony espies a man and woman acting suspiciously, are they spies? Tony informs the policeman, who, sceptical, points Tony in the direction of the station, any station.
For reasons unknown, Tony is now passed to the unflappable Col Beresford Geoffrey Keen , "I've yet to meet the man who can make me lose my temper. Tony describes these spies he's seen, the man indeed looking a lot like the colonel's assistant James Villiers. Instructions are given to Tony should he spot the spies again, all tongue in cheek. He's to be agent 13, code name Canteen.
Tony soon spots the spy again, following him to a chemist shop. In a pointless scene, Tony repeats all the words the spy says to the shop assistant. He must phone the canteen, "agent 13 reporting. As per instructions Tony moves in. Matthews in under arrest. Tony phones to inform the Canteen, who are less amused second time around. A foreign voice phones Matthews, "bring de microfilm. After several false alarms, Tony makes his second arrest.
A second scene showing the colonel's reaction to the arrests would have been more advantageous, though this is perhaps the best of the series, if that's saying anything. A fine supporting cast cash in on the current spy craze To Hancock Menu. A poor effort as Tony tries to show the DIY TV experts up, but the story is awfully predictable, and the chaos that ensues seems strangely reflective of the turmoil Hancock must have been feeling. Night on the street, Tony helps an aged lamplighter Eddie Malin with his "dying art.
Tony gives his commentary to a woman passer-by Barbara Mitchell. Is it a put up job? Tony offers to put Stan right on the niceties, a real craftsman he is. Next morning, donning his overalls, Tony explores the ironmongers, annoying the assistant, especially when it's evident he doesn't know the names of many tools, "a great big thing to bash it with.
After passing on his new found knowledge of tools, he hammers in some nails, badly. There won't be any mess queries an anxious Stan. Tony's real task is to erect a new wardrobe in Stan's wife's bedroom, a job Stan isn't confident enough to tackle himself. Before putting it up, there's much time talking, and creating something of a mess, as poor Stan's confidence is gradually eroded, though he politely refrains from comment.
Tony Hancock was never a slapstick comedian, and the sawing of a plank, wrongly measured, is not performed with enough enthusiasm or crassness to make it amusing. No wonder measurements are incorrect if the craftsman uses his arms to measure, then Stan's braces. Then there's Tony's ininextinguishable confidence in his own misplaced ability that never rings true, as Tony finally curses Arthur Fuller and his tv trick photography, and walks out on poor Stan, what a mess he leaves behind.
Next night, he sees the lamplighter again and tonight it's a gardening programme on telly. Tony adds his own commentary To Hancock Menu. The Night Out with Derek Nimmo. No start on a street corner this time, it's the morning after, the left overs of a giant party, Tony slumbering into life to jazzy downbeat music, in a mime sequence, before a waiter enters- he's in a hotel. Tony can recall little, except he'd gone boozling with Tom.
However he perks up when he finds a bird in his bed, "not bad," and this is the Bridal Suite! He tries to awake "Mrs Hancock," though he knows not her first name. After romanticising, Tony's flow is interrupted by Gavin Derek Nimmo who explains that this is Sarah, his, not Tony's, wife. Tony quizzes him over the events of the night. This he reiterates often, and Gavin keeps on assuring him no, "Good" replies Tony, but uneasily.
He commences singing the song again, in cha cha. Tony checks what happened by phone with Tom, but a delirious maid Patsy Smart interrupts, hugging him, calling him her Anton. There's a pathetic story that she cannot stay with him, rather improbable too.
We await a punchline, but it never comes. Now a crowd gathers, friends from last evening. More champers is ordered as Tony fights off Sarah's attentions, mainly to fawn over Gavin, whom he has discovered is gentry. Gradually however the truth dawns on 'Tone,' he's footing the bill. Removing the unconsumed drink, 'Squadron Leader Hancock' complains at reception to the clerk Donald Hewlett. A whip round, Tony proposes to his guests, but all too expectedly they vanish into the dawn.
Tony, attempting to bunk also, is prevented by porters, and so has to flee via the upstairs window. Along a ledge, and into another room to another guest who is inebriated. Tony relates his sad tale and sings that song, and drinks more drink.
The pair pick up another crowd and Tony is last seen booking into another hotel, "put it all down to me," he smiles. No, the punchline never came to that oft repeated question. The story is as flat as that leftover champagne To the Hancock Menu. The Writer The tale of Tony's efforts as a poor tv scriptwriter, with too obvious parallels with this series' own abysmal scripts. This one by Terry Nation only goes to prove his writing talents lay not in the 'comedy' field. This starts in an empty bar where Tony waits restlessly to be served.
Having destroyed a bell, he moves to the adjoining bar, where a tv comic Jerry Spring - sic - John Junkin is getting ready to watch himself on tv. His scriptwriter Elmo Francis Matthews is at his side. After returning his broken empties, Tony purchases an Italian wine, Chateau Latour, as well as a small brown ale. After enthusing on English country life, he debunks this pub where anything and everything is banned. Tony watches the comedy on tv, introduced by Pete Murray.
Soon Tony is decrying "Britain's leading funnyman," to Jerry's discomfort. By now Jerry is getting quite worked up, until Tony spots who he is.
Imparting his advice, Tony explains Jerry should include some funny walks in his act. Jerry laps it up, though naturally Elmo is not amused. Jerry however sees something in Tony, maybe he was desperate? Into the script conference walks a new Tony, dark glasses, loud suit. Dressed over the top, Tony plays it over the top because the script is so dull. Listening to a taped conversation is plain tedious, this interspersed with numerous "can we please get on," but we never do.
Finally Tony spits out a concrete idea Certainly impracticable, and Elmo is right to storm out. Maybe the others ought to have taken his lead. Now Tony is on his own, composing a script, performing his Noel Coward impersonation. His typing skills are less good, and thinking up a single joke is even more problematic. This really is becoming like this real life series. After a long frustrating lack of inspiration, Tony resorts to Christmas crackers to obtain his material.
As he reads over Tony's script, Jerry's eager smile turns to blankness. At last one laugh. But it's only about "the way you spell trousers. An attempt to read through the script, Tony in the part of Blodwen to Jerry's Dai quickly dies the death and the script veers back to a sample of awful jokes, then impression of Marlon Brando, somewhere along the line Jerry sneaks out.
Then there was one. Yes, that was a parable for Hancock. Maybe rather clever if you look on it as intentionally introspective, but surely not! Tony returns to the pub to watch wrestling on tv.
The viewer, the wrestler himself of course, takes excception to Tony's remarks and floors Tony, who never gets up. He never did get up Amen. Click for more details: Lunch Box review of the only surviving show, plus details of some of the series. Celebrity Spot - length: The Morecambe and Wise Show Oct 1st Ernie is brilliantly unintelligible in a changing of the guard scene.
Then he points out Eric is going bald, leading to "a million" bald jokes. He recommends a toupee. However Millicent Martin spots the difference. Jimmie Rodgers sings Lonesome Road. Eric and Ernie are two birds, Eric waiting for eggs to hatch has "hatcher's cramp. Freddie demonstrates to the boys his 'jumping bit' before singing. With Sid and Dick, a game of pretend table tennis, Eric joins in, "you're not playing a mug. Jimmie Rodges sings I'll Say Goodbye before everyone joins in for a camp fire sing song.
Eric messes it all up so is not allowed to sing. Instead he stokes up the fire, and the whole set is smoked out. He shows Ernie an example of his art, taken through a keyhole, "my wife has a negligee like that. In a beard, Eric presents a French play, with a lady in a fur coat, but nothing underneath. Eric of course wants to rip it off, "not yet," is the oft repeated line.
This is one of their classic sketches. Eric and Ernie's dancing partner has left them, so they have to perform their routine without her. The sketch with their imaginary dancer becomes overlong.
In pigtails, Millicent Martin sings The Day The Circus Left Town, with dancers weirdly dressed as animals, then clowns, quite surreal, Dali eat your heart out, then they are acrobats, certainly imaginative. Eric is given the part of the depressed Norman, you really need to know the series to enjoy the sketch.
Rodney and Constance keep bursting into tears, not to mention depression that sweeps o'er Sid and Dick in hysterics, and though this is obvious there's a fine finish. The opening show in September starring Gracie Fields and Guy Mitchell was seen in a mere , homes.
In the first quarter of the highest total of viewers for the show in one week was 11,, Then by February , with the main ITV areas operational, the show reached five million homes for the first time. A November show saw that figure rise to 7,, The th show in April eclipsed that with a figure of 7,, homes.
At that stage of the programmes had featured in the national Top Ten. Lew Grade pulled the show in , had costs spiralled too much? In it was briefly revived, without credit to Parnell, but lasted only one season. The climate of variety had changed too much.
First show, top of bill are Pete and Dud October 3rd Special Guest Roy Orbison colour Autumn Larry Grayson January 6th with Englebert Humperdink. March 24th hosted by Ted Rogers. April 14th with Sacha Distel. December 1st Ten minutes of this show were captured on film. It's enough to show the stunning size of the Palladium stage. After the opening extravaganza with dancers on several levels, on come the Kaye Sisters. Then Max Bygraves arrives on stage in a bubble car.
April 13th The Tiller Girls start the entertainment with a peerless synchronised dance routine. Enter, stage right, a beaming Tommy Trinder who stoops to pick up some litter, but no, it's one of Liberace's cast-offs. He has some topical jokes, including a complaint that there are "too many medical shows" on telly, and fantasises on what might happen if the BMA run the tv, shows like Sunday Night at the Clinic.
Dick Shawn, first time on British television, has an interminably long routine, interminably unfunny too. He's a teacher, and gives Tommy a well rehearsed and delivered reply to the query, "What do you teach? He is slightly nervous in his patter but gets a lorra laughs with huge slides of Liverpudlians as babies. Celebrities in the audience include Sylvia Sims, a footballer and two boxers. Arthur Haynes with Leslie Noyes stroll on stage complaining that they haven't been chosen to be on the bill as they do not "come from Liverpool," a phrase LN echoes repeatedly.
Mrs Haynes in the shape of Rita Webb comes on stage to er, sing, "what have you got to compare with that in Liverpool?
Kenneth More enjoys a minute with JT before introducing Pete Seeger who gives us two songs, one with a very boring story.
After a nondescript dance with men in suits and diaphanous girls, here comes Frankie Howerd. He's "in a quandry," though also his confiding best, unsure what jokes to tell after Val Parnell had phoned him, "he riles easily. It's nearly flagging, but he keeps us laughing with a song accompanied by "a funny woman," With These Hands, "nobody goes to sleep while I'm on" Palladium menu. April 10th The Tiller girls dance with four men in wheelchairs, then Bruce joins in, entering in pyjamas and a false nose.
After which he talks openly and jokingly of course about his recent nose operation. Three French acrobats are followed by an odd toast from Bruce to The Ladies, a reference in particular to some golfing friends he's to join after the show. Finally his new single Clementine.
The final section of the show has the cast of The Most Happy Feller. As there's a minute to spare, Brucie, even though he must have been dying to get away to see his golfing ladies, joins in a final chorus To ATV Variety , or to Palladium menu.
I was expecting Bruce to come on stage through the egg! But no, he enters conventionally, with talk of his holiday in the south of France. The Dior Dancers give us an avant garde crime dance.
The "adorable" Beryl Reid has gone oriental, she tells "Bluce. She finishes with a duet with Bruce. Rise Stevens sings in Italian, not a very tuneful choice, not ideal for this show. But her next is more melodious, One Night of Love, and it's in English too. Beat the Clock has a returning couple from Cambridge. After which a couple from West Wickham never even have time to play their game.
Bruce returns with an Adam Faith hairstyle and jacket, "I'm all ready then. Just as well, Bruce says they're both booked for summer shows in Blackpool To Palladium menu. December 3rd - transmitted during the Equity strike. A tour de force, clearly well scripted, but was the famous decorating scene partly improvisation? Enter Norman Wisdom with a song announcing he's in charge tonight. In protest the band leader exits, leaving Norman free to conduct.
Bruce Forsyth comes on and sings and chases said conductor round the audience. Norman's attempt to tell a gag without laughing, is typical, but not him at his very best. It's impossible, he just has to laugh, and their timing is immaculate. Strip Joker they should have called it, and even Bruce can't help laughing. The first stage scene is set to Morning by Grieg. It leads into Norman singing Me and My Imagination, and a mimed dance with invisible partners. Then the famous decorators scene, no dialogue until the end, simple effective slapstick, Norman the butt of the mess.
Beat the Clock sees Norman interrupt proceedings, it all looks a little sparse with no hostess! Norman the singer sketch, interrupted by a phone call for Bruce, the old music hall gag as Norman obeys Bruce's instructions, but it's not overdone as Bruce chats to his darling. Norman plays three instruments, sings Wearyin for You and plays three more instruments, the last one accompanied by Brice on the accordion.
Finally number seven, percussion. Then he sings his theme song, not my favourite. There are still a couple of minutes, Bruce tells Norman. For a second he looks at Bruce, they both must have been pretty exhausted. So there's time to dance a duet, the polka and other dances.
The final music, no revolving stage, except the base as the pair twirl into the curtains. Thank goodness someone thought to preserve this one! December 10th Sadly only part one has been preserved in non standard form. It includes some pre show scenes which the Network dvd rather sadly describes as by a "warm-up man. Bruce enters prostrate on the revolving stage, exhausted after the previous Sunday's show with Norman Wisdom.
But he's up for singing Getting to Know You and gets to know some of his audience in the way only Brucie can, some nice reactions proving he's the master of the impromptu interview. He has some enjoyable reminiscing with Ray Ellington, as they pick out members of Jack Parnell's Orchestra, then they sing together a jazzed up version of The Three Bears. Time for a tap dance with his then wife Penny. Nothing if not an old fashioned song and dance act, but very charmingly put over To Palladium.
JT's impressions of Hancock etc fall flat and the gags are weak too. The pair have a better topical song, O Mr Tarbuck, then dance, proving that Sid was never one dimensional. JT talks about Cassius Clay's recent bout, and about the Christmas lights. Famous names in the audience include Ralph Reader. A lively dance opens part three. Des O'Connor, standup comedian, gives his thoughts on Women, perhaps the best part of his act is his cheeky laugh. It certainly ain't Women's Lib.
Tony Martin is the ageing top of the bill. Finally People Need People Palladium. Sunday Night at the London Palladium - 22nd March After the usual opening with The Tiller Girls, Bruce Forsyth enters, still drooling over the previous week's guest Ethel Merman- only a pity that that show isn't preserved!
BF performs some lively numbers in her honour and naughtily speculates where Ethel might have hidden her mike. Then he introduces The Trapinos, comedy acrobats, after which he apologises for calling them "The Traponis.
In Beat the Clock, BF is assisted by Sally and has contestants from Goodmayes where's that near asks the compere politely , and Worcester. The final part is graced by an attractive "old street cloth" of London as Billy Russell William Cassius Russell he calls hisself performs an updated version of his classic On Behalf of the Working Classes, "five minutes," he confides to us, "then the axe drops.
Top of the bill is the awfully lively, but to me uninspiring, Spanish dancer Antonio, with Rosario. Fifteen minutes too long To Palladium. New Palladium Show September 26th First of the revamped series, introduced still by the 'Startime' theme. And now hosted by Jimmy Tarbuck, who had made his name on the old Palladium show back in October He bounces on, through a brick wall, singing, then describing his send off from Liverpool as he set off for his new job.
He also talks about the greats on previous Palladium shows, with occasional interruptions in the orchestra pit from "Hack" Jack Parnell. First guests are Peter Paul and Mary who give us three numbers, ending with the tale of Samson. Then the new feature, the unannounced special guest, here Sarah Miles, a little gauche, trying to plug her latest picture.
JT ushers her along. She then introduces a trio of guests: After another dance, JT pans round the audience for interesting people. October 24th Michael Bentine starts the show as The Great Sebastian, in a sketch clearly held over from the previous week. Then the dancers perform a bouncy medley of Roaring Twenties numbers. Enter JT on a toy car, the latest mechanical wonder from Japan. He introduces Eleanor Toner who renders Danny Boy.
That's followed by The Fortunes with their latest hit. Topo Gigio, if you like him, is on stage, JT has an intimate chat, trying his best. The show concludes with comedian Frank Berry, then The Bachelors. After the pitched battle, out from his auto steps George Raft. Why are you over here, asks JT. Both muff a line. JT gives a few easy gangster impressions. Raft tells us that he introduced the bolero into Britain in at the Florida Club, and he proves he can still do it, albeit more slowly, pretty well done.
JT speculates on future honours for showbiz stars. David Nixon tales a tale of two ropes. Then a long card trick. Hugh Lambert and the Palladium Dancers give us a dance, simple and effectively choreographed.
In between he mumbles something. He dances off at the end. Spike Milligan tops the bill. He'd made two appearances earlier on. Now he has a limerick, a song and joke about Laura, then a folk song, "they all sound the same. November 21st JT enters to the background of a wall with graffiti including 'Tarby's back.
He starts the first part of the show carrying this crown, allegedly it was left behind after the Royal Variety Performance! JT has some topical gags about the gales, and ad libs about the fun had during the ad break, having to quickly move the Parnell band down to the pits. Then he introduces Robert Harbin illusionist though he calls him "Robin". To finish there's a medley of Cliff's four golden discs To Palladium. March 20th in colour Jimmy Tarbuck opens with a brief rendition of Pretty Woman, a foretaste of what's to come later.
It's "Mum's Day," he tells us. Then he sings and dances A Dedicated Follower of Fashion, a lively colourful number. After The Biasinis, a couple of trick cyclists, JT talks dully about his golf and then introduces Julie Rogers who sings two numbers, including My Room. Sylvan is a "card manipulator" who performs various amazing tricks. Then JT delves into the Tarby archive with childhood memories, or is that childish?
The final part opens with Celebrity Time, including Erika Remberg who is to be "the leading lady in the new Saint series" poetic licence there , plus a Parisian fashion designer. Bob Monkhouse is the first act, "nobody cares about nostalgia," he gripes. So he does his up to date pop star routine. Tom Jones sings two numbers during the show, after which Kate thanks him admiringly, "you've got a beat. Morecambe and Wise top the bill, also singing with Millicent Martin in their own inimitable way Moonlight Becomes You.
Perhaps Mr Monkhouse was wrong, for this show was just full of olde tyme songs! Judy and Liza at the Palladium transmitted Sunday December 20th recorded Nov 15th It's slightly difficult to judge the performance, since the programme was edited from a longer show. But it does commence with wild applause and goes straight into songs, no introduction at all.
Judy sings Once in a Lifetime, and Just in Time, becoming more animated as this second song progresses. She introduces Liza who has a fine Gipsy in my Soul. Judy and Liza then perform a medley, not the most attractive versions of some of the numbers. The audience shout some requests, you can guess what, before Judy sings from Funny Face.
Judy sits on the stage floor, watching Liza with the poweful Who's Sorry Now. Ayana Workman and Andrew Veenstra talk about their excitement. Ayana Workman and Andrew Veenstra talk about identifying with their characters. Immortal Lover, Excellent Pen-Pal. A montage of scenes from our production of The Tempest. Finishing School Orientation Extended: Maulik Pancholy visited NBC to talk about the production.
Letter to our patrons: The Taming of the Shrew. Discovering Kate with Maulik Pancholy. Ed Sylvanus Iskandar, Social Director. Scenic Designer Jason Sherwood talks about bringing the show to life.
Sound Designer Jeremy S. Bloom discusses his soundscape. Sheer Cloudy Vagueness, or, the Scourge of the Orwellian. Community Responses to Othello: Student Edition Round 2. Drewmaturgy … from London!
The Consent of the Surveilled by Dr. Community Response to Othello: Illustrations by Gareth Hinds. A Reflection by Katherine Peterlin. Michael Kahn talks about The Taming of the Shrew. The Beauty in Complexity: Ron Daniels and Faran Tahir talk Othello. Of Metropolitan, Critics, and Hounds. Michael Kahn talks about criticism and reviews. Bienvenidos a la produccion de El hombre de La Mancha.
Virtual Poet-in-Residence Courtney Sexton. Virtual Poet-in-Residence Simone Feigenbaum. Jessica Young and Regie Cabico. Virtual Poet-in-Residence Gary Logan.
Scotland, Counter-Insurgency, and Sea Control. An interview with Dunsinane playwright David Greig. The Exposition of Strategic Misstep. Knowing and Not Knowing. The Intangible Nature of War. Virtual Poet-in-Residence Tom Gill. Costumes of The Metromaniacs Part 3. Dunsinane as a Window into War and Warfare. Introducing Shakespeare and Strategy. Virtual poet-in-residence Adam LeFevre. Costumes of The Metromaniacs Part 2. Bringing the costumes of The Metromaniacs to life.
An interview with Zoe Waites and Tara Giordano. The Many Colors of Michael Attenborough. Stacy Keach and Christopher Henley discover what they have in common. The Importance of Being Earnest. The Paradox of Oscar Wilde.
An Afternoon Tea with Keith Baxter. Measure Cabaret Song 1: Measure out the Measure. How to Unscramble a Teutonic Egg: Wallenstein, or, Democracy in Deutschland. See MORE production photos: An interview with Wallenstein board game designer Dirk Henn. Meet Jessica and Max. Meet Hillarie, Jeremy and Kevin. Meet Edwin, Caitlin and Jenny. Meet Shelly, Jon and Alison. Meet Alison, Chris and Kate. Coriolanus and The Body Politic: STC wins preliminary injunction in Lansburgh lawsuit.
Get to know the cast of The Government Inspector.
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