Radio Sit-Com

Having discussed sitcom in my last blog post, it's easy to write off one area that sitcoms are really successful. We tend to dismiss radio's contribution to the genre, and think that television is the only place for their production. But if it wasn't for BBC Radio Four (or, up until around 1967, when the stations were re-named) Home Service and Light Programme (which became Radio Two) we would never have had such delights as Hancock's Half-Hour which is considered, by many, to be the grandfather of sitcoms. The early episodes, right through to the much later episodes, are broadcast regularly on the digital station Radio Four Extra (originally called Radio Seven up until a few years ago.) A huge range of shows were, and still are, produced by the BBC. I could name not only 'Hancock's Half Hour' but also, 'The Navy Lark', 'The Men From The Ministry' and those shows which were adaptations of successful television shows such as 'Steptoe and Son' and 'Dad's Army'. Lesser-known, or indeed even remembered, are shows such as 'Marriage Lines' which starred very young actors of the likes of Richard Briars and Prunella Scales. 'Not In Front of The Children' which I seem to recall from the 1960's and which starred Wendy Craig. Some shows work really well on radio, whilst others don't seem to adapt too well. Perhaps if you're familiar with the television version the radio version would work for you. With radio you have to do quite a lot of work yourself as an audience-member. You have to concentrate harder when you have to listen to fairly complicated dialogue and when there's a difficult plot-situation. With radio you do have to LISTEN and CONCENTRATE, with television you don't have to work anywhere near as hard because so much of it is visual. Fairly obvious I suppose, because it has pictures as well as sound. You can have visual gags which, obviously, radio can provide.

It seems odd to think that you'd adapt a successful television sitcom for radio, as with 'Dad's Army' and 'Steptoe and Son.' Particularly 'Dad's Army' which had so much visual comedy in it's television version. 'Hancock's Half-Hour' used the idea of Tony Hancock having a sort of 'stage personality' an 'alternative' persona. The pompous, lazy, 'actor' or 'comedian.' It didn't (one presumes) really reflect his 'real' persona. It wasn't until the writers, Galton and Simpson, were rejected by Hancock as writers when he moved to I.T.V. that the B.B.C. allowed them a free hand with creating several 30-minute comedy plays that the eventual series of 'Steptoe' was developed from one particular episode called 'The Offer.' Putting character actors into the main roles meant that there was room for more character-driven plots and far more believable situations than they could write for Hancock.

As for the 'Navy Lark,' there is a certain amount of what can only be described as 'slapstick' in this very amusing show. I know it sounds crazy to describe it in those terms, but having listened to it recently on BBC Radio 4 Extra, there is nearly always some sort of incident when the ship it's set on H.M.S. Troutbridge, ends up crashing into another ship or a harbour wall or something and there's a great deal of noise and commotion as a result. In fact, that's why so much radio comedy work better in some respects than television, the sound effects that are used. I know 'The Goons' can never be classed as a sitcom, more a string of sketches, but it must have been quite revolutionary in it's use of sound effects. Feet running, explosions, clangs, pianos falling, etc etc which are just completely nuts and very funny.

A favourite radio comedy of mine is 'Clare In The Community.' It's based on the comic strip which appears in the Guardian 'society' section. Clare is a social worker who manages to sort out other people's problems but can't deal with her own, more specifically, her relationships. There's a good mix of characters and it works well on radio. I just don't want it to move to television because it will lose it distinctive flavour. Imagining what the characters look like is one of the best reasons for any form of radio drama or comedy. It's a bit like reading a novel and imagining how the characters sound and look. It can be a real disappointment when there's a film or television adaptation of your favourite novel when you see how a particular character is cast and presented, it can be a real let down.

One of the best things about radio, again particularly with comedy but also with drama in general, is that it can really stretch actor's abilities. Thinking in particular with people like Kenneth Williams, who was one of the supporting actors in 'Hancock's Half-Hour.' He had an incredible voice range and could conjure up an almost endless parade of weird and wonderful characters to support Hancock, whether it be an annoying neighbour, policemen, doctors or whatever a particular story required. It's no wonder that Hancock became obsessed with how he was so 'up-staged' by not just Williams but by Sid James and as a result they didn't move to television with him in the early 1960's. 

Listening to Radio Four- Part 2

Not only is there all manner of drama productions on Radio Four, but an amazing array of comedy shows and panel games. I think the main advantage over television with radio is that you can be doing other things while it is on, such as having a bath, lying in bed or driving a car, doing the washing-up, ironing your clothes or eating your dinner. Television requires a certain amount of concentration to get the best out of it, although people do also surf the internet or use their mobiles whilst watching television, such as Tweeting or using Facebook, but generally, radio does have the advantage. I love shows such as 'Just A Minute' which has been running for around 50 years. It's such a simple idea (for those who don't know the show it involves panel members talking on a subject given by the chairman, Nicholas Parsons, and they have to speak for 60 seconds without hesitating, repetition or deviation and the others on the panel have to spot these mistakes. It must be quite difficult. Over the years the panelists have included Kenneth Williams, Derek Nimmo, Tim Rice, Julian Clary,  Shelia Hancock, Stephen Fry and a host of others. Sometimes the panelists get quite heated, but generally, the shows go smoothly. Nicholas Parsons, which is well over 90, has been the chairman for all those years. I don't actually think 'chairman' is the right chose of word for what he does, he has to keep the panelists in order. Not an easy job. I reckon I've been listening to it on and off since it began, but I can remember it starting sometime in the mid-1960's when I was living at home at Malting Farm. It's always entertaining and amusing.

Frank Muir and Denis Norden were contestants on a panel game called 'My Word.' It ran for years on Radio Four, and probably on the Home Service as it was before it was re-branded in the 1960's. This show was about words (well, the title was imaginative!) At the end of the programme both these contestants had to tell a story, using a well-know phrase or saying, which was given them by the compere. This saying had to be part of the 'punch-line' or closing sentence of the story. When it ended, the contestant who had the longest applause from the studio audience won. I just loved this show. I've always had a love of words, and these two men, who were major scriptwriters, working on BBC radio comedy shows such as 'Take It From Here' which starred Jimmy Edwards, Dick Bentley, and June Whitfield. It was a sketch show, best remembered for 'The Glums' section, with Dick Bentley as the dimwitted Ron Glum, June Whitfield as his ever-so-patient girlfriend Eth and Jimmy Edwards as Ron's father. Frank Muir became  Assistant Head of Light Entertainment at the BBC and then Head of Comedy at London Weekend Television and Denis Norden introduced the long-running television show 'It'll Be Alright On The Night' which consisted of clips of out-takes and bloopers from television shows and films. I think the best way to describe their comedy would be 'droll' and probably not appreciated by today's audiences as being somewhat tame. Perhaps so, but they had a wit and originality which is missing from today's entertainment, which seems dead-set on being quite offensive (don't get me wrong, there's nothing wrong with a lot of modern comedy, but so much is just out-and-out offensive and crude. A double entendre is one thing, but being crude is another. Using bad language to get is laugh is just cheap. We don't appear to have any boundaries today, anything goes, which is a shame. Muir and Norden then went on to be involved in 'My Music' which used the format of 'My Word' but using music as the theme. Steve Race was the compere of that show.

When I was at Mander College in Bedford in the late 1960's, a friend of mine on the course came to visit me at home and introduced me to 'The Goon Show.' His father had recorded the original broadcasts on to reel-to-reel tape (actually illegal, but never mind. I think everyone did this at one time or other.) and he had transferred these recordings onto the then newly-introduced format of tape cassette. I was able to listen to some of them and was immediately hooked. I just loved the surreal humour of those episodes, probably first broadcast in the 1950's. The characters, played by Peter Sellers, Harry Secombe and Spike Milligan (who also wrote most of the scripts, along with Eric Sykes.) really captivated me and I have been a fan ever since. I have been a fan of Spike Milligan ever since. He's been called 'The Grandfather of Alternative Comedy' and influenced the Monty Python style of comedy.

I got hooked on the crazy comedy of another radio show called 'I'm Sorry, I'll Read That Again', which had John Cleese, Bill Oddie, Graham Garden, Jo Kendal and co in it. This ran from the early 1960's into the 1970's and some of the performers went on to write such shows as 'Fawlty Towers' and from 'The Goodies' on BBC television. They began their careers at Oxford and Cambridge Universities and performed in'The Footlights' revues. I recorded a lot of these shows onto audio cassette and replayed them endlessly until the tapes wore out. Cassettes might be the latest technology in the 1960's, but they weren't very reliable. The tape was extremely thin and often got twisted inside the horrible little plastic cases. The longer the running time, the thinner the tape and as a result, the more likely they were to cause problems. I had a Philips cassette player, which must have been one of the first cassette players on the market.

We've now got digital radio. I won a rather smart Roberts radio, courtesy of Classic FM. It was around 11-12 years ago. It sits near our bed. We listen to Radio 4 Extra on it. They broadcast what I can best call 'back catalogue' or 'archive' material on the channel. It was originally called Radio Seven. I'm not sure why it was re-branded as Radio 4 Extra. Perhaps because most of what it broadcasts originated on Radio 4. They have old episodes of such shows as 'Round The Horne', 'The Goons', 'The Navy Lark' as well as crime series such as 'Sherlock Holmes' (there are quite a few radio versions of the stories, going back several decades.) As well as the occasional documentary and play. It seems to run on a 12-hour cycle, which means it can run 24 hours a day. 'Desert Island Discs' is played on Sunday evenings at 9.15. As this is a series which has been going since around 1942 it could run almost indefinitely. Also, other comedy shows which are on earlier in the week on Radio 4, such as 'Just A Minute' and 'I'm Sorry, I Haven't A Clue.'

Listening To Radio Four- Part 1

I was thinking to myself the other day how my interest in such things as literature, theatre and comedy have been influenced by BBC Radio Four. Most people, as they grow from adolescence to adulthood, listen mainly to what is commonly known as 'pop' music, and the form of delivery for this is via radio. In the 1960's we had pirate radio, such as Radio Caroline, which operated illegally from just outside the mainland of Great Britain. I do have a slight connection to this station (but only slightly, I may add.) Radio Caroline was broadcast from a ship which was anchored in the North Sea just off the Essex coast near where my family spent it's summer holidays, at Frinton-On-Sea. You could see this ship clearly from the promenade at Frinton, where we rented a beach hut for the two weeks at the beginning of September each year. One year there was a mighty storm at night and the ship on which Radio Caroline was broadcast from came adrift from its anchorage and ran aground on the Frinton beach. It made the headlines in the national newspapers over the next week of or two. In 1967 (or thereabouts) the then Labour government, under Harold Wilson, made pirate radio stations illegal, apparently because they were supposed to interfere with broadcasts for the lifeguard service. Radio Caroline (and other similar pirate stations) were put out of business and the good old BBC was tasked with creating a replacement radio station, which was to be called, rather unimaginatively, Radio One (because the remaining BBC radio stations were to become Radio 2 (formerly The Light Programme), Radio 3 (formerly The Third Programme), The Home Service became Radio Four. No doubt it was the obvious numbering of these stations that gave them their names, so to have a new station called Radio One was logical. I've not actually been a particular fan of 'pop' music, preferring classical music, but I do enjoy some bits of pop. I think if I have to have any sort of pop radio station on I prefer Radio 2, because, frankly, I can't stand commercial pop stations such as Heart which is awful. The adverts are really appalling and seem to play to the lowest common denominator. It was better when it was Chiltern and Horizon. They've just made it into a sort of mush, basically for financial reasons. Terrible. They must think their audience are really dim or something, the tone of the presenters.

Why am I mentioning all this? I suppose because when I was growing up I tended to listen to Radio Four. My parents always had it on in the house.  My father had to listen to the weather forecast because he was a farmer and the weather was important to him, particularly at harvest-time.) It was probably the main source of news and always seemed to be on at lunchtime. We had an ancient radio in the kitchen at Malting Farm, kept on a shelf high up on a wall, which took a time to warm up before it worked (I think most things needed 'warming up' in those days, before transistors became popular and replaced valves in things. The television we had, a black and white model, took some time to warm up. A good many years before the introduction of colour in the early 1970's.)

Radio Four must be unique. It's an all-speech channel. I can't imagine a commercial version because I don't imagine the audience figures are particularly high, so it would never survive on advertising alone. It broadcasts a wide range of material across such things as documentaries, arts, media, light entertainment, comedy (light entertainment covers panel shows and sitcoms and sketch shows.) as well as soap opera (The Archers would fall into this category. It's supposed to be the longest running drama or soap in the world, running for something like 65 years. In fact, it's one year younger than me.)

I got hooked on adaptations of books which were (and probably still are) broadcast on Radio Four. For example, some of Daphne Du Maurier's novels. which lead me to read many of them, particularly 'Rebecca' and 'Jamaica Inn.' I think I'd written them off as being somewhat female-orientated (which perhaps they are, to some extent.) but then, once I'd read them, I discovered that there was far more to them, particularly 'Rebecca' which is really gripping and has a mystery about it. She does atmosphere and character really well. Definitely page turners. The books have been adapted for both radio and television, and of course 'Rebecca' was famously made into a film by Alfred Hitchcock, with Laurence Olivier in the role of Max DeWinter. She also wrote another, the later novel which was called 'The House On The Strand' which was done well on the radio. There's something about a radio adaptation, you have to concentrate more than with a visual medium. There's no way you can get away with the scenery dominating, flashy camera-work etc with a totally aural adaptation of course.

Recent Reading . . . and some Writing . . . Part 1

I have quite a wide taste in what I enjoy reading. I've had a passion for good reading since I was quite a young age. When I was at school we were always supposed to have something to read, taken out of the school library or else bought from a local shop. Infant, it's a habit which I have continued to this day. I always have a book to read and once one is read I have another to read.  I read Arthur Ransome's "Swallows and Amazons" and the later books which featured the same characters. "We Didn't Mean To Go To Sea" which I believe was set in and around Essex, along the coast from where we used to go on holiday when I was a child, Frinton-On-Sea, Walton-On-Naze and all the little inlets along that stretch of coast. The characters were real to me, and the stories were good. I'm not sure whether children read them today. I think they were written in the 1920's and 30's so perhaps they wouldn't appeal to modern children, bought up with iPads, Gameboys, Nintendo etc. My father was a sailor and had yachts which were sailed along that bit of coast, around the Colne Estuary, Brightlingsea as well as Frinton (see earlier blog posts on our family holidays.) So a series of books featuring children who sailed was of interest to me, not that I was a sailor myself. My father put me off, to some extent, as he wasn't the most patient of people, when it came to his children in a boat he was sailing. When I went to work as a D.S.M. at Century Theatre in Keswick in the early 1970's they were in the process of making a film version of "Swallows and Amazons" on Lake Windermere, although I was too busy with the season of plays we were producing to be able to watch any of the filming, which was a real shame.

I got hooked on anything with a really good plot. I was a radio drama fan (something I doubt children of today can say.) Radio Four (or the good old Home Service it was named up until about 1967 when the B.B.C. introduced us to Radio 1, 2, 3 and 4. No doubt it was easier to give the stations numbers than to come up with any other name.) I think it's the fact that, with a radio adaptation, you have to use your imagination far wore than when it's done in a visual medium, such as film or television or even stage. For that I think Radio Four is quite unique. Where else can you get such a rich selection of drama? Nowhere I can think of. I got hooked on adaptations of novels, done as "Saturday Night Theatre" as well as a Sunday night adaptation of books as well as stage plays. It was through an adaptation of "Rebecca" by Daphne Du Maurier, that I discovered not only that novel, but all, or about all, her other novels, such as "Frenchman's Cove", "Jamaica Inn" as well as her later novels such as "The House On The Strand." Such an incredible author, how she could evoke a place, such as Cornwall where most of her earlier novels are set. "The House On The Strand" is a particularly clever piece of writing, and it worked so well as a radio piece and wouldn't work as a film or a television series (thankfully.) and knowing today's television it would be ruined. "Rebecca" is perhaps best known as being made into a film by Albert Hitchcock and starring Laurence Olivier as Max DeWinter. It has been adapted for television a couple of times, the first with Joanna David as "The Girl" and then much more recently with Charles Dance. More of Daphne DuMaurier's stories have  been made into films, most famously, another Hitchcock adaptation being "The Birds" as well as "Don't Look Now" with Julie Christie and Donald Sutherland and directed by Nicholas Roeg. It's a really scary film and, although a good 40-plus years old, well worth a view if you get a chance to see it. It's shown regularly on television although you could get it on DVD. I supposed DuMaurier would be considered a 'woman's novelist' and I suppose, when I first came across her, not having then read anything of hers, it would have put me off,  as I think I might have thought the novels to be sort of 'Mills and Boon-ish', but how wrong could I be, as her books are so well plotted and the characters so captivating, particularly "Rebecca" that I was soon hooked and had to read more of them.

In the late 1960's Radio Four did a quite brilliant serialisation of the J.R.R. Tolkien novel "The Hobbit." It was done in eight episodes. I have recently managed to purchase this adaptation of a set of CD's from "The Works" in Milton Keynes. As a result of the radio adaptation I read the book and later on I discovered "The Lord of The Rings" (also adapted for B.B.C. Radio and part of the CD set.) I had it originally in a very thick paperback edition which I think I bought on a trip into London and took with me when I went to work as an A.S.M. at Liverpool Playhouse in the early 1970's. I read it every decade or so after that, and had it in three hard-bound editions, I think purchased from Book Club Associates and later I had an illustrated, one volume edition. So I know the trilogy very well and enjoyed the Peter Jackson movie trilogy which was pretty faithful to the original. At the time of writing this I haven't seen "The Hobbit." It seems unnecessary to me to make it into three films, because it's a relatively straightforward book. No doubt it was done for financial reasons, which seems a shame. I may eventually get round to viewing it on D.V.D.