"Hello there Mrs S.." - Marshall, Renwick and End of Part One

So when was it that television started to take itself so seriously? I can understand with such difficult and serious subjects to contend with, that the news and current affairs departments have to be on high alert all the time. Though the rest of television has developed almost a hardened shell to itself,  but it wasn't always like this. 

Over the years there's been attempts at spoofing the way television is seen by itself, from Channel Eight trying to looking into the future with 90-year old Nicholas Parsons still presenting Sale of the Century, KYTV covering the satellite revolution and everything that brought to the screens. Plus there have been attempts such as The Kevin Bishop Show, who parodies seem to almost say "Wasn't all old TV bad? A-ha-ha-ha! I can do it because I'm popular..." and also strands of programming with Focus North, getting right down to the ground the view local news has of itself with reports and the presentation style.

Though truly the only show who got the art of spoofing just right was Andrew Marshall and David Renwick's End of Part One, the whole two series just released on two DVD's by Network. This has brought to an end a very long journey for this series to be seen once again outside of just clips or footage on the internet. The style of the two series are very different, but even in the first series broadcast made in 1978 and broadcast in April 1979, the defining features of what the programme would be remember for were there, such as the spoofing sketches and mock continuity announcements. 

"I'm just going down to the Taj Mah.. Oh, its here!"

The world of television was played though the prism of Vera and Norman Straightman who live on Funnyname Street, with all different odd characters invading their lives and also the television they watch themselves. The premise even in the opening titles is to be a parody of Coronation Street, the interlinking stories of both characters, the titles featuring rows and rows of Northern terrace housing and also Corrie-esque theme tune. This itself has a feeling of the influence from Monty Python like their sketches taking place in houses, such with the cast playing supporting parts of people who surround the Straightman's lives i.e. people they meet along the way rather then characterised of anyone in particular. 

The intertwining storylines provided by the day to day lives of the Straightman's allow the sketches to played off such as Norman going for a job as a spider, the Straightman's having a new lodger who's a parody of Superman even speaking in cartoon-esque speech bubbles when first having a conversation with Vera. But with Vera and Norman going to the cinema allows the show to widen itself up with them getting the cheapest seats to see 'Christopher Columbus - A Film by Samuel Goldwyn' and with the tickets being so cheap that they are on the film itself! Allowing them to be surrounded by the action, with the actual cast of the spoof film oblivious they are there and the patrons with the cheapest priced seats having to follow the actors wherever they go to.

"Look! Up in the sky! Is it a bird, is it a plane? No its Cheapo Cartoon Man!"

The spoofs of the programmes are thing which makes the first series stand out, with World of Sport given a good ribbing and also Raleigh Gilbert who read out the racing results on the programme was given special treatment by the writers over his annoying voice when reading the results. Also The Return of The Doughnut, a spoof on the returning Saint series with Ian Ogilvy who has gets plenty of jokes at his expense as well as well a spot on parody of Weekend World although a LWT production, jokes made at its expense such as it having only about two viewers in the slot it was broadcast in at that time. Though all of these programmes were all produced by LWT and they were the biggest targets for the show, but the management didn't have a problem at their best efforts being ribbed on regular occasions by the show's writers.

But the first series was broadcast before the 1979 ITV Strike which started in August of that year, which partly may have been the reason why there wasn't another series broadcast until October 1980 and would have been made earlier that year. Such as the backlog created by the stopping of production, that all new production would have been halted to allow what was still to be done to be cleared first. So any new series or returning series would have have waited at least till Spring 1980 to be filmed, but this had a unique effect on the series. By this time Marshall and Renwick had gone to work on BBC 2's brand new sketch show 'Not the Nine O'Clock News' using this to keep their writing hands in whilst End of Part One was off the air. With them writing for Not the Nine with its more topical humour, meant they could change End of  Part One to more a satirical type of show and also expanding the spoofing to be more elaborate and more cutting against its targets.

Though with the first series being more lighter and being shown mainly in a Sunday Afternoon slot, led the schedulers at LWT and also Michael Grade thinking this was the right slot for the show as it appealed more to older children and they made sure that the schedulers got the message in episode five  where they included a sketch called 'Kiddies Time' with a very twee style and what they thought Children's Television was like similar to Monty Python's 'Storytime' sketch which itself turned that the story being read out by Eric Idle was smutty and couldn't be read out at all. Even putting on the screen in captions what they though of this and alluding to a 'Unexpected Nasty Bit' which is going interrupt the sketch going on, building up to it with a spoof warning and countdown until its stated that they've lost it. Well, until the end of the episode a final quickie sketch to state an vinyl album of the show is out for release now, featuring the nasty bit as its cover... A man being beheaded by an axe, rather violently.. 

End of Part One was seen as a television follow on from Radio 4's 'The Burkiss Way' featuring almost as silly pythonesque humour, which itself had started on Radio 3 as the 'Half-Open University' as a pilot in August 1975 with the 'The Burkiss Way' starting broadcasting in 1976. Not only does the writers link this with End of Part One but also Fred Harris and Denise Coffey who was in the first series only as well as the producer of the first series Simon Brett who produced the first series of End of Part One. The style of the show having its credits in the middle of the show, sketches stopping halfway through and restarting later plus straight spoofs of programmes and continuity as well. All of these devices were used in End of Part One taken from 'The Burkiss Way'. So the links are there between the two shows, with even The Burkiss Way's final series finishing on Radio 4 on the 15th of November, the week before End of Part One finished on ITV on the 23rd of November. 

The cast itself with Harris and Coffey who had been in The Burkiss Way were joined on End of Part One by a pre-Only Fools and Horses Sue Holderness, actor Tony Aitken who had previously been seen in Porridge, David Simeon who had been in Z-Cars, Fawlty Towers and The Liver Birds amongst his credits and finally Dudley Stevens mainly a stage actor and also had done some music hall but previously had been in Crossroads as an upper-class landowner during the mid-seventies. All of them with comedic experience but with the ability to play character roles and this is what makes the series better for it as well. But the targets as such, were the programmes the viewers had seen also with the noticeable things as well that went on during their broadcast such as Nationwide or Mr and Mrs being spoofed as so sweet that its not safe for diabetics and the presenting style of Derek Batey, maybe barbed but always right in how its done and any average viewer could recognise the obvious things though its the hidden things which make the programme even better.

So finally there is a record of this show after many years being recognised with Harris, Coffey, Holderness, Aitken and Simeon still alive, presenting and performing but also as a tribute to Dudley Stevens who died in 1993. Finally at the end of the series Norman and Vera reappear poisioning the characters in the last spoof, hopefully thinking they'll be the stars of the programme now the rest of the cast are dead. Only for the LWT end caption to appear to snub that thought out straight away. 

It may not be in the top level of great shows and Marshall & Renwick may have written shows which have been better recognised both together and alone. If they hadn't have had End of Part One, then there wouldn't be no Whoops Apocalypse or Hot Metal, no family with 2 point Four Children or no Victor Meldrew saying "I don't believe it!" plus the magic and mystery of Jonathan Creek. Whatever they have both done since, they both have to thank Vera and Norman Straightman of Funnyname street hopefully with a bunch of Roses Chocolates... 

  

For the children... From local transmitters

As a kid I remember watching children's shows from both BBC and ITV and being from the south there was much to look at especially from TVS, but as well as it might be it may have looked professional but it still seemed a bit distant to me. In the BBC's Hey Look That's Me there was no no fancy budget, hell, there was a studio just small enough to squeeze a camera in. But it was this homeliness which appealed to me, even so much as writing to the programme and getting some badges in return for do so.

Though what I have seen and read, each region has tried to champion its own output, in Scotland The Untied Shoelaces Show entertained Scottish children through the school holidays and the South West, TSW served up Freeze Frame as a Saturday morning alternative to their children. But having this showed that their commitment to local programming was strong and it didn't have to always to appeal to the widest possible group. By having programmes like this for children, the regions felt that this was a link to their youngest viewers, hook them early and they'll stay loyal to your company.

Anglia was an example of a franchise, which would plug away to the network and supplying children's programmes with regularity, the same as Southern/TVS to supplement the bigger companies offerings. But they also had to remember that their viewers were important, so they both created programmes which appealed to their viewers embracing the local flavour. Even through birthday spots for most smaller companies that Gus Honeybun, BC, Oscar Puffin and even Ivor Honeypot became recognisable unofficial mascots for the stations they appeared on. Though Gus Honeybun came to optimise both Westward and TSW as well, becoming as big as the announcers who helped him.

Those days have long gone now with Channel gamely battle on with Oscar Puffin in new decade, not even a friendly puffin can suffice in the world of television now. Though I find it interesting that CBBC when for characters similar to this back up their presenters in the relaunch of the channel, so perhaps they are still there, maybe in spirit but you'll always need a dog or cactus to draw the viewers in.

Boggenstrovia's Bits of Christmas - Number Three... Rude, Lewd and a little bit nude...

Hello again and we are at the three French Hens stage of the countdown, though who let Bridget Bardot, Audrey Tautou and Charlotte Gainsbourg in here is anyone's guess.. There comes a time of year when people like to let their hair down or in Bobby Charlton's case, his two strands... But imagine you are working making programmes all year round for people to watch, as we know though Light Entertainment is a hard business especially to get it right. So for all the staff, they need to let off some steam at the end of the year and have some fun, same goes for the performers as well.

This is where the Christmas Tape or Film, as they were originally called came into its own. As the first earliest examples are of impromptu sketches being filmed at the staff's Christmas party, usually involving a hat or a wig with some shtick of some sort. But later on more and more complicated sequences were filmed involving the stars of the time performing for the staff and even joining in with the fun. Usually the bloopers in later years were taken for out-take shows, generally the more racier stuff was kept in to appeal to the staff and every year a competition was held privately to find out who could put together the best one.

Though when journalists found a skit involving Princess Anne being interviewed by David Coleman had been edited down to make Anne say things out of context to the interview, the tapes were clamped down on more and more as practises in the broadcasting industries were changed. But contrary to belief, these tapes have not gone away, the stars maybe weary about taking part but the staff at television companies and regions still do make them for their own amusement....

Let's a look at what the boys and girls in VT got upto...

1. "Give me a shot of Enge please!"

The legendary Stewart "CUE THE ROLLER!" Morris here directing a piece for the BBC 1979 Christmas tape 'Good King Memorex' partly persuading Engelbert Humperdinck to film a piece with the girl dancers from his show for VT, but also Stewart plays along with the nature of the tape making jokes as he goes. This shows Morris at his best, in control but getting the best out the performers he worked with but also having a laugh as well. Stewart Morris could that so well, knowing that his rapore with the staff he worked with was intact to be able to produce great shots when needed, but loving the cheekyness of the whole thing as well...

2. "I don't believe it! Figgis, why have you got a party hat on?"

Richard Wilson here in full 'Only When I Laugh' mode with James Bolam as well offering good advice on the do's and dont's of Christmas lunch from a 1983 LWT Christmas Tape. Wilson known for appearing 'Only When I Laugh' at that time, acts the same way that his character does to make it sound very genuine. Its his words which make this clip, appealing to the saucy nature of production crew, the laughter from the crew says it all "We get where you are coming from..." or depending on the nature of where the wind is blowing... But seeing this doesn't make Richard Wilson of being other then being a great performer, in fact it adds to it that he can play on the naughty side and still seem believable as his character.... Even with James Bolam not even saying anything, it makes the clip funnier that they just stuck a party hat on him to get into the spirit of things...

3. "Boll-locks!"

The best of the BBC here featuring the late Sir Jimmy Savile, Angela Rippon, Richard Baker and sweary Dalek as they enjoy themselves and show their boobs or should that their goof-ups? When newsreaders are singing and dancing ten-a-penny nowadays, Richard Baker just has to put on a wig to make people laugh. Plus during a break from one of his many shows, Les Dawson treats us to a little tune on the piano but the star has to be Noel Edmonds who has a very little time to tell us what's on Swap Shop that Saturday but in such little time he makes so make goofs much to the amusement of Maggie Philbin and John Craven who are supposed to be dozing either side of him. With one familiar refrain of "Merry Christmas VT!" they know that the mistake which has just occurred will be put on tape ready for the Christmas tape that year.

4. "He's a sports PA and he went onto work for the FA..."

Finally, a musical number about working in the BBC Sports department including Suzie Quatro and her band plus a man who went onto oversee England at the World Cup, one Brian 'You work for the BBC, out you go!' Barwick. Ms Quatro plays a little ditty, installing the virtues of working in the BBC Sports department in the late 70's. Taking on everybody and everyone by the presenters and commentators seemingly not trusting the sports PA's it seems, but also footage from many far flung places such as Munich and also a cold soggy first division football ground as well. Its little wonder why the BBC didn't have any left after this or either that everything was settled with a few pints in the BBC bar... Lager 1 Malt Whiskey.. Two dozen...

So that's another aspect of Christmas wrapped up in protective foil for another time, come back on Wednesday when I'll have part four...

Television Presenting? Child's Play!

"I could do that! How hard is it to present a television programme?" The regular call of viewers throughout the land as they see many numbers of faces on their screens day in and day out, as Sue Peacock would testament quite hard on your debut. Sue was picked by Esther Ranzen and her Big Time team to be give the chance to co-present Nationwide along with Frank Bough, the pro's pro. But thinking about presenting especially in children's television, there has been so many presenters over the years since Phillip Schofield took on in-vision continuity in the afternoons replacing the BBC1 robot. Which itself seems alright as Phillip had a radio and television career in New Zealand before coming home and to bigger and better things.

Go-pher broke...

Beyond Phillip the rota of stars who have taken the route of children's television is amazing, but one thing stands out if you were to consider what most of them had done before they wouldn't it even get on the screen today! It maybe said that times were different, with most presenters coming through the media studies route and having been trained in what they should say and to a template. Not that's there anything wrong with that if they are good. 

For example with Play School, most of the protagonists came from a dramatic background such as Gordon Rollings and also Brian Cant as well, Rollings later playing parts in two of the Superman movies with Cant still working occasionally with an appearance earlier this year in BBC 1's 'Doctors'. Their communication skills such as also Toni Arthur and Carol Chell would qualify for them to be good presenters, but then the waters get muddied. Some of the people who joined in the 1970's were to re-write the script literally. Don Spencer was a folk singer but with experience of Play School in Australia, bringing musical experience to the mixture which was already there with the vast experience of singing the theme to 'Fireball XL5'. Added with Julie Spencer, Floella Benjamin, Stuart McGugan, Ben Bazell, Eric Thompson and so many more as well.

"Let's make it a date!"

Then we come to three men who came from left field, who looking at their combined CV's they would not have struck the average person as children's television material. Johnny Ball, now know as a leading light on promoting science through his television programmes and later on his stage shows. But back when he was give the job of entertaining the under 5's that Johnny had already been a stand-up comedian and a Redcoat at Butlin's as well. Hardly, a glowing CV you might say but number two was even more from left field!

On the ball!

Derek Griffths, what can you say about him? Legend is a word which bandied about so easy, but Derek could fit in anywhere. There was time where you could just turn on the television there he would be starring in a drama, singing a song, doing a bit of light entertainment with the best of the day even appearing with Terry Scott and June Whitfield for a touch of sitcom. In 1997, Griffiths originated the role of Lumière in the original West End production of Beauty and the Beast  and played the role of The Child Catcher in the West End run of Chitty Chitty Bang Bang. 

Ice, ice baby...

Finally comes Fred Harris, a one time teacher who decided he needed a change of career so one wet and dull afternoon coming back from teaching he was passing a television rental shop and saw Play School on the bank of televisions. So with a thought of "I could give that a go!" and waited until the end to see the name of Cynthia Felgate and decided to write off to ask if they need anyone else to present and put himself forward as a presenter. From this, Fred was launched onto a new path of comedy taking in 'The Burkiss Way' and its television counterpart 'End of Part One'. Which lead to in one episode, threatening to squash a hamster if the show didn't get a better time slot and was taken out of the children's programmes on a Sunday afternoon. Dramatic you might say, but this helped Fred cement his relationship with the viewing public as such for being a steady hand when needed but also with the freedom to be as surreal as a 'Python' member. 

A right One Show!

The worst case? Oh no, that goes to a young lady who had been an actress and had make a career out of being attractive in a number of films both horror and also some which were a bit saucy. She was Jenny Hanley, Jenny had the unenviable task of replacing Susan Stranks on Magpie in 1972. But with the able hands of Mick Robertson, Douglas Rae and later Tommy Boyd, she became action girl for a whole generation of young girls and boys and even maybe crush material as well! Well, she had learned from the best though as she had been a Bond Girl in On Her Majesty's Secret Service in 1969. No better qualified then learning from 007 himself... She etched herself on the memories who saw her and stayed with the programme until its end in 1980, thus proving a movie career maybe the best option for being a Children's presenter.

Jumper-ing to conclusions...

There have been people who've gone the other way such as Jake Humphrey, the BBC's F1 anchor who had previous experience working for IMG's television sport division learning from Anglia's Gerry Harrison. He's proven that you can make the leap, as for Ortis Deeley... Well, everyone knows you can't run before you can walk... Though if you've got rubber legs as well, its twice as worse..

It shouldn't happen to a Kids TV presenter? Maybe it might, maybe it should... But always remember, Television Presenting, it can be Child's Play where ever you enter it from...