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Summer Winos - Live 2018

Two Men, 295 Episodes, One Obsession…

When does a fondness for a TV show become an obsession? Andrew and Bob’s gentle love of Last of the Summer Wine quickly become a quest to watch all 295 episodes. In order. While visiting locations. Making films. Meeting the cast. Boozing with the writer. And, ultimately, turning their passion into a Fringe show. But they’re not obsessed. Are they?

Yes, you heard it right… seven years after embarking on the Summer Winos quest, Andrew and Bob are planning to take to the stage to explain just how Last of the Summer Wine has taken over their lives, and what YOU can learn from the world’s longest-running sitcom!

There will be dressing up, audience participation, overly-earnest reminiscing, and – brace yourself – kazoos. The show is running at the Edinburgh Festival, as part of the PBH Free Fringe, and will be staged at Bannermans Bar at 212 Cowgate, Edinburgh, from 12th-17th August 2018. Before then, there are special preview shows at the Waiting Room in Eaglescliffie, Stockton-on-Tees (their local!) on 29th July, and at Sid’s Cafe, Holmfirth (where else?) on 5th August. All performances are free to enter.

So come and say hello! Will YOU be their Foggy?


NB The capacities of the Waiting Room and Sid’s Cafe are pretty limited. The Waiting Room holds about 60 people, and Sid’s Cafe about 30… if you’re planning to come to either show, please give them a call on the numbers below and reserve a seat. Thanks!

Sunday 29th July (19:30) – The Waiting Room, Eaglescliffe, Stockton-on-Tees, TS16 0BU… Tel 01642 780 465

Sunday 5th August (18:30) – Sid’s Cafè, 4a Towngate, Holmfirth, West Yorkshire, HD9 1HA… Tel 07706 823 855

Sunday 12th-17th August (16:15) Bannermans Bar, 212 Cowgate, Edinburgh, EH1 1NQ… Tel 0131 556 3254

Official teaser trailer now online!



Series 9 Episode 5: Who's Feeling Ejected, Then?

In which Compo experiences some ups and downs…

Andrew: Here we go, then; the first episode of Last of the Summer Wine broadcast during my lifetime. Not that I expect the Summer Wine world to suddenly become a lot more recognisable… I think I described last week’s episode as ‘Edwardian’, and this is certainly not a show of 1987 in the same way that the first series was very definitely a show of 1973.

Bob: Ah, really? You think we’re entering the ‘timeless’ era of Summer Wine? That’s interesting, and a bit of a shame for you… the 1970s episodes were so redolent of my childhood, and I was hoping you’d get a similar frisson of nostalgia from the late 1980s and 1990s series. I think there are still elements of the show that reflect the feel of the 1980s (which were a lot more grim and grotty than a lot of TV retrospectives would have you believe… there was no power dressing or outsized mobile phones on Teesside, believe me) but I know what you mean. The 1970s episodes were often specifically about the issues of that decade; with the disctinctly post-industrialised landscape and issues of the Holme Valley sometimes combined with specific events like the Silver Jubilee.  There’s been a bit less of that kind of thing recently.

I laughed out loud at the opening sequence though, with Compo bouncing up and down on some unseen contraption, boinging away behind a dry stone wall. I just like the sight of old men boinging. I’m that shallow.

Andrew: Following… whatever was going on in that field, Compo staggers into the cafè. Bill Owen is clearly having a ball here, chewing the scenery with physical comedy. It’s nice to spend a little more time with Crusher here, as well. He feels a touch underused of late, but comes out with an intriguing line here:

Crusher: I never would have bothered having all them tattoos if I’d known I was going to end up in a frock.

What do we think Crusher’s tattoos are of, then?

Bob: Your baby face, all over his chest. The only appropriate way to mark your entry into the world. I thought that line was a very telling sign of the times, actually… back in 1987, big, butch bikers like Crusher were amongst the very few people that you’d ever expect to have a tattoo! The only people I remember having tattoos during my childhood were sailors and nutcases. They’re everywhere now, though. I bet Mary Berry has got one.

But you’re right, it’s lovely to have a bit of Crusher time, and yet again… there’s a lovely rapport between Bill Owen and Jonathan Linsley. ‘Howdo, little Crushy!’ cries Compo, chuckling away at Crusher’s cheek. There’s real warmth there, and it’s lovely. And hey, there you go! A bona fide 1980s reference! Ivy describes Crusher as the cafe’s ‘nuclear deterrent’. The terrifying Cold War years had only just started to thaw by early 1987… in fact, it looks like Mikhail Gorbachev started talking about ‘Glasnost’ only a matter of weeks before this episode was broadcast. You could imagine Crusher being deployed at Greenham Common.

Andrew: So why has Seymour invented this ejector seat? I’m starting to suspect we might not get an answer to that fundamental question! So far, there’s a slightly unpolished feel to this instalment. Even when Compo ponders Nora Batty – recently a frequent whimsical highlight – it all comes across as a little bit simplistic. Nora cleans, and Compo is dirty.

Bob: It’s a real departure from the format, isn’t it? There’s no big build-up to Seymour creating this invention, nor any explanation as to why he’s done so… the ejector seat is already fully formed and operational at the start of the episode. I do like this scene of it being left outside the cafe though, and drawing a curious crowd who think it’s ‘the electric chair’. There’s something that rings true about inexplicable behaviour or objects in public places causing instant consternation. My Mum says that. when she was a kid in the 1950s, she and her friends would stand in Middlesbrough town centre pointing at completely non-existent objects in the sky. Within seconds, a little crowd would gather around them, squinting at the clouds and trying to figure out the subject of their fascination.  

And, as we shift into Wesley’s garage to find a car capable of housing said ejector seat, we gain an interesting insight into Seymour’s character. ‘I’ve always known life was unfair,’ he muses, ‘ever since that terrible Christmas Day when it broke my train set’. You surely have to suspect that Seymour broke his own train set with some infernal tinkering, but like every good egomaniac, he can’t see that. As far as he’s concerned, the universe is conspiring against him… because, clearly, he’s at the centre of it.

Andrew: Here’s an oddity. As Compo prepares to be strapped to the top of the car, a video-mixed clock wipe ushers us from one filmed scene to another. Very unusual to see in Summer Wine, and I can’t help but wonder if this is because the episode is once again a little undercooked. or perhaps just rushed into production. I certainly can’t imagine that transition having been planned at the scripting stage.

Bob: A video-wiped mixed what? I had to wind that back and watch that again, you bugger. We’re not all Stanley Kubricks, you know. I see what you mean, though… the way the scene changes like a clock’s hands moving around? It’s very George Lucas!

Andrew: As soon as the car speeds off, some decent yet still very obvious CSO work rears its head whenever the camera needs to see Compo close up. That’s understandable given how dangerous the stunt looks, and I suppose the technique has a charm of its own, but I’ll never understand how nobody at the BBC ever seemed to figure out that a bumpy and jostling background plate of driving film needs the studio camera to be equally unsteady in order to look anything less than phoney!

Bob: That’s right… you distract them with the dodgy camera effects, and I’ll get down to the real business of stalking the Last of the Summer Wine cars on the DVLA website. Barry’s red Ford has a registration number of HFH 315N, first registered in April 1975, but the road tax has been due since Sunday 1st June 1986. So was this episode filmed before then, or was it an already off-the-road prop requisitioned by the BBC? I hope Alan J.W Bell had filled in a Statutory Off-Road Notification form.

Andrew: There really is nothing sexual to Howard and Marina’s relationship, despite what Marina may crave. I think Howard just genuinely longs for companionship – the kind he clearly doesn’t get from Pearl, who over the years has essentially become his mother. Rather than carnal pleasure, he has a genuine interest in the pastimes the pair use as a cover story… in this instance tracking down ‘the caterpillar of the wood moth.’ Basically, his affair with Marina is an excuse for him to indulge the hobbies that they use as an excuse to be seen together!

Bob: Get away, nobody has ever said ‘I’m sorry I wasn’t able to show you the caterpillar of the wood moth’ with as much sexual frustration as Howard. It was a commonly-used euphemism amongst the pre-Viagra generation.  There’s a real wistfulness to Marina’s response, too… ‘You look at me, you look at the wet grass, and all you think about is rheumatism.’ They’re lonely people, aren’t they? There’s a genuine sadness behind their slapstick. I think Ronnie Hazlehurst sees this too, and provides some lovely, melancholy music as they cycle away. 

Andrew: I definitely side with Compo in this episode, moreso than usual. There is literally no reason for any of this business with the ejector seat. I think it comes back to what I’ve said before about Seymour’s fundamental selfishness. This time round, he doesn’t even come up with an excuse for the batty invention, or a decent justification for Compo’s safety being put at risk. Apart, of course, from the dangling carrot of impressing Nora Batty.

Bob: It’ll take more than a dangling carrot to impress Nora Batty. But yes, I’ve written ‘WHY ARE THEY DOING THIS?’ in my notes… in big letters too, to show I mean business. To be fair, I think there are hints that Seymour just sees a big commercial market for car-based ejector seats, and thinks he can claim both fortune and glory as a result of this episode. I empathise more with Clegg though, setting up a makeshift crash mat for Compo’s trail run. ‘At my age,’ he ponders, ‘there’s something deeply uninteresting about a mattress…’ I’m actually starting to wonder if there’s a big metaphor at work here. Everyone appears to be especially world-weary. and feeling their age, in this episode.  Is the ejector seat an allegory for Seymour’s attempts to spring them all out of their torpor? Life is a trundling, untaxed, red Ford, and he’s desperate to boing them all out of it… even though we all know that, ultimately, the attempt will be futile. It’s possible I’m overthinking all this.

Andrew: OK, I’ve been disappointed with this episode so far, but I think the entire thing was worth it for Ivy’s clairvoyance! Desperate to sneak out and view Seymour’s test, Crusher tries to fool Ivy into thinking he is doing some work by leaving the vacuum cleaner on as he sneaks to the front door. As if by magic, however, she has disappeared from the kitchen and reappeared outside, ready to catch him!

Bob: That made me laugh, too… although is this the first hint that we’ve had that the cafe has a back door? I like Ivy’s line, as well: ‘Loonies of the calibre of those three will still be available long after closing time…’ There’s something terribly reassuring about that. Oh, and… Compo mentions ‘screaming his clacker off’! I’d never heard of the word ‘clacker’ until very recently, when my radio cohort Uncle Harry used it to describe the little dangly organ at the back of his throat, and I – shamefully – disputed its use in this context. But Compo is clearly using it in the same way, so I officially retract all of my doubts. Medical opinion describes it as the ‘uvula’, but where’s the fun in that?

Andrew: Given that Bill Owen has to be blue or yellow-screened onto the top of a car, I’m amazed that frail old Joe Gladwin continues to mount Wally’s motorbike and sidecar out on location. The cast often spoke of how frail he was in his later years. What a trooper.

Bob: I genuinely have nothing but admiration for Joe Gladwin and his achievements on this series; and, indeed, everything else he did in his extraordinary life and career. One day, when all of our other nonsense is out of the way, we need to work on a biography of him. There you go, it’s in print now.  We’ll have to do it.

Andrew: Barry puts his foot on the accelerator, and the contraption is off. Seymour gives the signal for the ejector seat to be engaged, and… BANG. This is the first bit of slapstick in this episode that has really made me laugh. The cloud of smoke, accompanied by Compo tumbling forward, seems so unexpectedly violent that it really caught me by surprise! It’s a great moment, but then the episode just sort of stops, without a resolution. Do we really believe Seymour would give up at this stage? There’s no particular sense of an ending.

Bob: It’s an odd episode, and it does feel like it might have been written quite quickly. I tell you what, though… you have to hand it to the Summer Wine continuity machine. There’s a credit here for Maxton Beesley, who I’m guessing might have been one of the gathered throng watching the ejector seat test-run? Whatever, the same actor has a previous credit for Getting Sam Home, where he played ‘Colin’s Mate’, one of the toolbox vultures keen to raid the late Sam’s shed for ratchet screwdrivers and socket sets. We discussed him a little in the comments below our episode review! Three years later, was ‘Colin’s Mate’ drawn up to the moors on the promise of seeing Compo flying over a hedge? Of course he was. Like me, he just can’t resist the sight of old men boinging.

Andrew: I’m convinced that something went awry during the production of this episode, and I think it’s worth pointing out that it has the shortest running time of any episode of the series. That’s what happens when you forget to include subtext! I hope my birth hasn’t jinxed the series, because that was a bit of a duffer!

Bob: It’s all your fault. We were doing fine until you came along.

Series 9 Episode 4: The Really Masculine Purse


S9E4gIn which Crusher fears he’s developed a squeak…

Bob: What an incredible view across the hills at the opening of this episode! I think this might be most we’ve ever seen of the Holme Valley in a single shot. There’s a reservoir just visible on the right-hand of the screen, too. Where we can we find that? We need to go there. I love a good reservoir.

Andrew: I think that now he knows how much Alan Bell is up for shooting on location, we’re going to see more of Roy Clarke’s love of the Yorkshire landscape coming across – a love that probably reaches its peak with the publication of 1989’s Summer Wine Country book. This scene also has a fantastic transition… from Seymour contemplating a Power behind the Universe to him immediately discounting it, due to his own lack of success in life.

We next see the trio travelling through the countryside via tractor, and a subtle bit of visual trickery. I’m 99% sure that stuntman Stuart Fell, rather than Bill Owen, is sitting on top of the tractor’s cab and that the reason the vehicle stops next to a gap in a dry stone wall is to allow the two performers to covertly switch positions. That’s some daredevil stunting right there!

Bob: I like the continuing character trait of Compo’s friends reminding him of Hollywood film stars, in increasingly unlikely fashions. Nora has previously reminded him of Dorothy Lamour, and now it’s Seymour that makes him think of the 1930s and 1940s Western movie legend Randolph Scott. Only from the back, though! It’s lovely that all of the celebrities in his head are from that golden age of Hollywood, too – all dating from around the time of the Second World War, when the young Compo was more than likely down the local flicks every other night. Like everyone, he’ll have a ‘cut-off point’ when it comes to popular culture… I bet he hasn’t seen a film made later than about 1965. It’s also the cue for a superb little Ronnie Hazlehurst ‘Cowboys and Injuns’ sting; it’s pure ‘get off your horse and drink your milk…’

I like this exchange, too:

Seymour: Would you know a cowslip if you saw one?
Compo: I didn’t know cows wore them….

What a long-lost item of lingerie is the humble ‘slip’! Do any women even wear them any more? I bet this confuses our American readers…

Andrew: In the cafè, our trio are charged 60p for three cups of tea. This is your department, Bob; how does that rate compare to what we’ve seen on the blackboard in previous series?

S9E4hBob: What do you think I am, some kind of insane obsessive? Anyway, it transpires that Seymour keeps his loose change in a small purse, something that Compo fears will fatally compromise the collective masculinity of all three of them! ‘Another tulip…’ he mutters. Although how can a man who looks like Randolph Scott from behind ever be considered effeminate? Nevertheless, we’re thrown into an episode that I’m going to pretentiously claim is an examination of traditional masculinity in the mid-1980s, and whether it even needs to be maintained in modern-day Britain. In the age of equality, is fair to consider a man a tulip for keeping his small change in a purse?

Andrew: Ivy’s reaction to Seymour’s counting out his change – much like her reaction to anything he does at this stage – isn’t a positive one, but Compo still suggests that Seymour ‘could be lucky there’. Is this a rare acknowledgement that Sid has passed on, as opposed to him just hiding upstairs somewhere?

Bob: Gosh, really? A suggestion of impending romance between Seymour and Ivy? The mind boggles. She’d never let a man like Seymour finger her buns.

Clegg is often referred to as the ‘philosophical’ member of the trio, so I’m delighted to point out that the following musing…

Clegg: How fortunate it is that your lips are at the front… if they were at the back, you’d never know what you were eating.

…is remarkably similar to a philosophy lecture that I once enjoyed at university. Yes, you read that right – I ENJOYED it! It was the final lecture of the autumn term in my first year, and the man at the lectern was the extraordinary Colin Lyas, a very respected philosophical writer, and a man who would illustrate complicated academic points by showing clips from Laurel and Hardy films in his bachelor flat on campus, while dishing out coffee and brandy to little gatherings of us pasty, wide-eyed students. He was utterly fabulous, and – in his final lecture before Christmas that year, a study of the theories of evolution vs intelligent design – said ‘I’ll leave you to mull this over during the festive season… is it any coincidence that the fur on a dog’s face stops in exactly the right places for its eyes?’

Pure Clegg, that. We should put together a Tao of Clegg compilation of his most profound utterings.

Andrew: Is the world ready for such a publication? Just look at the bother Mao’s Little Red Book got everybody in to.

From the philosophical to the physical, I’d like to draw everybody’s attention to the lovely little ballet that Compo dances, as he stands behind – and mimics – Seymour. We really must track down some of the original shooting scripts at some point, as I’d love to see how much of this kind of material was outlined by Clarke and how much was workshopped on location.

Bob: He’s a lovely little mover, Bill Owen. Anyway, back to the main theme of today’s lecture: gender stereotyping. Seymour makes it his mission to ‘rid the purse of all feminine associations’ so I guess the answer to my previous hypothesis is this: yes, in the age of equality, it IS fair to consider a man a tulip for keeping his small change in a purse. I like Clegg’s musing on Seymour ‘s diligence, too… ‘If people didn’t persevere, we’d never have such things as the Sinclair Electric Vehicle, or the Titanic!’

What a timely but unexpected reference to the Sinclair C5! Launched in 1985, it was computer magnate Sir Clive Sinclair’s ill-fated attempt to revolutionise the British transport system with a white, plastic buggy that was half-pedalled, half-electrified. For the benefit of our younger (and American) readers:

Only 5,000 were ever sold, and – by the time this episode aired in 1987 – they were already seen as something of a laughing stock. And there were plenty of them in stock.

S9E4fAndrew: There’s a rare burst of continuity here, as Seymour once again attempts to perfect his voice-activated front door lock. This time, ‘Codfanglers’ is out and ‘Marjorie’ is in, but our trio unfortunately aren’t – meaning Compo has to be stuffed through the pantry window. Once inside, we get to take in the faded Edwardian pomp of Seymour’s living room, adorned as it is with mementos of his old days as the headmaster of a boy’s school. The aesthetic is suddenly very All Creatures Great and Small, isn’t it?

Bob:  I’ve said it before, but Michael Aldridge would have made a brilliant 1970s Doctor Who. That front room is exactly how I’d imagine his TARDIS. Ronnie Hazlehurst is on sensational form here. too… as Seymour clatters away, unseen, in his workshop, his rhythmic hammering and sawing is turned into an almost-experimental little musical motif. It pretty much anticipates the entire 1990s output of Tom Waits.

Andrew: It’s an interestingly Radiophonic turn from Hazlehurst. Isn’t it also unusual to have this prominent a musical cue over a studio-bound scene? I may be wrong here, but I always associate the series’ score with its location work. It jarred me, anyway.

Bob: And ooh, another mid-1980s pop culture reference! ‘Right, little tatty Rambo…’ says Seymour to Compo, and indeed – in 1987 – Sylvester Stallone’s mumbling lunk was one of the best-known film characters on the planet. I even had a Rambo computer game for my Sinclair ZX Spectrum, so that ties everything together neatly, doesn’t it? This exchange also suggests that Seymour has a slightly more up-to-date knowledge of popular modern cinema than Compo, with his Randolph Scott and Dorothy Lamour obsessions.

Andrew: Speaking of cultural milestones I should probably point out that this is the final episode of Last of the Summer Wine to have premiered prior to me appearing on the scene. That is to say, this first screened on January 25th 1987, and I was forcefully brought screaming into the world with a pair of forceps, three days later! Obviously this makes little difference to us right now, but it will be interesting to see how my perceptions of the series change once we reach the episodes that I watched first time around.

Bob: Seymour’s solution to the problem of the non-masculine purse is to strap it to the ankle. I’ve got to say, if he launched that in 2018, it would likely become a hipster sensation. It’s a really good look.

S9E4dAnd… Wally Klaxon! WALLY! WALLY! WALLY! Oh, always a pleasure. Wally lends Compo his new boots to accommodate the ankle-strapped purse, grumbling in his own inimitable fashion that he needs ‘a bit of help breaking them in, anyway’. Do you still need to break in new shoes and boots, or do they come pre-broken in now? I can’t remember having done it since my late 1980s winklepicker phase. I just put new shoes straight on now, and they’re fine. Has there been a big footwear breakthrough at some point in the last thirty years?


Clegg: He’s not only married to Nora Batty, his boots are too tight.
Compo: Looks like real tough leather.
Clegg: She does to me…


Andrew: I know I keep saying this, but the knowledge that our time with Joe Gladwin in the series is coming to an end really does make each new scene with him feel extra special. This one really is a belter, though. At first he seems to be on a shorter leash than usual; barely making it past the front step. There’s a beautiful wistfulness to his dialogue too, amplified by a gorgeously sentimental and Chaplinesque musical cue.

Wally: I never get a chance to do things like that. You don’t when you’re married. She gives me security and full employment, but they’ve no idea how a bloke misses sheer stupidity.

Nora appears to escort him inside, of course, but she seems to do that with an extra air of tendernesss this time – at least by her own standards. I wonder if this is a slight acknowledgement of Gladwin’s waning health. This scene is so pitch perfect, in fact, that I almost wish it was the last time we got to see him.

This being Last of the Summe Wine, the air of melancholy is soon punctured by the sights of Compo’s trousers falling to his ankles. In something of a running theme, this trouser malfunction has been caused by the removal of another treasured memento of Nora – a purloined section of her clothes line. Spoken of in only the loftiest terms by Compo, he remembers her looking strikingly like Joan Crawford on that day. ‘Do you not mean Broderick Crawford?’ asks Clegg. For the sake of comparison…

Broderick Crawford Joan Crawford

Joan Crawford
Broderick Crawford

Bob: Our trio road-test the purse (and Wally’s squeaky boots, now sported by Compo) by catching the 356 bus from Blackmoorfoot to Dean Bottom. Was this a real bus route? I’m guessing so, and I’ve actually inadvertently answered my earlier questions in trying to look this up… Blackmoorfoot is clearly the home of the picturesque reservoir that I mentioned earlier!

Blackmoorfoot Reservoir

Andrew: It’s less the bus route and more the passengers themselves that fascinate me. Who are/were these people? I suspect they’re locals drafted into a bit of extra work. Are many of them still around to watch repeats of their starring moment on cable? Are their children and grandchildren thrilled to spot them? If you’re out there, get in touch!

Bob: There’s actually a bloke in the bus queue that’s a dead ringer for you! Glasses, beard, flat cap and blue cagoul. Have you time-travelled in Seymour’s TARDIS?

Anyway, Jane Freeman’s shriek when Compo dramatically lifts his leg to access the ankle-bound purse made me laugh out loud. This is a really funny climax, actually… just a marvellous bit of silly, physical comedy as Compo’s squeaky boots (in the background) coincide perfectly with Crusher’s dainty stroll around the front of the café. And Jonathan Linsley is SUPERB! ‘I’m only a lad, and I’ve been struck down with squeaky boots…’ he gasps, his face a mask of terror. What a fine piece of smalltown nonsense. There’s something truly heart-warming about the silliness of all this.

Andrew: Fantastic direction, too. For the second time in this review I’m going to invoke Charlie Chaplin. If I was to sum up Bell’s visual style in one word then that word would have to be ‘depth’. The way in which the action is framed, with Crusher bouncing in the foreground and Compo pacing in the background. conveys the gag in such a visual manner that you would still get the joke if the sound was turned off. That’s good storytelling!

S9E4aI also feel the need to note that we get to see Wally and his whippet again. I know this goes against what I was saying earlier about being content for the previous scene to be his farewell, but this is a joy.

Bob: And we end, as we began, with a glorious bit of direction from Alan Bell! A lovely final shot of Compo’s wellies teetering along a dry stone wall, with Seymour and Clegg frame in the background. Combine it with Seymour’s musings on mechanical trousers…

Seymour: You press a button, and out comes your small change.
Compo: I had a pair of trousers like that…

… and you’ve got the perfect combination of smut and beautiful scenery. That was a nice, gentle little episode that meandered along in a rather lovely, understated fashion. It’s been a very enjoyable series so far.

Andrew: That, I think, is about as good an episode as Clarke has written to date. A perfect blend of silliness, whimsy, and the oh-so-subtle grit that makes the series what it is. I much prefer the more grounded, yet equally ludicrous invention from Seymour this time around. I bet the series’ budget did, too!

Series 9 Episode 3: Dried Dates and Codfanglers

In which Seymour invents the Amazon Echo…

Andrew: You know your characters are well-defined when you’re able to identify them by their footwear alone, and Alan Bell is happy to indulge us with one of his gorgeous, signature opening shots. And we’re immediately directed back towards our poorly-maintained Names Database by another mention of an old schoolfriend…

Compo: I see Alvin Butler’s got a new wife.
Seymour: I wouldn’t say new. Looks more like reconditioned.
Clegg: Well, he was like that at school. He needed two goes at everything.

Bob: Roy Clarke likes the name ‘Alvin’, doesn’t he? There are at least two of them in Last of the Summer Wine, which is a veritable surfeit of Alvins… the only other Alvin that I can think of anywhere is Mr Stardust. And I’m putting ‘Mr Stardust’ down on my ever-expanding list of potential autobiography titles. You’re right about Alan Bell’s direction of this opening sequence, though… it’s lovely. I actually got a bit wistful seeing the shadow of the cloud moving across the landscape in very first shot! What a gentle, evocative image.

Andrew: Seymour is doing a good job of defining the series for us with his musings on life’s full circle. Life has taken him up and away from his roots, but now he’s back “playing with the backward stream.” It also doesn’t hurt that he’s discussing this while racing down a hill on an overburdened, out of control bicycle – the two eras of the show thus far have been neatly summarised!

Bob: That little sequence is a lovely encapsulation of Seymour’s character, I think… and the class differences that still possibly rankle between the trio. “I was damn glad to get to grammar school,’ harrumphs Seymour, staking his claim amongst the intelligentsia. “Bedwetters!” sneers Compo. And yet. amidst this delicious bickering, Seymour is quite clearly having the time of his life… despite the fact that. as you say, he’s “playing with the backward stream”. Compo’s response to this is gleeful – “Ah, but tha’s enjoying it, Seymour” – and Seymour’s guilty “Keep your voice down!” is charming. He’d never admit it amongst Edie’s “polite company”, but Seymour is shaking off the shackles of upper middle-class fustiness. He’s been liberated by the power of arsing around!

Andrew: Although I think I might have put my finger on why Seymour still hasn’t really clicked for me. In the cafè, he muses that he always thought retirement would be more elegant. and that more awards and honours would have come his way by now. So whereas Foggy’s schemes generally came from a place of altruism and a sense of duty, Seymour is a fundamentally selfish character. His plans are much more self-serving in nature. Compo and Clegg see straight through this of course, but I wouldn’t be putting up with him!

S9E3bBob: Foggy wasn’t entirely selfless… he always dreamed of recognition for his good deeds, I think. But I know what you mean, and I think it’s that class difference again. Foggy was prepared to work for his rewards, and actually get his hands dirty, but Seymour feels a sense of entitlement. There are some fascinating glimpses into his character in this cafe sequence, too… including “those unfounded rumours that I used to drink”.  We’ve already seen Seymour absolutely throwing back the booze in Uncle of the Bride, and it wouldn’t surprise me at all if he’d made a habit of demolishing rather too many large brandies after a difficult day at the Utterthwaite Academy. There are hints of a darker past, much moreso than we ever saw with Foggy.

I like the Crusher-inspired cake mix explosion, too. And the recurring references to Clegg’s elbow. The comic potential of elbows has been much underused in British comedy. Elbows are funny.

Andrew: Back when we embarked upon this… quest, we often remarked upon the fact that Holmfirth looked like a bit of a dump – that’s the reason it was chosen as a location, after all – but in this episode (and actually, when I think about it, this series in general) the town looks really lovely. That might have something to do with the time of year they were filming, but could it be that Holmfirth was flying in the face of the 1980s depression by actually being on the up at this point?

Bob: It was probably a result of the tourist trade! We’re at the peak of Winemania here, aren’t we? There were people pouring into Holmfirth to grab a cuppa at Sid’s Cafe! Only to discover it was actually a wallpaper shop. Although I bet even the wallpaper shop got enough passing trade to help it through any sticky patches.

Sticky patches! Wallpaper! Oh, I’m wasting my time here.

Andrew: I love the “friendship” that we far too infreqently get to see between Nora and Ivy. There’s quite a bit of evidence to suggest they can’t actually can’t stand one another, but they are united over their mutual loathing of others! We also surely can’t let Nora’s description of Wally as “That little muffin I’m married to,” pass us by. Is this the true origin of the term “stud muffin”?

S9E3dBob: Well, come on… we get to see him in leather in this episode. Anyway, are you really going to get us started on the regional differences between the names of baked goods? If you ask for a teacake in Holmfirth, you get a breadbun. Then there’s the whole pikelets versus crumpets nest of vipers. Don’t start on muffins, for crying out loud. We’ll go viral. There’ll be a Twitstorm (amongst our 46 Twitter followers). A storm in a teacake… which is actually a decent Summer Wine episode title. Are we still in touch with Roy Clarke? He can have that one.

Andrew: This episode is very heavy on detailed descriptions of events past, isn’t it? Alvin Butler’s school days, Clegg’s trouble in a ladies’ outfitters. Seymour’s dalliance with a barmaid and a home-built ice creamer (on separate occasions), Clegg’s trouble in a ladies’ dress shop, Compo’s short-lived marital problems, his flirtations with a hefty barmaid, and now sweet summer memories of Nora Batty’s dried dates. It could completely stall the episode’s plot, but for me at least this kind of diversion just draws me closer to Clarke’s characters. Their pasts help them live and breath. In Seymour’s own words, “Where does he get detail like that?”

Bob: The older you get, the more you live in the past. It’s absolutely true, and it’s nicely captured in all of this. I also like the fact that we can pin some of Compo’s reminsences down to an actual date… “that long hot summer a few years back… it just went on and on…”. He’s clearly referring to the summer of 1976, which is the first that I can remember. There were 45 consecutive days without rain, average temperatures of over 30 degrees, and we appointed a Minister for Drought! There was a plague of ladybirds as well. I bet Nora’s stockings were covered in them.

I love Compo’s references to Nora’s “Days”, too. “Monday is wash day… this was a Tuesday, she was baking”. Good grief, mow there is a lost little corner of British culture. From memory, wash days in particular were synchronised; because washing lines were strung across back alleyways, and hanging out washing made said snickets and ginnells impassable. So if the women of the street all agreed to do their washing on the same day, then at least their husbands’ drying undercrackers only held up any passing traffic for a single day each week.

S9E3eIt’s a lovely, and rare, monologue for Bill Owen anyway, and he handles it superbly. Roy Clarke’s dialogue often reminds me of Alan Bennett, and this is like a mini-Talking Heads. And the summer of 1976 was the gap between Blamire’s departure and Foggy’s arrival, so it’s interesting to imagine Compo’s passions for Nora running wild in the simmering heat, without the calming influence of a Third Man to dampen his ardour.

Andrew: And just when it seems the episode is in danger of having nothing actually happen, Howard and Marina turn up with a pair of defective bicycles for Seymour to be let loose upon. There’s a pantomimic quality to their appearances in this series so far that reveals their seaside stage show origins, I think. Compo even has a “Ay up, it’s Howard and Marina!” catchphrase that smacks of “he’s behind you!”

Bob: There’s something deeply Freudian and sexually charged about Howard and Marina’s bikes being tangled together. I bet his pump is touching her spokes.

Andrew: Now this kind of contraption I can get behind. Ever since I was a kid, I’ve had an affinity for Heath Robinson–esque home improvements. and Seymour’s gate and front door security system certainly qualify. Maybe I’m still traumatised by that giant pigeon, but I appreciate a more grounded bit of prop comedy!

Bob: Seymour’s voice recognition contraption is decades ahead of its time! Isn’t this how the Amazon Echo works? That Alexa thing? I’ve no idea, I haven’t got one. But if I did, I would program it to refuse to co-operate unless I shouted ‘Codfanglers’ in its electronic lughole. Does the Amazon Echo have electronic lugholes? There you go, there’s another potential episode title.

Andrew: We’re rapidly approaching the conclusion of this episode and I’ve just realised that the only TV Centre-bound set we’ve crossed paths with is the interior of the cafè. Keep trying Alan, they’ll let you completely ditch the videotape soon enough! I think we have a new Alan Bell trademark to watch out for as well, the tight two-shot – two characters in close up, one head hovering over the shoulder of the other. It’s all over this instalment!

S9E3gjpgAnyway, Crusher and Wally arrive with their respective mistresses’ demands for the return of their appliances. and in order to get back into town everybody piles into Crusher’s comically small  Citroen 2CV. All except Compo, that is, who is dragged behind while precariously perched on top of Howard and Marina’s fused bicycles. There’s a lovely community feel to this oh-so-silly ending that seems entirely fitting for an episode that has been so focused on personal histories. Top marks!

Bob: I just can’t stop imagining the conversation that Wally and Crusher had, cramped together in that car on their way over to Seymour’s house! Especially now we know that Jonathan Linsley and Joe Gladwin were good friends, and often sat together on the coach to filming locations. You know what, Jonathan’s memories of Joe’s stories is one of the loveliest rewards that we’ve had for embarking on this bizarre quest. I’m so glad we got to hear those. And you’re right, all of this is tied up with a delightul feelgood ending with a genuine ‘team Summmer Wine’ feeling to it.

And the lamb at the end is a perfect punchline! A very nice episode indeed.

Return To 'Uncle of the Bride'

‘Uncle of the Bride’ represents such a turning point in Last of the Summer Wine’s history, we felt it was only proper to take another trip down to Holmfirth to document its many locations. Three trips and almost two years later, we finally cobbled together a location report!

An Interview With Jonathan Linsley

As Ivy’s imposing yet benevolent nephew Crusher, Jonathan Linsley delighted Last of the Summer Wine viewers during his stint on the show in the mid-1980s. The Summer Winos were delighted when he agreed to speak with us about his fascinating career, taking in everything from Pirates of the Carribean to Noel Edmonds’ adandoned shower…

We know you’re a Yorkshireman, but whereabouts are you actually from? We’ve seen Bradford mentioned, but also Skipton, in North Yorkshire…

I was born in Bradford, but my dad moved to the Midlands with his job when I was three, and we lived in a place called Halesowen, just south of Birmingham, until I was eleven. Then we briefly moved to Tamworth, in Staffordshire… but then my dad retired from working in industry, and we moved up to Skipton, where I went to Ermistead Grammar School. He actually bought a small village shop. So I ended up being brought up in Skipton, from the age of about twelve.

Was acting something you were enthusiastic about at school?

Yeah. When I was a very little lad, my primary school did school plays, and for some reason both my brother and myself were very keen on being in those. I think my mum and dad had always been keen on amateur acting, and they pushed us forward. My mum used to take us to the Methodist chapel for Sunday School, and we used to get up and do recitations, so there was always this thing about learning poetry and performing. My mum was very supportive… although she didn’t like my accent for a while, when we lived in Birmingham!

Ah, really?

Well, I always say I was brought up bilingual, because my mum was from Cockfield in County Durham, near Barnard Castle, and my dad was from Ramsgate, and went to school in Birchington, and they met during the war when he was stationed with the tank regiment in Barnard Castle… they met at a dance and fell in love. So during my youth, my dad would always say ‘have a b-a-r-th’ and ‘mow the gra-r-ss’, and my mum would say ‘have a laff’! And then moving around – because I went to three different schools – I became very aware of the way people speak, and of different accents. It’s peer pressure, too; to fit in with your peers, you want to speak with the voice that they speak with. So I probably had a Yorkshire accent right at the beginning of my life; then a bit of a Birmingham accent; and I also learnt a bit of RP from my dad, with him coming from Kent; and then got a little bit of County Durham from my grandparents. So I always aware of all kinds of people speaking with different accents, and I think that’s part of the reason that I became an actor.

We’ve also seen you talk about an English teacher called Mr Thomas, who seemed to encourage your talent for acting?

Yes, Gordon Thomas… who we used to call ‘Delmi’, because Delmi Thomas was a rugby player at the time. When I went to Ermistead School, I had a couple of very good English teachers, but particularly Gordon Thomas, who was interested in school plays, and putting us all forward for drama. He suggested that it might suit me to apply for the National Youth Theatre. In those days, they used to hold their Northern auditions in Manchester… but all the seasons were in London. And so I did my audition in Manchester, and was lucky enough to get in, and did two seasons in London, and it was very interesting. I really enjoyed it, and got a taste for it. You performed, in those days, in the Shaw Theatre in Euston Road, so it was like being in the West End.

I was a young lad, fifteen or sixteen, and it was fantastically exciting to be in London… it was an eye-opener coming from a small Northern town like Skipton, and suddenly being in the big city meeting fairly important people in the theatre world. And a lot of the people that I was at the National Youth Theatre with have gone onto other things, and been in the business, so that was interesting… and my attitude to theatre changed, with me starting to think that it could be a job, rather than just a hobby. My parents just assumed that it was going to be a hobby, and didn’t really approve, and my mum used to ask me why I wasn’t going to get a proper job! And quite understandably so, because she was obviously well aware of the fact that an actors’ life is difficult at times, and not everybody makes a living. It’s not a well-paid profession if you don’t make it.

So was pursuing an acting career a big decision for you to make?

Well, I always thought that it was what I wanted to do. I met a guy called Ken MacDonald, who was in It Ain’t Half Hot, Mum, and he directed me in a show at the Youth Theatre…

Kenneth Macdonald
Didn’t he go on to play Mike the landlord in Only Fools and Horses, too?

…yes, that’s right! He was a nice fellow, very helpful, and what he basically said was that if you’re practical about it, you can make a living. And he was nice enough to say that I could make a living as an actor. And, of course, this was the mid-1970s, when no profession seemed very secure; inflation and economics were crazy, and the whole country was changing… so it wasn’t quite such a mad idea. I have to say that my school wasn’t so supportive in terms of me making it my career; they didn’t think it was a sensible thing to do, and of course my parents wanted me to go to university and get a degree… what’s the phrase they always use; ‘something to fall back on’!

So I followed their advice and applied to university, and started reading English and American Studies at Warwick… but I was completely bored by it, so I changed courses at the end of the first year, and went on to do a Theatre Studies degree – a Drama degree, effectively – and, when I graduated from Warwick, I went down to the Bristol Old Vic and did a one-year post-graduate course. In those days, the Department of Education and Science used to give a bursary to the one drama school in the country that did post-graduate work, which was the Bristol Old Vic, and they funded two places a year… and I got one of those. I remember having an interview with the people from the North Yorkshire Education Department, and they basically said ‘What are your chances of getting a job in Skipton, or North Yorkshire?’, and I said ‘Pretty grim, really… there’s not much television actually based in North Yorkshire’. Northallerton is not Hollywood! So yeah, I was lucky… I applied for the bursary, got it, went off to Bristol, and that was how I got started in the business.

But yes, it was a big decision, and I took advice and listened to professional actors. The thing about Ken MacDonald was that he wasn’t a big star, but he was a very good jobbing actor. And the advice that he gave me was very important to me; he basically said that the business was very fickle, and that I shouldn’t put all my eggs in one basket… but, because of the size and the shape that I was, I could probably make a living as a character actor. And in those days you had to stick yourself down as ‘character actor’, ‘leading actor’, ‘young character’ in Spotlight…

You had to make that decision yourself, and decide what kind of actor you actually were?

Yeah! I remember one agent saying to me ‘You’ve got a choice here… you can either be a fat actor or a thin actor’. And that was quite interesting, because I’ve been both!

So did you have ambitions to work on TV at this stage?

Not really, no. When I started, I absolutely adored the theatre, and I only wanted to be in plays. When I left university, I was quite left wing in my politics, and I said I would never do anything commercial or mainstream… ‘how could you possibly want to be in a soap opera?’… or something! I would only do things that were important and would change the world, that was the idea! And I was lucky when I first got out of drama school, I did forty weeks in rep in Ipswich, I played a lot of different parts in plays, and I did a bit of teaching while I was there. But then, of course, the first television jobs that come along are commercial! Telly, and actual adverts… and you know, you suddenly realise you have to prostitute your talents a little bit, and make a living. That’s if you’re hoping to pay the rent in London, and have a car… all the sorts of things that normal people accept as being as things you want to have. Otherwise you have to live in a bedsit for the rest of your life, starving in a garret, being an artist with principles! And I decided I wasn’t an artist with principles that much.

Although I’ve never advertised anything I don’t really believe in. I’ve never advertised cigarettes, for example, or anything that I didn’t think was good for people. But it’s a different world now… people don’t consider the morality of what they do, they just get on and do it. And there’s no career path either; you can go from being a big star overnight to a nobody the next day, or vice versa. I remember Peter Sallis saying to me, when I first met him… I did the stage play of Last of the Summer Wine before I did the television series, and that meant spending a lot more time with people than you would on television. So I probably knew Peter, and Bill Owen, and Jane Freeman better than I knew the others on the series, because they were all in the stage play with me. And of course, I was forty years younger than just about anybody else on the programme, so they were keen to give me advice. And Peter said to me that the career path for him – and for most actors – was that if you’re lucky enough to become known by your fellow actors, then that’s the start, and if they respect you and your reputation is good, then you get known by directors and casting directors, and if that works out, then you get known by the public. And that’s the way to do it.

Thirty odd years on, I think the career path has changed… it’s kind of backwards now. You get known by the public if you go on reality television, and then the casting agents get to know you, and then your fellow actors start to meet you for the first time. It’s interesting. That’s what’s happened to the world of the theatre.

When I started out, I worked in the theatre and I wanted to be a stage actor… and you’re faced with choices, aren’t you? I remember facing the choice of going into the RSC, to spend sixty weeks carrying a spear, basically, at the back of the chorus… or going into the Last of the Summer Wine stage play with the option of maybe, one day, meeting some of those famous people and hoping they would get me into the television show. And luckily they enjoyed what I did, and Roy Clarke liked what I did, and Alan Bell liked what I did, and they gave me the job on the telly show. But there were no guarantees of that when I took the job… I could have gone to the RSC, ended up being in theatre, and playing Shakespeare for the rest of my life.

Do you remember how you found out about the stage show?

Yes, through an agent. I was with the same agent for almost 25 years, with CCA – a guy called Howard Pays – and they were obviously looking for people to be in the stage play of Last of the Summer Wine. What had happened was… Roy Clarke was going to write a summer season, called Last of the Summer Wine, and it was going to go on a short commercial tour, starting at the Alfred Beck Theatre in Hayes, in Middlesex. And then it was going to travel down to… I think Cardiff, and one or two other places, before going into summer season in Eastbourne. And it was offered as a job, and we rehearsed in London for it in a church hall, and in the first week that we were there, the script that Roy had written was like a long episode of Last of the Summer Wine. It was about an hour long, it sort of meandered, and didn’t really have a plot, because Roy wasn’t an experienced theatre writer. He was a television writer, and he understood the medium of television completely… a lot of short scenes, a lot of funny lines, a lot of one-off things. And I can remember after four or five days of rehearsals, the director Jan Butlin and the producers of the show said ‘You’d better go home… I think Peter [Sallis] and Bill [Owen] are going to spend some time working on the script’. And, basically, Peter and Bill reworked the script and turned it into more of a seaside holiday farce. I think it would be fair to Roy to say that that’s what happened, and I don’t know how much Roy was involved in that. And when we came back, we had a beginning, a middle and an end… and a farce. Obviously Roy created all the characters – Howard, Pearl, Marina, and myself – and I think originally they’d asked Brian Wilde to be in it, and he said he didn’t want to do it, so the device – was which Roy’s device – was that Foggy was ill upstairs in bed, and was banging on the ceiling when he needed anything. So he was a presence in the play, but he was a stick! That’s all he was, his walking stick. Jan Butlin had done a lot of farces, and had a lot of experience of comedy shows, so she was very in helpful making the show work.

My character was quite threatening, and not at all like he ended up. He was supposed to be insanely jealous of his girlfriend, who he’d thrown out of the house in just her bra and knickers, and Compo had found her, taken pity on her, and invited her into Clegg’s house in order to look after her! And obviously his motives were completely pure! But I also happened to be the bread delivery boy in the village, and – of course – I was delivering bread to Clegg’s house. So I turned up and found evidence of my girlfriend being in his house, and I think I’ve found one picture – which I’ve posted on the web – of me grabbing them both round the neck.


We’ve seen it! Crusher looks like much more of a Hells Angel kind of figure than he was in the TV show…

That was the look we were going for, the tattoos and the leather… he was a biker. We did the show for two years, finishing in Eastbourne, and then they rang me up again and asked if we’d do another short tour and take it to Bournemouth the following year. And inbetween… I did some other telly, actually. I did a Dempsey and Makepeace, and one or two other things. And then I went back to the Summer Wine stage play, and at the beginning of the summer season in Bournemouth, John Comer sadly passed away. And I got a phone call from Alan Bell and Roy Clarke, who said ‘Look, we’re thinking bringing your character into the series as Ivy’s nephew, so you’ll be the male presence in the café, taking over from John’. And being Ivy’s nephew changed me from the stage play character… I was altered quite considerably, and – therefore – never did the stage play again. I think they took my character out and put another character in, and the following year the play was called Compo Plays Cupid, and it went to Blackpool with a completely different cast.

So, going into the television series, I had to be softened a bit, and made to fit the more Summer Wine-ish role of the boyish male, incapable of looking after himself without a woman telling him what to do… which is the central essence of the Yorkshire humour in Last of the Summer Wine. All the women are mums, and all the men are children. It’s the basic philosophy of the programme!

Between appearing in the stage play, and joining the Summer Wine TV series, you appeared in a BBC2 sitcom called The Hello Goodbye Man… any memories of it?

The Hello Goodbye Man
was the first time I worked with Alan J.W. Bell… he directed it. It was a David Nobbs sitcom and there was more ‘goodbye’ about it than ‘hello’! It sank without trace, I’m afraid, though it had some good track records in its favour; Ian Lavender and Mary Tamm were both in it.

What happened was… I was doing the Last of the Summer Wine stage play and I met Alan when he came down to the theatre to watch the show.  At the time I was being asked if I’d be interested in being in Minder to play Patrick Malahide’s sidekick,  but I was doing the Summer Wine stage play in Easbourne and I wasn’t free. I was telling Alan Bell about it, and he said ‘Oh, I’ll get you some telly after you’ve finished, because I’m going to direct a sitcom and there’s a part that you can play… you can be the enormous chef!’

Basically the gag was that Mary Tamm and Ian Lavender went for a meal in a restaurant, and the meal was so dreadful that she kept saying, ‘Stand up for yourself and be a man!’ So Ian said, ‘Right, I want to see the chef!’ I came on, and I was six feet tall, and I think they actually put me on a pancake so I became about six foot nine. I towered over Ian! And he said ‘I just want to say that this meal was… really, really nice, thankyou very much indeed’.

Then Mary Tamm said ‘Stand up for yourself! It doesn’t matter how big he is!’… so he gave this very long, very good David Nobbs description about how bad the meal was… and I said ‘I know, I’m on a Job Creation Scheme and I’ve never cooked anything in my life!’

They came back to the restaurant on a regular basis as I got better at cooking. Ian Lavender’s character was selling medical supplies and one of the best gags – and this will give you an idea of how bad the programme was – was him asking somebody in a chemists shop what they needed in the way of supplies, and the bloke replying that he had everything he needed. Ian said ‘Have you got enough suppositories… because I’m bending over backwards to sell them!’

[We all actually laughed heartily at this stage, so perhaps credit is due to David Nobbs after all!]

I learned a lot on that show, because we shot it live in front of a studio audience, just as the Summer Wines that I did were shot in front of a studio audience at BBC Television Centre. And there’s a whole saga about dressing rooms at the BBC… who gets them, and what’s in them. I was a newcomer to Last of the Summer Wine and I was the only person in that show who needed a shower, because I had to put so much crap in my hair to make it slick back! And you’d have thought I’d asked for a gold-plated Rolls Royce. ‘You can’t have a shower! You don’t even qualify for an upstairs dressing room; you have to be below ground with no windows’. Apparently the BBC at the time had a thing about whether you got a dressing room with a day bed or a sink in it, and whether you shared a communal shower, or had a bathroom and a toilet. If you wanted to wash your hair, they used to give you BBC towels that you had to sign out; they had a BBC monogram in the corner. I said, ‘Well I’ll just bring my own towel from home,’ but I was told ‘Oh no, you have to use a BBC towel!’

That was probably transgressing some kind of union rule!

Yes, probably! I once asked Noel Edmonds, who had a very nice dressing room on the upper floor, if I could use his room when he’d finished with it, because he used to fly off home in his helicopter,  and there was an empty dressing room for the rest of the day! Well that really upset the BBC because I’d gone outside protocol and asked another performer directly. Of course, Noel said it was no problem at all, he wasn’t using it. But the BBC said ‘Well, he might come back and use it later…’

He’d fly back in on his helicopter…

Exactly! He’d gone home to his mansion in Hertfordshire or wherever it was – as if he’d care! I fought really hard, and eventually – I think in the third series I did – they gave me a sink. I’d worked my way up to a sink at that point.

That’s when you know you’re a star…

Yeah, when you’ve got a sink and a day bed you’ve cracked it! You’ve got somewhere to lie down when you’re tired. That was pretty amazing. But of course, things changed after that… because the whole show moved out and went almost entirely on location, didn’t it? It was starting to happen anyway… I think when we did Uncle of the Bride, that was filmed at Elstree and there was no live studio audience on that. It was made as a film.

The facilities were changing, and they also were getting rid of the rehearsal studio at Acton. They used to call it the Acton Hilton. Everybody would be there… Marti Webb would be doing her thing; arriving in her Rolls Royce and parking next to your crappy old Ford Capri. It was great. I loved it, because it was a great leveller and I’ve never been a great one for respecting superstardom and things like that. So that’s what I loved about working for that period of the BBC. Of course I’m joking about the dressing rooms to a certain extent, because ultimiately there has to be some sort of rule. They were paying such rubbish wages that they had to give the stars something extra! A shower and a day bed didn’t seem much really. It saved them a lot of money… and you got a towel with ‘BBC’ written on it! The saddest thing was, I was so honest I never kept one! And now I bet a BBC towel would be worth a fortune. I could autograph it, stick it online and sell it for hundreds of pounds. What a shame. Mind you, wouldn’t it have been terrifying if you’d got stopped by somebody on the door saying ‘Have you got one of our towels?’ ‘Oh, I was just taking it home to show my wife…’

Stepping into the cafe as Ivy’s new companion, did you ever worry at all that John Comer would be a tough act to follow?

It never crossed my mind, because I was so much younger than he was. If I’d been fifty, and coming in as Ivy’s new partner, that would have been a very different dynamic. The idea that Sid had passed away… I don’t know that they actually mentioned it, did they? Nobody ever told me whether Sid had just retired, or gone to live in a back room and never appeared again…

A couple of series later we see Ivy talking about him, and it’s clear that Sid has died, but it takes a few years to be acknowledged in the series, yeah…

…yeah, so I assumed that I was Sid and Ivy’s nephew, and that she was doing a big favour to my parents by giving me a job, which was a slightly different dynamic to being her partner. And I was also very aware that the character I was going to be playing was completely dumb!

Summer Wine had broadened. When I was a kid, I loved Summer Wine, but it was basically about a library, and three old boys who spent a lot of time there, talking and keeping warm. So the early series, which I was a fan of, had changed dramatically, and moved much more towards farce. Also, Terry Wogan had pushed the series on the radio, and talked about Nora Batty, so that whole Wally-Nora-Compo love affair had suddenly started to take off in a big way. And I had lots of hobbies – I canoed, I had a motor bike – and so for several episodes I was the reason that Compo was able to impress Nora. So I knew that I was going to be friends with Compo, because we really hit it off. As characters, I always trusted him, whereas I never trusted the slightly more authoritative Foggy, or the slightly more middle class Clegg! I related totally to Compo as a character… and, funnily enough, as a man as well, because he [Bill Owen] was a very good friend of mine. I liked Peter [Sallis] very much, and could spend a long time talking to Peter, but I would never have called him my mate. Whereas Bill and I had a lot of laughs together.

You probably shared a few politics as well, by the sound of things…

Yes, that’s generally true. It’s quite interesting actually, because I also directed and appeared in a lot of pantomimes with Ken Dodd. And Ken was a big supporter of Margaret Thatcher and the Conservative Party, and so we didn’t really see eye-to-eye… but Ken admired Bill Owen in a big way as a performer, and also admired his politics, because he was so pure about believing in socialism, and being a lifelong member of the Labour Party, and the Unity Theatre. And I think Ken kind of liked that, in a strange way.

I’ve always been attracted to people with real talent. And, when you work with people, you can be friends with people with real talent, and I’ve always felt flattered if people like me, because they obviously think that I’ve got some talent. And I’ve got advice from older actors and older performers. It’s stood me in reasonable stead throughout my career.

We were interested in that, actually… because you have great double act with Jane Freeman in Last of the Summer Wine, who was quite a bit older than you. How was she to work with?

I loved Jane, she was fabulous. She was very professional. She’d come through the theatre too, working at Birmingham Rep, and I think I’d seen her in shows there when I was a child… because she must be 25 years older than me. I know she was very experienced when I met her. The extraordinary thing about Jane was that, as I was leaving the series, she was doing a very successful series of commercials for John Smith’s Yorkshire Bitter. She played the wife of Gordon Rollings, who was a character called Arkwright, and there was a distinct similarity between Last of the Summer Wine and those commercials… they were set in Yorkshire, they lived in a terraced house, all that kind of stuff. Anyway, Gordon passed away, and they were looking for a new person to continue the commercials… they had the Oxo family, and the coffee adverts, where you got interested in the relationships of those people… they were kind of soap operas. So they asked me, after I left Summer Wine, whether I would do the commercials with Jane Freeman, and I came in as her toy boy! I played a character selling John Smith’s Yorkshire Bitter, and I was very like Gordon Rollings’ character, except that I was 25 or 30 years younger than him. You could get paranoid couldn’t you, thinking your only jobs were going to be when people passed on?

Romancing Jane Freeman in an ad for John Smith's Bitter.

So, yes… I loved working with Jane. She was lovely, a very nice woman. She was also married to the producer on The Bill, Michael Chapman, and I did The Bill for a while, when Michael was there, so my career has been interwoven with Jane and her family over a number of years. But like a lot of the older members [of the cast], they were kind of my parents’ generation, rather than my generation, so I didn’t socialise much with them.

Although I socialised with Peter Sallis in Eastbourne, because he was going through his ‘I’ve never been to a nightclub’ phase! And we used to take him out to nightclubs and discos, and he thought it was brilliant. Bill was a bit older, so he was more into cooking supper for me… he would go to Marks & Spencers to buy some nice food, and make me supper in the evenings after filming, which was very kind of him. And we’d play a bit of golf during the day… but only pitch and putt, not the serious 18 holes! I don’t think Bill was much of a golf course chap…

But yes, I liked Jane very much, she was a good person to work with. But after I’d done the commercials, we didn’t really stay in touch. It wasn’t because we weren’t close friends or anything… it’s a bit like in the theatre; you meet people, you’re very friendly with them for a short space of time, and then you drift apart because it’s such a peripatetic job. It’s the way it is, really.

One actor that fascinates us, not least because it’s been so difficult to find out any information about his life, is Joe Gladwin. Do you have any stories about Joe that you can share with us?   

Oh, I’ve got loads of stories about Joe! I used to spend hours on the bus with him, or sitting in the caravan, in the rain! Joe told me all of his stories about his early life…

Really? This is gold dust! We couldn’t find out anything his life before the late 1950s, by which stage he was already fifty years old…

Right… when he was young, his dad had a coal business in Manchester. But, more than anything else, Joe wanted to be a Music Hall performer. He wanted to be a singer. But his dad wanted him to work in the coal business, so Joe had to drive up to Morecambe, to the docks, in a steam lorry. And it would take four hours, because the lorry had a regulator on it which meant that it would only do about 12mph… but if you took the regulator off, it would do 18-20mph! And one day, Joe was late for a show in Manchester, where he was due to perform as a singer in a Working Mens’ Club. He’d have been 17 or 18, something like that. And he was driving back in the steam lorry, and decided to take the regulator off the engine, so he could go a bit faster and get back in time to perform… because, obviously, he’d have to get washed and put his suit on, and get down the club. So he got back… but, unbeknownst to him, the sides of the lorry had bounced off on the rough roads from Morecambe! The name, ‘Gladwin’, was on them, and another driver – who knew his dad – picked them up, took them round to the yard, and said ‘Look, your lad has lost the sides of the lorry!’.

So Joe’s dad sent a message round to the Working Mens’ Club and said ‘Tell him not to come him unless the sides are back on the lorry, and tell him not to take that regulator off again!’ He knew he must have been speeding, to get back in time for the show… and he didn’t approve. So, after that, Joe gave up driving altogether, and went into a double act with a pianist. They hadn’t got a name, but they got some gigs touring in Wales, and while they were there, they saw a lorry… and the name of the company on the side was ‘Evans and Bevans’. And they decided that that would be their name, and for quite a while, they actually toured as ‘Evans and Bevans’.

And then Joe went into Music Hall as a comedian… they noticed that he was little, and weedy, and skinny, and quite lugubrious with that hangdog look, and he was taken on as part of a sketch show, a comedy trio. I think it was actually Rob Wilton that he worked with, and Joe would come on as the World’s Strongest Man! He had a leotard, like all circus strongmen would wear, made of leopardskin and hooked over one shoulder, but he used to wear it over his long johns! They’d chain him up to a huge anvil that took three stagehands to bring it on, and put these massive cuffs on his wrists, and then he’d start trying to get out of it… and then – if it was Rob Wilton – he’d be in a box in the theatre shouting ‘He’s rubbish! He’s the worst World’s Strongest Man I’ve ever seen! He’ll never get out of that!’

And then they’d drop the curtain, and somebody else would come on and sing a song, but behind the curtain you’d see a blacksmith arrive in silhouette, with a coal chisel and a sledgehammer, and they’d start to try and get Joe removed from the anvil! And then you’d see some people coming on with a stretcher, and five or six stagehands would lift him onto it – still attached to the anvil – then the curtains would go up, and Rob would still be heckling, and then – right at the end of the show – the audience would see Joe carried right down the aisle of the theatre into an ambulance that was waiting to take him away!

But then, of course, what happened was that the Music Halls started to close. And this made him very sad; he used to get a bit tearful. As television took over after the war, there was no work for the performers all, and they used to do something called ‘Park Shows’, which I’d never heard of until I met Joe, but – when the theatres closed – some of the theatrical managers and agents booked the big Music Hall stars into shows on bandstands in parks. And he told me that he’d see performers that had been real superstars of their day, working a park in front of people who were just walking their dogs, or kids that might sit down and watch. It was quite sad. But then, of course, he started in television, because television cottoned onto the way he looked and the way he spoke… and later in life, obviously he became a star, getting the job in Summer Wine, and in other stuff, too. He did something with Hylda Baker, I think? [The ITV sitcom Nearest and Dearest, 1968-1973] But he always drove a Hillman Hunter, a little brown car; he lived in the same house in Manchester all his life; and he drove this Hillman Hunter over to Huddersfield to film Last of the Summer Wine, and had his own parking space at the back of the Huddersfield Hotel.


Was that the place that you all stayed in?

Yes, owned by Johnny Marsden. The hotel had a disco and a nightclub attached to it, which none of the other Summer Wine cast went to, but I did – because I was a young man, I was 24 or whatever. And the DJ in that nightclub had been Peter Stringfellow! He’d started in Johnny’s nightclub in Huddersfield. And it’s funny… a photograph that I’d signed came up on Facebook the other day, and it was one I’d written to Johnny. ‘To Johnny, I always enjoyed staying in your place…’

Anyway, to finish about Joe… the other side of his life was that he was a lifelong Catholic, and he was a Papal Knight, for all the work that he’d done for Catholic charities.

It’s interesting watching your period of Summer Wine now, because Crusher almost has a hint of what was then called ‘alternative comedy’… you could just about imagine him being a character in The Young Ones. Do you think Crusher was Roy Clarke’s little nod to that emerging school of comedy?

I think… the thing you can say about Roy Clarke as a writer, is that he was truthful. Even though they were ridiculous situations, there was a grain of truth in everything he wrote. As a result, it meant that – as a performer – you could always find the truth in it, and the best comedy comes from truth. If it goes too far, and becomes surreal – a bit like The Young Ones – then I think it kind of loses an element of that. It just becomes people banging each other over the head, and you lose the pathos and the poignancy that Summer Wine has.

So I think Roy was very clear that he didn’t want to write that kind of comedy… but, having said that, he was also quite up-to-date. What I brought to the role was the Walkman, and playing the brush, all those kind of things… they weren’t in the script. It was the early 1980s, and the first Sony Walkman would have been the thing a young man wanted! And Roy Clarke and Alan Bell became very aware of the comic potential of wearing headphones… because, as soon as you’ve got them on, listening to music, you can’t hear what’s behind you! And also, in the early 1980s, there was that slight punk feel… which had happened in the late 1970s, and we brought that in. The wristbands and the leather and the studs, and originally I had a ripped t-shirt with safety pins in it. That was the fashion at the time, and I think all we were trying for was to be fashionable. Crusher was a product of his time. And that made him a little bit anarchic, and a little bit difficult… so that’s why I can see what you’re saying about The Young Ones. Here was a different generation coming into a television series that was really about the older generation. They hadn’t had a youngster in the show at all, and I was very aware of that.

It also created a kind of instant fame overnight… I hoovered up all the children that were watching Summer Wine, because they all related to my character!

And was that a life-changing experience? Did you have hoards of kids following you down the street every day?

Absolutely! I couldn’t sit on a bus, or go on a ferry to the Isle of Wight… you’d be sitting opposite somebody, and they’d go ‘Aw… I know you…’! And also, when I was in the series, there were only three or four television channels, so we’d do an episode of Summer Wine on a Sunday night and it would pull in 19 or 20 million viewers. Whereas seven or eight million is a huge audience these days, in those days 21 million was nothing peculiar. I remember once, at Summer Wine Headquarters in London – the Acton rehearsal studios – somebody saying ‘Have you seen that we topped EastEnders this week?’ And everybody was really chuffed. For a little while, it was the most popular television programme in the country, and you were in your living room while I was in your living room. So inevitably, those people are going to think that they know you… that you’re part of the family, almost. And it was such a family show, Grandmas sat and watched it with daughters, and sons, and grandchildren.

That was both of our experiences of watching Summer Wine when we were growing up…

Yeah! I can’t tell you the number of letters I got from little lads saying ‘My Mum hits me round the head when I play my Walkman… does it hurt, when your Mum hits you?’ They didn’t care that it was my Auntie Ivy, she was my Mum to them! I used to get lovely letters. I got one from a little lad that said ‘Can I have an autographed photo of you? And can you send one for my little brother too, because Mum says we’ll fight over it!’ Kids didn’t understand their mums and dads, and suddenly they were watching a television programme where I was the closest thing to a child in the show. And I was childlike… that was the whole joke of Crusher, he looked like he could extripate your Granny, but he was actually just a loveable, gentle kind of bloke who wanted to make everybody happy.

And I liked playing him, because there was an element of me in him.

Really? We wondered, because you’re clearly a very erudite man, and Crusher… isn’t!

No, he’s not very intelligent, but his heart’s in the right place. That’s the thing, and that’s what I always wanted to find in him… and the thing I found in me. I think I’m a fairly generous spirited and big-hearted person, and I’ve always wanted to make people happy and please them and do the right thing. And I wanted to put my generosity of spirit into Crusher. I used to drive my mother insane, because people would say ‘Is your son like that in real life?’… and she’d say ‘No! He went to university, he’s got a degree, he’s done post-graduate work!’ And I used to say ‘Mother, don’t argue with them… just say yes, I’m exactly like that in real life, and haven’t I done well?’

I think the really interesting thing about watching Summer Wine from the start, as we’ve done, is that it’s almost like a social history of the UK and particularly Yorkshire at that time. I [BOB] was born in 1972, so for me, watching the first ten to fifteen years of the show is like watching my childhood. And it really brings home how much Britain has changed since that time.

I think there’s a lovely nostalgia feel, and a rural nature to it. The small town where everybody knows everybody, and everybody is related to everyone else in one way or another. I can remember, when I was a child, nobody locked their doors, and everybody was in and out of each other’s houses. There was a man who worked on the Fell who had a shed, and fettled engines – he was a Wesley! And I used to meet three old blokes, walking across the Cockfield Fell when I was a little boy, and they made me play horseshoes with an iron stake knocked in the ground. But you’re right; there is an element of social history about it.

And when you hear that theme tune, it’s very wistful. I’ll tell you a really extraordinary story. I did a feature film called Phantom of the Opera, and I flew out to Budapest to film in the Opera House there. I was with Stephanie Lawerence, and we’d just arrived in Budapest, and went to one of the big hotels there. It had an atrium in the middle, and an aeroplane hanging from the ceiling, with the Hanging Gardens of Babylon coming down the middle of the hotel! It was an extraordinary place, with a glass ceiling and open lifts going up the inside of the building. I stepped into the lift, and as the door closed the lift music was the theme tune to Last of the Summer Wine! I’d left the series by then and I just thought ‘It’s following me! It’s haunting me!’ I looked around to see if somebody had arranged it… that is genuinely true.

I also think Roy had a fantastic ear for what people said. I think – perhaps because he was a copper, and an insurance salesman, and did all sorts of other stuff before he came to writing – that he was just a great observer of people, and he could turn a phrase. He gave me some wonderful things to say that I treasure now. They were very easy to deliver. Basically, you don’t need great comedy timing to deliver great comedy lines. That was very much part of why I enjoyed Summer Wine. It was a joy to get the scripts and read them. Quite often, actors will only read their own parts. But I used to like reading the whole half-hour episode of Summer Wine when I got it through the door… I knew my part would be in it, but I used to like reading the whole story.

Alan J.W. Bell also had a big part to play in the popularising of it, because I think it would have stayed as a minority-viewed alternative kind of thing… but what Alan brought to it was a much broader slapstick element… of falling off roofs, sliding down mountains, getting on beds and being towed behind cars.  All that was definitely brought in by Alan. He encouraged it, because I think he recognised how popular it all was. I liked Alan, and I listened to him a lot, and he certainly knew what made the comedy tick. He was a technical director much more than an actor’s director. I think he relied on good casting. Once he got the actors in, they could do their own thing, and he tended to just put the cameras in the right place and shoot it. When I say that, it sounds like I’m belittling his skill, but no – his great skill was allowing the actors to do their own thing, and facilitating that. He understood that if you cast well, then good actors will make it work for you. He didn’t presume to tell us how to do the job.

The series becomes much more photogenic when Alan takes over… he got some incredible shots into it.

You can see it. You can tell the difference between Alan and Sydney Lotterby… just with the shots of three feet in the foreground, or the beautiful sunsets. All that kind of stuff.

It was interesting that you mentioned earlier about having to choose between being a ‘fat actor’ and a ‘thin actor’. Legend has it that you came back after one of the series’ breaks, having lost a lot of weight, and that’s why Crusher wasn’t in any further episodes. Has that been embellished over the years, or is that pretty much the true story?

I’ll tell you what happened… and this is God’s honest truth. The BBC are not the most generous of employers in terms of salary. I saw myself as a regular in a very successful TV sitcom, and I felt – after doing a number of years, and having served my apprenticeship in the stage play – that they should really ring me up a little bit in advance of a new series, and say ‘we’d like to book you’. They did that for Joe Gladwin, they did that for Jane Freeman, they did that for Kathy Staff, and of course for the three stars. And I’m not saying that I got too big for my boots, I was just advised by my agent that, really, it would be a good idea if we could actually know when I was expected to be working on Summer Wine.

What they used to do was wait until the last minute to book you, in order to wait until you were unemployed, in the hope that you would keep yourself free, and then they could get you for less money. That was the deal. That was how it used to work, and it was a bit of a game. And during the course of that year, the year I made my last series, I rang the BBC and said ‘Look, am I going to be doing Summer Wine?’ And they said ‘Well, we don’t know yet, because we haven’t got the scripts in from Roy Clarke – we don’t know how many episodes you’re going to be in.’

I said ‘Why don’t you give me a rough idea?’… they were doing a new series with Seymour, with Michael Aldridge, and they said ‘Well, there’s going to be a new series of eight or nine, or whatever it is, and we think your character might be in it… but we can’t guarantee it, so were not going to book you… blah, blah, blah.’. And then my agent said to me, ‘Look, if another job comes up, then we’ll take it, and you can do it’. And, at that point in my life, I’d met somebody, and was having a good time and enjoying my life, and I decided that I’d quite like my life to continue.

I’d also just seen the doctor, who told me that if I carried on at the weight I was, I probably wouldn’t see forty. So I had to face the decision… should I lose weight and live a longer life and enjoy my life… and was Summer Wine going to be the only thing I ever do in my life? And I thought, no… Summer Wine’s not going to be the only thing I ever do, I’m going to have another job. And while I was doing Summer Wine I did other jobs, so it wasn’t like I didn’t think I could work.

So I thought ‘I know, I’ll lose weight’… and, under advice from the doctor, I lost quite a lot of weight, actually. I think the last series of Summer Wine that I did, I was about 28 stone.


I was very big. There’s a lot of free food involved in television work, and it’s quite lazy as well… don’t let anybody tell you that it’s hard work! The hardest work is sitting around on set doing nothing at all. As far as I was concerned it was a joy, because I got to listen to stories from Thora Hird, from Joe Gladwin, from Bill Owen… I mean, listening to those people telling you stories about their early theatre life… people would pay for that, and I’m so lucky that I was with those people. The thing I regret the most is not being around those people for many more years.

But I lost fourteen stone in weight, half my body weight, and of course the newspapers got hold of that. The News of the World rang me up and asked if they could do an interview, because they’d seen me in other things, and thought ‘This can’t be the same man who played Crusher in Last of the Summer Wine’… and, of course, it got into the papers that I’d done this. My agent was phoned by the News of the World, and at the time I was um-ming and ah-ing as to whether to do it, because I didn’t really want my private life to be plastered all over a newspaper. And they said ‘If you don’t do this interview, we might be forced to print some of the rumours… he’s a single man, and he might have AIDS…’


Oh, my word…

And I thought, I can’t allow that to be in the papers… because it would have upset my mother, and my grandmother. And other people. I couldn’t have that speculation. So I agreed to do the interview, and The Sun picked up on it and had me pose with Page 3 girls in a white dinner jacket with my hair styled by L’Oreal, all that stuff. I did that modelling bit with them as a view to kind of relaunching my career as another type of actor. As a leading man, basically.

And then Roy Clarke and Alan Bell saw the papers, and they rang me up and asked if I would come into the BBC, and I went and I saw Alan, and he said ‘We don’t think you can play Crusher any more… because you’ve changed so much’. And I said ‘I think I could still play the character, I haven’t changed as a person, and the essence of me is still the same. What you could do is just write that Ivy has put him on a diet…’

One thing that I learned very early on is that nobody should suggest to Roy or to Alan how the series, in terms of the plots, or the stories, or the writing, should go. So that was probably a mistake on my part! I remember one of the first rehearsals I ever did for Summer Wine, I said ‘Can I say this line like this, because I think it would make it a bit funnier?’ And Alan Bell said, ‘Oh, so you know better than an award-winning writer who’s been writing for television for 25 years, do you?’ (laughs) And I thought, right… I’ve been sat down then, so I won’t make any more suggestions about the script!

So I saw Alan, and he said ‘We don’t think you can play Crusher any more…’ and, to be honest with you, at that point I didn’t really care, because I didn’t have a contract. And then he said ‘Oh, and the character was going to be in every episode of the series…’ And I said ‘Well, if you’d told me that in advance, then I might have been able to do something about how I look. But anyway… I think they felt that I’d let them down, and that I should have kept them informed about what I was doing. I felt that they should have kept me informed about whether I was going to be in the series. But I have to be honest, there was no nastiness. I felt very happy at the time, and I’d just got the job being Jane Freeman’s other half in six or seven John Smith’s beer commercials, which – to be absolutely honest – paid more in those six commercials than the entire time that I worked for the BBC in Last of the Summer Wine! So you can see why I wasn’t that deeply unhappy about leaving the series.

The only thing that saddened me was not being around those lovely people again. People that I thought of as family; Jane Freeman and Bill Owen, people like that.

But I went onto other things, and was quite happy… my agent changed, and another person came into the agency, and I became friends with a lady called Dulcie Huston and she said she said ‘I think there’s a side to you where you could play villains and bad guys, and nasty people…’, and I thought that would be really interesting. If you can’t play good guys, or nice, thick Yorkshiremen…!

Also, I didn’t want to get into ‘Benny from Crossroads’ syndrome. I think if I’d stayed in Summer Wine, I would have never been anything else than Crusher, for the rest of my life. I would have been identified as him, and I’d like to what I call ‘a finger-clicking good actor’… which is where people come up to you and go ‘You were… erm.. you did that part…’ and they click their fingers in your face! I like that feeling because it means that they’ve recognised you from somewhere, but they don’t associate you with one part. And, to a certain extent, that’s where all actors want to be. Ask anybody in EastEnders if they really wanted to be in EastEnders for thirty years… I don’t suppose they did, but they probably get trapped, and stuck in it, and then it becomes part of their life. It’s like the actors on The Bill used to say, it’s like going to the factory every day. You log in, do your job, and come home again. It’s not about acting any more, it’s just about doing that character.

We were thinking that you might be the only Last of the Summer Wine actor to have worked with Johnny Depp…

That is possibly true! (Laughs) I wouldn’t know, because you have a Bacon Number… have you seen that? How far you’re removed from Kevin Bacon? I don’t know if anybody else in Summer Wine has got a Johnny Depp number…

It was just an extraordinary experience to be in Pirates of the Caribbean, and to suddenly become a Hollywood actor. To be transported over there and learn what the life is like… there’s a little bit of glamour in Hollywood, and then there’s the difference in money! At the BBC, you’re lucky if you get a car, and you’ll probably have to share it with three other actors while they drive round North London, picking up everybody from different addresses to go off on a television shoot. Whereas, in Hollywood, you get a stretch limo that arrives… and if there’s six of you going to the studios, there are six stretch limos. That’s the difference!

It is quite extraordinary… flying First Class, and all that kind of stuff. The world suddenly becomes a different place. But the actors’ world is very weird, because you get a chauffer-driven car one day, and the next you’re out of work and down the Labour Exchange. And the other thing about actors, is that whenever they get a job they’re miserable! They complain so much! They all sit around whinging, and I always think to myself ‘You’ll really regret whinging in a years time, when you’re out of work… and this will seem like a dream!’

You seem to have very good relations with Last of the Summer Wine fans now. You’re very active on Facebook with Summer Wine fandom. Does a little bit of Crusher live on, do you think?

Well that was new to me, because I didn’t know there was any Summer Wine fandom at all on Facebook. A friend of mine told me about it. She said, ‘I’ve seen this site, do you know they’re talking about you as though you don’t exist? There are people asking questions that you could answer’. And I thought, ‘Well I’m sitting here, with nothing to do, at my computer… I might as well see what’s going on.’ So I went online and I started answering somebody’s question, and then somebody else said, ‘Are you the Jonathan Linsley that played Crusher?’ So that’s how it started. Then, of course, I was bombarded with people asking what I’m doing now, and what I’d done before, so I’ve put together a Facebook page that people can look at, with links to my old showreel, showing stuff that I did after Last of the Summer Wine. I mean its not an ego thing, it’s just informative because people are interested. I don’t go pursuing the superstardom!

I absolutely love being involved. It was a part of my life that I’m proud of. I’m proud that I worked on it, and I was genuinely a fan of it before I was an actor. I’d have been seventeen when Last of the Summer Wine started, so I hadn’t even left school, but I was watching like everyone else, with my mum and dad, and my brother. We’d sit round and we’d watch it on a Sunday night, and I thought it was funny. It spoke to me. We used to go on holiday to Scarborough – where Roy was from – and I knew that whole area in Huddersfield. When I was in Skipton, we used to go and play rugby against schools in that area. It seemed very much part of my home and I definitely related to that as a Yorkshireman. It’s quite interesting about the John Smith’s Yorkshire Beer commercials, though… they were never shown in Yorkshire!

Is that right?!

No, they were never shown in Yorkshire, because somebody – in one of their attempts at audience research – said, ‘It’s a bit patronising to Yorkshire folk’. They showed it in every other region around the country – I think there were thirteen ITV regions – so it showed in twelve of them. It was weird because I’d go back home and say, ‘Oh, I’m doing these commercials on telly, with Jane Freeman from Last of the Summer Wine, advertising John Smith’s Yorkshire Bitter’, and people would say, ‘Well I’ve never seen them!’ Then they’d go on holiday and see one in Kent…

Summer Wine was also hugely popular in Scotland. There was a massive fanbase for it there… maybe 30% of all letters I received were from Scotland. Again, I think it appealed in that it was slightly old-fashioned, sentimental and nostalgic. Maybe that appeals to the Celtic. There’s an element of storytelling about it that is certainly Welsh, Irish or Scottish. Whenever I’ve worked in those places I’ve always found that people like the gentle whimsy, but they also like the storytelling nature. Maybe there’s a folk element to it. Sometimes folk music can touch your soul because it’s rooted in the rural world.


So what’s on the horizon for you at the moment?

Well, I came back from Hollywood in 2008, and one of the reasons for that was that my wife became poorly. She’s got a form of Multiple Sclerosis. So I made a decision that I wouldn’t travel around the world, and I wouldn’t stay in Hollywood, because she didn’t want to travel over there and live in Southern California. So I came home, and basically I’m now her principle caregiver.

I’ve not regretted that for one second, because that’s also part of life. I’m also very lucky that I’ve done enough work in the past to keep the wolves from the door to a certain extent, and to pay the bills. I’m not saying that I’m rich by any means, but I’m rich compared to so many other people. I don’t have to worry about the gas and electric being paid, and stuff like that.

Occasionally, if  somebody asks me to do something interesting, where I can work more or less on the South Coast within less than a days’ drive, then I can do it. But of course, once you’re not available for a lot of stuff, then the phone stops ringing. And when you get older the phone stops ringing because you look a bit older and you look a bit different… but who’s to say what could happen in the future?

I did, at one time, have a number of interviews with Coronation Street with a view to joining, and I might have relocated entirely up to the North if I’d done something there… if I’d had a regular character. And I did Emmerdale years and years ago. That was when I was doing Summer Wine, funnily enough, but I had an interview with them not long ago for a new character coming in. But again it didn’t work out, and that was partly to do with the fact that I wanted a bit of a guarantee… if I was going to move back to Yorkshire, then I wanted to be absolutely certain it was going to be for a longer period of time. They weren’t offering that, they were offering a character for maybe three to six months, so it wouldn’t have worked out for me. Obviously I do miss it a bit, so what I do now is a little bit of After Dinner speaking, and occasionally I stand up and tell anecdotes… I do a little chat called ‘From Holmfirth to Hollywood’ which is quite fun. I think people like to hear stories about the other people in Last of the Summer Wine, and what it was like to work on that series… and they also like to hear about Johnny Depp, and working in Hollywood and being in the Bahamas.

There’s a fascination isn’t there, with my profession? Which is why you’re writing what you’re writing… and why you do what you do! People say I should write a book and I’d love to do it, but it’s just discipline isn’t it? Being a feckless actor as I am…. I’ve a butterfly mind. Somebody can ring me up, and I can suddenly go off for three hours on my phone…

The Summer Winos enjoyed an hour and a half with Jonathan on the phone, and we can honestly say it was a delightful, and utterly illuminating conversation. Don’t forget to check out his Facebook page.We’d like to extend extend special thanks to Jonathan Linsley, Frances Wright, and Joy Beddows.

Crusher In The Cafe 6

Series 9 Episode 2: The Heavily Reinforced Bottom

In which Wesley works on Compo’s bottom… 

Bob: Compo is smoking! We haven’t seen that for ages, have we? You can measure out so many changes in British social attitudes by their depiction in Last of the Summer Wine over the decades. In 1973, Compo, Clegg and Blamire were all happily chuffing away without anyone batting an eyelid. Everyone was.

Andrew: It’s very much smoking for the sake of a gag, isn’t it? In fact, we never actually see Compo with a fag in his gob; only plumes of second-hand smoke emerging from behind a lovely bit of dry stone wall.

Bob: Seymour clearly disapproves, though. He can’t stop rolling his eyes. Even Clegg seems to have whimsical reservations…

Clegg: Gordon Ackroyd had this terrible smokers’ cough, but it went overnight.
Compo: How?
Clegg: He dropped dead.

I saw it coming a mile off, like a slow train on a branch line, but I still laughed when it arrived.

Andrew: I love the way in which this conversation plays out, with the characters hidden from view, but also the way in which it continues – seemingly uninterrupted – when the location shifts to the next scene. I wonder if dividing quite a long scene up into two distinct sections is Alan Bell’s work, rather than something stated in Clarke’s script? We get the sight gag and then move on to something more conventionally staged. It suggests that either our trio’s conversations go round in circles, or that there are long lulls during which Compo mulls things over. Love it.

Bob: You can tell you’re a proper film-maker, I just look at the pretty colours. Anyway, all of this seems to spark Seymour off into a determination to get Compo fit… and does this make him the third Third Man in a row to initiate a fitness campaign? Go on Drew, do the hard work and dig out Blamire and Foggy’s attempts…

Andrew: Let’s see… Blamire had his bicycle and canoe schemes, in Forked Lightning and Ballad For Wind Instruments and Canoe respectively, and I think it would take too long to list Foggy’s attempts!

Bob: There’s an interesting moment here too, when Seymour casually mentions enduring ‘North Yorkshire winters’ at his long-abandoned school. I’d always assumed it just sat proudly atop of the hilltops of the Holme Valley, but that’s very firmly in West Yorkshire! Where do we think it actually was?

Andrew: You’re the expert. I’m enjoying the little titbits of information we keep being fed about the school, though. Perhaps by the end of Seymour’s tenure we’ll be able to assemble a complete history? Here, we get some insight into the school catering, and a description of their underpaid Ukrainian chef, who would present a Ukrainian Duff tasting like a railway station with a ‘bland Ukrainian smile’ – whatever that is!

S9E2bBob: Yes, his memories of Helga are a delight (‘You couldn’t understand a word she cooked’), and I don’t doubt for a second that they’re true. I think Seymour has led a genuinely colourful life. For all the ‘Third Man’ has become a stock Summer Wine character, and there are definitely character traits shared by Blamire, Foggy and Seymour, I think the latter really comes into his own as a unique character when he drifts off into wistful nostalgia for his teaching days. His misty-eyed reminiscences absolutely ring true, and they’re a world apart from both Blamire’s bluff, unsentimental boasts, and Foggy’s ludicrous flights of fancy.

Andrew: Isn’t it nice to see some warmth from Ivy? Or at least what passes for warmth with Ivy, as she briefly eyes up a flower that Compo presents to her, and describes her nephew as ‘a great big St. Bernard.’ There’s even a tenderness in the way that she dresses him down, perhaps due to the fact that Ivy knows that Crusher will struggle to understand any point she makes.

Crusher: Auntie Ivy! Is it OK if I go, then?
Ivy: Were you ever here, Milburn?

I did worry that the departure of Sid would lead to Ivy being rendered redundant, but the character has really found her feet as a caregiver to Crusher.

Bob: Yes, despite Compo’s ribbing (‘Can’t tha swap him for three little Italians?’), Crusher is becoming a vital part of the trio’s schemes, isn’t he? He spent a lot of his early episodes marooned in the café, but now – just as Sid did – he’s becoming almost a ‘Fourth Man’, inspiring and abetting their escapades. It’s an oddly touching message… regardless of any age gaps, all men are children at heart. The co-opting of Crusher is like a beacon of fecklessness being passed down through the generations! I remember that nice Mr Linsley telling us that was especially friendly with Bill Owen, and I think you can see that onscreen here.

Andrew: Yes, Crusher’s own excited search for white water (‘It’s great, is white water’) prompts Seymour to concoct a canoe-based scheme of his own… Another canoe episode? Already? We’ve been through this with Blamire, back in Series Two!

Bob: I’ll offer up a defence that Series Two was over ten years ago at this stage, and I’ve no recollection of these Blamire episodes being repeated at any point during my childhood! Anyway, have we got any readers that work for the DVLA? Is Crusher’s yellow Volkswagon – STO 182R – still on the road anywhere?

The previous episode felt almost like an experiment in avant-garde Summer Wine, with the main trio not even meeting up until the final ten minutes, but this is much more traditional, isn’t it? It’s absolutely textbook Summer Wine! Third man gets a wild idea for a new pastime in the first five minutes of the episode, co-opts their café cohort to help out, and uses Compo as a guinea pig. This is the first episode for a while that I can absolutely imagine working with Compo, Clegg, Foggy and Sid, without too many changes.

S9E2cAndrew: It’s possibly the result of it following a very strong series opener, but I’m not optimistic about the direction in which this episode is heading. But, on the plus side, we’re subjected to some fabulous gurning from Bill Owen, as Compo struggles with his new exercise regime, and some of the scenery on display here is stunning. Can we rent some bikes next time we’re in Holmfirth? ‘We’re just two perfectly innocent strangers with a healthy interest in twentieth century sitcom locations…’

Bob: Ha! Ha! Do I have to wear skimpy shorts and jump over a dry stone wall every time a car goes past? I’m in. And… yay! Compo is meant to be exercising, but has hitched a lift on the back of a passing trailer! This is a scene that EVERY long-running sitcom has to include at some point in its lifespan. With bonus points available if – as in this case – the trailer is filled with bales of hay. Can anyone name other examples of this? It definitely happens with both Bob and Terry in Whatever Happened to the Likely Lads.

I’ve also been trying to identify the celebratory song that Compo sings on the haywagon – ‘my horse is always willing, and I am never sad’ and it seems to be called ‘Jim The Carter Lad’. At first, I thought it had a whiff of the American West about it, but it’s actually a traditional English folk song… it seems to be linked to the West Country, to Dorset and Wiltshire, but also appears to have been a popular Music Hall song.

It survived into the rock and roll era, too… here’s the mighty Joe Brown with a nice version!


Andrew: I see your Joe Brown and raise you this charmingly booze fuelled traditional take!


This is another instance where I have to wonder if it was featured in the script, or if it was something introduced as a result of conversations between Alan Bell and Bill Owen? Owen looks like he’s having a great time, so perhaps it was his idea!

Bob: The look on Marina’s face when Howard solemnly declares ‘you’re the most exciting thing that’s ever happened in my life’ is heartbreaking. Huge credit to Jean Fergusson for expressing the most devastating combination of desperate longing and panting lust that I’ve ever seen played out on anyone’s features. And I’ve spent a weekend in Holmfirth with you, Drew.

Andrew: It cuts right through, doesn’t it? The series might be moving in a broader direction, but its moments like this that continue to make Clarke’s work rise above.

S9E2fBob: Edie is cutting Barry’s hair in the kitchen! Is the home-cutting of hair (not home-shaving with a razor… that’s different!) still a commonplace thing? Do kids still turn up at school with their fringes clearly cut along the outline of a pudding bowl? I don’t think my Dad has had a professional haircut since the day he got married, in 1966. My Mum just does it in the front room, with newspaper on the floor around his feet, and a towel on his shoulders. And she did mine too, until I cracked as a teenager and decided her skills just weren’t good enough to manage the cantilevered Morrissey quiff that I was demanding!

Andrew: It’s not just your parents; I’ve many a time been bemused by the sight of my Mam setting up a salon for my Dad, in the conservatory. It’s rather sweet in a way, but I could do without seeing his back being shaved!

Bob: I like Edie’s disgusted dismissal of the ‘Unisex Hair Parlour’, too. I imagine, in her fevered mind, it’s on a par with the last days of Sodom and Gomorrah. Or – even worse – our weekend in Holmfirth in 2009.

Andrew: I have a major fear of getting my hair cut which borders on phobia, so I share Edie’s concern over Unisex joints. Perhaps the ultimate cure would be for me to let my mother loose with the clippers?

Bob: Blimey, this has to be the British sitcom with the most mentions of Dr Crippen since records began. Clegg can’t stop referencing him, as Compo is lowered into Wesley’s home-made canoe. I wonder where all that came from? Dr Crippen, of course, was the US doctor executed in London for the murder of his wife in 1910, for reasons that have never been clear. She was a Music Hall singer, so maybe he just got tired of her singing ‘Jim, The Carter Lad’.

Andrew: Yeah, but would you rather go to the Music Hall with Dr Crippen, or clothes shopping with Nora Batty? Wally’s fate in this episode is to be asked what he thinks about one of Nora’s potential outfit choices, and even his whippet looks bored. Emma will kill me for saying this, but I’m pretty sure this exact conversation once played out between us in a branch of Topshop. I barely have an opinion about what I wear, let alone anybody else!

S9E2gBob: Just as with the opening lines, I saw the ending of this episode coming a mile off, like a slow train on a branch line, but I still laughed when it arrived. Having crashed straight through the bottom of Wesley’s prototype canoe and plummeted feet-first into the murky canal water, Compo tries again with the ‘heavily reinforced bottom’ augmented model… and, this time, the whole kaboosh sinks into the drink. This is absolute textbook Summer Wine! It’s virtually a platonic ideal for the whole show.

Andrew: If you’d like to attempt a re-enactment, the canal location remains virtually unchanged, save for the addition of a pleasant looking visitor’s centre.

Bob: I’m currently reading JB Priestley’s book Delight, about finding joy in the little things in life, and there’s one in this episode that we should try. Three men wandering into a quiet daytime pub and ordering three large scotches to keep out the chill. Can you, me and Andrew Orton do this, the next time we’re filming in Holmfirth on a cold day?

Andrew: Only if you want me flat on me back by mid-afternoon…

Bob: Promises, promises…

Jane Freeman – An Appreciation

Ivy 3

We were incredibly saddened to hear about the recent death of Jane Freeman. Throughout our Summer Winos quest, we have been constantly impressed by Jane’s deft and formidable portrayal of the redoubtable cafe owner Ivy, and the skilful manner in which she gave the character both a fearsome temper and a frequently-overlooked humanity and sensitivity. She proved a fearsome foil for the show’s ever-evolving main trio, as well as forging hugely impressive enjoyable double acts with both John Comer, as Ivy’s on-screen husband Sid, and Jonathan Linsley, as her wayward nephew Crusher.

Last of the Summer Wine entered Jane’s life with the series’ pilot episode, Of Funerals and Fish, in 1973. Both Freeman and Comer were cast after impressing producer-director James Gilbert in The Fishing Party, an instalment of the BBC’s Play For Today strand of one-off dramas. The pair had never met on this production, their scenes having been shot separately, and they worked together on Last of the Summer Wine for some time before realising they had both appeared in the same, earlier programme.

Lazy journalism might see Ivy classed as a shrill, somewhat sexist charicature of the Northern harridan, but to simply dismiss her as a battleaxe would be to do a disservice to the nuanced character that Roy Clarke and Jane Freeman created together. Not least because the model for the character of Ivy approved. “I was a very earnest young woman in those days,” recalled Freeman, “And I wasn’t sure whether it would be fitting to promote this myth about women. I can remember talking to Enid, Roy’s lovely wife, about how awful Ivy was, and she said, ‘Oh love, Ivy’s me.'”

However, in numerous episodes, the veil of aggression is peeled back to reveal the woman underneath. Take, for example, a sequence from the Series One episode, Patê and Chips. Compo’s extended family have turned up to shepherd our main trio on an outing to a National Trust home, and Ivy immediately makes a beeline for the youngest of the clan, a baby boy.

IVY: We’ve got none you know. All I can do is mother him.

(Gestures to Sid)

The baby’s father cracks a joke about donating one of their own offspring to the childless couple, but – as Ivy is wistfully waving goodbye – a very poignant musical cue suggests a deeper resonance to the absence of children from Ivy and Sid’s marriage. It’s a beautiful little moment, combining fine writing, acting and composing.

Another glimpse of humanity can be seen in an exhange between Ivy and Nora Batty in the 1988 Christmas special, Crumbs.

NORA: Funny, isn’t it? All this time, and still sometimes when I head that door open I keep expecting him to walk in like he always used to, daft as a brush, semi-plastered.

IVY: Oh, I know. It’s having all that bed to yourself that gets me.

NORA: I’ll say this for my Wally, he never did take up much room. It was like having a bed to yourself anyway.

IVY: Oh, mine used to spread himself all over the place. Every night it used to be like being trapped in the January sales. You never realise how much you’re going to miss things.

These typically unsentimental/sentimental scenes shed new light on relationships that we may originally have taken at surface value. Last of the Summer Wine didn’t connect with viewers for over three decades because of pratfalls and pretty location shooting; it rooted itself in the public consciousness thanks to important moments like this, and they’re easy to take for granted. This is the series at its best, and Freeman was a intergral part of its success.

Freeman particularly appreciated the latter scene. “We were both quite distressed that we couldn’t talk about our husbands who had died,” she told Andrew Vine, author of Last of the Summer Wine: The Story of the World’s Longest-Running Comedy Series. “It was absolutely lovely when we were able to do it, and Kathy and I had scenes talking about the old days, and we did feel much better then. We hated the fact that Joe and John had dissapeared somehow. I was fond of John and Kathy was fond of Joe.”

Freeman and Kathy Staff maintained a close friendship for several decades, though it was a tentative friendship at first; during the early years of the series most of Staff’s scenes were shot on location, whilst Freeman recorded her Café sequences in the studio at a later date. As time passed, though, they bonded during rehearsals, taking in tea at the Ritz and shopping in London. During their Yorkshire location shoots, Jane would stay at the home of Kathy and her husband in Cheshire, a twenty minute drive across the Pennines. In later years, Freeman was the only member of the cast to know the true severity of Staff’s final battle with a brain tumour.

Ivy was second only to Peter Sallis’ Norman Clegg as Last of the Summer Wine‘s longest-running character, appearing in all but four of the series’ episodes. During its run, she outlived her husband Sid; mentored nephew Crusher; and was welcomed intoto the inner circle of Thora Hird’s formidable Edie.  Her unexplained absence from the series’ finale was one of the only downsides of a fittingly low-key conclusion. In every incarnation of the show, she was an anchor around whom chaos unfolded. Freeman, too, saw the series evolve across the decades from a darkly humerous comedy into a cosier, more family-friendly staple; and from a traditional studio-based sitcom recorded before live audience into a series that was shot predominantly on location and entirely on film. She even found time to appear in the sieres’ mid-1980s spin-off stage show. Of all her appearences, however, she singled out the 1983 feature length special, Getting Sam Home, as her personal favourite.

“You forget how long it’s been going,” she told Andrew VineIt’s a lifetime really. I’ve gone from being a young woman to a middle aged woman to an old woman, and yet in my mind’s eye I’m still doing the third episode.”

Jane was born in London. At the age of nine, she lost her father in an accident and, sometime later, moved with her mother and stepfather to Merthyr Tydfil, South Wales. Here, she studied at the City of Cardiff (now Royal Welsh) College of Music and Drama, graduating in 1955. Throwing herself into a busy stage career, Jane joined the Gloucestershire-based all-female Osiris Repertory Theatre touring company, and – in 1958 – moved onto the Arena Theatre, Sutton Coldfield where she began to attract attention for her performances. During her 1968 to 1973 stint with Birmingham Rep, she married the company’s artistic director, Michael Simpson. They remained together until his death in 2007.

Although she maintained her passion for live performance throughout her career, Jane enjoyed a busy career in television and, to a lesser extent, film. After her TV debut in a Ken Loach directed episode of Diary of a Young Marriage (1964), notable roles included four appearances in the BBC’s Play For Today strand of single plays, including Peter Terson aforementioned The Fishing Party (1972) and Alan Bleasdale’s Scully’s New Year’s Eve (1978). Other notable roles included appearances in Crossroads (1964), Within These Walls (1975 & 1976), The Black Adder (1983), Androcles the Lion (1983), and Silas Marner (1985).

Despite these varied roles, her best-recognised role outside of Last of the Summer Wine may have been as Gordon Rollings’ wife, in a series of early 1980s advertisements for John Smith’s Yorkshire Bitter. After Rollings’ death, Jane continued to appear in ads with her Summer Wine co-star Jonathan Linsley.

Last of the Summer Wine provided Jane with regular employment, but she scheduled as much theatre work around its filming dates as possible. A fraction of her work in the theatre included Billy Liar (Nottingham Playhouse 1980), Sailor Beware! (The Lyric, Hammersmith, 1991), Deborah’s Daughter (Library Theatre, Manchester, 1994), Wuthering Heights (1995 & 1998) and touring productions of When We Are Married (1987), Noises Off (1987), and Situation Comedy (1989).

When we at Summer Winos learned of Jane Freeman’s passing, we reached out to several friends, colleagues and acquaintences, all of whom were kind enough to share their personal memories.


Jonathan Linsley – Actor, Crusher in ‘Last of the Summer Wine’


“I first met Jane in the spring of 1983 when we started rehearsals for a stage play of Last of the Summer Wine. We didn’t have many scenes together and at that time my character, Crusher, was not related to Jane’s character, Ivy. We became friends, however, and I always enjoyed her wisdom, advice, and her stories of growing up and “learning the business” of acting through Rep in Birmingham, where she was great friends with Paul Henry who famously played Benny in Crossroads – she admired the skill he brought to a role that required him to play someone none too bright!

After two short tours and two summer seasons of the Summer Wine stage play, fate played a hand in bringing Jane and I together when John Comer, her long time co-star and husband in the TV show, passed away and Roy Clarke and Alan JW Bell invited me to play Ivy’s nephew Millburn; a none too bright lad who was “learning the business”. Jane was wonderful and helpful and I loved working with her. Her timing and skill made her a true joy to work with. She was also never starry or grand and over the next five years we struck up a professional relationship that had a certain chemistry, and I became part of the Summer Wine family.

When I left the show, fate played another hand and threw Jane and me together a second time. The untimely death of Gordon Rollings who played her long time screen husband Arkwright in the much loved John Smiths TV adverts, meant that they were looking for an actor to replace him. Mrs Arkwright wanted a “toy boy” and I was given that role and we worked together for another couple of years. I remember the last filming day at pinewood with Jane when she had another job later on that day and the production company flew her by helicopter so she could get to the other set on time. She was so excited about that experience and we all stood and waved her off . I never saw her again after that as we never worked together after that day, but she was always busy working, and I kept in touch and later caught up with all her news when I worked for her husband Michael Simpson who was the producer on The Bill.

It was with great sadness then, that I heard that Jane had passed away. She was a fine, talented, and much-loved actress with many devoted fans. I will never forget the happy times and the wonderful laughs we shared over the years. She was, and always will be, a star. RIP Aunty Ivy.”


Morris Bright – Chairman, Elstree Studios


Morris Bright (foreground), in his cameo in Just A Small Funeral…

“It is easy to fall in to the trap – even for those of us who should know better, having been around the industry for a while – of thinking that the character you see on screen is also that person in real life. And so it was in the late 1990s, when I was visiting the location of Last of the Summer Wine for the first time for a book about the show for the BBC, that I got to meet a host of actors who, in most cases (although not all) were totally different from the characters they portrayed on screen.

One such actress was Jane Freeman, who has sadly passed away in recent weeks. It’s easy to watch someone week in and week out playing a battleaxe, a demanding wife – who is really more of a mother to her husband than a spouse, because the men need keeping in check like children in a playground – believing that the person you will meet will be equally as formidable. But that was the strength of the acting in Summer Wine, for Jane Freeman was nothing like the harridan Ivy, the character she played for almost four decades.

I recall sitting in a humble caravan, waiting for the weather to settle before filming could resume, one morning in the Yorkshire hills. I was having a cup of tea with Jane Freeman, Kathy Staff and my late, dear friend Thora Hird. It was slightly surreal as I was chatting with the actresses but they were all dressed up and made up as their characters. They couldn’t have been more lovely. Tea with some favourite aunts. What I loved the most about Jane and Kathy was how they would fuss over Thora who was somewhat older and quite infirm by this stage. I admired Jane’s humility. She was an ensemble player and did not regard herself any more important than anyone else, despite appearing in more episodes of the show than anyone else except Peter Sallis.

Jane was kind, friendly and polite and was surprised that someone would be interested enough in her as a person and not just as a character, to write about her in a book on Summer Wine.

We met several times after that. I recall a cameo role with her when Edie was driving a car towards me. And of course who could ever forget Compo’s funeral where we all spent a long day in church filming scenes for the show, and then the same evening together at a memorial for the actor Bill Owen.

And I was delighted to welcome Jane, along with most of the cast, to a special tribute to Summer Wine at Pinewood Studios that I organised, back in 1998.

I only have happy memories of Jane Freeman. I am sad at her passing but recognise the legacy of onscreen laughter she has left behind. God bless you Jane.”


Laura Booth – Proprieter, Sid’s Café, Holmfirth

Roped in by the Summer Winos, Laura Booth offers her best Jane Freeman homage for our 'Getting Sam Home' location tour.

Roped in by the Summer Winos, Laura Booth offers her best Jane Freeman homage for our Getting Sam Home Again location tour…

“We’re sorry to hear the sad news about the passing of Jane Freeman, the actress who played Ivy in Last of the Summer Wine. Jane portrayed the character of Ivy perfectly, a northern battle-axe with little time for the mischief-making of the cafe regulars. Ivy ran the cafe with a formidable style and her customer service skills were renowned! The old adage “the customer is always right” certainly didn’t apply back then! These days we appreciate our customers more, but I suspect some of them would relish the opportunity to be hit over the head with a tray or chased out of the cafe with a broom…”

We end this tribute with a trip to the real life Sid’s Café in Holmfirth. Visit today, and you’ll discover that – and alongside Nora and Compo –  you will be greeted by a cardboard effigy of the formidable Ivy. Jane Freeman’s career was long, varied, and thanks to her suberb, decades-long performance in Last of the Summer Wine, will be remembered fondly for many years to come.


Series 9 Episode 1: Why Does Norman Clegg Buy Ladies' Elastic Stockings?

In which Norman Clegg… buys ladies’ elastic stockings…

Bob: Oh, this is an unusual opening shot! We start with a static shot of dried ferns in a jar, and we pan across to Compo’s bedside table. And what a fascinating insight into his character; there’s a GNER mug, clearly half-inched from some long-forgotten railway journey, an ashtray from the Huddersfield Hotel, a copy of The Ferret Fancier magazine (does this actually exist?) and – tantalisingly – what looks like a vintage Betty Grable record. It’s a throwaway shot, but these half-glimpsed objects are immaculately chosen. Does Compo strike you as the kind of man who would pinch ashtrays from a posh hotel, and harbour forty-year old fantasies about the leggy, ‘Forces Sweetheart’ film star of his youth? Of course he does.

I’m now fascinated as to exactly which Betty Grable record is propped up at Compo’s bedside. It looks like the title is something along the lines of ‘Loving Tonight’, but I can’t find any evidence of her having recorded anything with a title that’s even similar to that. Are my ageing eyes letting me down here? Is it even Betty Grable on the sleeve? Can anyone help?

Andrew: I’m afraid I can’t help you with that one, but I can sadly confirm the demise of The Ferret Fancier, if indeed it was ever an actual periodical and not just a comic invention. It pleases me, however, that one can subscribe to Ferrets Magazine. Surely that’s the sort of publication in which we should be taking out an advertisement?

Bob: Good to get our regulation Wally and Nora scene in early! Nora is ‘swilling’… which takes me back. For the first twenty-odd years of my life, I was frequently woken up by the sound of my Mum throwing buckets of water over the back patio, and swilling it around with a good, stiff broom. It’s a very reassuring sound. Although I’m now filled with an overwhelming feeling that I’ve still got geography homework to finish off.

Andrew: I love the rare bit of courage we glimpse from Wally at the end of this scene.

Nora: What are you; a husband or a parrot?

Wally: (with glee) Who’s a clever boy then!

Cue a good thwacking from Nora!

S9E1bBob: Clegg has proper teacups! I want some. I like his world-weary grumbling to Howard, as well… ‘At a time when little southern girls are playing with their dolls, the girls around here are practicing lie recognition and unmarked wedlock’. Peter Sallis and Robert Fyfe make a good double act, actually…two incredibly meek characters who, together, find refuge from an intimidating world.

Andrew: They do make a nice pair. What I especially like is Clegg’s confidence around Howard. As you say, Clegg has grown into a particularly meek character over the course of the series, but even he can’t help coming across as an alpha dog when confronted with the pathetic Howard. There’s the sense of a friendship there, but also an undercurrent of contempt on Clegg’s part. See, for example, his reaction to Howard’s attempt at a guilt-free smile – ‘You look like a little Nazi surrendering at the end of the war.’

Bob: Is it me, or does Pearl not really trust Edie? Our new regulars are pairing off into odd combinations in this episode, and there’s definitely a bit of spikiness between these two. ‘Where’s the virtue in looking like you’ve just come back from a serious operation?’ asks Edie, clearly a dig at poor Pearl’s dowdy appearance. It’s curious how, for the first twelve years of the series, the scripts were very male-dominated… we generally just had Nora and Ivy on the sidelines, acting as foils for the main, male trio. But Roy Clarke seems to have suddenly discovered the delights of writing female dialogue, and he’s an absolute master at it. The show has never had such a feminine feel; there are huge chunks devoted to various combinations of Edie, Pearl and Marina.

Andrew: I don’t think Pearl trusts any other woman. The addition of Pearl and Howard also strengthens the series’ suggestion that all men of a certain age regress regress back to childhood, while women remain maternal.You’re bang on; there’s absolutely a sense of Clarke playing with his new characters. Pearl and Ivy are both newcomers, but he’s obviously keen to see if they can carry a scene on their own. It’s ages into the episode before our trio unite and I wonder if that’s partly due to the fact that, despite having been part of the series for over a year, Seymour has yet to appear in a non-special episode of the show – for the benefit of casual viewers, he has to be eased in to the narrative.

Bob: Clegg is shopping in a very 1980s-looking supermarket! It’s on film, so do we assume this is a genuine location? I’m sure some sort of Supermarket Reform Act must have come into play sometime around 1990, because they suddenly became very spacious, airy places, filled with the fresh smell of baking bread. Before that, they looked like this… narrow aisles, low ceilings, and groaning shelves overladen with stacked-up tins and packets. And they smelled FUNNY. They bloody did… there was one in my hometown that absolutely stank of cats. Good to see an advert for ‘beefburgers’ as well. Not just ‘burgers’, but ‘beefburgers’. Is the ‘beefburger’ actually different to the ‘hamburger’? And when did they all just become ‘burgers’?

S9E1cAndrew: Pre-1990s supermarkets basically looked like large corner shops, didn’t they? Actually, what’s that one around the back of Stockton High Street called? That looks like it was caught in a time bubble at some point during the 1980s.

Bob: Boyes! It’s part of its ineffable charm. Anyway, I’m going to advance a daring theory here, and brace yourselves – because some of you aren’t going to like it. Here goes… Clegg actually DOES fancy Marina. When he spots her working on the supermarket check-out, he freezes on the spot, blushes, and then fills his basket with all kinds of unnecessary tat (including the ladies’ stockings of the title) in an attempt to ward off the suspicions of the store detective. These aren’t the actions of a man who just wants to avoid an undesirable acquaintance… they’re the actions of a man who’s IN LOVE, and is too embarrassed to admit it – even to himself. He’s like the infatuated schoolboy who turns into a beetroot-red, stammering simpleton every time the object of his desire comes within twenty yards. I’m running with this. CLEGG FANCIES MARINA.

Andrew: I wouldn’t go so far as to say he’s in love, but I think there’s certainly something to your theory! In the world of Summer Wine, there haven’t been any female characters for Clegg to show an interest in, have there? Marina occupies a previously vacant space between battleaxe and some bloke’s niece. She isn’t there to mother, and she’s not looking for a father figure.

Bob: The last few episodes have had some lovely material for Jonathan Linsley to work with, and I like the way that Crusher is slowly growing into his role as a café assistant. In his earliest episodes, he clearly didn’t really want to be there, and was only doing it to placate either Ivy or some unseen mother, desperate to get him out of the house… but look at him now! He’s got a steak and kidney pie in the oven, and he’s pacing around like an expectant father! It’s a very subtle and nicely-done character progression.

Andrew: Compo (and Bill Owen) makes up for his limited screen time with a high-octane entrance to the cafè. While we’re on the subject of the series entering a new era, the Compo we see here has now completely transitioned into the persona of a harmless imp. He may accost a female customer of the café and make a grab for Ivy, but there isn’t the slightest suggestion that he’s leering, or really out of bounds in any way. He’s just a hyperactive child. I also don’t get the impression he’s supposed to be half as physically horrifying as he was in the series’ earliest episodes – he’s scruffy, but he’s not fag-ash-in-a-doorstop-sandwich revolting.

S9e1eI love Edie’s banning of Wesley from the kitchen. It’s a running gag that will go on for years and years, and it certainly made me cackle when I was a kid watching in the 1990s. Again, although they are taken to their extremes, there is something very recognisable and identifiable about this pairing. My Dad is in the process of building himself a new shed – his justification being that if he doesn’t do it now he never will, as ‘this’ll be me last shed’ – and my Mam and sister just look on, both confused as to why he wants it, but relieved that he’s got something to do outside of the living room.

Bob: ‘This’ll be me last shed!’ That’s worthy of Roy Clarke! I can imagine Stephen Lewis saying that, with a screwdriver in his hand.

Don’t be fooled into thinking the home-made warning signs on the approach road to Seymour’s house are in any way exaggerated for comic effect… if anything, they’re toned down. I’ve done a lot of moorland walking past remote farmsteads, and seen some terrifying sights; from ‘TRESSPASSERS WILL BE SHOT – I MEAN IT’ to rows of rotting, dead moles pegged out on electric fences, presumably as a warning to similarly wayward members of the local mole community. Away from the cities, towns and villages, there still are some truly odd and eccentric loners living very insular and unconventional lives up on the hills; even in 2017. I think Seymour’s house and lifestyle, plotting insane schemes in ramshackle outbuildings, are a nod to those people. At heart, he’s a loner; and it’s hard to imagine scenes like these – with him aggressively turning away a Yorkshire Electricity Board meter-reader from his country house – being played out with either Blamire or Foggy.

Andrew: Thinking I recognised him from somewhere, I looked up the actor who plays the ‘Meter Reader’ on IMDB. It turns out he also played ‘Our Kid’ Colin in Getting Sam Home and will appear as other characters in further episodes to come, but far odder than that is that his last credited role was in a 2007 episode of Life on Mars… where he played the character of ‘Meter Man’. Think of the possibilities! Are they the same character? Does this mean Life on Mars and Last of the Summer Wine are part of the same fictional universe? Is Norman Clegg mad, in a coma, or back in time? And if he can work out the reason, can he get home?

Bob: Amazingly, we’re twenty minutes into the episode before we see our main trio together.

Andrew: The structure of this one is rather strange. The point at which Clegg and Compo arrive at Seymour’s place very much feels like the opening of a new episode.  Are we actually being treated to two mini-episodes here?

Bob: I can’t shake the suspicion that Seymour’s string of insane inventions exist purely for the purposes of getting Bill Owen into some bizarre contraption every week! This week it’s a mobile drilling unit, powered by a rather roughly-converted bicycle, and intended to search the Holme Valley oilfields for Black Gold, Texas Tea, etc. Although what would be the West Yorkshire version of Texas Tea? Tadcaster Tea? That actually sounds like genuine tea, though.

Anyway, this exchange made me laugh a lot:

Seymour: It’s not an important bit…
Clegg: That’s what Melvyn Carcroft said when the swelling started.

S9e1gHe also makes Compo and Clegg swear to secrecy on two books: The Principles of Financial Management and Biggles In Africa. Yet again, I can’t find any sign of the former being a real book… but the latter is very definitely the genuine article, published in 1936. My faith is restored!

Andrew: Before the possibility of striking oil is raised, Seymour is certain that people need holes, and that his is the device to provide them. That’s an insane idea that I can get behind, and I love the fact that it’s actually a familiar-sounding music cue from Ronnie Hazlehurst that suggests the direction the story is about to take, before anybody in the episode catches on.

When Compo finally gets around to testing Seymour’s drilling machine, it isn’t long before something goes amiss. Spying a film of oil on the top of his duck pond, Seymour theorises that there is a vast untapped source somewhere nearby.

Bob: Yes, Ronnie Hazlehurst is on FIRE at the moment! As Compo and Clegg half-heartedly drill for oil in Seymour’s front yard, we are treated to a sensational hybrid of the Summer Wine and Dallas themes. It’s absolutely masterful, and there’s something magnificently strange about hearing those bombastic tones swelling as we watch two pensionable gentlemen pedalling furiously outside a Yorkshire country house. It’s almost subversive. I wonder if Roy Clarke ever gave suggestions for musical cues in any of his scripts, or whether Hazlehurst just had a wild, musical imagination, and was given free reign to use it? I guess the latter is more likely; any man who can create a TV theme tune by tapping out the title of the show in Morse code is up there with Mozart as far as I’m concerned. Don’t believe me? It’s Some Mothers Do ‘Ave ‘Em. Seriously. It’s extraordinary.

Andrew: On the other side of town, Howard and Marina seize what little time they can get together. The sexual longing that Robert Fyfe somehow manages to squeeze into the phrase, ‘I’ve been sent to fetch two prawn curries… and a sweet and sour pork’ is a wonder to behold.

Of course, it isn’t long before our trio’s dream of striking oil is dashed by a water main, and the episode comes to a moist conclusion. Bell has a great eye for silent comedy direction, with the entirety of the gang’s realisation being played out in a series of shocked close-ups, contrasted with widescale angles of destruction.

That was a lovely episode. My only qualm is that we don’t get to hear nearly enough of that magnificent Dallas take–off. They should have used it over the closing titles. I also wonder if this is the point at which the series began to develop its reputation as being almost entirely about physical comedy. There are some absolutely perfect character comedy exchanges throughout this instalment, but the drilling for oil sequence is the only one I’ve ever seen made use of as a clip in a documentary or a chat show. Drilling for oil is what I bet people remember this one being about, despite the fact doing so takes up about two minutes of the episode’s duration!

Bob: That was our most whimsical episode for a little while, and it passed by very pleasantly, like a light daydream on a summers afternoon. Now… Betty Grable, anyone?

Christmas Special 1986: Merry Christmas, Father Christmas

In which a two-fingered salute prompts festive chimney fondling…

Andrew: It’s worth pointing out that, if I had gotten my act together, we would have published this entry in time to mark the episode’s 30th anniversary on the 28th of December 2016. Then, it snagged 16.3 million viewers! Still, it wouldn’t really be Summer Winos if I had pulled my finger out.

Three decades may have passed, but the bookshop, Daisy Lane Books, seen in the background of this Christmas special’s first scene is, remarkably, still trading and looks pretty much the same! We’d been visiting Holmfirth for years before we noticed this little gem of a place, tucked away in a cobbled passage just off Towngate. I can’t vouch for the fact that the toyshop the trio admire was ever actually a toyshop, but today the building houses the thematically-named Daisy’s Nails and Beauty.

Bob: What are we waiting for? It’s time for my traditional New Year pedicure! And hey, you know you’re in for a classy Summer Wine when the opening line is an inexplicable non-sequitur. They used to be Foggy’s exclusive domain, but Clegg seems to have inherited them now. ‘He said it was part of his mid-life crisis,’ he ponders. ‘Left him with this yearning for Salad Cream’. Marvellous.

Anyway, what the hell is going on here? Not only is this a very Christmassy Christmas special, actually set at Christmas, but there’s snow on the ground too! Is it real, do you think? Usually, when fake snow is pressed into service for sitcom Christmas specials, the BBC props boys (warehouse coats, flat caps, jam-jar glasses) go overboard and spread the stuff everywhere. But these sparse fringes of snow, clinging desperately to the grass verges and pavements, look like the real deal to me.

Andrew: Exactly! It does look very convincing – mainly because it’s quite patchy and paltry looking! Surely if you were to cover the landscape in fake snow you’d do a more even job than that? What we need is access to the production paperwork and some detailed records from the Met Office.

Bob: It’s curious that we didn’t get a Summer Wine series in 1986… meaning that Seymour’s first two episodes are two Christmas specials, almost exactly a year apart! Do we assume that a year has passed in Summer Wine world as well? I’d like to think so, because – despite having a somewhat frosty relationship in Uncle of the Bride – Compo, Clegg and Seymour are now clearly as thick as thieves, giggling away merrily together. The latter in particular has noticeably softened since his prickly and pompous debut appearance, and seems full of genial Christmas spirit. He’s almost a different character.

mcfc4Andrew: The whole episode seems imbued with Christmas cheer for a change. Maybe it’s because the characters can actually hear Ronnie Hazlehurst’s lovely, sleigh bell-coloured score? That’s what’s doing it for me! He really gets into the spirit for this one, with some lovely quotations from Have Yourself A Merry Little Christmas and Good King Wenceslas.

As for the missing year between specials, who knows what our trio have been up to? If this was Doctor Who, several thousand books, comics, and audio plays would have been written to fill this continuity gap… and it would all be utterly mental.

Bob: This is the first time that one of the main trio has had their family featured regularly in the show, isn’t it? It’s only their second episode, but Barry, Glenda and Edie already feel like part of the Summer Wine furniture. Roy Clarke’s blending of them into the usual mix has been effortless; and you’re right with what you said in our Uncle of the Bride review, too… the fact that they’re also closely related to an established character – Wesley – has helped a lot. These characters aren’t just suddenly being foisted onto us out of nowhere… we’re just getting a wider glimpse of an already existing world.

Anyway, I like the fact that Edie’s house is festooned with balloons. Do people still put common-or-garden balloons up at Christmas? She can on put her posh voice as much as she likes, balloons on the walls are a sure-fire sign of a working class upbringing. You couldn’t move in our house for Christmas balloons; those and about forty miles worth of paper chains, all held together with my juvenile spittle.

Andrew: Yes, the set dresser has really nailed the Christmas decorations. They aren’t overdone, and they stem from character, rather than simply what looks good on camera. See also the tatty, folded Santa Claus poster in the Café window!

While we’re on the subject of Edie’s house, I’d like to once again highlight some interesting direction from Alan Bell. At the start of the scene, we can hear Edie’s voice for a moment as the camera dollies in on the empty, sitting room doorway. It’s a very simple move, but also strikes me as very unusual for a multi-camera sitcom. This continues throughout the episode. I’d say this is a sign of a director who is trying his best to make the videotaped studio sequences as dynamic as those he is able to execute on film – a medium in which he clearly loves working.

Bob: There’s a poster in the café advertising a ‘Carol Service, St Agnes Church, 20th December 6.30pm’. Is St Agnes Church real? Can we go there and sing carols one year?

Andrew: There’s a St Agnes Church in Leeds… but I suspect we may be thirty years too late for the advertised event.

Bob: And, just to give us the flipside to this Christmas piety, Seymour’s smutty ‘I shall have to take your diction in hand’ warning to Compo gets an absolute roar from the studio audience. #festivefilth

Andrew: Not to mention Compo’s earlier question – ‘Can you have a normal fairy?’

mcfc7Bob: I keep saying it, but I genuinely can’t fault the seamless way in which the new cast members have been weaved into the Summer Wine narrative over the course of – let’s face it – only a handful of episodes. Here we’ve got Crusher being interrupted in the café by Marina, who gives Clegg a present to pass onto Howard, away from Pearl’s prying eyes. And it all feels utterly natural. There have been eight major new characters introduced since the start of Series 8, but it doesn’t feel at all contrived.

Mind you, there’s a whiff of Nurse Gladys Emmanuel and Granville about the way Marina clasps Crusher to her heaving bust here! It had been a couple of years since Open All Hours ended, so maybe Roy Clarke was pining for a decent bosom scene. Actually, I’ve decided to do this review in hashtags now, as it’s long overdue that this blog moved with the times. #bosomscene

Andrew: I love the fact that Marina’s Crusher crush has been carried over from Uncle of the Bride. We said at the time that it would be a shame if that dynamic was forgotten about. It also means I can stop writing all of that slash fiction… I was developing carpel tunnel.

Bob: I’ve absolutely no idea what carpel tunnel is. Is he in the new Star Wars film? Anyway, Drew… a little straw poll here. What was the name given to the beardy Christmassy bloke in your house when you were little? And if you say Noel Edmonds, I’ll clobber you. He was always ‘Father Christmas’ in our house, never ‘Santa Claus’. I’m turning this review into a #festiveclasswar, actually… I’ve always thought there was a hint of middle-class affectation about ‘Santa Claus’. So I’m glad to see that the slightly skew-whiff looking figure that our main trio pass in the street is very firmly referred to by them all as ‘Father Christmas’.

Or, to give him his full title, ‘Jackie Pilsworth’. #namesdatabase

Andrew: I beg to differ on this one. He was always Santa Claus to us, and it’s actually ‘Father Christmas’ that strikes my ears as a little… poncier. Subjectively, I think this is actually more of a generational thing. Father Christmas is the more British of the two terms, with a lineage that goes back to Pagan festivals, wheras Santa Claus has his roots in the Sinterklaas of Dutch tradition. Dutch settlers carried that tradition over to the American colonies, which in turn led to Santa Claus becoming the dominant nomenclature there. As the latter half of the 20th Century moved along, British Christmas traditions became more and more entwined with those of America; particularly in terms of popular culture. Holiday films, television specials, and pop songs far more frequently featured ‘Santa Claus’, and so – by the time I was growing up in the early 1990s – I would say naming him as such was pretty much the norm. Basically, blame Dudley Moore.

Bob: Do High Street shops still have a resident Father Christmas in a grotto? Drew? You strike me as the kind of intrepid young person who actually leaves the house during the Christmas period…

Andrew: Fenwick’s department store in Newcastle certainly does. Not that I went this year…

Juliette Kaplan plays Pearl wonderfully in the scene in which Clegg attempts to covertly deliver Marina’s present to Howard. She delivers perfect menace, but you can’t help but be on her side. And it’s just occurred to me that this instalment still isn’t exactly about Christmas, but rather the intense preparations that lead up to the day. The decorations, the shopping, the strategic gift giving – Roy Clarke is still complaining!

mcfc2Bob: Our trio next retreat to a tinsel strewn pub. A great line from Seymour here; ‘You put a couple of schoolboys together and they start fermenting’. He’s got a much more of an acid wit than Foggy, hasn’t he? He can be very cutting and acerbic.

Wally and Nora. Wally and Nora. #wallyandnora. I can’t say any more about these little scenes, Drew… they’re perfect, I’ve exhausted my superlatives. I’ll leave you to quote Wally’s killer line here!

Andrew: You mean, ‘I don’t know whether I can stand the excitement of getting our Desmond a shirt?’ It’s obviously a wonderfully delivered line, but I think it’s topped by Nora’s ‘And don’t let me hear you thinking what I think you’re thinking!’

Bob: Can we edit all of Wally and Nora’s recent self-contained scenes together, and make a half hour sitcom? Come on… what else have we got to do that’s more important?

Andrew: I’ll have a Christmas special prepped for 2017!

Back in the pub, Seymour can’t help but intervene in what I would nominate as one of the most poorly-choreographed bar-room brawls in television history. Two extras giving each other some very gentle shoves while standing silently and puffing their cheeks.

Bob: All pub fights are like that! And oh blimey, listen to this:

Edie: Are you happy, love?
Glenda: Oh, we’re fine. He’s a good, steady lad.

It’s heartbreaking, isn’t it? I mean, I don’t doubt for a second that all of these Summer Wine married couples actually love each other… it’s just the ‘anything for a quiet life’ acceptance of the aching dullness of it all. The endless days eating their dinners and trudging around shops and wrapping their Christmas presents with the telly on, without a single breath of excitement to spice things up. And yet the fact that Edie even asks the question suggests that she might just pine for something more. Something more than a husband who spends every daylight hour under the bonnet of his car, and sits on sheets of newspapers in his overalls every night. The unspoken melancholy of all of these relationships is just so bittersweet.

Andrew: They’re real people. Clarke sometimes gets stick for the lack of plot in his work, but so frequently it is during these side scenes that the most human moments sneak into the dialogue.

Bob: Let’s cut to the Christmas crux #christmascrux. Seymour is determined to ‘put the magic back into Christmas’, and wants Compo – dressed as Father Christmas – to stride around the town’s chimneytops, giving it as much ‘ho ho ho’ as he can muster. And so we have a dry run on Seymour’s roof, with poor Compo shoved to the highest point with a long, padded ‘thingummy’ administered by Wesley and Barry. And do you know what? I’m definitely claiming this wintry landscape as real snow. I’ve spent enough afternoons trudging around the moors in December to know real snow when I see it. Those yellowy-grey skies are positively bulging with the stuff as well… I bet Holmfirth was under a beautiful blanket the following morning. Insert your own Marina joke here.

mcfc10Andrew: I don’t know about you, but nothing quite says Christmas to me quite like Bill Owen shagging a chimney pot.

Bob: Good grief, Compo does indeed appear to be having a somewhat intimate relationship with Seymour’s chimney! No wonder Nora is keeping her distance if that’s how vigorous his romantic attentions can be…

When Roy Clarke is on form, he writes dialogue worthy of Alan Bennett. We’ve got Nora, Ivy, Pearl and Edie on the steps here discussing their respective husbands; and it’s glorious. No wonder Roy Clarke ended up incorporating having those regular ladies’ coffee mornings; they’re the perfect vehicle for these brilliantly catty exchanges: ‘Mrs Nuttall saw hers getting off a bus in Halifax with a man,’ nods Edie, knowingly. Nora has little sympathy, though. ‘That Emmy Nuttall wants to mind her own affairs,’ she harrumphs. ‘She can’t make mince pies. She’s very heavy-handed with the fat’.

Andrew: Prolific stuntman Stuart Fell can be spied in long shots that require Compo’s full body to be seen astride a roof in the town centre, but Bill Owen was also clearly willing and able to climb up as well. The closer, full-bodied shots reveal him to be clowning around on what looks like an actual rooftop. I’ve studied it as closely as a Standard Definition DVD will allow, and as far as I can tell it isn’t a mocked-up roof, and it certainly isn’t making use of CSO.

Bob: Stop sitting so close to the telly, your eyes will go all funny and you’ll need to wear glasses when you’re older.  Still I can confirm that’s definitely the real Kathy Staff giving one of her little semi-smiles as Compo dangles from the rooftops and declares his festive feelings for Nora! Staff is magnificent at ‘that look’… it’s barely a twitch, but there’s such affection in it.

Andrew: There’s also a lovely little throwaway moment during the credits, where Seymour rewards Compo for his efforts with some bottles of beer produced from beneath Father Christmas’ robes. There; I said Father Christmas. Happy?

Bob: I’m always happy. That was a really sweet and fun little episode; possibly one that gets overlooked a bit, falling so oddly between Uncle of the Bride and Seymour’s first full series. But I liked that a lot, it made effortless work of a tough job, getting the new characters further bedded in. And you can insert another Marina joke of your choosing here, if you like. Go on, it’s Christmas.

Andrew: Keep your filthy mind to yourself, spotty little person; it’s January. Anyway, this was very enjoyable. It’s silly Christmas fluff for the most part, but sometimes that’s exactly what the season calls for.


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