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Jane Freeman – An Appreciation

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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’

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“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

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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.

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Series 6 Episode 2: Car and Garter

BOB: What strikes me most about this episode is that Alan Bell was spot on with regards to Gordon Wharmby – he is indeed “absolutely real”. It’s a fine performance, and a great encapsulation of that breed of middle-aged Northern men who spend all of their spare time in overalls beneath a car and need a garage (or a shed, or just some private space to retreat to, unencumbered by female tutting and clucking) to retreat to. I see a lot of my Dad in Wesley. Read more

Series 5 Episode 4: Deep in the Heart of Yorkshire

I should point out how well structured this episode has been, as well. We began with the disembodied voices of an off-screen trio and we reach our climax with the disembodied voices of Sid and Wally, who are reluctant to reveal their cowpoke attire. Very neat. Read more

Series 4 Episode 2: Getting On Sidney's Wire

In which Compo shows a tender side, and Foggy sleeps with the fishes…

Bob: The opening scenes to this episode are my idea of heaven… idling away a sunny afternoon beneath rustling tree branches and – splendidly – neither Compo, Clegg nor Foggy have any idea which day of the week it is. Foggy – of course – bristles at this (‘We ought not to be just sitting here in the sunlight’) but it feels to me like a pretty damn fine way to live. Again, we see the closeness between Clegg and Compo, and I can’t help but see them as a kind of senior, Yorkshire version of Tom Sawyer and Huckleberry Finn… substitute the River Holme for the Mississippi and you’re just about there. Although I’m not sure where Foggy comes into proceedings. Joe Harper, perhaps? Or even Injun Joe?

Andrew: The way in which they struggle to remember what day it is takes me back to those long summer holidays during primary school. They seemed to stretch on forever and, just like Foggy, we were lost at sea without a timetable. In fact, since I still work in a school and still get most of the summer holidays off, I continue to find myself in the same predicament!

Anyone know which college Foggy’s scarf belongs to? We need to know!

Bob: Meanwhile, back at the café, there’s a pepper spillage and suddenly Compo, with tears streaming down his face, finds himself being comforted within the ample bosom of Nora Batty. I’m sure I’ve read that Kathy Staff used to repeatedly request that Roy Clarke write more tender scenes for Nora, as she didn’t want the character to come over as a complete battleaxe… there had to be some compassion there to make the character believable. And here we see it in droves… it’s a lovely performance from Kathy, as Nora takes Compo into her front parlour (the very thought!) and continues to console the conniving little twerp.

Andrew: It’s clear to me now that Roy Clarke must have something of an attraction towards a comforting bosom (don’t we all?). Nora’s particular brand of sympathy foreshadows the similarly – ahem – ample comforts that Nurse Gladys Emmanuel would offer Granville in Open All Hours.

Bob: It’s nice to see that Nora clearly does have a certain tenderness towards Compo. If she genuinely hated him, as seems to be the case on the surface, then the relationship just wouldn’t work onscreen. Nora would long since have moved away, or taken out a court order, or had him battered by some intimidating nephew or other. We need occasional respites like this just to justify the fact that they tolerate each others’ existence for so many decades. And, just for a few seconds, Compo is clearly transported right back to that mysterious VE Night encounter!

I’ve just noticed in this episode that the café has been decorated as well! In the first series the filthy walls are clearly visible… the one behind the counter, in particular, is absolutely black with mould and long-ingrained damp. It’s a really grotty little place. Now, though, it’s covered in clean, fresh wallpaper! Clearly done by Sid under duress while Ivy bellowed from the kitchen. And now she she’s got him installing a temperamental buzzer on the café door… hence the ‘Sidney’s Wire’ of the title. A strange thought struck me when I saw that title… do Sid and Ivy ever reveal their surname?

Those football fixtures in full

Those football fixtures in full

Andrew: You know, I don’t think they do! That’s quite strange when you consider how often the characters are referred to by their second names; whether it’s Mrs Batty as opposed to Nora, or the derogatory ‘’Symonite!, levelled at Compo.

Bob: I actually spent far too much of this episode trying to decipher the posters on the café wall. There’s an advert for ‘Underbank RLFC vs Mayfield’ – both still functioning Rugby League sides, with Underbank being based in Holmfirth itself. And, next to it, advance notice of ‘Meltham AFC vs Rawthorpe’. Proper football this time, and although Meltham AFC are still going strong (they’re a non-league side, also based in Holmfirth), I can’t find any trace of a Rawthorpe FC still existing. Anyone else want to have a go?

Underbank RLFC

Mayfield RLFC

Meltham AFC

A nice touch, though – especially as, I assume, the café scenes were filmed in a studio at TV Centre? So presumably someone brought a load of local nick-nacks down from the location filming in Holmfirth, and used them to decorate the studio set? That’s attention to detail, that is. Some would call it love.

Andrew: Maybe we should return the favour, design a huge Summer Wine banner, and go cheer on the next Underbank home game? I’m sure we could turn Ronnie Hazlehurst’s theme into a chant.

Bob: The tender scenes with Nora have clearly put Compo in a romantic mood, as there’s a nice wistful scene towards the end of this episode, where Compo reclines against a back alley and ruminates upon his former romantic glories. ‘I used to do a bit of courting round here, with Mary Daggles. Forty years ago… I wonder if she still thinks about me?’ he ponders.

Bogwatch!

Bogwatch!

Andrew: Yep, this is the sort of scene that makes the series for me, so far. Clarke’s little character moments act as a nice contrast to his increasingly knockabout plotlines, but they’re not overly sentimental. They’re very grounded and personal and… well, Yorkshire, I guess.

Bob: It’s beautifully played by Bill Owen, and – again – it’s Clegg alone that is the recipient of this more thoughtful side of Compo. He never seems to open up like this in Foggy’s presence. I occasionally find myself thinking about youthful scrapes that happened – to my horror – over thirty years ago, and the depiction of similarly melancholy angst in this scene is pitched perfectly.

Andrew: I have to highlight the closing scene as well. Just one sustained shot of a public convenience, with our heroes chatting away from the inside in voiceover. It’s also nice to know that toilet wall graffiti hasn’t changed a bit in the forty years since this was made.

Series 3 Episode 3: The Great Boarding House Bathroom Caper

I loved these episodes. Can you tell? Absolutely my favourite of anything we’ve seen so far, and I think the series has hit an extraordinary peak at this stage. I genuinely can’t wait to carry on. Read more

Series 3 Episode 1: The Man From Oswestry

There’s a glorious moment when Foggy is rummaging maniacally in his pockets for his notebook, and Clegg turns to Compo and gives him a look of utter, heartfelt joy. It’s only a fleeting second or two, but you have to wonder if there’s a little bit of Sallis’ true feelings in that look – it’s a real ‘everything is going to be alright, after all’ moment, and Sallis seems to be genuinely revelling in Brian Wilde’s performance. Read more