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Sid James, Tony Hancock, Bill Kerr and Kenneth Williams
This article was published in its original form in Circus #1. As well as revising the arse out of it, I’ve taken the opportunity to add a number of fancy sound clips. I hope you enjoy it!
 

Interviewer John Freeman, in his famous 1960 Face to Face interrogation, wasn’t the first to assume a certain comic genius’s true name was Anthony Aloysius St John Hancock. By then the real Anthony John, with all his flaws and eccentricities, had become inextricably ingrained in his fictional persona, as much as he tried to distance himself from it. He told Freeman: “It isn’t a character I play, that I put on and off like a coat. It is greatly a part of me and a part of everybody else that I see.”

Before the first radio Hancock’s Half Hour, on November 2nd 1954, Tony Hancock had become quite a regular on TV and radio, most notably as the tutor of ventriloquist’s dummy Archie Andrews in the last 26 episodes of Educating Archie, a radio comedy by Eric Sykes and Sid Colin. He was also well known from his stage appearances, in successful variety shows such as London Laughs and Talk of the Town, and in panto (which he despised). Inspired initially by the likes of Max Miller and Sid Field, he slowly developed his own distinctive style which, coupled with perfect timing and a degree of audience control and manipulation that was important to live performers, guaranteed that his audience laughed in all the right places. But, no matter how perfect the medium was for him, Hancock disliked working on the stage. He was terrified of it and was often physically sick before going on.

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To accompany my interview with Sam Youd, this is an article I wrote in 1999 for Circus 8 on Sam’s best known pen-name, John Christopher, under which he wrote such enduring classics as the Tripods and Sword of the Spirits trilogies and The Death of Grass.
 

In a review in the Independent newspaper of Brian Aldiss’ autobiography, The Twinkling of an Eye, John Christopher was said to be one of the five ‘most important British science-fiction writers’. Aldiss himself has often spoken of his admiration for John Christopher, describing him in Billion Year Spree as ‘an intelligent and witty man, marvellously equipped as a writer’. One rarely comes across this kind of recognition, which is a great shame as John Christopher, real name Sam Youd, fully deserves it for his important contribution to British science fiction over the last fifty years.

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It's him, it's Christopher H Bidmead!I’ve just finished reading Jason Arnopp’s excellent interview with Christopher H Bidmead in the latest DWM. Bidmead was the script editor during a period of Doctor Who in the early 1980s that divides opinion, depending on whether you like your Who as a fluffy confection or a more downbeat affair grounded in hard science. I’ve got a soft spot for it, but it does feel stuffy, especially after the larks of previous years.

In the interview Bidmead puts his finger on so many problems in current Who it’s almost a shame the piece appears in something as pro-nu-Who (though understandably!) as DWM. In this context he comes across as a grumpy old bugger who needs to, like, move with the times. But he’s so right about some of RTD’s storytelling decisions. My favourite f’rinstance is when he goes on at length about how the sonic screwdriver is a killer of ingenuity. We say ah, but wait, why waste valuable minutes and brain cells getting the Doctor through a locked door by other means? Russell said as much during Series One, was very jolly about it and we all nodded at such wisdom. But Bidmead points out, if the story slows down while the Doctor escapes by luring a Dalek onto a cloak or whatever, then “What the hell is the door doing there?” Seems obvious really, and can be applied elsewhere: if showing the Doctor unconvincingly descending a lift shaft is a waste of screen-time, why keep your pustulent zombie types downstairs?

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<Disclaimer> I wrote this article, on writer Robert Holmes’ work in the 80s, way back in 1993 for the first issue of Circus. It’s a bit cocksure and probably riddled with factual errors, but it holds up reasonably well I think. </Disclaimer>

 

Bob plus trusty pipeDuring one of the economic ice ages that regularly grip our household I bought a Citroën 2CV. The salesman assured me that this machine was the last word in frugality with an engine that ran on gnat’s water. ‘Ran’, in this context, is probably the wrong word. It sort of ambled. But it was a fine car and gave one plenty of time to admire the scenery. There was also the excitement of burn-ups with passing tractors and invalid carriages.

I mention this only because it fills up some of my fifteen hundred words and also to make my point that I am the 2CV of scriptwriters.

Robert Holmes, ‘A Life of Hammer and Tongs’ (The Doctor Who File)

Robert Holmes’ last work for Doctor Who after Anthony Read took over from him as script-editor was ‘The Power of Kroll’, a story with which he was naturally unhappy. He had been asked to write a script that revolved around the largest monster in the programme’s history, a feat he found difficult, particularly when he disliked traditional lumbering monsters, relying instead on unusual, appealingly quirky characters. Although it isn’t in any writer’s nature to deliberately produce sub-standard work, Holmes’ last Who story for six years must have been a disappointment to him.

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