BBC's comedian notes uncovered - in depth
A series of documents written by the BBC about various comedians and other entertainment acts has been made public.
Up until the late 1960s, all comedians, singers, actors and other performers had to perform an audition to BBC management before they were allowed to go on television or radio. Recommendations for auditions were sent in by the performers themselves, their fans and their managers. The auditions were terrifying for some, such as Tony Hancock, who was physically sick before his - although he still passed. The documents reveal what the BBC first thought of acts, some of which would go on to have huge success.
Below is a list of some of the comedians and comedy actors the notes mention...
Ken Dodd
Considered to be one of the greatest stand-ups ever, Ken Dodd was recommended by several fans. One, Mr. W. Barber of Wood End Stores, Maghull, writing on 10 December 1952 said: "Dear Sir. This is the first time I have written to the BBC but I must let you know about this future star of television as I know you need a star or two. I don't want to say a lot about him. I want you to come up here and see for yourself. I will even pay your expenses. His name is Ken Dodds [sic] and he is appearing at the Shakespeare Theatre this coming week. He is funnier than Norman Wisdom and by the way, he doesn't know me from a crow so I am writing to you because he is a real find. His act is purely visual and he would be of no use on radio. If you are not interested, remember the name, Ken Dodds, and try not to reproach yourself."
When Ronnie Taylor from the BBC saw his act, he wrote: "he works with little finesse." Dodd's over-running his broadcast time-slots was a major criticism in later notes.
Benny Hill
Whilst Hill was dressed perfectly for his role, his first audition was considered awful by the BBC. Ronnie Waldman, who would later become head of TV Variety, wrote of him in 1947: "The only trouble with him was that he didn't make me laugh at all – and for a comedian that's not very good. It's a mixture of lack of comedy personality and lack of comedy material."
Morecambe and Wise
Often considered to be Britain's greatest double-act, the BBC were critical of both Morecambe and Wise's appearance and performance. They wrote in 1948 that the pair looked like: "Healthy Hank and Lingering Death...". The notes went on to say: "Part of this act may be suitable. Suggestive material and dancing together should be omitted."
Tom O'Connor
O'Connor, who would later go on to appear on ITV's The Comedians performed well in his BBC audition. However, the corporation later received a copy of a letter sent to O'Connor from one of the big comedians of the day, Al Read, who claimed that O'Connor had stolen his act.
However the BBC decided no action was needed, saying: "I do not think that there is any question of O'Connor stealing Read's material. In fact, O'Connor's material appears to be more original than most comedians."
Patricia Routledge
Auditioned in May 1954, the future star of Keeping up Appearances, was voted "Beta+, a competent young repertory actress with some sense of period. Useful North Country and American accents. Her French accent is correct with fairly strong English undertones." Her only downside was her speech from the play Antigone, which was "without personality."
Derek Nimmo
Nimmo, who would later have success starring in sitcoms such as All Gas and Gaiters and as a regular on Just a Minute, passed his audition in 1956. His first part was a walk-on in a soap opera called The Groves. He then wrote to BBC management in May 1957 saying "Dear Sir. My recent television appearances include being a party member in The Groves, a Beefeater in Kenilworth, a bystander in Peter Simple, a boat-race watcher, a highland dancer in The Appleyards, a photographer in Escaped and a monster that lived in a sewer in Straight Line to Danger. Could I please have a speaking part?"
Kenny Everett
After being sacked from Radio London, Everett sent an audition tape to the BBC in 1967 to get a job on Radio 1. This is how his panel thought of him:
Member 1: "A pseudo-American voice. Sounds experienced and seems to fancy his luck. Yes."
Member 2: "By far the most original of the young DJs. I found the stilted bits in bad taste but with suitable restraint and encouragement, Kenny Everett could be one of the BBC's best DJs. Yes."
Member 3: "Without the hard sell and the occasional phoney American accent, a good pop DJ. Must be made to curb the funnies and the voices. Yes."
Member 4: "I found the continuous changes of voices irritating and his personality supercilious but he certainly has some talent. Should be available but would need very firm production. Yes."
Conclusion: "A competent and experienced pop DJ. Would need very firm production to curb his non-stop funny voices. With the right encouragement, he could be an asset to the corporation."
More revealing auditi 쇓 ons, including The Beatles, The Rolling Stones and Max Bygraves can found in The Independent.