Steve Pemberton

Radio Times review

Reece Shearsmith looks rather dour as he explains to his interviewer, Adam Buxton, that his looks have helped cast him as the villain/psychopath/character-most-likely-to-run-amok in the sketches of The League of Gentlemen. Is he angry in real life asks Buxton? Not really, he says. If anything, he thinks he has gone soft in his middling years.

He confesses to looking back at a sketch where a vulnerable character is bullied by teenage girls and thinking that he'd crossed the line, that the cruelty had outweighed the laughs. Push him a little harder though and he is soon chuckling over the Sardines episode of last year's Inside No. 9, which he co-wrote with fellow Gentleman, Steve Pemberton. Inspired by a cupboard in the office they share it involves 12 bodies squashed together -- and some child abuse. It does not sound funny but, as Shearsmith points out, it's the dark drama that has made his comedy so different.

Next week he gets to be the interviewer and Bob Mortimer answers the questions.

Steve Pemberton on quitting Benidorm

Steve Pemberton has spoken of the "difficult decision" to leave Benidorm alongside his on-screen family.

Mapp and Lucia was phenomenal, successive nights of the most deliciously moreish television made last year. The adaptation by Steve Pemberton of E.F. Benson's exquisitely flensed comedy of manners, set in Rye in the 1920s/30s (and it really is still that lovely), when a certain rarefied form of life actually depended on a bustling church noticeboard for its every social, spiritual, ethical, sartorial and sexual sustenance, could have been carried by the eponymous leads alone for the whole three nights.

Miranda Richardson, with the help only of a subtle set of comedy dentures, was Elizabeth Mapp, and Anna Chancellor sublimely haughty as Emmeline "Lucia" Lucas: two women - ladies, actually, in a day when distinctions mattered as mattered life or death - caught in endless twitching frenzies of one-upmanship, all whispered eyebrows and quietly toxic putdowns. Richardson in particular was again phenomenal; her silent lipsticked mouth spoke volumes. It was rainbowed and beaming when happily and hissily besmirching her "friend" with the sarcastic term "precious one", or even when genuinely happy, high on unkindness, after a rare coup: but its cochineal would plummet, in repose, to a clownish moue, a faded curtain of dried lip-lines rusted with frustration. But Chancellor was no slouch; even though she won 90% of the battles, when scorned her wrath was ungovernable, and would have had 90% of ovaries (and every testicle around) fleeing for the Downs.

As I said, they could have carried it themselves, but there was glorious support. Pemberton himself as proto-gay Georgie; Poppy Miller and Mark Gatiss and Nicholas Woodeson, and Rye itself. The plots, such as they were - a dodgy Indian guru, an art competition, a something involving the Prince of Wales - were negligibly delightful. But the subplots - the mutating fashions for friendships, brief fads, the power of money, benign unacknowledged homosexuality, misappreciated appreciation for what passes for intellect (or class), the joy of witchy bitchiness - never more relevant. E.F. Benson left a little more of a canon than this: please, bring it on, and leave Downton looking like the Titanic after the feet got damp.

Radio Times review

It's pelting with rain in Tilling, and the dark skies herald bad news for reigning queen of the social scene, Lucia, when she hears that a fluent Italian speaker is to visit and wants to chat.

The conceit is, of course, that Lucia and her confirmed bachelor best friend Georgy Pilson (Anna Chancellor and Steve Pemberton) pretend that they love nothing more than whiling away hours together talking Italian. But they know just a few phrases.

I'm well aware that this sounds like torpid tosh, the kind of petit bourgeois nonsense that maybe people cared about in the 1930s when E.F. Benson wrote his Mapp and Lucia books, but why should anyone bother in the thrusting, connected 21st century?

Maybe they shouldn't, but as a piece of escapist confectionary, this is hard to beat. Au reservoir!

Radio Times review

The piquant minutiae of Tilling make the world of Mapp and Lucia go around. It's about bridge parties and who takes tea with whom. Since Lucia's arrival the social map has been re-drawn now that she dominates its cultural life, to the exclusion of its grinning once-grande dame, Elizabeth Mapp.

In the second episode of Steve Pemberton's adaptations, the quaint town is thrilled by the arrival of a mysterious Indian gentleman who claims he is a "guru". He is immediately annexed by a ravenous Mapp (Miranda Richardson, outrageous teeth bared) who aims to run him while excluding her arch rival and nemesis, Lucia (Anna Chancellor, oh-so-chic).

Devotees of E.F. Benson's Mapp and Lucia books will know that the guru didn't visit Tilling (he went to Riseholme) but no matter, it's another deliciously snooty hour.

Steve Pemberton's gorgeous new adaptation of author EF Benson's Mapp and Lucia stories is so delicious in every detail you won't be able to stop after just one episode.

Like a massive box of luxury ­chocolates you'll want to devour another one as soon as the first is over, so thank you to the BBC for ­scheduling the three episodes on consecutive nights - ending on New Year's Eve - so you don't have too long to wait.

And when that's over, you'll ­probably want to track down the Channel 4 version that was screened 30 years ago, go and buy the original books and then start badgering the BBC to make another series.

That landmark 1985 version is a tough act to follow and Pemberton - who is quite brilliant here as Lucia's gay best friend Georgie Pillson - has secured two superb actors to bring the warring queen bees of the seaside town of Tilling to life a second time.

As Miss Elizabeth Mapp, Miranda Richardson is armed with a set of slightly too large false teeth to turn her overly polite smiles into acts of pure passive aggression, while Anna Chancellor as the elegant Mrs ­Emmeline "Lucia" Lucas looks as though she has stepped straight out of the 1930s.

As she rents Miss Mapp's house for the summer, and sets out to win over the townsfolk of Tilling with her smatterings of bad Italian and limited musical accomplishments, the battle lines are drawn for an unmissable comedy of manners in this genteel war of social one-upmanship.

Radio Times review

Miss Elizabeth Mapp, all big teeth and buttery smiles, is the queen of Tilling, ruling the social and cultural life of her dinky little seaside town like a cloche-hatted monarch.

But Mapp's reign is threatened by the arrival in Tilling of chic, elegant Emmeline Lucas, known to all as Lucia, so glamorous in her widow's weeds. The stage is set for war over the bridge tables as the women battle for supremacy.

Fans of E.F. Benson's peerless 1930s Mapp and Lucia series of comic novels should be thrilled by Steve Pemberton's careful adaptations for this three-part series (he's a huge fan and plays Lucia's fey, platonic friend Georgie Pilson).

Miranda Richardson, who's Mapp with a terrifying set of gnashers and a touch of the Margaret Thatchers, and Anna Chancellor, in a series of fabulous vintage dresses, are just marvellous as the rivals. The whole thing is the campest of treats.

Siobhan Finneran & Steve Pemberton on leaving Benidorm

"It's been heartbreaking to leave Benidorm!"

Steve Pemberton interview

Social climbing has never been so funny for Steve Pemberton.

Radio Times review

This was the rarest of comic beasts: half a dozen standalone episodes with jokes that weren't laid out on a plate, but instead jumped out from corners or tripped you up during awkward pauses. It was written by League of Gentlemen alumni Steve Pemberton and Reece Shearsmith, and performed by them in various guises alongside the likes of Timothy West, Helen McCrory and Gemma Arterton. It was dark, of course, but otherwise deliciously unpredictable: the first was about an uncomfortable engagement party; the second was a silent comedy with slapstick from Charlie Chaplin's great-granddaughter, Oona.