Victoria Wood (I)

There aren't enough female comics on TV

This is a critical year for BBC comedy, when it will finally seek to address previous failings in giving a television platform to the funniest women in Britain. The track record is poor. It's now 35 years since Victoria Wood made her breakthrough on That's Life.

Video: Billy Connolly voted most influential UK comic

Billy Connolly has been voted the most influential British comedian of all time.

The Big Yin beat the likes of Morecambe and Wise, Les Dawson and Victoria Wood to top the poll.

It was voted for by the public and comedians.

It puts Billy Connolly on a par with his friend Robin Williams, who was named most internationally influential comedian.

Victoria Wood and Stephen Fry star in The Borrowers

Victoria Wood and Stephen Fry are among the stars bringing The Borrowers delightfully back to life - this time with added gizmos.

Victoria Wood gets lifetime achievement award

Victoria Wood and Emily Watson honoured as outstanding women in the film and TV industry.

I recently wrote to television to ask it, in polite yet vigorous terms, to cease making whimsical comedy-dramas set in idealised northern towns which promulgate the tired view that Britain is populated entirely by loveable eccentrics and pantomime villains. Did it listen? Did it 'eck as like.

Or perhaps Sugartown was already in the can by the time my urgent missive arrived, and that seeing as the BBC don't appear to have much faith in it - shunting it out almost apologetically at the unedifying slot of 10:25pm on a Sunday - this will be the last programme of its type we shall ever see, paving way for a new golden dawn where populist drama isn't a euphemism for "bland, cosy, unambitious nothingness starring a man in a bobble hat".

One can but hopelessly dream.

Set in a fictional seaside town financially supported by the local rock factory (hence the title), and populated by the likes of Sue Johnston doing her daffy yet dependable older woman act, it is pitched somewhere between Victoria Wood and an Ealing comedy, but without the wit or spark of either.

You know how it goes: unscrupulous entrepreneur threatens to close the factory, forcing the plucky locals to fight back in a variety of unamusing ways. That their principle method of rebellion is the feel-good factor of dance should also come as no surprise to you.

What may startle you slightly, however, is the villain's stewardship of a mini Playboy club, which is of course precisely the sort of establishment you'd find in a nowhere town where nearly every resident is an OAP. Yes, I know it's not a Ken Loach film, but you can only suspend your disbelief so much.

Featuring a mayor who arrives to work on a bicycle wearing full ceremonial attire - presumably as a concession to those who wish to believe that Trumpton was a documentary - and a character seemingly intended to illustrate the lighter side of bipolar disorder, Sugartown succeeds neither as comedy nor drama.

Pastel-coloured in sugary shades of CBBC, it should be studiously avoided if you're lactose intolerant or simply intolerant of vacuous entertainment.

I recently wrote to television to ask it, in polite yet vigorous terms, to cease making whimsical comedy-dramas set in idealised northern towns which promulgate the tired view that Britain is populated entirely by loveable eccentrics and pantomime villains. Did it listen? Did it 'eck as like.

Or perhaps Sugartown was already in the can by the time my urgent missive arrived, and that seeing as the BBC don't appear to have much faith in it - shunting it out almost apologetically at the unedifying slot of 10:25pm on a Sunday - this will be the last programme of its type we shall ever see, paving way for a new golden dawn where populist drama isn't a euphemism for "bland, cosy, unambitious nothingness starring a man in a
bobble hat".

One can but hopelessly dream.

Set in a fictional seaside town financially supported by the local rock factory (hence the title), and populated by the likes of Sue Johnston doing her daffy yet dependable older woman act, it is pitched somewhere between Victoria Wood and an Ealing comedy, but without the wit or spark of either.

You know how it goes: unscrupulous entrepreneur threatens to close the factory, forcing the plucky locals to fight back in a variety of unamusing ways. That their principle method of rebellion is the feel-good factor of dance should also come as no surprise to you.

What may startle you slightly, however, is the villain's stewardship of a mini Playboy club, which is of course precisely the sort of establishment you'd find in a nowhere town where nearly every resident is an OAP. Yes, I know it's not a Ken Loach film, but you can only suspend your disbelief so much.

Featuring a mayor who arrives to work on a bicycle wearing full ceremonial attire - presumably as a concession to those who wish to believe that Trumpton was a documentary - and a character seemingly intended to illustrate the lighter side of bipolar disorder, Sugartown succeeds neither as comedy nor drama.

Pastel-coloured in sugary shades of CBBC, it should be studiously avoided if you're lactose intolerant or simply intolerant of vacuous entertainment.

My TV hero: Abi Morgan on Victoria Wood

People underestimate how difficult comic writing is - and what Victoria Wood does is brilliant.

Video: Victoria Wood creates new musical play

Victoria Wood is enjoying a return to songwriting with That Day We Sang, a musical play based on a recording of the Manchester Schoolchildren's Choir in 1929.

The play, which looks at what became of the group of working class children turned angelic choristers, runs until 17 July at Manchester Opera House.

Tim Muffatt met the veteran comedian to talk about her comedy hits, her new play and being hailed as a national treasure.

Victoria Wood interview

Victoria Wood, 58, has written and starred in plays, films, television shows and revues. Her many awards include eight Baftas. She was awarded an OBE in 1997 and a CBE in 2008.