Sunday, 21 January 2018

The Importance of Peter Eade in the Carry On Story

Peter Eade is an important name in the Carry On story but today he is rarely talked about and indeed, little is known about him. Peter was a theatrical agent who represented a small yet incredibly famous group of actors. Those actors included the legendary Ronnie Barker and two Carry On stars - Kenneth Williams and Joan Sims. 

Eade was a young agent making his way in the business in the early 1950s when he first came across both Kenneth and Joan. Peter was Kenneth's agent from the very early days of his career right up until the late 1970s and the pair formed a close bond. Both bachelors, they shared concerns about life, the business they worked in and living with older parents. Peter was a notable player in the pages of Kenneth's diaries and at one point even references the infamous tomes which lined Williams' living room walls, asking in a pointed way, whether they'd ever be published. Sadly Eade would not live to see that day.

Peter Eade comes across as an extremely patient, kind and generous mentor to the occasionally highly strung, incredibly changeable Kenneth. There was obviously a close bond between them which was essential given the nature of their working relationship. Peter encouraged and coaxed Williams and put up with all sorts of neuroses. Together with his ever faithful assistant, Laurena Dewar, Peter guided Kenneth's career through the ups and downs. He even knew him well enough to attempt to convince Kenneth to spend a few extra bob on his shirts! A brave man indeed!

Kenneth claimed to know Peter better than any of his other clients however another frequent visitor to Peter's Cork Street offices was Joan Sims. Peter first encountered Joan at the very beginning of her theatrical career. Attending press shows at RADA, Peter spotted Joan and invited her to a meeting with the idea that he could represent her professionally. The very green Miss Sims had heard rumours of the infamous casting couch and became convinced Peter Eade's intentions were less than honourable. Eventually a close friend persuaded her to meet Peter and thankfully, she never looked back. As with Kenneth, Joan was represented by Eade for nearly thirty years and he was a powerful, reliable influence in her life. 

In her autobiography, Joan is very honest about her inability to cope with aspects of her professional life, mainly due to a lack of confidence. This probably resulted from her long and troubled relationship with her mother, Gladys. Peter was a sympathetic mentor to Joan and as she herself admitted, became much more than just an agent to her over the years. During some difficult years with her mother, it was Peter's advice Joan sought on how to respond to some fairly unpleasant correspondence regarding Joan's private life. Eade was a big part of Joan's life and his sudden death in April 1979 left a gaping hole that she struggled to move on from. It did help that the same two year period saw Joan lose others close to her - her accountant, her mother and her closest friend, the actress Hattie Jacques.

Meanwhile, Kenneth Williams' shock at losing Peter was movingly documented in his diary. Peter, in his fifties at the time of his death, died suddenly in his office one April day. Laurena Dewar took charge of everything, asking Kenneth to read the eulogy at Peter's funeral. The loss of Peter Eade was a massive blow to both Kenneth and Joan and although both would continue to work, finding new agents in the process, it would not be the same for either of them ever again. 

I think it's a shame that we don't know more about Peter's life. He was a vital component in the professional and personal lives of two of the greatest comic actors this country has produced and two of the most prolific Carry On team players. Thankfully he is a regular presence in Kenneth's diaries, otherwise we'd know practically nothing about the man. As for Laurena Dewar, she was obviously much more than just an assistant. She continued to run the Eade office until the early 1980s and then gave it up to spend more time with her family. I have no idea what happened to her after that point or indeed if she is still alive today. 

I think we owe a debt of gratitude to Peter Eade for nurturing and guiding the careers of Kenneth and Joan. He spotted their unique talents early on and I for one am extremely glad that he did.

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Saturday, 20 January 2018

Carrying On at the British Library: My thoughts on Kenneth's 1951 Diary


Yesterday I made a very special trip to the British Library in London. There was a great deal of publicity a year or so ago about the decision taken by Paul Richardson to entrust the treasured Kenneth Williams' diaries to the British Library. Paul, who was Kenneth's neighbour and friend for many of his later years, oversaw Kenneth's estate following his death in 1988. 

When I heard the news I immediately wanted to go and see these famous books for myself. As I wrote on this blog two years or so ago, my love for the diaries stretches back to my teenage years and I often dreamed of seeing the real thing. Now, thanks to Paul and the Library, it was perhaps more likely. Of course collating and cataloging the diaries is a huge undertaking for the Library and after a significant amount of time had passed, I contacted the Curator responsible for the diaries, Joanna Norledge. I think the process of preparing the diaries to be viewed by the public was taking longer than expected, however Joanna was particularly helpful and agreed that certain files could be made available to me if I applied for a Reader's Pass. And that's exactly what I did.

Late last week Joanna got in touch to confirm I could see the diaries in the Manuscript Reading Room at the British Library this week, so on Thursday I took the short trip from my home in North London down to King's Cross. I think it's really fitting that the diaries have found a permanent, lasting home here. The Library is an extremely well-respected, distinguished institution, one we should all be proud of. And secondly, the Library is situated in an area of London that meant a great deal to Kenneth, as he spent almost his entire life in Bloomsbury and St Pancras. Several of his flats are only a short walk away from the Library so it really does seem the best possible place for them.


After confirming my credentials as a legitimate researcher and receiving my Reader's Pass, I dropped off my personal effects in a locker and went up to the Manuscripts Room with my pads of paper and pencils (no pens allowed!) Sadly, but quite understandably, there's also a no photography rule so I'm afraid there aren't any pictures of my visit. The diaries had been ordered up and after receiving some specific instructions about what I could and could not do in the reading room, I was given the first file - Kenneth's 1951 Letts Pocket Diary - and allocated a table. 

The 1951 diary is very small indeed, quite different to the big A4 blue backed diaries Kenneth would move on to use in later life. The writing is beautiful, usually in blue ink, however the text is so small in this first diary that I had a headache from reading them after a couple of hours! It was all very much worth it though. I had to pinch myself as I held the very book Kenneth himself had used over sixty years ago to share his innermost thoughts about the day he'd just experienced. It felt very special and gave me a unique impression of a comic actor I've loved all my adult life. Kenneth had the most beautiful handwriting and his day to day script is lovely to read. However, as a trained draftsman and a lover of all the bits and pieces that come with putting pen to paper, he was also prone to experiment with different pens and styles of handwriting, some easier to understand than others! The only other issue I had in reading diaries was on the odd occasion Kenneth had returned to the diary at the end of a drink-filled evening! His handwriting becomes much larger, often sloping and sometimes even smudged! But I think we can forgive him that!

1951 was an important year for Kenneth. He was still very much finding his way in the world. At the age of 25, he was still living at home with his Mum Louie and his father, Charlie. The Williams family lived at 57 Marchmont Street in Bloomsbury, in the quarters above Charlie's barber's shop. Kenneth spent a lot of time socialising in his twenties and certainly seemed to engage with friends and acquaintances a great deal more than in his later years once fame had both given and taken away freedom. Close friends at the time included Rachel Roberts, Annette Kerr, John Hussey, Michael Harald, Susan Sylvester, Michael Hitchman and Peter Nichols. Although living in Scotland at the time, Kenneth was also still in regular contact with his old Combined Service Entertainments chum and lifelong friend Stanley Baxter.  

On the employment front, Kenneth was still signing up for various stints at Rep Companies all over England and was yet to become a star of the theatre or of film. There are periods of employment however the unemployed Kenneth Williams is frequently depressed, unhappy and toys with the possibility of giving up acting for another life somewhere else. '51 was a crucial year for Kenneth's career though as it was the first time he met a man who would carefully steer and support his career and elements of his life for the next twenty odd years: his agent Peter Eade. 

The diaries were always somewhere special and private for Kenneth, a place to share his innermost thoughts and feelings and to discuss the events of the day, much as you would with a partner. Even in these early years there are frequent references to "traditional" activity and of things, events, parties, people, being "gay". Whether that is gay in the sense of happy or fun, as the term was used during this period, or gay as in homosexual, well the jury is out. He also regularly describes people or performances as being "camp". And I think we all know what he means by that! 

I was interested to see just how much time he spent in the company of Welsh actress Rachel Roberts, herself a troubled soul, particularly later in life. Rachel was yet to become the famous actress we all remember today. She was a regular visitor to Marchmont Street for tea; the pair even attended the Equity Ball together, although Kenneth noted: "I like R. She's gay but the trouble is, we both talk at the same time." I can imagine that might infuriate Kenneth who always liked to hold court in a conversation! 

January also brought some rather fraught exchanges with Stanley Baxter, based in Scotland. They seemed to exchange letters regularly however the relationship was in rather a spiky phase as this entry on 8 January shows: "Terrible letter from Stanley. He imagines another personal affront. Replied advising him not to write again. More than I can stand I think." Later, on 11 January, Kenneth writes:  "No word from Stanley so it's obviously farewell to a dream which was gay while it lasted." I am not sure what the argument was about, or what exactly is meant by Kenneth's statement here, however all was resolved and the friendship continued on, as we know, for many more years.

Stanley reappeared in the August of 1951 when he visited London with his bride to be, Moira. The published diaries certainly give the impression that Kenneth did not have the same close relationship with Stanley's wife as he did with Gordon Jackson's wife, the actress Rona Anderson. They did socialise, particularly in the early years, but there is nowhere near the same level of affection towards Moira. They met up on 17 August: "Both just the same as ever. S being camper, if anything. They plan to marry in June. It's the most stupid sop to respectability and compromise to create a safe environment away from influences 'parent terrible'. He doesn't realise that in a matter of time a wife will be just as stifling - Trying to get the best of both worlds." The frosty atmosphere persisted when the threesome met again on 23 August: "Impossible to have conv. with Stanley with her (Moira) there." and "After tea at Swan and Edgar, he (Stanley) accused me of trying to 'break it up'!"

Many of Kenneth's diary entries must be taken with a pinch of salt. We all write things or say things in anger, the heat of the moment, as it were. I'm not sure how much of this tension is a result of Kenneth's jealousy that Stanley was settling down into married life and that, perhaps, Kenneth saw Moira as taking his place. Williams was prone to fits of pique and jealousy, particularly as a younger man. However the inter-relationship between Kenneth, Stanley and Moira is definitely a curious one. 

February saw the first appearance of Peter Eade, the man who would represent Kenneth until the spring of 1979. Peter would make regular appearances in the diaries over the years and the two men shared a very close friendship with Peter being fairly long suffering in dealing with Kenneth's moods and ways. Kenneth's first impressions of Eade were favourable: "Richard suggested I meet an agent - Peter Eade. Did so. He seems a delightful person." Eade, then a relatively new young agent would also go on to represent the likes of Ronnie Barker and Joan Sims, working in offices on Cork Street in Central London. 

The bond with Peter Eade developed quickly and Kenneth obviously trusted him completely within a very short space of time. By May, he was ringing Peter in the middle of the night when he was troubled with thoughts and feelings about his situation. He went to visit Peter the following day: "I told him about unsettled nature of my particular frustrations. EP (I believe this to be the actor Eric Portman, a friend of Eade's) was there. Traditional larks. Feel the complete 'naif' consequently nothing happens. Begin to feel that I am utterly without any kind of courage morally or physically." These thoughts and feelings would persist throughout Kenneth's adult life however it is interesting to see how much he relied on the calm, sympathetic Peter Eade, even at this early stage. 

One of the joys, for me, of Kenneth's diaries is his deliciously waspish humour. Unlike his later years, as he became more and more disenchanted with his fellow actors and the theatre, the fifties saw Kenneth attend many parties and see a great many films and plays. He gives very frank reviews of everything in the diary and pulls absolutely no punches! Take this entry from 18 March: "Terrible party at Bernadette Hunter's flat in Kensington! Awful people like Denis Shaw there. The end it was!" Very Kenneth I think you'll agree! Now Denis Shaw was a legendary actor and fixture in Soho at time, indeed he even made a brief cameo in Carry On Regardless with Victor Maddern and Kenneth Connor ten years later. I wondered if it was actually Bernard Hunter who was having the party - another well known actor at the time who went on to become a theatrical agent.

Kenneth's sister Pat also makes several appearances in the 1951 diary and this for me is another fascinating relationship. We know, in retrospect, that Pat was born illegitimately before Louie married Charlie Williams. She was three years older than Kenneth. This was never spoken about openly by Kenneth as far as I'm aware, although her arrival from Australia in March 1951 provokes a strong reaction from him: "I still feel lack of affinity here and sense of undercurrent embarrassment. Complete incompatibility. She's certainly bellicose and resentfully bitter." Later, on 2 April there was an intriguing and rather unpleasant argument at home. "Great row about legit. joke and awful truth comes out. Ridiculous to make such a thing about it. Just to be accepted. That's all." Interestingly, underneath this entry the names of those involved were added in pencil, obviously at a later date - (Pat Williams, Louie, Kenneth Charles).

Kenneth may have been only 25, but his wonderfully arch descriptive powers were in full flight even in '51. In May he was travelling to Guildford for preparations for work in rep when he recorded this entry about the standard of those on board: "Terrible people - the train to Guildford. Awful little men in striped trousers with fat, overstuffed briefcases as ugly as themselves. A Sleeping clergyman with several chins. THE END." Very Kenneth! 

At the end of the day, I emerged from the Library tired but satisfied and desperate for some fresh air. Not easily obtained at rush hour on the Euston Road. Before I headed for the tube I took a stroll down Judd Street, where Kenneth had lived for a couple of years in the early 1970s on to the address where all of the diary I had just read was written. I lingered for a moment under the blue plaque to Kenneth Williams on the wall of 57 Marchmont Street, remarkably unchanged since Kenneth last lived there in the mid-1950s. The shop below the living accommodation is still a hairdressers in 2018, although probably much too fancy for the likes of Charlie Williams. It was a wonderful, memorable day. My plan is to return to the Library several more times and blog my thoughts on the other years from the diaries available for me to read. It was an absolute pleasure to see them and get one step closer to the amazing man, the one and only Kenneth Williams. My grateful thanks to all at the British Library and to you for reading this blog.

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Friday, 19 January 2018

Connor Carries On ... As Ted Watson

Next June will mark Kenneth Connor's centenary. This feels like the right time to celebrate the man's legacy and what better a legacy that his seventeen glorious performances in the Carry On films. As I've already done with the three main leading ladies of the series, I plan to embark on a series of blogs profiling each of Kenneth's roles in the Carry Ons, giving my own take on his contributions.

Kenneth is another one of those actors who worked steadily, prolifically and across all mediums throughout his career. From his very early days in film before the outbreak of World War Two, through the 1950s which saw him become an integral part of British radio comedy to the Carry Ons and his unforgettable roles in several 1980s sitcoms, Connor was an incredibly gifted actor. He worked right up until his death at the age of 75 in November 1993. However unlike Sid, Kenneth Williams or Barbara Windsor, I feel that Connor never really got the credit he deserved. He didn't have an outrageous private life, no scandals to be told. He shunned the limelight and his many performances as the ordinary man in the street mirrored his own life away from the cameras. 

Kenneth was also one of the precious few actors who's career spanned pretty much the entire run of the Carry Ons. He was there at the very beginning in Carry On Sergeant and, a five year gap in the mind 1960s aside, remained loyal to the films until the very end of the original run in 1978. Connor, along with Williams and Eric Barker were the only actors to appear in the very first and the very last of the series. Kenneth was still around when Columbus was made in 1992 but declined to take part, probably very wisely. This new series of blogs will be a celebration of all those wonderful comedy performances in the Carry Ons - from bumbling romantic lead through to crumbling character parts, Kenneth could play them all.

So let's continue with Kenneth's seventh role in the series, as taxi driver Ted Watson in Carry On Cabby, released in 1963.

Hattie Jacques plays Peggy Hawkins, a passionate, intelligent woman who wanted to progress herself in life, with or without the support of her husband. Frustrated by Charlie Hawkins' obsession with his taxi firm and rather old fashioned views on women in the workplace, Peggy goes behind his back and sets up a rival cab firm which employs only women. Glamcabs soon steals most of the business "from under their smug male noses". 

Carry On Cabby is the first film in the series to be written by the legendary Talbot Rothwell, the man who would steer the series further into the land of double entendres and much nearer the knuckle than his predecessor Norman Hudis ever dared to go. Cabby didn't even start off as a Carry On, it was Call Me A Cab, made cheaply in black and white. However once Peter Rogers and Gerald Thomas realised just how good a film they had on their hands, it was quickly retitled Carry On Cabby. The film features a host of familiar Carry On faces - Kenneth Connor as Sid's right hand man, Charles Hawtrey as naive, clumsy trainee driver Pintpot, Esma Cannon as the diminutive but strong-willed Flo Sims and Liz Fraser as Hattie's best friend Sally. Cabby also sees the debut of important names in the young Jim Dale as a rather nervous expectant father and an eye catching turn from Amanda Barrie as GlamCab driver Anthea.

Carry On Cabby is the closest the series comes to a dramedy - comedy and drama brought together in an effective mix. At the centre of Cabby is the delighful, deep and extremely believable relationship between husband and wife Charlie and Peggy - beautifully brought to life by Sid and Hattie. While I always prefer Sid and Joan Sims together on screen, Sid and Hattie are just irresistible together in Cabby. When their marriage comes under strain, it feels genuine and the performances heartfelt. This takes Cabby some way from the usual Carry On fare and miles away from most of the films that followed. Don't get me wrong, Cabby still has many of the qualities fans admire in the series - plenty of saucy humour, classic comedy performances, slapstick and lots of lovely GlamCab drivers...

After a run of leading parts in the early Carry Ons, Kenneth Connor is much more a supporting player in his role as Ted in Cabby. That's not to say he's not great, he always is, but much of the action is divided up between warring couple Sid James and Hattie Jacques. Kenneth is very much Sid's second in command and what we do get are some lovely, very down to earth and believable scenes of Sid and Kenneth being two middle-aged, beleaguered blokes, wondering what is going on around them. Kenneth's Ted is a good mate to Sid's character and the pair commiserate about their failing relationships on several occasions and it brings a new quality to the Carry Ons. 

Kenneth's character also has the delights of an ongoing relationship with Liz Fraser's Sally. Although we don't see as much of them together as I'd like, they are also a very believable pairing. Sally, much like Hattie's Peggy Hawkins, is fed up with her man taking her for granted and being let down as his job takes precedence. They do share some lovely fiery scenes as Sally shows her displeasure at being cancelled on for some extra work Ted takes on! I'd have liked to have seen more of that. Liz and Kenneth didn't work together that often on screen so it's good to see them playing together here. 

Ted Watson is a relatively straight role for Connor, which must have made a lovely change following on from so many bumbling little man roles in the earlier films. He does share a wonderful one up-manship relationship with harping shop steward Norman Chappell, and Ted obviously enjoys taking the mickey out of the sober-sided character whenever he gets the chance. Better still is the sequence which sees Connor's character go undercover at the Glam Cabs garage to sabotage some of their sparkling new Ford Cortina cars. Being a Carry On, this naturally ends in complete farce and disaster for the men. But not before Kenneth gets into drag as a rather dubious looking new recruit!

The scenes of Kenneth unveiling himself to his mates in the cab driver's cafe, complete with frilly underthings and tumbling blonde wig are absolutely priceless, combining Kenneth's shame and embarrassment with Sid's complete joy and raucous laughter! Better is to come when Esma Cannon's Flo Sims knowingly sets him up by sending him into the Glam Cabs changing room, confronting him with lots of gorgeous girls in their underthings. The highlight comes with Amanda Barrie's Anthea appears and asks Ted to help her out of her essentials. Connor's reaction is absolutely hilarious and it looks like Amanda and Esma both struggled to keep a straight face!

Cabby remains my ultimate Carry On mainly due to the strength of the story and the performances. Seeing some of our favourite Carry On funsters showing their serious acting chops is refreshing and irresistible and Kenneth certainly adds some wonderful support to the film. 

Stay tuned for my next blog in this series which will look back at one of Kenneth Connor's finest Carry On contributions, as Hengist Pod, inventor of the square wheel, in Carry On Cleo! 

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