there was now a chance he might be able to learn them. But the tantrum had been necessary to him. As he said to Charles, ‘Well, you know I’m the last person on earth to throw a scene, but occasionally one does have to put one’s foot down and remind them who one is, or they trample all over you. . er, one.’
He had also been persuaded that the pay-off should be left unaltered.
This was not because he thought it was right, but to avoid trouble; he had finally accepted it with a don’t- say-I-didn’t-warn-you shrug. After all, if the whole show was likely to be dubbed, it didn’t really matter whether the jokes were funny or not. The viewing audience would laugh with recorded hilarity just as much as they would with the sounds of a so-called live audience.
Because, as the week progressed, there seemed less and less chance of the show’s being recorded on the normal schedule. The security men’s go-slow was unlikely to be resolved; the worry was how many more unions were likely to join them. The threat of the strike that Charles had jokingly predicted, of ITV staff for greater disparity of pay from BBC staff, loomed larger.
As a result of this, the rehearsal room saw more of Peter Lipscombe than it had since Bob Tomlinson took over as Director. The Producer appeared almost every day, bringing news of fresh possibilities and contingency plans. Nothing dented his Little Noddy image, though. Everything was still going to be okay, they were still working on the most exciting series to have hit television since Logie Baird’s early experiments. Maybe the pitch of these assertions rose to a more hysterical level as the week went on, but nothing stopped them pouring out.
And everything seemed to be normal with Dame Aurelia Howarth and her husband. The senile homicide delivered his wife to the rehearsal room in the Bentley and picked her up at the end of the day’s work. On no occasion did he come inside the building.
The only significant moment came when Aurelia, who always did the correct thing, asked Bob Tomlinson, ‘Darling, if this beastly go-slow happens and we have to rehearse/record the show through the day, do you mind if Barton sits in and watches? He does so enjoy coming to the recordings.’
‘No, that’s all right, love,’ said the director, who, in spite of his resistance to show-biz schmaltz, had, over the weeks, like everyone else, developed a soft spot for Dob Howarth.
She turned to Charles, who was standing nearby, and gave him the exclusive benefit of her smile. ‘How are things?’ she asked lightly.
‘Getting somewhere,’ he said confidently, the intimacy between knight errant and damsel in distress re- established.
Aurelia looked up with sudden understanding. Once again he felt sure that she suspected Barton too.
And he also felt sure that, if the old lunatic was going to strike again, he would do so on the studio day.
Just as he was about to leave Hereford Road for rehearsal the day before the recording, Charles received a package through the letter-box. It was in a padded brown envelope and for a moment he couldn’t imagine what it might be. Then the Kew postmark and the feel of the contents told him it must be his rare copy of R. Q. Wilberforce’s
Because he was late, he shoved the package into his pocket and caught a cab to the Paddington Jewish Boys’ Club. The cab was just another example of how having money in his pocket made him feel wealthy. He still hadn’t managed to get through to Frances about the Greek idea; must try again.
Not much rehearsal ever gets done the day before studio, because the timing revolves around the Crew Run. This is the occasion when, as actors often put it, ‘the anoraks move in’. In other words, all the studio staff, cameramen, sound-boom operators and so on, come to see the show in rehearsed form and follow it in their camera scripts (often typed up by the PA into the small hours of the previous night).
The Crew Run on this occasion was scheduled for twelve noon and, as the hour drew near, tension mounted. No one was quite sure of the latest on the industrial front and there were constant calls for various union members to go to meetings, which might or might not lead to strike action. Until all the crew turned up, it would not be known whether the show could go ahead. In their present militant mood, the technicians were liable to regard one member’s absence as an instance of under-manning which would not allow the rest of them to proceed.
Mort Verdon twittered around with gloomy cautionary anecdotes from W.E.T. House. How the waitresses in the Executive Dining Room had walked out, leaving the Catering Manager to serve a lunch party of ten, given by Nigel Frisch. How a fellow Stage Manager had been having his bacon roll handed over the canteen counter when the call for a meeting came over the loudspeakers, and how the sweet-smelling breakfast had been whisked back from under his hungry nose. How a particularly bolshie studio team had insisted on reboiling a kettle and remaking tea for every rehearsal of a brief scene in a drama production. Mort got very dramatic about it all.
But gradually the anoraks assembled. Peter Lipscombe was for once silent and even anxious as he counted the crew members. One by one they came in through the rehearsal room door and, with the instinct of their breed, homed in on the coffee machine and tins of biscuits.
So the Crew Run was achieved. It even went quite well. George Birkitt remembered most of his lines. Peter Lipscombe thought it was a terrific episode and the whole series was jolly exciting.
Afterwards, as everyone disbanded, the mood was cheerful. The crew had been friendly and no one doubted that the show would get made the next day.
George Birkitt, flushed with the success of his feat of memory, asked if he could buy Charles a drink. Charles conceded the requisite permission. He felt relaxed. Nothing would happen till the studio day.
‘Stupid thing came up the other day,’ said George Birkitt with a sheepish grin, as they sat outside a mews pub drinking pints of Guinness. ‘Had a call from the headmaster of my old school — asked if I’d open the school fete. I must have “arrived”, they usually get some retired Colonel or something.’
‘It’s the Colonel Strutter image.’
‘I suppose it is. Flattering in a way, mind.’
‘Are you going to do it?’
‘Oh, I’m not sure. Depends what else I have on round the date. I’ve referred him to my agent.’
‘Oh.’
‘Well, you do have to be bloody careful. I mean, you do one of these things as a favour, word gets out, and suddenly they’re all clamouring round.’
‘I hadn’t thought of that.’
‘Believe me, it happens. Anyway, it’s easier if my agent sorts out the financial side.’
‘I hadn’t thought of that either.’
‘Got to be canny, Charles, got to be canny.’
They both drank deeply into their Guinness. George Birkitt continued, ‘Rang my wife the other day.’
‘Oh, really?’
‘Do you know her? Stephanie Roscoe.’
‘I know her as an actress. I didn’t know you were married.’
‘Oh yes. We’ve been separated for a few years. You know, her career really took off when she got that part in the Royals telly series.’
‘I read about it.’
‘Made life very difficult for us. I was going through a bad patch, you know, professionally. Puts strain on a marriage, when one partner’s very successful and in demand, and the other. . ain’t. So, after a lot of fighting, we split up. Best thing at the time.’
‘Hmm.’
‘You’re divorced, aren’t you?’
‘Not actually divorced. Just separated.’
‘Uh-huh.’
‘I found an actor’s life incompatible with matrimony.’
‘It’s difficult, certainly.’
‘Must be even more difficult if you’re both in the business. When you’ve got professional rivalry to add to the other pressures.’
‘Doesn’t help, Charles. You very rarely get show-biz marriages where the two careers balance exactly. For every pair of Lunts, there must be a hundred Dobs and Bartons.’
‘Yes.’
‘Of course, I was never jealous of Stephanie. Problems were just logistical. I mean, she was — is — a sweet girl, but really no great shakes as an actress. Just had a couple of lucky breaks. So jealousy was never really
