It has been announced that the Christmas episode of Count Arthur Strong’s Radio Show! has won the Best Radio Sitcom 2018 category in the comedy.co.uk awards. This is the second time the show has won the award which is decided purely by a public vote.
Count Arthur Strong says: “I am literally highly delighted on behalf of all involved to accept this prestigious award for Best Radio Sitcom, for the SECOND TIME (please note BBBC). When I was evacuated to Doncaster as a small boy during the war, I never thought for one minute that this accolade would be happening to me today. How could I? I’m not sodding Nostrodamus. Bless all who voted for me. This is how you do a flipping referendum. Looking forward to receiving the cheque. End of this message.”
(Please note that you can always buy your tickets direct from the theatre but some may not have them on sale until much later.)
As well as being the all round entertainer we all know and love from the telly, Count Arthur Strong is also a lifelong fan of astronomy, since having been given a microscope, or whatever it is they use, for Christmas when he was a small precocious baby. In fact it’s said the first word he spoke was ‘Uranus’. In this, his brand new show, he seamlessly combines the very best showbiz entertainment you’ll currently find, in the world, possibly? as he wrestles with some of the big questions that other all round entertainers shy away from. Such as:
Are we alone in the universe?
Is there life on Mars bars?
2lbs of potatoes.
Packet of ginger nuts.
Don’t lose this shopping list.
Arthur says: “Do not miss this not to be missed type of thing! If I wasn’t in the show I’d definitely be in the audience watching myself intently. Laughing and learning in equal measure. Thoroughly happy to pay the admission fee and definitely not asking for a refund. Also not rustling sweet wrappers and fiddling with my sodding telephone with a gormless expression on my face. See you there!”
Now available to order on the Count Arthur website. Count Arthur Strong’s Radio Show! Christmas Specials 2014-2015 (1CD). We will be delivering as soon as they come into the warehouse. Click here to order a copy now.
2014 – ARTHUR IN PANTOLAND?
Count Arthur is saved from the seemingly simple task of writing his Christmas cards by a call from the Vicar. An invitation to star in the local pantomime gets Arthur excited about a possible return to the stage.
2015 – THE CHRISTMAS ‘DO’
Christmas creeps up on Arthur, leaving him little time to plan his festive arrangements (“We’ve only just celebrated Easter!”). Could the lack of seasonal planning possibly see Arthur miss out on his turkey?
EXTRA LONDON DATE ADDED TO TOUR. We have added another show at the Leicester Square Theatre on Sunday 24th June. This will now make it the last day of the tour! To get your tickets (and I would be quick as they are going to sell fast!) go to https://tinyurl.com/yacdtynv Good Luck and see you there!
Article: Demise of Count Arthur Strong signals the end of the family sitcom
August 14, 2017 by Alec Charles
So, the BBC has decided to cancel its sitcom Count Arthur Strong after three series – presumably in favour of spending its dwindling budget on something more “edgy”. Or perhaps another cooking show?
It’s a sign of the times – the show was developed out of the long-running Radio 4 series created by Steve Delaney in 2005 following the stage success of his monstrous creation, the obscure variety star Count Arthur Strong. The television incarnation was co-authored by Graham Linehan, the genius who had revived the studio-based sitcom in such hits as Father Ted, Black Books and The IT Crowd. It tempted the well-respected Rory Kinnear into its cast. And it was very funny.
But it had also been treated by BBC schedulers with an inconsistency bordering on sabotage. When its third series moved to a mid-evening slot (its first two series having languished post-watershed) it was heralded as “the new family comedy the BBC is looking for” – but had then repeatedly lost its spot in weekly schedules.
The count never had the opportunity to develop a regular following – and the show was never repeated. “It was the lack of repeats that killed us,” tweeted Linehan. “Might as well’ve just chucked each series down a crevasse.”
It wasn’t crude, cynical or cruel. Like so many classic sitcoms, its ensemble cast of adorable eccentrics performed its verbal, visual and situational gags before a live studio audience to provide fun and laughter (and the occasional moment of emotional resonance) for all the family.
It wasn’t Peep Show or The Office or Mrs Brown’s Boys. It wasn’t experimental or mockumentary or bawdy. It was just very funny. And the BBC didn’t know what to do with it. Its breadth of appeal no longer aligned with perceptions of comedy’s increasingly niche markets.
Its cancellation echoes the demise, 21 years ago, of The Thin Blue Line, Ben Elton’s doomed attempt “to restage his beloved Dad’s Army”. Following Elton’s edgier and trendier successes with The Young Ones and Blackadder, The Thin Blue Line had returned British sitcom to its basics, a comedy of character, language and situation in the style of the classics of David Croft, Jimmy Perry and Jeremy Lloyd.
The problem was that Elton’s gentle farce wasn’t what audiences or programmers had expected. Count Arthur Strong was, similarly, too traditional for perceived tastes. Edgy seems better than funny, marginal is sexier than mainstream. Yet social media is abuzz with outrage from the show’s fans. The fictional Count Arthur’s own Twitter feed retweeted a number of such responses.
Many tweets emphasised the show’s rare inter-generational appeal: “Enjoyed by every generation … the whole family watch … even my mum loves it … good family comedy … the only comedy me, my dad and my grandad all equally crack up to … it got us all together on the sofa chuckling … the only show the whole family sits down and watches together … the first sitcom I and my Dad have laughed about together in years … a comedy which all ages can watch”.
An online petition has been launched in a bid to reverse the BBC’s decision. At the time of writing it had gathered more than 4,500 signatures in just a few days.
But Linehan is now working – with Sharon Horgan, Diane Morgan and Holly Walsh – on a full series of Motherland, the continuation of a not-unfunny pilot from the BBC’s otherwise bleak 2016 sitcom season – a series of remakes, reboots and pilots, which mostly demonstrated that funny’s no longer edgy and that edgy’s rarely funny.
Motherland’s pilot offered a decent blend of jokes and edge. Echoing the tone of Horgan’s sitcom Catastrophe, it won praise for its “painfully realistic portrayal of the trials and traumas of motherhood”. It was very Channel 4.
Yet when you’ve assembled such talents as Horgan, Morgan, Walsh and Linehan on one project, you might want more laughs. Laughs enough at least to attract the kind of family audiences which BBC programming has traditionally sustained: from Bruce Forsyth’s Generation Game to Bruce Forsyth’s Strictly Come Dancing; from Mel and Sue in The Great British Bake-Off to Mel and Sue in the rebooted Generation Game – and anything from David Attenborough and Doctor Who through the ages. These are programmes the family once sat together in front of – and the traditional sitcom once sat at the heart of such programming.
The BBC axed Count Arthur Strong four days after the publication of an Ofcom report on trends in TV viewing which suggested that “watching TV is a solo activity” and that “each member of the family is watching a different programme on a separate screen.”
In the age of box set binges, and of risque reality dating shows such as Naked Attraction and Love Island, that’s unsurprising. What, after all, is there for families to share? Dad’s Army still reruns on Saturdays, but the cancellation of Count Arthur Strong – a show about the joys and absurdities of friendship and family – diminishes such viewing options just slightly further.
The resulting social media furore is about more than the fate of one show. It invokes a nostalgia for a mode of broadcasting with a broader appeal – broadcasting to bring people together in a spirit of renewed social cohesion. This might, of course, be a forlorn hope – but it seems a sincere and not uncommon one.
We would like to announce that, as already reported in the Radio Times, the BBC One sitcom Count Arthur Strong is regretfully not going to run to a fourth series. A recent BBC announcement stated: “There are no current plans for a further series of Count Arthur Strong on the BBC’. Series co-creator Graham Linehan took to Twitter to thank the BBC Comedy department for their support but also noted that it was difficult to impossible for any series to establish without the support of repeats. On seeing the announcement on Twitter the Count Arthur fans took to social media to voice their surprise and disappointment, even setting up a Change.org petition which clocked up thousands of signatures in the first 24 hours.
The show, written by the characters creator Steve Delaney and Graham Linehan, first aired on BBC Two in 2013 was instantly recommissioned and transferred to BBC One. The second series, aired in summer 2015 (with its transmission run unfortunately interrupted by that year’s general election), drew around 1.2m viewers in 10:35pm slot. Production on a third series was completed in the Autumn of 2016 and the show finally aired in May 2017 in the 8:30pm Friday night slot. The series opened to wide critical acclaim, however, broadcasts halted after two episodes with the snap election resulting in a two week break. Further transmission changes included the penultimate episode being moved to BBC Two due to Wimbledon coverage and series three ended up drawing a similar audience to series two.
Having set out in partnership with Steve Delaney in 2002 with the main objective of creating a Count Arthur Strong TV sitcom, Komedia Entertainment are thankful to the BBC for their support of the character and to their production partners in realising the creation of 20 high quality episodes which will be enjoyed by existing fans and discovered by new ones for years to come.
The three series were co-produced by Komedia Entertainment and Retort TV and the most recent series has just been released on DVD by Network.
July 6, 2017 by Lucy Sweet
I’ve been trying to stop myself from writing about Count Arthur Strong. You see, it’s funny (or not, depending on your point of view) in a way that’s hard to describe without people looking at you with blank pity. It uses traditional sitcom devices that makes Mrs Brown’s Boys look like American Gods. And er, the main character is an old man in a hat.
No, don’t wander off, let me explain. It’s about a befuddled, clapped-out performer (Count Arthur, played, or rather inhabited, by Steve Delaney) who gets his words mixed up and practically lives in a greasy spoon run by an irate Turkish man called Bulent and his beautiful sister Sinem.
He has a mate called Eggy and another called John the Watch, who looks like a snooker ball in a tan leather bomber jacket. Arthur’s straight man side-kick, Michael, is an uptight, anxious writer, played by Rory Kinnear. They do absolutely arse all apart from get into elaborate scrapes that wouldn’t seem out of place in The Beano.
Nope, nothing about it sounds good. I can see you are holding up a brightly coloured LED sign saying ‘sounds awful’. Your fingers are twitching on the page/mouse, and I don’t blame you, I really don’t. Count Arthur is an oddball. The character is a Radio 4 comedy stalwart, and Delaney is an impressive live performer who can create borderline hysteria using tongue twisters and malapropisms – no mean feat in the 21st century, when you need interactive light shows and Drake to get bums on seats.
On TV, though, it never seemed to work. However, now in its third series and co-written by Delaney and Graham Linehan – whose Father Ted-shaped fingerprints are very happily all over it – it’s starting to look like a comedy classic. Last week’s episode, The Soupover, was as good as Hancock’s Half Hour. Count Arthur and his weird friends were having a soupover. “Everybody brings a selection of soup and we put our pyjamas on and watch the racing,” Arthur explains. “So it’s like a sleepover but with soup?” asks Michael. “No, no, you don’t sleepover.” says Arthur, in disgust. “It’s in the middle of the day.”
It all degenerates into farce, as if it could go anywhere else. They watch an ancient VHS of the same five minutes of racing on repeat, then Count Arthur samples the soup. “Hmm…the leek suggests Suffolk and its environs,” he says. “Hmm, am I right in thinking that these mushrooms are from…Lidl’s?”.
I don’t know why any of this is funny. But my God, it is. Tears in your eyes funny. And when it’s not so funny, it’s comforting: buttered crumpets next to a two-bar electric fire comforting. The whole thing is a silly, blithering joy. Not every one will like it but Count me in.
Who are you calling dummy? CRAIG BROWN on why we are living through a golden age of ventriloquism
When I was growing up in the Sixties, ventriloquism seemed a spent force.
On television, Ray Alan ruled the very small ventriloquist’s roost, primarily with Lord Charles, who was posh and wore a monocle, but also with Tich and Quackers — a chirpy little boy and his equally irritating pet duck.
Occasionally, an American lady called Shari Lewis would appear on the scene with a winsome sock-puppet called Lamb Chop.
I also remember Terry Hall with Lenny the Lion, and Roger De Courcey with Nookie Bear. Keith Harris and Orville came a decade later, in what most people thought was the last squeak of a dying art.
As a child I attended birthday parties where a slightly seedy ‘all-round family entertainer’ might have a stab at ventriloquism, but even to us six-year-olds it all seemed a bit forced.
‘I can see your mouth moving!’ we would all chorus, while the poor ventriloquist pleaded: ‘Now then, now then, let’s have a bit of hush at the back, boys and girls!’
How surprising, then, that, half a century on, we should be living through a golden age of ventriloquism.
The week before last, I went to see Count Arthur Strong at the London Palladium. For those of you who have yet to make his acquaintance, Count Arthur Strong is — or at least appears to be — a veteran variety artiste, who enjoys a drop to drink, has a tendency to muddle his words, and is cursed with a memory that is not quite what it was.
After a refreshing glass of what he insisted was Lucozade, Count Arthur brought out two dummies.
King Tut is an Egyptian mummy so heavily bandaged that he can only answer ‘Mmm! Mmm! Mmm!’ to any question. Sulky Monkey is reluctant to talk at all.
A moment of comic genius came when Count Arthur forgot that he was the ventriloquist and waited for minutes on end for his dummy to say something.
He looked more and more exasperated as he put his head closer and closer to the monkey, unable to hear a thing.
One of my other favourite comedians, Tim Vine, has also come up with an entirely new take on this creaky art.
First, he produces a doll called Clowny. ‘What have you been doing today, Clowny?’ ‘Well, I’ve been doing ventriloquism!’
Clowny then brings out a puppet called Lamby. ‘What have you been doing today, Lamby?’
It turns out that Lamby, too, is a ventriloquist, with a birdy doll called Robin. In turn, Robin produces his own doll, a little chick on a string called Ian.
By the end, Vine has assembled five puppets all in a row, each one performing a ventriloquist’s act with the next. It’s a comic tour-de-force.
Neither Tim Vine nor Count Arthur would consider themselves true ventriloquists — their incompetence is in fact an essential part of the joke — but Nina Conti is a technical expert, blessed with an almost supernatural ability to speak in an entirely different voice without moving her lips.
I have now been to see her show four times, and on each occasion I’ve been freshly impressed by the way she appears to be surprised, and often shocked, by what comes out of the mouths of her puppets.
They really do seem to have a life of their own.
Like Tim Vine and Count Arthur Strong, Nina Conti is also adept at playing new tricks with ventriloquism.
In recent years, she has taken to slipping masks on members of her audience, and, through a hand-held mechanism, making them say outrageous things. But she also does something much more ingenious.
At one point, her main puppet, a foul-mouthed monkey, tells her to put him back in the bag.
‘Follow my instructions. I’m a comedy guru,’ he says from within the bag. So she brings her hand back out, this time without the monkey on it.
‘But her hand continues to speak with the voice of the monkey.
‘Don’t you like me naked?’ it says. Nina looks non-plussed.
‘I miss the monkey,’ says Nina.
‘I am the monkey,’ growls the hand.
From there, the unseen monkey says he wants to enter her face. ‘Here I am!’ he says, and the words come out of Nina Conti’s mouth, only in the monkey’s croaky voice.
It’s a strangely unsettling moment: until then, our brains have been content to go along with the illusion that there are two beings on stage, not just one.
Ventriloquism, once so tired and old hat, has now turned into one of the liveliest and most inventive of all the performance arts.
Lord Charles must be spinning in his suitcase.
Count Arthur Strong -blissfully, brilliantly bewildered
by Brian Logan
at the London Palladium
Not the least of the achievements of Steve Delaney’s extraordinary character Count Arthur Strong is that he’s made mincemeat of the distinction between mainstream and niche. At points in his touring show, The Sound of Mucus, the spirit of popular, golden-age British comedy is distilled. At others, the Count’s confusion and constipated syntax so strains the patience, you could be watching the most audience-baiting genus of live art. What’s consistent is the blood-vessel-busting commitment of Delaney’s performance – a brand of character-comedy-as-transubstantiation that’s attainable only after 20 years’ meticulous refinement.
The opening half hour, a battery of malapropisms and garbled logic from the senile and bibulous Count, had an effect on me as vitalising as that of his “medicinal Lucozade”: I felt giddy with delight. The evening starts as it means to go on, as a faulty safety curtain reveals Arthur and his stooges Malcolm and Alan only from the knees down. Everything that can be botched will be botched, from the Count’s proposed tribute to “Redcar and Hammerstein’s” Sound of Music, via an emphysemic rendition of Bill Withers’ Lovely Day, to his bid to eclipse Benny Hill as the greatest ever Shamrock Hitler … sorry, Sherlock Holmes.
If he’s got a dozen tortuous misnomers for that fictional detective, there are twice that many for Benedict Cumberbatch, a moniker that proves almost fatal to the barking Count. But the most memorable moment in Delaney’s Holmes sequence may be the wordless one that finds the Count’s sidekicks trying and failing to dress him in deerstalker and cape: a little visual symphony of dottiness, like something from the days of music hall. The voice-throwing skit – strictly a joke about Arthur’s total ignorance of that art – is almost as sublime, save that we’ve seen it from the Count on plenty prior occasions.
You could say the same about, say, his Feeding of the Five Thousand routine (first seen in Edinburgh 14 years ago) or his enthusiasm for The Sound of Music, aired on his radio show in 2005. Perhaps that’s fair enough: reviving and scrambling old material is in keeping with the Count’s forgetful shtick. And besides, no radio show could do justice to the spectacle of Count Arthur frolicking in Alpine regalia, forever tugging at the gusset of his too-tight lederhosen.
The von Trapp sequence is set up to be the grand finale, but soars a little lower than the Count’s best set pieces, and ends with a whimper. Elsewhere, there are passages in which the novelty of Arthur’s linguistic snafus wanes, and his bewilderment now and then leads more to stasis than hilarity. But there remains much to enjoy, from the Count’s would-be sage but self-perplexing apercus (“They say you never forget where you are whenever President Kennedy gets himself assassinated”) to his flashes of baroque misanthropy – a detour into the practicalities of suffocation being a particular and unexpected treat. As so often in the past, Delaney’s act offers a pretty rare combination of entertainment and enervation, but it’s undeniably brilliant.