Terry-Thomas

Terry-Thomas (born Thomas Terry Hoar Stevens; 10 July 1911 – 8 January 1990) was an English character actor and comedian who became internationally known through his films during the 1950s and 1960s. He often portrayed disreputable members of the upper classes, especially cads, toffs and bounders, using his distinctive voice; his costume and props tended to include a monocle, waistcoat and cigarette holder. His striking dress sense was set off by a gap between his two upper front teeth.

Born in London, Terry-Thomas made his film debut, uncredited, in ''The Private Life of Henry VIII'' (1933). He spent several years appearing in smaller roles, before wartime service with Entertainments National Service Association (ENSA) and Stars in Battledress. The experience helped sharpen his cabaret and revue act, increased his public profile and proved instrumental in the development of his successful comic stage routine. On his demobilisation, he starred in ''Piccadilly Hayride'' on the London stage and was the star of the first comedy series on British television, '' How Do You View?'' (1949). He appeared on various BBC Radio shows, and made a successful transition into British films. His most creative period was the 1950s when he appeared in ''Private's Progress'' (1956), '' The Green Man'' (1956), ''Blue Murder at St Trinian's'' (1957), '' I'm All Right Jack'' (1959) and '' Carlton-Browne of the F.O.'' (1959).

From the early 1960s Terry-Thomas began appearing in American films, coarsening his already unsubtle screen character in films such as '' Bachelor Flat'' (1962), ''It's a Mad, Mad, Mad, Mad World'' (1963) and '' How to Murder Your Wife'' (1965). From the mid-1960s on he also frequently starred in European films, in roles such as Sir Reginald in the successful French film ''La Grande Vadrouille''. In 1971 Terry-Thomas was diagnosed with Parkinson's disease, which slowly brought his career to a conclusion; his last film role was in 1980. He spent much of his fortune on medical treatment and, shortly before his death, was living in poverty, existing on charity from the Actors' Benevolent Fund. In 1989 a charity gala was held in his honour, which raised sufficient funds for him to live his remaining time in a nursing home.

Biography

Early life: 1911–1933

Terry-Thomas was born Thomas Terry Hoar Stevens at 53 Lichfield Grove, Finchley, North London. He was the fourth of five children born to Ernest Frederick Stevens, managing director of a butcher's business at Smithfield Market and part-time amateur actor, and his wife Ellen Elizabeth Stevens (née Hoar). As a child, Terry-Thomas was often referred to as Tom, the diminutive used by his family. He led a generally happy childhood, but believed his parents secretly desired a daughter in his place. By the time he reached adolescence, his parents' marriage had failed and both had become alcoholics. In an attempt to bring them together, he often entertained them by performing impromptu slapstick routines, reciting jokes and singing and dancing around the family home. The performances seldom worked, and his father became increasingly distant from his family.

In 1921 Terry-Thomas began to nurture his distinctive, well-spoken voice, reasoning that "using good speech automatically suggested that you were well-educated and made people look up to you". He used the speech of the actor Owen Nares as a basis for his own delivery. Terry-Thomas became fascinated by the stage, and regularly attended the Golders Green Hippodrome to see the latest shows. It was there that he developed an interest in fashion, and adopted the debonair dress-sense of his hero Douglas Fairbanks. Terry-Thomas attended Fernbank School in Hendon Lane, Finchley, which was a welcome escape from the stresses of his parents' break-up. When he was 13, he transferred to Ardingly College, a public school in Sussex. He excelled in Latin and geography, and briefly took up drama. The latter subject later led to his expulsion from the school, after his frequent and inappropriate use of ad lib during lessons. He also took up a position in the school jazz band, first playing the ukulele and then percussion. He also often performed comedy dance routines to the band's music.

Terry-Thomas enjoyed his time at Ardingly, and relished his association with upper middle class school friends. His academic abilities were modest, and he came to the notice of staff only through his frequent tomfoolery. Although he initially felt intimidated by his school surroundings, his confidence grew as he put on "a bold, undiluted and sustained show of ''chutzpah''", according to his biographer, Graham McCann. On his return home to Finchley in 1927, his more mature manner impressed the family's housekeeper Kate Dixon, who seduced him at the family home. He stayed at Ardingly for one more term and returned home to London, but made no plans to further his education or start long-term work. Instead, he accepted a temporary position at Smithfield Market, where he earned 15 shillings a week as a junior transport clerk for the Union Cold Storage Company.

By his own admission, he never stopped "farting around" and often kept his colleagues entertained with impersonations of the Hunchback of Notre-Dame and Erich von Stroheim. He invented various characters, including Colonel Featherstonehaugh-Bumleigh and Cora Chessington-Crabbe, and frequently recited comic stories involving them to his colleagues. His characterisations soon came to the notice of the company's management who prompted him to enrol in the company's amateur drama club. He made his début with the drama company as Lord Trench in '' The Dover Road'' which was staged at the Fortune Theatre, London. The production was popular with audiences, and he subsequently became a regular performer in amateur productions.

Terry-Thomas made his professional stage début on 11 April 1930 at a social evening organised by the Union of Electric Railwaymen's Dining Club in South Kensington. He was billed as Thos Stevens, but only appeared as a minor turn. His performance brought heckles from the drunken audience, but earned him a commission of 30 shillings. After this, he played a few minor roles in Gilbert and Sullivan productions by the Edgware Operatic Society at the Scala Theatre. In 1933, he left Smithfield Market to work briefly with a friend at an electrical shop before he became travelling salesman of electrical equipment. He enjoyed the job and relished being able to dress up in elaborate clothing in order to make his pitch. In his spare time, he began playing the ukulele with a local jazz band called the Rhythm Maniacs. He took up dancing and formed a partnership with a sister of Jessie Matthews. The act starred in local exhibitions and at minor venues, and they earned well from it. News soon travelled of the couple's talent, and they were engaged as ballroom dancers at a hall in Cricklewood. He found the dance-style too restrictive and he left the act to try other aspects of entertainment.

Early performances: 1933–1939

By 1933 Terry-Thomas had moved out of Finchley and into a friend's flat; the friend was a film extra who introduced him to the idea of working in the industry. Terry-Thomas made his uncredited film debut in the 1933 film, ''The Private Life of Henry VIII'', which starred Charles Laughton in the title role. Between 1933 and 1941 Terry-Thomas appeared in 16 films, as an uncredited extra in all but one; he later said that "this work suited me down to the ground. It wasn't really like work to me. I got an enormous kick out of it". His first speaking role came in the 1935 Buddy Rogers comedy '' Once in a Million'' where he shouted "A thousand!" during an auction. During the 1936 musical comedy ''This'll Make You Whistle'', starring Jack Buchanan, he permanently damaged his hearing as a result of jumping into a water tank. In between his film work, he developed his cabaret act and was employed as a dance teacher at the Aida Foster School of Dancing in Golders Green.

During this period, he billed himself as Thomas (or Thos) Stevens, but rearranged the name to its backward spelling of Mot Snevets; the name did not last long and he changed it to Thomas Terry. He soon realised that people were mistaking him as a relative of Dame Ellen Terry, so inverted the name to Terry Thomas. He did not add the hyphen until 1947, and later explained that it was "not for snob reasons but to tie the two names together. They didn't mean much apart; together they made a trade name": the hyphen was also "to match the gap in his front teeth". By now, he was developing a unique sense of style both on and off stage. To avoid staining his fingers with smoke, he used a cigarette holder and later purchased "the most irresistible holder in Dunhill's. It was slightly outré because it was made of lacquered, black whangee ... with a gold band twisting neatly round it". Adding to his look were a "monocle, raffish waistcoat and red carnation". He later wrote that "sartorially I was an eccentric. But I knew that underneath the clothes I was very much a conservative Englishman who would have loved to have been a genuine eccentric".

In 1937 Terry-Thomas met the South African dancer and choreographer Ida Florence Patlansky, who went by the stage-name Pat Patlanski, while she was auditioning in London for a partner for her flamenco dancing act. Patlanski was keen to employ Terry-Thomas as a comedian rather than a dancer, and they established a cabaret double-act billed as "Terri and Patlanski", which was immediately popular with audiences. The couple became romantically involved and married on 3 February 1938 at Marylebone Register Office, afterwards moving to 29 Bronwen Court in St John's Wood. Despite the success of Terri and Patlanski, the act lasted only three months and they took on small engagements on the cabaret circuit. On 6 June 1938 Terry-Thomas made his first radio broadcast on the BBC London Regional dance programme ''Friends to Tea''. He later recounted that "I didn't give a very good performance ... I was a dismal failure". At the end of the summer of 1938 they were hired by the bandleader Don Rico, who incorporated them into his orchestra, with Patlanski playing the piano and Terry-Thomas acting as the compère.

Second World War

The Entertainments National Service Association (ENSA) was formed in 1938 to provide entertainment to the British Armed Forces. Terry-Thomas and Patlanski signed up in 1939 and during the Phoney War were posted to France, where they appeared in a variety show. From early in their marriage, Patlanski had affairs, which prompted Terry-Thomas to reciprocate; he made sure he was sent on tour to France where a girlfriend was due to perform, although Patlanski accompanied him on the trip. During the tour, Terry-Thomas ensured Patlanski was sent back to Britain to enable him to continue his affair. On his return to Britain, he continued with his solo variety act, while also acting as the head of the cabaret section of ENSA at the Theatre Royal, Drury Lane, where he clashed regularly with his counterparts running the drama sections, Sir Seymour Hicks and Lilian Braithwaite. Terry-Thomas aimed to produce "good shows, sophisticated, impeccable and highly polished", which included the violinist Eugene Pini playing light classical music, and the Gainsborough Girls chorus line.

In April 1942 Terry-Thomas received his call-up papers; he later wrote that "it would have seemed rather rude and ungrateful to refuse"; as a result, he left ENSA and reported to the Royal Corps of Signals training depot in Ossett, West Riding of Yorkshire. Within two weeks of his arrival he hired Ossett Town Hall and staged a concert, which included a freshly written sketch about his feet, which had been suffering in his army boots. After basic training he was promoted to the rank of corporal and applied for a commission. He was turned down because training had caused a duodenal ulcer, and his hearing was still problematic; as a result he was downgraded from A1 to B1 fitness at the start of 1943.

Terry-Thomas continued to appear in cabaret and variety shows while in the army, including at the Astoria Cinema in York, where he was seen by George Black. Black established the entertainment troupe, Stars in Battledress, which was composed of entertainers who were serving in the forces, and he invited Terry-Thomas to join. In February 1943 he appeared in his first Stars in Battledress show at London's Olympia, where he introduced the sketch "Technical Hitch". This involved him portraying a harassed BBC announcer introducing records that are missing. In order to cover up for the absent records he would use his vocal range of four and a half octaves to mimic the singers; he included "impersonations of Britain's clipped crooner Noël Coward, the African-American bass-baritone Paul Robeson, the Peruvian songbird Yma Sumac, the Austrian tenor Richard Tauber and ... the entire Luton Girls Choir". The show went on a national tour, with the stand-up comedian Charlie Chester as compere, during which Terry-Thomas refined and polished his act and finished as "one of the most prominent and influential members of Stars in Battledress".

Terry-Thomas, along with his Stars in Battledress unit, travelled through Britain and Europe on a tour that lasted several months. After the tour, and with his demobilisation approaching, he took compassionate leave to have free time while still receiving army pay. During his absence he went on a tour of the UK organised by George Black, accompanied on the piano by a former colonel, Harry Sutcliffe. Terry-Thomas finished the war as a sergeant, and was finally demobbed on 1 April 1946.

Early post-war work: 1946–1955

The ENSA and Stars in Battledress tours of Britain and Europe had raised Terry-Thomas's profile and, by October 1946, he was appearing alongside Sid Field in ''Piccadilly Hayride'' at the Prince of Wales Theatre, London. The show was described by Graham McCann as "the West End's biggest money-spinner for years". Terry-Thomas compered the show as well as appearing in some of the sketches, including his own "Technical Hitch" routine. In 1959 he described the effect of ''Piccadilly Hayride'' on his career, saying "This show made me overnight. I'd arrived". Ivor Brown, writing in ''The Observer'', remarked on the "glorious rag of BBC modes, moods and intonations by Mr. Terry Thomas, a grand discovery". Within three weeks of starting his run, Terry-Thomas was invited to appear at the Royal Command Performance on 4 November 1946 at the London Palladium.

''Piccadilly Hayride'' ran for 778 performances and ended on 17 January 1948. The show was seen by over a million people and earned £350,000 at the box office. In conjunction with ''Piccadilly Hayride'', Terry-Thomas undertook a number of other additional one-off appearances in cabaret and private functions. He also appeared in editions of '' Variety Bandbox'' and '' Workers' Playtime'' on BBC Radio. His ever-evolving act consisted of imitations, including that of his friend, the musician Leslie Hutchinson (known as "Hutch"); sketches, including "Technical Hitch"; urbane monologues, and "languid shaggy dog stories". At the end of his run with ''Piccadilly Hayride'', Terry-Thomas took a three-week break to recover from nervous exhaustion and a recurrence of his peptic ulcer. He went back to cabaret and acted as a compere at the London Palladium before making his radio breakthrough on 12 October 1948 with his own series on the BBC Home Service. Consisting of a "mixture of sketches, solo routines, musical interludes and a range of popular and topical star guests", '' To Town with Terry'' was broadcast weekly and ran for 24 episodes until 28 March 1949. He was disappointed with the series, saying "I was never totally satisfied with tnbsp;... The perfectionist in me always made me aware of anything that was less than first class". He also appeared in his first post-war film, '' A Date with a Dream'', in 1949, alongside his wife.

On 26 October 1949 Terry-Thomas wrote and starred in a new series on the BBC Television Service, '' How Do You View?'', noted for being the first comedy series on British television. The programme was based around an on-screen persona of Terry-Thomas as "a glamorous, mischievous and discreetly cash-strapped man-about-town", introducing a series of sketches in which he appeared alongside Peter Butterworth

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