Friday, 6th May, 1994

Judy Spires: Oh, my hero! Yes, Peter Wyngarde. The man who spawned a generation of gypsy-locked, Mexican-moustachioed, and turned-back-cuffed youth. And was responsible for a generation of tots being called ‘Jason’. The flamboyant author from Department S, spent his time getting entangled in espionage, blackmail and murder, as well as a bevy of beauties, including Kate O’Mara, Felicity Kendal, Stephanie Beacham and Hildergard Neil. He’s back on video: ‘Jason King’.

(A clip from the Jason King episode, ‘Flamingos Only Fly On Tuesday’s’ is shown).

Judy Spires: Well, I’m delighted to welcome the man who created the style icon – Peter Wyngarde.

(Peter walks onto the set carrying two glasses of champagne).

Peter: (Kisses Ms. Spiers). It’s not Clark Gable.

Judy Spires: (Takes one of the glasses). Oh lovely, Sterident!

Peter: You’ve spoiled it for me now!

Judy Spires: Oh, I’m sorry. What a different look (Peter is wearing a black leather jacket; red T-Shirt; black jeans and hiking boots). This is a sort of ‘Street Cred Bikers’ look, isn’t it?

Peter: Street Cred Bikers? It’s my macho image.

Judy Spires: I thought you were pretty macho as Jason King, actually.

Peter: Did you? Good.

Judy Spires: But you’ve beefed up a bit since then, haven’t you?

Peter: Yes. It’s with working out at the gym all the time.

Judy Spires: Pumping up?

Peter: Yes.

Judy Spires: Now, did you create the total Jason King look; those turned-back cuffs with the ties and shirts?

Peter: (Referring to a ‘Comic Strip Presents…’ send up which had been screened during the same week). You saw that send-up of it the other day?

Judy Spires: Yes, I did. We’ve got a clip of that to show in a minute.

Peter: Have you? Well, I’m going to sue the guy that wore that suit. It’s outrageous!

Judy Spires: Well, we were going to show it in a minute, but let’s show it now…

Peter: (Laughing) Yes, show it, because it’s absolutely terrible!

Judy Spires: …let’s have a look at the ‘Comic Strip’ send-up. It’s wonderful.

Peter: No, it’s very good.

(The clip is shown).

Judy Spires: That was a ‘Comic Strip’ send-up of the screen detectives.

Peter: I thought it was marvellous; the whole thing was wonderful.

Judy Spires: So the whole costume thing – do you have any of those suits left?

Peter: No! I can’t get into them anymore – they’re too tight!

Judy Spires: You marketed them as well, didn’t you?

Peter: No. Other people did, otherwise I’d be very rich now.

Judy Spires: My particular favourite, because I used to do it as well, was to hoik the cuffs back.

Peter: Do you know how that started?

Judy Spires: No.

Peter: We were filming in Venice, and I had to jump into a gondola, and my cufflink fell out of the sleeve; I hadn’t done it up properly. So I thought, ‘What do I do now?’ So I turned up the sleeves like that, and it started a fashion.

Judy Spires: And you caused chaos amongst the women. It was like 35,000 Australian women voted you the man they’d most like to be seduced by?

(The audience gasp).

Peter: I’ve still got the scars to prove it!

Judy Spires: When you got there, did they mob you?

Peter: Yes, they did. We’d got on this plane from Mauritius, and I thought the best thing to do – there was this pop group on the plane, so I thought, ‘That’s right. They’re the ones they’ll be after – I’m in disguise’; I had dark glasses on and the whole thing. But when we landed, I saw these millions of women – this wonderful amount of women all over the place, so I thought: ‘What do I do?’ Then I thought, ‘No, it’s not me, it’s this pop group they’re after’. And as we landed, the pop group went out, and I thought ‘Poor things – they’ll be killed!’. I’ll be very clever and go over in this direction. So as I started to go in this direction, I looked over, and suddenly all these women came forward. It was the most frightening thing I’ve ever known in my life! They knocked me to the ground; cut my hair – they had a pair of scissors which they used, and it was awful! (Laughs). I was in hospital for three days!

Judy Spires: You’re joking!

Peter: (Shakes his head). They cut everything they could find!

Judy Spires: Good Lord! Did you have to disguise yourself in those days?

Peter: Yes, all the time. There was this thing in the hotel – you get this antenna; you know when someone is watching you. I wore these granny glasses, with this funny kind of beard, and this funny little hat. I was walking down the street, and I thought ‘I’m alright. I’m fine. Nobody is going to recognise me at all – this is marvellous’. Then on the way back, I thought: ‘There’s the lift there’. So I got into the lift, and they charged in. I was against the wall signing these autographs, and I heard this Australian guy say: “It’s not bloody John Lennon, it’s that other…! (Laughs).

Judy Spires: Yes! And this was the look that Lew Grade said wouldn’t work?

Peter: When we’d done the first series, which was ‘Department S’, he summoned me because the contract was to do the second series, and we were all a bit in trepidation as to whether it would be done or not. And he sent down a call for me, and I went up to his office, and he said: “Peter, I’ve got to tell you this. I don’t like you – I don’t like you as a hero. My idea of a hero is Roger Moore, you know: blond hair; blue eyes. That’s my idea of a hero. Look at you. You’ve got this funny Viva Zapata moustache and these funny clothes that you wear, I mean, that’s a hero?! But I have to tell you, my wife likes you, so we have to do the next series!

Judy Spires: And I believe there was a housewife in 1980 who tried to start the whole Jason King thing over again.

Peter: Yes.

Judy Spires: And then they announced that the videos were about to come out, and there was homage paid by hundreds of Jason King look-alikes.

Peter: How lovely.

Judy Spires: How spooky!

Peter: Apparently, there was a kid of about fourteen who put on a better moustache than the one I’ve just stuck on… (he tugs at his moustache as if he is about to peel it off).

Judy Spires: Don’t take it off! Peter, do you miss all that?

Peter: I don’t know. I had a lot of fun. I enjoyed it immensely – it was great fun to do. I’ll tell you what I do miss: most of the series now don’t have that sense of fun, that’s what I think is missing. I’d like to see that again. And the sense of adventure, which has gone too, hasn’t it? It’s all got rather nasty, with people knocking one another about – the fun’s gone out of it, and I think that’s important (turns to the audience), don’t you? (They agree).

Judy Spires: Of course, I’ve only mentioned Jason King, but before you played him there were hundreds and hundreds of plays, and you were on television all the time. Do you do much acting now?

Peter: Yes, when they ask me, of course. I do occasionally play things, but I like to direct at the moment – I’ve done quite a lot of directing, but my main thing of all is writing. I wrote a lot of the stuff he (Jason King) said in the programme, and sometimes I had something to do with the plot. I used to change quite a lot of things, and would write until two in the morning. So I’ve kept that up, and I enjoy that immensely really.

Judy Spires: ‘Jason King’ and ‘Department S’ gave you a taste for something I know you’re interested in, which is crime.

Peter: Yes. Murder – I’m fascinated by.

Judy Spires: Well, I said crime…

Peter: You don’t want to talk about murder?

Judy Spires: No. No. Please do.

Peter: Is it too early? A lot of murders take place before breakfast, you know!

Judy Spires: Do they? Is it something you’ve seriously studied?

Peter: Well, I think it’s an incredible subject, and it’s pretty prevalent at the moment from different directions. Yes, it’s something I’m fascinated by; always have been.

Judy Spires: I know you’re not going to tell me what, because people…

Peter: The story – the script?

Judy Spires: …but you are writing a script.

Peter: Yes. And it’s based on a true murder story.

Judy Spires: Will this be something for you…

Peter: No. No. I won’t be acting in it. I shouldn’t think so. And the difficulty is that a lot of people are alive now.

Judy Spires: I would’ve thought that an autobiography would’ve been wonderful.

Peter: Oh, you must be joking!

Judy Spires: No?

Peter: No, I wouldn’t do that. No, no, no. Actors are not like entertainers, you see. They’re not interested in talking about themselves, really. They hide behind people. Most good actors are very shy, you know that. One of the good things is to be able to play someone else, and to give yourself to somebody else; to be that other person. I think it’s very difficult to come on and entertain, that is why I think you’re marvellous. I really do. I think you’re fabulous.

Judy Spires: Is there a part out there that you would really love to play? I mean, Jason King – yes, you’ll forever be remembered as him…

Peter: Oh, there’s lots of Shakespeare that I haven’t done. I haven’t done ‘Othello’; I’d like to do that. And Dickey the Third, from 33rd street!

Judy Spires: Well, it’s been wonderful talking to you. It’s been great to see you. Very often when people have been huge stars on television in a certain series, and you see them again afterwards, it isn’t the same. And I’m really glad to see you…

Peter: Well, I’m really pleased to meet you.

Judy Spires: …and looking like a Street Cred Biker!

Peter: Right!

All programmes were broadcast in the United Kingdom unless otherwise stated

1960 Meeting Point

Broadcast: 1960

Interview with Peter

1970 The Mike Walsh Show

Interview with Peter

Broadcast (Australia): 5th March, 1970

1970 The 12^th Annual TV Week Logie Awards

Special Guest

Broadcast (Australia): 20th March 1970

Peter with GTV9 presenter, Rosemary Margen, and host, Bert Newton

1970 The Simon Dee Show

Broadcast: May 1970

Interview with Peter

Peter with Simon Dee

1971 VIP Schaukel

Broadcast (Germany): January, 1971

Interview with Peter

1971 Miss World

Judge

Broadcast: November 10th, 1971

1971 Stars In Der Manege

Performer

Broadcast: (Germany) 1971

1972 Stars In Der Manege

Performer

Broadcast (West Germany): 1972

1972 International Concert

Broadcast (Hungary): 15th December 1972

1973 Miss TV Europe

Host

Broadcast: ITV – January 17th, 1973

1973 V.I.P. – Schaukel

Interview

Broadcast (Germany): 1973

1973 The Russell Harty Show

Guest

Broadcast: November 1973

Left to Right: Peter, Sally Ann Howes and Russell Harty

1974 The Amazing World of Kreskin

Guest

Broadcast: 14th August, 1974

197462 This Is The West This Week

Guest

Broadcast: 9th September, 1974

1975 Pebble Mill At One

Interview regarding the play, ‘Dracula’

30th April, 1975

1977 The Statesman

Interview with Peter regarding his role in ‘Deathtrap’

Broadcast (South Africa): 22nd January , 1977

1989 Jameson Tonight

Guest

Broadcast: June 1989

1992 The Right To Reply

Interview

Broadcast: Channel 4 – August 1992

1993 The History of Religious Broadcasting

Clips from ‘Dinner With The Devil’ (1962)

Broadcast: January, 1993

1993 Pebble Mill

Interview

Broadcast: Tuesday, 6th April 1993

1994 The Late Show

Interviewed by Thomas Gottschalk

Broadcast: (Germany) May 1994

Peter on The Late Show

1995 The Cult Corporation

Interview

Broadcast: 29th June, 1995

1997 This Morning

Interview

Broadcast: 1st April, 1997

Peter on ‘This Morning’

2002 What a Performance! Cads, Charmers and Playboys

Interview and Archive Footage

Broadcast: ITV – August 10th, 2000

2001 Astley’s Way

Archive Footage

Broadcast: ITV – September 2001

2002 After They Were Famous

Interview

Broadcast: 5th November, 2002

2002 Dee Time

Interview

Broadcast: 29th December, 2002

2002 100 Greatest TV Characters

Interview and Archive Footage

Broadcast: Channel 4 – March 2002

2009 Top Of The Cops

Interview/Archive footage

Broadcast: 10th April, 2009

2015 It Was Alright In The 60s

Guest

Broadcast: September 19^th, 2015

2024 When Sex On TV Goes Horribly Wrong

Clips from the Avengers episode, ‘A Touch of Brimstone’

Broadcast: 7th April, 2024

2024 Diana Rigg: From Avengers To All Creatures

Clips from the Avengers episode, ‘A Touch of Brimstone’

Broadcast: 23rd December, 2024

2025 Classic Movies: Flash Gordon

Clips and dialogue of Peter from ‘Flash Gordon’

Broadcast: 29th May, 2025

Click below for…

Above Left (clockwise): Peter, Joel Fabiani (Stewart Sullivan), Rosemary Nicols (Annabelle Hurst) and Dennis Alaba Peters (Sir Curtis Seretse). Above Right: Peter with Rosemary Nicols.

Above: ‘The Man From X’ – One of the first episodes to be shot.

Above Left & Right: On the set of the episode, ‘Who Played the Dummy?’

Above: Shooting a scene for the Department S episode, ‘The Man From X’.

The four photographs here, and the colour shot directly above them to the right show Jason King attempting to free his colleague, Stewart Sullivan, from his bonds at the wheel of a remote-controlled car. Peter can be seen carrying out the stunt in front of a blue screen. The scene itself is from, ‘Who Played the Dummy?’

Above: Peter and his beloved dog, Yussef, in his dressing room at Elstree Studios during a break in filming.

Above Left: With Barbara Murray and director, Ray Austin during the filming of ‘Dead Men Die Twice’. Above Right: Peter, Joel and Rosemary on set.

Above Left: Filming a scene featuring Jason King (Peter is seated and wearing headphones) for the episode, ‘Ticket To Nowhere’. Above Right: Peter and Joel sharing a scene.

Above: Peter discusses a scene in ‘Ticket To Nowhere’ with director, John Gilling.

Above Left: Peter enjoying a cup of tea and a cigarette during a break on location. The episode is, ‘A Cellar Full of Silence’. Above Right: Peter talking shop with director, John Gilling, during a break in filming, ‘The Double Death of Charlie Crippen’.

Above and Below: Peter with director, Cyril Frankel

Above Left: A rare on location shot of all 4 Department S regulars. Behind car (L-R): Joel Fabiani and Peter. In front of car (L-R): Dennis Alaba Peters and Rosemary Nicols. Above Right: Again on location – a scene from, ‘The Pied Piper of Hambledown’. Joel, Rosemary and Peter with director, Roy Ward Baker.

Above: Peter enjoying a moment on location during filming of, ‘The Mysterious Man In The Flying Machine’

Above: Filming a scene using blue screen.

Above Left: Peter enjoying a break with guest stars on ‘Jason King’. Right: With Clifford Evans (as Colonel Cordoba) during a break on ‘A Kiss For A Beautiful Killer’

Above Left: With a young co-star during a break in, ‘Every Picture Tells A Story’. Centre: Peter in make-up and, Right: On the backlot at Elstree Studios with (Bond villain) Milton Reid (as Janis) during a break filming the episode, ‘To Russia With… Panache’.

Below: Peter’s stand-in during rehearsals for a scene in, ‘A Page Before Dying’.

Above: Peter between takes on the ‘Jason King’ set

More about Department S and Jason King

Please note that some of the additional information provided here by the journalist named below may not be accurate, so it should be treated with caution.

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22nd August 1970

Peter Wyngarde reveals ‘Why I like to be alone’

Anne Nightingale talks to Peter Wyngarde for Petticoat about his life and future – and particularly about that special charm he has that makes him a star with style…!

Anyway, a minute later, there he is at the front door in long black velvet trousers, matching waistcoat, startling hazel eyes, surprisingly freaked out long hair a bea-outiful patterned see-through voile shirt and a sun-tan that looks as though it had been beaten into his crease-line face. 

I almost expected him to enact an excerpt from his LP where he’s asking a girl into his abode: “Hello… do come in… what a beautiful dress… mmmm, what’s that perfume your wearing? don’t tell me, I know, I’ll whisper it.” 

Actually he says,”Would you like to sit down while I finish shaving,” and he’s got Terry walking on the radio 

But apart from these human touches, Peter Wyngarde lives in the most unreal elegance. His living room is filled with superb antiques, and the colours are so restrained that I have no idea now what they were. He has mellow leather chairs and a Chesterfield, pictures, ornaments, a Cromwellian clock, carved cabinets, well arrange flowers, table lighter and everything else you’d find on the set of a Noël Coward play. 

Even Peter Wyngarde’s dog is elegant… an Afghan hound called Yousef, but not any old Afghan Hound, he is a rare coffee colour especially bred in America. 

However, the effect is far from being look-how-live-now-I’m-a star. Peter Wyngarde has been perfecting the art of living since he was born. 

The elegant background helped. Born in the South of France, son of a British Diplomatic Corps officer father and a French mother, then educated privately in France, England and Switzerland. This should slot him fairly and squarely into an upper-class bracket, yet he is fighting off the society identity. 

“I don’t feel as if I belong to any strata of society,” he said, “I never did. I can be at home with anyone whether it’s at an ambassadorial dinner party, or with a gang of building labourers. Someone said that I am a mixture between a patrician and a… what’s the opposite of a patrician? Well, whatever it is, I’m that!” 

Then he admitted: “Mind you, people say I try to be one of the boys… and then I tried too hard.” 

Somehow it was a lot easier to imagine Peter Wyngarde at an ambassadorial party than looking bricks about on a building site. 

At that moment, an elderly lady admirer called through the window. “Oh how lovely, beautiful,” said Peter, as a bunch of Lilies of the Valley appeared at the end of an outstretched hand from the street below. Then he turned and looked around the room already filled with flowers. “Would you like them?” he asked me. “Well, if you’re sure…” I said, hoping the lady admirer wouldn’t see me leave the house with Peter Wyngarde’s flowers. 

So he went away to wrap them up. rummaging around his kitchen looking for a special piece of coloured cellophane paper he had in mind. “You shouldn’t go to all that trouble,” I called out. 

“I aim to please,” he said as he came back into the room. He was applying the remark to his personal relationships too. Peter Wyngarde has been married but won’t talk about it now. 

“I have an alone instinct,” he said. “Maybe my childhood has something to do with it.” He then went on calmly to explain how he had spent the war years in an internment camp without his parents and stranded from all other relatives in Shanghai. “It taught me to be self-reliant from a very early age. 

“I’m a very solitary person,” he said, “although I’m not self-sufficient, I like to be on my own. I ruminate a lot 

“Maybe I’m frightened of getting too close to people. I don’t want to get hurt and I don’t want to hurt other people. But I do think I need a permanent relationship. The trouble is that the sort of people who are attracted to me don’t seem to be all that intelligent. They start being petty and squabbling, and jealous. 

“What I need is someone who can be entirely independent and there aren’t that many around. 

“If I ever got married again, I’d want to live in a separate house to my wife then we could just see each other when we wanted to instead of all the time.” 

I said I couldn’t imagine very many women being happy with that situation. “No, they aren’t.” he said laughing – “that’s probably while I’m not married!” 

But the creation of Jason King has left him little time anyway to worry about his personal life. He travels all the time, meeting and getting involved with new people constantly. “I have very happy times,” he said, “then sometimes I think here I am with so-and-so, yet only five weeks ago I was really involved with someone different.” 

He’s in his middle 30s, “But I feel like 17. People are so obsessed with age nowadays. They don’t ask you what you do, they ask you how old you are. It’s so relative. I know people who are old at 25 and I’ve met people in Fiji of 60 or more who are incredibly young.” 

His thinking reflects contemporary modern young society, or maybe is a bit ahead of his time. “But I’ve always been like this,” he says, surprised that now he’s a name people should treat him as something different. “It’s the same with the clothes I wear. 

“I’ve always had people staring at me in restaurants because of my appearance. I always wore slim trousers, and boots. A little while ago, someone in Hollywood recognised me walking past a shop – he just remembered me from the clothes I wore when he knew me in London 10 years ago.” 

The distinctive appearance of Jason King is a well-planned piece of thinking, no showbiz accident. “I’m the sort of actor who becomes the part he plays,” Peter said. “When the part of Jason King was written originally, he was a quiet, donnish sort of chap and I knew then that if I played him like that I would become come home after acting out the part all day and I’d end up feeling about 70. So, Jason ended up being much more like me.” 

“His acting career began when he was 9, amusing himself and his internment camp mates with handmade puppets, Dr. Jekyll and Mr Hyde. 

“But I had no thoughts of becoming an actor ’til much later. I tried law, but that was a disaster. But I suppose that was theatrical in a way. Then I went into advertising, and if I’d stayed in that I probably would have done pretty well. The partner I used to work with is a millionaire in America now. 

“The real acting began when I met a chap I knew outside a theatre in London. He was the only actor I’d ever met and I asked him what he was doing. He said he’d just been to an audition, and I wished him good luck with it, and then walked in myself! I had no idea what an audition was like, and just announced myself as Wyngarde and said I’d come about the part. 

“They asked me which part, and I just said well, er, THE part. Then they gave me the script to read, and I read all the parts. I thought that’s what you had to do in an audition! Then they asked me what experience I’d had, so I said Old Vic and Birmingham Repertory because those were the only companies had ever heard of. Oh, I told a lot of lies!” 

But he got the part and many more, always distinguishing him himself with the particular fair, however small the role. 

We discussed his views on theatre and film techniques ’til a buzzer on the gold watch Sammy Davis jnr. had given him reminded him about another appointment. 

So I clutched my Lilies of the Valley and left thankful that at last add meta star actor who lived up to his image. 

ITV Play of the Week: Season 12, Episode 23

Broadcast: Tuesday, 7th February 1967

Character: Hugo Croissillon

Above: Peter with Eric Portman

This forbidding piece of drama set during the last days of French rule in Algeria (the war[1] itself had ended just five years before the play was broadcast), when most French citizens had returned home, leaving only those who felt duty bound to carry on with their work there. One of these people is Doctor Sorel (Eric Portman), a distinguished and dedicated physician who has spent three decades in Algiers and who is caught between European and Islamic extremists during the war.

The story begins at Sorel’s home where he’s been conducting a meeting with a small group of likeminded colleague and acquaintances, one of whom is fellow doctor and friend of 30-years, Dr. Si Cada (Roger Delgado). When a message arrives and is delivered to Si Cada by Sorel’s disapproving housekeeper, Francesca (Anne Blake), advising that a number of natives have been injured in a grenade attack, Sorel insist on accompanying his friend to help treat the injured and ends up admitting a young Muslim boy who has been paralysed in the blast to his hospital.

Also resident in the city is Sorel’s daughter, Eliane (Jeanette Sterke) and her husband, Hugo Croissillon (Peter Wyngarde). Hugo is preparing to leave on a business trip to Paris where the couple’s two young daughters are living. He pleads with his wife to convince her father to cease his welfare work, which includes treating Muslim “terrorists” and their families – a practice which has not gone unnoticed by the white settlers.

Hugo also makes mention, almost as a footnote before departing, that he had bumped into Paul Du Pre (Ian Hendry) – Eliane’s former boyfriend. When Paul calls on her the following day, the former army major tells her that he is now a civil servant working for the Ministry of Culture, and is in Algiers to look over the museums and ancient monuments in the area. In reality, he is a police spy who has come to the city to monitor a French Nationalist cell that is determined to maintain their position of superiority in the capital.

When later Dr. Sorel arrives to give a lecture to medical students at the university, he finds himself surrounded by several young men – all of them members of this ultranationalist organisation. They wish to confront him about his work within the Muslim community. Despite this intimidation, Sorel holds that his medical skill is available to all that needs it, regardless of race or religion. The ringleader, Vedoni (Philip Locke), tells the elderly physician he is on notice that they will not allow him to continue treating terrorists. They give him three days to remove all Muslim patients from the hospital. If he fails to do so, they will do it themselves.

When Eilane returns home with Paul Du Pre after a day at the beach, they find that Hugo has returned from Paris an waiting for them. Eilane is surprised to see him, as she had been given to believe that he would be away for several days. He explains while flashing a rather ominous glare in Paul’s direction that, “I had to get back a day early.” She tells Hugo that she has tried to convince her father to give up his welfare work as advised, but that he is determined to continue despite the danger.

That evening, the Nationalists cell meet in a basement in the city. Most notable amongst their number is Hugo Croissillon who, it transpires, is the organisations paymaster. Also there is medical student, Vedoni and, at the head of the table, former French army officer, General Palice (Patrick Barr).Most notable amongst their number is Hugo Croissillon who, it transpires, is the organisations paymaster. Also there is medical student, Vedoni and, at the head of the table, former French army officer, General Palice (Patrick Barr).

Hugo tells his comrades about a bombing that had happened in Paris during his visit there a few days earlier which had taken the lives of 37 people. The main suspects were Algerian Islamic’s. The firebrand Vedoni insists a swift response is called for and suggests that 20 Muslim women should be executed so as to provoke a major clash between the French settlers and the Islamic natives. This operation would be codenamed ‘Sunrise’. Hugo, however, cautions that such an action could lose them any sympathies they might have in the wider world. He then reveals that the reason for his recent trip to France was to raise funds for their cause, and announces that he has brought back over 10 million Francs in cash and cheques.

When the meeting eventually breaks up, Vidoni gets onto Hugo about his father-in-law’s activities, and suggests that he should be a target for their group. Hugo tells the angry student in no uncertain terms that if anything should happen to Dr. Sorel, he would be held responsible. General Palice agrees with Hugo’s dislike of Vidoni, who he describes as the “ideal revolutionary”, but quickly adds that he is, after all, a necessary evil that they both must to accept.

As the conversation between the two men continues, it’s revealed that Hugo comes from one of the oldest family’s in France and so, he insists, he didn’t need to marry for money – indeed, he confesses to loving his wife “with an intense feeling of possession”. When asked what he might do should Eliane take off with another man he responds, no doubt, with Paul Du Pre in mind: “That would be simple. I’d kill him!”

When the following day Eliane arrives home from a trip to the theatre, she finds Paul waiting for her. She is shocked to learn that her father has formed a new political group which he has named the Supporters of Constitutional Government (The SCG), and that he has been asked to take the chairmanship. Paul sees this as a dangerous move and asks Eliane to dissuade him from accepting.

Meanwhile, Dr. Sorel goes to see Hugo who tells the aging physician that, because of his unwillingness to listen to reason, he has compromised his own daughter’s safety. Adamant that he will not give up the Chair of the SCG, the Doctor begs Hugo to take his daughter and return to Paris, but instead resolves only to leave their flat and to take Eliane to hotel on the outskirts of the city.

When Du Pre return to the Doctor’s home later that day, he finds Francesca and Eliane bound and gagged and Sorel gone; kidnapped by the insurrectionists. Paul immediately has arrested and taken to police headquarters where he is interrogated. Paul repeatedly asks the student who gave the order for the recent bank raids and, worse, the terrorist atrocities against the Muslim population. When the young man refuses to talk, Du Pre reveals that they know about ‘Operation Sunrise’, and makes mention of Hugo Croissillon. While Armidal had otherwise remained resolute in refusing to answer any of the officer’s questions, he makes the mistake of confirming Croissillon’s involvement in a knee-jerk moment of thoughtlessness. Warrants are hastily issued for the arrest of both Croissillon and General Palice,

Meanwhile back at their basement hideout, a kangaroo court is put in session with Dr. Sorel facing a charge of treason, taking payment from Muslims and consorting with the enemy. Croissillon and General Palice act as both judge and jury with Vedoni seemingly only too happy to give testimony against him. The trial is adjourned when news arrives that ‘Operation Sunrise’, which General Palice had ordered into action himself, is succeeding. When Croissillon and the General leave, Sorel is placed into the custody of Vidoni and his henchmen.

Back at police headquarters, Du Pre is informed that Croissillion has been arrested at the docks attempting to leave the country, and that Dr. Sorel has been spotted being driven in the direction of the hospital. Alas, he and his officers arrive too late to save the brave doctor as Vidoni and his comrades have already carried out his execution.

Peter with Jeanette Sterke and Ian Hendre

NOTES: [1]: The Algerian War – also known as the Algerian War of Independence or the Algerian Revolution – was a war between France and the Algerian independence movements from 1954 to 1962, which led to Algeria gaining its independence from France. An important decolonization war, it was a complex conflict characterized by guerrilla warfare, resistance fighting, terrorism, the use of torture by both sides, and counter-terrorism operations. The conflict was also a civil war between loyalist Algerians supporting a French Algeria and their insurrectionist Algerian nationalist counterparts.

Originally published in The Bradford Telegraph and Argus – 18th January, 2018

Mr Gresham rose from a local record shop manager “for a tenner a week” to an entrepreneur and theatrical and promotional manager rubbing shoulders with some of the biggest stars to hit stage and TV screens.

He has also been a columnist, disc jockey, actor, presenter and a musicologist.

He developed many personal friendships with the stars who he later employed when he launched his personal appearances company.

One of these great friends was Peter Wyngarde. On hearing the news he had died, Mr Gresham told the Telegraph & Argus: “I’d just like to say how sorry I was to read of Peter’s death.

“During the ’70s we had a contract to officially open over 30 Woolworths newly refurbished stores throughout the UK.

“Other than my friends and clients, Morecambe & Wise, Peter was the most requested and highest paid celebrity making personal appearances.

“He was a charmer with the ladies and his appearances on the Woolworths engagements drew in excess of 5,000 screaming ladies.

Though Mr Gresham was from Bradford, the nearest he got Wyngarde to the city was to Barnsley’s Arndale Centre.

“Peter was an absolute joy to work with and drew massive crowds. We were even turned away from a Woolworths store on one occasion.

“The police said the stores around “Woolies”, in the Arndale Centre, were worried their all-glass frontages might break.

“On the way there we were stopped by a police car and a lovely police lady said: “Hello, Jason.” (They always called Peter by his TV role name). “I’m sorry but we can’t let you go any further.

“Peter asked me: “Dear Boy, will I still get paid?”

“To which I replied, of course you will, and, of course, he did. Woolworths said whilst they were sorry not to have had Peter in person the story hit nearly all the front pages of the daily newspapers. They couldn’t have bought that publicity!

“He was a wonderful gentleman.”

Wyngarde, the French-born son of a diplomat, also notched up roles in The Avengers, The Saint, The Prisoner and appeared as villain Klytus in Flash Gordon and as Timanov in Doctor Who: Planet Of Fire.

He died at the Chelsea and Westminster Hospital, in London, on Monday, after having been unwell for a couple of months.

Click below for more from Carl Gresham…

Repertory theatre card dating from the late 1940’s

Peter’s first ever professional performance as Gerald Forbes in ‘When We Are Married’ at the Embassy Theatre, London in 1947. He was 19-years -old at the time.

Tickets from the evening performance of ‘Pick-Up Girl‘ at the Theatre Royal on Monday, 19th May, 1947. Peter played the Door Attendant that particular night, but would play Policeman Owens in performances later on the tour.

During the summer of 1949, the Embassy Theatre in London held a Festival of Repertory. Companies from Nottingham, Glasgow, Manchester and Bristol were invited to take part. At that time, Peter was a member of the Nottingham Theatre Trust Repertory Company that chose to stage William Shakespeare’s ‘Othello’ from June 28th until 10th July. Peter would take the role of Cassio. Future film and screen stars Leo McKern and Alfred Burke were also part of the Company.

As part of the London Players, Peter did a season at the Grand Theatre, Southampton in 1951/52, appearing in ‘Black Coffee’, ‘French Without Tears’. ‘Love From A Stranger’, ‘Murder without Crime’, ‘Young Wives Tale’ and the above named. It was while he was resident in Southampton that he met his future wife, Dorinda Stevens.

Peter’s first ever photo appearance in a theatre programme. ‘The Good Woman of Setzuan‘ (The Royal Court Theatre, London), in which he played Yang Sun.

Bates at 1, Earls Terrace, London W8 by this time. In fact, Peter only moved into the aforementioned apartment in November 1958 [see the original lease dated 24th November1958, and signed by Peter]. You can also see, written in Peter’s own hand, the true nature of his “relationship” with Alan Bates here.

A letter dated 4th July 1959, discussing the possibility of taking Peter’s production for ‘Cyrano de Bergerac‘ from the Old Vic in Bristol to the West End of London.

CHARACATURES

Left to Right: Peter as Dunois, Siobhan McKenna as Joan and Kenneth Williams as The Dauphin in ‘St Joan‘

Left to Right: Peter as Yang Sun, Joan Plowwright as Shui Ta and George Devine in ‘The Good Woman of Setzuan‘

Peter as Count Marcellus in ‘Duel of Angels‘

From the opening night programme for ‘Duel of Angels‘ at the Helen Hayes Theatre, New York. This would be Peter’s debut on Broadway. As a result of his performance as Count Marcellus, he would win the ‘Most Promising Newcomer’  award in 1960. (He also won ‘Best Actor In A Foreign Play’ in San Francisco in the same year).

Promotional envelope issued by the Metro Theatre, Melbourne when Peter was starring in ‘Butley‘ (1971)

Peter’s sketch for the King’s costume in ‘The King and I‘

Peter’s bespoke fangs as worn in his own production of ‘Dracula‘.

Some of Peter’s handwritten note for ‘Dracula‘.

A letter to Peter from Dame Edith Evans regarding his invitation to see his production of ‘Dracula‘.

Box office receipt for the 20th November, 1974 performance of ‘Present Laughter‘ at the Theatre Royal, Brighton. It should be remembered that at that time, the highest-priced ticket in the West End of London was just £1.35, so £494.80p would suggest that this particular performance was a sell-out.

Peter’s contract with the Forum, Billingham for ‘Present Laughter‘.

From the opening night of ‘Big Toys‘ at the English Theatre, Vienna. This was the European Premier of the play that had been written by Patrick White, who had won the Nobel Prize For Literature in 1973. Peter both directed and starred in the play.

Peter’s contract with Pieter Toerien Productions to play Sidney Bruhl in ‘Deathtrap‘.

A letter dated 23rd April, 1983,from The Underground Company (London) to the Alexandra Theatre, Toronto, confirming that Peter would be playing Alexander Howard in Michael Slone’s ‘Underground‘.

A keepsake from the play ‘Underground‘ – The Prince of Wales Theatre, London. Handmade and painted ceramic.

‘Light Up The Sky‘ – opening night: 10th September, 1985. Robert Stephens had originally been cast in the role of Carlton Fitzgerald in this play at the Old Vic, London, but had to withdraw due to illness. Peter was brought in as his replacement. Here is the original programme (right) naming Stephens with Peter’s biography included as an insert (left).

Peter’s original contract between him and Capaco Limited, The Theatre Royal, Windsor, for his appearance in ‘Guilty Conscience‘ – July 1986. He would take the role of The Prosecutor in the play.

A note stapled into the 13th December, 1990 performance of ‘The Country Wife‘ at the Mermaid Theatre, London, advising patrons that Peter would not be appearing as Pinchwife that evening as he was suffering with a bout of the Flu which turned to a viral infection. He was replaced by Keith Bridgewater.

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© Copyright The Hellfire Club: The OFFICIAL PETER WYNGARDE Appreciation Society: https://www.facebook.com/groups/813997125389790/

‘Curtain Up’ is the magazine programme of the Theatre Royal, Windsor.

July 1986

heroes. I worshiped them. How could I have them notice me? At the time Paul Schofield was the rising juvenile, so naturally I played Oliver like a demented Paul Schofield. Much later Sir Lawrence admitted that because of that excitable performance he thought I must have been the understudy.” 

The lack of rapport with Peter’s idols was hardly improved when he played the young but incredibly poor Chinese pilot Yang-Sun in Brecht’s The Good Woman of Setzuan at the Royal Court Theatre. “The Olivier’s wanted to present a Giraudoux do play Duel of Angels in the West End and were in search of a leading man. George Devine said, “I think I found the right actor for you,” and invited them along to see my performance. 

“Once again the Olivier’s were coming to see me perform and this time I hoped for a kind of reception. However, in the middle of a break in a Brechian song I was rendering, I looked up to see the two of them fast asleep in the circle. There was worse to come. As I was playing the derelict, without food, dressed in rags, I used to sit in a dustbin outside the theatre to get the feeling of the part. Vivien Leigh, whom I later discovered had a passion for cleanliness, was faced with this actor who not only stank but was being suggested as her leading man. At that precise moment I think if it had been up to them, I’d never have been allowed to walk on stage again. Luckily the French actor and director Jean-Louis Barrault, who had the final say, insisted on casting me. However, it took a long time before Vivien came near me on or off stage! We did finally become very close and I suppose she was really responsible for my future. So you say it all started at Windsor.” 

Peter, who has worked with some of the other great names in English theatre, remembers one with particular affection… although initially she showed little desire to acknowledge his very existence. “It was sheer coincidence. I was looking for a cottage in Kent and found one which had been a weaver’s cottage in the remote village of Kildown. On the other side of the garden was a gatehouse, formally occupied by the head Weaver; a beautiful place far superior to mine and I was slow to discover that it was owned by the great lady of the stage, Dame Edith Evans. She however had quickly sussed out that her new neighbour was some itinerant thespian and strongly disapproved. I notice this head bobbing up and down on the other side of the hedge as she walked down the road pretending to post a letter in the box outside my cottage. In reality she was keeping a stern eye on my behaviour as I was inclined to sunbathe in the nude in my garden. 

“It was only when we met in the television production of Christopher Fry’s The Dark Is Light Enough that she realised I was that dreaded nude actor living close by. I am glad to say that we soon became close friends and remain neighbours for the next eight years. Incidentally, she had never appeared on television before and used to ask me where the cameras were. “I don’t understand them,” she would say majestically. “Show me what to do.” 

“As far as Jason King is concerned,” Peter says, “I think I learned a great deal, particularly about film acting. English actors then rarely got the chance to act in front of a camera the way they do nowadays and those four years were a tremendous advantage. The only disadvantage has been the association to public has with the character which they can never believe isn’t you. And somehow one can’t blame them because kind of acting is really a large part of oneself.” 

The Theatre Royal, Windsor – June/July 1986

Character: The Prosecutor

The Story

The action takes place in the living room of the Jamison’s townhouse in the East 60’s, New York

Act I

• Scene 1 – Sunday in late May
• Scene 2 – Night

Act II

• Scene 1 – Wednesday evening, twelve days earlier
• Scene 2 – Twelve days later on a Sunday afternoon

Arthur Jamison (William Franklyn) is a prominent attorney who has devised several ways to murder his irritating, blackmailing wife, Louise (Jan Holden), rather than risk going through a messy divorce from which she would benefit monetarily. He decides to invite a Prosecuting Attorney (Peter Wyngarde) of his acquaintance to join him and Louise for dinner, whereupon a mock courtroom is set up (with a portrait of Louise’s father acting as the judge!) through which he’s able to run through the scenarios he’s devised in his head, with the unwitting Prosecutor’s helping to spot any holes in the these schemes and plug them.

The plot thickens when Jackie Willis (Sue Holderness) – one of Arthur’s romantic dalliances – turns up unexpectedly at the Jamison’s apartment asking for a spare key to their neighbours flat as she’d been asked to tend to their plants while they’re away on vacation. As the story begins to unfold, it soon becomes apparent that Ms Willis is not merely an innocent bystander, but is actually one of the major players; both Arthur’s mistress and an abetter to Louise’s own plot to murder her husband.

The story now goes into numerous sub-plots concerning how the Jamison’s plan to murder each other and, just as importantly, how they plan to get away with it.

Some Background

‘Guilty Conscience’ was written by Richard Levinson and William Link – two American television producers and writers who collaborated for over 40 years, and who penned scripts for the feature films ‘The Hindenburg’ and ‘Rollercoaster’, and the television series, ‘Columbo’ and ‘Murder, She Wrote’. In the 1985 made-for-TV film, Anthony Hopkins took the part of Arthur Jamison, while the role of the Prosecuting Attorney did not exist – instead, Jamison’s sounding board was his own alter ego (or Conscience) which he named ‘Donegan Smith’.

After Thoughts

The play succeeds in its own ability to recognize its weaknesses. Unlike most stage mysteries where the audience is asked to ignore the plot holes and revel in the detective’s brilliance at spotting the clue and solving the crime, this play takes pride in pointing out its own holes as it goes along. As an audience participation spectacle, it was fun to play along, spotting the holes before the characters do. Fans of the genre would have no doubt remained intrigued and found the ending quite satisfying. The whole play came off much like the great Olivier and Caine character study in ‘Sleuth’ and those who have seen that particular film know what kind of a compliment that is.

Interview with Peter

The following is an interview with Peter that was published in the programme for the play

Date: January 1956
Category: Leading Men and Younger Leading Men
Photograph: Publicity shot taken at the Arts Theatre, London

Trivia: In 1959, it cost £29 for a full page entry (including photograph and contact details) in the Spotlight directory - that's equivalent to approximately £600 today.