Tag: reviews

ARTICLE: Department S – The best set of cars on TV

Written by Mar­tin Buckley

Classic Sports Car: 1st January, 2026

I am find­ing it hard to sleep at the moment, which has caused me to reac­quaint myself, via the won­ders of You­tube, with a TV series called Depart­ment S. I’m cur­rently on a dose of at least two epis­odes a night. This was Incor­por­ated Tele­vi­sion Com­pany supremo Lew Grade’s answer to ABC’S The Avengers: an elite sec­tion of Inter­pol, weird ‘unsolv­able’ cases, a wacky main char­ac­ter and occa­sion­ally some inter­est­ing ideas… but mostly not. Throw in a crime-solv­ing com­puter with lots of spools and flash­ing lights, plus an Amer­ican sidekick with great hair (Joel Fabi­ani) to help flog the show to the USA, and you have pretty much a cliché of the ITC action­ser­ies for­mula. Also lots of fast cars and pretty girls, plus a side order of com­edy viol­ence. Best of all, a great theme tune: I have very fond memor­ies of driv­ing my Lan­cia 2000 Ber­lina around Lon­don in the late ’80s with Edwin Astley’s arrange­ment as a mood-set­ter.

The action ranges across the UK and Europe; most epis­odes appear to kick off at Heath­row with a jet either land­ing or tak­ing off, giv­ing the impres­sion the pro­du­cers wanted to tap into newly emer­ging pack­age-hol­i­day aspir­a­tions. Not that any­thing is filmed on loc­a­tion: the budget only exten­ded to pot­ted palm trees and a few exotic num­ber­plates. What could not be filmed on the Elstree back lot or a local hotel pool was recre­ated in the stu­dio. As in Carry on Abroad, you can see the act­ors shiv­er­ing, no mat­ter how hard they try to invoke the feel of the south of France or the Costa del Sol. Via the tiny black-and-white screens on which it first aired, nobody noticed or cared.

The feel is ‘inter­na­tional crime-fight­ing meets early-’70s Mar­tini advert’, par­tic­u­larly whenever the prot­ag­on­ist, Jason King, appears. With his flam­boy­ant hair and tailored clothes, King was played by the won­der­ful Peter Wyn­garde. This was a new kind of hero, who had the ladies’ hearts aflut­ter. Wyn­garde was a fine stage actor, and Depart­ment S made him a house­hold name: at the height of his fame, he pub­lished a risqué spoken-word album and was twice voted Bri­tain’s best-dressed man.

Wyn­garde became such a phe­nomenon that, post-Depart­ment S, he even got his own series, Jason King. This one I do remem­ber: even aged five I was uncer­tain of the nature of the man’s appeal. My mum had fallen under his spell – “Do your cuffs like Jason King!” – as the ’70s replace­ment for the clean-cut Simon Tem­plar.

In fair­ness, he is the best thing in the show, with his cha­risma bolstered by a James Young Bent­ley Con­tin­ental S2 on Swiss plates; the car, and clothes, were allegedly Wyn­garde’s own. He car­ries his myriad affect­a­tions lightly: Sobranie Cock­tail cigar­ettes, match­ing shirt and tie in lurid col­ours, and Zapata mous­tache. When neces­sary, King/wyn­garde can dir­ect a con­vin­cing punch, tak­ing on the likes of John Bindon and future Darth Vader actor Dave Prowse. You can even spot Anthony Hop­kins in a rare – pos­sibly unique – ITC appear­ance.

Depart­ment S prob­ably has the best set of cars of any ITC series: reg­u­lars include a Vaux­hall Vent­ora (for Fabi­ani), while com­puter boffin Rose­mary Nich­ols swaps between a Lan­cia Fulvia Coupé and a Lotus Elan +2S. For for­eign mis­sions (driv­ing on the wrong side of the road in Wales) there is a Fiat 2300S Coupé and a Mer­cedes SL Pagoda; bad­dies almost always drive Yanks or a recur­ring black Ford Zephyr MKIV. Cor­vairs turn up repeatedly – usu­ally as a pre­lude to a crash – and a black Rolls-royce Sil­ver Wraith limo often stands in for the Phantom V seen in the open­ing cred­its. When the script demands that the Wraith explodes, it magic­ally turns into an Aus­tin Sheer­line.

They must have knocked out dozens of epis­odes of this show, because there is always a fresh one to watch. Or maybe they are com­ing around again and I’ve simply not noticed.

Click below for info on Peter’s own cars…

I’m In Love With My Cars

REVIEW: Hamlet

A Festival of Britain Production by arrangement with Bronson Albery production. Sherek Players Ltd. (in association with he Arts Council of Great Britain).

Opened at The New Theatre, London – Thursday, May 17th 1951.

Character: Voltimand and Third Player (Lucianus in the “play within a play”)

The entirety of the play takes place in Denmark.

Act 1:

  • Scene 1: Elsinore, A platform before he castle.
  • Scene 2: A room of state in the castle.
  • Scene 3: A room in Polonius’ house.
  • Scene 4: The platform.
  • Scene 5: Another part of the platform.

Act 2:

  • Scene 1: A room in Polonius’ house.
  • Scene 2: A room in the castle.

Act 3:

  • Scene 1: A room in the castle.
  • Scene 2: A hall in the castle.
  • Scene 3: A room in the castle.
  • Scene 4: The Queen’s closet.

Act 4:

  • Scene 1: A room in the castle.
  • Scene 2: Another room in the castle.
  • Scene 3: Another room in the castle.
  • Scene 4: A plain in Denmark.
  • Scene 5: Elsinore. A room in the castle.
  • Scene 6: Another room in the castle.
  • Scene 7: Another room in the castle.

Act 5:

  • Scene 1: A churchyard.
  • Scene 2: A hall in the castle.

Some Background

Rather than set this production of ‘Hamlet’ in the the late middle ages as per Shakespeare’s original Alec Guinness, who not only played the eponymous prince, but also directed (with Frank Hauser), chose to set in the 16th Century.

The sets, which one critic described as a “formal and rather bleak affair” were, again, at Guinness’ behest, as he had disliked the semi-permanent and realistic sets he’d seen in other productions of Shakespeare. he’d wanted a suggestion of reality here and there, and came to the conclusion that each scene could be played round, or influenced by, one or two specific real things – for instance, the battlement scene round a Tudor cannon, the Polonius household a table with a globe and papers, the main court scenes dominated by a large Renaissance classical doorway, and for the rest blackness and open wings. This did not work out overly well, and was not put to the best use.

Very little of the play was cut. Retrospectively, Guinness believed this to a misjudgement. He said it occurred later that perhaps Elizabethan audiences were able to stomach long entertainments for the simple reason that they were in the open air. He’d followed Granville-Barker’s advice and did not drop the curtain, as is usual, at the end of the ” Rogue and peasant slave ” soliloquy. This, he said, turned out to be the only “daring”, original and exciting thing they did in the whole production, with immense results, and it escaped the critics’ notice!

The play was not well received, either by critics or audiences. On the opening night alone, there was problems with the lighting, that found the cast drowned in bright light during night scenes, and in pitch darkness for day scenes.

Alec Guinness later wrote an article in the Spectator, explaining why he felt the play had been such a disappointment.

Above: Taken from the editorial of the June 1951 issue of ‘Theatre World’ magazine

A Synopsis

Prince Hamlet of Denmark (Alec Guinness) is devastated by the sudden death of his father, King Hamlet (John Bushelle), and is further disturbed when his mother, Queen Gertrude (Lydia Sherwood), quickly marries his uncle, Claudius (Walter Fitzgerald), who has now assumed the throne.

Guarding the castle at Elsinore, Marcellus Robert Sansom) and Barnado (Michael Godley) tell Horatio (Robert Urquahart) that they have seen the ghost of the dead king. The ghost reappears, and they decide they must tell Prince Hamlet about it.

King Claudius learns that Fortinbras (Michael Godley), the nephew of the King of Noway, is planing to invade Demark, so he sends Voltimand (Peter Wyngarde), his most loyal envoy and diplomat to ask Fortinbras to restrain his nephew and ensure peace between the two kingdoms. When Voltimand returns to Denmark, he delivers news of his successful negotiation with Fortinbras, and that war has been averted.

Claudius gives Polonius’ son Laertes permission to return to France. Hamlet reflects on the hasty marriage, and learns of the ghost’s visit. That night he meets the ghost, who reveals that King Hamlet was murdered by Claudius, and Hamlet willingly agrees to be the means of revenge. He warns Horatio and the others not to speak of what has happened, even if he should behave strangely.

He gives Polonius’ (Alan Webb) son Laertes (Michael Gough) permission to return to France. Hamlet reflects on the hasty marriage, and learns of the ghost’s visit. That night he meets the ghost, who reveals that King Hamlet was murdered by Claudius, and Hamlet willingly agrees to be the means of revenge. He warns Horatio and the others not to speak of what has happened, even if he should behave strangely.

Polonius bids farewell to Laertes and warns his daughter Ophelia (Ingrid Burke) against Hamlet’s courtship. Later, she tells Polonius of a strange visitation by Hamlet, and Polonius reports to the King and Queen that rejected love is the cause of Hamlet’s supposed madness. Hamlet’s fellow-students Rosencrantz (Robert Shaw) and Guildernstern (Patrick Crean) arrive, invited by the King to find out what is wrong. Polonius arranges for Ophelia to meet Hamlet where he and Claudius can observe them. Hamlet reflects to himself on the nature of life and death, then meets Ophelia. They argue about their relationship, and Hamlet, having become suspicious about being observed, tells her she should go to a nunnery. Claudius is convinced that love is not the cause of Hamlet’s behaviour, and decides to send him abroad.

Meanwhile, a troupe of travelling players have arrived, and Hamlet asks them to perform a play he has written entitled, ‘The Murder of Gonzago’ before the King, so that he and Horatio can judge Claudius’ guilt by his reaction. Hamlet contrasts his own inaction with the way the players can become so involved in their characters. When one of the players, (Peter Wyngarde) – in the role of a character called Lucianus – enacts the murder of a king by poring poison in his ear, Claudius leaves in high emotion, much to Hamlet’s jubilation. Gertrude asks to see Hamlet, and Polonius decides to hide in the room to hear what is said. On his way, Hamlet comes across Claudius alone, trying to pray for forgiveness, but decides not to kill him in such a state of mind.

Hamlet arrives in his mother’s room, and kills the person he discovers in hiding, thinking it to be Claudius but finding it to be Polonius. He argues fiercely with Gertrude, eventually persuading her to change her ways. The Ghost appears, restraining Hamlet’s anger towards his mother, and reminding him of the need for revenge. Claudius instructs Rosencrantz and Guildenstern to take Hamlet immediately to England. Travelling to the ship, Hamlet passes the Nowegian army on its way to fight for a small patch of land, and contrasts their determination with his own lack of resolve.

Ophelia has descended into madness. Laertes returns, blaming Claudius for his father’s death, and is incensed to see Ophelia in this state. Claudius persuades him that the blame is Hamlet’s. When Claudius receives a letter from Hamlet reporting his return to Denmark, he plots with Laertes to kill him. They arrange a duel in which Laertes’ sword will be unblunted and poisoned. Claudius will also poison a drink, which he will offer Hamlet. Gertrude arrives with the news that Ophelia has drowned.

Hamlet meets Horatio on returning to Elsinore. On the way, they see two Clowns (Stanley Holloway & Aubrey Richards) digging a grave, and Hamlet talks to the First Clown, reflecting on the skulls he finds. They discover that the grave is for Ophelia. Hamlet reveals himself to the funeral party, grappling with Laertes and proclaiming love for Ophelia. Later, Hamlet tells Horatio how the trip to England was a subterfuge for his death, arranged by Claudius, and how he managed to escape.

Osrick enters with news of the proposed fencing match, and Hamlet accepts the challenge. With Hamlet in the lead, Gertrude toasts him, and drinks from the poisoned cup. Laertes wounds Hamlet with the poisoned rapier, and is then wounded with it by Hamlet. Before he dies, Laertes blames Claudius, and Hamlet kills the King. Hamlet, close to death, passes the Danish succession to Fortinbras, and instructs Horatio to tell his story.

The Costumes

All the costumes for the play were designed by the Spanish Spanish painter, drawer, enamelling master, sculptor, and stage designer, Mariano Andreu. John Gielgud saw his work and invited Andreu to create the costumes and settings for Much Ado About Nothing at Stratford-upon-Avon in 1949. The production was a great success and was toured and revived in Stratford and London. Andreu went on to design a number of productions in Britain during the 1950s, including All’s Well That Ends Well at Stratford, and Berlioz’s opera The Trojans at the Royal Opera House, Covent Garden.

(Left) Andreu’s original design of Peter’s costume -worn as the ‘Third Player’. The painting is part of the V&A’s Theatrical Collection.

REVIEW: As You Like It

Broadcast: Sunday 15th March, 1953

Character: Sylvius

Act 1:

  • Scene 1: Orchard of Oliver’s house.
  • Scene 2: Lawn before the Duke’s palace.
  • Scene 3: A room in the palace.

Act 2:

  • Scene 1: The Forest of Arden.
  • Scene 2: A room in the palace.
  • Scene 3: Before Oliver’s house.
  • Scene 4: The Forest of Arden.
  • Scene 5: The forest.
  • Scene 6: The forest.
  • Scene 7: The forest.

Act 3:

  • Scene 1: A room in the palace.
  • Scene 2: The forest.
  • Scene 3: The forest.
  • Scene 4: The forest.
  • Scene 5: Another part of the forest.

Act 4:

  • Scene 1: The forest.
  • Scene 2: The forest.
  • Scene 3: The forest.

Act 5:

  • Scene 1: The forest.
  • Scene 2: The forest.
  • Scene 3: The forest.
  • Scene 4: The forest.

Some Background

The BBC’s ‘Sunday Night Theatre’ ran from early 1950 until 1959. 

The productions that were broadcast during the first five years were restaged following Thursday and performed live – in part because of the technical limitations in that era. The Sunday night drama slot was latterly renamed ‘The Sunday-Night Play’, which was to run 1960 and 1963..

There was a major difference between this production of Shakespeare’s ‘As You Like it’ and the earlier BBC staging in1946, and that was the presence in the cast of major actors such as Margaret Leighton, Michael Hordern and Laurence Harvey. The program notes for the music are especially revealing in their scholarly concern to bring the authentic music from Shakespeare’s own day into the production. The BBC also used 125 feet of film to support the televised script. The cast included 24 principals plus extras, and the cost came to £2,343 – a considerable sum in 1953.

The entire 90 minute recording was sadly wiped by the BBC. However, the original typescript for this production still exists and is kept at The Birmingham Shakespeare Library.

Story Synopsis

Orlando (Lawrence Harvey), the youngest son of the recently-deceased Sir Roland de Boys, is treated harshly by his eldest brother, Oliver (Roderick Lovell). Bitter and angry, Orlando challenges the court wrestler, Charles (Michael Brennan), to a fight. When Oliver learns of the fight, Oliver tells Charles to injure Orlando if possible.

Duke Frederick (Henry Oscar) has recently deposed his brother (Walter Hudd), as head of the court. But he allowed his brother’s daughter, Rosalind (Margaret Leighton), to remain, and she and Celia (Isabel Dean), Duke Frederick’s daughter, watch the wrestling competition. During the match, Rosalind falls in love with Orlando, who beats Charles. Rosalind gives Orlando a chain to wear; in turn, he is overcome with love.  

Shortly after, Orlando is warned of his brother’s plot against him and seeks refuge in the Forest of Arden. At the same time, and seemingly without cause, Duke Frederick banishes Rosalind. She decides to seek shelter in the Forest of Arden with Celia. They both disguise themselves: Rosalind as the young man ‘Ganymede’ and Celia as his shepherdess sister Aliena. Touchstone (Kenneth Conor), the court fool, also goes with them. 

In the Forest of Arden, the weary cousins happen upon Sylvius* (Peter Wyngarde), a lovesick shepherd who is in the act of declaring his feelings for Phoebe (Pamela Alan) -a scornful shepherdess. His love for her is unyielding, despite her consistent rejection and disdain towards him. Sylvius’ devotion to Phoebe is both endearing and pitiful, as he goes to great lengths to express his affections, only to be met with cold indifference.

Left: As scene in the Forest of Arden. Peter as the shepherd, Sylvius, with Pamela Alan as Phoebe.

Despite his despondency, Sylvius is not solely defined by his unrequited love. He is a loyal and trustworthy friend to his fellow shepherd, Corin (Eliot Makeham). Sylvius often seeks Corin’s advice and guidance, showing his respect for the older and wiser shepherd. This friendship highlights Silvius’ genuine and caring nature, as he values the connections he forms with others.

One of Sylvius’ most notable attributes is his eloquence and proficiency in the language of love. Throughout the play, he delivers impassioned speeches and sonnets, pouring out his emotions and baring his soul. Sylvius’ poetic nature adds depth and beauty to his character, showcasing his ability to express himself with grace and sincerity.

However, his poetic declarations of love are often met with ridicule and mockery from other characters, particularly from the court jester, Touchstone. Despite this, Silvius remains undeterred, clinging to his ideals of love and devotion.

‘Ganymede’ buys the lease to the property of an old shepherd who needs someone to manage his estate. ‘Ganymede’ and Aliena set up home in the forest. Not far away, and unaware of the newcomers, the old banished Duke is living a simple outdoor life with his fellow exiled courtiers and huntsmen. Their merriment is interrupted by the arrival of Orlando, who seeks food and water for himself and his servant. The two men are welcomed by the outlaw courtiers.

‘Ganymede’ and Aliena find verses addressed to Rosalind hung on the forest branches by Orlando. ‘Ganymede’ finds Orlando and proposes to cure Orlando of his love. To do this, Orlando will seduce ‘Ganymede’ as if he were Rosalind (even though “he” really is, in fact, Rosalind). Orlando consents and visits ‘Ganymede’/Rosalind every day for his lessons. In the meantime, the shepherdess Phoebe has fallen for ‘Ganymede’ while the young shepherd Sylvius still pursues her.  Furthermore, Touchstone, the court fool, has dazzled a country girl, Audrey (Vida Hope) , with his courtly manners. Audrey deserts her young suitor, William (Stanford Holme), for him.

When Duke Frederick hears of Orlando disappeared at the same time as Rosalind and Celia, he orders Oliver to the forest to seek his brother. In the forest, Orlando saves Oliver’s life, injuring his arm in the process. Oliver runs into ‘Ganymede’ and Aliena in the forest and relates this news. Rosalind (disguised as ‘Ganymede’) is overcome with her feelings for Orlando. Celia (disguised as Aliena) and Oliver quickly fall in love with one another. Rosalind decides that it is time to end her game with Orlando and devises a plan in which everyone will get married. 

As ‘Ganymede’, Rosalind promises Phoebe that they will marry, Celia will marry Oliver, Touchstone will marry Audrey, and Orlando will marry Rosalind. She makes Phoebe promise that if they, for some reason, don’t get married, Phoebe will marry Sylvius instead. 

On the day of the wedding, and with the help of the god Hymen, Rosalind reappears in her female clothes. the Old Duke gives her away to Orlando, while Phoebe accepts Silvius. Orlando’s other older brother returns from college with the news that Celia’s father, Duke Frederick, has left court to become a hermit. Thus, everyone is happy (except maybe Phoebe, who marries someone she doesn’t love and Sylvius, who marries someone who doesn’t love him). The play ends with a joyful dance to celebrate the four marriages.

*In Shakespeare’s original play, Sylvius is spelt ‘Silvius’,

Above: Original feature from the Radio Times: 12th March, 1953.

REVIEW: The Relapse (A.K.A. ‘Virtue in Danger’)

Broadcast: Tuesday 7th December, 1954

Character: Worthy

The action of the play takes place in the household of Loveless, Lord Foppington and Sir Tunbelly Clumsey in 1696.

Some Background

‘The Relapse’ was written in 1696 by John Vanbrugh as a sequel to Colley Cibber’s comedy ‘Love’s Last Shift‘ (1696). Amanda, Loveless, and Lord Foppington (known as Sir Novelty Fashion in ‘Love’s Last Shift’) are the only characters to feature in both plays.

At the time ‘The Relapse’ was screened, there had been much discussion in the press concerning what is and what is not “obscene” on stage in the theatres, and moreover on TV. Naturally, views diverged. I was an age whenever the subject of sex was raised there were inevitably cries of “FILTH” from certain quarters followed, followed by indignant phone calls to the ‘papers and the BBC.

Media commentators believed that the broadcast of Vanburgh’s play would have a particularly hard time of it. As Phillip Hope-Wallace of The Listener was to put it, “Evidently the notion that anyone is free to inflict his own phobias on the public dies hard.”

There was speculation amongst drama critics that this BBC version of the play might be ‘tidied up’, as the original form of ‘The Relapse’ couldn’t be defined as family viewing. Some of the antics of Vanburgh’s characters barely skirted propriety. There certainly appeared to be much confused thinking on the subject.

On a general level ‘The Relapse, which had been so carefully prepared for the ‘Stage By Stage’ series of plays, was said to be superior to in style and spirit to the famous production at the end of war (with Cyril Richard as Lord Foppington), and was a true reproduction of the theatrical mode of its day, and a fully fashioned piece of television. As one critic stated, “The whole piece strikes a blow at hypocrisy and, if it didn’t put people off by being too long (2 hours), it may have sparked some interest in Vanburgh’s other works, if not in his architecture.”

Above: Peter as Worthy

Story Synopsis

Loveless (Michael Gough) is a gentleman who, after experiencing marital difficulties, resides quietly in the countryside. Despite his efforts to reform, he frequently travels to London, where he struggles to maintain his resolve. During one such visit to the city with his wife, Amanda (June Shields), Loveless becomes captivated by Berinthia (Moira Lister), a charming widow whose face he sees in a crowd and who is later revealed to be Amanda’s cousin. This infatuation leads to an affair with Berinthia, further exacerbating the tension between him and Amanda.

Key to the plot is the introduction of Novelty Fashion, or Lord Foppington (Geoffrey Bayldon) as he is now known – a title he has bought. He is a character who embodies the arrogance and excesses of the newly wealthy aristocracy, contrasting sharply with his brother Young Fashion (John Hayter), who struggles with debt. He neglects his younger brother, Fashion, and is initially engaged to Miss Hoyden (Jessie Evans) – a wealthy heiress and daughter of country squire, Sir Tunbelly Clumsey (David Bird), However, he becomes infatuated with Amanda’s beauty, leading to a confrontation with Loveless, during which Lord Foppington is wounded.

At Lord Foppington’s house, he and Young Fashion argue. This argument becomes heated, and Young Fashion challenges his brother to a duel.

At a garden, Loveless meets Berinthia and asks her about a “distemper”, which turns out to be his love for Berinthia. Berinthia leaves Loveless’ company and then meets with Worthy and the two begin plotting (largely driven by Worthy) to steal Amanda and Loveless. After they finish plotting, Berinthia meets with Amanda and begins sowing the seeds of doubt in her mind about Loveless’ reformation.

Meanwhile, Young Fashion travels to the home of Lord Foppington’s soon-to-be-bride, Miss Hoyden. He is nearly shot at but able to convince Hoyden’s father that he is Lord Foppington using a stolen letter.

Amanda and Berinthia talk, with this talk serving to plant even more seeds in Amanda’s mind. Worthy then arrives and takes Amanda away to play cards with her. Later that night, Loveless breaks into Berinthia’s house and hides in her wardrobe. Though’s is found, he is able to convince Berinthia of his undying love and she stops a servant from discovering him. Loveless carries Berinthia away to a nearby couch.

Young Fashion is able to meet Miss Hoyden (who has been literally locked in her room) and her governor, Nurse. Their meeting is broken up by the arrival of the real Lord Foppington. Young Fashion is able to convince Sir Turnbelly that Lord Foppington is a fraud and (after scaring away Lord Foppington’s men with pistol shots), he is arrested and thrown into a doghouse. Foppington is able to summon Sir Turnbelly’s neighbour, leading to Young Fashion fleeing before he can be found out as the real fraud.

The next day, Young Fashion and Coupler (Kenneth Conor) receive a letter revealing that Lord Foppington has courted Miss Hoyden and will soon marry her. Young Fashion is able to convince Nurse (Nuna Davey) and Bull (James Bree) – Sir Turnbelly’s chaplain – that he should be married to Miss Hoyden instead of Foppington.

Meanwhile, Berinthia is able to convince Amanda that her husband has failed to keep his vow of matrimony and has relapsed into his roguish way. This is the cue for Worthy (Peter Wyngarde) – a sophisticated young gentleman of the town who once courted Berinthia – swoops in and attempts to seduce Amanda, who only barely succeeds in summoning her virtue to reject his advances.

Amanda, Loveless, Worthy, and Berinthia then attend the marriage of Hoyden and Lord Foppington. After a masque featuring Cupid and “Hymen”, Young Fashion crashes the wedding. Though Sir Turnbelly tries to have him arrested, Young Fashion is able to successfully plead his case for marrying Miss Hoyden.

In what the author seemingly intended to be an antidote to the play’s liberalism, the once amoral libertine, Worthy, has a sudden repentance and reformation, resulting in his becoming an admirer of female virtue. This change of heart, we’re told, has came about after Amanda resisted him to remain loyal to her husband.

A bit of Trivia

The play was broadcast live from the stage of the Television Theatre at Lime House, London, before an invited audience.

The play began at 8.30pm. There was a short interval at 9.30.

Above: The Radio Times – 3rd December, 1954

BROUGHT TO BOOK

Written by Alex Thorpe

Have you ever encountered a truly exceptional book that most people seem to agree upon, only to come across a rather irritable review that leaves you questioning whether the reviewer has actually read the same work as you?

I purchased Tina Wyngarde-Hopkins’ biography/memoir, ‘Peter Wyngarde: A Life Amongst Strangers‘, on its publication day in February 2020. I devoured the entire 532 pages in just two sittings, as I found it irresistibly engaging. I can sincerely assert that it is the finest book of its genre that I have ever encountered. It is frank, thorough, and sincere; crafted from the perspective of someone who had a close relationship with Wyngarde. Ms. Wyngarde-Hopkins has gone above and beyond by publishing many of the documents referenced in the book (see the A Life Amongst Strangers Companion) and has provided substantial supporting evidence through Peter’s letters and personal writings (see You’ve Read The Book… Now Read It In Peter’s Own Words). I am not aware of any other author who has undertaken such an endeavor.

Given this context, I have been astonished to read some of the absurd comments made online by anonymous individuals regarding the book in so-called ‘reviews’. I express this sentiment because none of the individuals who have penned these remarks seem to possess any genuine conviction in their statements. Why is that? Because they opt not to disclose their real names.

I know what you’re all thinking: ‘Everyone has the right to their own opinion’, and you are correct. The Oxford English Dictionary defines the noun ‘Opinion’ as follows: ‘A view or judgement formed about something, not necessarily grounded in fact or knowledge’. I urge you to remember the concluding part of that definition as you peruse the subsequent ‘review’ of ‘A Life Amongst Strangers’, which was submitted on Amazon on December 27, 2023, by an individual identifying as ‘City Bookworm’:

As other reviewers have mentioned, this is a decidedly odd and not very well written book; it’s also something of a rewrite of history. It was fairly common knowledge within the theatrical world of that era that PW was gay, and has subsequently come out that PW had a 10 year off-on relationship with the actor Alan Bates. This has been corroborated by many respected actors and others. So, it seems delusional at best — and homophobic at worst — that the book goes to such great lengths to try and prove PW WAS NOT GAY! Aside from that, it’s a poorly written biography of muddled chronology and facts, and overall very disappointing.

What I am about to undertake is a detailed analysis of this ‘review’, dividing it into sections and emphasizing some of the extravagant claims it contains:

“As other reviewers have mentioned, this is a decidedly odd and not very well written book“: The initial portion of this statement pertains to four additional ‘reviews’ that were submitted on Amazon in 2020; one of these was posted on the day PRIOR to the book’s official release, which raises significant doubts. It accuses Ms. Wyngarde-Hopkins of unfairly treating Wyngarde’s ‘blood family.’ However, the individual who authored this review, hiding behind the username ‘Fisherman Fred,’ fails to provide any specific examples of this purported mistreatment. Ms. Wyngarde-Hopkins asserts that she was unaware of the existence of this ‘blood family’ until the day of Wyngarde’s funeral on January 25, 2018, and he never mentioned them during their acquaintance. By their own admission, they had not seen or communicated with him since 1974!

Furthermore, another of these ‘literary critiques’ was written by a disgruntled ex-member of The Official Peter Wyngarde Appreciation Society Facebook group, who was expelled in 2019 due to his association with a group of anti-Semitic and homophobic trolls. A third review was authored by an individual named ‘Paul Kemp,’ whose poorly constructed narrative was presented ENTIRELY IN CAPITAL LETTERS—this to inform others about INFERIOR WRITING! Regrettably, ‘City Bookworm’ neglects to mention the ninety 5-Star reviews of ‘A Life Amongst Strangers’ that stand in stark contrast to his or her opinion.

When I asked Tina Wyngarde-Hopkins about the possibility of writing this article and asked her how she felt about reading something like this, she shared that when Steven Berkoff, the acclaimed actor, writer, and director, agreed to write the afterword for her book, he expressed nothing but admiration for both its content and her writing abilities. In fact, he was astonished that this was her debut book! This sentiment was echoed by Wyngarde’s long-time friend and agent, Thomas Bowington, who recounted: “Berkoff approached me directly at a theatre-related event in London to extol the virtues of the book: ‘A wonderful, fascinating book!’ he exclaimed. He is certainly qualified to make such a judgment.”

“Well done Tina. This is an essential work for anyone who values this extraordinary man and his work.” Steven Berkoff

“It was fairly common knowledge within the theatrical world of that era that PW was gay,…” As Ms. Wyngarde-Hopkins has frequently emphasized, both on this website and in other forums, the so-called “common knowledge” myth was introduced to the public by author Donald Spoto in his 2007 biography, ‘Otherwise Engaged: The Life of Alan Bates’. In letters penned by Peter Wyngarde in 2009 and 2011 (refer to the ‘A Life Amongst Strangers Companion’), he expresses his astonishment at the content Spoto included about him in his work and, reportedly, contemplated legal action against the author for libel.

“I cannot tell you how shocked I was when I read what that American biographer had said those unbelievable things about me.”

And,

“The American author signed a letter to say he would adhere to my request about omitting material, but managed to send it to me after the book was published which was of course too late.“

As for the “fairly common knowledge within the acting world that Wyngarde was gay…” assertion, ‘City Bookworm’, not unsurprisingly. fails to provide a single shred of evidence to reinforce this.

“…and has subsequently come out that PW had a 10 year off-on relationship with the actor Alan Bates.” Once again, this narrative is derived from Donald Spoto’s previously mentioned biography, which asserts that Wyngarde and Bates resided together in a London flat from 1956 to 1966, a common practice among young, aspiring actors at that time and likely still prevalent today. However, Mr/Miss/Ms. ‘Bookworm’ describes this as an “on/off relationship” (I would argue it was more “Off” than “On”). In her publication, Ms. Wyngarde-Hopkins presents evidence indicating that Bates did not move into Wyngarde’s flat until late 1958 or early 1959, owing to his work obligations in the USA (the original rental agreement signed by Wyngarde in late 1956 can be viewed here). During the period from 1958 to 1960, Wyngarde was romantically involved with Vivien Leigh, a fact that is well-documented. From 1960 to 1962, Bates resided with Rock Hudson in California for 18 months. Subsequently, he vacated the flat to move into a house he had purchased in St. John’s Wood, London. Thus, the decade-long relationship claimed by Mr. Spoto is reduced to merely a few months, as the two ardent lovers were relegated to the status of ships passing in the night. (According to the Electoral Roll, Bates was registered as living at Wyngarde’s flat from 1959 to 1964, contradicting Donald Spoto’s assertion of 1956 to 1966).

“This has been corroborated by many respected actors and others.” ‘Once more, ‘City Bookworm’ refuses to offer even a single name from this tumultuous group of performers to support his/her assertion, leading me to believe that we are simply meant to accept their statement as truth.

“So, it [‘A Life Amongst Strangers’] seems delusional at best — and homophobic at worst — that the book goes to such great lengths to try and prove PW WAS NOT GAY!” Tina Wyngarde-Hopkins maintained a 30-year relationship with Peter Wyngarde. This fact has been supported by numerous respected actors and others, all of whom are mentioned in ‘A Life Amongst Strangers’ and other sources. I would like to inquire of ‘City Bookworm’ how the act of quoting directly from letters penned by Wyngarde himself, publishing photographs of PW with various girlfriends, and referencing legal documents that are easily accessible in the public domain can be deemed as going “to such great lengths to try and prove PW WAS NOT GAY!” What did he/she expect the author to do – fabricate correspondence, manipulate legal documents stored in public archives, and alter images of Wyngarde at male-only gatherings merely to affirm someone else’s erroneous beliefs?

In addition to all of the aforementioned points, the most egregious aspect of this ‘review’ is the claim that the book, and presumably the author herself, is “homophobic,” which, to paraphrase ‘City Bookworm,’ is at best insulting and at worst defamatory!

“Aside from that, it’s a poorly written biography of muddled chronology and facts, and overall very disappointing.” We can easily disregard the assertion of it being “poorly written” based on the remarks from Steven Berkoff (as mentioned above) and the esteemed Hollywood Reporter, which referred to it as being, “Scholarly written.” I am uncertain about the origin of the claim regarding the “muddled chronology,” as the narrative follows a clear timeline: it starts with Wyngarde’s birth and concludes with his death in 2018. Quite simple! It is hardly the fault of Ms. Wyngarde-Hopkins if Mr./Ms. ‘City Bookworm’ found it difficult to follow. Perhaps it would have been beneficial if he/she had provided specific examples of these “muddled facts” and clarified the criteria used to assess the alleged discrepancies: perhaps 50-year-old tabloid gossip? Internet rumours? Who can say!

While ‘A Life Amongst Strangers’ significantly contributes to dispelling numerous myths surrounding Peter Wyngarde over the years, it seems that the aspect which has most disturbed ‘City Bookworm’ is its inability to affirm their preconceived notions regarding the actor’s true sexuality. Clearly, this individual’s primary concern appears to be focused on Wyngarde’s sex life, which comes across as somewhat voyeuristic. They seem to lack interest in any matters beyond his activities in the bedroom. In this context, it is appropriate to introduce the term Confirmation Bias, which psychiatrists associate with individuals who dismiss information that contradicts their established beliefs. Thus, it could be argued that ‘City Bookworm’ harbours a misguided – indeed, “deluded” – perspective of Wyngarde, which has led them to express their frustration through a spiteful ‘review’.

It has also occurred to me that Mr./Ms. ‘Bookworm’ may very well be a proud member of the LGBTQ+++++++ community themselves, feeling aggrieved because they had always considered Wyngarde to be one of their own (for the record, I identify as gay). They certainly seem to harbor resentment towards Ms. Wyngarde-Hopkins for her long-standing relationship with the actor.

I will venture a bold guess and suggest that the esteemed ‘City Bookworm’ likely never approached within a 100-mile radius of PW or anyone familiar with him, yet possesses enough arrogance to dismiss “the person who knew him best”—a title attributed to Tina Wyngarde-Hopkins by Flash Gordon himself, Sam J. Jones. We appear to be inhabiting a reality where facts have been supplanted by mere opinions. This phenomenon is fostering a widespread rejection of truth across nearly all areas of life. We now find ourselves in a predicament where individuals lacking any authority, personal experience, or knowledge on a topic are striving to undermine those who do possess such qualifications.

I frequently contemplate why individuals who disparage others people’s books don’t write one of their own to demonstrate how it should be accomplished. Or is this merely another instance of those who cannot, simply resorting to criticism?

With very special thanks to Pam, Tina and Thomas of the Official Peter Wyngarde Appreciation Society

PETER WYNGARDE: MEMORIALISED IN PLASTIC

General Klytus action figures by Biff Bang Pow!


The ‘Flash Gordon’ line made its debut in 2007 with the red carded Series 1. It featured two versions of Flash, and two versions of Ming the Merciless. The differences between the two Flash figures were subtle enough that they are easily missed by casual glances. The first version of Flash featured a black and red vest with a sword accessory. The second featured a red tank top with a blaster. The difference between the Ming figures is rather obvious with one featuring a red robe, and the other a black.

These days the figures are incredibly difficult to come by. Oddly enough when they are found, they aren’t all that costly. A Flash figure autographed by Sam J. Jones recently sold for just £20.00 (around $26.00).

Although the Series 2 figures a far more commonly found than Series 1, they are still not in abundance. Oddly enough the SDCC versions, which were Entertainment Earth exclusives, seem to be the easiest to obtain. The Series 2 wave featured four new characters, General Klytus, Prince Barin, Dale Arden and another figure of Flash – this time in his white T-shirt from the first 1/4 or so of the film.

As mentioned above, this particular series featured a few SDCC exclusives. Interestingly enough, while series two initially was released in 2008, it wasn’t until 2010 that the convention exclusives were produced.
Each exclusive was a slight alteration from their series two counterpart. For instance, Klytus featured no popped-out eyes from his death scene in the film.

Below, you’ll find more details of the General Klytus figures, plus information about the Klytus model from Funko, Jason Wyngarde from Hasbro and the soon-to-be-released Wandering Planet Number 2 figure from ‘The Prisoner’.

GENERAL KLYTUS BY BIFF BANG POW!

  • Name: General Klytus
  • Series: Flash Gordon
  • Subseries: Series 2
  • Manufacturer: Biff! Bang! Pow!
  • Year of Release: 2007
  • Height: 7 inches
Pictures13

The front of the package remains largely the same with the new yellow Series 2 deco. It has a picture of Klytus on the front from the film looking suitably menacing.

The back of the package seems to give with one hand and take with the other. While it shows off every figure in the series, as well as some of the famous ‘Flash Gordon’ film poster art, there are no images of Klytus himself, who had several memorable scenes.

As far as articulation goes – unlike the other models in this series, the Klytus figure has only three articulation points, those being his ‘robotic’ (right) arm which moves at the shoulder and bends at the elbow. which makes him posable, and at the hip so his legs can be moved. His left arm has no hinge, nor does his knees.

The actual sculpt is very good. Bif Bang Pow really managed to capture the likeness of so many of the characters. Every figure really looked the part and Klytus doesn’t buck that trend.

Much like Emperor Ming, Klytus has glitter sprinkles on his clothing to replicate the jewels in his robe which gives off a red and blue glint. It’s used in much less quantity on Klytus than the Ming figure, which makes sense and helps to make him look really sharp.

Klytus, admittedly, isn’t the most exciting looking character in terms of design, but it’s his simple look that makes him stand out. He has a Doctor Doom/Druid/Sorcerer look to him and that’s a classic motif. Bif Bang Pow have done am excellent job here. He’s basic but well done. That’s really perhaps the mantra for the entire line.

Alas, there are no accessories with the Klytus figure. I’m pretty sure that the original proto pictures for this model showed Klytus with some sort of spiked Mongo tool or weapon, but the end figure comes with nothing. Maybe this was a cost cutting measure(?). As always, at the price point something else would be nice but it’s understandable given that Bif Bang Pow is a small company.

Value is always subjective, but Klytus has the most versatility of any of the figures in the line thus far. He is a great looking figure. In addition, most people who are minor Gordon fans will at least want the big three – Flash, Ming and Klytus.

BIFF BANG POW! KLYTUS DEAD VARIANT

  • Name: General Klytus
  • Series: Flash Gordon
  • Subseries: Series 2
  • Manufacturer: Biff! Bang! Pow!
  • Year of Release: 2008
  • Height: 7 inches

This exclusive Flash Gordon Klytus ‘Dead’ Variant action figure is a must-have for collectors. It was released in 2009 as part of the Series 2 line by Bif Bang Pow. This is an Entertainment Earth exclusive with only 1,200 pieces manufactured and sold at San Diego Comic Con in that year. The figure stands 7 inches tall and is made of high-quality plastic.

With the exception of the protruding eyes, the packaging, sculpting, articulation and accessories are identical to the previous figure.

Item Number: NMBBP02014

Above: Original EE SDCC poster from Comic Con San Diego

GENERAL KLYTUS BY POP! FUNKO

  • Series: Flash Gordon
  • Subseries: Pop! Vinyl Figures
  • Manufacturer: Funko (No. 311)
  • Year of Release: 2016
  • Height: 4 Inches

Made from vinyl and numbered 311 in the series, this figure is a must-have for both fans of Peter Wyngarde and ‘Flash Gordon’, this piece went on sale in 2016 to bring a touch of intergalactic menace to the world of collectables . With meticulous attention to detail, General Klytus captures the essence of this memorable character, from his expression to his intricate armour. This Funko POP! figure perfectly embodies the ruthless and authoritative nature of the original villain, making it a centerpiece for any “Flash Gordon” enthusiast.

Comes in a windowed box so it can be displayed without having to remove it from its original packaging.

JASON WYNGARDE BY HASBORO

  • Name: Jason Wyngarde (AKA ‘Mastermind’)
  • Series: Marvel Legends
  • Subseries: The X Men
  • Manufacturer: Hasboro
  • Year of Release: 2015
  • Height: 6 inches
Inspired by our own Peter Wyngarde in his role of Sir John Cleverly Cartney in the Avengers episode, ‘Epic‘, Jason Wyngarde is the founding member of the Brotherhood of Evil Mutants, Jason Wyngarde was the original Mastermind. He was instrumental in the creation of Dark Phoenix, ruining Wolverine’s relationship with Mariko Yashida and later died of the Legacy Virus. His two daughters have inherited his telepathic illusionary powers and name.

Custom No. 78431, this is an Amazon exclusive and comes in a pack with 5 other characters from the X Men world (Wolverine, Omega Red, Cyber and Callisto).

This figure has premium articulation and detailing. There are joints at the neck, shoulders, elbows, wrists, hips and knees so the model can be fixed in multiple poses.

The pack comes with 13 accessories, including changeable heads.

Current Value: £101.00: $127.00 US

For more information on the character of Jason Wyngarde, click here: Comic Book Characters and Peter Wyngarde – Inspiration For The Hellfire Club

NUMBER TWO BY WANDERING PLANET TOYS

  • Name: Number 2
  • Series: The Prisoner
  • Subseries: Series 2
  • Manufacturer: Wandering Planet Toys
  • Year of Release: 2024
  • Height:

Wandering Planet Toys are a group of friends working in the arts and entertainment industries in Los Angeles who came together out of a love for films, cult TV, pop culture, and, of course. ‘The Prisoner’ figures have been produced with the support of British-Based The Unmutual Prisoner website: http://www.theunmutual.co.uk/

In the memorable episode “Checkmate” featuring the iconic human-chess match, Peter brought a suave and particularly crafty take to his Number 2. 

Articulated arms, head and legs. Comes in a bubble pack with backing card featuring an iconic image of Peter as Number 2.

Please click here for more information.

Click below for more on Wyngarde Collectables…

Wyngarde Memorabilia – Old & New
An Archive Full Of Memories
All That Glisters