That’s Christmas Sez Les!, Les Dawson’s 1973 Christmas extravaganza, certainly doesn’t lack on the guest front. Along with regular contributors Eli Woods, Roy Barraclough and the Syd Lawrence Orchestra, Clive Dunn, Jack Douglas and Ronnie Caroll are on hand for comic duties whilst Slade, David Essex, the Kessler Twins and Lynsey de Paul provide the music.
If you watch all the surviving episodes of Sez Les in sequence then there’s a considerable progression from series three (broadcast in early 1972) to this special in late 1973. The third series shows were very tightly formatted – each twenty-five minute edition contained an opening and closing monologue from Dawson, a spot from the Syd Lawence Orchestra, a couple of musical guests, one studio sketch and possibly a brief bit of location filming.
By 1973 there was clearly more money in the kitty, as the regular shows had been extended to forty minutes (this special runs for an addtional ten minutes). Another change is that there’s now a considerable number of very short sketches rather than a couple of longer ones, which means that in some ways it feels like The Fast Show twenty five years early. You certainly can’t complain that the sketches are too drawn out, since many only consist of an establishing line and a punchline.
One slightly longer sketch features Dawson as a barman and Barraclough as a customer who’s confused when Dawson keeps throwing the drinks into his face. A basic rule of comedy – repetition – is in play here, every time Barraclough complains, it appears that Dawson has finally understood, only for him to repeat the drink throwing once again. There’s a predictable pay-off, but it’s pleasant to see a young Gordon Kaye pop up.
Dunn, Douglas and Caroll, along with Dawson and Barraclough, are good value as a group of wise-cracking vicars. This enables them to rescue gags from the old jokes home (“do you save fallen women?”) but they’re good enough to get away with it, just ….
With so many very brief sketches, Dawson sometimes struggles to make an impression whilst the deluge of guests also helps to reduce his screen-time. Still, at least the musical performers are pretty top notch, although was Noddy Holder really upset at Dawson’s trademark mocking introduction? Noddy’s rejoinder (“ta for that introduction, fatty. Don’t call us, we’ll call you”) could be taken as good-natured banter, or maybe he really didn’t see the joke.
No matter, as Slade’s performance – lipsyncing to Merry Christmas Everybody – is just about perfect. The average age of the typical Sez Les audience tended to be a little outside of Slade’s usual demographic, which explains why director David Mallet elected to surround the group with an enthusiastic young crowd. With Noddy’s trademark mirrored hat and platform boots, together with Dave Hill’s gleaming Super-Yob guitar, this is a classic Christmas moment.
David Essex elected to sing live, the pick of his two songs being Lamplight. He doesn’t have the teen audience around him, instead he’s on a darkened stage (rather apt I suppose, considering the song title) but showman that he is, he soldiers on regardless. Lyndsey de Paul is possibly one musical guest too many, but her dancing with Les is a nice comic moment.
Actually thinking about it, Clive Dunn’s musical spot is definitely one too many. The good news is that it isn’t Grandad, the bad news is that it isn’t as good as Grandad. As with his earlier smash hit, he’s surrounded by a group of cute children, which is either endearing or sickly, depending on your point of view. But it’s Christmas, so let’s be generous ….
More Les Dawson would have been welcome, especially some decent monologues (always his comic strength) but That’s Christmas Sez Les! is a compelling selection box of entertainment from a diverse group of performers.
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