Vicky Gayforth’s (Joan Collins) life is collapsing around her. Following an evening at the theatre, she elects not to go on to a late party as she’s convinced that her husband – Simon (Simon Williams) – will be there with another woman. Taking three strong sleeping pills, Vicky is settling down for a peaceful night’s sleep when Simon enters her bedroom and requests a divorce.
As the pills begin to take effect, Vicky experiences multiple hallucinations as she relives her life with Simon in a series of highly theatrical vignettes ….
Described by Coward as “a musical fantasy”, Shadow Play is a very pleasing mix of reality and fantasy. It begins in the real world, with Vicky receiving sage advice from Aunt Martha (Jean Anderson). Anderson was the sort of actress who seemed to spend her career playing characters who dished out sage advice (whether the recipients wanted it or not). Seven years as the matriarch of the Hammond family in The Brothers for example.
Given how perfectly Simon Williams fits into the Tonight at 8:30 world, it’s a little surprising that this was his only role – but he certainly makes the most of it. When we first meet Simon Gayforth he’s behaving in a rather beastly fashion towards the somewhat helpless Vicky (who is one of those characters rather buffeted about by events). But once the fantasies begin and he turns on the charm it’s easy to understand why Vicky fell in love with him in the first place.
I like the way that the sets become very stagey and unreal once we join Vicky in her dream world (this distinction probably would have been harder to draw on stage). Presumably Coward and Gertrude Lawrence handled several of the songs themselves – but Collins and Williams don’t get involved in the singing (I can’t recall either of them warbling in the past, so this was probably a wise move).
As Vicky dreams on, she’s not above re-editing events to make them even better than the real thing.
Vicky: You’re nice and slim. Your eyes smile and you move easily. I’m afraid you’re terribly attractive.
Simon: You never said that!
Vicky: No, but I thought it.
Simon: Stick to the script.
This happens on a number of occasions – characters breaking the reality of the fantasy (if you see what I mean) to pass an ironic commentary on what we’re seeing. This would hardly have been original even back in the 1930’s, but it’s still amusing and effective.
Several Tonight at 8:30 stalwarts turn up for one final bow. Edward Jewesbury is the perplexed Uncle George, unwillingly dragged into Vicky’s dreamworld, whilst Edward Duke plays a silly young ass (something of his signature role).
Even when Vicky returns to reality, there’s still a tinge of fantasy in the air as Simon has banished all thoughts of divorce, meaning he and Vicky will live happily ever after. Is she still dreaming? Maybe, or maybe Coward was simply content to send the theatregoers home in a good mood.
Tonight at 8:30 is a fascinating series. Happy to faithfully adapt the original plays (if the action took place in a single room, then the productions would remain in a single room) it’s the sort of VT show which belongs to a vanished television age. It’s a pity that three episodes are rather marred by the addition of laugh tracks, but that quibble apart it’s been something that I’ve enjoyed revisiting. Certainly worth a look if you have the Noel Coward DVD boxset on your shelf.
Having reached the end of the series, I’ve found that a Brothers fix is still required, so I naturally turned to the 1976 long-playing extravaganza that is Christmas with the Hammonds.
Colin Baker’s website has done a wonderful public service by making it available for everybody to enjoy. If, for example, you’ve ever wondered how Paul Merroney would wrestle White Christmas to within an inch of its life, then this is the disc for you.
Without further ado, let’s jump straight in ….
Winter Wonderland, Sleigh Ride – Bill & Gwen Riley
Derek Benfield and Margaret Ashcroft favour a soft duet singing style and they also both handle individual lines with aplomb. A very solid start.
The Holly and The Ivy – Jane Maxwell
I don’t believe I’ve ever heard Kate O’Mara sing before, so I wasn’t sure what expect. She can certainly handle a tune and together with a tasteful string arrangement it seems that Kate was taking it very seriously. Two out of two so far, can this good run continue?
We Need A Little Christmas – David Hammond
Robin Chadwick may be slightly flat, but how can you not love the jaunty backing track? It’s only two minutes long, which means it doesn’t outstay its welcome.
The Christmas Story – Mary Hammond
Jean Anderson is spared the ordeal of singing as instead her track tells the story of the birth of Jesus. You can imagine Mary telling this story to her three sons every Christmas, whether they wanted to hear it or not. Good old Mary.
The Twelve Days of Christmas – 1: Jane 2: Bill 3: Gwen 4: April 5: All 6: Jenny 7: Ted 8: Mary 9: Brian 10: Paul 11: David 12: All
It’s tag-team time as everybody pitches in. It gives us our first opportunity to hear the vocal talents (ahem) of Patrick O’Connell and Colin Baker, whilst it also confirms that a whole track of Jean Anderson singing might have been a step too far.
Cantique de Noel – Brian Hammond
Decades later, during The Cult of the Brothers documentary, Richard Easton still seemed to regard his major contribution to the album with fondness and a little pride. And why not? He can hold a tune well and, as befits his character, adds a touch of gravitas to proceedings.
Have Yourself A Merry Little Christmas – Jenny Hammond
With only a piano accompaniment, Jennifer Wilson is a little exposed, but thanks to her breathy singing style she just about pulls it off.
Good King Wenceslas – Ted Hammond and Paul Merroney
Nice to see that Ted and Paul managed to bury the hatchet in order to contribute to this duet. It’s fair to say that neither Patrick O’Connell or Colin Baker were blessed with angelic singing voices, so their decision to keep their tongues firmly in their cheeks was the only possible option. It’s certainly memorable.
Rudolph the Red-Nosed Reindeer – April Hammond
It’s slightly surprising that April and Paul didn’t have a duet together. Singing is clearly not Liza Goddard’s strength, so the clip-clop backing attempts to cover some of the cracks.
White Christmas – Paul Merroney
After the delight of Good King Wenceslas, it seemed obvious that the world needed more of Colin Baker’s unique vocal talents. Fair play to the man for sharing this track in all its grisly glory (instead of claiming that it had somehow been lost). It’s three minutes which defy description (but once again I have a feeling Mr Baker wasn’t taking it entirely seriously, or possibly a little alcoholic refreshment had loosened him up somewhat). The line – “may all your days be Merroney and bright” – is sheer genius.
Good Wishes For the Season – Gwen, Bill, Jenny, Ted, Jane, Brian, April, Paul, David & Mary
This is lovely as all the cast – in character – take turns to wish the listeners the compliments of the season. Naturally enough Mary gets the last word whilst Jane (“keep the men in their place and have a fantastic time”) has the most memorable message.
A treat from start to finish, it feels a little odd to be listening to it in July, but come December I’m sure I’ll be revisiting Christmas with the Hammonds again.
Within the first few minutes of the series seven opener – To Honour and Obey – it’s plain that change is in the air. First we have a new title sequence which acknowledges that Hammond Transport is now about more than lorries (shots of swooping aircraft makes that plain).
But even more startling is the fact that we’re presented with the sight of Paul Merroney (Colin Baker) having a shave. All of the main characters (with the exception of Paul) have previously had their private lives investigated in exhaustive (and some might say exhausting) detail. Up until now Paul’s has been exempt from this – indeed the others have unkindly referred to him as a robot on more than one occasion, suggesting that he doesn’t have a private life at all.
Seeing Paul Merroney in any other setting than a purely business one is something of a jolt, but since this episode is concerned with his wedding I guess we’re going to have to get used to it. Brian (Richard Easton) is his best man, which rather implies that poor Paul is somewhat lacking in friends. Although his bride-to-be April (Liza Goddard) might make up for that. Or maybe not, let’s wait to see how their marriage plays out ….
Given Brian’s previous problems with the bottle, it’s a little strange that he got drunk at Paul’s stag party (a pity we didn’t see it, I’m sure it would have been a hoot – no doubt Paul was stuck in the corner, sipping a tomato juice). Paul then discusses his father (in the first five minutes we learn more about Paul the man than we had in the last two and a bit series).
We’re quickly introduced to members of April’s family. Her father, Lord Winter (Anthony Nicholls), has little time for his son-in-law-to-be and April’s brother, Simon (Terence Frisby), shares his disdain – although since Simon and Paul are involved in a power-struggle at the bank, at least their conflict is professional rather than personal (Lord Winter just considers him to be a dull fellow).
Brian’s children have been conspicuous by their absence for most of the series to date. Even when he and his former wife, Ann, were together we never saw much of them. So when Brian’s daughter Carol (Debbie Farrington) suddenly turns up, it’s a bit of a jolt. Mind you, that’s nothing compared to the shock when Ann (Hilary Tindall) also reappears ….
I’ve missed Ann, so it’s lovely to see her again – even if it’s only a fleeting visit. With Brian now entering a tentative relationship with Jane Maxwell (Kate O’Mara), Ann’s presence certainly helps to shake up the status quo, although Carol is the key figure here – seemingly undecided about whether to live with her mother or father.
Carol’s now a new-age hippy chick but Ann’s still the same old Ann. They both bow out in episode four, The Female of the Species, with Carol rather bamboozling Brian before she goes. And before Ann leaves she has the chance to confront Jane (Hilary Tindall and Kate O’Mara – an implacable force meeting an immovable object).
Happy marriages are something of a rarity in The Brothers. This series Ted (Patrick O’Connell) and Jenny (Jennifer Wilson) are the first to suffer a few bumps in the matrimonial road. Although they’ve always seemed well-suited, it should be remembered that as soon as they tied the knot Jenny became incredibly bossy (her ill-fated desire for a child was just one of the times when Ted – a hard-case in business but a teddy-bear at home – gave way).
This year Ted’s showing signs of mellowing on the business front. Spending time away on a business course helped him to finally release that Paul Merroney wasn’t quite the villain he always believed him to be (something the viewers twigged some time back). When he returns home, Jenny’s off to visit her daughter, Barbara, in Canada (and more than a little irritated that Ted’s changed his mind about joining her). Barbara (Julia Goodman) is another familiar face from the past to make a return this year (her marriage – surprise, surprise – has hit something of a rough patch).
A little extra spice is added to Ted and Jenny’s relationship after April, at a loose end during one of Paul’s numerous foreign trips, offers to cook Ted dinner. There’s no strings attached – it’s just a friendly offer from April who’s concerned that Ted will waste away if he has to fend for himself – but the reactions of their respective spouses are quite instructive. Paul’s coolly amused (his long-standing disdain of Ted still stands) whilst Jenny doesn’t say a great deal (although it clearly rankles, as we’ll see during the next few episodes).
Of course it was Paul who mischievously told Jenny that her husband and his wife had enjoyed a meal together rather than the hapless Ted, who no doubt would have much preferred to have kept quiet. This leads April to liken Paul to one of the Borgias – which he takes as a rich compliment!
Regular viewers will probably be expecting several long-running plot-threads to rear their heads one last time. And you won’t be disappointed as yet again Mary’s (Jean Anderson) health takes a turn for the worse, leaving the brothers to play nursemaid, although neither Brian or David (Robin Chadwick) are falling over themselves to volunteer. The sight of Brian and David tossing a coin (Brian lost, so he had to stay at home with her) is a nice comedy moment.
The saga of Gwen Riley’s (Margaret Ashcroft) new house also continues to rumble away – every time she seems to be on the verge of moving, something happens to prevent her (this time she’s been gazumped). Once again, Ashcroft (and Derek Benfield as Bill Riley) impress as the one couple who somehow manage to juggle their work and private lives without resorting to taking lumps out of each other. Ashcroft gets to flex her acting muscles a little more towards the end of the series after Bill and Gwen’s son is involved in a motorbike accident.
Later series of The Brothers tended to be shared out amongst a pool of writers who would then pen a block of consecutive episodes. For the seventh and final series this was split as follows – Ray Jenkins (episodes one to three), Brian Finch (episodes four, five and nine to twelve), Elaine Morgan (episodes six to eight) and N.J. Crisp (episodes thirteen to sixteen).
Elaine Morgan’s three scripts – Arrivals and Departures, The Distaff Side and Cross Currents – are of particular interest. Although this was her only contribution to The Brothers, her extensive career spanned the mid fifties to the late eighties with many notable credits. The Life and Times of David Lloyd George is an obvious career highlight, with top-quality literary adaptations (including The Diary of Anne Frank, Testament of Youth and How Green Was My Valley, amongst others) also featuring heavily on her CV.
Christine Absalom appears in Morgan’s three episodes as temporary secretary Judy Vickery. It’s fair to say that she and Paul don’t hit it off – possibly it’s her toy Snoopy (a good-luck mascot, she tells him) or maybe it’s because she appears to be slightly flustered (although she assures him that once she settles down she’ll be fine). As an outsider, Judy allows us to see the regulars through a fresh pair of eyes – especially the martinet Paul Merroney (the way she mispronounces his name to begin with is a lovely comedy touch).
Paul, enroute to Istanbul, calls April from the airport. She has bad news for a him (a family bereavement) and is appalled when he doesn’t cancel his flight and return home This is a key moment, as although Paul shows a spasm of pain at the news, business comes first. It’s an attitude which April finds incomprehensible and serves to sow the first seed of disharmony between them.
The unexpected arrival of Paul’s mother in The Distaff Side throws the Hammonds into a tizzy. With Paul still away and April uncontactable, Ted and Brian attempt to play pass the parcel with her. Luckily, Mrs Merroney (Norah Fulton), a plain-speaking Geordie, takes up Gwen’s offer of a bed for the night (much to Brian’s obvious relief!)
Mrs Merroney’s conversations, first with Gwen and Bill and then later with April, help to shed considerable light on Paul’s character. A sickly, bookish child, he found himself teased by the local children – therefore his drive to succeed in business was partly borne out of a desire to prove his parochial home-town rivals wrong. These are further strong scenes from Elaine Morgan.
Elsewhere, there’s a nice spark of jealously directed towards Jane by Jenny. Jane’s arrival in series five generated a certain amount of friction amongst all the members of the Hammonds board, although it was rather downplayed the following year. Quite why Jenny should be so set against the possibility of Jane becoming a Hammond (after all, that’s precisely what she did by marrying Ted) is a bit of a mystery but it helps to give Jenny a little more to work with on the character front.
Jenny’s paranoia keeps on bubbling away (she’s convinced that everybody is plotting against her). The best moment comes when she confides to Mary that Brian and David are locked in a bizarre love triange with Jane! That’s somewhat far from the truth – since Brian’s long-relationship with Jane has been platonic, David sees nothing wrong in inviting her out for a couple of meals.
The result of Jenny’s rash comment puts Mary on the warpath. She attempts to rope Ted in, but he’s less than keen to get involved – although their conversation sets up a pulsating later scene which sees Ted accuses Jenny of spewing posion. With their marriage already a little rocky, this simply adds to the pressure. Jenny has the last word as she cruelly, but maybe accurately, labels the Hammond brothers as “a lush, a failure and a has-been!” Wonderful stuff.
Everything then kicks off in typical Brothers style as Mary confronts Jane, Brian confronts David and David, in a huff, packs his bags and leaves home.
Episode ten – Celebration – is ironically titled, as Jane receives the bad news that one of her new C41s has disappeared somewhere in the Atlantic, Jenny receives a summons for dangerous driving whilst Paul and April’s marriage seems to have hit a brick wall.
Possibly this was art imitating life, as Colin Baker and Liza Goddard had married for real shortly after Paul and April tied the knot in the series. Baker would later acknowledge that their union was probably a mistake as it sadly didn’t last very long.
April is a rather passive character to begin with – content to wait at home for her husband to return from the office (although capable of becoming annoyed when he’s late). April bemoans the fact that their luxury flat has become a gilded cage for her, but she seems unable or unwilling to do anything to rectify the situation, such as finding a job. Given that the role isn’t terribly interesting for large stretches, it’s lucky that Liza Goddard was on hand to breathe a little life into her. Goddard does icy detachment better than anybody and some of her later scenes suggest that April could have developed into quite the bitch had the show gone to an eighth series.
Paul Merroney’s latest scheme is to expand into the Middle East. From a modern perspective, setting up bases in places such as Baghdad and Kuwait seems to be asking for trouble, but it’s true that it was a different time back then. Only Brian opposes the plan, whilst the others see a chance to make a handsome profit (although the risk factor is great).
Whilst the cast were confidently expecting an eighth series, I wonder if the return of co-creator N.J. Crisp to write the last four episodes was something of a sign? Crisp had only penned a handful of episodes during the previous couple of runs, so it could be that he had an inkling the series was reaching the end and wanted to be the one to conclude it.
Whilst a continuing drama can never come to a compete stop, there’s a sense that The Brothers was reaching a natural conclusion. We’ve seen over the years how Hammond Transport had changed from a privately owned company to a publicly owned one, but the Middle East scheme serves as the catalyst to finally wrest control away from the Hammond family (via a new share option which will raise much needed capital but will also serve to dilute their majority share-holdings).
But various questions remain unanswered as the credits rolled for the final time. How would Paul and April’s wobbly marriage have resolved itself? Most intriguingly, would Paul’s Middle Eastern escapade have been a disaster? If so, then he might have been eased out and maybe the Hammonds would have attempted to regain control of the company.
Although there were plenty of options for future storylines it wasn’t to be, so The Brothers came to an end on the 19th of December 1976 with The Christmas Party. Final treats include Brian’s quite astonishing moves on the dance floor and Ted’s firm rejoinder after Paul suggests that Hammond Transport Services Ltd is a rather old-fashioned name. Surely something like Worldwide Transport Services would be better?
Another strong collection of episodes, this seventh and final series of The Brothers is just as addictive as the previous runs. It’s easy to why it captivated a generation back in the 1970’s and forty years on it’s still as entertaining. If you’ve been collecting the DVDs then you’ll know how good the show is, if not then I’d strongly recommend picking up series one and making your way through a classic slice of seventies drama from there.
The Brothers – Series Seven is released by Simply Media on the 10th of July 2017. RRP £29.99. It can be ordered directly from Simply here.
Series six kicks off in a typically confrontational way as Ted (Patrick O’Connell) clashes with Merroney over Brian’s future. Will Brian be welcomed back onto the board? Ted wants a fair deal for his brother and – possibly surprisingly – Merroney concurs. But the reason he gives is sure to put Ted’s back up. “Because of the three of you, he’s the only true professional”.
Colin Baker still looks as if he’s enjoying himself enormously as Merroney continues to call the tune, forcing the others to dance to it. His relationship with Brian (Richard Easton) has always been complex. He values Brian’s business acumen and knows that Brian likes him personally (which has helped create a bond between them) but it’s also plain that Merroney would drop him like a stone if he proved to be unreliable.
Somewhat Godot like, Brian has an influence over events even when he’s not on screen. The series opener, Red Sky At Night, begins with the others awaiting his return. But when he’s not on Don Stacey’s charter-flight there’s concern all round. Where is he? Is his absence further evidence of his unreliability?
When Brian (still sporting the impressive moustache he grew last year) does reappear, it’s telling that it’s Merroney he goes to see. Although both David (Robin Chadwick) and Ted have fought for their brother’s interests in their own ways, Brian clearly feels more comfortable with somebody outside of the family.
Brian’s gradual reintegration back into the business is a running theme during these early episodes as is the question of Jenny (Jennifer Wilson) and Ted’s adopted baby, William. When the baby’s real mother decides she wants him back, Jenny starts to feel the strain. One has to wonder why Jenny and Ted didn’t legally adopt the child (William was abandoned by her mother six months earlier but she now feels more confident that she can look after him).
Our sympathy should be with Jenny, but there’s something more than a little off-putting about her manic determination to hang onto William whatever it takes. Jennifer Wilson plays these scenes well and since her character’s usually so level-headed and sensible it’s an interesting change to see her put under pressure for once.
Jenny is happy to cast William’s natural mother, Pat Hawkins (Elaine Donnelly), in a poor light, but that’s not the impression most will get when they hear her story. “Look, I’m just a girl from the local estate, okay? And I got a baby. And I couldn’t explain to my mum and dad why I wanted to keep him. So I did the only thing I could do and I gave him away”.
One might raise an eyebrow at the revelation that Pat’s husband, Alan (Ian Marter), works for Hammonds. Something of a remarkable coincidence it must be said, but this does allow Ted to be pushed over the edge a little further (like Jennifer Wilson, Patrick O’Connell seems to relish these dramatic scenes). Plus it’s always a pleasure to see the late Ian Marter, even in a small role like this.
Carleton Hobbs makes a welcome reappearance as Sir Neville Henniswode (Hobbs had appeared in series four but was presumably unavailable for series five, which led to Llewellyn Rees taking over the role). Hobbs had a decent film and television career but for me – and I’m sure for many others – he’ll forever be the definitive radio Sherlock Holmes. Just to hear the timbre of his voice is enough to conjure up images of foggy streets and Hansom Cabs ….
One of the more unlikely developing plotlines concerns the relationship between Sir Neville and Mary Hammond (Jean Anderson), the imposing matriarch of the family. At least this enables Mary to get out of the house every so often and therefore makes a nice change from her usual scenes (which tend to consist of her chivvying one or more of her sons). Since both David and Brian are currently living with her at the family home, she’s got ample opportunity to fuss around them.
The first half of series six sees the Hammonds struggling to balance their work/private lives. Brian is still finding his way back to fitness slowly, David has never been terribly business minded anyway, whilst Ted and Jenny are more concerned with the fallout from William’s departure than they are with Hammond Transport.
This leaves Merroney in a strong position, although Bill Riley (Derek Benfield) for one isn’t prepared to roll over for him. Bill’s rise through the ranks has been an entertaining running thread over the last few series. Initially he was a little diffident at board meetings – due to his elevation from the shop floor – but by this point he’s more then happy to speak his mind.
He’s matched in the common-sense stakes by his wife Gwen (Margaret Ashcroft). Whilst the majority of the characters in The Brothers are middle-class or higher, the Rileys are resolutely working-class and proud of it. It would be easy for them to be portrayed in a patronising light, but this doesn’t happen – meaning that there’s something charming in the way they enjoy the simple pleasures of life (an evening game of Scrabble, for instance). But they’ve not immune to pressure and Bill’s increasing workload will be seen to have a negative effect on their marriage.
Merroney’s private secretary Clare Miller (Carole Mowlam) still finds that her loyalty is divided between Merroney and David. With neither man in a regular relationship, both are content to use her as a dinner companion and confidant. Although Clare is a character designed to react to others rather than instigate her own plotlines, Mowlam still manages to give Clare a spiky sense of humour, ensuring she’s more than the cardboard character she otherwise could have been.
During S5, Merroney seemed mainly to exist in order to thwart the Hammonds at every turn. But throughout this run of episodes he’s more nuanced – whereas previously he was totally dedicated to Sir Neville and the bank, now he confesses that he’s beginning to side with the Hammonds over certain matters. Although on other occasions he’s quite prepared to steam-roller right through them, if he can ….
Brian also shows some unexpected facets to his personality (since his breakdown he’s become a more relaxed and far-thinking person). At one point he expresses his new personal philosophy. “You’ve got to feel that what you’re doing is really worth doing. Nobody makes money except the Mint. All the rest of us do is push it around a bit, trying to make sure that we get a little more than the next man. But it’s not wealth. Wealth is enriching. Making money is just debilitating. In the end it leads to a sense of personal isolation”.
When David finds himself rejected by Clare in episode eight – The Chosen Victim – it serves as something of a wake-up call for him. All his life he’s been able to get whatever he wanted (until Clare). Will this make him a more rounded and less arrogant character? It’ll be interesting to see if his growth continues next series.
Paul Merroney and Jane Maxwell (Kate O’Mara) fractious relationship shows no sign of abating. At one point she tells him he’s “one of the lowest forms of life I’ve ever come across”. But when you learn that Merroney was castigating Jane’s ex-husband, the hard-drinking pilot Don Stacey (Mike Pratt) at the time, it’s easy to understand the reason for her anger.
Don bows out of the series in the sixth episode, Tender (broadcast just a few months before Pratt’s death at the age of 45). Pratt’s gaunt appearance gave the running plotline of Don’s impending medical exam a bitter irony. “Sooner or later they’ll find something that creaks or groans or doesn’t react fast enough and that’s it. You can keep as fit as you like, but Anno Domini gets you in the end”. Don didn’t do a great deal (although his leaving scene was a powerful one) but he was always an amusing character and Pratt, even though he was clearly ailing, always played him with an agreeable twinkle in his eye.
As series six moves towards its conclusion, several familiar faces pop up. Clive Swift plays the shifty Trevelyan whilst Joby Blanshard (best known as the plain-speaking Colin Bradley from Doomwatch) appears as Van der Merwe.
After being somewhat subdued in the early episodes, Ted roars back into life (few sights are more impressive than that of Patrick O’Connell in full flight) whilst Brian and Jane seem to be forming something of an alliance, both personally and professionally. But Brian’s wounded psyche (he has a fear of being touched) might be a problem. Richard Easton, as so often throughout all six series, impresses here.
The sight of April Winter (Liza Goddard) who briefly appears in the penultimate installment – The Bonus – signifies that change is on the way for Merroney. His offhand comment that she’s his fiancee is a real leftfield jolt – although April’s been mentioned on several occassions (which has prepared the ground for her arrival) it’s hard to imagine the coldly efficient Merroney ever being in love. Clare is crushed by the news. Bill later tells Gwen that “the torch that girl carries for him makes the Statue of Liberty look like a candle”.
Hammond Transport has undergone substantial changes over the last few years, morphing from a wholly-owned family concern into a company with strong ties to the bank (where Sir Neville and Merroney reign). But it’s the proposed takeover bid from Kirkmans which threatens to split the Hammond family down the middle. Some, like David, would be happy to sell their shares for a handsome profit whilst Ted (and especially Mary) are resolutely opposed to the deal.
When Merroney goes AWOL (he’s in Amsterdam, meeting with Van der Merwe) the others (especially Ted) are concerned that he’s plotting behind their back. His adventures in Amsterdam are great fun, adding a touch of out-of-season glamour to the series. The sight of his discomforted face as Van der Merwe’s daughter whisks him round Amsterdam at great speed in an open-top jeep is worth the price of admission alone.
The series finale – Birthday – might be partly concerned with Mary’s birthday celebrations but business matters are also on her mind. The takeover from Kirkmans may have foundered but a merger with Van der Merwe’s company is still very much on. But Mary, frustrated at being out of the loop, begins to flex her muscles. As with previous years, the final episode finishes on a strong hook which will lead in nicely to the start of the next series.
The Brothers remains a very moreish and ridiculously entertaining series. Richard Easton and Colin Baker especially impress, but there’s no weak links here. Four decades on it’s still easy to see why the show built up such a large and devoted fanbase (not only in the UK but in many other countries as well). Sharply defined and well-acted characters, placed in perpetual conflict with each other was a key part to its success and the passing of time has done nothing to dull this winning format.
The Brothers – Series Six is released on the 12th of June 2017 by Simply Media and contains thirteen 50 minute episodes across four discs. RRP £29.99.
The beginning of series five finds The Brothers in something of a transitional phase. Two key cast members (Gabrielle Drake and Hilary Tindall) had left the show at the end of the previous run, although fresh blood (most notably in the shape of Kate O’Mara as Jane Maxwell) would shortly arrive to shake things up.
The departures of both Drake (Jill Hammond) and Tindall (Ann Hammond) were used to good dramatic effect though. Ann and Brian had gone through the relationship mill during the previous series and even though their union was now at an end, Brian continues to suffer. But his broken marriage is just one reason why he goes severely off the rails in the early episodes.
Although Tindall was gone, her character was still alive and therefore a return was always possible (and indeed Ann did make a fleeting reappearance in a handful of episodes at the start of the seventh and final series). But Drake wasn’t so fortunate, as Jill is dispatched in the time-honoured way of dealing with soap actors who either can’t or won’t carry on (an off-screen accident). Talking about this decades later in The Cult of The Brothers documentary, it seems that Drake was a little taken aback at just how ruthlessly Jill was dealt with.
Another character, Martin Farrell, had also left, which results in both personal and professional consequences. Professionally, it means that the position of chairman is vacant – which seems tailor-made for the ambitious Paul Merroney.
And on a more personal note, it was plain that Ted Hammond’s nose was put out of joint last series by the interest Farrell had been taking in Jenny Kingsley (Jennifer Wilson). So with Farrell out of the picture, Ted (Patrick O’Connell) rekindles his own relationship with her. Lest we forget, Jenny carried on a lengthy and clandestine affair with Ted’s late father. Unsurprisingly this meant she has always been viewed with great disfavour by Ted’s mother – the indomitable matriarch Mary Hammond – but it seems that Ted has eventually summoned up the courage to defy his mother and make an honest woman out of Jenny. Although I’m sure there’s still going to be a few bumps ahead before they can enjoy a lifetime of wedded bliss.
The series opener, the aptly titled Life Goes On, finds Brian in a pretty poor state. This concerns the bank – they don’t want to see their investment in Hammonds put at risk because the new managing director is feeling flaky – but Paul Merroney has put plans in motion to protect their money ….
Although Merroney was a rather peripheral character during the last series, here he really starts to make his mark. For one thing, he’s gained an assistant – Clare Miller (Carole Mowlam). Apart from signifying Merroney’s increasing significance, Clare also emerges as a character in her own right – becoming close to David, for example.
Baker’s good value in these early episodes as Merroney begins his manoeuvres. Surprisingly, only the bluff Bill Riley realises that Merroney has his eye on the chairman’s job – which doesn’t say much for the business acumen of the others! There’s a delicious sense of duplicity on show from Merroney as he puts the blame for the recent ousting of Ted as managing director firmly on the shoulders of the departed (and innocent) Farrell.
The way the audience learns about Jill’s death is done in a very interesting way which makes a positive out of the fact that Gabrielle Drake was no longer a member of the cast. Jill isn’t mentioned during most of the first episode, although that wasn’t unusual (she was absent from the first few episodes of series four). It’s only right at the end of Life Goes On, when David runs into a friend who’s been out of town for several months that we find out Jill is dead. This is an incredibly jolting moment which provides us with a strong hook into the next episode where her fate is discussed in detail.
The dynamic between the three brothers – Ted, Brian and David – has been the motor which has powered the series to date. Whilst series five continues to play on their conflicts, the emergence of Paul Merroney as a major player refreshes this somewhat – as an outsider he has quite a different set of loyalties.
But the brothers still dominate the storylines especially, in the early episodes, Brian. In many ways he’s now got everything he wished for – he’s become managing director of Hammonds, ousting Ted. Or has he? We’d seen in previous series that it was Ann who was the ambitious one, constantly pushing him forward. So the fact that he’s gained in business but lost out in his personal life must come as a bitter irony to him.
Richard Easton continues to impress as Brian, especially when he starts to lose the plot (the episode title Breakdown makes it fairly obvious what’s going to happen). As his drinking increases, Brian is encouraged to seek psychiatric help. And always around is Merroney, plotting to oust Brian at one point and then (so the others fear) attempting to buy Brian’s shares so he can gain overall control of the company. But as we’ll see, Merroney is no cardboard villain – he may be mainly motivated by self interest but he’s also not without compassion for the stricken Brian.
As Brian, ensconced in a nursing home, retreats into the background, so other plotlines begin to develop. The long-running will they/won’t they relationship between Ted and Jenny is now very much back in “they will” territory and moves forward at a rate of knots. The problem with Mary (Jean Alexander, as good as always) still has to be overcome though, as the icy disdain she feels towards the woman who conducted a long-term affair with her late husband continues to be a fruitful source of drama. Even when Mary and Jenny appear to be on civil terms there’s always the sense that at any moment things could change ….
Although the departure of both Hilary Tindall and Gabrielle Drake left something of a hole, two new female characters filled the gap nicely. Clare’s divided loyalties (between David and Merroney) generate a good source of drama which plays out as the series progresses whilst Kate O’Mara makes an immediate impression as Jane Maxwell. Debuting in episode six, Flight of Fancy, Jane is the hard-headed director of an air-freight business which Hammonds have an interest in. As a proactive business woman she’s something of a rarity in the world of The Brothers (Jenny might be a board member of Hammonds, but she’s a much more passive character).
Also appearing for the first time in this episode is Mike Pratt as Don Stacey, a hard-drinking pilot. This would be Pratt’s final television role before his death in 1976 at the age of just 45. Don would appear throughout the remainder of series five and the first half of series six. Whilst it’s always a pleasure to see Pratt, it’s rather tempered by how ill and haggard he looks.
Yet again, things conclude in the boardroom (episode thirteen, Warpath) as Merroney continues to scheme although it’s possible that in Jane he’s finally met his match (a decade or so later Baker and O’Mara would once again lock horns, this time in Doctor Who). With Ted under pressure and Brian’s fate still uncertain, things are left nicely poised for the following series to pick up where this one left off.
By now, The Brothers had become a well-oiled machine and series five not only manages to develop the existing characters in a variety of ways but it also develops intriguing new ones as well. It continues to be highly addictive stuff, especially as the Hammonds, Merroney and Jane jostle for power and superiority. But there’s time for more personal stories as well (Jenny’s longing for another child) which ensures that the series isn’t completely boardroom and business based.
The Brothers – Series Five is released by Simply Media on the 27th of March 2017. RRP £29.99.
The story so far. Following the death of Robert Hammond, control of his thriving haulage firm was split four ways – equal shares were distributed to his three sons – Ted, Brian and David – whilst the fourth equal share went to his mistress Jenny Kingsley.
With no-one in overall control, there’s a constant power-struggle as elder son Ted (currently managing director) finds himself under attack from his two brothers, both convinced they could run the company better than him. And the trauma in the boardroom is matched by equal strife in their respective bedrooms.
We’ve previously seen that David’s (Robin Chadwick) recent marriage to the lovely, if rather doormat-like Jill (Gabrielle Drake), has had a few wobbles, mainly because his roving eye was elsewhere. He hadn’t actually been unfaithful, but Jill’s suspicions created a definite rift which they attempt to heal during this run of episodes.
Middle son Brian (Richard Easton) suffered even more spectacular marriage problems during the third series, although he remained blissfully unaware. His bored wife Ann (a wonderful performance by Hilary Tindall) found solace in the arms of smooth advertising type Nicholas Fox whilst chugging down far too many sleeping pills and drinking heavily. Her unhappiness at feeling trapped in a loveless marriage culminated in an overdose, although she appears to be quite her old self again now, even to the extent of restablishing contact with Nicholas.
Elder son Ted (Patrick O’Connell) doesn’t have any complaints on the marriage front, but that’s only because he’s single. He has his eye on someone though – Jenny Kingsley (Jennifer Wilson). His desire to wed his father’s mistress has been a running thread for a while, although Ted’s mother, the powerful matriarch Mary (Jean Anderson), strongly disapproves. This might have been one of the reasons why Mary keeled over at the end of series three with a heart attack.
So as series four begins, all three brothers face challenges in their personal lives whilst the business of running Hammonds also continues to cause them tremendous strife. And waiting in the wings is ambitious merchant banker Paul Merroney (Colin Baker), a man who always has his own agenda …..
The series four opener, Emergency sees Mary seriously ill in hosptal. She was discovered (off-screen) by Ted and Jenny who had returned from a brief holiday with life-changing news – Ted had proposed and Jenny accepted. But their happiness quickly evaporates as he blames himself for leaving his mother on her own.
We then see a nice visual signifier of the bond between mother and son. Whilst Ted goes to the hospital to await further news, Jenny stays behind to contact Brian and David as the camera lingers on a framed portrait of Mary and Ted. It’s a clever, unspoken touch which forshadows the dominance Mary will exert over her elder son.
When Mary gets better she has no compunction in telling Ted that he can’t marry Jenny. He might be a hard-headed businessman but he always seems to come off second best with his mother. And this is enough to convince Jenny that marriage to Ted would be impossible.
Business matters take centre-stage again with episode two, Secret Meetings, as Brian and David plan to offer merchant banker Martin Farrell (Murray Hayne) a seat on the board – the first step in their plan to make Hammonds a public company. Of course they’ve yet to mention this to Ted, so sparks inevitably fly when they do. Having said this, it’s surprising that Ted accepts their plan meekly, but he’s got an idea up his sleeve – if Bill Riley also joined the board then (provided he always votes Ted’s way) the status quo would remain. This is classic Brothers, featuring plot and counterplot.
If David has always irritated me somewhat, then Brian is a much more sympathetic character, even if it’s impossible not to feel a little frustrated by the way he remained oblivious to Ann’s lengthy relationship with Nicholas Fox (Jonathan Newth). But even Brian’s blindness could only continue for so long without it seeming totally unbelievable, and when he finally twigs it’s the cue for high drama. His first reaction, of course, is to reach for a drink (heavy alcohol consumption, along with an equally herculean nicotine intake, is something of a feature of the series).
Brian doesn’t confront Ann straight away, which enables him to calmly twist the knife and make her feel even more guilty than she already is. This is a good move – since you know the showdown will happen eventually, making us wait a little simply heightens the expectation. But Brian’s not backward in letting Ann know exactly what he thinks of her when the truth does emerge. “Your whole world begins and ends with yourself. You’re shallow, you’re superficial and utterly self-centered. Nothing matters to you but self, self, self!”
Ann doesn’t take this lying down. “You are a predictable bore, Brian. You don’t want a wife, you want a second mother. Somebody to cook and clean for you, and tuck you in and say, ‘there, there’ whenever you’re not feeling very well.” Both Richard Easton and Hilary Tindall are firing on all cylinders throughout (the end of episode five – Partings – as Brian knocks a shocked Ann to the floor is one of a number of stand-out moments). If Brian, following his separation from Ann, becomes something of a tortured figure then so does Ann herself. It slowly dawns on her that Nicholas Fox (a serial seducer) has no interest in a long-term relationship ….
David decides to become a racing driver (!) which means that Jill has to wait anxiously on the sidelines, hoping that he won’t be hurt. Frankly, this isn’t much of a role for Gabrielle Drake (compare and contrast to the plotlines dished out to Hilary Tindall) so it’s no surprise that she decided not to return for the fifth series.
Drake might also have been a little miffed that Jill didn’t turn up until the fourth episode and when she does finally make her first appearance it’s only to be once again verbally smacked down by David (he’s less than impressed with her anniversary gift to him – a penthouse flat – complaining that he doesn’t want to be a kept man). He eventually accepts it, but does so with his usual brand of charmless ill-grace.
The on/off relationship between Ted and Jenny allows Martin Farrell to step in (much to Ted’s extreme annoyance) whilst Bill struggles with the responsibilities of having a seat on the board. He’s always been proud to have the respect of the men, will this change now he’s one of the executives?
Brian’s run of bad luck continues in Saturday, but the later part of series four focuses on company traumas. The decision to make Hammonds a public company offers up a new range of storytelling possibilities. Until now, boardroom squabbles have largely been confined between the three brothers, but now that anyone is free to buy shares everything changes.
And this is partly where Paul Merroney comes in. He’s introduced in the fifth episode as a colleague of Farrell’s, brought in to advise how Hammonds should go public and although his screentime throughout series four is quite limited, he’ll become more central in the years to come. But Colin Baker, in his first regular television role, certainly makes the most of the material he’s given.
The wonderful Richard Hurndall guests in Bad Mistake as Clifton, an influential investment manager crucial to Hammonds’ future. Ted’s blunt style leaves Clifton less than impressed, giving Hurndall a chance to demonstrate his familiar icy, amused detachment. This episode also marks the point where Merroney starts to have an influence on company policy, much to Ted’s disgust.
The series finale, the aptly named The Crucial Vote, sees Ted struggling to keep the board united as the infighting intensifies. There’s no doubt that there will be many more twists and turns to come in the battle for Hammonds, which bodes well for future series.
Interweaving numerous plot-threads across its fourteen episodes, series four of The Brothers continues to be highly addictive entertainment. Brian and Ann’s disintegrating marriage is the definite highlight although the unstable powder-keg that is Edward ‘Ted’ Hammond also entertains. Patrick O’Connell plays Ted as a man constantly struggling to keep his anger in check – which can be seen most clearly any time that Jenny and Martin Farrell exchange glances. David’s fleeting desire to be a racing driver is less easy to swallow, but at least the one racing-centric episode – The Race – is not without interest, especially for the authentic track footage.
If you’ve yet to sample the world of the Hammond brothers, then now – with the first four series available and the remaining three due out by the end of the year – would appear to be the ideal time to do so.
The Brothers – Series Four is released by Simply Media on the 9th of January 2017. RRP £29.99.
Broadcast in early 1974, series three of The Brothers continues to chronicle the travails of the Hammonds, a family who are often at loggerheads as they squabble over the best way to run their business – Hammond Transport Services.
As seen in series one, the death of Robert Hammond initiated considerable strife and internecine bickering. Hammond’s eldest son Edward (initially played by Glyn Owen, but from series two by Patrick O’Connell) assumed he’d have sole responsibility of the company, so was more than a little taken aback when the terms of his father’s will were divulged. Equal shares were also left to his two brothers – Brian (Richard Easton) and David (Robin Chadwick) – as well as to his father’s secretary and mistress, Jenny Kingsley (Jennifer Wilson).
Mix in Robert Hammond’s widow Mary (Jean Anderson), an imposing matriarch keen to interfere at any given moment, as well as Brian’s rather forceful wife Ann (Hilary Tindall) and David’s more pliant wife Jill (Gabrielle Drake) and you have a combustible mixture with plenty of dramatic possibilities.
This helps to explain why The Brothers was a popular success, running for seven series between 1972 and 1976 (and indeed could have carried on a little longer still – there’s no sense by series seven that the concept had run out of steam). But although it clicked with the public it doesn’t seem to have been highly regarded by the BBC themselves. They appeared to have forgotten about it when preparing the drama budgets for 1977, meaning that there wasn’t any money left to commission an eighth series. It sounds barely credible, but it seems to be the case that one of the BBC’s top-rated dramas of the mid seventies ended because of an accounting quirk.
And it wasn’t just a success in the UK. Colin Baker delights in telling the following story. “A phone call came in from the foreign minister of Israel. He said that not only was he devastated not to be able to come and meet us as he was such a fan, but he suggested that had the Six Day War been launched on the Arab nations on the day that The Brothers was being shown instead of Yom Kippur, they would have had more of a chance of taking the nation by surprise because everybody watched The Brothers!” This seems so ridiculously unlikely that it must be true ….
The series also generated a rather bizarre spin off – an LP entitled Christmas with the Hammonds. Offering such delights as Edward ‘Ted’ Hammond and Paul Merroney warbling their way through Good King Wenceslas and a full-cast assault on The Twelve Days of Christmas it’s a wonky treat from beginning to end. Alas, it’s unavailable on CD, but the dedicated treasure hunter should be able to track down the original vinyl.
Created by Gerard Glaister and N. J. Crisp, it’s always interested me how Glaister could create and produce series such as Colditz and Secret Army on the one hand, but also dabble successfully in soap-like drama like as The Brothers and Howard’s Way as well (Trainer was something of a misfire though).
By the third run of The Brothers everything’s clicked nicely into place, although the introduction of Colin Baker as Paul Merroney (a character dubbed by some as a proto JR Ewing) is still a series away. Others yet to appear include Kate O’Mara (a regular from series five onwards) and Liza Goddard (who debuts in the sixth series). Hopefully if Simply keep up a healthy release rate then we’ll soon have the chance to enjoy all of their performances (Colin Baker fans won’t have too long to wait though, as series four is due for release in January 2017).
The third series opens with N.J. Crisp’s The Hammond Account. Brian has never been the most dynamic of characters, which means he tends to be manipulated by his much more ambitious wife Ann. Here, she’s keen that Brian should be managing director, rather than Ted. Several key threads are also introduced – such as the brothers debating how advertising could help to grow the company’s fortunes whilst Jill and David’s marriage starts to fray at the seams. Meanwhile on the shop floor, the trusty Bill Riley (Derek Benfield) is concerned that a new boardroom initiative will have a detrimental effect on driver recruitment ….
The first few moments of The Hammond Account also serves as a good introduction for new viewers, as we see David and Ted show a potential client, Mr Rogers (Robert MacLeod) around their site, explaining to him exactly how Hammonds operates. Shot on 16mm film, it’s a lovely slice of grimy seventies working life. Bill’s reluctance to countenance management employing non-union drivers is another reflection of that era.
Temptation is in the air in these early episodes. The smooth-as-butter advertising man Nicholas Fox (Jonathan Newth) is interested in Ann whilst David continues to find himself pursued by Julie Lane (Gillan McCutcheon). Hilary Tindall gives a wonderfully layered performance throughout the series as Ann. Given that Brian is a bit of a wet lettuce, you might expect that she’d be keen to seek solace elsewhere, but Ann does genuinely seem to love him. This is touched upon when she wonders why he doesn’t kiss her more often – he replies that he never knows whether she wants him to or not. Just a couple of lines of dialogue, but it illuminates both their characters very well.
Sadly, Jill is a much more pallidly drawn character than Ann. Gabrielle Drake is lovely of course, but she doesn’t have a great deal to work with (and since Jill rather devolves as time goes on, fading more and more into the background, it’s no surprise that Drake decided to leave after the next series). By contrast, Julie is a much more vivid presence, who also sports some rather fetching clothes. David’s tank top, which appears in episode two, is memorable too, albeit for a different reason.
The quartet of company directors – the three brothers plus Jenny – provides the series with plenty of decent character conflict. One such flashpoint occurs when Brian’s desire to move into Europe is temporarily blocked by David. Thanks to some dense plotting from the previous series, Hammond’s financial future has been secured by Jill (who has provided a substantial amount of capital to guarantee their loans). This becomes a source of considerable tension between the brothers. Both Richard Easton and Robin Chadwick raise the roof during these scenes.
Moving onwards, it’s pretty obvious from the title of the first non-Crisp story, Hijack, what direction Eric Paice’s story will take (we see a Hammond lorry, driven by Bill, hijacked and the goods stolen). There’s a decent amount of location filming as we follow Ted and Bill from Dover to Boulogne as Hammonds start to push into Europe.
Derek Benfield excels during the next episode, Riley, as Bill’s criminal conviction (even though it was all the way back in 1948) is raked up by the police, who decide he’s implicated in the hijack. Hugh Sullivan and Brian Grellis play the two coppers who delight in making Bill sweat. Grellis (DS Pritchard) is the good cop whilst Sullivan (DI Parsons) is most definitely the bad cop. Temporarily moving the focus away from the boardroom and bedroom squabbles and onto Bill Riley is a good move – since it helps to shake up the narrative a little.
The later part of series three sees the tensions in David and Jill’s marriage continue to simmer away (David’s always been more than a little smackable, so Jill has all my sympathy) whilst Ann finds herself increasingly drawn to the cravat-wearing Nicholas. And there’s a marvellously awkward dinner party as Mary entertains Jenny for the first time. Given that Jenny had a long-term affair with Mary’s late husband it’s not a surprise that their relationship has rarely ventured above glacial. But this brief moment of rapprochement quickly fades after Mary lends Jenny’s daughter, Barbara (Julia Goodman), a substantial sum of money to settle her new husband’s debts. It’s fair to say that Jenny’s not pleased about this ….
Because Jenny has no desire to be in debt to Mary, she decides to sell her Hammond shares – this sparks off an entertaining round of infighting which boils over in Conspirators. It’s a wonderfully entertaining 45 minutes from Eric Paice, packed with incident as David and Brian join forces to bid for Jenny’s shares (they also hope this will force Ted to leave the company). Ted reacts in fury when he learns what his brothers are planning, storming home and knocking back the scotches like they were water. In the end he persuades Jenny not to sell and clearly enjoys passing the news onto David and Brian.
Series three concludes in a suitably dramatic fashion with Return to Nowhere, which opens with the focus on Ann and ends with a cliffhanger centered around Mary.
With the writing credits shared pretty evenly between N.J. Crisp and Eric Paice, there’s a cohesive and coherent feel to the series. All of the regular cast get a good crack of the whip, but Hilary Tindall as Ann particularly impresses.
Picture quality across the thirteen episodes is generally very good. There’s the occasional spot of tape damage on a few episodes, but any such issues are quite brief.
Thanks to a first-rate cast and strong scripting, The Brothers – Series Three is consistently entertaining. It’s good news that the fourth series will follow shortly and also that the remaining three series are slated for release later in 2017.
The Brothers – Series Three is available now from Simply Media. RRP £29.99.