Howards’ Way – Series Two, Episode Two

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Lynne’s safe, but is far from well.  Jan and Tom rush to the hospital to find her dazed and confused – she’s suffering from complete amnesia.  We learn that she was fished out of the water after about ten minutes (although it’s not explained who rescued her).  It’s also not clear why it took so long for Lynne’s next of kin to be contacted.

Jan Harvey is the one who’s given the lines when they encounter her for the first time (as well a nice two-shot of Jan and an oxygen-masked Lynne) but Maurice Colbourne almost manages to steal the scene with a cutaway shot of Tom wearily closing his eyes.  Sometimes, less is more.

There’s another example of Tarrant’s bizarre eco-system, where it always seems to be sunny indoors (studio) and gloomy outside (film).  We switch from the inside of the Urquhart’s house, with Polly and Gerald discussing the imminent arrival of Orrin (Michael Ryan), to outside Charles’ abode, where he’s surprised to be set upon by Shellet (who’s been lurking in the shrubbery).

This is a great little scene.  Shellet’s now a desperate man (“I’m broke, I’ve got no money”) although Charles responds in exactly the way you’d expect him to.  “You’re trespassing, get off my property or I’ll set the dogs on you.”  The way that Charles looks him up and down with a sense of revulsion is another nice touch.

The party at Abby’s flat provides ample evidence that Leo and rhythm don’t really go together (however, Davy does cut some impressive moves).  The scene’s more of interest due to the way it highlights the current status of the Abby/Leo relationship – they’re more at ease with each other than ever before (she kisses him briefly on the lips and then tells him that “I’ve never been as close to anyone as I am to you”) but with the spectre of Orrin on the horizon, things will change.

Tom sets out with Henderson (Andrew Hilton) for another testing run in the Barracuda.  Henderson’s the possessor of a certain oily charm – when he learns that Avril isn’t joining them he decides that it’s “probably just as well. We don’t want too many distractions, do we?”  Avril wisely makes no response.

Last time, we saw how Avril was upset at the way Tom bailed on the yard’s business in order to search for Lynne.  Positions are reversed here, as Henderson forces him to stay out a lot longer than he’d expected – meaning that he’s unable to meet Jan as planned (the pair had arranged to travel up to the hospital together).

Tom could have told Henderson that his daughter was ill in hospital and there’s every possibility he would have been sympathetic, but instead he grimly carries on with the testing.  But on the plus side, it gives us a charged encounter between Jan and Avril, after Jan rushes to the yard, looking for Tom.

From the moment Jan enters the office you can sense the chill.  Avril is polite, but it doesn’t take too long before some home truths are spelled out.  She tells Jan that “when there was doubt about Lynne’s safety, Tom abandoned this yard when its future hung in the balance, knowing he was jeopardising his business’s survival and ours.  I criticised him, but I now realise his feelings for his family gave him no option.  Today out there he’s trying to make up for it and knowing Tom, I bet he’s sweating blood he’s not here to meet you.  Don’t you understand your husband at all?”  If looks could kill, then Jan’s stare would have finished Avril off once and for all …

The initial meeting between Orrin and Polly is an exercise in awkwardness.  Although given the fact that Abby and her parents are currently estranged, I’m not sure why Orrin came to Polly first – why didn’t he simply go direct to Abby’s lodgings?  The upshot is that Abby agrees to return home, where Orrin will also be, whilst Leo (lurking in the background) looks a little discomforted.

There’s another lovely example of Polly’s monumental lack of tact, after she decides that it would be nice for her, Abby and Orrin to go out for tea.  After all, Leo’s on hand to look after the baby.  It doesn’t occur to her that it might be courteous to ask Leo if he’d mind (something which he rather pointedly mentions) although the fact that he then tells him it’s no trouble is a characteristic Leo moment.

Jack dispenses some more of his words of wisdom after he and Tom visit the production line where the Barracuda is now being mass produced.  “Wood is a living material. A boat is a living thing.  I’m not being sentimental.  By that, I mean she’s the sum total of all the men who worked on her, sawed and steamed her planks and shaved her timbers. When she’s running before the wind, that’s what you feel beneath your feet.”

Later, Jack heads off to the races with Kate, where Aztec Boy (the horse she owns 25% of) is running.  The production team clearly went on a real race day, as the hundreds of race-goers demonstrate, it’s just a pity that they couldn’t afford to shoot footage of an actual race  This means we switch from footage of Jack and Kate (on film) to the horses (on videotape) and back to Jack and Kate (on film) which is a little distracting.  But there’s a nice comic compensation – as the race goes into its final stages, Jack is closely following it through his binoculars, which Kate then snatches off him (nearly strangling him in the process!).

This week’s cliffhanger – Jan learns that Claude has married a key figure in the French fashion world – falls a little flat.  Jan’s concerned that his marriage will impact the boutique, which isn’t something I confess to being too concerned about.  Although Ken’s on hand to soften the blow.  “Not jealous are you? Lucky for you, you’ve got good old reliable Ken. Here in every emergency.”  God bless Ken, he never disappoints.

Howards’ Way – Series Two, Episode One

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We open with a nice aerial view of the Tarrant marina.  And of course it’s another gloomy day (Tarrant – a place where the sun rarely shines).

Initially it seems that this shot was simply an impressive visual flourish, but it then becomes clear that Charles, in a helicopter, is hovering above the Mermaid Yard.

This is typical Charles Frere.  Most people would be content to lurk in the background in order to keep tabs on their rivals (the Mermaid are celebrating launching the Barracuda) but not Charles, he has to think bigger.

We then switch to the courtroom where the tug of love for ownership of the Mermaid Yard between Jack and Shellet is continuing.  But within a matter of minutes it’s all over as Shellet doesn’t exactly cover himself with glory in the witness box.  It’s a little odd to see this plotline wrapped up with such unseemly haste, although the aftershock rumbles on for a few more episodes.

The big unresolved question from the series one cliffhanger concerns Lynn.  We saw her tumbling into the water after reeling from the shock of finding Charles in bed with his wife.  It’s now the day after and there’s no sign of her, which concerns Jan.  Frankly, given that Lynne was stunned unconcious when she entered the water (and there was no-one about to help her) it’s hard to see how she couldn’t have drowned. Let’s wait and see though …

Jan asks Leo to stop at home in case Lynne calls, but Leo says he can’t – he’s got something important to do.

Ken (nattilly attired in a suit) shows his caring side to Jan, telling her that if they lived together he could share all her problems. When she mentions that she hasn’t heard from Claude for a while he’s not surprised or concerned. “What else can you expect from a Frog?” I love Ken, he’s a source of endless entertainment.

The hunt for Lynne brings Tom and Jan back together, although it’s an uneasy alliance. He’s as concerned as she is, but Tom (with no evidence) believes that the Jan/Ken axis has driven their daughter away. Given Tom’s dalliance with Avril this seems rather unfair. Jan Harvey is called upon to do a good deal of anguished staring into the distance acting during this episode.

We later find out what Leo’s important job was (of course it concerns Abby). Abby and her baby are leaving the hospital and Leo is on hand to play the devoted father. It’s a role he seems perfectly suited for (although since Orrin, the baby’s real father, is due to arrive shortly, it doesn’t look like he’ll be playing it for much longer). Despite being preoccupied, Leo does manage to provide a lead on Lynne, which sends Tom off on a collision course with Charles.

He’s not at his boat, but Charles’ secretary Samantha (Maria Eldridge) is. Samantha probably gets more lines in this one scene than she does in the rest of her appearances put together. Eldridge’s other credits aren’t extensive (a couple of Goodies episodes and a few roles elsewhere, playing challenging parts such as “Girl in Car” and “Girl with Gun”) which is a little surprising as she’s very watchable here.

With Tom not available to take the Barracuda out, Jack steps into the breach. He’s delighted (cue shots of the boat slicing through the waves with the Howards’ Way theme blasting out) whilst Avril’s not at all pleased that Tom’s left them in the lurch. Cue more anguished staring into the distance acting, this time from Susan Gilmore.

The tension concerning Lynne continues to ratchet up, although any eagle-eyed viewer would have spotted that Tracey Childs wasn’t listed in the opening credits – meaning that (unless it was a double-bluff) she wouldn’t be making an appearance. The final lines of the episode (Tom: “The police have just telephoned. They think they’ve found Lynne”) offers up a number of possibilities, although the mood is rather sabotaged by the fact that they dive straight into the end-credits – which this year features the dreaded vocal version of the theme. I’m not a fan …..

Howards’ Way – Series One, Episode Thirteen

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For the first time we see Polly shaken out of her usual amused self-control.  The sight of Abby being carted off in an ambulance is more than enough to finally bring her long-repressed maternal feelings to the surface.

They aren’t reciprocated though, as Abby screams when her mother attempts to join her in the ambulance.  And Leo offers no comfort either – looking blankly at Polly when she insists that Abby’s tumble down the stairs was an accident.  Since it clearly was (there’s not even a hint that she was pushed) why does Leo seems incapable of offering even a crumb of comfort?

The baby – a boy – is born, although Abby still refuses to have anything to do with her mother.  This results in a tear-streaked Polly leaving her daughter’s bedside, convinced that Leo’s the one who’s turned her daughter against her.  “I hold you responsible for this, Leo Howard. And you’ll regret it, I promise you. I’m going to make you pay.”

After a brief moment of self-insight last time, Jack’s back to his normal, bluff persona.  Telling Avril that, in the words of Aristotle, “when the going gets tough, the tough get going” and plonking his shoes into the filing cabinet are two early signs of that.

He later refuses to be kowtowed when David Lloyd and the others visit the yard to inspect the prototype.  Jack’s at his best here, refusing to stand on ceremony and inordinately proud of the craftsmanship of the Mermaid.  The fact that the prototype is made out of wood is something that’s mollified him – it makes him content that although the Barracuda will be mass-produced, at least the original was hand-crafted in wood.

Jan asks Tom for a divorce (which rather oddly happens off screen).  Ken’s delighted to hear this of course, although he has to ratchet down his joy when he realises that Jan’s more than a little traumatised.  Bless Ken, his social skills tend to be somewhat limited.

Sir John invites Ken to lunch at the golf club.  Once again there’s some lovely class-based comedy – Ken orders a gin and tonic (no doubt seeing it as the perfect drink for such an exclusive environment) whilst Sir John asks for a pint.  Once again, this a small moment which illustrates the difference between them – since Ken is anxious to fit in, he attempts to modify his behaviour accordingly whilst Sir John is secure with his place in the world and sees no need to change.

Kate aptly sums Ken up later as “a wolf in wolf’s clothing” and is baffled why her daughter should prefer him over Tom.  Minutes later they meet – briefly – for the first time.  Kate flashes him an incredibly filthy look and refuses his outstretched hand, so they’re plainly not going to be friends anytime soon!

Relationship traumas in the Howard household continue with Lynne.  She’s still besotted with Charles, even though he’s proving to be somewhat elusive (breaking their appointments).   Poor Lynne spends her time moping by the phone and staring into the distance, waiting for him to call.  Charles doesn’t seem at all bothered though.

There’s another example that Charles is a winner – we see him bouncing around the tennis court, playing a range of athletic shots, which eventually ends up with him emerging victorious.

Claude pops up again, much to Ken’s disgust.  Ken does a nice impression of Claude’s accent though!  Claude wants to purchase a fashion house.  Jan’s keen, Ken’s not.

Howards’ Way, like The Brothers, always understood the importance of carrying forward certain plotlines to the next series as well as closing each run of episodes with a strong cliffhanger.  The disputed ownership of the Mermaid Yard is something that’ll be settled early in series two (we see Jack enter the hearing, but aren’t told what happened).

As for the cliffhanger, an increasingly irate Lynne make her way to Charles’ yacht, only to find him in bed with another woman.  He introduces her as “Honey Gardner, my wife” which rather takes the wind out of Lynne’s sails.  She exits, sobbing, and in her haste to get away loses her balance on the jetty and falls into the water.

It might not be the best stunt ever mounted – rather than a simple stumble and fall, the stuntwoman falls to the ground and then seems to deliberately roll over into the water – but no matter, it’s still a strong way to conclude the first series.

Howards’ Way – Series One, Episode Twelve

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Charles – a vision in white – is out for an early morning jog.  By the way that Tony Anholt labours his way across the marina, I’d guess he wasn’t a regular jogger in real life.  Once he’s puffed his way back to the yacht, Charles tells Lynne that he’s keen to spend the day with her – the fact she’s agreed to help her mother (it’s the grand opening of the boutique) doesn’t bother him.

If it hasn’t already been made obvious then here it’s explicit – Charles expects his own wants and needs to come first.  It’s what’s made him a successful businessman, although with one (failed?) marriage, the floundering relationship with Avril and (as we’ll soon see) the odd illegitimate child lurking about, possibly his controlling nature is the reason why his personal life is chaotic.

Shellet is also looking for female company.  His mild overture to Polly came to nothing (whilst the mind boggles at the pair of them together, a house-sharing comedy with Shellet as Polly and Gerald’s lodger would have been fab.  That’s one spin-off show we were sadly denied).  Anyway, he’s seeking solace elsewhere – eyeing the escort adverts in the local paper.  He doesn’t seem interested in either Adam and Eve Escorts or Madame’s Escort Agency, instead he circles the Pussy Cats advert.  I don’t know why, but this is a little detail that’s always amused.  We then have further evidence of Shellet’s uncouth and unstable nature – he slops his tea in his saucer.  Mind you, the strong hint later on that his relationship with his sister (Jack’s late wife) crossed familial bounds puts his tea slopping crime into perspective.

Avril and Tom are at Napier Marine, hopeful that the board will invest in Tom’s boat.  They can count on some support, but David Lloyd (Bruce Bould) is the one they really need to convince.  Bould was best known for playing the fawning David Harris-Jones (“great, super”) in The Fall and Rise of Reginald Perrin.  It’s very hard not to think of Harris-Jones whenever Lloyd’s on the screen – the fact that we meet him in a boardroom environment doesn’t help.

Avril’s in her element dealing with the board, which makes it plain that she’s somewhat wasted at the Mermaid, just trying to make the books balance.  Clearly the programme-makers thought so too, as in later years she’s shunted over to Relton Marine, where she became a high-flying executive.

Ken’s pushing to be an equal partner with Charles in the Marina development.  Will Ken really be able to raise the capital needed?  Time will tell, but at the moment all seems rosy.  I like the way that when Ken extends his arm for a handshake to seal the deal, Charles imperceptivity pauses, looks down at Ken’s hand, looks up again with the faintest ghost of a smile and only then shakes.  It’s subtle, but reiterates that Charles is still the dominant force.

Having packed in his job at the garage, Leo is looking for alternative employment.  He wants to change the world, but first is considering a factory job on the Isle of Wight.  Abby’s bump has expanded greatly (and she’s still happy, which is slightly unnerving).

Jack finally tells Avril about Shellet’s claim on the yard, which spells trouble for Tom’s boat (the Barracuda).  The scene is also notable for showing a rare reflective side to Jack.  Possibly it’s because he’s worried he’s going to lose everything, but there appears to be genuine regret from him about his disastrous marriage.  “She never forgave me for the way I treated her. I could see it in her eyes the night she died.  Sometimes I do feel guilty. I can’t help it. I can’t change the past, can I? God knows, sometimes I wish I could.”  Glyn Owen is often called upon to act as comic relief, but occasionally – as here – he gets an opportunity to play something a little deeper.

Jan doesn’t approve of Lynne’s relationship with Charles.  Mind you, as Lynne says, Jan can hardly talk – Ken Masters is surely nobody’s vision of a perfect partner.  There’s another classic Ken moment in this episode – he pops Sade on the hi-fi and, all by himself, smooches around the room.

Orin’s sent Abby another letter which, in her continuing absence, Polly unashamedly opens and reads.  Amusingly, Gerald initially registers irritation at Polly’s violation of their daughter’s secrecy, but a moment later can’t help but ask her what’s in it!

Polly agrees with Gerald that she’ll forward the letter on (although he doesn’t catch that she adds the word “personally”).  Thanks to the efforts of a private detective, Polly’s tracked her daughter down.  It’s not exactly a joyful reunion, since their brief squabble is followed by Abby falling down the stairs ….

Howards’ Way – Series One, Episode Eleven

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Shellet comes calling on the Urqhuarts.  Polly doesn’t exactly take to him, telling Gerald that “there’s a sort of person” to see him.  Shellet needs money for expenses and he also seems deprived in other areas (mentioning to Polly that it gets very lonely when he’s all alone in his hotel room).  Polly might have an eye for just about anything in trousers, but I’ve a feeling that Shellet is a bridge too far, even for her.

Lynne’s glammed up for her evening meal with Charles whilst Ken calls on Jan.  He plainly feels threatened by Claude (or “that froggy dressmaker” as he calls him) and seems to be fretting about the business trip to Cannes that Jan and Claude will shortly be taking.  Far away from home, he no doubt envisages that Claude will take advantage of her in just the sort of way he’s not been able to do so far!

It’s a sunny day in Tarrant, something of a rarity.  This makes Charles and Lynne’s champagne and caviar seem even more intoxicating.  He learns that Lynne’s father is conducting an affair with Avril (uh oh) and then outlines his philosophy of living, which revolves around power and freedom.  “Power to act and freedom to choose.” They’ve hardly finished the meal when he casually mentions that he’d like to sleep with her – which is as good an example of power and freedom as you can get.

Abby decides she wants to keep the baby.  This seems to have cheered her up – for pretty much the first time ever she seems almost happy.

And then we go to Cannes, well sort of.  In later years the budget would actually stretch to foreign filming, but that wasn’t the case here.  So we have a brief montage of stock footage (people lounging on the beach, etc) before cutting to a pool obviously somewhere in England.  But they made a bit of an effort to suggest exotic climes by having two topless women walk past Claude and Jan’s table in a casual manner.  That was a tad unexpected I have to say, especially considering that the episode originally went out just before 8.00 pm on a Sunday evening.

Ken might be right to be wary of Claude, but at present it’s her business acumen he wants (Claude’s attempting to woo her away from Ken – suggesting instead that they set up business together).  I’m afraid his silly French accent is beginning to get on my nerves ….

And then Ken pops up in Cannes, casually offering to take Jan out to dinner.  And of course being Ken he appears at her hotel door with a rose in his teeth and a bottle of champagne in his hand.  After a decent meal (off-screen, which saved a bit more money) they return to Jan’s hotel room and you can probably guess what happened next.

When they meet up for breakfast the next morning, Ken demonstrates that he’s an unreconstructed Englishman abroad since he’s not willing to try any funny food (bacon and eggs is what he wants).  The arrival of Claude sets Ken’s antenna twitching, but he acts casually in only the way that Ken Masters can.

The highly recognisable Hubert Rees pops up as racehorse trainer Stephen Bettins.  Kate’s part of a racehorse syndicate (each owning a leg) but it seems clear that she’s going to struggle to pay her share.  It might have been these scenes which inspired Glaister to later develop Trainer, which unfortunately wasn’t the same sort of success that both The Brothers and Howards’ Way had been.

Polly’s made it quite plain to Abby (before she ran away from home of course) that she viewed her daughter as an extreme disappointment.  But not any more.  After opening her mail(!), Polly’s delighted to read a letter from an American student called Orin Hudson.  He and Abby were obviously close for a while (as Polly so charmingly puts it – “God knows what this boy sees in Abby but it all sounds very lovey-dovey”).  And since he’s a member of an incredibly wealthy American family, Polly sees it as her duty to reunite the two lovebirds.  This is mercenary Polly at her best.

Jack’s solicitor lays on the line exactly how serious things are.  If Shellet’s claim is successful then not only will Jack lose the yard, he’ll also forfeit his house.  Tom will lose everything too, as all the yard’s assets (including the new boat) will be Shellet’s.  That’s a suitably dramatic way to bring the episode to an end.


Howards’ Way – Series One, Episode Ten

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Tom and Avril have spent the night together aboard the Flying Fish.  For all that Jan’s been shrill and accusatory this year, it’s Tom who turns out to be the one who irreparably destroys their marriage.  Pledging all their money (including using the house as collateral) for his dreams of boat building started the cracks but when it’s revealed that he’s been conducting an affair with Avril there’s no way back.

As Tom and Avril lie in each others arms in dawn’s early light, a young chap is making his way over to another boat.  Presumably he must be a little hard of hearing as he doesn’t seem to notice the red beeping danger signal on the dashboard.  He attempts to turn the ignition switch and whoosh, there’s a rather large explosion.

Tom plays the hero and rescues the boy but it means that neither Tom or Avril have time to return home before Leo’s up and about.  And Leo can’t help but notice that neither his father or Avril seem to have spent the night in their respective beds (he’s still doing a spot of paining and decorating at Avril’s).  Quite how he worked out that Avril wasn’t in her bed isn’t explained ….

There’s also a journalist sniffing about and he speaks to both Leo and Ken.  You can just imagine Ken’s delight when he learns that Tom and Avril spent the night together, whilst Leo is understandably perplexed and troubled.  With immaculate timing, matters come to a head just as Lynne returns home in triumph (her boat won their class in the FastNet).

Ken, of course, is on hand to stoke up the fire.  Meeting Jan off the train from London, he can’t wait to tell her the news whilst elsewhere Leo confronts Avril.  “You may have all the looks, Avril, but that’s all you’ve got. Any woman who goes after a man knowing he’s got a wife and family is damn well nothing.”  Edward Highmore doesn’t quite spark into life, but maybe he’s a little less wooden than usual.

Jan confronts Tom who tells her that it could have easily have been her with Ken.  This is an astonishing statement as there’s been no evidence – the odd tango apart – to suggest that Jan’s even considered breaking her vows.

Perhaps it would have worked a little better had this storyline dripped out over a few episodes, with the rumours about Tom and Avril slowly gaining momentum.  As it is, it feels rather rushed.

If you need a little light relief from the strife at the Howards, then Jack’s still ensconced at the clinic, playing gin rummy with Kate and reluctant to join in any group therapy.  Fair to say he’s not the easiest patient.  Jack finally makes an appearance at group therapy, although he doesn’t take it terribly seriously (“I don’t drink a lot, I spill most of it”) leaving the therapist – Louise Silverton (Christine Kavanagh) – mildly irritated.

Elsewhere, Ken and Charles have a business lunch at the yacht club.  Lynne waits upon them and is introduced to Charles for the first time.  Once again there’s the wonderful contrast between Ken – anxious to appear cultured and intelligent – and Charles – who breezes through any social or business occasion with ease.  The business of the wine is a good example.  Ken suggests a bottle of Mouton Cadet but Charles wonders if the Chateau Montrose might not be preferable.  It’s a subtle example of one-upmanship which sees Charles emerge victorious yet again.

But Ken’s convinced that he’s won the war, telling Jan later that he’s got Charles “just where I want him. If he doesn’t go along with me, there’s nowhere else to go.”.  I’ve got a feeling that Ken’s counting his chickens rather too early.

After spying Lynne for the first time, Charles clearly likes what he sees, so he sends her hand-picked flowers and arranges a dinner-date with her aboard his yacht at 8:30.  He’s a smooth operator, that’s for sure.

We finally learn that Shellet is Jack’s brother-in-law.  When Jack receives a letter from him, he’s perplexed.  Kate can’t understand why, after all it seems perfectly natural that he should want to get in touch.  Jack has the perfect riposte.  “He’s been dead twenty five years, that’s what’s wrong.”

And now he’s made a claim for ownership of the Mermaid Yard.  But the end of episode twist (Charles is the one who’s put him up to it) is a great moment which adds yet another layer to the plot.  Ten episodes in and everything’s ticking along nicely.

Howards’ Way – Series One, Episode Nine

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There’s a further example that Charles is a thrusting (and wealthy) businessman at the start of this episode – he arrives by helicopter.  I wonder if his comment that the weather in Geneva was even worse than back in the UK was an adlib to take account of the fact that yet again location filming took place on a gloomy day.  If the exteriors for series one were shot during the summer, then the sun rarely seemed to come out.

Charles meets Gerald outside a palatial country house – one of a number which Gerald has earmarked as potentials for Charles to purchase.  Since they make no effort to inspect the interior, landing here doesn’t make a great deal of sense – apart from the fact that (like the helicopter) it reiterates to the audience that Charles Frere is a man of substance.  This is also subtly acknowledged via the incidentals, as a plaintive string melody plays over shots of Charles’ chauffeur-driven car moving away from the house.

Lynne has arrived at the Isle of Wight, keyed up for the FastNet race.  A barrage of stock footage is employed in order to create the illusion of a massed phalanx of boats, which isn’t entirely successful due to some of the clips being on film and others being on videotape.  Phil pops up to taunt Lynne and the others – since they’re just a bunch of girls, surely they’ll have trouble even getting to the start?

In the most unsurprising twist ever, the two boats find themselves head to head (curiously there’s no other boats around at this point) and the girls easily pull ahead, leaving Phil floundering.  Hurrah!

One oddity is that Tom, Jan, Kate and Leo never express any interest about how the race is going.  You’d have thought they’d at least have mentioned it.

Jack’s in the Jolly Sailor, bending the ear of the unfortunate barman, Arthur (Patrick Carter).  This seems to be a common occurrence – no doubt whenever Jack gets plastered he reminisces about boats he has known (in this case, the first one he ever built – back in 1948).  Arthur is plainly desperate to get away, but with the politeness of a trained barman can’t bring himself to tell a valued customer to stop chuntering away.  Perusing the delights on offer in the bar, I wonder what Badger Export Bitter tastes like?

Kate’s still acting as his conscience, ringing up the pub to berate him for hitting the bottle again.  Jack’s eloquent comeback (“you old teabag”) is priceless.  Things take a darker turn later when Kate finds him collapsed at his home – she takes control straight away and calls an ambulance.  Luckily, there’s nothing seriously wrong with him, so she checks him into a clinic in order for them to dry him out.  This is going to be fun ….

Abby discusses with Dr Malik (Renu Setna), the possibility of terminating her unborn child.  Setna, still working I’m happy to see, has played an awful lot of doctors during his career (episode one of the Doctor Who story The Hand of Fear is one such which springs to mind).

Several characters make their debut here.  A mystery man, who we later discover is called Richard Shellet (Oscar Quitak), is seen lurking about.  He’s clearly a wrong ‘un – the way that the incidentals suddenly turn sinister and Shellet’s peremptory way of dealing with the hotel staff are two obvious signifiers of this.  Although he doesn’t speak, he later fingers a picture of the Mermaid Yard, so it may not be too hard to work out where this plotline will go.   It’s going to rumble on for a while (into the second series) and will provide considerable entertainment, not least because of Quitak’s performance – Shellet always appears to be a man teetering on the edge of insanity.

Ah, Claude Dupont (Malcolm Jamieson).  The devilishly handsome, smooth-as-silk, would-be fashion designer crosses paths with Jan.  She’s looking for a designer, he’s looking for work, it seems a marriage made in heaven.  It’s hard to take Claude that seriously, since this is another example of plot contrivance (a potentially world-class fashion designer who just happens to fall – as it were – into Jan’s lap) but Howards’ Way never really bothered too much about realism.  And why should it?  Mind you, his silly French accent is a little irritating.

Ken, invited to a swanky party organised by Charles, runs into merchant banker Sir John Stevens (Willoughby Gray).  Sir John will be a regular throughout the six series and for all that time always refers to Ken as Kenneth (the only person to do so).  A subtle put down, possibly?  Sir John is always politeness personified, but the clash of different worlds that occurs whenever he runs into Ken is not only obvious but also an endless source of class-based comedy.  Ken, dazzling in a white dinner jacket with a rose in his button-hole, is clearly overawed by Sir John.

The episode ends with Tom and Avril enjoying an idyllic time aboard the Flying Fish.  But I’ve got a feeling that their joy is going to be short-lived.

Howards’ Way – Series One, Episode Seven

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Polly tells Jan the truth about her sham marriage to Gerald – Abby isn’t his child and his numerous affairs aren’t conducted with women.  It’s something of a storytelling weakness that best-friends Polly and Jan have never discussed this before, but it does make dramatic sense for the viewers to learn about it at the same time that Jan does.  These revelations help to chip away at Polly’s self confidence, giving us a glimpse of a lonely person lurking underneath her bravura exterior.

As regards character interactions, something similar happens when Lynne finally realises that Phil is a male chauvinist pig who only wants her for her body and would never have considered her as crew for his FastNet team because, well, she’s just a woman.  Both have lived in Tarrant for some time, so it stretches credibility that she wouldn’t have realised exactly how he operates by now (and lets be honest, the viewers probably twigged some ten seconds after he first appeared).  Leo sums him up perfectly.  “Self satisfied berk.”

One of my favourite comedy moments occurs with Jack and Kate.  Jack’s two days into his month long pledge of sobriety (he’s got a fifty pound bet with her) but is clearly weakening.  A his hand slowly stretches towards a bottle, the phone rings.  He picks up the receiver – it’s Kate.  Shamefacedly he then hides the bottle behind his back!  It’s a lovely bit of business, which is developed further when Kate tells him that even over the phone she’ll be able to tell if he was lying about his drinking.

One technical observation is that the difference between the film exteriors and videotape interiors is glaringly obvious, mainly because of the weather.  For example, Tom calls on Avril (on film) and it’s a gloomy day but once they enter her living room (on videotape) the sun is streaming through the windows.  Normally, the film element of the episode would have been done first – if this was the case, I wonder why they didn’t attempt to replicate the weather a little more accurately?  If they’d shot the studio scenes first, then fair enough – nothing could be done – but if it was the other way around then it’s something of a missed opportunity.

The main interest in this episode though is the introduction of Charles Frere.  When we first meet him he’s nattily dressed in a tuxedo, like a cut-price James Bond.  He bumps into Polly and views Jan, from a distance, with interest – but he’s really in Tarrant to speak to Avril.  Yes, Charles is the mystery man who broke Avril’s heart and now he’s back.

He’s only interested in business, or so he says, but the mere sight of him is enough to send Avril into mild hysterics.  So when Tom later calls at her cottage and finds her in a distressed state, the inevitable happens ….

They both comfort each other and as the credits roll it’s fairly obvious what’s going to happen next.  Indeed, the only surprise is that it’s taken them seven episodes to make a move on each other.

Jan and Ken have yet to advance beyond their professional relationship (despite what a poison-pen letter delivered to Tom might say).  Although Ken doesn’t have a great deal to do in this episode, his character is nicely developed – although it happens when he’s off-screen.  Jan and Lynne discuss him, with Jan nailing him as something of a social climber – he may have money, but he really wants to be accepted amongst the upper classes.  But his barrow-boy persona seems doomed to ensure he’ll always be an outsider.

Howards’ Way – Series One, Episode Six

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Ken’s had enough of Dawn.  “This is my pad and I want it to myself”.  I didn’t know that anyone in the eighties still called their flat a “pad”, or maybe it’s just more evidence that Ken is trapped in the seventies.  He’s no new man that’s for sure – handling Dawn roughly and making it certain she knows that after six weeks of cohabiting he’s had enough of her.

He treats Jan differently of course, but then she’s still of more use to him (certainly professionally and maybe personally).  His relationship with Dawn shows how beneath his affable exterior something nastier lurks, although he doesn’t feel he has anything to reproach himself for.  “Well I play ball with them. Show them a good time, plenty of laughs, treat them like royalty, and bingo, after a couple of weeks they think they’re home and dry and running the show.”  I love Ken, he’s so delightfully horrible.

Jack’s all-day drinking binge concerns Avril.  “The whole day, the whole night’s just one long drink to you”.  Can he change? Does he even want to change? Kate’s certainly keen to see him dry out but it’ll be no easy task.

Gerald Urquhart makes his first appearance, meeting with Ken to discuss a possible business venture.  The fact that Ken’s never met him before ties into Abby’s earlier comment that she hardly spent any time with her father as a child.  Of course from now on things change somewhat as both Gerald (and shortly Charles) take up permanent residence.  This early fencing between Ken and Gerald is just a taste of what’s to come.  Ken has some real estate which Gerald and Charles would like to acquire, but Ken knows that if he hangs onto it then he might be able to make himself a player.

Abby’s run away to become a social worker.  And that’s not a sentence you type every day.  It seems a little far-fetched that she could just roll up to the office and start work shortly afterwards, surely a few checks would have been sensible?  Or possibly the fact that Abby had been to a posh Swiss finishing school was deemed to be good enough.

Phil Norton continues to lust after Lynne.  Since Phil made his first appearance it’s been plain that he has only one thing on his mind and it’s not how good Lynne is as a sailor.  Antony Head’s performance can’t really be described as subtle – cartoon wolf sort of sums it up.  Luckily Lynne is more than capable of resisting his oily charms.

Leo continues to follow Avril around like a puppy dog, devotion shining in his eyes (I love Edward Highmore’s goofy grin after he pops into to see her at the yard).

Tom and Jan seem a little closer, although you can always rely on Ken to put a spoke in the works.  He’s discovered that Avril, via an intermediary, bought the Flying Fish and delights in sharing this news with Jan.  Jan, already feeling a little threatened by Tom’s close working relationship with Avril isn’t impressed …. cue dramatic cliffhanger as Jan confronts a puzzled Tom.

Howards’ Way – Series One, Episode Five

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Jack’s still stomping about the yard in a right strop.  Avril attempts to talk some sense into him but has no more joy than Tom did (both Susan Gilmore and Glyn Owen play this short scene at full throttle).  And then Jack disappears ….

Avril knows what will happen next, whenever her father is upset he goes on a drinking spree (last time he ended up in a police cell).  This time he doesn’t fall into the hands of the police, instead Kate’s the (un)lucky one who runs into him.

Not literally though, although it’s a close run thing.  Jack’s staggering down the middle of the road whilst Kate is driving home.  After avoiding crashing into him, she forthrightly berates his stupidity (blind drunk, he earlier dumped his car into a ditch) and his lack of manners.  Glyn Owen and Dulcie Gray are wonderful here with Owen giving us some magnificent drunk acting (telling Kate slowly and deliberately that he had to swerve to avoid a hedgehog in the road, Kate acidly wonders if it was actually a pink elephant!).

She takes pity on him and gives him a bed for the night.  He pours out his troubles to her (he’s unable to pour himself any more drinks though, Kate puts a stop to that) although Kate is unaware that the hated partner he describes in such loving detail is actually her son-in-law.  Tarrant’s a small place ….

If you want more evidence of this, then earlier we saw Jack nearly collide with Leo’s bike.  Later, Leo tells Avril about his close encounter and he volunteers to help her try and find him.  Just seconds before, Leo confides to his chum Nick (Tim Faulkner) that he tends to obsess over unobtainable women.  And then Avril turns up.

We’ve seen Leo make googly eyes at Avril in an earlier episode, so his continuing unrequited passion is pretty obvious.  Poor Avril remains oblivious though, simply treating young Leo with kindness (he listens to her troubles and she gives him a peck on the cheek for being a good listener).  But it’s plain that if Leo expects anything more he’s going to be disappointed.

More sexual frustration is on show later after Nick walks Lynne home and forces himself on her (unlike Leo he’s not content with a goodnight kiss).  Poor Lynne, she does have to fend off more than her fair share of lusty admirers although some, like Nick, bitterly know that they’ve little chance of making any headway with her since they don’t own a boat.

This leads into one of the series’ most famous lines (or infamous, depending on your point of view).  Lynne tells her father about Nick and she agrees about being boat-obsessed.  “I don’t think I could ever love a man as much as I love the Flying Fish”.  Well done to Tracy Childs for keeping a straight face.

Our next port of call for sexual frustration sees us over at Ken’s place, where Dawn is more than a little miffed to learn that Ken’s taking Jan out to dinner (Tom’s none too pleased about it either).  Both Ken and Jan are togged up to the nines, Ken in a white dinner jacket and Jan in a backless dress.  Dawn wonders what she’s going to do all evening by herself, Ken tells her that he’s bought her some new videos.  Dawn responds that she doesn’t fancy watching blue movies on her own, but Ken counters that it might get her in the mood for later.  The dirty dog!

Ken and Jan’s meal goes swimmingly.  Jan tells him that rather than expanding into general marine goods they should specialise – designer yachting clothes for the well-off.  Ken is a little dismissive (muttering that Jan might read Vogue, but she’s no fashion expert) but the seeds have been sown.  And later they dance a tango for good measure.

Finally there’s a release of sexual frustration as Jan returns home, changes into a most becoming negligée and manages rapprochement with Tom.  Although the fact she later tells him that it wasn’t the meal with Ken which put her in the mood somewhat puts a damper on things. Any mention of Ken grates on Tom since he’s no lover of medallion men.

Away from this thriving hotbed of repressed and not-so repressed feelings, Abby continues to feel isolated.  She does manage a fairly decent conversation with her mother, but it doesn’t seem to be enough and the episode ends with Abby slipping out the house, bag in hand ….

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Howards’ Way – Series One, Episode Four


Episode four opens where the previous one left off, with Abby floundering in the sea.  Luckily Leo is at hand and fishes her out.  When he mutters to the coughing and spluttering girl that her misadventure “was a bit stupid, wasn’t it?” you have to admire his powers of understatement.

Although Abby is grateful to Leo, she still won’t tell him what’s troubling her – which is reasonable enough as it’s the sort of plotline that should (and will) run across multiple episodes.  But we do learn a little more about her wretched homelife and how she feels totally unloved by both her parents (as well as the fact that given Polly’s generosity in spreading her favours, Abby isn’t even sure whether her father is actually her father).

Abby tells Leo that when she was young she kept a diary and logged all the time she spent with her father.  When she added it up it came to seventeen hours over the course of two years.  She’s spent much more time in her mother’s company, but that’s probably more of a curse than a blessing.  Abby is convinced that her mother doesn’t love her (something which Polly is happy to admit to others later).  Abby tells her mother that “you don’t even like me. You can’t show me off, you can’t wear me, so I’m useless to you.”

Tensions continue to simmer away in the Howard household.  Tom demonstrates quite clearly that he’s an unreconstructed male after he’s more than a little put out to find out that Jan’s been too busy working to get the evening meal ready.  Luckily Kate comes to the rescue, but no-one ever stops to ask if possibly Tom could have lent a hand.  Given this stifling pressure, it’s a wonder Jan hasn’t reacted against being a housewife and mother before.

Whilst I love Maurice Colbourne, he sometimes feels a little out of place in the series.  Possibly it’s got something to do with the fact that his voice had considerable power and gravitas, so when he’s arguing about relatively trivial matters (such as who should cook dinner) it feels a little jarring.  As Tom and Jan launch into yet another argument, Leo pops his head round the kitchen door.  Leo’s supposed to register dismay and disgust, but Edward Highmore doesn’t quite manage this (although he does pull a strange face and exits).  Perhaps another take would have been advisable.

Lynn’s looking for another boat to crew on, now that the Flying Fish has been sold.  The ultra smooth Phil Norton (Anthony Head) could be the answer to all her problems, but by the way he’s eyeing her up and down it’s plain that it’s not her sailing ability he’s interested in.  Elsewhere, you have to admire Tracey Childs’ hardy nature – wearing a bikini in a scene that was doubtless scripted as the height of summer, but instead looks rather chilly.

It’s always fun when Jack’s on the warpath.  He and Bill continue to grouse about Tom poking his nose into every aspect of the yard’s business but that’s merely a prelude – Tom, backed by Avril, explains that he wants to design a fast cruising, ultra light displacement boat.  Jack’s baffled – how can you build a boat like that out of timber?  Tom agrees and tells him that it’ll be a high-tech cord-structured hull.

The blue touchpaper is ignited and you can stand back and watch the fireworks.  Build a boat that’s not made out of wood in the Mermaid yard?  Over Jack’s dead body. “I’ll see this yard in hell and me with it before I have anything at all to do with them”.  Colbourne and Owen are on fine form here and whilst it seems inevitable that Jack will have to bow to common sense eventually, there’s the promise of more fun and games to come.


Howards’ Way – Series One, Episode Three

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After storming out of the house, Tom comes back and briefly – for a matter of seconds – there seems to be some possibility of rapprochement between him and Jan.  But when he tells her that he’s gone ahead and sunk all his savings into the Mermaid Yard they sail back into choppy waters …..

If Jan’s upset, then Lynne’s devastated to hear that the Flying Fish will have to be sold.  Cue tears and smudged mascara – for Lynne it seems that the world has ended.  She continues to pout away later after Tom learns that she’s got herself a job at the yacht club bar (he’s not pleased).

Leo is persuaded by Polly to escort an unwilling Abby to a glittering (for Tarrant anyway) society party.  I like the way that Polly is pathetically grateful to Leo for taking on this difficult task.  It’s also notable that despite the fact it only appears to be late afternoon, Polly has a drink in her hand.  Howards’ Way, like The Brothers, runs on alcohol.

Jack Rolfe practically lives in the pub, although most of the other characters also tend to have a drink close by most of the time.  For example, when Jan and Tom are going at each other hammer and tongs, Leo attempts to diffuse the situation by asking his mother if she’d like another drink.

Abby doesn’t want to go the party, so she and Leo have a quiet drink instead (see what I mean?!).  Leo is the first person we’ve seen so far who takes the time to listen to her, even though she remains withdrawn and guarded.

Tom arrives at the Mermaid Yard but isn’t exactly welcomed with open arms.  Apart from Jack’s ever-loyal factotum Bill Sayers (Robert Vahey), the workers at the yard tended to be fairly anonymous, although occasionally – beginning here – there was an effort made to turn some of them into characters.

Most notable amongst them is Davy Malik (Kulvinder Ghir), who has to face an inevitable trickle of racial abuse from his fellow workers.  Ghir was right at the start of his career (only a couple of appearances in Tucker’s Luck pre-dated his turn as Davy).  Later he’d be a regular in Goodness Gracious Me and would rack up a score of other credits, most recently appearing as Cyril in Still Open All Hours.

You have to love Jack’s optimism (expressed later to Bill) that it’s going to be easy to manipulate and sideline Tom.  Surely he’s realised by now that Tom’s not going to be a pushover?  Bill’s worried that he’ll want to change everything, bringing in new fangled computers and the like.

Jack and Bill are traditionalists – but we’re not invited to view this as necessarily a good thing.  Jack mutters that it doesn’t matter how long it takes to do a job (quality is all important) but it’s plain that Bill is shiftily aware that there’s long been a culture of inefficiency at the yard.  So in some ways Tom, with his crusading zeal, is a Thatcherite new-man, keen to start operating more effectively and efficiently.  But he’s not being totally unreasonable, since his plans are obviously in the interests of Jack, Bill and all the rest (otherwise the yard will go under and everyone will be out of a job).

It’s been touched upon before that Jack married his wife in order to gain control of the yard, but it’s restated here by Avril – and with the bleak caveat that she died possibly because Jack was such a terrible husband or possibly because of cancer.  It follows that Avril should despise him, but that’s not the case.  If Jack loathed his wife then he loves his daughter and when he loves something, he commits totally.

We meet Jan’s mother, the always sensible Kate Harvey (Dulcie Gray), for the first time.  Unlike Mary Hammond, the matriarch of The Brothers, Kate is much more down to earth and approachable.  From now until the end of series six she can often be guaranteed to pop up in order to dispense a dose of good old-fashioned common sense (her close encounter with Jack in a few episodes time is a treat).

There might have been a hint in the previous episode that Abby was contemplating suicide.  When she steps off the train with Polly, there’s a second or two where she lingers – just staring at the railway tracks.  Was this intended to signify an unconscious (or otherwise) urge to throw herself underneath an oncoming train?  It’s a subtle touch if so, but even if it wasn’t intentional, her hesitancy still suggests that she’s a deeply troubled young woman.

The end of episode cliffhanger, as she plunges into the sea, amply demonstrates this.


Howards’ Way – Series One, Episode Two

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Tom is keen to go into partnership with Jack, but needs more capital – he has fifty thousand pounds, but needs another fifty thousand. Avril suggests he sells the Flying Fish.  Lynne’s not going to be pleased ….

Ken’s girlfriend, Dawn (Sally Farmiloe), feels a little threatened by Jan.  It’s always a little jarring to check out the status of less well-known actors who you don’t consider to be that old and find, like Sally, that they’ve passed away (back in 2014, aged sixty).

Ken’s sniffing around the Mermaid Yard, keen to snap it up if Jack goes bankrupt. This is the cue for another scene featuring a topless Ken lounging in bed, this time as he merrily plots away. At least Tom wears a pyjama top, much more restrained.

In many ways Jack is a horrible, selfish person but Glyn Owen’s ebullient performance means that you can’t help but side with him more often than not. He’s not keen to show Tom the company accounts, but Avril overrides him (“female Judas” he mutters).

So Tom is well aware how bad things are, but believes that his design skills and contacts will help to turn things round. As Jack is used to doing things his way, it’s plain that he’s not going to react well when someone else starts to tell him what to do. Since Avril is also a shareholder, her casting vote could prove be crucial in the future ….

The return of Abby from a posh Swiss finishing school is an episode highlight.  If I was Polly and Gerald I’d ask for my money back, as poor Abby isn’t really the finished article.  Possibly it’s not surprising, since Polly is as far from a nurturing mother as you could possibly expect whilst Gerald (when he finally makes an appearance) is clearly fond of Abby, but treats her with an air of absent-minded kindness, rather like one would deal with a family pet.  So Abby’s down in the dumps and will remain so for some considerable time.

Mother and daughter exist in self-contained vacuums. Polly wants Abby to make an effort and fit in with the glittering Tarrant social set, whilst Abby can’t think of anything she’d like less.

Lynne learns that her father and Avril have been taking quiet walks together.  She displays her disapproval by having a good pout (Lynne is a champion pouter, it must be said).

The first episode had seeded the notion that Avril’s heart had been broken by a relationship which ended badly.  No more information was supplied at that time, but a further piece of the puzzle is put into place here, as she contacts “someone” to see if they can help to sell the Flying Fish.  Keep an eye on this plotline.

Leo’s something of a contradiction.  He wants to save the environment, but has no qualms in taking a job at a petrol station.  If Tom (and later on Jan) are positioned as ideals of the Thatcherite Eighties – thrusting entrepreneurs – then maybe we can take Leo to be a warning about what might happen to those who leave school with poor qualifications (they end up in a dead-end job).  Or I may be seeing patterns that don’t exist, which is probably more likely.

Tom breaks the news that he wants to buy into the Mermaid yard. Jan’s not pleased but Tom, as always, goes his own way (cue an overdose of honking saxphones on the soundtrack, an odd musical choice).

Howards’ Way – Series One, Episode One

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Tom’s boat – the Flying Fish – wins the Commodores Cup. The whole family are delighted but their joy is pretty short-lived as Tom drops a bombshell. He’s been made redundant ….

The extent of the Howard’s victory feast (including lashings of champagne) is an obvious pointer that they’re well off – but for how much longer?  It’s hard to feel too sorry for them though (Boys from the Blackstuff this isn’t). Perhaps they could sell a few paintings (unless they’re all reproductions) or even the house and then downsize.

It’s interesting to see how the others process this news. Jan feels betrayed that Tom didn’t tell her earlier and then reacts with horror when he raises the possibility of a job overseas. How could she leave Tarrant and her friends and family? Jan doesn’t come over very well here I’m afraid, as she appears to be completely self-centered.

Maybe it runs in the family as Lynne is quite similar. Although she finds the news upsetting, as long as she can sail the Flying Fish she’ll be quite happy. Uh oh …

Meanwhile Leo decides that he doesn’t want to go to university and would much sooner get a job instead. Edward Highmore’s performance is often as wooden as Jack Rolfe’s beloved boats, but since Leo was initally written as somewhat gauche, it’s not entirely his fault.

We also meet Jack and Avril. Jack’s aware that the Mermaid Yard is in deep financial trouble, but Miwcawber-like simply assumes that something will turn up. Avril, desperately trying to dig her father out of his financial mess, finds it hard to be so calm.

Jack needs a hundred thousand pounds to keep the yard afloat, Tom has his redundancy money. It’s a perfect solution, at least to Jack. Avril’s appalled – how can they ask him to risk all his money in a business that still may go bust?

Our first sight of Ken Masters is a hoot. Jan rings him up to arrange a meeting (she already works for him two days a week and hopes he’ll agree to her going full time). He’s in bed (bare-chested, medallion on display) with a shapely blonde by his side. He tells his blonde companion not to worry, Jan Howard’s no competion – she’s just a housewife. How wrong can one man be.

We learn that Avril has a broken heart (she cuts a folorn figure, lying all alone in her bed in a rather attractive pair of pyjamas) but perks up when she runs into Tom for the first time in years. Meanwhile, Ken is clearly interested in Jan. It’s not hard to guess the direction the series will go in, but there’s still some unexpected twists and turns ahead ….

Howards’ Way – Series Introduction


Having recently been watching The Brothers (my posts about series three and four can be found here and here) I’ve had a hankering to rewatch the other soapy series co-created by Gerald Glaister, Howards’ Way.

Given how popular The Brothers had been, it wasn’t surprising that Glaister would eventually try his hand again at something similar (this time with Allan Prior as his co-creator).  There are clear parallels between the shows – the way that personal and business matters continually clash, for example – but there are also some notable differences.

Since Howards’ Way was a creature of the mid eighties, it’s not surprising that it has a strong air of conspicuous consumption – after all we’re deep in the heart of the Thatcher era, where a self-made entrepreneur was a most desirable thing to be.  And that’s one of the major differences between Howards’ Way and The Brothers – both Tom and Jan Howard start their business adventures pretty much from scratch, meaning that we’re with them as they try to make something happen (in Jan’s case she has a remarkable transformation from housewife to successful fashion designer, which is more a little hard to swallow.  This is something I’m sure to come back to …)

Contrast this to the Hammonds in The Brothers, who are the complete opposite of self-made.  They inherited the business from their late father, so all of the initial groundwork has been done for them – the drama comes from the conflicting dynamic between the three brothers as they squabble for supremacy.

Howard’s Way also has a glossier feel.  As it arrived in the wake of both Dallas and Dynasty, it’s easy to imagine this was the BBC’s attempt to mount something similar – so power-dressing, complete with shoulder pads and (worst of all) jackets with rolled up sleeves are to the fore.  The yachts and marinas of Tarrant provide the series with a visually pleasing gloss, a far cry from the grimy lorry depot where much of The Brothers was set.

Mmm.  Co-creator Allan Prior had worked on Blakes 7, I wonder if that could have provided the inspiration for naming the town Tarrant?

Before we get into the series posts, let’s take a look at the main characters.

Tom Howard (Maurice Colbourne).  He starts the series at a crossroads in his life – recently redundant, he’s pondering what to do with the rest of his life.  When he makes his decision it’s not one that pleases …

Jan Howard (Jan Harvey), Tom’s wife.  Tom’s decision to put all his redundancy money into a venture which Jan regards as risky in the extreme increases the pressure on their already rocky marriage.  Jan decides that she needs to find a job for herself, which moves her into the welcoming arms of ….

Ken Masters (Stephen Yardley).  You’ve got to love Ken.  As we’ll see, he gets kicked around by everyone else, but still manages to cling on, just.

Tom’s redundancy money is burning a hole in his pocket.  He decides to invest it in the Mermaid Yard, run by the bluff alcoholic Jack Rolfe (Glyn Owen).  Jack, like Ken, provides a great deal of the entertainment throughout the series.  The parameters of Jack’s character are set up right from the start – he’s a traditionalist at heart, to him boats should be made of wood (anything else just isn’t right).  Tom’s injection of funds comes at just the right time, as the Mermaid Yard is in dire financial straits, something which is apparent to Jack’s daughter ….

Avril Rolfe (Susan Gilmore).  It doesn’t take long before she and Tom are making eyes at each other.  This causes concern for his children ….

Leo (Edward Highmore) and Lynne (Tracey Childs).  Bless them, neither are particularly well-written parts (although Highmore stuck it out for all seventy eight episodes, Childs for about half that).  Leo is keen on the environment and Lynne is keen on the Flying Fish (all will become clear as the series progresses).

Charles Frere (Tony Anholt) doesn’t make an appearance until a few episodes in, but once he does the series shifts up a gear.  He’s Howards’ Way’s JR, a ruthless and successful businessman who thinks nothing of crushing the less fortunate under his feet.  Essentially, Charles is everything that Ken Masters wishes he was but so obviously isn’t – which means that any time Charles and Ken attempt to do business it’s a treat.

Charles’s right-hand man is Gerald Urquhart (Ivor Danvers), locked into a loveless marriage with the self-obsessed Polly (Patricia Shakesby).  Polly and Jan are best friends, whilst Leo would clearly like to be more than best friends with Gerald and Polly’s daughter ….

Abby (Cindy Shelly).  By the end of the final series her character had totally changed, but here she’s in her initial setting – sullen, withdrawn and deeply unhappy.

So join me next time as we take a look at episode one, which sees Tom drops a bombshell ….