Chesney and Wolfe: The Spin-Off Kings

May 4, 2020

Known for his prolific gag-slinging partnership with radio scriptwriter Ronald Wolfe, former harmonica player Ronald Chesney would this year have celebrated his centenary.

In a way, it’s a surprise that neither of “the other two Ronnies” made it to treble figures: the pair enjoyed such a hit rate when working together, it felt like the zingers would land forever. Meeting on ‘50s radio show Here’s Archie before briefly teaming up to work with Marty Feldman, Chesney and Wolfe created the BBC wireless comedy It’s a Deal (1961), making good use of Sid James’ throaty cackle.

Commissioned to write for TV, they’d insist their work be set in worlds their audience could recognise, much to the alarm of BBC senior managers. The Ronalds’ gamble worked, producing a selection of “kitchen sink sitcoms”, many of which proved so popular that side characters would often be transplanted into shows of their own.

The Rag Trade (1961)

Fenner’s Fashions is a boutique textile manufacturer (read: East End sweatshop), where a put-upon Reg Varney is forever given impossible errands by his desk-bound boss Peter Jones.

Not the most exotic setting for a viewing audience settling down after their day’s shift, but thanks to firebrand shop steward Paddy (A Clockwork Orange’s Miriam Karlin), antics would ensure as she interpreted Jones’ directives as a personal affront, announcing “Everybody out!” Watching The Rag Trade today is a fascinating look at the pre-zero hours workplace, and a goldmine for sitcom trainspotters: Tony Robinson, Christopher Beeny and Gillian Taylforth all feature in early roles.

While Chesney and Wolfe’s writing has since been branded politically incorrect in places, The Rag Trade was progressive for mainstream TV, featuring a large female cast – Sheila Hancock and Barbara Windsor among them – who’d constantly outwit their male supervisors.

The formula proved so popular that the series was revived three more times: first by LWT in 1977, then in Norway as Fredericksson’s Fabricks (1994), and finally in Portugal as Trapos and Company (1995).

On the Buses (1969)

One of the most successful sitcoms ever aired in Britain, you won’t find On the Buses topping many “Best British comedy” polls. Time has not been kind to the programme’s concept, which largely involved bawdy bus driver Stan (Reg Varney) and his leering clippy Jack (Bob Grant) honking at girls in miniskirts, as well as taking every opportunity to stitch up gormless line manager Cyril “Blakey” Blake (Stephen Lewis). Rejected by the BBC, ITV pounced on the idea when it was brought to them, and ordered 74 episodes over four years.

The show may seem antiquated today, written between the rise of sexual liberation and the dawn of feminism, but it created a world with which its millions of viewers could identify.

During the programme’s run, employers were beginning to take a less tolerant approach to shop floor unions, so seeing the authoritarian, Hitler-moustached Blakey being splashed by a passing Number 11 gave fans a weekly victory.

On the Buses’ appeal stretched beyond the armchair, too: actor Bob Grant’s wedding was flooded with well-wishing viewers, and the film adaptation (available in the Network boxset) would see domestic returns that out-grossed that year’s Bond film, Diamonds Are Forever (1971).

Don’t Drink the Water (1974)

Having had enough of being pranked at Luxton bus depot, 1974’s Don’t Drink the Water saw Inspector Blake ditch his trademark peaked cap and clipboard for a knotted hanky: he’s decamped to Spain, and has bought a flat for £3750 that caught his eye in a retirement brochure.

With his pet budgie and young sister Dorothy (Pat Coombs) for company – who enjoys a flirtatious relationship with cheeky porter Carlos (Derek Griffiths) – Blakey is dismayed to find his view of the “sparkling blue Mediterranean” is in fact through a girder.

Realising he’s traded one brand of mayhem for another, our gurning hero has to endure unfinished plumbing, week-old English newspapers, and the fact he’s not in charge – all while driving on the right. It may not have lasted the seven seasons that its parent show did, but Don’t Drink the Water was braver than its critics suggest, showing that the pokes at “foreigners” hurt when it’s the Brit on the receiving end.

Romany Jones (1973)

Best known for playing oily Private Walker in Dad’s Army, James Beck got a sitcom of his own in this genteel send-up of the traveller community. Bert Jones (Beck) is stuck living in a cramped caravan site.

His newlywed wife Betty (Jo Rowbottom) wishes he would do more than just “hanging around that labour exchange with them layabouts”, while his next door neighbours Lily Briggs (Queenie Watts) and her oafish, chicken-breeding husband Wally (Arthur Mallard) conduct their rows about three feet from Bert’s pillow. But that can’t dampen our leading man’s spirits, or his various schemes to turn his fortunes around, which involve trying to breed goats, contemplating emigration, and opening a one-man rabbit farm.

Tragically, Beck would pass away at the early age of 44, which meant Chesney and Wolfe were forced to write the Joneses out of the show. They were replaced with Gay Soper and Jonathan Cecil as the upper-middle-class Crichton-Joneses; the randy cockerels and meat pilfering continued for a further two series. Look out for the new couple’s run-ins with a young Alan Ford, AKA Brick Top from Snatch.

Yus, My Dear (1976)

This spin-off from Romany Jones sees the Briggs couple given a council house as recompense for the redevelopment of their campsite. Arthur Mullard’s Wally has managed the impossible, and appeared presentable enough to secure regular, well-paid work as a bricklayer.

But his and Lil’s harmony is short-lived thanks to the arrival of grasping younger brother Benny (an early acting role for comedian Mike Reid), who’s armed with a catalogue of tricks for sponging off the happy household. Lil can spot the would-be playboy’s scams a mile off, but somehow it’s Wally who cops the brunt of her anger – understandable given that he’s still fond of eating sandwiches in the bath, missing her local committee meetings, and calling in at the bookies every payday.

Again, some of the humour may seem out of time by today’s standards, but the balance of power is unorthodox for a seventies sitcom.

Who’s the real alpha of the house? Is it the bloke in hideous trousers who thinks graft entails reading his paper next to a cement mixer? Or could it be the lady in rollers?

George Bass Contributor New York Times | The Guardian | New Scientist


  1. Steve Reply

    The thing to do with 70s sitcoms is to enjoy them at face value and disregard the carping from sneering control freaks who believe comedy can only be funny if it conforms to their world view. This from the high priests of tolerance and diversity. These folks are so arrogant and self-absorbed they can’t see how ludicrous they appear to normal people and It’s best laugh at them and their absurd posturing.

  2. Anthony McCarthy Reply

    Brilliant. I look forward to all your tributes to actors,directors and creative teams behind T.V. & Films that I was brought up with and love.
    This time a look at the careers of two unsung heroes of Sit-Com
    Thank you
    Tony Mac

  3. Martin Reply

    Steve (above) makes some good points, not least that no-one will ever understand 1970’s comedy if they were a) not there or b) are totally lacking in historical perception. The shocked reactions of those born after this era that can be seen on those modern TV shows that allow them to comment on old clips only serve to show how little they understand about anything that is outside their own world or the present.

    It is becoming increasingly common to attempt to rewrite history and somehow twist it to conform to the ideas of today, although the present itself will of course be seen in much the same way all too soon. How society will laugh in the future at the notion that women should be paid less than men when doing the same job simply because they are female!

    Just enjoy those 1970’s series (or those of any other era) for what it are and if it does not appeal -or if you cannot understand that it is from another time- just move on. With so much contemporary ‘comedy’ being cruel and aggressive the programmes from the past often stand up well in comparison.

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