Tuesday 27 October 2015

Peter Baldwin in Coronation Street in 1982
Peter Baldwin in Coronation Street in 1982
Peter Baldwin, who has died aged 82, played the accident-prone chocolate novelty salesman Derek Wilton in ITV’s long-running Coronation Street and with his dithering on-screen wife Mavis (Thelma Barlow) became one of the comic mainstays of the serial when humour was an innate part of its popular appeal.
But in 1997 Baldwin was abruptly written out when a new producer, Brian Park, sacked him on his first day in the job as part of a wholesale purge of ageing male characters. Thelma Barlow was reportedly so upset by the removal of her on-screen partner that she resigned after more than 25 years in the cast.
“The Street is currently being terrorised by a smiling axeman,” complained the critic Victor Lewis-Smith. “Apparently it doesn’t matter that this is a first class soap, superbly scripted and flawlessly performed by a seasoned repertory company.” Baldwin himself was distraught. “The feeling was that Derek and Mavis had had their day,” he recalled.
For 21 years Baldwin had played Derek as a lovable if wimpish buffoon with the lightest of comic touches as he toyed with Mavis’s emotions. By the time they finally wed, the oddball couple were already middle-aged, and in the absence of children lavished their affections not only on each other but also on Mavis’s pet budgie and a pair of garden gnomes named Arthur and Guinevere, one of which became the subject of a notable comic plotline when it was stolen and a piece of its ear sent to Derek in a matchbox.
Peter Baldwin in 1988 with his onscreen wife Mavis (played by Thelma Barlow)Peter Baldwin in 1988 with his onscreen wife Mavis (played by Thelma Barlow)  
Baldwin made his Coronation Street debut in 1976 when, as a shy travelling salesman, he called in to the Kabin corner shop in the fictional Weatherfield to ask directions from Mavis Riley, the mousy spinster behind the counter. In the course of his stuttering 12-year pursuit of Mavis, Derek married his boss’s daughter Angela Hawthorne, while Mavis entertained a proposal of marriage from Derek’s rival Victor Pendlebury.
In 1984 Derek and Mavis became engaged, only to jilt each other at the church door. But in 1988 their romance was rekindled in a classic scene in which Derek, on his hands and knees, proposed to Mavis through the Kabin letterbox. Once married, they became one of the programme’s most enduring and eccentric double acts until Derek was written out, suffering a fatal heart attack in a road-rage incident in April 1997.
The elder of two sons of a primary school headmaster, Peter Baldwin was born on July 29 1933 at Chidham near Chichester in West Sussex. Taking an early interest in the stage, when he was 12 his parents gave him a toy theatre as a Christmas present which inspired a lifelong enthusiasm.
Leaving Chichester High School for Boys, he did his National Service in the Army before enrolling at the Bristol Old Vic Theatre School. Baldwin worked in various repertory companies before joining the West of England Theatre Company at Exmouth in Devon in 1960 in a production of Congreve’s The Way of The World, appearing opposite Thelma Barlow for the first time and sharing a house with her and other members of the cast.
Peter Baldwin with Barbara Knox in Coronation Street in 1992
After a spell with the BBC Repertory Company, Baldwin made his television debut in 1969 in ATV’s Girls About Town, created by Adele Rose, a regular Coronation Street writer. In 1976, while appearing in The Browning Version at the Kings Head Theatre in London, he was invited by Granada Television to audition for the part of Derek Wilton. Another actor from the same agency had been asked but was unavailable, and Baldwin went in his place.
For the next 12 years he featured intermittently in Coronation Street while making other television appearances including the miniseries Goodbye Mr Chips (1984) and Bergerac (1987). He was playing Mr Birling on the West End stage in An Inspector Calls (Westminster Theatre, 1987) when he was asked back to Coronation Street, and offered a long-term contract as a regular character.
During periods of unemployment as a jobbing actor, Baldwin worked at Pollock’s Toy Museum in London and from 1980 managed Pollock’s traditional toy shop in Covent Garden. After the death of Benjamin Pollock in 1988, he took over the ownership of the shop and, as a recognised expert on 19th-century toy theatres, published a history of the genre, Toy Theatres of the World (1993).
Peter Baldwin married, in 1965, Sarah Long, who became a familiar face on television herself as a presenter of the BBC’s Play School. She died in 1987. Their daughter and son survive him.
Peter Baldwin, born July 29 1933, died October 21 2015

Maureen O'Hara

Maureen O'Hara in 1950
Maureen O'Hara in 1950
Maureen O'Hara, who has died aged 95, appeared in more bad films than she cared to remember but nevertheless emerged as a Hollywood star on the strength of her extraordinary flame-haired beauty and a successful screen partnership with John Wayne.
She appeared in five of his films, forging a strong bond of mutual admiration and respect. “I prefer the company of men,” Wayne declared, “except for Maureen O’Hara. She’s the greatest guy I ever met.” Her Irish roots led one critic to describe her as “Hollywood’s ultimate fiery colleen”.
With her creamy complexion, striking auburn tresses and haunting jade blue eyes, Maureen O’Hara was celebrated in her early films as the “Queen of Technicolor”, but she considered it a dubious accolade: it tended to imprison her in elaborate wartime features where she looked merely decorative or ornamental. “Almost every letter I receive,” she complained in 1945, “asks why Hollywood doesn’t take me out of those silly Technicolor pictures and give me dramatic pictures.”
John Wayne and Maureen O'Hara in The Quiet ManJohn Wayne and Maureen O'Hara in The Quiet Man
Maureen O’Hara had become an overnight star in 1939 when she played Mary, the pretty niece of Sir Humphrey Pengallan (Charles Laughton), in Alfred Hitchcock’s film of Daphne du Maurier’s Regency romance Jamaica Inn. Later that year she was again cast opposite Laughton as Esmeralda in The Hunchback Of Notre Dame.
Her third big success came in 1941 with How Green Was My Valley, the turn-of-the-century Welsh mining tale based on the novel by Richard Llewellyn and directed by John Ford. Her next three films, To The Shores Of Tripoli (1941), Ten Gentlemen From West Point and The Black Swan (both 1942), saw her embrace wartime romance, historical drama and buccaneering adventure.
In 1944 she signed a contract dividing her commitments equally between 20th Century Fox and RKO, and co-starred with Joel McRea in Buffalo Bill as the hero’s wife. A string of eminently forgettable films followed, excepting perhaps Miracle On 34th Street (1947), now a Christmas favourite on television . Initially reluctant to star, Maureen O’Hara relented when she read the script and returned to New York from a trip home to Ireland for location filming.
By 1950 she was back in John Ford’s fold to star in Rio Grande, her first film with John Wayne, followed by the pastoral comedy The Quiet Man (1952), in which she co-starred with Wayne as the tempestuous Mary Kate Danaher in the story of a disgraced American boxer who retires to Ireland. In Ford’s films she regularly played the thorny Irish rose who comes to appreciate the virtues and values of domesticity.
In The Quiet Man and also in Rio Grande, The Long Gray Line (1954) and Wings of Eagles (1957), Maureen O’Hara was the archetypal Fordian woman, embodying the shared values of duty, service and loyalty once taken for granted but in increasingly short supply in a modern world.
Maureen O'Hara in 1940Maureen O'Hara in 1940 
Although during the war she had complained that directors considered her to be “a cold potato without sex appeal” , in March 1957 the American scandal sheet Confidential ran a story about her indulging in a steamy “necking session” with a mystery South American man in the back row at Grauman’s Chinese Theatre, the famous Hollywood cinema (“It was the hottest show in town when Maureen O’Hara cuddled in Row 35”). She claimed the report was inaccurate and libellous, and produced her stamped passport to prove that she was abroad at the time.
Confidential, however, produced no fewer than three witnesses, including Grauman’s former assistant manager who said he had flashed a torch in the darkened auditorium to discover Maureen O’Hara, blouse undone and hair in disarray, sprawled across her companion’s lap.
The case ended in a mistrial and she was awarded only $5,000 damages (she had claimed $5 million); the question of just what happened on Row 35 was never incontrovertibly settled.
She was born Maureen FitzSimons on August 17 1920 at Milltown near Dublin. Her father was a clothier, her mother a one-time actress and contralto singer. Although her older sister Peggy became a nun, her other four siblings all had aspirations to make it in showbusiness. “We were an Irish von Trapp family,” she recalled. “A little eccentric but wonderful.”
During her school days Maureen acted in local amateur productions, studied music and dance, and took small roles with the Dublin Operatic Society as well as “spear-carrying” parts with the famous Abbey Theatre.
When she was 14 she enrolled at the Abbey’s theatre school and within a year was playing Shakespearean roles, winning the All-Ireland Cup for her portrayal of Portia in The Merchant Of Venice. She was the youngest student to complete the drama course at the Guildhall School of Music, and at 16 had been awarded a degree and an associateship by the London College of Music.
When she was 17, while considering an offer of a leading role from the Abbey Players, Maureen FitzSimons sailed with her mother on a steam packet for England and a holiday in London, where she was invited for a disastrous screen test at Elstree by an English film company, Mayflower.
Maureen O'Hara with Charles Laughton in her breakthrough film Jamaica Inn (1939)Maureen O'Hara with Charles Laughton in her breakthrough film Jamaica Inn (1939)
A brief extract from her scene, however, attracted the attention of Charles Laughton and producer Erich Pommer, who cast her as Mary Yellan, the female lead in Jamaica Inn (1939). It was Laughton (acting as co-producer) who changed her name to Maureen O’Hara – it was a better fit on cinema marquees – and offered her a seven-year film contract, on which her signature was witnessed by her parish priest.
Assuming she would remain in London, she took a long lease on a house in Hyde Park, but lived there for only six weeks before her success in Jamaica Inn led to her being invited to Hollywood to play the part of the gipsy girl Esmeralda, opposite Laughton’s Quasimodo, in The Hunchback Of Notre Dame (also 1939). She subsequently starred in A Bill Of Divorcement and Dance, Girl, Dance (both 1940).
When America entered the war in 1941, Maureen O’Hara found herself marooned in Hollywood. Unhappy and homesick, she plunged herself into her work, and was soon making five films a year, many of questionable merit.
Throughout the 1940s and 1950s Maureen O’Hara was often described as the “Queen of the Swashbucklers”; always capable of holding her own in a man’s world. Passive roles were not for her; she was an active, high-spirited and often athletic presence. When Paul Henreid stole a screen kiss in The Spanish Main (1945), she had him flogged, and when Tyrone Power did likewise in The Black Swan (1942) she knocked him out. In real life Maureen O’Hara scolded a drunkenly amorous Errol Flynn.
Maureen O'Hara in Lady Godiva Of Coventry, 1955. Maureen O'Hara in Lady Godiva Of Coventry, 1955.
She co-starred with Alec Guinness in Our Man In Havana (1959) and as the mother in Disney’s The Parent Trap (1961). With John Wayne, she made a further three films including McLintock! (1964) and Big Jake (1971); after the latter she made no feature films for two decades.
In 1991 Maureen O’Hara returned to the screen with her old fire and energy for the comedy Only The Lonely, in which she played Rose Muldoon, the smothering Irish mother of John Candy’s Chicago policeman.
Maureen O'Hara in 1994
She became an American citizen in 1946. She had five homes and for much of her later life lived on the Caribbean island of St Croix. In 1993 Maureen O’Hara was honoured by the British Film Institute for her contribution to “moving image culture”. She published her memoirs, 'Tis Herself, in 2004.
“If you are proud of one in 15 films you’ve made you can consider yourself lucky,” Ronald Colman once told her. “Well,” noted Maureen O’Hara, “I’m proud of more than that and I know that I’ve been in some movies that’ll be played long after I’m dead and gone.”
Maureen O’Hara married, in 1939, George Hanley Brown, a British film director whom she met while making Jamaica Inn, and who subsequently, in another marriage, became the father of the journalist and editor Tina Brown. His marriage to Maureen O’Hara was annulled in 1941 and later that year she married Will Price, another director with whom she had worked, and with whom she had a daughter. This marriage was later dissolved.
Her third husband was the aviator General Charles Blair, of the US Air Force, who in 1951 flew solo over the North Pole in a wartime fighter plane. They married in 1968. A former chief pilot for Pan American, Blair died in a plane crash in the Caribbean 10 years later.
She is survived by her daughter.
Maureen O’Hara, born August 17 1920, died October 24 2015

Sunday 25 October 2015

Howard Kendall, Everton FC manager

Howard Kendall celebrates an Everton win in the dressing-room in 1984
Howard Kendall celebrates an Everton win in the dressing-room in 1984
Howard Kendall, who has died aged 69, managed Everton Football Club in the 1980s, the greatest era of success in the team’s modern history, breaking the stranglehold that its neighbours Liverpool had exerted on the domestic game for a decade.
Having won the league championship with the club as a player, Kendall was already a favourite of the fans when he returned to Goodison Park in 1981. Yet three years of disappointment followed as he rebuilt the side and he came close to losing his job before his patience was rewarded.
Kendall had brought in players overlooked by other clubs or yet to reach their potential. Among them were the goalkeeper Neville Southall, midfielders Peter Reid and Kevin Sheedy, and strikers Andy Gray and Adrian Heath. Kendall himself retired from playing only on taking the manager’s role, and the team responded to his relaxed ways and belief that camaraderie was best built over several drinks and a meal in a Chinese restaurant.
Like Kendall in his youth, his team had both flair and determination. These elements began to first fuse together during the run up to the Milk Cup final in 1984, where they lost to Liverpool. But later that season they defeated Watford to claim the FA Cup.
The following year, Everton won the First Division by a margin of 13 points over their Merseyside rivals; and while they lost in the final of the FA Cup to Manchester United, they also won the Cup Winners’ Cup by beating Rapid Vienna – having defeated Bayern Munich in the semi-final. It remains the last time that an Englishman has managed an English team to a European trophy.
In 1986, Everton twice finished runners-up to Liverpool as they won the Double, but in 1987 they were champions once again, this time by nine points. Gary Lineker, who had moved from Everton to Barcelona the previous summer, has always maintained that Kendall’s was the better side.
Howard Kendall was born on May 22 1946 at Ryton, near Newcastle. He was an only child and became the focus of his parents’ hopes. His father had worked as a miner before ill-health compelled him to take other jobs, while his mother sold tickets in a cinema.
Howard Kendall in 1969 during his playing days  Howard Kendall in 1969 during his playing days
Encouraged by his father, who taught him to volley by kicking balloons, Kendall showed promise at both football and cricket. His skill with the bat led to the offer of trials from several counties but his love of soccer won out. At 15, he left Washington Grammar School – where he played in the same team as Bryan Ferry, later of Roxy Music – and joined Preston North End as an apprentice.
Thinking that he might not make the grade, for a while Howard gained experience of ladies’ hairdressing. But he made his professional debut at 16, and a year later became the youngest player at that time to appear in the FA Cup Final. But Preston, then a Second Division side, lost in injury time to West Ham.
Playing in defence, Kendall captained a junior England team (including Harry Redknapp) to victory in a European tournament soon afterwards, although he was never to win a full cap. Yet his potential was evident and in 1967 he joined Everton. Bill Shankly had coveted him for Liverpool and was so angry at the board’s refusal to buy him that he sent a letter of resignation, which was ignored.
On arriving at Goodison in his new MGB, Kendall was advised by the manager Harry Catterick to change the car, because “you’ve no idea what they’re like around here!” Yet the supporters took to him at once, especially when he was moved into midfield, allowing him to use his skill at reading the game to create chances as well as to snuff them out.
“The Holy Trinity”, as the trio that Kendall formed with Alan Ball and Colin Harvey was dubbed, guided Everton to the Cup Final in 1968. There they were beaten by West Bromwich Albion, but in 1970 they achieved apotheosis by claiming the league title. Kendall assumed the club captaincy and many thought that the side would dominate English football in the coming decade.
In the event it was Liverpool who went on to glory. Everton struggled for form and finished 14th in 1971, leading to the departure of Ball, who had lost his appetite for goals. In 1974, Kendall was sold to Birmingham, moving on to Stoke – whom he helped gain promotion to the top flight in 1979 – before having an initial stint as player-coach at Blackburn Rovers.
Kendall on the pitch in 1968Kendall on the pitch in 1968  
He quit as Everton’s manager for the first time in 1987, frustrated by the post-Heysel ban on English teams playing in Europe. Wanting to test himself against Continental teams, he was in line to take over from Terry Venables at Barcelona before the opportunity fell through. Instead he went to Athletic Bilbao, who had wanted Kenny Dalglish but were told by Liverpool to approach Kendall instead.
While he enjoyed his time in Spain, he was hampered by the club’s policy of just signing Basques and had only moderate success. Accordingly, in 1989 he returned to England to manage Manchester City. The following year he was the favourite to replace Bobby Robson as the national coach, but he and the selectors had reservations about the pressures the isolated nature of the job would place on him. In the event the job went to Graham Taylor, whose ideas about the game were perhaps the antithesis of Kendall’s devotion to close passing.
Another surprise came when Kendall chose instead to return to Goodison, saying that his relationship with the club was like a marriage compared to the affairs he had had with other teams. But the side struggled and his relationship with the board was more fraught than in the past. He resigned in 1993 after failing to get backing to buy Dion Dublin.
This opened a cycle of short-lived appointments which were to prove his last in football. A brief spell in Greece was followed by a shorter one at Notts County, which he left under a cloud amid unsubstantiated rumours about his drinking. He went to Sheffield United, and then back to Everton in 1997 for a final stint which ended with the club avoiding relegation only on the last day of the season.
He returned once more to Greece but was sacked by Ethnikos Piraeus after four months. Kendall retired to Formby, wrote a column for the Liverpool Echo and published a memoir.
He was divorced from his first wife, Cynthia and is survived by a son and two daughters of that marriage and by his second wife, Lil.
Howard Kendall, born May 22 1946, died October 17 2015

Saturday 17 October 2015

Joan Leslie

Joan Leslie aged 15
Joan Leslie aged 15
It once looked as though she might be destined for superstardom. When she was 15 Warners cast her opposite Humphrey Bogart in the film noir High Sierra (1941), as the girl with a deformed foot with whom Bogart’s gangster falls in love, although she was unimpressed by her co-star, describing him as “generally surly”.
Joan Leslie and James Cagney in Yankee Doodle DandyJoan Leslie and James Cagney in Yankee Doodle Dandy
The same year she played Bogart’s sister in the circus thriller The Wagons Roll at Night. For her 16th birthday, Warner Bros gave her a new Buick and cast her in Sergeant York (1941) as the First World War hero Gary Cooper’s child bride (Cooper gave her a doll). The next year, aged 17, she was dancing opposite James Cagney in Yankee Doodle Dandy (1942) as the prompter who marries Cagney’s songwriter.
In 1943 she partnered Fred Astaire in The Sky’s the Limit ( “He said I could dance better than Ginger”); Eddie Cantor in Thank Your Lucky Stars; and Ronald Reagan (This Is the Army). She recalled the future president of the United States as “nice, charming, well-prepared, easy to rehearse with”, feeling he might have “proven himself” had he been given better roles.
Joan Leslie with Fred Astaire in The Sky's the Limit
Joan Leslie with Fred Astaire in The Sky's the Limit 
Many considered her best film to be The Hard Way (1943), in which she played the younger, prettier, sister of Ida Lupino, for whom Lupino’s character brawls to secure stardom.
Joan Leslie’s fresh good looks and innocent demeanour often led to her being cast in forces sweetheart and girl-next-door roles. But by the mid-1940s she had proved that she could play anything, from comedy (The Male Animal, 1942, with Henry Fonda and Olivia de Havilland), to heavy drama (The Hard Way) and musicals (This Is the Army).
In 1946 Motion Picture Herald voted her the Most Promising Star of Tomorrow. But she was beginning to tire of the roles she was being offered, and the same year sued to get out of her contract with Warners, claiming that it was invalid since she had been a minor when she signed it. The case was bitterly contested and dragged on for two years, during which time she was unable to work.
Joan Leslie with Fred Astaire in The Sky's the LimitJoan Leslie with Fred Astaire in The Sky's the Limit 
Although Joan Leslie finally won, she found that the big studios had lost interest. She only made one more major film, The Skipper Surprised His Wife (1950), for MGM, then found a berth at Republic Studios, where she recalled that the horse Trigger was a bigger star than she was. After appearing in The Revolt of Mamie Stover (1956), with Jane Russell, she retired from the big screen.
Joan Agnes Theresa Sadie Brodel was born into a devout Roman Catholic family in Detroit on January 26 1925. Her father was a bank clerk and her mother a pianist who encouraged her children, Joan and her two older sisters, Betty and Mary, to play musical instruments.
When their father lost his job during the depression, the three sisters, billed as the Three Brodels, became vaudeville performers to help support the family, singing, dancing and performing sketches in theatres across the eastern US and Canada. “Wherever we were playing we’d take a house and the kids would go to the local school,” she said. “We’d be at school during the day and dancing on the stage at night.”
Joan Leslie in The Skipper Surprised his WifeJoan Leslie in The Skipper Surprised his Wife  
By the age 10, Joan Brodel’s good looks had caught the attention of New York model agencies. In 1936, aged 11, she was picked by George Cukor to make her (uncredited) Hollywood debut in his melodrama Camille, playing Robert Taylor’s young sister opposite Greta Garbo. “The white clapper-board school house on the [MGM] lot was awash with pint-sized stars,” she recalled in 2010.
Her stint at MGM was short-lived, however, and her big break came when Warner Bros signed her to a contract, changing her name to Joan Leslie, when she was 15. As well as appearing in numerous wartime films, Joan Leslie was a big contributor to the war effort, touring defence plants and army bases. She was a regular at the Hollywood Canteen, where GIs home on leave could meet the stars, and in 1944 starred in a morale-boosting film (Hollywood Canteen) in which homesick “soldier” Robert Hutton loses his heart to film star Joan Leslie, playing herself.
Joan Leslie with James Cagney in Yankee Doodle DandyJoan Leslie with James Cagney in Yankee Doodle Dandy  
She became unhappy with being typecast as the “nice girl”, though she admitted some truth in the stereotype: “I really was a nice girl. My family sheltered me. I rode my bike on to the lot every day from the house where we lived, just a few blocks away.”
Joan Leslie in 1998Joan Leslie in 1998  
She recalled that the director Teddy Goulding refused to test her for the lead in The Constant Nymph (1943) because he could only think of her on a bicycle eating an apple. Joan Fontaine got the part instead. Once, when Joan Leslie was photographed alongside Errol Flynn at a reception, Jack Warner ordered the pictures be destroyed, fearing they might damage her reputation.
In 1950, she married William Caldwell, an eminent Los Angeles obstetrician, with whom she had identical twin daughters. After appearing in her last major film, she abandoned her screen career to devote herself to her family and raise money for Catholic charities. Later on, she appeared in television commercials and took cameo roles in series such as Murder, She Wrote, Charlie’s Angels and The Incredible Hulk.
Her husband died in 2000. Their daughters survive her.
Joan Leslie, born January 26 1925, died October 12 2015

Richard Davies

Richard Davies in Please Sir!
Richard Davies in Please Sir!
Richard Davies, who has died aged 89, was a character actor who became familiar to television and cinema audiences for his gap-toothed features and broad Welsh accent.
On television he was best known as the Welsh maths and science teacher Mr Price, the ever-cynical foil to John Alderton’s idealist teacher “Privet” Hedges (“I pity you, Hedges”) in the LWT sit-com Please Sir!, which ran for four series from 1968. He also appeared in the spin-off series The Fenn Street Gang and as Clive in Oh No, It’s Selwyn Froggitt! opposite Bill Maynard in the mid-1970s.
Richard DaviesRichard Davies
On film he played Private 593 Jones in Zulu (1964), with Stanley Baker and Michael Caine, bravely keeping the hordes at bay in the battle of Rorke’s Drift. In the 1972 film of Under Milk Wood, starring Richard Burton and Elizabeth Taylor, he played Mr Pritchard, a failed bookmaker who committed suicide “ironically” by ingesting disinfectant – one of the two late husbands of Mrs Ogmore-Pritchard. On stage in the same play he took the roles of Mr Ogmore, Captain Cat and the Reverend Eli Jenkins.
The son of a railway guard, Richard Davies was born on January 25 1926 at Dowlais, Merthyr Tydfil, Glamorgan. After leaving school aged 14, he followed his elder brother Ron down the pits. He had always enjoyed drama at school, however, and soon left to pursue a career in acting. Moving to London, he joined the Pilgrim Players (which also nurtured the talents of Richard Burton and Anthony Hopkins) and began his career in rep.
While working in a theatre in Colwyn Bay, he married Beryl, the daughter of his landlady, with whom he had a son. Called up for military service during the war, he was sent to train for the Burma Military Police, but was rescued by the captain of the Combined Services Entertainment Unit, and spent the rest of the war entertaining the troops.
Returning to London, he appeared on stage in Carrington VC, toured Africa with the Old Vic in 1952 and appeared in the supernatural film drama The Night my Number Came Up (1955) with Michael Redgrave.
From the 1960s onwards he enjoyed a steady flow of television work, taking semi-regular roles as the slimy police informant Sloan in Z-Cars (1962-65) and as the foundry worker Idris Hopkins in Coronation Street (1974-1975).
Richard Davies in 'Oh No, It's Selwyn Froggitt!', 1974 Richard Davies in 'Oh No, It's Selwyn Froggitt!' 
He was Mr White, the occupant of a hotel room where Basil and Sybil have hidden the dead body of another guest in the Fawlty Towers episode The Kipper and the Corpse (1979). In 1982 he appeared as the loquacious union leader Clive Jenkins in a Not the Nine O’Clock News parody of the BBC’s Question Time, doggedly insisting: “I will have my say” when there is an attempt to silence him on the subject of imminent nuclear holocaust.
He was a holiday camp manager held prisoner by the Bannermen in the Doctor Who episode Delta and the Bannermen (1987). In One Foot in the Grave (1992), he played a childhood playmate of Victor Meldrew who has bitter memories of the sad fate of a hamster he had left with Meldrew during the holidays (it was eaten by a cat – Meldrew claimed it was suicide).
Other television credits included parts in such series as Dixon of Dock Green, The Sweeney and Van der Valk, as well as in Taff Acre (1981), Whoops Apocalypse (1982) and And the Beat Goes On (1996). Film credits included Oh! What a Lovely War (1969) and the film adaptation of Please Sir! (1971).
Richard Davies is survived by his second wife Jill, whom he married in 1955, by their son and daughter, and by the son of his first marriage.
Richard Davies, born January 25 1926, died October 8 2015

Saturday 10 October 2015

Lord Howe of Aberavon-Geoffrey Howe

Geoffrey Howe in 1990
Geoffrey Howe in 1990 
Lord Geoffrey Howe of Aberavon, who has died aged 88, served as Margaret Thatcher’s faithful and apparently docile praetor for 15 years, 11 of them as Chancellor and Foreign Secretary, before astonishing the Commons with a resignation speech of such bitterness that it triggered the prime minister’s downfall.
Though never a dazzler – his opposite number Denis Healey famously compared a Howe broadside to being “savaged by a dead sheep” – his ponderous, monotone exterior concealed a subtle wit, a profound legal intelligence and a dogged bravery.
Underneath Howe’s mild, avuncular manner lay a convinced monetarist minded and equipped to implement policies instinctively dear to Mrs Thatcher. As her Opposition Treasury spokesman to 1979 and subsequently as Chancellor, Sir Geoffrey Howe laid the economic foundations of Thatcherism, with its emphasis on free markets and competition. 
His first budget, in June 1979, was over-ambitious. The Tories had promised to honour an independent study – by Prof Hugh Clegg (grandfather of Nick) which recommended restoring public sector pay to levels close to where they were before Labour’s IMF-enforced cuts. Howe also cut the standard rate of income tax to 30p in the pound. To balance the books, VAT was almost doubled, with inflationary effects, to 15 per cent. Exchange controls were abolished, Mrs Thatcher having warned him: “On your own head be it, Geoffrey, if anything goes wrong.”
The next two years saw a much tighter stance on public sector pay accompanied by factory closures and steep rises in unemployment, as Howe tightened the money supply and allowed exchange rates to rise.
In the teeth of a world recession, his 1981 budget was crucial – and much criticised even on the Tory benches. It cut public spending in real terms and – in a severe fiscal squeeze – increased the duty on petrol. Unemployment rose further and the Conservatives’ standing in the polls plummeted.
Yet, although it did not seem so at the time, it proved the turning point for the government’s fortunes. From that day output and growth began to recover. By his fifth and last budget in 1983, Howe was able to cut income tax once more.
Geoffrey Howe with his Chancellor's 'red box'Geoffrey Howe with his Chancellor's 'red box'
Rewarded with the Foreign Office after that year’s landslide election victory, Howe gained a reputation as an unflappable slogger and an effective ambassador for a country whose international stature he had been instrumental in reviving. He was widely seen as Mrs Thatcher’s natural successor, particularly were some unforeseen incident to end her tenure. He certainly harboured ambitions to enter Number 10.
But his time at the Foreign Office was marked by growing tensions with her, notably over Britain’s relations with Europe. These reached crisis point at an EU summit in Madrid in June 1989 when, with the Chancellor Nigel Lawson, Howe forced her to agree to conditions for entering the European Exchange Rate Mechanism by threatening to resign. Mrs Thatcher took her revenge a month later, replacing him with the little-known John Major.
To his subsequent regret, Howe accepted the job of Leader of the House, Lord President of the Council and Deputy Prime Minister. But the move amounted to a demotion, and his humiliation was compounded when he was required to give up the Foreign Secretary’s residence, Chevening.
Amid an increasingly bitter atmosphere in Cabinet, Nigel Lawson resigned that autumn; Howe held on but found himself frozen out of the Prime Minister’s inner circle. He found the Queen asking him about Britain’s decision to join the ERM before he even knew it had happened.
The last straw was Mrs Thatcher’s performance at the Rome Summit in October 1990 from which she returned declaring “No, No, No!” to closer European economic and political union. He resigned on November 1.
In Howe’s ministerial heyday, the New Statesman ran a competition on the most doom-laden words you could hear on arriving at a London dinner party. The winning entry: “Come right in, you’ll find Sir Geoffrey’s in sparkling form.” If Mrs Thatcher felt she had little to fear from “Mogadon man”, she was disabused on November 13 1990 when he rose to explain his resignation to a packed House.
In a devastating piece of parliamentary oratory, Howe delivered a ferocious indictment of Mrs Thatcher’s style of leadership in which he compared her treatment of her subordinates negotiating in Europe to that of a cricket captain who sends his batsmen to the crease, having first broken their bats in the changing room.
With a final devastating flourish he threw the door open to a leadership challenge by declaring: “The time has come for others to consider their own response to the tragic conflict of loyalties, with which I have myself wrestled for perhaps too long.”
No one present had ever heard a speech with such devastating effect, let alone from a reputed poodle like Sir Geoffrey.
“I didn’t think Geoffrey would ever make a speech like that”, those sitting close to Mrs Thatcher heard her say. Howe’s words provided Michael Heseltine with the launch pad he needed to bid for the leadership. Within two weeks Mrs Thatcher had been forced to step down, to make way for Major. She never forgave Howe for his “bile and treachery”.
Many felt it odd that Howe chose to resign when Britain had joined the ERM. The deeper reasons for his anger became apparent in his autobiography, Conflict of Loyalty (1994), which painted a picture of an incompatible political marriage that had broken down after years of mutual irritation, antagonism and incomprehension. What is perhaps remarkable is that the final shipwreck did not occur earlier than it did.
Richard Edward Geoffrey Howe was born into a middle-class Welsh family on December 20 1926. Precociously gifted, he won an exhibition to Winchester and so graduated from what he himself termed the “Port Talbot Taffia”, in which his contemporaries were Richard Burton and the trade unionist Clive Jenkins. Indeed his Welshness in later life was barely discernible.
Geoffrey was at Winchester for the duration of the Second World War. He took as little exercise as possible, while developing his keen interest in politics through the school debating society. He also ran the Home Guard signal platoon and – prophetically – a National Savings group. Active too in the photographic and film societies, he would often as a statesman be seen — and photographed — snapping the sights of the world.
A fine classicist, he won a scholarship to Trinity Hall, Cambridge. But first, in 1945, he joined the Army. After a six-month course in maths and physics, he was commissioned into the Royal Signals and served in East Africa, where he climbed Kilimanjaro.
Going up to Cambridge in 1948, he switched from Classics to Law. His father, a solicitor and coroner, had given him work during his gap year that had stimulated an interest in a legal career. Howe coupled his studies with an active involvement in politics, following what would become the classic post-war route to a Tory seat.
He chaired the university Conservative Association then, having graduated, was a founder of the Bow Group, becoming its chairman in 1955, from 1957 managing director of its magazine Crossbow, and in 1960 its editor, a post he held for two years.
He was called to the Bar by the Middle Temple in 1952 and practised in Wales, specialising in industrial accident cases. He served on the Council of the Bar from 1957 to 1961, and was a council member of Justice. One of the highest earners in his branch of the profession, he sacrificed the chance of wealth for a political career.
Howe fought the hopeless seat of Aberavon in 1955 and 1959. Then he was fortunate to win the nomination for Bebington, in the Wirral, in time for the 1964 election. Such was the anti-Tory swing that the 9,000 majority he inherited was cut to 2,000.
Prime Minister Margaret Thatcher and Geoffrey Howe during their trip to Moscow 1987Prime Minister Margaret Thatcher and Geoffrey Howe during their trip to Moscow 1987
At Westminster he became secretary of the Conservative backbench Health and Social Service Committee, and was soon made a front bench spokesman on labour and welfare. Then, in the 1966 election, he lost his seat.
Howe returned to the Bar (he had taken silk in 1965) and served as deputy chairman of Glamorgan Quarter Sessions. More significantly for his future, he sat on the Latey Committee on the age of majority, which recommended the reduction in the voting age from 21 to 18; the Street Committee on racial discrimination; and the Cripps Committee on discrimination against women. He also chaired an inquiry into alleged abuse of mental patients at Ely Hospital, Cardiff, in 1969.
He returned to the Commons in 1970 for the safe seat of Reigate, and Edward Heath appointed him Solicitor-General, with the customary knighthood. Howe had an unhappy time as the draftsman of Heath’s disastrous Industrial Relations Bill, which imposed a legalistic framework that the unions refused to accept, triggering widespread shop floor unrest.
In 1972 Heath moved him to the new post of Minister for Trade and Consumer Affairs, with a Privy Councillorship. But he played no major role in policy as Heath and his senior colleagues made an economic “U-turn” despised by the Right, then showed clumsiness in taking on the miners.
Boundary changes before the snap “Who governs Britain?” election called by Heath for February 1974 redrew Howe’s seat as East Surrey, and in defeat Heath appointed him a social services spokesman.
When Mrs Thatcher challenged Heath for the leadership early in 1975 Howe stood in the second ballot, to put down a marker. The victrix saw in him a like mind for radical change in Tory policies and appointed him Shadow Chancellor.
He spent four years shadowing Healey, during which time Britain had to be bailed out by the International Monetary Fund. Though Healey was a far more adept parliamentary performer, it was Howe who in his patient, studious fashion was seizing the initiative. He co-drafted the Conservatives’ landmark policy document “The Right Approach to the Economy”, and his accession to No 11 Downing Street once Mrs Thatcher became prime minister was a formality.
Having served a full parliament as an ultimately successful Chancellor, Howe was Foreign Secretary for six years, the longest tenure since the First World War. His diplomatic style was one of patient and lawyerly negotiation leading to incremental advance and carefully-crafted compromise, rather than dashing forays into enemy-held territory.
Among his achievements was the agreement with China’s Communist government over the future of Hong Kong, which included a promise from Beijing, thus far mostly honoured, to allow its inhabitants to retain their way of life for at least a further half century.
Howe developed a strong relationship with President Reagan’s Secretary of State George Schultz and played a constructive, if largely unseen, role in helping to widen the chinks in the Iron Curtain and in negotiating the 1985 Anglo-Irish agreement.
Respected by his staff, Howe was a courteous and considerate man, had a fierce appetite for work, and was the master of briefs presented to him. His lust for detail was so strong that in his memoirs he proudly noted that he had reduced the number of unpaid parking tickets by foreign diplomats from 109,000 to 7,800 per year.
But the differences in tone between the Foreign Office and Number 10, particularly over Europe and South Africa, undermined him. His patient emollience was frequently overshadowed by the Prime Minister’s rumbustious language and thirst for victory. Backed up by Charles Powell, the career diplomat who had become entrenched as her private secretary, she came to see him as personifying all she disliked in the mandarin style.
Douglas Hurd dated the estrangement from the Westland affair in 1986 when Mrs Thatcher was almost forced to resign and Howe and Hurd pressed for a return to cabinet government. “But nothing happened,” Hurd recalled in his memoirs, “except that Mrs Thatcher recovered her poise. The Prime Minister became increasingly overbearing towards Geoffrey Howe who had been her close political companion in the early days”. Or as Howe himself put it: “She was often exasperated by my tenaciously quiet brand of advocacy.”
By the time he was removed from the Foreign Office it was common knowledge that they were at their wits’ end with each other. Indeed many colleagues wondered why he had put up with it for so long. The most likely reason is that he remained anxious to succeed her.
Goeffrey Howe with wife Elspeth and dog at home in 1994Goeffrey Howe with wife Elspeth and dog at home in 1994
In his memoirs Howe admitted that his first instinct when the Foreign Secrtaryship was taken from him had been to resign. He probably should have, because his last year in the government was miserable and he nurtured a gnawing sense of grievance over Mrs Thatcher’s “ceaseless and hectoring interruptions” and petty acts of rudeness. In his book The Chancellors, Edmund Dell suggested that even differences over Europe might not have led to the final breach, had any mutual sympathy survived between these two pillars of the Thatcher revolution.
After his resignation speech, Howe was deluged with little bags from constituencies containing “thirty pieces of silver”, which he gave to Guide Dogs for the Blind. Yet among his colleagues he retained his reputation for decency, honesty and courtesy. In 2005, when Mrs Thatcher marked her 80th birthday, Howe gave a generous speech about her achievements: “Her real triumph was to have transformed not just one party but two, so that when Labour did eventually return, the great bulk of Thatcherism was accepted as irreversible,” he said. The events of 1990, he explained later, “could not wipe out 15 years of close comradeship”.
Geoffrey Howe was knighted in 1970 and created a life peer in 1992. He became a Companion of Honour in 1996.
In the Lords, he spoke on foreign policy issues and led opposition to the Nolan Committee’s attempts to curb MPs’ outside interests and the Labour government’s plan to convert the upper house into an appointed body. He took on a number of directorships, and advisory posts in the law and academia. He formally retired from the Lords in May 2015.
Geoffrey Howe married, in 1953, Elspeth Shand, who enjoyed a distinguished career in her own right and was sometimes reckoned the driving force behind her husband’s ambitions. Elspeth Howe was created a life peer as Lady Howe of Idlicote in 2001. She survives him, with their son and two daughters.
Lord Howe of Aberavon, born December 20 1926, died October 9 2015

Phil Woods, saxophonist

Phil Woods in New York circa 1977
Phil Woods in New York circa 1977 
Phil Woods, who has died aged 83, was one of the most admired jazz saxophonists of his generation; his style, clearly derived from that of Charlie Parker, was distinguished by a flawless technique and the kind of fluency which almost gave the impression that the instrument was playing itself.
Over a long career his tone grew somewhat darker and his phrases more cryptic, but he was impervious to passing jazz fashions and remained a dedicated exponent of the complex bebop style.
Phil WoodsPhil Woods
Philip Wells Woods was born on November 2 1931 in Springfield, Massachusetts. At the age of 12, he unexpectedly inherited an ancient alto saxophone from an uncle and, after some nagging by his mother, reluctantly went for a trial lesson. “And that was the moment my life changed,” he later claimed. While at high school, he took lessons in jazz improvisation with the pianist Lennie Tristano in New York and visited the jazz clubs on 52nd Street, where he experienced the playing of Parker at first hand. He later enrolled at the Juilliard School of Music, but because it did not teach the saxophone, studied the clarinet as his main instrument.
After graduating in 1952, Woods became part of the busy New York jazz scene. The first album under his name, Woodlore, was released in 1955 to great critical acclaim. This was the year of Parker’s death and strong hints were dropped that here might be a potential successor. That idea was reinforced the following year, when Woods joined the band led by Dizzy Gillespie, Parker’s former colleague; the association reached an almost bizarre level shortly afterwards, when Woods married Parker’s former partner, Chan Richardson.
Woods later described his short period with Gillespie’s band as the equivalent to gaining his Master’s degree, and it was followed by a decade of furious activity at the highest level. Between touring with the bands of Buddy Rich, Benny Goodman, Quincy Jones and Clark Terry, he led his own quintet, played on innumerable recording sessions of all kinds, and spent summers teaching music courses across America.
Among his notable recordings from this period are Rights of Swing (1960), in which he leads an octet, and the live recording Monk at Town Hall (1959) where Woods creates a long and ever-expanding melody out of a theme by Thelonious Monk, a mere four bars long, called Friday The Thirteenth. Even Charlie Parker himself never attempted that.
To everyone’s surprise, he and Chan moved to Paris in 1968. The reason was partly unhappiness with the political upheavals in America at the time, but mainly because, as Woods said, “I was getting sucked into the studio thing and wasn’t playing any music.”
In Europe Woods formed a band he called the Rhythm Machine, with which he moved as far as he ever would from the shadow of Parker. European jazz at the time had reached a particularly adventurous stage, and it inspired him.
The band met with great success and took up most of his time, although he did write some music for radio and television. The Rhythm Machine lasted for four years, the final two with a British pianist, Gordon Beck. A 1970 recording from the Frankfurt Jazz Festival catches the music of this band at its peak.
Woods returned to America in 1972 and settled in Delaware Water Gap, Pennsylvania. This was when he launched the quartet, later quintet, which was to be his preferred medium for the rest of his career. There were remarkably few changes over the years, and the degree of mutual understanding that developed among its members was quite exceptional. Among its many excellent albums were: Birds Of A Feather (1981), Bouquet (1987), Evolution (1988) and Mile High Jazz (1996). Some of the quintet recordings, especially those with the trumpeter Tom Harrell, feature examples of Woods’s rarely heard clarinet playing.
Altogether, Phil Woods has more than 100 albums under his own name, many more as a member of other people’s bands and yet others to which his contribution is fleeting, and often uncredited. One of these was the single version of Billy Joel’s song Just The Way You Are, which reached No 2 in the charts, with Woods’s brief alto saxophone solo as an essential ingredient. He also played on tracks by Paul Simon, Steely Dan and others.
In later years Woods suffered increasingly from emphysema, until he was obliged to carry an oxygen tank with him. His last concert took place at the Manchester Craftsmen’s Guild, Pittsburgh, on September 4. He announced the final item as “my last number – ever”. When it finished, he walked off, leaving the instrument on stage.
He and Chan divorced in 1977. He then married Jill Goodwin, sister of his drummer, Bill Goodwin. She survives him with their son and three stepdaughters.
Phil Woods, born November 2 1931, died September 29 2015