"I have what is almost a need",
he says, "to balance comedy with drama". It is this two way pull
which gives his Carry On characterisations their surprising depth. Inside
many of his funny little men is a serious little man struggling to get
out.
He started his Carry On life with
Sergeant, playing a nervous chap so obsessed with his shortcomings, that he
fails to see the woman lusting after him. Then with a snap of the fingers,
something happens inside him which magically transforms him into an indomitable
go-getter. As Horace Strong, one
of the rookie soldiers, he is too absorbed in his own imaginary illnesses to
notice that Dora Bryan is pursuing him and is madly in love with him. The
Company Medical Officer calls his bluff and puts him through every medical test
in the book and this changes him into a transformed character who not only wins
the girl but also becomes a model soldier.
Teacher, Constable and Cruising have hi m
as very, similar characters, nervous and accident-prone, who fails to be able to
get his words out in the right order but again he comes through at the end to
win the girl.
His career spans almost the whole series
of films, from Sergeant to Emmannuelle and he was absent from several in the
middle where he was concentrating on theatre work, but perhaps his best role is
that of Hengist Pod in Cleo, the hen-pecked Ancient British cave-dweller, who
events the square wheel. Upon being captured by the Romans, whilst riding
his square-wheeled bicycle, Senna, to get help, he is, through mistaken
identity, thought to be a great warrior and becomes Caesar's feared
bodyguard. Again he starts off playing the timid character and towards the
end of the film he moves into the go-getter character as shown by him dragging
his nagging wife by her hair into their cave so he can have his wicked way with
her.
After his nine-film break he returns to
the Carry On stable with a somewhat altered character. He is more
ineffectual and is permanently impaired; the Mayor who continues loses his face
or his trousers in Girls; or Captain S Melly in England, who is totally
useless. The only redeeming character in his latter Carry On years is the
expectant father he portrays in Matron, who is always being called due to his
unproductive wife and this character gives him some of his funniest lines, he is
really just comic relief, totally unimportant to the plot.
Kenneth was the Carry Oner who started
acting at the earliest age. He was born in London on 6th June 1918 and his
first appearance on stage was at the tender age of 2 in Portsmouth where his
father, a petty officer on the Royal Yacht Victoria and Albert, was helping to
set up the service concerts for charity. "I've photographs that show
a bunch of chaps dressed as black and white minstrels, my mother with a money
box, my father with a banjo, and me perched on top of the barrel
organ". Kenneth and his brother appeared in concerts throughout his
childhood with his father showing him the basic steps.
His father left the Navy to run a bar,
which Kenneth served behind, whilst taking drama lessons. In 1933 he won a
place at the Central School of Speech and Drama in which his final year saw him
win a gold medal. His first professional role was in J M Barrie's The Boy
David in 1936, and he made his film debut three years later in Poison Pen.
He served with the Middlesex Regiment in
war-time and when he de-mobbed, he toured the Middle East with the famous Stars
in Battledress and he became a close friend to fellow actor William
Devlin. While in Cairo, Kenneth received a message from Devlin asking him
to join him in the newly formed Bristol Old Vic. He jumped at the chance
and set off for England in what he describes later as "the slowest boat
journey on record". When he arrived at the theatre, he was on stage
before he had time to unpack.
When he looked back on his three years at
Bristol, playing classic roles and modern plays, he thought of it as one of the
most satisfying periods of his stage career.
His two-way pull, however, pulled him back
to comedy and he found he had an irresistible urge to work in radio.
Working with Ted Ray in Ray's A Laugh, and with Jack Warner and Kathleen
Harrison in Meet The Huggetts, and with Eric Barker in Just Fancy, he became
something of a household name to listeners and he went on to meet Ted Ray and
Eric Barker again when they appeared in guest roles in the Carry Ons.
When he started the Carry Ons in 1958, he
considers this a watershed in his career. "Like a cork on an ocean of
joy", is how he describes it and it led to further film and stage roles,
including the significant role in the
West End stage play version of
A Funny Thing Happened On The Way To The
Forum,
which saw Frankie Howerd in the lead. Kenneth took over direction of the
show when it went o n tour with fellow Carry Oner Charles Hawtrey filling the
West End role.
Another milestone step forward in his
career occurred when he starred in Hi-de-hi, 'Allo 'Allo and
Rentaghost
on TV.
He never watches his own work when it
appears on television, "What's done is done", he says, "and on
with the next". But there is one Carry On that he always watches out
for and that is Carry On Nurse as it is like a family movie to him. He
isn't looking out for his own performance, he is interested in his own son
Jeremy's, then aged three and a half, who comes in at the end to greet his
real-life daddy when he leaves the hospital. Jeremy appears with him again
years later in Dick, Behind and England.
Kenneth died on November 28, 1993 (age
75) in Harrow, Middlesex, England from Cancer. He was cremated at Breakspear
Crematorium in Ruislip.
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