The show must go on - Ken Dodd

Published Thursday 20 May 2004 at 15:00

Septuagenarian funnyman Ken Dodd, renowned for his extended sets, is still gripped by the desire that took hold of him at a young age - to entertain. Pamela Watford reviews his career and finds out what he thinks of comedians today

When Ken Dodd takes the stage, he hates to leave it and audiences are happy to be held captive by the man whose act is like a marathon. He has long since achieved his ambition to take his show on the road and still packs theatres nationwide with his timeless hilarity and amazing vitality.

Ken Dodd is unique, he is the master of timing, wit and fast-moving comedy, which covers any aspect of life. From the old school of zany visual comics, Doddy is also a clever comedian, who knows exactly what his audiences want. He can warm up the crowd within minutes and like the old court jester, with his tickle stick and stuck up hair, he has them in hysterics, as he bombards them with non-stop comedy.

This year Ken Dodd celebrates 50 years in the business. He says: “In my 50th professional year, I am very happy to be able to play so many theatres still to such wonderful audiences.” Yet his entertaining goes back further than that, when as an eight-year-old he made his stage debut at St Edwards Orphanage, Liverpool. Ventriloquism was part of the act, as it still is today, when he works with popular characters like Dicky Mint. His first doll was Charlie Brown, before his vivid imagination created the Diddy Men and Jam Butty mines and a “tattifilarious” vocabulary, that has tickled various generations.

Ken Dodd was born to a coal merchant, Arthur Dodd, and his wife Sarah, on November 8, 1929 in Knotty Ash, Liverpool and still lives in the same house today. His early jobs included door to door selling but his love of laughter and his musical family inspired him to entertain. Music became part of his act as well as comedy. He can change from clown to singer of love songs in a moment.

He made his professional debut at the Nottingham Empire in September 1954, in a show with the singer Tony Brent and musician Kenny Baker. Touring for Moss Empires, he was seen at Leeds by producer Barney Colehan and snapped up for BBC TV’s Good Old Days. He was then spotted by Blackpool producer Peter Webster, which led to his first summer season working with Tommy Cooper, Morecambe and Wise and Jimmy Clitheroe - all on the same bill - in Peter Webster’s 1955 Show on the Central Pier.

Dodd’s workload escalated. He did radio, television and numerous summer seasons, many at Blackpool Opera House. In 1965, although he was doubtful about succeeding in the West End, his 42-week season at the London Palladium broke box office records. He became a regular in the charts with songs such as Love Is Like a Violin, Happiness and Tears. He even knocked the Beatles from their top slot and at times enjoyed two Top Ten singles simultaneously.

Anyone who manages a visit to Doddy’s dressing room after his show is likely to find him in his vest and socks, perhaps enjoying a beer. When he is not making laughter, he loves to talk about it.

So which came first, the comedy or the singing? “They probably came together,” says Dodd. One of his early memories, as a mischievous choir boy, was of reading the prices on the bottom of the bridegrooms’ shoes as they knelt down at their weddings.

“Comedy is a highly skilled art form,” says Dodd. “Anyone wanting to be a stand up should have a love of laughter and then develop the skill of being a comedian.”

He was inspired by Arthur Askey and Jewel and Warris and he admires some of today’s comedians such as Billy Pearce and Hal Nolan. However, he is not impressed by so-called alternative comedians, going so far as to claim: “There is no such thing as alternative comedy.” Indeed, he sees the alternative comedian as a satirist who uses observational comedy but thinks the humour can be cruel and often obscene.

Although Dodd believes clubs are good for helping newcomers learn communication, he believes you cannot beat live theatre and misses the glamour and glitz of the big shows of yesteryear.

In 1977 Dodd’s partner of 22 years, Anita Boutin, died but he was to find re-newed happiness again in later years with his present partner Anne Jones, who is a great support backstage, as well as doing a musical act in his shows. But he likes to keep his personal life private.

His numerous shows have included 20 pantos and he has also tackled acting, making his Shakespearean debut as Malvolio in Twelfth Night at the Liverpool Playhouse in 1971.

Awards received include the OBE in 1982, Showbiz Personality of the Year and, more recently, a Lifetime Achievement Award. He was in the Guinness Book of Records in 1974 for the longest comedy act - a Marathon Mirthquake at the Royal Court, Liverpool.

Today Dodd on TV is a rare treat but he did delight viewers in An Audience with Ken Dodd a few years back and stole the show in The 1999 Royal Variety Show.

Dodd believes British comedy should be preserved on film and that light entertainment should be taught. Many could benefit from lessons and who would make a better teacher than the Master of Mirth himself?

When most men in their seventies would be enjoying retirement, Dodd travels thousands of miles doing what he loves best and he seeks to play every venue in the UK. There can’t be many boards he has not trod. He will go on, while ever he can, because his passion for the stage is so strong.

If you should ask him what the most memorable time in his lengthy career, his answer would be: “Every night doing a show.”