When the lights go out for the last time at Didsbury studios, there’ll be a lot of us who will go all sentimental like dear old Bernie Winters and hum a chorus of “Bye Bye Didsbury”!

And why shouldn’t we be sentimental about the studio which saw the birth of Armchair Theatre, of Boy Meets Girl, of Big Night Out, Just Jimmy, Opportunity Knocks and so many other ABC shows?

My first contact with Didsbury was for Happily Ever After starring Dora Bryan in 1961. Actually, it wasn’t; my very first contact with Didsbury was in 1956 (or was it ’57?) when ABC and Granada got together for a social evening! If that’s a digression, it’s one which still surely invokes a few memories with the “founder” members — of whom there remain so many at Didsbury.

Back to Happily Ever After. Opposite Dora Bryan as her doctor husband was Peter Murray. In those days comedy shows were played the more logical, but certainly less effective, way round. That is, the audience was in the circle and the performers were a mile away on the floor! A lot of the action was ‘blind’ to the audience and reaction was consequently weak. Later, in an effort to improve atmosphere, seats for an extra audience were added on the floor and finally the studio was turned round to the present shape.

Pre-1961 I can only speak of Didsbury-based shows as a (then local) viewer. I remember Joan Edwards dusting away each Saturday morning to the strains of Poor People of Paris, Cherry Pink and Que Sera Sera – all 1956 vintage pre-rock stuff when pops still came from Tin Pan Alley.

Then, of course, there was Home Town Saturday Night, Top Numbers and Billie Whitelaw’s Time Out for Peggy. In 1959 rock arrived at Parrswood Road in Boy Meets Girl [sic: Girls — Ed] and Wham! Marty Wilde, Billy Fury, The Vernons Girls, Joe Brown and so many now forgotten rock stars of the fifties must certainly keep happy and affectionate memories of those days and those ever-helpful people at the Capitol.

I can speak personally in this — and I know that Roy, Peter, Milo, Pat and Ronnie will echo my own feelings. There was nothing quite like the Didsbury welcome; nothing quite like Frank’s greeting at the steps to make you feel wanted and important! The crew have handled just about every big artiste and every type of big show from Drama to Spectaculars yet one always sensed and appreciated their excitement with each new series.

Melody and evergreen tunes for a while replaced rock ‘n’ roll in Buckaroo. Looking back on it (impartially — I wasn’t producing!) what a super set it was, and what a happy show. And the music tapes still sound good today, don’t they fellers? And, of course, Jimmy Clitheroe. For three years Just Jimmy has been one of the big rating-pullers in our own regions and is now at last being seen in London. The appearance of the show in the Tam Top 20 is a feather in Jimmy’s schoolboy cap – and another for Didsbury.

Mike and Bernie Winters arrived with Big Night Out in 1963 and this was one of the first shows to feature regularly the ABC Television Showband – a group of Manchester-based musicians got together by Bob Sharples. The combination of Mike and Bernie with Lionel Blair paved the way for Blackpool Night Out in 1964. Although not strictly Didsbury in origin, the Blackpool shows were very much the responsibility of Didsbury studio and technical personnel.

I know that David Nixon has attempted and succeeded with tricks at Didsbury which he would hesitate to perform elsewhere.

Without giving away those professional magicians’ secrets (in fact, I couldn’t — I usually wonder how they’re done myself!) I cannot help recalling that complicated system of runners between the studio and the bar of the Parrswood opposite. Not, I hasten to add, for liquor, but in some mysterious way connected with David’s “subject” isolated in the bar. David must have lost count of the programmes he has appeared in at Didsbury – Comedy Bandbox, Candid Camera, the David Nixon Show and very many guest spots.

And if Mike and Bernie, David Nixon and all of us in Light Entertainment will miss Didsbury, so too will Hughie Green. Opportunity Knocks now approaches the end of its fifth series and Hughie’s frequent praise of the crew is some measure of his respect for this soon-to-be-darkened studio.

And where else could Ken Dodd watch a playback in the small hours of the morning – he would certainly want to add his discomknockerating thanks!

I am grateful to Joan Davy, who has edited our House Magazine for all these years, for the opportunity to thank everyone at Didsbury from all of us in Light Entertainment. Each of us must have his own collection of Didsbury memories and those which stick with me include seeing Emperor Jones as a live Armchair Theatre; Bernie Winters being “blown up” each week in Big Night Out; Hughie Green introducing Tony Holland (can’t hear “Wheels” without thinking of the Muscle Man, can you?); Peter’s editing sessions — “It fills a ninety minute tape – how the hell can I get it down to thirty-seven-thirty?”; Ronnie Baxter’s warm-ups (how could they not be a good audience when he’s so nice to them); Pat Johns, the flying ace of Blackpool; and Milo and Roy and their audition marathons – how many times must they have heard Granada?

But the fact is that they’re all happy memories. And, in return for them may I wish all the Diddlesbury boys and girls, as Hughie would say, who are shortly crossing the Pennines, the very best of luck in your new jobs and in your new homes. If it’s any consolation, Drury Lane will have nothing on the old Capitol for ghosts!

The post Farewell Didsbury appeared first on THIS IS ABC WEEKEND from Transdiffusion.

WELL-KNOWN music-hall figures will get equal prominence with youngsters who have only just burst into the world of entertainment in ABC’s new fortnightly variety series, which starts next Saturday.

Say ABC: “We are out to provide variety — in the true sense of the word. And that means bringing along artists capable of satisfying the demands of all age groups.”

“The ‘pop’ music fans will be well looked after; but at the same time we shall balance the bill by introducing some of the older stars about whom there is a nostalgic appeal for many of our viewers.”

There will be a good example of this determination to cater for varying tastes in the second programmes of the series, on October 5.

George Formby, who has been drawing in record seaside crowds during his summer tour of the coast, will be making one of his rare TV appearances.

And in direct contrast will be the Charles McDevitt skiffle group, which in the last few months has had a swift rise to top billing in a successful provincial tour.

An interesting point about this show is that the McDevitt group will use it as an opportunity to introduce their new singer, recruited to replace Nancy Whisky, who is now a star in her own right.

To meet the demands of teenage viewers ABC is arranging to include skiffle groups or “pop” singers in every programme in the new series. Among skifflers booked are Lonnie Donegan, Johnny Duncan and Terry Dene.

Shirley Abicair and her zither will be in the first programme, and other singers lined up include Edna Savage, Eve Boswell, Michael Holliday, Jimmy Young and Garry Miller.

On the laughter side there are some popular comedians to follow Albert Modley (who is in the first show) and George Formby. Ted Lune, the lanky lad with the thin face and wide, staring eyes is one. Then there is pudgy Reg Dixon and that ever-young veteran of show business, Jimmy Clitheroe.

This is the first time ABC has originated its own professional variety show, although the company has presented many semi-professional acts in its long-running Bid for Fame.

To launch the series, ABC have signed up Arthur Lane, an experienced light entertainment producer.

The shows will come from the Manchester studios, where they will be able to take advantage of such aids to unorthodox presentation as a revolving stage with a 30ft diameter, and a giant bow fronted lift, 46ft long and 12ft wide, which can sink 4ft 6in below the studio floor.

Another unorthodox feature will be the way in which artists will be introduced. None of the shows will have the usual type of compere.

Instead, a novel substitute has been devised about which Arthur Lane and his team are keeping a discreet silence.

All I can say is that a group of dancers — four men, but only one girl — are this week rehearsing some unusual routines by which they hope to weave a thread of continuity between the acts.

Or, as ABC put it: “As far as presentation is concerned we are trying out a new and completely individual style.”

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