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Jimmy Edwards
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Jimmy Edwards
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James Keith O'Neill Edwards, DFC (23 March 1920 – 7 July 1988) was an English comedy writer and actor of stage, radio, television and film, known for his roles as Pa Glum in Take It from Here and as headmaster "Professor" James Edwards in Whack-O!.

Key Information

Early life

[edit]

Edwards was born in Barnes, Surrey, the son of Reginald Walter Kenrick Edwards, lecturer in mathematics at King's College London, and Phyllis Katherine Cowan, from New Zealand. He was the eighth of nine children and fifth of five sons.[1][2] His father died in 1935, leaving the family in dire financial straits. Jimmy's brother Alan had to leave school and enter the mounted police, while his brother Hugh joined the Merchant Navy as an apprentice aged fourteen. Hugh subsequently gained a reputation as a smuggler of cigarettes, whisky and occasionally people, and published a memoir, Midnight Trader, in 1959.

Edwards was educated at St Paul's Cathedral School, where he became head boy, and attended the Silver Jubilee of George V in that capacity. His poem, "The Train", which first appeared in The Mortarboard – a school magazine founded by Edwards in competition with the existing one – was included in Walter de la Mare's compilation of children's poems, This Year, Next Year (1937). Having won a scholarship, Edwards went on to King's College School in Wimbledon. He subsequently became a choral scholar at St John's College, Cambridge, where he studied history and sang in the college choir.[2]

Second World War

[edit]

Edwards served in the Royal Air Force during the Second World War, was commissioned in April 1942, was awarded the Distinguished Flying Cross, and ended the war as a flight lieutenant. He served with No. 271 Squadron RAF, based in Doncaster, which took part in the D-Day landings.[3] His Dakota was shot down at Arnhem in 1944, resulting in facial injuries requiring plastic surgery, that he disguised with a large handlebar moustache that became his trademark. His injuries and their restitution made him a member of the Guinea Pig Club.[4]

Acting career

[edit]

Radio and television

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Edwards was a feature of London theatre in post-war years, debuting at London's Windmill Theatre in 1946 and on BBC radio the same year. His early variety act, where he first used the name Professor Jimmy Edwards, was described by Roy Hudd as being "a mixture of university lecture, RAF slang, the playing of various loud wind instruments and old-fashioned attack".[5] Edwards was in the London Laughs[6] revue at the Adelphi Theatre, London from 12 April 1952 to 6 February 1954 with Tony Hancock and Vera Lynn. He had previously performed in the Cambridge Footlights revue. He gained wider exposure as a radio performer in Take It From Here, co-starring Dick Bentley, which first paired his writer Frank Muir with Bentley's script writer, Denis Norden. Also on radio he featured in Jim the Great and My Wildest Dream.

He appeared in Whack-O on television, also written by Muir and Norden, and the radio panel game Does the Team Think?, a series which Edwards created. In 1960 a film of Whack-O called Bottoms Up was written by Michael Pertwee with additional dialogue by Muir and Norden. On TV he appeared in The Seven Faces of Jim, Six More Faces of Jim and More Faces of Jim; Make Room for Daddy, Sykes, Bold As Brass, I Object, John Jorrocks Esq, The Auction Game, Jokers Wild, Sir Yellow, Doctor in the House, Charley's Aunt, Brendon Chase and Oh! Sir James! (which he also wrote).

He was the subject of This Is Your Life in 1958 when he was surprised by Eamonn Andrews at the BBC's Piccadilly 1 Studio.

Edwards starred in The Fossett Saga in 1969 as James Fossett, an ambitious Victorian writer of penny dreadfuls, with Sam Kydd playing Herbert Quince, his unpaid manservant, and June Whitfield playing music-hall singer Millie Goswick. This was shown on Fridays at 20:30 on LWT; David Freeman was the creator.

Stage and film

[edit]

In December 1958, Edwards played the King in Rodgers and Hammerstein's Cinderella at the London Coliseum with Kenneth Williams, Tommy Steele, Yana and Betty Marsden; Bobby Howell was the Musical Director.

On 2 April 1966, he played at the last night of Melbourne's Tivoli Theatre. His final words closed a tradition of Australian music hall. "I don't relish the distinction of being the man who closed the Tiv. Music hall's dead in Britain. Now this one's dead, there's nowhere to go. I'll either become a character comedian or a pauper."[7]

Edwards frequently worked with Eric Sykes, acting in short films that Sykes wrote: The Plank (1967), which also starred Tommy Cooper; alongside Arthur Lowe in the remake of The Plank in 1979; and in Rhubarb (1969), which again featured Sykes. The films were not silent but had very little dialogue. He also appeared in The Bed Sitting Room (1969) as Nigel, a man who lives in a left luggage compartment after being mistaken for a suitcase.

Edwards and Sykes toured British theatres with their farce Big Bad Mouse which, while scripted, let them ad lib, involve the audience and break the "fourth wall". The show initially had a six-week run at the Palace Theatre, Manchester during which Edwards and Sykes had followed the script, with these performances greeted with universally poor reviews. Sensing that cancellation was imminent Edwards told Sykes that he intended to "have a bit of fun" with the show and for what was expected to be the last week of the run the two stars began to deviate heavily from the script. However the new, more improvised version proved a success with audiences and led to a long run for the show at the Shaftesbury Theatre.[8]

Sykes was replaced by Roy Castle in later runs in its three-year residency at the Shaftesbury Theatre in London's West End and in tours of the Middle East and Australia. Edwards and Sykes also performed the show for Rhodesian troops at the request of the country's prime minister, Ian Smith, a controversial event at the time.[9] Edwards also starred in the stage revival of Maid of the Mountains.

Personal life

[edit]

Edwards published two autobiographies: Take it From Me in 1953 and Six of the Best in 1984. He was vice-president of the City of Oxford Silver Band,[10] and an accomplished player of tuba and euphonium. He was founder and a lifelong member of the Handlebar Club, in which all the members had such moustaches. He played at Ham Polo Club. Roy Plomley interviewed him for the BBC's Desert Island Discs on 1 August 1951.[11]

Edwards was a lifelong Conservative and in the 1964 general election stood for Paddington North, without success. His candidature drew wide media attention, much of it derisive, although the local party insisted they had chosen "Jimmy Edwards the man" rather than the comedian.[12] As a result of this failed candidature, he took to introducing himself as "Professor James Edwards, MA, Cantab, Failed MP".[13]

In the 1970s, Edwards and his friend Eric Sykes took part in a show for Ian Smith in Rhodesia.[14]

He was a devotee of fox hunting at Ringmer, near Lewes. He was Rector of the University of Aberdeen for three years in the 1950s, a university with a history of celebrities and actors as honorary rector.

He was married to Valerie Seymour for 11 years. In 1979, he was exposed as a homosexual to his annoyance.[15] After the ending of his marriage,[dubious – discuss] press reports spoke of his engagement to Joan Turner, actress, singer and comedian, but the reports were suspected to be a mutual publicity stunt. During the 2015 Gold documentary Frankie Howerd: The Lost Tapes, Edwards was mentioned by Barry Cryer as one of several performers of the post-war era forced to conceal their homosexuality as a result of prevailing norms. He lived in Fletching, East Sussex and died from pneumonia in London in 1988 at the age of 68.

His home movies are held by the Cinema Museum in London.[16]

Selected filmography

[edit]

Notes

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Further reading

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jimmy Edwards

View on Grokipedia
from Grokipedia
James Keith O'Neill Edwards, DFC (23 March 1920 – 7 July 1988), was an English comedian, actor, and writer renowned for his bombastic style and memorable roles in British , particularly as the dim-witted Pa Glum in the long-running comedy Take It From Here (1948–1960) and as the eccentric, cane-wielding headmaster 'Professor' James Edwards in the Whack-O! (1956–1960, revived 1971–1972). A decorated veteran of the Royal Air Force, Edwards earned the Distinguished Flying Cross as a with 271 Squadron for gallantry during the airborne operation in September 1944, where his Dakota transport was involved in resupply efforts under fire. His career encompassed stage farces like the hit Big Bad Mouse co-starring , which ran for over 1,000 performances starting in 1966, as well as panel shows such as Does the Team Think? and occasional films including Bottoms Up! (1960), a spin-off from Whack-O!. Defined by his , booming voice, and satirical jabs at , Edwards embodied a conservative , unsuccessfully contesting North as a Conservative candidate in 1964, while privately navigating a brief marriage to Valerie Seymour (1958–1969) and his , which remained concealed until outed in 1979 amid an era of legal and social prohibition.

Early Life

Childhood and Family Background

James Keith O'Neill Edwards was born on 23 March 1920 in Barnes, then part of Surrey. He was the eighth of nine children in his family and the youngest of five sons. His father, Reginald Walter Kenrick Edwards, worked as a mathematics lecturer at King's College London. His mother, Phyllis Katherine Cowan, was originally from New Zealand. The family experienced financial difficulties following the father's death in 1935, which prompted older brothers such as Alan, who joined the mounted police that year, and Hugh, who entered the Merchant Navy as a 14-year-old apprentice, to leave school early to contribute to the household.

Education and Formative Influences

Edwards attended , a choir school, where he excelled academically and rose to the position of head boy. He subsequently secured a to in Wimbledon, continuing his secondary education there. Edwards then matriculated at , as a choral scholar, pursuing studies in history and ultimately obtaining an MA degree. During his time at university, he participated in Cambridge Footlights revues, experiences that cultivated his affinity for comedy and theatrical performance. These early stage involvements provided foundational skills in humor and audience engagement, influencing his later pivot toward entertainment following military service.

Military Service

Royal Air Force Enlistment and World War II

Edwards volunteered for service in the Royal Air Force in 1940, shortly after the outbreak of the Second World War, and underwent pilot training in Canada as part of the British Commonwealth Air Training Plan. He completed elementary flying training at No. 32 Elementary Flying Training School in Swift Current, Saskatchewan, earning his wings and receiving a commission as a pilot officer in April 1942. Following advanced training, Edwards was posted to No. 271 Squadron of RAF Transport Command, based at RAF Down Ampney in , in 1943, where he flew Douglas Dakota aircraft on supply and troop transport missions. The squadron specialized in paratroop and glider towing operations, including leaflet-dropping raids over occupied to support resistance efforts and the preparation for the Normandy invasion. In early 1943, Edwards also flew a bomber to , serving briefly in a holding unit at Fort de l'Eau before returning to active duties in Britain. Edwards participated in the squadron's glider-towing operations on D-Day, 6 , towing Horsa gliders across the to support airborne landings in as part of the Allied invasion of . Later that year, No. 271 Squadron shifted focus to resupply missions during , the airborne assault on and other Dutch bridges in September 1944, where Edwards flew multiple sorties under intense anti-aircraft fire and fighter opposition. His service in these transport roles highlighted the critical logistical demands of airborne warfare, contributing to the RAF's broader effort to sustain ground forces in contested European theaters.

Combat Experience and Distinguished Flying Cross

Edwards served as a pilot with No. 271 Squadron RAF, flying Douglas Dakota transport aircraft in support of Allied airborne operations during World War II. The squadron, part of No. 46 Group Transport Command, participated in the Normandy invasion on 6 June 1944, towing gliders and dropping paratroopers as part of the D-Day airborne assault. Edwards flew missions exposing his unarmed aircraft to intense anti-aircraft fire and enemy defenses while delivering troops and supplies over contested areas. During in , Edwards conducted re-supply drops to British forces at , navigating heavy flak on multiple sorties from bases including RAF Down Ampney. On 21 September 1944, while leading a re-supply mission, his Dakota successfully delivered its cargo despite fierce opposition but sustained damage from anti-aircraft fire en route back, disabling one engine; Edwards nonetheless returned to base. Later that day, on a second mission, the aircraft was again struck by flak, igniting a fire from leaking fuel tanks; with the crew unable to bail out due to injuries and low altitude, Edwards executed a controlled crash-landing in a wooded area at approximately 100 feet, saving his crew from parachuting into enemy-held territory. For these actions demonstrating "determination and initiative" in airborne operations under extreme hazard, Edwards was awarded the Distinguished Flying Cross, gazetted on 2 February 1945 in . The official recommendation praised his coolness and resourcefulness, noting that he had completed numerous high-risk sorties, including those over , where losses from flak were severe for transport pilots. Edwards concluded the war as a , having contributed to the squadron's role in sustaining encircled airborne troops despite the operation's ultimate failure.

Entertainment Career

Breakthrough in Radio Comedy

Following demobilization from the Royal Air Force in 1946, Edwards secured his first regular radio engagement in the BBC series Navy Mixture in 1947, marking his initial foray into broadcast comedy. This short-lived programme provided early exposure but did not achieve widespread acclaim. Edwards' breakthrough arrived with Take It From Here, a BBC Light Programme comedy series that debuted on 23 March 1948—coinciding with his 28th birthday—and ran until 1960. Written by Frank Muir and Denis Norden, the show featured Edwards alongside Dick Bentley and Joy Nichols, blending sketches, songs, and satirical send-ups that quickly propelled it to national popularity. Its format evolved to include recurring characters, cementing Edwards' status as a leading radio comedian through his bombastic, authoritative persona, often portraying blustering authority figures. A pivotal segment, The Glums, debuted in 1953 after Nichols departed for New York, with assuming a larger role; Edwards played the dim-witted Pa Glum in domestic farces opposite Bentley's Ron Glum, which became the show's signature draw and ran for over 1,000 episodes across radio and later adaptations. The series' success, drawing audiences of up to 10 million by the mid-1950s, established Edwards as a household name and influenced subsequent formats.

Television and Stage Successes

Edwards achieved significant success in television through the BBC sitcom Whack-O!, which aired from 1956 to 1960 and revived in color from 1971 to 1972, portraying the bumbling headmaster Professor James Edwards at Chiselbury School. The series, written by and , debuted on October 4, 1956, with initial fortnightly episodes building to full series runs that capitalized on Edwards' bombastic persona and . Its popularity led to a radio adaptation on the starting in 1961, underscoring Edwards' transition from radio to visual media where his exaggerated mannerisms and mustache-twirling antics resonated with audiences. In the late 1970s, Edwards reprised his radio character Pa Glum in the ITV sitcom The Glums (1978–1979), a direct adaptation of sketches from , featuring him as the grumpy father alongside as Ron and as Eth. The series maintained the original's domestic style, with Edwards' booming delivery driving episodes centered on mishaps and pub conversations, airing in short bursts that evoked nostalgia for post-war British humor. On stage, Edwards' most notable triumph came in the farce Big Bad Mouse (1966 onward), co-starring as timid office clerks entangled in escalating deceptions at a biscuit company. The production, which toured extensively and reached the West End, drew large crowds due to the duo's improvisational flair and physical , running for years and even spawning a 1972 television recording. Earlier, Edwards honed his comedic timing in Cambridge Footlights revues during university, blending traditions with satirical sketches that foreshadowed his professional s and pantomimes.

Film Appearances and Writing Contributions

Edwards debuted in film with the 1948 short Trouble in the Air, marking his early entry into screen following his radio work. He followed with appearances in Murder at the Windmill (1949), portraying himself in this variety-style production, and Helter Skelter (1949) as Dr. James Edwards. These initial roles established him in cinema, leveraging his bombastic persona honed in post-war shows. Throughout the and , Edwards took on supporting comedic parts in British features, often as blustering figures or hapless professionals. In the 1956 adaptation of Jerome K. Jerome's , he played the character Harris, contributing to the film's ensemble humor alongside Laurence Harvey and David Tomlinson. He appeared as a in the farce Bottoms Up! (1960), which satirized academic pretensions, and in Nearly a Nasty Accident (1962), a service comedy drawing on his RAF background. Later credits included a policeman in Eric Sykes's The Plank (1967) and Nigel in the dystopian The Bed Sitting Room (1969), directed by , where his exaggerated delivery contrasted the film's surreal tone. Edwards reprised comedic physicality in the 1979 remake of The Plank and Rhubarb Rhubarb (1980), a sequel to Sykes's earlier (1969), in which he had also starred.
YearTitleRole
1948Trouble in the AirSupporting
1956Three Men in a BoatHarris
1960Bottoms Up!Professor Jim Edwards
1967The PlankPoliceman
1969The Bed Sitting RoomNigel
1979The Plank ()Policeman
1980Rhubarb RhubarbSupporting
Edwards's primary writing efforts centered on radio and television scripts, such as those for and Whack-O!, with no major credited screenplay contributions to his film appearances identified in production records. His screen roles typically adapted his stage and broadcast style rather than originating from his penned material.

Political Engagement

Conservative Party Affiliation and Candidacy

Edwards was a lifelong supporter of the Conservative Party, reflecting his traditionalist views on British society, including enthusiasm for and rural pursuits that aligned with party emphases on countryside preservation. In the held on 15 October, Edwards served as the Conservative candidate for the Paddington North constituency in , a Labour-held seat in a densely . His celebrity status as a prominent and broadcaster generated significant media coverage for the campaign, though he was ultimately unsuccessful in securing the seat amid Labour's narrow national victory. No further parliamentary candidacies followed, marking this as his sole foray into electoral politics.

Views on British Society and Conservatism

Edwards maintained a staunch affiliation with the Conservative Party throughout his life, aligning with a paternalistic, reminiscent of Harold Macmillan's post-war era, characterized by optimism for national reconstruction and restrained traditionalism. In 1964, he contested the North constituency as the Conservative candidate in the general election, polling 10,639 votes or 42.1% of the total, though defeated by Labour's Ben Parkin who received 14,607 votes. This candidacy highlighted his commitment to principles amid London's urban challenges, including post-war housing shortages and demographic shifts. His public persona reinforced conservative ideals of and , evident in roles like the cane-wielding headmaster "" James Edwards in the BBC series Whack-O! (1956–1970, with revivals), where sketches glorified and institutional authority as bulwarks against youthful indiscipline. Edwards openly embraced , a pastime symbolizing rural traditions and resistance to urbanizing influences on British countryside life. Biographer Anthony Slide characterized him as a "socially and politically reactionary" figure, whose eccentric gentlemanly image evoked a nostalgic defense of pre-permissive Englishness against mid-century societal flux. Edwards' comedy often lampooned modern excesses while valorizing stoic, hierarchical norms, as in (BBC Radio, 1948–1960), where his bombastic characters critiqued bureaucratic overreach and moral laxity—elements audiences appreciated for their unapologetic defiance of evolving cultural sensitivities. Slide notes that Edwards' material, including endorsements of heavy drinking as a mark of fortitude, embodied a "politically incorrect" ethos that resonated with viewers valuing unyielding British resilience over contemporary progressive shifts. This stance positioned him as a cultural conservative, prioritizing empirical continuity in social structures like family authority and over rapid ideological reforms.

Personal Life

Marriage and Relationships

Edwards married Valerie Seymour, a receptionist for British Overseas Airways, in 1958. The marriage lasted 11 years, ending in divorce in 1969. No children resulted from the union, and Edwards maintained a public image of bachelorhood despite the , with limited details emerging about other romantic relationships during his lifetime.

Sexuality and Public Outing

Jimmy Edwards maintained a private homosexual orientation throughout much of his public career, a aspect of his life concealed amid the legal and social prohibitions on in Britain until its partial in 1967. His 1958 marriage to Valerie Seymour, which ended in after 11 years, was reportedly unconsummated, with Edwards disclosing his homosexuality to her on their wedding night, rendering the union a cover for his personal circumstances. Edwards' sexuality became public knowledge in 1979 through an that he did not initiate, leading to significant personal distress as recounted by contemporaries like comedian . This revelation, occurring in an era of lingering societal stigma despite legal changes, contributed to professional challenges, including reduced television opportunities amid perceptions of homophobia in the industry. Biographer Anthony Slide documents that Edwards grappled with his orientation privately, potentially linking it to his struggles with as a coping mechanism, though he never publicly embraced or discussed it in detail during his lifetime. The outing contrasted sharply with Edwards' bombastic, conservative public persona, including his advocacy for traditional British values and disciplinary humor often featuring imagery, which some later interpreters viewed through the lens of his private life without of impropriety. Slide's 2018 biography, drawing on correspondence and press archives, affirms that Edwards remained until forced exposure, prioritizing career stability over disclosure in a pre-acceptance cultural context. No verified accounts indicate predatory behavior or violations beyond the era's norms for discreet relationships.

Alcoholism and Lifestyle Habits

Jimmy Edwards was renowned for his heavy consumption of alcohol, which became a defining aspect of his public persona and private life. Contemporaries described him as frequently inebriated during social and professional engagements, with his boisterous demeanor often amplified by drink. Biographer Anthony Slide characterized Edwards as having embraced , speculating it served as a mechanism amid personal struggles, though this interpretation remains interpretive rather than definitively causal. Edwards' comedic roles frequently mirrored these habits, portraying characters such as the alcoholic headmaster in Whack-O! and the seedy, booze-fueled educator in Bottoms Up (1960), roles that drew from his own reputation as a "booze-loving" performer. Broadcaster , who interacted with Edwards in entertainment circles, recalled him as "outspoken, rumbustious, alcoholic," underscoring how drinking intertwined with his larger-than-life character. His lifestyle extended to enthusiastic patronage of pubs, as evidenced by his 1974 live album Jimmy Edwards at the Top of the Pubs, which captured performances infused with drinking-themed humor and songs. This pub-centric routine aligned with mid-20th-century British comedic traditions but reportedly exacerbated his health decline, though direct medical linkages beyond pneumonia as the terminal cause in 1988 lack contemporaneous documentation. Edwards' unapologetic indulgence contrasted with emerging 1970s public health campaigns against excessive alcohol, yet he maintained professional output until late in life.

Death and Legacy

Health Decline and Cause of Death

Edwards continued working into his later years despite ongoing struggles with , which biographers have linked to his and possibly hereditary factors. His heavy drinking, a trait reflected in roles like the boozy headmaster in Whack-O!, contributed to his overall health deterioration, though he maintained professional output until shortly before his death. In mid-1988, Edwards contracted a severe bout of while still active in performances, forcing him to cease work as the illness worsened rapidly. He died from on 7 July 1988 at in , aged 68. Chronic alcohol consumption likely impaired his , aligning with established medical risks for respiratory infections in heavy drinkers, though no details specify direct causation beyond the pneumonia itself.

Enduring Influence on British Humor

Jimmy Edwards' comedic style, characterized by boisterous portrayals of pompous figures, contributed to the tradition of the "educated " comedian in British humor, linking figures like to later satirists through exaggerated depictions of institutional incompetence and self-importance. His signature catchphrase, "wake up at the back there," delivered in the role of a cane-wielding , encapsulated a yet absurd take on educational , influencing the character-driven mockery of that became a staple in comedy. In radio series such as (1948–1959), Edwards' performance as the dim-witted Pa Glum in sketches written by and highlighted domestic ineptitude and verbal sparring, elements that demonstrated lasting appeal with a revival of The Glums segment in 1978. This work bridged raucous traditions with scripted , lampooning everyday British absurdities and paving the way for more pointed critiques of authority in 1960s television. Similarly, his lead in the sitcom Whack-O! (1956–1960, revived as Whacko! in 1971–1972) satirized public school pomposity, boosting the format's popularity and exemplifying how intertwined with social observation to deflate institutional pretensions. Edwards' collaborations, including with in the stage farce Big Bad Mouse (1966) and anthology series like The Seven Faces of Jim (1961–1963) alongside , underscored his versatility in ad-libbed, character-based humor, which informed subsequent performers' approaches to multifaceted roles in . By embodying a patrician yet ridiculous Englishness rooted in RAF bravado and wit, he helped sustain a foundational strand of self-deprecating absurdity that persisted into modern iterations of satirical sketch work and sitcoms targeting authority. His influence endures in the pantheon of mid-20th-century comedians, where his foundational contributions to the of British television comedy continue to be recognized for shaping character archetypes over physical and verbal exaggeration.

References

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