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Edward George Sherrin CBE (18 February 1931 – 1 October 2007) was an English broadcaster, author and stage director. He qualified as a barrister and then worked in independent television before joining the BBC. He appeared in a variety of radio and television satirical shows and theatre shows, some of which he also directed and produced.

Key Information

Early life

[edit]

Sherrin was born at Gawlers Farm, Low Ham, Somerset, the second son of smallholding[1] farmer Thomas Adam Sherrin (1889–1965) and Dorothy Finch (née Drewett; 1895–1980).[2] He was educated at Sexey's School, in Bruton, Somerset,[3][4] and rendered his national service in the Royal Signals,[5] being commissioned as an officer in 1950.[6]

Although he read law at Exeter College, Oxford, and subsequently qualified as a barrister (called to the bar by Gray's Inn),[2][7] he became involved in theatre at Oxford and joined British television in 1956 shortly after the founding of independent television, producing shows for ATV in Birmingham.

Career

[edit]

Sherrin joined the BBC in 1957 as a temporary production assistant, then began working for them as a producer in Television Talks in 1963.[8] Specialising in satirical shows, he worked extensively in film production and television.

In 1962, Sherrin was responsible for the first satirical television series That Was The Week That Was[9] starring David Frost and Millicent Martin, and its successors Not So Much a Programme, More a Way of Life (1964–1965) and BBC-3 (1965–1966). In 1990 he was a contestant on Cluedo, facing off against Thelma Barlow. His other shows and films included Up Pompeii! (1965–1991), Up the Front (1972), The Cobblers of Umbridge, World in Ferment (1969), and The Virgin Soldiers (1969).[10] In 1978, he also hosted We Interrupt This Week, a lively and humorous news events quiz featuring two teams of well-known journalists and columnists sparring against one another. The show was a production of WNET/Channel 13 New York.

Sherrin produced and directed many theatre productions in London's West End, including Jeffrey Bernard is Unwell and the musical revue Side by Side by Sondheim. He received an Olivier Award in 1984 for directing and conceiving The Ratepayers' Iolanthe, an adaptation by Sherrin and Alistair Beaton of the Gilbert and Sullivan opera Iolanthe.[11] Sherrin played the part of Addison in the film Orlando (1992).

On BBC Radio 4, from 1986, Sherrin presented the light entertainment show Loose Ends on Saturday mornings (latterly evenings),[12][13] and Counterpoint (1986–2006), a quiz show about all types of music, until forced off the air when his voice succumbed to throat cancer.

Sherrin also toured the UK with his one-man show An Evening of Theatrical Anecdotes.[12]

Sherrin wrote two volumes of autobiography, several books of quotations and anecdotes, as well as some fiction; and several works in collaboration with Caryl Brahms.

Personal life

[edit]

Openly gay, Sherrin was a patron of the London Gay Symphony Orchestra, as well as the Stephen Sondheim Society of Singapore up until 1995.[14][15][16] He was awarded a CBE in the 1997 New Year Honours.[17][18] He was diagnosed with unilateral vocal cord paralysis in January 2007; this diagnosis was later changed to one of throat cancer,[19] from which he died on 1 October 2007, aged 76.[20]

Selected works

[edit]
  • Sherrin, Ned (1983). A Small Thing – Like an Earthquake. London: Weidenfeld and Nicolson.
  • Sherrin, Ned; Shand, Neil (1984). 1956 and All That: a memorable history of England since the war to end all wars (Two). London: M Joseph.
  • Sherrin, Ned (1984). Cutting Edge, or, "Back in the Knife-Box, Miss Sharp": Ned Sherrin's anthology of wit. London: J M Dent.
  • Brahms, Caryl; Sherrin, Ned (1984). Song by Song: the lives and work of 14 great lyric writers. Egerton, Bolton: R Anderson Publications.
  • Brahms, Caryl; Sherrin, Ned (1986). Too Dirty for the Windmill. London: Constable. ISBN 9780094663800.
  • Sherrin, Ned (1991). Ned Sherrin's Theatrical Anecdotes: a connoisseur's collection of legends, stories, and gossip. London: Virgin.
  • Sherrin, Ned (1993). Ned Sherrin in his Anecdotage: a classic collection from the master raconteur. London: Virgin.
  • Sherrin, Ned (1995). The Oxford Dictionary of Humorous Quotations. Oxford; New York: Oxford University Press.
  • Sherrin, Ned (1996). Sherrin's Year. London: Virgin.
  • Sherrin, Ned (1996). Scratch an Actor. London: Sinclair-Stevenson.
  • Brahms, Caryl; Sherrin, Ned (1998). The Mitford Girls: a musical. London: Warner/Chappell Music.
  • Sherrin, Ned (2004). I Wish I'd Said That. New York: Oxford University Press.
  • Sherrin, Ned (2005). Ned Sherrin: the autobiography. London: Little, Brown.
  • Frost, David; Sherrin, Ned (1963). That Was the Week That Was. London: W H Allen.

References

[edit]
[edit]
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Ned Sherrin

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Edward George "Ned" Sherrin CBE (18 February 1931 – 1 October 2007) was an English broadcaster, author, stage director, and producer renowned for creating and directing the groundbreaking satirical television series That Was the Week That Was (TW3) in 1962, which revolutionized British broadcasting by lampooning politics and society. Born into a farming family in Low Ham, , Sherrin qualified as a at University before entering the entertainment industry, where he produced innovative programmes like Not So Much a Programme, More a Way of Life and contributed to 3. His career spanned direction, film production—including ten films between 1969 and 1974—and authorship, notably collaborating with Caryl Brahms on novels, song collections, and revues. Later, as a radio presenter on 4's Loose Ends for over two decades, Sherrin became celebrated for his wit, raconteurship, and eclectic interviews, earning him the Commander of the in 2001 for services to broadcasting and entertainment. Sherrin died of throat cancer in at age 76, leaving a legacy as a pioneer of satirical media and a versatile figure in British cultural life.

Early Life and Education

Childhood and Family Background

Edward George Sherrin was born on 18 February 1931 between the villages of High Ham and Low Ham in , , into a of farmers with roots in the local agricultural community spanning generations. He was the younger of two sons born to Thomas Sherrin, described in contemporary accounts as a gentleman farmer or smallholder managing modest land holdings, and his wife Dorothy. Public records provide scant detail on his older brother or extended dynamics, though the Sherrins resided initially at Gawler's Farm in Low Ham before relocating in 1934 to Lower Farm in nearby Kingweston, a converted former that served as the home during his early years. Sherrin's childhood unfolded in a rural setting characterized by traditional farming practices amid the economic constraints of and the disruptions of , including food that persisted into the late 1940s and reinforced rigid class distinctions between , working farmers, and laborers. These conditions, documented in broader historical analyses of rural , exposed young residents like Sherrin to a hierarchical where to authority figures—such as landowners and officials—was normative, potentially fostering an observational acuity toward institutional absurdities without evidence of precocious rebellion. Family life centered on practical agrarian routines, with limited indications of overt political engagement; Sherrin later recalled an "idyllic" early environment, though specifics on parental professions beyond farming remain sparse in verifiable sources. Attendance at the local state-funded in introduced basic discipline and vocational skills suited to regional needs, aligning with the era's emphasis on self-reliance in agrarian communities rather than elite aspirations. Sherrin completed with the Royal Signals, including a posting to in 1949, before enrolling to read law at , where he held a scholarship. His choice of law was influenced by parental expectations, as his father insisted on a practical qualification. During his undergraduate years, Sherrin actively participated in student revues and theatrical activities, producing early stage work that foreshadowed his later directing career. After obtaining his , Sherrin pursued barrister training and was called to the bar by in 1955. This qualification followed standard post-degree and bar exams, equipping him with foundational skills in legal argumentation and evidence scrutiny. The analytical rigor of legal study, centered on deconstructing claims through and logic, provided a framework Sherrin later drew upon to expose inconsistencies in political and social authority via .

Professional Career

Entry into Broadcasting and Early Television Work

After qualifying as a in 1955, Sherrin immediately entered independent television, serving as an associate producer on the ITV morning magazine series Week-End. He also worked as a floor manager on ATV Junior Club, a children's programme broadcast from 1955 to 1956. These roles at ATV's studios, including production assistance on a breakfast show hosted by , provided hands-on experience in the commercial sector's demanding, deadline-driven environment, which emphasized rapid production techniques amid the competitive landscape of newly launched ITV franchises. In February 1956, Sherrin was promoted to producer at ATV Midlands, further developing his skills in programme assembly and on-air coordination. By 1957, he transitioned to the BBC's current affairs department under editor Grace Wyndham Goldie, collaborating with figures such as Donald Baverstock and . There, as a studio director on the early evening news magazine Tonight—featuring presenters like and —he handled camera direction and edited entertainment segments that included topical comic sketches, building technical proficiency in live broadcasting within the framework. This period marked Sherrin's foundational shift from legal practice to media production, where the efficiency gained from ITV's commercial pressures informed his approach to BBC's more structured output, enabling smoother adaptation to evolving formats in the liberalizing television landscape. Earlier, in December 1955, he had co-written the BBC special Take It Away under a , signaling his emerging interest in scripted content. His pre-BBC television debut came in 1954 on Oxford Accents, where he claimed a producer credit alongside .

Satirical Television Productions

Ned Sherrin produced and directed That Was the Week That Was (TW3), a pioneering satirical television series that aired live on Saturday nights from 24 November 1962 to 28 December 1963, comprising 36 episodes of approximately 50 minutes each plus one special. The programme featured presenter and regular performer , who opened each episode with a topical song summarizing the week's news, alongside contributors like , , and writers including . Sherrin's format innovated by blending sketches, monologues, and musical numbers to skewer political figures such as and broader institutions, marking a shift from deferential to irreverent topical commentary. Following the of U.S. President on 22 November 1963, Sherrin directed a non-satirical tribute episode aired on 30 November, featuring Frost, Martin, and William Rushton in somber reflections rather than parody. Sherrin extended this satirical style into successor programmes, producing Not So Much a Programme, More a Way of Life from 13 November 1964 to April 1965, which aired three times weekly as an unstructured magazine-format extension of TW3's ethos, incorporating , William Rushton, John Bird, , and in improvisational sketches targeting contemporary politics and culture. He then helmed BBC-3 from 1965 to 1966, a late-night series of 24 hour-long editions hosted by Robert Robinson, featuring Bird and Bron in experimental that critiqued social norms and authority figures, though it retained the live, unpredictable energy of its predecessors. These shows emphasized causal links between current events and institutional failings through direct, unscripted confrontations, diverging from scripted traditions. TW3 and its follow-ups faced BBC internal scrutiny for their irreverence, with complaints peaking after episodes lampooning Macmillan, prompting a December 1962 note from the to Postmaster General Reginald Bevins questioning the broadcaster's oversight amid threats of regulatory action. Proponents credited Sherrin's productions with injecting youthful vigor into stagnant television, fostering a that democratized critique of power. Critics, however, highlighted a perceived anti-Conservative tilt, arguing the programmes' focus on foibles alienated traditional viewers and prioritized provocation over balanced scrutiny, offending sensibilities in an era of to . This edginess, while empirically driving high viewership—such as 13 million for TW3's debut—ultimately contributed to the BBC declining renewal after 1963 elections, citing risks to impartiality.

Film Production and Theatrical Ventures

Sherrin expanded into film production following his television satire triumphs, forming his own company to produce approximately ten features between 1968 and 1973, capitalizing on the era's appetite for lowbrow British comedies. Key outputs included Up the Junction (1968), The Virgin Soldiers (1969), Every Home Should Have One (1970), Up Pompeii (1971), Up the Chastity Belt (1971), Up the Front (1972), Rentadick (1972), The National Health (1973), and The Cobblers of Umbridge (1973). These films, often starring performers like Frankie Howerd and Lynn Redgrave, prioritized bawdy humor over the sharp wit of Sherrin's prior broadcasts, with Up Pompeii achieving notable commercial viability as the tenth highest-grossing film at the British box office in 1971. Sequels such as Up the Chastity Belt and Up the Front sustained some momentum but faced diminishing returns, as evidenced by modest critical aggregates (e.g., 46% for Up Pompeii and 38% for Up the Front on Rotten Tomatoes). Transitioning to theatre in the mid-1970s, Sherrin directed West End and musicals, applying his instincts to spotlight emerging talents and adapt classics for contemporary audiences. He conceived, directed, and narrated Side by Side by Sondheim (1976), a compiling Stephen Sondheim's works that ran successfully before transferring to Broadway in 1977, where it garnered a Tony Award for Sherrin's contributions. Additional directorial credits encompassed The Sloane Ranger Revue (1985–1986), The Ratepayer's (1984)—an Olivier Award winner for direction—and Mr & Mrs Nobody (1986) featuring and Michael Williams. These efforts, funded partly by residual television earnings, highlighted Sherrin's role in nurturing performers amid a post-satire landscape, though sparse box-office data underscores inherent risks, with successes tied more to critical acclaim than guaranteed profitability. The ventures demonstrated causal leverage from his broadcasting capital but revealed limitations in replicating television's satirical edge on and screen.

Radio Hosting and Later Broadcasting

Sherrin hosted the music Counterpoint from its inception in 1986 until 2006, posing questions on a broad spectrum of musical topics ranging from classical composers to popular genres. The programme featured contestants competing in heats, semifinals, and a final, with rounds emphasizing , specialist expertise, and musical identification, maintaining a format that rewarded depth over superficial recall. Under Sherrin's chairmanship, Counterpoint aired weekly, typically on weekday evenings, and adapted to listener feedback by incorporating audio clips and varied question styles amid evolving scheduling pressures. Parallel to Counterpoint, Sherrin served as the founding presenter of Loose Ends, a Saturday morning magazine programme blending arts reviews, comedy sketches, and interviews, from its debut on 4 January 1986 until his withdrawal in late 2006 due to health issues. Spanning over two decades, the show evolved from a light-hearted mix of music and chat to include topical and guest monologues, reflecting Sherrin's ability to sustain audience engagement through consistent wit amid BBC format tweaks and shifts in cultural commentary. Unlike his earlier television satire, which often featured scripted confrontations, Sherrin's radio style emphasized conversational and understated irony, fostering a more intimate rapport with listeners via voice and pacing rather than visual spectacle. This radio tenure underscored Sherrin's versatility in audio media, where he balanced quiz precision in Counterpoint with eclectic discourse in Loose Ends, contributing to Radio 4's reputation for intellectual entertainment without the production demands of television. His departure from both programmes in 2006 marked the end of an era, with successors adapting the formats to contemporary tastes while preserving core elements of erudition and humor.

Authorship and Literary Contributions

Ned Sherrin produced a range of literary works centered on , , and cultural commentary, including , parodies, and memoirs that drew from his observations of British media, , and . His 1984 anthology Cutting Edge: Or, Back in the Knife Box, Miss Sharp collected epigrams, quips, and insights into , emphasizing concise, evidence-based humor over embellishment, with selections highlighting causal links between public events and personal follies in postwar Britain. Co-authored with , 1956 and All That: A Memorable History of England Since the War to End All Wars (1984) offered a 142-page of modern British , starting from the 1945 Labour victory and extending through the and beyond, using exaggerated timelines and character sketches to underscore factual absurdities in political decision-making, such as the invasion's strategic miscalculations. The work prioritized verifiable historical pivots—like Eden's resignation—while injecting ironic asides on policy causalities, though its selective emphasis on elite missteps risked overlooking broader socioeconomic data. Sherrin's memoirs, including A Small Thing - Like an Earthquake (1983), detailed career origins and industry dynamics through dated anecdotes, such as his 1960s satire productions, revealing unvarnished cause-effect chains in without reliance on partisan framing. Later volumes like Ned Sherrin in His Anecdotage compiled repartee from public figures, valuing empirical recall of dialogues over narrative polish, though the focus on entertainment insiders suggested potential gaps in cross-ideological sourcing. In periodical contributions, Sherrin wrote as memorial services correspondent for magazine from the mid-1990s, penning columns on funerals and obituaries that archived factual details of deceased notables' lives—such as attendance figures and content—while dissecting media legacies through pointed, anecdote-driven analysis rather than eulogistic convention. These pieces preserved primary-like records of passings, aiding causal reconstruction of cultural influence, albeit with a noted preference for anecdotes from liberal-arts networks that may have underrepresented conservative viewpoints.

Personal Life

Relationships and Private Conduct

Sherrin identified as homosexual, with early indications of his evident during his in the 1950s, though he did not publicly address it until after the partial of homosexual acts between consenting adults in private via the Sexual Offences Act 1967. Following this legal change, he lived openly as gay, serving as a patron of the London Gay Symphony Orchestra and maintaining membership in institutions like the without evident professional repercussions. His most significant personal relationship was with Lewis MacLeod, a long-term partner who predeceased him in 1994 after over two decades together. During the height of his broadcasting career in the , when remained illegal, exercised discretion in his private conduct, navigating societal and legal pressures through personal agency rather than public confrontation, which allowed him to sustain high-profile success in and production. Sherrin's social life reflected the era's cultural milieu, centered on London's theatrical and intellectual circles where his reputation as a sharp-witted conversationalist flourished, often amid gatherings of performers and writers, without reliance on claims of marginalization. He resided independently in a Chelsea flat, prioritizing and simplicity in later years.

Health Challenges and Death

In 2006, Sherrin received a of throat cancer, initially presenting with vocal cord impairment that progressed to necessitate his withdrawal from professional commitments. The condition, a malignancy of the pharyngeal tissues, impaired his ability to speak and broadcast, forcing him to relinquish hosting duties on 4's Loose Ends before that year. Medical intervention failed to halt the disease's advancement, underscoring the terminal trajectory common in advanced throat cancers where cellular proliferation overwhelms therapeutic measures. Sherrin died from the cancer on 1 October 2007 at his home in , at 3:30 p.m., aged 76. His took place on 9 October 2007 at , a site of his regular attendance, with his coffin borne amid floral arrangements. The event proceeded without public spectacle, reflecting the private finality of the illness's outcome.

Reception and Legacy

Achievements in Satire and Entertainment

Sherrin's production and direction of That Was the Week That Was (TW3), debuting on BBC Television on 24 November 1962, represented a landmark in satirical broadcasting by dismantling the BBC's postwar decorum through live, irreverent sketches targeting politicians and institutions. The series peaked at 12 million viewers, a substantial audience for late-night programming in an era of limited channels, and its format—featuring unscripted ad-libs and topical monologues—innovated by prioritizing immediacy over polished deference, thereby injecting vitality into public discourse on politics. This approach not only propelled the 1960s satire boom but also propelled emerging performers like David Frost into prominence, establishing TW3 as a catalyst for talent that influenced subsequent political comedy. The program's empirical legacy includes heightened viewer interaction with authority figures, evidenced by its role in normalizing critique of ; contemporaries noted its appeal to younger demographics alienated by formal news, though Sherrin himself later reflected on satire's inherent constraints in effecting systemic change beyond entertainment. TW3's discontinuation ahead of the 1964 election underscored its disruptive potency, yet its influence endured in formats that sustained audience engagement with through humor rather than solemnity. Sherrin extended these satirical innovations to radio with Loose Ends on , which he hosted from its launch in 1986 until 2006, achieving longevity as a weekend staple that fused interviews, sketches, and performances to dissect culture and current events. At its zenith, the show drew peak listenership as a "must-listen" broadcast, introducing diverse talents and maintaining an eclectic wit that contrasted Radio 4's typical , thereby broadening entertainment's reach into reflective . Its format's persistence post-Sherrin affirms the commercial viability of his blend of levity and insight, with over two decades of consistent scheduling reflecting sustained audience metrics in radio. In theatre and film, Sherrin's productions underscored satirical commercial triumphs, such as his 1984 direction of The Ratepayer's , a politically inflected adaptation that secured an Olivier Award for its innovative staging and box-office draw. Films like (1971), produced under his oversight, capitalized on bawdy historical to achieve theatrical releases and cult followings, translating television satire's bite into profitable cinematic ventures amid the era's permissive shifts. These works collectively amplified his imprint by proving satire's adaptability across media, with measurable successes in awards and viewership that outpaced many peers in the genre.

Criticisms of Satirical Approach and Political Influence

Sherrin's production of That Was The Week That Was (TW3), which aired from November 1962 to December 1963, drew accusations of one-sided political satire that disproportionately targeted Conservative figures and institutions while sparing Labour opponents. Conservative Party monitoring reports described the program as exhibiting an "anti-Conservative theme," labeling specific segments as "politically dangerous" and crossing into "disgusting foul taste," with rare lampooning of Labour shadow ministers like Harold Wilson. A notable example was a "Disraeli monologue" sketch that favorably portrayed Wilson, prompting over 600 protest telephone calls to the BBC compared to just 60 in support, highlighting perceptions of favoritism toward the opposition amid the Conservative government's tenure under Harold Macmillan. Critics, including traditionalist commentators like , argued that TW3 under Sherrin violated the BBC's obligation to impartiality by prioritizing irreverent mockery over balanced policy analysis, thereby contributing to a cultural shift toward media polarization where became a tool for undermining established rather than fostering substantive debate. Conservative MP decried the program's liberal tone as corrosive to national institutions, expressing satisfaction at its end, while viewer correspondence—exceeding 700 letters upon announcement of its axing—frequently characterized the satire as "sick and corrosive," eroding traditional values without equivalent scrutiny of left-leaning positions. This one-sided approach, suggests, limited the development of equivalent right-leaning satirical voices in British broadcasting, as TW3's influence entrenched a model of establishment-baiting that favored progressive critiques. The program's cancellation in late 1963, ahead of the 1964 general election, was partly attributed to sustained Conservative pressure on the , reflecting fears that its "vicious " could sway against the incumbent government despite audiences exceeding 9 million viewers per . Post-cancellation, the adopted greater caution in , as internal memos acknowledged the risks of perceived , with Sherrin's approach cited in archival records as having provoked "political anxiety" that necessitated reining in such programming to avoid further institutional fallout. While defenders praised TW3's vitality in challenging deference, conservative critiques framed Sherrin's influence as initiating a precedent for that prioritized ideological skew over even-handed irritancy, as he himself pitched the show to be "an irritant to some."

Cultural and Media Impact

Sherrin's production of That Was the Week That Was (TW3) in 1962–1963, which drew audiences of 12–13 million viewers per episode, established a template for irreverent on British television, shifting commentary from deference to direct lampooning of authority figures and contributing to the broader . This format influenced subsequent panel-based satirical quizzes, such as his American-hosted We Interrupt This Week, which prefigured programs like Have I Got News for You by blending topical news with subversive questioning. Analyses of television satire's effects attribute to TW3 an acceleration of public irreverence toward politicians, exemplified by its exploitation of scandals like the to underscore governmental hypocrisy, thereby eroding traditional respect for institutions. Post-1960s, Sherrin's innovations sustained through adaptations in radio, notably his 20-year tenure on Loose Ends (1986–2006), which maintained witty, eclectic cultural discourse amid television's pivot to more visual, personality-driven formats like puppetry in Spitting Image (1984–1996, peaking at 15 million viewers). This evolution reflects satire's durability but also its causal role in deepening societal cynicism, as tendentious humor provided psychological relief from authority while reinforcing perceptions of elite incompetence—a trend evident in declining deference metrics, such as the "death of deference" narrative tied to TW3's era, without precipitating outright political upheaval. Empirical assessments, drawing on viewer data and format longevity, suggest satire's influence waned in revolutionary force by the 1980s, yielding to cruder critiques that prioritized personalities over systemic analysis, yet Sherrin's archival contributions retained value for preserving unfiltered wit. Retrospectives following Sherrin's death, including detailed obituaries, underscored his role in reshaping media norms toward , with no substantive new cultural developments attributed to his work thereafter, affirming a legacy bounded by the boom's parameters rather than perpetual transformation.

References

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