Yesterday
I had the great pleasure to chat with the actor Hugh Futcher about
his long career as an actor on stage and screen. Hugh is well known
to Carry On fans for his appearances in seven Carry Ons. Following
his debut in Carry On Spying on a bed of nails, Hugh went on to
appear in Don't Lose Your Head, Again Doctor, At Your Convenience,
Abroad, Girls and finally Carry On Behind in 1975. Hugh also popped
up in the film Bless This House in 1972.
First
of all, I'd love to know what made you want to become an actor?
Quite
simply I liked the attention as a child. I got a lot of pleasure from
being the centre of attention and my parents weren't really against
it. My mother didn't mind my interest in acting but she still wanted
me to go back to school. I wasn't sure what to do with my life but
through a contact of one of my teachers I was taken on to do window
displays for John Lewis and I spent a very happy three years working
there.
I
still dreamt of becoming an actor though and during this time I
became what's known as a bit of a Stage Door Johnny. i used to hang
about outside the local theatre in Hampshire where I grew up. Lots of
stars passed through the theatre in those days and one day it was
that great actress Diana Dors. One night she invited me in to her
dressing room and she talked to me while she was putting on her make
up. I told her I was keen to become an actor and she advised that I
wrote to RADA to express an interest. I did that, they sent me
application forms and I took an entrance exam. I was offered a place
but until this point I hadn't told my parents. We were just an
ordinary working class family and while they weren't against me going
to RADA, there was no way they could afford the fees. RADA suggested
I contact my local council to see if they could help but I was told
they only had funds to help people who wanted to become a doctor or a
solicitor.
So
I went back to RADA and explained by predicament. Fortunately for me
they allowed me to audition again, this time for a scholarship, which
I got, and the rest is history. The Principal of RADA at the time was
John Fernald and he never believed in me. He had no confidence that I
would succeed and told me I'd struggle until my forties and would
have to settle for being a character actor. As a young man of about
20, that wasn't a great thing to hear. When I got my first big part
at the Royal Court I went back to see him and proved him wrong!
Was
that role at the Royal Court your big break do you think?
Without
a doubt. I played the role of Dodger in Chips with Everything for
eight weeks at the Royal Court and then for a full year when it
transferred to the Vaudeville Theatre. I really think that part
opened the door for me to do lots of television and parts in films. I
think people underestimate the importance of having a good agent to
find you parts. My first agent took me on straight from RADA, a lady
called Marjorie Armstrong. She was new to the business and I was one
of her first signings. Some of her other clients at the time were
Julian Glover and Henry McGee. Henry became a close friend and
remained so right up until his death.
Marjorie
was responsible for bringing lots of casting directors to see me when
I was at the Vaudeville and that's how I started to get parts in
television and in the cinema.
How
did you first come to join the Carry On team?
Well
that was down to Marjorie again. She had been in touch with the
casting agent at Pinewood Studios, I think it was Weston Drury Jr,
and I was asked to come down to Pinewood to discuss what I'd been up
to. The next thing I knew I was told I had a part in the next Carry
On which was Carry On Spying. I remember Marjorie telling me that she
hoped I was looking good as I'd be required to strip off for the
part! Fortunately it was only a Carry On and I was playing a guy on a
bed of nails in a short scene with Bernard Cribbins. That was the
first time I met Barbara Windsor and sadly the only time I've ever
met or worked with Bernard.
What
was Gerald Thomas like as a director?
He
was tough! He didn't say very much on the set. Peter Rogers said even
less but he was always watching the clock. Peter was the money man
and he would always appear at the end of the day to make sure we
didn't go over time! They dreaded any actor asking if they could do a
scene again as time cost money! I remember one time on set when an
actress, who I won't name, quite loudly stated that she wasn't
getting enough close ups as it was obvious they were focusing on the
younger talent. After that little incident she was never asked to
make another Carry On.
You
filmed a scene with Sid James for Carry On Again Doctor in 1969. What
was he like to work with?
Sid
really took to me. He'd noticed me in a couple of parts before and
even asked for me, saying to Gerald and Peter "is there anything
for Hugh?" in the scripts. We got on very well and shared a
common passion for the horses! We talked about the racing every
morning and really bonded over that. We were always putting bets on
while we were on set. The other thing that went on between takes was
competing to see who could do The Times crossword first! It was
normally Hattie, Sid and Bernard Bresslaw. Sid also always had his
head in a copy of The Sporting Life.
Another
film you appeared in around this time was the Roman Polanski horror
picture, Repulsion, with Catherine Deneuve. What are your memories of
that?
It
was a great film to have on my CV. The casting director liked me and
asked me to go down to Shepperton Studios where they were going to
make the film. I went into a little cabin and there was Polanski -
very small and quiet, hardly said anything. I knew of him as he'd
caused quite a stir with his film Knife in the Water. They were
really just looking for faces and mine fitted. I was told that no
English director would have cast me as they wanted Chelsea types. The
actor I played scenes with was called James Villiers and he was quite
posh. He raised an eyebrow at my casting in the part. Anyway it was
quite a strange film in the end and I remember my mother could take
it and walked out during the premiere, she had to wait in the foyer!
Around
that time I also met the legendary Charlie Chaplin, did you know
that?
No
I didn't, tell me about it...
I
went down with five other actors to be seen for a short scene in a
film he was making in England, A Countess from Hong Kong. When we got
to the studios we were lined up while Chaplin and the Assistant
Director walked up and down. The other four were then told they could
go and I was told, "Hugh, you're working today." When we
broke for lunch I was told I was done and could go. Sadly I didn't
get the chance to meet the stars of the film Marlon Brando and Sophia
Loren! As Chaplin and his entourage left the stage he suddenly turned
round and walked backwards back towards me. He looked me in the eye
and said "thank you so much" and was gone. It was quite a
moment.
Watch out for Part Two of my interview with Hugh Futcher, coming up soon. Find out what she had to say about returning to the Carry Ons to work on the likes of Carry On Abroad and Behind and what it was like to go on location with the gang to Brighton for Carry On At Your Convenience.
I'd like to thank Hugh for agreeing to the interview. And also many thanks to Sarah at Beresford Management and to the lovely Andrew Lynford for helping to set it all up!
