Comperes include: Tommy Trinder, Dickie Henderson, Bob Monkhouse, Hughie Green, Alfred Marks, Robert Morley, Bruce Forsyth, Norman Vaughan, Jimmy Tarbuck, Jim Dale, Ted Rogers Show full cast and credits
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By the time of its 100th performance was transmitted on 2 March 1958, only 4
editions of Sunday Night at the London Palladium run had failed to make the Top
10 most popular programmes, making it something of a national institution, and
one of the foundation stones of successful commercial television in the UK.
The brainchild of Val Parnell, its format was that of a compered variety
bill, with the added injection of an occasional bit of 'high' culture to
counterbalance the mini-game show, 'Beat The Clock'. The familiar theme tune
overtured a typical show consisting of an opening dance chorus routine, often
from the Tiller Girls, followed by a speciality or novelty act (acrobats,
tumblers, mimes, puppets), and an act to close the first half, usually new or up
and coming. Beat The Clock made up the middle section, and the star act would
have most of the final segment, with the finale on the revolving stage while the
credits rolled. Acts were sometimes booked to take advantage of their being in
London on tour, so many international stars appeared alongside home-grown
talent. The orchestra and audience were seen often during the show to build
atmosphere, and the compere - with catchphrase - generally got his chance to
perform or join in.
Over time, the balance of acts inevitably shifted from those drawn from music
hall, variety or radio to include those from television and pop music, the
growth of which market almost paralleled the arrival of commercial TV. Coming as
it did from one of Britain's most prestigious theatres, Sunday Night grabbed the
attention of audiences and made them feel part of the event - a night out -
without leaving their front room. For many, the only comparable event was the
annual Royal Variety Show, itself often held at the Palladium.
The show, fully networked from its early days, took a holiday break for the
summer (no doubt enabling the traditional seaside Summer Shows to keep an
audience), and a brief Christmas break, but by 1965 was already being seen as
"an oxygen tent for vaudeville". Although periodically revived with some format
changes, its heyday ended more or less as Parnell's involvement ceased, while
greater viewing and listening choices emerged to erode its audience
share.
David Sharp
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1. The Tiller Girls and Bruce's intro (3:19)
