Category Archives: Obituaries

Richard Davies – Welsh Character Actor – RIP 1926-2015

RICHARD DAVIES RIP

Richard Davies
Richard Davies

The accomplished and much loved Welsh character actor Richard Davies has died at the age of 89. Balding, with a gap tooth and distinctive accent he was best known for his appearances as Mr Price in the ITV sitcom Please Sir! (starring John Alderton). That said, and despite an ever detectable twinkle, he was an actor of more skill and gravitas than a quick perusal of his comedy credits might initially suggest. Born in Merthyr Tydfil, Glamorgan he was destined for a life in the mines (which he entered aged 14) before packing his bags for London in order to try to make it as an actor. It’s fair to say that he did.

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Held hostage with Bonnie Langford in Delta and the Bannermen.

His one encounter with Doctor Who came in 1987 – the production team needed someone with a lightness of touch to play a genial Welshman in the Sylvester McCoy story Delta And The Bannermen. It’s unlikely that Davies was anywhere other than top of the list when it came to casting that particular role. It’s a story with an odd tone but whilst Don Henderson is a genuinely villainous presence it is Davies who best straddles the show’s mixture of comedy and drama. It is easy to believe that his character is an old soldier and his innate authority when he commands Henderson to spare Bonnie Langford’s Mel contrasts nicely with the humour with which he plays the scenes where he discovers the true nature of the TARDIS. It’s a skilful performance, perfectly judged.

Burton Burton – as his Doctor Who character was called – was just one small role in an illustrious roster of parts. He played real life Victoria Cross recipient Private Jones in the classic film Zulu (1964), bravely holding off the invading hordes alongside fellow actor Denys Graham (as another Private Jones!). This good, solid supporting role came after a number of small parts in films such as A Run For Your Money (1949) and The Lavender Hill Mob (1951). He subsequently turned up in Oh, What A Lovely War (1969) as the butcher in Steptoe And Son Ride Again (1973) and was, inevitably, in the 1972 film version of Under Milk Wood (and it would be impolite to have expected otherwise).

It was on the small screen, however, that he made the biggest impact, and he had an especial gift for comedy. As well as his stint throughout the entire run of Please Sir! he played the incompetent private eye Gimble in the first series of Bob Block children’s comedy Robert’s Robots (1973), Clive in three series of Bill Maynard vehicle Oh No, It’s Selwyn Froggitt (1973-1977), as the Chancellor Of The Exchequer – a desperately sane counterpart to Peter Jones’s bonkers wannabe superhero Prime Minister – in Whoops Apocalypse (1982) and as Stan Evans opposite Robin Askwith in Bottle Boys. He even managed to make a mark in one-off appearances including the harassed Mr White in the famous The Kipper And The Corpse episode of Fawlty Towers (1979), as a trade union official in Yes Minister (1980), as Clive Jenkins in the Not The Nine O’Clock News skit of Question Time, and as a man with horrible memories of Victor Meldrew in One Foot In The Grave (1992).

Coronation Street's Hopkins family.
Coronation Street’s Hopkins family.

It is worth mentioning that there was plenty of drama alongside the comedy, and he cropped up in many programmes – notably a semi-regular role in  Z-Cars (a memorably oily turn as the informant Sloan, 1963-65), as well meaning but frustrated teacher Mr Black in Dennis Potter’s Where The Buffalo Roam (a Wednesday Play in 1966), Angels (1975/80), To Serve Them All My Days (1981), mini series The Citadel (1981), Big Deal (1985) and And The Beat Goes On (1996) as well as a number of different one off roles in the same series that testified to his versatility : five in No Hiding Place (from 1964), and three each in Softly, Softly (from 1966) and Dixon Of Dock Green (from 1967). He was a series regular as Idris Hopkins (corner shop proprietor and husband to Kathy Staff’s Vera) in Coronation Street (1974-75) and as Max Johnson in Taff Acre (1981).

Private 593 Jones - not to be confused with Private 716 Jones (or any of the other ones). Zulu (1964).
Private 593 Jones – not to be confused with Private 716 Jones (or any of the other ones). Zulu (1964).

A perusal of the characters he played finds a number of Taffys,  an Owen Owen to go with his Burton Burton, many a Dai and a Jones or two, but if the roles he played were occasionally stereotypes he always brought something more to them than might have been on the page and his performances were never lazy. Indeed, for a generation or two of viewers he was part of the televisual furniture, a reliable and welcome performer whose appearances always put a smile on the face.

He passed away of the 8th October after a battle with Alzheimers but, according to his daughter Nerissa, he “lived with fun to the end”.

Lines that could only have been said by Richard Davies (and were):

“At times like this, I often wonder what Nye Bevan would have done, and I’m convinced he would have shat in his pants.” – as Clive Jenkins on Question Time (Not The Nine O’Clock News)

“Yes, and if that’s no good, we’ll try the one up by the prophylactic emporium.” – as Mr White in Fawlty Towers

“Meldrew… Victor Meldrew! God, he was a pillock eh? There’s a big drawing of him on the wall of the girls toilets. Oh yes, you’d remember him Steve… he was a right bastard… I gave him my hamster to look after one holiday and when I got home his cat had eaten it. Tried to palm it off as a suicide.” – as Billy in One Foot In The Grave.

“Now, let me try and get this right. Now, are you telling me that you are not the Happy Hearts Holiday Club from Bolton, but instead are spacemen in fear of an attack from some other spacemen, and because of the danger, you want me to evacuate the entire camp?”
and
“Oh, by the way, can we have space buns and tea afterwards? Or don’t they drink tea on Mars?” – as Burton in Doctor Who – Delta And the Bannermen

He is survived by his actress wife Jill whom he met in Rep (it would have been their 60th wedding anniversary on October 28th), their children Nerissa and Glen and four grandchildren.

RICHARD DAVIES – 25th January 1926 – 8th October 2015

With thanks to Nerissa Davies.

Derek Ware RIP – Doctor Who stuntman dies

Stuntman Derek Ware, who has died.
Stuntman Derek Ware, who has died.

Derek Ware, the stuntman who founded the agency HAVOC who provided much of the trademark action of the Jon Pertwee era, has died. His association with Doctor Who went back to the very first story, for which he arranged the fight between caveman Kal and Za, as well as doubling for actor Jeremy Young.

He subsequently arranged the fights on several 60s stories. For Marco Polo (1964) he co-orinated the scimitar fight between Marco and Tegana and on The Aztecs he marshalled the climactic cudgel face-off between Ian and Ixta. Sword fights on The Crusade(1965), The Myth Makers (1965), and The Smugglers (1966) followed – in the latter he also took the role of the Spaniard, ruefully noting that the character lost his lines and looks once he had been cast. Having been memorably impaled in the chest by a sword on The Crusade he was rehired by director Douglas Camfield in acting-only roles as an uncredited bus conductor in the final scenes of The Chase (1965, which Camfield, not the story’s main director Richard Martin, oversaw) and as the Egyptian messenger Tuthmos in The Dalek’s Masterplan (1966). In fact, Derek trained as an actor at RADA and so his acting chops were never in question: indeed Camfield also cast him in a memorably ominous episode of The Lotus Eaters (1972).

A grim death as a Saracen Warrior in The Crusade.
A grim death as a Saracen Warrior in The Crusade.

Having overseen the fights in The Underwater Menace (1967) and The Web Of Fear (1968 – specifically the stunning Covent Garden massacre which proved a highlight when the story was returned recently) he came to benefit the show for a couple of years with the stunt team he formed, HAVOC. Reasoning that it was better to have a group of stuntmen who all specialised in various skills, he provided the riders, fallers, drivers and horsemen who fought and died in various entertaining ways during Jon Pertwee’s first to years.

As Private Wyatt in Inferno, about to take a tumble.
As Private Wyatt in Inferno, about to take a tumble.

HAVOC made a splash in The Ambassadors Of Death (1970) with a memorable warehouse fight in episode one and then a spectacular helicopter hi-jack in episode two : Ware himself playing the UNIT Sergeant who takes a tumble for the whirlybird. Camfield was back for Inferno (1970) casting Ware as Private Wyatt: for his character’s big  plunge from a 50ft a gasometer Ware was himself doubled by Roy Scammell who was HAVOC’s high fall expert. Ware’s most fulsome praise for his work on that story though was Jon Pertwee because the leading man  had chronic vertigo but gamely performed his scenes on the towering gantries anyway.

The incomparable Pigbin Josh about to get absorbed by Axos.
The incomparable Pigbin Josh about to get absorbed by Axos.

Ware enjoyed working with Michael Ferguson on The Ambassadors Of Death and was delighted to provide a fight between Bill Filer and his Axonite doppelgänger in The Claws Of Axos (1971 – Ware providing the back of head shots to double for Paul Grist). He also, memorably, played one of the most bizarre characters ever to shamble into Doctor Who – Pigbin Josh, the tramp who can only say “Ooh-arrr” and who takes a tumble into a freezing river on the coldest day of the year.

Having provided Terry Walsh to double for Jon Pertwee Derek found himself squeezed out of Doctor Who when Walsh proved to be a cheaper option than a whole stunt team. Complaints from other stuntmen that HAVOC had a monopoly on the available television work meant that his own union changed the rules and the agency was dissolved. He always felt that he had been treated unfairly but it didn’t diminish his appetite for work nor his gentlemanly conduct when he was performing it.

He never returned to Doctor Who (he wasn’t impressed with later manifestations of the show anyway and turned down an overture from producer John Nathan-Turner) but he carried on arranging stunts on stage and screen, as well as imparting his wisdom and experience to budding students – indeed for many years a Derek Ware Prize was awarded at RADA for the best fight based around a classical text.

He was happy to contribute to the Doctor Who DVD range.
He was happy to contribute to the Doctor Who DVD range.

He was happy to reminisce bout the show for the Doctor Who DVD range and that was where I was reunited with him: first on the commentaries for The Mind Of Evil and The Ambassadors Of Death but most rewardingly for the documentary Hadoke Vs HAVOC on which he told the story of assembling that acclaimed TV stunt troupe and was reunited with some of its surviving members. I had first met him when he taught me how to fight when I carried a spear (and a sword and an axe) in the 1990 Ludlow Festival production of Macbeth – his last production after a rewarding 21 year association with the annual Shakespeare-In-The-Castle there. I was delighted when he came to ours for lunch and brought a copy of the documentary Dying For A Living which focussed on him and his stunt work. At the time he was hoping to have his own series on the history of sword fighting – Code Duello – commissioned but despite shooting a taster tape with a voice over from his friend Robert Hardy this never materialised.

He was a funny man (his father, whom he never really knew, was a stand-up comedian) but also a gentleman who had great stories and a true appreciation of his fellow professionals. If the business had let him down on many occasions it never managed to make him fall out of love with it and he was always happy to help with projects which could benefit from his memories and wisdom.

His other TV work included fight arranging on The Spread Of The Eagle (1963), the seminal Peter Watkins pieces The Battle Of Culloden (1964) and The War Game (1965), The Changes(1975), Jane (1984), Eastenders (1885) and The Paradise Club (1989) and acting roles in The Age Of Kings (1960), Z-Cars (1963-1972, including the very first episode), The Return Of Sherlock Holmes (1988) and Grange Hill (1990). On film he provided the famous Mini chase in The Italian Job (1969) and stuntwork on Krull(1983), Willow (1988) and Robin Hood: Prince Of Thieves(1991).

Derek (centre) reunited with his HAVOC colleagues (plus one new member) in the documentary Hadoke Vs HAVOC.
Derek (centre) reunited with his HAVOC colleagues (plus one new member) in the documentary Hadoke Vs HAVOC.

Derek Ware – 1938-2015

Duncan Brown 1941-2015 RIP – Doctor Who lighting man dies

TOM BAKER ERA LIGHTING DESIGNER AND MUCH ADMIRED “GENIUS” PASSES AWAY AT HOME.

Lighting man Duncan Brown who has died.
Lighting man Duncan Brown who has died.

Duncan Brown, the highly respected BBC studio lighting designer who worked on four Doctor Who stories has died – this news comes just after the airing of a new series episode that could be seen as a sequel to his very first credit  on the show, the hugely acclaimed Genesis Of the Daleks (1975).

Brown was one of the finest lighting directors to have worked on the series. Genesis Of The Daleks benefits hugely from his creation of an alien battlefield sky for the studio rendered exteriors and his use of shadowy corridors for the Daleks to advance through. His final story, The Leisure Hive (1980), is one of the most remarkable looking stories in the entire classic run, the hive itself a mixture of eerie greens and soft pinks depending on the exact location, and Brown makes great use of shadow again as the duplicitous Stimson stumbles about blindly as he is stalked by a half glimpsed Foamasi. He also lent his expertise to The Android Invasion (1975) and The Robots Of Death (1977) and features on the DVD documentary Genesis Of A Classic in which producer Philip Hinchcliffe singles his work out for special attention. Describing the production’s aim of having the Daleks emerge from the gloom and shadows Hinchcliffe reflected that “that takes a very good lighting director because that means there’s more work to be done in the studio recording time. It needs someone with an artistic sensitivity but also someone that can work quickly and do it.”

Looking back on his work, Brown admitted that “I was surprised just how good it looked. [It] stood up well”. With characteristic modesty he described his job as being one of physics and engineering and that if there was anything artistic about what he did then it came from interpreting the script. “If the writer’s pleased – that’s the most important bit.”

Duncan Brown (left) collecting a BAFTA in 1993.
Duncan Brown (left) collecting a BAFTA in 1993.

Margot Hayhoe, who worked with Brown many times over the years in her capacity as Assistant Floor Manager and Production Manager paid tribute to him today saying  “I always enjoyed working with him, he had a great sense of humour and always lit with great artistry, quickly and with no fuss. Among other shows, I mostly remember him from To Serve Them All My Days. He had a mischievous twinkle. He carried a portfolio of screen shots of his work compared with prints of Old Masters which he used as reference. As the saying in lighting went for many LD’s ‘Everyone a Rembrandt’. One of my great regrets when most of the Dramas I worked on became all film productions was the fact that I was unable to work with such a delightful person.”

Producer Albert Barber (Grange Hill) who first worked with Brown on Playschool recalls: “Duncan was always kind, helpful and had a smile of encouragement whether you were green and inexperienced or older and perhaps wiser. Always a joy to work with as you knew it would be one area that you wouldn’t have to worry about and that quiet, confident style would in turn make for a good team production. He was a terrific man, mentor and professional. I liked him very much.’

Duncan Brown and Roy Gould on Oh, Doctor Beeching! : "We stood like this many times quietly contemplating a shot," says Gould.
Duncan Brown and Roy Gould on Oh, Doctor Beeching! : “We stood like this many times quietly contemplating a shot,” says Gould.

Roy Gould, director of the Brown lit Oh, Doctor Beeching! (1995-97), had worked with him many times over the years when he was AFM and production manager on many David Croft comedies : “One week he came into the David Croft’s office when I was the PM and asked me if he could try something out on the next recording of Hi-De-Hi – I said that David and I trusted him completely and to go for it. When I arrived in the studio that Friday, I looked up at the staffroom set and saw 3 or 4 bits of poly[styrene] clipped to the top of the set at various angles and some Bacofoil stapled on some of the flats. I looked at the lighting grid and noticed that he had hung just one light. When he saw me he asked his assistant to turn off the Workers and bring up the staffroom lighting – the one light came on and and its beam bounced from the Bacofoil to one bit of poly to another: the set was lit perfectly. With one lamp! Genius. Adored the man.”

The Leisure Hive - the alien nature of David Haig's Pangol is augmented the green hue of Duncan Brown's lighting.
The Leisure Hive – the alien nature of David Haig’s Pangol is augmented the green hue of Duncan Brown’s lighting.

Brown’s many other credits included Madame Bovary (1975), When The Boat Comes In (1976), The Duchess Of Duke Street (1976/77), Pinocchio (1978), Top Of The Pops (1978), Are You Being Served (1983), Eastenders (1986), Johnny Briggs (1987), Bread (1988), A Bit Of Fry And Laurie (1989), ‘Allo ‘Allo (1989), You Rang M’Lud (1988-90), The Legacy Of Reginald Perrin (1996) and Death Of A Salesman (1996).

Duncan Brown died at his Surrey home on September 14th. He is survived by his wife Kaye, their daughter, and grandchildren.

CLIFFORD EARL 1933-2015 RIP

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Ken Earl (using his acting name Clifford Earl) as Major Branwell in the 1968 Doctor Who story The Invasion.

Clifford Earl, who played the Station Sergeant in the Christmas Day 1965 episode of The Daleks’ Masterplan (The Feast Of Steven) and Major Branwell in 1968’s The Invasion opposite Patrick Troughton – both for director Douglas Camfield – has died at the age of 81. Better known in certain quarters of the outside world under his given name (Ken Earl) his achievements for real servicemen  – versions of whom he often played in fiction – are worth noting alongside his not unenviable acting credits.

Camfield was well known for demanding authenticity from those he cast in uniform and he definitely got the real thing from Earl, who, in his second and best role in the show, portrays a cooly efficient Major who helps the Doctor defeat the Cybermen with a little help from companion Zoe’s calculations. After his missiles have wiped out the Cyber-fleet he compliments the mathematical genius by declaring that “she’s much prettier than a computer”. Such reflections of their time aside Earl is vital in helping to keep the drama heightened during those tense moments of the final episodes when the soldiers wait to see if their attack will succeed. His solid presence and grim determination keep the tension bubbling right up to the epic story’s climax. His turn in The Daleks’ Masterplan a few years earlier is a much lighter affair, reflecting the Christmas frippery the production team are after in this long lost one-off.

Hero-Ken-Earl copy
Ken Earl bravely campaigned for those who had been tested on at Porton Down in the 1950s. Photo: BBC.

It should be no surprise that Earl had had military experience, but his was blighted by a scandal that has rightly rocked the establishment. In 1953 as an RAF medic on National Service he volunteered to be a guinea pig in order to help with work to find a cure for the common cold at the Porton Down research establishment. He was subjected to the same test as – and just two days apart from – a young airman, Ronald Maddison, who died 45 minutes after being exposed to the nerve agent Sarin. Earl and other veterans maintain that they were never told the truth about the experiments done on them and in 2008 the Porton Down Veteran’s Support Group, which Earl founded, won £3 million in compensation for the thousands of servicemen unwittingly subjected to dangerous exposure. The money, and accompanying apology from the government (but no admission of liability by the Ministry Of Defence), came too late for the many who had already died. Those like Ken who did survive suffered ill health (in his case spondylosis, liver cists, prostate and skin cancer, a heart murmur and depression) for the rest of their lives – ill health that they attributed to what had been done to them at Porton Down. He nonetheless considered himself lucky “At least I’m alive and I have had three score years and ten,” he told the BBC in 2004, “poor old Ronald Maddison got only 45 minutes”. His stoical character and dogged determination on behalf of his fellow servicemen meant that Earl was much admired, respected and liked in veteran circles.

Earl’s other television credits – many of them in uniform as either policemen or soldiers – included Scotland Yard (1959), Danger Man (1960), Bootsie And Snudge (1960/61), No Hiding Place (1963/67) Gideon’s Way (1965), The Baron, (1966) Man In A Suitcase (1967), The Avengers (1967/68), Dixon Of Dock Green (1967/69) Softly, Softly (1968/69), Department S (1969), Paul Temple (1969), Randall And Hopkirk Deceased (1970), Edward And Mrs Simpson (1978), Danger UXB (1979), Ike (1979, as Mountbatten), The Professionals (1980) and The Upper Hand (1990). On the big screen he appeared in Scream And Scream Again (1970), Diamonds Are Forever (1971) Tales From the Crypt (1972) and The Sea Wolves (1980). He was also a familiar face to forces personnel as he appeared in a number of MOD training films. He later became a news reader and continuity announcer performing In-Vision for Southern Television in the 1970s and out-of-vision for TVS in the 1980s.

He is survived by his wife Beth, a son and two daughters.

Clifford Earl (Ken Earl) 1933-2015

With thanks to Robert Forknall.

ROBIN PHILLIPS RIP

d01-1e-026Robin Phillips, who played Altos in 1964’s The Key’s Of Marinus, has died at the age of 73. A friend of the director, John Gorrie, he was brought aboard to assist the TARDIS crew as they struggled to complete a task (discovering the whereabouts of s series of hidden micro-keys) which they had to compete without being able to rely on the presence of the Doctor (as actor William Hartnell had a two week holiday booked). He is essentially the romantic lead, sharing action duties with William Russell’s Ian, and showing some real grit when facing down the evil Voord as they threaten the object of his affections, Katharine Schofield’s Sabetha.

As David Copperfield
As David Copperfield

Born in Haslemere, Surrey, on 28th February 1942, he left school at 15 but studied acting at the Bristol Old Vic theatre school, and appeared there at the Theatre Royal making his professional stage debut in a season which found him playing Konstantin in The Seagull and Romeo in Romeo And Juliet. Other Bristol productions between 1959 and 1961 included The Clandestine Marriage,and  The Long, The Short And The Tall and he also appeared at the Chichester festival and Oxford Playhouse. In 1962 he broke into television and as well as Doctor Who he clocked up the usual fare that a capable young actor would hope to accrue on his CV – Compact (1962), The Saint (1965), The Avengers (1966), The Forsyte Saga (1967 – star Nicholas Pennell and he would collaborate again in the theatre) and the title role in David Copperfield (1969).

It is for his work as a director that he will be best remembered (he had first dabbled at Bristol), notably his role in revitalising Canada’s Stratford Theatre in Ontario. Prior to relocating to Canada he had directed in the UK for the Hampstead Theatre Club, the RSC and Chichester. There was initially some press resistance that a relatively young Brit  should be taking over a Canadian theatre but he managed to erase what he described as the “twirling, spinning and shouting” that dominated productions and instead create work that was more modern in style and thus easier for the audience to absorb. He lured British theatrical greats such as Maggie Smith (he considered his working relationship with her to be the deepest he had in the business) and Brian Bedford to work alongside fine Canadian actors like Martha Henry whose admiration his working methods quickly provoked.

Robin Phillips - acclaimed director.
Robin Phillips – acclaimed director.

According to actor Barry McGregor “one of the great qualities that makes him what he is is that he teaches as he directs – that is so exciting.” He made “everyone feel valued and important to a production” felt actor Marti Maraden.

He was artistic director there from 1975 to 1980 and directed 40 productions, including a sensual Measure For Measure in his first year, followed by Antony And Cleopatra (with Smith and Bedford), A Midsummer Night’s Dream and King Lear. He returned in 1986-87 to direct Cymbeline and The School For Scandal.

Elsewhere he ran the Grand Theatre at London, Ontario (1983-83), was artistic director at the Citadel Theatre from 1990-1995, helped found the Soulpepper Theatre in 1998 and also directed on Broadway. On the London stage in 2000/2001 he directed Jessica Lange in Long Day’s Journey Into Night (Lyric Theatre, also starring Charles Dance and Paul Rudd) and Francesca Annis in Ghosts (Comedy Theatre).

Casualty and Dynasty star Maxwell Caulfield, upon the news of Philips’ death, described him as a “borderline genius”.  Stargate: Atlantis actor Torri Higginson Tweeted “Thank you for your stories, lessons and demanding presence every second”.

Philips felt that theatre was a vocation – “We do it for reasons other than just to entertain. If we do it well we can make a huge difference to people’s lives.” He was awarded the Order Of Canada in 2005 and the Governor General’s Award for Lifetime Achievement in 2010.

He died on the morning of Saturday July 25 after a long illness and is survived by his long time partner Joe Mandel.

OLAF POOLEY RIP

olaf-pooley-06Olaf Pooley was Doctor Who’s oldest surviving actor until he passed away yesterday at the grand old age of 101.

As ever with people who have crossed paths with the famous Time Lord, there was much more to him than his 7 weeks as the obstinate Professor Stahlman in the Jon Pertwee classic Inferno (1970). That said, it’s a terrific turn – a plausible villain whose motivation is utterly believable and who never strays into caractature. Pooley was reluctant to don the make-up required to transform him into one of the monsters of the piece – a Primord (basically Lemmy from Moorhead after being bitten by a werewolf member of ZZ Top) – but this didn’t stop him from delivering an entirely committed and serious performance as the testy and driven scientist impatient to crack the Earth’s core. When the Doctor is transported to a parallel world Stahlman’s alternative counterpart is crueller and more powerful, not afraid to have pesky, interfering time traveller erased by the military regime in charge of the totalitarian state. Inferno is indisputably one of the show’s true classics and Pooley is an essential part of it’s dark, gritty and tense DNA.

Born in Dorset during the First World War he spent much of the Second in Rep at the Liverpool Playhouse and Theatre Royal, Bristol and also appeared in the very first UK production of Twelve Angry Men at the Queen’s Theatre, London. He had, though, originally studied architecture and painting and enjoyed much success as an artist, exhibiting all over the world and spending his final days, still wielding his brush, in Santa Monica.

Olaf Pooley interviewed by US TV News on the event of his 100th birthday.

He is one of a small but illustrious bevy of actors to have appeared in both Doctor Who and Star Trek (the Voyager episode Blink Of An Eye). He had emigrated to the USA in the 1980s and so much of his CV is taken up with the likes of MacGyver (1985), Hill Street Blues (1986), LA Law (1992) and Dr Quinn: Medicine Woman (1996).

His TV work in the UK began in the late 1940s and included HG Wells’ The Invisible Man (1959), Maigret (1961), The Plane Makers (1964), sherlock holmes (1965), the expert (1968), Doomwatch (1971), Jason King (1971), The Zoo Gang (1974) and The Sandbaggers (1978) amongst many others. He wrote the screenplay to the film Crucible Of Horror starring his good friend Michael Gough – with whom Pooley lived for a time, gaining the affection and admiration of Gough’s then wife Anneke Wills, aka Polly for Doctor Who, who remembered him very fondly and told me : “My dear old Ola. 101! Up in the clouds, having a drink with Mick Gough – chuckling that he made seven years more than him: both of them completely compos mentis right to the end. So it’s not sad, it’s a triumph. May we all live to be 101 and keep our marbles”.

Ben Jolly, a UK based Doctor Who fan who visited Pooley at home in April, remembers, “He was a great guy to chat to – the conversation just flowed. His son-in-law Brian said after the visit that it had been a great tonic for Olaf who couldn’t believe that three chaps from London would have an interest in him. Apparently it gave him a real lift after a period of not being terribly well.”

There is a great interview with him here – there’s a Star Trek influence on it but it’s got plenty of intersesting detail and a sense of the man’s fascinating character.

Cleric
As the cleric in Star Trek: Voyager.

 

Thanks to Paul Ballard of Fantom Films and Lori Morris.