At the Drop of a HatOpening Date: May 10, 1962
Closing Date: May 10, 1962 (dates reflect the taping, not the run of the show itself) Air date: May 22, 1962 Medium: television Where to watch: not currently available |
Stage Production Notes
“An after-dinner farrago” featuring British writers and performers Michael Flanders and Donald Swann.
Flanders and Swann were a popular British comedic duo whose work, as described by The Daily Telegraph, “epitomised English nonsense humour in the good-natured tradition of Punch.” The overwhelming tone used to describe the men was how affable they were were. Despite their mismatched outward appearances, Flanders the tall and bearded one, Swann the bespectacled short one, article after article describes their delightfully quirky personas, intelligence, and warmth. American writer George Oppenheimer surmised, “Flanders and Swann are the two greatly engaging, highly civilized and infinitely comic gentlemen…” Swann stated of their brand of comedy, “We’re confectioners, not butchers.”
Michael Flanders as a young man was, by all accounts, athletic, charming, and a promising actor. He was educated at Westminster School and Oxford College, before joining the Royal Navy in 1941. In 1943, at the age of 21, Flanders contracted polio. He spent six months in an iron lung, and another year in hospital, and as a result, became a wheelchair user (or as the terms of the day describe him, “wheelchair bound,” or “confined to a wheelchair.”)
Flanders was reportedly nervous about performing in a wheelchair, though audiences loved his humor and delivery. Critic Christopher Driver, in a review for The Guardian condescendingly stated that Flanders never left his wheelchair, “though surely he could.”
While the difficulty of being in a wheelchair in the theatre may not have been obvious on stage, behind the scenes was another matter. As noted by Donald Swann in his autobiography, the New Lindsey had three stage hands whose
“An after-dinner farrago” featuring British writers and performers Michael Flanders and Donald Swann.
Flanders and Swann were a popular British comedic duo whose work, as described by The Daily Telegraph, “epitomised English nonsense humour in the good-natured tradition of Punch.” The overwhelming tone used to describe the men was how affable they were were. Despite their mismatched outward appearances, Flanders the tall and bearded one, Swann the bespectacled short one, article after article describes their delightfully quirky personas, intelligence, and warmth. American writer George Oppenheimer surmised, “Flanders and Swann are the two greatly engaging, highly civilized and infinitely comic gentlemen…” Swann stated of their brand of comedy, “We’re confectioners, not butchers.”
Michael Flanders as a young man was, by all accounts, athletic, charming, and a promising actor. He was educated at Westminster School and Oxford College, before joining the Royal Navy in 1941. In 1943, at the age of 21, Flanders contracted polio. He spent six months in an iron lung, and another year in hospital, and as a result, became a wheelchair user (or as the terms of the day describe him, “wheelchair bound,” or “confined to a wheelchair.”)
Flanders was reportedly nervous about performing in a wheelchair, though audiences loved his humor and delivery. Critic Christopher Driver, in a review for The Guardian condescendingly stated that Flanders never left his wheelchair, “though surely he could.”
While the difficulty of being in a wheelchair in the theatre may not have been obvious on stage, behind the scenes was another matter. As noted by Donald Swann in his autobiography, the New Lindsey had three stage hands whose
“...only job was to lift Michael down the stairs backstage and up again. Once they dropped him and he nearly had concussion. It was all very primitive: he couldn’t get into a dressing room so he had a rudimentary curtained cubicle just off-stage with a simple mirror. Everything was measured down to the last detail to map where he could go.”
A special platform covered in a black cloth was also built to prevent Flanders from rolling off the raked stage.
Swann reported that “enormous attention” was paid to ensuring Flanders’ access to the theatre, but that the same courtesy was not provided to the audience. In Swann’s words, “The ironic thing was that in those days disabled people couldn’t come [to the theatre] as there were lots of rules and regulations and no provision whatsoever for the disabled. What a ludicrous thing: he could play but others couldn’t watch him!”
Flanders, and his wife Claudia (the pair met in NYC in 1959 and married shortly after) became advocates for better theatre access, and access in general, for people with disabilities. As a result of her experiences with her husband, American-born Claudia Cockburn became heavily involved in disability advocacy groups, and in 1981 was appointed an Order of the British Empire for her work.
Donald Swann was born in Wales in a multicultural and highly cultured household. His parents were both born in Russia, though his father was a British national, and his mother was a Muslim from southern Russia in what is now Turkmenistan. HIs parents met whilst both serving in medical units in Kiev, and fled Russia in 1919 following the revolution. Swann was educated at Dulwich preparatory school and Westminster School, and he also studied piano and composition at the Royal College of Music. During the war, Swann registered as a conscientious objector and served with the Friends' Ambulance Unit in Egypt, Palestine, and Greece, forming a lifelong passion for the music and culture of the latter.
The unlikely pair first met at Westminster School (also attended by Peter Brooks, Peter Ustinov, and, later, Andrew Lloyd Webber and Helena Bonham Carter) in 1940 where they wrote their first revue, Go to it!. According to later program notes, upon leaving school Flanders and Swann staged a revue during the Blitz, which “Except for the Windmill [was] the only show in London.”
Between 1949 and 1956, Flanders and Swann collaborated on several revues directed by Laurier Lister including the Gilbert and Sullivan parody Oranges and Lemons (1950), Penny Plain (1951), Airs on a Shoestring (1953) and Pay the Piper (1954).
Flanders and Swann first performed their own work together in 1950 at the Whistler’s Ballroom, though it wasn’t until 1956 that they decided to write and perform their own full stage show. The title, At the Drop of a Hat, reportedly came from their keen willingness to perform their material at parties.
According to Donald Swann, Lister was invited to give a series of lectures on writing West End revues and invited Flanders and Swann “to play examples”. Lister soon became unavailable, and Flanders and Swann were encouraged to perform the songs minus the lecture portion.
The positive reaction led the pair to hire a theatre, the New Lindsey (now demolished), a 150-seat theatre in London, “for a week, maybe two”. It was the start of an immensely successful partnership that would last for 11 years and play around the world.
At the Drop of a Hat opened at the New Lindsey on December 31, 1956, marking the professional acting debut for both men. The revue was simple, featuring only the two men, a piano, and a lamp (furnished from Flanders’ apartment). Michael Flanders later noted that although the program was planned out, the pair avoided using a set script in order to keep the show spontaneous.
Songs included “A Transport of Delight,” “Song of Reproduction,” “The Youth of the Heart” (lyric by Sydney Carter), “Greensleeves,” “Sea Fever,” “A Gnu,” “Too Many Cookers,” “Vanessa,” “Je Suis Le Tenebreux” (lyric by Gérard de Nerval), “Song for Our Time,” “A Song of the Weather,” “The Reluctant Cannibal,” “Mopy Dick” “Design for Living,” “Tried by the Centre Court,” “Misalliance,” two Greek songs - “Miranda” and “Kokoraki,” “Madeira, M’Dear?” and “The Hippopotamus.”
At the Drop of a Hat closed at the New Lindsey on January 20, 1957 and immediately transferred to the West End, opening at the intimate Fortune Theatre on January 24, 1957.
The revue ran in the West End for two years, playing 733 performances. It was attended by members of the Royal Family, and George Martin live recorded the 50th performance for an album which became a best-seller.
On June 3, 1957, fifteen minutes from At the Drop of a Hat was featured in the BBC television program Theatre Flash.
On December 8, 1957, excerpts from the revue, along with excerpts from The Boyfriend, were aired on Alan Melville’s On Stage — London, a television show that featured excerpts of current British stage hits.
Toward the end of 1958, Flanders became ill with pneumonia. According to Swann, Flanders continued to perform “with a very high temperature and a bottle of red medicine… Holding it up to the audience he said “This is not, as you may think, sparkling Madeira… It is Ajax, the foaming cleanser.”” After getting through the performance, Flanders took a month off to recover.
The revue concluded its West End run on May 2, 1959.
In 1959, At the Drop of a Hat played the Edinburgh Fringe Festival under the title At the Drop of a Kilt, before transferring to Broadway under its original title.
Produced by the extravagant Alexander H. Cohen under the auspices of the Nine O’Clock Theatre, At the Drop of a Hat opened to rave reviews at Golden Theatre on October 8, 1959.
The grand New York opening had been over two years in the making.
Cohen had reached out to Flanders and Swann sometime in early 1957 (Donald Swann erroneously states in his autobiography that it was the spring of 1959). After seeing the show in London in May 1957, Cohen shared in a letter to Flanders and Swann “I am sure you will be happy and interested to know that we were all in accord that your presentation has universal appeal and would easily be accepted here as successfully as in the West End. Only minor alterations are necessary.”
In late June 1957, Cohen placed an advertisement in The Times announcing that Flanders and Swann were to appear in New York under his management. It seems that the duo were most unhappy about the advert. In a letter dated September 5, 1957, Cohen expressed his deep regret at the “premature announcement” and apologized profusely “for any embarrassment that it may have caused you… The incident is most regrettable.”
Whilst the New York contract negotiations were underway, the album of At the Drop of a Hat, recorded live at the 50th performance, was set to be released in the US. Cohen was deeply concerned that the record “could be a detriment to the Broadway presentation” and reached out directly to Dario Soria, President of Angel Records, to delay the US distribution, or at least delay its release in New York.
After much back and forth with MCA, Flanders and Swann’s agents, contracts were finally signed in June of 1958.
When Flanders became ill in at the end of 1958, Cohen became obviously worried about his investment. In a letter to Robert Fenn at MCA dated November 14, 1958, Cohen stated,
Swann reported that “enormous attention” was paid to ensuring Flanders’ access to the theatre, but that the same courtesy was not provided to the audience. In Swann’s words, “The ironic thing was that in those days disabled people couldn’t come [to the theatre] as there were lots of rules and regulations and no provision whatsoever for the disabled. What a ludicrous thing: he could play but others couldn’t watch him!”
Flanders, and his wife Claudia (the pair met in NYC in 1959 and married shortly after) became advocates for better theatre access, and access in general, for people with disabilities. As a result of her experiences with her husband, American-born Claudia Cockburn became heavily involved in disability advocacy groups, and in 1981 was appointed an Order of the British Empire for her work.
Donald Swann was born in Wales in a multicultural and highly cultured household. His parents were both born in Russia, though his father was a British national, and his mother was a Muslim from southern Russia in what is now Turkmenistan. HIs parents met whilst both serving in medical units in Kiev, and fled Russia in 1919 following the revolution. Swann was educated at Dulwich preparatory school and Westminster School, and he also studied piano and composition at the Royal College of Music. During the war, Swann registered as a conscientious objector and served with the Friends' Ambulance Unit in Egypt, Palestine, and Greece, forming a lifelong passion for the music and culture of the latter.
The unlikely pair first met at Westminster School (also attended by Peter Brooks, Peter Ustinov, and, later, Andrew Lloyd Webber and Helena Bonham Carter) in 1940 where they wrote their first revue, Go to it!. According to later program notes, upon leaving school Flanders and Swann staged a revue during the Blitz, which “Except for the Windmill [was] the only show in London.”
Between 1949 and 1956, Flanders and Swann collaborated on several revues directed by Laurier Lister including the Gilbert and Sullivan parody Oranges and Lemons (1950), Penny Plain (1951), Airs on a Shoestring (1953) and Pay the Piper (1954).
Flanders and Swann first performed their own work together in 1950 at the Whistler’s Ballroom, though it wasn’t until 1956 that they decided to write and perform their own full stage show. The title, At the Drop of a Hat, reportedly came from their keen willingness to perform their material at parties.
According to Donald Swann, Lister was invited to give a series of lectures on writing West End revues and invited Flanders and Swann “to play examples”. Lister soon became unavailable, and Flanders and Swann were encouraged to perform the songs minus the lecture portion.
The positive reaction led the pair to hire a theatre, the New Lindsey (now demolished), a 150-seat theatre in London, “for a week, maybe two”. It was the start of an immensely successful partnership that would last for 11 years and play around the world.
At the Drop of a Hat opened at the New Lindsey on December 31, 1956, marking the professional acting debut for both men. The revue was simple, featuring only the two men, a piano, and a lamp (furnished from Flanders’ apartment). Michael Flanders later noted that although the program was planned out, the pair avoided using a set script in order to keep the show spontaneous.
Songs included “A Transport of Delight,” “Song of Reproduction,” “The Youth of the Heart” (lyric by Sydney Carter), “Greensleeves,” “Sea Fever,” “A Gnu,” “Too Many Cookers,” “Vanessa,” “Je Suis Le Tenebreux” (lyric by Gérard de Nerval), “Song for Our Time,” “A Song of the Weather,” “The Reluctant Cannibal,” “Mopy Dick” “Design for Living,” “Tried by the Centre Court,” “Misalliance,” two Greek songs - “Miranda” and “Kokoraki,” “Madeira, M’Dear?” and “The Hippopotamus.”
At the Drop of a Hat closed at the New Lindsey on January 20, 1957 and immediately transferred to the West End, opening at the intimate Fortune Theatre on January 24, 1957.
The revue ran in the West End for two years, playing 733 performances. It was attended by members of the Royal Family, and George Martin live recorded the 50th performance for an album which became a best-seller.
On June 3, 1957, fifteen minutes from At the Drop of a Hat was featured in the BBC television program Theatre Flash.
On December 8, 1957, excerpts from the revue, along with excerpts from The Boyfriend, were aired on Alan Melville’s On Stage — London, a television show that featured excerpts of current British stage hits.
Toward the end of 1958, Flanders became ill with pneumonia. According to Swann, Flanders continued to perform “with a very high temperature and a bottle of red medicine… Holding it up to the audience he said “This is not, as you may think, sparkling Madeira… It is Ajax, the foaming cleanser.”” After getting through the performance, Flanders took a month off to recover.
The revue concluded its West End run on May 2, 1959.
In 1959, At the Drop of a Hat played the Edinburgh Fringe Festival under the title At the Drop of a Kilt, before transferring to Broadway under its original title.
Produced by the extravagant Alexander H. Cohen under the auspices of the Nine O’Clock Theatre, At the Drop of a Hat opened to rave reviews at Golden Theatre on October 8, 1959.
The grand New York opening had been over two years in the making.
Cohen had reached out to Flanders and Swann sometime in early 1957 (Donald Swann erroneously states in his autobiography that it was the spring of 1959). After seeing the show in London in May 1957, Cohen shared in a letter to Flanders and Swann “I am sure you will be happy and interested to know that we were all in accord that your presentation has universal appeal and would easily be accepted here as successfully as in the West End. Only minor alterations are necessary.”
In late June 1957, Cohen placed an advertisement in The Times announcing that Flanders and Swann were to appear in New York under his management. It seems that the duo were most unhappy about the advert. In a letter dated September 5, 1957, Cohen expressed his deep regret at the “premature announcement” and apologized profusely “for any embarrassment that it may have caused you… The incident is most regrettable.”
Whilst the New York contract negotiations were underway, the album of At the Drop of a Hat, recorded live at the 50th performance, was set to be released in the US. Cohen was deeply concerned that the record “could be a detriment to the Broadway presentation” and reached out directly to Dario Soria, President of Angel Records, to delay the US distribution, or at least delay its release in New York.
After much back and forth with MCA, Flanders and Swann’s agents, contracts were finally signed in June of 1958.
When Flanders became ill in at the end of 1958, Cohen became obviously worried about his investment. In a letter to Robert Fenn at MCA dated November 14, 1958, Cohen stated,
“I was distressed to read in “Variety” about the illness of Michael Flanders, and I would greatly appreciate it if you would let me know about his progress. Has he recovered? Is he back at the theatre? I have cabled him, of course, but I have no word as to his recovery.”
Cohen tried to make covert enquiries as to insuring “an irreplaceable” for the New York run as he felt it “might not be in good taste for me to ask [Flanders] at this time, but was assured by Donald Swann that performer insurance was also a standard practise in London.
The Broadway opening was a grand affair. According to Swann’s autobiography, the audience were served fish and chips, and tea and biscuits were served in the interval, London buskers The Happy Wanderers were flown in to perform on the Golden Theatre rooftop, and 44th Street was filled with fog “to give the right atmosphere.”
At the Drop of a Hat ran at the Golden Theatre for 216 performances before closing on May 14, 1960.
The Broadway run was followed by a tour of the United States, which covered twenty-states. According to newspaper reports, the Broadway run and tour bought in $60,827US.
In 1961 At the Drop of a Hat was performed in Switzerland, and in the following two years, toured throughout the UK.
In May 1962, the revue was filmed for television (see Filmed Production Notes below).
A sequel, At the Drop of Another Hat opened in the West End in 1963, and was also performed across the UK, and around the world in Australia, New Zealand, and Hong Kong. The revue transferred to Broadway in December 1966, and closed in April 1967.
It is often reported that the final Broadway performance of At the Drop of Another Hat was also the duo’s final performance together, and that after a partnership of 11 years and 1700 performances Flanders and Swann decided to “stop while they were ahead.” However, the pair reunited shortly after in May 1967 to tape the show for CBS (see At the Drop of Another Hat), which was later broadcast in the US and the UK.
Michael Flanders was appointed an Order of the British Empire in 1964 and continued to work successfully in broadcasting until he passed away suddenly from a brain hemorrhage in 1975 at the age of 53.
Donald Swann continued composing and writing prolifically, and performing throughout the UK, the US, Canada, Greece, and South Africa. After being diagnosed with prostate cancer in 1992, Swann died in 1994.
1994 proved to be a year of reviving interest in the pair. A “best of” compilation album, “Flanders & Swann” was released, and PBS featured rare of the duo footage from 1962 and 1967 in their August pledge drive. PBS also released Flanders & Swann, a VHS documentary featuring footage from the 1967 Broadway run. A tribute show to Flanders and Swann, Under Their Hats, played at the King’s Head Theatre in August 1994.
The 50th West End performance of “At the Drop of a Hat” was released on LP by EMI and Angel Records in 1957. The final West End performance, also recorded live, was released on LP in 1959 and again in 1960.
At the Drop of Another Hat was recorded live at the Haymarket Theatre in October 1963 and released on LP by Parlophone PMC in 1964 and Angel Records in 1966.
The Complete Flanders & Swann, a combination of At the Drop of a Hat, At the Drop of Another Hat, and The Bestiary of Flanders & Swann was released on CD in 1991.
Hat-Trick: Flanders & Swann Collectors Edition, which included both live shows along with private tapes and outtakes was released on CD in 2007.
A detailed listing of recordings can be found at www.donaldswann.co.uk.
The Broadway opening was a grand affair. According to Swann’s autobiography, the audience were served fish and chips, and tea and biscuits were served in the interval, London buskers The Happy Wanderers were flown in to perform on the Golden Theatre rooftop, and 44th Street was filled with fog “to give the right atmosphere.”
At the Drop of a Hat ran at the Golden Theatre for 216 performances before closing on May 14, 1960.
The Broadway run was followed by a tour of the United States, which covered twenty-states. According to newspaper reports, the Broadway run and tour bought in $60,827US.
In 1961 At the Drop of a Hat was performed in Switzerland, and in the following two years, toured throughout the UK.
In May 1962, the revue was filmed for television (see Filmed Production Notes below).
A sequel, At the Drop of Another Hat opened in the West End in 1963, and was also performed across the UK, and around the world in Australia, New Zealand, and Hong Kong. The revue transferred to Broadway in December 1966, and closed in April 1967.
It is often reported that the final Broadway performance of At the Drop of Another Hat was also the duo’s final performance together, and that after a partnership of 11 years and 1700 performances Flanders and Swann decided to “stop while they were ahead.” However, the pair reunited shortly after in May 1967 to tape the show for CBS (see At the Drop of Another Hat), which was later broadcast in the US and the UK.
Michael Flanders was appointed an Order of the British Empire in 1964 and continued to work successfully in broadcasting until he passed away suddenly from a brain hemorrhage in 1975 at the age of 53.
Donald Swann continued composing and writing prolifically, and performing throughout the UK, the US, Canada, Greece, and South Africa. After being diagnosed with prostate cancer in 1992, Swann died in 1994.
1994 proved to be a year of reviving interest in the pair. A “best of” compilation album, “Flanders & Swann” was released, and PBS featured rare of the duo footage from 1962 and 1967 in their August pledge drive. PBS also released Flanders & Swann, a VHS documentary featuring footage from the 1967 Broadway run. A tribute show to Flanders and Swann, Under Their Hats, played at the King’s Head Theatre in August 1994.
The 50th West End performance of “At the Drop of a Hat” was released on LP by EMI and Angel Records in 1957. The final West End performance, also recorded live, was released on LP in 1959 and again in 1960.
At the Drop of Another Hat was recorded live at the Haymarket Theatre in October 1963 and released on LP by Parlophone PMC in 1964 and Angel Records in 1966.
The Complete Flanders & Swann, a combination of At the Drop of a Hat, At the Drop of Another Hat, and The Bestiary of Flanders & Swann was released on CD in 1991.
Hat-Trick: Flanders & Swann Collectors Edition, which included both live shows along with private tapes and outtakes was released on CD in 2007.
A detailed listing of recordings can be found at www.donaldswann.co.uk.
Filmed Production Notes
In late February 1962, it was agreed that Flanders and Swann would perform a one hour special of their show, tentatively called “GRAND PERFORMANCE”. According to a letter from David Susskind of Talent Associates - Paramount Ltd to Alexander H. Cohen, the duo were to receive $10,000 plus 10% of net profits (the 10% divided between the two men) from syndicated showings in New York City and Washington D.C., and Cohen was to receive $2500 for editing supervision.
The performance was to be aired as part of the Festival of the Performing Arts, a short-lived cultural television program sponsored by the New Jersey Standard Oil Company which aimed to present high quality television content. The program was first aired in New York City and Washington D.C., and then picked up by stations in other cities. The 10-part series included performances by Pablo Casals, Isaac Stern, the Budapest String Quartet, poetry readings, and two musical revues - one by Cyril Ritchard and Hermione Badeley, and At the Drop of a Hat.
A letter from Alexander Cohen to James Fleming of Talent Associates-Paramount states that Flanders and Swann requested an in-person audience, and were provided with “a large number of studio tickets” to distribute as they wished.
An hour long version of At the Drop of a Hat, based on the New York and touring versions of the show, was filmed for television on May 10, 1962 in Studio 4 of the BBC TV Centre in London, a co-production of Alexander H. Cohen, Talent Associates - Paramount Limited, the Festival of the Performing Arts, and the BBC.
At the time of the taping, Michael Flanders was performing in The Caucasian Chalk Circle at the Aldwych Theatre, and the show was done on a day-off from performances.
A week after the taping, on May 16, 1962, Michael Flanders wrote to Alex Cohen noting “The telerecording went excellently and everybody was pleased — even Donald and I, though of course we have not seen it yet.” Flanders shared that the duo enjoyed working with producer David Susskind, describing him as his “usual charming, stimulating, enthusiastic etc. self.” Flanders also noted that director Harry Carlisle “made everything as easy for us as possible.”
At the Drop of a Hat aired in New York City and Washington D.C. on May 22, 1962, with a repeat on May 27.
The critics were mixed in their reviews. Newsday television critic Barbara Delatiner was less than impressed, noting “The songs are not always as effective, and certainly not as intelligible…” while Daily News critic George Maksian stated “This is a show not to be missed.” Kay Gardella was also captivated by the show, and the promise of a repeat screening, claiming “we want to spend another hour savoring the daffy and delightful British flavor of…comedy…” New York Times critic Jack Gould noted “Their farrago…still would be seem somewhat better suited to the living stage, but on the home screen…often was tremendously amusing.” Gould also noted the sound “really wasn’t too good” and thought “The conversion of British TV to American technical standards may have been the cause.” Gould summarized the program “was very much in the festival’s tradition bringing something different to TV.”
A few weeks before the taping, Flanders and Swann sent Cohen a telegram urgently requesting Cohen confirm with the BBC that the contracts did not include rights for the BBC to air the tape, and only included “local American transmission.”
In mid- to late May 1962, Alexander Cohen and Michael Flanders exchanged several letters regarding concerns over a British broadcast. Flanders had three main concerns, fair renumeration, impact on future audiences, and impact on future tapings with the BBC.
According to Flanders, the BBC and ITV had approached the duo “several times to do the show for them.” In his May 16 letter to Cohen, Flanders noted that the financial renumeration British networks could offer “are not as great as on your side,” and that “…we in Equity have just emerged from a seven months strike against ITV to establish the principal of payment by potential size of audience.” Flanders went on to share that a leading actor in a half hour play could expect “at least $1,500 for a single performance with further sums for residuals and showing outside the UK.” In a second letter dated May 17, Flanders once again requested that Cohen arrange for a higher percentage of net profits.
Regarding audience, Flanders stated that “Talent Associates will no doubt argue that showing the tape of the show will create a further demand,” but he was concerned that showing At the Drop of a Hat on television would limit their audience, as their act did not change like a variety act, and was more set like a musical.
In his May 17 letter, Flanders noted that the recording had been specifically made for American audiences, and that as a result of the back and forth, the BBC might not be so willing to provide facilities “all over again” for a British version. Flanders was willing to have the show broadcast in the UK, but only for a better fee.
On June 8, 1962, Alexander Cohen confirmed with Michael Flanders that Robert Fenn from MCA had negotiated $5000 for the British rights. A week later, on June 13, Robert Fenn again confirmed the deal, and noted “We found the contract so complicated that I felt bound to ask advice from the New York office…”
The tape was broadcast on BBC television on June 21, 1962.
In a letter to Alexander Cohen on July 10th, Flanders stated “The taping was well received here. I saw a private run and enjoyed it. Maurice Richardson, writing for The Observer noted “It was pleasing to see how well the…show came over.”
At the Drop of a Hat is not currently available to view.
In late February 1962, it was agreed that Flanders and Swann would perform a one hour special of their show, tentatively called “GRAND PERFORMANCE”. According to a letter from David Susskind of Talent Associates - Paramount Ltd to Alexander H. Cohen, the duo were to receive $10,000 plus 10% of net profits (the 10% divided between the two men) from syndicated showings in New York City and Washington D.C., and Cohen was to receive $2500 for editing supervision.
The performance was to be aired as part of the Festival of the Performing Arts, a short-lived cultural television program sponsored by the New Jersey Standard Oil Company which aimed to present high quality television content. The program was first aired in New York City and Washington D.C., and then picked up by stations in other cities. The 10-part series included performances by Pablo Casals, Isaac Stern, the Budapest String Quartet, poetry readings, and two musical revues - one by Cyril Ritchard and Hermione Badeley, and At the Drop of a Hat.
A letter from Alexander Cohen to James Fleming of Talent Associates-Paramount states that Flanders and Swann requested an in-person audience, and were provided with “a large number of studio tickets” to distribute as they wished.
An hour long version of At the Drop of a Hat, based on the New York and touring versions of the show, was filmed for television on May 10, 1962 in Studio 4 of the BBC TV Centre in London, a co-production of Alexander H. Cohen, Talent Associates - Paramount Limited, the Festival of the Performing Arts, and the BBC.
At the time of the taping, Michael Flanders was performing in The Caucasian Chalk Circle at the Aldwych Theatre, and the show was done on a day-off from performances.
A week after the taping, on May 16, 1962, Michael Flanders wrote to Alex Cohen noting “The telerecording went excellently and everybody was pleased — even Donald and I, though of course we have not seen it yet.” Flanders shared that the duo enjoyed working with producer David Susskind, describing him as his “usual charming, stimulating, enthusiastic etc. self.” Flanders also noted that director Harry Carlisle “made everything as easy for us as possible.”
At the Drop of a Hat aired in New York City and Washington D.C. on May 22, 1962, with a repeat on May 27.
The critics were mixed in their reviews. Newsday television critic Barbara Delatiner was less than impressed, noting “The songs are not always as effective, and certainly not as intelligible…” while Daily News critic George Maksian stated “This is a show not to be missed.” Kay Gardella was also captivated by the show, and the promise of a repeat screening, claiming “we want to spend another hour savoring the daffy and delightful British flavor of…comedy…” New York Times critic Jack Gould noted “Their farrago…still would be seem somewhat better suited to the living stage, but on the home screen…often was tremendously amusing.” Gould also noted the sound “really wasn’t too good” and thought “The conversion of British TV to American technical standards may have been the cause.” Gould summarized the program “was very much in the festival’s tradition bringing something different to TV.”
A few weeks before the taping, Flanders and Swann sent Cohen a telegram urgently requesting Cohen confirm with the BBC that the contracts did not include rights for the BBC to air the tape, and only included “local American transmission.”
In mid- to late May 1962, Alexander Cohen and Michael Flanders exchanged several letters regarding concerns over a British broadcast. Flanders had three main concerns, fair renumeration, impact on future audiences, and impact on future tapings with the BBC.
According to Flanders, the BBC and ITV had approached the duo “several times to do the show for them.” In his May 16 letter to Cohen, Flanders noted that the financial renumeration British networks could offer “are not as great as on your side,” and that “…we in Equity have just emerged from a seven months strike against ITV to establish the principal of payment by potential size of audience.” Flanders went on to share that a leading actor in a half hour play could expect “at least $1,500 for a single performance with further sums for residuals and showing outside the UK.” In a second letter dated May 17, Flanders once again requested that Cohen arrange for a higher percentage of net profits.
Regarding audience, Flanders stated that “Talent Associates will no doubt argue that showing the tape of the show will create a further demand,” but he was concerned that showing At the Drop of a Hat on television would limit their audience, as their act did not change like a variety act, and was more set like a musical.
In his May 17 letter, Flanders noted that the recording had been specifically made for American audiences, and that as a result of the back and forth, the BBC might not be so willing to provide facilities “all over again” for a British version. Flanders was willing to have the show broadcast in the UK, but only for a better fee.
On June 8, 1962, Alexander Cohen confirmed with Michael Flanders that Robert Fenn from MCA had negotiated $5000 for the British rights. A week later, on June 13, Robert Fenn again confirmed the deal, and noted “We found the contract so complicated that I felt bound to ask advice from the New York office…”
The tape was broadcast on BBC television on June 21, 1962.
In a letter to Alexander Cohen on July 10th, Flanders stated “The taping was well received here. I saw a private run and enjoyed it. Maurice Richardson, writing for The Observer noted “It was pleasing to see how well the…show came over.”
At the Drop of a Hat is not currently available to view.
At the Drop of Another Hat PRODUCTION CREDITS
Theatre: Studio 4, BBC TV Centre
Producer: Audrey Gellen Maas, David Susskind, James Fleming
Book and Lyrics: Michael Flanders
Music: Donald Swann
Director: Harry Carlisle
Setting: Roy Oxley
Cast:
Michael Flanders and Donald Swann
Theatre: Studio 4, BBC TV Centre
Producer: Audrey Gellen Maas, David Susskind, James Fleming
Book and Lyrics: Michael Flanders
Music: Donald Swann
Director: Harry Carlisle
Setting: Roy Oxley
Cast:
Michael Flanders and Donald Swann
Sources
Books
Articles
Websites
Other
- Dan Dietz, The Complete Book of 1960s Broadway Musicals, Rowman & Littlefield (2014)
- Thomas S. Hischak, The Mikado to Matilda: British Musicals on the New York Stage, Rowman & Littlefield (2020)
- Donald Swann, Recorded and edited by Lyn Smith, Swann’s Way: A life in Song, Heinemann (1991)
Articles
- John Amis, “Obituary: Donald Swann,” The Independent (March 25, 1994)
- D.T. Baker, “Flanders & Swann: A Transport of Delight,” Edmonton Journal (Sept 4, 1994), p. 49
- Stephen Bradshaw, “Obituary: Claudia Flanders,” The Independent (Aug 24, 1997)
- Mary Campbell, “Two British masters of music that amuses,” South Florida Sentinel (Aug 27, 1998), p.59
- Joan Crosby, “English Comics in Special,” The Ithaca Journal (Dec 16, 1967), p.35
- Barbara Delatiner, “Emmy Show Rates Emmy for Award Show,” Newsday (May 23, 1962) p.97
- Christoper Driver, “AT THE DROP OF ANOTHER HAT at the Globe,” The Guardian (Sept 30, 1965) p.9
- Dick Du Brow, “British Satirists Present ‘Different’ Musical Revue,” The Shreveport Journal (Dec 19, 1967) p.8
- Milt Freudenheim, “N.J. Standard Oil Rare Television Sponsor: It’s Quality Programs are Designed to Sell Nothing But Goodwill,” The Herald-News (June 18, 1962), p.12
- Pamela Fox, “The comic linguist,” The Age (Aug 19, 1964) p. 2
- Kay Gardella, “Smooth Sailing at Cape, Reports ABC Newscaster,” Daily News (May 23, 1962), p.66
- Kay Gardella, “Satirists Flanders & Swann Drop Another Hat Via TV,” Daily News (Dec 20, 1967) p.347
- Jack Gould, “TV: ‘At the Drop of a Hat’: Flanders and Swann Offer Revue on ‘Festival of the Performing Arts,” New York Times (May 23, 1962), p.91
- Ben Gross, “Susskind Says He’d Like to Take on Kkrushy Again,” Daily News (May 27, 1962) p.13
- Harry Harris, “Phila. Missing Superb Fare,” The Philadelphia Inquirer (June 19, 1962), p.19
- Patrick Hayward, “Remembering The Intimate Revue with Flanders & Swann,” Overtures (Nov 9, 2020)
- John Horn, “Television and Radio: ‘At the Drop of Another Hat,’” The Marion Star (April 28, 1967), p.14
- John Horn, “Taping British Satire was no ‘Drop of Hat,’” The Philadelphia Inquirer (Dec 18, 1967) p.23
- Lyn John, “Donald Swann,” Treftadaeth Cymuned Llanelli ~ Llanelli Community Heritage (undated)
- Walter Kerr, “Theater: Put-Out Zanies; Flanders and Swann Drop Another Hat,” New York Times (Dec 28, 1966), p.30
- Albin Krebs, “Michael Flanders Is Dead at 53; Humorist‐Star of ‘Drop of a Hat’” New York Times (April 16, 1975), p.41
- Gareth Lloyd Evans, “At the Drop of Another Hat at Coventry,” The Guardian (Sept 11, 1963), p.7
- George Maksian, “‘Bells’ Out: ‘Accent’ In,” Daily News (April 30, 1962), p.19
- George Maksian, “View of the Week,” Daily News (May 20, 1962), p.14
- Michael Meyer, “Flanders, Michael Henry (1922–1975), actor and lyricist.” Oxford Dictionary of National Biography, (2004)
- New York Associated Press, “Nine o’Clock Pays Off Its Backers,” The News Tribune (June 10, 1962), p.61
- Josephine O’Neill, “Laughter from a Wheelchair: Hit shows on a bare stage with a piano,” Sydney Morning Herald (Aug 2, 1964) p.128
- Josephine O’Neill, “The comedy that grows so slowly,” Sydney Morning Herald (Nov 22, 1964) p.99
- George Oppenheimer, “Two Gifts from England,” Newsday (Jan 14, 1967) p.95
- Tim Overton, “Biography,” Flanders & Swann Online, (undated)
- Maurice Richardson, “White nights and first nights,” The Observer (June 24, 1962) p,21
- Milton Shulman, “Hysterics—At the Drop of a Familiar Joke…”, Evening Standard (Oct 3, 1963, p.4
- Dan Sullivan, “Flanders and Swann at the Drop of a Decade,” New York Times (Jan 2, 1967), p.24
- Uncredited, “Television Programmes,” Radio Times (May 31, 1957), p.13
- Uncredited, “Television Programmes,” Radio Times (Dec 6, 1957), p.11
- Uncredited, “Michael Flanders and Donald Swann: At the Drop of a Hat,” Radio Times Issue 2014, (June 16, 1962)
- Uncredited, “Television Notes,” Oakland Tribune (June 24, 1962), p.98
- Uncredited, “At the Drop of Another… Hit,” Evening Standard (Dec 28, 1966), p.13
- Uncredited, “British Satirists Plan December Hour Special,” The Shreveport Journal (Nov 24, 1967), p.42
- Uncredited, “Flanders and Swann: ‘At the Drop of Another Hat’,” Valley Times (Dec 15, 1967) p.59
- Uncredited, “Donald Swann; Obituary,” The Times (March 25, 1994), p.21
- John Warrack, “Swann, Donald Ibrahim (1923–1994), composer and pianist.” Oxford Dictionary of National Biography (2004)
- Alex Witchel, “Alexander H. Cohen, Producer of 101 Theatrical Hits and Flops, Dies at 79,” New York Times (April 23, 2000), p.36
Websites
- Flanders & Swann Online, Accessed via: https://web.archive.org/web/20141129213114/http://www.nyanko.pwp.blueyonder.co.uk/fas/hatshow.html
- The Donald Swann Website, Accessed via: http://www.donaldswann.co.uk/hatshow.html
- Playbill, “At the Drop of Another Hat,” Accessed via: https://www.playbill.com/production/at-the-drop-of-another-hat-booth-theatre-vault-0000001715
Other
- At the Drop of a Hat programme, Accessed via: https://web.archive.org/web/20150926173936/http://www.nyanko.pwp.blueyonder.co.uk/fas/hatscans1.html
- The Alexander H. Cohen Papers, *T-Mss 1969-001. Billy Rose Theatre Division, The New York Public Library for the Performing Arts.
Written by Luisa Lyons (October, 2021)