When I first started researching At the Drop of a Hat (1962), and its sequel At the Drop of Another Hat (1967), I wasn't expecting to need to dedicate a whole lot of time to it. It's just two white dudes singing comedy songs right?!
As I delved deeper into the comedic duo of Flanders and Swann, I became intrigued by their stories. Both were fascinating men who were immensely brilliant writers and, by all accounts, absolutely charming individuals.
As a young man, Michael Flanders had contracted polio and as a result became a wheelchair user. From what I can gather, Michael Flanders was the first actor in a wheelchair to perform on Broadway and in the West End. Writers of the day barely gave this fact a mention, and one author infuriatingly noted that maybe Flanders "could surely step out" of his chair. Flanders faced many difficulties as a performer in a wheelchair, and he was devastated that despite the fact he could perform, other wheelchair users were not permitted in the theatre. He became a passionate advocate for the rights of people with disabilities, a cause his wife Claudia Cockburn also became involved in and was awarded an Order of the British Empire for her work.
Donald Swann was born in Wales, the child of a British national father born in Russia and a Muslim mother from southern Russia in what is now Turkmenistan. Swann was a conscientious objector in the war and as a result of his service with the Friends' Ambulance in became fascinated with the music and culture of Greece.
Through their revue At the Drop of a Hat, the duo performed not only in the West End and on Broadway, but across the United States, in Switzerland, Australia, New Zealand, and Hong Kong.
The taping of their two shows in 1962 and 1967 also revealed history about concerns of filming live theatre, how performers should be remunerated for broadcasts, and the role of theatre on television.
Information about the filming of At the Drop of Another Hat was relatively easy to find. The show had been filmed at the Ed Sullivan Theater in New York and was released on VHS. The footage is currently available on YouTube, under the erroneous title "The Only Flanders & Swann Video."
Watching the video, it struck me that Flanders sometimes seemed to be in a bad mood, and some of the audience members even appeared to be bored. I later learned that the studio taping took over 7 hours. Flanders and Swann were reportedly frustrated by the stops and starts to adjust lighting and angles, and the audience were likely exhausted.
I kept finding mention of At the Drop of a Hat being filmed, but couldn't find information on where or when. This lead me to one of my all time favorite pastimes, delving into the archives at the Billy Rose Theatre Division at the New York Public Library for the Performing Arts.
The archive holds literally hundreds of boxes containing the papers of Alexander H. Cohen, the groundbreaking American producer who bought Flanders and Swann to Broadway. Due to space and COVID restrictions, and limited time to spend at the library, I was only able to access exactly 6 boxes per appointment, and I had to choose from the hundreds of boxes which 6 boxes might hold the answers to my questions.
I hit the jackpot in a folder labelled "Alexander H Cohen Papers, Billy Rose Theatre Collection, Theatre - At the Drop of a Hat Correspondence 1957." Letters exchanged between Cohen, Michael Flanders, and Flanders and Swann's agents at MCA, detailed that At the Drop of a Hat had been filmed with an invited audience at the BBC's Studio 4 in London. It was filmed as part of the Festival of the Performing Arts, a short-lived cultural television program sponsored by the New Jersey Standard Oil Company.
The program was only supposed to be aired in the US, but the BBC immediately wanted to air it in the UK. The letters detail Flanders and Swann's concerns over a UK release, which included worries about the impact on future ticket sales, and also proper renumeration for such a broadcast. British Equity had just emerged from a 7 month strike against ITV over payments based on potential audience size, and Flanders and Swann wanted to ensure they were properly compensated.
Although it has not been released since airing on either British or American television, truncated video footage of At the Drop of a Hat may still exist, as Donald Swann discusses watching it, with some trepidation, many years later in his autobiography.
I'm so glad that my research led me to the work of Flanders and Swann. While some of their comedy is a little dated, much of the music and witty songs are as delightful and fun as when they were first performed over seventy years ago.
You can learn more about At the Drop of a Hat and At the Drop of Another Hat in the database!
Host Luisa Lyons chats with Singaporean actress, singer-songwriter and arts educator Ethel Yap.
Learn how Ethel worked to establish herself as an actor in her home country of Singapore after training in London, how Pangdemonium was formed, how working with The Theatre Practise (TTP) helped Ethel learn Mandarin, the state of unions — and the role of government — in Singaporean theatre, Chinese-language musicals Liao Zhai Rocks! and Lao Jiu, and Pangdemonium’s production of Urinetown.
Ethel Yap is a Singaporean actress, singer-songwriter and arts educator who has appeared in numerous theatre and television productions in a variety of lead and supporting roles. Her work includes Liao Zhai Rocks, Beauty World, Lao Jiu: The Musical, Four Horse Road, Untitled Women, PROJECT Utopia and the Singapore stagings of Tribes by Nina Raine and Urinetown: The Musical. As a singer-songwriter, she released her debut EP in 2017 and continues to write music that centres on themes of identity and meaning in the folk genre. She is also a passionate arts educator and momma of one very active little boy!
Learn more at www.ethelyap.com and follow Ethel on Facebook, and Instagram.
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