Thoughts on BBC’s Comedy Playhouse – Hospital People


So, where do I start with Hospital People? I have a lot of conflicting views about this episode of the latest Comedy Playhouse series. Not least because it’s the type of show I’ve spent most of my comedy career trying to create.

And now, having seen it, I’m glad I never did.

That’s not to say that Hospital People is bad, far from it. It has a lot of potential with some great lines and performances from character comedian, Tom Binns. However, for me, the biggest selling points of this show are also the reasons it doesn’t quite hold together.

Firstly, multiple characters. When I said this was the type of show I’ve always wanted to create, I say that as a former character comedian who spent far too much time trying to create personas that could work both on stage, and in a narrative show. In fact, I’m still writing scripts for these characters now, even though the chances of me playing them are slipping away faster than a greased up turd on a glacier.

But as for Hospital People, the collection of characters – while strong in their own right – feel like they struggle when in competition with each other. Some feel crowbarred in for the sake of it, especially the hypochondriac patient, while other larger than life ones, particularly live-favourite Ian D Montford, feel chronically undersold.


Taking the psychic character away from all the trappings of that world – cold readings, healings, messages from beyond – strip him of a rich source of comic material. While these elements do feature, they seem more of like lip service instead of being the foundations of a character that’s either exploiting vulnerable people or who genuinely believes he has a connection to the other side. Both of which feel like fascinating, untapped subject matter.

And that’s my issue with the use of multiple characters, while I’ve always loved that as a concept, I feel these characters would be better served at the centre of several strong sitcoms, as opposed to juggling them in a documentary/sketch format.

This is especially clear when you get to Ivan Brackenbury. I’m a huge fan of Binns’ live work, and it’s great to finally see Brackenbury on TV. However, what worked for him live – his radio broadcasts – hold him back in this show.


To have Ivan sitting behind a desk interacting with jingles and little else gives his segments an inert feeling that’s very tangible. While there are traces of story coming through, especially with his ambitious assistant Shaz played by Mandeep Dhillon, it’s not enough to really let us gain insight into who he is. Any pieces to camera feel like another opportunity to drop in a bit of stand-up, as opposed to revealing more about his goals and aims. In addition to this, his passion for Hospital Radio means that he has nothing to aim for, as he’s already achieved everything he wants to aspire to. The writers (Binns and Matt Morgan) are clearly setting up conflict with the arrival of the new ward TVs, but it comes so late in the episode that it’s not enough to feel like a mission for him.

Now, an Ivan Brackenbury sitcom in which he loses his position at the hospital within the first few minutes, then spends the rest of the episodes trying to claw it back – or better still, aim for a job on national radio – would help us invest in the character and his struggle. Especially for such a sad character, seeing him try and fail would make the comedy even stronger and add weight to his inherent tragedy. He feels bound by the restrictive nature of a workplace documentary.

And this comes to my second major issue with this show – the documentary format.


As someone who’s recently re-binged the entirety of The Office: An American Workplace, I still feel like there’s a lot of life left in the format, however that usually goes hand-in-hand with having something to say about it.

The documentary, as set up by Hospital People, doesn’t feel real. I’m not convinced we really have documentaries like this nowadays, the real format has moved on, so the parody versions should do the same.

The difficulty is, when you look at The Hotel, First Dates or Educating Yorkshire, they’re pitched and structured like a narrative comedy so they leave very little space for parodies to occupy. But even then, reshaping Hospital People as a show like The Hotel would let you hit the ground running with a voice over that could easily drive the plot forward while connecting the dots between each character.

Ultimately, a documentary doesn’t feel right for these characters. The format seems to have been chosen as a way of bringing disparate characters together in one location, and giving them the opportunity to deliver jokes direct to camera. And it’s this reluctance to let go of that live format that hinders the show – and in particular Ivan Brackenbury.

Comedy Playhouse: Hospital People
Programme Name: Comedy Playhouse: Hospital People – TX: 26/02/2016 – Episode: Comedy Playhouse: Hospital People (No. n/a) – Picture Shows: Susan Mitchell (TOM BINNS) – (C) Roughcut Televison Limited – Photographer: Andy Hollingworth

Going back to my character comedy past, no matter how I detailed I was when creating characters, the difficulty would always be the jump from joke delivery to funny dialogue with other characters. It’s a tough act to juggle and, inevitably, you end up clinging to the material you know will work. But unless your character is Alan Partridge, you really can’t get away with reciting reams of hilarious monologues.

In writing scripts for my characters, the one thing I’ve come to understand is that in order to let your show flourish, you have to be willing to sacrifice certain elements you initially loved. And for all of Hospital People’s merits, it doesn’t seem willing to euthanise it’s flaws.


Jolly Mixtures Returns

Jolly Mixtures logo

Jolly Mixtures logo

We’re back!

After huge popular demand (a couple of people couldn’t make the first one) Jolly Mixtures returns for a second night of sketch-based hi-jinx and mirth.

All the regulars return – Amy Gledhill, Graham Oakes, Nicola Redman and Rob Gilroy – with a new batch of sketches, songs and characters. Please come and support this new night as it promises to keep getting better.

Featuring writers who have contributed to BBC Two, E4, BBC Radio One, Radio Two, Radio Four and Radio Four Extra and performers who have been named ones to watch by a variety of people including the local constabulary.

Same time – 8:00pm (doors 7:30)

Same place – Caroline Street Social Club, Saltaire

Different date (obviously) 18th April, 2013.

If you couldn’t make the first night or simply thought “What the hell have I been invited to now? Bloody social media.” then please reconsider as Jolly Mixtures is shaping up to be a great new monthly sketch comedy night of fun and frolics.

Don’t forget to share this with your friends, even if you can’t make it share it with people who may like it. Alternatively share it with people who will hate it, just to wind them up.

The worst gig I ever gigged…

I thought I’d write a post about a gig I did that was by far the worst of my so-called ‘career’.

I wish I could refer to it as though it was eons ago, far back in the early, shaky days of my stand up life. It wasn’t. It was last week.

I was performing at a gong show; I won’t state which one for fear of public embarrassment and humiliation, but a well-respected one. OK, I give in, it was Beat the Frog in Manchester. I don’t name them as though they are to blame for anything; they’re not. I have to say of all the gigs I have done The Frog and Bucket has one of the nicest atmospheres (am free to gig). Anyway, the room was only just over half full with the majority of the audience avoiding the front row for fear of getting picked on – I don’t blame them, I hate it too. But nevertheless there was a clear distance between the audience and performers and as the night went on it became harder and harder to gauge the sensibility of the audience, the compare Dan Nightingale did a great job at cheering people on but fr some reason the night never fully took off with everyone on board.

Again, this isn’t to detract blame from myself in any way, in fact I’ll admit – I was rubbish. Unfocused, unsure of which material I was going to use and unable to grasp the right way to approach the audience. In the end I was so focused on unimportant niggles that I walked on not in character. Oh, I’m a character comic incase I didn’t mention that. I walked on in full costume but my mind was anywhere other than on that stage. I ‘hit’ them with my first joke and – nothing. It fell flat. Now I don’t reckon myself to be some great comedian but I will admit I wasn’t used to that joke not getting a reaction.  So it threw me. It was clear I hadn’t hit my mark or that the audience were really sure what to make of me, or the character. In the end I stumbled my way through my material with some on-the-spot editing to try to get the audience on my side. It didn’t happen. I lasted 2 minutes 35 seconds.

So that was that, the worst gig I’d ever done and I was in complete shock, I honestly wasn’t used to that complete panic I experienced on stage. I’ve had gigs where there’s been next to no one laughing but even then I’ve carried on, completed my material and got off, no panic, no fuss, just done the best I can. But this time it was different.

A friend of my was there, along with my girlfriend who’s seen me perform numerous times and they admitted that while I was certainly weak in my performance, the real problem was the audience taking an instant dislike to me. And that’s why I now view this gig as one of my best.

If  I’m totally honest, I think I became a bit over-confident. Don’t get me wrong, I would hate to be regarded as big-headed but confidence is a big part of comedy, and even if you’re shy as a person; if you have no confidence in what you’re saying then it won’t work. So I know my strengths and I know my weaknesses and I know I’ve still got a lot to learn but I’m confident where I can be at my best. But this gig taught me never to relax about it, never to believe it will all be OK. I now know I have to fight for the laughs every time. This is always something I knew but I certainly forgot it that night.

The gig has also made me address some of the issues surrounding the look and performance of the character, what elements are clear about the character and what needs to be defined better. It’s helped me to see that some of the things I do act as a further barrier between me and an audience. So I am currently implementing changes to my act to see how it differs. Some of the changes might be permanent, some might get dropped after they’re used once but whatever happens, in whatever guise I finally land on, one thing is certain; I’ll be fighting for those laughs.