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Life and careerKenneth Williams was born in Bingfield Street, King's Cross, London, the son of a hairdresser (Charles Williams). He was educated at Lyulph Stanley School. His relationship with his parents — he adored his vivacious mother, Louisa ("Lou"), but hated his morose and selfish father — was key to the development of his personality. Williams became an apprentice draughtsman to a mapmaker and joined the army aged 18. He was part of the Royal Engineers survey section in Bombay when he had his first experience of going on stage with Combined Services Entertainment along with Stanley Baxter and Peter Nichols.
When Hancock tired (or grew jealous) of him, Williams joined Kenneth Horne in the series Beyond Our Ken (1958–1964), and its sequel, Round the Horne (1965–1968). In the latter, his roles included Rambling Syd Rumpo, the eccentric folk singer; The Amazing Proudbasket, human cannonball; J. Peasemold Gruntfuttock, professional telephone heavy breather and dirty old man; and Sandy of the extremely camp couple, Julian and Sandy (Julian was played by Hugh Paddick), notable for their double entendres and use of the underground gay slang, Polari. Williams appeared a series of West End revues including Share My Lettuce with Maggie Smith and written by Bamber Gascoigne, and Pieces of Eight, which included sketch material from Peter Cook who was still a student at Cambridge. The revue included a number of Cook sketches such as One Leg Too Few that would become classics and also starred Fenella Fielding. Williams' last revue was One over the Eight, in which he starred with Sheila Hancock. Williams later starred opposite Jennie Linden in the stage hit My Fat Friend in 1972. He also appeared with Ingrid Bergman in a highly successful stage production of George Bernard Shaw's Captain Brassbound's Conversion in 1971. Williams worked extensively in television and British films, most famously the Carry On... series with its very British "nudge nudge" double entendre-laced humour, but for which he along with the rest of the cast were very poorly paid. Williams' diaries claimed he earned more in a British Gas commercial he did during the 1970s than he made out of the entire Carry On... series put together — although that might only be considered true if one adds in the considerable fee he earned from the highly successful spin-off cartoon series Willo the Wisp (ironically taken up by the BBC rather than the commercial TV network). Despite making a good living in his later years, he lived in a series of small flats in north London.
Williams publicly insisted that he was celibate, but in private found his homosexuality difficult to deal with. His diaries contain many references to unconsummated or barely consummated relationships, described in code as "traditional matters" or "tradiola", probably because homosexuality was still a criminal offence in the United Kingdom for much of the period covered by the diaries. He befriended Joe Orton who wrote the role of Inspector Truscott in Loot (1966) for him and enjoyed holidays with Orton and Kenneth Halliwell in Morocco. Other close friends included fellow thespians Maggie Smith, Stanley Baxter, Gordon Jackson and his wife Rona Anderson, Beverly Cross and Sheila Hancock. By turns gregarious and reclusive, Williams was also fond of the company of fellow Carry On... regulars Barbara Windsor, Kenneth Connor, Hattie Jacques and Bernard Bresslaw. In later years Williams' health declined, along with that of his elderly mother, and his depression deepened. He died on 15 April 1988 from an overdose of barbiturates. An inquest recorded an open verdict into his death as it was not possible to establish whether his death was the result of suicide or an accident. (Williams' mentally unstable father had died after drinking a bottle of disinfectant in 1962.) The main protagonist for the "suicide" theory was Gyles Brandreth, a friend of Williams for many years (and who edited two editions of Acid Drops for him) mainly centring on his dread of hospitals (despite being a self-confessed hypochondriac) and on the last sentence Williams wrote in his diary: "By 6.30 pain in the back was pulsating as it's never done before … so this, plus the stomach trouble combines to torture me — oh — what's the bloody point?" Friends continue to maintain that, because of Williams' devotion to Lou (for whom he bought the flat next to his), he would never in her lifetime have seriously contemplated suicide. The best-selling posthumous publication of his diaries and letters, both edited by Russell Davies, not only caused some controversy over their contents (particularly Williams' often caustic remarks about many of his fellow professionals), but also revealed the periodic bouts of despondency (often primed by feelings of isolation and underachievement) that marked his life. Williams' flat was later bought by Rob Brydon and Julia Davis for the writing of their dark comedy series, Human Remains. The building is due to be demolished in a controversial regeneration scheme agreed in 2006. In April 2007, Williams' line 'Infamy, Infamy, they've all got it in for me', was voted the greatest one-liner in movie history by a poll of a thousand comedy writers, actors, impressarios and members of the public for the launch of Sky Movies Comedy Channel. Personal LifeLike fellow Carry On... star Joan Sims, Kenneth Williams lived alone for the whole of his life and never had a partner. However he did propose marriage to her, but she declined, calling him too homosexual to serve well as a husband. PerformancesFilmsalmost complete
Television
Radio
Books
PortrayalsWilliams has been portrayed in two separate made-for-television films. In 2000, Adam Godley played him in the story of Sid James and Barbara Windsor's love affair, Cor Blimey! Subsequently, in 2006, Michael Sheen gave an uncanny impression in Kenneth Williams: Fantabulosa!. Perhaps the most well-known portrayal of Williams, however, came in theatre, in David Benson's 1996 Edinburgh Fringe show, Think No Evil of Us - My Life With Kenneth Williams, which subsequently toured and ran to much acclaim in London's West End. David Benson reprised his performance again to critical acclaim in a number of shows at the 2006 Edinburgh Fringe .
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