Patricia

DAME PATRICIA ROUTLEDGE created a monster, and we loved her for it.

The actress, who has died aged 96, turned Hyacinth Bucket – pronounced “Bouquet” – into one of the most memorable TV characters of all time.

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Decades on from Nineties sitcom Keeping Up Appearances the pearl-wearing snob, with her candlelight suppers and white slimline telephone, is still as embedded in the national psyche as a character from Charles Dickens.

In Patricia’s own words: “She was grotesque.”

But the actress, like viewers, could not help but admire her: “She was always getting it wrong and slipping on the banana skin, and then coming back and flying the flag.”

By the time the sitcom first hit screens, Patricia had been acting for nearly 40 years, in roles from Coronation Street to Broadway musicals, with co-stars from Sidney Poitier to Jerry Lewis.

She was also a favourite of writer Alan Bennett, who wrote his first great TV monologue especially for her in 1982.

Its success led to the landmark series Talking Heads, in which she also starred.

Alan said in 1998: “She has an enormous amount of zest and brio and she puts a lot of air into the language, so it lifts dialogue which might otherwise seem quite banal.”

After leaving Keeping Up Appearances, Patricia had a second smash-hit with Hetty Wainthropp Investigates, and in 1996 was voted the nation’s favourite actress of all time.

But Patricia managed to keep her private life out of the spotlight.

She never married or had children, and for years refused to discuss her relationships except to say: “I do know what it is to have loved and suffered.”

Eventually, she revealed she had had three great love affairs, including one with a married man, which tormented her as a devout Christian.

She also admitted: “I didn’t make a decision not to be married and not to be a mother -– life just turned out like that because my involvement with acting was so total.

“Now I think it’s a pity I didn’t have children. But I’m not sure you can have a career and a family and do both satisfactorily. I always knew, deep down, that everything has a cost.”

But whenever she was asked how to become a success, she had the same answer: “I say, I can give you a tip. It’s called risk. And if you’re prepared to risk everything, then you can do anything.”

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Katherine Patricia Routledge was born on February 17, 1929, in Birkenhead, Wirral, and grew up in a house behind father Isaac’s “high-class gentlemen’s outfitters” shop.

The family was theatre-mad and Patricia acted in school plays but never saw it as her future: “I always intended to be a go-ahead headmistress in a red sports car who had romances all over Europe in the holidays.”

With that in mind, she studied English at the University of Liverpool but spent so much time in the student drama club that older brother Graham urged her to audition for the Liverpool Playhouse.

She said: “He was the one who said, ‘That’s what you ought to do.’”
In 1952, aged 23, she made her professional debut with the company as Hippolyta in Shakespeare’s A Midsummer Night’s Dream.

Just two years later she was in the West End, showing off her roof-raising contralto singing voice in musical comedy The Duenna.

By early 1961 she was so well known on stage stage that the makers of Coronation Street, which had begun a couple of months earlier, pounced: “They created a character for me – Sylvia Snape. She had a little cafe.”

Their idea was for the no-nonsense proprietor to become one of the cobbles’ stalwarts, but after just three episodes Patricia quit.

She recalled: “I just knew inside that I needed to have other adventures.”

That included belting out satirical songs on That Was The Week It Was, as well as her big-screen debut in 1967’s To Sir with Love.

She played a teacher who offers support to Sidney Poitier’s character, and years later recalled the actor’s generosity: “I just had one scene alone with him, and he gave it to me.”

Patricia had less happy memories of working with Jerry Lewis in 1968’s Don’t Raise the Bridge, Lower the River: “An absolute nightmare. And I’m afraid I didn’t find him funny at all.”

BROADWAY DEBUT

That year Patricia also took Broadway by storm, with the New York Times critic describing her performance in Darling of the Day as “the most spectacular, most scrumptious, most embraceable musical comedy debut since Beatrice Lillie and Gertrude Lawrence came to the country.”

It landed her a Tony Award, presented by Groucho Marx.

Back at home, Alan Bennett had been a long-time fan and so when he wrote his first ground-breaking TV monologue, he wrote it for her.

Initially, Patricia turned him down: the piece was 47 minutes of just one character speaking directly to the camera.

Patricia recalled: “I said it wouldn’t work – people would switch off in their thousands.”

But Alan told her: “If you don’t do it, nobody will. I’ve written it for you.”

A Woman of No Importance screened on BBC2 in November 1982, with Patricia as Miss Schofield, who bubbled away about office gossip and the goings on at a hospital where, it slowly dawned on viewers, she was dying.

It was a sensation, and won Patricia a British Press Guild award for best actress. She later said of the writer: “He turns cliche into poetry.
“He sees a world in a grain of sand – the sympathy, the humanity.”

Its success led to 1988’s beloved Talking Heads series of six monologues, with Patricia in A Lady of Letters as a lonely busybody who finally finds friendship when she is sent to prison.

She said: “It’s about salvation, about learning to love at a tremendous cost. Oh, it was a joyous thing to do.”

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A second series was made in 1998, with Patricia’s monologue this time about a shop assistant who ends up in the thrall of her chiropodist.

In 2004 she admitted she found that part “very kinky”: “I didn’t really enjoy it. I didn’t understand it, deep down.”

Alan said later: “Patricia has a very strong moral streak and very strong views, and I think if a part doesn’t conform with those she’s very dubious about it.”

In between all this, she showed off her comedy brilliance again in Victoria Wood’s series As Seen on TV, playing an overconfident recurring character called Kitty who came out with lines like: “I’m something of a celebrity having walked the entire length of the Pennine Way in slingbacks, to publicise mental health.”

But when sitcom writer Roy Clarke, already famous for Last of the Summer Wine, presented the BBC with scripts for a new series about a suburban social climber, he did not have a lead actress in mind.

He recalled in 2004: “People do assume I must have written Keeping Up Appearances for Patricia Routledge, but I didn’t.”

It was director and producer Harold Snoad who Roy credited for “that perfect bit of casting”.

Harold said: “I wanted the character of Hyacinth to be a sort of stately galleon. I didn’t want somebody lightweight, either in size or vocal terms.”

Patricia said of the character: “She leapt from the page.”

GLOBAL HIT

The first series began on BBC1 in October 1990; soon 13million people a week were tuning in, including superfan the Queen Mum.

Nobody could have delivered lines like her (“I hope that’s a first-class stamp. I object to having second-class stamps thrust through my letterbox”) but she also brought a bursting energy to the role that was unmatchable.

The late Clive Swift, who played Hyacinth’s long-suffering husband Richard, said in 1998: “I can’t think of an another actress who could have brought the physical clowning to the part, which isn’t there particularly in the script.”

It was a global hit, but in 1995 after five series Patricia announced she would not do any more, despite the BBC’s pleas: “There were other adventures to have.”

They included, at the time, a new relationship.

Speaking to The Sun in 1996 she opened up about her private life for the first time, admitting: “A corner of my heart is taken. I’ve got a sneaking feeling that I might have almost everything in the end.

“He’s someone I’ve known for years and years. He’s in theatrical management but we hadn’t seen each other for a long time and then we met again.

“Life is full of the most wonderful surprises.”

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Patricia moved to Chichester, West Sussex, in 1999 to be closer to this new love, whose identity was never revealed, and lived there for the rest of her life.

She also told The Sun: “I had my heart broken when I was young. It was a grand passion, but it was complicated because he was married and, of course, I felt very guilty.

“I would gladly have lived with him and I wanted his children. But I couldn’t do it because I thought it would kill my parents.”

Her second great passion came in the late Eighties, when she least expected it: “Out of the blue this enchanting person appeared.

“He was a theatre director – a very funny and delightful man. But he had a heart condition, which I didn’t know about for a while.

“One day I went to rehearsal and was told he’d died in the night. This dear man was no more. I was just so hurt, so sore with the pain of loss.”

‘ILLUMINATING LIFE’

Work was always a refuge. In 1996 she was back on screen in Hetty Wainthropp Investigates as pensioner-turned-crime fighter, who was a down-to-earth, proud working-class opposite of Hyacinth.

Patricia later said of that character: “I loved her.”

It was another hit and the actress never forgave the BBC for axing the programme after four series without telling the cast: “No word ever came – how rude.”

Hetty was her last major TV role; afterwards she focused on theatre.
Her final role was in Oscar Wilde’s play An Ideal Husband in 2014 in her adopted hometown of Chichester, where she worshipped at the cathedral each week.

In 2017 she was made a dame for services to the theatre and charity.

On getting the news, she said: “I started to laugh, and then I started to cry. It was extraordinary.”

But Patricia believed her profession was important.

She once said: “It sounds a bit high-faluting, but I think acting is the physicalisation of the imagination.

“If the word becomes flesh, then you are illuminating life for other people.”

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GOLDEN Globe winning actress Patricia Crowley has died at the age of 91. 

The screen star died in Los Angeles on Sunday – two days before her 92nd birthday. 

Crowley won a Golden Globe in 1953 for her role in Forever Female – a flick that starred Ginger Rogers.

She was best known for her role in the 1960s show Please Don’t Eat the Daisies. 

Crowley also appeared in series such as Dynasty during the 1980s.

She starred as Emily Fallmont in the drama.

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All unhappy families of addicts are unhappy in their own way. Unless, of course, you’re a stage family, overrun with “characters” who don’t so much speak as deliver laugh lines and dispense nuggets of moral wisdom. Those families tend to be all alike, regardless of the superficial differences among them.

Grandparents play a larger role than usual in Jake Brasch’s “The Reservoir,” which opened Thursday at the Geffen Playhouse under the direction of Shelley Butler. But the theater’s ability to turn family dysfunction, be it alcoholism, Alzheimer’s or just garden-variety existential agony, into entertainment and instant illumination, has long been a staple of the American stage.

My tolerance for the artificiality of the genre may be lower than most theatergoers. Some take comfort in hoary comic patterns, souped-up eccentricity and reassuring pieties. Overexposed to this species of drama, I slump in my seat.

Indeed, my patience was as thin for “The Reservoir” as it was for “Cult of Love,” Leslye Headland’s drama about a family breakdown during the holidays that made it to Broadway last season after its 2018 premiere at L.A.’s IAMA Theatre. Neither play is beyond pandering to its audience for an easy laugh.

Serving as protagonist and narrator, Josh (Jake Horowitz), the queer Jewish theater student on medical leave from NYU who wakes up one morning after an alcoholic bender at a reservoir in his hometown of Denver, exhibits the snappy, manic banter of a drunk not able to face up to his problem. Patricia (Marin Hinkle), his long-suffering mother, has had it with Josh’s relapses, but how can she turn away her son who lies bleeding on her couch?

With his mother’s help, Josh gets a job as a clerk at a bookstore as he tries once again to pull his life together. Fortunately, Hugo (Adrián González), his manager, is quick to overlook his lax performance. Apparently, drinking has so scrambled Josh’s brain that alphabetizing books takes every ounce of his strength.

Marin Hinkle, left, Lee Wilkof, Jake Horowitz, Geoffrey Wade and Liz Larsen in “The Reservoir.”

(Jeff Lorch)

I didn’t quite feel as indulgent toward Josh, but not because I didn’t sympathize with his struggles. My beef was that he sounded like an anxious playwright determined to string an audience along without forced exuberance and sitcom-level repartee. (Compare, say, one of Josh’s rants with those of a character in a Terrence McNally, Richard Greenberg or Jon Robin Baitz comedy, and the drop off in verbal acuity and original wit will become crystal clear.)

What gives “The Reservoir” a claim to uniqueness is the way Josh’s four grandparents are conscripted not just into the story but into the staging. Seated in a row onstage, they serve as chorus to their grandson’s travails, chiming in with their own opinions and acting out his description of the way his thoughts compulsively take over his mind, like an unstoppable train or a raging river.

Each also has an individual role to play in Josh’s recovery. Patricia’s mother, Irene (Carolyn Mignini), for example, has been transformed by dementia since Josh has seen her last. She’s always been his favorite grandparent. He fondly recalls baking cookies, playing Uno and singing along to “The Sound of Music” with her. Even when she pulled away after he came out in high school, his affection has remained steadfast.

He would like to connect with her again and fears he has lost his chance. At the bookstore, he reads up on Alzheimer’s disease and hatches a plan to build up the cognitive reserve of all his grandparents by feeding them spinach and keeping them mentally engaged. He’s trying, in effect, to save himself by saving them, but they’re too feisty to be corralled by their unstable grandson.

Irene’s fiercely protective husband, Hank (Geoffrey Wade), an arch religious conservative, is too grumpy. As for Josh’s paternal Jewish grandparents, Shrimpy (Lee Wilkof) is too much of a practical joker with sex on his mind. And Beverly (Liz Larsen), an electrical engineer who doesn’t mince words, is too gimlet-eyed not to see that Josh is focusing on his grandparents to avoid doing the hard work of recovery.

Having been sober for many decades herself, Bev recognizes the narcissism of addiction, the way addicts have a tendency to put themselves at the center of the universe. She offers Josh the tough love that he needs, forcing him to see that a grandparent isn’t just a grandparent but a human being with a complicated history that needn’t be worn like a Kleenex visible from under a sleeve.

Josh sets out to be a savior but ends up getting an education in the reality of other people. Brasch’s intentions are noble, but “The Reservoir” doesn’t plunge all that deep. The play draws out the distinctiveness of the grandparents by ratcheting up their zingy eccentricities. How easily these characters fall into a punch-line rhythm. Larsen has the most consequential role and she imparts just the right note of astringency. But the staginess of the writing makes it difficult for any of the actors to transcend the shtick that’s been assigned to them.

Hinkle brings a depth of realism to her portrayal of Patricia, but the character isn’t fully developed. Whole dimensions of Patricia’s life are veiled to us. Both Hinkle and Gonazález gamely play other characters, but these sketched presences compound the general impression of a comic world drawn without much nuance.

The staging is frolicsome but visually monotonous — a problem for a play that is much longer than it needs to be. More than two hours of looking at the fey-preppy outfit costume designer Sara Ryung Clement prepared for Horowitz’s Josh becomes a kind of fashion purgatory for audience and protagonist alike.

I’m not sure why a production that doesn’t take a literal approach to settings has to repeatedly trot out the front seat of a car. The spry assistance of stagehands, who not only move set pieces but help flesh out the world of the play, is a jaunty touch. But the sound and lighting effects get rather heavy-handed during Josh’s hallucinatory meltdowns. Blame for the inexcusably clunky dream scenes, a writing fail, can’t be pinned on the designers.

Horowitz had the Geffen Playhouse’s opening-night audience in the palm of his hand, but I heard an actor playing his comic lines more than his character. Horowitz, however, is only following the direction of a playwright, who has a harrowing story to tell and needs you to enjoy every tricked-up minute of the zany-schmaltzy telling.

CHRISTINE Lampard has given a rare glimpse of her children Patricia and Freddie during a luxury family holiday.

The Loose Women anchor and husband Frank, both 46, jetted to Dubai with little ones for half term.

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And Christine – who keeps her children out of the spotlight – couldn’t resist giving fans a little glimpse inside their fun.

She posted a video montage from the break, showing Patricia, six, swimming while dressed as a mermaid.

The video also saw Freddie, four, copying his famous dad’s pose as they went out for dinner.

Posting the clip on Instagram, Christine wrote: “A half term dose of sunshine and mermaids.”

Frank is also dad to Luna, 19, and Isla, 17, from his relationship with Elen Rivas.

Christine and Frank tied the knot in 2015.

As well as her work on Loose Women, Christine often steps in for Lorraine Kelly on her chat show.

During a recent run as guest host, Christine interviewed Kate Ferdinand – and was quick to ask the former Towie star about life with a blended family and made a rare revelation about her own.

She said: “What do your two little ones think about the big ones in your household?

“Because I know my two little ones, their big sisters walk in, and it’s like god-like female creatures have walked into the house.”

With a vast and notable lists of credits under her hat from over the years of her career, Dame Patricia Hodge opens up about her newest TV stint starring in BBC1’s newest drama Death Valley

Murder is no laughing matter for Patricia Hodge, who will be playing the role of Helena in the new BBC1 Saturday night drama Death Valley, starring Timothy Spall.

A veteran of long-running shows including Poirot, Miss Marple, Waking the Dead and Inspector Morse, she says of Death Valley: “It is sort of that new genre of humorous murder mysteries, which is quite a difficult thing to get your head around, because I don’t think there is anything funny about murder. But it’s a new popular thing.

“It was lovely working with Tim Spall, who is a darling. Anyway, I am interested to see how it pans out. I am not the new Vera, though!”

READ MORE: BBC TV star opens up on neurodiversity battle as she admits ‘I have ADHD’

Patricia, 78, filmed around Cardiff for the show, which follows eccentric retired actor John Chapel (Spall) and detective sergeant Janie Mallowan (Gwyneth Keyworth) as they form an unlikely, and often comedic, crime-solving partnership working in and around the Welsh valleys.

Specific details of Patricia’s role are being closely guarded, but she is one of a number of guest stars and, with her vast experience of crime drama, she is sure to add to the intrigue.

Despite being close to 80, the star of A Very English Scandal is also busy working on another BBC murder mystery series, The Marble Hall Murders, based on the Anthony Horowitz books.

Patricia, whose movie credits include Four Weddings and a Funeral and The Elephant Man, clearly loves working. “Work is what we are,” she says. “I sort of like being challenged. I don’t want to sit on the back foot. I want to sit on the front foot.

“I am filming this new Anthony Horowitz thing at the moment, The Marble Hall Murders, and I have been filming in Dublin and Greece, and I have never been to Greece, so that has been lovely. I am very lucky to work. Work engages me.”

She is also acclimatising to life without her husband, music publisher Peter Owen, who died aged 85 in 2016, after suffering from dementia. Downton Abbey star Patricia cared for him until his death and has helped raise awareness of dementia.

Speaking movingly in the past about her feelings of guilt over not being able to prevent her husband’s memory loss, which eventually meant he couldn’t recognise her, Patricia is not interested in finding anyone else.

She says of her loss: “It is always a big adjustment, isn’t it? We had over 40 years together, and it is now coming up to nine years (without Peter). I am not looking (for anyone new). It is not on my radar at all. I don’t know what I feel, really. I have wonderful friends. I am very lucky to work.”

Besides acting, Patricia has been committed to supporting Historic Royal Palaces – the charity which oversees the restoration of ageing ancient palaces, held in trust for the nation by King Charles and the Royal Collection. She enjoys seeing new life being breathed into these impressive sites, for the nation to enjoy.

Patricia, who lives in Barnes, south west London, continues: “I was on the development board of the Historic Royal Palaces when it came out of the public purse and was given charity status. It suddenly made all these palaces belong to the nation again. And they gave them public ownership.

“I am no longer working on it, but it was amazing to be involved, and I would like to be involved again. I guess we only have so many hours in a day. During my time, we oversaw the opening of Kew Palace, which was so amazing because nobody had seen it before, and the things they uncovered, they did it so beautifully. I live in Barnes, so I am not far from it.”

Avid history lover Patricia was also keen to mark the 80th anniversary of VE Day. She says: “I stood on Hammersmith Bridge for the VE Day flypast and I watched the bombers come over. I was hit in the gut to think of what our parents went through. What they put up with and how they came through.”

Turning to more fickle matters, Patricia is keen to pay tribute to the man behind her meticulously well-groomed appearance. She says: “I have very enduring relationships. All my friendships go way back, so I have had the same hairdresser for years, since 1981. It is a man called Hugh Green.”

Immensely stylish, Patricia has an enviably ageless image. But she insists: “I have never, never lied about my age. I don’t think there’s any point, because people can find it out very easily.

“I think, better to rejoice in what you are rather than try and stifle it. And if people find out and they know you’ve been lying, then what else are you lying about? You know, far better to live and embrace the truth.”

Made an OBE in 2017 in the Queen’s Birthday Honours list for her services to drama, despite being widely regarded as acting royalty, Patricia likes to be known simply as “Hodge.”She says: ” The diminutives in Patricia are a nightmare. For the first 10 years of my life, I was called Patricia.

“Then I went to a school where, from day one, the teacher introduced me as Pat, without asking or anything. That was an automatic thing, that if you were called Patricia, you were called Pat.

“And then I got a bit tired of it, because actually Pat Hodge is not a great combo. When I went to drama school, I was called Trish or Trisha.

“There are a lot of people who just call me Hodge, and I think there’s only about two, if not three of us (Hodges) in the whole of equity. So now, when I answer the phone, I go, ‘Hodge.’”

Whether Hodge, Pat, Trisha, or Trish, asked if Dame Patricia Hodge has a certain ring to it, it becomes clear that if she gets another call from the Palace, this grande dame of British acting will take it in her stride.

She says: I don’t think about it. We should not get prizes for just doing a job. I am an OBE. Do you know what? If it happens, it happens.”

• The new series of Death Valley begins on BBC1 on Sunday, at 8.15pm.

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