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“What Time Is It, Eccles?” (Milligan and Stephens, “The Mysterious Punch-Up-The–Conker”)

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“What Time Is It, Eccles?” (Milligan and Stephens, “The Mysterious Punch-Up-The–Conker”) UNIVERSITY OF OTTAWA FACULTY OF ARTS THEATRE DEPARTMENT Milligan’s Accordion: The Distortion of Time and Space in The Goon Show Richard Cousins Thesis supervisor: Daniel Mroz, Ph.D. Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Master of Arts (M.A.) (Theatre Theory & Dramaturgy) -“ SEAGOON: ...looking for the lost year has made me a weak old man. BLUEBOTTLE: Oh--you hear that, Eccles? ECCLES: What? BLUEBOTTLE: He's only a week old.” - Spike Milligan, “The Lost Year” © Richard Cousins, Ottawa, Canada, 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-86480-7 Our file Notre référence ISBN: 978-0-494-86480-7 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1 ABSTRACT Spike Milligan has had an undisputable influence on English-language comedy in the past half-century. Monty Python’s Terry Jones cites the “free-wheeling fantasy world” Milligan created for the surreal radio series The Goon Show as the chief inspiration for his own group’s more internationally-famous work. However, Milligan’s writing for The Goon Show, which first aired between 1951 and 1960 displays a depth beyond “the confidence to be silly” noted by Python’s Michael Palin. Milligan’s scripts reveal a deliberate, if not wholly conscious, rejection of the laws of causality and probability, through frequent and systematic distortions of time and space. The fictional world revealed in The Goon Show’s corpus of half-hour stories is one in which concepts relating to time and space lack the fixed meanings that we attach to them in everyday life. Temporal and spatial relationships are fluid and indeterminate: boundaries between different times and different spaces can dissolve, allowing mutually inconsistent chronologies and scales of size and distance to coexist. The world-view underlying this is governed by an inversion of the generally-agreed-upon relationship between observable phenomena and individual perception. Rather than using the outside world as a source of data from which to construct models of ‘objective’ reality, Milligan allows his characters’ own words to modify the given conditions of any situation. This quasi- magical principle of storytelling mirrors cognitive strategies used by children in their primary- school years to grasp and describe the complexities of time and space. Childlike and lighthearted as it often is, The Goon Show’s twisting of time and space has a parallel to some highly complex ‘grown-up’ thinking. Its implicit rejection of the self-evidence 2 of the fundamental laws of Newtonian physics recalls more than just the challenge to these laws provided by relativity and quantum mechanics. It also anticipates, by a full generation, the skeptical stance towards the self-evidence of immutable laws which forms the cornerstone of postmodern critiques of all fields of endeavour. The Goon Show reveals Spike Milligan to be an unsung visionary: always striding into unknown conceptual territory, he let his scripts, rather than a body of theoretical work, articulate his vision. Milligan’s comedic touch and his inimitable strangeness have led him to be appreciated, rather than studied. The ways in which The Goon Show turns time and space inward on themselves demonstrate, however, that the First Mover Unmoved in the mad universe of Goonery was an artistic and intellectual force to be reckoned with. Further study of Spike Milligan can only to lead to a greater appreciation of how far ahead of his time he truly was. 3 TABLE OF CONTENTS PRELUDE: A FEW WORDS OF EXPLANATION……………………………………………. 9 INTRODUCTION……………………………………………………………………………… 11 CHAPTER 1—THE ACCORDION UNDER CONSTRUCTION: THE ORIGINS OF SPIKE MILLIGAN’S COMEDIC STYLE, AND OF THE GOON SHOW…………………………… 19 1. Portrait of The Milligan as a Young Goon: Laying the Groundwork for a Personal Vision of Comedy………………………………………………………..………… 20 2. “Well, that’s the end of that corny routine”: The Goon Show’s Sketchy Beginnings………………………………………………………………….……… 23 3. New Producer, New Approach: Peter Eton and the Transformation of The Goon Show ……………………………………………………………………………..... 24 4. The Goon Show’s “Classic” Format: Dramatic Structures Mature in the Service of Comedic Immaturity………………………………………………………...…….. 28 5. Little Cardboard-and-String Heroes: The Goon Show’s Regular Cast of Characters…………………………………………………..…………………….... 31 6. “This is the BBC”: The Goon Show Vis-à-Vis Mainstream Practices in Contemporary Radio Drama……………………………………………………….. 37 7. “Who are you, Ben Lyon?”: The Goon Show’s Thematic Links to Popular Culture between the Two World Wars………………………………………………..……. 40 4 CHAPTER 2—THE ACCORDION BEATING TIME: TEMPORAL DISTORTIONS IN THE GOON SHOW………………………………………………………………………………...... 47 1. Looking Backward to Look Forward Again: The Goon Show’s Narrative Framework…………………………………………………………………….……...... 47 2. One Narrative, Many Narrators: The Goon Show’s Democracy of Diegesis…………………………………………..…………………………………….. 51 3. The Fragmentation of Time-Frames in The Goon Show and Its Effects On Narrative……………………………………………………………………………….. 55 4. That Sabrina Sure Gets Around: The Free Flow of Anachronisms in The Goon Show………………………………………………………………………………...….. 57 5. Musical Interludes in The Goon Show: Interruptions in Narrative Flow and Opportunities for Temporal Distortion……………………………………………….... 59 6. The Ageless Aging Process of The Goon Show’s Characters………………………. 62 7. “I’m for the dreaded deading this week alright”: The Impermanence of Death in The Goon Show……………………………………………………………………........…... 65 8. The Passage of Time and the Completion of Tasks: Two Sides of the Same Coin…………………………………………………………………….……….....….... 67 9. Sounds and Their Effects on Temporality……………………………...…........…… 72 5 INTERRUPTION 1: MILLIGAN’S LAWS OF TIME………………………….....………….. 77 CHAPTER 3—THE ACCORDION STRETCHING IN ALL DIRECTIONS: SPATIAL DISTORTIONS IN THE GOON SHOW………………………….....…………………...……. 80 1. Setting the Scene: A Few Words on the “Landscape” of Radio Theatre………………………….......................................………………….…...…….. 80 2. Mise en Scène as Mise sans Scène: The Goon Show as “Black Box” Theatre for Radio………………………….....…………...……………………..…………...……... 81 3. Contents Not Necessarily To Scale: The Variability of Container Capacity In The Goon Show………………………………………………………………………...…… 82 4. “My Lord, a piece of junk being found on the King’s Highway, it is declared treasure trove”: The Appearance of Objects Exactly When, and Exactly Where, They Are Needed …………………………………………………………………………………...……... 85 5. The Conundrum of Self-Duplication and Rapid Spatial Displacement, or, Being in Two Places at Once Is Easier When You Don’t Know It Can’t Be Done………………………………………………………………..………….……….. 87 6. Perceptual Fields Forever: Milligan’s Use of Simultaneous Multiple Perspectives within the Same Scene………………………………………………………….……… 91 6a. The Perception of Doors…………………………………………………… 91 6b. Getting That Long-Distance Feeling—Telephones as Disruptors of Spatial Integrity………………………………………………………………..……….. 95 6 6c. The Use of Pre-Recorded Voices and Effects to Establish Additional Spatial Frames…………………………………………………………………………. 97 7. All the World’s a Soundstage: The Recording Studio as Determinant of Spatial Frameworks………………………………………………………………...…………. 99 8. When Mental Maps Suffer Breakdowns: Around the World (and back again) with The Goon Show…………………………..……………………………………………...... 103 INTERRUPTION 2: MILLIGAN’S LAWS OF SPACE……………………………………. 112 CHAPTER 4—CHILDREN TEACH LESSONS ON THE ACCORDION: PREOPERATIONAL COGNITIVE STRATEGIES IN THE GOON SHOW………………. 114 1. “Hello, folks, this is Neddy Seagoon speaking, folks”: The Spoken Word as Stage Manager of Radio Theatre……………........................................................................ 114 2. Suffer Little Children
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