Why, 60 years on, Spike Milligan's Bed Sitting Room is as relevant as ever

Spike Milligan's post-apocalyptic dark comedy The Bed Sitting Room has not been performed on stage for almost 40 years. Now, ahead of a rehearsed reading of the script that the former Goon wrote with John Antrobus, producer John Hewer recalls what drew him to the project...

Will PG Wodehouse's Blandings work on TV?

Not since Ralph Richardson in 1967 have Lord Emsworth and his beloved pig graced our screens. But can the BBC faithfully capture PG Wodehouse's comic prose in new series Blandings.

Richard Lester's adaptation of the play by Spike Milligan and John Antrobus is a truly bonkers curio. Set in a blasted post-apocalypse Britain where roughly 20 people have survived, all of whom steadfastly avoid discussing what has happened, the film features an impressive pantheon of 1960s British talent - Milligan, Peter Cook, Dudley Moore, Ralph Richardson, Arthur Lowe - attempting to carry on as normal with bicycle-powered public transport and the ever-present threat of mutation.

Lowe turns into a parrot, Moore turns into a sheepdog, and Richardson wearily endures his inexorable transformation into the titular rented accommodation. Bleak, dark, surreal, silly and truly unique.

This is scarcely a trace of a story-line, hence all the gags and lunatic gooneries are without dramatic connection, and situation comedy cannot survive without a plot to supply the situations. The gallery of character can hardly be said to interact with one another; in many cases they exist solely in terms of a single outlandish idea or costume, with little else in the way of discernible personality. In this situation the natural comics Spike Milligan, Harry Secombe, Marty Feldman - thrive; the the others however - in particular Michael Hordren, Rita Tushingham and Ralph Richardson - are quite unable to sustain the interest which their predominant postition in the film demands.