Make sure you check out your Remploy account Take a look at all of our live jobs Join us to help improve health and social care services This article needs cleanup. Please review Wikiquote:Templates to determine how to edit this article to conform to a higher standard of article quality. This page has been listed as needing cleanup since 2008-09-15. I'm Sorry I Haven't a Clue (BBC Radio 4, 11 April 1972- ) is a British radio comedy programme which describes itself as "the antidote to panel games". Hosted by Humphrey Lyttelton, and originally played by Barry Cryer, Tim Brooke-Taylor, Graeme Garden, Willie Rushton, a range of guests have performed on the programme's panel since it began. The programme is known for its ridiculous rounds and games, such as Mornington Crescent and Word Disassociation played completely for laughs by the panellists who, to the untrained eye, might appear at first to be playing for points. Wordplay and innuendo are a large part of the show's humour.

Following the death of Humphrey Lyttelton in 2008, the show used regular guest panellists Stephen Fry, Jack Dee and Rob Brydon as guest presenters for the 51st series, before choosing Jack Dee as the permanent chairman the following series. All quotes are by Humphrey Lyttelton unless otherwise stated. Yours sincerely, Mrs. Trellis, North Wales" Yours etc., Mrs. Trellis. P.S. I can tell by your face that stuff really does do exactly what it says on the tin." Yours in haste, Mrs. Trellis" [Lyttelton discusses the "eleven jokes in the world"; i.e., the 11 types of humour.] Wikipedia has an article about: I'm Sorry I Haven't a Clue Wikimedia Commons has media related to: This article does not cite its references or sources. You can help Wikiquote by introducing appropriate citations. This portable super-heated steam cleaner quickly removes unwanted residues from tiling, enamelled surfaces and stainless steel in domestic and commercial applications.

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There were times during Jonathan Church’s lavish revival of Jerry Herman’s 1974 musical about the on-off romance between the silent-movie mogul Mack Sennett and the actress Mabel Normand, when I caught myself grumbling: this is all quite fun, but isn’t it too frothy and insubstantial? littlewoods lime green curtainsAnd, sure, with Michael Ball cutting a dash and making a splash as Mack, this production might just bring the show to the West End for the first time in almost 10 years, but it doesn’t match the dizzy heights of the theatre’s recent account of Gypsy, which has made a sensational transfer to the Savoy. levolor heavy duty curtain rod installationThat’s the curse of success; ikea curtains 90x90

you’re judged against your triumphs. Yet only 10 years ago, before Church took over, this hallowed venue was in the doldrums. green regan eyelet curtainsNow he is about to depart, it has become the norm to expect the best. curtains mazarronObviously, you can’t wholly turn a blind eye to the evening’s deficiencies. ikea vivan curtains beigeHerman himself (still going at 84) worried about the lovability – or lack of it – of his hero and heroine: Sennett is so obsessed with making his next picture, and dime, that he winds up losing the dame, whom he treats as arrogantly as Henry Higgins does Eliza Doolittle, while Normand’s increasing craving for recognition and drugs also somewhat tarnishes her. curtains and blinds penge

Michael Ball and Rebecca LaChance as Mack and Mabel at Chichester Festival Theatre (Photo: Alastair Muir) Around them (ploddy book by Michael Stewart, only partly solved by Francine Pascal’s revisions) whirl characters so paper-thin they barely stand up without the sustaining frenzy of song-and-dance routines. Often the ensemble, licked into shape by choreographer Stephen Mear, seem to be hoofing and goofing like it was going out of fashion. This is most madly so during a homage to the Keystone Cops (who Sennett made famous, as he did Charlie Chaplin) involving much truncheon-twirling mayhem. Yet I think that this rough-and-ready quality is part of the show’s strange appeal and chimes with Sennett’s slapdash-prone, slapstick-rich output. Herman looks back with rose-tinted nostalgia at the hustling innocence of the early film industry while fondly drawing on the showbiz formulae of old Broadway. Sennett had an eye for what the public wanted over what superior taste preferred. Herman follows suit: there’s even a show-stopping tap-dance number in praise of, erm, the joy of tap-dancing;

that’s gloriously led here by Anna-Jane Casey, twinkling away like a night-sky, the chorus-line around her in kinky bell-hop gear sporting identical Louise Brooks bobs. Anna-Jane Casey as Lottie in Mack and Mabel (Photo: Alastair Muir) One should cherish the warmth of spirit then, reflected in Herman’s characteristically lush score and charming lyrics. The opening number “Movies Were Movies” is an infectious, pastiche-drenched paean to the glory days of the silver screen – Ball’s broke but unbeaten Mack recapturing a state of childish glee as he progresses from tentative wistful patter, accompanied by tinkling piano, to leather-lunged defiance high up on a moving dolly – propelling us by force of personality back to 1911. In a way, this is a timeless cautionary tale about mixing business with pleasure, and letting love in. Mack’s anti-romantic ballad “I Won’t Send Roses” neatly sums up male inadequacies: “I won’t send roses/ Or hold the door/ I won’t remember/ Which dress you wore”.