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Remember this proverb. It's very, very simple. | 0:00:02 | 0:00:04 | |
We have this in my country. We have it in your country also. | 0:00:04 | 0:00:06 | |
-You never know what you've got until it's gone. -Yeah. | 0:00:06 | 0:00:10 | |
The comedian, actor and writer Felix Dexter died last month. | 0:00:12 | 0:00:17 | |
In my deal, innit? Star! | 0:00:17 | 0:00:19 | |
He was one of the trailblazers. | 0:00:19 | 0:00:21 | |
A comic genius. | 0:00:21 | 0:00:23 | |
Hey, hey, hey! | 0:00:23 | 0:00:25 | |
He went on stage, and he did it on his terms. | 0:00:25 | 0:00:27 | |
Please pay attention! | 0:00:27 | 0:00:29 | |
LAUGHTER | 0:00:29 | 0:00:30 | |
And the audience are falling about! | 0:00:30 | 0:00:33 | |
He never sought celebrity status, | 0:00:33 | 0:00:35 | |
but Felix was one of the best-respected performers in the business. | 0:00:35 | 0:00:38 | |
One love, one love! | 0:00:40 | 0:00:41 | |
London Underground! | 0:00:44 | 0:00:46 | |
Mash up Lucifer, vote yes! | 0:00:46 | 0:00:48 | |
-# Bong-ba-di-bong-bong-bong! # -That's the one! | 0:00:48 | 0:00:50 | |
-The screen comes alive when he's on. -He had that Richard Pryor thing | 0:00:50 | 0:00:53 | |
that he could say a really edgy joke without looking angry. | 0:00:53 | 0:00:57 | |
"Can we laugh at this?" | 0:00:57 | 0:00:58 | |
You have to be able to enunciate and pronunciate. | 0:00:58 | 0:01:00 | |
Absolute tosh! | 0:01:00 | 0:01:02 | |
He made comedy slick. | 0:01:04 | 0:01:05 | |
GUNSHOT | 0:01:05 | 0:01:07 | |
So sit back and enjoy this tribute to the one and only Felix Dexter. | 0:01:07 | 0:01:11 | |
At the age of seven, | 0:01:22 | 0:01:23 | |
Felix came to Britain with his mother from the island of St Kitts. | 0:01:23 | 0:01:27 | |
Most people who come to this country from the Caribbean, | 0:01:27 | 0:01:30 | |
their families are going to go to Brixton, St Paul's, | 0:01:30 | 0:01:34 | |
Handsworth, Moss Side, what have you and so on. | 0:01:34 | 0:01:36 | |
Felix ended up in Surrey. | 0:01:36 | 0:01:39 | |
I went to school, I was covered in those prefect badges, | 0:01:41 | 0:01:44 | |
you know, from head to toe. I looked like an armadillo, you know? | 0:01:44 | 0:01:47 | |
Although Felix told his friends very little about his background, | 0:01:47 | 0:01:52 | |
it's clear his childhood was far from typical. | 0:01:52 | 0:01:55 | |
Lots of black British people had the experience | 0:01:55 | 0:01:58 | |
of being the only black person at school or whatever, but normally | 0:01:58 | 0:02:02 | |
they would have that experience in a working-class context. | 0:02:02 | 0:02:06 | |
Felix was having that in a very middle-class context. | 0:02:06 | 0:02:08 | |
So that's going to make you a bit different. | 0:02:08 | 0:02:11 | |
Being in the geography lesson, | 0:02:11 | 0:02:12 | |
every time there was an issue about a tropical region, | 0:02:12 | 0:02:15 | |
it was always, "Aah, Felix, you should know this." | 0:02:15 | 0:02:18 | |
"You come from a hot country." | 0:02:19 | 0:02:22 | |
"Oh, yes, mate, it's very hot in Guildford, isn't it?" | 0:02:22 | 0:02:25 | |
Felix went to law school in London, | 0:02:28 | 0:02:30 | |
and was training to become a barrister | 0:02:30 | 0:02:33 | |
when he decided to give it all up... | 0:02:33 | 0:02:35 | |
..and try his hand at stand-up comedy. | 0:02:38 | 0:02:41 | |
Felix's mum - "Oh..." | 0:02:41 | 0:02:43 | |
A mild coronary would probably be an understatement. | 0:02:43 | 0:02:47 | |
"You're going to do what? Comedy?" | 0:02:47 | 0:02:50 | |
Once he's set his mind to do something, he's going to go ahead and do it. | 0:02:50 | 0:02:54 | |
CHEERING | 0:02:56 | 0:02:58 | |
Felix began performing in the '80s, | 0:02:58 | 0:02:59 | |
at the height of the alternative comedy scene. | 0:02:59 | 0:03:02 | |
He had a ten-minute open spot | 0:03:02 | 0:03:04 | |
and he absolutely stormed it. | 0:03:04 | 0:03:06 | |
He went straight from the ten minutes into a full 20. | 0:03:06 | 0:03:10 | |
He was that good. | 0:03:10 | 0:03:12 | |
APPLAUSE | 0:03:12 | 0:03:14 | |
What a right-on lot you are. That's beautiful. | 0:03:14 | 0:03:16 | |
It's nice, you're right on. You're my type of people | 0:03:16 | 0:03:18 | |
because I can feel it. You're anti-racist, you're anti-sexist, | 0:03:18 | 0:03:21 | |
you're right on. You're vegetarian. | 0:03:21 | 0:03:23 | |
You're the sort of people who probably say, | 0:03:23 | 0:03:25 | |
"Oh, no, no, don't say the word black, don't say black person, | 0:03:25 | 0:03:28 | |
"say high-melanin-content person." | 0:03:28 | 0:03:30 | |
# Baa baa, high-melanin-content sheep, have you any wool... # | 0:03:33 | 0:03:36 | |
He was a mainstay at The Comedy Store | 0:03:41 | 0:03:44 | |
and Jongleurs, and the bigger clubs that we all did all the time. | 0:03:44 | 0:03:48 | |
You had to get Felix in. Felix was the headline act. | 0:03:48 | 0:03:51 | |
He had a whole routine about wanting to have sex | 0:03:51 | 0:03:56 | |
but being turned down by a sleepy partner | 0:03:56 | 0:03:58 | |
and then trying to surreptitiously masturbate in the bed | 0:03:58 | 0:04:02 | |
and being banished to the spare room. | 0:04:02 | 0:04:04 | |
"Don't do that in here!" | 0:04:04 | 0:04:06 | |
His "Welcome To Scotland" look always worked, and it was funny. | 0:04:07 | 0:04:11 | |
When I got off the train in Dundee, | 0:04:11 | 0:04:13 | |
I got the "Welcome to Scotland" look. It goes like this. | 0:04:13 | 0:04:17 | |
LAUGHTER | 0:04:17 | 0:04:20 | |
As good as he was as a stand-up, | 0:04:20 | 0:04:22 | |
I could see in the early days little voices were coming in. | 0:04:22 | 0:04:25 | |
George, Anselm, come look, the next door people are going crazy in the street! | 0:04:25 | 0:04:28 | |
Mi always thought they was funny. Come watch them! Aaah! | 0:04:28 | 0:04:31 | |
And you'd think, "He really loves doing that." | 0:04:31 | 0:04:34 | |
You can see he's found a whole new area to move into. | 0:04:34 | 0:04:38 | |
Thank you. | 0:04:38 | 0:04:39 | |
By the early '90s, | 0:04:39 | 0:04:41 | |
Felix was a fixture on the alternative comedy scene. | 0:04:41 | 0:04:45 | |
But he was one of the only black faces. | 0:04:45 | 0:04:47 | |
The clubs were all white people, the acts were all white people. | 0:04:47 | 0:04:51 | |
There just weren't any black people in the audience. | 0:04:51 | 0:04:54 | |
So when a new black comedy circuit began to emerge, | 0:04:54 | 0:04:57 | |
centred around the Hackney Empire, Felix's comedy found its home. | 0:04:57 | 0:05:02 | |
She's sitting there with the man, she's not saying anything at all | 0:05:02 | 0:05:06 | |
because she knows the man has not given her authority to speak. | 0:05:06 | 0:05:11 | |
When we started the black comedy circuit, | 0:05:11 | 0:05:14 | |
there was always this rumour there was this other black guy | 0:05:14 | 0:05:16 | |
on the circuit and it wasn't Lenny Henry, | 0:05:16 | 0:05:18 | |
so we were like, "Who is this guy we're hearing about?" | 0:05:18 | 0:05:21 | |
The first time I saw Felix was at the Hackney Empire. | 0:05:21 | 0:05:24 | |
I walked out thinking, "I like this man. | 0:05:24 | 0:05:26 | |
"I'm going to remember him forever." | 0:05:26 | 0:05:28 | |
As the black comedy scene grew in popularity, | 0:05:28 | 0:05:31 | |
television executives began to sit up and take notice. | 0:05:31 | 0:05:34 | |
In 1991, a groundbreaking new comedy sketch show was launched. | 0:05:39 | 0:05:43 | |
-It's all been quite a shock. -Quite. | 0:05:46 | 0:05:48 | |
Now, if you could just tell me in your own words how it happened. | 0:05:48 | 0:05:51 | |
It was a damp and moonless night. | 0:05:51 | 0:05:53 | |
My heart fluttered like a caged bird | 0:05:53 | 0:05:56 | |
as I walked through a deserted churchyard. | 0:05:56 | 0:05:59 | |
The Real McCoy was the first black sketch show | 0:05:59 | 0:06:03 | |
written by African-Caribbean people and performed by them. | 0:06:03 | 0:06:07 | |
Ladies, please don't take the weave seriously. | 0:06:08 | 0:06:11 | |
Everybody said, "OK, this is the turning point for black comedy." | 0:06:14 | 0:06:18 | |
You could be in a club, right, | 0:06:18 | 0:06:19 | |
and scratch this side, and the other side move. | 0:06:19 | 0:06:22 | |
The audience felt that they had found a show that told their story | 0:06:25 | 0:06:29 | |
and told their story funny. You know, it wasn't depressing, | 0:06:29 | 0:06:32 | |
it wasn't about "issues" or difficult, it was just funny. | 0:06:32 | 0:06:35 | |
Felix came on board in series three, | 0:06:35 | 0:06:37 | |
which in my opinion is when it really got its legs. | 0:06:37 | 0:06:40 | |
Everything he did was sort of magic. | 0:06:40 | 0:06:42 | |
I mean, he had the characters that he evolved. | 0:06:42 | 0:06:45 | |
You didn't really have to find anybody to work with him, | 0:06:45 | 0:06:48 | |
he kind of came in with the characters. | 0:06:48 | 0:06:50 | |
The Real McCoy was where Felix's character comedy really took flight. | 0:06:50 | 0:06:55 | |
The first one that I remember him introducing was the lawyer. | 0:06:55 | 0:07:00 | |
Ahem. | 0:07:00 | 0:07:02 | |
Erm, I'm Douglas, and this is my club. | 0:07:02 | 0:07:05 | |
When I heard about your programme, | 0:07:05 | 0:07:07 | |
I thought, absolutely marvellous idea, it really was. | 0:07:07 | 0:07:09 | |
And he just started to speak and the crowd went crazy. | 0:07:09 | 0:07:15 | |
Racism in Britain today, wonderful, wonderful, absolutely amazing. | 0:07:15 | 0:07:19 | |
But it is, yes, of course, a really big problem, enormous problem, | 0:07:19 | 0:07:22 | |
big, enormous, tremendously big problem, yes. | 0:07:22 | 0:07:25 | |
I think we had to do two or three takes | 0:07:25 | 0:07:27 | |
so it didn't sound like canned laughter. | 0:07:27 | 0:07:29 | |
I lapsed into the vernacular, you know, | 0:07:29 | 0:07:31 | |
blouson skirts, box bottoms... | 0:07:31 | 0:07:33 | |
Beat-down Babylon... | 0:07:35 | 0:07:37 | |
Go on, my brethren, and so on and so forth. | 0:07:38 | 0:07:41 | |
LAUGHTER | 0:07:41 | 0:07:44 | |
Rass cloth, I announced... | 0:07:44 | 0:07:46 | |
LAUGHTER AND APPLAUSE | 0:07:46 | 0:07:49 | |
The nuances and little phrases that he could pull out | 0:07:49 | 0:07:52 | |
that would reduce the room to fits, | 0:07:52 | 0:07:54 | |
which would leave a white audience thinking, "Why is that funny?" | 0:07:54 | 0:07:58 | |
You know, and I think it gave him a freedom to be somebody that maybe | 0:07:58 | 0:08:02 | |
he wasn't able to really be in the clubs that we played. | 0:08:02 | 0:08:06 | |
Our mission is only one thing and what it is, | 0:08:06 | 0:08:09 | |
it is to mash up Lucifer! | 0:08:09 | 0:08:12 | |
Mash up Lucifer is what we have to do! Mash him up! | 0:08:12 | 0:08:16 | |
Yes, mash him to little bits. We have to mash him up, | 0:08:16 | 0:08:19 | |
make him go down on the ground, start bawling and crying! | 0:08:19 | 0:08:22 | |
"We Need To Mash Up Lucifer" - I just thought to myself, hilarious! | 0:08:22 | 0:08:26 | |
Some of the young ladies as well, I've got something to say to you. | 0:08:26 | 0:08:31 | |
I notice some of you, you're walking about, yo-yo-yo-you... | 0:08:31 | 0:08:34 | |
Yo-yo-your skirt is all-all-all hung out like that. | 0:08:36 | 0:08:39 | |
LAUGHTER AND APPLAUSE | 0:08:41 | 0:08:43 | |
Tuck it up yourself! | 0:08:45 | 0:08:48 | |
I mean to say, what the hell is going on? | 0:08:48 | 0:08:51 | |
Then he starts wiping his brow | 0:08:55 | 0:08:56 | |
and I'm thinking, "The church people are going to be so upset with you. | 0:08:56 | 0:08:59 | |
"You've gone too far, you've gone too far." | 0:08:59 | 0:09:01 | |
He does take you to the point where you think, "Is he? Yes! Oh!" | 0:09:01 | 0:09:06 | |
And then you can just go, "Nn! Ah!" | 0:09:06 | 0:09:09 | |
And that's what makes a brilliant comedian. He challenges you, | 0:09:09 | 0:09:12 | |
he makes you laugh even though you don't think you should be laughing. | 0:09:12 | 0:09:15 | |
That's a great comedian. | 0:09:15 | 0:09:17 | |
Excuse me, excuse me. | 0:09:17 | 0:09:19 | |
I'd just like to say something. | 0:09:19 | 0:09:22 | |
My name is Nathaniel. I'm from Lagos and I'm studying accountancy. | 0:09:22 | 0:09:27 | |
Felix was never afraid to be subversive, | 0:09:27 | 0:09:30 | |
particularly with Nathaniel, the Nigerian accountant-cum-cab-driver. | 0:09:30 | 0:09:35 | |
And what I'd like to do is to teach some of you West Indians, | 0:09:35 | 0:09:38 | |
especially the Jamaicans... | 0:09:38 | 0:09:40 | |
..how to speak the Queen's mother's language. | 0:09:43 | 0:09:46 | |
How to speak the Queen's mother's language. | 0:09:46 | 0:09:49 | |
Here was a Caribbean man playing an African ridiculing West Indians, | 0:09:49 | 0:09:55 | |
so you know, this character was a one-off. | 0:09:55 | 0:09:59 | |
What I've noticed, you are mucking about with your Hs. | 0:09:59 | 0:10:02 | |
All the time. What you are doing, | 0:10:02 | 0:10:05 | |
if there is an H, if there is an H in front of the vowel, | 0:10:05 | 0:10:08 | |
you are taking it away. | 0:10:08 | 0:10:10 | |
And if there is not supposed to be one there, you are putting one in. | 0:10:11 | 0:10:15 | |
So what you are doing, in your own accent, you are saying things like, | 0:10:15 | 0:10:18 | |
"My friend Harchibald was in the 'ospital. | 0:10:18 | 0:10:23 | |
"They are keeping 'im hin hovernight for a hobservation. | 0:10:23 | 0:10:29 | |
"Because 'e's 'aving an hoperation. | 0:10:29 | 0:10:33 | |
"On 'is 'ernia." | 0:10:33 | 0:10:35 | |
It wasn't done with spite or even real ridicule, | 0:10:36 | 0:10:40 | |
it was done with a sense of, I suppose, love. | 0:10:40 | 0:10:43 | |
But as the nation embraced his many characters, | 0:10:44 | 0:10:47 | |
those closest to him knew very little of the private man. | 0:10:47 | 0:10:50 | |
It was always good to see him, have a bit of a chat, | 0:10:51 | 0:10:54 | |
do your act, and then he'd go. | 0:10:54 | 0:10:56 | |
I produced two national tours for him, I slept in his spare room | 0:10:56 | 0:11:02 | |
and I gigged with him for 20 years, and I still hardly knew him. | 0:11:02 | 0:11:05 | |
He would come and do the show and leave, | 0:11:05 | 0:11:08 | |
and sometimes you might say to him, | 0:11:08 | 0:11:11 | |
"So, Felix, I don't see you with anybody" - and he'd go, "Ha-ha! Hey!" | 0:11:11 | 0:11:14 | |
And you think, "You're not going to tell me, are you?" | 0:11:14 | 0:11:16 | |
He was just a kind of an island. | 0:11:16 | 0:11:19 | |
You create characters to hide away, you know, | 0:11:21 | 0:11:23 | |
I remember talking to a therapist years ago | 0:11:23 | 0:11:26 | |
when I first started, saying, "Characters are dodgy." | 0:11:26 | 0:11:28 | |
I said, "What do you mean?" | 0:11:28 | 0:11:30 | |
She said, "You want to hide in different characters." | 0:11:30 | 0:11:32 | |
I think he was a very classic example of that. | 0:11:32 | 0:11:34 | |
It's Floyd, it's Floyd, all right? Nice, nice, nice, nice, nice. | 0:11:34 | 0:11:39 | |
You see stupid written on my forehead? | 0:11:39 | 0:11:41 | |
You see stupid written on my forehead? | 0:11:41 | 0:11:43 | |
If you see stupid written on my forehead, you'd better rub it off | 0:11:43 | 0:11:46 | |
because I don't want to be sat here with stupid written on my forehead. | 0:11:46 | 0:11:49 | |
By the mid-'90s, Felix and his comic creations were hot property. | 0:11:49 | 0:11:53 | |
He was playing cameo roles on all the big comedy shows. | 0:11:54 | 0:11:57 | |
You must call yourself Mr Fry and Mr Laurie, | 0:11:57 | 0:12:00 | |
and then when you are more famous you can drop the Mister. | 0:12:00 | 0:12:04 | |
-Ronnie Biggs, it's not yes or no, is it? -Well, yes, it is. -Good. | 0:12:04 | 0:12:08 | |
Say what you like about Paul Simon and Malcolm McLaren, | 0:12:08 | 0:12:10 | |
they gave African music structure. | 0:12:10 | 0:12:13 | |
Before, of course, they met these producers, | 0:12:13 | 0:12:15 | |
there was all this drumming the whole time. | 0:12:15 | 0:12:17 | |
Drumming, drumming, drumming, drumming, drumming! | 0:12:17 | 0:12:19 | |
-# Bong-ba-di-bong-bong-bong! # -That's the one! | 0:12:19 | 0:12:22 | |
Then, when he was offered a part in The Fast Show, | 0:12:25 | 0:12:28 | |
Felix met his comedy kindred spirits. | 0:12:28 | 0:12:31 | |
-Hey, wait! -What happen, sir? | 0:12:33 | 0:12:35 | |
So can man look up on his brethren, eh? | 0:12:35 | 0:12:38 | |
We needed someone who could do | 0:12:38 | 0:12:40 | |
a very convincing urban slang. | 0:12:40 | 0:12:45 | |
-Last time I was in a dance class. Some crack. -Right. Right! | 0:12:45 | 0:12:49 | |
My God. Ninja, man. Epic. | 0:12:49 | 0:12:51 | |
Paul and I, not being from the streets, shall we say, | 0:12:51 | 0:12:55 | |
we didn't presume to write the script ourselves, | 0:12:55 | 0:12:57 | |
so we needed to find someone who could write and could improvise. | 0:12:57 | 0:13:00 | |
So mi turn around, but when mi turn back, | 0:13:00 | 0:13:02 | |
I got a brethren there in my deal, innit? Star! Yard star! | 0:13:02 | 0:13:07 | |
Mi just look, "Ah, right, den!" | 0:13:07 | 0:13:10 | |
Rock stone! Rock stone! | 0:13:10 | 0:13:13 | |
No. | 0:13:15 | 0:13:16 | |
No. I can't keep up with this. | 0:13:16 | 0:13:19 | |
I don't know what the bloody hell you're on about. Not a bloody clue! | 0:13:19 | 0:13:24 | |
We actually developed a sort of professional relationship | 0:13:25 | 0:13:29 | |
from then on, because he asked me and Charlie | 0:13:29 | 0:13:33 | |
to script edit a pilot that he'd done of his own show. | 0:13:33 | 0:13:37 | |
# Felix Dexter on TV! # | 0:13:37 | 0:13:41 | |
-Leave it! -Leave it! | 0:13:41 | 0:13:43 | |
The pilot took the characters from Felix's live act | 0:13:43 | 0:13:47 | |
and placed them in a sketch show. | 0:13:47 | 0:13:49 | |
Don't tell me I'm backside, right. I know I'm right! | 0:13:49 | 0:13:53 | |
We thought this was going to be a chance, and so did Felix, you know, | 0:13:53 | 0:13:56 | |
for him to showcase his characters on his own. | 0:13:56 | 0:14:00 | |
What is going on? Stop, stop, stop! | 0:14:00 | 0:14:02 | |
I cannot believe | 0:14:02 | 0:14:04 | |
what yo-yo-yo-you-yo-you're putting... | 0:14:04 | 0:14:08 | |
-You are putting the devil into this young girl. -Not yet, he hasn't. | 0:14:08 | 0:14:12 | |
I'm sorry, I've got no choice, | 0:14:12 | 0:14:13 | |
-I've got to suck the devil out of her. -What? | 0:14:13 | 0:14:17 | |
Boosey got balls! | 0:14:23 | 0:14:25 | |
The show went out in September 1995, but wasn't picked up as a series. | 0:14:26 | 0:14:31 | |
I personally believe there was disappointment | 0:14:32 | 0:14:35 | |
in that not working out for whatever reason. | 0:14:35 | 0:14:37 | |
On the back of doing his sketch show, | 0:14:37 | 0:14:40 | |
he did try and develop the lawyer character. | 0:14:40 | 0:14:43 | |
Respect, respect, respect. | 0:14:44 | 0:14:46 | |
A year later, Felix was given a second pilot. | 0:14:46 | 0:14:50 | |
Please take a seat, Mr Johnson. | 0:14:50 | 0:14:53 | |
It was a sitcom featuring Douglas, | 0:14:53 | 0:14:55 | |
a well-to-do lawyer all at sea in multicultural Britain. | 0:14:55 | 0:14:58 | |
Douglas is kind of him, I think. | 0:15:00 | 0:15:03 | |
Yeah, I think it is! | 0:15:05 | 0:15:07 | |
He was lampooning himself as much as anything else. | 0:15:07 | 0:15:09 | |
He was lampooning the black guy who doesn't actually eat | 0:15:09 | 0:15:12 | |
curried goat and rice every Saturday. Why should he? | 0:15:12 | 0:15:15 | |
Oh, um... Hello, brother. | 0:15:18 | 0:15:20 | |
Brother? What the hell are you talking about? | 0:15:20 | 0:15:22 | |
Since when is me and you family? | 0:15:22 | 0:15:24 | |
I'm most dreadfully sorry, it's just that as we are the same hue, | 0:15:24 | 0:15:27 | |
I thought there might be some cultural solidarity, at least. | 0:15:27 | 0:15:30 | |
Same hue? Cultural what? | 0:15:30 | 0:15:34 | |
Show me your damn ticket! | 0:15:34 | 0:15:35 | |
Like the sketch show, Douglas wasn't commissioned as a series. | 0:15:36 | 0:15:40 | |
I saw him at the BBC once and we were talking about it, | 0:15:42 | 0:15:45 | |
and he was so gracious, it was almost like he missed his bus, | 0:15:45 | 0:15:49 | |
he didn't get the bus. | 0:15:49 | 0:15:50 | |
It was almost like, "OK, never mind, let's just keep moving." | 0:15:50 | 0:15:53 | |
And I remember saying, "Felix, if you don't get it, | 0:15:53 | 0:15:56 | |
"then we might as well give up." | 0:15:56 | 0:15:58 | |
because if there is anyone of the black comedy circuit | 0:15:58 | 0:16:02 | |
that should have got their own show - Felix. | 0:16:02 | 0:16:05 | |
People have always recognised Felix | 0:16:05 | 0:16:07 | |
but whether they quite realised what he was capable of, | 0:16:07 | 0:16:12 | |
you know, some of the executives perhaps didn't realise that. | 0:16:12 | 0:16:15 | |
He was one of those performers who far too many people missed | 0:16:15 | 0:16:22 | |
through short-sightedness, through the status quo, | 0:16:22 | 0:16:27 | |
there's a million and one reasons why not enough people saw Felix Dexter, | 0:16:27 | 0:16:33 | |
and none of them was his. | 0:16:33 | 0:16:36 | |
When I was in school or in the barbershop, | 0:16:36 | 0:16:39 | |
the constant conversation piece | 0:16:39 | 0:16:42 | |
would be "Why hasn't Felix got his own show?" | 0:16:42 | 0:16:45 | |
When Jason worked with Felix a decade later, | 0:16:46 | 0:16:49 | |
he got the chance to ask him about it. | 0:16:49 | 0:16:51 | |
He could have played the race card in his answer to me, | 0:16:53 | 0:16:56 | |
but he didn't, and that made me respect him even more, | 0:16:56 | 0:17:02 | |
and that's one of the major things that I got from him | 0:17:02 | 0:17:04 | |
in terms of perseverance, you know - | 0:17:04 | 0:17:07 | |
no matter what obstacles are put in front of you, | 0:17:07 | 0:17:10 | |
keep going, keep going. | 0:17:10 | 0:17:12 | |
Was there any suggestion that she might have had... | 0:17:12 | 0:17:14 | |
The next few years were busy ones for Felix. | 0:17:14 | 0:17:17 | |
As well as touring his live show, | 0:17:17 | 0:17:19 | |
he took on a variety of acting roles for television. | 0:17:19 | 0:17:22 | |
You're a homosexual fellow? | 0:17:22 | 0:17:25 | |
How many ages hence will this our lofty scene be acted over? | 0:17:25 | 0:17:29 | |
Every man, away! | 0:17:29 | 0:17:31 | |
People are often surprised when it turns out a comedian can act, | 0:17:31 | 0:17:35 | |
but it's all in there. | 0:17:35 | 0:17:36 | |
Different voices that emerge through the stand-up, you know, | 0:17:36 | 0:17:41 | |
that is acting, that's what it is. | 0:17:41 | 0:17:43 | |
Felix also began to work in theatre. | 0:17:45 | 0:17:48 | |
He performed with the Royal Shakespeare Company | 0:17:48 | 0:17:51 | |
and at the Young Vic. | 0:17:51 | 0:17:52 | |
In 2004, he appeared in a production of One Flew Over the Cuckoo's Nest | 0:17:52 | 0:17:57 | |
along with a dozen other comedians. | 0:17:57 | 0:17:59 | |
You can imagine with a company | 0:18:01 | 0:18:03 | |
mainly made up of comedians, there's always the danger | 0:18:03 | 0:18:06 | |
that it turns into a bit of a kind of stand-up showdown. | 0:18:06 | 0:18:10 | |
I took my cue off him because he's the man who's been there, | 0:18:10 | 0:18:13 | |
he's done it, and I'm going, | 0:18:13 | 0:18:14 | |
"Oh, I can't play the fool if he's being very, very serious." | 0:18:14 | 0:18:18 | |
And I just remember that Felix would just always be | 0:18:18 | 0:18:22 | |
this very relaxed, very calm, | 0:18:22 | 0:18:25 | |
very wise kind of voice at the heart of it. | 0:18:25 | 0:18:30 | |
Always taking the work seriously, | 0:18:30 | 0:18:32 | |
and I knew him as an actor and not as a comedian. | 0:18:32 | 0:18:35 | |
In 2006, Felix rejoined his old friends Paul Whitehouse | 0:18:38 | 0:18:41 | |
and Charlie Higson on a radio show called Down The Line. | 0:18:41 | 0:18:45 | |
Quite a simple idea, really, it was just a spoof radio show | 0:18:45 | 0:18:49 | |
where all the characters that call in can vent their spleen. | 0:18:49 | 0:18:53 | |
-I'm going to help the environment, yeah? -Yeah. | 0:18:53 | 0:18:56 | |
Can be politically incorrect... | 0:18:56 | 0:18:57 | |
-I had a very bad problem. -Hmm? -It was never diagnosed. | 0:18:57 | 0:19:00 | |
Right, dyslexia or something like that? | 0:19:00 | 0:19:03 | |
No, I was blind. | 0:19:03 | 0:19:04 | |
But they are all played by performers that we like. | 0:19:04 | 0:19:07 | |
-Felix Dexter. -Felix Dexter, obviously, | 0:19:07 | 0:19:09 | |
is very good at doing the black characters. | 0:19:09 | 0:19:11 | |
-SLURRED: -You cannot progress in your education | 0:19:11 | 0:19:14 | |
-unless you have the clarity of speech, right? -No... | 0:19:14 | 0:19:16 | |
It's the most important thing in your... | 0:19:16 | 0:19:18 | |
We live in a multicultural society, so as well as acknowledging it, | 0:19:18 | 0:19:22 | |
we should also be able to laugh about it, | 0:19:22 | 0:19:24 | |
and Felix had already opened the door. | 0:19:24 | 0:19:26 | |
Listen mate, listen. I've got a lot of black mates, all right? | 0:19:26 | 0:19:29 | |
-Calm down. -I couldn't care if you've got friends in Jamaica, in Brixton | 0:19:29 | 0:19:32 | |
and The Black And White Minstrels. You are parking in the wrong place. | 0:19:32 | 0:19:35 | |
Move the car, remove it for me. | 0:19:35 | 0:19:37 | |
Over the course of this series, | 0:19:37 | 0:19:39 | |
I've travelled the length and breadth of Britain | 0:19:39 | 0:19:41 | |
and I've met some diverse and fascinating characters. | 0:19:41 | 0:19:44 | |
Down The Line was reincarnated for television as Bellamy's People, | 0:19:44 | 0:19:49 | |
a spoof celebrity travelogue | 0:19:49 | 0:19:50 | |
fronted by an earnest young journalist, Gary Bellamy. | 0:19:50 | 0:19:53 | |
-Gary Bellamy! -I knew that! | 0:19:53 | 0:19:56 | |
One love! | 0:19:56 | 0:19:57 | |
-Check over here, like. -I like the pumas. -Eh? | 0:19:57 | 0:20:01 | |
Are they panthers? | 0:20:01 | 0:20:02 | |
No, no, that's lion. Lion. | 0:20:02 | 0:20:04 | |
No, that's a panther, I think. | 0:20:04 | 0:20:06 | |
No, man, that's a black lion we are talking about. | 0:20:06 | 0:20:08 | |
You can't get black lions. | 0:20:08 | 0:20:10 | |
You arguing with me about what is a panther like? That's a lion! | 0:20:10 | 0:20:14 | |
The show was entirely unscripted, | 0:20:14 | 0:20:16 | |
and played to all of Felix's strengths. | 0:20:16 | 0:20:18 | |
-Really? -Yes, check man in. | 0:20:18 | 0:20:20 | |
It was all completely spontaneous and improvised. | 0:20:22 | 0:20:25 | |
HE BARKS | 0:20:25 | 0:20:27 | |
That's an amazing skill, and to make these characters so different | 0:20:27 | 0:20:30 | |
and to give them all their own personalities | 0:20:30 | 0:20:33 | |
but also their own language. | 0:20:33 | 0:20:34 | |
On one side is Scylla, on the other side is Charybdis, | 0:20:34 | 0:20:39 | |
the whirlpool and the monster. | 0:20:39 | 0:20:42 | |
Only Argonaut reach through. | 0:20:42 | 0:20:44 | |
He knew these characters so well, he got inside them so well, | 0:20:44 | 0:20:48 | |
and he knew how their minds worked. | 0:20:48 | 0:20:50 | |
Choppy little custom buoy... | 0:20:50 | 0:20:52 | |
He could go on all day in one character, | 0:20:52 | 0:20:54 | |
and that was sometimes a problem. We had to stop him... | 0:20:54 | 0:20:57 | |
Say, "Felix, we've only got a half-hour show!" | 0:20:57 | 0:21:00 | |
It's a pleasure to meet you. I'm the gentleman you are going to... | 0:21:00 | 0:21:03 | |
-Oh! That's right, OK, nice to meet you too. Hello. -So, in my opinion... | 0:21:03 | 0:21:08 | |
-No, we haven't started yet. -Wait one second. | 0:21:08 | 0:21:10 | |
One of the stars of the show was Felix's character Julius Olufemwe... | 0:21:10 | 0:21:14 | |
-We need to put a microphone on you for this. -OK. | 0:21:14 | 0:21:16 | |
..eternal student and rampant Anglophile. | 0:21:16 | 0:21:18 | |
-Hold on. -We won't be able to hear you if you don't put that on. | 0:21:18 | 0:21:21 | |
Calm down! Calm down, stop it! Stop that! | 0:21:21 | 0:21:23 | |
So, Julius, why have you brought me here? | 0:21:23 | 0:21:25 | |
Well, you know, I've brought you here | 0:21:25 | 0:21:28 | |
to show you, in a sense, what are | 0:21:28 | 0:21:30 | |
the most important features of London if we carry on talking | 0:21:30 | 0:21:34 | |
about the thing that we must celebrate about England... | 0:21:34 | 0:21:37 | |
The thing about Julius is, he is more patriotic and more British | 0:21:37 | 0:21:40 | |
than any of the other characters in the show, | 0:21:40 | 0:21:42 | |
and he's always picking up Gary Bellamy, the host, | 0:21:42 | 0:21:45 | |
for not being British enough. | 0:21:45 | 0:21:46 | |
Nelson's Column, what a marvellous representation | 0:21:46 | 0:21:50 | |
-of all the best of English history. -That's not Nelson's Column. | 0:21:50 | 0:21:54 | |
No, no, that's Nelson's Column. | 0:21:54 | 0:21:56 | |
No, Nelson's Column is in Trafalgar Square. We're in Pall Mall. | 0:21:56 | 0:21:59 | |
Please, please, it doesn't matter. It's virtually the same as him. | 0:21:59 | 0:22:02 | |
We were talking about what it meant to be British | 0:22:02 | 0:22:04 | |
and he was saying, "I think we've lost that," | 0:22:04 | 0:22:06 | |
and I said, "What about the Jubilee? | 0:22:06 | 0:22:08 | |
"That was a very British, great thing." | 0:22:08 | 0:22:11 | |
And then it somehow got around | 0:22:11 | 0:22:13 | |
to Brian May playing on the roof of Buckingham Palace. | 0:22:13 | 0:22:16 | |
Brian May was on top of the Palace, playing God Save The Queen. | 0:22:16 | 0:22:19 | |
-What could be more British than that? -How long was he doing that? | 0:22:19 | 0:22:22 | |
-For about two and a half minutes. -There you go. | 0:22:22 | 0:22:25 | |
Winston Churchill would be disgusted with that. | 0:22:25 | 0:22:27 | |
Brian May should be playing for an hour! Three hour! | 0:22:27 | 0:22:30 | |
-But... -Five hour! | 0:22:30 | 0:22:32 | |
'I'm laughing. He does not crack. He is that person' | 0:22:32 | 0:22:34 | |
and he just keeps going with it, you know, "For an hour, two hour". | 0:22:34 | 0:22:38 | |
What do you mean by people like us? | 0:22:38 | 0:22:41 | |
People of breeding, yes, | 0:22:41 | 0:22:42 | |
people who abhor the vulgar and the crass, you know? | 0:22:42 | 0:22:46 | |
But to be fair, surely, aren't you a bit of a fish out of water, | 0:22:46 | 0:22:49 | |
living in the countryside yourself? | 0:22:49 | 0:22:51 | |
No, I don't know what you mean. | 0:22:52 | 0:22:54 | |
If I come to you, BBC, say, "Give me TV show," you give me TV show? | 0:22:54 | 0:22:57 | |
No. No. | 0:22:57 | 0:22:58 | |
Mr Khan, the self-styled Muslim community leader | 0:23:01 | 0:23:04 | |
in Bellamy's People, | 0:23:04 | 0:23:05 | |
eventually became the subject of his own sitcom. | 0:23:05 | 0:23:08 | |
And when its creator Adil Ray was casting for the series, | 0:23:09 | 0:23:12 | |
Felix was top of the list. | 0:23:12 | 0:23:14 | |
-This is Omar. He is new. -Excellent. | 0:23:14 | 0:23:16 | |
'I always felt that a black Muslim | 0:23:16 | 0:23:18 | |
'coming up against Mr Khan would be very funny,' | 0:23:18 | 0:23:21 | |
and he was the only person we didn't audition for. | 0:23:21 | 0:23:24 | |
Everyone else we auditioned for. Felix was the one guy, | 0:23:24 | 0:23:26 | |
called him up. "Got this thing, do you want to do it?" "Yes." | 0:23:26 | 0:23:29 | |
I don't think he even had an agent. He was like, "I'll do it." | 0:23:29 | 0:23:32 | |
Ah, salaam alaikum! I'm delighted to make the acquaintance | 0:23:32 | 0:23:36 | |
of such a prominent member of the local community. | 0:23:36 | 0:23:38 | |
What's wrong with him? | 0:23:41 | 0:23:42 | |
-He's from Somalia. -Oh. | 0:23:42 | 0:23:44 | |
You're always certain that Felix will find the funny here, | 0:23:44 | 0:23:47 | |
he'll do something funny, | 0:23:47 | 0:23:49 | |
and it's sometimes very simple lines for Felix, | 0:23:49 | 0:23:51 | |
you know, "Salaam alaikum", which is the Muslim greeting, | 0:23:51 | 0:23:54 | |
but the way Felix would say it would just crack us up. | 0:23:54 | 0:23:57 | |
What are you doing here? You're not even on the bloody committee! | 0:23:57 | 0:24:00 | |
I'm taking the minutes of the meeting on the computer. | 0:24:00 | 0:24:03 | |
He's our technical wizard. | 0:24:03 | 0:24:05 | |
-Him? -That's what I used to do back in Somalia. | 0:24:05 | 0:24:08 | |
You worked in IT? | 0:24:08 | 0:24:09 | |
No, he was a wizard. | 0:24:09 | 0:24:11 | |
'The way Felix played it was very clever | 0:24:12 | 0:24:14 | |
'because sometimes there were moments where you weren't sure' | 0:24:14 | 0:24:17 | |
whether Omar was deliberately winding Mr Khan up | 0:24:17 | 0:24:20 | |
or he was just, that was just Omar. | 0:24:20 | 0:24:22 | |
HIGH-PITCHED CHANT | 0:24:22 | 0:24:25 | |
During filming, | 0:24:26 | 0:24:28 | |
it became clear that Felix was having some health problems. | 0:24:28 | 0:24:32 | |
Felix did tell us he was ill, but he would tell us it was a back problem. | 0:24:32 | 0:24:36 | |
Looking back now, you kind of go, | 0:24:36 | 0:24:38 | |
"OK, now we know what the problem might have been." | 0:24:38 | 0:24:41 | |
When we were making the last series of Down The Line | 0:24:43 | 0:24:47 | |
in the spring of 2013, | 0:24:47 | 0:24:48 | |
we noticed that he was slightly under par, | 0:24:48 | 0:24:51 | |
that there wasn't the energy in the performances | 0:24:51 | 0:24:53 | |
and he didn't seem as mentally fast. | 0:24:53 | 0:24:56 | |
And we got him to do a couple of things again, | 0:24:56 | 0:24:59 | |
and he kept apologising, saying, "Oh, sorry, | 0:24:59 | 0:25:01 | |
"I've got a bit of a cold at the moment, I'm not feeling too good." | 0:25:01 | 0:25:04 | |
To a handful of close friends, Felix revealed the truth. | 0:25:06 | 0:25:09 | |
When he called me, I honestly thought | 0:25:10 | 0:25:13 | |
he was ringing to wind me up about Arsenal being top of the league. | 0:25:13 | 0:25:19 | |
I saw his name come up on my phone. "Felix, oh!" | 0:25:19 | 0:25:22 | |
I said, "Oh, hi, Felix, I know you've not been well | 0:25:22 | 0:25:25 | |
"because I heard about your back, so what's going on?" Blah, blah, | 0:25:25 | 0:25:28 | |
and that's when he said, "Well, you know, Judith, you know... | 0:25:28 | 0:25:33 | |
"..well, basically, I'm dying." | 0:25:34 | 0:25:37 | |
There was no wind-up, there was no punchline, and he said, | 0:25:37 | 0:25:41 | |
"I've got this multiple myeloma," | 0:25:41 | 0:25:44 | |
and he'd had it for a long time. | 0:25:44 | 0:25:47 | |
By the time his friends learned about it, | 0:25:50 | 0:25:52 | |
Felix's cancer had reached its final stages. | 0:25:52 | 0:25:55 | |
I went to see him a few times, | 0:25:58 | 0:26:00 | |
and I did sort of broach the subject or the fact | 0:26:00 | 0:26:03 | |
that he was a guarded person | 0:26:03 | 0:26:06 | |
and we got... | 0:26:06 | 0:26:08 | |
..um, got very emotional. | 0:26:10 | 0:26:12 | |
Eddie and I went up to the hospice that he was in, | 0:26:12 | 0:26:14 | |
and as soon as we walked in, he went, "I should have told you. | 0:26:14 | 0:26:17 | |
"I'm so sorry. I should have told you. I'm so sorry." | 0:26:17 | 0:26:20 | |
And we were like, "No, come on, man." | 0:26:20 | 0:26:22 | |
We laughed hard, until I thought | 0:26:22 | 0:26:25 | |
the people at the hospice were going to say, "Look, | 0:26:25 | 0:26:28 | |
"there are dying people here, you're going to have to keep it down." | 0:26:28 | 0:26:31 | |
So for the first week, chatty, great, | 0:26:31 | 0:26:33 | |
second week, little bit less energy, | 0:26:33 | 0:26:35 | |
and by the third week, the third week was the last week, | 0:26:35 | 0:26:38 | |
and he reached out, and him reaching out to me was... | 0:26:38 | 0:26:41 | |
..was just really, really, touching. | 0:26:43 | 0:26:45 | |
On October the 18th this year, Felix died. | 0:26:48 | 0:26:51 | |
Although he was never a household name, | 0:26:55 | 0:26:58 | |
to his friends and fans, he was simply a legend. | 0:26:58 | 0:27:01 | |
He will go down in our history as one of our comic geniuses, | 0:27:03 | 0:27:07 | |
not a black comic genius, a comic genius. | 0:27:07 | 0:27:12 | |
He knew his craft to the bone. | 0:27:12 | 0:27:14 | |
CHEERING AND APPLAUSE | 0:27:14 | 0:27:16 | |
Excuse me! Excuse me! Excuse me! | 0:27:16 | 0:27:19 | |
Can I please interrupt you? Can I please interrupt you? | 0:27:19 | 0:27:23 | |
You West Indians, what are you doing? I can't believe you. | 0:27:23 | 0:27:26 | |
He invited everyone to laugh, | 0:27:26 | 0:27:29 | |
you know, black, white, whatever, wherever you are from. | 0:27:29 | 0:27:33 | |
I think his legacy is, he was one of our finest character comedians. | 0:27:33 | 0:27:37 | |
I was raving last night, you know, | 0:27:41 | 0:27:44 | |
and well, you see, a whole heap of my spars come in my yard, | 0:27:44 | 0:27:48 | |
and, well, we mash up the place. | 0:27:48 | 0:27:51 | |
For me, he was good enough to be the star of the show, | 0:27:53 | 0:27:58 | |
but you know, he was still happy enough to play his position | 0:27:58 | 0:28:03 | |
and he wouldn't let that kind of get in the way of being professional | 0:28:03 | 0:28:07 | |
and doing a good job, because you know, his work speaks for itself. | 0:28:07 | 0:28:11 | |
-Baby love. -Yeah. | 0:28:11 | 0:28:13 | |
-You feeling nice? -I've... | 0:28:13 | 0:28:15 | |
-Give you a little stroke to your ear like that, right? -Yeah. | 0:28:15 | 0:28:18 | |
And then start with the t'ing! | 0:28:18 | 0:28:19 | |
It's just a shame that... | 0:28:19 | 0:28:22 | |
..that he didn't get a chance to see this | 0:28:24 | 0:28:27 | |
and to see what people thought, | 0:28:27 | 0:28:28 | |
how people love him and how they'll miss him. | 0:28:28 | 0:28:31 | |
You've been lovely to me. I hope you've enjoyed me. | 0:28:31 | 0:28:33 | |
Thanks a lot for listening. Good night to you. | 0:28:33 | 0:28:36 | |
CHEERING AND APPLAUSE | 0:28:36 | 0:28:38 | |
Subtitles by Red Bee Media Ltd | 0:29:05 | 0:29:08 |