Michael Crawford The Many Faces of...


Michael Crawford

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He's a legend of British television comedy.

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What's extraordinary about Michael Crawford

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is people pigeonhole him into the Phantom or Frank Spencer

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and Some Mothers Do 'Ave 'Em, but it's a career that goes back eons.

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A star of Hollywood musicals.

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You stamped, Mr Vandergelder.

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I think the sign "danger" draws Michael right to it

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with such enthusiasm when most people would turn and run.

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An icon of West End and Broadway stages.

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He is probably the biggest musical theatre star in the world.

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He's just got something - there's just that pinch of magic

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that just comes in with Michael and I love it.

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Betty, I can see my slippers!

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Michael has been responsible for giving me a very weak bladder.

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Who will take on the most extreme stunts.

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He's barking to have done that on the bus off the bus on the roller skates.

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Hello, Frank. What are you going to do with that?

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-But it's him!

-May I rub your ball, sir! It gives me great pleasure.

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"You sure you're all right doing this, Michael?"

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And you're going, "Yep, fine. Thank you." Whoo hoo!

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These are the many faces of Michael Crawford.

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Ooh!

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Michael Crawford started life as Michael Patrick Dumbell-Smith.

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At age nine, this hyperactively busy and creative young man

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was involved in the London Choir School -

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a school that provided choirs for some of the city's grandest churches and oratories.

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I didn't have as good a voice as the other choristers.

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But I looked quite good.

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And so you had this little, round, blond-haired face

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and I was always given a cross to hold, which was staggeringly heavy

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but I would not be able to sing the passion,

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I would have to...

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I would mime to it. And I thought, no-one's going to know.

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So, I was one of the earliest mimers, especially in St Paul's Cathedral.

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He hated it and left after a year

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but his talent for entertaining was noted at his new school

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and the sound of applause became an addiction.

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I got reaction from people. People were laughing at me

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and I was supposed to have them laughing at me.

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It wasn't like making them laugh in a classroom

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and suddenly authority walks in

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and you haven't got a friend in the place.

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But you were actually being applauded for doing certain things

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so that really appealed to me.

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Benjamin Britten spotted his talent and adapted part

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of his amateur opera, Noye's Fludde, to suit young Michael.

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My voice was beginning to slide.

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It didn't break, it was beginning to slide.

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So, he said, "Well, I'm sure we can adapt, I'm sure we can adapt this."

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And he changed the notes. He started to change the part of Jaffett,

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so that it would accommodate me

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as I couldn't get the higher notes any more.

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# Mother, we pray you altogether

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# We are here, your own children

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# Come into the ship for fear of the weather

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# For his not that you bought... #

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It was the beginning of... I really wanted was, the next step.

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I wanted to be on stage.

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If you are a choirboy, you go to a choir school, then that sets you up,

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doesn't it, for some kind of a career of musical activity?

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I wonder whether it didn't have some other sort of influence on him too.

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I think throughout his career,

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he's maintained a kind of awkward boyishness

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that I think somehow must have been formed in those years.

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Michael's career was off. He was able to leave school at age 14

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with some radio acting credits and an agent.

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A biscuit van gave Michael Dumbell-Smith

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the inspiration for a name change.

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And Michael Crawford - the multi-talented child actor -

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rolled from one part to another.

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I mean, it's a child's dream to do this sort of stuff.

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They're saying, "Are you sure you're all right doing this, Michael?"

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And you're going, "Yep, fine, thank you."

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And you were just like a pig in a farm yard. It was brilliant fun.

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Aged just 14, Michael Crawford had parts in two movies

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for the Children's Film Foundation.

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Soap Box Derby and Blow Your Own Trumpet.

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He could sing, he could act

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and now, for the first time, we saw what would be a trademark.

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Michael loved to do stunts.

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One of the things was you had to dive into the Thames

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at Battersea Power Station.

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They said, "Well, you can't do this bit." I'd love to.

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"I can do it because I'm a really good swimmer."

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So, they let me do it and I dived in.

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Everybody's going, "Oh, that was amazing!"

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So, again, it's getting... It's having acceptance, I think.

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As a youngster. Suddenly in the world, and I loved adventure.

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Most boys do.

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Michael Crawford enjoyed a perfect start to his career.

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He had a proven singing voice, he had a knack for comedy

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and he enjoyed physical action.

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From thereon, I loved the physical side.

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I hadn't used it comedically yet but, for dramatic effect,

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I felt sort of early Steve McQueen.

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As the 1950s came to a close, he made his first appearances

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on television in the long-running series Billy Bunter.

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-You stole that tin from Coker.

-Just going to scoff it!

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No, I didn't. I got this in a pub yesterday.

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-Oh, you fat chump. We saw you pick it up and make off with it.

-Oh, did you?

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He was in every single British soap around,

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from Emergency Ward 10 to Dixon Of Dock Green.

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So, he was a real working lad in his teens.

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In 1962, he met his idol

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and featured alongside Steve McQueen in the film, The War Lover.

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Often these days, you get actors who come from nowhere.

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Who leave drama school, who find, wow, bang, the movie, the play

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that puts them right in the forefront.

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But you don't often find actors who've been around from a kid -

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almost a child actor.

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20-year-old Michael timed his entrance to the '60s perfectly.

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He was an opinionated Mod for a David Frost TV show.

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The reason I'm here is, I wouldn't be here at all if someone had a spanner.

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I'd be off like a spit from a bugler if I had a spanner

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only nobody round here knows how to fasten a fly button

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let alone do up a nut.

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So, I'm waiting for my brother to give me a lift home.

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Michael had grown up. The singing voice was sidelined.

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He was a face of a new generation with a boy next door charm.

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When the Beatles made their first film, Hard Day's Night,

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they chose the radical American director, Richard Lester,

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the father of the music video.

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He next turned his zany talents to a highly-stylised story of boys,

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girls and coming of age - The Knack And How To Get It.

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It was black and white. I think Lester was a zany director.

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It was kind of bizarre in a way - very bizarre.

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White rooms and girls everywhere outside the Albert Hall.

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Thousands of girls, you know.

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It was a strange film. It only took four weeks to shoot -

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mostly in Shepherd's Bush.

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It was that world of pure, cool Kings Road, Biba,

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all this stuff, you know?

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And Jean Shrimpton, and all this Twiggy.

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All the world of...

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Everything was beautiful people.

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Michael plays a shy, young schoolteacher

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obsessed with getting a girl.

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But, first, he needs a bigger bed.

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The three boys in it were, you know,

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Mr Cool, Mr Grey, um...

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And me in the middle - this innocent - which was me really.

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As an actor, you have to recognise what are those things.

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You don't act it, you have to be it.

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So, now I'm playing the role, so the frustration

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was sort of coming through the eyes.

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But I was looking at all these models.

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I mean, there was Charlotte Rampling and Jane Birken.

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They were all parading up the stairs -

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these very well known young actresses and models then were in this film.

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How can I get a woman?

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-You want advice?

-How?

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-Oh, the right food is important...

-It's not that. Listen.

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If I should see this girl, listen. Should I come across...?

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Would you show me?

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You mean how I get women, hm?

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Yes. Working with Richard Lester

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was so golden. It was so special.

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The Knack was the best. You learn.

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To do that as sort of really my first major film

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was priceless.

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When it was shown, everyone stood up and applauded. It was extraordinary.

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Suddenly, we found that this tiny little film -

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that was shot for £125,000 - in Shepherd's Bush,

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was suddenly a bonanza.

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The success of The Knack projected Michael Crawford

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into one of London's coolest film circles.

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One of the things that I think he was quite fortunate about

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was coming along at the right time.

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He would never have been a film star in the early-1950s,

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he just wasn't physically right for it.

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But, at the beginning of the '60s, the studio system is collapsing.

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All of those film stars are being pensioned off really.

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Audiences are looking for a new kind of actor.

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Actually, his awkwardness and his gangliness suited that moment.

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HE CHANTS

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-Sir, you're in need of a soothsayer.

-How do you know?

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I'd be a fine soothsayer if I didn't.

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Richard Lester's next project was a more mainstream movie

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and he cast Michael Crawford as a lead

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alongside legends of film comedy

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Zero Mostel, Buster Keaton and Phil Silvers.

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It's the musical farce A Funny Thing Happened On the Way To The Forum.

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-To the garden and break the news.

-What news?

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-That you're going to run away to marry her.

-Won't I catch the plague?

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There is no plague. We made it up so as to get her out of there.

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Ah, that was clever.

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Wasn't it? I'll high myself to the harbour to hire a boat. Hoe you to the garden.

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You high...and I'll hoe.

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Good luck!

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When we weren't shooting, we'd all gravitate towards Zero's caravan

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and the three of... I mean Phil Silvers and he,

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it was a battle of these comics, and stories from the old days.

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Again, you just eat them up.

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You don't interrupt. You don't...

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You just listen.

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And you learn. And their timing...

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The timing was superb.

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Heargh!

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We did a big stunt sequence in Forum,

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which Dick Lester let me go out

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with the Second Unit and that was it.

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He just gave me a camera and we went out and did stunts

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on the back of this horseless chariot.

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And they were really quite dangerous.

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But, you just wanted to be more daring every single day.

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It was the best.

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It's 1965 and Michael's daredevil stunts are getting more extreme.

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Michael gallops off with the girl but his next film

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with Richard Lester, has an altogether darker tone.

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Well done!

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It's How I Won The War with Beatle

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and iconic anti-war campaigner John Lennon.

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Er, Musketeer Gripweed, without whose help

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these memoirs would never have been written.

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My faithful batman.

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May I rub your ball, sir? It gives me great pleasure.

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Very black anti-war comedy,

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as much as one can find humour in war.

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Rally to me the troop.

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If it is humanly possible,

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I shouldn't be left on my own.

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I can't win a war on my own.

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I'm rather too young.

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Aged just 25, Michael Crawford could hardly have had

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a better start to a career in film.

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He had ten years as a child actor,

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with numerous appearances on television.

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He'd starred in an award-winning cult hit.

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He'd shared screens with big time Hollywood talent

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and one of the world's biggest recording artists.

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But Michael had kept working in theatre

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and his next massive move was away from cinema altogether.

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Broadway's neon lights drew young Michael to America

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in a very unusual and physically demanding show - Black Comedy.

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It was a very, very physical role.

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I most probably hurt my neck a bit

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and used to spend days in a neck brace

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and then go in to the theatre and do these stunts - live stunts -

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but I mean the reaction from the audience was just amazing.

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It's a brilliant play.

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Broadway was a shop window of new talent

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and Michael's performances were attracting good reviews.

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That brought a knock on the door from a surprising fan,

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a Hollywood song and dance legend - now turned director - Gene Kelly.

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I opened the door. He said, "Hi! I'm Gene Kelly."

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I said, "I know!" And he walked down the corridor into the main room

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and he walked just like he does on film.

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I mean, the shoulders were going

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and it's like he turned round and said, "Now!"

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And all I could do was giggle about it.

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And he said... He asked me a few questions.

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"Do you sing?" I said, "Well, I do a little.

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"I've been to choir schools and I sing in the bath.

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"I sing in the bath." And he didn't laugh.

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And then he said, "Can you dance?"

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I said, "I've got a bit of jet lag at the moment.

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"I wouldn't be at my best right now

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"but I CAN dance."

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So, he said... He kept looking at me,

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and then he said, "Listen, what we're looking for

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"is an attractive idiot."

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My wife thinks you're attractive and I think you're an idiot.

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# Yes, New York, it's really us

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# Barnaby and Cornelius... #

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# Put on your Sunday clothes when you feel down... #

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In Hello, Dolly, Michael Crawford is a Hollywood movie star

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with a superstar lead actress.

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# Before the parade

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# Passes by... #

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It's a full-on musical spectacular.

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A love story in which Gene Kelly fought for Michael

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to sing an emotional solo.

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It Only Takes A Moment is his perfect confession of love.

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I'm talking about none other than love.

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-Love?!

-Love!

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It makes me tear to think of that.

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Because it's beautiful.

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# It only

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# Takes a moment

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# For your eyes to meet

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# And then

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# Your heart knows... #

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So, at the end, I was indeed crying slightly.

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And he came over, and he just says, "You little mother."

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And he hugged me so tightly.

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The truth pays off so much.

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Some people won't like that.

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They want to say, # It only

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# Takes a moment

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# To be loved... #

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I didn't sing it really well - I know that.

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I sang it sincerely.

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There was a thing I didn't know until about three months ago.

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But the producers didn't actually want to use my voice.

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And I only found this out three months ago in my life.

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Thank God I didn't find out earlier.

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I'd have had depression for years.

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But they didn't want to use my voice for singing, It Only Takes A Moment.

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And, um, Gene insisted -

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absolutely insisted - that they did.

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Hello, Dolly was a critical success.

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But Hollywood was in decline.

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Hello, Dolly cost 25 million to make

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but took just 9 million at American box offices.

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Michael finished a three-film deal with two minor films - The Games

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and Hello Goodbye.

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And with that, cheerio to Hollywood.

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Michael was back in Britain in the doldrums.

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Hello Goodbye, which really summed up my contract there

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because it's the least favourite thing I've ever done in my career.

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And, when I'd finished that, I was embarrassed about what I'd done.

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I didn't work for...

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..a year and a half, two years. I just couldn't.

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I was completely demoralised by it.

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Within my own life, someone had gone off with the money I'd earned -

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a business adviser had gone off with everything I'd earned

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from the films that I'd done.

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And, from driving rather a snazzy car, the next day I was in a van.

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My wife and I, we started a business, selling floor cushions.

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And so I used to go and stuff cushions every day

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in this factory at the back of Chelsea football ground.

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He'd tumbled from Hollywood to stuffing cushions

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and eventually found a part in a West End farce.

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No Sex, Please We're British gathered great reviews

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and cash-strapped Michael was even able

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to do a spot of moonlighting in disguise.

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# I'll zoom like a rocket as fast as I can

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# Now that I have my gloves and my fan... #

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-If you please, sir.

-What?

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I think we'd been going for quite some time shooting the movie

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before Michael actually arrived on the set.

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Um, and he was my white rabbit.

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I'll have to wear these in case I'm recognised.

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He had the white face, the white hair, facial hair,

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and the teeth and everything. So, apart from his eyes,

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it was difficult to get to know him.

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-Rather a nice day, isn't it?

-Yes, very.

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The whole thing takes about an hour and a quarter.

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The eyes again taking the longest, I would say.

0:20:330:20:37

The only thing left for the actor to work with when you're finished,

0:20:370:20:43

are your eyes, which is what one uses mostly anyway.

0:20:430:20:47

We would finish filming at Shepperton Studios

0:20:470:20:50

at about, I don't know, 5:30pm,

0:20:500:20:53

which meant that, for him, to get to the West End, it was quite tight.

0:20:530:20:56

So he would actually get into the car, minus his costume,

0:20:560:21:00

but with all his facial prosthetics on.

0:21:000:21:03

And would have to remove that makeup in the car.

0:21:030:21:06

He had a driver who would take him back, straight into the West End,

0:21:060:21:09

where he could get ready for the show every night.

0:21:090:21:11

Every night, I used to say, "Bye!" And he'd be peeling off all these layers of latex.

0:21:110:21:16

Well, it has no business in there! Go and take it away.

0:21:160:21:19

Sure, I don't like it, your honour, at all, at all!

0:21:190:21:22

Alice's Adventures in Wonderland was hardly a star vehicle for Michael.

0:21:230:21:28

But No Sex Please, We're British was a different matter.

0:21:280:21:32

A BBC producer saw something in Michael's character

0:21:320:21:35

that would become a television legend.

0:21:350:21:37

I wonder what they'll do next.

0:21:390:21:41

Norman Wisdom had already turned it down.

0:21:410:21:43

Er, Ronnie Barker had already turned it down.

0:21:430:21:47

So, I was third in line for this.

0:21:470:21:49

That's happened to me a great deal.

0:21:490:21:53

I've not often been first choice.

0:21:530:21:56

And then, I started to read it,

0:21:560:21:59

and saw the possibilities of the humour

0:21:590:22:03

and bringing stunts in -

0:22:030:22:06

marrying in -

0:22:060:22:08

and they said,

0:22:080:22:12

"Yeah, we could do that."

0:22:120:22:13

And Raymond Allen adapted his thoughts as the writer.

0:22:130:22:17

And we started to get that.

0:22:170:22:20

And I used the characterisation vaguely

0:22:200:22:24

from what I'd done in No Sex Please, We're British

0:22:240:22:26

to use it in Some Mothers...

0:22:260:22:29

The sitcom Some Mothers Do 'Ave 'Em

0:22:330:22:36

was a perfect vehicle for Michael -

0:22:360:22:39

comic innocence combined with his love of physical comedy.

0:22:390:22:42

Frank, I keep telling you.

0:22:470:22:49

You don't have to keep jumping through the doors like that.

0:22:490:22:52

They're perfectly safe.

0:22:520:22:54

From the moment I walked in the door, we didn't stop laughing.

0:22:540:22:58

And, in fact, if I recall, I don't think we even read the script.

0:22:580:23:03

We just laughed a lot

0:23:030:23:06

and that continued throughout the whole series as well.

0:23:060:23:10

Well, this is ridiculous.

0:23:350:23:38

I want... I'll jam it.

0:23:380:23:44

TOILET FLUSHES

0:23:460:23:48

It's... But I haven't even...

0:23:480:23:52

I'll leave it.

0:23:560:23:57

Some Mothers showed off Michael's exceptional comic timing.

0:23:570:24:00

-It was jammed when you put your foot on the pedal.

-Yes.

0:24:000:24:04

Just needs a few final adjustments.

0:24:140:24:17

Well, I'm glad you're making a few improvements about the house.

0:24:180:24:21

Well, it all adds to the value, doesn't it?

0:24:210:24:24

I just wish it was a bit bigger, that's all.

0:24:240:24:26

Oh, it's quite big enough, Frank.

0:24:260:24:28

There's plenty of room for the two of us.

0:24:280:24:31

Plenty of room for three really.

0:24:310:24:34

-Three?

-Could you come and sit down a minute, Frank?

0:24:360:24:40

There's going to be a little addition to our family.

0:24:470:24:53

We played it for real and, in the absurdity of course -

0:24:550:24:59

the nonsense that went on. But we played it for real.

0:24:590:25:04

And, I think, most of all, the key was that she loved him -

0:25:040:25:10

she really loved him -

0:25:100:25:12

and so, consequently, er, put up with the nightmare that he was,

0:25:120:25:17

um, because of that.

0:25:170:25:20

We're going to hear the patter of tiny little feet.

0:25:200:25:23

No, no, no... Don't be silly.

0:25:250:25:27

I'm not having another cat in this house.

0:25:270:25:30

I've had enough trouble with Cleopatra.

0:25:340:25:37

Last week I caught her scratching the wallpaper over there,

0:25:370:25:39

and when I told her to stop, she did a whoopsie in my beret.

0:25:390:25:42

He was truly an innocent abroad

0:25:430:25:46

who would annoy the heck out of you.

0:25:460:25:49

But he was honest to himself.

0:25:490:25:53

He was honest, and she adored him.

0:25:530:25:57

And without having married, which he wasn't in the first place,

0:25:570:26:02

we had him married and he found Michelle,

0:26:020:26:06

who was such a gift to the show.

0:26:060:26:09

Because we got on so well and there was such a rapport.

0:26:110:26:15

And she loved Frank, just loved him.

0:26:150:26:19

You're going to be a father.

0:26:190:26:21

Ohh...

0:26:220:26:24

Ohhh...

0:26:270:26:29

One of the keys to the success of that programme

0:26:290:26:32

is how impersonatable Frank Spencer was.

0:26:320:26:36

Frank Spencer was in the repertoire of every impressionist

0:26:360:26:40

in the country, from New Faces down to my school playground.

0:26:400:26:43

There was nobody in the country in the '70s,

0:26:430:26:46

who couldn't be persuaded to at least attempt

0:26:460:26:48

a Frank Spencer impersonation.

0:26:480:26:50

Oh, nice.

0:26:500:26:52

If you have a character who is really impersonatable,

0:26:520:26:55

then you're inside the head of the nation.

0:26:550:26:58

And that's the brilliance of that performance.

0:26:580:27:01

Some Mothers was also popular for its stunts.

0:27:010:27:04

Stunts that Michael had the experience to design and perform.

0:27:040:27:07

I'll get it back for you.

0:27:090:27:11

CAR HONKS

0:27:110:27:12

I'm sorry!

0:27:120:27:14

There's a lorry!

0:27:260:27:27

When you come to a point,

0:27:290:27:31

where somebody has in the script

0:27:310:27:33

that this car goes over the edge of a cliff

0:27:330:27:37

and is teetering with your leading man on the bonnet to hold up there,

0:27:370:27:42

and a dog in the back seat

0:27:420:27:43

and your wife on the roof, that's about as dangerous as you can get.

0:27:430:27:48

Just hold on to my legs!

0:27:480:27:50

Hold my feet!

0:27:520:27:54

And then I talked Michelle into... She was very eager to do it,

0:27:540:27:58

I might say, cos she's a real good sport.

0:27:580:28:02

And she was on the roof of the car, and she wouldn't have a double.

0:28:020:28:07

There was this guy dressed up in the skirt and hat ready to do it

0:28:070:28:12

and she said, "No, I'm going to do it!" So, she did it.

0:28:120:28:16

The Morris Minor, where I was involved, was terrifying!

0:28:160:28:21

We actually were up on top of that Morris Minor,

0:28:210:28:25

which was doing all of that,

0:28:250:28:27

and I said to somebody, "Do I have a harness?"

0:28:270:28:31

And I'm wearing quite a strappy summer dress and a hat -

0:28:310:28:37

why am I wearing a hat? I don't know.

0:28:370:28:40

Anyway, I'm up on there and I said to somebody,

0:28:400:28:43

"Should I have some sort of safety equipment?"

0:28:430:28:45

And they said, "Oh, yes, we've got this cotton thread

0:28:450:28:50

"which goes round your ankle and somebody will be holding onto it."

0:28:500:28:55

"Oh, good, that's very encouraging. Thank you."

0:28:550:28:59

And that was it, literally -

0:28:590:29:01

tiny, thread thing between me and death, 200 feet below!

0:29:010:29:05

Frank?

0:29:090:29:10

Frank!

0:29:120:29:14

Oh, no!

0:29:140:29:17

What shall I do?

0:29:170:29:18

-Betty!

-Yes!

0:29:180:29:21

I can't...

0:29:220:29:24

I can't...

0:29:240:29:27

Oh, where are you?

0:29:290:29:31

It's all right, Betty!

0:29:310:29:33

Frank!

0:29:330:29:34

I might need a bit of help, though!

0:29:340:29:37

When it was shown, I was sitting in the sitting room

0:29:370:29:39

with my mum and my dad and my two sisters,

0:29:390:29:42

and when it finished, my mother came over to me and slapped me.

0:29:420:29:46

I was aged 24 or something, and she slapped me.

0:29:460:29:49

She said, "What the hell do you think you were doing?"

0:29:490:29:53

But, of course, you couldn't do any of that stuff now.

0:29:530:29:56

I want to make this a night to remember.

0:29:560:29:59

Oh, I will remember it, Frank.

0:29:590:30:02

I'll never forget it.

0:30:020:30:04

You're not sorry we came?

0:30:040:30:05

Of course not.

0:30:050:30:08

Oh, Frank.

0:30:080:30:09

Betty... Oh...

0:30:090:30:12

As a sitcom star, Michael Crawford reached a huge television audience

0:30:130:30:17

but over a five-year period, only 22 episodes were made.

0:30:170:30:22

This place should be condemned!

0:30:220:30:24

We'll be condemned if they catch us!

0:30:260:30:29

The last series, it wasn't the same.

0:30:290:30:31

It just wasn't the same, and I don't think I played him as well.

0:30:310:30:36

I think I played him more...

0:30:360:30:39

obviously...

0:30:390:30:41

thinking he was funny sometimes,

0:30:410:30:43

instead of him just being natural,

0:30:430:30:47

which is what I'd been talking about before.

0:30:470:30:52

I think he needed simplicity.

0:30:520:30:54

And I think I lost that simplicity.

0:30:540:30:56

That's the best I can do for now.

0:31:100:31:13

It was time for a move.

0:31:140:31:16

When the original producer went to ITV, Michael was drawn away

0:31:160:31:20

to play a very different character.

0:31:200:31:22

-I can't see him.

-No?

0:31:250:31:27

He must have gone in. Thank God for that!

0:31:270:31:30

Who would that be then?

0:31:300:31:31

Um...

0:31:310:31:32

-You.

-Settling in, then. Settling in.

0:31:340:31:36

In Chalk And Cheese, Michael Crawford plays a slovenly layabout -

0:31:360:31:39

the awkward Cockney neighbour in a posh suburb.

0:31:390:31:42

'It was completely the opposite to Frank.'

0:31:420:31:46

He was a great sort of down-to-earth guy,

0:31:470:31:50

and I grew a beard and had curly hair.

0:31:500:31:52

It was a street, lazy person, but very intelligent.

0:31:520:31:58

He had a very quick mind.

0:31:580:32:01

And we got, I think, 13 million viewers,

0:32:010:32:05

but they didn't want to see me playing that character.

0:32:050:32:09

What's up, then? Having a break, are you?

0:32:160:32:19

I did six or seven, and we didn't do any more.

0:32:190:32:21

But I did enjoy doing that. It was a good exercise.

0:32:210:32:24

I just shows you the power of the public

0:32:240:32:26

as to what they really want to see you do.

0:32:260:32:29

So, you can deny them that,

0:32:290:32:32

and go and be very independent and do what you want to do,

0:32:320:32:36

but, I... I tend to take notice of that.

0:32:360:32:43

It's no good saying, "I want to act, and I want to do this."

0:32:430:32:47

It doesn't always work that way.

0:32:470:32:49

It was May 1979 and his last starring role on television.

0:32:490:32:54

All right, love, don't worry, won't be long. Keep pushing.

0:32:540:32:58

I have to do something different if I'm going to do anything.

0:33:000:33:04

Because, it won't appeal to me, it won't intrigue me.

0:33:040:33:08

It won't challenge me.

0:33:080:33:10

So rather than do the ordinary,

0:33:100:33:13

I'd rather not do anything.

0:33:130:33:16

He'd been a boy actor, a trendsetter in '60s film,

0:33:160:33:19

had starred in a Hollywood musical,

0:33:190:33:21

was a master of physical comedy and had even played a white rabbit.

0:33:210:33:25

As a giant of television sitcom he had reached a peak audience

0:33:250:33:28

of 25 million viewers.

0:33:280:33:32

He loved the West End stage, but his time on screen wasn't over yet.

0:33:320:33:36

Does the name "Condorman" mean anything to you?

0:33:380:33:42

The name Condorman meant a starring role in a Disney film.

0:33:420:33:46

Coming quite out of the blue, it gave Michael a new line on his CV -

0:33:460:33:49

Action hero.

0:33:490:33:51

-Condorman, eh?

-Yes, Condorman.

0:34:000:34:03

Vulture of the Western world.

0:34:050:34:06

This is a job for Condorman!

0:34:170:34:20

Cheap effects got the movie panned by critics.

0:34:200:34:23

Once again Michael's film career failed to fly

0:34:230:34:27

and Condorman was his last major film or television role.

0:34:270:34:30

I jumped off the Eiffel Tower and flew and that was done by stuntman.

0:34:300:34:36

But I did the landing in the Seine,

0:34:360:34:38

with these wings on, and they pulled me on the boat,

0:34:380:34:42

and that's the nearest I've ever come to drowning.

0:34:420:34:46

So I started to slow up on the stunts at this point!

0:34:460:34:50

Aghh!

0:34:500:34:52

From now on, Michael's career would have a different focus.

0:34:520:34:56

In fact, he had already spent most of the '70s in the West End,

0:34:560:35:00

quietly perfecting his musical theatre skills.

0:35:000:35:03

When you really love acting...

0:35:030:35:07

..and you can play a character from beginning to end in one take,

0:35:090:35:16

the adrenaline rush of that,

0:35:160:35:20

and then take it into musicals,

0:35:200:35:23

and you're doing so many different skills.

0:35:230:35:27

Every night, you go out and do a musical, say like Billy,

0:35:270:35:31

for two years, eight shows a week.

0:35:310:35:34

# Some of us belong to the stars... #

0:35:340:35:36

'I'm a hard taskmaster when I'm working.

0:35:360:35:40

'I learned that discipline from people like Gene Kelly.

0:35:400:35:45

'Because I saw what the result'

0:35:450:35:48

of hard work could bring and the pleasure it can bring.

0:35:480:35:52

And the more exciting you can make a person's night at the theatre,

0:35:520:35:59

the more...unforgettable it is to you as well.

0:35:590:36:03

Despite Gene Kelly's coaxing, he wasn't a natural dancer.

0:36:030:36:07

He did dance in Hello, Dolly and he danced very well.

0:36:070:36:11

I cannot imagine how many hours of rehearsal he must have had.

0:36:110:36:17

And knowing Michael, not just the hours of rehearsal

0:36:170:36:21

that have been given, but up at 4am

0:36:210:36:23

to practise and practise and practise.

0:36:230:36:26

And then again, at the end of the day, to practise

0:36:260:36:28

and practise and practise. No detail is ever left unturned with Michael.

0:36:280:36:34

# ..In every part of the atlas... #

0:36:340:36:37

He doesn't let one move go by without knowing how to do it

0:36:370:36:41

in every sense of the word.

0:36:410:36:44

So, all I would say was,

0:36:440:36:46

"step right" and he'd have to know how do you step right? On the heel?

0:36:460:36:50

On the ball? Where are your shoulders placed?

0:36:500:36:52

What do I have to do to step right? And it was as detailed as that.

0:36:520:36:57

Away from the big and small screen,

0:36:570:37:00

he was a showman who loved to hear an audience applaud.

0:37:000:37:04

In 1981, Michael heard a new show was heading for London

0:37:040:37:08

that could take his physical skills to a new level.

0:37:080:37:11

In preparation, he spent three months in New York

0:37:110:37:14

at the Big Apple Circus School.

0:37:140:37:16

I had this Hungarian teacher who taught me how to walk the high wire.

0:37:160:37:21

And I thought, "Ah, this is a piece of cake!"

0:37:210:37:24

And after about four or five days, I thought, "This is ridiculous!

0:37:240:37:28

"This thing is two feet off the ground, and I cannot master it.

0:37:280:37:32

"I cannot do it." And he's saying, "Yes, you can!"

0:37:320:37:35

All right, argghh!

0:37:370:37:39

The show was Barnum.

0:37:420:37:43

Barnum's the name, PT Barnum. Here they are!

0:37:430:37:47

Charity Barnum, I'll have a kiss before you leave.

0:37:500:37:53

A pleasure, Mr Barnum.

0:37:530:37:55

APPLAUSE

0:37:550:37:58

You may not make much sense, but you're beautiful.

0:37:590:38:03

It was joyous to do every night.

0:38:030:38:06

Every show, you were exhausted.

0:38:060:38:08

I mean, you were absolutely exhausted.

0:38:080:38:10

Hey!

0:38:100:38:12

Because there was circus tricks involved,

0:38:160:38:18

you had to be very secure with your other team members around you.

0:38:180:38:23

# Fires glow, flags streaming

0:38:230:38:27

# Spires grow, towers gleaming

0:38:270:38:32

# In a land where the dawn is clear

0:38:320:38:34

# In a sky where the sun's forever

0:38:340:38:36

# On a plain where it's spring all year

0:38:360:38:38

# And the dark of the night comes never... #

0:38:380:38:40

And the tightrope walk and everything.

0:38:400:38:43

He worked so hard at what he wanted to achieve

0:38:430:38:46

and what he wanted to do that it was a consistently high performance.

0:38:460:38:51

I have to say, I don't want it to sound boring,

0:38:510:38:55

but it was highly professional in that sense.

0:38:550:38:58

You never got the feeling of,

0:38:580:39:00

"I don't know what sort of show we've got today"

0:39:000:39:03

with him or anyone else on stage.

0:39:030:39:05

DRUM ROLL

0:39:050:39:09

HE PANTS

0:39:190:39:20

Yeah!

0:39:220:39:24

APPLAUSE

0:39:240:39:27

It was high-energy throughout,

0:39:330:39:34

just one trick after the other of high energy.

0:39:340:39:37

Just enjoyment and affirmation

0:39:370:39:42

and explosion of circus and music,

0:39:420:39:45

and leaving everybody going out with a most wonderful feeling of high

0:39:450:39:49

which is, of course, what musicals are all about.

0:39:490:39:52

# I like your style

0:39:520:39:56

# Style! #

0:39:560:40:00

It was a high-pressure full-on circus spectacular -

0:40:000:40:04

as well as a musical.

0:40:040:40:05

Despite singing since his childhood, like many West End stars,

0:40:050:40:09

Michael took regular voice coaching.

0:40:090:40:12

Many singers and musicians crossed paths

0:40:140:40:17

in Ian Adam's South Kensington studio,

0:40:170:40:19

constantly training and perfecting their technique.

0:40:190:40:22

Andrew Lloyd Webber came with his then wife Sarah Brightman.

0:40:250:40:29

He was on the hunt for a leading man

0:40:290:40:31

to star in a new musical spectacular -

0:40:310:40:34

a dark, gothic love story with a disfigured, tormented anti-hero.

0:40:340:40:39

Michael was a sitcom star with a flair for physical stunts.

0:40:390:40:44

A comedy showman.

0:40:440:40:46

-When you first sang to me Danny Boy, do you remember?

-Yes.

0:40:460:40:49

It was an extraordinary experience,

0:40:490:40:52

because you hung your head afterwards and said,

0:40:520:40:55

"I'm terribly sorry, I don't suppose it's a musical."

0:40:550:41:00

And it was a wonderful experience.

0:41:000:41:03

When I was nearing the end of the lesson,

0:41:030:41:07

Sarah Brightman arrived with Andrew, early for her lesson.

0:41:070:41:12

And I was downstairs singing Care Selve,

0:41:120:41:15

and most probably murdering it!

0:41:150:41:18

And I finished, and he said, "Very good, Michael.

0:41:180:41:26

"That was so good. It can be better, but it was good. All right?"

0:41:260:41:32

"I'll see you next week."

0:41:320:41:34

I said, "Thank you, Ian, thank you." And off I went,

0:41:340:41:39

and went out the front door,

0:41:390:41:41

Andrew apparently came down with Sarah...

0:41:410:41:44

Sorry, came UP the stairs with Sarah and said,

0:41:440:41:48

"Who was that that was just singing just now?"

0:41:480:41:52

And he said, "Oh," he said, "I'm sorry, did it disturb you, Andrew?"

0:41:520:41:56

He said, "He's going to get better." He said, "No, no, no!"

0:41:560:41:59

He said, "It was Michael Crawford."

0:41:590:42:02

He said, "I think we may have found our Phantom."

0:42:020:42:05

Michael had the potential to play the Phantom Of The Opera

0:42:070:42:10

but it was a controversial casting.

0:42:100:42:13

'Before we opened in London, everyone was saying,

0:42:130:42:16

'"Michael Crawford as The Phantom?

0:42:160:42:18

'"I'm not quite sure what it's going to be like.

0:42:180:42:20

'"Apparently, he's going to be doing a lot of swinging

0:42:200:42:23

'"and be on the chandeliers and things."'

0:42:230:42:26

You must be brave, go too far...

0:42:260:42:28

'I spent hours and days and weeks in that room.

0:42:280:42:32

'You needed to.

0:42:320:42:34

'I mean, Music Of The Night took months to sing properly.

0:42:340:42:38

'It took months to make the joins seamless between the notes

0:42:380:42:43

'in the way you were going to do it, so that it was a cry of love.'

0:42:430:42:46

MUSIC: "Overture to Phantom Of The Opera" by Andrew Lloyd Webber

0:42:460:42:52

People say it was a big shock

0:42:520:42:55

when he was named as the Phantom, because of Frank Spencer.

0:42:550:42:58

All of those people had forgotten Barnum. They had forgotten Billy.

0:42:580:43:02

The guy was a great, big musical star.

0:43:020:43:06

Maybe the shock was the guy was a great big musical star

0:43:060:43:11

that the world thought depended on physicality.

0:43:110:43:16

And the physicality of the Phantom was totally different.

0:43:160:43:21

Opening in 1986, The Phantom Of The Opera was a huge success,

0:43:220:43:27

with a spin-off hit record, an Olivier Award

0:43:270:43:30

and Tony Award for Crawford as Best Actor.

0:43:300:43:33

# ..And stirs imagination... #

0:43:330:43:38

I thought Phantom was a big surprise and a big leap

0:43:380:43:42

and that was what was so wonderful, to see him do something

0:43:420:43:46

so very different after being very used to him as PT Barnum.

0:43:460:43:51

Phantom was very withdrawn and very inward,

0:43:510:43:54

but that's another one where he didn't....

0:43:540:43:58

Cos he can't! He's incapable of taking on the role and going,

0:43:580:44:03

"OK, I'll do it this way." He delves.

0:44:030:44:07

# Night unfold its splendour

0:44:070:44:10

# Grasp it, sense it

0:44:100:44:14

# Tremulous and tender... #

0:44:140:44:18

He's a storyteller.

0:44:180:44:20

And he's a storyteller with every song he sings.

0:44:200:44:23

But the other thing is that Michael uses his arms

0:44:230:44:28

and his hands to continue the storytelling from his heart.

0:44:280:44:34

And I'm fascinated by his hands,

0:44:340:44:37

absolutely fascinated by the way he uses them.

0:44:370:44:42

# For your eyes will only tell the truth

0:44:420:44:47

# And the truth isn't what you want to see... #

0:44:470:44:55

As the Phantom, watching him, it's all one.

0:44:550:44:58

It seems to come from his heart, and reach out to his fingertips,

0:44:580:45:04

to express what he's saying.

0:45:040:45:07

# That the truth is what it ought to be... #

0:45:070:45:14

It was just a revelation. I thought he was completely wonderful in it.

0:45:140:45:19

My breath was taken away.

0:45:190:45:20

# Music shall caress you

0:45:200:45:24

# Hear it, feel it... #

0:45:240:45:28

I just think it's the most extraordinary gift that he has.

0:45:280:45:32

# Floating, falling

0:45:320:45:37

# Sweet intoxication

0:45:370:45:43

# Touch me, trust me

0:45:430:45:49

# Savour each sensation

0:45:490:45:55

# Let the dream begin... #

0:45:550:45:57

When my daughters came to see it first,

0:45:570:46:02

it was in London at one of the previews.

0:46:020:46:06

And it's a very emotional show.

0:46:060:46:10

But they came round and my youngest daughter was absolutely sobbing.

0:46:100:46:16

And she said, "I didn't know you could do that, Daddy."

0:46:170:46:22

And, um, I just said this,

0:46:270:46:31

"Did you ever believe that we would have this feeling

0:46:310:46:36

"about something that I'd done?"

0:46:360:46:40

And...

0:46:400:46:42

we kind of just hugged and it was...special.

0:46:420:46:47

# You alone can make my song take flight

0:46:470:46:52

# Help me make the music of the

0:46:520:47:01

# Night... #

0:47:010:47:13

And the winner is Michael Crawford for Phantom Of The Opera.

0:47:130:47:17

CHEERING AND APPLAUSE

0:47:170:47:21

There's been so many wonderful things that have happened to me.

0:47:260:47:29

I know, by the law of averages,

0:47:290:47:32

I must be due to be knocked down by a truck any day now.

0:47:320:47:35

LAUGHTER

0:47:350:47:39

Oh...

0:47:390:47:41

Andrew, once again, I thank you for choosing me.

0:47:410:47:45

After two years in London,

0:47:450:47:47

Michael starred in the Broadway production

0:47:470:47:50

and opened the show in Los Angeles.

0:47:500:47:52

In 25 years of productions all around the world,

0:47:520:47:55

The Phantom Of The Opera has now taken

0:47:550:47:58

more than £3.5 billion of ticket receipts.

0:47:580:48:02

Michael had created the title character

0:48:020:48:04

in one of the greatest theatre productions of all time.

0:48:040:48:07

But in April 1990, after three and a half years in the Phantom role,

0:48:080:48:14

he left.

0:48:140:48:15

It seemed he had reached the pinnacle of his career.

0:48:150:48:18

For the next three years,

0:48:180:48:19

Michael headlined a world tour of Lloyd Webber songs.

0:48:190:48:23

The comic, the action hero

0:48:230:48:25

and stuntman seemed to have settled as a singer.

0:48:250:48:29

In 1994, it had been 16 years

0:48:310:48:35

since Michael starred on television screens.

0:48:350:48:38

He'd wowed live audiences all around the world,

0:48:380:48:41

but was so far off the British radar he might have been in a desert.

0:48:410:48:45

And that's where he headed next. Las Vegas Nevada.

0:48:450:48:48

Home of some of the world's most extravagant entertainment events,

0:48:480:48:52

but culturally, off the beaten track.

0:48:520:48:54

MGM producers planned a spectacular show in Las Vegas

0:49:010:49:05

bigger than anything ever before seen on stage.

0:49:050:49:08

It would test Michael Crawford, now in his fifties, to the limit.

0:49:080:49:12

It was colossal.

0:49:190:49:21

They wanted a show that they could truly say

0:49:210:49:27

is the seventh wonder of the world

0:49:270:49:29

And it was. It was, like, awesome.

0:49:310:49:34

That is, terrifying. The ride across is terrifying.

0:49:350:49:39

Because as you bang into the cables,

0:49:390:49:42

the thing is going from under your feet

0:49:420:49:44

so you've just got this arm loop to hold onto.

0:49:440:49:46

I am the effects master.

0:49:460:49:48

I'm in charge of this unusual world.

0:49:480:49:51

A world governed by...

0:49:510:49:54

I think it had been running for a year

0:49:540:49:57

and he wanted to put changes into the show

0:49:570:49:59

and asked if I would come and look at the show

0:49:590:50:03

and work with him to make some changes.

0:50:030:50:05

Well, I arrived, and Michael was doing the most hair-raising stunt

0:50:050:50:13

you could imagine!

0:50:130:50:15

It was astonishing!

0:50:150:50:18

Talk about torturing the body!

0:50:180:50:21

He wouldn't stop. He wanted more and he wanted more danger.

0:50:210:50:25

He did destroy his body.

0:50:250:50:28

He was doing this slide for life

0:50:280:50:31

where he came from the back of this vast auditorium.

0:50:310:50:34

It was quite a harsh landing and gradually, I was watching,

0:50:340:50:38

and Michael could barely walk and yet,

0:50:380:50:41

he would go through that show night after night.

0:50:410:50:44

I think there was nine shows a week.

0:50:440:50:47

He would not take a show off. He would not rest.

0:50:470:50:50

And I think after the injury became so severe,

0:50:500:50:56

he then had to pull out of the show.

0:50:560:50:59

A hip replacement operation ended Michael's time in Las Vegas.

0:51:010:51:06

He left the show in 1996 and returned to playing concert tours.

0:51:060:51:11

Crawford the stuntman seemed to have retired.

0:51:110:51:14

Five years passed, and then in 2001 came a surprise announcement

0:51:170:51:22

that he was to star in a new Broadway production -

0:51:220:51:25

Dance Of The Vampires.

0:51:250:51:29

Dance Of The Vampires was going to be Crawford's comeback vehicle.

0:51:290:51:33

There he is, back on Broadway,

0:51:330:51:35

in this enormous musical adapted from a '60s film by Roman Polanski.

0:51:350:51:42

Two things go terribly wrong with this.

0:51:420:51:44

First, 9/11 happens, which means that the show doesn't open,

0:51:440:51:48

it gets delayed for ages.

0:51:480:51:50

But then, when it does open, it's just a disaster.

0:51:500:51:54

The critics absolutely hated it.

0:51:540:51:57

It didn't sell and closed after just 56 performances

0:51:570:52:01

and losses of 12 million -

0:52:010:52:03

making it the most expensive flop in the history of Broadway.

0:52:030:52:08

He could've vanished and disappeared, but he didn't.

0:52:080:52:11

And it's interesting that he chose to come back

0:52:110:52:14

with another piece of Gothic horror.

0:52:140:52:17

He comes back as Count Fosco in Andrew Lloyd Webber's version

0:52:170:52:21

of Wilkie Collins's The Woman In White.

0:52:210:52:23

Andrew Lloyd Webber's latest West End show

0:52:230:52:27

needed an obese leading man.

0:52:270:52:28

# I can get away with anything

0:52:280:52:31

# Because I have

0:52:310:52:34

# No-o-o-o-o-o

0:52:340:52:39

# Sha-a-a-a-a-a-ame. #

0:52:390:52:47

Michael was back.

0:52:470:52:51

He won the Variety Club's award

0:52:510:52:53

for Outstanding Stage Performance Of The Year in 2004.

0:52:530:52:56

But inside the fatsuit, he was boiling up.

0:52:560:52:59

After just weeks, Michael had to leave the show.

0:52:590:53:04

Eventually it developed into ME.

0:53:050:53:08

And you have no idea, I was going for every test known to man

0:53:080:53:14

and it left me vulnerable.

0:53:140:53:17

Michael's long recovery

0:53:170:53:19

was on the other side of the world in New Zealand.

0:53:190:53:22

Seven years later, London's musical theatre machine was changing.

0:53:220:53:27

A television talent contest

0:53:270:53:29

found a new young lead for The Wizard Of Oz.

0:53:290:53:32

But once again Andrew Lloyd Webber was on the hunt for a star

0:53:320:53:35

for the sage-like old professor.

0:53:350:53:38

Andrew phoned me up he said,

0:53:380:53:40

"What about Michael Crawford as the wizard?"

0:53:400:53:43

And I promise you, I said, "In your dreams".

0:53:430:53:46

Andrew said, "He's going to come in and meet us."

0:53:480:53:52

# We're off to see the wizard... #

0:53:520:53:56

The whole reason that I did Wizard Of Oz was for my grandchildren.

0:53:560:54:01

They hadn't seen me in anything that they could remember, live.

0:54:010:54:07

They'd seen me do concerts at Royal Festival Hall,

0:54:070:54:10

and they were sitting in the rehearsal,

0:54:100:54:13

but I don't think they were paying much attention.

0:54:130:54:16

And, I didn't hold their attention.

0:54:160:54:19

They were about four, five, six.

0:54:190:54:22

And now they were 13, 14, 15, and I thought this would be fun.

0:54:220:54:28

Michael didn't just play the Wizard in The Wizard Of Oz,

0:54:280:54:33

he had to play the Doorkeeper

0:54:330:54:35

and then we created something new called the Tour Guide,

0:54:350:54:38

so Michael could join in the vast Emerald City number

0:54:380:54:42

and lead the dancers.

0:54:420:54:44

# That's how we laugh the day away

0:54:440:54:47

# With a ha-ha-ha, ha-ha-ha ha-ha-ha

0:54:470:54:51

# In the merry old land merry old land

0:54:510:54:54

# Merry old, merry old, merry old land of Oz! #

0:54:540:55:01

In some ways, I found a very, very different Michael. A calmer...

0:55:010:55:07

Nevertheless, just as demanding.

0:55:070:55:14

"I am the sponge," says Michael,

0:55:140:55:16

"and I want to soak up everything I can."

0:55:160:55:20

So once again, working really hard at performing in The Wizard Of Oz

0:55:200:55:26

where he played different characters

0:55:260:55:29

was something that Michael wanted to do.

0:55:290:55:33

# Because, because, because

0:55:330:55:36

# Because of the wonderful things he does... #

0:55:360:55:38

When I started, I was a little bit terrified.

0:55:380:55:41

Because, as well as Michael, so many people were coming into this show

0:55:410:55:46

that I admired and had admired from afar for such a long time.

0:55:460:55:51

And I thought, "I'm going to have to stand on the stage

0:55:510:55:54

"and be in a rehearsal room with these people,

0:55:540:55:56

"I hope I'm good enough, I hope I can give what they need."

0:55:560:56:00

But from the second I walked into the rehearsal room on day one,

0:56:000:56:05

I just let out a sigh of complete relief because he was so generous

0:56:050:56:10

with his time and his knowledge and so welcoming.

0:56:100:56:15

I felt like I had a real rock next to me.

0:56:150:56:18

It wasn't the biggest of parts, but Grandpa Michael was back,

0:56:200:56:24

determined to make the most of what he had.

0:56:240:56:27

# Because, because, because... #

0:56:270:56:29

The Wizard goes off in the balloon at the end for Dorothy.

0:56:290:56:32

And he suggested having himself - at 69 -

0:56:320:56:35

falling out of the balloon

0:56:350:56:37

and being attached by his ankle and being taken up.

0:56:370:56:42

Most 69-year-olds would be like, "No way!"

0:56:420:56:45

They'd already built the set, so their excuse was

0:56:450:56:48

there was no room for me to go upside down.

0:56:480:56:51

I have a feeling that the insurance man had said to them,

0:56:510:56:54

"Under no circumstances is this 70-year-old to go

0:56:540:56:58

"upside down hanging by one leg from a balloon!"

0:56:580:57:02

And I suppose I'm grateful to the insurance man,

0:57:020:57:07

because it would have hurt, most probably.

0:57:070:57:09

But it was worth a try.

0:57:110:57:13

# You must come visit one of my Shangri-Las... #

0:57:130:57:16

He's a hero of stage and screen.

0:57:160:57:18

He's pushed himself to the limits for the perfect performance.

0:57:180:57:22

He's in his seventies now,

0:57:220:57:24

but we might not have seen the last of Michael Crawford just yet.

0:57:240:57:28

# I belong to the stars! #

0:57:280:57:30

I would love to do something else,

0:57:300:57:32

but the thing is it would have to be something...

0:57:320:57:35

What do the Americans say? Out of left-field.

0:57:370:57:40

It would have to be something off the wall.

0:57:400:57:42

Number one, get out of bed.

0:57:420:57:44

There's nobody quite like him,

0:57:440:57:46

so he's out there on his own really.

0:57:460:57:49

He doesn't think he's a big star.

0:57:490:57:51

He doesn't wear the coat of a big star.

0:57:510:57:56

He wears the coat of a man who always, always

0:57:560:58:00

wants to please and wants to learn.

0:58:000:58:04

I don't think you get stars like Michael Crawford any more.

0:58:040:58:07

I don't think they exist.

0:58:070:58:08

I don't think someone can do everything that he did in television

0:58:080:58:11

and everything that he's done for theatre.

0:58:110:58:14

To me, he's a megastar and he always will be.

0:58:140:58:18

Ooh...

0:58:210:58:22

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