Peter Cook
Peter Edward Cook was an English comedian, actor, satirist, playwright and screenwriter. He was the leading figure of the British satire boom of the 1960s, and he was associated with the anti-establishment comedic movement that emerged in the United Kingdom in the late 1950s.
Born in Torquay, he was educated at the University of Cambridge. There he became involved with the Footlights Club, of which he later became president. After graduating, 1960 saw him create the comedy stage revue Beyond the Fringe, alongside Alan Bennett, Jonathan Miller and Dudley Moore. In 1961, Cook opened the comedy club The Establishment in Soho. After leaving Beyond the Fringe, Cook and Moore began a television career with the sketch comedy show Not Only... But Also in 1965. Cook's deadpan monologues contrasted with Moore's buffoonery. They received the 1966 British Academy Television Award for Best Entertainment Performance.
Following the success of the show, the duo appeared together in the films The Wrong Box and Bedazzled. The 1970s saw Cook and Moore work on a final series of Not Only... But Also, several stand-up tours, and the Derek and Clive series of comedy albums. After 1978, Cook no longer collaborated with Moore, apart from a few cameo appearances, but continued to be a regular performer in British television and film.
Referred to as "the father of modern satire" by The Guardian in 2005, Cook was ranked number one in the Comedians' Comedian, a poll of more than 300 comics, comedy writers, producers and directors in the English-speaking world.
Early life
Cook was born at his parents' house, "Shearbridge", in Middle Warberry Road, Torquay, Devon. He was the only son, and eldest of the three children, of Alexander Edward "Alec" Cook, a colonial civil servant, and his wife Ethel Catherine Margaret, daughter of solicitor Charles Mayo. His father served as a political officer and later as a district officer in Nigeria, then as financial secretary to the colony of Gibraltar, followed by a return to Nigeria as Permanent Secretary of the Eastern Region, based at Enugu.Cook's grandfather, Edward Arthur Cook, had also been a colonial civil servant, traffic manager for the Federated Malay States Railway in Kuala Lumpur, Malaya. The stress he suffered in the lead-up to an interview regarding promotion led him to commit suicide. His wife, Minnie Jane, daughter of Thomas Wreford, of Thelbridge and Witheridge, Devon, and of Stratford-upon-Avon, of a prominent Devonshire family traced back to 1440, kept this fact secret. Peter Cook only discovered the truth when later researching his family.
Cook was educated at Radley College and then went up to Pembroke College, Cambridge, where he read French and German. As a student, Cook initially intended to become a career diplomat like his father, but Britain "had run out of colonies", as he put it. Although largely apathetic politically, particularly in later life when he displayed a deep distrust of politicians of all hues, he joined the Cambridge University Liberal Club. At Pembroke, Cook performed and wrote comedy sketches as a member of the Cambridge Footlights Club, of which he became president in 1960. His hero was fellow Footlights writer and Cambridge magazine writer David Nobbs.
While still at university, Cook wrote for Kenneth Williams, providing several sketches for Williams' hit West End comedy revue Pieces of Eight and much of the follow-up, One Over the Eight.
Career
1960s
Cook first came to prominence in his own right in the satirical stage show Beyond the Fringe, alongside Jonathan Miller, Alan Bennett, and Dudley Moore. Beyond the Fringe became a great success in London after being first performed at the Edinburgh Festival in 1960, and included Cook impersonating the prime minister, Harold Macmillan. This was one of the first occasions satirical political mimicry had been attempted in live theatre, and it shocked audiences. During one performance, Macmillan was in the theatre and Cook departed from his script and attacked him verbally.In 1961, Cook opened The Establishment, a club at 18 Greek Street in Soho in central London, presenting fellow comedians in a nightclub setting, including American Lenny Bruce. Cook later joked that it was a satirical venue modelled on "those wonderful Berlin cabarets... which did so much to stop the rise of Hitler and prevent the outbreak of the Second World War". As a members-only venue, it was outside the censorship restrictions. The Establishment's regular cabaret performers were Eleanor Bron, John Bird, and John Fortune.
Cook befriended and supported Australian comedian and actor Barry Humphries, who began his British solo career at the club. Humphries said in his autobiography, My Life As Me, that he found Cook's lack of interest in art and literature off-putting. Dudley Moore's jazz trio played in the basement of the club during the early 1960s.
Cook also opened an Establishment club in New York in 1963, with Lenny Bruce being one of the comedians who performed there.
In 1962, the BBC commissioned a pilot for a television series of satirical sketches based on the Establishment Club, but it was not immediately picked up and Cook went to New York City for a year to perform Beyond the Fringe on Broadway. When he returned, the pilot had been refashioned as That Was the Week That Was and had made a television star of David Frost, something Cook made no secret of resenting. He complained that Frost's success was based on directly copying Cook's own stage persona and Cook dubbed him "the bubonic plagiarist", and said that his only regret in life, according to Alan Bennett, had been saving Frost from drowning. This incident occurred in the summer of 1963, when the rivalry between the two men was at its height. Cook had realised that Frost's potential drowning would have looked deliberate if he had not been rescued.
By the mid 1960s the satire boom was coming to an end and Cook said: "England was about to sink giggling into the sea." Around this time, Cook provided substantial financial backing for the satirical magazine Private Eye, supporting it through difficult periods, particularly in libel trials. Cook invested his own money and solicited investment from his friends. For a time, the magazine was produced from the premises of the Establishment Club. In 1963, Cook married Wendy Snowden. The couple had two daughters, Lucy and Daisy, but the marriage ended in 1970.
Cook's first regular television spot was on Granada Television's On the Braden Beat with Bernard Braden, where he featured his most enduring character: the static, dour and monotonal E. L. Wisty, whom Cook had conceived for Radley College's Marionette Society.
File:Dudley Moore Peter Cook Kraft Music Hall.JPG|thumb|left|upright|Cook and Dudley Moore in London for the US television programme Kraft Music Hall
Cook's comedy partnership with Dudley Moore led to Not Only... But Also. This was originally intended by the BBC as a vehicle for Moore's music, but Moore invited Cook to write sketches and appear with him. Using few props, they created dry, absurd television that proved hugely popular and lasted for three series between 1965 and 1970. Cook played characters such as Sir Arthur Streeb-Greebling and the two men created their Pete and Dud alter egos. Other sketches included "Superthunderstingcar", a parody of the Gerry Anderson marionette TV shows, and Cook's pastiche of 1960s trendy arts documentaries – satirised in a parodic segment on Greta Garbo.
When Cook learned a few years later that the videotapes of the series were to be wiped, a common practice at the time, he offered to buy the recordings from the BBC but was refused because of copyright issues. He suggested he could purchase new tapes so that the BBC would have no need to erase the originals, but this was also turned down. Of the original 22 programmes, only eight still survive complete. A compilation of six half-hour programmes, The Best of... What's Left of... Not Only...But Also was shown on television and has been released on both VHS and DVD.
With The Wrong Box and Bedazzled, Cook and Moore began to act in films together. Directed by Stanley Donen, the underlying story of Bedazzled is credited to Cook and Moore and its screenplay to Cook. A comic parody of Faust, it stars Cook as George Spigott who tempts Stanley Moon, a frustrated short-order chef, with the promise of gaining his heart's desire – the unattainable beauty and waitress at his cafe, Margaret Spencer – in exchange for his soul, but repeatedly tricks him. The film features cameo appearances by Barry Humphries as Envy and Raquel Welch as Lust. Moore composed the soundtrack music and co-wrote the songs performed in the film. His jazz trio backed Cook on the theme, a parodic anti-love song, which Cook delivered in a deadpan monotone and included his familiar put-down, "you fill me with inertia".
In 1968, Cook and Moore briefly switched to ATV for four one-hour programmes titled Goodbye Again, based on the Pete and Dud characters. Cook's increasing alcoholism led him to become reliant on cue cards. The show was not a popular success, owing in part to a strike causing the suspension of the publication of the ITV listings magazine TV Times. John Cleese was also a cast member, who would become lifelong friends with Cook and later collaborated on projects together.
1970s
In 1970, Cook took over a project initiated by David Frost for a satirical film about an opinion pollster who rises to become Prime Minister of Great Britain. Under Cook's guidance, the character became modelled on Frost. The film, The Rise and Rise of Michael Rimmer, was not a success, although the cast contained notable names.Cook became a favourite of the chat show circuit but his effort at hosting such a show for the BBC in 1971, Where Do I Sit?, was said by the critics to have been a disappointment. It was axed after only three episodes and was replaced by Michael Parkinson, the start of Parkinson's career as a chat show host. Parkinson later asked Cook what his ambitions were, Cook replied jocularly " in fact, my ambition is to shut you up altogether you see!"
Cook and Moore fashioned sketches from Not Only....But Also and Goodbye Again with new material into the stage revue called Behind the Fridge. This show toured Australia in 1972, where a TV special was made of it by GTV-9, before transferring to New York City in 1973, retitled as Good Evening. Cook frequently appeared on and off stage the worse for drink. Nonetheless, the show proved very popular and it won Tony and Grammy Awards. When it finished, Moore stayed in the United States to pursue his film acting ambitions in Hollywood. Cook returned to Britain and in 1973, married the actress and model Judy Huxtable.
Later, the more risqué humour of Pete and Dud went further on such LPs as "Derek and Clive". The first recording was initiated by Cook to alleviate boredom during the Broadway run of Good Evening and used material conceived years before for the two characters but considered too outrageous. One of these audio recordings was also filmed and therein tensions between the duo are seen to rise. Chris Blackwell circulated bootleg copies to friends in the music business. The popularity of the recording convinced Cook to release it commercially, although Moore was initially reluctant, fearing that his rising fame as a Hollywood star would be undermined. Two further Derek and Clive albums were released, the last accompanied by a film.
Cook and Moore hosted Saturday Night Live on 24 January 1976 during the show's first season. They did a number of their classic stage routines, including "One Leg Too Few" and "Frog and Peach" among others, in addition to participating in some skits with the show's ensemble cast. In 1978, Cook appeared on the British music series Revolver as the manager of a ballroom where emerging punk and new wave acts played. For some groups, these were their first appearances on television. Cook's acerbic commentary was a distinctive aspect of the programme. In 1979, Cook recorded comedy-segments as B-sides to the Sparks 12-inch singles "Number One Song in Heaven" and "Tryouts for the Human Race". The main songwriter Ron Mael often began with a banal situation in his lyrics and then went at surreal tangents in the style of Cook and S. J. Perelman.