Penelope Keith

Good moaning: the subversive sitcoms of the 1980s revisited

The foundations of all British situation comedy were laid by Charles Dickens. If you were to remove that tiresome fun-sponge Little Nell and her wholly meaningless death from The Old Curiosity Shop, for instance, you would have before you, in more pleasing proportions, a rich array of recurring comic characters in a variety of scenarios. There are Kit Nubbles and his oyster-adoring family; Abel Garland and his anarchy-prone pony; the preposterous boulevardier Dick Swiveller; and of course the monstrous Daniel Quilp, at war with his wife, his mother-in-law, and the boy who walks on his hands outside the wharf window. The point is that you look forward to seeing them all; it’s not so much about wit as about foibles.

The peerless Penelope Keith

The news that Dame Penelope Keith has died at the age of 86 has devastated lovers of great British humour, to say nothing of Spectator readers. The two are, after all, closely linked. Keith was that rare actress who was the lead in not one but two seminal sitcoms, The Good Life and To The Manor Born. It would perhaps be an exaggeration to describe her performances as the aspirational Margo Leadbetter and the aristocratic Aubrey fforbes-Hamilton as showing thespian range. But there was no actress better at skewering the pretensions and absurdities of a certain kind of Englishwoman. Even today, if you say of someone that they are a ‘Penelope Keith type’, it is shorthand for Middle England in excelsis – even if that type is vanishing far quicker than is desirable.