Dudley Moore - Biography - IMDb Dudley Moore Biography Showing all 50 items Jump to: Overview (5) | Mini Bio (1) | Spouse (4) | Trade Mark (1) | Trivia (31) | Personal Quotes (8) Overview (5) 5' 2½" (1.59 m) Mini Bio (1) Dudley Moore, the gifted comedian who had at least three distinct career phases that brought him great acclaim and success, actually started out as a musical prodigy as a child. He was born in Dagenham, Essex, England, in 1935, to working class parents, Ada Francis (Hughes), an English secretary, and John Havlin Moore, a Scottish railway electrician (originally from Glasgow). Dudley won a music scholarship to Magdalen College, Oxford, to study the organ. At university, he also studied composition and became a classically trained pianist, though his forte on the piano for public performance was jazz.

After graduating from Magdalen College in 1958, Moore was offered a position as organist at King's College, Cambridge, but turned it down in order to go to London and pursue a music and acting career. Fellow Oxonian Alan Bennett (Exter Colelge, B.A., Medieval History, 1957) had already recommended him to John Bassett, who was putting together a satirical comedy revue called "Beyond The Fringe". "Beyond The Fringe" was to be Moore's first brush with fame, along with co-stars Bennett, future theatrical director Jonathan Miller (now Sir Jonathan, who studied Medicine at Cambridge and was a physician), and Peter Cook , who was destined to become Moore's comic partner during the 1960s and '70s. It was Miller who had recommended Cook for "Beyond the Fringe", in much the same way that Bennett had bird-dogged Moore. Cook, who had studied modern languages at Cambridge, had been part of the famous Cambridge theatrical, the Footlights revue in 1959, had subsequently gone to London to star in a West End revue for Kenneth Williams , "Pieces of Eight".

This old-fashioned review was such a success there was a sequel, "One Over The Eight". He was advised by his agent not to star in the fringe with the three others as he was a professional whereas they were amateurs. Ironically, the great success of "Beyond the Fringe", which was a new kind of satirical comedy, would doom the very old-fashioned reviews that Cook had just tasted success in. "Beyond the Fringe" not only won great acclaim in the UK, but it was a hit in the U.S.. The four won a special Tony Award in 1963 for their Broadway production of "Beyond The Fringe" and there was a television program made of the revue in 1964. Moore and Cook were offered the TV show Not Only... But Also (1965) by the BBC in 1965. Peter Cook was on as a guest. Their pairing was so successful, it enjoyed a second season in 1966 and a third in 1970. They were particularly funny as the working-class characters "Pete" and "Dud".

The duo then broke into the movies, including The Wrong Box (1966) and Bedazzled (1967). In 1974, the duo won their second Tony Award for their show "Good Night", which was the stage version of their TV series "Not Only... But Also". In the mid- to late 1970s, they issued three comic albums in the guise of the characters "Derek" and "Clive" (Moore and Cook, respectively), two lavatory attendants that many viewed as reincarnations of their earlier TV characters "Pete" and "Dud". The albums, ad libbed in a recording studio while the two drank vast quantities of alcohol, were noted at the time for their obscenity. Their typical routine was a stream-of-consciousness fugue by Cook, interspersed with interjections by Moore. With their obscenity-laden, free-formed riffs, Derke and Clive presaged the more free-wheeling shock comedy of the 1980s and '90s. After marrying American actress Tuesday Weld in 1975, Moore moved to the U.S.

and began a second career as a solo screen comedian, stealing the show from Chevy Chase and Goldie Hawn as the horny conductor in the movie comedy, Foul Play (1978). When George Segal dropped out of the movie 10 (1979), director Blake Edwards cast Moore in the lead role as the composer undergoing a mid-life crisis. It was a huge hit, but was surpassed by his Oscar-nominated turn as the dipsomaniac billionaire in Arthur (1981). In the early 1980s, Moore was a top box office attraction. In 1983, the National Alliance of Theater Owners named him the Top Box Office Star-Male of the Year. His career began petering out after he turned down the lead in Splash (1984), a role that helped establish Tom Hanks as a top movie comedian and position him for his transition into movie drama and super-stardom. As Hanks star waxed, Moore's star waned, and by 1985 he was reduced to playing an elf in Santa Claus: The Movie (1985), one of the all time turkeys.

Even a second turn as "Arthur" in Arthur 2: On the Rocks (1988) couldn't revive his box office, the dependent clause of the title all too well describing his career. His TV series Dudley (1993) [TV-Series] was a bust, and the 1990s proved a wasteland for the once-honored and prosperous comedian. Moore was deeply affected by the January 1995 death of Peter Cook by a gastrointestinal hemorrhage at the age of 57. Moore organized a two-day memorial to Cook in Los Angeles that was held in November 1995. Less than four years later, in September 1999, Moore announced that he was afflicted with progressive supra-nuclear palsy, a disease for which there is no treatment. Dudley Moore was invested as a Commander of the Order of The British Empire (one step below knighthood) in June 2001. Moore personally attended the ceremony at Buckingham Palace to accept his CBE from Prince Charles , despite being unable to speak and being wheelchair-bound.

He died in Watchung, New Jersey on March 27, 2002, from the pneumonia related to progressive supra-nuclear palsy. He was 66 years old. Dudley Moore was married four times, to actresses Suzy Kendall , Tuesday Weld , Brogan Lane and 'Nicole Rothschild', and had two sons, one with Tuesday Weld and one with Nicole Rothschild. - IMDb Mini Biography By: Jon C. Hopwood Spouse (4) Trivia (31) Arrested and charged with suspicion of domestic violence on a cohabitant. [March 1994] He appeared in the music video and sang in the choir on the song "Voices That Care." Underwent quadruple heart bypass surgery, and thereafter suffered four minor strokes in swift succession. [September 1997] Moore was born with a clubfoot that was surgically corrected in his youth. In the 1950s he was a regular member of The Johnny Dankworth Seven where established himself as an accomplished jazz pianist. Co-owner of the restaurant "72 Market Street" in Venice, Los Angeles.

Attended Magdalen College, Oxford University, England, graduating in 1958. He was awarded the CBE (Commander of the Order of the British Empire) in the 2001 Queen's Birthday Honours List for his services to Anglo-American film and theatre. Despite bad health, he traveled to Buckingham Palace in London, England to receive the CBE. He was cared for in his final days and through burial in Plainfield, New Jersey, by longtime friend and pianist Rena Fruchter . Friend of short films writer/editor/director Andrew Michael Jolley Turned down a job offer as organist at King's College, Cambridge, to launch his music and acting career. Godfather of Peter Cook 's eldest daughter, Lucy. In 1983 won the NATO Male Star of the Year Award. Was the first choice to play "Henry Fine" in The Mirror Has Two Faces (1996), only to be replaced by George Segal (who was, ironically, replaced by Moore in the role of "George Webber" in 10 (1979)).

In an interview following his announcement that he had supranuclear palsy, he revealed that he was dismissed from the role because he had trouble remembering his lines. Has won two Special Tony Awards: in 1963, along with his "Beyond the Fringe" co-stars Alan Bennett , Peter Cook , and Jonathan Miller , "for their brilliance which has shattered all the old concepts of comedy," in a show that was recreated in a television version of the same title, Beyond the Fringe (1964); and in 1974, shared with co-author and co-star Peter Cook for their show "Good Evening." Was a classically trained pianist. A bar/restaurant in Cromwell, Connecticut, USA is named in honor of him. Turned down the lead role in Splash (1984). He died on the same day as Milton Berle and Billy Wilder . He and Wilder both died of pneumonia while he and Berle both made guest appearances in The Muppet Show (1976). Interred in Hillside Cemetery, Scotch Plains, New Jersey. He claimed to have preferred Arthur 2: On the Rocks (1988) to Arthur (1981).

In one of his early comedy sketches Moore played a wacky pianist named Bo Dudley, a Little Richard lookalike, wearing sunglasses (1966). His favorite movie star was Gene Kelly . Release of the book, "Dudley Moore: An Intimate Portrait", by Rena Fruchter . [2005] Although he was only 21 years younger than Geraldine Fitzgerald , he played her grandson in Arthur (1981) and Arthur 2: On the Rocks (1988). Became a father for the 2nd time at age 60 when his 4th ex-wife Nicole Rothschild gave birth to their son Nicholas Anthony Moore on 28 June 1995. Became a father for the 1st time at age 40 when his 2nd ex-wife Tuesday Weld gave birth to their son Patrick H. Moore on 26 February 1976. His father was Scottish, from Glasgow, and his mother was English. Planned to star and direct a remake of the Billy Wilder classic Love in the Afternoon (1957), but the project fell through.

His fourth wife Nicole Rothschild claimed that Moore smoked and ate a considerable amount of crystal methamphetamine during their marriage. Although he became a major star with Arthur (1981), his only subsequent hit was Micki + Maude (1984). Personal Quotes (8) "I can't imagine not having music in my life, playing for myself or for other people. If I was asked, 'Which would you give up,' I'd have to say acting," he said in an interview with The Associated Press in 1988. I certainly did feel inferior. Because of class. Because of strength. Because of height...I guess if I'd been able to hit somebody in the nose...I wouldn't have been a comic. I think my own desire to be loved is what makes me sexually attractive. The confidence I now have is rooted in the discovery that who I am is okay. The ability to enjoy your sex life is central. I don't give a shit about anything else. My obsession is total. What else is there to live for? I have a very ribald sense of humor, which is conventionally known as obscene.

[on John Gielgud ] He was always coming out with these sweet, corny theatrical anecdotes, and he's got a sort of mucky sense of humor. I mean everybody thinks he reads Chaucer all day, and, in fact, he loves reading Harold Robbins . I try to seduce. Richard Lester - Biography - IMDb Richard Lester Jump to: Overview (1) | Mini Bio (1) | Trade Mark (1) | Trivia (10) | Personal Quotes (7) Overview (1) 19 January 1932 , Philadelphia, Pennsylvania, USA Mini Bio (1) Richard Lester was one of the most influential directors of the 1960s, and continued his career into the 1970s and early '80s. He is best remembered for the two films he helmed starring The Beatles : A Hard Day's Night (1964) (1964) and Help! (1965) (1965), the frenetic cutting style of which was seen by many as the predecessor of the music video a generation later.

Lester had made his name with the Oscar-nominated short subject The Running Jumping & Standing Still Film (1959) that he made with "The Goon Show" veterans Peter Sellers and Spike Milligan . He then directed Sellers in The Mouse on the Moon (1963), which was produced by Walter Shenson . The Goons were a favorite of The Beatles, and when Shenson got the rights to make a movie with The Beatles, Lester seemed to be the ideal director for the project. That project, "A Hard Day's Night", was not only a huge box-office hit but a major critical success as well. "Village Voice" movie critic Andrew Sarris , the American promoter of the "auteur theory" in America, described "A Hard Day's Night" as "the Citizen Kane (1941) of juke box musicals." Lester had arrived, and his next film, the Swinging Sixties yarn The Knack... and How to Get It (1965), won the Palme d'Or at the 1966 Cannes Film Festival.

He also directed the wildly satirical How I Won the War (1967), which came a year after the huge success of A Funny Thing Happened on the Way to the Forum (1966), his adaptation of the smash Broadway play, which relied on the Keatonesque slapstick Lester had used so well in The Beatles films ("Forum" even featured Lester's hero Buster Keaton in a small but highly amusing role). Aside from "A Hard Day's Night", the success of which relies as much on The Beatles themselves as auteurs (Lester claims that the script by Alun Owen was largely jettisoned during filming, and its scripted "quips" were replaced by the real things from The Beatles themselves), Lester's true '60s masterpiece is Petulia (1968) (1968). A corrosive look at the American upper-middle-class and the fragmentation of American society, "Petulia" is one of the great, if unheralded, American films. Propelled by the luminous presence of Julie Christie and the powerhouse performance of George C. Scott , "Petulia" was a success at the box office, although some critics were upset over the blackness of the comedy.

It was to prove to be his last great film, as he stumbled soon after it was released. The Bed Sitting Room (1969), a Samuel Beckett -influenced satire based on a play (and script) by Spike Milligan co-starring Dudley Moore and Peter Cooke --from the smash revue "Beyond the Fringe"--was a resounding flop at the box office and among critics, and Lester found himself unemployable. However, The Three Musketeers (1973), which he shot simultaneously with The Four Musketeers: Milady's Revenge (1974) for producer Ilya Salkind , resurrected his career. When the Salkinds (Ilya and his father Alexander Salkind ) were in the midst of filming Superman (1978) simultaneously with its sequel, Lester was hired as a supervising producer, then took over the filming of the sequel, Superman II (1980), when original director Richard Donner was fired. The sequel was a financial and critical success (as much as comic book films were in the early 1980s), and he was hired to direct the far-less successful Superman III (1983).

At the end of the 1980s, Lester returned to the storyline that had revitalized his career back in the early 1970s, filming a second sequel to "The Three Musketeers." However, after his close friend, actor Roy Kinnear died during the shooting of The Return of the Musketeers (1989), Lester seemed to lose heart with the movie-making business. He has not directed another film. Frequently has characters in the background making amusing comments about the main action. Trivia (10) He entered a university at 15 years old, and after receiving a degree in clinical psychology, he graduated at 19 years old. Started his creative career as TV director at CBS' WCAU-TV station, Philadelphia After the death of Roy Kinnear on the shooting of The Return of the Musketeers (1989), Lester decided to quit directing. Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 581-586. New York: The H.W. Wilson Company, 1988.

Member of the jury at the Cannes Film Festival in 1966 While working on the parts of Superman (1978) that would be incorporated in the sequel Superman II (1980), cinematographer Geoffrey Unsworth died unexpectedly on October 28, 1978. When Lester took over the directorial reins from Richard Donner , he decided to give the sequel a comic-book look rather than the stately, mythic look that Donner and Unsworth had crafted for the first movie, and intended for the sequel. He scrapped much of Unsworth's footage and hired British cameraman Robert Paynter , who had worked with potboiler director Michael Winner perfecting a style that complimented Winner's propensity for comic book-style violence. Lester was not sympathetic to the epic look that Donner had given the original "Superman" (1978), saying that he did not want to do "the David Lean thing". Lester decided on creating a comic book-style that would evoke Superman's roots in comic books. Lester deliberately wanted to break the stylistic "American epic" mold created by Donner and, with Paynter, set out to recreate the look and feel of a comic book.

For this reason, Lester did not use his own long-time collaborator, lighting cameraman David Watkin , as Watkin's photographic style was too classical, and thus not adaptable to a comic book aesthetic. Working with Lester, Paynter and his camera operator Freddie Cooper developed a different type of framing from the original, but one that was ideal for their concept of a comic book film: They replaced Unsworth's gliding camera with horizontal panning and static framing to evoke comic books and comic strips, with their static frames that are crammed with people and objects. Similarly, the composition of shots the trio developed for "Superman II" had objects and people crammed into the frame. To further emphasize comic book composition, the action was photographed from one angle, to give the film a desired flatness. (Harkening back to the technique of the early sound era, Lester's films had always been shot with three cameras simultaneously filming the action all at one time, with two cameras for close-ups and one for the long-shot (the establishing shot). Ironically, he claimed to have never even heard of the Superman character before being hired to work on the films due to comic books not being allowed in his house as a child.

This led to many fans and critics suspecting and in some cases accusing Lester of not understanding and therefore not respecting the Superman character, especially judging by the satirical tone and ultimate box office failure of Superman III (1983). He was interviewed at great length by fellow director Steven Soderbergh for a book, "Getting Away With It", published in 1999. In it he revealed that Sean Connery had never spoken to him after the box-office failure of Cuba (1979); that he had lost confidence as a director following the death of his friend Roy Kinnear , although he did not believe that any negligence had caused it; and also, surprisingly, that he had never actually enjoyed being a film director, although he did enjoy the editing process.

PETER COOK & DUDLEY MOORE - THE FROG AND PEACH PETER COOK AND DUDLEY MOORE THE FROG AND PEACH From ONCE MORE WITH COOK adapted from the BBC TV series NOT ONLY BUT ALSO (1966) transcribed by Judy Harris visit my homepage at ~foosie/index.htm or E-mail me at foosie@bestweb.net Subscribe to BEDAZZLED (UK members ï¿½6; all others ï¿½10), the Peter Cook Appreciation Society newsletter and get an E.L. Wisty World Domination League button: Peter Cook Appreciation Society Good evening. We're talking this evening to Sir Arthur Greeb-Streebling. PC: Oh, I'm terribly sorry, I thought it was Greeb-Streebling. PC: No, Streeb-Greebling. You're thinking of Greeb-Streebling. The "T" is silent, as in "fox". Good evening. DM: Good Greebling. DM: We'd like to ask Sir Arthur actually about his rather unique restaurant, the Frog and Peach. PC: Good evening. If you would tell us something about it, Sir. Arthur.

PC: Yes, well, ah, the idea for the Frog and Peach came to me in the bath. A great number of things come to me in the bath, mainly sort of mosquitoes and adders, but in this case a rather stupendous idea. I suddenly thought, as I was scrubbing my back with a loofah, I thought, "Where can a young couple, who are having an evening out, not too much money, and they want to have a decent meal, y'know, a decent frog and a nice bit of peach, where can they go and get it?" And answer came there none. And so I had this idea of starting a restaurant specializing in these frogs legs and, er, peaches, and on this premise I built this restaurant. DM: In these precise premises. Good evening. DM: How long ago did you start this venture? Was it recently? PC: It was certainly within living memory. Shortly after the First World War. DM: Ghastly business, wasn't it? PC: Oh, absolutely ghastly business. And, er, I started it shortly after that and ever since then, it's sort of been here, y'know. DM: And how has business been?

PC: Well, ah, business hasn't been, in the strict sense of the word. Rather, let me answer that question in two parts. There hasn't been any business and nobody's been. It's been a quiet time for the last 15-18 years, really, in the business. DM: But don't you feel in a way you're at some disadvantage being stuck out in the middle of Dartmoor here? PC: I think the word "disadvantage" is awfully well chosen there, yes. This is what we're at. We're at a disadvantage. You see, when I had the idea, I weighed up the pros and cons and I came to the conclusion, rightly or wrongly, or possibly both - DM: Or neither, or nye-the, as they say in some part of the country. DM: Or cointreau. PC: Indeed. I thought that the pros outweighed the cons by two and a half ounces, and I thought the people in Britain were crying out for a restaurant where there wasn't any parking problem. In fact, I heard somebody in the street crying out for a restaurant without a parking problem. Norwegian sailor, I believe, on leave.

He was saying, "Oh, for a restaurant without a parking problem!" And this sort of inspired me to start this one. There's no parking problem here, situated as we are in the middle of a bog in the heart of Dartmoor. No difficulty parking. Some difficultly extricating your car, but otherwise well-situated. Good evening. DM: Good evening. Don't you feel, again, you're at a disadvantage because of your menu? I mean - PC: The menu! Oh dear! Yes, that is - Oh! This has been a terrible hindrance to us building up a business. The menu is the most - have you seen it? DM: Yes, I have. PC: It's the most appalling thing. There's so little to choose from. You start with - what's that? DM: Spawn cocktail. PC: Spawn cocktail. One of the most revolting dishes known to man. Then there's only two other dishes really. There's frog a la peche, which is a frog done in Cointreau and with a peach stuffed in its mouth And, ah, then, of course, there's peche a la frog, which is really not much to write home about.

A waiter comes to your table. He's got this huge peach on it, which is covered in boiling liqueur, you see, and he slices it open to reveal about two thousand little black tadpoles squiggling about. It's one of the most disgusting sights I've ever seen. God, it turns me over to think of it. Squiggle, squiggle, they go. DM: Rather nauseating. Who does the cooking? PC: My wife does the cooking and, luckily, she does the eating as well. An amazing creature. Of course, she's not a well woman. DM: No. PC: Not a well woman at all, so she very much resents having to go down the well every morning to sprinkle "Swoop" on the toads. An amazing creature, my wife, an amazing creature. DM: I met her during the war actually. DM: You did? PC: Yes, she blew in through the drawing room window with a bit of shrapnel, became embedded in the sofa and, you know, one thing led to her mother and we were married in the hour. DM: Um, yes, I suppose actually - PC: Would you like some pond water?

DM: It's revolting stuff. I wouldn't touch it. DM: What are you about to ask me about? DM: I'm about to ask you, um, I suppose this sort of menu could, in fact, appeal to the French. PC: It could appeal to the French and I've tried appealing to the French over Radio Streeb-Greebling which, as you know, is situated in the moat, not a stone's throw from here, but, ah, the response has been - oh - it's not been excessive. DM: Well, it all sounds rather disastrous to me. PC: Catastrophic, I think, would be a better word, really, for it. DM: Do you have any other plans for other business ventures? PC: Nnnnn-- yes and no. I thought of starting a sort of sophisticated restaurant with kind of, ah, sophisticated music somewhere up in Peebleshire. Somewhere where a young couple who're out for the evening, y'see, who've got about 85 guineas to spend to get a really decent meal. DM: Hmm. What are you going to call it? PC: What sort of food?

PC: Well, ah, I was thinking largely: simple English roast vole, you know and, ah, a decent British pea. Put the two together and I think you're on pretty good ground. DM: Y-e-s-s, indeed. Do you feel you've learnt by your mistakes here? PC: I think I have, yes, and I think I can probably repeat them almost perfectly. I know my mistakes inside out. DM: I'm sure you will repeat them. Well, thank you very much, Sir Arthur. PC: Would you like one for the toad? DM: No, thank you. ï¿½ The Estate of Peter Cook 1966, 1996 Click here for a 1-minute soundbyte of Peter Cook, as a repressed father, attempting to teach the facts of life to Dudley, as a naive 17 year old son. Here's another Dud and Pete excerpt, which was part of a programme made especially for America on the occasion of the Queen's Silver Jubilee. Pete and Dud are standing in Madame Tussaud's, surrounded by wax effigies.

PETE: You've been standing there for hours and I'm afraid you're still not taller than Princess Margaret. DUD: Oh really, how very disappointing. PC: I thought I'd be taller than at least one member of the Royal Family. PC: Well you might be taller than Anthony Armstrong-Jones, but of course he's been melted down and recycled since the separation. DM: I gather he's become part of Margaret Thatcher's tie. PC: That's right! A very nice place to be. Yes, a super place to be. DM: I must say I do feel the whole idea of Madame Tussaud's, er, for these wax effigies, is really super. PC: Tremendous. She deserves a round of applause, I think. DM: I think the Queen must be especially grateful for it because, you know, being so busy she can bung one of these wax effigies ï¿½ PC: - in the coach ï¿½ DM: - when she can't get round to doing something. Frightfully useful. PC: So she just bungs out an effigy. DM: Yes. PC: One thing that puzzles me. Perhaps you know the answer.

You know that radiant smile she has? The one that she uses to win the hearts and minds of people? DM: How do they get that on an effigy? DM: Oh, they do that electronically from the Palace. PC: Yes, yes. So what you're seeing is really happening 20 years ago. PC: The coach, I suppose, has to be air-conditioned... DM: Naturally, otherwise the wax melts down to a disagreeable mess... The following is an excerpt from the book PETER COOK REMEMBERED, edited by Lin Cook ï¿½ 1996 by Christopher Hitchens, who interviewed Dudley Moore for this tribute after Peter's death. Dudley said: I loved performing with Peter in the latter years of BEYOND THE FRINGE and, although I had the least speaking to do in the show, I got to perform with him more and more. The dialogue from the floor that we had in CIVIL DEFENSE, where I ask how long it will be before normal service is resumed after nuclear Armageddon, and he says he expects something in the nature of a skeleton service, was the start of it. That and the one-legged Tarzan sketch.

Jonathan [Miller] could play Mr. Spiggot, the unidexter artiste, but he never really got his essential optimism. So when, in 1966 or so, I was asked to do a [British TV] show produced by Joe McGrath, our first director, I asked Peter. But it could have just as well been Alan [Bennett]. This is what became NOT ONLY...BUT ALSO. It was originally called NOT ONLY DUDLEY MORE BUT ALSO PETER COOK, which I later rearranged in alphabetical order to avoid upsetting him. We were improvising in his living-room at 17 Church Row and he started up: "My wife's not a well woman. That's why she doesn't like going to the well. . . I met my wife during the war. She blew in through the window on a piece of shrapnel, and became embedded in the sofa, and one thing led to my mother, and we were married within the hour." The amazing thing is that it was just like that. No warning - he just started coming out with it. We would get together and improvise into a tape recorder, and then listen.

I would do headings of things that we both liked and we would erase the rest and then do it again. We'd do it up to four or five times. A rather higgledy-piggledy approach. Any improvising after that would depend on the response of the audience. But the audience had a tendency to like what we liked, so we didn't alter very much. So the show [NOBA] went well. [In the first episode] we did a long sketch about a janitor in a West End club where only after a bit do you realize that the club is a public toilet. A khazi. John Lennon played the janitor. Peter came up with the line, "This is where the big nobs hang out." I did a parody of the Swingle Singers. The art gallery sketch is still my favourite, because it was so free and easy. We were alive to each other's idiosyncrasies and we had a lot of fun. When I think back on it, I wince because, really, it was very risky to rely on that first run-through. There was no safety-net, and no back-up tape.

We relied on mad reminiscences, like being on the top of a bus while I talk about my experiences at school. Another I remember is of me waking up in a drawer full of socks, and Peter smacking me awake with a cricket bat and saying "Thank God you're not Jewish." It slowly emerges that I'm being born again and I'm nine hours late and the doctor is trying to make me cry. There was one [sketch] that didn't get shown. It was an Elf and Tinkerbell sketch, quite dirty, with a randy Tinkerbell who has it off with a water-boatman. Peter could gum on a moustache and put on a deerstalker and become Sir Arthur Streeb-Greebling ... "Good evening...Good Greebling...the "f' is silent as in fox. Of course, we're training ravens here, training them to fly under water. Knee-deep in feathers.". Regarding FRINGE: I do remember the way he used to come on as a messenger in SO THAT'S THE WAY YOU LIKE IT, wearing a crown and carrying a sword and sliding to a kind of halt. And I remember that he never forgot his words. Ever.

He was more at home with what he wrote than what others wrote, of course, but we tended to keep what he wrote in any case. We used to cheer Pete on when he was doing the Judge sketch -- we'd settle downstage left and encourage him with gestures. The audience couldn't see us but we were just willing him to take off, and he often did. Mind you, it got longer and longer and sometimes it got very boring. He used to be willing to bore people with endless monologues as long as he could exit on a laugh. Peter Cook and Dudley Moore: Grand Old Men of Comedy Part one of a three-part series by James Kew THE EARLY YEARS Peter Cook was born on the 17th of November, 1937. While still at school he began writing comic material, including several items for the magazine "Punch" as well as some pieces performed within the school. Avoiding National Service through a fortuitous allergy to feather pillows, he spend a year in France and Germany, where he visited a number of satirical nightclubs; it was here he had the idea of opening what would later become London's "Establishment" club.

In 1957 Cook went to Pembroke College, Cambridge, to study French and German literature. It took him a year to summon up enough courage to audition for the Footlights Club; he is quoted as saying, "I felt the Footlights was a tremendously elite club--I was too bashful to even consider applying for it." He took part in the 1959 revue, "The Last Laugh", and in 1960 became the president of Footlights, writing much of that year's revue, "Pop Goes Mrs Jessup". It was seen by the theatrical producer Michael Codron, who asked Cook to contribute material to a professional revue, "Pieces Of Eight", which played at London's Apollo Theatre in 1960. It was followed in 1961 by "One Over The Eight". In Cook's words, "By the time I left Cambridge I had acquired an agent, and was a 'professional writer'". Dudley Moore was born on the 19th of April, 1937. He told the Observer in 1979: "I was a very serious pompous child.

I spent the first seven years of my life siphoned off in hospital beds and wheelchairs with a club foot...It was my leg onto which I projected all my feelings of inadequacy and self-loathing." At school he took to clowning to avoid the inevitable bullying and teasing. A keen musician, he went on to study music at Magdalen College, Oxford, where he became interested in the stage and cabaret and developed great skill in the jazz piano. BEYOND THE FRINGE In 1960 John Basset, another Oxford graduate, was assisting the organiser, Robert Ponsonby, of the Edinburgh Festival--an annual festival of music and drama. Many small theatre and revue companies also mount unofficial productions on the so-called "Fringe" of the Festival. Ponsonby had the idea that the Festival should have its own official late-night revue; Basset suggested Dudley Moore and another Oxford man, Alan Bennett, and suggested that they be balanced by two Cambridge people, Peter Cook and Jonathan Miller. The revue was given the title "Beyond The Fringe", and comprised of the best of the foursome's solo material with some new sketches.

It opened to excellent critical reaction at the Lyceum Theatre, Edinburgh, in August 1960, and moved via Cambridge and Brighton to London's Fortune Theatre, where it opened in May 1961. Much of the humour in the show is gentle; Alan Bennett gave an earnestly-delivered spoof sermon, Dudley Moore provided a number of musical interludes, Jonathan Miller delivered a whimsical monologue about the startling number of trousers found in railway Lost Property offices. The sketches poke fun at existing institutions, rather than, as was common in previous revues, putting the performers into imaginary situations. Jonathan Miller: "We resolved not to make these conditional propositions, which were always the basis of old-fashioned revue--'wouldn't it be funny if...'.

Our idea was 'isn't it funny that...'--let's observe what actually goes on, imitate it, and remind people by the shock of recognition how absurd things are." Alan Bennett remarks: "It did actually treat the audience as intelligent people who read the papers." Peter Cook contributed to most of the new sketches, and performed a monologue, "Sitting On The Bench", a rambling conversational piece in typical deadpan style delivered by a coal miner who wanted to be a judge. Cook: Yes, I could have been a judge but I never had the Latin, never had the Latin for the judging, I just never had sufficient of it to get through the rigorous judging exams. They're noted for their rigor. People come out saying, "My God, what a rigorous exam"--and so I became a miner instead. A coal miner. I managed to get through the mining exams--they're not rigorous, they only ask one question, they say, "Who are you", and I got 75 per cent on that. Dudley Moore recalls feeling rather intimidated by the other performers: "I don't recall much of the writing process...perhaps because I felt fairly futile in its creativity.

I had to win my laurels eventually it seemed through my abilities as a performer." His musical pieces were well received. "I had to construct a solo...I decided to write a sonata movement using one of the silliest songs I knew and one of the greatest composers...Thus, I chose the 'Colonel Bogey March' as used in the film 'Bridge Over The River Kwai' and worked it in the style of Beethoven." "Beyond The Fringe"; was immediately hailed as a satirical masterpiece; a label that the performers found a little uncomfortable. Jonathan Miller: "None of us approached the world with a satirical indignation. There were targets we wanted to hit--I was interested in lampooning productions of Shakespeare, not because I had a burning indignation against them but because I just wanted to get them right." Peter Cook: "Certain parts of it were satirical...'The Aftermyth Of War' upset quite a few people, who thought it was an attack on people who laid down their lives in the war, when in fact it was a parody of the films." Cook: We're two down, and the ball's in the enemy court. War is a psychological thing, Perkins, rather like a game of football.

You know how in a game of football ten men often play better than eleven? Miller: Goodbye, sir--or is it--au revoir? Cook: No, Perkins. One of the most controversial sketches was Peter Cook's impersonation of the Prime Minister, Harold Macmillan. Cook: "My impersonation of Macmillan was in fact extremely affectionate...but merely because it was the first time for some years that a living Prime Minister had been impersonated on stage, a great deal of weight was attached to it." Macmillan visited the show one evening; Alan Bennett recalls: "Peter has a kind of madness on stage...he has the kind of self-confidence which doesn't take into account audience reactions. One evening Macmillan came to the show. Peter therefore went several steps further, remarking on the Prime Minister's presence in the audience. Macmillan buried his face in the programme, and the audience, out of embarrassment, gradually froze. This didn't stop Peter. On he plunged. Someone with less self-confidence would have been guided by the atmosphere." The show ran for over a year, until the cast took it to America, when it continues for another four years with a substitute cast.

"Beyond The Fringe" opened in October 1962 at New York's John Golden Theatre, where it ran for about a year, returning in 1964 in a slightly revised form with Paxton Whitehead replacing Jonathan Miller. "Beyond The Fringe" changed British theatre and revue immeasurably-- old-fashioned revue disappeared completely from London. By pointing humour at previously unexplored targets it opened the road for the new wave of satirical comedy which emerged in the 1960s. Dudley Moore: "They were exotic years and exotic experiences...I don't think I ever had such grand excitement." Peter Cook: "I may have done some other things as good but I am sure none better. I haven't matured, progressed, grown, become deeper, wiser or funnier. But then, I never thought I would." THE ESTABLISHMENT Peter Cook was the only member of the "Beyond The Fringe" team with a conscious desire to be satirical.

His experiences of political cabaret during his visit to France and Germany gave him the idea to open his own club and having made some money from his writing, he began putting his plan in motion before "Beyond The Fringe" even opened in London. He got together with the treasurer of Footlights, Nick Luard, and they managed to negotiate a lease on an old strip-tease club in Soho's Greek Street. Cook: "It was all quite chaotic. Because of the advance publicity, about seven thousand people joined before it had even opened: they joined on the idea, at two guineas a time, which roughly financed the opening of it." An excellent cast, including John Fortune, John Bird and Eleanor Bron performed nightly shows at the new club, "The Establishment", with frequent guest appearances. Cook recalls: "I was very very lucky with the cast I got. I also persuaded Dudley Moore to play with his trio down in the basement, at slave labour rates, but he just enjoyed himself a lot and had a fantastic opportunity to meet young women. For two years it was a great place, which I still look back on with tremendous fondness. There was all the excitement of bringing Lenny Bruce over...those were tremendous times.

Some of the things we did are as outrageous as anything that has been done subsequently. I think more so...extremely bad taste flourished at "The Establishment"." The cast of "The Establishment" later moved to the States, arriving shortly after "Beyond The Fringe". Their new brand of comedy was well-received, and led to an offer of a TV show from Ed Sullivan. The show was to be directed by Jonathan Miller, but the restrictive nature of network TV led to insurmountable difficulties, and the show was never made. Without the key members of its original cast, and suffering certain financial difficulties, the London "Establishment" was running into trouble. It was taken over and went rapidly down-market. On his return from America, Peter Cook was offered his half-interest back by the new owners. Cook: "I took one look at the club and said 'No'. The whole atmosphere had gone--the place was filled with rather large men, and I didn't think it was salvageable. And so I got out; that was the end of "The Establishment" for me." The club soon became just a typical Soho nightclub and was later converted to a blue-movie cinema.

At about the same time "The Establishment" opened, the satirical magazine "Private Eye" began publication. It was a joint venture between Richard Ingrams, Christopher Booker and William Rushton. By April 1962, however, the "Eye" was in danger of sinking through lack of finances. Peter Cook had hoped to start a magazine after the success of The Establishment", but was beaten to it by "Private Eye". He now came to its rescue, and he and Christopher Luard became majority shareholders. Under Cook's guardianship, "Private Eye" prospered, gaining a reputation for scurrilous exposï¿½s and their accompanying libel suits; it continues to this day. by James Kew, j.kew@ic.ac.uk Part two of a three-part series. NOT ONLY...BUT ALSO... On his return from the American run of "Beyond The Fringe", Peter Cook was invited to appear in Bernard Braden's series, "On The Braden Beat", where he performed twenty or so monologues, further developing the character he had introduced in "Beyond The Fringe", and giving him a name: E. L. Wisty.

The pieces were usually improvised to tape the day before filming; Cook would then read them from autocue, staring straight at the audience, eyes glazed and unsmiling, seemingly impervious to the audience's laughter. Wisty would hold forth in his droning monotone on the subject of the week, rambling aimlessly, filling in the yawning gaps in his knowledge with totally spurious "facts". Cook I've always wanted to be an expert on tadpoles. I've always fancied being a tadpole expert. It's a wonderful life if you become an expertii tadpolius, as they're known in the trade. You get invited out to all the smart parties and social gatherings. When smart people are making out their lists for the dinner parties they say, "Now who can we have to make up the ten? A tadpole expert would be very nice, he can sit next to Lady Sonia." And at all the smart functions people come up to you and say, "I hear you're a tadpole expert. Tell me, what are tadpoles really like?" And lovely ladies invite you back to their flat and say, "You know, I'm longing to hear about your tadpoles.

Hang on a minute while I slip into a gossamer trenchcoat." The BBC asked Dudley Moore to do in a one-off television show, "Offbeat". He invited Cook to join him, and Cook wrote two sketches, one featuring two cloth-capped buffoons discussing their imaginary liaisons with various film stars (Dud and Pete), and one about an upper-class twit (Sir Arthur Streeb-Greebling) who has spent the last forty years attempting to teach ravens to fly underwater. Moore: I suppose they drown, don't they? Cook: It's curtains, yes. They drown, and, er, topple off me wrist. Little black feathery figure topples off me wrist, spirals very slowly down to a watery grave. We're knee-deep in feathers off that part of the coast. The BBC were very pleased with the result, and Cook and Moore were offered their own programme, "Not Only...But Also...", which ran for three series in 1965, 66 and 70--the last series being made in colour.

Much of the archive material has been lost or destroyed by the BBC, but sufficient footage was found and restored to make up 6 compilation episodes, which were transmitted in 1990. "Not Only...But Also..." featured Cook and Moore's most enduring characters: the fumbling cloth-capped idiots Dud and Pete. Cook: "Pete is the informed idiot, and Dud is the uninformed idiot. They're both idiots, but Pete is always slightly superior. In fact, he knows nothing either." They appeared in numerous sketches, ruminating about life in general. The sketches were surprisingly long for the period, often running to eight or ten minutes, and have an improvised feel.

Peter Cook: "We didn't have scripts as such, we had a lot of headings--we'd rehearsed a lot, and we knew roughly what we were going to say, but not word-for-word." In one sketch, Dud and Pete meet in an art gallery: Dud: "The Best Of...What's Left Of...Not Only...But Also..." (BBC Video) "Derek and Clive Get The Horn" (Polygram) Audio "Beyond The Fringe" (2xCD, EMI) "An Evening With Peter Cook And Dudley Moore/E. L. Wisty" (Polygram cassette, 'funny business' series) "The World Of Pete And Dud" (cassette, Laughing Stock) "Peter Cook and Dudley Moore--The Clean Tapes" (cassette, Castle Classics) "Derek and Clive--Live!" (Island) "Come Again", "Ad Nauseam" (Virgin) Five minutes from start to punchline By William Cook August 2, 2003 He didn't go in for satire or subversion. He just wanted to be funny, in quick-fire bursts. Peter Cook's genius was too original to classify.

Not only for his friends, who were lucky enough to enjoy his strange comic genius in private, but also for his fans, who could only marvel at his virtuoso humour in public, on the stage or screen, Peter Cook was simply the funniest man they'd ever encountered. And nine years after his death, his reputation as the most talented comedian of his generation shows no sign of shrinking. "He had funniness in the same way that beautiful people have beauty," said Stephen Fry. And whenever he was being funny, there was always something quite beautiful about Peter Cook. John Cleese called him Peter Amadeus Cook, after Mozart, another prodigy whose precocious creativity felt like the gift of an unusually cheerful God. "Most of us would take six hours to write a good three-minute sketch," says Cleese. "It actually took Peter three minutes to write a three-minute sketch. I always thought he was the best of us, and the only one who came near being a genius." Cook's comic rise and fall has become the stuff of showbiz legend. How he wrote a hit West End show for Kenneth Williams while he was still an undergraduate at Cambridge University.

How, fresh out of college, he became a star in Beyond the Fringe - the wittiest revue that Britain, or America, had ever seen. How he opened Britain's first satirical nightclub, the Establishment, importing American comic Lenny Bruce, launching Australian comic Barry Humphries and resurrecting Frankie Howerd. How he saved Britain's sharpest satirical paper, Private Eye. How he starred alongside Dudley Moore in three series of Not Only But Also. Cook wasn't a natural actor. He wasn't even an outright satirist. He wrote no plays or novels. Cook was a miniaturist. He was happiest when working with just a couple of characters. His speciality was a conversation of only several minutes duration. His quick-fire creativity didn't lend itself to longer, more structured genres. "Most of my ideas are only worth about five minutes," he admitted. "He wasn't interested in satire at all," says the writer Alan Bennett, a contemporary. "He was interested in being funny." Like all true artists, Cook was keener on creating his own fantastic other-world than in changing the workaday world around him.

"The idea that he had an anarchic, subversive view of society is complete nonsense," says Jonathan Miller, one of his colleagues from Beyond the Fringe. "He was the most upstanding, traditional upholder of everything English and everything establishment." Cook supported worthy causes like Amnesty International, but he always recoiled from the sort of comedy that wants to bring down governments. He even felt sad for Margaret Thatcher when she left Downing Street. Cook's comedy is curiously abstract. His characters inhabit a bizarre hinterland where a man can spend a lifetime trying to teach worms to talk, flowers to walk or ravens to fly underwater. Nevertheless, there is one aspect of his output that is entirely realistic. Like him, his principal alter egos, from Pete and Dud to Derek and Clive, from E.L. Wisty to Sir Arthur Streeb-Greebling, are typically, unapologetically English. And like all Englishmen, they're all helpless prisoners of that terribly English caste system called social class. E.L. Wisty is trapped in the working class, without education or opportunities, but with a wistful yearning for adventure and achievement that he can never hope to fulfil.

"I could have been a judge," says Wisty, "but I never had the Latin." Conversely, Sir Arthur Streeb-Greebling is trapped in the upper class, blessed with the wealth to do whatever he wants - but not the sense to know that what he's doing is totally futile. "I've learned from my mistakes," says Sir Arthur, "and I'm sure I can repeat them." As the unique comic counterpoint between Cook and Moore developed, Moore's input increased, but even in their later series he still estimated that he wrote only about 30 per cent - less than half of Cook's contribution. Their special relationship can't be measured in mere percentages, however. Even in the early days, when Cook did most of the writing, Moore still played a crucial part. "Dudley's humour [was] not very largely verbal," says Bennett. "He [was] much more of a clown and mugged a lot and a very good person to bounce off." Miller adds: "It's very hard to imagine the success of the show without Dudley's talent as a performer." Even when he wasn't writing, Moore's presence liberated Cook.

At last, Cook had a partner to write for, a more cute and fragile character - a contrast and an antidote to Cook's more aloof and condescending style. Like Lennon and McCartney, whom they knew and in some respects resembled, Cook's caustic wit was balanced by Moore's softer, homespun humour. Cook, like Lennon, could be too acerbic to appease mainstream opinion, while Moore, like McCartney, was sometimes too saccharine to win critical acclaim. Yet as long as they stayed together, audiences had someone astute and sharp to marvel at, and someone warm and homely to relate to. "There was a sort of sweet, proletarian cuddlesome quality about Dudley," says Miller, "and then a lot of this strange, lunatic patrician obsession on the part of Peter." In Cook and Moore's comedy, the proletarian and the patrician collided. You Tube: Dudley Moore - TV Celebrities - ShareTV [Complete List] BIOGRAPHY: Dudley Moore, the gifted comedian who had at least three distinct career phases that brought him great acclaim and success, actually started out as a musical prodigy as a child.

Moore -- born in Dagenham, Essex, England to working class parents in 1935 -- won a music scholarship to Magdalen College, Oxford, to study the organ. At university, he also studied composition and became a classically trained pianist, though his forte on the piano for public performance was jazz. After graduating from Magdalen College in 1958, Moore was offered a position as organist at King's College, Cambridge, but turned it down in order to go to London and pursue a music and acting career. Fellow Oxonian Alan Bennett (I) (Exter Colelge, B.A., Medieval History, 1957) had already recommended him to John Bassett, who was putting together a satirical comedy revue called "Beyond The Fringe". "Beyond The Fringe" was to be Moore's first brush with fame, along with co-stars Bennett, future theatrical director Jonathan Miller (I) (now Sir Jonathan, who studied Medicine at Cambridge and was a physician), and Peter Cook (I), who was destined to become Moore's comic partner during the 1960s and '70s.

It was Miller who had recommended Cook for "Beyond the Fringe", in much the same way that Bennett had bird-dogged Moore. Cook, who had studied modern languages at Cambridge, had been part of the famous Cambridge theatrical, the Footlights revue in 1959, had subsequently gone to London to star in a West End revue for Kenneth Williams (I), "Pieces of Eight". This old-fashioned review was such a successful there was a sequel, "One Over The Eight". He was advised by his agent not to star in the fringe with the three others as he was a professional whereas they were amateurs. Ironically, the great success of "Beyond the Fringe", which was a new kind of satirical comedy, would doom the very old-fashioned reviews that Cook had just tasted success in. "Beyond the Fringe" not only won great acclaim in the UK, but it was a hit in the U.S.. The four won a special Tony Award in 1963 for their Broadway production of "Beyond The Fringe" and there was a television program made of the revue in 1964. Moore and Cook were offered the TV show "Not Only...

But Also" (1965) by the BBC in 1965. Peter Cook (I) was on as a guest. Their pairing was so successful, it enjoyed a second season in 1966 and a third in 1970. They were particularly funny as the working-class characters "Pete" and "Dud". The duo then broke into the movies, including The Wrong Box (1966) and Bedazzled (1967). In 1974, the duo won their second Tony Award for their show "Good Night", which was the stage version of their TV series "Not Only... But Also". In the mid- to late 1970s, they issued three comic albums in the guise of the characters "Derek" and "Clive" (Moore and Cook, respectively), two lavatory attendants that many viewed as reincarnations of their earlier TV characters "Pete" and "Dud". The albums, ad libbed in a recording studio while the two drank vast quantities of alcohol, were noted at the time for their obscenity.

Their typical routine was a stream-of-consciousness fugue by Cook, interspersed with interjections by Moore. With their obscenity-laden, free-formed riffs, Derke and Clive presaged the more free-wheeling shock comedy of the 1980s and '90s. They subsequently split up as Moore could no longer tolerate Cook's alcoholism. Under the influence, Cook would become abusive towards Moore, whose acting career was undergoing a renaissance in the late '70s while his career has stalled. Ironically, it was playing an alcoholic that brought Moore to the summit of his success as an actor. After marrying American actress Tuesday Weld in 1975, Moore moved to the U.S. and began a second career as a solo screen comedian, stealing the show from Chevy Chase and Goldie Hawn as the horny conductor in the movie comedy Foul Play (1978). When George Segal (I) dropped out of the movie 10 (1979), director Blake Edwards cast Moore in the lead role as the composer undergoing a mid-life crisis.

It was a huge hit, but was surpassed by his Oscar-nominated turn as the dipsomaniac billionaire in Arthur (1981). In the early 1980s, Moore was a top box office attraction. In 1983, the National Alliance of Theater Owners named him the Top Box Office Star-Male of the Year. His career began petering out after he turned down the lead in Splash (1984), a role that helped establish Tom Hanks as a top movie comedian and position him for his transition into movie drama and super-stardom. As Hanks star waxed, Moore's star waned, and by 1985 he was reduced to playing an elf in Santa Claus (1985), one of the all time turkeys. Even a second turn as "Arthur" in Arthur 2: On the Rocks (1988) couldn't revive his box office, the dependent clause of the title all too well describing his career. His TV series "Dudley" (1993) [TV-Series] was a bust, and the 1990s proved a wasteland for the once-honored and prosperous comedian.

Moore was deeply affected by the January 1995 death of Peter Cook (I) by a gastrointestinal hemorrhage at the age of 57. Moore organized a two-day memorial to Cook in Los Angeles that was held in November 1995. Less than four years later, in September 1999, Moore announced that he was afflicted with progressive supra-nuclear palsy, a disease for which there is no treatment. Dudley Moore was invested as a Commander of the Order of The British Empire (one step below knighthood) in June 2001. Moore personally attended the ceremony at Buckingham Palace to accept his CBE from Prince Charles, despite being unable to speak and being wheelchair-bound. He died in Watchung, New Jersey on March 27, 2002, from the pneumonia related to progressive supra-nuclear palsy. He was 66 years old. Dudley Moore was married four times, to actresses Suzy Kendall (I), Tuesday Weld, Brogan Lane and 'Nicole Rothschild', and had two sons, one with Tuesday Weld and one with Nicole Rothschild.

TRIVIA: Was the first choice to play "Henry Fine" in _The Mirror Has Two Faces (1996)_ (qv), only to be replaced by 'George Segal (I)' (qv) (who was, ironically, replaced by Moore in the role of "George Webber" in _10 (1979)_ (qv)). In an interview following his announcement that he had supranuclear palsy, he revealed that he was dismissed from the role because he had trouble remembering his lines. In 1983 won the NATO Male Star of the Year Award. Godfather of 'Peter Cook (I)' (qv)'s eldest daughter, Lucy. Turned down a job offer as organist at King's College, Cambridge, to launch his music and acting career. He died the same day as 'Milton Berle' (qv) and 'Billy Wilder' (qv). He and Wilder both died of pneumonia. (March 1994) Arrested and charged with suspicion of domestic violence on a cohabitant. Son Patrick (with 'Tuesday Weld' (qv)) was born in 1976.

Moore was born with a clubfoot that was surgically corrected in his youth. Related sites for this celeb What's My Line? - Season 14, Episode 10: EPISODE #637 - TV.com AIRED: 11/4/62 Game 1: Dudley Moore, Peter Cook, Jonathan Miller, Alan Bennett - (as Mystery Guest Quartet and the panel is blindfolded but the regular questioning format is used) - "Entire Cast of Broadway Show 'Beyond The Fringe'" (salaried; Arlene Francis is the first questioner and she nails their identities in five questions!) Dudley Moore (4/19/1935 - 3/27/2002) Jonathan Miller (b. 7/21/1934) Alan Bennett (b. 5/9/1934) Game 2: Mrs.

Corinne Williams - "Professional Bronco Buster & Steer Wrestler" (self-employed; after she signs in, she tells John that she is a widow and he expresses his sympathies; she is the only professional woman steer wrestler in the world, she is a member of the "Professional Rodeo Cowboys Association"; after her game, John turned over all the cards for her; from Fort Worth, TX; see biographical notes below) Game 3: Robert Goulet (11/26/1933 - 10/30/2007) (as Mystery Guest #2) Game 4: Jack Luzzatto - "Constructs Crossword Puzzles" (salaried; he supplies puzzles to the Herald Tribune, the New York Sunday Times, the weekday New York Times and other newspaper publications; time ran out and John turned over all the cards; from the Bronx, NY) .

Question: Which cast member played the piano in the original Beyond the Fringe satirical revue of the early Sixties ?
Answer: DUDLEY MOORE