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Pat Coombs

Patricia Doreen Coombs (27 August 1926 – 25 May 2002) was an English actress and comedienne renowned for her portrayals of downtrodden, meek female characters in across radio, television, and film. Born in , , Coombs initially worked as a teacher before training at the London Academy of Music and Dramatic Art () in the early 1950s, where her contemporaries included . She began her entertainment career in and quickly transitioned to radio, becoming a regular on shows such as , Hello Playmates with , , and The Ken Dodd Show throughout the 1950s and 1960s. Her distinctive twittering voice and timing made her a sought-after foil for leading comedians, establishing her as a stalwart of . Coombs' television career flourished in the 1960s and 1970s, with recurring roles in popular sitcoms that highlighted her specialty for hen-pecked or submissive women. She appeared as a neighbour in (1965–1975), including the role of Ethel Carey, and featured in episodes of and (1963–1980). Notable leading parts included Dorothy Blake in Don't Drink the Water (1974–1975), Violet Robinson in Lollipop Loves Mr. Mole (1971–1972), and Cissie Lupin in (1977–1981). In film, she had supporting roles in comedies such as a hospital patient in (1968), Miss Armitage the matron in (1969), and Henrietta Salt in (1971). In her later years, Coombs continued working steadily, portraying Marge Green (also known as Brown Owl) in from 1989 to 1990 and appearing in adaptations like (1985) and Dombey & Son (1969). She also featured as Pru in (1991) and remained active on radio until early 2002. Diagnosed with in the mid-1990s, which reduced her height from 5 ft 8 in to 5 ft 2 in, she raised over £100,000 for the National Osteoporosis Society through public appearances. Never married and a close friend of actress , Coombs spent her final days in a nursing home, where she died of on 25 May 2002 at the age of 75.

Biography

Early life

Patricia Doreen Coombs was born on 27 August 1926 in , , to a working-class family. Her father, Thomas Coombs, worked in insurance, while her mother, , was a witty homemaker. She had two sisters, with whom she shared a close bond growing up. The family relocated shortly after her birth to and later to in , where Coombs spent much of her childhood amid the challenges of the interwar years. At the age of six, during a family holiday in , she became captivated by a concert party performance, igniting her lifelong passion for ; however, she kept this ambition hidden from her family to avoid ridicule. Her comedic talents emerged early at school, where she entertained classmates by mimicking teachers and peers, honing a natural flair for that would define her career. After leaving school, Coombs worked as a teacher for three years to support herself. At age 19, in 1945, she secured a to the London Academy of Music and Dramatic Art (LAMDA), where she trained as an actress and later briefly taught dialect. Encouraged by her next-door neighbor, the future actress , she took private acting lessons before or during her time at LAMDA. This period marked her transition into professional work, beginning with radio roles in the early 1950s.

Personal life

Coombs never married and had no children, although she later expressed regret over the latter. She came close to marriage twice but ultimately decided against it, citing uncertainty and concerns that it might have curtailed her acting career. She maintained a close relationship with her sister, who survived her, and enjoyed deep friendships within the entertainment industry, including with comedian —rumors even circulated of a marriage proposal from him, though their bond remained platonic—and actress , near whom she relocated later in life. Coombs lived modestly in a flat for decades, reflecting her working-class roots, before moving to , an actors' in Northwood, , around 2000. Her life was detailed in the 2021 authorized biography Pat Coombs: Oooh! Just Look at You by Ian McLaughlin. In her private life, Coombs was notably reclusive regarding publicity and preferred to blend into the background outside of work. She was a prolific letter writer, often sending up to eight letters daily, and relished long conversations with friends. Financially prudent, she supplemented her through voice work in commercials for brands such as Just Musk, Lyons cream cakes, and tea bags. Additionally, she supported philanthropic causes, personally raising over £100,000 for the National , including £35,000 in just five days.

Illness and death

In the late stages of her life, Pat Coombs was diagnosed with in 1995 and became a prominent campaigner for the National Osteoporosis Society, serving as its patron from 1998 and raising over £100,000 for research through appeals and events. She also developed , a condition that progressively worsened. Around 2000, Coombs relocated to Denville Hall, the retirement home for actors in Northwood, London, operated by the Actors' Charitable Trust, to be closer to her longtime friend and fellow actress Peggy Mount. Her final professional engagement came in February 2002, when she recorded a guest role in the BBC Radio 4 series Like They've Never Been Gone, appearing alongside Roy Hudd and June Whitfield. Coombs died on 25 May 2002 at , aged 75, from complications of . She was survived by her sister.

Career

Radio

Pat Coombs entered radio in the late 1940s, making her debut appearance on the BBC's variety show Here's Howard on 9 May 1949, where she performed alongside and . Her early work included regular spots on programs like Workers' Playtime, a morale-boosting variety series broadcast from factories, where she appeared as a singer and comic performer starting in the early 1950s, including an episode on 17 February 1955 with . These roles honed her skills in vocal , leveraging her talent for dialects and character voices developed during her training. Coombs achieved her breakthrough in 1954 with the sitcom A Life of Bliss, voicing multiple peripheral characters such as salespersons and maids to support George Cole's lead role as an awkward bachelor. That same year, she joined Arthur Askey's Hello Playmates as , the dim-witted and put-upon daughter of Handl's Mrs. Purvis, a role that established her signature "eternal underdog" persona as a downtrodden foil in domestic sketches. Written by and Denis Goodwin, the show's chemistry between Coombs and Handl led to expanded sketches featuring the characters, solidifying her reputation for timing and exaggerated resignation in . She also appeared as the home-help Ursula Prune in Ray's a Laugh during the , further showcasing her ability to embody hapless supporting figures. Throughout the 1950s, Coombs collaborated frequently with comedians like and , often serving as a stooge in sketch-based programs that highlighted her reactive timing and vocal expressiveness. Notable roles included guest spots in and A Proper Charlie with , where she played submissive wives and aides to amplify the leads' antics. Her work extended to panel games and variety, including contributions to in the early 1960s. In the and , Coombs continued as a radio mainstay, taking on the role of the long-suffering mother to Jimmy Clitheroe's title character in (1956–1972), a family that ran for over 500 episodes and emphasized her warm yet exasperated delivery. She made guest appearances in sketch shows, maintaining her underdog archetype through voice-only formats. Although she transitioned to television in the late 1950s with adapted sketches, radio remained a primary outlet into the , as Coombs herself noted her preference for the medium's focus on audio performance over visual presence.

Television

Pat Coombs made her television debut in the early with appearances in the (1962–1967), where she played supporting roles as a comic domestic foil to and , contributing to the show's portrayal of suburban life. Her breakthrough on television came through regular guest spots in variety and sketch shows, including (1963–1981), in which she appeared in over 40 episodes, often embodying the exasperated everyman character in comedic sketches that highlighted her timing and expressive facial reactions. Coombs received particular praise for her lead role as Lily Thompson in the (1967–1968), a series about class tensions between neighboring , where her performance as the snobbish wife added depth to the ensemble dynamic alongside and ; producer David Croft noted her ability to convey subtle frustration with understated humor. In the 1970s, Coombs starred as Dorothy Blake in the sitcom Don't Drink the Water (1974–1975), portraying a henpecked retiree living in with her brother, a role that showcased her skill in and verbal sparring, earning her recognition as a versatile foil in domestic scenarios. She also starred as Violet Robinson in the sitcom Lollipop Loves Mr. Mole (1971–1972), playing a submissive in a domestic . She followed this with a long-running lead as Cissie Lupin in You're Only Young Twice (1977–1981), a retirement home sitcom opposite , where her character as a mischievous resident helped sustain the series across through her adept handling of farcical misunderstandings. Throughout the decade, she made notable guest appearances in medical sitcoms like Doctor in the House (1970s episodes), typically as flustered patients or staff that amplified the show's chaotic hospital setting. Coombs' later television work included recurring neighbor roles in and its sequel (1970s–1990s), where she played the beleaguered Mrs. Carey, providing comic relief amid the Garnett family's tensions. In the 1990s, she appeared in episodes of , contributing brief but memorable turns as quirky villagers that fit the series' gentle Yorkshire humor. Her final significant role came in 2001 with a brief appearance in Eyes Down, a bingo hall sitcom, though declining health curtailed further involvement before her death the following year.

Film

Pat Coombs's film career was marked by sporadic but memorable appearances in comedies, spanning the to the 1980s, where she often brought her trademark timid and flustered persona to supporting roles. Primarily a television and radio performer, her cinematic contributions emphasized ensemble humor in popular genre films, with a focus on character-driven comedy rather than lead parts. These roles highlighted her skill in delivering understated reactions that amplified the absurdity around her. Coombs began accruing film credits in the early with uncredited supporting parts, such as a nurse in the Norman Wisdom vehicle (1963), a family directed by Robert Asher that revolved around a hapless orphan and his chaotic medical mishaps. She followed this with an uncredited appearance as an anxious patient in (1967), the long-running franchise's hospital-set satire featuring and , where her brief scene captured the panic of the overcrowded ward. These early efforts established her as a reliable purveyor of subtle in bustling ensemble casts. A standout role came in (1969), where Coombs played the New Matron, the downtrodden assistant to the tyrannical head matron (portrayed by ). Directed by , the film parodied and experimental treatments, with Coombs's character enduring constant belittling while fumbling through her duties, perfectly embodying her signature timid . Her performance added layers of to the , contributing to the film's box-office success as part of the enduring series. In the early 1970s, Coombs appeared in several high-profile comedies that echoed her television work. She played a brothel maid in the satirical period piece (1968), a directed by Philip Savile and starring , which lampooned Victorian social reforms on through bawdy humor and antics. The following year, she featured as a neighbor in (1972), a sequel to the controversial film, tying directly into her recurring downtrodden neighbor types from the TV series; her role provided amid the film's exploration of working-class family dynamics and social prejudices. Other notable 1971 releases included Henrietta Salt, the overbearing mother of , in the musical fantasy , directed by ; Mrs. Hall, a local busybody, in the wartime ; and Vera, a factory worker, in the bus depot spin-off . These roles showcased her versatility in family-oriented and workplace comedies, often amplifying the central stars' antics through her exasperated expressions. Coombs's later film work shifted slightly toward mixed genres, including Libby Niven in the crime Ooh... You Are Awful (1972), a vehicle involving tattooed bank account numbers and chaotic chases. Her final screen appearance was a brief in the gangster biopic The Krays (1990), directed by and starring the Kemp brothers as the infamous twins; this uncredited dramatic turn late in her career marked a departure from , offering a poignant glimpse of everyday East End life amid the violence. Overall, Coombs's film output, though limited to around a dozen credits, underscored her enduring appeal as a character actress in popular cinema.

Children's television

Pat Coombs was a prominent figure in children's television, particularly through her work on educational programs that emphasized and storytelling for young audiences. She served as a presenter on the BBC's Play School, a pioneering show that ran from 1964 to 1988, appearing in episodes during the 1970s and 1980s, where she used puppets, songs, and simple activities to engage toddlers and foster early development skills. Her gentle, comedic delivery helped make complex concepts accessible and enjoyable, contributing to the program's reputation as a cornerstone of preschool education. Coombs extended her involvement with younger viewers on , the school-age spin-off of Play School that aired from 1971 to 1984, where she participated regularly in sketches, music segments, and comedy routines alongside co-presenters like . This role allowed her to adapt her diffident, vulnerable comedic style to , promoting and social interaction without condescension, which was praised for enhancing children's confidence in performative arts. In the 1970s, Coombs made guest appearances on , the storytelling series, reading children's books with comic flair to captivate listeners aged 5 to 7; notable examples include dramatized readings that brought humor to narratives like . Her expressive voice work and timing added an entertaining layer to the educational goal of encouraging . From the late 1970s into the 1980s, she contributed to ITV's The Book Tower, a program dedicated to promoting through reviews, readings, and short dramatizations, appearing in episodes that highlighted diverse books to inspire reading habits among children. Overall, Coombs' presence across these shows underscored her impact on by blending entertainment with subtle , making her a beloved figure for generations of young viewers.

Legacy

Recognition and tributes

Following her death in 2002, Pat Coombs received widespread tributes from the British media, where she was celebrated as a stalwart of comedy and one of its unsung talents. The described her as a key figure in for over 50 years, highlighting her memorable roles in series like . Similarly, praised her distinctive voice work and ability to bring vulnerability to downtrodden characters, noting her collaborations with comedy legends such as and . Chortle echoed these sentiments, emphasizing her enduring popularity in a host of supporting roles across television and radio. In the years since, Coombs' contributions have continued to be recognized in comedy retrospectives, underscoring her lasting cultural impact. A 2023 feature in the British Comedy Guide titled "Oooh, I say!: The kind but clever comedy of Pat Coombs" portrayed her as an admired supporting performer whose "simple sweetness" and vivid portrayals of kind, vulnerable figures influenced the character-driven style of British sitcoms. The article highlighted her skill in voice mimicry and timing, crediting her with enriching the genre through roles that balanced naivety with subtle cleverness, and noted how her work remains a for later generations of performers. Her legacy endures through archival appreciation of her notable appearances, such as in , in collections that celebrate classic . These ongoing commemorations reflect Coombs' role in shaping the empathetic underdog archetype central to mid-20th-century humor.

Biographical works

The authorised of Pat Coombs, titled Pat Coombs: The Authorised and written by Andrew Ross, was published in 2021 by Fantom Films. Drawing on Coombs' personal archive as well as interviews with family members, including her sister , and co-stars, the book provides a detailed chronicle of her life, from her early training to her extensive career in radio, , and . Ross, who developed a five-year with Coombs, incorporates recollections from colleagues to highlight her versatility and the evolving landscape of entertainment. Following Coombs' death in 2002, initial biographical overviews appeared in obituaries published by and , which summarised her career highlights, comedic style, and contributions to post-war British media. These pieces, appearing shortly after her passing from , offered early insights into her portrayal of downtrodden yet resilient female characters across decades of performance. In 2023, Fantom Publishing released the article "A Life of Laughter," an excerpted reflection on Coombs' biography that addressed previously underexplored aspects of her early career, such as her time at the , where she faced challenges that shifted her focus toward rather than straight . This piece, timed to mark what would have been her 97th birthday, emphasised her enduring humour and adaptability in the industry.

Filmography

Film roles

Pat Coombs appeared in several films throughout her career, predominantly in comedic supporting roles that highlighted her talent for eccentric, downtrodden characters, often mirroring her television personas. She played Mavis Wrigley, an anxious patient, in (1968), the 18th entry in the Carry On series directed by , alongside , , and ; her brief role contributed to the film's hospital-based slapstick humor and commercial success. Coombs played Miss Armitage in (1969), the 22nd entry in the long-running Carry On series directed by , alongside , , and ; her role as the strict yet flustered matron exemplified the series' bawdy humor in a setting, and her delivery was noted for enhancing the film's box-office success and enduring cult status. She portrayed Henrietta Salt, the mother of , in (1971), a musical directed by , starring and based on Roald Dahl's novel; Coombs' uncredited role added to the ensemble of parents in this family classic. In The Alf Garnett Saga (1972), a spin-off film from the TV series Till Death Us Do Part directed by Alan Clarke, Coombs appeared as a nosy neighbor, co-starring Warren Mitchell as Alf Garnett; her gossipy character amplified the film's controversial social satire on working-class life, with critics appreciating her contribution to the comedic tension amid the production's political controversies. Her final major film role was as Aunt Rose in The Krays (1990), a biographical crime drama directed by Peter Medak, starring Gary Kemp and Martin Kemp as the infamous twins, with Billie Whitelaw as their mother; Coombs' portrayal of the family aunt offered brief comic relief in an otherwise dark narrative, and her performance was commended for bringing warmth to the ensemble cast in this critically acclaimed depiction of East End gangsters.

Television roles

Pat Coombs began her television career in the with guest appearances in comedy series and variety shows. In the early , Coombs gained prominence in sitcoms, starting with (1962–1967), in which she played the recurring character across more than 80 episodes, contributing to the show's domestic centered on mismatched household dynamics. She also became a regular ensemble member in (1963–1983), featuring in various sketches over its 20-series run, often portraying eccentric supporting characters that complemented Emery's versatile impersonations. She appeared as a neighbour, including the role of Ethel Carey, in (1965–1975). Coombs also featured in episodes of (1968–1977). Notable leading parts included Dorothy Blake in Don't Drink the Water (1974–1975), Violet Robinson in Lollipop Loves Mr. Mole (1971–1972), and Cissie Lupin in (1977–1981). The 1970s saw Coombs take on prominent guest roles in several popular series. She guest-starred multiple times in (1973–1977), playing various nurses and patients in the medical comedy. Later in her career, Coombs continued with notable guest spots in long-running shows, including as the vicar's wife in several episodes of (1995–1999), adding to the Yorkshire-based comedy's ensemble of quirky villagers. She portrayed Marge Green in from 1989 to 1990. Her final television role was a guest appearance in Eyes Down (2001), the bingo hall sitcom starring . Throughout her career, Coombs amassed over 100 credits, including adaptations from her radio work and appearances in variety specials, showcasing her versatility in sketches and supporting roles.

Radio credits

Pat Coombs contributed to a wide array of comedy productions across her career, with her work spanning variety shows, sketch series, and sitcoms primarily on the Light Programme (later ) and . Her performances often featured her distinctive voice for downtrodden or eccentric female characters, enhancing the humor in ensemble casts. In the early 1950s, Coombs established herself as a regular on the morale-boosting variety program Workers' Playtime, appearing in live broadcasts from factories during 1952–1953 and into the mid-1950s. She gained prominence as a cast member of the long-running Take It from Here from 1953 to 1959, contributing voice work and characters to over 50 episodes, including the iconic "Life with the Glumms" segment alongside , , and . During the 1950s, Coombs also took lead roles in The Arthur Askey Show, a variety series hosted by the comedian , where she showcased her comedic timing in sketches and songs. Later credits included ensemble appearances in (1958, as the Saxon Princess in one episode) and (1962–1975, multiple ensemble roles). She performed in the sitcom (1965) with and . In 1972, she guested on Parsley Sidings (as Cyril and Maude Smallpiece) and (as Aline Hemmingway). Coombs had a recurring role as Bryan's mother (and voice of baby Albert) in the sitcom Albert and Me across its 1977–1983 run, appearing in over 20 episodes. She featured in Know Your Place (1982–1983), a sitcom set in a rundown London block of flats. In her later years, she starred as Hetty Stark in all 24 episodes of the sitcom Like They've Never Been Gone from 1998 to 2002, her final radio series alongside and .

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