In a year of tumult, it’s been a tumultuous week, all commotion and confusion. Everyone is dealing with their own personal bucket of uncertainty at the moment: for me, that bucket was dumped pretty much all on one day. A fingers-crossed job interview, a month in Bristol cancelled, an injection flooding my bloodstream.
But, like the little story I’m about to tell you, I’m hopeful that this week of tumult will end on optimism and action.
Foiled is over! No, like, over over
Last Monday, the final episode of this series of Foiled was aired. It was a nerve-wracking moment. We had a lot of problems with the sound while we were recording back in December and I was worried that the episode wouldn’t do itself justice. But the producers pulled a rabbit out of the hutch and one listener even said that it ran episode two a close second for her favourite show this series (thanks, mum).
Then, on Friday afternoon, I got a phone call from co-writer Beth Granville. In the afterglow of another successful series, the news came that, after eight hours of comedy content, Foiled would not be recommissioned by BBC Radio Wales.
Every year we gird our loins for this kind of news. The reality is that radio sitcoms rarely get commissioned for two series, let alone four. As the commissioners explained in their Dear John letter, as fantastic as Foiled has been, they have to make space for new writers.
Nevertheless, despite our tightly girdled loins, the news came as a shock to me. Why? Maybe because, after four years, I had been lulled into a sense of false confidence. Maybe because this past year has been so filled to the brim with shock that, our brims overflowing, every bump in the road hits us hard in the feelies.
But maybe it’s also because of the way we’ve had to write and record Foiled this year: in a remote state of dreamlike disconnection.
From room to remote
Beth and I write Foiled as a team and, although we no longer live in the same city, we have always made time to write together in the same room. Sometimes, we’re lucky enough to run away to a deserted beach house where no one can distract us from the important work of long walks, cooking and sandart.
But, of course, in 2020, we could snatch only moments together, in between lockdowns. And that shift from room to remote had a deleterious effect on both our writing process and—speaking for myself at least—my mental health.
Side note: I spent some of this week writing a commissioned article about how many hours it takes to write a sitcom. So I know exactly what the data says about working remotely during a pandemic: it won’t take you longer to do your job, but it will feel more like hard work.
There is something ineffable about creative writing. The hours Beth and I spend together on long walks, cooking and sandart is unstructured playtime, and often the source of our best ideas—not because we are thinking or talking about Foiled, but precisely because we’re not.
Mourning the ghosts of ideas we never had
I’m sure you’ve all had brainwaves while you’re in the shower or doing the washing up: unplanned, often inconvenient, bubbles of creativity that quickly pop unless you jot them down. These are the moments that are critical to the writing process. They are what transform the march of letters and punctuation into a cavalcade of light entertainment.
Although this kind of inspiration does still happen when we’re working alone, the company of another writer amplifies the effect. Rarely does a sandart idea arrive fully formed: it comes rather as an ephemeral ghost. If you’re with another writer, holding a shell or some other beach flotsam, you can tentatively voice the ghost.
Your co-writer will jump on the idea (probably grateful that somebody’s finally said something useful) and together you’ll spin the ghost into something real and manifest. Often, these fleshed-out ghosts make it directly onto the page, even if the sandart scaffolding is eventually cut down.
In 2020, because of the way we had to work, we manifested few of those spirits. Unstructured playtime simply doesn’t happen on video calls. After we finished recording, Beth told me that she ‘mourned’ for all the ideas that we never had this series. It was a poetic way of saying that, although this was probably our best series, who knows what it could have been if we’d written together in the same room.
Next time will be different
Many of you know that we usually record Foiled in front of a live audience. The two days of recording are always the two best days of my year. Naturally, this series we couldn’t do that. We couldn’t even be with the other actors this year.
I’d like to make it very clear that I’m not complaining. At a time when many people lost their jobs, I was incredibly lucky to have any work at all last year.
I was grateful that the producers found a role for me so that I could at least listen into the recording and help Beth set up her home studio (think wardrobe, think duvets, think lamps dangerously close to duvets). But helping to produce the show in a borrowed house was also pretty stressful: Would the microphone arrive in time? Would the recording save properly? Would the duvets catch fire?
And there was none of the usual sense of celebration when we finished. No after party dinner and drinks. None of the release of tension that everybody needs after the completion of a stressful, year-long project. Just the remains of a falafel and a sprint for the train.
The pandemic has reminded us all that we must never again take anything for granted. The day the pubs closed, we all started dreaming of how next time would be different, how we would embrace our friends harder, laugh louder and drink it all in (literally and figuratively).
It was the same throughout the Foiled writing process in 2020. Every time we found ourselves struggling, Beth and I would comfort each other by saying that next time would be different. Next time we’d write together, next time we’d record together, next time we’d celebrate together.
And this is the real reason why I think the news that Foiled wouldn’t be returning for a fifth series came as a shock.
We will never have a next time.
Or will we?
I said (through gritted teeth): ‘Or will we?’
Actually, do you know what? There was a Foiled before the BBC. Why can’t there be a Foiled after the BBC?
At the very least, we should celebrate the remarkable ride we’ve had on the good ship Foiled over the past five years. At the very least, we should scoop up all the friends and fans of the show, everyone who has supported us and laughed and cheered, and say a huge thank you.
Oddly enough, the Prime Minister’s psychotic roadmap might offer us a donkey on which to pin a tail. Whisper it quietly, but, this summer, couldn’t we get hold of a hair salon for an evening? Couldn’t we fill it with friends and Welsh cakes and invite the actors we’ve worked alongside to come and perform a staged reading of Foiled?
Just one last time.
And, if that’s a success, well then…
You can catch up on the last EVER BBC Radio series of Foiled on BBC Sounds.
- Episode 1 with Garnon Davies as Tonypandy’s local baguettes kingpin
- Episode 2 with Miles Jupp as Richie’s barbarous dad
- Episode 3 with Vicky Vox as the one and only Vicky Vox
- Episode 4 with Kiell Smith-Bynoe as Mike the karaoke booth manager
The thing is dead, long live the thing!
ps: Tom O’Brien, director of the 2016 Edinburgh Fringe edition of Foiled, recently launched himself into the world of online acting and performance coaching. As a ridiculously talented director and dramaturge, Tom’s work remains a huge part of the characters and world of Foiled. If you know anyone looking to massively upgrade their creative work, I recommend Tom in the strongest possible terms.