Introduction

On Easter Sunday, 17 April 1960, during an edition of the popular Associated Television (ATV) programme Sunday Night at the London Palladium, pop singer Adam Faith and comedian- entertainer Bruce Forsyth, the show's compère, performed a short routine in front of the curtain of the illustrious Variety theatre. Faith, the ‘headline’ act on a bill which also included the acrobatic Dior Dancers, the high- kicking John Tiller ‘Girls’ and actress Beryl Reid, had already performed his own numbers, much to the excitement of younger audience- members. He returned to take several bows, but, to the astonished amusement of the audience, his place onstage was suddenly assumed by Forsyth, dressed as Faith in an identical leather jacket and blonde wig. After a brief exchange, in which Faith dutifully assured Forsyth that he did not object to this impersonation, the two commenced a duet of one of the younger singer's most successful hits, ‘Poor Me’. Forsyth was a renowned impressionist, and he relished the opportunity to mimic Faith's trademark stuttering vocal style. The audience evidently enjoyed their comic performance, at the end of which the two men shook hands before joining fellow cast members on the Palladium's revolving stage to take their final bows.

Both Faith and Forsyth had reached an apex in their respective careers by this time. Faith had already attained number one chart hits with ‘Poor Me’ and ‘What Do You Want?’, and ‘Someone Else's Baby’, which he performed on the programme, reached number two in April 1960. Forsyth, meanwhile, had doggedly pursued a theatrical career, despite several lean periods, until the ultimate Variety assignment – that of compèring this illustrious show – became his. In other respects, however, the two performers represented strikingly different musical and cultural worlds. Forsyth had been performing since his teenage years in the 1940s, working steadily in various entertainment fields – dance, musical performance and comedy – to develop as a distinctive, versatile performer. Meanwhile, Faith, though increasingly acquiring theatrical experience, was a novice by comparison. Terence Nelhams had, by his own account, entered the popular music world, and assumed the name of Adam Faith, almost on a whim, during a time in which young men could, apparently, swiftly rise to fame in the business, even with limited abilities, provided that they were managed effectively and possessed the right appearance and demeanour.