Some say that the art of writing a successful television sitcom, is no laughing matter.

Yet, I guess, if the British public were to name their all-time favourite TV sitcoms, three would inevitably emerge jostling near the top: Dad’s Army, Fawlty Towers and Only Fools and Horses. Even after several decades, this comedic trio have never failed to lose their hilarious grip on the British public.

However, there are many past examples of varying quality, now forgotten and consigned to the waste bins of television history.

For those of a certain age, who’s memories can stretch far back into broadcasting antiquity, the traditional sitcom probably came into proper public attention by the close of the 1950s.

Some early examples included The Army Game (which later spawned a sequel of sorts with Bootsie & Snudge) and of course, Hancock’s Half Hour, which had previously aired on radio.

It featured the sublime pairing of Tony Hancock and Sid James, grumbling, groaning and sighing, while giving vent to their daily frustrations of life, amidst their humble London surroundings.

As the 1960s progressed, many sitcoms mirrored the more recognisable and humdrum working lives of ordinary Brits; something that was frequently highlighted in many a 1960s British film.

Possibly the perfect example arrived in the shape of a father and son rag and bone business called Steptoe and Son. The two main protagonists were not comedians, but actors, revealing a flair for comedy, while being ably assisted by the observant writing of Ray Galton and Alan Simpson.

Whilst examining these early examples (as well as many comedies that followed) a common thread could be seen running through several of them: social aspiration, manic confusion & character frustration.

Currently, a relatively new TV channel (That’s TV) has been re-screening some rare comedy gold (or dire comedy dross) from the not-too-distant past.

Sitcoms that both the BBC and ITV appear to be somewhat wary, reluctant and hesitant to re-show; no doubt due to what is generally now regarded as – ‘problematic material’!

The likes of Till Death Us Do Part, Up Pompeii, It Ain’t Half Hot Mum, On the Buses and Nearest And Dearest, have all been resurrected from their cobwebbed crypts, to once more entertain (or shock!) today’s TV audiences.

Perhaps the traditional sitcom plumbed new headshaking depths, with two shows standing out: Love Thy Neighbour and the often-forgotten Curry and Chips. The former focused on the blinkered racial bigotry (verbalised on a regular basis) from a narrow minded prejudiced white man, to his new black neighbour. Certainly, a world away from the cosy middle class familiarity of Terry and June.

As for the latter, Curry and Chips arrived towards the end of 1969 with seemingly impeccable credentials: a script by Johnny Speight, and starring two of the UK’s top comedians, Spike Milligan and Eric Sykes.

A public outcry and accusations of outrageous racism (not forgetting the startling image of Spike Milligan blacked up as an Irish/Pakistani) forced the series to be eventually pulled from the schedules.

An ignominious conclusion to a series that – even back then – caused a storm of controversy.

One 1970s sitcom has been regularly re-shown on a virtual loop these past months and still stands extremely high in the pantheon – Rising Damp. It has even been described as the greatest ever ITV sitcom, while being loosely compared with the works of Samuel Beckett and Harold Pinter.

A bit of a stretch perhaps, but some critics have pinpointed the unlikely comparisons.

Written by Eric Chappell, it began life as a stage play called The Banana Box, with Wilfred Brambell (from Steptoe and Son), cast as the lecherous, penny-pinching landlord of a seedy, downmarket bedsit. At that time, the character was named Rooksby (later changed to the more familiar Rigsby, when transferred to television) with the peerless Leonard Rossiter putting on the moth-ridden cardigan, while giving his young tenants (not forgetting Vienna, the cat) a hard time, whilst railing against life’s injustices.

Rigsby was very much a product of his time: a man seething with ill-concealed prejudices, and lustful frustrations, while constantly bemoaning how life has treated him. In fact, he was not unlike a former work colleague of mine, who often displayed ‘Rigsby like tendencies’, throughout much of the time I observed him in action!

Despite Rigsby’s barbed insults to his black tenant, he is confronted by the fact that the younger man (son of an African Chief, with ten wives!) is far more culturally sophisticated and intellectually polished than himself.

Then there is the object of his thwarted desire, the prim, proper and eternally spinsterish Miss Jones, who attempts to keep his lustful advances at arm’s length…for as long as she can.

The confined setting, the hilarious situations, the overall excellence of the writing and the accomplished playing of the cast, continues to set the bar high in the world of situation comedy.

Thankfully, the show’s comedic durability appears to have lasted far longer than the frayed and tatty carpets and wallpaper adorning Rigsby’s bleak house! ■