When we think of the ‘Carry On’ films, many of us think of the core team; Kenneth Williams, Sid James, Barbara Windsor etc. But many fans, like myself, hold a shared interest in learning more about those cast members who played a key role in the series, but that very little is known about. Of course, all these years later, even with the wealth of information available online, it can be very difficult to track people down. Surnames can change through marriage or partnerships, people have a change of career, retire or have simply faded into obscurity for a variety of reasons. One such example is Gail Grainger.
If you have made it this far then you don’t need telling that Gail played ‘Moira Plunkett’ in ‘Carry On Abroad’ (1972) (I’ve told you anyway). The character was central to the storyline and certainly had ample...screen time, yet very little was known about the lady who brought ‘Moira Plunkett’ alive, in what was quite a unique role. I remember circa 20 years ago when Carlton rebranded the franchise and released the films on DVD, with special features and audio commentaries, that even Gail’s fellow co-stars mused as to her whereabouts and what happened to her after ‘Abroad’. So very little was known about her.
I couldn’t call myself a true fan without also being utterly absorbed by the ‘mystery of Gail’. There have been many attempts over many years to make contact with her, all to no avail. A real life ‘The Lady Vanishes’. Never one to turn my back on a mystery, in 2017 I stepped into the Gail Grainger labyrinth and set about doing my own research into her. The trail was not just cold, it was sub-zero. We even had a mutual friend (who had sadly also lost touch with Gail) who, try as she might, was unable to produce any clues as to her current whereabouts.
Part of me always embarks on such quests with a degree of trepidation, and always (always) respect. People may not want to be ‘found’ or contacted. There may be good reason why they are happy to be out the limelight. You must tread carefully. The months (years!) ticked past. I would get the odd glimmer of hope, only for it to then abruptly fade. Then in July 2022, all that changed. I received a letter through the post. It was from Gail. It was a very sweet letter and she was happy to talk. I have been so very lucky over the years, having met and received correspondence from some very famous and interesting people, but this…well. I put the note on my dining table and simply stared at it. This was the ’Holy Gail’ after all. It disrupted my whole day. That may sound dramatic but it is the truth. Without even realising it I was actually holding my breath.
So, after pacing around for an hour I drafted (and redrafted times 10) a response, and sent it. I waited. Nothing. I sent several follow up emails over several months, not wanting to appear desperate or impertinent. Had my replies fallen into a ‘spam’ folder? Or had she changed her mind? I decided to leave it a while. Then, during an unrelated trip in March 2023, I sent what I had decided to be my final effort whilst sat on a long train journey.
Late that same evening, after returning from the theatre, an email had arrived in my inbox. Gail was free the following day and agreed to meet me for coffee.
Between that evening and the following morning anything that could go wrong did. My Uber couldn’t find me at my location and then proceeded to drop me at the wrong drop off, about a mile from where I actually needed to be. I had a flaky phone signal so wasn’t even sure if my messages, desperately pleading forgiveness for my lateness, were even landing with Gail. In any case I arrived at the meeting point, opened the door and spotted Gail, sat with her gorgeous dog, waving to me. After around 5 years I had finally found my way out of the labyrinth.
She had not changed one little bit. We had a very informal chat over coffee and, well, the rest is history as they say. We then had a long conversation over the phone a couple of weeks later. I had so many questions (around 30!) I had to shave them down the best I could as I didn't want to bombard her.
So, here we have what I believe is the first interview with ‘Miss Plunkett’, sorry, Gail, about ‘Carry On Abroad’ since it was made all those years ago.
Over 5 years in the making and taking hours and hours of research, patience and doses of optimism. I hope fellow fans enjoy the interview as much as I did conducting it.
(No itineraries were squashed in the making of this section...)
CP: You really have not change one bit! It is remarkable!
GG: (puts here face in her palms) Oh, I’m sure I have!
CP: Not at all. You look wonderful (I realise I am staring and have fallen silent!)
GG: Thank you.
(‘Daisy’ her beautiful canine companion eyes me with uncertainty but seems to mellow when the waiter brings her a small plate of doggie treats, I’m already old news and so she now allows a little fuss).
CP: What was it like working in the entertainment industry in the 1970’s? Did you always want to be an actress?
GG: It was very different to what it is today. I didn’t want to be an actress, I wanted to be a ballet dancer. Ballet was my interest. I attended The Arts Educational school in London but as part of that you also studied drama and stage. I was doing Panto from the age of 14 and then ‘The Nutcracker’ when I was 16. I had a full Equity card when I was 16, which was unknown in those days. You may know this but in those days in order to get your Equity card you had to have completed 26 weeks work. However, you couldn’t work with an Equity card! It really was a catch 22 situation. So, you would have to take jobs where you didn’t speak and you had to be trained. It was very strict.
CP: You were cast in the stage production ‘Dead Duck’, produced by Leslie Phillips and then alongside him and under his direction in ‘The Man Most Likely To…’ and also in the TV series ‘Casanova ‘73’, again with Leslie. What was it like working with Leslie?
GG: Leslie was the ultimate professional. I learnt a lot from him. He was incredibly helpful but always believed himself to be right! He once said to me, “Everyone complains that I say I’m always right, but that’s because I always am!”.
CP: I met Leslie and was in contact with him and his wife not long before he passed away. He didn’t always have an easy life by accounts?
GG: I didn’t know his last wife but I knew Angela (Scoular). That was very, very sad what happened to her. (Leslie's previous wife, Angela Scoular, sadly committed suicide in 2011) .
CP: Very. Let’s move onto a more cheerful topic; of course, I have to ask you about ‘Carry On Abroad’. It is regarded by many as one of the very best in the series – how did you become involved in the production?
GG: Well, it was through my agent. I had a very good agent, the same agent as Barbara Windsor. I had never been up for any of them (the ‘Carry On’ films) and it was never discussed. They had this part. It was opposite Kenny Williams who could be difficult with young woman, he was quite a character you know, and a bit of a law unto himself. They were struggling to think of someone suitable to fill the role opposite him in the role of ‘Moira’. The usual girls weren’t right for what they were looking for. I think they wanted someone totally different, a bit more, you know, ‘upmarket’ and different for the character. They also wanted a total contrast to Barbara’s character. I think everyone thought that the part would be offered to Valerie Leon as she was of a similar character. I don’t know why, but she wasn’t cast.
CP: Most of your scenes were with the late Kenneth Williams. It is well documented that he could be ‘tricky’ with new additions to the team; what was your experience of working with him?
GG: Fabulous. He was super and very helpful. My personal experience of him was that he was very nice and very good to work with. I was only about 20 at the time and it was all a little intimidating knowing his reputation. I had heard that he could be difficult, but he was great with me.
CP: What was it like making a ‘Carry On’? It is common knowledge that the conditions were less than favourable at times, including the pay?
GG: The filming was very tough. There was no rehearsal. My first television job was in ‘Crossroads’ and it was very much the same as that – no retakes! It might as well have been live. If any of the set fell over, you just stepped over it and carried on. I remember on ‘Abroad’ it was so windy! A far cry from what was supposed to be sunny ‘Elsbels’. There was no time, or money, for retakes. You had to be on your mark and on point. That was not an easy thing. I was doing the play ‘The Man Most Likely To...’ at the same time too. I was called every day for ‘Abroad’, which was unusual as normally with films you are only called if you are needed. They called you every day as things could change so quickly and you could be needed at any time, such was the schedule. So, I was there every day at 6.00am. I then went straight from filming to the theatre! I remember that I had to have special permission to do ‘Abroad’ from the theatre as technically you weren’t supposed to be too far away from the theatre during a run. I know Barbara was also doing theatre and had the same problem (possibly Tony Richardson's ‘The Threepenny Opera’ with Vanessa Redgrave). But they allowed me do it. It really was exhausting. One day, I got up and got in the car and started driving to the theatre instead of Pinewood! I was so tired.
CP: ‘Abroad’ was an important entry in the series for many reasons, one being that it was the last one for Charles Hawtrey due to his increasing alcohol problems. Do you have any memories of working with him?
GG: I actually don’t? I don’t think we had many (any?) scenes together really. I do remember though that he was not there every day like the rest of us. I think they were a little gentler with him. He wasn’t in the main group every day that I can remember.
CP: It is no secret that the actors were not very well paid and often had to endure challenging working conditions. Was it a happy experience and are you proud to be associated with the series?
GG: As I said, I remember the incredible winds! The weather was awful. But yes, it was a happy experience. At the time being in a ‘Carry On’ wasn’t considered the ‘best’ career move.
CP: Yes, there was some snobbery from some in the profession around the ‘Carry Ons’?
GG: Yes, I think so. But when you look now at how iconic they are! I think that is fabulous.
CP: The films were made at ‘breakneck’ speed and were often heavily cut to fit a specific run time. There is a missing scene from ‘Abroad’, that was scripted but seemingly never made it to the final film, where you were all on the actual plane, do you recall the scene?
GG: No? I don’t? If it was shot, I don’t remember being in it.
CP: The film and your character were a very popular addition to the series, were you asked to do anymore?
GG: I don’t think so. I didn’t really fit in I don’t think. They had their regulars and as I mentioned, I think everyone thought Valerie (Leon) would get the part.
I stopped acting around 1978/1979. I did do the odd commercial because they were short days and lots of money!
CP: In today’s ‘PC’ society the films have often been criticised with such claims that they objectified woman, for example. Others argue they were innocent and ‘of their time’ – what is your view?
GG: Oh, I know (groans). There was nowhere else in the world that produced, or could produce, anything like them. They were so 'British'. They simply couldn’t make them these days.
CP: Do you have any specific memories of working with the core team? Who did you enjoy working with the most, and the least?
GG: I wish I had a more interesting answer for you but everyone associated with ‘Abroad’ was lovely and so professional. The one person who I didn’t think would be was Kenny but he was lovely too!
We were all in the same boat and no one had enough time. We all lunched together as a group around the table each day. They were all fabulous.
CP: You are nicknamed ‘The Holy Gail’ by Carry On fans due to you being one of the most sought-after names that fans would like to meet and to attend special events for the series. Did you know that?
GG: That is extraordinary. Really (laughs).
CP: Can we tempt you to do a special ‘Carry On’ event do you think?
GG: Now that I have met and spoken with you, I will certainly think about it. I know I have been approached previously but it all felt a little odd just getting letters from strangers you know?
CP: Well, I am sure a lot of fans will be holding their breath! After you put your acting career behind you went into interior design? Was that something you always wanted to do?
GG: No, I knew nothing about design! I was friends with a Set Designer at the BBC. At the time she was asked to decorate Michael Grade’s flat in The Barbican, which she did. She had no desire to do private work though. As we were friends, and as I had a lot of vacant time, as us actors tend to have!, I helped her out and learned a lot from her. That was it. I got the bug! I am still doing it now, although not as much these days and mainly commercial projects.
CP: I understand that we also have a mutual friend in common in dear Adrienne Posta?
GG: Ah! Yes! Adrienne and I worked together many years ago. In fact, we once lived together when she had sold her house in London and she needed somewhere to stay between moving! I would love to hear from her, as we lost touch. That tends to happen in the profession unfortunately.
Above: Gail & I finally meeting in March 2023
My sincere thanks to Gail for her time and help in making this section of the site possible (and to 'Daisy' for standing guard on patrol and protect duties!).
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