BACK on television on Thursday comes Granada’s Chelsea at nine. And with the first two shows Britain is introduced to two Canadian comedians who have rocketed to the top in North American TV.

Their names: Johnny Wayne and Frank Shuster. Their hometown: Toronto. Their ages: “incredibly old.”

They look, in fact, incredibly young. Wayne, the shorter, stockier of the two, reminds me — in appearance — of Mike Todd. Shuster looks like John Wayne (the film star, that is).

They have been working together ever since they joined the Boy Scouts 25 years ago. Their first show was a play produced for a Scout jamboree — “it wasn’t the best script we’ve ever written,” said Wayne. “But then, it probably wasn’t the worst, either.” Their first professional break came years later at university in Toronto. It is said an advertising man saw one of their college shows and offered them a radio programme.

Neither Wayne nor Shuster knew anything about radio. But they bought a handbook and got down to finding out. “That book certainly taught us something,” said Shuster. “I must try and remember some day what it was.”

Individualists they have always been. With energy and ingenuity they work out satirical sketches which, frequently, require elaborate sets.

“We believe sets are important, especially in our kind of work,” said Shuster.

Unlike many comics who have an assembly line of gag writers, Wayne and Shuster work on their own scripts and produce their own shows.

“We go 50-50 in the writing and ideas for our shows. Sometimes we sit down and feel we’re absolutely dry of new ideas, but then something turns up,” said Wayne.

The first Chelsea at nine has a musical opener — words and music by, of course, Wayne and Shuster. Three sketches, interspersed by appearances by the Ray Ellington Quartet and Valerie Masters, will include a skit on boxing movies, entitled “Bell, Book and Canvas.”

“It’s a father-son tussle, but please ask don’t who plays father,” says Shuster.

Another sketch introduces The Professor (Wayne) who is the original expert. “He knows about everything and is a regular character of ours ” explained Frank.

“In this particular sketch he’s a submarine know-all.”

Third sketch, entirely mimed, concerns the leaning Tower of Pisa — any further description would be impossible.

Compering the first two Chelsea at nine shows is another Canadian, Bernard Braden, who used to work for Wayne and Muster in radio many years ago.

“We always thought that boy would go far,” they say, nodding wisely. “And he did, too … 3,000 miles.”

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THREE top international stars head Granada’s new Chelsea at nine series, which comes back with a bang this week in a new spot on Thursday every three weeks.

And supporting them will be many old favourites among the team that has proved since the first programme in September, 1957, that top artistic talent of all kinds can be mixed — without frightening away the customers.

Headliners this week include American comedian Dave Barry, Portuguese singer Amalia Rodrigues, and San Francisco jazz and ballad singer Ruth Olay.

Dave, who after his appearance at the London Palladium some time ago was described as a “brilliant humorist,” bases his routines on the everyday happenings of “Mr Average.” The things that happen at home, the problem of money, and the usual trials and tribulations with the wife and children.

He does a great deal of his own writing. He is, too, an amateur cartoonist and his sense of satire can be detected in his drawings as well as his performances.

The strong, passionate, untamed voice of Fado singer Amalia Rodrigues has taken her from the market places and cafes of Lisbon to concert programmes as a star solo artist in most of the European capitals. She explains: “Fados are Portuguese folk songs that have been handed down from generation to generation. In Portugal, if we are bored, we sing; if we are lonely, we sing. Fados tell of hopeless hearts, sadness, loneliness, passion, jealousy, love, pain and longing. Fado is all that exists.”

Ruth Olay makes her first British TV appearance in Chelsea at nine. She was born in San Francisco, the daughter of a rabbi. At one time she was secretary to a Hollywood scriptwriter.

Bandleader Benny Carter “discovered” her singing in a “jam” session and her first job was with his band. Soon after came her first recording. That was in 1953. Some years later she reached the bestseller class with Singin’ in the Rain. “I have been interested in show business ever since I can remember,” she says.

Her other interests include reading science fiction, record collecting, swimming and volley-ball.

As well as Transatlantic stars, more and more Continental entertainers are being brought over to appear in the show. Many have to be booked six or eight months in advance.

Those who decide on the balance of the programme and the selection of artists are Ann Suudi, Granada’s casting director, and producer of the show, Eric Fawcett. They have recently returned from a tour of Sweden, France and Denmark in a search for talent.

Chelsea at nine is rehearsed and staged in what was the Chelsea Palace Theatre in King’s-road, London.

After the Palace opened in 1902, patrons enjoyed in the “luxuriously appointed and handsomely decorated theatre” (to quote a 1904 bill) everything from all-in wrestling to a season of Shaw plays.

The late Yvonne Arnaud (billed as “a new French artiste”), Mrs Patrick Campbell, Gerald du Maurier and G. H. Elliott, the Original Chocolate-Coloured Coon, have all played at the Palace.

George Robey, Harry Tate, Charlie Chaplin (playing in Fred Karno’s show: Twice Nightly), Sir Harry Lauder, Gracie Fields and Nellie Wallace are some more famous Chelsea Palace names.

The Palace closed as a variety theatre in March 1957. Five months later it became officially known as the Granada.

The exclusion of the more “obvious” variety acts from the show has not narrowed the programme’s scope. In fact, the aim of the producers has always been to increase the show’s individuality by featuring artists not normally associated with variety.

Since its inception, Chelsea at nine has presented internationally famous artists from every field of entertainment. For many of them, it meant a first British TV appearance.

Douglas Fairbanks compered the first and many of the early shows, introducing such big names as Pouishnoff, the Rumanian Folk Dancers, and Richard Tucker, “Brooklyn’s Caruso.” Other comperes have been Bernard Braden, Jack Hawkins and the current host, Lionel Murton.

More scoops over the past 16 months have been comedienne Anna Russell, who came over from the US for a one-night appearance, Ram Gopal, the Indian dancer, Yehudi Menuhin, and Maria Callas.

Yehudi Menuhin was booked at two days’ notice. His appearance was scheduled at a time when there was a ’flu epidemic in England. Most of the cast, except for Charles Laughton, were affected. Menuhin, then appearing at the Festival Hall, was asked to take part. He agreed and was delighted to find that Laughton, an old friend, was sharing the bill with him.

Other famous personalities who have taken a bow in Chelsea at nine are Sister Rosetta Tharpe, Sari Barabas, the Hungarian opera star, violinist Isaac Stern and Dame Edith Evans. Excerpts from successful London plays have frequently been presented and viewers have been treated to a wide variety of current comedy and dramatic productions.

“Regulars” in Chelsea at nine since it began have been The Granadiers, the song and dance group (seven boys and six girls) who work under the direction of 33-year-old Cliff Adams. The girls and boys who make up the group have achieved a reputation for clever timing and excellent singing.

Cliff Adams formed the group especially for Chelsea at nine. He decides on a song, arranges it, has a discussion with choreographer Mark Stuart and producer Eric Fawcett. When all three agree, a routine is worked out.

“There have been few changes in the group since it started,” said Cliff, “But I always audition everyone who writes to me and wants to be in the show.” Chief assets for a would-be Granadier: Good appearance and adaptability. Their dance style is a blend of movement and music aided by spirited teamwork.

By November 18 last year The Granadiers had sung and danced their 100th Chelsea at nine number.

Peter Knight and his orchestra have also appeared in every show. Peter is the tubby, ex-Inland Revenue clerk whose parents wanted him to be a concert pianist. He says: “This is one of the most interesting jobs I’ve done. Musically it has immense range, from opera to ‘pop.’ We are kept on our toes, too, because we have to cope with slick American arrangements.”

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THE enthusiasm is there — it is just that there do not seem enough causes any more. That could well be a wail from the Modern Young Man, and one which may well have prompted Adam Knight, the hero of Granada’s new hour-long series Knight Errant ’59 to take up his job. The first episode will be screened on Tuesday.

Adam Knight, played by John Turner, is a young man who, having tried a variety of jobs, decides that he wants work that will combine interest and excitement. Calling himself Knight Errant, he sets himself up in business. His aim? To help anybody — in any situation. Scope? There is plenty, and Adam, as a 20th century Sir Lancelot, is kept hard at work.

Helping Adam is Liz Parish, a former newspaper columnist, who gave up her job to become his Right Hand Woman. Liz is described by producer Philip Mackie as “chic, charming, witty, wise, sophisticated, warm hearted and cool-tongued. As quick with a helping hand as she is with a well-turned wisecrack. She wears her clothes in the manner of 1959 — sometimes 1960. She is, of course, beautiful.” The part is filled by blonde actress Kay Callard. Her past career will help her with the part too, for, although Kay modestly says her career has been “ordinary,” she has led a more varied life most.

After studying at the Twickenham Arts College, she worked on a Toronto newspaper, so she is well acquainted women like Liz Parish. A year later she went into advertising, and by the time she was 19 had her own agency.

Then an old yearning came back. She remembered her days in pigtails when no one would let her act in the school plays. “Maybe it was because I was a tomboy,” she said. “They just couldn’t see me as Juliet or the Fairy Queen.”

So Kay decided to “take a whirl” of acting. She started as an announcer and writer on a Canadian radio station, then took the plunge and headed for Hollywood. Bit parts followed and “enough work to keep body and soul together” for three years.

Then she returned to England to see the Coronation. Within a week she a part opposite Douglas Fairbanks in a TV play. “So I stayed in Britain,” she explains simply.

“I’m delighted with the part of Liz Parish,” she said. “She is such an ‘alive’ character. In between trips to the Manchester studios, I busy myself in my Chelsea flat — sculpting.”

Twenty-seven-year-old John Turner a punter. River, not race track type, that is.

He lives with his young wife, a former repertory actress, in a charming old cottage in Stratord-on-Avon. Oak beams, Anne Hathaway’s cottage round the corner and, of course, the winding River Avon, where, on sunny mornings, the Turners take turns at the punt pole.

“Can’t imagine why anyone wants to live anywhere else,” says ex-city dweller “All the actors and people I knew in London or Nottingham, where I worked in repertory, eventually turn up here.”

Tall, dark and blue-eyed, John has the sort of good looks that one often sees in women’s magazine illustrations.

If Adam is the Angry Young Man type, John Turner is not. Slow speaking, he has an easy, relaxed manner. His hobbies — nothing too strenuous — include collecting telescopes and photography.

Of his telescope collection, his wife says “It was all right when the first two or three arrived. They were a manageable size, but now they seem to be getting larger. We’ll have to move to a bigger house soon.”

Not to let it appear that he is too lethargic, John told me he does weightlifting. “I used to practise a lot in the back garden, but now the weights are getting rusty behind the lawn mower.” John is delighted with the part of Adam. This will be his first TV appearance. He has so far acted mainly in Shakespearean roles, both at the Nottingham Playhouse and the Stratford Memorial Theatre. He played Marcellus in Peter Brook’s production of Hamlet and visited Moscow with the Brook company.

Third “regular” in the Knight Errant set-up is Peter Parker (played by Richard Carpenter), an earnest young author in the throes of writing a magnum opus entitled: “What is Wrong with Britain Today.” He is full of “angry young mannerisms,” but lacks that vital commodity: money.

Peter has had many jobs — Espresso bar attendant, office cleaner and the like. These keep body and soul together, and, as he explains, “leave the mind free for more important things.”

Richard Carpenter, tall, blond and looking younger than his 28 years, has this to say of his role: “I get to know Adam and like the work he does and the types he meets, so I work myself in as a sort of hanger-on cum leg-man. I’m also able to use the office typewriter for my book.”

In real life Richard Carpenter is himself a writer. He has sold short stories to magazines and radio scripts. But this is where type-casting ends.

“I don’t think I’m an Angry Young Man,” he said. “The only thing that angers me is to see or hear of people being pushed around.”

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