Mister Ten Per Cent

As he walks his beat around the Royal Albert Hall, a Policeman (Colin Douglas) notices a sleeping bag. The west side of the Royal Albert Hall on Kensington Gore in SW7 with the Albert Memorial in the distance.

Both sides of the porch are more enclosed now. SJ

Ascertaining the identity of the sleeping bag's occupant, the Officer asks Percy Pointer (Charlie Drake) why he is queuing so early for Swan Lake tickets. The Royal Albert Hall on Kensington Gore recognised by SJ.

All glassed in now, the west side entrance. SJ

To explain his love for Swan Lake, Percy enacts scenes from the ballet . . . more a pirouette than a pas de deux. Looking through the west arch of Royal Albert Hall on Kensington Gore in SW7 with the Imperial College Union building in the background identified by Peter Zazi.

Now, with the boiler room chimney on the right, captured by Peter.

Cut to the top of an office block under construction where Percy performs for his fellow Builders. Neil Rigby places this as above London Wall in EC2, looking towards Bishopsgate and Camomile Street with St. Botolph-without-Bishopsgate church to the left. It appears that the girders of two office blocks were used in the production as the following three screen captures reveal.

Celebrating the love between Odette and her Prince, Percy inches his way along a girder. This view is looking towards Tower Bridge in the distance with the train shed of Fenchurch Street station visible to the left and the miraculously surviving Fountain House on the right.

The camera zooms out to reveal Percy's precarious position. This is the core of what was to become number 122 Leadenhall Street in EC3 which was demolished in 2007 to be replaced by the Leadenhall Building.

A hooter sounds, signalling the end of the working day and the conclusion of the performance. Looking down onto Leadenhall Street in EC3 with St, Andrew Undershaft church at the corner of St, Mary Axe to the left of centre.

Telling his Workmates that he has an encounter planned with Muriel and the Countess that evening as they descend in the lift, Percy reaches ground level. Geoff Dodd identifies this as studio buildings at Elstree with the 'ancillary block' in the background. (RL)

Climbing onto his moped for the journey home, Percy sets off. Further usage of the studio complex Geoff tells us, here, the administration building to their right. (RL)

The aspiring playwright nears the house where he lodges with Mrs. Gorman. Identified by Ian Hedgcock, this is looking west along the Thames at Chiswick Mall W4 with Chiswick Eyot on the left.

Ian also provides this view of the same place now.

Percy steers towards the kerb to park his machine. Ian Hedgcock tells us that this is looking south on Eyot Gardens W6, just off Chiswick Mall.

And here's the proof, also from Ian.

Dashing inside, Percy heads straight to his room to continue writing his dramatic masterpiece 'Oh, My Lord'. Eyot Gardens located by Ian Hedgcock.

The same location now by Ian.

The following day dawns with a view of Park Lane W1 with Cumberland Gate and Marble Arch to the bottom.

Marble Arch "Hill" may have suffered a few set-backs but it certainly provided a good opportunity to nail a close match to the shot from the offices. SJ

Panning left brings Oxford Street into view.

The same street from ground level. PW

The shot finds and zooms in on the office blockwhere dishonest producer Freddie Casey explains to theatrical manager Jocelyn Macauley that he needs to back a play that will be a failure to avoid paying tax. The since demolished and replaced Park House on Oxford Street.

Percy rushes home from work after receiving a telephone call from Mrs. Gorman that Jocelyn Macauley wants to put on 'Oh, My Lord'. Neil Rigby found Chiswick Mall, just before Eyot Gardens.

The camera follows Percy into Eyot Gardens W6, found by Ian Hedgcock.

Eyot Gardens again. Image by Ian.

When things start to go wrong during rehearsals, the director's assistant Kathy Kitchener (Wanda Ventham) and Percy take a break from the theatre... This looks like Hyde Park. (SJ)

The approach to the Dell Bridge looking north-west at the eastern end of The Serpentine. SJ

Kathy asks Percy about how he came to write the play as he pours a drink from a Thermos flask... This is in front of the Dell Bridge. (SJ)

A lot of umbrella-ed tables now fill the space south of The Serpentine Bar and Kitchen, so I've stepped slightly nearer to capture The Dell Bridge. SJ

Opening night approaches. Looking towards Pier Approach in Bournemouth, Dorset with the Pavilion Theatre to the left.

Antony Blair did his best with a view that isn't the easiest to recreate from ground level.

The story's Theatre Royal played by the Pavilion Theatre on Westover Road, Bournemouth.

Including most of the elements from the screen capture, Antony Blair took this comparison.

The camera begins to zoom in on the theatre's entrance.

Antony Blair found that the water feature has been reduced in size to accommodate a car park.

Leading man Peter Cunnington (George Baker) and leading lady Alice Payne (Justine Lord) leave the theatre after a dress rehearsal to remember.

When the audience laughs and heckling begins during the play's opening night, a disappointed Percy walks slowly from the theatre and looks out to sea.

'Oh, My Lord' becomes the comedy of the year and the production is taken on tour. Neil Rigby places this as Rowley Lane, Elstree with The Thatched Barn, now the Elstree Moat House, on the Barnet Bypass in the background. The hotel is also seen in 'Night Comes Too Soon', 'Intimate Games', 'Digby, the Biggest Dog in the World’ and ‘Hysteria’. (RL)

Denis Hoare provides this comparative shot to replace Geoff Dodd's earlier Google Earth View. (RL)

After Percy's Business Manager points out that he's given 10% his income to eleven people, the play arrives north of the border. Looking westward towards Edinburgh Castle with the Gatehouse on the Esplanade to the bottom.

Edinburgh Castle, viewed from the roof of the Camera Obscura and World Of Illusions, with Ramsay Garden, the original viewpoint, on the right. SD

In the Scottish capital Percy gets a jobs to make up the shortfall and begins to sabotage 'Oh, My Lord' to prevent the play from appearing in London. A fast pan right brings West Princes Street Gardens and Princes Street into frame.

Viewed from Edinburgh Castle esplanade, as close as I could get to the Ramsay Garden private apartments. SD

As Percy's efforts to ruin the play's reputation only result in funnier performances, the Company reaches the Midlands. A view over Stoke-on-Trent in Staffordshire with the junction of Elanora Street and Liverpool Road to the bottom left, Spode works to the centre and the tower of St. Peter's church on the right. In the left distance rises the spoil heap at Berry Hill Colliery.

In the Potteries, 'Oh, My Lord' plays for one week only at the Theatre Royal prior to a West End presentation. David Brunt advises that this is the Minton Pottery on London Road in Stoke-on-Trent.

David also provides this comparison shot of the same place. Now the site of a Sainsbury's superstore, the only structure to still exist from the capture is the white capped wall and gate pillar on the right.

The hit comedy moves on to London where the usual bright lights of Piccadilly Circus W1 set the stage.

The bright lights are less varied. SJ

Vowing to attend the 'First Night' after being banned because of his previous attempts at disrupting the play, Percy parks his moped in a back street near the theatre.

Percy walks to the theatre. The Carlton Rooms at 140 Maida Vale W9 identified by Richard Lovejoy.

Richard Bennett returned to the scene to what is now the Islamic Centre of England.

As he approaches, Percy sees two burly Doormen in attendance. Facing the junction of Maida Vale and Kilburn Park Road with the Queen's Arms public house at number 1 Kilburn High Road NW6 to the extreme right. (RL)

Trying his luck at at the gallery entrance, Percy walks past the queue to find that way is also staffed by two Doormen. At the side of the Carlton Rooms on Maida Vale looking across to the Queen's Arms. (RL)

The public house survives as Richard Bennett's comparison proves.