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In 1860, the Bard family had provided money so that a small Episcopal seminary near their Tivoli estate could be expanded into St. Stephen's College, later renamed after them. It eventually expanded into three of the former country seats. This was the beginning of a second life for some of the old country seats, as some moved out of private residential use and became institutions. The Catholic Church received Ellerslie, Ferncliff and Linwood, using them for various purposes. Dorothy Day made Rose Hill the location of one the Catholic Worker Movement's farms during the 1960s.

In 1860, the Bard family had provided money so that a small Episcopal seminary near their Tivoli estate could be expanded into St. Stephen's College, later renamed after them. It eventually expanded into three of the former country seats. This was the beginning of a second life for some of the old country seats, as some moved out of private residential use and became institutions. The Catholic Church received Ellerslie, Ferncliff and Linwood, using them for various purposes. Dorothy Day made Rose Hill the location of one the Catholic Worker Movement's farms during the 1960s.

The end of the country-seat era and of any major new construction locked the existing buildings and their architectural styles in place. At the same time the rise in automotive transportation and attendant road improvements, particularly the bridge, made the district more accessible than before. Preservation efforts in the wake of the establishment of the National Register of Historic Places led to the 1979 creation of the Clermont Estates Historic District in Columbia County and the Sixteen Mile District to its south. Shortly afterwards, the state Department of Environmental Conservation designated the area the state's first scenic district. Later research by the group Hudson River Heritage led to findings that the two needed to be combined into a larger district extending as far south as the Mills Mansion, and that it was significant and well preserved enough to be accorded National Historic Landmark District status. The National Park Service (NPS) added it to the list in 1990.

The end of the country-seat era and of any major new construction locked the existing buildings and their architectural styles in place. At the same time the rise in automotive transportation and attendant road improvements, particularly the bridge, made the district more accessible than before. Preservation efforts in the wake of the establishment of the National Register of Historic Places led to the 1979 creation of the Clermont Estates Historic District in Columbia County and the Sixteen Mile District to its south. Shortly afterwards, the state Department of Environmental Conservation designated the area the state's first scenic district. Later research by the group Hudson River Heritage led to findings that the two needed to be combined into a larger district extending as far south as the Mills Mansion, and that it was significant and well preserved enough to be accorded National Historic Landmark District status. The National Park Service (NPS) added it to the list in 1990.

The end of the country-seat era and of any major new construction locked the existing buildings and their architectural styles in place. At the same time the rise in automotive transportation and attendant road improvements, particularly the bridge, made the district more accessible than before. Preservation efforts in the wake of the establishment of the National Register of Historic Places led to the 1979 creation of the Clermont Estates Historic District in Columbia County and the Sixteen Mile District to its south. Shortly afterwards, the state Department of Environmental Conservation designated the area the state's first scenic district. Later research by the group Hudson River Heritage led to findings that the two needed to be combined into a larger district extending as far south as the Mills Mansion, and that it was significant and well preserved enough to be accorded National Historic Landmark District status. The National Park Service (NPS) added it to the list in 1990.

The end of the country-seat era and of any major new construction locked the existing buildings and their architectural styles in place. At the same time the rise in automotive transportation and attendant road improvements, particularly the bridge, made the district more accessible than before. Preservation efforts in the wake of the establishment of the National Register of Historic Places led to the 1979 creation of the Clermont Estates Historic District in Columbia County and the Sixteen Mile District to its south. Shortly afterwards, the state Department of Environmental Conservation designated the area the state's first scenic district. Later research by the group Hudson River Heritage led to findings that the two needed to be combined into a larger district extending as far south as the Mills Mansion, and that it was significant and well preserved enough to be accorded National Historic Landmark District status. The National Park Service (NPS) added it to the list in 1990.

Due to the views and history, homes in the area still command a high price. The open space overlooking the river within the district is a source of constant development pressure on the district, as builders look to serve buyers priced out of growing suburbs further south in the valley yet still looking for a rail commute to the city via Amtrak or Metro-North (via Poughkeepsie). The district boundaries had to be drawn to exclude one newer subdivision near Staatsburg, but had to include one in Tivoli.

Due to the views and history, homes in the area still command a high price. The open space overlooking the river within the district is a source of constant development pressure on the district, as builders look to serve buyers priced out of growing suburbs further south in the valley yet still looking for a rail commute to the city via Amtrak or Metro-North (via Poughkeepsie). The district boundaries had to be drawn to exclude one newer subdivision near Staatsburg, but had to include one in Tivoli.

The other municipalities with land in the district have not gone quite to this extent. Hyde Park has created a historic overlay district which applies to all historic properties in the town, providing in the case of the Hudson River Historic District that land use within its boundaries "shall obtain site plan approval and shall be limited to an agriculture, water-dependent and/or water-enhanced use or to a use appropriate to preservation of the historic resources of the district". Clermont, Red Hook and Tivoli have so far not chosen to apply any additional standards and continue to preserve the district through their existing zoning and applicable New York state laws requiring historical and environmental reviews in certain areas.

The other municipalities with land in the district have not gone quite to this extent. Hyde Park has created a historic overlay district which applies to all historic properties in the town, providing in the case of the Hudson River Historic District that land use within its boundaries "shall obtain site plan approval and shall be limited to an agriculture, water-dependent and/or water-enhanced use or to a use appropriate to preservation of the historic resources of the district". Clermont, Red Hook and Tivoli have so far not chosen to apply any additional standards and continue to preserve the district through their existing zoning and applicable New York state laws requiring historical and environmental reviews in certain areas.

Farmhouses were, in the colonial era, often small two-story structures. It was not uncommon for them to be razed if the landlord desired to extend the estate to the farm property and move the tenants further east; as a result most of the surviving ones are made out of stone, such as Clermont's Stone Jug and Rhinebeck's Fredenburg House, since they were harder to demolish. Later in the 18th century, after independence, the tenants' homes echoed the Neoclassical aspirations of their landlords, as well as similar trends in Germany. Around Clermont, some two-story wood-frame farmhouses with five-bay facades and centrally-located entrances remain from this period.

Farmhouses were, in the colonial era, often small two-story structures. It was not uncommon for them to be razed if the landlord desired to extend the estate to the farm property and move the tenants further east; as a result most of the surviving ones are made out of stone, such as Clermont's Stone Jug and Rhinebeck's Fredenburg House, since they were harder to demolish. Later in the 18th century, after independence, the tenants' homes echoed the Neoclassical aspirations of their landlords, as well as similar trends in Germany. Around Clermont, some two-story wood-frame farmhouses with five-bay facades and centrally-located entrances remain from this period.

Farmhouses were, in the colonial era, often small two-story structures. It was not uncommon for them to be razed if the landlord desired to extend the estate to the farm property and move the tenants further east; as a result most of the surviving ones are made out of stone, such as Clermont's Stone Jug and Rhinebeck's Fredenburg House, since they were harder to demolish. Later in the 18th century, after independence, the tenants' homes echoed the Neoclassical aspirations of their landlords, as well as similar trends in Germany. Around Clermont, some two-story wood-frame farmhouses with five-bay facades and centrally-located entrances remain from this period.

Farmhouses were, in the colonial era, often small two-story structures. It was not uncommon for them to be razed if the landlord desired to extend the estate to the farm property and move the tenants further east; as a result most of the surviving ones are made out of stone, such as Clermont's Stone Jug and Rhinebeck's Fredenburg House, since they were harder to demolish. Later in the 18th century, after independence, the tenants' homes echoed the Neoclassical aspirations of their landlords, as well as similar trends in Germany. Around Clermont, some two-story wood-frame farmhouses with five-bay facades and centrally-located entrances remain from this period.

Church stylings gradually show some difference between those where the landlords worshipped and their tenant counterparts. Early churches hosted both, with the oldest example in the district being the plain white frame Red Church along Route 9G in Red Hook, dating to the early years of the 19th century. Later on, the wealthy began building churches and chapels for their private or exclusive use, and these, such as the chapel on the Clarkson property on 9G, show more ornament than the older churches.

Church stylings gradually show some difference between those where the landlords worshipped and their tenant counterparts. Early churches hosted both, with the oldest example in the district being the plain white frame Red Church along Route 9G in Red Hook, dating to the early years of the 19th century. Later on, the wealthy began building churches and chapels for their private or exclusive use, and these, such as the chapel on the Clarkson property on 9G, show more ornament than the older churches.

Church stylings gradually show some difference between those where the landlords worshipped and their tenant counterparts. Early churches hosted both, with the oldest example in the district being the plain white frame Red Church along Route 9G in Red Hook, dating to the early years of the 19th century. Later on, the wealthy began building churches and chapels for their private or exclusive use, and these, such as the chapel on the Clarkson property on 9G, show more ornament than the older churches.

Church stylings gradually show some difference between those where the landlords worshipped and their tenant counterparts. Early churches hosted both, with the oldest example in the district being the plain white frame Red Church along Route 9G in Red Hook, dating to the early years of the 19th century. Later on, the wealthy began building churches and chapels for their private or exclusive use, and these, such as the chapel on the Clarkson property on 9G, show more ornament than the older churches.

Several statesmen have called the district home besides the many from the Livingston-Beekman family. Egbert Benson, a congressman, federal judge and New York's first attorney general, built his law practice in what would later be Tivoli. John Winthrop Chanler, another congressman, married Margaret Astor Ward, who had inherited Rokeby through her Livingston / Astor forebearers. His son Lewis served as a state assemblyman and lieutenant governor. Another son, William Chanler, also served briefly in Congress. Another son, Robert, was Dutchess County sheriff and an accomplished painter. John Watts de Peyster, Civil War general, military historian and adjutant general of the New York National Guard, also spent some of his formative years at Rose Hill in Tivoli, and later built the firehouse now used as village hall. Another New York Civil War figure, Charles S. Wainwright, lived at The Meadows.

Several statesmen have called the district home besides the many from the Livingston-Beekman family. Egbert Benson, a congressman, federal judge and New York's first attorney general, built his law practice in what would later be Tivoli. John Winthrop Chanler, another congressman, married Margaret Astor Ward, who had inherited Rokeby through her Livingston / Astor forebearers. His son Lewis served as a state assemblyman and lieutenant governor. Another son, William Chanler, also served briefly in Congress. Another son, Robert, was Dutchess County sheriff and an accomplished painter. John Watts de Peyster, Civil War general, military historian and adjutant general of the New York National Guard, also spent some of his formative years at Rose Hill in Tivoli, and later built the firehouse now used as village hall. Another New York Civil War figure, Charles S. Wainwright, lived at The Meadows.

Several statesmen have called the district home besides the many from the Livingston-Beekman family. Egbert Benson, a congressman, federal judge and New York's first attorney general, built his law practice in what would later be Tivoli. John Winthrop Chanler, another congressman, married Margaret Astor Ward, who had inherited Rokeby through her Livingston / Astor forebearers. His son Lewis served as a state assemblyman and lieutenant governor. Another son, William Chanler, also served briefly in Congress. Another son, Robert, was Dutchess County sheriff and an accomplished painter. John Watts de Peyster, Civil War general, military historian and adjutant general of the New York National Guard, also spent some of his formative years at Rose Hill in Tivoli, and later built the firehouse now used as village hall. Another New York Civil War figure, Charles S. Wainwright, lived at The Meadows.

Several statesmen have called the district home besides the many from the Livingston-Beekman family. Egbert Benson, a congressman, federal judge and New York's first attorney general, built his law practice in what would later be Tivoli. John Winthrop Chanler, another congressman, married Margaret Astor Ward, who had inherited Rokeby through her Livingston / Astor forebearers. His son Lewis served as a state assemblyman and lieutenant governor. Another son, William Chanler, also served briefly in Congress. Another son, Robert, was Dutchess County sheriff and an accomplished painter. John Watts de Peyster, Civil War general, military historian and adjutant general of the New York National Guard, also spent some of his formative years at Rose Hill in Tivoli, and later built the firehouse now used as village hall. Another New York Civil War figure, Charles S. Wainwright, lived at The Meadows.

The district has had a role in literature as well, both as a setting and a residence. Henry James, a frequent visitor to his uncle's home at Linwood, makes several references to Rhinebeck and other locales within the district in his writings. Edith Wharton, likewise a childhood visitor to her aunt at Wyndclyffe, used the district as a setting in many of her works. Thomas Wolfe lived in a gatehouse at Fox Hollow while writing "Look Homeward, Angel", and Aldous Huxley lived there for a time in the 1930s.

The district has had a role in literature as well, both as a setting and a residence. Henry James, a frequent visitor to his uncle's home at Linwood, makes several references to Rhinebeck and other locales within the district in his writings. Edith Wharton, likewise a childhood visitor to her aunt at Wyndclyffe, used the district as a setting in many of her works. Thomas Wolfe lived in a gatehouse at Fox Hollow while writing "Look Homeward, Angel", and Aldous Huxley lived there for a time in the 1930s.

The district has had a role in literature as well, both as a setting and a residence. Henry James, a frequent visitor to his uncle's home at Linwood, makes several references to Rhinebeck and other locales within the district in his writings. Edith Wharton, likewise a childhood visitor to her aunt at Wyndclyffe, used the district as a setting in many of her works. Thomas Wolfe lived in a gatehouse at Fox Hollow while writing "Look Homeward, Angel", and Aldous Huxley lived there for a time in the 1930s.

The district has had a role in literature as well, both as a setting and a residence. Henry James, a frequent visitor to his uncle's home at Linwood, makes several references to Rhinebeck and other locales within the district in his writings. Edith Wharton, likewise a childhood visitor to her aunt at Wyndclyffe, used the district as a setting in many of her works. Thomas Wolfe lived in a gatehouse at Fox Hollow while writing "Look Homeward, Angel", and Aldous Huxley lived there for a time in the 1930s.

Bard College has played an increasing role in the district's cultural impact. Its faculty has included Hannah Arendt and John Dewey, and the former is buried there with her second husband Heinrich Blücher. The college's alumni have included many figures in late 20th-century popular culture. Two of them, Walter Becker and Donald Fagen, cofounded the rock group Steely Dan, and wrote two songs about Bard and places near it: "My Old School", from "Countdown to Ecstasy"; and "Barrytown", on "Pretzel Logic". In 2003, the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts brought innovative contemporary architecture back to the district. The irregularly-shaped metal panels on its roof echo the view of the Catskills across the river, the district's original attraction.

Bard College has played an increasing role in the district's cultural impact. Its faculty has included Hannah Arendt and John Dewey, and the former is buried there with her second husband Heinrich Blücher. The college's alumni have included many figures in late 20th-century popular culture. Two of them, Walter Becker and Donald Fagen, cofounded the rock group Steely Dan, and wrote two songs about Bard and places near it: "My Old School", from "Countdown to Ecstasy"; and "Barrytown", on "Pretzel Logic". In 2003, the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts brought innovative contemporary architecture back to the district. The irregularly-shaped metal panels on its roof echo the view of the Catskills across the river, the district's original attraction.

Bard College has played an increasing role in the district's cultural impact. Its faculty has included Hannah Arendt and John Dewey, and the former is buried there with her second husband Heinrich Blücher. The college's alumni have included many figures in late 20th-century popular culture. Two of them, Walter Becker and Donald Fagen, cofounded the rock group Steely Dan, and wrote two songs about Bard and places near it: "My Old School", from "Countdown to Ecstasy"; and "Barrytown", on "Pretzel Logic". In 2003, the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts brought innovative contemporary architecture back to the district. The irregularly-shaped metal panels on its roof echo the view of the Catskills across the river, the district's original attraction.

Bard College has played an increasing role in the district's cultural impact. Its faculty has included Hannah Arendt and John Dewey, and the former is buried there with her second husband Heinrich Blücher. The college's alumni have included many figures in late 20th-century popular culture. Two of them, Walter Becker and Donald Fagen, cofounded the rock group Steely Dan, and wrote two songs about Bard and places near it: "My Old School", from "Countdown to Ecstasy"; and "Barrytown", on "Pretzel Logic". In 2003, the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts brought innovative contemporary architecture back to the district. The irregularly-shaped metal panels on its roof echo the view of the Catskills across the river, the district's original attraction.

Born in London, Terry-Thomas made his film debut, uncredited, in "The Private Life of Henry VIII" (1933). He spent several years appearing in smaller roles, before wartime service with Entertainments National Service Association (ENSA) and Stars in Battledress. The experience helped sharpen his cabaret and revue act, increased his public profile and proved instrumental in the development of his successful comic stage routine. Upon his demobilisation, he starred in "Piccadilly Hayride" on the London stage and was the star of the first comedy series on British television, "How Do You View?" (1949). He appeared on various BBC Radio shows, and made a successful transition into British films. His most creative period was the 1950s when he appeared in "Private's Progress" (1956), "The Green Man" (1956), "Blue Murder at St Trinian's" (1957), "I'm All Right Jack" (1959) and "Carlton-Browne of the F.O." (1959).

Born in London, Terry-Thomas made his film debut, uncredited, in "The Private Life of Henry VIII" (1933). He spent several years appearing in smaller roles, before wartime service with Entertainments National Service Association (ENSA) and Stars in Battledress. The experience helped sharpen his cabaret and revue act, increased his public profile and proved instrumental in the development of his successful comic stage routine. Upon his demobilisation, he starred in "Piccadilly Hayride" on the London stage and was the star of the first comedy series on British television, "How Do You View?" (1949). He appeared on various BBC Radio shows, and made a successful transition into British films. His most creative period was the 1950s when he appeared in "Private's Progress" (1956), "The Green Man" (1956), "Blue Murder at St Trinian's" (1957), "I'm All Right Jack" (1959) and "Carlton-Browne of the F.O." (1959).

Beginning the 1960s by starring in "School for Scoundrels", Terry-Thomas then began appearing in American films, coarsening his already unsubtle screen character in films such as "Bachelor Flat" (1962), "It's a Mad, Mad, Mad, Mad World" (1963) and "How to Murder Your Wife" (1965). From the mid-1960s he frequently starred in European films, in roles such as Sir Reginald in the successful French film "La Grande Vadrouille". In 1971 Terry-Thomas was diagnosed with Parkinson's disease, which slowly brought his career to a conclusion: his last film role was in 1980. He spent much of his fortune on medical treatment and, shortly before his death, was living in poverty, existing on charity from the Actors' Benevolent Fund. A charity gala was held in his honour, which raised sufficient funds for him to live his remaining time in a nursing home.

Beginning the 1960s by starring in "School for Scoundrels", Terry-Thomas then began appearing in American films, coarsening his already unsubtle screen character in films such as "Bachelor Flat" (1962), "It's a Mad, Mad, Mad, Mad World" (1963) and "How to Murder Your Wife" (1965). From the mid-1960s he frequently starred in European films, in roles such as Sir Reginald in the successful French film "La Grande Vadrouille". In 1971 Terry-Thomas was diagnosed with Parkinson's disease, which slowly brought his career to a conclusion: his last film role was in 1980. He spent much of his fortune on medical treatment and, shortly before his death, was living in poverty, existing on charity from the Actors' Benevolent Fund. A charity gala was held in his honour, which raised sufficient funds for him to live his remaining time in a nursing home.

Terry-Thomas was born Thomas Terry Hoar Stevens at 53 Lichfield Grove, Finchley, North London. He was the fourth of five children born to Ernest Frederick Stevens, managing director of a butcher's business at Smithfield Market and part-time amateur actor, and his wife Ellen Elizabeth Stevens (née Hoar). As a child, Terry-Thomas was often referred to as Tom, the diminutive used by his family. He led a generally happy childhood, but believed his parents secretly desired a daughter in his place. By the time he reached adolescence, his parents' marriage had failed and both became alcoholics. In an attempt to bring them together, Terry-Thomas often entertained them by performing impromptu slapstick routines, reciting jokes and singing and dancing around the family home. The performances seldom worked, and his father became increasingly removed from his family.

Terry-Thomas was born Thomas Terry Hoar Stevens at 53 Lichfield Grove, Finchley, North London. He was the fourth of five children born to Ernest Frederick Stevens, managing director of a butcher's business at Smithfield Market and part-time amateur actor, and his wife Ellen Elizabeth Stevens (née Hoar). As a child, Terry-Thomas was often referred to as Tom, the diminutive used by his family. He led a generally happy childhood, but believed his parents secretly desired a daughter in his place. By the time he reached adolescence, his parents' marriage had failed and both became alcoholics. In an attempt to bring them together, Terry-Thomas often entertained them by performing impromptu slapstick routines, reciting jokes and singing and dancing around the family home. The performances seldom worked, and his father became increasingly removed from his family.

Terry-Thomas was born Thomas Terry Hoar Stevens at 53 Lichfield Grove, Finchley, North London. He was the fourth of five children born to Ernest Frederick Stevens, managing director of a butcher's business at Smithfield Market and part-time amateur actor, and his wife Ellen Elizabeth Stevens (née Hoar). As a child, Terry-Thomas was often referred to as Tom, the diminutive used by his family. He led a generally happy childhood, but believed his parents secretly desired a daughter in his place. By the time he reached adolescence, his parents' marriage had failed and both became alcoholics. In an attempt to bring them together, Terry-Thomas often entertained them by performing impromptu slapstick routines, reciting jokes and singing and dancing around the family home. The performances seldom worked, and his father became increasingly removed from his family.

Terry-Thomas was born Thomas Terry Hoar Stevens at 53 Lichfield Grove, Finchley, North London. He was the fourth of five children born to Ernest Frederick Stevens, managing director of a butcher's business at Smithfield Market and part-time amateur actor, and his wife Ellen Elizabeth Stevens (née Hoar). As a child, Terry-Thomas was often referred to as Tom, the diminutive used by his family. He led a generally happy childhood, but believed his parents secretly desired a daughter in his place. By the time he reached adolescence, his parents' marriage had failed and both became alcoholics. In an attempt to bring them together, Terry-Thomas often entertained them by performing impromptu slapstick routines, reciting jokes and singing and dancing around the family home. The performances seldom worked, and his father became increasingly removed from his family.

In 1921 Terry-Thomas began to nurture his distinctive, well-spoken voice, reasoning that "using good speech automatically suggested that you were well-educated and made people look up to you". He used the speech of the actor Owen Nares as a basis for his own delivery. Terry-Thomas became fascinated by the stage, and regularly attended the Golders Green Hippodrome to see the latest shows. It was there that he developed an interest in fashion, and adopted the debonair dress-sense of his hero Douglas Fairbanks. Terry-Thomas attended Fernbank School in Hendon Lane, Finchley, which was a welcome escape from the stresses of his parents' break-up. When he was 13, he transferred to Ardingly College, a public school in Sussex. He excelled in Latin and geography, and briefly took up drama. The latter subject later led to his expulsion from the school, after his frequent and inappropriate use of ad lib during lessons. He also took up a position in the school jazz band, first playing the ukulele and then percussion and additionally he often performed comedy dancing routines to the band's music.

In 1921 Terry-Thomas began to nurture his distinctive, well-spoken voice, reasoning that "using good speech automatically suggested that you were well-educated and made people look up to you". He used the speech of the actor Owen Nares as a basis for his own delivery. Terry-Thomas became fascinated by the stage, and regularly attended the Golders Green Hippodrome to see the latest shows. It was there that he developed an interest in fashion, and adopted the debonair dress-sense of his hero Douglas Fairbanks. Terry-Thomas attended Fernbank School in Hendon Lane, Finchley, which was a welcome escape from the stresses of his parents' break-up. When he was 13, he transferred to Ardingly College, a public school in Sussex. He excelled in Latin and geography, and briefly took up drama. The latter subject later led to his expulsion from the school, after his frequent and inappropriate use of ad lib during lessons. He also took up a position in the school jazz band, first playing the ukulele and then percussion and additionally he often performed comedy dancing routines to the band's music.

In 1921 Terry-Thomas began to nurture his distinctive, well-spoken voice, reasoning that "using good speech automatically suggested that you were well-educated and made people look up to you". He used the speech of the actor Owen Nares as a basis for his own delivery. Terry-Thomas became fascinated by the stage, and regularly attended the Golders Green Hippodrome to see the latest shows. It was there that he developed an interest in fashion, and adopted the debonair dress-sense of his hero Douglas Fairbanks. Terry-Thomas attended Fernbank School in Hendon Lane, Finchley, which was a welcome escape from the stresses of his parents' break-up. When he was 13, he transferred to Ardingly College, a public school in Sussex. He excelled in Latin and geography, and briefly took up drama. The latter subject later led to his expulsion from the school, after his frequent and inappropriate use of ad lib during lessons. He also took up a position in the school jazz band, first playing the ukulele and then percussion and additionally he often performed comedy dancing routines to the band's music.

In 1921 Terry-Thomas began to nurture his distinctive, well-spoken voice, reasoning that "using good speech automatically suggested that you were well-educated and made people look up to you". He used the speech of the actor Owen Nares as a basis for his own delivery. Terry-Thomas became fascinated by the stage, and regularly attended the Golders Green Hippodrome to see the latest shows. It was there that he developed an interest in fashion, and adopted the debonair dress-sense of his hero Douglas Fairbanks. Terry-Thomas attended Fernbank School in Hendon Lane, Finchley, which was a welcome escape from the stresses of his parents' break-up. When he was 13, he transferred to Ardingly College, a public school in Sussex. He excelled in Latin and geography, and briefly took up drama. The latter subject later led to his expulsion from the school, after his frequent and inappropriate use of ad lib during lessons. He also took up a position in the school jazz band, first playing the ukulele and then percussion and additionally he often performed comedy dancing routines to the band's music.

Terry-Thomas enjoyed his time at Ardingly, and relished his association with upper middle class school friends. His academic abilities were modest, and he came to the notice of staff only through his frequent tomfoolery. Although he initially felt intimidated by his school surroundings, his confidence grew as he put on "a bold, undiluted and sustained show of "chutzpah"", according to his biographer, Graham McCann. On his return home to Finchley in 1927, his more mature manner impressed the family's housekeeper Kate Dixon, who seduced him at the family home. He stayed at Ardingly for one more term and returned home to London, but made no plans to further his education or start long-term work. Instead, he accepted a temporary position at Smithfield Market, where he earned 15 shillings a week as a junior transport clerk for the Union Cold Storage Company.

Terry-Thomas enjoyed his time at Ardingly, and relished his association with upper middle class school friends. His academic abilities were modest, and he came to the notice of staff only through his frequent tomfoolery. Although he initially felt intimidated by his school surroundings, his confidence grew as he put on "a bold, undiluted and sustained show of "chutzpah"", according to his biographer, Graham McCann. On his return home to Finchley in 1927, his more mature manner impressed the family's housekeeper Kate Dixon, who seduced him at the family home. He stayed at Ardingly for one more term and returned home to London, but made no plans to further his education or start long-term work. Instead, he accepted a temporary position at Smithfield Market, where he earned 15 shillings a week as a junior transport clerk for the Union Cold Storage Company.

Terry-Thomas enjoyed his time at Ardingly, and relished his association with upper middle class school friends. His academic abilities were modest, and he came to the notice of staff only through his frequent tomfoolery. Although he initially felt intimidated by his school surroundings, his confidence grew as he put on "a bold, undiluted and sustained show of "chutzpah"", according to his biographer, Graham McCann. On his return home to Finchley in 1927, his more mature manner impressed the family's housekeeper Kate Dixon, who seduced him at the family home. He stayed at Ardingly for one more term and returned home to London, but made no plans to further his education or start long-term work. Instead, he accepted a temporary position at Smithfield Market, where he earned 15 shillings a week as a junior transport clerk for the Union Cold Storage Company.

Terry-Thomas enjoyed his time at Ardingly, and relished his association with upper middle class school friends. His academic abilities were modest, and he came to the notice of staff only through his frequent tomfoolery. Although he initially felt intimidated by his school surroundings, his confidence grew as he put on "a bold, undiluted and sustained show of "chutzpah"", according to his biographer, Graham McCann. On his return home to Finchley in 1927, his more mature manner impressed the family's housekeeper Kate Dixon, who seduced him at the family home. He stayed at Ardingly for one more term and returned home to London, but made no plans to further his education or start long-term work. Instead, he accepted a temporary position at Smithfield Market, where he earned 15 shillings a week as a junior transport clerk for the Union Cold Storage Company.

By his own admission, he never stopped "farting around" and often kept his colleagues entertained with impersonations of the Hunchback of Notre-Dame and Erich von Stroheim. He invented various characters, including Colonel Featherstonehaugh-Bumleigh and Cora Chessington-Crabbe, and frequently recited comic stories involving them to his colleagues. His characterisations soon came to the notice of the company's management who prompted him to enrol in the company's amateur drama club. He made his début with the drama company as Lord Trench in "The Dover Road" which was staged at the Fortune Theatre, London. The production was popular with audiences, and he subsequently became a regular performer in many amateur productions.

By his own admission, he never stopped "farting around" and often kept his colleagues entertained with impersonations of the Hunchback of Notre-Dame and Erich von Stroheim. He invented various characters, including Colonel Featherstonehaugh-Bumleigh and Cora Chessington-Crabbe, and frequently recited comic stories involving them to his colleagues. His characterisations soon came to the notice of the company's management who prompted him to enrol in the company's amateur drama club. He made his début with the drama company as Lord Trench in "The Dover Road" which was staged at the Fortune Theatre, London. The production was popular with audiences, and he subsequently became a regular performer in many amateur productions.

By his own admission, he never stopped "farting around" and often kept his colleagues entertained with impersonations of the Hunchback of Notre-Dame and Erich von Stroheim. He invented various characters, including Colonel Featherstonehaugh-Bumleigh and Cora Chessington-Crabbe, and frequently recited comic stories involving them to his colleagues. His characterisations soon came to the notice of the company's management who prompted him to enrol in the company's amateur drama club. He made his début with the drama company as Lord Trench in "The Dover Road" which was staged at the Fortune Theatre, London. The production was popular with audiences, and he subsequently became a regular performer in many amateur productions.

By his own admission, he never stopped "farting around" and often kept his colleagues entertained with impersonations of the Hunchback of Notre-Dame and Erich von Stroheim. He invented various characters, including Colonel Featherstonehaugh-Bumleigh and Cora Chessington-Crabbe, and frequently recited comic stories involving them to his colleagues. His characterisations soon came to the notice of the company's management who prompted him to enrol in the company's amateur drama club. He made his début with the drama company as Lord Trench in "The Dover Road" which was staged at the Fortune Theatre, London. The production was popular with audiences, and he subsequently became a regular performer in many amateur productions.

Terry-Thomas made his professional stage début on 11 April 1930 at a social evening organised by the Union of Electric Railwayman's Dining Club in South Kensington. He was billed as Thos Stevens, but only appeared as a minor turn. His performance brought heckles from the drunken audience, but earned him a commission of 30 shillings. After this, he played a few minor roles in Gilbert and Sullivan productions by the Edgware Operatic Society at the Scala Theatre. In 1933, he left Smithfield Market to work briefly with a friend at an electrical shop before he became a travelling salesman of electrical equipment. He enjoyed the job and relished being able to dress up in elaborate clothing in order to make his pitch. In his spare time, he began playing the ukulele with a local jazz band called the Rhythm Maniacs. He took up dancing and formed a partnership with a sister of Jessie Matthews. The act starred in local exhibitions and at minor venues, and they earned well from it. News soon travelled of the couple's talent, and they were engaged as ballroom dancers at a hall in Cricklewood. He found the dance-style too restrictive and he left the act to try other aspects of entertainment.

Terry-Thomas made his professional stage début on 11 April 1930 at a social evening organised by the Union of Electric Railwayman's Dining Club in South Kensington. He was billed as Thos Stevens, but only appeared as a minor turn. His performance brought heckles from the drunken audience, but earned him a commission of 30 shillings. After this, he played a few minor roles in Gilbert and Sullivan productions by the Edgware Operatic Society at the Scala Theatre. In 1933, he left Smithfield Market to work briefly with a friend at an electrical shop before he became a travelling salesman of electrical equipment. He enjoyed the job and relished being able to dress up in elaborate clothing in order to make his pitch. In his spare time, he began playing the ukulele with a local jazz band called the Rhythm Maniacs. He took up dancing and formed a partnership with a sister of Jessie Matthews. The act starred in local exhibitions and at minor venues, and they earned well from it. News soon travelled of the couple's talent, and they were engaged as ballroom dancers at a hall in Cricklewood. He found the dance-style too restrictive and he left the act to try other aspects of entertainment.

Terry-Thomas made his professional stage début on 11 April 1930 at a social evening organised by the Union of Electric Railwayman's Dining Club in South Kensington. He was billed as Thos Stevens, but only appeared as a minor turn. His performance brought heckles from the drunken audience, but earned him a commission of 30 shillings. After this, he played a few minor roles in Gilbert and Sullivan productions by the Edgware Operatic Society at the Scala Theatre. In 1933, he left Smithfield Market to work briefly with a friend at an electrical shop before he became a travelling salesman of electrical equipment. He enjoyed the job and relished being able to dress up in elaborate clothing in order to make his pitch. In his spare time, he began playing the ukulele with a local jazz band called the Rhythm Maniacs. He took up dancing and formed a partnership with a sister of Jessie Matthews. The act starred in local exhibitions and at minor venues, and they earned well from it. News soon travelled of the couple's talent, and they were engaged as ballroom dancers at a hall in Cricklewood. He found the dance-style too restrictive and he left the act to try other aspects of entertainment.

Terry-Thomas made his professional stage début on 11 April 1930 at a social evening organised by the Union of Electric Railwayman's Dining Club in South Kensington. He was billed as Thos Stevens, but only appeared as a minor turn. His performance brought heckles from the drunken audience, but earned him a commission of 30 shillings. After this, he played a few minor roles in Gilbert and Sullivan productions by the Edgware Operatic Society at the Scala Theatre. In 1933, he left Smithfield Market to work briefly with a friend at an electrical shop before he became a travelling salesman of electrical equipment. He enjoyed the job and relished being able to dress up in elaborate clothing in order to make his pitch. In his spare time, he began playing the ukulele with a local jazz band called the Rhythm Maniacs. He took up dancing and formed a partnership with a sister of Jessie Matthews. The act starred in local exhibitions and at minor venues, and they earned well from it. News soon travelled of the couple's talent, and they were engaged as ballroom dancers at a hall in Cricklewood. He found the dance-style too restrictive and he left the act to try other aspects of entertainment.

By 1933 Terry-Thomas had moved out of Finchley and into a friend's flat; the friend was a film extra who introduced him to the idea of working in the industry. Terry-Thomas made his uncredited film debut in the 1933 film, "The Private Life of Henry VIII", which starred Charles Laughton in the title role. Between 1933 and 1941 Terry-Thomas appeared in 16 films, as an uncredited extra in all but one; he later said that "this work suited me down to the ground. It wasn't really like work to me. I got an enormous kick out of it". His first speaking role came in the 1935 Buddy Rogers comedy "Once in a Million" where he shouted "A thousand!" during an auction. During the 1936 musical comedy "This'll Make You Whistle", starring Jack Buchanan, he permanently damaged his hearing as a result of jumping into a water tank. In between his film work, he developed his cabaret act and was employed as a dance teacher at the Aida Foster School of Dancing in Golders Green.

By 1933 Terry-Thomas had moved out of Finchley and into a friend's flat; the friend was a film extra who introduced him to the idea of working in the industry. Terry-Thomas made his uncredited film debut in the 1933 film, "The Private Life of Henry VIII", which starred Charles Laughton in the title role. Between 1933 and 1941 Terry-Thomas appeared in 16 films, as an uncredited extra in all but one; he later said that "this work suited me down to the ground. It wasn't really like work to me. I got an enormous kick out of it". His first speaking role came in the 1935 Buddy Rogers comedy "Once in a Million" where he shouted "A thousand!" during an auction. During the 1936 musical comedy "This'll Make You Whistle", starring Jack Buchanan, he permanently damaged his hearing as a result of jumping into a water tank. In between his film work, he developed his cabaret act and was employed as a dance teacher at the Aida Foster School of Dancing in Golders Green.

During this period, he billed himself as Thomas (or Thos) Stevens, but reorganised the name to its backward spelling of Mot Snevets; the name did not last long and he changed it to Thomas Terry. He soon realised that people were mistaking him as a relative of Dame Ellen Terry, so inverted the name to Terry Thomas. He did not add the hyphen until 1947, and later explained that it was "not for snob reasons but to tie the two names together. They didn't mean much apart; together they made a trade name": the hyphen was also "to match the gap in his front teeth". By now, he was developing a unique sense of style both on and off stage. In order to avoid staining his fingers with smoke, he used a cigarette holder and later purchased "the most irresistible holder in Dunhill's. It was slightly because it was made of lacquered, black whangee ... with a gold band twisting neatly round it". Adding to his look were a "monocle, raffish waistcoat and red carnation". He later wrote that "sartorially I was an eccentric. But I knew that underneath the clothes I was very much a conservative Englishman who would have loved to have been a genuine eccentric".

During this period, he billed himself as Thomas (or Thos) Stevens, but reorganised the name to its backward spelling of Mot Snevets; the name did not last long and he changed it to Thomas Terry. He soon realised that people were mistaking him as a relative of Dame Ellen Terry, so inverted the name to Terry Thomas. He did not add the hyphen until 1947, and later explained that it was "not for snob reasons but to tie the two names together. They didn't mean much apart; together they made a trade name": the hyphen was also "to match the gap in his front teeth". By now, he was developing a unique sense of style both on and off stage. In order to avoid staining his fingers with smoke, he used a cigarette holder and later purchased "the most irresistible holder in Dunhill's. It was slightly because it was made of lacquered, black whangee ... with a gold band twisting neatly round it". Adding to his look were a "monocle, raffish waistcoat and red carnation". He later wrote that "sartorially I was an eccentric. But I knew that underneath the clothes I was very much a conservative Englishman who would have loved to have been a genuine eccentric".

In 1937 Terry-Thomas met the South African dancer and choreographer Ida Florence Patlansky, who went by the stage-name Pat Patlanski, while she was auditioning in London for a partner for her flamenco dancing act. Patlanski was keen to employ Terry-Thomas as a comedian rather than a dancer, and they established a cabaret double-act billed as "Terri and Patlanski", which was immediately popular with audiences. The couple became romantically involved and married on 3 February 1938 at Marylebone Register Office, afterwards moving to 29 Bronwen Court in St John's Wood. Despite the success of Terri and Patlanski, the act lasted only three months and they took on small engagements on the cabaret circuit. On 6 June 1938 Terry-Thomas made his first radio broadcast on the BBC London Regional dance programme "Friends to Tea". He later recounted that "I didn't give a very good performance ... I was a dismal failure". At the end of the summer of 1938 they were hired by the bandleader Don Rico, who incorporated them into his orchestra, with Patlanski playing the piano and Terry-Thomas acting as the compère.

In 1937 Terry-Thomas met the South African dancer and choreographer Ida Florence Patlansky, who went by the stage-name Pat Patlanski, while she was auditioning in London for a partner for her flamenco dancing act. Patlanski was keen to employ Terry-Thomas as a comedian rather than a dancer, and they established a cabaret double-act billed as "Terri and Patlanski", which was immediately popular with audiences. The couple became romantically involved and married on 3 February 1938 at Marylebone Register Office, afterwards moving to 29 Bronwen Court in St John's Wood. Despite the success of Terri and Patlanski, the act lasted only three months and they took on small engagements on the cabaret circuit. On 6 June 1938 Terry-Thomas made his first radio broadcast on the BBC London Regional dance programme "Friends to Tea". He later recounted that "I didn't give a very good performance ... I was a dismal failure". At the end of the summer of 1938 they were hired by the bandleader Don Rico, who incorporated them into his orchestra, with Patlanski playing the piano and Terry-Thomas acting as the compère.

The Entertainments National Service Association (ENSA) was formed in 1938 in order to provide entertainment to the British Armed Forces; Terry-Thomas and Patlanski signed up in 1939 and during the Phoney War were posted to France, where they appeared in a variety show. From early in their marriage, Patlanski had started having affairs, a move which prompted Terry-Thomas to reciprocate; he made sure he was sent on tour to France where a girlfriend was due to perform, although Patlanski accompanied him on the trip. During the tour, Terry-Thomas ensured Patlanski was sent back to the UK to enable him to continue his affair. On his return to Britain, he continued with his solo variety act, while also acting as the head of the cabaret section of ENSA at the Theatre Royal, Drury Lane, where he clashed regularly with his counterparts running the drama sections, Sir Seymour Hicks and Lilian Braithwaite. Terry-Thomas aimed to produce "good shows, sophisticated, impeccable and highly polished", which included the violinist Eugene Pini playing light classical music, and the Gainsborough Girls chorus line.

The Entertainments National Service Association (ENSA) was formed in 1938 in order to provide entertainment to the British Armed Forces; Terry-Thomas and Patlanski signed up in 1939 and during the Phoney War were posted to France, where they appeared in a variety show. From early in their marriage, Patlanski had started having affairs, a move which prompted Terry-Thomas to reciprocate; he made sure he was sent on tour to France where a girlfriend was due to perform, although Patlanski accompanied him on the trip. During the tour, Terry-Thomas ensured Patlanski was sent back to the UK to enable him to continue his affair. On his return to Britain, he continued with his solo variety act, while also acting as the head of the cabaret section of ENSA at the Theatre Royal, Drury Lane, where he clashed regularly with his counterparts running the drama sections, Sir Seymour Hicks and Lilian Braithwaite. Terry-Thomas aimed to produce "good shows, sophisticated, impeccable and highly polished", which included the violinist Eugene Pini playing light classical music, and the Gainsborough Girls chorus line.

In April 1942 Terry-Thomas received his call-up papers; he later wrote that "it would have seemed rather rude and ungrateful to refuse"; as a result, he left ENSA and reported to the Royal Corps of Signals training depot in Ossett, West Riding of Yorkshire. Within two weeks of his arrival he hired Ossett Town Hall and staged a concert, which included a freshly written sketch about his feet, which had been suffering in his army boots. After basic training he was promoted to the rank of corporal and he applied for a commission. He was turned down because training had caused a duodenal ulcer, and his hearing was still problematic; as a result he was downgraded from A1 to B1 fitness at the start of 1943.

In April 1942 Terry-Thomas received his call-up papers; he later wrote that "it would have seemed rather rude and ungrateful to refuse"; as a result, he left ENSA and reported to the Royal Corps of Signals training depot in Ossett, West Riding of Yorkshire. Within two weeks of his arrival he hired Ossett Town Hall and staged a concert, which included a freshly written sketch about his feet, which had been suffering in his army boots. After basic training he was promoted to the rank of corporal and he applied for a commission. He was turned down because training had caused a duodenal ulcer, and his hearing was still problematic; as a result he was downgraded from A1 to B1 fitness at the start of 1943.

Terry-Thomas continued to appear in cabaret and variety shows while in the army, including at the Astoria Cinema in York, where he was seen by George Black. Black established the entertainment troupe, Stars in Battledress, which was composed of entertainers who were serving in the forces, and he invited Terry-Thomas to join. In February 1943 he appeared in his first Stars in Battledress show at London's Olympia, where he introduced the sketch "Technical Hitch". This involved him portraying a harassed BBC announcer introducing records that are missing. In order to cover up for the absent records he would use his vocal range of four and a half octaves to mimic the singers; he included "impersonations of Britain's clipped crooner Noël Coward, the African-American bass-baritone Paul Robeson, the Peruvian songbird Yma Sumac, the Austrian tenor Richard Tauber and ... the entire Luton Girls Choir". The show went on a national tour, with the stand-up comedian Charlie Chester as compere, during which Terry-Thomas refined and polished his act and finished as "one of the most prominent and influential members of Stars in Battledress".

Terry-Thomas continued to appear in cabaret and variety shows while in the army, including at the Astoria Cinema in York, where he was seen by George Black. Black established the entertainment troupe, Stars in Battledress, which was composed of entertainers who were serving in the forces, and he invited Terry-Thomas to join. In February 1943 he appeared in his first Stars in Battledress show at London's Olympia, where he introduced the sketch "Technical Hitch". This involved him portraying a harassed BBC announcer introducing records that are missing. In order to cover up for the absent records he would use his vocal range of four and a half octaves to mimic the singers; he included "impersonations of Britain's clipped crooner Noël Coward, the African-American bass-baritone Paul Robeson, the Peruvian songbird Yma Sumac, the Austrian tenor Richard Tauber and ... the entire Luton Girls Choir". The show went on a national tour, with the stand-up comedian Charlie Chester as compere, during which Terry-Thomas refined and polished his act and finished as "one of the most prominent and influential members of Stars in Battledress".

Terry-Thomas, along with his Stars in Battledress unit, travelled through Britain and Europe on a tour that lasted several months. After the tour, and with his demobilisation approaching, he took compassionate leave in order to have free time while still receiving army pay. During his absence he went on a tour of the UK organised by George Black, accompanied on the piano by a former colonel, Harry Sutcliffe. Terry-Thomas finished the war as a sergeant, and was finally demobbed on 1 April 1946.

Terry-Thomas, along with his Stars in Battledress unit, travelled through Britain and Europe on a tour that lasted several months. After the tour, and with his demobilisation approaching, he took compassionate leave in order to have free time while still receiving army pay. During his absence he went on a tour of the UK organised by George Black, accompanied on the piano by a former colonel, Harry Sutcliffe. Terry-Thomas finished the war as a sergeant, and was finally demobbed on 1 April 1946.

The ENSA and Stars in Battledress tours of Britain and Europe had raised Terry-Thomas's profile and, by October 1946, he was appearing alongside Sid Field in "Piccadilly Hayride" at the Prince of Wales Theatre, London. The show was described by Graham McCann as "the West End's biggest money-spinner for years". Terry-Thomas compered the show as well as appearing in some of the sketches, including his own "Technical Hitch" routine. In 1959 he described the effect of "Piccadilly Hayride" on his career, saying "This show made me overnight. I'd arrived". Ivor Brown, writing in "The Observer", remarked on the "glorious rag of BBC modes, moods and intonations by Mr. Terry Thomas, a grand discovery". Within three weeks of starting his run, Terry-Thomas was invited to appear at the Royal Command Performance on 4 November 1946 at the London Palladium.

The ENSA and Stars in Battledress tours of Britain and Europe had raised Terry-Thomas's profile and, by October 1946, he was appearing alongside Sid Field in "Piccadilly Hayride" at the Prince of Wales Theatre, London. The show was described by Graham McCann as "the West End's biggest money-spinner for years". Terry-Thomas compered the show as well as appearing in some of the sketches, including his own "Technical Hitch" routine. In 1959 he described the effect of "Piccadilly Hayride" on his career, saying "This show made me overnight. I'd arrived". Ivor Brown, writing in "The Observer", remarked on the "glorious rag of BBC modes, moods and intonations by Mr. Terry Thomas, a grand discovery". Within three weeks of starting his run, Terry-Thomas was invited to appear at the Royal Command Performance on 4 November 1946 at the London Palladium.

The ENSA and Stars in Battledress tours of Britain and Europe had raised Terry-Thomas's profile and, by October 1946, he was appearing alongside Sid Field in "Piccadilly Hayride" at the Prince of Wales Theatre, London. The show was described by Graham McCann as "the West End's biggest money-spinner for years". Terry-Thomas compered the show as well as appearing in some of the sketches, including his own "Technical Hitch" routine. In 1959 he described the effect of "Piccadilly Hayride" on his career, saying "This show made me overnight. I'd arrived". Ivor Brown, writing in "The Observer", remarked on the "glorious rag of BBC modes, moods and intonations by Mr. Terry Thomas, a grand discovery". Within three weeks of starting his run, Terry-Thomas was invited to appear at the Royal Command Performance on 4 November 1946 at the London Palladium.

The ENSA and Stars in Battledress tours of Britain and Europe had raised Terry-Thomas's profile and, by October 1946, he was appearing alongside Sid Field in "Piccadilly Hayride" at the Prince of Wales Theatre, London. The show was described by Graham McCann as "the West End's biggest money-spinner for years". Terry-Thomas compered the show as well as appearing in some of the sketches, including his own "Technical Hitch" routine. In 1959 he described the effect of "Piccadilly Hayride" on his career, saying "This show made me overnight. I'd arrived". Ivor Brown, writing in "The Observer", remarked on the "glorious rag of BBC modes, moods and intonations by Mr. Terry Thomas, a grand discovery". Within three weeks of starting his run, Terry-Thomas was invited to appear at the Royal Command Performance on 4 November 1946 at the London Palladium.

"Piccadilly Hayride" ran for 778 performances and ended on 17 January 1948. The show was seen by over a million people and earned £350,000 at the box office. In conjunction with "Piccadilly Hayride", Terry-Thomas undertook a number of other additional one-off appearances in cabaret and private functions. He also appeared in editions of "Variety Bandbox" and "Workers' Playtime" on BBC Radio. His ever-evolving act consisted of imitations, including that of his friend, the musician Leslie Hutchinson (known as "Hutch"); sketches, including "Technical Hitch"; urbane monologues, and "languid shaggy dog stories". At the end of his run with "Piccadilly Hayride", Terry-Thomas took a three-week break to recover from nervous exhaustion and a recurrence of his peptic ulcer. He went back to cabaret and acted as a compere at the London Palladium before making his radio breakthrough on 12 October 1948 with his own series on the BBC Home Service. Consisting of a "mixture of sketches, solo routines, musical interludes and a range of popular and topical star guests", "To Town with Terry" was broadcast weekly and ran for 24 episodes until 28 March 1949. He was disappointed with the series, saying "I was never totally satisfied with  ... The perfectionist in me always made me aware of anything that was less than first class". He also appeared in his first post-war film, "A Date with a Dream", in 1949, alongside his wife.

"Piccadilly Hayride" ran for 778 performances and ended on 17 January 1948. The show was seen by over a million people and earned £350,000 at the box office. In conjunction with "Piccadilly Hayride", Terry-Thomas undertook a number of other additional one-off appearances in cabaret and private functions. He also appeared in editions of "Variety Bandbox" and "Workers' Playtime" on BBC Radio. His ever-evolving act consisted of imitations, including that of his friend, the musician Leslie Hutchinson (known as "Hutch"); sketches, including "Technical Hitch"; urbane monologues, and "languid shaggy dog stories". At the end of his run with "Piccadilly Hayride", Terry-Thomas took a three-week break to recover from nervous exhaustion and a recurrence of his peptic ulcer. He went back to cabaret and acted as a compere at the London Palladium before making his radio breakthrough on 12 October 1948 with his own series on the BBC Home Service. Consisting of a "mixture of sketches, solo routines, musical interludes and a range of popular and topical star guests", "To Town with Terry" was broadcast weekly and ran for 24 episodes until 28 March 1949. He was disappointed with the series, saying "I was never totally satisfied with  ... The perfectionist in me always made me aware of anything that was less than first class". He also appeared in his first post-war film, "A Date with a Dream", in 1949, alongside his wife.

"Piccadilly Hayride" ran for 778 performances and ended on 17 January 1948. The show was seen by over a million people and earned £350,000 at the box office. In conjunction with "Piccadilly Hayride", Terry-Thomas undertook a number of other additional one-off appearances in cabaret and private functions. He also appeared in editions of "Variety Bandbox" and "Workers' Playtime" on BBC Radio. His ever-evolving act consisted of imitations, including that of his friend, the musician Leslie Hutchinson (known as "Hutch"); sketches, including "Technical Hitch"; urbane monologues, and "languid shaggy dog stories". At the end of his run with "Piccadilly Hayride", Terry-Thomas took a three-week break to recover from nervous exhaustion and a recurrence of his peptic ulcer. He went back to cabaret and acted as a compere at the London Palladium before making his radio breakthrough on 12 October 1948 with his own series on the BBC Home Service. Consisting of a "mixture of sketches, solo routines, musical interludes and a range of popular and topical star guests", "To Town with Terry" was broadcast weekly and ran for 24 episodes until 28 March 1949. He was disappointed with the series, saying "I was never totally satisfied with  ... The perfectionist in me always made me aware of anything that was less than first class". He also appeared in his first post-war film, "A Date with a Dream", in 1949, alongside his wife.

"Piccadilly Hayride" ran for 778 performances and ended on 17 January 1948. The show was seen by over a million people and earned £350,000 at the box office. In conjunction with "Piccadilly Hayride", Terry-Thomas undertook a number of other additional one-off appearances in cabaret and private functions. He also appeared in editions of "Variety Bandbox" and "Workers' Playtime" on BBC Radio. His ever-evolving act consisted of imitations, including that of his friend, the musician Leslie Hutchinson (known as "Hutch"); sketches, including "Technical Hitch"; urbane monologues, and "languid shaggy dog stories". At the end of his run with "Piccadilly Hayride", Terry-Thomas took a three-week break to recover from nervous exhaustion and a recurrence of his peptic ulcer. He went back to cabaret and acted as a compere at the London Palladium before making his radio breakthrough on 12 October 1948 with his own series on the BBC Home Service. Consisting of a "mixture of sketches, solo routines, musical interludes and a range of popular and topical star guests", "To Town with Terry" was broadcast weekly and ran for 24 episodes until 28 March 1949. He was disappointed with the series, saying "I was never totally satisfied with  ... The perfectionist in me always made me aware of anything that was less than first class". He also appeared in his first post-war film, "A Date with a Dream", in 1949, alongside his wife.

On 26 October 1949 Terry-Thomas wrote and starred in a new series on the BBC Television Service, "How Do You View?", noted for being the first comedy series on British television. The programme was based around an on-screen persona of Terry-Thomas as "a glamorous, mischievous and discreetly cash-strapped man-about-town", introducing a series of sketches in which he appeared alongside Peter Butterworth as his chauffeur; Janet Brown (Butterworth's real-life wife); Avril Angers; H.C. Walton as the family retainer, Moulting; and Diana Dors. The programme was broadcast live and often included Terry-Thomas walking through control rooms and corridors of the BBC's Lime Grove and Alexandra Palace studios. The author and historian Mark Lewisohn described the series as being "inventive ... truly televisual and not just a radio programme in costume". The series ran until 21 December 1949; a second series followed between April and May 1950, with Sid Colin taking over the scripting duties and Terry-Thomas providing additional material. By the third series, which was broadcast between November 1950 and February 1951, the audience reached four million viewers. In total there were five series of "How Do You View?"; the final episode was broadcast on 11 June 1952. Writing about Terry-Thomas on television, Wilfred Greatorex observed that "he has ... physical attributes that make him a gift to visual entertainment: a large, rather gaunt face, pre-fabricated for close-ups; the notorious space of one-third of an inch between his two most prominent top teeth; a mouth that is full of expression. Add to these pictoral advantages his eight-inch cigarette holder and Eddie Cantor eyes".

On 26 October 1949 Terry-Thomas wrote and starred in a new series on the BBC Television Service, "How Do You View?", noted for being the first comedy series on British television. The programme was based around an on-screen persona of Terry-Thomas as "a glamorous, mischievous and discreetly cash-strapped man-about-town", introducing a series of sketches in which he appeared alongside Peter Butterworth as his chauffeur; Janet Brown (Butterworth's real-life wife); Avril Angers; H.C. Walton as the family retainer, Moulting; and Diana Dors. The programme was broadcast live and often included Terry-Thomas walking through control rooms and corridors of the BBC's Lime Grove and Alexandra Palace studios. The author and historian Mark Lewisohn described the series as being "inventive ... truly televisual and not just a radio programme in costume". The series ran until 21 December 1949; a second series followed between April and May 1950, with Sid Colin taking over the scripting duties and Terry-Thomas providing additional material. By the third series, which was broadcast between November 1950 and February 1951, the audience reached four million viewers. In total there were five series of "How Do You View?"; the final episode was broadcast on 11 June 1952. Writing about Terry-Thomas on television, Wilfred Greatorex observed that "he has ... physical attributes that make him a gift to visual entertainment: a large, rather gaunt face, pre-fabricated for close-ups; the notorious space of one-third of an inch between his two most prominent top teeth; a mouth that is full of expression. Add to these pictoral advantages his eight-inch cigarette holder and Eddie Cantor eyes".

On 26 October 1949 Terry-Thomas wrote and starred in a new series on the BBC Television Service, "How Do You View?", noted for being the first comedy series on British television. The programme was based around an on-screen persona of Terry-Thomas as "a glamorous, mischievous and discreetly cash-strapped man-about-town", introducing a series of sketches in which he appeared alongside Peter Butterworth as his chauffeur; Janet Brown (Butterworth's real-life wife); Avril Angers; H.C. Walton as the family retainer, Moulting; and Diana Dors. The programme was broadcast live and often included Terry-Thomas walking through control rooms and corridors of the BBC's Lime Grove and Alexandra Palace studios. The author and historian Mark Lewisohn described the series as being "inventive ... truly televisual and not just a radio programme in costume". The series ran until 21 December 1949; a second series followed between April and May 1950, with Sid Colin taking over the scripting duties and Terry-Thomas providing additional material. By the third series, which was broadcast between November 1950 and February 1951, the audience reached four million viewers. In total there were five series of "How Do You View?"; the final episode was broadcast on 11 June 1952. Writing about Terry-Thomas on television, Wilfred Greatorex observed that "he has ... physical attributes that make him a gift to visual entertainment: a large, rather gaunt face, pre-fabricated for close-ups; the notorious space of one-third of an inch between his two most prominent top teeth; a mouth that is full of expression. Add to these pictoral advantages his eight-inch cigarette holder and Eddie Cantor eyes".

On 26 October 1949 Terry-Thomas wrote and starred in a new series on the BBC Television Service, "How Do You View?", noted for being the first comedy series on British television. The programme was based around an on-screen persona of Terry-Thomas as "a glamorous, mischievous and discreetly cash-strapped man-about-town", introducing a series of sketches in which he appeared alongside Peter Butterworth as his chauffeur; Janet Brown (Butterworth's real-life wife); Avril Angers; H.C. Walton as the family retainer, Moulting; and Diana Dors. The programme was broadcast live and often included Terry-Thomas walking through control rooms and corridors of the BBC's Lime Grove and Alexandra Palace studios. The author and historian Mark Lewisohn described the series as being "inventive ... truly televisual and not just a radio programme in costume". The series ran until 21 December 1949; a second series followed between April and May 1950, with Sid Colin taking over the scripting duties and Terry-Thomas providing additional material. By the third series, which was broadcast between November 1950 and February 1951, the audience reached four million viewers. In total there were five series of "How Do You View?"; the final episode was broadcast on 11 June 1952. Writing about Terry-Thomas on television, Wilfred Greatorex observed that "he has ... physical attributes that make him a gift to visual entertainment: a large, rather gaunt face, pre-fabricated for close-ups; the notorious space of one-third of an inch between his two most prominent top teeth; a mouth that is full of expression. Add to these pictoral advantages his eight-inch cigarette holder and Eddie Cantor eyes".

In between filming "How Do You View?", Terry-Thomas continued performing on radio as well as in cabaret, in Britain and increasingly the US. In October and November 1949 he appeared at the Palmer House Night Club, Chicago; in June 1951 he appeared at The Wedgwood Room, Waldorf Astoria Hotel, New York, and between 22 December 1951 and 29 February 1952 he returned to the London Palladium for 109 performances in "Humpty Dumpty". In September 1952 he travelled to the Federation of Malaya to entertain British troops in a series of concert parties, before returning to the UK to appear in the "Royal Variety Performance" in November. He finished the year in South Africa, as Honourable Idle Jack in "Dick Whittington", which finished in January 1953; he considered the pantomime to be "so tatty and unrehearsed it was pathetic".

In between filming "How Do You View?", Terry-Thomas continued performing on radio as well as in cabaret, in Britain and increasingly the US. In October and November 1949 he appeared at the Palmer House Night Club, Chicago; in June 1951 he appeared at The Wedgwood Room, Waldorf Astoria Hotel, New York, and between 22 December 1951 and 29 February 1952 he returned to the London Palladium for 109 performances in "Humpty Dumpty". In September 1952 he travelled to the Federation of Malaya to entertain British troops in a series of concert parties, before returning to the UK to appear in the "Royal Variety Performance" in November. He finished the year in South Africa, as Honourable Idle Jack in "Dick Whittington", which finished in January 1953; he considered the pantomime to be "so tatty and unrehearsed it was pathetic".

In between filming "How Do You View?", Terry-Thomas continued performing on radio as well as in cabaret, in Britain and increasingly the US. In October and November 1949 he appeared at the Palmer House Night Club, Chicago; in June 1951 he appeared at The Wedgwood Room, Waldorf Astoria Hotel, New York, and between 22 December 1951 and 29 February 1952 he returned to the London Palladium for 109 performances in "Humpty Dumpty". In September 1952 he travelled to the Federation of Malaya to entertain British troops in a series of concert parties, before returning to the UK to appear in the "Royal Variety Performance" in November. He finished the year in South Africa, as Honourable Idle Jack in "Dick Whittington", which finished in January 1953; he considered the pantomime to be "so tatty and unrehearsed it was pathetic".

In between filming "How Do You View?", Terry-Thomas continued performing on radio as well as in cabaret, in Britain and increasingly the US. In October and November 1949 he appeared at the Palmer House Night Club, Chicago; in June 1951 he appeared at The Wedgwood Room, Waldorf Astoria Hotel, New York, and between 22 December 1951 and 29 February 1952 he returned to the London Palladium for 109 performances in "Humpty Dumpty". In September 1952 he travelled to the Federation of Malaya to entertain British troops in a series of concert parties, before returning to the UK to appear in the "Royal Variety Performance" in November. He finished the year in South Africa, as Honourable Idle Jack in "Dick Whittington", which finished in January 1953; he considered the pantomime to be "so tatty and unrehearsed it was pathetic".

In June 1953 Terry-Thomas broadcast the pilot episode of the radio show, "Top of the Town"; the show was successful and the BBC commissioned a series of 16 episodes, which ran between November 1953 and February 1954. In between recording sessions, he appeared at the London Palladium in the revue "Fun and the Fair", with George Formby and the Billy Cotton band, from October 1953. "Fun and the Fair" was unsuccessful at the box office and closed on 19 December 1953, after 138 performances. Terry-Thomas then reprised his role of Idle Jack for a run of performances in the Granada theatres of Sutton and Woolwich, and the Finsbury Park Empire, which ran to the end of January 1954. That year, he separated from Patlanski following an increase in domestic tension and the plethora of affairs in which they had both indulged. Patlanski moved out of the shared home, and the couple lived separate lives; the press did not report the separation until 1957.

In June 1953 Terry-Thomas broadcast the pilot episode of the radio show, "Top of the Town"; the show was successful and the BBC commissioned a series of 16 episodes, which ran between November 1953 and February 1954. In between recording sessions, he appeared at the London Palladium in the revue "Fun and the Fair", with George Formby and the Billy Cotton band, from October 1953. "Fun and the Fair" was unsuccessful at the box office and closed on 19 December 1953, after 138 performances. Terry-Thomas then reprised his role of Idle Jack for a run of performances in the Granada theatres of Sutton and Woolwich, and the Finsbury Park Empire, which ran to the end of January 1954. That year, he separated from Patlanski following an increase in domestic tension and the plethora of affairs in which they had both indulged. Patlanski moved out of the shared home, and the couple lived separate lives; the press did not report the separation until 1957.

In June 1953 Terry-Thomas broadcast the pilot episode of the radio show, "Top of the Town"; the show was successful and the BBC commissioned a series of 16 episodes, which ran between November 1953 and February 1954. In between recording sessions, he appeared at the London Palladium in the revue "Fun and the Fair", with George Formby and the Billy Cotton band, from October 1953. "Fun and the Fair" was unsuccessful at the box office and closed on 19 December 1953, after 138 performances. Terry-Thomas then reprised his role of Idle Jack for a run of performances in the Granada theatres of Sutton and Woolwich, and the Finsbury Park Empire, which ran to the end of January 1954. That year, he separated from Patlanski following an increase in domestic tension and the plethora of affairs in which they had both indulged. Patlanski moved out of the shared home, and the couple lived separate lives; the press did not report the separation until 1957.

In June 1953 Terry-Thomas broadcast the pilot episode of the radio show, "Top of the Town"; the show was successful and the BBC commissioned a series of 16 episodes, which ran between November 1953 and February 1954. In between recording sessions, he appeared at the London Palladium in the revue "Fun and the Fair", with George Formby and the Billy Cotton band, from October 1953. "Fun and the Fair" was unsuccessful at the box office and closed on 19 December 1953, after 138 performances. Terry-Thomas then reprised his role of Idle Jack for a run of performances in the Granada theatres of Sutton and Woolwich, and the Finsbury Park Empire, which ran to the end of January 1954. That year, he separated from Patlanski following an increase in domestic tension and the plethora of affairs in which they had both indulged. Patlanski moved out of the shared home, and the couple lived separate lives; the press did not report the separation until 1957.

Terry-Thomas spent the 1954 summer season performing at the Winter Gardens Pavilion, Blackpool before starring in a second series of "Top of the Town", which ran from October 1954 to February 1955. At the end of the series he appeared as Hubert Crone in the play "Room for Two", which had a UK tour prior to a run at the Prince of Wales Theatre, London. The last stop on the UK tour was at the Brighton Hippodrome, where Terry-Thomas broke his arm on stage; he returned to the show five days later when the tour reached London. He later joked that "the audience roared with laughter when I fell and made horrible faces, so much so that I considered breaking the other arm for an encore". The London run was not a success and the show closed after 48 performances.

Terry-Thomas spent the 1954 summer season performing at the Winter Gardens Pavilion, Blackpool before starring in a second series of "Top of the Town", which ran from October 1954 to February 1955. At the end of the series he appeared as Hubert Crone in the play "Room for Two", which had a UK tour prior to a run at the Prince of Wales Theatre, London. The last stop on the UK tour was at the Brighton Hippodrome, where Terry-Thomas broke his arm on stage; he returned to the show five days later when the tour reached London. He later joked that "the audience roared with laughter when I fell and made horrible faces, so much so that I considered breaking the other arm for an encore". The London run was not a success and the show closed after 48 performances.

Terry-Thomas spent the 1954 summer season performing at the Winter Gardens Pavilion, Blackpool before starring in a second series of "Top of the Town", which ran from October 1954 to February 1955. At the end of the series he appeared as Hubert Crone in the play "Room for Two", which had a UK tour prior to a run at the Prince of Wales Theatre, London. The last stop on the UK tour was at the Brighton Hippodrome, where Terry-Thomas broke his arm on stage; he returned to the show five days later when the tour reached London. He later joked that "the audience roared with laughter when I fell and made horrible faces, so much so that I considered breaking the other arm for an encore". The London run was not a success and the show closed after 48 performances.

Terry-Thomas spent the 1954 summer season performing at the Winter Gardens Pavilion, Blackpool before starring in a second series of "Top of the Town", which ran from October 1954 to February 1955. At the end of the series he appeared as Hubert Crone in the play "Room for Two", which had a UK tour prior to a run at the Prince of Wales Theatre, London. The last stop on the UK tour was at the Brighton Hippodrome, where Terry-Thomas broke his arm on stage; he returned to the show five days later when the tour reached London. He later joked that "the audience roared with laughter when I fell and made horrible faces, so much so that I considered breaking the other arm for an encore". The London run was not a success and the show closed after 48 performances.

In February 1956 Terry-Thomas appeared on "Desert Island Discs", and chose two songs from his "Technical Hitch" routine as part of his selection. Later that year he appeared in his first major film roles: Charles Boughtflower in "The Green Man", and Major Hitchcock, "a charlatan military officer on the take", in "Private's Progress", directed by the Boulting brothers. Terry-Thomas appeared in the latter film only briefly, with a total screen time of about ten minutes, but his biographer Graham McCann thought the actor "came close to stealing the show from the central character", Windrush played by Ian Carmichael. Terry-Thomas's depiction of the character was not how he wished to play it: his desired choice was that of a "silly-ass" sergeant major, but the role was written as a strict, alcohol and prescription drug-dependent Army officer. He was initially disappointed with the role, and turned it down but, after being persuaded to accept it by his agent, he embraced its possibilities. One of his lines, delivered in his clipped upper class voice, was "You're an absolute shower", which became a catchphrase for him. The Boulting brothers were so impressed with Terry-Thomas's performance that they signed him up to a five-film deal.

In February 1956 Terry-Thomas appeared on "Desert Island Discs", and chose two songs from his "Technical Hitch" routine as part of his selection. Later that year he appeared in his first major film roles: Charles Boughtflower in "The Green Man", and Major Hitchcock, "a charlatan military officer on the take", in "Private's Progress", directed by the Boulting brothers. Terry-Thomas appeared in the latter film only briefly, with a total screen time of about ten minutes, but his biographer Graham McCann thought the actor "came close to stealing the show from the central character", Windrush played by Ian Carmichael. Terry-Thomas's depiction of the character was not how he wished to play it: his desired choice was that of a "silly-ass" sergeant major, but the role was written as a strict, alcohol and prescription drug-dependent Army officer. He was initially disappointed with the role, and turned it down but, after being persuaded to accept it by his agent, he embraced its possibilities. One of his lines, delivered in his clipped upper class voice, was "You're an absolute shower", which became a catchphrase for him. The Boulting brothers were so impressed with Terry-Thomas's performance that they signed him up to a five-film deal.

In February 1956 Terry-Thomas appeared on "Desert Island Discs", and chose two songs from his "Technical Hitch" routine as part of his selection. Later that year he appeared in his first major film roles: Charles Boughtflower in "The Green Man", and Major Hitchcock, "a charlatan military officer on the take", in "Private's Progress", directed by the Boulting brothers. Terry-Thomas appeared in the latter film only briefly, with a total screen time of about ten minutes, but his biographer Graham McCann thought the actor "came close to stealing the show from the central character", Windrush played by Ian Carmichael. Terry-Thomas's depiction of the character was not how he wished to play it: his desired choice was that of a "silly-ass" sergeant major, but the role was written as a strict, alcohol and prescription drug-dependent Army officer. He was initially disappointed with the role, and turned it down but, after being persuaded to accept it by his agent, he embraced its possibilities. One of his lines, delivered in his clipped upper class voice, was "You're an absolute shower", which became a catchphrase for him. The Boulting brothers were so impressed with Terry-Thomas's performance that they signed him up to a five-film deal.

In February 1956 Terry-Thomas appeared on "Desert Island Discs", and chose two songs from his "Technical Hitch" routine as part of his selection. Later that year he appeared in his first major film roles: Charles Boughtflower in "The Green Man", and Major Hitchcock, "a charlatan military officer on the take", in "Private's Progress", directed by the Boulting brothers. Terry-Thomas appeared in the latter film only briefly, with a total screen time of about ten minutes, but his biographer Graham McCann thought the actor "came close to stealing the show from the central character", Windrush played by Ian Carmichael. Terry-Thomas's depiction of the character was not how he wished to play it: his desired choice was that of a "silly-ass" sergeant major, but the role was written as a strict, alcohol and prescription drug-dependent Army officer. He was initially disappointed with the role, and turned it down but, after being persuaded to accept it by his agent, he embraced its possibilities. One of his lines, delivered in his clipped upper class voice, was "You're an absolute shower", which became a catchphrase for him. The Boulting brothers were so impressed with Terry-Thomas's performance that they signed him up to a five-film deal.

In February 1956 Terry-Thomas appeared on "Desert Island Discs", and chose two songs from his "Technical Hitch" routine as part of his selection. Later that year he appeared in his first major film roles: Charles Boughtflower in "The Green Man", and Major Hitchcock, "a charlatan military officer on the take", in "Private's Progress", directed by the Boulting brothers. Terry-Thomas appeared in the latter film only briefly, with a total screen time of about ten minutes, but his biographer Graham McCann thought the actor "came close to stealing the show from the central character", Windrush played by Ian Carmichael. Terry-Thomas's depiction of the character was not how he wished to play it: his desired choice was that of a "silly-ass" sergeant major, but the role was written as a strict, alcohol and prescription drug-dependent Army officer. He was initially disappointed with the role, and turned it down but, after being persuaded to accept it by his agent, he embraced its possibilities. One of his lines, delivered in his clipped upper class voice, was "You're an absolute shower", which became a catchphrase for him. The Boulting brothers were so impressed with Terry-Thomas's performance that they signed him up to a five-film deal.

In February 1956 Terry-Thomas appeared on "Desert Island Discs", and chose two songs from his "Technical Hitch" routine as part of his selection. Later that year he appeared in his first major film roles: Charles Boughtflower in "The Green Man", and Major Hitchcock, "a charlatan military officer on the take", in "Private's Progress", directed by the Boulting brothers. Terry-Thomas appeared in the latter film only briefly, with a total screen time of about ten minutes, but his biographer Graham McCann thought the actor "came close to stealing the show from the central character", Windrush played by Ian Carmichael. Terry-Thomas's depiction of the character was not how he wished to play it: his desired choice was that of a "silly-ass" sergeant major, but the role was written as a strict, alcohol and prescription drug-dependent Army officer. He was initially disappointed with the role, and turned it down but, after being persuaded to accept it by his agent, he embraced its possibilities. One of his lines, delivered in his clipped upper class voice, was "You're an absolute shower", which became a catchphrase for him. The Boulting brothers were so impressed with Terry-Thomas's performance that they signed him up to a five-film deal.

The first of the five films was "Brothers in Law", in which Terry-Thomas played the spiv Alfred Green, a performance which was based on Sid Field's characterisation in "Piccadilly Hayride". Roy Boulting later recounted that one short scene with Terry-Thomas, Richard Attenborough and Ian Carmichael took 107 takes because of Terry-Thomas's unfamiliarity with filming techniques; he initially struggled to hit his marks, or give his line and move on, while still acting. Filming the scene took two days and Boulting described it as a "unique experience for him, and had a wonderful after-effect". Following "Brothers in Law" he was cast as Romney Carlton-Ricketts in "Blue Murder at St Trinian's" by producers Frank Launder and Sidney Gilliat, before again appearing for the Boulting brothers in the cameo role of a local policeman in "Happy Is the Bride". Terry-Thomas starred in two further films in 1957. The first was as Bertrand Welch in "Lucky Jim", an adaptation of the novel of the same name by Kingsley Amis. Although Amis thought Terry-Thomas has been "totally miscast as Bertrand, the posturing painter and leading shit" of the book, the critic for "The Manchester Guardian" considered Terry-Thomas as being "the nearest to a complete success" in the film, in a portrayal that "suggests possibilities for more serious roles". His final part of 1957 was Lord Henry Mayley in "The Naked Truth"; this brought him together with Peter Sellers for the first time, and the two of them appeared frequently together over the next few years in scenes in which, Graham McCann considered that each actor's performance "highlight what was special about the other". During one scene Terry-Thomas was dumped in a near-freezing lake, and his health was affected for some time afterwards.

The first of the five films was "Brothers in Law", in which Terry-Thomas played the spiv Alfred Green, a performance which was based on Sid Field's characterisation in "Piccadilly Hayride". Roy Boulting later recounted that one short scene with Terry-Thomas, Richard Attenborough and Ian Carmichael took 107 takes because of Terry-Thomas's unfamiliarity with filming techniques; he initially struggled to hit his marks, or give his line and move on, while still acting. Filming the scene took two days and Boulting described it as a "unique experience for him, and had a wonderful after-effect". Following "Brothers in Law" he was cast as Romney Carlton-Ricketts in "Blue Murder at St Trinian's" by producers Frank Launder and Sidney Gilliat, before again appearing for the Boulting brothers in the cameo role of a local policeman in "Happy Is the Bride". Terry-Thomas starred in two further films in 1957. The first was as Bertrand Welch in "Lucky Jim", an adaptation of the novel of the same name by Kingsley Amis. Although Amis thought Terry-Thomas has been "totally miscast as Bertrand, the posturing painter and leading shit" of the book, the critic for "The Manchester Guardian" considered Terry-Thomas as being "the nearest to a complete success" in the film, in a portrayal that "suggests possibilities for more serious roles". His final part of 1957 was Lord Henry Mayley in "The Naked Truth"; this brought him together with Peter Sellers for the first time, and the two of them appeared frequently together over the next few years in scenes in which, Graham McCann considered that each actor's performance "highlight what was special about the other". During one scene Terry-Thomas was dumped in a near-freezing lake, and his health was affected for some time afterwards.