Harold Snoad was a force in British television, a hands-on producer and director who left his mark on some of the country’s most beloved sitcoms. From Keeping Up Appearances to Dad’s Army, his influence was undeniable, shaping the humor and legacy of these iconic shows.
However, behind the scenes, his career was marked by creative clashes, casting decisions, and an unwavering dedication to his vision of television comedy.
Snoad’s biggest success came in the form of Keeping Up Appearances (1990-1995), the hit BBC sitcom that revolved around the social aspirations of the unforgettable Hyacinth Bucket—who insisted her surname be pronounced “Bouquet.” Patricia Routledge embodied the role perfectly, bringing to life Hyacinth’s desperate attempts to climb the social ladder, much to the dismay of her long-suffering husband Richard and her chaotic, working-class relatives.
Snoad was the driving force behind the show’s production, and it was he who chose Routledge for the role of Hyacinth. Yet, his reflections on the experience were far from glowing.
In his 2009 memoir, It’s Bouquet – Not Bucket!, he didn’t hold back in sharing his frustrations, particularly about Routledge’s alleged reluctance to contribute to cast parties or the length of time it took her to change costumes between scenes.
Despite its success, Keeping Up Appearances was not without its behind-the-scenes drama. Snoad frequently clashed with the show’s creator and writer, Roy Clarke.
The two had different ideas about how the sitcom should be executed, and Snoad often took it upon himself to rewrite scripts—something Clarke later lamented, saying he would watch episodes and find scenes that he hadn't written. Their creative disputes were a recurring issue, but the show still became one of Britain’s most beloved sitcoms, with a lasting legacy that continues in reruns today.
Snoad’s contributions to British television extended beyond Keeping Up Appearances. He was instrumental in bringing Dad’s Army to radio, scripting and directing 67 episodes of the beloved wartime comedy between 1974 and 1976, alongside actor Michael Knowles.
His ability to translate the charm and wit of the television series to the radio format was a testament to his skill as both a writer and director.
Beyond Dad’s Army, Snoad worked on a range of classic British sitcoms. He had directing credits on Oh, Brother! (1969), which starred Derek Nimmo, and worked on many other productions that defined BBC comedy for decades.
He was a man who understood the mechanics of humor, ensuring that each scene played out with perfect comedic timing.
While Snoad’s career was filled with achievements, it was also riddled with conflicts. His working relationship with Roy Clarke was strained, with both men believing in their own creative authority.
Clarke, who crafted the world of Hyacinth Bucket, was protective of his scripts, while Snoad felt it was his responsibility to fine-tune them for television. This tension led to moments where Clarke would later claim that scenes in Keeping Up Appearances aired differently from how he had envisioned them.
Even with these battles, the BBC had hoped the series would continue beyond its five-season run. However, Routledge’s decision to leave the role in 1995 marked the end of the show, much to Snoad’s frustration.
The production could not continue without its star, and though the BBC might have wanted more, the show was wrapped up at its peak.
Harold Snoad’s passing at the age of 88 marked the end of an era for British television comedy. His name was a staple in sitcom credits, and his impact on shows like Keeping Up Appearances and Dad’s Army ensured his place in British entertainment history.
His approach to television was direct and uncompromising—qualities that sometimes led to creative disagreements but also resulted in some of the most memorable sitcoms ever produced.
Even as audiences continue to laugh at Hyacinth’s antics or the bumbling charm of Dad’s Army, Snoad’s role in shaping these moments should not be forgotten. He was a BBC stalwart, a man who understood the art of television comedy and fought for what he believed would make it work.
His career, filled with both success and conflict, remains a fascinating story within the history of British entertainment.
