A Margaret Thatcher Spitting Image puppet. Photo: Getty
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The voice of the Iron Lady: how hard is it to imitate Margaret Thatcher?

Meeting the man behind Spitting Image's rubbery Maggie.

It’s one of the stranger sentences ever uttered about Margaret Thatcher. “I must have been 15 – it was 1975 when she became leader – and I just sat down one day, and out she came, fully formed.” You could be forgiven for thinking Steve Nallon is talking about some kind of supernatural experience, and in a way he is – except that what “came out” wasn’t a ghost or an apparition, but an impression so good that it’s been central to his life ever since.

“I started doing it at school and then I did it in the northern comedy clubs. At university and then at the Fringe, someone lent me a frock and I started doing it in full costume,” he says. All this experience came in handy when, in 1984, Nallon joined the cast of a new satirical programme on ITV called Spitting Image. The combination of his Thatcher impression and the now-iconic puppet was a great success, and he went on to work on the show for the next 12 years.

Now, 30 years after the first episode, he is looking back. “People think because I do Thatcher that I’m obsessed by her, that I’ve got every book ever written on her, which I don’t … I’m not especially interested in her,” he chuckles. “I had to be, in the Eighties, because of my act. It was a joy when she went because I didn’t have to read the endless newspaper articles any more.”

The voice is as good as ever, though. It’s uncanny, watching Nallon become Thatcher. He drops into it with great ease mid-sentence. His mouth tightens into the slight pout the Iron Lady always had and his posture changes – leaning forward, he tells me with all the solemnity of a prime minister greeting a fellow head of state that he thinks the Two Ronnies are very funny and then wonders: “Could one Ronnie do the joke just as well?”

Naturally, it wasn’t just Thatcher – Nallon voiced all kinds of other characters on Spitting Image. When he does his Alan Bennett for me, he explains that it’s all down to the top lip. “It’s very tense, it’s not going to let you in to any secrets,” he says in Bennett’s voice. In fact, Nallon and Bennett have more in common than just intonation. Both come from working-class backgrounds in Leeds and after moving south to work in the arts “didn’t quite fit in in either place”.

Nallon feels his working-class roots helped him capture Thatcher in a way few other impressionists have been able to do. “I’ve got the background most Labour MPs would die for – cobbled streets, outside loos, tin baths … But it wasn’t a Labour, union sort of family. It was Thatcherite, Tory.”

Understanding this helped him replicate the self-belief Thatcher projected so strongly. Other impressionists, he says, make her too “knowingly patronising” and don’t appreciate that a good impression isn’t just a matter of impersonating someone. “It’s got to be slightly more real than they are,” he explains. There’s an element of caricature, too. The Spitting Image puppets helped with this, but some of it has to be in the voice. “By the end, my Thatcher didn’t sound anything like her,” Nallon says. “It was an alternative-reality version, a parallel universe.”

This month, Nallon took to the stage as Thatcher for the first time since she died last April. He’s had to rewrite his act completely, as the former PM now speaks from the afterlife. “Of course, being dead has its liberations,” he declaims in her voice, then flips back into his own. “I’m only going to do it for ten minutes – God knows I don’t want to make a career out of it.”

“Spitting Image at 30” will take place on Thursday 27 February at BFI Southbank, London SE1, and will include a preview of “Arena: Whatever Happened to Spitting Image”, a new film for BBC4 directed by Anthony Wall

Caroline Crampton is assistant editor of the New Statesman. She writes a weekly podcast column.

This article first appeared in the 19 February 2014 issue of the New Statesman, The Space Issue

Photo: Getty
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PMQs review: Jeremy Corbyn prompts Tory outrage as he blames Grenfell Tower fire on austerity

To Conservative cries of "shame on you!", the Labour leader warned that "we all pay a price in public safety" for spending cuts.

A fortnight after the Grenfell Tower fire erupted, the tragedy continues to cast a shadow over British politics. Rather than probing Theresa May on the DUP deal, Jeremy Corbyn asked a series of forensic questions on the incident, in which at least 79 people are confirmed to have died.

In the first PMQs of the new parliament, May revealed that the number of buildings that had failed fire safety tests had risen to 120 (a 100 per cent failure rate) and that the cladding used on Grenfell Tower was "non-compliant" with building regulations (Corbyn had asked whether it was "legal").

After several factual questions, the Labour leader rose to his political argument. To cries of "shame on you!" from Tory MPs, he warned that local authority cuts of 40 per cent meant "we all pay a price in public safety". Corbyn added: “What the tragedy of Grenfell Tower has exposed is the disastrous effects of austerity. The disregard for working-class communities, the terrible consequences of deregulation and cutting corners." Corbyn noted that 11,000 firefighters had been cut and that the public sector pay cap (which Labour has tabled a Queen's Speech amendment against) was hindering recruitment. "This disaster must be a wake-up call," he concluded.

But May, who fared better than many expected, had a ready retort. "The cladding of tower blocks did not start under this government, it did not start under the previous coalition governments, the cladding of tower blocks began under the Blair government," she said. “In 2005 it was a Labour government that introduced the regulatory reform fire safety order which changed the requirements to inspect a building on fire safety from the local fire authority to a 'responsible person'." In this regard, however, Corbyn's lack of frontbench experience is a virtue – no action by the last Labour government can be pinned on him. 

Whether or not the Conservatives accept the link between Grenfell and austerity, their reluctance to defend continued cuts shows an awareness of how politically vulnerable they have become (No10 has announced that the public sector pay cap is under review).

Though Tory MP Philip Davies accused May of having an "aversion" to policies "that might be popular with the public" (he demanded the abolition of the 0.7 per cent foreign aid target), there was little dissent from the backbenches – reflecting the new consensus that the Prime Minister is safe (in the absence of an attractive alternative).

And May, whose jokes sometimes fall painfully flat, was able to accuse Corbyn of saying "one thing to the many and another thing to the few" in reference to his alleged Trident comments to Glastonbury festival founder Michael Eavis. But the Labour leader, no longer looking fearfully over his shoulder, displayed his increased authority today. Though the Conservatives may jeer him, the lingering fear in Tory minds is that they and the country are on divergent paths. 

George Eaton is political editor of the New Statesman.

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