and here's my geekish unproductive responses from that thread!
_______________________
I'd like to see some of these rivals of Sir James
of course Steed is so old school we'd hardly notice the difference
actually how would you transpose Steed to the Elizabethan era? the point is he seems a century behind the times, so he'd have to be the scion of an old Saxon family, still dressed in vintage Saxon fashions and demonstrating authentic Saxon manners.
Lady Peel of course would be decked out in all the latest 16th century fashions. did they have leather in the 16th century?
and how would you transpose something like A Touch of Brimstone which is about an evil organization dressed in 18th century fashions in the 20th century? in fact so many of those plots were about reactionaries still living as if it were an earlier time itd get right confusing what was Olde just because its Shakespeare and what was supposed to be really Olde within Shakespeare!
_______________________
oh I got no funny dialogs for Shakespearean Avengers, but it sure does get my mind spinning over the geeky historical stuff that would come into play.
yes I know what you mean about historical period pieces within Shakespeare. I know I was supposed to learn something about history from Richard III for example. not sure if Shakespeare ever had a character who dressed like it was 1500 alongside characters living in 1600, and if he did would we even notice it?
I think even for Steed and Peel it would have to be in two parts: one just to establish the stylistic contrast between the two characters, then the second could be something like a backdated version of A Touch of Brimstone, confusing the era even further. But my brain breaks down when I try to imagine 1600 minus 100 years for Steed's style, then subtract a further 100 years (therefor 1400) for The Hellfire Club's style. We would need to consult with a historical fashion expert.
other thing is Peel's style: it was up-to-the minute when those shows were broadcast, but we perceive it as a nostalgic vision of swinging Mod London that may never have existed outside the movies of the time.
Modesty Blaise might be most difficult just because the film so totally misrepresents the way the characters spoke, but I couldnt do Peter O'Donnell's characters' voices from memory. Those voices are very distinct in the books, and half the fun.
aside from the question of period style. Steed n Peel's voices would be much easier to capture from memory.
and the Ipcresss Folio should be easiest of all, Harry Palmer's dialog is funny enough as it is.
from memory here's the first act of the real film:
(Palmer returns from yet another lousy surveillance gig)
Ross: Palmer, you're being reassigned. From now on you'll be working in Colonel Dalby's office
Palmer: I see. This is a promotion, 'en, innit sir? Does it come with a rise in me pay?
Ross: what? (checks paperwork) hmm, yes an extra tuppence per fortnight. Now the important thing is...
Palmer: well 'at's just swell, sir, now I can afford that new frying pan I've been looking at
Ross: I must warn you, Dalby does not share my sense of humour!
Palmer: yes I shall miss that about you sir
and thats half the Play right there, just add some thee's and thou's and look up what they used for frying pans in Elizabethan times, and Christopher Marlowe's got a new Play to cash in on this SpyPlay craze!
the picture from post 2850 is from A Touch of Brimstone
have you never seen that one boss? I thought it was the most (in)famous episode of all. Peter Wyngarde plays the villain. Rigg wears a spiked dog collar for the final act, and does tricks with a live boa constrictor, then the villain whips her. I'm not sure even Ye Olde Anonymous Contributor could come up with anything more outrageous than what they already gave us!
I cant figure out how to embed it so just follow the link. If youve never seen this episode, whatever you have scheduled next, be it your wife's birthday, a meeting with your banker, a meeting with your boss about too many absences lately, none of that could be a better use of your next hour than just watching this particular teevee episode
I haven't watched The Ipcress Files in ages. I will have to rewatch but I lean toward the Adventures of Squire Harold Palmer. I say let's start with Ipcress. The Avengers can come later. The thing about The Avengers is are we picking a specific episode or an overused trope? The secret society, the village that isn't what it seems, and so on.
I thought all my titles were clever. 😂😂😂
Honestly I just thought I'd be doing the occasional flyer to keep Shakespeare's Bond alive during the 60th anniversary. But I see it will require a full on parody.
Just wait until we get to the drunken Colonial Matt (Matthew) Helm.
do Ipcress, its easier. and theres a brainwashing sequence!
but, how to render working class cockney in Shakespearian? wont the thee's and thou's class it up too much?
@Barbel follow this link>> archive.org it'll lead right into that very episode. skip to 42:00 if you just want to see Diana Rigg in spiked dog collar, but the whole things outrageous. and Carol Cleveland's in it too!
Come to think of it would be too tricky to parody a specific episode, especially one like that where the very concept is the mixing of centuries.
Better to do a typical generalised Avengers plot, they travel to a county inn, and there's mad scientists hiding under the floorboards. that was 3/4 of the Rigg ere plots. and allows more space for the Steed/Peel banter without getting hung up on plot specifics.
My redraft of cp's first scene of The Ipcress Folio plus a start for the next one,
SCENE 1
Outside ye office of Colonel Ross, Yeoman Palmer awaits entrance, reading through ye latest scrolls.
Palmer: This ist no kind of work, awaiting ye pleasure of Colonel Ross to send me on some other boring task. Let me see…. (He looks at ye “Sits Vac” column.) Hmm, someone ist in need of a butler- mayhap when I am older I may consider that. What else…? A job in Italy? Sounds good. Searching for a shark….? Nay, that sounds ridiculous.
(Ye door opens and Colonel Ross’s clerking wench, Alice, sticks her unattractive head out.)
Alice: Get thine ass in here pronto, Palmer, ye Colonel wants to see ye.
Palmer: How canst I resist?
(Palmer doth enter ye office. Colonel Ross looks up from some paperwork.)
Ross: Palmer, thou art being reassigned. From now on thee shalt be working in Major Dalby's office.
Palmer: I see. This is a promotion, 'en, innit sire? Doth it come with a rise in me pay?
Ross: What? (Checks paperwork.) Hmm, yes an extra tuppence per fortnight. Now, ye important thing ist...
Palmer: Well 'at's just swell, sir, now I canst afford yon new frying pan I've been looking at.
Ross: I must warn you, Dalby does not share mine sense of humour!
Palmer: Aye, I shalt miss that about thee, sire.
SCENE 2
(Palmer takes his leave of Colonel Ross, exits ye building and starts walking toward Major Dalby’s office. On ye way, a silver carriage (made by ye DB5th Earl of Aston and ye Lord Martin) doth splash him.)
Palmer: Flash git!
(He continues walking and reaches Major Dalby’s office. Ye Major looks up when Palmer enters, late.)
Dalby: Thou art late, Palmer.
Palmer: Aye, sire. Mine apologies, sire.
Dalby: I know not how things art run in Colonel Ross’s office, but such tardiness ist not acceptable here. Do I make mineself clear?
Palmer: Sorry, sire.
Dalby: I have here Colonel Ross’s report on thee. (Reads.) “Insubordinate… insolent…. Possible criminal tendencies….”
Palmer: Aye, ‘tis so.
Dalby: Good, thou dost sound like ye kind of man I can use. But let me warn ye, Palmer, cause me no trouble or I shalt bite thee so hard thou shalt not know where mine teeth end and thine skin begins. Do I make mineself clear?
Palmer: Aye, sire, very clear. I thank’ee for a wonderful evening.
Dalby: Spare me thine jokes, Palmer, I lack Colonel Ross’s sense of humour.
Palmer: Aye, sire. I shalt miss that, sire.
Dalby: Now, to ye briefing room. Thou shalt meet thine fellows there.
A briefing room. Major Dalby stands waiting, facing a room with about six or eight agents. Palmer enters, late as ever, and instantly spots ye only attractive female in ye room and goes to sit beside her.
Dalby: Now that we are all here (Gives Palmer a look.) let us begin. Many of our most noted alchemists have been going missing, nowhere to be found. Ye latest ist a man called Radcliffe. ‘Tis my belief that our department hast what ist commonly known as a “lead”. Look ye here.
(He uses a stick to point at an ink portrait of a middle-aged man on ye wall behind him.)
Dalby: This ist our main target, codenamed “Budgerigar”. Never does he travel anywhere without this man beside him.
(Dalby points at a portrait of a tough-looking man.)
Dalby: Code-named “Parakeet”. Now, thine task ist to accumulate data on Budgerigar’s movements and habits.
That's all I've got for the moment, guys. Please feel free to change or add to any of the above.
can we please include some variation of this actual conversation between Palmer and the leading lady?
Leading Lady: "I'm working for Dalby, you're working for Ross."
Palmer: "No you're working for Ross, I'm working for Dalby."
(which pretty much sums up the whole confusing nature of all these Deighton plots)
also the scene where Palmer meets Dalby at the bandshell and tries to debate musical tastes instead of the mission. Cept the only thing I remember is Nigel Green's physical comedy in this scene, as he "grooves" to the military march then turns to Palmer and says "its got a good beat!"
Later on we see Dalby bopping down the street happily humming a military march: he may not share your musical taste or mine, but the man knows what he likes!
I think the book had a better ending than the film, as Palmer confronted one of the villains in his kitchen while cooking an elaborate meal: Deighton writing what he knows! for some reason the film had a more normal ending.
Harry defies orders and confronts Budgerigar in a library. He is given a false lead, but when he goes back to complain he is faced by Parakeet. The two fight, but Budgerigar and Parakeet escape.
@Barbel I'd have to watch the movie again to know what supposed to happen next, otherwise I don't have much specific to contribute.
For example, my vague memory was Palmer followed the man into a stip club not a library, but maybe thats the book, or maybe thats a different part of the movie?
I may try watching it this weekend if I can find it online
a more general, non-linear suggestion (and I know you prefer to write from beginning to end)... some joke about how Palmer could have sworn he's been to Beirut and Hawaii but that in fact hasnt happened in this play. Was that false memory a side effect of the brain washing?
also if we dont have enough funny ideas for every scene, why not just skip to the key scenes that sum up the whole Ipcress experience?
Sure, we can just pick out key scenes rather than a complete (or almost complete) breakdown as we did with NTTD.
Pretty sure the strip club is in the book rather than the film.
We should still write up the library scene I outlined above, then he goes back to his apartment where Jean is waiting. Hmm, should probably have some dialogue between them earlier as per movie since they end up in bed.
one of my favourites is when a nice young lady sits down beside him and starts to chat, Number 6 immediately has his hackles up and barks "who are you?? who sent you?? who are you working for, hmm?? which side were you on in the war?? which war? hmm? hmmm? hmmm???"
the show is entertaining on a whole different level if you assume everybody else in the Village is quite happy and well adjusted and number 6 is a paranoid weirdo.
Theres another one where he walks into the Village shop and asks to look at a record (what we now call a vinyl LP) and then smashes it on the counter, then asks to examine another copy, and does the same, til he has smashed every copy in stock, then turns round and walks out. No wonder Number 2 is always worried he's not fitting in!
and of course thered be brainwashing scenes in this Play too.
Everything I tried to post yesterday got stuck in the spam filter, so this may turn into a duplicate post situation,
Regarding Ipcress:
The Hawaii comment above: while you lose the joke, a time appropriate Malta can substitute while also referencing one of Marlowe's plays. Otherwise since Yeoman Palmer would be a Navy man (as opposed to the army sergeant from the film) Bermuda, Jamaica or Cuba works while referencing well known Bond locales.
@Barbel I am rewatching Ipcress now so I will see what I can contribute. The brainwashing scene will obviously have to use a witch or warlock casting a spell while using hallucinogens (a secret mushroom mixture perhaps?). I have a really dark audience coda in mind for this play.
Number 6: From yon architecture I wouldst surmise I am on ye Italian shoreline, but the chill wind off the sea reminds me of Wales.
Number 2 gives a quick cough and an embarrassed look to either side.
I like the idea of just doing Arrival and Fall Out. Among the others to meet in Fallout could be the Court Jester whose "Jester's Privilege" in speaking truth to power is considered rebellion by Ye Village. While I hate the actual Fallout episodes as a finale to the TV series, the surrealism will be fun to lampoon, especially transferred to the Elizabethan Era. How do you top Number 6 chasing around a Number One who is wearing a monkey mask?
Comments
A shot from Christopher Marlowe's The Ipcress Folio. 😀😀😀
A shot of Lady Peel
and here's my geekish unproductive responses from that thread!
_______________________
I'd like to see some of these rivals of Sir James
of course Steed is so old school we'd hardly notice the difference
actually how would you transpose Steed to the Elizabethan era? the point is he seems a century behind the times, so he'd have to be the scion of an old Saxon family, still dressed in vintage Saxon fashions and demonstrating authentic Saxon manners.
Lady Peel of course would be decked out in all the latest 16th century fashions. did they have leather in the 16th century?
and how would you transpose something like A Touch of Brimstone which is about an evil organization dressed in 18th century fashions in the 20th century? in fact so many of those plots were about reactionaries still living as if it were an earlier time itd get right confusing what was Olde just because its Shakespeare and what was supposed to be really Olde within Shakespeare!
_______________________
oh I got no funny dialogs for Shakespearean Avengers, but it sure does get my mind spinning over the geeky historical stuff that would come into play.
yes I know what you mean about historical period pieces within Shakespeare. I know I was supposed to learn something about history from Richard III for example. not sure if Shakespeare ever had a character who dressed like it was 1500 alongside characters living in 1600, and if he did would we even notice it?
I think even for Steed and Peel it would have to be in two parts: one just to establish the stylistic contrast between the two characters, then the second could be something like a backdated version of A Touch of Brimstone, confusing the era even further. But my brain breaks down when I try to imagine 1600 minus 100 years for Steed's style, then subtract a further 100 years (therefor 1400) for The Hellfire Club's style. We would need to consult with a historical fashion expert.
other thing is Peel's style: it was up-to-the minute when those shows were broadcast, but we perceive it as a nostalgic vision of swinging Mod London that may never have existed outside the movies of the time.
Lord Steed
The young Lord Steed
The pic you've chosen for 2850 is ... interesting, cp. If TP was still here, I bet he could come up with a whole plot just from that alone!
Modesty Blaise might be most difficult just because the film so totally misrepresents the way the characters spoke, but I couldnt do Peter O'Donnell's characters' voices from memory. Those voices are very distinct in the books, and half the fun.
aside from the question of period style. Steed n Peel's voices would be much easier to capture from memory.
and the Ipcresss Folio should be easiest of all, Harry Palmer's dialog is funny enough as it is.
from memory here's the first act of the real film:
(Palmer returns from yet another lousy surveillance gig)
Ross: Palmer, you're being reassigned. From now on you'll be working in Colonel Dalby's office
Palmer: I see. This is a promotion, 'en, innit sir? Does it come with a rise in me pay?
Ross: what? (checks paperwork) hmm, yes an extra tuppence per fortnight. Now the important thing is...
Palmer: well 'at's just swell, sir, now I can afford that new frying pan I've been looking at
Ross: I must warn you, Dalby does not share my sense of humour!
Palmer: yes I shall miss that about you sir
and thats half the Play right there, just add some thee's and thou's and look up what they used for frying pans in Elizabethan times, and Christopher Marlowe's got a new Play to cash in on this SpyPlay craze!
I might get round to working on that later.
the picture from post 2850 is from A Touch of Brimstone
have you never seen that one boss? I thought it was the most (in)famous episode of all. Peter Wyngarde plays the villain. Rigg wears a spiked dog collar for the final act, and does tricks with a live boa constrictor, then the villain whips her. I'm not sure even Ye Olde Anonymous Contributor could come up with anything more outrageous than what they already gave us!
its up on archive.org
I cant figure out how to embed it so just follow the link. If youve never seen this episode, whatever you have scheduled next, be it your wife's birthday, a meeting with your banker, a meeting with your boss about too many absences lately, none of that could be a better use of your next hour than just watching this particular teevee episode
No more Bond films for a while, but what beast have I unleashed with the Rivals of Sir James Bond?
At least The Ipcress File was a Harry Saltzman Production.
As an interesting follow up to the plot of Nay Time to Die, in 1593, 1603 and 1608 all theaters were closed due to the Bubonic Plague.
The critics hath spoken!
A thinking man's "HE OF THE GILDED FINGER." Funnier by far than any of the Sir James Bond playes, and more rewarding, too.
Well, guys, it would seem we have to make a decision. Avengers or Ipcress?
I lean towards the latter partly because I'm more familiar with the story, but also because of Westward's clever title.
However, it's up to you all. 😃
PS I do vaguely remember watching that Avengers episode, caractacus, but not the plot details.
I haven't watched The Ipcress Files in ages. I will have to rewatch but I lean toward the Adventures of Squire Harold Palmer. I say let's start with Ipcress. The Avengers can come later. The thing about The Avengers is are we picking a specific episode or an overused trope? The secret society, the village that isn't what it seems, and so on.
I thought all my titles were clever. 😂😂😂
Honestly I just thought I'd be doing the occasional flyer to keep Shakespeare's Bond alive during the 60th anniversary. But I see it will require a full on parody.
Just wait until we get to the drunken Colonial Matt (Matthew) Helm.
do Ipcress, its easier. and theres a brainwashing sequence!
but, how to render working class cockney in Shakespearian? wont the thee's and thou's class it up too much?
@Barbel follow this link>> archive.org it'll lead right into that very episode. skip to 42:00 if you just want to see Diana Rigg in spiked dog collar, but the whole things outrageous. and Carol Cleveland's in it too!
Come to think of it would be too tricky to parody a specific episode, especially one like that where the very concept is the mixing of centuries.
Better to do a typical generalised Avengers plot, they travel to a county inn, and there's mad scientists hiding under the floorboards. that was 3/4 of the Rigg ere plots. and allows more space for the Steed/Peel banter without getting hung up on plot specifics.
I just ordered the SE disc of Ipcress. I look forward to the commentary by Peter Hunt and the interview with Ken Adams.
I think it will be a good start for beginning the veering away from the Sir James satires.
More fun with titles. I don't think the 2023 season will be as successful.
I'll get to work on this soon, maybe tomorrow.
YE PRISONER OF YE VILLAGE: YE TALE OF A MAN, NAY A NUMBER by Sir Francis Bacon, perhaps?
My redraft of cp's first scene of The Ipcress Folio plus a start for the next one,
SCENE 1
Outside ye office of Colonel Ross, Yeoman Palmer awaits entrance, reading through ye latest scrolls.
Palmer: This ist no kind of work, awaiting ye pleasure of Colonel Ross to send me on some other boring task. Let me see…. (He looks at ye “Sits Vac” column.) Hmm, someone ist in need of a butler- mayhap when I am older I may consider that. What else…? A job in Italy? Sounds good. Searching for a shark….? Nay, that sounds ridiculous.
(Ye door opens and Colonel Ross’s clerking wench, Alice, sticks her unattractive head out.)
Alice: Get thine ass in here pronto, Palmer, ye Colonel wants to see ye.
Palmer: How canst I resist?
(Palmer doth enter ye office. Colonel Ross looks up from some paperwork.)
Ross: Palmer, thou art being reassigned. From now on thee shalt be working in Major Dalby's office.
Palmer: I see. This is a promotion, 'en, innit sire? Doth it come with a rise in me pay?
Ross: What? (Checks paperwork.) Hmm, yes an extra tuppence per fortnight. Now, ye important thing ist...
Palmer: Well 'at's just swell, sir, now I canst afford yon new frying pan I've been looking at.
Ross: I must warn you, Dalby does not share mine sense of humour!
Palmer: Aye, I shalt miss that about thee, sire.
SCENE 2
(Palmer takes his leave of Colonel Ross, exits ye building and starts walking toward Major Dalby’s office. On ye way, a silver carriage (made by ye DB5th Earl of Aston and ye Lord Martin) doth splash him.)
Palmer: Flash git!
(He continues walking and reaches Major Dalby’s office. Ye Major looks up when Palmer enters, late.)
Dalby: Thou art late, Palmer.
Palmer: Aye, sire. Mine apologies, sire.
Dalby: I know not how things art run in Colonel Ross’s office, but such tardiness ist not acceptable here. Do I make mineself clear?
Palmer: Sorry, sire.
Dalby: I have here Colonel Ross’s report on thee. (Reads.) “Insubordinate… insolent…. Possible criminal tendencies….”
Palmer: Aye, ‘tis so.
Dalby: Good, thou dost sound like ye kind of man I can use. But let me warn ye, Palmer, cause me no trouble or I shalt bite thee so hard thou shalt not know where mine teeth end and thine skin begins. Do I make mineself clear?
Palmer: Aye, sire, very clear. I thank’ee for a wonderful evening.
Dalby: Spare me thine jokes, Palmer, I lack Colonel Ross’s sense of humour.
Palmer: Aye, sire. I shalt miss that, sire.
Dalby: Now, to ye briefing room. Thou shalt meet thine fellows there.
SCENE 3
A briefing room. Major Dalby stands waiting, facing a room with about six or eight agents. Palmer enters, late as ever, and instantly spots ye only attractive female in ye room and goes to sit beside her.
Dalby: Now that we are all here (Gives Palmer a look.) let us begin. Many of our most noted alchemists have been going missing, nowhere to be found. Ye latest ist a man called Radcliffe. ‘Tis my belief that our department hast what ist commonly known as a “lead”. Look ye here.
(He uses a stick to point at an ink portrait of a middle-aged man on ye wall behind him.)
Dalby: This ist our main target, codenamed “Budgerigar”. Never does he travel anywhere without this man beside him.
(Dalby points at a portrait of a tough-looking man.)
Dalby: Code-named “Parakeet”. Now, thine task ist to accumulate data on Budgerigar’s movements and habits.
That's all I've got for the moment, guys. Please feel free to change or add to any of the above.
good stuff @Barbel
can we please include some variation of this actual conversation between Palmer and the leading lady?
Leading Lady: "I'm working for Dalby, you're working for Ross."
Palmer: "No you're working for Ross, I'm working for Dalby."
(which pretty much sums up the whole confusing nature of all these Deighton plots)
also the scene where Palmer meets Dalby at the bandshell and tries to debate musical tastes instead of the mission. Cept the only thing I remember is Nigel Green's physical comedy in this scene, as he "grooves" to the military march then turns to Palmer and says "its got a good beat!"
Later on we see Dalby bopping down the street happily humming a military march: he may not share your musical taste or mine, but the man knows what he likes!
I think the book had a better ending than the film, as Palmer confronted one of the villains in his kitchen while cooking an elaborate meal: Deighton writing what he knows! for some reason the film had a more normal ending.
Most of the changes were due to budget.
We're not near that scene with Jean and Harry yet, first we have to do the library bit. Any takers?
Harry defies orders and confronts Budgerigar in a library. He is given a false lead, but when he goes back to complain he is faced by Parakeet. The two fight, but Budgerigar and Parakeet escape.
Harry goes back to HQ where Dalby chews him out.
@Barbel I'd have to watch the movie again to know what supposed to happen next, otherwise I don't have much specific to contribute.
For example, my vague memory was Palmer followed the man into a stip club not a library, but maybe thats the book, or maybe thats a different part of the movie?
I may try watching it this weekend if I can find it online
a more general, non-linear suggestion (and I know you prefer to write from beginning to end)... some joke about how Palmer could have sworn he's been to Beirut and Hawaii but that in fact hasnt happened in this play. Was that false memory a side effect of the brain washing?
also if we dont have enough funny ideas for every scene, why not just skip to the key scenes that sum up the whole Ipcress experience?
Sure, we can just pick out key scenes rather than a complete (or almost complete) breakdown as we did with NTTD.
Pretty sure the strip club is in the book rather than the film.
We should still write up the library scene I outlined above, then he goes back to his apartment where Jean is waiting. Hmm, should probably have some dialogue between them earlier as per movie since they end up in bed.
Someone else's turn!
@Barbel I know you like this film, so you probably want to do it right if we do it at all.
I did have an idea about the missing Hawaii scene, though not sure how itd fit into the dialog:
Palmer: I could have sworn I spent part of this adventure in Hawaii, and there was a neutron bomb, why does nobody else remember?
somebody responds: because Hawaii hasn't been discovered yet, and what pray tell is a neutron bomb? that must have been some good brainwashing!
Beirut on the other hand I think would be referred to as The Levant, and he's the only one who remembers that part of the adventure also
@Gymkata any ideas for typical Prisoner scenes?
one of my favourites is when a nice young lady sits down beside him and starts to chat, Number 6 immediately has his hackles up and barks "who are you?? who sent you?? who are you working for, hmm?? which side were you on in the war?? which war? hmm? hmmm? hmmm???"
the show is entertaining on a whole different level if you assume everybody else in the Village is quite happy and well adjusted and number 6 is a paranoid weirdo.
Theres another one where he walks into the Village shop and asks to look at a record (what we now call a vinyl LP) and then smashes it on the counter, then asks to examine another copy, and does the same, til he has smashed every copy in stock, then turns round and walks out. No wonder Number 2 is always worried he's not fitting in!
and of course thered be brainwashing scenes in this Play too.
I've never watched "The Prisoner" so I won't be much use here.
If you guys want to continue with "Ipcress" please do, and I'll help with that since I know it well.
Everything I tried to post yesterday got stuck in the spam filter, so this may turn into a duplicate post situation,
Regarding Ipcress:
The Hawaii comment above: while you lose the joke, a time appropriate Malta can substitute while also referencing one of Marlowe's plays. Otherwise since Yeoman Palmer would be a Navy man (as opposed to the army sergeant from the film) Bermuda, Jamaica or Cuba works while referencing well known Bond locales.
@Barbel I am rewatching Ipcress now so I will see what I can contribute. The brainwashing scene will obviously have to use a witch or warlock casting a spell while using hallucinogens (a secret mushroom mixture perhaps?). I have a really dark audience coda in mind for this play.
The Prisoner:
Number 6: From yon architecture I wouldst surmise I am on ye Italian shoreline, but the chill wind off the sea reminds me of Wales.
Number 2 gives a quick cough and an embarrassed look to either side.
I like the idea of just doing Arrival and Fall Out. Among the others to meet in Fallout could be the Court Jester whose "Jester's Privilege" in speaking truth to power is considered rebellion by Ye Village. While I hate the actual Fallout episodes as a finale to the TV series, the surrealism will be fun to lampoon, especially transferred to the Elizabethan Era. How do you top Number 6 chasing around a Number One who is wearing a monkey mask?