“Garry Lyons has pulled off an amazing feat: he has written a Bhangra musical play, with a touch of the supernatural, about race hatred in Yorkshire cities with large Asian populations such as Bradford or Leeds…both an entertainment and a cautionary tale, a thriller and a musical, good-natured but sombre. The play is infectiously good, and the whole production is quite irresistible.”

— John Peters in The Sunday Times on Wicked, Yaar!

“Garry Lyons ingeniously knits together two plays in this deftly enjoyable two-hander: a study of an embryonic comic genius and a voyage around his own father. What he offers is an account of an abortive double act in 1946 Egypt involving Tommy Cooper and Frankie Lyons that started in good humour and ended in tears. It is also further proof that while post-war troop shows may not have done much for local morale, they are something of a dramatic gold mine…”

— Michael Billington in The Guardian on Frankie and Tommy

Highlights from work prior to 2010

Britain’s First Suicide Bombers (2006)

A feature-length drama-documentary made for Chameleon TV for BBC 2, and aired on the anniversary of the 2005 London Bombings. The film pieced together the story of Omar Khan Sharif and Asif Hanif, two seemingly ordinary young Muslims, who became the first-known suicide bombers from the UK when they attacked Mike’s Place, a popular beachfront bar in Tel Aviv in 2003. Featuring Archie Panjabi as Khan Sharif’s widow, Tahira, the story also covered the aftermath of the atrocity leading to Old Bailey trials for terror-related offences. As associate producer, Garry was responsible for initial research and story development, with a team working in Israel, Palestine, Syria, Pakistan and Canada as well as the UK. The production was shortlisted for a Prix Europa and selected for a number of international film festivals including the Chicago Documentary Festival.

Decisions (2004)

Garry wrote and produced this trilogy of 30-minute dramas - Ben’s Patient, Leah’s Trials and Steve’s Heartache - aimed at teenage audiences for Chameleon TV and Channel 4. Dealing with current social issues such as street crime, assisted suicide and intercultural relationships, each story left the protagonist with a life-defining dilemma which the audience was asked to consider. The series was shot in gritty documentary style by Paul Otter, and Leah’s Trials - directed by Jo Shoop - would go on to win a Royal Television Society Education Award, while Steve’s Heartache was screened at the Kolkata Short Film Festival.

Distant Whispers (2003)

A 60-minute play for BBC Radio 4. The arrest of a rape suspect triggers the reinvestigation of an unsolved 30-year-old murder case that has haunted the North Yorkshire police ever since. Directed by Nadia Molinari and starring Denise Black and Paul Copley. “…a tautly written thriller about trust and betrayal…” Radio Times.

The Worst Witch (1998-2001), Weirdsister College (2001-2), The New Worst Witch (2005)

When his own children were small, Garry was a regular writer on The Worst Witch, the ITV kids comedy franchise based on the much-loved books by Jill Murphy. Partnering series deviser Martin Riley, he contributed a total of 18 episodes over five seasons of the BAFTA-shortlisted show and its spin-off titles, featuring the endearingly accident-prone Mildred Hubble. The shows have been screened in more than 60 countries including on HBO in the United States, and gathered awards in Canada and Los Angeles as well as multiple nominations in the UK.

The Big Production (1997)

Wrote and produced a 30 minute educational documentary following a high school drama production about the Witches of Pendle.

Heartbeat (1997)

Wrote an episode of the peak-time ITV series - What the Butler Saw.

Ring-a-ring-o’-roses (1996)

Also known as Pestilence. A dark, epic play about the Plague of London for the Swan Theatre, Worcester, featuring Vincent Franklin. “…achieves the effect of combining historical authenticity with contemporary style to reach a poetic truth…packed with memorable moments of theatre…” Robin Thornber in The Guardian.

New Voices (1995-7)

Over a two year period, Garry produced five 30 minute dramas for writers new to television for ITV Yorkshire.

“What more could a young audience want?…a blend of fairy-tale, Spielbergian sci-fi, rap, reggae and ‘bhangra’…colourful costumes, a little dance, a lot of mimed cricket, and some conscience-grabbing racial aggro…irresistible…”

— Benedict Nightingale in The Times on Wicked, Yaar!

“…a streetwise fairytale of music, wisecracks and colour…a headspinning, pulsating cocktail…fantastic setpieces - a wonderful mixture of mime and tableaux…really well done…”

— Kaleidoscope, BBC Radio 4 on Wicked, Yaar!

Wicked, Yaar! (1994)

A hit fantasy youth musical written for the National Theatre, which ran at the Cottesloe Theatre and toured the UK to packed houses and widespread acclaim. Described by the Asian Voice as “a skillful blend of bhangra and rap, classical Indian dance and street rhythm…celebrating the variety of cultures that make up modern Britain”, the show told the story of a budding cricket star’s unlikely encounter with a supernatural ghul and the misadventures that follow. With bhangra music by Steve Luscombe and Pandit Dinesh.

Children’s Ward (1992)

Two episodes of the kids’ medical drama. Produced by Russell T. Davies of Doctor Who fame, Garry was part of a writing team that included Paul Abbott, Kay Mellor and Sally Wainwright.

Frankie and Tommy (1992)

Acclaimed two-hander telling the bitter-sweet story of Garry’s father, Frankie Lyons, and his shortlived comedy double-act with the young Tommy Cooper when entertaining the troops in post-war Cairo in 1946. Commissioned by John Godber for Hull Truck, the play premiered to packed houses at the Assembly Rooms, Edinburgh with Steve Spiers as Tommy. It has been frequently revived since, with notable productions at the Liverpool Everyman (1996) and Palace Theatre, Watford (1997) - both directed by Peter Rowe - and at the Lyric, Hammersmith (2000) directed by Laurie Sansom.

“Lyons Jnr paints a convincing and somehow fond picture of a charismatic monster and his maltreated sidekick, and the enjoyment is twofold: we get Cooper’s classic routines but are also offered a peek behind the curtains to witness the backstage squabbles…a winning piece of theatre…”

— Madeleine North in Time Out on Frankie and Tommy

“Lyons’s writing utterly convinces when showing the friction between two comedians, one of whom wants all the limelight…a must for Cooper fans as well as being a little gem.”

— Jonathan Nathan in The Independent on Frankie and Tommy

Dream Kitchen (1991)

Experimental 30 minute drama for Channel 4 utilising the latest in digital video technology. Also showcased at the Leeds International Film Festival. The Time Out reviewer said “…hob heaven turns into a cross between a bad acid trip and Dire Straits’ ‘Money for Nothing’ video…an imaginative work, which makes effective use of technology”.

Soldier Soldier (1991)

Wrote Fighting Spirit, an episode for the first series of Lucy Gannon’s ITV military drama.

Chalkface (1991)

Wrote two episodes of John Godber’s high school drama series for BBC 2.

The Bill (1988-90)

Wrote four episodes of what became the UK’s longest-running police series at the point it shifted to 30 minute, self-contained storylines. In 2020, Garry recorded four interviews about these episodes for The Bill Podcast on Patreon as part of a revived interest in the show. His contributions have also been reviewed online by The Billaton, which singled out Speaking Freely as “electrifying”, giving female Inspector Frazer ‘some brilliant head-to-head scenes…which reveal a lot about the power dynamics at the station and in the police as a whole.”

The People Museum (1989)

Surreal stage play about the heritage industry for Sheffield Crucible Studio and UK tour. “…we have been turning our industrial heritage into a peep show…the questions raised are vividly brought to life by this irresistably entertaining play…” Robin Thornber in The Guardian.

Divided Kingdoms (1989)

Play about the north-south divide for Battersea Arts Centre and UK tour.

Irish Night (1987-8)

Musical play of stories and songs about Irish exile in England set in a Kilburn pub. With lyrics by Patrick O’Sullivan. Battersea Arts Centre, Birmingham Rep and UK tours. Paul Arnott in The Independent called it an “excellent play-with-music which does more to capture the experience of being Irish in London than anything I’ve ever seen”.

The Green Violinist (1986)

Play about artist Marc Chagall. Theatre in the Mill, Bradford, and tour of Poland.

Urban Jungle (1985)

Controversial 60-minute satire for BBC 2 starring Tim Roth, David Calder and Roy Kinnear.

St. Vitus’ Boogie (1985)

Medieval-style dance plague hits a suburban town. UK tour including Glasgow Mayfest.

Mohicans (1984)

Two punk brothers on the rampage in Leeds sudenly find themselves on the American frontier. Donmar Warehouse and UK tour with cast including Gina McKee and Gillian Wright. Later adapted for television and screened by ITV in 1988, then successfully revived by Birmingham Rep in 1994. “…two teen-aged unemployed brothers…are vividly identified with outcast Native Americans in a fashion proposterous, appealing and not entirely unconvincing…organised with true theatrical flair…” Nicholas de Jongh in the Guardian.

Echoes from the Valley (1983-4)

Verbatim play with former textile workers in Bradford and Keighley. Tour of UK community venues, then invited for a five-week tour of former textile towns in the USA. Revived with great success in 1990 including performances at North Staffs New Vic. “…a remarkable tour de force…absolutely enchanting…” The Chronicle, Connecticut.

“…blends elements of Indian mythology, of the contemporary mythology of sporting success, of the youth culture of Asian young people in British cities, throws in some racist louts in the parts of villains and produces a work that has the enduring appeal of a moral fable and the punch of an anti-racist tale.”

— Joseph Farrell in The Scotsman on Wicked, Yaar!

“…immensely enjoyable production, which makes as much use of front curtains and backstage squabbles as a comedy by Molnar…”

— Michael Coveney in The Observer on Frankie and Tommy