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Mrs Harris is a salt-of-the-earth London charlady who cheerfully cleans the houses of the rich. One day, when tidying Lady Dant's wardrobe, she comes across the most beautiful thing she has ever seen in her life - a Dior dress. In all the years of her drab and humble existence, she's never seen anything as magical as the dress before her, and she's never wanted anything as much before. Determined to make her dream come true, Mrs Harris scrimps, saves and slaves away until one day, after three long uncomplaining years, she finally has enough money to go to Paris.

Responsible for cleaning the homes of the rich, Mrs. Harris is a humble charlady with a knack for putting things in order wherever she goes. When, much to her surprise, she wins a trip for two beyond the Iron Curtain, she has no idea of the adventure that lies ahead of her. Ever the loyal servant, Mrs. Harris (accompanied by her friend Mrs. Butterfield) believes it only right that others benefit from her fortune as well. With a mink coat in mind for Mrs. Butterfield, she also hopes to use their 'oliday to reignite a lost romance between her employer and a Russian woman he had loved years ago.

A BBC Radio 4 full-cast dramatisation of Paul Gallico’s The Snow Goose by Nick Warburton, starring Steven Mackintosh.

When Open Book asked various authors to champion a favourite neglected classic on the programme, Michael Morpurgo chose The Snow Goose - perhaps no surprise, with his own story 'War Horse' depicting a friendship between a boy and his horse which takes them both into the horror of World War I.

Mrs. Harris is a salt-of-the-earth charlady, content with her lot, cleaning the homes of the rich. However, her knack of setting things straight often has the tendency to stray beyond keeping things neat and tidy. In Mrs Harris MP, the honest as-ever old char impresses her employer with her no-nonsense political views to such an extent that he—an MP, no less—encourages her to become a voice for the people of Battersea and stand for election herself.

For 14 years during the golden age of sports, Paul Gallico was one of America's ace sportswriters. He saw them all - the stars and the hams, the immortals and the phonies in boxing, wrestling, baseball, football, golf, tennis, and every other field of muscular endeavor in which men and women try to break hearts and necks for cash or glory. Then in 1937, at the height of his game (and the height of the payroll), Gallico suddenly and famously called it quits and left the New York Daily News.

Coronation Day, 2 June 1953. The Claggs, a humble, working class family from Sheffield, are offered tickets to a once-in-a-lifetime event – the Queen’s coronation. Forsaking their annual seaside holiday for the promise of a prime viewing spot of the procession route and luxurious champagne, the Clagg family take the plunge and buy tickets for the momentous day. But in true Gallico fashion, not everything goes smoothly.

Theatre Royal. The very name summons up something of grandeur and eloquence. And it was. Hosted by Laurence Olivier, these big-name productions also included the creme de la creme of acting talents from John Gielgud, Ralph Richardson, and Orson Welles to Trevor Howard, Michael Redgrave and Olivier himself. They were based on works by the world's leading authors, among them Charles Dickens, Henry James, Oscar Wilde and Anton Chekhov. These are but a few of whose company we shall be keeping as we raise the curtain on our first instalment of theatrical history.

The Post-Impressionist artist and writer Paul Gauguin led an extraordinary, troubled and restlessly itinerant life; he came late to painting and spent most of his last decade in the Pacific islands of Tahiti and the Marquesas, where he produced paintings loosely based on Polynesian tradition that heralded the emergence of primitivism and would exert a profound influence on modernist artists from Picasso and Matisse to Jackson Pollock. But his art, despite its growing popularity following Gauguin’s death in 1903, has provoked mixed responses.