The radio comedy panel game that proudly awards absolutely no points to anyone

Cultures · Published 30 September 2026 Swipe more like this →

In short: Billed as the antidote to panel games, I'm Sorry I Haven't a Clue has thrived since 1972 by ignoring the rules of competition. With a silent, fictional scorer and a chairman who famously deadpanned his way through decades of absurdity, it remains a beloved institution of British radio comedy.

Launched in April 1972, I'm Sorry I Haven't a Clue emerged from the sketch show I'm Sorry, I'll Read That Again. It was designed as a parody of the era's popular radio and television quiz shows, such as Just a Minute or Call My Bluff, where winning was secondary to the wit of the participants. The show features two teams of comedians performing silly tasks, yet the scoring is entirely non-existent. This lack of competition is a deliberate feature, allowing the panellists to focus on wordplay, puns, and musical incongruities rather than points.

The programme's longevity was long attributed to its original chairman, Humphrey Lyttelton, a jazz trumpeter who led the show from its inception until his death in 2008. Lyttelton adopted a deadpan, grumpy persona, claiming his only secret was reading the script without trying to understand why it was funny. His presence provided a steady anchor for the chaotic antics of regulars like Graeme Garden, Barry Cryer, and Tim Brooke-Taylor. Following Lyttelton's passing, the show underwent a period of transition, eventually moving to a rotating guest host format before Jack Dee took over as the permanent chairman in 2009.

A central, recurring element of the show is the fictional scorer, Samantha, introduced in 1985. Though she is never seen and awards no points, her presence allows the chairman to deliver elaborate, often risqué, double entendres about her social life. The show also features a fictional letters section from the mysterious Mrs Trellis of North Wales and musical rounds that often mock the show's own pianist, Colin Sell. Despite its intentionally nonsensical nature, the show remains a massive success, with recording sessions in 1,500-seat theatres often selling out within minutes, proving that audiences prefer clever, unscripted absurdity over traditional game show mechanics.

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