Terrance Dicks at the Forgotten Dramas Conference

Royal Holloway, part of the University of London, held a conference from 23-25 April, 2015, entitled: Television Drama: the Forgotten, the Lost and the Neglected. The conference brought together academics and former programme makers, and several of the sessions had a relevance to BBC Pebble Mill.

The final session of the conference was an interview with producer Terrance Dicks by academic, Billy Smart. Dicks is well known for his work on Dr Who, but here he was talking about his role on the Classic Serial 1981-8, first as a script editor, and then as producer. The Classic Serial went out on BBC1 on a Sunday afternoon, and was designed to be family viewing. It was part of the Series and Serials department, and always involved the adaptation of a classic novel, Dickens being a favourite author. It was an expensive strand to produce because of all the design costs. Dicks pointed out the similarities between Dr Who and The Classic Serial, in that both are a series of serials.

Great Expectations, BBC1,1981, was an early production when Terrance Dicks was a script editor. The novel was adapted for television by James Andrew Hall and was a significant success. Dicks described the role of the script editor as planning the production with the producer, choosing the writer and talking through the show with them, followed by liaising with the writer and making sure that the scripts were in on time.

Jane Eyre, photo by Neil Wigley, no reproduction without permission

Jane Eyre, photo by Neil Wigley, no reproduction without permission

 

 

 

 

 

 

Another notable production was Charlotte Bronte’s, Jane Eyre, BBC1,1983, adapted by Alexander Baron, with Timothy Dalton as Rochester. This drama, like many other Classic Serials, was recorded at BBC Pebble Mill, as a hosted London production. I asked Terrance about why Birmingham studios were chosen. He replied that London crews behaved like they were doing you a favour in working on your shows, whereas Birmingham managers were much more supportive, and the crews were more co-operative and grateful – if not quite as good! I’m sure that the crews in Birmingham would dispute his judgement that they weren’t as skilled, whilst being pleased that they were considered better to work with!

The Invisible Man, BBC1, 1984, was a significant 6 part serial, which had to have an evening transmission due to its inherent violence. After this production, Dicks became a producer, which he described as doing proper grown up work, something which he’d tried to avoid all his life!

Oliver Twist, photo by Neil Wigley, no reproduction without permission

Oliver Twist, photo by Neil Wigley, no reproduction without permission

Vanity Fair, photo by Neil Wigley, no reproduction without permission

Vanity Fair, photo by Neil Wigley, no reproduction without permission

 

 

 

 

 

 

Two further serials were discussed, both of which were recorded in Studio A at Pebble Mill: Oliver Twist, BBC1, 1985, and Vanity Fair, BBC1,1987. Oliver Twist was a fantastic success, and the viewing figures were so good that they enabled Jonathan Powell (then Head of Series and Serials) to convince Michael Grade (Controller BBC1,1984-6), not to cancel The Classic Serial. Vanity Fair, was a less successful production, being in Dick’s opinion too big and expensive a production, with problems with viewer engagement, due to the ambiguity of Becky Sharp’s character

Drama on television has certainly developed as a genre since the 1970s and ‘80s, and in the main 30’ series, like The Classic Serial, are no longer made, although adaptations of classic novels are still made, albeit in longer format.

Vanessa Jackson

The following comments were left on the Pebble Mill Facebook page:

Terry Powell: ‘I worked on both productions. And worked at TVC London let me say we were streets ahead in professional and talent and. Attitude xxx’

Anne-Marie Palmer: ‘Some of us worked for BBC London before moving to BBC Birmingham, and visa versa, where does that place us?’

Jean Palmer: ‘If they weren’t good why did they keep coming back.’

Kevin Hudson: ‘We were every bit as good. Real reason we were cheaper!!!’

Keith Brook (Scouse): ‘They were much better than the London crews who used bullshit and fancy accents to cover up their failings.’

Angela Profit (nee Horsman) RIP

copyright resides with the original holder, no reproduction without permission

copyright resides with the original holder, no reproduction without permission

 

 

 

 

 

 

 

 

 

 

 

Sadly I have to let you all know of the passing last week of Angela Profit, nee Horsman.
Angela’s husband John has sent the following email with details of her funeral:-

Angie’s funeral will be held at Knowle Parish Church on Friday, May 8th

at 1-30pm.

Flowers will be from family only, but any donations should be for Macmillan Nurses, Solihull or Marie Curie Hospice, Solihull, c/o

Thomas Bragg & Sons, 562 Stratford Rd, Shirley, Solihull B90 4AY. 
Angie died peacefully, with her wish to be at home with her 2 sons and me at her side.

The most amazing help came from the team of NHS District Nurses who worked far beyond their call of duty, to ensure Angie was looked after in the very best possible way.

Johnathan, Angie’s son sent the following email to me:-
Thanks again for your support, my mum loved the BBC and having a continued connection post retirement was a joy for her. I know we would love to see as many BBC friends pay their respects at the funeral.
If you missed it the first time here is a link to an article in the Birmingham Post 19th March on Angie. Click to download then you will have to go into your downloads for the page.
https://gallery.mailchimp.com/ea346a575a52cca4a71329735/files/angela.pdf

Our condolences go to Angie’s husband & sons.

Ann Gumbley-Williams

The following comments are just some of those left on the Pebble Mill Facebook page:

Marie Phillips: ‘Who could forget the permanent smile of a vivacious cheerful lady.’

Janice Rider: ‘So sad . Who doesn’t remember Angela . Always such a cheery , lovely soul . RIP’

Jean Palmer: ‘RIP Angela. Loved to hear your happy laughter coming from the contracts office.’

Lynn Cullimore: ‘What a battle she fought. Sad. Angela you will be missed.’

Pete Simpkin: ‘Farewell and deserved rest to a wonderful lady.’

Robert Davies: ‘Never saw her without a smile. RIP beautiful lady.’

 

 

 

 

Bollywood or Bust!

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Copyright resides with the original holder, no reproduction without permission.

Bollywood or Bust! was a studio based Hindi film quiz, which ran on BBC 2 between 1994-6.

Sanjeev Bhaskar and Mo Dutta presented on the series, with Narendhra Morar the executive producer and Denis Gartside the series producer. David Millard was the director of some of the programmes.

Four contestants battled each week to win a holiday to Bombay (now Mumbai), and a trip to Bollywood.

Thanks to Ian Collins for sharing the titles grab.

The following comments were left on the Pebble Mill Facebook page:

David Millard: ‘David Millard produced and directed the first two series and found Mo Dutta who was the sole presenter – a fabulous show!!’

Maria Needle: ‘I worked on it and I remember several infamous David Millard quotes that I cannot post here!’

Terry Baker: ‘I was Narendhra Morar’s PA so remember this show well.’

Jean Palmer: ‘And I was unit manager for some of that time’

Basil Brush Front Page

Basil Brush front page

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Copyright resides with the original holders, no reproduction without permission.

This is the rehearsal script front page for The Basil Brush Show from 1975.

The rehearsals took place in a church hall in west London, whilst the recording would have taken place in Studio A at Pebble Mill. Basil Brush was a London production, hosted at Pebble Mill.

Thanks to sound supervisor, Roger Guest, for sharing the front page, and keeping it safe since 1975.

The following comments were left on the Pebble Mill Facebook page:

David Crozier: ‘I was that designer. Was it really forty years ago? Good grief.’

Peter Trevena: ‘I worked on this,great fun’

Susan Astle: ‘Really enjoyed working on this. Used to have breakfast on the train with design on the way to rehearsals in London. Charlie Bond on Bloody Mary’s and lovely Ian Fisher and Nigel Jones. ‘

Philip Morgan: ‘Through the kindness of Roger Nash I got a radio interview with “Basil”. I also sat in at one of the Saturday afternoon dress rehearsals in Studio A. As part of the banter the sidekick (Mr Derek?) asked Basil if he had any friends. “Of course I’ve got friends” replied Basil “I’ve got friends I haven’t even used yet!” That certainly drew a hearty laugh from the crew…’

Friday Night at the Mill ticket

Friday night at the mill pass Adam Cooke

 

 

 

 

 

 

 

 

 

 

Friday night at the mill pass reverse Adam Cooke

 

 

 

 

 

 

 

 

 

 

 

 

Copyright resides with the original holder, no reproduction without permission.

This ticket is from the staff party held on 3rd September 2004, to mark the closure of the Pebble Mill building, when production moved to the Mailbox in the centre of Birmingham, and to the Drama Village in Selly Oak. The pass was designed by Chris Hession.

The party was a very good night, with different activities taking place in the various marquees shown on the reverse of the ticket.

Thanks to Adam Cooke for sharing the ticket, and keeping it safe for the last decade.

The following comments were left on the Pebble Mill Facebook page:

Jean Palmer: ‘This was a great night but I never got into any of the tents ended up talking to loads of people. What happened to the Mill message book?’

Stuart Gandy: ‘It was indeed great night, with many mixed emotions.’

Jane Ward: ‘Great night….but bitter-sweet….’

Lynn Cullimore: ‘It was a fantastic night and I so enjoyed it. Happy memories.’