Empire Road – Director Michael Custance

 My first BBC job.  This series was commissioned by BBC Birmingham drama dept. which was renowned for being more daring and experimental than BBC London. ‘Empire Road’ was no exception and Peter Ansorge the producer was one their most daring producers.

There is a long straight road running up through immigrant area North Birmingham called Bristol Road. All the shops were owned by Asians and all the manual jobs, digging up the roads and council works were done by West Indians. Between the two cultures there was a lot of racist tension.

Written by Michael Abbensetts it was a political series aimed dead centre at the racist problem with the leading family being West Indian and their daughter marrying an Asian.  Michael wrote the series using comedy to attack the racism and by using comedy he could get away with going further into the problem than a straight drama could have done.

Filming on the streets was a bit dangerous but thankfully nothing happened. Norman Beaton the top black actor in the country played the lead role and most of the others were first timers.   Rehearsals with a cast where half were culturally completely different from the other half was lively to say the least.

The series had a huge impact in the national press particularly when the Imans of the local mosque tried to get the series banned because of the mixed marriage.   The producer Peter Ansorge told them to go to the Birmingham marriage registry and see for themselves that there were hundreds of mixed Islam marriages in the district.  They still would not have it and went to their member of parliament and of course got no further with a politician.

The series was hysterically funny and mixed with West Indian music, jam sessions, street dances, singers.  I will never forget the actress that launched into ‘Sitt’n On The Dock of The Bay’ in the middle of a scene completely unscripted and on the spur of the moment yet quite brilliant.  In the studio when shooting a party scene with a reggae band you could have cut the haze of marijuana with a knife. I think we all got a bit high. Illegally, we locked the studio doors to stop anyone complaining in the middle of the shoot.

Getting the mixed race cast to turn up rehearsals at the same time was a battle we never won, despite having two lists of call times, the West Indian list was 15 minutes earlier than the Asian list to try and get them all together at the same time.  A young actor turned up 45 minutes late and I let rip, “Why on earth can you never be on time”.  “I’m never on time man but I am in time”.  Of course he was ‘in time’, because I can not start without him.

In the midst of a studio shoot my gallery was suddenly filled with police coming to arrest  Norman Beaton, the star.  Peter, the producer managed to talk them into waiting till we had finished shooting that day. They sat down and watched the shooting for two hours. Made their day.  Norman was playing Father Christmas and the minute we finished the last shot he was marched away still in his Father Christmas costume.

We needed a really grotty small cafe and found one at the end of Bristol Road yet when we arrived to film a few days later it was totally redecorated and spotless.  The owners wanted their cafe looking “Nice for your film”.  Embarrassing.  We could not say to them we wanted it grotty.  Had to leave and find another in a hurry.

 

Dead Head Press Pack













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Dead Head was a four-part thriller transmitted on BBC2 in January-February 1986. The cameraman was John Kenway, the editor, John Rosser, and the production designer, Gavin Davies.

This is the press pack for the series, courtesy of Ann Chancellor-Davies.

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Cargo Kings script front pages

copyright resides with the original holder, no reproduction without permission

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Cargo Kings was one of a handful of live plays from Pebble Mill transmitted in March 1983. By this time it was very unusual to stage television drama live, because of its limitations, so these plays were quite a brave enterprise.

These script front pages show the cast and crew of the drama, as well as the rehearsal schedule and scene order.

Thanks to Philip Thickett, who was one of the cameramen, presumably on camera 5, from the notes on the script, for sharing it.

BORRIS, (scribbled on the script) for those who don’t know was the drama rehearsal room which was part of the garage and outside broadcast block at the back of BBC Pebble Mill.

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

Terry Powell: ‘Yet, another show I worked on. We really did do some fabulous programmes.’

Janice Rider: ‘Yes indeed we did Terry – that was quite a nerve-wracking experience as I remember but we were all relieved we managed to pull it off including quick changes . See they spelled my name wrong on the running order as usual!’

Terry Powell: ‘Yes, indeed. But we still had fun. We literally went from one show to another in those days. We must have been like race horses.’

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Empire Road – Wedding

Photos from Janice Rider, no reproduction without permission.

The wedding episode of the black soap opera, ‘Empire Road’ was transmitted on 25 October 1979, it seems to be the final episode.  It was directed by Horace Ove, written by Michael Abbensetts, and produced at Pebble Mill by Peter Ansorge.  Janice Rider was the costume designer.

Norman Beaton played Everton, Corinne Skinner-Carter played Hortense, Wayne Laryea played Marcus.

The photos include publicity stills, polaroids taken for continuity reasons and the original drawn design for the wedding dress.

 

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Empire Road – Radio Times

 

 

 

 

 

 

 

 

 

 

 

 

‘Radio Times’ front cover from 1976, courtesy of Janice Rider, who was the costume designer on ‘Empire Road’.

‘Empire Road’ was the first black soap opera in Britain.  It was produced at Pebble Mill by Peter Ansorge.  It was written by Michael Abbensetts, and starred Norman Beaton.

‘Empire Road’ was shot in Studio A, and on location in Handsworth.