Frank Cox, who died in April 2021 at the age of 80, was a television director and producer who worked on drama at the BBC and ITV across a period of more than forty years. Although his was never a household name, he was responsible for realising some of Britain’s most popular drama series and did much to boost the position of Scottish television drama.
Cox had originally planned to become an actor. He enjoyed acting at school and featured in several student theatre productions while studying English Literature at Leeds University in the early 1960s. Although he found his interests shifting towards directing and film criticism during his studies, when he graduated in July 1962 and returned to his parents’ London home, he had, he later reported, “no clear idea of what to do for a living, other than a vague desire to be an actor”. Cox applied to the Royal Academy of Dramatic Art and did what he recalled as “a rather sad audition”. RADA did not find in his favour. He later suggested this was fortunate “because, being so enormously tall – I’m six-foot five – I would never have got work as an actor. Well, at least that’s my excuse for what is, basically, lack of acting ability!” Read more... (1892 words, 9 images)
Anyone researching live television drama will inevitably encounter the well-known obstacle that only a small percentage of live broadcasts were recorded from transmission and subsequently archived. A lesser-known obstacle for anyone trying to appreciate the quality and aesthetics of live drama is that those recordings which were made and archived are not necessarily an accurate representation of the programmes as broadcast.
In the 1950s and 1960s, the recording of live transmissions was largely accomplished via the telerecording process, resulting in a continuous record of the broadcast on film. It has usually been assumed that this film recording was then left untouched, and only over recent years has it become clear that this was not necessarily the case. In some instances, once the live transmission of a drama had concluded, the cast and crew remained in the studio and re-performed sections of the programme that were considered to have been substandard on broadcast. These scenes were also telerecorded and could subsequently be edited into the master recording to create a more polished version of the whole programme. Read more... (2091 words, 1 image)
James O’Connor – often known as Jimmy O’Connor – wrote a number of popular and successful television plays in the 1960s and early ‘70s, regularly collaborating with director Ken Loach. He had an unusual background for a television dramatist. He was formerly a career criminal who had turned to writing while serving a life sentence for murder, having narrowly avoided being hanged.
O’Connor’s life story encompasses the sensitive subjects of deprivation, domestic abuse and criminality which would not normally be appropriate topics for this website. We do not usually make personal biography a focus of our coverage, but O’Connor himself emphasised how his early experiences informed his television plays, as did contemporary reactions to his work, and it is important for us to understand his background to understand his work. The following account of O’Connor’s life before becoming a television playwright is drawn from O’Connor’s autobiography The Eleventh Commandment. Aside from the basic details of his murder conviction, reprieve and release, it is not possible to independently corroborate any of his reported life story. In view of O’Connor’s early life of dishonesty and later career as a storyteller, one may be inclined to wonder how far his account can be trusted to be accurate. We leave this for the reader to determine for themselves. Read more... (5509 words, 3 images)
Giles Cooper is widely recognised as having been Britain’s greatest radio dramatist. He was highly prolific, writing dozens of original plays and adaptations for radio across a period of around 13 years. He was responsible for many of the medium’s masterpieces during the 1950s and his accomplishments were acknowledged posthumously with the BBC’s radio playwriting award being named in his honour. He also wrote for the stage, having particular success with his 1962 play Everything in the Garden, a dark comedy of middle-class suburban hypocrisy and greed.
This work has unfairly overshadowed Cooper’s career as a television dramatist. Writing for both the BBC and ITV, Cooper was even more prolific in television than he was in radio, producing a large body of work in which his characteristic skill as a dramatist was evident. He would undoubtedly be better known today had he not died tragically young while at the height of his talents in 1966. Marking the fiftieth anniversary of his death, this article aims to highlight Cooper’s television career and argue that he deserves greater recognition as one of Britain’s greatest television dramatists. Read more... (7057 words, 5 images)
It occurred to me recently that with the obvious exception of Shakespeare, Oscar Wilde was surely British television’s most performed stage playwright. Perhaps unsurprisingly, the most-produced of his works has been his “trivial comedy for serious people”, The Importance of Being Earnest (1895). British television has staged this nine times (including heavily condensed versions) over the years, across three channels, in addition to mounting significant extracts at least three times. It is therefore surprising that, although the play has often been welcomed as a favourite, it has also been described as a play that is not “apt for television”. In this essay’s brief survey of versions of The Importance of Being Earnest, we will see why this claim was made and also get a sense of the shifting status of stage plays on television.
BBC television turned to Wilde and The Importance of Being Earnest early in its existence. It appeared in November 1937, mounted in common with standard practices in television drama at the time: broadcast as a live performance with a ‘repeat’ in the form of a second live performance four days later. Royston Morley was the producer but would also have directed under this job title. The Observer’s review suggests the play translated well into the still infant medium: “To compress The Importance of Being Earnest into forty-five minutes is something of a feat, but it was done, and television adds yet another to its growing list of worth-while dramatic presentations. Oscar Wilde’s sparkling comedy lost a little by cutting, but nothing through the new medium of production.” Read more... (2655 words, 5 images)