Category: David Rolinson

Women and Work: Leeds United! (1974) Part 3 of 3

DAVID ROLINSON

Play for Today Writer: Colin Welland; Producer: Kenith Trodd; Director: Roy Battersby

This essay continues from Part 2 and Part 1.

The debate

BTVD_LeedsUnited_7
Producer Kenith Trodd faced criticism and praise from local workers, employers and critics in an edition of the discussion programme series In Vision (1974-75) that was dedicated to Leeds – United!1 The play had a largely female cast who were positioned as participants: its lead actors and its extras were social actors, as mass crowds reconstructed their real-life participation in the 1970 events. The guests on In Vision include women workers who respond to the techniques by which their experiences were depicted by that male-authored text. There is a revealing tension between the play and the discussion programme. Women are addressed variously as subjects, participants and audiences, and this problematic movement is one with which the women workers are partly complicit, as we shall see. Women are the minority – 3 out of 10 guests – and are addressed in part as audience members, albeit in order to comment on the textual representation of their social participation. The programme opens up gendered discourse relating to the workplace and drama, or even contributes to that discourse. Of course, In Vision is a different type of text, with its own codes and conventions as well as its own guidelines on issues such as balance.

Continue reading “Women and Work: Leeds United! (1974) Part 3 of 3″ →

  1. In Vision, BBC2, tx. 1 November 1974. ↩

Women and Work: Leeds United! (1974) Part 2 of 3

DAVID ROLINSON

Play for Today Writer: Colin Welland; Producer: Kenith Trodd; Director: Roy Battersby

This essay continues from Part 1.

The play

BTVD_LeedsUnited_9
Early in Leeds United!, Annie (Teresa Anne Keegan, played by Josie Lane) walks along early morning streets, picking up a friend and arriving at the bus stop on her journey to work. An ambitious crane shot accompanies her walk, leaves her in order to reverse across a street and rises above outhouses to find her further on. As she walks, we hear a male voice-over set out her new contract, the terms of which have reduced her rights. This sequence “set the tone”, according to Clive James:

ably combining the humanist touch with the analytical glance. […] their company contracts were read out in plummy tones on voice-over. ‘The company has no contractual pension arrangements covering your employment.’ Which meant that you work for half a century and they scrap you.1

This practice was so common that Welland heard about another example just a few weeks before the play was broadcast: “a 61-year-old seamstress who works in the same clothing factory as Colin Welland’s mother-in-law in Leeds was made redundant. She had worked in the same place for 25 years but because she was over retiring age she was not entitled to any redundancy pay.” Welland’s response: “Bastards, they are”.2

Continue reading “Women and Work: Leeds United! (1974) Part 2 of 3″ →

  1. James, The Observer. ↩

  2. Sheridan, ‘Tailor made for drama’. ↩

Women and Work: Leeds United! (1974) Part 1 of 3

DAVID ROLINSON

Play for Today Writer: Colin Welland; Producer: Kenith Trodd; Director: Roy Battersby

“When a woman looks at her wages and thinks of the hours she works and the conditions, she knows she is a slave…”

BTVD_LeedsUnited_1
Leeds United! dramatises the 1970 dispute in which over 25,000 clothing workers, the majority of them women, went on strike across Leeds, other parts of Yorkshire and the North East.1 Katrina Honeyman, in her history of the Leeds clothing industry, argued that the strike symbolised “the response of women workers to several decades of oppression by both employers and the male union hierarchy” and showed the “talent of women for political organization, [which is] so often overlooked in labour history”.2 Leeds United! reflects this talent in its methods of retelling, and reconstructing, the strike. According to director Roy Battersby in 2009, the play’s “ambition was to try to understand” how their “courageous” action took them to “the verge of winning” and how “within a few days that was turned into […] a miserable, heartbreaking compromise”.3

Continue reading “Women and Work: Leeds United! (1974) Part 1 of 3″ →

  1. Play for Today: Leeds United!, tx. BBC1, 31 October 1974. ↩

  2. Katrina Honeyman, Well Suited: A History of the Leeds Clothing Industry, 1850-1990 (Oxford: Oxford University Press, 2000), p. 209. ↩

  3. Roy Battersby, in Q&A with John Hill and Kenith Trodd at BFI Southbank on 25 November 2009, in the Radical Television Drama season. Available to view here. ↩

(Times and) Spaces of Television – Doctor Who: Warriors’ Gate (1981)

DAVID ROLINSON

Four parts. Writer: Stephen Gallagher; Producer: John Nathan-Turner; Director: Paul Joyce

WWA_scene_5
Warriors’ Gate was a visually inventive, conceptually ambitious and idiosyncratic Doctor Who serial, but also a fraught one for Paul Joyce, its director.1 The disagreements behind the scenes have been well documented, and are often discussed as a marker or consequence of the serial’s ambition.2 I’ve researched this serial in the BBC Written Archives Centre production file on Warriors’ Gate and the archive of writer Stephen Gallagher that is held by Hull History Centre,3 studying everything from multiple script drafts and notes on script meetings through to the specs for the set’s timber framed gimbal mirror and a list of supplementary payments for overtime and wig fittings (at productive moments in these archives it was of course difficult not to declare that “I’m finally getting something done!”4 ). However, this essay is not a blow-by-blow production history but a discussion of Joyce’s direction: partly showing how Joyce’s approach helps to convey the serial’s ideas, but mainly showing how debates about the future of Doctor Who’s production methods and the spaces of television circulated around Warriors’ Gate.

Continue reading “(Times and) Spaces of Television – Doctor Who: Warriors’ Gate (1981)” →

  1. Doctor Who: Warriors’ Gate, tx. BBC1, 3-24 January 1981. ↩

  2. See The Dreaming, a documentary on the Warriors’ Gate DVD (2009). The emphasis on creative ambition and vision differs from the ways in which other notably fraught Doctor Who productions have been discussed, such as Nightmare of Eden (1979). ↩

  3. The BBC has made some basic documentation available online, including the Programme-as-Completed file on Warriors’ Gate. ↩

  4. This is a line spoken with some intensity by the character Rorvik at a crucial moment. ↩

Beyond the reach of the cartographer: Dennis Potter the reviewing writer and writing reviewer

DAVID ROLINSON

BTVD_Potter_FTYBR_1

Dennis Potter’s non-fiction writing is a tremendous body of work – reviews, radio talks and newspaper features on television, radio, books, society, politics and more.1 I was going to just run through some of his television reviews, but Potter wouldn’t let me get off that lightly. His non-fiction work interweaves with his fiction work in characteristically multi-layered, provocative and entertaining ways. He never lets us forget that words matter. So the word “reviewing” becomes unreliable, which is annoying if you’ve put it in your title. He’s not just a writer who wrote some reviews – his writing reviews, and re-views, his own plays and much more besides. There are lots of traps to fall into, as we can tell from the start of Follow the Yellow Brick Road…

Continue reading “Beyond the reach of the cartographer: Dennis Potter the reviewing writer and writing reviewer” →

  1. This essay is an earlier – longer – draft version of a talk I gave at the Dennis Potter Day held at Dean Heritage Centre, Soudley, Forest of Dean on 29 June 2013. The full schedule of the day’s events can be found here. Some of this essay has been rewritten for reading rather than speaking, but most of the new or unused material is restricted to these endnotes. Detailed coverage of the event will appear on the Potter Matters blog, which we will link to when the event’s coverage is uploaded. ↩