Tag: Dennis Potter

The Good Companions (1980-81)

DAVID ROLINSON

Nine parts. Writer: Alan Plater; Adapted from (novel): J.B. Priestley; Music by: David Fanshawe; Producer: Leonard Lewis; Directors: Bill Hays, Leonard Lewis


A “tuneful tonic of merriment and mirth”, The Good Companions is a nine-part Yorkshire Television serial about a touring concert party adapted from J. B. Priestley’s famous 1929 novel.1 It was adapted by Alan Plater, who described the serial as one of his happiest working experiences, but added that it was “interesting but flawed, and didn’t really catch on”.2 That’s a fair assessment, but the serial is certainly more interesting than flawed. Like the two previous film adaptations, the serial risked being written off as undemanding, suffering in part because of the reputation of the source novel. Writing about the 1933 film version, Charles Barr observed that the novel “never had much currency in academic circles”, with supportive opinions outweighed by the impact of “the vinegary attacks on the book and the novelists by the two Leavises”.3 Priestley himself argued that “[s]ome severe critics dislike” stories in the picaresque tradition of “huge wandering tales” as these are “too rambling and easy for them”.4 However, the serial’s ability to parallel the book’s feel-good, episodic qualities is also one of its main strengths. With composer David Fanshawe setting Plater’s lyrics to a variety of song styles, and a lively ensemble cast relishing on-stage music hall scenes and off-stage full production numbers, this is a witty and unashamedly fun serial. The Network DVD release also comes with the 1980 tie-in documentary On the Road, in which Plater interviews Priestley, compares the serial with previous film versions and provides behind-the-scenes footage.5

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  1. The Good Companions, tx. ITV, 14 November 1980-16 January 1981. Now available on DVD from Network DVD. ↩

  2. Alan Plater, Doggin’ Around (Northway, 2006), p. 99. ↩

  3. Charles Barr, ‘The Good Companions’, in Brian McFarlane (editor), The Cinema of Britain and Ireland (London: Wallflower Press, 2005), p. 31. ↩

  4. J.B. Priestley, in Priestley and O.B. Davis, Four English Novels (Harcourt Brace, 1960), p. 262. ↩

  5. According to production files relating to On the Road, which are available in the Alan Plater archive in the Hull History Centre, the documentary’s location visits happened in the last week of July 1979. ↩

Dixon of Dock Green in the 1970s

DAVID ROLINSON

The opinion that Dixon of Dock Green (BBC, 1955-76) was a cosy anachronism throughout its existence, and in particular in the 1970s, remains pervasive. Lez Cooke’s excellent study of British television drama fairly summarises the common view that Dixon “gained a reputation as a ‘cosy’ representation of the police and their relationship with the public in the mid-late 1950s”, a representation which was “superseded” in the 1960s and 1970s “by more hard-hitting and up-to-date representations of both the police and the criminal underworld”.1 Dylan Cave goes further in Ealing Revisited, arguing that Dixon‘s long run “wasn’t due to innovation, but to its dogged refusal to acknowledge the pace of a changing Britain, as depicted in the far tougher police series Z Cars and The Sweeney. It was cherished as a reassuring reminder of apparently simpler, gentler times”.2 There is room to question the pervasive generalisation that 1970s Dixon was a cosy anachronism that was smashed up by the arrival of The Sweeney (ITV, 1974-78). As I’ve argued in my previous writing on police drama,3 this generalisation needs to be put under more scrutiny, either by putting The Sweeney in the context of the detailed study of other police and action series of the period (Cooke wisely uses the plural “representations”), or looking into the apparent anomaly that Dixon survived – indeed, was still hugely successful – well into the 1970s. Dixon makes its own use of the changing language of police drama – with its “shooters”, “birds” and “blags” and the prioritisation of the CID while former beat copper Dixon takes a back seat – and reflects the changing practices of, and attitudes towards, the police. Acorn Media’s welcome DVD release of six colour episodes gives me a chance to look more closely at 1970s Dixon to add this article as a supplement to this much longer and more detailed piece on Dixon’s place in the history of police drama.

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  1. Lez Cooke, British Television Drama: A History (London: British Film Institute, 2003), p. 49. ↩

  2. Dylan Cave, ‘The Legacy of Ealing’, in Mark Duguid, Lee Freeman, Keith M. Johnston and Melanie Williams (editors), Ealing Revisited (London: British Film Institute/Palgrave Macmillan, 2012), p. 222. The directness of this statement is slightly surprising since Ealing Revisited is derived from a 2006 conference of the same name at which I presented a paper which problematised this opinion. An extended version of that paper, on Dixon‘s revisiting of Ealing’s The Blue Lamp and its own revisiting by The Black and Blue Lamp, is available on this site, with a link elsewhere on this page. ↩

  3. David Rolinson, ‘From The Blue Lamp to The Black and Blue Lamp: the police in TV drama’. Posted on this site in February 2011, but drawing from previous talks and publications since 2002. ↩

The Singing Detective 25th Anniversary Event (2011)

DAVID ROLINSON

“in keeping with the modernist sensibility and self-reflexivity of Hide and Seek and Only Make Believe, the decision to root a view of the past in the experiences and imagination of a writer protagonist, emphasises the fact that, far from being an objective assessment, any perspective on history can only ever be subjective” – John R. Cook.1


This one-day symposium, staged by Royal Holloway University of London on 10 December 2011, celebrated the 25th anniversary of The Singing Detective (1986).2 It paid tribute to the serial’s “narrative complexity, generic hybridity and formal experimentation” and placed writer Dennis Potter’s contribution alongside the contributions made by his collaborators, several of whom were present: producer Kenith Trodd, choreographer Quinny Sacks and actors Patrick Malahide and Bill Paterson.3 Other guests included Peter Bowker (as a modern television writer inspired by Potter), plus academic speakers and, mixing practitioner and academic perspectives, Professor Jonathan Powell, who was Head of Drama at the BBC when The Singing Detective was made. This mixture of academic and practitioner perspectives has been a welcome and often rewarding feature of British television drama conferences in recent years: see, for instance, the conference proceedings published as part of British Television Drama: Past, Present and Future.4

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  1. John R. Cook, Dennis Potter: A Life on Screen (Manchester: Manchester University Press, 1998), p. 217. Second edition. Play for Today: Only Make Believe, tx. BBC1, 12 February 1973. ↩

  2. The Singing Detective, tx. BBC1, 16 November 1986-21 December 1986. ↩

  3. Quotation from the conference blurb, which is still available, with the day’s running order, at http://ies.sas.ac.uk/events/conferences/2011/SingingDetective/ ↩

  4. Jonathan Bignell, Madeleine Macmurraugh-Kavanagh and Stephen Lacey (editors), British Television Drama: Past, Present and Future (Basingstoke: Palgrave, 2000). ↩

Doctor Korczak and the Children (1962)

OLIVER WAKE

Studio 4 Adapted and translated by: Rudolph Cartier; From: Erwin Sylvanus (play); Director: Rudolph Cartier

Doctor Korczak and the Children is one of the most unusual and compelling television plays of the 1960s.1 Its subject is tragic and fascinating, while the production itself is interesting in its own right for a myriad of reasons. The extremity of its rejection of naturalistic television drama conventions is startling and it remains an almost unique surviving example of a period of such experimentation at the BBC at the beginning of 1960s. It also illustrates how the reach of a stage text can be expanded to whole new audiences with sympathetic translation into the new medium. This article aims to give an overview of this extraordinary production and its reception by its audience.

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  1. Studio 4: ‘Doctor Korczak and the Children’, BBC, tx. 13 August 1962. ↩

Angels are So Few (1970)

IAN GREAVES

Play for Today Writer: Dennis Potter; Director: Gareth Davies; Producer: Graeme McDonald

‘If Jesus came today… we would want to shut the door’1

Angels Are So Few represents not only the first Dennis Potter production to appear under the Play For Today banner but the cementing of a new strand in the writer’s career. In fact, the play itself is equally rooted in beginnings and endings, dealing as it does with leaps of faith, death and rebirth.

Angels Are So Few (publicity photo)

Producer Graeme McDonald had not expected this potent exploration of sexual and religious game playing when its first draft was submitted to the BBC Drama department on 15 December 1969. A covering note apologised for Potter’s radical departure from the commissioned play, initially scheduled for the then Wednesday Play slot. Condescension, apparently absent from Potter’s surviving papers, was set to be an exploration of middle-aged attitudes to the young and old. Prostitute Reformer (detailing Gladstone’s fascination with ‘fallen women’) and The Last Nazi (a play about Rudolf Hess, commissioned by Mark Shivas for BBC2) were similar proposals which never materialised from this period.

Potter’s attentions had been diverted to a continuation of the ‘visitor’ device first used in A Beast With Two Backs and The Bonegrinder ((The Wednesday Play: A Beast With Two Backs, tx BBC1, 20 November 1968. Playhouse: The Bonegrinder, tx Associated Rediffusion, 13 May

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  1. Richard Tydeman, ‘Son of Man: Improbable Attempt At The Impossible’, Church of England Newsletter, 25 April 1969, p. 13. ↩