Peter Luke was a writer, story editor and producer on several of British television’s most influential drama anthology series, working at both ITV and the BBC, during a period of particular creative development for the medium. His television work was, however, only one part of a varied life.
Peter Ambrose Cyprian Luke was born on 12 August 1919, the son of British diplomatic Sir Harry Luke. The Luke family was originally of Hungarian descent (the name Lukach being Anglicised to Luke) and Luke’s upbringing was cosmopolitan. In his younger years he accompanied his parents on his father’s postings around the world, during which he learned about language, culture, art and literature, before returning to England to be enrolled at Eton. On completing his schooling with the minimum of academic rigour, Luke decided he wanted to become a painter and went to art school in London and then studied at the atelier of André Lhote in Paris. He enlisted in the British army shortly after the Second World War began, leading him to Egypt and combat on the first day of the second battle of El Alamein, in which he was wounded. After recovering he was deployed in the European theatre of war, serving in Italy, France and Germany. He was awarded the Military Cross for his actions in Normandy following D-Day. He ended the war a Major, acting Lieutenant-Colonel. Read more... (3578 words, 1 image)
Play for Today Writer: Hugh Whitemore; Adapted from: the book by Helene Hanff; Director: Mark Cullingham; Producer: Mark Shivas
‘…people going to England find exactly what they go looking for. I said I’d go looking for the England of English Literature…’
When Arthur Dent receives an alien tongue-lashing on arrival at yet another inhospitable planet during The Hitch Hiker’s Guide to the Galaxy, he observes in exasperation: ‘Why doesn’t anyone ever seem to pleased to see us?’ One answer to that question might well be: ‘Because drama and comedy rely on conflict to make them work.’ There’s rarely a great deal of mileage to be extracted from people liking one another and generally getting on, but when the trick is pulled off, the results can be delightful and surprising.
This was the case with 84, Charing Cross Road, Hugh Whitemore’s adaptation of Helene Hanff’s book in which the New Yorker recorded her 20-year love affair with Marks & Co, a second-hand bookshop in London. It began in 1949 when Britain was still on the ration and ran through until the end of the 1960s. Hanff’s book reads like a cross-cultural epistolary novella, in which the straight- talking Yank (responding to the first letter from London which begins: ‘Dear Madam’, she comments: ‘I hope Madam doesn’t mean over there what it does over here’), eventually extracts the inner warmth from the more reserved and correct Brits. Read more... (1731 words, 1 image)