Cedric Messina

OLIVER WAKE

Cedric Messina must be one of British television’s most prolific producers and directors of dramatic programmes, with at least 250 drama and opera productions to his name. He worked extensively in television for 25 years, always for the BBC as he was committed to the principle of public service broadcasting.

He was born in Port Elizabeth, South Africa to Sicilian and Welsh immigrant parents on 14 December 1920. He was brought up and educated in Johannesburg while his father worked in the copper mines of Zimbabwe (then Rhodesia). Messina joined the South African Broadcasting Corporation (SABC) in the 1930s, initially working as a radio announcer and later as a producer. His broadcasting career was interrupted by the Second World War, during which he served with both the British and American armies.

After the war, the SABC posted Messina to Durban to set up a drama unit, where he was responsible for producing a play each week and became the broadcaster’s head of drama. From around 1947 he spent a period on attachment with BBC radio in London, where he worked as both an announcer and producer before returning to South Africa. He had been promised a permanent position with BBC radio which he later returned to claim in 1958. As a BBC radio producer he produced a variety of programming, from popular series such as Mrs Dale’s Diary to adaptations of numerous classical stage plays.1

Disputed Territory: Drama and the Falklands

OLIVER WAKE

Every major conflict in living memory has become the subject of drama almost the moment it was over. The Falklands war, which this month reached its thirtieth anniversary and is again in the news due to renewed tensions between Britain and Argentina over the islands, is no exception. Numerous plays about the conflict reached the stage and radio in its aftermath, but none caught the attention of the public at large. However, when television tackled the subject for the mass audience, the results were frequently politically charged and contentious.

First was Don Shaw’s The Falklands Factor, for the BBC’s Play for Today, which was screened in April 1983, less than a year after the war’s end.1 Shaw dramatised a previous cold war for the Falklands from 1770-71 to illuminate the history of the conflict and draw parallels with the recent war. The play strongly hints at the role of political expediency in each response to a Falklands invasion and, by showing how diplomacy – narrowly – averted bloodshed, questioned whether the same could not have been achieved in 1982.