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)
Although rarely discussed now, Michael Barry (1910-1988) had an important role in the development of British television drama. As a producer before and immediately after the Second World War and subsequently as the BBC’s first Head of Television Drama, he helped shape the new medium in its formative years.
After an unsuccessful school career, Barry initially studied agriculture, spending time on farms and 18 months at the Hertfordshire Agricultural Institute before deciding he wanted to work in theatre. He turned to acting and studied for a year at the Royal Academy of Dramatic Art before going into repertory theatre for an “exciting” year in Northampton, then moving on to Birmingham and London. With gaps in acting roles Barry also took work in other capacities in the theatre, building scenery, designing and stage managing. At the age of 23 he was appointed the director of the Hull Repertory Theatre where he spent a “superb” year before taking charge of the Croydon Repertory Theatre, where he remained for two-and-a-half years. After this he felt “a little stale, a little tired, perhaps time for a change” and, at the suggestion of a friend, applied for the post of studio manager with the new BBC television service but was unsuccessful. Undeterred, Barry then applied to be a television producer and was taken on, arriving at the BBC’s modest Alexandra Palace studios in North London in early 1938. Read more... (6117 words, 3 images)