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... (3363 words, 1 image)
Philip Saville is a director whose work on Play for Today cannot be easily categorised. The variety of his eight contributions is testament to the scope of both strand and director. Saville was an iconoclastic, innovative director, whose credits include many pioneering productions and notable television firsts.
Saville had a lengthy background in drama before moving into television directing. He had previously acted in theatre, film and television, and directed for the stage, on both sides of the Atlantic. Back in Britain, he joined ITV company Associated-Rediffusion in 1955, for whom he directed drama and contributed to Richard Lester comedy programmes. He continued to take occasional acting roles in film and television throughout this time, not stopping until the early 1960s. In 1956 he joined the drama department at ABC, another ITV company. He would ultimately direct more than forty plays for the company’s prestigious Armchair Theatre strand.
Although its innovation is largely credited to Sydney Newman, even before his arrival in 1958 those behind Armchair Theatre were attempting to breathe fresh life into television drama, creating a dynamic production style. Saville’s contemporary Ted Kotcheff recalled that from ‘the time that we came and started at Armchair Theatre, Philip Saville and myself and other directors wanted really to push against the limitations of the media, the way it was presently conceived’. Read more... (3471 words, 1 image)
The BBC’s appointment of Sydney Newman as their head of drama in 1962 was the opening act of what some perceive as a “golden age” of British television drama. However, this is not how it appeared to everybody at the time, and the alienating effect of Newman’s “new broom” should be remembered. Perhaps the most outspoken casualty of Newman’s arrival was Don Taylor, a highly successful producer/director who found himself stifled and, he alleged, blacklisted by Newman.
From humble working-class origins in East London, Taylor (30 June 1936-11 November 2003) won a scholarship to grammar school, and then to Oxford in 1955. There he studied literature and became involved with student theatre, both acting and directing. He secured the notable coup of directing the first production of John Osborne’s Epitaph for George Dillon in 1957. Graduating in 1958, he joined the Oxford Playhouse as assistant to the theatre’s director, Frank Hauser. Although he was effectively an errand boy, Taylor found the experience of the theatrical life invaluable. After six months, Hauser pushed Taylor out, telling him: “Sell your body if necessary, but find some way of your own to write and direct.” A spell as a supply teacher followed while Taylor failed to break into the theatre. Read more... (5662 words, 2 images)
This piece was substantially revised and updated in 2013.
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... (6107 words, 3 images)