PROSPERO - WAR AND PEACE - 50 YEARS ON - BBC
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PROSPERO
The newspaper for retired BBC Pension Scheme members • February 2022 • Issue 1
WAR AND PEACE
PENSION - 50 YEARS ON
SCHEME
PAGE 9
| BBC 100
BBC 100: A YEAR OF
BRILLIANT PROGRAMMING
TO MARK CENTENARY
To mark 100 years of the BBC in 2022, the Corporation has announced
a bumper year of sports, events and landmark commissions for TV,
radio and online to inform, educate and entertain the nation, under
the banner BBC 100.
I
n 2022, special content will range from the Queen’s
Platinum Jubilee to the Women’s Euros, the World
Cup and Commonwealth Games, a host of new
dramas and comedies plus Frozen Planet II, while
BBC Three returns as a broadcast channel.
Live music events return in 2022 with Radio 1’s Big
Weekend, 6 Music Festival and Radio 2 Live all
bringing world-class artists and brilliant performers to
audiences in different locations across the UK.
New TV and audio documentaries will consider the
history of the BBC and its impact on public life over
the last 100 years. And in a further treat for music
fans, the biggest names from across the BBC will
curate their personal music mixes for listeners on BBC
Sounds as part of a collection called My Sounds, with
names and tracks to be announced later this year.
The BBC will also broadcast specials of its biggest
shows around its 100th birthday. Strictly Come
Dancing, Doctor Who, Top Gear, MasterChef,
The Apprentice and Antiques Roadshow will all be Doctor Who - Jodie Whittaker.
marking the centenary in their own unique way.
In commissions for TV and iPlayer, comedy The Love In The BBC’s First 50 Years (w/t), John Bridcut will Also to coincide with the centenary and the
Box In Your Living Room with Harry Enfield and look at the challenges and triumphs of today’s BBC, Commonwealth Games in Birmingham, BBC Three and
Paul Whitehouse will take a look at the BBC’s last 100 which have their roots in the Corporation’s first BBC England are collaborating with Create Central to
years, mixing contemporary footage with ‘genuinely half-century. The two-part feature-length uncover original and untold stories from West
authentic made-up stuff’. Children will be entertained documentary will look at John Reith’s launch of BBC Midlands voices for the channel.
on CBBC by Horrible Histories: BBC’s Big Birthday Radio in 1922; the rapid pace of technological change
Bonanza! – a special of the multi-award winning which has driven editorial priorities and opened up
comedy series, packed with fascinating facts and fresh opportunities; and the changing shape of British
jokes about the Corporation. society which has fuelled the debate over whether
the national broadcaster should lead or follow new
Here’s One I Made Earlier (w/t) with former Blue Peter social attitudes.
presenter Konnie Huq will explore and celebrate the
very best of British Children’s Programming from the BBC Three returns with a renewed focus on British
past 100 years. The programme will track content drama, with four series written by and starring some
from the very first radio broadcast of Children’s Hour of the foremost new talent and voices the UK has to
in 1922, via the iconic Magic Roundabout, right offer. In 2022, audiences can look forward to
through to Saturday morning megahits such as Superhoe, written by and starring Nicôle Lecky; a
Going Live. contemporary horror series from the Clarkson Twins
set in Bolton titled Red Rose; emerging writer
Three-part series David Ryan J Brown’s thriller Wrecked; and an adaptation
Dimbleby’s BBC: A Very of Sally Rooney’s award-winning debut novel,
British History will trace the Conversations with Friends.
impact of the BBC on British
life across recent decades.
He will explore the Antiques Roadshow - Fiona Bruce.
Corporation’s role in
major moments of In audio, Radio 3 programmes across the year will be
political and cultural marking The Sonic Century, exploring the impact of
change, its conflicts 100 years of radio and the audio revolution it
with governments over unleashed. From documentary to drama, Radio 3 will
the years, its own consider how – a century after the first public radio
public controversies broadcasts – we live in a transformed world of
and how it continues ubiquitous sound and music. Across the weekend of
to engage with the 11-13 February, Radio 3 will broadcast live concerts
British people and attempts from BBC Orchestras and Choirs, which have their
to represent a diverse and origins in the BBC’s first decade, including classical
David Dimbleby. Konnie Huq. music from the 1920s and the 2020s.
changing nation.
2
On Radio 4 Past Forward, historian Greg Jenner will
use a random date generator to alight somewhere in
PROSPERO
the BBC’s vast archive. He will find a piece of audio
from that day and use it as a starting point in a journey
towards the future. In each episode Jenner will uncover
connections through the people, places and ideas that
link the archive fragment to Britain in 2022.
Prospero is provided free of charge to retired Scheme
members or to their spouses and dependants.
Prospero provides a source of news on former
colleagues, developments at the BBC and pension
issues. It is available online at bbc.com/mypension
Please send your editorial contributions,
comments or feedback to:
Prospero, BBC Pension and Benefits Centre,
The Apprentice - Alan Sugar. Central Square, Cardiff CF10 1FT
Email: prospero@bbc.co.uk
‘BBC 100 will celebrate and reflect on the unique role
Please make sure that any digital pictures you send
the BBC plays in the lives of audiences across the UK
are scanned at 300dpi. Please also note that the
as our much cherished national broadcaster from its
maximum word count for obituaries is 350 words.
creation right up to the present day.’
Hilda Matheson and Lord Hailey. As announced last year, younger audiences will be
Contents
at the heart of the BBC’s broader centenary plans.
In March, Radio 4 will also broadcast The Battle of Savoy The Corporation is opening up its entire digitised BBC
Hill, a dramatised five-part account of Hilda Matheson, broadcast archive to students in formal education in
one of the first women to work at the BBC, and her the UK in 2022, and BBC stars and staff are to visit
working relationship with BBC founding Director- 250,000 students in schools across the UK to inspire BBC 100 2-3
General, Lord Reith. The account is informed by the the next generation of storytellers, in a project called
BBC 100: A year of brilliant programming
correspondence between Matheson and her lover, the Share Your Story.
to mark centenary
novelist Vita Sackville-West. Matheson was head-hunted
by Reith in 1926 when he persuaded her to leave her job
as political secretary to Nancy Astor MP and take up the
post of the first Director of Talks. Some of the big names
she brought to the wireless included HG Wells, John Back at the BBC 4-5
Maynard Keynes, Virginia Woolf and Vita Sackville-West.
Matheson initiated The Week in Westminster and From ‘Fat cow, thin giraffe’ – and celebrating 40 years
of BBC See Hear
Our Own Correspondent but fell out with Reith because
of her championing of the modern novel, all references Record numbers for BBC Action Line during 2021
to which were at one point banned by him. Fascinating new digital collections to mark
our centenary
Charlotte Moore, BBC Chief Content Officer says:
‘Our centenary year will be a huge treat for audiences
of all ages, from massive sporting events, comedy,
entertainment, drama, arts and music, to documentaries
assessing all aspects of the BBC’s history.
Frozen Planet 2.
Memories 6-7
War and Peace 1972 – 2022
BBC anniversaries 8-9
Letters 10
Obituaries 11
Odds ‘n’ ends 12
MasterChef - John and Gregg.
Queen’s broadcast tops Christmas ratings
Classifieds
Sudoku
Contacts
R T Y
Complete the grid so that every row, column and 3x3
A X W
box contains the letters ABERTUWXY in some order.
One row or column contains a 5 or more letter word, Y A T
name or programme title with a BBC connection.
Solve the sudoku to discover what or who it is and B U A R Prospero February 2022
send or email your answer to The Editor, Prospero,
BBC Pension and Benefits Centre, Central Square, U Y The next issue of Prospero will appear
Cardiff CF10 1FT by Monday, 7 March 2022. in April 2022. The copy deadline
A X Y E is Monday, 7 March 2022.
The winner gets a £10 voucher. Many thanks
to Neil Somerville for providing this puzzle. B W U
The Sudoku winner in December 2021 T B X
was Mr AP Carter who correctly WIN
identified the BBC connection as £10 U W T
‘The A Word’.
PROSPERO FEBRUARY 2022 | 3
| BACK AT THE BBC
‘FAT COW, THIN GIRAFFE’ –
AND CELEBRATING 40 YEARS
OF BBC SEE HEAR
Pauline Mason, UK News Commissioning and Camilla Arnold,
BBC See Hear, talk about making BBC News history and celebrate
40 years of broadcasting for the deaf community.
Pauline Mason:
‘Big fat cow’ is the first sign See Hear’s presenter
Yvonne Cobb teaches us. Video producer Kevin
McGregor and I are used to working on bilingual
shoots for Language Services and Partnerships but
filming British Sign Language (BSL) is a new skill for
the hearing members of the team. The signs for ‘fat
cow’ and ‘thin giraffe’ are to help Kevin frame the
shot, Yvonne explains, to make sure the camera
captures every sign in full.
We’re at a contributor’s home in Oxfordshire making
a film but also making BBC News history. The film,
about the explosion in interest in BSL following the
popularity of Rose Ayling-Ellis on Strictly Come
Dancing, is the first to be presented by a deaf
female reporter.
The idea for the film was pitched to the News
Commissioning Group by See Hear’s producer,
Camilla Arnold. My role was to oversee the
commission and ensure it was made, inclusively,
Rose Ayling-Ellis.
for as many News outlets and audiences as possible.
Although hearing, my sister has been signing since Since its formative years, the series brings the key From left to right: Pauline Mason (producer),
childhood. On the eve of my first shoot, she told me issues of the day to the deaf community, which was Kevin McGregor (video journalist), Molly Jordan
that facial expressions are just as important as hands particularly important in the days before the internet, (contributor), Maddie Peacey (contributor), Adrian
in signing. So, when Yvonne pointed out that the email and text messaging. Bailey (interpreter), Yvonne Cobb (presenter).
recommended clear facemasks were useless due to
fogging up, I contacted our safety team and redrafted See Hear was particularly crucial during the
our Covid risk assessment instantly: daily negative early days of lockdown where the lack of a sign
lateral flow tests for everyone, open doors and language interpreter present at the prime minister’s
windows, social distancing of at least a metre and… Covid briefings meant that the hundreds of
no facemasks for Yvonne, our deaf contributors or thousands of deaf people did not have access to
their interpreters. important information and so See Hear was the
‘go to’ place for information on the vaccine
Camilla, although unable to be on location, insisted on programme, the nature of Covid-19 and the work
the importance of ‘deaf eyes’ when filming for deaf of frontline workers.
and signing audiences. Having Yvonne check key
shots in the viewfinder allowed us to take creative
risks. For example, our two contributors signing ‘good To this day, people have watched See Hear religiously
luck, Rose’ in darkness with only the TV as their key for the last 40 years and it is at the very core of the
light, or a complicated mirror set-up shot of Yvonne. UK’s deaf community.
Even more important was Yvonne’s ability to share her
See Hear records milestones in deaf history, highlights
enthusiasm for the expressiveness of sign language
the issues we face and above all, shines a light where
with BBC audiences.
other mainstream programmes very rarely venture.
Camilla Arnold: It is still a trailblazing series.
It’s not just an exciting time for representation of deaf
And it is our hope that the sign language commission
people on television and sign language. With Rose
for News is just the start of a more inclusive way
on Strictly Come Dancing, Hollywood films such as
of working.
A Quiet Place 2, CODA and Sound of Metal featuring
lead deaf characters, it is also an exciting time for deaf
television. This year also marks the 40th birthday of
See Hear, making it the oldest programme in the
world for the deaf community.
4
RECORD NUMBERS FOR BBC
ACTION LINE DURING 2021
BBC Action Line received over 1.2 million calls and online visits for its support information
services in 2021, an increase of 170,000 from the previous year.
T
here were over 209,000 requests in relation to Nick Mason, Head of BBC Audience Services, says: Other programmes that led to significant interest via
sexual abuse issues alone, with mental health ‘Our second pandemic year has not seen a let up in Action Line included:
and self-harm, suicide and racism also driving contacts to the Action Line, particularly about mental
• Roman Kemp: Our Silent Emergency explored the
a high level of contacts. health, encouraged by a range of compelling
mental health and suicide crisis affecting young
storylines and campaigns across BBC channels.
The Action Line provides information support for men and prompted over 10,000 visits.
We will continue to offer vital support and information
viewers and listeners affected by issues addressed
in 2022 and beyond.’ • Countryfile trailed an Action Line following a
in BBC programmes. This includes factual
programme about farmers’ mental health, which
documentaries, BBC dramas or awareness campaigns. There was a total of 203,979 web visits and 5,343 calls
prompted over 2,000 visits.
relating to sexual abuse and violence. In March, Holby
In 2021 BBC Action Line broadened the support it
City aired a long running storyline on child sexual • DNA Family Secrets, which looked at the growing
offers audiences online. The page for mental health
abuse and to date there have been over 49,000 visits popularity of genetic testing to help people track
now includes support for self-harm, while the debt
to the support page. down missing relatives and detect debilitating
page now covers issues of hardship and homelessness.
In February, the BBC launched Headroom, a dedicated diseases before it is too late, generated over 15,000
online mental health resource, as a result of the visits to Action Line.
pandemic. This included a new mini-series of Radio 1’s • Finally, an episode of daytime series For Love or
Life Hacks, exploring some of the challenges affecting Money, which raised issues around dating and
young people during lockdown; Make a Difference: fraud, prompted over 3,800 visits to Action Line.
Happy Heads, BBC Local Radio’s campaign
highlighted the impact of the pandemic on young Since the introduction of the Action Line for Racism
people’s mental health; and Cariad Lloyd presented and Racist hate-crime late in 2020, there have been
What We’ve Learnt About Grief. The season prompted over 23,000 visits to the support page. Programmes
over 58,000 visits to the Action Line support page. pointing to this page included Leigh-Anne: Race, Pop
& Power, Anton Ferdinand: Football, Racism & Me and
Action Line also supported a range of programmes
Statue Wars: One Summer in Bristol.
and documentaries which covered suicide, grief and
Picture shows Mia Barron, played by Briana Shann, emotional distress including Gary Speed: 10 Years On, Find out more about the range of
who featured in the Holby City child sexual and Sadie and Lumo: Too Young To Die, which services provided by BBC Action Line
abuse storyline. generated over 120,900 visits and calls for support. at bbc.co.uk/actionline
Fascinating new digital collections to mark our centenary
BBC History has launched From correspondents in the field, actors on set, Meanwhile, the Science Museum Group, will digitise
three new online or monarchs speaking to the nation, this is a 1,000 BBC objects for the first time and launch a
collections looking at the collection of well-loved BBC personalities and major exhibition and events programme across the
Corporation’s most iconic contributors that unpacks the magic and mystery UK. Other regional museum partners will also mark
objects, people and of broadcasting through the years. It is devised the centenary through collections and displays.
contributors over the with the Radio Times
Sir Ian Blatchford, Director and Chief Executive
last century.
• The 100 Voices oral history collection reveals of the Science Museum Group says: ‘We are
The work sits on a stories of the men and women who worked at the delighted to be part of 2022’s BBC 100 celebrations
BBC 100 website BBC and created its unique culture. It covers and to be telling the story of a century of
(bbc.co.uk/100) News and Elections; The Birth of TV; Radio broadcasting, as well as looking at the exciting
which also features an Reinvented; People, Nation, Empire; Pioneering possibilities of broadcast technologies in the future
interactive year-by-year Women; Entertaining the Nation; and Planning through our Broadcast 100 programme across the
timeline covering key the Future. This collection is curated in Science Museum Group and specifically in our
moments in the BBC’s partnership with the University of Sussex, Switched On exhibition at the National Science
first 100 years. under Professor David Hendy. and Media Museum in Bradford.’
BBC History will also be working with a range of BBC History has also worked with the Arts and
Robert Seatter, BBC’s Head of History, says:
cultural and academic partners to mark the Humanities Research Council (AHRC), part of UK
centenary throughout the year. ‘The BBC has an amazing history which belongs to
Research and Innovation, to create a series of new
us all. As we mark 100 years of our BBC, these new
The new collections – 100 Objects, 100 Faces and research opportunities and a new BBC Engagement
digital resources, partner exhibitions, research and
100 Voices – will evolve and be added to throughout Fellowship. BBC History will also be an active
publications give a unique insight into the history of
the centenary year of 2022: partner in the Being Human Festival, run by the
the Corporation and provide something to intrigue
• 100 Objects features some of the BBC’s most Council in collaboration with the British Academy,
audiences of all ages.’
iconic items, including technology, props, in November 2022.
documents, artwork and buildings – such as the In addition to the BBC 100 website, BBC History has
This year also sees the publication of The BBC:
classic BBC microphone; Mr Darcy’s shirt from worked with a range of cultural and academic A People’s History by Professor David Hendy, the
Pride & Prejudice; the mirror globe used as an partners around the BBC’s centenary. These include only BBC-authorised centenary history book.
early TV ident; and Roy Plomley’s proposal letter various projects with the BFI, one of which, ‘BFI’s 100 It traces the BBC from its beginnings through war,
for Desert Island Discs – which help tell the BBC Gamechangers’, will chronologically list the 100 the creation of television, changing public tastes,
quintessential story of the BBC. The objects are BBC TV programmes that changed the landscape of and massive cultural change. It is based on unique
curated in partnership with selected museums,
British TV. The list, which will be announced in Spring access to the BBC’s rich and comprehensive
including the Science Museum Group
2022, is compiled by the television curators and archives and was published on 27 January 2022.
• 100 Faces is a new collection of 100 iconic historians at the BFI and led by Lisa Kerrigan, the We hope to have an article from Professor Hendy
photos from the BBC photographic archive. BFI’s Senior Curator of Television. in the April issue of Prospero.
PROSPERO FEBRUARY 2022 | 5
| MEMORIES
WAR AND PEACE 1972 – 2022
2022 marks the 50th anniversary of the BBC’s production of War
and Peace in 1972. In 20 episodes and starring Anthony Hopkins, it
remains the most ambitious, lengthy and large-scale drama ever made
by the Corporation. It has been seen all over the world and earned
Anthony Hopkins the 1973 BAFTA best actor award. John Davies,
who directed all 20 episodes, recalls the experience.
A
s a young television drama director in the
1960s, I was kept busy mining a rich seam of ‘It was the 20-part dramatisation of the Russian literary classic – Leo Tolstoy’s epic War and Peace – which
work at the BBC, directing serial adaptations consolidated BBC2’s reputation as the channel responsible for ‘quality’ literary drama. It was in production
of novels by Emile Zola, Thomas Hardy, Guy de for three years, representing a major investment for the BBC, and firmly established the Corporation’s
Maupassant, Somerset Maugham, Arnold Bennett and worldwide reputation for the production of quality costume drama.’
many others.
British Television Drama, by Lez Cooke. Published by the British Film Institute 2003.
Early in 1970 I was asked by the producer, David
Conroy to consider taking on Tolstoy’s War and Peace,
she had to age from 15 to 45, an almost impossible
which was to be made in 20 episodes – the length of
task, and everyone who has read the book has a very
10 feature films! The scripts were being written by
clear idea of how she should be.
Jack Pulman, who was later to write the wonderful
I Claudius, directed by Herbie Wise, and although My designer was Don Homfray, who had worked with
War and Peace was to be largely studio based and me many times before. We were good friends and we
shot multi-camera, David had already started knew each other’s work methods. He had literally
negotiations with a Belgrade-based film company hundreds of sets to design for the UK studios scenes
in Yugoslavia for most of the exteriors and had and a lot of work to do on location in Yugoslavia.
approached the authorities there for the use of the
Yugoslav army in the battle scenes, as filming in The killing grounds
Russia would have been out of the question then. Our battle scenes called for military advisers and
David Conroy found a trio of Sandhurst tutors –
Although feeling over-worked already, I took a deep military historians Anthony Brett James, David
breath and accepted, with a mixture of dread and Chandler and Christopher Duffy – who came out to
sheer excitement at the prospect. I had never read Yugoslavia to check out ‘the killing grounds’, as they
War and Peace and so I was sent home for three called our battle locations. We needed their advice on
months to read, prepare and get fit! The book itself uniforms, decorations and weapons, while at
came first, of course, and then what seemed a whole Sandhurst they schooled us in Napoleonic battle
library of associated literature, biographies of formations and tactics.
Napoleon and Tolstoy, together with as much history John Davies on location.
as I could absorb in the time.
I have a clear memory of her, enthroned in the
A recce of our film locations was next on the agenda. rehearsal room surrounded by our young cast at her
Yugoslavia was then, of course, a friendly communist feet, who were entranced by these magical stories of
state, Tito was still in power, and it proved to be an her Russian past.
excellent choice for our filming: open country in what
is now Serbia for our battle scenes, wide rivers and David Conroy’s overall plan was to rehearse certain
forests, an excellent summer climate but with studio sequences and record them at the Television
deep snow in the winter and, last but not least, a Centre before going out to Yugoslavia to shoot the
co-operative army for the battle scenes. However, summer exteriors including the battle scenes.
there were no grand country estates and houses and Through the mist: the Retreat. Returning to London, we were then to rehearse and
although we came across one relic, it was dreadfully shoot more studio scenes before going out to
rundown, had become the local communist party Yugoslavia again to shoot winter exteriors with deep
headquarters and was never to serve our purpose. snow for the Retreat from Moscow. Finally, returning
We needed parkland and grand architecture with to London, we were to tackle the big ballroom scenes
rich interiors and large ballrooms but we knew where on location before finishing off in the studio.
to go for all that in the UK.
It was to be a very long haul, and when we were all
Casting assembled together for the first time at the initial
Back in Shepherd’s Bush, casting got under way; read-through, in the BBC’s Acton rehearsal rooms, I
in those days we did this all ourselves, as casting don’t mind admitting that I was very scared. I was
directors were then unknown at the BBC. I knew from surrounded by a wonderful team though, with the
the start who I wanted to play Pierre Bezukhov, the dependable Ken Riddington as my first assistant
central character, as in the previous year I had director by my side, backed up by the hugely
directed a television play starring the most exciting supportive Margot Hayhoe and Pat Harrington. As we
young actor of that time – Anthony Hopkins. He was Our Russian adviser, found by David, was the got into rehearsals, I began to enjoy myself, working
absolutely right for Pierre, and he and I already had a 80-year-old Baroness Moura Budberg, who had been with a splendid cast who quickly gave me confidence
good working relationship – but would he commit to married to a high ranking Czarist diplomat and had, and made me feel that we were making a good start.
such a long assignment? To my delight he accepted we are now told, ‘lived a long life of shadowy
immediately and a huge cast of over 160 principals entanglements and glamorous liaisons’! She helped Strategic manoeuvres
us with pronunciation, etiquette and social behaviour, The first section of studio recordings was extremely
was gradually assembled around him.
and often came to rehearsals to check up on us. promising and I was thrilled at the performances which
We were incredibly lucky with such an extended shoot She was a wonderful source of information and full were evolving. However, at this advanced stage I was
to sign such names as Rupert Davies, Faith Brook, of first-hand stories of her lovers, Maxim Gorky and told that the Yugoslav army was not available after all,
Joanna David, Alan Dobie, Angela Down and finally HG Wells. She had even known Rasputin, and said as there were some strategic manoeuvres and exercises
our Natasha – Morag Hood. Natasha was crucial – scornfully ‘I was not impressed with him as a man’. to be performed close to the Romanian border.
6
previous 20 years. But not, it seemed, in 1972 – and so,
Natasha Rostova
after filming for a while with artificial snow, we made
(Morag Hood) and
the big decision to move the whole unit to Zlatibor, a
Pierre Bezuhov
ski resort nearly 200 miles away.
(Anthony Hopkins).
Having arrived there, we found that there was plenty
of snow and it was now very cold indeed. We needed
to catch up on lost time after our move, but as the
accommodation and food were not of the best, and
conditions were so unpleasant, the crew volunteered
to work seven days a week and take hot food ‘on the
run’ if only to get home sooner!
‘…the crew volunteered to work
I was offered their Territorials instead and flew out to
Belgrade to see some of them put through their seven days a week and take hot
paces. Would they be disciplined enough? Would they food ‘on the run’ if only to get
be able to learn the use of the Napoleonic weapons?
And would they actually turn up? After this review, I home sooner!’
was somewhat disheartened but was persuaded by
my bosses to go ahead with them as, at that stage, In this unplanned new location we had to stage,
there was no alternative. among other scenes, the Retreat from Moscow with a
thousand men who suddenly had to be found locally.
Filming in Yugoslavia began in temperatures around However, we were in luck: it being January, the
35 degrees, and with a thousand men we filmed the university students in the area were at home and we
battles of Borodino and Austerlitz in open country managed to assemble the right number. Nevertheless
near our base in the little town of Bela Crkva, while we were faced on the day of the Retreat with bright
the nearby River Danube was our setting for the sunshine and blue skies – a picture postcard was not
Treaty of Tilsit. It was tough for us all, particularly what I needed. We waited and discussed delaying the And that was it, after nearly two years! There were
walking out to film after lunch into those mid-day shoot for another day – but the expense! But then, emotional hugs in the control gallery and some of us
temperatures, but undoubtedly worse for the actors in quite suddenly, a mist descended over the whole plain shed a few tears, but we were all off to the end-of-
their heavy uniforms and often on horseback as well. and the picture changed completely. Cameras were shoot party in Chinatown. After three months of solid
quickly rolled and the gun was fired to cue the action. tape editing in the bowels of the Television Centre,
We could see nothing for a while until our lighting 20 episodes were ready for transmission in late
“…organising a thousand men cameraman, Peter Hall, on the main camera ten feet September 1972.
up was the first to see a thousand men slowly
into their costumes when you emerging through the mist, a miraculous vision which We were delighted with the initial press reactions:
don’t speak their language is astounded and genuinely moved us all. They came ‘A great television epic, its scope, its graciousness, its
sheer visual grandeur speaks for itself’ (Daily Express);
towards us across the snow, an endless line in ragged
no joke.” uniforms, dragging their carts and wounded, an army ‘The BBC has provided us with a feast for the eye and
in retreat. mind’ (Sunday Times); ‘The serial is something
Charles Knode, our costume designer, had the sumptuous’ (The Guardian). Anthony Hopkins’
immense task of designing and clothing not only our Back home in February 1972, we tackled the big performance was hailed as ‘astounding’ by
principal cast but the thousand men of our army and, ballroom scenes with their orchestras and dancers at The Sunday Times and won him the 1973 Best Actor
as he said, ‘organising a thousand men into their Kedleston Hall in Derbyshire and Ragley Hall near Bafta. First transmitted on BBC2, it was repeated
costumes when you don’t speak their language is no Stratford-upon-Avon. Our choreographer was on BBC1 where it gained an even larger audience.
joke... We had to create an assembly line and then Geraldine Stephenson, who tutored the actors for the
hold a passing out parade!’ dances and worked closely with me to choreograph Thirty-five years later, the full 15 hours of the serial
our cameras into the dances for the actors’ dialogue was issued by the BBC on DVD and so I went into
Practical working cannon, which could be fired, were within the movement. Oxford Street and bought myself a set!
made for us in Yugoslavia and were embedded in gun
emplacements in the hills above the battlefields. One Our final studio recording – the end of it all – was on It had been such a happy shoot, but the greatest joy
evening after the shoot, when our scene crew had left, I 9 June 1972, and our last scene was between Pierre for me had been working so closely with a group of
found myself digging out a gun emplacement for the and Natasha, now a happily married couple. The scene such talented people, cast and crew, over such a long
next day’s shoot with our assistant designer, Jon Pusey. went wonderfully well and as it finished, I found period – much, much longer than any film shoot, and
The next evening at dusk we were about to shoot the myself saying ‘Stop recording, let’s check that’ and far longer than most work experiences in the theatre.
aftermath of the Battle of Borodino – a wide, open plain then, after a pause, having been given the okay from Lifelong friendships for many of us, and an
littered with the bodies of men, horses and discarded the recordist, ‘Thank you, Studio, that’s it’. unforgettable experience.
cannon – when a storm blew up with a sky filled with
lightning and rain falling gently over our scene. We could
not have arranged anything more atmospheric.
The Yugoslav Territorials had performed magnificently
and I was reassured by my military advisers that they
had been preferable to the young recruits of the
Yugoslav Army. Napoleon’s Grand Army was apparently
comprised of ‘old sweats’ as well as younger men, and
this was also the make up of the Territorials.
We returned to the UK feeling that we had at least
made a start, and then began the next block of
rehearsals and studio recordings which went well and
remained on schedule. Our studio sets, designed by
Don Homfray, were magnificent and eventually earned
him a well deserved Bafta award. Perhaps the most
impressive was his vast interior of the Kremlin in
Studio One at the Television Centre. I was astonished
when I first walked onto it, and gave a camera to Don
to position for the first wide establishing shot.
Snowbound sequences
Returning to Yugoslavia for our snowbound winter
sequences, we set up base at Novi Sad on the Danube
(in 1999 the target of Nato bombing during the
Kosovo War). We had been promised snow, as it had
The Rostov family.
never failed to fall in Novi Sad in January for the
PROSPERO FEBRUARY 2022 | 7
| BBC ANNIVERSARIES
FROM A(NIMAL MAGIC)
TO Z(CARS)
With a new year upon us, we thought we’d take a look at some of the notable
BBC anniversaries that are coming up in the next six months – aside from
the obvious one of the Corporation’s centenary, which is covered extensively
elsewhere in this issue.
60
M
ost of the anniversaries relate to TV and radio programmes, although
we kick off our list with the official opening of Broadcasting House in
1932. If any of these items spark memories of working on these
Z Cars YEARS
The first episode of Z Cars – broadcast on 2 January
programmes or other notable events – or if there’s something we’ve missed
1962 – brought a new type of police drama to British
– please get in touch with us at prospero@bbc.co.uk
screens. It showed modern police in squad cars – Ford Zephyrs – dealing with
the problems of the fictional Lancashire town of Newtown and with their own
90
lives. Influenced by the kitchen sink dramas of the time, it quickly revealed
the police were as human as everyone else. The show was created by
The BBC’s landmark central London premises, Troy Kennedy Martin and proved an immediate hit, with viewing figures
Broadcasting House, officially opened on 15 May 1932. YEARS soon hitting 14 million.
It was designed by Val Myer, with the BBC’s civil
engineer Marmaduke Tudsbery. Together, they overcame the restrictions Z Cars’ popularity was reflected
imposed by the location on Portland Place in the pop charts in April 1962,
to create a building that contained 22 when the theme tune reached
sound-insulated radio studios and a number two.
concert hall, and is still in use today.
The show ran until 1978 and
Broadcasting House survived the war despite spawned spin-offs Softly, Softly
being hit by a bomb which killed seven and Softly Softly Task Force.
people. It was granted Grade II* listed status
in 1981. At the start of the 21st century,
a major refurbishment of the building Animal Magic
accompanied the development of a massive
Animal Magic was first seen on
extension, by architects MJP, which fitted
13 April 1962. The fortnightly
Broadcasting House for life in the future.
children’s nature programme was
It now houses BBC News, BBC Television,
made by the fledgling Natural
BBC Radio and the World Service.
History Unit, and presented by
Johnny Morris, who provided
voices for the animals and made
80
them talk. On the first show he
interviewed a Woolly Monkey.
Desert Island Discs YEARS Morris was occasionally criticised
for anthropomorphising the
Desert Island Discs was devised by Roy Plomley, who
animals, but the humour drew viewers into the more formal scientific
presented the first edition on 29 January 1942. It was recorded two days
elements of the programme. In the first edition these were provided by
earlier with comedian Vic Oliver, in the bomb-damaged Maida Vale Studios.
Tony Soper and Gerald Durrell.
The success of the programme has always owed much to its simple format,
which allows for sometimes revealing interviews. However, early programmes Morris frequently filmed as Keeper Morris, at Bristol Zoo. He would then add
were scripted, to comply with wartime censorship. voices to the animals on film. However, for many years most of the
programme was live, and Morris thrived on the unpredictable and sometimes
Plomley’s original idea had been
un-cooperative behaviour of the animals. Some creatures, such as Dotty the
for Desert Island Discs to open
Ring-Tailed Lemur, became Animal Magic regulars.
with the sound of breaking waves
and seagulls, but worries that
this would prove too indistinct
led to the addition of By the Steptoe and Son
Sleepy Lagoon, by Eric Coates. The first series of Steptoe and Son began on 7 June 1962, with a repeat of
The theme so impressed second the pilot. The Offer first aired as an episode of Comedy Playhouse, but the
castaway James Agate that reaction was so favourable that writers Alan Simpson and Ray Galton quickly
he made it one of his choices. produced a full series. The simple set up featured a father and son
relationship, and played out in the same cluttered junkyard set every week.
Plomley presented 1,791
Its mixture of coarse comedy and pathos gave it universal appeal and
editions before his death
ensured its success.
in 1985. Since that time the
presenters have been Steptoe and Son ran
Michael Parkinson, Sue until 1965, was revived
Lawley, Kirsty Young and in 1970 and lasted until
Lauren Laverne. Today the 1974. The public appetite
format of Desert Island for the show was such
Discs remains unchanged, that it spawned two
despite the rise of the feature films and
mp3, but it has an a radio version, and
impressive online archive of past shows. It continues to attract guests of the was remade in America.
highest calibre.
8
50 Truly, Madly, Deeply
30
News Round YEARS YEARS
After an 11-year gap in broadcasting BBC news to Truly, Madly, Deeply got its first television showing on
children and young people, John Craven’s News Round, 1 March 1992. The film was written and directed by
as it was originally known on air, was broadcast live on 4 April 1972 on Anthony Minghella, starring Juliet Stevenson and Alan Rickman. Minghella
BBC One Colour at 17.20. wrote the part of Nina for Stevenson. Rickman was very happy to play a role
which was different from the cinema villains that had made him famous.
Its predecessor, Children’s Newsreel The film – made by BBC Films – had already been a success in the cinema
(April 1950 - Sept 1961), had come and won Evening Standard awards for Stevenson, Rickman and Minghella.
to be seen as old fashioned, stuffy
and inaccessible. Its style was very The Radio Times made light of the plot: ‘Nina is a young woman unable to
much like the serious Television cope with the death of her lover Jamie. One day she misses him so much that
Newsreel for adults, albeit with a he comes back!’
simpler script, and different
Truly, Madly, Deeply has romance at its heart and many comic moments, but
selection of stories. Regular BBC
is much more than a romantic comedy. The film features a harrowing
announcers took turns in speaking
depiction of grief – in intensely moving scenes with Stevenson. A fine
the commentary. In short, that
supporting cast include Bill Paterson, David Ryall and Michael Maloney – who
approach didn’t work for the swinging 60s. So, there were to be big changes.
plays potential new boyfriend Mark.
Television Newsreel turned into the news bulletins we recognise today, but
news aimed at children slipped off the agenda almost entirely. Stevenson has said that Nina in Truly, Madly, Deeply is her favourite role.
Her range can be seen in contrasting BBC dramas The Village and Atlantis.
John Craven introduces a segment on the end of the war in Vietnam,
Minghella went on to win an Oscar with The English Patient. He returned to
April 1972.
the BBC with The No 1 Ladies Detective Agency, shortly before his death in
The provision of proper, regular news, aimed at younger viewers, had climbed 2008. Rickman died in 2016, but his varied career included a return to the
up the pecking order in the BBC Television Centre newsroom by the early BBC in 2010 for The Song of Lunch.
70s, but resources for a dedicated programme were few, and money was
tight. In fact News Round went on air with only a handful of staff and two
20
typewriters, relegated to a corner of the newsroom.
The programme’s debut could not have been more terrifying for those
involved. In the transmission gallery, the director was in a terrible panic BBC Four YEARS
according to John Craven (now 72). ‘Right,’ he said, ‘two minutes left and I’ve
The new digital television channel BBC Four began on
only got three scripts, so everybody repeat after me: Our Father, which art in
Saturday 2 March 2002. It was launched with the
Heaven...’ Perhaps the Divine did intervene, as the programme survived its
slogan ‘everybody needs a place to think’, offering a diet of arts, culture and
first hurdle – just. Curiously, no recording of that first edition exists.
documentaries. The new channel replaced BBC Knowledge.
Controller Roly Keating explained in the Radio Times that BBC Four would
I’m Sorry I Haven’t a Clue have the time to examine subjects in greater depth than had been possible
on BBC Two.
I’m Sorry I Haven’t a Clue was first broadcast on 11 April 1972. Billed as
‘the antidote to panel games’, the programme was conceived as a spin-off BBC Four’s first night was a simulcast with BBC Two, acknowledging the links
from popular comedy I’m Sorry, I’ll Read That Again. between the two channels and the need to showcase the potential of the
new digital station to the far larger terrestrial audience. The first programme
The first episode featured ISIRTA regulars Tim Brooke-Taylor, Graeme Garden,
was The Man Who Destroyed Everything, about artist Michael Landy. This was
Bill Oddie and Jo Kendall. Jazz trumpeter Humphrey Lyttelton was appointed
followed by a documentary on Goya, a comedy drama on the Surrealists and
chairman, and with the panellists established a pattern of daft humour and
music from Baaba Maal. BBC Four also offered a distinctive international
bad puns that won a cult following and several major radio awards.
emphasis to the news, with a bulletin presented by George Alagiah.
The early shows sometimes
BBC Four overcame initial reservations about the size of its audience to
referenced ISIRTA, but when
become a recognised home of intelligent programming, and won the award
Barry Cryer and Willie Rushton
for Non-terrestrial Channel of the Year at the
joined Garden and Brooke-Taylor
Edinburgh Television Festival. The channel has
as regulars, I’m Sorry I Haven’t a
originated many acclaimed programmes, and
Clue developed its own distinct
made successes of subtitled drama series such
identity. Lyttelton’s deadpan style
as Wallender and The Killing, that would
provided a brilliant contrast to the
otherwise have struggled to find an audience.
idiocy of the panellists. The teams
played games such as singing the
words of one song to the tune of
another, and Mornington Crescent
– whose rules were only known by
the participants.
Rushton died in 1996 and his place was taken by a succession of guests.
When Humphrey Lyttelton died in 2008 the show took a break. I’m Sorry I
Haven’t a Clue returned the following year with Stephen Fry, Rob Brydon and
Jack Dee hosting. Since then Dee has become the regular chairman, and the
programme has continued to thrive, remaining fresh even though it has
remained essentially unchanged.
PROSPERO FEBRUARY 2022 | 9
| LETTERS
Technical
Michael Alder
I had the privilege of working with or for Michael Alder as a journalist and
Trainees
programme maker for more than 20 years and have been dismayed not to see Straight into a four-year BBC Technical
his obituary in the columns of Prospero. It is a matter of regret to this writer Trainee ‘sandwich course’, clutching
that, having outlived almost all of his contemporaries, there has been no-one my 3 A-levels from Hastings Grammar
from the upper echelons of the Corporation to recount in detail the battles he school, I was at the start of an amazing
(Michael Alder) fought to build up and retain the output of eight television career in the BBC.
stations in disparate areas of the country. I have provided an obituary which
provides an overview of his services to the BBC. I too did the full four-year course,
scope to contribute across a wide range
reaching Chartered Engineer status.
Michael Fitzgerald of areas from Film Department to
Seeing how teams worked at the
Television, World Service and Radio
various BBC centres that we were
as well as Regions, ENPS and more,
posted to for the six-month
Tannoy – actors ahoy! ‘on the job’ training each year, was
particularly valuable.
all of which were areas I enjoyed
delivering projects jointly with their
Reading Neville’s letter about new staff being asked to tannoy teams. And all of this due to the start
Andy Pandy cast members reminded me of a similar situation. Working in Film Recording in TVC the wonderful Tech Traineeship gave
basement taught me the importance of me – yes, well done BBC.
As the full-time official from Equity responsible for national negotiations with the BBC, the operational role, and how – as I ran
after one such negotiation my team of actors retired to the Langham bar to recover. PS: In the photo I’m the guy in the top
engineering and later software projects
row on the far left.
Over the tannoy came a message paging Michael McClain. Michael was part of my – to always remember the guys at the
team, so when he returned I told him he’d been paged. To which he replied, ‘That sharp end. Also the BBC offered great Ian Hare
was me, so that the radio producers know I am here.’
It worked – the great Bobby Jay appeared and booked him and two others. Great
memories of that bar and doing good deals for members. Prospero Society
The BBC Prospero Society is the
Glen Barnham
Connect Group for our retired
members. At time of writing, we are
hoping to get to our January event,
Local Radio mugs a theatre trip to the amazing
production of ‘The Life of Pi’.
Regarding the letter from Rodney Mantle about passing on his collection of February’s scheduled trip is to visit
Local Radio mugs, he might like to try the BBC Written Archives Centre who The Painted Hall in Greenwich,
BBC Club website
do collect these and may be interested in taking them. followed by a two-course lunch,
As you may be aware, the BBC
and we have a traditional Afternoon
Chris Howes Club website has had some loss of
Tea booked in for March.
functionality and updates have been
delayed. We’re pleased to announce If you haven’t received details of
Reunions that a brand-new website will be
launched this year. This will have
these events and would like to join
us, please email bbc.club@bbc.co.uk
Open University reunion the same address – bbcclub.com – or write to us at the address below.
In the April 2021 issue of Prospero, we published an article about the 50th but it’ll be easier to navigate,
BBC Club Lottery
anniversary of the first transmission of Open University programmes. The article allowing you to get to your intended
The lottery wins for retired members
also asked if a reunion was planned. So, after many months and changing Covid page in fewer clicks, and it will also
continue! Congratulations to all our
restrictions, we have a date for your diary: Thursday 10 March at 12:30 at the have a search function just in case
lottery winners. With changes to
BBC Club in Wogan House, London W1. If you have not already expressed an you can’t find what you’re looking
GDPR (data protection) legislation,
interest in attending, please email Tim (timarbur@ntlworld.com). for. This is a really exciting project
it’s not possible to publish the full
and we hope the new website will
Delayed Radio London reunion names of lottery winners but all are
prove fit for purpose for many
The much delayed ‘Radio London at 50’ for those original Marylebone High Street notified by email, telephone or letter.
years to come.
(and Hanover Square) staff has been rescheduled for Thursday 19 May 2022. It’s so important to update BBC
BBC Club CONNECT Club if your contact details change,
Email ann@annkaye.com for more information.
The BBC Golf Society will be especially if you have lottery shares.
commencing its season slightly We’re not told about any changes
earlier this year, with membership sent to either the BBC or Pensioners’
applications and renewals being Association. Indeed, in these times
requested for 1 March. We’re hoping of strict data protection, it would be
for a full season in 2022, Covid illegal for them to share those details
restrictions notwithstanding. To join, with us, so please do remember
or for more information, please to inform BBC Club of change of
contact the Club (details below) or address, email or telephone number.
the Club Secretary, Steven Letham Our contact details are below.
(Steven.Letham@bbc.co.uk).
Finally, BBC Club would like to thank
The BBC Ariel Wine & Beer Society all our fantastic members for their
(AWBS) has continued meeting support. As an independent, not-for-
monthly via Zoom on the second profit and unsubsidised company,
Wednesday of each month it is the support of our members
throughout lockdowns, semi that has kept us going in these
-lockdowns and re-openings. unprecedented times.
These days they’ve adopted a
Please note, at time of writing, Club
hybrid approach, with some
Hub staff are working from home in
members attending in person and
accordance with government and
some continuing to join via Zoom,
BBC guidelines, so please contact us
with details of the wine choices to
via post or email only.
sample being sent out beforehand.
The January meeting focused on BBC.CLUB@BBC.CO.UK
Wines for a Burn’s Night Supper. BBC Club Broadcast Centre BC2 B3,
If you’re interested in joining, please 201 Wood Lane, London W12 7TP
email robin.james@blueyonder.co.uk
or for a general overview of the
AWBS visit the website:
bbcclub.com/connect/
wine-and-beer
10| OBITUARIES
35 years of loyal service Dave retired from the BBC Warwick HQ in 1993 after
almost 40 years’ service. His managerial style was
Michael was a sub-editor of the Newcastle Chronicle
and joined the BBC in its studios in New Bridge Street
Brian Leaver joined BBC robust, to the point, but always fair, calling ‘a spade a in 1959, working with the late John Tisdall.
Publications in January 1956 spade’ but supporting and helping his staff and
When John went to Manchester as part of a study
as an office junior in the rewarding them when they deserved it.
group to consider what the structure of regional
Advertisement Department.
Dave excelled at sports, cricket, rugby and later golf. broadcasting should look like in the 1970s and beyond,
In 1958, he joined Circulation He was also an avid supporter of Rugby Union, Michael took over the reins and was responsible
Publicity, where he spent three particularly (of course) the Welsh Team, when they for the establishment of the BBC’s news output in
years before joining Distribution played at Cardiff Arms Park, then later at the National the North East, bringing on a host of broadcasting
Department in 1961. He spent eight years in the Traffic Stadium. During these games he was sometimes talent including Frank Bough, Mike Neville, Harold
Section, which had responsibility for distribution of accompanied by Tyssul James from Merthyr Tydfil, Williamson and George House to name but a few.
Radio Times, The Listener and all other journals. another rugby-supporting SME at Wenvoe. There we
With the growth of regional television, Michael
many funny stories of their experiences together.
In 1969 he gained promotion to Business Department, eventually found himself as Controller based at Pebble
BBC Enterprises, dealing with clearances and Thank you Dave! Mill. It was from here that he had to negotiate with
copyrights for radio and television programmes. fellow controllers (of BBC One and BBC Two) and
Peter Condron
others in the corridors of power in Television Centre
In June 1972, he returned to BBC Publications to take
and Broadcasting House to win appropriate slots in
up the post of assistant traffic manager. In 1976 he was
promoted to traffic manager, where he had Senior Sound Supervisor the schedules for nightly news magazines and for
documentary and features opt-outs.
responsibility for close liaison with printers, the trade, Hugh Barker radiated positivity. His smile seemed to
British Rail, major carriage organisations and control of precede him into the room. Ultimately, Michael was responsible for the editorial
expenditure. The 1980s had many industrial disputes content of eight regional television stations. The siting
His presence brought enormous confidence to of regional headquarters in Pebble Mill must have been
affecting printing and distribution. Throughout these
producers and artists alike. It was not misplaced. a challenge. For most of his tenure in Birmingham,
difficult times he maintained good relationships with
all concerned. He always gave of his best. Sound crews felt the same desire to produce the best Pebble Mill was the fiefdom of the legendary Phil Sidey,
and would always go the extra mile for him, his Head of the Network Production Centre, himself no
Brian’s last appointment in Publications was
leadership style accepting nothing less. shrinking violet when it came to talking to power.
distribution manager, a post he held until the merger
of Publications with BBC Enterprises. Before leaving Hugh came to BBC Television via the Merchant Navy, the When, inevitably, the Corporation decided to reinvent
the BBC in December 1990, he had an attachment to RAF and BBC Radio, arriving at Lime Grove studios as a non-metropolitan broadcasting in 1990, Michael took
Allowances Department – a period he remembered sound supervisor in 1954. Sound supervisors were first retirement and returned to his beloved North. His wife
with fondness and pleasure. freely allocated, then integrated into the crew system, Freda predeceased him.
In February 1991, he joined the Ministry of Defence, then once again separated and allocated directly to Michael Fitzgerald
where he worked at the American West Ruislip programmes. He was the sound supervisor on a broad
Radio Times features
Elementary School. He retired in 1997. range of content in the television output as were all
supervisors, always bringing the same commitment to
editor
Brian loved his home, and retirement enabled him to the highest standards whatever he was doing, always
enjoy gardening, DIY projects, walks with our dog and with a light touch.
some lovely holidays. He was a family man who always
For over 20 years, Veronica
supported us all – he always had time to listen. Throughout this time, Hugh was steadily building his
Hitchcock, who has died
expertise primarily in the light entertainment field, and
In September 2021, Brian became very unwell and two months short of her
his flair for the work and consistently high standards
was admitted to Hillingdon Hospital where he died 90th birthday, was a stalwart
quickly became apparent.
peacefully on 14 September, at the age of 81. He is and knowledgeable presence
greatly missed by me, our children, Pauline, Christine As specialisation increased, Hugh became increasingly in the Radio Times features
and Simon, and three granddaughters, Lilly, Alice in demand to take on the high profile, often difficult department.
and Isabelle. shows featuring musical stars of the day, working with
She joined the magazine
television’s big-name producers such as Stewart
Susan Leaver (his wife of 52 years) as a subeditor in 1967, later
Morris and Yvonne Littlewood.
becoming chief features sub and then in 1981 features
From Woofferton World class artistes and orchestras including Mantovani,
Vera Lynn, Shirley Bassey, Tom Jones, Engelbert
editor, a post she held until retiring in 1989.
to Warwick
Born in India, she came to the UK in 1939 and grew up
Humperdinck, Petula Clark, Cilla Black, Nana Mouskouri,
in Letchworth. It was there, while her father was away
Leo Sayer, Lulu, Harry Secombe, Young Generation and
Dave Sandbrook was born at the war, that she began a lifelong love affair with
many more received his skilful care and attention.
in Swindon on 31 December the movies.
From the USA, The Carpenters, Nilsson, Jack Jones,
1933. This fact will no doubt Buddy Rich, Bobbie Gentry, Louis Armstrong, Johnny Her first job was with Amateur Gardener magazine.
surprise many of his colleagues Mathis, Nelson Riddle and Henry Mancini joined the list. Later, after an unsuccessful interview with the BBC in
– Dave, always a proud the 1950s – she was rejected, it was said, because she
Welshman, was actually By now a senior figure in television sound, Hugh made
wasn’t wearing gloves – she moved to Country Life,
born in England! several trips abroad on behalf of the BBC for where she met staff photographer Alex Starkey; they
demonstration and training. were soulmates for the rest of their lives, eventually
Dave always maintained that his mother intended to
be on the two o’clock train from Swindon to As time passed, light entertainment began to move marrying in 2007. For their holidays together they
Carmarthen, so he could be born in Wales, but she away from solo artistes and orchestras, so music would go as far afield as Iran and Sri Lanka to furnish
didn’t quite make it. sessions for comedy and drama programmes in material for Country Life’s travel issues. Alex died in
Television Music Studio and many of the leading 2014, a tremendous loss for Veronica.
Not long after he was born, the family moved back to
commercial studios filled much of his schedule. At Radio Times she stood out for her quirky sense
Carmarthen, where his dad was appointed caretaker
of the Guidhall. Their house in Carmarthen was to be Beyond the BBC, Hugh was a family man. He leaves a of humour and many enthusiasms, from Ken Dodd’s
Dave’s home for the next 20 years. Dave used to wife Rita, four children, grandchildren and great-grand comedy, Graham Greene’s novels and bargain-
recount how he and his cousins used to play in the children, and a large hole in the lives of his many friends. hunting to travel and wildlife: for many years she
Court at the Guildhall, as judges and the accused – shared her SW1 flat with a succession of pet owls
Larry Goodson
a wonderful playground indeed! (the registration plate of her old Mini, which included
the letters WOL, reflected this passion). Above all,
Dave was an only child but his mother was one of
14 children – life was great with plenty of cousins to Controller of English though, she was a cinema enthusiast. She helped set
Regional Television
up a ‘This week’s Films’ column with Philip Jenkinson
play with.
in the early 1970s – a pioneering effort then but now
After passing the 11+ examination, he went to the an indispensable feature of every listings magazine.
The passing of Michael Alder at the age of 92 should
Queen Elizabeth Grammar School Carmarthen, As features editor she was fiercely protective of the
not go unrecognised.
followed by study at Cardiff University, which is where writers she commissioned, ensuring they were well
he met Margaret, his wife-to-be. This was a man who rose from paid and defending their copy, where necessary,
being a journalist on a local against censorious producers.
After being called up for National Service in the RAF,
newspaper to become the
where he wrote to Margaret from Germany every day, After retirement, Veronica worked part-time for
BBC’s Controller of English
he joined BBC Transmission. Channel 4’s Programme Management team, vetting
Regional Television, responsible
for the staffing and production films before transmission. She never stopped learning
His first posting was to the Short Wave Transmitting
of 2,500 television programmes – an early adopter of new technology, she maintained
Station at Woofferton, near Ludlow. Later Dave
a year made in Manchester, an Excel spreadsheet of all the TV programmes and
worked at Wenvoe, Holme Moss and Sutton Coldfield,
Birmingham, Bristol, Plymouth, movies she had recorded. She made friends wherever
and he eventually became general manager of BBC
Southampton, Norwich, Leeds and his hometown she went: we all miss her.
Transmission after the Department moved to the new
headquarters in Warwick in 1988. of Newcastle. John Davies
PROSPERO FEBRUARY 2022 | 11You can also read
