BBC Media Centre, 4th March 2015:
“At an event co-hosted by BBC Director-General Tony Hall and Shane Allen, Controller of Comedy Commissioning, it was announced that BBC One will host the annual Ronnie Barker Comedy Lecture, to be given by a key comedy figure to share his or her experiences and to help inspire others, as well as addressing the present-day challenges and opportunities facing the industry.
Akin to the Reith and Dimbleby lectures, the Ronnie Barker Comedy Lecture’s aim is to articulate why comedy matters so much, both on a personal level and how it helps to reflect and define our national character. An inaugural speaker announcement will be made shortly.”
Sure enough, broadcast on the 25th August 2017:
“The inaugural Ronnie Barker Comedy Lecture speaker is multi-award-winning comedian, novelist, playwright, film maker and creator of classic sitcoms The Young Ones, Blackadder, The Thin Blue Line and Upstart Crow, Ben Elton. He is introduced by Sir David Jason.
Recorded at the BBC’s Radio Theatre in front of an invited audience from the world of comedy, the lecture is named after the much-loved comedy writer and performer Ronnie Barker, star of The Two Ronnies, Porridge and Open All Hours.”
And what did David Jason say in his introduction in the programme itself?
DAVID JASON: I’m so pleased that the BBC have decided to institute an annual lecture on the art of comedy.
The point: the programme was conceived as an annual lecture, and was described as an annual lecture in the programme itself. With 2018 drawing to an end, then, it seems an appropriate time to ask: where the bloody hell has it gone?
It’s annoying. And it’s annoying because the idea of the lecture was such a fantastic one. I can think of few things better than a funny person talking about comedy for 45 minutes, and then broadcasting it to the nation. “Educational but entertaining… perfect BBC output”, you might say. With the best will in the world, how difficult is it to get someone funny to stand in the Radio Theatre for a while and bang on about comedy?
Indeed, I would argue that naming the lecture after Ronnie Barker and then giving up after a year is a tad disrespectful. If they really weren’t sure they could make it an annual event, it was unwise to sell it as one. They could have just named last year’s The Ben Elton Comedy Lecture, do it potentially as a one-off, and give themselves some leeway.
Still, surely there isn’t a struggle for things to talk about. Last year, Ben Elton made the case for studio sitcom – a topic extremely relevant to Ronnie Barker’s work. I would argue another topic equally as relevant to Barker is the current dearth of sketch comedy on television. The odd show like Tracey Breaks the News aside, there’s virtually nothing – and the lack of sketch shows on TV is incredibly damaging to the health of comedy in 2018. True, if the BBC broadcast that lecture, plenty of people would just yell “commission some, then”. But the BBC has a long and proud history of self-flagellation, and I don’t see why this should be any different.
Although at this point, I’d probably settle for somebody standing on stage and telling us YouTube is the future of comedy. Anything, in fact, than a great idea being thrown away so quickly. I mean, I thought there was a possibility it might peter out after three years or so.
But after one is just ridiculous.
This year, I have been writing for Red Dwarf fansite Ganymede & Titan for a full 15 years. Anybody sensible would think that was more than enough, and go and do something else instead.
Spoiler: I am not sensible.
Recently I published two articles over there which might interest you, taking a look at the set design of the first couple of series. There’s this piece about the reuse of a certain corridor set, and then there’s this piece about the disappearing and reappearing Captain’s Office set. These are the first two parts of an ongoing series which should continue into next year.
I’ve got to admit, it’s been fun writing these. I sometimes find Red Dwarf a little hard to write about these days; we’ve all talked about the old shows endlessly, so going over the same old thing can feel a little dull. Meanwhile, the new shows don’t really capture my imagination in a way which makes me want to write about them. But this really is a topic that hasn’t been talked about in quite this way before. I’ve watched those old shows countless times, but when you put everything else aside just to look at how those sets were put together, it’s amazing what new things you can spot.
I sometimes think there are two kinds of people. Those who understand why I find stuff like deleted scenes, unbroadcast pilots, and the reuse of sets to be fascinating… and those who can’t even begin to understand. I don’t think it’s even a geeks v. non-geeks thing per se: there are plenty of geeks who only care about a show in-universe, and possibly its cast members, rather than how the show was put together.
They won’t get a single thing out of this. But if you’re a silly person like me, then hopefully you’ll enjoy them.
Here’s a nice little find: a good quality version of the second title sequence to BBC political programme On The Record, from 1993:
The clip was uploaded by one of the creators, Stephanie Chappell:
“This was designed and directed by me and my fellow designer Dimitri Kevgas. It turned out to be one of the longest running titles on the BBC – running over 11 years until the programme was retired in 2004.1
We created a story for the UK political animal – the crocodile based on one of the gargoyles at Westminster. Because we were moving into the EU in the early 90s, we sent the crocodile on a journey, reflecting the interaction with his European allies. The whole project took 3 months to complete – with 1 month of solid single frame animation covering a second of the sequence each day.”
Here’s my question: could you ever imagine a political programme commissioning such a title sequence today? A piece of stop motion animation which took three months to create from beginning to end? I can’t. The money for such luxuries has long gone.
And this is the kind of thing I mean when I say: a lot of TV looks cheaper these days.
Oh, sure, there are endless newspaper columns and blog posts going on about the current golden age of television, and I’m not going to sneer at shows like Killing Eve. But they aren’t the only kinds of television there is. And over the years, imperceptibly at first, huge swathes of TV has been squeezed. Sometimes fundamentally: we’ve all read endless stories about the lack of rehearsal time on the soaps even compared to the 90s. And sometimes just with the fun stuff at the edges.
Because of course: On The Record didn’t need those opening titles, per se. But they did set a certain… tone. TV’s no fun if you cut everything to the bare bone. Television shouldn’t just be utilitarian, in the same way that your dinner shouldn’t just be about nutrition. Blockbusters didn’t need this glorious set of titles, but surely we can all agree it’s brilliant that they did… and also agree that there’s not a chance in hell they would ever be made now.
When I think back to my memories growing up with television, it’s often that fun stuff on the edges I remember the most. When TV just goes all-out on something beautiful, brilliant, and a bit mad, just because it can. Like, for instance, spending three months on a stop motion animation sequence of the Palace of Westminster acting like a crocodile and taking a short holiday around Europe. When budgets shrink, that stuff is the first thing to go. And I miss it like hell. 2
I’m not particularly pinning blame on programme-makers here. They do the best with the resources available. Nor is this really the place for my long, uninformed thesis on how to fix television. I’m just saying, for all the talk about the current golden age of TV… it’s worth remembering some of the fun stuff we’ve lost, just because it has the temerity not to be a “premium” drama.
A bit of theatrical sparkle shouldn’t be restricted to a narrow set of programming.
On the 30th July, I went to see The Lenny Henry Birthday Show recorded in TC1 at TV Centre. The following are a few notes from the experience. Nothing too spoilery, if only because my brain has an innate capability for forgetting the funniest of jokes precisely 10 seconds later.
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BBC News, ‘Netflix effect’ poses challenge to British TV’, 18th July 2018:
Video streaming services such as Netflix and Amazon Prime now have more subscribers than traditional pay TV services in the UK, new data from Ofcom has revealed.
The media regulator says British TV will have to change the way it operates if it wants to compete with the internet giants.
Sharon White, Ofcom’s chief executive, says: ‘We’d love to see broadcasters such as the BBC work collaboratively with ITV, Channel 4 and Channel 5 so that they have got that scale to compete globally, making shows together, co-producing great shows that all of us can watch.
“I think it would be great to see a British Netflix.”
* * *
BBC Media Centre, ‘BBC announces changes to political programming’, 12th July 2018:
The BBC has announced changes to its political and parliamentary output to improve its digital coverage, better serve its audiences, and provide more value for money.
The changes include:
A changed schedule for BBC Parliament: the channel will still broadcast live and replayed coverage of Parliament and the devolved parliaments and assemblies, but will no longer make bespoke programmes and will not air in the weeks when the UK Parliament or the devolved Parliaments and assemblies are not sitting.
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Of all the striking things about Dennis Potter’s 1965 play Vote, Vote, Vote for Nigel Barton, one thing in particular stands out: its use of real news footage, of Nye Bevan’s speech on the Suez crisis, and an “interview” with Oswald Mosley1 on unemployment. Clips which aren’t included into the play in a diegetic fashion, but are merely thrown into the mix when a character mentions them.
This is the tale of how such unusual method of storytelling may have preserved a little piece of history. And although the world probably doesn’t need any more Oswald Mosley2, Nigel Barton nonetheless provides exactly that.
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Previously on Dirty Feed, I took a look at the differences between the script taken into rehearsals for Dennis Potter’s 1965 play Stand Up, Nigel Barton, and what was finally broadcast. (Please read that first piece if you haven’t already; it contains a lot of background necessary for understanding this one.) This time, we take a look at Vote, Vote, Vote for Nigel Barton, broadcast the following week on the 15th December 1965. Fittingly enough, Vote – Potter’s cry of desperation about the state of politics – got bogged down in behind-the-scenes politics of its own, and ended up with a rather chequered production history. So first of all, it’s important to define what this article isn’t.
Unlike the relative peacefulness of Stand Up‘s production, Vote not only had a major rewrite, but that major rewrite was after the whole thing had been shot. Potter details in his introduction to the Penguin scriptbook The Nigel Barton Plays that the play was originally ready for broadcast on the 23rd June 1965, but that executives started to get cold feet and pulled the play seven hours before transmission.
Between June and the play’s eventual December broadcast, several scenes were rewritten and reshot. Needless to say, Potter wasn’t very happy about it.
“The result disfigures the play in a few important ways. Firstly, some of the savagery of Jack Hay’s cynicism had to be muted. It was argued that, in the original, the agent was ‘almost psychotic’. After much edgy negotiation, I was able to settle for what is now in the text – but I hope it will be clear […] that any further diminution in the bite or the fury of the part would have ruined the play.”
The crucial bit for us in terms of analysing the changes made to the text is the following:
“Like the new Jack Hay I, too, have my own ‘private grief’ and nothing will now induce me to publish the original Vote Vote Vote for Nigel Barton (nor the original of my Cinderella). These published texts are to be related to what was actually shown on the screen.”
Which means we have a somewhat different situation here compared to that with Stand Up, Nigel Barton. There, we could be certain that the text as published in The Nigel Barton Plays was what was taken into the rehearsal rooms. Here, Potter admits that the script published for Vote is not his original intention. These certainly aren’t transcripts, as there are plenty of differences between this script and what made it onto the screen – so they are presumably an amalgamation of his original script, and the specific scenes featuring Jack Hay which he delivered as rewrites.
So, what this article can’t detail is Potter’s original vision. You don’t get the old, even more twisted Jack Hay here, I’m afraid. We only have what is published in The Nigel Barton Plays to go on. We will, however, analyse the sections of the script which Potter admits were rewritten… and in at least a couple of instances, we can tell that the enforced rewrite on his character has entirely been ignored when it came to actually shooting the thing.
Enough background. Let’s get going. Material from the book is styled like this, and dialogue from the show as broadcast is styled like this. Note that I haven’t detailed every single change in wording between the script and the screen – only the stuff where there seemed to be an interesting point to make, or where there have been clear censorship issues.
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“Television brings us the Prime Minister, and a faith healer, a bleeding boxer and a sinking ship, a coronation and an assassination. The picture we see may have been thrown across the Atlantic or even off the moon: it can then seem a highly comic sort of activity to write Act One, Scene One, rehearse in a draughty Territorial Army drill-hall for a fortnight, remove the expletive ‘Christ!’ and finally sandwich yourself between Harold Wilson being frank and somebody walking in space.”
– Dennis Potter, Introduction to The Nigel Barton Plays
Much has been written about Dennis Potter’s two plays Stand Up, Nigel Barton and Vote, Vote, Vote for Nigel Barton, which aired in consecutive weeks on BBC1 as part of The Wednesday Play in December 1965. About their takes on class and politics; on how both are some of the most autobiographical works in the Potter canon; and how both plays point to themes present in Potter’s later work.
None of that is what I want to talk about here, however. Instead, I want to take a look at the Penguin paperback The Nigel Barton Plays, published two years later in 1967. This contains an excellent introduction by Potter, and scripts for both plays. Note the word “scripts”, there. They aren’t transcripts of the broadcast version of the plays. These contain numerous differences – in fact, they are the original scripts written by Potter, stage directions and all. Which means, by comparing the contents of the book to the final plays as broadcast, we can tell exactly what Potter originally intended to make it to air – and exactly how the rehearsal process changed things.
Spoiler: Potter wasn’t lying with his amusing anecdote about removing “the expletive ‘Christ!'”.
This article, then, is not a general analysis of Stand Up, Nigel Barton. Rather, it’s a look at exactly what changed between that script and the final programme. Of course, it can’t be a comprehensive list of all changes made to the show; that would be immensely tedious, and any good points would be lost in a sea of minor word changes and rephrases. I have, however, picked up on what I think are the most interesting differences – and I have tried to include every single change when it comes to profanity, as I think that’s the most important aspect of how Potter’s work was changed from script to screen.
While writing this piece, I have also had the pleasure of taking a look at pages of an actual copy of the script, as taken into rehearsals by Ian Fairbairn who was one of the children in the play. Aside from some different scene numbers, studying it gives confirmation that the text printed in The Nigel Barton Plays is the actual material taken into rehearsals. Many thanks to Andrew-Mark Thompson for his help here.
Let’s get going. Material from the book is styled like this, and dialogue from the show as broadcast is styled like this.
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Ah, it’s been rather quiet over here on Dirty Feed recently, hasn’t it? Sorry, I’ve been busy over on Ganymede & Titan, the Red Dwarf fansite I write for because I hate Red Dwarf.
Here’s what I’ve been up to over there, if you’re interested.
Better Than Reality
A short piece looking at the genesis of some of Red Dwarf‘s most popular episodes, as found in Radio 4 sketch show Cliché – Rob and Doug’s first solo writing credit. (I didn’t get much feedback on this one, and I don’t think it’s the best-written piece I’ve ever done, but the fundamental point is fascinating, I think.)
End of Part One, Red Dwarf XI Edition
A look at the placing of ad breaks in Red Dwarf XI, because I’m the only person in the world who would actually bother to write that article. (I did enjoy the person who told me on Twitter that ad breaks shouldn’t be used to set up cliffhangers in British TV shows. I told them they lost that argument in 1955.)
Observation Dome: Back From The Dead
About bringing an old part of Red Dwarf fandom back from the dead. (I’ll be writing more about this on Dirty Feed shortly.)
Red Dwarf and Me: Artificial Reality
On my relationship with Red Dwarf these days, which has been percolating in my mind for five years… and I only just figured out how to write it. The comment thread is lovely and well worth a read too.
Red Dwarf, there.
When I’m not writing over here, you can find me over on Ganymede & Titan – the Red Dwarf fansite started in 1999 which is unaccountably still running. Having just published a brand new piece of mine over there today, it strikes me that over the past three years I seem to have accidentally written myself a little trilogy about the history, influences and themes of the show.
As they’re some of my better pieces, with a strong linking thread, if you feel like diving into my Red Dwarf writing you could probably do worse than check out the following. They do go into the show in a little more depth than “Dave Hollins was on the radio, and then it turned into Red Dwarf“.
History of a Joke (2015)
Tracing the history of a single joke Rob and Doug have used in various forms, right from their first solo radio show Cliché in 1981, to their novel Infinity Welcomes Careful Drivers in 1989.
Hancock’s Half Hour: The Tycoon (2016)
A look at how the basic structure of the Red Dwarf episode Better Than Life was done by Hancock’s Half Hour thirty years earlier: even the supposedly science fiction element.
Better Than Reality (2017)
A brand new piece, which takes a look at how a single sketch in Cliché informed ideas that Red Dwarf would use time and time again – in Better Than Life, Infinity Welcomes Careful Drivers, and beyond.
If any of my Red Dwarf writing interests you, give the above a go. They’re some of the best stuff about the show I’ve written over the past few years, so if you don’t like them then for fuck’s sake don’t hunt down any of my other shit.