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Acting for Auntie: from Studio Realism to Location Realism in Bbc Television Drama, 1953-2008

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Acting for Auntie: from Studio Realism to Location Realism in Bbc Television Drama, 1953-2008 ACTING FOR AUNTIE: FROM STUDIO REALISM TO LOCATION REALISM IN BBC TELEVISION DRAMA, 1953-2008 RICHARD HEWETT, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2012 Abstract Acting for television has hitherto been a much-neglected field; by focusing solely on screen performance, usually via textual analysis, the small amount of work thus far conducted has largely ignored the various conditioning factors that combine to shape it. This thesis is designed to address that lack, drawing on a combination of archive research, original interviews and textual analysis to provide a multi-perspectival, historical overview of acting in British television drama, spanning the live era to the present day. The programmes selected as case studies herein derive from historically distinct production contexts: namely, the live drama of The Quatermass Experiment (BBC, 1953); the ‘as live’, pre-recorded videotape of Doctor Who (BBC, 1963-89); and the move to Outside Broadcast location work, utilising a ‘rehearse/record’ process, on the first series of Survivors (BBC, 1975-77). The fact that each programme has since been re-made in the 2000s allows for both a comparative study and a chronological development of television acting. The significance for acting of the shift from multi-camera studio to single camera location work is represented here by the models of studio realism and location realism. However, the physical site of performance is just one of several determinants that are examined throughout. Actor experience, technology, drama training and production process together comprise a complex set of variables that are in a constant state of flux. How these factors have intersected and combined to affect performance provides the key to this study of British television acting over the last six decades. Acknowledgements Firstly, I sincerely thank my PhD supervisors, Doctor Catherine Johnson and Professor Roberta Pearson, for their sage counsel and always constructive feedback. It was Cathy’s initial enthusiasm for my proposal that convinced me she would be the ideal supervisor at Royal Holloway, and when she left to take up a post at Nottingham before my second year I had no hesitation in following her. The addition of Roberta as co-supervisor quickly proved an added and most welcome bonus. I gratefully acknowledge the help provided by the various staffs of the British Library, the BFI Reading Room and the City of Westminster Libraries, and in particular the tireless efforts of Louise North at the BBC Written Archives Centre. Thanks are also due to James Thornton, for kindly allowing me access to the RADA Library, and to Andy O’Dwyer at the BBC, Louise McMullan at Equity and Edward Hicks at RADA for their assistance and advice. Professor Andrew Higson at the University of York, Susanna Capon (formerly) at Royal Holloway and television producer Matt Bouch each provided much-valued introductions to potential interviewees. The material provided by the following has been invaluable to this study, and I thank them each for taking the time to speak to me: Howard Burch, Richard Clark, Kenneth Cope, Julia Dalkin, Lucy Fleming, Jason Flemyng, Tony Garnett, Mark Gatiss, Andrew Gunn, Graeme Harper, Charlie Higson, Adrian Hodges, Waris Hussein, Peter James, Louise Jameson, Denis Lill, Roger Lloyd Pack, Patrick Malahide, Kevin McNally, Christopher Morahan, Derek Paget, Jamie Payne, Jonathan Powell, Alvin Rakoff, Trevor Rawlins, Phillip Rhys, Kemal Sylvester, Suzan Sylvester, Colin Teague, Andrew Tiernan and Moray Watson. Finally, I would like to thank the many friends, too numerous to name individually, who have helped make the last three years such an enjoyable experience, and especially to express my gratitude for the emotional (and occasionally financial) support of my parents, Ann and John Hewett, and my brother Paul. Contents Acknowledgements Introduction 1 Relevant works 5 Determinants 10 Key terms 13 Case studies 17 Methodology 30 Structure 33 Chapter 1: Scaling Down in Early Studio Realism 35 Background 36 Actor experience 39 Production process and technology 54 Direction 66 Training 74 Reception 84 Conclusion 88 Chapter 2: Refining Studio Realism 89 Background 90 Actor experience 95 External factors 105 Production process and technology 119 Direction 126 Training 134 Reception 136 Conclusion 137 Chapter 3: The Genesis of Location Realism 141 Background 143 Production process and technology 145 Direction 171 Training 175 Actor experience 187 Reception 196 Conclusion 198 Chapter 4: The Age of Location Realism 201 Background 203 Production process and direction 208 Training and technology 242 Actor experience and generational differences 252 Reception 261 Conclusion 263 Conclusion 267 Appendix: List of Interviewees 279 Bibliography 285 List of Television Programmes 305 List of Illustrations Fig. Description Page 1.1 Isabel Dean and Reginald Tate in The Quatermass Experiment: 44 Contact has been Established 1.2 Isabel Dean and Reginald Tate in The Quatermass Experiment: 44 Contact has been Established 1.3 Isabel Dean in The Quatermass Experiment: Contact has been 45 Established 1.4 Isabel Dean in The Quatermass Experiment: Contact has been 46 Established 1.5 Isabel Dean in The Quatermass Experiment: Contact has been 46 Established 1.6 Isabel Dean and Reginald Tate in The Quatermass Experiment: 47 Contact has been Established 1.7 Isabel Dean and Reginald Tate in The Quatermass Experiment: 47 Contact has been Established 1.8 Isabel Dean in The Quatermass Experiment: Contact has been 47 Established 1.9 Isabel Dean in The Quatermass Experiment: Contact has been 47 Established 1.10 Isabel Dean and Reginald Tate in The Quatermass Experiment: 48 Contact has been Established 1.11 Isabel Dean in The Quatermass Experiment: Contact has been 48 Established 1.12 Isabel Dean in The Quatermass Experiment: Contact has been 49 Established 1.13 Reginald Tate in It is Midnight, Dr. Schweitzer 51 1.14 Reginald Tate in It is Midnight, Dr. Schweitzer 51 1.15 Reginald Tate in It is Midnight, Dr. Schweitzer 51 1.16 Reginald Tate in It is Midnight, Dr. Schweitzer 51 1.17 Isabel Dean and Edward Jewesbury in I, Claudius: The Queen of 52 Heaven 1.18 Isabel Dean and Edward Jewesbury in I, Claudius: The Queen of 53 Heaven 1.19 Isabel Dean and Edward Jewesbury in I, Claudius: The Queen of 53 Heaven 1.20 Moray Watson in The Quatermass Experiment: Contact has been 55 Established 1.21 Reginald Tate and Pat McGrath in The Quatermass Experiment: 65 Contact has been Established 1.22 Isabel Dean and Pat McGrath in The Quatermass Experiment: Contact 65 has been Established 1.23 Isabel Dean and Pat McGrath in The Quatermass Experiment: Contact 65 has been Established 1.24 Van Boolen in The Quatermass Experiment: Contact has been 71 Established 1.25 Van Boolen and Iris Ballard in The Quatermass Experiment: Contact 71 has been Established 1.26 Van Boolen, Iris Ballard and Ian Wilson in The Quatermass 72 Experiment: Contact has been Established 1.27 Iris Ballard in The Quatermass Experiment: Contact has been 72 Established 1.28 Iris Ballard in The Quatermass Experiment: Contact has been 72 Established 1.29 Van Boolen in Quatermass and the Pit: The Halfmen 73 1.30 Van Boolen in Quatermass and the Pit: The Halfmen 73 1.31 Van Boolen in Quatermass and the Pit: The Halfmen 73 1.32 Van Boolen in Quatermass and the Pit: The Halfmen 73 1.33 Reginald Tate and W. Thorp Devereux in The Quatermass 82 Experiment: Contact has been Established 1.34 Reginald Tate and W. Thorp Devereux in The Quatermass 82 Experiment: Contact has been Established 1.35 Reginald Tate and W. Thorp Devereux in The Quatermass 82 Experiment: Contact has been Established 1.36 Reginald Tate and W. Thorp Devereux in The Quatermass 82 Experiment: Contact has been Established 1.37 Reginald Tate and W. Thorp Devereux in The Quatermass 83 Experiment: Contact has been Established 1.38 Reginald Tate and W. Thorp Devereux in The Quatermass 83 Experiment: Contact has been Established 1.39 Denis Wyndham and Ian Wilson in Reginald Tate and W. Thorp 85 Devereux in The Quatermass Experiment: Contact has been Established 1.40 Isabel Dean, Reginald Tate, Paul Whitsun-Jones, Hugh Kelly and 86 Moray Watson in The Quatermass Experiment: Contact has been Established 1.41 Paul Whitsun-Jones in The Quatermass Experiment: Contact has been 86 Established 2.1 William Russell and William Hartnell in Doctor Who: An Unearthly 100 Child 2.2 Jacqueline Hill, William Russell and William Hartnell in Doctor Who: 100 An Unearthly Child 2.3 Jacqueline Hill, William Russell and William Hartnell in Doctor Who: 101 An Unearthly Child 2.4 William Russell, Jacqueline Hill and William Hartnell in Doctor Who: 101 An Unearthly Child 2.5 Jacqueline Hill, William Russell and William Hartnell in Doctor Who: 102 An Unearthly Child 2.6 Jacqueline Hill, William Russell and William Hartnell in Doctor Who: 102 An Unearthly Child 2.7 Jacqueline Hill, William Russell and William Hartnell in Doctor Who: 102 An Unearthly Child 2.8 Jacqueline Hill, William Russell and William Hartnell in Doctor Who: 102 An Unearthly Child 2.9 William Hartnell in Doctor Who: An Unearthly Child 103 2.10 William Hartnell in Doctor Who: An Unearthly Child 103 2.11 William Hartnell in Doctor Who: An Unearthly Child 103 2.12 Heather Lyons, Brian Thomas and Mavis Ranson in Doctor Who: An 111 Unearthly Child 2.13 Heather Lyons and Mavis Ranson in Doctor Who: An Unearthly Child 111 2.14 Cyril Smith and William Russell in The Adventures of Sir Lancelot: 113 The
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