During his time in Britain in the 1950s and 1960s, he worked first with ABC before moving across to the BBC in 1962, holding the role of Head of Drama with both organisations. During this phase of his career, he was responsible for initiating two hugely popular television programmes, the spy-fi series The Avengers and the science-fiction series Doctor Who, as well as overseeing the production of groundbreaking social realist drama series such as Armchair Theatre and The Wednesday Play.

The Museum of Broadcast Communications describes Newman as “the most significant agent in the development of British television drama.” His obituary in The Guardian declared that “For ten brief but glorious years, Sydney Newman … was the most important impresario in Britain … His death marks not just the end of an era but the laying to rest of a whole philosophy of popular art.”

Early life

Born in Toronto, Newman was the son of a Russian-Jewish immigrant father who ran a shoe shop. After studying at Ogden Public School, which he left at the age of thirteen, he later enrolled in the Central Technical School, studying art and design subjects. He initially attempted to follow a career as a stills photographer and an artist, specialising in drawing film posters. However, he found it so difficult to earn enough money to make a living from this profession that instead, he switched to working in the film industry itself. In 1938, he travelled to Hollywood, where he was offered a role with the Walt Disney Company on the strength of his graphic design work. However, he was unable to take the job due to a failure to secure a work permit. Returning to his native country, in 1941, he gained a job as a film editor at the National Film Board of Canada. He was eventually to work on over 350 films while an editor for the NFB.

During the Second World War the head of the NFB, John Grierson, promoted Newman to film producer, working on documentaries and propaganda films, including Fighting Norway, which he directed. In 1944 he was made executive producer of Canada Carries On, a long-running series of such films. In 1949 Grierson again assisted Newman’s career, entering him into television, then a new industry, on a one-year attachment to NBC in New York City. His assignment there was to compile reports for the Canadian government on American television techniques, focusing on dramas, documentaries and outside broadcasts.

The CBC

One of Newman’s reports on outside broadcasting was seen and admired by executives at the Canadian Broadcasting Corporation (CBC), and in 1952 he joined the Corporation as their Supervising Director of Features, Documentaries and Outside Broadcasts. There he was involved in producing not only some of the earliest television editions of Hockey Night in Canada, but also the first Canadian Football League game to be shown on television. After his experience of seeing the production of television plays in New York, he was eager to work in drama despite, by his own admission, “knowing nothing about drama.” He was nonetheless able to persuade his superiors at CBC to make him Supervisor of Drama Production in 1954. In this position he encouraged a new wave of young writers and directors, including Ted Kotcheff and Arthur Hailey, and oversaw shows such as the popular General Motors Theatre.

Writing in 1990, the journalist Paul Rutherford felt that during his time at the CBC in the 1950s, Newman had been a “great champion of both realistic and Canadian drama.” He felt that Newman “came to fulfil the role of the drama impresario with the vision to push people to develop a high-quality and popular style of drama.”

Several of the General Motors Theatre plays, including Hailey’s Flight into Danger, were purchased for screening by the BBC in the United Kingdom. The productions impressed Howard Thomas, who was the managing director of ABC, the franchise holder for the rival ITV network in the English Midlands and the North at weekends. Thomas offered Newman a job with ABC as a producer of his own Saturday night thriller series, which Newman accepted, moving to Britain in 1958. In 1975 the Head of Drama at the CBC, John Hirsch, noted that the tendency of so many writers and directors having followed Newman to the UK in the 1950s and never having returned to work in Canada had a detrimental impact on the standard of subsequent Canadian television drama.

ABC

Soon after Newman arrived in the UK, ABC’s Head of Drama Dennis Vance was moved into a more senior position with the company, and Thomas offered Newman his position, which the Canadian quickly accepted. He was, however, somewhat disparaging of the state in which he found British television drama. “At that time, I found this country to be somewhat class-ridden,” he reminisced to interviewers in 1988. “The only legitimate theatre was of the ‘anyone for tennis’ variety, which on the whole gave a condescending view of working-class people. Television dramas were usually adaptations of stage plays and invariably about the upper classes. I said, ‘Damn the upper classes: they don’t even own televisions!'”

Newman’s principal tool for shaking up this established order was a programme which had been initiated before he had arrived at ABC, Armchair Theatre. This anthology series was networked nationally across the ITV regions on Sunday evenings, and in 1959 was in the top ten of the ratings for 32 out of the 37 weeks it was broadcast, with audiences of over 12 million viewers. Newman used the strand to present plays by writers such as Alun Owen, Harold Pinter and Clive Exton, also bringing over associates from Canada such as Charles Jarrott and Ted Kotcheff. Writing in 2000, the television historian John Caughie stated that “Newman’s insistence that the series would use only original material written for television made Armchair Theatre a decisive moment in the history of British television drama.”

In 1960 Newman devised a thriller series for ABC called Police Surgeon, starring Ian Hendry. Although Police Surgeon was not a success and was cancelled after only a short run, Newman took Hendry as the star, and some of the ethos of the programme, to create a new series (not a direct sequel as is sometimes claimed) called The Avengers. Debuting in January 1961, The Avengers became an international success, although in later years its premise differed somewhat from Newman’s initial set-up, veering into more humorous territory rather than remaining a gritty thriller.

Newman’s great success at ABC had been noted by the British Broadcasting Corporation, whose executives were keen to revive their own drama department’s fortunes in the face of fierce competition from ITV. In 1961 the BBC’s Director of Television, Kenneth Adam, met with Newman and offered him the position of Head of Drama at the BBC. He accepted the position, eager for a new challenge, although he was forced by ABC to remain with them until the expiration of his contract in December 1962, after which he immediately began work with the BBC.

Article source: Wikipedia | Contributors | CC-BY-SA 3.0

The post Sydney Newman appeared first on THIS IS ABC WEEKEND from Transdiffusion.

He was born in Synge Street, Dublin, and educated at Synge Street CBS. He began his career as a clerk in an insurance office. He was a keen amateur boxer and won the Irish junior middleweight title in 1944.

In 1946, he became a full-time freelance sports commentator, working for Radio Éireann, Ireland’s national broadcaster. In 1950, he began presenting programmes for the BBC, being particularly well known for boxing commentaries, and soon became one of television’s most popular presenters. He began hosting the game show What’s My Line? in 1951.

Throughout the 1950s, he commentated on the major British heavyweight fights on the BBC Light Programme, with inter-round summaries by W. Barrington Dalby. On 20 January 1956, he reached #18 in the UK Singles Chart with a “spoken narrative” recording named “The Shifting Whispering Sands (Parts 1 & 2)”, which was produced by George Martin with musical backing by the Ron Goodwin Orchestra, released by Parlophone as catalogue number R 4106, a double-sided 78rpm record. The song later reappeared on Kenny Everett’s compilation album The World’s Worst Record Show, which was released in June 1978.

Between 1955 and 1964, he presented the long-running Sports Report on BBC’s Light Programme. In 1965, he left the BBC to join the ITV contractor ABC, where he pioneered the talk show format in the UK. He hosted a chat show on ITV, The Eamonn Andrews Show for five years. He was known for coming up with off-the-cuff linkings that did not work – such as: “Speaking of cheese sandwiches, have you come far?” This was parodied by the character Seamus Android on Round the Horne in the 1960s, performed by Bill Pertwee. In the 1960s he presented Thames Television’s Today news magazine programme.

He was likely best known as the presenter of the UK’s version of This Is Your Life, between its inception in 1955 and his death in 1987, when he was succeeded by Michael Aspel. Andrews became the very first This Is Your Life subject on British television when he was surprised by the show’s creator, Ralph Edwards. Andrews also created a long-running panel game called Whose Baby? that originally ran on the BBC and later on ITV. He was a regular presenter of the early Miss World pageants.

His contribution to UK radio is commemorated in the The Radio Academy Hall of Fame. Andrews appeared as the linking narrator who introduces the unrelated segments that comprise the portmanteau film, Three Cases of Murder (1955).

Article source: Wikipedia | Contributors | CC-BY-SA 3.0

The post Eamonn Andrews appeared first on THIS IS ABC WEEKEND from Transdiffusion.

He joined BBC Television as a trainee Light Entertainment producer in 1952 and was put in charge of the Department’s output of panel games, both finding and producing them, which he proceeded to do by introducing Guess My Story, Find the Link, The Tall Story Club and The Name’s the Same. With fellow ex-trainee Ernest Maxin he co-produced and directed the first television comedy series by Frank Muir and Denis Norden, And So to Bentley, starring Dick Bentley, Peter Sellers and Bill Fraser. He went on to produce series with Bob Monkhouse, Petula Clark, Billy Cotton, whose Band Show Wakey! Wakey! he devised, Ask Pickles, British television’s first request series, which he also devised, and Bathnight with Braden, starring Bernard Braden and written by Muir and Norden, which was BBC Television’s first weekly comedy series, such shows until then only being broadcast fortnightly.

At ATV from 1957 to 1960 he took over Sunday Night at the London Palladium, produced specials built round such international artistes as Rosemary Clooney and Johnnie Ray, devised and produced series of Val Parnell’s Saturday Spectaculars with Max Bygraves, Dickie Henderson, Arthur Askey, Harry Secombe and Dave King, and devised and produced New Look, a revue with a team of new performers including Bruce Forsyth and Roy Castle, whose television careers the series kick-started. In 1957 he won BAFTA’s first award for Light Entertainment Production when the Academy was still the Society of Film and Television Arts. His last production was Sammy Davis Jr’s first show for British TV in 1960.

As Director of Programmes at ABC TV and Thames TV during the 1960s and 1970s, he oversaw the first British television shows of Frank Sinatra, Jack Benny, Peggy Lee and Bing Crosby. He introduced ITV’s first weekly series dedicated to the arts with Tempo; British television’s first late night chat show with Eamonn Andrews’ Live from London and its first hidden camera show Candid Camera with Bob Monkhouse. Programmes he commissioned included Thank Your Lucky Stars, Callan, The Benny Hill Show, Public Eye and The World at War.

He was a founder-director of both Thames Television and Channel Four; managing director and then chairman and managing director of London Weekend Television; and the founder-chairman of ITV’s first venture into satellite broadcasting with SuperChannel. During his career, he worked for four legendary broadcasting bosses: Ronnie Waldman, Lew Grade, Howard Thomas and John Freeman; and when he became a broadcasting boss himself he appointed four future legends: Jeremy Isaacs as his Controller of Features at Thames; Michael Grade, John Birt and Greg Dyke successively as his Directors of Programmes at LWT.

He retired in 1994.

Article source: Wikipedia | Contributors | CC-BY-SA 3.0

The post Brian Tesler appeared first on THIS IS ABC WEEKEND from Transdiffusion.

He began his career typing invoices for a firm of wire-drawers in Manchester. While doing that job, he taught himself to write newspaper articles and short plays. When some of these articles were published, he managed to get a job in the firm’s advertising department. That job enabled Thomas to mix with advertising agents and through networking he obtained a position with F John Roe, one of Manchester’s advertising agencies.

He moved to the London agency FC Prichard Wood and Partners, and he continued to write articles, having a London entertainment column in the Manchester Evening Chronicle. This column was spotted by the London Press Exchange and he was hired by them as a copywriter.

At London Press Exchange, Thomas worked in the commercial radio section, at first writing, then producing commercial packages for companies including Cadbury’s. These packages, usually of music or variety acts interspersed with subtle commercials for the sponsor, were then placed on Radio Luxembourg and similar longwave broadcasters who could be heard in the UK.

The BBC

In this position he came to the attention of the BBC, and he began to submit scripts and programme ideas to them while continuing to work for the international commercial broadcasters. However, at the outbreak of World War II, the commercial broadcasters closed and the advertising market contracted. Thomas kept his post at London Press Exchange, but effectively had no work to do. He attempted to fill time by writing books about the blackout and writing more articles for newspapers, and also worked for Publicity Films Limited producing public information films.

On the outbreak of war, the BBC had closed its existing two Regional Programme and National Programme stations and replaced them with a single national station, the Home Service (now BBC Radio 4).

This move was criticised as it led to boredom amongst the listeners during the Phony War, who were also faced with cinemas and sporting events being closed “for the duration” and the loss of the competition to the BBC.

As the Phony War ended, the BBC decided to introduce an entertainment-based national radio station, primarily for the men under arms. The new service, the Forces Programme hired many new producers from the former commercial agencies, including Howard Thomas.

Ack Ack Beer Beer

Thomas’s first assignment was to produce the programme Ack Ack Beer Beer, an entertainment and variety programme for anti-aircraft and barrage balloon emplacements. Both jobs featured very little action and therefore the BBC felt that ‘lively’ entertainment had to be provided for the crews.

Under Thomas, the programme developed into a miscellany of variety, talk, music and comedy, using whatever talent was available near the evacuated Variety Department’s studios in Bristol. On occasion this was no talent at all, and Thomas later told of an edition made up of him and his co-producer playing “Shove ha’penny”, which had the side effect of reintroducing the game to the population.

Sincerely Yours, Vera Lynn

With Bristol now a victim of the Blitz, the Variety Department moved to Bangor in north Wales. However, feeling that opportunities for variety would be limited there, Thomas engineered a move back to London.

In London he spotted singer Vera Lynn in a stage show. He created a radio programme for her called Sincerely Yours, Vera Lynn where she sang popular tunes of the time, read out letters from servicemen and introduced entertainers.

The show was a hit, both with the forces and the country at large, although the senior officers of both the British Army and the Royal Navy strongly objected to the sentimental and “soppy” music and presentation. Nevertheless, the show helped turn the song “We’ll Meet Again” into one of the best selling pieces of music throughout the war. The show also cemented Vera Lynn’s title of “forces’ sweetheart” and ensured that she would remain, as of 2006, something akin to a national treasure in the UK.

To assuage critics of Sincerely Yours, Thomas introduced the programme I Am John Bull, featuring military marches and “strong” music. The programme was not successful.

Shipmates Ashore

The BBC Forces Programme provided distinct programming for each of the armed services. However, the Merchant Navy, not being classed as an armed service and under the patronage of the Ministry of Labour, was not included.

Howard Thomas began a programme named Shipmates Ashore aimed at this audience. The programme was set in a Merchant Navy club and quickly became an effectively real club, with free beer and “companionship” for visiting merchant seamen. The show featured a mixture of music, singing, comedy and information (in the form of a “ship’s newspaper”) as well as providing a platform for discussion of issues of interest to the sailors. The programme was presented by Doris Hare.

The Brain’s Trust

As conceived by Howard Thomas and Douglas Cleverdon, The Brains Trust was a simple mixture of light panel game entertainment and heavier discussion of items of scientific, legal, medical and social importance. At that time, there was much discussion in the UK about the shape of the world and the country after the war, which reached its peak with the Beveridge Report and the 1945 landslide election of Attlee’s Labour government.

The programme featured Professor Cyril E. M. Joad, previously rejected for radio for his strange speaking voice; the writer and zoologist Julian Huxley; and the loud and entertaining Archibald Bruce Campbell. The programme first aired under the title Any Questions? and drew a small audience and few questions. However, within a few weeks it had caught the zeitgeist of the nation, gaining an audience of 11½million. The series was extended from a run of 12 episodes into an open-ended series that ran into the 1950s.

However, the popularity of the programme, dealing as it did with matters of controversy and politics, caused complaints of left-wing bias from within the BBC and from commentators outside. The BBC attempted to modify the format of the programme to avoid this but also sought to avoid damaging the shows popularity. With military criticism of Sincerely Yours, general complaints about the bawdy humour in Shipmates Ashore and political criticism of The Brains Trust, the BBC sought a scapegoat and pressured Howard Thomas to leave. In 1944, he resigned.

British Pathé

On leaving the BBC, Howard Thomas joined the Associated British Picture Corporation as head of British Pathé, the newsreel and film company.

Thomas relaunched the ailing Pathé Gazette as Pathé News, began hiring new camera operators and pioneered the switch to colour film. He also arranged for the Pathé archives, then of little or no intrinsic value to the company, to be indexed and properly preserved for future use.

ABC

By the 1950s, it was becoming clear that television was eroding the size of cinema audiences. Frustrated at his inability to convince the Associated British Picture Corporation that it should either expand into production of popular feature films or bid for one of the new commercial broadcasting licences offered under the Television Act 1954 by the Independent Television Authority (ITA), Howard Thomas began to look for roles in the new ITV companies that were being started.

He was offered the job of General Manager of Kemsley-Winnick Television, the new weekend contractor for the midlands and north of England. However, before he could take up the job, Lord Kemsley pulled out of the company and the contract lapsed.

The ITA made a last-ditch attempt to get the Associated British Picture Corporation involved in commercial television as a replacement for Kemsley-Winnick. The board of the company was finally convinced to try, and signed a contract with the ITA on 21 September 1955 to form Associated British Cinemas (Television) Limited to take over the contract.

Howard Thomas was appointed as managing director of the company and hired Sydney Newman and Brian Tesler as his controllers of drama and light entertainment respectively.

Article source: Wikipedia | Contributors | CC-BY-SA 3.0

Images source: With an Independent Air by Howard Thomas, published by Weidenfeld and Nicholson in 1977

The post Howard Thomas appeared first on THIS IS ABC WEEKEND from Transdiffusion.

He was born in Manchester, Lancashire, in 1938. He adopted his mother’s maiden name as a show business name.

He attended Glastonbury Road Grammar School at St. Helier in Surrey, until aged 17. On leaving school Hamilton became a script-writer for the TV series Portrait of a Star.

In 1960 he became an in-vision television announcer for ABC in Didsbury, Manchester and appeared with Ken Dodd in the TV series Doddy’s Music Box, acquiring the nickname, ‘Diddy’. Throughout the 1960s he hosted shows for the Tyne Tees, Anglia and Westward Television companies.

He joined the then new Thames as an announcer in 1968, subsequently hosting many shows for them including Miss TV Times, TV Times Gala Awards and The World Disco Dance Championships, as well as many outside broadcasts, circus and sports shows. He appeared alongside comedians Benny Hill and Tommy Cooper and hosted Thames TV’s showcase weeks on television in New York City and Los Angeles. Later he hosted ATV’s Saturday night series Up For the Cup, and four series of ITV’s Hangman-style game show All Clued Up.

For BBCtv he compered Top of the Pops and Seaside Special and in 1986 the Eurovision Song Contest previews. For seven years he was the main host of one of the earliest satellite TV stations, Lifestyle.

In February 2012 at the age of 73 he danced to the track “Push it” with fellow DJ Tony Blackburn as contestants on the charity show “Let’s Dance for Sport Relief”.

Article source: Wikipedia | Contributors | CC-BY-SA 3.0

The post David Hamilton appeared first on THIS IS ABC WEEKEND from Transdiffusion.