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Television adaptations by Peter Cheeseman’s Victoria Theatre company
Lez Cooke

was happening in the dispute. In the same year, a much shorter version was produced for BBC English Regions Drama, the enterprising department led by David Rose which was established at the BBC’s new Pebble Mill studios in Birmingham in 1971. The company began working on the television version of the play in May 1974, with rehearsals taking place in the town halls of Longton and Tunstall, two of the

in Screen plays
Joseph Oldham

thriller Edge of Darkness (BBC 2, 1985) and Dennis Potter’s surrealistic musical drama The Singing Detective (BBC 2, 1986). The choice of these two writers for such important productions is significant. Whilst Hutchinson had been a discovery of BBC English Regions Drama and near the beginning of his career when he had written Bird of Prey, by contrast Kennedy Martin and Potter were veteran television writers with careers that dated back to the 1960s, both associated with the BBC’s climate of experimentation during that time. Echoing arguments that the televised Tinker

in Paranoid visions
Blackpool, Casanova, State of Play
Robin Nelson

north, is concerned with the lives and experiences of ordinary people outside of London.2 Though the heydays of BBC English Regions Drama at Pebble Mill and Granada’s specific regional remit in the North-West had run their course by the early 1980s, a mode of British regional drama has sustained itself by drawing on its roots but moving on.3 Blackpool Blackpool is an energetic hybrid, part romance, part murder mystery, part musical with shades of a western. In some respects it resembles a classic narrative of overreaching enterprise turning to failure, since it

in State of play
Abstract only
Lez Cooke

encouraged me to produce the scripts for Edge of Darkness.10 Having decided to commission the serial, Jonathan Powell asked Michael Wearing if he was interested in producing it. In the late 1970s and early 1980s Wearing had been working for BBC English Regions Drama at Birmingham, where he produced The History Man and Boys from the Blackstuff before going to London to work on what would be the final season of Play for Today: After the Play for Today season, when they finally said that’s it, we’re not doing any more plays, Jonathan asked me down to the Serials Department

in Troy Kennedy Martin
Dave Rolinson

representation of individualism and institutions, revolt and the urge to obey, and of the conflation of individual and British identities. A third voice must be added to those of Rudkin and Clarke. Penda’s Fen exemplifies the contribution made to Play for Today and other single play strands such as Thirty Minute Theatre (1965–73) and its regional offshoot Second City Firsts (1973–78) by BBC English Regions (Drama) Television, based at BBC Birmingham under David Rose. If the single play represented a studio system, BBC Birmingham – with Rose exercising his relative autonomy

in Alan Clarke