ABC Report 1968-69

Link here. Some quotes:

P14-16

DRAMA AND FEATURES Drama (Television}
Australian authors wrote each of the 221 plays and series episodes produced by A. B.C. ­ TV this year. 

A number of industry awards gained by these and other recent drama productions reflected improved standards. These awards included the Australian Writers' Guild top award, an Awgie, to Alan Hopgood, author of the play "The Cheerful Cuckold" and the Television Society of Australia 's Penguin award to Eric Tayler, Executive Producer of the adventure series " Contrabandits". Ken Hannam received a commendation for its direction. Other "Contrabandits" awards went to Denis Quilley and Janet Kingsbury­ commended for their acting, and A. B.C. cine­ cameraman Lloyd Shiels, who received a commendation for drama cinematography. Thirteen 50-minute episodes of "Contra­ bandits" were completed during the year, making a total of 30 episodes for the series. All have now been screened on A.B .C. - TV channels throughout Australia.

" Contrabandits" was the most ambitious series so far undertaken by the National Television service. Between acceptance of the pilot production in April, 1967, and completion of the final programme, "Contrabandits" used the services of about 500 different actors and actresses. The cast for each episode averaged 20 people, about 12 of whom had speaking roles. Six episodes of a new major 50-minute series, " Delta", have been produced and it is hoped to begin transmission in September. Further "Delta" episodes are being filmed on location in the Eastern States and in the Sydney studios. Writers currently contributing to "Delta" are Colin Free, Pat Flower, Tony Morphett, John Martin, Robert Peach, Glynn Davies and Richard Lane. Music has been specially written for the series by the Australian composer George Dreyfus and will be played by the Melbourne Symphony Orchestra.

Five half-hour episodes of " Pastures of the Blue Crane", adapted from the H. F. Brinsmead  novel by Eleanor Whitcombe, were shot on location near Murwillumbah, N.S .W., and in the Sydney studios.

Eight single one- hour plays were produced- five at the Melbourne studios and three at Sydney. They included  Richard Beynon's " The Shifting Heart", Tony Morphett's " Dynasty", and Robert Wales' " The Cell " .

As mentioned in the introduction of this report, the series "Bellbird" has steadily increased its audience and recent surveys indicate that 750,000 viewers now follow regularly this continuing story of life in a small country town. This year 188 episodes were produced, making a total since " Bellbird" commenced of 324 episodes, approximately the length of 54 feature films. The series has given employment to about 150 Australian actors and actresses in character roles as w ell as some 200 extras. " Bellbird" will be continued in 1969/70.

P 57
Single plays : The Shifting Heart (Mel­bourne)
The Cell (Sydney)
Tilley Landed on Our Shore (Sydney)
Queens Bishop (Sydney)
The Cheerful Cuckold (Mel­bourne)
Dynasty (Melbourne)
Cobwebs in Concrete (Melbourne)
Ride on a Big Dipper (Mel­bourne)

ABC Report 1967-68

Link to the report is here

D-TELEVISION DRAMAS

P 12-13
DRAMA AND  FEATURES
Drama-Television "Bellbird ", a daily serial produced in the A .B .C .'s Melbourne studios. has proved a popular success gaining a loyal following in all States. We produced 132  quarter-hour episode s during the year. We also launched successfully in all States the first 13 episodes of the 50  minute adventure series "Contrabandits". A new series to be transmitted from next August is now in production.

We telecast four plays in a series under the general title of "Love and War" " "O 'Flaherty, V .C." and " Man of Destiny" by George Bernard Shaw, "The Brass  Butterfly " by William Golding and " Romeo and Juliet". Our production of "Romeo and Juliet " has been sold to the National Educational Television Network in the United States.

Four single plays by Jonson , Chekhov and Wilde on the theme of "greed" were produced - one in Sydney and three in our Melbourne studios-and we also produced four half-hour dramas for the "Australian Playhouse" series.  

We have co-operated with Amalgamated Television Services Pty. Ltd. to produce seven half-hour episodes of a space adven " ture "Vega 4". A sequel to an earlier  series, "lnterpretaris", "Vega 4 " uses local actors and actresses. It is aimed at family audiences. with special emphasis on teen " agers.

Future plans involve the continuation of "Contrabandits", and of "Bellbird" and 10 Australian dramas of 60 minutes length or more amongst which will be Richard Beynon 's "The Shifting Heart", Robert Wales ' "The Cell" and the Mary Gilmore Award winner, "Tilley Landed on our Shore" specially written for television by Pat Flower.

The encouragement of promising writers is a continuing process. The Director of Drama (Television) and television drama story editors have participated in several general writing seminars during the year including those organised by The Australian Writers' Guild, the Australian Society of Authors, the Society of Women Writers and the Producers and Wr iters' Guild. The Director of Drama (Television) has acted as adjudicator at the Queensland Drama Festival, the Warana Festival and the Central Queensland Drama Festival. Students of the National Institute of Dramatic Art have been given the opportunity of working in television through the medium of an annual production exercise, conducted at the A.B.C . Training School in Sydney.

p52 

132 quarter-hour episodes of Bellbird w ere produced in Melbourne. Writers-Barbara Vernon, Michael Wright, Janet Kehoe.  19 episodes (of which 13 were screened this  financial year) of Contrabandits were produced in Sydney...
Australian Playhouse series:
 *Caught Napping (Sydney)Pat Flower
*All Fall Down (Sydney) Michael Boddy
*The End Product (Sydney) Colin Free
*The Stay at Home (Melbourne)  Ray Taylor
Love and War series:
O'Fiaherty, V .C. (Sydney ) G . B . Shaw
 The Brass Butterfly (Sydney) William Golding
Romeo and Juliet (Melbourne)  William Shakespear e
Single plays:
 Volpone (Sydney)  Ben Jonson
The Bear and The Proposal (Melbourne) Anton Chekhov
Salome (Melbourne) Oscar Wilde

NB most of those Australian Playhouse eps did not air.



ABC report from 1958-59

Link here

P 9

In television live drama, production was equally divided between the Sydney and Melbourne studios and telerecordings interchanged. In all, 22 major productions were telecast, and it will be seen from the titles listed in Appendix 1,7 that we, have now reached the stage when much more ambitious and significant plays can be undertaken.

The climax to the year was the simultaneous production, in Sydney and Melbourne respectively, of Shakespeare's tragedies, "Hamlet" and "Antony and Cleopatra".

Plans have been made for the establishment, of an A.B.C. Television Writers' Workshop, which, it is believed, will lead to the foundation of a genuine Australian television drama. Writers of experience in other media are being invited to work in coltaboration with the A.B.C.'s officers from synopsis and story-tine to the finished script. In this way it is hoped that it will be possible to develop among writers a knowledge of television techniques and an, idea of what is practicable in the medium, a  familiarity with the arrangement of television scripts, and an understanding of the devices and methods of effective television presentation.

P 37-38…


Newspaper piece on it

SMH 17 March 1960


ABC Report from 1959-60

Link is here some quotes

P 11
The year also saw the establishment of a Television Writers' Workshop to give writers practical advice and assistance in meeting the special demands of the medium, The results have been most encouraging. Of our output of 22 live plays for the year, 12 were by Australian authors and, in addition, seven half-hour episodes of a locally written serial, "Stormy Petrel" —based on the life of Governor Bligh-.—were telecast, This represents a proportion of about 60% of our live" TV drama production.

P 16-17

C—. TELEVISION PLAYS
The following plays were telecast during 1959.60:
From Sydney
Misery Me - Denis Cannan
Bodgie ......Rex Rienits
'Lady in Danger - Max Afford
One Bright Day ........Sigmund Miller
Wuthering Heights… Emily Bronte
Crime Passionel  Jean Paul Sartre
Blue Murder. George F. Kerr
Dock Brief - John Mortimer
Turning Point ........ Denys Burrow
*The Slaughter of St Teresa’s Day .......... Peter Kenna
'Tire Square Ring ...... Ralph Petersen
The Emperor Jones ...... Eugene O'Neill

From Melbourne
Dinner with the Family - Jean Anouilh
Block Limelight - Gordon Sherry’
Ned Kelly ...... Douglas Stewart
'Outpost John Cameron
Treason Saunders Lewis
Heart Attack George F. Kerr
Tire Eye of Night Kay Keavney
'Dark Under the Sun Chris Gardner
Mine Own Executioner Nigel Balcrin
The Astronauts Dan Houghton
Shadow of heroes Robert Ardrey
‘Stormy Petrel (Serial) Rex Rienits


They did 230 radio plays.



ABC report from 1960-61

 Link is here.

P 11
DRAMA AND FEATURES 

There were advances in the production standards of television plays as new facilities became available and new techniques were mastered. Some dramatic works undertaken would have been beyond our resources and craftsmanship two years ago.

In choosing television material, attention was given to maintaining a balance between Australian plays, modern plays from abroad and classics. Of 21 TV drama programmes of an hour or longer, 10 were of Australian authorship.

The serial of New South Wales history, "Stormy Petrel," received such wide praise for its writing, production and acting, that the author, Australian writer Rex Rienits, was commissioned to prepare a sequel, "The Outcasts," dealing in 12 half-hour episodes based on the life and times of Governor Macquarie and the struggle of emancipists to establish a place in the community.

We are following a deliberate policy aimed at increasing the proportion of Australian-produced and Australian-written plays in television. In this we are at present hampered by the world-shortage of plays suitable for television and the failure of Australian writers to provide scripts worthy of production.

It will be appreciated that leading Australian writers are already established in other mediums such as writing books,, magazine stories or for radio. They have come to rely on these fields and it is understandable that they are perhaps  reluctant to try their hand at television. They realise that, because of their own lack of experience in television and the medium's particular requirements, writing a television «play» would absorb a disproportionate amount of their time.  Nevertheless, every encouragement and assistance is being given to Australian writers to come into television and there are already indications that this effort is having an effect. Rex Reinits' success with "Stormy Petrel" and "The Outcasts" almost certainly will encourage other Australians.

Moreover, telerecordings of three plays, two by Australian writers, produced by the A.B.C. were bought by Colombia Broadcasting System for telecasting in the United States this year. The Australian-written plays were 'Outpost," by John Cameron, and "The Astronauts," by Don Houghton. C.B.S. is considering other television dramas produced in our Melbourne and Sydney studios. Acceptance of our productions by C.B.S., one of the world's major radio and television organisations, is evidence of the success of A.B.C. efforts to achieve a standard comparable with that of countries with much longer television experience and with more extensive programme facilities.

While production of television plays has been confined to Sydney and Melbourne, where alone the necessary studio facilities are available, a senior A.B.C. producer visited Perth and Brisbane and organised successful telecasts of the Christopher Fry play, "A Sleep of Prisoners," from the Anglican cathedrals in those cities.

The ABC did 230 radio plays. They included several plays that would be adapted for TV - Giaconda Smile, Burst of Summer, The Astronauts, Blue Murder.

It also included Man in a Blue Vase which was done for Shell Presents.

And The Naked Island which was never done in ABC TV.








The Age 27 Oct 1961

ABC report from 1962-63

Link here 

ABC drama 1962/63

P 11-12

In television, locally produced plays ranged from dramas by T. S. Eliot and the contemporary Swiss playwright, Max Frisch, to comedies by Saeha Guilty and Noel Coward, and five plays by Australian authors. Public reaction to television productions of Australian plays was investigated in a research project which sought comments on several Australian plays produced during the past two years. Results showed that 60 per cent of the people contacted could see definite improvement in Australian plays, this being evidence of greater experience its the techniques of writing for television.

An outstanding television production was Shake-speare's The Taming of the Shrew, whirls was telecast in conformity with the A.B.C.'s policy of presenting at least one large-scale Shakespearian  production each year.

Other successful television dramas included productions of Bridget Boland's drama, The Prisoner ; The Chinese Wail, by Mast Frisch; and Flowering Cherry by notable English writer Robert Bolt.
The visit of English actor Michael Denison, star of the television series, Boyd Q.C., enabled the A.B.C. to arrange his appearance in a television drama production. Mr. Denison's wife, English actress Duicie Gray, appeared with hint its Shaw’s"s comedy, A Village Wooing, a play for two char-actors produced in the Melbourne studios.

Television drama production in the smaller States began during the year when half-hour plays were produced in Brisbane, Perth and Hobart. Formerly, Inc], of facilities and staff prevented the production of plays outside Sydney and Melbourne, but now that a start has been made, it is expected that all States will contribute to the national television drama output.

The A.B.C.'s role as an employer of actors and actresses has been made more important by the production of historical serials on television. A cast Th of 71 is employed oile Hungry Ones, a new serial by Australian writer Rex Rienits, set in the early days of Australian settlement, which went into production in Sydney in May for showing in all States later in 1963. Public interest in Aus-tralian history has been greatly increased by the A.B.c's historical serials and already there is con-siderable press and public interest in The Hungry One.

As part of its efforts to help in the development of Australian drama, the A.B.C. collaborate s in Various ways with the Australian Elizabeth an Theatre Trust and provides assistance to the Institute of Dramatic Art established by the Tru st and the University of New South Wales. The assistance to the Institute includes the provision of lecturer s drawn from the A.B.C,' 5 drama staff to advise on acting techniqu es for radio and television and of studio facilities to enable the student s to secure experienc e in those fields. A feature for television was Prelude to Harvest, written by Kay Keavney and presented in Jatsstary in all States to celebrate Australia Day.




Minutes of evidence 1963 Vincent Report

 Volume 2 is here.

People like Frank Packer and Leslie Rees. 

Lots of bagging Australia writers.

ABC report from 1963-64

 ABC Report 1963-64

Link is here
 

P 5-6
At this point it is apposite to mention that of approximately 212 plays produced live in Australia for television since 1956, some 185-including 48 by Australian authors-emanated from the Commission's studios, whilst of the 31 live studio operas produced, all were A.B.C. productions; of about 95 ballets, not less than 90 were produced by the A.B.C. The A.B.C. has also produced, or is producing, important serials comprising 51 half-hour episodes, all of whirls were written by Australian authors and feature Australian casts. In addition, some hundreds of short plays and serials for children have been presented live in the A.B.C. Children's Hour.

The standard of A.B.C. productions can be gouged by the fact that a number of our plays and other major programmes have been televised for viewers by major networks in the United Kingdom, the U.S.A. and Canada.

These facts provide a partial answer to criticism that the Commission has failed to do enough for the encouragement in television of Australian productions. We have, however, noted many matters raised by the Senate Select Committee's Report on this subject. We shall continue to study this Report, both in general and in detail, at subsequent meetings and to pay particular attention to those  parts wInds have a bearing upon the programming responsibilities of a national broadcasting and television system.

There are many difficulties inherent in the situation. The background of radio experience within our organisation is wider and deeper than in television. In radio, with little difficulty and no Inst of standards, the Commission continues the policy of incorporating as much as possible of Australian origin with Australian artists. in television, it is still building the background of experience and technique, largely because this medium comprehends additional arts and talents. 

The revival of the film industry in Australia is not properly the function of the Commission, though it can play a part. There are special difficulties involved in the necessity for overseas sales if the industry is to be placed on a sound financial footing. Even in the narrower field of television proper the improvement of standards will depend upon more time and money isriag spent to this end.  Continuity of employment of authors and producers is an essential prerequisite if all are to be able to give of their best as a teams. Th is could only be at the best on a relatively short-term basis, for no entrepreneur can commit himself to talent permanently. A closer association between live theatre authorities, repertory companies and the Australian Elizabethan Theatre Trust might help to produce a solutions.

There calmer, however, be any direct transfer from the medium of radio and legitimate theatre to the special medium of television. Writers, actors, producers must all be trained, and as far as possible trained together. Probably at this stage we need to spend more time and money in this direction. The standard of Australian production will improve in direct relationship to the training and finance we put into it.

For this reason the Commission has taken a first and necessary step by deciding to set up a training school for its staff. The exact form which th is will take can only be worked our as the school takes, shape. Existing training schemes ss'irlun the organisation are in the main concerned svirlr imparting basic techniques. There is need for something more, in the nature of an experimental workshop on the one hand, and on the other, a course for more senior officers from the many different departments of the organisation. This should develop a greater integration by cross-fertilisation of ideas, and thus help to develop a clearer philosophy governing programme policy and an in-service training winch will refresh and invigorate those ss'iro take part in it. It is planned to start this training school early in 1965.


P 13
Television engaged an increasing number of Australian actors and production of an average of one play a fortnight was maintained. Each play lasted an hour or longer and the greater number was produced in Sydney or Melbourne. The plays included Shakespeare's The Tempest, winds had been set for study in the schools. Special publicity brought the broadcast to the attention of teach ers and students. 

Authors of TV plays included a number of Australians, as well as such overseas writers as Aldous Huxley, Robert Bolt, Jean Anouilh and Luigi I'irandells. Choice of the A.B.C's 1964 television serial represented a change of policy. After four ,annual serials set in the colonial days of Australia,
it was decided to produce a modern story of a lighter type, set in an Australian city. It was titled The Purple Jacaranda. 

Overseas drama shown on television included Ibsen's Hcdda Gabler starring Ingrid Bergman, Sir Ralph Richardson, Sir Michael Redgrave and Trevor Howard, and the 0.0Cr The Spread of
the Eagle, Shakespeare's threes Roman plays— Coriohanas, Julius Caesar and Antony and Clen-1aatra—wistch were presented as a nine-part series.

This year was part of the push back against Australian drama shot in Australia.


ABC Report from 1964-65

Link is here
 

P 5

One of the most important developments of the past year has been the greater interest which established Australian writers are taking in working for radio and television. This has resulted in better programmes and increased public interest.

Four years ago, the A.B.C. was receiving about 200 scripts a year for consideration as TV plays. This year the figure is nearer 600, and the standard of scripts submitted has greatly improved. Plays like A Time To Speak (by Noel Robinson) and Private Island (by Chris Gardner) are far better than their counterparts of a few years ago, and this is reflected in their reception by the public.

P 7

In television, the rate of production of plays, each lasting an hour or longer, was maintained at one a fortnight—a total of 26, a slight increase over last year's figure. Ten of them were written by Australians.

Two TV plays were produced in Brisbane (Ring Out Wild Bells, by George Landen Dann, and The Quiet Season, by John Cameron) and one in Hobart (Drive A Hard Bargain, by Oriel  Gray).

Particularly interesting TV productions in-cluded Macbeth in Camera, A Local Boy, Luther, Wind From An Icy Country, Othello, The Swag-man and A Time To Speak.

Work has began on making a television serial of My Brother Jack, based on George Johnston's novel which won the Miles Franklin Award. The serial was prepared for TV by the author's wife, Chairman Clift.

P 29 said the ABC made 44 hours of drama - all studio productions - “other hours” was 5 hours… the Total drama was 708 hours

P 39
C— TELEVISION PLAYS
The following plays were produced with Australian actors during 1964-65:  From Sydney
'The Purple Jacaranda (Serial, last 5 episodes) -- -- -- -- Nancy Graham
The Late Edwina Black William Dinner &  William Macam
The Rape of the Belt ------ Eugene W. Levy
'Split Level -- -- ------ Noel Robinson
Macbeth in Camera ...... Harold Lang
A Local Boy -------- Alec Owen
The Recruiting Officer ,.., George Farquhar
°A Private Island ........ Chris Gardner
The Play of Herod ------ Mediaeval
The Ssvagman -------- Ian Stuart Black
The Big Killing -------- Philip Mackie
Moby Dick—Rehearsed Orson Welles
°Rusty Bugles -------- Sumner Locke. Elliott
*My Brother Jack (Serial, first 3 episodes) -- -- -- -- -- Genrgn Johnston

From Melbourne
Luther -- -- -- -- -- -- John Osborne 

*Wind From the Icy Country - Robert Amos
A Provincial Lady ------ Ivan Targenry
Othello -- -- ------ Wm, Shakespeare
Corruption In the Palace of Justice lJgo Beth
*The Tower -- -- -- -- -- Hal Porter
Romanoff and Juliet------ Peler Ustinov
Everyman ---------- Morality Play 

*A Time to Speak -------- Noel Robinson
Daphne Laureola ------ James Bridle
*Otherwise Engaged ------ John Cameron
Dangerous Corner ------ J. B. Priestley
'How Do You Spelt Matrimony - Colin Free
The Face at the Clubhouse Door Colin Free

From Brisbane
*Ring Out Wild Bells ------ George Landen Dann
°flue Quiet Season ------ John Cameron

From Hobart
Drive a Hard Bargain ------ Oriel Gray



ABC Report from 1965-66

Link is here. 

Some key quotes

P 4
The Commission supports the endeavours of those who believe that there should be an ever-increasing percentage of television and radio programmes produced in Australia. We are proud to report that in this year we have achieved 51.590 10 of Australian programme material in our total television output. In particular, we draw special attention to the series of Australian plays programmed as Australian Playhouse which, although inevitably of varying merit, have in some cases reached very high standards. They are a worthwhile contribution making possible further experience for Australian writers, actors and producers in this special field. It is hoped that the consider-able enthusiasm and resources being directed to this series will lead to continued improvement in the standard of our Australian TV drama.

P 8

THE output of television drama programmes this year almost doubled in a year of excitement, change and progress.

The first major event was the successful launching of the serial My Brother Jack which proved extremely popular and won for the A.B.C. the Greafell Henry Lawson Festival Award for Australian TV Production.

Following this came several fine, well-produced plays such as The Affair, The Sweet Sad Story of Elmo and Mc, Cross of Gold, Tartuffe, Photo Finish, Plain Jane, Campaign for One and Point of Departure. Another important project was the co-production with the B.B.C. of the Australian play, Kain, to be shown later in the year. We also  produced in conjunction with Artransa Park Studios a children's space fiction serial, The Interpretaris.

The Australian Playhouse series has created further interest through its stimulation of Writers and actors. With increased output of drama, both new and experienced writers, actors and producers are fading a rewarding outlet for their talents. They are discovering the television medium and gearing themselves to its intricacies, disciplines and techniques.

A total of 57 plays was produced and/or shown during the year of which 46 were by Australian writers.

A farther 30 plays have been purchased for future production. Approximately 600 plays have been submitted in response to the call for indigenous writing, and as a result of week-end writing seminars held in Orange and Canberra.

Also a list of plays...



Australian Playhouse Eps shot but not made

Shot in 1965/66 according to ABC report

1. The Widow Thrum

2. Shameless Hussies

3. The Tank

4. The Blind Balance

(Shot in BAPH - Double Jeopardy, The Find, Fireflies)

Shot in 1966/67 according to ABC report

 1. Boy with Banner

2. Nice Widow at Quinto

3. Black Infuriator

4. The Captain and the Cox (BAPH) (this may have been shown in Hobart)

The Shadow on the Wall filmed that year but not shown til later

Shot in 1967/68 according to ABC report

1. Caught Napping 

2. The End Product

3. The Stay at Home


Senator McCelland on Australian TV production on 10 November 1965

Link is here

 Recently the President of the Australian Screenwriters Guild pointed to the high incidence of foreign drama compared with Australian drama on Sydney's commercial television stations each week between 7 p.m. and closing time. The President of the Guild stated that in a vast number of cases commercial television stations were devoting their time to the presentation of overseas productions. Therefore, I might ask rhetorically: Is it any wonder that Australian writers, producers and actors are critical of this Government? About 12 months ago the Minister in charge of this important matter said in this Parliament -   

In relation to this problem of Australian production - I believe that the principal problem is the shortage of scriptwriters. 1 do not think wc have many good scriptwriters in Australia ... we have not many good actors in Australia. You do not find people who will practise, practise, practise to become good actors unless they have some worthwhile instruction.  

The answer to this argument of the Minister is found in the report of the Australian Broadcasting Commission, lt is reported that four years ago the Commission was receiving about 200 scripts a year for consideration as television» «plays , but that this year the figure has increased to 600. So how can it possibly be said that there are insufficient script writers in the Australian community? 1 believe that the PostmasterGeneral (Mr. Hulme) is very wide of the mark in this regard. I suggest that he would only have to read the evidence presented to the Senate select committee to find this out for himself. If good Australian scriptwriters and actors are not available in Australia, they are overseas because of the attitude of .this Government which is directed at protecting the commercial television stations. 

The Australian Broadcasting Control Board has said in its report that there is evidence of continuing interest in the report of the Senate Select Committee on the Encouragement of Australian Productions for Television. That reference appears at paragraph 261 of the Board's report. It is also said that the question of televising Australian programmes is being examined by members of the Board and that the Minister hopes to be able to make a statement on this matter before the end of 'this year. Two years have expired since the report of the Select Committee was tabled in this Parliament. Everyone interested in this subject seems to be pushing the Government to do something about it. Everyone is doing something except the Government.

From ABC report of 1966-67

Link to report is here.
P 7-8
t is generally acknowledged that the Commission's contribution in the field of music is important and appreciated. It is not as commonly recognised that a considerable contribution has also been made in the field of drama. Since the commencement of television we have produced 393 television plays including a total of 90 serial episodes, which in all represent 4,920 performances by Australian actors and actresses. Of this total, 218 of the plays were written by Australian authors. The direct cost of this activity has reached almost a million dollars.
 

P 12
DRAMA AND FEATURES Drama (Television) Of the 41 plays produced during the year 36 were written by Australian authors. While Sydney and Melbourne studios have produced the bulk of our drama output a number of plus produced in other capital cities have been televised locally.

The Television Society of Australia presented an award to the serial "My Brother Jack" and to the ''Australian Playhouse-series. The magazine TV Week also awarded "Logie" to Australian Playhouse" for its contribution to Australian television. A new series of Playhouse productions returned to programme schedules towards the end of this year.

In order to further stimulate local activity we presented 13 episodes of a comedy series. Nice 'N Juicy", written by Colin Free.

In Wednesday Theatre, productions included Shakespeare's ''Twelfth Night'', John Arden's series "Sergeant Musgrave's Dance” and the Old Tote production of Pinero’s ‘The School Mistress".  Two famous Arthur Halley plays, which were among the first written specially for television were produced in Melbourne.  Six locally written plays were produced , four of which were programmed during rite year: '"Fire Third Witness" JN Callendar "The Runaways'' (J, Croyston ), "The Man Who Saw It" (Allan Trevor) and ''Goodbye Gloria, Hello" (Peter Kenna.)

Pilot episodes of two important projects were successfully made and production of both series has begun, One of them, ”Bellbird" produced in Melbourne is serial to be screened four timea week and the other "Contrabandits" a Sydney produced 50 minute series about the Department of Customs and Excise will be shown once a week. Both will be screened in all states during the latter half of 1967. During the year drama producers from all states attended a seminar in Sydney to study tire use of film for television.

We gave further encouragement to writers by holding seminars in Grafton and Canberra, The Director of Drama (TV) lecturerd on on several occasions at the A.B.C. Training School, toured Queensland lecturing In Little Theatre Groups, talked writers' seminars ad adjudicated at the Central Queensland Festival of Drama.

P 44
C—TELEVISION PLAYS The following plays were produced during 1966-67:
The following plays were produced during 1966-67:
From Sydney Australian Playhouse
''Watch It” Dick Barry
*The Empty Day” Pat Flower
*Nice Widow at Quinto” Colin Free
*The Lace Counter” Pat Flower
“Across the Bridge * Liane Keen
“John Forester Awaits the Light” Michael Boddy
*Breakdown” Michael Boddy
*Construction” John Croyston
*Enough to Make a Pair of  Sailor's Trousers” Barbara Vernon
'''Casualty . . John Croyston
*Keep It Clean E. R. Thomas
''Touch of Gold Gwenda Painter

Plays of 60 minutes or more in duration
'*The Runaways John Croyston
*Twelfth Night Shakespeare
*The Man Who Saw It Allan Trevor
*Intersection . . Michael Boddy
The Schoolmistress Pinero
Sergeant Musgrave's Dance . John Arden

Serial episodes
*Ten episodes Nice 'N' Juicy Colin Free
Two pilot episodes
Contrabandits Colin Free

*From Melbourne
Australian Playhouse
*Ticket to Nowhere by John Bragg
*The Decision by John Warwick
*Objector by Tony Morphett
*A Small Wonder by Jeff Underhill
*V.I.P.P. by Pat Flower
*The Paradise Shanty by Kevin McGrath
''' Easy Terms by Pat Flower
'' The Attack by Kenneth Hailes
''' Boy with Banner by Michael Wright
'''Shadow on the Wall” by Ruth Pullen
*Slow Poison by Allan Trevor
*The Black Infuriator by Alexander Macdonald
*The Heat's On  by Pat Flower
*On the Hop by Michael Laurence
*The Five-sided Triangle” by Brian Faull

Plays of 60 minutes or more duration
*The Third Witness R. N. Callander
Flight into Danger Arthur Hailey
Course for Collision Arthur Hailey
'''Goodbye Gloria, Hello Peter Kenna
*A Ride on the Big Dipper Ron Ha rriso n
Serial episodes
Four half-hour episodes of Bel/bird Barbara Vernon

BAPH States Australian Playhouse
*Th e Captain and the Cox'n . Kenneth Hailes

In hindsight, I feel it was the success of Bellbird that killed the Australian TV play.



Senator Anderson on TV quotas on 17 May 1956


Link at here

Yesterday, the Leader of the Opposition (Senator McKenna), Senator Kennelly and speakers on this side of the chamber dealt with the matter of a quota for Australian artists. The bill at present before the Senate envisages a quota of about 5 per cent. for Australian artists. The Opposition suggests that the quota should be more in the region of 55 per cent. When the original legislation with regard to television was introduced, in 1942, by a Labour government, a quota of 21/2 per cent. was provided. 

My own view is that the principle of a quota is wrong. Whenever a quota is prescribed, there is a tendency to work up to the quota, but not beyond it. The real test of any entertainment is its quality, and for too long we in Australia have had an insular attitude towards entertainment. I suggest that that attitude is a form of inferiority complex. We do not need quotas in Australia, because our artists have proved their quality throughout the world in the field of broadcasting, particularly in commercial broadcasting. There is a danger in having a quota. The natural and proper thing to do is to provide the best possible entertainment for the Australian listening and viewing public. If we are required to have a quota, we shall adopt an entirely false approach in broadcasting and the entertainment provided will suffer. I suggest that if we leave quotas completely out of the question, we shall have a much higher percentage than 5 per cent. of Australian artists engaged in television and broadcasting, and their entertainment will be of high quality. Therefore, I am not very enthusiastic about the principle of quotas. All my instincts tell me that the only guide in this regard should be quality. Australia is a young country. It has made tremendous progress in all fieldsof science, and our development has been magnificent.

This belief was perhaps the most damaging one in early Australian TV production.

Some more from Anderson…

I conclude by saying that television is a wonderful medium on the one hand but a very dangerous one on the other. It is something that we must watch very carefully in order to prevent its taking control of our rising generation of children. We must ensure that it shall be conducted on the basis of entertainment and that it shall not be exploited on the pretext of providing education. [ have a great antipathy to people who want to be continually moralizing, who want television» , «plays and stories that seek to jamb some moral down people's throats. Such programmes often defeat their purpose. My experience in America in particular, and, to a lesser extent, in Great Britain, was that they were falling for that error. They were trying to give the people special forms of television to save their souls, but, for the main part, they were merely nauseating them and setting up a situation that might be bad for any children who might be watching.

Senator Cooper in 30 October 1957 talking about Australian content:

 Senator Cooper in October 1957 talking about Australian content:

Senator COOPER

Senator Ashley inquired about the Australian content of television programmes, and in this connexion I shall quote a statement that was issued recently by the Postmaster-General (Mr. Davidson), in the course of which he said -

Over the past twelve months -the Australian Broadcasting Commission produced 26 live television» «plays of half an hour or one hour .duration, in which a total of 150 professional actors or actresses were engaged.

Senator Ashley - Does that include trotting, rock and roll, and so on?

Senator COOPER - I am reading the Postmaster-General's statement. It goes on -

Three of these plays were specially written for television by resident authors. -In the field of light entertainment there -were 883 engagements of Australian artists by the A.B.C. -in -its television programmes. In the Children's' Session- the A.B'.C. used 149- live programmes catering especially for children, and in this regard 824 engagements were made. Australian content of A.B.C. television programmes from Sydney over nearly 12 months has been 48 percent, arid from Melbourne 39 'per cent. lt must be remembered that television, is an entirely new venture, and- that the Australian Broadcasting Commission arid the holders of commercial licences are the pioneers of this new medium, with all its attendant problems. Nevertheless, in spite of all their difficulties, the commercial stations were able to provide, in the month of August- last, programmes- which had 56 per cent. Australian content. It is- not of much, use to compare Australian television with television in' the- United. Kingdom and the- United States of America. Our service h'as, been' going-, for' twelve, months only, theirs for many years.

So…. The 26 plays… (asterix for local writers)

Twelve Pound Look (Sydney)
Rose and Crown

The Valiant
Sub Editors Room *
Roundabout (Melbourne)
Elizabeth Refuses
Roundabout (Sydney)
The Proposal
Three Cornered Moon
In the Zone
The Twelve Pound Look (Melbourne)
Tomorrow’s Child
The Wraith
Holiday in Biarritz
Sunday Costs Five Pesos
Shadow of a Doubt
Ending It
Dark Brown
A Fourth for Bridge
Fair Passenger
A Phoenix Too Frequent
The Right Person
Rope
Killer in Close Up#1 - Robert Wood*
The Passionate Pianist *
The Duke in Darkness

there was also The Sound of Thunder done in October

From ABC report of 1957-58

 From ABC report 1957/-58 p 16 - see here

The most significant development in drama and features was in the increase of television activities—especially since the opening of the new studios ill Sydney and Melbourne.

In all, 24 live plays were presented, most of them an hour or more its length. No other television organisation in Australia has, so far, attempted any thing Ott this scale. Critical and public reaction has been excellent.

Seven of the plays were locally written, and the television adaptations of all productions were done in this country.

The same report said TV plays was 12.58% of drama output - more than cinema movies.

P 71 PLAYS PRESENTED IN TELEVISION DURING THE YEAR:

"A Fourth for Bridge” Denis Johnston
"Fair Passenger"Aimee Stewart
"A Phoenix Too Frequent"Christopher Fry
"The Right Person” Phillip Mackie
"Rope"Patrick Hamilton
"Killer in Close-up No. 1" George F, Kerr
"The Passionate Pianist" Barbra Vernon
"The Duke in Darkness” Patrick Hamilton
"Sound of Thunder” lain MacCormick
"Killer in Close-Up No, 2” George F. Kerr
"The Importance of Being Earnest” Oscar Wilde
“Gaslight” Patrick Hamilton
"Point of Return” A. B. Kingsland
“The Multi Coloured Umbrella"Barbara Vernon
"Chance of a Ghost” James Carhatt
"Symphonic pastorale”Andre Gide
“If It's a Rose” Dario Nicodemi
“The Small Victory” lain McCormick
"Miss Mabel” R. C. Sherriff
"Captain Carvallo” Dennis Cannan
"Murder Story"Ludovlc Kennedy
“As You Are” Hugh Mills
“Killer in Close Up No. 3” George P. Kerr
"Sorry, Wrong Number"Lucille Fletcher

(NB this is year ended 1 July 1957 - 30 June 1958).

The ABC report said “seven of the plays were locally written” - there were George Kerr’s three Killer in Close Ups, the two Barbra Vernon plays… (Kerr was British and the stories were all British but they were written here.)

I’m not sure of the other two. Chance of a Ghost I think was written in Australia, by an American. There were two Iain McCormick plays - he was an Australian working in Britain. Alan Seymour adapted Murder Story - maybe that's how they counted it. Seymour and Carhatt.


From the ABC report of 1956/57

 From the ABC report 1956/57 - here

Local TV drama did not even get its own section it was shoved in “drama’. Also the TV plays were not listed in the appendix of the report at the end but the radio dramas were.

Here is an extract from the report which does mention TV drama:

Although limitations of space dictated a modest beginning, to our television drama activities, the Commission was determined that opportunities for Australian artists and writers would be provided in this new field. A play was successfully produced on the opening night of the television service in Sydney and, from then on, a fortnightly production of a thirty-minute play was undertaken in Sydney and a monthly production of the same length in Melbourne. Plays presented included "The Twelve Pound Look" (J, M. Barrie, "The Proposal" (Chekhov), "In the Zone" (Eugene O'Neill), "Three-Cornered Moon" (Michael Arlen), "The Rose and Crown" (J, B. Priestley) and "Elizabeth Refuses" (an adaptation from Jane Austen's "Pride and Prejudice").

Longer plays could not be undertaken in the Commission's own studios but, towards the end of the year the first sixty-minute plays—"Tomorrow's Child" and "Shadow of Doubt—were produced, using cameras of the ABC mobile television unit in hired studios. This policy will be continued until the ABC's own studios are ready for use.

Television is a new medium for Australian writers and, to assist them, a pamphlet was prepared offering practical advice on the technique of television plays. One of the first plays produced by the ABC—"Sub-Editor's Room"—was by an Australian and the ABC hopes that many local authors will become interested in writing for television.

 There were a number of radio plays done by the ABC from local authors. 

From the report:

Drama: In sound broadcasting, perhaps the most important project of the year was the commissioning of the well-known local authors, Ruth Park and D'Arcy Niland, for a half-hour serial, One Man's Kingdom ." This was designed to tell in lively dramatic form the story of the nation's development in the latter half of the nineteenth century. It was felt that the events of history, brought to life through the trials and tribulations of an imaginary family, could be depicted with greater clarity and colour in the form of a dramatic serial than is possible in the pages of a book of reference. Such proved to be
the case and many enquiries about a possible re-broadcast of the serial were received.

 Among other Australian plays broadcast for the first time were 'The Damask Rose" (Coral Lansbury), "They Sailed on Friday" (William Jcnner), "Exit" (Dymphna Cusack), "Golden Slumber" (Catherine Shepherd), "The Square Ring" (Ralph Peterson), "Meadowsweet" (Vance Palmer), and "Corner-stone" (Gwen Meredith).

The ever-popular "Blue Hills," by Gwen Meredith, continued to attract large audiences, while Joy Hollyer's adaptation from Victor Hugo's novel, "Les Miserables" (programmed as "Pursued"), and Edmund Barclay's adaptation from Henry Handel Richardson's "The Fortunes of Richard Mahony" proved highly successful as daily serials.

There were a number of Australian writers working successfully for radio - but they didn't make the jump.

The report says there was a quota of 5% for works by Australian composers.

Cost of the ABC Weekly`

 In March 1958 a Queensland Senator asked how much the ABC Weekly cst.

https://parlinfo.aph.gov.au/parlInfo/search/display/display.w3p;page=0;query=%22report%20of%20the%20australian%20broadcasting%20commission%22%20Decade%3A%221950s%22;rec=6;resCount=Default


Senator COOPER - On 27th February, Senator Sandford asked me the following question: -

Can the Minister representing the PostmasterGeneral inform the Senate -

(1)   The cost of publishing the booklet "A.B.C. Weekly"?

(2)   What useful purpose does that booklet serve?

(3)   Is it a fact that only Sydney programmes are published in that journal?

The Postmaster-General has. now furnished me with the following information in reply:-

1.   The net cost for the financial year 1956-57 was £13,761, as disclosed in the annual report» «of» «the» «Australian» «Broadcasting» «Commission which was tabled in the Senate recently.

2.   The journal is a means of publicizing the national programmes, full details of which are not available in the daily press. The journal also contains reprints of outstanding A.B.C. talks, feature articles and special comments on A.B.C. programmes. Details are also printed of commercial radio and television programmes.

3.   No. A special Queensland edition contains full details of Brisbane metropolitan and regional and short-wave programmes.


Senator Sandford - There is no publication in the other States?


Senator COOPER - No.

From the ABC report of 1961-62

Link is here 

DRAMA AND FEATURES

A.B.C. drama, in radio and television, offered the public a very wide range of plays from the classics to plays written in Australia. Since the beginning of its TV service, the A.B.C. has been anxious to encourage Australian authors to write For the new medium and this, year was able to present a consecutive season of six local plays, representing about a quarter of the total TV drama output. These plays, each of approximately one hour, were an encouraging result of the work that has been done to interest local writers in TV.

There is increasing overseas interest in A.B.C. plays. In addition to several A.B.C. productions accepted by C.B.S. in the U.S.A., telececordings of two plays were used by Associated Rediffusion in the U.K..

The popularity of the Australian historical serials telecast in the past two, years led to the commissioning of a third serial, The, Patriots, dealing with the early days of William Charles Wentworth, his conflict with Governor Darling and the emergence of demands for democratic rights and freedoms. This serial in ten episodes was written by the Australian, Phillip Grenville Mann, and its production acquired the co-operative effort of many people, in planning and research as well as in the studio.

While the classics are expensive in TV, the presentation of Sheridan's The Rivals in Melbourne and Shakespeare's The Merchant of Venice in Sydney were well worthwhile, not only artistically and as entertainment, but as aids to thousands of students for whom these plays were examination texts.

Of special interest, too, was the televising of the mediaeval drama, The Play of Daniel, from the crypt of St. Mary's Cathedral, Sydney.




Raymond Menmuir

 
ABC television pioneer who went on to direct The Avengers and Upstairs Downstairs
June 3, 2016 — 11.35pm
https://www.smh.com.au/national/gifted-abc-director-who-went-on-to-produce-the-avengers-and-upstairs-downstairs-20160602-gp9re2.html#ixzz4AxSAjAQr

Ray Menmuir 1930–2016

In the course of his life’s journey from Perth to Sydney and then on to the turbulent culture of London in the ‘60s, Ray Menmuir was a pioneer of Australian television drama and became one of the brightest and most talented TV directors in Britain.

Raymond Edward Menmuir was born on September 10, 1930, the first of four children to Edward Menmuir and Dorothy (née Williams). His father worked in motor vehicle insurance and, although never well-off, sent Ray to Wesley College. His strongly Baptist upbringing, with what Ray called its Calvinistic nature, gave him the discipline that marked his professional work.

By the time Menmuir left Wesley College in 1947, Perth was emerging from the strictures of the Great Depression and World War II, and theatre and music activity was flickering back into life. His literary skills got him a cadetship as a reporter with the Perth Daily News, but he spent his evenings as an actor and producer in the small but lively local theatre scene. This quickly led to a job as a radio producer for the ABC.

Menmuir had his first exposure to European culture when Perth hosted the first international Festival of the Arts in Australia in 1953. It included programs of French, Italian and Russian films, screened on summer nights at the University of WA’s outdoor Somerville Auditorium. Among the films he saw were Marcel Pagnol’s Cesar, Vittorio de Sica’s Bicycle Thieves and Mikhail Kalatozov’s The Cranes are Flying. They were revelations, not only of different ways of living but of new means of expression. They impressed him deeply, and later when he started in television with its rather static theatrical conventions, Ray strove to make his productions fluid, free and cinematic.

In 1956, aged 26, he was recruited to the national drama and features department of the ABC in Sydney. It was the first year of television in Australia. At TV training workshops the ABC conducted for staff, Menmuir soon impressed. He directed the second television play broadcast in Australia, JB Priestley’s The Rose and Crown, followed by the first play to be transmitted in January 1958 from the newly built studio complex at Gore Hill, this time an Australian work: Barbara Vernon’s The Multi-Coloured Umbrella.

All productions then were live-to-air, transmitted without stopping. This required exceptionally good organisation of design, cameras, sound, vision mixers, floor crew, lighting staff, technical crew and actors. Menmuir revelled in the creative organisation and complexity of the studio. His directorial style was defined by his insistence that the camera, the lens and light be an expressive element of the drama, not a passive recorder of the scene. His productions, including Alan Seymour’s Swamp Creatures, The Strong are Lonely and Dock Brief by John Mortimer, were innovative and flawless.

Menmuir’s greatest production achievement in those early years at the ABC was in 1960 when the ABC suspended peak-hour programs to transmit his live-to-air two-hour production of Shakespeare’s Richard II utilising all three of the ABC’s Gore Hill TV studios – a concept of such complexity and audacity that it was never repeated.
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In 1961, Ray and his then wife Heidi (née Isenmann) went to London to test his mettle in what was regarded as the most vibrant and energetic television industry in the world.

His talent was recognised immediately and, after directing Alan Seymour’s One Day of The Year for Joan Littlewood’s cutting-edge theatre in East Stratford, London, over the following three decades he was engaged by all the major UK production houses. His output was prodigious: more than 180 direction and production credits for filmed and television studio series and one-off teleplays.

Commencing with Z Cars, among Menmuir’s productions were No Hiding Place, The Avengers, C.P. Snow’s Corridors of Power for the BBC’s Wednesday play, The Duchess of Duke Street, The Nine Tailors, adapted from the novel of Dorothy Sayers with Ian Carmichael as Lord Peter Wimsey and The Onedin Line. He directed 12 episodes of Upstairs Downstairs, including the first that went to air.

In 1978, Michael Grade of London Weekend Television offered him what must have been the ideal engagement: as producer with full budgetary and artistic control of the increasingly popular high-budget series The Professionals. He produced 44 episodes of what became a “cult” TV series.
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Menmuir made two brief returns to Australia: the first in 1963 to produce Ned Kelly, the ABC’s entry to the Italia Prize international broadcasting competition, and then in the mid-80s, following his success with The Professionals, to advise Crawford Productions in Melbourne on a new police series Special Squad. In the same visit he directed the movie Fortress for Crawfords and HBO America.

Away from the furious activity of his professional life, his daughter Fiona remembers Ray as a quiet and private man with a strong and enduring love of nature. He cultivated a large organic garden in their home in rural Buckinghamshire in the 1970s and ‘80s using no sprays or chemicals. Later, at Mirrabooka on the NSW Central Coast to which Ray retired in the ‘90s, he planted out a peaceful garden with an eye to seasonal colours. He delighted in the native birds it attracted.

Ray is survived by his daughter Anna from his first marriage, his daughter Fiona and son Iain from his second marriage to Jennifer (née Cooper) who died in 2010, his partner of recent years Wendy Blacklock, his sisters Dorothy, Judith and Patricia and six grandchildren Annie (16), Abbie (13), Ella (12), Matilda (10), Flynn (8) and Isla (6).


Storry Walton and Tom Jeffrey

This is a report from a Menmuir trip overseas in 1961.







NAA Production

Hutchison says his work puts him far ahead of other drama producers in the country.

NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir


NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir

NAA Ray Menmuir