Monthly Archives: January 2013

Swallows and Amazons ~ Sophie Neville’s radio interview, 24th January

DSCF0363Maria Rodrigues-Toth of Premier Radio

On January 24th I was invited to speak on ‘Woman to Woman’ on Premier Radio. The recorded interview can be heard here. Around ten minutes in, there is a technical fault for a few minutes when a previous show overlapped my recording! Although it could be heard in the background on air, luckily I couldn’t hear it in the studio. Such are the hazards of Live broadcasting. It doesn’t last long.

DSCF0361

You can listen to my interview by clicking on this link ~ you will need to use Internet Explorer, or the newest versions of Chrome or Firefox.

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On the set of ‘Coot Club’ ~

Coot Club - Sophie Neville with Port and Starboard

All the children who appeared in the BBC serial of  Arthur Ransome’s books ‘Coot Club’ and ‘The Big Six’ were delightful. They were committed to the project and focused on their roles in the drama that was released in 1984 under the strand title Swallows and Amazons Forever!

Coot Club - boys playing

Jake Coppard, Mark Page and Nicholas Walpole who played Pete, Bill and Joe – The crew of the Death and Glory

They enjoyed the process of putting the story together but we were filming on location in Norfolk for three months, which is a long stretch for anyone. It is a very long time when you are aged thirteen.

Coot Club - Jake Coppard reading

Jake Coppard in the role of Pete

It can be difficult hanging around on set, waiting for the crew to set up, especially when you have to keep quiet and reasonably still, avoiding the perils of sunburn and scratches. In many ways it’s the most challenging aspect of being an actor, especially when you are constricted by your costume that has to be kept clean and dry.

Coot Club - the camera crew watched by Richard

Filming the Death and Glory at Gay Staithe in Norfolk. Peter Markham, Bruce McCaddie, Alec Curtis and his assistant with the 16mm camera, are being observed by Richard Walton, who played Dick Callum

Watching the film crew record a scene was interesting, and in many ways good work experience, but it was not always possible as they were often out on the water.

Coot Club - Henry Dimbleby reading to the others

Claire Matthews, Henry Dimbleby & Richard Walton whilst filming of ‘Coot Club’

Once the school summer holidays started, we bid farewell to Angela Scott who had given the children lessons while they were on location. She’d been teaching them on a boat most of the time – the blue fibre glass cruiser in the photograph above.  It was part of my job to make sure the children rested and were quietly entertained when they weren’t in front of the camera. I thought it important to let them be themselves and build friendships.

Coot Club - boys playing boule

Mark Page, Nicholas Walpole and others during the filming

I was very strict – I had to be when we were near water or traffic, but the girls were naturally self-disciplined and boys team spirited.

Coot Club - boys playing in Norfolk

Joe Waters, who was producing the drama, said that the sun always shone for him. It certainly did. The summer of 1983 was scorching. We had a few rainy days, but the actors where wonderful at helping to keep up moral. The boys adored Sam Kelly, Captain of the Catchalot, who the British public knew so well from his role as Bunny Warren in Porridge and the German Officer in the WWII sit-com ‘Allo ‘Allo. We only had to look his way and we’d all collapse laughing. Sam Kelly is probably now best known for his recent roles in Nanny McPhee and the Big Bang , in which he played Maggie Smith’s husband Mr Docherty, and for taking the role of Grandad in the new Mike Leigh comedy  A Running Jump, 2012 but on that far off summer on the Norfolk Broads there were quite a few terrible take-offs of  Captain Geering’s German accent. One of his later episodes of ‘Allo ‘Allo was titled ‘Up the Crick Without a Piddle’   which aptly described that particular day in East Anglia.

Coot Club - Sam Kelly and Jake Coppard

Sam Kelly with Jake Coppard either in the Catchalot or our support boat

Sam Kelly playing Captain of the Catchalot with Jake Coppard

In the end it was the boys who kept us amused. They were inventive and used whatever they could find and whatever opportunity came along to make me laugh.

Coot Club - boys in the rain1

Jake Coppard, Nicholas Walpole and Mark page under my umbrella on one of the few rainy days, whilst filming in Norfolk.

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Filed under 1983, Acting, Arthur Ransome, Biography, Film Cast, Film crew, Film History, Filmaking, Humor, Humour, Memoir, Movie stories, Richard Pilbrow, Sophie Neville, Swallows and Amazons, truelife story

The boats used for filming the BBC drama ‘Coot Club’ on the Norfolk Broads in 1983 ~

Norfolk County Sailing Base, Ludham

The ‘Titmouse’ under sail in 1983

I think Jim Searle might have given me this lovely photograph of  Titmouse, and that was taken when the boys from Norfolk who played the Death and Glorys were given sailing lessons prior to filming in the summer of 1983.

Henry Dimbleby resting between takes in the 'Dreadnaught'

Henry Dimbleby resting between takes in the ‘Dreadnaught’.

The Dreadnaught was a useful punt. Henry Dimbleby is sitting on the life jacket he was obliged to wear during rehearsals, despite the fact that he jumped into the water in the action to avoid being spotted by the Hullabaloos, the holiday makers who had hired the Margoletta, in reality the Norfolk cruiser Janca.

Coot Club - Bruce McCaddie the designer

Bruce McCaddie, our Designer with Prop Master Ricky King in the ‘Cachalot’

Am I right in thinking that this must be the Catchalot? It looks as if our designer, Bruce McCaddie, is sorting out a fishing rod used by the actor Sam Kelly, who was after pike.

The Death and Glory at Gay Staithe

The Death and Glory at Gay Staithe

One of the jobs Bruce gave to his construction team was to build the cabin on the Death and Glory, with its flower pot of a chimney. He transformed the look by adding rigging from the mast.

Bruce Mackadie

Our Set Designer, Bruce McCaddie using a dressing boat to approach the ‘Death and Glory’ complete with her cabin. Is the ‘Titmouse’ moored alongside?

In terms of set design ‘Coot Club’ and ‘The Big Six’ were rather unusual productions to work on but Bruce loved boats. Instead of being an extra person on the vessel used by the film crew, he would take a period dinghy to gain access to his sets – which of course were often other boats. This run-around boat could then but used in the back to shot, especially if he needed to hide something modern.

Coot Club - the  camera boat

Norfolk teacher Angela Scott with the ‘Catchalot’

This is one of the only shots I have of the Catchalot, which looks as if it might have been taken up near Horsey Mere. It shows Angela Scott, the children’s tutor making a funny face at the end of the day. You can just see the make-up artist, Penny Fergusson, and what could be Mary Soan on board.  Jill Searle may have been there too. She became a great friend of Liz Mace, our Production Manager who had always been keen on sailing.

Coot Club - Lullaby as the Teasel undersail

Lullaby undersail, playing the Teasel with her stage name painted on a false transome

The Teasel was played by Lullaby. Roger Wardale tells me she is  a mahogany hulled crusier, a gunter-rigged, 4-berth ‘Lustre’ class yacht built in 1932 and kept at Hunter’s Yard in Ludham, where I believe she is still available for hire. She is similar to the 3-berthed ‘Fairway’ yachts that Arthur Ransome and his wife would hire for holidays on the Broads  in the 1930’s.

The Teasel towing the Titmouse

The Teasel towing the Titmouse – click on this photo to see a close-up of the cockpit

One of the secrets of filming Coot Club is that although this looks as if Mrs Barrable is sailing the Teasel, it is not Rosemary Leach but a young man from Hunter’s Yard wearing her costume. Caroline Downer, who played Dorothea Callum, Richard Walton, who played Dick, and Henry Dimbleby who played Tom Dudgeon are in the cockpit, but we also used ‘doubles’ on that day to play Port and Starboard.  I found girls two girls from Norwich, Julia Cawdron and Claire Dixon, who played the twins for a day.

The reason for this was that sailing scenes are time-consuming to film and quite tricky to edit together. While our Director, Andrew Morgan, was busy filming the scenes at the Farland’s house with the actor Andrew Burt and the twins, Sarah and Claire Matthews, accompanied by their mother, I was on a second unit headed up by the Producer Joe Waters. Although Joe had directed a huge number of dramas he asked his film editor, Tariq Anwar, up to direct the sequences, knowing that he would be cutting the shots together.  He came up to the location with his wife and we took most shots from the camera boat, Camelot.

Tariq Anwar is still working. He edited Vivaldi, based on Antiono Vivaldi’s early life, starring Elle Fanning, Neve Campbell and Brian Cox. His latest credits include Great Expectations and The King’s Speech as well Down the River featuring Joe Henry, Tom Jones and Hugh Laurie. I haven’t seen the documentary but presume it must include the odd boat.

Do write in the comments below if you can fill me in on the names of those who helped us with the boats for the series.  My address book lists: Jim and Jill Searle, Rupert Latham, Pat Simpson of Stalham Yacht Services, Richardson’s of Stalham, Lawrence Monkhouse, Keith King of Feny Boatyard and the Steam boat Association. I still have a certain sticker on the front of my BBC address book ~

Coot Club - My Address Book

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Boats of the Norfolk Broads ~

Sailing on the Norfolk Broads

I recently found a family photograph album with pages illustrating holidays spent under sail in the 1930’s.

Breakfast on the Norfolk Broads ~ Easter 1939

Joan with her friends having breakfast on the Norfolk Broads ~ Easter 1939

Not all the black and white photographs are as horizontal or as sharply in focus as one might wish but they show the glorious boats available for hire

Sailing on the Norfolk Broads - Easter 1939

and reflect what fun was had out on the water.

Joan Hampton - Norfolk Broads - Friends1

We were rather shocked by the cigarettes held in the mouths of the young men but Joan is ninety-nine now and still agile.

Martin Neville on the Norfolk Broads

Martin Neville sailing on the Norfolk Broads with friends in the early 1950s

Having sailed on the Broads with friends, my father hired a Hullabaloo boat to take us out when we were little.

Sophie Neville with her sisters on the Norfolk Broads

We went out of season, when boat hire was cheaper. As there was no one on the water my father let me take the helm mile after mile, despite the fact that I was only about seven years old.

Sophie Neville on the Norfolk Broads

Sophie Neville wearing a life jacket c. 1968

 We loved living aboard and were often surrounded by wild geese.

Sophie Neville on the Norfolk Broads

It seems Arthur Ransome, who had fished on the Broads with Titty’s father, Ernest Altounyan, in 1923, also enjoyed cruising in the spring. His biographer, Roger Wardale, said that ‘Both the Ransomes liked to visit the Broads just after Easter, before most of the motor cruisers had started the season and it was the best time of year for birdlife.’ He went on to describe how Arthur Ransome kept a log of his three weeks spent in a Fairway yacht, the essence of which he used to write Coot Club in 1933/34. ‘As well as visiting Roy’s of Wroxham, tying up at Horning Hall Farm and watching the racing boats go by, towing through bridges, mooring beside a Thames barge at Beccles and watching a fisherman catching eels with a bab, there are numerous details that combine to make Coot Club a valuable account of the social and natural history of the Broads as they were more than 70 years ago.’ 

Roger Wardale illustrated his book Arthur Ransome Master Stroyteller , using wonderful photographs and sketches by Arthur Ransome, including a very jolly one of the Hullabaloos that had not been published before. Do get hold of a copy of the book, to read the chapter on Coot Club for yourself.

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The ‘Doctor Who’ connection ~

One viewer has observed that, in the BBC serialisation of Coot Club and The Big Six, we had not one but two Doctors in the cast, Time Lords at that. This is true. We arrived on location one morning to find that Patrick Troughton had  transmogrified into Harry Bangate the Eel Man.

Patrick Troughton as the eel man

Patrick Troughton playing The Eel Man in ‘The Big Six’, 1983

He had led the most fascinating life. A Naval Officer during World War II, and the first actor to play Robin Hood on television, Patrick Troughton played The Doctor in 128 episodes of Doctor Who. But would he be drawn? If we asked him about his life he just started talking about eels in a broad Norfolk accent. He’d worked for our Director Andrew Morgan on Kings Royal and for Joe Water’s on Z Cars, but for us, in the summer of 1983, he was the eel man.

Coot Club - Jake Coppard - playing Pete

Jake Coppard playing Pete at the eel man’s hut

Colin Baker first appeared in Doctor Who (a story entitled Arc of Infinity) in the role of Commander Maxil, when he actually shot the 5th Time Lord, who was being played by Peter Davison. It was not until after he arrived in Norfolk to play Arthur Ransome’s tweed-clad Dr Dudgeon, that he realised his full destiny and donned a multi-coloured dream coat to take on the 6th incarnation of The Doctor in the long-running BBC science fiction series.  I went on to work as an Assistant Floor Manager on a two-part story called Vengeance on Varos when the Tardis had to make an emergency landing on a most unattractive planet. When we were in the North Acton rehearsal rooms I persuaded Colin to teach me all the correct jargon about transmogrifiers but it has since washed from my brain.

Colin Baker as Dr Dudgeon in 'Coot Club' and 'The Big Six'

Colin Baker as Dr Dudgeon amusing us by smoking grass

I can’t remember whether Colin Baker was cast as Dr Dudgeon in Coot Club before or after Henry Dimbleby was given the part of his son Tom Dudgeon, but he did not look unlike Henry’s real father back then.

David Dimbelby with us on location in Norfolk, 1983

David Dimbelby with us on location in Norfolk, 1983

There were various other members of our film crew who were also familiar with the Tardis. (I think we were meant to refer to it as  ‘T.A.R.D.I.S.’ ~ Time And Relative Dimension In Space).   John Woodvine ,who played PC Tedder, had preciously taken the role of the Marshall in ‘The Armageddon Factor’, opposite Tom Baker and Mary Tamm in 1979.

John Gill who we knew as Old Bob of the Comealong had the part of Oak in Fury from the Deep, made in Patrick Troughton’s time. Alan Lake played Herrick in four episodes entitled Underworld first broadcast in 1978. Andrew Burt played Valgard in Terminus during Peter Davison’s era and Tim Barlow, the distinctive looking actor who played the old man at the Roaring Donkey was Tyssan in Destiny of the Daleks. Sam Kelly, our Captain of the Catchalot appeared in the audio dramas of Doctor Who titled The Holy Terror and Return to the Web Planet.

Andrew Morgan directed both Time and the Rani and Remembrance of the Daleks. Tariq Anwar our film editor on Coot Club, worked on two stories while  Andy Lazell, the visual effects designer responsible for creating so much fake fog on Breydon Water had worked on ‘The Leisure Hive’ and ‘Snakedance’, eight episodes of Doctor Who first broadcast in the early 1980s. Colin March, our sound recordist worked on the film sound or ‘Planet of Evil’ in 1975 and ‘The Two Doctors’, with both Colin Baker and Patrick Troughton. It was broadcast in 1985. Liz Mace, had been the production manager on ‘Time-Flight’.  Diana Brookes, our script supervisor – or production assistant as the job was then known – had worked with Colin Baker on the four-part Doctor Who story ‘Arc of Infinity’ in 1982/3. Perhaps it was she who thought of him for Dr Dudgeon.

Diana Brookes in Beccles with Richard Walton who played Dick in 'Coot Club'

Di Brookes in Beccles with Richard Walton who played Dick in ‘Coot Club’

The part of the tall and elegant Hullabaloo, Livy, was played by Sarah Crowden. Her father, the actor Graham Crowden who I always think of as Tom Ballard in his Sit-com Waiting For God, was offered the part of the fourth Doctor Who , after Jon Pertwee but he turned down the opportunity as it was such a committment. Instead he played Soldeed in The Horns of Nimon in 1980 after Tom Baker had being playing the fourth Doctor for some time.

The person working on our series who had had a huge input on Doctor Who was Mervyn Haisman, our Script Editor. He’d written at least seventeen episodes including the series entitled The Dominators, writing under the name Norman Ashby. Mervyn never appeared on location but it was he who steered the adaptation of Arthur Ransome’s novels, breaking them down into four episodes each, whilst remaining faithful to the original stories.

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The Costumes for the BBC serialisation of Arthur Ransome’s books ‘Coot Club’ and ‘The Bix Six’

Sophie Neville in 1983, during the filming of 'Swallows and Amazons Forever!'

Sophie Neville in 1983, during the filming of ‘Coot Club’

Julian Fellowes recently introduced me to friends, explaining that we had worked together when I had been a Consultant on ‘Swallows and Amazons Forever!’ ~ the overall title given to the BBC serialisation of ‘Coot Club’ and ‘The Big Six’. This was very kind. Apart from a fact or two about Arthur Ransome, my consultant-ish-ness consisted mainly in suggesting the children wore warm clothes when they were out on the water. I need not have worried. Our Producer, Joe Waters, appointed the most wonderful costume designer, who knew all about thermal underwear and hats. ‘I love hats,’ she told me. ‘Everyone wore hats in the 1930s. They give the whole production a period feel.’

Coot Club Susannah BNuxton and Henry Dimbelby

Susannah Buxton and Henry Dimbleby on location in Norfolk in 1983

Everyone on the unit – certainly all the children in the cast, adored Susannah Buxton. She was only about thirty-three and had not been a costume designer long. A tall red-head, she admitted to often struggling to her feet on set when the Lighting-Camera man called for a certain light.

Rosemary Leach as Mrs Barrable in a hat suitable for an Admiral

Rosemary Leach as Mrs Barrable in a hat suitable for an Admiral

I’ve just read a review on Amazon.co.uk  about ‘Coot Club’, which said, ‘Wonderful attention to period detail. Even the film’s colours are right for the period.’ They certainly were. Susannah managed to source a huge number of original hand-knitted garments.

Nicholas Walpole as Joe with Sam Kelly in 'The Big Six' ~ photo Sophie Neville

Nicholas Walpole as Joe with Sam Kelly in ‘The Big Six’

While she was dressing the children, deciding what they should wear at the beginning of a new day in the story, Susannah explained that she was keen that they didn’t look too chocolate-boxy. The girls playing Dorothea and the Farland twins were all so pretty it would have been easy to go over the top. She carefully combined elements of school uniform with 1930’s clothes that children would have worn in their summer holidays. I can’t remember any member of the cast being uncomfortable – either two cold or two hot, even though we spent three months filming on the Norfolk Broads.

‘How did you become a designer?’ I asked her.

She explained that she loved clothes and it was what she always wanted to do. She’d been working freelance as an assistant in Bristol, thinking she wouldn’t get to design on a television production for years, when the phone rang. ‘I was asked if I could take on the role of costume designer, so I took a deep breath and said, “Yes.”‘  Here I have to explain that many members of the crew had come up from BBC Bristol, which then had a regional crews available to work on period dramas. Our Producer was very pleased about this. He used a crew from BBC Bristol again when we made ‘My Family and Other Animals’ on Corfu  a few years later. Susannah had a wonderful assistant called Helena and at least three dressers, including Paul Higton and Lesley Bowling, who were not only meticulous but great fun.

Coot Club - Lesley Bowling

Lesley Bowling on location in 1983. The hand belongs to Paul Higton.

The size of the costume department reflected the difference between the 1974 feature film of  ‘Swallows and Amazons’, which was shot in the Lake District with a small cast and very few crowd scenes – when the one Wardrobe Master was helped only by my mother – and our BBC TV adaptations of Arthur Ransome’s books set in Norfolk.  ‘Coot Club’ and ‘The Big Six’ had much bigger casts, with many more roles for adults and supporting artistes.

Coot Club - the hay wagon

A hot day in Norfolk on the set of ‘Coot Club’

I was looking after the eight children in the lead parts and another six or seven boys in supporting roles, not to mention children who appeared as extras in the village scenes.  It was Paul and Lesley’s humour that oiled the wheels that kept us running smoothly. ‘The Big Six’  had to be taken through costume and make-up almost every day for three months and these were costumes that had to stay clean all day. The children were obliged to wear life-jackets when they were near water, right up until the time when the director went for a take. Obviously, these had to go straight back on after each camera set-up. I can still see Paul Higton with an armful of colourful life-jackets he was handing back to five boys at a time.  He went on to become the costume designer on forty-eight episodes of Dangerfield and more than 825 episodes of the TV series Doctors.

Jake Coppard receiving a soaking from Paul Higton while Nicholas Walpole and Make Page escape getting wet.

Jake Coppard receiving a soaking from Paul Higton while Nicholas Walpole and Mark Page escape getting wet.

Susannah Buxton went on to have the most dazzling career. I last saw her when she was striding along the South Bank in London one evening. I didn’t know that she had worked on so many movies. These have included,  Millions, 2004, directed by Danny Boyle, ‘As you like it’, directed by Kenneth Branagh and ‘Death defying Acts’, which starred Catherine Zeta-Jones. She won a BAFTA award for ‘Mr Wroe’s Virgins’, directed by Danny Boyle, an RTS award for ‘Shooting the Past’, which was directed by Stephen Poliakoff, and a number of awards for ‘Downton Abbey’, including an Emmy for Outstanding Costume Design.  I’m not sure she imagined all this would be in store for her when she was busy loading costumes into a boat on Horning Staithe back in 1983.

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Filed under 1983, Arthur Ransome, Biography, Film Cast, Film crew, Film History, Filmaking, Memoir, Movie, Movie stories, Sophie Neville, Swallows and Amazons, truelife story