The actor Sam Kelly sadly died of cancer aged 70. Although most well known for his roles in Porridge and the situation comedy ‘Allo ‘Allo, those who love the adaptations of the Arthur Ransome books will remember Sam Kelly as Captain of the Catchalot in the BBC dramatisation of ‘The Big Six’.
Sam Kelly playing Captain of the Catchalot with Jake Coppard as Pete in ‘The Big Six’
Sam Kelly was brilliant as the cheerful pike fisherman of the Norfolk Broads who trusted the local lads to look after his boat and fishing tackle, standing aside to let them take the credit for catching a ‘whoppa’ with his rod.
Jake Coppard, Mark Page, Nicholas Walpole and Sam Kelly officially weighing the great pike
Arthur Ransome did not actually give the Captain of the Catchalot a name. He is listed as ‘Robin’ in the BBC credits, although the whole point was that his character was nameless. This is unusual in a drama but Pete, of the Death and Glory, who caught bait and helped to catch the massive pike, only ever addressed him as ‘Sir’, and never knew his name. This was a point crucial to the plot as later in the story Pete is forced into a corner when questioned by the police as he had to admit he didn’t actually know the fisherman’s name.
The series ends when they all celebrate the great catch at the pub famously called The Roaring Donkey and drink to the stuffed pike that weighed in at over 30lbs, earning the three boys the huge sum of thirty-shillings and sixpence from the landlord.
Sam Kelly recently appeared in Nanny McPhee and the Big Bang , playing Maggie Smith’s husband Mr Docherty, and on stage in Mike Leigh comedies, until ill-health forced him to stand down. It could be tricky working with Sam as we only had to look his way and we’d all collapse laughing. The more serious the story line, the more we laughed. He was a very generous actor and will be very fondly remembered by us all.
I have received many questions via the internet asking if Sam Kelly ever married, but although often surrounded by pretty girls I think the opportunity passed him by. He once arrived at my house with a bottle of champagne and took me out to a very nice pub on the River Thames but I was seventeen years younger than him and had to explain I was already committed to another.
Costume designer Susannah Buxton on location with Sam Kelly and make-up artist Penny Fergusson
‘The Big Six’ was re-released with ‘Coot Club’ on DVD this summer by Revelation Films under the generic title Swallows and Amazons Forever.
Also starring Colin Baker, who was at drama school with Sam, as well as Patrick Troughton, John Woodvine and Henry Dimbelby it makes very good family viewing. To purchase a copy please click here.
The BBC have this lovely photo of Sam Kelly roaring with laughter that you can find inside the DVD:
Sam Kelly as the Captain of the Catchalot (c) BBCTV
To mark the 30th anniversary of its original broadcast on BBC One, Revelation Films re-released the DVD of the BAFTA nominated serial, Swallows And Amazons Forever!
The television adaptation of Arthur Ransome’s classic books Coot Club and The Big Six, “Swallows and Amazons Forever!” is an eight-part drama serial made on location in East Anglia in 1983, broadcast on BBC TV in 1984.
As Revelation Films say, ‘Set on the Norfolk Broads in the 1930s, the BAFTA-nominated BBC production is packed full of lively characters, beautifully authentic scenery and plenty of adventure.’
Jake, Mark and Nic with Sam Kelly playing Captain of the Catchalot
The new version of the DVD includes the option of subtitles. The packaging and menus have been completely redesigned, and if you take a look at the DVD extras package you can see photographs that I took on location that give an insight into the production.
The big thing is that the picture quality has been digitally restored, with amazing results. This short Youtube clip shows the amazing difference in the quality.
RRP: £15.99 | Certificate: U | Discs: 1 | Run Time: 202 Minutes
Whilst travelling to Norfolk to stay on a boat with family friend Mrs Barrable, Dick and Dot Callum meet Tom Dudgeon and the members of Coot Club. After being told that they won’t be learning to sail, their disappointment quickly turns to excitement as an adventure begins to unfold. Will they be able to protect a precious coot’s nest whilst hiding Tom from the awful Hullabaloos, who are hell bent on ruining everyone’s holiday? Creator of Downton Abbey, Julian Fellowes, stars as Jerry the Hullabaloo in this delightful film.
The Big Six
When Dick and Dot return to Norfolk to stay with Tom, they find themselves caught up in a brand new adventure. The Death And Glories are being accused of setting moored boats adrift but the three boys maintain their innocence. With the whole town against them, it’s up to Coot Club to gather evidence and prove that someone else is responsible for these crimes. The Big Six is born. Dr Who’s Colin Baker and Patrick Troughton star in this fitting adaptation of the classic story.
The yacht Lullaby playing the Teasel in ‘Coot Club’, seen here being delivered to location on South Walsham Broad
In 2014, Revelation Films contacted me, saying that they were thinking of producing new packaging for a 30th Anniversary release of ‘Swallows and Amazons Forever!’, the BBC Drama adaptation of ‘Coot Club’ and ‘The Big Six’ starring Rosemary Leach, Julian Fellowes, Colin Baker, John Woodvine and Henry Dimbelby. It also featured William the pug dog, who became a national treasure when he took on the role of Ethel’s Little Willie in Eastenders.
I worked on the television series that was shot on 16mm film almost entirely on location in East Anglia. We spent the idyllic summer of 1983, mainly afloat on the Norfolk Broads. DVDs now offer Extras, which I was commissioned to write.
They tell me that this DVD is one of their top ten bestsellers along with LA Law, Highway to Heaven and Dr Quinn, Medicine Woman starring Jane Seymour.
I wanted to suggest they had the book titles in larger letters: ‘Coot Club’ and ‘The Big Six’ by Arthur Ransome. Neither the Swallows or the Amazons appear in it after all. However, interesting actors such as Patrick Troughton and Sam Kelly do. I thought that including photos of them might appeal to those who appreciate Classic TV.
It was thought that my shot of Julian Fellowes playing Jerry the Hullabaloo showed him looking too young to be recognised these days. I am sure he’d agree with me that it is just the mustache that is distracting. I don’t remember it being a real one.
The production manager at Revelation Films told me she liked the photograph used on the cover of the Puffin Book, which I explained depicted The Big Six. The publishers are currently searching their archives for the original shot, which I remember setting up at Gay Staithe. Sadly this abridged version of the books lacks Ransome’s own illustrations.
I suggested they edit the episodes together into two films but I understand some parents like being able to show each 28 minute episode at a time. We loved the opening titles graphic and music at the time but they seem rather dated now.
Sadly Revelation Films only own the UK rights but I’ve noticed you can buy it on Amazon.com . There are other outlets but you want to be able to guarantee the quality.
I am currently reading Roger Wardale’s new book Arthur Ransome on the Broads, which is also available from Amazon It is illustrated with photographs of some of the boats that we used when we were filming. This was the Teasel’s costume:
I loved seeing Roger’s photographs of the Fairway yachts in full sail. Perhaps one of Lullaby should be on the new cover of the DVD.
David Wood, who wrote the screenplay for SWALLOWS & AMAZONS in 1973, has recently told me about his work adapting other Arthur Ransome books – GREAT NORTHERN?, PIGEON POST, WE DIDN’T MEAN TO GO TO SEA and WINTER HOLIDAY – all for Richard Pilbrow of Theatre Project Films.
‘It was decided that GREAT NORTHERN? should be the follow-up to the SWALLOWS film, because it was ‘different’, being the only book set in Scotland. Also, the villainous birds’ egg collector was a strong adult role – Peter Sellers was mentioned….. We had great fun looking for locations, swooping around in a helicopter over Harris, Lewis etc.
‘Word got out that I was working on GREAT NORTHERN? and I had a very firm letter from Mrs Ransome saying that no permission had been granted to work on this title, and that it would not be granted!! No reason was given. Years later, the Ransome autobiography suggested that Mrs R didn’t like GREAT NORTHERN? and criticised it to Ransome’s face. Also, he used sometimes to swan off to the Highlands with his friend, Quiller-Couch (I think) to fish, leaving Evgenia on her own back in the Lake District. The only communication from him would be the occasional delivery on a horse and cart from the railway station of a salmon, caught in Scotland the day before! Maybe she resented Scotland for luring him away! But she was determined that GREAT NORTHERN? the movie would never see the light of day!! But I still wrote a complete screenplay! I did a film treatment for WINTER HOLIDAY, that never got off the ground either.’
PIGEON POST was to be a six-part serial, a BBC-Theatre Projects co-production. David remembers that they got as far as looking for locations in the Lake District. I started making preparations to cast the children for this drama which Joe Waters wanted to produce in 1983, directly after making COOT CLUB and THE BIG SIX under the generic title SWALLOWS AND AMAZONS FOREVER! that had been adapted for television by Michael Robson.
‘WE DIDN’T MEAN TO GO TO SEA was also to be a serial. I did a treatment, visited Pin Mill and other locations, and met the man who built one of Ransome’s boats, or maybe worked on it with his father. All the materials and scripts still exist, but they are probably a bit too ‘straight’ for contemporary taste.’
Unbelievably, thirty years have passed since we started filming the BBC adaptations of Coot Club and The Big Six on location in Norfolk. We drove up to Norwich on 17th June 1983 and by 3rd July would have been in full swing. It had been my job to cast the children who I was now looking after on location.
Amazingly, we were to able enjoy three months of almost solid sunshine and had the most wonderful time. The eight-part serial, produced by Joe Waters, was first broadcast in 1984 under the generic title of Swallows and Amazons Forever! This was because Joe was hoping to dramatise other Arthur Ransome books, but sadly they proved too expensive.
I gave an illustrated talk about how the series was made at the Royal Harwich Yacht Club on the River Orwell for the Nancy Blackett Trust Annual Meeting, explaining how Rosemary Leach and I had both appeared in the BBC drama Cider with Rosie back in 1971. Having starred as Laurie Lee’s mother, she had the lead part of Mrs Barrable, the Admiral in Coot Club.
The drama, set in the early 1930’s, was nominated for a BAFTA. It had an exceptionally talented cast including Rosemary Leach, John Woodvine, Sam Kelly and Henry Dimbleby. I’m not sure if you can spot him that easily on the cover of the DVD, but one of the characters in the story soon became a household name. It was William, Mrs Barrable’s fawn pug dog. He was soon known nationally – if not internationally – as Little Willie, Ethel’s pet dog in the soap opera Eastenders.
While Jack Watson was at the helm of the Sir Garnet, Julian Fellowes played Jerry, self-appointed skipper of the Margoletta and the leader of the Hullabaloos. Whilst with us on the Norfolk Broads he forged a creative partnership with our director Andrew Morgan that launched his career as a writer. They were soon working together on adaptations of classic books such as The Prince and the Pauper and Little Lord Fauntleroy.
Looking back, I can see a number of connections between Coot Club and Doctor Who. You will see we had not one but two Time Lords with us in the guise of The Eel Man, who was played by Patrick Troughton, and Dr Dudgeon, played by Colin Baker, who went on to become a later incarnation of the Doctor.
A number of the crew worked behind the scenes on Doctor Who including our Visual Effects Designer, Andy Lazell and the writer Mervyn Haismen. I found myself working on Vengeance on Varos a year later when Colin Baker swapped his Norfolk tweeds for the multi-coloured coat he wore in the TARDIS.
However, I expect the members of the Nancy Blackett Trust will want to know most about the beautiful period boats that appeared in the series, some of which members of the Arthur Ransome Society have been tracking down. Sadly some, such as the Catchalot seem to have deteriorated but the Janca, who played the Margoletta has been restored, and the Death & Glory is still on the Broads.
The wonderful thing is that you can still hire the yacht we used to play the Teasel and take the same route through the Broads as Arthur Ransome took with his wife in the 1930’s when he was absorbing experience from which to write. What I did not know until recently was that Titty Altounyan ~ the real Titty portrayed in Swallows and Amazons ~ accompanied them one year, but I will leave that story for a future post.
For more information on Saturday’s talk please click here
If you want to see what Sophie Neville, who played Titty Walker has been doing, please click here.
If you are interested in the BBC serial of ‘Coot Club’ and ‘The Big Six’, originally titled ‘Swallows and Amazons Forever’ please read on.
It is almost thirty years since we made the BBC adaptation of Arthur Ransome’s books Coot Club and The Big Six on the Norfolk Broads. The eight-part drama serial was filmed over three months during long hot summer of 1983. You can see from our faces how everyone made the whole experience enjoyable. It was ten years after we had made the movie ‘Swallow & Amazons’ but the atmosphere and the camaraderie felt similar.
Caroline Downer, who played Dorothea Callum so professionally, finally took out her plaits for good and returned to school – her real school rather than the boat where she had received lessons whist we were filming. She had done so well, holding her own with a cast made up predominantly of boys by the time we started filming The Big Six. A year or so after the series was broadcast she wrote to me of her plans for the future. I am ashamed to say that I was so busy working on Doctor Who that I didn’t reply. I can’t think why I tarried. She was far more important to me than Doctor Who. Caroline now teaches drama, is an LRAM examiner and puts on the most wonderful musicals. Hopefully she can draw on something of what she learnt during those months in East Anglia spent working with so many great British actors.
Despite the pressures and stress of filming, nothing flustered Henry Dimbelby. He was easy-going and optimistic – great fun to have around. He had no ambition to act but did such a good job. His parents were wonderful. Instead of going to Devon, where they kept a gaff-rigged boat, they rented a house on the North Coast of Norfolk for their summer holiday in 1983 so as to be near our locations. I remember driving Caroline and Henry up on a unit day off only to find Jonathan Dimbelby there too, with his wife Bel Mooney who I chatted to when we went for a walk before lunch. On the kitchen table back at the house was a huge colourful sausage and pasta salad made by Josceline Dimbelby, Henry’s mother. It was the first home-cooked meal I’d had for weeks, and was hugely appreciated. I was mesmerised by the colours and textures, the whole inventiveness of a salad made for a large family.
While Henry’s grandfather, Richard Dimbelby the World War II correspondent, went into newspapers and his father, David Dimbelby, worked for the BBC as a News reporter, presenter and commentator, you could say that Henry followed his mother. He trained as a chef – and became an innovative one, producing books on food and appearing on the occasional cookery program. In 2004 he opened Leon, the restaurant in Carnaby Street in central London that specialises in serving seasonal fast-food that is both delicious and good for you. Founded with Allegra McEvedy and John Vincent, Leon soon became popular. It was awarded ‘Best New Restaurant’ at the Observer Food Monthly Awards six months after opening. I believe Henry and his partners now have a chain of ten outlets and that their recipe books are an inspiration to many.
Claire and Sarah Matthews, the twins who played Port and Starboard in Coot Club, went on to play Eve and Alexandra in the 1984 TV mini series Master of the Game , which starred Angharad Rees, David Suchet and Fernando Allende. They still live in Sussex and are very close. Claire has taken up running in all weathers.
The Walpoles have written in! It was so good to hear from them. Nicholas Walpole, who played Joe, joined the Royal Navy and served on HMS Roebuck from 1989-90 as a survey recorder. A friend of his said he was teased mercilessly on board about his acting background. Many-a-time a chorus of ‘Swallows and Amazons forever’ would ring out when he walked into the Mess. Nik is now married, lives in Coventry and has three grown up children, one of whom wants to act. His mother still enjoys living in rural Norfolk. You can read their comments at the bottom of previous posts.
I am afraid that I haven’t seen Simon Hawes, who played George Owden, or the other boys from Norfolk since we finished filming. They did so well. Playing a baddie isn’t easy even with Make-up and Hair Department straining to help.
Richard Walton, who played Dick Callum, now lives in Los Angeles – he has written in, below. Mark Page, who played Bill, now lives on the coast of Turkey. I wonder if taking part in the BBC serial influenced their decisions to emigrate.
We spent long days together, often out on the water. Someone once explained to me that when you are camping and gadding about in boats, generally leading an Arthur Ramsome style life, you tend to laugh more. As a result more endocrines get released into your system, relationships are forged and bonds made. It has to be said that the boy who made us laugh more than anyone else on the film crew was Jake Coppard, who played Pete, the shortest of the Death and Glory boys. Although the character he played could be serious Jake was always finding something amusing or someone to imitate. Sam Kelly got on with him particularly well, helping him through the scene when Pete falls in.
Jake was such a talented actor. I gather he went on to appear as Charlie in a television drama directed by Tony Virgo called Travellers by Night (1985) , which featured Neil Morrissey who became so well known when the comedy series Men Behaving Badly proved a success. The lead role of Mrs Baker in Travellers of the Night was played by Jo Rowbottom who, by coincidence, had played Katie Leigh, Simon West’s mother in Sam and the River back in 1975.
Jim and Jill Searle of the Norfolk Country Sailing Base in Ludham helped us find traditional boats for the BBC adaptation of Coot Club and The Big Six set on the Norfolk Broads. Jill kindly sent me a copy of this photo taken of Lullaby just after she was chosen to play the Teasel back in 1983. Her costume consisted of a false transom, which is still at Hunter’s Yard in Ludham today.
Roger Wardale took this photograph included in his book, Arthur Ransome on the Broads , which Amberley Publishing brought out in full colour. He tells of Arthur Ransome’s half-dozen or so holidays on hired yachts and of the young people who sailed in the fleet, including Titty and Taqui Altounyan.
Roger found out that the Ransomes hired a 23′ Fairway’ yacht from Jack Powles of Wroxham. This had a Primus stove with a special cooking locker in the well. It sounds well kitted out with a wash-basin and self-emptying WC in a separate compartment. The three Somnus spring-berths had drawers underneath and there was even a wardrobe. Like the Teasel, she was built of mahogany with a ‘bright varnish finish’ and, given a fair wind, would have zipped along at quite a speed.
Roger said that he spent six days trying to find places Arthur Ransome visited that had not changed since the 1930’s. He found it difficult. What he did discover was the dinghy used to play Titmouse in the BBC TV series. She can still be visited at Hunter’s Yard.
It is still possible to hire the mahogany hulled, gunter-rigged yachts much as Arthur Ransome and his wife did in the 1930’s, together with a sailing dinghy or rowing boat. There are fourteen sailing cruisers in the Hunter’s fleet and none have an engine. They have lifting cabin tops so you have more headroom when you moor up. Lullaby, built in 1932, is 28ft long with four berths. Her mast can be lowered with counter weights so she can be taken under bridges with a clearance of six foot.
Roger Wardale says that in the 1930’s, many of the yachts had a ‘self-acting’ jib but Ransome considered it too large. There were times when he lowered it, only to find ‘he sailed better without it!’ They still have self-acting jibs but the size may have been altered.
Roger also found a cruiser similar to Janca, the 1930’s cruiser who played the part of the Margoletta. She was skippered by Julian Fellowes in his glorious role as a Hullabaloo, the spiteful, arch-baddie of Coot Club.
Back in 1983 we were hugely helped by a number of Norfolk boatmen who knew the broads well.
You will have to let me know the name of these gentlemen who spent long hours helping us in the summer of 1983.
Filming from one boat to another is tricky and much patience was need. In many ways the easiest boat to film with was the Death and Glory. She can still be found moored somewhere on the Broads.
I well remember setting up this shot for the cover of the abridged version of the two stories, which was brought out by Puffin to accompany the series. It shows the Death and Glory complete with her green chimney. The big secret was that the interior of the cabin was larger than the exterior. we puzzled over Ransome’s drawings only to decide that he had cheated the measurements too.
Bruce McCaddy and his team built the set inside a modern boat shed where it was kept for ‘rain cover’, since the interior scenes could always be shot if it was wet. It included ‘camera traps’ or sections that could be removed so the scenes could be shot. I never went inside but the boys loved it. In fact the weather was glorious. We enjoyed such constant sunshine in the later part of the shoot that we filmed the interiors when it was dry and so warm the boys got quite over-heated.
The BBC drama series Swallows and Amazons Forever! was first broadcast at a very odd time. Instead of being mainstream BBC One Saturday night viewing in the run up to Christmas as we expected, it was moored in a by-water, shown on BBC Two at 6.30pm on Tuesday evenings. Very few people saw it. This was odd, especially since it was a big budget production with a strong cast. Perhaps it was because Colin Baker who played Dr Dudgeon had just been cast as Doctor Who.
However, when the series was released on video it was treasured by many:
‘This video is a delight!’ wrote Dr Duncan Hall from North Yorkshire. ‘…the animated credit sequence and the music are both a delight and you won’t get tired of them! The stories themselves are amongst the best ever written for young people and they are brought to life with relish by the director and excellent cast. The locations are all spot-on; anybody who has ever had a magical holiday on the broads will love this video for that alone! And the wildlife photography is fantastic as well. A last point: it is true there are no Swallows and Amazons in the programme – but the two books were part of Ransome’s famous ‘Swallows and Amazons’ series of books, so the title does not seem TOO inappropriate to me. Buy it!!!
This is a beautiful adaptation of Ransome’s ‘Coot Club’ & ‘The Big Six’. The child actors/actresses are excellent. There is almost an historical element as the DVD charts childhood without mobile phones and electronic games. Simply gentle and innocent yet a good degree of drama. 5 out of 5 stars Excellent
Mike Souter said, ‘ So pleased I bought this. I interviewed Henry Dimbleby on location in the 1980’s and seeing the episodes again brought back many happy memories. Charming series.’
Some viewers wrote to say they thought the twins playing Port and Starboard should have been aged eleven. They, in fact, were (both) eleven-years-old.
‘If you like nature, sailing, kids and bad plots this fits the bill. I have sailed on the Norfolk Broads and this series captures the atmosphere perfectly. The sailing is technically accurate too. I’m old enough to remember England in earlier times. Once again the atmosphere has been captured nicely. The unusual Norfolk regional accent is evident and sometimes realistic. This is a classic and fully in the spirit of the Swallows and Amazons books.’ 5 out of 5 stars -Wonderful ~ C Bauers, Suffolk
‘We really enjoyed this adventure it has inspired my kids to do a sailing course!!’ ~ David Francis, France
‘Watched the series as a child and have loved it my whole life. A family favourite, simply charming! Very indulging to sit back with a cup of tea and lose myself in the antics of some wonderful characters. I love it.’
‘Highly recommended entertainment for the whole family. Good old fashioned fun that children use to have before computer games were invented.’ J.Kennedy ~ Sydney, Australia
‘Just spent a week on a Broads cruiser with three granddaughters and played the DVD on the third night. It was quite magical that we had cruised to all the places mentioned in the films, and the girls were able to identify the filming locations, including the swing railway bridge at Reedham. We tried very hard not to have the radio too loud the next day for fear of becoming Hullaballoos, and kept well clear of coots nests. As with all films, these do not copy the books word for word, but I think Arthur Ransome would have been pleased with the result. Pity the TV companies don’t produce more films from the other books in the Swallows and Amazons series.’
We were hoping to keep going and adapt all the Arthur Ransome books. While I started casting children for Swallowdale and Picts and Martyrs, our Producer Joe Waters went up to Cumbria on a recce to find the main locations and to estimate a budget the next series. He returned looking crest-fallen. Filming on National Trust property in the Lake Distinct, when he was quoted fees of £1,000 a day – back then, even for open moorland – was simply going to be too expensive. Plans to adapt the Arthur Ransome books were put on hold. Indefinitely.
However, the original movie ‘Swallows and Amazons'(1974) is streaming on Amazon. You can read about how it was made in a choice of books available online here.
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.
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 Waters on Z Cars, but for us, in the summer of 1983, he was the eel man.
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. Once established at 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.
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.
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.’ short for ‘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.
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 commitment. 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.
I saw so many children when I was casting Coot Club and The Big Six that I could have left the BBC and set myself up as an independent casting director, but I was twenty-two and all I wanted to do was to join the film crew on location in Norfolk. I was just not sure how.
Andrew Morgan was a lovely director with two children the same age as those in our cast. To my surprise, I met him with his family one weekend on Port Meadow near Oxford. They had a narrow-boat moored at Bossom’s Boatyard where my father kept his steamboat Daffodil. Arthur Ransome would have approved.
Andrew had previously directed action dramas such as Secret Army, Blakes 7, Buccaneer, Triangle, Kings Royal and two episodes of Squadron, which Joe Waters had produced. Andrew, who was good at delegating, later declared himself, as he cued the steam train on the North Norfolk Railway, to be a director who specialised in films about different forms of transport. He very graciously asked me if I would work on location in the formal role of chaperone to the children whilst preparing their performances for the scenes ahead. He anticipated being out on the water in a boat without enough time to go through the children’s lines with them.
Once the casting was complete and licenses for each child safely lodged with various education authorities I took a weeks’ leave before returning to the production office on Shepherd’s Bush Green, where I helped book transport and accommodation. Filming on the Norfolk Broads for three months took quite a bit of preparation. While Joe and Andrew were casting the adult parts, we had to find a local tutor, buy life jackets and make numerous arrangements idiosyncratic to our particular production. The most exciting of these was commissioning the animal handler, Jan Gray of Janimals, to find a pug dog to play William. She bought a puppy so that he could be accustomed to his character name, travelling by boat, working with children and specifically trained to walk across mud. William had no idea of the stardom that awaited him. He ended up spending a great deal of his life in Gretchen Franklin’s arms playing Willy in Eastenders.
The day came when I packed up the little room I had been renting in Shepherd’s Bush from the actress Zelah Clarke and drove to the Dimblebys’ house in Putney to collect Henry. As he had just passed his Common Entrance he’d been let off school earlier than most thirteen-year-olds and we motored up to Norwich in a jubilant mood, singing most of the way. Whilst most of the production team and crew had found holiday cottages, I was to live at Sprowston Manor, the unit hotel with Caroline Downer, Henry and the other actors including the Matthews twins who travelled up with their mother. It was terribly grand. We had small quiet rooms at the back.
Liz Mace, our production manager, had taken my advice and scheduled ‘running around scenes’ for the first few days of filming, so that the children could get used to working with the film crew. The whole series was shot on 16mm by a wonderful, patient lighting-cameraman called Alec Curtis. We were very lucky to get him. He’d just finished The Kenny Everett Television Show and had worked on a huge number of well known comedy dramas ~ The Rise and Fall of Reginald Perrin with Leonard Rossiter, Fawlty Towers for John Cleese, The Morecambe & Wise Show, Sorry!, To the Manor Born and a BBC thriller called Scorpion. Alec had made God’s Wonderful Railway and was more than happy working with Andrew on the Bluebell Line for the opening scenes of Coot Club. Filming from a boat presented many more challenges, not least simply keeping the camera horizontal, but Alec was ever patient and kind. And always wearing a sun hat.
I had drawn Andrew endless diagrams of Claude Whatham’s camera pontoon, built with a flat surface to accommodate camera track, that used to make Swallows and Amazons in the Lake District. However a more normal and faster vessel was chosen as the camera boat for the Broads. It had to travel around quite a bit since a far greater variety of locations was required than we had in Cumbria. We also had a couple of glass fibre run-around boats which would sometimes be used for the camera, especially in backwaters too shallow for the larger boat.
I have been writing about the adventures had whilst filming from one boat to another here: