Herbie Donnelly – What Was Pebble Mill?

Fellow Traveller poster and script front page

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Thanks to Ann Chancellor-Davies for sharing this promotional film poster, and the front page of the rehearsal script, (Ann’s huband Gavin, was the production designer on the film). It never ceases to surprise and delight me, how many script front pages have been kept by people – they are such a mine of useful information!

Fellow Traveller was the only cinematic feature film to be made at Pebble Mill, it was transmitted on 10th February, 1991 on BBC2.

Below is the entry from the Radio Times, courtesy of the BBC Genome project:

“Starring Ron Silver, Imogen Stubbs, Daniel J Travanti, Hart Bochner
1950s Hollywood: the McCarthy senate committee is conducting a witch-hunt for supposed communists in the entertainment industry and betrayal is in the air. For three friends this proves to be a disaster – for the writer who must work incognito for the emerging ITV in England; for the musician now living in England, a painful renewal of old wounds; and for the star a final performance.
Producer Michael Wearing, Director Philip Saville”

http://genome.ch.bbc.co.uk/982604f5c78f4f9ab5618684c165c64b

The following comments were left on the Pebble Mill Facebook page:

Roger Slater: ‘I was Sound Mixer, ably assisted by the late great Tim Everett as Boom Operator and Benedict Peissel as Sound Assistant. Shot in Bray Studios and on location in the UK and Miami.’

Lesley Weaver: ‘I was the Hair & Make Up Designer, a privilege to work on this artistically challenging film as it covered historically wonderful periods for make & up and hair.

It took me to New York for photo shoots, Miami, The Keys glorious sea shore and numerous UK locations including Bray Film studios.

The fun recreation of 1950’s Robin Hood, Maid Marian, Sheriff of Nottingham and all the Merry (Stunt) Men.
Fighting scenes shot in Gavin Davies’s amazing huge forest built at Bray Film Studios.

Sue O’Neill was my lovely able Senior Assistant in the UK, amongst a team of talented make up girls and the late Peter Shepherd in the US.

We did 20’s 40’s & 50’s wigs, cut throats, pumping wounds and black blood for early 1950’s black & white TV make up… I remember Sue O’Neill baking her prosthetics around the country in various hotel ovens over night! Such dedication!
From Art Deco offices to post war austere London bedsits and disagreeable landladies. Then over to the warmth & glow of Hollywood party life with dazzling costumes glamorous film stars & cars, the McCarthy Committee cloud over Hollywood and suicide in coral swimming pools. It had it all for make up & costume!
Always a great laugh to work with Al Barnett Costume Designer extraordinaire and all the other talent technicians on the production ….. And let us not forget costume design assistant, Amin Hassan who we sadly lost a few week ago!

Writer Micheal Eaton was enthusiastically on set everyday and excited to be ‘wigged up’ for his Hitchcockesque cameo scenes! …

….. it was always a pleasure to find yourself working on one of Micheal Wearing’s productions as you knew all your hard work would contribute to something worthwhile.

How lucky was I?

Oh Happy Happy Days !!’

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New Window Please!

Photographs from Andy Stowe, no reproduction without permission

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Thanks to Andy Stowe and Malcolm Hickman for this tale from Pebble Mill:

Andy’s father, Pat Stowe, supervised the team of glaziers called in to install a replacement window at Pebble Mill in the late 1970’s. As you can see from the photo, it was a huge piece of glass, in the corridor outside Studio A!

Ray Lee added a comment about the cause of the broken glass:

“The incident I remember, was after a Saturday Night at the Mill, which I worked on. There was an item involving Paratroupers landing on the lawn and the Lighting TM had two large lights shining through the windows to illuminate the area. He checked regularly to make sure the windows were not getting hot, and all seemed well.
The program went well, and all the lights were turned off. That night was a very cold night with a sharp frost. At about 3am there was a loud bang heard by security. The thermal stress had proved too much and both windows that had been warmed cracked. A plastic film was applied to the cracked windows to prevent them falling out while replacement glass was arranged, which had to be imported as a special order as the size was too big for any UK Float Glass company.
The cracked windows were there several months before they were replaced, and when they were, it featured as an item on Pebble Mill at One. When the windows were replaced, the top edge needed an extra wide section of “putty” as the glass was about half an inch short of the top frame! I was there on the day they were put in as well, and remember seeing the gap at the top of the glass before the extra “putty” was applied.”

Malcolm Hickman remembers the incident well:

“I was watching as they removed the old glass. They attached these big suckers to it, took all the trim off and started pulling with the crane. It refused to budge, so one of the men claimed onto the frame that had the suckers mounted on it and started bashing the glass around the edges with a big rubber mallet. It came out in 3 big pieces.”

“No hard hats or safety gear. That would have been my dad!” (Andy Stowe)

The following comments were left on the Pebble Mill Facebook page:

Herbie Donnelly: ‘I believe the light didn’t fall over but was placed too close to the window. Its purpose being to live alone for parachutists to see it as they jumped in on Saturday Night At The Mill. The subsequent heat caused the glass to crack.’

Jayne Savage: ‘ I thought the safety film went on after the Birmingham bombings and because of threats to the building but maybe it was this incident.’

Richard Stevenson: ‘Many happy hours sat by those windows in the days when tea breaks were part of the drama schedule and as the trainee, you were dispatched with loose change from the camera crew to get the tea in at the time of the allotted break.’

Keith Ackrill: ‘I also think the film was added to avoid splinters after an explosion. I also believe the light was too close to the glass, but not as a guide for parachutist. I believe it was for some routine to be shot there, and the lamp was left there too long. I cannot recall any parachutist landing on the lawn after dark.’

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A-Z of BBC Birmingham

This A-Z Welcome pack was given to BBC staff transferring from Pebble Mill to the Mailbox in 2004. The pack included some discount vouchers for shops and restaurants in the Mailbox, as well a copy of the BBC Values, and this ‘Welcome’ message from Controller of English Regions, Andy Griffee.

The irony of the statement about striving to bring more and more production to the Mailbox will not be lost on stalwarts of BBC Birmingham.

Thanks to Dharmesh Rajput for sharing this pack, and keeping it safe over the past decade.

The following comments were left on the Pebble Mill Facebook page:

Jane Elledge: ‘It was utter bullsh*t at the time – anyone who argued against the move was labelled ‘negative’ and a troublemaker. We weren’t. We were just rightly arguing against what was obvious to most of us and has proven to be one of the most stupid things ever done by the BBC.’

Helen Chetwynd: ‘What a laugh! I particularly like the bit that says he believes that “key talent will increasingly look forward to coming here and working at the heart of a newly buzzing city centre building……” yeah, right’

Jane Green: ‘Agree with everyone here – the hard part was having to listen to the PR we knew to be false and that the move was the beginning of the end for BBC Birmingham. I still have my BBC drinks cup given in ‘celebration’ of the move too.’

Chris Camden: ‘Remember it well and so agree with Jane Elledge. As union reps we fought against the decision but no one in management would listen to us and had their own agenda. We all knew it was not the ‘centre’ of Birmingham and that it was an unsuitable building for television production. So very very sad. I still have the piece of mosaic from Pebble Mill wall, that we were all given.’

Herbie Donnelly: ‘They even piloted the One Show from the Mailbox, guess what? Yeah London knicked it.’

Early editing of drama on videotape

Early drama editing on videotape from pebblemill on Vimeo.

The video above was recorded by Colin Fearnley on 23rd November 2004, which was the last night of editing at Pebble Mill before the building closed. In this video, Steve Critchlow talks about the early editing of drama on videotape. Thanks to Colin for having the foresight to record the editors reminiscing amongst the emptying of champagne flutes.

The following comments were left on the Pebble Mill Facebook page:

Keith Brook (Scouse): ‘It’s Steve Critchlow. He saved my glittering career a few times. He moved into management in the early 80s and was my boss after I went back to cameras.’

Ray Lee: ‘Sadly now deceased. He and John Lannin pretty much were VT at Pebble Mill in the early 70’s. John amazingly is still alive and I was at a lunch gathering with him yesterday, reminiscing about old times.’

Herbie Donnelly: ‘A gent of the first order and a pleasure to deal with.’

Bev Dartnall

Photo by Peter Poole, no reproduction without permission

Bev Dartnall, who worked in the Afro Caribbean Unit, and in Television Drama, sadly died yesterday, 17th February, after a battle with cancer. She was only 55 years old. Bev was a producer on Dangerfield, and series producer of Doctors for a number of years, before leaving the BBC and moving to Majorca.

Bev’s funeral is going to be held in Majorca, but it is thought that there will be a memorial service in Birmingham.

The following comments were left on the Pebble Mill Facebook Page:

John Greening: ‘Bev was the first person I met at Pebble Mill on my first day in TV, on the 3rd March 1984 and we worked together at Pebble Mill for nearly 20 years in all sorts of rolls – finally she was a series producer and me a grateful director. I’ll miss you Bev, and thanks for many happy memories -it was a privilege to work with you in the golden days of English Regions Drama.’

Janice Rider: ‘Beverley lit up any set she worked on. She had the ability to keep every member of her crew happy whilst being firm and in control – qualities not many producers manage to achieve. She was a wonderful colleague and friend and Vote for Them was made all the more special for her being in Egypt with us. Khaled and I will never forget her lovely generous soul.’

Dominic Keavey: ‘Was honoured to be a snib. A kinder, more supportive boss we’ll never find. God bless Bev.’

Herbie Donnelly: ‘You meet many friends and you meet many colleagues but Bev was rare she became both.’

Martha Howe-Douglas: ‘I can’t believe it. Bev gave me my job on Doctors, and was always such a support. I’ll miss our yearly birthday wishes to each other, as we shared the same day. A truly lovely lady.’

Roulla Xenides: ‘Beverley got Nigel Havers to attend a Breakthrough Breast Cancer lunch that I organised a few years ago when she was producing Dangerfield. She was lovely, very supportive of the cause and helped raise a lot of money that day.’

Indra Bhose: ‘Fond memories of a lovely, kind woman. Mid 90’s. Very low budget Pebble Mill drama. No catering budget. Night shoot. Crew grumpy to the point of rebellion. Bev in the kitchen , surrounded by jars of Nescafe, single handedly making and bringing drinks round to all the crew. Sad day but happy memories.’

Sharon Pemberton: ‘Bev was a great gal. Many’s the evening she calmed me down and reassured me in ‘Boris’ the portakabin, whilst I tore my hair out trying to be a producer. Always calm, efficient and a genuine pleasure to be around.’

Zoe Goodwin: ‘The first producer I remember meeting at Doctors. And what a first impression. What a memorable, lovely, kind and supportive woman she was.’

Chris Richards: ‘This is very sad news. Bev was one of the very, very best people I have been lucky enough to work with. A terrific Producer, loved and respected by her colleagues, and a wonderful warm and funny person. Like many, I owe her a great deal.’

Tyrone Huggins: ‘Bev played clarinet for many shows we did at Duddeston Manor. I was a year above her. Later we connected up with productions at Pebble Mill and cups of tea at her parents old house in Bordesley Green which I’d once walked her home to after a school disco. A lovely girl, friendly and supportive woman and friend I’ve missed and will miss.’