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Keckwick and the Land of Sea and Fret

  Keckwick and the Land of Sea and Fret (An extract from 'Sound Haunting: The Making of Central Films' The Woman in Black') R obert Muller writes in his introduction to The Television Dramatist (1973) that “The great days of the television play are past.  But then Great Days always lie in the past. The golden age is never present.” (1) Muller goes on to contextualise this statement, which is relevant to its period, further discussing the issue that one off plays are never repeated and destined then (in perhaps one of the earliest mentions of such practice) to be wiped in order to allow recordings of future productions to take place.  His purpose of bringing together a collection of television plays is to produce something that stands as testament to the play that may never be seen again. Fast-forward some fifty years later, and we now live in an age where we can access surviving television by digital and physical formats that wouldn’t have been dreamt of back in the e
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Welcome!

 Hi everyone.

This is a new blog created to support my independent book 'Sound Haunting' which I began researching in early 2019.  The book is covering the production of the 1989 ITV adaptation of 'The Woman in Black' and plans to be the most exhaustive coverage of the production yet.  Yes, this may sound ambitious but this project has already been a surprising journey and has managed to uncover many nuggets of information not previously published.

In addition, I am proud to announce that I have managed to draw up a list of every single location used in the production including the interior of the Gifford Arms as well as the boating lake which closes the film.  As far as I am aware, this will be the first time all locations have been accounted for.

Until now, my updates have been delivered on the Facebook page but I am keen to move away from the platform so I would encourage those who follow the page to subscribe here as from now onwards my updates will only appear on this page.

Due to family bereavement last year, updates have been few and far between but rest assured the project is very much alive and continues to strive.

I want to thank everyone who has supported the project to date and my thanks to those who have contributed invaluable time and material for my book so far including Jon Bunker, Ann Mollo, Pauline Moran, Fiona Walker, Susannah Wise and John Mogridge.

Thanks for reading and please subscribe and share this page.

Best wishes,

Rob


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