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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