NEWSLETTER
Summer 04
The controversy
over Sam Thompson’s 1965 television play Cemented With Love fore-shadowed
Ulster’s later political and sectarian troubles. Discovering its behind-the-scenes
history has been one important focus of the University of Ulster’s research
strand on the development of television drama in the regions. Sam Thompson
was a shipyard worker who came to writing relatively late in life. The
BBC in Belfast, and in particular the producer Sam Hannah Bell, played
a key role in nurturing Thompson’s talent. Bell was anxious to bring
local voices to the Northern Ireland Home Service and worked closely
with Thompson on a series of early radio pieces about life in East Belfast
and the shipyards. These early commissions provided Thompson with a
springboard for his first stage play, Over the Bridge, which
become a landmark in the history of Northern Ireland theatre when staged
in 1959 for the way in which it confronted the province’s sectarian
tensions. It was subsequently produced in a television version by Granada,
and radio version by the BBC in Belfast. Cemented
with Love was developed through close liaison between Thompson and
the BBC drama department in London. At the time the Northern Ireland
region lacked the resources to produce television drama itself. Thompson
promised a play about elections in Northern Ireland for the year of
the 1964 Westminster elections, and was encouraged by his producer in
London to write a piece that would fully confront the sectarian politics
of the province. The capacity of television to address contemporary
socio-political concerns was to flourish over the next ten years – the
so-called Golden Age of television drama – and Cemented with Love
was to appear as one of the first of the ‘Wednesday Plays’, a series
that would become synonymous with this type of drama. Thompson
delivered a powerful black comedy about bigotry and corruption on both
sides of the sectarian divide. The long-time Unionist MP and leading
Orangeman John Kerr has been forced for ‘health reasons’ (actually corrupt
business activities), to resign his seat, and his son William has returned
from Canada to contest the election as his father’s successor. William
wishes to distance himself from the bigoted, sectarian politics of his
father, and the gamut of corrupt election tactics, including gerrymandering,
personation and bribery, that his father has previously employed. Thompson
juxtaposes the attitudes and tactics of the Unionist party with the
equally bigoted views and corrupt practices employed by the Nationalist
candidate Sean O’Byrne. Much of the play’s comic force and satirical
power derives from the way in which both parties mirror each other in
the rhetoric they deploy and the justification they find for their prejudices
and corrupt activities. Both candidates are double crossed by insiders
close to them, who bare them grievances, but what decides the election
result is the revelation that the wife William Kerr has back in Canada
is Catholic. The shock this registers hands victory to O’Byrne. John
Kerr reacts with outrage to the revelation, but William is encouraged
by the amount of votes he received despite what has happened, and vows
to stand again when the opportunity arises. The BBC
in Belfast only found out about the play a month before its intended
broadcast in December 1964, and demanded to see a script before quickly
moving to have the showing of the play postponed. This move was indicative
of the position of the Corporation in the province. In the period from
1924 (when the BBC began broadcasting in Northern Ireland) through to
the Second World War, the Corporation had played an integral role in
promoting the values of the Unionist political establishment, largely
ignoring the presence and opposing views of the Nationalist community.
Across the Fifties the BBC had become more willing to acknowledge the
presence of divisions in the province, however it remained under intense
pressure not to deviate from the prescribed Unionist vision of the province,
and not to draw attention to the nature of these divisions. The response
to this postponement came swiftly. The play’s producer led a campaign
to get it transmitted, highlighting the distance between the more progressive
elements of the BBC in London and the hierarchy of the BBC in Belfast.
And the press in Northern Ireland and London picked up on the controversy,
making much of the way in which the play had effectively been censored.
The debate around the censorship of the play prefigured the debates
around media censorship that would surface with regularity during the
Troubles. Under
mounting pressure the BBC gave way, and in May 1965 the play was at
last shown to a highly favourable response from the audience. By this
time however, Thompson, who had long suffered from a heart condition,
no doubt exacerbated by the controversy around the play, was dead. In
highlighting the political corruption in the province and the persisting
intensity of sectarian divisions, Thompson’s play presented a warning
of the type of tensions that would come to the surface a few years later
with the eruption of the Troubles. The play was also prescient in another
respect: it demonstrated the capacity of television drama to engage
with contemporary social and political concerns in a way that would
mark the most striking output from the Golden Age of television drama.
Researching
television drama presents many difficulties, not least due to the loss
of many productions. But even when tape or film no longer survives,
much valuable material has often been preserved in the BBC Written Archive
at Caversham, Berkshire, which is the source of much of the above material
on Thompson and the Cemented With Love affair.
CEMENTED
WITH LOVE - AND STRIFE
Sam
Thompson and the BBC in Northern Ireland
Andrew
Hill