The ITV Story

From the TVTimes for 25 September – 1 October 1965

THE small group of top executives sat numb and horrified. With only 24 hours to go before Independent Television opened on the night of September 22, 1955, they faced disaster.

At Television House, Kingsway and in the studios at Wembley where they crouched behind the computer-like machines which control the transmission of programmes, they stared white-faced at the monitor screens in front of them.

All were — catastrophically — blank. The final run-through before ITV went on the air had failed.

This was the situation: Five Outside Broadcast cameras had been set up in London to transmit the opening night’s programme.

Early in the afternoon of September 21, the two men in charge of the master control units — Cyril Francis at Wembley and Neil Bramson in Television House — took their seats at their “space-age” desks.

The Lord Mayor of London is speaking at the Guildhall. On his left is Sir Kenneth Clark

They exchanged light hearted banter with the assistants and technicians around them which did nothing to relieve the underlying tension.

At approximately 3 p.m. they started the procedure for bringing all the OB points under their control.

“Cue Wood Green!”

Dutifully sound and vision ‘mixers’ threw their switches. On the bank of monitor screens, a picture from the Wood Green Empire should have come in loud and clear. Instead, nothing!

“Cue Shoreditch!”

Still nothing! Phone calls, frantic messages flashed out. Nobody could find out what was wrong. Then, after two hours of tense, sweating anxiety and frustration, the Programme Controller called off the rehearsal. “Not to worry, we’ll try again later.” At 6 p.m. they tried again. Once more Francis and Bramson sat tense and sweating in front of their monitor screens. Behind them, chiefs of the new service smoked incessantly and made little jokes and remarks.

“How are things going?” asked one of the top brass. “Ruddy awful!” replied Francis.

For a second it looked as if the earlier disaster was about to be repeated. Sound and vision had come in loud and clear from four OB points but the fifth still showed blank. Panic! But a swift phone call and suddenly the screen came alive.

Twenty-four hours before the new service was due to open, secretaries and technicians acted as ‘stand-ins’ for the distinguished people and well-known artists who would be seen the following evening.

On the big night, nerves were stretched as the 7.15 deadline neared. At 6.55 p.m. Cyril Francis took a deep breath, glanced round his tiny control room filled with anxious, straining faces, and checked his monitor screens. In Television House, 10 miles away, Bramson followed the same procedure.

Relief! — the pictures came through beautifully clear. Sound, too, was OK. Everybody kept their fingers crossed hoping that the gremlins had been locked out of the works. The Control Engineer felt a sense of marvellous relief. Then suddenly he stiffened. With less than five minutes to go, a monitor screen went blank!

With a feeling of panic, the Control Engineer lifted a phone and rang the G.P.O.’s Museum Exchange, through which all the TV lines are fed to the transmitters. “Has anybody touched anything?” he yelled.

A confused scramble at the other end, then a voice said: “We just pulled out a plug to check that it was OK.”

“Well, put the ruddy thing back at once!” yelled the irate Control Engineer. The blank screen flashed to life.

The first thing seen by viewers, watching 600,000 converted sets in the London area and waiting tensely for the big switch-on, was a black cross on a white ground, accompanied by a high pitched scream. For a moment many must have thought things had gone wrong.

Leslie Mitchell spoke the first words on ITV

Then the legend “Opening Night Independent Television Service Channel 9” flashed on the screen and the voice of Leslie Mitchell, the veteran broadcaster, declared: “This is London!”

A brief snatch of film, with the commentator saying: “Wish us Godspeed. Over to Guildhall. Take it away, master control!” And suddenly viewers were with the 450 distinguished guests — who included the Postmaster General, Dr. Charles (now Lord) Hill, now chairman of the ITA, Sir Kenneth Clark, then ITA chairman, and the Director-General, Sir Robert Fraser — listening to the Hallé Orchestra at ITV’s inaugural banquet in the historic Guildhall. Independent Television was born!

It was 8.13 p.m. before viewers saw what they had been waiting for — the little items that were entirely new to British audiences. The commercials.

The first commercial in British history was for Gibbs SR and showed a toothbrush and a block of ice. The second was for Cadbury’s drinking chocolate, and the third for Summer County margarine.

Tingling fresh! The first commercial on ITV

Altogether viewers saw 24 advertising ’spots’ during the evening and found them fascinating. Within a week, people all over London were whistling TV jingles instead of the latest popular tune.

A variety show, starring Harry Secombe and Hughie Green among others; drama excerpts introduced by Robert Morley; a professional boxing match; a visit to the gala opening night with cabaret at the May Fair Hotel; the news (read by champion runner Chris Chataway) and ITV closed down its first night’s programmes.

The Press next day was kind if not over-enthusiastic. But on one thing they were all agreed — all the prophecies and warnings that it would take two years at least to mount a new television service had been wrong. It had been done successfully in ten months and technically everything had been perfect.

Mishap for the Hallé – trapped on their rostrum (background) in the hall

Yet although everything appeared to go off without a hitch, there were at least four ‘mishaps’ during the evening. Viewers saw two of them but missed the other two.

The first one they didn’t see took place in the Guildhall. The Hallé Orchestra, having finished Elgar’s ’Cockaigne’ suite, rose from their seats and attempted to leave the rostrum only to find that they were trapped.

So hemmed in were they by tables, guests and TV equipment that they had to sit where they were until the banquet and the speeches had finished.

The second took place in the offices and studio of ITN. Minutes before the news at 10 p.m., Chris Chataway snatched up the prepared bulletin and raced out to the lift that would take him up seven floors to the ITN studio on top of TV House. He found the lift jammed!

“It was a terrible moment,” says Chataway today. “We were all in a desperate state of anxiety and excitement — and then this. Fortunately my limbs were still in a sound state in those days and I raced up the stairs two at a time, followed by the whole production staff, puffing and blowing for all they were worth.”

Another hitch — which viewers actually did see — also involved Chataway. He had begun his first newscast and everything was going fine when he found that the teleprompter on which his script was revolving was going too slowly. It was being operated by a secretary who could control its speed with a gentle pressure of her foot.

Chataway began slowing down to keep pace with the machine — only to find to his horror that the slower he went, the slower the teleprompter revolved!

Finally, in desperation, he risked glancing away from the camera to look round at the girl who was standing a little behind him and out of vision. She realised her mistake immediately and at once speeded up.

But next day a critic wrote: “Mr. Chataway did fine except for one moment when he glanced over his shoulder, apparently to see where the rest of the field were.”

The second hitch which viewers saw was certainly far more hilarious. At the end of each round of the professional boxing match from Shoreditch, there was a break for commercials.

At the end of one round, the director cut away from the ringside to show a half-minute of advertising.

The last of these ‘spots’ was for a well-known beer. Viewers saw the bottle of beer, watched it being poured into a glass and finally saw a man drinking it with obvious satisfaction. Just at that moment the director cut back to the boxing. The boxer, on whom the camera focused, having rinsed out his mouth, spat the water into a bucket. The impression given was that he was spitting out the beer!

The ITV Story

From the TVTimes for 2-8 October 1965

THROUGHOUT the spring and summer of 1955, small bands of men worked feverishly against the clock in London. They had a deadline to meet — September 22, 1955 — the night they must open a new television service in Britain.

Only the London area would see the new programmes to begin with — the rest of the country would follow at gradual intervals.

Two companies had been awarded programme contracts by the Independent Television Authority to provide the London service. They were Associated-Rediffusion, who had to provide the Monday-Friday weekday programmes; and Associated Television who had to provide programmes at weekends.

Independent Television News, whose job was to provide a news service had been established and Associated-Rediffusion had undertaken the publication of TV Times for the whole ITV network.

The men at the top of these companies started with almost nothing but their own determination and energies. They had no staff, no permanent office premises, no studios, no cameras, no sound equipment. And they had only 11 months altogether, from the date of the announcement that they had been awarded programme contracts in October, 1954, to the date on which the new service had to begin, to mount programmes capable of challenging the mighty BBC.

They began with temporary make-shift offices. The top men of Associated-Rediffusion found themselves housed in six offices in Stratton House, Piccadilly — comfortable enough to begin with; but a bit overcrowded when recruiting boosted the staff to 60!

The ATV backroom boys found refuge at York House, Bloomsbury and Regent House, Lower Regent Street. Here things were so cramped, according to Keith Rogers, then head of Outside Broadcasts, “that we all had to sit on the corners of chairs — in my room, for instance, there were four of us and masses and masses of files and correspondence.”

There was even a shortage of elementary office equipment. When Captain Tom Brownrigg arrived to take up his duties as general manager of Associated-Rediffusion, “I found myself with a nice office but only a table and a chair. So I had to go and find a telephone. Then a secretary. Then I went for a walk up Tottenham Court Road and bought a second-hand desk for £65.”

The stage is cleared at London’s Granville Theatre and the scene is set for one of Britain’s first ITV studios

Lloyd Williams, then assistant Controller of Programmes for Associated-Rediffusion, recalled that conditions in Stratton House grew chaotic.

“There were never enough chairs — you just had to walk about the other offices and pinch what you could. Most of the time was taken up interviewing the prospective staff — after all, we had to hire something in the region of 600 people, right from scratch. Things got so bad that you never got a chance to leave the office.”

ITN, housed in Ingersoll House, Kingsway, had no complaints about space. But Max Caulfield, the chief news editor and Bill Sweeney, the chief engineer, fighting to get their departments organised, found themselves squabbling over priority for the only telephone in the vast office. Sweeney complained one day: “If I can’t use that telephone, we won’t be able to put out a programme!” Caulfield retorted: “If I can’t use it, there’ll be no programme to put out!”

The big task for all the companies was to find suitable premises and recruit skilled staff. As early as the frosty weeks before Christmas, 1954, Commander E. N. Haines, Managing Director of Central Rediffusion, the company providing technical services to Associated-Rediffusion, was tramping round London looking at possible studio sites.

Studio 5b at Wembley in the late 1960s

The choice eventually fell on the old Twentieth Century-Fox studios at Wembley. “Studios” was hardly the right word — there was only one big studio. And Haines needed at least four.

Worse, right in the middle of the studio was a big tank filled with thousands of gallons of water and a battered-looking old motor torpedo boat, laden down with film actors. Film-makers were still shooting a film called, “The Ship that Died of Shame.”

“We had builders and installing engineers in the same night the filming finished,” said Haines. “The ship was quickly unrigged and the tank emptied. Then we started building the four studios.

“The real problem was dust. We had only eight months from scratch to get everything ready and the trouble with rushing a job like this is that you are inclined to get technicians and gear in place before the place is dust-free and that can create an awful lot of trouble.

“We had plasterers working alongside installing engineers and the dust continually created problems we had to overcome somehow. A speck of dust lodged in the wrong place might well have meant no programmes on opening night.”

Associated-Rediffusion also bought the old Granville Theatre in Fulham Road as studios — which meant taking the whole theatre to pieces, turning the stage around, tearing out the old dressing rooms and redesigning everything to TV studio specifications.

Television House in the late 1960s

But the real nail-biting problems centred round Adastral House in Kingsway, the giant rabbit-warren of out-of-date offices from which the air war against Germany had been directed.

Although a 50-year lease was taken out in January, the company were unable to get in until the Air Ministry moved out — which was not until late in May. Then the gigantic job of tearing the whole place asunder and redesigning it began.

ATV, with only the weekend programmes to worry about (their transmission in the Midlands did not begin until the following spring) were able to manage in London with one big studio, the old Wood Green Empire in North London and a smaller studio and master control room in Foley Street, near the G.P.O.’s Museum Exchange, through which all TV lines pass to the transmitters. For office space, they hired two floors in Television House.

Bill Ward, pioneer of ITV and now an executive controller

“My overriding memory of the very early days,” said Keith Rogers, “is of a small group of us. Bill Ward, then Head of Light Entertainment, now Executive Controller, Elstree Studios, his deputy, Frank Beale, Terence MacNamara. the chief engineer, and myself, sitting on the floor of an office in Regent House in the evenings, plans for studios and equipment scattered all around us, trying to work out exactly what were our requirements.

“We needed a complete outside broadcast set-up, with two or three O.B. vans, fully equipped. We required a control room, equipped with telecine, sound and vision mixing and also a full-sized studio (we got Wood Green) where we could stage variety and light entertainment programmes.

“We weren’t given a budget. We simply worked out what we needed and sent up the list to the directors. The most sobering thought for all of us was that when we totted up what we’d ordered after an evening’s work, we’d find we’d spent perhaps £500,000.”

By July, the job still seemed an impossible one. Skilled television technicians were at a premium. Men, of course, were being lured away from the BBC by prospects of promotion and better pay.

“But,” said Bill Ward, “not everybody was prepared to take the risk like we were. The directors of ITV companies risked losing their money if the new venture failed. And those of us who left the BBC knew that ITV simply had to succeed. If it failed, there was no going back — the BBC had made it plain they wouldn’t take us back. We knew we’d all be out of work.”

The first hours of ITV in 1955. Announcer Muriel Young faces the camera

But, nevertheless, staffs slowly grew. Men like Presentation Officer Cyril Francis quit a job in commercial insurance to join; Neil Bramson gave up a career as a professional French-horn player with a leading orchestra. Muriel Young gave up acting to become an announcer. Chris Chataway chucked a safe job with a big brewery concern to become a newscaster with ITN.

In July, staffs at last moved into Adastral House, by then renamed Television House. Few offices were ready for occupation. Pneumatic drills thundered everywhere; barrow loads of cement were trundled up and down; dust fell in showers. Women employees were given a hairdressing allowance; the men were told to have their suits cleaned once a month at company expense.

The Companies

From the souvenir programme given to attendees at the Guildhall on 22 September 1955

The Associated Broadcasting Company brings to the field of independent television a Board of Directors whose combined experience in public service and entertainment is unrivalled.

A.B.C.’s Chairman, Prince Littler, has occupied a prominent place in the field of entertainment for many years and, among his other directorships, includes that of Moss Empires Ltd., Stoll Theatres Ltd., Associated Theatre Properties and many other theatre-owning and theatre-managing organisations.

A.B.C.’s Vice-Chairman, Norman Collins, a former director of the B.B.C.’s Television Service, has been in the forefront of the battle to bring independent television to Britain and has been closely associated with every stage of its development.

The Members of the Board of Directors and the Management Committee of A.B.C. include: the outstanding figure of the Variety world — Val Parnell; Richard L. Meyer, a pioneer in independent television; Harry Alan Towers, one of the foremost independent producers and distributors of radio and television programmes and Lew Grade — one of Britain’s leading agents and an important figure in the entertainment field.

A.B.C. has been entrusted, initially, with the responsibility of providing the programmes for the London Station on week-ends and for the Birmingham Station, Monday to Friday. It is, therefore, the only independent television programme contractor with a programme responsibility which extends over the whole seven days of the week.

A.B.C. has predominantly turned to the field of experienced technicians and producers and numbers among its staff some of the many whose knowledge of television extends back to its earliest days in Britain.

Heading its Light Entertainment Department is Bill Ward, associated with many of television’s best-known shows. Keith Rogers — another pioneer of television — heads the O.B. side; and, in the initial stages, his responsibility extends considerably beyond the Outside Broadcast field.

Individual directors whose services are available to A.B.C. include Bill Lyon Shaw, Denis Vance, Desmond Davis, Henry Caldwell, Dicky Leeman, Leonard Brett, Stephen Wade, Cecil Petty and many more.

A.B.C. has converted Wood Green Empire — one of the largest suburban Variety Theatres — into one of the most modern and best equipped Television Theatres in the world. It is from here that many of the top Variety Productions of A.B.C. will originate.

In addition, through the interests of its Directors, A.B.C. will have available many of the best known theatres in London and the Provinces, including the London Palladium, whence will originate, each Sunday night a Variety highspot — SUNDAY NIGHT AT THE LONDON PALLADIUM. A.B.C. has recently acquired the British National Studios at Elstree — a fully equipped modern motion picture production centre where many of the television films which A.B.C. is presenting are being made. Through other Directors of A.B.C., the Company has a link with Highbury Studios and Nettlefold Studios — two other centres for the production of television films.

Many of A.B.C.’s major programmes will be produced for it by the Incorporated Television Programme Company Limited, with which Prince Littler, Val Parnell, Lew Grade and Harry Alan Towers are also associated. This Company, founded by public relations expert Suzanne Warner, adds further show-business strength through members of its Board, who include Hugh Beaumont, of H. M. Tennent Limited, Stuart Cruikshank of Howard & Wyndham Theatres, Phillip and Syd Hyams of Eros Films, John Schlesinger of the Schlesinger Organisation and Anthony Gishford of Boosey and Hawkes Limited.

The nerve centre of A.B.C.’s week-end operation is the modern control centre at Foley Street, London, within 200 yards of Museum Exchange — the nerve centre of the micro-wave and coaxial cable linking system of the G.P.O.

A.B.C. will also be developing a studio centre in Birmingham.

These are some of the personalities and facilities which together, will be ensuring that A.B.C. T.V. fills an important role in the pioneering and development of independent television in Britain.


Note: after less than a month on air and following a court battle with the Associated British Picture Corporation who owned the ABC cinema chain, Associated Broadcasting Company Ltd was renamed Associated TeleVision Ltd (ATV). It is not related to ABC Weekend Television, who provided the programmes at weekends in the Midlands and the North from 1956-1968, who were a subsidiary of the Associated British Picture Corporation.