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Rosemary Gill (Read 11624 times)
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Rosemary Gill
Mar 3rd, 2011, 4:25pm
 
Rosemary GILL
Rosemary of Mortlake, died 22nd February 2011, aged 80. Respected and creative producer for BBC television children's programmes. Much loved and missed by family, friends and colleagues. Funeral 14th March, 12pm, Mortlake crematorium. Donations if desired to Cancer Research UK, c/o Holmes and Daughters, 461 Upper Richmond Road, SW14 7PU.
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Re: Rosemary Gill
Reply #1 - Mar 4th, 2011, 8:40am
 
This is taken from the Daily Telegraph:

Rosemary Gill
6:55PM GMT 03 Mar 2011


Rosemary Gill, who has died aged 80, was one of the original team of three responsible in 1963 for reshaping Blue Peter, the magazine show for children, and making it one of the most successful and enduring programmes on BBC Television.

It had started in 1958 as a cheap and cheerful 15-minute filler, but the content (while worthy) was thin, and in late 1962 the producers Edward Barnes and Biddy Baxter were drafted in to beef it up. When Biddy Baxter was called for jury service in January 1963 Rosemary Gill, who was working as an assistant floor manager, was brought in to help during her absence.

In the event she stayed for 10 years, becoming a producer when the programme went bi-weekly in 1964 and adding her distinctive brand of quirkiness and eccentricity.

Under the influence of the new creative trio of Barnes, Baxter and Gill (Biddy Baxter was appointed editor in 1965), Blue Peter flourished. New presenters Valerie Singleton, John Noakes and Peter Purves were brought in, and the audience of children encouraged to share in the programme’s uplifting ethos of compassionate concern for less fortunate youngsters, particularly in developing countries.

In 1976 Rosemary Gill moved to Multi-Coloured Swap Shop, a completely unscripted, unrehearsed programme which she produced, and which ran non-stop between 9.30 and 12.30 every Saturday morning. The show was based on her notion that children enjoyed swapping things. Noel Edmonds was to be the presenter, there would be a purple puppet dinosaur called Posh Paws (actually Pohs Paws – Swap Shop backwards).

A lunch was arranged for Rosemary Gill to meet Noel Edmonds, who was then a Radio 1 star with very little television experience. Initially there was fierce opposition to the proposed programme from some branches of the BBC. No one had ever made a totally unscripted, unrehearsed, studio-based television programme before, and there were fears that the corporation’s high standards would be eroded.

But under Rosemary Gill’s leadership the programme not only thrived but met with all-round acclaim. Behind its mix of pop hits, toy swaps conducted by telephone, and apparently spontaneous zany features, was a carefully thought-out and meticulously planned operation. For the first time it also offered children the chance to phone-in to interview star guests. The Labour prime minister, James Callaghan, was one of those invited into the hot seat.

Casting around for a replacement when Edmonds left, Rosemary Gill remembered that as children she and her sister had loved playing shop. So Saturday Superstore, with Mike Reid as the store manager, became the new Saturday morning show. Bill Cotton, then controller of BBC One, was amazed that such a strange and bizarre notion should have worked so well from its first transmission.

Rosemary Ffolkes Gill was born in London on December 17 1930. Her father was a schoolmaster who met her mother when he was a patient and she was a nurse at Craiglockhart, the hospital for shell-shock victims of the First World War made famous by Wilfred Owen and Siegfried Sassoon.

The Gill family lived in Camden Town but Rosemary and her sister Hazel were educated at St Paul’s Girls’ School. The sisters regularly attended Sadler’s Wells Theatre and when Hazel left school to join the BBC in 1945, Rosemary followed three years later.

After working initially in radio at Broadcasting House, the sisters moved simultaneously to Alexandra Palace to join the fledgling television service. Rosemary Gill became secretary to three producers, one of whom was Cliff Michelmore.

In 1955 she was appointed to one of the newly-created posts of assistant floor manager, working on children’s drama, Music for You, as well as on major ballet programmes. It was at this time that she met Edward Barnes, who subsequently co-opted her onto the Blue Peter team.

Rosemary Gill was always able to strike up an instant rapport with children, and was genuinely interested in them and in what they had to say. One of her prized possessions was a huge Edwardian dolls’ house for which she had made all the miniature furniture and props herself. She was an avid collector of Staffordshire china and an enthusiastic painter of landscapes, her friends and their dogs. Her own much-loved dog, Flora, pre-deceased her by two days.

Rosemary Gill, who died on February 22, was engaged in her late teens but her fiancé was killed in a submarine accident while serving with the Royal Navy. She never married.
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Re: Rosemary Gill
Reply #2 - Mar 19th, 2011, 8:04am
 
Rosemary Gill, who has died aged 80, was part of the team that redefined the popular BBC children's television series Blue Peter in the 1960s. The programme had a weekly postbag of around 8,000 letters, which, as well as competition entries, included countless ideas from children about what they wanted from the programmes being made for them. These inspired the Saturday-morning show that Rose produced in the following decade, Multi-Coloured Swap Shop.

Rose knew how much children enjoyed swapping things. The TV programme Z-Shed, an experimental phone-in series inviting viewers to talk to experts about matters such as bullying, homework and pocket money, had proved how good children were on the phone – they were far less waffly than many adults. That show's presenter, Noel Edmonds, was a young, long-haired DJ from Radio 1 with minimal TV experience.

Edward Barnes, the Z-Shed producer, was convinced that Noel was the best choice for Swap Shop. A lunch was arranged for Rose to meet Noel. It was a tentative first encounter, but there was a glimpse of a shared eccentricity and sense of the ridiculous. "I don't believe she had an ego," Noel remembered. "Rose was the silent shadow drifting behind the cameras, stepping over cables and whispering words of encouragement to a studio crew who all knew that in Swap Shop we were creating something very special."

Part of the magic was the show's wide-ranging content. Boy bands, rock stars and famous personalities were all in the mix, but among the candyfloss there was an equal proportion of grit. Much of this was provided by the Newsround team, including John Craven, who presented segments on topical issues. Rose reminded John of "a very, very friendly headmistress. She had all these amazing guests in the studio, and children too, and she handled it beautifully. She had everything absolutely under control, making sure, for example, that famous comedians didn't make blue jokes that would have been wholly inappropriate for the Saturday-morning audience. We all knew Rose's rules!"

Rose was born in London. Her father was a schoolteacher and her mother had been a nurse during the first world war. After attending St Paul's girls school, Rose joined BBC Radio as a teenage secretary in 1948. She worked on women's programmes, and was eventually transferred to Alexandra Palace to join the nascent television service. There she became a secretary to various producers, including Cliff Michelmore.

In 1955, she successfully applied for one of the newly created posts of assistant floor manager, and worked on the programme Music for You, major ballet productions and children's programmes. She was spotted by Edward, a floor manager who became production assistant on Blue Peter. He was instrumental in getting Rose a secondment to Blue Peter when the producer, Biddy Baxter, was summoned for jury service in 1963.

When Biddy's jury service ended, Owen Reed, the head of children's programmes, was persuaded that Rose should be allowed to stay on as research assistant for an additional two months. Fortunately for us, she stayed with Blue Peter for another 13 years. When the show went bi-weekly in 1964, Rose and Edward became producers. Rose later became deputy editor when Edward was appointed deputy head of children's programmes.

The early 60s was a time of crisis in children's programmes at the BBC. Its drama and entertainment programmes had migrated to different departments, and the remnants, including Blue Peter, were combined with programmes for women and called "family programmes". It was this backs-to-the-wall situation that determined the three of us to make a programme that would be worthy of the neglected audience we served. Rose's contribution to Blue Peter was immense. She had a deep nostalgia for her wartime childhood, the happiest time of her life. One of her greatest talents was her skill as a writer. She knew exactly how to inform the Blue Peter audience, which had a huge age-range, without gushing or appearing to be condescending.

After the long slog of two live transmissions each week, the presenters began what was ironically called "the summer break" by travelling the world on filming expeditions. Rose worked on several of these with John Adcock, the senior Blue Peter director, and they always turned up trumps.

Rose's sense of humour was at its best when the going was tough. On one occasion, filming in Tonga in the south Pacific in 1972, the extremely tight schedule was disrupted when the inhabitants of a small village decided to honour her and the film crew with a surprise banquet featuring a specially roasted pig. But at the very moment when Rose and the crew, with presenters Lesley Judd, John Noakes and Peter Purves, should have been at the airport, the pig was still turning on the spit. To have left before eating a slice would have been an insult, and in the ensuing race to catch the plane – there was not another one for seven days – Rose lost her coat. As the tiny aircraft took off, the entire village gave them a rousing farewell, singing, waving and dancing. As Rose and the crew waved back, far, far below, leading the group, was an extremely smart Tongan lady – resplendent in Rose's coat.

Rose produced Swap Shop from 1976 until 1982, when Noel decided it was time to move on and the series came to an end. The show launched the television careers of Keith Chegwin and Maggie Philbin: Maggie named her daughter after Rose, describing her as "a brilliantly intelligent and wickedly rebellious woman who was completely self-effacing, refusing to take credit for her sheer genius in putting together the first truly interactive television show". Delia Smith, who also appeared on Swap Shop, said: "I always use Rose's name when explaining to people that everything works if the person at the top is good. I will never forget how calm and reassuring she was while coping with three hours of live television."

Swap Shop's replacement, Saturday Superstore, was based on Rose's happy childhood memories of playing shops with her older sister, Hazel, and their childhood excursions to Harrods and Selfridges. The studio was designed as a sort of department store, with presenter Mike Reid playing the manager. Rose set up the show, which first aired in 1982.

By the time Saturday Superstore ended, in 1987, Rose had retired early from the BBC. She and Hazel, who was head of the Blue Peter correspondence unit, travelled extensively, and it was a devastating blow when Hazel died of cancer in 2001.

Rose was engaged in her late teens, but her fiance was killed in a submarine accident while serving with the Royal Navy.

• Rosemary Ffolkes Gill, television producer, born 17 December 1930; died 22 February 2011

By:- Biddy Baxter and Edward Barnes

Source:-
http://www.guardian.co.uk/tv-and-radio/2011/mar/18/rosemary-gill-obituary
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Re: Rosemary Gill
Reply #3 - Apr 8th, 2011, 9:55pm
 
This is taken from the Guardian:

Letter: Rosemary Gill obituary
Thursday 7 April 2011 17.19 BST

Crispin Evans writes
: Multi-Coloured Swap Shop was created by Rosemary Gill (obituary, 19 March) to be as different as possible from Blue Peter, while serving the same audience. I had the great pleasure and privilege of working with Rose for many years on Swap Shop and can vouch that this always remained her objective.

She had a quirky way of seeing things which inspired her programme-making and meant she knew that true variety of content would appeal to viewers. While on Blue Peter, it was Rose who coined the phrase "and now for something completely different", later adopted by Monty Python. She understood that children – and adults, too, come to that – loved the unpredictable and the unexpected.

Using that as a basic philosophy meant that Swap Shop could contain, within the same hour, an interview with a prima ballerina, a riotous Tom and Jerry cartoon and a new Blondie video, as well as a multitude of other disconnected and contrasting items. In the show's first year, Rose brought together a small production team from widely differing backgrounds, including a Woman's Hour producer, a documentary film editor and a former pirate radio DJ. This disparate group helped her produce an astonishing first series that was recognised by Bafta and culminated in Princess Anne presenting Rose with the 1976 Harlequin award for best children's programme.

Rose's success with Swap Shop meant that BBC bosses regarded her as a television producer with a finger on the national pulse. They wanted to hear her ideas, and she had plenty, not least of which was Lucky Numbers, a peak-time vehicle for Noel Edmonds. Another was for a radical new motoring show to replace Top Gear, which at that time was a very conventional and under-watched programme. Her version was much more akin to the Top Gear of today, full of invention and jokes. But when it was pitched in 1978, it was way ahead of its time and never made the screen.

Rose understood talent. She took on Keith Chegwin, encouraged him and backed his every move. Maggie Philbin was discovered on her watch. It was Rose's idea that Delia Smith should not just be featured in a recorded insert to Swap Shop but should join in live on Saturday mornings. She encouraged John Craven to step outside his Newsround box and get involved in the fun and excitement. Neither he, nor Delia, ever looked back.
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