One of the pleasures of organising events was the chance to work with some people who were professionals in their fields. In many cases there was a clear line drawn between social activities and work. Probably the most pronounced example of this was shown by Angela Rippon. We were chatting amiably in the lobby of the conference room while the production company was completing preparations for the rehearsal of the show we had hired her for. When we were told they were ready, we walked into the conference room and as Angela walked through the door, I watched the transition from friendly colleague to consummate professional. She was a real pleasure to work with.
Reginald Bosanquet was a bit different. He was a news anchor on News at Ten up to the end of the 1970s and had a reputation for enjoying a drink. The format of the conference for which he was hired was that each director would do their usual presentation and would then sit down with Reggie so that he could interview them.
I gave Reggie a list of questions for each director and, at the first show, our sales director made his presentation before going to sit opposite Reggie. He looked at the director and turned to the audience. ‘Somebody gave me a list of questions that I was supposed to ask.’ He waved a sheet of paper. ‘This is what I think of that.’ He screwed up the paper and threw it over his shoulder. I watched a look of concern pass across the sales director’s face and I was wondering where Reggie was going with this.
Then he worked through all the questions I’d given him.
No doubt it was a ploy he had used before but it was extremely effective.
It was a little different on the launch of the Austin Maestro. We had brought in Simon Williams to be the link through the whole of the presentation – he was best known at the time for his role in the costume drama Upstairs, Downstairs that was very successful on ITV in the early 1970s.
In any car launch the climactic moment was the reveal. It usually came at the end of the show and involved loud music and the best lighting effects that could be achieved within the budget. The music that was chosen for the Maestro was William Walton’s Crown Imperial. The soundtrack was augmented with sound effects and there were pyrotechnics installed under the stage to add to the drama.
One of Simon’s tasks was to introduce the reveal. During rehearsals he would introduce it and then come down the front of the stage to watch from the seats. Obviously he couldn’t do that when the dealers were in so for the first show he stood in the wings so that he could watch the light show. What he didn’t realise was that he was standing directly over one of the under-stage pyros. He told me about this afterwards and said ‘My dear, I though my suppository had exploded’.
About a year later I left BL and the first show I worked on was the dealer launch of the Vauxhall Astra. The production company had suggested a space travel theme and the client accepted it. This led to hiring Paul Darrow who was a very well-known actor whose most recognised role was as Avon in Blake’s 7, a BBC television science fiction series that was hugely popular at the time.
I was there as writer and director of the show. The idea of directing an actor as famous as Paul Darrow was daunting given that I had never directed any sort of show before. During rehearsals I went to the stage to talk to Paul and said ‘Do you think it would be better if you came a bit further downstage for that speech?’
He looked at me and, in a very friendly manner said ‘Is that what you want me to do?’
I nodded. ‘Then tell me dear boy, tell me.’ He smiled and did exactly what I had suggested so tentatively.
There’s no shortage of stories of actors and presenters being difficult and demanding. For the most part, the famous people that I’ve worked with have been delightful. That said, one or two have caused me problems but I’ll get around to them some time soon.
Ken Clayton is a director of RefTech which specialises in registration and badging for conferences and exhibitions.
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