BBC Drama – 1970’s

Terrance Dicks (1935 – 2019)

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Growing up, Terrance Dicks’ Doctor Who novelisations were my staple reading diet. The Target range had other writers of course, but some of their books (like the two by David Whitaker) seemed a bit intimidating (especially the dense Crusaders).

Terrance may sometimes have been criticised for being a plain, straight-ahead sort of writer, but it’s undeniable that his books were perfectly pitched for his young readership. When I was slightly older I had the confidence to tackle The Crusaders, but had Terrance not been there first then maybe I wouldn’t have made the leap.

It’s a common refrain to hear people say that Terrance Dicks taught them to read, but it’s also true in so many cases ….

His contribution to Doctor Who in general was immense.  He wrote and co-wrote some excellent stories, but his work as possibly the series’ most efficient script editor really stands out. Having witnessed the script chaos which bedevilled the series during the late Troughton era, Dicks (with Barry Letts as a strong and supportive producer) brought stability back to the production office.

Dicks’ formula was simple – find a small group of writers you could depend on (Robert Holmes, Brian Hayles, Terry Nation, Malcolm Hulke, Robert Sloman, Bob Baker & Dave Martin) and then keep on recommissioning them. Sounds simple, doesn’t it?

Outside of Doctor Who, his work as first script editor and then later producer on the Classic Serials is worthy of further investigation. Like Doctor Who they had to get by on fairly small budgets and this might be one of the reasons why eventually they fell out of favour. By the mid eighties, glossy all-film productions of classic novels were the way forward and the humbler Classic Serial began to look second best by comparison. But many have stood the test of time well and still entertain today (such as the 1984 Invisible Man).

I’m also prepared to fight the corner of Moonbase 3, a series which I have a great deal of love for. It’s far from perfect (indeed Letts and Dicks’ series opener is especially stodgy) but it’s something I find myself drawn back to again and again. Although I’m not quite sure why ….

This evening I’ll be spinning Horror of Fang Rock in tribute. Not only is it a great story, it’s also a perfect example of Dicks’ no-nonsense style. Forced at the eleventh hour to cobble together a new story (after his previous submission was vetoed) Dicks didn’t panic – he simply rolled up his sleeves and got on with it.

Fang Rock is archetypical Doctor Who – take a group of bickering characters, trap them in an enclosed space with no hope of escape and then kill them off one by one.  It’s hard to go wrong with such a formula and Dicks didn’t disappoint.

He was inadvertently helped by Tom Baker who was in an even more stroppier mood than usual – but his disdain for the script, his co-star, Pebble Mill studios, director Paddy Russell and just about everybody and everything else actually seemed to work in Fang Rock‘s favour. Tom’s Doctor was never more alien and foreboding than he was in this story – and even if this was something to do with the fact that Tom was missing his regular Soho drinking haunts, no matter.

The Fang Rock DVD also boasts a lovely Terrance Dicks documentary and a lively commentary track where Dicks, Louise Jameson and John Abbott swop stories (often about Tom of course).

Judging by the way Terrance is trending on Twitter at the moment I’m sure I won’t be alone in paying tribute tonight. RIP sir and thank you.

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Angels – Walkabout (29th June 1976)

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Paula Milne’s Walkabout wastes no time in repositioning Maureen as both judgemental and close-minded.  In the first scene, which sees Pat tossing a few pennies towards a street busker (as she does every day), the division between Maureen and her closest friend is marked.  Despite previously being depicted as an open and embracing person, Maureen has now morphed into a much harsher character (for example, telling Pat that people living on the streets have made their own choice).

The new Maureen is discussed by Pat and Jo in a later scene. Pat is of the opinion that her friend has now become the perfect nurse (which isn’t a compliment – Pat contending that her responses to the patients are now mechanical rather than honest).

The reason for this set-up becomes obvious when we observe Maureen spending the majority of the episode shadowing community health nurse June Morris (Miriam Margolyes).  June is everything that Maureen isn’t – a freewheeling, impulsive person who thrives outside of the regimented hospital set-up (describing it as an isolating cocoon).

In the wide world there’s no doctor or senior nurse to turn to, meaning that the community nurse has to operate autonomously – June revels in this, but looks as if it’ll come harder to Maureen. June then explains that the patient/nurse dynamic is totally different when making a home visit – in hospital the patients are rather dependent whilst at home they’re in their own environment and therefore more confident.

Maureen, continuing to be written in a somewhat negative light, wonders why they simply aren’t all shipped off into care homes. This is a somewhat unfeeling attitude and is the type of comment that later causes Pat, in a moment of anger, to label her a bigot.

The first notable patient on June’s round is Mrs Faulkener (Natalie Kent).  Her health may be failing but she’s still gloriously combative.  As June gives her a bath, Mrs Faulkener reflects on old age and the poor quality of presents she receives. “That’s what happens when you’re older, people think all you want is lavender, talcum powder and manicure sets”.

Mind you, she has had an impressive present recently – a plant which is currently taking pride of place in the bathroom. A gift from her son, who otherwise apparently rarely seems to visit, Mrs Faulkener has elected to coat the leaves in nail varnish. When an appalled Maureen tells her that this will cause the plant to die, the old lady counters with the observation that at least it’ll look nice for a while. This is impeccable logic.

The lion’s share of the episode revolves around today’s major guest star, Maurice Denham (as Jack Knight). A former academic and a current alcoholic, Jack is gifted several well-written monologues by Milne as well as numerous other sharp lines. Here, he’s reflecting on the difference between his imaginary picture of nurses and what he actually discovered when he spent some time at St Angela’s.

On the one hand, the Florence Nightingale variety – a silent gowned figure gliding in and out of a dimly-lit ward, bearing a lamp to symbolise the virtue of her calling. And then there’s the other sort – the type depicted in low-budget comedy films with skirts up their backsides and a knowledge of the male anatomy gained through practical research, rather in the classroom.

But what did I find in reality? Heavy-legged girls, white with ferocious vocation, or off-hand creatures with one eye on the clock and the other on their unfortunate patient’s grapes.

Maureen, left alone with him for a while, crosses verbal swords with the combative Jack. No doubt by the end of their time together, as she witnesses Jack in all his many guises (from articulate to broken), she’s learnt something of value.  Denham is as good as you’d expect whilst Erin Geraghty more than holds her own.  The sight of a subdued Maureen, returning to the hospital to join the others in wishing a safe passage to Sita (who’s heading off to India), shows us that some of her dogmatic views have taken a knock.

This is the point of the story of course and whilst it could have come across as a little contrived, the fact that Denham was given so much material (and delivered it so well) proves to be a major plus.  And it was pleasing to close series two with a story centered around Maureen, a character who tended to be sidelined during most of this run.

Building on the groundwork of the first series, Angels continued to impress during this second series. That it’s not better appreciated is a shame, as the fusion of actors, writers and directors certainly produced something rather special. Maybe one day Simply will relent and release series three on DVD ….

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Angels – Celebration (22nd June 1976)

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Shirley amongst her psychiatric patients – who has the problems? (Radio Times Listing)

A P.J. Hammond script set in a psychiatric unit? This probably isn’t going to be average then ….

It’s worth remembering that Angels was a pre-watershed series (this one went out at 8.10 pm). There’s nothing graphically violent about the episode, but the elliptical conversations, allied to a feeling that something bad could happen at any moment, makes for an uncomfortable – if bracing – fifty minutes.

An initial group therapy scene with Shirley and a collection of disparate patients sets the tone.  Over the course of the episode they’re all allowed at least one moment which illuminates their character, but to begin with their interplay is so fractured that – as Hammond intended no doubt – the viewer is left slightly confused and breathless.

Familiar actors, such as Alan Lake and Joseph Brady, tend to catch the eye first.  Lake (as Tony) plays to type as an individual who can change from charming to threatening at the drop of a hat.  His antipathy towards Shirley (as someone who’s been institutionalised all his life, he believes that he’s better placed than her to pass judgement on his fellow patients) is a theme that’s teased out as the episode progresses.  Given Lake’s life and death, it’s very easy to wonder about which facets of Tony’s character were close to his own.

Joseph Brady (Jock) doesn’t have a great deal of dialogue but the sight of the perpetually rocking Jock, softly babbling away to himself, helps to deepen the already building sense of unease.  As does Arnold (Jack Chissick), who is plagued by murder thoughts and has now taken to jotting them down in a book whenever a new one arrives.  That he immediately reaches for his book after seeing Jo for the first time is an interesting little moment.

Angels was never averse to bleak stories, but most episodes with dark themes would also drop in another plot with a lighter tone.  There’s not a great deal of respite in Celebration, although the wrong-footing ending (we’re primed to expect a crisis which doesn’t occur) does at least enable the story to conclude with a sliver of hope.

There is humour in the episode, although it’s of a rather dark nature.  Jo and Pat, corralled into helping Shirley organise a party for one of the patients, stumble into the room to find everybody dressed in party hats but sitting completely immobile.  It’s both comic and tragic, a feeling which is heightened when the two girls – neither of whom were terribly keen to attend – are forced to make excruciating small talk.

Shirley seems quite at home in the unit and treats the patients in a logical and rigorous manner.  Given that they can often act in deeply illogical ways this seems to be a risky policy.  Her style is commented upon by two people – first an Auxiliary nurse (Anne Ridler) and then Dr Fraser (Willie Jonah).

Both discussions are illuminating, especially the one with Dr Fraser. “We can’t just ask people,where does it hurt? The kind of wounds we’re looking for, they don’t show up on x-rays”. He then goes on to say that 90 percent of the work has to be done by the patients themselves with the remainder (“you and me and ECT and pills and Christian names and pots of paint and pictures”) supplied by the hospital staff

It’s slightly strange to see Pat and Jo teamed up (rather than one of the more usual combinations of Pat and Maureen or Jo and Sandra).  Pat seems to be acting slightly out of character (not unusual for a Hammond script, which often retooled the thoughts and views of the regulars) as she’s much more negative about Shirley’s work with the “loonies” than you might have expected.

It’s not totally out of character for her though and whilst she’s not central today, Pat is still gifted some fascinating moments – for example, the fact she so vehemently draws attention to her own complete normalness. Does the lady protest too much?

The episode is dotted with many items of interest, like George (George Waring) and Dianne (Mitzi Rogers).  Both day patients, they seem a good deal more “normal” than the others, although George’s cheerful and uncomplaining façade is brutally picked apart by Dianne.  But maybe this will prove to be beneficial for him in the long run – knocked to pieces so he can be rebuilt.

David Maloney’s direction is as assured as ever. There’s no particularly fancy shots, but in scenes – such as group therapy – where there’s around ten people present (and all contributing) it’s vital to be able to cut quickly and at the right time, otherwise you’re liable to lose a vital reaction shot.

Celebration is typical P.J. Hammond and therefore unmissable.

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Angels – Coming To Terms (15th June 1976)

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Having shared equal screentime in the previous episode, it’s a slight shame that Pat and Maureen have now reverted to type – Pat driving the main storyline with Maureen relegated to the role of observer and confidant.

Coming To Terms wastes no time in establishing the fact that Pat has bonded with a patient called Mrs Shepherd (Kathleen Byron).  For example, the way that Pat refers to her as “Shep”.  Their early scenes have a vague sense of foreboding – despite Pat’s bright and bubbly attitude, the seeds are already being sown about Mrs Shepherd’s terminal condition.

Mrs Shepherd is concerned how her son (referred to, but never seen) will react when he discovers that his mother and father never married. Pat’s decision to try and arrange a civil ceremony in the hospital then becomes the focal point of the episode.  There are various logistical hurdles to overcome as well as the thorny question of gaining the consent of Mr Shepherd (John Dearth).

Dearth only appears in a couple of scenes, but his imposing presence – both physically and vocally – creates an instant impression.  In his later career Dearth was cast on several occasions by Michael E. Briant (who directed this episode).

Rumours about Dearth’s issues with alcohol have made the rounds for decades and it’s hard not to think of that when watching his turn here. He does slur his words a little, but that sort of fits with Mr Shepherd’s character – who, after all, has just received the devastating news that his common-law wife is dying.

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Kathleen Byron also doesn’t have that many lines, but she makes the most of every moment.  A heavyweight actress (first in films, most notably Black Narcissus, and then later in a slew of television programmes) she gives Mrs Shepherd a sense of dignity and weary resignation. Although there are also moments of black despair and hopelessness.

By speaking to a social worker,  Pat kickstarts a chain of events which leads to an angry Mr Shepherd venting his frustration at the medical team.  This is a theme familiar from several previous episodes, just how involved should the nurses become with the patients? Other times it’s been more cloudy, but here there’s a definite feeling that Pat meddled for the good of all.

So this part of the story has a happy ending of sorts, with Mr Shepherd reconciled and happy to take part in the ceremony.  The wedding manages to close the episode on a positive note despite Mrs Shepherd’s terminal condition (which is an interesting trick).

Elsewhere, the other main plotline of Coming To Terms feels like it’s recycling a large chunk of the series one episode Case History. Both featured two male patients – one unfriendly (both to his fellow patients and the nurses) and the other voluble and somewhat irritating.

Today, the studious Keith Aldiss (Edward Wilson) is driven to distraction by a cheery and down-to-earth Northerner called Mr Kilshaw (Paul Luty).  Both were familiar faces (Wilson primarily from Rockcliffe’s Babies and Luty from All Creatures Great and Small and a host of other guest roles).  Mr Kilshaw’s good natured banter (telling Aldiss with grim enjoyment that he’s probably going to be sliced up!) helps to lighten the tone of an otherwise fairly sombre instalment.

The way they interact with Jo and Sita is the other reason why they’re present.  Both nurses clash with Aldiss, but whilst Jo is able to shrug it off, Sita reacts with anger.  As Sita’s been rather neglected recently, this episode goes some way to redressing the balance. She’s fretting about her upcoming exams and so hasn’t been eating or sleeping properly, which is beginning to impact her work on the wards.

It might have been nice to sow the seeds of this across a few episodes, as it all feels a little sudden (although it’s possible this might explain why she was so snippy at the start of series two).  Jo being temporarily put in charge of the ward causes a little friction between them, compounded after Sita makes an elementary blunder when treating Mr Kilshaw.

This is all good dramatic stuff for both Sita and Jo, although with Mrs Shepherd’s story dominating it feels a little rushed.

Apart from a brief film insert, Coming To Terms is studio-bound.  But Michael E. Briant keeps the interest up with a series of unusual shots.  He clearly liked shooting from behind the beds – this creates a bar-like, prison feel.

Easily the most notable sequence occurs when a stressed Pat staggers over to the rest room, only to find no succour there.  Thanks to an ever-increasing series of quick cuts (from one chattering nurse to another, over to the blaring television and then back to Pat) a nightmarish vision is deftly created.

Another very solid episode, Coming To Terms maintains the high standard of the second series.

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Angels – Home Sweet Home (8th June 1976)

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Holiday time for Maureen and Patricia. A whole week to see family, friends, boyfriends again. A week of discovery … (Radio Times Listing)

Having previously written the first series episode Off Duty, also a non-hospital story, Pat Hooker was clearly the ideal fit for this one.  Taking into account all we’ve learnt this year about Pat’s unhappy life with her parents, Home Sweet Home is an obviously ironic statement.

it also proves to be so for Maureen, although her week isn’t quite so bad. Maureen’s homecoming is however an excellent vehicle for Erin Geraghty, whose character this year has somewhat been shunted down the pecking order (Shirley, Pat and Sandra have been the three with the most interesting storylines so far).

Maureen’s arrival at the family farmhouse, set in the middle of the bucolic Irish countryside, has a faint air of tension due to the fact that there’s nobody home to meet her.  This feeling of unease is developed when Maureen’s youngest brother, Shaun (Gabriel Kelly), does make an appearance but shies away from her welcoming greeting.  That he doesn’t seem to recognise her is a signifier that she’s been away for a while and also that integrating back into the previously tight family unit might not be entirely straightforward.

Kate (Pauline Quirke) is equally unwelcoming, although it transpires that there’s several different reasons for this. Today’s episode is a rare opportunity for Erin Geraghty to use her comic skills – for example, I love Maureen’s delighted first sighting of her younger sister (“Kate!”) which quickly develops into a critical quizzing. “What in god’s name have you done to your hair?”. It may not sound much written down, but it’s a nicely played comedy moment.

Later, when all the family are gathered around the table, there’s another illustration of Maureen’s growing estrangement from her family after she discusses the latest television programmes (Maureen’s mother mistakenly believing that Michael Crawford is a friend of hers, rather than a top television star).  This scene also confirms that just about everybody in the seventies could be called upon to do a Frank Spencer impression, although Maureen’s has to be one of the worst.

The main dramatic meat of Maureen’s storyline begins when Michael Doyle (Aiden Murphy) pops his head round the farmhouse door.  A smooth-talking Irish caricature, they quickly pick up where they left off (presumably they’d been “walking out” before Maureen left for London).  Although it’s not confirmed until the end, the audience no doubt would have quickly twigged that Michael had turned his attentions towards Kate during Maureen’s absence (which explains some of Kate’s distant feelings towards her sister).

Aiden Murphy doesn’t quite convince – in an episode that feels very theatrical anyway, he’s easily the stagiest performer. But at least he’s considerably better here than he was as Hippias in the Doctor Who story The Time Monster.

Although Maureen has sometimes been portrayed as a little naïve, it’s pleasing to see that today she doesn’t fall for Michael’s spiel (I like the way she recoils when his hands begin to explore previously unchartered territory).  “Well you haven’t been learning technique like that at agricultural college” is another glorious line from Hooker.

Interspersed with Maureen’s travails, Pat is having an equally dramatic time of it with her family.  To begin with, the viewer is called upon to parse the meaning behind the outwardly polite, but obviously brittle, three way dialogue between Pat and her mother, Rose (Georgine Anderson), and father, Lawrence (Geoffrey Palmer).

Big reveals are slowly bubbling to the surface, but they drip out a bit at a time (frustrating for Pat, but dramatically satisfying for the viewer).  First we learn that Pat’s mother is leaving her father, although the reason is initially unclear. Both deny that there’s anybody else involved (although we later learn that Lawrence was previously seeing someone).

Rose doesn’t seem to be a well woman. At times somewhat disconnected from reality (telling Pat the same thing several times) as a student nurse possibly Pat should have picked up on these danger signals.  The fact that later, at a stifling party, she labels her mother as “crazy” is a tad unfortunate in retrospect ….

Rose’s dream (of going to London and completing her training to join the legal profession) is later offhandedly dismissed as a fantasy by Lawrence.  This is after Rose has taken an overdose at the party (following Pat’s “crazy” comment).  Incidentally, the off-screen overdose is played in such an understated way that for a moment it wasn’t clear to me whether Rose had left the house in a fit of pique or had overdosed.

It’s interesting how Rose’s delicate mental state (this isn’t the first time she’s attempted suicide, although Lawrence believes the others weren’t serious) doesn’t really seem to engender any more sympathy towards her.  Pat is still very much a daddy’s girl, although he’s hardly that admirable a character. The way he dangles a foreign holiday in front of her (with the promise that he’ll then find her a job more suitable than nursing) is an example of the controlling nature which lurks beneath his affable surface.

There’s plenty to chew on throughout Home, Sweet, Home. For example, Pat’s distant conversation with an old friend, which shows how little they now have in common.  It seems to be that both Pat and Maureen have changed and developed considerably since leaving home – and only because they have left their old lives behind.

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Angels – Accident (1st June 1976)

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An accident in a chemical factory … Nurses Sandra Ling, Jo Longhurst and Shirley Brent all have a part to play in what follows (Radio Times Listing).

A fair chunk of Accident, the first fifteen minutes especially, takes place outside of the environs of St Angela’s.  To begin with we’re back on the beat with Sandra (who’s continuing her occupational therapy placement).  Last time I commented about how everybody seemed just a little too nice to her, but today things are a tad more realistic – on the way into work she’s confronted by the leering Geoff Fenton (Graham Fenton) who declares that he needs a touch of massage.  Sandra’s fiery expression leaves us in no doubt about what she thinks of him ….

Fenton’s the rather lackadaisical safety manager at a local chemical factory which will prove to be central to today’s story.  Indeed, the fact that we’ve already been told that things are a bit slack there might explain why Bob Hubbard (Barry Lowe) was left to tend the machines all by himself.

So whilst Bob is getting squirted with a dangerous chemical called phenol, his number two – Charlie Masters (Andy Bradford) – and seemingly eveybody else are getting the once over from Sandra. It does slightly beggar belief that Bob’s left to suffer all by himself. Surely it would have been a good idea for someone else to be in the factory with him?

Despite the episode title, this was no accident – it was deliberate sabotage.  The sight of a twitchy David Troughton (playing John Overton) tinkering with the machines earlier on had already set us up to expect something bad to happen, but another plot niggle is the later reveal that Overton was deliberately targeting Bob. How could he have known that Bob would be tending that particular machine at the precise moment it blew?

Jo is currently working in the intensive care unit which puts her in a more subservient role than usual. On the wards she and the other nurses tend to pretty much rule the roost, but here she’s very much down the pecking order. First comes Dr Miles (Terence Conoley), then Sister Ashton (Marcia King) and then finally Jo.  Dr Miles tends to give Sister Ashton the rough edge of his tongue and Sister Ashton is equally snippy with Jo. Poor Jo, on the lowest rung of the ladder, has no one beneath her she can be horrid to ….

The relationship between Jo and Sister Ashton (presumably playing the same character as the unnamed intensive care Sister from Vocation) isn’t explored in any great depth.  We know that Jo loathes her (she calls her a “bitch” out of earsbot) although Vocation did suggest that Sister Ashton’s dispassionate nature was simply a coping device. When dealing with a never-ending stream of seriously ill patients, this seems reasonable.

The anxious Mrs Hubbard (Patricia Lawrence), waiting for news of her husband, is a type familiar to regular Angels watchers, although Lawrence still manages to tease some interesting nuances from what could otherwise be a fairly stock character.

The fact that Bob was having an affair with John Overton’s mother (played by Barbara Young) is something of a twist. It helps to explain why Overton, already presented as a disturbed type even before we learn that he’s attending the psychiatric clinic, decided to attack Bob. Young’s performance is somewhat broad – indeed, during the scene where Mrs Overton confronts her son it teeters over the edge somewhat.

Another slightly odd turn comes from Andy Bradford as Charlie.  He seems so hyperactive and annoying that you’d assume he would be the last person (apart from the homicidal Overton) who should be let loose on dangerous machinery. Although to be fair, he’s much more subdued after Bob’s had his accident.

Troughton is much more restrained than either Young or Bradford.  Overton is easily able to function normally on a surface level (Sandra doesn’t pick up that anything is wrong when she gives him a routine check-up) and he only starts to devolve later on when the (unseen) police begin to close in on him. Overton’s child-like nature (reinforced by the fact that comics are his favourite reading matter) is played well by Troughton, who’s as good as you’d expect.

Shirley has decided that she’s interested in combining geriatrics and psychiatry, which helps to explain why she’s currently working with Dr Berry in the psychiatric unit.  This feels slightly contrived, but it does allow the impressively bearded Dr Berry (Roy Holder) to question Shirley’s reasons for being there.  It’s previously been suggested that working in geriatrics was something of a retreat for her and psychiatrics might be even more so (especially if she’s using it to work out her own unresolved issues).

This is an intriguing possibility, although given that the story is quite busy there’s not a great deal of time to develop it.  Indeed, this is one reason why Accident doesn’t quite gel for me – there’s plenty of story potential in the various issues raised, but the script would probably have benefited from having a narrower focus.  It’s still perfectly watchable, but does feel somewhat bitty.

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Angels – Facing Up (25th May 1976)

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Three very different stories relating to pregnancy unfold during the fifty minutes of Facing Up. The first features Ann Clark (Patricia Hassell) who is initially regarded with a jaundiced eye by Pat.  Maybe it was early in the morning, but Pat’s bedside manner seems decidedly rough and ready. When the slightly drippy Ann confesses that she doesn’t have a towel, Pat (through gritted teeth) tells her that she can probably find one.

Later, when a concerned Maureen discusses Ann’s case with Pat, Ms Rutherford doesn’t seem too bothered about the news that Ann could lose her baby – surely it’s easy enough to get another one ….

Mind you, all of the doctors and nurses are a little offhand with Ann.  Mainly they spend their time telling her not to worry, which only tends to make her worry even more.  Marc Zuber, as a breezily unconcerned doctor, for example.

At first, it’s hard to see the relevance of a later scene – Pat enjoying a slap up meal with her Uncle James (Frederick Jaeger) – but things quickly begin to make sense as pregnancy story number two is developed.  Pat is shocked to discover that both her parents never really wanted children (although Uncle James is quick to back-peddle a bit as he tells her that her father loves her now). Derek Martinus, as he’s done before, favours ever-tighter close ups of both Jaeger and Fullerton as the drama unfolds.

This scene impacts the reminder of the episode as Pat, ruminating bitterly over the fact that she was an unwanted child, then has to go back to the hospital and care for Ann, who wants a baby more than anything else in the world.  Her husband, Tom (Conrad Asquith), might be as equally drippy as she is, but there’s no doubting the love he has for her (or the fact that he’s equally as committed to their baby).

When Ann breaks down in tears, it’s an interesting touch that Pat freezes for a second before swiftly crossing over to comfort her.  From this point Pat’s earlier tension is erased and the pair bond.  Although there’s been some doubt throughout the episode about whether the baby will survive, there’s also been a feelgood vibe about this part of the story – so it’s not too surprising that everything goes well and Mr and Mrs Clark take charge of a healthy – albeit small – boy.

The scenes of Ann giving birth are, as you’d expect for a pre-watershed series, not very explicit but are still effective (Ann’s blurry POV reaction is especially well done). Derek Martinus really only blots his copybook when we quickly switch to stock film several times in order to show the child. Having a freshly born baby in the studio would have been very tricky of course, but this moment doesn’t convince at all.

Pregnancy story number three concerns Sandra, who’s out and about and developing her occupational heath skills.  Attached to a trading estate covering several factories, this gives her plenty of opportunity to interact with a wide range of people.  Everything seems a little too jolly and tidy to begin with though – as a female in a predominately male factory environment you’d have expected her to be on the receiving end of some hefty dollops of sexism.  But no, everyone’s as nice as pie ….

Although one worker (the distinctive Declan Mulholland) initially bristles at the way Sandra chides him about the strain he’s putting on his back, he quickly realises that she’s talking sense and begins to lift the boxes just like she suggests. Another worker (Ken Kitson) is quick to pop by with an offer of a cup of tea whilst Denis Swainson (John Bardon) seems equally as affable.

But there’s a sting in Swainson’s tale which is connected to his daughter, Barbara (Vanessa Paine).  Barbara is sixteen years old and devastated to be told by Sandra that she’s pregnant.

Vulnerable and worried, Barbara is insistent that her father can’t be told. But when Sandra unwisely drops some broad hints to Mr Swainson, it results in a black eye for Barbara (who is also kicked out of the family home).  I find it interesting that this storyline veers off in a rather unexpected way.  We seem to have been set up for another happy ending – Barbara and her father coming together thanks to Sandra’s intervention – but this is brutally snatched away in an instant.

The episode also deliberately doesn’t follow this story to its natural conclusion. Mr Swainson hits Barbara off-screen (and doesn’t appear again after the scene he shares with Sandra).  It’s made painfully clear to Sandra that she had no cause to meddle in the case and that her rash action has only made a bad situation much worse.

Angels always favoured storytelling from the nurses point of view. It would switch viewpoints as and when required, but since Sandra is prevented from speaking to Mr Swainson again it makes sense for the viewers to also be denied the opportunity to see him.

The three separate storylines – Ann, Pat and Barbara – are all decent enough when taken in isolation, but the way they meld into each other is the episode’s main strength.

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