Gamelea CTT

At gamelea we have two poly tunnels crammed full of perinial plants - members of the public can visit us and purchase plants from us, to raise money for Gamelea Countryside Training Trust.

Below is a photograph taken by Chrissy Blakeley.

Coronation Street is a soap opera shown four times a week in the United Kingdom.

Of course, there's much more to it than just that ! Coronation Street is the most popular soap opera in Britain. It's also the world's longest-running television drama serial - the first episode was shown in December 1960, and has been shown continuously since then, going from two, to three (October 1989), and in December 1996, four episodes a week. The 4,000th episode was transmitted in April 1996. It is also transmitted in Canada, Australia, New Zealand and parts of Europe.

Like other UK soaps, its attraction lies in the mundane. Set in the fictional Weatherfield, part of the Manchester conurbation in north west England, it portrays ordinary working class people in ordinary, believable situations and is a world away from US soaps such as Dallas and Dynasty. However, what makes The Street stand out from other UK soaps is the quality of writing, and the fact that plots are written from the characters viewpoint, rather than the issue-led storylines of other soaps.

Coronation Street was the brainchild of writer Tony Warren. Although he was brought up in middle-class surroundings in Swinton, Manchester, Warren drew inspiration from his grandmother's surroundings in inner-city Salford. In 1956, Warren, only 19, wrote Where No Birds Sing, a script about a northern back-street, and a year later developed a comedy version - Our Street which he submitted to the BBC in Leeds and famously is still awaiting a reply. In 1958, he joined Granada Television, writing episodes for Shadow Squad, People and Places and Biggles.

Granada Television (yes, named after the Spanish city) had been created by brothers Sydney and Cecil Bernstein in 1955, and was granted a licence to transmit television in the north of England. Part of the remit was to reflect the life of the region, but they were hardly fulfilling this. After pressurising producer Harry Elton to write about something he knew and understood, Warren was given twenty-four hours to 'come up with an idea to take Britain by storm'. Drawing on his childhood experiences and those first two scripts, overnight he produced what was to become the first episode of Coronation Street. Its potential was immediately obvious, and Warren's memo to the Granada board, explaining Florizel Street (Coronation Street's working title) ensured its production:

"A fascinating freemasonary, a volume of unwritten rules. These are the driving forces behind life in a working class street in the north of England. The purpose of Florizel Street is to examine a community of this nature, and to entertain."

Coronation Street went into production with twelve episodes, and a possible final thirteenth episode, were the street was bulldosed if the programme wasn't successful. The first episode was transmitted at 7:00 pm, Friday 9th December 1960 and was an immediate success. Before the end of 1960, more episodes were commissioned, and by May 1961 it was fully networked throughout the UK, topping the TV ratings - where it has remained ever since.

EASTENDERS

British Soap Opera

EastEnders is one of Britain's most successful television soap operas. First shown on BBC1 in 1985, it enjoys regular half hour primetime viewing slots, originally twice and more recently three times a week, repeated in an omnibus edition at the weekend. Within eight months of its launch it reached the number one spot in the ratings and has almost consistently remained amongst the top five programmes ever since (average viewing figures per episode are around 16 million). A brief dip in audience numbers in the Summer of 1983 prompted a rescheduling masterstroke by the then BBC1 controller, Michael Grade, in order to avoid the clash with ITV's more established soap, Emmerdale Farm. The brainchild of producer, Julia Smith, and script editor, Tony Holland, EastEnders is significant in terms of both the survival of the BBC and the history of British popular television drama.

In the increasingly competitive struggle with independent television for quality of programmes and appeal to mass audiences, the BBC claimed to have found in EastEnders the answer to both a shrinking audience and criticisms of declining standards. The programme is set in Walford, a fictitious borough of London's East End, and focuses on a number of predominantly working-class, often interrelated, families living in Albert Square. The East End of London was regarded as the ideal location for an alluring and long-running series as its historical significance in Britain renders it instantly recognisable, and as illustrative of modern urban Britain for possessing a mix of individuals who are, according to Smith and Holland, "multi-racial, larger-than-life characters". Much of the action takes place in and around the local pub, the Queen Vic, traditionally run by the Watts--originally villainous Den and his neurotic wife Angie, and later their estranged adoptive daughter, Sharon. The main characters are connected with the closely-knit Fowler/Beale clan, specifically Pauline and Arthur Fowler, their eldest children, Mark--a HIV-positive market trader, and Michelle--a strong-willed, single mother, together with cafe-owner Kathy Beale and the long-suffering Pat Butcher. Additional figures come and go, highlighting the belief that character turnover is essential if a contemporary quality is to be retained. At any one time, around eight families, all living or working in Albert Square, will feature centrally in one or other narrative.

EastEnders exhibits certain formal characteristics common to other successful British soap operas (most notably, its major competitor, Granada's Coronation Street), such as the working-class community setting and the prevalence of strong female characters. In addition, a culturally diverse cast strives to preserve the flavour of the East End, whilst a gender balance is allegedly maintained through the introduction of various "macho" male personalities. The expansion of minority representation signals a move away from the traditional soap opera format, providing more opportunities for audience identification with the characters and hence a wider appeal. Similarly, the programme has recently included more teenagers and successful young adults in a bid to capture the younger television audience. The programme's attraction, however, is also a product of a narrative structure unique to the genre. The soap opera has been described as an "open text", a term relating primarily to the simultaneous development and indeterminate nature of the storylines, and the variety of issue positions presented through the different characters. Such a structure invites viewer involvement in the personal relationships and family lives of the characters without fear of repercussions, through recognition of "realistic" situations or personal dilemmas rather than through identification with a central character. EastEnders is typical of the soap opera in this respect, maintaining at any one time two or more major and several minor intertwining narratives, with cliffhangers at the ends of episodes and (temporary) resolutions within the body of some episodes.

To fulfil its public service remit, the programme aims to both entertain and educate. The mystery surrounding the father of Michelle's baby and the emotionality of the AIDS-related death of Mark's girlfriend, Jill, illustrate how a dramatic representation of social issues in contemporary Britain successfully combines these elements. Throughout its ten year history, issues such as drug addiction, abortion, AIDS, homosexuality, racial and domestic violence, stabbings and teenage pregnancy have graced the programme's social and moral agenda. Eastenders strives to be realistic and relevant rather than issue-led, with the educational element professed as an incidental outcome of its commitment to realism. Such endeavours have been attacked, with criticisms of minority-group tokenism, depressive issue-mongering, and, paradoxically, lapses into Cockney stereotyping. However, over the last few years the number of "overly diagrammatic characters" such as "Colin the gay" (so described by Medhurst in The Observer) appears to have decreased, with new characters being introduced for their dramatic contribution rather than their sociological significance.

As with other British soaps, EastEnders differs from American soaps by its relentless emphasis on the mundane and nitty-gritty details of working-class life (no middle-class soap has yet succeeded for long in Britain) among ordinary-looking (rather than attractive) and relatively unsuccessful people. This potentially depressing mix is lightened by a dose of British humour and wit, by the dramatic intensity of the emotions and issues portrayed, and by the nostalgic gloss given to the portrayal of solidarity and warmth in a supposedly authentic community. In terms of the image of "ordinary life" conveyed by the programme, EastEnders is again typical of the soap opera for its ambivalences--showing strong women who are nonetheless tied to the home; a community which tries to pull together but a relatively disaffected youth; a romantic faith in love and marriage and yet a series of adulterous affairs and divorces. For its audience, EastEnders is highly pleasurable, for its apparent realism, its honesty in addressing contentious issues, and for its cosy familiarity.

A regular feature of the weekly schedules, EastEnders has become a fundamental and prominent part of British television culture. Public and media interest extends beyond plot and character developments to the extra-curricular activities of cast members. While maintaining the essential soap opera characteristics, it distinguishes itself from the other major British soaps, appearing coarser, faster paced, and more dramatic than Coronation Street yet less controversial and more humourous than Brookside. In the words of Andy Medhurst of The Observer, "EastEnders remains the BBC's most important piece of fiction, a vital sign of its commitment to deliver quality and popularity in the same unmissable package". While in many ways typical of the genre, the obvious quality, cultural prominence and audience success of EastEnders has established the soap opera as a valued centre piece of early primetime broadcasting in Britain.

EastEnders
Photo courtesy of the british Film Institute

CAST

Lou Beale.................................................. Anna Wing Pauline Fowler...................................... Wendy Richard Arthur Fowler ............................................Bill Treacher Michelle Fowler.......................................... Susan Tully Mark Fowler.......................................... David Scarboro Pete Beale .................................................Peter Dean Kathy Beale......................................... Gillian Taylforth Ian Beale ............................................Adam Woodyatt Den Watts ..........................................Leslie Grantham Angie Watts........................................... Anita Dobson Sharon Watts............................................ Letitia Dean Ethel Skinner................................... Gretchen Franklin Dr Legg............................................... Leonard Fenton Nick Cotton.............................................. John Altman Sue Osman............................................ Sandy Ratcliff Ali Osman ................................................Najdet Salih Saeed Jeffrey..................................... Andrew Johnson Naima Jeffrey....................................... Shreela Ghesh George Holloway........................................... Tom Watt Mary Smith ...........................................Linda Davidson Tony Carpenter........................................ Oscar James Kelvin Carpenter...................................... Paul Medford Debbie Wilkins................................... Shirley Cheriton Andy O'Brien......................................... Ross Davidson Dot Cotton .................................................June Brown Simon Wicks ..............................................Nick Berry James Wilmott-Brown ..............................William Boyd Colin Russell.................................... Michael Cashman Pat Wicks/Butcher........................... Pam St Clements Rod Norman ...............................Christopher McHallem Carmel Roberts........................................ Judith Jacob Barry Clark ................................................Gary Hailes Frank Butcher.............................................. Mike Reid Cindy ..................................................Michelle Collins Diane Butcher ....................................Sophie Lawrence Grant Mitchell............................................ Ross Kemp Phil Mitchell .......................................Steve McFadden Clyde Tavernier................................ Steven Woodcock Mark Fowler................................................ Todd Carty Eddie Royle............................................ Michael Melia Rachel ..................................................Jacquetta May

PRODUCERS
Julia Smith, Mike Gibbon, Corinne Hollingworth, Richard Bramall, Michael Ferguson, Pat Sandys, Helen Greaves, Leonard Lewis

PROGRAMMING HISTORY

BBC
February 1985-Present

FURTHER READING

Buckingham, D. Public Secrets: EastEnders and its Audience. London: British Film Institute, 1987.

Frentz, S., editor. Staying Tuned: Contemporary Soap Opera Criticism. Bowling Green, Ohio: Bowling Green State University Popular Press, 1992.

Geraghty, C. Women in Soap Operas. London: Polity Press, 1990.

Livingstone, S. M. Making Sense of Television: The Psychology of Audience Interpretation. Oxford: Pergamon, 1990.

_______________. "Why People Watch Soap Opera: An Analysis of the Explanations of British Viewers." European Journal of Communication (London), 1988.

WESTLIFE

Westlife, a quintet consisting of Shane Filan, Nicky Byrne, Bryan McFadden, Mark Feehily, and Kian Egan. Filan, Egan, and Feehily were among the group's six founding members, but the other half of the group was dispatched when Louis Walsh, Boyzone's manager, took interest in them. This made room in the band for Byrne and McFadden; Walsh also introduced Westlife to Boyzone vocalist and solo artist Ronan Keating, who became the group's co-manager shortly after they cemented their recording contract. The group's first single, 1999's "Flying Without Wings," entered the U.K. charts at number one, a feat they replicated with "Seasons in the Sun" and "Swear It Again" in 2000. Their self-titled debut album met with similar chart-topping success and quickly went platinum in their homeland. Westlife was released in the U.S. by Arista Records in early 2000.