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CLASS OF ‘74 |
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- 1974-1975 - 290 x 30 minute episodes - |
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Having
packaged quiz shows for Australian TV for the previous twenty years, the Reg Grundy Organisation went into soap operas with this school-based serial
which began on air in March 1974. Class of ‘74 was seen by many as Channel
Seven’s answer to Number 96. That show had proved that major
success could be had with a nightly serial that emphasised sexual situations. By late 1973 Number 96 had already prompted the creation of Ten’s second raunchy strip
serial, The Box, and Class of ‘74 had been quick to follow. Class of ‘74 was devised by John Edwards who
previously worked at Crawford’s, and it was developed and overseen by Alan
Coleman. The show’s producer was Peter Maxwell, who also directed many
episodes. With Class of ‘74 Grundy’s recognised that older children and teenagers were a vital component of a soap
opera’s audience. Certainly many teens wanted to watch Number 96, but most were forbidden by their parents from viewing the sometimes
naughty The
series was set in For the
second and final year the series was renamed Class of ‘75 and increasingly diverged from
the original concept. Less of a success this time, the show failed to
graduate to a third year. Class Commences
The first
episode began with the various staff and students arriving for school in the
morning, with these scenes featuring a disproportionately large amount of
location filming. Quickly introduced was the show’s central character,
Charles Olgilvy, played by long running Homicide
lead Leonard Teale. Olgilvy
was the newly appointed school principal. Deputy Principal Donald Blair (John
Hamblin) had been passed over for this position, and was clearly resentful of
the fact, something his bitter wife, the neurotic alcoholic Maureen (Janet
Kingsbury), gleefully points out. Donald is an officious and frequently
tetchy teacher disliked by students and who clashes frequently with his work
colleagues, and has a fraught relationship with Maureen. The new
teacher at Waratah High is Mary Dunstan (Jeanie Drynan). She is quickly given a tour by friendly American
teacher Glen Turner (Chuck Danskin). Hubbard
(Gordon Glenright) is the school’s gruff janitor
and handyman who, rather improbably, is on a first
name basis with most of the students, frequently chiding them for such
infractions as running in the corridors or being late for classes. Popular
young teacher Gary Evans (Vince Martin) is in love with one of his students,
Julie Armstrong (Carla Hoogeveen). During an
expedition to check on some local caves they share a kiss. This rather
shocking incident occurs before the episode’s first commercial break, however
scandal is averted when soon afterwards During
her introduction to the staff and students Mary is introduced to promising
pupil and star athlete John Ward (Kevin Wilson), who is sparring with his
boxing coach, the handsome Paul Kennedy (Alan Lander). Even though Paul is
sweating it out in an old track suit, Mary notices a strong attraction to
him, apparently assuming that Paul is another teacher. Mary later calls into
the local coffee shop, run by young Evie (Gaynor Sterling), who is single, and pregnant. When
Paul drops in Mary is horrified to discover that he is a priest. There is
more drama as a rather melodramatic parent, Joan Whitmore (Kay Eklund), visits Charles Ogilvy to report that students at
his school are practicing “witchcraft, sorcery and black magic… devil
worship!” Despite Ogilvy’s doubt that these claims have much veracity a
locker search is conducted, which uncovers a Playboy magazine in the locker of Barry
Collins (John Dietrich), the eager school newspaper editor. The magazine is
confiscated while the entire incident provokes Barry and thoughtful prefect
Sue Taylor (Joanne Samuel) to try and organise a
debate on the hot topic of censorship. An
outsider to much of the student activities is pretty
blond student Peggy Richardson (Anne Lambert), who comes from a wealthy
family. Peggy is dubbed “The Iceberg” by other students due to her prim and
proper ways while the show’s publicity hinted at her future transformation
into a swinging good-time girl. Meanwhile Ann Watson (Megan Williams) was a
bright and vivacious student heavily involved with the school newspaper. Further
story tensions erupt as the biology lab is found to have been ransacked,
while teacher Glen Turner has an angry outburst over a careless remark about
the Vietnam War. Then Gary Evans takes a group of students to the caves where
they examine aboriginal artefacts. Also part
of this expedition are students Nora Hayes (Barbara Llewellyn) and Greg
Simpson (Christopher Cummins). Naïve Nora thinks that Greg is “far out!” so
she accepts his invitation to ride to the cave with him on his motorcycle,
and to spend the night with him in his tent. However Nora and Greg don’t make
it to the cave instead setting up a cosy private
camp in the bush. Meanwhile Gary and his students become trapped in the cave
by a rock fall. The trapped students realise that no one knows where they are; to ease
their nerves they begin a rendition of children’s rhyme Alouette. Elsewhere, Greg and Nora are oblivious to
their classmates’ predicament and are seen bunking down together in his tent. The
series premiered on the Seven Network on Turmoil Behind the Scenes
The
show’s first episode was written by busy actor and scriptwriter Ted Hepple, perhaps best remembered amongst soap fans today
as Lizzie’s suitor Sid in Prisoner, and the show was an instant
ratings hit. That first episode rated 37, the highest ever for a 7.00 PM show
since the introduction of a third commercial network in 1965, but on its
third night the series was shifted to 7.30 PM due to its controversial
elements. The Broadcasting Control Board had a strict no-sex-before Long
before the premiere episode had even been shot publicity around the series
highlighted a “no nude scenes” edict issued by the network in light of the
show’s proposed early evening timeslot before With all
this advance warning coupled with its teenage characters, the high school
setting and an early evening timeslot, the Broadcasting Control Board seemed
to pay special attention to the content of the series. The Control Board
began vetting scripts and the original plans for a series that pushed
boundaries were jettisoned, with the series soon shifting to more standard
soap opera stories. Indeed a
scene from one of the opening episodes had been judged so risqué that it was
cut before broadcast. The scene involved students Nora and Chris who were
spending the night together in a tent. Originally Chris climbed into the
sleeping bag with Nora, but in the cut version viewers only saw them entering
the tent together. Llewellyn had viewed the original cut of the episode and
was surprised to later find that it had been censored. [4] The actor
reasoned that the scene was true to life, and that
high school students do think about and sometimes engage in sexual
activities. “I believe we are presenting a fairly accurate portrayal of
school life” Llewellyn told TV Week. “Most
of the cast members aren’t long out of school, and they see it as being very
realistic. I guess that actually seeing us in the sleeping-bag together was
just too explicit for that timeslot.” Indeed
the Seven Network played it safe and opted to excise the scene fearing the
possibility of external censorship. [5] Shortly
after the series premiered the racy elements were still being showcased in
the show’s publicity. A spread in TV Week magazine titled “Schoolroom
Scandals Shock the Censor!” described “the girl who is having an affair with
a master, the student who takes porno pictures and the virgin and the bikie spending the night alone in a
tent.” Alongside one picture of Leonard Teale were
pictures of three of the young female cast members in bikinis, and another of
the girls in their short-skirt hockey uniforms, clearly emphasising the sex and titillation angle. [6] In the
article itself series star Leonard Teale defended
the soap’s sexual content, most of which was only spoken about rather than
shown. Teale reasoned that sexual situations in the
show are handled like any other problems in schools. “Sex is
not the reason for the show. It is a genuine problem in some schools and Class of ‘74 deals with it as it would with other problems such as drugs, if they
should arise. Technically I feel that the show is better than Number 96 and as good as The Box. I think there are areas where it
is superior to all the successful shows and I think it will be a big hit. The
kids are fresh, vital and loveable, really great to work with. Now that the
censor problems are sorted out the show will settle down and win a lot of
viewers.” [7] According
to Leonard Teale, Class of ‘74 had been singled-out by the
Broadcasting Control Board; he believed that they applied double standards by
strictly monitoring the show’s content while allowing contemporary
advertisements that in Teale’s opinion featured
“tasteless and even grubby pieces of television in family viewing time”. As a
critique of the censorship imposed on the series Teale
quipped that: “According
to the Control Board’s thinking, 17 and 18 year olds in school don’t even
think about sex. We know this is ridiculous and it makes it very difficult to
write a series of this sort without at least something more than a guarded
reference to sexual matters.” [8] The
Story Continues
The
opening storyline moves along very quickly. A worried Charles, after a tip
from Hubbard (and some stunt driving in his Leyland P76) finally locates the
cave and the rescue begins. Tragically Julie’s love, teacher Gary Evans, is
killed by a falling boulder. Back at Waratah, Nora
and Greg successfully cover-up the fact that they weren’t with the cave
party, while Barry and Sue are still pushing for the censorship debate. In
new developments, Charles finds that nitric acid has been poured onto his
car, the mystery of the wrecked science lab remains unresolved, and Charles
receives hate mail featuring “Die Charles Die” and a diabolical drawing
scrawled across the page. Julie is
in hospital in a coma after the cave in; later she awakes from the coma but
is confined to a wheel chair. None of this dampens Sue’s eagerness for the
debate. To liven it up she agrees to pose nude with male student, smiling
jokester Peter Cooper (Jeremy Chance), atop Charles’s desk. The scene as
shown keeps the actual nude display safely off camera; though 1970s porno
film music plays over the scene of the photograph being taken, viewers see
only a flash of Sue’s white knickers as she dresses herself after the
session. Both models had worn only novelty masks to hide their identities,
but Sue is later identified by her ring and is expelled from school. Ensuing
weeks would explore Nora’s mystery illness, which seemed to suggest a
pregnancy scare, along with her loneliness after being abruptly dumped by
Greg, who has now taken up with Julie. A scene featuring a heartbroken Nora’s
description of their union is effective, while still keeping the censors
happy. She expresses her mistaken assumption that the gift of his own necklace constituted their “engagement”. Of their
night together she recalled that “He seemed to know I was scared and set out
to be kind to me.” Meanwhile the latest subject of debate is “The Liberated
Woman.” As students and teachers react to this topic various ideas are
explored, with even Hubbard weighing in to the argument. Analysis
Overall
the series presented a well-balanced mix of characters and storylines
explored their various interactions, while the convenient school debates and
articles for the school newspaper provoke discussions about contemporary
issues that would interest a range of viewers. The discussions presented a
range of viewpoints but were never long or laboured and were well integrated into the drama. Many of
the show’s characters seemed well-rounded and so seemed realistic and
believable. By presenting, at times, the thoughtful, sensitive, caring and
intelligent aspects of both teacher and student
personalities, the serial’s characters seemed believable. And these
depictions of the student characters doubtless made the series appealing to
younger viewers. Likewise when the youngsters managed to respond in a mature
and thoughtful manner to a teacher who was mindlessly threatening detention
over a minor infraction, high school students in the audience were probably
cheering. Yet the
older characters were never just one-note figures either. Despite his
nickname “The Ogre”, Charles Ogilvy was presented as a dedicated and
respected educator. The usually testy Donald Blair would soon find his
officious ways sent-up in comedy moments that crept into the script. In later
storylines, such as his friendship with intimidated student teacher Barbara
Young (Carol Vincent-Smythe), his more caring side
would emerge. There was never a single viewpoint and later the popular and
charismatic new teacher David Willard (Phillip Ross) would openly antagonise the officious Donald while
presenting vibrant lessons that keep his students enthralled. Unfortunately
the show’s technical standard sometimes left much to be desired. No one
expects breathtaking cinematography, amazing sets or dazzling camera work
from an early 1970s black and white videotaped soap opera, but highly audible
clicks on the soundtrack when the shot switches from one camera to another
ruins several scenes. This clicking problem still seemed to be an occasional
recurring problem many months into the show’s run. Given the show’s overall
technical standard and status as Grundy’s first ever drama production it does
not seem unacceptable that there is the odd boom shadow in some scenes, but
when the shadow falls across a lead actor’s face it destroys any credibility
the scene might have had. Aside
from these problems the program generally employed the standard visual
grammar of a studio-based series, with a fairly predictable formula of
establishing shots followed by crosscutting between over-the-shoulder shots
with the odd close-up for dramatic denouements. And of course that favourite soap opera time saver of the two-shot covering
both participants in a conversation without any switching was frequently
employed. The main standout visual flourish was the quick cut-in shot on the
occasional dramatic line, employed in a minority of episodes. New Developments
Ten weeks
into the show’s run the understated romance storyline between Father Paul and
teacher Mary Dunstan began to be developed. Paul soon confessed that he
believed he was falling in love with Mary, and was granted a leave of absence
from the church to sort out his crisis of faith. In a series of well written
and acted scenes Paul navigates finding his own accommodation away from the church,
and he even accepts dating advice from student Peter Cooper. However
the suggestion of a love affair for the Roman Catholic priest provoked a
storm of controversy. There was a public outcry and the Broadcasting Control
Board eventually stepped-in, ordering that the offending scenes could never
be broadcast. The makers of the series were forced to
terminate the storyline, and in a shock move actor Alan Lander who portrayed
Paul Kennedy was abruptly dropped from the series with just 24 hours
notice. In fact he was busy rehearsing for a taping when he received the news
he was to be paid off. Lander
was disappointed at the turn of events, telling TV Week that: “The
most annoying thing for me is that in no way was the romance offensive. It
was all implied - we never even touched hands.” [9] Despite
his shock axing Lander noted that the Grundy Organisation was extremely good in honouring all financial contracts… “But I
still think it’s scandalous that several episodes I have made will never be
seen.” [10] A
spokesman for the Reg Grundy Organisation said that the dropping of the
character was a mutual decision reached between themselves and Channel Seven. “If we
had left Father Paul in the series it would have meant drastic re-writing of
scripts and a whole change in the trend of the storyline,” he said. “As we
had to terminate the romance, we had to drop one of the characters and Father
Paul seemed the more suitable.” [11] This
seems rather unfortunate given that this storyline was probably the most
compelling and effective of the series, helped by the good acting of Alan
Lander and Jeanie Drynan who had an appealing
screen presence and strong chemistry together. Actor
Janet Kingsbury also found her role in the series modified after the
Broadcasting Control Board stepped-in, however in this instance it resulted
in the character’s time in the show being extended. Kingsbury’s character
Maureen Blair, wife of assistant principal Donald Blair, was devised as a
neurotic alcoholic to appear briefly in the show’s earliest episodes, engage
in an affair with student Tony Bianco (Adrian Bernotti) and then disappear. However,
after the brief meeting of Maureen and Tony in the program’s premiere episode
where he drops off some groceries the Broadcasting Control Board stopped the
formation of the character; the love affair idea was dropped and the whole
concept of the character was suddenly changed. Kingsbury told TV Week that: “Since
then, nobody really knows what Maureen is supposed to be like. We have four
or five writers on the series, and each one sees the role in a different
way.” [12] One
consequence of this was that rather than making a quick exit, Maureen stuck
around for most of the first year. Kingsbury never knew from week to week what
Maureen would be doing next. “For
instance, for two days I’m all lovey
dovey with my husband, then the following day, out
of the blue, they’ve got me packing my bags to leave him for no rhyme or
reason. I’m waiting for my next script to see what happens. Having no
continuity makes a character very hard to portray. It would be very
frustrating if you took the part too seriously.” [13] At the
time of Class of ‘74 English-born Kingsbury said of
the Australian acting scene that: “I must
admit I do feel we are not as far ahead as we should be in the TV field.
There doesn’t seem to be enough drive in the media and many of the directors
and actors are too complacent.” [14] Kingsbury
felt at the time she had become typecast as a TV actor. She would go on to
appear in The Restless Years, and become an enduring presence
on the Playschool children’s series alongside her onscreen
husband John Hamblin. One show she never appeared in was Number 96. Despite being approached on a couple of occasions to appear in that
series, she always refused due to its nudity clause. “I have
done a couple of bare top scenes in Spyforce and Love Story, and hated doing them. But at the same time
I knew they would be handled tastefully - that’s why I broke my golden rule
about not stripping. Another point of course is that every actress reaches a
certain point in her career when she has to decide on her priorities - whether
she will make a concession to strip or never get the chance to play a good
part. To me, stripping seems unnecessary. Besides, I feel I’ve got nothing
worth showing and it would only humiliate me to show my body.” [15] Clearly,
with the close scrutiny of Class of ‘74, such concerns would never arise
for Janet Kingsbury, or any of the other cast members. The racy plotlines had
caused the Broadcasting Control Board to come down hard on the series, and
the storylines moved more in the direction of a traditional school yard drama
examining standard soap opera problems of the staff and the students. Charles
had a romance with movie star Janet Henderson (Margo Lee), provoking outrage
from his adult daughter Jill (Jennifer Cluff), and
from Janet’s estranged husband and manager Perhaps
inspired by these tense filmic negotiations, Waratah
class mates then became rivals when the students began organising the production of a historical
documentary film. Student Barry Collins struggles to write the script while
Ann Watson insists the story should be an old-fashioned romance in which she
plays the female lead. When Peggy manages to arrange finance for the film
through a relative she naturally assumes that this will secure her the female
lead, leading to much resentment and many arguments. A class room audition
reveals Ann as the better actor, much to Peggy’s shame. Now
running the coffee shop was the warm and chirpy Rene (Joan Dalgliesh), always lending a caring ear as her glum
customers discuss their problems over a nice cuppa. Meanwhile new
teacher David Willard abused his status of an old personal friend of Charles’
and delighted in baiting Donald. ‘74 Revamp
After a
few months there was a drastic cast revamp. New students included Mike Woods (Terry
Peck) and later, Patti (Margaret Nelson), and they would be cast members in a
school play where students portrayed thinly veiled versions of the Waratah High staff members. Teacher
James Findlay (Edward Howell) showed up to work out his last few months
before retirement. Mr Findlay quietly despaired at
the prospect of leaving a beloved profession for an idle and unfulfilling
future. At Waratah he eagerly tried to inspire his
students, sometimes having his efforts go unappreciated. Still
more teachers showed up later in the year, including Elena Kyriacos (Derani Scarr), and Ruth Howard (Judy Ferris) who had two
children attending Waratah High: fifth-formers
Jackie (Sharon Higgins) and Dean (Greg Bepper).
Actor Vince Martin, whose character Gary Evans had been killed in episode
two, returned playing another teacher, Jack Christianson, a persistent womaniser who went out on dates with each
of his female co-workers. These
later episodes are far less compelling than the show’s early scenes, and the
cast changes seemed to upset the flow of the series. Amongst the students to
leave were Peggy, Julie and Barry. Some of the actors became recurring
players in a three-months-on, three-months-off type pattern, with Peggy and
Julie later returning to the show. The various cast changes overall resulted
in a larger proportion of teachers in the cast, a change that yielded
comparatively dull results. At the
time, cast member Joanne Samuel recounted her experiences working on the
show. Of the initial censorship she recalled that: “We had
to make three cuts in the very first episode because the control board
stepped in and ordered them. Virtually all the scripts we had in hand had to
be rewritten and for a while things were pretty chaotic. But it has been marvellous the way the series has settled
down and improved out of sight. We have been getting probably the highest
ever Samuel
noted that by this stage she was one of only four of the actors playing
students to have appeared continuously the entire year. “I
really don’t know why others have been dropped and I have been kept on. A lot
of the others were more experienced actors [than] me. It is probably
something to do with story lines. My character apparently hasn’t run out of
possible situations yet.” [18] Though
viewing figures had dropped by the end of the year, the ratings were strong
enough to warrant the renewal of the series; it was to return the following
year, with its title naturally updated to become Class of ‘75. Class Of ‘75
When the
serial resumed for its second year there were several major changes apparent.
First, the show was now in colour. For the only
time the episode starts with a pre-titles recap, showing the closing scene
from the previous installment - the last episode from 1974. As that episode
had been in black and white, the recap – showing Charles Ogilvy piloting a
small plane as it begins a crash dive – is tinted red. The
show’s new opening titles sequence shows stock footage film of young men
riding the high surf, and shots of youngsters playing tennis and competing in
swimming events. The
episode itself opens with an extended outdoors sequence with breezy music
which quickly telegraphs the show’s new slapstick comedy tone. A Volkswagen
Kombi van arrives in the school car park and when the beleaguered young
delivery driver, Bill Smith (Marty Rhone), opens the doors we see that the
van is totally filled with suitcases which tumble out comically as he
attempts to unload them. Snooty new student Jane Potter (Angela
Punch-McGregor) is chauffeured in, and a bumbling Donald Blair drives in
while dodging Luigi (Paul Faranda), a comedy
gangster ducking in and out of the bushes. Interior
scenes are conducted on modern-looking new sets, although much of the action
seems to take place on the same small stairway landing where the new students
and the new teachers all cross paths to introduce themselves. We quickly
learn that Waratah is now a coeducational boarding
school, and a new stream of oddball students and some attractive young
teachers show up looking for their quarters. The school apparently doesn’t
have a reception area; everyone just walks up to the staircase and asks
directions from whoever else is standing there. Rick
Harris (Peter Flett) is the new maths teacher with a penchant for
wisecracks and parachuting, while Jorja Jones (Briony Behets) is the bubbly
new physical education instructor whose first move at her new school is to
slip into her bikini and try out the swimming pool (off camera). Tetchy
and officious Donald Blair is now presented as a figure of fun, his pompous
ways used for comedy to a greater extent than ever before. On meeting Jorja bouncing around in her short robe, a flustered
Donald remarks that “you look very… er, very fit!”. Later when he expresses doubt that Rick’s parachute
will get much use as “I don’t think we’re having parachuting this term”, the
funky mathematician shoots back with “Why not? Too many drop outs?!” And just
in case viewers don’t get the jokes, the soundtrack trumpets “Mwah mwah mwah
mwah” after the gags are delivered. New
student Loretta Day (Bronwyn Winter) is allergic to everything,
and despite her huge unflattering spectacles and prim and proper plaited
hairstyle is convinced she is irresistible to men. “There’s a man following
me!” she frequently exclaims, even if it is just Luigi staking out the
corridors. Loretta quickly
finds a kindred spirit in milquetoast Dennis Braithwaite (Peter Bensley), a snivelling mummy’s boy. He has a letter from his mother
that provides an excuse for every occasion and his catch phrase “I’ve got a
letter from my mother!” is frequently repeated. These students join several
holdovers from Class of ‘74, including Mike Woods, Jackie and
Dean Howard, and Freddie Randall (Graham Bassett), all now attired in funky
new beige and mission brown school uniforms. Also
making her debut is character Angelique Dupree, a comedy caricature of a
strict and censorious senior mistress, with a thick French accent to boot.
Looking slick and officious in smart suit, coke bottle horn-rim spectacles
and with her black hair pulled into a neat and conservative style, Angelique
stumbles into the chaos insisting she is the new senior mistress filling-in
for the missing Charles Ogilvy, even if Donald Blair knows nothing of this
appointment. Reporting to Donald’s office Angelique finds him chatting to Jorja who is fresh, and still dripping, from her
introductory dip. Angelique remarks that “when the cat is away you get an
awful lot of wet mice!” before criticising the overall level of professionalism of the
school and its staff. Angelique
is further outraged when Luigi later pulls out a gun and chases a bunch of
students through her quarters, even if he later admits “I don’t put bullets
in guns: someone might get hurt!” Angrily sending them all out of her
apartment, Angelique retires to her bedroom where she slips off the glasses,
jacket and shoes to relax. Then, in the show’s first big cliff-hanger, off
comes the wig and revealed under the disguise is sex symbol Abigail. She
shakes out her trademark extra long blond hair and, dropping the ridiculous
French accent, triumphantly declares to herself “Well I’m in! And it looks as
though it’s going to be a cinch!” The
following episode focused on the eagerly awaited entrance of film star and
owner of all those suitcases Gina Ferrari, played by Peta
Toppano as a stereotypically fiery and
temperamental Italian diva. Luigi, it is revealed, is merely her overzealous
minder. Meanwhile another of her minders who is escorting her to the school
is played by Harry Michaels, later to play Giovanni, another stereotypically
hyperactive Italian, in Number 96. There’s
more slapstick humour as yet more comedy gangsters
show up with a replica of Gina’s welcome to Waratah
cake. Their substitute dessert has drugged icing as part of a kidnapping and
ransom scheme, as one gangster discovers when he licks the bowl, and much
mirth ensues as the gang attempts to switch the cakes before Gina’s welcome
party. The Marx Brothers this isn’t. Meanwhile
young Bill Smith who had delivered Gina’s suitcases reveals himself as a
frustrated scholar who would love to attend the school. Bill happily switches
places with real student Tom Carter (Ron Rodger) to cover for him when we wants to stay out watching surfing movies. Bill reasons
this will at least give him a brief taste of studying at the school. Later,
when the real Tom is struck with amnesia, Bill assumes his position
permanently. Finally actor Philip Ross, previously Class of ‘74 teacher Mr
David Willard, shows up as a new character, the eccentric Professor Grimble. Few of
the show’s unsubtle attempts at broad comedy seem successful. Only Beryl
Cheers as Madge, the school’s no-nonsense Matron, seems able to pull off her
comedy scenes with aplomb. Madge and Hubbard are now married and the Scottish
pipe-smoking handyman and his warm but straight-talking wife seem like
watered-down clones of Les and Norma from Number 96. Nevertheless they emerge as the
characters probably best suited to the show’s new slapstick style. TV Week hopefully reported that Abigail’s role in
the series would see a “drastic change of pace for viewers familiar with
Abigail disrobing in Number 96” noting that this time she will
stay dressed. [19] Of the role Abigail herself
explained that it is: “…entirely
different and very welcome. I have wanted to show that I can do something
other than take my clothes off for a long while. Anyone with a good figure
can stand around looking alluring. If the script and the situation doesn’t
call for anything more that’s easy to do. The test comes for such an actress
when she has to intelligently interpret the role and I know I can do that.” [20] Unfortunately
the silly new lightweight format of the show hardly presented a viable
vehicle for Abigail to demonstrate her flair for comedy. Nevertheless her
portrayal of the strict senior mistress is great fun, her cliffhanger
unveiling the highlight of the episode. However her role in the series would
amount to little and she was out after just three weeks. Class Dismissed!
As early
as March 1975 the writing was on the wall when Channel Seven in Indeed
the show was unceremoniously consigned to 8.00 AM Saturday mornings in By this
stage the Broadcasting Control Board, Channel Seven and the Reg Grundy Organisation had
thrashed out a new and less restricting set of guidelines for the show. This
finally allowed scriptwriters greater scope and to move more in the direction
of adult appeal. Of the new, relaxed censorship standards Greg Brown,
publicity director of Though
this was encouraging news the Seven network issued
the series with an ultimatum - improve or be axed. The series was given just
12 weeks to institute the changes and improve in the ratings. [24] The revamped series remained in
production until mid 1975, but ultimately the ratings were not strong enough
for the series to be renewed after that. The
End
The final
episode hurriedly attempts to tie up the show’s various storylines. Charles
Ogilvy is back after several absences where he announces his plans to marry
teacher Ruth Howard, though Ruth’s son Dean is unhappy with the news. Donald
Blair decides to resign in light of the mess he made of the job while filling
in for Charles. Also in tatters is his romance with Charles’ secretary Alison
Woods (Jennifer de Greenlaw), a statuesque beauty
dubbed “The Towering Inferno” by the students. She also announces her
resignation and plans to leave the school that same day. Hubbard,
who had convinced Madge to move with him to Meanwhile
Tom Carter does decide to leave school; he plans to pursue a pop music career
and gives a rendition of the song Denim and Lace to the assembled staff and
students involved in rehearsals for Gina’s cabaret show. (The song Denim and Lace was released as a single by Tom’s portrayer,
singer and actor Marty Rhone, and it became a real life hit in late 1975.) Still in
the rehearsal room Madge then leads the throng, which includes returned
original student Nora Hayes, in a rendition of Auld Lang Syne. The episode ends with the credits and theme song running over a shot
of the entire cast happily milling about the rehearsal room as Charles makes
his way through the crowd followed by the panning camera and briefly chatting
with each person present. Things finally come to a close with a zoom in on a
smiling Charles. This
final scene has the odd effect of appearing to show the actors slipping out
of character and apparently gearing up for the wrap party. After all the
tensions of the episode, many of which hardly seem to have been properly
resolved, everyone seems uncharacteristically happy, all showing a carefree
attitude and wide smiles. Then there was the rendition of Auld Lang Syne, a song that frequently
represents farewell, when - aside from a spate of departures that the
majority of characters were not even aware of - there was no real reason in
the story for it to be sung. Final Summation
Reg
Grundy later described to TV Week the disastrous turn taken by the
series for its second year on-air, laying the blame for the show’s ultimate
failure with the Broadcasting Control Board. “They’d
got it into their heads that Class of ‘74 was a dirty show. They were
watching us every minute and demanding all sorts of cuts and editing. It made
it impossible. We had to change the next series into more a comedy show - and
it failed. It was totally ridiculous when you look back on it. I remember one
particular scene that they objected to where a priest and a woman were doing
nothing but talking to each other. They claimed there was an inference of something
else going on. They ended up gutting the show and killing it.” [25] There was a total of 290 thirty-minute episodes of the series
produced over its two year run. Class of ‘74 began in black and white,
switching to colour with episode 192. Despite
being dated by the title and the black and white episodes, the show was
repeated by Channel 7 Melbourne in the early 1980s allowing young teens of
the day to see how much the technical standards of television had improved
over the previous decade. Despite
its patchy technical quality, the chequered ratings, and the disastrous rebirth as Class of ‘75, the show has a couple of claims to fame. While Number 96 had revolutionised television serials in The show
was the Reg Grundy Organisation’s
first drama series, the first step to establishing the company as a as a
successful producer of soap operas. Soon they would be Grundy’s
then matured with the rather more dramatic Prisoner which emerged as an even greater
success, and with the melodramatic Sons and Daughters, which still relied heavily on
attractive youngsters in the cast. This of course all leads up to Neighbours,
the ultimate teen soap, and a massive international success still running
today. |
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Originally uploaded May 2000 Last updated 15 November 2009 |
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