On the Spot
- Summary
- 1938 BBC studio production of Edgar Wallace’s crime thriller On the Spot. In the original theatre production Charles Laughton played Tony Perelli with Arthur Gomez, who took the role in this television production, as his understudy. Arthur Gomez also played the part on tour and in a 1935 radio broadcast. Gillian Lind also took the same role here as she did in the theatre production.
- Theatre play
- On the Spot by Edgar Wallace (1875-1932) [more information]
- Date of transmission
- Saturday 2 July 1938
- Time
- 9.00-10.30pm (90 mins)
- Channel
- BBC Television
- Production company
- BBC
Credits
- Producer
- Royston Morley
- Playwright
- Edgar Wallace (1875-1932)
- Cast
Thornton Bassett J. Adrian Byrne Arthur Gomez Tony Perelli Harry Hutchinson Alan Keith Queenie Leonard Gillian Lind Minn Lee Alex McCrindle Richard Newton Percy Parsons Peggy Stacey Edmund Willard
Additional details
- Origination
- Live from studio
- Vision original
- Monochrome
- Later transmissions
- Presented again at 3.00pm on Friday 8 July 1938, at 9.00pm on Saturday 9 April 1939 and at 3.00pm on 5 May 1939.
- Notes
- 'Royston Morley has made ambitious arrangements. For the first time in television drama two studio cameras will be taken outside the building, their cables trailing down two flights of stairs, to televise exterior scenes’ ('The Scanner’, ‘Enter the Penumbrascope!', Radio Times, 24 June 1938, p. 15).
- Extant status
- No archival copy is known to exist.
- Play tags
- America, as theme or setting; crime; thriller
Print sources
- Title
- Radio Times, 24 June 1938 (Magazine)
- Linking notes
- listing, p. 16 and article p. 15
- Title
- The Sunday Broadcast Programmes: Need for Improvement (Newspaper review)
- Author/creator
- Anonymous (Reviewer)
- Reference
- The Times, 4 July 1938, p. 4
- Notes
- 'Edgar Wallace’s thriller, On the Spot, was seen in a full-length version, when the terrace at Alexandra Palace was effectively used to show a street killing by Chinese gangsters. The whole play was admirably acted [...] [it] was all so consistent that it gave the unseen audience the sensation of having looked into a gangster hell no less real than that into which Virgil inducted Dante.'
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