Tony Isaac played a major hand in creating some of the key TV dramas of 1970s Kiwi television. He produced New Zealand's first continuing television drama Pukemanu, co-created Close to Home, our first soap, and was one of the main forces behind The Governor, arguably the most ambitious TV drama yet made on New Zealand soil. Isaac passed away in May 1986.
Tony Isaac was passionately committed to New Zealand television and especially to the growth, scope and quality of local production. Michael Noonan
Country GP was a major 80s drama series that charted the post-war years 1945 to 1950 in a rural central South Island town. Using fast-turnaround techniques that anticipated later series like Shortland Street, 66 episodes of Country GP were shot in 18 months at a specially built set in Whiteman’s Valley, Lower Hutt. It was groundbreaking as the first NZ series to cast a Samoan in a title role (Lani Tupu as Dr David Miller); but it also provided a nostalgic look back to an apparently kinder, gentler time than mid-80s New Zealand with its major social reforms and upheavals.
Shot on location in Wellington, often after dark, Inside Straight helped usher in a new era of Kiwi TV dramas, far from the rural backblocks. This Minder-esque portrait of Wellington’s underworld was inspired by writer Keith Aberdein’s experiences as a taxi-driver and all night cafe worker. Phillip Gordon (soon to win fame as a conman in Came a Hot Friday) stars as the former fisherman, learning the ways of the city from veteran taxi driver Roy Billing. A solid but unspectacular rater over 10 episodes, the show was scuttled by the launch of trucker’s tale Roche.
Pioneering poet, author and journalist Robin Hyde was originally Iris Wilkinson. Directed by Tony Isaac (The Governor), this ambitious co-production for television mines quotations from Wilkinson's writing to dramatise her life. In a parallel plotline, a writer, actor and director wrestle with how to capture Iris on screen. For Australian Helen Morse (Picnic at Hanging Rock) playing Iris was a privilege — and her "most difficult" role to date. Morse concluded that Iris was "extraordinarily vulnerable emotionally". This excerpt includes a cameo by the writer's real life son Derek Challis.
This is the final episode of the pioneering Kiwi soap. TV One’s Hearte family saga achieved enormous popularity during its eight year run, and provided a training ground for a generation of screen talent. But by 1982 Close to Home’s characters were aging or departed, and the show faced competition from American youth-focused fare (eg Fame, The Six Million Dollar Man). With this 818th episode it was time for moving house, nostalgic re-caps, for The Seekers’ ‘Carnival is Over’ to score the opening credits, and for Tom (John Bach) to stub out his last ciggie and write the ending.
TVNZ's Loose Enz series was a series of 12 stand-alone dramas made in the early 1980s. This episode, directed by television trailblazer Caterina De Nave, chronicles married life for two neighboring couples who have very different relationship dynamics. Mary (a rare starring role for Shirley Duke) is trying to move into the working world now that her kids have grown up, much to the irritation of her controlling husband David. The couple next door have a much more equal relationship. Increasingly dark, this episode is a trenchant criticism of patriarchical mores of the time.
This Loose Enz edition follows a theatre group developing a play about Greek Gods. The full gamut of am-dram tropes are featured: know-all director, a lecherous lead (Jeffrey Thomas), zealous extras, drunk techies, an existential playwright (Colin McColl), shambolic dress rehearsal etc. Estranged couple Tom (Grant Tilly) and Helen (Liddy Holloway) find the play’s lofty themes echoed in more earthly realities. With a who’s who of NZ luvvies of the era it’s not quite Carry On, but there are japes aplenty, the show must go on, and it’ll be all right on the night.
This Loose Enz edition sees ambitious young TV ad-man Gary (Rex Merrie) attempt to climb the corporate ladder. His pitch to his old school superiors at a dinner party involves patronising a burgeoning Polynesian market. Open-neck shirts, wide lapels and gold chains represent the aspirational early 80s and bow ties and tartare sauce mark the Rotarian generation of Kiwi Mad Men. When wife Jenny (Alice Fraser) decides to be heard as well as seen, Gary finds his gender stereotypes challenged as much as his business sense. The gabby teleplay was written by Vincent O'Sullivan.
Written by Tom Scott, Press for Service is a humorous take on the shenanigans of the parliamentary press as they battle with the prime minister over their journalistic freedom. With the idealism, sleaze and alcoholism, that traditionally go hand and hand with the job, we follow David Miller; striving to be a respected journalist. Miller writes a damning piece but forgets to check his sources. Opening and closing with John Toon's elegant aerial shots of Wellington and a buoyant score, the episode features prominent Wellington thespians Ray Henwood and Ross Jolly.
One of an early 80s series of stand-alone dramas, Coming and Going is set in a boozy officers’ mess in Maadi in Egypt during World War II. Based on a short story by Dan Davin (who saw service in North Africa and Europe), it centres on Reading (David McPhail in a rare serious role) who will never be one of the blokes — but who is now facing ostracism and open hostility. Andy (Kevin Wilson) has just rejoined the unit after being wounded; and he gradually discovers that Reading’s plight is the result of something far more serious than standoffishness.
This off-the-wall comedy of errors — from the Loose Enz series — sees hapless tour operator Graham (Ian Watkin) and his wide boy driver Ron (John Bach) leading a busload of international visitors (well) off the beaten trail. the teleplay neatly skewers clichéd promotional travelogue commentaries (with the music of Sibelius never far away) and takes broader shots at the tourists’ various cultural stereotypes. With Graham well-meaning but dim, and Ron too busy looking after number one, Graham’s mum (a formidable Yvonne Lawley) and enterprising local Iwi come into their own as hosts.
TVNZ’s Loose Enz was a series of 12 stand-alone dramas that canvassed a broad range of subjects. With a distinct NZ voice, the series’ 1982 9:30 scheduling allowed the array of writers to pen racier and more confrontational content. Funding exceeded the (mostly) meagre levels of the 70s, and talent pooled around the production: names such as Tony Isaac (who produced the series), Caterina De Nave, Billy T James, Merata Mita, John Toon, and Angela D’Audney, made up an illustrious cast and crew who had forged, or were yet to cut, vital paths in the screen industry.
The powerhouse, largely Māori cast of this teleplay includes Jim Moriarty, Merata Mita, Billy T James (as a Marxist) and, in his acting debut, Zac Wallace (star of Utu). The Protesters explores issues involving race and land ownership in the aftermath of the Springbok Tour and Bastion Point. A group of Māori and Pākehā protestors occupy ancestral land that the government wants to sell. While waiting for the police to arrive, they debate whether to go quietly or respond with violence. Though some wounds are healed, The Protesters ends on a note of division, reflecting the era it was made in.
In this infamous edition of the Loose Enz anthology series, sexologist Rufus (Grant Tilly) has marriage problems, due to being more theoretical than practical when it comes to the ways of the flesh. Things grow more complicated when patient Ernest (Bruno Lawrence, playing nerdy for a change) claims he is suffering from having a magic touch with women. Alongside Joy of Sex japes and punning pillow talk galore, this sex farce gained notoriety for scenes of high-profile newsreader Angela D’Audney (as the dissatisfied wife) going topless, then donning a turquoise catsuit.
This two hander is one of the heavier editions of the Loose Enz series. After midnight, a woman (Heather Lindsay) rifles through her prescription drugs then smashes a glass against an Egon Schiele print hanging on her wall (with Laurie Anderson-inspired blips scoring the scene). Shortly afterwards a married colleague (Peter Vere-Jones) turns up, whom she's forgotten she's phoned. The titular samaritan finds himself drawn into the midlife crisis of a woman under the influence: from Yevtushenko to a bitter waltz to Split Enz's 'I Got You'.
This teleplay from writer Greg McGee is a satire of prejudice and the market economy set in the grey, divisive atmosphere of early 1980s New Zealand. Kate Harcourt plays the proprietor of Dot's Terminal Cafe, a cantankerous spinster who rails against 'bludgers' and 'foreigners'. One rain-soaked Wellington night, her lumpen clientele decide to stage a small but telling uprising — with the help of a dead mouse. It screened in early 1982, following the breakout success of McGee’s confrontational take on Kiwi conformity: rugby player losing-his-religion play Foreskin’s Lament.
This episode of the Loose Enz series features small town intrigue in Hawkes Bay. Prickly, violin playing, ex-POW Austin (Derek Hardwick) refuses to retire despite handing over the farm to son Wesley (Goodbye Pork Pie director Geoff Murphy) — and the impending sale of the neighbouring property (to Japanese buyers) puts him on the warpath one boozy night at the local. Rural land politics and identities are nicely observed, the farmers’ band is delightfully chaotic (with Paul Holmes as a sax-playing fencer), and the Land Rover stuck in reverse is worthy of Fred Dagg.
This teledrama explores the tensions surrounding an elderly woman's tangi, as whānau members gather in a suburban house. Alienation of urban Māori — particularly son Paul (Jim Moriarty) — from iwi roots, and differing notions of how to honour the dead, are at the heart of the conflict between the mourners. A pioneering exploration of Māori themes, the Rowley Habib teleplay was one of three one-off dramas the playwright wrote (alongside 1978's The Death of the Land, and 1982's The Protesters) encouraged by director Tony Isaac. It screened in April 1980.
This late 70s gender politics satire was a Television One sitcom written by future Gloss creator Rosemary McLeod; it was broadcast live-to-air from Avalon Studios. In this episode, Ginette McDonald’s lippy feminist withholds the joy of sex from her hippy hubbie, and Bruno Lawrence (sporting a magnificent anti-comb over) is the unreformed motorhead neighbour whose hangover cure is beer and cornflakes. Lawrence’s larrikin performance in the show was spotted by director Roger Donaldson who cast Bruno in his breakout big screen lead role: Al Shaw in Smash Palace.
The Governor was a television epic that examined the life of Governor George Grey in six thematic parts. Grey's "Good Governor" persona was undercut with laudanum, lechery and land confiscation. NZ TV's first (and only) historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. It won a 1978 Feltex Award for Best Drama. Auckland Star reviewer Barry Shaw trumpeted: "It has made Māori matter. If Pākehā now have a better understanding of the Māori point of view [...] it stems from The Governor.
The Governor examined the life of George Grey, providing a whole new angle on traditional portraits of him as the "Good Governor". The six-part historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. This episode — 'He Iwi Kotahi Tatou' (Now We Are One People)' — won a Feltex award for best script. War looms in the Waikato as Māori tribes band together; peacemaker and kingmaker Wiremu Tāmihana (the late Don Selwyn) agonises over the right course of action.
The Governor was a six-part TV epic that examined the life of Governor George Grey (Corin Redgrave). This episode arguably best lived up to the blockbuster scale and revisionist ambitions of the series. It depicts key battles of the 1863-64 Waikato Campaign (including ‘Rewi’s last stand’ at Ōrākau). General Sir Duncan Cameron (Martyn Sanderson) feels growing unease following Grey’s orders to evict Māori villagers, as he learns respect for his foe, and that Grey’s motives are driven not just by the urge to impose order on ‘the natives’ but by hunger for land.
TV drama The Governor examined the life of Governor George Grey in six thematic parts. Grey's 'Good Governor' persona was undercut with laudanum, lechery and land confiscation. NZ televison's first historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. It won a 1978 Feltex Award for Best Drama. In first episode 'The Reverend Traitor', Grey arrives to colonial troubles: flag-pole chopping Hōne Heke, missionary Henry Williams, and rebellious Te Rauparaha. Writer Keith Aberdein goes behind the scenes here.
This documentary goes behind the scenes on New Zealand television's first historical blockbuster: 1977 George Grey biopic The Governor. Presenter Ian Johnstone looks at how the show reconstructed 19th Century Aotearoa, and handled large scale battle scenes. The footage provides a fascinating snapshot of a young industry. Also examined is The Governor's place in 1970s race politics and its revisionist ambitions. Key players interviewed include creators Keith Aberdein and Tony Isaac, and actors Don Selwyn, Corin Redgrave, Martyn Sanderson, and Terence Cooper.
Pioneering soap opera Close To Home first screened in May 1975. For just over eight years (until August 1983) middle New Zealand found their mirror in the life and times of Wellington’s Hearte clan. At its peak in 1977 nearly one million viewers tuned in twice weekly to watch the series co-created by Michael Noonan and Tony Isaac. This first episode sees the family gathering for Grandfather’s 78th birthday. Vivian (Ilona Rodgers) moans to Tom (John Bach): “you’ve drunk all my cooking sherry”, then tenderises the beef with the empty bottle.
This three-part documentary series was made to mark International Women's Year in 1975; it provides rare and precious interview footage with three of New Zealand's most celebrated writers; Sylvia-Ashton Warner, Janet Frame and Dame Ngaio Marsh; who each reflect on their life and philosophy. In the case of Ashton-Warner and Marsh, these documentaries were filmed in the last decade of their lives. Three New Zealanders was produced by John Barnett for Endeavour Films.
Pioneering soap opera Close To Home first screened in May 1975. For just over eight years middle New Zealand found their mirror in the life and times of Wellington’s Hearte clan. At its peak in 1977 nearly one million viewers tuned in twice weekly to watch the series co-created by Michael Noonan and Tony Isaac (who had initially only agreed to make the show on the condition they would get to make The Governor). The popular family saga carved a regular niche for local drama on screen, and the output demands were foundational in developing industry talent.
This fresh, unhurried film is drawn from a substantial interview with renowned writer Janet Frame by Michael Noonan; filmed largely at at Frame’s then-home on Whangaparoa Peninsula. It was part of the Three New Zealanders series made to commemorate the 1975 International Year of Women — an early John Barnett production. The rare footage of Frame — here aged 50 — presents a confident writer in her prime, and negates any stereotypes about Frame's inarticulacy or shyness. Note: the segments from the programme dramatising some of Frame’s work are not included here.
New Zealand’s economy is in serious trouble in the first episode of this award-winning drama series about The Great Depression. An ailing Prime Minister and a weak government seem powerless in the face of a downward spiral caused by rising unemployment and falling export prices. Meanwhile, the plight of a boot maker seeking work while people are being laid off all around him, and a jeweller struggling to keep his business afloat and food on his family’s table bring home the human cost and social divisiveness being caused by the worsening crisis.
The Great Depression — the biggest social upheaval ever faced by New Zealand — is the subject of this very well-received three part NZBC drama series. Based on an award-winning script by Michael Noonan, The Longest Winter focuses on the experiences of politicians, the middle class family of a jewellery shop owner, a boot maker and an unemployed workers’ group. It examines the inter-related forces that combined in the early 30s to plunge New Zealand into some of its darkest days — and left the nation and many of its citizens scarred for decades after.
This award-winning 1973 TV drama follows the career of PM Richard 'King Dick' Seddon from the events leading to his premiership in 1893, until his death in 1906. Writer Michael Noonan intersperses speeches and cabinet discussions with vignettes of Seddon's interaction with pressure groups and voters. Tony Currie (Close to Home) won a Feltex Award as the colourful Seddon, who forced through groundbreaking legislation. Listener reviewer Roger Hall praised it as New Zealand's "best historical documentary" to date. Watch out for broadcaster Brian Edwards as an opposition MP.
Section 7 was New Zealand’s first urban TV drama series and followed soon after Pukemanu (which was set in a logging town). Taking its name from the Criminal Justice Act section which placed offenders on probation, it focussed on a Probation Service office and addressed issues of the day including new migrants, ship girls and domestic violence. Expatriate Ewen Solon returned from England to take the lead role in a series very much based on British dramas of the time. More popular with critics than the public, Section 7 was limited to 11 half-hour episodes.
Pioneering series Pukemanu (the NZBC’s first continuing drama) followed the goings-on of a North Island timber town. The series was conceived by former forester Julian Dickon (who quit the series and was replaced by Listener critic Hamish Keith as writer). Producing two seasons of six episodes was a key step in industry professionalisation, and many of the cast became stars (Ginette McDonald, Ian Mune). It offered an archetypal screen image that Kiwis could relate to: rural, bi-cultural, boozy and blokey; and reviews praised its Swannie-clad authenticity.
NZBC series On Camera was an afternoon magazine show. It screened separately on each of the regional channels, but shared items and interviews. Subjects ranged from Rolf Harris and Alfred Hitchcock to VSA and ballet, and topics “of particular appeal to women”. Presenters included Julie Cunningham (Christchurch), Irvine Lindsay (Wellington) and Sonia King (Auckland), with Max Cryer reporting from Hollywood. Future head of TVNZ Māori programming Ernie Leonard (reporter) got early experience on the show, and future Quiet Earth composer John Charles was a director.
Made by the NZ Broadcasting Corporation in the mid 1960s, this half hour TV documentary sets out to summarise New Zealand. More than a promotional video, it takes a wider view, examining both the country’s points of pride and some of its troubles. In a brief appearance Barry Crump kills a pig, although the narration is quick to point out that the ‘good keen man’ image he epitomises is also a root of the country’s problem alcohol consumption. The result is patriotic, but certainly not uncritical. Writer Tony Isaac went on to make landmark bicultural dramas Pukemanu and The Governor.