16 April 1939
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BBC Television
Source: Radio Times April 14, 1939.
- 15.00 Charles Chaplin's Jubilee
- A programme of excerpts of early Chaplin films edited by H. D. Waley from the archives of the British Film Institute. Traditional piano accompaniment
- 15.25 Friends From The Zoo
- Introduced by David Seth-Smith and their keepers
- 15.40 Cartoon Film
- Birds in Spring
- 15.45-16.15 'The Charcoal-Burner's Son'
- A dramatic story for children with music and a dragon, by L. du Garde Peach and Victor Hely-Hutchinson. The cast includes: Ernest Butcher, Eric Fawcett, Max Oldaker, Cyril Wells, Marjorie Wilson, Fred Yule. The BBC Television Orchestra, leader, Boris Pecker, conductor, Hyam Greenbaum. Production by Moulrie R. Kelall. This is a classic of the Children's Hour in sound radio. It was first performed in 1928, and has since been repeated six times, two of these broadcasts being in the evening programmes. As well as a dragon this story has an ogre, a queen, a king with a beard, a princess with a white dress and hundreds of pearls, and a hero with a sword—all the ingredients, in fact, to give the children thirty minutes of grand entertainment.
- 19.55 National Programme
- (sound only)
- 21.05 Irene Eisinger
- singing with The BBC Television Orchestra
- 21.20-22.50 'A Night At The Hardcastles' '
- by Giles Playfair. A modern version of Goldsmith's She Stoops to Conquer. Cast, in order of appearance: Mr. Hardcastle- Morris Harvey, Mrs. Hardcastle- Renee de Vaux, Tony Lumpkin- James Hayter, Miss Hardcastle- Celia Johnson, Miss Neville- Nancy O'Neil, Young Marlow- Eric Portman, Hastings- Denys Blakelock, Sir Charles Marlow- Harvey Braban. And Newton Blick, Lionel Dixon, Barbara Nixon, Christopher Steele. Production by Desmond Davis. This programme will be repeated on Monday, April 24. Goldsmith's original version was televised at the end of last month, and this evening you will see how well the farcical plot can be modernised. Except that Celia Johnson instead of Marjorie Lane will play Kate Hardcastle, the cast will be the same, making a comparison of the two versions particularly interesting. Despite the introduction of telephones, cars, and cocktails, the mistakes of a night remain basically the same as they were in their eighteenth-century setting. Although this modern script was written specially for television by Giles Playfair, a synopsis of it was prepared by his father, Sir Nigel Playfair, for a film (which, however, was never made)
