Tag Archives: Dancing Ledge Productions

Dramatic truth

Two years after a deadly poisoning involving a nerve agent in the UK, the cast and creative team behind BBC miniseries The Salisbury Poisonings reveal how they dramatised this real-life national emergency.

When it came to bringing to television the true story of how a father and daughter were poisoned in the English cathedral city of Salisbury, executive producer Laurence Bowen knew exactly how it should be told.

“We decided to approach this as a factual drama rather than a documentary because we felt drama would give us more freedom to explore the emotional reality of what happened to people — showing the audience how it felt to suddenly find yourself with personal responsibility for protecting the lives of Salisbury’s 60,000 inhabitants, or the reality of how it felt to be poisoned, or to be a neighbour and best friend of the Skripals and find yourself catapulted into the middle of a counter-terrorism enquiry,” he tells DQ.

“We wanted the piece to be experiential and to show the truth of how the chemical nerve attack was experienced on the ground by ordinary people, and to show how many of them responded heroically to the challenge.”

Just two years have passed since former Russian military intelligence officer Sergei Skripal and his daughter Yulia were targeted with the deadly Novichok nerve agent. But if you think you know what happened, Bowen and the cast and creative team behind three-part BBC miniseries The Salisbury Poisonings are asking viewers to think again as they tell the story of what happened in March 2018 from the perspective of those tasked with protecting the community.

Turning the spotlight on the ordinary people and public services who displayed extraordinary heroism during a national emergency, writers and former BBC journalists Declan Lawn and Adam Patterson say they didn’t want to do “the obvious thing,” which would have been to make an espionage drama.

“We were more drawn to the stories of the people who had to clean up this mess rather than the people who made it,” says Lawn. “All of the action takes place in the shadow of a spy drama, with spooks and secret agents. But it’s not about that. It’s about ordinary people who have to pick up the pieces – the people who have to clean up Salisbury and also the people who are directly affected by the attack. That’s where the drama was, that’s where the emotion was, and we were instantly drawn to it.”

The Salisbury Poisonings dramatises real events of two years ago, when an assassination attempt on a former Russian intelligence officer in the UK went awry

Patterson admits that building trust with the real-life characters in the drama is not easy. “The first thing I would say is that factual drama is not a game. If you take on a factual drama, especially one that represents such recent events, you take on a massive responsibility to do those people justice and to tell their stories with authenticity and sensitivity,” he explains.

“We started much like we did when we made documentaries, walking around on rainy nights in Salisbury. It took a lot of time and many meetings over many months. Trust is the key word because, without trust, this project would not have happened.

“If people don’t don’t see your vision, if they don’t trust what you’re going to do with their testimony, they’re not going to talk to you. That consultation with the real people continued through the whole drama, from restarts, through scripting and through production. That’s why it is now an authentic and powerful piece of work.”

At the centre of the drama is Anne-Marie Duff as Tracy Daszkiewicz, the director of public health for Wiltshire County Council, who is called in by the police to ensure the community is protected from the deadly threat presented by the Novichok agent. It marks the first time Duff (Sex Education, His Dark Materials) has played a real-life figure on screen who is still alive.

“It’s kind of surreal, glorious, terrifying and a privilege all that same time to actually sit beside somebody [you’re playing],” the actor says. “It’s a challenge in terms of performance, because the requirements could be that you do an impersonation, and I wanted to avoid all of that nonsense. I just wanted to try and get the spirit of her. But what it also means is that you have to be so authentic and so true, because there’s someone who can testify against every moment. So you have to do the best job you can possibly do.”

Daszkiewicz was largely absent from the extensive media coverage that followed the incident, a fact that intrigued Duff about the person she would be playing. “When I was sent the script, I Googled her because I didn’t even remember her. There was very little to be found so, for the actor’s inner detective, it immediately whets your appetite. And as a woman, I can’t help but think lots of men in suits were recognised and she wasn’t. Adam and Declan’s scripts… the way they swell her with so much integrity was just amazing and a real gift.”

Anne Marie Duff stars as Tracy Daszkiewicz, who led efforts to protect citizens from the nerve agent used in the attack

Duff describes Daszkiewicz’s role in the events as “unimaginable.” Knowing she would be the fall guy if anything went wrong – with the potential for thousands of victims if other people came into contact with the nerve agent – “she just felt an insane amount of responsibility,” the actor continues.

“It’s joked about in the script – the whole imposter syndrome issue – because she felt that she didn’t have the smarts. People might think she didn’t come from a world in which she was a problem solver on a grand scale, and she had lots of demons, which we all understand.”

Alongside the Skripals, who both recovered from their exposure to the Novichok agent, three other people were affected by the poisoning. Police officer Nick Bailey (Rafe Spall, The War of the Worlds) and Charlie Rowley (Johnny Harris, This is England ‘86) both recovered after spells in hospital, but Rowley’s partner Dawn Sturgess sadly died. Myanna Buring (The Witcher, Ripper Street), who plays her, says she wanted to remind people that Sturgess was a “real human being.”

“A lot of us remember that, in the news. she was described as homeless and a drug addict, [which meant people] dismissed her death as inevitable because of her life choices,” the actor says.

“That simply was not true. Dawn was not homeless. She was not a drug addict. She was a woman who had experienced mental health issues and knocks in life, which I think all of us can relate to. She did struggle with alcohol, but she was working really hard to turn her life around. She had a loving family, a loving partner, children and friends, and her death left this gaping wound in all of their lives.

“She was an innocent person who died because of a failed assassination attempt that was carried out in such a way that thousands of innocent lives were put at risk. What happened to Dawn, it could have been any one of us.”

Rafe Spall plays police officer Nick Bailey, who was hospitalised after exposure to the Novichok agent

Behind the camera, Saul Dibb was able to blend his experience of a decade spent making documentaries with his recent fiction work, including The Duchess, NW and Journey’s End. Describing making The Salisbury Poisonings as “the perfect marriage” and a project that is part domestic drama, part thriller, Dibb says: “All of us felt it had the potential to be more than a straightforward docudrama. It’s just extraordinarily surreal.

“It was this amazing, weird thing happening in the middle of this small British cathedral city, where, whether you were directly poisoned or not, everybody became ‘contaminated’ by this poison.”

The production was based in Bristol and the South West of England, with some scenes also filmed in Salisbury. “We did shoot some things there but we drew a line. There was not going to be a recreation of things like hazmat suits or the army on the streets of Salisbury,” Dibb says. “We set a lot of the early, pre-poisoning stuff in Salisbury and then we meticulously looked for matches [elsewhere].” Archive material from contemporary news reports was used to add another layer of authenticity.

Bowen, CEO of producer Dancing Ledge Productions, also admits there were discussions about when to release the miniseries, which foreshadows many of the changes brought about by the coronavirus pandemic, with shops and restaurants having to close and people being told to wash their clothes and hands and wear protective equipment to minimise the risk of exposure.

The Salisbury Poisoning’s final scenes were filmed the week before the UK went into lockdown in March, before post-production work was completed remotely to deliver the show, which debuted on BBC1 last night and continues tonight and tomorrow.

“There are definite parallels between what happened in Salisbury – with the poisoning, the invisible threat, the contagion and the sense of lockdown – and today,” Bowen says. “We were extremely careful, but we felt that, with the story of Salisbury, there’s such catharsis in watching it. In the end, it’s a story about resilience and bravery and, apart from one awful tragedy with Dawn, it’s about people pulling through and coming out the other side. We felt, for all those reasons, it was timely to show it.”

That the real-life incident drew attention outside the UK means distributor Fremantle is confident the miniseries will also interest international audiences. “This series is based on true events that made headlines around the globe. While audiences will remember these headlines, they will learn a completely new side: the story of ordinary people who became heroes overnight,” says Jens Richter, Fremantle CEO of international.

“International broadcasters have been incredibly impressed by the series, which has been told with upmost care by our partners Laurence and Chris [Carey] at Dancing Ledge.”

Filled with tension as Daszkiewicz tries to contain the threat while other characters are unknowingly contaminated by the poison, the drama’s main objective is to “get under the skin of a group of people who were collateral damage to this extraordinary event,” says Dibb. “The key thing is this is a story that I don’t think can be easily pigeonholed into one thing or another. That’s one of its great strengths.”

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Indies bet heavily on book rights

Tony Marchant
Tony Marchant

In previous columns and features, DQ has explored the difficulty producers face in securing the services of top screenwriters.

One way of addressing this problem is to control the rights to strong source material. If you secure an option on a great novel, it’s an easier way of hooking a decent writer than going to them with an unproven idea.

Indie producer Bad Wolf, for example, was able to secure the services of the sought-after Jack Thorne by waving Philip Pullman’s fantasy epic His Dark Materials under his nose. And The Ink Factory reeled in David Farr by inviting him to make his mark on John Le Carré’s 1993 espionage novel The Night Manager.

Perhaps this is why we’re suddenly seeing so many book-rights deals bubbling to the surface. Last week, we referenced a couple of new examples in this column. And this week indie producer Dancing Ledge Productions has signed a deal with publisher HarperCollins for the TV rights to novels by Alistair Maclean, the legendary writer of books such as Guns of Navarone.

At the same time, the company announced that Tony Marchant (The Secret Agent) had come on board to adapt the first novel, San Andreas; a thriller set on board a torpedoed Second World War hospital ship as it attempts to make its way back across the North Atlantic to Scotland while a saboteur picks off crew members.

San Andreas
San Andreas is being adapted by Dancing Ledge Productions

Laurence Bowen, CEO of Dancing Ledge Productions, said: “We are lucky to be living and working in a golden age of television drama with a huge demand internationally for high-end adaptations and TV events that can be channel-defining. I doubt there are many bookshelves in the UK that don’t have at least one Alistair Maclean thriller, so the opportunity to work with HarperCollins to adapt a number of them for screen is incredibly exciting. If you then add a writer with the talent of Tony Marchant to the mix, we have a wonderful marriage of nail-biting action and emotional complexity.”

Under the terms of the arrangement, each novel will be structured as a four or six-part event miniseries that will build on Maclean’s trademark skill of creating thrilling adventure that appeals to hardcore fans and new audiences alike.

Katie Fulford, special projects director at HarperCollins Publishers, added: “Maclean is one of our most treasured authors. We’re committed to ensuring our heritage brands continue to grow and that we constantly seek new ways to tell these classic stories.”

Other new book-option deals along similar lines include Sid Gentle Films’ acquisition of the rights to Elizabeth Jane Howard’s acclaimed book series The Cazalet Chronicles, which is set between the 1930s and the 1950s and tells the story of three generations of the Cazalet family.

Elizabeth Jane Howard passed away in 2014
Elizabeth Jane Howard passed away in 2014

Explaining why she picked up the five Cazalet novels, Sid Gentle’s Sally Woodward Gentle said: “Elizabeth Jane Howard is an extraordinary writer, a highly skilled storyteller of understatement and deceptive simplicity. The novels are totally addictive with the ability to floor you with their turn of events. They are set in the middle of the 20th century but the themes of love, loss, repression, sex and family ties are shot through with 21st century resonance.”

Woodward Gentle has already proved that the books-as-bait model can work with SS-GB, a series for the BBC that is just coming to market. Based on Len Deighton’s novel, it has been adapted by James Bond writers Robert Wade and Neal Purvis.

One of the indies we talked about in last week’s column was Buccaneer, which joined forces with author Rose Tremain. And Buccaneer is back in the news this week following a deal with Trainspotting creator Irvine Welsh to bring his novel Crime to TV.

This setup is slightly different from some of the other examples because it comes with a screenwriter attached, Welsh’s longtime collaborator Dean Cavanagh. Where it resembles the other deals, however, is in the way that strong source material can help producers build a talent package that interests broadcasters.

Irvine Welsh
Irvine Welsh

In this case, for example, actor Dougray Scott has come on board to star in and executive produce the six-part project: “When I read Irvine Welsh for the first time I knew I was in the company of a unique and utterly brilliant voice. After finishing the novel Crime, I knew it was a story that I just had to help bring to the screen.”

There’s another book-based story of interest this week. BBC2 in the UK has just announced that it is adapting Ian McGuire’s Man Booker-longlisted whaling novel The North Water in partnership with See-Saw Films. In this case, Andrew Haigh has come on board to turn the story into a six-part mystery/survival drama.

The North Water tells the story of a disgraced former army surgeon who signs on as a ship’s doctor on a whaling expedition to the Arctic. On board, he meets Henry Drax, an amoral harpooner. Hoping to escape his past, the doctor instead finds himself trapped on board with a murderous psychopath.

Haigh’s involvement is an example of the new fluidity that exists in the TV business. Until now, he has been best known as a movie screenwriter – first with Weekend and then with 45 Years, which enjoyed a lot of positive feedback on the festival circuit in 2015/2016.

So the combination of a strong core story, a proven production team (See-Saw’s TV credits include Top of the Lake) and an emerging filmwriting talent was enough to attract BBC2, thus circumventing the issue of chasing overworked TV A-Listers.

Andrew Haigh
Andrew Haigh

Elsewhere, DQ’s parent publication C21 reports this week that TV2 Denmark, Nordisk Film Production, NDF Germany and distributor Dynamic Television have greenlit a crime drama based on the Dan Sommerdahl crime novel franchise by Anna Grue (books again!). For this project, The Bridge’s co-creator Nikolaj Scherfig has been signed up to act as head writer.

Described as a family-oriented take on the Nordic noir genre, the series centres on a detective who solves murder cases in a coastal town. It goes into production in summer 2017.

Dynamic Television VP of coproductions and acquisitions Jan Bennemann said there’s “huge demand right now for Scandinavian crime drama with a blue-sky procedural element. Dan Sommerdahl expands upon this with a very likeable main character and an overall lighter tone, making it an ideal fit for a wider audience.”

Seven books out of a planned 12-part franchise have so far been published, and the agreement with the author includes expanding the property and its characters – raising the prospect of a long-running franchise.

Nikolaj Scherfig
Nikolaj Scherfig

Scherfig’s comments underline the way the right project can lure in-demand writers. He said Dan Sommerdahl is the first in a line of projects that offered to him with “something different to the classic Scandic noir genre: a tight, clean crime series reflecting on life outside cities, understanding how modernity and social development affect provincial life.”

Away from the world of book rights, other interesting stories this week include the news that US network NBC has picked up the rights to adapt a time-travel crime drama from Argentina’s Telefe. The original 2011 series was called Un Año Para Recordar (A Year to Remember). It tells the story of a female detective who goes back in time after accidentally killing her husband.

The writer/producer signed up to oversee the adaptation is Michael Foley, whose most recent credit is the ABC/Shondaland series How To Get Away With Murder. Prior to that, Foley was involved in productions such as Revenge and Unforgettable.

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