“...Some hick country town”: Watching ‘A Country Practice’

Carrie Fairchild

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I have wondered if ITV always intended to air Richmond Hill in the daytime, or if - had the series not been cancelled in Oz - they would have had a go at the early evening, which was the big ratings hitter for Neighbours.
There was the 5.10pm slot that prior to Home & Away, was the home of various gameshows. I’d imagine if Richmond Hill hadn’t been axed so soon, ITV would’ve split the hour long episodes and stripped it 4-5 days a week in that timeslot. It also mentions on Wikipedia that the vacated 6.30pm Crossroads slot could’ve been another option, but again that is just speculation.

Of course, Home and Away began just four months after RH on ITV, so presumably that was being lined up as the great hope even before RH began airing.
Both Richmond Hill and H&A premiered in January 1988 in Australia. I’d imagine ITV prioritised acquiring RH, given the Neighbours connection. When that plan fell apart, H&A was the Plan B. Given that H&A didn’t start on ITV until January 1989, I’m guessing that they didn’t acquire it until late in 1988.
 

Mel O'Drama

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I’d imagine if Richmond Hill hadn’t been axed so soon, ITV would’ve split the hour long episodes and stripped it 4-5 days a week in that timeslot. It also mentions on Wikipedia that the vacated 6.30pm Crossroads slot could’ve been another option, but again that is just speculation.

Given that H&A didn’t start on ITV until January 1989, I’m guessing that they didn’t acquire it until late in 1988.


Yes - that's pretty much my thought process on it as well. It's strange to think of a world where Richmond Hill took off and H&A wasn't given the support of a British channel, or ended up relegated to the 3:30pm Sons and Daughters/The Young Doctors slot.

The way it worked out was inevitable really. H&A was really strong right from the start. From what I remember, Richmond Hill - despite the familiar Watson/Grundy pairing and some well-known faces* - was fairly lifeless.


* It's kind of funny that Gwen Plumb appeared in the original cast of both, but when H&A was picked up from the pilot, she opted to go with RH. It's understandable as Mum Foote was more of a departure for her, whereas gossip Doris Peters was Ada Simmonds redux.
 

Carrie Fairchild

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The way it worked out was inevitable really. H&A was really strong right from the start. From what I remember, Richmond Hill - despite the familiar Watson/Grundy pairing and some well-known faces* - was fairly lifeless.
From what I’ve read, Richmond Hill suffered in its first few months, because a lot of the storylines were pretty grim. It lightened up and ratings were actually good when it was cancelled in Australia. It reportedly only got the chop because the network was trying to cut costs after spending $10m on Olympics coverage and the head of drama wanted it off the schedules to make way for E Street.
 

Mel O'Drama

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Season Two

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Golden Fleece



Even within the two-part episodes I’ve noticed there are also hidden some even smaller one-episode arcs. This may have gone unnoticed if it weren't for faces that would go on to be familiar being part of these. Leila Hayes and her asthmatic son, for example, only appeared in the first episode of that two-part story, with some low-key resolution before they vanished.

In this episode, that role goes to the future Donald Fisher as Neville. It’s an interesting little role, with the character visibly nervous and overwrought, escalating a little with every scene as he tries to rush results of his blood tests, convinced something is being hidden from him. Unfortunately, there isn’t a doctor to be seen, so he ends up holding Shirley at knifepoint (well, letter-opener-point, since that’s the most vicious tool to hand) until she is rescued by Frank (and so propelling that relationship a little further with Shirley being too grateful to snark at him anymore). Simon, when he does finally show up, diagnoses some kind of toxicity from an excess of some vitamin or hormone or something, and poor Neville is ushered off to Sydney for treatment, presumably making a full recovery.

The reason the surgery is so devoid of doctors is because Terence is disappearing on trips to Sydney. Initially for business, but then because he meets Trudi, who combines the gruff lorry-driver’s bluster of David Palmer with the ego and singing talents of Garnet McGee. It’s a deadly combination, and Terence falls hard for this rough diamond who follows him back to Wandin Valley.

Terence takes her to to the club where she hijacks the stage and a local guitar player and raises hundreds for the hospital with a set of songs that we experience rather too fully. One can’t help feeling she’d have raised even more had she demanded money to stop singing.

Thanks to her easy charms and incredibly tight jeans, the locals fall for Trudi’s no-frills charms… with two exceptions. Vicky feels Trudi is a grifter who has got her claws into a doctor and is playing him like a fiddle (and this while Vicky is playing games with Simon by telling him they shouldn’t spend any more time together. I suppose nobody knows a woman like another woman). And Terence hides Trudi completely from poor Marta, meaning dateless Marta spends her time on a late shift at the hospital while everyone else is out getting pissed.

There’s a semi-amusing sub plot with Bob trying to fit the bidet Molly’s mother has sent the Joneses along with the replacement loo, without having a clue what it is. He initially mistakes it for a very low sink, and then a urinal. Bob’s toothache also provides a somewhat more tedious sub-plot, with the drunk medics - after breaking into the dentist’s surgery - performing surgery on the even more drunk Bob (someone - Shirley I think - blithely comments that since Bob is too drunk for an intravenous anaesthetic, they’ll simply use nitrous oxide instead). When Terence, Simon and Brendan fail, Vicky is called to extract the offending tooth. Still, I do love the relaxed small town attitude of the staff. No matter what happens, Terence invariably instructs the staff to treat someone with X serious medicine “and I’ll write it up later”.

According to a table on the always-reliable Wikipedia, Bob is one of three characters who became a regular for Season Two, with the others being Esme and Vernon, but none have yet been added to the credits, there’s no sigh of Esme and we haven’t even met Vernon yet. Still, I suppose it’s a very long season, so it’s early days.

There’s a familiar face in the future Spider Webb, here playing Eldred, a hospital patient who forms a bond with a juvenile delinquent who Frank orders to do community service at the hospital. It’s a surprisingly effective little arc. The young actor playing Jason (or Jacko, because he insists “Jason is a pouffy name”) feels like a seasoned pro, giving great attitude and - despite looking around eight years old - smoking like a navvy (he even inhales. Lorrae Desmond should take a few notes. I’m constantly distracted by seeing her holding her cigarette and constantly flicking ash into an ashtray without putting it anywhere near her mouth. Smoke or don’t smoke, for Christ’s sake). He’s from the Jodie Foster “old head on young shoulders” school, and this makes the angry boy’s bond with this sage old man feel more meaningful.

Of course this is another example of the blithe townspeople throwing the rule book out of the window, which adds to the entertainment. He is left to provide massage treatment to Eldred (“just do this on his elbows, shoulders, buttocks…” instructs Brendan casually before leaving him to it) and witness to things that someone his age simply shouldn’t be. He is there when the old man has a stroke, and staff don’t even notice he’s there for about five minutes, after which he is slowly ushered out.

After the stroke, Jacko continues to be Eldred’s key-worker. When Eldred manages to write down “dog” with the hand on his functioning side, Jacko goes to the vet to check how Zeus is doing. Since we were approaching the end, I had a feeling what was coming next and sure enough, Jacko returned to find Eldred’s bed empty and made up, and was informed that Eldred had died. It reminded me very much of that scene where Bobby ran to Alan Fisher’s hospital room to make much the same discovery and, even though it wasn’t as powerful here as it would be there, it was effective enough.

Jacko is eventually relieved of his duties, though says he may continue to drop in (spoiler, it looks as though he may drop by at least once more). And by the way, he mentions, he’s decided to keep Eldred’s dog. Brendan and Marta tell him that’s nice and let him go away to care for this living being. All things considered, Zeus may be safer with Jacko than any of the qualified medics.
 

Mel O'Drama

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From what I’ve read, Richmond Hill suffered in its first few months, because a lot of the storylines were pretty grim. It lightened up and ratings were actually good when it was cancelled in Australia.

That context is interesting. I hadn't realised. I can't remember how much of RH I watched, but I'm fairly sure I would have caught a couple of early episodes and I know I watched the last few (the final episode was the only one I remember having recorded onto videotape, even though it mostly ended up feeling fairly standard and anticlimactic).

None of what I saw really lingers in the memory. I think the location scenes with Mum Foote's farm were among the better ones but I seem to remember it feeling very studio bound with flat lighting and overly bright clothing. It reeked to me of trying to recreate Neighbours, but failing to capture the magic sparkle of that show.

Since I haven't seen it for the best part of four decades, I may be completely misremembering. If Via Vision* release the whole thing, I'd certainly be up for giving it another go in the hope of being pleasantly surprised.



It reportedly only got the chop because the network was trying to cut costs after spending $10m on Olympics coverage and the head of drama wanted it off the schedules to make way for E Street.

Which ironically seemed to do poorly in the ratings in the beginning.

It's funny, isn't it. Sometimes the stats don't matter, and it doesn't matter if something is popular or has a great cast. If it's not in favour with one influential person who doesn't consider it their pet project, it's a no-win situation.

I'm sure I saw some of early E Street as well, but darned if I can remember a thing. The hard hitting issues and sensationalist approach of courting controversy make it seem like a bizarre cross between ACP and Number 96, so it's another series I'd be curious to see again, but I have a feeling I would be an early years only kind of person. I'm certainly put off by the Mr Bad thing, which seems to be something it's mainly remembered for today.







* Speaking of Via Vision, I will note that the image quality on the ACP DVDs is better than I'd anticipated. When I took a peek at their S&D DVDs, the episodes looked unpleasantly grainy and fuzzy... much worse than the same episodes on the old Umbrella releases. Season One of ACP looked very nice indeed. Season Two so far has lost a little quality (presumably due to increasing the amount of episodes per disc) but still looks decent.
 

Carrie Fairchild

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Leila Hayes
future Donald Fisher as Neville
There’s a familiar face in the future Spider Webb, here playing Eldred
I always liked spotting future soap stars in shows like this and Prisoner. Given that ACP predates both Neighbours and H&A by a few years, quite a lot of future regulars on those shows pop up as ACP guests.
the final episode was the only one I remember having recorded onto videotape, even though it mostly ended up feeling fairly standard and anticlimactic
Production ceased immediately when the axe fell, so they never got a chance to film a proper final episode.
None of what I saw really lingers in the memory.
My only recollection of it was some scenes at the real estate office, which I’m presuming is from when it aired on UTV, the Northern Irish ITV region.
I'm sure I saw some of early E Street as well, but darned if I can remember a thing. The hard hitting issues and sensationalist approach of courting controversy make it seem like a bizarre cross between ACP and Number 96,
It was actually originally pitched as a grittier A Country Practice, as the creator was a producer that had worked on ACP.
 

Mel O'Drama

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Team Work



Just as the second story of Season One involved a vehicle crashing on the outskirts of town, so, too, does this second arc. While the location was given on both occasions, it’s a little more vague here, so I’m not sure if it happened on the exact same curve. It looks different, but a character does utter “not there again”, implying it’s an accident blackspot.

This time the vehicle is a minibus containing a team of students on a field trip. And because the reveal of the accident comes at the end of Part I (that is, at the very end of first of the two episodes) we’ve spent a little time getting to know some of them, with the main focus being on a young couple, Julie and David.

One half of the couple is the familiar face of the day: Oriana Panozzo, best remembered as the less annoying of the Susan Palmers. She escapes the accident herself, having already been admitted to hospital after becoming very unwell with the diabetes she has concealed, lest she miss out on the trip.When she started vomiting, I wrongly decided it may have something to do with the dead chickens on the Joneses farm. Molly had served up a chicken to Brendan after finding it dead. She assured him it was perfectly healthy, but she herself had a bowl of tomato soup for dinner.

There’s a slightly bizarre suggestion that Julie may be either psychic or telepathic, with her having a nightmare about the crash at the moment it happens. For better or worse (the former, I feel) this wasn’t explored in Part II. Her pretty young boyfriend, David, is the story’s biggest casualty, dying in hospital, and causing Julie to briefly contemplate suicide-by-insulin.

It’s all hands on deck at the hospital, and the beginning of Part II really transmits a sense of the frenetic preparation for this small team to deal with a larger number of casualties than they are really equipped for (there’s a driving electronic underscore that adds to the feeling of stress and anxiety).

One volunteer is Simon’s visiting father, Robert Bowen, the man for whom Simon can never be good enough. It’s good to see his colleagues standing by Simon in the face of his father casually undermining his successes, and naturally there’s a little thaw by episode’s end.

The dead chickens, by the way, are found to have been killed by the local bank manager’s pit bull. In investigating, Molly initially gets herself into camouflage and camps out in the coop with a shotgun. In the end, she settles for throwing pink food colouring (or is it paint) onto the beast as evidence. She makes sure she isn’t going to get her loan before letting the bank manager have the news.








Given that ACP predates both Neighbours and H&A by a few years, quite a lot of future regulars on those shows pop up as ACP guests.

The latest episode I watched was the last to air before S&D began (when the next ACP episode aired, it was the same day as S&D's fifth episode).

After seeing so many of the original S&D cast in ACP Season One, I'd have thought I might now start seeing people who would go on to appear shortly after in S&D. People who would show up later in S&D Season One, or Season Two.

Instead, I'm noticing a new trend of seeing actors who would not show up in S&D until very late in its run: Willie Fennell, Oriana Panozzo and Norman Coburn. It's interesting to see these people associated with a Seven Network series as early as this.




Production ceased immediately when the axe fell, so they never got a chance to film a proper final episode.

Yes, that's the sort of sense I remember getting from that final episode. If I remember, there was some acknowledgement of it being the end of an era, but it felt a little rushed.





It was actually originally pitched as a grittier A Country Practice, as the creator was a producer that had worked on ACP.

Well, that's piqued my interest a little more. Mind you, I'll probably be watching ACP for the next five years, so I'll probably feel I've well and truly ticked that box. If I make it to the end, that is.
 

Mel O'Drama

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Suffer Little Children



There were a some nice little twists in this story which, even though some could be worked out a little ahead of time, were probably more surprising - progressive even - in 1982. One of these came from an overlap in stories. The common theme of the episode was more cohesive than ever, with Simon concerned about one local girl, Robin - a patient of his - being battered by her father, while Vicky - and Simon in turn - has separate concerns about another girl being bullied by her father, bellowing at her to persevere with her high jumps on horseback.

Twist #1 came when Simon’s initial patient - the young Aboriginal girl - turned out to have a medical condition more common in black children than white which left her more prone to injury. Brendan then angrily showed Simon the x-rays he’d taken of old injuries and burns which couldn’t be explained away by the illness, leading to Twist #2 when it turned out Brendan was talking about Robin, thinking she was the patient Simon had been concerned about.

Part II saw some really strong anger flying between Simon and Terence, who was the doctor responsible for Robin’s care and who hadn’t done anything about the injuries sustained a couple of years earlier. I found myself wondering if this was the patient Terence previously said about having let down, as that would all fit, but it wasn’t explicitly said. Meanwhile, Marta is once again Terence’s confidante, having known about the earlier injuries (it emerges in their discussions that the welfare department told them they couldn’t act on it unless a problem was admitted, which seems a little unorthodox for this situation).

Meanwhile, the bellowing father’s timid, nervous wife is presenting at the surgery with hives, something associated with her stress last time the girl was injured. This leads to Twist #3 when it’s revealed that the mother is the one who is bashing her daughter. This one I’d worked out, but not until Part II was underway. And, like I said, it’s progressive, even if it ultimately ends up presenting the violent perpetrator far in a far more sympathetic light than would ever happen if the perpetrator was male (“she only hits me because she’s hurting inside”, says the daughter, showing how deep the societal conditioning goes). With the Lindsay Clancy trial still in the news, there’s a currency to the story.

In other news, Molly has mooted breeding turkeys and yabbies. I think this is the first time I’d heard yabbies discussed in context, so I had no real idea that this crustacean existed. It’s certainly shed some light on the name of H&A’s neighbouring town Yabby Creek.

Let’s hear it Bev the telephone operator, as well. I love unseen characters like this, and her questionable work ethics and radar for gossip add a special sort of character. In these episodes Molly agrees to make her a dress in exchange for a turkey (Molly ends up not getting turkeys, but feels obligated to see her side of the deal through anyway). The fabric received is said by Molly and Brendan to be horrible. It’s a bit William Morris, but really not all that bad… certainly compared to some of Molly’s choices.

Bev’s also lined up - without solicitation - a tenant for Frank since she knows he’s staying with Shirley and Vicky while he recovers from burnt hands sustained in the rescue in Team Work. This potential permanence pushes Shirley to ask Frank to go home, but then she gets annoyed and places a hot pan into his almost-healed hands, setting him back. It’s kind of amusing, as long as one doesn’t think too deeply about what she actually just did.
 

Mel O'Drama

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Mates


We’ve already touched on the fact that ACP broached subjects that may first appear from its gentle rural image. Homosexuality is one of those subjects that could have gone either way. Yes, Number 96 had paved the way a full decade earlier, but that was a late night show which could get away with more. ACP is the sort of show your grandmother could watch, so it wouldn’t have surprised me if gay people were simply never seen or heard about in Wandin Valley, the way that Erinsborough and Summer Bay would similarly skirt any mention of the G Word for their first ten to fifteen years of airtime.

Since any question of if is answered by virtue of the key story here focussing on a gay couple, the remaining question is how.

Pleasingly, the writing and performances build a balanced picture of the couple that is very much in tune with the idea that these are people and not just The Gay Characters. If one forms a mental image from the basic information that this is an early Eighties series “doing” a story about two gay men, it’s likely to be very different from what’s presented.

For a start, these are older men. We learn that they have been together for over twenty years. They also are characters who conform to rather more heterosexual social norms. One of the men, Doug, is played by James Conran, best remembered by me as Neighbours’ confidence trickster Douglas Blake (and real-life hubby of Anne Haddy), whose time on the series spanned two channels when the series was axed and picked up by another network, and he delivers his lines with the same timbre and tone that he would there Sons and Daughters is a bit different, as I seem to recall him having an Irish accent in that). There’s no sense that he’s “playing gay”.

His partner Keith, played by Don Pascoe, is somewhat more fragile, very nervous and shown to be quite dependent on Doug. I can imagine a more reactive viewer crying “stereotype”, but there is such nuance here with enough information to understand why Keith acts this way, not least the fact that he had a nervous breakdown some years earlier. The reason for this is not made explicit. We can guess that it might be tied to societal rejection - demonstrated in this story by his estrangement from his closest living relative, his sister - but there’s also room for the fact that his life experiences - like anyone’s - are broad enough for there to be any number of factors or circumstances that may be behind this.

This being the Eighties and these being from the Interwar/Depression Generation, the men are in the closet, and have lived in the town for a number of years with everyone believing them to be brothers and this is as much as the viewer knows as we meet them. The structure allows the viewer to take in certain information and put the pieces together - for instance at their own pace. There are small little visual cues that are added in that give suggestions without a definitive answer. As the couple surveys the land on which their new home will stand, for instance they are side by side and one of them reaches up and puts his arm on the shoulder of the other. It’s a “safe” kind of move, on the shoulder nearest to him rather than reaching round his neck, but it’s just intimate enough to give another little piece of the puzzle. I dare say most viewers in 2026 would get it very early on, but this aired 45 years ago and times were very different.

The way the men present in private compared with in public is just different enough to continue this. It could easily be read as a familial kind of intimacy, but taken as a whole, even the most heterosexist viewer may start to wonder. Even by the first episode’s end, there is no explicit confirmation in dialogue, beyond the cliffhanger that the two men aren’t brothers. But the reactions tell us all they believe, even if they may not be right.


continued...
 

Mel O'Drama

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continued


The fact that the exposure comes as the result of a medial emergency, with the pair being in an accident that hospitalised them, and Doug’s kidney failing (what’s more, he’s found to have just one kidney - a rare but not unknown phenomenon. I love that this series is giving me some new medical facts). Keith takes the compatibility test to be a donor but, since relatives can also be of the wrong type, it’s not this that lets the cat out of the bag but the fact that Terence wants to expand the search to other relatives, which means Doug’s sister.

This is a drama, so naturally word quickly gets out in town when said sister phones Keith at the couple’s delicatessen (called something like a “Ham and Beef Shop” here. I don’t know if that’s a standard term for this kind of premises in Australia) and speaks to a gossipy townswoman who is minding the store so he can cover.

This links into the town’s reaction (which actually isn’t the only story here. There are so many layers), and how differently the people view the two men they’d thought the world of before they knew. Earlier in the first part, Doug had saved the life of a boy who was electrocuted, and the father who then offered his own kidney to repay that good deed withdrew the offer (interestingly, this was due to pressure from his wife. It seems he would have been quite willing without her interference).

Of course, there are two outlooks: most of the town, and our core group of characters. This reinforces that our characters are indeed special people, mostly open-minded and accepting. While secondary and tertiary characters - including Bob and Cookie - mock and throw around words like “poof”, others show nothing but support. Brendan continues to support the tennis coaching Doug had begun and help keep it going, as does Simon. And neither of them shows any kind of inhibition when it comes to parading round in tiny shorts in Keith’s presence (part of this is a touching scene where the three of them wait in vain for children to attend - which they had in droves in previous weeks - only for nobody to show up). Even when Brendan - after being spotted placing a reassuring arm around Keith - is accused of being gay himself (leaning into preconceptions of him in his nursing role), he is unapologetic. Terence also gives short shrift to the man who withdraws his offer of a kidney donation, making it plain where he stands.

The one regular willing to play Devil’s advocate is Vicky, who says she can understand why people may not want their children to be coached by them. Simon’s response is disgust that she could even think it. All in all, fairly progressive.

There’s a tragic end, but the true tragedy comes with the series subtly addressing the lack of rights for a same-sex partner when one of them is hospitalised. With no donor, Doug faces staying in Sydney for a year for dialysis while Keith is asked to stay in Wandin Valley and look after what they’ve built together. Doug is notably absent for much of the second part, his absence noticed by the viewer who - just like Keith - may find themselves frustrated at a lack of closure.

In the end, the social exclusion imposed by the town, Doug’s family and the law is too much for Keith, who ends his own life. And again, we see our regulars act out their despair at what the town’s brutal intolerance has done. Simon’s gesture of defiance to the social injustice is a powerful one. He orders Frank to drive Keith’s body through the town while Simon follows in Keith’s car (the very one in which he’d just shot himself) blasting the horn and giving filthy looks to those who have wronged the couple.

It’s a strong story in its own right, not least because of its many layers. It’s not a simple A-B “tackling the gay thing” story. It’s a story about two people who are facing ageing in the face of adversity. Like all good ACP stories, it’s about people, and the point of it is that it doesn’t matter if it’s “them” or “us”. Because we should all be both together.

Lightening then mood is the thread of Shirley finally (though temporarily it seems) giving up the St. Moritz. The longing look on her face whenever she watches someone else smoking is just perfectly - and hilariously - played.
 
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