Children's Hour - Perhaps the most enduring and popular slot on the schedule. It survived and was indeed the last local programme broadcast by 5PY. At teatime, children gathered around the wireless and were entertained by birthday messages, stories and music. Watch the story in the video below:

During the twenties the emphasis was on entertainment, drama was a key part of the weekly schedule. The station had its own repertory company for weekly plays and a concert party called the "Micrognomes". 

an example of drama on location

David Curd and Miss Cruikshank prepare the set for the play, set in the parlour of 'Beach House' Teignmouth

Performances could be transmitted from many venues around the town, such as the Alhambra Theatre Devonport, the Globe Theatre Stonehouse and the Promenade Pier. An example of dramatic style from the studio is shown in the video below.

Plymouth became an early innovator in the art and practice of outside broadcasts. Events were regularly aired with local  venues hosting recitals and concerts. 

The sounds of nature and community were a common theme with the early broadcasts. The BBC wanted to have realistic sea effects to complement a drama called "Wavelengths" produced by 2 LO in London. 

David travelled over to Bovisand on the other side of Plymouth Sound using a mobile set of microphone and amplifier  connected to a Post Office landline received at the studio and thence routed to 2 LO in London. He had to move very close to the waves to get an adequate effect.  By listening-in to an off-air receiver he could hear the result.    

An ambitious undertaking

In March 1926  a new heavy cruiser weighing  10000 tons was to be launched from Devonport Dockyard. No outside broadcast of a ship launch had ever been attempted before but that did not deter plucky 5PY.  Several microphones and amplifiers were procured and plans made to transmit the launch of HMS Cornwall. Pathé filmed the event for posterity and for a few frames David Curd 5PY's chief engineer can be seen close to the ceremonial position. The transmission was a great success and further enhanced the station's reputation for outside broadcasts.

The Launch 

Everyday was a music day at the station. The studio had a player piano,  grand piano and a set of drums available on demand. Singers and performers trod a virtually continuous path to the studio. It must have been an uncomfortable  experience for members of the Band of the Royal Marines who when visiting, squeezed into the studio to share the single microphone. A fine grand piano was to be a feature of the BBC Plymouth studios right up to the nineteen eighties.  

Watch the 5PY Syncopated Trio below

In complete contrast to the BBC 100yrs on, news was the most minor part of the station's fare. Strict regulation limited the broadcast of any news to after 7pm and any 'controversial' content was banned. No journalists were employed and the news agency content delivered by a messenger from the 'Western Morning News'. The general strike of 1926 changed the public's attitude to radio  when people realised the significance of the new media even if it was not independent from a political agenda set by government. Talks were regularly aired seeking to inform and educate the listeners, often being criticised for being stuffy and lacking listener interest.

One of the early talks was given by Lady Astor who had refused London preferring her local station - Clarence Goode in his retirement recalled her first broadcast:

David Curd recalled newsgathering in the early days during his retirement 

REFERENCE
www.bbc.co.uk/historyofthebbc

Controversy raged when 5PY became embroiled with religion and morals. In 1925 the Plymouth Anglican Church through the suffragan bishop John Masterman and the church committee sent a letter of complaint to John Reith, calling into question Clarence Goode's motives in employing Catholic staff. In the BBC pre-war as was society generally anti-Catholic bigotry was common, it was considered inconceivable that a BBC Director General could be of the Roman Catholic faith - even up to the nineteen sixties questions were asked about religious beliefs of senior staff. Reith's Scottish Presbyterian view on life and intense egoism prevailed with any organisational decision during his tenure. In the following audio clip Clarence Goode explains his position and the aftermath. Of course we only have a view from Clarence's perspective, there could have been other issues and we know that he 'carried a chip on his shoulder' well into old age.   

So Clarence was out, and a new director was soon found.  

Cyril Collins Norton Wallich was recruited - another military man with a rank of Captain. He was a member of the Royal Field Artillery and employed with wireless communication. Attached to MI 1 he was involved with code breaking. In his civilian life he spoke in support of the temperance movement which no doubt bolstered his standing with Reith. He was supported by a team of 10 staff with James Langham the new assistant director appointed by Clarence before his departure. 

Ben Norton makes his mark

Cyril was soon to take up the pseudonym 'Ben Norton' for his role in the station dramas. He developed and improved the quality of the 5PY drama group 'The Micrognomes' . He also demonstrated an enlightened view towards women's roles and equality in the workplace. A new role for Women's Organiser  was filled by established musician Madame Winnie Grant ('Auntie Winnie' to the Children's Hour audience) and she was also tasked with improving the children's output on the station. Significantly he recognised that Madge Taylor a new recruit had presentation skills and put her forward in the role as station announcer. Women announcers were not accepted in London but the regions had more latitude with appointments. They still needed to be vetted by head office.....In the following audio clip from 1972, Madge remembered her early days and her role during the general strike: