CBC Television Series, 1952-1982
by Blaine Allan
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CBC Series Index
MAGGIE MUGGINS
Thu 4:45-5:00 p.m., 29 Sep 1955-28 Jun 1956
Thu 5:00-5:15 p.m., 4 Oct 1956-27 Jun 1957
Thu 5:00-5:15 p.m., 3 Oct 1957-26 Jun 1958
Thu 4:30-4:45 p.m., 16 Oct 1958-25 Jun 1959
Tue 4:45-5:00 p.m., 13 Oct 1959-21 Jun 1960
Tue 4:30-4:45 p.m., 18 Oct 1960-26 Sep 1961
Wed 3:45-4:00 p.m., 4 Oct-27 Dec 1961
Wed 4:45-5:00 p.m., 3 Jan-27 Jun 1962
Writer Mary Grannan created Maggie Muggins, a freckle-faced girl in a gingham
dress, with her red hair pulled back in two long pigtails. Her stories had
been heard on CBC radio and in print for years (See New Maggie Muggins Stories:
A Selection of the Famous Radio Stories. Toronto: Thomas Allen, 1947) before
Maggie and her friends in the meadow materialized on television in 1955.
In the popular, fifteen minute broadcast, Maggie played with friends like
Fitzgerald Fieldmouse and Grandmother Frog. When she was caught in a quandary,
her neighbour, Mr. McGarrity, usually to be found in checked shirt, straw hat
and bib overalls, working in his garden, gave her advice or tried to help her
to understand whatever was bothering her. When she was bored or tired, he
might tell her a story or cheer her up by leading a song. Along with these
principal characters, the meadow was filled with other animal friends, some of
whom fit the pastoral setting, others who seemed a little out of place; Reuben
Rabbit, Big Bite Beaver, Chester Pig, Greta Grub, Benny Bear, Leo Lion,
Henrietta Hen, and Fluffy Squirrel. John and Linda Keogh operated the puppets
for the animal characters, and the voices came from Linda Keogh, Pegi Loder,
and, as Fitzgerald Fieldmouse, Norma Macmillan.
Beth Morris originated the role of Maggie Muggins on CBC television when she
was twelve years old. Starting the 1956 season, Deanne Taylor played the part
and, when she outgrew it, eight year old Mary Long replaced her in autumn 1959.
John Drainie (l955-56), Frank Peddie (l956-59), and Doug Master (l959-62) each
played Mr. McGarrity.
The producers of Maggie Muggins were Dick Knowles and Francis Chapman.
Thu 7:30-8:00 p.m., 23 Oct 1952-13 Nov 1953
An early Montreal television production, this broadcast featured a professional
magician and an audience of twelve children. It started on Friday 26 September
l952 on CBMT, and was broadcast on CBLT Toronto starting 23 October 1952. The
Montreal broadcasts ended on 3l October 1952, and the Toronto broadcasts
concluded on l3 November.
Wed 4:30-5:00 p.m., 26 Jan-30 Mar 1977
Wed 4:00-4:30 p.m., 4 Jan-29 Mar 1978
Wed 4:30-5:00 p.m., 3 Jan-28 Mar 1979
W.O. Mitchell invented the title for this series of half-hour stories for
children, and introduced the programs. CBC producers across the country
contributed to the series, which was organized by Don. S. Williams (l977) and
David Peddie (l978-79).
Among the productions were A Horse For Running Buffalo, adapted by Frank
Adamson from a story by Madeline Freeman, and produced by Don S. Williams in
Winnipeg; Boy On Defence, written by Scott Young and also produced by Williams;
Snatched, from a book by Richard Parker; Aunt Mary's Visit, from Victoria
Case's story; and The Infinite Worlds Of Maybe, by Lester Del Rey, all three
produced by Hugh Beard in Vancouver; Tunnel Of Terror, adapted by Frank Moher
from Patricia Clyne's novel, produced by Jack Emack in Edmonton; Muskipitoon,
from a story by Kerry Wood, adapted by Frank Adamson, produced by Don. S.
Williams; Mr. Noah And His Second Flood, a musical fantasy with Leon Bibb; No
Way Of Telling, produced by John Thorne in Montreal, from a story by Emma
Smith; and Buckskin And Chapperos, based on Paddy Campbell's play, and produced
by Jack Emack in Edmonton.
Tue 4:30-5:00 p.m., 22 Nov 1955-10 Apr 1956
Tue 5:00-5:30 p.m., 22 Jan-16 Apr 1957
Tue 5:00-5;30 p.m., 1 Apr-24 Jun 1958
Violinist and conductor Eugene Kash introduced children to the instruments of
the orchestra and their history, and concepts in musical theory to develop
young people's general knowledge and appreciation of music in this half-hour
program. The 1955-56 series ran on alternate weeks, while subsequent series
ran weekly. The program, written by Helmut Blume, won an award from the
Institute for Education in Radio and Television at Ohio State University.
Sat 7:00-7:30 p.m., 6 Nov-28 Nov 1954
Tue 10:30-11:00 p.m., 7 Dec 1954-15 Feb 1955
A game show produced by Oliver Wakefield in Montreal, Make A Match ran every
other week, alternating with House Party. It matched a panel of four, composed
of a married man, a married woman, a single man, and a single woman, against a
group of seven people made up of three married couples and a man or woman in
disguise. (Got that?) The panel, after a series of questions, had to try to
guess who was married to whom.
Mon 9:30-10:00 p.m., 2 Jul-13 Aug 1962
This series of seven, half-hour programs outlined problems in family finances.
After an introductory show, called Making Ends Meet: How Do We?, the remaining
programs each concentrated on a different way of spending or using money:
Food, Homes, Appliances; Clothes; Cars; and Money In The Bank. The programs
used three urban couples as examples of possibilities for family budgeting. At
a time when the annual average income was $5,000, Nancy and Jim earned under
$4,000 annually, Sandra and Harold had an income of between $6,000 and $7,000,
and Kay and Gordon earned just over $l0,000. The shows included documentary
material and discussion by experts on the subject at hand. The program's host
was Percy Saltzman. Making Ends Meet was written by Jean Morrison, and the
programs were organized by Richard Nielsen and Catherine MacIver, and produced
by Leo Rampen.
Sat 10:15-10:45 p.m., 15 Mar-3 May 1969
A post-hockey, musical variety show, replacing Comedy Cafe, Mallets And Brass
starred vibraphonist Peter Appleyard and trumpet player Guido Basso, with a
twenty-one piece band that included regular CBC and studio musicians, such as
Moe Koffman on flute and reeds, Teddy Roderman on trombone, and Ed Bickert on
guitar. The eight programs on the series also featured guests: singers Dianne
Brooks and Debbie Lori Kaye, actor Bruno Gerussi, and the musical group Mutual
Understanding. Bob Jarvis produced the show in Toronto.
CBC television's weekly inquiry into issues of faith, commitment, and
contemporary life took its title from St. Irenaeus, the second century Bishop
of Lyons, who wrote, "The glory of God is man fully alive." The fact that the
phrase, "Man alive" appears more popularly as an expletive suggests the
down-to-earth pertinence of the program's approach. In fact, a Maclean's
review called Man Alive "An irreverent new approach to religion" (December
l967). Catchy headlines can misrepresent the show, however. Man Alive grew
out of the wake of Vatican II and the movement toward ecumenism in the 1960s.
Although it has maintained a vigilant and critical attitude toward the church,
it has generally reflected its sense of self-criticism and reform and its
growing social commitment. As the program went to air, the CBC's assistant
supervisor of religious programming, Rev. Brian Freeland cautioned, "We are not
a public relations department for the churches of Canada," and executive
producer Leo Rampen added, "Nor are we seeking the benediction of the
churches."
Since its premiere in 1967, Man Alive has built a reputation for
adventurous public affairs programming. The show and its host since the
beginning, Roy Bonisteel, have shared images of credibility and integrity. The
program's producers have been rewarded with a consistent and loyal audience and
the show's consequent longevity.
Man Alive resulted in part from the expansion of the CBC's Religious Broadcasts
department. Personnel for previous programs, such as Heritage (q.v.) had come
from the network's regional production centres. In 1967 Rampen, formerly
producer of Take Thirty, headed a team that included veteran producers who had
worked on such public affairs shows as The Other Eye and This Hour Has Seven
Days. Originally in a magazine format, Man Alive reflected the public affairs
training of its producers, and covered such subjects as current bills in
Parliament that dealt with questions of divorce, capital punishment, and
abortion; the recent Synod of Bishops in Rome; Billy Graham's rally at the CNE
Stadium in Toronto; and the cult of exorcism. The program employed both filmed
documentaries and studio discussions in its inquiries. In the 1970s, the
producers decreased the studio-bound programs and tended more toward
documentary investigations and filmed interviews.
The program started in a Sunday afternoon time slot, where it was followed by
Hymn Sing, itself a popular and long-running series. After two seasons, Man
Alive moved into prime time on a weeknight, where it became less strictly
associated with religious programming. In fact, it was North America's only
prime time offering devoted to issues of religion. It remained in that time
slot, with little variation, until 1979, when it moved to Tuesdays. Repeat
broadcasts, sometimes under the title, The Best Of Man Alive, have turned up on
Sunday afternoons during summer seasons and in the regular season.
Producers of Man Alive have included David Ruskin (l967-68), John Ryan
(l967-68), Garth Goddard (l968), Terry Thompson (l968-69), Sam Levene
(l969-7l), Louise Lore (l970-l979), John McGreevy (l970-75), Sig Gerber
(l973-77), Tim Bentley (l974-78), Rosalind Farber (l974-75), Wayne Thompson
(l978-date), Catherine Smalley (l978-date). Executive producers have been Leo
Rampen (l967-77, 1978-79), Sig Gerber (l977), and Louise Lore (l979- date).
See also Roy Bonisteel, In Search of Man Alive, Toronto: Collins, 1980.
Thu 10:30-11:00 p.m., 4 Jan-28 Mar 1968
Thu 10:30-11:00 p.m., 16 Jan-15 May 1969
Tue 10:30-11:00 p.m., 5 Aug-23 Sep 1969 (R)
Tue 10:30-11:00 p.m., 30 Sep 1969-13 Jan 1970
Tue 10:30-11:00 p.m., 27 Jan-30 Jun 1970 (R)
Wed 9:00-10:00 p.m., 23 Sep and 28 Oct 1970
Mon 10:30-11:00 p.m., 16 Nov 1970-14 Jun 1971
Wed 10:00-11:00 p.m., 9 Dec 1970
Wed 10:00-11:00 p.m., 20 Jan/17 Mar/24 Mar 1971
Mon 10:00-11:00 p.m., 7 Feb-
Mon 10:00-10:30 p.m., 29 May-5 Jun 1972
Mon 10:00-11:00 p.m., 11 Dec 1972
Mon 10:00-11:00 p.m., 1 Jan/26 Feb 1973
Sun 2:00-2:30 p.m., 31 Mar 1974
In its first thirteen week run, Man At The Center offered half-hour documentary
examinations of such subjects as puberty rites, the human brain, Charles de
Gaulle, and political terrorism. The broad selection of subjects from the
areas of science, public affairs, and culture covered in the show reflected the
diversity of executive producer Lister Sinclair's interests. The series was
produced in the Science Unit of the network's Public Affairs department by
James Murray, who had also worked on The Nature Of Things (q.v.), with individual
progrms directed by Murray, Vincent Tovell, and Jack Rutherford.
The series opened with the examination of puberty rites, called If They're Big
Enough, They're Old Enough, written by Peter Reilly and directed by Murray,
followed by the profile of de Gaulle, which outlined the French president's
past and how he was perceived in 1968. The Peacock Revolution, produced by
James Murray, documented the development of art nouveau, including Antoni
Gaudi's buildings in Barcelona. Vincent Tovell directed a three part series on
the brain, written by William Whitehead: A Well-Known Stranger provided
insight into the brain itself; Garbage In, Garbage Out described the computer
and the idea of the extended brain; and The Hidden Third concerned sleep, the
subconscious, and the unconscious. A later program in the series offered a
profile of Sigmund Freud, written by Eric Koch and directed by Murray and
Rutherford. The program on terrorism included material on the struggles in
Ireland and Algeria. The series also included a program on artistic
inspiration, called The Time, The Place, And The Girl, and one on Buddhism and
reincarnation, called Do Not Pass Go.
Man At The Center returned a year later for a second season, which started with
Strangers In Our Youth, a film about children's poetry, directed by Nancy
Archibald. The second program, called Trouble On The Campus, was also directed
by Archibald, was prepared by Jacob Bronowski, and concerned student unrest in
relation to friction throughout the world. Subsequent programs included a film
about artist M.C. Escher, directed by Douglas Leiterman, one about the
psychology of danger, a report by director Leo Rampen on flood damage and
restoration in Florence, and a disquisition on the cultural significance of
wine, directed by William Whitehead. The last portion of the 1969 series
included two multi-part programs: four segments on modern Japan, directed by
Nancy Ryley, and three, half-hour programs on zoos, produced by Vincent Tovell,
with William Whitehead.
Later in the year, a series of panel discussions called Male And Female, on
gender and sexuality perhaps made the title, Man At The Center, a misnomer.
The eleven programs were produced by Nancy Ryley, directed by Jack Sampson, and
hosted by Donald Crowdis. The debates concerned the meaning of being a man or
woman in contemporary society, the question of women's natural superiority, the
effects of biology on sexuality, the development of female sexual identity, the
development of male sexual identity, courtship and marriage, contemporary
sexual behaviour and moral values, the question of normalcy and perversion,
developments in genetics, sexual fulfilment, and the emotions that accompany
sexual desire. Participants included Margaret Mead, Ashley Montagu, Lionel
Tiger, Robin Fox, Mary Calderone, Vivian Rakoff, Ti-Grace Atkinson, Fernando
Enriques, Hans Mohr, Rollo May, and Margaret Laurence, among others.
The intermittent scheduling of Man At The Center continued, and the series
aired new programs and repeated previous broadcasts, such as the series Science
And Conscience (q.v.), first broadcast in 1968. Starting in the 1970 season,
it also periodically expanded to a full hour for special programs on such
subjects as extrasensory perception, the Ontario Science Centre, Beethoven, and
calligraphy. After several distinguished years on the air, however, Man At The
Center broadcasts came less and less frequently, and the type of serious and
specialized programming that it represented withered in the broadcast schedule.
Mon 5:00-5:15 p.m., 7 Jul-6 Oct 1958
A fifteen minute adventure show for children, The Man From Tomorrow came
literally from the future, and was called Melpar. He met two boys of today,
and took them on adventures, including a trip to Mars. The program starred
Stefan Gair and Michael Morrow, and was written by Kitty Marcuse, who had
previously written The Peppermint Prince, a children's series, for the CBC.
Jorn Winther produced The Man From Tomorrow in Vancouver.
Wed 10:30-11:00 p.m., 17 Jul-18 Sep 1963
For the summer of 1963, the CBC presented this series of half-hour programs on
aspects of culture. Ronald Hambleton prepared two programs on Chopin's life in
Paris and his work. Professor James Acland of the University of Toronto
presented a two part series on architecture. The series concluded with a six
part presentation on tourism and travel for pleasure, produced by Leo Rampen,
with Anna Cameron. Franz Kraemer and James Murray also produced for the
series. Man In A Landscape was to have started with a program on Beethoven,
based on a dramatic poem by Lister Sinclair, but that particular show was
pre-empted and delayed until l4 September. Produced by James Murray, it was
narrated by Budd Knapp, with Douglas Rain as the voice of Beethoven and Frank
Perry as the other voices in the poem.
Wed 8:30-9:30 p.m., 28 Jan-25 Feb 1970
Sun 9:00-10:00 p.m., 31 Jan-14 Mar 1971
Sun 9;00-10;00 p.m., 25 Jul-5 Sep 1971 (R)
A successor to Wojeck, The Manipulators fit the CBC formula as a pertinent,
contemporary drama about professionals working within social institutions. The
concept for The Manipulators, stories about parole officers and ex-cons on
probation, had a local pilot run in Vancouver as a half-hour drama called The
Clients, videotaped in black-and-white. For the network, the show expanded to
a full hour and was to be produced on film and in colour.
The creator of The Manipulators was Ed McGibbon, a Toronto writer and
broadcaster who had narrated the CBLT public affairs program, Toronto File, and
had been a correspondent for CJAD radio in Montreal. The program's working
title, The Double Bind, expressed McGibbon's perspective on the subject and on
the protagonists. While probation officers Rick Nicholson and Maggie Campbell
acted as officers of the court and bore responsiblity to the judicial system in
which they worked, they were also obliged to help ex-cons in society and found
themselves defending their clients against the system.
The first season consisted of five, one hour stories, and the series opened
with a hard-hitting drama about drug addiction, called Spike In The Wall. The
initial episode attracted media and public attention to the series when Linda
Goranson removed her top to appear naked to save addict Jace Vander Veen from
his downward spiral. The script by Ben Maartman and direction by Daryl Duke
set a tone of adventurous, gritty naturalism for the series. In the first
series, McGibbon contributed two episodes, Where There Is Fear, which was
directed by Don Eccleston, and Now I Lay Me Down To Sleep, directed by Daryl
Duke.
The second season expanded to seven episodes, and began with Turn To The Wind,
again starring Jace Vander Veen, this time as a political activist suspected of
a bombing on the property of the U.S. consulate. Subsequent episodes included
The Code, with a theme that involved young people's use of soft drugs and
starring Joseph golland and Ted Rekert; Bell And Bonnie, Bonnie And Bell,
starring Rae Brown, Judy De Moor, and Ivor Harris in a story of a negligent
monther and her daughter; and X-Kalay, about a self- help rehabilitation centre
for convicts, with Margot Kidder.
The series starred Marc Strange, who had appeared in Hatch's Mill and who, with
his wife Susan Strange, created The Beachcombers, as Rick Nicholson. Roxanne
Irwin, a stage actor whose principal television experience was in the
Vancouver-produced comedy series, A Second Look, played Maggie Campbell, and
Gregory Nash played her young son. The executive producer of The Manipulators
was Philip Keatley.
Fri 11:25-11:55 a.m., 17 Jul-14 Aug 1970
Thu 10:00-10:30 a.m., 13 Aug-10 Sep 1970
To commemorate the centenary of Manitoba's entry into confederation, CBC
Winnipeg produced this five part documentary series that traced the history of
the region and the province. The first part, A Blot On The Horizon, outlined
the discovery of the region in the initial exploration of North America. The
second segment, New Horizons, described early settlement and the conflict
between the French and English over the fur trade and the Hudson's Bay region.
Tarnished Sunset, the third part, told the story of the formation of the
province in l870. Destiny, the fourth part, traced the years from l870 to
l9l0, and the conclusion, Boom Or Bust, brought the account up to date. Eric
Wells wrote the scripts and Maurice Burchell read the commentary. Don
Robertson produced the five, half hour programs.
Tue 5:00-5:30 p.m., 11 Sep-16 Oct 1973
Tue 5:00-5:30 p.m., 8 Jan-26 Mar 1974
Tue 4:30-5:00 p.m., 11 Jun-3 Sep 1974 (R)
The setting was a coffee house, and host Marc Stone presented young Canadians,
who talked about their work in music and other areas of the arts. His guests
included filmmaker Harris Kirschenbaum, mime Naomi Tyrell, pianist Monica
Gaylord, singer and songwriter Jack Schectman, and animators Doug Hemmy and
Karen Booth. This half hour program for young people was produced in Toronto
by Hedley Read.
Mon/Tue/Wed 10:40-11:00 p.m., 24-26 May 1954
Marion Clarke, the winner of Chatelaine magazine's "Spring Beauty Week"
contest, appeared on Tabloid (q.v.), and shortly thereafter the CBC hired her
as an announcer. Her own show, on Monday, Tuesday, and Wednesday nights, seems
to have lasted only one week, replaced the next week by The Late Show, with
Billy O'Connor and Juliette, the cooking show, Hans In The Kitchen (both q.v.),
and a U.S. program called Salome.
Mon 6:30-7:00 p.m., 29 Jun 1964-18 Oct 1965
Announcers Jim Bennett, Pat Napier, and Don Tremaine introduced items in this
open format program of news features or variety segments from Halifax. produced
by J. McAndrew. Maritime Gazette became one of the segments of Across Canada
(q.v.). Tuesday morning broadcasts repeated the Monday evening programming.
The CBC made a positive move into advocacy television and intervention in 1972
with Marketplace and, later, The Ombudsman (q.v.). Both shows took the part of
the citizen and used television's public forum and power to inquire in order to
rectify grievances. Marketplace extended from the consumer aid columns that
had become popular and effective in newspapers, and which, incidentally, formed
the premise of the CBC drama series, McQueen (q.v.). Consumer reporter Joan
Watson and her colleagues--George Finstad (l972-77), Harry Brown (l977-78), and
Bill Paul (l978-date)--rooted out consumer fraud and misleading advertising and
promotion, and misrepresentation and brought them to public attention through
investigation and reporting. The show was applauded for its intentions, but
given mixed reviews at first for its results. For one thing, it was given a
relatively limited budget to produce a show that depended on continuity and
recognition for its muscle. It was also criticized for paying too much
attention to niggling complaints instead of larger problems that affected
consumers.
In time, the show did attract a considerable audience and response. The CBC
boasted that in 1976 Marketplace attracted three million viewers and one
thousand letters a week, a reaction matched only by Hockey Night In Canada and
the national news. The program also evolved as less of a program about
specific complaints and more of a venue for cocumentary features on items
relating to comsumers and to finances.
For the 1974-75 season, the show was followed by its companion series, The
Ombudsman, and every fourth week, they were both pre-empted by an hour long
special documentary. In addition, the program was repeated in afternoon time
slots.
Masrketplace's producers were Jock Ferguson (l972-73) and Murray Creed
(l973-date). Its executive producers were Dodi Robb (l972-77), William
Harcourt (l977-8l), and Joe Doyle (l98l-date).
Sun 9:00-10:00 p.m., 6 Jan 1979-17 Feb 1980
Marquee, also known as CBC Marquee, presented adventure dramas. They included
Paid Vacation, written and directed by Ralph Thomas and produced by Vivienne
Leebosh; Northern Lights, written by Arnie Gelbart, directed by Martin Lavut,
and produced by Ronald Weyman; Toronto Jam, written by Rob Forsyth, directed by
Stephen Katz and produced by Jack Nixon-Browne; The Phoenix Team (q.v.), which
starred Don Francks and Frances Hyland; and Kilroy Was Here, written by Tony
Sheer, directed by Rene Bonniere, and produced by Brian Walker. The series's
executive producer was Stanley Colbert.
Sun 1:30-2:00 p.m., 26 May-30 Jun 1957
Tue 2:30-3:30 p.m., 11 Oct 1953-25 Apr 1954
Tue 2:30-3:30 p.m., 4 May-25 May 1954
Monty Hall and Rosemary Boxer hosted this weekly, one hour variety show. Hall
introduced guest performers and commercials, and Boxer demonstrated exercises.
Other regulars included singers Terry Dale and Wally Koster, comic actor Larry
Mann, and keyboard player Lou Snider. The program was produced by Drew Crossan
at Toronto's Eaton Auditorium.
Sat 6:30-7:00 p.m., 6 Jul-15 Sep 1963
Maurice Pearson, born in Montreal, had become well-known as a vocalist for the
Lawrence Welk orchestra from 1956 to 196l, and had appeared on Welk's ABC
television series during that time. When he returned to Canada that year, he
started a radio broadcast on the CBC, from Vancouver. His quarter hour
television program ran for nine weeks in summer 1963, and featured a band led
by trombone player Dave Robbins to accompany the tenor. Ain Soodor produced
the series in Vancouver.
Tue 9:00-9:30 p.m., 23 Sep 1969-18 Sep 1970
Ted Follows, who had played the supporting role of Crown Attorney Arnie Bateman
in Wojeck, portrayed McQueen, a newspaper columnist known, like Juliette, by
only one name. McQueen's beat was con men, consumer fraud, and citizens'
complaints. His column, called "The Actioneer," was based on Frank Drea's
"Action Line" in the Toronto Telegram, which was also where newsroom scenes for
the series were shot.
McQueen was less of a self-righteous crusader for justice than a character like
Wojeck, and the stories had a lighter, often comic, tone as McQueen was set up
against flim-flam operations, such as vanity publishers or talent agencies that
promised gullible, talentless citizens they could be a star. Many programs
took on more serious themes, involving immigration problems or, in one case, a
U.S. draft dodger. However, the show's half- hour format stressed plot, and
offered little opportunity for depth of character or narrative complexity
beyond the kind of bureaucratic snafus that McQueen typically encountered. The
opening show, for instance, called There's A Car Upside-Down On My Lawn,
explored the complications involved in getting rid of an abandoned automobile.
Jan Goldin played Natasha and Daphne Gibson was Denise, McQueen's two
assistants at the newspaper. In two episodes Margot Kidder played Jenny, who
also worked at the paper; McQueen enlisted her help to expose the talent agent
scam, and she was the character who brought her draft dodger lover's plight to
McQueen's attention. Many recognized actors played guest roles as victims and
perpetrators in the series: Austin Willis, Lorraine Thomson, Jean Christopher,
George Murray, Lynne Gorman, Louis Zorich, Gillie Fenwick, Patricia Collins,
Ruth Springford, Paul Harding, Barbara Chilcott, Robert Goodier, Norman Welsh,
Don Borisenko, Eric House, Araby Lockhart.
The film series offered opportunities to both established and new Canadian
scriptwriters, including George Salverson, who created the show, Leslie
MacFarlane, Donald Jack, Jack Gray, Ian Ross, Bryan Barney, and John Fisher.
Directors included Peter Carter, Rene Bonniere, and Kirk Jones. The program's
associate producer was David Peddie, and the executive producer was Ronald
Weyman.
Return to CBC Series Index
McQUEEN
Maggie Muggins
