Back to the Edge: The inside story, with rare RT photos, of one of the greatest TV dramas of them all

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Forty years ago, on November 4th, at the height of Cold War fears, television viewers expected just another detective show. But “Edge of Darkness” was different. It started as a personal story about a detective dealing with loss, but quickly unfolded into a complex and far-reaching conspiracy that changed how TV dramas were made.

Troy Kennedy Martin, the creator of Z Cars, crafted this six-part drama, and it was unlike anything viewers had seen before. Remarkably, that still rings true today. With both the UK and US now planning for a major expansion of nuclear power, Edge of Darkness remains powerfully relevant and thought-provoking.

Ian McNeice, who played Harcourt, said the script was fantastic. “It was right on key, it really was,” he explained. He was considering another job at the time, but after reading the script for this project and Edge of Darkness, he knew immediately which one to choose. He found the script incredibly good, interesting, and well-written, and was hooked from the very beginning.

When we met director Martin Campbell, he hadn’t received much information to work with – I only had a small piece about a show called ‘Warship’ from the 1970s. Despite that, he took a chance and moved forward, which was really impressive.

I was a bit worried about switching from theatre to TV, so right away I told Martin, the director, that I was new to this and really needed his honest feedback – if I was overacting or anything. He was great! He said Bob, another director, had already given him the same heads-up about me and another actor, and that he’d be keeping an eye on both of us. It was such a relief knowing they had my back and would let me know if I needed to adjust.

The first episode primarily focuses on the shocking murder of scientist Emma Craven (Joanne Whalley) and how it affects her father, a detective. The show immediately stands out for its beautiful visuals, particularly its raw and detailed portrayal of the father’s grief. This visual style continues throughout the series – even action scenes, like a chase in a London subway station in the second episode, are filmed with a focus on the characters and their emotions.

Honestly, the finale at Gleneagles had this incredibly complex scene – a car leaving, another pulling in, and a helicopter taking off, all filmed as one continuous shot. It was a logistical marvel, though I’m not sure it was essential to the story. Still, you have to admit, it was amazingly well-coordinated!

The show received significant recognition at the Baftas, with cameraman Andrew Dunn among the six winners, alongside awards for best drama series, music by Michael Kamen and Eric Clapton, editing, and sound – plus an award for the show’s lead actor. Brian McNeice believes actor Sam Neill was crucial to the series’ success, saying, “He was a truly skilled actor, and his performance was exceptional – it rightfully won a Bafta.” In fact, Steven Spielberg was so impressed after seeing Neill in the show that he cast him in Jurassic Park.

Sadly, Gregory Peck passed away from cancer in 1999 at the age of 53. It was a truly tragic loss, and it’s difficult to revisit those memories, but he was an incredibly talented actor.

My colleague’s father, a typically stern man from Yorkshire, came to see him perform as Iago in Othello at the Royal Shakespeare Company. I offered to host them for tea. I made scones with jam and cream, and a pot of tea, and asked if he’d like cream with his tea. He surprisingly replied, ‘No, cream’s fattening!’ After the performance, his father’s only comment was that the seats were a little uncomfortable. That was it – not a word about the acting!

In Edge of Darkness, Louis McNeice frequently worked alongside Charles Kay, playing Pendleton. Together, they helped Craven investigate Emma’s death, often hinting they knew more than they revealed. McNeice credits producer Michael Wearing with a key decision that benefited the show and his working relationship with Kay. Wearing pushed writer Troy Kennedy Martin to develop characters consistently, rather than improvising as he went. Specifically, Wearing insisted that the characters of Harcourt and Pendleton be consistently featured throughout the series. McNeice gratefully acknowledges this guidance, as it meant he and Kay were able to continue working together on those roles.

I pointed out to McNeice that the script portrays Harcourt as someone who generally appears self-satisfied, unless he’s frowning. He agreed, adding that he later learned director Martin Campbell couldn’t help but laugh during filming at the lines he was delivering, which he found lovely. McNeice actually added some improvised lines himself, like asking about dessert and questioning, “I thought I ordered oatcakes?” He explained that these were small details he was able to contribute to the script.

Working with Charles Kay was a true pleasure. He sadly passed away earlier this year at 94, but I’ll always remember his wonderful energy. We both came from the theatre world, so we had an instant connection. One memory really stands out – we were filming in Scotland, standing on a bridge over a loch, having a quiet conversation when a helicopter flew overhead and lifted his toupee right off his head! He just went, ‘Woooh!’ – it was hilarious, especially given the otherwise serious setting. I think they even kept it as a blooper, and rightfully so – it was a genuinely joyful moment.

McNeice recalls a particularly memorable moment involving a lengthy Steadicam shot that put Charlie Kay under pressure. Director Martin Campbell frequently used the Steadicam technique, and this scene, filmed in the London Hilton Hotel, required precise timing. The shot followed Bob Peck as he exited his room, walked through the hotel, and entered an elevator, eventually leading to the car park where he met Kay and delivered a line.

I’ll never forget how nervous Charlie was during that scene. The shot took a while, and he had to wait for Bob to exit an elevator before he could deliver his line. He was really worried about messing up, because if he did, they’d have to film the whole thing over. He finally said, ‘I’ve had a really rough morning,’ and I asked him why, and that’s when he told me what happened.

BBC Four is celebrating the 40th anniversary of the show with reruns introduced by McNeice. However, 2025 has been a difficult year for everyone involved, as the show has lost several beloved cast members. Along with Kay, Joe Don Baker, who played Darius Jedburgh, passed away in May, and just last month, John Woodvine, known for his role as DCS Ross, also died.

McNeice often worked alongside Joe Baker, a memorable actor from Texas. Baker found it difficult to adjust to the fast pace of British television. He was accustomed to filming only a page or two of script each day, but they were shooting four or five pages daily, and he was falling behind. One evening, he told McNeice he needed a break and specifically requested a hamburger.

They took a break and got him a hamburger from McDonald’s, which he ate before they continued filming. He was a big American star, and we all treated him with a lot of respect and were quite impressed by him.

Troy Kennedy Martin’s murder mystery is incredibly engaging and complex, weaving together several themes like labor unions, nuclear energy, environmentalism, the Strategic Defense Initiative (often called ‘Star Wars’), and a hint of the supernatural. The story suggests that Craven’s sadness is connected to visions of a woman named Emma.

Honestly, working with the script for Troy was a total nightmare! It wasn’t even close to being finished when they brought me in. We’d literally get handed lines on the day of filming, so there was no time to even learn them beforehand. It was a really tough situation.

I was so impressed with how much better everyone performed in this project, and I really think director Martin Campbell deserves the praise! As McNeice explained it, Martin was like a whirlwind – they even nicknamed him Zebedee from The Magic Roundabout because he was constantly bouncing with energy. He barely slept, showing up at the set around four or five in the morning just to plan out his approach for the day. It was incredible to witness his dedication!

One day, he unexpectedly figured out a complex logistical puzzle on set. He’d requested a surprising range of vehicles – including an ambulance and a Rolls-Royce, along with other props – that weren’t originally planned for in the shooting schedule. The crew had to scramble to acquire these items first thing in the morning. He’d arrive two hours before anyone else each day to meticulously plan how to film the scenes, and I found that level of preparation truly remarkable.

A small, captivating moment in the third episode, showing characters moving around in the House of Commons before a hearing, perfectly illustrates a common technique used by the director. He would subtly place his hand in front of the camera lens whenever someone walked across the frame. This happened frequently – a simple hand obscuring the view – and became so well-known that people jokingly referred to the show as ‘Edge of Frame’ instead of ‘Edge of Darkness’!

In 2019, when the show came out on Blu-ray, TopMob interviewed Martin Campbell about his recollections of it.

McNeice remembers the exact moment he knew they’d created something special. The series aired over six weeks, and he heard talk of a repeat showing. He called the office to ask when it would be on, saying, “I just saw the last episode of Edge of Darkness and I’m wondering when the repeat is scheduled for.”

As a film buff, I was really excited when this show first aired on BBC Two. But then, just ten days later, they put it on BBC One too! It basically doubled the viewership, and I remember thinking, ‘Wow, we’ve really got something here!’ The speed with which it was repeated was a clear sign it was connecting with people. It was so unusual for me, but I started getting recognized on the street – people would stop me just to talk about the show. It was an amazing feeling, honestly.

McNeice says he’s received a lot of positive feedback over the years from people who consider the show particularly memorable or special, which he finds truly remarkable.

The drama is definitely rooted in the 1980s, with details like old-fashioned phones and early computers, and a cast that wasn’t very diverse. However, the show still resonates today because it explores enduring anxieties – particularly about nuclear power – and its environmental themes are incredibly timely. Many people still consider it a truly exceptional series.

McNeice agrees the show was innovative for its time, praising its unique filming style and the exceptional performances from Joanne Whalley, Joe Don Baker, and the entire cast. He particularly highlights the script by Troy Kennedy Martin as being outstanding, noting that all elements of the production came together perfectly.

Now 75 years old, actor McNeice is still working steadily. He’s recently played iconic roles like Winston Churchill in Doctor Who and The King’s Speech, Louis XVIII in Ridley Scott’s Napoleon, and Alfred Hitchcock in the play Double Feature. He credits the series Edge of Darkness as the project that launched his career. ‘It really opened doors for me,’ he says, ‘and I’m incredibly grateful for the opportunity.’

Martin and Troy were truly original and didn’t follow the usual rules in their field. I was fortunate to collaborate with Martin once more. While filming ‘No Escape’ in Australia with Stuart Wilson, there was a memorable scene where he had to run up stairs wielding a machete. He did several takes, getting increasingly tired. Finally, after about the fourth attempt, he sat down and declared he couldn’t do it anymore.

Martin Campbell got frustrated and asked for the actor’s stunt double. Just as the double was stepping in, the actor surprisingly announced he could do one more take himself. The next day, the whole cast jokingly kept repeating, ‘I think I’ve got one more in me, Martin!’ – even for the simplest actions, like just walking across the set. It became a running joke and everyone found it really funny.

Returning to Edge of Darkness, actor Robert McNeice delivers the story’s final, thoughtful speech as Harcourt, questioning whether goodness will ultimately triumph. When asked if he believes it will, McNeice responds with ambiguity, suggesting the answer should remain open-ended. He feels the story’s power lies in leaving the audience to ponder the question themselves.

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2025-10-28 09:37