As a long-time fan of the Anderson universe, I can wholeheartedly agree with Jamie’s sentiments about Stingray. Having grown up watching these shows, they hold a special place in my heart and remind me of simpler times filled with adventure, mystery, and a touch of humor.
On October 4, 1964, a thrilling new children’s series kicked off on ITV with the phrase “Prepare for excitement”.
Stingray, an intricate marionette production, was devised by Gerry and Sylvia Anderson – the masterminds behind Fireball XL5 and future creators of Thunderbirds, Captain Scarlet and the Mysterons, as well as Joe 90.
As a passionate cinephile, let me share my experience: “They assured us that anything could unfold in the next 30 minutes, and boy, were they right! Over 39 thrilling episodes, I journeyed with the fearless submariners of WASP (the World Aquanaut Security Patrol). We explored underwater civilizations, battled mechanical fish, dodged deadly plants, and even had an encounter with the legendary Loch Ness Monster.
Leading the protection of Earth’s oceans was the nimble, atomically powered combat submarine named Stingray, a design creation by the associate producer of the series, Reg Hill.
According to Gerry’s son Jamie Anderson, AP Films were trailblazers during the process that transformed productions from black and white to color. He humorously remarked, “It was an incredibly challenging task for those involved!
A trip to study a different studio’s color techniques in the U.S. led to the discovery, as Jamie put it, “Wow, we’re going to need to redo everything, make changes everywhere!” This conveys that the learning experience was profound and required significant adjustments to their current work.
Transitioning to black and white might have been common practice during that era, but opting for color instead seemed like an insurmountable hurdle. However, I believe this decision turned out to be the key to their enduring success. If Stingray and Thunderbirds had been produced in black and white, as most mainstream channels were doing at the time, they likely wouldn’t have achieved their lasting triumphs.
In the design of Thunderbirds, color wasn’t given much emphasis when it comes to their various craft. Given that Captain Scarlet was in black and white, introducing Spectrum would have been pointless. This is a significant shift in design philosophy.
Combining enhanced Supermarionation and special effects extended the show’s longevity, making it appealing for multiple re-watches, even on BBC Two in the 1990s.
Jamie, aged 39 and managing director at Anderson Entertainment, remarks, “The ’90s comeback was truly pivotal, and it beautifully showcased the collective efforts of our entire team,” as they continue to uphold Gerry’s legacy.
As children, we were discovering those shows for the first time alongside each other. It seemed as though they were newly created; none of us realized we were actually watching a 30-year-old TV program back then.
AP Films captured Stingray within the revamped factories-turned-studios located in Slough. To contrast the previous series set in space, this move aimed to ground the action on Earth instead.
Jamie mentions that the deep sea shares many characteristics with outer space, retaining an air of mystery reminiscent of Fireball XL5, but also being closer to us,” or simply, “The deep sea resembles space in many ways, maintaining a mysterious quality like Fireball XL5 and being more accessible.
Gazing at the stars carries an air of remoteness, yet as a child, you may have visited the beach and envisioned staring out there, spotting Stingrays gliding along the horizon or a Terror Fish plunging in and out again. This scene evokes the allure of outer space while maintaining the familiarity and closeness of the ocean.
Initially, one of their tanks ruptured and overflowed into the studio. As Jamie recounts, “During those early days, one tank burst and flooded our workspace.” (This is reminiscent of an old cartoon from the mid-’60s drawn by Derek Meddings, featuring Gerry with a cigar protruding from the end of his snorkel, and Sylvia portrayed as a mermaid.)
In this setup, water tanks designed like wedges were constructed specifically for filming model shots of the sea surface, maintaining a constant ocean line. Both models and puppets were hung from wires during underwater scene filming. The tank was filled with various small fish to create an illusion that all the action transpired beneath the waves.
Instead of placing more focus on dialogue or exposition, there was a heightened importance given to active scenes. As Jamie points out, “The central theme is conflict, so the tension begins from the very opening credits.” This approach not only captured but also maintained audience interest in an innovative manner.
In this new series, the characters’ interactions were significantly more intricate than in prior ones. Notably, we have Commander Samuel Shore, leader of WASP HQ Marineville, who suffered severe injuries in a submarine accident. By his side is his dedicated daughter, Lieutenant Atlanta Shore. Also present are Lieutenant ‘Phones’ Sheridan and Troy Tempest, captain of the Stingray submersible. Troy finds himself caught between his feelings for Atlanta and Marina, a speechless woman hailing from the underwater realm of Titanica.
Jamie admitted that the love triangle intrigued them since it didn’t seem like something suitable for children,” confesses Jamie. “At that age, around seven or eight, one usually isn’t keen on grown-ups acting inappropriately, but even so, it was still fascinating.
It’s the forerunner of the two-tiered style of Thunderbirds, containing elements that both adults and children can enjoy.
“But even with the father/daughter tension between Shore and Atlanta, there’s an added element there… and again with the slightly comedic duo of [undersea king] Titan and [Surface Agent] X20, you can see in Stingray the prototype relationships that you’ll go on to see in Thunderbirds.”
Certain sequences, such as the skating scene in the holiday special A Christmas to Remember, still leave us amazed and puzzled as to how they were executed, even with modern understanding.
Jamie mentioned that this step was instrumental in enhancing the realism of the puppets, while Gerry and Sylvia continued to focus primarily on creating live-action television shows and movies as their main objective.
At some stage, the ambition of the puppeteers to create lifelike performances might have reached a level comparable to Dad’s passion for real-life action. It’s unclear though, if they were being inspired by him to push those boundaries even further, or if they found a mutual sweet spot in their creative process.
“But how the hell did they do that skating sequence?! It would be tough doing it now.”
Two significant figures behind Stingray were composer Barry Gray and special effects master Derek Meddings, as per Jamie’s account, who handled the series and subsequent ones with a dramatic, weighty, and professional demeanor.
In a straightforward and conversational manner, “Both of them didn’t treat it like a simple children’s production or try to cut corners; instead, they had substantial resources at their disposal. This financial backing significantly enhanced their efforts. However, what truly stood out was their commitment to experimental and intellectually challenging approaches in their respective roles.
Without the visuals and dramatic elements provided by Derek, I wouldn’t find Barry’s work as compelling. Conversely, Barry’s work enhances every piece produced by Derek as well.
Despite seldom conversing beyond the occasional gatherings after film shoots, they found themselves collaborating closely and driving progress together surprisingly often.
In that period, it’s unlikely that anyone else in the British movie scene was making as significant contributions as Derek in special effects, or as Barry was in enhancing what appeared to be just a children’s program.
In theory, a large soundtrack for a puppet or miniature series might inadvertently diminish the visual impact – but Barry’s work defied this expectation. Instead, he enhanced every aspect, never making it feel small. His intelligence shone through in everything he did.
60 years after its debut, Anderson Entertainment continues to thrive with the Stingray franchise, introducing a fresh, all-encompassing narrative titled “Stingray: Deadly Uprising” for both books and audio releases. Additionally, they are planning to publish comic anthologies and a technical manual in the near future.
However, the concept behind such widespread advertising is deeply rooted in the spirit of Anderson – Stingray and the series preceding and following it were heavily advertised in TV Century 21, a comic that was adored by fans during the ’60s and continues to be held in high regard even after six decades.
Jamie mentioned that the discussion is centered around cross-platform storytelling across multiple media and interconnected fictional worlds. Interestingly, this concept was being implemented as early as 1964!
They frequently mocked upcoming series in a clever way, a move that was truly brilliant. This was thanks to Keith Shackleton, our merchandising genius, and Alan Fennell, the innovative writer/editor. Their methods were not only smart but also ahead of their time. I believe the fusion of ideas was simply fantastic.
It seems like Jamie strongly favors a particular character, as X20 serves a crucial role as the comedy foil. With his Peter Lorre-like voice, over-the-top caricature, and transformation from a quivering wreck to a mighty Titan, he provided delightful comic relief.
Regarding his favorite episode, it’s quite unusual but I believe it’s “The Loch Ness Monster”. This one stands out because it’s so whimsical. As a child, I watched it numerous times and there’s an element of excitement about moving Stingray from its regular spot and navigating it around – not to mention the suspense leading up to the unveiling of what the monster truly is.
As a cinephile, I found the intricate layers of that production genuinely captivating. I particularly relish the installments where they subtly deviate from the conventional structure, adding an element of surprise and depth to the storytelling experience.
However, it’s also worth noting that Stingray continues to be a beloved choice among fans. Nick Williams, Fanderson’s chairman, expresses this sentiment, stating, “Indeed, Thunderbirds is often regarded as the peak of Gerry and Sylvia Anderson’s Supermarionation creations.
However, Stingray isn’t any less impressive. With its 39 thrilling half-hour episodes featuring Troy Tempest and the team battling underwater adversaries, it offers a mix of danger, excitement, and enjoyment that is truly remarkable.
Just like other creations by Anderson, Stingray showcases exceptional technical skill. Capturing the underwater scenes with models and puppets was brilliantly executed, and filming it in color ensured a longer lifespan compared to its predecessors.
Richard Farrell, editor of Andersonic magazine, notes that a children’s puppet series set in an extended version of the early ’60s Cold War, featuring underground bunkers, surprise missile attacks, and spies hiding on a neighboring island, may initially appear rather grim. However, Stingray’s infectious charm makes it one of the Andersons’ most engaging productions to watch.
The vibrant activities within it are captivating enough for kids, but its catchy music and relatable humor among endearing characters have given it a wider audience and lasting popularity.
Just like numerous other Anderson TV series, it lacked a definitive ending, as the creative team was consistently aiming for additional episodes, according to Jamie.
It was consistently wished that it would carry on for additional seasons, with no end in sight – however, media tycoon and investor Lew Grade continually sought fresh endeavors. Eventually, his successor became Thunderbirds.
Jamie notes that “Stingray” is another enjoyable dose of nostalgia, offering continuous action and adventure. Notably, it’s the initial Anderson series to incorporate a ‘passing between generations’ theme, allowing parents and grandparents to share it with future generations. The combination of color, characters, special effects, and music has made this cross-generational sharing possible.
A condensed version of this feature appears in the latest issue of TopMob.
You can find the classic Stingray series on ITVX.
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2024-09-24 03:08