As Pogles’ Wood turns 60, co-creator Peter Firmin’s daughter reflects on the beloved children’s TV show

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A condensed version of this article first appeared in TopMob magazine.

If you visited the woods in Kent during the mid-1960s, you would have stumbled upon a delightful surprise: a family of small, woodland creatures. These charming characters were part of a wave of popular children’s television, following shows like Ivor the Engine and Noggin the Nog, but ‘Pogles’ Wood’ captured the hearts of children just as much.

The show’s two unusual seasons were broadcast repeatedly after it first appeared 60 years ago this month. Its enchanting stories were similar to those found in other Smallfilms productions, created by writer and animator Oliver Postgate and artist and craftsman Peter Firmin.

Emily Firmin, Peter Firmin’s youngest daughter, explains that the special appeal of Pogles’ Wood came from the imaginative stories her father and Oliver Postgate created together. They found a successful approach to storytelling and consistently used it.

Mr. and Mrs. Pogle first appeared on television in 1965. When Postgate was developing a new program, he envisioned tiny people living in the beech trees of the woods near his home – a pub he’d converted near Canterbury.

He referred to these down-to-earth characters as people who had no interest in magic. They were the everyday heroes of The Pogles, a show that only lasted six episodes because the BBC thought one of the characters, a Witch, was too scary for young viewers.

You don’t need to worry about her today – she’s safe and sound at The Beaney House of Art and Knowledge in Canterbury. Artist Emily had fun gathering branches to build her a new cage! The museum also features other beloved characters from Smallfilms, like Ivor the Engine, the Clangers, and Bagpuss.

The Pogles came back as ‘Pogles’ Wood,’ with the original couple now including their adopted son, Pippin, and a forest sprite named Tog. A unique character was a plant that loved to have bilberry wine poured on its roots, and it would tell stories! This ‘story within a story’ format was similar to what would later be seen in ‘Bagpuss’ eight years later, where the cat would share fantastical tales.

The Pogle family often had adventures where they’d visit the human world to learn about things like where milk, wool, and eggs come from. These trips were meant to teach children about everyday life and introduce them to new concepts.

Peter Firmin built the Pogles’ cozy home – a tree-root burrow – in his barn near Canterbury, close to where Oliver lived. He also made most of the puppets and scenery, and created all the artwork for the show.

Very few original items from the Pogles’ Wood set remain at The Beaney House. Luckily, Emily inherited her father’s artistic talent. She explains, “Almost all the original sets were destroyed – mice and moths got to them! – so I rebuilt the set inside a display case. The original flower was also gone, but as a papier-mâché artist, I was able to easily recreate it.”

She explains that her artistic talent comes from her father, recalling a childhood spent playing with his printing press. He encouraged her and her sisters to experiment with it from a young age. While she now focuses on developing her own style and avoids directly looking at his work, she deeply admires the incredible detail in everything he creates.

Although much of the show was created in a studio, many scenes were shot outside. Filming outdoors, however, presents challenges, such as fluctuating light. Emily exclaims, “It’s wonderful!” She also points out the charming detail of Oliver’s footprints left in the grass, noting that while unnoticed at the time, it’s a classic filmmaking touch now that audiences are so observant.

Smallfilms was a true family business, and ‘Pogles’ Wood’ was no different. Postgate often included his own children in episodes, while Emily’s sisters appeared in the yearly ‘Pogle’ books. Even more family members contributed – her aunt knitted the Pingwings (characters from an earlier Smallfilms series), and her mother, Joan, created many of the tiny costumes, and later, the knitted bodies for the Clangers. As Emily often says, her mother would have been the perfect artistic director.

Emily became a star at age seven, playing the owner of Bagpuss! You can find the full story of her experiences in our article celebrating the show’s 50th anniversary.

Emily is a talented artist who specializes in papier-mâché. She and her partner, Justin Mitchell, run a business called Total Pap – he builds automata, while she focuses on her papier-mâché creations.

We’re a team of artists who bring unusual and imaginative ideas to life as three-dimensional sculptures. I absolutely love creating and painting these objects. Clients often ask for incredibly quirky things – like an otter getting a bath from a dachshund while a monkey swings from the curtains! And honestly, that’s exactly the kind of project we thrive on.

You can’t find Pogles’ Wood on UK streaming services, but lots of episodes are available on YouTube. Plus, don’t forget about The Beaney!

Like shows such as Noggin and Bagpuss, The Pogles were full of warmth and charm. “There was always something positive about their programs,” says Emily. “They consistently emphasized kindness.”

For information about The Beaney House of Art and Knowledge, visit thebeaney.co.uk. If you’re interested in papier-mâché commissions, Emily Firmin and Justin Mitchell can be found at totalpap.co.uk.

Authors

Mark Braxton
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2026-04-06 19:54