BBC HomeExplore the BBC
Just to let you know, we're no longer updating this site. More information here

15 July 2009
Accessibility help
Text only
BBC Wales coalhouse

BBC Homepage
Wales home
Wales history

Contact Us

Like this page?
Send it to a friend!

 
Coal House set

Owain Williams - TV production designer

Dressing a set is usually about creating a facade but this was about creating three homes.

What has been your involvement in Coal House?

The cottages had already been decided upon by the time I came on board so my brief was to turn the three derelict cottages into habitable dwellings in conjunction with Cadw's listed building policies. Cadw is the Welsh Assembly Governent's historic environment division.
Find out more about Cadw's involvment.

I've been a television production designer since 2001 on Casualty and a range of commercials and programmes, after having a six-year break to play professional rugby for Cardiff RFC and Wales.

The crucial difference between dressing the cottages for Coal House and dressing any other set for TV is that ultimately this is a living, working environment and not just a facade, as is usually the case. As such, when drawers are opened they contain objects. The TV audience may never see this level of detail but it will enhance the experience for the families involved. My buyer John Gooch helped me with dressing the cottages.

What research did you have to do?

I researched wherever I could on the internet but visits to St Fagan's Library and the Rhyd y Car cottages, and to the mining museums at Cefn Coed, Rhondda Heritage Park and Big Pit were invaluable. The Victorian Society and antique and second hand dealers were also very helpful. I picked as many people's brains as possible.

So, how did you go about dressing the houses?

The process of dressing the houses was influenced by budget, timescale and health and safety regulations, as well as the need to recreate an authentic period look.

As in any production health and safety is key, particularly where the public is involved. We had to make decisions to substitute some props to ensure the safety of the three families. The period cooking pans we found, for example, were in a damaged or rusty condition so we decided to go with modern 'look-alike' pans. Feather, horsehair or even straw filled mattresses do not comply with modern fire retardant regulations, so we couldn't use them. This is something the viewers have picked up on. I think that we've managed to create an authentic look on the whole.

From where did you source the props?

The props came from all over the place. We have used modern reproduction oil lamps which have been imported from Poland, for example.

Some of the miners' tools, such as the curling box and mandrills, are simply not available outside the most specialist collections so we had our own copies manufactured. Appropriately the template for the curling box is one that was found recently at Big Pit and was made up by Len the Big Pit blacksmith.

All the props have been chosen with our families in mind, starting with the basics - sleeping, cooking, washing and bathing. Every family has been equipped with what they need to survive the four weeks. We have used well over 1500 props, ranging from Welsh dressers, hand carts and tin baths to wooden handled toothbrushes and cut throat razors. A small number of key props have been hired from specialist London prop houses. The vast majority however have been hunted out from second hand shops, auctions, antique dealers and internet sites over a six week period.

One of the most exciting discoveries has been traditional miners' safety lamps which are still manufactured locally in Aberdare. An old welsh plate rack came from a farm auction and a box of period bottles was found left outside one of the cottages by a local.

What about the animals?

The same care has been taken with the livestock as with the rest of the dressing. The two pigs are an authentic Welsh breed which were sourced from Devordan near Chepstow. They were hand reared to be more shaped like a 1920s pig, which weren't as lean as today's pig. I had to audition chickens too! The families will hopefully benefit from the eggs (and meat) of the reliable, point of lay, authentic-looking birds that I have selected for them.

The families will also have access to a vegetable garden. The vegetables were grown by and transported from Usk College. Barry, the tutor there, became so enthusiastic about the project that he has made period authentic onion strings and salt beans for our families.

What do you think of the set design?

Jade (Phillips family)
Owain always listened to things we thought that people would have had in 1927. The food on the trolley always made us smile. The houses were cold and damp but we knew how much effort had gone into restoring them to a 1927 state from looking at the empty ones and were grateful for that! The objects even smelt old. It was quite sick really!

Steffan Griffiths(coalhouse)
Owain is cool!Coalhouse would'nt have been the same without him,he is a legend!!!!!

David from Ireland
As a Cartwright I read with great intrigue that Owain was able to capture such historical and detailed authenticity.This was no doubt borne from his superb academic teaching found at Brynteg !!!Nice to see some of the clan doing well!!!All the best Owain from a long lost friend

Owain Williams, Blaenavon
Even though I was fortunate to discover the mine in the first place I was not involved in all the practicalities of securing the mine as a location. After initially approaching the mine owners and agreeing a location fee, all the health and safety, and insurance issues had to be addressed. The mine inspector was approached as were the mine owner's insurance company and the production company's insurance firm. Eventually, at the eleventh hour all parties gave us the all clear providing we kept to certain imposed restrictions. Every person the film company sent down the mine had to be shadowed by a mine employee. I believe the use of Blaentillery Number 2 mine was the making of the mine sequences, It would have been impossible to create such a fantastic enviroment without 'blowing the budget'.Blaentillery is a gas free drift mine, therefore we had no issues using camera equipment underground.As it happened, by chance, the actual coal face was as close to the surface as it was ever going to be.

Keith Jones (Celtic Energy)
I met owain when discussions were going on regarding the actual coal face and (celtic energy) supplying suitable large lumps of coal for the set. I would be interested to hear how you overcame the obvious health and safety issues of taking untrained miners and a filming crew underground.

owain, Blaenavon
The Philips and Griffiths both used their small back rooms as extra bedrooms. The teacher slept in this room at the Griffith's. The room you saw with the piano was the Cartwrights back room and became the bedroom for their lodger - curtains were supplied for privacy. All 3 houses did indeed have a hanging 'kitchen maid'. I think the families found them very useful.We saw relatively little of the detail in the cottage interiors, however our families made good use of it all. There are plans to open the cottages to the public quite soon.It's great you found the houses interesting. It was a fascinating project to be involved with.

Nancy Jones Llanwrthwl
Brilliant . The people, men, women and children had completely shed the 21st century and were in the 1927s as was the setting. The hens could have been a little less well bred and the pigs fatter is my only criticism.

Jen - Chester
We have only had fleeting glimpses of the houses. It would be lovely to have a programme to them all to themselves, with all the stuff they were using. I have printed off the picture (had to be quick though) of what is supposed to be the Cartwright's living room (I think it is really the Phillips's) and I see a china cabinet, pictures, an old flat iron, utensils etc. (My mum used to curl her hair with iron tongs that went into the gas to get heated and were tested on brown paper. This would be in the 50s.)On the webcam I think I detected a pulley for the clothes to dry on - very handy things.If they were four roomed houses, what is the back downstairs room used for?There's lots of things I would be interested in about the houses.

Owain, blaenavon
I have discovered that chickens come in all shapes, sizes and colours. In the 1920s the most common breed of domestic hen was the Rhode Island. Our Coalhouse hens are 'Warren' hens, choosen because they look very similar, but with a better egg laying ratio. Unfortunately the best laying hen ended up on the dinner plate!

Sally and Ron
"The families will hopefully benefit from the eggs (and meat) of the reliable, point of lay, authentic-looking birds that I have selected for them." Ummm...what is an authentic looking chicken, or put another way, what would it look like if it was not authentic?



About the BBC | Help | Terms of Use | Privacy & Cookies Policy