Backstage at the Chelsea Flower Show
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As I head to London early on Saturday in 28C of heat, I know we're in for a vintage Chelsea. have delivered a bigger and better show than the previous year and I'm hoping that, after the worst winter for 30 years, audiences might be ready for some light relief.
On day one, returning staff renew friendships and Chelsea virgins are shown the ropes. With 11 hours of linear programming plus 3 hours of red button and a comprehensive web offer, it takes a military operation (outside broadcast (OB) crew, portable single camera crews, editors, Red Button, online, runners, stewards and catering) to get it done on time and on budget.
First up is a "preview" on the Sunday before the show opens. The showground is a jumble of high-vis jackets and noisy diggers...something of a challenge for the directors. But, once we have the first show under the collective belt, we're back in our stride. With producers, OB directors and portable single camera directors, Chelsea is an exercise in teamwork and trust. Only the Exec and day producer see the big picture and no-one sees a whole programme until it's transmitted.Ìý
As the week plays out, there are high points, particularly when our presenter (and Chelsea garden designer), Andy Sturgeon, wins a Gold medal and Best in Show despite a terrible year in which his wife died suddenly. He's decided not to wait on his garden for the RHS official to hand over the result, so it falls to the producer to break the news when he's in make-up. A tear or two is shed across the team.
Another lift comes as the viewing figures are fed through from the office - our first Ö÷²¥´óÐã One show (apart from the preview) hits 4.4m viewers and excellent audience feedback. We're off and running.
And we welcome two viewers, Ian and Sue Forster to a "day behind the scenes at Chelsea". They bid £16,000 at Children in Need for two days out, at Chelsea and Gardeners' World. The whole team rolls out the red carpet to give them an unforgettable day including; tea on the Chelsea presenting "terrace" with Alan Titchmarsh; watching a live show from the OB van and personal tours of Chelsea show gardens by the designers themselves (arranged by our researcher).
In 2010, we are blessed with sunny days which make all the difference to the output, not to mention the good humour amongst the crew and talent. But, in the production office and cutting rooms (2 tiered portacabins), the temperatures peak at 37c. The OB van becomes a place of refuge, dark, quiet and cool.
As the week progresses, the audience figures remain solid and the web traffic and red button hits are all one might wish. A real dialogue with the audience ensues. The TV team respond to emails and publish viewers' photos. As both TV and web teams are in adjoining portacabins, the sharing of information becomes second nature.
By Thursday, fatigue is setting in but spirits remain high. One last effort is all that's needed and then, from late on Friday, the pressure eases. It's then that a Chelsea crew tradition kicks in. For the past few years, different groups within the crew have built their own "show garden" within the Ö÷²¥´óÐã compound. Each is judged and awarded a medal based on a brief written by Alan T. Below are 2 "gardens" - on the left is that of Producer, Rosemary Edwards, her take on Andy Sturgeon's Best in Show garden. Below right is the rather more refined offer by the production manager and production coordinators.
By Saturday afternoon, there is just the one hour highlights show to complete for a Ö÷²¥´óÐã Two show that night and the mood in the compound is definitely demob-happy. It's time for judging to begin. Medals are hotly contested. As Alan mounts the steps of the catering truck to give his verdict the tension mounts. Who will be deserving of a gold medal? Who will win Best in Show?Ìý In 2010, the worthy winners are the production runners (below). Personally, I think it was all down to bribery. Still....there's always next year. Ìý
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Gill Tierney is Executive Producer, Chelsea Flower ShowÌý
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