Three shows in commercial prime time? Tell ’em they’re dreaming

It’s happened quietly, almost stealthily, and that’s probably the way they’d like it. At a time when commercial free-TV networks are devoted to reality shows in their evening slots, Working Dog, one of the country’s most successful production companies, has given us three shows noticeably lacking singing, dancing, cooking, renovations or eliminations in prime time on consecutive nights on Channel Ten. On Mondays, it’s Have You Been Paying Attention? (8.40pm and 10 Play); Tuesdays bring The Cheap Seats (8.40pm and 10 Play); while Wednesdays have offered Thank God You’re Here (10 Play).

The trumpets haven’t been blasting a celebratory fanfare largely because the company has long favoured a softly, softly strategy rather than a big promotional push with many of its series. Instead, it’s adopted an approach reliant on a slow, steady build and word-of-mouth, hoping viewers will find something that they like and come back. And ideally tell their friends. And it’s worked: this trio is among the most popular on the network. They’re also testament to the possibility of long life, even for shows that aren’t reality contests, in a sector of the TV landscape that’s shrunk dramatically in recent years.

From left: Ed Kavalee, Tony Martin, Lizzy Hoo, Urzila Carlson, Sam Pang and presenter Tom Gleisner in Have You Been Paying Attention?

Respected as the creators, writers, producers and stars of a show widely regarded as one of the best ever made in Australia (Frontline), Working Dog has provided a range of offerings over the decades. Among them are talk shows (The Panel, Santo, Sam and Ed’s Cup Fever!); comedies (Funky Squad, Russell Coight’s All Aussie Adventures); a fishing series (A River Somewhere), an animation (Pacific Heat); satires of government and bureaucracy (The Hollowmen, Utopia); and films (The Castle, The Dish, Any Questions For Ben?). Rob Sitch, Santo Cilauro, Tom Gleisner, Jane Kennedy and producer Michael Hirsh are a prolific and inventive bunch.

Currently, their focus appears to be light-entertainment: cleverly conceived productions cast with the keen eye that’s been a consistent asset. The shows feature sturdy yet flexible formats that can readily be tweaked and refreshed by adding new segments and guests, and they fluidly accommodate fresh faces who slip in easily alongside familiar favourites.

Over the years, Working Dog has built a loose-knit troupe that features some of the country’s best and most loved comedy performers – among them Kitty Flanagan, Sam Pang, Celia Pacquola and Glenn Robbins – while keeping a keen eye on emerging talent, here and across the ditch in New Zealand.

Celia Pacquola presents the latest incarnation of Thank God You’re Here.

That scouting and knack for casting has seen Kiwi comedian and HYBPA? contestant Melanie Bracewell paired with the company’s one-time researcher, Tim McDonald, to host The Cheap Seats. It has a simple premise – “a look back on the events of the week” – that also allows a lot of latitude as it can take in major occurrences as well as obscure ones, all of them surveyed through a comic lens.

Simplicity is the key on Cheap Seats: two hosts, a desk, film clips, a couple of regular contributors, Mel Tracina and Adam Rozenbachs, covering showbiz and sport, and guests. It works because of the choice of clips, the wit of the writing and the way Bracewell and McDonald spark off each other, encouraging viewers to believe that they really get along. As with all the current productions, the atmosphere in this studio feels friendly, conveying the impression that the performers genuinely enjoy each other’s company and contributions.

That sense of a supportive and appreciative community is also evident on HYBPA?, alongside all the joshing between the players about their career trajectories, sponsorship deals or choice of outfits. And it bubbles through the revival of Thank God You’re Here, which has just wrapped its sixth season. It returned last year after a 14-year absence, with the vivacious Pacquola as its host. Introducing herself as an “ageing comedian and fun mum”, she welcomes what appears to be an upbeat procession of her comedy-circuit pals to venture behind the blue door and into the improv challenges.

Essentially, the show stages the comedy equivalent of a high-wire act and a certain fearlessness is required. As Pacquola explains, it’s “a comedy obstacle course only the bravest and most available comedians would attempt”. A seasoned stand-up performer, Pacquola understands the excitement and possible terror of stepping into a situation that requires lightning-fast improv skills and sharply honed comedy reflexes. Along with the potential thrill of nailing the challenge would have to be the accompanying anxiety: what if they freeze, or fail to make the most of the opportunity? What if, God forbid, they’re not funny? For all its wonderful kookiness, there’s an irresistible tension fuelling TGYH.

Melanie Bracewell and Tim McDonald spark off each other in The Cheap Seats.

As well as happily wacky scenarios, impressive staging and careful attention to hair, make-up and costume-design, the sixth season has given us some memorable performances. It radiates the impression of the producers having a lot of fun devising set-ups and figuring out who to drop into them: Sam Pang as a notorious highwayman; Chris Parker as Viking warrior Olaf Schnitzel advocating for stay-at-home work conditions and safe spaces to share feelings; Guy Montgomery as a Bond-style super-villain with a freshly decorated lair and an appetite for lasagna; Anne Edmonds as a lifestyle-program DIY expert building a coffin.

The successful revival of the show again demonstrates that Working Dog series are stayers. Thank God originally ran for three seasons on Ten (2006-07), had a fourth-season fling on Seven (2009) and returned to Ten with vigour for a fifth season last year. HYBPA? is into its 12th season; Cheap Seats its fourth. These aren’t gimmicky, one-season wonders, and stayers are precious commodities for networks: they build audiences, brands and goodwill, reliably attracting viewers, sponsors and advertisers with content that everyone can have confidence in.

They’re also rarities: locally developed concepts, not imported international formats; showcases for established and emerging artists; and classic family fare. Once upon a time, the image of television was a box in a lounge-room and a family gathered around its enticing glow. Today, a more accurate image is households with occupants divided into separate rooms engaged by different content on a range of devices. Yet all these shows can entertain a broad audience: it’s easy to imagine the Kerrigans of The Castle in the lounge-room next to the pool room enjoying them and laughing together.

Because, alongside their other attributes, and best of all, these shows are fun. And the reliable guarantee of a good time – at least a few chuckles, but often some big belly laughs – shouldn’t be underestimated.

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