The art of Canadian drama production.

Even with the input of the new $100 million from the ctcpf, budgets over and above the $1-million-per-episode mark, and the ever increasing number of broadcast windows for Canadian productions, dramatic series stamped Made In Canada are still the most arduous of the program genres to sell and finance, not to mention produce.

How well it’s working is cause for speculation, but the bottom line after year one of the ctcpf is evident if only in the oversubscription tally and the frenetic union crews in the major centers. At the end of the summer there will be more Cancon programming in the offing than ever before. It’s a buyers’ ­ the broadcasters ­ market.

With that in mind, Playback went to the heads of original drama production at the six major networks to discuss the evolution of the flagship Canadian product on their 1997/98 schedules. How program strategy has evolved at their respective nets, the best means of reaching new audience, and blue-sky plans for drama production are all fodder for conversation in interviews with Loren Mawhinney, vp Canadian production for CanWest Global; Baton Broadcasting’s vp dramatic programming Bill Mustos; CTV Network’s group vp programming Gary Maavara; Dale Andrews, executive vp for WIC Entertainment; Andre Provencher, vp programming at TVA Network; and the cbc’s Susan Morgan, creative head of dramatic series.

See p. 34 for case studies on Alliance Communications’ Once a Thief (ctv), the Keatley MacLeod Productions and Atlantis Communications coproduction Cold Squad (bbs), Altantis’ Traders (Global), Donkey Kong Country from Nelvana and Medialab of France (wic), the Chris Haddock and Lazlo Barna-produced DaVinci’s Inquest (cbc), and Diva, produced by Productions Sovimage (tva).

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For Susan Morgan, it’s been a long trip from the Welsh stage to developing dramas at Canada’s national public broadcaster but cbc’s creative head of dramatic series says realizing new series is a busier and more rewarding endeavor than ever before.

Morgan has a 10-year history at the cbc and has been in her current position as head of dramatic series for the past three years.

An actor and director of children’s shows, Morgan was approached to come to the cbc in a casting capacity. After becoming deputy head of talent, Morgan moved into series production about five years ago and then into her current position, where she works with two additional execs in steering the key dramatic series course of the network.

Morgan says over the past three years there has been a doubling of the amount of production going through her department. ‘The increase in drama production is because of the ctcpf.,’ she says

‘It’s rather ironic when you look at what’s happening in the world and what’s happening here specifically.’

Morgan says while there has always been a good measure of support and encouragement for dramatic series, interest in the format has opened up at the network, not just in terms of the big-ticket one-hour series but smaller, more cutting-edge projects, bringing in new talent and allowing dollars to be spent effectively.

‘There have been some interesting and creative ways of doing shows for less money, thereby giving us the opportunity to do not just the blockbusters but some of the smaller shows,’ says Morgan.

The ongoing Canadianization of the pubcaster’s schedule has also formed a major part of the programming direction as the network seeks to assemble a 100% made-in-Canada lineup as well as to ensure solid representation through the country’s regions.

Surveying the schedule in recent years, Morgan says while the East Coast was being addressed with regional content like Black Harbour and Gullages, it was becoming clear that the West Coast was underrepresented and series development initiatives have been undertaken accordingly.

Younger Canadians are another audience prospect being pursued in programming decisions, says Morgan, following efforts like Talk 16 and Talk 19 with a new season of teen drama Straight Up.

Up next at the network following the Canadianization of the primetime schedule is the same undertaking for daytime, and Morgan is working toward providing daytime properties.

One interesting project Morgan says she is developing is a Canadian daytime soap opera, though she says no firm decisions have been made yet in that area.

With another eye toward future programming efforts, Morgan also says Internet tv is being discussed throughout the network: ‘Even in our department we’re very aware of it and we’re beginning to talk about development in that area.’