His Passing was reported in October 2022.
The Posts below were from an earlier date.
Dave Plowman
George Ageros was one of the first supervisors I can remember after my joining in 1962. Not quite sure when he left Sound, though.
John Hays
I worked with George Ageros as a junior SA around 1965 when he was working with Rudi Cartier on drama, I think with crew 5 with “sailor” Wright as TOM. During one production , when we were using the temperamental KM 54 mics, one failed again, and I’ll always remember Rudi’s anguished plea to George over TB , “Ageros” –with a hard G, “Ageros, Ageros, what are you doing to me?”
Geoff Hawkes
John may have been referring to the same production that I was thinking of in connection with George and for which I best remember him. I have in mind a serial called “The Midnight Men” starring Andrew Keir and Eva Bartok. I don’t remember the TOM but it was lit by one Richie Richardson and I can still see him with his arm round the female star trying to reassure her about her lighting in close up. Coming from the world of film, she was probably accustomed to being lit perfectly shot by shot. The P.A. was Michael Hart, brother of Tony, and I remember him pacing around with an exasperated expression on his face as he tried to filter the stream of invective coming from Rudi in the gallery and to stop him coming onto the floor. It would have been 1964 and I’m sure it was Crew 1 not 5 or I’d have remembered Jim’s dominating presence. It may have been in Stan Appel’s time as Senior Cameraman, before he joined Production and Doug Routledge took over. I was Crew Relief Mainly Sound at the time, before my defection to Cameras. It was done in R1 and was one of the few times (thankfully) when I operated a pedalo boom. I think the mechanic there was Norman Kingsbury in that little workshop at the back.
I should finish by saying that I remember George being less than happy on the show and can picture him standing at the Sound Control window, glaring down at us on the floor. That too may be a cross-over memory as it may not have been possible with the layout as it was in R1. I can only hope that my inexperienced and probably inadequate efforts at boom operating weren’t the cause of Rudi’s ranting at George in the way John H. so graphically described. George himself wasn’t one to suffer fools gladly but I found him more friendly and affable after he’d left Tech-Ops and moved to Children’s.
Also among the cast was Alan Wheatley, former Sheriff of Nottingham in ITV’s long running series from the 1950’s, “The Adventures of Robin Hood”, see Tech Ops page
I was more star struck to have seen Alan Wheatley than the others, though he was in a lesser role.
Those were the days when we were young and impressionable with a long road through the golden days of Television still ahead of us. The like of those is now a relic of the past, along with the premises we knew and loved, Riverside, The Grove, The TV Theatre and saddest of all, TC itself. Feel free to sob quietly in a corner….
Dave Plowman
One memory of George Ageros concerns “This is Your Life”.
Made in TC before the days of radio mics, there was a table with two desk mics as part of the set.
Since the rig was more or less the same each time, rigging could start without being told exactly what might be needed. (I’m certainly not going to accuse anyone of being late!) So a coin was thown in the air and we would rig C28s. When George saw them, it would be something like: “C28s are of course much more reliable but aesthetically so less pleasing. So we’ll try KM 54s this week”
Or the other way round…
Tony Briselden
I have discovered a photograph that I think may be of him in the late 1950s or early 1960s.
(Click on the picture below to see larger version:
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The occasion was a training session under Tony Youngman in, I think R2, and he is talking to Paul Kay amongst others. I thought that I took the photograph but as that appears to be me behind Paul it must have been someone else, clearly higher up on a boom or on the Mole crane which I know we were using at the time. I can’t place the other two (and a half!) whose faces are visible.
