Fury in Petticoats
| Company type | Television drama |
|---|---|
| Industry | Television |
| Founded | 1962 |
| Headquarters | Melbourne , Australia |
| Parent | Australian Broadcasting Corporation |
Fury in Petticoats is a television drama from 1962 that aired on the Australian Broadcasting Corporation, under the direction of Christopher Muir. The script is adapted from a play that had been previously produced for British television in 1961.
The narrative, though fictionalized, takes inspiration from a real event in 1836 involving naturalist Charles Darwin, who brought four indigenous people from Tierra del Fuego to England. Certain elements, such as the age of the Fuegian girl, have been modified for dramatic purposes.
Plot
The story centers on Reverend William Dill, his wife Augusta, and their daughter Anne as they anticipate dinner guests—curate Edward Parslowe and Charles Darwin. While Edward harbors affection for Anne, Augusta wishes for her daughter to form a connection with Darwin. During their conversation, Darwin mentions a native girl named Fuegia, who has been brought to England. Motivated by her faith, Anne decides to convert Fuegia (portrayed by Fay Kelton) to Christianity and welcomes her into the vicarage.
Cast
- Lola Brooks as Anne Dill
- Michael Duffield portraying Rev. William Dill
- Norman Kaye in the role of Charles Darwin
- Mark Kelly as Edward
- Fay Kelton as Fuegia Basket
- Elizabeth Wing as Mrs. Dill
Production
Produced in Melbourne, this play was part of ABC’s initiative to increase domestic drama productions.
Reception
The Sydney Morning Herald characterized the piece as an "oddly contrived" period drama exhibiting the formal seriousness often found in historical works. Although attempts were made at humor and social critique, critics noted deficiencies in authenticity and narrative flow. Lola Brooks received commendation for her nuanced performance.
In contrast, The Bulletin regarded it as "a significant improvement" compared to director Muir’s earlier production Boy Around the Corner. Meanwhile, The Age acknowledged it as "quality television," emphasizing its straightforward style and modest execution.