Roger Price came to Canada with the intention of creating a television show modeled after his successful British series, You Must Be Joking!. On that earlier show, Price had placed great value on the involvement of a drama coach, specifically Anna Scher, a renowned drama coach from England. Scher worked closely with the young cast members to develop their acting abilities. Recognizing the importance of this kind of guidance for his new Canadian project, Price set out to find a drama coach with a similar approach.
Price’s search for a drama coach led him to Carole Hay. While observing one of Hay’s drama classes, Price was struck by her teaching methods, which closely reflected those of Anna Scher. This resemblance was so pronounced that Price initially assumed Hay must have studied directly under Scher. Hay herself recounted, “I was using techniques that were so similar [to Scher] that for the longest time he was convinced that I’d worked with her.”
Carole Hay implemented a multifaceted approach to drama coaching that helped the young cast members of You Can’t Do That on Television develop their acting abilities and confidence. One key aspect of her method was the use of learning-based games designed to enhance improvisation skills among the kids. Hay placed strong emphasis on respect and listening, crucial qualities for performing in the unpredictable and satirical environment of the show. Such technique helped foster an atmosphere that supported authentic performances and genuine interactions on screen.
Another significant component of Hay’s drama coaching was her emphasis on deconstruction. Hay encouraged the young cast members to examine and break down the various factors that influenced their thoughts, emotions, and behaviors. By engaging in this analytical process, the kids developed a deeper understanding of their own imaginations and personal methods of communication. This approach not only enhanced their self-awareness but also allowed them to explore the underlying motivations behind their reactions and performances on the show.
Through these exercises, Hay guided the cast to reflect on what drove their characters and their own responses within each scene. She was clear with the kids that the purpose of these activities was to “show…how you feel.” Hay’s method empowered the young actors to move beyond surface-level acting, resulting in performances grounded in genuine emotion and personal insight.
With this training Hay taught the kids that their feelings should inform their instincts, and vice versa. Hay explained that this approach prevented the kids from giving reactions that seemed more rehearsed than natural. This emphasis on authenticity was central to Hay’s technique and aligned perfectly with the show’s goal of presenting real kids in extraordinary situations. If the situations were absurd but the acting was irreverent, the kids watching at home could get inspired knowing that no matter how dire the situation was, the kids could win. They didn’t always win, but they could. And that was enough.
If viewers of You Can’t Do That on Television were inspired by Hay’s style (even if they had no idea she was behind what they were watching), then the cast was equally impressed with Hay and her teachings. ”If we didn’t cut it in drama class, we never made it on air and Carole provided us with acting training that we would never have received as non-actors,” said McGlade. Fellow cast member Lisa Ruddy said she was way out of her comfort zone during the classes with Hay, but she found out who she was, or perhaps who she wanted to grow up to be, at a very young age because of them.
Roger Price was deeply committed to creating the best possible environment for the show, and a core principle for him was maintaining a “kids only” atmosphere on set. He believed that keeping parents off the set was essential — not only to prevent adults from interfering, but also to ensure that no child felt singled out or more important than the others. By establishing these rules, Price created a space where the cast could work and interact without the presence or influence of parents.
This “kids only” zone fostered a more playful and creative working environment. In such a space, the children were encouraged to express themselves freely, knowing they were not under constant parental scrutiny. Price trusted his young cast members to take their roles seriously and to treat one another with respect, expecting professionalism and collaboration from everyone involved. At the same time, he wanted to empower them, allowing their personalities and creativity to shine through in their performances precisely because they were not being watched by their parents.
Price had very little patience for stage parents. When new kids made it to the final round of auditions to be on the show, the parents would be told to stay in a separate room. While there, they would be entertained by the kids who were already on the show. Although this was set up as a meet-and-greet type scenario where the parents could ask the kids questions about their experience on the show, it really served as a way for the kids to “audition” the parents. “Even the best kid in the world would have been passed over if their parents had lamentably failed their part of the audition,” said Price.
Geoffrey Darby was on board with Price in not allowing possibly problematic parents to have their kids in the cast. This approach may sound harsh and unfair to the child actor, but Price and Darby were ultimately looking out for the rest of the cast. As the senior cast member and face of the show, McGlade recognized this, saying, “No one was put in a special position, including me.” Price and Darby understood that every kid should feel equally included in the group.
Carole Hay attributes the success of You Can’t Do That on Television to Price, noting his attentiveness to the preteen cast. “He never dismissed their answers or suggested that they were too young to know what they were talking about,” she said. This approach had a profound impact on the young performers, making them feel valued and respected, and giving them the confidence to bring their true selves to the show.
Janie Godfrey, representing ACTRA (Alliance of Canadian Cinema, Television and Radio Artists), also highlighted Price’s appreciation for the individuality of each child. According to Godfrey, Price celebrated the unique quirks and personalities of the young cast members, giving them the freedom to express themselves openly. By fostering an environment where self-expression was encouraged, Price helped create a show that resonated with audiences for its genuine portrayal of kids, even in extraordinary circumstances.
Abby Hagyard, the other adult in the cast who portrayed every female adult character, said that despite the no parent rule, adults were always around. It was her and Les Lye as the grown-ups in the cast who “provided the structure for the kids.” She says this system allowed the producers “to be a little more free-form and to take risks that they might not otherwise have been able to take.” Even though both Hagyard and Lye looked out for the young cast and earned their respect, there were times when the risks taken by Price and Darby exceeded reasonable bounds, highlighting the need for stronger supervision to balance creativity with caution.
Christine McGlade recalls Roger Price being “a very rebellious anti-establishment man.” She said, “his thought process was ‘If the kids took over the studio, all these fun, silly, hilarious things could happen.’” However, not every “silly” moment was well received by the young cast members. Despite Price’s well-meaning intentions, there were times when certain sketches or comedic bits crossed a line for some of the kids, making them uncomfortable.
Adam Reid took part in one such skit that really bothered him as a young boy. The sketch called for him to complain to his mom that the shirt he was wearing made him look like a girl, and there was no way he was wearing it to school. So, Reid took the shirt off. He then said his pants were too tight and said there was no way he’d wear those to school either. So, Reid took off the pants and was left standing in his underwear.
Perhaps this was a funny scenario for a kid watching at home. Most kids would giggle at the mere mention of underwear, let alone the visual of seeing another kid standing there wearing nothing but tighty-whities. But the experience was markedly different for Reid, who had to perform the scene. For him, what might have been a source of amusement for the audience translated into a moment of discomfort and vulnerability. The humor of the situation on screen did not lessen the difficulty he felt while participating in the sketch as a performer.
As uncomfortable as the scene was for Reid, the real problem was the scene had to be shot multiple times. Afterward Reid was left feeling both upset and embarrassed. Director Brenda Mason would console him afterward, saying he did good and asking if he was ok. Reid said he was, but he was fighting back tears.
Although the scene was handled with professionalism and respect by the cast and crew on the set, Reid’s discomfort was largely overlooked. Apart from director Brenda Mason, who offered comfort and reassurance, Reid’s feelings went unacknowledged by others on set. This situation highlights how the absence of parental oversight may have contributed to the handling of sensitive material.
If a parent or guardian were present during filming, it is likely that Reid would have been given the opportunity to express his feelings about participating in the scene. A parent might have pulled him aside to check on his willingness to perform or advocated on his behalf if he felt uneasy. The presence of a parent or guardian could have resulted in the scene being modified — or even canceled altogether — to protect Reid’s comfort and well-being. Ultimately, the lack of parental supervision on set meant that scenes with the potential to embarrass or distress young cast members were more likely to proceed, sometimes at the expense of the child’s emotional experience.
Cast member Marjorie Silcoff raised another concern, saying “If they knew you had a weakness, they would pounce on it.” This observation highlights the sometimes harsh dynamics within the show, where vulnerabilities of cast members could be exploited, either for humor or as part of the group’s interactions.
Cast mate Josh Morris agreed, saying “Roger [Price] loved seeing little boys in dresses. He thought that was hilarious…he’d pick the boy who least wanted to be in a dress and make him wear it.” This type of humor, while perhaps intended to be playful and subversive, often placed certain children in uncomfortable situations for the sake of the joke.
Additionally, the environment on set during periods of downtime was not always age appropriate. Cast member Justin Cammy recounted that while waiting for technical setups, he made unexpected discoveries. “The crew…introduced me to pornography,” he said, noting that “Playboy was always lying around.” This anecdote underscores the lack of oversight regarding what was accessible to the young cast, exposing them to adult material during production.
In the context of today’s television and film industry, exposing a minor to inappropriate or adult material would have serious consequences. Such an incident would almost certainly lead to legal repercussions, widespread negative media coverage, and irreparably damaged reputations for those involved.
Despite these modern expectations, it is important to acknowledge that Roger Price, Geoffrey Darby, and the other adults working on the set of You Can’t Do That on Television were, by most accounts, genuinely concerned about the well-being of the young cast. Their intentions were centered on creating a positive environment where the children could thrive and feel supported.
Nevertheless, the drive to produce a groundbreaking and outrageous show that would resonate with its audience sometimes resulted in lapses in judgment. The adults’ commitment to authenticity and humor occasionally led to decisions where caution was set aside in favor of pushing creative boundaries.
In retrospect, nearly all the questionable scenarios that unfolded during production likely would have been avoided had there been active parental supervision on set. The absence of parents meant that certain boundaries, especially those concerning the emotional and psychological safety of the child actors, were at risk of being crossed. Allowing parents or guardians to be present could have provided an additional layer of oversight and advocacy for the children, ensuring that their comfort and safety, not simply the final product, remained the top priority at all times.
As early as November of 1982 it was evident that You Can’t Do That on Television was rapidly growing in popularity. An indication of just how popular the show was in the US was the huge fan reaction to the Nickelodeon appearance at the Macy’s Thanksgiving Day Parade. Christine McGlade was part of a circus wagon float along with Fred Newman featuring George James and a few puppets from Pinwheel. The trio and the puppets sang “It’s Your Day,” with James, ever the performer, engaged throughout while McGlade and Newman join in sporadically but smile the entire time.
James and the Pinwheel puppets appeared in the parade the year before, but it was a first for McGlade who was unprepared for just how big the event was and how adored she and her show was by American audiences. Carol Hay said the way You Can’t Do That on Television opened each show with McGlade looking directly at the camera and speaking to the viewers was tantamount to her “inviting them to be her friend.” So, when crowds of kids rushed up to McGlade at the parade, it was because the connection they felt to both the show and cast was one of friendship. In short, the kids on You Can’t Do That on Television were just like them, and they loved it.
Nickelodeon had found its footing with You Can’t Do That on Television. The young network successfully tapped into not only what kids wanted to watch, but also what made them feel good and welcomed while watching. The show recognized that children crave a sense of belonging; they like to know they’re not alone, to have friends with whom to navigate the ups and downs of growing up.
Kids want to play, be loud, and get messy. They desire the freedom to be goofy and absurd without judgment. You Can’t Do That on Television captured these essential aspects of childhood, delivering 30-minute bursts that reflected the real experiences of being a kid — complete with both the joys and the challenges.
Nickelodeon’s fun, messy, and slime filled era was about to begin, and it was a small, local comedy program in Ottawa, Canada that opened the floodgates.
Stay tuned for chapter 9, coming next week!
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