James Kemsley - Early TV and Acting Career

Early TV and Acting Career

Kemsley attended the Independent School of Dramatic Art, North Sydney (1968-71) as well as a National Institute of Dramatic Art Playwright Forum in 1973 and a RADA Professional Workshop in London in 1979.

Kemsley's background was in acting and television. In the late 1960s and early 1970s, Kemsley was known to children's television audiences as "Skeeter the Paperboy", an on-screen cap-wearing persona (who once said his full name was Amos Skeeter - a play on "a mosquito") that he portrayed as a cast member of The Super Flying Fun Show, and then as host of Skeeter's Cartoon Corner in Sydney and Melbourne, both on the Nine Network.

The daily afternoon program offered a mix of US-based cartoons (such as Wacky Races, Scooby Doo and The Archies), with viewer competitions. One of his tag lines on the telephone with viewer contestants who were unsuccessful was "golly gosh". When Kemsley left in 1973, Daryl Somers took over the time slot.

In 1973 Kemsley compered a variety program on the Nine Network titled Junior Cabaret. He also appeared in the ABC TV mini-series The Cousin From Fiji and Seven Little Australians.

Kemsley studied acting at the Independent Theatre of Dramatic Art from 1969 - 1972 under Doris Fitton and attended the Playwright Forum at the National Institute of Dramatic Art (NIDA) in 1973 under the directorship of David Whittaker. He went on to write three successful children's plays, "The Land Of Coloured Dreams", "Once Upon A Time... And All That" and "The Magical Adventures of Puck".

Kemersley left Channel Nine and then studied in England at the Royal Academy of Dramatic Arts (RADA) in 1979.

Read more about this topic:  James Kemsley

Famous quotes containing the words early, acting and/or career:

    We are living now, not in the delicious intoxication induced by the early successes of science, but in a rather grisly morning-after, when it has become apparent that what triumphant science has done hitherto is to improve the means for achieving unimproved or actually deteriorated ends.
    Aldous Huxley (1894–1963)

    When committees gather, each member is necessarily an actor, uncontrollably acting out the part of himself, reading the lines that identify him, asserting his identity.... We are designed, coded, it seems, to place the highest priority on being individuals, and we must do this first, at whatever cost, even if it means disability for the group.
    Lewis Thomas (b. 1913)

    I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a woman’s career for her to be able to go out on a limb without having her credentials questioned.
    Ruth Behar (b. 1956)