Mary Turner worked on pioneering programmes from Thunderbirds to Joe 90. Here she explains the process \u2013 and shines a light on the shows’ legacies. <\/p>

Sixties series like Fireball XL5, Stingray, Thunderbirds and Captain Scarlet and the Mysterons were special then and are remarkable today. They were programmes of impeccable craft, brimming with technical ingenuity and packed with edge-of-seat thrills.<\/p>\n

Video, DVDs and streaming platforms like BritBox have kept the love going for these models-and-puppet shows from husband-and-wife team Gerry and Sylvia Anderson. There are now even popular weekly repeats of Thunderbirds on Talking Pictures TV.<\/p>\n<\/div>\n

As Scalextric launches its slot-car version of FAB-1, Lady Penelope\u2019s pink Rolls-Royce from Thunderbirds, Radio Times Magazine<\/strong> spoke to puppeteer Mary Turner, now 90, about bringing \u201cLady P\u201d and other classic characters to life.<\/p>\n

Mary\u2019s interest in the craft began after the war when her artist mother signed up for a puppetry class at the local polytechnic: \u201cAfter a term she came home with this little figure on strings, a marionette, and I was amazed at what it could do. I think I was caught up on it then.\u201d<\/p>\n

Mary studied sculpture at art college, and taught for two years. \u201cI saw on the television that this series had started called The Adventures of Twizzle. That was Gerry\u2019s first one [in 1957, with Arthur Provis; together they formed AP Films], and it was quite different from any other puppet series that had been on, more innovative and generally much better. And I thought, that\u2019s what I\u2019d like to do.\u201d<\/p>\n

Her friend and fellow member of the Puppet Guild Christine Glanville, who worked at AP Films, told Mary the company wanted puppeteers for a new show called Torchy the Battery Boy. Mary got the job, and she also began to sculpt the character heads, from the next project onwards (western series Four Feather Falls in 1960).\u00a0<\/span><\/p>

To begin with, the programmes were made in the ballroom of a house overlooking the Thames at Maidenhead, but as techniques were refined and the shows became bigger, the production company moved to new premises in nearby Slough.<\/p>\n

It was when Gerry married Sylvia and they made shows together that the public really paid attention, from Supercar and Fireball XL5 to Stingray and Thunderbirds, whose secret agent Lady Penelope and her cockney chauffeur Parker were an instant hit. And it was Mary who helped create the elegant Lady P.<\/p>\n

\u201cSylvia was the one interested in the characters and characterisations of the puppets, whereas Gerry was more to do with the special effects and technical side. She would describe what sort of character she wanted and then you would do your best to follow her direction.<\/p>\n

\u201cAt some point we\u2019d paint up the plasticine\u00a0head that we\u2019d modelled and put it on screen to see if there was anything that could be done to improve it.\u201d In other words, the puppets had a screen test just as live actors would!\u00a0<\/span><\/p>\n

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