In a fascinating exploration of television production challenges, this article delves into the historical and technical aspects of filming sitcoms, particularly focusing on the notorious "one side of the table" phenomenon. This issue, where actors are seated only on one side of a table to accommodate camera angles, has been a long-standing problem in multi-camera studio productions. The discussion centers around classic British sitcoms like Are You Being Served? and Fawlty Towers, examining how directors and producers have tackled this visual quirk over the years. By exploring various solutions and their implications, this piece sheds light on the creative and technical ingenuity behind some of television's most beloved shows.

The challenge of filming scenes with actors seated around a table has been a persistent issue in multi-camera sitcoms since the early days of television. In particular, the need to place cameras in front of the action often results in characters being arranged in a way that looks unnatural or awkward to viewers. John Cleese, during his commentary on Fawlty Towers, highlighted this problem, noting that the constraints of multi-camera setups often forced actors to stand in lines rather than interact naturally. However, this issue wasn't unique to Fawlty Towers; it was a common concern across many studio-shot sitcoms of the era, including Are You Being Served?.

One of the most notable examples of this dilemma can be seen in the canteen scenes of Are You Being Served?. For much of its run, the show's cast would sit on only one side of the table, leaving the other side empty to allow for unobstructed camera shots. This arrangement, while practical from a technical standpoint, often struck viewers as odd or unrealistic. Over time, directors and producers began to experiment with ways to address this issue, seeking more naturalistic solutions without compromising the live audience experience.

Harold Snoad, in his 1988 BBC training manual Directing Situation Comedy, offered several innovative techniques to overcome the limitations of multi-camera setups. One solution involved using "camera traps"—hidden openings in walls or furniture that allowed cameras to capture shots from unconventional angles without being visible to other cameras. These traps could be disguised as doors, windows, or even picture frames, providing flexibility in shot composition. While these methods required meticulous planning, they demonstrated that there were indeed ways to create more dynamic and visually appealing scenes within the constraints of a multi-camera environment.

Despite these advancements, the decision to implement such techniques was not always straightforward. Snoad warned that introducing a fourth wall or using high-angle shots could disrupt the audience's line of sight, potentially diminishing the energy and immediacy of live performances. This was especially true for shows like Are You Being Served?, where the studio audience played a crucial role in shaping the comedic timing and reactions. Ultimately, the choice to prioritize audience engagement over visual realism often prevailed, leading to continued use of the "one side of the table" setup in many episodes.

However, by the later seasons of Are You Being Served?, the production team began to experiment with new approaches. In the penultimate episode, "Friends and Neighbours," director Martin Shardlow pre-recorded a canteen scene that allowed the cast to sit around the entire table, showcasing all four walls of the set. This innovative approach not only addressed the long-standing visual issue but also provided a fresh perspective for both the cast and the audience. Although this change came late in the series' run, it demonstrated the ongoing evolution of sitcom production techniques and the willingness to adapt to new challenges.

The "one side of the table" phenomenon serves as a reminder of the intricate balance between technical constraints and creative vision in television production. While early sitcoms often relied on practical solutions to accommodate multi-camera setups, the industry has continually sought ways to enhance the viewing experience. Through experimentation and innovation, directors and producers have found methods to create more natural and engaging scenes, ensuring that the magic of live comedy remains intact. As technology continues to advance, the future of sitcom production promises even greater possibilities for overcoming traditional limitations.