Abigail: "I was naked"
Some heated 1970s press and publicity for the soap opera
It was late December 1971 and a prim and pert young blonde named Abigail was in a long queue at the North Sydney offices of TV Producers Cash Harmon. Out of work and desperate, the pretty, English-born young actress was at the casting session for a new series to be set in a block of flats.
"I was pretty nervous - which is unlike me - when I walked into Bill Harmon's office but he was such a dear man. He put me straight at ease. I read the part of Bev for him and he told me to report to the TEN studios at North Ryde for a screen test. I was over the moon. The next day he told me I was in." [i]
An overjoyed Abigail and her live-in boyfriend Mark Hashfield celebrated with a bottle of Bodega. After the series - Number 96 - hit the screens Abigail quickly emerged as Australia's hottest new star with her delicate blond beauty and teasing portrayal of the scantily-clad virginal sex-kitten.
Mark Hashfield himself would soon be cast in Number 96
as well, playing Alan Cotterell, boyfriend of Bev's flatmate Janie. A
comparatively nondescript character in the show, Alan had a triumphant
departure when it was finally discovered that he was in fact the
dreaded knicker snipper.
The knicker snipper was a serial panty snatcher in the serial. He had raided Bev's underwear drawer, and then hid under Georgina Carter's bed in order to reach out and snatch the freshly discarded panties the undressing hippie had just wriggled out of.
Mark and Abigail first met when they appeared opposite one another in the play There's A Girl in my Soup in Perth. Hashfield admits he initially judged his co-star as unintelligent, but later learned that she was actually a clever girl who was studying civil engineering, with the acting role just a part-time job to earn some extra pocket money. [ii]
On their meeting their initial reactions were of mutual dislike. While Hashfield thought Abigail was just a dumb blonde Abigail's view of him was even less complimentary.
"I thought him rude and I used to go home and complain. He might be a good actor, I thought, but he is such a horrible person." [iii]
Hashfield explained that soon after this is their views changed drastically.
"I was so amazed when I saw that she could act, and after we started working together we clicked. We had an immediate rapport. From the start there was this tremendous understanding, which is so rare in this business. Abbie has a wonderful flair for comedy and we could change lines and the other one would know instantly what was going on. It was extraordinary and very strange and wonderful." [iv]
As the play toured Queensland, the romance developed. [v]
In March 1973 TV Week magazine reported that Hashfield had recently become Abigail's business manager. Of her instant stardom through her Number 96 role Hashfield claimed that he takes it "all in his stride. I knew she always had the capabilities and that it was just a matter of time before they came out." [vi]
At the time Hashfield expressed the opinion that Abigail's Number 96 character Bev was "rather flat and dull" and that the role did not give her the full scope to display her acting capabilities. The TV Week article reported that Abigail agreed with this evaluation, but that she was quick to admit she was tremendously grateful for the recognition the show brought her. The report also revealed Hashfield's opinion that another thing he and Abigail have in common is a powerful temper, though according to Abigail "his is 10 times worse than mine." [vii]
Later in March 1973 TV Week reported that Abigail had been formally terminated by the makers of the show and would finish work on the serial on 20 April 1973. Due to the stockpile of pre-taped episodes her final appearance would go to air three weeks after that. [viii]
To cover the absence Bev was written out of the storyline by travelling abroad. Then, in episodes screened in Sydney the first week on June 1973, Bev, played by Abigail - was back on the show. However Abigail's return lasted just seven episodes.
On 4 June 1973 Channel Ten and the program's producers Cash Harmon issued a joint statement that Abigail had been fired:
"The contractual arrangements between Abigail and Cash Harmon Television Pty. Ltd. concerning her appearances as Bev Houghton in Number 96 are terminated as of today." [ix]
Mark Hashfield told The Age newspaper that he had received no written confirmation of the termination. "All I got was a phone call at five o'clock this afternoon from Bill Harmon, who told me that Abigail's services were no longer required." Hashfield at the time had no idea of the reasons for the firing and said he planned to place the matter in the hands of his solicitors. [x]
Abigail had the night before appeared on the rival Channel Nine program The Don Lane Show, but Hashfield said there was nothing in her contract forbidding appearances on other shows or other networks. The Age reported that Channel Ten would not say if Abigail's firing was related to the recent book she had written about her work on the series. Abigail herself would not comment on her sudden firing. [xi]
The following day The Age reported Abigail's side of the story. This report stated she had told producer Bill Harmon of her intention to resign on Monday, 4 June 1973, but then learned three hours later she had been fired. Abigail said her decision to leave was based on incidents on the set and "abuse by the management. The atmosphere around the studio has been very tense ever since I wrote my book," she explained. "…the story lines have been so dreary I was glad to get out. In the last week I was only in five scenes. The strange thing about the producers of Number 96 is that they do not understand the star system in entertainment, and out of this arose a lot of jealousy." [xii]
Harmon told the paper that Abigail's termination was due to breach of contract, not her Monday evening appearance on the Don Lane Show. "Her breach of contract was another matter which I cannot discuss," Harmon said. [xiii]
So Abigail departed again and the role of Bev was abruptly recast, with Victoria Raymond coming in as the new Bev. TV Week later summed-up Abigail's departure, reporting that she resigned and was sacked, in that order, after the latest disagreement with the show's producer Bill Harmon. [xiv]
Abigail expressed the opinion that the recasting of Bev was doomed to failure.
"They should have got rid of her altogether and replaced her with a different character. You can't just change actresses overnight and get away with it. Vicki doesn't sound like me and she doesn't look like me. Viewers are going to be confused when one night they see me as Bev and the next night Vicki appears as the same character. Besides that the viewers know the colour of my flesh but they don't know the colour of Vicki's." [xv]
Abigail also explained that she felt Bev's days might be numbered because, in the story, she returns from her six-week break with an American husband.
"Bill Harmon told me when Number 96 started that the day Bev got married was the day she would have to be written out of the show. When he rehired me after my recent sojourn I asked him if Bev's marriage meant that I'd soon be leaving again. He said 'No, you're no longer just a sex symbol you're an actress and you'll be able to carry the part.' That struck me as funny. I'd been trying to convince him of that ever since I'd started with the show." [xvi]
At the time Abigail expressed a desire to shake off the Bev Houghton image.
"Don't get me wrong, I'm not ashamed of what I've done but it's so easy to show off your body without showing your talent. From now on I'm going to go out and show off my talent. I'm going to convince everyone that I can act and that I'm not just a body." [xvii]
Meanwhile Abigail's replacement Victoria Raymond happily told TV Week.
"I've never had to worry about my bust line, so I don't mind competing with Abigail in that department. But as far as my portrayal of Bev Houghton is concerned, I hope viewers accept the change in actresses without making other comparisons. I don't want to feel like a ghost walking in Abigail's shoes because I'm certainly not trying to be like Abigail." [xviii]
After leaving the serial Abigail explained the trajectory of her character.
"Incredible as it may seem, Bev Houghton never had a ... sorry, took a lover ... in 96. She got into some incredible scrapes, but when she left the series she was virgo intacta. I received heaps of letters condemning me for being a wicked woman, yet I displayed nothing more than a brief glimpse of my boobs or a flash of my naked backside in the two-and-a-half [sic] years I was with the show." [xix]
Abigail's 1973 autobiography continued this playful, sexy, tone in describing Abigail's activities. Titled Call Me Abigail the book had already been published at the time of Abigail's firing from the show, and it sold 15,000 copies in two weeks. Setting the tone for the literary triumph was the text's opening line: "I was naked."
As well as detailing the intimate aspects of her personal life, the book also featured authentic poetry by Abigail, along with a pictorial centre-spread of snap-shots variously captioned "stripping for Number 96", "stripped for Number 96", "who left the door open?", and the squeaky clean "rub-a-dub-dub". [xx]
Soon after the book's release Abigail explained her literary ambitions for TV Week.
"Call Me Abigail is already a best seller and I hope to start on my second book soon. I'm going to take more time with the next one, which will be a critical look at the TV and entertainment industry in Australia. The third one is going to be about women's lib. I've got very strong views on it - I hate it. And the fourth one will be a book of poems." [xxi]
When I was a child I used to see
Poem reproduced in [xxii].
Call Me Candy
Before Call Me Abigail even appeared there had been intense speculation that Abigail would be highly critical of Number 96 and her former co-stars in the series. Actor Candy Raymond, who had been added to the series as the new sex symbol during Abigail's final weeks on the show and had performed many nude scenes for the series, quickly produced her own spoof, entitled Call Me Candy. [xxiii]
Intended as perhaps a single piece for newspaper publication, Raymond explained that her article was a fun way to "put the picture straight." Raymond said it was not written through bitchiness, although she felt that Abigail was doing a disservice to show business by writing the book. [xxiv]
The style of Raymond's piece satirised the through-the-keyhole approach of Call Me Abigail. According to TV Week the general manager of TEN10 where Number 96 was produced had read Call Me Candy and approved it for publication. Candy Raymond explained her motivation for writing the article was to provide some balance:
"I don't think Abigail's book should be taken seriously and I have written this spoof to give balance. I don't think the acting game is a glamorous, sexy world and I have attempted to bring things back to earth. A lot of people in Number 96 were concerned about what Abby wrote, but I think it should be laughed at. Among the cast members I am probably the best one to do it. What I have written makes light of her book and the cast has certainly got a giggle out of it. It hasn't been done maliciously. I really think it is a pity Abby has written this book. In recent years people have begun viewing sex in a new straightforward light and to write about it as she has is, I think, a step backward. It is disservice. Once a person finds fame, as everyone in Number 96 has, I think he or she has a great responsibility. They have got to use it honestly and with integrity." [xxv]
Raymond explained her spoof followed Abigail's storyline and sometimes used her highly descriptive adjectives - but with a twist. "When she talks fancifully about her nude scenes and her affairs I have made mine appear mundane." Raymond also parodied Abigail's vivid descriptions of performing nude scenes for Number 96:
"There's nothing greatly exciting about doing a nude scene under the stark lights of a television studio and certainly the production people don't show any reaction to them. Abby talks of 'eyes gazing lewdly in the dark' at her when she did nude scenes. The fact is the lighting technicians and sound people in a studio are too busy doing their own jobs to worry about anything like that. They're blasť about it. Saying something like that is embarrassing to the whole crew. People will think they are some sort of perverted voyeurs when in fact all they are doing is their jobs." [xxvi]
Raymond also revealed her thoughts on Abigail's motives behind the book:
"She is going to make a fortune - and good luck to her. I don't know if she really believes what she has written. A lot of it is probably theatricality, I don't know. I do know that if I had my name on something like that I would be highly embarrassed. I just think of all those Abby fans, those impressionable 15-year-old girls, who are reading what she has written. What sort of lives are they going to mold for themselves. Little girls the world over have real lives to live. I would hope they would take pride in living them as real women. And I hate to think of little boys growing up and thinking they have to buy Dom Perignon champagne. I'd like to stress I am not being bitchy in what I have written. It's an incredibly good business move for Abby to have written this book, but I just think it should be put in perspective." [xxvii]
Number 96 Co-Stars Respond
In the event when Call Me Abigail was published it was found that, despite speculation to the contrary, it contained little criticism of Number 96. However, the day after being dropped from the serial for the final time Abigail spoke out against the show, claiming that the conditions under which actors and technicians worked were appalling, the salaries the actors received abominable. Dressing rooms were "filthy" she claimed, and schedules so tight actors were often pulling on clothes as they rushed to the set to record a scene. She also alleged there were rarely proper closed sets for the taping of nude scenes and that executives treated actors with little respect. "I am glad it is all over," she said. [xxviii]
After the comments appeared the actors had a series of staff meetings about the allegations made by their departed colleague, branding them unfair and grossly exaggerated. They all said they did not want to make any personal criticism of Abigail and refused to answer questions about her. They did, however, refute the criticism she made about working conditions on the show. Cast members Bunney Brooke, Joe Hasham and Jeff Kevin, all spoke of the generally friendly atmosphere on the set. [xxix]
Bunney Brooke said she thought it was marvellous to work on the production that had no star system. She felt that, though specifics weren't widely discussed, cast members seemed happy with their salaries. "I do know that everybody is happy with what they are getting," Brooke said. The criticism of the state of the dressing rooms was labelled ridiculous, and Brooke explained that the Number 96 dressing rooms were equal to the best in Australia, and spotlessly clean. There were other productions Brooke had worked on, she explained, where the conditions in this respect were far inferior. The large, shared "quick change" rooms beside the Number 96 set were also described as being "entirely adequate." [xxx]
Joe Hasham admitted the criticisms had been hurtful to all who worked on Number 96, and he expressed the opinion that the conditions working on the series were the best provided by any television station in Australia. There were four reading rooms allowing actors to study their scripts. Makeup facilities were adequate with three make-up experts available, and there were three wardrobe mistresses and a hairdresser assigned to the show. Morning tea was brought on to the set, and meal breaks were strictly adhered to. Hasham explained that naturally there was some pressure connected to working on such a busy production. "But if you cannot take that pressure you simply should not be in the business," he said. [xxxi]
Hasham also rejected Abigail's allegation that sets were not closed for nude and semi-nude scenes.
"The producers are most particular about this. The only people on the set are the actors taking part in that particular scene and the crew." [xxxii]
Jeff Kevin reiterated the general tone of these comments reporting that conditions were "far and away" the best he had worked under. "They are ten times better than those I have seen at any other station." Kevin admitted that there was occasionally some friction on the set, but that this rarely developed into any "hassle." [xxxiii]
All three stars also commended the attitudes of the executives of the TEN10 station where the series was made, and of production company Cash Harmon. Bunney Brooke said that they made time to discuss any problems or concerns of the cast, no matter how trivial. Joe Hasham said the executive staff went to extraordinary lengths to ensure the smooth running of the production and were always prepared to listen to - and usually act upon - the suggestions made by cast members. Hasham described the recent occurrence where he felt a particular word in his script was wrong for the situation. "We sat down and talked about it for 20 minutes. They saw my point of view and we changed it to another word." Jeff Kevin summed up the co-operative nature of the production. "In this show everyone pulls together - cast, crew, producers, executives - because we want to do the best possible job." [xxxiv]
Call Me, Please
Some months later cast members (and real-life couple [xxxv]) Bunney Brooke and Pat McDonald put a comic spin on the entire episode. They explained to TV Week that they were penning a sizzling exposť about Dorrie and Flo, the characters they play on the serial - but that it was all "just for fun". Titled Call Me, Please, the planned book was clearly intended as a parody of Abigail's controversial tome. When asked for her opinion on Abigail's effort, Pat McDonald was reluctant to answer. "Do I have to answer that? It's such a lovely afternoon I don't want to spoil it." [xxxvi]
McDonald explained their book was planned as just a "giggle at ourselves really. It's just a mad, mad spoof. A lot of fun." McDonald said it would be illustrated by mock-up "sexy" photographs of the two. "The photos are a riot. Sort of wrinkly sex symbols. There is one of us reclining on a bed wearing nothing but bed socks. And another coming out of the shower with toothpaste all over my face. The last thing in the world I want is to take myself seriously. And I hope nobody will take this book seriously either, although you can never tell." TV Week reported that Channel Ten executives and producer Bill Harmon had given their approval to Brooke and McDonald to write the book - despite all the controversy that Abigail's effort had generated. [xxxvii]
Unfortunately both Call Me Candy and Call Me, Please seem to have been lost to history. Call Me Abigail resurfaces on eBay every now and again, generating seriously high prices. [xxxviii]
After her sudden departure from Number 96 in June 1973 Abigail enjoyed fame and notoriety, and had a top-ten hit song with her sexy recording of Je T'Aime while seeking other acting jobs. In a television interview Abigail revealed her approach to her dramatic performances. "I just feel sensual about things. I feel sensitive and sensual. I think, if you feel that you can project... sex". Casting directors clearly felt the same way and Abigail found herself typecast as a sex kitten in several sex comedy films. The serious acting jobs the actor sought seemed out of reach. [xxxix]
Her reputation for lateness and on-set tantrums during her run in Number 96 certainly would not have helped, and Hashfield himself admitted that "one of Abigail's greatest problems is that she has no sense of time, I have to be behind her all the time." However Hashfield insisted that though she had in fact been late to makeup a couple of times, Abigail always made it to the set by the time taping was due to begin, "she never held up the floor," he said. Hashfield admitted she could be temperamental. "She can be a bit difficult at times. She tends to jump in immediately when her pride is hurt. But on the stage she is a real professional. She lets nothing interfere with her work." [xl]
Too bad most of that work seemed to focus on only her sexy image. Abigail played a sexy pre-credits cameo in 1973 sex comedy hit Alvin Purple, and returned in its 1974 sequel, Alvin Rides Again. In this second film she played a fag smoking, northern English tart in charge of the road side diner where Alvin calls in for a cup of tea. Her brief scene calls for her to literally bust out of her poorly constructed apparel, and to then engage in sexual intercourse with Alvin as a stream of Jaffas cascade onto their bodies. Kinky.
Also in 1974 Abigail could be seen unpeeling her costume twice nightly in the burlesque comedy The Legend of San Peel. The sleazy reputation of the play's venue, The Barrel Theatre which was a well-known strip palace in Sydney's King's Cross, made it an odd place to arrange a sometimes nude acting job for one's girlfriend. Hashfield admitted that "the money is excellent. And there was nothing else really good to put her into at the time. Anyway it's better than her sitting around on her bottom." [xli]
Hashfield explained some of his management tasks for TV Week.
"I'm the driving force behind Abigail. Laziness is her worst characteristic. She's still undisciplined. So I've got to be behind her all the time pushing. Perhaps at times I'm even too tough on her. I push her to the limits. But then I've never seen a true star survive yet,without complete dedication." [xlii]
The next few years would see further film appearances for Abigail, but the nature of her roles would not improve significantly. Abigail made her first full frontally nude film appearance in sex comedy The True Story of Eskimo Nell (1975). In the big budget 1976 comedy feature Eliza Fraser, Abigail provides another brief cameo, appearing in a bedroom scene where the sheet is whipped off the bed to reveal the star's famed breasts. This, her single scene in the film, features just a handful of lines and is played as the opening credits are flashed over the top.
She then appeared in the Phil Avalon surfer-flick Summer City (1977), in which she tackled the challenging role of "Woman in Pub". In a dramatic departure, Abigail remained fully clothed throughout her brief scene in this film - albeit in a very low-cut asset-revealing yellow dress. Her character was intended as a rough sort who has led a very hard life, so they put her in an unflattering black wig and did a very hard make-up job on her. [xliii]
Further forays into a commercial singing career saw the unleashing of new single Biting My Nails - which flopped. Abigail also sent up her status as soap star by appearing in a recurring sketch in comedy series The Norman Gunston Show in 1976. Called The Checkout Chicks, the ongoing sketch was a parody of melodramatic soap operas and set in a supermarket, with a regular cast mostly populated by former Number 96 actors - Vivienne Garrett, Candy Raymond, Philippa Baker, Judy Lynne and Anne Louise Lambert. [xliv] The only Checkout Chicks regular never to have appeared in Number 96 was Sonia Hoffman, who had come close by being a regular cast member of The Unisexers. Judy Lynne had appeared only briefly in Number 96, and is chiefly remembered for her long running role in The Young Doctors. Abigail went on to make the occasional appearance as a panelist on the popular game show Blankety Blanks, hosted by Graham Kennedy.
Abigail seems to have had more success in the genre in which she first found fame - television soap operas. Though her roles in Class of '75 and The Young Doctors were hardly long-running dramatic triumphs but rather guest roles designed to capitalise on her sexy image, they were at least meatier than her quick-flash-of-breast movie bit-parts in dismal sex comedies. In Number 96 her character Bev was a sexy, scantily clad virgin afraid of sex, and with these subsequent roles there was again a twist to the character she played. In Class of '75 she spent much of her time disguised as a prim and plain senior mistress. In The Young Doctors she was a smartly dressed super efficient secretary with a rather brusque demeanour.
In her first The Young Doctors stint her character Hilary Templeton worked for a celebrity patient of the Albert Memorial Hospital. In her second stint Hilary now organised the finances and business activities of pop music promoter Milt Baxter, who managed singer Georgie Saint (Mark Hembrow) who was in for treatment at the hospital. Milt was played by Abigail's real-life boyfriend and manager Mark Hashfield.
In 1977 Abigail described to TV Week her return to The Young Doctors for the second short stint.
"Quite apart from the fact that it is giving me and others like me regular work at a time when so many actors are out of work, it is a well-produced series and a lot of fun to do, and it is obvious that television audiences are loving the show judging from the ratings it is getting all round the country. Both Mark and I are happy to be doing it and are thoroughly enjoying the work - but it is only for a short time and then I'm going back to the theatre where an actor really learns the craft. After all, there's really not that much television production locally and one has to work in the theatre or not at all quite often." [xlv]
TV Week reported that after her second stint with The Young Doctors, Abigail would act on the stage in Wild Oats, and would continue singing on a casual basis with Sydney rock band Squeeze. Of this last mentioned engagement Abigail explained that "that has been a lot of fun to do. Obviously I don't really consider myself a singer but people like to see me perform on stage so-why not?" The article also reports that Abigail planned to travel to Hollywood in late 1977 to try and pursue a career there. [xlvi]
History shows that these plans for Hollywood stardom came to nothing, and Abigail would soon enter into another quiet period. In May 1982 she described to TV Week her post Number 96 activities.
"Number 96 was incredibly suffocating, and that's why I was glad to get out. When I finished I went to France and completed two feature films and did some work here with the Australian Broadcasting Corporation. I felt that was at least some recognition of the fact that I am actually a serious and very good actress." [xlvii]
By that time Abigail had spent almost a year acting in the stage farce A Bedfull of Foreigners, and had just finished the Brisbane season of the play. [xlviii] Abigail went on to tour New South Wales and Queensland with A Bedfull of Foreigners in 1983. [xlix]
Between engagements Abigail travelled to her banana plantation in Tully, Queensland. Though originally purchased as an alternate source of income, the plantation soon became her place "to get away from it all." Abigail explained that:
"When I'm not working, I keep well away from publicity and I find myself going more and more to the property at Tully. I have an overseer who handles a few acres of bananas that grow there, but when I'm there, I'll often go out into the fields and work with the rest of the staff." [l]
After several years out of the television limelight she made yet another big return to Australian TV, and in the mid-1980s she enjoyed perhaps her greatest role, that of Caroline Morrell in Sons and Daughters.
Though that melodramatic soap saga was arguably past its peak by the time of Caroline's arrival in early 1985, the character remains one of the show's greatest assets during its final few years. Abigail stayed with the series until it was cancelled in 1987.
Later television appearances include a role in series Elly & Jools and a regular role in short lived serial Family and Friends, playing a character described as "mutton dressed as lamb". Finally Abigail would again be called upon to spice-up waning soaps with a hint of sex, and in Chances she would appear as a television sex therapist named Bambi Chute.
Originally uploaded February 2001
Last updated 9 February 2013
[i] Cockington, James. Mondo Bizarro - Australia in the Seventies. Mandarin, 1994.
[ii] "Abigail and her Man!" TV Week. 15 June 1974, page 8.
[iii] Fawcett, Tony. "My Secret Love Life." TV Week. 3 March 1973, page 8.
[iv] Fawcett, Tony. "My Secret Love Life." TV Week. 3 March 1973, page 8.
[v] Fawcett, Tony. "My Secret Love Life." TV Week. 3 March 1973, page 8.
[vi] Fawcett, Tony. "My Secret Love Life." TV Week. 3 March 1973, page 8.
[vii] Fawcett, Tony. "My Secret Love Life." TV Week. 3 March 1973, page 8.
[viii] "Search for the new Abigail." TV Week. 24 March 1973, page 13.
[ix] "Abigail of No. 96 is sacked." The Age. 5 June 1973, page 2.
[x] "Abigail of No. 96 is sacked." The Age. 5 June 1973, page 2.
[xi] "Abigail of No. 96 is sacked." The Age. 5 June 1973, page 2.
[xii] "I was not fired, Abigail claims." The Age. 6 June 1973, page 3.
[xiii] "I was not fired, Abigail claims." The Age. 6 June 1973, page 3.
[xiv] Hellaby, David. "Abigail - Career at the Crossroads!" TV Week. 30 June 1973, page 8.
[xv] Hellaby, David. "Abigail - Career at the Crossroads!" TV Week. 30 June 1973, page 8.
[xvi] Hellaby, David. "Abigail - Career at the Crossroads!" TV Week. 30 June 1973, page 8.
[xvii] Hellaby, David. "Abigail - Career at the Crossroads!" TV Week. 30 June 1973, page 8.
[xviii] "Viewers Won't Accept a New Bev, Says Abigail." TV Week. 16 June 1973, page 12.
[xix] Cockington, James. Mondo Bizarro - Australia in the Seventies. Mandarin, 1994.
[xx] Cockington, James. Mondo Bizarro - Australia in the Seventies. Mandarin, 1994.
[xxi] Hellaby, David. "Abigail - Career at the Crossroads!" TV Week. 30 June 1973, page 8.
[xxii] Cockington, James. Mondo Bizarro - Australia in the Seventies. Mandarin, 1994.
[xxiii] "Candy Takes a Swipe at Abigail." TV Week. 26 May 1973, page 13.
[xxiv] "Candy Takes a Swipe at Abigail." TV Week. 26 May 1973, page 13.
[xxv] "Candy Takes a Swipe at Abigail." TV Week. 26 May 1973, page 13.
[xxvi] "Candy Takes a Swipe at Abigail." TV Week. 26 May 1973, page 13.
[xxvii] "Candy Takes a Swipe at Abigail." TV Week. 26 May 1973, page 13.
[xxviii] "Viewers Won't Accept a New Bev, Says Abigail." TV Week. 16 June 1973, page 12.
[xxix] "96 Gang Hits Back at Abigail!" TV Week. 30 June 1973.
[xxx] "96 Gang Hits Back at Abigail!" TV Week. 30 June 1973.
[xxxi] "96 Gang Hits Back at Abigail!" TV Week. 30 June 1973.
[xxxii] "96 Gang Hits Back at Abigail!" TV Week. 30 June 1973.
[xxxiii] "96 Gang Hits Back at Abigail!" TV Week. 30 June 1973.
[xxxiv] "96 Gang Hits Back at Abigail!" TV Week. 30 June 1973.
[xxxv] Mercado, Andrew. Super Aussie Soaps. Pluto Press Australia: North Melbourne, 2004, page 46.
[xxxvi] "Dorrie and Flo Write a Sizzler!" TV Week. 22 September 1973, page 5.
[xxxvii] "Dorrie and Flo Write a Sizzler!" TV Week. 22 September 1973, page 5.
[xxxviii] McLean, Ian. "'I was naked...'" Have Phasor, Will Travel. [Blog]11 September 2006. URL: http://therinofandor.blogspot.com/2006/09/i-was-naked.html. Accessed 16 March 2009.
[xxxix] Atterton, Margot. (Ed.) The Illustrated Encyclopaedia of Australian Showbiz, Sunshine Books, 1984, page 11
[xl] "Abigail and her Man!" TV Week. 15 June 1974, page 8.
[xli] "Abigail and her Man!" TV Week. 15 June 1974, page 8.
[xlii] "Abigail and her Man!" TV Week. 15 June 1974, page 8.
[xliii] Cockington, James. Mondo Bizarro - Australia in the Seventies. Mandarin, 1994.
[xliv] Mercado, Andrew. Super Aussie Soaps. Pluto Press Australia: North Melbourne, 2004, page 394.
[xlv] "Abigail's Last Farewell." TV Week. 4 June 1977. page 20.
[xlvi] "Abigail's Last Farewell." TV Week. 4 June 1977. page 20.
[xlvii] "Abigail's Gone Bananas." TV Week. 22 May 1982, page 29.
[xlviii] "Abigail's Gone Bananas." TV Week. 22 May 1982, page 29.
[xlix] Atterton, Margot. (Ed.) The Illustrated Encyclopaedia of Australian Showbiz, Sunshine Books, 1984, page 11
[l] "Abigail's Gone Bananas." TV Week. 22 May 1982, page 29.