Radio-TV mirror (July-Dec 1954)

Record Details:

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(Continued from page 31) Al is the janitor of the Motion Picture Center where we film I Love Lucy — and I am referred to in the contract as "Miss Jones'' because my born name was Vivian Roberta Jones. Somehow, if your name is Jones, you never think of keeping it. Now, I often wish I had. But, when I was starting in the theater, something fancier seemed indicated. While I was still in school, my dramatic teacher, Vance Randolph— also a well-known writer of folk tales of the Ozarks — said "Why not use my first name for your last?" I used it, and have been using it ever since. The album was presented to me at the Christmas party in Desi's office. All the Desilu production staff were there. And they made me sit down in a spotlight and read the whole thing through! Then Lucy read the "contract" through. You realize how much time it takes to compile a thing like that? Why, Lucy called my aunts and uncles and cousins in Kansas (I first opened my blue eyes in Cherryvale, Kansas) and talked, at length, to each and every one of them. A lot of time . . . three to four months she'd been working on it, as I later learned ... and you know how much time Lucy has, what with the script, the show, the ranch in Chatsworth, her two children, her mother, Desi's mother, people walking in with swatches of linoleum and lengths of chintz for the new house they've just finished building in Palm Springs. The only complaint I've ever heard Lucy make is: "Isn't it dreadful — no time any more." She hasn't the time, she sighs, to cook — and Lucy loves to cook— hasn't the time to have the people she loves around her, day and night, as she'd like to do. Here's Why I Love Lucy I had a sample of what is everyday routine for Lucy, when I was on the Milton Berle show in New York last winter. First time in years I'd been out in public, so to speak. Don't think I had had any idea of what it was going to be like. Talking about myself — interviews and all — you know, I got so tired of it, I couldn't stand me! Or Ethel Mertz. I can't stand Ethel Mertz any more, I'd think, folding up. I don't care what she likes or what she thinks or anything about her! On my last day in New York, I had an interview at ten o'clock in the morning and another at one o'clock, following which I packed my bags, checked out of the hotel and sat in Grand Central Terminal for four hours — until, at five p.m., the 20th Century took off. In order to avoid being picked up for "loitering," I sat first in the Ladies Room, then at a lunch counter, then in the waiting room on the lower level, from there to the waiting room on the upper level. I was never so happy in my life! .Lucy got a big charge out of this story. Especially the part about my arrival in Chicago, on the way East, seeing all the photographers and reporters at the train, assuming they were there to meet me, putting on the mink, preening and sailing forth — to be asked, "Are you Carol Ann Beery?" These things happen to Lucy and me all the time. When Lucy tells a story, though, she acts out the parts — cats, dogs, minks. I guess that's when I get the biggest laugh — when Lucy is telling a personal experience with herself as the patsy. We get as many laughs off-camera, I'd say, as we give on — most of them off and on, thanks to Lucy! One day, doing a scene in which I looked real aprony and frowsy, I said, "I got to look pretty on the Berle show." The next morning, I was having the hair done when Lucy passed by, stuck her head in, told the operator "Don't make her look too good there, girl — we don't want to have to replace her!" You don't ever have to wonder what Lucy really thinks, which is one of the good feelings I have about working with her. She says what she likes and doesn't like, what she wants and doesn't want, and you know right off — she doesn't stand there pouting. If she wants to do a bit of business alone, she says: "Want to play this by myself." At another time: "I want Vance in this scene. Want to see her face when I read this line." She's honest. Like the time, four years ago, when I read for the part of Ethel — the first reading. I was scared to death. Being scared, I fortified myself by getting all dressed up in all the best clothes I had. As I sat in Desi's office awaiting the execution, this — creature walked in. Old sweater. Old pair of blue jeans. A thing tied around her head. She gave me the once-over. "Well,'' she said, "you're certainly dressed up!" Last time she ever saw me dressed up. Lucy's generous, too, as well as honest. You don't ever see her changing a script in her favor. 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