Broadcasting Telecasting (Oct-Dec 1955)

CAPITAL TYPES #13 THE QUADRUPLICATE? Childhood ambition was to join the Rockettes: got mixed up with the Four Hawaiians instead. Fond of roundelays, notably Three Blind Mice and Row, Row. Row. Holds girls' junior high school record for the sixty-yard low hurdles. Weeds garden while tuned to Cool jazz; keeps carbon copies of notes to the milkman. But advertisers in Washington using WTOP Radio are getting unduplicated results. WTOP has (1) the largest average share of audience (2) the most quarter-hour wins (3) Washington's mos t popular local personalities and (4) ten times the power of any other radio station in the Washington area. WTOP RADIO Represented by CBS Radio Spot Sales Page 14 • October 24, 195S IN REVIEW WIDE WIDE WORLD ANOTHER KALEIDOSCOPIC view of America was presented the viewing public last week as Wide Wide World made its second tv appearance. Sometimes tender, sometimes "corny," and sometimes hampered by climatic and technical difficulties the show was a moving combination of Thanksgiving Day, New Year's Day and an annual vacation all rolled into one. Under the masterful guidance of m.c. "90Minute Garroway" it was a rather entertaining program. As usual, however, the network couldn't resist the opportunity to plug a couple of its shows— in this case "Alice in Wonderland" and Monitor. The public is looking forward to another Wide Wide World glimpse, perhaps not with bated breath, but certainly with a high degree of interest. Production costs: $100,000 Sponsored by General Motors and GM divisions (United Motors, AC Spark Plug and Guide Lamp) through Campbell-Ewald and D. P. Brothers agencies on NBC-TV, Sun., 4-5:30 p.m. EDT, Oct. 16. Executive producer: Barry Wood; producer: Herbert Sussan: narrator: Dave Garroway; director: Dick Schneider; writer: Saul Levitt; unit manager: Stuart MacGregory; music director: David Proekman; scenic designer: • Reuben Ter-Aratunian. LIFE IS WORTH LIVING ALTHOUGH Bishop Fulton J. Sheen's Life Is Worth Living changed networks (Dumont to ABC-TV), nothing else in the program has changed. The Oct. 13 premiere measured up to the program's previously high standards and probably will receive the same good ratings. The elegantly arrayed bishop in the familiar religious setting discussed the question: "Has Russia Really Changed?" for his assembly of confirmed Sheenites. As before, the bishop displayed his talent for utilizing subtle humor in presenting his uninterrupted talk. Production costs: Approximately $25,000 Sponsored by Admiral Corp. through Russell M. Seeds Co. on ABC-TV, Thurs., 8-8:30 p.m. EDT. Cast: His Excellency Bishop Fulton J. Sheen Producer: Fred Heider; director: Eddy Nugent. CYRANO DE BERGERAC IT is a measure of television's dramatic maturity that last week's "Cyrano de Bergerac" can be considered from a more sophisticated critical viewpoint than has heretofore been the case with tv drama. NBC wisely gave craftsmen their heads in this romance of bygone years. In Jose Ferrer and Burr Smidt it has welded a combination that was above par last Monday night. Ferrer was, as has become expected of him, consumate in the role of the monstrous looking Cyrano. He portrayed with matchless skill the love of the misshapen swordsman for the beautiful Roxane. He played the part in the grand manner, but gave it an astringency that made more potent the passion he was carrying. Undoubtedly, Walter Hampden's years in this role will come to mind. Well, Hampden played his Cyrano for the 1920s and 30s; Ferrer for the 1950s. Different times, different conceptions. In Mr. Smidt, NBC has a find. The settings for each of the scenes of this version of Beauty and the Beast were notable in conveying with a minimum of clutter the mood of each scene. Not only was the sparsity of props evident , (and welcome), but the use of lighting to engender mood added to the impression of an old master's painting. Here was an experience to which tv viewers have not been exposed in I any degree. It was fine theatre staging. Claire Bloom, the English actress, was properly the incomparably lovely Roxane. Lurking beneath the more or less empty words and actions of Rostand's heroine, we thought we' detected some sparkle of greater talents. In many other facets, NBC-TV's Cyranc was exceptional. There was a sense of timelessness, if that word can be used, in this pro-eduction. The actors did not seem to be hurry ing along to beat that clock. In fact, the final scene where Cyrano's love for Roxane is dis closed, was as unhurried a piece of dramatic: as has been seen on tv. In certain scenes, the camera angles were touched with art (Cyrano's x profile in the garden, Cyrano's face in counter point to Roxane's beauty). As a period piece the color values in the costumes and setting: were excellent. "i )i Production Costs: Approximately $160,000. Sponsored by Ford Motor Co. through Kenyof & Eckhardt and RCA Victor through Kenyor ,: & Eckhardt (this only agency for RCA fo this show) on NBC-TV, Mon., 8-9:30 p.nv\EDT. Produced and staged by: Jose Ferrer; super f vised by: Donald Davis and Dorothy Math f ews; directed for tv by: Kirk Browning^ assoc. supervisor: Andrew McCullough; au thor: Edmond Rostand; translated from th French by: Brian Hooker; tv adaptation^* Joseph Schrank; settings: Burr Smidt; at director: Richard Day; costumes: Guy Ken music direction and composition: Georg Bassman; make-up: Richard Smith; unit mat ager: Perry Cross; assoc. director: Dea; Whitmore; production stage manager: Georg Lawrence; technical director: Jack Coffei lighting: Jack Fitzpatrick; audio: Fred Chri; tie. GRAND OLE OPRY THEY DON'T call it hillbilly anymore; now days it's "country music." Tv viewers can get a full hour of top-note, rural entertainment on ABC-TV in the coi version of Grand Ole Opry from strictly rad: (and some film) to live tv, too. The first network tv rendition of the shoi (Oct. 15) was keen on production — there w;, lots of singing, geetar strummin' and hayset humor, enough to keep an audience intereste entertained and foot-tapping. The fans of "skwar" dancin' and yodelingand contrary to popular conception they doi all live in Kentucky or Tennessee; many urbanite or cosmopolite bestirs to the callin' now have the opportunity of not only hearii their idols but also seeing them in the fle (and a good many of the belles cut mite pret figures on the screen). Costuming, setting and camera work were i to the best in present day television standan Guest stars Les Paul and Mary Ford we poignantly twangy. The old familiar "Tie Rag" was only thinly disguised by the Pai Ford combination — and catchy enough to eve many an Ozark's fond recollection of days i the Princeton campus. As country music's showpiece, Grand C Opry is an excelled choice. It should prove effective ambassador in the living rooms of t sophisticated, as well as downright solid enl< tainment for the blue jean folk. Production costs: Approximately $10,000. Sponsored by Ralston-Purina (Chows Di Broadcasting • Telecastii*