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Mama (Peggy Wood)
Papa (Judson Laire)
We have a lot of fun there." And he pulls on his pipe contentedly, just as Papa does on camera when he is pleased with the world and his family.
It's a fact that everyone connected with the program seems pleased. Carol Irwin, who acquired the rights to enlarge on the original characters in Kathryn Forbes' book Mama's Bank Account is dehghted with the scripts turned out by writer Frank Gabrielson. So is producer-director Ralph Nelson. So is Kathryn Forbes herself, who thinks Mr. Gabrielson has kept completely to the spirit of her characters. And all the players are pleased, too.
Mama made her TV debut last July 1, and only a few words have been cut out of any script in all these weeks. Actors are handed their scripts on Friday, come back on Tuesday with lines learned, knowing that they won't have to unlearn them again. "Outside of playing the classics, in which a line cannot be changed, this has never happened to me before in the theater," Peggy Wood marvels. Mr. Gabrielson, it seems, has an uncanny sense of timing.
Miss Wood, hereafter called Mama because all the people in this play are addressed on the set by their character names, was sitting in the old-fashioned greenpapered parlor between scenes, crocheting a pink and white coverlet for * a new baby. Next to her is the upright piano, and visible through the open door are the delicately scrolled cupboards, the bright-colored plates displayed on the plate rail, and the big dining table
where the Hansens gather for their television meals. And beyond that, is the stove where the coffee bubbles merrily in the big coffee pot.
Mama wears a costume copied from one in an old Delineator in the files of the Public Library. It is striped vertically in bright blue, and between the narrow stripes are little moss rosebuds with tiny green leaves. The neck is cut high, the waist narrow, the skirt long and full, and a bow ties it together at the back.
Mama's softly waving hair is worn high on her head, protected during rehearsals by a tightly wound veil. She goes on with her crocheting and tells you what fvm it is to play the same character on a weekly television program, how much more satisfying it is than doing the same things and saying the same lines at every performance.
"When you play a role on the stage you have to study the words and actions of that character in the circumstances of that particular play, and you also have to decide what she would say and do in any other set of circumstances. Only in that way can you express in the round what the author has given you in, let's say, linear dimensions. But no actress can show how much she knows about the character she is playing until she has an opportunity Uke this, to play all its facets as the weeks go by."
So thoroughly has Peggy Wood become Mama that she's apt to slip into Mama's accent (carefully coached by the Norwegian Information {Continued on page 85)
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