Radio and television mirror (July-Dec 1951)

an outstanding achievement by the Freedoms Foundation when they awarded the program the Foundation's first honor medal ever accorded a television show. With the finale of the dramatic sketch, all major show elements are set. While the cast has a five-minute break for coffee and deep breathing, Ken huddles with associate producer Ben Brady, Sussan, and his magic stopwatch. They search for places to pare seconds to get this full-grown variety show into the sixty short minutes of TV time. Now a tighter repeat of changed spots, with Ken's waving cigar, still unlit, pointing out more compliments than criticisms. A favorite Murray routine starts the show, little one-line "cross-over" gags he exchanges with street corner characters at Hollywood and Vine. Between each punchline are blasts of Music in the Murray Manner, the brassy, raucous circus music he loves as show starters. Conductor Broekman grabs his earphones with a smile explaining they are "not to hear noise through, but to keep noise out." Secretly he agrees that the snappy musical flourishes are sure-fire curtain-raisers. Even in this last run-through, the show can be molded tremendously, and actually suggestions from any member of the show or staff receives careful consideration. The final rehearsal ends with a chord, and the harried hundred have an hour before reporting back for make-up. For Ken, who never eats a meal before a show, this hour means three glasses of warm milk while he relaxes in his dressing room. All the tension and pace of the afternoon have completely disappeared. The time for work and worry is past, the word now is for everyone to relax and enjoy the show they're doing. Ken leisurely .reviews his own lines, tells the bear trainer he hopes Rosie has better manners than the elephant which once sat on him during a vaudeville act. (In the years following that accident. Murray couldn't force himself to work with animals, but he has gradually disciplined himself against that phobia. Animals appeal to him particularly as show material.) "You gotta give that bear a hand," he muses. "And I would, except she'd probably rip off an arm too, then I wouldn't know what to give up, my cane or cigar." Royal Foster, Ken's inseparable writer-teammate for twenty-one years, adds a consoling thought, "One arm's plenty, Ken; just think, you could cut your manicure bills in half." "Get that bear in here," orders Ken. "Let's see what claws there are in the contract." He ducks as a Kleenex box came sailing. Ken's favorite rubber-soled shoes go on, he reaches into a handful of ties and comes out with a striped blue silk. Next a tweed suit, a comb through the crew cut with no apparent effect. A chuckle as the tame deer moves past the always-open door to its stage position. 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