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renrath is a youthful Chicago pro¬ ducer responsible for both Ding Dong School and Zoo Parade. In both in¬ stances the idea for the show came first, then the search for a personality. Werrenrath clicked with Dr. Frances Horwich for Ding Dong School and Marlin Perkins for Zoo Parade. Werrenrath says these five top quality kid shows couldn’t have hap¬ pened anywhere but in Chicago. “The city is unique. There is an atmos¬ phere in which these shows can grow. Again it’s an intangible — a spirit of ‘let’s try it’.” Phil Patton, producer of Super Circus, learned showmanship beating the drums in Orrin Tucker’s band. He figures the kids rule the TV sets in homes, so Super Circus aims for the kids. fundamental desires — hunger, well being, says Herbert. He deals in de¬ sire to learn. Awhile back, Burr Tillstrom won practically every award possible with his Kukla, Fran and Ollie. Then last year his show was cut to one half- hour a week. Last summer he went Don Herbert's Wizard stresses learning. “I joke about how commercial we are,” Patton says, “but I do think we have proved that a show can be as commercial as you can get without for one minute compromising high standards of good taste.” The formula behind Mr. Wizard is Don Herbert’s belief in the funda¬ mental desire of children to learn. Sponsors think in terms of satisfying to Europe. He came back this fall, and couldn’t get a sponsor. Here is told, for the first time, how close Burr Tillstrom came to leaving television. “I hated to face the show when we had no sponsor,” Tillstrom related. “I was irritated, and even bored. I knew full well that unless you’re sponsored or Toscanini, you’re not on the air. “I got mad. I got out the kine¬ scopes of every show of last year. I found flaws, bad flaws. I saw that I was doing once a week the same kind of show I had been doing five nights a week. Of the 44 shows, only 10 stood alone as good entertainment. “I went to work in a hurry. Our show was changed. We open with a gay bright song. We use lots of gim¬ micks and props. By my standards, it is commercial. But I am trying to do it without losing the spontaneity that old Kukla, Fran and Ollie fans seem to love. I think it’s working. It’s very exciting, and it’s fun. And as soon as I made the change, we got a sponsor.” Five different stories for five dif¬ ferent shows. Are they commercial? They have to be, or they wouldn’t stay in business. But the Chicago school thinks you can be commercial and constructive at the same time. —Jack Mahley Dolores & Ollie: new idea, new sponsor.