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T V, if it boasts of nothing else, can be proud of the fine drama it sometimes presents. One of the more recent entries in the hour-long series is bi-weekly U.S. Steel Hour (ABC) which is one of the best. After a mas¬ terful premiere, the show has main¬ tained the standard it set for itself. Reasons for Success Steel Hour had two outstanding factors in its favor from the start. It is produced by the Theater Guild, one of the most notable production firms on Broadway, which brought a wealth of experience in legitimate drama. And the show is directed by Alex Segal, who won a reputation as one of TV’s most sensitive and adept directors several years ago on the old Celanese Theater and Pulitzer Prize Playhouse. Not to be discounted either is the sponsor’s ample budget. All these plus-factors merged to make the initial show, “POW,” a near-perfect TV drama. It was a semi-documentary story of the prob¬ lems faced by GI’s returned from Korean prison camps. Richard Kiley and Gary Merrill paced a fine cast. The show emerged so good that the Defense Department is using kine¬ scope copies to train personnel who actually work with war prisoners. Change of Pace Since the premiere, Segal and the Guild have varied the fare. Best example of this is Man in Possession, a show starring Rex Harrison and Lilli Palmer. The original play, a hit in the early 1930’s, emerged as a pleasant tour de force but, like many British drawingroom comedies, of little substance. Oddly, the Guild has U. S. Steel Hour Lilli Palmer and Rex Harrison: TV fun. not dug into its reservoir of former Broadway plays. Full credit should be given to the production and technical crews, par¬ ticularly to James McNaughton, the art director, and Albert Heschong, designer. Their sets are masterpieces. 20