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REVIEWS Perry Como, I., and Julius La Rosa. Como's new show is tailored to its casual star. The Perry Como Show Perry Como, heir-apparent to the Crosby mantle—and no doubt the mill¬ stone of work that goes with it—con¬ tinues on his slow and easygoing way, a solid lad with both feet planted firmly on the ground and his head safely removed from the clouds. If his new hour-long Saturday night show is no blockbuster, it nevertheless shows all the signs of latent staying power, a quality with which Como himself is liberally endowed. Como’s secret lies in his ability to reflect a feeling of great good humor in everything he does. His timing is that of a pitcher whose best pitch is a slow ball. “Some of the stations,” he grinned amiably, half way through his first show, “are raising their hands and asking for a break.” A slow chuckle like that lasts straight through the station-break commercial. The format here is variety, although with no acrobats or dog acts as yet. People like Frankie Laine, Rosemary Clooney, Julius La Rosa, Patti Page, Peter Lawford, Yvonne de Carlo, Gale Storm, Peggy Lee, Georgia Gibbs and Jean Carroll wander amiably in and out of the proceedings. Como handles the inevitable plugs with tongue-in- cheek good nature and the guests themselves fall into the contagious at¬ mosphere of carefully controlled in¬ formality. (Como and the NBC staff are too smart to let things fall apart in the name of casualness.) A decided plus on the show is off¬ stage announcer Frank Gallop, who takes the curse off an emcee’s intro¬ duction of a guest star and who fre¬ quently interjects a softly biting com¬ mentary. A man like that could even bring radio back. 18