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MacRoe Wasn't Satisfied With 'Comedy Hour' Format Comedy Hour emcee—a singer, dancer and foil for guests—^but who was al¬ ready popular enough to buck Ed Sullivan’s huge arid loyal following. It is no particular tribute to the democracy prevailing at high levels in TV that a former NBC page was picked for the job. Gordon MacRae, sent in to “stop Sullivan” during the first quarter of the “big game” in November, was already a triple-threat man before he got into TV camera range. The star of 13 film musicals, plus an eagerly awaited picture called “Oklahoma!” (not yet released), he was also a successful recording artist. And for six long years, week in and week out, he had beguiled millions of listeners as the baritone on radio’s popular “Railroad Hour.” Cautiously signed for “four to 20” Young talent: MacRae and fam- ► ily. Three older children made a guest appearance with him. On the move: Comedy Hour pro¬ vided a change of scenery for MacRae, including Miami telecast. appearances during the season, Mac¬ Rae did well enough, at any rate, to go to bat 13 times before the arrival of summer. Few would contend that Comedy Hour flourished, but most agree he did well under the circum¬ stances. NBC executives obviously ad¬ mit circumstances were not favorable because the Colgate program, radi¬ cally altered, is being launched anew with Dean Martin and Jerry Lewis in the producer’s chair. Whatever the program’s ultimate fate, MacRae will be eternally grateful to it for abolishing a widespread illusion that he is six years older than tenor John Charles Thomas’ 63. The impres¬ sion that he is the vice president of a railroad, who just happens to sing, dates back to the blind days.of radio and the 60 minutes of respectable op¬ eretta in which he was featured every week. “Don’t get me wrong,” he says. “The railroad people were swell to