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unparalleled, satisfying both the curi¬ ous and the lovers of good theater. Sarah Churchill, who last year played Ophelia to Evans’ widely hailed TV “Hamlet,” is sure that “people un¬ derrate the TV public.” To her, “this is one of the exciting things about it. You don’t play down—or up. Just straight, and people love you for it.” Months after “Richard’s” TV debut (Jan. 24th) people are still showering love and thanks upon Sarah, Evans, Hallmark and NBC at the rate of 60 to 70 letters a day. One earnest young fan wrote in exalted terms about Sarah’s performance, ending with the tribute, “You’re so great, you’re good enough to play Evangeline.” Sarah would rather do more Shake¬ speare. “He gives you more theater for your money—his plays are more integrated than ordinary ones and they come off more intimately on TV than on the stage.” But the chances of the Bard’s work becoming a TV regular are slight. The play which brought Evans stardom on Broadway in 1937 had not been presented pre¬ viously for 60 years in this country. “Dramatically,” Sarah explains, “ ‘Richard’ is harder to do than ‘Ham¬ let.’ The story line is not as clearly defined. As a result, viewers are less familiar with the play.” Technically, the play presented immense scaling problems. Richard’s castle loomed on the screen, castle-sized, with steep em¬ bankments 40 feet high; the gate had to be built wide enough to allow horse-riding warriors to pass through three abreast; the sets took almost 3500 man-hours to build and paint. To Arduous work: from rehearsal to production (right), 'Hamlet' was a vast undertaking. 18