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REVIEWS ‘The Play’s The Thing’ Report On The Season’s Drama Drama—^particularly the hour-long and “i^)ectacular” variety— is consist¬ ently one of TV’s more successful undertakings. There are clinkers. But there are world-beaters, too. How has TV accomplished this? Not only by adapting plays, movies, stories, books, but also by nurturing its own writers of TV “originals.” This is not to minimize acting tal¬ ent, TV has given birth to outstand¬ ing stars—Grace Kelly, Eva Marie Saint, Rod Steiger—and created a corps of dependable players. 'Yellow Jock' starred Dennis O'Keefe, But the play is still the thing. The best dramatic series, in this review¬ er’s opinion, is thus the Sunday night TV Playhouse, which offers original dramas, mainly by Paddy Chayefsky, Robert Alan Aurthur, David Shaw, Horton Foote, N. Rid^d Nash and other members of its own stable of writers. Proof of excellence is the sale of Chayefsky’s “Marty” to the movies, and the Broadway production of Foote’s “Trip to Bountiful” and Nash’s “The Rainmaker.” Drama-loving viewers are tom on Monday ni^ts between the over¬ lapping Robert Montgomery Presents and Studio One. Montgomery has un¬ dertaken some ambitious ventures, like the two-part “Great Expecta¬ tions” and “The Himchback of Notre Dame.” More often, though, the plays are wishy-washy. Studio One, on the other hand, has done some fine work this year. Examples: “Twelve Angry Men,” “Incident at Carson’s Comers,” “It Might Happen Tomorrow.” UJS. Steel Hour boasts Alex Segal, one of the medium’s best directors. Its shows are usually top-drawer, but occasionally there’s a second-rate script even a Segal can’t help. Elgin Evans and Anderson in 'Macbeth.'