Variety (March 1950)

fejnewby, March 22* 1950 BALTIMORE CLASSROOM— 1950 producers: Mrs* Eletnora B* Kane, Joel Chaseman Director: Dennis Kane 30 Mins*; Fri., 7-7:30 p.m. . Sustaining WAAM< Baltimore Here's a public service £how with an evesdropping slant that figures td keep viewers * by their sets; ^Classroom” takes average classes from Balfo school system, moves kids, teachers, and equipment to huge WAAM studio and a replica of their original room. Pupils run through average lesson with surprising disregard for lights, cameras, fand so forth. Result is informal schoolroom lesson seen by TV audience. Show has value to educators as public relations, and station reports teachers' and PTA groups discussing each show and teacher , methods. Board of' Education arid yVAAMer Joel Chaseman cooperated since September in tours of every grade level in all parts of city. All ages and types of lessons to be shown on 13-week series. ; ... Show Caught, Negro school No, 132 shown in fourth grade arithmetic lesson. Kids' working in groups were covered by well-used closeups as they ran through exercises. Mistakes Were made by the young Einsteins, and there was even usual classroom giggling and byplay. Director Kane had hands full, with action all over room, but teacher’s route seemed to be logical from group to group. Content and camerawork add up to a valuable show for all concerned. Station reports that prospective teachers and pupils are taken for tour of facilities during week before show, so they won't be over-. Whelmed by strangeness of surroundings. Effort is also made to dress them as usual in school. Flannel shirts and one-piece dresses predominate, Only “professional" scripting Is evidenced at beginning and end. when station announcer reads explanation of show oyer moving title. Message tells viewers to expect a real lesson, and reminds . them show is done live from studio With Board of Education backing. TElUVmON REVIEWS SI jtt t ffi MM » Q M ♦♦MM » ♦♦♦♦ OFF THE RECORD With Ed McMahon. Skin Allen BO Mins.; Sat., 10:30 p.m. Sustaining WCAU-TV. Phila. "Off the Record," one of the shows used to expand WCAU-TV’s late evening coverage shapes up as good entertainment for Saturday night, especially for the dating crowd. Show is combination disker and quizzer, with plenty platter time to permit stepping for the youngsters who have the rugs 'bp. . . Dancers in studio, on whom the camera focuses periodically, also suggest the home terping. Skip Allen, who lias an acquaintance with recordings and a jazz background, is the platter spinner, while McMahon roves about the studip a s k i n g questions of bptli dancers ahd spectators. For the home audience, there a re specia l questions w h i c li are run off on tape against background of the spinning disk. Name brand prizes are available both for the studio audience and the home viewers. On original show, "Off the Record" asked for telephone callers to answer tape queries and response tied up all midtown exchanges. On program caught (IT) boys used device of telephoning listeners, while tape reiterated warnings against calling station switchboard. Type query employed: "What star of a Berlin musical is identified with this number?" while recording plays "My Darling, My Darling." Wrist Watches, Wallets, perfume, Toni home kits, etc. are distri buted for correct* replies. Guests appeair for interview shots. Among those on program caught were Don Cornell, currently at Latin, Casino, and Cathy Allen, now singing at Big Bill’s. Both singers did Larry Parks’ routine, faking vocals on their hit numbers: Cornell’s "It 'isn't* -Fair.” with Sammy Kaye’s orch, ;and Miss Allen’s waking with Louis Prim a of “Love That Man,”. ; Program is adding gimmicks such as bringing on a couple from Arthur, Murray studios to dance and explain the intricacies of the Momba. : Studio dancers are asked to suggest title for song, and then each individual is asked to add a j line as Allen improvises tune until whole spng is written. Contributors of each line are given prizes for, help. McMahon has an informal style and is quick on the trigger. * Allen }s not quite as much at ease* but Js a great help at the pianistics and the interviews of musical personalities, Boys have song and piano . intro, which they could easily do J without. Gagh. Rex Harnson (Who made his video debut on "NBC’s Saturday Night Revue’’) had his teevee dramatic bow oh NBC-TV’s "Chevron Jet Tele-Theatre" Monday (20). Tho vehicle was a charming com-' e^I'u The Walking Stick,” in which Harrison played a stuttering, milquetoastish assistant bank manager who inherited a stylish cane. Enchanted by the vision of the stick’s pVoqd previous owners, Harrison was transformed into a self-asserting man, changing his baggy suit for a smart outfit and dropping his shy bearing for a swaggering manner; An appealing sub-plpt had him beset by a Wiley femme fronting for a bank ropber, but possession of the cane impelled . him to foil the thieves and : win: the managership— and with it the hand of the girl who had loved him silently all along. Conception : of , the . drama was that of a broadly played fantasy, with Harrison changing almost instantaneously from the obsequious clerk to a dapper dandy;? Narration was by the cane itself and the inanimate Object was endowed with near miraculous p 6 w e r s— tripping the boss and Harrison when they became too cocky and becoming the weapon for thwarting the robbery. Supporting cast in the comedy /included Dennis Hoey, Una O’Connor, Elizabeth Eustis arid Eileen Peel; Duplicating: its coverage job of last year, WPIX; N Y , turned the St; Patrick’s Day (17) parade into a four-and-a-half-hour video spectacle for the benefit of the few New Yorkers who Weren’t at the line of march. Not doing much beyond training the cameras on the columns of paraders that passed the reviewing stand at Fifth avenue and 64th street, , the program managed to capture all of the massiveness and lots of the color of this annual turnout of the sons of Erin. It more than satisfied normal Iloye-a:parade sentiments. Like last year, the best feature of this elongated airer was the sparkling commentary of Jack McCarthy. McCarthy, a natural spieler in the best Irish tradition of eloquence and humor, furnished a burred background of inventive gab to sustain the basically monotonous screen, material, considering the limitations of black-and-white cameras. The greatest section of this program was carried solely on the strength of McCarthy’s enthusiasm and flow of fresh descriptive phrases. Occasional variety Was also furnished by interviews with marchers of all ages conducted in firstrate style by Joe Bolton and John Crosson. Equipped with walkietalkies, the two reporters collared both celebs and ordinary Hibernians for brief chats while proceeding in formation. During the gaps in the parade * top political figures, such as Mayor William F. O’Dwyer ahd Lt. Gov. Joseph R. Hanley, made their usual ceremonial speeches. Only difference between WPIX’s coveragefthis year arid last was the occasional insert Of a filmed plug for R&H beer which bankrolled ; this year’s broadcast. contribution is showing considerable gains. Sobol, with his show biz background, knows how to show acts to advantage. The session achieved sock pacing arid the cameras got -most out of the performers. The permanent company which includes Carter, Donald Richards and Benny Baker worked with tneir usual proficiency, in both individual spots and in sketches. Probably of greatest interest was the spot by Smith and Dale, the vet comedy team, who performed a shipboard sketch which had as high a .laughcontent as their "Dr. KrOrikhite" bit. Duo really mopped up On laugh returns. Other guests included Copsey and Ayres, who impressed handily With East Indian and modem terps. Frances Langford also hit it handily, while Rex Ramer registered with his impressions of musical instruments. The N. Y. portion of the stanza was tops, Sid Caesar continuing to gain in stature with this show. He’s a performer with authority who shows up excelleritly in both his individual bits and sketches. His resume: on fight pictured was terrific arid he got in a yocker with the old Niagara Falls bit done with Imogene Coca.. He was also up to par oil the photographer bit and a dissertation; on ski instruction* It’s a herculean Task lining up this amount of good material weekly. Melvyri Douglas emceed the .proceedings solidly and took part in the show with a satire on "Importance of Being Earnest.” Regulars Marguerite Piazza hit with the Musetta Waltz from "La Boh'eme" arid Robert Merrill scored with "Song of the Flea.” The Hamilton Trio, Nelle Fisher and Jerry Ross and the Billy Williams Trio did well in their respective spots. Max Liebman’s production was on its Usual high plane. . Arthur Schwartz’s "Inside U S. A. with Chevrolet" bowed off CBSTV Thursday night (I6V, after/ a run of 13 stanzas, with a half-hour revue that was on a par with the better shows in the series; While CheVvy dropped the show because its top-heavy budget failed to pay off with the desired ratings, the finale e y i d e nee d anew that Schwartz has learned ’the knack of adapting the legit-type revue to video’s facilities. Regulars Peter Lind Hayes and Mary Healy carried most of the show, with guest Joan Blondell doing a fair Mae West impersonation in an overlong western barroom skit. Hayes was standout in the "Rip Van Winkle Room” sketch done by Jack Haley in the original Broadway "U.S^A.” and Miss Healy, with the ballet arid chorus backing her, did a neat job on "Greenup Time." Dancer Sheilah Bond suffered from the lack of closeups on her terp number biit still managed to please as a widow being courted by three suitors. Entire cast appeared slightly woebegone in that final commercial, s i ri c e Hayes . was. forced to omit his usual "see you in two weeks on this same station.” It was a good show while it lasted. film, were interesting, particularly that charade plug worked out by Miss Francis with the character dressed as the sponsor’s brand identification. Last Friday’s installment of Du Mont’s "Hands of Murder,” the Larry Menkin Charles Speerscripted mysterioso series, was an inventive bit of TV legerdemain called "The Hiroshima Ghost;” Actually, it resolved -itself into a very effective arid sincere plea for peace without in any way undermining the dramatic and suspense elements,-; A cleverly-contrived plot using a. radiated Japanese ghost (victim of Hiroshima) as the story's pro-, tagonist permitted espousal of an idea without detriment to the dramatic content;' Production and direction were smooth and the acting on an equal par. "Texaco Star Theatre” last Week achieved a terrific pace with Geofgie Price at the emcee spot; Price was the : second of two emcees subbing for Milton Berle; while he played a Miami Beach Cafe engagement. Hank Ladd* did the first installment. Price had the good sense to let the show stand on the strength of the acts and sketches gathered for this display. His intrusions, into the proceedings were as minor as possible. His main function was to give the acts a hearty sendoff and work in the sketches alloted to him. Price functioned in this capacity with a high degree of excellence. The collection of talent was gen. erally good and . was distinguished by the tele bPW of what appears to be one of the best jugglers around. Bela Krerno, a recent import; did five minutes of manipulations, with, hats and cigar-boxes. He showed adeptness at both, forming some unusual patterns. _ Another good spot was taken by Jack Gilford, who recreated the "I Feel Like a New Man" sketch from the defunct musical revue, "Alive and Kicking.” The bit Scored solidly. Also from that revue, Bobby Van did a Ray Bolgeresque dance turn for good effect; Lew Parker did two pieces of business that registered nicely and June Havoc’s singing and comedy tune with Price came off nicely. Act lineup was completed by Adriana and Charley on the tra m pol ine WAITING FOR THE BREAK With Hank Ladd, emcee; Joan Kilbr)^ Rudy Tome, Gizella Svetlik, Lorenzo Fuller, Cynthia Risley* Stan Rose, Penguin Trio Producer-Director: Herb Moss Writers: Coleman Jacoby, Arnie Rosen 30 Mins*, Sat., 7:30 p.m. Sustaining * WNBT, N. Y. "Waiting for the Break” is a variation on the talent finding theme* The idea behind this one is sound arid it. could eventually build into a pleasant half-hour of variety entertainment. The idea is to project to "front and center stage” the, understudies, the supers and the bit players in the .Broadway musicals and plays who otherwise are relegated to virtual Obscurity, waiting for that one big break that might or might not come. Obviously, the program wiil rise or fall on the talent that is show^ cased. Initial stanza last Saturday brought on the "also ranB;” from the "Kiss Me, Kate” musical, including Joan Kilbrig, understudy for Li$a Kirk (Who inevitably went into the "True : to You in My Fashion”); Rudy Tome, a personable hoofer who understudies Harold. Lang and who, accompanied by Gizella Svetlik, did an acceptable vocal duet and interpretive terp around something called "Paint and Powder You, Pipe and Slippers Me." Latter is an original by one of "Kate’s” . lowercase sepia performers, Lorenzo Fuller, who also was projected for the TV break, Cynthia Risley, the show’s ballerina, teamed with . Stan . Rose for another vocal dance twosome and the Tmlf-hour closed with still imore /dancing in the novelty idiom by three more "Kate" aspirants calling themselves the Penguin Trio. In and out of ail this moves Hank Ladd as eriicee who, unfortunately, brought little else than a backstage . scratch sheet prop to the proceedings w h e r e som e . needed drollery might have provided spontaneity to the stanza. The overaccent on dancing, the need for comedy which eluded Ladd, and the overall slowness . of pace all contributed toward the conclusion that the program laclu a spark. The idea remains good; perhaps the aspirants in the other bigleague Broadway shows will merit the TV buildup. But the emcee sppt is basic, and needs attention. Rose. "The Plan’s the Thing” (exActor’s Studio), the Friday night CBS ’ series that alternates with "Ford Television Theatre," came lip with a delightful bit of Ben Hecht zanyism last week in the adaptation of his ‘‘Pink Hussar." Production-wise, it offered a quotient of entertainment and supers lative dramatics that put TV on an equal footing with any dramatic fare. It was notably in the ability of David Pressman as director and an excellent array of actors to j capture the Hechtiart comicalities of this piece of nonsense that made "Hussar" one of the TV delights of the season. The casting of Joseph Byloff as the; Budapest impresariprin-exiie was nothing short of insight This CBS lend-leased World Video package, incideritally, continues as one of TV’s highlights in the realm of dramatics, betraying a .wider scope in its choice of material and qualitative production values than most of the play acting stanzas; NBC’s Saturday night parlriy, "Your Show of Shows" on the March 18 session more thari maintained the standard set by previous displays. Every succeeding install-? merit, so far, has improved in some respects, with the major hypo coming out of Chicago, where early shows evidenced weaknesses. However, With Eddie Sobol coming i from the Coast to iron out some ! production kinks. Jack Carter’s 1 ABC-TV’s "Blind Date" Set off on a hew commercial cycle Thursday night (16) Under the sponsorship of Esquire Boot Polish but, in so doing, lost much of the sparkle that featured it as a sustain er. Commercials themselves did not si ow down the pace but the show, in an obvious attempt to present something new. emerged almost as a, variety program. Sacrificed, as a result, was most of that bright telephonic banter between the young boys an;d gals on which tlie show made its nameeven though some of the lines previously tossed back and forth seemed pre-rehearsed: Producer Bernard Schubert is to be commended, for trying to inject a new. note into the program but perhaps a h^ppy medium between the two formats would result in a better show. '/• Arlene Francis continues as the f emcee. demonstrating again last week her welcome Vivacity, gUbness arid dextrous touch in bolstering the lagging parts; Because of the emphasis on "acts." last week’s show presented only two girls for whom two teams of boys competed, instead of three as heretofore. Male contestants were drawn from the Columbia Univ. and Yale student-bodies'. One of them, a nephew of N. Y.’s Mayor O’Dwyer, soloed with the Columbia glee club instead of telephoning, and ariother, from Texas; yodeled a cowboy tune. Also on hand was "Francis," so-called talking mule from Universal^ film of the same title, Commercials, both live and FRIENDSHIP RANCH With Olivia Santoro, Cricket "ho did okay in the opening spot; I Produce/ Allc<?CI«nent« Price’s finale, based on a eollec Dl?“to/*Marifvn Gusten tion Of Gus Edwards’ tunes, came * 1 -M>r* •arUyn 0l,sten off well; A crop of talented riiopr pets assisted for this blowoff . 15 Mins.; Thtirs., 6 p.m, Burry biscuit co. WBNT, N. Y. (Clements Co. ) “Friendship Ranch," preemed on WNBT, N. Y.. Thursday (16), has a format which calls, for a “children’s variety show With a western atmosphere." Presum w h i c h "Phllco Television Playhouse” on NBC-TV Sunday (19) presented an interesting courtroom drama, "The Trial of Steven Kent;" based on the crux^ ofP^hP Vflrnh€Jac 1 ; ably OliVio Santoro, a guitar-play t riir yodeler; Cricket Skilling, a tyro iinu? J oc’ 1I)Slde i cowboy, and several smallfry in ; flintier garb all fit into the rewho, sincC’ early 'Childhood, hated j oiiireH oat egnrv ■ lo i Participants, for the most part; >^? C°!?C ^ ! confine themselves to giving out . Adal)tatlon by ; Avith copious wahoos!, plus tossing ,^lrr}stead (who als? Pjayed off a couple of hossopera ditties beof the jurors) opened with, the j tw’ixt ample plugs for Burry’s Biscourt m session, then moved to the i cuits. Inaugural show' was a sliproom and flashed back to , shod, disorganized affair with the highspots in the trial as the forej musical aspect particularly hapman won one after another of the hazard panel to vote "guilty.” However; what this show appears to need when at the end the score was 11-1 most of all is some kind of cori^,or .conviction, the foreman’s vin tin uity which Would provide it a dictiveness. was exposed and Kent reason for "Friendship Ranch," , was acquitted. . along with a script that would Fred Coes production involved build interest from moppet viewa large ^ast. to fill the jury box, ; ers. It’S not enough to say "boys judge s bench, lawyers tables, Wit and girls^— here we are at ‘Friendnes$es, etc., and it was a generally ship Ranch’ with Olivio and apt group of thespers. Particularly Cricket!’’, tlien pad ouf. the time effective was John Newland, as de witli songs and blurbs. Gilb. fense attorney, while Richard . . Sanders; as the d a,,. in a couple of FIVE BOROUGHS QUIZ spots gave tentative readings of his With Vivian Farrar; Ben Grauer, lines. Richard Frasier was con Grover Whalen, guests vincing as the accused and Alfrccla Producer: Hal Schaffel Wallace had one solidly played Director: Peggy Gannon scene as the defendant s sweet 30 Mins.: Wed * 7:30 p.m. heart under crossrcxamination. Sustaining \ Reed 'Brown, Jr,, was fair in the WpiX, New York hart ot the biased foreman and this quizzer is of purely local was handicapped by an overuse of interest, pitting boys and ■ girls the inner-thought device, which re from New York's live boroughs quired him to do a lot of smirking against each other in a geographyw;hile ;his revengeful ideas were history-civics bee. To give the aired on tape. Delbert Mann’s di queries a visual slant, youngsters rection fully solved several prob had to identify scenes from models lenrs involving flashbacks and han borrowed from museums and to dling of; group scenes in \Vhich a identify some historic hats. Youngdozen oi -'more characters; were slers were bright and showed good present. knowledge of their city, although — as might be expected they were not / Morey Amsterdam's "Silver too familiar with some subjects Swan Cafe" on DuMont last , (such as celebs of a generation Thursday (16> was an undistin1 agoi; guished comedy offering. ; Material ' Vivian Farrar made a pleasant was weak and lacked freshness at : f emcee. Ben Grauer; who was By thougtl midway in the . .stanza Amf her side for most of the broad (Continued on,, page 3i)< } , ^Continued, pit page \^)