Variety (August 15, 1951)

TKI FVISIOX RBV1BWS SI Wednesday, Aagut 15, 1951 press gallery With Iain Fasdtall, moderator; Harold Marti a, Ralph MoGftU. (destine Sibley, Jack Tarrer Producer: Elm n KlUa 30 Mina.; Wcdneeday. 4:34 p.m. ATLANTA CONSTITUTION WSB-TV, Atlanta •Press Gallery" is Atlanta’s counterpart of NBC-TV’s "Meet the Press" and on the basis of the No. 1 presentation a very good imitation thereof. More than ordinary interest was aroused in kickoff stanza due to the fact that Harold H. Martin, home town boy Who has made good with a splash in the writing busi- ness. was the fellow answering the questions posed by panelists. Martin. Atlanta Constitution columnist and recently named as- sociate editor of The Saturday Evening Post, is just back from the Korean battlefront where he spent months gathering material for Post articles as well as his Constitution columns. Quizzing him were Constitution's nationally known editor, Ralph Mc- Gill. another Const! columnist Jack Tarver, and Celestine Sibley, Con- stitution staffer. Martin's intimate knowledge of * hat’s going on in Korea and his opinions about success of truce talks (he’s optimistic) made the task easy for quizzees. They didn’t have to do much questioning to keep Martin carrying the bali. Martin was in Korea when hos- tilities broke out in June a year ago. Except for a brief vacation Jast year, when he returned to do some writing, he has spent all his tune in Japan and Korea, so he knows the score about the Korean situation. His camera manners are splendid and he has a good speaking voice. "Press Gallery" was given good production by Elmo Ellis and murals showing pictures of Atlanta constitution plant provided the newspaper motif for program. Bill Britton did the announcing. This is a seven-week program, which* will be alternated between Constitution and Atlanta Journal sponsorship. Both newspapers are owned by Atlanta Newspapers, Inc., w hich also .owns WSB-TV. AM Sc FM. so if there’s any revenue In- volved it all goes into one pot in which all will share. This week’s "Press Gallery” ses- sion Wednesday (15) will have Atlanta's Mayor William B. Harts- field answering the questions. The panel will be headed by Journal Editor Wright Bryan. Thelnitialer went off smoothly, with moderator Paschall, WBS’s news editor keeping the show moving. Camera work was ex- cellent. ARTHUR MURRAY SHOW With Donn Bennett Producer: Bennett I)irector: Bob Kriser ARTHUR MURRAY STUDIOS €• Mins.; Sun., 11 p.m. WPTZ. Philadelphia Although television takes no strides forward in the new hour- long local "Arthur Murray Show." which debuted Sunday (12) eve- ning. stgnza has potential pull through its contest gimmick. Group of six tyro terpers, recruited from industrial plants, compete in vari- ous forms of ballroom dancing, with free lessons at the sponsor’s studios as prizes. Since the indus- trial outfits are big, it’s fair to as- sume show starts off with sizable viewing nucleus. Age is apparently no bar. On opening show caught a 60-year-old gent did the mambo with an in- structress. It was disclosed he was bronze-medalist irom the dance studio. There’s no attempt at instruction in program, and caliber of much of the professional stepping doesn’t appear beyond at- tainment. Dancers use records and at- tempts are made entertainment- wise to dress up the disking. The boys and girls imitate the vocals and fake the gestures for each number. A cartoon is drawn to dress up playing "Syncopated Clock," which was pretty bad. Show suffers from same complaint as much of local TV—low budget. With plain backdrop and ^meager props, production attenipta un- fortunately must stand comparison with network shows having the same format, and noticeably supe- rior camera work. Contestants were limited to waltz - and foxtrot, while profes- sionals cut in with tango. Charles- ton and specialities, but much of it was mediocre. Commercials by ponn Bennett stress popularity to. be gained by learning "magic •tep but no diadosure Is made to the viewers, beyond a diagram flashed on quickly. Bennett who has his own packaging outfit, la the producer of "Stars in Your Eyes" and the kiddies quiz -Wit’s End," which comes on earlier Sunday. A little of Bennett’s style with the taopnots hangs on as he Utks to the dance rant set sat ■. and perhape warrantable ™'."«KgSt PATRICIA BOWMAN SHOW With Patricia Bewmai. Neman Paris Trie, Pastels (4); Panl Shelley, pianist; Maureen Can- sen, guest Director: Byron Paul Writer: Harold F1& 15 Mins.; Sat.. 4:45 us. BURKART MANUFACTURING CBS-TV, from New Yerk ( Winius-Brandon ) "Patricia Bowman Show," fea- turing the ballerina who has had a long career at the Roxy and Radio City Music Hall. N. Y., St. Louis . Municipal Opera, etc., { proved a disappointment on its nitialer Saturday (11). Alrer was a 15-minute musical variety that didn't move too smoothly. Miss Bowman teemed tense, which gave her intros an incom- plete quality. Additionally, it’s a difficult assignment for a terper to come out and spiel after a physically rigorous dance turn. Her first number, an interpretive routine on a bather frolicking on the beach, had a neat musical backgrounding by the Norman Paris trio and pianist Paul Shelley and some effective moments, but overall it failed to jell. Next bit, danced to "Somewhere Over the Rainbow." was weak choreog- raphically. The World Video package opened with the Pastels vocalizing "The Family’s Always Around.” The two men and two gais made a nice combo, but could have used more production trappings. Mau- reen Cannon, guesting, did well by "Trolley Song,” but here too added production values were needed. Miss Cannon and the Pastels joined to back the "Rainbow” tune which Miss Bowman danced. Stanza begins and winds with Miss Bowman, on film, in a horse- drawn carriage, which ties in with the sponsor’s "Coach and Four” shoes for women. Plugs were ade- quately descriptive, although more could have been done to spotlight the footwear's details. Bril. SILHOUETTES OF THE WEST With Roy Starkey Director: BUI Taylor 15 Mins.; Mon.-thni-Fri., 5:30 p.m. Sustaining WBKB, from Chicago This WBKB sustainer is another one of those "ride the rihge" af- fairs aimed at the sombrero and chaps set. Only there isn't much "ride” and less “range." Strip features western ballafeer Roy Starkey in a scantily budgeted ven- ture limited in its appeal to only the most avid cowboy devotees. Given something heftier in the way of a format than that displayed on frame seen (9), Starkey might make a splash with the oatune fans. He evidenced a pleasant, if some- what overdrawn, rangeland per- sonality that could score with the kiddies and his warbling was close to par. But he needs more help than the few mild devices used on this particular show to sustain in- | tenest in a strip. His trio of tunes was interspersed by a discussion of Western art as evidenced by Indian craftsmanship and the natural beauty of the Rockies which he felt compared highly favorably with modern art. Idea was visualized by some stock pictures of Western scenes and had little point. Singer also kudosed Will Rogers briefly. Dave. Dave. BEHIND THE SCENES With Ernie Tetrault. others Director: Ted Baughn 30 Mins.; Fri. (3); 7 p.m. WRGB-TV, Schenectady First in a series of scheduled visits behind the scenes at WRGB came off fairly successful. It was weak In camera setup and prob- ably shy on preparation. Half- hour also failed to make certain references understandable and un- evenly merged the technical with the entertaining. Program idea however, is sound, and future tele- casts should heneflt from the les- sons learned on the first. Ernie , Tetrault, who recently joined the General Electric-owned station after five years of announc- ing at WTRY, Troy, N. Y., acted as commentator-questioner. It was a rather stiff assignment for a new- comer, but he acquitted himself reasonably well. A photogenic chap with a resonant voice, he employed g friendly. Informal technique — pushed a shade too far in spots. Chief Interviewee wss well-inform- ed projectionist Ken Kushine. Since a single cimers hsd been placed la the room, clear closeups of the machines were hardly pos- sible; not all could be encompassed. Exchange with film editor—given a human touch by brief chat Tetrault bell with his young son— neither adequately explained nor demonstrated "spiking." Three musical shorts were screened. Tetrault talked with director Ted Baughn and two technical assist- ants In the master control room, but they never were shown Pre- sumably that spot will be covered later. , .« . • Jmoo. . Produ cer : Jack Taylor Director: Loo HernMck Writer: Goorian 44 Mins.; Wed., t pjn. Sustaining ABC-TV, from Cincinnati Paul Dixon's seems-like-all-of-a- sudden catapult to a network chore after a couple of years of daily dee- jaying over WCPO-TV in Cincin- nati isn't going to set the world on Are. He might singe viewers a bit, however. The lad made those statements several times himself, on last week’s preem (8), and they just about sum up his novelty stint. The show is in for an eight- week Wednesday excursion, and Oct. 4 it's skedded to move into the Thursday 11 to midnight slot. If the singeing Dixon envisions is steady enough, the later hour might shape as a better, less-com- petitive insert. To begin with, an hour in the 6 to 9 setting is strictly luxury time. There was enough material on opening frame from which a bet- ter-than-fair 30 minutes could be culled. The halving would figure to improve the pace and cause eschewing of filler matter aimed at stretching the program beyond its talent capacity. Dixon is a hard worker, thinks nothing of making four or five costume changes appropriate to the panto- mime vocalizing, the show’s forte. While this is all to the good, the panto stuff can get curiously mo- notonous. Dixon has two good aides in Wanda Lewis and Dottle Mack, who helped on the miming and skits and were decorative as props. The former also did drawings dur- ing several recordings. Question- able, however, whether this type of partial stage wait has the visual values to hack up the tunes prop- erly. Miss Lewis showed okay in panto of "Lonesomest Gal in Town” and "Stormy Weather." In latter production number, how- ever, the themder effects were too thickly spread. Best platter-backed mime was Dixon pairing with Miss Mack on a hoked up "How Could You Believe Me," which finished in patter by the duo. In the skit department, Dixon revealed large satire potentialities as "Martin Crutch, Private Nose.” This also was pantoed, with waxed narration by Dixon, and reprised gag of having himself conked time after time was good for low- keyed laughs. Dixon spent too much time alluding to congrat messages from the name fraternity and was altogether too self-effacing in refer- ring to himself aa a "little Old disk jockey" from Cincy, so happy about getting a web showcase. His phone gabbing with well-wishers can be cut generously since it slows the pace. He’s a nice-look- ing lad with obvious sincerity. Le rising was routine. Trau. Director: Jod Bailey 154 Mins.; Sat. (11), 1:34 pjn. Sustaining CBS-TV, from N. Y. If there was ever a question about the Importance of color to televised sports, CBS proved be- yond all doubt Saturday (11) the tremendous boon that tinted TV offers. Web took two of its color cameras out to Ebbets Field to pick up the Brooklyn Dodgers- Boston Braves set-to for the first colorcast in history of a baseball game. Despite the cloudy weather, the lenses transmitted beautifully true color, which heightened both the "information” and enjoyment of the game. Because of baseball's basic for- mat, it was not anticipated that color would add so much more to the game than standard black and white video. But the sharp con- trast of the white ball against me green infield grass furnished an amazingly clear picture of the path traveled by the ball from the pitcher to the catcher. For the same reason, the infield play was excellently delineated. CBS used nn 7nnmar len* for this event, so that a ball hit to the outfield was often lost via the cameramen’s in- ability to rotate their lenses fast enough. Game, first in a series of three to be colorcast by CBS on con- secutive Saturdays, was not spon- sored. Web, however, panned its cameras shrewdly around the bill- boards circling the outfield to give any potential clients sitting in a taste of how their products will look in color. They, too. must have been impressed. Simple signs were given added impact when seen in their natural colors, sans any animation. Cameras also settled consistently on the Schaefer scoreboard, since Schaefer bankrolls the Dodger games via WOR-TV. Pickup technically was ham- pered by the fact that only two cameras were available. Coverage echoed the early days when CBS was covering the Dodgers in black- and-white. While plays around the infield were handled okay, too often the cameras lost the action on long balls hit to the outfield. Too, those close-up shots around home plate,-which have become an expected feature of b-w coverage, were sorely missed. CBS sports chief Red Barber and announcer Connie Desmond, who call the Dodger games regularly via WOR- TV and WMGM. N. Y. radio indie, worked as well as usual on the colorcast, even though they might have been guilty of over-plugging the tint via a ‘‘gee-whlz" attitude. Now that CBS has proved the value of color to baseball, it should be especially interesting to watch its success with the series of nine Saturday afternoon college football games it has coming up in the fall. Stal. NBC-TV, from New York Hal Block is apparently attempt- ing to abandon scripting ahows tor others and is going into business for himself. He’s been a frequent performer in the radio and video media with various degrees of suc- cess. With ’Tag the Gag" he’s set up shop with a panel idea that calls for the services of a flock of comics. He’s latched onto a virtually in- fallable formula. Modifications of the format have been successful on "Can You Top This?" . Block, on the initial show, had a fairly high-powered panel which comprised comedians Morey Am- sterdam, Jackie Miles, Peter Donald and singer Amanda Sullivan, who reputediy can give a well-turned ad-lib. Under such circumstances. Block kept any comedic talent* he has pretty well under wraps. He distinguished himself only with a soprano pitched giggle. Format has a group of actors enacting a joke, but stepping short at the punch-line. The gagsters are required to finish the story. On the preem, the gags were of such ancient vintage that the stalling of the panel was fairly obvious. They amused themselves and the audi- ence by telling similar gags, and ultimately spilling the completing line of the initial yarn. A panel of funny-men allowed to tell yarns they know is bound to be funny. Block wisely allows them a free hand and his col- leagues produce a high proportion of howls. Of course, the show is imitative and at times it’s too pat. It's an easy show to produce and it’s bound to be entertaining to many. The major problem is to get a weekly panel. Corned! ng is a transient profession which fre- quently calls for trips out-of-town. It’s not likely that any comic will pull out his best material on this show. He'll save that for occasions when he’s the sole attraction. The comics assembled, however, did well with what they delivered, and there’s no doubt that there will be laugh payoffs on subsequent ses- sions. Jose. DIXIE BANDSTAND With Henry Schmoller Orch, Frances Fairley, Mildred Martin. guest Producer: Russ Mayberry 30 Mins.; Sat., 9 p.m. WMCT. Memphis In tune with a current promo- tion to *;ypo interest among Mem- phis and midsouth viewers and lis- teners to book bands from the ros- ter of Memphis Local No. 71. WMCT has launched a new series of band shows for the next 10 weeks. New band feature billed as "Dixie Bands'and ' will spotlight a different orch each Saturday night for the 30-minute stanza with a guest featured warbler. Thd show is also fed simultaneously to the station’s AM and FM operations. Henry Schmolier’s six piece combo was caught here on Satur- day (4), and came up with a luke- warm package for a band show Schmoller, who has been around with such vet bandsman as Bernie Cummings, toots a wicked horn but was rather "off beat” in the camera and mike circuits for his bow TV performance He needs more polish in his TV appearance and dialog delivery with show’s em- cee. Incidentally, staffer Aubrey Guy turned in a neat stint of keep- ing the show moving along with a flow of winsome chatter. Schmoller and his crew seemed to lean toward the medley lane during the major share of their numbers on the show and clicked fairly well with several including "Schmoller Blues.” < His own com- position). "Too Young.” “Once In A While,” and "Hands Across the Table.” Frances Fairley knows her wav around the eighty-eight and liter- ally stole the show when caught. She carried her featured chorus spots in neat fashion and poured out the music over the combined TV-AM-FM operations like a vet of umpteen sea con? This gal has It and can easily develop into a terrif TV act down here. Mildred Martin as guest femme soloist needs beauroup work for a coveted spot in front of a band. Although Miss Martin Is an eye- catcher on the screen, she does a complete about twist on the ear Her renditions of "Ever True. Ever More.” and "If’ certainly needed a shot In the arm along the voice quality, stage and selling depart- ments. Camera and production well handled by WMCT staffers, Matt. Tele Follow-Up Comment partial indication of Davis’ capa- bilities. He needed the video por- tion for completion. Team doubled from the Riviera nitery. Ft. Lee. N J. The regular conferencier. N. Y. Daily News syndicated columnist Ed Sullivan, continues on vaca- tion. and Johnny Johnston spent his evening off from the legiter "A Tree Grows in Brooklyn” to assume that spot. Johnston made a good impression with his vooal- istics both in solo and in tandem with Marcia Van Dyke, his col- league in the legiter. The duo re- prised the rooftop scene from “Tree" with both contributing ex- cellently. Johnston’s emceeing was somew* hat uncertain, frequently groping for words, and he got tan- gled up on occasion, but generally made a pleasing impression. Eddie Mayehoff took advantage of the current West Point football scandal, in giving a dissertation on grid coaching. He’s done this bit in niteries and elsewhere previous- ly, but apparently didn’t nave the time to do-the complete routine. To those that had seen it in its entirety, MayehofTs bit seemed like a brushoff. He got laughs with his characterization and grimacing. The Myron*, bicycling from the nearby Radio City Music Hall, are an unusual aero act combining ris- ley and perch work. They showed some excellent tricks, but much of their Impact was lost in the cam- era work. The lone shots didn’t S rovlde sufficient definition, and to closeupe could only take to a small portion of the act. Peter Lind Hayes and Mary Healy are not only two of the most personable people in the pub- lic eye, out certainly prime ex- ponents in ease and authority. They’re as home before a TV boom as they are currently at the Riviera, a Jersey Toadhouse from which they’re doubling into their "Star of Family" NBC series for Ronson. The gimmick is suffici- ently elastic so that when the}) want to introduce an "adopted ’ relative, calling Joe Frisco ’cousin.” that’s OK too, and the stuttering stylist went out and mopped up with his horse-bettor monolog, now something of a minor classic in delivery. The dusky Clark Bros. (2), doubling from New York’s Copacabana nitery, clicked; Kyle McDonnell’s husband - producer Dick Gordon (TV) introduced her as the star of their family. In between the Hayeses deported themselves with gracious hospitality, opened with a fitting "Getting to Kaow You" ballaa. clowned Angels Sing” for the artist’s palette routine, and generally handled themselves well. One of the most disappointing aspects of SundavJs (12» ••Toast of the Town" (CBS^rV) was the ap- proximately 20-mlnute visual black- out which occurred mainly during the tuni by the Will Mastin Trio featuring Sammy Davis. Jr. There’s a lot of showbis interest in the east on this Negro threesome, particu- larly to the younger Davis, who appears to be adept to many fields. Trie sound-track which continued during the blackout, gave only a »