Variety (September 1952)

SS HABIO REVIDWS (' •' " .1.1 , , . I,,, , .. pmieff JACK BENN:e SHpW With Mary Livingstone, Eddie (“Kochester’O Andewon, Dennis joay, Bob Crosby, Don Wilson, Sportsmen Quartet- Writers: Sam Perrin, Milt Josefs- berg, George Balzer, John Tack- aberry Producer: Hilliard Marks 30 Mins., Sun., 7 p.m. LUCKY STRIKE CBS, from Hollywood (BBD&O) As long as Jack Benny's re-en- trenched in the Sunday at 7 slot, radio’s still riding the bi^ime kilocycles. The Waukegan Wit re- turned to his CBS berth Sunday (14), and for 30 minutes there wasn’t the slightest evidence or suggestion that the TV ascendancy had rubbed off some of the glamor —and audience pull. If there was any awareness on the part of the listener that Benny himself has .seriously contem- plated throwing in the radio sponge only a few months back to give his all for video; or that the weekly Lucky Strike pay checks are now more attuned to today’s realistic appraisal of the medium, Benny and his stock company played it right up to. the hilt as though this were the Golden Era “ of radio. There v/'is no deviation, no com- promising If it sounded like last . year's cycle of 39 or the year ber. fore, that, too, was alright. Benny, Lucky Strike. BBD&O, et al., rea- son that a 20-year vintaged for- mula, ripened into full bloom, is certainly good for another time round. There’s only one radical change In the show's lin&up this semester. Phil Harris,-.now throwing in his Jot' with the ,rival NBC-TV camp, has checked off the Benny roster and has been replaced by ‘ Bob Crosby. The new teamup plays as well as it sounds, which is not sur- prising in view of the Benny- Crosby click TV dualing last season. Otherwise the entire Benny show complement checked in for the ’52-’53 Columbia ride in a con- tinuation Of Nielsen’.s No. 1 mara- thon performance — Mary Living- stone (Mrs. Benny) for her 21st year; Rochester for his 15th; Den- nis Day for his 13th; Don Wilson fo.* his 19th, and the seventh time around for the Sportsmen’s Quar- tet. It’s an even decade for the Sam Perrin, Milt Josef sberg, George Balzer, John Tackaberry writing staff—and if their new season’s initial conlrib embodied all the familiar variations on a time-worn theme, it was the tim- ing, pacing, showmanship and finesse of Benny and his troupe that kindled the flame on the 21st •candle. Rose. CROSSROADS With Rev. Francis Cantell 30 Mins.: Sun., 10 p.m. WPTR, Albany “Crossroads” leads into the field of non-denominational though fun- damentalist religion, the verbal guideposts for which have been S lotted for three years on the air y a Schenectady minister, the Rev. Francis Cantell. Presumably the course is taken to achieve a broader approach to the listening . a udience . Half- hour is . divided into two portions, the message and sacred music (supplemented by personal greetings, notices and the like). It opens with a brief, tran- scribed dramatization. Rev. Cantell uses arresting titles, and a persuasive, reasoning ap- proach. His theological training is always apparent, and occasionally seems to make for complexity to lay understanding. Accent is obvi- ously English but natural; voice is clear though rather high-pitched. ■Before signoff, minister makes passing references to “gifts” for purchase of air time, copies of talks and a Ten Eyck Hotel Bible study class. Jaco. MUSICAL SHOWCASE With Les Duell 45 Mins.; Sun.-thru-Sat., 11:15 p.m. WHITE TOWER RESTAURANTS WOKO, Albany Cross-the-board program fea- tures 45 minutes of “music old and new, borrowed and blue,” with a bare minimum of introductions by Les Duell. Wordage is probably the smalle.st on any area disk show. Duell bunches four or five numbers in a single tabbing and then segues. He talks longer on the live commercials than on the music, A wide variety of tunes and types is covered nightly. Duell, long known as a patron of pro- gressive music, does not play a great deal of it on the White Tower restaurant ride.s. Voice has grown in depth—possibly through crowding the mike. Tone is full but a trifle throaty; delivery is brisk albeit a bit jerky. Jaco, THE JEFFERSON HERITAGE (The Living Declaration) With Claude Rains,’ Arnold Moss, Phil Coolidgc, Alexander Scour- by, Guy Spaull, Edith Gresham; Tom Gljuzer, singer; Alan J. Feinstein, announcer Producer-director: Frank Papp Writer: Morton Wishengrad 30 Mins., Stin., 1 p.m. Sustaining WNYC, N. Y. Radio’s evaluation of Thomas Jefferson’s contributions to the free world — the highly-touted series produced by the National Assn, of Educational Broadcasters under a Ford Foundation grant ^ got away to an impressive start Sunday (14), to suggest that this series will have steady, and sharp- ened impact. A little pretentious and self- conscious in its scripting at the very start, the premiere program got into proper dramatic focus very soon, however, by virtue of its subject matter and Claude Rains’ fine performance as Jeffer- son. The meat tind sincerity in this .program, the easy though seri- ous way in which it was presented, as well as the sterling quality of the acting performances, type this as a highly important series. It should be “must” listening for adults as well as all schoolrooms. Introductory program, “The Liv- ing Declaration,” dramatized Jef- ferson’s lead role in creation of the Declaration of Independence' (which he, of course, wrote). With its theme his statement that “the earth belongs to the living genera- tion,” Rains at one point asked the radio audience bluntly, “what has your generation done with the eartlx?” It packed a lot of wallop, as did many other subjects dis- cussed, many of them with an astonishing pertinence to today. THEATRE GUILD ON THE AIR (‘The Wisteria Trees’) With Helen Hayes, Joseph Gotten, others; George Hicks, Norman Brokenshire, announcers ' Director: Homer Fickett Producer: Annina Marshall 60 Mins.; Sun., 8:30 p.m. U. S. STEEL NBC, -from N. Y. (BBD&Q) “Theatre Guild On the Air,” in its eighth season on NBC, launched this season’s series of dramas with a standout adaptation of Joshua Logan’s “The Wisteria Trees,” it- self based on Cheldiov’s play, “The Cherry Orchard.” Like the orig- inal Broadway version, which was not a hit, the radio play was an adult study of the Southern aris- tocracy in decay. Subtle shadings of character made this play a re- warding presentation on the air even if it moved, like the Chekhov work, through much vague, atmos- pheric talk. Helen Hayes, star of the original Broadway play, carried the radio drama with another one of her sensitive protrayals. .Her charac- terization of a bewildered Southern i aristocrat whose world was crum- bling under the march of progress gave this one hour stanza a sus- tained poignancy. Joseph Gotten, as a new bourgeois who would save Miss Hayes’ plantation from being auctioned away, also gave a strong performance. The supporting cast was excellent in evoking the tragic mood of self-pity and helplessness. Homer Fickett’s direction was ably pitched to give maximum movement to a basically static work. Musical direction by Harold Levey and general production ac- coutrements' was par for the gen- eral high standards set in past years by this series. George Hicks handled the spiel for U. S. Steel with an assist on the preem from U. S. Steel prexy Benjamin A. Fairless. Herm, program was a combined- narra- tion-dramatization format, which had drama, bite and vigor. But the aptness of its themes to today —in one’s personal beliefs; one’s faith in church, rulers and free- dom; the dangers from compro- misers, bigots—made the sharper impression. Jefferson’s slogan, “I have sworn eternal hostility to every tyranny over the mind of man,” was repeated several times, each, time to more stirring effect. Rains enacted the role of narra- tor-actor Jefferson with quiet elo- quence and dramatic skill. In his arguments against slavery, • for a clean break with Britain, against religious zealots enforcing their dogmas on others, he was superb. Arnold Moss, .Phil Coolidge and Edith’Greshani led a fine support- ing cast as various troubled fellow- Americans. The dramatic scenes Were broken up by guitarist-ballad singer Tom Glazer, using Jefferson material as quasi-folksongs. This was a mis- take, the interludes sounding forced. Bron. ROBERT WHITNEY’S MUSIC 60 Mins.; Sun., 1:30 p.m. Participating WHAS, Louisville Robert Whitney, Louisville or- chestra director, who traveled to Vienna last summer for a record- ing session and then was prevented from cutting the platters, has in- corporated his experience into a disk show with , dual sponsorship, and heard each Sunday afternoon for an hour on WHAS. Whitney went to Vienna in late June to record a series of numbers with the Vienna Philharmonic. Be- fore rehearsals were begun, an HERE’S HARRY NEIGHER With Neigher, guests; Dave Bond, announcer Producer: Wally Dunlap Director: Bond 55 Mins.; Thurs-thru-Sat., 9:05 p.m. Participating WICC, Bridegport This is where WICC demon- strates its awareness of the im- portance of localizing its mid- evening output by latching on to the rep of Bridgeport Herald night- life columnist Harry Neigher, southern Connecticut’s best-known byliner. Virtually an hour originating at Ye Olde Tavern, midtown eatery, three successive nights a week is a big hunk for a medium-sized city, especially between 9 and 10, when there is plenty doing else- where. It's a project which will re- quire steady concentration and is by no means a natural. But Neigher is well started, with a -large following gained over al- most 20 years of local newspaper- ing and occassional radio programs. This air venture differs from the rest in that instead of news-report- ing Neigher now takes the role of conferencier, introducing celebs in the dining room and needling pro- and-con discussion a la Barry Gray. Once this phase catches on, it will undoubtedly stir a lot of profitable word-of-mouth in the area. First broadcast was botched by the WICC engineeringtsdepartment, which failed to use the right type of mikes, with resultant crowd noise marring throughout. This was rectified in subsequent air- ings. Commercials are effectively in- serted, with some assistance from Neigher. Dave Bond makes him- self generally useful in the an- nouncing berth. Elem. AFM ruling clamped a ban on American musicians setting up any recording sessions overseas. So Whitney went sightseeing. Riding about in a small European car of a friend, he recorded his impres- sions on the equipment mounted on the back seat. These, together with some orchestral recordings which he brought back, form the framework of this show. Musical selections on the open- ing show were the “Redoutensall Dances” and the Symphony in C, both by Haydn; Brahms’ “Tragic Overture” and Strauss’ “Blue Danube Waltz.” On subsequent shows Whitney will present on-the- spot recordings of his comments during his visits to the house where Mozart lived and to Beethoven’.s home. Later airings promi.se in- terviews with local personalities. Whitney has a real down-to-earth friendly delivery, and his taped commentaries describe his visits to European musical halls and con-. cert places. While his pitch would - seem to be for longhair fans, his j chatter should attract li.sleners who I go for the travelog type of show, i Wied. 1 FlGFOf)T PETE JAMBOREE With Bill Saunders 30 Mins.; Mon.-thru-Fri., 5 p.m. Participating WOKO, Albany Western show, reined by 1 Saunders, is probably the broad( corniest originated hereabouts, 1 it must have a loyal audience— tested by the continuous presen tion in tl\e same format, on sa time block, for several years. Sai ders affects an exaggerated dn and a sweetly homey approa Some listeners will find a half-h< of this hard to take; regular dial of .the show presumably swallov appreciatively. Radio-wise Saunders uses test gimmicks: birthday and wedd: anniversary greetings, messages sick youngsters and to vetera and dedications. He also sin earnestly and vigorously if not melodiously, to certain recor rhe music is well selected. Spi mg for croup remedy and mea each account presumably p chases half the 30 minute.s—ri in the same dripping groove, 1 .shrewdly handled, it undoublei sells. Jaco Wednesday, September 17, 1952 RADIO CITY PREVIEWS With ‘Bob MacKcnzie’ (Bob Haag) Director: Parker (libbs Writer: Jack C, Wilson 10 Mins,; Fri., 10:35 p.m. Sustaining ' NBC, from New York “Radio City Previews,” 10-min- ute airer which preemed on NBC Friday night (12), represents part of an extensive campaign that the net has prepared to acquaint lis- teners with its new fall lineup. Program is unique in that it will be beamed in conjunction whh a twice-weekly newspaper column of the same name. National distribu- tion of this pillar began yesterday (Tues.). Basically, “Previews” adds up to anecdotes, “behind - the - scenes” chitchat, interviews with stars, along with an occasional recorded excerpt from shows scheduled for airing in the week to come. Pur- veyor of all this information is “Bob MacKenzie,” a coined name in the “Betty Crocker” vein. Ac- tually, “MacKenzie” is portrayed by Bob Haag. In an informal, down-to-earth approach, Haag briefed Friday, night dialers on the wit to be found on “You, Bet Your Life” (Groucha Marx Show) next Wednesday night plus highspots in the Martin & Lewis, “Theatre Guild on the Aij,” “Dragnet,” Red Skelton and “Grand Ole Op’ry” programs, among others; While “Previews” is heralded as a “startling new concept of radio promotion,” its “trailer” approach has long been used by the film in- dustry in one form or another. But where the NBC bally may have a new angle is in “MacKen- zie's” practice of plugging his newspaper column on the air shows. Likewise, the columns re- fer readers to his radio stanzas. •“Previews” doesn’t add up to en- tertainment iij the accepted sense. However, those tuning in will find the sessiorr an informative one that affords a quick peek at next week’s top show, roster. “MacKenzie’s” breezy, delivery on the initialer, combined with the “coming attrac- tion trailers,” should succeed in whetting interest of at least a por- tion of the listening public in NBC's fall slate. Gilb. THE CHORALIERS With Eugene Lowell, Frank Knight, announcer. Producer: Alan Cartoun 25 Mins., Sun., 10:05 p.m. Longincs-Wittnauer Watch Co. CBS, from New York {Victor A. Bennett) “The Choraliers” are back in CBS’ Sunday night sked. Choral group has established a strong rep during its previous four CBS years and its preem show (14) indicates that it’s not going to hamper thjit rep. Group concentrates on tried and tested ballads and pops insur- ing sock listening pleasure. Kickoff stanza featured their ex- pert harmony technique on such numbers “My Dream Girl,” “I Love Thee.” “Man on the Flying Trapeze,” “Polly Wolly Doodle” and a medley of George M. Cohan tunes. All added up to an easy listening session. Frank Knight’s spiels for Lon- gines-Wittnauer were delivered with class. Gros. THE GAIETY STORY With Sam Kemp and Margo Hen- derson, Jack Anthony, Aly Wil- son, Dave "Willis, Robert Wilson, Johnny Brandon, Tommy Mor- gan, others Producer: Eddie Fraser Writer: Gordon Irving 60 Mins., Tues. (2), 8 p.m. Sustaining BBC, from Glaskow There’s strong vaude interest in this melodious theatre stanza, tell- ing story in flashback of half-cen- tury of show biz at the Gaiety Theatre, Ayr, w.k. Clyde coast vaudery, which opened its doors Sept. 6, 1902. Narration chores were pleasantly handled by Eric Popplewell, theatre proprietor, in conversation with Scot actor-broad- caster Jameson Clark. Storied history of the Gaiety and its enterprising Englishman owner, late Ben Popplewell, was well conveyed, using artists past and present. Oldies included Sir Harry Lauder, Will Fyffe, Flanagan and Allen, Florrie* Forde, George Formby, and Layton and Johnston, with Johnny Brandon, Robert Wil- son, Tommy Morgan. Jack Anthony, Sam Kemp and Margo Henderson among those contributing modern side. Theatre batoner Harry Broad, megger Jack Barton and others took part. Program, scripted by Gordon Irving, Variety mugg in the Auld Lang Syne land, was skillfully megged by Eddie Fraser and had strong then-and-now interest. For Scot program about one particular theatre it offered extremely wide general interest value* Mac/ce. SUSPENSE (Sorry, Wrong Number) With Agnes Moorehead, Katliy Lewis, Hans Conreid; Harlow Wilcox, Larry Thor, announcers Writer: Lucille Fletcher Director-Producer: William Spier 30 Mins.; Mon., 8 p.m, AUTOLITE CBS, from N. Y. {Cecil & Presbrey) “Suspense,” one of the topflight chiller-dillers on the airlanes, again presented its most memo- rable half - hour blood - curdler “Sorry, Wrong Number,” to launch its 11th year on CBS. It was the sixth time this drama was done on •this show with the original star, Agnes Moorehead. For Monday’s (15) show, Kathy Lewis and Hans Conreid, also featured on the origi- nal cast, returned to “Suspense” along with the original producer- director, William Spier, and the all-important sound man, Bernie Surrey. * “Lucille Fletcher’s “Sorry, Wrong Number’’ truly ranks among the few classics produced on radio since it stands up with equal, if not increasing impact each time it’^ heard. It’s a virtuoso piece designed for a virtuoso actress and Miss Mooreehad.’s portrayal of the hysterical victim of a murder plot is one of her masterpieces. This near-moitolog starts at a moderate pace but builds into a nerve-shat- tering pace up to the finale. Miss Lewis, as the phone operator, and Conreid, as the killer, made nota- ble contributions in‘ minor roles. The sound effects, however, ranked next to Miss Moorehead as the show’s highlight. Plugs for the auto parts com- pany are handled efficiently by Larry Thor and Harlow Wilcox. On the preem, CBS prez Frank Stanton delivered a brief address on the return of “Suspense” to the web this fall. Elliott Lewis, in- cidentally, will'be the regular pro- ducfer-director for this aeries. Hernt THE SYMPHONETTE With Mishel Piastre, Joseph Fuchs, Frank Knight, announcer Producer: Alan Cartoun 30 Mins.; Sun., 2 p.m. longines-wittNauer WATCH CO. CBS, from New York* (Victor A, Bennett) Longtime radio fave, “The Syni- phdnette,” began its fifth season on CBS and its 13th consecutive year on the airlanes, Sunday (14) without any change from estab- lished format. It remains a smooth, ear-appealing half - hour that’ll continue to hold its steadies and perhaps pick up a few new fans. Mishel Piastre was on hand again to Ifaton the symphony orch through a flock. of classical and semi-classical airs as was Frank Knight to handle the watch com- pany’s commercials. Both hewed to their familiar style and the show emerged as a comfortable listen- ing session. Orch’s selections for -the preem included lush workovers of “Danse Slav,’.’ “Express Polka” and “Hava- naise.” Violinist Joseph Fuchs, who was the stanza’s guester, soloed Tchaikovsky’s “October” excellently. . Gros. QUIZ KIDS With Joe Kelly; Joel Kupperman, Pat Conlon, Sally Ann Wilhelm, Harvey Dytch, Frankie Vander- Plocg; Ed Scott, announcer Producer: Larry Woolf 30 Mins., Sun., 4 p.m. Sustaining CBS, from Chicago With genial, veteran Joe Kelly at the helm as quizmaster, and some familiar youthful names still pres- ent among the kid panel, “Quiz Kids” returned to CBS Radio Sun- day (14) after a short summer re- cess. Return, however, couldn’t qualify as a complete success. Presenting the show, transcribed, direct from various public school assemblies may be good exploitation or pro- motion, but it isn’t practical radio. There w^ a kickback from echo or muffled hall. It’s bad enough when extra-bright young* kids rattle off their learning rapidly in a studio, but when they race through it in the wide, open Spaces of a school auditorium, they’re un- intelligible. At least, it sounded so half the time Sunday. Show seems a little too pat now anyway. It's obviously more TV than AM fare, with kids’ expres- sions likely to make up for aural quirks. Sunday’s show had the usual high level of ipterest, in questions on geography, music, baseball, foreign rulers, books of the Bible, and. how it feels to be back at school—all answered quickly and brightly by the whiz ' kids. And Kelly was his old ! breezy helpful self. But it was 1 Lough making it out. Bron.