Variety (January 1954)

WU* K™ * Gwtfrey. John R«d f,TAMIN cokft w AMERICA ABC-TV. »rom NX0) When Vitamin Corp. of ^merica nd BBD&O brought Kathy Godfrey (Arthur’s sister) in from KPHO'TV in Phoenix to stake her out as a major tv personality, original intention was to star her in a nublic servicer that first bore the name of “Up for Adoption” and was subsequently changed to 'The Truth About Adoption.” Regard? less of the title, . the show was iunked and the agency forced to look for a substitute to fill the time already contracted for on ABC-TV. Program finally chosen was “On vni'ir Way,” which had a short run ^“DuMont Bu£ Collyer Jmceeing for Welch’s Wine. ForSat of the Larry White quiz package was changed to permit Miss nndfrey to interview the contestants on why they want to go someplace and to have John Reed King do the actual quizmastering. Aeehcv might have made a worse choSe^of a vehicle ior-Miss Godfrey and a show on which to sell vitamins, but one doesn’t come readTly to mind. “On Your Way” is the epitome of the inane quiz show tied together by .a pointless gimmick that lends neither interest nor entertainment to the show. In this case, the contestant for gome reason has to get somewhere, and by answering a series of. questions gets plane tickets and cash to go there. It’s a transparent and Ineffective device, and in the case of one contestant on the preem, there wasn’t even a place to to— he just needed money, and who doesn’t? The show doesn’t do very much for Miss Godfrey, although she impresses as a potentially strong video personality. The thankless job of interviewing someone Who’s in want tends to leave the interviewer muttering embarrassed platitudes, and it doesn’t help enhance the personality of the interviewer. She’s also somewhat overshadowed by the overabundance of vocal energy displayed by. King, who apparently still thinks he’s on in the daytime or spieling for Charles Antell. Nonetheless, she’s a pleasant-looking girl with an appealing voice and an ingratiating personality. There’s a guest personality who conducts a jackpot quiz as a wind-* up. Eva Gabor did an okay job with this. Incidentally, reading those testimonials on Rybutol won’t enhance Miss Godfrey’s status either. Chan* A COMMUNITY DILEMMA With Rev. Dr. Jack Cooper, Rev. Terrence Ogden, Luther Smith, Mrs. Stuart Henry, Rev, Roy Severance 30 Mins.; Sun. (17) 3 p.m. Sustaining WRGB-TV, Schenectady A candid discussion of the housing problem faced by Negroes in Schenectady featured this special and interesting half-hour round table, arranged by the Schenectady Council of Churches. Participating were Rev. Dr. Jack Cooper, moderator; Rev. Terrence Ogden, pastor of a local Methodist Church and a leader in the Council’s attack jjh the situation; Luther Smith, a Negro engineer; Mrs. Stuart Henry, a leading laywoman; Rev. Roy Severance, also a Methodist minister. Fact, figures, opinions and misconceptions were subjected to sharp analysis. Charts and photograph supplemented the material presented by the panelists, while a touching dramatization of a telephone conversation Between a house-seeking yourig «egro woman and a white woman opened the half-hour. The roundtable started at rather a sl?w Pace but picked up mo* mentum toward the halfway point *3 r°Red in high during the secona quarter-hour. Smith proved snni,artlculate’ highly intelligent f°r the Negro group vino/ • ® increased more than i Schenectady during the Eanfo13 year?h the Other particisiiacfir r.c® lstered strongly and perimnroeiy’ , The spiritual note was JET* woven into the final ef;ts’4( capped by Dr. Cooper’s an ®n .integrated church in AmirtpKat^? community; for all notes 1Cn'a *p2nelist nsed script or plated P tlally hWden by name and^Hi/01^,^© other telecasters been innih^ direction should have white SLudef „ Final shot of a a frienHu1311 talkin8 at the door in couDip dly manner with a Negro V/RrjR m.ost appropriate. *ervicerrated praise for this public Jaco, MOTORAMA OF 1954 With. Arthur Godfrey, Harlow H. Curtice, Marion Marlowe, Lu Ann Simms, Haleloke, McGuire Sisters, Mariners, Jerry Bresler orch, others Producer: Larry Puck Director: Bob Blyer 45 Mins., Wed. (20), 10 p.m. GENERAL MOTORS CBS-TV, from N. Y. If ever a tv program proved the adage about “the" play’s the thing,” it Was CBS-TV’s video preview of General Motors’ annual new product display at N^ Y.’s Waldorf -Astoria;. In spite of the one of the saddest productions brought off by CBS, and a rather indifferent emceeing job Of Arthur Godfrey, he program made fascinating viewing due entirely to the new and revolutionary lines GM has brought out in the auto and home appliance fields. # It was strictly; a case of program content bringing off a topflight show in the face of strictly amateurish production. And the content — new models in Chevrolet, Pontiac, Buick,. Oldsmobile and Cadillac— were a show in themselves, from the Pontiac Stratostreak to the Caddie La Espada, all bearing preeedent-shattering sports car motifs and all stunning vehicles. Toppers were the hew Firebird gas turbine experimental car and ! the Frigidaire Division’s Kitchen of Tomorrow,” featuring push-button controls for about everything in a kitchen. Many of the items aren’t even in production, so recently have they been developed, and it was in the nature of a first peek that they were displayed. On the production side, it was a mistake on the part of GM and tiie Kudner agency to assign “a complex remote job. like this one, involving multiple c'amera and audio teams, to the regular Godfrey production crew headed by Larry Puck. The complexities of the production were obviously too much for them, and the result was awkward camera pauses as Godfrey and GM prexy Harlow Curtice moved from room to room, poorly cued camera switches and coverage of the displays and even one cut-in on the audio intercom. As for some of the Godfrey performers; they showed less poise than one would expect from pro fessionals when they found the cameras trained on them after Godfrey and Curtice had left the room* Godfrey’s emceeing job showed a lack of preparation, with most of the discussion sounding more like an intercompany (GM) bull session than a carefully planned description . of the new products And at the conclusion of each description of a new line by a GM department head, all Godfrey could summon up was “you’re going to have a great year.” He made the rounds with that one, giving it to every division chief arid a couple of times to Curtice. Strangely enough, Godfrey was best in the unexpected (by him and the audience) role of a floor manager, getting the cameras to focus on where they should have been in the first place* Most of the Godfrey talent served as models. Apparently the plan was for each to do a number while Godfrey and Curtice (in the former’s scooter) were in transit between displays, but only the McGuire Sisters performed, while the remainder for the most part gawked when they discovered the cameras still with them after God frey’s exit. Chan. FUN AND FORTUNE With Ed McMahon, Nancy Dolphin, Tommy Ferguson Trio Producers: Ed McMahon, Ray Schwarz Director: Ray Schwarz 30 Mins.; Tues. & Thurs., 3 p.m. Participating WCAU-TV, Philadelphia The lure of the giveaway and the amiable personality of Ed McMahon fills the studio, wall-to-wall with gift-happy homemakers. Panning of smiling faces reveals genuine affection that ex-Marine hero McMahon seems to inspire in his audience, most of whom arp over 40_standard age for such proceedings. No Individual loses (every contestant gets a prize) but the chief interest is the $10,000 in merchandise given . to church or charitable organization. This plum goes to group, who after a stipulated number of weeks, collects the most coupons of sponsors products. On program caught ladies representing the Lutheran Home for the Aged were pitted against the Delaware County Fire Company ladies auxiliary. “Fun and Fortune”, concentrates on zany stunts, most of them of a pretty elementary sort and not intended to give the girls too much trouble. Dignity doesn’t enter into it, but since nobody loses the femmes love it, Gogh. DR. I.Q. With James McClain, Tom Reddy, Ed Michaels, Art Fleming, GeOrge Ansbro; announcer. Bob Shepherd Producer: Frederick lleider Director: Charles S, Dubin Writer-creator: Lee Segall 30 Mins.; Mon., 8:30 p.m. HAZEL BISHOP ABC-TV, from N. Y. , (Raympnd Spectar) James McClain is on leave of absence from his clergyship in Texas to make his tv stand as the “mental banker” in the. guise of Dr. I,Q, It’s an old role for* the minister, who did the radio version from 1940-46. He’s a fine figger of a man with plenty of mobility, these assets serving him well in the sight medium, having long since proved his savvy on the aural side. So the return, along with a new Monday slot (ex-Thursdays at 9 p.m.), represents a goodie for ABC-TV and all hands. The pace is the thing. So are those silver dollars that Dr. I.Q. hands out with majestic disregard of economics as the “lady in the balcony” responds correctly, otherwise receiving a year’s supply of that long-lasting Hazel Bishop NoSmear Lipstick (if it’s a male, give it to your wife, mother-in-law or girlfriend; but they should have something more suitable for the swains). When McClain follows a missout with “Oh, I’m awfully sorry,” it can sound like he’s ready to replace the sorrow with items out of Fort Knox, but that’s all part of the charm he turns on, though not unctuously so. And he won’t provide prompting or give a contestant another .chance — much more forthright, in that respect, than many another quizzer. Four goodlooking gents help the quizician make a round of the studio for an attack on the yes or no, famous quotation, right or wrong, biog sketch, etc.,, all of it carried out with snap and precision^ Some of the questions are a bit tricky, as per the radio edition. This Lee Segall brainchild (he also scripts) shouldn’t have any trouble carving out a tv future. And that James McMoney is a natural. Trau. REQUESTFULLY YOURS With Paul Brenner, guests Producer: Brenner Director: Don Horan 60 Mins., Fri., 8 p.m. WATV, 'Newark For the most part the disk jockeys around the country haven’t been > too successful in their efforts to crash the video field. Most of them have been stumped by the problem of blending wax and visual values. However, Paul Brenner, platter spinner on WAAT, Newark, seems to have latched on to likeable \ideo format that’ll appeal to the younger set. Brenner makes no bones about the kind of viewer he Wants. He’s after the high-school kids and is smart enough not to throw out any pretentious bait in his attempts to catch ’em. Within a simple format of pop record spins, interviews with the teenagers in the aud, dance contests and a guestar, Brenner has all the ingredients to build a solid bobbysox following. In fact, parents will probably render him a vote . of thanks for a respite from the run-of-the-mill mayhem that usually attracts the yourig dialer. Brenner’s long tenure as a d.j. has given him the special savvy necessary in dealing with teenagers. He knows what they like and he knows how to talk to them. He keeps the hour roiling along at a pleasant and easy-going pace. It’s all like an evening gathering for music and dance at a neighbor’s house. Kids should take to it like to a double-chocolate ice cream soda. Gros. ETHEL MERMAN SHOW (Colgate Comedy Hour) With Jimmy Durante Gene Nelson, Decola & Rublnt, Sid Marion, Others; Al. Goodman orch Producer-director: Joseph. Santley Writers: Charles Isaacs, Jackie Ellrison 60 Mins.; . Sun., 8 p.m. COLGATE NBC-TV, from Hollywood ( Sherman St Marquette; Bates) Ethel Merman’s “Comedy Hour” comer-outer looked promising in the opening salvo when, discovered by newsies on an airport ramp, she put in a lyrical disclaimer on talents other than chanting. Then she took “Just a Lady With a Song,” an Eddie Zimmerman special, and played it to the hilt, wringing the best out of the words & music. But from here in the disclaimer was played mostly in rebuff, with some of the sketches not worthy of this up and at ’em singer. When the dynamic lady stuck to such items as “Love Is Sweeping the Country,” building up from topical brief ies (like "Red Red Robin” standing for the USSR, “Bewitched” for the A-bomb, etc.), it was a typical Merman meriu and there ain't any better. Sending her in as a misfit harpist with a symph orch as the maestro went into conniptions on her breaking up of the “Blue. Danube” number, seemed strained, old chapeau and inherently unfunny. A “rehearsal” with Jimmy Durante and Gene Nelson was similarly lowbeat on laughs, and even Nelson’s followup hoofing over the huge El Capitan stage was tame despite the leaps and mock falls of the dancer with his breakaway props. Another skit (all of them directed by Charles O’Curran) with Miss Merman and Cyranose was offish except when the duo got into a medley of sorts in segue from that large lazy susan whirlaround. Topping the skit session was a takeoff on the “Can-Can” legiter. La Merman, as a wide-eyed tourist, lighting up such tunes from the show as “I Love Paris” and “C’est Magnifique” and the Schnoz, up to this point a pale version of his “own show” self, appearing in various Frenchified guises for a winning tandem. In the end piece, Miss Merman accepted an award from Hollywood Foreign Correspondents Assn, for her work in “Call Me Madam” pic and Durante ragtinjed to the ' closing crawl. Six boys and acompleirient of femmes were deployed here and there in the hoofing sector, the boys being particularly sock. Another winning support was by duo pianists Decola 8c Ru bin i in the symph precede. Pete Barnum is at the exec producer’s helm now in the exit of vet Sam Fuller who’s now an NBC-TV staff producer, with Joseph Santley now the producer -in addition to staging. Miss Merman’s next “Comedy Hour” workout is Feb. 28. In a month’s time they should be able to blueprint a better format for her. Trau. WALT PHILLIPS SHOW With Walter Phillips, Marian Spellman, Ruby White, Bonnie Lou, Charlie Gore. Joe Lugar’s Ork, Bob Bell, Jane Lynn Producer-Director: Ed Ewing Writer: Frank Hart 60 Mins., Mon.-thru-Fri., 9 a.m. Participating WLW-T, Cincinnati Walter Phillips merits this switch from radio to tv. He’s a natural in both fields; A disk jockey here for the past several years, after he got out of college, Phillips built up a terrific following with bright chatter between platter flips. On commercials he’s in a class by himself for sly approach. Surrounded with capable Crosley staffers, this show stands on its own. Only question abo.ut its audience rating is the time. At 9 a.m. it is pitted against programs with pre-school child appeal. Housefraus sans kiddie cares will find Phillips going smooth at that hour. Program is fed from WLW-T, (Continued on page 44) ANIMAL FUN TIME With Ruth Manecke. Producer: John Moses Director: Tom De Vito Writer: Ruth Manecke 15 Miris., Mon.-thru-Fri., 5:45 p.m. WABC-TV, N.Y* “Animal Fun Time,” which preemed Monday (25), is an engaging study for the four to six-yearold naturalists. Writer-emcee Ruth Manecke demonstrated know-how in handling the kindergarten juves and had sufficient knowledge about domestic animals and their environment to hold the curious, quizzical youngsters. Bpfore a panel of six children, Miss Manecke exhibited a live skunk and a stuffed owl (who is going to be a regular on the stanza). With the first, as the juves passed desmelhed “Petunia” among, them, the lady in charge went simply through the animal’s habits . . . feeding, environment, mobility and she neatly clarified a fallacy (all skunks do not have stripes). Participation (typical disjointed juve logic) and interest was elicited through questions and cross-banter, and Miss Manecke and her youthful associates did well, despite one garrulous and opinionated moppet in the crew. One sore spot was dull animal .picture book routine which showed various birds who habituate New York City. On the other hand, the moral tale of “Captain Hook” the owl, told through Miss Manecke had a positive effect. She was successful, not in telling a clear story, but in Establishing a definite identification between the owl and the program, Juves never get tired of seeing live animals or even stuffed ones. KING RICHARD II With Maurice Evans, Sarah Churchill, Kent Smith, Frederic Worlock, Louis Hector, Bruce Gordon, Richard Purdy, Whitford Kane, Ralph Clanton, Morton DaCosta, Jonathan Harris, Norman Barrs, Terence Kllburn, Porter Van Zandt, Joseph Dooley, Louis Edmonds, Raymond Johnson, June PnidV homme, Tom Sand, Kenneth Raymond, Francis Bethencdurt; William Brooks conducting score by Herbert Menges. NBC Executive Producer-Director: Albert McCleery . Director: George Schaefer Associate Producers: Emmett Rogers, Mildred Freed Alberg Adaptation: Maurice Evans 120 Mins., Sun. (24) 4 to 6 p.m. HALLMARK NBC-TV, from New York (Foote, Cone & Belding ) NBC-TV’s first two-Jhour "spectacular” of ’54 brought Maurice Evans back to the “Hallmark Hall of Fame” Sunday (24) in the first tv performance of “King Richard II” — the same Shakespearean masterpiece that won Evans his initial Broadway ovation back in 1937 (and which he subsequently revived at the City Center Theatre, N. Y.f in ’51.) Adapted for video by Evans himself, Sunday’s production was a triumph for tv, for the star and all the others identified with the ambitious project. Certainly here was a vast improvement over Evans’s tv performance of “Hamlet” last season in achieving the near-perfect fusion of theatre and television in translating the Shakespearean brand of cunning, intrigue and double-cross into the intimate terms and exacting demands of home video viewing. Performers, technicians, directors, producers, camera crews arid all the others who contributed toward this special Hallmark presentation rate, a bow for bringing it off so successfully. Originating from the recentlyreactivated Brooklyn studios of NBC, with its massive floor space, the three-act, 20-scerie production of “Richard” had a dimension that not only hurdled the more restrictive; scope of. a legit performance, but allowed for a continuing, uninterrupted flow of scenes. Above all, this Hallmark presentation achieved its goal: in taking Shakespeare off the bookshelf ana out of the classrooms, and making him. entertaining and exciting for the new and larger tv audience of millions, while at the same time maintaining the high staridards demanded by the Bard’s idolaters. Evans interprets and presents the role of the ill-fated king in i the highly dramatic and flam| boyant school of the traditional Shakespearean theatre. In the i past decade, both on the stage and in films, there has been a tendency to modernize the Bard’s works either by set, dress or verbal projection. Yet Evans clings to the lyrical, melodramatic staging. Whereas his previous tv Hamlet brought divided opinion on this score, his intensity and perception of Richard must have done much to win adherents to the Evans portrayal. Kent Smith in the role of Bolingbroke, the usurper of Richard's throne, was the chief protagonist for the new school of “digestible” Shakespeare and was masterful in his part. For that matter, it would be futile to point out the merit of the individual performances, i since all of them were of such high ! calibre. Yet mention must be made ] of Frederic Worlock as John of i Gaunt; Richard Purdy as the Duke 1 of York: Sarah Churchill ( who ; played Ophelia to Evans’ tv Ham; let) as the Queen; Louis Hector as : Northumberland, and Morton Da■ Costa as Aumerle. The major laurels, however, go to the production of this tv presentation. That the battlements and the castles, the corridors and Westminster could have been, so imaginatively conceived and constructed; that the processions and pomp could have been regally displayed without color or elaborate settings is a tribute to a combination of technical and artistic execution blended with a masterful control. An old hand at achieving such camera fluidity, Albert McCleery as NBC executive producer and director made it appear as easy as pulling strings. The contribution by George Schaefer as director and Emmett Rogers and Mildred Freed Alberg as co-producers, likewise can’t be minimized. The special musical score composed by Herbert Meriges and conducted by William Brooks was very effective without being obtrusive. Noel Taylor’s costumes were fresh and interesting and the sets designed by Richard Sylbert were nothing short of superb. The sponsor rates a thank you card— Hallmark-ma.de— from every viewers of “Richard 11.” Rose,