Variety (October 1958)

Wednesday Qctolier 22, 1958 P'S&ZETf TELEVISION REVIEWS S3 LITTLE WOMEN With Jeannle Carson, Margaret O’Brien, Florence Henderson, Zina Bethune, Rise Stevens, Bill Hayes, Joel Grey, Roland Win¬ ters, others Exec Producer: David Susskind Producer: Albert Selden Music: Richard Adler Writer: Wilson Lehr (from the novel by Louisa May Alcott) Director: William Corrigan Choreographer: John Butler 6 * Mins., Thun. (16), 8:30 p.m. SHEAFFEB PEN CO. CBS-TV, from New York (BBD&O) David Susskind’s teleproduction of “Little Women” was sugar and spice and many things nice but paradoxically bland for all of it. Trimmed as it was for the hour’s length, and garnished besides with eight songs from Richard Adler’s fruitful cupboard (not to count the reprises), Louisa May Alcott*s eye- watering evergreen for youngsters emerged on the picture tube as a fluffy petit fours for dainty palates, With not much to sink the chop¬ pers into. That must have been as true for children as it was for adults. It did not matter, towards the end of the plhy, that young Beth did not die as Miss Alcott had com¬ mitted her to in the book’s most memorable scene. Even by this time there was no audience in¬ volvement with the character—no reflection on Margaret O’Brien, who did her tearful best—anymore than there Was incisive delineation of her sisters, with the possible exception of Jo. In this case it clearly reflected on the talents of Jeannie Carson, who made herself dear by dint of spirit and show¬ man’s projection. She was a de¬ light to watch, her incandescent personality enlivening every one of her scenes. But to the basic problem, it was simply that the show sought to accomplish too much in a relative¬ ly small confine of time and, as an ironic result, accomplished hardly anything of consequence. In Its haste to tell the story and to pace comfortable lead-ins to the songs, the script left the characters to fend for themselves; and before the show had progressed very far, the viewer round himself with nothing or no one to be concerned over. Similarly, William Corrigan’s effort at clean direction resulted in static blocking that gave the pro¬ duction the flavor (or lack of it) of something, sterile. Nor did Adler’s straightlaced aongs catch Are for their general tunelessness, although his lyrics often had. charm. Only the ballad “Love I Mean” came off as a can¬ didate for the pops, and “Dance, Why Not?’’dent itself to a euphoric S roduction number choreographed y John Butler. Because of the brevity of scenes, much good talent was called on to make only token contributions. Opera star Rise Stevens han dled her dramatic bits capably, but she had a single lackluster number that could have been handled as effec¬ tively by countless performers of lesser gift Florence Henderson and Zina Bethune were all right in flimsy parts that made scarce demands, and Bill Hayes was prop¬ erly wooden in a part that called for woodeness. Joel Grey had a pleasant flash or two, as did Roland Winters and the Sheaffer commer¬ cial. Les . CROSS-CANADA HIT PARADE With Wally Roster, Joyce Hahn, Phylfia Marshall, Gins Silvi Slayers, Bert Ntasi Orch; Gues- tars, Kirby Stone Four; Paul Producer-Director: Stan Harris Writers: Bay Jend, Ron Kraus 38 Mias.; Mon., 8:38 pjn. PHUASKAYE CBC-TY, from Toronto (Erwin-Wase y) Introducing a theatre - in - the- round technique with an audi¬ ence of over 400, this obviating costly sets, Stan Harris, producer- director of “Cross-Canada Hit Pa¬ rade,” has given the program an entirely new format which, should cut doubt production costs whiles not militating against the fast- moving show’s success. With the series now in its fourth season, Harris plans to alternate stars of records and stars of albums, plus such regulars of the past as Wally Raster, Joyce Hahn, Phyllis Mar¬ shall and tiie Bert Mosi hand. Harri s Is also in for 3tf weeks over 4Q coast-to-coast stations, of the ! Canadian Broadcasting Corp^ pins a new sponsor. On new production format, the producer las injected needed speed' into his “Trans-Canada Hit Parade.” This ha* WaHy Shafer in, as emcee replacing Austin: Willis (who is in a Tinwrfirm play); with' Koster into a wham opening hr toe. teeoff of "Tolare” and then into Utoffirby Stone Four (boys* hr BOB HOPE BITICK SHOW With Joan Crawford, Femandel, Marion Ryan, Bernard Bros., Robert Strauss, Hillary Brook, others; Les Brown orch Producer: Jack Hope Directors: Bill Ward, Jerry Hopper Writers: Bill Larkin, Mort Lach- man, Lester White, John Rapp 60 Mins.,. Tues. (14), 9- p.m. BtTICK NBC-TV, from Hollywood ( McCann-Erickson ) After a temporary digression in the form of last month’s “Roberta,” Bob Hope was back in clicko form in his* second NBC-TV Buick special of the season. This hour was a study In con¬ trasts; Hope’s opening . monolog was as topical, fresh and up-to-date as today’s headlines, while the sketches that followed with Joan Crawford and Femandel were as old-hat as the Orpheum circuit. But such is the nature of Hope’s having-a-ball delivery of even the most ancient routine that it emerged as great fun all the way down the line. Taking it from the top, Hope’s unusually long—about 12 minutes — opening monolog touched on everything from the moon rocket to Ike’s golf and the current elec¬ tion campaign, and his irreverence was'matched by the accuracy of his barbs. As one of the few comics who are willing to be topical—or can get away with It — Hope achieves a sort of elder-statesman- of-comedy status—they just don’t make ’em like that anymore. Then followed Miss Crawford’s sketch, unfortunately marred by picture trouble — at least on the western feed—a good half of the way. (By this time, one would think NBC would have a stand-by tape on hand for just such an emer¬ gency.) Hope’s writing staff used a pair of old gags, the gimmick that after 12 years, the marriage between Hope and Miss Crawford, isn’t legal, and the use of the tv repairman (remember when it was the Hoover vacuum salesman?) as the unwitting foil for the* make- him-jealous bit. Hope and Miss Crawford made the turn fun all the way through, with Robert Strauss also clicking as the repairman. Miss Crawford was obviously at ease in the pre¬ taped session, and generated the kind of good-humored s.a. that registered strongly. In the show’s other major sketch, it was Hope and Femandel in the “tourist and the waiter” bit, which Hope un- blushingly identified as a standard. His lack of pretention, incidental¬ ly, about his material in itself gives the routines a lift Here again. It was old hat, hut the irrepressible Hopfe’s clowning and the fine pan¬ tomimic hand of Femandel gave it a fine fun Haver. Bernard Bros, were on for a solid record panto, than worked into toe time-honored panto bit wherein one of them operating behind Hope’s back, identifies his hair, teeth and eyes as false. Hope made the perfect straightman, and the Bernards gave the turn a wonderfully funny whirl. Marion Ryan, the British chirp, turned in a good version of her “Love Me” disk, and Hope and Femandel ex¬ ploited the language barrier with a takeoff on a couple of bilingual tunes. Writing team of Bill Larkin, Mort Lachman, Lester White and John Rapp supplied Hope & Co. with plenty of good material, while BUI Ward’s direction kept a zingy pace. Jerry Hopper directed Miss Crawford’s sketch equally well. One technical point; in pre-taping segments of the show separately, lighting levels of the different tapes didn’t-match, and the transi¬ tions were somewhat uncomfor¬ table. Chan dinner jackets) for their album medley of “Baubles and Bangles” iu swing style. With neat back¬ grounding of Bert Niosi’s big band, singing, quartet come back for “Zing Go ihe Strings of My Heart,” again in lpOuncy style 'Tea for Two,” in cha-cha style, had toe Bert Niosi orch back for a hot. session, plus his four-trumpet section for stepout work, with: Niosi on for a clarinet solo that hod; toe audience enthusiastic. Phyllis ’Marshall had one number, “The Days the Rains Came,” which she sang in dramatic baUad style; with Joyce Hahn (in a new soft hjdr-dD as different from her for¬ mer bangs of last season) on for a swift “Hula Hoop Song” with four youngsters doing a back¬ ground of swirling hoops and body JERRY LEWIS SHOW With Helen Tranbel, Wiere Bros.. Producer: Ernest D. Glucksiqan Director: Jack Shea -Writers: Mel Brooks, Danny Simon, Harry Crane, Lewis Musical Director: Walter Scharf Choreographer: Nick Castle 60 Mins., Sat (18) 9 p.m. TIMEX NBC-TV, from Hollywood (color) (Peek) . Jerry Lewis got off to a good start in his first special of the sea¬ son but lost his way before the program was more than 10 minutes old. His next special is due Dec. 10 and if he can keep up the cali¬ bre of the first two bits he ought to have a knockout. Total effect of the opener, however, was a missout. Show opened briskly with a slick hoofing routine parodying the June Taylor styling on the Jackie Glea¬ son show. With Patti Thomas lead¬ ing the way with missteps and shaky legs, routine brought in a strong round of yocks. Then came Lewis in the gem of vignette in which he plays a sad sack against whom the elements have a private grudge. When it rains, it rains on no one but him. And the tag in which he finds a sad sackess in a film house, whom the rain has chosen, too, was a socko clincher. It placed perfectly even with the technical .hazards. Rest of the show, though, was routine variety fare. Helen Trau- bel was less than inspiring in her rundown of “I Believe” and was a little silly in her duet with Lewis on “Black Magic,” miming Louis Prima and Keely Smith, but it had its moments. The Wiere Bros., too, didn’t quite come off in their brief fiddling affair. Lewis had the mak¬ ings of a good idea in a choreo¬ graphic attempt to’satirize tv com¬ mercials but it went on too long and his audience participation stint never got to mean anything. Wal¬ ter Scharf’s musical backing was neat as was Nick Castle’s choreo efforts. .Milton Berle returned Jerry Lewis’ visit to his show the previ¬ ous Wednesday by coming on to give Lewis a statuette kudo from fan mag. That award bit is a tv habit .that should be done away with pronto. It’s not interesting 0 £ entertaining and only serves to plug the mag; Gros. Gliestan were Tommy Edwards fiat hi* “Many a. Time” and “It’s All in tiie Game,” plus Paul Anfca Bor hi* "Diane” and “You are My Destiny,” both having the back¬ ground of toe Gino: Silvi Singers and the Bert Niosi band. It was- a rousing, teeoff, with all artists in good voice. McSta#. ALLISON’S WONDERLAND With Joe Allison, emcee; Ginny Jackson, Bill Ewing, Johnny Daffy, others Prodncer-direeton Don Whitman 68 Mto, MoB.-thrn-Fri, 7:38 *m. KABC-TV, from Hollywood The old.plugola managed to re¬ duce “Allison’s Wonderland” to a poor substitute for slumberland in its first early morning outing on KABC-TV. The 7:30 a.m. kickoff hour didn’t deter that hardy breed of wolves seeking a free plug from showing up to turn this basically acceptable idea of a show into a tedious session of reciprocal back- slapping. In between all the dull accolades that were exchanged, enough business of a somewhat entertaining nature transpired to justify enlivening the picture tube for those few who spurn radio’s traditional function as a breakfast t able medium. • Host Joe Allison is a gracious emcee who can maneuver a pencil across a drawing board and take a turn at vocalizing with equal relish. Other regulars are Ginny Jackson, a fresh and wholesome girl-Monday-thru-Friday who also sings; newsman Bill Ewing; and Johnny Duffer and his instrumental trio, to provide the sharps and flats when needed. On hand to launch the show were the venerable Clark Sisters, Margie Rayburn and Sonny James, all of whom listened to their records, then engaged in very uninspired chatter with Allison. A brief fashion show, vocals by Alli¬ son and Miss Jackson,/and time and weather information rounded out the proceeding. It all amounts tc a routine and unpretentious hour, the most admirable facet of which is the Ability pf those in¬ volved to appear bright and will¬ ing at a time when most enter¬ tainers are sleeping off the previ¬ ous night’s pursuits. Producer-director Don Whitman kept the cameras hopping at a pace sufficient to make the show reasonably lively, while art direc¬ tor George Smith served up some interesting illustrations as hack- drops to make up for the lack of action. If nothing, else, the entry serves as a clock for those rushing off to work, with the correct time superimposed- on the screen. However, on the basis of its first showing, this new program offers little in the way of an excuse for abandoning toe old radio receiver as an early a.m. companion. Tube. Foreign TV Reviews oft Page 51 GINGER ROGERS SHOW. (Pontiac Parade of Stars) With Ray Bolger, Ritz Bros, Nelson Riddle orch, others Producer-Director: Bob Banner Writer: Joe Stein 60 Mins.; Wed. (15), 10 p.m. PONTIAC CBS-TV, from H’wood ( McManus , John & Adams ) Considering the marquee values, the “Ginger Rdgers Show,” Pon¬ tiac’s initial special of the new tv season on CBS-TV last Wed. night, didn’t quite make it as an allround qualitative entry. In these days when finesse and sureness trade¬ mark these month-to-get-ready tv specials, a so-so show isn’t good enough. To say that Miss Rogers’ hour display wasn’t bad is to damn with faint praise. Yet in the final analysis it was no better than “not bad.” As a vet trouper who’s been through the show biz wars. Miss Rogers retains some class and style. In voice and terps these days she’s outclassed by many who have come up since. Thus the vic¬ tory lies in recapturing the rem¬ nants of the stardust that once glistened so brilliantly. And it’s here, among other things, where producer Bob Banner (ex-Dinah Shore producer) failed to play it for maximum values. Toward the end, some of it came out (in some of the peak moments of the show) when Miss Rogers engaged in some “memorabilia on the hoof” in which, to an appropriate and ironic “You Can’t Take That Away From Me” motif, she reprised some of the more fetching turns dating back to the Astaire-Rogers theatri¬ cal specs. Even as a “teaser” which carried the suggestion “you can see the real thing on the ‘Late Shows’ around the country,” it still bore the earmarks of class and distinction. Miss Rogers had as guestars Ray Bolger and the Ritz Bros. The lat¬ ter, when showcased within their proper orbit of entertainment, are unquestionably tops on the zany circuit. But here it was a case of “miscasting,” their buffoonery (a cutup on the Westerns) being pecu¬ liarly out of tempo with the re¬ mainder of the production. Nor was Bolger ‘Splayed” for maximum results. True he had his innings in the soft shoe depart¬ ment (and a pleasure it was to watch) and again he clicked with a bowler-&-umbreIla hoofing hit (backed by six gals) that captured the genuine RB stamp. But by the time he and Miss Rogers suffered through the opening County Fair production number and later duo’d their way through some joint im¬ pressions of emcees and other tv personalities, fully half the show- was taken up by inferior material. Production as a whole needs more imagination. (Much more, is seemed, went into the Pontiac com- : mercials, which were dressed up ; to “junior spec” proportions). The show itself was too stereotype. It was not one of Banner’s better efforts. Rose. DR. I. Q. With Tom Kennedy, emcee; Kay Christopher, Mi mi Walters, others Producer: Harfield Weedin 30 hHu., Mou.-thm-Fri., 2:38 pjn. KABC-TV, from Hollywood At a time when quizzers are reel¬ ing from investigations and dis¬ closures of naughty goings-on, KABC-TV has emerged with a revival of the granddaddy of them all. "Dr. I.Q ” The fact that these question-and-answer sessions are under close scrutiny won’t tamper with the appeal of this one. “Dr. I.Q.,” hampered not at all in its transition from radio to video, is a bright, fast-paced half-hour in which silver dollars are spread so thin among the winners that* it cannot possibly be suspect. The principal appeal of this show is its lightning pace. Ques¬ tions are _fired thick and. fast by the new doctor, Tom Kennedy, and there’s no monkey business in¬ volved, no unwieldy gimmir>Vc re¬ sorted to, no lengthy explanations, no patient waits for answers. Queries range from the ordinary to the absurd, and answers are supplied by the studio audience as the camera surveys its diversified emotions. All the “special questions” of the original are stilL around, in¬ cluding the “famous quotations question” and “the thought twist¬ er.” The familiar call, “I have a lady, doctor,” still signifies fun and a smattering of knowledge. Even a special balcony has been', erected by the station so tort toe good doctor can have a lady up there too. Kennedy is a nimble-witted fel¬ low and that's a prime requisite for “his new: rede of ‘fthe mental hanker.” He does an excellent job throughout, ai<*ed by Kay Christo-’ pber and Mhni Walters, a hand¬ some pair of roving assistants. Harfield Weedin has produced an enjoyable daytime* show ”'Tubm- AN EVENING WITH ASTAIRE With Fred Astaire, Barrie Chase, Jonah Jones Quartet, David Rose orch, others ' Producer-Director: Bud Yorkin Choreographer: Hermes Pan Special Material: Herbert Baker 60 Mins., Fri. (17), 9 p.m. . CHRYSLER NBC-TV, from H’wood (color) (Leo Burnett) Fred Astaire’s live tv debut on last Friday nights (17) Chrysler- sponsored special on NBC-TV was one of the new season’s more excit¬ ing events, not only in promise but in performance. It had c-l-a-s-s wTitten all across its 60-minute for¬ mat. Unlike many another tv show, “An Evening With Astaire” simply got down to the business of turn¬ ing out a highly professional and refreshing hour of entertainment without resorting to trivia or su¬ perfluous folderol to help push the hour along. Instead, this 60- minute display (whether viewed in tint or black-and white) was vested with polish and performance of a high order to match the ’59 models (and the commercials) of its spon¬ sor. Under Bud Yorkin’s exacting di¬ rection and production, Astaire and his troupe of skilled performers, in¬ cluding his lovely and talented partner, Barrie Chase (also making her tv how); the Jonah Jones quar¬ tet and a full-bodied David Rose orch backgrounding, maintained balance and pace, with a fine blend¬ ing of the show’s nine production numbers of song and dance. There - was no frenzy about any • of it; smartness, skill and exactness with an imaginative use of talents key¬ noted the hour, with a spacious de¬ cor of simplicity always in keeping with the tenor of the production. But above all there was Astaire to set the tone and the style as he sparked the proceedings both in the hoofing and the vocal de¬ partments. Whether he was re¬ prising a dozen or so of the show tunes with which he’s been iden¬ tified through the years going back to Gershwin’s “Lady Be Good”; whether he was “batoning” his group of dancers, broken down into small units, into a uniquely distinc¬ tive choreographic pattern for an utterly charming opening number called “Svengali,” whether Astaire and Miss Chase as a twosome were- bestowing a special kind of spell and hoofing magic on their own in- terpretation of “St James Infir¬ mary” to the accompaniment of a fascinating offstage Jonah Jones trumpet; or whether it was a nim¬ ble-footed, white tie-top hatted As¬ taire in solo putting a neat pink ribbon and voucher of approval on the whole hour package in an effec¬ tive song-and-dance finale with "Isn’t This A Lovely Day”—here was an all-too fleeting 60 minutes which saw an upper case kind of show biz returning to tv. There are others who may have preferred Astaire’s conception of “Man With the Blues” as he and Miss Chase and the dancing group translated a Dave Rose original into a moody, lyrical vignette; or the “Change Partners” bit which demonstrated Miss Chase’s ability to hold her own. with Astaire. But whatever toe preferences, the three-way collaborative teamup of Astaire, Bud Yorkin and choreog¬ rapher Hermes Pan gave the whole a style and distinction. It’s a sad commentary on a me¬ dium where outstanding event comes along so infrequently that there is a tendency to exaggerate its importance and pin a “classic tag on it. “An Evening With Astaire” may not have been a clas¬ sic, but until the real thing comes along, it filled the bill admirably Rose. JOHNS HOPKINS FILE 7 With Mfiton Eisenhower, Donald H. Andrews, guests; Lynn Poole; host Producer: Poole Director: Ed Fryer Writers-Assoc, directors: James Chimbidis, David G. Bell, Walter Mlllis Jr. 30 Sfins., Sun., 11:38 Jum. ABC-TV, from Baltimore Johns Hopkins prof Dr. Donald H. Andrews dressed up a half-hour introduction to atomic physics in * lot of visual finery, including Ar¬ thur Murray dancers. Program was a titillating study of what the doc¬ tor called “molecular spin and dance” or toe movement of mole¬ cules. . ' Using professional ballroom dancers* to demonstrate toe- inter* changeability of the molecules may have been overblowing instruction a bit but, understandably, toe Bal¬ timore program wants to expand its audience. Andrews was suffi¬ cient as classroom guide, and was backed strongly, dancers apart, by some clever visual laboratory ma¬ nipulations. The camerawork was alert, aiding toe Instructor in every possible technical respect. Dr. Mil- ton Eisenhower, made a brief open¬ ing announcem eht Art.