Variety (March 1959)

37 Wedneaday, March. H, 1959__ yAfilETT __ TELEVISION REVIEWS ii Tele Follow-Up Comment Bell Telephone Hour “Dial ‘M’ For Music” should be the call-phrase for the “Bell Tele¬ phone Hour’s” excursion into tv this season. Show has found a.way to work in showtunes, longhair, grand opera and jazz in a way that’s extremely satisfying to the eye and ear. Last Wednesday’s (4) outing on NBC-TV. was a top sampling of Bell’s achievement in musical tv. In the hour-long framework, the stanza showcased Howard Keel and Ann Blyth in a fine showtune seg¬ ment; violinist Isaac Stern in a striking audio-visual display of “Rondo Capriccioso”; pianist Joe Bushkin and combo on themes from Cole Porter and Harold Ar- len; Eileen Farrell in a moving performance of Richard Wagner’s “Libestod,” and the Ximez-Vargas Ballet Espanol in some flashy flamenco footwork. It's to the show’s credit that each portion of this variegated bill was complete unto itself. Everything was handled with taste and with enough care so as to make each portion a complete and rewarding entity. The topnotch talent gathered for the show had a lot do with it, of 'course, but the behind-the-scenes workmen rate a bow for making the hour come off skillfully and smoothly. Among them are Roger Englander (producer), Kirk Brown¬ ing (director), William & Jean Eckhart (designers), John Butler (musical numbers staging), and Donal Voorhees (musical director). Grot. Perry Como Show That $25,000,000 man—Perry Como—came up with another pleasant outing Saturday (7) on his NBC-TV hour-long variety lay¬ out. Guesting on the session were Eve Arden, Ronnie Bums and British comedian Max Bygraves. Miss Arden discussed her early Hollywood days and reprised a tongue-twisting tune from a mu¬ sical she appeared in with Danny Kaye. Hers was an arresting rou¬ tine. Ronnie Bums, son of George Bums A Grade Allen, vocalized “Hey Little Girl” in a finger- snapping, rock ’n’ rollish delivery. It goes without saying that Como joined him to work in some refer¬ ences to his parents. It made for some amusing byplay.. Somewhat curious, however, was a “My Heart Stood Still” “production” sung by Como and a mixed chorus. It would have been more appropri¬ ate for Valentine’s Day. Bygraves, a celebrated comic, was not too impressive. Charge this up to his material which seemed rather forced and artifi¬ cial. He used such lines as: “I called her dear because she has antlers sticking out of her head.” His scrambled lyrics duet with Como on “I Wonder Who’s Kiss¬ ing Her Now” was too far fetched to generate much levity. The perennially suave Como, with an assist from a battery of writers headed by Goodman Ace, expertly introed the plugs. Fol¬ lowing an announcement In be¬ half of Girl Scout week, he re¬ marked, “now here’s another good scout—RCA . . .” Likewise, In leading up to a puff for Acrilan carpet, he interjected, “do I sound too much like an Italian Harry Von Zell?” Gilb. Ed Snllivan Show A couple of nitery performers, Jan Murray and Shecky Greene, gave a savvy comedy accent to Ed Sullivan’s CBS-TV show Sunday night (8), Also in the laugh de¬ partment was a routine with film actor Fred MacMurray which turned into a big plug for an up¬ coming Walt Disney production, “The Shaggy Dog.” The long clip from this pic was good slapstick, but whether it rated Sullivan’s description as “the big comedy smash of all time” is another question. Midway In the show, Sulliyan offered another filmed sequence covering the recent Foreign Press Assn, awards in Hollywood. Sul¬ livan was shown getting one irom Sam Goldwyn, who read a glow¬ ing tribute to the columnist; 20th- Fox producer Buddv Adler handed the Cecil B. DeMille award to Maurice Chevalier, who turned his acceptance speech into one of the show’s most charming moments; and David Niven got one for his “Separate Tables” performance. This section was like a preview of the “Oscar” parade. I The rest of the show was straightforward vaufleo. Chrir Barber’s jazz band, which has a current diselick in “Petite Fleur ” opened with a bright dixieland session, which segued into a neat trampoline turn by the Shaller Bros., current at Radio City Music Hall,. N.Y. Joe E. Howard, the veteran songwriter of “I Wonder Who’s Kissing Her Now,”' was joined by his son, Joe E. Howard Jr., in a warm, olafashioned tenor rundown of an oldfashioned songa- log. Film actress Jane Russell and' her brother, Kevin Russell, also teamed up for a religioso medley. David Seville (Ross Bagdasarian), who has been mopping up with his “Chipmunk” act, contributed “Alvln;s Harmonica” with accom¬ panying puppet byplay. A spec¬ tacular . flaming Indian club jug¬ gling routine was furnished by the Martin Bros. The show, however, really began perking in the second half when Murray punched across gags about teenagers, to be shortly followed by Greene who mixed up. the com¬ edy and impressions of Frankie Laine and Jolson with ace impact. Herm. Playhouse 90 Very rarely has prejudice been so eloquently or so poignantly de¬ fined as in Joseph Stefano’s “Made in Japan.” Written with convic¬ tion, insight and clarity, it was another triumph in a banner “Play¬ house 90” season. Stefano’s. meaningful words were brought to life with understanding and vitality by a fine cast, directed with distinction by Herbert Hirsch- man. A striking contribution was made by composer-conductor Jerry Goldsmith, whose Oriental tones enriched Herbert Brodkin’s pro¬ duction throughout. The music was more than mere background effect, [for the viewer was consistently | conscious of its fitting dramatic i presence. In the attempt to penetrate' to the roots of a man’s prejudice, Stefano come up with some careful character studies and a highly- dramatic plot. It’s the study of a GI (Dean Stockwell) in Japan who falls in love with a Japanese girl, but cannot overcome the social barriers masked within his per¬ sonality that have lingered into manhood. He watches, unflinching¬ ly, as she falls to her death from a bridge, unable to bring himself to rescue her as she loses her grip of the railing. The balance of the teleplay is concerned with the efforts of Stockwell to understand himself, the reactions of his bud¬ dies, the consternation of army officials, and the behavior of vari¬ ous Japanese involved. There was a minor sore spot in Stefano’s work near the end when one of Stockwell’s buddies, the most outspoken of the group in defense of harboring Stockwell’s secret, cowardly spills the t) eans to the authorities in a moment of duress. It was inconsistent behav¬ ior on the part of a character who’d been dev&oped as blindly loyal, and a jarring and unnecessary step, seemingly for the purpose of tying all the loose moral ends together neatly, which does not in any way represent the jaggedness of life as it is. This single act stripped the character of logical substance. Stockwell’s sensitive, introspec¬ tive portrayal in the sympathetic central role stamps him as one of today’s fine young actors. Dick York’s intense work as a high- minded, literate sidekick was an¬ other solid performance. E. G. Marshall and Harry Guardino were excellent as a pair of officers em¬ broiled in the explosive interna¬ tional situation. Robert Vaughn, as the . “buddy”, who chickens out when the chips are down, revealed a fine flair for comedy and a wide range of make-believe emotions. Tube. Wisdom Eleanor Roosevelt, one of the exceptional women of this era, was the guest on “Wisdom” over NBC TV Sunday (8) in a half-hour filmed interview with William Attwood, senior editor of Look Magazine. Conversation, earnest and far-see¬ ing, was filmed in Mrs. Roosevelt’s office at American Assn, for the UN in Carnegie Building overlook¬ ing UN and the East River. As always, Mrs. Roosevelt spoke simply, freely, dodging no ques¬ tions from the interviewer. She defended the UN, pointing out that without it this country might well have been involved, in another World War. She spoke of women suffrage, Uncle Theodore Roosevelt and his strenuous life both as an explorer and political figure, and .of her own husband’s enjoyment of politics.* . Mrs. Roosevelt thought her hus¬ band’s greatest achievement as Chief Executive was the affirmative action he took to meet the depres- (Continued~ on page 52) HIGHSPOTS OF GREATEST * SHOW ON EARTH ! With Ernie Kovacs, Hans Neu¬ mann, Bratty, Ibarra Bros, Dior Sistdrs, Capt. Hugo Schmitt, Harold Alzana, Galla Shawn, Frankie Doyle, Gina Lipowska, Charles Moroski, Zacchiuis, oth¬ ers c Producer: Jack Philbin Director: Marshall Diskin Writers: John Pickard, Frank Provo 60 Mins., Mon., 7:30 pan. EDSEL A MERCURY ABC-TV, from Charlotte, N.C. (Kenyon Sc Eckhardt ) The circus is now an annual, not only for the many towns that the big top hits, but for the United States as a whole. The yearly telecast of highlights of the Ring- ling Bros, and Barnum A Bailey show is becoming as traditional as its visits which used to be under canvas, but is now in the more secure and weatherproof confines of air-conditioned and wel>heated arenas. This show came from Charlotte, N.C. This year’s highlights is an ex¬ cellent trailer for the real- thing. The turns were selected from many categories and from among the top acts in the outfit. As a matter. of fact, the closeups af¬ forded a greater insight into the technical aspects of the per* mance than looking at the real thing. The one-hour show under Mer¬ cury & Edsel auspices was an ex¬ citing event as far as the presenta¬ tion of the talent. Most turns from the Hans Naumann tigers & lion to the finale with the Zacch- inis presented a different category of the circus lore. As a matter of fact, the tele version of the show should give pause to the circus top¬ pers on the matter of presentation. It does, at times, seem better to get the maximum out of one act, than have three to five acts in dif¬ ferent rings, shown at the same time so that many highlights are lost. This is a different kind and, seemingly, a more enlightened showcasing. The acts presented included Bratty, who is lifted by his hair and juggles flaming torches; Ibarra Bros, working the high bars; Capt. Hugo Schmitt and his performing elephants; Harold Alzana, probably one of the greatest circus acts of the day who traverses the inclined wire sans any mechanical aids; Galla Shawn, head wings on the swinging bar; Dior Sisters balanc¬ ing on balls; Frankie Doyle with heel swings, the Lipowska and Moroski horses, Flying Comets in aereal derring do, and the Zac- chinis shot out of a cannon. It was a crammed and exciting hour even for those who have become jaded with the circus. The commentary this year was by Ernie Kovacs, who opened and closed wih a poetic flight on. the meaning of the circus, but his role became obscure, since he didn't do the intros and actually got in the way of the proceedings. He showed how pretty the circus girls are during the time Alzana was performing. It should have happened, more logically, during the Dior Sisters turn. It seemed a shame to miss Alzana’s ascent on the wire. There was the usual colorful by¬ play with clowns, a free plug for Tootsie Rolls, and good circus atmosphere. Missing was the tan- bark, for which a synthetic was used. Miss Lipowska’s horse slipped, but got up to complete the. turn. In all a worthwhile galaxy of the greats for the edification, amusement and entertainment of young and old. Jose. MIKE WALLACE INTERVIEW With June Havoc, guest Producer: A1 Ramrus Director: Max Miller Writer: David T. Bazelo 30 Mins., Mon., 10:30 Participating WNTA-TV, Newark Mike Wallace, who has been in¬ active in video for the past sev¬ eral months, returned this week not with one but with two shows. The one under discussion here is his latenight interview session on WNTA-TV, which premiered Mon¬ day (9). the same evening as his new nightly news show, also on WNTA; There was, as he interviewed actress June Havoc, a .notable change in his grid style. Whereas of old he worked over his “guests” with an authoritative* (strength¬ ened by some strong researching) toughness, he tended more toward a bantering aggressiveness on his first stanza. June. Havoc appeared to answer the- questions. Content was dull and sometimes embar¬ rassing as he permitted the eye¬ batting, lip-pursing Miss Havoc to indulge lit extensive clipped-word (Continued on page 52> MARIA GOLOVIN (NBC Opera Co.) With Franca Duval, Richard Cross, Ruth Kobart, Patricia Neway, Herbert Handt, Chester Ludgin, Craig Sechler; Peter Herman Adler, conductor Composer-Librettist: Gian Carlo Menotti Producer: Samuel Chotzinoff Director: Kirk Browning 120 Mins.; Sun. (8), 5 pan. NBC-TV, from N.Y. (color) “Maria Golovin,” the Gian Carlo Menotti opera which had its world premiere at the Brussels World Fair last summer and subsequently had a short-lived career on Broad¬ way, was given a two-hour tintcast on NBC-TV Sunday afternoon (3). Perhaps it should have settled upon tv from the very start for there is no doubt that in this full-length video treatment it was far and away the most successful transla¬ tion of this lesser Menotti work. . Basically the same inherent faults are there, and these revolve principally around Menotti the composer, but dramatically it was a smoother production on tv and overall it seemed to lend itself more effectively to the 27-inch, set intimacy of living room viewing. “Maria Golovin” does not require the larger than life intensification of grand opera; its reduced-size projection made muph more accept¬ able the melodramatic story and more understandable the neurotic development of the blind, love-torn youth. NBC had commissioned Menotti to write this opera for its Brussels presentation, with the NBC Opera Co. endowing it with the tppgrade artistic components that usually apply to this worthy company’s ef¬ forts. The same cast of principals were on deck for the tv perform¬ ance, along with Samuel Chotzinoff as producer, Peter Herman Adler as music and artistic director, with Kirk Browning as video director. Fortified with such a group capable of meeting any operatic challenge, it’s all the more regrettable that NBC has reduced the Opera Co.’s contribution to almost negligible proportions, with “Maria Golovin” as the lone ’59-’60 entry (save for the perennial “Amahl.”). Menotti tells the story of a young, blinded war veteran who falls in love with Maria Golovin, a tenant in his mother’s home. She and her little boy have rented an apartment while awaiting news about her hus¬ band, a prisoner of War. The sen¬ sitive and imaginative young man is torn by jealousy and loVe and when the husband returns is tor- I mented beyond bearing and (so lie believes) shoots her. j Musically it has some spasmodic flashes of lyricism that never quite fulfill themselves yet are as prom¬ ising and intriguing that one re¬ grets they were not more fully de¬ veloped. They are lovely and poig¬ nant in their unashamed melody and sentiment. Whereas Menotti’s “Amahl” achieves its most telling impact by the simplicity of its musical form and his “Consul” and “Saint of Bleecker St.” by their dramatic intensity, in the case of “Golovin” there seems lacking a musical relationship or a continuity between story and music . that would produce an operatic whole. As the neurotic character of Donato grows and the tragedy ripens, the music does not match its somber inevitability. Richard Cross as the tragic youth has matured in the role since his Brussels performance, both in his dramat'c conception and his musi¬ cal projection. Franca Duval in the title role was charming to look upon and sang with ease. Patricia Neway was outstanding in the role of the mother with her deep, hon¬ eyed tones and Ruth Kobart, 'in good voice, has brought many re¬ finements to the part of Agata, the housekeeper. The camera work was exception¬ ally fine and the settings opulent. Rose. British Variety Chib’s Awards on BBC-TV London, March 10. BBC-TV is filming Variety Club’s seventh annual show biz personality^ wards ceremonies to¬ day (10). Web will air a 30-minute version on Sunday (15). Awards will be made at a Savoy Hotel lunch by impresario Harold ■Fielding, actress Beatrice Lillie, producer Carl ForSjnan and come¬ dians Bob Mohkhouse and Brian Rix. Recipients will .be Max By- graves, Michael Redgrave, Rickard Attenborough, Sylvia Syms and Bernard- Bresslaw. SOME OF MANIE’S FRIENDS With Perry Como, Dinah Shore, Sid Caesar, Rosemary Clooney, Eddie Fisher, Bob Hope, Harry James, Danny Thomas, Frank . Sinatra, Jane Wyman, Nat King Cole, Jack Webb, others. Producer-Director: Bob Finkel. Co - Producers - Directors: Bob . Henry, Grey Lockwood, Writers: Ed Hartmann, Herb Baker Baker Music Director: Axel Stordahl 99 Mins., Tues. (3) 7:30-9 p.m. LIGGETT A MYERS NBC-TV, from N. Y., H'wo’d (color) (McCann-Erickson) Whatever confusions may have existed among the U.S. televiewing masses as to “Who was Manie?” and the reasons for such an un¬ precedented outpouring of endear¬ ment were resolved in no unmis¬ takable terms on last week’s 90- minute “Some of Manie’s Friends” tintspec on NBC-TV. If this tv benefit and tribute to the- late Emanuel Sacks, the NBC-RCA exec whose friendships and close ties with show biz were legendary in his own life time, was in¬ clined to be more sentimental than spectacular, possessed of more of the heart-beat than the hoof-beat, this, too, was okay. For over and gbove the anecdotal chain reaction and the warm, human expressions for “one of the good people in our business,” the $1,000,000 talent marquee, both individually and col¬ lectively, left its highly-skilled, in¬ delible stamp and trademark on the occasion. As the “In Memorium” instrument for inspiring the tv event, the “Manie” endearments, as of last Tuesday, can now be said to encompass a whole nation. To the people in tv, both in front and behind camera, this was more than "another show.” It was a testament to a “nice guy,” to Show business’ right hand man in kindness, help, guidance and goodness” who up to the time of his death last year endowed the entertainment industiy with virtues too often found wanting. And here, in their performance-at-scale, were some of its foremost artists re¬ sponding in kind so that medical research might benefit (to the tune of $200,000 in Liggett & Myers sponsor coin). If the show's major accent was on vocalists, it’s because it was pri¬ marily in the recording field that Sacks’ instinctive feel in matching the artist with the composition played such a key role in spiralihg talent into the bigtime. Perry Como, Dinah Shore, Tony Martin, Frank Sinatra, Kay Starr, Eddie Fisher, Nat King Cole, Rosemary Clooney were numbered among the participants in last week’s festivi¬ ties and in each instance it was Manie Sacks who figured promi¬ nently in the ascendancy story. Thus with the reprise of these par¬ ticular numbers that skyrocketed their careers, the spec took on the aspect of a calvalcade of pop song hits spanning the past score or so years. There were some standout mo¬ ments scattered through the 90- minute showcase, as with Sinatra and Miss Shore reprising a number of the tunes from the medley they dueted in their teamup for the first of the hour Chevy shows— which still remains a landmark in tv program annals. Miss Clooney sang “You Started Something,” Cole did “Mona Lisa” and Fisher paired with “With These Hands” and “Wish You Were Here.” Miss Starr -sang “Rock and Roll Waltz” and “Rocking Chair” and joined Jane Wyman in a duetting “Side By Side.” Tony Martin sang “There’s No Tomorrow” and “I Get Ideas.” Como, who emceed the New York originations (Miss Shore dittoed on the Coast pick¬ ups) obliged with “No Other Love.” Hairy James and his horn were on deck for “Sleepy Lagoon.” The fact that each name, each number, each turn in the afore¬ mentioned recital bears the Sacks inspirational stamp, is abundant testimony to the contribution he rendered show business. Some of Manie’s comedy friends were on tap, too, among them Bob Hope, who had pre-taped a funny standup routine only two days be¬ fore checking in at a N.Y. hospital for his serious eye trouble, and Sid Caesar, whose piano panto bit is as hilarious today as when it in¬ itially got Maine’s blessing a de¬ cade ago. Danny Thomas finaled with a brief tribute and appeal to enrich the Sacks MenjpriaLFpunda- tion. For all its multiple components and complexities, including two- way. origination and tape-A-live in¬ tegration, producer-director Bob Finkel whipped the hour and a half into a cohesive whole. Jack Webb turned LAM spieler with the commercial continuity built partially around the back- stage life of the Chesterfield- Oasis-LAM-sponsored shows. The hard sell on such an occasion as this was regrettable. Rote