I thought it might be fun to look at some unique aspects of writing for sitcoms in this blog series. This month we’ll take a look at a variety of writing subjects.
To begin this series, I wanted to learn a bit about a classic sitcom writer, and Jay Sommers came to mind immediately. He wrote more than 400 scripts.
Sommers was born in 1917 in New York City. Before veering into comedy, he attended the City College of New York and studied the not-so-funny topic of chemistry. Apparently, he had good chemistry with his girlfriend’s father who thought he was pretty funny. The dad was an executive with Bristol Myers and the company sponsored many radio shows.
In 1940 his relationship with his then girlfriend’s dad led to Sommers receiving an offer to write for Milton Berle’s radio show. Jay did not keep the girl, but he kept the career. He would go on to write for a variety of radio shows including The Alan Young Show, Eddie Cantor, Spike Jones, Lum and Abner, and Red Skelton.
In 1950 he became the producer, director, and writer for a show called Granby’s Green Acres. It only ran for two months, but it would inspire him to create Green Acres for television a decade later. The show was based on a book by S.J. Perelman titled Acres and Pains. The premise of the show was that a wealthy banker wants to become a farmer, so he and his wife move to the country. The banker was played by Gale Gordon and his wife was Bea Benardaret.
Sommers’ first job as a writer on television was for The Peter Lind Hayes Show in 1950; the episode starred Gloria Swanson. In 1951 he wrote for the Colgate Comedy Hour, along with an episode of the Buster Keaton Show.
1953 brought him recognition for an episode of Our Miss Brooks (“Clay City Chaperone”). He became busier in 1954 writing for My Friend Irma, The Red Skelton Hour, and The Great Gildersleeve.
In the late fifties, he contributed to Blondie, Bachelor Father, and The Donna Reed Show.
Sommers really came into his own as a writer in the sixties. Along with a few screenplays, he wrote for The Adventures of Ozzie and Harriet, The Jim Backus Show, Dennis the Menace, The Beverly Hillbillies, and Grindl.
Sommers enjoyed the most lucrative part of his career from 1964 to 1970, working on Petticoat Junction and Green Acres. Paul Henning had created The Beverly Hillbillies and Petticoat Junction for CBS. In 1965, the network asked Henning to come up with a new sitcom and said he did not have to film a pilot or give a pitch; they trusted him to develop whatever he wanted. Sommers suggested a television version of his old radio show, Granby’s Green Acres. With Gale Gordon and Bea Benardaret already committed to other shows, the hunt began for two new stars for Green Acres.
In the television show starring Eva Gabor and Eddie Albert, the banker is replaced by an attorney. Oliver Wendell Douglas and his wife Lisa leave glamorous Manhattan and move to a run-down farm in Hooterville. Lisa considers their handyman Eb their son and they bond with all the neighbors including Fred and Doris Ziffel and their pet pig Arnold, general store owner and postmaster Sam Drucker, and the folks from Petticoat Junction.
During an interview with the Television Academy, Paul Henning said his contribution was casting, and he let Jay do most of the writing and producing. The show resulted in 170 episodes and was canceled in 1971 when CBS decided to do a “rural purge” and get rid of any shows that fit that theme.
In another Television Academy interview with Richard L. Bare, who directed Green Acres, he said that he was the only director, Jay was the only producer, and that Jay and Dick Chevillat did all the writing. He said that the only other person on staff was a secretary. And, he said things worked out great. He said today there are way too many people on the set and it gets confusing.
Jay continued writing in the seventies, but he did not write a lot. His shows that decade included Hot L Baltimore, Good Times, Ball Four, Alice, and Hello Larry.
Jay passed away in 1985 in Los Angeles from a heart ailment. It was very hard to find much personal information about Jay and no photos. I do know that at some point he married Barbara and they had several children. So sad that we don’t know a lot about some of the people who contributed so much to the golden age of television.
Jay Sommers left us much too early. He came out of a chemistry background, proving you don’t have to teach someone to be funny. He wrote for some of my favorite shows including The Adventures of Ozzie and Harriet, The Donna Reed Show, and Bachelor Father.
Sommers worked on three of the most iconic television sitcoms in the 1960s: The Beverly Hillbillies, Petticoat Junction, and Green Acres. If you have been with me for a while, you know I never really cared for The Beverly Hillbillies. I really enjoy Petticoat Junction and I think it’s well written, but I think Green Acres was one of the best-written sitcoms on television. It’s not easy to write about quirky characters without them seeming unbelievable, but Jay did it. He created characters we fell in love with and truly liked. He produced and wrote brilliant scripts week after week for more than five years. They were clever, witty, and sophisticated without being over the top. His grave marker sums it up, “WRITER.” Thank you, Jay Sommers for introducing us to the good folks in Hooterville.
We are devoting this month to some of our favorite television actresses. If you ever watched Green Acres, you will have fond memories of Ralph Monroe, played by Mary Grace Canfield.
Canfield was born in Rochester, NY in 1924. In her late twenties, she began acting with regional theater companies. She appeared in a few Broadway plays, but they were not big successes. In 1950 she married Charles Carey Jr, but they divorced five years later.
While she continued to appear on stage until 1964, she tried her hand on television in 1954 on an episode of Goodyear Playhouse.
During the fifties, Canfield continued appearing in a variety of televised drama series and several big-screen movies, including Pollyanna.
From 1961-62 she was part of the cast of The Hathaways. She played Amanda Allison, the housekeeper, on the show. Starring Peggy Cass and Jack Weston, the series was about a couple who were raising three chimps: Candy, Charlie, and Enoch.
During the early sixties, Canfield appeared on many of our favorite shows including Hazel, The Interns, The Andy Griffith Show, The Joey Bishop Show, The Farmer’s Daughter, and General Hospital. Mary Grace showed up on Bewitched as Harriet Kravitz, Abner’s sister.
From 1965-71, she played Ralph Monroe, handyman to her brother Alf on GreenAcres. Canfield appeared in forty of the episodes of the show’s run. Ralph always showed up in bib overalls with her baseball cap on backwards, a somewhat better carpenter than her inept brother. The brother and sister team could not finish a project on time or in an acceptable condition. In one episode, Lisa gave her a makeover. In later shows, Ralph admits she is in love with farm agent Hank Kimble.
In a 2006 interview in the Bangor Daily News, she said she felt a bit bad about being remembered for Ralph, not because she didn’t appreciate the character but “only in the sense that it was so easy and undemanding. It’s being known for something easy to do instead of something you worked hard to achieve.”
In the seventies and eighties, Mary Grace made a handful of appearances on shows including Love American Style, The Love Boat, Family, and Cagney and Lacey.
About this time, she moved to Sedgwick, Maine which she fell in love with while performing in the area. Surprisingly, after more than three decades of being single, Canfield tried marriage again when she wed John Theodore Bischof; they were together until she passed away from lung cancer at age 89. Canfield had to move back to California when her health became an issue.
Although I tried, I could not find much information about Mary Grace which made me sad. I could not learn anything about her personal life other than that she had two children, so I don’t know what her hobbies were, what dreams she did not achieve in her career, or what her favorite role was. I would have loved to have seen Canfield get a part in another sitcom after life on Green Acres. However, I thoroughly enjoyed Green Acres and part of that enjoyment came from the quirky but lovable characters who inhabited Hooterville. Ralph Monroe was one of the best.
This month’s blog series is “It’s My Show.” Today we are beginning with a show I’ve discussed a few times over the years that had the perfect cast and concept, but it was cancelled after only one season: The Phyllis Diller Show which also went by The Pruitts of Southampton.
The show was created by David Levy in 1967 and was loosely based on the book House Party by Patrick Dennis. Levy was also the creator/producer for The Addams Family which aired from 1964-1966. The shows also shared composer Vic Mizzy who wrote the themes for both series. Mizzy also wrote the catchy tune from Green Acres. The opening theme song had Phyllis Diller dancing, skipping, and singing through the mansion, and the lyrics were:
PD: Howcha do howcha do, howcha do my dear What a LOVELY surprise, nice to see you here.
RG: All the bills have been long overdue my dear.
PD: File them under I.O.U… Howcha do, howcha do, Well HELLO, it’s you! Like my beads, like my dress? Aren’t they marvy-poo? They belong to the internal revenue. And they got us eating stew.
CHORUS: The Pruitts of Southampton,
Live like the richest folk, But what the folk don’t know is that The Pruitts are flat broke!
PD: Howcha do, howcha do, howcha do, my dear
RG: We are out of champagne, and I’m stuck, my dear.
PD: Ask the butler to lend you a buck, my dear. Howcha do, howcha do, howcha do…
The Pruitts, an incredibly wealthy family, live in the Hamptons. After going through an IRS audit, the family realizes they owe so much in back taxes, $10,000,000 in fact, that they were now broke. The IRS agrees to let them continue living in their mansion because they think exposing such a wealthy family’s poverty would cause a lot of repercussions.
Phyllis Diller starred as Phyllis Pruitt. Phyllis lives with her uncle Ned (Reginald Gardiner), her brother Harvey (Paul Lynde), her daughter Stephanie (Pam Freeman), brother-in-law (John Astin), and their butler (Grady Sutton). Midseason, the show was revamped and the family brings in boarders to raise money, including Norman Krump (Marty Ingels) and Vernon Bradley (Billy De Wolfe). They should have been able to raise a bit of money with 68 bedrooms in the house. Other characters included Regina Wentworth (Gypsy Rose Lee), their nosy neighbor and Baldwin (Richard Deacon), the IRS agent. The incredible Charles Lane plays Max.
In addition, there were a lot of guest stars during that single season including Ann B Davis, Bob Hope, Arte Johnson, John McGiver, Louie Nye, Hope Summers, and Mary Wickes.
The shots of the family home were filmed at the Vanderbilt mansion, Biltmore.
The show began on Tuesday nights. At the time, The Red Skelton Hour was one of the most popular shows on television and was tough competition. When the show was revamped, it moved to Friday nights where it was up against Friday Night at the Movies and T.H.E. Cat. If you don’t remember that show, don’t feel bad, you probably remembered very few of the new series that debuted that year.
1967 was not a very profitable year for sitcoms specifically. Besides Phyllis Diller’s show, the season aired Run Buddy Run, Mr. Terrific, The Jean Arthur Show, Occasional Wife, and Pistols and Petticoats. That Girl was one of the few shows to return the following season.
Even though it was named as one of the worst sitcoms ever in several TV Guide listings, critics at the time praised the show. Phyllis Diller was nominated for a Golden Globe for Best Actress in 1967. Marlo Thomas won, but there was some great competition including Elizabeth Montgomery, Barbara Eden, and Barbara Stanwyck.
One reviewer on imdb.com titled their review “The worst thing I have ever seen in my life” and followed up with a review that said, “Just kidding, this show is amazing and hilarious and that is why I gave it a 10/10.”
When Vic Mizzy discussed the show in a Televison Academy interview, he said the director was not any good, the scripts weren’t as funny as they could have been and sometimes Phyllis didn’t know her part. He thought those were the reasons the show failed. He thought it could have been unbelievabley funny.
One day Vic got a large check from England and it turns out the show was a hit there decades after it was aired in the United States.
I watched a couple of the episodes on youtube for this blog. Phyllis Diller was in rare form. Her hair is crazy like always and slapstick was part of her performance. The laugh track was annoying, but the show was funny at times. Pam Freeman was a breath of fresh air. In one of the episodes, Phyllis and her brother-in-law were trying to finance a pizza-making machine. They had to work around the fact that Baldwin from the IRS put a pay phone in the home to keep them from making so many long-distance calls. One of the funniest scenes was when Phyllis and her brother-in-law climb up one of the phone poles to tap into the line to talk to Baldwin pretending to be other people in order to get Baldwin to approve their financing. Phyllis had to come up with a variety of different voices during the calls. You could definitely hear a bit of Green Acres influence in the background music for this show. This was a show that only could have been produced in the sixties.
One of the best parts of watching the show was seeing the old commercials. I had forgotten the one about Joy dish soap when the dinner guests could see themselves in the plates. It just reminded me it was joyful to see these old shows in their entirety.
It was a fun show to learn about with an outstanding cast and should have been much more successful than it was. Whether the failure came from the director, the scripts, or some other behind-the-scenes issue, I’m not sure. It’s worth watching an episode or two just to see the wackiness that was associated with some sixties shows, but if I have to watch ten episodes of a show, I’ll take That Girl every time.
We are in the midst of our “Men of August” series and today we to learn about another Wisconsin resident, Al Molinaro. Last week we delved into the career of Tom Bosley; Molinaro and Bosley were castmates on Happy Days but made their way there on very different paths.
Al’s parents immigrated from Italy. His father had a true success story. He began his life in America at age 15 working as a water boy with a railroad crew heading west. He met and married his wife in Kenosha, Wisconsin where they settled down to raise their family of ten children. Al was born in 1919.
Al’s father, Raffaele, owned a restaurant/hotel and sponsored hundreds of Italians so they could make their way to the United States. Al’s brother Joseph became the district attorney for Kenosha County, and his brother George served thirty years in the Wisconsin State Assembly.
After high school, Al became a union leader at the Vincent-McCall Furniture Spring Factory. A year later, he later took a position with the City of Kenosha as assistant to the city manager. A friend of his had relocated to California to work in the aircraft industry and encouraged Al to give it a try.
In 1940, Al left Wisconsin for a career in California. Although Al would never live in Kenosha again, it held a special place in his heart and later in his life, he said that “I love that town; I love it. If it wasn’t that I left it for show business, I’d still be there today.”
His first job in Los Angeles was with Reginald Denny’s Hobby Shop. He began working odd jobs in the television industry such as a live action animator at George Pal’s studios. He then worked for a bill collecting company until he had saved enough money to open his own collection agency. Although he moved on to another career, he held onto the collection agency until he retired. During this time, he also got involved in real estate. One of his properties was purchased for a huge retail mall which gave Molinaro the funds he needed to pursue an acting career.
During this time, he met his wife, Helen Martin, and they married in 1948, eventually divorcing in 1980.
Al began receiving television roles in 1969. He first appearance was on Green Acres. Lisa opens a box of cereal only to find real gemstones in her box of Crickly Wickly. It turns out jewel thieves hid their stolen goods in the box in a Chicago factory. You know this will be a fun episode right from the beginning when the credits show up graffitied on a wall behind the crooks. Al was one of those crooks, and he would show up in two other Green Acres episodes. He also appeared on Bewitched, Get Smart, That Girl, and Love American Style.
He took an improv class where he met Penny Marshall. In 1970, Penny introduced Al to her brother Garry which would change his acting journey. When The Odd Couple was casting for roles, Al wanted an audition for the role of Murray Greshler, the police officer who played poker with Oscar and Felix. Garry didn’t think he was right for the role, so he resisted, but Al was so persistent, he finally brought him in and ended up offering him the job.
After the show ended, Garry offered Al the role of Al Delvecchio, replacing Pat Morita who was leaving Happy Days as the owner of Arnold’s. Happy Days was set in Milwaukee, a city Al was very familiar with. While on the show, Molinaro suggested that Robin Williams be cast in a role John Byner declined which led to a new career for Williams.
In 1981, Al married Betty Farrell. About this same time, he was one of the cast members who made the transition from Happy Days to the show’s spinoff, Joanie Loves Chachi.
After portraying a restaurant owner on the air for many years, Al became one in real life when he and Anson Williams (Potsie on Happy Days) opened a chain of diners called Big Al’s.
Molinaro continued to receive acting offers from Garry for some of his movies, but he felt he had to turn them down. He couldn’t reconcile his role with the language in movies that he felt was offensive. As he said, “I can’t work in movies with Garry because I’m so square that I won’t be in a movie that has four-letter words in it. . . . You gotta live with yourself.”
Molinaro retired from acting in the early nineties but continued to appear in commercials for another decade. His commercial career included being the spokesperson for Cortaid Hydrocortisone Cream, Mr. Big Paper Products, and 42 spots for On-Cor Frozen Foods.
Al was diagnosed with Alzheimer’s in the mid-90s. He died from complications from an infected gallbladder in 2015.
Considering Al was only an actor for 22 years or so, he created several of our favorite characters. He seemed to have a full life and stayed very humble. Happy Days would not be the same without Al, and he added a lot of humor to The Odd Couple’s weekly poker nights. A true success story; I’m glad he provided us with so many memorable moments without sacrificing his personal moral standards.
As we continue to celebrate National State Days, this week we are visiting Kansas. Our Sunflower star is Vivian Vance. Vivian was born in Cherryvale, Kansas in 1909. Her family moved to Independence when she was six. She knew she wanted to be an actress, but her mother’s strict religious beliefs prohibited her. She began sneaking out of her room at night to perform and eventually moved to Albuquerque, New Mexico where she changed her last name from Jones to Vance.Vivian married Joseph Shearer Danneck Jr. in 1928 at age 19 but they divorced in 1931.
In 1930 she was hired for her first job at the Albuquerque Little Theatre. After appearing in many other plays for the group, the local theater community paid her way to New York so she could study with Eva Le Gallienne.
In 1932, Vance began working on Broadway and was often a chorus member. In 1937 she replaced Kay Thompson in “Hooray for What!” and then began receiving supporting roles. In 1941, she joined Danny Kaye and Eve Arden in Cole Porter’s musical “Let’s Face It” for 500 performances. She would appear in 25 plays with her last being “Harvey” in 1977.
In 1933 Vance tried marriage again, wedding George Koch, but that relationship also ended in divorce in 1940. Her third marriage to Philip Ober in 1941 would also last only 8 years.
Until 1950 she was offered some small roles in big screen in several films. In 1949, she appeared in her first television series, Philco TV Playhouse.
In 1951, Lucille Ball and Desi Arnaz decided to launch their sitcom I Love Lucy. Ball was hoping to cast Barbara Pepper or Bea Benarderet in the role of Ethel Mertz. Bea had already taken the role of Blanche Morton on The George Burns and Gracie Allen Show. CBS declined to hire Pepper because they said she had an addiction to alcohol. After many roles as “The Dame” in the movies, Pepper later played Doris Ziffel on Green Acres. It’s interesting that CBS allowed William Frawley to be hired for the show because he had a well-known alcohol problem at that time, but Desi gave him strict rules.
Director Marc Daniels had seen Vance perform in the “Voice of the Turtle” and suggested her for the role. She would play Ethel for 179 episodes. She was nominated for her work in 1954, 1956, and 1957, winning in 1954.
Apparently, she was a very good actress because although she and William Frawley who played her husband Fred had great comedic timing, they could not stand each other. Vivian wasn’t happy that she had to wear frumpy clothing and that Frawley was supposed to be her husband because he was 22 years older than her. He overheard a derogatory comment she made about their age difference, and they never developed any type of cordial friendship after that. However, their coworkers claimed they were professionals and treated each other with respect on the set.
When the sitcom ended, Vance continued to play Ethel on The Lucille Ball-Desi Arnaz Show. She and Frawley were offered a spin-off series, but Vance passed because she didn’t want to continue working with Frawley. Vance was interested in another show however, and Desilu, Ball and Arnaz’s production company, put together a show called Guestward Ho! for her, but the network rejected the pilot. Desilu made some changes to the show and hired Joanne Dru for the lead. ABC picked it up but cancelled it after one season.
In 1961, Vance married John Dodds, an agent, editor and publisher. They moved to Stamford, Connecticut, and Vance always felt pulled between her marriage and career. In 1974 the couple moved to California. Vivian had no children from her four marriages but was godmother to Lovin’ Spoonful band member John Sebastian.
When Ball put together a new show, The Lucy Show in 1962, she invited Vance to costar on the show. The concept featured Ball as Lucy Carmichael, a widow, raising two children in Danfield New York. Vance played her best friend Vivian Bagley, a divorced mother of one son. After a few years, Vance wanted a bit more control and a bit of controversy developed between Lucy and Vivian. Vivian left the show, but they resolved their differences and she guest starred on the show and joined Lucy on reunion shows and on her third sitcom, Here’s Lucy which ran from 1968-1974.
Vance had very few television roles after leaving Ball’s sitcom, although she did make appearances on Off to See the Wizard, Love American Style, Rhoda, and Sam.
She was best known during those years as the Maxine, the Maxwell Coffee lady starring in numerous commercials for the coffee company. She was paid $250,000 for her three-year contract.
The last time Vivian and Lucy appeared together was Ball’s special Lucy Calls the President in 1977. Not long afterward, Vance suffered a stroke which left her partly paralyzed. She died in 1979 from bone cancer.
Both Ball and Arnaz commented on her death. Desi shared that “it’s bad enough to lose one of the great artists we had the honor and the pleasure to work with, but it’s even harder to reconcile the loss of one of your best friends.”
Ball commented on Vivian’s performance as Ethel: “I find that now I usually spend my time looking at Viv. Viv was sensational. And back then, there were things I had to do—I was in the projection room for some reason—and I just couldn’t concentrate on it. But now I can. And I enjoy every move that Viv made. She was something.” Both Vance and Frawley were inducted into the Television Academy Hall of Fame in March of 2012.
Some actors have the ability to adapt to a variety of television roles and we’re grateful for them. Other stars create one that is so memorable it becomes completely entwined with part of our life. Thank you Vivian Vance for being Lucy’s best friend. While we love Lucy’s antics, you are the one the majority of us identified with and for seventy years you have been influencing comedy and making new fans.
The late 1960s and early 1970s might have contained the most diverse television shows than any other era. In 1968, there were the rural comedies like Green Acres and The Beverly Hillbillies; there were the standard sitcoms, My Three Sons, Get Smart, That Girl, Bewitched; there were the remains of a few westerns including The High Chaparral, The Virginian, and Gunsmoke; there were crime and thrillers such as Hawaii Five-0 and Mission Impossible; there was the crime/western in The Wild, Wild West, there were gameshows on at night including Let’s Make a Deal, The Dating Game, and The Newlywed Game; there were sci-fi shows like Star Trek and The Land of the Giants; family shows like Lassie; and even Lawrence Welk.
In addition, there were a couple of shows that were a bit edgier and introduced more provocative concepts and themes. The Mod Squad featured three teens who were helping solve crimes in lieu of jail time, and then there was the almost-impossible-to-describe Laugh In.
Similar to Laugh In was The Smothers Brothers Comedy Hour which also debuted in 1967 featuring Tom and Dick Smothers. It had more of a variety format to it but it had the same topical and satirical humor.
In addition to poking fun at politics, the war, religion, and current issues, you could tune in to the Smothers Brothers for some of the best and sometimes controversial music in the industry. Performers such as Jefferson Airplane, Steppenwolf, Simon and Garfunkel, The Who, Cream, Pete Seeger, and The Doors appeared on the show.
The show aired Sunday nights against Bonanza on NBC; ABC aired The Sunday Night Movie in its first season and Hee Haw in its second season.
The series had some of the best writers on television: Alan Blye, Hal Goldman, Al Gordon, Steve Martin, Lorenzo Music, Don Novello, Rob Reiner, David Steinberg, and Mason Williams. Reiner and Martin both commented on the show in an interview by Marc Freeman in the Hollywood Reporter 11-25-2017 (“The Smothers Brothers Comedy Hour at 50: The Rise and Fall of a Ground-Breaking Variety Show”).
Reiner relayed that “you had two cute boy-next-doors wearing red suits, one with the stand-up bass and the other with his guitar. They looked like the sweetest, most innocent kids. You got drawn to them, and then they hit you with the uppercut you didn’t see coming.”
Martin elaborated “When you have the power wrapped up in innocence, it’s more palatable. They were like little boys, but you also had Dickie there to reprimand Tommy when he would make an outrageous statement. It’s like the naughty ventriloquist dummy who can get away with murder as long as the ventriloquist is there to say ‘You can’t say that.’ It’s the perfect setup for getting a message across.”
In addition to the musical acts, hundreds of celebrities appeared on the show between 1967 and 1969, including Jack Benny, Carol Burnett, George Burns, Bette Davis, Jimmy Durante, Barbara Eden, Nanette Fabray, Eva Gabor, Shirley Jones, Don Knotts, Bob Newhart, Tony Randall, Ed Sullivan, Danny Thomas and Jonathan Winters, along with so many others.
Part of the show was the brothers’ ongoing sibling rivalry about whom their parents liked best. They also began to add political satire and ribald humor. Pat Paulsen delivered mock editorials about current topics such as the draft and gun control, and in 1968 he had a mock presidential campaign.
Church sermon sketches poked fun at religion. The show lampooned many of the values older Americans valued, often delivering anti-establishment and pro-drug humor. No one was given an exception, and the show lambasted the military, the police, the religious right, and the government.
Battles over content were ongoing with the network. The network pulled Pete Seeger’s performance of his anti-Vietnam War song, “Waist Deep in the Big Muddy.” They nixed Harry Belafonte’s song, “Don’t Stop the Carnival” because it had a video collage behind him of the 1968 Democratic National Convention riots.
Younger viewers were tuning in, and despite the conflicts, the show was picked up for a second season. The network insisted they receive a copy of the show at least ten days in advance for editing. In April of 1969, William Paley canceled the show without notice. Some sources contend it was canceled by CBS president Robert Wood. Some sources cite the issue with unacceptable deadlines and others mention Tom Smothers lobbying the FCC and members of Congress over corporate censorship that brought about the firing. The brothers filed a breach of contract suit against the network and after four years of litigation, a federal court ruled in their favor, awarding them $776,300.
Here’s a typical joke from the show that was not as controversial.
Tom: You can tell who’s running the country by how much clothes people wear, see?
Dick: Do you mean that some people can afford more clothes on, and some people have . . . less on? Is that what you mean?
Tom: That’s right.
Dick: I don’t understand.
Tom: See, the ordinary people, you’d say that the ordinary people are the less-ons.
Dick: So, who’s running the country?
Tom: The morons.
The Smothers Brothers elicited humor that was as topical, influential, and critical as anyone had ever heard before on television. Fifty years later, both the network and the brothers realized everyone over-reacted. If the Smothers Brothers had tried to play by the rules a bit, they would not have lost their platform to continue to help change what they saw as a messed-up culture.
The CBS executives felt the program created too much controversy. In their defense, politicians, especially Lyndon Johnson and Richard Nixon, exerted a lot of pressure on the network. Remember this was a time of three networks and ads are what produced the profits to fund shows. The network received a boatload of hate mail daily about the program and, when viewers begin talking boycotting advertisers, executives sit up a bit straighter and listen.
The Smothers Brothers Show, a less controversial series, debuted in 1975. They had two specials on NBC later and another CBS series in 1988 but never regained the influence they had in the sixties. However, the show did help pave the way for a future that permitted, and later embraced, shows with controversy beginning with All in the Family, continuing with Saturday Night Live, and recently seen on shows such hosted by Jon Stewart and Stephen Colbert. Although the comedy spouted on the show would seem quite tame by today’s standards, the show had an important part in the history of television and the rights of free speech.
I have seen some DVDs out there from this show, but they are pricey. Recently I saw season two going for $190. I do see Laugh In on Decades quite often, so perhaps The Smothers Brothers might show up somewhere too, although I’m not sure this show would hold up as well as Laugh In, but the musical performances would be fun to see.
My blog theme for this month is “What a Character!” I am looking at the careers of four successful and hard-working actors. With 372 acting credits, perhaps there was no more prolific character actor than the beloved Charles Lane. He perfected the grumpy sourpuss always ready and gleeful to make life more complicated for others. His bio on imdb.com captures his type perfectly as the “scrawny, scowling, beady-eyed, beak-nosed killjoy who usually could be found peering disdainfully over a pair of specs, brought out many a comic moment simply by dampening the spirit of his nemesis.”
However, despite that, we always knew there was more to him, and that his real persona was being covered up by his crotchety outward characteristics. His character Herman Bedloe on Petticoat Junction portrayed this dual-personality perfectly. Bedloe was always trying to shut down the train, but we knew he actually liked the Bradley family, and occasionally you would get a glimpse of the lonely and soft-hearted side of him.
He was born Charles Gerstle Levison in San Francisco in 1905. His family survived the 1906 earthquake. His father was an insurance executive, and Charles would follow in his footsteps for his first career.
A friend, actor Irving Pichel, convinced Lane to try his hand at acting, and Lane joined the Pasadena Playhouse in the late 1920s. His first movie was City Girl in 1930, and his last was Acting on Impulse in 1993. During those six decades he had a successful career in both television and Hollywood. In 1933, Lane became one of the founding members of the Screen Actors Guild (SAG). In that year alone he made 23 films. There was an anecdote told about Lane that it was not uncommon for him to go to a movie, see himself on screen, and be surprised because he completely forgot he had been in the film. Starting out at $35 a day, by 1947 he was earning $750 a week.
His longest-running role was husband. In 1931 he married Ruth Covell; the couple had two children and were married until her death in 2002.
Perhaps most people recognize Lane from his role of rent collector for Henry Potter in It’s a Wonderful Life. Capra signed Lane to roles in ten of his movies. Lane was a corrupt attorney in Mr. Deeds Goes to Town (1936), an IRS agent in You Can’t Take It with You (1938), a newsman in Mr. Smith Goes to Washington (1939), a reporter in Arsenic and Old Lace (1944), and Blink Moran in State of the Union (1948). Among his most-cherished possessions was a letter from Capra where he wrote “Well, Charlie, you’ve been my No. 1 crutch.” Other popular films he was in include The Ghost and Mr. Chicken; It’s a Mad, Mad, Mad, Mad World; and The Music Man.
During World War II, Lane joined the Coast Guard. When he returned to civilian life, his television career took off. His first role was on Burns and Allen in 1951. During the 1950s, he appeared in more than 30 shows including Topper, The Thin Man, Perry Mason, and The Ann Sothern Show. He was often seen on Lucille Ball shows. He and Lucy had become friends when they both worked for RKO, and he had a great respect for Desi Arnaz’s acting ability.
During this decade he was cast on the show Dear Phoebe in 1954. Peter Lawford starred in the show as a former college professor who writes an advice column under the name Miss Phoebe Goodheart. Meanwhile, his romantic interest is Mickey Riley portrayed by Marcia Henderson, the paper’s sports writer. Lane took on the role of Mr. Fosdick, their boss.
The 1960s found him on almost every popular show of that decade. Tuning in to your favorite series, you would spy Lane on Bachelor Father, Pete and Gladys, Mister Ed, The Andy Griffith Show, The Joey Bishop Show, Get Smart, The Bing Crosby Show, The Man from UNCLE, The Donna Reed Show, Green Acres, Bewitched, and The Wild, Wild West, among many others.
Lane had recurring roles on five shows during the 1960s. On Dennis the Menace, he was the pharmacist Mr. Finch. He also could be seen on his friend’s series, The Lucy Show as Mr. Barnsdahl, a local banker. The Phyllis Diller Show had a cast that should have made it a hit and from 1966-67, Lane played Maxwell. Although many characters appeared on both The Beverly Hillbillies and Petticoat Junction, Lane had two different roles on the two series. He appeared in 24 episodes of Petticoat Junction between 1963-1968 as Homer Bedloe, a railroad executive who is always trying to find a reason to shut down the Cannonball. On the Beverly Hillbillies, he portrayed Foster Phinney.
Lane continued with both his movie and television appearances throughout the 1970s, taking roles on The Doris Day Show, The Odd Couple, Family, Rhoda, Chicoand the Man, and he continued his television appearances into the 1980s and 1990s with shows that included Mork and Mindy, St. Elsewhere, LALaw, and Dark Shadows.
The decade of the seventies would find him cast in two additional series, Karen and Soap. Karen debuted in 1975, starring Karen Valentine as Karen Angelo. Karen works for an advocate group for the common American citizen, Open America, founded by Dale Busch, who was played by Lane. On Soap, Charles took on the role of Judge Petrillo who presided over Jessica Tate’s murder trial; however, because of Jessica’s husband, the judge lost $40,000 in a bad investment.
Charles Lane was honored in 2005 when he turned 100. SAG proclaimed January 30 “Charles Lane Day,” and TV Land honored him in March for his long career. After receiving his award, he let it be known “in case anyone’s interested, I’m still available!”
Despite his being typecast in cranky roles, friends and family described him as funny, kind, and warm-hearted. Lane’s one vice was smoking. In 1990 he was rushed to the hospital when he was having problems breathing. When the doctor asked if he smoked, Lane informed him he had kicked the habit . . . 45 minutes earlier. He never smoked again and he lived another 12 years, dying peacefully in 2007.
Although it’s tough on actors to be typecast so early in their career, it’s a double-edged sword, because it also provides a lot of opportunities for roles. Lane was an enigma; while he always convinced us that he was just as mean as could be, we also knew if someone would give him a chance, he could be reformed like Scrooge; he just needed the opportunity. It always makes me smile to come across Charles Lane in a move or television episode. It’s like seeing an old friend, or perhaps the neighbor who yelled at you to get off his yard. However, if you looked closely, you would see him watching and wanting to be part of the action. As you watch your favorite older classic shows, keep an eye open for him.
In this monthly “Behind the Scenes” series, we are learning about the people who work behind the camera and help make the show more realistic. It was very hard to find information about wardrobe designers. What these jobs look like vary by show. Some shows have actual designers like Marilyn Lewis on That Girl or Jean Louis on Green Acres, who we learned about in previous blogs. Some shows have a dresser who helps take care of costumes and keeps them in good condition. I could not find anyone listed in the wardrobe or costume departments for The Partridge Family. Perhaps they only had shoppers who purchased the items for the cast each season.
One thing I noticed and liked about The Partridge Family that was similar to My Three Sons was that each cast member got a wardrobe for the season, and they wore the same items on various episodes. You can definitely get a feel for their favorites by how many times they appeared throughout the year. I think this makes the characters more realistic. Like us, they only have so many clothes in their closet, and they wear them over and over, unlike current shows where the wardrobes are new for each episode.*
I chose to look at the clothing for The Partridge Family for a few reasons. Obviously, I can relate to them since I had those same items in my closet during that time. I can remember wearing bell bottoms, flowered or checked shirts with pointy collars, and carrying macramé purses. My favorite outfit during this time was a pair of bell bottoms with maroon and navy flowers that I wore with a navy blouse with a pointed collar and cuffs with buttons on them. I also remember a pink and white gingham skirt and blazer that I wore with a black bodysuit. My favorite skirt had a black background with jewel-toned flowers all over it. It had a slit up the side of the skirt, and I wore it with a black top. Another reason, I picked the Partridges to analyze style was because there were a variety of characters to dress—teens, older adults, kids, as well as a singing group.
The clothes The Partridge Family members wore fit with the times. They were a great representation of the clothing of the 1970s. In That Girl, Ann Marie’s wardrobe was almost like another character. Many people paid special attention to what she wore. In shows like The Brady Bunch or The Partridge Family, clothes were appropriate to the time and trendy, but they didn’t take center stage. They just reflected what everyone was wearing and made the characters more realistic.
So, what were the fashions during this time? There was not “a” predominant style in the 1970s. Walking down a city street, you could observe Indian block print dresses, tie-dye shirts, hip-huggers, mini skirts in bold patterns, and peasant type dresses in muted colors.
There were tons of options for dresses: long or short, single pastel or bold multi colors, solid or patterned, sleeveless or long-sleeve, jumpers or long, flowing skirts.
Men’s pants might be worn low or higher waisted. They might be cuffs or bell bottoms. They might be corduroy or denim.
Teen Girls and Young Adults
The Hippie themes carried over from the 1960s into the early 1970s. Many people were wearing bell bottoms, maxi dresses, granny dresses often trimmed with leather or lace, peasant blouses, and ponchos. There was not a hemline for the era; both maxi and mini-skirts were popular.
Culottes debuted in the mid-1970s. Colors tended to be earthy in nature: apple green, mauve, tangerine, mustard, and copper. Neutral solid colored pants were always appropriate, but jeans began to gain popularity in the mid part of the decade. Denim also showed up in jumpers. Accessories included chokers, dog collars, headbands, floppy hats, and jewelry made of feathers, shells, and leather.
Peace signs showed up in a lot of jewelry. Make up tended to look natural with just a hint of blush or lip gloss. Later in the decade, the disco look would bring in shimmery and bolder colors. Along with leather or macramé purses, younger women carried blue suede or tapestry printed bags. Sunglasses were often worn.
Laurie’s clothing was never too revealing or wild. She typically wore dresses to school and on dates but could also be seen wearing solid colored pants with blouses or tunics. She wore a lot of orange. For most of the series, she had long hair parted in the middle.
The photo above shows Laurie’s polka dotted skirt and top. We can also see Danny’s blue and yellow striped top. He had a variety of striped tops he wore as did Chris. The patterned bold-colored shirt Shirley has on was one of her favorites. She wore it on 6 or 7 shows during Season 2.
Older women tended to wear pleated skirts with blazers or pantsuits. Dresses tended to hit the knee or a bit longer. Long skirts were also in vogue—some with loud patterns and colors. Sweaters and sweater vests were commonly worn with pants and skirts. American pride colors of navy, white, and red were popular as were pastels like baby blue, mint green, or bubblegum pink as well as neutrals in the camel or gray family. Polka dots were often added to blouses or dresses.
Everyone had at least one robe and some nightclothes were more casual for wearing around the house. Scarves were often worn with tops or dresses. Make up often included a pinky or peachy blush, green or blue eye shadow, and orange lipsticks.
Most women tended to wear more gold than silver. Bangles, button earrings and hoops were go-to pieces. Flower brooches could often be seen on blazer lapels. Quilted handbags with large wooden rings worked for purses.
Shirley wore a lot of skirt and blazer outfits in pastel shades in Season 1. This made sense because she had been working as a bank teller until they became singing stars. She also wore knit short-sleeved tops with scarves often.
During the other three seasons she wore a lot more pantsuits, often with blazers.
Many times she wore a pin on her lapel, and, in one episode, the plot concerns a pin Danny found and gave her. Her favorite colors seemed to be red, white and blue or pink.
Teen Men and Young Adults
Polyester was the primary material for pants and tops. Bright colors were quite popular early, but by 1975, more neutral colors had taken over, especially browns. Shirts had pointy collars and often were flowered or had geometric patterns or paisleys. Blue jeans were popular with everyone but especially teen males.
Denim would be made into jackets and suits also. Approaching the mid-1970s, bottle green, peacock blue, black, and purple would be seen in shirts. Often, they were Henley type shirts or long sleeves with round necks. Leather belts were quite common. Small round sunglasses with mirrored lens were popular with younger men. Guys often wore necklaces.
During the first season, Keith tended to wear long-sleeved shirts. They were often flowered or patterned. His favorite was a purple, acqua, yellow, and green shirt with a pointed collar that he wore in at least 8 episodes during Season 1.
Later he switched to solid colored tops with round necks and long sleeves, usually in shades of brown, blue or marroon. When Keith Partridge began wearing puka shells, their sales skyrocketed.
Solid pastel suits and sports coats were often worn. Many sports coats had checks or stripes.
Cardigan sweaters in brown, blue, or yellow were often worn over long-sleeved dress shirts.
Dress shirts were available in solid colors in every shade of the rainbow, as well as wild prints.
Rueben often wore sports coats with stripes. His favorite cardigan was a tan one with a bright blue dress shirt underneath.
Birkenstocks were introduced during this era. Boots were very popular. Go-go boots were still often worn with mini dresses, but lace-up granny style boots of leather were worn with longer skirts and dresses. Sandals were very popular with pants as were clogs. Earth shoes also made their debut in the 1970s in colors like navy, gray, burgundy, and cocoa. I have to confess I still have my navy blue earth shoes from seventh grade, and they are still comfortable.
Longer hair was the norm for teen boys and girls, but short hair was not out of place. Young girls parted their hair in the middle. Bangs were also part of many hairstyles.
Older women and men tended to wear their hair shorter as well; women in their 50s and 60s would often put their hair in a bun. Pony tails and braids were ways to corral hair during hot weather. Afros were popular styles too. Shag haircuts were coming into vogue during the middle of the decade.
Kids’ fashions tended to be more mini versions of their parents and older brothers and sisters.
Girls wore matching pants and tops or dresses to school and jeans or other pants for play and after school wear. Often a scarf was worn on the head and tied under the chin that matched the dress. Boys wore solid short-sleeved shirts or striped shirts. Quarter zippers were often featured. They also had long-sleeved shirts like the older boys but in more solid colors or stripes.
When I was in fourth grade, we were allowed to start wearing pants to school but only if they had a matching tunic top, so that’s what my sister and I got for Christmas gifts that year. For weekends we wore jeans but not to school. It wasn’t until I moved to Wisconsin in 8th grade that I saw kids wearing Levis to school.
Olive green, gold, and brown were popular for boys. Girls also wore those colors but had more options with blues, pinks, purples, yellows, and bright colors to choose from. Girls wore colored knee socks with their dresses and skirts to school. Mood rings were a big hit in this decade.
Most of Danny’s shirts were short-sleeved tops in solid colors. His favorite was a solid brown top. Many of his shirts had a zipper in them.
One of Danny’s favorite outfits was a gold top with pants of brown, orange, and gold stripes.
Chris dressed much like Danny.The shirt Tracy is wearing below is very similar to shirts Laurie often wears. Tracy often wore pants with pastel tops. We didn’t see her or Chris or Danny at school, but I’m guessing she wore a lot of tops and skirts.
The clothes of the 1970s were identifiable but were not locked into one style. They were comfortable and natural for the most part.
Women still wore a lot of dresses and skirts, although pants were becoming very popular even for school and parties. There were many options for someone purchasing outfits in this decade for lengths, colors, designs, and prints.
Shoes and hairstyles also could be based on what the individual liked; there was not a “wrong” look. The Partridge Family gives us a great example of what the fashion was like during this time.
Their wardrobes were accurate and trendy but did not overshadow the characters. By concentrating on what each of the characters wore, we were able to learn a little more about them.
*All photos from pinterest.com unless otherwise noted.
In our quest to go behind the scenes during this month of blog posts, today we learn a bit about set decoration. There are several job positions available on the set of a television show. The set decorator is responsible for buying or renting the set items, the storage of items, placement and monitoring the budgets. The assistant set decorator reports to the set decorator. They often do research before planning for the various sets. The set buyer also reports to the set decorator. They take care of purchasing or renting the individual items needed for the set. Buyers create relationships with stores and antique vendors. The lead dresser carries out tasks assigned by the set decorator. The onset dresser takes care of props, cleans items, places items in relationship to the camera lens.
Kushnick, the set decorator for The Good
Wife shares some advice for set design: do your research, create a
decorating workbook, choose an item that sets the tone of the room, carry a
tape measure with you at all times, try out different furniture placement, and consider
using unusual paint colors.
Maggie Masetti wrote an article in 2012 about chatting with Ann Shea, set decorator for The Big Bang Theory. Ann says “she is the set decorator, and so usually once I get the plans and the walls are built is when I start my work of providing the furniture and the plants and the artwork and all the cool objects, the floor coverings and the practical lights.” She has a variety of sources she uses to shop including prop houses, online shops, and retail stores. She said once the sets are developed, she continues to be busy. Sets are put up and taken down over and over and they have to be just right. Also, if a show is on for an extended time period, subtle changes are necessary just like our homes.
Ann said once she determined the set for the comic book store, she was happy, but then a producer said that it had to change every episode like a real store with inventory in and out—as viewers we don’t think about all the work that goes into sometimes more minor settings. I’m thinking about how much a set designer would have to learn to create an astrophysicist’s office/lab. A couple of her favorite items that show up on the show include the DNA sculpture, the WMAP beach ball, and the periodic table shower curtain.
One of the
things I hadn’t considered was that designers have to fill closets and drawers
in the main sets, so everything is realistic.
I thought it would be fun to consider some of the sets from shows that are a bit more unique and then look at shows that had to be more realistic. Let’s take a look at a few shows that had unusual sets: The Munsters, Gilligan’s Island, and Green Acres. Then we’ll compare some apartments of some of our favorite television characters including Mary Richards, Bob and Emily Hartley, and Frasier Crane.
Gilligan’s Island sounds like an easy set to create. Just throw a few huts up on amid trees and jungle greenery, right? However, you have to personalize each hut with basic items to give each one its own personality. There is also that fine line that is often crossed on the show about how much stuff the castaways actually have with them. I am not surprised they had an accident and were wrecked; I don’t think the storm had anything to do with it, I think it was the thousands of pounds of luggage they apparently took on board.
First, we have the Howell’s hut. Flowered red curtains frame the window. There are a number of knick-knacks setting about including Mr. Howell’s polo stick. There are twin beds with elaborate headboards, several wicker chairs, a writing desk, several tables, and a bamboo hutch. Of course, Mr. Howell installed a hidden safe for his valuables and money. A second room was built to store their luggage and clothing.
Gilligan and the Skipper share a hut with hammocks. There is a window for each of them at the front entrance. A bamboo telescope resides under one of the windows. Decorations are minimal but include a photo of the Skipper, several shells, a couple of candles, a small table and chair and a crate for Gilligan’s personal items. Gilligan and the Skipper don’t appear to have any other clothes than their uniforms.
Mary Ann and Ginger also share a hut. A heavy wooden door and one window face the front. A flower box hangs on that. Flowery curtains make it look more “girly.” Each girl has her own cot and here are two tables, one for writing and one for make-up.
I’m assuming the Professor stays in the supply hut. This hut stores supplies, food, water, items salvaged from the SS Minnow and the Professor’s crudely designed laboratory. Like the girls’ hut, it has a heavy door and window out front and includes a smaller window as well. Boxes and crates are placed here and there as is the Professor’s equipment.
The huts help define the characters who live there. In addition, we learn a lot about them by their clothing with the Howells appearing in designer clothing, Ginger in gowns, Mary Ann in informal rural outfits, the Professor in plain shirts and slacks, and Gilligan and the Skipper in their nautical attire.
From the airy, tropical setting, let’s flip to the dark and dingy interior of The Munsters. The Munsters are said to live in an average neighborhood, but their home is anything but average. Located in Universal City, the house was rumored to cost a million dollars to outfit in 1963.
Although Herman works at the local undertakers and Eddie goes to school with the other kids, when friends come over, it is definitely not one of the cookie cutter homes in the neighborhood. There are cobwebs all over the house, and the windows are covered in curtains that let very little light in.
Lily’s bedroom looks more like a setting for a horror movie than a family sitcom, but she and Herman are quite comfortable in their master bedroom.
Although it appears to have been abandoned for quite some time, this is where the family gathers nightly. The furniture is heavy, dark and very Victorian. There is little in the way of knick-knacks.
After open and sunny and then closed and dreary, let’s combine the two and look at the Douglas home on Green Acres. In New York City, Lisa and Oliver were wealthy and lived in a penthouse apartment with expensive furnishings. Their house in Hooterville is anything but exclusive.
The walls are falling down, the wallpaper is peeling off the walls, and one of their bedroom walls is open to the outside elements which makes it easy for them to climb the telephone pole when they need to make a phone call.
Although they are in a rural setting, Lisa continues to wear her designer gowns and negligees and brought all her expensive items from her apartment.
Lisa and Oliver brought all their expensive artwork and furniture with them from their New York penthouse. Somehow it does not seem out of place for the Douglases. Lisa even uses her fine china and crystal daily.
While it’s fun to see some unique designs that set the stage for some of our favorite characters, now we switch gears to analyze three apartments that had more realistic designs. Often, we watch sitcoms and somehow in the middle of a city like New York, someone has a large apartment that we all realize they could not afford. In order to be more believable, set designers must rely on what a character could afford for their home and interior items on their salary.
Let’s take a look at three apartments and see how they change as we increase the salaries the characters have. The one thing all three have in common is a great terrace with a view.
Mary Richards’ apartment on The Mary Tyler Moore Show is an iconic one. Growing up, most girls dream of having an apartment just like this one. Located in a classic Victorian home in Minneapolis, her home was affordable but cute and practical.
$130 a month for her home. Mary often complains about having enough but not any
extra money, so she needs to be a bit frugal with her funds. This is a studio
apartment so her living room and bedroom share the same space. Usually this is
not an issue, but it’s tough to have company stay with her. One night after Mary
has settled down for the night, Rhoda and her date stop by and we see Mary
quickly trying to fold her bed back into the couch, so they don’t have to sit
on her bed and realize they woke her up.
Her rooms are outfitted with great storage options. In her sunken living room, there are shelves running around part of the room where she stores books and knick-knacks. A cozy little area with a chair and table is in front of her terrace window—a fun space where she can read or have coffee with a great view.
wood-burning fireplace sets off the kitchen, making the room cozy.
She has a functional but little kitchen. A decorative shade allows Mary to open up the area between the kitchen and living room or close it off if she doesn’t want people to see a mess in the sink.
To the left of the living room is a door. When it’s open, we see Mary’s closet and we know that if you keep going, you’ll find her bathroom. I don’t recall ever seeing the bathroom during the series, however.
furniture is nice, it probably is not new, and Mary may have picked the items
up at used furniture stores or antique shops. Her larger pieces include her sofa
bed, a wicker coffee table, an armoire, and a table and chairs. Her personal
items strewn around the apartment tell us a bit about Mary. Most people
remember the large “M” that hangs on her wall. She has a Ben Shahn poster on
her wall in the first season and a Toulouse-Lautrec poster, Jane Avril, in
other years. A Laurel lamp is near the reading chair, a pop of sixties
modernism that Mary might have had in school in her room. We see her Samsonite
luggage that is good quality and probably was a present from her parents. The
pumpkin cookie jar adds a bit of color to the kitchen. These items tell us Mary
was sentimental, educated about art but could not afford the real thing, and was
an individual, learning her style now that she was living alone for the first
From Minneapolis, we travel down the interstate to Chicago where we find Bob and Emily Hartley’s apartment on The Bob Newhart Show. Bob and Emily are doing well, but we learn from their furnishings that they don’t care about things much. Bob is a psychologist but seems content to keep a small practice. Emily is a teacher and she and Bob debate about whether she should work or if she should work, so her salary is not necessary to their lifestyle.
They have a
beautiful apartment with a terrace and a view of Lake Michigan. It’s close to
the Thorndale station.
Like Mary, they have a sunken living room with the kitchen located off of it. The kitchen is bigger than Mary’s but still small. Much of the time they eat out or have something easy. Neither Bob nor Emily are gourmet cooks, but Bob grills on the terrace often.
A table between the two rooms is where they take their meals unless they are eating in front of the television. The television is on wheels and Bob can move it back and forth between the living room and the bedroom.
To the left of the living room is their large bedroom and bathroom. To the right is Bob’s den and another bathroom that does not have a tub or shower.
Like Mary, Bob and Emily enjoy art and have several pieces on their living room walls. They switch out their furniture a lot and we see three different sofas in their home: brown, white and royal blue.
My guess is
that they save a lot of their money and what they spend, they spend on travel,
books, and eating out.
hours west of Chicago, we arrive in Seattle, the home of Frasier Crane. Frasier
is also a psychologist like Bob. He is a well-known doctor and has his own
radio show, garnering him more money than Bob.
Frasier lives in Elliott Bay Towers and doesn’t have a view; he has “the” view. The backdrop for the terrace shows the Space Needle which cannot be seen in reality from these apartments. The cost for the backdrop was about $55,000 to construct. It seems very expensive for a prop, but it goes back to making sure everything about the apartment was the best Frasier could obtain.
This was a very expensive set to design. According to the book, Frasier: A Cultural History, by siblings Kate and Joseph Darowki, the architecture and set building cost $250,000 and the total overall for the furnishings and other items came in at about a million dollars. A security guard was on site during shooting.
According to Thrillist.com,
Frasier’s apartment today would cost about three million dollars. We realize
pretty quickly that Frasier is all about the good life and the image he wants
people to have of him as a successful, wealthy person.
Like the other two apartments, he has a small kitchen, but it is well equipped and stylish. Set designer Roy Christopher outdid himself by capturing Frasier’s personality in his home.
There are quite a few bedrooms in the apartment. Frasier has a large one with an expansive master bath, that features a sauna and a whirlpool. His father and Daphne both have their own bedrooms and bathrooms as well.
Frasier’s apartment is ultra-modern and is filled with expensive, high-end furniture and collectibles. His furniture is a replica, although shorter version, of Coco Chanel’s sofa. He has Eames and Wassily chairs and often throws around the designer labels he enjoys. The rooms are filled with decorative architectural details and expensive finishes. Much was made of the artwork scattered around the apartment.
The Dale Chihuly glass bowl on a table near the fireplace was made specifically for the show and reproduced for an exhibit. A Mark Rothko painting was in Frasier’s master bath. Some of the other art included a Nick Berman floating ball, a Pastoe curved sideboard, Le Corbusier lamp, a Steinway grand piano, a Rauschenberg painting in the hall, and a variety of Pre-Columbian and African art.
While Bob and
Emily didn’t care much about their furniture as long as it was comfortable; Frasier
cares dearly about every item in his apartment, except for his father’s Barcalounger
which is a reminder of the design element he does not want in his apartment. It
becomes the centerpiece of the apartment. The prop department did not think it
was “hideous” enough when they located it, so they added some dirt smudges and
duct tape to it. It’s a brilliant juxtaposition. We understand that despite the
expensive items surrounding him, Martin is quite comfortable in Frasier’s
house. His easy-going, but gruff, personality is not off-put by the sophisticated
design nor is he impressed by the expensive art. During the course of the show,
Frasier must learn to be as comfortable in his home as his father is.
It’s been fun
to view some of the spaces our television friends inhabited and take a closer
look at what helped reflect more about the characters as we take an in-depth analysis
of the items they chose to surround themselves with. Take a look around your own
space and see what it says about you to others and how it would help define you
as a sitcom character.
There is a lot that happens behind the scenes to help make a show a hit. In previous blogs (see the December 2018 blogs about Earl Hagen and Jay Livingston), we learned about composers. This month we’ll take a look at the costumers and the set designers. The wardrobe department has the responsibility to make sure the characters are wearing the appropriate clothing for their character.
Green Acres presented a challenge for the wardrobe department. Most of the citizens were farmers, so overalls and house dresses fit the bill. Sam Drucker was the grocer, postman, and newspaperman for Hooterville, among other jobs. He always wore a blue shirt with a tie and had his postman vest or grocery apron on. Lisa and Oliver Douglas played an attorney and his wife who relocated from New York City and the social scene to rural Hooterville to run a farm. Oliver often wore suits on his tractor, looking somewhat silly and questioned by the locals. Lisa also continued to wear her glamorous outfits, but somehow, she was accepted by everyone and fit in wherever she went.
Lisa Douglas could wear anything and look good. She often wore her negligees around the house without being thought a hussy. She could show up in a sequined gown for a local band performance and was just one of the crowd. She wore gowns of boldly colored prints, but she was just as likely to show up in a single-colored sheath dress with a simple strand of pearls.
her lavish updo hairstyle and her extensive collection of jewelry, Lisa was fun
to outfit. Three designers were responsible for the majority of Lisa’s
wardrobe: Jean Louis, Lucie Ann Claire Sandra, and Nolan Miller.
Born Jean Louis Berthault in 1907 in Paris, France, he was an Academy Award winner for The Solid Gold Cadillac in 1956 starring Judy Holliday. (Jean was nominated for 13 Academy awards.)
He attended the School of Decorative Arts and then went to work for Agnes Drecoll, courtier. In 1935, he moved to New York city where he worked for Hattie Carnegie before going to Hollywood. While working there he began gathering a large clientele, including Wallis Simpson and Irene Dunne.
he was head designer for Columbia Pictures. Some of his most creative designs
included Rita Hayworth’s black satin dress from Gilda, the beaded gowns worn by
Marlene Dietrich, and the sheer, sparkling dress Marilyn Monroe displayed when
she sang “Happy Birthday” to John F. Kennedy. He also was the primary designer
for Kim Novack.
In 1958 he moved over to Universal. There he began a working relationship with Doris Day, with Pillow Talk, their first collaboration. Journalist Tom Vallance described his work:- “He created a sophisticated allure for Doris that launched a new phase of her career.” James Garner, who also starred with Doris in several films said she “exuded sex appeal while still maintaining her All-American Girl next door image.” Jean Louis also worked with Lana Turner during this era, putting together her colorful wardrobe in Imitation of Life. Jean’s daughter said her father “had the most amazing discerning eye for color. It was a sixth sense for him.”
Jean Louis had designed the clothing for The Loretta Young Show from 1953-1961. She was a close friend of Jean and his wife Maggie. After Maggie passed away, he and Young married in 1993. She was considered one of, if not the best, well-dressed stars. He also designed clothing for Ginger Rogers, Vivian Leigh, Julie Andrews, Katherine Hepburn, and Judy Garland.
Jean began to freelance in 1960. He opened a boutique in Beverly Hills and sold his label, “Jean Louis, Inc.” at better department stores all over the country. During this time, he also updated the United Airlines stewardess uniforms.
From 1965-1967 he designed Lisa Douglas’s dresses on Green Acres. He was the perfect designer for her. Gifted with a great sense of humor, he could undoubtedly relate to the humor on the show.
As he said during a Vogue interview, “You can use marvelous fabrics, have wonderful, impossible embroidery—in fact, be superluxe and superluxe is what the couture is all about.”
In the 1970s,
he opened a boutique in France and launched his first fragrance. His career was
still flourishing with clients like Jacqueline Kennedy, Sophia Loren, and
passed away in 1997. His influence continues to be felt among designers today.
Some of the fashion icons who admit being influenced by him include Michael
Kors, Vera Wang, Giorgio Armani, and Zac Posen.
Lucie Ann-Claire Sandra
Lucie Ann vintage nightgowns are among the most glamorous and desirable negligees ever made. Lucie Onderwyzer founded the fashion company in 1947 in Beverly Hills. Known for bold color and exuberant details like pompoms, bows, rosettes, and rhinestones, she designed for many stars including Elizabeth Taylor.
She designed all the peignoir sets worn by Eva Gabor in Green Acres. Her designs were also featured in other television shows and movies. In one episode of Bewitched, Darrin goes to the store to purchase a Lucie Ann for Samantha.
Lucie passed away in 1988 and her company was bought by Deena Lingerie Co and later Lady Ester Lingerie Company which is still making them today.
was a wardrobe consultant for Eva on Green
“I adored Eva. We worked together for many years. Later on, our working relationship became a friendship that I really valued. She wasn’t silly. She was a very smart lady. Not so smart with the men of her life. Her home was incredibly elegant. Anything that she needed I would do.” Miller shares about the time when Eva discovered a store called Loehmann’s; the store would buy designer samples and pack them up in huge boxes for stars to pick from. “Eva was a size 8 and the sample sizes were 2, and she’d simply ask me to do my magic and tailor them to her size. I smile at that as Eva could get anyone to change things around for her. I sometimes wonder whether she did understand fully well what was entailed in changing a size 2 into an 8 just like what was entailed in coming up with an animation idea tailor-made for her. She’d bat her eyelashes and sprinkle in a few ‘darlings’ and you find yourself doing what she wanted.”
These three designers were the major forces behind Lisa Douglas’s beautiful fashion style on Green Acres. Gabor had an amazing fashion sense and was well known for her private wardrobe. She also was a successful business woman, owning a multi-million-dollar wig company.
Eddie Albert tells a great story about Gabor and her fashion. At her funeral, he said he probably saw more of Gabor than any of her five real-life husbands did. And, like any couple, married or not, they had their differences. She, for example, never quite understood his passion for wildlife conservation. “Every time you hear about a sick fish, you make a speech. Vy?,” Albert recalled his co-star saying. “And I would tell her, ‘I think we ought to preserve nature, save wild animals,’ and so on. Well, one day she showed up in a gown made of feathers, and I asked her not to wear it. ‘But so chic!’ she said. And I said, ‘Yes, and ladies will see it and want one, and thousands of birds will die.’ And she said, ‘But, Eddie, feathers don’t come from birds.’ ‘Well,’ I asked, ‘where do they come from?’ And she said, ‘Dahlink. Pillows! Feathers come from pee-lowz!’ ”
Perhaps there was more of Eva Gabor in Lisa Douglas than we realized.