Life in Fernwood: Mary Hartman, Mary Hartman and Fernwood 2-Night

As we wind up our series of “oddly wonderful” shows, we take a look at two shows that were set in the same community and may be two of the most unusual shows to ever air on television—Mary Hartman, Mary Hartman and Fernwood 2-Night.

If you read my blog often, you know I am not usually a fan of Norman Lear shows, and while these two series are very different from a typical Norman Lear show, unfortunately, I only enjoyed one of them. Lear’s shows were filmed at Metromedia Square in Hollywood. When he got ready to tackle these shows, there was no room left there. He arranged to rent space from KTLA which was across Fernwood Street. The staff started calling KTLA “Fernwood” which became the name of the town in Ohio where Mary lives.

Photo: next-episode.net

Lear said he created the show to deal with consumerism.

The original show was was a campy show but had likable and thoughtful characters. Like Soap, this show had a brilliant cast and satirized soap series. It was called Mary Hartman, Mary Hartman, because the writers said dialogue on a soap opera was often said twice. Lear filmed the pilot and offered it to the three major networks who all passed. The show began as a syndicated show (it began on 50 stations) and was only on from January 1976 till May 1977. Unlike Soap, this show produced a huge number of episodes, 325 to be exact. It aired daily on weekdays.

Like the Tates and Campbells, Mary suffered through bizarre plots and unbelievable story lines, including adultery, mass murder, disease, homosexuality, religious cults, UFO sightings, and a nervous breakdown.

Photo: imdb.com
Dodie Goodman as Martha

Louise Lasser (who had been married to Woody Allen) portrayed Mary. She was married to Tom (Greg Mullavey). Tom worked at an auto assembly plant. Dody Goodman played Mary’s mother Martha. Debralee Scott played her sister Lorraine. The cast was rounded out by amazing supporting characters including Mary Kay Place as Mary’s best friend Loretta; Graham Jarvis as Charlie, Loretta’s husband and Tom’s best friend; Claudia Lamb as Heather, Mary and Tom’s daughter; Martin Mull as Garth Gimble who killed his wife; Dabney Coleman, Fernwood’s mayor; Gloria DeHaven who had an affair with Tom; Orson Bean as Rev. Brim, Shelley Fabares as Eleanor Major, a woman Tom falls in love with after Mary leaves him; Ed Begley Jr. as Steve; and Doris Roberts as Dorelda Doremus, a faith healer.

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Mary Kay Place as Loretta

Mary wore her hair in braids like Pippi Longstocking. One article described her as a life-size Raggedy Ann. She was indecisive and switched her emotions quickly and without reason. Mary went through one crisis after another until she couldn’t function anymore. One of the things that led to Mary’s breakdown was that she believed everything she saw on television and it made her crazy that she could not see the waxy yellow build up the commercials claimed was on her floor. She was also dealing with marital problems and boredom.

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Right from the beginning, the show displayed its weird story lines. In the first episode, the Lombardi family of five is murdered and the neighborhood tries to catch the Fernwood Flasher, who later turned out to be Mary’s grandfather. There were a lot of strange deaths in this show. Jimmy Joe Jeeter was electrocuted in the tub, Coach Leroy drowned in chicken noodle soup, and Garth Gimble impaled his wife on a bottle brush Christmas tree.

In 1977, Lasser decided to leave the show. The rest of the cast continued on and accounted for her disappearance by announcing that she had run off with Sgt Dennis Foley. The show then became Forever Fernwood.

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Later that year, Fernwood 2-Night was spun off. Martin Mull was now Garth’s twin brother Barth and was the host of a late-night talk show with Jerry Hubbard (Fred Willard) as his “Ed McMahon”.

One of my favorite things about this show was Frank DeVol, the composer, who played Happy Kyne with his band the Mirth Makers (Eddie Robertson, Tommy Tedesco, Frank Marocco, and Colin Bailey) on the show. Happy never looked happy; he had a side business, a fast-food restaurant called Bun ‘n Run.

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Alan Thicke was the head writer on the show. Lear thought it should all be improvised, but Thicke said it needed a balance of scripting with ad-lib.

In the same way Mary Hartman satirized soap operas, this show satirized late-night talk shows. The guests were a mix of real and fictional people. For example, Tom Waits appeared on the show when his bus broke down in Fernwood. I don’t remember a lot about this show specifically, but I remember thinking it was very funny.

Photo: sonypicturesmuseum.com

After the first season, the show was moved to California where celebrities would be more likely to appear on the show.

Photo: nostalgiacentral.com

I have never seen either of these shows in reruns and like most of the shows we learned about this month, I think they are better left as a remnant of the era they debuted in. Although few people seem to remember Mary Hartman, Mary Hartman, it was listed #21 on TV Guide’s list of best one-hundred shows in 2003. When thinking about the classic shows that had been on the air by 2003, that says a lot about what TV Guide thought about the quality of this show.

Lear had to tow a fine line on this show. With the types of crises Mary encountered and the bleak life that was portrayed of a housewife in Fernwood, Ohio, it was close to tragic. The exaggerated number of catastrophes and despairing situations kept it slightly in the humor genre. The demise of the show is often blamed on Lasser’s leaving, but in my opinion, it could not have continued to sustain viewers much longer than it was on the air. How many crises can be cooked up that hadn’t happened, and when did the tragic overtake the comedy for most viewers? Again, it’s a show best viewed in its decade.

In my rating of odd, wonderful, or oddly wonderful, I give Fernwood 2-night wonderful, and I’m afraid I have to give Mary Hartman an odd rating. It was a hard show to watch. If you wanted drama, there was too much humor in it, but if you wanted comedy, it was way too dark. I’d love to hear from you on your ratings for these two little-remembered shows.

Earle Hagen Whistles a Happy Tune

We don’t often notice music in the background of our favorite shows, but it has a significant impact on our appreciation for a series. One of my favorite CDs in the 1980s was the music from thirtysomething. I admit I didn’t often pay attention to the music while watching the show, but I loved listening to the soundtrack.

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Photo: findagrave.com

Today we get to spend some time learning about one of the most prolific songwriters in the television industry: Earle Hagen. Earle was born in the Midwest in 1919, in Chicago, but moved with his family to Los Angeles. He began playing the trombone in junior high school.

At age 16 he left home to play with some of the best big bands in the country: Tommy Dorsey, Benny Goodman, Ray Noble.

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Photo: earlehagen.net

During his time with Noble, when he was only 20, Hagen composed the song “Harlem Nocturne” as a tribute to Duke Ellington and Johnny Hodges. It would be recorded by numerous musicians over the years and later was adopted as the theme for both Mickey Spillane’s Mike Hammer and The New Mike Hammer.

In 1940 Earle was hired by CBS as a staff musician. Like many of the composers we have been learning about, Hagen enlisted in the military for World War II. When he came home, he became an orchestrator and arrangement writer for 20th Century Fox. He worked on a variety of films including Gentlemen Prefer Blondes and Carousel.

In 1943 he married Lou Sidwell, a big band singer. They would remain married until she passed away in 2002 and produce two sons.

When Earle accepted the Irwin Kostal Tribute Award in 2000, he explained that “In 1953, the studios committed to large screen production and we went from 38 pictures a year to one. There were other pictures on the planning board but not immediate enough to support the huge studio staffs. So, along with 1199 other people, I migrated to television.”

The first show he worked on was a short-lived series, It’s Always Jan which was on the air from 1955-56.

Then Hagen met Sheldon Leonard. As he says, “There again my good fortune held. I teamed up with Danny Thomas and Sheldon Leonard at a time when they were starting a string of hits that lasted 17 years.” Earle wrote the theme for Make Room for Daddy.

Those 17 years were busy. Leonard initiated the practice of using original music for sitcoms, so a lot of background music was required. Hagen said that during that era, the composer was part of the creative team. His opinion was asked for and respected in pre-production, production, and post-production.

He loved working in television. He said that there was “something about the immediacy of TV that I enjoyed. It was hard work, with long hours and endless deadlines, but being able to write something one day and hear it a few days later appealed to me. I think a statistic of which I am most proud is that in the 33 years I spent in television I was associated with some three thousand shows. Every one of them was recorded in Los Angeles with a live orchestra.”

His work continued with Leonard, and he wrote the theme song for The Dick Van Dyke Show.

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Photo: brioux.tv

Then Sheldon asked him to come up with a theme for a show about some gentle town folks and their sheriff. Earle said he struggled a while trying to come up with the perfect theme. As he described the process: It’s like “peeling an onion. Half of coming up with something good is throwing away what’s not.” Finally, he had a brainstorm and “he simply whistled the catchy tune which entered his head.” It’s the whistling of Hagen we hear on The Andy Griffith Show when we hear “The Fishin’ Hole.” Despite the difficulty of coming up with the theme song, Hagen enjoyed his time with The Andy Griffith Show. He said, “I guess my favorite show . . . was The Andy Griffith Show. It covered the spectrum from warmth to complete zaniness. It also was easy to write. Worthwhile, when you are doing four or five different series a week.”

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Photo: mtairynews.com

He went on to work on several shows in the 1960s, including The Bill Dana Show, That Girl, Accidental Family, Gomer Pyle USMC, Mayberry RFD, and The Mod Squad. Hagen based the Mod Squad theme on Schoenberg’s 12-tone scale which added some tension to the scenes, along with a jazzy theme song.

Hagen’s songs are some of the most recognizable ones in television. However, his most innovative and beautiful scores were done for a show that is not remembered much today, I Spy. Leonard wanted original soundtracks for each episode. This humorous spy show was filmed in locations all around the world, so the music had to vary as well.

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This was the first show to star an African American. Bill Cosby and Robert Culp were spies who took on assignments around the globe. I would like to say that the reason for the lack of the show being rerun is due to Bill Cosby and the poor personal choices he made which has resulted him being sentenced to jail and the shows he was involved with disappearing from television schedules. However, I rarely remember this show being available even before Cosby’s criminal trials, and I’m not sure why that is. In 2008, all three seasons of DVDs were released.

On the website earlehagen.net, we read that “During the run of the series he amassed one of the most comprehensive collections of ethnic music in existence at that time–some of it on commercial records bought in the countries he visited with the production team, but much of it taped live in situ with local musicians. These recordings containing priceless material of musical genres never before recorded, and in some cases, now extinct, were then mixed into the background music produced by the studio orchestra in Los Angeles.  The result was what has been deemed ‘the richest musical palette ever composed for any American television series.’ ”

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Photo: desertnews.com

Sheldon relied on Hagen to literally scout the world for filming locations. The couple visited Japan, Hong Kong, Bangkok, India, Israel, Greece, Italy, France, and New York. Hagen discussed this trip. “Before the show started, at Sheldon Leonard’s invitation, Lou (my wife of 58 years so far), and I were invited to go on a `round the world trip with the Leonard’s scouting locations for the upcoming series, I Spy. On that 52-day trip we traveled first class, stayed in first class accommodations and at every airport were met by a car, driver, and interpreter, who stayed with us as long as we were in the country.”

Earle wanted viewers to remember that these were US spies so he named his music “semi jazz,” which fused local world cultures with American jazz music.

Deborah Young-Groves discusses the variety of music Hagen used in her article, Creating the Perfect Vibes for “I Spy.”

“And who could forget the frantic–almost joyous–chase across the University of Mexico in ‘Bet Me A Dollar’–Spanish brass–almost Copeland-esque (remember ‘El Salon Mexico’?), too loud to ignore but erratic and happy. And yet, like Copeland, Hagen only scored where he deemed appropriate. In that very same episode the child, who urgently seeks help for Kelly, runs in utter silence.  We hear only his pounding feet and his sobbing gasps.

But the two best episodes for music are ‘Home to Judgment’ and ‘The Warlord,’ for equally fascinating reasons. ‘The Warlord’ borrows heavy oriental imagery for the action sequences (always punctuated by that American jazz – but it works) using snare drums and brass.  How Hagen can get a trumpet to sound Asian simply by a jagged sequence of notes is still a mystery to me!

Then he changes completely and takes a plangent delicate note for the love theme between Chuang Tzu and Katherine, caught between their separate worlds.  It is somber, powerful and almost painful – one of the saddest pieces of music I have ever heard.”

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Photo: thestar.com

I Spy was on the schedule for three seasons. Hagen was nominated for an Emmy all three years for his work on the show, and he won it the last year the show aired. When asked about his favorite episodes, Hagen said, “Some of the shows of course stand out in memory: ‘Tatia,’ ‘Laya,’ ‘Home to Judgment’ ‘Warlord,’ and one of my favorites, ‘Mainly on The Plains.’ ”

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Photo: planetoftheapes.com

The music was so memorable on this show, that Hagen was able to record two albums from the series. The first album was recorded by Warner Brothers and the second was Capitol. He said he enjoyed the Capitol album more only because he was able to work on in the off season, so he had more time to devote to it.

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Earle would continue with his work on television throughout the 1970s, working on a variety of shows, including The New Perry Mason, Eight is Enough, and Mary Hartman, Mary Hartman. In the 1980s, he worked on Dukes of Hazard.

During the last decades of his life he taught and wrote books on scoring and music arrangements. He wrote the textbook, Scoring for Films: A Complete Text. In 2000, he published his autobiography, Memoirs of a Famous Composer Nobody Ever Heard Of.

In 2005, he married his second wife, Laura Roberts. Hagen died from natural causes in 2008.

In 2011, he was inducted into the Television Academy Hall of Fame.

Perhaps his website sums up his career best: “When one considers the vast range Earle Hagen’s career has covered, and just where he was at each stage in his life—playing trombone in the big bands during the 30s, writing arrangements for Frank Sinatra, working at 20th Century Fox during the reign of Alfred Newman, creating TV themes and scores for Sheldon Leonard shows, not to mention teaching brilliant young composers the art of scoring, and publishing the top texts in his field—it can truly be said that he lived through the best times in each of these worlds.”

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Photo: themusicsover.com

Earle Hagen was another one of the great pioneers in the golden age of television and he should be celebrated for his amazing career.

I Know That Girl From Somewhere: The Career of Meredith MacRae

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Meredith MacRae is one of those actresses almost everyone recognizes but are not always sure why they remember her. Perhaps it was one of her 14 movies. Then again it could be the two television shows she had a regular role on or one of the other 18 shows she appeared on. It might be from a game show where she was a a panelist or as a singer on a variety show or one of her many commercials. Some folks saw her talk show in LA. She also worked hard for a variety of charities and traveled around the country speaking on alcoholism. Viewers might not be exactly sure how they know her, but everyone realizes they liked her. She had that friendly and caring quality.

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MacRae was born on May 30, 1944, in Houston, Texas on a military base where her father was stationed. Her father, Gordon MacRae was a big star, featured in Roger & Hammerstein’s Oklahoma and Carousel. Her mother, Sheila MacRae was an actress and comedienne, appearing as Jackie Gleason’s wife on The Honeymooners.

Meredith began her acting career at a young age, receiving a part in By the Light of the Silvery Moon in 1953, which starred her father. Her part was later cut.

Her father struggled with alcoholism, and her parents divorced when she was ten.  Meredith was always close with her siblings.

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She attended UCLA and obtained a Bachelor of Arts degree in English. She had roles in two of the ever-popular beach blanket movies—Beach Party in 1963 and Bikini Beach in 1964. That same year she married Richard Berger, former president of MGM. They divorced four years later.

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Meredith would appear on the big screen ten more times, none of the movies being well remembered.

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In 1963, Meredith was offered a role on My Three Sons. She played Sally, Mike’s girlfriend and later wife from 1963 until 1965. Although the show was on the air until 1972, Tim Considine who played Mike, left the show in 1965 and the story line was that he and Sally moved to Arizona.

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MacRae was offered another sitcom role when her work on My Three Sons ended. She took the role of Billie Jo Bradley on Petticoat Junction, appearing in 114 episodes. She was the third star to play Billie Jo. In 1970 the show as cancelled.

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In 1969, Meredith married again, this time to actor Greg Mullavey (best known from his role on Mary Hartman, Mary Hartman). They divorced in 1972 but remained friends and had a daughter Allison. Meredith was extremely close to her daughter and she traveled with her often.

Meredith released two singles with Lori Saunders and Linda Kaye Henning, her sisters on Petticoat Junction. She also had two singles as a solo artist. She was also seen on many game shows including Match Game, Family Feud, and the $10,000 Pyramid.

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Meredith would continue her television career throughout the 1970s and 1980s. She was seen in The Interns, The FBI, The Rockford Files, CHiPs, Fantasy Island, Webster, Magnum PI, and was on my favorite episode of Love American Style.

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Eventually Meredith became a television producer and writer. She also made several PBS specials tackling women’s issues, medical problems, and the aging of America. She received her own talk show which was really an investigative show called “Mid-Morning Los Angeles” for which she won an Emmy.

During the late 1990s, MacRae complained about vertigo and a loss of short-term memory. She was misdiagnosed as having issues related to peri-menopause. In 1999, she struggled with severe headaches and was told it was muscle spasms.  When she went in for a second opinion, she discovered she had Stage 4 brain cancer. She had the tumor removed and then agreed to join an experimental cancer drug treatment group, but she had an allergic reaction which caused her brain to swell. She had more surgeries and then broke her hip.

Many people praised her for maintaining her dignity and sense of humor during this painful time.

Meredith had a way of making others feel important. She had a genuine warmth and was friendly, appearing sincerely interested in others. I read about a Ladies’ Fun Night which she held every month or two. She would invite her friends and a guest speaker. Typically, about 25 women were invited including her old friend Linda Henning.

Meredith always found time to travel to discuss the effects of alcoholism on families. She enjoyed seven years with her father when he was sober before he passed away, and he approved of her speaking engagements.  She also worked for many charities including the League of Women Voters, Women in Film, Committee for the Children’s Burn Foundation, and the United Cerebral Palsy Foundation (UCPF). Her parents had also supported UCPF, and Meredith was their telethon host for 20 years. After she passed away, the MacRae/Edelman Center, a place where adults with cerebral palsy can get help, was named for her.

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When asked what helped her get through some of the tough times in her life, she replied “I believe in getting help from your friends. I don’t know what I would do without my women friends.” Many viewers who never met Meredith in person considered her a friend. She lived an incredibly meaningful life.