Evening star. [volume] (Washington, D.C.) 1854-1972, 1958-02-18

nome from Europe, Stfenetn-
ened the comedy considerably
(Gale Gordon and added a
wisp of romantic interest
Johnny Desmond. The new
look helped. but not enough.
I'm afraid.
The episode, which cast Cor
don as a scheming partner try
ing to get Miss LOrne to sell
out her share Of the depart
ment store, was briskly paced
and produced an adequate
quota Of familiar laughs.
There's a nagging doubt,
however, that the formal is
the happiest development for
its star. Miss Caulfield. Sally
is now being played for we'll
telegraphed laughs and the
gentle comedy and whimsy. for
which Miss Caulfield and Miss
Lorne were more admirably
suited, is out.
4 +
The Dick Clark Show (Sat-
urday. 1880. WMAL-0:
Neither snow. nor sleet, nor
hail can stay the teen-ager on
his appointed rockin' rounds.
Dick Clark had EN- lined up
outside the New York studio in
the snow for the premiere of
his new Saturday night half
hour, which is in addition to
his daily program on the same
network.
Dick obviously has a bigger
budget to work with on the
evening show and the program
is a bit more formal. The
youngsters don't get a chance
to dance chats the public
service part of the program) |
but they support the perform
ances of the various guests by
supplying a beat and otherwise
reacting with appropriate signs
and screams.
A quartet-there were four
of them, anyhOw-Opened the
show and the other teen head /,
liners included Pat Boone, who
offered several of his latest
recordings, and a song -shOuter
named Jerry Lee Lewis, who
plays a piano that you feel
sorry for.
4 4 \ X
Requiem for a Heavyweight:
The Seven Lively Arts series
wound up an ill-starred TV run
Sunday afternoon (WTOP-9
with brilliant Profile Of a
Composer" the composer being
brilliant Norman Dello Joio.
Mr.. Joio spoke simply and |
convincingly of his background
and his work and the musical
illustrations were Superbly
chosen and presented. The
series couldn't have come up
with a more fitting valedictory
than the closing Ballad for
the Seven Lively Arts" a
vibrant, delightful composition.
The series suffered the un-
lucky fate of other excellent
shows-it opened by stumbling
on its first outing and never re-
covered. John Crosby's presence
was no asset, either, although
I think that with the excep-
ton of the premiere show his
role in the productions was
considerably overstated. He
became, suspect. a convenient
target for the shows mis-
fortunes.
Yet, during the run Of the
series, there were some excel
lent prOgrams-the Jazz show,
the Centralia Blast hour, the
Agnes de Mile ballet, and the |
finale, to name four that come
to mind.
I don't believe that Omnibus
Jared any better in its first
season than the Lively Arts. |
Omnibus, however, had Ford
Foundation backing. There's a
difference.
On The Run:
The Wide, Wide World study |
Of THE Middle Years" Sunday
(WRC-4 was an absorbing
one. The treatment was
perceptive-beginning with the
dreams Of teen-agers. then TO
cussing knowingly on a st.
Louis father who had to re-
adjust his dreams to the act
ualities of life, and closing with
people in retirement; those
who were able to provide for
later years, and those who
couldn't. 1t was TV at its
thought-provoking best.
NBC and Steve Allen are
rumOred TO be warning over the
question Of the OriginatiOn
point Of his Sunday shOw-but
can't see why. Whether
in New York or Hollywood,
SteverinO presents exactly the
same kind Of a show.
Sid Caesars opening skit-a