The Travels of the

MARVELOUS METROPOLIS SUPER TEAM

Rachel Nesser, Matthew McCue and Susan Schnitzer

June 12—15, 2008

As I was putting together my Metropolis, IL scrapbook the other day (yes, I saved every receipt, bill, pertinent email, AAA triptik, brochures, as well as Rachel’s well planned, organized and outlined itinerary which we “tried” to follow) a flood of wonderful memories came back to me! I looked at my travel log, photos as well as various memorabilia and realized, NO—it wasn’t a dream, but a reality that had been in the planning stages for 6 months. So my article will take the form of my travel log (along with some brochure research info, enrichments and valuable input from my travel team):

According to background history, the city of Metropolis, Illinois, as of the 2000 census, had a population of 6,482. On January 21, 1972 DC Comics declared Metropolis "Hometown of Superman". On June 9, 1972 the Illinois State Legislature passed Resolution # 572, which declared Metropolis the "Adopted Hometown of Superman," the comic book superhero (also known as a distinguished “Son of Metropolis”) who is based in the fictional city of Metropolis. Among the ways it celebrates the character are a large 15-foot bronze Superman statue standing proudly in the town square, a small Superman museum, and an annual June Superman festival. Also, it has a local newspaper, known as The Metropolis Planet, a name inspired by the newspaper in fictional Metropolis, The Daily Planet. Metropolis is also home to Harrah's Metropolis Casino/Hotel, a riverboat casino frequented by visitors from around the region, making tourism one of the city's largest industries. This year marked several special occasions: the 30th anniversary of the Superman celebration, the 70th year since Superman first made his appearance in the comics and, happily, the 60th anniversary of Noel Neill’s first portrayal of “Lois Lane”.  These events are used to promote the general welfare of the Metropolis Community. The small town atmosphere was very befitting for this 30th anniversary. We felt like we truly belonged here and were returning to our own hometown.

Day 1 – Thursday, June 12, 2008

What a rush it was, the morning of the day before my trip, to have a pop up American Airline reminder that my boarding pass was ready to be printed out on my computer. It was obvious that this trip was MEANT TO BE and that everything would be “smooth sailing”…or flying in my case. At La Guardia Airport, the staff was most helpful in helping me find my way. I was allowed to bring on my suitcase (along with my carry on and purse), I sat next to a most delightful and charming gentleman lawyer from Connecticut who was doing litigation in Tennessee. He was amazed at my Superman and general movie trivia (well, since he wasn’t into it--at least I SOUNDED impressive). This was my first time traveling “solo” but everyone made me feel at ease. The flight was so fast and smooth that before I realized it, we were touching down at the BNA Airport in Nashville, Tennessee.

As planned, Rachel and Math met me (they traveled together from Newark via Continental Airlines) at the Hertz Rent a car at the bottom deck.  I had several coupons (the bargain hunter that I am) which helped us save $60 on the car. With Math at the helm, we were guided by my preprogrammed GPS (and Rachel kept track with AAA’s triptik print out) that took us straight to the Baymont Hotel in Metropolis, Illinois.

We settled in to the Baymont, a hour ahead of schedule and found out that our hotel rooms were $50 cheaper than our original quoted price (Am I on the “Price is Right” or what?). The rooms were very cozy and roomy (especially for 2 women sharing one bathroom). Boy, but was it HOT, HOT, HOT and sticky as we walked over to the Harrah’s Casino to have some lunch. The corridors were very glitzy as we were escorted by personnel to the snack bar. Along the way, we passed by great vintage slot machines, used in a bygone era, which Math took special interest in. As we sat and ate, every 15 minutes an alarm would go off in the casino announcing that someone had won a jackpot!

We walked into town for the 5:00 pm Opening Ceremony in Superman Square. We were ALL treated to our first time seeing new Superman Josh Boultinghouse in full costume and character as he had numerous photo opportunities with fans of all ages (causing a town heat wave !). There were also several funny superheroes around and the Lois Lane of the town (Stephanie Perrin) who asked “important” questions of the day. During our visit, there were people dressed (all ages, shapes and sizes) in a variety of superhero costumes.

Strolling back to the hotel, we literally bumped into General Zod himself (dressed as the smiling and unassuming Steven Kirk).

In the lobby of our hotel, the TV was playing the current season of SMALLVILLE. Rachel astounded me with her wealth of information and knowledge on the show. She couldn’t wait to meet and greet Allison Mack—“Chloe” of the show.

Day 2- Friday, June 13, 2008

Back in town early on our second day, to pick up tickets for the night’s 1940s ball, we went to the Metropolis Chamber of Commerce. Along the way, we met and spoke with Jamie Aaron Kelly (the runner up Superman) and his lovely fiancée, Ronda who were dressed as Dean Cain’s Clark Kent and Lois Lane, respectively.

Then we dashed afoot, with our Payless walking shoes, to the Metropolis Sports Park for the 10 am “Superman’s Fan Baseball Game.” It was the Smallville Meteors (with Steven Kirk) vs. the Metropolis Marvels (with Larry Ward). All players were asked to sign a “release” to ensure that the town would not be held responsible against the velocity of those super pitches…or so I gathered. In the playing fields were Stephanie (Lois Lane) Perrin and several people who we had seen in town previously. It was the 7^th year that a mother and her grown daughter (with husband now added) had traveled to this event by car from Michigan. Noel Neill was under the weather and not available to throw out the first ball nor was Rich Potter to lead us in the singing of the National Anthem.  Larry Ward did the first pitch honor right after us spectators stood to lend our singing talents to our own version of the National Anthem.

We hung around just long enough to watch Steven fall “in style” (doing a roll and tuck), “run Larry run” and seeing “Bat Boy” Gary take a swing. Rachel is a graphic designer at a company in Morristown, NJ so our next stop was the “Artist’s Alley Opens” to speak with Marc Tyler Nobleman and put ourselves on his email waiting list for his upcoming book “Boys of Steel: The Creators of Superman” about Jerry Siegel and Joe Shuster and the dynasty that followed. Marc was also staying at our hotel (probably with most of everyone else) and held the door open for us the day before. Also at the “Open” were Michael Eury, writer of “The Krypton Companion” which I bought (mmmmm…is this a segue way for 2 more future “Just Say Sue” articles?) and Lonnie Cruse (Metropolis Mystery novels).

Then our Super Team went to the “Superman Museum.” All of us were in total “aweeeeee...” as we mused that if we should “accidentally” get locked inside overnight that we would be surrounded by everything connected with Superman (especially George Reeves!). My digital photos just did NOT do it justice (my excited hands were shaking too much).  My favorite was the Daily Planet’s replica office. Rachel loved the “Lois and Clark” section as we were looking over Teri (Lois Lane) Hatcher’s outfits in the series. Adjacent to the museum is the Superman Gift Store where everything was quite affordable! Jim Hambrick’s brother, Kevin, runs everything. There’s so much in the museum that it could easily be made into another one. Way to go Jim!

Then we went to a “Q&A” session, under the main tent, of writers Marc Tyler Nobleman, Michael Eury and Josh Elder (“Mail Order Ninja”). I recently sent Marc my 2 photos of him speaking with the others at this session. Lo and behold, he used it on his website (and even gave me credit for it!).

Rachel stayed in the store as Math and I ventured forth to the “Americana Hollywood Museum” (above) which is “normally” several minutes away on foot. However, as we walked down the street, a sudden rain monsoon swept over and all around us. Math’s shoes were Paymore to my Payless so he was more than a bit concerned. We walked along side a financial building when we heard a tap on a window as the employees were signaling us to come in and stay dry. When the storm let up a bit, we thanked everyone and walked down the street only to have the storm meet up with us again (at this point we were about to sing “Laughter in the Rain”). This time, we were alongside a drive in bank. A woman in a car, with a small child, opened up her window and handed us her umbrella to use, “Here, I don’t need it anyway”! In front of the museum, was a large green Kryptonite rock. Inside the gates were an assortment of farm animals and a mini pony who didn’t know enough to get out of the rain. Inside the museum were exhibits dedicated to the memories of: Elvis Presley, Marilyn Monroe, Betty Boop, John Wayne, James Dean, Jimi Hendrix, various western heroes and a gift store bigger than any yard sale that I’ve ever seen. Math got a c-phone call from Rachel saying that the rain had let up; she was pleasantly stuck in the Superman Museum Store as her 4:00 Q &A with Marc Tyler Nobleman was cancelled due to the rain and she was on her way to find us. Then we sloshed back to the casino where, in a conference room, was an in-progress press conference with Noel Neill, Ned Beatty and Superman Josh. Rachel laughed as she recalled that Josh was right behind her in the rain, carrying an umbrella, and yet got to the conference room before her. Of course being Superman, and having a car waiting, probably helped! We didn’t want to disturb the conference, so we left.

Then we went back to the hotel to get our glad rags on for the “1940’s Hollywood Ball” at the Baymont Theater (actually, I cheated by wearing a vintage purple gown borrowed from a NJ community theater). It truly was a tribute to the lovely Noel Neill, who was given a special award for her 60 years of being our Lois Lane and for doing so much for Metropolis (she was adorable in her pink beaded gown). The Jerry Ford Orchestra played brass and sax tunes of the era to help celebrate the evening. Larry Blakely spoke as a special friend to Noel Neill. Noel Neill’s publicist and friend, Larry Ward, gave humorous accounts of Noel’s pixyish sense of humor. Then most of the audience (male and female separately) paraded around for the 1940s costume contest. Honestly, I think that 2-year-old Chloe, hopping and dancing around in her little sailor dress, should have won first prize. Instead, both male and female prizes ($100 each) went to a couple dressed in army uniforms. I even got to slow dance with the famed Steven Kirk. Math and I joined in the YMCA dance line. The night was topped off with refreshing fruit and vegetable platters with cheese and crackers and several Noel Neill anniversary cakes.

  

  

Day 3 – Saturday 6/14/08

We went back to town square where we met up with Danny Kelley and his beautiful wife Heather (I felt flabby next to her). Perhaps because we were inundated with super “hunks” I kept on confusing Danny with Jamie Aaron Kelly, though they look nothing alike—but they shared the same last name (and are both stud muffins). Danny and Heather work out together and have 2 small children. Both Danny and Heather had enough costume changes to fill their own museum! Jim Hambrick was busy flitting around from event to event. Rachel and I waited on a very long, however organized, autograph signing line at the Chamber of Commerce. Our “B” line tickets were picked up the day before. Today, we were waiting on line to get autographs from Allison Mack (Chloe Sullivan of Smallville) and Ned Beatty (Otis in Superman, the Movie). I asked Mr. Beatty what was his favorite movie that he was in and he answered that he loves working with kids so it was a kids movie with a blind dog (he didn’t remember the name of the movie and I couldn’t find it in my research). Perky Allison smiled when I asked her how she managed to stay 12 forever. She said that she was in a reverse time warp. Rachel thanked Allison for continuing with Smallville for its upcoming 8^th season. On line for the autograph signing, I met some people who I met at the last Phyllis Coates NYC convention. One young gentleman even tried to sneak in ahead of me on line to take pictures of Allison and Ned through the glass door. Of course, he would have been tarred and feathered if he got in the door before us!

Immediately afterwards, there was a Q & A session at the main tent with Noel Neill, Ned Beatty and Allison Mack for which we weren’t able to get in (SRO). So we listened to the proceedings at an outdoor picnic table with other fans. The event was cut short because a woman in the audience had a seizure. Thankfully, the paramedics were outside the tent and were able to take her to the hospital. The woman’s young daughter was comforted by one of the Supermen in the crowd (Jason, I believe); she wanted to stay with the super hero instead of attending to her mother in the hospital.

Awaiting the next Artist’s Alley Q & A, we saw an ongoing newsreel starring Muley and Mule, General Zod Kirk and other characters. The next talk was given by Lin Workman, Kevin Williams, Antone and Janet Wade who all work on Muley adventures.

Then it was time to get ready for the 13^th Annual Superman Celebration Auction at the Baymont Theater. This time the attire was more casual. The auction preview began at 5 pm, dinner at 6 pm, followed by the ceremony and awards presentation at 7 pm. The auction began at 8 pm. The bidding on items was from $1 to $5,000 plus. The MC for the evening was Steven “Booming Voice” Kirk. 

According to Math: “At last week's Superman auction in Metropolis, a Christopher Reeve Superman cape fetched $2,200—more than any other item. I think it came with a certificate of authenticity and it was signed by many members of the movie's cast.” 

Math also told me about an item, said to be George Reeve’s most prized possession, that was auctioned off after Rachel and I had left for the night. It was a copy of a document purchased from the Pope that would free Reeves from his sins if he couldn't go to confession before he died. 

The Super characters in town attended and were dressed down to some extent. Super Josh wore form fitting jeans (is there any other kind on him?) and a black Superman embossed t-shirt. When I went to get my picture taken with Super Josh, of course the battery wore out and had to be changed (do you blame it?). Helping out Steven on stage were Jamie Aaron Kelly (aka Dean Cain’s Clark Kent with gal pal Ronda aka Lois Lane). Much of the bidding “wars” was fun packed! 

We sat next to Jason and his wife at the auction. I remember seeing Jason proudly walking through the town streets dressed in his “Superman Returns” costume, with his plain clothed wife right beside him. I told him that he looked about 12. His beaming wife laughed and said they have 1 teenage child and 2 younger children and people “think” that he is child # 4. Jason has been working out for this event for months in order to get his Superman costume to fit—but now his dress suit is several sizes too big.

Awards were presented to: Heather and Danny Kelley, Steven Kirk, Jamie Aaron Kelly and Josh Boultinghouse. The Noel Award went to Stephanie Perrin; and the George Award went to: Steven Younis (from the Superman Homepage).

(Mini) Day 4 – Sunday 6/15/08

As we were having breakfast, right before we left our grand time in Metropolis, “Jimmy Olsen” was in the hotel’s cafeteria. We asked him to join us. Matthew is from Australia and attended the auction and bid/got the George Reeves signature poster. He told us of his coming to Metropolis the week before (a 39-hour trip to San Francisco with other stopovers in the states). He was hopeful that he would win the $1,000 prize money to pay for the trip. As we spoke he remarked that I looked like Dean Cain’s TV mom (K. Callan) with my glasses and short blonde hair and would be great if there ever was a contest for her.

Rachel’s Take:

I'm a bit depressed now to be back in "reality"—post-Superman Celebration depression has set in.  But I agree—it was a great weekend in Metropolis, and I'm SO glad we were together to share it, and I'd do it all again in a heartbeat! I had a SUPER time, and I want to say thanks again for everything! You were a great roomie too, Sue. We three are a super team indeed...and maybe we'll get together again sometime soon and meet in NYC to see the Superhero costume exhibit at the Met Museum. That would be nice! I'm really missing Metropolis and all the fun we had at the Superman Celebration...so much so that I'm seriously thinking about attending the 2009 Celebration. If I do, I want to stay there through the Sunday, and then leave to go back home on the Monday (instead of leaving on the Sunday and missing out on the Sunday events like the costume contest).

Math’s Take:

I had a swell time.  Bright, enthusiastic traveling companions; an overwhelming Superman museum; friendly townsfolk; great architecture; a glimpse into the city's glorious past; and a great collection of antique slot machines. The paid evening events were top notch.  And I got to meet a sheep (first time ever).  Nice fellow too.  Where else but in Metropolis could one go for a ride on a horse-driven carriage for $2?  I joined about five strangers for a twenty-minute ride from the Superman statue to the riverfront (Harrah's Casino) and back.  We passed an old theater that had obviously been out of service for a long time but whose prominent marquee suggested a glorious past.  One of the passengers said that she worked there as a cashier when in high school.  She had moved to Indiana with her now retired husband but returns to Metropolis to visit her parents who still live there.  We then passed a large majestic bank that was no longer in use.  A passenger explained that this structure harkened back to the days when Metropolis was a thriving manufacturing town.  Indeed, this stretch of Metropolis did have the charm and mystique of a ghost town.  About a half-mile away could be seen a railroad bridge crossing the Ohio River. There was a lot of freight traffic on this bridge. I was told that trains had to slow down to five miles an hour when crossing it because repairs were needed on the tracks. The old post office and library are worth visiting for their beautiful architecture, inside and out. There were many churches, all apparently still in use.  We were in the Bible belt. 

Sue’s Summary:

When we checked out of the hotel, I handed the umbrella to the hotel clerk to give to someone else in need. She remarked “That’s good karma.” I believe we had great karma in Metropolis. I also believe that there is great karma in the works for Metropolis. Metropolis City Officials have announced a major multi-million dollar riverfront development adjacent to Harrah's Casino that will enliven and activate the Riverfront for the millions of visitors to the Home of Superman. This development is going to be a terrific opportunity for the City of Metropolis.

A life-size bronze statue of Noel Neill will be officially unveiled at the 2009 Superman Celebration where it will hold a place of honor near the Superman Statue. Personalized bricks will be used on the base and walkway. What a wonderful tribute for a wonderful woman.

July 2008

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Phyllis Coates –An Honest Portrayal

By Susan Schnitzer

All geared up and trying to be an ace ‘Glasshouse’ reporter for the CAPTAIN CELLULOID EXPO.  I showed up at 9:30 am on Saturday, May 24 with my ‘still working’ tape recorder, various pens, note pads, folder, the jacket from the DVD of the Phyllis Coates movie ‘Panther Girl of The Kongo.’ (Hopefully Phyllis would sign it), along with a compiled list of questions for her to answer and my ‘Glass House’ article on some of her movies. The vendors were still setting up. Bruce Dettman settled me in and told me that I would be sitting next to Beverly Washburn. Phyllis was running a little bit late.  

At about 10:30 am, Phyllis came into the convention assisted by Bruce into the room, all smiles and waving at everyone saying how clean NYC was. Phyllis appeared smaller and fitter than her web site pictures, but still I could see the traces of her much younger self. The Saturday event was well attended, but that day was spent with Beverly Washburn. I tried every so often, to jump in between the masses of fans so that I could interview Phyllis but to no avail. Sunday is another day. 

Sunday, about midday, there was actually a low in the crowds (some retuned from the previous day and even looked like they slept in the same clothing. Finally, I got the opportunity to sit with Phyllis (when I wasn’t asked to move by fans who wanted a photo with her).  The opportunity arrived to have a one on one interview as she prefers.  

SS: My husband would like to know how you got to be named ‘Phyllis Coates?’ 

PC: My real name is Gypsie Ann Everts Stell. I went for an interview at Metro Goldwyn Mayer and Gale Getteman was the producer out there who later became studio manager for Desilu. So he said…what’s your name? (Laughing) At that time I had a thick accent. I said in mock Texan accent, “My name is Gysie Ann Evarts Stell and I’m from Odessa, Texas.” And his reply was, “Oh s__t!” “We can’t go with a name like that!” HA! And he had a bunch of books on his desk. And he went up and down. He said, “Coates, Coates.” “Phyllis.” Tell them your name is ‘Phyllis Coates.” And I said, “Phyllis Coates –write it down for me.” So he wrote it down and I went in to see this person and he asked me, “What’s your name?” So, I had to pull out that piece of paper – Phyllis Coates! And it stuck! I don’t like it. There’s a much better name out there, but it stuck. 

SS: You’re from Texas, right? So how did you get rid of the accent? 

PC: Well, I went to college and talked with marbles in my mouth. The reason why I talk so weird now is that I’ve got a retainer in my mouth. I’m getting a tooth pulled for an implant. But I got rid of the Texan accent. I’ve got a pretty good ear. 

SS: Well, that’s good. Do you sing also if you have a pretty good ear? 

PC: Ah…for my own amazement. I did a couple of USO shows and that kind of thing, but I’m not a real singer. 

SS: Did you have a favorite Superman episode at all?

PC: I cannot remember. They all ran together because we didn’t shoot in sequence. I just liked working.

SS: So did you like working with everybody? 

PC: In those days it was great. We shot out of the big studios where Gone With The Wind was shot by Selznick. We had dressing rooms the size of apartments. Wonderful! Everybody was friendly and helpful. We could pick up the grip stuff. Somebody would say, “Hey Phyllis, carry this OK!” “We’re changing, let George carry…” None of the stuff that goes on today.  

SS: So, you have fond memories of working with George Reeves? 

PC: Oh, God! George and I were good friends. And I became a very good friend with Toni [Mannix] 

SS: Toni Mannix, his girlfriend, yes. 

PC: I saw a lot of those party animals. 

SS: So what do you miss the most about George Reeves? 

PC: What do I miss about him…I don’t know quite how to answer that…People were very attached to him, and some of them lived in a ‘Superman’ world. But we were good friends. And I really liked him and Toni too. 

SS: Maybe there was just something about him. In other words, HOLLYWOODLAND wasn’t accurate. That wasn’t George. 

PC: Oh, God! A piece of trash! Good actors, the actor who played Eddie, the English actor Bob Hoskins. And Diane Lane is a very good actress. 

SS: Was she close to the Toni Mannix character in life? 

PC: The whole story was awful, that’s why it didn’t make any money. Just a big bag of crap. 

SS: Have you ever thought about if you would have stayed on for the duration of ‘Superman’ would you have done it over again if you had a choice knowing now how popular it would have been?

PC: No, I knew. George called me and he wanted me to come back on the show and he said, ‘Look, you’re leaving at a bad time, residuals” and so on. And I said, “George, I just don’t want to do it anymore.” In those days we worked 6 days a week. He said, “No we’re going to change that.” Then Whit Ellsworth called me and said, “Look, I’ll give you five times your salary – just come back.” If you notice, George and I were such good friends. He gave me equal billing in here…and I didn’t ask for it. And somebody came in from Hays to see the credits…Well that was George’s idea. 

SS: So, if you would have stayed on, was there anything you would have changed about the Lois Lane character? 

PC: No, she was what she was. 

SS: So, how much of the Lois Lane character were you, how much Phyllis? 

PC: Well, I guess it was me. Because Bob Maxwell hired me and he said, “You’re it!” He said you personify – you’re hired. 

SS: Out of how many other candidates were there? 

PC: Well, I think around 150 – 200 girls. 

SS: Did you think that you had the look or the attitude for it? 

PC: Ha, I think it was more of an attitude. 

SS: A definite attitude alright. Good. Do you think maybe that you were a role model for other women today being Lois Lane? 

PC: Well, I’ve had women tell me that…I did a radio show and three women called in (laughs) they had gone into the newspaper business, writing, and I was, you know, their image. Well, I said if you done that, then you are the real Lois Lane. 

SS: Out of all the men who have portrayed ‘Superman’ on TV and the movies, who could be that ‘Superman’ today? 

PC: I can’t see anyone else other than George Reeves. He was the only Superman. Although I say my favorite Lois Lane is Margot Kidder. She was great. She was really good. Some friends took me to see Superman The Movie. But George, he had his own thing. 

SS: He was just ‘it!” Yeah. 

PC: Yeah. 

SS: Did George ever talk to you about doing more projects like in Spain? 

PC: George came to see me. I was living up North Beverly Drive and he had directed already a few of the Superman episodes and he had a script and said, “Look, Eddie got me in the screen director’s guild.” “I’ve got a script here – I want you to do the lead.” “Will you do the lead?” I said, “Of course, but don’t leave the script with me now because I’m moving and I’ll lose it or misplace it and get it back to me in a few weeks after I’ve moved.” I wish I kept the script. It was a sci-fi. 

SS: Do you remember the name of the sci-fi? 

PC: No I don’t. You got to remember how many years ago that was. 

SS: Was he going to direct it or star in it? 

PC: He was going to direct it. He was in debt because Eddie got him into the screen director’s guild. So he was going to direct and he already had a few Superman episodes under his belt. So he figured…Yeah, he wanted me to go on personal appearances with him. He’d call me to go…He said “kids did terrible things to me.” They’d stick him in his rubber muscles. 

SS: Do you think that he felt demoralized or downgraded to be Superman? 

PC: In the beginning he did, yeah, in the beginning because television was not accepted. You know he was a wonderful movie actor. He had done a lot of good things and it sort of thinned out. In fact when I had met him and he came to my set of my dressing room to come over to have cocktails. He mixed us a martini and he just said, “Well, here’s to the bottom of the barrel.” He had no idea. 

SS: So now you’re sitting here. You never thought that the show would be popular in any way, nothing. 

PC: Well, I knew it was kind of a cartoon. 

SS: Everyone wants to ask, especially me, where did you learn to scream like that? 

PC: Scream? 

SS: Yes, scream. Anything special or was that just you? 

At this time a fan was talking to Bruce Dettman about the 1951 episode, Night of Terror where Phyllis gets decked by actor Frank Richards. 

Dettman: It was a real punch. She missed her mark! 

SS: Do you remember that punch? 

PC: Aw, God! 

Dettman: Knocked her cold! 

PC: Knocked me out. 

SS: Anything serious from that? 

PC: Lee Sholem, they were all action people, you know, and we all worked fast, and I missed my mark and the guy who knocked me out wept after. Lee Sholem said, “Get her off the set, bring her to, bring her back and let’s finish the shot and send her home before she starts to swell.” And that’s what happened. 

SS: Nothing, no damage or anything? 

PC: He just knocked me out. The big heavy, he cried, he wept. I missed my mark.

SS: Has that ever happened before or since? 

PC: Not to me. 

SS: I think you learned your lesson! I was recently watching a movie, I don’t know if you remember, a 1953 Marshall of Cedar Rock where you were paired together again with John Hamilton and Bob Shayne. Do you remember anything about that, and how it was to act with them again? 

PC: I remember a few things about it. 

SS: How about other things you did after Superman. 

PC: I did a few Untouchables and I remember working with Ida Lupino. God she was great. Then I remember doing Death Valley Days or Wagon Train, where I worked with Burgess Meredith and when you work with people like that… 

SS: In what way, because they were special or great?

PC: Yeah. Great to work with and real professional. And I worked with David Niven one time on a show that was shot out of Republic and wonderful to work with. 

SS: Were there other times that you saw George Reeves? 

PC: I saw him when I was shooting I Was A Teenage Frankenstein. I think it was on the studio at Santa Monica  Boulevard, a little studio. I was shocked because it was kind of a come down from the dressing rooms they had me in. They looked like lean twos. 

SS: Who did you like better, Clark Kent or Superman as a character?

PC: I never thought about it. 

SS: How were you directed as Lois? 

PC: If I laughed at something, the director would say “Oh, Lois wouldn’t laugh that much. Or, “Lois didn’t smile that much.” 

SS: What was the spirit of George Reeves the last time you saw him? What was his mood? 

PC: My God yes! He was so up, so high because he was going to direct. 

SS: So out of all the acting that you have done, what kind of acting parts do you prefer? 

PC: Just good parts. I’d love to do a granny gone wrong. 

SS: Granny! Do you think that you could do it at this point in your life? 

PC: Oh, God, yes! 

SS: As long as you didn’t have to travel too much? 

PC: Traveling is too… 

SS: Is there a part that you wouldn’t want to do at all? Anything that you prefer the least? 

PC: Well, Christmas I went and did with some professional actors in Coalhead City, AZ…A politically correct ‘Scrooge.’ 

SS: So it was dull then? 

PC: No, we made it crazy and it was fun.  

SS: Do you remember the name of it? 

PC: It was called, HoliDAZE. 

SS: What was your favorite role? 

PC: I liked doing the Eliot Ness stuff. 

SS: The Untouchables. You played the moll. I remember that – Ain’t We Got Fun – I just saw that. Very sultry, very blonde, very trashy. 

PC: Yeah, those are the best kind. A whore with heart, the best part. 

SS: In 1978 you were in a stage play with Bob Shayne called Never Too Late. Do you remember how that experience was? 

PC: Yeah, we did it in Palms Springs. I’m friends with his family and with Bart Williams. It was great, great. 

SS: I know that you have three children. So how did you manage to juggle acting and your family? 

PC: It was difficult. It paid a price. 

SS: So you were the sole supporter most of the time in the family? You supported them almost on your own? 

PC: Yes. 

SS: Do you prefer to act in comedies or dramas? 

PC: I like comedy because if you can play comedy, you can act. 

SS: Do you remember anything about working with Clayton Moore in The Lone Ranger? Somebody said to me that you were in three episodes of that show. 

PC: No, just that it was great to work with Clay and Jay Silverheels. Good people. 

SS: Do you remember anything about working on Perry Mason? How was Raymond Burr like to work with? 

PC: They were all nice. 

SS: Now, you were on The Adventures of Superman for a year. Would you ever do another series? 

PC: Yeah, I did This Is Alice. 

SS: When was this? 

PC: In 1958 with Dick Wessel at Desilu studios. I did a pilot with Bert Lahr. Sidney Sel directed it, but it didn’t sell. Bert Lahr was wonderful. I should have brought my resume because I did so much work. 

SS: You were in Lois And Clark as Lois’ mother correct? 

PC: Right, I did one episode. But I didn’t want to move back there. 

SS: But how was it like working with Terry and Dean? 

PC: Everybody was wonderful, what can I tell you? 

SS: In what way was it different or similar to…? 

PC: Oh, different my God! The budget, you wouldn’t believe the budget! Wardrobe, the sets, Terry’s wardrobe – ah!!! The wardrobe, I couldn’t get over it.

SS: How did you feel about Dean Cain as Superman? Did you think he was believable? 

PC: He’s a cute guy…Well…So… 

SS: Thank you Phyllis. 

In my ‘Panther Girl of The Kongo’ DVD cover Phyllis Coates wrote, ‘To Sue – What A Gathering.’ It surely was. 

GHP thanks you Sue!  

June 2008

 

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NYC Collectors Show 2008

May 24 - 25 2008

Part I

Bubbly Beverly Washburn

By Susan Schnitzer

 

I was privileged to be picked to be the veggie luncheon slice seated between Richard ("Oh George") Potter (along with his gracious wife Grace) and Bubbly Beverly Washburn (the little girl in Superman's "Mole Men" as well over 500 other movies and TV shows) during the 2 days of the convention.

 

Getting there before most of the vendors at 9:30 am on Saturday, I nestled into my seat and took out my tape recorder (falling apart at the seams but still working), note pads and pens to await the events of the weekend. Bubbly Beverly bounced in and we said our "hellos." At first, she didn't put out all of her pictures because she thought that I was "somebody." I immediately put my stuff underneath the table and explained that I am "a legend in my own mind" and there to interview Phyllis Coates (to other people who questioned who I was, I remarked "I came with the room"). Since we were in the "flight path" of Phyllis Coates' adjacent table, we met and received many grateful and adoring fans going her way. It was from Beverly's exchange with her fans, that I learned about her remarkable career/life (unfortunately, I didn't record any of it --- my notes are in paraphrase) and the personalities that she encountered. For extended information, I referred to Beverly's website and individual website resources.

 

Jack Benny and Loretta Young were Beverly's inspiration. Beverly played many roles on the Anthology Series "The Loretta Young Show." On "THE NEW LORETTA YOUNG SHOW" Beverly was a series regular as Loretta Young's daughter. With Jack Benny, Beverly starred in "The Jack Benny TV Program," "The Jack Benny Radio Program" and his LIVE ON TOUR. Contrary to his image, Jack was neither cheap nor stingy.

 

A reporter came up to Beverly from the "Bing Crosby Fan Club" and asked her questions about the movie "Here Comes the Groom." In my research, I found a quote from Beverly regarding her 1950 role with Bing Crosby and Jane Wyman:

Hello, I'm Beverly Washburn. After appearing in Superman and the Mole Men with George Reeves, my agent secured a role for me in Here Comes the Groom. I played the little war orphan, Suzie. My mom was thrilled that I would be in nearly every scene, except for the fact that I wouldn't speak English... only a little French. I went on to appear in many more movies (like Old Yeller and The Greatest Show on Earth), and by the time I reached my twenty first birthday, I was on more than 500 TV shows. But Here Comes the Groom is a favorite of mine. I still have the gifts that Bing and Jane sent me after the filming, and I have years worth of Christmas cards from Bing. He was a very nice man to me. Look for a "blooper" in the film when Jane Wyman takes off my coat. I can't believe they let that one slip. It's a wonderful film for the entire family, and I even get to sing a few bars of the Oscar winning song, In The Cool, Cool, Cool of the Evening with Bing!

 

Beverly has very little memories of George Reeves at the time that she filmed "Superman and the Mole Men"(1951) because she had no scenes with him but she did see him around on the set and thought that Superman --- WAS REAL! She never had any scenes with Phyllis Coates. She wasn't afraid of the Mole Men because her mother explained to her that it was just makeup on the men. Beverly had brought 15 posters of the "Mole Men" with her (we figured out that her character name was "little girl") which sold out the quickest. I offered to go to KINKOS to get more copies, but Cappy told me to just get rid of them.

 

"The Greatest Show On Earth" (1952) starred James Stewart, Betty Hutton and Charlton Heston. Both Noel Neill ( as "Noel" of course) and Beverly (little girl spectator) were both uncredited. James Stewart plays Buttons, the mysterious clown who never takes off his make-up even between shows. It turns out that he is on the run from the law.

 

George Reeves (James Lindsey) played Beverly's (Violet Lindsey) father on an episode of "The Ford Theater" (in the 1952 episode "Heart of Gold"). This was a departure from Reeves' "Superman" portrayal. Beverly's brother on that special Christmas program was played by "Lassie" star Tommy Rettig (Fitzjames). George was great with the children on the set. As the synopsis goes: On a Christmas Eve in Turn of the 19th Century a mother Helen (Anita Louise) and father (George Reeves) disagree about having father to play Santa Claus for the family. The father is very stoic and believes it to be better to make the children grow up faster by not believing in such (in his view) foolishness. Father seems very stern and heartless, but was this always so? When the son (Tommy Rettig) builds a snowman (Edmund Gwenn) and puts a golden heart locket in its chest (to give it a heart), it comes to life and reminds the wife that the husband was once young at heart as was she. They were romantic and not always so practical about life. In the end, Father proves he has the Christmas Spirit and masquerades as Old St. Nick for the family.

 

I never realized, until my research, that Beverly was the "girl outside the window" in my all time favorite Danny Kaye movie "Hans Christian Andersen" (1952) in the "Thumbelina" song segment.

 

I never heard of "The Juggler" -- 1953-- that Beverly (Suzy) starred in with Kirk Douglas (when fans saw his photo --- they thought that he was Danny Kaye). It was filmed in Israel. Hans Muller, (Kirk Douglas) who was a German refugee from Germany relocating to Israel after WW II. Hans Muller was a Juggler who entertained many people and young children and was a wonderful tender hearted man, but he had serious psychological effects from his being confined in the Nazi Concentration camps and witnessed the horrors of what Hitler created for human beings being burned in ovens.

 

Beverly remembers that the western movie "Shane" (1953) (also starring Alan Ladd, Jean Arthur, Van Heflin, Brandon De Wilde, Elisa Cooke Jr, and Jack Palance) was shot in Jackson Hole, Wyoming. As a young child, she remembers that the 13 week shoot and long days waiting around on the set was very tedious for her. When a fan asked her what was the line that she spoke, she quickly smiled and said "I can't even remember what I had for breakfast this morning!"

 

Beverly starred with Jack Webb in "Dragnet" (1954 "The Big Pair" as Ruthie Snyder). The reason why Jack spoke so clipped was because he refused to remember his lines and read from a teleprompter.

 

Phyllis Coates played the part of a nurse on the 1955 sitcom "Professional Father," on which Beverly was a series regular.” Professional Father" was broadcast live on CBS-TV for a full season. Beverly's mother on that series was played by Barbara Billingsley, who would gain fame a few years later, as mom June Cleaver on "Leave it to Beaver."

 

In the 1956 Warner Brothers production of the "Lone Ranger" (with Clayton Moore and Jay Silverheels) Beverly Washburn is Lila Kilgore, the sweet, innocent daughter of the double-dyed villain. The nominal leading lady is played by Bonita Granville, who co-produced the film with her husband Jack Wrather. The Lone Ranger proved successful enough to warrant a sequel, The Lone Ranger and the Lost City of Gold (also 1956). Beverly was on the set when the Lone Ranger split his pants while mounting Silver (and riding off into the moonset!?).

 

Old Yeller" (1957) is a classic Disney tear-jerker production set in post-Civil War Texas about a boy and a stray dog he befriends. The film stars Dorothy McGuire, Fess Parker, Kevin Corcoran, and Tommy Kirk, and also features Chuck Connors, Jeff York, Beverly Washburn, and animal actor Spike as "Old Yeller." Beverly was not a Mouseketeer as the other children were in the movie, but picked based on her wide-ranged acting abilities.

 

Beverly starred with comedic actor Lou Costello in his one serious role in TV's "Wagon Train" in the episode "The Tobias Jones Story" (1958) (appearing on the show 3 times). Lou portrayed a man with a very severe drinking problem traveling west with Beverly (Midge) who is in his care. Beverly enjoyed working with Lou and said that he was a very nice and friendly man who was used to adlibbing his lines in his comedy routines. So for "Wagon Train," when he had difficulty in remembering his lines, he would stop, look into the camera and say "So, how are you?" One fan (a postal worker) came by with a Lou Costello photo scrapbook collected bit by bit over the years. On the set of "Wagon Train," there was so much foul language being tossed about by the star, Ward Bond (Beverly's first "WT" venture) that the entire production was nearly closed down because young Beverly was within earshot. Beverly knew that Ward wasn't mean spirited but that's the way he spoke with the others on the set. Afterwards, he was very careful what he said and very polite. In another episode of "Wagon Train" Beverly (Susan Kevin Hagen) starred with Ernest Borgnine ("The Willy Morgan Story" 1957). Still to this day, 91 year old Ernest is very nice and very fan friendly. He's a likeable guy!

 

In the 1959 Beverly starred in Boris Karloff's chilling TV series "Thriller" in an episode entitled "Parasite Mansion" as a disturbed teen. Pippa Scott (a stranded traveler) and Jeanette Nolan (a witch) were also featured. (a fan gave Beverly a gift DVD copy of it that was played on Rich Potter's laptop -- years later it's just as disturbing). Beverly giggled as she recalled that her hand was dipped in chocolate syrup and she held a cut out mold in her hand. As she screamed, she put the mold to her face which looked like (especially in black and white) she had scratches on her face. A technician was off camera, reeling in a fishing rod that was used to eerily move a candle around Beverly's head.

 

Beverly starred with Lon Chaney, Jr. in "Spider Baby" (1964) ,also known as The Maddest Story Ever Told deals with 3 children of the Merrye family who live in a decaying rural mansion with their guardian and chauffeur, Bruno (Lon Chaney, Jr.). The children suffer from a genetic affliction unique to members of their family, which causes them to mentally, socially, and physically regress backwards down the evolutionary ladder, starting in late childhood. When two distant relatives and their lawyer arrive to take control of the property as rightful heirs, Bruno's shaky control over the children is lost. Chaos and insanity take over. Beverly Washburn plays an inbred, demented and dangerous child. Beverly remembers Chaney as a very quiet and gentle man who suffered from alcoholism.

 

Beverly starred with Barbara Stanwyck (Stanwyck's photo reminded fans of Bea Arthur) in the unsold movie pilot "Calhoun." Beverly, who played her teenage daughter, found Miss Stanwyck to be very professional and concerned with everyone knowing their lines. The only "Calhoun" that I found in my research was entitled ""Calhoun: County Agent" (1964). I don't know if this was the same feature.

 

The Deadly Years" (1967) is a STAR TREK TV classic where the landing party of the USS Enterprise picks up a virus causing them to age rapidly. Beverly (Lieutenant Arlene Galway) and I had a field day telling fans who looked at her "old" picture that that's what happens when you don't use Oil of Olay daily!!! When asked how long it took to put the "old" make up on, Beverly quipped "About as long as it takes me NOW to put on my makeup." Beverly joked that usually on Star Trek, anyone who wore red usually died, but she wore BLUE and died. When asked what kind of person William Shatner was to work with, Beverly laughed and said that he was quite the "ladies man" and had a bizarre sense of humor that only Leonard Nimoy appreciated. She was amazed by the Star Trek experience since the series wasn't popular during its original run.

 

"Demon Haunt" is Beverly's latest movie (to be out shortly). She best describes herself in it as "an over the top crazy lady." THIS I GOTTA SEE!!! What a pleasure it was seeing this lovely and talented lady. All of the proceeds Beverly collected from fans purchases are donated to Beverly's local animal shelter. Beverly has been an animal lover since her "Old Yeller" days.

 

 

In between my helping out Beverly at the table, I cheered on Soupy (Dollar Bills) Sales as he was wheel chaired into the room. His ever present "Let's Do the Mouse" smile greeted all of his fans. It's my hope that one day Soupy will be able to do "the Soupy Shuffle" again for all of his fans. James "Hannibal Dobbs" Hampton was all laughs, smiles, and down home country boy humor to everyone. Jim would just love to bring his wife to his next convention. Along side of Jim was his "F-Troop" alumni Larry "Corporal Agarn" Storch who I've met twice before. Joe Franklin (I love his 3 course discount menus offered at his restaurant) of NYC channel 9's "Down Memory Lane" (No relation to Lois....) came to say hello to Phyllis Coates. I explained to Phyllis who Joe was.

June 2008

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PERIL IN PARIS

(La Belle France)
 

Enchanted by my recent trip to France, I decided to give TAOS season five's PERIL IN PARIS (1956) another visit. This time, I was in the privacy of my study, unscheduled, truly relaxed and I didn't need to pack and unpack daily.  Just like a fine French wine, this fine episode set, in France, is vintage and classic.

Clark Kent and Jimmy Olsen are over in Paris, I gather working on an PLANET assignment, when they get a call to see the Prefect of Police.  Golly gee it's "Inspector Henderson" with a hint of a tiny moustache. Well, not really, it's "Inspector Lonier" (Robert Shayne) giving us his best French accent. Well, it certainly was an attention-grabber to start off the fifth season. The resemblance is so close to the Metropolis Inspector that Clark quips "The resemblance is truly frightening....I mean uncanny." The inspector gives Kent a letter for Superman. It's from actress Madame Anna Constantine, (Lilyan Chauvin) who writes that she is in trouble and needs his protection. Superman arrives in Paris to help the French damsel in distress to defect from an Iron Curtain country. Superman is talked into flying some very valuable jewels back into Paris and then giving them back to her at a pre-arranged meeting place. Madame C was concerned she wouldn't be able to get jewels over the border from behind the Iron Curtain. It turns out, however, that Anna is the dupe of a smuggling ring which is attempting to escape Europe with a cache of valuable jewels—and before long, Superman has been duped as well. The "police" were fakes and were actually crooks getting the ICE (as young Olsen would call it). This episode has more twists and turns in it than a croissant! It is somewhat like a spy movie in which you don't know who the good guys are…or are they the bad guys?!?  

This episode marked a refreshing departure from the usual Metropolis and Daily Planet sets. In the opening segment, there is a view of the Eiffel Tower and a mini Statute of Liberty. The Eiffel Tower is the tallest building in Paris and one of the most recognized structures in the world. It was named after its designer, engineer Gustave Eiffel and completed in 1889 as an entrance arch for the World's Fair marking the centennial celebration of the French Revolution. This symbol of Paris was the world's tallest building until 1930 when it was superseded by NYC's Chrysler Building. On the third floor deck of this magnificent tower is the ALTITUDE 95 RESTAURANT where my group had our farewell dinner. The small scale replica of the Statute of Liberty  is located on the far end of  the island lle des Cygnes which faces west in the direction of its larger sibling in NYC. Inaugurated 3 years after its NYC counterpart, the statute was given by the French community living in the USA to commemorate the centennial of the French Revolution. Originally, it faced toward the Eiffel Tower, but was turned west in 1937 for the exposition universelle hosted by Paris that year. Its base carries a commemorative plate, and the booklet carries the inscription that recognizes the American Independence Day and Bastille Day. Superman meets Madam C and her man servant Gregor (Peter Mamako) on the "other side" (France) to return the jewels. This rendezvous was in the mist and fog of the Fountain of TreLee.  I couldn't find this location in my notes or in my research. Nevertheless, it set a most mysterious and intriguing background for the episode.

The actors in this adventure fit the Parisians in both look, demeanor and mannerism.  French-American character actress Lilyan Chauvin (Madame Anna Constantine) is a long time veteran of the European stage, and is adept at playing strict, but sometimes loving characters.  She might be best known as the sinister Mother Superior in Silent Night Deadly Night (1984), but her career started back in the 1950s when she was plucked from the stage to appear in small minor roles in motion pictures. One notable film was with John Wayne in North to Alaska (1960). Over the years, Chauvin has found herself as one of the busiest character actresses in Hollywood appearing in over forty films and numerous appearances on television. Her many film credits have included "Private Benjamin", "Predator 2", "No Place to Hide", "Universal Solider" (as Jean-Claude Van Damme's mother) and most recently co-starred with Tom Hanks and Leonardo DiCaprio in Steven Spielberg's "Catch Me If You Can". Just like most of the women I encountered in France, Ms. Chauvin's character was slim, trim and impeccably dressed in black and gray tailored suits.  
Man-servant Gregor (Greek American actor Peter Mamako) reminded me of an Inspector Closeau wannabe with his dapper black suit, matching butler's derby and upturned moustache. Mamako was in 2 other TAOS episodes: KING FOR A DAY as Markel and in THE DEFEAT OF SUPERMAN as Happy King. 

Phony police official Albert Carrier (Pierre LuMont) looked very crisp and professional in his beige raincoat. Madame C said of him "Your manners are French—but that is all!" Carrier played many French waiters, servants and ethnicities in American TV sitcoms until the 1980s. 

Pug looking (especially in THOSE stripes and barret) thug Charles LaTorre (Raul Durant) last starred in TV's I SPY, BATMAN and MR. ED.
Franz Roehn (crooked jeweler turned honest jeweler Jacque du Crae) looked a little like the nutty inventor, Maurice, in Disney's BEAUTY AND THE BEAST. Roehn was featured in numerous TV shows up until 1961 in westerns and mysteries.

When a very bored Jimmy Olsen writes a postcard home that reads "Having a wonderful time—wish I was there" either he should have opted for "a rousing evening at Napoleon’s Tomb" or better still, looked around to see what a great adventure he was a part of! Bon magnifique!

April 2008

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CHARLOTTE'S WEB
By Susan Schnitzer

 

I must have been out of the WEB when I was a child and never had the chance to read CHARLOTTE'S WEB. But when I was recently cast in the role of Mrs. Martha Arable (“Mother") at the KidsVille Theater in Somerset, NJ I figured that now was the time to do my research. As originally written by Stuart Little, Charlotte's Web tells the story of Wilbur, an undersized pig (also known as a "runt") who is saved from being axed by the sweet, but headstrong, tender-hearted farm girl Fern Arable. When this "runt" does grow, he's on the verge of eating his human family (Mr. & Mrs. John Arable and big brother Avery) out of house and home. So he is moved, down the road, to Uncle Homer and Aunt Edith Zuckerman's farm because they sometimes raise pigs. When Wilbur is  big enough to be moved inside to the barn, he is befriended by a beautiful gray spider named Charlotte. Wilbur doesn't stop growing, or eating, causing the Zuckerman's to want to turn Wilburn "into ham." In the months that follow, Charlotte uses messages (i.e. —"some pig," "humble" and "radiant") to magically spin into her web to repeatedly save Wilbur from disaster. To help Charlotte is the reluctant and gluttonous rat, Templeton, who gets these catch phrases from garbage pile magazines where he frequently dines al fresco. The other animals on the farm are Goose, Sheep, Lamb and Gander. Other human characters in this pig's tale are Lurvey (the farm hand) and the Narrator.

Mother is NOT an exciting character and neither are her lines. I watched the1970's cartoon and the recent live action movie—and mother is dull. On the plus side, her dialogue is cut and to the point (plus we share the same hairdo). Since my memory is a sieve (unlike the children in the production who inhale their dialogue), it was fine that I was able to keep my script with me behind the scenes and refer to it constantly as I walked on and off stage with props. However, I noticed that some of the adult actors were also either referring to their scripts behind the scenes or had cheat cards tucked into their costumes. 

It didn't make a difference how we went about learning our parts, because the audience loved us! It was adorable how the very little audience members shyly came up to the performers at the "meet and greet" at the end of the show and handed us a pen to sign a program. The greatest compliment that I received from hubby, friends and audience members is that I was so natural playing mother (mostly because I yelled at the children so much). Basically, my acting formula was Susan being Susan. It also helped that I got my costumes from the "Susan Collection.” There were no drama queens in the production or in the dressing room. 

I'd like to share with everyone the nice sentiments that I received from cast members (the entire cast also received sentiments according to their personality). The little blond lighting lad "A" wrote:

--- "Mrs. Arable (Susan) - It has been a huge amount of fun to see you play the part of Mrs. Arable in this show. When I am in the tower, I always look forward to being entertained by you!"

--- On a paper plate given out by the Narrator, I received this award "Susan --- Best Style.”

--- The Sheep "J" traveled all the way from PA to be in this production. She presented me with this moving passage:
"Susan, You are so talented! What a wonderful mother you've been, on and off the stage. I feel as though I could go to you on a rainy day when I'm feeling blue, and you would make me laugh hysterically! Your fun stories about your home life are what keep me going most of the time during intermission, and I just wanted to thank you for being so kind and friendly! I hope everything goes well with the singing career, I see big things for you!"

With nice people like this to perform with, I don't mind being called a "mother .....”

March 2008

 

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RESPECTFULLY SUBMITTED

FOR YOUR APPROVAL:

The Genius of ROD SERLING

IN EVERY SEASON...PART III

By Susan Schnitzer

THE FIRST SEASON (1959 - 60)

“A year ago, when the first publicity came out on the series, I was inundated by submissions from agents offering me six foot nine actors with long necks to which electrodes could easily be attached. One agent told me that he had an actor so versed in horror movies that he’d taken to sleeping in a box in the basement.” – Rod Serling 

Producer Buck Houghton, Rod’s producer and script editor on Schlitz Playhouse of Stars, was not Rod Serling’s original choice to produce the series. Fortunately, he was so impressed by the first 2 striking scripts, that his enthusiasm took over and he couldn’t wait to be a part of the TZ. For the first 3 years of the TZ, considered the best years of the series, Houghton was singularly mostly responsible for translating Serling’s and other writers’ story visions off the paper and unto film. Houghton purchased scripts (other than Sterling’s), cast actors, scored music, cut/edited and got final approval to everything. Houghton would listen to suggestions and be very supportive to the director and actor in their original idea as much as possible. The pilot (“Where Is Everybody?”) had been shot at Universal as a courtesy to CBS who did not rent its facilities to outside production companies.

So Houghton decided to rent space and facilities at Metro-Goldwyn-Mayer (MGM).  MGM kept everything they ever made, so they had the best storehouse of sets in the business. Next, Houghton hired the production crew from the art department of MGM Oscar winner William Ferrari (for the movie Gaslight and The Time Machine). From his Schlitz associations, Houghton hired director of photography George T. Clemens (a distant relative of Samuel L. Clemens aka Mark Twain), as well as a cameramen on High Noon, The Great Dictator, Frederic Marchs’ Dr. Jekyll and Mr. Hyde and Valentino’s Blood and Sand. For casting directors, network boss William Dozier suggested Mildred Gusse. Serling, Houghton, and George Clemens arranged to hire directors who were just as enthusiastic as everyone else on the creative team. Of special importance was hiring Mitchell Leisen who directed the classic fantasy Death Takes a Holiday starring Frederic March. Houghton hero worshipped Leisen ever since he was the 4^th assistant director on one of Leisen’s movies. However, hiring movie directors to do TV didn’t always go smoothly as when Oscar-winning editor/director Robert Parrish (Body and Soul, A Double Life and All The King’s Men) directed TZ’s episode “One for the Angels,” starring Ed Wynn. Parrish didn’t know anything about TV and was shocked to receive a 30-page script, to be done in three days, whereas he was used to shooting only five pages a day on a movie. Systemically, Parrish brought in a legal-size piece of paper with all of the setups and crossed off all of the shots that represented two ways of doing the script. Then he crossed off all of the shots that were redundant. This gave him a choice between over-shoulders and close-ups. Thus, the shooting was done in three days.

Each episode was given one full day of rehearsal plus three shooting days beginning in June. Twenty episodes were made before public reaction came in. Serling’s commitment to the show was total. He worked 12–14 hours a day, 7-days a week. He was the only person, according to writer Mary Wood, who could get a tan and make money at the same time while working by his poolside. Serling would finish writing by lunch time and then drive to MGM where he would work on until late into the evening. Serling was instrumental in the development of the scripts and rewrites, in on the post-production and always looked at the dailies. He was always ready to rewrite very quickly. Serling had a very short attention span and was forever on the run and couldn’t sit around for dubbing, or going through casting lists, or cueing music. He left all of that up to the executive producer. But he DID have the final say. Over a period of 9 months, Serling produced 28 of the first season’s scripts. These scripts fell into three basic categories: science fiction, horror, and fantasy—using the surprise twist ending which came to characterize the program. Each script took from 35–40 hours to complete. Serling was able to keep up with this whirlwind pace because he had a backlog of story ideas and many of the stories had already been written in his mind. Serling’s writing followed a rigid pattern. He would dictate the first draft for a secretary to type up then he would rewrite any trouble spots and tighten up the timing. Though he usually didn’t have to do a second rewrite, the director and cast would sometimes makes pencil changes. There was a lot of excitement amongst the crew. Each script was different, unique and everyone looked forward to what was coming up next.

Production of the first season came to an end early In April, 1960. In total, 36 episodes had been produced. In the spring of 1960, John Brahm won a Directors Guild Award for “Time Enough at Last.” Buck Houghton picked up a Producers Guild Award for Best Produced Series. The show won numerous awards. In April, Bantam Books released  Stories From The Twilight Zone, a paperback collection containing 6 of Serling’s  teleplay adaptations (“The Mighty Casey,” “Escape Clause,” “Walking Distance,” “The Fever,” “Where Is Everybody?” and “The Monsters Are Due on  Maple Street.”) The reviews were favorable and sold well.

Now Rod Serling was a TV star recognized walking down the street or going into public places. Unfortunately, Serling photographed taller and handsomer than he was in person for which fans commented. Serling’s daughters, Anne and Jodi, were embarrassed by the attention that their famous father received and wished that he would tell fans that he was “someone else” but he was too kind to people. Despite the pitfalls, Serling rather enjoyed his new-found celebrity status. He was living out everyone’s fantasies and figured that he was the best known and most highly paid writer on TV. He loved his creation. On June 21, 1960, he won his fourth Emmy for Outstanding Writing Achievement in Drama. If he had actually thought that he would have won—he would have shaved before the broadcast. He thought that he would be just another face in the audience applauding the winner. HE WAS BEYOND SHOCKED when he accepted his award. Serling had taken a chance with his new series and won.

THE SECOND SEASON (1960 – 61)

After the success of the first season, TZ had found its audience. There were fan clubs in 31 states and the show received about 500 letters a week. On the average, 50 story ideas per week came in. There were TZ products: a comic book, a record album, a board game and Serling’s More Stories From the Twilight Zone, which was in its second print two weeks after its release. There were production bonuses to boot. After the first season, there was absolutely no trouble getting a cast. The stars would work for half of their normal amount in order to join this prestigious program.

This season only saw 29 episodes (down from the previous year). CBS was more concerned about the cost of the shows in relation to the ratings. They taped in order to save some money. Six episodes were videotaped as a cost-cutting measure.

For Serling, the spring of 1961 was a replay of the past year with a host of awards. In May, another Emmy, once again for Outstanding Writing Achievement in Drama, was presented to Serling. Serling held up the award and said to the other writers, “Come on over, fellas, and we’ll carve it up like a turkey.” George Clemmens got an Emmy for Outstanding Achievement in TV Cinematography.

CBS toyed with the idea of expanding the TZ to an hour format in hopes of attracting a larger audience. This was ultimately done in the third season. Up until this time, 65 episodes had been produced. Some of the “worst” episodes were still entertaining while the best remain unforgettable. For now, the series was at its peak. Few TV series before or after have ever reached this level.

THE THIRD SEASON (1961 – 62)

“Next year, I’m going to do the commercials – ‘In the Twilight Zone, nine out of ten doctors recommend you smoke …’ They’ll say I’ve really sold out.” – Rod Serling

Rod Serling became drained of ideas. Whereas stories used to bubble out of him so quickly that he couldn’t set them down on paper fast enough but after writing 47 TZ scripts and 13 for the next season, he became woozy. His enthusiasm began to lag and he was afraid that he couldn’t retain his usual high quality. He began to borrow from himself. However, other Serling’s talents were called into play when the American Tobacco Company, now one of the show’s sponsors, asked him to endorse their product. There were no writing blocks in talking about the full pleasure of Chesterfield cigarettes—…”great tobaccos make it a wonderful smoke. Try ‘em, they satisfy.” By the close of the third season, “the twilight zone” was a catch phrase to describe just about anything. In the spring of 1962, the TZ was late in finding a sponsor for its fourth season and another show was programmed in its time slot. Without prior warning, the TZ was OFF the air. Serling’s agent frantically tried to work out some kind of deal with CBS so the series would remain on TV. Houghton found himself without a job and took an offer from Four Star Productions. At the 11^th hour, CBS decided to renew the TZ, in a different format. Each of the 18 episodes was an hour to begin airing in January, 1963 as a mid-season replacement. CBS hired producer Herbert Hirschman to supervise these shows.

With the close of the third season, along with Houghton, Serling was also leaving the series. Serling accepted a teaching position at Antioch College from September 1962–January, 1963. Serling was tired and burned out. Over the next two seasons, Serling’s involvement would be greatly diminished. Though he would still host the show and contribute scripts but production decisions would be made by others. He needed change, time to exhale, and an opportunity to pick up some knowledge and renew his perspective. If CBS dropped the show and Antioch dropped Serling, he wanted to go fishing for the rest of his life! In the early days of the show, the quality of the show was so special that the crew would finish up at 2 am and go out for a beer while discussing the show. In future seasons, this would not happen again. Many memorable shows would be made but the innovation and freshness were gone. This was a different show.

THE FOURTH SEASON (1962 – 1963)

 “Ours is the perfect half-hour show … If we went to an hour, we’d have to fleshen our stories, soap-opera style. Viewers could watch fifteen minutes without knowing whether they were in a Twilight Zone of Desilu Playhouse.”  -- Rod Serling 

With the show’s return, the series featured a new name: TZ (without “The”) which was rather appropriate because with its new producer and expanded length, the series bore little resemblance to its predecessor. The hour length show didn’t move as quickly and could no longer sustain its previous smashing payoff. It wasn’t thought that story material would carry for an hour. New producer Herbert Hirschman had worked his way up in the business and knew the ins and outs of his job from experience with Studio One, Playhouse 90, Perry Mason and Dr. Kildare. Hirschman didn’t try to change the formula nor come with his own fixed ideas. This worked great with the rest of the crew. If retakes were necessary, he wouldn’t bring back the director, but direct it himself. The shooting schedule for an hour show was six days. There was a day of rehearsal and a day of set pickups. So the work would be eight days with four days and the weekend off. Robert W. Pittack was hired to alternate with Hirschman as director of photography for back to back episodes.  Hirschman had to get scripts from scratch.

Far from being on vacation while teaching at Antioch, Serling was also working on a screenplay adaptation of Seven Days in May.  In addition he turned out a number of TZ scripts and mailed them to Hirschman. Serling would be sent other scripts and would discuss these over the phone with Hirschman. Hirschman expected more from Serling who wrote so easily. Serling would fly to L.A. to film the openings standing in front of a gray background and do 3–4 tapings at a time. Hirschman created the main title, the clock ticking, the mannequin and supervised the making of the props and came up with the notion of things floating through the void. Serling wrote the narration. Hirshman bought high-quality scripts from Matheson, Beaumont, Reginald Rose and Earl Hamner, Jr while recruiting alumni directors Buzz Kulik, Don Medford, John Brahm and Abner Biberman.  Different episodes were filmed simultaneously, on different stages at a brisk pace. Serling was NOT thrilled with the new Thursday 9:00 timeslot that eliminated a sizeable young audience that Friday night had brought in.

In the spring of 1963, TZ was back for its 5^th season and back to its half an hour format. The network experiment had failed and the expanded timeslot had not made for an expanded viewing audience. The shows were too padded, lacked the excitement and punch of the shorter TZ dramas. Serling favored his own hour episode “On Thursday We Leave for Home” (starring James Whitmore) but thought it was overwritten. Though Serling was quite hard on himself and the series, the hour length show still held merit and did not disgrace itself. By this time, the show was winding down and beginning to show its age.

THE FIFTH SEASON (1963 – 1964)

“There was this knock on the door of my office – I had this huge office – and Rod came in on his knees, he walked in on his knees like Toulouse-Lautrec, see…. And I said ‘What have you done now?’ He says, “Well, I’ve just blown Twilight Zone, that’s what I’ve done!” – William Froug.

TZ had lost a great deal of its zest, vitality, thoughtfulness and innovation of previous years. Lacking, too, were some of the show’s best directors and the quality of writing. Towards the end, Serling felt that he was losing his perspective on what was good or bad. By far, TZ was STILL better than the majority of other TV programs of its time. It only faded in comparison to its former self. At the end of January, 1964, CBS canceled TZ. The president of CBS was sick of the show though it was still rated well. The episode “An Occurrence at Owl Creek Bridge” put the show back under budget thought the series had never been over budget. According to Daily Variety Serling was quoted as saying that he canceled the network!

After five years and 156 episodes—92 scripted by Serling—Cayuga Productions closed its doors. In 1962, when it looked like TZ was about to be canceled, Serling was quoted as saying “We had some real turkeys, some fair ones, and some shows I’m really proud to have been a part of. I can walk away from this series unbowed.”

I hope that everyone has enjoyed their walk through the Twilight Zone and come out with a further enrichment and enjoyment of Rod Serling’s works that speak volumes for itself.

February 2008

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RESPECTFULLY SUBMITTED FOR YOUR APPROVAL:

The Genius of ROD SERLING—

THE TAOS CONNECTION PART II

By Susan Schnitzer

 

TWILIGHT DELIVERY

After I completed Part I of this write up last month,  I ordered from AMAZON.COM  2 reference books: THE TWILIGHT ZONE COMPANION – Second Edition by Mark Scott Zicree and INTO THE TWILIGHT ZONE – The Rod Serling Programme Guide by Jean-Marc & Randy Lofficier. When I ordered the books over the internet, my given delivery date was December 23. The next evening, resting on the bench of my front porch was THE TWILIGHT ZONE COMPANION. The only sound I could hear in the otherwise stillness of the night was DA DA DA DA DA DA DA. The second book arrived 10 days later. With these excellent reference books providing details as to storyline and cast and crew members, I have decided, instead of critiquing MY favorite episodes , to delve into TAOS members and story lines that have crossed over into—THE TWILIGHT ZONE.

NERVOUS MAN IN A FOUR DOLLAR ROOM

(10/14/60 Episode # 39)

Written by: Rod Serling

Jackie Rhoades: Joe Mantell

Rod Serling intro narration:

“This is Mr. Jackie Rhoades, age 34, and where some men leave a mark on their lives as a record of their fragmentary existence on earth, this man leaves a blot, a dirty, discolored blemish to document a cheap and undistinguished sojourn amongst his betters. What you’re about to watch in this room is a strange and mortal combat between a man and himself, for in just a moment Mr. Jackie Rhoades, whose life has been given over to fighting adversaries, will find his most formidable opponent in a cheap hotel room that is in reality the outskirts of the Twilight Zone.”

Jackie Rhoades is a scared, nail biting, sweaty little excuse of a man who lives in a stuffy, dingy and insufferable oven of a room. Jackie is more mouse than man who has been ordered by a gangster to murder the owner of a bar. Jackie doesn’t have the spine to refuse his order and he knows that he’ll be caught if he commits the crime. While shakily looking for a match, Jackie is shocked beyond belief to see that his mirror image is already smoking a lit cigarette. This Jackie is the total opposite—he’s intelligent, strong, self-assured and in total control of himself. If Jackie would have chosen a better path in life—this imagine would have been him. Frantically, Jackie tries to bolt out but sees the same alter image in other mirrors in the closet, bathroom and the hallway. The gangster arrives to deal with Jackie, who has not murdered the owner of the bar. But THIS Jackie is different—he’s very forceful when he tells the gangster that he is resigning from a life of crime, beats up the gangster and literally throws him out of the room. The mouse known as Jackie Rhoades is now in the mirror and is replaced by Mr. John Rhoades, his own man—who is checking out of his room and checking into life!

Rod Serling ending narration:

“Exit Mr. John Rhoades, formerly a reflection in a mirror, a fragment of someone else’s conscience, a wishful thinker made out of glass, but now made out of flesh and on his way to join the company of men. Mr. John Rhoades, with one foot through the door and one foot out—of the Twilight Zone.”

Though known as a low key actor, Joseph Mantell was nominated for an Academy Award for Best Supporting Actor for his role as Angie (his classic line “So, whad do ya wanna do tonight Marty...) in the 1955 film Marty, which earned the Best Picture Award, and the Best Actor Oscar for Mantell's co-star, Ernest Borgnine (“Marty”). Mantell also appeared in Storm Center (1956) and Chinatown (1974). In the latter he played the fairly small role of Walsh the photographer, who delivered the film's famous last line, "Forget it, Jake. It's Chinatown". Mantell is on a high note in this TZ episode and shows tremendous range. Rear projections were used for the mirror imagine of John, the stronger personality. Even the music cues were different for both personas—for Jackie, the music was quick and uneven. Joe Mantell, just like George Reeves, plays a highly believable dual role. Jackie and John are total opposites and the stronger one remained the victor! Clark Kent is slightly meek and evasive when need be in order to hide his secret identity. However, he manages to put out his all in researching, and writing his articles while conveying wit and warmth as a person. As Superman, he remains the masterful keeper of the peace but remains fair and firm while dealing with adversity. Both are strong characters, do well for all and are in constant check of their purpose in life and rarely, if ever, let their guard down. Towards the end of TAOS run, we view, in brief glimpses, Superman having more of Clark’s qualities but since he wasn’t wearing his glasses—no one noticed!

STATIC

(3/10/61 Episode # 56)

Written by: Charles Beaumont

Based on an unpublished story by OCee Ritch

Ed Lindsay: Dean Jagger

Vinnie Brown: Carment Mathews

Prof. Ackerman: Robert Emhardt

Mrs. Nielsen: Alice Pearce

I dedicate this passage to Bill Dillane of CT who DJ’s in Connecticut and invited me to see radio legend Bobby J at the Radio Oldies luncheon in NYC in early December. Bill was unfamiliar with this episode, so I’ve decided to tie it in to both TAOS and the radio event.

Rod Serling intro narration:

“No one ever saw one quite like that that, because that’s a very special sort of radio. In the days, circa 1935, its type was one of the most elegant consoles on the market. Now, with its fabric-covered speakers, its peculiar yellow dial, its serrated

knobs, it looks quaint and a little strange. Mr. Ed Lindsay is going to find out how strange very soon—when he tunes in to the Twilight Zone.”

Feed up by the worthless and mindless TV watching that his fellow boardinghouse dwellers stare at, crusty middle- aged bachelor, Ed Lindsay, digs out his old radio from the basement and hooks it up in his room which served as a source of relaxation and entertainment in the “good old days” before TV.  When he’s alone, the vintage radio receives programs from the past (“Major Bowes”, “Fred Allen” and “Tommy Dorsey” all long dead). Lindsay, in his glory, tells the others about this miracle, but they can only hear static. Worried that Ed’s mental state will lead to a breakdown, former fiancée Vinnie (also a boarder), is sure that it’s Lindsay’s sense of nostalgia for the “good old day” when the 2 were engaged with the promise of a happy life together that is causing this. The couple waited so long to marry because Lindsay’s mother was ill, that happiness eluded them. Vinnie gives the radio to the junk man. Ed rushes out and buys the radio back for $10. Ed and Vinnie have a confrontation. Vinnie points that though they were engaged 20 years ago and listened to these shows together, the past cannot be retrieved and Ed should let it go. As Vinnie returns to her room, Ed turns on the radio. Immediately, it is 20 years ago and the couple is young again and lovingly listening to their radio shows. They are reliving their lives and setting the dial on “right.”

Rod Serling ending narration:

“Around and around she goes and where she stops nobody knows. All Ed Lindsay knows is that he desperately wanted a second chance and he finally got it, through a strange and wonderful time machine called a radio…in the Twilight Zone.”

The idea of this episode came from OCee Ritch, a friend of Charles Beaumont when Beaumont gave a party attended by old-time radio fans who performed bits of radio nostalgia. Ritch recalls “I think I said something like, ‘Hey man, wouldn’t it be great if you could just tune in those old things?” So Ritch went home and wrote a story called Tune in Yesterday. Beaumont suggested that it be made into a TZ ep instead of submitting it as a short story. Beaumont did the teleplay based on it for the series and reworked the storyline to a once engaged couple instead of an unhappily married one. I enjoyed this episode because my parents and extended family always spoke of the days before television (the idiot box) where the pictures where in your head and NOT on the screen.

Dean Jagger (Lindsay) worked in stock, vaudeville and radio. At first, Hollywood attempted to turn Jagger into a standard leading man, fitting the prematurely balding actor with a lavish wig and changing his name to Jeffrey Dean. It wasn't long before the studios realized that Jagger's true calling was as a character actor. One of his few starring roles after 1940 was as the title character in “Brigham Young, Frontiersman”, cast as a fictional Mormon follower. Jagger won an Academy Award for his sensitive performance in Twelve O’clock High (1949) as one of General Gregory Peck's officers (and the film's narrator). Physically and vocally, Jagger would have been ideal for the role of Dwight D. Eisenhower, but he spent his career studiously avoiding that assignment. Having commenced his professional life as a teacher, Dean Jagger came full circle in 1964 when cast as Principal Albert Vane on the TV series Mr. Novak.

Carmen Mathews’ (Vinnie) long career encompassed stage, screen and television. Mathews did not take her first acting bows on stage until her early '30s. Prior to her American stage debut, Mathews had attended the Royal Academy of Dramatic Art in London and had honed her skills in Shakespearean plays. Mathews made her film debut with an uncredited role in The Butterfield 8 (1960). Her television appearances include M*A*S*H (1972) and in the television movies The Last Best Years of My Life. Robert Embardt (Professor Ackerman) began his Broadway career as an understudy for corpulent character star Sidney Greenstreet whom he closely resembled. In films, the paunchy, phlegmatic Emhardt carved a niche in characterizations calling for gross, obnoxious villainy. His best and most typical screen role was the respectable crime boss in Sam Fuller's Underworld U.S.A. (1961). A television fixture well into the 1980s, Robert Emhardt showed up in several Alfred Hitchcock Presents installments, in various SUSPENSE episodes (with George Reeves in Murder at the Mardi Gras), was seen on a regular basis on the daytime soap opera Another World, and won an Emmy for his performance as an ulcerated businessman stranded in Mayberry, NC, in Man in a Hurry, a 1963 episode of The Andy Griffith Show.

Alice Pearce (Mrs. Nielsen) built her reputation in Broadway musicals. Her first screen appearance was as Lucy Schmeeler, the girl with a really bad sneeze, in the Gene Kelly/Frank Sinatra musical On the Town (1949). Preferring stage to screen work, she didn't settle down in Hollywood on a permanent basis until the early '60s. At the time of her death, Alice Pearce was appearing as nosy and neurotic neighbor Gladys Kravitz on the TV sitcom Bewitched, a role which won her a posthumous Emmy.

VALLEY OF THE SHADOW

(1/17/63 Episode # 105)

Written by: Charles Beaumont

Philip Redfield: Ed Nelson

Ellen Marshall: Natalie Trundy

Father: James Doohan

Evans: Dabbs Greer

Rod Serling intro narration:

“You’ve seen them. Little towns, tucked away far from the main roads. You’ve seen them, but have you thought about them? What do the people in these places do? Why do they stay? Philip Redfield never thought about them. If his dog hadn’t gone after that cat, he would have driven through Peaceful Valley and put it out

of his mind forever. But he can’t do that now, because whether he knows it or not his friends’ shortcut has led him right into the capital of the Twilight Zone.”

Reporter Philip Redfield (Ed Nelson) is lost and almost out of gas. He pulls into Peaceful Valley, a small everyday town or so it seems until his dog (Rollo) chases a cat. The little girl who owns the cat uses a strange machine that makes Rollo disappear. The girl’s father (James Doohan) dismisses the disappearance as he returns Rollo, claiming the dog only ran around the side of the house. Redfield senses something wrong.  Stopping at the only hotel in town to get Rollo a steak, he meets up with attractive Ellen Marshall who claims to run the hotel. Strangely, the hotel has no guests and the most recent paper dates back to 1953! To the contrary, Ellen tries to convince Redfield that the hotel is full but asks him to please leave the town. In a huff, Redfield drives away and his car smacks into an invisible force field at the edge of town. The car is wrecked and Rollo is killed. Some townsmen come to his aid, and unseen by Redfield, use a device to fix the car and restore Rollo to life. Redfield is taken to the town chambers and meets Evans (Greer), Dorn and Connelly. The men tell him he will never leave Peaceful Valley. Regardless, Redfield tries to escape but a device is used to teleport him from the doorway to a chair. It is explained that 100 years ago, a stranger, perhaps from outer space, arrived in town introducing an energy source with equations and other devices that moves matter, reshapes it and reverses the flow of time. This information is forbidden to be shared with the outside world until they are at peace. Redfield firmly disagrees and says that the townspeople have a moral responsibility to share these secrets with the world. In protest, Redfield is